Making Miniatures Pop (Lady of Vines) - HC 354 

Thank you, I will say, I really do love this mini

Awesome. :)

That would absolutely be my paint name for sure.

Always happy to help

Thank you, that means a great deal!

Glad you enjoyed!

There you go.

Thanks! Will do! :)

Love this idea

Thanks!

Awesome. :)

Thanks!

Thanks!

That's awesome to hear!

Excellent

Me too!

Hey, that's good for me. :)

My pleasure!

Thanks!

Awesome!

Thank you!

Yep, that was where I was leaning.

Thanks!

Yep, eventually we have to get our Skaven sculpts right...? Right?

Yeah, I was really thinking about the red.

You're not wrong there.

Just durability

Awesome

Thanks, glad you liked it!

Good feedback!

Yeah, I think the green could have worked.

Agreed on both counts: I love brown tones, and I think a bronze patina for the armor-not that it doesn’t look amazing.

Yes, brown is underrated, but so versatile since it can incorporate so many different tonal variations of reds, yellows and greens. Pink was an interesting secondary colour for the model, I would naturally gravitate to an autumnal orange for the leaves, which would lead me to use a copper or brass for the metals. But I also like the green-gold idea for this.

That should happen for sure. :)

Nothing wrong with that!

Was thinking similar things but the figure is so much about nature that I thought a darker metal at its base with only silver highlights, where it gets the most sun.

Good thoughts.

Good call

Both points are very solid.

Make sense for sure.

It's a tough thing to paint, I cover it in this video (in simple form) - ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-DlHCSFUOp7o.html

Yes, if I could make one paint, it would be this for sure.

Yep, totally agree.

Yep, mix it each time. I don't like it as a batch, because I always vary it slightly.

Same camera, just using it better. :)

Thanks!

There are many forms of contrast and yes, it often has incredibly varied ways you can use it (or not) to control how the viewer is understanding your figure.

Honestly, thin Rhinox hide really is my favorite because of the purple tone, then a little seraphim sepia to smooth the edges of your shadows.

That was where I was leaning at the end.

Might have too much pigment, it should suspend, but you do need to regularly stir it either way.

@@VinceVenturella thanks for the tip! I’ll use slightly less on the next pass. Thanks as always.

1) Yes, that was the undershade. 2) Absolutely, purple is great.

Absolutely, a little more cool grey can really make the warm oranges pop.

Yep, I've used Gouache before, it's interesting, not my preferred medium, but it can certainly be done.

She wasn’t too bad, maybe like 30 hours

It's a mystery where she got this metal. :)

It will be tough, because to get some good cracks, it needs to be at least a little thick, it can work, I've used it on rough models or to show things like advanced rust, degradation on some minis, but you have to be careful not to obscure detail.

They should be the actual names from the paints, but some of them were from the special kimera line, so I am not sure if they are still available or not.

Absolutely.

1) Probably just a solid white ink or Pro Acryl Titanium White over a grey prime. 2) Sure, that could work, it's a very funny idea.

@@VinceVenturella thankyou - hope it 🙏 works out lol

Always very matte for NMM. So when you are painting NMM (or any kind of actual solid contrast), you are stating where the light is falling. You are creating the light. reflective finishes will create light reflections where you don't want them and will disrupt the illusion.

Thank you very much, that's helpful

Not too happy, I kind of wish I had gone more green.

In this case I wanted the brush texture, but also, I know not everyone has an airbrush, so I try to make it more available when I can

Good thoughts and I apprecaite it!

If you're going to use a contrast, they need some lighter tone, could be airbrush, could be heavy drybrushing, many roads forward.

So that is going to be tough, because unless you paint the sand itself grey blue, it will just read as day. Painting a night scene is pretty tough, but the short answer is you need to drain away all the warm colors from the light. The highlight colors are all cold blue and everything is destaruated. If you google up some images of the desert at night, you will see some good reference photos. Hope that all helps.

Glacier Blue from Vallejo, Pastel Blue from AK, sky blue from Pro Acryl and the new Pylar Glacier contrast paint are all pretty cold, pure blue.

That's crazy, I honestly have no idea why that would happen. SOmething is expanding the air in there, but I don't know what in this mix would do that.

