 Hello everybody and welcome to another PMP end of month review. What is this? Well, this is where we sit down once a month and review the end of month submissions put into the Monthly event and the PMP that is the painters motivating painters Facebook group So basically I sit down here. I look at everybody. We invite all of our folks to submit one Many a month with targeted feedback asking for something specific. They'd like to improve on And then I spend some time and go through Try to answer everyone's questions and show them where they can improve So there's a lot of submissions this month are there as there are every month So I'll try to be quick for now We're still going to do the review every submission thing that may be changing in months to come We'll see just because of the sheer number of them. You might have to find a different way to do this But at any rate For now, we're gonna go ahead and stick with everyone And if you want to join us on your hobby journey regardless of these end of month review events The reality is the community is a great place a positive place where we welcome everybody from Beginners to masters anybody who's looking to take their next step on the hobby journey is welcome here So with that being said, let's let's jump into it and we'll take a look If you do want to join up link is down in the description. So Start back at the beginning of July with William looking for Beard skin and non-metallic feedback. Sure. So taking a look at this guy. I think the beard looks really nice We could pitch it pick out a few more of the individual hairs with a distinct color down here in the lower parts The beard they don't need to be bright, but they can still be clean And I think that's where we might lose just a little bit the non-metallic effect sells on the gold more than it does on the axe Part of it is you got to be really careful with stuff like this This will automatically break anybody's belief So it's very important to be clean and precise with this at the same time We need a little more number one. So again, just to refresh everybody one is the brightest your miniature can be five is the darkest So one two three four five three being your mid-tone. I'm just gonna use that shorthand This needs a little more one and a little more two it goes from its darkest color And then sticks a lot in four and three and then we don't have enough two and one So some of that would be good and then we want to just focus on mainly cleaning up the You know the the blends keeping things smooth. It's important with non-metallic to be very precise more than almost anything so But yeah, there you go. Hope that helps All right next up William Different William and Feedback on the dual sure So I think we can get most of what we need out of here. I think it definitely conveys the good versus evil I like the light versus dark. I think that's fine. I think that all sells I think your biggest area of opportunity is you have two very much mismatched in size figures Which is fine. There's nothing wrong with that but what it means is that you've got to make sure you're drawing attention equally and So some of the things on her might be even a little brighter to counteract that at the same time the giant cave swig himself He lacks a little bit of definition like yes, these things are picked out But the biggest area for opportunity are of improvement. I actually see is with the With the this the big swig He just doesn't quite have the detail and the variation especially on the skin and stuff like that I understand he's probably supposed to be in a little bit of shadow, but a little bit more contrast on him would really help So yeah, that's that's the main thing to jumps out of me textures and the color choice those all work And I think the evil ground versus good ground that that works fine You might try mixing them a little more they end kind of very abruptly. They should be mixed into each other just a little bit more Okay, next up Andy So we've got our Arterian Lannister bust Looking for feedback on the face sure So with bust faces, it's really a matter of working in nuance And here what we lack is a lot of the additional color and definition, especially on a bust of this size so Having things like five o'clock shadow and blue tones here having things like red tones in them in the t-section being stronger Right having things like purple tones under the eyes and making sure that these have the appropriate pink tones here In the in the under the eye section Face painting at you know this kind of scale you really have a lot more detail You can work in and so you've got to take that up appropriately and that means a lot of soft subtle colors Skin tone is unbelievably varied has a lot of different colors in it And that's what you want to try to capture when you move up to that scale All right next up Eric Basically wondering how he could Make some you know improve some of his contrast and making the the glint and the chest plate stronger And then composition sure so yeah, I mean I do think there's a chance here for Composition for contrast improvement He is bright you could take it a little brighter And I would encourage you to go look at like Andy Wardle's work on nergal guys and that'll be a really good Really good example of sort of how to take it up Now as to what to do Well, one of the easiest ways is you clearly have a light coming from this direction So this is a dividing line in the center You could just run a strong shadow down this side of the line and that would actually make this seem brighter So if you feel like you've reached your maximum contrast then you got to think about where can I put? Shadows nearby that being said I do think you could take the very edge of this up even higher Especially since we're dealing with white up on the face, and it's always going to tend to draw attention So that's sort of my main thing the other just small elements that jump out at me Just very quickly are when it comes to stuff like the bone and things like that Make sure you're running that striation up a little higher should have a little more contrast on that as well Those are the two big ones that jump out at me at this point. So I hope that helps All right next up David first time submitting and basically Just looking for some constructive criticism. Sure. So I think this big is really nice. It's got it captures the The reflectiveness of these materials really well. They look like shiny leather. So I dig that Some of the things that that do jump out to me as could maybe have a little bit more activity going on with them is Stuff like The hair on the front side, let's go back to this picture Where we could have more of the individual striations and lines coming out of the hair And then kind of the texture of stuff like like all of these are kind of equally shiny and seem to be made of the same material But I don't think that's actually the case. So you have good Volumetric highlights. They're really nice, but we're not separating through texture anything So like the leather boots have no scratches or dents or dings on them Even though leather tends to scratch very easily same with the Her bow, right? So like having a little more texture on things like the bow with the striations in the hair the texture in the leather That's what jumps out at me as your big opportunity here I think color and contrast wise you're actually in the right place This is actually a really nice level of contrast on this many. I think it works. I think the non-metallic effect Cells, I think that's really great. So yeah, maybe I think for you know, sort of a next project Look and see if you can help separate some of the Materials by texture and that will really help but overall I think it's a beautiful gorgeous piece and that and the highlighting especially on the face really sells for me I like that quite a lot Okay, Mark tan with his pox walker questions about the denim and the bone sure So I think the denim works you could probably scratch it a little bit more a little thinner and make sure that it's got some Higher highlights and some deeper shadows. So I think contrast in general in the denim is your biggest item But texture wise and color wise. I think you're in the right place on the bones The issue we have is those need to be more striated and heavily Segmented like what I'm noticing there is they don't have They don't have the level of sort of Individual striations and brightness there's not enough contrast there So I would take the lower part of the bone near the skin up a little higher And that'll actually help the the dark pink you have around the rotten skin seem even deeper Because you'll have a very bright next to a very dark and so that'll actually help that stand out as well But overall good coloration great work on the skin. He looks absolutely disgusting and you know, that's the goal So you did it All right next up Brandon Looking for some feedback on the battle master from battle tech sure so these guys are tough to paint because they're actually in even though they're the same size as a Standard 28 mil miniature. They're actually much scaled down Like they're a much smaller scale Because these things are actually like 20 20, you know, plus meters tall in real life in real life And the versimilitude of the world You know the answer is these things are very hard to paint to a high quality level I'm gonna be honest with you because they're just not made for that Like when you get when you shrink scale this far It's actually really hard to get that level of quality out of them And have them look right in scale because these things would be so massive and like they would cast such huge shadows Like this guy being, you know, 20 meters tall or something He would have like this plate on the center of his chest that's cut down would just cast this unbelievably dark shadow underneath it, right? and You know, we can't you if you paint it that Sort of obliquely it will just feel weird, right? Even though that's probably right in scale So the my general advice is You know, you said like how can you improve non-metallic on surfaces like this? I'm not sure what in here is non-metallic So I'm not sure like I don't know which part you're picking out there as that Yeah, I'm not sure what's meant to be non-metallic So that's gonna be our first challenge and unless you just mean like having the reflectiveness of the enamel paint be higher Which in that case sure The and also your next question is you know max out a lot of flat panels What's the best way to go about painting those highlights at the top or bottom? It doesn't matter It literally does not matter. It's it's all an artistic expression. None of it's real lighting So yes, you can you can do toward the bottom toward the top all that kind of thing. I tend to refer toward the bottom I think it's it's more realistic on on something like this, but