Hello everybody and welcome to another PMP end of month review. Well, what is this? Why this is the end of month review for the painters motivating painters our Facebook hobby group focused on helping you take your next step on your hobby journey. So there is an event posted every month and right here I'm in the October event you can access this through events on the PMP page. And we invite our users to post one image here a month if they like of a finished project with a specific request for feedback as to how they can take their own personal next step on their hobby journey. And here in the PMP we welcome everybody from people just starting out to masters anybody who has a next journey a next step to take on their journey and guess what we all do that's the great part. The wonderful part about this hobby is that we all continue to grow and to learn new stuff every time we paint a model and that's wonderful. So people we ask we put they post here and they provide a request of, you know, a specific thing they're looking for feedback on could be how they do metals could be how they do, you know, how they do better weathering could be anything. And then I do my best over this to answer those questions and give some general feedback. I do try to go relatively quickly per model. And to that end, there is a video that will be down in the description. You can link to to reference a lot of the common critiques I have. So if I say you need more tonal variation or how do you know better contrast on your non metallic metal or something like that. There is a video I have linked down below where I go into detail on all those things and actually show examples of what I'm talking about comparative examples. I do that because I would love to sit here and spend a lot of time on everybody's items. But if I, you know, we tend to have a lot of submissions and even five minutes per submission will mean I'm basically here for six hours. And I just don't have six hours. But I do want to make sure everybody gets the feedback they need. So with that being said, let's jump into it. As mentioned, if you want to join us on your hobby journey, link is below, click that we'd love to have you. So we start off back at the beginning of October. By the way, I apologize for this one being a little late. I've literally been traveling since October 31st and I didn't want to cut anybody off. So this is the first day I've been free. I got off an airplane not 30 minutes ago and decided to start recording this. So here we go. So Scott Radham gives us some docker jets for Aeronautica Imperialis. So let's take a look here. And I noticed in some of the comments when I was looking over this that some people had mentioned some weathering. And I think that's the right answer. Color-wise, I think it's good. You could also go for little symbols or freehand. That's another winner, especially on orc jets where they would tend to, you know, really want to personalize their things and add little orc-y skulls and stuff like that. Now you did do the checks up here, which I love. That's a great touch. I think color-balance-wise it works. I think your main thing is mainly rust. My other little piece of advice I noticed is make sure you pick out your rivets. You have them all. You have each of the rivets, you know, sort of, they're washed around the edge, but you want to make sure you go through and touch each of those rivets to something bright. Could be some bright silver metal. Could be just a bright highlight version of whatever that is, because each of them would be very reflective. So just make sure you pick those out. But other than that, I think this is a really nice jet. I mean, it's a very small scale, and I think you did a great job. So, I mean, on the whole, I think weathering is your way, like some scratches and dents and stuff coming in, especially think directionally from the front where they would be going and bullets would be careening off of them like this.  Just that kind of thing is where you want to go. But really cool. I dig it. Great looking, great looking jet. Okay. Anthony Tick says this was ever chosen entry and he's just looking, he's a newer painter and wants to know what he can focus on. So, Anthony, I looked at your submission and my main answer is going to be what I usually answer people who are newer in the hobby, which is we need more tonal variation. And that means upping the contrast. So, you know, just things, little things jump out at me like the weapon here is basically the same color as him. His mask is very brown, like he's a very big brown mask. And I would rather see that transition in some way in color. I'd rather see the contrast pop out on these guys and on the ghosts, like make those faces and those skulls very bright. Go look at that video that I have and you'll see lots of examples of what I'm talking about there. Also, if you're going to snow avoid these little clumpy things like this, I have a video on realistic snow basing. You don't want this. This isn't how snow looks. Snow doesn't just fall in little tiny clumps and then that's it. So, go watch that and that should give you some additional insight. My basic recommendation here is we need to up the highlights on the ghosts and on our main guy here on the Lord. We want to make sure we have some nice variation of different colors that come out and make sure that weapon stands out. The face stands out. Ultimately, we want to be looking at this area and you want the center of the face to be the most brightest sort of eye catching part of the model. So, you know, that's where we basically want to look. Okay. All right. Craig says, so this took about 50 to 55 hours. His wings made it too big for the light box. Sure. Trying to practice edge highlights on red cloth. It doesn't feel right to me. And in the pink hair, the OSL around the torches found harder than if something was a model was holding and looking for feedback how to do base lighting better. Looking for overall feedback on the base of the first IV screen stuff or anything. Okay, sure. Let's take a look. Well, I did a similar thing of having her walk downstairs. So, sure. Okay. So, let's let's take a look here. I'm not my here's my problem with the green stuff on the stairs. It doesn't really have much to do with your application of the green stuff. Let's let's go to that picture. It just has to do with I don't know what it is. Like, is it supposed to be flesh around the stairs? I assume it doesn't look like a flesh color. And this doesn't look like blood if that's meant to be blood. It looks kind of like birthday cake. And we don't want that. Like if you're going to go for that kind of flesh color, it needs to be very flesh toned, like very pale flesh tone. You want bruises and scratches in there. And you want the blood to be very dark. Blood oxidizes very, very, very quickly and turns a deep brown. It doesn't it doesn't look like that. It doesn't have this this sort of richness to it. It would be flat and there would be stains and it would be running and all sorts of stuff like that. Same with the stone. You want a lot more tonal variation there. You want that to be interesting and visually compelling. Flames don't go candy red. They turn orange. There's no red in flames or very little. Then the red that is there is a very deep red brown black. So I have videos on painting fire. I would recommend you check that out. Same comment on the snow again.  I'm not sure what's going on with the yellow and the red here. It's distracting down here in the base. If that's meant to be like light from the fire, which I think is what you're going for. That's not what it is. Flames cast an orange light, not yellow. And they don't cast it like this where it suddenly ends. Right. I have a video on OSL. I would highly recommend you go watch that. Now as to the rest of her, you know, certain things jump out at me like the dry brushing on the wings is very obvious. You want to avoid dry brushing is your last step. Make sure that you're, you know, putting a glaze over top of that or something to to get rid of the so we can look at some of these shots with the wings close up. Yeah, like here, like we don't want this on on wings. This this is no good. So I'm soft to make up brush is your right answer. And, you know, very, very little amount of paint applied lots of times and then a glaze over the top to get rid of the the intermediate sort of scratches and stuff. Returning back to her, my comment on tonal variation would carry throughout here. That is to say like on her skin on the horns, you know, running from a darker color to a lighter color or something like that. Same with the black, they're just very flat. You want a little more variation in there. If you look at how sort of GW tends to do their their black, they'll pick out the musculature with some bright lines. That's one way to go. There are others when it comes to, you know, these things. Like the yellow with the gold like it ends up that the string looks the same color as the jewelry. These should be different to help strike them as different to make the jewels in the metal stand out from the rope. You want those to be different colors. Same with this thing. This thing is very bright and yellow. You want to be really, really careful when you use yellows. Okay.  That's not helpful. Making this like a deep gray would have made would make this overall composition a lot stronger. Just a little change like that. Okay. So those are my initial thoughts when it comes to the edge highlighting. I think honestly you're fine. I don't know that I see any real issue with it. I have videos on hair, you know, with hair you want to kind of avoid the just trace every line thing. You want to create areas of light.  And you'll see kind of how they create a halo of light around the hair and where the light strikes and then shadows in between. I have several videos on painting different colors of hair. The rules are all basically the same. I don't have anything on painting pink hair. But, you know, here I would bring a darker magenta into the or purple even into the base where it's tight and here on the shadow. This would be your highlight point right here and then up here on top and toward the tips. So just some thoughts overall. It's a cool conversion. I like it. I like her walking on the steps. I think that's a good play.  You're honestly better off just putting like some plastic card around the side and then gap filling it and then sanding it down rather than trying to do all this as green stuff. You can order a big bulk packs of plastic card off of Amazon for like a couple bucks and it will serve you very well for tasks like this. So that's my best advice. Okay. Caspian, his goblin army so far. Oh boy. Well, whole army things are a bit out of the purview of this man. But I mean, I can take a look. I think overall, we'll sort of scroll through here. It's cool basing. I really like the basing. It looks great. The slime and the tentacles and the wood, you know, different colors and textures all throughout. That's looking fantastic. So I dig that. I think some of the squigs could have a little bit brighter coloration on some of their faces. Just kind of pop that up a little bit.  But overall, that looks pretty good. The, as to the gobbos here, the individual gobbos look pretty nice. I like the blood effects on there. Yeah, yeah.  When we get to big eyes like this with the trolls, you know, make sure that you, when they have texture like this, you'll want to pick some more of this out.  