This simple bust is from a 3D file created by Clay Cyanide, printed by one of the many print services on Etsy.
She is an extracted section of a full figure rather than a designed for purpose bust, which shows in the rather imbalanced arm/shoulder cuts. I think the full figure is also of a smaller scale as on enlargement to scale this bust the "edges" between the flesh and the clothing have become huge, easily over 2mm which will make eventual shading a challenge. Sadly it also makes it impossible to paint the shirt transparent as the material is modelled so thickly.
But then, she only cost €7 for the print sized to 1/10 scale. I am using her as a test for painting a deep olive skin tone.
This is her after the first part of my face painting process, probably about 2 hours work. Tiara and scarves have been blocked in for colour tone only at this stage.
Next up will be a moderating glaze to soften the transitions and to tidy up around her eyes.
I took this picture at my bench to show how I work. I don't use a wet pallete. I paint in transparent glazes rather than colour blends and use the underside of little Wargame figure bases as reservoirs, mixing up a staged series of glazes from 1:2:1 Paint, distilled water and matt medium with a tiny drop of W&N Acrylic flow improver.
I start with layering in the shadow areas and let them dry then repeatedly glaze over and around those with successively lighter colours. At this stage I do not alter the composition of the colours other than to add further drops of water if they start to thicken. The white undercoat is fundamental and critical to the way I do this.
I will dip from lighter or darker tones as necessary, In principle it is a case of start dark and work up to lightest but there is inevitably some back and forth.
To do the complete face is going to be a couple of hundred coats of glaze, sometimes wet on wet especially in the darker areas. When I think the face is "finished" I paint in the eyes, eye makeup and lip colours to see if I like her and assess what needs refining and whether I want to add freckles or other skin markings.
The colours for this face were a chocolate brown (red tone) with a tiny point of dark blue added, a tanned flesh (orangey tone) and a pale flesh (natural tone) with a tiny point of dark yellow added. The yellow and orange working with the blue to produce the olive tone. I haven't named them as I use Rackham paints for my fleshtones and they are long OOP.
She is an extracted section of a full figure rather than a designed for purpose bust, which shows in the rather imbalanced arm/shoulder cuts. I think the full figure is also of a smaller scale as on enlargement to scale this bust the "edges" between the flesh and the clothing have become huge, easily over 2mm which will make eventual shading a challenge. Sadly it also makes it impossible to paint the shirt transparent as the material is modelled so thickly.
But then, she only cost €7 for the print sized to 1/10 scale. I am using her as a test for painting a deep olive skin tone.
This is her after the first part of my face painting process, probably about 2 hours work. Tiara and scarves have been blocked in for colour tone only at this stage.
Next up will be a moderating glaze to soften the transitions and to tidy up around her eyes.
I took this picture at my bench to show how I work. I don't use a wet pallete. I paint in transparent glazes rather than colour blends and use the underside of little Wargame figure bases as reservoirs, mixing up a staged series of glazes from 1:2:1 Paint, distilled water and matt medium with a tiny drop of W&N Acrylic flow improver.
I start with layering in the shadow areas and let them dry then repeatedly glaze over and around those with successively lighter colours. At this stage I do not alter the composition of the colours other than to add further drops of water if they start to thicken. The white undercoat is fundamental and critical to the way I do this.
I will dip from lighter or darker tones as necessary, In principle it is a case of start dark and work up to lightest but there is inevitably some back and forth.
To do the complete face is going to be a couple of hundred coats of glaze, sometimes wet on wet especially in the darker areas. When I think the face is "finished" I paint in the eyes, eye makeup and lip colours to see if I like her and assess what needs refining and whether I want to add freckles or other skin markings.
The colours for this face were a chocolate brown (red tone) with a tiny point of dark blue added, a tanned flesh (orangey tone) and a pale flesh (natural tone) with a tiny point of dark yellow added. The yellow and orange working with the blue to produce the olive tone. I haven't named them as I use Rackham paints for my fleshtones and they are long OOP.
