Continuing with the skirts, I finished out the Dusky Skin triad, to keep things simple. Similarly, I did the same using Clotted and Carnage Reds to finish the hood/sashes.
On to the flesh tones. For the dwarf, I used Muddy Soil, Dark Skin, Redstone Highlight, Tanned Skin and VMC Ivory. For the goblin, it was Black Green, Ghoul Skin, Moldy Skin and VMC Ivory. For the orc, Midnight Blue, Twilight Blue, Snow Shadow and Ghost White.
Finishing up the basecoats. Metals based in Dusky Skin Shadow or Stormy Grey. Hood/scarf in Bloodstain Red, dwarf’s beard in Shadowed Stone.
Tried zenithal priming these guys with an airbrush…results about the same as a rattle can, with way more cleanup. Don’t really want to spend any time learning airbrush skills, so be it.
I then base coated the skin for each as follows: Orc, Twilight Blue; Dwarf, Dark Skin; Goblin, mix of Ghoul Skin and Black Green. Leather, skirts and misc were base coated in Dusky Skin Shadow.
Been wanting to get back into painting a mini now and again, probably nothing more than tabletop for a while. So I took a couple hours to slap some paint on this guy I had sitting on the shelf, already primed.
So I think I’ve mostly forgotten how to paint minis. Didn’t help that I snagged the wrong paper for my wet palette, it was a square of tracing paper, so it was a total mess!
I took the schematic off the board and taped it to a window, drawing against the glass, so I could see the drawing through the back. Taking my 2B pencil, I rubbed it over the lines, leaving a lot of graphite so it will transfer to the good paper.
Carefully align the bristol smooth paper on the board and lay the schematic over it, graphite side down. Tape it at the top like a hinge, so you can lift the schematic and check your transfer progress. Gently begin tracing over the lines, check to be sure you’re pressing hard enough to transfer the lines but soft enough that you aren’t denting the smooth sheet. When the schematic has been completely transferred to the smooth sheet, remove the top sheet. Voila, it’s time to start the drawing!
I’ve already begun massing in the shadow blocks again.
Here’s an example of this laborious process. Taking a 2B pencil, build up to the median value of the shadows. Then use a 2H to smooth it and a kneaded eraser to fix dark spots and edges. The block in the upper right was the third one I did, the ear is the ninth one. Still a long way to go until I can render them smoothly, but at least I’m seeing some progress. I included the incomplete brow shadow to show what it looks like after an initial pass with the 2B.
I found a video tutorial for Bargue Plate 49 on the Academy of Realist Art (Toronto)’s site: https://realistartonline.com/courses/drawing-the-bargue/ So I decided to jump ahead to this plate to learn their method for rendering the plates.
I have a scan of the plate that I cut in half, printed on letter-sized paper, and then enlarged on a copier to 11×17. It’s not the best source, I would love to be working off proper full-sized prints. But, it’s close to original size and lends itself to being copied on a standard 18×24 sheet of paper (in this case, I cut the sheet in half and trimmed it).
First we have the completed construct, following the articulation provided on the first half of plate 49. The construct is just a general measured drawing of the basic shapes. Here you can see how I’ve set them up on my drawing board.
Next I refined the construct into the articulation. Still staying with straight, measured lines, I add more information to the drawing. Once I completed the articulation, I massed in the shadow value shapes with an even tone. By the end of this stage, I’d estimate I’m just over 20 hours in.
Next I will transfer this drawing from bristol sketch paper over to bristol smooth paper, which is lovely for smooth values. The method is the same as when I transfer a drawing to canvas for portraiture: rubbing the back with charcoal and lightly going over the shapes so they mark the paper underneath.
Graphite on bristol sketch paper, 12×16.
This one took a while. Not only are these plates challenging to learn, working with graphite on newsprint was a bad idea. Eh, I try things, sometimes they don’t work out. It was good practice due to the struggle for shading, though! Here’s the completed drawing:
And the work in progress shots, if you’re interested in the process.
Informal copy of Bargue plate 9. Graphite on smooth bristol.