Hello everybody and welcome to another PMP end of month review. What is this? Well, this is where we get together and discuss all the submissions to the painters motivating painters Facebook group monthly review event We each month we invite our painters if they would like to submit one and no more than one image Into here to be reviewed and to give feedback They have to post what they're working on and ask for targeted feedback This month as always we have quite a lot So I'm gonna try to move along as quickly as possible here And answer the questions if you'd like to join us on your personal hobby journey We'd love to have you the link is down in the description to join the PMP We love Painters of any level of skill from people just starting out to longtime masters. So with that being said, let's let's get into it So we start out here Actually already got it up when we start out with Robin Who's working on some non-metallic metal and says that he's not sure about Whether or not it works and and yeah, it doesn't and your your issue here is a couple different things On the non-metallic, but it all boils down to not enough contrast with the gold We don't have the reflections hitting in the right places and then like that is to say The light here seems to be coming more directly from above yet. I don't have that light being reflected here It also doesn't go high enough So as always I'll be referring to highlights in a five-point scheme one being your highest highlight five being the lowest three being the mid-tone So you don't have enough two and one You also need to make sure that the edges are popped out and all of those are bright where wherever possible So for example all in here the edges of metal catch light down on the axe, which is the other thing He had a big question about Some of these little lines in here You want to make sure that whenever you're doing a light line. It's very sharp. It's very thin So we need to get that paint thinner and more precise You can always come back with another paint like in the darker crevice there or the crack and repaint that black But it needs to go up to white and come back in with a more roundish shape like this I don't think it's not actually round. It had kind of has a diamond pattern to it But you have to have in the same way this transitions from mid to light This has a transition from dark to mid You have to follow the same things around to capture reflected light Okay, and on the axe head itself We just need this to be capturing more light going up higher You may also want to think about things like interference colors But again, you don't have enough to and we don't have enough one the edges all need to be caught The edges need to be real sharp real bright To sell that effect. So there you go. I hope that helps Okay, next up Bartos first unit of Pesticor's little oil painting looking for a good tabletop standard Yeah, I looked over these guys and honestly Bartos I mean, I think you're using the oil paints really well Things look smooth. Don't look over overdone in any way. And if you know, you're going for a tabletop standard I think you absolutely achieved it. These guys look great You know, certainly there's probably some more stuff we could do We could boost some contrast here and there or stretch on some of the leathers and in mid-tone colors We could smooth out some elements But I mean they are Pesticor's they're meant to look a little rough a little dirty. So I think it works for me I think these guys are fantastic. I mean as far as tabletop goes. I think you're in the right place So keep keep plugging away at oil paints are so much fun. I'm glad to see your experiment with them So great job And then yes as well I know you're sorry your main question was on the flesh and I think the flesh totally sells I buy it completely. So I have no issues. You go into pinks purples You got a lot of good magenta in there. The highlights are high. The low lights are low. It works Okay, Chris This is basically says this toward the top of his ability Similar sculpt and loved to get advice on one to three things he could focus on sure so On the eyes trying to have them so black ringed like that's you want a dark ring around the eyes But not that much That second picture is kind of out of focus The I do like the separation of elements. That's pretty decent here You want to work on when it when you come to skin tone if you have female skin tone We need to see other colors worked in there more pinks and purples and things like that, especially in the cheeks here Here in the eyes and around on the eyes up here You need to be able to see eyelids if they're at all sculpted on the model And if not, you kind of have to fake it by having this be lighter than this area here and The so, you know more of those different more variation of hue in the skin and then I think probably If I was gonna pick, you know, that's I can't really read that one that one's out of focus But here I would say just make sure, you know, like if you're gonna take a model like this And you want it to go up to a high level think about adding texture through stippling or hashing to something like the dress To show a material difference there. So there you go. Those would be my one to three things to to point out Interestingly, I noticed from your little picture. It's I think it's you and your wife and her wedding dress So just like look at that wedding dress and you'll see the texture. I'm talking about that's a great example of a highly textured dress So there you go Okay, Travis first time sharing us from feedback working on FEC trying to nail the white skin red wings and the bases Sure, so I'll say the the thing I like the most here is the base You're this is a very overexposed picture by the way You have way too much light coming directly in like there's a really really deep shadows You need to diffuse the light you take a picture with it can't be this like you're shining a light directly on this guy You can't do that. It's got to be diffused light because like all this is just in crazy shadow And it makes it hard for me to see what's going on. So the Now as to the white skin, I feel like it needs more definition. So again more controlled working of the volumes So that is to say right now. It's very white, but I need to see more Variation of hue as we come down into like pinks or something like that around there to shape the volumes of those muscles Okay, I think that's actually the number one thing I would tell you You know on the red of like the wings or whatever that's fine You could add things like texture we could we could have more contrast on there But I need more contrast of both value and hue on the skin itself to really separate the individual volumes It's just hard to read right now because it goes one Five like this line right here separating these muscles has no Journey to it is the brightest the darkest and they're smacked right against each other All right, we've got it. We've got to smooth that out. So that's probably my number one thing Okay, but thanks for submitting Travis, and I hope to see I can't wait to see what you do with it Manus would bring us this Pegaso Ronin bust Looking for feedback on the face of the lighting on the face in the freehand sure I think the lighting on the face is good. You could go a little farther. I like the shadow You could pop up a little bit more of other areas and introduce just a little bit more shadow Into some and into some areas off the highlight like your highlight is moving down here, which looks good You could push that up just a tad more and then we could bring a little bit more Naturalistic shadows into some of the parts especially where if the light is coming from this side so strongly It's hitting here then things like on this side of the nose and up here under the eye things like that would be a little bit deeper and richer in their shadow if you look at like Mark Masculine's that's probably a great guy to look at to see how he's done a lot of like the Flesh work really really look at some work of his and you'll get a good idea of Exactly how to go there, but I think for the most part it's it's it's quite successful. You just need to keep pushing Keep pushing that contrast just a little more Now as to the freehand. Yeah, I like the I like the freehand pattern on the sort of silk piece here on the kimono And then as to this on the back. It doesn't work as much for me the clouds It feels a bit too simplistic. That's the issue these things tend to be very artistic and the sort of like Kind of cartoony sword with just like the two clouds.  So hope that helps All right, next up Nicholas with his first submission. All right. Well, hey, great Vibrant he likes the vibrancy of the red, but it's too monochromatic. Yes I mean my number one feedback for you here on this is it is very much too monochromatic You don't have enough contrast. I mean, that's the simplest way. I can say it We need more we need more contrast of both hue and value So light to dark and color like the red needs other tones worked into it You we need more volumetric definition of like the muscle shapings and things like that So when I look at stuff like his arm and things like that But the green especially is what's killing you here because you basically got two tones of green I understand there's actually a little more in there But it's just two tones and they're not really organized in any kind of volumetric lighting way It's just recesses are darker upper parts are higher, but that's it There's nothing innately readable about it So we need to create more of again like there needs to be more of a lighting structure to it Like this part of the top of the shoulder should be generally brighter than the bottom part of the armor down here and so on and so forth and This part of the helmet, you know You can bring this way up into the brightest here on the ridge here on the side of the face and have some really Popped highlights and that'll draw attention back to the face for you Same with the metal by the by I know you didn't mention it, but that suffers from the same thing It's just all kind of gold. We need to work in more control of the lighting there. Okay All right Next up Jake next installment of his uh, Horace Harry Horace heresy era luna wolves. Wow, that's a that's a tongue twister to say, huh? Feedback on obvious things He's doing a sort of he's mentioning. He's doing a sort of dirty non-metallic metal He doesn't plan on taking it much further and he's looking for advice on life light placement on the black trim Sure, I mean if here's what I'll say. I mean you do you Jake It's it's a total up to you But if I was going to do non-metallic metal on a whole army, I wouldn't slap-dash it like In that case just use real metals. They'll look better, right? Now that being said the metals don't look bad. You're right. They need to be smooth your light placement on the metals is Correct. Um, so like just looking at this gun. They're they're you know in correct places. They just look really rough I'll leave that to you in your tastes if you like it and you'd rather go this direction cool beans I'm not going to tell you not to um paint what you enjoy Uh now as to the placement on the pauldrons. I mean the issue is you're running like a very short volume You just like have this tiny bit of white and it's just it looks really really rough, right? So as to where it is you need to move to two highlights instead of one I mean, that's that's why it's looking bad Like the and and they probably shouldn't come up all the way to white unless you're meaning for this to be Uh non-metallic steel in which case you definitely need two light placements instead of one because you need a primary reflection and then a reflected light reflection Um, and I would move them around like theoretically. This is a line and this is a line is what I generally use So like you have light coming down and cascading across the shoulder like this. So this should be highlighted You might even want to put a small reflected light at the corner just to catch it out Um, if you're going to do this, they should also all be edged If they're meant to be metal And that's part of the problem when you're just kind of doing this like this I don't know what's meant to be metal and what's meant to be just black Right because you don't have a clear distinction there. So that can be a bit challenging But yeah, I mean you just need to go to two highlights like one should be up here And one should be right here one should be right here and one should be right here And those are representing like lights coming down. It's hitting the shoulder. It's bouncing up and then it goes here Right boom boom boom That's creating this highlight as well as the diets natural light coming down on it So this would get naturally brighter because it's hitting both direct light and reflected light Same thing here on the ground. It's coming down to any ground. It's bouncing up a bing Over here. These are all direct in the primary light source. So there you go Hope that helps Okay, next up, uh adam Said looking for some feedback on sort of the non metallic effects Mainly on this sure So i'll say the weapons don't sell at all for me. It just looks like he has blue weapons Um Like I understand you're trying to go I don't know if you're trying to go for like ice or energy weapons or something, but they're not They're not selling We need right now this is like all three and four and that's all we have maybe a tiny bit of two But we need to blow that contrast way out If you're really going for non metallic metal with like a lot of blue infusion, which I do kind of often Then we've got to blow this way up.  