 Hello everybody and welcome to another PMP end of month review. Well, what is the PMP? Why that's the painters motivating painters our Facebook group where we get together every month and we review the submissions made by our brave volunteers For any work that they wanted to submit each month has its own theme and this month's theme is armor or vehicles There was a little confusion on that. I really should have just used a different word I went for armor the more flourishing word but armor meaning the traditional use of armor like in the military terms of Vehicles tanks, you know that kind of stuff robots And so not people in armor. So just as a word of warning up top I did have to remove a lot of submissions from this month that were things that aren't what I was looking for So I apologize if in any way I was unclear Next month is single figure a lot of most of those things that were submitted were single figures So they probably qualify for next month So you can certainly just submit them in there and then we'll review them at that time if you should feel like it Or if you want to do a different figure, that's okay at any rate What we do here is we go over all the submissions We look at what the But the person is asked for remember every submission Of which no one can put in more than one a month and everybody should do the one in theme And you should put it in with a specific question of what you Felt challenged with or want to see help with or want feedback on Don't write me a novel. Give me some very quick bullet points of what you were hoping to receive feedback on And so this month looks pretty good most people are pretty concise, which I appreciate two sentences of what you generally want to Two sentences of what you generally want to Get feedback on is much more valuable than a novel so Very much looking forward to these as usual. We're gonna be as quick as we can There are still a lot of submissions and so Yeah, I With a limited amount of time we want to get hit the most people and give the most valuable feedback We can vehicles present a unique challenge as there's multiple different ways to approach them We have a more traditioning sort of scale modeling style. We have a more miniature pay a fig painterly style We got lots of options of how to approach them There is no single right answer vehicles also present us a really nice chance to do stuff like Weathering and battle damage in cool ways in organic angles and shapes and things that we don't generally get to play with So really excited about this one. I personally love painting vehicles. It's one of my favorite things That's why I definitely wanted a whole two months out of the year dedicated to it So let's get into it. If you want to join us on your hobby journey. We welcome everybody from From just starting out in their journey to master You're all welcome to join this wonderful positive hobby focus community The link is down below if you do attempt to join make sure you answer all three questions If you don't answer all three you don't get in it's that easy. Okay, so first up from Rob Who says white is difficult for me going for stark white could have made some Blue glow with the weapon part of his large towel project. Yeah, I've seen a lot of you do work on this towel You know, I mean my answer with this is if if your goal was to have this sort of very clean almost Games workshop s slightly sort of style with a very Just you know bright clear concise smooth colors. You definitely did that things like the White is very clean and crisp. Everything is applied very smoothly very precisely You know ultimately I think what would benefit here is something like Having a little more contrast in this piece It's you can do a lot of great things with gray and it can really make the white pop and seem brighter Cult of paint actually did a great video on shading white vehicles Rob, which I would recommend you to go check out If you wanted to go that direction, that's what I would ultimately Recommend because it's gonna make the white look brighter If you have a little bit of even soft grays in there And you know if you're doing it with an airbrush, which is again how they show it and what you're usually gonna do on these Big vehicles, it's a pretty straightforward process and it can really make it pop So I mean as it is though as far as like so, you know painting something for a tabletop She said you know, this is just an army you wanted to get there and get on the table I think this is absolutely fine Crisp clean smooth as butter You know obviously just your next step would be to pump the contrast on on everything Towel vehicles don't have to be scratched and weathered and dinged and all that they can look pretty clean and new That's kind of part of the you know, towel and elder vehicles can both be that way I think and that's fine. It works with their aesthetic, but you can always go that direction. So there you go, Rob Hope that helps Okay Next up we've got Scott's loader from loader mech from black site studios Goal was for a used realistic finish. Yeah, so I think this is nice you know, there's You've got like I like the color it does feel very sort of you know, exactly what you said realistic We're gonna talk a lot a lot about battle damage and scratching and wear in this Video so I'm not gonna Drop it all right here, but I'll say that in general the rust looks a little unnatural It doesn't have the density we would expect or the color variation I would expect in this kind of a thing so for Example when you have these scratches here I don't see the smaller bits and chips that we would normally get like you want to have if you're gonna get chunks that big Out of it, then there should be smaller little tiny dings on the edges And those should kind of carry through Throughout the piece right every edge if we're gonna have that kind of wear There would be smaller where that had been chipped and chipped and chipped and turned into bigger wear I would also expect a little more streaking if there's that much chipped away Then there's gonna be a lot more streaking So you want to use more of like an oil product or a streaking grime and use a more traditional scale modeling technique of like Where they'll put some paint on and then remove almost all of it in a vertical fashion and then sort of repeat multiple times to give this like Multiple light streak defect of you know sort of water and detritus running down and leaving dust and debris there so That's probably the number one thing that jumps out at me right away is that all of the little chips are kind of the same size They're all very equal. They there's no smaller stuff. There's no Anywhere else in scratches or things I would normally expect it so for an example He has grippy grippy loader hands and yet like I would expect those to be the most heavily scratched because he's constantly going in Picking up a thing turning and like loading it on to something So his hand is going to naturally be like scraping whatever he's loading into scraping on whatever he's picking up like I would One of the things you have to get with damage and we'll talk about this as we go on is it has to feel Organic it has to feel like it's Happening to the places we would expect it to happen to So every bit of damage and weathering has a home a location a natural place your brain just kind of senses where these things are supposed to be occurring and In this case like that area is that the areas that receive the highest touch on vehicles Are going to tend to be the most scratched damaged weathered so on and so forth Okay, so but overall cool products. I do like your color mixture I think the base of the the green and of this sort of general kind of wearing on that actually looks really nice So I think that looks good Okay Next up Edward take on far stride says he wish he'd done something a bit better with a sword Yeah, I mean so I looked at this one and my my biggest piece of feedback for you is our Our ed like because this will this piece this angle will be fine I do agree the sword's boring it could definitely use anything would be my answer you could keep it in regular metals It would just need a lot more like non-metallic style shading and highlighting But the biggest thing I see on this one is that the edge highlights are just way out of size We've got it if we're gonna do edge highlights like this if it's gonna be this line traced thing in GW style We've got to get these down to like a razor's edge They have to be super duper fine and if you can't paint that thin of a line That's fine You just need to go back in with your base tone and push into each side of the line until it gets real thin So you would take the gray and trace along this edge and trace and trace and trace and push it up And then you come here and you push it up until you got one little Thin line in the middle and you do that all over if you can't get the side of the brush Or you can't get your you know your paint flowing well enough, but that's the number one thing that jumps out of me here, okay? All right. Hope that helps Okay, David Meyer Warglave staying in the armor theme no flesh. Yeah, I mean, it's definitely a vehicle Yeah, I mean this guy looks good. I like a lot of the sort of weathering you've got going on here Well, this shot I think is real nice the kind of general weathering again around