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Question - since she looks awesome and you're on a stage where this seems like a logical question!


I've just been playing with wet blending lately (I have humidity and it is magical), and been glazing for a while but it feels different now. Wet blending is delightfully sloppy, but seems like it can also potentially be smooth for transitions (if you want). I like glazing for layers, like you do, and giving new bits of detail and tints to things. A wee bit of Clear Yellow super thinly glazed onto foreheads might be a new favorite feature (thanks to your color map thing of Lincoln). 


What is your method for smoothing the edges of a glaze? Are they always so thin that they don't need blurring at the edge? On Elrond I was kinda wet-smushing the edges of them (swiftly rinse my brush, dab it, then fuzzle it at the sides of the glaze). Some I made more tinty, some a fat-glaze which had harder edges unless I actively blurred them. Any preferred blurring technique? 

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I do the same thing you do with my glazes.  I'll clean my brush on the sponge or in the water after putting down the paint, and tease out the edges. I can get the edges very thin that way. Each little bit of water thins the edges more.   If you don't have the humidity for that you can feather towards either your highlights or shadows to pull most of the color where you want it to be thickest.  Or do a layering technique where the difference between the layers is minuscule- instead of the 9 samples in the pic above, you'd have to do at least twice that.   I'll try to post a picture to explain tonight or tomorrow. The key with this is to not mess with the paint after it's reached a certain level of dryness, no matter what.


Have you ever noticed how sometimes you move the paint and it leaves little holes in the layer?  Or glumps up in one spot? Paint is made of a bunch of stuff, but the pigment is a very tiny particulate solid suspended in the binder, etc. It wants to stick to the surface, and if you mess with it after the binder has started to dry, you will be moving the actual pigment bits.  This is irritating because it will ruin a carefully blended area.  When that happens I just put a good opaque layer of paint over it and reblend around it.  It's fixable as long as we thin our paint.  If the area is getting bumpy from too thick segments, sand it and start again.  I had to do that on her cheek in between pics. Somehow I manage to get a stray fingerprint of sealer I was using to smooth something somewhere else on her cheek and it left a raised area.  I tried to smooth it out with sealer around it, but it was a wash and I just redid her cheek.  It's cool- mistakes happen.  They're not the end of the world as long as we don't panic. But know that they're normal and happen to everyone!

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A great exercise with busts is to pick a high resolution photo and either have it up on the screen or print it out and copy it onto the bust. Look close at the eyes especially. On smaller minis the way I paint eye is completely different from on a bust.  The lids I tackle a bit differently, and they are very dependent on the light source. Also, spend the most time on the eyes. They capture the soul of the mini and we tend to notice them first when we look at a person.  


I worked some green into her sclera (white of eye,) though often I'll work a pale blue in.  If we look close at eyes...


...you can see the bluish shade. I use an off white for the sclera and only use pure white for the reflected light.  Notice how the reflected light is usually over the iris, not the pupil? The iris is a muscle which  contracts or relaxes to accommodate light, so in a larger mini, you can paint in the little striations or iris lines!  Its' fun!

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