It needs to go down to a near black And those need to follow like logical shapes in some way more The axe head is going to be particularly tough because it's a really weird shape each one of those Divots would certainly reflect but as well you'd have another reflection like down here on the back side You'd have a secondary minor reflection here And then you'd have one on the top in the middle to create like a a light line across here This one if you're going to have a light here and here then you need a light here on the back side Unless you're going to map this out or something like that In which case it could go very dark here along this edge to like slightly lighter on the bottom That the light is being caught that would be a fine scheme too But yeah, I mean we just got to go way farther on the contrast Beyond that I would say you know with your edges on the black make sure you go back and clean those up You have a fairly monotone black your gray edges are very fat We don't want that you want those to be nice and thin so come back in with your black and smooth along the edge That's the number one thing that jumped out at me there Hope that helps adam All right, next up Let's see Carl's Kip practicing nmm Trying to get feedback on the model we should try to get better at quick tips on how to approach non-metallic metal in unusual shape Like the his little stick Yeah, so let's look at this picture because this will this will kind of wrap up everything First off number one thing is if you're going to do non-metallic metal, it has to be clean Okay, like for it to actually sell it has to be clean So we can't have stuff like this brown here coming around the front side Okay Uh, we can't have things that are out of place and brushstrokes that don't look that are out of place because that just it breaks the effect You're trying to create this really complicated illusion of lighting and when when it's obvious that it's paint because paint's in the wrong place Right, then we lose it The second thing I'll say is and some of these especially down here on the leg And up here and here we went too far and we're using you're using too much of like a moon yellow Like a cold bright yellow you still need to stay in the ochre with just like a slight hint of the yellow We went too far the other direction We need to bring back in more ivory tones more bright tones and this is why it's really like non-metallic is not an easy thing It's really hard to sell the effect Um, so like, you know, you have to your your need to come back now into more light The final thing I'll say is you've got to Get all these edges highlighted. Um, there's a lot of things in here where you've got edges that don't have a light on They need they need crispy crispy crispy clean edge highlights That's one of the things that will really snap and sell the effect. Okay So, um, you want to make sure you go in and do that now as to the rough shape or something like that There's no one less than I can give you that's going to help you do that Except to say that in general you want to put reflection points in an interesting place And they should generally be towards the middle. That's the best advice I can give you So like if I were going to do this, I might have like one small reflection here a brighter reflection here And then go into mid tone come into shadow come into shadow that kind of thing So I kind of have to have a three two scheme here, right? Um individual elements that stick out you need to make sure you have light catches and light points So at the bottom of the skulls the edge of the nose these little berries or whatever they are hanging here, right? Each of these little things needs to have a little light dot on it where it's catching the light Because it's little into like think of scales and how they would scintillate in the light, right? So the key with unusual shapes is if you have them all You know where they're sharp edges if all of those are properly edged Then you're going to see a big difference in what you accomplish there. So There you go. Hope that helps Okay, next up Alex, I like it. Please don't write me a novel in the future. Okay That's very nice, but I need less. I need the question you want to ask I got a lot of these to do not read a novel all right, so The He's basically saying overall this that he's looking for Some tips on making the textures look like textures rather than sort of fuzzy Um And stuff like that. So in general my answer is yes, one thing is your scale is like really really small That's why I don't like painting small. I don't paint 15. I don't paint 20. I don't paint 25 Or even I even hate 28 true scale like I like basically starting at 32 Because there just is a limit to where what you can do with it Right, like you can only get your brush strokes so unbelievably small Now that being said, I think you did do a good job with the effect You know, you're part of your question was does it sell and my answer is yeah For the most part I think it does the helmets do have that brushed aspect to them The key is you just need to do more lines and make them thinner and then glaze them together Right. So this helmet does feel legitimately different than this one or than his breastplate So like you're you're on the right track here. Absolutely Same with like the and the barrel itself feels pretty brushed So I think you're in the right place It's just it's you know, it's tough because when you're doing this kind of like brush steel effect You have to really just carry it out with slow color transitions and changes and then glaze a lot of it back together But my answer is I think it sells now, you know in this scale the advantages It is so small and you look at them from such a distance. It's going to tend to work So don't get too caught up on what you're seeing from like an inch away at the army level um Yeah, I think that's that's probably my best piece of advice I think for the most part where you've got the opportunity to improve is on things like the little scales here um the uh The reason I would say that is when you have these flat scales you want to create like a light line moving across them Okay, where you're like They're more in shadow and then you've got this horizontal light beam and then back to more in shadow Think of it like a horizontal or sorry a um a diagonal bar Okay, and they're still all highlighted But then on the lower ones you're just catching the edges of the scales with like tiny bits of white light And then the main part is just in a higher thing So the difference between the total volume of the whole armor piece and the individual volumes of the little sections So there you go, alex. I hope that all helps great stuff All right Okay, so continuing on Uh next up william robert saying trying his hand at dioramas and looking for suggestions on viewing angles and shadows um So first of all the shadow line is way too strong Like uh your light doesn't cast a shadow that hard.   It began the reason for that is because there's a bunch of reflected light bouncing around Right, so it's softening things Now as to like the composition of the thing It's very challenging because right here like this is straight on and I can't see anything I can't see any of the figures Right, I understand this is a figure and I understand there's one here But like I'm looking at his back and his hand now when I turn it and look over here I only see this guy Right when I go this way I kind of see just this big tree thing And then over here finally I see the ghoul right now, but I can't see the other guy So like We need to find a way compositionally to make that like Turn it And angle it like the the right way to do this would have been that your front on angle And and my points of visual interest are actually like Oops are actually I don't even know if we have the right angle. I don't know if it's in here. Nope It would have been from the opposite side. Yeah this kind of but like tilt the wall and thin it out and This guy should be more facing Toward the viewer so I can see him and the ghoul should be more facing toward the window like he's sneaking up To climb in towards you. All right, that's your compositional win there And then you'll get a little bit better on That Okay, um, I love what you're trying with the lighting here. It's really cool that you're doing all this with paint Like I dig it. I dig it dig it dig it. I think that's wonderful Um, I actually buy the light a lot more than I buy the shadows. I think you did a great job I mean you can't have one without the other so I think you're really selling that I think the the color tones you did here are really on point We just need to like soften all the shadows down just a little the harder shadows of the hand are more appropriate because that's a more bright and Sort of direct light source meaning the moon Right, which is a pretty bright thing all things consider Especially in a completely dark night Whereas that soft candle would be dealing with both interference moonlight And just it bouncing off everything in a small room. So you're gonna get softer shadows there Like it wouldn't be casting this hard of a line on his his weapon here or whatever. Okay So hope that helps All right, bethany, uh, just looking for feedback on the base Uh, what's one thing you could do to improve it? I legitimately don't know if I have a good answer for you Um, I do I have one I have one small answer for you. This is a wonderful base, by the way This is so absolutely freaking glorious Look at all this levels. I mean, yes, it's busy nature's busy nature has a lot going on So I think this is absolutely wonderful um I love love love all the different texture the stuff the sizes of things the the it's great Here's my small piece of advice take a little bit of water effects There's lots of different water effects out there vallejo makes some I mean woodland scenics makes some every company makes some or you can just take some gloss gel medium and mix it with a tiny amount of like white paint or something um And you have rocks in your stream create a little create rills In the in the water, right?   There you go. Fantastic base All right, next up, uh, benjamin, uh, just returning to painting some models going for, uh Going for sort of the nice sharp clean style Uh anything that you know pops out or needs to be sharper Yeah, so the first thing that popped out to me was the the freehand Because the yellow over the blue looks very green. I'm not sure if you're intending it to be very green But it looks like the blue like I can still see part of the The texture underneath here the what you're what you're doing underneath here um So like I don't know if that's intentional or not, but it's strange It just looks like the yellow didn't have enough coverage. That's what it looks like to me The white parts also need more depth in some way.  That's it. It's not doing anything. There's no variance There's no variance around the cylinder. There's no variance at the tip There's just nothing. It's just a big Black spear right give it something to make it actually stand out in some way. So that's the only thing that jumps out of me Hope that all helps Benjamin All right all right, so next up, uh, apollo who brings us, uh, his, uh blood angel here And uh, he said he's looking for some feedback on the reds Uh and Feedback on the nmm and the photo shoot sure. Um, so let me just talk about your photos. Yeah I think your photos are fine. They came out really nicely actually. I have no issue with them. They're they're beautiful. Love the gradient Yeah, very crisp very clean very clear beautiful photos actually absolutely gorgeous Now as to the red I actually think it looks wonderful I don't know that I have I mean you might want to try one final very thin glaze of red over The white parts just to tint them slightly. They'll look a little more pink But you could give that a shot like when it reflects pure white. It can be a little strange You could also use like a near white to do those final highlights like use a very pale flesh tone or uh, or uh, even maybe a Sunny type flesh tone Just uh, kind of really I mean they'll still look very light compared to the red But you know that could be an item to go for As far as the non metallic goes on the golden things Uh, the non metallic seems to have the right level of gradient good solid edges Um things like that your colors look about right and they look in balance They just aren't quite smooth enough in some of these cases like the sword here. There's a lot of roughness to it Um on the blend same over here. We like we jump straight from like Kind of a low two into the one like Really hard Uh, so we probably want to smooth some of that out, but overall this is an absolutely gorgeous piece Um, he looks wonderful. Uh, I really like how everything came out. The cloak is nice and soft Uh, you may want to smooth down these edges just a tad more like we jump back here again Kind of quick