you know, whatever In general with them with something like this you want to think in a true like volumetric thing that the lighting is Going to be cast in these broad areas and then you're you know calling out the small area the small little details And then you know you said feedback on painting black Yeah, I mean, I think the dark gray works the key is you still need to use real black to shadow it So like in his arm for example, that's back up you'd want to you know You'd want to be using some normal black toward the back of the panels to create some depth of Shadow there. Okay. Hope that helps Brandon. I mean battle tech mechs are tough They're the equivalent of painting and not even that equivalent. They're actually a smaller scale on that It's gonna say they're like painting six millimeter humans, but they're actually even a smaller scale than that So it's you know, it's just really hard to get that level of detail into them That's why I love battle to I love battle tech to the depth of my soul And I don't ever paint these tiny miniatures because I just find them uncompelling personal taste That's why I'm trying to find somebody who can print me like Imperial night-sized battled mechs that is something you could go nuts on Anyway, Alex first time submission struggling with faces and looking for areas to focus on towards display Sure, I mean Alex my biggest advice for you is I can like it's contrast contrast contrast I mean 100% that's that's where we need to go So, you know, that's like on the white we need shadows and soft grays in the white shadow that the reds in the His robe in the banners in the marking on his chest plate needs More contrast to the oranges need more contrast like everything that that is your big challenge We just need to go a lot farther in contrast at the same time You want to make sure you're having clean separation lines between things So like this, you know part here isn't exactly a nice clean line You want to make sure that's super clean all the way around and has one defined line separating it out That kind of stuff you want to be separating the individual elements creating areas You know everything should be going dark light dark Down just like you can see look at the collar of my shirt here. Sorry here Right, you can see how the skin gets shadowed and there's this dark line here And then I have the normal collar and then it comes down in my little aprons there And there's a nice little dark line in between and then so on like everything is very separated, right? That's what you want Okay Tomas Fire giant went with non-metallic for the metals did some OSL different lava base and sword sure So the non-metallics don't really sell they need to go farther. They need to be a lot brighter We need to have a lot more number two and number one And as to the lava effect on him or the base, I think that actually sells With the fire sword, I would back out some of that Ferrari red It's you're using your you're sort of doing the classic fire contains Ferrari red thing It doesn't fire does not contain Ferrari red. It contains a whole red and a deep orange So I would actually bring that orange way down and then I would make the tip of the sword actually go darker Red more of a whole red color But yeah, I mean the effect of the glow on his face and stuff like that I think that works fine I'm not sure what's meant to be the OSL, I don't know what's actually glowing. I don't see any real glow cast on anything I'm not sure what you're set what what that one is where that's meant to be But the cracked lava effect and that kind of stuff on him that sells that I buy the Non-metallic on him. I don't we need a lot more contrast. This is probably your best area right here Because you do come up high enough here We need a little bit more of these edges picked out like all of these should kind of be a little brighter Have a little bit of reflection to them but down here on like the arms and stuff and on this area That I'm not I'm not seeing it and at the same time if we if we really want to talk about lighting Then this fire sword would be absolutely coloring and showing the reflections of this non-metallic sword, right? So if your light source is a light source, then it has to cast light and it has to impact things, okay? All right So next up Bradley basically looking for feedback on the Nurgle guy Horns on the shoulder attempt at weathering the green slime on the backpack and how to get decent mid-tones sure So I know you're just coming back to this from your comments I mean my my basic challenge to you is I think this guy looks good I don't think there's anything wrong with it. You've painted a nice model. So, you know where you're ultimately gonna want to go We need to have a nice like Get a good front on picture if that's what you want me to review like this one's probably good enough But like make that the thing You know as to highlighting I mean when you're using the sort of base coat wash layer technique, right? Then it's important that you still had create also shadows and what's missing here ultimately is is shadow colors Like having deeper shades as far as the bones go. I think they look nice You can go farther with that again. I would I have a video on bone striations You might want to check that out or you can check out with the earlier just painting bone video I did you want to take the contrast a little bit farther on those to really make them pop and stand out especially on somebody like this I think the highlights look fine. You know, you're gonna layer over Washing space brains is always kind of a rough thing to do to be honest Nurgle Marines take it a little better since their their armor is pitted and stuff like that But like washes don't do well on big flat surfaces, which is what a marine tends to be mostly made of But that being said, it's the key of then going back in with a softer shadow and actually You know creating those soft subtle shadows in there I think actually your metals are the thing I like the most on here like your your weathered copper and stuff I think actually looks really nice Good edges good deep shadows nice mid tones like that. That's a good step What I would focus on is bringing up the contrast in your in your main armor and really creating shadows and stuff like that Okay Oh as to the weathering the only thing I didn't I didn't talk about I guess or the the goop the goop is fine I have no issue with the goop. It looks like goop. It's fine and then yeah, I think the weathering is You know mostly fine. I don't really see any issue with the weathering you can go farther I mean you can you can do a lot of pitting and stuff like that in those things put browns and orange in there Have them leaking out, but for the most part he seems the appropriate amount of weathered for a a Nurgle Marine I don't I don't see any issue with that. There's a lot farther. You could go But if you're talking about you know given that you're just coming back to this, I think it's it's right on. It's just fine Okay, Nolan first large painting and this is a big dragon You know saying he's trying to incorporate some more tonal variation Good, we still need to go farther. So for example on his neck like this is gold what you've done here Right in this area. Well, we need to do the individual scales and the volumetric shading So like this area here should be in deeper shadow Which is maybe the edges catching some light whereas this area here should be darn near silver because it's going to be right where the light hits So it's about setting up the the total volumes and then shrinking in and having the individual details picked out, right? Same with the individual scales and stuff like on his legs We want to have some kind of deeper shadows in between those plates And then having the contrast pumped up on the edge of them usually capturing them with texture or something like that, right? That's usually the way you want to go. Okay? But overall it's certainly I can see the progress from there. So I'd say keep it up and look to see more Alright next up Abe first submission Used oils on the skin, which is great glad to hear that a lot of people using oils this month Which is exciting to see I'm glad to see people experimenting with that Not looking for any feedback on the NMM just a bit of advice around the eyes or in general sure Yeah, let's do that. So I think the skin is working go farther When you're using oils, especially on a big bust, you can go farther Just start putting colors in my challenge to you Abe is to pick colors colors hues real hues magenta's blues purples Yellows and just put them into the skin make it work, you know put it in there and then feather it out And and see what you can do with that kind of a thing Now as to the eyes themselves The issue is around the the the eyeballs that the let me tell you this way the iris looks good It can use a little more you could be used a little more detail around that area, but for the most part it looks good The eyeball itself needs some work. It needs more Red and pink at this scale like she has big anime eyes and like you need some reds and pinks and soft subtle tones in there Her lips look very dry and cracked, which I'm not sure if that's what you're going for or not The the lines are good, but they look very very dry And that's because we're fading into a bit of too much of a white gray The real area for opportunity we have here is around the eyes Actually making sure we capture those soft subtle tones that are you know more under the eye in the corner of the eye and around here And that's where we need to work in a little bit more of those soft red magenta and purple tones But for the most part I like this it's really nice You did a good job of you know picking out the the subtle muscles and I hope you enjoy using the oils They certainly make something like this a lot easier and the freckles look great By the way, you really did a fantastic job with that Abe. So well done Okay, next up Sam with his big old speeder Thank you, but he you can do went through a few color schemes set on the blue tones to you have the You know good contrast, which was the correct choice. The blue always looks great with the orange. Yeah I think this guy looks fantastic, man The the blue really stands out. It makes a very nice color in between the orange of it I like the fade to black on the edge. This is a big project, you know, like are there ways we can improve? I mean sure we could you know, the goblins could have some more contrast. They look a little flat But this is ultimately a gaming piece and I think compositionally, which is what you wanted feedback on it looks really nice Yeah, it's a good good level of contrast all over the miniature. I think that's really nice. It's great Yeah, I mean I I think that on the whole my advice for you would be maybe a little more a Little more volumetric on the orange