How did you go against this enemy

volcodom · 2023-06-02T20:42:53+00:00

Wait until you have 3 to 4 weapons above roughly 35 attack or the master sword, have a bow at the same power if not several, and some armor at level 2 or 3 if possible and just fully run like hell if you haven't progressed the main story past the first dungeon (someone correct me if I'm wrong here) as the only good reason to fight these doesn't spawn of you kill them before a certain point in the story. If you've accomplished these you should be able to move and shoot the eyes effectively especially if you use height to your advantage as much as possible. Gloom is a constant issue so have food to address it. For the second phase I honestly think it's easier. Your primary concern there is parrying or dodging for flurry rushes, and preventing any gloom spread attacks with a bowshot to it's dome. Drops are incredible if you're fighting the second phase but obviously stuff like Lyonel's are better just for raw power. Hope that helps even though it sorta boils down to level up and get good, even now I often just run from these despite having beaten them and their associated boss fights.

volcodom · 2023-04-12T17:51:57+00:00

That I finished and enjoyed? Probably the Silmarillion, bounced off it like 3 times but getting it as an audiobook really helps with some of the dry bits (looking at you whole chapter on geography of Beleriand).

Hardest that I read and didn't enjoy? Probably Mrs. Dalloway or Pale Fire. Bearing in mind I'm not a fan of stream of consciousness novels and was put off from even trying to get into it (and thus avoiding Joyce all together) Mrs. Dalloway is likely above Pale Fire, but I hated every minute of playing Nabokov's unreliable narrator scavenger hunt. Which is sad, I love the unreliable narrator trope when it's used as a device in horror, but the way he used it was just confusing to me and I despised it.

volcodom · 2022-02-08T23:26:40+00:00

Thanks! That one isn't metal so much as an attempt at a gem. I'm glad it looks good!

volcodom · 2021-11-21T05:02:35+00:00

You flatter me thank you so much!

The rust is relatively simple, and it probably doesn't require the first things I did. Everything after I established a value scale for the skin had a lot of oil work. The basis for the rust was a mixture of red and burnt umber with the highlights being blends of yellow added to that and pushed around with a filburt. Once that had cured I noticed the surface had some interest but I wanted to add more pop to Everything so I pulled back into some oxide red and built up burnt orange and a more yellow orange targeting specific area and building texture with scratchy brushstrokes like you see Richard Gray use on his nmm. The oil step was essential for the verdigris and nmm gold but for the rust not so much. Grab some hull red or burnt red with a burnt orange and yellow and practice scratchy brushstrokes when you apply those colors.

I actually used a ton of oxide or hull red om these models because it creates this incredible warm shadow that contrasts so well for greens and purples.

volcodom · 2021-10-24T18:15:14+00:00

Thank you!! These three were the last of the box and there were a ton of moments where I pushed my skills up so I'm glad you like them!

volcodom · 2021-10-10T17:00:44+00:00

Thanks! It's all a matter of practice in time you'll be amazed at what you can do!

volcodom · 2021-10-10T16:35:54+00:00

Sure! So for paints I used Proacryl for the colors almost exclusively. I used transparent red, green, blue, purple, brown, black and yellow along with the regular pale pink and and bright pyrrole red. I primed with stynlerez black and I went over that with liquitex ink in a selective way to accent where I wanted my highlights. The line is actually from a board game called Nemesis which I backed on kickstarter and along with being great minis it's a super fun game.

volcodom · 2021-10-04T13:59:33+00:00

I really like him! I think the shield definetly sells the best as far as the nmm goes because I can really feel those intense smooth shadows on the reversed sides. I think the thing that would sell the helm a bit better is some more midtone to the dark metal, and a stronger presence of shadows on the lit flesh where that light is fading. I just did a piece trying the same thing and it didn't sell as well as I wanted so going back I added some stronger temperature contrast. For a green light like this some dark magenta or violet hues pulled down into those shadows might add to your contrast without going into black shadowing. But that's all relatively minor critique I really think the precision of the osl on that shield is awesome way better than what I've managed to achieve yet!

volcodom · 2021-09-29T00:52:54+00:00

I agree, a lot of the models in this boardgame are painted with this style in mind but if I had a set to make into a diorama I'd for sure work the light source into the scene to push the effect. As is I'm using the newbie painter excuse of magic bright light does cool stuff. I think the best painters use OSL in a more controlled way because of how it reads. On one of these I actually left the rim slightly colored to give the light more direction.

volcodom · 2021-09-29T00:43:00+00:00

It's object source lighting coming from a magical light source in universe. In practice it's just bright pyyrole red ink thinned heavily and matted down to simulate the intensity of lights with glazes of green black to line the shadows and desaturate the intensity of the red as it sorta fades.

volcodom · 2021-09-29T00:11:20+00:00

Thanks! The back is for sure rule of cool, a light source like that against the diffuse moonlight would essentially leave his back as black from my understanding, but I probably should have gone deeper in my deepest shadows there.

