 Hello everybody and welcome to another PMP end of month review. Well, what is this? Well, this is where we all get together for an hour or so and a couple hours how long it takes and we review All of these submissions into the PMP end of month review event. Why what is the PMP? Well, that's painters motivating painters our Facebook hobby group. That's all about helping you get to your next hobby step So every month we invite our folks to put in an entry into the end of month review event And we ask them to ask you know highlight something that they would like to Receive specific feedback on the project has to be finished and They have to ask for specific feedback as to what they need to What they need to do or how they could improve or whatever the case so With that being said if you'd like to join us on your hobby journey, and we welcome everybody from people who are just starting out to masters We welcome you to join the link is below Do make sure you answer all of the questions if you don't answer all of the admission questions And agree to the terms of service for the group. Yeah, don't get in it's pretty much that simple So with that being said let's turn to what's on the screen right now and to this month's submissions As always we've got a lot of them. So I am going to be quick We're going to be moving through these at a good clip And a couple of shorthands that I'll use sometimes. I'll say you need more one two three four or five One is your highest highlight five is your deepest shadow three is your mid-tone So if I say you don't have enough two and one that means you need more highlights or something like that When I talk about contrast, I'll often talk about two different types of contrast either Tonal variation of value. So that is contrast By adding additional light and dark light and shadow Or I'll talk about Variation of hue or color contrast So more use of color across the miniature Those tend to be shorthands that I'll use quite frequently. So it's good to get them out of the way up front So let's get into it. We start with Dave here who says this is 75 millimeter snap And this is for Tony Stark And we remember this moment if you saw the movie looking for feedback on the OSL in the recesses and for Feedback on the non-metallic metal. Sure. So with the recesses the key is they need to it needs to fade more So you do still need it's the normal rules for For highlight it or for doing inner glow is the same as painting eyes the same as everything Your brightest spot is in the center Then you have on each side of that a slightly dimmer version Then you've got to have something dark and then you've got to have a soft glow of your number two. So one two dark Soft to okay, so that's the same here So effectively you have to have if they're actually recess like I don't know if the model actually had a physical recess or not But if so then on the sides of that recess there needs to be some a little bit It needs to be darker and then it needs to come out To a soft glow if you want a good example of this actually look at one of Sam Lenz's recent pieces where he does void dragon and he carries the cracked pattern up onto the chest through freehand and That's a good example of how it spreads and he has it sort of going from intense to a very soft outer And that's really what I see missing here is the soft It just looks like painted lines because there's no glow to it A glow has a soft fuzz shine a light a flashlight on your wall in your house It doesn't like create a light to a point and then stop and then there's darkness. It has this soft fade out, right? So that's the same thing there now as far as the non-metallic I think the legs are the biggest success I think there's probably a little more four and five needed in a couple places But I think that does work The chest area is actually I think the area that needs the most attention because it should be the same it Like the red in his armor was also shiny non-metallic The red isn't matte on Iron Man. It's everything on him is Reflective so his armor is red non-metallic metal, which is very challenging if you want a good example of this Banshee has done a few different versions of Of Iron Man in all NMM so you can go reference that and that's a good place to look As well as just looking at the actual movie resource Of course and and whenever you're doing a piece like this, which is based on some kind of reality That's always the first thing I would say is go look at the real thing and really look at it Don't just look see it Spend a half hour staring at a screenshot of Tony sitting like this notice every color variation every detail Everything pick all that out and then transplant it over and continually refer back to it and back to it back to it Reality is always our best guide Okay, next up Rodrigo And he says finished his diorama just some general feedback on it. Sure. So it's a cool diorama You know neat space a couple things jump out at me in Italy. I do like the color contrast here use I think that's fine with the the ghost all having the blue and the storm cast in the middle being yellow I think that's that's good The Ground out around is you could actually kind of bring this in a little bit these people could be a little closer together You generally want to use like a minimalist amount of space with a diorama You've got a lot of figures here, but you could still scoot this in just slightly. We have a little too much open negative space You could also turn them a little more especially like the guys on this side over here Sweep them around a little more so they're kind of coming in it would like I get the Understanding that you're having them all ride toward the front, but if they were just coming directly in it would feel a lot more Coherent like it's strange that those that three of these figures are riding toward me and not paying attention to their enemy Right, that's what's unusual here Whereas we need to like the storm cast of the central focus So the lines you create by the other figures by having them be in place is also important The final thing that occurs to me is we need we could have done some light variation here Like you've got a light in the dark thing. So you need to have the highlighting should be We don't often think of this with stuff like ground cover, but how you show light and ground cover is really important You like the stone that they're on in the center of the thing should be well lit and have bright highlights And it should fade to shadows and very minimal highlights around the outside Which will then pop up the blowing blue the glowing blue guys as well Okay So the way you use light and dioramas is really important because you have to you have a lot of stuff going on and it's Very important to control the eye of the viewer So hope that helps Okay, next up John This is latest little mini diorama And he's looking for saying you know sort of advice So I mean I've got a lot of different feedback for you here My my first piece is again much like what I said before you're using way too much space to tell this story Like this should be shrunken down to probably half of its size You just don't need empty space like this when you're doing a diorama to we need to work on our contrast a lot of the things In this are very flat as far as they go like we don't have enough tonal variation Value here more or less anywhere on the piece So when you're putting tufts on don't just put tufts on to gray earth There should be you want to paint those tufts in some way shove some washes into them put some highlight over the top something like that When you're doing ground cover the ground should not be gray scorched earth even in the middle of like unless there Was literally just a fire here two days ago, and this is all ash Even then there would still be color in it Okay, there would be embers and bits of other color But the figures themselves they're very flat like the figures themselves which are supposed to be the central area The piece are very flat the green is very flat the blue is very flat They're also all very saturated colors, which doesn't make the guy feel dead or sort of a Zombie thing or whatever he's just be some kind of infected like those things need to be Desaturated versions of their colors make him feel like he's part of that but contrast in general you need to push that way up So a lot of videos out there on contrast I think Travarion has one of the best around it if you just search for a true variance contrast video He'll take you through a lot of it But we really got it up the variation of hue especially on things like the ground cover and Other place like that in the variation of value on the figures Hope that helps All right next up Paul Allen a little experiment with OSL and using desaturated colors Sure, so let's let's talk about it So I actually want to go over to This image so a couple things to point out one There's way too much white in that fire fire does not glow white like that. That's not how it looks You shouldn't have any pure white. You should have a tiny ring of white yellow It may be in the center. Maybe if it's a super hot flame. This is not. It's a torch. It's a very cold flame, right? Like if I go over here and Google Let's just Google burning torch and then go to images. Okay This is not white, right? Like what we've got here is orange and yellow and stuff like that right now set against complete blackness It'll feel white Right, but even then you can see there's a lot of yellow in that right when you set it actually against something where you've got a Lot more color in the background. It looks a lot different, right? so The point is we should be much more in like a small yellow mostly soft orange Into maybe the tips of like a deep red brown black to show carbonization area here And the light itself should be much much more into the like you have a very Using a very like cold yellow lemon yellow type of color It should be much more in the warm yellow to orange spectrum into the light. It's casting. Okay There's a very particular band of light that this kind of incandescent thing will cast and If you don't hit it it feels fake like right away because our eyes just have an expectation What it is because we've all been around Candles and campfires and whatever in our life. And so we have a very sort of built-in Presupposition as to what that color is going to be So that's probably the main thing now as far as the light on the ground goes It's the light on the ground isn't hitting correctly because where he's holding it above him undoubtly He should be casting a big shadow But most of the ground where he's not casting a shadow Should actually be like just fairly softly lit with some of these rocks catching slight bright light points, right? Because it's all flat. It's about the the Surface to the light the lights shining down on it Straight right and it's just a big flat surface He himself would be casting a shadow behind him right where because he's standing directly between it So you could you could have a painted shadow coming behind him and that would sell it a lot better But it's not going to cast this this this stone is not a mirror Right what how you've placed this this very strong distinct light here This is what would happen if the ground was reflective and it was actually like Capturing the image of what's above it, but it's not it's extremely matte Which means the light is going to be diffuse over the entire thing, okay? so Yeah, I mean that and like Those are my main piece of feedback. So hope that helps fall Okay, next up John first-ever storm cast eternal What you can do to push the next level so I did look over the piece and my basic advice is they're gonna be the same as you'll Hear me say a lot, which is more contrast, right? We need to push our shadows We're especially missing every all four and fives are just absent from this piece We don't have any shadows going on the whites are very very flat They're all just basically three and that's it You have no highlights no shadows on any of the whites the red here is way too saturated It needs to be a deeper red Don't don't put bright saturated red in one place on the manager in where it doesn't belong like that's off-color balance And you need to work on and then eventually like also adding contrast to the metals But there's also some paint cleanliness issues in here that I'm seeing where paint is getting where it shouldn't be Just general kind of smoothing and stuff like that like these highlights with blue go watch my exploring color blue series Your highlights are very rough. I can see the transitions if you go watch the exploring colors blue I'll show you how to highlight blue and make it not look like that and You know and but my best advice would be one push the contrast to work on your paint cleanliness Make sure you're going and cleaning it up getting the paint only where you want There's places where I can see blue on the gold and gold on the blue and stuff like that You want the piece to be nice and sharp and clean just doing it clean will go a long long way To improving the overall feel of the piece, okay? So Yeah, those are my main piece of feedback for you John. Hope that helps Okay, next up Nick Painting for two and a half years last mile. I painted a quick question no matter how I thin the paint. It still looks chalky to me Yeah, I mean that just you may want to try a medium then depending could be the paint you're using or something like that There's lots of different possibilities for that I mean my I guess my main thing I would I would push back on you here for your piece. I mean it looks nice We do need more contrast in general both of value and hue the skin is very flat It does not have a lot of variation in what's showing there the metal is very very flat It's basically just the metal color. We need to actually see reflections and shine and shadow in that metal Things like the feathers are a good opportunity to do something to pick those out They just they feel very strange Into how they are like the the structure of the feather with its little Gosh darn it somebody recently told me the name theft theft. I think they're called thefts It not being highlighted the theft and then these little if I'm wrong. I don't know something like that And the space is in between like you want to draw out feathers. They're a good opportunity to really Show texture in a in a way that's that's compelling, right? You know same thing with the skin here on this guy's face He's holding like it doesn't look like he's holding a human head because it's just It's just basically one color and there's like even if it's a dead person Then it there's still going to be tones and colors and highlights and value in the skin So where I'm going to tell you to focus your energy is mainly on Your contrast now as to thinning your paint if your paint's going chalky That's either because you're stretching it too thin and or something You know or or it's just the brand of paint doesn't have a high enough pigmentation You might try things like wet blending. You might want to get into that That's a good way to avoid it. You might also try mixing medium or something like that in that can help your paint Avoid that sort of thing You might also try mixing and thinning your paint with ink because that still adds pigment But then is the paint and can make it more controllable So there are lots of options and I would explore some of those to see which one works best for you Okay, next up Philip with his am bot And Basically, how would you take them any up to the next level? Yeah, so sure I mean, it's going to be my very common thing I'm going to say throughout this which is you need more contrast the metals are very flat The blue is very flat Everything's very like everything is generally very flat, right? So we need to create more variation on these panels these panels need to be panel lined They need dark lines in between them. They need highlighted areas I need to see both volumetric highlighting of that is to say volumetric highlighting means here Is this particular area? How is this volume highlighted, right? It is the individual thing like this knee, right? But I also need model what size by a volumetric highlighting this area should be very bright This area should be very dark as it stands now. They're the same color blue Right, whereas when I hold my arm up like this This color is not the same as this color. I have a very bright light right above me, right? This is not the same color as this Because this is in bright light and this is not Okay But yeah, so definitely more tonal variation on the hazard stripes You'll want to I would stay away from using again like a lemon yellow like you're using Hazard stripes tend to look better as more of an ochre color You want to make sure those black lines are nice and crisp and then you want to scoff them So it looks a little bit too messy. It doesn't look like damage. It just looks like we didn't get the paint on fully I understand you're going for battle damage But if we're going to scratch the paint of just the black