In addition to the film itself (various editions and formats) and a modest selection of stills, I have turned to these published works for additional background, insight and inspiration:
Kay, Susan. Phantom. NY: Delacorte Press, 1991.
Riley, Philip J. The Making of The Phantom of the Opera (Classic Silents, vol. 1). Absecon, NJ: MagicImage Fimbooks, 1999.
Wolf, Leonard, ed. The Essential Phantom of the Opera. NY: Plume, 1996.
30 May 2009
26 May 2009
Erik, the Opera Ghost--Act I: The Face/Head
Erik. . . the Opera Ghost. . . the Phantom of the Opera. . . call him what you will. Though Claude Rains (Universal 1943 remake), Herbert Lom (Hammer 1962), Michael Crawford (stage), and [countless?] others have breathed life into this iconic character, Lon Chaney, Sr. undeniably made Erik his own. To paraphrase his son, the Phantom was his baby.
Or should that be babies? I have recently discovered how challenging it can be to sculpt a credible likeness of the Opera Ghost. Unlike other subjects, primary and secondary references abound: from movie stills to excellent 3-d likenesses--sculpture, masks, etc. Yet while they are all recognizable as the Phantom, they can all be noticeably, even significantly, different. So I will rephrase my original question. "Can there be a definitive likeness of Chaney's Phantom?"
The answer is, "Yes". . . and decidedly, "No!" Few will argue that Chaney was a master of his craft elevating it to an art form. But only upon researching this silent classic was the genius unveiled. Very simply put, there can be no definitive Phantom because the Phantom was not only a multitude of ad hoc expressions, but most importantly an illusion--truly an apparition!--created by variegated makeup and lighting. One can give form to what we see, but we have to accept that the image captured in putty or clay probably never truly existed!
I now present the Phase II head with the the facial reconstruction at a still [somewhat] crude, semi-finished-but-still-rough stage. While I have sculpted the lower teeth in situ, the maxillary dentition has been sculpted as a separate appliance [NOTE: the separate appliance has now been permanently attached and the upper lip slightly extended.].
I am not quite there yet, but it is gradually emerging. . .
30.05.2009
I am now well into Phase III, and I am comfortable saying that I am fast upon the home stretch. There is still some tweaking to be done, but the overall "lines" are now present, and I think that once the hair and eyes are done, it will all come together splendidly.
31.05.2009
The left eye (orb, lids, etc.) is all but done; the right eye has been modelled and awaiting the lids, etc. I should have a final--or near-final--image to show you by this time next week. Then the wretched Erik will be returned to his box to await his turn on the bench. . . The performance will in all likelihood resume with Act II sometime next year.
03.06.2009
I am so pleased with the way the headsculpt is turning out that I am considering exploring what options might be available to me to broaden its "distribution". It would certainly be an 1/8th scale bust--yes, I have a particular depiction in mind. Once the head is completely done, my next step will be to contact Chaney Entertainment: I would not pursue this without their blessing and permission. Stay tuned!
06.06.2009
The Phase III head. . .
The headsculpt is now all-but-done. Clean-up has begun in earnest, and I should have no more than an hour or two of work remaining before the face is completed. I am as of yet undecided whether to cut an intermediate mold at this point; or proceed with the hair. . .
12.06.2009
Just about there. . . There was something not quite right with the mandible and chin that, in spite of the fact that a significant degree of any Phantom likeness will be brought about by the paint job. I think I've "fixed" the problem and I'll certainly know by this time tomorrow. In any event, my goal is to have this completed--and hopefully in rubber!--by the end of the weekend.
Or should that be babies? I have recently discovered how challenging it can be to sculpt a credible likeness of the Opera Ghost. Unlike other subjects, primary and secondary references abound: from movie stills to excellent 3-d likenesses--sculpture, masks, etc. Yet while they are all recognizable as the Phantom, they can all be noticeably, even significantly, different. So I will rephrase my original question. "Can there be a definitive likeness of Chaney's Phantom?"
