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Corporea

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Everything posted by Corporea

  1. Mother Nature Bust

    (apologies for large sections of text- I like trying to explain what I'm thinking as I'm going, but I promise it will have lots of pictures!) Right, so I need to get started on a few new projects and one of the things folks expressed an interest in after reapercon was busts. I went and bought this bust: …planning to see if I could use it for a class. And when it came, I realized it was a bit larger than I expected, even with the description. Also, the mold removal didn’t seem to go very well for the sender, so I wasn’t as happy with it as I might have been. However, I got to thinking I could use it for a WIP at least, and that that might be more helpful to start with anyway. I still might do a class, but the bust called to me and I had an idea and it ate away at my resolve… so here it is. The plan is to make her into Mother Nature. Originally I’d planned to do a bunch of the sculpting first, but I felt like painting. I’ll get the face mostly done, then do the sculpting and finish painting. She’ll have a tree growing out of her shoulder, a bunch of leaves and flowers in her hair and probably some other natural and unnatural things to make the whole a more interesting story. I may attach a few animal companions as well. Right. When I decided on the theme, I knew I’d need green skin. One important thing to think about when it comes to skin is that our brains are hardwired to recognize varying shades of tan, ocher, rust, etc as skinlike. The more saturated and intense the color, the less we believe its skin. So no matter what color I want the skin to look like, I need to chose a softer more desaturated color. Green yes, but it has to be a nice quiet and pleasant green. I went to my stash of greens, took a few deep breaths and asked myself why I had so many greens, and proceeded to pick the warmest ones. I played around with a few of them on paper. I find when working with colors I haven’t before, if I make a few washes on watercolor paper, I can see how they thin, how transparent they are and how they play with each other. See how the pthalo looks cooler compared especially to the viper green? I wanted to compare and knew that one was cool. I can tolerate the peacock even though its on the cooler side comparatively, You can see here the ones I was looking at. I ended up going with these: I added the fair skin mainly because it adds more warmth to the whole. Alone, the green will end up looking too weird, but adding a touch of flesh makes a difference- I'll explain with pics in a bit. The peacock green is still fairly cool. I couldn't find a really warm dark green. But I can glaze the viper over it in places to warm it up. Next, I slathered some paint on the bust to get a sense of how the colors look. Two things. I must decide early on where my light source will be. For a bust, this is probably even more important than a smaller mini, because there’s so much surface area to work with. I have to add enough interest to keep my viewer’s eye moving. Since the bust is looking down and to the viewer’s right, I’ll make the light source come from the top left. Second thing, I need a model to help me place all of my highlights and shadows appropriately on the face. You know how the phone/digital camera has that cool “face recognition” thing these days? (…showing my age…) We people have the same thing. When we look at a face we expect to see certain familiar features. At 28 mm scale, there’s not much space to work in, but at the bust scale, if I don’t paint the highlights and shadows in a familiar fashion, it’ll look weird. What's with the Picasso? Ah hah! The face is made up of a bunch of planes and mounds and shapes that flow in to each other. When we’re babies, the division between the shapes is less defined. Our baby fat fills in all the gaps. As we age, we can start to see the skeleton behind the flesh. When painting a bust, I make a choice (often based on the sculpture itself) about how old or young I want the figure to be. In this case, I’d like mother nature to have fairly smooth features, but maybe a few lines to make her matronly. I’ll get to that. But whenever you choose to paint a bust, think about things like that ahead of time and it will make the process smoother. Cubism among many other things breaks down the human into basic geometric shapes. Learning what those shapes are will help you build up a basic volume in each area. Once you have an idea where each of the highlights go in each basic shape, the rest is all blending. But if the bulges don't match the anatomy, it will seem off. If that makes sense. This was a hard concept for me to pick up at first. Ok, I generally choose a model for my bust. In this case, I chose Scarlett Johansson. She has lovely clear skin. Now, using her, I can see in great detail with a larger blown-up pic where highlights tend to live and where shadows tend to fall. See how her cheek are sort of square or maybe triangular? The forehead and chin are circles? I grab a variety of pics from hollywood, because I can zoom in and see where all the little fiddly bits go around the eye and whatnot. Having a high resolution photo is helpful as a map to follow. here's me debating gaze direction. and playing with the eye. I've sketched in the basic parts. I did some blending and smoothing. I put this one in to show the way the bust sits on the table. So the direction of gaze makes a bit more sense in context. It's hard to make eyes look directly ahead and make them match up, especially with this sculpt because one eye is sculpted larger than the other. It's a lot easier to have an off center gaze. I promise to come back to the eyes, but when I first start, I bounce around and let things dry while working on other areas. So it progresses more quickly. I did some smoothing on the skin and cleaned up the eyes, chose where I wanted a few more highlights on the cheeks. Worked on the lips. See how the top lip is dark and the bottom lighter? That has to do with the anatomy of the face. the bottom one bulges out and the top slants back and doesn't catch the light. Also, just to give you a sense of scale, here's another bust and sir forescale: She's ginormous. So, it stands to reason I have to put more detail into her features and work harder on the blending to make it smooth. That is one of the tricks with larger minis. You have to blend the heck out of it or it won't look like skin. Ok, it did more work on the eyes. I should explain eyes at this point... My trust internet model! Take a look at the eye and see where all of the highlights a shadows fall. This is based on the anatomy underneath. The eye is a big oblong ball-like shape. The lids cover this, which means they bulge out towards us. Generally, that means they catch light at their outermost part, and are shaded below. Take a look at the corner on the left of the eye. That’s the tear duct. Adding that to a bust really adds a sense of realism to the painting. Adding the lashes and the iris lines will tuck in little details to make it more like a real eye. The sclera (white) of the eye is actually a more blueish in color, though in someone with liver issues it can look yellowish. I save pure white for the reflection so it’s the brightest spot and can still be differentiated from the scelera. Pure white in the sclera means we won’t get the full impact of the highlight and also pure white is colder. see the palette here: the two whites near the middle are linen and pure I’m using linen because it has a hint of yellow in it and I want the skin to live on the warmer side. Also, see how the highlight on the eye isn’t directly over the pupil, but more over the iris? The eyes is constantly wet with our tear ducts, so it should always look shiny- that highlight spot helps sell the wet effect, just like light on a wet road or a metal sword edge ok- must work. more soon! I'll probably edit this post and add a bunch more explanation and details, I just want to post in case the computer tries to eat it!
  2. Mother Nature Bust