You can do that with some heavy washes and dry brushes as long as there's a glaze that goes over the top, things like that. The goblins have a lot more character than the trolls, so I would just kind of focus on that. But overall, this is a real, really cool army. I very much dig the basing. It's cohesive. It tells the story. Yeah, these dudes are pretty great. All right. All right, Muhammad. His first bust, he's not happy with the eyes. I'm not sure about the color combination of the green cloak and red cross. Couldn't get the shirt coming out like cloth. It's stony. I'm looking for wealth. I can make improvements as well as the issues I can see. Sure. So let's take a look. Well, you know, the key with busts is always more. When you think you're done, do a lot more. And then when you get to that point, do you think you finally can't do anymore? Do twice as much again. Okay. Because busts are at such a scale, you need detail, detail, detail. That's the best thing I can say. The scratches and stuff on the shield are good. They're all the same size, like one, two, three, four, five, six, all the same size and all ordered. You don't want that. Watch out for this thing happening. You want them to be varied. You want chips in. You want different sizes, different directions. This doesn't look like damage. This looks all like intentional and we didn't draw lines well enough. Which I know you, I know that's not what you were intending. I like the leather. I think that's got some good texture. I think the eyes are probably fine as far as the, this like the sort of turban or whatever he's wearing as far as how that goes. I think that's okay for that gray color. I just think it would be better if it was in a more white creamy color. It's what we tend to expect there. And I think that would actually balance a lot better if it was a more white, yellow, brown kind of color. And then it wouldn't look like stone. It would also be a lot easier to blend by the way. Like gray, this color gray you're working with is a classically very challenging color to blend. When it comes to his chain mail, make sure we draw, we have some shadows and highlights. So again, it looks just metal, but we would have shadows down here and over here and in here where he's not, where that's not directly exposed to light. So the application of some inks will serve you well there. I don't think the green is incredibly problematic. I mean, green and red are complimentary colors. I don't think it's super problem. You've used a darker green. Let me flip around to the back here. You can't really see much of the cloak. So your biggest thing that I would challenge you on is just more texture. The, I think the white here on his, on the sort of tabard or cloth he's wearing over the chain mail looks correct. I like that in the gray color, but I think, you know, more detail. So more in the skin, especially as we get around here toward the edges in the wrinkles under the nose in these creases around the eyes. Like just a, you know, more tonal variation, more color, more visual interest. You're blown up to such a scale here. You can really keep adding. Same with the cloth, like having an actual texture to that cloth on his cloak would be a big win, right? Cause it's made of something. So whether that be thin, hashy dash lines or something like that, I think would serve you very well. But overall, I think he's cool. The beard color is nailed. I mean, I do like the tones of the skin. I think the red cross looks exactly, exactly right. So I think overall you've got a, you've got a nice, nice looking bust there. All right. Robin oven's biggest struggle was the white. He wanted it very clean without it just being flat white. All right. So I have a video on how to paint smooth white. I actually do cold white in there. So you may want to take a look at that. Avoid things like blue on the cloth next to blue arms. Cause then it just looks like either this is glowing or the, or you missed the paint, which I know you didn't do. So you want to watch stuff like that. I know Zinch models were often a riot of colors and that's fine. I think that's okay to have him, you know, very multi-colored, but you do still want to introduce some balance. So like we have this bright yellow piece here and this is in any place we have yellow really. We've got a little bit over here. Like I would be much happier if honestly these two were the same if this was both yellow cause we'd have a nice little triangle of color that just balanced out. You know, you can be riotous with your Zinchi colors, but you still want them to somewhat align. So that would be my best advice is, is, you know, think about more evenly dispersing your colors. You can go crazy, you know, have all these Zinchi colors going nuts. But like the green is just down here. When it'd be cool if we had some green up on a staff and maybe this fire was green, then we'd have a nice triangle. Maybe this is just the yellow. Maybe the pink is here and the symbol is in pink and something on the staff here is in pink and boom, boom, boom, boom. Now we've got another triangle and you just keep building these little color triangles all around the model. So that would be my best advice for you on this one. Go watch that video on white and think about sort of your color balance and I think you got a nice model. All right. Yocum, let's say, let's say I'm right on that. Okay. So number one thing I can already see Yocum. We got it. We got to change how you're taking your pictures. We don't take pictures in direct lighting. If there's a shadow being cast, you have too much direct light. You want diffused lighting. Go. There's a tutorial on Warhammer TV on their community tab. It's right on the side. It's all the time about how to take photos. Go watch that. Okay. Now, as to the model itself, I mean, it's, I would say it's fine. My biggest challenge is your green. You know, it's kind of flat ish and the white is way too high of a jump for the edge. Like what would serve us well here is again more tonal variation. Go watch the video that I have linked and you'll see how I deal with big cloaks like this. That's actually what it uses an example.  This green wouldn't go to this white. Instead use, you know, glaze over this with your green again. Doing this kind of white is fine.  I would also say watch out for basing. That's just all one giant thing that's the same. It's not very visually interesting. You generally want to do something there.  Skulls. I mean something, just anything down there to break up this all being the same.  Looks like he's standing in mud. That's no fun. So make sure you break that up somehow. More washes, dry brushes, other little additions of elements I think is the way to go. So that would, those would be my main pieces of advice. Yeah, if you look at the video, it'll talk a lot more about tonal variation, how to focus those, those highlights up and establish a higher contrast. Okay, Michelle. First ever attempt at non-metallic metal. Feel like is that, okay, so here we're going to talk about something. Whenever I see this, I feel as though I could push the highlights and shadows further. Yep. Then you do. If you feel like you could, do it. Okay. Your brain is correct. You don't need me to tell you that you were right. I see people post this a lot, and I'm like, then why didn't you listen to yourself? You already knew what the problem was. You're just hoping you're wrong. You're not. If you think that, and because we are often blind to our own work. So if even you feel it, it's definitely correct. Okay. All right. So that all being said, let's take a look in here. And, you know, I don't have a super close-up picture. There you go. But I mean, yes, I agree. This is a very complicated model, and absolutely. I mean, he just kind of looks yellow. Right? He doesn't really look gold. We're lacking the highlights. We're lacking the deep shadows, that kind of thing. You want to make, this is a very tricky model to paint, honestly, because he has lots of little filigree and detail. You have to create lots of highlights. Like, I'll be honest with you. This is not the right model to try your first attempt at non-metallic gold on. This is a super complicated model to do non-metallicon.  Because just even understanding your color tones and spectrums is where you need to begin. This has so many differing elements and shapes and filigree and things like that. This is a very, very complicated thing. I love that you're swinging for the fences.  Great, great model to practice your non-metallicon. And you can do beautiful non-metallic metal and stormcast. They have wonderful shapes and things like that to do it. Without all this sort of added detail and the dynamism of the pose and everything else is going to make the lighting very, very complicated. But your answer is correct. You know, you were right. You need a lot more shadows and highlights and contrast to capture the, you know, to make it feel like gold. Okay. I do have some tutorials on my channel. Go watch those. But as well as the linked video which talks about contrast and non-metallic metal. Absolutely key. All right. Benedec. Benedec. Okay, sure. Developing your red armor, I think it started to look nice. Where to improve? Okay. Chipping on the gun is overdone. I'm not sure about the edge highlights and the weathering can be improved too. Well, let's take a look. I think your red is nice. It's very bright. It depends on what you're going for. Like if you're going for something that's, you know, sort of tabletop, I think you've definitely achieved that. Here's my big thing. You washed this model and we left some coffee staining here in the legs. We don't want that. You don't want to have these. These, there's no reason this deep shadow would exist. Right. So we definitely want to avoid that. I like the bright red. I think you've got that very well. I agree. But you want to make sure you, like if there's a line here, it needs to be hyper thin and dark and you generally want some kind of shading. What I would challenge you is to push the tonal variation in the depth of shadow. The top of the red is nice. We need to push the bottom a little more, especially down these areas, the lower part of the round, you know, part of the knee, things like that, I think is where you want to increase those shadows and smooth them out here. I feel like we kind of got to the back of the model and said, well, it's the back. It doesn't matter as much. Same thing with the white tabard. We washed it with sepia. I never like washing white with sepia. It just looks like mud. White doesn't turn brown when it's in shadow. That's not how shadows work on white.   No. No, it is not. So, you know, just be careful on stuff like that. If you do this, then you want to smooth back over it, that kind of thing. You don't want this kind of build up of this stain here. I think the gun honestly looks fine. You know, there's maybe a bit too much chipping here that's kind of just doesn't make any sense, but for the most part I think that's okay. I really like the metals look nice and clean. All your paint work here is very clean. I like the, you know, the text on these little ribbony things on your purity seals. I think that looks good. So, all in all, I think your highlight color, your top red is very clean, very smooth. Your transitions are smooth. This is good. We just need to keep pushing that contrast a little more. But all in all, yeah, that's what I would say. Very, very good-looking Terminator. Okay, next up, Hans, new PMP member and first post. Okay, this many is one of his first tries to consciously improve his painting bit by bit. That's the right way to go. You just work a little bit at a time. First ever attempt on non-metallic metal. All right, so let's take a look. Okay. So, good. This is what I was talking about. The Stormcaster Perfect. This is a great shape to practice on. We need more higher highs. So, your darks look pretty nice here. Your placement of light and shadow is looking really nice. I like all of that. We just need to come up a little bit more on some of our highlights, like some light reflection points here. Darren Latham for Raza Mini Painting has a great blog on it where he shows you how to place these sort of like final specular light highlights. And I think it really makes a big difference. But I think that's probably your main challenge at this point. I really like the transition. I like the coloration. The shadows look nice and deep. I think just a little bit of pushing up the highlight a tad. And you're in a really nice place. I think this is great. So, you know, you clearly did your homework and I think you've got some good looking stuff here, man. I dig this a lot. Like I said, storm cast or really it's funny that this would come up like right after I mentioned storm cast is being good to practice because they're just a great sort of shape, set of shapes to practice on. This girl especially is really nice. So, yeah, I think you're good. Maybe you want to pick out a few of your edges with some white as well. Like on the shield here, make