the top where the water would collected collecting around the rivets underneath this little, you know Handle that the person we used to climb in the vehicle. I think that works well You know, it's it's collecting pretty naturally where I would expect it The some of the metals feel a little flat overall like as I say they're weathered, but they're not shaded There's no volumetric highlighting to them And so with with metal paints you want to make sure before you do any kind of weathering or streaking on them that you do Still apply those kind of volumetric highlights that you create lights and shadows on the true metals Then you weather them that makes it feel natural and then kind of in the end It's often go which is good to go back into your vehicle and put a light environmental shadow over everything Yeah, I mean, it's it's probably worth a whole video just to talk about but But that you know So that's the only thing that jumps out of me is the metals feel flat the green eyeglow works fine for me You could use a little bit darker ring around the eye itself. It feels a little bit like airbrush like shot But Like a darker ring would help that a brighter light in the center would help kind of separate those two out But it's not you know, it's not bad or anything Yeah, all in all I think it's a it's a it's a good take on the on the model The base is like way too red. I don't know what is going on there if that's just a photo But that is like way too red without variance like we got to get some kind of shading in there Like it just looks it looks like cake frosting on top of something else because you got this dark edge on the side Like I don't know what is going on there on that base, but that's that's We got to do something with that so that's what I would say But overall cool cool work Okay, next up. I did leave both the silent Kings near there was two people who did these This guy was like it was close enough. I was willing to let it fly I wasn't really looking for to review a human figure Which the silent King is but being that he's on a giant vehicle and stuff. I was like, okay, I'll I'll let this be So because I I don't know what this monstrosity is so He basically as he said the silent King is trying to achieve an old but well maintained look to the metals. Okay, sure so we got a Part of the problem here is your pictures are far away like and small So like See how close we can we can get this like we got to take more Better bigger pictures if you're gonna do this with your phone like you know shoot them well and in a large format and make sure you Upload them now as far as the metal goes if we're talking about older metal I mean, no, this doesn't feel like older metal simple answer right because older metal has a really natural thing to it It's gonna corrode like it's going to turn oxidized If it isn't that if you mean non polished then you need to increase the shading of matte black surfaces on there, right? So that's old metal that isn't weathered. That's just not been sort of polished up Then it tends to go flat. All right. It isn't as shiny. We still have too much shine and stuff like that on here Now as far as things like the OSL and the color goes. Yeah, I think those all work I it's good yellow green transition classic on necrons You know all that sells for me. I don't have any issue with that I think you actually did a really good job on all of the OSL He looks actually quite bright and new so I mean if that's what you were going for then I think it was successful So yeah, I mean my general feedback is the king himself gets somewhat lost amongst this because The throne itself is all silver and he's all silver and there's all this bright stuff happening around him and You know with vehicles with with human shapes. We always talk about drawing the attention to the face And that you want to create the light the the vision lines moving toward the face and then you know around and You know with a with a big vehicle it can often be a challenge and this guy's basically diorama My recommendation here would be if you were going to have a separate color in here or something or make him You know if you were gonna if you darkened down the whole throne but kept him super shiny Stuff like that would help to make him stand out a little more because you know when I zoom back out to like my Sort of maximum view here. You know, he's He gets lost in the mix of all this right because he's effectively the same color same palette Nothing stands out. There's plenty of green everywhere, right? In fact, the most eye-catching thing on the base is the the captured Satan or whatever, right? So just a just a thought there for general advice going forward. Hope that helps Alright next up Ringo So basically, you know about the Sentinel feedback on the rust streaks, maybe the concrete ground sure So the streaks need to be longer and thinner and more broken up I think placement wise they're they're fine. They should come from bolts Open places anywhere where water would naturally collect build and then streak, right? Tall flat surfaces, but they need to be longer thinner. I have a video on making streaks I would highly recommend you go watch it. I have multiple streaking videos actually one on oils and one on Acrylics and stuff like that. So go check those out But it's you know, they need to be they need to look like they're it's malt streaks don't happen in one rainstorm Okay, they happen when water collects spills dries collects spills dries collects spills dries collects spills dries Collects spills dries collects spills dries repeat a hundred more times right they're the they're the wear of time and So they need to look like in each time It's like the scene in Jurassic Park when when he puts the drop of water on her hand, right? Each time it's gonna fall slightly differently streak slightly differently So it's about building up those little incremental Layers of sort of streaking and they need to be sort of long and thin and then you have a fuzzed out wider area where the Water sort of seeped out and then left thinner amounts of detritus where it wasn't being carried directly down Now as to the the concrete ground It's okay. It looks basically like quark not like concrete But actually what I would say is but it's fine enough, you know, like for a piece or whatever, but my My like concrete should generally be more like at this scale You wouldn't actually see much of the texture in concrete. It would be it would look more like very high grit sandpaper Okay And in fact that can actually be something you use to make concrete You can go get very high grit sandpaper cut it to size put it on something It'll look like concrete if painted appropriately it will shred brushes up So make sure you use junk brushes, but that's just a tip for making concrete on it something like this anyways the The one thing that jumps out to me here on the base is actually not the concrete. It's this thing I get what you were going for you wanted him to be like stomping over a thing, but it doesn't work and The reason is because you never put a giant thing that blocks vision in front of your miniature Okay It you should like if this was moved here We make this more real for you if that was moved here Okay, so it's like behind his legs I would love it I would be all about it because then it's backdrop It could still be falling or on the ground like he pushed it down when he stepped over it, right? Great fantastic we can tell the same story then we're not blocking the view of the miniature So there's just a general note So there you go Ringo. Hope that helps Okay, next up Alexander finished this big robot for my infinity first mayor many with Chimera loved it What get you just basically loves some general feedback so contrast contrast contrast is the name of the game here We don't have enough tonal variation the red is too flat especially on the gun the gun itself is too flat The I don't mind this sort of like the volume you've got here on the arm But then we're gonna need if it's this if this is what's going on So what you're communicating through this highlight is Something that is glossy black Okay, that's what you're trying to communicate by a small quick shift to white so if that's the case then you would also see a You would also see reflective shadows on the bottom so it wouldn't just be one line of Light from above anything that glossy like a black car or something is going to be Also Reflecting on the bottom and showing other lights like it glossy black is actually one of the most complicated things you can paint period Because it's Because it's going to because it has it's gonna it's gonna reflect all of the world around it. Okay, so The the broader a highlight the more matte a surface What I mean by that is if you have broad soft highlights That's actually quite a matte service if you have thin sharp Kicking highlights that go with it run the whole gamut up to white that represents a glossy surface But a glossy surface isn't just reflective in the light. It's reflective to everything All right, so like when you hold up something metallic It's going to and I move it around it creates lots of different reflections and shine points and things like that All around in the colors from everything in the area If you had something that big there'd be light coming on the bottom of the the the