Andrea's "Dragon Lady" -- Reflections II

In a word. . . WOW!

You have all heard me quip countless times that "the devil is in the details". . . Little did I know... 

"The Mother of Dragons" is now effectively done, but she will occupy a place of honour on the painting hutch for at least another week. Why? Simply, because "the devil is in the details"!

This is a very simple figure. The most challenging aspect to some--from all indications--would be simply painting the naked body of the main subject. Unless one has fewer than a dozen or so human figures under one's belt, a nude body should be anything but daunting! However, it will be up to you to make it believable. . . I mean, this is what we do, isn't it? I dunno. . . maybe not??

My approach to this figure has been dictated by a scene lasting decidedly less than 5 minutes at the closing of the final episode of Season 1 of Game of Thrones (Ep. 10: Fire and Blood). I don't believe I could ever tire of watching this scene. In a word, powerful! But I digress. . . A critical part of successfully pulling-off this vignette is exhaustive research. If you haven't seen it, or you don't have HBO, etc., worry not: everything you need is at your fingertips on the Web. I'm sure if the painter of the marketing sample had spent a little more time doing his/her research, he/she, to say nothing of Andrea, would have been spared the vitriol that this figure has generated. I can only hope that the vocal "few" are not indicative of the prevailing sentiment re: this figure.

My goal with this piece was to capture that on-screen moment in all its glory in scale. I was less concerned with painting technique and precise application; and more concerned with painting effect. Every application of paint was a critical means to the ultimate end. . . if it wasn't, it was wiped/brushed off, and I would reassess. And reapply. . . mostly within the hour; but sometimes the following day--or longer! 

And let's not talk about touch-ups! Let me just say that they are ongoing as I write. As always, the vision must be realized! From Emilia Clarke's likeness, to Drogon's blotchy and striped hatch- ling colouration, to the lay-out of the remains of the pyre, all are critical elements that will hope- fully yield a synergistic jackpot!

I am not there yet, but I am getting closer. Weathering in earnest should begin by the weekend-- and I cannot wait! 

I have been lucky of late in that every figure I have worked on has been an absolute joy! Challeng- ing, stimulating, thought-provoking. . . the hobby, the practical aspect of the hobby, has more than lived up to its promise--and my expectations!--in the last 2 or so years. But I guess it's not really about the figure, is it? You will get out of it whatever you are willing to put into it. 

“When the cost of a hobby exceeds the fun and doesn't attract new people, the game is over.” -
Oscar Koveleski, August 2003

"Mother of Dragons" - Painting: Final Wrap-up

When I last left you, Drogon's two smaller siblings had been permanently attached to Daenerys-- with but a few touch-ups to be done on the areas requiring filling post-attachment; and Drogon's ventral surfaces painted. That leaves us with the completion of Drogon and Rhaegal, and the home stretch to cohesive unity and completion. 

01.01.2015 - Drogon permanently attached.

03.01.2015 - Viserion is now completed, as are most of the touch-ups on Dany. While there remain 1-2 weeks of additional work (Drogon and Rhaegal, and final weathering), the piece is effectively done. My next posting will be images of the finished piece.
04.01.2015 - Drogon and Rhaegal are completed.

 “When the cost of a hobby exceeds the fun and doesn't attract new people, the game is over.” -

Oscar Koveleski, August 2003

"Mother of Dragons" - Painting: The Dragons and Wrapping-up

The babies are cleaned-up, pegged, PRIMED(!), and curing in the oven. I intend to have them at the very least uc'd by the end of this weekend: it is critical that I stop at a natural step since I will not be picking up a brush until the following weekend. . .

Stay tuned!. . . 

26.12.2014 - Drogon's wings (Reaper Magma Red) and Rhaegal have been undercoated. 
27.12.2014 - 

• Viserion undercoated. 
• Eggshells sculpted in SSF, finished and permanently attached to base. 
• Phase 1 (acrylics) of the hair completed.
• Rhaegal's dorsal surface and Dany's left hand painted. 
• Eggshells (Drogon's and Rhaegal's) painted.

 28.12.2014 - 

• Rhaegal permanently attached.
• Dany's left wrist and Rhaegal's wing faired to her forearm with MS.
• Viserion painted -- I intend to have him permanently attached by Tuesday latest. 

 29.12.2014 - 

• Viserion permanently attached. The tail (cast en suite to Dany's calf) has been faired to his body (MS).
• Drogon's ventral surface (that facing the viewer) painted. 
• Dany's eyes glazed (Liquin).

 “When the cost of a hobby exceeds the fun and doesn't attract new people, the game is over.” -

Oscar Koveleski, August 2003

"Mother of Dragons" - Painting: Phase 2 (Oils)

Phase 2 has largely been a fine-tuning phase of selective enhancement and overall modulation-- as I had hoped for! While I was perfectly OK with having to add another layer to augment or re- duce some areas, that--thankfully--proved unnecessary. Phase 2 will probably continue up to the point of commencing Phase 3, which will not be launched until the subject has been permanently transferred to her display base. 