sure that's nice and sharp around the edge. Just get a, it doesn't have to be pure white. You can use like a bright pale sand or an ivory or something like that. Just a couple of those highlights and a couple more light points. I think you're in a really good place. But overall, I like this. Colors good. Tonal variations good. I like the application down here in this, this thing that has a name I don't remember where you're catching the light here. Yeah, looks good, man. Great, great work. Okay, let's see. Dan, newish member in first post painting for about a year and a half. Well, you can see you've gotten better. You've been a bit of a bubble that I'm not sure about. Okay. Let's see. On this many, I was working on focusing on the falling colored true metallic metal. Sure. Wet blending and glazing for blending color transitions, pushing beyond his comfort zone of texture, static grass, toughed on bases. First attempt at freehand. Okay. Let's take a look. All right. Okay. So I actually spot an issue right here that I want to absolutely call out the eyes, my friend, the eyes. Eyes are not pale skin and then white. Eyes need to always have a dark circle around them. Always, always and every time, ever from now until the end of time. Okay. So just don't put down white and then try to put a pupil in it. They're always going to look surprised. It's going to ring hollow. It's going to look action figurine. Your eyes have dark circles around them. Mine right now, right, have very dark ones because I'm super tired. But like, even if they're not tired, your eyes have a ring around them. Okay. So always that. Now, coloration on the metal. You could definitely use a little more pushing it. Like here, the shield is mostly uniform when exposed to light and that's how you can tell. So I think more color there. Same with the gold. Just more inks and shades. Same with the green. We need a little more variance in the green part of the armor there. Like, total variations, a big element. I see here, I see some of the paint is still very satin and glossy. You want to watch that before you apply your metals. Make sure you matte things like that out. Looking like pleather right now and I don't think this adventure is going out into the wilderness wearing pleather pants. So watch stuff like that. The freehand on the shield looks really nice. I think that's great. It's a simple design. Executed well. This is exactly where you want to start with your freehand. Well done. I have zero issues with that. The edge of the cloak is a little more suspect just because it's not as solid. You want to make sure if you're putting something on here, like regular patterns like this are always tougher because the eye will see flaws. Like I can see where there are flaws where you didn't draw the lines, right? Because you gave me a regular pattern and humans are machines built to find patterns and inaccuracies and patterns. So if you go for things that are grids and stuff like that people's brain, it has to be perfect. Otherwise people's brains will just go, that's not right. And you'll see it immediately. So like when you do stuff like this, simple lines and filigree that are kind of swooshy and curvy and random are a lot harder to spot errors on. I think your basing is good. I think we need to up the tonal variation a lot. Watch the video I have on black hair, you know, highlighting red, highlighting your green. Go back and watch the source video. Just pushing way more up. Like your skin is a very flat color. I need a lot more life in that skin.  So yeah, tonal variation is the big takeaway. There you go. More, more, more. Okay. Alan Thomas, simple one for feedback this month. Looking to improve on contrast. Really wanted to push the blue and on the armor. Chief out when I got to the top of staff, gold shading fatigue. Okay, sure. So Alan did something here that I highly recommend. I'm going to go straight to this picture. Alan took a picture of his figure and made it black and white. This is an important thing to do because it shows you how real your contrast is. For example, Alan doesn't actually have much contrast in his blue, right? So despite that being a goal, because this all looks very samey once you draw the color out of it. Same here and here, right? But the gold, however, look at how different we can see some of the colors in here, right? Look at this and then they're here. Now we've got some action. Same with the hammer down here. Look at this beautiful thing on the feet, right? That's contrast. Okay. So now let's flip back over. And when we look at it in color, like we can see some contrast, but it's still quite like I think that you could push some of this around here and here a little farther. Like let's go back here and look again where we've got the black and white one. Notice how this stands out because this was where the white was. But when I look over here, right, I can see it. So I think it's good. You're in the right direction. You're definitely going the right direction.   And I say that just because like here, this is fantastic. See how we've got this bright blue down here popping up. This is wonderful. I would love it if we could get these front tabard pieces or like something here or you know, maybe a little more over here. This is probably fine actually. I'd love it if we could get those to the same level. We got the back of that cloth. You nailed it, Alan, on the back. Wonderful, wonderful work. The gold as well. You could see it in the black and white picture. How well that came out. Great. Great stuff. Good application. You can see how Alan applied some inks and CPS and stuff like that into the gold, some darker browns to really get them humming that beautiful contrast that separates all the elements of the miniature top notch. I dig it. So yeah, I think you're going down a good road here. I think we could push this area up here a little bit more like we did on the back. But all in all, Alan, I think your experiment and contrast was successful. Just pop out these red here on the staff a little more because you can see how same that gets when we're all here. Same with the hair, how it all looks gray. But all in all, this is really, really good. Okay. Mark Tan. First submission. I love how many first submissions we've got. Plague class. Plague castor. That's a tough thing to say. Was something of a study and transition. So I'd like to hear your thoughts on whether the color palette works and how convincing the flesh tone is. Base is incomplete. Okay, sure. That's fine. All right. So let's take a look. Well, I don't love whatever this situation is here that he's kind of blowing out. It looks like he's just walked a big giant loogie. I assume this is supposed to be some kind of poison. He's spraying or something or casting. So probably like cloudy, poisony green color would be better, I think. As to the colors on him. Yeah, I'm okay with it. I don't know that I'm great with it. As far as composition goes, the red orange is a strange choice because it doesn't really show against the gold and the bone and the green very well. It's weak because it's very desaturated and your green is very desaturated. And then the internal organs here being kind of in the same color palette make it a challenge. You've got these little wings on the back that are like blue to white. I think I'm not sure about them at all. Like this alone doesn't work. I'll say that straight out. This is we can't have this kind of a just sudden infusion of cold colors on the back with like no other placement of that color around the mini. And I understand your response might be, well, but the teeth are that color, Vincent. My response would be yes, but the teeth are mostly dark and barely visible. So whereas these are huge flat areas of that color. I think with the googly gunk here, I would have very much like that to just be a sort of different color. Like something that looks like poisoning green smoke, I think, or gray smoke would have been fine. I think I would have liked this to be in maybe that same blue gray. That would certainly make it stand out if the we had a cold color for his tabard here. And maybe these little, you know, Jubilee Jews here, these little these little guys holding this thing would be certainly very nice to also have that color. That would make it stand out a lot more against the pink. Same here with his guts, a little more purple and pink to kind of bring them up and make them pop out. I think is probably where you'd want to be as to the base. I mean anything sort of brown and mucky and maybe a little slime. I've got videos on doing slime bases and stuff like that. But some mud, some slime, some skulls, and you're going to be right in the right place with them. Just make it a nice ruddy brown color down there in his that he's walking through. And I think you've got a great base. So that's my advice, Mark. I certainly hope that's helpful in getting the rest of your death guard on the table for old grandfather Nergal. All right, Thomas spiked with this super classic Mordheim ogre. Oh boy. So let's see. He says he wants some feedback on the color choices of the ogre, constantly tried to balance the colors on the trousers elsewhere on the many, but I'm unsure if it works. Also appreciate tips to spice up the base. Sure. So let's take a look. Classically these empire guys were all like these kind of things. This was like sort of an ogre mercenary who, you know, he's in the empire. We're challenging because when you start doing pantaloons and things like that, it can be tough to balance your minis. Now here's my ultimate answer. Even though we have a lot of different colors and they're like things like the red aren't super well spaced out. I don't know that it matters as much because you hyper desaturated them. So this is a this is another trick. If you can't actually make the colors evenly dispersed, then desaturating them is another great way to go. Okay. So I think I'm honestly fine with that. I think maybe this could go down even a little further be a little more faded on the red and we'd be fine.  Okay. Things like that. But all in all, I think that's fine. I think my main challenges are actually with things like the skin. I need more variation there, more colors and tones in that. And then same with the like the wood feels a little flat. But all in all, I think this is really nice. He feels like he's in there sprucing up the base colors like those Tufts are just Tufts. Your gray is just gray stone color in the stone. You go back and watch my videos on doing realistic stone. Tufts should always be painted. They should never be just placed on more mud, more dirt, more browns, more greens, more purples, more reds. All those things should be existing in stone. Stone is almost never gray alone. Stone, if it exists in nature for like five minutes, suddenly turns colors because nature's full of color. And it's not real picky about how it deposits detritus and things like that around. So a lot more of that sort of thing is where you want to be. All right. Big old mega boss, Jason just finished up this guy's first time doing extensive green stuff work. He's inspired by the World of Warcraft character. And my IG force is designed around that theme. Had to use green stuff to sculpt the open maw. The go ahead and one of the legs of the mega boss. Okay. Could I have some thoughts on the tetradic color choices I've used? I think I could have made the horns of the maw and a good different as it looks too similar. But I was worried of introducing even more colors to an already colorful model. Okay. Let's take a look. Well, first of all, I think you're so the open maw works. I think you like looking at that I had looked at this earlier. And honestly, I think this is fine. Like I think you were successful in your open jaw there. So green stuff job there highly successful. I think that's a that's a win. Okay. Now as to the big go ahead. And that sort of thing works. It just needs to vary more like he should have a big pink tongue and he should have some, you know, some regular red blood and postules and stuff like that to make it sort of stand out and break up all this green.  