arm, you know down here There'd be reflective lights. There'd be all this stuff going on like at minimum. You would need a bounce light reflection on the bottom So that's the number one thing that jumps out of me. There you go. Hope that helps Alexander Okay, next up Bill Clark Talking about his towel could really suffice as it's on this was his first time doing it This will die this diorama. I love this bill is my short answer for you Yeah, I think it totally works the sparks flying are freaking fantastic Love the damaged towel reaching out to a little girl like what a wonderful story his little drone fixing him The shading and the minor scratching and the wear around him is great He's standing in this sort of whopper jawed position Which I really love makes him feel more damaged like even your placement of the figure like having him kind of down In this with his legs splayed and like hunched makes him feel weaker, which is you know kind of the situation He's in right he's gotten beat up the scratching is very Dynamic there's lots of different sizes of scratches his feet are nice and pig many that shows he's you know been around Yeah, I really like this piece. It's it's a very flat piece as far as like Your colors go you do you mainly let OSL be your variation of color, which by the way is not bad I'm not that's in any I quite like that actually My point was just saying that like a lot of the the piece itself is the same color And then you're using all the different glows to kind of create the the the color changes on it I think that actually works quite great So yeah, this is a really wonderful wonderful piece man. I I enjoyed the heck out of this I mean you could refine it more right like it could have some some It could have a little more clean volumetric highlighting in some places You know like individual elements could be maybe more clearly and cleanly picked out Because it's it's some of it is all kind of drifting together pulled up by the battle damage But again, I don't think that's necessarily a bad thing But it's like some of the elements could use a little more distinction like around his I don't know Whatever this piece is these wing things that they have I don't I don't know tell stuff But this is fantastic. I love the diorama. I love the the piece I think it's it's a really great job. So yeah, wonderful I love the idea of him landing on this industrial playground and trying to fix up and making friends with this little girl like what up What a wonderful story absolutely great Okay, next up Alex Yeah, your big night it does look familiar Alex, okay Practice your freehand, but I'd like to know if it works in this contest Do the rest of the colors work etc. Yeah, yeah, I mean overall Alex, I think this works quite well So just a couple notes does the freehand work Yes, I think the eagle or the Aquila Aquila Aquila Aquila, whatever should be a little bigger Like did you take up a little bit more negative space? It's not too teeny tiny, but it could be stretched out like I'd plus 20% that or 10% that somewhere in that range. It's not terribly off just a little off The checker pattern works the and actually that's kind of a universal challenge You've got in most of the places this one is a little too small This isn't taking up enough to as much enough of the negative space and the one on the back Right shoulder isn't taking up enough space when you're when you're putting freehand into one of these elements you kind of need to use the space and So like to return to this one. This is fine this thing, but then we need something else in here to really like create the space okay What I mean by that is like more flowers over here on the side or maybe you put some imperial numbers Just like a decal right here and you know just this kind of to break up that space when you fill part of it with Freehand and then not the rest it stands out if that was all just white it would look different It would have a different feeling right so when you're when you're gonna put in that freehand It needs to make sure you fill up the whole space Yeah, so that's just my quick thoughts there. I think the roses work and look nice does the blue visor work Yeah, it works fine. I mean, it's you don't have a lot of other blue, but that's actually okay in this event so with One of the tricks with things like this is you do need to draw attention to the face and it can get lost in You know mess of freehand and everything else going on and The reality is is that this Like that blue glow does help draw attention back to face even though it's not balanced It's okay because it's where you kind of want it to be but it's also not overwhelming You didn't do it like punchy punchy super blue. It's just this soft blue haze. So yeah, it works Okay, it doesn't really feel like a blue glow very much because I don't have anything inside really brightly glowing And it's getting lost in the heavy shadow Which is tough like I'm sure if I looked at him in person I would bet you did a light blue the eyes It's just getting lost in probably the lighting of how you're taking this photo like this guy You took the light you put a light up here And you didn't put a light down here by his face and so I'm it's getting cut off So I'll assume in real life. You did the right stuff there But yeah other than that that's kind of my thoughts. I hope that helps Good stuff Alex Okay, next up Patrick Where he's out with painting vehicles where could he improve the weatherings bit dodgy? How would you play more light? Yeah, I mean yes, it definitely needs to be playing more with light We also need to be playing more with separating the individual elements. So by that I mean So not only do we need more volumetric highlighting of separating the various panels and creating some kind of of light structure on them You know There are some people who are real die-hards for particular types of volumetric lighting with armor like it has to be this top Of the panel that's darker the bottom of the panel that's darker the outer edge of the panel That's dark and like there are people who really get up in arms about this. I'm not one of them I think that's all a lot of who would you you could do it however you want okay? It's a question of what you're looking for as far as it's art folks So it's what you're trying to communicate But it does need to be there because it it is what communicates shape right on something like this So Yeah, that's that's the number one thing I see more Dark lines around the individual elements more edges and picking out of the of the individual elements so things like the this Whatever the hatches and these little rims and stuff like that. I would also look at integrating some other Types of material so put in some metals or some other types of color. I know tanks were often painted over with everything That's fine Still try to break it up some because just a little bit of different elements just visually breaks up the experience regardless of sort of quote-unquote realism The numbering and the coloring is fine I don't think the weathering got squirrely the weather it like this looks like an extremely weathered thing But you got a lot of different takes of like sponges and what looks like weapon hits And you do have the little dots on the edges where you clearly sponge weathered in you went back in and built up some In larger areas the only part that doesn't quite work is this little piece here and this little piece here We kind of jumped to orange a little too much go back in and just dot some some brown in that So it's not just this huge orange area like you shouldn't have an orange Thing it should be Stipples and dots and things like that, but like this piece here and up here and all this that'll work for me I got no issue with any of that So yeah, those are my thoughts hope that helps Patrick Okay, next up. We've got Justin first 40k model Decided to be a little bit reserved heavy-handed on the shading Tried to darken some panels for the body shadows. I'm looking at tips on to clean up the metal making it more realistic Yeah, I mean my answer is it actually isn't shaded enough Well, first of all, we've got like a way too direct of a light on here Like if you can see a shadow your light is too direct. So number one, we got to work on photos Justin we've got to make it so we've actually got like you want a soft diffuse light and and Making a soft diffuse light you're like, but I don't know how to make that Yes, you do you have a piece of white paper you put it in front of a light that diffuses the light, right? So it's the light goes here that diffuses the light. It's that easy. Okay, you can use paper You can use wax paper. You can use tissue paper You can roll some paper wraps and paper towels and put a couple layers of it in front You just need to You need to diffuse out the light. Okay, so now but there's actually not enough shading on it Is my answer like the gold is flat the silvers flat everything's kind of flat honestly and I'll be honest with you when you're when you're working with a vehicle an airbrush to get the shading down is really almost an essential tool If you're gonna work in especially metallics Because you need to be able to more easily You don't want to use washes and stuff like that. You want to create Angular volumetric lights. So like if you go and watch my videos on panel