Getting close to transferring the schematic over to canvas. Graphite on drawing paper, 16×20.
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.
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.
A friend bought me a book of Da Vinci’s anatomy drawings, so I’m playing around with that this week at work.
What’s a couple years between WIP updates between friends? Dusted off this fine plastic model (ok, he was under a cover and not dusty). Spent an hour messing around trying to remember how brushes work. Some base coats and messing with how nmm works again…
Had a pretty successful night. Fixed the drawing for the right side of the head, had to widen things out by almost an inch, but the proportions are correct now. Better to fix something immediately, no matter that it’s a lot of effort. Then I focused on first painting the shadows. Since his right cheek and eye were mostly framed by shadows, and I needed to mix some halftones to blend the shadow edge into, I also first painted the cheek and eye there. All in all, quite a bit of paint was put down last night!
Part of my ability to get right into painting was my awesome pochade box. Most of my mixes from last week were still workable, so I was able to start painting almost immediately. Here’s the state of the palette after last night’s session:
Values underpainting for Judith. Just titanium white and burnt umber, thinned with OMS.