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03655: Iron Cobra

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I did the shading on the blue metal parts this weekend.  Shading consists of consecutive layers of thin non-metallic glazes.  I start with the lightest shade area covering most of the surface and working back to the darkest areas.  It takes a long time because each glaze layer take time to dry and doesn't do much.  The slow buildup allows one to achieve very smooth transitions.  At first, I am not really worried about placement, as I am really just knocking back the shine of the metal a bit so that the highlights will be more striking later.  As I progress though, each successive dark layer becomes more precise in it's placement to facilitate the look I want.


Shade 1: Templar Blue, 5 coats





Shade 2: Sienna Liner, 3 coats (a little complementary color theory in this one)





Shade 3: Templar blue/Blue Liner, 3 coats





Shade 4: Blue Liner, 2 coats





Shade 4: Brown Liner, 2 coats (added mostly next to the floor to pick up the dark brown reflections cast by the metal near the floor)



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I finally got time to get the highlighting done on the blue metal.  Highlighting consists of going back over the highlights with metallic paints and glazing them in in thin layers.


Highlight 1: Sky Steel





Highlight 2: Polished Silver





Highlight 3 and 4: Polished Silver/Pure white and Pure White (I forgot to take a picture between these two.)





I then went on to do all the metallic steps on the other two metals (except for the gem bezels).  I can look up and list the various colors used if you like.  Here it is ready for me to start the cloth portions of the hood and the gems.  I'm still trying to consider how I am going to paint the fangs, probably a bright white platinum.  I still have several touch-ups and tightening things to do, but I'll wait on that until I get the non-metallic parts done.





Note: funny thing is that the brass and dark metal work I did doesn't show very clearly in the photos, but looks great IRL. (sigh)

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it's hard to photo TMM.  I think it's one reason people who enter online contests are careful about how much shine they work into the metals or tend to lean towards NMM. 


Always great to see you painting!

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The defining feature of metallics is that they have specularity (non-diffuse reflectivity). To get a good photo of the actual painting of true metallics requires a very consistent light source over a wide angle.


Photographing true metallics is one of the few places that something like a light box (or a set of big diffusers) is actually useful, but you can also use light bounced off white cards to get much the same effect.

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Yeah, I'm rather frustrated by the photos. In hand this model is like"WOW", the photos, "It's OK". <sigh>  I had limited time to take pictures of the WIP steps.  When finished I'll break out all the photo gear and such, but I just don't have the time to do so for every step in the process.

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What a great model to practice TMM on!  I'm going to have to put that on my list of study projects.  (Really haven't mastered what I learned in my TMM class last year.)  


Wish I could see this beauty in person.  :down:  

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I had all day yesterday to spend painting this project in my studio, so I painted...a chest.  Seriously, I spent about half a day painting a chest (I may or may not have spent a bunch of that time laughing and joking with the boys ::P:; it was a good day).  I'll let you judge if my time was well spent.  This is a chest I sculpted for one of the Bones Kickstarters (II, I think).  I want it to be warm with golden browns to play nicely with the orange and blue on the cobra. The chest will be positioned behind the cobra.


Brown Liner:




Sienna liner:




"Something" Leather:





Polished Leather:





Tanned Leather and a bunch of touch-ups and dark lining:





An entire TMM process that I completely forgot to document:





So after that my lovely wife took us all out for my birthday sushi (mmmmmmmm...Spider Roll for the win!).


When I got back, I finished the cloth (orange) parts of the hood.  They still need darklining and I slopped onto the metal a bit here and there which still needs to be fixed, but this is what I was able to get done last night. Colors here included Cinnamon Red, Volcanic Orange, Sunrise Orange (the base color), Lantern Yellow, Candlelight Yellow, and Canary Yellow. (The transition in shade from the upper set of spines to the second seems abrupt in the photo of the back, but it looks totally natural in person; strange.)









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