With my idol painted more or less the correct shade of Jade Green and also sporting the blue undercoat in a few select places, I turned

my attention to the eyes. In the original prop, the eyes shown appear to be glass artificial eyes and their appearance and shiny surface

were the characteristics I was keen to try and replicate. Please note: the profile of a real glass eye is totally different to that of

a painted one and viewing my idol from the side, is not as satisfactory as viewing it from the front - simply because I painted

my idols eyes and I didn't attempt to replace them with 'real' glass one's.


Special attention should be taken of the size of the iris and the pupil in relation to the rest of the eye socket. I also noted that

the actual lineup of the eyes varied in the head (relative to the eyelid) and that there was a sandy residue on the inside of the eyes near the corners.

Using a mixture of White, a touch of Carbon black and scarlet, I painted in the off-white eyeballs without the iris. I didn't take the paint to the

edge of the eyelids because I needed to see what they looked like with the 'missing' areas that ultimately would be covered in the brown residue.

I carefully measured the diameter of the iris and the pupil and drew guidelines onto the off-white eyeball. I paid special attention to avoiding getting a squint!

Looking carefully at the iris its clear that the inner section (near the pupil) is lighter than the outer edge. It also important to note that on the eye

on the right (looking at the above picture) is also slightly darker at the top under the lid. I tried to copy the colors by mixing various shades of brown

(Cadmium Yellow, Napthol Red Light and Ultramarine Blue with a slight touch of black). AVOID the cliche' of the radiating lines that artists so

often put in their eye's because you can't see them. I added a slightly blurred line around the edge of the iris

(where the brown meets the white) and added the pupil

Once the eyes were completed (and before painting on the brown corner's), I started putting on numerous coats of high gloss varnish - slowly building up

nearly 20 coats to try and emulate the very shiny surface of the original's glass eyes


I now turned my attention to the body. This would be a very time consuming business negotiating every inch of the idol's surface. First, I decided to

resolve the issue of the areas where I could see the baby-blue undercoat and on studying the original pictures, I felt that the edges had peeled back

leaving a slightly beige texture on the edge of the exposed area as well as a slight trace of the original gold plating.

Using a varying mixture of browns, beige's and warm grays (all mixed in varying degrees with combinations of Napthol Red Light, Cadmium Yellow

Mid, Ultramarine blue, Napthol Crimson and small touches of Carbon black and white), I applied my paint using very small Number 1 brushes

taking care to scribe the edges and then feather the paint in lighter layers as I moved away from the peeled areas. Its important to note that this is

NOT an exact science but is rather driven by aesthetic satisfaction as opposed to paint-by-numbers formula's. The paint is sometimes thick and at other times

its very watery and I often wipe away access paint using my fingers or a soft rag.

Once I was finished painting all of these areas, I painted extremely thin lines in the inside of some the peeled areas to enhance the edge of the peeling.

Then, as a final touch, I lightly dusted gold over some select areas of the exposed surface using a soft brush and European Gold Rub n Buff

Once the 'peeled' areas had been finalized, I turned my attention to the rest of the figure concentrating on subtle little wear marks, divots and scuff marks.

I studied the original prop extensively and replicated blisters and flecks on the surface and in some places I again used a thin film of Rub n Buff.

To enhance some of the recesses like the nostrils, teeth & mouth I used a darkened wash in the deep areas to enhance the natural effect of cast shadows

Page Four: Golden areas and cracks