 Hello everybody and welcome to another PMP end of month review. Well, what is the PMP end of month review? Why that is when we get together to review all of the submissions into the end of month review event in the painters motivating painters Facebook group you can find the link for that below Whatever or wherever you are on your painting journey from newly starting out to skilled master We welcome you to come join us in our positive hobby focused community We work hard to try to lift each other up and part of that is me doing these monthly reviews every week We in or every month. I'm sorry We invite our members to if they'd like post a piece for critique into here You can post one and only one Each month has a theme this month's theme is single figure 28 to 32 millimeter scale So one single small normal scaled miniature. I Knew this is gonna be a busy month. I did not expect it to be as big as it is So we are gonna move quick through this because there is a lot and most of my critiques are gonna end up being the same thing So but we're gonna go through all of these here Thank you to everybody who posted As I mentioned if you want to join you can do so down below You do have to answer all three questions otherwise you don't get approved. Those are just the rules So with that out of the way Let's go ahead and get into it. Let me bring my microphone here closer to me, okay So first up we've got Enrique Ringtail Vixen from Kingdom Death any critique would be nice Sure, so he says he struggled a bit with the textures and the skin tone Yeah, so I think the hair looks really nice. I think the actual ring tail and the color looks really nice there The skin tone does seem a bit flat in some places. So I would say we could add some more color to that especially with Like bringing down some of the lower more pink tones into the skin we've got some of it there You're certainly going the right direction the real problem I see is That we don't have a lot of contrast in some of the elements like the green We're using texture, but it looks still rather flat Same with the yellow up top on her head like the the sort of hoodie that she's wearing I like the red you're using for the shade down across her tummy But I'm not sure about up top if we're really carrying the same thing through. I do really like the hair I think that works out. Well, it feels very much like Kujo the hair that he did on this I'm not sure if you were inspired by him or not, but it But I do like how that came out. I think with the skin We just need to work in some more subtle softer shaded tones Especially in the fours and fives the lower tones and that would be strong So there you go. Hope that helps. All right, next up clay Icy themed stone mage says he's pretty happy overall his gloves are driving him nuts. Sure. I agree. They would be so I mean overall My previous advice he's gonna stand here. We do need more contrast across the whole miniature, especially on things like the horns The white of the thing he's sitting on the blue of his cape and the little cloth and all of that Now why does the glove why do the gloves drive you nuts because you used an orange warm glove and an otherwise cold miniature? I would by the way, try to get the gold cold as well If you're going for a cold theme then make everything cold The problem here is you were You were set to use your glove color you saw gloves You said well, it's time to use my glove color and you got out the glove color And you use the color you use for gloves or leather or whatever When in fact what you needed to do was find a different brown color that was more cold Had a lot more gray in it or take your existing color and gray it out by mixing in a gray or a light gray blue And then that's gonna make it fall into place So there you go That's kind of would be my feedback on that if you're trying to go for an ambiance an atmosphere an environment Then have all the paints have to get into that color. So All right next up Phillip Asked about non-metallic mother and and weather look and you said you just kind of have to do it Well, he gave it a shot Sure, he says he knows he's missing things like secondary reflections you are But overall my question is whether the effect of a warm metallic surface is selling sure No, but that's okay So when we're gonna do worn metals, all right, so we'll talk about worn metals You still have to create all the same contrast. It's just metalwares in specific ways Like gold doesn't oxidize So when if we're gonna get weathered gold or some kind of gold colored metal Then it has to be screeched and scratched and dotted and chipped and stuff like that because I can remove it damage it Things like that so when you're talking about weathered gold What you have to do is you still have to create the smooth gradient the whole thing It's still gold the whole thing is still just as reflective It just has lots of little scratches and screeches and things like that all over it They create reflection points scatter lights texture deeper shadows in certain places stuff like that Okay, at the same time when it comes to things like steel now steel oxidizes So when it gets rusted and dusted and messed up then it's needs to start changing color into browns and oranges But then that needs to stay off of the highlights because the highlights could not by logic be They can't be rusted because highlights are reflecting So that's and like that's what just the nature of the thing, right? so Your your steel like the chains or so or whatever, you know across the front of the book on like on the figure You know those need to come up to brighter highlights need to have more Like you want to drop a little rust in there into the shadow colors that kind of thing is what you want to do So there you go Phillip. I hope that helps with your overall journey there. All right next up David Fisk Just looking for general feedback His elf Archer was critiqued back in August and one of the pieces with the she lacked texture So decided to focus on that here Sure, you know, I saw this piece share around it's a really nice piece So when we think about textures, so there's still more we can be doing I do think you did a nice job One of my challenges is the pants don't really feel like they're textured in any way When they they look you've colored them the color sort of like denim jeans Which is really one of those things that just kind of always has a very visible texture to it Now that being said things like the axe and the stuff there. I like the the brushed steel look I think that works okay for me. You do maybe want to smooth that out a little bit more It's a really tight line you walk with brush deal where you're trying to Create all those little lines But then also have glazes that go over the top because you need to hide it just a little So it's kind of a mix of the two situations Okay, so you have to kind of create these like thousands of sharp sharp thin lines But then you got a glaze to bring them all together the reflections on itself for me I don't have any issues with that. You're running all the contrast. I feel like that's all good I like the way you've got light catching there. I like things like the wood in the wheelchairs legs I have no issues with that stuff. That's just fine So Yeah, the textures on things like the leather and the bags again that all sells for me the cloth For the most part, I think you're quite strong here on the textures probably just the brush steel needs a little bit more glazing The wool of his blanket the leather of the bags. That's all selling for me without issue If you want to go a little bit farther than you create some other interesting scratches and more randomized non non sort of predictable patterns So you like you have a Scratch kind of going across with a light shadow on the bottom and then some kind of depth to it where it it took a Hit or a cut at some point in other words You kind of vary it up more to not just be the edges scuffing but also show the other elements that are going to happen If this guy's you know fighting and in battle and stuff like that, right? So those are kind of some thoughts, but this is a really great piece Overall, I think you did a really wonderful job with it. I hope that helps All right next up we've got Peter Okay, so he basically tried to follow Darren Latham's and And you know just looking for feedback So I understand what you're saying like as far as light source even on cloudy days are still a directionality to the light now You have properly identified that things like clouds will diffuse light and make it more You know sort of ambient soft light as opposed to if you're standing in the middle of a cloudless sunny day It's a really really strong lights and shadows but we still have to take a little bit more control of the light than that if you're standing outside and Really things like the contrast on the skin and the colors of the skin or where I see the most opportunity here You know We need to bring the highlights up higher in some areas Especially up on the top of the figure to make it more visually interesting and we need to do more with alternate hues So not just contrast of value but contrast of hue as well Having a deeper darker colors in the skin reds purples, especially on like gross rotten skin They're living maggots are literally eating their way out of It's the kind of thing where we would expect it to be bruised battered flesh, right? So that's really the number one thing that jumps out to me there on the model I think you executed on his sort of a stipple armor pattern. Just fine. I don't really have any issues with that Be careful with the tufts when you go that crazy on them You don't want them to be covering the figs the fig itself too much like being up in the world I understand that in reality like people can walk through knee-high grass So that's fine. It's just it kind of isn't what you generally want in a model You kind of want to keep those things lower when you put them down You can actually just take scissors and snip off the tops of the tufts to kind of keep them shorter and out of the way Your figure if you want to use them So if you can't find two millimeter tufts as opposed to six millimeter tufts, so But there you go Hope that helps All right next up. We've got Carlo said this model was made in the month of Blackstone resin piece Okay So but I'm not sure what feedback you were looking for always want to be when you're posting Always post a very short concise. What are you looking for? That being said when I look at this piece You know like if we're looking for feedback The freehand needs to be cleaned up be a little sharper more sort of Needs more fine. We need more refinement and defining of the lines Things like the fur could use a little more variation in the overall color I don't just mean like because there's dry brush and I mean value contrast I mean actual contrast of it was the fur on a creature So it should have like browns and blacks and whites and stuff in it You should see the the creatures pelt making it feel more like a real pelt makes fur feel a lot more realistic And then the skin is sort of very strange. I'm not sure what all the bumps and stuff are in his skin I don't know really what's going on there But like why that guy has all these weird bumps in his in his tum tum but the the skin itself feels like it's it's not Highlight in such a way that it's really readable the volumes are very strange And I don't know if that's the figure or if that's the paint. It's really hard to tell So I'd need to see that probably just look at the sculpt itself But yeah overall that would be my feedback for you there Okay, next up Benedict one of two minis painted in 24-hour painting challenge. It's not as best but it's close to it Where do I make improvements? He said the next step would be to start adding more highlights by brush I mean, yes, like I get the sense that you did this mostly with an airbrush Just looking at the way that this is painted with the red and and I mean, you know, so there are two main things I'm gonna say to jump out of you here. You went for kind of a traditional edge highlighting You know GW style. There's nothing discreetly wrong with that But yes, you would want to like actually pick out the things because an airbrush isn't a precise perfect tool like for example around the bottom of his Face, you know that the where the where the mask turns up under the eyes things like that, right to actually create more of a Highlight structure to it If you watch a very recent video put out by Richard Gray about ultramarine He uses both brush and airbrush in a really nice way that I think is explanatory of sort of how to build upon the airbrush foundation As far as the the other thing that jumped out of me that I do want to caution you on is be careful with these Scratches that you've got on here that you're trying to add where through they're all the same size You just you did all of them the same size like I know as a point of fact They're not actually the exact same size, but they're the same size like visually at this scale They're the same size those two same size that one that one that one. It's the first thing I always tell people don't same size same size every one of them, right? If you're gonna do that kind of like random scratching and scratching one It's got to be razor thin like it has to be because like in scale that scratch would be the size of my hair Right here. Okay, that would be a really huge scratch not to have depth to it So if you're gonna just do the white scratches, they have to be razor thin sharpest brush Flowingest paint flow improver probably in the mix ink in the mix, right? And then we've got a rock and roll just tiny things like that Next thing is you want to have some dots mixed in there as well Not just lines third thing is they have to be different lengths and sizes They can't all be the same length that your brain wanting to make a scratch the same size You got to fight that and and take back control of that. So those would be my thoughts worry there. I hope that helps Okay, next up we've got you and bringing us a big old mega gargant said Very happy with many aspects such as the skin tone some of the blending and the general color balance of a few pointers on Keeping consistency of technique across the model Also how to sell the smoldering tree effect more Yeah, here's my honest answer Don't worry about keep a consistency across the model even if it's painted different times. Who cares you notice that? I guarantee you no human being on the planet notices that I could look at this thing for Hours and probably not notice what the heck you're talking about. Okay? Like I think people are way too obsessed with consistency across their armies and everything like that Like no army is ever gonna look the same you naturally change things while you're painting It's just the nature of the the beast and it's okay So one is my best advice on that consistency thing is stop caring about it. Okay, so that's one To I think this guy looks really good. I think you you have reason to be happy I think we could take the highlights on some of the skin, especially the top of the model up a little more That is something that jumps out at me Now as to the tree, how do you make it more realistic? We need to to bring in the highlights and broaden out the char Okay, so you want whenever you're doing this kind of like char effect there this heated effect You want it to be really really really hot in a really really really small area and then fade and you've got about this much of Sort of mid-temperature and then it then there needs to be a lot of like char black red brown color So we need to just tighten in That heat and make it intense the the contrast of the heat will sell when it's small. Okay It's it it sells more and looks more contrasting and looks hotter when it's nearer to it's smaller and nearer to Other darker elements So there you go overall really cool model love all the the tats and a little sort of Celtic style tattoo type stuff You did here. I think that looks great. This is a really great interpretation of this dude So really well done you and I think this guy's wonderful okay Next up Kenneth Skink priest completed for his local paint comp So Basically just looking for feedback sure so the the first thing that jumps out to me is the skin And I mean that's what I want to spend most of my time on the other thing I'll say is you got to get your finish even Like this yellow and stuff is real glossy. I can see the reflection of the light You don't want that that would that would I'd ding you for that in a paint comp. I'll warn you right now Because like there's no reason for feathers to be glossy It's just not the way that they this is not what they would be So with the skin you you you got it on smooth. So I like that. That's nice. This is a you know Gray white color. It's easy to get chalky or something like that. You got it on smooth, but it doesn't have any depth it's all very samey and So what we've got to do here is you've got to introduce some kind of color into the shadows and generally with this kind of Thing purple is gonna be your go-to So you're gonna want to have like some soft purple shadows stuff like that glazed in and then bring it up a little more In the high highlights, you know integrating a little bit more of like a white or a white blue So that that way we've got some kind of tonal variation here Again, both of hue and value To make the skin more visually compelling. So that's the that's the number one thing that jumps out at me when I look at the piece hope that helps All right, next up Steven So any feedback on the non-metallic metal light placement was an issue. Sure There's like 50 people wanting non-metallic metal this month. Apparently when I say single figure, it's just like floodgates on non-metallic metal And my usual answer on non-metallic metal is come on come on son But at any rate what I mean by that is just you look at it Does it look like gold to your eye? If no no, you don't need me to tell you that it's one of those things It's a pretty much a obvious now. Let's talk about your your non-metallic here so on a big piece like this and and the concept of light placement so Light placement on something like this is is admittedly quite difficult