    aaaawwww! It's the little things in life that make me happy.
  3. 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.
  4. 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!
  5. 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! ;)
  6. Lets Talk About NMM

    no, you did good! It wasn't meant as criticism!
  7. 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.
  8. 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!
  9. 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...
  10. 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!!!
  11. 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.
  12. 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!
  13. 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!
  14. Bonny Ann Pirate Queen Bust By Glitterwolf

    doh! sorry! :)
  15. Bonny Ann Pirate Queen Bust By Glitterwolf

    I like using a small brush for leather and doing little hatchmarks. I'll shade the leather first, then in areas where there would be increased wear- like bends or edges, I do little parallel lines. hmmmn... must find pics... see how the color is lighter at the edges? leather is technically skin, so it will have both a pattern of pores and dermal lines (lines of tension from stretching similar to the wrinkles we get over our knuckles) as well as wear lines from stretching after it's been used as clothing. I'll try to dig up a belt I painted as well, but I may have to fight photobucket. But texture is the best way to show wear I think. worn leather has softer transitions of color than fresh. it isn't as shiny, so while you'll have highlights, they won't be as sharply divided as say a sword or crystal. oh- for the sheer, Rhonda (wren) does great work on sheer. I usually paint the skin and then add lines of fabric- I can try to grab a pic of that as well. do a google search for wet tshirts when you're not at work to get a sense of where the skin shows through. generally it's where the fabric is pulled tightest.
  16. Bonny Ann Pirate Queen Bust By Glitterwolf

