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Everything posted by slop_artist

  1. Ha-Ha!! It is "I" - Double Entendre Man! *flourishes cape* Er... well... uh... What in the ... ?! Er... I think I'll just move along quietly... I have nothing to add. I'm clearly out of my league here.
  2. I am shocked! I cannot believe you all would have the audacity - to beat me to the jokes! Shame on you PurityThruFire! Shame on you Beowulfthehunter! To answer Lord Wehrmacht: "Roofies."
  3. I'm looking forward to seeing your work PTF. No pressure though. Nope, none at all. No pressure what-so-ever! None. Nada.
  4. I personally like "Flat" ferrules for dry-brushing. The ones I use most often are flat size #0, size #2, and size #4. The material (sable, hog hair, synthetic) varies on the texture I'm targeting. I usually use sable for the softest/smoothest response. (but they get beat-up pretty fast! )
  5. Since there's more than one way to do things, another solution would be to use a technical pen or a ultra fine point marker. On the tattoos: 3rd to the last step, more than likely drawn on with an ultra fine tip marker. The 2nd step would be a final wash of skintone to "age" the tattoo. The last step would probably have been the hair. With the hair: It looks to me that this was done with something similar to a Koh-I-Noor size #2x0 (.30 mm). Rather than ink, the medium would have been something similar to Golden Airbrush Color's Transparent Raw Umber Hue. The right profile's right arm, near the elbow, has either the hair "applied too thick", or shows slight signs of "troughing" where too much pressure could have been applied. If it were me, I would have applied it "last step" as the previous highlighting and shadows would provide continuity to the transparent "hair". Plus, if it went all wrong, at last step a quick touch of alcohol would remove the offense. This isn't to refute other's opinions, nor is it in fact "proof" of how it was done. This does however provide an alternative. The only way to know for sure, would be to ask the one who did it. Just my 2 cents worth.
  6. Are you wondering about the tattoos, the reddened area, the hair, or the conversion?
  7. Ah... Chaotic evil is never having to say you're sorry! That changs everything... I would go with the opposite side of the triad for the Historic Blues and use the 9701: Blood Triad. Although the 9745: Bloodthirsty Reds triad would work there too. This is all assuming MSP paints. Other brands will make a difference. Oh wait! My bad! I was thinking something else on the Dark Elf Skin. The Khaki browns are more of a yellow brown... combined with the armor selection it might just be a little "sick", which might work. I think the target would be yellow orange or maybe even the yellow greens of the first recommendation would work.
  8. Good Lord... er... Lord. I love the mini itself since I like the subtle fleur-de-lis on the handle, but you did a very splendid job and gave it depth. The colors and balance flow nicely. The blues are well done, and the browns are top knotch. The contrasting armor was a stretch, but you pulled it off and made it work! That alone was worth the price of admission. The hair is great, and although I think the face of the sculpt suffers from a "Resusci Annie" quality, you did a good job with it!
  9. Although dark elf skin as armor makes me curious, I personally would go for complimentary colors. 9712: Olive Greens Triad might be too "meh" 9762: Reptilian Greens Triad -or- 9704: Warm Green Triads might work for split-ish-complimentaries. My personal taste would probably use 9751: Historic Blues Triad since they are awesome.
  10. I believe it's banded mail. Here is a link to a Flash Eating Toad of Madagascar - that is very creepy. (Not for the faint of heart) - Located at Syracuse University, a picture of a 5 foot / 160 pound Man Eating Chicken can be found here
  11. Then too, it seems apparent that most MSP colors are premixed, and balanced by hue with individual tints and shades. To focus that intently on color specifics would naturally come with a price of sacrificing some flexibility toward mixing, as the premixing may dilute the purity of the of the saturation when mixed further. Or am I wrong?
  12. In a real world example, try using photoshop (from an earlier post I assume you're proficient). Make a 20% opacity fill in yellow. On top of it, make a 20% opacity fill in blue. This will achieve around a 40% opaque green. That is the "concept" of what the wash can achieve. It is a method of subtleties, and overdoing the style will leave the work garish. The only part left is knowing how far to thin, or not thin, your paints. I'm not sure if this will help you, but I've seen many fight with this. This is a more "base" explanation without too much technical "who-ha". For those that might not know, drybrushing does not mean "dry brushing", but its more of a "partial coverage" brushing, but it is limited to the ability of the paint dispersement from a semi-wet brush. This is probably why they call it "drybrushing" rather than "partial coverage paint dispersement from a semi-wet brush. " Too much of incorrect drybrushing, using a mostly dry brush, applied to dried paint, creates a "sponge" effect. This effect will sap even more juice from the new paint being applied. It will be chalky since (for all practical purposes) dry paint is being applied. It becomes a vicious cycle of adding paint, that becomes chaulky, to add paint, that becomes chalky, and so on. What might help would be to use a brush with around half of the load intact (dip it in paint, wipe it lightly once). Lightly go over the area to be drybrushed once. Just once, then put down the brush and walk away. Return in a few seconds and look at the effect. If the effect is unnoticeable, use a tad more paint. If the paint is too much on the miniature, use less paint. Recognize what drybrushing is intended to achieve, and target that effect. Most problems with drybrushing are from the concept of drybrushing. Having a half dry brush, with the paint drying on the brush, wiping dried or drying paint over the same area, is not the intention of "drybrushing". Hope this helps someone, as I've seen the question raised before.