where I'm only the only place I'm seeing troubles is and and not on the light reflections because I understand your your Specular light reflections of these little white dots. I have no issues with those It's more on some of the other highlights where we jump a little too hard a little too fast and we don't have Kind of that blend smooth when we move when we make the the jump into the very opaque color So, uh, that's all that jumps out at me. But great stuff. Thank you for sharing Okay, next up, uh, alkan bringing us a corgirath Um, you know said it was sort of tabletop standard and he kept going Uh, general critique and tips about how you could have pushed farther. Sure. And I mean Yes, you definitely need to push the contrast farther So obviously you mentioned that you left a lot of gaps in here. Don't do it It's so distracting do go back and fill those you can do it with You know some matte varnish dropped really in there heavily and then you paint over top of it I have a whole video on it. Um, I mean where we can push the contrast is kind of everywhere We don't have enough contrast kind of in general around the the The creature whether it be the red and the muscle volumes We need a lot higher highs and a lot lower lows the bones don't go dark enough and they don't come bright enough We're way too in the mid tone on all the bones Same with like the horns you'd expect to see like the bottom of each of those sections get very dark And then come up to be very light You could also add contrast to texture on those where we have, you know, scratches or hashes In there that kind of thing So I mean the red and the bone of the big ones that jump out at me is yeah We just we just need a lot more contrast, you know working in deep blues purples Blacks dark browns into the shadows and then working in, you know, like some brighter colors You can push them into the orange. You can push them into the pink. It's fine. It can go either way We just need to bring up those those highlights. So Those are kind of my feedback You you definitely want to be pushing that contrast especially up top, you know A lot of the top of these volumes are actually darker as you have them right now Than what the lower volumes are and that's hard for the eye to read Also, try to avoid taking a picture like this with the light being so direct It's very hard to actually interpret what's going on because you're also using a satin paint You didn't mat out. So you want to make sure that you're using nice diffuse soft lighting Okay, next up, uh, Ivan, uh, Infinity Mac has his best work so far any lacking areas you should work on Um, sure. So this big bone piece much the same things I just talked about. Let's go around to that Where is the where are you bone piece? Do I not have a good picture of you? Nope. Okay, that's fine This big bone piece again needs to have more controlled lower lows higher highs Same thing there like I just mentioned Um, smoothing out the contrast on the non-metallic arrow elements. Those need to be more smooth With the scratches all of your scratches are the same size I know that as a point of fact, they're probably slightly different, but they're not Like when I say they're different size, I mean one needs to look like this and one needs to look like that Okay, that's a different size scratch. This is not a different size scratch. This is the same thing Okay So it looks really strange to your eye when one two three four five six seven eight nine 10 Of these scratches are all the exact same size scratch 12 13 Right, so if you're going to do this kind of battle damage, it has to be incredibly varied and natural It can't feel like your brain made you draw the same size line every time because you got used to moving your brush like that Right, and that's what you've got to change Okay, it's got to feel more natural more random now the little dots. I like little dots those look nice Um on the stuff like the freehand on his shield or whatever Over there on his his right arm um flip around Sorry, this is the picture I want You know, make sure if you're going to do something like this where you're kind of painting something on It needs to look like it's either solidly there or not like again All three scratches are the exact same size if you're going for claw marks Even those will be different because the middle claw is forced out and we'll hit first and drag They also need to be like tighter and directional That kind of thing to to read like claw marks, which I suspect is probably what you're going for there um So, but you know if you're going to put paint onto the thing like he has Some kind of marking on it Then it needs to be either very opaque and look like it looks like it belongs there because it was painted in a Deliberate freehand style or if you're meant to make it look Like spray paint or something that was just very quickly thrown on and rough Then you want to stipple around the edges so it looks rough in the right way So it's really tricky to get that kind of feel correct Okay Other than that, I'd say just some more glazes to smooth out some of your transitions You know, I can see lots of transitions and roughness in the paint here So you want to make sure you smooth those down and that can just be done with some final glazes. So Hope that helps Okay Dave, uh slightly converted draka feedback for color choice and composition Uh, you said i'm sorry Intending it to be a competition mini Sure. Well, we've got to go a lot farther if this is going to be a competition mini Um, I mean I this probably isn't a great competition mini. I'll let me just start you there, Dave Um, not every miniature no matter how well painted is a great competition mini And most of time stuff like this I like I wouldn't put this into a competition because you're very very very limited on textures palette stuff like that Like it's not doing enough Right With a competition miniature you want to be able to display your your ability on a variety of different surfaces textures And and show something unique, right? This is very monotone Uh, and that's going to be a challenge for you So i'm going to kind of take that out of it and just give you the feedback like my big advice would be You know, it depends on the competition. We're talking about like a local game store thing It's it's going to be fine. But if you're talking about like a any kind of serious painting competition where there's a lot of people there You want something that's going to stand out to the judges and the reality is no matter how good you make a model like this Look, it's going to be extremely hard You need to use a completely different color palette where it's doing something really incredible And you're using like something with lighting or or osl or or whatever like something that makes it stand apart Okay, so now that being said Where can we go farther? Sure So the first thing's first is let's talk about the yellow beehives. Um, I think those are the strongest part of this Though I would still create some light lines on the bottom edge Just a small amount of subtle edge highlighting on the lower end of the beehive Uh on each little hole, uh on the bone and the and the wood and stuff like that You're going to want to work in some kind of color there. It still feels very flat right now Um, it all feels very like gray So working in some actual tones be they greens or purples or whatever you feel like Is going to be your best answer To get that in there Okay, um, when it comes to things like this stick that's on the side of his head her head Uh, it's very very samey as far as the sort of color and Stuff like that goes this is a big bland piece sitting in the middle of this So either make it like the rest of this wood and create the same variation of hue Or uh do something different with it, but if it's different then it needs to stay in color balance, okay So other than that, I just say like smoothing the paint. It looks unintentionally rough in some places like on this on this skull piece and stuff like that On some of the wood where it looks like kind of we had wash staining or something like that So you want to make sure it's okay to have roughness But it needs to be kind of intentionally placed where I would expect it to be in things like textures So if it's wood texture you're showing me that's rough, okay, my brain goes. Yes, that's okay If it looks like just paint texture that's rough my brain goes. Ah, that's just paint, right? So that's the key with those kinds of things So hope that helps Very cool conversion. I like the big skull head on that. That's a nice trick All right. So next up we've got steven banks, uh with the nergal thing Basically he's looking for some feedback on the skin tone specifically Working in purples and pinks building on some feedback we'd given in previous months Yeah, so looking at that. I like the coloration we're achieving here. This is good. We've got so we've got some good contrast of of Hue in there. I like how that's looking We may want to focus a little more on also having Some stronger contrast of value according to the volume So pushing down the shadows here pushing up the highlights a little more here and swallows still working in those tones It's tough with these big guys Especially when they are so textured like this One thing you can do as well is when you've got things like these veins or these pustules here Is really make these a different color to break up that skin tone and then that lets you add in other volumetric highlights Which then really takes the piece to the next level the key is when you've got, you know, you had mentioned in the In the comments that you know, you wanted to move up to display quality So when you're wanting to do that something is you never waste space on the mini and large areas of the same color Are generally the enemy In a display piece you want to create variation you want to keep the eye moving And that's done through changes through contrast. So like all these veins here these pustules Stuff like that have these be different colors yellows reds, you know, purple pustules yellow pustules Whatever the whatever the case may be um one other small note when you're uh So color-wise we're good just up the the volumetric highlighting a little one small note on doing the eyeball thing here like this I see a lot of people do this with a nergal and that's fine You want to make the iris bigger? It needs to take up most of the eyeball It you also need to make sure that it's pretty perfectly round Like humans are very trained at looking at eyes and when they look off we notice it even if it's the smallest thing You also want to make sure that you have the right iris Slashes and hashes going around there and you want to make sure you have a light catch dot On it as well like they need to look like full normal eyeballs, which means all the details So Don't hold back on that kind of stuff. It's a little thing But it's something people will immediately notice because humans are trained to look at eyeballs So they'll immediately notice if it's wrong. Okay So hope that helps very cool overall All right, next up john first time posting wanting to practice some nmm and freehand sure Um, so on the nmm. It's going to be much the same as I've said a couple times We don't have enough contrast here, especially on the steel is where I notice it the most We're not going up right enough You also want to be careful not to keep it too even on something like the sword on something like this spearhead here the blade Um, you know, you want to have these be of varying volumes So in other words widths like have a thin highlight have a broad highlight that kind of thing And vary those top to bottom and that will be a big help there When you look at this picture right here, though You can see how with the gold we get up bright enough and they look at this whiteness versus over here, right? That's what i'm talking about It's the same with his horns. There's probably too much darkness in his horns We need to have more like something in here is going to be reflecting light Too much of this is too dark Um moving our way around the mini let's get to the place where where the freehand is Uh, oh slight note on this part real quick. This isn't how this would be highlighted. That's like It just doesn't that ends up looking like a bracelet. Um, this is a cylinder cylinders highlight vertically along From the source of the light, which is assumingly above. Okay Um, so this should have a vertical this should have vertical striping on it think like a space marine leg Right. This is the same shape Um Now on the freehand Again, we need to just refine it. So a couple notes about freehand one It needs to take up most of the space don't leave this much negative space around it unless you're going to do something with that like if you were going to run a A pattern around the edge of like zinch runes then this would fit perfectly You'd be amazed how much that would change just if you put zinch dark speech around the edge here It'll make this image look completely different Don't leave empty space like that if you can avoid it fill all of the space. Okay Not literally all the space, but you get what I mean like this mouth should go from edge to edge basically Um Or sorry, not I guess you have a silenature room under there. I