The answer is, "Yes". . . and decidedly, "No!" Few will argue that Chaney was a master of his craft elevating it to an art form. But only upon researching this silent classic was the genius unveiled. Very simply put, there can be no definitive Phantom because the Phantom was not only a multitude of ad hoc expressions, but most importantly an illusion--truly an apparition!--created by variegated makeup and lighting. One can give form to what we see, but we have to accept that the image captured in putty or clay probably never truly existed!
I now present the Phase II head with the the facial reconstruction at a still [somewhat] crude, semi-finished-but-still-rough stage. While I have sculpted the lower teeth in situ, the maxillary dentition has been sculpted as a separate appliance [NOTE: the separate appliance has now been permanently attached and the upper lip slightly extended.].
I am not quite there yet, but it is gradually emerging. . .
30.05.2009
I am now well into Phase III, and I am comfortable saying that I am fast upon the home stretch. There is still some tweaking to be done, but the overall "lines" are now present, and I think that once the hair and eyes are done, it will all come together splendidly.
31.05.2009
The left eye (orb, lids, etc.) is all but done; the right eye has been modelled and awaiting the lids, etc. I should have a final--or near-final--image to show you by this time next week. Then the wretched Erik will be returned to his box to await his turn on the bench. . . The performance will in all likelihood resume with Act II sometime next year.
03.06.2009
I am so pleased with the way the headsculpt is turning out that I am considering exploring what options might be available to me to broaden its "distribution". It would certainly be an 1/8th scale bust--yes, I have a particular depiction in mind. Once the head is completely done, my next step will be to contact Chaney Entertainment: I would not pursue this without their blessing and permission. Stay tuned!
06.06.2009
The Phase III head. . .
The headsculpt is now all-but-done. Clean-up has begun in earnest, and I should have no more than an hour or two of work remaining before the face is completed. I am as of yet undecided whether to cut an intermediate mold at this point; or proceed with the hair. . .
12.06.2009
Just about there. . . There was something not quite right with the mandible and chin that, in spite of the fact that a significant degree of any Phantom likeness will be brought about by the paint job. I think I've "fixed" the problem and I'll certainly know by this time tomorrow. In any event, my goal is to have this completed--and hopefully in rubber!--by the end of the weekend.
25 May 2009
Erik, the Opera Ghost--Divertimento?
Not hardly. . . but this may certainly mark a transition in the first Act. . .
While the project on the whole is unfolding splendidly, I have just about resigned myself to doing away with the mantle. As I've oft mentioned in previous postings, I am by no means an Aurora purist, and the one glaring weakness of any Aurora/Aurora-like release has been the drapery. The greater the volume of fabric, the greater the eyesore.
I was prepared to rework the drapery to some degree or another. In fact, a not-insignificant amount of time and effort was spent reinforcing those areas where a 'breakthrough' would be most likely to occur. However, after spending some 3 hours attempting to situate the mantle, it became clear to me that there was no way that the mantle as designed and cast could be successfully integrated with the kit. A good deal of the problem lies with the sculptor's apparent lack of familiarity with the period opera cloak/mantle--though I will hasten to concede that the limitations of the casting process most likely played a significant role in the more glaring shortcomings.
Is this my final word? No. . . not quite. I will have to spend some time watching the original and closely examining the stills at my disposal before I make my final decision. In the meantime, I will continue working on the head, shirt and cravat. . . and begin considering sculpting a dressing gown on our tormented "ghost".
While the project on the whole is unfolding splendidly, I have just about resigned myself to doing away with the mantle. As I've oft mentioned in previous postings, I am by no means an Aurora purist, and the one glaring weakness of any Aurora/Aurora-like release has been the drapery. The greater the volume of fabric, the greater the eyesore.
