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Everything posted by awong

  1. Here's an example that I like to use. Imagine a painting "contest" where there is a vignette category and a single figure category. In the vignette category, there are 4 entrants. One is spectacular, a 10 by anyone's standard, the others are pathetic. In the single figure category, you have twenty entrants, of which 4 are clearly Master level. Under the standard 1st, 2nd, 3rd system one of the single figure Master level entrants will walk away with nothing and two of the pathetic vignette entrants will have picked up 2nd and 3rd. Overall, the quality standards, and (IMHO) the prestige of the event has just taken a hit. Under the Open Judging system, if an entrant has scored consistently high on all the judge's scorecards (E.G. 3 judges all giving 10, 10, 10), that entrant receives a Gold. If, as in the singles category, all four receive identical scores or sufficiently high enough scores, then all 4 receive Golds. Now, the cut-offs for the scores should be set before hand, and can be adjustable as the contest draws better and better entries (raising the bar). For instance, the first year could see 70-80pts as Bronze, 81-90pts as Silver, 91-100 as Gold. The next year, in anticipation of higher quality, it could be 75-85pts as Bronze, etc... Masters categories are still possible, the scoring would just be all that more difficult. Costs - True, a show could end up giving away a ton of medals. But, if standards are high, and the medals are deserved, then that only is a testament to the show's prestige and level of quality it attracts. Conversly, if the show is poorly attended or the standards are not so high, fewer medals will be given out. No minimums and no maximums, just deserved.
  2. regarding rules and judging... Do any of you with lots of experience competing have any opinions on the Open Judging system. That's where each category isn't restricted to a 1st, 2nd, and 3rd. Entries are judged by their merits and judges use scorecards. Entrants that score high with all judges are issued golds, silvers, and honorable mentions. I know a few of the high profile miniature figure competitions are scored this way (If Shep Paine endorses this, it can't be all that bad ). Has this system ever been tried with minis? Any thoughts? Thanks AWhang
  3. I use Pink Soap. I bought a little bottle from a local Michaels ages ago. Great stuff.
  4. I guess in California, everyone's too busy running around in the sun and getting all outdoorsy. May they all get skin freckles! Thanks AWhang
  5. I can only agree with Flynn. Try a WN, you won't be disappointed. As for sizes, I may be weird, but I get the majority of my painting done with a 1, and that's a testiment to the fine point that it can hold. I have a 00 which I've never used, a 0 that I've used occasionally, and I have a 2 that's untouched. I'm guessing that for most a 0 and 1 would cover the majority of situations? YMMV. I've also tried the red handled Reaper brushes. I get the impression that they are really sturdy brushes only because I get to use them while I'm working at the Paint 'N Take event at GenConLA. They get thrashed and beaten up, but occasionally, I can find very useful brushes that still hold their points. Now that's tough! Thanks AWhang Edit: I just read Vutpakdi's response. Funny that we suggest the complete opposite regarding brush sizes As Vutpakdi said, it really does depend on your style and what you're used to. Sorry for confusing the issue
  6. This is funny to me because I always felt that the translations ended up being too poetic and sometimes just "out there" . They almost seem like strict literal translations where the actual content was being lost. Mike Blank's Black and White monograph (#8) was much easier to understand. Total agreement on Shep Paine's books. If you can find them, buy them. The Reaper Paint Sets (1-3, I only have 3) sort of remind me of the old Monogram kits that came with a beautiful folded glossy sheet outlining a Shep Paine diorama. Ah nostalgia... Thanks AWhang
  7. Sorry for the bump...but here's one that I actually liked a lot. Painting Guide, Vol 1 - Stepping Out of the Box Published and sold by Darkson Designs ISBN 0-9766410-0-3 It's described as "...a compilation of articles and photos by many different artists." All the contributing artists are notables including Robert "Jester" Cruse, who has three very useful articles! This is a book geared specifically towards the Mini painter, so no worries about relevancy, or wondering if techniques will translate correctly. It is broken down into very logical chapters starting with the topic of color and color theory, moving on to chapters of well written and photographed step-by-steps, painting metal, and some theory. It ends with a very large photo gallery for inspiration. My favorite part, and, IMHO the cleverist part (it's what makes this a permanent fixture at my painting station) is the Vallejo Color Charts, and Citadel Conversion list. Darkson provides color chip charts of both Vallejo Game Color and Model Color lines. Mario Fuentes' oft cited article "Painting Figures with Model Color" is also included, a great primer (and refresher) for Acrylic painting. Also included (for those who like the triad system) is a Basecolor / Highlight / Shadow chart based on the Vallejo Model Color line. For those who are solely invested in RMP and RPP, you may be wondering "...so, how does this help me?". To supplement these charts, I just pulled the RMP and RPP color chip sheets out of a recent casket works. Now, I've got Reaper, Citadel, and Vallejo all cross referencing each other (true, to use the Reaper, I need to either visually inspect for color or download Anne's list from the Forum). Very handy!! Criticisms...I guess I wish there was more...Oh wait, they've got a Vol. 2 in the works. Maybe, in the Theory catagory, something on composition theory, and how that can be used when putting together small vignettes and chosing colors and accents. More on basing might also be nice. They have a site that one can go to for suggestions. At around $30.00 it's really a good buy. Again, these opinions are my own, YMMV. Thanks AWhang
  8. Anything like this in the Monterey Park, CA., East Los Angeles-ish area? I can't even find a decent hobby shop out here :) Thanks AWhang
  9. There was a great thread earlier on just that subject. Lots of neat attachments and styles were suggested. My small contribution to the discussion was the foot control attachment. I find it really helpful to be able to adjust the speed of the tool on the fly with my foot. I feel it adds a level of control that can actually preserve said fingers and detail. I had included some links to micro mark, but I haven't checked to see if they are still relevent. Take a peak. Thanks AWhang
  10. Flynn, This is absolutely amazing! I really like how you're handling the armour and NMM. Beautiful skin tones as always. Ebay you say? I'll keep my eye out for it! Say, did you do something different for the base this time? I'm not noticing the cork base? Thanks AWhang
  11. Thanks Flynn, I'm the same, although I'm trying to keep a small notebook. You've got an entry or two in said notebook There was an older gold receipe I believe...very similar. Thanks AWhang [runs off to make another entry in the magic notebook...]
