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Reproduction Fish Blanks Scale Texturing and Prep-Work

Protectthe eyes fromover-painting byapplying a ball ofclay over eacheye. This is anon-hardeningoil-based claycalled Roma Eye Pro-tect can also the clay inplace until theentire eye is cov-ered out to will beapplying threecolors to the fishblank, the firstcolor being RichBrown. This color is applied heavily along the back, medium along theside, and lightly along the belly. All coloration along the body shouldbe extended through the head as darkness decreases as you move down the sides of the I am applying Rich Brown lightly as I reach the belly 42 BREAKTHROUGHI ssue 63IF YOU CAN PAINT A GOOD NATURAL fish , YOU CANpaint a good Reproduction fish .

Reproduction Fish Blanks Scale Texturing and Prep-Work by Dan Rinehart. BREAKTHROUGH Issue 63 Page 43 7. A medium coat of Rich Brown is “angle-sprayed” on the front and back of all fins. Notice that I am applying the Rich Brown from the side of this fin. …

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Transcription of Reproduction Fish Blanks Scale Texturing and Prep-Work

1 Protectthe eyes fromover-painting byapplying a ball ofclay over eacheye. This is anon-hardeningoil-based claycalled Roma Eye Pro-tect can also the clay inplace until theentire eye is cov-ered out to will beapplying threecolors to the fishblank, the firstcolor being RichBrown. This color is applied heavily along the back, medium along theside, and lightly along the belly. All coloration along the body shouldbe extended through the head as darkness decreases as you move down the sides of the I am applying Rich Brown lightly as I reach the belly 42 BREAKTHROUGHI ssue 63IF YOU CAN PAINT A GOOD NATURAL fish , YOU CANpaint a good Reproduction fish .

2 The only difference in painting thetwo is the Prep-Work required on a Reproduction prior to skin-dried fish ready for painting has a natural tone that combinesvarying intensities of gray, brown, and black (undertone coloration).Even though all the color of a fish disappears during the drying, thisnatural undertone coloration remains and provides a textured back-ground over which transparent colors are applied. This undertone isknown as the vermiculation-patterning and provides the patterning thatmakes a painted fish look to Reproduction fish , a plain white fish blank does not have thisvermiculation undertone.

3 Thus, achieving a natural appearance on anyreproduction requires first re-creating this vermiculation undertone. Fortunately, re-creating this undertone is quite simple. Let s take a closelook at how I do , all fish Blanks produced in a mold require a release agent beapplied to the surface in order to remove the fish blank. Thus, the fishblanks that you purchase are likely to still have all or part of this releaseagent remaining on the surface. Paint will not adhere to this releaseagent, and it must be removed. I simply use a cloth and lacquer thinnerto wipe it away.

4 Note: be sure to wipe the entire head, body, and it is time to prep the blank to accept paint. To achieve this,a sealer coat must be applied. I prefer using Lifetone paints, so I sealthe fish blank with Lifetone Basecoat Sealer. One good, even coat isenough. The sealer usually requires approximately 5 to 15 minutes dry-ing time (depending on how heavily it was applied).REPRODUCTIONSR eproduction fish BlanksScale Texturing and prep -Workby Dan RinehartBREAKTHROUGHI ssue 63 Page medium coat of Rich Brown is angle-sprayed on the frontand back of all fins.

5 Notice that I am applying the Rich Brown fromthe side of this fin. This angle-spray creates a natural textured appear-ance by coloring only the protruding rays. The recessed part of the finremains unpainted, creating a contrast along the fin next color to be applied is Silver Metallic. Apply SilverMetallic with the same intensity and application in the body and headareas, heavier along the back and decreasing as you move to the a very light mist coat is applied to the fins. Note: Silver Metallic isused when painting a fish that has a silvery base.

6 Some trout have agolden base, so Gold Sparkle should be used in place of Silver Metallicon such the Silver Metallic is applied, Jet Black should be appliedon the body and head, from the top of the back to the belly (again, de-creasing in intensity toward the belly). Remember how and where I ap-plied the Rich Brown? Well, I have done the same with the Jet Black is applied heavy along the back, medium along the side, andlightly along the to the Rich Brown, angle-spray Jet Black on the fins,leaving the belly fins colors that create the vermiculation undertones are comes the fun part.

7 We want the undertones to remain, but onlyin the recessed areas, so I use steel wool to rub off the excess color. Thesteel wool should be rubbed in a circular motion ( wax on, wax off ) toevenly remove the color. Rubbing back and forth will result in unevenremoval of color and unnatural lines. I use two grits of steel woolthroughout the fish . First, I do the rough removal of color with #2medium-coarse steel wool. After the majority of removal is complete, Ismooth the vermiculation undertones with #000 extra-fine steel extra-fine smooths everything together.

8 This photo shows the headcomplete and using the #2 steel wool to move on to the rub steel wool to the head juncture, but not beyond. Do notrub the top of the head with steel wool. Trout heads have a smooth ap-pearance and should remain that 44 BREAKTHROUGHI ssue have rubbed the entire length of the fish with #2 medium-coarse steel wool. Now I am using the #000 extra-fine to smooth every-thing. You can see that the head and body have regained the naturalvermiculation undertones. Now it is time to work on the adipose fin should remain painted and untouched with thesteel of the fins is accomplished with a wire brush ortoothbrush (depending on the texture you desire).

9 First, dip the brush inlacquer , dab off the excessive thinner on a towel before movingon to the , rub with the rays, allowing the brush to remove somepaint lengthwise along the fin. Do this on all Texturing is completed and the natural vermiculation un-dertones create a natural base on which to begin color paint want to quickly touch on toning artificial heads. This photoshows how the tone of an artificial head is nothing like the natural toneof the original fish skin. If you were to paint this fish without toningthe head, the fish would end up with a plastic-looking head and a nat-ural looking body not a good combination.

10 The head must be tonedand textured in the same fashion as a Reproduction fish blank. The dif-ference is that you want the toning only in the head tape is used to mask the natural skin area. First, applymasking tape along the edges of the gill 63 Page the masking tape is applied, use a scalpel to trim alongthe edges of the gill the masking tape is trimmed along the edges, remove thetape from the head, exposing the artificialhead. Now the head can be painted andtextured to match the natural skin withoutchanging the tone of the natural note: fish will vary in regard toundertone darkness and lightness.