I was prepared to rework the drapery to some degree or another. In fact, a not-insignificant amount of time and effort was spent reinforcing those areas where a 'breakthrough' would be most likely to occur. However, after spending some 3 hours attempting to situate the mantle, it became clear to me that there was no way that the mantle as designed and cast could be successfully integrated with the kit. A good deal of the problem lies with the sculptor's apparent lack of familiarity with the period opera cloak/mantle--though I will hasten to concede that the limitations of the casting process most likely played a significant role in the more glaring shortcomings.
Is this my final word? No. . . not quite. I will have to spend some time watching the original and closely examining the stills at my disposal before I make my final decision. In the meantime, I will continue working on the head, shirt and cravat. . . and begin considering sculpting a dressing gown on our tormented "ghost".
24 May 2009
Erik, the Opera Ghost--Act I
Still not feeling quite at 100%, but well enough to venture a bit farther afield than I did yesterday. . .
All subassemblies--head, torso, legs, shoes and cloak/mantle--were assembled, and filled with PUR where applicable.
In the first image, you can see what I've done with the head and torso to date. The torso is about 80% blank. As the mantle does not fit anywhere near as snugly as it should, the torso will have to be built-out: lapels, etc. I have already begun to build out the shirt: this was largely driven by the fact that the cravat was some 4 scale inches below the neckline with no visible means of attachment. Also the shirt was collarless! You can see the roughed-in-standing collar in the image above; as well as the beginning of the right lapel. Finally, I hollowed out a neck opening which will receive the head.
I wish I had taken a photograph of the stock head. For those who would like to get a general idea of what the stock head looked like, you can go to this site. In any case, the only changes I have made to date are: ground-out the eyes and mouth; added 2-3 mm (MS) to the top of the head (if you look closely at the surviving stills, it can be clearly seen that Chaney applied a wig/skullcap that effectively extended the length of his forehead), and ground-off the hair to reshape the calvarium; and added a neck stump (MS). I have begun to tentatively reshape the head and some of the features (e.g., nose), but this is very much in the preliminary stages.
Ironically, for all the head's shortcomings, once a little bit of work is done on it, it begins to take on a startling likeness to Chaney sans makeup! This is rather exciting as now the modeller gets to play Chaney, if only for a little while. . .
And now for the infamous mantle. . . As you can see on the left half of the image, the front right panel is engineered in two pieces. All of the horror stories re: this kit revolve around benighted engineering-- and I would agree 100%. Most if not all of the build-ups I have read about have the modeller assemble the mantle in situ: my hat is off to these gentlemen as that would be a deal-breaker for me if there weren't an alternative.
The mantle can obviously be assembled as a stand alone unit. I assembled mine with liquid cement, and then reinforced all seams with superglue; allowing the entire assembly to set and cure overnight.
The trick now is how to locate the torso inside the mantle. First, one must remove the locating pegs molded on the back half of the cloak that attach this piece to the back half of the torso. Next, one must remove all the extraneous lugs, numbering "plates", etc. that populate the inner surfaces of the pieces comprising the mantle. Once that is done, one can cajole the torso past the waist of the mantle until it pops into the chest area. This is not as difficult as it sounds. Kudos to PL for providing us with a one-piece back half: the entire mantle can be gently pried apart until the torso pops into place.
I will have several options by which to secure the mantle to the torso: at this point I am still undecided as to which will work the best for me.
More to follow. . .
All subassemblies--head, torso, legs, shoes and cloak/mantle--were assembled, and filled with PUR where applicable.
In the first image, you can see what I've done with the head and torso to date. The torso is about 80% blank. As the mantle does not fit anywhere near as snugly as it should, the torso will have to be built-out: lapels, etc. I have already begun to build out the shirt: this was largely driven by the fact that the cravat was some 4 scale inches below the neckline with no visible means of attachment. Also the shirt was collarless! You can see the roughed-in-standing collar in the image above; as well as the beginning of the right lapel. Finally, I hollowed out a neck opening which will receive the head.
