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Everything posted by Willen

  1. Sorry, that is simply wrong. The fact that most non-reflective surfaces absorb a lot of the light so you are less aware of the "reflection" on them is a perception thing, not reality. IF the lightsource stays the same, shadows and highlights stay the same. When you say NMM does not work, typically, is because you are changing the light condition on the piece relative to the viewer when moving the mini around. Which is why, most of the time, I prefer NMM. TMM has an issue of creating dissimilar lighting situations between my usual "matte" highlights and the metallic reflection when
  2. To mix it in? Sure. I am just talking about its properties. Just yesterday I got feedback from a client, to whom I had to deliver three minis unvarnished in a hurry. He admired how much nicer they were unvarnished; I explained that a lot of the control on textures and "feel" you achieve with metals and more satin-y paints is subtle and gets destroyed when fully varnishing the piece. It is a devil we need to live with if we want high-durability paintjobs on the table.
  3. Love them! I have been trying, and struggling, to do a convincing chocolate skin tone... can you share your process for this one?
  4. The name changed to Armor Brown. I would say some painters love it not only because of its shade, which is nothing spectacular, but because it behaves... oddly. It is a bit satin, a bit like a wash too (due to the density of Air paints, and this one is on the thin side of them). It blends great with most dark colors and helps add some shine into the shadow areas that painters like Ben Kometz love. I like it, it is easy to use, and would say my RMS Ruddy Brown is similar if a bit too vibrant. A dash of a very dark green would correct it, but not help with the dullness o
  5. Soooo nice. What color for the horns? I am kinda liking them black tbh.
  6. Real nice work!! If I may, I think both the NMM and the oSL lack one key thing... white!! The purest NMM reflections and the brightest portion of the OSL (the hammer head) must read to our eyes as the brightest areas of the mini. As they stand, the are equally bright as for example, the face highlights and the arm bracers. As a result, the NMM looks a bit stonish and the OSL look dull. The placement is great and that is the hardest part IMHO, perhaps some fading on the orange and a higher chroma for the OSL would be my preference... but I would encourage you to add whit
  7. Ah I get it. Well, I don't have the listed whites and blacks either. I thought the intent was "paint with limited, random colors!" and the specific paints were more an on-the-fly selection of interesting colors, not an specific scientific decision, if you get what I mean. I am further ratified on this by the reply to my question "can I use other paints?". I would be interesting to know, either case. This made my day
  8. Don't worry, I will using all acrylics On a serious note, the challenge is about painting on a limited palette, why is there anything to do with stuff like coverage, etc (other than making my life miserable if I try to brush basecoats of a translucent Scale paint on a big dragon which, for the record, I will never do again since I got an airbrush).
  9. Thanks! I think that some Khaki or Sand color will do, and if Violet Red is a dark blueish red, I have several on hand from either Vallejo or Scale.
  10. Since this challenge has no time limit, and I need to paint my dragons one day... I think I will take it! Rolls got me Palomino Gold (good, I have this one), Terran Khaki (which I don't; PaintRack suggests Mohave White but the spreadsheet says Pale Sand... I might have to look for an on-hand alternative), and Violet Red (which I don't have either). So my question is... as long as I stick to three similar colors (replacing the 2 colors I don't have with similar ones), would it be ok? Or boo'ing will ensue? Edit: Dragon will be Kryphrixis, evidence of rolling
  11. Thanks... I really like the lips too. He is a one-man operation selling only from FB but I will PM you Piotr email, so you can contact him. He is a very nice guy turning out interesting things, two busts now (and he hyped me about the third one!). He works through PayPal so you should have no problem getting Akito for yourself. Oh, that is a glass jam container, we eat quite a lot of jam here and these ones are perfect as water holders for me. A little bit taller than a cup, good volume; I typically strip the outside shrink wrap (the blue thing you
  12. Yeah, I cross-posted this into the FB group we have from Roman Lappat's classes, and they were saying that the problem is I need to let it grow a bit (that I should also grow a pair and refine it more, don't give up on it so easily). The face is starting to grow on me after looking real hard at the pics; it is going in the right direction, something I can refine with tints and coloring, correct some details, soften the shadows, eyelids, etc. The abs are crap and I need to go back to smooth color and softer transitions, and the arms have this issue as well. But Roman was saying to
  13. I started slowly galzing the skin, and everything was going ok... Until I decided to go sketch style on her and finished with this, which I honestly hate. So she is going to the clean bath for a do over. Lesson learnt, I guess... doint smooth skin on such a large surface is haaaaard. I could keep smoothing it over but I don't like the roughness of the surface already.
