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Corporea last won the day on September 24 2016

Corporea had the most liked content!

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18235 Demiurge

About Corporea

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  • Birthday July 1

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    North Carolina, USA
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    Painting, Sculpting, fancy basing, gaming, giving positive feedback to everyone and dispensing as many likes as possible!

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  1. My Journey into Lost-Wax Metal Casting

    Greetings Dwarven Lord, I require a pdf of the process for personal research. Regards, Sauron
  2. Mother Nature Bust

    ok, guys! Thanks for all the help!!! No cat on the shoulder, but I did sneak one in elsewhere. I also want to add a bird to her hair, but I'm working out where. In the meantime... I fixed the eyes! I still need to go in and touch up the irises and add the lashes on the lower lids, but I did a few things other than move the pupils. I added some pink to the tear ducts and the lower inner lid. I wasn't sure I wanted to add too much pink, but it's a lot more natural and I think it will work. I mixed spattered crimson with linen white- it makes a nice warm pink that's similar to an old retired color (porcelain rose) that I like. I also repainted the lower lids to add the shadow at the top directly to contrast with the inner lid. Now I just need to clean everything up and smooth my blends and add back in the details. I decided I needed to do something with giant blank space on her back. Large surface areas on a big mini mean one of two things: careful painstaking blending or sneaky tricks. I vote sneak. thus, I bring you the freehand trick, courtesy of Marike's tips class. Cover it in patterns and the blending becomes a whole lot of tiny areas. much more manageable. Plus, patterns are fun! So what I did was add the veins and then go back with the yellow and clean up the leaf shapes. Now I have a few areas to work with where I can add shading, but It's not overwhelming. I want it to be reminiscent of scales, feathers and leaves all at the same time. See my kitty? He's from reaper's cat lady mini. I'll paint him up just enough to stand out from the hair, but blend in more with the hair than the pattern. So, still working at it, but that's the general plan. The other thing I did was get back to working on the shading on the face. I did some research on 3/4 lighting, which is close to what I want and ended up darkening the face on the left. I added some pink in the to cheek on the right and red on the left. Though I wasn't as happy with the red. It ended up flattening the shadows so I have to be a bit more delicate with it. From here on out, It's a bunch of touchups and blending there's the pink and the shadow changes. I need to darken the philtrum on the left (that's the lines under the nose) It's too bright for the light direction right now. I ended up losing all the leaves on her cheek on the left due to adding the shadows, but that's ok. I can pick them up later if I need them.
  3. Mother Nature Bust

    oh wow!! Thanks, Derek! Yes! I'd been looking back at the eyes and trying to figure out why they weren't quite right. Although now I wish I'd seen this before the weekend... it might have to wait until I have a decent span of time to sit and paint to fix them. I'll try it! Thank you so much!! I've made some progress on the sculpting side of things this past weekend. I had some free time and work is at least picking up a bit. Stress level decreasing to manageable levels! Yay! I attached the tree and one of Darksword's running foxes. I also managed some serious work on my trash heap. Most of the bits are greenstuff, but I used some sprue to make cans and some styrene sheets for box bits/cardboard. Doing research on trash pictures on google really reminded me why I'm doing this project in the first place. Because, you know since it's me, and I can't help but make everything have multiple meanings; then Mother Nature must have some scars from the human influence gradually overtaking her. I kind of like how it looks like boils or galls on the skin. I tired to work in some textures. At the bottom I made mushrooms. I debated on this, since recycling is part of the natural world and mushrooms do serve a purpose. I have to decided if I want to paint the mushrooms green like everything else, or paint them in the off-black monochrome I'm planning for the trashheap. Are they good or bad here? Color to me has meaning. Use of color in a project can push a message further that technical detail alone. I think I added a slide on that to my color theory talk. When I look at fine art, I know the artists of old came from a background of mostly religious art. The colors were used specifically to tell the viewer how to interpret the story in reference to the bible (for western art.) Color choice was dictated by history and custom. With modern art, colors started to take on meaning of their own. This is one thing to think about when planning a composition- how will the colors you use make the audience feel? How do you feel when you look at a picasso from his blue period? Would he have the same effect using yellows or reds? At any rate, think about why we use certain colors and what they may add or detract from a piece. here's the fox from the back. I started working on the snake's pattern, too. working on the bits in the hair. I still have a bunch of layers to go, but I'm making progress. I added one of the bones familiar pack bats to the hair. This is the part I just haven't been able to tackle yet. The idea is to have animals and plants in freehand blending from one to the other. I've started to sketch in the shapes, but I've run into a wall in terms of what I want to use. I may have to work on everything else and come back to it when I've figured out exactly how to make everything fit and still keep the main swirly shapes. I realized I attached the tree before I took a picture of the hair details. But you can sort of see them here. ok, so here's the trashheap in a basecoat. I debated color again. My light/dark colors for Mother are linen white and walnut brown. They make for a warmer gray than I want, but I'm not sure I want to change highlight and shadow colors on another part of the mini. So, what I may do is work in some purple or even a bit of the green, to given it a bit more depth. Right now it's pretty flat. they're not really painted yet, but you can see the mushrooms from this angle. Now, the most important question of all: Cats, or no cats? I'm thinking cats, and I'll put some elephant ear plants behind them. Anyway, more soon. I'm going to learn more about busts in a few weeks, so I may come back to this and completely change it!
  4. Mother Nature Bust