I think that it's balanced. It's well you put the green stain on there against the green go ahead. I think that triangle works really nicely. So I think that's fine. I think the red of the orc is ruddy and works against the base. So I think that's okay. I would have liked to see a little more oxidation of the copper armor plates you spread around the like ogre armor plates. I do think those work really well. Those are a super great addition like the chains and stuff look good. I mean, this is great work, man. Like as far as the conversion goes, it's really awesome. So this guy tells an absolute story and I dig the living heck out of it, buddy. But I'd love to see some more oxidation on the the metal to show that even a little more worn. Love the red dust on the maw crushes pause. Yes. Yes. Yes. This is fantastic. I am all about this shows that he lives in this environment. That's great. It's going to cycle through here. Things like the tail and that kind of thing. Yep, all looks fine. The wings look still a little just washed. So, you know, making sure you pick that kind of stuff out and clean up those wash stains, those coffee stains, I think is the is the challenge. As far as the color scheme goes. Yeah, I think it works. He's got a lot of blue, very broken up. There's no singular area of a lot of color. You're spread out. You're pretty evenly balanced. They have the red is a minor pop with a nice minor triangle fed by the base. The mouth could probably use some purple desaturation. It's a bit of bright pink down here. So like the back of the tongue could be purple.  I think that would be the way to go. But other than that, I think this is really good. Yeah, I think this is like pretty darn amazing. So look for maybe, you know, breaking up that green a little bit. A little rust on the axis could also be good. Just very light touches of brown and orange. Very light. That will be really nice to counteract that green, especially in the back here of the axe where it wouldn't be slicing through enemies, a little bit of oxidation on the copper. And I think you you're you're off to the races. But as it is, this is great. This is really fantastic inversion work. He just looks awesome. Yeah, really great stuff. All right. So let's keep going. And we go right into another Mega Boss from Cole. I said planning on entering this in his first paint competition as first tournament in late November just for fun. Happy to get feedback on any of the points below or anything else to catch right and prove. Tried going with the rust effects, deliver a color composition choices going for the triangles of color. Good. And the checks on the axes his first attempt to do freehand. So let's take a look. OK. So. Let's talk about some areas where I see that jump out at me right away. So first off on the bone pieces, more color transition. I have an element on their own bone and transitioning over bone. We need to up that same with the wood, by the way, on things like the handles, same with the armor, just sort of more general tonal variation. I think would serve you well there. The Mega Boss and self those scales like having some more of those edges kind of picked out and and actually where we like these ridges and stuff, a nice, very soft dry brush application with a makeup brush could do it. Maybe a glaze over the top and you're good to go. I think your checks look pretty good there. They're nice. I don't see any issue there with the plates down here. I don't know what we're going for on here. I think the yellow is good. Give me some scratches or something because this dude would be elbowing through people. So some damage on the edge of these. You want them to be yellow to get this balance, which I get. I'm saying that. I'm just saying like these are weapons. They would be cutting into people and armor and shredding things. So theoretically they should be damaged in some way or have scratches to the paint, that kind of thing. Your biggest area here is probably the wings. They're kind of this flat brown color. They're not really doing much for me. What you want to avoid in miniature painting is one big area of flat paint. There's always going to be boring. It's not visually interesting. It's not doing anything for you. So getting things like making the center of the wings brighter, having these bone lines in the middle picked out in a different color, maybe the blue of the skin or maybe a bone color or anything like that, having the bottoms of these ridges slightly highlighted, just stuff like that to break up that same space. You want to get really adventurous, do some marking, some dots, something like that on there to even create more like natural animalistic patterning. So that's kind of my best advice for you. Up that tonal variation, especially on things like the bone and the armor and the scales and the wings. But yeah, it looks good overall. I like the color scheme. I think it's balanced well enough. I'm not sure about this leg. That's the only thing that stands out to me. This should probably just be yellow like everything else. I don't know that that color really works. Like I see you've used as a pop color and some pieces in his armor. That's too much. This is knee. I'd be okay. The whole leg. It looks like he's trying to be a chameleon and meld into what's underneath him. Just so like this color on the knee plate. Fine. This color on the whole leg. Too much. All right. Frank. So looking at the sheer cloth tutorial, the elements or emphasis on the main element of the piece, the transparent cloth and by extension the skin. Okay. First attempt at doing TMM in a non-metallic style and first time doing gems that aren't silver than gem paint. Okay. So let's take a look. You're over here in Imager so I have to jump over here to this other thing but that's fine. So the eyes are the first thing that jumps out at me. We definitely need to go back and refocus more attention on the eyes. We need to clean that up. We need to have ridges around the eyes. They need to be very sharply defined. Just go look at pictures of models in makeup. I mean, it's research. But that's like there needs to be different color here in the center of her eye and her eyelid, under her eye. Like all of this area needs lots of attention. Same here on the bridge of her nose. Same here under her nose. Same here under her lip. Like skin on a bus just needs to be unbelievably varied. You've got to push it, push it, push it, push it and then push it a lot more. Okay. So that's number one. As far as the gems go, we need to push that farther. So I have a video on painting gems. Go watch it. More contrast. Like it's not going far enough and we need the light catches to be there and to be bright and showing where the reflection point is. As far as the, as far as the, you know, sort of sheer cloth, I think you're okay where it's pushing, you know, where like the breast is pushing through to the skin. It looks fine. The, like sort of nipple area itself is a little bit stark. It wouldn't be quite that visible, especially through pink cloth. So you like the edge being a little softer is probably a better idea. Down here is where I have some of the bigger challenges. Our transition into the clump cloth is a little strong. We want to smooth this out on the edges a little more. You're doing it a little better up here, bringing some of that down here, I think is the right idea. Like this transition up here looks about right. This down here looks too stark. As far as the snakes go, you know, they're bright blue. They're very eye catching. I think they, like they have this very like skink color, right? To them. Again, I think with a bust of this size, unfortunately with things like snakes, it means you got to get in there, give them a pattern, pick out the scales, you know, like Google images that they have lots of interesting patterning and stuff like that going on, but detail, detail, detail. Like I said, the key with bust is think in your head about all the things that there could be detail on and you've just got to keep going. So like the helmet could use more shading, more highlight, more stuff like that. The gems could be more contrast. Skin needs more tonal variation, more color. The snakes need excuse me, more detail, right? Just all that kind of stuff. Do as much you think twice as much. That kind of thing. But overall, I like your general colors. If the gems get popped up, push the gems more into the pink color like you've got here on her robe and I think you'll be in a really nice place, especially with the light catches. All right, Liam, honestly, this is here's the events reaction, the biggest big night of them all.  How to approach painting extremely large models such as the boy is it challenging? That is the answer. So let's look at this big old beastie.  Okay, so the answer is is lots and lots of self assemblies and you just work the pieces and you try to do your best to break it up, which by the way, I think you're doing here well. So things like this oxidation in the copper, the scratches in the metal, the variation on the metal. Yes, good. Excellent. Here's a fun thing with big pieces like this on the back of their little crotch tabard, I always sign my name like I sign my initials and just put a VV. It's a fun thing to sign your pieces and these guys make a big excuse to do it. They're big enough they're worth it. At any rate, I think it's good your use of the decals is really strong. I think that looks nice. The heat warping on the barrels is a bit shy. You may want to push that a little bit bit too fast and hard on the dimensions. So be careful with that. Same with kind of the deeper brown and the gold. I like what you're going for, but it could be smooth just a little bit. It's a little too like evenly broke up and like this is bright and this is gold and this is dark and it's like you know, you're hitting these like solid lines a little too little too striking and solid in them. But all in all, I mean, I think this piece looks really nice. The weathering looks fantastic. The sort of the decals and the application of those things look good. Your little lights and pop elements of red look really nice. Yeah, I think overall this is good. Some, your edges look pretty strong. I think that's I don't see much of an issue there. So that's all looking good. Probably a little bit more on the base on these flat areas here we could do some more maybe some dirt some other things just some scattered out rock. I like all this where he's walking. I just need a little bit more of the rubble and stuff out here spread out. But in general, the answer is yeah, I break apart the main thing the main body and then all the armor plates have their own treatment and they stay separate and you know, each armor plate individually which it looks like it's what you did. So I think you're absolutely in the right place. Color balance looks really good. I think this is a fantastic Titan. He looks wonderful. Okay. Gerrand job is not complete and he hasn't really pinpointed the issue but his don't really have a pinpoint issue but his main concern is the base color and the base blends in too much. Hey, if you think that what you know, just as I said earlier if it's if it's something that's that's occurring to you then it's true. Don't second guess yourself people second guess themselves don't do that. If you think that's true it is but let's get into it and I'll show you how we can fix it. So one. Yes, you're right. We need more tonal variation on the armor. It's flat. I need panel linings. I need the rivets picked out. I need these elements put in these other all these elements and make these copper break this stuff up. With the metal I need more tonal variation on them. I need the application of inks and shades and colors that'll make them look more interesting and highlights. When it comes to the blue rock just break it up. You have rocks in mud. You ever have like stones on a porch or something next to mud what happens to the stone? It gets stained because it rains and muddy water runs over the stone and there we go. So this should be covered in brown and green and you know dirt. There should be the in-between parts of the stone should actually have muck in them and moss going around them and dirt layered in there because that's where it would gather and dry. That sort of thing. Upping the tonal variation is the really short answer here. So more shadows pop it out better highlights edge it go watch the video