Hasslefree Dione (converted) - Need a lot of advice

Dribble Joy

New member
I've been far too long away from painting in general. We started a Dark Heresy campaign so I needed a new model. I had been planning a character before and had a couple of models I wanted to use. This one (with different guns and the suit changed into a one-piece) and the trench coat version. Mostly a test of things before another model, but I still wanted to get something looking reasonable.

Anyway, it rapidly became obvious I had lost most of what little I had before. Here you go:

Lexall.jpg


http://www.coolminiornot.com/305151

The biggest and most obvious problem is the shading on the suit, it looks like a drybrushing.

My method was roughly this:
Black Grey base
London Grey thinned (with Vellejo thinner medium) and built up.
Same again (small amount though) with Light Grey.
London/Black Grey mix glaze.

Aside from the actual quality of brushwork, a big problem I have is that with so many thin layers, it's easy (for me anyway) to get caking of the paint. When it came to the glaze, it was slightly too thin and pooled slightly around the lumps, creating the mottled appearance.

Should I simply try blending up to what I want in the first place?
Am I blending with too thick paint?
Do I need a wet palette? (I have found that even with the retarder, under all the lights, it was drying throughout each stage, but not a lot.)

More generally:
Is the contrast too low and/or in the right places? There's a good difference between areas and I would like to keep things quite subtle, but do I need a few selective applications of a wash in some recesses? (and if so which ones?)
I'm pretty much a n00b with human faces (mainly paint Orks). What am I missing?
Same with the hair. Where have I shaded/highlighted where I shouldn't have and vice versa?
Black areas are just Black Grey with a Badab Black wash and a Black Grey highlight. I'm having issues with painting 'black' without it looking too stark. How bright should I go? (I'm guessing this is 'how long is a piece of string' question, but as a horrible generalisation.)
 

supervike

Super Moderator
Really dig the hair!

I think, to help the black out, is to do less gradiation and more stark highlights. Save black for the absolute lowlights, and try dark mixtures of purple or blue for the midtones. A stark 'light' point of light grey would make that rubber suit feel more real.
 

Dribble Joy

New member
It's kinda meant to be more like spandex/lycra (a 'body glove' in Dark Heresy terms), which is a softer material. She's more of a sneaky thief, so most of her gear isn't meant to give off an shine that could be spotted. Of course this makes it harder to get the right effect.

The hair was where my normal technique kinda worked:
Base Regal Blue, Asurman wash, then layers of Regal/Enchanted - Enchanted - Enchanted/Ice - Ice and then a Regal/Enchanted glaze over everything.
I was more wondering if I had the lighting effects in the right places.
 

TrystanGST

New member
When I'm not sure how to get something to look right, I always turn to source images. Google is your friend in this regard. Search for pictures of what you're trying to paint, and study how it looks. From there it's just a matter of trying to get the paint to cooperate.
 

Stewsayer

New member
Hi,

Is that caking or cracking of the paint? Caking - your paint needs to be thinner still. Cracking - the last layer not be fully dry and is being pulled up by the brush as you apply the new layer. As for the glaze I would say the pooling it isn't that it was too thin. Instead that you have too much paint on your bursh. You want to pick up a small amount of paint and then wick it off the brush with a piece of lint free cloth or paper towel. When you apply the glaze you want it to only moisten the surface. The start of your stroke should be visibly drying as you finish the stroke.

As far as painting black goes (take . Here is a rule of thumb I picked up watching the Dark Sword tutorials (Jan Haley and Anne Forrester, great stuff I learned heaps). Whatever colour covers up 50% or more of the surface of an area that is the colour the eye will percieve that area as. They went further than that for black and white saying that 75% of the area should be the colour you want percieved as black/white. BTW I haven't painted much black myself however this method worked great for the red on the Melisandre mini I am currently working on.

The highlights on the hair aren't showing up very well in the pics/on my monitor. However they do look to be well placed. I would suggest you need to take them further esp. around the crown of the head. But any more highlight layers should be getting progressively smaller. You most likely will want to take it all the way to white too.
 

Dribble Joy

New member
The highlights on the hair aren't showing up very well in the pics/on my monitor. However they do look to be well placed. I would suggest you need to take them further esp. around the crown of the head. But any more highlight layers should be getting progressively smaller. You most likely will want to take it all the way to white too.
White before the glaze or as part of the final effect?

I'm generally inclined to a more muted approach and the softer 'european' style as opposed to the starker 'american' style (or whatever the terms are).
 

Stewsayer

New member
Keep working it up until you feel it looks good. That might end up with tiny areas of white and might not. Then glaze to tie it back together and smooth if necessary. Then re-establish your brightest points if necessary. I'm finding in my own stuff that if I go to where I'm comfortable and I think it looks good. Then go a little further things really start to pop and come to life. And if you do go too far a careful glaze can knock it back.
 

TrystanGST

New member
Keep working it up until you feel it looks good. That might end up with tiny areas of white and might not. Then glaze to tie it back together and smooth if necessary. Then re-establish your brightest points if necessary. I'm finding in my own stuff that if I go to where I'm comfortable and I think it looks good. Then go a little further things really start to pop and come to life. And if you do go too far a careful glaze can knock it back.

Good point. If I shade to the point where I think I'm done, I'm usually only really half way there LOL
 
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