    aaaawwww! It's the little things in life that make me happy.
  5. Mother Nature Bust

    ok, I'm trying to get motivated and get back to this. My real job is wretched right now, so my desire to paint has taken a hit. Thus, I'll take a step back and do some sculpting. I can always peel things I've sculpted off if I hate them later, but crappy brushwork might throw me over the edge. I mentioned earlier this sculpt had some mold line issues. you can see where the hair has been cut poorly along the mold line. So, While I could just resculpt some hair, I want Mother to be full of nature. My goal is to incorporate as many of the animal and plant kingdoms as I can. Some won't translate, but whatever I can put in to show the diversity of life is what I want. Sneaky Corporea trick number...er... 42! Yes. 42. Whenever I sculpt anything I inevitably have some putty leftover. I am a frugal Corporea and always turn said putty into something. Usually plant forms because I can always stuff them into dioramas or terrain. Over the years I've made a whole lotta ferns, leaves and flowers... and even a few animals when I was feeling particularly motivated. Also, whenever I specifically make parts for a project like my mucha flat's grape leaves, I make extra so I can use the best ones that fit the project. I never know ahead of time exactly how the composition will flow, so I make plenty. Just in case. I've stuck a turtle and some leaves over the worst of the mold lines. The flowers I thought just looked good tucked in her hair there. And since I didn't get to put grapes in my mucha project, I'm putting them here. I love grapes. I was experimenting with how to make grapes quickly. I wanted to see if I could use seed beads, but I made a few little round balls, too. As it turns out, I had to make them, let them dry and then glue them together on her neck. The vines are coils of putty wound around my pottery pin tool and my paint pokey tool. They're a good size to make the little curlies. Oh- while we're looking at her from the side, see how I've added some freehand leaves next to her hairline? Hair in humans isn't like a wig- it doesn't abruptly start. there are tiny hair leading up to the mass of it. Putting some of the skin color into the near hair and hair color in lines on the skin can simulate this gradual transition. I chose to do it with leaves instead of hairs. But see how it's a softer division? Here's the annoyingly poor mold removal from the other side. I made them as ferns, but the are set on her head like feathers. Speaking of... I may have to try to figure out something peacocky... I'm debating with the fish if I want to add his whiskers or paint them on. I may not like to eat catfish, but they sure are fun to sculpt! I have yet to add the leaves to the vines. There's a starfish on top of her head that's almost visible. This side won't be as viewable, since the tree will go right next to her head, but I wanted to cover the mold issue and figured I'd just keep having fun with putty for a little longer. I want to paint the snake as a corn snake so I left him smooth to make it easier to do the freehand. Managed to work up enough motivation to basecoat and do a few layers on this side. It's going to work fine, I think Ok, so I'll try to keep up with this. But, I can't paint when I'm cranky, so there may be a few large gaps. Sigh. At this rate this will be all I bring to reapercon. grrrrr.
  6. Mother Nature Bust

    hmn. I don't remember taking one of all the yephimas. let me see where I put them... I do use these for my faces class. I tend to do a lot of weird skin tones. I think I might like purple... Skin can be done with just about any colors, but the feel you get from the mini varies. One nice thing about colors labeled as "skin" is that they tend to be desaturated and have some fillers or opacifiers in them. The benefit of this is that these colors are less translucent, so they cover well and are designed to already read to our brains as skinlike. Whenever I use a weird color for skin, I'm going to see how it thins and how it plays with other colors first before potentially messing up a mini I care about. Which brings me to why bones are awesome- I can test things out on them without fear. One thing that changes the feel of skin is the choice of shadow colors. Take a look at Reubens- he always uses warm shadows, which give his paintings a soft feel- very full of life. Blood is life, right? If I'm painting a zombie, I'm not going to use pink. Ok, back to Mother. I'm making a tree! I usually start with some jewelry wire because I went through a jewelry-making phase and have a bunch. I happen to have a bunch of greenstuff I need to use up right now, so... greenstuff! I've done trees with milliput and sculpey as well. Greenstuff seems to hold better detail, milliput is a bit cheaper, and for a big tree I'll do an underlayer of milliput because it's rock hard and supports weight well. I do trees in stages. I've got my hemostat to keep my fingers off it and I'll put about that much greenstuff down, then add my bark pattern and let it dry. Then when I can touch the part I've already done, I'll add more greenstuff. Once the limbs are done, I like to test the fit and figure out where to place the leaves. As you can see, I'm using etched brass leaves here, but birch seed catkins are good, as are paper leaves. A note on the etched brass: I actually prime and put down a basecoat before I free it from its surrounding because I think it's easier. While it looks like I might be trying for some subtle shading, actually I just used paint leftover on my palette that was getting watery from age and I wanted to use up and not waste! My first art teacher taught me frugality. Waste not! So, here's the tree. Oh- I leave some wire free at the end of the branches and attach the branch of the etched to that and trim if I need to. This is usually my most painful step because for whatever reason glue and I are not friends. I won't attach the tree until I get more painting done and at least basecoat the tree itself. I don't like having to work to get a brush in places. But, I'm planning a pattern on the chest from the treeroots into animals and plants, so I need to attach it soon!
  7. Lets Talk About NMM