modulation You'll see exactly what I'm talking about. Okay, because that's what's lacking here The top of the silver carapace is basically just one flat dull silver all the way up No shadows, no light being caught. That's my issue same basically with the gold same basically with the red Right, we're not getting enough distinction here. So that's I think would be my number one thing I would push you on there and do like again go watch the panel modulation video and that'll really help you out there Okay, next up Rick So basically looking for Weathering the wear on the armor stuff like that sure so Let's let's go around to View where here you go where we can see countless So this is where we're gonna get to the problem of airbrush OSL it feels like airbrush OSL Because there's no more distinction. You can't strike a light without creating a shadow This is my problem with airbrush OSL. It just blasts the whole area with with color and that isn't really how light works Okay, so I mean I've done this before but I'll do it again, right? Look at my hand with the lights that are there above it Okay, do you see how that didn't instantly fill the entire hand with light? Look at the shadows that are still there, okay? Like you cannot strike a match without creating a shadow so see how the Their shadows from above my hand are still dark. I didn't light these up Right only what's very near the source and then even then other shadows got deeper Okay So the point is on things like guns and stuff like this You have to have the dark lines the edges to sell the glow there has to be things that aren't covered There has to be dark lines that aren't in the shadow Stuff like that. It's the same for the the back of this guy Like this doesn't feel like what the blue glow would actually feel like it's just a big Splot of blue. That's not light light has a fade to it, right? There's an intensity it goes the brightest and then softer and then there's a dark line and then this soft Halo around it, right? Now as to the yellow armor itself Yeah, I mean it's fine the I think some of the Chipping and stuff could focus more toward the edges and sort of toward the logical consist places of where it would be Happening. I do like that. She focused on the feet that feels right to me So I think that's good. That's a good application the sort of the brown you're choosing to use their feels okay You do want to probably create some variance in their areas of slight more darkness and things like that And the yellow itself overall does feel flat before the weathering I'd love to see more contrast in the yellow before we get to the weathering stage. So there you go Those are my thoughts Rick. Hope that helps Okay, next up Philip So talks about how last month I talked about more color in the bases And you know very desaturated and stuff like that. I think this came out great This guy looks really nice. What a wonderful like really really old worn robot See previous comment. I made about crap on the front of your miniature. This is wrong. Don't do this Like I can't see that whole miniature Right, I should the proper viewing angle for the miniature should never have an obstructed view It's that easy. Okay, if it was behind him again, fine and and again I get it I know people want to be like we want to have our big robots stomping things down great then knock it all the Way down if it's this big and his foot's on top of it Completely different image right because then I can still see the whole mini Right, so if he's stomping forward and he's literally like crushed it down great No issue. Okay Now as to like the the colors that's a very neat reference by the way, I love this This is his reference picture drawn from real life for the desaturated colors Fantastic, this is so good. I love this kind of stuff and I think you did a great job at recreating it the White feels very old and worn the that turquoise looks exactly like that super old turquoise would look like One thing I would say is do mix up your rusty brown a little more I know in your reference picture it wasn't but when we shrink it down to this size You do want to create it. We this is where art needs to come in over a little bit of realism So we need a little more color variation in there of yellow rust magenta rust red rust orange rust I don't care what type of rust But like, you know, you need to get a little more splash of color in there in a stippled fashion So it looks a little more visually compelling and it creates a little more value variation. Okay But yeah, great job and cool cool way to use the reference picture Alright Pedro So basically looking tried panel shading for the first time and thin edge highlighting any tips are appreciated Yeah, so easy as he mentions. This is one of his first vehicles I think you did a fine job on it here I think you want to you want to so this is one of the things I see with these dreadnoughts a lot Is that people really like go nuts on this front these front two shoulders? I don't know what it is about them. They always make them super dark, but you have to be consistent So what I mean here is these two are darker than this and that's just not right All right, it still needs to heed the light So yes, you can shade up toward the top, but it needs to walk a reasonable gradient And one of the hardest parts about panel modulation as you get going is testing what the reasonable gradient is You know same here on this arm because it's a it's a Cylinder shape the shadows actually going to fall on the bottom So what I'm noticing here is we don't have enough We just don't have enough tonal variation We got to push it farther on the on some of the panels like the the Cylinder style panels and we've got a wheel back the shadow and increase the highlight on the flat panels It's a tough thing to balance as you said. This was your first vehicle for your first vehicle I think this is a good job. I think the edges are nice and thin. I think you did a good job on that So I think it's just a matter of you know continuing to play with that panel modulation again Check out that video that I read previously referenced that'll kind of walk you through the steps of it and There you go All right next up Chris And yes, this is certainly in the spirit of things the little bit of wolf pellet on a space wolf thing Is not enough so number one thing that jumps out to me here right out of the gate. It's just the level of contrast We don't have enough of it anywhere. I mean, that's that's more or less where I'd stop and start You don't have to give me, you know damage and weathering all over place I wouldn't mind if you did you certainly could but the metal on the bottom of the grav tank is too flat The blue the baby blue is too flat none of the the So none of the panels there's no modulation none of the missiles none of the yellow Which is a flat matte color the metals like there is just no tonal variation here whatsoever And and that's a problem, right? We also don't have the edges really struck out in any way We need to incorporate both of those elements. It'd be the number one thing. I'd give you feedback on so Pretty much that simple like again see panel modulation video and that will be your home Okay, next up Travers and Travers I am so glad to see you back my man I read this post and I just want to be the first to say well done, brother When is what I wanted so I want to take a moment to just talk about Travers here in January He had painted something. He was very proud of it didn't do as well as he wanted the competition And he was feeling really down and look I've been there like I said at the time I lose way more than I win in competitions, okay And so and it hurts But what you got to do is you got to take that that hurt and you got to make it light a fire in you to keep going, okay, like Perseverance breeds success be the crucible of victory, okay, and That's exactly what Travers did. He came back. He weighed do he drove into this project He took it as you know to a high level to where he felt like he could go and he entered this into his second painting contest Anyone and I'm so happy for you man. That's congratulations. That's great stuff now. What do we do with this guy? So where are we at? Okay, so I think this guy looks really nice. He did a good job We need to smooth out some of the shading on the metals So stuff like this in here in here in here keep pushing on that look to smooth those things out great place to use your airbrush In a soft way each kind of coat around it the weathering I like some of the streaking here again But let's make it a little more organic have a little more running down in a light fashion say out of these Panels down here coming down and then make these thinner and have again more streaky lines and variants of the color stuff like that And then overall we need to create a little more contrast in the highlight of the metals And things like that like you need to pop up some of the highlights on those create reflection points points of light on those true metals And then probably your next place to go would be to really like focus and tell a story through battle damage This is a big ad mech night. He's you know, you've got rusts and chips So let's now get those telling a better story, you know having the chips and things down by the legs I do like how you're taking some of the decals and