where we could have a little bit deeper shadow of the orange like down here on the side Taking in some soft sepia tones like that side of his carapace this should be you know kind of in shadow So you can do that kind of stuff is like a final environmental highlighting just to really sell the effect, but overall it's really good I take it Okay, TJ. This is a commander He had built that he was originally going to enter in Golden Demon and his question is mainly around that so TJ my answer is This is good You're gonna need to go farther like I need the Individual elements and everything to be picked out when you're getting to to models like this things where we've still got room to improve or Stuff like the the metals and this and that basically the non-red non-blue parts of this armor Need some more love and attention like these big bolts on the back of their thing I don't know what those are they look like screws like flathead screws, but I've never understood exactly what those are doing in towel armor But that kind of thing, you know, we need a little more like contrast and elements in there Edges need to be picked out a little more The and in our areas of heavy shadow, which this is what I was talking about by the way earlier when I mentioned like the shadow on the Battle Tech mech That's fine. I don't mind you having this shadow. I'm not sure how much they would love it to be honest as they generally It's tough to say judges or judges a golden demon and it's hard to ever really get in their heads But one thing I will say is even in the deeper shadows like this there should still be some color coming down here toward a light of some transition near the bottom and The individual details should still have a little bit more picked out about them at the same time We need a lot more attention drawn to the face So stuff like his little eye lens up here and this should be generally brighter So that like you did these highlights really nicely this area of red highlights. I really dig I think this is fantastic and you're following a sort of you know total volumetric highlighting Which is in general actually the right thing to do which is the light is more up here And this is darker, but we still want to make sure we have a little bit We want to bring this up a little bit, especially where they'd be very exposed to the light But this is a great piece So I think you know, there's a lot of There's definitely a lot of a lot of talent here and you're on the right road Bringing these white these grays up a little more into the white spectrum Adding a little more detail to some of these pieces that are a little bit more in shadowed or a little less detailed I think is what's gonna help Get you going on the right road Okay, next up Douglas wants to know about the lightning and the wing effect. Yeah, sure I see you too watch dr. Faust So my answer is yeah, I think you nailed his take on the sort of wing pattern Well, you want to vary the circles a little more In you know, like they're still very regular. You want those to be a little more varied You're you let your brain get into its regular pattern. So that's kind of challenging Now as the lightning no the lightning doesn't work because lightning isn't yellow. I mean I I've seen a lot of lightning in my life and none of it has been yellow, right? The with an effect like this you want to sell it based on a physical thing so The if you're if you want lightning out of the mouth Maybe I should do a video on this sometime I do this quite often you can make lightning out of paper clips that you sort of glue and fasten together and Bend into place with a pair of pliers And you could have him striking down with that and lightning should generally be like white blue Unless there's an unusual situation like you've got volcano or volcanic lightning in which case it's usually pink But the but in generally I like this is the part that doesn't sell the wings I think look look good. It's a it's a nice take on it You could use for a few more small dots by the way like in between here One of the last things you can do is in this dark space come in and just dot literally like stipple a fairly bright white ish White bluish color, right because that'll help complete it Could sort of complete the illusion But yeah overall cool stuff man. Hope that helps Okay, next up Alberto basically looking for Contrast sure Yeah, absolutely, so I mean we definitely need More contrast on the figure like and we need the elements separated more So it's something I said before a clean paint job is one where every element feels completely Separated if you go look at stuff that like you know your your favorite high-end painters are doing Don't just look see and when you see see that the individual elements always have dark Around them separating them like go look at Sergio Calvo's work. It's a great example of that He all it there's no just like a mid-tone into a mid-tone that doesn't happen it's light into dark with a light edge and then a dark line and then light and then to you know and so on right and That's how you get that individual separation now. Where should there be more contrast? Mostly everywhere So like the leather for example is just as bright here as it is here Okay the Red is just as bright here as it is here. The white is just as bright here as it is down here Right, that's the kind of places We need to be upping that contrast and having and then the separation needs to be like nice dark elements in between them Leather straps like this are actually nice because you can have this very clean edge highlight That's just sort of stippled and stuff like that to separate the individual leather elements where they're worn and it looks fantastic So ultimately that's gonna be my advice for you there Okay Damien So he says Basically he repainted quick and he's looking for some feedback So this is the original quick if I understand correctly because this is I said the first three pictures And then this is the new quick. Yeah, so when looking at this I think a lot of what I said about I think our main challenge here is we need like I'm not a general big fan of sort of those kinds of colored metallics. I'll be honest I don't think they ever really look right Because they always just reflect strangely and they have big pigment. They just tend to look glittery But where we really have the opportunity again is as much as I said before the separation of elements, right? The individual areas are not clean enough and separated enough like here you can see this runoff here You can see this runoff here and so on and so forth, right? What we need is these pieces coming to a nice You know bright area into a dark within a light and getting that really clean and those areas up against each other That kind of paint control and contrast is your main area. You want to focus on as far as composition We do have too many colors going on here. I mean, we've got a riot of color. We've got like blues We've got blue green red orange and yellow in this piece. That's too many colors, right? Now some of those are desaturated But some of them are not and in general like blue red and green is a really tough combination to sell And it's you know, sort of your primary compositional element here so you know something like Keeping that keeping your color palette a little more limited is probably a good way to go But there you go. I hope that advice helps Okay, next up Carl's sure BC so BC so, you know looking at some non-metallic Yeah, sure. So I mean non-metallic was the main areas looking for feedback on so let's talk about non-metallic Yeah, the gold here you you're running the right level of contrast, but we don't have the right tones So here's a good example of like I can see it in black and white. I mostly have the nice dark the nice lights That's all fine. I have no issue with that The issue we have is that we don't have enough actual gold tone in here We need more ochre you don't have enough of your mid like and so part of this is actually saturation It's a part I don't often talk about with non-metallic But it's very important in that it has to feel like the color that it is So gold can get too yellow really easily But it's usually a matter of a very careful balance and that ochre tone is really really important So that's I think you know some glazing of those colors into it yellows ochre stuff like that I think is actually what's gonna what's gonna keep you in the right space. So hope that helps It's definitely got the right Contrast level so you're going the right direction Just be careful with stuff like the eagle like just putting those little dots on the edge That's not gonna work like we don't have any mid-tone. We go like five four one Right too much of a jump. Okay, the shoulder pad is the part that really works for me the best Okay Next up James big old Magnus the red. Yeah, man. That's a great piece. This guy looks absolutely wonderful very clean Good separation of elements the feather hashing looks really nice the Nometallic it looks really good I think probably the only thing that where I think we've got a chance to add a little more to him If that's what you're looking for is in the musculature a little more actual like pushing of the individual striations and stuff in the muscle He has those like really built pecs that have the individual muscles so much showing through so you can kind of pick those out very subtly and I think that can really help kind of sell overall the Effect, but it's a great Magnus the red. He looks absolutely gorgeous. So well done Okay, next up Steven deliver practice on blending and glazing Finish this troll Okay, so did a lot more how to go at spotting texture to give a mottled skin texture do I think it plays well? Let's take a look Let's see this is a great way to achieve blending this kind of mottled texture and My answer is yes, it would play if he was Matt What's screwing you up here is actually just the fact that he's shiny because you're your shade color Whatever you're using for your glazes are shiny if you alter matte this guy out. He's gonna look fantastic Does the skin texture sell to me? Yeah, man. It really does it really does especially around here This belly area where you've got this different stuff in I dig it. I think it looks fantastic I think it looks wonderful. The problem is we have too much shiny stuff going on Got to got to got to got to get to get that ultra matte Because when your shadows are reflecting white light, it makes the mouth look bad Okay, that's what's happening here Your things that are supposed to be shadow like look at this see this reflection. That's bad shadows don't reflect light Second that happens You snap the whole illusion. That's why you generally want to go ultra matte So my answer is yes your texture is selling give them an ultra matte as far as contrast goes in the other elements The club the stuff on his