I have on tonal variation that's really the key there but also just breaking up the surface. Panel lining I have a video on that but picking out all these different elements like you've got all these spikes just don't make those blue they should be copper or something like that right just break up large flat areas the same color large flat areas the same color are a thing you want to avoid more or less period. So that's my best advice. Alright Bartaz some feedback on his Ungor Raiders aiming for a good tabletop standard but yeah they're basic cheap troops hey I get it you know you're not going to fall in on on your Ungors any tips for getting a smoother white through the airbrush I use a zenith will highlight with white FW ink with one or two drops of layover flow improver always more more thin it more go watch the video I have on cleaning your airbrush ink should be thin at one to one at minimum at minimum I go a lot more usually when I'm doing ink I go like five to one thinner to paint hyper debt like the problem is you're just chopping the ink and it's too thick that's why you're getting dusting a lot more thinner it'll go and a couple more coats and it'll be good okay so now let's take a look at these guys in terms of tabletop and yeah I mean going for a tabletop standard on your cheapest troop I feel like you're probably there yeah it's you know everything looks good we've got some nice variation bases look pretty interesting a lot of different I mean there's certainly places you could go but if you're going for sort of a tabletop I think that's what you've achieved if you wanted to go higher you know more variation in the skin that is to say adding a little more color and life to them like you know on this guy you could have some more reds and purples and the deepest parts of his skin and stuff like that I think that could be a way to go but all in all I think these guys are good you've certainly met tabletop and they're nice I think they're a cool unit I'm sure they will do very well I'm sure to to increase your summoning points but they look good man okay Callum with his army on parade board he got a third cool we'll just take a look I'm not really going to comment on an army on parade board there's not much feedback I can give you there but congratulations that's cool man it's a it's a neat board for sure very cool alright Joel first attempt at flesh tones and weathering metallic metal sure alright so I have videos on flesh tones and I talk about it in the linked video the answer is more tonal variation that's right everybody take a drink don't really because if you did every time I said that you would die I need more reds more purples more deep tones that kind of thing his skin is very even throughout as far as like we're in this sort of neutral Caucasian flesh tone and I need more uses of to kind of break that up so that's my that's my thought there now as to the weathering of the true of the TMM yeah I think that's fine I don't it looks good looks old and worn looks like old worn metal you could do things like break up and put some more rust on the edges you know because rust will tend to gather around like edges where it can where it will clump the most spots are and stuff and around here is where you focused a lot of the heaviest rust I feel like that's where you want to be yeah I think the I think the weathering on the TMM looks good I don't see any issue with that you could pop it up with even a little more rust little more brown if you want to kind of go farther but I think that's fine I think your biggest challenge is a little more variation in the skin so that's that's my best advice more reds more purples more CPS more transition especially on these extremely well defined Dwight I like the idea of the classic black and white see-through ghost from older films oh boy okay well Dwight this looks very like comic book black and white style as opposed to like black and white television because you're really in like one color palette here with the gray the trick to doing black and white like the television is actually all in the gray there's a couple of people with wonderful tutorials on painting monochrome color it's real challenging I mean here's my best answer go take a picture of a model in color okay and flip it to black and white in your in your phone like we did earlier in the video it doesn't look like this right because what you'll see is a lot of deep grays there's a lot a lot a lot going on in the gray there in the deep gray mid gray and so forth because each color becomes a slightly different gray and a different shade and work of gray so if that's what you're going for it's not that now that being said this does look very much like the comic book pop-up style like sort of that kind of style where it's you know these real heavy lines and I actually think that's kind of a cool idea which I do think that you executed pretty well here this looks like an inked pencil drawing basically so I think if that's the kind of thing you were going for that could be pretty cool now one element I would recommend that could be really nice and what you often see when people do this artistically in things like the spirit or those photos that are in every hotel is it'll be black and white with one color you kind of did that down there with the rose vine which I like just fine but having the tips of the ghostly energy actually turn into something like a green energy or something or a blue energy or you know just something where it becomes actual energy on the edge that could be another cool thing to try so that's my advice the way to paint a monochrome image is to just go look go pull anybody who's painted this in a way you like you know like Richard Gray did a version of a model a lot like this he didn't do the exact red blade hair but he did something like this and you know go pull the GW model just take that picture and turn it into black and white and really look at the way the grays play on that and that will give you sort of your roadmap if you want to create that old black and white television look okay alright Scott Palmer so with this bust he started with one thing in mind emulating a digital artist on fond of how they create a sense of life and whimsy in their pieces intense reds and greens they added to the skin absolutely painter face hair, hat, frog friend and then realized I hadn't really planned the rest of the mini okay red yellow blue composition okay alright let's take a look excuse me guys it's been a long day okay yeah man I like this I like this a lot so I think the frog is great up on her hats I think that's really nice it is a very bright green but it's a yellow green and it is contrasted well by her cloth the variation on the yellow looks nice the texture on the blue looks good I need to see this is more slightly more zoomed in image but I think we're in the right place the skin I am in love with love it I think you like knowing what you said you were trying to emulate I think you absolutely achieved one minor note her neck her neck is still very pale I'd love to see it more variation down here and a little bit around here on the bottom right like if you look at my neck right now where I have a bright overhead light like you're painting her to have see how much shadow is here like she has a very pronounced chin there should be more of a shadow here than what you've got like you've got a little bit here but it doesn't come down at all but the the cheeks the freckles the nose the lips the eyes yes hair looks good hat looks good frog looks great texture looks great I think this is wonderful I think you're the main area I think you could do a little more work is probably on her little bag her little mushroom collecting bag probably a little more scratches, hashes kind of you know the war nature of this thing it's a it's a thing for collecting mushrooms it's going to be dirty and kind of scuffed up and stuff because she uses it a lot and it'll be a nice it would be a nice cleanliness contrast to her so there's lots of different forms of contrast I really love the frog I think he looks great up there I think this is absolutely absolutely wonderful and a really cool plinth too by the way the addition of like little mushrooms and fungus and stuff is great well done Scott well well done okay Chris Breeze first ever post here from a historical painter who's trying to soak up some of the skill and creativity to the rest of the hobby Perry managers wore the roses figures aiming for a very good status grass the static grass turns out should I reduce it or cut it or try something like flock feel like the flesh it looks messy in some parts and colors maybe too flat okay well my answer is always you can add more contrast and yes I think their flesh and their clothes and stuff could add a little bit more but that being said you said you're going for tabletop so I'm not sure it's too bad I think it's probably in line with tabletop as to the grass yeah I think you could probably trim some of it down a little bit I don't know that's a problem it could also just be painted to create some depth so if you have an airbrush I like to airbrush different colors of dark green and light green around my grass to create some depth but you could also trim it you could drop some wash in there with a heavy brush you know something like that but if your goal here is tabletop I think you've achieved it you know so I think you've got your roadmap for where you want to go but all in all I think the grass is fine it's coming up around their boots it's assumingly wild grass they're out in a field you know they're not on a manicured lawn having a battle in the war of the roses so it feels like you're probably in about the right place yeah okay Thomas a bit different post this time within the limits of the show when I returned to this hobby a bit over two years ago the spirit of dirth the level of painting has improved and the rest of the armies at a higher standard decided to make some improvements uh six to eight hours to do the job and this is the result what I want to know is what is your tips when you go back to a finished model and how do you identify where you should focus your work sure I mean the answer is do the things you didn't do before there's no there's no single tip but usually it's just improving the things that weren't getting additional visual elements where you can which I think you did a nice job here looks like we popped up a lot of the wood stuff like that but you know where would we go further if you had a little more time I would make things like the leaves and the flowers stand out a little more even pop some of those edges especially on the leaves a little more um I'd bring up some of the runes in him to be even brighter your sword is really bright here in super eye catching and it's kind of alone it's the same orange yellow red combo I'd put a little more that in his face so we had a nice triangle here you know when I go back you want to balance things and pop things and refine things I mean it's just refine refine refine I just do whatever I would do if I was going to originally put another 20 or 40 hours into the piece right so I think things like the leaves would be good a little more variation up here on the wood making this little brighter it's around his face we want to draw your eyes and don't stare at any particular thing the only thing I see is the sword so I would say you know adding more of this color up here and here to really draw the eye up and create that color triangle would be a good play so but yeah that's kind of how I think about it hope that helps alright Cosimo uh these are his two projects for this year at Monte San Savino well it's one project Cosimo one project for month but I'll give you a pass since you're going to Monte uh San Savino this one time uh phone makes the colors a bit too saturated no focus properly the Rogatino bus was the most fun is I got to do the wall and the lamp okay for the fish boy it was all about color balancing and to give the idea of a night scene okay yeah I like this dude uh I like the color I like the yellow in the skin I think that's a nice touch fish boy that's a great name by the way uh yeah I mean I think probably with so let's start with this guy I think my main issue here is actually just with the brick