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Guindyloo

House Figmentius
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Guindyloo last won the day on November 14 2017

Guindyloo had the most liked content!

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About Guindyloo

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    Xenomorph Queen
  • Birthday 08/22/1982

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    https://www.facebook.com/jennifer.bland.75

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    Female
  • Location
    New Orleans
  • Interests
    I like xenomorphs, painting minis and goblins.

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  1. Guindyloo

    Reapercon 2018 Enthusiasm and Chatter

    I know you are. I meant to ask you for pointers last year but for some reason only getting a cumulative 12ish or so hours of sleep through the entire trip made my brain not function particularly well. Or, at least worse than usual.
  2. Guindyloo

    Reapercon 2018 Enthusiasm and Chatter

    Doug I can't take your class even though I obviously really need to because I already have a class scheduled at that same time. I hope you won't mind when I sadly squeak out "help" while shoving my phone at you. Just so you know, I'm not above bribing you if you want to drop some hints.
  3. Guindyloo

    Crowley's Cassie needs help

    This is one of the reasons that I prefer to paint metal miniatures. It's not all about the casting quality, as a lot of Bones figures come out near the same quality as metal ones. For larger pieces where I know I'll be handling them a lot, I don't mind starting off with the very dark Brown Liner because I know that it's going to benefit me in the long run by keeping paint from rubbing off and preventing the beading up issue. But it's a massive pain on human sized figures. On future ones, experiment with mixing Reaper's brush on primer and Brown Liner. It won't give you the same protection as straight Brown Liner, but it does cut down on the beading up and gives you a grey colour to start from instead of the dark brown. It's hard to tell for sure because your picture is a bit grainy, but your paint looks thick to me. Either you're not sufficiently thinning your paints from the start (which is tricky business and thus understandable) or you're putting on too many coats. There's this lasting "standard" that tells people that they need to put multiple coats of paint to get a solid colour and I agree with that sentiment for the most part when it comes to basecoating - so long as the paint that you're basecoating with isn't too thick and there are even some instances where I don't bother with a solid basecoat because I know that the highlighting is going to bridge the gap - but that's only when I've primed with white. But even your application of Brown Liner looks too heavy to me. You don't need anywhere near so dark of an application of it to get the Brown Liner benefit. If you start your prime too dark, then you have to put on too much paint to basecoat and everything after that contributes to a heavy look. If you are not already using a wet palette, you need to try one out. Homemade ones are fine, but the regular Masterson palette is like $10 on Amazon, it's not a huge investment. I don't know if you have one already, Crowley; that's general advice that I would give to anyone that I see struggling with thinning paints. It's way too hard to judge paint thinness in a well palette, IMO. I know space is an issue for you, but I personally don't use a wet palette with keeping paints for another session in mind because they tend to become too diluted overnight for me. It's all about keeping paint from drying out on me during a painting session and being able to actually see the consistency of the paint. When I take my paints with me away from home, I make a little makeshift wet palette with a little plastic tray (it's about the size of a CD case, and has a flat bottom and the sides are like half an inch high - I got it from a party supply place,) a couple of folded up paper towels and a square of parchment paper. It's great for a single use, then I can toss the parchment and paper towels when I'm done. That heavy look also contributes to the tendency of skintone shades to go chalky or grainy. And I agree with Cyradis, play around with different additives to see what works for you in that respect. I have had good results with adding a little bit of matte brush on sealer to skin