weathering them over and streaking them over That's good. That makes them feel much more realistic and part of the vehicle keep going with that keep pushing yourself watch the video I have on Battle damage rust streaking. It's like in the 90s somewhere. We'll hobby cheating in the 90s somewhere That really focuses in on I'm actually doing it on a night at that point and that'll actually take you through kind of You know where you want to be but this is great work. Keep pushing Traverse and I'm very happy for you Alright next up Carl's So basically said is his first attempt at approaching each panel as an individual gradient and this much weathering So gradients and weathering so gradient wise again Yeah, probably doing better We need to push a little more shadows on the ones that are completely hidden from the light So like it doesn't you're still thinking like okay, this panel has this much space So I'm gonna go my light for 80% and my dark for 20 and this panel has this much space So my light for 80% my dark for 20. That's not how it works. There's still a total volume, right? So this whole undercarriage here should have like this piece should be heavier shadowed than these You just need shadows, but this should be more in shadow. This should be more in shadow, right? Okay, so So that's my first thought I don't love this silver Sponge weathering. I think it generally looks terrible. I mean, it's just that's not how things would look when they're chipped Unless it just got chipped five seconds ago Like that metal has not been treated and will rust and dull basically the next time that thing is outside I mean, how often do you see cars with their enamel chipped away and bright silver underneath? You don't you see brown and rust why because it takes like a few days for that to happen Okay, and even if it were you were gonna use metals it would be like Dull dull gray. I'd actually use gray to do it maybe like a very dark metal because again that hasn't been polished It's not polished silver down there that's sitting under enamel paint. It's you know steel It's just like or whatever this is future anium, right? Like it's not a polished metal So I don't generally like that the other thing I notice on your battle damage is you have what I call same size syndrome Okay, and that is when this chip is the same size and this chip is the same size and this chip is the same size All right, and so on You made them too regular because your brain wanted them to be regular like a human being you tried to be like this Is the chip and this is the chip and this is the chip and this is the chip and this is the chip I literally teach a class where before I tell I tell people we're gonna do this type of weathering And I say your brain is gonna want to make these all the same size And I'm gonna tell you right now not to do it and I'm gonna tell you that and it doesn't matter 80% of you We're still gonna do it and I tell them straight to their face that 80% of them We're gonna screw up the exercise that we're about to do I show them how to do it the right way and then 80% of them screw it up every time Because human brains want these things to be symmetrical We like symmetry or it's just what we enjoy and you've got to stop that you got to get in there and you know Stop that punch that that your your conscious symmetry loving brain in the face Those need to be different size and varied and focused right so You ask like how do you stop yourself with a weathering? Well first of all you have too much sponging and again It needs to be location based when you're thinking about where does weathering happen every piece of weathering needs to tell a story Why is this like this and if you force yourself to tell a story with every time you won't go nuts Right, so why are the legs all messed up? Well because it's a robot and walks around it kicks things and its feet are all damaged and stuff like that because that's what happens But the same reason your car tires are dirty Right because they're what connects with the road And those aren't exactly weapons of war the upper area should be more focused on things like Bullet damage or battle damage of that type right the weather people are shooting at it trying to kill its Driver or whatever yeah, so find the narrative and that will help you control Okay, all right next up Rowan So talking about tips on placement it comes to weathering on larger panels Yeah, so let's go out to the full view on this guy here we go So the number one thing I've got on this guy Rowan is just contrast We don't have enough of it like that's the first thing it jumped out of me We needed to we needed more volumetric highlighting him now. How do we? Weather big upper plates. It's the same rule. I just said every piece needs to tell a story and The way it tells a story is again things near the bottom tend to be scratched from incidental exposure Drive near a building kick near a building long scratches hits impacts of like where it kicked something where it scratched something Where something scratched at it claw marks from smaller things that are that are scraping at it as a steps on them that kind of stuff upper areas Bullet damage impact damage flash plasma streaking, you know chips and weathers around Rivets where the paint has pulled away because of water that's seeped in that's the kind of stuff that happens on upper areas of robots, right? so When you start telling a story behind each scratch that goes on the miniature Right, then you force yourself to think why is this like this and that will help you place them correctly So hope that helps Alright next up Liam Basically looking for feedback on the murals and a lot of effort into weathering and That kind of stuff sure so let's talk about the murals first off So we'll just kind of zoom through the pictures here so we can see everything My honest answer is I think the murals look pretty good again You're right like some of them aren't perfect as far as size goes like you can tell this It's not equal to that so you want to be careful with stuff like that. You can use things like Deckles and stencils and stuff if you want to really nail them, but it also just means you got to go back and fix it as you're working on it, right? It's it can be tough to do really symmetrical Designs like this with free-handed, but I think they look good like don't be wrong. They're nice. He did a good job with them You can also use rulers and mark out your spot like you can use a little a la ruler and actually like straight edge out your stuff and Just in pencil on there first and then just paint over it or erase it Like as long as it's furnished first. You aren't anything. Okay So now as to the damage and weathering. Yeah, it feels pretty good It feels pretty organic looks like scratched in most of the places I would expect it to be along edges, especially lower edges is where I'm seeing most the heavy chipping We could have the rivets picked out a little more Stuff like that Yeah, but on the whole the the dust the patina along the bottom that sells to me feels like a sort of Sandy desert that very much sells to me. I have no issue with that. Don't love the sticks in front of the tank, but okay Yeah, I mean I think that the panel modulation is good. You're just about in the right place We could use a little bit stronger edges being picked out in a few locations Like some of the edges aren't quite as Crisp as I would want them to be or or as really called out Especially like the upper-facing edges on the top sides of the tank feel like they need to be a little brighter Because they feel about the same color as like some of the sides and lower edges, but yeah, I like the weathering I think you did a good job with it. This is a really nice tank. I think you did great So yeah, just refinement. I'd say is really your challenge there Liam Alright next up, uh, so this big model. It's a what is this thing called? Mag Magariba Magrub, I don't know how to say this thing. It's from infinity. So So, uh, you know saying like how do we get the contrast? How do we get the weathering? Sure So I mean first of all if we're gonna take a picture, by the way Let's take a picture. Don't just shoot it on your painting desk under your painting light Please take me a proper picture. So number one if you're gonna submit give me a proper picture If you're if I'm gonna take my time to review it, you can take the time to take a proper photo Number one. So number two. Yes, you're right It is too flat and and ultimately again, it has to do with that volumetric highlighting So again, go check out like the panel modulation video because we need like the areas of the long the sides and the sides of these Like let's just take this leg in microcosm the sides of these panels toward the top Here and here should be darker should have some shading the lower part of this middle panel up top here Or they're sorry the upper part here should be lighter, right? Because that's it's at this kind of an angle so the lights gonna naturally capture up here Right just like you can see my arm right now Lighter to darker, right? Okay, edges need to be a little more cleanly picked out We need stronger separation of the element as far as like the elements as far as like panel lines stuff like that goes It doesn't really feel very battle damaged in most cases so I mean it Honestly doesn't like