"Der Vampyrjäger"-PAINTING: To date. . .

As I will not be able to set-up my photography niche until later this week, I thought I would provide an introductory summary of what has been done (or nearly so) to date.

Prior to resumption of project:

• Boots
  
• Face
• Buffcoat
• All armour "undercoated" in G-S Mr. Metal lacquers

Since the resumption of project:

• Cuirass (blackened)
  
• Bridle Gauntlet (russetted)
• Breeches
• UPDATE 05.02.10--Groundwork u/c'ed
  
• UPDATE 07.02.10--Right forearm: all but the mail; Sword grip
  
• UPDATE 07.02.10--Boot hose
• UPDATE 07.02.10--Cuirass belt
• UPDATE 12.02.10--Groundwork completed
  
• UPDATE 12.02.10--Bridle Gauntlet sub-assembly completed
• UPDATE 14.02.10--Lower half of body completed save for a few details and final finishing; permanently mounted on display base
• UPDATE 15.02.10-0100--Sword completed
• UPDATE 15.02.10-1745--Save for attaching the sword and finishing detailing. . . DONE!
  

I could not be happier with the way things are coming together! This is arguably my best rendition of "rust-proofed" armour to date, and I have definitely stumbled upon a new technique for russetted armour.

The balance of the gross figure should go quickly; but the devils are in the details, and there are many of these to exorcise in the days ahead. . .

Back to the bench!

UPDATE
The resin groundwork has been permanently attached to the display base, and expanded as needed. There are probably 1 or 2 more bench sessions ahead of me to integrate everything and then the painting can begin!

05.02.10--UPDATE
The groundwork has been completed and primed. It is now sitting under the lamps to fast-dry the mist coat of primer: I should be able to have it undercoated before calling it a night. BTW, for those who are wondering, I am at least a week away from being able to set-up my photography niche. . .

12.02.10--UPDATE
The final countdown has begun: by this time next week, the piece should be on the display table at the Show. While I am still worming my way through the studio (read: temporary store room while the work on the foundation is completed), please check the updates to the original posting for progress on the piece.

"Der Vampyrjäger"-PAINTING: Resumption

I would refer those of you unfamiliar with this work to:

http://forums.delphiforums.com/eph2/messages/?msg=508.1

For now, happy reading. The ip work has been moved to the painting table, and I will hopefully be able to get some--albeit limited--quality time in over the weekend. As I mentioned in my last posting, I am unable to engage in any photography at the moment, but hopefully this will change within a week or so.

Until then. . .

FOLLOW-UP
When I received my sample of the kit, it was essentially "OEM"; thus, the "spiky" elements (2 spurs and the terminal spike of the aspergillum) were not included. I have just concluded making these missing elements: the spurs from resin rod, and the terminal spike from bamboo. Though the original mythology called for a solid silver aspergillum, I felt that a wooden spike would not only add chromatic interest, but be truer to the title of the work. Keep in mind that whether silver, wood--or iron, the spike was interchangeable in keeping with the nature of the quarry.

The kit is now complete. . .

Nosferatu 2: GEOmetric Design's Micro-Mania

With but one or two bench-sessions away from wrapping-up my first "monster model" in over 40 years, I must admit that the subject of Nosferatu is highly contagious, a vector for seemingly endless affinity. Though the Monarch kit is my first full figure of Nosferatu, it is my third venture with the subject.

Murnau's classic film provides near-limitless inspiration for potential vignettes and dioramas, and indeed a number of these have made it to commercial, albeit relatively limited, release. But while suffering under this "contagion", I wanted to explore something "new" and "unique"--and in a smaller scale.

Smaller scale? Well, this narrows the casting, no pun intended, dramatically. Sadly, there really are no good candidates out there, but one is significantly better than the other, if only in unfulfilled--and accessible--potential.

I am of course referring to GEOmetric Design's Nosferatu, the Vampyre (RMM03) in their Micro Mania line, sculpted by T[im]. Holter Bruckner, and released in 1998. Bruckner sculpted the first six releases in the Micro Mania series, of which this was the third.