  12. Flynn, Well deserved congratulations! Incredible work as always! I especially like the the NMM on your Anti-Paladin. The color choices and layering is just amazing, very convincing. If you have a moment, I'd love to learn the techniques and color choice used on that! Thanks AWhang
  13. Oddly enough, I buy a lot of my tools at a swap meet. There always seems to be that "Tool Guy" who sells cheap tools and equipment. In my case (Orange County, CA) there's also a stall that specializes in jewelry tools. That's where I picked up a peg clamp that I use as a painting rig, rubber motor tool burnishing tips, diamond and more conventional needle files...and finger nail clippers I love swap meets! Definitely visit ones around your area, you'll be surprised at what you'll find there. Thanks AWhang
  14. If you ever need a beta tester...! I don't have as impressive a load of minis as some, but I'd sure like to start keeping track of painting formulas and the like. Feel free to call in the troops as I'm sure others would be interested too . thanks AWhang
  15. Here's a quick pic with a vallejo / Master type bottle perched on top and an older Reaper Pro bottle. The dropper bottles nestle in nicely (they're about the diameter of a test tube) but the larger jars need to be securely held in place. For those that aren't familiar with how it works, one holds the bottle (or test tube) so that it securely rests on the black rubber cap...that's what agitates the paint. Then you press down lightly and the thing turns on. The black rubber cap agitates in a circular motion...hopefully, your paint does the same inside the bottle. Speed can be adjusted. Mine has a pulse function so that the agitation pulses. I've found that a quick spin right-side up and another spin up-side down usually does the trick. Hope this was what you're looking for. Thanks AWhang
  16. I'll try to shoot a pic tomorrow. I cracked mine open and found the problem with the Touch Cap. Fixed it and now I've got that working. A scary thought did occur to me on my drive home though. I guess if anyone else is tempted to purchase over ebay, they might want to ask what type of lab the equipment is coming from...I didn't Anyways, I washed the thing as best as I could...fingers crossed thanks AWhang
  17. Mine finally arrived, and Joe's insight is dead on. The brand that I bought (used and looks it) is Glas-col. It measures 15cm wide x 20cm long x 17cm tall...that's a bit of real estate if perched on your painting desk. It has the small rubber cap/head made to take test tubes but I found that I could securely hold Reaper Pro and Citadel jars without problems. Vallejo (and I'm guessing RMP) worked great. Some on ebay have interchangable heads! My touch cap function (pressing the cap should make it turn on) was dead so I need to turn it on and off manually. The speed pot and pulse function works fine. Unfortunately, I can't compare this to a Robart as I've never owned one, so this may be of little use to those who need a comparison. Here's what I did as a quick test. I happen to have duplicate paints so I tried hand shaking and vortexing, and comparing the results...the tests are not conclusive (nor very scientific). I had two bottles of VMC Azure, both with what looked like dry air pockets at the base. 30 seconds hand shaking, I still had the air pockets. (15 additional seconds on the vortexer fixed that) 30 seconds on the vortexer, no air pockets. Two bottles of VMC Carmine Red - one with an agitator (lead shot), one without. 30 seconds hand shaking with agitator, paint came out mixed, no clear liquid. 30 seconds vortex'g w/o agitator, same as above. Two bottles of VMC Light Sea Grey 30 seconds hand shaking, paint came out mixed, no clear liquid. 30 seconds vortex'g, same as above. VMC Smoke 15-30 seconds, well mixed w/o clear liquid (I'm not sure what I was expecting, Smoke is a pretty easy one to mix up anyways). If anything, the vortexer does work and it's relatively quiet. Mine vibrated a bit but I didn't suction it down properly on the table (four suction cups for feet). Probably wouldn't be good in a paint club situation as it does vibrate the work surface it's on. Also tends to rotate the bottles in the direction one would use to unscrew a cap (although I had no instances of a cap coming undone). A quick 15-30 seconds with other colors and I don't get any clear liquid (the bane of my existence). Again, I hesitate to recommend this over any other type of rig (exept for a home made one!). I paid $31.00usd on ebay (included shipping) so I'm happy. I know my arm is going to be happy too I hope this was helpful. Thanks AWhang
  18. Very nicely done Turhan. I like how much detail you added, especially the scabbard and knee armor. Painting in the carved scabbard scrollwork really helps bring a little more life to the otherwise flat casting. If this is a tabletop piece, I can only imagine your presentation pieces! Thanks AWhang