you have to keep you have to paint really clean to then battle damage things and so Make sure you're keeping everything nice and You know get those edges picked out and those clean lines those deep recess shadows and send and the volumetric highlighting and then You can get to to damage and stuff like that and again Focus it like I said in the previous feedback, so I hope that all helps again Check out the panel modulation video check out the battle damage video in the 90s that'll help Okay, next up Dan with the one that's pushing it the most for this but again out of everybody's this is definitely the One pushing it the most because this is a guy in a sled, but we'll allow it even though I said no flesh Well, we'll all allow this since it is technically a vehicle Yeah, I mean the biggest I understand what you said about contrast and that's fine I get the grimdark style pull but that can often be like Okay, grimdark should be an excuse for like I didn't do the necessary So like the wolves are very flat and boring and there's no reason why they should be right They're still creatures with fur, so they should still have tonal variation in their fur Like that's number one number two if you're going for that sort of a style Then you still have to make sure the appropriate areas are visually interesting Which means like his face and stuff like that and his face kind of gets lost in all of here So if I was gonna focus anything it'd be around like You've got a lot of areas of interest that are catching light and again This is like bad lighting for a photo you have it under a spotlight or something I don't know why that is like again shoot light should be directly from diffuse light should be at the miniature from the angle You're taking the picture So if I'm you know like basically this is where I'm looking at there should be like lights coming in like this in a diffuse fashion Not we don't not under a spotlight. Okay So But you know we want to see like things like the face and stuff picked out more of these kind of elements You can have that grimdark stuff. You can have the sort of grimdark feeling like I don't have any problem with the His sled being, you know, very weathered and stuff like that. That's fine. That's no issue But then we still need to make sure that he's the most visually interesting thing in the piece because he is the center point, right? So more highlighting on his face more like shading down of other elements and like picking out that halo of light around him Would really help so there you go. Hope that helps Dan All right next up Jim Okay So a couple notes here. So this is his 13th mini and he said, you know wanted to look how he was Thinking of like as it stands display quality. All right First thing I'll say you shouldn't be worrying about a display quality miniature on your 13th miniature Just don't don't put yourself to that standard. That's not relevant at this point Okay, like you should you should be worrying about display quality painting on like your 100th miniature your 500 or thousand. Okay, like there's still fundamentals You want to make sure you're mastering before you're worrying about that kind of crap So like focus on the techniques not that now what's here? Okay, so The green and stuff looks good the red glow of the plasma looks good Basin color variation no issue with that good good cast of pigment and red up into the feet I'm with that all that is is good to me some of the scratches and stuff on the The white that all sells biggest problem is anything gold or metal on here is very flat very boring Okay, also we've got to get like more light in this picture. This guy feels like he was lit by a light by a flashlight from across the room But these metals and the golds are really flat. That's where we lack the variation right now So when again as I've said on these things when we put true metals on vehicles, which we often use your metals on vehicles They're not a common place that you go non-metallic metal and that's fine The scale modeling has a long tradition of using real metallics. That's why one of the reasons I love it But then we've still got to bring that volumetric highlighting that shading into them, right? So like this gold is all just flat same here. This metal is all just flat So we still need to create that light and shadow on it and that sort of create those kind of NMM style techniques in the metal That's the biggest thing that jumped out of me Overall, I mean for 13th mini again looks absolutely fantastic. So if I was you next mini Let's focus in on some on some shading and highlighting metals Okay, next up TJ Wanted to work on weathering techniques and setting up good transitions use pigments for the first time along with oil washes Yeah, so I looked at this guy and people have some real problems photographing vehicles Is what I got from this month again way too direct of a light way too hot way too non-diffuse, right? So But anyways, um, yeah, I mean we don't have enough tonal variation of red all the red is very flat It's very much the same color You need we need to make sure that there's much more variation in the individual panels there So with things like this this sort of chaos brocade pattern like hell drakes and these kind of creatures You want to make sure that you've got a general color Transition going over the volume of the thing and then you go back in with the metals, right? And then you need to match that transition on your metals So it can be quite a complicated process But that's really the number one thing that jumps out of me the plasma glow on the guns looks fine The flash I believe and the little you know the pigment stuff pigments came out great. No issue there You're using them just fine. They're they're quite heavy, but the ground looks like it's quite muddy and heavy So I don't have a problem with that You might want to when you're doing it though that heavy here You've got to draw it lightly up the rest of the leg That's the only thing I noticed like I don't have a problem with heavy dirty muddy feet But then there's got to be a very light amount of it So like if this is the foot and it's super heavy, it's got to lightly come up to here Like the more you apply it here the farther up it needs to creep Right, there's a sort of like mathematical equation to it, right? If it's lightly dusty here It stops low because that means it hasn't gone up If it's if it's really thick and all over the place then it's kicked up a lot and it has to go everywhere So there you go All right next up daniel with his vendetta restored goal is a nice tabletop standard. I feel it's not there yet Yes, you are Okay, next anyways, all right, so hope that helps daniel. No, I'm just joking. No, it's great, man What are you talking about? You've definitely had a tabletop standard buddy. That doesn't mean we can't go further But like tabletop. Yeah, man, you're there. It's fine. This is this is quite good Um Now what do we need to work on by the way? Yeah, I love the freehand akila on the wings I think that came out really fantastic. So I No issue to me brother Um panel modulation is good. Um edges are could use some more work Picking out of the individual elements variation around things like catching light on the edges. So let's go back to sorry To this one right here Um things like this front edge of the vehicle and edges along here a little bit more of that We could do a little bit more weathering and those kinds of things and then on the metals We can vary those a little more with again a little more like volumetric highlighting on the metals Making those a little more visually interesting The metals is where I would go if I was going to push this along with a little bit of the edges But this is great, man red glow really sells freehand on the wings looks good Panel modulation is nice It's great for a rescue. This is fantastic for tabletop. It's absolutely wonderful, man. I don't know. Yeah, so well done Okay, next up uh vultron Wanted to push himself and use mostly oil paints to build an anime comic book stylized nmm Yeah, so one of the things when you're doing this is you can't when you're doing this sort of thing There has to be some connection between the panels So it actually like if you look at like vultron in this style It isn't each panel picked out quite like this. It's more of like this sheen this sort of It's hard to explain. There's a general volumetric lighting that creates a Like a light that creates these light shears across the mini and then the individual panels have lesser versions of that So in other words, like you'd have the bright line across here, which is good. This is correct How you've tied this together, but then we need to come up not that high on the other panels Okay, or like not that high on this panel and this panel, but then this one would come up as high So it's moving across in these like that comic book style is like as they turn they The animators moving these two lines of light and shadow across the miniature and it creates this illusion of movement Right, so it's like we all we all remember the vultron You know they like turn and spin the sword or whatever, right? And all they're actually doing is just moving like lines of light and dark Up and down the animated cells and that's making it look like it's highly reflective. So you've got to have It can't be each