tone paints to even out chalkiness, but it's definitely a YMMV sort of thing as that issue can vary from paint to paint and even bottle to bottle. Where I'm going to diverge is in telling you that contrast is not what I think you need to be working on with your chosen example is what you're going for. In order to achieve that look, you need to focus on blending and brush control. Contrast is definitely important overall but if you don't have the blending down, all the contrast in the world is not going to get you where you're trying to go. I could drybrush on an entire spectrum from black and then 10 steps all the way up to white, it still wouldn't give me the result that I'm looking for if what I'm shooting for is something very smoothly blended. Because the trick with a smoothly blended style is to achieve that beautiful, subtle transition from the dark to the light to the point that you can't tell where one colour ended and another began. It's not just about the contrast, it's about hiding the contrast so that your eye doesn't see two different colours, it sees one colour that's being hit by light or shadow. That's not an easy trick to pull off. Sometimes I manage it and sometimes it just looks stripey. To further complicate things, there is not only one path to travel down on a journey to achieving smooth blends. The most popular method is layering, but most popular does not mean it is the easiest method for YOU. If you haven't already watched Kuro's layering video on youtube, definitely check it out. But then also in the youtube search, type in "Vince Venturella blend" and that's going to give you multiple videos that Vince has done on different blending methods. Start with "Hobby Cheating 107 - How to Achieve Smooth Blends" it is a 40 minute video but it covers multiple methods and I think that anyone struggling with blending should give it a watch. Explore the other videos if you need a topic explained further with his dedicated videos on things like Wet Blending, Glazing, Loaded Brush, etc. I highly recommend watching all of Vince's videos and subscribing to his channel. (Just to be clear, I don't know Vince, I'm pushing his channel because I think he makes great videos.) Figure out what method works easiest for you and work on that. What I found worked best for me was actually to practice multiple blending methods because I found that some methods worked better with different surfaces and different paints work better or worse with certain methods. One of the greatest tools that you can have in your toolbox is adaptability and you can only gain that through purposeful experimentation. This is something that, IMO, is super important for anyone who's transitioning from painting solely for quick tabletop use to actively working toward a particular style's standard. There's nothing wrong with painting to a tabletop standard and using tabletop methods to get a figure painted if "painted" is your goal. But if your goal is instead a particular style ("display level" is a broad term that encompasses a broad variety of styles) and especially a particular standard of a particular style, then you need to be able to adapt away from tabletop methods. It may be controversial to some people to refer to methods like drybrushing, washes, using paint recipes, etc. as tabletop methods, but I personally think that anyone who doesn't acknowledge that such methods are employed to make the process faster to get figures done and on the table is probably not being entirely honest with themselves. I know that sort of opinion ruffles people's feathers and expressing such things is an easy way to get yourself labeled an elitist snob and so since this is not a thread where I'm painting alongside Buglips, I want to be really explicitly clear that there's nothing wrong with painting for tabletop and/or employing such methods. There's no wrong way to paint and your hobby is your hobby. I know that Crowley knows this is what I think already, but in case there are any random wanderers, I don't want anyone to get the wrong idea or worse, to think less of themselves just because tabletop painting is their hobby and they have no interest in aiming toward any other style or improving on a certain level of tabletop painting. You belong in this very broad hobby no matter what your preferred method is, but if you want to paint a certain style and you want to improve to a certain level of that style, then you absolutely have to be honest with yourself about what your current