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Shanna, The Jungle Queen
- Thread starter Greg Kimsey
- Start date
Greg Kimsey
Well-known member
I did some prep work before breaking out the oil paint. This is all done with airbrush, and probably will be the last airbrushing she gets. Never say never though, but it is my plan to use a paint brush from here on. These are the colors I have used for this stage.
First, I used red where I wanted some warmer tones...
Yes, she has scars on her leg, probably from a panther.
Next came a transparent layer of burnt sienna. She lives in the jungle, and despite being blond she is probably as tan as a berry.
The dark areas are REALLY dark, so to lighten everything up I mixed airbrush medium (not pictured), airbrush thinner, and a little white to make what I think some figure painters call a filter.
Next, I used the beautiful Quinacridone gold (now discontinued so this bottle is precious since nothing can replace it that I have found) to paint her hair, cloth, and arm wraps, as well as some golden areas on the skin.
Once again, the burnt sienna is sprayed lightly and burnt umber brings out some muscle and hair detail. I went back to white to reinforce some sunlit upper surfaces of the skin The final touch was I added straight red back in where blood is close to the skin surface or where she might be sunburned.
That's it! I will let this cure a couple of days before going further with oil paint.
First, I used red where I wanted some warmer tones...
Yes, she has scars on her leg, probably from a panther.
Next came a transparent layer of burnt sienna. She lives in the jungle, and despite being blond she is probably as tan as a berry.
The dark areas are REALLY dark, so to lighten everything up I mixed airbrush medium (not pictured), airbrush thinner, and a little white to make what I think some figure painters call a filter.
Next, I used the beautiful Quinacridone gold (now discontinued so this bottle is precious since nothing can replace it that I have found) to paint her hair, cloth, and arm wraps, as well as some golden areas on the skin.
Once again, the burnt sienna is sprayed lightly and burnt umber brings out some muscle and hair detail. I went back to white to reinforce some sunlit upper surfaces of the skin The final touch was I added straight red back in where blood is close to the skin surface or where she might be sunburned.
That's it! I will let this cure a couple of days before going further with oil paint.
Like all those muscles coming to life. :
Greg Kimsey
Well-known member
First round of oil paints are applied and need to dry. I did not use a lot of thinner as it did not seem to be working well when I tried. Instead, I painted VERY thin layers with a sable flat and a sable round #6, going back and forth between brushes to whichever one worked best for the area I was painting, softening all edges as I went. The colors I used were Titanium White, Azo Yellow, Cadmium yellow deep, Pure Orange, Vermillion, Cobalt Violet, Cobalt Green, Raw Umber, and Transparent Earth Red. I used the green as reflected light mostly as if it were bouncing up off of the jungle ground to illuminate her shadow areas. The violet neutralized the yellows and oranges, reducing their intensity. The skin tone mixes were White with a touch of orange, next I added a little vermillion to that, next I added violet to that to create the transition tone, and finally raw umber and vemillion for the dark flesh.
For the hair I used the two yellows, adding white as needed for highlights and violet for shadows.
The bikini will (hopefully) simulate crocodile hide.
The arm wrap was going to be woven grass, but it looked dumb in green, so the grass is more straw like than green grass.
I did not spend much time on the face this session, mostly laying in a second base for future layers.
For the hair I used the two yellows, adding white as needed for highlights and violet for shadows.
The bikini will (hopefully) simulate crocodile hide.
The arm wrap was going to be woven grass, but it looked dumb in green, so the grass is more straw like than green grass.
I did not spend much time on the face this session, mostly laying in a second base for future layers.
Heavens Eagle
Well-known member
Looking good so far Greg!
AndyFettes
Master at Arms
Gorgeous !!!!!!!!!!!
centaur567
Well-known member
The sculpting and the painting is excellent. Gary S.
Greg Kimsey
Well-known member
A little more paintwork today. First I did a Transparent Red Earth glaze over the skin. Then using light and medium flesh mixtures I lightened some of the top facing planes and added muscle definition. Using Cerulean Blue, Cobalt Green, and white I strengthened the reflucted light on the down facing planes. I did various washes on the base. It is wet so it looks shiny. Hopefully it won't when I finish.
Hubba Hubba! 
Greg Kimsey
Well-known member
I know. She is not easy to work on…Hubba Hubba!
Greg Kimsey
Well-known member
I have been working above the belt tonight and spent a LOT of time on the face and hair. I began by putting a light coat of retouch varnish where I was painting to help with blending. I am hoping to add some "richness" to the flesh tones, but I really am not sure how to do that or even what it means. On a figure painting site I frequent that is the most common comment I get. "I wish the skin tones were richer, but the blickey blah is awesome!" I look at the show winners and marvel at the richness and depth, but honestly don't know, like...KNOW, how to do it . I am guessing and winging it. I worked two hours on the face alone. Shadows, highlights, cast shadows, mid tone transitions, blood close to the skin, reflected light, all of it trying to guess what "rich" skin looks like. I worked on the eyes a lot trying to show the round convexness of the eyeball (light at the top, shadow at the bottom) while illuminating the iris to show its concaveness (light at the bottom, shadow at the top). The eyelid casts a shadow at the top of the eyeball due to its thickeness, while the lower eyelid edge reflects light into the lower eyeball. The inner corner tear duct is red, but not tooooo red. These are all of the things I am thinking about as I paint her (or any figure). All of this happens in a micro space. It is part of the fun though. She is a little shiny from the medium.
Oh, btw, I think she is wearing the panther claws that gave her the scars on her leg as a necklace. Just a small bit of "what if" to give the scars some extra story.
Oh, btw, I think she is wearing the panther claws that gave her the scars on her leg as a necklace. Just a small bit of "what if" to give the scars some extra story.
I don't know how much better this can be. But I don't have the eye for color like you real artist have. Trust your instincts. 
Greg Kimsey
Well-known member
The airbrush has all been covered now. I use it for a base to see where my lights and darks should go, but it is uaually obliterated when I am done with the oil painting part. People ask me why I do it if I am just going to cover it completely. I just do.
Greg Kimsey
Well-known member
Question: do the leaf shadows work or not?
That's interesting, how close will the leaves be?
Greg Kimsey
Well-known member
I had not planned on them being seen, as if the tree canopy is above her. It is possible I can add them to the base.
