help with Andrea's 90mm centurion

[godfather]

I need pictures of this figure painted specifically of the upper torso as I am trying to figure out what is flesh, leather or clothe on the sculpt. The way the figure is sculpted on the left side near the neck is a depression and not sure what it represents. I ma sorry of this is not clear but if someone has made this figure or knows of where I can find multiple angle shots that would be appreciated. Unfortunately the box art is not very useful.

 

[Cicero]

Hi Bruno,

I'm too working on this figure. It's in the stage where I can start the spraying of the primer.

Although the overall look of the figure is great, the preparation of it gave me some headaches. I my opinion the figure's not very cleverly engineered.
For instance, there is a huge gap between the coat and the back that you really have to close up with some Magic Sculpt. If not you can see right through, which isn't very natural and an ugly sight.

Concerning your remark about the depression around the neck I had the same questions. It's another point were the engineering of the casting could be a lot better. Because you have to keep the coat apart from the head during the painting process, you'll never get a nice joint when you'll glue both items together afterwards. I remedied this by sculpting a scarf around the neck in a way that it is running under the coat and protruding around the neck. By doing this you create a hidden joint between the head and the coat and secondly the depression is filled up. It looks very natural afterwards.

Hope this will help .

Johan

 

[Guy]

Originally posted by Cicero@Oct 28 2005, 09:20 PM
you'll never get a nice joint when you'll glue both items together afterwards.

Sorry to disagree, but all of my figures are done in this manner and can be successful if carefully planned out both before the painting and afterwards. I can get to the "hard to get to areas" much better by pegging the arms and accessories and doing seperately. After the figure is almost done and I attach the arms, for example, I do the final dry-brush of the figure at this time to match any joined areas. This method is used alot by us "old timers" in the hobby.

Here is my latest figure done and all arms and attachments (quiver, scabbard, etc ) were painted seperately and attached during the final stages of the figure.

 

[Cicero]

Hi Guy,

I think you've misunderstood what I was trying to explain. I always glue as much parts together as possible, but other parts are indeed pegged and painted seperately, let there be no mistake.

Only with this figure the joint between head and coat is badly engineered. There is no way you can glue both parts in place and paint them afterwards because the big neckguard of the helmet obscures a piece of the coat. Also the inside of the neckguard wouldn't be reachable.

However when you should glue the head after the painting the joint would be very much visible and would be looking very unnatural. It seems as if the head is just placed on top of a tube. That's why I advised Bruno to sculpt a scarf around it, solving two problems at the same time:
- create an invisible joint between neck and head,
- and a natural looking sit of the head.

Proceeding in this way you can paint head and coat apart.

I hoped to have cleared up things a bit for you.

BTW nice looking Figure Guy! I like the detail of the dead rabbit.

Kind regards

Johan