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This is the Reaper Bones 77371 Basilisk sculpted by Julie Guthrie. It's quite small - about the size of a large dog, with a wonderfully grouchy visage.
I painted it up fairly quickly to illustrate a video about how yellow and black can be mixed to make greens. This was an example of the less vivid greens (For a really vivid yellow-and-black green, see my She-Hulk Show-Off thread). All the colors on the critter were mixed just from yellow (mostly Yellow Ochre, but also a little Hansa Yellow), black, and white.
The video is here, if anyone cares to watch it.
Some of you may remember the diorama I had started entitled Billy's Bad Day. For various reasons, I am, for the most part abandoning that concept. I was really struggling to tell the story I had in my head. I still however want to paint my basilisk, and maybe include it in a diorama, but if I do, I will likely include another character that is a bit more relate-able to the viewer than a couple of goats.
More on that later. For now, I'm going to concentrate on painting the basilisk as I have time between sculpts. If I get that done and my other ReaperCon entry for 2019 in time, I will look into expanding this into a diorama. If not, this can still be my Open category entry.
Here is the basilisk:
The basilisk will be based on a Gila Monster:
But instead of pink, the light areas will be inverse flame color (red up to yellow) with a black belly and skin.
A few months ago, I used my air brush to add a coat of brown liner/blue liner to the skin areas, then air brushed the rest with Cinnamon Red.
Lately, I have been reading Rhonda Bender's (@Wren) blog, Bird with a Brush. For the past month she has had a series of articles on Contrast that have really got me itching to pick up a brush again, but I've had way too much sculpting work to get done to do so. I strongly recommend that you follow her blog, it is excellent. The articles on contrast are as follows:
Compare and Contrast Contrast Versus Realism How to Paint Contrast – Mind Games How to Paint Contrast – Hands On Last night, I was ill with a cold, but had slept much of the afternoon. I wanted to relax, but my brain was just not functioning the way I needed it to to start the next step of the druid turtle, so I picked up this painting and decided to do the next step. I decided to follow Rhonda's advice and add another couple layers of zenithal lighting value to the red, airbrushing on a coat of Sunrise Orange and another of Candlelight Yellow. Then, I went back with a brush and base-coated all of the skin areas with a blend of Brown Liner and Blue Liner (I never use pure black for natural blacks). So this is my base starting point. From here I plan on using glazes to develop the shadows and highlights, pushing the contrast further than I have ever gone before. Challenges I see coming for me in this project: Finding time; I have a lot of sculpts in the hopper between now and January, so progress may be slow between now and then. Developing enough contrast. I have a tendency to think it is enough and stop too soon. I really want to push it on this one. Keep me honest folks! Black/near black. I've never been very good at black, so having major areas of black scares the stuffing out of me, especially since I will be covering major areas of finished color with black squiggles to make the gila monster markings; that's going to hurt. The next step will be developing the major red shadows. I want to thank Rhonda one more time for teaching, inspiring, and challenging me to do this. I honestly believe that this is one of my best sculpts; I want it to be my best paint job as well.
I recently got a commission to sculpt a basilisk. I'm really excited about this one as I've been wanting to do one for several years. Due to cost constraints, I can't quite do the version I had originally wanted to do, but my client and I worked it out and I am very excited about what we came up with. He also gave me permission to share it with you. This one will be featured in a indie campaign later this spring I believe.
Here is the rough concept (please don't laugh at my rough drawing skills; I really need to take a page out of @Morihalda's book and work on drawing more):
From that, I created the armature. Note that the rear two legs on the left side will be on a rock which spans under the beast as it is climbing over it, touching the inside of the right-side rear leg. This allows me to account for all 8 legs and still have a one-part casting.
Right Side (head pointing to the right):
Top (head to the right):
Left Side (head to the left):
Angled View (head tot he left):
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