I wish I had taken a photograph of the stock head. For those who would like to get a general idea of what the stock head looked like, you can go to this site. In any case, the only changes I have made to date are: ground-out the eyes and mouth; added 2-3 mm (MS) to the top of the head (if you look closely at the surviving stills, it can be clearly seen that Chaney applied a wig/skullcap that effectively extended the length of his forehead), and ground-off the hair to reshape the calvarium; and added a neck stump (MS). I have begun to tentatively reshape the head and some of the features (e.g., nose), but this is very much in the preliminary stages.
Ironically, for all the head's shortcomings, once a little bit of work is done on it, it begins to take on a startling likeness to Chaney sans makeup! This is rather exciting as now the modeller gets to play Chaney, if only for a little while. . .
And now for the infamous mantle. . . As you can see on the left half of the image, the front right panel is engineered in two pieces. All of the horror stories re: this kit revolve around benighted engineering-- and I would agree 100%. Most if not all of the build-ups I have read about have the modeller assemble the mantle in situ: my hat is off to these gentlemen as that would be a deal-breaker for me if there weren't an alternative.
The mantle can obviously be assembled as a stand alone unit. I assembled mine with liquid cement, and then reinforced all seams with superglue; allowing the entire assembly to set and cure overnight.
The trick now is how to locate the torso inside the mantle. First, one must remove the locating pegs molded on the back half of the cloak that attach this piece to the back half of the torso. Next, one must remove all the extraneous lugs, numbering "plates", etc. that populate the inner surfaces of the pieces comprising the mantle. Once that is done, one can cajole the torso past the waist of the mantle until it pops into the chest area. This is not as difficult as it sounds. Kudos to PL for providing us with a one-piece back half: the entire mantle can be gently pried apart until the torso pops into place.
I will have several options by which to secure the mantle to the torso: at this point I am still undecided as to which will work the best for me.
More to follow. . .
A Star for Jack Pierce on the Walk of Fame
I'm usually not one for this type of thing, but I believe an exception can--and should!--be made in this case.
I would direct your attention to the following thread in the UMA forum:
http://www.universalmonsterarmy.com/forum/index.php?topic=1319.0
If you would like to cut straight to the chase, the on-line petition can be found here:
http://www.petitiononline.com/jppierce/petition.html
23 signatures in three days. . . LET'S MAKE THIS HAPPEN!
Heartfelt thanks in advance,
Augie
24.05.2009, 1552
2990. . . 10 to go!
24.05.2009, 1905
4 to go!
24.05.2009, 2120
3000!!! Thanks to all who voted. And if you haven't, please do! The more votes, the better the chances that this will become a fait acommpli!
I would direct your attention to the following thread in the UMA forum:
http://www.universalmonsterarmy.com/forum/index.php?topic=1319.0
If you would like to cut straight to the chase, the on-line petition can be found here:
http://www.petitiononline.com/jppierce/petition.html
23 signatures in three days. . . LET'S MAKE THIS HAPPEN!
Heartfelt thanks in advance,
Augie
24.05.2009, 1552
2990. . . 10 to go!
24.05.2009, 1905
4 to go!
24.05.2009, 2120
3000!!! Thanks to all who voted. And if you haven't, please do! The more votes, the better the chances that this will become a fait acommpli!
23 May 2009
Erik, the Opera Ghost--Ouverture
I underwent a root canal on Thursday, and while the procedure was remarkably pain-free, the aftermath has been somewhat uncomfortable and draining; in other words, I was in no condition to engage in precision, delicate work. But as I am not one to squander an otherwise perfectly good opportunity to get some work done by laying about trying to guess when the next wave of pain would hit, I decided to break into a kit that I've had for nearly a decade.
Back in the day, Polar Lights released some remarkable kits. First and foremost, in this modeller's opinion, was their Phantom of the Opera. This wasn't a re-pop of the venerable Aurora release, but an entirely new tooling (#5027) that included the organ! This kit was a self-contained diorama the likes of which had never been seen in the styrene world!! (Perhaps a bit of an overstatement, but not by much. . . )
PLUSES:
1) Excellent styrene! Immediately responsive to liquid cement, albeit somewhat softer than I'd like. [NOTE: Care should be taken when using "hotter" putties/fillers (incl. RGP): apply and build-up using thin layers; DO NOT use liquid cement as a thinner; and let dry at least 24 hrs. before working the surface!]