and this piece here that you made I like him things like the we need more texture on him so again like with bust it's texture texture texture it's more detail more more more detail your color though is really good I like the lighting I think that's dead on you got nice cold shadows nice warm light yes well done and the light feels organic and very natural and real coming out of street lamp so I dig that I think that looks good the brick though is so regular there's no chips there's the edges don't have scratches there's no moss or anything growing on it there's no streaks on the brick where water's run down it doesn't feel very bricky right it like brick that sits out and anything that's exposed to the elements like that has the elements on it and it's kind of the same for this right like it's very green and I don't know what it is or what it's meant to be is it meant to be like heavily oxidized copper you know like more speckling stippling texture sort of stuff would be really nice there just kind of pop that out now on fish boy I think with him the answer is probably a little more contrast on him he's very muted and I maybe that's the phone I don't know so that that could very well be it came out different and it looks different in real life super cool feel free to ignore but I just feel like on his skin we could really push the contrast up especially on these weird alien creatures you know things like the tentacles could have a lot more variation along there you know that kind of stuff I think is where we'd want to focus yeah that's my thoughts but awesome good luck at Montaiman I'm super jelly I hope to make it there some year for sure all right Matthew Steed the shadow seer is the first model he's painted competitively okay managed place fourth out of 24 entries at a local store competition approximately 35 hours painting time happy not satisfied that's the right answer always be happy but not satisfied looking for general feedback so you can continue pushing your skills further particular ideas to enhance the miniature's appeal from a distance really melded into the background of clouded display table was overshadowed you know that's always a challenge in stuff like that of a local competition I don't know how it was judged but things like that can occur okay so let's talk about where we can go though more contrasts more tonal variation man you knew it was coming here it is the staff the robes the face the crystals on the gun the crystal should look like crystals so go back and look at like how I painted the warpstone crystal video should be that poppin the staff is way too singular should have either something going on freehand wise I painted one of these guys a long time ago and I did a candy cane you know like marble full thing always a good touch the gold should have a little more variation to it the face mask needs something you know you could do like a sky earth non-metallic metal chrome could have a freehand on there could be like just some transition could be blue in an interesting like sky like it's reflecting sort of blank sky just all those sorts of things something like that as to the the patterning on the legs and stuff you know on him I like your colors I think those are good but again more variation there we need to actually capture the shadow the pink on top shouldn't be the same color as the pink down below so when you do complicated patterns you then have to think about what does that pattern look like when it's in shadow when it's in highlight right and you've got to make sure you're capturing all of that stuff okay so same with the black you know popping that up more so contrast contrast contrast here's a big one there are eight gems on his staff you didn't paint one, two, three, four, five, six, seven, eight right four around here those are gems make them gems same with his gun that's a gem make it a gem right don't leave details untouched when you're going for competition but all in all as your first enter into competitive competitive painting I think this is great you swung for the fences brave to do a harlequin model that's for sure but I think he looks really nice I think your colors are well balanced which is really impressive for something this gaudy I don't mean that in a bad way I just mean like harlequin models are super gaudy by their very nature so I think this is wonderful just think you need to push there a little farther alright Vincent well hey not a lot of Vincent's out in the world on this on this tried to focus on the skin and spending a lot less time on the rest how can we push the skin further okay sure let's take a look okay so overall I think you did a pretty nice job on the skin it's good my answer is going to be twofold so let's do I want to this one's the one I'm going to use as usual little more reds little more purples little more colors and the shadows like that that's number one always always always always more tonal variation of the skin that means that I really like your highlights I think those look good those look natural has this nice sweaty skin feel I think that's solid okay here's a fun thing you can do when it comes to the muscle structure on super well-defined muscles don't define them so strikingly all the way around so what I mean by that is have like a not quite highlight let's call it so again my standard definition of one two three four five one being the brightest color five being your deepest shadow have a two extending across here and across here and across here right and let the bottom part of a U shape around the muscle be the darker one it will make your shadows the muscles feel a little more organic you can do it here on the arms by pulling like from here up that kind of thing here up so you separate the muscle structure but you have little points where it's not quite the highlight but you still got some connective tissue between your colors but overall I think this is really good it's nice it's clean it's smooth I think this is great looking flesh it's very bright so I think just a little more work in the colors in the shadows is where you want to be okay uh ech echar echarisaur okay sure why not uh your kids bought you a box five terminators new to the hobby usually paint and batch decided to go one terminator and try different things to learn this one was primed with silver and after tried different colors than app and went in a totally different direction okay looking for feedback on the fire runes uh battle damage and it says you don't understand why it's technical paint did not crack more okay sure sounds good let's take a look so I'll tackle the easiest one first the crackle paint you have to apply it super thick like super thick like like you're trying to build a pile of it thick okay it has to be it has to have mass thick to show up okay um the fire runes need to be thinner and more sharp go watch the video I have on how to paint sharp lines the key is things like ink and flow improver to get a nice sharp lines so that's what I would say there uh and then as far as battle damage goes yeah okay we've got some scratches I think that's alright um I've got a video on painting glowing runes by the way too so go watch the sharp thin lines video and the glowing runes video all are in the hobby cheating playlist um yeah I mean I think that when you've got your damage the problem is the damage is in the place that makes the least sense like it's up here on top of his shoulders where he would probably tend to get scratched the least whereas down here on his legs where he's walking and kicking things and scraping against things because he's a dude in big giant armor that would be heavily scratched here on his weapon where he's digging this chainsaw thing into people there would be scratches coming up off of this the key with battle damage is it has to feel organic it has to feel like it arrived where the human brain would subconsciously expect it to appear right so I think that's where you want to be as far as scratches go black is one of the toughest ones uh Darren Latham did a great video recently about doing battle damage and he covers how to battle damage black armor especially space marine armor so I would I would say go watch that and he'll give you a lot of good tips I agree with pretty much everything Darren says as far as the um as far as doing battle damage especially on things like dark black armor so that's that's someplace you can look but overall very cool I mean I like the color scheme I think that looks good so I say keep going and keep pushing it I love the experimentation it's wonderful keep that up that is exactly the right attitude oh boy bleep bleep hitting us with a special treat oh my goodness big pop a pump himself Nagash the ultimate bone daddy uh let's all look I I'm not going to have feedback for you on this man you spent months and months on this bleep and it is a freaking masterpiece I looked at this by the way on other social media already before I did this review and I just I'm in love with this thing as usual I love bleep style I think he's just absolutely stunning in the way he works with his medals um yeah man we're all just going to sit here together while I look at this thing in silence because it is glorious yep it's great I mean yep it's amazing I I don't know what else to tell you like we we have reached beyond the level of where I have effective feedback to offer you bleep bleep this is this is this is a masterpiece uh you know previously my favorite one he did was his Manfred I thought it was just an absolute masterpiece as well but this this is a level beyond man this is uh it's just glorious it's glorious so yeah amazing work I mean it is mind-bogglingly good so well done I hope to see it I I hope you're coming to adept con and I hope this thing will be entered in golden demon I would love to see it at least compete I don't know that it will win anything because whoever knows what wins anything but it should be in that cabinet well done bleep all right Philip love to get some feedback on the contrast and OSL try to improve the contrast on the I'm going to assume that means cloak um but I'm quite sure it should be more well then it should be more as always trust yourself if your own brain tells you something it's right always listen one of the best things you can develop as a painter especially when you're trying to push your skill level is to just listen to yourself your brain knows the right answer listen to it right so when it's talking listen all right I also worked on some purples in the skin I'm not sure how to improve here okay adding blues and reds on skin feels weird it shouldn't it's what's there it's what makes skin look good that's what your skin has look at all the reds and blues in my skin look at this this is all blue shadow look at how much red I have on my face and on my hands right tons of it okay that's skin skin is incredibly complex that's why it's fun to paint okay so but let's take a look all at all I mean I think this Gracie here is real good like he looks nice your OSL I think is actually really sharp I dig it it's super minimal it didn't go very far you just got nice little touches of color very softly glazed out I think that's your big success I think that looks really nice it's subtle but it's effective I can I get it and it sells so well done I do agree the red and the the cloak could have some more contrast I think how we push the skin another notch we go up another notch we emerald it right more more of those color tones in there get more of that pink that red down in the skin in between the hand here you know in between these bones where that is like the color difference between the knuckles and down here right that kind of stuff here on their little ratty faces where it comes into the hair that kind of stuff Skaven are so much fun because they have this wonderful mix of fur their faces are so expressive just go nuts that's my advice work some more soft glaze some more of those purples and reds in I like black leather like something like that from scale 75 that's a great way to go to get that nice soft subtle shading in there so but overall I think this is really good trust your gut and you're on a great road the OSL is tops Casper all right went back to this model considering the feedback from April or May so I added some more smaller