Monday, September 27, 2010

Recipe: Blood redux


Last week, I posted my blood recipe because I'd had several comments and questions about it in the past. Funnily enough, I seem to have inspired more curiosity and questions than I answered because I've received an entirely new round of email asking for updated photos and a more clear explanation of the actual process as it happens. Funny how that happens. I guess the completed works from last time weren't doing the trick. 

So. Here we are once again. Forgive me if this is old hat.

I still use the last precious drops of the old GW inks for my bloody concoctions: Flesh Wash, Magenta Ink, and Purple Ink (just a little of this last one), which Cassey quite graciously informed me that one can still locate under the Coat D'Arms umbrella. Cheers mate! This is a breath of fresh air, as I've really come to love those old inks, particularly for metallics and for goopy effects like blood.

The Red and Flesh ink are designed to make the blood pigment, but the Purple Ink brings out the deeper, and more gritty, hues of clotting blood. If you let it, Purple will too aggressively dominate you mixture. Perhaps ironically, Purple is not only the most important color, but also the easiest to over-use; I encourage (nay, implore) you to limit it as much as you can.  

Nine times out of ten, this mixture isn't really a mixture. At best, they are improperly blended so that the colors stand individually from one another.  Even when the colors meet on the palette, I try to ensure that they are never fully worked into a smooth new color.

As mentioned last week, I dab a bit of each out with some space between them on my palette so that I can drag them toward a generous base of Gloss Coat (‘Ard Coat, I think they call it) in the middle. The Gloss Coat, if left to its own devises, will keep the individual components of the mixture apart from one another, so I try to stir enough to bring the colors together… but only just.

The application is the real sport to all of this. For this mini, I blotched just a tiny spot of the darker end the mixture here and there, focusing primarily on the recesses. I avoid directly "painting" for the most part, as it will quickly appear that I am doing so, and ruin the random bloody effect to which I'm aspiring. Still, these first couple of blots help set the darker tones in the recesses that the next step might miss.  You can see these here in the deep corners of the neckline and mouth area.

To complete the effect, I dab an old brush until it’s loaded up with my mixture, again being sure not to accidentally stir too much. I’ll take an extra bit of tissue and brace it over any part of the figure that I don’t want spattered, and then blow aggressively against the end of the brush form a short distance.

And there you have it.  again.

Thank you again for the support, and please let me know if this helped clarify what was missing from the previous iteration. Cheers.

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