then why is there not equal scratches on the yellow? Why is there not equal scratches on the blue whenever we weather or damage? It has to be consistent throughout the model based on how the model would stand or how it interact with the world So to say it's okay to like Really scuff and scratch the bottom legs of an Imperial Knight Why because in and not have much damage up top? Why because it is in the world a 30-foot tall robot that walks around mainly in a world full of 6 to 10 foot tall things Right that interact with its legs So damage would focus on its legs as it walks it would scrape against things and buildings And it would kick people and there would be claws drug across its legs and everything else Whereas the top of it the pilot would remain relatively above it unless he took incoming fire, right? So when you've got a relatively Human-sized thing. I mean, I know the Ambot's bigger than that. He's bigger than person But he's still like within the balance. He's like ogre-sized, right? If if this is going to be all scratched on the black then I expect to see the yellow also scuffed up and revealing You know metal or rust underneath I expect to see scratches on the blue and lots of damage there and you've got a little bit of it But it's not directional in any way like you've got some small areas here and here But they're not dark enough to actually display to me what's going on with the miniature Like this scratched all to heck and back and then the area three feet away Not even that far. Sorry the area half a foot away on his torso Or such on his arm are pristine What happened here, right? Okay, so so that's the kind of things that will break it up So there's what my feedback for you and how I would tell you to work But we definitely need to work on those metals. They're the flattest part of it I have lots of videos on painting true metallic metals like non-metallic and how to add shade and highlight into metals I would highly recommend watching those Okay Marco Paint job on large surfaces such as fur and wings sure So, I mean I've got a video for all this so one go watch my how to paint detailed Wings video. It's a very early one, but I stand behind it It's I actually think I might have been using these exact wings If not, I was using the chimera's wings, which are almost identical But I was painting some big chaos monster like this. So, you know You the key is you need variation over the wing structure and on the bones of the wings, right? So where they're more stretched, they should be thinner and brighter where you get towards the grouping on the bone It should be darker and then the bony just come up again with some kind of highlight Contrast contrast contrast contrast we want to jump from light to dark to light to dark as many times as possible Fur I have several videos on painting fur I would watch my most recent one, which is you know, sort of a different way to do fur But again, it has to be varied like whether you use sort of a dry brush technique or whatever Fur cannot just be like I'm trying it all brown and then I high then I dry brush it all light brown That's not how fur looks, right Fur itself has to capture volumes same as anything else. And so there's a couple different ways you can do clumping with fur That's the most recent video I have so you can go check that out We need to add in different colors have different changes to it natural creatures have lots of organic patterns and things like that I would say the same thing for the skin. It's always the challenge on the manticore. It's got a big flat open area of skin And you know the key there is you need to look at things like stripes demon dots patterning Chaos runes whatever right something wounds like there's a million things you could do But you need to create some kind of variation there like where this piece falls down is variation of Hugh too much of this is the same and this is the same and this is the same and this is the same Right when you've got these big flat open services We've got to do something to break them up to make them visually compelling and interesting And so stuff like that is how you do it each each section has its own tricks And I have videos on all of them, right? So go check those out and that should hopefully take you through what you need to know All right next up, uh, matthew Um Love some feedback what well works well with this piece and what you can improve and change Yeah, so man, I looked over this piece and this is really tough because I think what you're going for is like a guy Next to a really bright light But it just doesn't work. So here's what I'll say and I don't mean this in a in a harsh way Don't try to do this extreme osl stuff. Okay This is a really hard thing to capture for very advanced painters and It's important that you learn in order. Okay What I'm sure and this sounds really harsh. Okay But I don't mean it this way. I just mean it. I'm gonna say this as plainly as I can I wouldn't put quantum mechanics in front of a sixth grade math class It's all math Okay, but it's not the appropriate time for them to learn that there are foundational elements they have not yet mastered that are going to keep them from being able to understand the heck I'm talking about And complicated osl like this is the same thing. It's the quantum mechanics of high-level painting Because you have to understand light and exactly how it works how to capture it how to shadow it How to show fades how all that like the problems here are myriad. Okay um and so What we need to focus on is just paint the guy Right because when I look at just the blue guy the part of him that's blue that I assume is you know His base stuff not lit by this what I see is we don't have enough tonal variation We don't have the panels properly lined. We don't have them properly edged and highlighted We don't have them properly separated Right, we have some issues where the paint isn't as clean as it could be with how we're separating all our elements right Things are still too glossy. We need to map them down like there's a lot of fundamentals we need to work on here So i'm not trying to smack your hand. I'm just trying to set your expectations accordingly. Okay and The the key is you know Like here's a very fundamental thing If this is supposed to be some kind of big bright light, there's zero of it on the base none He's where is this light coming from that? It didn't affect his hit the base Or the sword right if this sword is somewhat reflective it should be yellow too Okay Like it should be showing these reflections. I understand here you turned it yellow, but the problem is The yellow color came over and hit i'm going to try to find an angle This would be if I had this in my hand of easier here It hit his head here and his cloak here if this sword is that reflective that it turned completely yellow It would show yellow here from the counter reflection boom boom boom Okay So we just don't have enough contrast here like my my hard advice is don't try stuff like this not yet Okay, I appreciate the effort. I applaud the effort Way to swing for the fences You're pointing for the parking lot in uh You know in yankee field here, but the problem is what we we've got a We've got to get the fundamentals of batting down before we we're going to knock a home run out of the park. Okay So that's my best advice. All right Uh is work on those basics like I would love to see you take this fig and repaint it like 100% I know that sounds crazy, but repaint it and show it to me just in the blues that you have in your mind Don't worry about the crazy lighting source. Don't try it. Let's not go. Let's not go crazy Just show me this fig painted Okay Like do do your best job on this guy painted like in blue it is blue armor and And we'll see where we're at. Okay All right, uh joseph Uh feedback on the psychedelic orc dragster Uh Yeah, this thing is fantastic. Uh, this is great. Um, I mean it is what it is you've gone for like crazy town colors Uh, it's a lot of fun. I'll say that much if you're using every color like this in a total riot Somehow all of the chaos comes together. I don't actually think the wheels are a problem I'll say that Because when I relax my eyes, I don't see the wheels That's not actually what my eyes are drawn to I'm drawn to the red Because red is red and yellow are natural eye drawing colors and you have them kind of right next to each other So this this and this this triangle are actually what draws my eyes And you've actually created really nice balance of it because you got red red red red It's really good. Actually that creates a nice balance the cool blue that's soft and doesn't really take our eyes Is kind of in the heart of the matter and then we've got the exciting green around the outside So you actually created some really nice color rings here Um, like you've got a warm center and then a blue cold and then a green yellow warm Outer ring fluorescent outer ring. I actually think that works really well Um, so yeah, I don't I don't think that's bad at all. I mean, you know What could we do? I mean this is meant to be a cartoony piece So it's not really meant to you know, it's it is to be painted in the way that it is And I think if there's anything I would just say on the orcs themselves You may want to focus on perhaps Um, kind of smoothing some of them down a little bit some of the blends on the orcs themselves felt a little rough That was kind of the biggest thing I noticed. Oh, we could do things like some additional I mean like I don't really know you want to weather this thing or put dirt on the tires because it's not really what it's all about It's this is a living cartoon Um, but you know if you wanted to go that way you could have a little bit of like dust or grime or something in some places But on the whole I think it's quite successful at what it is to be a hundred percent honest. It's fun and really cool Um in the type of art that it is I think it's fantastic. So Yeah, I don't know what else to tell you well done Okay, uh, jonathan, uh feedback on the tent scale model first attempt a lot of different areas large areas of skin and freehand tattoos Sure. So Okay, uh when it comes to tattoos, I would encourage you to go rewatch my tattoo video So because probably part of the problem we have here is a tattoo has to be completely Clear and then glazed over and there's a very specific look to it Like what I mean by that is these lines aren't solid enough. They're not thin enough They they feel very painterly Not like tattoos and then they have to you have to glaze the skin over that to make it feel like it's set in there Okay, so I've got videos on doing tattoos and you'll see what I'm saying when I when I and I would also say you want to push them into a little bit more of the Um blue spectrum Tattoos generally feel a little better to us if they have a little more blue in them and mix some skin tone in there as well and you know when it comes to Tattoos of this size Right Like your best thing you can do is just go spend a lot of time google image searching And really look at how they look on skin. There's a lot of pictures on the internet of ladies with tattoos of flowery type things Uh, so you can go find those I've had to spend a lot of time researching You know real world tattoos for lots of different projects that I've done So that's what I would say now as far as the skin itself goes. It's way too flat for something of this size Our we need more variation of hue and value by a large amount on something this big Um, like she's this is a big bust I need to see like we have such a size here I should see the pink tones and the reds the blues in the shadows Right Like those colors are really expressed in these in this size So I need to see all that I need to see the highlight of the skin Look at my skin under this light. Okay, just like look at my face right now on the screen Look at these lights that you can see reflecting from above and the general highlight Look at how shadowed my forehead looks right here my cheeks, right? How much blue is down here? How much red is here now? I'm not this lady. Okay So, you know, it's not exact like I have a five o'clock shadow I'm not implying that you put that on there But my point is is that like that's the kind of variation of hue that makes somebody feel alive Okay, so you might need on a scale this size I hear sometimes people say like when you paint bigger, you don't need to push contrast as much And that's kind of true. Okay, but you're still at one tenth scale You still need to push contrast to make things look real But what becomes more important is the detail and the variation of hue That's a lot more a lot more important at this level and with busts or or this sort of, you know, thing at this size That detail becomes so much more important. Everything has to have detail like at this size you can see things like texture and cloth You know, you'll see individual hairs like lines in the hair all that kind of stuff needs to come forward. Okay Hope that helps All right, Alan Feedback on your dwarf. Sure Uh, so the the main thing that jumps out of me on the dwarf first of all We're doing some good stuff with the skin. I do see a lot of red tones in there Keep going push that a little farther, but I do think that's a strong point I'm seeing more variation of tone there More We're we're about 60 percent there. We got to go another 40 percent over top The non-metallic doesn't really sell for me Um, it doesn't have enough contrast. So like in the steel, I do not have enough one or two In the gold, I don't have enough one or two, but I also don't have enough mid-tone saturation So I understand you're probably going for a cold gold here. That's fine I still need to see some kind of mid-tone on display That makes it feel more in the gold spectrum. So this can be glazes of things like ochres Or, you know, lamentors yellow or anything like that that pushes some amount of it Especially in the lower two through upper four range that area those areas need to feel more rich So that would be my main piece of feedback would be keep pushing the nmm and push the contrast And especially the variation of hue as opposed to value on your skin Okay, next up abel Going for a kind of grimdard look with some dude colors Can't get the yellow armor to look any good. Yeah, I mean well I have a video on painting yellow I just covered it again recently I have multiple videos on painting yellow And I mean it just looks like we need to use more ochres and more Lower desaturated yellows if you want them to feel a little Weaker, you know mix in a very very very very Very small amount of purple because that will Desaturate yellow like instantaneously and make it feel very weak and sort of sickly Um, and I mean, yeah, it's the key with painting yellow is to not paint yellow, right? You paint it browns and rust colors and flesh tones or pinks or whatever Or Caucasian skin tones or whatnot and then you lay yellow over the top of it Okay, as you saw in the recent video So that would be my main advice for you with painting yellow It doesn't look like we're getting great coverage anywhere because I'm seeing lots of like spotting All over the miniature. So I'm not sure what's happening there. Why we have such a spotty Like it feels like we're we're not adding enough layers to actually cover the initial work of the primer or something like that Can't really tell but I see a lot of like dots Everywhere, and I'm not sure why that's happening All right next up Ivan pretty much the best mini painted so far looking at tips for fur leather and wood Sure So see previous commentary. I just gave on fur this suffers from the same problem You have two two variations throughout the whole thing You can go back and look on the tabletop minions channel. Sam lens did an awesome video on fur You can go watch my video on a better way to paint fur from recent But the key is you have to create variation of hue and value in the fur. So it needs to be There needs to be color change in the natural creature. There needs to be light change as it reacts all those sorts of things Um The Metal I would say again doesn't sell for me. I know you didn't ask about it But you said if there's anything else the metal doesn't sell not enough one not enough five It hasn't have the the full layer of contrast. It also needs its edges more cleanly picked out just stuff like that Um You know with wood the key is if you want it to look really realistic Then you need a hyper sharp brush you take like an ivory color and you start drawing hyper thin lines down the wood and then you you know Glaze it over with browns to bring that all back in a tone and then you repeat that three or four times, right? Um on leathers there's not a lot of real leather here I can see on the sky that I can really give you honest feedback on Um, like maybe I can see a little bit of his boots, but you know with leather the key is it should be You know, I've done some videos on how to paint distressed leather a couple of them I would go watch those because that's the key leather