5) Here are the final steps for the background skulls. I use
6) Here are the first steps for the centerpiece, the realistic skull.
my last gray, which is almost black for quick definition and
I didn’t spend a lot of time on the gray skulls because they were
filling in the deepest darkest parts of the work like the pits
not meant to be a focal point, this is the part I really want to
and holes and cracks in the eyes and such. When I’m happy
stand out. I have mixed up six different tones for this skull, using
with that, I pick up black and use it to clean up edges around
white, ochre, transparent copper, transparent oxide, and trans-
the work to make sure it’s fairly crisp and no overspray is left
parent black. I have laid out transfer paper and made a stencil
behind to find later after clear coat.
from a drawing. Trace the skull to the paper and gently cut it
out. Same as before, start with the lightest tone and shade in
the lightest areas of the skull and bones.
7) In these next three photos, I’m using value number two which contains
more ochre and transparent copper to fill in the next darkest area. Most of
the piece will have colour on it now. Be careful to not go too far and cover up
your light tone as it’s easier to add more than it is to repaint an area because
it got to dark.
8) Now using a color that’s made of the trans. copper and trans. oxide, begin
laying in the eye sockets, nasal cavity, etc. This is where it starts to feel like
your getting somewhere because of the little hints of definition.
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