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Everything posted by junex

  1. So, one of the hindrance of using NMM & TMM together is the artificial vs. natural sheen. With the storm trooper and car examples, wouldn't the different materials/finish explanation still have that problem? The way I make sense of the artificial vs. natural sheen for the minis I paint is to look at it and imagine the light source is stationary based on the mini POV not to mine. I think of it as admiring a sculpture in a museum, I'm not rotating the sculpture but I'm going around it. I always like to think of everything I paint as a diorama.
  2. I thought that's what you meant in your first post. My short attention span side tracked me a bit. I still say go for it. What's the worst that could happen, it doesn't look good and you'll decide to repaint the metals or the NMM parts. Just because someone hasn't made it work before doesn't mean you can't also.
  3. Glazing is not my favorite technique. However, with the right technique, and practice of course, a lot of painters can achieve close to the speed and result of airbrushing. https://www.youtube.com/watch?v=PcWAIbivk7c&list=UUMyleo6g75R-bvGsus2oI8Q Check out the wet-blending starting at around the 4:00 minute mark.
  4. I second Jokemeister's suggestion. Not really. I also agree with MonkeySloth. What he's describing is how I paint my metallics. And after reading this tutorial: http://monkeyman7x.com/articles/metals-silver/, I don't see why it shoud be limited to just shadows. Doesn't always work for me but I'm guessing as long as I try to keep improving I'll get the hang of it someday.
  5. I am currently using a small sheet of EPE foam to wipe off excess paint off my brush. The white closed cell foam sometimes use as packaging material, not styrofoam. EPE is more resilient. I always felt any absorbent material takes off too much paint for my taste. Used blister foam for a while there, then I read one pro-painter's reason for unloading his brush on his hand/skin. The creases of his skin allows him to judge the flow of his paint. Decided on the EPE due to the similar texture. I also have a small piece of damp cellulose sponge (sponge cloth), usually the same kind I use as my wet palette sponge, on my wet palette when I want to take off most of the paint and still keep the brush damp for blending or emergency clean up of stray brushstrokes. I've also seen videos of pro-painters wipe off the excess paint on their mini holders or on the mini itself if it's not too much paint.
  6. I use a Dremel Stylus (sadly, it has been discontinued) with a 535 brass brush to polish metal minis. Used to use xtra fine steel wool but quickly becomes a chore. Feels like the Stylus has a lower torque than it's bigger brothers. I prefer the 535 brass brush since I find it's bristles has more give than say the 537 that Willen uses. Those two together with a light touch gives me a little room for error and I can polish metal minis without taking off details. Unless of course the rotating collet nut touches the mini then you can remove a lot in a small amount of time no matter how low the torque is. Never used my Demel to remove mold lines though. Always used the spine of my hobby knife for that. EDIT: BTW, when I remember to, I test my polishing process on a part of the mini that would be hidden (like the slot tabs if present). I find some manufacturers' metals softer than others.
  7. Has anyone tried R&C spotters, the series 323? I prefer the shorter hair of spotters, my favorite right now is the W&N S7 Miniature #3. I ordered a few sizes of the 323 a few years back and I found them to be really bad compared to the S7 Minis. I was surprised considering all the rave reviews I've been reading about their Series 33. I would love to give them a try again but I'm concerned I'd get the same quality as before.
  8. Dremel Stylus with brass wire brush tip for polishing. For pockmarks, milliput slurry used to be my favorite. I just hate the process of preparing the slurry. Now I use either Vallejo White Stone Paste, Vallejo Putty 401 or even PVA glue. For shallower pockmarks, I use gloss varnish. One problem I have with this though is I find it really hard to tell if theres an improvement since it's transparent. How do you guys solve this?
  9. Has anyone tried this: http://www.escoda.com/brushes/synthetic_brushes/versatil/kolinsky_synthetic I would love to hear your opinions.
  10. Two things that has helped me before. 1. Watching good tutorial videos. I have a small collection of ones from painters I look up which I purchased. But there are a lot of really good ones for free on youtube. Here's one to start you off: https://www.youtube.com/watch?v=V2MxY3y_Zqc&list=UUMyleo6g75R-bvGsus2oI8Q 2. Getting together with a few friends who also paint for a group painting session.
  11. http://www.absolutelyfreeplans.com/indoor%20projects/The%20wooden%20kneeling%20chair.pdf
  12. I know how you feel Willen. This might be another option: http://5-th-dimension.blogspot.com/2013/11/small-painting-helper.html Also, lately I've been fastening a 2ft. section of pool noodle tube on the edge of my painting table. Raises the height by a bit and at the same time making resting of my wrists/arms on the edge for stability a lot more comfortable. Reference photo (not mine, found via google image search): Just imagine the edge of the door as the painting table's adge.
  13. Only tip I could add is how I avoid tide marks. I get this even with some light color Reaper paints, I'm guessing those with poor coverage like what Inarah said. Instead of applying highlights by brushstrokes I dab them on with the brush. I think that because of the poor coverage plus my impatience I have the tendency to keep moving the pigments to cover bare spots. When the paint start to dry before I stop pushing the pigments around I get bare spots or tide marks. By dabbing I'm avoiding pushing the pigment around while it's still wet so less bare spots. Oh, I do this with thinned paint so it will self-level. Hope this makes sense.
  14. I'm interested in knowing what size S7 Miniature brushes everyone's tried. I can't remember paint drying on my #3, and these past few painting sessions I've been using just plain water as thinner.