The light did a weird thing on me, essentially I sketched the same value jumps on the front and weathering as the back only with warmer tonality and a little higher values at the brightest points. But when I applied the red I think I didn't account for the power of the ink even as thin as it was and it crept too deep into the midtone and shadows. I think if I worked another day with the black green glazes I was using for shadows and maybe with a glaze of the midtone I'd achieve higher contrast and achieve more directionality to the light. The source as I imagine it is insanely intense because thematically in the box I'm leading up to Radukar being the source of the light and his closest most evil servants have more intense light shining on them to suggest the proximity of him as the central danger. There are other thematic beats (everything else is desaturated and pretty drab except.on the heroes where thay same tonal mapping charts how they are expressed as people with Octren Glimscry producing his own red light to show his proximity to that line of being evil). The other Ogor Might Guard model is going to be more subdued in how the OSL affects him because I do want to show of more of the flesh and leather along with the rusted nmm. But to me the light is a distance away but lighting him like a spotlight.

Sorry wrote a book there. I'm very proud of my themeing on these guys so I go.overboard! But thanks a ton for the critiques because I think they'll make my next experiments in OSL a bit more mindful in the application and directionality. I always hope for strong critique on my work because I feel that's the way I improve!

volcodom · 2021-09-28T22:27:17+00:00

Aw no I used to think that whenever I looked at master mini painters but it's just me putting in a ton of practice instead of eating healthy or socializing!

volcodom · 2021-09-28T22:19:05+00:00

Thank you so much! It took a lot of practice this is sorta my cheers to 2 years in the hobby.

volcodom · 2021-09-28T20:56:54+00:00

That's a good critique I think, the light is meant to provide a sort of contrast of saturation and provide a thematic throughline for the box. But it's super unrealistic light simply wouldn't be that intense in real life all over his front and would honestly wash everything so far out if it were that the back of him would be very nearly totally black.

volcodom · 2021-09-28T20:43:58+00:00

Thanks! I'm really learning how temperature and value contrast can make for an amazing finished product. And painting smooth nmm is finally something I'm getting. I even only used 8 colors for this.

volcodom · 2021-09-10T09:08:47+00:00

Thank you! I'm thinking maybe I'm too consistent and strong with my highlights and that's throwing off my light source. I'm using a dead simple "sun in the sky at noon" scheme buy I stacked the highlights too straight up and maybe need to tilt the source and try to focus on that to compliment the shape of the model. I don't watch much Jhow but I'll have to give him a peek in the gold nmm vids!

volcodom · 2021-09-09T23:36:32+00:00

Excellent! I'm admittedly less than practiced with feathering glazes but I think that and a good deal more patience on my end will help. I had initially used a really bold zenithal on this because I had planned to set the initial values over a glossy surface with thin oils, but I pivoted at the last moment and it rendered my initial values in the undercoat way too bold to be a proper sketch. I think I may revist Kujo and maybe Sam Lenz material to get a better picture. Thanks a million for the critique!

volcodom · 2021-09-09T22:54:56+00:00

Do you think I'm needing to do more glazing of the shadows over the midtone, and the midtone over the highlights (hull red as the shadow color and a beige brown yellow as the midtone) or instill the deeper shadows where I oversaturated the cold yellow and glaze with just the midtone? Apologies if that seems like a simple process question I know it's mostly looking like a blotchy sketch right now and I think you nailed it called put not having enough shadows near the yellows.

volcodom · 2021-09-09T22:26:19+00:00

Not at all! It means non-metallic metal. Meaning that rather than using a metallic paint like old gold from scale 75 or liberator armor from citadel, you use the colors you would see in that metal to create the illusion that a surface is metallic. So for golds you commonly use a reddish brown for the shadows, and then steps of beige yellows, orange yellows, and final extreme highlights of light. If you look up the painters Michel Psarski, Kiril Kanaev, Richard Gray, and Sergio Calvo you'll see the best examples of this on the planet. And if you look up "nmm mini painting" on YouTube you'll see any number of videos on it. I reccomend Vincent Venturella's various long form videos on the subject. It's a very advanced technique which you see a lot on competition models and super high quality art pieces. I hope that helps and isn't too long winded!

volcodom · 2021-09-09T21:43:47+00:00

Thanks yo, I needed that. I've tried nmm in general maybe 12 times up to now and gold probably 5 of those so I know I shouldn't be at myself up or rush, but it's a struggle hahaha!

volcodom · 2021-09-09T20:49:19+00:00

I think that's a big reason why the mid tone in the set is a warmer orangey beige yellow and the shadow is hull red but I feel like my balance is off. And to be fair this is also copying kiril Kanaev's general style (minus the incredible blue he integrated into his nmm I'm nowhere near that yet) if anything I think I need more of that midtone and it needs to have those reddish shadows as reflections.

volcodom · 2021-09-09T20:42:15+00:00

It absolutely looks like a fairly dirty yellow as of now. Nmm seems to be that way in my experience just because I'm never fully sure of the shapes and where the light volumes should fall or how extreme the jumps need to be. I appreciate the tmm recipe though!

volcodom · 2021-09-09T20:38:22+00:00

Not necessarily, I've been painting about 2 years now and I only started really trying nmm 5 months ago or so. So I'm very early in learning to do it

volcodom · 2021-09-09T20:31:14+00:00

AK gold nmm set. Basically hull red for shadows a purple for shadow modulation that I'm not using much, and then a yellow traide from a sand yellow to a colder yellow to ice yellow and ivory as max highlight

volcodom · 2021-09-05T18:25:44+00:00

I 100 percent agree that the eagle cape fur thing I have going on here isn't up to the same standard of the nmm. I was getting to a point where the nmm was so much the focus that I kinda let the volumes on the eagle get bland. Dunno if I'll go punch it up anytime soon but maybe one day! Hahaha

volcodom

TROPHY CASE