An update to the update. . .
The new head is coming along splendidly. . . Some additional scaling remains to be done, but definitely on track.
The main news is that I have attached the tails of the greatcoat to the torso, and fitted the former to the legs subassembly. This required that the locating pegs on each of the 4 component pieces be ground off, and the corresponding slits on the legs filled. It also required that the tails be reshaped somewhat to allow them to fit over--as opposed to around--the legs. There is considerable surface finishing to be done, but nothing unexpected or out of the ordinary considering the number of pieces comprising the tails. It should be noted that any finishing will be tentative until I see a full-body still from the movie: all I have right now is the concept art, which--I am delighted AND relieved to say--has proven to be remarkably accurate to date.
More to follow. . .
30 April 2011
26 April 2011
Red Skull #2--Preliminaries (2)
This is more of an update than a "new" posting per se, with considerable time having been spent on the head. I somehow got ahead of myself and ended-up losing my way around the base head; so now we essentially go for an original sculpt. While I am inclined to believe this will yield a superior likeness, it might even prove to be easier in the long run. In the short run, however, I will be forced to resculpt the eyes.
I have removed the "electrodes", etc. from the sleeves of the great coat. The right and left arms were provisionally tacked in place (CA+), and sectioned and pegged (including the hand), respectively. This step was critical since the figure will be interacting with what is being held in the left hand.
All in all, save for the cranial detour, I am very pleased with the progress to date. Unless more stills get released soon, I will be forced to put the project aside until the release of the movie as I am fast approaching the point of no return. No biggie. . . more time to work on the bust!
I have removed the "electrodes", etc. from the sleeves of the great coat. The right and left arms were provisionally tacked in place (CA+), and sectioned and pegged (including the hand), respectively. This step was critical since the figure will be interacting with what is being held in the left hand.
All in all, save for the cranial detour, I am very pleased with the progress to date. Unless more stills get released soon, I will be forced to put the project aside until the release of the movie as I am fast approaching the point of no return. No biggie. . . more time to work on the bust!
21 April 2011
FZ's Dracula (Bust) by Mike Hill
As it turns out, I didn't have long to wait: the bust was awaiting my arrival from work this afternoon.
If the Monster was exquisite, Dracula is sublime. This is a must-have classic! And in spite of the many very competent paint jobs one sees, a classic example of why "figures", whether busts or full, are best marketed in a primed, unpainted state.
But first. . . the bust is essentially a one-piece resin casting, with only the high standing collar of the cloak cast separately: attachment of this piece might prove to be a little tricky. As with the Monster, also provided is a cast display plinth, a cast name plate, and a clear lexan/acrylic rod. I will enhance the support of the bust--still to be worked out.
The castings are nearly flawless. Poured from a two-piece mold, there is but a very light seam line that can be mechanically sanded or manually scraped off in less than 30 mins. I could very easily have this bust primed by the end of the weekend; but I will savor it a bit, study it a lot, and devise my painting strategy before initiating the process.
The execution of this piece is almost perfect. It is certainly the best likeness of Lugosi in his iconic rôle available in miniature! Which means that unless one is very careful and on his/her game, paint will almost certainly detract from the presence of the sculpture. No pressure!
I am very much looking forward to moving this piece to the painting bench. . .
More to follow!
FOLLOW-UP. . . The fitting of the standing collar is just about done. As I said, this is somewhat tricky, and it will probably require a quick swipe of filler once it is attached. Other than that, I have spent a few hours this afternoon on surface finishing and enhancing undercuts.
AND. . .
I've decided to rework and extend the cloak into a pseudo-pedestal, which will not only serve to add colour to the presentation; but, more importantly, will introduce some tension into the pose of the bust.
Back to the bench!
If the Monster was exquisite, Dracula is sublime. This is a must-have classic! And in spite of the many very competent paint jobs one sees, a classic example of why "figures", whether busts or full, are best marketed in a primed, unpainted state.
But first. . . the bust is essentially a one-piece resin casting, with only the high standing collar of the cloak cast separately: attachment of this piece might prove to be a little tricky. As with the Monster, also provided is a cast display plinth, a cast name plate, and a clear lexan/acrylic rod. I will enhance the support of the bust--still to be worked out.
The castings are nearly flawless. Poured from a two-piece mold, there is but a very light seam line that can be mechanically sanded or manually scraped off in less than 30 mins. I could very easily have this bust primed by the end of the weekend; but I will savor it a bit, study it a lot, and devise my painting strategy before initiating the process.