apologize. So, um, yeah, it doesn't matter Dark speech being the point um the uh As far as this goes It It's a good cartoony image, but the the underlying nmm on this thing doesn't sell That's the problem like we covered up too much of the symbol So, you know, the symbol if it's going to be round it needs to be more of it expressed down here And this needs to be sharper Right, so you've got to bring this into very precise lines Like this needs more cleanup basically is what I'm saying And then if we're going to do these dividing lines in it where we're trying to show that the the two-dimensional thing is three-dimensional Then it needs to have all of those elements It needs to have a bright white line going through the center It needs to have white outlines to catch the edge Like it needs to be non-metallic metal in the same way that you would do any physical piece of non-metallic metal Okay So there you go. I hope that's uh, hope that helps Okay, uh mark. I've been working on weathering and making, uh Things look beaten up Uh What would I do to make the chest and gold elements look like more weather gold? So I like your battle damage. I think it's good. Um, the shiny is not too hard Yes, or not too not too bad at all. Sorry. Um, it is tough is what I meant to say, but it doesn't look bad Um The gold needs more contrast. I mean, that's the the bottom line there The second like I need more darkness in between the various gold pieces But with gold, I mean gold doesn't Uh, gold if it's traditional gold doesn't weather but that being said, I doubt they are actually having 24 karat gold on their Uh, their space marine outfits. It's just a gold colored metal So you can always use vertigris and stuff like that. Um, and it'll work perfectly fine You can also put scratches in it or anything like that that would normally be there But if you increase the intent if you increase the amount of purple brown and black In the gold it will naturally look older and more weathered So it's all about playing with the volumes. Okay Now one thing I would say is this guy's very beaten But you want to be careful with combining beaten with this Like very stippled pattern It can get a bit messy and tough to figure out exactly what's going on because there ends up being so much information It's kind of hard for your eye to actually figure out like right now. He's he looks very pixelated He's not but he looks like it because there's so many little dots That are still visible. So either you've got to go like the Karel Kaniyev way where the dots aren't visible and everything is built from dots Or you've got to connect some of that and have some lines happening somewhere Right, otherwise it just gets too broken up So also drill your gun barrels. You thought I wasn't going to notice I do drill your gun barrels always drill your gun barrels ABD always be drilling if you're not drilling You're losing always drill your gun barrels It's a simple step and it makes a huge difference. Don't spend this amount of time painting something and not drill a gun barrel All right, so that's my feedback for you there Okay, stew looking for general feedback and tips on secondary highlights. Sure So the first thing that jumps out at me is the flesh isn't interesting enough. That's the biggest challenge and you know, there's been a lot of Propaners who've tackled this model My advice would be look at them like, you know, just look at their images and look at how much they vary the skin tone Whether it be natural shadows that are, you know, held under his On the sides of his torso and things like that or whether it be the addition of reds and maroons and and Sort of purple colors those those types of things Uh, but I you know more of that is what we would need to see as well Is probably a little more of like a tan sepia tone in there as well all to set this off Um now as to the Gold it feels like it needs more Again more highlight more upper light doesn't have enough one and two in it Um the shield on the silver is better. We're definitely Running the correct number of volumes. Um, or sorry the correct number of values. I apologize um, but We don't have the smoothness of it So I imagine you were also going for sort of that brush steel thing. That's fine But you need thinner lines more of them and then some glazes to smooth them out It's still a single piece of metal and when you can actually still like it's a very fine line You have to leave enough strokes to make them visible but less so they don't look like brush strokes It's sort of walking this this careful balance the light on this side of the shield is better You did come up to some higher highlights over here. So I I like that Um, I like the reflectiveness of the gold on the shield more than I like it in the other two places All right good stuff Okay, next up ret first submersion submission pure oil paint looking for feedback on the non-metallic silver Um, sure So I suspect we did this in oil paints in one pass not two passes because we don't have enough Value contrast and that's the tough part about doing non-metallic in oils All at once is you have to you have to let them dry And then bring them back together. So again, same thing here I can also see lots of places where we didn't get them blended together So remember, you know, go watch the most recent crimson fist tutorial that I had That'll really walk you through how to, you know, use oil paints on something like a space marine When you're using oils, you always want to be making sure you're then going back in and doing the important step Smoothing them back out. They can be Instantly perfectly creamy, but you've got to go back and do the work The non-metallic as far as it goes. It's the same thing again. We need more contrast of Value, so we've got to take them up higher there. We need more ones and more fives. That's what we're missing in this Also, you want to make sure you have your cleanup step like there's red sitting here on the silver so when you're, you know when you're, uh Finishing up at the end of the cleanup step is really really important You know same up here where we've got some bleed over same over here where we've got some bleed over like Cleanliness in the paint application can be something you do at the end And it's a really really important step Because when each piece and part of the miniature feels separate from everything else That makes the miniature feel very Uh, it just has a much more Uh, that separation spreads this feeling of cleanliness and accuracy to it. Okay, so there you go All right next up, uh sam Uh feedback in general mainly for the face and eye area and then tips for taking pictures My and post production. I'm not the best person to ask about photos to be completely honest I'm pretty bad at it, but my answer is always a black background I think many just look better in front of a black background because you can then sort of get the the Sort of infinite background type of effect Um, you want to shoot with a good depth of field Which means you need to be back far enough and not zooming all the way in that kind of thing Uh, your lighting looks good though. It's nice diffuse lighting. Uh, you know only a little bit of shadow here So we probably want to tone it down a little stop pointing it directly at the model get it more in the area Maybe I have two light sources. It looks like right now.  It needs to be smoothed more So we need more You know glaze is put in there to bring everything together The eyes also need to be or the eye I guess as it were he only has one eye But we also need a little bit more darkness around the eye as it were um So just looking at this picture, which is a little more zoomed in on the face Uh, I like your placement of the iris. I think that's good. I like the white dot We just need a little more darkness around the eye to really set it aside You do have one a thin dark ring Where I need more is a little bit up under the eyebrow itself and then down here on this side under the eye um to kind of really Give you that full Uh effect, but overall it's good with the face I just think it's a the question of a few more glazes and stuff like that to kind of bring the some of the Rougher blends together and that that is basically what you'll want to what you'll want to work on Overall very cool mini. Uh, I dig it. I I hope to see the other uh F. Rial Tarn or whatever her name is the other one Okay, next up, uh, Courtney, uh, overall, how could I make this better? Um, good. She's got some some good deep shadows Uh Looking for desaturated colors that blend in with nature Yeah, this is a really great piece. I like this a lot. I love the the natural tones to this I think it works yet again You have a bit of like too much direct light on your piece in the photo So you want to go for a little more diffusion Um, but you know that's like I said taking photos is like the hardest part of this whole hobby. I swear Um, so I'm not going to beat you up about that Um, just little things that I've noticed like these feathers and these strands You want to get in and do some nice thin lines on those some little hatches You know make them feel apart from like things like the skin and the exposed more area here You can do that by adding texture When it comes to the wings, I like the I like the sort of demon dots you've got going on there I think that works Um and a couple of the wings You didn't carry it down quite as far as I would imagine so you could always take a few more random dots down in here But I think it's a good look Um, the wings are where I would say you also have the opportunity to work in more color You did a great job working them into the body But the wings themselves feel very samey with the leather straps being very similar to the bone Uh here that's sort of holding the wings together Bringing down some soft subtle shades like you did here in the skin into the wings themselves To more separate the shade and create that that That tone I think would also be Valuable, uh, that's the number one thing that kind of jumps out at me There is the texturing opportunity and then more differentiation of the wings where you add in some soft colors Could again be very desaturated greens or purples or maybe both Uh to just really kind of make them feel like they're a different Uh materials may be the wrong word But they're a different or different organic substance Than the bones in between them Okay, but great stuff. Hope to see more All right, next up, uh Matthias basically looking for uh for feedback on sort of conversion and and uh building out something like this so he has his little little thing for his is tomb Whatever this guy is Uh necron lord, I don't know So my biggest issue with it is this is it doesn't actually fit on the base So I don't I generally floating feet oops Trying to find the picture where we can really see how much they're floating. There we go You want to watch out for this floating feet thing like this would feel better if they were up more and they were Under it. So like when people are carrying something I mean think of like the meme of the six guys carrying the coffin. They're under the coffin They're not holding it out like this, right? This is really hard to hold something Like if I held my water mug out like this like I could only do this for so long and this is a pretty light thing Right, but if I was holding it very close to me right here, I could hold it for a lot longer I understand these are immortal robots But human beings just we like to we tend to see things as being like this right up underneath it So bring those guys in get them more up and under The thing and then both their feet will also be on the base, right? You want there to be a verticality to it where it's clear. They're really being supported You know under the weight of the lord compositionally It also works better because they he needs to be directly above them To sell the theme of the thing right and so if they're literally hunched and supporting him It thematically sells it better than if they're kind of just like oh Like it looks like they're kind of playing with it. This is too hot to handle Or maybe too cold to hold But we will have to call said ghostbusters to make sure we're in control. So That's my basic advice on sort of the composition of the thing. It's a cool idea. I love it I love the idea of them sort of toting this guy around. So I think you've uh, you've you've stumbled on something really neat there That's cool. I've never seen anybody do that Okay, next up tom General feedback on technique composition and color choices two things you did well and two things you could improve on Hey, I like that That's a good way to do it. We might we might put in the that that rule that might become a thing like one thing He did well one thing you could improve on maybe that's how I'll do this in the future to keep this moving along Um, but at any rate, so here's my basic problem tom I'll start on the two things that I I'm not sure about This is the primary. I don't even know if I have it like this is probably the primary viewing angle of the model Probably because I can see all the elements But he has really turned away from me like I can't see his face So again, whenever you're doing these kinds of dioramas with walls, it's really tricky because everything needs to be visible So