2) Positive lock fit. This is as close to a snap-together kit as I have ever seen! By way of illustration, the organ has been assembled without a single drop of cement and without benefit of blue-tack.
MINUSES:
1) Engineering of the subject figure leaves much to be desired. The bane of this figure is the two-part right front panel of the "cloak".
2) Sculpting shortcuts and simply poor sculpture and design abound (e.g., the cravat, the head (horrible likeness! And not in a "good" sense!!), the shoes, the jacket, etc.).
To summarize, this figure is a modeller's figure--an advanced modeller's figure. This is not a weekend project if you want to realize all this figure has to offer. Fortunately, I'm in no hurry. . .
Back in the day, Polar Lights released some remarkable kits. First and foremost, in this modeller's opinion, was their Phantom of the Opera. This wasn't a re-pop of the venerable Aurora release, but an entirely new tooling (#5027) that included the organ! This kit was a self-contained diorama the likes of which had never been seen in the styrene world!! (Perhaps a bit of an overstatement, but not by much. . . )
PLUSES:
1) Excellent styrene! Immediately responsive to liquid cement, albeit somewhat softer than I'd like. [NOTE: Care should be taken when using "hotter" putties/fillers (incl. RGP): apply and build-up using thin layers; DO NOT use liquid cement as a thinner; and let dry at least 24 hrs. before working the surface!]
2) Positive lock fit. This is as close to a snap-together kit as I have ever seen! By way of illustration, the organ has been assembled without a single drop of cement and without benefit of blue-tack.
MINUSES:
1) Engineering of the subject figure leaves much to be desired. The bane of this figure is the two-part right front panel of the "cloak".
2) Sculpting shortcuts and simply poor sculpture and design abound (e.g., the cravat, the head (horrible likeness! And not in a "good" sense!!), the shoes, the jacket, etc.).
To summarize, this figure is a modeller's figure--an advanced modeller's figure. This is not a weekend project if you want to realize all this figure has to offer. Fortunately, I'm in no hurry. . .
21 May 2009
16 May 2009
"The Creature from the Black Lagoon"
Recently received Monogram's [ex-Aurora] "Creature from the Black Lagoon", thus completing my "to-get" list of Monster 'oldies but goodies'.
While this is one of the best-fitting of the Aurora monsters, it is also one of the toughest to finish due to the fading detail at the seam edges of the scales, and the attendant restoration work it demands (the relatively soft--or brittle (Aurora)--plastic doesn't help). There is also the question of the veracity of the likeness: I plan to rework the head; but to what extent is unclear as of this writing (NOTE: I have already removed the teeth and started reworking the lips).
The kit itself is well-done, but rather uninspiring: basically, it is the Aurora Wolf Man with gills and scales. Some six or seven years ago, Jimmy Flintstone in his Dr. Flintbone line released the "Creature Conversion Kit", and this is just the aftermarket kit to breathe some much needed life into this venerable classic.
The conversion kit is comprised of seven pieces: a replacement base; (2) replacement arms for the Gillman; and a 4-pcs kit of an unconscious bathing beauty representing Julia Adams in the role of Kay Lawrence (NOTE: This vignette was based on Universal publicity stills: the Gillman never held Kay in her bathing suit. I intend to rework Ms. Adams' costume to not only represent the scene in the movie, but introduce a greater variety of colour.).
I first experienced JF's products well over a decade ago, and while scoring high for creativity and selection, their production quality left MUCH to be desired. That was then. I will admit to a fair degree of trepidation when I ordered this kit, soon to be replaced by great trepidation as I opened the sturdy self-folding box. . . All for naught! JF's casting quality has improved dramatically! He is now using a superior grade of resin, and that has minimized many of the typical problems we used to expect from him. The only flaws are a significant mold shift on the left side of the face that exacerbates the lateral compression of the mold (since I intend to personalize the face to a hopefully better likeness of Julia Adams, this matters little); two small (emphasis on small) areas of trapped air bubbles and a somewhat unfinished surface quality. All in all, this is a solid B+ effort, and I wouldn't hesitate to recommend this kit with the attendant caveats.