  19. Bravo! Extra bonus points for in-context use of "slobbering" and "shlorping"! Now returning you to your regularly scheduled programing Thanks AWhang
  20. After trying to make a paint shaking device (I found some plans online), and spending a small fortune doing it, and only to have the thing overheat and smell, I decided to go to the other extreme...:) The ultimate overkill! I recently got something like this on ebay. If anyone is interested, I can let you know how it works after I receive it. I use mostly VMC and my arms can't handle the amount of shaking necessary to get the paint well mixed. I'm really hoping that this will do the trick. search: scientific equipment vortex mixer :) If it doesn't work, I can at least start my own "Mad Scientist Lab" Thanks AWhang
  21. A wonderful idea! Templates for article writing would be neat. One can fill in the diary with pixs and notes, then, using one of many premade templates, pump out a quick "article" or description in web friendly or print friendly formats. What about a template for a simple webpage for us web newbies? (might be trickier, but all the info seems to be there). Love the reference image support. I'd like to import a figure, then link to references of other artist's versions, or a pic of rusted metal that I want to copy, or...? Brilliant. Check with manufacturers. You might be able to negotiate something so that you'd be able to hardcode links to their sites for auto updates (advertising for them and you could get paid for it:) ) I'm going to have to start painting with my laptop running! Thanks AWhang
  22. HC, Do you have a hobby store that specializes in trains near you? Try them. That's where I get mine. Floquil makes a line of classic train colors. The store might carry the primer or be able to order it for you. Thanks AWhang
  23. Hello Flynn! You are too kind! I can and will return the compliment as I have a Flynn mini which I keep prominently displayed by my paint area (along with Anastrianna's too, Hi Ana). I've been following the boards even if I haven't been painting and I've watched everyone's painting skills grow in leaps and bounds!! I'm willing to bet that everyone is going to be very pleased come September! Here's to a great Mini Exchange! Thanks AWhang
  24. As I haven't successfully completed a figure in about 1.5years (I think since my last exchange!), this'll be a great kick in the pants. I'll play. CBP, I've sent my PM but I don't see it registering in my log. Please contact me if you need the info resent. Thanks AWhang
  25. So, lets see if I've got this right... Glaze - Why: smoothing gradations between layers with excessively thinned paints. Restoring color lost during highlights. Effecting color shifts (think colored glass or gels, "veil") How: loosely pooled ("slobber", "anglaze") OR deliberately placed (painted, "suglaze"). May or may not be followed by the shlorpping of excess paint off surface. Wash - Why: adding shadows with one simple coat. How: thinned paints (usually with some form of flow improver/surfactant) directed into recesses and around raised detail OR same as glaze OR only over bare primer (if white primer, similar to a tint?) Tint - Why: adding white to "lighten" a color How: glazing over (white?) primer (see alternate description for Wash) or adding white. Veil - Why: effecting subtle color shifts How: Glazes or Washes (thinned) of a different color, controlled application Anglaze - AKA: Glawsh / Waze? Why: glazes where placement allows for some looseness How: Excessively thinned paints pooled in sections (the slobber), allowed to sit for 2-3 seconds, followed by the wicking up of excess glaze (the shlorp) Suglaze - Why: painted, more deliberate placement of glaze How: thinned paints painted deliberately onto areas Slobbering - Why: (see Anglaze) How: pooling paint in areas where absolute control isn't called for. (Point of contention, see Glawsh / Waze) Shlorpping - AKA: "lifting" over a base coat, "rubbing", "sponging" Why: (see Anglaze), clearing highlight area of unwanted paint, emphasizing highlight area. How: pulling excess fluid off with a clean brush (through capillary action?) Glawsh / Waze - AKA: Anglaze Why: Looser glaze, covers larger area or when precise control isn't ecessary. How: half-way between a glaze and a wash. Loosely placed glaze, excess sucked up with a brush Filtering - AKA: Veil (applied over whole mini?) Why: to effect subtle color shifts over the whole model How: Super-transparent Glaze Chocolate Martini - Why: spoon full of sugar to help this medicine go down :) How: intravenously Does this pretty much cover it? :) Thanks AWhang
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