skill level is and the amount of work you're willing to put into attaining anything different. That's my very long-winded way of delicately transitioning into the "brutal" portion of my critique, though I hope you won't feel brutalized by it. But because you're so used to painting for tabletop, I think you're also used to painting a little haphazardly so it's a bit messy. It's hard to tell people that their painting is messy and it's hard to push past the flowery language that is typically used when we're responding to each other's work, especially here on the forum. Words like "Wow", "beautiful", "gorgeous", "great", "awesome", "fantastic", etc. We use these words because we want to respect the work that we know that people put in, but being too nice can be damaging to painters who are actively working toward a goal of improving. It makes it harder to be honest with yourself and the gap between one's current work and what they're working toward can start to seem smaller than it actually is. Which can also lead to frustration because the honest truth is that no amount of advice is going to close the gap between your current ability and the example that you're striving toward on this current paint job. What's going to close that gap is time, dedication, and practice. If you work hard, you could be there 6 months from now. Or you could work just as hard and be there a year from now or two years or ten. There's no direct route from Point A to Point Z for any painter and really, Point Z is a myth. There is no Point Z. Think of the best painter you know of and their best paint job you've ever seen and how amazing and beautiful it is. I can absolutely assure you that painter could tell you 10 things that they think is wrong with it. And that's what so many of us, myself included, are often doing wrong in our pursuit to improve our painting - we're pointlessly chasing a non-existant Point Z when we should be trying to get to Point B. Your current skill level is Point A and you have a clear goal here that you want to reach. Let's call that Point X since there is no Point Z. First you need to get to Point B and I think that Point B for you is to improve your brush control. So first of all you need to slow down. Not tremendously, don't become a snail painter like me because that's detrimental in its own way. But if it's not your intention to speed paint something, then slow down and make sure that you're purposefully placing your brush. Work on painting clean lines and dots. A great exercise for you to try would be to get a coloring book for kids or google "coloring pages for kids" and print some out. You specifically want kids because you don't need anything too detailed - it's meant to be an exercise, not a new hobby. Then take a brush that isn't one of your best, but still has a decent tip and use something bright but translucent enough that you can still see the black lines through it. On your first picture, use your brush as quickly as you normally would when painting a miniature - be honest with yourself on this, you don't have to share the result with anyone. See how well you do with fully painting whatever the shape is while staying inside the lines that way. On the next page, slow down a bit to fully fill in the picture but stay inside the lines. Repeat until you've found the right speed where you can paint within the lines with ease. Once you've mastered that, now try to fill in the picture, but without painting over the black outlines at all. Repeat until you can do this with ease. Once you've mastered that, try to only outline within the lines without filling in the rest of the inner portion. Repeat until you can do this with ease. Once you've mastered that, move on to painting over straight lines. (You can do this with lined paper rather than a coloring book.) Then paint next to the straight lines without going over them. Then move on to painting straight lines without any guide at all. These are not things that you have to do all in one sitting. You make the time for working on it. Obviously you don't have to do it at all, but I think it would help in an overall way, but it'll also help you to get better with details like eyes, freehand, etc. The greater command you have over the brush, the easier time you'll have in general. .....and that's a giant wall of text. TLDR; work on thinning your paints, find the right blending method for you and work on that, take things one step at a time, slow down, work on brush control
  4. Guindyloo

