Golden Demon winner Chris Clayton on his jaw-dropping giant diorama

Some of the prizes in the competitive art world are as sharp as Slayer Sword – special prizes awarded annually in the US and again in the UK by Game Workshops. Given annually since 1987 by a miniature producer at the Golden Demon Painting Event, the 5-foot weapon is the dream of aspiring mini-artists. Very few people hold that knife. The latest is veteran enthusiast Chris Clayton.

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Thirty-five years ago, Clayton won the first few victories in painting competitions around the UK, returning when the Games Workshop had only eight stores for its name. Clayton was just 14 when the Slayer Sword debut was awarded. This year it was Clayton’s sword to lift for the great fight he took.

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“For me personally, miniature painting is an escape from everyday life,” Clayton told Polygon recently in an email. “Come back [in 1987]Miniature paintings are young and have very little in the way of instruction or technique, leaving only materials or communities. […] “Even painted thumbnails are rare.”

After 38 years of painting, today Clayton works out what he labels “appropriate studio” where the windows are wrapped with glowing film. Where Citadel paints share space with acrylic paints, oil paints, airbrushes and sable-hair brushes; “And where music can always be heard” to remind or enhance memory, “Clayton wrote.

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This is where this year’s Slayer Sword winner was born and this is where the sword rested.

A giant figure stands on the water with his feet visible from under the waves, holding a krama by his throat.  Kraken hydralike head snaps and flails.  This intimacy reveals the transparent resin in the base as well as the details on the front of the body.

Photo: Game Workshop

The rear view of the giant and stunted statue shows the details of the statue and the stupa hanging from its waist.  The waves seem to be blowing.

Photo: Game Workshop

The right view of the giant statues and graffiti shows the water droplets rolling out of the hydra and the hand tattoo on the giant.

Photo: Game Workshop

“I love monsters and the bigger the better,” Clayton wrote. “They facilitate the scale and, if anything, strengthen the fragility of being human in these worlds. When I created this work, I started to create a story to fit the visual storytelling of the sculpture.

“I imagined a sailor being strangled and floated by his crew for some superstitious maritime misdemeanor. Our Kraken Eater happened throughout this crew. […] The now undead crew negotiated with the giant to travel with him to seek revenge on his former crew.

After the story came the “tired” structure diagram to create a “persuasion of movement, stress and reality” to exclude that time from time. Part of that plan laid the foundation for the intricate foundations of the duel. “It is essential for the success of the whole piece,” Clayton wrote. “I saw some great examples of shipwrecks being submerged and thought it would be nice to incorporate this kind of effect into a fantasy piece.”

The main components of this model come from the 8-inch-high Kraken-eater Mega-Gargant ($ 210) and Kharibdyss ($ 70), which are prototypes designed for the Dark Elves in Warhammer: Age of Sigmar. Re-sculpting, squeezing, and gluing, later Cleton had the bones of the Duke-giant Hydra and all the details of the shallow seabed beneath them.

Giants fight with krama.  This photo was taken before painting and shows where the pattern was modified using saws and putty cutters.

Photo by Chris Clayton

Giants fight with krama.  The front view, taken before painting, shows how Chris Clayton carved textures on the joints between the package-based plastic composites.

Photo by Chris Clayton

For the next 360 hours – 8 hours a day for 10 weeks, when the British spring fell into summer last year – Clayton worked. “I have always loved working with a limited palette, especially on the big and detailed ones,” Clayton wrote. “It will be easy for this piece to become chaotic, so by keeping some of the key colors and then using the colors and shades around those options, I can keep the colors consistent and uniform.”

With the navy color palette “The first part of the piece to be painted is the giant feet and the seabed. That way, if the resin effect is not successful, I would not be wasting my time and effort in painting the whole giant, ”Clayton wrote.

Parliament captured the incident between two animals, but how could he capture water moving with the same sharpness? How?

“I want something more spectacular and stormy where optical precision is paramount because there will be a lot of detail going under the waves,” Clayton wrote. By carving the waves in the clay, Clayton created the silicon mold of the messy surface and “Once the base was completely painted, detailed and finished… I then poured the clear resin into the mold that completely covered the base. “

The closest closure of water - resin poured on the base - of the two big figures in the battle between the Diorama.  The waves are meticulously carved and the water is clear but with bubbles on top.

Photo by Chris Clayton

Clayton wrote that clear silk threads and beads “dipped in clear varnish and carefully positioned” formed air bubbles and dripping water. Once the base was settled, Clayton moved up, exhausted over the fine lines of the white belly that appeared between the scales of the hydra, washing the purple and red into the folds of the giant’s skin.

After working 15 full days and driving to Nottingham, Clayton had a sword in his hand.

When asked, Clayton said he did not think of himself as an artist, but closer to carpentry or ceramics. “I treat small […] Three-dimensional images, and as a result, these are the ways I feel I can fully express myself.

“I am in such a lucky situation that being able to have miniature paintings is an integral part of a broad creative lifestyle. If you had told me in 1987 that I would still be painting in the next 35 years, I would not believe you, but I would secretly hope for it, ”Clayton wrote. “It is now easy to forget that we are so lucky to have lived in an era where what was once a place of conservation of particular passions is now part of popular culture.”

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