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Corporea

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Everything posted by Corporea

  1. I've taught as few as 4 and as many as 6 in a given reapercon, and I will admit, this past year doing 4 was nice. I didn't feel as rushed. I felt like I had time at my station to help folks one on one. I got to eat! So, don't feel like you have to overburden yourself with stress or responsibility. It's ok to do less, and give it your all. If you're exhausted, you won't be at your best. Also, your health is important. Think about all you put in to the classes, including the prep time. You gotta live, too! For those that don't know, we as instructors plan our classes on our own, do any prepwork on the minis and create our handouts. For some of my classes, there's a lot of background work and planning that goes in to them. My color theory class has a 70+ slide powerpoint that I add to every year when I learn new things. Rhonda has insanely detailed handouts. Poor Dave did an amazing amount of prep on his bases for the water effects class. Like, crazy amazing work. There's always another year. I rotate some of my classes and teach them every few years. Dave, pick the ones you most want to teach. Pick the ones that make you the most excited and enthusiastic. Do those. Save the others for another year when you're feeling more into them or feel like you've learned something new you want to share. Also, you can certainly teach two of the same class. Teach two of the water class and hold off on one of the others instead. I know it's hard when there are so many cool things to show folks. Your classes will be loved, no matter which ones you pick. But you don't have to teach them all. I applaud in every way your good spirit and generosity. You are an awesome person and should know you have gone above and beyond the call of duty. But it's ok to limit the ones you teach. If you can't pick, roll dice and let them pick. Also- remember Tish will pretty much always teach a kids class.
  2. I should be able to do this- will send PM this week. I like painting for people because I love giving gifts. If you get to paint for me, please know that I cherish every mini I have ever been gifted, and they have a special place on my shelf. I do not care about skill level. The holidays are about love and sharing, not quantity or quality. This is also about fun! So have fun!! PS: I asked for coal one year in my stocking when I was still collecting rocks. I never got it. I had to go buy it at a local gem show...
  3. Welcome to the forum, HolyHeathen!! HolkDiggity- I am a huge fan of WIPs, and there should be a bunch from me on the forums scattered around. I'm currently working on this lion. This bust was one of my favorites as well. I put a lot of information in this bust WIP, too. I find documenting what I do teaches me how I do things and makes me more aware of how to improve my process. It wasn't until I found the forums here and got feedback on my painting that I improved. Painting in isolation is hard, doing it in groups is so much more rewarding! And fun!
  4. All of them! Muah hah ha! They will all be mine! Seriously, she is such a gorgeous sculpt, I can't wait to get my bones one and paint it! Ready for retail when I can buy more and try out different skin tones.
  5. I know awhile ago I did a marble tutorial, but I think photobucket might have eaten the images. I'll try to put together something later this month or early next month. I like marble. It is so varied in its appearance, we can play with virtually any colors and patterns. James Wappel does some really cool marble effects on his blog as well. These are two of the marble effects after the blending. You can still see some of the lines, but if you glaze thin layers of your highlight and shadow over it, the lines will soften. If they become to faint, just paint them back in. Push and pull with the lines and the glazing until you are satisfied. Leave some of the lines more defined and others softer. The veins that run through marble dive in and out of the stone. It is a very forgiving effect and fun to play with! In this case, I just used colors I'd used elsewhere in the mini to help tie the colors together. NMM has a steep and painful learning curve. The safest way to approach surfaces, is to break them down into geometric shapes. So you may have a cylinder, sphere or cone. See how the light affects the shapes differently? While our minis are more complex, if we follow the rule that light hits a surface in a fairly predictable manner, all we have to do is simplify. This is hard and takes a lot of muddling through sometimes. So on the breastplate, the chest area acts like a sphere. Since I've picked a light direction, I know there will be a circle of light near the top. I'll shade down in circles around that to tell my viewer this is a rounded form. See the arrows? I have decided I want a front and slightly right main light source, but I also am using some top-down lighting. So the light on the cylinder part of the breastplate goes more or less in the middle and also near the top. Placing a dark area next to a light area helps a surface read as sharp or metallic. See this cylinder? You can see the light strikes it from above and to the left and next to the light area is a dark band on either side. This helps us read "shiny" So... I think the reason NMM is hard is because it requires us to think about shapes, light source and placement of light-dark all at once. It just means taking a more systematic approach to painting. It does require planning, because unless you have a consistent light source, it will look odd. Also, there is a certain degree of cheating to make it look good that I just think takes practice. It may not make sense for a shadow to be somewhere, but I want it there to sell the effect so I make it up. That just comes with time. So, er, yes. plan it and always go back to the wonderful internet browser and search for images of the thing you want to paint. It will help to see it and then copy it. You can also take a picture of your mini held up to a bright light and see where the light goes. That can be helpful for planning. Hope that helps!
