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Everything posted by awong

  1. Welcome RC, beautiful work! I can't wait to see more of your minis. -AW
  2. All this in one day?! That's amazing! Your work with the CAV models are inspiring. -AW
  3. Hey there EB, She's looking sweet. Very nice skin and lips! Can't wait to see her finished. -AW
  4. Which cheeks? LSTR, The "grain" was actually me trying to highlight the neck and make it look like Maple. It ended up more streaky and mottled on the images than I recall. -AW
  5. Thanks to everyone who've responded. I've also started reading all the Shutterbug posts as well so hopefully I'll start internalizing some of these suggestions. I think I need to spend more time with my camera! Thanks AWhang
  6. Just a small suggestion, and not related to your question, so feel free to toss, but... I would mount your mini onto something while painting. It looks like the primer at the base of your mini is already starting to rub off. You don't want that to start happening once you've got your hard work on the mini. A tiny drop of CA glue on a paint pot top, some tack gum, even silly putty (fieldarchy's idea) would help fix the figure on a comfortable handle that you can touch and not mar your work. I agree with Flynn, that's a mighty fine start already. Sorry I don't have anything on hair though...I suck at hair... -AW
  7. I'm not sure if this has been asked before. If so, could someone point me to the thread... When bringing a digital photo into a package (lets use PS as that's what I've got on hand), is there a prefered or proper flow for processing an image so that 1) the end result is a web ready (150-200 KB) image and 2) that has lost minimal info? I'm starting with images that are approx. 2200 KB, with a lot of spare room for cropping...which brings up another point...my Macro works best when I've got the mini standing a little over 1/2 the overall height of the image (and I'm shooting horizontally). a)Should I be tilting the camera and shoot vertical (most of my minis are standing figs) to better use the imageplane and minimize cropping? Once in the package should I crop first? color correct? auto balance? I never seem to do any of these steps in the same order twice. Will the order I do these steps effect the outcome? if so, I'd sure appreciate a step by step that I can print out for future reference. Am I even asking the right questions? Please help the photo knucklehead. Thanks -AW
  8. Thank you Meg and LSTR, I have one of those light tent things but my photos are coming out very dark. I had better luck with my Ottlight. I'm wondering if I'm using my white balancing incorrectly? I definitely need to spend more time over on the Shutterbug forum Thanks again -AW
  9. Thanks LCS. I was actually trying to go for a more translucent / sheer hose look but couldn't pull that off...for another time I think. Voladilk, the stage is plastic sheet. The top and front pieces were scored with a hobby knife after the planks were carved. A few holes were drilled for knots. I then used a trick for "antiquing" wood...I hammered dents into the surface with the back end of my hobby knife. That gives it a well used look. The back was scored plastic sheet bent to the curvature of the stage and base. I put a coat of Squadron Green Putty over the scored surface and sanded smooth. Once dry, the stage was filled with Plaster of Paris (as was the plastic base). The Plaster of Paris addes some weight and gave me something to pin Astrid's feet into. Thanks again for your kind comments! -AW
  10. Wow, your blends are very smooth! I really like the Gray on the first one. The hair on her is nicely rendered also. Beautiful work. I recently finished painting the lady with the kids. Those eyes were hard to get to! I hope you post these again when the basing gets done. -AW
  11. Thanks EB and VV, Watch out for the area behind her neck too Edit: Oh and the most important (I think someone else on the boards mentioned it), check the third or fourth tie on the corset. Mine was cast without a loop of string at that level. Unfortunately, I caught this late, but managed to carefully sculpt in a green stuff replacement. You'll probably want to fix that even before priming. -AW
  12. Well, it's been awhile, but I finally have something to show. Erin received Astrid safe and sound so I thought I'd throw a few pix up and take my chances. May I say that I think this sculpt is one of my favorites and she was an absolute joy to paint. If I ever had to do her again, (and I've got one more on the painting table for myself) I think I definitely need to hit some tricky "gotcha" areas first (like the back of the lute strings and that bit of belt behind her thighs). Hair is still really flat. I always seem to ruin hair with the last wash NMM is still really confused Anyways, enough of me...what about you
