Post image for Kull of Atlantis In Fantasy Dimensions Magazine

Kull of Atlantis In Fantasy Dimensions Magazine

by Alex Castro

Teh full article was written for an international magazine entitled “Fantasy Dimension” Magazine. The article, which includes a cover shot of Kull, was released in the August/September 2009 issue. This article which also featured a cover shot of “Kull”  was a collaborative effort with CS Moore’s Studio’s who provided a special factory casting. Here are just some highlights.

“Kull” 

My general impression of Kull of Atlantis is one of quality. It’s 16 inches in height; well proportioned and very detailed. The pose is athletic but at the same time poetic with a sense of determined purpose. The parts fit well and are excellently detailed. Please note that this is not a kit and will not be sold as a kit. The original painted version can be ordered through a local comic retailer or through CS Moore Studio’s website. It’s strictly limited to 500.

The Priming Process:

When I started painting figures 35 years ago, I found that the problem with most primers, at that time, was that they were out of scale for miniatures and statue painting. These primers caused painters to be at a disadvantage from the start by covering fine details and clogging up the relief. In addition, these primers were only produced in certain colors. This forced me to develop my two-part priming system. Please note that advances in priming and paints may have corrected these issues. I would encourage you to try some of the newer priming products.

After much trial and error I found the Krylon Bright Silver (1401), made a great silver primer. The silver primer covers any color and any material regardless of what it’s made of. It also dries quickly. The silver is extremely fine on a molecular level and in most cases a little dusting is all that the figure will require. The silver also provides a ground for the second part of the priming system. For the second part, I use a white acrylic. However, you can use any color acrylic. It is important to note that since the primer is enamel you can wipe off the white primer without affecting the silver layer below. Another value to the silvering is that it can be brushed on or sprayed on. It can easily be repaired, removed and blended. The primer can be cleaned with thinner. Lastly, once sprayed, the silvering reveals the imperfections on the surface. Please note that this paint should be used with a vent box or in a well vented area. You should also use a spray mask to avoid inhaling the silver particles and gloves to avoid getting it on your hands. Also, this paint is a brush killer, so don’t use your better brushes. Keep a set of old brushes for silvering.

Using Krylon Bright Silver (1401), I spray a small amount of silver on paper. Then with a small sable hand brush, I dab the brush in the silver and hand brush the relief areas. This helps to prevent over saturating the relief areas in the figure when applying the silver. The silver is applied in a thin dusting, in a stroke like manner from upside down to right side up, from back to front. Note that his paint dries quickly so that you must work rapidly. Once the figure is silvered, I review the piece again looking for any imperfections.

The Face

The Face and hair presented a challenge. My approach to painting the face and hair is to bring out the delicate features, but at the same time the strong character Clay has imparted on it. I first start with the face then the eyes. In my approach, the painted face must carry its own weight (even with out eyes). If done well, once the eyes are painted in they will give the face directionality and focus, throwing it over the top.

The Body

This, in my opinion, is where Clay really excelled on this piece. The torso is magnificent. My goal here was to develop this wonderful physic and give it the appearance of real flesh and bones pumping blood through its veins and lower extremities, creating the illusion of soft tissue and at the same time hard as rock muscles. This was no small task. These are just some of the challenges in bring a masterpiece to life.

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