has to feel scuffed scraped It has to have texture. It has to feel like it's got Uh, a life to it, right? And that's what's going to make it interesting Hope that helps All right julian uh first time submitting. Um, so tried some bronze true metallic metal Tried to glaze some colors and still find it lacking Yes, so do I um The answer is you did not go far enough. So again go back and watch my videos on Adding colors into true metallic metal. There's not near enough here. Let's just start at the beginning Don't worry about glazing colors in yet. Let's just get contrast in here Okay, we need a lot more shadow and a lot more highlight like right now. This is flat Okay So it needs to have like if we're talking about some kind of bronze Then it's going to go to a dark brown slash black for its shadows And it's going to come up to a something like a pale burnt metal is what I usually use to highlight bronze Because it's a very weak brown silver highlight. Okay Maybe mix in with some of your mid down there And we've got to start there once all that's done Then you can think about glazing in some soft colors Where like purples or something like that on the piece that will make it feel more like it's cohesive to the overall item, so That's what I would tell you. Hope that helps Okay, next up, uh, alberto, uh So Painting this bust and using the translucent cloth Yeah, so let me say on the translucent cloth thing. I think you nailed it. I think that looks great The transition from the skin tone with the shadow and the white. I actually love it. I think you integrated those lessons Really well Uh, the main thing that pops out at me here is the same thing I was just saying about the skin Which is we need more variation of hue now You're better along than what what I are your farther along than what the previous one. I just looked at But we need to go farther still So like her face, especially is the area that that I notice it in um Her her torso and stuff might be fine Could probably use a little bit more tones, especially up under the arms Uh, and maybe down here in the lower waist But like down here, but for the most part That's this is fine The neck like there should be a lot of reds. There should be some blue tone in the shadow of the neck some purples Up here in the cheeks Having pink into the cheekbones having color under the eyes like, um If this is meant to be sort of an egyptian bust, which is the feel I get from it Egyptians wore a lot of makeup like it was a thing very much that egyptians had makeup on so it's not crazy at all to have eye shadow most images you see of like, um Hieroglyphics and stuff that people have sort of, you know colored eyes and eye shadow and stuff or there were things like that So those kind of elements, uh, but just having more color in general in the face And my best advice is the same advice I've given a hundred times here Which is go watch makeup contouring videos where women will show you how to put makeup on And reshape the face and you know sort of sculpt the perfected human face out of nothing but Uh paint and pigment, which is what they're doing basically makeup and pigment And that will show you where all the colors are placed around the eyes and everything And there is no better teacher of how to paint a female face than women applying their own makeup, right? They're experts at it. They've done it every day for their entire Most of their their adult lives. So, uh, I would trust them and they will point you in the right direction. Okay Um in your little picture you are pictured with a Woman so go ask her See if you if you if you live with this person and uh, and she puts she ever wears makeup of any kind You know go to her and ask her how she puts her makeup on and where she does it when she's trying to go sort of all out As I would imagine this sort of queenly bust would have right So, uh, there you go again real life is always the best teacher Okay, next up morgan first attempt at osl, uh specifically feedback on the osl effect light and shadow placement Yeah, so I mean again, I would say that much like the last one. No, it really doesn't work Like I get what you're going for that this thing here First of all, I don't love the idea of just like setting this piece of thing down on a base like if you're gonna do this Don't do this like don't let black plastic base be here put something else like dirt around it or something like that Make that be uniform. That's just a small thing for me. Um But like this is way too bright. Okay. Here's what I'm trying to say I need to really gather my thoughts here and make sure I'm communicating this clearly If this light were this bright then this room is pitch black Okay This is a I'm gonna put this bag in front of my face. This is my normal paint light. This is a super bright light Okay, this is like meant to be It's like 5500 k or whatever. It's it's huge. It's an insanely bright light as you can see with what it does to my hand in the camera Okay Outside of putting it my hand right here when I go here There's not much of an effect to it Right because I'm in a very bright room For this light, which does not look like a super bright fluorescent bulb Okay to be this bright This room would be pitch black in which case All of this would be basically You know not visible Okay, and we can't really like that's perfectly fine in a painting. That's really hard to recognize in In a 3d sculpted miniature because it's sitting in a room with light. So it's going to look wrong Right. This is why osl is so hard. Like I I really ward people off doing osl as much as possible until you like because if you Almost the way I would say osl is this if you're asking questions about osl Then you shouldn't do osl. That's I know that sounds productive and really jerky And i'm not trying to sound that way But what I mean is you have to have such a fundamental understanding of how light works and how it's interacting with colors To sell the effect that by the time you've gotten to that point, you're not going to have the question anymore Now that to the side That the reality is this light if it were this bright would be casting ultra deep shadows The side of his face should be basically skin mixed into blue. Everything should be way darkened down Okay, and it should have only the softest of reflected highlights on it and This is all over over lighted. Okay, what I mean by that is this light would not fill all of this area with light like this Okay, because the light clearly has a an edge here And these would be in shadow like there would be deep shadows here and here Where the light is casting it if this is really the only light in the room right if we've got kind of an alien situation Then this would there be shadow here and down here Right over here This whole like in between each crevice like it's really important when you're when you're doing these sorts of osl effects That you create really deep shadows and the crack of everything because where the light doesn't hit Okay, it makes really deep shadows Okay, that's a soft light from above me But it's bright. I again, I paint under not only my normal painting light, but I have a super bright light up above me That's why this reflection in my head is so pronounced, right? Because my whole office area here. I have like five different ultra bright bulbs okay point it all around and Notice how deep the shadows on my hand to get Right notice how every crack and crevice in my skin shows Okay, and those are soft lines. That's not like the lines in my shirt Right look at how deep the line is in between my collar and my skin. That's facing up That crack is facing up Toward this ultra bright light and yet because of it There's this really deep shadow there because of how the light hits my ear casting a shadow down here and so on Okay So there's a lot to unpack with that now if you're asking me like well, I'm trying to do it for funsies and I Yeah, it's fine. Then sure. Okay. Have a good time But you'd be much better off turning that light to like a soft red glow, you know, like an emergency klaxon or something and just casting a very soft subtle red glow on the underside of the miniature but he's still in normal light And just doing a really minimal osl and this is the thing people always swing through the fences They want to have it just like totally dominate the osl and that's It's just it's a very hard thing to pull off Soft osl is so much better. You know if it's a small red light It's an emergency light. It's on it's casting some light Some of his shoes have turned red got a little bit of a soft glow on like his pants on these pouches Under side of his arm edge of the gun good to go call it a day, right? Maybe the edge of this But for the most part the model still has has a decent light from above great and you have a good time So that's my advice for you All right next up newt So newt again finished models only said this last month. You're posting me just a head It's not how this works. Okay So finished models only All right So That being said, I'll answer your question since you're directly following on from last month Uh Trying more skin painting on a spare giant head Had limited paints as I'm moving so happy with the highlights done with primarily ushabti bone But I think I struggle more with shadows tried mixing in blues and grays Yeah, for the most part. This is this is going the right direction I mean, obviously the bones the the horns are too flat. We need to keep pushing Okay, so you need to be working in more tones the same taking the pink tones is fine They need to be smoother and softer into how they fade out They need to also show up here in the other part of the t-zone Okay Of the face the lips need to be more colorized and have something to them And then we need to soften that you need to also then control the volumetric highlight of the whole head We're like this side of the head is brighter than this side or something like that because there's an exposed light So that's my answer for you All right, erin, uh new here, but just a quick look around First time using layering color blending. Yeah, I mean welcome sounds like you're a newer painter Um, this is a tough piece to judge because it's just kind of a riot of different colors going on My main piece of feedback for you would be like separate your areas more So like the eye is not that different than the skin than the other little eyes than his teeth and his mouth and everything Like part of painting is about creating contrast and differentiation Right and so his eye should feel different than his eye stalks should feel different than that Also, you've got a lot of mold lines everywhere. Do get those scraped Um, don't don't leave these ugly hideous mold lines on here like this. Like those are really pronounced I'm not generally someone who bangs on about that because I know I have plenty of times accidentally left some small subtle mold lines there But like these are really big Scrape those. Um, but you know in general what you want to do is we need to get the piece more separated The skin should be a certain color if it's if it's meant to be a sort of zombie thing Fantastic. Give me a dead zombie skin. I've got multiple videos on painting dead skin. I've got another one coming soon Then give me the eye and make it something different have its color be separated and have lines And you know, you want to separate the pieces of the miniature Okay, so that's my best advice if you're talking about painting eyes, they don't really sell as eyes I have videos on painting eyes. There's lots of videos on painting eyes Go look at real eyes. Um, you know All right Close up of eyes, right? This is what the texture of your eye looks like it's real zoomed in but like You see the texture of it. And so when you're when you're Creating something in scale where you could actually capture this kind of detail like a central beholder eye This is the kind of thing you want to be looking at for reference right Okay It doesn't always have to be nightmarish or whatever, right? There can be lots of different ways it goes You can be artistic with it and play with it like some of these do with the photoshop elements that they've combined together, right? But the point is is that that's how you want to think, okay? All right, next up one francisco gonzalez. Hidalgo Hidalgo great artist great channel bringing us the latest of his stormcast conversions with his king night Beautiful piece just had him on the show recently for an interview great artist. Um looking for mainly feedback on the copper and the gold Yeah You know When I spend a lot of time looking at this guy I really like him Um, which one I mean, obviously this is top notch work One of the things that kind of occurs to me Is I think here's my main thought so I know you're using the White reflection point in the deepest shadow thing Okay, so like all of these places where we have a deeper shadow to create to insert some light I wonder if we don't need to Um Well two thoughts I have One I wonder if we don't need to build that up in slightly different stages So you're using relatively thick paint to do it And I wonder if it wouldn't be better if we had maybe two applications of a thin Somewhere between a layer and a glaze so it had a little bit of a more of a fuzz to it And then you went into the center of that for the dot They just feel like they're so abrupt of light catches And they don't have enough fuzz to them. There's whereas, you know on the armor itself You've obviously got a beautiful build up to the to the high highlight So I feel like that could maybe soften just a little with something around the actual light catch The only other thing I noticed that caught my attention was The light reflection on the underside of the globes Being this pure white like if if not this I'm not sure about all of the light catches on the lower facing areas like knowing you're using Darren's sort of four light method right um None of those are at the ground level So anything that's hitting up it's hitting the around coming up is a reflected light So I wonder if maybe softening those some using not quite as pure of a color Making them a little more Well one you could make them a little more colorized so we could take like you painted them on a green ground You can almost take some green light and reflect it up there. That would be pretty bold and crazy but um But even so just softening it into maybe more of a deeper tone like More into the yellow orange spectrum depending on exactly what's there So here i'm thinking of like the one under the knee the ones here at the top and this stuff You know the ones where it's like a reflected light that's clearly meant to be not the primary light source hitting it But something that's bounced like a bounce light Those not being the same pure white. I think would really help differentiate the high highlights from the The low bounce lights That's the thing the only thing that jumped out at me was it feels like there's not enough differentiation between what's a direct Light catch and what's a bounce light reflection? I hope that helps Uh beautiful piece man absolutely stunner stunner all this entire project has been gorgeous Love every one of them. You should everybody who's watching you should go check out wands channel. It's under it's under Juan Hidalgo is a great channel if you want to see how he he has a tutorial all about this guy and painting copper non-metallic metal and it's fantastic Okay prepping for my doc underworlds, which will be all not nmm Would love to see some feedback on the skin and the nmm elements He does mention that he took he used Juan Hidalgo's recipe and posted right after him, which is funny That is in the world of irony. That is pretty funny Yeah, so with the skin The skin needs more variation. I mean it's pretty straightforward. You can really see it on the head Like we need more More contrast of hue and value on the skin keep pushing Go back and watch my painting faces video again and you'll you'll see some more stuff in there Um, I like a lot of this uh as far as the non-metallic goes most of it sells to me There was let's go to the back here one of the things I noticed we do just need to work on smoothing it out I noticed especially on the larger surfaces like the backpacks The backpack here is where I saw the most of the challenge. So I think you're recipe wise keep mind This is that that cone shape needs to have a bounce reflection. Okay, so there needs to be a like Okay, you have two reflective metal surfaces next to each other. Let's just walk through this little mental experiment together This is a highly reflective surface and this is a highly reflective surface Right, we all agree. Okay, cool. Because that's how you've painted them Light came here and hit this thing Where did it go? Well part of it went up and hit this thing Right and yet there's no second light Right here to show me where this light bounced and hit this and this light bounced and hit this Right, so if you're going to do this you can't it's not just it's not a matte surface It doesn't just