  14. Nice piece. The face is particularly striking. As for the hair, you said it yourself, you need to push the highlights. Unfortunately for things like this you need to paint the strands, but look at it this way: it is a great opportunity to practice side-brush edge highlighting if the strands are well sculpted! Layering is not really needed much; when you push the contrast from dark to light (more shadows! more highlights!) the eye blurs the in-betweens, making smooth transitions less and less necessary. Keep it up!
  15. Thanks Guindyloo. I think I was retreating when you were more active, but I have read you, quite a lot. Thanks for the nice words! Really? All my badly-spelled English posts? Haha thanks. *waves back* Well, you will be reading more of me, don't complain later ;) Really? In a flattering manner I hope. Nice reading you TS, I have been following your work, amazing man! Hello there. Come closer, I don't bite. Nice seeing you Chaoswolf. Yeah, well, life. They will get
  16. Hello everybody. I have been away for a while, so I figured a re-introduction and some status update for my friends (yes, I consider many of you as friends even if I have never met you in the flesh). I don't have a very private persona, so I can tell you my name is Esteban, I live in La Plata (a city close to Buenos Aires, capital city of Argentina, a country waaaaay south in the American continent); I am an Aeronautical Engineer working for an airline, so I get to travel quite a bit and stock on hobby supplies which are scarce in my home country. I did some mini painti
  17. Thanks ub3r, CS and Sanael. I have been painting quite a bit, just not posting here... only reading you guys. All the final highlights (last two steps, so a light grey and then the almost-white) got the yellow tint. Yes, it is hard to tell, and that is the sense, specially under the lamps and their own tinting. It is more evident in the last final almost-white yellow tinted of the triangle points. I can see a bit of the yellow on the forehead / top of the head hair, the fist, the boob, the shoulder plate, the elbow. I don't typically bother with th
  18. Hello guys! I am coming back to the forums with this piece, which is part-promise, part-"break piece" from comissions and gaming pieces at the moment. It is the first bust from Neko Galaxy, the amazing Akito. Here you can see it already primed. First black, then a bit of white, finally white with a dash of SC75 Tenere Yellow. Black and White where SC75 primers; all painting so far through my airbrush. C&C welcomed as always. As you can see, lighting focus will be from the up-left area. Special attention was p
  19. Thanks Pillpeddler! But everyone is fit to criticize, so feel free to let me know if there is something you feel it is off, or can be improved. PS: I thought "derriere" was a new English word to add to my vocabulary until I realized you were talking about "derrière" in French LOL
  20. Ok, here is a -very- theorical webpage about light, color and also color mixing... perhaps somebody will find it interesting. http://www.huevaluechroma.com/021.php
  21. I agree with you, but from the general piece I believe there is a slope that might be tricking our view. Front should piece should have its reflection lower, yes, back pieces I can believe they are sloped so the general "flat surface light to the bottom" guideline applies to the lower half only. Mind, what Doug said: those are artistic renditions to make it look contrast-y and nice. A flat surface is typically just one color in the reflection with very little variance, if you check at real life examples...
  22. Sure. He used a pic like the one above, sourced from the internet. Check the blade; the white section ends where a black section ends. Check the leg armor, basically the same. Check the elbow piece on the back view; where you have a pure white, there needs to be a pure black for contrast. Another tip was always, always use some color instead of black or white, tint it a bit. And the color should be of the sorroundings, to sell the illusion of reflectiveness. If you have nothing, black areas (poiting down) can use a brown or green tint, for a natural look, but blues, purples, reds,
  23. Multiple light sources create interest on the piece if done correctly, but if you are trying to learn highlight placement, I highly recommend starting simple. Zenital, perhaps slighty to the left light placement, I think is the easiest for practice Unfortunately I think most of the theory you are going to find is about 2D painting of reflective surfaces. Which help, of course, but sometimes in mini painting we bend the rules for effect. The one advice Roman Lappat gave us on this topic was "always match you darkest color with your lightest color, even if it breaks the rules". As Ku
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