  6. purple and yellow are complementaries, so I wanted the color contrast. It's one of my favorite complementary combos. Do cloud giants have green hair? I should have done more research in the monster manual! I felt like if I go yellow, I risk blonde, and green feels too oceany to me. For some reason the purple just felt colder and frostier. More cloudy! Thanks guys!!!
  7. Ok, so you have no idea how hard it was to not show this stuff to everyone right away! I did take some in progress photos as I painted because I like to WIP. I find it helpful for me, because I can go back and remember how I did something or the colors I used. Because I forget these things. I try to take photos of the colors I use. For the skin I used ultramarine shadow as a base, then I worked up through ashen blue, mint green and in certain areas like the face the snowdrift white. After I had most of the skin blocked in, I glazed a lot and also glazed in some fair skin. Blue by itself can look weird, because our brains are wired to see desaturated colors for skin. If I go too intense with the blue, it may look cartoony, so adding some flesh to it towards the end makes it look softer. For the hair I got to play with desna blue from the new pathfinder colors. It's a purple, don't be fooled. The hair started with the desna blue, then moved through ivy violet, spectral white and some pure white. Note, the highlight for the skin was a blue white. For the hair a purple white. This makes the two look a just a little different. The gold I used the ebony flesh as my shadow, then the oiled leather, worn olive and lemon yellow. Note, the lemon yellow is a cold yellow. She's a frosty lady, so all my colors, with the exception of the oiled leather, are cool colors. I feel like green in gold is some sort of voodoo magic I wish I'd discovered years ago. sigh. The marble I think I fogot to photo, but I used the ashen blue and then some of the ebony flesh and... er... a white... um... Must remember to take more pictures next time. Here's how I like to set up my palette. You can see the difference in the hair in the middle and the skin on the bottom. When I start, I basecoat things in my darkest colors, just to cover the whole mini. It gives me a sense about how the colors will work with each other. This is a good stage to decide if I don't like something. I almost always start in on the face, because I can't stand an eyeless mini and the face is always the most important and stressful part of a mini. You can see how I work up from the dark to light. I decide where I want the highlights and light source to be early on. In this case, the light is coming from the front and slightly to the viewer's right. I played a bit with the hair and the gold bracelets here. Gene sculpted some fun locks of hair! It's a difference I've noticed between 3d and putty sculpts. The hair is more lock-like. just a early view of the back and the front. In this one I worked some of the worn olive into the cloak. I added some oiled leather to the gold and leather areas. I decided to do texture on the leather straps, because it needed some variety. Then I added the worn olive. See, I thought mint green was my new favorite color, but I was wrong. It's worn olive. And I worked up into the lemon yellow. Right now, see how soft the metal looks? I haven't gone high enough with my highlights or sharp enough with the transitions. It still looks like fabric. The sculpt comes with a groove in her right leg for the quad/hamstring definition, but the rest of the muscles I painted on. If you like painting muscles in (doesn't everyone?) then I suggest doing a ton of research on your friendly neighborhood internet browser. I searched for example, knee anatomy, and looked at images of knees to help me. It is also cheating that my profession requires me to know some anatomy and I know what I'm looking for, but there is no substitute for actually looking at examples in real life of what you want to paint. I can't stress that enough. My memory is never as good as google's. Ok, so I had grand intentions of taking in progress freehand steps but I hit one of those stupid painting grooves and paused here. Sigh. What I did was search for celtic/scandinavian patterns and pick the ones I liked, drew them out on paper, broke them down into simple geometric shapes and copied them on the mini. Because the cloak dips in an out I could NOT simply trace a straight line for the larger pattern. First I traced it, then watched how the fabric would pull, and moved it accordingly. I feel like