you need to bring him this direction like he needs to rotate his face toward the camera okay, um So like that's my That's my sort of first thing that uh That jumps out at me is like when I'm looking and actually taking in the whole scene I can't see his face and his face is where I want to look Because the face is always the focal point of any scene whether it be a single miniature or a diorama You want to look at the faces? Um, I understand he's blind, but I wouldn't know that like I can't see his little face wrap from this position Right, and that's a problem The other thing I would tell you is when you're adding vegetation tufts and all this stuff do give some extra paint on there Washes dry brushes make them also painted in acrylic. It's always obvious when I see this vine work I have some of this too, uh, and it's not been touched by paint It just looks very different than the rest of the thing which is all painted in acrylic paint, right? So everything on the model should be painted Whether it be on the base or whatever now as to the things I really like, um, the white, uh, the white jerkin or blouse shirt top Whatever he has Whatever it is. Um, I really love this. I want to look at it in this in this black and white actually Because I think you achieve such a wonderful soft subtle contrast on it and yet it really remains bright and feels white It's great. This is really great stuff. Like I just love the subtle tones you worked in here. Um, I think it's just fantastic So that I really dig. Um, I think that looks absolutely wonderful natural just fantastic The other thing I want to compliment you on is just the the nature scene you created now taking the paint tufts aside Um, I do love the way you've used your vegetation your moss your flowers your tufts All of different sizes all in different ways growing in exactly the kind of ways I would expect it to grow It's fantastic execution on that you you stopped your brain from forcing patterns things look very natural things look very random Very organic. So that's really really really good. Uh, I enjoy that quite a bit and think you did a fantastic job with that So, uh, well done. Tom. Uh, hope to see more Okay, next up, uh I'm gonna say julian Let's go with aruda Uh, first I'm posting looking for feedback on the skin the tmm and just general feedback Any tips on monster hair? Um, you still I know you said that pantene look doesn't feel like it's appropriate it still is it's still hair And it like it's still going to sell now alternatively, you know, you can just highlight it in a more non realistic But pseudo cartoony way which is you can have it get lighter toward the top That's what you I see a lot of people do with monsters. Nothing wrong with that Perfectly reasonable choice. But the key is those nice thin hash strands going all the way up the thing Right. That's that's what we want to focus on Uh, now as to the skin, um, the skin is good. It needs more tonal variation again Mostly variation of hue, but you can really see it when you go into the black and white It's mostly the same color. We have some very slight variation right But not enough like I need I'll give you an easy example This and this should not be the same color as this and this but they are Right, they shouldn't have the same value Right, uh So that's the first thing that jumps out of me again more more, uh, mobs more purples You know, uh colors like black leather from scale 75 are a great thing to do this kind of subtle shadow work with Um, but anything like that Okay Now as to the face again, it's much the same thing. We need to kind of control the light It's all of his face has basically the same highlights and it's just recesses are slightly darker I need more control around even though he has a weird face He still has like a zone that should be higher highlighted up here You know up here Then what's going on down here in this area and so working in that subtle shading I think is going to do you a lot now the true metallic metal. Yeah, I like it. It's good Nice soft rusts worked in we could probably do with a still a little more volumetric shading Like this could feel a little darker and more matte than up here um But Yeah, for the most part. I think uh, I think it works better. I do like the texture. I like the effect I like the rust I buy all that so that sounds good cool Okay, next up matt Uh Looking for some advice on how to make the blades more interesting as well as improve the tmm Yeah, so I mean the tmm just it is very samey and flat You need to treat the tmm like nmm with applying inks and shades and glazes to it of color And shadow and matte paint to control the light I have lots of videos on that. I would highly recommend you go watch them Just you know go through my the hobby cheating playlist and look for all of them There's like 175 and there's a couple in the 70s. It's something I talk about pretty often Now as to the blade, it just needs to come down more like you need more contrast in it That's that's all it comes down to you went to the full orange subtly mix in a little bit of uh purple or maybe a little bit of black Into that orange and you'll get a nice deeper effect here at the very corners And that's going to help it from being so overwhelmingly bright Uh and and really like just taking because right now the problem is it's just taking charge of the whole piece Like if you relax your eyes, you don't really see anything except the blade, right? So getting that orange spread out a little more uh or desaturated I'm sorry if there's a place you could spread it out that would be even better Like you did the eye which is good and this little thing on his belt I know this is black stone or whatever this this thing is their little anti psychic metal So you probably can't do it there Well like these little juicers that he has here, you know, those could also be orange Just something like that could add a little bit more Balance to it But bringing it down with this that this soft inclusion of some purple and or black And that will desaturate the the weapon down and make it feel a little bit less overpowering That being said, I really do love how soft and subtle you were with it I think it looks really good your your blends are nice. I think it's very effective So uh overall cool, uh cool necron error In quiz of something says rack or whatever his name is Okay Bill bloop oblique bloop bringing us another beautiful piece Uh interested in a critique on the freehand gold on the dress. Sure. All right, so Bleep, I have only one piece of feedback for you on the non-metallic on the on the dress I think for the most part it works I think we could bump up the white on the edge a little more And then have a little bit more clear black. So maybe like a tiny bit of cleanup That's a minor thing. Here's my real thing. I don't love the highlight for this actually falling right here I like this where it goes highlight in the middle highlight at the end to create this nice corner piece. I dig that that's good Um, but this feels like it should actually be like right here And then we should have it passing down into so basically five four three two one two tiny bit of three That's what I'm saying. I think it's just more visually interesting when it's in the middle When there's when there's more traveling in both directions rather than just a one-way trip So that's probably my main thought for you there overall Simply beautiful as always This is such a gorgeous army. I've had the the The good fortune to see this army obviously pre-neferata in person and it's absolutely stunning. So thank you, Bleep All right, next up scobster Bringing us a dwarf How the integration of the miniature into this scene as well as your attempts at non-metallic metal? Yeah, so here's the first thing that jumped out at me. There's too much scene Okay for this tiny figure This needs to be shrunk to about 70 of the size it currently is Um, you've got to watch out that you're not using like all of that extra scene isn't really doing much You're not telling me much by making this big scene if that was like a 54 mil scale Dwarf or something or he was you know much bigger Which is ironic given we're talking about a dwarf Um, it would sell at the end with this amount of size But the problem is here. We have too much going on He feels like too small of a part of it compositionally and he gets lost amongst it like it's when I sit back It's almost hard to tell that he's there right because he's also in very natural colors So let's go to the closer view Uh, I do love the chunk out of the side. I think that's super cool. Um, I think that's absolutely fantastic as a matter of fact Um, I like the scene as a matter of fact I think it's really good if you had like a party of dwarves If this was like three or four dwarves making their way down as though they're sort of making their way to the The misty mountain or whatever Uh, then I would be I would love this. I think you'd be great. Okay So, um It's just the issue that there's one your actual nature scene is is really strong now as to the nmm that I think you're running the right number of Values here, but we just need to smooth it out. Um, I like the colors. I think it sells. Okay. I like the integration of the blue It's just not smooth enough So I would work on some glazes and smoothing out your blends and then yeah, I think you're in a good place on that So there you go. Hope that helps All right, next up Brandon Uh convict from nemesis Uh, is using war colors zenithal prime before painting tried to use the numbering system shade highlight Uh, sure. So, you know, he's basically asking for feedback on how to use the war colors range better The answer is it's a great great great range for doing nice subtle glazes and soft layers and stuff like that And you don't need to stick to the numbers exactly. Okay So like but when I'm looking at something like him, what again, it's the same story with the skin, right? It's too much the same thing. So don't worry as much about the numbers worry more about stuff like What am I adding in here? So like when I would when I do my skin tone with war colors You know, I use a little flesh three I use a little flesh five for shadows a mixed with some Uh, I'm looking up the actual paint. So I get it correct mixed with like some purple four and five Maybe a little bit of like red four very subtly thin down for places Uh, maybe I use a little bit of a brown glaze to create a tan sepia effect on the skin And then I'm using flesh one and flesh two to do my highlights. Okay Um, the key with war colors is they're very much a paint for glazing And so when you're going to work with them, you need to be starting from something that has a nice solid base coat I usually like start by air brushing them on that gives me a nice solid base coat and then I just work In glazes from there. That's where they're the strongest that or feathering.  Um, basically some feedback on the non-metallic gold Sure So I think one of the issues here is something I talked about earlier. First of all, I think this isn't bad I think it's actually rather nice. Um, one of the problems I think we have is we don't have all the edges Picked out as well as we could Um, so I think More edges need to be cutting a reflective light. Some of them are really nice. Some of them need a little more work Um, I do think you need to bring the highlights up a little higher. You would mention that in there Um, I think a few of them, especially along the light lines need to go up a little higher But you know for the most part, I mean, uh, I think that it It works I think that the nicest piece is this down here. I like this piece on his chest. I think that looks really nice I think when I look at like the gauntlet, there's clearly places that just need more light on them Like that need to come up higher. These little round balls are okay But then the bottom of the plates are all relatively flat and yellow We didn't do the individual work there to like create shadow up here on the top of the plate and the light down at the bottom of the plate So on and so forth, right? Like I need some subtle movement like that So Yeah, that's what jumps out at me. Hope that helps Okay, next up terry general advice you can give Sure. So much of what I've said so far is going to also apply here You know when it comes to things like bone, don't just do the wash and stop You need to go back in there and actually layer And you need to apply more than one wash to create a transition of Contrast of value from this bottom of the horns at the top of the horns The skin needs more work. It needs to be smooth and we need more contrast of Both hue and value in there. I mean you can see it when we when we Look at that black and white photo. Sorry. There we go Like I have the natural lighting that's being created and more or less. Those are my shadows, right? So I want to make sure that we have more other tones in there A great thing to look at when you're doing You know muscle men like this is just go look at frasetta paintings You know, just go look at at frasetta paintings conan all that stuff anything he was doing Dude loved big muscly shirtless guys and uh, and and it's it's you know, he was the master Of of integrating hue and variation of value Into those works through both hue and just lighting