Haven’t done (IT) in a while.

My bookshelf of curiosity.

The IT in question is sculpting stuff by hand. Several months ago I began a Ninja Turtle bust on a walnut base plate, but it has sat untouched since there was snow on the ground, and I have gone to Florida twice since that point. I was taking some time to teach my oldest daughter a few things about making an appropriate armature, and building up the rough forms before you get too far into your sculpt. And by too far into the sculpt I mean working in details when the bulk of the forms (read muscle groups, fatty tissue deposits, bones, and general thickness) hadn’t been placed upon the armature yet. It can be pretty seductive, those fun details. But best to get the whole thing in order before you put hours into skin texture, clothes, or artful extras. But I digress.

I have five full blocks of clay left untouched. As a general rule, mainly because I am cheap/not rich, I limit myself to only one block of clay per sculpture. That way I can do more! I don’t always adhere to that rule, and I have been known to try to knock out two smaller items off of one 2lbs block of clay. Living on the edge here people! Watch out.

I also have a stock pile of Super Sculpey which I intend to use on a new fair entry. Not all at once. But I have enough I could do four 6-8″ tall busts along the lines of what I usually do. Ogres and beastmen of all types, goblins and gnomes, evil elves, and sailors alike. I have a minotaur that I sight copied from a fantastic sculptor from Greece. Whose name now escapes me. Fantastic sculptor though.

I could try a faircrow bust, of our event mascot, for this fall’s fair. That might garner some attention. Feels like pandering if you ask me. But whatever, at this point. Sculpting, much like any art form outside of the use of AI, is a use it or lose it scenario. Because I tend to go on a hot streak, and then move on for months st a time, I constantly have to relearn how things feel in my hands, and how the Clay’s react go my touch. If you don’t do it 24/7/365 you lose your sensitivity to it. I’m not paid to do it, so that’s ok with me. I can take a few days or a week or two to get back into the groove.

I do the same thing with wood working, playing guitar, writing short stories, and model building/painting with an air brush. My focus pulls from one to the other, on and on, all year through. I’m ok at a bunch of stuff, but not exactly a killer at any one thing. Duh!

On another note, I encountered a smell/sensation that reminded me of when I was really sick in 2015, and it has me a little spooked today. That was when I had EBV. Really unpleasant 6-8 weeks. Plus a nasty lung infection/pneumonia to go along with it. So… yeah. That’s not cool.

Latest on the bench, been left untouched for months now.

The SlapDash Painting Episode, No° 108.

I have recently been revisiting my old no name air brush. I picked up a wide variety of Vallejo paints, primers, thinners, and washes so that I could paint my latest round of bust sculpts. It has been a trying time, to say the least. But as I progress through my eight recent builds I am finding a stable, and repeatable method to getting half way decent results.

I am working off of the following methodology. A flat black primer over the whole bust, followed by a grey primer that I spray top down for stark contrast high lights. Then I use a mid tone, straight from the bottle to cover the whole sculpture. I use a darker colour to then paint from the underside only. Then I use a 50/50 mix of mid tone to first highlight, spraying top down all over. Then the high light colour at 100%, top down only. Focus primarily on head shoulders, and ear tips, and maybe belly if my character is fat/barrel chested.

At this point I pick up a tooth brush and then fleck a deep red, blue and green paint all over the bust, avoiding armor if at all possible. Once dried, I go to my last 100% colour and knock those flecks back a tad. And then use my final highlight colour to brighten up the face and very tops of the shoulders only.

After this point it’s all brush painting for metallics, leather straps, skulls, and anything else that wasn’t skin tones.

1.) Flat black primer.
2.) Grey primer, top down only spraying
3.) Mid tone all over.
4.) Darker under colour that is sprayed bottom up. 5.) First highlight sprayed top down and all over.
6.) Second highlight colour top down. More focus on head, neck & shoulders.
7.) Flecked red, blue & green paints for skin variations.
8.) Knock down flecks, and add next highlights for face, and shoulders only. 9.) Begin brush work for metallics and all other elements.

I’m not actually finished with my Ogre royal guard yet, so I’ll have to cut it here. I should note I’m using craft paints that I have thinned with a Vallejo acrylic thinner. I wanted something a bit different to my regular green, brown, red or blue palettes. Looks nifty. I think. Still has a long way to go. Catch you around.