  15. Thank you for all the compliments! My exact same thoughts. I think the original pictures look a little washed out and maybe slightly out of focus. Tried a couple of fixes on Picasa just to make it look closer to how it looks in hand but I guess it was not enough. I'm sure it was my camera settings and the light set-up. Most of the shadows in the pictures are painted on but there are still some that were due to how my lights were set-up. I did pick-up a few tips from this: http://leskouzes.blogspot.com/2014/05/tuto-prendre-vos-figurines-en-photo_31.html (except for the position of the lights, it's almost the same as how mine is set-up). I did have a couple more angles with the batch of photos I submitted, but honestly they weren't any better than the ones I posted here. TBH, I don't like taking pictures of miniatures which means I don't do it that often which means I don't improve, viscious circle. I know I should practice more since online painting competitions are the only ones I can usually join and unfortunately those are not only painting competitions but photography competitions too. I was originally planning for a more elaborate pattern but settled on something I knew I could finish in time, considering what I wanted to do with the base and the competition deadline. I did know I wanted it to be green to sort of fit in to the rainforest setting while at the same time not too distracting. I know I need to work on my compositions more. Unfortunately, later on I discovered that the pattern i chose was for a boa instead of a viper... After seeing all the entries I knew the best finish I could hope for was maybe 3rd. I was spot on with my 1st & 2nd place choices and after asking for a critique from the judges I could understand their choices for the top five. Speaking of which, the critique I got was to improve the contrast to bring out the details more as well as to add more highlights to my intended focal point. A fair assessment IMO. Thanks again for all the comments.
  16. One of my latest finished projects. Entered this in an online painting competition. Unfortunately, it didn't place. C&C most welcome.
  17. Couldn't agree more, which is why for basecoating and most of my blendings I use DaVinci 303 (standard size synthetics) #2 or #3. I reserve my Kolinsky when more accuracy is needed. Personally I prefer the #3 S7Mini over the #1 S7 standard because although it has shorter hairs the belly is thicker so it holds about the same amount of paint as the #1 standard with the added benefit of giving more control plus the handle is thicker making it more comfortable to hold.
  18. I love the S7 Miniature brushes too. Since my workhorse is the S7 Mini #3 I've never had a problem of paint drying on the brush. Maybe also because I use retarders a lot.
  19. After waiting for a couple of months my Stynylrez primers finally arrived (delay was on my side not the seller's). Haven't had a chance to test them yet but the grey bottle had some dried primer on the threads. Perfect opportunity to test the durability. I really had to dig in with the tip of my tweezers to scrape some of it off. Most of the time the tweezer tip just slides off the primer. I'm impressed! I hope that's how it performs when I brush it on. But I guess my other concern now is how hard would it be to strip?
  20. Saw this: ...but all I could find locally was this: ...so I bought two and made this: ...found an extra velcro strap, used it to secure them together...now I have this to hold the brushes I use most often:
  21. You might want to check out Badger's Stynylez primers. I'm still waiting for my order to arrive so I can't give you a hands-on review but a few online reviews I've seen indicate that they're very good. I believe they're designed for airbrushing but a couple of people, like James Wappel, are applying them by paintbrush. I bought them with the intention on using them as brush-on primers.
  22. I have more than a hundred RMS bottles and having them lined up on my paint rack is a sight to behold. Recently though I've discovered the joy of mixing colors. Although it's nice starting a new project and looking over my pre-mixed colors and figuring out a color scheme, nothing beats the feeling of coming up with an acceptable skin color by mixing white, yellow, red and green. I have no tips to add on how to preserve your paint pots but I hope this can start you on color mixing: http://www.wikihow.com/Create-Realistic-Flesh-Tones
  23. Hey Willen! Yeah, I've mostly only been lurking these past few days. I understand what you mean. I rely on wet on wet blending for the large part of the blending, usually. So I tend to use feathering for the last few highlights so I don't really need that much paint. I think that's why that works for me. For shadows I usually use controlled washes. Oh, and the weather here is a bit uncomfortable to paint for me, maybe I'm just too used to airconditioning, so I paint in an airconditioned room and the air is actually too dry. Hence, I rely on retarders. I'm currently using Golden retarder (the more viscous one). Helps tremendously in blending.
  24. Terminologies have often times confused me. I've always understood feathering to be this: http://www.coolminiornot.com/articles/1273 And here's Ali McVey's (?) approach: https://www.youtube.com/watch?v=cw6QjE2a7A0 The way I understand feathering, 2BB is just one way of doing it. Like Minx said I usually do it with just 1 brush but I keep a damp cellulose sponge on my wet palette to quickly wipe away the paint remaining on the brush while still maintaning a damp brush to quickly smooth out the edge. I personally prefer wet on wet blending but I usually end up employing other techniques as well (feathering, glazing, etc.) to get the final result I'm happy with. I think Minx is referring to: http://www.alexi-z.com/portfolio/miniatures/
  25. Close to 95% of the paint I own is RMS. I love the dropper bottles and agitators. I love that it only takes a few shakes before I start hearing the agitator rattling around. I like how the paint flows. However, I find I'm still very dependent on additives, specially retarders. Helps make the paint behave how I want them to. My favorite ones are probably brown liner, blue liner (these two are the only ones I have spares of since I have to order my paints online) and linen white. The brown and blue liners are my usual final highlights, separately, mixed or used individually. I add Linen White to my mix as a highlight but since I keep getting feedback that I should still push my contrast I'd like to try and use it on it's own as a final highlight. I sort of understand color theory. I've read Gurney's Color and Light but I guess I have to read it a few more times. Lately I've been adding whatever colors I used on another part of the figure to both my shade and highlight in an attempt to hide my inadequate grasp of color theory and, hopefully, to make the overall color choices more cohesive. Seems to be working so far but I may not know any better. I also like adding glazes of the clears in the shadows to make them more interesting.
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