So the first thing you have to do is you have to pick a directionality and then you figure out where all the primary highlights are gonna fall Okay, so like the light direction could be coming from over to as you can say like over the right and over the left This is the classic like Darren Latham style or Or whatever where you put two lights in front and up above the miniature and so then that creates You know parallel highlights like the this side on the out or strong and this side on the end are weak right But you've got a primary reflection a secondary reflection The the real challenge with this is it feels a bit too yellow Like there's too much actual yellow and not enough ochre in here So I don't know what colors you used but gold needs to be more of an ochre color It isn't yellow like nothing about my ring is yellow right Okay, like This is the yellow you used. That's my gold ring. Those do not look the same, right? so the That's number one when you think about light. It's about it's really in the end It doesn't actually matter where you put them. That's the honest answer as long as they're like somewhat reasonable Like there's not exact science to it It's that you go in this pattern on especially on things like brocades, right? That you have like a light going and folding into shadow on both sides and then coming into secondary reflections on both sides That it's creating this sort of circular Trajectory so the first thing you jump out of me is I would change the tone some it needs to be more ochre instead of yellow the second thing I would say is the The blends we need to work on smoothing those down It's usually the great battle with non-metallic metal is kind of getting it to look smooth Now there is one area where light placement can have a big effect and that's on things like let's go around here That's on things like this. So that's things like these old Fabby things on his iron halo, whatever this is called as little wings coming out of his backpack like all this kind of stuff whatever People's usual intention or sort of instinct when they when they first get these is to do exactly what you did Put the light out at the end It's it's just it's that it's not the way it works one and two It just doesn't look as good sort of visually. It's not that you can't ever have light out at the end like sure It's possible, but then you'd have a secondary reflection in here. Okay, and this would actually be your shadow Like the doing a single run of color from dark to light does not read as non-metallic because metallic is a more complicated Reflection than that right that just looks like you highlighted something like any matte surface that goes from shadow to light So we need to sell the reflection by putting it in the middle And then you run out to a mid-tone maybe slightly darker at the tip and then you run back into a shadow here I'd put your deep shadow here You can all you could also have multiple strikes of light You could have like a primary and a secondary and a long straight thing But things like those the the rays coming off the halo or something like that. That's where you want to push it to the Middle so there you go Stephen. I hope that helps. I know that's a lot When it comes to like light patterning on things like the legs themselves You need to think of it like ignore Like the challenge you're having is you're trying to think of it like it's a little brocade pattern Okay, and you're trying to say like well, where would it go in this little brocade? Stop don't think of it like that. Take his knee pad. What is that shape? It's a globe period Okay, ignore the blue part ignore everything else think of that brocade like a globe take a globe Hold it in your head shine a light here and a light here Where does it reflect? Bing Bing soften shadow, right? Like you can picture if it's just a circle just a metal globe Okay, now just shrink the part you're looking at to that area That's it and then paint what's still left And I know that's a bit of a mental exercise, but that's kind of the trick every time you do it like on his shoulder Or I'm sorry on his forearm Don't think of it like a brocade. It's a cylinder Right, it's just a cylinder Okay, so where is the light falling on the cylinder light line light line mid-tone falls to shadows, you know so on and so forth, right? Okay, so I hope that helps Alright, we're finally off April 1st Okay, so John says this model is an orc with the infinity line tried some freehand work Okay feedback on the freehand would be awesome as everything it stands out needs improvement. Sure So first thing that needs improvement is on these kinds of guys things like edge highlighting and really Really goes a long way you want to make sure those edges really stand out You also want to bring the highlights up because it's meant to be these like high reflective metal surfaces That's kind of what infinity models are really known for is the sort of angel Geralda style of those really sharp lines and highlights now as to the freehand I mean it does look a little cartoony here this this area over here on the side You know my answer is just work on refining your your skull Like it'll look better if it looks more like a realistic sort of skull Right and the easiest way to do that is you go and you Google images of skulls the same thing with what's on his face Right, so you just Google images of art That is people drawing quite realistic like medical skulls And then you just keep painting until it does that until it looks like that Like you just keep adding shadow and cracks and little lines and stuff like that and and really the secret to freehand is just Refinement refinement refinement refinement, you're not trying to paint the finished skull You're trying to paint the next thing a slight shadow under the cheekbones the slight indent here the ridge of the jawline You're just placing highlights and shadows over and over again Experimenting and moving stuff around until it looks right So but the key with freehand is it it has to be refined It's not something you just paint on and call it a day right when you get into good-looking freehand It has to be it is a long long long refinement process of slowly adding additional detail and depth to the freehand So there you go. Hope that helps If you go check out my painting detailed freehand video, I mean that is where I really get into the the meat and potatoes of it Okay, Gideon Usually paint armies this attempt to paint a higher level piece any feedback would be welcome contrast color choices color composition Yeah, so I think I'll start on the composition and color. It's it's fine I don't really have any issue with it. It's a very different take the red But then the heavily vertebrate is sort of a green to set it off those two work fine together Especially as you have it not being you know in sort of a primary Woodsy green so we don't get the Christmas feel from him So I think that's fine as far as the contrast it's good We can we could run it up a little more at just the little edges to pick out even some more light points I actually think just your main your main area you that I would focus on if I was you is just refinement I think the piece looks nice. I think you've mostly got the contrast in there It's just about smoothing everything out where it's where it should be smooth So that is to say things like the armor blends and stuff like that not on the areas where you intentionally Stiffled for rough or texture, which I'm fine with so things like the belly plate and the the little Tabard here or whatever or just fine with me. I've got no issue there So yeah, cool piece though really nice a very neat take on this guy Okay, next up Gregory started getting into the hobby at the end of 2020 working my way through old zombicide minis Feedback on the skin tones. Yeah, I mean this is gonna be a pretty simple answer It's definitely not deep enough like this is a weird monster creature But one I feel like we need to work on brush control and really getting control of our paint Greg So I know you're just starting out. It's new So like what I would really focus on is getting a clean smooth application of like the base coat of the color Because it looks like some of this is coming out kind of spotty and stuff like that so as We're as we're working on figures what I would work on for you is really getting down that nice smooth base coat And then looking at building in thin layers up of Just smooth application so paint control and consistency Because it really looks like that the paint is kind of applied unevenly here, and it doesn't look like I It doesn't come out looking like bruised flesh or something. It just kind of looks like the paint went on spotty So that's the major thing I noticed and then obviously since you're new it's fine But we need to work on our brush control making sure the elements stay painted So what I'd really tell you to work on Greg if somebody new in the hobby is focus on your smooth application of paint and brush control Getting the paint where you want it to go and that is absolutely just muscle memory. It's the thing you work on over time And and go from there. So hope that helps Okay, next up Randy painting for about two years after 20 year break finish this tech marine and like your take on the power armor and shading sure The power armor is flat There you go. That is my take on it I mean, yeah, we just don't run it up enough. We don't have enough shadows. There's not it's way too much three Just to remind everybody one your highs highlight five is your lowest shadow Three is your midtone two and four the half steps in between There is way too much three in this not enough one and two definitely not enough five and four I mean, yeah, either we're gonna go either we need to go into a GW edge highlighting style where we're going for sort of a More flat application but then have some you know light catching edges Or we need to go into a more volumetric highlighting style where we really create and and heed these individual shapes I would direct you again to the same video Just because the hot of my mind as I'm recording this but Richard did a really great video with an ultramarine Richard Gray and you know, it's It's it's a really fantastic example of sort of how to create that contrast across these these Wonderful surfaces that do occur on space Marines. So yeah, I mean a lot more contrast is my answer Okay Next up Sean painted up this more slug from the hero's three bucks to work on NMM weathering and sickly flesh Okay, sure so let's Just kind of spin through there So the non-metallic doesn't Is interesting to me. It's too chaotic. That's what I'll say like my I can't get a read on it That's the problem. Okay, so whether non-metallic again is difficult but the way you paint it is you paint full complete normal selling non-metallic metal and Then you weather it into the shadows and around the bolts and in places like that and you take control of the Color like that And that's where my issue is the little line around his Gut plate is probably the one the piece that this this area sells the most for me I have a lot of problem with the The shoulder rims because they they don't it's hard for my eyes to see exactly what's going on or to see where the white is meant to be placed And what's meant to be Vertigree versus what's meant to be highlight? Okay? Now I'm sorry. What was the other item you said that was the highlight in the non-metallic metal. Oh the sickly flesh Okay, sorry Yeah, now the flesh works for me. I got no issue here that magenta is a bit strong on his belly things here I'm not sure about these being all so saturated. It feels like those pustules or whatever they're meant to be could be a little more Hmm De-saturated down from this pure magenta because they're really eye-catching and draw the way too much attention away from the face Like this is hurting you more than this The skin itself. I like the purple tones and pink tones in it needs to come up a little higher I would use actually a high gray highlight because gray highlights will make flesh look sickly And then even deepen some of the purple in there So overall, but I don't I don't have an issue with that. I like your color choice and I like where you're going We just need to keep pushing it. So there you go Okay next up Filippo Try to post trying to push the contrast to the max But I'm having a problem with a red armor and where she tried to improve. Yeah, so red is a tough armor to highlight There's a couple different methods. You can go with it Stop taking pictures like this. You're taking picture in a direct bright light You need diffused light, but we're just going to use this picture because this will let me give the feedback I need for you So on red armor, I've got a couple different videos on red armor One Hidalgo also has an excellent video on red armor So I would recommend going and checking that out He has a video on red non-metallic metal and it'll it'll really give you kind of a concept of what's going on there But the the challenge I have here is one we don't have enough separation of elements So we need darker lines in between everything. That's just talking about general improvement There's way too much like light space and things running right up against each other We need dark Separations of lines between all the different elements because that makes the elements pop out Two things like the bone are way too flat. They just feel like they're you know ivory that just got washed They don't have back control of light again. So, you know, it's We want to take control of those individual pieces highlight bone back up You can go back and watch one of my early videos about how to paint And shade bone It's a very old video and it's way too long But I do stand behind all the techniques in it. That is all correct And still basically what I use to this day Now as to the red you have two primary choices You can push into orange or you can push into really really intense saturated red If you're gonna push into really really intense saturated red Then you can either use a pink or an ivory or a white or something like that You paint the highlights then and or you mix it into the red and then afterward you glaze Just pure red back over to bring it back completely into the red spectrum and that creates just really bright intense red So there you go. Check out those videos. I hope that helps for you Okay next up Robin Trying to learn how to paint NMM that reads as metal would love any feedback on it and then color composition. Sure Your color composition, I don't think it's problem. You're using all really bright colors here. You are your your three colors are effectively You know pink teal and yellow, right? Or if we wanted to get really pedantic your three colors are magenta green and Yellow which is a perfectly fine color combination like this works. It's a very classic tragic screen scheme Now as to the non-metallic metal Light placement wise on things like the down here again. You did the right thing. I already talked about earlier You got the light falling in the middle of the the long thin space. So that's good Same with the armband here. We do need to think about secondary reflections a little more like you might this maybe should be moved up Just slightly and then have the light just slightly down at the bottom The But the real problem I see is not enough not enough one This doesn't come up hot enough not high enough you have good shadows, but we don't have enough number one So not enough highlights the edges need to be more defined So we need more edge highlighting definitely stronger edges light catches at the edge of metal That's one of the defining factors of it. So that's number one number two We need to take it up higher on push more into especially probably like the ivory spectrum in very small areas You don't need a lot of it But you need enough of it to sell the overall effect oftentimes just a few little touches can sell the effect, okay? But overall good stuff Okay, next up Jonathan been painting for about two years now for submission latest many that I've pushed beyond my usual tabletop standard Sure, what should you improve? It's definitely just contrast of value There's there's not enough contrast of value kind of all over the miniature Jonathan The purple skin is way too just flat purple. It's way too number three I don't have enough shading number not enough fours and fives not enough ones and twos Same thing's true on the teeth same thing's true on the wraps the same thing's true on the toenails the base just all over we We don't have enough contrast With the miniature Okay, it's pretty simple feedback, but it would really be my number one thing I would tell you to work on is you know understand your volumetric highlighting and shading and go from there All right next up Chris Nurgle Lord work on achieving more interesting skin tones and weathered rusted metals Sure, so I think the skin is interesting going into the more red tone We do still probably need to push the highlights a little higher and the shadows a little lower I would say the same thing to you I said to the previous Nurgle Lord Which is that we don't have enough like purples and things like that in the shadows. We've got a little bit We need more Same with the highlights, especially up around his his flabby fat folds up around the top of him in his upper chest and his big saggy Chest, you know you want we want a little bit more light in that area So that the skin feels like it's it's really out in nature and in the light Well, you know your skin reflects a lot of light Right like I use my arm every time we do this because look at the difference in color here Like really look at the difference in color between this and this right this is not like like really look here right Like that is a huge difference in tone between the shadow part of my hand and the light part of my hand And I'm not standing in the Sun right now, right? Okay, so that kind of thing now as to the weathered rusted metal I don't know that I buy this scratching along the edge of the shield. It's way too symmetrical and calm and like regular If we're gonna do this kind of rusting We also need to be integrating more interesting color tones pushing into your red reds oranges or yellow rusts a little bit