Xumenicus

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Xumenicus last won the day on October 28 2016

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About Xumenicus

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    Rabble Rouser
  • Birthday 04/04/77

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  • Gender
    Male
  • Location
    Colorado
  • Interests
    The usual. Sculpting, painting, mountain biking, fly fishing, video games, and sometimes I actually try to play table top, too.

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  1. Having been to both BlizzCon, and ReaperCon numerous times -- both conventions are wildly different. BlizzCon is a fully open-area convention, with zero private knowledge transfer (classes) that can be re-sold or pirated (unless you count the game previews, but Blizzard tries to publicly post those before anybody else can post to Youtube). The classes at ReaperCon, though, are small (8 to 12 people), private events, that we pay for, in addition to the convention. I think that's the main defining factor for the classes -- they're private (tons of public events at RC, too, though). Many of the professional painters that teach classes at ReaperCon have paid online services, channels, and DVDs that are already available for purchase, and many of these are more in-depth and focused than what you'd get in a mildly chaotic, friendly, laid-back class. I'd link, but I'm not sure what the forum rules would say about quasi-Reaper-related-but-not-Reaper merchandise. Easy enough to Google, though.
  2. Any chance at getting a smaller one? The big ones are great, and all, but maybe something in the 4" to 6" range would be great, even if the skull/horns lost some resolution.
  3. And see, I'm trying to get to the root of a few issues I'm already seeing, because whether or not this might be logistically possible to do at a crowded venue... Why wait until one weekend a year to paint? Why wait until one weekend a year to ask questions? And...while you're there already, why not ask questions? What will be different between asking for feedback in Artists' Row, and asking for feedback while you're at a table at the convention (which, I might add -- most classes have Q and A sessions where you can get 1:1 feedback). And why wait...because... All of us are already here. We can give feedback and help right now. This forum has been great all around. Time is an issue for all of us, but time is also a vital piece of the art. I'd almost suggest a class on "Time Management for Miniature Projects", or "Painting While Binge Watching, and What to Watch While Painting", as classes that might be more useful. Only painting one weekend a year in a class won't do much to improve your skill level unless you have time to practice even if it's just one weekend a month, or a couple nights here and there while watching TV. I actually have a friend whose wife used to hate miniatures, and nerds in general, and he used to have to feign food poisoning every few weeks just so he could paint in the bathroom without her giving him grief. He got pretty good, too. I'm still trying to get him to go to ReaperCon, or even to our local conventions to compete. Time is critical. For instance, the only real feedback I got last year at RC was: "You should have spent another 20 hours on this. I saw your pics of the tile you laid in the bathroom last week when you should have been painting, though, and that tile job looks great."
  4. This is probably the biggest detriment to having issues with workspace and workflow. If you only paint at ReaperCon, you don't have a workflow or workspace to critique. Do you have a dedicated space to work on at home? Or something semi-dedicated? Doing anything more than a few hours, one weekend a year, is critical to becoming better at it, whether it's painting, sculpting, bowling, or knife throwing. Up until 2 years ago, my youngest kid was still pretty grabby, the only desk I could use was usually filled with homework from my older kids, and I could only paint after 10pm after everyone had crashed for the night. I had to keep everything in a portable paint station that I could pick up, and move to a shelf at the end of the night. Staying self contained and portable is definitely possible if you don't have a dedicated space at home.
  5. Sweet. Added myself to Pueblo, CO. I used my LGS location.
  6. It's a great start. I've been following on fb. Large projects like this are great for using up your stash of clay you bought before you knew what you were doing ( I still have like 4 boxes of original Sculpey, myself :( ). No sense using all your good stuff on a 2" femur. :)
  7. I'm probably out for sure. I've been waffling over the last few months, but... Just bought a new house. Went to a treehugger convention in April. Taking my oldest daughter to BlizzCon. My travel budget for the rest of the year is kinda shot. I might be good for 2018, though.
  8. Workflows and workspaces are more of an individual thing, and while people can offer suggestions, it really comes down more to what works best to you. What's helped me the most is watching other people paint, and seeing their workflows and workspaces. I've tried so many times to lick my brushes on a regular basis because that's what all the cool kids do, but I can't get into the habit at all. I fear I may never lick my brushes to the extent where I will transcend these mortal coils, and become a Professional Licker of Brushes. What area are you in? Do you have a local game shop close by? Many of the larger cities have small painting groups that meet maybe once a month, and they do exactly what you're looking for, but they do it regularly, and probably more efficiently than what you'd experience after traveling to ReaperCon with all of your gear. There's also this forum, and a multitude of Facebook groups and forums for feedback on such things. Videos, too. And if you want truly personal feedback from a professional, there are even other online methods for that, too. If you think you're having problems with your general workflow/workspace, why wait until October? Post some pics. Let's see what you think you might be having issues with. As far as I know, you've already got the attention of 3 professionals in this thread.