snowflake crystals added blues and purples to the skin and rosy cheeks did you get there is the blue cold knee overdone any advice for faces this small I still think the skin is some of the hardest things to do properly especially on small faces of Malifaux managers any advice Vince okay well skin is about a lot of soft but that being said let's let's give this a little flip around here I'm leaning way in because I have to make sure we take a look I think the blue cloth on her torso and stuff could use a little more contrast and we want a little harder edge lining around those around like the buttons that are on the center of her chest that being said oh yeah look at that oh look at those those are great great yes nailed it okay snowflakes on the cloak are now exactly where you want the cloak color looks rich and wonderful oh buddy you nailed this part yes yes yes yes a hundred percent tips for faces that small it's really hard man Malifaux minis are classically so challenging with faces I mean the answer is probably a pair of little magnifiers something like that you want to like get your arms braced you want to get the figure you want to get a really sharp brush doesn't need to be small it just needs to be sharp and you want to make sure you're working in very small light touches is the answer but I think the glazing on the skin looks good I think the additions the purple looks good no I don't think the blue on the knees overdone I think it's I think it's right on um yeah I think that the the cloth in the center is where you want to be bring up a little bit like here under her breast like having a little more shadow there around the waist and then making sure these little buttons or whatever's holding her down her torso are you know really like outlined and distinct but uh I think you did a great job punching this up and and the free hands an absolute triumph I think it looks wonderful I've got this many and I've just never painted it I this and Rasputina was actually what I did for a competition Malifaux although not this one this is the special edition version where I did the the first plastic version of her um but I should get this out and paint her sometime she is awesome alright William this is a dwarf from a friendly local game store painting comp we paid a $5 entry fee got a reefer bones figure we all got this figure okay got it and have until Saturday November 9th to paint I kind of jumped the gun a little and is there anything I could have done to make this better besides picking the rivets on the armor out cleaner well let's take a look okay so yes I mean the answer is tonal variation especially on the metal we have a lot of steel here I don't I don't know whether it's the primer you used or the metal paint itself but it's very bumpy and kind of gunky which I don't like so I'm not sure with what metal that is if it could be the primer could be the metal could be the bones itself I don't know but that's that's a challenge um I but like the the hammer and stuff the hands we just need more separation of the elements cleanly like we have lots of lines that are coming out too thickly as far as wash lines go like here this is a good example right they seem to be a thin black line and it's tough with bones figures because they're soft they're very soft but like here with this around here you don't want that these should be the same silver right like here we got this big wash stain around this piece and we don't want that you want this to be very sharp and cleanly distinct from its other elements same here same here right um on his skin I think the red around the nose and the the head and stuff is good I don't have a huge problem with that I think that's nice I think the hammer could use something if it's meant to be stone show me some cracks show me some stippling show me some you know the the defects that would occur in natural stone if it's meant to be metal make it metal uh with the armor again more more shading more variation make the edges sharper I think is where I'd want to see and then on stuff like the bag again with the leather smooth that out clean that up show me some microtexture on there that's the kind of stuff I would do so there you go William hope that helps but I really like the face he gave him an incredibly life like face the red rosy cheeks and nose look great beard hair looks good got no issue with that purple looks fine good contrast there so yeah I think it's just for those other elements okay Tebow finished four magical beings just in time for the end of October yeah these guys look good man great contrast good use of a bunch of different color careful with the pink it feels like it needs to be scattered around a little more it's it's on the main dude there it doesn't kind of occur anywhere else on him could have been neat to push some pink flowers down here maybe have this thing he's got in between his legs a little bit pink that kind of thing the green weapons look fine you're going for that soft natural color you're not really going for non-metallic metal just kind of like nature magic color so that's fine you could push the contrast on that more and it could do interesting things but that's not a half to have I think the skin looks good especially with the eyes I think that blue to orange contrast is really solid the wood is probably your biggest area where you could do something it's a little flat and samey like his tabard here that's supposed to be leaves is basically still in wood color so just kind of more variation in the wood more darker colors more greens mixed in more blacks more grays and whites and ivories just that kind of thing more like would would be you know wood is a very very thing go out and look at trees in your yard or in a park or something like that if you live in an apartment don't have a yard you know that kind of stuff I think would be really good yeah cool stuff alright Alex says he's pleased with how this guy turns out I feel like it's missing something the metal looks a bit flat but I'm not sure how to make it fit the rest of the model any other feedback is welcome and also thanks for inspiring him to push himself with freehand awesome you gotta it's a way to do it you just keep working it and you'll get there you just keep the first step to being good at something is to be bad at something and I think you're doing well the crimson fist icon looks nice the lettering and text looks good you're always a bit small but that happens to just you know make sure you kind of bring that up a little bit how to pop the metal yes the metal does need tonal variation go watch my how you know adding non-metallic variation to true metallic metal I need browns in here I need more blacks in here I need more variation so great way to use your airbrush your blue has more variation in your steel that we don't want to have happen right because that blue would in real life would not be as reflective as the metal that would be like my shirt I'm wearing being more reflective than my wedding ring right so we want to avoid that the answer there is more silver around the edges more sharp edge highlights and more variation some oil things like these pistons can be grease covered you know these tubes can be not metal they should be colors right we got tubes that are just metal is this really metal is this like the air conditioner is this like what you told me here with this being metal is this tube is the same thing that runs out of my back of my dryer and I don't think that's what's here paint these tubes of color pick things out it will make the metal look more metal when there's things that contrast against it now okay so that's so go watch the video on true metallic metal contrast on steel but now back to the red and the blue multibene look and great good variation nice sharp edges freehand on the side of the red arm and on the leg those are looking great little touches of battle damage I like it the highlights are subtle but effective in that bright blue it's wonderful and also your green pop lights are also looking really good so yeah I think this is this is really really really coming along one final note do pop your rivets you have rivets they're shaded they're not highlighted pop them rivets pop them rivets okay so this is frost giant tried to only work in three main colors is the composition and contrast okay as it is also is the leather realistic I love minimal pallets I think that's great so I have no issue there I really like how you kind of smooth the colors around I'm not sure it works as much on the beast the hair should still have some more individual highlights within the color contrast so like the hair is still going to act like hair so it's going to have highlights here and you know when you're blowing through color transitions you still want to create not only the horizontal transition you've had but the vertical transition through the hair as well so darker lines running throughout highlight lines of halos stuff like that as to the leather I think it's in the right color it does need more scratches though this is looks like a frost giant who's out in nature she's you know she's rough and tumble and like the fur I think is a challenge because that could have been a different color than the rest of the color so like limited pallets good but don't over limit yourself right so like the fur on the back just feels a bit samey to the leather getting a little bit of some kind of ivory in there or something would have been you know a nice touch or a gray or even using that blue that you're already using mix that into the brown and use that as the highlight color to break up that that brown like working a limited pallets cool it's fun just make sure you break that stuff up some and don't as to the leather more scratches more hashes more dashes and dots giving more of a worn natural texture but overall I think this is the colors you used are great they're well balanced they're cool they're visually interesting I like how they play against each other I really like how the face is brought out and very bright I've talked already about how the face needs to be the center of attention and between her creepy eyes and the bright you know light colored blue on the face yes nailed it okay so Abaddon the spoiler just finished and we love some feedback especially on the OSL coming from the torch on the base try to stay mostly faithful to the box art sure uh yeah I mean I don't know I think the torch OSL looks pretty good it's a bit too bright here like because this is actually down from the light there would be a more of a shadow here than anything else but I really like it on the cloak I think it's good one thing we missed is when you have these cuts in the cloth the light would gather here on this side of the cut so like the far side of the cut if this is the source of the light if the light source is sort of here then the far side of the cut away from it here would be gathering light that would be a bright edge so just kind of that sort of thing um yeah I think overall the OSL is good you have the right amount of sort of light out I think probably a little more variation on the armor itself and the claws would be the claws look yeah a little more like depth of shadow in them is I think what you need the highlights look really nice those are bright and silver a little more variation on stuff like his armor the cloth out here where you don't have the benefit of the OSL I think would be good um and then popping up his face where's the zoom in on his face somewhere there we go um something a little more here get this a little brighter some more reds especially near the mask you know stuff like that so he's got just a little more variation brighter up here a little more tonal variation throughout this area the face is still the center you want Abaddon to have that really really visually interesting face so if you're not going to do the inner glow from above on the thing then I think that's the right answer okay but overall very cool alright Tebow now Tebow you know the rule is one a month you're giving me two but alright just this once but again one post a month Tebow one post okay so doing a second bus was long overdue and he finally found the motivation to paint one really motivated at first and got a decent result quickly we found it hard to keep