stronger We need to have more interesting chips and spots and stippling to it to really sell the effect like rust doesn't happen Universally, it's a very stippled-on type of thing. So we want to make sure we're really pulling all of that out of it now at the same time You know when if we're gonna chip into some metals Then you want those to be very irregular scratches and stuff like that so that that way it feels Random as it would happen in nature. So really the trick with weathering and all stuff like that is that it has to remain very random nature doesn't nature doesn't weather things evenly right and So there's kind of this balance between having chips and scratches where it would be obvious They happen on the armor because they all need to have a story and then also the randomness of how nature is gonna Then happen and interact with that to cause the rust effect So there you go, Chris. Hope that helps Okay Next up our little shroom mancer Oil painting except for the primer rarely used many vibrant colors, but I guess it suits that one general feedback for further improvement Yeah, I saw this guy is really nice So my if it looks like you're using all oil paints my best advice would be go back for a second pass What it feels like we didn't get enough of here is the second pass on the thing Oftentimes the oil paints because they tend to dull a lot of stuff down because they pull colors together because of how efficiently they blend We don't get as much efficacy Like we got to let the oil paint set dry cure Cure is really the right word and then we come back in for a second pass now Because the only things to say that the things that stand out to me is like the yellow suns or moons I'm sorry moons Apologize don't have enough sort of contrast in them. I do like the little creepy bat monster. I think he's good I think that came out. Okay. I would also make sure that you give if you're gonna paint noils after you're done Make sure you give it a nice coat of Ultraman varnish or something like that way too much of this is glossy where you don't really want gloss I also wouldn't be afraid to go back in with acrylics if you've got really really teeny tiny details Like his toenails, you know need painted and cut out and stuff like that and have more more definition to them Maybe some little dark colors around his eyes that way his eyes are really bugging out like setting some deep purple around his Eyeballs so that that way there's a little more tone lot tonality there and his eyes really stand out as the focal point Just little things like that is is what I would do to kind of push that separation of elements and ultimately the contrast You know when I look at things like his fingers that's the kind of space where oils fall down right because If you don't go back in with either really thin oils once everything's dry almost in like an oil wash type thin thinness and really create those little black lines and those shadows between You know two different elements touching Then you're gonna then then it often feels like it's it's everything's kind of bleeding together. So there you go Hope that helps All right, next up. We've got Richard who brings us proper first proper attempt at NMM Not sure we should add rust or weathering or how much Why are we basing but having a little block of how to do it so looking for bit? This is the start of basically your death guard. Yeah, so I mean, okay, let's talk about the non-metallic It's very blue which can be fine But it needs more white like we don't have enough actual reflection It doesn't run high enough or deep enough or maybe we have good two three four not enough one and five That's number one thing I noticed two don't see like if you're gonna do a whole thing in non-metallic Which is rough when painting an army But if you're gonna do it then you've got to make sure we pay attention to all of the the areas up here On the top like these little these little Tube connector things You know, they have like they're very visible because they're very in the way Like if the non-metallic is not as sharp as stuff down here in between his legs and stuff It doesn't really matter because we don't really primarily look there But up here right where his face is this has to be kicking this area of the miniature needs to sell Right if you ask will it blend to the answer better be yes up here So the biggest issue I have with the non-metallic is we don't have enough one in it The scythe has a little more five, but again, it's just not enough. We don't have enough contrast in it Now if you're gonna add rust and weathering on this kind of stuff, that's fine Again, the key is you add that into the shadows. So the scythe is a great example of that So for example, no problem So let's make the edge of this down here white because that's where it would be and then on all these pits and stuff We would need to in the dark parts there work in some brown some oranges We'd hide a little orange in the deep edge or up on the underside of it or something like that We would work the the weather coloring into the shadows. Okay? So there you go overall cool cool stuff now as far as the base goes. Yeah, I mean we need to do a little more than that I I've got a lots of stuff on gloopy ooze bases Maybe check out that there is a playlist specifically for basing So maybe check out the like ooze but the bubbling ooze bases tutorial that might give you some ideas for a nergal stuff That's what I used for my death guard Okay, my way new to this group This is first submission, which is a battle sister just finished Please use some suggestions on how to improve the yellow armor and the snow looks messy how to make it look more natural sure so The first of all the snow doesn't actually bother me too much I just want to start there like when I looked at this piece before I don't hate the snow It's a little too clumpy in ways where it shouldn't be clumpy So you want to kind of like after you apply it You want to take your brush and like kind of squish it down some get rid of those clumps Or that are on the sides of things, but you know snow can sometimes like clump up and stick to stuff that it is It's it sticks to itself pretty well The real trick with snow is that it needs to Transition from clumpy areas into dust if you watch my realistic snow basing tutorial It's like either 91 or 92 in the hobby cheating series that will help you out there Now assuming you're going for yellow yellow like a like an imperial fist yellow or something on her and not sort I assume this isn't meant to be like non metallic gold. I assume it's supposed to be yellow Then the answer is we need more shadows and so again, I have how to paint imperial fist video You probably want to check that out that'll really tell you everything you know about yellows You can also watch my exploring colors yellow video that will also help you out But effectively we need to bring in more of like a light rust light brown tones into the shadows You can bring in somewhat orangish tones stuff like that That's what you're going to want to do to to overall push that we do want to bring a little more White into the yellow with the highest highlights as well But that should be focused up around the top of the miniature up here in this area So we're really creating that overall volumetric light. Okay Alright next up. We've got Kyle 40k Scorpic Lord painted to his tabletop standard wanted some advice on how to make true metallic metal pop a little bit more Sure and then advice on how to pop the base a little more Okay, great. So yeah, we can do this. So true metallic metal. I've got lots of videos on popping out true metallic metal So I would recommend you go check out those videos You know, I've got lots of videos on making true metallic metal look better I just recently did another one so you can you can go check that I was just published a month or so ago But the real key with it is you've got especially on like your gold and stuff, which is flat We've got to integrate more Metal into there if it's feeling chunky then what you need is you're using the wrong metal panes So you need to be go getting going and getting yourself your Vallejo metal color something like a pale burnt metal Which is what I've got here in my hands works fantastic as a highlight to Gold colors because it's very soft. It's very liquidy. It's pretty easy to diffuse it out over the over the whole area the whole surface, okay And you know, create a smooth transition between that and the gold um, I love the pink like almost 50s Vibe of this guy like he feels like a catalac or something It's it's it's pretty great. I just want to say I actually like really like the color scheme quite a bit Kyle So it's wonderful. Um surprise surprise Vince likes pink miniature breaking news But it's uh, it's like I really love your your take on the specific pink. He really does feel like a A lacquered car or something. So it's good. It's good on the robot. I enjoy that Now as to the base thing, I think your base is quite nice. It's a good mix of a lot of different shapes It's not a very like your sand and your rock is really good. I like the use of the little textures Um, honestly, I'm not sure there's much I would change for this kind of a setting I think you're you're pretty much in the right place on your base. I think you did a good job You brought a little bit of the dust up onto the lord himself Yeah, um basing wise, I don't really have much for you You could add in a little bit of red rust tone Near the rocks and stuff like that if you wanted to add kind of a little bit of a Soft other color hue in there to bring a little bit of the reddish tones of the of the miniature down into the base itself, but That's a minimal thing at best. Overall. I think that the base is really successful So there you go. Hope that helps All right, next up jacob going for high level display quality pushing himself on material properties and contrast Looking for feedback on the material properties and textures, especially the the gold non-metallic metal. Yeah, sure So, uh, I like it. I like it a lot. Uh, that's what I'll say. Uh, love the reflections in the nmm Those are selling for me. Those are working. I am enjoying those a great deal Love the way you've lit the armor itself. It's a very soft subtle light It stops extending but then catches up in the blades Which is exactly correct because the blades are much more reflective than the rest of the surfaces So I have no problem with that situation or what's going on there. I think that is A plus Uh, the teal armor itself like we could probably smooth it down a little bit a few more glazes or colors in there Uh, or sorry a few more soft glazes in there Maybe a little bit of color into the shadows to really sell the the whole image But a little bit of roughness isn't necessarily bad Like the armor can sell and feel a bit rough and that can actually be an advantage. So That's kind of half a one six a dozen of another, right? Uh, the cloth texture on the cape sells for me again feels very much like the sort of technique that I laid out in the video Using these gas warriors. So, uh, I'm I have no issue there. That's all selling I mean overall, man, I think this piece is really strong my biggest feedback for you The gold non-metallic metal is like almost too small to really judge Uh, because there's not a huge amount of it. It seems okay Maybe there's not quite enough shadow. Maybe we need some more edge highlighting of it Like to pick it out more. It doesn't feel like it quite contrasts enough with the areas around it I suspect that's because we don't have enough number one in there whether that be through spot highlights reflection points or edge highlights That's kind of the area that jumped out at me Also, the horns themselves feel a bit flat and feel like they could use a little bit more contrast to them Not anything like pushing them up to the level of the metal, but they could use a little more. So there you go Those are the basic ones that jump out at me. Overall, man, this is a great piece, Jacob I really really like this. I think you did a fantastic job Okay, next up our first of many sig vaults for this month First attempt at nmm and it's meant to be steel. It's a bit sky blue Sure, so you go through all these ratios that you use that's fine Okay, and and I'm not really too concerned with them My honest answer is it does not sell as non-metallic metal Uh, not really and the the the reason here being is that we're not Heating enough of the primary and secondary reflections on him Because when we do non-metallic metal, it's got to be both Create like you have to break down each individual surface and say what shape is this actually? Okay Well, this is actually a sphere. This is actually a cylinder This is actually a you know a box or something like that And then we've got to create the reflection accordingly And it's not just the top reflection, but it's secondary reflections as well The easiest place to explain this is on something like his abs, okay Because those are kind of this area that draws you in And I noticed one of the things you said was it was really hard to get all four layers of paint in So You can't work in like that full layer consistency the whole time And it shouldn't be like you're gonna have to get that but that's just brush control, right? The more you practice with it the more you'll get it like you need to you'll have to work in like really really small spaces But to run non-metallic we have to have you can do it in any color But we just have to have this whole contrast running from near white high reflection light That's bouncing directly off down into deep shadow absence of light back into a secondary reflection Which is that like two to put this more in terms of the numbers? I've been using you have to go like let's say as ab and we're talking light from above Then you have to go one two three four five four three two Or at least a three Okay, so it's it's again like I noticed you're you're like 10 to 1 and 7 to 1 and 1 to 1 I that kind of stuff. I've never paid attention to recipes like that They're that precise and none of that matters because you're not going to be able to use it. You don't you can't you can't it's not chemistry, okay This isn't baking it's cooking and so sometimes like the soup because of the humidity that day or the quality of the Chicken you bought or whatever it just needs a little bit more of this spice All right, and you only know that when you taste the soup and then you go Oh, yep, it needs a little more salt a little more this a little more that So you have to like keep pushing and testing and and going as you're going along So I would go watch some of the non-metallic medial metal videos. I have um, you could also I know uh, Darren Latham has one on his channel and or like check out his blog. So, um Darren Latham has a blog that he put up that has what I consider like one of the seminal works of all time of non-metallic metal painting on Uh, where he actually paints old Uh, yeah, I think he covers old sick bald in their old sticky the old model In that very article and the structure of it's a lot the same So it'll give you some good ideas on how to kind of create your your highlights and shapes So I hope that helps David Okay, next up, uh ollie, uh all around general feedback on this 35 year old mini particularly the osl Sure So overall the the problem we have here is a classic osl problem that I see all the time And that is that the light that is being reflected is the same intensity as the light that is being shined That is not how things work. Okay I keep this by me now because I've needed it every month to do this I'm going to strike that light near my hand. Which one is brighter the flame or the reflection on my hand Okay Like your candle is not bright enough your your uh, your light is too bright In addition, you you can't strike a match without creating a shadow So when I put that light next to my hand like these things need to be well defined here Light just didn't flood the area right when I put my arm up here very near like Here's a painting light. Okay Notice how there's like now a shadow on the bottom of my finger Right, it didn't just blow light into the whole area and that's like over blowing it because of the camera, but still The the um Like those bands and stuff would have a really dark line next to them because as the light was coming up at an Angle and hitting it it would be casting an occlusion shadow Up at the rock Okay So you have to both every element has to be really really strikingly defined still because if you like the match You also create a shadow. So that's basically my biggest feedback soften the cast of the light on him It needs to more it needs to be weaker and it needs to come out like this guy has if that candle Is creating that much light then he is in complete darkness Okay Again, let's go back like what you have in your thing is the equivalent of this lighter And you have all this highlight up on top of him that says he's still in relatively normal lighting How much did the light situation on my face just change? Not much But if I was in a pitch black room and I did and I did that it would change a lot But then you wouldn't see other light reflected, right? It would be Like we need to way soften that light down And increase the shadows that we're creating because of it So there you go Okay, next up jack painted as an army color test Feedback particularly on highlight placement. I would appreciate it Sure. So we do need more we need to push the contrast a little more, uh, especially on things like the horns and The the other armor that isn't the head The head is pretty close to correct and I like the light placement on the head On these other little elements. We need to push the light up more So like a little higher highlight here here on the top of this edge of the knee A spot right here that kind of stuff is where I'm not seeing enough Don't do the fur like this. I have videos on painting for multiples of them Watch those like don't don't just create this This isn't I hate this old This is like when they used to this is how fur looked for a long time because this is a very simple thing to do in Like the green stuff or epoxy or whatever they happen to be sculpting and I think it looks like trash But