changes. Okay So that's probably my biggest advice what I'll tell you to work on next You know same thing with the the bone sword You want to make sure that's nice and clean again Each the teeth should have some darkness down at the bottom and light up the top We want to make sure we don't just have it look like that. I just washed it and stopped to look. Okay Hope that helps. All right next up adam So looking for help on the uh Basically the non-metallic ish plates Working on The scales general feedback and improvement. Yeah, it's a lot of stuff everything all of it Okay, we're not we're gonna go to the one question format soon rather than the can you tell me 10 different things? um But for now I think the the under shading and the glazing on the scales worked perfectly. I think that was great No, no feedback. I think the turquoise armor works But you need to do less like we've got way too many light lines in here This needs to be like two not three and we need to smooth out the blends on them more We're still jumping from like one three All right, we're going way too hard too fast But color-wise I like it like you got the right idea this piece works for me the leg piece works for me It's the really this one that doesn't work um garith uh, nicholas painted one of these uh, or garith nicholas. Sorry. I'm painting one of these back in 2018 it's in golden demon because it won so you could go look through that one of the 2018 golden demons And he used a very similar Scheme his is more blue than turquoise, but you could look at that and that'll give you the exact lighting structure Just a great piece to reference in general everything garith does is amazing. So I would highly recommend looking at his blog um the uh Now as to the uh gold I think you can keep pushing it More shadows like this is better than last time. I can see the difference. We're making progress More I need more. Okay, so keep pushing keep pushing We'll take a spin over to the freehand here as we as we sort of head out Um, I think this is fine nice little starry galaxy thing for the most part. This works for me. It's on a folded cape Um feels very painterly You know very much like a canvas. I think that's okay for this effect. I don't have any problem with that at all So yeah, that piece sells for me. I'm fine with that All right, next up, uh, one francisco gonzalez adalgo the best name in the pmp Uh, and a guy with a fantastic painting channel himself give him a follow check him out on youtube He's doing some great stuff as well And he's just looking for some feedback uh on uh a couple different things and uh, yeah, we'll also it is funny how big this guy actually is So, you know when I was spending some time looking at this guy, it is funny how big he is So let's let's go to the last picture because it's just funny to see him in scale Oh geez he's that big So, um, yeah, you you had it on the shield a little little varnish will make the paint stick So, you know, sometimes you got to use a little spray on varnish or something like that something heavy duty And that'll kind of that'll let your paint go like you know that so you don't need me to tell you that Now one of the things I would say is I'd love to see some more pushing of the red I actually really like the shading on the chest plate where you come down into this nice deep Wonderful shadow and then I don't feel like I see much more of that in other places Like here on the side of his arm or here under this tucked away portion of his leg It's a little bit here, but this which has a higher up volume than this This is more up and pointed towards the light Than this yet. This is darker than this Okay, so that's kind of the issue i'm running into there my my brain's trying to trying to reconcile that So like more darkness down in here more uh application of the of those Soft subtle shades, but for the most part I think this is great The edges are super clean and sharp and smooth. I love the light catches In the armor and I think on the you know the sword looks great Overall, this is a fantastic piece man. This is really really good. I just I dig it. I dig it so much All right next up Cornelius first entry in the monthly review general feedback color choice skin and overall appearance Um, so the skin needs to be smoothed out It's your like there's the blends aren't as smooth as they could be you can also with tau because they're Uh blue skin you can use purples as in place of the reds or you can actually glaze red you'll get purple But it still gives you that feeling of something that's alive um the The biggest thing I notice is when we're doing all these edges You want to make sure they're nice and clean some of them are just a little fat and chunky So we want to go back in with that gray and sort of clean those up in some places um What was the other thing? Oh feedback color tracing the skin. Yeah color choice wise. Yeah, I think it's fine. I mean orange and blue are great together So no issue there your composition is fine. Everything seems like it balances out. So yeah, I I have no issue with that um Yeah, overall I think that's that would be my feedback for you So, you know smooth out some of those flesh blends, you know, it seems like you're going for like the flat Plate color with sort of an heavy metal edge highlighting style So just if that's what you're going to do, then you've got to make sure your edge highlights are as crispy crisp as can be They need to be extra crispy okay All right, alberto Where should improve? Uh, sure So the number one thing that jumps out of me when I looked at this fig earlier was the skin tones I like the green but again, we don't have near enough Uh, near enough variation of hue or value, right when I look at this and I see the value contrast You can see how I don't you know, this is all very very very much the same sort of flat gray Most of what we have is actually just the light reflection Um, but more than value contrast, which does need to get pushed farther We also need hue contrast. So again with things like green skins Working in subtle pinks and purples and things like that It'll also tie it together with the rest of the mini since you have, you know, a purple outfit on and pink hair Um, adding in more pinks and stuff into the skin in various places will help to balance out that shock of Of pink hair. The fact that she has long ponytails is doing some work It's not completely out of balance because you do have a still a little nice little triangle there But working in some soft pink tones on the rest of the mini is going to also help that happen. Okay All right, hope that helps Okay, next up rob A bit nervous first post be gentle very good. Um first attempt to nmm Fairly happy with the gold but the steel looks flat. Sure Um Yeah, so the steel looks flat because it's just black to white So, um, I think the gold does need to come up a little higher and drop a little bit of the true yellow out You are using a little too much like moon yellow in there and it needs to be more of an ochre color But I agree with you your work on that feels better The reason that the the steel feels flat is one. We need to smooth out the blend some two We need the integration of a color in there It feels flat because it's not steel generally isn't ever perfect It reflects the color of the environment around it Um, how sharply it reflects that has to do with how polished it is but being a naturally neutral tone It will tend to take on the colors that are around it if it's under a blue sky It looks blue if it's sitting over a brown earth. It looks brown, right? So, um with things like this which look like clean fresh shiny stormcast You probably want to focus on something like some soft blue glazes And that'll actually help you with smoothing those blends out of well like right here. This is rough rough rough rough Rough, you know, all those are rough Um And that's okay Because using an interference color like that blue as your last step will help to smooth out your blends in a much Easier way with your very transparent paint and we'll also add a lot of visual interest to the mini. So there you go. Hope that helps Okay, next up Why is that why is that doing that? Go away this thing. Thank you. Okay Looking for feedback on the skin and dress went for pale skin with some pinks and reds to give it some life For the dress try to velvety texture. Sure. So I think we still need to go farther on the skin Especially around the face. This is a very unusual miniature. She has a huge head vis-a-vis her body Um So like probably still some more subtle darker tones here here Um, and then more on the bringing the t zone of the face into a lines Right, uh And more more subtle colors in the face. I know she's a vampire, but it feels like she needs a little more that that one Sheek is good Yeah, especially up around her forehead like this figure has such a pronounced forehead. It's really messing with my My ability to read it um But you know, that's I think what I would I would say there as far as the skin. It's good though I like the extra colors you have worked in. I like it a lot. Now as to the dress Um, yeah, you need to go. I understand what you're aiming at. You need more lines. They need to be thinner lines They need to go farther. So you're doing sort of the technique I showed here in the cloak video But the problem is is that we're not carrying it on far enough and we like right here on this these folds You have like this much texture This is the right one. These two work for me. These don't Okay So There you go. Hope that helps Okay, next up chris, uh Trying to working on blending a bit more so looking for feedback on that. Sure um Yeah, I mean, I think we're our blending is oops Our blending is okay Um, but I mean we still obviously it feels like Your paint is still very thick We don't have a lot of cleanliness to it. We want to make sure things are separated like What I would honestly work on more than worrying about blending is just getting your paint job nice and clean and separated I have blue here on this white.  These pieces aren't separated Like my number one thing I would tell you to work on is just separating your paint elements And getting everything nice and separated and clean with your brush control That's going to be a lot more valuable to you in the long run than worrying about, you know Your exact blending at this time which tends to just come as you become the master of your brush control on your paint Now that being said, you're not pushing the contrast very far here. So there's not too much blending to be had um, I mean you've worked in pretty much, uh And we can see that when we go over here to the black and white. It's like That's all the same. That's all the same. That's all the same, right Now you have this little light line here across the top Um, it's a neat idea. It needs to be much broader of a highlight to feel like that Now the actual blending on the back I think is okay, but again, this is too thin of a volume for this light And it needs to be spread out more the lights need to be more volumetric as to how they're falling on them And we need to definitely definitely increase the shades a lot. This guy is very flat blue He needs a lot more shadow and definition of the various parts. So Hope that helps Okay, next up jamie style leans on impressionism and basically he wants to talk about that, right? Can this style be work? You know, it can be done and um You know, can it do well? Um Sure, it can do well. Um, yeah, you could there are there are people who've explored impressionism in miniature art before it's very small Scale, but I think you can absolutely do it Um, my best advice with it is if you're going to go for that impressionism, which is cool Then we've got to go farther than this. We've got to start really bringing in some colors. Like you've got some subtle Reds and stuff, but the impressionists weren't impressionists because they just showed their paint strokes Right, it wasn't that plenty of painters show their their paint strokes Okay But when we look at Impressionist pieces like famous impressionist pieces, right? What they're doing is they're using color in everything right and The colors are very much in each other's existence. Like they're all mixed up in each other You go you're not going to find much black or white on and on this page And you might say well, yeah, but vince. Hey, there's some isn't there's some white down here in the clouds. No No, there is like something that's gray and there's something that's near or off But a lot of it is still colored right and then never mind when we look up something like I know it moves the picture over here, but you know something like this Just just done. This is all done in color right So if you're going to go for these kinds of of impressionist feelings. Yes, I think you can Uh, and I could it do it. Could it, you know perform at other competitions? Sure. Sure I mean, I don't it's you do something good A lot of competitions will recognize that but you've got to really push that My advice if you're interested in this style is go look at everything from craft world studio Their style very much aligns with what you're talking about Okay So get deep into craft world studio and really pay attention to how they're painting Look at how they never use like black and white and