The execution of this piece is almost perfect. It is certainly the best likeness of Lugosi in his iconic rôle available in miniature! Which means that unless one is very careful and on his/her game, paint will almost certainly detract from the presence of the sculpture. No pressure!
I am very much looking forward to moving this piece to the painting bench. . .
More to follow!
FOLLOW-UP. . . The fitting of the standing collar is just about done. As I said, this is somewhat tricky, and it will probably require a quick swipe of filler once it is attached. Other than that, I have spent a few hours this afternoon on surface finishing and enhancing undercuts.
AND. . .
I've decided to rework and extend the cloak into a pseudo-pedestal, which will not only serve to add colour to the presentation; but, more importantly, will introduce some tension into the pose of the bust.
Back to the bench!
20 April 2011
Revenant
The last week has been trying at best--dealing with the day-to-day while feeling markedly less than 100% makes for long, hard days. It also means that there is considerably less time to be spent at the bench, which is not necessarily a bad thing. . .
As much as I have enjoyed planning and "designing" the Gaslight Birds of Prey, it is time to move on to less monopolizing pursuits. Thus the ladies have been securely withdrawn from the bench, freeing up much needed space and providing a wide-angle view of what could potentially lie ahead. In no particular order. . .
I spent a productive hour or so yesterday with the ip movie version of the Red Skull. If you recall, this will be a full figure. . . a 1/12th-scale full figure! I roughed-in the salient landmarks of the face with MS, as well as removing the collar from the "plastron" of the upper coat, and permanently attaching the same to the torso. I will hopefully have some time--and the "ganas"--to work on the face this weekend and post a graphic update. So far, this is proving to be an ideal kit for this conversion!
I am anxiously awaiting the arrival of Mike Hill's bust of Bela Lugosi as Dracula, produced by Forbidden Zone. You might recall the difficulties I had acquiring one of its two companion pieces, the Frankenstein Monster (the other being the Wolf Man from one of the sequels to the 1941 classic) . . . this acquisition was much easier, as a colleague was looking to part with his. For some reason, the 'Classic Monster Bug' has sunk its fangs into me, and I feel compelled to spend some time with my old childhood friends. Unless I am gravely (pun intended) mistaken, I am hoping to have this one cleaned, primed, and on the painting bench within a fortnight, give or take. . .
Along with at least one of the Smart Max SP offerings. . .
Stay tuned. . .
As much as I have enjoyed planning and "designing" the Gaslight Birds of Prey, it is time to move on to less monopolizing pursuits. Thus the ladies have been securely withdrawn from the bench, freeing up much needed space and providing a wide-angle view of what could potentially lie ahead. In no particular order. . .
I spent a productive hour or so yesterday with the ip movie version of the Red Skull. If you recall, this will be a full figure. . . a 1/12th-scale full figure! I roughed-in the salient landmarks of the face with MS, as well as removing the collar from the "plastron" of the upper coat, and permanently attaching the same to the torso. I will hopefully have some time--and the "ganas"--to work on the face this weekend and post a graphic update. So far, this is proving to be an ideal kit for this conversion!
I am anxiously awaiting the arrival of Mike Hill's bust of Bela Lugosi as Dracula, produced by Forbidden Zone. You might recall the difficulties I had acquiring one of its two companion pieces, the Frankenstein Monster (the other being the Wolf Man from one of the sequels to the 1941 classic) . . . this acquisition was much easier, as a colleague was looking to part with his. For some reason, the 'Classic Monster Bug' has sunk its fangs into me, and I feel compelled to spend some time with my old childhood friends. Unless I am gravely (pun intended) mistaken, I am hoping to have this one cleaned, primed, and on the painting bench within a fortnight, give or take. . .
Along with at least one of the Smart Max SP offerings. . .
Stay tuned. . .
14 April 2011
SP Oracle -- PRE-preliminaries - INTERMEZZO
This is the week for swapping out mounts in the middle of the wet stuff. . . We've already seen my rearranging the cast and compo- sition of the Birds of Prey diorama; and now. . .
I decided to use a replacement head for Mistress Gordon. There was nothing wrong with my first female head in 1/35th scale; quite the contrary! But there were two issues:
While still early in the game, I can see where this venture is starting to acquire quite a bit more complexity and depth than initially anti- cipated. Thus my first mini-diorama in ages will be a long-term, back-burner project, which will free me up for individual pieces. All for a good cause. . .