it make it more natural. Here's a blow-up of the bottom pattern. See how it is circles with crosses inside and lines connecting them? I started by drawing a thick dark line, the adding the thinner light color in the middle. You can also see where I touched up the pattern a lot. No pattern is perfectly drawn at first. There's a lot of pushing and pulling. The muscles are more defined, the gold has more highlights. I think I might have a thing for feet. I loved painting her feet. Here's a close up of the breastplate. Now you can see some areas of high-highlight. I did add some titanium white near the end, I think. The leather did not incorporate the olive or the yellow, but it still used the ebony flesh and oiled leather. I like using colors in different parts of the mini to tie it together. hair mostly done. Most of the desna "blue" is gone, because I want the hair to look white. I wanted the base to look icy, so I used her mint green skintone on the bottom, but not in the column. Fun fact. I drybrushed the icy part of the base after this step. Why yes, I did! Hah! It can be used in competition, so take that technique snobs! This is before I blended on top of the column, so you can see the colors that go in to the marble. I like some lines in my marble, but take a soft overall approach. the key to marble is layers. I put down the colors, then blend a lot of layer over them to soften the lines. it helps it look like the lines are fading into the stone. Here's where I worked the fair skin in. And that's all the in-progess I took. hope it helps! Let me know if you have questions!!
  8. I wasn't sure if I should post this in Show off or WIP, but I figured here and if you would please forgive the in progress parts in the subsequent post. Ron let me paint this lovely sculpt by Gene Van Horne. Actually, I think I might have begged to paint it and considered stealing it from his office if he refused. She'll be in the Greek Odyssey Expansion for Bones V. If by some miracle you have come to this forum and not heard of Bones V, it can be found here. Aaron Lovejoy was awesome and took some high definition photos of her after last Reapercon. I really love this sculpt, can't say that enough. She's got some fantastic detail, lots of good open space to work on blending or freehand, even a scenic base to play with stone effects. While I loved the original Yephima by Patrick Keith, and still use her in my classes, this one really screams warrior to me. I need to paint my bones version when I get it as Athena. I'll have to add a shield somewhere, though. Maybe convert the club to a spear. Decisions decisions. Anyway, feel free to ask questions. I'm happy to explain or help with anything! I'm going to post the WIP pictures I have in another post, so hopefully those will also be useful. Enjoy!
  9. I took a "short" break but I'm back! The model I'm using for reference has this fun sun-like spiral on the shoulder. I'm going to try to do something similar. I started by putting down a thick line of the red shadow, then coming back with the marigold yellow in the middle. It means I draw 2 lines, instead of three. I find it easier. This may be harder to see, but what I've done is take a damp brush and draw with water a faint line in the spiral I think I want. It leaves no trace on the mini if I change my mind, but gives me a guide to follow or at least more confidence to put down my spiral. Just be careful when putting paint over it that it isn't too wet or the paint can run away on you. There we go. Spiral! Now I want to make it more sun-like. In this case I did the yellow rays first, then outlined them. One may be easier for you than the other. Play around with shapes and lines and see what works best. ...and I got carried away and painted without taking a break. sigh. His eyebrows are sculpted different widths. I'm hoping it won't look too awkward. Anyway, more soon! I'm enjoying watching the kickstarter. Must stop following the ticker and get back to painting!
  10. so sorry for the delay- work has been busy. I didn't mean to keep you unanswered! yes! It's looking great! You've done a good job making the book the brightest point. If you want, push the light source just a bit near the book- maybe mix some yellow and white, not quite as bright. alternatively, dim the light on the dragon's face/tail. that will make it look like it is gradually dimming as it expands. otherwise it looks fantastic! I showed it to one of my lighting design friends and she thought it made sense from a light standpoint! Awesome!!
