WIP Critique Lt. Alexander Dunn VC, 11th Hussars 1854

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Superbly done. Interesting to see that you have sculpted the braid. I tend to use solder wire held in place with 'superglue'.

Mike

Mike - That would be appropriate for a commercial piece where a precise pattern is required. For a one off, where impecision can be camouflaged with paint, my method works....at least for me. And the wire method would take a long time. Also, I find that super glue does not do well with sculpey given it remains very porous when baked.

I tend to sculpt and paint portrait busts like I was painting a portrait oil. Implying texture and shape and fooling the eye are fine in my work. Commercial pieces tend to require more precise engineering that I would not have the patience for in a complex uniform like this one.

Colin
 
I use the solder wire technique because I lack the skill to do such work in Milliput/green stuff etc.!

Mike
 
I use the solder wire technique because I lack the skill to do such work in Milliput/green stuff etc.!

Mike

No shortage of skill in your work from what I have seen. But sculpey is so much easier than epoxy. And more forgiving. Make an error? Trash it and redo. :)

Colin
 
Added his cartouche belt from Magic Sculpt. Once it is firmly set, I can sand it a little and then add the buckle, other hardware including pickers and chains.

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Hi Colin,
Coming along nicely.Wish I had the sculpting gene.
As a companion piece Lt Nolan would be nice (before the charge rather than after):cry:

regards

Chris
:)
 
Thanks Chris. I would love to do a portrait if Lew Nolan but as far as I know there are no good portraits, just some stylized etchings. Will keep in mind though.

Colin
 
I've just finished 'The Hell Riders'. Lt Dunn certainly had an interesting life after the Charge.

Mike
 
Colin,

Great work as I expected the pouch looks really nice on him .....

Lace work ...how about a SBS ..or maybe a video/ YouTube ?

Thanks for sharing your skill

Nap
 
I've just finished 'The Hell Riders'. Lt Dunn certainly had an interesting life after the Charge.

Mike

Short but eventful for sure Mike. Great book by the way. Also worth noting are Adkin's "The Charge," Harris' "The Gallant Six Hundred," Thomas' "Cardigan," and of course the book that started all the interest...Cecil Woodham Smith's classic "The Reason Why."
 
Colin,

Great work as I expected the pouch looks really nice on him .....

Lace work ...how about a SBS ..or maybe a video/ YouTube ?

Thanks for sharing your skill

Nap

Which lace Nap? Chest or back? I don't think I have the technology for a video but I would be happy to do an SBS side bar on any particular lace I have put on him. Good tools are another key so I could show what was used where too.
 
Colin
I am away for a week or so and you have achieved this. Another excellent sculpt and a real painting challenge. Watching this with much interest.
John
 
Here is the promised SBS on doing the rear of the dolman.

I started by baking a flat piece of sculpey to work on. Add some clay softener to make it easier for the added material to adhere. Add a worm of sculpey to form the basis for the lace decoration.

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Flatten the worm with the desired curvature. I have shown the wooden handle of a scribing tool I like to use. Also useful is the metal handle of an exacto knife.

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Use a #11 blade to cut the flattened lace to shape. I have added a point at the top and have trimmed the sides.

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Add appropriate shapes in sculpey - balls for loops and elongated ovals for the other loops. I have als used a toothpick to add some texture to the lace indicating bunching.

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Flatten the shapes - I use a colour shaper in this illustration.

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Impress the shapes to simulate loops and elongated ovals. I use an tool that looks like a long tooth pick - not sure where I got that. You can use a blade to simulate cross overs if you wish - I do this with paint.

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You can also simulate side piping by scribing. I this case I show a favourite wax sculpting tool of mine.

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Note that this is all very rough. This whole sequence took me less than ten minutes including photography. I would go a little slower and be more careful if I was working on a real figure. But this is OK to show the method.

Happy to entertain questions. I will post an SBS on the frontal lacing later.
 
Here's how I did the frontal lace - on the same blank piece of sculpey.

First roll put some sculpey. Add clay softener to the base surface to increase adhesion.

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Place a segment of sculpey where you want the lace to be.

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Flatten it - in this case with the rolling motion of an exacto handle.

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Trim the length and edges to the correct size.

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Scribe a dividing trough in the length of sculpey to simulate two lengths of braid parallel. You can also scribe texture into the braid.

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Add a second braid and trim like the first one etc.

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I use this scribing tool drawn between the two pieces of braid to ensure constant spacing and parallel placement.

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Add buttons and end loop (same method as the loops on the back of the dolman in the previous post.

That's about it.

Note that 1854 British hussar braid is flat, not cylindrical. You could use this method somewhat adjusted for earlier hussar braid that was potentially rounded.

Cheers

Colin
 
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