individual panel. It's got to be these broad spaces and then lesser ones in the individual panels Um, also keep your black lines like really sharp really thin And then you can work in the scratches and stuff. That's fine But overall, I think this is cool. Like I think the face is the most successful Because again, it feels more like it's not each individual little panel But more of the volume of the thing that you accurately captured. So I think this part really works for me So, yeah, hope that helps Okay All right next up austin started up. This is uh Dreadnought what can you do to push this model beyond high tabletop? So I think you're already there Good panel modulation Looks like the edges are well picked out I mean, I think we could push it a little farther What it actually looks like is things like contrast on the gold the green the other elements Having the this needs to have like letters on it like the red of the main body looks fine to me The detail elements are not as good, right? So like things like the fist need to be picked out cleaner The edge highlights need to be sharper the pan the the the uh Tonal variation on the gun and the other elements those need to be higher The metals need to have the same tonal variation that you've done here Like there's more tonal variation in your red than in your steel. That's a problem Right that red is not as shiny as that steel same with the gold like gold very flat very very flat Right the the weapon very very flat So those are the kind of things you've got we've got to take all the elements up to the same level as the red armor Okay, uh, so that is my advice if you wanted to push yourself All right next up rich with his uh with again a dreadnought, uh Try to make it feel like it was telling a story and you need to know if it's coherent How's the weathering and grind feel any other tips? Sure So it feels Again, so my first piece is it does feel flat same thing as I said before right like there's not enough Tonal variation and panel modulation across the thing Uh, especially when you're using like really deep colors like this Like it's fine But then there's got to be something that's visually interesting here in this entire thing like the base And everything is really really really neutral and washed out Uh, and so that's problematic like the ground and the base itself doesn't have near enough variation on it The yellow part doesn't have enough variation and then the what would we call that? I don't know brown plummy color doesn't have enough variation on it now as to the weathering I think the weathering's fine. I think it actually looks quite good if we had actual the tonal variation on the panels I think we'd really have something great there. Um, again, I'm not so sure about chipping away from metal I know you're doing that because this is the dark But see the problem is that's weird because here you've chipped away and it's gone brown and here we've chipped away And it's gone steel now. I know over on this side. Where's that? Yeah, here we go on this side you brought back in the steel I can't really see it but you have steel over here on this yellow But now on this one again, don't make it shiny reflective silver That's just not how it looks when you have dark colors and they scratch away. Yeah, you just don't tend to see it as much Okay, so I mean that's part of the problem of having a dark vehicle. That's when you have dark vehicles They don't show rust as much, right? Um, but making it look bright silver just to make it contrast doesn't actually make it look real It just makes it look worse So if you're going to chip like that Chip it away and make it either like a dull steel or Chip away to a lighter color of brown or gray or something that's like the prime runner underneath It's chipping away to the bondo or whatever, you know, or whatever, you know, so it's something that's under there Okay, that can be a way you can tackle that problem And then you could use the same chipping on the yellow parts because it would also then Stand out now, but most of it should be rusted It should be just like a brown and then you can tackle that by bringing in other rust colors Again magenta's reds, oranges, yellows, all those things are natural rust colors So that's the kind of stuff that that jumps out at me. Did I hit all your questions? Oh the narrative Yeah, I mean I feel like it's the narrative is fine. I love him picking up this thing I think that worked out really well Again, you're blocking the miniature in the front. I don't love that again Move it to the side and we've got something like he should be in the middle of this with those two things framing him in a v they like this hunk of Junk here and then this thing flying out in a v onto his side and we've got an absolute winner of composite composition All right, next up chris, uh looking for sharing more projects tried some new techniques to me directional lighting shading metallics water effects. Sure So the first of all the water effect looks really nice. I'll start there Um, the general directional lighting. I don't know if I really feel it The metallics aren't shaded by the way in a way that I would Really recommend they look washed And uh, that's not really how we want to shade metallics So my recommendation will be watch my how to shade true metallic metals in a non metallic metal style That's going to give you a more volumetric shading on your metals But it's you know, it's like they feel washed over and grimy But not in the right way like some of the wash captured around this stuff And then it doesn't look cleaned up. It doesn't look like the metal is dirty. It just looks like there is a wash on it um So and when it comes to things like this big globe on a spider butt Again, if we're going to do volumetric lighting, we've got to have it be a lot more like Actually volumetric and this is probably one of the better areas because this does feel slightly lighter than this But I think we could push that contrast farther and then we need to carry that into the metals Okay, so that's what I would encourage you to do. But yeah, cool piece Uh, hope that helps All right, gabriel, uh with this tank, uh first attempt at a scale tank Modeler style vehicle first chipping layer was meant to be lighter more saturated The decals are free-handed and some of the details are missing nice dark lines Here's what I'll say if you think those things are wrong They are Okay, you don't need me to tell you that Uh, because when you already know and your brain already told you You're right Listen to your heart It's calling to you. Okay, and yes, you're right on all counts Like they should be decals so they're well balanced Then you can scratch over the top of them or stencils or something like that. It's just an easier way to go Uh, yes, the individual lines need more separation and stuff like that The individual elements need picked out more in general You should still have like very light panel modulation on traditional scale model vehicles that are in a color Um, like there should still be some amount of variation on the thing because light does shear across vertical surfaces differently So you want to capture some of that but really it's about picking out the individual elements Like right now the wheels and the things inside there those would not be the same green and stuff like that So we really need to just punch up the detail and the finishing. That's the answer. You you already had the calls keep going All right, zack, uh with this monster. What do you think of the glow and moonlight effect on the canoptic reanimate? Um, yeah, so I can't really tell So does the moonlight effect work? No, uh, it is not sorry to say like it doesn't that doesn't sell to me at all Um, okay, it just looks like this back part is kind of marble or white marble or something I'm not sure it doesn't look like moonlight. I'm not sure that matters, but it doesn't look like moonlight Um, because again, there's no shadow line in here So let's talk about ambient lighting versus a cast osl If that's the case then you've got this broad diffused blue light that falls into a deep shadow That is then lit by intense low area osl lights Okay, and that's not what's happened here. We've got this whole back part basically in white There's no middle shadow and then we just pass into these bright yellow Things that somehow make everything around them turn green Right, there's no transition to it. So if you go back to the silent king earlier You'll see how he used like the yellow and green in there and then cast a soft glow that again I am in a bright ambient light right now and it casts hard shadows Right, there's a lighter. I just lit under my chin. See that's a very soft glow is very small about to burn myself um so like That's the That those forward lights are going to have a very small radius of glow and tight color They need to be little pinpricks of light and then shadow and then a broad soft highlight on the back So there you go Zach. Hope that helps Okay, next up Matthew little All right He says the expected shading on the tmm Turned out better than it did but he's not sure what went wrong More general feedback in terms of what he needs to be working on pushing past tabletop So yeah, I mean first of all like tabletop standard. I think you're there. I don't think there's any issue with that Um, so