going yeah I mean it's tough with Buster a big investment time so my answer is I think you're nice but again I like this is good we've got a lot of good freehand I think the variation on the skin looks good I'd love to see a little more reds and pinks especially on the face of the skin it's good around her eyes I'd love to see a little around her nose the lower parts of her cheeks but I think this is really solid the sword and the copper looks really good the freehand on the dress is nice yeah I mean I think it's mainly her hair I think her hair is the biggest place on let down because it's all very samey I love the reflected color down here on the blue I think that rocks and rolls but the hair needs a lot more like a halo of light kind of catching the pieces out there it looks almost like an oil slick right now and I don't think that's what you're going for I think you're going for black hair so more control over where like those highlights would actually catch just google lots of images of women with long flowing black hair and see how those highlights are actually being caught in it again Pantene Pro V bottles Google image search that stuff I think that's your biggest area for improvement the hair is probably the one part where I think you need to push farther as to the skin yeah a little bit more pink and stuff especially in some places like purple here a little bit more on the side of the nose under the nose that kind of area maybe a little bit down here on her arms maybe a little bit here in the center of her chest between her breasts or up under her arm here but overall this is good and you're right busts can be exhausting because you just have to keep pushing but I think you did a great job on this where you are I really like this choice of skin tone I think the highlights feel like for this sort of orc samurai woman great alright Daniel another Vargeist I had given him some advice or kind of agreed with your own advice on painting the skin and wings so how is your opinion on the second one wings skin overall okay so when we're doing a naturalistic pattern be careful of something that's going to read as something else like say clouds on blue sky you know it wasn't your intention but that's what it reads as people are going to unpack subconscious priors so be careful of stuff like that you'd be better off doing demon dots here just like little tiny circular dots that get more spread out than you are doing a pattern like this also when you're going to do a pattern it has to be solid it can't be like this where I can still see the paint coming up underneath of the blue that's going to sort of ruin the impression of it as to the wings and the hair I like the color I think it's good you're pushing in a nice place I would you know like bring these down to dots instead of puffy clouds and they will feel a lot better the wings keep pushing that contrast more on the edges more on the ridges more on the top more in the center of the wing that kind of thing and I think it would be in a nice place okay it's very much coming along alright John Gallant getting this one in under the wire I think you could take the skin further but struggle with retaining softness but also having some contrast any advice on the scales would be welcome as well as any other feedback yeah I mean a lot more contrast on the skin my man you're absolutely right like not just the face under the arms on the muscles and everything just a lot more contrast see everything I've already said in this video right purples, pinks, push push push go look at what you should do John here's my here's my challenge for you I want you to go spend 30 minutes looking at one of Lan, Lan Studios Michael Pisarski look at his pick a random female bust he's done and I want you to look at the female skin tones he does because he's a master of just depth in skin and I want you to spend 30 minutes looking at one or two of those and really look don't just look see and see the way he handles skin tones and the contrast that's there that's your roadmap your goal ok now as to the scales we need a lot more picked out this sort of like repeating pattern like that it doesn't really sell in those colors because it feels a bit too sort of gaudy and bright I think what you want there is more of like go against the problem is the scales are horizontally stacked and then you just made the pattern follow that where it would have been more interesting if you broke the two up if you had a vertical pattern against horizontal scales because then you're creating natural visual contrast using the elements on the miniature they also feel like a bit too yellow and bright to be truly organic I think that's the big challenge there as always when it comes to laying down tufts we want to make sure they're laid down I shouldn't see the bottom of tufts make sure they're nice and pushed down in there also they should be painted push some wash in there dry brush all of them don't leave me with just tufts that look like tufts especially when I can see the bottom get some tweezers push those tufts down in there wash down the bottom wash around the edge dry brush the top make them feel naturalistic all right Jason new to painting tabletop minis been painting custom funko pops for around four years cool first reaper mini probably 15th to 20th overall any feedback is greatly appreciated okay sure well first off be careful when you're doing minis like this when they have these big mold lines it's the nature of the quality the mini it's just really tough you want to see if you can scrape them on the teeth you want a smoother transition you want to go out to what's here so it's cool to go white to dark it's unusual on teeth teeth usually go dark up here near the gunline gunline to light so you want to take those down with the eyes go watch my video on painting I have a couple of videos on detailed eyes you don't want these big veins like this these veins wouldn't be like that they'd be hyper thin so again see video on sharp thin lines when it comes to things like contrast your paint here is very satin it looks very thick it shouldn't be this shiny you want separated elements so where you have the eyes against the skin we want dark around there so that each element is nice and shaded same for the skin to the gums same for the gums to the teeth same for the mouth to the tongue so separating those elements and getting that proper control where you have light to dark to light to dark is I think my big challenge for you once you have those strongly separated elements that's going to really bring your painting to the next level that's a good next step for you to take to work on those dark and separated transitions so that everything has it's spot and the elements are all separated alright Andrea just join this awesome group this is your first entry, well welcome we're glad to have you love dear if it's good in general it's not bad in particular instead I'd like a review of the sword first attempt at a power weapon on the face and on the cape so okay great so is it good yes it's good absolutely everything looks clean your colors look nice we've got some nice shading and transitions going on here good okay the sword yeah I think the sword looks awesome yeah good contrast interesting you picked out all the faces I'm no issue with the sword I think it looks cool looks like the sword in the box to me pretty good color yeah I dig it as to the cloak and the red be careful of the satin here we finish this this could probably be a little matted it's a little too glossy and we're getting light reflecting in your shadow nothing makes a paint job look worse than when your deepest shadow is reflecting bright light see this light line right here this should not be here if this was matte this would be a shadow this is why when you see like most competition display painters they paint in very matte colors because they don't want light interference that's what's happening here this is meant to be a shadow it said it's now a highlight this is brighter than this that's a problem so matte matte matte matte matte matte matte matte matte okay so overall I think that like your biggest area where we've got some room for improvement is in the face see the previous Abaddon model and what I said and what I've said about skin over this whole video which is more tonal variation more highlight around his eyes in his cheeks you know just like pinks or not pinks on him he's an evil cast dude subtle darker heads purples things like that getting that variation into the skin same with like your steel metals you want more variation there so some inks go see my video on true metallic metals and how to add shading to them or see the linked video down below finally one interesting thing here this eye should be painted it's generally like all the KSI should have should be KSI's so but that one's still just gold so just a little thing I noticed that jumped out of me little details like that sell a piece like when you when you want something to really look good you want to make sure all those little elements are interesting same here with his tubes he's got like these have wraps and then they have tube make the tube under the wrap a different color right don't make it all the same like when the when the sculptor gives you a chance to break up a color by doing that take advantage of it make this tube a deep red or something versus the you know with a visible tube versus the the tube cover that stays great or a flippity flop right something like that where it you know when a sculptor gives you an opportunity to break something up take it so there you go yeah overall good stuff cool hope that feedback helps okay I'll look at this back of the Cape by the way too I think you're trained I did I sort of I should mention it the color red transition on the Cape looks very nice I think that's excellent it just needs to be matted out I don't know that I said that clearly before all right finally saying a little late this should be in the November review but since I'm late I guess you're okay one year into the hobby painted captain for his custom army let's take a look the answer my good friend as we end of the month is where we begin almost every month and it's more tonal variation the gun should be broken up a little more so more variation there the gold is the most flat I need some application of color colors there to kind of break that up look at the videos I have on how you want to shade true metallic metal gold and add color to that I've got a couple of them see any of those the white needs some soft subtle grays stuff like that to break that up and then finally I like your basing scheme but we always always always finish by black rimming the base the edge of your base can be any color as long as it's black or something close to black like black gray don't leave this messy junk on the edge of your base it makes it look nothing but bad finally when it comes to a brown muddy base like this this looks like there should be life here so color color color greens purples washes reds something go nuts grab pigment grab washes start stifling stuff around just go wild and have fun with it because it's nature and it's random and it's fun so and then have a little bit of that dust come up onto his feet very lightly but overall I think this is a really good color scheme like I like this color scheme I like the red and white I think pops we just need to push that tonal variation and you'll be in a great place your white is going on super smooth which I love so it's like the brights of that look great just work on bringing in a little more shadow with that we come to the end of the month so thank you very much to everybody who submitted wonderful wonderful work this month everyone absolutely beautiful pieces when I look this month I was so excited because this is just stellar work all around so absolutely thrilled with everything I've seen here thank you so much to everybody who submitted great job look forward to more in next month I can't thank you enough for all your submissions and for giving me a chance to review all this wonderful work if you want to join us on your hobby journey of course you can feel free to click the link down below but as always I very much appreciate you watching this one and we'll see you next time bye bye everyone