Royal Engineer 1854, 100mm(1/18)

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kaz6120

A Fixture
Joined
Jun 9, 2010
Messages
1,324
Location
Japan
Continued from this thread:Sculpting hands - planetFigure

Using the hand I built in the thread above, I found out the head and hands I was sculpting for new project was a little bit larger for 90mm, so I decided to use these hands for 100mm scale.

jv-royal-100mm-4.jpg


Here is SBS images:
jv-royal-100mm-1.jpg jv-royal-100mm-2.jpg
jv-royal-100mm-3.jpg

Some might notice that this project is inspired by Osprey's "British Army On Campaign (2) 1854-56 : The Crimea (Men at Arms Series, 196)".
osprey-royal-sapper.jpg

I was surprised to find that at the same time Mr.Anders Heintz has been done the same theme on this project:
Atlanta Seminar/Sculpting DVD Update - planetFigure

As always, any comments are welcome.
 
Thanks Einion, gordy,

Nice to see clavicles represented BTW!

Thanks for noticing this. For me this is very important part. :)

I like to split blades from ribs, because arms are not connected to the "boxed shaped body", but to the blades and clavicles. Most people think the arms' movement start from the shoulders but that's wrong. Clavicles are the root for the arms, not shoulders.

so, if you use split blades and clavicles free from ribs, you can apply any kinds of arm movement freely to the figures. This is why I do this.
 
so, if you use split blades and clavicles free from ribs, you can apply any kinds of arm movement freely to the figures. This is why I do this.

Good plan!
Looking top down onto shoulders most figures have them in a straight line..

But just as the shoulders can move up and down, when viewed from the front, they can, from the top view, move front to back!
 
Well done Kaz. I agree with Einion about the clavicles. Too many figures have strained looking poses because the shoulder anatomy in misunderstood.
 
I can see that the armature went through
some changes to get to the finished stage.

The figure looks great. I like your style.
The pose is very elegant and natural.
On the other hand, the wrinkles and folds look
a bit too stylized in my humble opinion...
especially when the figure is quite large. ;)
 
Thanks Carl, gordy, John, and Taesung.

I can see that the armature went through
some changes to get to the finished stage.

Yes I've done many changes through the process. I've changed pose, length of the arms and legs, and head is completely re-sculpted. The armature in the final stage is completely different from the one in the first stage. I didn't write about it but I was surprised you've found out that.:)

On the other hand, the wrinkles and folds look
a bit too stylized in my humble opinion...
especially when the figure is quite large. ;)
Thank you very much for your precious critiques. This kind of comments help me a lot. That's what I need to get and want to hear. I have no ego (something like "Hey look! this is MY style!" ) about my projects, I just want to sculpt "GOOD" figures. I wanna listen any kind of critiques if I can improve my project.

Ok, then...I want to know more about "too stylized" mean, and I want you (and all of you) to tell me your ideas or opinions to improve the wrinkles and folds.
 
Ok, then...I want to know more about "too stylized" mean,
and I want you (and all of you) to tell me your ideas or opinions
to improve the wrinkles and folds.

Okay, I'll try to explain since I opened my big mouth. :)

To me, the wrinkles and folds on this figure do not look like they
were made by looking at photos or real thing. (please excuse me if I'm wrong here)

When one continues to make folds and wrinkles out of his imagination,
he is bound to develop a style. One might make nice looking details but still
imaginary and stylized. I don't think it's a bad thing if that's what you want.
In smaller scale, it's less noticeable. But in this scale (or size), it's more obvious.

When wrinkles and folds are done by looking at a real thing or photos, you will
notice it right away. Also, this is a good way to learn how to express the thickness
and type of the fabric.

Also the extremely tight fit of the clothing on a bone skinny figure adds to
the stylized appearance.


What I like to do is to take pics of myself in a given pose and similar clothing.
When I look at the wrinkles and folds in those pics, I notice how different they are
compared to what I had imagined.

I'm not saying that the whole figure should be done this way, but prominent areas
can be benefited by it.

Hope I made a sense here... :)
 
You are very true, Taesung. I was shocked, and at the same time was really impressed that you can get so much information by just looking at my few pics.

Most of the wrinkles are from my imagination or by looking at my other favorite commercial figures I have, and the drawing in Osplay book.

Yes you made a sense here, I appreciate I got a great advice. Thanks a LOT, friend.
 
Thanks Einion, gordy,
I like to split blades from ribs, because arms are not connected to the "boxed shaped body", but to the blades and clavicles. Most people think the arms' movement start from the shoulders but that's wrong. Clavicles are the root for the arms, not shoulders.

Not agree with this argument.

The movement of the upperarm is from the shoulder.
The shoulderjoint (articulatio humeri / glenohumerale joint) made of the caput humeri and the cavitas glenoidales/fossa glenoidales what is a part of the shoulderblade.
This is all hold in place trough the rotatorcuff (muscles, ((four muscles).
The shoulder can be moved in the following motions.
endo - exorotation, ab- adduction, ante- retroflexion
The shoulderjoint is one of the two biggest joints in the body but very fragile for luxations.
The movement of the shoulderblade (articulatio scapulothoraccia) is elevation - depression, exo- endorotation, protraction -retraction.
And at last we have the movement of the clavicula, that has a joint with sternum and acromion what is a conjunction of clavicula and scapula.
Movement are: elevation - depression, protraction - retraction.

