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Posts posted by Nissiana

  1. Sculpting is my weak point, so I don't have a ton of advice to offer on that front - from what I can see, it looks like a pretty good start, and better than most of what I manage with greenstuff.  And once you paint it up, you can always add detail (notches, weathering, etc.) with paint wizardry, and/or basing elements (some kinds of flock double nicely for moss).  


    (Also, nice to see a project from you, Noel!  The holidays knocked me off the boards for a bit, but it's good to see some familiar folks around now that I'm poking around again!)

    • Like 1
  2. Looks like I picked a good day to return to the forums after being away for a few weeks! Kristianna is definitely tricky, but you've done some very nice things with her. I like the richness of the red, and the texturing works nicely. I think my favorite detail is the freehand on her headscarf - the geometric pattern is quite nice!

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  3. I had grand plans to get Secret Sophie packages in the mail today, but today was Polar Vortex day, and I didn't venture that far on my day's travels. Packages going in the mail soon, but a few days late. Apologies!


    My secret Sophie did a bang-up job. Some painted minis, a lovely note, backstory for one of the models(!) and dice....oh, I do love me some dice. Many, many thanks, my anonymous friend!

    • Like 9
  4. I had to dig out an old piece to look. The vast majority of the shrinkage seems to happen in the initial drying phase, but it does look like it does a tiny bit of additional shrinking. The piece I checked is an old Hirst Arts fountain I built. Overall, the water level is about where it arrived after the initial drying. Along the outer edges, though, it's pulled a bit (apx 1mm or so) toward the center of the piece, bringing a bit of paint with it. It was a plaster piece (very porous), and the paint wasn't sealed, so those are some circumstances which might factor in.


    I'll see if I can grab a decent photo, if you like.

    • Like 1
  5. This week's minis are up! http://caffeineforge.com/2013/11/18/monday-miniatures-yephima/


    Nissiana, once again -- mind blown! Is that a rainbow/tie-dye effect on her tunica?


    Thanks, Clint! I had really hoped to have her finished in time, but life just got in the way this week, and I wasn't happy with just rushing her to the finish point. I was even working on her in the middle of our weekly D&D game! I'm going for a dip-dyed effect, yes -- inspired heavily by Matrissa's idea for a sunset-themed skirt. She's got some lovely reference photos posted over in her WIP thread about her own Yephima.

    • Like 1
  6. I tried some P3 special-purpose wet-blend paper, but I wasn't happy with the results. The P3 paper seemed to lower the surface tension of the paint liquid and cause it to spread out much more than on parchment. That's not necessarily bad, but it doesn't fit my style at all. (It makes it harder for me to keep colors separate on the palette.)




    I had the same result with the P3 paper marketed for their wet palette--my paint puddles ran everywhere, without any thinning. I wasn't even have been able to maintain a gradient on the paper, because it would spread out, mix itself, and then dry out too fast because of the large surface area the paint now occupied. I switched over to parchment paper and haven't looked back.

  7. Anne, you ninja'd my reply! The cloak used a lot of the new paints from KS 1. It was based in Soft Blue, with a glaze of Nightmare Black to make it a little more rich blue. The shadows were worked down into a concentrated Nightmare Black. Highlights up into Twilight/Ashen Blue, which I would do a bit more if I were to do it again. Then I did a round of splatter painting (!) with Maggot White to establish the first round of tiny stars. Nebulae, planets, and galaxies were freehanded in with some of the colors used in my red tunic (for the warm toned nebulae and planets) and Surf Aqua/Maggot White (for the cool-toned nebulae/galaxies). There was a round of Surf Aqua splatters, a bit more Maggot White to give the freehanded elements some depth, and then glazed back in the shadows once again in Nightmare Black to restore their contrast. It sounds like a lot of steps, but it's actually pretty easy (and fun!).


    Edit: Slendertroll, as soon as I figure out what I want to do this effect on next, I'll be sure to WIP it up!

    • Like 4
  8. Thanks, y'all. Given how well the cloak turned out, I'm looking for another project to try it out on. Not quite sure what, yet, but it was so much fun to do I want to do it again.


    Slendertroll - I usually work my red highlights up through orange/yellow, rather than straight white. Keeps it from going pink. The upper highlights here are done in Marigold Yellow, a very orangey yellow, and then into Linen white at the top of the highlight. I do a lot of thin glazes with the midtone when I highlight red to bring the color back into the red family...and also to help keep the highlight area small.

    • Like 3
  9. I worked hard on this and I'm getting at least one comment out of it, even if it is mine so here goes.


    Anne, that's pretty good, but you don't have enough contrast. You really should have done more lining and deepened the shadows along the thighs.


    Now I'm going to go comment on other peoples work and bury this bloody thread.


    I know I'm not overly vocal on the forums, and sometimes it takes me a while to see things (sometimes I'm a lurker, too). I'd say that these are better than a lot of people would consider tabletop - and a nice color palette. It's good to step outside of your color comfort zone sometimes.


    If you're really looking to push contrast, I'd say take the highs up as well as looking at the shadows. I'm looking at a lot of high-contrast paintjobs myself these days and trying to challenge myself in this regard. Looking forward to seeing the others in this set!

  10. Interesting how so many of us hit on the same color scheme this week!


    w00t! Made it in. Next up, Fizb...I mean...Galedon.

    If I didn't already have Fizban in my collection, that's totally how I'd paint him. Since I do, though, I'm going to play! I've got an experiment in mind ::D:

  11. I love your sunset reference colors. Yephima is coming up fast my queue, and I think I may have to steal that idea for her skirts - some stunning colors there!


    As far as "warm" whites go, I've never had luck with pink tones for exactly the reasons you ran into above. I tend to work from an ivory base for warm whites, so the warm comes from a more yellow tone than red, and winds up looking creamy in the end.


    I think Anne may be on to something for the accent colors - you'll be working a lot of colors into the skirts, pulling one of them out for the accents will help tie the model together and give something for the eye to follow as you look at the finished piece.

    • Like 1
  12. Not a bad start. This is one of those things where I find photo reference to be most helpful, so here's a sample courtesy of google image search (sheer black stockings)




    From where you are at the moment, it's going to take some thin layers of your fleshtone working up to points where the stockings are most sheer - like the tops of the knees. You're going to want to get a bit of that all over the stockings except the places where the fabric would be most dense, like the back of the knees. I'd start there - try to see if you can replicate the color value of the photo reference...the highlights and shadows are still present as they are in the flesh tones elsewhere, but everything is darker because of the fabric. Wrinkles and folds in the fabric help sell the effect (a pointer from Wren, who's most excellent at painting and teaching this technique - you might try searching the forums for some of her previous comments on painting sheers).



    • Like 1
  13. Agreed with the suggestions above: If you really want to use a technique, and time is short--try it. In a worst-case scenario, you can paint over it and you've still learned something in the process. In best-case scenario, you get a handle on it and it does pretty well the first time out. The more research you do ahead of time, the more likely you'll land closer to best-case than worst-case, most of the time.


    I know a few painters have sacrificed minis on the altar of practice, destined to live near the paint table to be guinea pigs for freehand, lighting, sheer, etc. but never to be finished. You can always try a sample on another mini on "standby" if you're really worried about the contest entry, and then strip that one for future use later if you don't want "Sir Test" to be loitering around your workbench.

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