(At launch it had 26 skins, the first 15 skins were previous released for Bedrock Edition as the Journey to the West skin pack which were added into the Bedrock mashup pack in the 1.2 update to match the Legacy Console Edition) But if necessary -> a second layer on the lobes.The Chinese Mythology Texture pack has 41 skins in Legacy Console Edition and 41 skins in Bedrock Edition. It is now painted pure with the reddish glaze. Basically like a contrast line/outline to emphasize the front colors.Īnd what I had completely forgotten was the back of the lower lobes. The method is to work from back/underneath to the front. Then along the edges of the fingers and all the hollows. And at the same time a bit darker to create saturation. The still wet paint then with diluted paint a little bit spread.Īfterwards I added some red to the glaze to make the tone itself a bit warmer. This dynamic creates the organic look.īut I started undiluted in the still a bit too light areas. This all sounds like a catastrophe, but the opposite is true. And the colour tone changes continuously. The putty absorbs the paint very quickly. So the base is a very thin, slightly dirty yellow. This skin should look a bit sick and also thin in some places. The inner elements, which should also be bloody, are made with three shades of red and some black. The bone edge is set punctually with the brush in dark red. This immediately gives more contrast and looks like really dry blood. I also added a drop of black to the "shallow" areas of the helmet damage, i.e. The edges of the helmet are applied more or less dry-brushed. Slightly wider than the first red and then always repainted with water to soften the transition. After that, a slightly glazed darker red over the edge. In the end, you get something like a marbling, if you are lucky. This results in this somewhat harder edge on each brush stroke.
Through the short strokes, the colour pigments in the glaze always migrate to the outside, like in a drop of water. Then with very short brush strokes I applied a red, watery, glaze. This gives a depth in the colour which is simply not possible with solid colours.įirst I drew the border "skull | helmet" with a pure red. It is important to apply all colours only by glazing. The supports are set by hand.įor the base color at the open skull parts I mixed a very weak yellow. The orientation is with the back of the helmet towards the printing bed. Whether it prints 14h or 24h does not matter in the end. If I would do it again, I would print it bigger. Just enough to implement something like that. But personally I only know a little bit about Simplif圓D. Surely you can do this in several other programs. We start with the helmet and put it in the middle in position. In the end, it's about the same size in all three directions. You don't have to think a lot about size or orientation in advance. It only took me about three weeks longer than I thought.Īll the pieces of the Facehugger from here: I tried (and failed) oil paint, chipping technique, polishing and a classic wash and adding highlights.īut I am very satisfied with the result. Very fine brushes, very fine paint, some putty. Except the most obvious one: the 3D printer. In the end I made more or less everything with classical tools. It went on for many weeks and a lot of my attempts with different techniques failed. The whole project consumed a lot of time. With much patience and a misuse of the slicer software. Couldn't you then take each part and put it together "somehow"? Yes, you could. On Thingiverse I came across a template that separated every element of the Facehugger. But how? I don't have the skills to draw something like that by far. When I came across the template of Paul Braddock while browsing the net, I had the idea to combine it with a Facehugger. Those movies still have an impact on me.īut before we start, if you like this little project, PLEASE VOTE for my instructable in the FANDOM Contest. As a child of the 80s I am a big Star Wars and Alien fan.