that's not your fault not yours at all Um, but you we have to make something of this and so again go watch my fur videos There's where I talk about like variance and a color or you still got to create volumetric highlighting around the whole shape And then finally on the cloak itself Um, I would go for a little more texture or something like that the the light placement itself seems fine Except we don't have enough near the bottom of the cloak the cloak is somewhat flared out And so there would be more light gathering around the bottom here than there would are on the top Same at the bottom of each of these little cuts and holes and things like that So there you go jack. Hope that helps Love the color scheme though a plus great choice. No issues there. No pushback Okay, so next up we've got benji and he says he's been working on his non-metallic But he feels a little boring so sure So I would say keep working on the non-metallic. It's looking good, but we need to be a lot more smooth There's a lot a lot of very very rough transitions It is boring because the non-metallic you're using especially in the steel is just white to black So this is where we need to talk about color pollution Um artists like lan and karol canaya view this really well But things like the green and the gold and the environment around at the sandstone All those need to start infusing colors into your metal Like they need to be your bounce light colors your reflected light colors your secondary light colors stuff like that Wherever it's not the primary light coming down Wherever we go off of that primary white reflection. We need to start incorporating those colors There's lots of places where this metal would would reflect the color easy example So if you go back to those axes on the castle warrior, it's a great example of him Reflecting the magenta light from below here on this armband. It's pointed directly at this green sash There should be a green subtle shade down here as the bounce light on this piece, right? So that's what takes it and makes it more interesting. So there you go. Hope that helps Okay, uh next up, uh skonster, uh, finally something out of this month Uh, I'll I'll let this slide. I saw it. It's it is too big But I'll let you slide First mini painted full in oils and I tried to understand this new medium It's not not too difficult mini tried to depict a frost giant like appearance the cold blue skin and get the materials right in oils sure So, um, I do think we still need more contrast and that's the same thing I mentioned earlier When you're working with oils, you often have to go in for a second pass You often have to then use that to boost your contrast where you go in and you put down in, you know Your initial pass you're kind of blending it all together the second time you do it you're really just bringing in additional colors and, uh, and And really just kind of feathering it out for the highest highlights and the lowest shadows rather than trying to redo the whole thing Uh, because that's what we oils will ultimately sort of dull everything down and that's the challenge there, right? Uh, now as far as again, I would also just as I said last time Separation of the individual elements you often want to go back in either with an oil wash or with acrylic paints Or with something and really create a hard separation between the lines Because oils tend to be really when you're blending process They'll tend to get up and in everybody's business So you want to really make sure all of the different elements of the miniature are designed now overall It does sell as a dead frost giant. I have no issue with any of that So I would say just keep pushing and hopefully those those elements help you out great stuff Looks really cool. It looks nice rotten scary giant Okay, next up Kai uh new to the pmp and his first entry just looking for general feedback Um, sure and he says this was the first time he tried some battle damage Yeah, so uh general feedback is uh, we need to focus on keeping the elements separated clean clean applications the paint I'm noticing a lot of areas here where paint is is really feeling chunky and not smoothly applied Things are a lot of different finishes. So you want to make sure we use things like we have things like matted down Stuff like that except for the metals But like the the the nature of this is even if we're going to paint dirty Which is okay. There's no problem with painting dirty and weathered and all that Well, we still have to have all the different elements of the thing separated This little burn or scorch or whatever this situation is. I assume this is meant to be the cloak is somewhat on fire That's too much yellow in there. You can do that But there needs to be a little tiny teeny tiny orange like fluorescent orange dots because that's what those the color of those not yellow Um, but it's really like we have to focus on contrast All and uh and to separate the individual element. So darker shadows in between the Darker shadows in between the elements Clear definition lines light shadow light shadow. Okay When I to to examine this in microcosm consider this the hammer, okay Each of these things needs to be separated each of these little straps needs to have a highlight The there needs to be a dark line separating the leather from the gold The gold itself needs to have a highlight still where it's still reflected It needs to have shadows to show where the lights are reflecting off of it all that kind of stuff Um, second thing I would avoid this right here like this doesn't really work These scratches into true metal you can do it But there's a very particular method for it and they have to be like razor thin You you put a very dark chewed line into the gold Or something usually with a deep brown And then you need to trace a very very very very very very very very very very very very very very very very sharp thin line At the bottom of the thing that is just in bright silver where the gold would have been peeled and is now reflecting light at the catch Okay So, uh, yeah keep pushing keep painting. Welcome to the group. Glad to have you and uh, hopefully that all helps All right next up. We've got paul. Uh aim us to push this painting as far as the skill would go Uh, something done well something to improve upon any other comment. Sure So right here, we don't have to go past the black and white and I can tell we've already got some challenges on our hands Uh, namely it's going to be in contrast. I don't need to see the minion color to see it Let's go look at the minion color and I'm right All right, because all of this cloth is just very very very samey The sword itself needs to run higher like I see people do this sometimes this like Liny thing with these couple reflection points and then the rest is just black You can do small volume non-metallic highlights like that works, but they can't be these lines like this They have to spread into a triangle pattern and and kind of like phase in different ways down there and they need to be Smoother in how they transition out and they you still use the other color You don't run to black so fast. You just have very little that's highlight highlighted. Effectively you go like one two three four Five right So the the near shadow becomes your main primary thing. You still only have small amounts of your deepest thing Uh, whatever this green thing is here that needs to go away I don't know what that is or why that is but it should not be there That is definitely not good. We do not want that color in this miniature. That is Not that does not belong make that the same red as everything else or black like the armor or whatever But it definitely should not be green Um So yeah, that's the number one thing that jumps out of me the I like the hourglass effect. I think that looks okay Um, but yeah, we've got to still continue pushing contrast. That's really the biggest challenge I notice here, especially with things like the gray cloak the black of the armor and the the metallic gold All of that needs to have a lot more contrast put into it. So there you go Uh, all right next up wane, uh, love painting with true metallic paints, but also how to control the effect of it Like some tips to this copper. Sure So much like I said earlier when thinking about non metallic it's same for true metallic So one of the challenges here is we don't have enough control the light You put like a little bit of shadow with this piece and then this piece and then here and then here near the edges Because you thought oh, it's near an edge. So I'll put a shadow in but that's not how that shape would be highlighted Right, it's a big ring again. Imagine it take everything else out. Just think of the shape How is the light falling right? It's a big ring All right, so the light is going to come across it like a line Like this would be bright and then this would be bright on the other side This would be in deeper shadow. This would be in deeper shadow Light to shadow to light right because you got your primary Little light bounce light. It's just like a big ball right Uh, and so it's the same sort of theory there So ultimately you want to make sure that you catch that as the overall premise of the thing That structure and then when you get into the individuals if there's little changes in shape the little miniature volumes Then you can go in and catch some stuff When you're using the silver you jumped too high because you went straight from like the bronze up to a silver It's a bit too much of a jump. You want to like work up to that a little bit or keep it really really thin So there you go. I hope that helps All right, so let's keep going. Okay. So next up we've got devon jones With his frost giant says he struggled hard to get the eye drawn to the face After making the runes in the hammer glow given the depth of runes itself as a problem getting the focus back on the phase required multiple iterations And so looking for advice on like the osl and general critique sure so one thing that jumps out to me is the About this is kind of we we don't have enough variation of hue on a lot of stuff What I mean by that is when I when I think of things like the wood Uh, that's here. I'd want to see more depth of shadow in them. They they appear quite flat Um in this area is here these areas here that kind of stuff Um, it just doesn't feel like we've got as much depth as we probably should The other thing is these i'm not sure about the yellow whatever this yellow situation is that color is quite It's really strong in this and probably doesn't need to be here Like honestly, I think if if all of these things were gray if we turned them neutral This fig would improve a huge amount like you've got green You've got some red as pop colors and we're just this yellow isn't doing anything with this blue We have kind of this primary color syndrome here, right? And that's something you kind of want to watch out for Now as to the osl the glow on the eyes. I think is fine The glow on the hammer isn't really happening like that is to say The hammer itself doesn't look like it's glowing We can go to this view right here Because there's this glow is too white And so there's no there's no sort of instantiation that it should be blue The what we need is a thin white line in here And then the rest of this to be blue and then the sides to be slightly darker And then a slightly brighter thing here and then fade it out The the fade up here is fine But the that I know it's hard to get in these these things But you need a long brush and a lot of brush control Because what you ultimately need is a thin white line within blue kind of around that And then it would feel like it's glowing. So there you go. Hope that helps All right, let's keep going So next up we have cm first attempt at using a universal cold highlight p3 frost bright and warm shadow color Um Specifically looking for feedback on does a cold highlight warm Shadow combo work one thing you like one thing they've done better. How would you approach just a model? I mean, I've painted this guy before it is way too busy. It's it's just like there's too much ill defined Sort of texture on this guy Um, you know on the whole does the coloration work? Yeah, no problem. It's it's fine I mean, I think what we probably need to do is neutral out a little more of them Like we've got a lot of sort of very garish colors. You've got this bright magenta. You've got blue. You've got Green here from the you know, sort of the glow. I assume is what this is meant to be The glow is a little too strong In how it's coming up on his hands like it ends too suddenly um So that's part of what's causing our challenge again It's almost like the what I said before like if we if we desaturated this blue down More if we this was much more faded. I think honestly that would help a lot Um, because otherwise there's just there's a lot of colors going on here and the little like magenta sword blade and stuff poking out It doesn't doesn't help very much um So I would look to to more neutralize the colors push this into like a gray with just a hint of blue Or something like that and that would probably help a great deal Either that or get rid of this Magenta here and turn this into basically the same blue as this as as like the upper robe in here So like make the wings this make this a neutral color. That would be another option you could go Uh, so that's kind of how I would balance it out. Um, overall, I like the eye glow I think that works so we could have a little bit darker around the eyes But um, but I think that mostly works and I quite like the flesh tone that you got on the like stitched together flesh Cape that that's uh, very credible to me that works. So yeah, I like that Uh, good stuff Okay, next up we've got uh, lionel, uh, 30k imperial fists insurion Uh, a lot of difficulty painting the cloak of this character made a glaze of blue ink On the reliefs and purple and the hollows to tint Uh, the coat which was a really big flat gray and a lot of trouble shading the decal in the folds of the coat Sure, so let's take a look We'll look at the cloak Yeah, I mean, I think on the whole it it came out fine It looks more like you're going through an actual color change than a shadow because it's really strong I think if you had carried an even thinner version of that glaze down Uh, like all the way to the end I would buy it more unless that's meant to be like dust coming up But it doesn't really read like that. Like it is as I was supposed to have a dusty cloak um But the I think the the shadow parts work fine for me and I I I honestly don't mind the The shadow on the various folds. I feel like you caught those fine enough those those sell to me Um, I feel like the really the biggest challenge of the cloak is just that we didn't bring enough Even very light blue all the way down. So in this area here Um, that it feels like we actually have a color transition More than the effect of light. That's the only thing that uh that pops out of me there But uh, yeah cool stuff. I like the model overall looks nice Okay, next up. We've got uh, Apollo Uh, oh, this is his reposting my morselug Um, okay, must be a different one. Um A very similar character here Um, what I'm looking for is feedback for the nmm spots combined with the rust Uh, sure General feedback and color vibrancy and contrast. So it's just fascinating. We have to get a definitely different version of this guy But it's it's actually a really good comparison Um of the two so if we look back to the previous morselug we had versus this guy I find the combination of the non-metallic and the weathering here much more credible I still have my clearly defined highlights catching things out things are clean. The the elements are well separated I've got a nice light dark light dark half transition happening And the nature of the vertigree in the weathering is is contained there within the shadows of the rivets It's not sitting on highlight portions. That all feels very believable Same with the steel and the gun the light placement there all all sells to me As far as the color goes, um, yeah, I think it's fine The the main armor is very bright where my attention is drawn to his his face Which is where you generally want the attention drawn to the the three little thing He's on his belly are are rough to deal with but I think you dealt with them well enough here Um in having them basically reflect a little bit of the purple tone to kind of make a circle here of that purple around him So yeah, I mean if I was going to give you, um, you know any sort of feedback Uh here at all, uh, it would be that some of the non-metallic Of things like the copper and stuff like that can pop up a little more We want to smooth out some of the blends on the non-metallic steel Um, you know, you can have roughness in there, but make it through stippling afterward Like you want to kind of create it you can create it through rough texture But it needs to be a little smoother than that and then you kind of put some scratches over the top But yeah, really good piece Okay, next up we've got, uh, Dave So, uh, love some overall feedback on the mini maybe something big good bad and ugly sure Um, yeah, so this is one thing I'll say you got to watch when you do these darker colored skin tones like this Um, because it still needs to have the the vibrancy and the highlights This is true for any tone of skin Um, but from real world to fantasy Is that you know human skin is still quite satin because it's very reflective And so even when you're doing a darker color of skin It needs to still come up to quite contrasting highlights And I don't feel like that's present here at the same time I'd also love to see more tonal variation, uh of some other Tones in the purple coming up like using maybe Caucasian flesh tones to highlight a little more subtle magenta's down in the shadows Uh, I don't the horns being a The same color as the skin is also tough Like, you know, we're switching a lot of expectations here, uh around Sort of how these what we would expect to see which is fine But then we have to sell something so like if you wanted the horns to be black and go to like, uh, you know A purple tip or something I could handle that because then I would still see the normal transition of what I perceive