  11. ok progress! Well, I didn't get as much done as I wanted, but I had a really great excuse! Castelvania SOTN was the free xbox game the other month and I've never played it. It has an inverted castle?! What?! And just when I thought I was done with it. But in between Alucard and I getting our fitbit steps, I painted. First, here's my palette for the reds with the exception of red shadow: A trick I like to use with red is to go up to orange and then glaze something like clear red over the top of the yellow or orange areas. It allows the lighter value to show through, creating a highlight, but keeps it in the red family. I prefer orange reds over pink reds, but that's just a preference. Here's the other wing, minus the pattern. This is what I should have done to begin with in terms of highlighting. See how the edge highlighting helps define the volume of the feathers? Edge highlights can be placed near the end of the painting process the add some extra contrast. next I worked on redefining my pattern, I haven't done the final glaze in red yet. I'm going to wait and see how much contrast I need when he's all covered in patterns. And here's what it looks like with the two wings next to each other. So, in learning from my mistake, I added some extra highlighting to Mr Lion's face: Then I decided to tackle his ear: At each step I add a few geometric patterns. So the pattern may look complex, but is just a simple series of shapes. I got excited and tackled his eye ridges and forgot to take pictures, but since I had the other one to do it worked out. And here he is at present:
  12. is the book your light source? if so, paint it mostly white and put the yellow only the sides of the pages and part of the plinth as cast color. the brightest point for osl needs to be the light source, so I'd glaze over the white areas on the bones and the figure as they may not be quite as bright as the book. Remember that light is a sphere and as it expands, the light dims and lessens. I see where you've put the shadow behind him- that helps sell the effect of the lights direction. but there may be a bit of reflected light a little closer to him- not yellow, but the mauve color. Is this a spell effect where the bones are glowing instead? Right now the front reads oddly because the bones glow but the surrounding ground is not as lit, which would not make sense for the flow of light- since it travels in a straight line. It makes it look like the light is jumping. I'd probably pick the book as the source and carry the light effect to the ground almost all the way behind the book, into that mauve range as you get behind the book. It would still cast some light behind it. Here's a color saturation removed photo of the mini. See how the book and the light on the ground in 2 lines are fairly equal in saturation? Cast light is not as bright as the source. The way we manage this is to glaze over the cast light with color and remove some of the light reflected to our eyes, lowering the value. Does that make sense? Now, you'll be thinking wait! But then it won't be as bright, right? It won't look lighter than the rest of the mini! The secret is both in using light AND in using darker shadow/lower value to contrast. It's frustrating, and I've been there with nice happy colors and had to darken them all to better sell the light effect. This means using some dark, almost black on the parts behind the mini, especially if they are directly behind the cast light, like you have behind him. He can still have some "ambient light" allowing his bones to be highlighted, but see if you can find some areas to darken. this will help sell the effect. I think the main thing is playing with where you want the light on the ground and that will help sell the light effect. See in this Matchmaker painting, how the guy is completely dark? The light right next to him renders only a few highlights at his edges. Now, areas further away will be more subject to ambient light, so you don't have to kill the lovely purple bones completely. Just in a few areas. :) Sorry, that's a lot. But it really is looking spectacular and I love the colors soooo much! Keep up the great work!
  13. Fantastic work with the osl! It’s looking awesome!
  14. cork sheets work great. I did the stairs on our diorama with cork and covered the edges with apoxie to make the stone shapes. I get the quartet cork tiles on amazon (12 x 12), they come in a pack of 4 and are about 1/4 inch thick I think. they stack great and you can cut and tear them to any size you want. they look like stone even without the apoxie.
  15. Thanks guys! Sanael- this mini's eyes are huuuge, so I have a lot of space to work with. With busts, where they're a bit smaller, I'll sometimes work out to in. it's generally a lot of pushing and pulling back and forth until I have the shading where I want. GrnLantern- yeah, I find it makes more sense to folks if I do a step by step. I often forget to take enough in progress pics, though. Nos4ah2- One thing that helps with patterns and brush control is to start with a darker color and then reclaim some of the space with your lighter color. It is hard to draw a thin straight line, but much easier to clean up a line by placing another color close to it. Hmmn, I have a mid-stage of my giantess cloak: The pattern was a bunch of circle with criss-crossing lines connecting it. You can see where I've drawn it in in the dark color, then come back with my light color in the middle. I also spend a lot of time cleaning up the edges with the yellow. you can see touch up areas above the pattern and inside the circles. The more you simplify the pattern, the easier it becomes. Don't be afraid to clean it with the back ground color. No pattern is placed perfectly the first time. Well, maybe if you're DKS... l often draw things out on paper to make sure I have them right as well.