    Rhonda (Wren) in her OSL class won't even let her students get a hold of the color she uses for the light until after the highlighting is done. Probably another important thing to consider with OSL is that white is reflective/bright/lighter. Anything that absorbs light (ie color...) will make less of it get back to our eyes. So when you put a glaze of a color for a colored light effect over any area, even if it is pure awesome titanium white, you're going to dim the area- make it look less bright. If you've highlighted up to white elsewhere, the area of you light effect will actually look less bright. You always have to push the highlights in areas of osl higher than you want to compensate. It is frustrating. I cheat and make other areas that much darker to help sell the effect. edit to add: I guess since I judge I can weigh in on the preference stuff. I don't prefer one style over the other, but I recognize when either technique is done well. Like I said, painters gravitate to one or the other, whichever comes naturally. There's a huge difference in me trying to do TMM and Rex or Michael- there's would score way higher because they're flat out better at it and I'm still learning. Likewise, Kuro's NMM is stellar- he's really worked hard on playing with color and effects in his NMM. We try really hard not to be biased, and always if you have questions after the judging, we're happy to try to explain why we think something went really well or where we see areas for improvement. Don't stress if you get the "more contrast" comment. I still get the same when I ask for feedback, too! ;)
  8. Lets Talk About NMM

    no, you did good! It wasn't meant as criticism!
  9. Lets Talk About NMM

    ooh, I know this thread is about metal, but on the subject of osl... One of the things that makes the brain cranky about osl is that the light source should always appear as the brightest point on the miniature, and any cast light its... you guessed it: also light. light is an expanding sphere that loses intensity as it travels farther from the source, right? So the problems I see with osl are generally twofold: 1)the painter mistakes color for light and ignores value (most common) or 2)there isn't enough basework to support the effect of the lightsource. OSL is always more effective where there is something around the source to catch the reflected light. There can be no light without shadow. the effect is lessened standing alone. Ok, so what I mean about value is that one must first paint all the highlights as far as we're willing to push them towards white and then think about light color. I can't just put red paint on a sleeve and make it feel like light. If there is no highlighting, the color appears flat. The brain will cry foul! ok, I can't find the photos I usually use for this, but here's the dragon thread where I try to explain value. OSL follows those same principle. This is one reason I do a lot of monochrome painting. It frees my mind from simply using color as contrast and makes me really push my highlights and shadows to get contrast.
  10. Lets Talk About NMM

    it blew my mind. between the classes with Kiril and Michael, and Rex's color choices, my idea of how to paint metal has warped into madness. That and Aaron's weathering class... I swear, if I get the motivation to sit down and actually apply this stuff on a tank... heaven help me! I might stop painting trees!
  11. Lets Talk About NMM

    Both techniques require good blending skills at higher levels. Both can be done quick and dirty, but if you look at some of the masters of their craft at work, either technique provides truly impressive results and takes time. At its simplest, a flat metallic color in light will provide it's own highlights and a drybrushed highlight on a gray sword blade can look like steel. Both fast, but not refined. here is a NMM: Soule Here is a TMM: Proctor As a general rule, it seems like TMM is harder to photo than NMM, as all of the highlights for NMM are painted and do not depend on placement of light sources that could add conflicting highlights or shadows. So for contests that require photos for judging, many choose NMM or a very worn/weathered look for TMM. Some people seem to gravitate to one or the other and intuitively pick up one easier than the other, but neither technique is "superior" in terms of difficulty or appearance. I got a change to sit down with Rex at Rcon and he showed me how he gets his scorched metal look. I also took Michael's class a few years back to try to pick up the TMM technique. It doesn't come as easily to me, but then again, I like more natural forms so I'd just as soon avoid metal objects altogether in my work and make happy trees! One of the things I like about TMM is it makes sense to do some shading with nonmetallic paint and washes. After all, metal in shadow doesn't reflect, right? That was a revelation to me. With NMM, it is mostly about placing contrasting light-dark areas adjacent to create the illusion of a hard edge. In that case, one sometimes has to really think about constructing the whole as well as sometimes cheat and place highlights in odd areas to maintain the contrast. I haven't really has much issue with my brushes and metallic paint, and it seems like a good conditioner keeps them on point. Both require patience though and you can't rush the blending. The only big issue I have is I'm a recovering brush licker, so I have to be extra good when using my metallics...
  12. Mother Nature Bust