back. We need to keep pushing those. I know that wasn't the focus the piece. That's fine I'm not gonna really bust your chops on that The skin texturing really sells go farther Play around a little more Stipple in some other colors bring in some like red stippling some blue stippling into places But that is a great cheat for blending that actually makes the piece look wonderful And probably better than if it was just this razor smooth thing all over him. So I think that's an absolute success Okay, patrick uh armor cast stompa Uh general feedback on the weathering sure um I don't know that he has much in the way of weathering. It's that's that's my answer I Don't see much in the way of weathering. I guess you mean on the shoulder pads Like I guess the slight stuff around here. This picture is a little fuzzy. So it's hard for me to kind of tell Uh So I'm very slight like sponge. I guess that's probably sponge Stippling there. Yeah a little bit there My answer is it's so light I can barely tell Like I if you if we're gonna do that kind of weathering we need to it needs to be more in places that I would expect So let's take a look at this the the edge here looks nice. Okay. I'm seeing that now I think that's something you put on there and not like a light reflection. So if you did that looks good The edge is like that getting worn that I like so you're right on there And maybe you're going for like a really light touch weathering or something that could be I don't know um But like this guy's really clean Uh for an orc and you want to make sure your weathering is consistent So this guy looks like some weird variant dollock Um, but the you know the individual bolts every bolt on him is shiny silver So this guy has no rusty bolts No, where where water's gotten trapped nowhere where they're streaking Or grime or things that you know, like I saw the one spot in the back But like I'm looking at the front of him the front of him is what's assumingly getting shot the most Right and I'm not seeing anything as far as like bullet hole scratches paint chips streaks That kind of stuff So like those kinds of things are what I would expect to see here the little bit of sponge weathering I think on those kinds of elements where you're scuffing the edges and having those. Yeah, fine. You're that's great stuff I think you're doing a good job there But like the copper all looks brand new the metal all looks brand new Like this guy rolled off the factory for everything except his shoulder pads and some of his guns So I think we need to probably step that up a little bit and show a little bit more of the organic style weathering Okay All right, next up, uh, Shane Uh, so this is his, uh He said it's a very ambitious project and it's these nice dragons I think it's a beautiful little diorama you did with with this here my I think this looks really cool I think this is neat. I don't know if they're meant to be fighting or romantically engaged Honestly, it kind of looks like maybe it's the latter like they're playing Um, but which is cool. I think that's a better take on the thing But honestly the I mean my biggest piece of feedback for you here. Shane is more contrast I mean, it's really simple more contrast more texture Like they're they're generally universally colored There's a little bit of shading in between their scales But like the top of his wings is the same color as the bottom of his wings. They're generally uniformly colored throughout So, you know, like catching more shadows under their bodies more texturing on the edges of the scales all that kind of stuff to increase both the the value contrast as well as the Texture contrast I think is where I would tell you to go Okay, next up, uh, jacob, uh, so Taking pictures of minis. Well, it's really hard But I mean this is the first problem first of all, I got compressed So don't let this happen Like I think this is the thing you can do in settings when you upload like this is something on your personal facebook I think Because it got all compressed and now I can't really see like that's a little too small for me to really review the detail Also, just as a side note avoid rainbow Chords like that. They don't they don't do anything. It's not helping you. Um So like I can actually see it bigger if I review it like this Uh Now as to how to get the viewer's eyes to wander you that's creating light and dark like that is what contrast does If his leg if his belt if his thing if there's constant movement between light and dark light and dark It keeps the eye moving around the mini right Now as to the true metallics, it feels like we've got a couple that are That are kind of having some very hard again I can't super tell but having some very hard like that looks to go from silver to very dark So you want to focus on some softer glazing to get that To get that transition a little more smooth. It can be tough with metals But glazing on the inks and things like that is the way to smooth it out Popping up all your highlights on things like the reds the knee the leather adding contrast Through texture on the edge of the leather that kind of stuff is what you want to do Okay ace Trying to get some depth in colors and just wanting to know if i'm on the right path and what he can be doing better Sure, so um, yeah, I mean it's good. It's a clean You know big what is this guy's name? Marius Calgar or something like that. Maybe that's his name. That sounds right Um, it's good where we have opportunities is in stuff like the You know the bolt gun is all very similarly colored over here Like there's nothing there's not a lot of transition there The leather again could be taken that higher Little more contrast on the edges a little more hashing and texture stuff like that pushing that up The armor itself could use a little bit more distinction So, uh, again, you don't have to go up into full non-metallic shiny mode But a little bit more brightness and a little bit more soft shadows, especially in places like here up under here The under part of the arm the bottoms the legs like it's just about, you know, glazing and enjoying those shadows Are you on the right path? Yes 100% I can definitely see the improvement. You're moving along. It's just a question of continuing to to push and evolve that contrast level Okay, next up, uh, tom Uh, good number of hours on his bellisarius call and loads of fatigue on the highlight placement There's other ways to make this guy pop Yeah, so I took a look at this guy and the first thing I noticed is that the red is very flat And in real life, you're probably going to tell me it's a little bit more and that's generally true reds don't capture perfectly on camera But um more shadows. I mean like it I even in real life, I could say that like if I'm giving you 20 extra credit This still needs to go farther More contrast on that now on the true metallic metals. It's the same exact story I mean, it's just more contrast you can keep in true metallic metals You don't have to paint an NMM, but we need to learn the lessons of that So like having more deeper shadows here on this back part is an easy way to say Here on this piece right here bringing down deeper shadows into the edge Bringing this up into a higher silver along the line here And so on and so forth down the various pieces, right? If you go watch like maybe 165 or something hobby cheating where I talk about Where you watch me do the back of the scaven armor in a in a like revisiting True metallic metals in a non-metallic style, whatever that was Something like that. Um, that one will Well, I paint a shape of armor that's very very similar And you'll see how I create the contrast on that and that will lead you down the right direction So it's just a matter of getting those inks those deeper tones Even using normal paints and glazing in those matte shadows and taking control of the light On the true metallic metal and that will that will help the figure pop Okay, next up, uh, Dave 120 millimeter miniature Axelotl dragon from the Cobra mode patreon neat. Um, yeah, this guy's cool. He's real big Uh, yeah, I think this guy's a really neat looking weird mini. I dig it Uh, so my my basic answer is I really like your color scheme Where we need to push it up is again in things like the the contrast It's the same story again like the individual scales on his face need to be picked out more more individualized The shadows and stuff here deep down and under his horns The gold especially really stands out as being extremely flat So having more variation more placed shadow on that stuff And then more picked out highlights through the application of silver into the application of inks Those are the things that I really notice. Um water effect looks super cool I I dig that I don't know if that came with him or if you did that but it's really good So I dig all that I think that looks absolutely fantastic Uh, and I like I said, I love your overall color scheme You do a nice job of drawing attention to the face with the color and composition choice I think that's very strong. We just need to get the rest of the the contrast in there. So There you go. Hope that helps Okay, so let's keep going Next up we have a car tick who says, um He's been trying to incorporate more variance in color With blending and edge highlighting Sure, so That first picture was a little small, but this one actually gives us a nice view So my answer is to continue pushing it. I can see where you're pushing some of your highlights I think that looks good like along the leg line We need to smooth out some of those blends a little bit, but I can see where you're pushing toward We need to also at the same time deep in the shadows So bringing in some darker, you know, green colors Maybe incorporating a little bit of red into the green is a good way to go To really bring that down and make sure that that's You know, you really get those that that contrasted shadows that you want That's the part that jumps out at me the most So I would just say continue pushing that contrast of value and you can think about how you can incorporate Contrast of hue through the use of those shade colors as well, but on the whole yeah good progress I think there's also a lot of opportunity with the metals those the part that seemed the most flat So pushing those up with some more up and down some more darker shadows and some more higher highlights into more silver metals Okay, next up Ken just looking for feedback Sure Yeah, so in general, I think what I see is we probably need to get some of the paints a little thinner And then we also need to push our contrast up. So like right now we have very similar colors kind of throughout and What you want to really work on here Ken is paint control Because things like I noticed the the red your line isn't very straight and there's a lot of like So I have a video on painting sharp thin lines Go check that out when