  9. I should give some background before I jump in. I've been to ReaperCon twice, and have taken almost my max number of allotted courses each year. I've attended numerous weekend workshops, too, and I'd like to think I know how much a class can get done in 1-2 hours, 4-8 hours, and a whole weekend. From an attendee's perspective, I see a few problems with an "open training session". There is limited space at any venue, and limited time in artists' schedules, so from a convention management perspective, attendees would need to purchase 1-2 hours for each classroom. Obviously, I'd be spamming reload at work the day classes opened, so I could purchase a block for every session, so I'd never have to pick up my stuff. ;) The time limit for sessions would have to take into account 10-15 minutes in each session for setup/takedown for attendees, because even traveling light, we'd still have to safely pack up our projects. Each session would have a wide range of attendees working on a wide range of projects, all working at a wide range of skill levels, with instructors all focusing on a wide range of talents, and you might not get exactly what you want. What if you wanted feedback on sculpting, but only painters were available for your session? I already feel a level of awkwardness at sitting at a table, waiting for Kev White to come tell me to start something over, looking at my watch, waiting, him getting stuck giving someone else feedback, and only coming by in the last 30 seconds of the session to say, "I haven't seen yours yet, but start over!" ;) That being said... To compensate for the wide range of projects/talents, "open" training could become more focused: Object Source Lightning Q and A Non-Metallic Metal Q and A Sculpting Butts Q and A Tristram, the main theme I'm picking up is that I think you're really just looking for dedicated Q and A time. This is fine -- it's great. Feedback helps us get better, and the more feedback we get, the faster we're able to improve. The problem that I see with focused sessions is that you'd probably only have 1 artist available, and even with 3 people in the session, you'd still be fighting for attention, depending on how fast everyone works. Or, like most Q and A sessions, you'd only have one or two questions, and the rest of the class would be silent, and nose down on projects. There's a limit to how fast we can all work, though. This is how I see the vast majority of interactions going: Me: Sooo..this sword. Painter: The NMM is...a good start. Do a little here, and a little there. *10 minutes later* Me: Eh? Painter: Better, but...see, your reflection should be a little more over here. Me: Ahhhhh, right. *20 minutes later, because re-dos* *Painter is busy with someone else, so I wait another 10 minutes, because the only other available person is a sculptor, and they don't paint much* Me: Eh? Painter: Better. You just need to blend in a little more, put a sharper contrast here, and...oh, we've got 10 minutes until the next session, so everyone needs to start packing up. However... The Artists' Row already supplies this, supplies it for free, and you have access to almost every artist. It might not be exactly at 2:47pm when you decide you want feedback, but you'd still have that problem during an "open training session", too. There's a limited number of artists, and you'd still need to wait if someone else was talking to them. You don't need to worry about interrupting most artists, as they're almost always happy to pause from whatever project they brought to pass the time, and critique work. That's what the Artists' Row is for.
  10. I saw this today, and I'd like to think I poked somebody's imagination. ;) Probably just a coincidence, though. :) http://www.reapermini.com/OnlineStore/03809/latest/03809 I've been afk this whole time, and see that I owe everyone some tutorials. Maybe in June -- we just bought a new house, and I'll actually have room in our new place for leaving projects out for extended periods of time. Still not sure if I'll be able to make it to ReaperCon this year, though. We didn't expect to find a place we liked, AND get it, so everything's kind of a mess right now. But it's a good mess.
  11. The over-bulking -- something I learned from Jason Wiebe is that when you take the amount of putty you THINK you need... ...cut it in half. And then cut THAT in half again. And then use THAT tiny piece. That should be the size you need. That method really helped me, but it takes some time to get used to. You'll spend a couple sculpts constantly thinking you won't have enough bulk, or worrying about the giant lump of unused green stuff sitting in the corner curing, but when you come back a day later worrying about what you did the day before, you'll think, "Daaaaang. That lady's got some nice ankles."
  12. Aw, man. That sucks. :( Really sorry to hear that. You should come back, though. Heed the call of the deep. :)
  13. Sweet! This was the pattern I used: http://www.flies-stepbystep.com/en_hydropsyche-caddisfly,701.html And have you seen Graham Owen's stuff??? I'd be worried about losing something I spent all day tying, but still -- his work is amazing. I was tempted to bring a rod to ReaperCon this year, since it looked like Lewisville Lake had all sorts of fishing, but...no time.
  14. Funded

    Yeah, ummm -- what about the heavy carbon deposits from the burning process? I could see if you pulled the die out as soon as it got melty, but if the flame was actually touching the die, you'd have heavy carbon deposits. You'd need to re-polish the dice afterwards, yes? EDIT: WAIT WAIT -- the foil covering. Gotcha.
  15. Just curious, but did you take the figure sculpting workshop from Kev when he was in the States a couple years ago? If he has time, he'll critique your work, and give suggestions if you PM him on Facebook. I've bounced a couple things off him in the past. Be prepared for responses like, "What happened? Last month you were great. Today, it's ****. Throw that one away, and start over." ;) At first glance, your anatomy and form are almost there. They still look great. I'd echo others in saying to build up the form by simplified muscle groups. "Struggling to get beyond a wire skeleton" says something else to me, though -- when you're starting these, do you have a final concept in mind? Or are you just wanting to sculpt nudes, and then find concepts to clothe them with later? Or, just wanting to sculpt complete nudes in general, for practice?