FOLLOW-UP - 16.04.11. . . The replacement head has been sized and coiffured--all that remains is to add the ears. It has also been fitted into a Phase I collar: roughed-in but no detail work as of yet. If there is no extensive reworking awaiting to be done, this has to be one of the simplest and more straightforward mods to undertake.
I decided to use a replacement head for Mistress Gordon. There was nothing wrong with my first female head in 1/35th scale; quite the contrary! But there were two issues:
- Scale. While undoubtedly visually proportionate, if I were to eliminate the hair, the head would be noticeably undersized; however, that alone would not have made me reconsider. . .
- The real issue lay in that it was fine as a standalone piece. But in an interactive setting, the head would have to be reposi- tioned. And that was the opening salvo in what would be a long, losing struggle.
While still early in the game, I can see where this venture is starting to acquire quite a bit more complexity and depth than initially anti- cipated. Thus my first mini-diorama in ages will be a long-term, back-burner project, which will free me up for individual pieces. All for a good cause. . .
FOLLOW-UP - 16.04.11. . . The replacement head has been sized and coiffured--all that remains is to add the ears. It has also been fitted into a Phase I collar: roughed-in but no detail work as of yet. If there is no extensive reworking awaiting to be done, this has to be one of the simplest and more straightforward mods to undertake.
13 April 2011
REVIEW--Arlith, the Silent Shadow
You might recall reading that Andrea's Arlith, the Silent Shadow was my first choice as a base figure for a SP version of The Huntress. As a standalone, dynamic piece, something that I will in all probability do in the relatively near future, she still tops the list! But for now. . .
Be that as it may, Arlith deserves her 15 minutes! The petite 54mm figure is truly delightful! A somewhat scantily-clad, caped-and-hooded thief or assassin--the incarnation of a female Grey Mouser!--is perched on a tiled rooftop, precariously balanced while casting her grappling hook. My eyes were pretty much burned-out by the week- end of the show, so I quickly dismissed the idea of tackling a petite 54 sometime in the future; but my recent progress with Miss Liddell has prompted a reassessment.
And so, forcing aside any qualms due to Andrea's less-than-stellar quality control and CS, I ordered the kit--it arrived Saturday. Inspect- ing the factory-sealed box led to a sinking feeling in my gut: there, next to the © notice, were the 3 dreaded words. . . MADE IN CHINA. I put the box aside . . .
Late Sunday morning, I finally broke the seals of the box and removed the contents. Sandwiched between the familiar strip of doubled-over, medium-density foam were 10 white-metal pieces: 3 main pieces (cape; body - minus arms, head, and right leg; and roof section); and 7 secondary pieces in a heat-sealed cellophane bag.
Overall, the casting quality is excellent! There are a few spots which are so-so, but these are unobtrusive and perhaps even by design. I have yet to test the fit of the secondary parts, but the cape fits to the body seamlessly. At least as of this writing, this is one the better, if not best, Andrea kits I have ever seen or handled--and the second VG+ or better from this manufacturer in less than a year! If Andrea has truly turned a corner, kudos to them!
Be that as it may, Arlith deserves her 15 minutes! The petite 54mm figure is truly delightful! A somewhat scantily-clad, caped-and-hooded thief or assassin--the incarnation of a female Grey Mouser!--is perched on a tiled rooftop, precariously balanced while casting her grappling hook. My eyes were pretty much burned-out by the week- end of the show, so I quickly dismissed the idea of tackling a petite 54 sometime in the future; but my recent progress with Miss Liddell has prompted a reassessment.
And so, forcing aside any qualms due to Andrea's less-than-stellar quality control and CS, I ordered the kit--it arrived Saturday. Inspect- ing the factory-sealed box led to a sinking feeling in my gut: there, next to the © notice, were the 3 dreaded words. . . MADE IN CHINA. I put the box aside . . .
Late Sunday morning, I finally broke the seals of the box and removed the contents. Sandwiched between the familiar strip of doubled-over, medium-density foam were 10 white-metal pieces: 3 main pieces (cape; body - minus arms, head, and right leg; and roof section); and 7 secondary pieces in a heat-sealed cellophane bag.
Overall, the casting quality is excellent! There are a few spots which are so-so, but these are unobtrusive and perhaps even by design. I have yet to test the fit of the secondary parts, but the cape fits to the body seamlessly. At least as of this writing, this is one the better, if not best, Andrea kits I have ever seen or handled--and the second VG+ or better from this manufacturer in less than a year! If Andrea has truly turned a corner, kudos to them!