it comes to the blue We have very hard segmentations between the two colors If you look at my video on exploring colors in blue I'd walk you through how you can better highlight and shadow blue and again That we need to up our contrast here both on the blue Probably thin out the paint and smooth it down a little bit because it looks like in some places We're still a little thick Um And then same with things like this up here on the staff So yeah, just pushing up the contrast It's certainly like it depends on what you know level you're going for if you're going for tabletop quality It's perfectly fine. Nothing wrong with it at all But if you're looking to push farther then yeah deepening the shadows and stuff like that and pushing out more naturalistic highlights and contrast of value Is where you're going to want to go and then we'll push into more tonal variation Later or contrast of of hue. Okay All right, so next up uh chris first submission Looking to increase his speed painting value in skin tone sure so I think then if we're going to talk about speed painting what we want to talk about then is you know using things like wet blending and Uh You know washes and glazes and quick things like that to just get in there and to get that those different tones there I I mean, I think for four hours the perfectly acceptable job. There's nothing at all wrong with it um, if I was going to Talk about some other stuff that I would focus on if I was you It'd be things like working in a little more color, especially when you're dealing with very gray neutral skin working in like a deep purple or something like that into the lower tones to get those um To get more interesting colors in there whether and that can be a way to tie the two beats together Like purple could be your shadow color For the skin and it could also or sorry for the gray skin and it could also be the shadow color for the more Sort of pinky skin as well. All right that kind of thing And you can do that through as you're you know blending on there initially or sketching in there With your wet blends and you can also do it through You know just some glazes and it looks like there's a nice little bit of it here on the side I like that. Um, we just need to carry that consistently kind of throughout the rest of the mini Okay, next up Raphael So, uh first submission, uh, and says he's been painting for around six months Sure So I think again, you know as I see with most people folks who are starting out My biggest push for you is going to be we need to focus on contrast and improving and understanding value contrast and lights and shadows So, you know, I have lots of videos on this more forthcoming I always talk about this but things like the gold especially is is Quite flat and so you can go watch, you know, the many videos I have on how to shade and highlight true metallic Uh gold, um, you know, you have some shades in there that look like it's been washed and then layered over That's perfectly fine. Um, but we can take it higher with uh highlights and things like that as well At the same time things like the blue you have very hard transitions in your blue here Again, I would go recommend that exploring colors blue video Because that'll show you how to to you know highlight and shadow blue in a more naturalistic way Uh, so yeah, I mean keep pushing at it. Uh, one final note I'll make is When you're doing stuff like don't do stuff like this These are just rocks. You didn't paint these don't put unpainted things onto a miniature base They stand out like a sore thumb like I could look at that glance that and go Nope, those are just out of scale stones Because they don't look painted Um, when everything else is painted everything has to be painted Also, if you're going to keep these little annoying foot pieces that they have You want to make sure that that's worked in like put some putty some some glue some Grit some something around this so it feels like it's part of whatever it's on When you glue down the rocks you want to prime with the rocks on there You want that to all be part of it and you want to paint those those rocks Don't have unpainted elements on your base. So, uh, there you go. Hope that helps out Okay, next up James recent progress was aggressive with the battle damage and weathering It feels like it's missing something and what could we do to take it to the next level? So obviously we're in our adeptus titanicus scale here And uh, let me just say I really like the use of the pigment on the bottom I think that actually feels real nice. That's that's gathered very organically Uh, so I dig that the battle damage feels quite naturalistic. I really like it for the size of this thing I think that's good our rust up here might be a bit overdone given the size like in the transition It's very orange and into nothing a little more brown tones mixed into the metals would probably be beneficial As i'm scrolling around this thing just because we have a lot of like sudden jumps from like steel to orange And like there should be some brown or sepia in the middle there somewhere Okay, uh, all right So, um That's probably my major thought there now as far as Everything else goes You know the the damage and scratches itself. No those all sell for me. I like those. Um Yeah, no, I think that looks good. I think this is a great looking at model Uh, so yeah, that's the only part that jumps out at me Uh, is that that some of that rust is a little too orange and not enough brown And the size of the sort of pigment and and the texture you put on him Is going to feel a little out of scale because again, this you know A depth of titanic is getting closer to that same battle tech problem We talked about earlier where it's so tiny and so out of scale that it gets really difficult to actually Um properly like shade and highlight, but on the whole light. I think that's a really good job. I think it looks great Okay, next up uh yon, uh First time first submission and first time with oils. Um, great Uh, so, um My advice is uh on the whole you looks like you're doing a good job with the oils Looks like you're smoothing them out well and following the the general techniques Um, one thing you want to do when you paint with oils is often you've got to come in and do round two You can't do it all In one round because your high highlights and your low shadows will all get eaten up into the mid-tone, right? So you've got to let everything dry and then come back in and that's when you want to pop that stuff up Love the pigment on the feet that looks very naturalistic like the sand looks good there Um, but things like the non-metallic on especially the steel is where it's not selling because we get neither dark enough nor light enough So we need to push that in both directions there and as well again when you're playing with oils on skin Let's go nuts get nuts. You want to get nuts? Let's get nuts. Okay Like get me more red tones more purple tones and push those highlights a little higher This is good. Like you're definitely in a right place. We can just go farther But I love how naturalistic the skin looks. I think you're you're doing a great job We just need a little bit more of those magenta creams and purple tones in there And then probably maybe even a little bit of the a sort of sepia mixed in as well To show some tanning or something like that this dude is out in the sun a little bit So you could use some of that to kind of filter some colors as well as pushing the highlights a little bit more But on the whole this is a great job. And for you know, first time attempting oils I think you did an absolutely wonderful job So yeah, the key is that second pass Okay, next up chris, uh The green robe to make it stand out a bit more Um, sure. So I mean, I'll be honest. I don't know that you need to in a big way But the answer is more value contrast. I mean it just You're the flowers look really nice We just need to be pushing the areas of value contrast up higher One way you could do that was through like the stippling Like we saw earlier with the troll using that sort of stippling texture Using a very fine stippling texture on something like this can feel appropriate because it feels like that kind of woven cloth And that will help you transition through it. It'll also the little lots of little dots of light We'll both make it feel more naturalistic and draw the eye to it because then you've got both Contrast of texture and contrast of value and again, that's more interesting to your eye So the more information you're sending the more it draws the eye in the more interesting it is So that's probably my recommendation. That would allow you to push highlights a little farther Which is I think ultimately what you need to do Uh, but great stuff overall, okay next up, uh, tom Here is uh growlock the uh his kit bashed necker money bounding hunter Yeah, the dude looks cool. Uh, nice kit bash there of the nergal and corn models together for the corpse grinders Uh, you know truly a gross dude down there those axes from the corpse grinder cult are like the bit that keeps on giving They're fantastic Uh, you know, one thing I would say is I know you want he clearly should be very dark and gritty and blend sheet Sue which I don't have a problem with You may still want to push a little bit of contrast in there In some places he overall feels very very dim and like a little bit more light Especially around the face a little bit of a few reflections catching on the edge of the gold that's on his big corn helmet The skulls having a few more lighter tones in them that kind of stuff Just could make this area stand out a little bit more and bring it into focus The axes themselves might need a little more detail as well Like this this if he's a corpse grinder dude and cutting through people with those axes Assumingly the enamel paint on the side would be scratched and hatched And you could have little scratches of color and visual confusion coming in there And that would both make it feel more gritty and necromundity But also add to the visual interest. So there you go. I hope that helps but cool piece Okay, next up saying bringing us his latest work with this eldar farce here Uh, and yeah, overall this guy looks really nice The only part of it that i'm seeing that I think you you want to focus on Is just smoothing out those blends on stuff like the black where the gray line still looks a little too harsh And then working in with the golds And having a little bit more of a shadow tone coming into them So these it's tough when they're very small like this But again, like each one of these little bracers you did it well in this arm But this arm I don't see the separation lines quite as clean Stuff up here like the gold on the sword We need to have a nice sharp line around that And you know probably some silver to highlight some pieces there And then smoothing out like