So you see there is no movement guided trough the clavicula into the arm but only trough the shoulder.
You cannot move your arm in suppination (beggin) without exorotation of the shoulder.


You are right if you sculpt a shoulderblade it should be not as part of the thorax.
I think the argument for sculpting the clavicula is a very good definition of the upperbody, and marking the border of neck and shoulder better.

Sorry for my anatomic explanation but it is only for making my point. If not compleet sorry then i have to dig out my anatomic books. I'm now at work. (medical)

Marc
 
Marc I am guessing you are not a window cleaner for a profession :), very nice explanation of the movement of the arm. just goes to show how much is involved in the human body and its anatomy.

Steve
 
The movement of the upperarm is from the shoulder.
The shoulderjoint (articulatio humeri / glenohumerale joint) made of the caput humeri and the cavitas glenoidales/fossa glenoidales what is a part of the shoulderblade.
This is all hold in place trough the rotatorcuff (muscles, ((four muscles).
The shoulder can be moved in the following motions.
endo - exorotation, ab- adduction, ante- retroflexion
The shoulderjoint is one of the two biggest joints in the body but very fragile for luxations.
The movement of the shoulderblade (articulatio scapulothoraccia) is elevation - depression, exo- endorotation, protracton -retration.
And at last we have the movement of the clavicula, that has a joint with sternum and acromion what is a conjunction of clavicula and scapula.
Movement are: elevation - depression, protraction - retraction.

Marc

Dang! Dropping mad science, bro!
 
Note to self: Never play Marc at scrabble.

But at home i never can use medical words :confused:
It was easy, it's a part of my daily profession, and following sculpting treaths very close. It's always good to see a good sculpt of the anatomy. It ended always with a good figure.(y)
I can only hope somebody can do something with it....if not, i tryed.

Marc
 
Marc I am guessing you are not a window cleaner for a profession :), very nice explanation of the movement of the arm. just goes to show how much is involved in the human body and its anatomy.

Steve

No Steve, just fixing sometimes the windowcleaner when he missed his step.
The human body is still far superior above everything people made, yes even computers. That's why i always love study anatomy.
 
I like very much the pose of the body and I agree with Taesung about those wrinkles. But I believe that the most difficult thing in making a figure is to give a good and right pose so in my opinion you have a very good advantage.

Kazufumi this figure is very popular, I have also made one like this about 10 years ago inspired by Ospreys color plate at 54mm.



Keep scratching !!!
 

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Thanks a lot Marc, for correcting my misunderstandings.:)
So you see there is no movement guided trough the clavicula into the arm but only trough the shoulder.
You cannot move your arm in suppination (beggin) without exorotation of the shoulder.

OK. Now I understand, I agree with your opinion, I wiil withdraw my previous suggestion. it starts from the shoulder.

You are right if you sculpt a shoulderblade it should be not as part of the thorax.
I think the argument for sculpting the clavicula is a very good definition of the upperbody, and marking the border of neck and shoulder better.
This is what I wanted to say. What I wanted to say in the previous suggestion, the arms are not connected to the "box shaped body", means that the arms are connected to the scapula, not thorax nor rib. And clavicle connects scapula to thorax. so if there's no clavicles you cannot hold your arms stable in the right position, clavicles are really important bone.

For example, when you run you twist your body and clavicles move back and forth, scapulas too, they are not staying the same position like when you are standing still. ( Of course you can run without moving clavicles and scaplula, but it definitely will looks like a running C3-PO).

Yes, Marc is right, moving clavicle and scaplula is not always necessary when you move arms, this means clavicle is not the root of arms' movement(Now I agree with that), but you have to move clavicle if you want to run naturally.

So...moving scapula and clavicle make your figure movement more natural look and these bones should be separate and free from thorax to strike a good figure pose. That's what I wanted to say. Am I right...?

I like very much the pose of the body and I agree with Taesung about those wrinkles.
Thanks Christos, I will look it over and rebuild it again.

But I believe that the most difficult thing in making a figure is to give a good and right pose so in my opinion you have a very good advantage.
Thank you very much. I was losing confidence this bring it back again.:)

I feel like knocked down by everybody's conscientious advices. You guys are great, you say what is good and what is bad straightforward. I appreciate your frankness.

Kazufumi this figure is very popular, I have also made one like this about 10 years ago inspired by Ospreys color plate at 54mm.
Yes of course I know you made this figure, I've already checked your project before I start sculpting and I was really impressed. Your work is superb, I like your other works too! Sorry I didn't put the reference link. so I'm trying just not copying your work I wanted to try to make something a little bit different, not "Just a 100mm version of it". This IS the hard part,though.:)

Keep scratching !!!
I will try not to quit!
 
Hi Kaz

I want to let you know that I wasn't trying to rip your figure apart.
It has a great natural pose which is very difficult to capture.
The head and hands are excellent as well.
I just thought that this figure deserves the same attention the
wrinkles and folds.
Sorry if I sounded harsh... :(
 
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