    Reaper Bones 4: Enthusiasm and Commentary Thread

    It looks like I'm ending up at about $2.42 per mini for 250 total, but I didn't get a core set, I just took the figures that I wanted the most piecemeal so I could spend more on the large/huge figures that were higher priority since for the most part, I'm going to want the human sized figures in metal instead. I still have a few more things in my cart, but I might not get those now because y'all made me add up my previous 3 orders and yikes.
  5. Guindyloo

    Reaper Bones 4: Enthusiasm and Commentary Thread

    Depends on how acidic your blood is for use as a primer or not. Mine would not be recommended.
  6. Guindyloo

    Reaper Bones 4: Enthusiasm and Commentary Thread

    Well next time try not stabbing yourself and see if that works out better.
  7. Guindyloo

    Reaper Bones 4: Enthusiasm and Commentary Thread

    I hadn't thought about that conversion as my attempts at modding are also typically pretty comical, but they would be really lovely fauns.
  8. Guindyloo

    Reaper Bones 4: Enthusiasm and Commentary Thread

    Expressing your disappointment in the way a sculpt turned out is one thing; I think that everyone should feel free to voice their opinions, there's nothing wrong with that. But it's another thing entirely to drum up a campaign to badger Reaper into getting your way by posting the same thing over and over both here and in the kickstarter comments. The reason it's not having the effect that you want it to is because you are the vocal minority. The disappointment directed at the sculpting choices made on these figures is not making a big wave. There were over 16,000 original backers on this project and yet, it is the same 10-15 people posting repeatedly about how upset they are that female figures visibly have breasts. Now, it's probably fair to say that there are other people who are also disappointed in the interpretation of the concept art that have not spoken up, but there are probably 2 very different reasons for this. Some people simply don't care as much - their response has been "Aw man, oh well" like how most people react to being disappointed by something that didn't turn out the way that they'd hoped. Others, I assure you, have been turned off by the absolute vitriol that has been displayed by some people who are using shaming tactics to try to get their way. Shaming large breasted women by saying that figures who are completely covered in every way are reduced to cheesecake simply due to the existence of their breasts; shaming Ron for not responding the way that you think Bryan would have responded despite the fact that Bryan, when dealing with angry backers in the kickstarter comments, always asked us not to engage - but instead, y'all saw fit to bring the argument here and invoke his name while doing it; and to shame the sculptor for interpreting the concept art differently than you by having the audacity to give a female figure breasts. The implication that has been made several times, quite condescendingly, is that Reaper has somehow "wronged" backers with these sculpts. This implies that Reaper intentionally sought out to bamboozle backers by presenting concept art to be one way while sculpting it a different way. This conspiratorial view might be laughable if there were not such self-righteously ill implications behind it. I feel quite comfortable assuring anyone that thinks that even a hint of that is true, that you are way off base. Reaper has always been full of kind, thoughtful people who have done a tremendous amount of goodwill outreach to the miniature and gaming community, donating their time, products, money and energy into doing so and providing all of us with this forum, that some of you seem absolutely determined to turn into a dumpster fire, to form friendships and share our knowledge and experiences with each other. And yes, obviously, they are also a business that has to make business decisions that make sense and sometimes we're not all going to agree with those decisions, but you could at least remain respectful while doing so. Nothing sinister happened here. Izzy drew beautiful concept art because that's what Izzy does. She is a magnificent artist and she is definitely one of the best concept artists in the business, but what she drew was just that, it was a concept, inspiration for the sculptor to translate from 2D to 3D. And that's what Jason Wiebe did, quite beautifully. If you don't agree with the way that he translated that concept, that's perfectly fine. Art has always been and will always be subjective. It's fine to voice your opinion that you would have translated it differently, but I think that some of you need to take a step back and think about what message you're actually projecting because I think some of your choices are saying a lot more about you than they're saying about the actual topic at hand.
  9. Guindyloo

    Sparrow paints Ma'al Drakkar (not in 7 days)

    Yes, I use 'Ardcoat and in fact, used 'Ardcoat for the exact wing moldline in question. I use 'Ardcoat because it is specifically what Jessica Rich suggested to me, but it is my understanding that any thick, glossy brush-on sealer will work. What you want to do is glob it on along the moldline (but be careful around smaller details that you don't want to obliterate) and then drag it out so that it thins as you get further away. Basically, you want to fill in on either side of the ridge to make a smooth bump. Let it dry for a good 10 minutes, then take whatever your base paint is and paint over it. Let that dry and see how it looks. You will most likely need to repeat the process a few times. I remember that particular mold line was pretty nasty; I looked back through my 7 day WIP thread to see if I made note of it but it doesn't appear that I did, but I do remember that I was able to take care of it with 'Ardcoat. ETA: I think I brushed on the 'Ardcoat vertically with the ridges for this particular mold line so as not to fill in the spaces in between the ridges. If you build the layers slowly and make your globs very tight up against the moldline itself it will likely take more layers, but you will lose less detail.
  10. Guindyloo