  16. ... The larch? Heh. No, but I want to try something very different from my preferred style in order to branch out and try new things. I recently watched Coco (um... several times) and took a liking to the alebrijes, especially Pepita. I really want Reaper to make a Pepita. So this is my way of showing how fun it could be! The plan: A chibi lion with patterns like the traditional Oaxacan Alebrijes. This means fun bright colors and an attempt at making a piece look like wooden folk art. It can be done! First step, research. ...and my personal favorite: Perfect! I wanted to practice red anyway. I ended up choosing red shadow, dragon red, big top red, seoni scarlet, volcanic orange, marigold yellow and sun yellow as my colors. Second step is to pick a mini. I supported Impact's kickstarter quite awhile ago and almost forgot I had this fellow. It's the Venetian Lion. I set forth in an effort to prep the mini. Um... it took a lot of prep. I decided to go ahead and attach one wing at the risk of making the body harder to paint. I sanded for about half a day then filled in all the bubbles and sculpted one set of claws. Er, I'm hoping their QC has improved since the kickstarter, because this piece took almost a day to prep. Oddly, I think the 3D print went into the mold un-sanded and with texture, because the large surfaces had a texturing I associate with those prints. It took several layers of sealer to smooth. But, I finally got him primed. Isn't he cute! Next, I basecoated with red shadow. why red shadow, you ask? Because red is awful at coverage because of its translucency. So, basecoat with a red brown. This will save you frustration down the road. Next, layer with dragon red. Leave a few areas of the red shadow as deepest shadows. Here's where I had to decided to commit to the wooden/statue route, because a real lion would have a darker back and a pale belly, whereas a figure in top-down light would be the opposite. Still not red? Never fear! Also, put a lot of layers of each step. Lots and lots of layers. Next step big top red. Next, seoni scarlet. I like this color. It's super intense. Very shiny. Except it's matte, but you know what I mean. Boom! Now we're in the red zone. Now, I need eyes. A miniature is lifeless until we add eyes. I like doing them early because they often help guide the rest of the project. I basecoated the eyes with marigold yellow. Then shaded the edges with volcanic orange. Then I added some sun yellow to the center. Even a chibi eye can afford some shading, otherwise the socket looks too flat. After that, I drew in the iris shape. I used red shadow and added a pupil of nightshade purple. When I was happy with the shape and balance, I filled in the eye with some terra nova tundra and more of the yellows. Excellent! I also mixed a bit of linen white into the yellow just at the edge of the iris ring. Here's a front view: Last step in eyes if adding the white reflection. I used pure white for contrast. So he's sort of a demonic cute lion. It could work, right? Then I wanted to try out wing patterns. For the last 3 days I've been wanting to get to the fun part, so I forged ahead and rushed to this step. As it turns out, that was an error, but it worked out in the end. I think. Ok, the key to freehand is breaking down a pattern into something simple. I started with circles. Filled in the circles and added some teardrop lines. added some more lines. and on and on... Until I felt like I was getting closer to pattern. It was then I realized the wing looked way to flat and dull. I needed more shading. What I should have done was make the feather lighter near the origin to add more contrast. So I glazed over the pattern. I'll just have to pick it back up again after I'm done with the shading. Here's the wing with the shading. I'll touch it up a bunch, then rework the pattern. But I think I like it better with the change in contrast. We'll see. I can always paint over it. Sigh. That will teach me to skip to the fun stuff. More later! As always, feel free to ask questions!
