Friday, March 27, 2009
Friday, March 20, 2009
When sanding a lot off of a hollow cast horse, whether it's resin or plastic, the resulting holes need to be filled in. Now, you could fill them in with epoxy, but that's expensive and heavy. Try foil instead! I think it's easier to fill the entire horse with foil, but if it is secure inside without completely filling the horse that's fine. With the foil in place, you are ready to put a layer of epoxy on to completely seal up the hole.
Since the epoxy has something to sit on, this process is much easier than trying to fill a hole with epoxy only. Do not smooth it out; just stick it on and flatten it so that the epoxy does not stick out beyond where you intend to sculpt the muscling or hair. If the epoxy sticks out too far you can sand it later, before the final sculpting. Leaving the epoxy rough like this helps the other layers to adhere and prevents lifting later. When this first layer is cured, you're left with a great new base to work off of for sculpting the finished product!
Wednesday, March 18, 2009
So, just a little scary thing for you to look at! This is Tetawken, my NAN donation. Sarah Rose donated the Caldero resin and I'll be turning him into a Cayuse as a nod to the show's Oregon location. You can expect more updates on his progress and a little more about his story soon. As you can see, he has just had his mane and tail removed - a daunting task considering how much of it there was! My poor wrist is in a brace right now, but at least I'm not the one with huge new holes in me. I'm waffling on his color; a roany chestnut frame sabino? a vanish appy? Who knows! If you have any opinion on the matter, feel free to comment!
Friday, March 13, 2009
In the comments for the tail sculpting video, these very good questions were posed: "Do you like Epoxy Sculpt or Gapoxio better? And what do you do to make sure its kneaded evenly and thoroughly? Thank you!" Thanks Jane! I prefer Aves Apoxy Sculpt but others prefer Gapoxio or Milliput. It's all a matter of taste. I also sometimes use the FIXIT Sculpt (also from Aves) which holds detail remarkably well - sometimes TOO well! The video shows exactly how I mix, but to recap:
- Remove two similarly sized pieces of epoxy. (Mine was cold so it took a bit of digging!)
- Squish them together and then roll into a snake. Fold the snake over on itself and repeat several times. Roll the snake in between your hands, and not on the table. This way anything that might be wobbly on the table won't tip over, water won't slosh out of your cups, and the epoxy won't pick up anything that might be hanging around.
- There will still be visible lines running through the epoxy from the two different colors, so begin kneading and rolling snakes until it is thoroughly mixed. It takes from 2-3 minutes (depending on temperature and freshness) to completely mix a batch approximately the size of a ping pong ball.
Thursday, March 12, 2009
So, here's a little spring surprise for you all! I just listed this adorable Imp resin on eBay. Imp was sculpted by Sarah Minkiewicz-Breunig and painted by myself in oil and acrylic as a light buckskin pinto. His markings are a mixture of tobiano, sabino and frame. Apollo's auction starts today and ends on Tuesday March 17, and of course I welcome time payments! If you're just lookin', you can see Apollo's fresh new gallery here.
Friday, March 6, 2009
Lighting is so important to creating an effective workspace, and a lot of tip requests had to do with this. There aren't any hard and fast rules about what kinds of lights to use, but one key is to use indirect lighting. By aiming your lights at the ceiling or a wall they will bounce back onto your workspace with nice even light that wraps around the model and does not cause any harsh glare.
As you can see in my setup, I use several different kinds of lights, not by design, but it's what I picked up and they work. The halogen lamp on the left is great at throwing out a lot of diffused light (and I wish I could find another). The lamp with the three bulbs can be aimed if necessary (and this is handy when it's time for prepping) but I almost always keep them in the position you see here. The lovely (gack) chandelier holds another 5 bulbs which bounce down a lot of light from the ceiling. Notice also that I paint in a white room. Bouncing lights off of colored walls will affect the color of the light; try to paint only in a white room unless there is no other way. So, in all, it's a pretty simple setup! Just find yourself a bunch of lights and point them up! You'll be enjoying glare free well lit painting in no time.