Here I'm going back over the wrinkles to emphasize some a little more. If you don't take time to punch things up here and there your texture can look bland and mechanical.
Now I've done the same to the right side of the body.
*Note: You have to let the Sculpey dry out a little between brushing and detail passes. After you apply the turpentine, the surface is very soft and liquidy. Wait an hour or mist some rubbing alcohol over it and that will help evaporate the turp. Careful. No open flames nearby, right?
Check out the seemingly natural look of the skin. Learning how to achieve a feeling of randomness in your tool strokes is the key.
Also notice how some of these textures are more compressed and squeezed looking on this right side where the creature is pulling it's arm back. That's also something to learn through observation, how various materials react to pose or movement. Getting this down helps add another layer of believability to your creation. (although my dorsal spikes are hella weak! Dang...gotta fix that too!)
Cool! Well. Things are moving along. Next time I'll show more work on the bottom, the hands and the head, as well as some fixes to what you see here... Hope you like the latest.
OK, sculpting done. I pull the plug. I could work on this forever, but it's been forever already. Here are a couple last shots...
Then its into the oven. Luckily I have access to a large pizza oven. It'd probably fit at home too, but this one is very cool.
So I baked it at 200 for about an hour and a half. Then I let it cool in the oven with the door cracked open a bit.
The result is good. Only a couple minor cracks to repair. I did this by first putting some water thin superglue in there to keep the cracked area from flexing. Then I pushed some Sculpey into the cracks brushed it over with turp, did a little detail to blend and then hit the area with a heat gun. This cooks the fixed area without having to rebake in the oven.
I then primed the sculpt grey. So...
LETS GET PAINT'N!!
OK you bastards, here we go: PAINTING
For this project, I'm using FW Acrylic Artists Ink. I will put up a picture so you can see (later) but it is widely available and airbrush ready. It comes in small glass jars with eyedropper tops. I mix it in smallish amounts in little cups or film cans.
For the first picture below, I'm laying on a darkish reddish gray color for a base. My plan is to start kinda dark and build up to a lighter tone.
(sorry, my pictures came out a bit contrasty and I had to do a bit of color correction. Please bear with me.)
Here's our friend covered in the darkish grayish reddish color. Notice I covered the eyeballs in a bit of clay to protect them.
I mix a bit of black into the paint and start a bit of shadowing, enhancing the sunken valleys and lowered details.
After going over the entire creature with the darker color, I'm going to pure black and darkening what will be the darkest areas. I've also warmed up the webbing area with a mist of yellow ochre. These paints mix well with alcohol. I thinned out the yellow ochre with alcohol before spraying so it didn't come out too opaque.
Once I'm satisfied with where is is as far as base colors go, my next step is to start to bring up the flesh tones. Our guy is mostly a gray color, but I don't want to simply airbrush gray onto him. I want his skin to be made up of many colors, just like real life. Below I'm using a "squiggly line" technique I learned from my friend Jordu Schell. making multiple passes using this technique with different colors creates a nice sense of depth and realism, even if it starts out like you see below...
To do these fine lines, I take the end cap off of my airbrush. This allows me to get an even finer little line for this squiggly pass:
Now I'm doing it again, but with a sky blue this time. Trust me...it's weird now, but it works in the end.