Before continuing, I should point out that while the Micro-Mania offerings are advertised as 1/25th scale (~75mm), this piece is anything but. Nosferatu measures 93mm from soles of feet to top of head, 88mm to the eyes. While certainly not a typically robust 90, this is more of a "75 on steroids with a splash of growth hormone". This is not the only inconsistency to be found in this offering. . .

The kit is comprised of 3 pieces, plus a sizable "circular" plinth that is all-but-useless--to be kind. The figure itself is essentially cast in one-piece in a softish white resin, with two white-metal hands provided separately. While the latter are very nicely cast, they do not convey the gnarled ancient menace of the subject.

The casting is average: the upper half of the body is VG+; the lower half, fair at best. There was significant mold shift along the legs, which would be disconcerting if I had not already decided to rework the legs--why are Orlok's legs so difficult to render convincingly?

Which brings me to the sculpture itself. Tim Bruckner's portfolio without a doubt evinces mastery of his art and craft. Having said that, his rendition of Nosferatu leaves much to be desired. It is stiffly and two-dimensionally posed; and with regard to the likeness, I have to posit that Mr. Bruckner abandoned all referencing of the film very early on in the sculpting process. The frock is nothing like it was in the movie (too long; too fitted; too many braids); and spatial relationships are completely off the mark. The face can best be described as a "generic" Nosferatu, but it bears little, if any, resemblance to Schreck. While we have all experienced the "downgrading" of a master sculpt by the licensor for inexplicable reasons, AFAIK, Nosferatu and the character of Graf Orlok were then, if not currently(?), in the public domain.

I will add to this review as needed, but it will hopefully establish the baseline from which I will launch this project. Photos will eventually illustrate much of the above, but I am currently incapable of taking any photographs.

To be continued. . .

Nosferatu redux: the provenance

As we draw nigh to the completion of this project, I wish to share with you the provenance and inspiration for this "rework":


Yes, yes. . . I know: wouldn't it be great if there were a figure of Hutter. . . ? ;-)

I would like to take this opportunity to thank the readership for their attentive viewing, and especially those who have been so generous with their comments. Any attempt at an sbs in a blog format is trying at best for all concerned, and your perseverance and patience is very much appreciated.

Back to the bench!

Augie

Monarch Nosferatu--PAINTING--Workbench Interlude (II bis)

The baker's dozen was reduced to an even 12--one of the keys did not fit on the chain. . . and it's just as well as it is rather crowded, as intended--AND THE KEYS ARE DONE!!!

Made, painted, and mounted!!! Five were scratchbuilt from steel rod and copper tubing; 4 (originally 5) were modified from a set of Barbie keys (don't laugh--they worked splendidly!); and three were taken from the Nosferatu kit, though these were suitably modified.

They were all finished in Gunze-Sangyo Dark Iron, applied as an initial base coat, if you will, that was then stippled with thickened lacquer. Once dry (~24 hrs. under a lamp), each key was carefully buffed before mounting on the chain. My initial intent was to apply some measured "old" rust to the keys, but I've decided to wait until the hand is permanently attached and finished to see if what I have in mind "works".

Sometime in the next 48-72 hrs. I will permanently attach the hand, and begin tying-off any remaining loose ends.

Getting closer. . .

FOLLOW-UP
I now have before me the quasi-finished piece. I have just completed attaching the right hand with its "garland" of keys, and I am delighted! Once I am satisfied the glue has cured (24-48 hrs.), I will begin the final finishing and weathering. . .

Monarch Nosferatu--PAINTING--GRAPHIC UPDATE

Here are some "teasers" of the work to-date. There is still much to be done in terms of finishing, etc. (e.g., I haven't even glazed the eyes yet), but hopefully it will serve as an appetizer for what is to follow shortly.

