Alrighty… Space Deadpool time.
I had a pretty specific idea that I wanted to convey on my Señor Massacre model: “This is not a normal person.” See, it’s easy to make models look threatening by putting them in an aggressive or powerful pose. I wanted to go for a more unsettling angle– a character who is moving in a really unusual way, leaving you to speculate uneasily about their mindset.
For whatever reason, the specific way my brain told me to communicate this for massacre was:
- Head hung low, barely looking at his target
- Swords held very loosely, almost forgotten
- Overall, kind of a low-energy pose
Basically, this is a character who spends so much time killing people that it doesn’t even excite him anymore– he’s somehow almost sleepwalking his way through a killing spree.
I dunno. it seemed interesting to me. 🙂
For now, though, I only worried myself about his swords. There’ll be time to refine the pose later on.
I didn’t need to do a full paper mockup or trace anything for the swords– they’re a pretty easy shape to draw. 🙂
Just as with the models themselves, the clay on the weapons needs a putty foundation to stick to the metal. I wrap a bit of putty around the wire, and then lay shreds of clay over top of the still-soft putty and flatten it all together. Throughout the process, I’ll be continually watching the pencil contours to ensure that I don’t stray outside the weapon’s contours.
I continue adding small bits of clay and blending them to the outsides until I’m happy with the silhouette.
My initial concept for the pose evolved a bit over the sculpting process, but at the outset, my idea was to have him lightly jogging forward while dragging the swords behind him, kicking up sparks as they scrape along the ground.
So, with the musculature coming together, I try mocking up my desired pose for the first time and immediately realize a problem– it just isn’t going to fit on a base. The model is already pitched very far forward, which will require planting his feet pretty far toward the back of the base to maintain balance. If I then stretch his arms backward AND drag the swords behind him, they’re going to be hanging over an inch off the base. That will make them very prone to catching on things; best case, the paint will chip over time. Worst case, they could end up breaking off. 🙁
Fortunately, I was vaguely planning around this possibility, and had a backup arrangement to take advantage of the same body pose– instead of dragging the swords, I flip them the other way around and have Massacre cross the swords behind his back.
It’s a different vibe than I was hoping for, but I think it’s still an interesting and fairly odd pose, soo… ehh, I can live with it. ^_^
For no particular reason, the first detail I add is his mask shape. I apply shreds of clay around the edges of where it will sit, and blend them into the head with metal tools before smoothing with clayshapers.
This shot doesn’t serve much of a purpose other than to point out his cute butt. <3
For a similar lack of reasons, I detail in his torso muscles.
This will all be covered up, but… I like sculpting torso muscles. 🙂
Alrighty, actual useful details. Massacre has some weird-shaped plates going down his chest; I apply small bits of clay where the concept indicates, then smooth everything together with metal tools.
More clay is added around the edges of the plates (they’re basically mounted on an apron), and then I smooth everything with clayshapers.
Almost nothing has changed back here, I just really like the rear angle shots of this model. 😛
I don’t remember cutting out a huge number of process steps covering the entire leg-detailing process, but I don’t find it that hard to believe that Nine Days Ago Photo Selection Spud was getting really tired of this and skipped ahead a bit. 😛
Here, let’s add some skippable blocks to catch up:
There we go, all good. 🙂
OMG, nine models in, and we’re still jumping straight to finished holstered guns.
Okay, FINE, I’m going to go look. I have to know. DID I ACTUALLY NOT TAKE PROCESS PICTURES OF THESE HOLSTERED PISTOLS OR DID I JUST CUT THEM EVERY SINGLE TIME?
*goes and opens junk folder of pictures not selected for the article*
Upon review of the evidence, I present to you the following informative chart:
|Sneaky Zero||Took no photos|
|Shushing Zero||Took no photos|
|ORC||No hip pistol|
|Avicenna||Took no photos|
|Kaplan||Took no photos|
|Wild Bill||Took no photos|
|Hannibal||No hip pistol|
|Laxmee||Took no photos|
|Massacre||Took no photos|
I can’t even.
I guess I’m laying out back detail here? Those shoulder pads look new, maybe that’s new in this picture.
It seems new.
Oh, hey, check it out, it’s like two hours of work adding detail to his back with zero progress shots in between.
“I stared disappointedly at the model until the clay gave in and stood where I wanted it.”
SURE, WHY NOT.
Oooookay, let’s try to rescue this mess of a writeup.
Massacre’s backpack is held on by a slightly complicated strap that also connects to his shoulder pads. I lay down the base of the straps with long clay snakes and flatten them, then add additional small chunks of clay to provide mass for the buckles and pockets. I press those into shape with my sculpty pokers.
The backpack is this weird pentagonal shape.
Clay, squish with metal tools, smooth with silicone tools.
I use a flat-tipped metal tool to press in this small window, then add details with a metal pick. I smooth it all up with an angle chisel clayshaper.
Moving up to the head, I add some extra mass to the back of the mask.
Squish, straighten, smooth.
Sculpting the cracks is pretty fun. 🙂 I use a pick to trace out the crack patterns according to the concept art, then smooth the edges with a clayshaper. I then continue with the clayshaper to expand the crack slightly in some areas, as a uniformly-wide crack doesn’t look as realistic as one that implies chunks of the mask have broken away over time.
Because we are, of course, all about the realism here.
Finishing up the back of the mask.
ALMOST DONE THIS MODEL.
GO SPUD GO.
CAPTION LIKE THE WIIIIIIIIIND!
I added a crack on the left side that isn’t on the concept, because I AM AN ARTIST GODDAMMIT AND I AM ALLOWED TO TAKE BOLD LIBERTIES. >:(
SLIGHT HELMET DETAILING
Oh man, the swords are glued on! I have pastable text for this next part!
AND HE’S DONE!
Look, guys, I’m not sorry. I’m doing ten of these f***ing writeups, I had to phone one of them in, if only for my own sanity. 😛
BAM. So awesome. <3
Okay, so, before we go to the next page, I want to warn you: I very intentionally saved the best one for last. The next page contains frankly irresponsible levels of quality work, and I don’t want you to just rush in there and take the whole thing to the face all at once.
Crack the door a bit, let the quality waft in slowly, acclimatize yourself a bit before stepping in.
And whatever you do, never look the quality straight in the eye.
That’s how we lost Tom, poor bastard. ;_;