  13. Hi Sam, Side stepping the obvious "schemes don't translate" or "same but different" arguments, I think that a color schemer "idea" might be fun. On the upside, I think it would definitely help some mix and match. I think it would be relatively simple to construct and maintain since there are finite colors in any line. On the downside, I think there are a plethora of color wheels already on the web, and it might be redundant. I think also that anyone would use it would all have miniatures that looked identical. Expanding on that idea, in my opinion what would really be effective would be to incorporate a color schemer with a little common sense and allow people to: 1. Pick the colors. 2. Pick the miniature. 3. Print out a "paint by numbers" outline, that also lists what paints would be needed. This would take the guessing out of the mechanics, and it would remove the intimidation or questions for the beginners. ------ Idea © 2007 slop_artist
  14. What is it for? Modern Military Tank Track? Fantasy Undead Weapon? A Very Shiny Pickle? The green can be green, yellow-green, or even blue green, depending on the subject.
  15. I wasn't sure. To lead fun with hard science can be off-putting. To socialize as a "know it all" can be insulting. I seem to trip back and forth and am unable to make myself clear. Also, discussions filtered through my minds eye also smack of bias. Although these posts span multiple threads, the same rules apply. So, in a nutshell, I have a way of bringing out the worst and best in people, and I am used to it. Some of my best friends hate my guts. My attempt at this dance is to follow the steps Reaper (as a generalization) would want but still cross the room as others may want or need. My attempt is to keep the science simple, and the curious happy. I only seek to fill holes that seem to go unnoticed. I can't help but step on toes as I tend to be a very poor dancer with very big feet. I am getting better at staying out of the way though.
  16. I agree to a point good sir, but some have a tendency to be brutally honest which would either make the painter hesitate or stop completely. It is deplorable when advice is given based on opinion. Even the best human being has at least one misguided opinion. More still focus on dictating a technique, a technique they have not mastered, than observing the intentions of the work. Everyone starts like crap. If they do not, they usually have an unrealistically high opinion of their work. For the rest that do need support until they are settled, it is just picking the corn out of the crap. I seen a post of a ghost, and I considered mentioning, "Oh - It's perfect! It looks just like a lump of mashed potatoes! Beware the Steak for 'it' cometh!" I tried, but since I could not be more constructive, I withheld my thoughts. Some thrive on honestly, some cower from it, but as you said, "cultural acceptance of critique is probably another factor". Very many tear down others to raise themselves, and with this, I have seen "critiques" used more as a weapon than as a goad. I would rather be honest, than brutally honest, and I haven't lied yet. Regardless, when something is really good, I just have to add the "suck it" comment.
  17. I was heading in that direction early on in this thread, but was seemingly dismissed. Here's a brief spit-up for those that may need to get caught up on values: In order to keep consistencies, it would be best to make a value scale in MSPs or whatever paint you are using. I was not sure if I should make a little write-up of "values", and how to use and make a value chart, since I do not want to be in a position of compromising MSPs since the "scientific" approach is so readily ignored. As a synopsis of the theory, without too much revelation, using a Munsell value chart (found anywhere on the internet), print it off, and match the shades and tints. Put the paint on the chart and let it dry, if not you will be off since acrylics are brighter before they set and dry. Squint very tightly at the paint smeared chart, and where the color becomes invisible is indicative of the "value" of that color. The color is blurred but the "shade" or "value" can be discerned through squinting. If its invisible, its a match. This is good to do per individual painter, since not everyone uses the same light source, environment, eyesight, and so forth. The value can be lightened by white or by a higher value of the same color (to keep the saturation point). It can be darkened by a deeper shade, or by a complimentary color, but the same rules may apply. Concerning a grey scale, if that same value or grey already exists in your particular line of paint, so much the better. If not, start with white and add black ink - this will be less waste than adding black paint because of opacity issues. Find the middle value, then match the other values as a base. Write down the formulas and there are your "neutral grays". Mix the neutral grays with the color to increase or decrease values, but this will stunt the purity as it effects the saturation. As a neat trick, a transparent hue with just a touch of the same value borrows the opacity from the white and becomes less transparent, but the purity cost may be high. With that under your belt: Concerning the robes, the greys are the shadow of the skin. The wash (like in making a tattoo) effects the value of whatever it touches, and if its the same value, the grey will lend substance to the "skin" (in the painting above it provides mass). The last step though should be the color of the robe or shirt or what-not. I believe ink was even mentioned by Cerridwyn, but with the last wash it has to look like a cover, rather than a wet t-shirt contest. (unless that's the goal) Due to the scale, light source, material, et cetera, some interaction may be required (wet on wet blending, glazing, and so on). Since 3-d painting has a depth 2-d has to simulate. There are usually a bazillion ways to do something. This is what usually works for me - or if I'm looking for thinner, I paint it all skin and just highlight the "clothes". But I consider that more "naughty" than "diaphanous".