    I've got some pics of my old busts from before photobucket ate all my wips. I can try to post some of them here and show where I put things if it would help. I feel bad- I'm trying to replace all my old tutorials but the sheer number of photos is killing my desire to repeat all the work. Plus my hard drive died and took all the edited photos, so I have to go back to the original camera cards. Which since I'm a hoarder, I haven't wiped yet. yay for hoarding! One place I go to look at how people paint busts is cmon. kiril (yellowone), pepa, jarhead and nakatan are all in the top artist section and they do really stellar work on skin. I go look at their eyes and textures especially. thanks everyone!!!
  13. Mother Nature Bust

    I'm getting to the point where I want to start adding a few important features. Eyebrows! On smaller minis, I may not even have to paint in the eyebrows. But again, busts are large, so I don't want to waste the space. I'd also added a few crows feet by her eyes, and I started in on the eyebrows. I tend to place them above the brow line. Eyebrows can come in a variety of shapes but they all tend to start and end at the corners of the eye. After sketching these in, I changed my mind. Maybe a bit over the top, but I plan to add a bunch of leaves and flowers to Mother, so might as well do a fern-like eyebrow. As you can see, I did the one side, then I'll try to match it up fairly close from the other. Here's a close-up. You can see it still isn't as neat as I can make it on our right. But I'm going to break the pattern-making down. Doing things step-wise is really the best way to simplify a pattern. So above, I've begun to make leaflets on the top. All the leaflets are dark. I touched up a bit around them in the skin section. Filled in the leaflets with white. See where I've overstepped and crossed my midline? Fixable! Still have to clean it up a bit, but I've washed the viper green/flesh mixture over it to soften the transition and also added a few veins. There we go! Leafy brows. I should probably go ahead and mention the whole zones of the face things, because I'm at the point where I need to make sure I incorporate the right shadow colors in the face. You can visit James Gurney's blog for more info- or check out "zones of the face" from his Color and Light book. It's awesome. At any rate, if you look at most painted faces, you'll see how based upon our anatomy, certain parts of the face have a slightly different mix of colors. Our forehead is very thin skin over bone, which gives it a more yellowish look from the bone color showing through. There's a lot of capillary action going on in the middle section of our face, and the flesh is denser, giving us a pinker or redder look. In men we can blame the gray or green chin on tiny hairs, but some of the color can be attributed to shadow as well as hair and veins. Check out this Vigee Le Brun. Although here she's painted some blue under the eyes as well, but around the lips you can see the blue-green shadows. It's subtle- it doesn't have to be over the top, just a touch and it makes all the difference in the world for realism. Actually, after doing face research, I need to fiddle with Mother's lower lids and change my highlights and shadows. Soon! Please let me know if you have questions or need more information.
  14. Mother Nature Bust

    okies dokie, more stuffs. these two are face to face to show what I mean about picking a light direction/source. Also I've done more blending on the first pic, so you can see where the addition of a few more layers really smooths out the skin. But, I've left the left side of the face dark than the right, though there are still highlights and shadows on both. I'll probably go a bit darker on the shadowed side and maybe a bit lighter on the highlighted side. I've started in on the hair. it's still "green" just darker and I've added some walnut brown for the shadows. I'm also trying to soften the lids around the eyes so they're not quite so stark and hard. I'm adding some crows feet. I think of wrinkles like I think about any edge. It will have a highlight, like a sword blade, and a shadow. That transition is because the skin dips in and back out. A dip in is a shadow, the edge left catches the light. Notice how on the nasolabial fold (those folds by the side of the nose forming the apple of the cheek) there is a shadow and the a little highlight? That's because again, the anatomy dips in and out. Those folds are softer in babies and women, harder in men and the elderly. And monster- I tend to paint monsters with harder transition lines. But that something to think about with busts- figuring out how soft to make a transition may make the face looker older, younger, feminine or masculine, even without things like wrinkles and age spots. hmmn- I like having pictures to check- I need to fix the under eyelid of the right to match the left. I never pick up on this when I'm painting. sigh. more soon!
  15. awesome!!! I'm glad she arrived safely! I got the chocolate in the DR and gave it all away for christmas, so glad it was good since I never tested it out! Oh, just a fun fact- the wood bits are from my brother's cotton plants!