    if I can help let me know! I like this bust- she's got a lot of personality. I can't quite tell, but it looks like her lips are parted. I know I saw Nakatan do a version of Bouddica and he painted in the teeth. here's the link if it helps. he does stellar work on skin, so he'd be good to watch for how he blends colors in.
  17. package away! should arrive thursday. let me know if anything breaks or whatnot!
  18. ...and I'm an idiot because today is a postal holiday. sigh. Ok- nice shiney box going out tomorrow...
  19. ok, I'm almost done. I was hoping to get it out by tomorrow but I keep finding things to fix so I'll probably send it Monday. Sorry to push the deadline, Secret Sophie! The water effect ended up being a little bit more zealous than I intended, but I at least got to play with some basing and textures.
  20. Oh, my secret sophie is awesome!! I'll have to post pics, but thank you so much!! I'm still painting away and I'm hoping to get to the basing of my project soon... happy holidays to all!!
  21. Why oh why did I read that forum entry? Sigh. I don't really have the time because I want to finish stuff for reapercon but I thought to myself... what's the harm in rolling and just seeing what colors I get. I can always procrastinate and never get it done like everything else... double sigh. kyphrixis needs some love. he's languishing in my box of bones. So... that corresponds to: 6, 1, 10.... Crap. Do you see the ginormous amount of chroma saturation in these colors? The sheer magnitude of intensity here staggers the Corporea mind. I mean... it's like taking the bestest of brightest shades and trying to make them work. I can't help it... it makes me want to make it work. To prove once again that you can use read and green together and not make it look like Christmas. To take three saturated colors and make them work together breaks all the nice little Corporea Color Theory Rules of Engagement! It says right here in my little handy-dandy power point that the only way to not make the viewer's eyes go all crossy is to at the very least use a complement with less intensity. I just can't take colors of the same value and use them and make them work. I can't... But I can't help myself... if I can make these insane colors work... I can become the COLOR THEORY MASTER!!!! Plus, unless it's truly cheating... I knows some sneaky sneaky ways to manipulate colors. So... can I mix to my heart's content as long as I just use these plus black and white? Cause that will let me shows these colors who's boss! Best way to take the mickey out of a color is to knock it down with its complement! just cause I can't help but do my usual explaining... here's what I'm talking about with my crappy photoediting from the computer cause I'm lazy: this is an image where I've removed the color saturation and just given us a grayscale. see how similar those colors look? that is because they all have the same value. value is something we don't always see when we first look at colors except to scratch our heads and know something is not quite right. These colors lack value contrast. I often use this example: see how the red and blue look similar but the gold and blue different when I take away their sneaky hues? When I put colors together I want colors with differing range on the scale of black to white- that's value here's the pic from wikipedia. does that make sense? They've taken color and mixed in black and white in varying degrees to make a color paler or darker... sort of. Which means, if you're willing to work with pure shades and black and white... you can make anything! Problem is most paint has filler and additives that muddy the range and do unexpected things when you mix. So... when I get three impossible colors... I must conquer them!!!! sigh. And here I was actually hoping to get that diorama done...
  22. ok, I can't seem to do the attachment in the PM for Fanguad, so I'm putting it here! mostly basecoated. I promise to finish on time!! So far, she's fun to paint!
  23. What would YOU like to see taught next year

    I taught basing my first year, but I don't think it worked out well. I tend to use a lot of examples from fine art, but it boils down to having an idea of what sort of story you want to tell with each mini. Pretty much anytime I paint something for competition, I have and idea ahead of time about what I want it to say. This means I approach the whole thing with the story in mind, rather than just painting. So, I'll pick colors that make sense for the story, or colors based on their meanings/connotations. Although I do tend to do a little color theory planning and add some contrast in by using complementaries. I'll plan elements that help tell the story. For example the Jezebel piece I did, I put a little shelf in with cosmetics, since the story in Kings talks about her painting her face. I needed something to balance the other two elements, and that made sense story-wise. I think the little details do two things- they add to the story, and they provide physical elements that help balance the composition. One of the first things I was taught when it comes to composition is finding a way to direct the viewer's eye where you want it to go first. When we paint, we do this by making the salient points of the mini lighter or brighter- such as the skin tone of the face being highlighted more, or using a bright/saturated color to draw the eye. We notice reflective surfaces first- so things that are white will attract our attention. A triangle is a powerful element of balance for a composition. I like this Canova- because it does some good things composition-wise. It is made of triangle, and you have two intersecting lines that draw the eye to the center where the two faces are. Close your eyes and see where they go first on the sculpture. We can use something like the above to place minis on a field of space, to create a triangle. Or draw a line from one to the other with elements of basing. For example in the Jezebel piece- the cloth on the ground is a line pointing to the main figure. I also like ignoring the edge of a base and continuing my story outside a set area. This also creates a line, or a break in the continuity of the base which catches the eye. But I don't know how to teach this per se, except to show examples. I think it requires a mini first, because each mini has a different story to tell. I think it can be frustrating to learn, too. The biggest things to remember are probably limiting the amount of figures and space. It doesn't require many figures or elements to tell a story. Also, working up, with minis on different levels allows us to create a more powerful triangle without as much space. I'm a lazy painter. I want as little surface area as possible to have to cover so I can cover it better!
  24. What would YOU like to see taught next year

    ok... I might could do this, as we say here in the south! I found this. It's $12. That might work. I may buy one and see how it paints up. If the casting is iffy, it wouldn't be a good option, but I could see it functioning as a 4 hr class- I think it would have to be. thoughts?
  25. What would YOU like to see taught next year

    Hmmmn... interesting!!
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