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60009: Seoni Secret Sophie


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I used very similar colors .. but due to my inability to shade/highlight red, looks like she is wearing an american flag. 

at some point I just decided to go with it, called her Miss July  - and painted white stars on her belt thing. 

 

yours shows how to paint those colors correctly. 

 

After going back and reading the description - I thought "you made a turtle critter out of greenstuff for the base? is this Corporea's post?"

Of course it was, its practically your signature. 

Edited by Evilhalfling
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She is a BEAUTY...WONDERFUL brush work & color choices. I LOVE the freehand & the base is OUTSTANDING...the Turtle/Tortoise is UBERCOOL. VERY WELL DONE!

 

Forgive me, but I do have this image of her gaily skipping forward, eyes gazing upward, & two steps from now finding herself lying in the ditch fronting the stone...I'm finding senility can be more amusing than I would have imagined.

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I used very similar colors .. but due to my inability to shade/highlight red, looks like she is wearing an american flag.

 

I was going to say, I got a sort of "Wonder Woman" vibe from the color choices.  Or maybe American Maid...  :lol:

 

I'm envious of how smooth you made the tones, Corporea!  I've had a tough time de-saturating colors without them going too flat or the color getting skewed from what I was aiming for.

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Thanks everyone!! I'll often go back and layer my midtone in if I feel it's gotten too light.  It's a pushing-pulling thing with paint.  Sometimes I overdo the highlights, and I have to add back my actual color.  I think the key is to use thin layers of successive tiny steps of color change- the broader the difference between one layer and the next, the more stark the transition.  It's fussy, but less stressful in the long run.  And glazing with another color overtop can smooth out any inconsistencies- just make sure the paint is thin for the glaze, or it will undo all your hard work!

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I'll often go back and layer my midtone in if I feel it's gotten too light.  It's a pushing-pulling thing with paint.  Sometimes I overdo the highlights, and I have to add back my actual color.  I think the key is to use thin layers of successive tiny steps of color change- the broader the difference between one layer and the next, the more stark the transition.  It's fussy, but less stressful in the long run.  And glazing with another color overtop can smooth out any inconsistencies- just make sure the paint is thin for the glaze, or it will undo all your hard work!

Preach it, sister!
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