we're working in purple and black two colors that don't that are very like Uh, hard to do transitions on without it showing and it shows here, right? So we need to work on glazes and stuff to kind of smooth that out But uh, overall this guy looks real cool. So I dig him. I think he looks fantastic I like the the flat black with the edge highlights and the main armor the yellow coming down off his Whatever this is whatever this tabard thing is around their their neck that eldar wear You know that all looks fantastic And I I like uh, I like the the face up here being blue to balance out the sword along with the gem and down here That's actually really really great color balance. So you did a wonderful job there of keep giving me a nice color triangle on the blue So great compositional choice thing Okay, next up bartas, uh So, uh doing a big crackly, uh Beast of chaos endless spell here Yeah, I mean for what it's it's an endless spell, you know, and I think for the most part, uh, he said, you know, uh lava fire marble osl Yeah, the fire sells to me. You avoided most the Ferrari red. You've got a lot of nice rich orange only a little bit of white I'm a buyer. I like it. Uh, I think the the under effect inside him looks really good The sort of cracked effect on his skin sells to me Um Yeah, I mean, I think on the whole I I dig the heck out of this thing You know, if there were going to be anything to do I'd push a couple of the areas into a little more black where it's really you know where it's really meant to be charred Uh, so, you know, just to draw some some perhaps even higher contrast But for the most part it's fine the osl down on the rocks Minimal perfect cast in just the right yellow orange hue. I'm a buyer on that There should be a little more shadow down on this side. You can't strike a match without creating a shadow So if this is lit then this should be shadowed more Little minor touches like that, but on the whole I think this looks absolutely great, man It's a super cool endless spell. It should be I think you did a wonderful job with it All right, next up christian, uh with some sweet armadure helvrens for me here What could he change that could catch the attention of a judge at a competition? Yeah, so I think overall this is a really nice piece You know, I was looking at this one beforehand and I think it's uh, it's really solid I like your colors. I like the modulation the edges are really sharp the damage is minimal but effective Uh, the little that you know the freehand and the use of these kinds of iconographies are good I think what we need to probably focus on is picking out some of the details, especially on the metal frame a little more So let me see if I can get you out exactly what I mean um Like here all of this is just the same metal, right? There's no paint. There's no color There's no nothing and like you've got some good variation in weathering But just having like some copper things mixed in is this tube really the same metal as this? Like this should be different. These should be different It's those little things that are going to help you stand out like if it was me This vent on the on the on the the uh gun up here should be copper These should be copper This tube and this tube and all the tubes should be you know some kind of color like rubber tubes like make them Uh a deep deep desaturated red or a gray tone or a rubber tone or something like that Same pick out a few tubes in the interior on the sides of his his body and actually get those a painted color Just having those variations. So it doesn't feel like the skeleton is one giant thing But actually has pieces and parts can really help like when you pop open your engine on your car most of it is like pretty samey right especially older cars And they look there because they're mostly metallic and it's a lot of just engine parts and engine grease and stuff like that But you'll see those elements those little individual things that are a different color or there's a plastic cap or there's you know Couple wires or a tube running somewhere You know and those things are different colored and stand apart from the big steel engine And that's the kind of thing that can help it really stand out So overall cool stuff. These are such fun guys paint. I love painting these little armatures. They're really fun Okay, Duarte first bust in time submitting Basically looking for a color composition and is the old iron helmet selling or is it made of stone? If you're asking the question, you know what the answer is Right, if you thought in your head always listen to yourself I can't say this enough during these reviews If in your head you're like that doesn't look right. It's not selling Don't try to trick yourself into thinking it does So yes, the crest is too much But it doesn't have to be if the glowing eyes had been the same orange red or yellow or in that tone It would sell fine because then all of a sudden we'd balance out, right The problem with it is that you've got this huge bright spot that I can't look away from Like your eyes just move to that instantly because it's this high luminosity and it just stops like The fact that you asked about both these things tells me you noticed both of these things Listen to yourself. You already know the answers. I'm going to give you right so Yes, the the the steel just looks like stone the few parts that work by the way are the edge of this thing So the very edge of this actually works as steel because you go all the way to black And you come up all the way to white and it's in a really nice ordered location exactly as I'd expect Whereas the helmet here on on this kind of a shape. It wouldn't be highlighted like this It's a sphere So it would have you know, it would have a spherical highlight on non-metallic metal where there'd be a light spot And then it would fall into shadow and around with like a small kickback light This is a cylinder So it would have a cylinder, you know volumetric highlight and so on and so forth like helmets like this You got to break it down into the individual pieces and then as well. It doesn't go high enough It doesn't go low enough in most places So yes, that's where you need to push also think about adding in colors If it's truly non-metallic and it's reflective and it's shiny Then it's going to pick up things like that orange should be reflected in there So you should have a warm reflection You know things of that nature right like this layer of This layer of scales should be picking up some of the red of this cloth that kind of thing All right, always be thinking about if you're painting light reflections Then you're painting light reflections and those things should show the color Okay All right All right, let's keep going Next up we've got Seth Bringing us an orc knob Focus was getting good results with the orc flesh horns and bone Um, sure So I think what we need to do is sort of talk about you know with this scale these very busy models, right? Um, one thing again, we probably have a bit too much in the way of colors going on Uh, just because when you want to be careful when you're combining like pink with red I have no issue with you know throwing some pink on the orcs But it's a problem then when it gets together orcs have a challenge because orcs always have green Or often have green I should say And so We've got green. We've got pink. We've got red. We've got purple. We've got yellow, right? And two different kinds of many of those So that's a challenge here. Like we need to cut our palette down some Back into like a space that we can handle now on the bone We definitely need to smooth that out get a little more contrast in there Like we don't have any like this is a much too much or sorry far too little value contrast Same with like when you've got a bright yellow tube like this We have to find a way to shade that down and bring it up Like if you're gonna start adding contrast everything kind of has to be like that And then on the skin you um, I would go watch the painting orc skin video that I did Because there's just we need to work other tones in there Like one is not going far enough in value of contrast, but there also isn't enough contrast of hue as well um And so you know having like some red some pink in the lips That's very desaturated around the elbows around the knuckles that kind of stuff But if you watch that Video, uh, you'll see kind of how I tackle that sort of thing. So Uh, yeah, but overall very cool orc knob. Hope that advice helps Okay, next up, uh polly, uh Basically looking for the following questions not so happy with the cloth any tips Is it clean enough or each part distinct enough? Yeah, so looking at the we can actually look at the black and white I think this really fills it out all the rest of this is really nice. I do think the cloth is ultimately too boring Now we've got to be careful with this with highlights because I like the directional lighting I think it really works. I think the skulls are picked out well and have good light I think this guy's creepy is all get out. I like it Where I think we have the opportunity is for on the edges of the cloth to show worn texture catching That will help distinguish some of these elements And uh, you know, I can see maybe a little bit of it, but we need to push that farther Really go into some of like your glacier blue or some, you know color like that And pick out some of those light blue edges as though there's a softer Blue light on that side sort of the ambient environmental cold lighting And I think that'll really help because this light from the side feels very sort of warm and strong, right? And so I think that that'll be a good way to go to kind of push him and bring that that out All right Is it clean enough? I think the answer is yes most the parts seem quite well separated There's a few areas that feel like they could use a little bit more attention, but probably like Uh, some of the individual little bottles or whatever these magenta things are could be picked out a little better Some of the edges of the leather belts could have only be a little brighter To just kind of distinguish the elements a little more for the most part I think you're definitely in the right place there and nothing else really jumps out at me Um, but I hope that uh, I hope that helps Okay, next up scott with his latest bust um, tried to push himself, uh, and uh You know he said he was reluctant to make the shadows too dark because he didn't want to do an extreme dual light effect But the answer is looking at it. Yes. We definitely need to go farther So I mean you don't need to go full rembrandt But I love the lighting effect on the hair on the side of the face. I think that all sells Um, we probably need to smooth some of that out a little bit. Some of the blends are still a little too harsh on the skin um, but the But this area especially like if the light is