HAGEL FINE ART & DESIGN
FANTIQUE POSSESSIONS

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Models
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Zombies Mummies Voodoo

Herefs an extremely basic demonstration on painting a bust, with simples techniques that could maybe help beginners interested in learning how to paint a three dimensional subject.





This bust is made of solid resin and will need to be prepared and cleaned before painting (photo A). First I check for seam lines from the casting process, neatly cut them back with a sharp hobby knife and lightly sand with a fine grade sand paper.

 





Next I wash the bust in warm soapy water removing any oils or dust that will affect the paint job down the track. Once cleaned and dried I try to touch it as little as possible and begin to prime.

Priming is a very important step that seals the surface and gives the paint something to bite into. If you donft prime the surface, your paint will eventually begin to rub off on raised areas with average handling. Ifm going to use a light Grey gAutomotive Primerh that is acrylic. I find this has the finest layer of paint that wonft fill in the details of the piece too much. Ifll give this a few light but full coats and let dry then itfs ready for the next stage.


Photo A
Ifm going to use the primer as a base coat and build up transparent layers on top using acrylic colours. I will lighten up the grey base with a mix of 95% gOff Whiteh and 5% gFawnh. Then dilute with the ratio of 3-part paint mix to 1 part water and slowly stir through thoroughly in a small bowl. Using a soft flat wide brush, I dip in the mixture and wipe off most paint on the side of the bowl. Then wipe again on a piece of cardboard or thick paper a few more times until the brush is virtually dry.

Photo B
I lightly brush vertically up and down against the horizontal lines in the detailing, trying to avoid any paint from going into the crevasses (the finer you feather on the paint the better the fade). This technique is called gDry Brushingh which can be best recognized using a gFlow Mediumh to your paint. Flow Medium makes your paint a lot smoother but stays solid with out becoming transparent for strong effect; Ifm using water at this point for a light and subtle coverage making the primer still visible (photo B).
Photo C

Photo D

All the high points are now covered and itfs ready to be sprayed with a matt sealer for protection. After the sealer is dried I will stain the bust with a gGlaze Mediumh to bring out all the depth and details.

gGlaze Mediumh is best for transparent colouring, itfs a thick substance that can be also used as a light surface sealer between layers. Itfs easy to control and in this case I want to use it to stain and seal. 


Photo E
So I take my colour of choice, which is gBurnt Umberh, a deep earthy brown, and mix with glaze to the ratio of 1 part paint to 4-part glaze. Now with a paper towel ready (not tissue it will stick) I will apply the glaze mix with a brush filling in the whole surface then remove it with the paper towel patting it lightly leaving the crevasses a darker shade (photo C). Only do a small area at a time when glazing for easer control.

Photo F
When dry I can now add washes of colour watered down. I start with warmer colours such as gNaphthol Crimsonh and gRaw Siennah then work my way through to cooler shades (photo D). After using a range of washes I come back to more dry brushing, this time with flow medium for a more crisp look (photos E & F). Now I go back to washes with shades of gPaynes Greyh for shadows and detailing then spray with sealer (photo G)

Photo G
This piece was done in one afternoon with the most basic techniques, the more you paint the more you learn. Remember this key, dry brushing is usually going from a dark shade up to a light and washes are usually from a light shade to a dark. You can airbrush, sponge and mottle, customize with fabric, hair or texture itfs up to your imagination. But most of all have fun with your creating.

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