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Scáthach, Scotswoman Warrior (77389: Highland Heroine )


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By thick I mean that (other than on her skin) the paint is so thick that I can see the individual brush strokes.  I was wondering if you were doing this on purpose for style or because you wanted it to read from further away or to draw attention to the face.  

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The interesting thing is I'm not sure I would call that paint "thick." The underlying form is not particularly obliterated.

 

I would call it high contrast. I'm layering dramatically different colors over each other and they show as brushstrokes, but the paint is almost as thin as watercolor.

 

Here's a figure I painted a couple of years ago. There are barnacle-like highlights on her shoulder armor. They were painted with very thin paint, but the brush strokes show clearly

 

So hmm, maybe that is something of a style for me.

 

Anyhow, I did paint her skin differently, more smoothly.

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Here's another one, where the technique realllllly shows up well because she's tiny-tiny. If you look at the form of the figure you can see she's in pretty sharp focus, but the closer in the camera gets the more washy and blodgy and watercolory she looks.

 

There have been a few figures where I look at the photos and worry people will think I've used Photoshop manipulation on them because they start to look like some of those mosaic-brush effects in extreme close-up.

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I think what Ted is seeing is a deliberate stylistic choice on Pingo's part.  The figure is painted with bold, sharply contrasting colors, in comparatively large areas.  On a casual inspection, it could be inferred that the paint was applied hastily or with poor precision; just slap on some here, slap some more over there.

 

But that's not it at all.  Pingo's fully capable of doing subtle transitions and smooth gradients.  Just look at the eyes on this model -- she put a subtle color gradient in the irises, transitioned smoothly iris to pupil, and got in the highlights from light reflecting off the sclera.  That's hard, and pulling it off requires excellent brush control.  And of course, you can just go look through the archive of other stuff she's painted.

 

The rest of the model has fairly abrupt color shifts, with edges that are sometimes blocky or ragged.  That can only be a deliberate stylistic choice.  It's like animation compared to classical art.  The animation omits fine detail in favor of large sweeping areas of color, relying on the viewer's eye to resolve the shapes into a cohesive whole.  The classical art fills in every shadow and highlight in rigorous, precise detail, giving the viewer a ton of visual cues to follow.  They're both equally valid; just very different styles.

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