Detailed layout drawings, toned for proper modeling in two ...Detailed layout drawings, toned for proper modeling in two sizes. Packet contains anatomi-cal drawings and facts to help

Detailed layout drawings, toned for proper modeling in two sizes. Packet contains anatomi-cal drawings and facts to help you to achieve realistic tooling and coloring results. Twelve

COPYRIGHT 2008 PAUL BURNETT �- ALL RIGHTS RESERVED

COPYRIGHT 2008 PAUL BURNETT �- ALL RIGHTS RESERVED WILDLIFE STUDY�ROCKY MOUNTAIN BIG HORN RAM 2

BRAND NO. COLOR PAINT CONSISTENCY NORMAL THICK THIN X-THIN

Delta Ceramcoat 2505 WHITE X X

Delta Ceramcoat 2035 FLESH TAN X X

Delta Ceramcoat 2054 GOLDEN BROWN X

Delta Ceramcoat 2050 MOCHA BROWN X

Delta Ceramcoat 2457 DOLPHIN GREY X X

Delta Ceramcoat 2030 BURNT SIENNA X

Delta Ceramcoat 2090 HIPPO GREY X

Delta Ceramcoat 2023 BROWN IRON OXIDE X

Delta Ceramcoat 2104 FJORD BLUE X

Delta Ceramcoat 2527 DARK BURNT UMBER X Delta Ceramcoat 2506 BLACK X

Deep Pitch Bevelers also available from Hide Crafters

A99 F898 F900

Robert Beard Pro Series Barry King fine checked

Backgrounders

GENERAL BEVELERS

SPECIAL BEVELERS

F902 F976 B936 B701 8039 Model Spoon

TOOL LIST

PAINT LIST The paints that were used to paint this ram head are available at most craft stores i.e. Michaels�s, Hobby Lobby, Ben Franklin etc. etc. Included with this packet is a BONUS SHEET �Painting Terms and Techniques�. You should read and study that in order to better understand this chart and the painting Instructions given in this packet.

A

WILDLIFE STUDY ROCKY MOUNTAIN BIG HORN RAM

Copyright by Paul Burnett 2008 No part of this publication may be reproduced or used in any form or by any means : graphic, electronic, or mechanical includ-ing photo copying, recording, taping or information storage and retrieval systems without written permission of the copyright holder or publisher.


4 X 6 LAYOUT

CARVING AND MODELING LAYOUT

EYE DETAIL

DIRECTION OF FUR FLOW

This is a toned drawing of the eye to guide you in painting the eye. It is differ-ent that the modeling toned drawing. This shows High Light, Halftones and Shadows. Whereas, the modeling layout shows the shaping of the eye.

Dark Black lines are cut with swivel knife - the tones are modeling guides.


Transferring the layout to the leather: A transferred layout is a guide. It should be made carefully to insure proper cutting, but that doesn�t mean that it can�t be changed if in error. Notice that there are no dashed lines to indicate modeling. The major shapes of the animal are indicated with light lines to give

Notice that I only transferred the an-nual rings and a few other directional lines on the horns. This will be enough to guide me in modeling of the horns later.

The coarse hair outline is just indicated with just enough little short lines to tell me that they should be cut small and tight. You will not cut exactly as you have them marked. You will free hand them.

These coarse hair lines are indicated to cut them a little longer and coarser than at the top of the head. Compare with the swivel knife

phase below.

These annual lines are cut into the horns only slightly.

Notice the light and variable depths of the cuts in the interior of the animal.

These three annual lines are cut really deep because they will be lowered when the face of the ram is beveled.

Cutting in the pattern: The swivel knife work is to prepare the leather to be tooled. You don�t have a �tooling pattern� until it is cut. The cutting phase is the time to make changes and to correct errors that might have occurred when transferring the layout to the leather. You cut from the mind�not the layout

Notice carefully the changing angles of these tiny light cuts. They are points so they are cut from outside to the inside of the animal.

These are cut a little larger than the one above but they are still cut close together.


General Beveling: Bevel the foremost object first, is the general rule. Use the largest beveler that is pos-sible is another. Use the figure carving beveler for the interior features around the mouth. I used a smooth deep pitch beveler to carefully bevel the eye. A regular beveler will flatten the eye ball. If you don�t have these special tools, then use a modeling spoon. It is important to keep the eye ball round.

Notice that this is the only place where the interior horn rim is beveled. That is because it is set back from the face.

The other interior rims of the horns will be done with a modeling tool later.

Nostrils, like the eye can also be done with a model-ing spoon. I used the figure carving bevelers around the mouth.

This line is double beveled

Using the pointed bevelers: Pointed bevelers are special bevelers designed to bevel points where regular bevelers can reach. When you have only one point to bevel there is no need to walk the tool so the pointed beveler that best fits the point is used. When there is a series of points, such as fuzzy outlines to indicate course hair, then the F902 is walked. The point needs to be fine. Many F902 are poorly made and

Used V976 to bevel these points

A F902 is walked repeatedly down the many cuts to bevel this coarse hair.

F902 is walked repeatedly down the tiny little cuts. Notice the changing an-gles. Bevel lightly

Bevel a little deeper on the outside.


Modeling the major forms: Make sure your leather humidity is correct for modeling. Use the standard pointed modeling spoon (8039) to bevel the major forms of the rams head and body. Use a smaller pointed modeler for the more delicate work of the mouth, nose and eye. Use the point of the 8039 to push for-ward to make the scalloped edge of the horn as indicated by the arrows. Bevel or

Use the stylus end of the modeling spoon to add the additional rings or ridges of the horns. I prefer the ones with a curve like the older modelers have. A balled stylus will work also.