have the light and then full of shadow. It's going to catch. It's a highly reflective surface So bounce lights happen Right, so it has to catch at the bottom as well So that's the main thing that jumped out of me. Hope that helps Alan Okay, next up Kyle Model is painted to tabletop standard. So any cnc is welcome. Sure You don't need to write me a novel. Just write me what you want to me to focus on just for the future Short sweet to the point. I don't need backstory So the I don't mean that with offense. I love that you have a large story to share I just mean that unfortunately I've got a lot of these and here we are I don't actually bought the pink doesn't bother me at all. Um, I mean, here's my answer for tabletop. This is fine it's fine Like I think for a tabletop paint job, you're in the right place using a lot of fun colors They're bright, but they balance out relatively well. You did a nice job of keeping the composition in line I have no issues Okay, now if we were going to go up Sure, um, then the first thing we would we'd be wanting to do is smooth out a lot of these blends a lot of these blends are really rough We'd be doing things like focusing more on the on the contrast and bringing it up We'd be especially focusing on variation of hue in the skin of the troll. So he's just like a lot of purple There's no living tones in there Reds and other things that should be varied in this in the skin Around his nose and around his eyes and his lips and things like that But yeah, I mean that would be the places you would want to go to if you were inclined to take it up to the next level Like that. So that's my answer But uh, yeah, cool piece It's a fun thing a fun piece from blood bowl All right, chris first time trying body paint. I'm curious to see if it sells or such Also the wings and the creature Uh, no, it does not. Um, because it Because it has too much of a darkness around the edge and not around like You have a weird effect here where the edge of it is Dark and the interior of it is light and that's Like that's a strange thing. It would actually be the opposite way around Because the thinner paint towards the outside would dry and be thinner and show more of the skin through and would be brighter Okay, and have less it would be less pigment less like when you paint with a big glob of paint with your hand Or somebody like dips and stretches The outer part of it is the thinnest the inner part of it where I built up is going to be the thickest, right? um so You know, I don't think it's bad It's just we've got that challenge there Now you do also need to pay attention to your your volumetric shading on these like this area here and here It should be slightly darker than what's up here. This should be quite bright Into how it's reflecting the paint around, right? So my best I'm not sure what you did as far as pushing the highlights You might have taken what I did in the video I don't know if you watched my work paint video or not and where I went back in and highlighted But the key there was I was just highlighting along like what would be this highlight And here and here not the whole central part of the structure Uh now as for the wings of our mini cthulhu. Yes, I agree. They do need more visual interest I mean, they're kind of flat and nothing so again more variation of contrast and you know Adding texture like actually catching the texture of the wings building that up and out not only what's sculpted there But what you can add through paint. I think would be the main way I could go Um skin tone looks good You know, this is a great piece like you did a great job. He looks really nice I love the variation of of hue in the skin I think that's really well love the Shave downside of his head. I think that came out. Well, he looks like he's a sweaty glistening boy So I dig it. Um, that's that's fantastic. I think it's just yeah with the war paint Focus on more of like a stippling when you're applying it and stuff like that And then focusing on how how that paint will then respect the volume that you're highlighting All right, next up florian, uh, first time working on highlights and I tried my best with this one Um, yeah, I mean I can see the highlights. That's good. You're pushing the contrast Great job. Now we got to work on smoothing it out and connecting them So like each muscle can't be its own group. Okay So like the way you push the contrast is good That is to say in the range of it But the problem is you've done each muscle like it's its own thing I see this a lot with new painters where they're like This this is one muscle structure. It will be dark and then build up to light and then the muscle next to it Will be dark and then build up to light. That's not how muscles work right Like all of this area should be brighter and have some connection to it and then the center part should come up like You need five but volumetrically highlighting muscles means that like there has to be this softness of the transition and places that connect And it has to sweep around it. They can't feel like these individual bubbles of light, right? So work on connecting the tissue And then smoothing it together. And so my answer is, you know, go look at like spend some time on Putty and paint or something like that looking at how those people handle like real muscly dudes Uh and go look at those and you'll see how they connect to the tissue like at the top Through sort of like this is all two and then there's this is all two And then the one is up here on the top or something and then it kind of fades down And then you've got some darkness underneath But it doesn't like it isn't like each peck is like circle of dark circle is slightly brighter circle It's like a brighter circle slightly brighter highlight like that's not how it looks right There's a there's a structure to it Uh like the wings, uh, you could go keep pushing those a little even farther, but yeah I like the wings um a little more darkness more four and five around the side of the wings So we're pushing up our highlights. We need to bring down our shadows as well All right, uh tim, uh first time using the airbrush on a mini. Um the blends and if it looks airbrushed, uh Yeah, sure Um, I mean this part. No, not really looks like you did a pretty great job with it. Um, most of it looks fine I have no issue with it. Um, where on this side I can see it because it looks like it's just too flat and all kind of together Like the key when you're going to work with the airbrush is you can't stop with the airbrush It's not a singular tool like you don't build a house with just a hammer You better have a hammer on hand, but you're gonna have to have a lot more than that, right? and the The where I'm missing the detail work is largely on his little slug friend Where things like the eyes don't have their dark line around it and the elements What I see a lot when people go to the airbrush is they stop the elements stopping separated when we're forced to paint with a brush Right, then we're forced to like Paint each individual element. And so I paint all this and I'd naturally leave a little dark ring here And then I paint the shirt and things are all naturally separated if I'm painting clean When we go to the airbrush and I start overspraying all of this Right, then suddenly I lose this separation. I got to come back in. I've got to build that in Right. I can't just stop with the airbrush. So no, it doesn't feel overtly You know overly airbrush, but I could tell because we didn't go back in and add the extra detail and elements and separation of the various components. So There you go All right, uh Bleed bloop bringing us five more blade guys revenants Uh So yeah, I says, uh, this is the same as before wondering about whether the tan Uh trim around the face mask is too similar to the gold Uh, and you know, how about keeping things cohesive? Yeah, so, um, my answer is No, I don't think they necessarily are You know, it looks very different used a different tone. I mean, if you were going to make them super duper different Um, I suppose you could have them be sort of the same green or something like that as the the etherealness down there Or whatever, right? Or we could just keep them like this dude who kept it all dark and then you have the helmet alone But no, you're it just that lightness draws extra attention to the face. So I think it's okay Now as to like Continuing a scheme Like this is a great thing to opine on. I mean, obviously bleep bloops an amazing painter. I've seen his work close up I've had the I've had the good fortune of judging one of his armies at or maybe twice now. I think And as beautiful as they are on these pictures, it doesn't do him justice. Um But my honest advice is don't worry about it too much Keeping things cohesive like you're going to be a better painter and your goal in growing should always outweigh your goal in slight cohesion And I'll speak as a As someone who has judged your armies in big tournaments I would never dock someone For looking at a unit and seeing a better more advanced painting scheme on one unit than another That's just not how that works. We ray overstate what cohesiveness means when it comes to armies This has become this thing people have become obsessed with and it's not healthy in the long run because The right answer isn't like making co cohesiveness matters in that like you shouldn't have a unit that's you know Pink and crazy and full of ridiculous colors when you've got another unit That's just grays and painted in a bland shih tzu style Okay, right, there's clearly a spectrum here and I don't really care if there's slight variation as you're continuing to grow. In fact, I like seeing that It actually impresses me because I'll look at that unit and be like, oh that one looks even better Great Wonderful I fixed and corrected schemes. This one looks coherent. Wonderful, right? I'm never going to mark people off More stuff painted coherent, but worse is not better than some of your army painted better Like I don't know how to explain this to people anymore simply, right? That's not me slamming on you Bill That's just like I've heard the same thing from people who are like Well, I know I could have did a better job, but I already painted these 10 and I didn't want to make the other ones look better Cohesiveness does not have It's like the old story between accuracy and precision Like I threw the dart three times at the board and I hit the edge of the outer ring That's precise It's not accurate I would much rather have one unit in the bull's eye And two in the outer ring That's more points in darts and in life. Okay So there you go. Anyways, that's that's my that's my advice is always let You pushing yourself and growing be the ultimate dictum when it comes to how your units are painted. But yeah, these look great, man And bleep. I hope to see you at an event next year, brother I hope we get on the other side of this and I can see these beautiful things in person yet again Okay, so next up Eugene I'm just going to say Eugene. I don't know if that's right or not Feedback on a scorepeck lord some more greens and also mix in some reddish brown To battle I assume the battle damage probably To break up the monochromatic look of the necrons. How could you further improve it focus on techniques and basing sure So I have two primary thoughts. I think the greens are wicked rip and awesome I think they look good. We could smooth out the blends a little bit Like some of your edge highlights are a little big, but These are minor stuff for the most part. I think they look Cool, they look super necrony. Love the eye glow. They all work for me What doesn't work is that base? Oh boy. Oh boy. Jeez Um, we've got some torn up cork and we didn't do enough to disguise it and it's just painted cork and it's all just gray Do something with that like don't just use cork cork should never be the final layer There should always be something on top of it additional grit additional stuff paste mud rocks dirt cork should not be the final layer It does not sell. It just looks like you're guys standing on cork. Okay Um two again say this in every review video. So here's my time for my probably my third time in this one Um ground is not gray Even in very dusty gray Rocky climates. It's not gray Uh, there is dirt. There is earth. There is life. There is growth There is nature. There is erosion colors happen Greens red blues purples oranges rust everywhere Okay, so that needs to be happening the main thing I would actually tell you to work on is just with the metals Like if we wanted to take this up to the next level and this is a good shot to show it By the way, I love this breakup shot. That's really cool. Cool thing you did here. Um, the um integrating in some more tones and especially shade tones Like where we have a problem on the sky is that we didn't take enough control of the light More darker black lining in between the various silver elements some more soft subtle shades To really control the lighting as to how they're Um in in shadows of the sky Especially around his upper areas his arms his his head his back piece That's what really jumps out at me that we don't have enough control the shadows Uh, so more shading on the metal would be the main thing I would I would push on But overall super cool, dude It's a great fig. These new line of necrons are are just really cool Joel, uh improved tmm. You know that thing I'm glad these came together. You know the thing I just said Joel That again Silver's too flat needs a lot more color needs a lot more shading that you like. Here's what I want you to do If you have problems with this I want you to get some black paint get yourself some abaddon black straight up Okay And I want you to take this abaddon black and I want you to go around this miniature and start painting full on black paint shadows Period I want the bottom of this helmet in deep shadow run a line down to create the shadow line and then around here I want this torso area if this is metal black. All right. I want you to drop it in between every shade I want I want big like underneath his butt black side of the spear black pure black shadow Okay, this is how I this is how I pushing people to learn this now Then I want you to slowly slowly Bring the metal back up with glazes Okay, it's hard to glaze with anything. It's not vallejo metal color. So I would recommend that for the for the metal paint That will show you the contrast you're aiming for like if you paint all those black all that black over your metal And you hold it away from yourself and you squint your eyes. You'll see that it looks right Okay, then it's just a matter of smoothing the middle in between So there you go more contrast Okay, next up Amy painted up. Hell general feedback So the transparency on the clothes I saw you said you tried for that It doesn't really work because your colors are still too saturated This part of the leg is probably where it's the most successful because you did it really weakly Up here where you have this much blue coming through and here where this much pink and stuff. It's just too strong right Whereas here it actually works because it's really soft Right. So the key with those is it needs to be a very like even through transparent cloth We there's a there's a filter there. So it's not the super full version of the of the Of the skin tone, right? It's going to have this interference layer of white that desaturates it that fuzzes it out Okay Um, I the sword uh as well like when we're going to do this kind of color thing Make sure that you have those blends being smooth and then as well just kind of in general around her I think she needs a little more tonal variation in her Whites on the the normal dress side of her So again pushing those up in a little more volumetric shading But those are kind of the main things that jumped out of me. Snake looks really good. Like the patterning Muscle guy looks cool. Good texture. Um, so yeah, that works Cool stuff And uh bad squid. Oh, Annie is cool. She's awesome. She's great Uh, glad to see people picking up a picture of her All right, Jared jiggles, uh lord of change first in at larger models um so So anyways, um Yeah, so let's talk about this guy Um, what I said before about the air brushing is what jumps out at me here. Okay Uh, like there's not enough separation of the elements Like and it's really like you can see it here. Here's a good example See this gold thing you painted the top she didn't bother to paint the sides Right, um on these feathers on these muscles We don't have enough separation these little feather things on the back of this These feathers here here these pieces here these feathers in between on his wings Right, like if you're going for sort of tabletop, this is fine If you're trying to do something more than that Then we have to separate these elements and that's the main thing that jumped out of me None of these feathers are really separated with individual tones. There's no None of the feth are picked out not a little individual pieces Of the feathers. Oh, maybe that's why