That's about it for now. This will be one of two Creature projects on the "to-do" list for 2010 and beyond. And they might be joined by a third: there is a[n unsubstantiated] buzz that Moebius might be releasing an all new Gillman kit down the line. . .
17.05.2009
The facial reconstruction of Ms. Adams has begun! The face and the attendant features have been widened, the ears relocated, and the hair- and jawline redefined. Not quite there yet, but off to a good start. . .
PS--The right side of the face is now essentially done, with but the fine finishing remaining. The left side of the face is ~65% done. VERY pleased. . .
19.05.2009
The face is now all but done. I have begun working on the ears and tentatively reducing and redoing the hair. I'm just about at the point where I can deem this phase of the project completed, and I can put her away until I am ready to tackle the vignette in earnest. I'll try to post some images over the Holiday weekend. . .
While this is one of the best-fitting of the Aurora monsters, it is also one of the toughest to finish due to the fading detail at the seam edges of the scales, and the attendant restoration work it demands (the relatively soft--or brittle (Aurora)--plastic doesn't help). There is also the question of the veracity of the likeness: I plan to rework the head; but to what extent is unclear as of this writing (NOTE: I have already removed the teeth and started reworking the lips).
The kit itself is well-done, but rather uninspiring: basically, it is the Aurora Wolf Man with gills and scales. Some six or seven years ago, Jimmy Flintstone in his Dr. Flintbone line released the "Creature Conversion Kit", and this is just the aftermarket kit to breathe some much needed life into this venerable classic.
The conversion kit is comprised of seven pieces: a replacement base; (2) replacement arms for the Gillman; and a 4-pcs kit of an unconscious bathing beauty representing Julia Adams in the role of Kay Lawrence (NOTE: This vignette was based on Universal publicity stills: the Gillman never held Kay in her bathing suit. I intend to rework Ms. Adams' costume to not only represent the scene in the movie, but introduce a greater variety of colour.).
I first experienced JF's products well over a decade ago, and while scoring high for creativity and selection, their production quality left MUCH to be desired. That was then. I will admit to a fair degree of trepidation when I ordered this kit, soon to be replaced by great trepidation as I opened the sturdy self-folding box. . . All for naught! JF's casting quality has improved dramatically! He is now using a superior grade of resin, and that has minimized many of the typical problems we used to expect from him. The only flaws are a significant mold shift on the left side of the face that exacerbates the lateral compression of the mold (since I intend to personalize the face to a hopefully better likeness of Julia Adams, this matters little); two small (emphasis on small) areas of trapped air bubbles and a somewhat unfinished surface quality. All in all, this is a solid B+ effort, and I wouldn't hesitate to recommend this kit with the attendant caveats.
That's about it for now. This will be one of two Creature projects on the "to-do" list for 2010 and beyond. And they might be joined by a third: there is a[n unsubstantiated] buzz that Moebius might be releasing an all new Gillman kit down the line. . .
17.05.2009
The facial reconstruction of Ms. Adams has begun! The face and the attendant features have been widened, the ears relocated, and the hair- and jawline redefined. Not quite there yet, but off to a good start. . .
PS--The right side of the face is now essentially done, with but the fine finishing remaining. The left side of the face is ~65% done. VERY pleased. . .
19.05.2009
The face is now all but done. I have begun working on the ears and tentatively reducing and redoing the hair. I'm just about at the point where I can deem this phase of the project completed, and I can put her away until I am ready to tackle the vignette in earnest. I'll try to post some images over the Holiday weekend. . .