as those horns Right that they have this gradient from one end to the other Um, so that's the biggest thing that jumps out at me the the skin tone on the um On the the bruised guy here the the harp himself Also feels like it probably needs some more love and attention as far as both value contrast and Contrast of hue. Um, I do like the cloak. I think that's well executed I like the color change down here at the bottom and this use of like this sort of magenta pigment So I have no problem with that. I think that looks just fine So there you go. Hope that all helps Okay, next up. We've got steve working to include more contrast in your painting thoughts regarding the dialogues Um, so it's good. We're moving in the right direction. Certainly. Uh, I think that This is kind of not the most pretty model they've ever made, but uh, that's not your fault That's nothing you can do But it all you know, obviously influences kind of how we can handle things Where I see opportunity for continued improvement in contrast is especially in things like the book The you know the paper using like there should be some kind of contrast there Even if it's a soft subtle shadow up toward the top of the book Uh, the idea that stains or something like that. I mean it is paper exposed to the elements So theoretically it's going to be weathered to some degree Um, so same here The metals are very flat. Um, all of the metals that are on this thing are very very flat So you want to watch that that's where I noticed a lot of chance for contrast The red of her under cloak is also quite flat So a lot more chance for highlight there same with the the green Um, I think you're the the number one thing I would say to you is keep pushing that contrast We've got to go a lot farther. So Uh, but cool stuff overall Okay, next up. We've got uh, jamie, uh I'd like to take this figure the highest level. Uh, could you give me a couple pointers about what still needs work And where to go next so yeah, I looked over this. I mean, this is an absolutely fantastic piece I just want to say that I really really really liked this Um, the biggest thing that jumped out of me was honestly on Uh Just some of the skin tone It doesn't feel it feels like it's still not quite pushing the directional lighting Somewhat enough like we need to go to a little bit higher one here on the edge of the light Here on the edge of her chest stuff like that at her elbow I like how we've incorporated the magenta and purple tones into the shadows. I think that sells But I think we need to push that a little farther Especially down here, you know kind of under her dress in the bottom of her leg We need some deeper shadows A little more sort of lighting controlled lighting focus contrast because you're you're you're painting a very moody piece here That's very much set in the light it's in So that's sort of the thing that occurs to me. I like the non-metallic metal We might be able to smooth that out just a little more Um, but on the whole that that works fine for me I I think you did an absolutely great job here Love the the way that you uh did the eyes you might want to still have a little bit more of a light catch in there So she doesn't have quite as dead eyes um But yeah, I mean overall this is really really great work love the fade On the side of the head that super that's super credible to me the tattoo looks nice All of that stuff is is really good. So yeah good stuff absolutely fantastic work, buddy Well done Okay, uh next up jasper Uh should I have gone brighter on the highlights for the gems on the body? We're doing so pull the attention away from the head I was trying to make the wings and the tail look more raw and fleshy. I feel like I got it on the wings But not so much on the tail Sure, so, um, I like the color you used underneath. I think that's fine um, and You know, I think the flesh tone works fine. I don't have any issue with that My overall issue is actually with the red. I feel like the the red parts are rather flat Um, so what we really like would have taken away from him I mean, we I think this around his face needs more contrast It just feels like the the the creature the the skin of the creature feels pretty naturalistic and fine and then the The red all feels just like red. It's just flat red So I feel like we need to take a lot more control there through some contrast and build that into the red See earlier comments about red contrast. It can push into orange. It can push into pink It can push in a lot of colors while you underlay the bright saturated red But like we need deeper shadows lots more four and five and then some highlights in there That's the number one thing that jumps out at me Hope that helps Okay, next up Matthew, uh So, uh, really hard time with colors color selection color shifting Uh metallic colors color harmony any comment is more than welcome. Sure So, I mean, I think overall the the color works. He has kind of a riotous dude One of the ways you can you can balance that out is by, you know sneaking other colors in places, right? So what I mean by that is You you already did it here partially with the tongue turning blue. That's good. You could give him a nice bright blue eye He could have blue fingernails He could have, you know, the ends of his nails could be in blue Like you can mess around with a lot of stuff to kind of balance things out You can have more yellow tones in the skin. You can desaturate this down I think overall it's it's not horrendously unbalanced There's a little bit like this yellow is a bit too much and the blue is a bit too much His happy jester face is ultimately where where your challenge lies Um, I feel like if you had done the jester mask in the same red as his mask A lot of the problem would go away It's honestly this big bright yellow and if we had if we had hid some blue maybe somewhere else around here Maybe the the Nerdling's tongue is also blue. Maybe we had some blue flowers on the base, right? We could go a lot of different ways To sneak that color around, but if I had more of a blue line traveling up and down It would keep my eye moving through the piece in a more a more efficient way But I think your biggest opportunity for improvement is this should have been the same red as his click Like it's a little version of him, right? That's what I see there. So hope that helps Okay, next up we've got, uh Jerome, uh First I did an amendment that didn't completely hate really like the end result But looking for things to improve in future projects Uh, okay, I do not think the base is a bit much. By the way, I think the base is fine Um as to the non-metallic metal it's I see what you're going for but we still need more contrast in there I like that you put the light catch in the center. That's good But it still needs to be spread out more. We need more light and more dark So it's still not running enough of a one through five for non-metallic metal Like it needs to be really contrasting to sell that you can still keep it all blue You know your deepest shadows can be black blue. Your brightest highlight can be white blue It's fine. You can keep it all in that color spectrum But that's really where I noticed that it wasn't it wasn't selling to me Like I can see what you're going for but it doesn't sell And the other issue is we've got to really keep those edge highlights nice and sharp So I like this is kind of wibbly wobbly when that happens You need to take your original blue from over here in the mid-tone and smooth that line out We also need to get every edge of this thing that's meant to be metal So there you go. I hope that helps Okay, next up we have Andrew Did this big of disc worlds Tiffany Don't have strong blending skills if I tried to focus on getting good shadows and highlighting some sense of texture on the material Yeah, so overall, I think you did a nice job. You know blending is just continuing to work it We do need to keep pushing the contrast here and that's going to be where your blending comes in I think you've got a nice like the The the dress sort of the the texture you're going for on the dress works just fine for me With the various lines. Basically, it's the answer is simple It is you need to work on the blending and push in more contrast more heat more variation of hue And value in the skin in the hair in the dress itself in the white Kind of everything. So that's your next step in the journey is just continuing to to push your contrast up All right next up Rich looking for feedback on the blood ravens judicar the atmosphere of the model base Small changes head and ax is a cohesive. This is the first model. I've done on aging leather. Does it read is that? How's the osl? Look what to work on improving next? So when we do a really grimdark piece like this, the key is it still has to all sell with the separate elements, okay? So like the white skull doesn't feel like it sells because it's still Like the shading is not in the correct place there like we put a wash over and then we layer back over But that's all we did the brown glove next to the brown wraps That doesn't sell for me because I can't even tell where the glove ends and everything else begins, right? So if we're going to do that you can use texture and and age in the leather to create highlights And that's a you know, rather good way to go Um, you just want to make sure that you're like there should be very deep line dark lines separating between the glove And the strap in between each strap rounding each strap on each edge, right? All of that needs to be well picked out light dark light dark light dark over and over again when we're doing things like the The the leather down here. This is more credible than up here. So that's fine the Like the weather shoulder pad again more highlights a little more contrast there Now as to the osl. I actually think it's the strongest part of this piece It's a little too you got kind of a little too chunky right here But if if it wasn't for this tiny little line, honestly, it sells pretty well for me Um, I've got no issue. You scattered around the color. It's very soft glow That works for me. I have I have no issue with the rest of the green. We just it's a little too strong right there Um, you can do that little edge light catch, but it needs to be really really razor thin But overall cool stuff. So hope that helps. Oh on the the swap. Yeah The modifications of the model work fine. I've seen no issue there. That's all good Good kibash minor changes. Excellent work. All right, sheriff Looking for some feedback on the sigbold model specifically was hoping for tips on how to improve my nmm sword armor shield As I said, this is just this show could just be called vince talks about nmm for like three hours Okay, so it's not credible and it's because we don't we're not Really doing nmm here Um, what I mean by that is there's just we're not even in the ballpark of the right amount of contrast. Okay So we've I've talked many times throughout this about needing to run the full one from five and where the light reflections are We need a lot more contrast and the placement of the light reflections I I kind of opined quite a bit earlier About the nmm. So, you know, you can go back and check that out Um, darin latham's miniature painting blog is a good resource for it all my videos on nmm Good resource for it. Um, but we just need a lot more contrast in every way Like building up to the the high highlights and the low shadows That's ultimately what I I see is the challenge here. Okay The sword is probably the strongest part Um, because it actually does have like some white and goes down to the dark part and you've got those kind of, you know, I Unevenly spaced in a good way The sword is the most credible to me now We need to do that same thing to all of the armor the shield, etc Okay So there you go. Hope that helps Uh, all right next up mica Uh, most recent project looking for ways to improve specifically love any feedback on how to make the nmm more credible Any thoughts on how to improve the osl from the necron would be welcome as well sure Okay, so on the nmm see earlier statements about putting the highlight out on the very edge with anytime we get this shape It's what we just feel like we should do You're actually better off putting the highlights running down the middle right here and here and here But if you want to do the edge, then you have to then there has to be a bright white line running this whole thing All the way on the edge of each of those the steel nmm again is more credible to me I really like your contrast on that. I think that's Quite well executed. We could come up to a slightly brighter pop up here on the shoulder to really make sure our attention's up top Um, but I think the steel nmm looks really really good. Love the blue tone with it That's working for me. I've got no issues here. Um, the sword here is actually I think the best on on the model Um, I like the the arm. I like the shoulders, but this this little piece you've got here This is very very well executed. I really respect how you handle the volumes. The edges are sharp. They're tight You've got wonderful light dark lights going back and forth. I really really like how you touch that piece. That looks great Now as to the blue for mr. Necron, it really doesn't feel like osl and again, it's because of my earlier statement We don't have a bright light source Um, whenever you're doing osl, there has to be a single place that is the brightness that is generating it And then it needs to be a soft fade from there And what's missing here is we don't have the actual like we've got a bunch of all this stuff stained blue But I have no idea what's glowing on this model Like Assumingly it's down there. It's the necrons in some way But I don't know what's making them glow. There's no home for that light Right, just think of light bulb is like very bright light to soft to shadow to soft extended numbered. So one two Three extended soft too, right and we don't have any one here. So that's the biggest thing that I notice Uh, yeah, hope that helps Great work overall. He looks he looks really good Uh, alexander, uh, so love some feedback on the freehand and some tips regarding value contrast. Sure So, um, I mean simple answer on the value contrast is we do need to go farther Um, the metals are very flat the skin of the demons is very flat the hair of the demons is very flat Right, so I mean we just we need more contrast by far on all those elements of the mini now as to the Uh, freehand. Yeah, I love it man. It's great. It's absolutely great Totally sells to me. I have no issue with it whatsoever Um, yeah, there's a painting that would inspire you which yes, I recognize the the protein Form there, uh in your painting which says a lot like I knew what painting you were referencing before I ever looked at the other photo So to me, that's a great triumph. I think you did a wonderful job there a great mimic to the actual scene Which has the two demons looking over it Uh, like the like the image. I think that's yeah, super well done. Great stuff Okay, next up, uh Dwight trying to make the stone for my stone horn various types of stone and this one is granite How can I improve both the color and the highlight on stone like this and then fox fur On the stone horns looking for a way to improve the transition. Sure So when you're dealing with this kind of stone, it's the same as anything else I mean, I just put a video out today about you know stone and color variation And it's got to be the same thing here when you're dealing with this kind of like red granite You still need lots of other things on there. You want to work in scratches hashes dots things like that Stippling effects stone is highly textured. So the mix of like lots of Contrast of texture and contrast of Hue that's in there and then and then you know, the value can kind of follow on afterward These guys are real big shape with weird shapes. Just not gonna have a huge amount of value contrast You can work it But that's mainly going for the hue and the texture contrast is what's going to serve you well So like lots of stippling and slashing and stuff like that Different colors worked around things of that nature Now as to the fox fur itself. I quite like it. I think it looks fine. I don't I don't see any issue I like the white under there That sells for me. You picked really nice colors that mimic the fox. Well, I don't know what the fox says But I say this looks pretty good. So the fur part of it really sells to me that I dig Great stop man Okay, uh next up carlos, uh skin and face went for this Pale flesh and metal pieces. Yeah, so I mean just looking at this We so I think what we need to work on here is one like this miniature is really soft It doesn't its detail is pretty bad. So it's you know, hard to do a good paint job on at all Uh, because bad miniatures lead to bad paint jobs and this is not a great manager in any way shape or form Um, now that being said the you know, it's it's all contrast game here in brush control Like it seems where you're at on your painting journey Our primary thing we want to work on is really creating just smooth clean effective Paint layers really working on that brush control that kind of thing because like we have paint getting up here We don't have dark lines separating the various elements. We have black paint up on the gold We have gold down in the black Right, um, the eyes don't look like eyes there. She's got the standard cross-eyed thing There's no dark circles around. So watch my video on painting eyes We need more contrast and hue in the skin But my my first advice to you would be one like find a miniature that has better sharper crisper detail You don't need to necessarily spend a lot of money or something I mean you can use GW kits or anybody else There's lots of kits out there that people who make higher contrasts or higher detailed stuff Um, and then work on really defining the individual elements Okay, and making sure that they're nice and sharp that would be my advice for you Okay, next up Amy, uh, just after some general feedback on this mini probably the best have done so far How can we improve it further? Yeah, so this guy's really nice. Um, I like, uh, how you've worked kind of texture into everything I like your non-metallica Work here and