UPDATE
Since the above was posted, I have glazed the eyes, re-glazed the flesh-tones, completed the buttons and lacing, and airbrushed the groundwork. . .

Definitely on the home stretch. . .

FOLLOW-UP
The figure has now been permanently transferred to its display base. Tomorrow, the keys. . .

UPDATE (2)
The left hand is now painted, which, save for the keys and the nightcap, just about concludes the brush work on this piece. The keys are next (yes, I've been putting it off). . .

Looking ahead in 2010. . .

As I've mentioned elsewhere, this type of posting has all the earmarks of a New Year's Resolution. Hardly. At best, it is an inkling of a plan, and that is the first step in any endeavor. . .

My typical modelling year can be divided into two parts: an all-too-short prologue culminating with the annual Atlanta Show in February; and the rest.

PART 1
1) Nosferatu
2) "Der Vampyrjäger"
Both of these are in-progress paints.

PART 2
3) The "Classic" Wolf Man (i.e., 1941) (Polar Lights Bowen 1/8)
4) Karl Allmenröder (SK Miniatures 120mm)
5) Halbarad Dúnadan, Ranger of the North (Pegaso 90mm)
6) Nosferatu (2) (Geometric "Micro" 75mm)

As always, subject to change. The only definite's at this point are the Wolf Man and Allmenröder.

Hopefully, you will find something of interest in the above. I look forward to your comments and observations.

Here's to a productive year!

A~

Monarch Nosferatu--PAINTING (IV): Groundwork

My attention will now shift to the groundwork and the base. This is going to be a tricky one, but hopefully not too. I've so far roughed-in the groundwork that supports the figure. Once that is cured--and fit of figure-to-groundwork/base checked, I will proceed with the peripheral, "outer-ring" groundwork.

Almost there!

FOLLOW-UP
The basic groundwork is now done and curing. All that is left to do is sparingly add groundcover and some greenery, and it will be ready for the airbrush.

Moving right along. . .

Monarch Nosferatu--PAINTING (III): Oils 4--Wrap-up (I)

As of this posting, this piece can be considered all-but-done. Still loads to do, but save for the hat (after mounting), the right hand and keys (detto), and the buttons and lacing/braiding, all the components of this piece can now be deemed completed. And yes, the head has been permanently attached!

Now for the fun part: tying it all in!

Monarch Nosferatu--PAINTING--Workbench Interlude (II)

The vexatious keys--all thirteen of them!--are well on their way to completion. I have six done and three awaiting final clean-up, leaving four to be agonized over. Depending on tomorrow's schedule, I might forgo painting and push-on through with the remaining keys.

Monarch Nosferatu--PAINTING (III): Oils 3--The Face (II)

The face is now done!

This has been one of the most enjoyable and challenging undertakings in quite a while, if only because of the radical departure from my usual [human] fleshtones palette. Also, I used mostly transparent colours to allow the undercoat to "bias" the base colour, something that I will have to keep in mind when I return to the "mortal" world. There remains quite a bit of "tweaking" to be done, but this will have to wait until the oils have dried and the head is permanently attached.

I also went ahead and painted the left hand. Considerably more "tweaking" will need to be done to this extremity, but the bulk of the work is done.

FOLLOW-UP
The left hand is all-but-done, and the cravat is now painted. Once the latter is "dry", I will permanently attach the head.

Images to follow over the weekend. . .

Halbarad Dúnadan, Ranger of the North

Hardy's gracious and generous interest in my first venture into Prof. Tolkien's breathtaking "Secondary World" has prompted me to dust-off some notes and re-assess some projects. I'm not ready to relocate Dáin Ironfoot to the "stovetop", but I think I will resume the research and design work on Halbarad, Ranger of the North, Captain of the Grey Company, and Aragorn's Standard-Bearer.

Stay tuned!

“DERNHELM UNMASKED” -or- How Éowyn came to be known as “The Lady of the Shield-arm”, 15 march T.A. 3019

I will preface what is to come with the obligatory disclaimer I displayed alongside this piece in 2004. . .