  13. Thanks SgtC! These are great, and the next best thing to being there. One day...oh, yes...One day... Until then, you've filled a great void Many Thanks AWhang
  14. These are great. I also want to thank you for sharing! I didn't get to attend so these pixs are really the next best thing. I think Sgt. Crunch had a great idea to combine these albums into a single thread. Would that be possible? It would make perusing the whole event so much easier. If others are in agreement, could a Moderator do this for us please? Many Thanks AW
  15. Yes, as a general rule that is a very good procedure to follow however (rules love to be broken, don't they )... Many times, things like deep hollows and hard to reach nooks and crannies need to be hit first just because of the difficulty of their position. Sometimes it's just a swab of a darker or shade of the surrounding color, but doing that first could save one from lots of heartache later (I know from experience...and I still miss a lot of these "gotcha" areas). For those who like to dry-brush chainmail and other metalic areas (I know some of you are out there... ), that's another thing you'd probably want to do before painting the surrounding area, just because dry-brushing can be a bit "messy". Confidence level and point of interest might also be a reason for tackling things a little "out of order" also. For instance, after painting a few Orc grunts I suddenly started to get excited about NMM. To keep my interest and momentum going I started taking on that challenge, confident that the rest would be OK (having just done 3 or 4, I was pretty sure about where the "gotcha" areas were). Yes, as a general rule, it is very good to work "in to out", but beware of following any rules too blindly. Depending upon a sculpt, that rule could lead you to paint yourself into a corner (...that metaphore doesn't even make sense does it ) -AW
  16. She's beautiful. Her eyes really sparkle and give the mini life. I also really like the combination of the bright green against the purple-y gray armor, at least it's reading purple-y on my monitor...regardless, it's an inspiration that I may need to steal in the near future. Your rendering of the hair is always great (I still haven't got the hang of hair yet). Fantastic work! -AW
  17. That's my favorite part! The pearly centers of the blue areas are what sell this and really catch my eye. Wonderful paint-up! -AW
  18. As always, a beautiful job! The sword is so convincing. The competition must have been fierce! Wish I could have seen these in person. -AW
  19. LCS, your pieces are always a joy to look at. The armor is great! It would be nice to see larger images though. The color choices work well together, simple but very believable. -AW
  20. Flynn, The green on the dress is sooo smooth. Absolutely beautiful! CBP must be very happy. -AW
  21. Yep, this is quite a common practice. Many will use a coat or two of dullcote to "save" work at an intermediate stage just in case. For instance, just before doing eyes (if you paint eyes after doing the skin) or tackling freehand on a painstakenly rendered cloak. By fixing with a dullcote layer you can clean up mistakes down to the dullcote and not disturb the "saved" paint beneath (of course, this depends on what you're using to "clean" with). As mentioned before, a dullcote layer is the perfect thing to do for projects that may take awhile to complete. -AW
  22. I agree with Ron (Vutpakdi). My #1 is my work horse for general painting. Actually, its point is fine enough for eyes. I switch to my #0 for details and layering in tight areas (I will layer with my #1 on large surfaces like cloaks). Usually, at the end of each painting session (1-3hrs usually) I'll just swish around in clean water, then get some siliva on my finger (OK, I'm not a brush licker, but I do occasionally spit on my finger...how crazy is that?! ) and reshape the tip of the brush, then slip on the protective brush tube (usually ships with a brush). After about a week or two, depending upon how many sessions I get in during the week, I'll use the previously mentioned Pink Brush Soap (Mona Lisa's liquid 'Pink Soap' ) and work that in in the palm of my hand. I'll use my thumb nail to loosen the build up around the base of the ferrule. Swish out in water and then apply a lighter coat of the Pink Soap and let that stay in the brush. Reform tip and cap. The Mona Lisa is also a conditioner. I've had my WN's for about 2 years now and they're as good as new. -AW
  23. A very light glaze of blue black can be very effective. This is a glaze mind you...almost dirty water. You should only be tinting the beard area of the face. Go with light applications and error on the side of many thin applications over one or two heavy ones. -AW
  24. Whoo! In the mail. Hope my victim enjoys it as much as I did painting. Thanks AWhang
  25. Thanks LB, I took the rest Thanks AWhang
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