GlenP

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About GlenP

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  • Birthday 10/06/54

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    Male
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    Little British sports cars, painting historical - and more recently, gaming - miniatures, Middle East and military history.

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  1. Next up is the cactus pot. The pot was filled with putty 'dirt' that was then stippled with a stiff brush. The pot is painted an Orange Brown base, Harvest Brown/Orange Brown shade, and Burnt Orange for the lights. A bit of Linen White added to the Burnt Orange served as a final light. The dirt was Brown Sand with some Khaki Highlight drybrushed over the surface. Instant arid soil... The cactus was painted using the Highland Moss triad. in various mixes from dark to light. The dark dots represent the spine's growth points, but I wasn't about to cut/apply several dozen little bits of something to replicate the spines. I didn't want to block the light at the end of my tunnel... More later.
  2. Thank you both! Another update Friday afternoon-ish.
  3. Painting now. First, a little dark wash and light drybrush on the ground focusing on the edges. The interior ground is covered by the platform and will be in deep shadow, so no need to go nuts... Second, the platform itself. The underside of the platform was thinly painted in multiple layers of Woodstain Brown. Except for the ends and outer faces of the support timbers, it will also be in deep shadow. There's just enough variation to imply a grain. The upper platform is painted a combination of the Reaper Woodstain, Shield Brown, and Driftwood Brown triad both individual colors and mixes. Darkened Woodstain Brown was added to the lines separating the planks. Next I added Shield Brown over each plank, then used all three colors in a series of glazes generally, but not always, following my previously scribed grain lines. The next layer was another series of glazes over the first and 'going outside the lines', but still ending at the edge of each plank. The idea was to create used, but not abused wood. No ghost town gray here. The nail heads were marked with a dark metallic pencil and a bit of rust staining. The rust is not really showing up in the photos, so I may go back over them. Eventually, I'll be adding some dirt/dust coats using washes and chalk pastels. More later.
  4. Thanks! I'm working on it (concurrently with General Grant).
  5. Thanks! A fun project indeed. I'm always looking for something a bit off the beaten path. Updates will be coming faster, since I'm well into the painting phase.
  6. Meet the General. In my mind, the General is a clockwork drive, spring wound spanking machine using 1870s/80s technology stuffed inside a large barrel. Two levers (not visible) control the speed and impact force. Maintenance is performed through a removable top, two sets of doors on the sides, and a grease drip tray at the bottom. In reality, the barrel is a resin piece from Armand Bayardi, while everything else is a combination of plastic sheet, rod, and tube with some metal washer and plastic Grandt Line bolt embellishments. More later.
  7. Next, a girl. There's always a girl. In this case, it's a Thunderbird Miniatures piece called 'Cowgirl'. Very original... She's 80mm tall and cast in gray resin. Originally, the figure was standing upright with her hands hitched in her belt. I made a few modifications: I pie-cut the torso at the waist and bent body forward, pivoted the arms forward and the hands inward and resculpted the shoulders. I altered the crop-top t-shirt to a camisole and added putty bloomers. Both the camisole and bloomers were given fine wire ties. The figure was not originally wearing pants - just panties and what appeared to be pant legs held up by a garter belt. I have no idea what the sculptor was intending, so after some research into pants circa 1880, I made some putty modifications, building up, opening, and dropping the pants to upper thigh level (thus exposing the bloomers) and adding suspender buttons and a button fly front. More later.
  8. Well, the additions are pretty basic. Pretty much the same techniques I use for tanks and aircraft. Being Steampunk it seems some manner of goggles and corsetry were mandatory and I have noticed a growing trend with Steampunk characters having some form of mechanical augmentation. I'm simply jumping on the bandwagon here... I have yet to finalize the light direction. I normally go upper left front, but that means the hat will cast a shadow over the face and I prefer to have the face and hair lit. I'll probably go upper right front (gasp!) to properly light the face and torso. More later.
  9. Oh, stop, I mean the piece, not the girl... This is Nemrod's flat resin pinup bust 'Sattheen' who is described as a girl wearing a tophat and corset. Because the piece is resin, it's considerably thicker than the traditional metal piece, presumably to prevent warping. The facing detail is quite small in terms of depth and very close to traditional flats. The master was sculpted by French artist Ivan Durand who also sculpted my 'Redhead Flat' buried back in the Reaper archives. Since I sometimes have issues with leaving well enough alone, I decided to convert this piece into something more along the lines of a Steampunk bust. I've shortened the tophat, added the mandatory goggles (plastic tubing/putty), removed the necklace and added a choker (scribing/sheet plastic/putty), altered and added details to the corset (scribing/sheet plastic), and hollowed out her upper left arm to create a mechanical arm. The gizmology is composed of watch gears, plastic rod and sheet, and bolt head sliced from octagonal plastic rod. The plan is to use thin sheet plastic to build the outer skin of the arm, but leave the mechanical bits visible. This is what I've got so far... Glen
  10. X2. Just use a flat or semi-gloss black. In addition to the above paints, you can drybrush some powdered graphite on the upper edges OR use the side of a soft drawing pencil point (like a 6B) and hit all of the upper horizontal edges.
  11. Next, a post. The pose (Evergreen Strip Styrene) is anchored to the base using a metal plate (Evergreen Sheet Plastic). The small crossbar (Evergreen Rod) is set into a shallow curved notch at the top and secured with metal strap (wine bottle foil) and a bolt (Grandt Line model railroad detailing part). More later.
  12. Next, a cactus pot. A wooden pot from Hobby Lobby/Michael's filled with Aves Apoxie Sculpt 'dirt'. The cactus was made form various sizes of Aves putty balls, then rolled on one side to create an egg shape. The shape was then flattened between my fingers.. Once cured small holes were drilled into the 'leaves' for thin brass rod pins and everything was superglued together.
  13. The next part is adding a wooden platform on three runners. In this case a 2.75" x 2.75" square of Evergreen sheet plastic with a heavily scribed divisions representing individual planks and lighter scribing representing the wood grain in each plank. The square is resting on three strip styrene runners (also Evergreen). A small section of brass tubing was cut and one end sharpened to make nail heads in the planks. I set the tube and lightly tapped it to make a circular impression that corresponded to the position of the runners under the planks; six nail heads for each plank. That's lots of tapping... More later this week.
  14. Well, as the saying goes, Rome wasn't built in a day... Like any aspect of figure painting it takes a few pieces under your belt and some feedback to get in a groove. My first two Elf flats were painted sans nocked arrow. I added the arrow on this one; it was an easy addition use the brass rod and putty. I'll add an arrow to my next one as well, but it'll be something different... I like painting pinup figures and warrior babes, so I tend to focus (ha!) on female eyes. I paint them a bit larger and (hopefully) more expressive. I also key eye make-up colors to the hair color and thicken up the lower and upper lashes and adding some eye shadow and blush. Qs and Cs welcomed everyone. Don't be shy; I'm here to serve.
  15. A good start! For the next one, pick a specific light direction and stick to it. Technically, this can be from any direction you like, but many flat painters think this should be a direction that shows the figure to it's best advantage and allows the throw of cast shadows in addition to the usual lights and darks on one side of the body. I usually go with light coming from the upper left and front of the figure (as viewed). Think super OSL. Generally, you also want to put some light on the face since it adds character to the piece (full face helmets not included ). Press on!