this bright that it's creating this kind of a highlight and this kind of a shine and Sheen That said like here like you've told me this is quite a bright light If I put a flashlight to my face right here This side of my nose is going to be in my eye is going to be in deep shadow Right. So I mean you don't have to go full hard rembrandt lighting But I think you want to make sure you're going, you know, at least in that direction. So the The infusion of more soft blue tones and soft shadows to that side of the face, which you'll see in a lot of uh, sort of old master type paintings Uh, is really what I think would help elevate you up and and take that up to the next level But I like the colors. I like the various texture. Everything looks nice. Good desaturation of tones Uh, good texture on the various cloth pieces. All that works for me. So good stuff Okay, next up Gavin first submission been painting for around three months looking for tabletop standard Um, yeah, I mean, I think if tabletop standards your goal, I think you're getting there now as to You know, what can we do to take it up? Um, you know, the orc skin is probably You probably are approaching the right level of contrast. You actually are going quite right here But we need to bring the pieces together your muscles have like This goes your blends need to be smoother in these individual muscle separations Like the problem is we're all in one two three and not enough four or five Like if this is very bright and then we go immediately into a dark line Like these look like armor panels, not muscles You know, I I'm not the most muscular guy, but no part of my muscle has a shadow that deep running down Right, so it's got to be a soft transition into it. Okay And again the integration of additional hues and things like that If you want to go above tabletop, that's that's where you're going to be I mean at tabletop you're you're there Now as to working in additional elements sure popping things like this up higher With more highlights getting more different tones into the the face like orcs often have You'll see them people integrate pink into the nose the eyebrows the lips stuff like that to just kind of Still create that Fleshy blood feeling right and then smoothing out the blends into the your your deepest shadows is what I would do So hope that helps Gavin All right next up able The old marauder giant working with some oils Darker tones and the skins and shadows are hard to pick out So Yeah, let's let's take a look. I do think you could keep pushing this down farther I understand you said it's more there in real life, but you know farther I'll give you again. I'll give you like a 20 credit It should still be more More different tones, especially given how big this guy is and how much he would cast shadows So just having a lot of different tones again, like you know deep magenta's purples and things like that in the skin would really be helpful um now as to the gold and the the um The silver Um, I mean, I think that they're Mostly fine. It's hard for me to tell a bit because I think of the way you like punch to this guy out from his background or whatever um but I think the silver sells better than the gold. I agree I think the what's missing on the gold is a little bit more of the low tones a little bit more of the deeper shadows especially amongst the recesses of the the um The recesses of the the various sort of items there like the the little what do you call it embellishment embossment Pattern whatever that kind of thing, but overall I think this guy's good I think if I was going to pick one thing it would be yes Keep pushing it on the skin more colors more contrast of value and hue Okay, next up uh jamie appreciate feedback and comments on the osl Yeah, I mean that's obviously our main main focus here and my feedback is quite simple. It's too strong Uh, and it goes weak too fast So osl, you know a light source isn't just hitting that thing one It's creating shadows so everything I've said previously We need deeper shadows on the opposite side of the light Like if this light is that strong then it should be creating equally deep shadows Okay, like right now I have a very bright light above me. I have deep shadows under my eyes, right The green up here is too bright. The green up here is too bright compared to the green down here if our light source is down where you've kind of I don't know if I'd put this green thing on the base like is this meant to be the light source I would just kind of like I've done this trick before and I just use it as though the plinth itself is reflecting some of it as well Um, but in any way this should be the brightest and then progressively it gets dimmer Because the farther from your light source you get the less powerful the light becomes right And then we need to smooth it out more and and weaken that transition into the normal flesh tone So right now our transitions are like extremely hard And like this sternocleidomastoid here is catching no green What angle is that happening at where neither up here nor here is catching any light, but this part of his ear is Right like that doesn't work for me So it's got to be infused into everything and have this soft transition Into that that color so we can't just like have this super bright green and then have it die If this should be weaker than down here and it should be a soft transition into the non-lit area Okay, so hope that helps jamie, but cool experiment overall. This is a great bust from From banshee that's perfect for this kind of experimentation All right next up Sean with an interesting try at using the zorn color palette So looking for feedbacks on kind of the limited color palette as well as the copper non-metallic metal I think on the limited color palette you really nailed it You still created a lot of interest things like the additions of the texture and stuff to the to the leather really sells for me that works the little touches on the the Whatever this is his hood. I guess it's really nice The two animals feel like they could have a little more variance So you might have wanted to work a little bit of the color toning in there They feel a little weaker than him to me Uh now as to the copper non-metallic I think it needs to go a little brighter have a little bit shinier sharp reflections and light catches, but color wise Yes, it works. It just doesn't feel like it's getting quite bright enough Assuming it's shiny copper, which that's the sort of level you're putting it out there It does feel like it should still be coming up Integrating a little bit more of that gray tone you said was on your palette and popping the light Uh a little bit higher So that's what I that's what I would that's what I would primarily work on But overall, this is a really great piece. I dig it. I think you look super cool Um, yeah, you can see how the animal feels kind of flat here in the black and white But the you know the gloves and the texture and stuff on the hood don't Yeah, overall, I think that's where I'd come down just the little rats on our little Pied Piper Um, which what a cool mini or what a cool bus to this Pied Piper, dude playing is like Weird flute weapon. I dig it Okay Uh next up Caleb, uh, definitely lots of room for improvement. Um spent I specifically was working on wet blending flesh contrast and color choice Yeah, I mean color choice is fine The gold feels a little off like because the gold is too close to the yellow You'd want to use a gold that's set aside somewhere Uh all in all, I mean our main challenges here are if you're going to do hazard stripes They have to be very clean So like you want to make sure that they're those are nice sharp lines And you know our blending on the flesh is still rough So we've got some more room to grow there on blending that out again Like I had mentioned before we jump from the deep shadows in between muscles into the into the normal tone Way too abruptly and sharply like that needs to be smoothed out Uh, so that's the that's the things that really jump out at me. So hope that helps Okay, next up. Um, oh Caleb you got two Uh, you can only have one per month Uh, so I'll assume you wanted it on the first one Um The if you're going for like a light source. Yes, it's too. I'll answer your question quickly If you're going for a light source. Yes, it's way too stark, but I'm not sure what you're aiming at I'd say bring this guy along and then like what would you do to bring it together glazes is the short answer but Um, you know glaze this together to create a more more seamless sort of transition But hopefully you share in a future month Uh nick So, uh, he's looking for tips with dealing with 3d print lines. I have nothing for you on that There are primers that will fill them, but I I really don't have an answer for you It's one of the reasons I don't print paint 3d figures. I don't like 3d print lines. I only use them for terrain Uh, now the feeling like there's something missing in the faces, especially at the eyes and any drips on on what could improve these Um, no, I think your faces feel nice now as to the eyes. They're very small on these I mean, yeah, they could probably push out a little Like you you what you're missing is your light dot To like catch the the reflection of light That's what makes your eyes feel like not as alive as they could be Because human beings have reflections of light in their eyes at almost all points of time. It's called the life light And people like light for that very carefully and movies to make sure it's always there because without it The person looks dead and so that could be part of what's what's getting you Now the actual painting I think looks great. The the denim looks fantastic The uh, you know the color choices between them is great, you know very much looking like the the sort of high school setting I like the hair The skin on some of her legs could be pushed around a little bit We could have a little bit more again pink or magenta toning, especially down around her ankles or up around the top back of her thighs But on the whole I think this is a really really solid piece Yeah, I mean I think that you captured a lot of stuff here you could bring up some of the highlights in his hair just a little Um, most of this stuff is like I mean when we get to this kind of a level We're talking extremely minor refinements because nick you did a really great job here So I'm afraid I don't have a ton to give you. It's mostly in the refinement of Uh, maybe a few things like texture on the bags that they're carrying Maybe like some scratches and stuff on his helmet because football helmets tend to be quite worn You, you know high school football helmets, especially practice helmets because it seems like they're coming back from practice or something Um, those tend to be rather scuffed Uh, and so, you know that kind of thing is just little touches is probably