kind of a sky-earth a little bit or like pseudo weathering effectively on the on the the spear It is in this very Cartoon-y style So I'm not sure what advice to give you because I think you might be going for that particular style in which case I'm not sure I would push you toward a more quote-unquote realistic style Okay, because like if I was going to push you in a realistic direction I would say, you know, you need to smooth down some of this like the transition here is too harsh It's cool to use this kind of texturing But then you need to have like lots of half steps going up to smooth it out in between here and here Okay, or whatever Like and be careful how much you're using this hashing thing because it makes him look like he's furry Which I don't think is what you actually want So you might want to think of more of like a stipple On him to create that kind of that texture that I'm suspecting you're actually going for just a thought um The like the non-metallic metal is in this sort of comic book cartoon style If you want to lean more into that then you need to sharpen your lines even more like really get the precise brush control To have these really like accurate ink to lines um, if you want to go more realistic then we need to like Smooth it out more and change it from sort of these like it's very predictable right now In the way it's going like slight white into blue into the black and then the orange just hit in the middle And like it's so mathematical and that you went okay now I make a shadow Now I put orange in the middle and it doesn't feel realistic right weathering doesn't happen like that Every shadow has the same orange in it every you know in each thing So like if we're going to go for realism, then we've got to create more variants that would actually be The randomness of nature if you're going again cartoony. Yeah, I'm fine with it. I think it works Okay, um because as like a more of a like a comic style. I think that's fine Um, so those would be my advice for you. You'll need to tell me which direction you want to go But there you are All right. Next up, uh patrick tried to paint this guy. I've seen the video on contrast would like to get some feedback on the same Yeah, I mean the answer is we're not really there yet. Um, especially on the steel now again This is one of those old pretty bad minis. Um, like the quality just isn't really there So but the especially on the steel the red is is good down here We need to smooth out some of the blends, but it doesn't go up here up here We still have just like the old wash sort of look to it where we've got coffee staining and shadows in places where we don't want them Right. So and then the skin looks really rough Um, so which could be the sculptor. It could be the way the paint supplied. I can't tell Um, but the contract like it could be the detail in the fig is not there. So it's hard to evaluate Um, but like in general, yes, we need to keep pushing the contrast But especially on the steel like with steel you need to really tightly define the elements and work in the You know a very smooth surface which these old often resin or fine cast models didn't really have and that can make the That makes it look like your work is worse than it is, right? um, like a bad fig will let you down every time and Uh, so you but again a lot of things I talked about here like contrast on this handle That just looks brown It doesn't have enough contrast to it on the in between on the individual little pieces Like we've got to talk about the whole volume that is the cylinder and then each volume that is all the tiny little Globes that are on there effectively, right that kind of thing So yes, keep pushing You're you're moving in the right direction more of the journey to go All right, next up tj Uh, first viable crack at non-metallic metal and working highlights into normally drab colors to push some interest um, okay, so You know, yes, the non-metallic is not Really credible, right? So again, you know go watch kind of my videos on on non-metallic and and you know We need more one and five and a smoothness to it and stuff like that. Like it's not it feels way too gray right now It's not It isn't reading like metal the probably your most successful piece is the head blade that he's got there Um, because that's where we're kind of the closest but again, that's not how the highlights would work They wouldn't just track the edge. There should be like a part of the blade The blade edge that's counting that's capturing highlights and then that should move into shadow and then another highlight and so on and so forth I've got lots of videos on non-metallic on blade. So I would highly recommend you go watch, you know, those again and check that out Uh, what was the other item here? I'm sorry Uh, oh, yeah, so I mean as far as the drab colors, um, you know, again I see you've pushed a little bit of texture keep pushing that Um now as far as this little like flame cloak if you're going to go that direction I've painted flame and a lot of different things. That's not kind of how flame should look It needs to be like if you're gonna do that kind of free and it has to be really crisp It has to be really clean even on a scaven thing It should still have like a cleanliness to it because otherwise it just looks like paint And and then, you know, you you need to follow like a flame type pattern, right going from yellow up to like a darker Red stay away from this like Ferrari red with flames. They don't they don't turn that color Uh, yeah, so there you go. Um, I I have several videos where I paint Flames on armor and stuff. So check out like the Recent one I did about big projects with the titan or go back to the iron jaws Armor, I do it in that one as well. So you can you can hit both of those All right next up. Uh, adrian lord castellan. He's painted very mixed feelings I have painted metallics on an incorrectly prepared surface not as shiny as you'd like The biggest problem as you may see is the lantern. Uh, it does not fit with the model at all. Okay, so I need he mentions kind of how he went about it, right? Um, and he says like, you know, he's terrible at brush work and so on and so forth Yeah, I mean, I think the lantern is is honestly relatively. Okay. It doesn't bother me Um, the the it does need like a smaller light core of the white And most fluorescent paints suck at coverage. Okay Um, like that's just the reality First of all, I think vallejo fluorescents are especially bad. I would highly recommend like scale 75 or war colors. They are way better. Okay But what we need there is a brighter vertical core of white light That's just like very very thin and then it fades to the green and then you get a little bit of green Capturing the outside. I actually find the glow that you have Fairly correct. We just don't we aren't like going down sort of to a deep enough color here at the side We need a little more actually non fluorescent like deeper shadow again People always think when they're glowing you just paint the glow but but lights have shadows to them around them And that's what actually that the absence of the light actually is what sells the light being there creating that contrast Um, I think the metal is honestly sell just fine for me on on him. I have no issue with that Um, so I think that that works relatively well um The silver I think is the strong point that gold could use a little more contrast. So there you go. That's my thoughts on that Okay Next up patrick, uh, some new basing techniques along with more volumetric method of highlighting I think that I didn't quite achieve high enough contrast and having some trouble pushing the highlights in a realistic way You are correct. I mean again with the the ochre with the blue with the hair Yes, you need to keep pushing it. Um, avoid this thing with the basing So so lots of stuff here that are basing no-nos like yes higher contrast. Yes more separation of elements much much farther I see realistic as this excuse not to do contrast a lot realistic is high highlights people in bright situations Is my arm not realistic? Look at how white that is like how white blue that is look at how dark that is That is my arm in reality. That's reality Okay Look at my face Look at how hot these lights are coming off my face and how deep the shadows are under my eyes. That's realistic All right, so I I've never liked that excuse like that's just No So now basing no-nos one don't put a big rock just step just Stuck on a base that's too small for it You need like the thing that's on top should be smaller than the base You do not want stuff overhanging like that when it goes in and out Okay, it just looks bad The it's okay If you have like a little bit of overhang occasionally off a base that can happen But it needs to be like flat to the bottom and kind of extending out and up like So stay away from that kind of thing like if you're gonna if you want to build up like that use some Quark build in from the out up Okay Now the this little grass I've seen people use this before I mean this no no no no no Like this stuff is so fake and so bad looking it just looks like a broom stuck to the ground right So like if you're gonna use this stuff one, you got to fan it apart two You've got to make it way shorter. It's blocking way too much of the miniature Don't block off your miniature with these tall grasses So you got to fan it three you got to stick it four you got to build up around it So it doesn't just look like it's existing out of nothing in the earth like there are always grasses around this stuff I've never walked around in nature and just seen like a four foot tall reed Poking up out of raw earth with nothing else around right there would be other If there's grasses getting that tall, there's other stuff other plants around Second then you've got to paint this stuff. I talk about painting Basin materials all the time so you can apply washes to it a dry brush over the top It's something but right now it feels just like yellow straw It isn't a realistic thing So you got to get paint in on it and you got to build around it at the bottom Okay, so hope that helps Patrick Okay, next up Kyle lots of firsts here first time painting a model out of guide first non metallic on the ax blade and first oil washes We'd love some feedback on the face and the nmm Sure, so let's start with the nmm So no, we've got to get more brush control there We've got to get more smoothness to that and also we don't want you don't want to do that Direction so strongly like it would be okay if it was very very faded and you kind of had a little bit of that horizontal lines, but but It has to be very very very subtle and thin right now. It's just these big chunks. So like you Value-wise you're almost running the correct amount, but you've got to like we've got to glaze that down and really smooth that out Face wise same thing. We've got to thin the paint more bring up a lot more contrast Go watch my video on painting faces I use a space marine head because that is the head you always use for that that video when you do it And you know just you'll see how I build in a lot more color and variation of both hue and value So there you go Okay Peter general feedback on how I could improve this model as though you were judging in a painting competition Okay so Yeah, um If I was judging it in a painting competition so things that would grab my attention. Um, I like the application on the Uh The Whatever this is the horse is barking. There we go. Um, that looks nice. That all looks fine Um, the gold is good It needs to be smoother and you have too much white like you're coming up You have the right value sketch, but you don't have any edges. So with this kind of brocade It's really annoying, but you've got to trace every edge there with the sharpest thinnest thing And your white this this much white needs to be just like the tiniest point And it needs to go into a more ochre white Around it Between the edge and a little bit of bringing down of those highlights. It would be much more credible. Okay Now, uh, like the the barding looks great. Now, let's talk about the the chainmail pieces I don't know if you're meaning to mix silver and gold or if you were trying to capture a highlight Like i'm not totally sure what you're doing there But let's talk about chainmail and how you highlight that across a surface You need to think of it like one large flat volume Forget its chain for a second or scales or whatever Right and he's both scales and chainmail for that same thing. This is the surface It's a flat surface and if on a flat surface light will sheen across it, right? So there needs to be a highlight line right here where they're very bright Or here and then a secondary one here or something like that right where it's moving across Think like synthwave type of stuff, right? Okay And then You're gonna the other ones will go dimmer and darker But what you're gonna have then is because it's chain or something like that with the scales you go in and you pick out the edges Around that near that some you can have in quite deep shadow Maybe you only you don't you don't need to trace the whole you on all of them Some of maybe it's just the way like if this is the light line Maybe it's just the you on this side that has a little bit of light to it. Okay So that's what I would like that kind of thing is how you sell that chainmail Or scale mail as it were. Um, the horsey The horsey fur is good. It needs to be smoothed a little a couple glazes over the top to smooth that out. It's a little too Um, it's a little too line work right now. It's the right idea. It just has to be smoothed down very softly It's a very hard effect to to nail all the way Um, because you got to do lots of different layers of stuff. Um the Other than that then his like the brown under the armor is very flat It doesn't seem to have enough contrast in it. Um, you like it shouldn't be as much as the gold, but it should still have some So that would be the stuff I would notice there. Uh, I hope that all helps Okay, next up liam, uh, really appreciate some additional feedback on this mini Uh, then I'm entering an upcoming competition first time tying nmm and even gave osl a shot. Uh, okay So I mean bold move doing all of that for the first time right before competition But sure why not push yourself? Um, yeah, so the nmm needs to be smoothed down the edges need to be caught I've talked a lot about nmm already. This as I said this video is just Two hours of me talking about nmm contrast edges credibility you know stuff Okay, um, so you The the parts that work the best to me are like the akila on the center And then this little box here around his is reliquary Um with these things we've got to clean that up We've got to get it more smooth the knee star works okay But again, we need the edges picked out with a very hyper thin thing same with the shoulders We need to run a line along there I need a highlight here and here because that's where they should be given that the highlights here like he's lit from the Front above so there should be a specular highlight here and here reflecting back to me Like that's what everything else on this miniature says but the shoulders don't you put it right up at the top That's not actually where they would be. They need to meet my eye. I'm not seeing I'm seeing the light as though it's reflecting into my eye. Keep in mind when you're doing non-metallic metal What you're when you're picking an angle you're saying like the light hits and it reflects into your eye And this is basically the golden angle of this space marine So the specular highlight needs to fall here because that's where I would see the light coming from Right If I were to move around the miniature me not move the miniature The the light would change if it was metallic right because I would see it from a different place now Uh, so it's not just the miniature itself, but when you set an angle with non-metallic, that's kind of what you have to do Um, so better edges all the little rivets need picked out Um stuff like that now as far as osl goes I'm not sure what is osl. What is glowing? I don't know what's glowing Maybe a little bit from the sword. Oh, I see. Okay. This slight blue on the sword Yeah, good if I can't even tell and it's so subtle until I would have looked at the mini that long I like it weathering looks good got no problem with any of that Um, sword needs to be again smoothed out to kind of like don't don't do this line through the center thing I see people do this it never looks good It's like draw you have it on the other side of the blade a little more strongly like just putting a single line through here You know that It's there are ways to execute on that don't just put a white line through the middle of your highlight It doesn't it doesn't sell um Like I appreciate that you went to the triangles you clearly watched that video We still need to smooth it down needs to be a little more irregular You still made them all the same size Because your brain got into like oh this needs to be this and then I put another one here and another one here And I can just take this exact shape and just replicate across the thing But it's got to be you've got to have different sizes to the to the sort of Uh energy of that or the reflection of that to make it uh more believable. Okay So there you go. Hope that all helps Okay, uh This is the way to do it long waffling backstory wonderful joke nmm cloth face great Okay, let's talk about any you know mentions. It's uh, it's a limited palette. Yeah understood Uh dress needs more contrast overall magenta and purple doesn't have quite enough if you're going It feels like it should be satin or silk or something like that and those are highly reflective materials Um, so we don't have enough of that build in the steel for the most part Works for me the magenta, which I know you had we needed to see more of in the face Um, I mean she has a vampire and there is blood in there. That's literally their whole thing So, uh, you know rosiness in the cheeks around the eyes Uh in the lips stuff like that I would have liked to see more of that magenta mixed in there to to add more variation to the um To the the skin itself now as to your light It looks like your light is coming in really strong and hot