    Reapercon 2018 Enthusiasm and Chatter

    @Paradoxical Mouse I hear you on the social anxiety and 100% empathize. I often make it known that I have social anxiety because I can come across as being really unfriendly because I'm so quiet and avoid people in general which tends to make people think that I'm avoiding them specifically and not walking up to introduce myself to people makes them think that I'm not interested in meeting them. Or at least that's what my anxiety tells me it makes people think. It takes me a really, really long time to get comfortable enough to be myself around people in general and even more so in a situation where there's literally a crowd of people. There are a couple of people here who I talk to very often who, when I met them at Reapercon last year, I basically just told them hi and then ran away. Something that I have learned from apologizing for myself to other painters outside of the forum is that it's actually really, really common in this hobby. Our anxiety tends to work in overdrive trying to isolate us from others, both physically and mentally. But you're not alone, not by a long shot. So ask whatever questions you need to ask and plan whatever you need to plan. There's nothing wrong with preparing yourself in whatever way is best for you to cut down on some of your anxiety. So, knowing where you're coming from, I would caution you not to overload yourself with classes. You're going to need downtime whether that involves going back to your room or going outside to get some air or whatever helps you to recharge. I know the temptation is there to load up on as many classes as possible, especially if you're not planning on going to any other cons where classes will be available, but be wary of needlessly adding to your stress level. Take into account the fact that you won't have your usual refuge to go back to recover. You're not going back home at night to recover in familiar surroundings, you're going back to an unfamiliar hotel room in an unfamiliar city with unfamiliar people. Add onto that trying to absorb as much info as possible and meeting a bunch of people and trying to look at all of the things and do all of the things and I'm getting really anxious just typing about it. Obviously you know yourself best, but just really think about what kind of things are going to add to your stress and what might help to take away from it. There's a lot of people, no shortage of things going on and there's only so much you can reasonably expect of yourself in a day. As far as what classes you should pick, I don't really know how to answer that for you. I can tell you that when I went to my first Reapercon in 2016, I had already been painting for a couple of years and still considered myself to be a beginner so I took beginner classes and a couple of classes that would benefit anyone from any skill level - for instance, Julie Guthrie's spooky tree class, which is super fun and she's wonderful Not every class that I've taken the past two years appear to be offered this year, but from my own personal experience, I would very highly recommend Ian Markon (Kuro Cleanbrush)'s Blending - Layering and Feathering class. It looks like that class is being offered both Thursday morning and Saturday afternoon. Ian's a great teacher and very helpful and approachable.....and while I was typing this up he displayed those facts very well. I would also very highly recommend to any beginner or anyone who has maybe been painting for a while but feels like they're having trouble making that next step up from a sort of tabletop level taking Brice Cocanour's Everything I wish I knew when I started painting class, which is scheduled on Sunday morning. Brice goes through a lot of general really useful information and that class was where the proper highlight placement lightbulb finally went off in my head.
  11. Guindyloo

    Super Kingdom Death Explore!

    I meant to click the follow button on this thread ages ago. Your work is always an inspiration. The colour combinations on those spiderlings especially are just gorgeous!
  12. That's true, I forgot that they came out with glossy versions of their shades. Your store may have gotten a batch of mislabeled bottles if you've returned and exchanged multiple times. I admit, I can't really tell what level of glossy your zombies came out as because your pictures are blurry so I thought that the level of shine coming off of them was an artifact of that, but if you're getting a mirror like shine from them, that is not normal Agrax Earthshade behaviour. I find the shades to leave more of a satin finish level of shine, not a glossy sheen.
  13. Guindyloo

    Vallejo Blacks

    The question wasn't asking about those "basic blacks" it was asking how the two specific blacks compare. The use for the black paints wasn't even stated. Had the question been "I have x black for general black use, should I bother buying 10 more blacks for general black use?" then sure, the opinion that buying those 10 blacks would be nitpicky could be valid. But the question wasn't asking for opinions on buying different blacks, it was asking for an opinion comparing two specific blacks. Dismissing comparing two different paints isn't useful. It's a valid question whether it's comparing two blacks or two reds. They may be totally different shades, they may be exactly the same, but you don't know unless you actually compare them which you can't do if you dismiss doing so as just being nitpicky.
  14. Guindyloo

    Vallejo Blacks

    I wouldn't call having multiple blacks being nitpicky at all. Just like any other colour, different blacks have different tones, different levels of coverage, some may just be really dark grey, some may lean more toward a blue, green or red. That will make a difference, even if it's just a subtle one. Unfortunately I don't have either of the blacks in question or I'd swatch them up to compare.....looks like you're just going to have to buy it.
  15. Honestly I can't speak to the different qualities of different washes because I really use them so little. It's usually only on terrain/bases and the shininess always irks me because I don't use Dullcote due to the humidity here being too high for me to use aerosol products in general so I'd rather avoid the problem over trying to find a solution.
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