that's like that Hmm Oh, there you go. In other words, like go watch I have literally a video on painting detailed wings That uses these exact wings from the lord of change Uh, and um So at any rate, you know that'll that's a good you can see that Um, but again just more separation of the elements more detail Okay, like we've got to go in and still pick out all of this The problem is it's a really big model But you didn't do all of the necessary detail on chyrus here, right? I the color balance is fine I like the color with him looks super cool dig the the sort of, uh Synth wave scheme of him like the differentiation the color of the heads for the past and the future Like I have no issue with that. Um, that's all rock and roll So but the issue is we didn't spend the time on a model of this size to actually then bring out the individual detail Okay, so that would be my advice for you All right next up alex feedback on the armor and non-metallic metal also does the base work So quick note on the base. Yeah, it's fine. Um, generally watch out putting leaves too much in front of your figure Like but it's fine. You didn't block off too much there So I think you're right on the line, but it's okay Just be careful having too much of anything in front of your your miniature But I think this is okay. You're you're on the edge, but you're you came down the right edge of it Uh armor itself looks good. Um like the blue like the highlight it looks shiny I I think that's actually real reflection You should matte that out It shouldn't be shiny like that because that's like that feels like actual light reflecting where it shouldn't be and not paint Like this is light in the shadow. This stuff needs to be matte. It should not have that kind of reflection to it That's the number one thing that jumps out of me Um non-metallic looks good not enough one and two on the gold. Um, especially down here on like the little I don't remember what these things are called his little holy reliquary. Is that what it is? Maybe anyways needs more it needs more one and two more edges reflected stuff like that's not quite catching enough light Um, the the aquila looks good Uh, I don't mind not as much that one. I think it's fine and then the shoulder pad I think is it's pretty good again, maybe a slightly higher highlight on the highs But I think that's probably the main area. I think the armor is great though. Um, it sells for me I've got no issues with it. Um Yeah, no issues with the armor except it needs to be a little more matte. Great looking guy. This is wonderful, Alex It's really came out awesome. So yeah, great looking space brain there Okay, next up, um Tygo, uh, I attempt at using Sergio Calvo's capi bases. Um, yeah, so let's talk about capi bases and what he's doing there um Most interested in opportunities to improve things like highlight placement color contrast and composition Sure So I think it's fine I mean the the model itself is kind of rough. It's not a great model Like I don't mean any insult, but it just it doesn't have like the crispness of detail So it's kind of hard to evaluate on those areas One of the things with Sergio's capi bases that he doesn't really work just with those capi bases He then glazes at the end with an airbrush or something like that Like it's rare that he just does layers, right? If he does then he does a ton of them But you generally have to glaze at the end to smooth that stuff out whether it be with an airbrush or with a brush. Okay um the I mean as far as if we're just talking about evaluating light placement It's quite busy at the moment Like there's a lot of different light placement going on and I don't really See the structure of it. All your volumes are very even and like what we need to do is create Different volumes and crisp that stuff up like The problem is I need to have like a thin highlight and then a broad dark volume and then you know passing out Light dark light dark light dark or I need to have a broad light and then a little bit of dark As it is now we have this very sort of even play across a lot of the miniature It makes it really hard to read We also don't have enough dark line separation in between the various elements like the hand from the grip From the the leather from you know, it's like these things need to be more separated like the rope from The leather right and one of the tricks to how Sergio paints is he starts really dark at his darkest color And then he slowly slowly slowly slowly slowly slowly Layers up So he's he is building these through layers, but oftentimes it's just a ton of them Right depends on how like when he lays shingles. He's laying tight shingles On that roof. So that's kind of my main thoughts there. I hope that helps okay, uh Jarls first time submitting Something that looks great and something should be improved The main focus was high. It was light placement from a volumetric perspective Sure, so I think that um We need to work more on the volumetric lighting It didn't really sell like volumetric lighting means both the overall piece and the individual shapes And there's just not enough of that going on like this round ball does not have enough shadow here on this side of it Like I couldn't tell you where the light is coming from on this model Okay Um the Also when we're going to paint the battle damage really doesn't work for me there Um, it's too like it needs more separation. It needs to be clean Like your it looks feels like you like on a figure of this size It's too big and it's too much brown and it's just too messy It needs to be more small scratches and hints and things like that And then the little rust stippled in there Yeah, and then the edge of the yellow picked out with a brighter yellow to show the edge of the transition Um, so the the volumetric needs to like we need to have more like on the hands and feet, right? Like that means that there's shadow like this Right and here. We just don't have that the recesses are shaded. The highlight is just this tone I have nothing shaking me around the volume of the miniature and really telling me that story Like with his arm muscle here, right? So and it could be I mean the figs not That gray to a figure looks like cast wise as far as what it is So I mean that could certainly be having something to do with it. Like it looks pretty rough Uh, but it's not doing you any favors. I'll say that much for sure. Um the You know, probably the most successful is something like the the tubing Because I can see where you kind of placed highlights and shadows That's the one part that that works for me Because they I can see like a defined highlight and shadow in a volumetric fashion Okay, cool stuff. Great. I get what's going on there with the tubing story It just feels too much like we We didn't we should have like taken the yellow constructed the whole armor had everything nice and clean It's just too messy and chaotic and your weathering doesn't make any sense to me. What's going on? There's no organic story being told. It just looks Messed up, but it's all similarly messed up like every rust chip is basically the same size And that's problematic So, uh, hope that helps All right, greg uh went for a tabletop level with his chaos lord Feedback on the red armor and the base. Sure So thinking about this from a tabletop perspective. I think it's fine like from, you know, tabletop standard Sure, you're there now where you're gonna go next like could you go farther? Yeah I mean we could do a lot of things We can pick out some edges or again increase art Like what we really need to do is increase the contrast on that red If you were going to ask me what should I spend the next couple hours on working on this piece It would be the contrast on the red easy answer every time I would also pick out all the details like you have metal spikes in this blue ribbon These this is a blue piece of leather or ribbon or something. These are metal spikes. They should not be blue Right. So just actually picking out all our detail making everything nice and and crisp and clean Getting all of this battle damage done and then highlighted like little stuff like that It's where you would spend the red, you know, your time from here. So There you go, greg. Hope that helps All right, next up Sean Tried incorporating some oil washes dry pigments. I like critique on these oil washes and on the edge highlighting So the edge highlighting doesn't feel strong enough feels like we need to to beef that up Um, because I can't really see. I mean that's the shield. It looks okay Well, we don't have enough like darkness separating it, you know, I've done a couple videos on black armor And we just like there should be a dark line around here. There should be a dark line here This should be dark line. This should be dark line. This should be dark line These edges are way too thick for what they are and not pronounced enough Um, I think Darren Latham's channel is still up and he has a great video on edge highlighting space marines So I would go watch that But it just it's not selling for me, right? Um Now as far as like an oil wash goes. Yeah, it looks like where you got it in there It's fine. It looks like it probably might have been a little too thin It didn't have enough effect Because some of this stuff it doesn't look as clean as it could I mean, it's really I couldn't tell the difference or evaluate an oil wash It's not the kind of thing you can do either you created the dark lines You wanted or you didn't and in this case we have places where we didn't so There we go Pigment looks fine. I like these dry pigment. You did a good job with it didn't overdo it Looks like he's on a little Martian base or you know, that kind of oxidized ground Coming up on his feet on the bottom of the tabard Yeah Yeah, no issue with that. That's good Good stuff there So there's my feedback for you Sean. Hope that helps Okay, next up Abe Uh, any tips on pulling together pieces like chimera, which has multiple things that seem to clash How would you improve this piece? Yeah, sure. So chimeras are tough because they have these three weird heads and again that my advice I like your solution of doing it on the wings having crazy colors incorporated there. I think that helps Let's go a step farther And let's talk about how we could have brought some into the body as well We could have had some demon dots in orange and blue on the body itself some stripes some Jagged patterning his tum tum could have been orange out to a blue and then faded to green on the top He could have had an orange to blue underbelly Um, like so there's lots of ways the key is you just got to think of the creature as a palette And how am I going to paint this to be balanced, right? Where do I need to put color in this area? Cool. How do I do that? Right, and you just got to like get in there and figure out exactly how it's going to how it's going to mesh Uh Now, you know feedback in general the chimera body again I would have told the same thing needs more variation. So this would have been a double double win Um on I don't mind the patterning on the wings But we still need to heed the volumetric highlighting of the wings. They should still be darker toward the the bone braces and A little tendrils or whatever they are his fingies and lighter where the stuff is more stretched Same with the fur and the texture on like the Heads they don't feel like they have enough contrast So we need to push and pull that up more contrast in general on all the heads. So There you go. I hope that helps All right, next up scodster So Uh feedback is is always well appreciated. Uh, yeah, cool No, this looks great. He mentioned he used a heavy body acrylics to do it. I think this is really fun Um, I like this. I'll tell you there's one part of this that doesn't work for me Scodster that I mean like I think for the most part, this is well executed There's a couple of minor critiques I could give you like picking out more of the individual ends of the hairs and stuff like that Feeling more of a stranding technique to them of thin lines Little little things like that. I noticed around the piece, but there's one thing that doesn't work And it's this line of red right here This line of magenta I like the magenta But it's too strong What I mean by that is it's saturational was too high I don't mind this lower one because that's actually telling kind of an interesting story down here in the shadow That he's reflecting this sort of magenta area But this upper one wouldn't be catching the same thing as this one This one should feel more desaturated if that was a lighter tone If it was more desaturated more pulled into the gray gray blue and was a little more subtle still there Still magenta Right, but it was weaker if it wasn't such a punch of that color I would feel a lot better about it And I think overall the piece would have a lot more impact because it would feel a lot more natural in the world It's reflecting So that's the main thing that jumped out at me The other thing is please don't use unpainted crystal stuff like this on your base. It always looks bad paint things on your base But if you're gonna put down tuffs, if you're gonna put down flowers, if you're gonna put down these things paint them You put a lot of time into painting everything else paint these two paint these paint these paint this junk Right unpainted things on painted things stand out every time always so There you go. But overall cool stuff. Love the highlighting on the muscles skin looks great Absolutely fantastic great tonal variation great hue variation there Yeah, I mean look at that when we flip into that into that black and white on that skin Multomani, it's great. It's wonderful. I can see my one through five Switch back over here. I see that wonderful hue variation. Love the tones you're moving through I think this skin is an absolute win. It's fantastic Fantastic All right, so next up Alex First post for review interested in general feedback. Um, sure So, I mean, it's I've painted this bones guy. Um, fun little fig You know, he seems like you're early in your painting journey So what you do well is you did separate the elements nicely I can see some nice clean dark lines between everything and I've talked a lot about that in this review of how important that is My main thing you know, I'm going to charge you to work on is going to be contrast and understanding volumetric highlights, right? Like understanding contrast That's the main thing you're going to you need to challenge yourself with is just continuing to push your Your contrast and working that up at this point in your painting journey That should be understanding your contrast and how you should push things is really your next step It's short and sweet advice. It's the number one thing. I should say as I mentioned earlier Travarian has a really great video on it. I have many videos on it So I'll check it out. That's what I would say Okay, uh, mackayle, um asking for general feedback. Sure So what I said earlier about dioramas this one really suffers from it This thing is three times as big as it used to be This diorama should be about this big Like from here over should be about that Okay, and dude one should be here and dude two should be here Right they just said there. This is way too much space where nothing is happening. This is all just nothing. It's a dead space right When you're doing dioramas that you like you can use negative space if you make it part of the piece if you have something artistic happening But it's not it's just earth right So that's the challenge here Um, I think the water looks fine. I think the green and the of the rocks and all of that looks cool I just think there's way too much of it As far as the piece goes The vampire guy or whatever he is here the cloth Um, we need to pop that red up get rid of sort of it feels like just kind of washed red cloth We need to actually take a little more control of the the red on the cloak Um, so that it's a little bit smoother It's getting too dark too high there like this is an upward facing part of the cloth That clearly just looks like a bunch of wash settled in Right, so this should all be basically red and we should have some real bright red here And then maybe where it swings back up. We've got some nice soft subtle shadows of purple brown black Whatever, right Those are my main thoughts that jumped out of me. So Hope that helps All right, john gallant, uh Good time to get back to it massive stegan on with a slon star master as a main head honcho. Okay Feedback on general competition and tweaks Yeah, sure. So fun in it or a fun piece love. Uh, what was his name? Mas de moondi He used to be the salon who rode around on the um on the stegan on so it's cool stuff Um, yeah, I mean in general again more volumetric highlighting on the stegan on itself So he's very much like here's his skin and it's washed and then it kind of has some highlights on it But again the under part of the belly of the guy is as bright as the top of the guy We're not respecting volumetric highlights. Um, same with the shields like these lizardman