just always use color for everything and unexpected colors And uh, and that will will be a good guide for you on this journey. I think it's a really cool idea And I think you should keep exploring it All right next up Andrea Necron overlord and a contest I like opinion on the color scheme on the blade and the metallic armor and in general evaluation of the piece Um, and he says is there anything wrong with picture every time I'm happy about it? I take a picture and then I'm not yeah That's just what happens because you see it differently through a digital lens one So he knows flaws and two it exposes that you actually you know Your blends aren't as smooth as they could be because it's under proper lighting and zoomed in and stuff like that Now as the red metallic armor. Yeah, I think it's fine I think it works. I don't really have much feedback for you on it. I think it's okay Um, the blade I would give the same piece of advice. I gave to orange blade to blue blade Which is I need to go darker. So, you know here here and here we need to go darker. Okay um Now as to the uh, what was the other question? I'm sorry um Color scheme. I think the color scheme is fine. You managed to pass the blue around A good amount right The white like overall it's it's good. It's not It's not grabbing me in any great way. All right What I mean by this episode I'm answering you like I would if I was a judge for a competition like it's fine um But you you know, we've got lots more Contrast we could be pushing here along this metallic armor there would be a sheen down this column and then shadows here And these edges could be catching light and you could be showing me a lot more natural texture I could have soft shade on this white band, right? So like it depends on what you're asking me to evaluate it for, right? um So my my answer is there's a lot we could do Uh, and I think basically that has to do with more contrast and and heating of the various volumes on the thing with very With varied color transitions and or you know catching things like edges brightly and stuff like that So That's my best advice for you Oh, okay. Next up coal Uh, working on improving battle damage Uh, sure. Uh, so your battle damage is That doesn't go dark enough these scratches to have the light liner And you also want to make sure any white line needs to trace the absolute bottom You can't have brown hanging out the bottom of the piece um So, you know, but these when you're on like a red these need to go dark We need black in here at some point right to to play the full contrast against this Um, I like the weathering and I like that kind of stuff The scratches are mostly the right way But you know, you want to make sure that you've got some clear Defined dark lines and then you can also work browns into them to show rust and then some clear defined sort of Very light reds underneath So this also probably needed a glaze of red because you don't want to show like a white tear You can pure white tear directly on the red It's not the the red tear wouldn't what you're catching there What you're what you're doing with that is trying to catch the piece of paint that's peeled away How that light would catch it and it'll be brighter, but it's not going to turn white. Okay So that's my best advice for you on the battle damage All right Next up Damien, uh painted up, uh, primaris master um Would like some feedback on the nmm the cloak and any other general comments Yeah, so my biggest thing with the nmm here is going to echo something I said earlier It needs to be cleaner. So like you can really see when we zoom in here You know, what's going on, right? We need it to be a lot cleaner like I need I need Dark lines separating these wings. I need these light these white lines to be nice and sharp They're not they're very like smudged painting right now. Um, I need this to be smoothed out I need the line that traces the edge of the iron halo to be or whatever it's called um To be a nice clean sharp thin line. So, you know, usually without kind of stuff It's a matter of like Doing the edge and then going back and forth and back and forth and back and forth and back and forth and back and forth right Now as to the uh, so that's the biggest thing I noticed tone-wise and value.  Um as to the back of the cloak and the texture. Yeah, this works We need to again soften this out a little bit. We are jumping a little bit there But for the most part, I like what you're going what you've got going on there and I think it works. So There you go. Hope all that feedback helps all right Eugen uh currently working on his necron army and you know, it feels too monochromatic. Yeah, that can happen So my biggest advice is I'm going to tell you two things one follow gw's advice that they figured out with the new um necrons and Take the joints and make them a different thing Make them dark black make them dark black brown Make them recess in some way, right? That's how they did all the the new ones that they did Um second piece of advice is, you know work more colors into the armor itself You've got a little bit of green here flowing up and that looks cool You could also just glaze in some subtle blues into the steel or something like that to have them reflecting the sky And I think that'll really work. Sometimes it's all it takes, but we need more more shadows more contrast of value on the the steel we need to take control of the light and have that those darker parts Those matte areas. Um go look at richard gray's recent I mean he did it in gold, but it won't matter the less than still This is the same look at his gold nmm. And that's what you should be You know, like that's how you need to play shadows with tmm as well Um, but then as well glazing and colors can be a great way to make him more visually interesting. So There you are. Hope that helps Okay, so let's keep going next up. We've got adrian and uh says he's trying out some true metallic metal on the space marines Uh, wasn't aiming for a high level just mostly trying to get the general idea down and look at what tips you could use to improve Sure great Awesome. So looking for more of a tabletop and so let's you know talk about mainly the steel And I think what we need to do is Focus on a little more of the shadow so um and and a little more of like Kind of building the the highlights so obviously If you watch the sort of speed painting with true metallic metals video I go through I talk about how to Create, you know, these volumetric highlights from but the brights, you know The whole thing and steel black or black blue from below and then silver from above And I think that's what I just need to see a little more of um overall I think they're good, you know, you execute it on the metal. It's got a nice sheen to it It looks pretty smooth What I would say is uh, you know if you're going for something tabletop a little bit of preset with that with your airbrush Trying to get a little more shadow up underneath Could go a long way toward stepping it up there. So um, that's my thought. I hope that helps Okay, next up, uh sam king uh first time with non metallic metal Uh and feedback we'll look for that so Um, yeah, I mean, I think it's uh, not bad the I like the sheen across here I think, you know, sort of three light catches is about the right number It looks like we got most of the edges So that feels pretty good. We could reinforce these top edges up here on the top of this piece a little stronger So that feels okay Looking at the helmet. I like the ridge along the eye. I think that works for me That's basically a cylinder shape. So I'm good with that And then the you know, the bottom of the stick, uh, you know, overall, I think that's a pretty good piece I think basically where you're wanting to refine your nmm is just in some smoothing We get out of a little bit deeper shadows in just some very hidden places So not on like maybe the flats but here underneath the skull Or something like that, you know, you could bring it even a little darker Maybe in a couple of these very tight corners Um, you bring up just a slight peek of a of a tinier shadow But for the most part, I think your main goal is going to be just smoothing overall real nice looking, uh Skink priest there. It looks great All right, next up Jason Archon for his jukari A lot of gray in the armor So appreciating feedback as to whether his choice of location of red and green spot colors is effective in terms of composition So let's look around this guy is a cool fig Um, I think we need a little more red is my answer. Um, right. I like the hand I think that's pretty cool and clever. It's just probably I know there's a jukari scheme That's like white and red or whatever Um, the sort of desaturated purple blue color works fine for me. I have no issues with that That one's relatively well balanced out. That's no issue What you got to worry about with red is red is so bright and powerful that it really like draws attention So you have to when you're and you're working in a saturated red as well So that you probably need to balance a little more. Um, if you know, if it was me, I think about maybe, uh You know something on the helmet that's red is what's really going to balance it out here Maybe if there's a big like jukari symbol on the on the top of the helmet Or something like that that would be Sort of the way to go or maybe like some or you know red images coming in from or you know lines or something coming in from the edge of the The chest plate as well, you know something like that would probably bring it home there and really balance it out So there you go, Jason. Hope that helps very cool though All right next up, uh rich, um CNC on the basis for his uh for his stuff looking for sort of a forest theme Yeah, so my biggest piece of advice is going to be as I mentioned earlier We've got a lot of foliage that isn't painted here Um, and that's what really jumps out at me. So I think what I would do is and and the rocks are just very slight gray So what we need to do is increase our our variation here, uh our tonal variation of You know on the on the on all the bases Um, I would drop some washes here and there around just like get a big brush get it Sopping and start just dropping some wash in and to and let that completely dry Then take a dry brush and kind of hit some of it with maybe an ivory or a pale sand Hit some of the rocks hit some of the plants, you know Just to show like sunlight and things like that reflecting through Uh, that'll that'll go a long way as the rocks themselves put some washes on of some colors like Um reds or purples or greens, you know, just kind of browns Get some more actual color onto that gray. You can use some dry pigment if you've got it But overall, I think they'll work. They're really cool Bases I love the idea of sort of these, you know jungle Uh, necrons with their their, you know, waking in a tomb world. That's mostly a jungle world. So I think that's cool That would be my advice All right, next up we've got uh, Raphael, uh, some non-metallic metal for the first time and uh for texture Sure, lots of non-metallic metal So I mean I've talked about non-metallic a lot in this review and you know with the axe It's okay. We need a little bit more variation that and like I said before you don't generally want to highlight near the very edges You want to bring that more into this area and this area and then have it, you know Go more of a dark to light if you've ever got the choice to go In two directions up to your highlight versus just one direction always take the two directions It's always going to be more visually compelling. Okay, so that's what I'll say there Um now as to the fur texture.  