I just have one thing to say today. Happy N7 Day!
We’re almost to the end! The last post, Other Garrus Armor Pieces, talked about foam armor building. This one shows how I went about sealing, priming, painting, and detailing all of the armor pieces.
Foam armor is amazing stuff, but painting it is not a quick process! If you try to paint it without sealing it first, the paint will just soak right in and you will not be able to get the effect you want. I also recommend a primer before painting, but I’ll get into that more below.
Hello again! The previous post, Building Carapace Armor for Garrus, started us in on the armor making process. This one’s mainly going to be a series of pictures showing the foam builds for the other pieces of armor.
Lumping the remaining armor pieces into one post in no way implies they were much less complex than the carapace itself! In fact, the main reason I’m covering them in one single post is because I was getting down to the wire and only occasionally remembering to stop and get pictures. I’m sorry about that!
Welcome back! In the last blog, Getting Garrus’ Eyes Right, I showed the process of finished up the mask. Now, we’re on to the armor!
This was the first time I’d ever made armor for a costume, and I admit, I was pretty nervous about how it was going to turn out. Fortunately, there are many amazing costumers on the Internet who’ve written up tutorials, posted on forums, and created videos showing how they’ve made their armor.
I made mistakes, and definitely have a few things I’d do differently if I were to make this costume over again, but overall, he turned out far better than I’d hoped.
The previous post, Garrus Mask Neck Building, covered how I made the neck on my Garrus mask. This one is entirely about eyes.
As many artists will tell you, the eyes of a character are one of the most crucial things to get right in a painting. This holds true with costuming as well! I knew from the start that Garrus wouldn’t look the way I wanted if I used my own eyes, partially because of the position of the head and neck, and partially because human eyes look nothing like turian eyes.
To that end, I designed the mask with the idea that I would be making false eyes. This turned out to be a challenge to get right.
In the last post, More Garrus Mask Work, I showed how I sculpted and cast the lower jaw and mandibles for my Garrus mask, as well as the beginning part of the neck. This one will cover the paint job, a very important step – and definitely the one that makes this mask start looking like a proper turian!
The mask is painted in acrylics, all done with a sponge (and a little bit of paintbrush here and there). No airbrushing. I’ll be the first to admit, this is not normally how you’re supposed to paint latex! In this case, acrylics work because the mask is not at all flexible. It has enough interior support that it’s almost as rigid as plastic, hence, no bending points that would make the paint crack. Because it’s stippled on with a sponge, it won’t peel off like it would if applied entirely with a paintbrush.
In the last blog post, Molding and Casting Garrus’ face, I showed you how I made the mold and cast the top part of my Garrus mask in latex. This one will cover some additional mask pieces. I won’t go into quite as much detail about the molding and casting process, since I covered it pretty thoroughly before. I’ll also show how the top part of the mask attaches to the bottom, and get to the beginnings of the neck build.
In the previous post, Sculpting Garrus’ Face, I showed how I sculpted Garrus’ face. This blog will show how the sculpture went from clay to latex, and the continuing process of building the mask.
I decided to make a one-piece mold for the face. Before starting to make the mold, I needed a base to catch the plaster runoff. I started by building a wall of cardboard pieces around the base of the sculpture, attached with hot glue.
In my last post, Garrus – Planning and Concept Sketches, I showed my concept for building the mask – the front/top head piece was going to be separate from the lower jaw, neck, and mandibles. This post will show how I started to build the support structure for the mask, as well as the sculpting process for the top of the head.