shields Um guber town hobbies has a great video called like his biggest breakthrough in painting or something like that Where he actually goes through and highlights these shields. I think it's A great lesson on how to do these kinds of scale highlights Um, the black sort of whatever it's supposed to be of the throne is very very flat So, you know, just more tonal variation there But yes more contrast and more, uh of more contrast of tone I think is what's really needed here. You've certainly got the color I mean color wise it's fine for most angles You've got the purple and the yellow the turquoise kind of scattered around and those work fine together So I have no issue with that. It's just we kind of need to we need to get more contrast of Value in there, especially in respect to these volumes. So There you go. Hope that helps Okay, not go. Um main chaplain from the Invictus box Um OSL is meant to be soft to appear light source Uh far or not strong. Hopefully it was achieved. Okay Uh, yeah, so let's take a look at this OSL. This is what I was talking about in the previous one Yes, I do think the OSL works in this case change to get to a soft glow like this. This works for me Okay Um, I wish I had a little bit tighter view of this guy, but overall I really like this guy I think it's for the most part works the OSL works Um, the black armor on the other side look feels like it needs a little bit deeper shadows in some places We went a little too gray over a little too much of the area But for the most part, I think this guy works the red eye glow works the Um, gold. I think in some parts you've got exactly the right balance This shoulder pad is the big success to me right here comes all the way up to the one We can see right here gets way down in the five nice beautiful bright reflections I think I'd like to see a little bit more of that one up in especially these exposed parts up here Maybe a little bit more one to really brighten and get the light catch out there That's probably the main thing but overall I think this guy looks Really really great. I think you did a fantastic job. So yeah big success and the OSL absolutely works for me Nice soft subtle glow shadows are still respected. I can still see all the nice hard lines Uh, and the pieces are just capturing this very soft subtle red. Yep. That's working for me All right, Steven latest piece working on good smooth blends and contrast and glazing different tones. Okay Um, so was it right to repaint the shirt? Yes, but not as that color. That was the wrong choice Um, you know what you did is you looked at and said what color haven't I used and the problem is you've used too many We have yellow green blue purple red Orange like we can't be a rainbow scattered around like that, right This shirt should have been the same red you used already down here. You told me there was a piece of cloth on this guy It should have been that same red That's the bottom line right Now as far as blending goes and stuff like that, you know, I can see where you're coming along Still need to work a little more on it. That's fine. And we need to be again Like I've said most keep pushing that contrast We need to heed the general volumes more like right now You have two little five just in these deep recesses and it doesn't come out enough The muscle structures aren't these islands. It's not it's not a desert Dry cracked desert landscape his arm, right where there's some deep crack in the earth I need shading that's like here around the side that comes all the way up And then creates a highlight for me here, right and same thing This should be more into shadow coming up to a naturalistic highlight here Right, so it's about creating these soft Transitions on these big muscle structures So there you go, steven. Hope that helps Okay, chris don't work on keeping nice thin layers trying to add about a bit of tmm in a bit more focused way Okay, that's not telling me what you want me to give you feedback on remember, please tell me But that's fine Yeah, I mean I think looking at this piece What we need to do here still is continue to separate the elements where that's My major piece of feedback for you here is effort element separation things like panel lining and panel edging Especially amongst his legs. I don't feel like I'm getting those hard separations of the individual plates Having nice dark spaces. I see it on the arm here as well So nice separations of the lines through panel lining and highlights and stuff like that I think is what we really need to focus on Okay All right, james lynch, but when it rains it pours with this guy, huh? Uh, neural demon prince used acrylics and my watch is looking for general feedback Uh, yeah, so this is good I like it that the this is what i'm talking about with the tones, right? This is nice Uh, I like the the arm shading here good variation of hue color composition It's probably fine uh Yeah, it feels like it could use a little bit more of this turquoise color So it might have been interesting to kind of work some of that Uh as a vertigris into the the rust. I know that's technically incorrect, but Who cares? It's nergal. He's he's so such such as the destructive power that he can cause oxidation of of that kind on even steel Um, you know, I mean darin did it in a video. You saw him do it in one of his in his nergal metal Honestly, I thought it looked pretty wicked ribbon awesome So sometimes we can bend reality to sort of color composition because I think a little bit of that scattered around here What about would have been the final Note to really balance it out But overall elements look really cleanly separated good color Some of the turquoise could come down a little darker. I think about maybe a little blue black Mixed in to create some deeper shades where I don't I don't see enough four or five in the turquoise colors But for the most part, I think it looks really good. Um cool converted demon friends Yeah, I dig it. I hope that helps James all right okay So um his go on textured but shiny gold non-metallic metal um, sure So overall composition wise, I think it's fine. I think you could have made this gem pink Um, I understand you're probably drawn from Richard Gray's piece here So I do think that the texture is fine. We do need you still you still want to smooth it out some There's a careful balance here The texturing of metal can be very very subtle especially in this scale. So some final glazes will really still bring it all together um I think that if this gem had been pink, it would be in balance. That's my honest answer I know that sounds like a very productive simplistic view of it Um, but that's like the one part. I noticed being kind of out of um Out of balance Now as far as it goes, I think you capture the general tones here. I really think it just be a matter of bringing that last piece into into focus and uh Doing some final glazes to smooth it all out, but overall it's a good looking piece Okay, jamie um, so Basically, he's saying, you know review this as though I'm paying judging for a competition. Sure So One it's not smooth enough. That's number one We like there's a lot of places where the blends are really really rough and I would notice that immediately, right? Um, we've just got a lot of roughness into a lot of our blends here here here here Here up here here here here like you get the idea Okay, so I think it's a cool piece. I think you've captured the the darkness pretty well Um, I like the different use of colors feels very craft world studio inspired um When it comes to the various elements like the leather, I don't feel like we're capturing the texturing very well there That'd be the first thing I'd notice is that like we it We have these various elements, but we're not capturing the actual texture of the leather Whereas it's rough, but it's not rough in the right way. Yeah, that sounds really weird But that's what I would say The reflection points I think are relatively nice So you've got some minor osl that I think for the most part sells but again, we need to smooth it out The biggest thing I noticed with the osl. It does feel like the hottest point. So that's very good But it doesn't feel like the the light is carrying out like this surface Of his shoulder pad is probably not as shiny as the reflective gold So that needs to be a little more matte a little more smoothed out like how the light transitions off um, these kinds of things the Um shadow up here on the top should run against the light Not it shouldn't be light on light. It should be light on shadow Like this should be the brightest part because it's you'd be capturing the most light Of the reflected light up and it would be opposed by a line and then of light from the edge And then a shadow and then this top part should be lit So just a little balance things like that the gold nmm doesn't come up high enough It's not showing enough reflection. It should probably still have the same soft ambient Cold highlights as everything else. So like blue white light Just to kind of set the general mood of the piece Those the kinds of things I would notice. So Hope that helps All right, next up daniel Appreciate some general feedback specific area where you can improve the most sure So the number one thing that jumped out of me was on the skin tone and just kind of in blending in general Um, the skin tone doesn't have enough variation in it. Um, I think that's actually skin But uh, like up here in his hands and stuff like that It doesn't it doesn't feel like it's gotten a variation. It needs more more variation of hue and contrast in the skin In general, some of the blends are a little rough. I you know, the scheme is very fun again sort of synth wave inspired But we we need more Separation of some of the elements up top here, especially on this little chain thing But also then smoothing out some of the blends like where we've got shadows here Stuff like that some of the details up here are a little rough In between the fingies like these highlights are really really rough here with blue So smoothing out those blends. Those would be my main point to focus. So Hope that helps Okay, Curran, uh So loon boss on giant cave squig looking for feedback on the blends on the skin how you would increase the contrast Yeah, so it definitely needs more contrast like everywhere the metal needs more of the skin Especially the skin of the goblin needs a lot more I mean I painted this guy So I would go look at my version that I did of him and you'll see kind of how I contrasted the skin But the flattest part of it is definitely the the squeaky especially up top and then the Skin of the goblin just looks like flat yellow green That needs a lot more variation deeper green shadows, you know integrating in reds to create some deeper warm shadows You can very bring up some colder highlights through ice yellow You can integrate pinks and stuff like that around places where there would be blood near the surface or things like that Um, all of those things are our options. But yeah, I mean we just need a lot more Contrast of value on the skin and then through that you can then choose to work in the hue Over interference colors between the highest between like your one and two or two and three or something like that. Okay Um Same with the squeaky itself He needs the same sort of treatment more texturing with him is really the key because he's got a lot of roughness And spots where you can actually build him out. He's got bumps and spots and skin He can have roughness you can push that up around his cheeky bones his eyes his lips His nose He's all these little bumps and things he has on them picking those out boosting those up go look at uh, My version is is neophyte compared to richard graze master class version on this this fig that he did So, you know go spend a while looking at that one and that would really be a good help for you Okay, next up alexander Uh, welcome. Uh, so happy to have you alexander. Um, I know your stuff. It's good stuff always looking for feedback and analysis Looking for what's good and what's bad. This is one of his competition pieces for golden demon whenever our next one happens So, yeah, I spent a while looking at this guy and let me say alexander. He's absolutely fantastic. Um, love the skin tone Uh, this is capturing everything I've been talking about so far in this review the The texturing on the cloth and all the different elements feel really good. Um The highlight on the sword hilt here Needs feels a bit abrupt in its light to dark One of the judges would probably notice that so you may want to like Bring this up a little bit like have this come down at kind of this angle a little more like two in this area here um The biggest thing that jump there's a couple little things that jump out at me These are things that like I know golden demon judges notice. Um The hilt on this sword needs better picked out with its individual elements the um Like his little mini side dagger whatever we want to call this thing The boots don't feel like they have as much attention as the rest of the the leathers and the elements This feels like it needs more more high more texturing I don't know if it necessarily needs more highlight, but it needs more something like probably deeper shadow separating of the two elements of the souls and the boots themselves And then the biggest thing that jumps out at me is just the sword. Um I don't know that the sword works for me at all. I'm not sure where to go with it It's in a really interesting tone you picked to align with the rest of the piece But it doesn't feel like it has enough Contrast like I can't tell what it's made of love the blood splatter You nailed that that is I mean that is dead on Like holy crap. That's one of the best blood splatters. I've seen But just the coloration of the sword and I don't know if it doesn't have enough high highlights And it might be that But it feels very much like it's not respecting the lighting conditions that you've set the rest of the piece in Like I can read the light on the rest of this piece really well like it's coming from here Right because I've got this nice highlight here showing me. I've got this reflection I've got this zangor head catching some great light top of his knuckles The muscle structure the top of his pecs like all of that's catching my light. I'm getting it all I'm reading it I can see the total volumetric highlight of the whole shape But then the sword just kind of is on its own. It doesn't feel like it's heating the same Light that the rest of the piece is in So that's my biggest thing I noticed when it jumped out at me alexander um So yeah, that's that's probably what I would focus on and it may mean that you have to paint over your blood splatter And then go back and do recreate that blood splatter again I don't know you could try pushing up and varying some of the highlights bringing in more one more two And really kind of maybe increasing the contrast on it to make it feel a little more metallic Without repainting the whole thing. So I don't know but it's it's a challenge for me That's the biggest part that jumped out at me. So I hope that helps man. I hope to see more from me in the future beautiful stuff Okay next up panda Looking for general feedback. Where are the main flaws? So the biggest thing I noticed was just in sort of the smoothness and you know How we're we're applying everything we want to work on our blending get stuff like that I know we're trying to capture some texture here But a lot of this is just we can see in the weird and I mean a lot of this the sculpt isn't doing any favors But we've got a place where it just looks like wash got trapped and then we layered back over it These need to be more smooth blends out that really tell the story The blood soak here in the basket doesn't really work if this is what you're going for It needs to be a lot deeper magenta as it would soak into this But we don't have enough contrast in general on things like the basket that feels very flat Um, the skin itself we want to we want to smooth a lot of that out Same with these deep shadows on the skin. That's what really sticks out to me. He's got these Weird recesses in the cast. I don't love the cast of this But like if you're going to have those then we can't let the wash just kind of settle in there And then we do some layers on top because it just looks like he has these weird pits in his skin So that's the main stuff that jumps out of me panda. I hope that helps All right saying uh landmark piece for a second year in the hobby Uh, hey, I'm so happy to help you improve watching your your stuff over the past You know year has been incredible Moving up into scale what I'll say is we've got to work on smoothing everything out at this scale When we blow up and suddenly we're in this massive You know bust scale where it's only like one sixth or one tenth or whatever it happens to be Things like the texture we're doing and the smoothness of it really need to show so like you're going for this sort of brushed Texture and that's fine, but it can't be dispronounced and