Ad Hawk Curiosities
Sculpting, Molding, Casting, Painting. Sci-Fi, Fantasy, Collectible, Gaming. Props, figures, forts, So feel free to reach out and talk to us.
05/06/2019
Morning, y'all.
This here is a piece I started years ago, for a friend's single that has long since been released... Alas, I'd run out of money to finish it.
Because it is so hard to finish.
One wishes to include other aspects of his career, including Neon-- and one is gonna' have to wait a while on that one.
In the meantime, one was able to acquire certain paint at a lowered cost-- so one jumped at the opportunity.
The substrate had been previously treated to a salt-mask over *other* spray paint-- and there was a poor overall quality to that layer (compared to layers of epoxy & paint that had come before).
I touched up using Montana Black: Copper, which really does whup Krylon's ass-- at least as far as user-friendliness is concerned. Krylon insists on making proprietary spray-assemblies that are utter crap. Montana has tips that... work.
And the paint is beautiful.
After the enamel was *mostly* dry, I went back in with Montana Gold: Acid Green.
Immediately, I got what I wanted: a lurid, Frazetta-esque hue on the fleshy bits, and verdegris (or the origins thereof)on the metal bits.
After that-- a little color-wheel f**kery with orange and blue-green, just to see if it did that weird optical thing-- which it did.
Awesome.
Later, I switched on the blacklight, and s**t got *really*weird. Unanticipated coolness.
This morning, I went back with a Purdy brush & water, and wiped off the masking.
Montana is some cool stuff, and that ain't no lie. Believeth me...
Or don't-- just leaves more for me.
******ciao.... =]
Updates on the Inbit/Invid vignette. The multicolored one, and the mainly white versions are test-shots that I may take to different places, and the grey-green casting is Casteline-- intended for reworking, and the real Star of The Show. Most of the rubbish you see surrounding this poor fellow is of my own design & construction-- and this is a personal WIP, as I mentioned before. Not intended for commercial porpises. Or any other cetaceans, for that matter-- commercial, or otherwise.
Notes on Class Structure:
I have been giving it a good deal of thought, as well as going through a number of practical exercises, in order to figure out how to best serve the student.
1.) The student *must* have their own reference.
I don't draw, which is a composite of both "I can't," and "won't." Drawing is not my thing, and so therefore-- I can't really participate in the design of the student's ORIGINAL work. I also can't draw Batman for them.
2.) The student must expect results commensurate with their skill-level, and experience.
I do not say this to be mean, I say it because we'll be working together, and we will be managing each other's expectations, as well as those of the group-- all together. The student will be gaining experience, and developing skill-- and they'll have something that we seldom get when we're starting out; extra hands, and people watching their back.
So... if your skills are such that, all you can do is make simple figures-- we'll teach you how to get the *most* out of them.
3.) The student must have their own basic tools.
We'll have several examples of stylus, pick, and sculpting tool available, so that students will be able to familiarize themselves with what is available, and what works for them-- but they should be prepared to buy their own as classes progress. Part of the value of the classes themselves is the opportunity to utilize certain instruments prior to purchasing them-- which can save the starving artist quite a bit of cash.
4.) The student will respect the work of others.
This statement actually means many things, but mostly-- it means that we don 't steal from each other, or anybody else-- and we treat each other's work with dignity. We'll give honest critiques, when they are requested, but we'll keep unsolicited comments to ourselves, and abstain from using terms that our grandmothers would not approve of in our critiques. I am not saying to *completely* censor yourself, or your art-- but don't insult your team mates' work.
5.) The student will respect their own work.
The trope of the Tortured Artist is one that, while valid, is best carried out solo, if that is one's ambition. Smashing stuff up, or panning one's own work-- it is a form of negativity that can snowball into all sorts of unhappy consequence. Therefore-- keep it cool. If the work gets too hard to handle, and I can't get to you -- take a break. I promise that I *shall* get to you, and whatever problem has arisen-- solutions exist, and we'll find them.
I'm sticking to a principal of fives, as we start out. Five rules, five students-- and five of everything else I can assign a value to.
I wish you all the very best,
--Danny
04/09/2019
Order emerges from the maelstrom of the chaos!
Ha-ha!
Greebles.
Phase 1.
Feed the Pony.
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