Modeling and texturing the horns: With the stylus end of a modeling spoon or balled sty-lus texture the whole horn with tiny little circular scribbles. Your tooling impressions will not hold if your leather is too wet during this procedure.

ENLARGED VIEW

ENLARGED VIEW

Still using the stylus make a series of linear lines following the flow of the horns as indicated by the arcs. These lines should not obliterate the tiny circle beneath them, but they should alter the look, changing it to knobby and checkered textured.


Texturing the fur: To texture the fur I used a fine pointed stylus (make sure it is not too sharp or pointed � you don�t want to tear the leather). On the head you will use very short strokes following carefully the hair growth direction. I have given you a guide on page 3. I have also enlarged the view so that you can see the texturing. You will use this almost like you would use a pencil should you be trying to draw these

When texturing the fur of the body, start by laying out a few directional lines so that you have an idea of how the lines flow. The fur is made by back and forth strokes with the stylus. You will apply most of the pressure as you pull the tool towards you, so work from the back to the chin and jaw. They are somewhat over-

Make several strokes about this long and at varying angles.

Then add another set

Keep adding and changing angles

All line flow into the lines that were first indicated.

I used the small end of the new Tandy 8039-05 pro petal tool to slightly un-dercut the nostrils. Not necessary but it helps. The arrows indicate the direc-


THE ROCKY MOUNTAIN BIG HORN RAM TOOLING IS NOW FINISHED

Finish the carving by back-grounding the area around ear and horn with A99. Then matt the background with F898 and F900. Remember that matting should be done in almost dry leather. Sign your work.


LIGHTS Wet and wipe #5 brush; tip load with NORMAL WHITE. Paint the muzzle of the sheep. Using the dry brush technique, mean-ing gently wipe twice with paper towel, in order to take just a little more mois-ture out of the brush, paint the high lights on the horns, eye and fur.

Wet and double wipe #5 brush, tip load with NORMAL FLESH TAN; using dry brush technique, paint in the light area of the sheep. You will probably be able to better see just where these areas are by looking at Step 3, after the wash was applied. You can paint the inside of the nostril with pink or just forget about it all to-gether as it will be pretty much covered before the painting in complete. I used FIESTA PINK, which has been discontin-

Wet and lightly wipe a #8 brush; load with THIN GOLDEN BROWN and apply a wash over the entire sheep except the muzzle. You can bring it into the muz-zle by slightly overlapping the white around the edges.

STEP 1

STEP 2

STEP 3

COLORING THE ROCKY MOUNTAIN BIG HORN RAM


STEP 6

STEP 5

STEP 4 LIGHT HALFTONES Wet and lightly wipe #8 brush; apply a wash of THIN MOCHA BROWN over the entire sheep except the muzzle the same as the previous step. Wet and double wipe #5 brush; tip load with THICK DOLPHIN GREY and enhance the highlights and add the grey halftone areas in the muzzle.

DARK HALFTONES (Step 5)

Wet and wipe #5 brush; tip load with NORMAL HIPPO GREY. Paint the dark halftones areas. You will approach this by starting in the shadow areas then blend the paint out into light halftone areas. Be careful not to take it so far that you destroy the light halftones. Darken the grey areas in the muzzle. Step 6: Repeat Step 5 with NORMAL BROWN OXIDE, but extend beyond the Grey color a bit, but still leave light half-tones. Wet and lightly wipe #8 brush, load with THIN DARK BURNT UMBER and apply a wash over the sheep as was done with the two previous washes, staying off the

Background Step 1 You can begin the background now. Wet and wipe #8 brush and normal load of THICK FLESH TAN paint the whole background area. Try to get a fairly even coat, particularly at the bot-tom half of the picture.

Background Step 2 Wet and double wipe #8 brush; normal load with THICK DOLPHIN GREY�.starting from the top, blend into the tan area about halfway down by dabbing or patting the brush.


DARKS (SHADOWS) Wet and wipe #5 brush; Tip load with NORMAL DARK BURNT UMBER. Carefully paint in the darkest areas or shadow areas of the sheep. Wet and wipe #3 brush; Tip load with THICK BLACK paint the iris of the eye and inside the nostrils. Notice that iris is almond-shaped (see details, page 3). It is important that the iris is placed properly. He is looking back and down preparing to butt heads with another. That is also why his

teeth are showing a bit. It is all a part of its charging attitude, and important to the story of the picture. Wet and wipe #3 brush; Tip load with THICK WHITE lightly restate the brightest highlights. Notice that the whole muzzle is not again painted white, but only the areas most in the light. Sequent your eye a bit and you will see which areas I am discussing. Also notice that the high lights in the eye are not really white, but delicately applied so as to be somewhat trans-parent. That is especially true of the �catch-light� just above the iris.

Background Step 3: Wet and double wipe #8 brush; Tip load THICK FJORD BLUE and pat-blend from the top corners into the Dol-phin Grey. If you need to, restate the blend from the bot-tom with Flesh Tan again.

STEP 7

NOTE: This 4X6 carving is different from the larger cover piece. You will never get exactly the same look from carving to carving, nor will yours look exactly like mine. But I hope that I have given you enough information to realistically carve and color this magnificent animal.

Documents

Detailed layout drawings, toned for proper modeling in two ...Detailed layout drawings, toned for proper modeling in two sizes. Packet contains anatomi-cal drawings and facts to help