This original, 135mm sculpture is based on my interpretation of the writings of the late J.R.R. Tolkien. It is not--nor was it ever intended to be--a sculptural “still” from Peter Jackson’s cinematic masterpiece, nor a 3-dimensional rendition of any pre-existing graphic work.

Mr. Jackson has done what had long been considered undoable. But in so doing, he has taken considerable artistic license in his depictions of many of the denizens of Middle-earth and/or the events that shaped their lives. While this is not a purist’s indictment, especially as his interpretations have in no way detracted from the spirit or substance of the provenance, it needs to be recognized that he has forever impressed his “vision” of Middle-earth upon countless devotees, new and old.

Thus, if the sculpture before you doesn’t gibe with perhaps recently-acquired impressions of the scene it purports to depict, then the artist has succeeded. It is my hope, however, that it captures at least some of the imagery that inspired the prose upon which it is based*.

*LEGAL NOTICE: This sculpture has been created as a reconstruction of a historical event in J.R.R. Tolkien’s “Secondary World” as chronicled in The Lord of the Rings, part III: The Return of the King (pp. 140-143; NY: Ballantine Books, 1973), with additional material gleaned from passages in the above-cited volume, as well as The Lord of the Rings, part II: The Two Towers (NY: Ballantine Books, 1973). In so doing, the artist feels he has kept with the late Prof. Tolkien’s underlying philosophy of what constitutes the ‘alternate reality’ we have come to cherish so dearly; as well as having met the criteria of “fair use” per 17 USC 107.

Otherwise, it is acknowledged that The Hobbit, The Lord of The Rings, and the characters and places therein, etc. are trademarks of The Saul Zaentz Company dba Tolkien Enterprises, all rights reserved.

[You may click on each thumbnail individually]

Monarch Nosferatu--PAINTING (III): Oils 2--Pants & Boots

Just finished the first round with the pants and boots.

These were painted in black, of course, but using a different base mix, this one with a stronger and distinctly blue bias: to wit, a mix of Monestial Blue and Burnt Umber. Preliminary weathering has been incorporated in the wet application of the oils using Burnt Umber and Raw Umber Light. This will later be enhanced with pastels once the figure is mounted.

Feel free to ask any questions; as for me, the bench beckons!!! :-))))

Monarch Nosferatu--PAINTING (III): Oils 3--The Face (I)

Admittedly, I'm getting a bit ahead of myself; but in honouring the concept of the sbs, I am compelled to log the next step in today's extended painting session.

As I had my blacks out and ready to go, I figured I'd go ahead and block in the pupils. Those of you who have followed my sbs's in the past know that I usually do the irises first and then add the pupils. In this case, however, being that the scene occurs late at night, I wanted to depict dilated, "hunter's" pupils. Before I proceed with the rest of the face, I will carefully apply a bordure of icy blue: Max Schreck's eyes were apparently blue.

But first, the pants and the boots. . .

Monarch Nosferatu--PAINTING (III): Oils 1--The Frock

IT. . . HAS. . . BEGUN!!!!!!!!!!

I have just completed the basecoating and shadowing of the frock. It is coming out quite nicely and underscores my comment about the grigio-verde undercoat.

Base color was a 60-40 mix of Ivory Black and Raw Umber with a touch of Burnt Umber added. Shading was done with Mars Black and Weber's Permalba Black.

Now comes the highlighting. . .

FOLLOW-UP
Highlighting done! . . . Highlights are a mix of Liquitex Parchment and W&N Raw Umber Light, with smidges of Indian Red and Burnt Umber added in select spots.

One thing I would do different on a project of like scale is use brass tubing (instead of tin solder) for the foot pegs. That would relieve the considerable strain on the forearm from a top-heavy figure. . . On the other hand, I could just try to paint more often throughout the year rather than immerse myself in these once-a-year marathons. . . ;-)

More to follow!