there's again. There's this super fine line and somebody like um Somebody like lan is a real master of this right where you can see the texture But he's covered it just enough with glazes and stuff that it's not overwhelming So in this scale you can really work with your airbrush a lot more in a very careful fashion Uh where you can actually go in and after you settle this stuff you can go in and glaze softly and subtly with your airbrush Just a little to smooth all of this out And that's actually the number one thing that jumped out at me I would push the highlights up. We need to focus. So we're going to do gold on this scale There's got to be other reflective colors in it as well You also want to have pronounced light catches because in this scale Gold is going to have pronounced light catches Okay Where the light like hits and goes pure white And that really needs to be in place on the gold. It's in here overall. This guy looks really good Um, I like it, but that's that would those would be my recommendation pieces for you to help you out All right, next up matt Feedback on this 54 millimeter demon's skin Yeah, so Again, we need to continue pushing the contrasts both of hue and value We're not doing enough volumetric highlighting. We're not pushing it enough Like around the volumes of the arms where I really notice it So if you go back and look at alexander's piece, it's a it's really as a master study in the skin Right and how he's chosen to tackle the individual volumes of the musculature Um and but there's just not enough of that like I like the variation of hue you did coming into the center with this being more gray I'm okay with that But then we've still got to take each color and it has to It has to have its own then Progression it's going through right. I would also say more hue because it working in some other soft subtle tones like some soft reds Or magentas or purples will help it feel more like skin and something that's alive I understand it's a weird demon creature. So it's you know, made of who knows what but nonetheless We we tend to recognize that more as skin when we see those tones at play So there you go matt. I hope that helps All right, geordi, um Big this says it's a big improvement compared to his past posts past posts at a loss and not to finish the purple skin Yeah, I mean so let's talk about how we take purple skin So we it is very flat We need to just incorporate flesh tone go back and watch my exploring colors purple video and Look at how I use flesh tone In there and travel through magenta because that's what is you just need to grab yourself some Caucasian flesh tone And start building up those highlights into the purple nice soft subtle layers Build it up there. The skin will still feel very purple But that flesh tone will make it feel like it's actually flesh Okay So that's my advice All right next up nick Okay So nick brings us uh display quality on this mostly focused on the tmm and the basing So looking for feedback on that sure Um, I think the basing looks cool. Uh, it's pretty great. I could see your tufts just look stuck on Previous things I've said every element needs to be painted including tufts Meaning they have to have wash stuck in them should be drybrush They should have elements of the earth around them into them pigments like stuff Nature gets all up in each other's business. It doesn't stay separated like that I don't have just like dirt and then a plant that looks completely separate from the dirt that is next to right Some of the dirt is up in the plant because it got windy it rained Water soaked up and then the water dried and then it left some of the residue on the plant and So on and so on and so forth, right? Okay, so so like that's the thing love the splashing water think that totally works. I think it looks great as a matter of fact Beautiful. Yeah, that's that's gorgeous. I have no feedback on that Um, we could work a little bit more greens and stuff like that into the rock If there's that much water hitting this rock, it's going to be full of life Like it's going to have lichen and moss and all sorts of crap like that on it Like if you've ever been near Any kind of ocean or lake and seen rocks that are on the edge of it. They are not flat colored, right? They are mossy green brown purples everywhere Now as to the TMM work as far as how we're capturing the lights and shadows good I think it's very good. It's always hard to evaluate in a picture with TMM. You really have to hold it in your hand Uh, but I think we're mostly in the right area Um, I think what I would push you on is working on some more interference colors in your TMM soft glazes of subtle colors So I'll give you an easy example. Her leg here is facing out to a clearly blue water Why is there no blue interference color right here in there where it's picking up some of the reflection of the blue water? Right, so those are the things that really jump out of me nick, but overall the she looks great. So, uh, hope that helps Okay, sylas, um feedback on his pox walker test piece particularly keen for feedback on the skin um Sure, so I think when I looked at the skin of this guy, I mean he's super gross no doubt But we just need to and it's it's not bad. I think your pustules and all that stuff look fine I think we just need to focus on probably bringing out some more highlights and shadows So what really lacks here is just the contrast Bringing the skin up into more mix some yellow into a sort of standard Caucasian tone Or a light Caucasian flesh or something like that and use that as your highlight tone And then mix some purples into your greens and use that as more of a shadow tone to To reinforce the volumes of the mini and I think you'll really have something Looking great there. So that would be my advice Okay, next up Robin Love feedback on the flesh and in particular how the tonal contrast is sure Um, it's not enough I mean, that's the short answer like we can tell through this picture, right the head It's okay. This should be a little softer coming into there on that edge Like, you know, but but like the muscle structure you can tell right here When I look at this picture when I black and white this out This is all one color and this is all one color. There's a super slight variation, right? And that's it And that's that's your sign right there Um, you know the fur and the bone like in general my number one piece of advice for this is there is not enough tonal variation More contrast throughout the piece Pushing higher highs and lower lows. Okay All right tapes. Um, first time doing this. Uh, I'm doing an army of these guys High tabletop, uh to display sure. Okay. So my answer is Much as you've heard me say many times again, we need more contrast. The bone is super flat I need a lot more use of low tones of browns. Go watch and go back and watch my how to paint bone video And you'll see all the different things you could do and how I create contrast and bone It's an old video but one I really stand behind Especially for this kind of bone. It's one of those few times I really I think made an old video that I really liked So go back and watch that. I think it was in like the 40s or something. It was pretty pretty long ago But I still stand behind the technique and and that's the problem. The bone here is like way too flat It's the number one thing also when it comes to things like the basing the base is super boring It's just brown mucky mud, you know Life color different tones All the sorts of things I've said more variation of everything on the base Because right now it looks super boring. So Okay, next up Cole Happy with his quality for his troops looking for advice and I take this paint job to the next level for incoming characters Sure um Yeah, so if this is fine for your troops, how do we how do we take a paint scheme and elevate it? So actually miniac had a really nice video on this recently on elevating an existing paint scheme for Uh characters and he actually used almost the same trick of clear red over metal So I would definitely go recommend Cole you watch miniac's video on this if you haven't already because you know You see exactly how he did it But the answer is we're going to push the contrast farther So when you have the the red over the metal, you're going to create more contrast on the initial metals Maybe you can do a little more battle damage or something like that on him Maybe you put in some more bright edges on that guy When it comes to the golds, we're going to do a lot more work of integrating colors and tones into the golds and pushing the highlights up That kind of thing effectively the short answer to your question is you do the same but more Right, so more contrast more detail more attention to the overall structure of the piece That's like really the simplest answer I can give I would also put in more effort into the basing because right now the basing on these guys is super boring So if I was you know, I don't mean that in an insulting way. I just mean like you've got gray stone I've talked about gray stone about 10 times in this video already So I'm not going to do it again, but you know more Making up the making the base have a lot more life can also make a character stand out So there you go All right, next up Richard. Um, one thing you did pretty good and one thing to push further sure so The well first of all, it's only your 10th mini so the number one thing you should do to continue improving Is paint about a thousand more minis Okay, like I wouldn't expect anything to be good of your 10th thing All right, I mean that's just that's just we need to set our expectations accordingly here, right Um Now that being said, I like the color composition you've picked for this guy of the blue going out into purple You've clearly got a good eye for color and you're you know working with that well Okay, I like the light blue like sort of inner Light thing that you're doing there at that school Where we need to work is really on the contrast right on if we're going to do this Contrast and setting up the volumetric structure of the muscles and the arms and the legs Making sure the bone has the right contrast again see previous thing. I just said five minutes ago on like having the bone be You know, actually I have a contrast. I have a video on that and That would be my main thing I tell you to work on because he himself like color compositionally He's fine, but from a contrast perspective. He's rather flat Like he has these bright inner lights and then the tops are just one color Right, so that's where we need to go But keep painting All right, jeff first time tried painting non-coccasian skin tone I'm not sure if it's highlighted properly feels like the highlight should still be pretty high But I was afraid to make the skin tone a lot look as dark as I wanted Sure Um, so the answer is let's go over here to the no, sorry back one Yeah, this one you're correct. It's not as high as it could be Um, and you know, the answer there is by the way, just look at again. Let real life guide you, right? so, um if You know, there's a thousand pictures Of uh, african-american skin tones You know various sort of darker skin tones out there in the world and look at the variation in those skin tones that exist look at, you know, real human beings and Understand how bright that skin is reflecting especially under light and stuff like that and you can push to there because yes The answer is there's not enough contrast in it. I mean, it's a short and simple answer, right? but um, if you look under sort of one of the best ways to do this is just look for people on magazine covers Um, or or like those kinds of photo shoots those types of things because they set up very perfect lighting And then we'll often, you know, do additional touch-ups some of that can be Not great like when they lighten people's skin, which is gross, but um, but when they're uh But under like ideal lighting conditions what they're often doing is just making sure in photoshop that the light's properly balanced Getting rid of like hot spots where somebody might have caught a reflection of something or something like that Normal touch-ups they're setting up like an ideal situation where the skin is showing in this sort of very perfect ambient diffuse bright light Right and that gives you a really good guide for what somebody being just out in the sun Under like no direct lighting would feel like which is kind of what you want under this this person from the hunt, right? Uh, so that's where I would direct your attention and say yes Your instincts were correct and as I always say in this if your instinct is that it's not I'm never going to tell you otherwise when you hear that voice in your head saying I think this thing is wrong and then you come to me and ask for permission for it to be right I'm not going to give it. It's wrong. You knew it was wrong. That's why you asked me. It's wrong. There you go Okay, so next up florian um First submission here started using glazing for the first time looking for feedback on your glazing the red cloak The crystals and the hair Sure, so I think the cloak is relatively fine. You it's a little too Um, your your white spots are a little too small. That's reflecting like metal They need to be more broad and diffuse. You have the right amount of contrast They just need to be slightly broader highlights. Okay um Now as to the crystal again, you're where actually the challenges isn't with your glazing and again You don't really like your your hair. This is not a great fig. Let me just say that like this thing is the a super soft sculpt Like I can barely tell where her hand ends and the skin begins So my one of my recommendations would be the best way to improve your painting is to actually like get some nice sharp clean figs That doesn't necessarily mean you have to go buy gw stuff but There are plenty of great alternative Fig producers out there that are producing like really crisp nice quality sculpts So don't don't settle for something like soft um Now that being said I think your glazing is clearly you're learning it because like the red looks really smooth until we get to our Highest highlight and again, that's the highest highlights are always the toughest to work with um, the cloak is not so you need to go back and watch my like how to um You need to go back and watch like my how to achieve smooth blends video Or working with blue or purple or black as I've done many videos on that and that will show you how to do that With the hair go back and watch my hair videos because I have lots of videos the key with doing hair is not the glazes That's the easy part. It's creating the individual texture of the thing. I think the crystals work really well I think you nailed those You've got to get your line sharper and that has to do with smooth flowing paint So go watch my how to paint sharp thin lines video And uh, and that stuff will guide you through but overall, um, you know, I can tell you like you said you're starting out So you're you're certainly uh as a newer painter you're you're coming along well And it's a lot of question of just refinement and more practice now deliver practice All right Sean first time posting the pmp hoping for feedback on weathering and color balance um Yeah, so my answer is color balance wise. You don't really have anything to worry about here because the dude's all red So, I mean you have a couple spots of green or whatever that you have You don't really have to worry about color balance on space marines when you're using all one tone and then a secondary tone Of black, which isn't actually anything and the green is too small to actually draw any attention So no the fluorescent green on the eyes and little buttons. Yeah, that's fine And your little other colors here are so desaturated as to not matter They're all basically neutral Like everything but the redness piece and the little tiny green things. It's just might as well be a neutral tone So overall, I think that works fine battle damage. Yeah, I like it. I think it looks good. You kept it very minimal Uh, I mean like this guy's heavily battled damage, but when I when I say minimal I mean you kept it like to small scratches. You colored them well You didn't go overboard. You have them nice. They're varied in their application as to where they are Um, yeah, I feel like that that all sells for me. Um, nice little matches of scratch Mix of hashes scratches and dots some slightly bigger ones Careful up here with a scratch like this where you put red back over your freehand You got to go in and make sure you get that red all the way red Like red is a very transparent color. You put a layer over it You said, oh, well, this is kind of pink because it's over the bone, but that's fine It's not fine. It needs to look like the same red that this is Okay, this can't be pink when this is red if this is getting scratched away to reveal this You have to cover the thing completely Okay But overall, yeah, good stuff, man. Uh, I like it All right, nick been working on a set of vape wear inspired terrain We'd love