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CreganTur

Seth From Arcadia Quest

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I've never completed a Chibi miniature, despite owning both Super Dungeon Explore and Arcadia Quest, and taking a couple Chibi painting classes at past Cons. However, the Golden Kobold competition has given me a reason to finish one of these cute monstrosities as I'm pushing myself to enter more contests.

 

My skintone color selections created a happy accident. The purple was very striking, so I decided to continue with this.

 

iKH4IApl.jpg

 

From the beginning I knew I wanted a strong OSL from the wand, so I began working up my highlights to be strongest in that direction. I also decided to make the hair blue after the original brown color I tried looked like crap.

 

ug7F2Djl.jpg

 

Thinking about the composition I decided to work with blues, prurples, and reds, trying to keep my light source in mind.

 

nlnTldil.jpg

 

When it was time to add the OSL I ran into some unexpected complications. The bright green paint I have is brand new, but the coverage is terrible. Worse than any yellow I've worked with. I ended up mixing in some other greens to get the paint to cover better, which gave a pretty good effect.

 

EVl8rGwl.jpg

For the final touches I'm working on a spell effect, but I'm kinda doubting my vision currently. This is about half completed. I need to add a silk bookmark to the center of the open book, as well as some rolled scrolls that I want to have also swirling around in the magic. I've also got to finish painting the green.

 

HDBv5FXl.jpg

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Re: OSL challenges: I've actually run into that a lot with brightly-colored paint.  The opacity and thickness of paints within a given line can vary greatly.  I used to think that was just a property of cheap craft paints such as Apple Barrel or Folk Art, but I've found it to be the case with more expensive P3, Citadel, etc., paints as well.  Brighter, more vibrant color paints all too often tend to be less opaque, and for best effect need to be applied against a bright white background ... but that's of little consolation to me if I'm trying to use them for sharp highlighting or OSL.

 

My primary recourse in such cases would be either:

1) Do it again, again, and again.  Unless the paint is *runny* (which is the antithesis of what I need for highlights or dry-brushing), if I make enough passes over the figure, eventually the color will show up, and it might even work to my eventual benefit by giving me a bit of a smoother gradient with what's underneath.  However, this is time-consuming, and doesn't always reward my efforts.

 

2) Lightly dry-brush the area first with an opaque light paint (for whatever reason, my craft-paint whites, off-whites, pastels, and light greys tend to be *very* opaque, to the point of working decently as brush-on primers), and THEN go back over with the not-so-opaque vibrant color paint I wanted to work with.

3) Use a different paint that works better.  Not always an option with what I have on hand.

4) Compromise with a darker (but more opaque) version of the color I wanted for OSL, in that general area, and then go in and highlight it with something further up the color scale.  For instance, in the case of wanting a bright green cast light, I might not have a darker green that gives me better coverage, and then I go back and make a pass or two with either a brighter green highlight -- or *yellow* (which often still reads as "light green" when I dry-brush it over a green background).

Standard disclaimers apply, since I'm just muddling about, and don't have anything really figured out.

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