Monarch Nosferatu--PAINTING (II): Undercoating--GRAPHIC UPDATE

Monarch Nosferatu--PAINTING (II): Undercoating 2

In anticipation of a busy weekend with the oils, I decided to go ahead and finish the undercoating of the sub-assemblies; i.e., the head and the hands. In other words, save for the night-cap, all visible flesh.

Rather than stick with my conventional formulae, I thought I'd have some fun and try out some new paints. My basic undead flesh was u/c'ed with Badger Freak-Flex's Nosferatu Flesh (#13-156) and Vallejo's Game Color Elf Flesh (#4). Some of you might recall my review of the Game Color series on EPH, where I lamented the thinness of the paint: next to Badger's Freak Flex, Game Color is as opaque as it comes! Keep in mind that BFF is meant to be applied with an airbrush, and as an a/b paint it would excel straight OOB; but I was pleased to see that it could also be applied with a brush, as long as one is careful and is willing to apply 2-3 coats. And as a tonal glaze (chromatic grisaille), it is superb!

Hands and head are now curing in the oven. I will block-in the night cap (Vallejo Model Color Black [#950]) tomorrow, as well as apply a tonal wash over the cravat and the cuffs.

I will try to post images in the next few days, or at the latest on Saturday before breaking out the oils. . .

07.01.10--FOLLOW-UP
The undercoating has been completed! Aside from continuing the tonal washes on the face using very dilute Vallejo MC Black (VERY interesting!), the only noteworthy twist was taking advantage of the plasticity of the acrylic to lightly texture the close-napped velvet cuffs.

Monarch Nosferatu--PAINTING--Workbench Interlude (I)

In an earlier posting, I made mention of rats:

Finally, all the rats have been assembled: the kit-provided rats remind me more of long-nosed muskrats than rats, so I replaced them all--and added some--from the Aurora Customizing Monster sets. I know this will deviate from the scene upon which I am basing the figure, but they are a must for any number of reasons.

So while the undercoated body and the primed hands are curing, I decided to start tackling the vermin.

I initially conceived of a "mini-plague" of rats, but have since decided that such an assembly would be ultimately counterproductive. So the number has been reduced to three: two fairly stock with very minor alterations, if any; and a radically reanimated third.

The latter was done by making three parallel cuts into the trunk of the body between the forelegs and hind legs, and carefully bending the body until the edges of the sections touched. This position was then tacked in place with superglue. Tomorrow, I will fill the gaps, etc. (using MS), and the third rat will join its companions for texturing and detailing.

UPDATE
The reanimated rat is now filled and curing under the lamps. . .

Monarch Nosferatu--PAINTING (II): Undercoating 1

As I said in the last posting. . . "Let the painting begin!"

Given the scale of the project, the fact that it is essentially achromatic, and in the interest of moving things along, I decided to apply the undercoating with the airbrush. Legs and shoes were u/c'ed in Floquil (lacquers) Dull Black; while the frock (save for the cuffs) was u/c'ed in a mix of Dull Black and Roof Brown: the latter yielded an interesting very dark, warm grigio-verde that allows for a number of possibilities when it comes time to apply the oils. . .

The head will be u/c'ed entirely in acrylics with a brush.

Monarch Nosferatu--FINE--Epilogue

When deeming the work on the figure completed, I forgot about--or chose to disregard--one remaining critical element: the hands.

Well, these are now about 80% done. There is a little more putty work to be done on the right hand; but most of the remaining work is clean-up and detailing. With any luck at all, these will be ready for spot-priming by the end of the weekend.

FOLLOW-UP
In anticipation of posting images of the completed hands, I thought I'd briefly list the changes made:

• Reanimated left hand.
• "Fleshed-out" and enhanced the topography of both surfaces of both hands.
• Detailed and undercut the nails/claws. Hollowed out the undersides of all exposed nails/claws.

The hands have been given a light coat of glazing putty, which is now curing under the lamps. They should be ready for priming tomorrow at the latest.

UPDATE
The hands are now primed and, as promised. . .