to hear some feedback on the glitchiness of the statue in particular I saw this online. Uh, I thought it was super cool. Does it sell for me? Yes I don't know that I have any good feedback to give you here This is a very experimental thing. This is a very artistic thing you're going for. This isn't like Hey, I'm trying to paint a smooth blend. Is it smooth? Like you're going for something artistic here and an interpretation of the thing And if you're asking me, does it sell in my opinion? Yes, it does Love it. Love the choice of the green in between. It looks like a glitchy computer Goo inside the the thing. So yeah, I think that works When you get down here to like the brick and stuff, you may want to smooth some of those blends out a little bit That kind of thing But other than that, no, I think this is awesome. I love all your synthwave terrain stuff I saw you're sharing it online. I thought it looked great, nick Okay, uh mga Where'd it be in? All right, mm. That's why you mm Um painting in a strong environmental light style. Would you please point out how you can improve it? Yeah, so this is great. Um, I looked at this guy earlier when I was reviewing all these and I really thought you did a great job Um, it's nice. It's soft. It's subtle So here's the one thing I would tell you we need to shrink out a little bit of the yellow Push that some of this a little more into the orange The yellow should really be kind of refined to like the edges and some of the lower parts Maybe we could have a little bit more here Um, the skull should have a deeper shadow on this side and then up here on the tops We shouldn't have any yellow. This is too far away to be capturing the The super bright pure reflection. Maybe you've got a single dot Of yellow like I mean teeny tiny dot But I would honestly keep it mostly to an orange issue and then fade it up A little bit more of a fade of some softer subtle orange coming up a few of these very lightly Very lightly could be the thing that I would push it farther. But overall, I think this is really fantastic Uh, I don't know what this guy is some kind of mansor probably because I think that's what all these guys are named now um something mansor And uh, but yeah, I think it came out really well So great job. Nice minimal effect. It lands. It punches. It hits. So yeah, there you go all right, sam, um Diorama inspired by the season alongside general, uh, cnc on the minis the overall composition the basing elements So see previous things I've said about too much space again We have too much space. You don't need this much space when it comes to a A diorama these guys could be shrunk down like Pull that in. Um, we've got way too much negative space here. It kind of doesn't need to be here The now as to the composition itself again when you're going to put this much like tufts and stuff down paint them Get in there get an airbrush make some shadows make some highlights do some dry brushing Like paint your foliage make it be something because as it stands right now It looks like these two guys these two guys look like they exist in a different universe than what everything around them is Because it's clearly not painted right Uh Now as to the figures themselves. I mean the same story I've given many times going to be true with both of them Uh, they need more contrast especially on like the metals and things like that is where it really jumps out of me on the little goblin Um, the wood and things like that on him um now the the This guy's not he's the better of the two Um, but we could push things like some of the highlights up and the volumetric highlighting on the tree man more and Like the pieces that are the parts that are most successful to me are as this leg piece here I really like how far you push that the texturing. I think that looks freaking great Um, but then I want to see more of that in some of these upper areas here where I don't feel like we caught that same transition as well I'm also bringing down some of the shadows and contrast on his little green Areas here so that that stands out more and appears more as a halo because the area near his head would be darker Will help his head pop out as being lighter. That would be the other thing I would say So hope that helps him Okay, next up Philip a lot of dioramas this month. Uh, what about the color scheme for the night haunt banshee? Uh, okay, sure and then wet blending and osl sure So, um, same story this image you took here is actually all I needed of this scene probably even less right The fact that you could still tell me look at this. Do I still have this whole scene? Yes, then I don't need all of this space That's the scene And I would cut it at an angle too like I would have had it You knew it when you took the picture that this is the angle you wanted to tell the story And yet you set the diorama up to not be on the angle Okay This should have been the angle that you set it all up at and it should have been this much space And this picture you knew it when you took the picture subconsciously so Now as to the magenta banshee. Yeah, I think it works fine works great as a matter of fact I mean we need to smooth out some of these blends up here stuff like that, but you know, she looks good Um, the osl on her is fine. It's way too intense. It needs to be softer again the You can't use the same intensity of color on the light as well as the thing it reflects Right like in general, this would actually be stronger if there was an osl Because you have candles showing light like the candle light doesn't work at all because candles don't cast yellow globs Out like that's not how candle light works um Candle light casts a soft orange yellow Primarily orange glow onto things right like When I say orange, I don't mean like an orange Okay, I mean it needs to be orange yellow and there's that there's like I said, there's a spectrum We recognize these incandescent flames of casting light in and it's not yellow globs Okay, and moreover the whole rest this scene in no way tells me these candles should be casting light This is bright. This is bright. This stuff's bright. All this stuff is real brightly highlighted and lit These candles do not look like they're here if this was all darkened If you had taken a bunch of like black pigment or darker tones and darkened all this out except for the scene itself Then maybe and made real deep shadows down here Like you cannot strike a match without creating a shadow, right? So this is again see earlier things I said on osl like It's really tricky. You're trying to jump Into overdrive right and the scene would work just as well without you know, trying to really do the osl so The magenta works better than the than the Then the candles because the magenta has no real-life equivalent that I can match it to and she's obviously super intense The magenta should still be softer. I shouldn't it should be that it looks like she came out and spray painted the thing Right which so it needs to be a softer glaze where I can still see some of the underlying tone having an effect But it works the the yellow just shouldn't cast anything in that kind of tone right there So there you go. Hope that helps All right, Carl New thing I tried using fw inks for the main body looking for some advice on Tonal variation. I think it's mostly two and three But when I tried to light the color on back of the way, okay, so again If you come to me and say, I think I didn't do it. I think that this is a problem Listen to your listen to your heart. Okay Uh, it's talking to you. Um The the key is you're absolutely right and the answer is don't add white Like this lizard shouldn't have white nearest highlights anywhere. Okay, you should be using Uh flesh tones or maybe an ice yellow or even just a sort of intense yellow As the highlight and the shade should be integrating purples and stuff like that because you're absolutely right He has too much like twos and threes Very little four and five at all and he's missing one Okay, you knew it before you came to me and so Um in a couple weeks, I've got a video coming out about I don't know. It's a couple weeks sometime in the next couple weeks. Maybe next week. I don't know I have a video coming out about universal highlights. I would recommend you to watch that video Because it'll give you a lot more feeling on on kind of how to do that In general, just don't use white as a highlight white should never be I shouldn't say never white is often not a great highlight color Never strong, but white is often a bad highlight color. Um, because it's just going to make things look unreal Because lights are fairly very light is very rarely dead white All right Duarte, um thanks in advance for some tips going for a black gray white skin color to contrast with the blood Red and glowing eyes. What can be improved? Okay And then osl more osl boy. Oh boy um Yeah, I mean the so let's talk about the eye glow in a second Um with the skin tone, it's fine if you want to have that ashy skin tone You still should be using a color never use gray when you can use a green gray or a blue gray or a brown gray or a whatever red gray right like black white and gray In i.e. a mix of black and white are the most boring colors visually. They do nothing. They communicate nothing They are the absence of visual information Okay So in general if you're going to do that What you want to do is you want to have color integrated in subtle hues So you can have him be black to white in this gray tone But still integrate colors like soft purples or greens or Whatever or browns or something and it will just make it way more visually interesting The red doesn't pop out enough because the red is just blood Right. It's just it's just blood Like if we were going to do it, we needed more Stippling like how I go back and watch my blood splatter video. It needed to feel more like that Right. So there was more Uh more variation happening there into the blood where some of the blood was dry and some like that. Okay Now as to the osl the problem is yes, we don't have any darkness So we've got one and then two and then that's it Right, so wait remember same thing as always with glowing eyes The pin prick of light the soft one the soft glow around it two a dark ring three And then the soft glow on the exposed areas a soft two Okay So there you go. All right, so Uh These are actually recorded after because I realized when I reloaded the page people had thrown in some extras at the end So at any rate here we go. Um, so first up, uh, dez, uh, where can we improve really trying to flex on the weathering? um So when i'm looking at them, I mean if you like i'll say as far as tabletop goes They're fine overall what we need is things i've talked about a lot of times dez Which is contrast on stuff like the metals contrast overall the yellow is okay, but like things like the metals the swords Um, all those things just need to be pushed up as far as contrast goes So the reds all those things look kind of flat. So that's what I'll say dez Okay, beholder from chris going for tabletop quality. Uh, he says, uh, if you're going to improve it Where would you get your best bang for your buck improvement wise? Um probably the Eyes so I talked earlier about eyes Adding and buffing up your eye game is usually the best part but also just variation across the skin tone He's very uniform like the ball itself has no tonal variation to it So picking out those kinds of elements the teeth look very flat So just increasing the tonal variation the contrast. I think is how I would go chris Okay So hope that helps Okay, next up, uh, zebier. Um, first time I try to do more in a base like a diorama Uh, yeah, so again when you're going to do bases like this, um I you know like the idea super cool Um, what I'll say with it is like it does look like he's running from the guy One make sure you cut it sort of to size so like it's worth slicing off the edge there So it lives in the universe of the thing two When you've got the base like this make sure you you it's just brown earth So as I've said many times earth isn't just brown We could create a little light around him like he's glowing and dark and everything else We could have some different textures and colors Just more stuff around to make it look like we're using the space in a more interesting way Okay Uh, next up jared a quick last minute contribution first bust proper non-metallic attempts Sure, so the non-metallic in scale like I mentioned earlier on the other space marine bust of this size We've got to push the the Contrast in the edges and the light up a little harder on sort of the blues to make them pop a little more in this scale We you've really got to focus on smoothness when it comes to this scale So it's a lot more like glazing to bring everything together As far as the gold goes much the same thing I talked about with the last one is true here You know color integration of reflections around smoothing it out and having those extreme light pops So look at what I said for saying and much the same feedback also applies here Next up, uh, john So I says he tried to push the contrast on this guy and do some weathering Like the contrast but not so enthused about the weathering Okay So I do think we're pushing the contrast farther We need to smooth out some of it like some of our edges aren't quite as smooth It's a little hard to tell because we've got a little bit of a shrunk down image here I think for the most part your contrast is in the right place Um, the purple feels like it could go a little farther Um The weathering I think looks fine as you said the sculpt isn't quite as sharp as you'd like So I don't see a huge problem with that Uh, but yes, I think we could probably Like the weathering doesn't feel incredibly organic and it probably has to do with just The way it's being chipped and the size and the shape of this thing Some more smaller hashes scratches or dots like just little touches I think would Would like a little small areas of teeny tiny stipples with an ultra sharp brush I think would help sell the image there john So hope that helps All right, finally mart some critique on the cloak bow and base the miniature in general So everything, uh, well, it's very easy because I have one piece of feedback for you Which is more or less in line with everything I've said so far I think it's a very soft sculpt but in general contrast and cleanliness is going to be your main thing We want to be working on here. John or mart. Sorry Because again, we don't have near enough contrast in this guy The cloak is probably the closest but the browns are very flat And you know everything is kind of just He looks like I don't know if maybe we covered a little bit like maybe the primer went on too thick But like his face looks very round. I don't know if that's the softness of the sculpt or your paint I can't tell But just in general pushing up the contrast separating the elements applying the paint more cleanly Like things need to be more separated need to have more contrast much what I've said in line in other reviews All right, so there we go and with that That'll bring us down the month and now I'll go back to the thing. I actually recorded earlier, which is me saying bye With that we come to the end of the reviews for the month So thank you very much everybody who submitted fantastic reviews this month. We're going to be continuing them As a word of warning when we get to 2021 we're going to start changing up the end of month reviews a little bit Where we're going to make them a little more focused In what we're doing month to month. So I'll have more information on that In the coming months. Don't worry. We're still going to continue the reviews I finally come to a solution that I like that'll let me Do these without the amount of time these take to do But still be able to give really good feedback and hopefully let me dive more into individual pieces in some cases So it'll hopefully be the best of all worlds And and I'm really excited for the what we'll be doing format But for next month for november and december we're going to continue on as normal But I'm warning you in advance now if you stayed till the end. Hi. Welcome. Thank you for staying to the end I appreciate that But as always I think I want to thank everybody who submitted absolutely beautiful Great stuff this month. Um, thank you to everybody new people putting out their first submissions It takes a lot of bravery to do that. So thank you very much and people who are experienced and have done multiple times It's wonderful to see the growth Like I said, if you want to join us link is down below To join the pmp do make sure to answer the questions But as always, uh, I very much appreciate you watching this one and as always Keep offering positive constructive feedback in the pmp. I do this once a month All of you who are answering questions who are helping who are giving feedback every day. That's being a hero That's being a great member of the community. Please. Please. Please keep that up. It is so appreciated Thank you so much everybody. See you next time