You want to use I have a video on painting horse fur Give that a look and that's going to be the way that you do this Uh, effectively what you're trying to do is you're trying to um You're trying to have just teeny tiny little hashes hash hash hash hash Lots and lots of thin lines. Okay um So that's that's my best advice for you there Uh, and I think that'll that'll get you going in the right direction. So hope that helps All right next up uh saying bringing us uh Is latest white painting training. Yeah, sure So this one's really interesting because I think there might be a little two unless you just mean the helmet The rest of him doesn't really feel white anymore. We almost have too much shadows the helmet the shoulder pad feel good The leg though, this is very exposed and it doesn't feel like there's enough white We kind of dropped below our 50% rule. I like where you're going with the shadows They feel good, but they're a little the volumes of the shadows are too big So we need to wheel that back some unless Unless this is supposed to be totally black. I'm not sure what's supposed to be white. That's the problem Right, it should still be clear to me. What's supposed to be very clearly white and what's not If it's just the helmet and the shoulder that are supposed to be white And again, it's me not knowing that the unit well enough to know that then I'm perfectly okay with it Great, um, maybe a little soft subtle shadow down here would do you well But other than that that's fine if other things are supposed to be white Then we've we've shrunken the volumes of the highlight just a little too much So there you go. Can't wait to see what you do next. I love how this force is coming along Okay, next up Alice, uh, Alex. Sorry, Alex So, you know how to improve this little guy Yeah, I mean, well, it's always hard to improve on a figure that's this simple Like there's only so much you can do like please don't ever put this in golden demon You know Putting in a tiny little drone not your best answer Um, you know things I like are your little laser beam is nice. It's bright I like the color around it. That looks really cool Um, I mean what we've got here is we need to panel line all the darks Like there are lines in these panels that aren't aren't Lined we need to get more edges or lights or or tonal variation variation of hue on the red Um, we need to do something with the flats here of whatever the this is Like whatever these are supposed to be guns or something I don't know like they're too I can't even they need to be something like shape them in some way besides just like some dark in there So like, uh, if these are supposed to be guns then drill them and make them black if they're not then, you know Make sure they're cleanly wrapped around and put a little edge on them So they feel like they got that the gray itself could use a little more edge The red over here in addition to the edges you would do well to put like some shadow over here You got a big thing sitting on top. You can put a little shadow under there Um, but just having some actual variation in the red is is probably largely needed and then edges and stuff Down here as well So, yeah, I think that would be most of my feedback for you there on this on this little guy Cool piece though. I do love the the little little scare of drilling into him. That's that's that came out really well So I think you did a great job there all right next up jim with his uh his llama kitty Looking for feedback on overall color choice composition and how well attention is drawn to the face And how to make the long fur tufts on his body a bit more interesting. Oh boy Okay I think the fur tufts are fine If you want to stick it If you want them to stand out then just make them the same blue color as you did this hair and this fur I mean, that's the easy answer there, right? They should just slowly transition into this blue color that'll make them stand out. Do you need to do that? No Compositionally, he works fine. It's orange and blue always a good combination. It's slam dunk This kind of orange and cyan is uh is a is a slam dunk color scheme always feels good together You're in the right space there I feel attention is drawn pretty nicely to the face with uh bright blue eyes I think you could highlight the the top edges of these horns a little more You still want to keep them dark, but you could pick out the edges here Just a little bit more with with some subtle light to kind of create a little bit more of a halo around him That could be one thing you could do so But for the most part, I I think that that's uh kind of where I would go so Yeah, I mean was there anything I missed there from your questions uh face color choice Yeah, yeah, there you go. It looks really great. I think he came out. Well, I like the transition into the pink socks My one note that I did notice from them is always make sure when you've got a bracer or something like this And you want to do some pink carry it to the other side of the bracer So it doesn't feel like it's cutting off his circulation because that's what it looks like now It looks like this is on too tight and like his leg is all red from being swollen That's just a little note whenever you're whenever you have a dividing thing like this You want to make sure you color and you're this happens all the time on chaos models where you want to transition Like slanash models do this a lot You want to make sure that you carry the color transition above the bracer So that that way it feels like it's a natural part of it and if the bracer isn't the choke point Okay, uh, but good stuff jim All right jacob, uh looking for feedback on the non-metallic sword the freehand and the faces sure Um, so I've mentioned several things that goes right along with the non-metallic on the sword My answer is, you know, we need to smooth some of those blends out. They're very rough You also again, like I mentioned very much earlier in here Don't make all the volumes the same size like it shouldn't every reflection shouldn't be exactly the same size You're very like that that that that that you know Lighting isn't like that light is very random and natural or in the way it bounces around. It's very difficult to to um To have that kind of even thing down there Now that's to the um the freehand and let's flip it around there so we can see that Um, yeah, I think that came out really nice. I like the cloak pattern I think it's solid That's a that's a win. So I'm I'm I'm about that. I love this kind of brocade patterning on on um cloaks I think it's fantastic Now as to the face it's hard for me to tell we don't have a lot of really close picture on the face So i'm gonna have to say it's a little tough for me to read Um, this guy just has like any other this guy also has a big face mask mask on Um, they feel okay. It feels like I mean the guy's on the ground. I think it's okay that they don't have a huge amount of uh Attention drawn to them with this guy It feels like maybe we want to pop the highlights up a little bit and have a little color down here And the cheeks or something but again, there's so little of the face to work with there It's hard to say so my best advice is uh mix up your volumes That is to say how wide the highlights and shadows are on a thing when you're doing the sword and smooth out that blending That's the big piece. I think that would jump out of me if it was my number one All right next up we've got alex Uh general tips for areas to improve sure So it looks like we took the necrons and we kind of washed them here and that was it You know, we need to do more with that. I mean, I I assume you're gonna put bases on these guys You know pick out more details like more needs to be painted here.  Like you see the stuff that they paint paint that stuff Um, there's a lot of stuff that's not painted here Um, when you don't I wouldn't ever wash metal in general I would go watch my videos on how to highlight true metallic metal But if you're going to wash metals, then you have to go back over and actually Then relayer that afterward. Otherwise you end up with just very very dirty boring looking steel That's very even so we need to go back and recreate those highlights. So There you go. I hope that helps alex All right, next up daniel, uh Feedback on his finished go track and push and pull contrast. Yeah So here's why it looks very flat because you have Way too bright of a light shining on the sky This is a direct like this looks like he has a floodlight three inches away from him. Don't take pictures like this Okay, you need two diffused lights on opposite sides at a distance This is like it's good. This is blowing out every color you have. Okay Now as to actual feedback Sure, I think I can still manage some like the non metallic gold is too yellow It doesn't have enough four and five and it doesn't have enough one So like we need way more contrast of value there As his skin same thing His skin needs more so if you go and watch my how to paint ruddy dwarf skin video I actually use go track in it and you'll see exactly what i'm doing there To to create those volumes go track has a great musculature So you can really make some great hay as far as capturing and and Infusing those reds and purples Into the skin So I would go watch that the tattoos look good The hair looks good. I think that's got the right amount of contrast You do want to pick out more of the beard and you also want to make sure you're matte varnishing this kind of stuff out I can see glossy reflections in the shade colors Anytime that's happening. That's real bad in the dark part. I shouldn't see light reflecting That's the quickest way to make a paint job look bad. So you got to matte out those shadows Okay, so find yourself some ultra matte varnish or something like that and uh and go to town So there you go. Hope that helps Daniel. All right next up mart looking for some advice on Uh, so for a future note martin. I'll I'll review this one This is for finished projects Not work in progress. Don't share me whips. Give me finished so I can evaluate, but I'll give it to you this time Uh red robes tears on the shield and the shield itself. I mean the short answer here is we've got and because it's whip It's hard for me to evaluate. That's why I don't evaluate whips, right? Like the red is very messy here. Are you planning to clean that up? I don't know, but hopefully Um, the red is too flat. The red needs a lot more shade and a lot more highlight Uh, like as you can see when I turn that gray, it's just it's just gray, right? Like that's all one color Um, the tears on the shield, uh, there needs to be more streaked not just sort of Kind of wet areas underneath like the tears need to run down the face um If that's what we're going for and we need like again a lot more tonal variation on everything there And then uh, what was the other one? I'm sorry. What was the third one? Uh, oh the shield itself. Yeah, that would be the other item So, yeah I mean it just it just needs a lot more tonal variation in it like the tongue and the tongue could be Should have some texture and some lines and the purple needs to have a lot more highlights and things like that Like all of that needs to be blown way up on on Contrast, right? So just we need to spend you should move on from your whip into really pushing the contrast or everything And then obviously cleaning all this stuff up because we've got a lot of paint Where it shouldn't be between the red and the white and things like that So but I'll assume that's all cleanup since this is whip All right, Jason, uh Vallejo air paint working with the air Vallejo to paint the armoring using multiple shades that detail Happy the product so far Whatever advice one has to be so yet again put your don't don't do this with your photos Like you took a picture with a flash don't take pictures with flash There's a very simple guide for taking pictures on the gw website. Go read it get a stable background So if you have a decent diffused lighting not pointed directly at it turn off your flash take a picture. Okay Um, all right, so that being said Um, yeah, I mean, I think you're you're doing a good job. Uh, it looks really nice I think this is like, you know understanding moving from the dry brushing everything. This is definitely some good progress Um, your work looks pretty clean, which I really enjoy I think you're it looks like you're doing a great job at keeping sort of sections nice and clean and separate here I like how you've picked out all these parts. I think that looks really nice Um, so you've got good brush control and a good stable base there I think what you want to work on is basically just adding some more Uh, some more tonal variation. I mean, we need more contrast That's going to be the simple answer here the red the green the steel everything needs more contrast So my best advice is yeah, you know much in line what I've said so far More deeper shadows, you know with greens you can do a lot of things You can integrate deep reds and that's really a nice way to go mixed with your greens or with some subtle glazes of deep red You can pop them up into highlights. You can go white green. You can go yellow green. You can go flesh green There's tons of options for highlighting green So, um, you can watch my exploring colors green video and I break down all the different ways you can You can highlight and shade green for interesting effect. And that's what I would that's what I would push you to do So there you go Jason. Hope that helps And with that that brings us to the end of the month So I'll say thank you very much everybody. Certainly appreciate all the submissions this month great stuff Really enjoyed it. Thank you to everybody who who did submit Um, it's really really wonderful to see all these models to see all this progress. Everyone's making Uh, I love watching all of this progress. I love Uh, you know being able to spend this time with you and review all these models So thank you to everybody who submitted Uh, sorry, this video was late. I was traveling at the beginning of this month Unusually but because of labor day Uh, and uh, I what I will say is if you want to join us on your hobby journey You can certainly do so link down in the description But as always thank you all and my final note will be if you're in the pmp You are the people who make this community great. Please keep staying positive You know and when you see something you really enjoy give it a like give it a comment Tell people that you enjoyed it. It can make their whole day You can change the entire tone of someone's day just by throwing a simple comment on there Two seconds of your day can change someone's 24 hours of their day. That's an amazing power we have here So keep sharing that positivity answering those questions helping out and uh, let's all be great advocates for the hobby So thank you so much everyone. I really appreciate it. And as always we'll see you next time