Perry Tudor Conversions, Mounted Archers, page 54

[painterman]

Another one-off gem Stuart!!

[Stuart]

It's taken me a while to get to this point in sculpting a reasonably convincing coat, the hardest part of which I've found to be the skirt. If you look back through this thread you'll see that development.

How to do it just comes down to practice but I've found a couple of tricks along the way which I shall share as follows.

Here I'm working on the back half of a skirt having already done the front. It's not really possible to sculpt the entire front and back without obscuring and smudging detail as you go so I do it this way.

I've prepared the figure by filling in the gap from the rump of the figure down to the knees so there's a flat edge for the GS to adhere to rather than a void to fill then sculpt in one go. I then started by rolling some green stuff (GS) to the rough shape required then pushing it up to the belt line and to each side where it joins the already sculpted front.

It's really important to get this part right, move the GS around to the depth and length that you require. I use a wax 5 tool for most of the sculpting I've attempted. For this part, get a bit of moisture on the tool with a very small amount of liquid paraffin cream, this will make moving the GS easier and faster. I put a little on my hand and take more from there as I need it.

To get this shape I use the flat of the blade and push the GS down from the top and out to give a slight bow from the middle to the bottom, don't use too much pressure and work in a series of motions from one side to the other, checking from the sides as you go, you want a good curve or half bell shape. It's important to get the depth right as this will dictate how deep the folds will be.

When you're happy with the starting shape cut off any excess from the bottom, I use a Stanley blade.

[Stuart]

1

[Vermis]

I've made an effort to differentiate the skirt of the coat from that of the infantry by sculpting deeper and greater folds to show the amount and depth of rich material used in contrast to the wool of the lower class foot uniform.

A pedant after my own heart.

The practise paid dividends, I'd say. Very impressive work. (And the painting!) Apologies for not going back over the whole topic, but have you sculpted any full figures?

(Oop. And sorry for interrupting the flow)

[Stuart]

To start the folds I use a tool from a dental scaling kit. I've no idea what it's called but you can get a basic kit quite easily.

I previously used the edge of the wax 5 to create deep folds but this works better as it gives a more linear and gentler starting point.

[Stuart]

2

[Stuart]

Now use the wax 5 tool to develop the folds. It's difficult to describe but I work on each fold by gently pushing it from the top in a left to right motion, first from one side then the other to build a 3D half pipe shape which is tapered at the top.

Then extend this wave into the next fold and so on.

[Stuart]

When working on these 'Waves' you can impart movement or hang of the material depending on the gait or stance of the figure.

Also as you near completion flatten the bottom of each fold from the underside to create a cut off, this will also push a little body from the bottom and make the fold a bit more pronounced.

When you're happy with the folds add a little Nick or gentle line from the top of each fold about one third down to imitate the pull of material where The pleat is sewn to the belt line.

[Stuart]

Front and side

[Stuart]

Here's the rear view of the painted figure above. It is in a more active pose so I have sculpted the skirt to hang in the stance / lean of the figure.

Once the skirt was done I then added a little GS on the front and back from the hem up. On the back here I have squared off the neck line and put a join in the middle back where the jacket parts were sewn together.

[Stuart]

Vermis I have attempted to but not with any meaningful result. I find this way gives me a ready made and proportioned dolly to add to.

[jim rae]

A little off-topic, but perhaps quite relevant regarding this particular period is the excellent novel (well, series actually) is C.J. Sansom's 'Heartstone' where part of the novel covers the sinking of Henry VIII's flagship (?) Mary Rose which was loaded to the brim with troops - particularly longbowmen. Now, in the novel, Sansom goes into considerable detail (after his usual meticulous research) on the army of Henry VIII - particularly in the área of their weaponry, training and day-to-day life. Personally, since reading this particular book, i've always had an urge to do something in this period. Probably why your work is so inspiring! Keep 'em coming! 

[Kingscarbine]

Lovely conversions and great painting. Keep up the good work.

[commissarmoody]

I love the Yeomen of the Guard. Apparently one of my ancestors was one of the Guards of Henry VIII. Only reason we know this was because the got titled 'Sir' and was given a house and pension after saving this Henry's life. It wasn't any thing to glamorous I am afraid. King was drunk and feel into a stream an almost drowned. Edmond Moody used his pole to jump across the stream and drag the Royal person out.  

Of course I my family is very much removed from any person of that might own any clime to the title, but I thought it was a good read when I found out about it. Ether way, would be an excuse for me to make some Yeomen and maybe even A young up in comer with the Family coat of arms.

And thank you for the book idea Jim Rae, I will have to check out Mr.  C.J. Sansom's 'Heartstone' series of books.

[jim rae]

Commissarmoody, the series is within the Shardlake series.

Here's the link to the (essentially correct) Wikipedia entry for Sansom:

https://en.wikipedia.org/wiki/C._J._Sansom