  18. Would you happen to have a picture there PurpleTealFiend? *crosses fingers*
  19. I'm not speaking for anyone but myself, but miniatures like this (done by Mengu Gungor) is as good, if not better, than Rackham and others. For those that cast dispersions at Reaper, I can only look at this miniature and tell them to "suck it!"
  20. Has anyone ever seen those cookbooks like "Top Secret Recipes"? If not, they let an average schmoe make Alfredo like the Olive Garden, or you find the recipe for pizza just like Pizza Hut. It is easy when you know the secrets, as you get the gist of the "pop" without having to spend the cash. Using this as an analogy, consider the "mystery" in a company's painting. Whether its oil and acrylic mix, technical pens, or enhanced photos, once you know the secret, it is a little demystified. They keep their secrets bottled up though, and all one sees is "the killer paint job". Ral Partha used to only photograph miniatures painted with "Partha Paints", and (feel free to correct me if I am wrong) I believe Reaper is the same way. As a punishment, I think Rackham (and others) should only be able to show or market miniatures done with the paints and tools they sell. This should be retroactive of course, and the first releases of a company's line should all have to be done using their original paints. For guidance, it should include a little tutorial by the painter. It would put it in perspective to see a GW army while it is being painted and while "... the &^%#ing paints keep drying out! What is this $*!% ?! God-#@^) &^%#ing $*!% ! I have a &^%#ing deadline!! WTF is wrong with this &^%#ing brush, you &@$%@^*$ !!" Of course their are paintjobs that look awesome, but the object of the work is "to sell" not necessarily "to buy". If anyone asks me (even if they don't I wont shut up) I think there's more talent at Reaper and on this forum that goes to waste than most companies will ever have. I am proven right time and again! Kyle Killingsworth, Liliana Troy, Derek Schubert, and Anne are great but just the tip of a huge iceberg. (Even Anne's early stuff rocks, where it looks like she painted with a milk jug of paint tied to Tomahawk Cruise Missile.) (j/k) That's not even touching the forum. Just my 2 cents worth.
  21. Hi PBN, What I have used in the past: 1) Any Shadow Blue (Usually Ultramarine, Ritterlich, Breonne, or Midnight will work for this test) 2) Thin Black Ink Wash (Just to lick the crevasses and pull down the initial blue) 3) Highlight with Medium Blue (The Medium compliment of #1 above - personal preference, you can even do medium + shadow for darker tones) 4) Thin Shadow Blue Wash (Same color as #1, but used to pull the medium blue into the black) It's quick and dirty. Depending on the colors of the miniature, any deep color works just as well. This is more focused on "black" hair though, and the tint is to separate depth from height. HTH
  22. Yeah... Despite the topic wandering and the nonsensical diatribes, I believe we are in unison in supporting you!
  23. How do I use dark blue but keep the highlights bright? I think the takeaway I get from the thread so far is that highlights need to be small and probably bright to work here. Maybe I'll go with white with just a touch of dark blue at the edge to keep it from being such a dark transition. Madog, I was thinking (yes, I sometimes think) and with some blue-orange combinations (depending on the paint and their value) you can get a very dark similarity to Payne's Grey. It could be, again depending on the paint's pigment, more vibrant than a mere "black" at that point. In fact, a blue would not only fit, but also "pull" the hair into the mini. That is depending on other colors present. However, to make a long story short (yeah I know - too late) Highlights could be small and work, but that's only in proportion to the other colors. You could make dramatic highlights work, but generally speaking small good. I just read the "Blue robes and green base" from your first post. IMHO you could try to do a "gloss" effect. Instead of abusing blue use gray or a deep cyan + shade value, but instead of drybrushing treat it like velvet. Focus on it like the "sheen" of a panther, but scaled down of course.
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