Moving right along. . . 

FOLLOW-UP. . . Phase 2 of the Groundwork has been completed as well. The groundwork is now ready to receive the main subject.

The weekend will be spent finishing the prepwork on the babies, and preparing them for painting.

UPDATE 26.12.2014. . . Daenerys has been permanently transferred to her display base! While there is still quite a bit of finishing to be done on her, what remains is more integrative than any- thing else; hence, Phase 2 will likely continue until the project is deemed completed.

“When the cost of a hobby exceeds the fun and doesn't attract new people, the game is over.” -
Oscar Koveleski, August 2003

"Mother of Dragons" - Painting: Phase 1 (Oils)

Given the "free style" approach dictated by this figure, I decided to lay out my palette, and simply paint. There are no clothes, no hard line separations (save for the hair), and the scale is not an issue in any way, shape or form. 

This is Phase 1, which in this instance, is the "glazing" phase. This is not a true glazing applica- tion, rather, it is merely substituting the usual Turpenoid with linseed oil as a thinner. This not only thins the paint uniformly, but extends the working time--always a consideration when using flesh tones/browns--without unduly extending the workable drying time.   

There will be one more application of oils (Phase 2), and then I will wrap her up with weathering, etc. (Phase 3). 

I also concluded Phase 1 of the Groundwork, also in oils.

“When the cost of a hobby exceeds the fun and doesn't attract new people, the game is over.” -
Oscar Koveleski, August 2003

"Mother of Dragons" - Painting: Eyes

After careful consideration, I opted to paint the eyes before breaking out the oils. . . 

The eyes are critical on this piece. Yes, yes. . . I know what most of you are thinking, if not ac- tually saying; but I have long held that while eyes are important, they are not--shouldn't be!--the focal point of any figure smaller than 1/6th scale! On this piece, however, the eyes are critical if only because if poorly painted, they will "ruin" the figure, no matter how well painted and/or staged it might be. You need look no further than the boxart for proof. . . 


 
The eyes are perfectly cast--at least on my sample--and this makes for a rather easy undertaking to deal with the basic applications. 

Emilia Clarke's eyes are essentially the same colour as Peter Dinklage's. Thus, I first blocked-in the irises with Vallejo Gold-Brown: this will serve as the undercoat, if you will. I then overpainted the irises with oils, using a custom grey-green mix. The pupils will be added once the face is completely  done, as the final tonality of the irises will be determined by the final coloration of the face. 

That endeavor will commence later this week. . .

“When the cost of a hobby exceeds the fun and doesn't attract new people, the game is over.” -
Oscar Koveleski, August 2003

"Mother of Dragons" - Painting: Undercoating

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

I have just finished "undercoating" the figure of Daenerys. Just so that we're all on the same page, if I refer to any painting at this point, it will concern Dany exclusively. I will address each of the offspring individually when the time comes: as much as they truly are the "stars" of the piece, for all practical purposes they are accessory items.

I undercoated Dany in a series of washes using Vallejo Game Color's Elf Skintone: this is no more than a tint of a 'heavier', ruddier flesh colour such as Model Color Beige-Red. 

Once was satisfied with the washes, I scrub-stippled pure Elf Skintone on the structural highlights to begin creating a 'road-map' that I could follow in the next step: glazing with oils.

That's it for now! More to follow. . .

“When the cost of a hobby exceeds the fun and doesn't attract new people, the game is over.” -
Oscar Koveleski, August 2003

"Mother of Dragons" - Painting: Priming

The "Mother of Dragons" is now primed, and has been transferred to the paint bench!

I decided to try a more dynamic, layered, multi-media approach to painting her, so I primed her with Rustoleum Sandable Auto Primer--[Dark] Grey. 

I will hopefully begin to sling paint by this time next week. . . In the meantime, there are three newborns that I had best see to before they burn the workbench down. . .

More to follow! 

“When the cost of a hobby exceeds the fun and doesn't attract new people, the game is over.” -
Oscar Koveleski, August 2003

"Mother of Dragons" - Painting: PPP

What is PPP? "PPP" is simply "Pre-Prime Prep". It is the final surfacing of a figure that would otherwise be ready for priming. As such, it is a largely optional--and subjective--step that is all-too-often overlooked, if not outright disregarded. 

In the scene in question, Dany emerges from the funeral pyre of her "Sun and Stars", her clothes burnt away and her body covered in ash, but otherwise unharmed. And with her are three hatch- ling dragons. Once she has stood from the ashes and debris, Drogon rises, spreads its wings and screams, announcing the return of dragons to the world, the first in over a century and a half!

Sorry for the digression. . . As Dany is covered in ash and burnt particulates, I felt it critical that these be integral to the foundational surface of the figure, as well as enhanced by post-painting applications. So I began glazing the figure, selectively building-up the glaze and texturing those areas. Once completely dry, I will inspect the work, and reapply as required. 

“When the cost of a hobby exceeds the fun and doesn't attract new people, the game is over.” -
Oscar Koveleski, August 2003