02961 Angel of Shadow

[Darkmeer]

Here is my Angel of Shadows

 

I attempted OSL (eventually I'll get it right), but I'm fairly happy with her.  Skin is Reaper's Dusky Skin Triad, hair is white with blue ink then drybrushed with a silver + extremely pale blue, wings are metallic drybrushed over VMC German Grey, and the white is a buildup from bonewhite up to pure white. 

The basing is from the Happy Seppuku stamps, one side the grass, the other side the broken wasteland, with the purple flower being from the Jungle Vines stamp. 







Color commentary and general thrown pottery welcome. I know the OSL is a bit too strong (any suggestions?). 

[robinh]

for the OSL you need to let it end in a fade and not so abruptly.  You would also need a color shift as it gets further from the source.

 

PS.  I know the theory and can tell what needs adjustment, but what you have done is better than my best attempt so far 

[Chaoswolf]

I think she looks good.

 

That OSL is better than any I have done, too.

[viking_hank]

I like it, the OSL is not too bad, better than I have been doing. fade it away from the source gradually. usually when I attempt this it looks like my mini was hit by a paint ball gun.

Edited November 8, 2016 by viking_hank

[Darkmeer]

Thank you all.  I find really bright colors to be the most difficult to do OSL on.  I did the Chaos Dwarf Statue of Ancient Times with OSL, and I thought it was much better than this.  This is a real challenge to get right.  Not the first attempt at brighter colors, mind you, but this one was much more successful than the last attempt.

[Mad Jack]

 One thing to watch out for with the OSL is to always remember to check your line-of-effect... Plot out how the light hits each individual surface by drawing an imaginary line past it from the center of the light source: visualize the light spreading out from the center of the source and see where and how it hits each thing - where it's going to be shining the brightest on each thing and, most importantly, where it isn't going to be shining because the rest of the object is blocking it. It's important to keep turning the figure and looking at it from all angles to get a good three-dimensional picture of where and how the light will hit. On this figure, the fact that the light source is enclosed in a metal container means that drawing lines from the center of the source to the edges of the glass panes in the lantern determines the arc of the light shining out each of them. If you look at the second picture, and trace a line from the center of the light source across the lower edge of the pane of glass in the lantern that's facing her dress, you can see that the light wouldn't reach quite that low on the leading edge of her dress. Also, there appears to be some "light" on two of the feathers on the back of her wing near the lower edge.

 

 On the metallic wings... When you dry-brush metallics, you always want to start from a very dark non-metallic color - metals are all about the contrast, very bright highlights directly up against very dark shadows. So you start out base-coating in black or midnight blue for silvery metallics or dark brown for yellow colors like gold, copper, brass or bronze. Then you dry-brush the metallic colors on, and hit it with a dark wash to bring the shadows back down to really dark again. If the wings are supposed to be really shiny metal, you want to highlight by using a lighter silver color with each layer of highlights or mixing in more of a lighter silver or white into each successive layer of highlights. And then go all the way up to pure white on the brightest spots.