from above you want to move the light from up here Down here. So you need more of a forward facing light to really get that you would ask the question about photography as well So there that's my answer to you Um, yeah steel looks pretty good the reflection right here So no issue with that. Uh, yeah good stuff Hope that helps William Okay, next up uh rafael, uh friendly competition the constraints would only use four pots of paint Uh and to have orange yellow and red or brown as the main color try to fire a osl from the front an emergency red light ambient light from the back Uh, okay So basically is he's looking for you know kind of feedback. So osl again Yeah, I mean, I think it works. It's it's well lit one of the issues is we don't we don't have enough shadow So it's the same story we've talked about with osl multiple times And you said you had a brown right because you have a brown in there Four pots of paint I don't know what you said with it. Okay. I don't know what your four colors were Oh, okay, may have been the best choice all inks phthalo blue green yellow magenta and white Okay, so Yeah, I mean that's you don't have any super dark color, but you should be able to mix the the phthalo blue and uh You could mix the phthalo blue and the green To to probably get a pretty dark color and that use that as your shadow color. I think that would work fine Like phthalo blue should should fit that Um, because we need darker shadows here. That's ultimately what it comes down to what's what's the issue is The the soft red glow Not really that part's a little less credible to me But we don't have enough depth of shadows in here Um the separation of the elements and I would have used a combination of phthalo blue and the green to try to create that As as close as you could. Um, I understand what the like with a limited palette I think this is great work, but you can use that blue green mix to sort of, you know Have the more painterly style shadows. And I think that's what what is honestly the only piece lacking So, yeah, there you go. Good stuff Okay, james first time posting feedback on what to really focus on and how to improve your painting Uh, okay, so I I looked over this girl. Um, I like your texturing on the cloth I think that looks really nice. I yeah, I understand With I mean my best advice you have kids who knock things around is don't paint metal figs paint plastic figs. They won't chip Um The freehand needs some work. It's not like again, it needs to be like sharper or even more controlled more more design Um, the my main thought to you would be Uh, just a couple of small items Uh, yes, we do need more contrast in here of value. Certainly like there's not enough volumetric light either on the bow The robe itself her leg her dress like there should be especially deeper shadows I think is actually what you need more kind of four and five Stuff like that the basing is rather blank. So I'd work, you know, don't like when you have put on tufts make sure they're painted make sure there's The same variance in value of those is anything else putting non-painted elements next to painted elements always sticks out like a sort of thumb Uh the and then with the hair I would reduce the amount of yellow in there, you know blonde hair isn't yellow I've never met a human being with yellow hair. I mean, I'm sure they exist somewhere But that's not what blonde hair is blonde hair is like very faded ochre with a lot of sepia tones and and uh and and white in it effectively So you want to really push that uh into more like sepia and ochre And and white for the the light catches especially around the the face which is meant to frame and draw attention So um what I would work on is just keep working on your contrast You can do a lot of it through texture as well You clearly have a good eye for For texture with things like the cloak. So I just keep going that way. I hope that helps Okay, next up chris uh ogre and servitor for the goliath gang Struggling with reds leads to use orange the highlight color. I'm really happy with it Try dead lots of weathering and chips and scratches Yeah, I think the orange on this guy works as a highlight color. I looked at this dude over I think he looks really nice Great contrast on the various metal parts The skin and face could use a little bit more color and tonality to it So more reds purples and stuff like that, especially in the cheek the nose the lips that feels a bit flat The Blue could probably use a little bit touch in some places of a slightly deeper blue Down by where their shadows are just to make the top part contrast a little more But other than that, this is a really solid piece man. This looks really good Love the hazard striping the the orange red armor looks really good. Yeah Good stuff overall well done Okay, next up alex tried to work on the feedback from the last piece getting a bit more color into the non-metallic metal here And played with textures a bit overall feedback Tried some focus on rusting the non-metallic metal Yeah, so it's good. We actually lost our mid tone though in the non-metallic Like I need a little bit more of a gray you you have the white you have the rust I need more of a mid tone in this area. I quite like how you did the rust with the stipple I think that came out really well, especially on the sword like that's Believable to me the skull love the colors you're using there. I'm buying that Uh, so I've got no issues on that one the texture on the cloak is looking really good Uh, yeah liking that a lot. We've got some opportunity here with the fur We need to give that a little bit more love treat that more like a volumetric type of shape Uh and really get that rocking. Oh the backside here is more what I'm talking about Yeah, here here you've got it correct, right? If you see the difference between the front side and the back side of the blade Like you see this gray color here you have you're missing this on the front side And this this really aids the the overall sort of belief that that's what's going on So, yeah, um really like the bone really like the cloth the metal is working for me A little more mid tone in there, uh, but yeah good stuff overall well done Okay, next up, uh, Liam Uh painted up a black legion First intending as a test model for gold non-metallic armor trim this going See how far you could push yourself. Uh, main thing I struggled with is the gold non-metallic metal Also had some trouble with steel non-metallic metal. Sure So again, I always warn people off of doing non-metallic on an army because it's I mean, it's a great way to not finish your army is what I'll say Now that being said if you're using this learning project, can you really determine that's fine? A lot more contrast smoothness to the blends edges need to be in there We need more control over the lighting and what's happening here. So for example, I mean, I've talked a lot about this already Um, but things need to be smoothed down. We need more two. There's not enough two in here Uh, we really go to one and then we kind of fall too quickly over that Um with the the brown is too strong too broad You need this the dark shadow, but it needs to be softly glazed in with still that hint of yellow over the top of it It shouldn't read as brown. It should read as brown with an interference color of yellow again Darren Latham talks about this a lot in his blog And glazing the yellow over the top and stuff like that's because you still need to bring it into the same spectrum It just needs to be a very dark version of that thing This is usually a step people miss All of the edges need to still be Picked out the steel non-metallic on the axe suffers from the thing I've talked about a lot where we've got our light all here to one side This would read like a million times better if the light point was in the middle And then we had a reflection going both directions Or maybe a secondary or like it was here and then faded to a minimal shadow and then to a secondary highlight here And then the shadow that kind of stuff So yeah, there you go. I hope that all That all helps Okay, next up Daniel Uh painted his mushroom addicted friend here. Uh, I like his robe the least. What's the issue in your opinion? Uh, yeah, sure So, I mean, he's very bright. He's got a lot of colors Um I don't know that I have a huge problem with the robe. I'm not sure what you're seeing as you don't like I don't know if you were going for texture, but it it feels rough the sculpt that might be what is getting you Like he's he's a very rough sculpt You know, when you've got a really rough sculpt like this one of the things you can do is lean into it and Texture out your highlights. I think that would be a strong way to go A lot of stuff on the moon needs to be smoothed out The Goblin himself it's the the push to the yellow highlights is fine But we still need to work in the shadows more like red tones and pink tones in the shadows stuff like that would probably help Texturing on the cloth of the robe like little scratches and hashes and things like that would also probably sell it for me. So Uh, yeah, there you go Okay, next up saying uh practicing osl and gold non-metallic metal So the gold non-metallic metal doesn't sell for me. It doesn't have enough one and two We don't get enough light in here. Um, the osl is way too strong So again, I talked about it earlier and I talked about it to go watch my osl video Like the blue on the face does not look like osl. It looks like War paint, right again One the source of the light brightest thing on there two soft areas around it that are that are the very near and touching the light source intense light three a hard shadow And then back to two but in a very soft glazed way in this in this way it spreads out We're also not covering everything we should if it's coming from his hand There would still be light here light off osl travels and bounces everywhere, you know So like it's not just what it directly hits, but then it's going to bounce other places too So you really have to spread this soft cloud of light around the miniature unless it's a directly blocked hard shadow So we definitely need a lot more white ivory push into the ones and twos on the gold And the osl needs to be wheeled way back and get a lot more subtle and soft there Uh, so there you go. Hope that helps Okay, next up, uh Give me some feedback on the nmm. Sure Sure Okay, so, um The nmm here. I'm not sure what it is Like my initial statement is I don't know what's nmm and that speaks volumes Okay, so one our lighting is really bad on this picture like soft diffuse straight on lighting Look at how to take pictures mp uh cult of paint just did a video about it games workshop has a Instructions on their website. I have a video about it Like please take me good pictures that helps me evaluate many's now On to the non-metallic. I don't know what's non-metallic. So it's hard for me to evaluate I think maybe you mean the shovel and the hook But there's definitely not enough contrast and I can't tell the color structure there of what you're actually going for Like I can't I can't read What that's meant to be that doesn't read like any kind of non-metallic that I would expect there, right Like in that shape that large flat shape there would be Light coming down here at one side through the middle. We would go to shadow We'd have light catches on the edge like that kind of thing like it's just it's not Meeting what I would expect in any way for non-metallic. I'm not trying to like be a jerk or bust your your Your work there. It's just really hard for me to tell Exactly what you're going for So that's about the best advice I can give you given that that lighting Okay, next up First time submitting a mini major arc of ecstasy First time made an effort to do lighting and shadows putting the most effort in the face of body Also tried a bit of glow inside the smoke and oh a cell from the sensor Uh, what should you improve contrast a lot like so much more so so so so much more We need like a lot more you have like Two and three here. Maybe like in three and a half Um more contrast on the on the hair more depth of shadows more onto the edge of the horns to make them stand out The skin uh moving into a lot more highlights tonal variation of hue within the skin to catch Shadows and stuff like that if you're going to do the red glow it that's I like the idea good concept It needs to be it needs to not be a hard line You have to smooth between the two because that glow doesn't just like light this line and then stop It's going to softly permeate the smoke So you've got to like glaze the red around that to smooth the transition then go into a darkness Then go into the light of the smoke then back in the darkness Then into the soft glaze then back into the actual light source again Uh that kind of thing So yeah a lot more contrast a lot more tonal variation of both hue and uh value That's what you should work on All right, Eugene uh saturated lizard woman uh did not have that much time since rather quick job Uh still looking for overall feedback. Um, yeah, I mean if it was a quick job That's fine. The next thing I would tell you is you know spending the time to smooth things down Get those glazes in there, uh more variation of hue in the skin So still work in some reds or other things like that I do like the use of the purple which I think you're using as a shadow Which I appreciate that but some softer tones connecting those two Like we really jump straight from green to purple whereas it feels like we would have like a red interference layer there Um, I think would sell really well, even if it's just like a soft pink transition Um the feathers feel like they need to be picked out a little more There's not enough variation to them the little fenderels or whatever they're called need a little more Individual love and attention again, that's probably a time thing and then the stone is just boring gray stone. So, you know, don't paint boring gray stone Good stuff overall though. I really like the yellow and the uh, the the tone of the skin I really love that you went to the purple for the deep shadows. I'm buying that I think that's good. Your your transition on the skin is nice You know, you know sort of have a little more interference color there and smooth it down Okay, next up tomas Looking for feedback on the blue armor light placement contrast etc and the marble effect So the marble doesn't really sell as marble to me. It just kind of looks like stone I have a couple different videos on marble. So I would go look into those I know there's a lot of other people who have marble videos too But it needs to be more long lines and different crisscrossing stuff that has like the pseudo directionality to have different tones of like The midtone and then white lines and then you know, sort of deep black brown and brown with shades near them And they have to kind of be this like almost fade against the line It's it's a really complicated effect to do marble, but it can be done Um, I think even like painting Buddha had a video about it back in the day, which I think is really good Now as to the armor itself on the guy. Yeah, I find all that completely credible realistic I actually think it's the strong part of this piece. Um, I like your lines You might want to think about secondary bounce reflections when you're going that high So like on things like his leg plate and and stuff like that Like we have this light line here If you need if we went into shadow and then had a soft move back up to a three or a two and a half back here On the backside to catch the bounce light of what's coming like going up under the armor and then coming back down and hitting Just soft light like that those kinds of things, but on the whole I quite like the armor. I think you did a nice job It looks real smooth. Yeah, all that works for me. That's I've got new issues there Um, you could maybe pick out a couple of the edges a little stronger, but that's the only thing that jumps out of me Very nice work Okay, uh next up austin first time trying osl as a central theme across a significant portion of the model So we do have the brightest spot bright here I just don't know what we're doing Like the problem is is that it doesn't look like osl. I assume what you mean is it's a green glow Like I assume that's what you're going for, but this does not look like a green glow. It looks like a green miniature Okay, like we have way way way too much green in this first of all green doesn't actually reflect off of red That's number one like you can shine a green light on red light you get nothing back because that's why the thing is red now That's if you have two perfect examples of green light and red You know surface So but the point is it's going to be highly minimized Uh two there's just way too much green like we it feels like none of this was actually painted osl effects lay on top of the color that they're that they're Sitting on it's not that that is still a color underneath there, right? So it has to be influenced over top of it. There's just it's way too big way too broad way too bright way too much Um, you still need to have those deep shadows. We still need to have the individual elements But like it has to fall places where it's going to hit there should still be color and things like that on there It should be green influenced red and green influenced gold and stuff like that It's not it's way too overwhelming is the problem So we got a wheel that way back It feels like we just took our airbrush or something and just went like We're just blasted the miniature and that's just you know again Uh So yeah, that's kind of my thoughts there Go watch my video on osl. I talk a lot in detail about all this that will kind of direct you the right way Okay, next up even, uh, we'd love some general feedback on a focus on how to improve more in light and shadows Specifically on the flesh on both. Yeah, so all the same things I said about the last version of this model I reviewed during this review also apply here More variants in the flesh tonal variation taking up the highlights mix in Caucasian flesh tones add in more Tonal variation through reds and purples in the shadows We need more definition of the skin stuff like that things to be brought out contrast in general