10 May 2009
Site Navigation (2)
If you are a regular you will have noticed that I have taken to expanding a given posting using "diary entries" rather than creating a new posting. I believe this will not only enhance the continuity of the thread content, but it will avoid having to worm our way through countless "sound bites" that in and of themselves provide little.
The only downside is that the reader may not realize that postings are being updated and revised in such a manner--hence this posting. If you are following a particular thread and/or project, please check the titular posting often until the next posting in the thread appears. Or you can click on the subject heading in the site index, and review the contents at your leisure.
In any case, just because there are no "new" postings doesn't mean that there hasn't been any activity. And make sure to check the comments: while there are now 25 postings, there are 33 comments!
ENJOY!
Augie
The only downside is that the reader may not realize that postings are being updated and revised in such a manner--hence this posting. If you are following a particular thread and/or project, please check the titular posting often until the next posting in the thread appears. Or you can click on the subject heading in the site index, and review the contents at your leisure.
In any case, just because there are no "new" postings doesn't mean that there hasn't been any activity. And make sure to check the comments: while there are now 25 postings, there are 33 comments!
ENJOY!
Augie
"The Wolf Man"--Wrap-Up (2)
The project to date. . .
Between work and. . . well, work, I've put Wolfie on "simmer" as there has been not enough time or energy for what lies ahead. Not that the time has been wasted, as great progress has been made on Ms. Wray; but I am looking forward to wrapping up the scion of the House of Talbot and moving him to the painting bench.
Until the next installment. . .
A~
Between work and. . . well, work, I've put Wolfie on "simmer" as there has been not enough time or energy for what lies ahead. Not that the time has been wasted, as great progress has been made on Ms. Wray; but I am looking forward to wrapping up the scion of the House of Talbot and moving him to the painting bench.
Until the next installment. . .
A~
09 May 2009
Solomon Kane
My favourite Robert E. Howard character, Solomon Kane, appears to be destined for the silver screen later this year.
Based on what I have seen, the question that first comes to mind is how long before we are swamped with figures based on the titular character? (Take a look at the movie poster and tell me with a straight face that this will NOT be a commercial bust before year's end!).
The second question is how many of the figure-mongers will have taken the time to read the classics in S&S pulp fiction that breathed life into the sombre Puritan?
The third? Will they even care from whence he came?
Based on what I have seen, the question that first comes to mind is how long before we are swamped with figures based on the titular character? (Take a look at the movie poster and tell me with a straight face that this will NOT be a commercial bust before year's end!).
The second question is how many of the figure-mongers will have taken the time to read the classics in S&S pulp fiction that breathed life into the sombre Puritan?
The third? Will they even care from whence he came?
03 May 2009
"Bride of Kong" (1)
I decided to take a day-off from Wolfie, and simply "play around". I worked a little on the MitBH and the BoF before directing my attention to Ann. Firstly let me just say that I have had this kit for nearly 2 weeks, and in that time have assembled (minus the arms), filled (minimal), and "cleaned" it: very straightforward with nary a fuss, no more than 2 hrs. all told.
What I did today was start prepping "the canvas" for the putty work to follow. My first goal is to enhance the likeness: the face is extremely caricaturish, largely due to the "Little Annie Fanny" eyes and epically-proportioned 'do. In fact, it would be easier to make the face into LAF than Ann Darrow! So I started off by grinding out the eyes, and tentatively reducing the hair and face. Again, these are just "broad", sketchy strokes.
I spent a bit more time on the body. I intend to depict Ann after Kong has made shambles of her dress. To this end, I began resculpting the left side of her bodice into her camisole/teddy. I also roughed-in some of the rent fabric on what remained of the bodice, and some volumetric drapery on the skirt.
All in all, an enjoyable and productive few hours at the bench. . .
04.05.2009
I spent an enjoyable few hours tonight refining the "sketch". The face, though still very much a fluid work in-progress, is now past the 50% percentile mark. The putty-work on the dress is all-but-done--though the right side will be put "on hold" until the arm is permanently attached. I figure that by this time next week, I'll be ready to put her away and resume the finishing on Wolfie. . .