@@VinceVenturella Ikr, so weird! I'm gonna try again and keep a close eye on it, all i can think is maybe something else got in there somehow, but I'll see if it happens again

Canon Rebel T7i camera, ISO 100, F29, 3.5"

It's one of the 5 things I tell people never to try to paint. It can be done. but it's an incredibly complicated effect if you're talking about something like dragonfly wings. Now, if you're wanting it to just feel as though it's thin and light is travelling through, You can sort of theat that by making the top of the wing fairly bright, then on the underside of the wing. You gather a highlight color toward the center that is the same tone/temperature as the rest of your light (so warm yellow influenced if that is the highlight for your piece) and then it gets darker toward the edges. Even that is still very tricky.

@@VinceVenturella Ooh, what are the other four things to not try to paint? That could be a fun video on its own.

Good to know. :)

Not specifically, but that is certainly something I should do. I can give you a tip, always turn the miniature so you are sweeping right and toward yourself (if you're right handed). Darren Latham had a great video on this - ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-BMBgOFsHT1Q.html

@@VinceVenturella Thanks, I appreciate it.

Making Forest Bases - HC 349 ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-776sHpQLMgc.html

Do you mean her leaf dress train hanging behind her? I would say something in the rich Orange/Red/Yellow autumn leaves with the same sort of techniques you saw here.

@@VinceVenturella yes and thanks :)

I don't have any of those, but I will see what I can do.

@@VinceVenturella 🥰

That's a solid idea.

Kimera.

@@VinceVenturella thank you vince!

Yep, I just want to find the right model to do it with. :)

@@VinceVenturella - a Delaque Gang you say? :)

Yes, there are novels and the most recent ones focusing on the cities of sigmar are good. I believe there is a book around Alarielle, but check out 2+ Tough's channel, he has full lore videos for everyone.

@@VinceVenturella thanks man. i forgot about 2+tough

I was using a wet palette for some of it, and a dry palette for other parts. Depended on the paint and my need at that moment.

Always find a way - buff is a generic bone color in Vallejo and AKs range.

My apologies, I added the card now, but here it is - ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-26_1W7zR-cA.html

@@VinceVenturella NW

:)

No issue, so first, you could just matte finish it, that's where I would start, that will dull it a lot. Then you could try some soft airbrush application of something like brown contrast or agrax, something transparent and brown influenced, mainly from below, that will create some natural feeling shadows/weathering. From there, you could do some basic scratching and wearing as well.

@@VinceVenturella Thanks Vince, will discuss with him. To be honest I quite like the model so I think I will buy one myself and use that fir the practice run. Appreciated!!! Cheers John

There you go. :)

Blood for the blood god?

I mean...You have a point, but also...sounds awesome to me. ;)

It's prominent and raised, and so would gather light. It's also part of the overall composition of the piece, usually creating a line or triangle of highlights. It's generally a way to keep your eye moving around the piece.

Oh, why so?

@@VinceVenturella there are technical and aesthetic reasons. Im sorry that sounded a bit harsh, I love your content

@@hav6301 No issue, I'd love to know the reasons. :)

@@VinceVenturella Ok let's see. Long story short, cinema frame rate has been 24fps since the late 1920's when sound film was introduced. With that comes the 180º shutter speed rule, thus when you film in 24fps (or 25p in PAL countries and 30p in NTSC countries) and keep your shutter speed double (1/50 or 1/60 of a second respectively) you get the most natural looking movement, not too sharp but not too blurry either. Also, since cinema tradicion has been 24fps for almost a hunderd years, we are really used to that look and seems natural to us. Using higher framerates will require of smaller shutter speeds, for example if you shoot on 60p, you can't go lower than 1/120 of a second. That creates a really sharp, unatural image, if you play it back at such speed. Framerates above 30p are designed to use slow motion and there's mostly no need to use them if you're gonna film "normal speed" stuff. Also you're wasting more hard disk space (double the framerate means more storage needed) and you're loosing light, since you can't stick to such a low shutter speed (from 1/60s to 1/120s you're losing 1 stop, which reduces the amount of light reaching the sensor by a half). So in poor lit interiors (your videos seem a touch underexposed) you're gona benefit a lot by that extra stop of light and you can lower your ISO resulting on a cleaner and less noisy image. But mainly, yeah, the aesthetic of 60p played at 60p is awful and it evokes the cheap visual look of classic soap operas. Just think about the vastly majority of content creators who know the craft, they are filming themselves at 25/30p for these reasons, and often they use higher frame rates for slow motion b-roll. If you want more info I suggest you take a look at youtube channel "Filmmaker IQ" ("A Defense of 24 FPS"," The History of Frame Rate for Film", &·Debunking "High Frame Rate in Cinema" Myths". Sorry long post, hope it helps.