  17. I always bring index cards for each of my entries and fill them out ahead of time. This year I put it off until I got to the convention, but I've saved myself some stress by doing it before I leave home in the past. On one I put my name and email, because they need that to enter us in the system. On all the others I put: 1. Title of Entry 2. Manufaturer (ex reaper, darksword, etc) 3. Category (ex open, painters...) 4. Special award status (ex mousling, pink, chibi, etc) I hand them to the Awesome Debbie. She usually smiles at me. This saves time and ensures my entries are spelled right (when I come up with funny titles...)
  18. This is a different field, but I think the concept may be a good one. My best friend is a handbell ringer. She's probably the best musician I know, so much so that when we were stand partners once for a violin exhibition, I sank lower in my chair and tried to hide, wondering how she could stand to listen to my attempts at music... At any rate, she got into a top ringing choir and rang for them for years. Each year she'd "re-audition," and during the audition would ask each time for just one thing to work on that year; something to improve on or an area of focus where the director felt she was weak. She'd spend the year practicing extra on that one thing. I don't know if that would help, but maybe just thinking of a single thing you want to practice might make the process more relaxing.
  19. Larger minis tend to take more time. We pour more hours into them. If I were to spend an equal amount of time on a small figure and a dragon, and then enter them in the competition, the dragon would not be scored, because it would be an inferior paint job. I should, in theory, spend much more time on the larger piece because I have that much more area to cover. Even if I pull out my super speed painting tricks and mix my colors directly on the mini, I'll still not be able to paint it to the same standard as a smaller mini. It's just a question of surface area and time. I agree with what's been said- I really love your patterns and the vibrancy you bring to your work. It's insanely creative and joyful to see. There is no reason to change that. I don't think it's that blander models are chosen because we don't like bright colors, but that many artists choose desaturated colors because it's what they see others doing or what they're comfortable with, or even a result of tendencies to use white to highlight, which will naturally desaturate the colors. I don't think that's a better thing, just a different style. No reason to change your style at all! Just keep working on your blending. That's the thing that take painters from bronze to silver to gold. Just more time. Large models when I put effort into them, take me many months to finish. I also know that in my efforts to improve, I've had to push myself out of my comfort zone to learn. I've had to take classes, teach classes, practice things that I didn't think I could do, paint paint paint and then repeat all those things again to another level. I've pushed myself to tears with some techniques because they just didn't click or come naturally to me. I did it because I wanted to, not because I had to. Or maybe because I'm slightly masochistic, who knows. Point being, if you have the desire to improve, the best way to do so is to try new and hard things. Just like learning to ride a bike and falling down a lot. It isn't much fun, but it's the only way I know of to muscle through the barriers. If you're happy where you, are, change nothing! Keep doing what makes you happy. This is our hobby after all! We're supposed to have fun and enjoy it. If it becomes work and not fun, only you can decide if that's worth it. Outside opinions don't matter in the end. I get that we all need positive reinforcement, which is why I love our forum, because I can always count on a "good job" if I need a pick me up. But we have to love ourselves and what we do to find our true happiness. Be you, be happy, be full of life and keep being awesome. PS: I love your dragons.
  20. Given that monday is a holiday, what's the thought on doing reapercon from friday through monday instead of thursday through sunday? just curious. I take off work no matter what!
  21. I did not know about the rocks but have now placed 2 nice lava rocks from Iceland in my bag. If you need a rock, first come, first serve! Find me at my desk!
  22. ok... so some stuff has made it into the suitcase and I kicked the cat back out of it as he is not coming with me. Clothes are packed at least. I think I'll be packed for classes and miniature-wise before my flight tomorrow. I keep waffling between I'm so ready and I'm not ready at all! Ahhhhhh! Reapercon!!! Also, I successfully killed the wasps in the rosebush without being stung. Go me!
  23. linen white is a warm white. Mahogany brown can work well with olive skin as a shadow and it is a bit warmer. If you wanted something close to black that's warm you could use red shadow.
  24. you might be able to put a layer of sealer, like a brush-on gloss sealer over top of it. sometimes that is enough to smooth out the texture. try that and put another glaze layer over it to see if it softens. if not, I'd sand/file and repaint. Many a time have I had to file and repaint... sympathy!
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