10 April 2011
Black Canary à la Steampunk
I concluded my introductory posting on a SP Huntress with, "All that remains is to find a suitable 50- 54mm base figure for a SP Black Canary. . ." And so I have. . . I think. . .
The figure is from the Spanish company Tale of War, in their Tale- Revision range. This is the company that launched its line with the now classic Victor Cat Helsing, the vampire/demon-hunting descendant of Puss in Boots!
My interests lie with the last(?) 54mm release in the range: "Alice & Answers". Taking the exquisite engineering and design provided, and adding some judicious modelling, I think I have the makings of a rather unique SP Black Canary.
In my version of Victorian London, Black Canary was a chanteuse from Le Chat Noir in Paris, a popular nightspot that was managed by one Mlle. Kyle, "Le Chat", a Scottish émigré who firmly believed in the Auld Alliance--especially when her shapely neck was on the line. One of her first discoveries was the German soprano, Diana Lanz, who abruptly left the Bayreuth Festspielhaus company with nary an explanation. Mlle. Kyle discovered her singing in a rather seedy, upstart cabaret in Paris, and was quickly taken with her. . . Diana joined Le Chat Noir as "die Harzer Roller", soon thereafter became "le Canari, and the rest was history--albeit short-lived. Before long, Fräulein Lanz was in London singing in East End music halls still using her Parisian stage-name, "The Canary". . .
It's a start. . . The most important thing is that it would appear as if all the elements of a Steampunk Birds of Prey diorama--or at worst, a mini-"collection"--have been gathered. . .
Stay tuned!
The figure is from the Spanish company Tale of War, in their Tale- Revision range. This is the company that launched its line with the now classic Victor Cat Helsing, the vampire/demon-hunting descendant of Puss in Boots!
My interests lie with the last(?) 54mm release in the range: "Alice & Answers". Taking the exquisite engineering and design provided, and adding some judicious modelling, I think I have the makings of a rather unique SP Black Canary.
In my version of Victorian London, Black Canary was a chanteuse from Le Chat Noir in Paris, a popular nightspot that was managed by one Mlle. Kyle, "Le Chat", a Scottish émigré who firmly believed in the Auld Alliance--especially when her shapely neck was on the line. One of her first discoveries was the German soprano, Diana Lanz, who abruptly left the Bayreuth Festspielhaus company with nary an explanation. Mlle. Kyle discovered her singing in a rather seedy, upstart cabaret in Paris, and was quickly taken with her. . . Diana joined Le Chat Noir as "die Harzer Roller", soon thereafter became "le Canari, and the rest was history--albeit short-lived. Before long, Fräulein Lanz was in London singing in East End music halls still using her Parisian stage-name, "The Canary". . .
It's a start. . . The most important thing is that it would appear as if all the elements of a Steampunk Birds of Prey diorama--or at worst, a mini-"collection"--have been gathered. . .
Stay tuned!
Huntress à la Steampunk
It should be fairly obvious that I am quite taken with the conversion of SM's Miss Liddell into my interpretation of a Steampunk Oracle. So why stop there?
Andrea Miniatures' Warlord Saga series is one of the better Fantasy theme collections on the market today. Perhaps lacking the presence and outrance of Pegaso's Gehenna series, they are much more "accessible" and "recognizable", if you will. To put it another way, they lend themselves readily to adaptations of any number of characters and worlds familiar to most enthusiasts of the genre.
While my initial approach to SP Oracle was as a one-shot, within a few days of receiving it I began to explore my options in earnest. Were there commercial castings that would lend themselves to conversions into SP versions of DC's "Birds of Prey"? Nothing really "grabbed me", but then I recalled seeing Andrea's Arlith, the Silent Shadow (presented by John Espey) at the Atlanta Show (see review here).
The main problem with Arlith is that she is a standalone vignette. This doesn't quite "fit" with what I have in mind: a tight grouping, perhaps under a gaslight. So what to do? Fortunately there is a relatively close second and that is Tale of War's Caperucita Roja (Little Red Riding Hood) as the base figure. Moderately more work involved, and probably some costume rearranging; but eminently doable.
That's about it for now. All that remains is to find a suitable 50- 54mm base figure for a SP Black Canary. . .
Andrea Miniatures' Warlord Saga series is one of the better Fantasy theme collections on the market today. Perhaps lacking the presence and outrance of Pegaso's Gehenna series, they are much more "accessible" and "recognizable", if you will. To put it another way, they lend themselves readily to adaptations of any number of characters and worlds familiar to most enthusiasts of the genre.