across the whole piece her leg her dress her hair Um, everything the horns themselves need more if you're going to go light to dark Then I need more bright down here at the base of the horn The skin itself and her features need to be caught out more her eyes need to be painted The skin itself on the human mr. Harp down there again more reds and purples to show bruises in depth of shadow and color Cold shadows warm highlights clears where they're going for so the integration of things like purple and deep blues around that muscle structure It's just more contrast is the answer, right? So I have again lots of videos on doing this and kind of walking you through this Uh, this concept so I would highly recommend going to check those out Okay, next up, uh neuro, uh While my army look heavily weathered they feel like a regiment blah blah blah Make the black armor more interesting as it's black taking advantage of black is not pure black. So you can weather it Uh, yeah, so okay. Let's talk about this because I looked this guy over earlier The yellow weathering is pretty extreme, but It's fine same with the red Let's talk about the metals if we're going to go this direction to have this like very heavily metal dude right Then we've got to have elements to find like we need to still Even this beaten iron would still have highlights in it So you got to push the highlights up more and we need to really separate all these elements Like here on his arm is where it's the most sort of obvious, right? We need deep black lines in all of these creases in between stuff We need shadows Put in here, right? Because otherwise metal if you just do everything in metal and we don't have those deep shadows in there It just all kind of blends together and then when you weather on top of it It just further draws everything the other it just looks like a big sludge of a mini right nothing separated So you've got to still use that light and dark to really separate things by pushing things up into silver They can be very small highlights edges things like that, but they've got to be picked out Because we've got to still have that light dark light Alteration to make the model look clean and readable Otherwise what ends up happening is it just ends up being all kind of blended together. Okay So, uh, yeah, there you go. Um, hope that helps Okay, next up, uh, Alexander Uh, fairly little experience with the NMM and often struggle with color choice and composition Appreciate your feedback on those aspects Sure. So the non-metallic needs to be pushed farther more contrast wider blends The lighting on this is pretty not great Just as a note on this photo like we there is no light in this photo We need a lot more light front on lights again, please take good pictures Um, the horns need more contrast The, um, like I said, when it comes to the blades, I have lots of videos on doing non-metallic blades Go check those out, but you need broader highlights. Um, they should be, you know In equally spaced across the thing you need the edges outlined stuff like that Um, what was your other question besides the non-metallic metal? Uh, oh color choice and composition. Yeah, sure. Um Color choice I have no problem with the the red gems are probably a bit much They'd be better magenta than that warm orange red if you turn them the if the gems were magenta. This would be No problem a plus knock it out of the park The the blood red is a little bit hard with the the blue green and purple Um, so that's yeah, what I would say there. That's the only part of the the color scheme that kind of Let's me down a little and then like always Dear stone that he's standing on is just gray stone. Don't paint stone just gray stone has lots of colors Use that and bring the colors from there the miniature itself down into the base Okay All right next up bartas Pain of the skeleton a test model for grave lords army and tried to give the impression that he's trudging through a muddy field under a full moon He's flattered him with dark mud and worked turquoise and the shadows and glacier blue into the highlights thoughts on color scheme The overall field of peace any other critiques So if we're going for a moonlight that he needs warm shadows not uh, not cold shadows So you said turquoise into the shadows. Um, that's fine But also you were gonna want some uh soft red into the deep shadows So because that's like moonlight produces warm shadows the The uh, I don't mind the mud splatter. I think that works fine. He's real messy I like the light cast Yeah, I think you want to make sure that you really carry that through though a little bit more like Even when you're mudding things up part of the problem with doing mud that's that heavy is it's also going to catch the light Like part of the problem with doing an extreme lighting scheme and then doing some kind of heavy weathering on top is Why isn't the mud reflecting blue white light? It should be it's wet It should be very reflective Of that same color light, right, but it naturally breaks the the The belief the orange rust on the armor doesn't work for me either because it's reflecting warm light Right, so if you're gonna do rust, uh It's it's not going to be that vibrant orange It's going to be very very just brown with like a slight gray orange kind of rust highlight, right? You know it's it's a sort of like when in moonlight things become very desaturated and gray Right, so you can't have these bright warm colors in here. Otherwise it destroys the the rest of the illusion So those would be my two pieces of feedback for you to think about as you go forward with the army Okay, next up christian first submission Focused on nmm practice and color theory feedback on the armor and nmm Sure, so the nmm is not super credible. It needs to be again more contrast more running of one through five We don't have enough two and three the highlights aren't broad enough in there things. I've said many times in this review The armor itself again needs more contrast You don't want to take it all the way up to the metal But you you do want to still have like texture in there stuff like that go watch my iron jaws armor video I have a video specifically on you know armor that looks almost exactly like this. It's on a core grunt But it'll it'll still do the job for you Uh, what was the other thing? Oh, yeah the armor in the nmm. Yeah, great. Okay. Cool nailed it Um, I do like the skin tone. I just want to leave you behind without saying that I like the orange I think orange and blue it's a winning combination in my book Any day of the week? I actually quite like how you're taking the skin Take it a little farther and bring a little purple into the shadows of the orange A little touch of purple into orange skin and shadows is going to make it pop pop pop So those are my two piece of advice for you. You're doing really nice there on that skin I like that they've drawn a lot of attention to the face definitely the center of attention So, um, yeah keep pushing uh the weathering by the way on the non-metallic. That's fine I have no issue with that. It's really just the highlights. We got to broaden that out And run more especially to one. You're really missing the highlights and the broadness of the highlights They need to be a little bigger and a little brighter and then we'll get somewhere so hope that helps Very cool work. I love the color scheme of this army. I think it's going to be really great looking Okay, Cole So his main concern is the red armor is flat started with a near black to silver metallic gradient on the armor But it got really washed out when I added the Tamiya clear red To color it any tips on how to reintroduce the lost contrast So there isn't really a way you can reintroduce the lost contrast when you're working in that candy coating method Unfortunately, that's one of the problems with candy coating is once you put that right over there. You're done Now I do agree. It's a little flat The answer is you've got to keep it much more thin So you need to take some of the thinner that Tamiya specifically makes for this and you need to apply it really really really really really really thinly And you do it in multiple smooth layers with the airbrush And just slowly work that candy coat in there And eventually you can actually stop hitting the areas of shadow and that'll keep the deeper Very lightly red influenced metallic black shadows and that's what'll help you really keep that that red pop in there But unfortunately there is no way to go back Um, the like if you want to if you wanted to really really super redo the piece You can go back in with silver in the highlight and then thinly glaze the red candy coat at the top But it's hard to to blend that in. I'll warn you right now So there you go Uh, the rest of the stuff you uh, you know, you talked to you you you found your own problems and I agree with your stuff I do quite like ultimately how the cloak ended up. So I think you did a nice job there worth the rework All right, uh, this our next sigvald, uh, first time trying nmm on this much gold feedback on the nmm But also the other parts of the model quite like the shield to skyer with non metallic metal cells for me I like where you decided to place the horizon line and you match the shape. That's good The non metallic the biggest problem is we don't have our secondary reflections So I would again point you to the same blog go check out Darren Latham's blog on non metallic or My videos or whatever. But yes, we need we need these secondary reflections when we're dealing with bright shiny non metallic It's not just a light to dark gradient It's light to dark to light again because bounce lights on highly reflective surfaces Make sure that you have other secondary light sources coming in there. It's not just one single Pain of light, but you could you can see how there's like see how it kind of moves throughout there and you get primary and secondary lights Same thing we have to capture so like here on the bottom of the pecs the underside of the ab thing stuff like that We have to capture those Then the rest is just refinement and smoothing the shoulders themselves could go with a little brighter I think it's probably your main challenge The sword looks really nice like it in the purple no issue there Like the inequity of the highlights. I think that looks good um Yeah, I'd shorten the shadow just a little and extend the mid tone slightly but other than that. I really like that I think that looks nice Uh, yeah, really nice work at the shield and sword. I think are our top top top I really like how you you did those. I think I think those came out really really well Very very well done Okay, next up uh march looking for critique on the overall model and suggestions what I should focus on Focus on getting the non metallic reflections to look good Uh, so we need to keep working on that nmm Um, and then from there, it's just a contrast game, right? So the nmm you're really your challenge is going to be smoothness and really working in the shadows and the light placement Things like the the chain mail don't really sell to me the freehand again We if we're going to do that kind of a design it has to be centered. It has to be smooth It has to be sharp. So we need to refine that image down Uh, you know move it up and then make sure we don't have any like we can see fuzzy paint here and stuff like that So you want to smooth that down chain mail I talked about that earlier again It needs like a light line that's in there with the individual chains picked out and then shadows around that It's you're getting that direction, but we don't have enough mid tone of the gray in there I think most of your challenge here is going to be in the refinement game And then actually just upping the contrast on any other stuff like the boots the pants the beard And the non metallic parts this this yellow is very very very very flat like we need some Some contrast in there as well not as much as the metallic, but we still need some so There you go All right next up Matthew Journey continues first time with text on the parchment Uh field of my biggest challenge right now are those with the face the birds in the basing um I agree with those points. I like the the wings came out nice You could you could keep pushing the highlight around the light lines even a little bit stronger in this case the With the the with her little magical toilet paper. She's floating on which I hate You know you you want still more contrast in there. It's all very just like yellowed paper It looks like she's it looks like her holy script is written on an a by 11 yellow legal pad, right? So you still want more of like movement into the pale sand ivory white tones in there It still needs to respect the overall light. I do agree on the face needs a lot more variation of tone and color And then you know, yeah the what was the other item you mentioned here? I'm sorry Uh face the birds the basing. Okay got it. Um, and yeah the birds you just need to you know Pick out those individual elements feathers things like that really get it out there. And yes the base is Pretty boring, you know work more colors in there stuff like that I mean you self diagnosed very well, which tells me that you you know what you need to do So now it's just a matter of doing it and pushing the the time Okay, next sig vault a first attempt at non-metallic metal after three years of painting. Um Rough model to start on I would not take him to do it. So the picture is very far away It's it's hard for me to tell you see if we can go to That did not help. Okay. Um Yeah, I mean I need a closer picture to honestly evaluated my my honest answer I'm sorry to say this poncho, but I can't really tell on the armor like we're so far away It's really hard for me to see what's going on But I suspect everything I've talked about for probably an hour of this video about non-metallic metal Also applies here. Um the shield itself look back at the just literally like the last one we just reviewed The sig vault that was two posts ago That's going to give you a lot of instruction on how to go forward Only other thing that jumps out of me blonde hair is not yellow. Don't use yellow. It's not sun yellow I can't say this enough. Please stop painting blonde hair yellow. It's not yellow Um, it can be faded. You can use a little bit of yellow influence or yellow ochre, but The blonde hair is not yellow. So there we go go watch my blonde hair video. I talk about it a lot Okay, allen first go at a full non-metallic metal storm cast looking for feedback on the nmm overall and any major thoughts Okay, uh, incidentally, this will probably go into cult of paints mpo standard single model Okay, great So i'm going to be smoothing for a couple more days adding the missing balancing underside of leaveny and trying to fix the holy toilet paper Well, good luck in the mpo my answer is More push on the highlights like we need to get the overall highlights higher especially across the chest We need to create areas of striking interest. We need to create light points So like little light reflections that catch and sell Um, again, I would go my best advice for you is go check out darin lathams non-metallic blog I know i've said it a hundred times. I'll just put it I will put the link in the description of this video So it's easy to find so everybody can actually find what the heck i'm talking about um But it like because right now you just need to push a little higher We need a little more one and two and we need the specific bounce lights More deep shadow coming in from the sides on the torso So like here and here these highlights need to extend down slightly and then shadow in here um The hammer needs more two and three more midtone lightning looks nice uh the Shield needs a second light. You've got it coming here. There would be a reflected secondary light here um feet look good Smooth out the blue in the in the dress so more glazing and refinement there And then I think you mentioned the other ones but good luck man I I uh, I uh, I was thinking about putting some stuff in there too We'll see if I do or not depends if I'm lazy or not but Um, I I uh, I wish you all the best in that so good luck Go go bring home the gold or the silver or the bronze or at least some good advice But it's a really good piece. I think you're you're doing very strong there So I I can't wait to see it in the contest and I'm sure that uh the reviewers will be really happy to see it too That brings us to the end folks. So there we go Uh, thank you to everybody who submitted a lot of submissions this month I knew it was going to be a big one with single figure. These are always big ones I hope all this advice was helpful in non-metallic metal-a-thon 2021 Uh, so yeah, there you go. Uh, if anybody like I said if you want to join us on the hobby journey Link is down below in the description Uh, I don't forget to answer the three questions. Thank you everybody who had the bravery to submit I know it's hard to to submit something publicly like this and then get a ton of you know feedback I'm pretty straightforward when I give it. Uh, I'm not trying. I hope nobody thinks that I'm being mean I'm never trying to be mean But I do want to be honest with you and be straight on how to Uh, how to give you the steps to move forward in your hobby journey But thank you everyone Remember you all the people who are posting in the pmp are the ones who I rely on every month to be staying positive to be offering positive critiques to be helping people out If you see something you like that somebody posts top stop take a second hit the like button Give him a little comment that says this looks awesome You can change the trajectory of someone's entire day just by giving them a fun comment It took you three seconds and you brighten someone else's world There's very little we can do in this life to really positively impact those around us in this hobby community In or in a real way, uh, that doesn't cost a lot of time and money But this is one of them. It's one of those very simple things you can do So stay positive keep sharing keep Offering constructive feedback to everybody and let's keep this as the wonderful community that we've built here So thank you all to everybody. Thank you to submitters as always. We'll see you next time