05.05.2009
PHASE I of the face is now done!!!! I'll post images before putting her away to resume work on Wolfie; but in the meantime. . . BACK TO THE BENCH!
09.05.2009
PHASE II of the face is just about done! All that is really left to do is model the eyeballs. Once those are in, I have to spend a little more time on the nose, and then it will be all about the hair. So far. . . I'm delighted!
What I did today was start prepping "the canvas" for the putty work to follow. My first goal is to enhance the likeness: the face is extremely caricaturish, largely due to the "Little Annie Fanny" eyes and epically-proportioned 'do. In fact, it would be easier to make the face into LAF than Ann Darrow! So I started off by grinding out the eyes, and tentatively reducing the hair and face. Again, these are just "broad", sketchy strokes.
I spent a bit more time on the body. I intend to depict Ann after Kong has made shambles of her dress. To this end, I began resculpting the left side of her bodice into her camisole/teddy. I also roughed-in some of the rent fabric on what remained of the bodice, and some volumetric drapery on the skirt.
All in all, an enjoyable and productive few hours at the bench. . .
04.05.2009
I spent an enjoyable few hours tonight refining the "sketch". The face, though still very much a fluid work in-progress, is now past the 50% percentile mark. The putty-work on the dress is all-but-done--though the right side will be put "on hold" until the arm is permanently attached. I figure that by this time next week, I'll be ready to put her away and resume the finishing on Wolfie. . .
05.05.2009
PHASE I of the face is now done!!!! I'll post images before putting her away to resume work on Wolfie; but in the meantime. . . BACK TO THE BENCH!
09.05.2009
PHASE II of the face is just about done! All that is really left to do is model the eyeballs. Once those are in, I have to spend a little more time on the nose, and then it will be all about the hair. So far. . . I'm delighted!
01 May 2009
"Whatever happened to Fay Wray ?. . . "
Why. . . she's right here!
This is a limited-edition (50 issues--now closed), resin casting of a resurrected Aurora prototype in their 1/12th scale "Monsters of the Movies" series. It's hard to believe that one could actually buy a NEW Aurora "monster" nearly 40 years later, but thanks to the efforts of Peter Parlagreco (who owns the prototype), we get to relive a snapshot of our childhood.
Cast in a superb ivory white resin, as you can see the kit is comprised of 8 pieces: 6 + 2 (base). My particular sample was beginning to show signs of mold degradation, but, despite this, the fit and overall finish was excellent!
I am not an Aurora purist OR a collector, so I did not acquire this kit driven by any sense of nostalgia; or with any pre-conceived limits as to what would--or would not--be done with it. Rather, it was purchased to take full advantage of what it provides to develop a unique depiction of the "fairest of the fair"--although Ms. Wray's trademark blonde hair in the movie was not her own! While its Aurora heritage will probably remain apparent once I am done, I intend it to be immediately recognizable as the "Beauty", Ann Darrow.
This is a limited-edition (50 issues--now closed), resin casting of a resurrected Aurora prototype in their 1/12th scale "Monsters of the Movies" series. It's hard to believe that one could actually buy a NEW Aurora "monster" nearly 40 years later, but thanks to the efforts of Peter Parlagreco (who owns the prototype), we get to relive a snapshot of our childhood.
Cast in a superb ivory white resin, as you can see the kit is comprised of 8 pieces: 6 + 2 (base). My particular sample was beginning to show signs of mold degradation, but, despite this, the fit and overall finish was excellent!
I am not an Aurora purist OR a collector, so I did not acquire this kit driven by any sense of nostalgia; or with any pre-conceived limits as to what would--or would not--be done with it. Rather, it was purchased to take full advantage of what it provides to develop a unique depiction of the "fairest of the fair"--although Ms. Wray's trademark blonde hair in the movie was not her own! While its Aurora heritage will probably remain apparent once I am done, I intend it to be immediately recognizable as the "Beauty", Ann Darrow.
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