While my initial approach to SP Oracle was as a one-shot, within a few days of receiving it I began to explore my options in earnest. Were there commercial castings that would lend themselves to conversions into SP versions of DC's "Birds of Prey"? Nothing really "grabbed me", but then I recalled seeing Andrea's Arlith, the Silent Shadow (presented by John Espey) at the Atlanta Show (see review here).
The main problem with Arlith is that she is a standalone vignette. This doesn't quite "fit" with what I have in mind: a tight grouping, perhaps under a gaslight. So what to do? Fortunately there is a relatively close second and that is Tale of War's Caperucita Roja (Little Red Riding Hood) as the base figure. Moderately more work involved, and probably some costume rearranging; but eminently doable.
That's about it for now. All that remains is to find a suitable 50- 54mm base figure for a SP Black Canary. . .
04 April 2011
SP Oracle -- PRE-preliminaries (2)
I have fitted the cushion/pillow to the subject's back and the back of the chair for a seamless fit. The cushion will be painted separately before permanently attaching to the painted figure.
I have also begun cleaning and fitting of the motor/engine components. This will be assembled, pre-fitted and painted as a separate subassembly prior to attachment.
UPDATE - 04.04.11. . . Continue to work on the face. . . trying for a slightly annoyed/stern look, yet comely. In order to get a better perspective on the piece, I removed the fez, and began roughing-in the coiffure. The fez has been reduced in height by about 30%, and hollowed out for a keyed connection. Also, I roughed-in the port-side iron plate for the motorized "scooter".
UPDATE - 06.04.11. . . The coiffure is done, and thus, so is essentially the head. What a difference!!! Also done and ready for "mounting" (i.e., addition of nuts and rivets) is the port-side iron plate. The starboard-side iron plate is now roughed-in and curing.
Movin' right along. . .
I have also begun cleaning and fitting of the motor/engine components. This will be assembled, pre-fitted and painted as a separate subassembly prior to attachment.
UPDATE - 04.04.11. . . Continue to work on the face. . . trying for a slightly annoyed/stern look, yet comely. In order to get a better perspective on the piece, I removed the fez, and began roughing-in the coiffure. The fez has been reduced in height by about 30%, and hollowed out for a keyed connection. Also, I roughed-in the port-side iron plate for the motorized "scooter".
UPDATE - 06.04.11. . . The coiffure is done, and thus, so is essentially the head. What a difference!!! Also done and ready for "mounting" (i.e., addition of nuts and rivets) is the port-side iron plate. The starboard-side iron plate is now roughed-in and curing.
Movin' right along. . .
03 April 2011
02 April 2011
SP Oracle -- PRE-preliminaries
This is more an entry in the "activity log" of this piece than a proper posting. . .
Today I have completed the sorting of the kit pieces, deciding what to keep--or not. AND I completed Phase 1 of Miss Liddell's cosmetic transformation to Miss Barbara Gordon.
Rather than an outright replacement, I opted for a "makeover", which amounts to just short of a resculpt of the face. The eyes and mouth were ground out; the facial infrastructure redefined, and the lower face resculpted. So far, so good. . .
AFA the background story is concerned, she will be of Scottish descent. And her lamentable state is a result of her being shot by a notorious East End ne'er-do-well, one "Happy Jack". . .
More to follow. . .
FOLLOW-UP - 03.04.11. . . Phase 2 of the transformation is all-but-done. I just completed roughing-in the right eye, and, if it all works-out, all but Phase 3 (coiffure and finishing) should be done by midweek.
FOLLOW-UP (2). . . Phase 2 is now complete! Time to wrap-up the research of Victorian female hairstyles. . .
Today I have completed the sorting of the kit pieces, deciding what to keep--or not. AND I completed Phase 1 of Miss Liddell's cosmetic transformation to Miss Barbara Gordon.
Rather than an outright replacement, I opted for a "makeover", which amounts to just short of a resculpt of the face. The eyes and mouth were ground out; the facial infrastructure redefined, and the lower face resculpted. So far, so good. . .
AFA the background story is concerned, she will be of Scottish descent. And her lamentable state is a result of her being shot by a notorious East End ne'er-do-well, one "Happy Jack". . .
More to follow. . .
FOLLOW-UP - 03.04.11. . . Phase 2 of the transformation is all-but-done. I just completed roughing-in the right eye, and, if it all works-out, all but Phase 3 (coiffure and finishing) should be done by midweek.
FOLLOW-UP (2). . . Phase 2 is now complete! Time to wrap-up the research of Victorian female hairstyles. . .
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