you're you're definitely there now again. How do we go farther? Um, I think the panel modulation on this vehicle is decent I think you could go a little farther and we could pick out some of the edges a little more cleanly Some of them like the side edges here These upward facing edges even this downward one, you know We didn't get everything kind of picked out the way we should And the modulation on some of the other elements doesn't feel as interesting now How do we keep pushing will we keep pushing it on the details, right? Like we've got big flat areas here She's quite flat like we don't have as much variation on her on her individual model her arm The breastplate the shoulder pads those need that same individual shading these individual elements here like Sorry, where are we at here? Like the purity seals need text on them. These need text text stuff like that, right? These individual elements need more strongly picked out. So the key is how do we go farther? Well, we keep pushing we keep bringing all the detail into life Okay And again more especially when we get to the human figures in there. They should be well picked out well detailed It's the same level as the whole vehicle itself. I think you're at tabletop. So now it's just continuing to push beyond there All right, next up runar, uh Got an airbrush and working way through the vehicles didn't feel like painting with a brush. Sure Yeah, so let's take a look at this guy. Um, again good stuff. I think that the Yellow looks nicely modulated Uh, we definitely have more damage on the lower part and dirt on the lower part in the legs than we do up top So that works for me. Um, we have a little bit of same size syndrome going on here Like there's a lot of little dots that are all kind of the same size And our scratches are all kind of the same size So I want to vary that a little more. It's really hard to get it sold You need some that are really big and then a cluster of little small ones And then a medium one's going in different directions and you've got a very direction length intensity all of it needs to be varied, right? So that's what I would say um now as to The the rest of the piece again the metals feel kind of flat. It seems like something I've said A lot of times in this video. It's something you really got to focus on with big vehicles Is working on getting the metals to be interesting And that means working in other tones Creating that volumetric highlighting having things like rust and color and oil and and brown streaks and stuff like that in there So all that works. The thing that's honestly missing for me here is just the streaking Um, this guy's bright yellow. They would normally show so I like all the little dots and little errors And there's a lot of chips, but I don't see any streaks This is maybe he's on a desert planet and never rains. I don't know But I think we could do some real good stuff with streaks. That's my number one thing that jumps out of me But overall great looking piece very cool Okay Saying with the uh the silent king. So this is my other silent king This one does definitely stand out against the the whole piece because again He's a different color than kind of what's going on there My biggest issue is the nmm doesn't sell across the piece. Um, you don't have enough contrast on the gold It's not pushed far enough. It needs more light catches like this is a nightmare of a piece to do nmm m1 But yeah, it doesn't it doesn't go up enough into ones and twos The silent king himself is better He has a little bit more variation on him in the right way like his legs feel really good Not sure about his chest. We might need some more darker points there Uh, but the the the gold on the his throne doesn't feel like it has enough one and two in it It's mostly just five four three Maybe like a two and a half So that's the number one thing that jumps out of me there. Hope that helps All right, rafael, uh with his tank, uh said, uh, you know, he's doing black try to get the panel lines didn't really show um Would an oil wash work? No, I mean, it's no different like when if you're doing a black vehicle It's it's gonna look black and you can't get black other blacks. That's the problem Uh, general feedback as well as maybe a better faster way to do large checkers There is none except like drawing the lines very carefully with something straight edge and then Painting them in I am sorry to tell you that if you want to do a lot of checkers Prepare for a long time. This is a great heavy metal style gw vehicle It really is if that's what you're aiming at you nailed it. Okay I I really don't have much in the way of feedback for you if you're going for that sort of gw vehicle style I think this is extremely well executed in that fashion If you didn't want to go just in the gw style, then we need a little more panel modulation and to push the non black A little bit farther. There's some very soft panel modulation here It's not it's not absent. I can see it You could push it a little farther And that by the way, that's in no judgment. As I said, like one of these styles is not better than the other I want to be completely clear. Okay But we could push it a little farther as far as the contrast goes, but I honestly think this looks great I don't know that I'd mess with this too much This was is a coherent style. It's executed extremely well. It's telling me a coherent story It's very striking visually. I think it honestly looks great So there you go. Uh, I wouldn't worry about the black lines again this in a vehicle like this. You just It's hard to get them any darker. Just one of the natures of one of the problems of doing black vehicles I would pick out these frames in front of the lights In some way like darken those a little bit that can make the light look brighter Little touch Okay, William, uh And basically looking for the base and the weathering. Yeah, sure. So one thing I'll say is on a big night Um, I like that you put in some details like this the the number and the cross and stuff like that I'd love to see a little more up top. Maybe that's still in progress. I think the base looks nice. Uh, good Good dirt on the feet. That's all fine. Um, again, if we're gonna have that much heavy mud up Then we need a softer patina extending up You kind of did it on the right leg the left leg It's missing a little bit so a little more dust and dirt going up And then again more tonal variation more more contrast more panel modulation on the upper areas Is I think the main thing missing Uh, I don't really see a lot of actual weathering beyond that like the lower weathering looks fine I didn't really see a lot up top again This all this guy looks just like pristine like you rolled out of the factory and then walked through a mud puddle So if you're gonna weather this much down here, we got to do something up top Okay, so like we've got to have more browns more modulation more variation Don't leave the whole frame silver like do more pick stuff out Make this thing broken up. You don't need to do a lot But it can't just be all metal because that just screams like I airbrush this thing silver and then stopped Right, so you don't want that. All right. And finally florian With his uh, his piece interested in feedback regarding the armor the edge highlights the fire and just general feedback Talk about speeding up toward the end. So yeah, I noticed a couple things on here I mean, obviously, you know that the stained glass could be looking a little better I think that's probably where you got kind of sped up by the end Um, I think the flames look fine They're I'm okay with them. I don't really have much of an issue with that You could work in a little more soft orange like this this kind of orange that you've got here Could have a little bit more of that worked in there, but yeah for the most part it works for me I have no issue with that The brown feels a little too liney So when you're doing this kind of like patina dusting along the bottom of tanks that people love to do it shouldn't be like dirt dirt dirt stop normal paint Right, it has to fade Up in Okay fade Lovely fade But it has to be like this soft transition So that's actually the main thing that jumped out of me when I looked at this piece was the dirt felt like way too strong And then just suddenly comes to a stop. I mean this thing has like a bajillion details These sister's vehicles are ridiculous Um, and then that and just like, you know continuing to push the contrast on the non panel parts So like her chair her the stained glass the guns, you know, those kinds of things continuing to push your contrast in your detail And those I suspect that's where you probably ran out of time. Purple really works for me edges work for me I have no problem with that great color Modulation works edges work I'm good with all that so There you go That brings us to the end of the month great stuff this month. Thank you to everybody who submitted Really appreciate it as always Thank you everybody next month is going to be single figure. I imagine that'll be a big one We'll do what we can So thank you to everyone who submitted again if you're interested in joining link is down in the description Feel free to click on that answer all three questions I hope this feedback session was helpful. But as always, I appreciate you watching and we'll see you next time