the best way I've described it But overall very cool piece Okay, next up coal, uh first space marine you painted in edges or in ages Um looking for feedback on the battle damage and the use of pigments on the boots Um, and he asked a question of have I released a video on oils on space marines? No, but it's coming soon I'm actually editing it right now Uh, okay, so, um Not at this exact moment. I'm doing this right now, but you know in this general timeframe Uh, yeah the first of all the pigment. That's a simple answer. Yes, it works. I think it looks really nice So no questions there now as to the battle damage. I'm not sure I'm really buying too much of it I'm not sure I'm a buyer on that. Um, I would go back and watch my battle damage video again So that's in like the 90s You don't have the light being underneath the scratches You don't have the depth of like the scratch the different color variation that we should be expecting there So both the bottom of the paint should show a little bit of light where it's chipped in the paint You should see variation where the the thing didn't Uniformly take out a chunk but would have hit different areas of levels of the armor based on the randomness of the force of impact So those kinds of things I would go back and check that out Also, be careful always make sure you're doing stuff like cleaning up this line where you see gold coming down the red You want to make sure your red goes back over the top and cleans that up Okay So that's what jumps out of me. Hope that helps Cole All right, next up, uh, amy, uh advice on hair and working on getting that panting shine Could you get some feedback? All right, let's talk about the panting shine. Yes Having the appropriate reflections in hair where it's catching light I don't really have any hair to show you so I can't do that But you've captured the light really well here This is great. You're putting it in the right places We need to smooth a little bit of the blends out, but we need more individual lines So more individual hashing going down into the shadows Like this should be brought down a little more a little more a little more like you want to have a nice Seamless transition the only part that really shouldn't show the lines And even then it should be maybe a few here and there is the deepest shadows Because hair is you know composed of these thousands of tiny strands And so you want that to be you want to capture that with those little hashes If you go back and watch the how I paint white hair video, I talk about this a lot Um, and you'll see me do the like little hashing, you know trick there That's with white hair, but you just do the same trick, uh here, but slightly differently I also have a painting black hair video But at any rate it's all it's all just hashes all little tiny very sharp brush very flowing paint and little hashes But you've you've had you've hit the light placement perfectly. So yep, love it Okay Jacob Uh tabletop test model still wasting a true metallic metal how to improve atmosphere color selection and anything else that comes to mind Well, I mean, I think if you're going for tabletop, you're fine. I'll just start there Um, like I don't think there's any issue. Where could you do more texture more variation? So I mean pretty standard stuff like the armor is pretty flat Adding more color to that the leathers are pretty flat adding more intentional texture and scuffing to that The metals are pretty flat adding more intentional non-metallic style shading into the true metallic metals Adding more tones and color into the face like, you know Glazing more red into the cheeks or things like that around the side where the hair is Those kinds of things the steps I would take so Continuing to push the contrast on stuff like the purple Like on the leathers and the boots and bringing that up through the use of both just regular volumetric highlighting and texturing Those kinds of things are where I would potentially push but overall I think for tabletop. It's a nice piece. So I do hope that helps All right, nicolas First time posting here aiming for high tabletop display standard So you mentioned like these three things are volumetric lighting color scheme in general advice. So let's talk about these in sort of this order Color scheme color scheme is fine. No issue with it at all. Everything stands apart paint jobs very clean colors aren't too Too uh too showy the red is a little bit problematic up in his Feathers I would have brought that down a little bit more onto the guy Maybe like a spine or his the the thing he's like the sheath of the weapon He's holding just a little bit more red down there because you've got a lot of red up here That isn't really balanced down here. That's the only compositional element that jumped out at me. Okay The volumetric lighting that we didn't really do so like I mean I can show that to you really easy This tail is the same gray that the top of this arm is if that's true. We don't have volumetric highlighting Right because the top of my arm is not the same color right now as the bottom of my arm, right? And this is what his tail should look like. This is what the top of his arm should look like That's volumetric lighting okay, so That that is a part that jumps out at me like we do need to the overall Shading could still be deeper. We could be putting more shadows more value contrast right That's the big thing that that I noticed there But on the whole I like the shading on stuff like the gold. I think that looks really natural and good I think the eyes that like the gems in the eyes of the banner look fantastic The color scheme itself the dots and like the the texturing on those and the scales All a plus love all that stuff love the shading on the gold So I just think it's probably actually the gray skin that could use a little more actual Sort of volumetric shading, but on the whole I think this is a really good looking piece. You did a great job All right, so let's keep going Okay, so next up we've got Dave bringing up his slaneshi chariot hints and tips on how he can improve his highlighting Uh and the zebra stripes sure so with the zebra stripes part of the problem Is you're still painting them like you would normally paint with a layer when zebra stripes are actually Um, you know if we just look at zebras Just google zebras all right Like their stripes look thick and solid first of all they're they are more black There's a lot more brown in the actual thing itself, but they are quite darker. They're very black brown And when we look at the the zebra you're going to notice little indentations around there Right and so in the scale you want to be making it actually Tiny little hashes like you can fill out the center of the line with the paint And then you want to hash at the edge And that's what'll sell the effect. So here you want it to be a nice clean Like where you can see tips, you know things like this first of all, they're not black enough That's number one and then number two you can see how They have this very natural pattern the the only sort of infractions in the line Are really really small you can actually see it down on this guy really nicely Right where you can see these little cut-ins of tiny little bits of white fur And that's how you need to get a real sharp brush and again line now as far as pushing contrast Yes, we definitely need to increase our our tonal variation around the model, right? And that means a lot of different things like the skin of the driver the armor the gold needs more shading All that kind of stuff. So I have lots of videos on adding contrast and that's what you want to look at So again, the skin needs to come up right now You have a lot of just three and four around the miniature not enough number ones twos Uh and fives right so like if we just take the whip as a microcosm Like this should have a darker spot underneath This should be brighter right here where it's bending against the light same as up here Right or you could pick a light spot here. It doesn't really matter this part down here should be brighter Like your light that you're under is actually creating a map for you And you just need to reinforce those shadows to bring it into scale Okay, so hope that helps All right, next up chris first bus would love to know how to improve sure so It's a little small but busts are really again all about going as far until you think you're going to lose your mind and then doing twice as much Okay, so the skin here looks nice. It could go farther This is a good image here. We'll look at this one So the lighting is good But we can go farther we can up the lighting on like the t-zone versus the rest of the face Bring more pinks and those kinds of tones into the cheeks Same with the area more cast and shadow a little bit more of like pink tones and stuff like that The little baby dragon probably again pushing a little more contrast where he's lighter in certain areas like the tips of the wings the edges of his of his wing leather and then You know darker in other areas Whereas where his wing is stretched more thin, you know and light would be showing through More because it's not near one of the the little bone ridges Um same with like things like her hands, right? We need to have more detail your hands actually have like a ton of different color And pink and tones in them that are very light But you need to be capturing all of that in there That's that kind of stuff that I would say to go farther Now as far as the the probably the place that jumps up I mean the most where we got potential is maybe something like the hair And again creating more of that like panting sheen where there's defined areas of light and shadow On the hair but all in all this looks really nice Probably around the eyes. We need to have more coloration You know, I understand she's probably not wearing makeup as the mother of dragons, but Nonetheless, she still would have there's like a natural coloration to this part of your eye versus the eyelid and those kinds of things That we want to be bringing out and pumping up a little more So there you go chris. Hope that helps Okay, next up carl Feedback on the fec Tried focusing on skin texture and wondering of itself. So I had looked at this earlier and The same problem here as I've talked about a couple of times in the video. We jumped too far from like five to two So I I understand I think you said you're going for like a flayed look in other words Like his skin was ripped off cool. I get that But then we still need to have some kind of blend up between this deep red and the white Or if you're not going to go that way, then there needs to be striations coming up Where it looks like it was kind of sheared off, right? Um And that kind of thing is going to help that sell as it stands right now when you have Especially when I look around the legs and I see the musculature like so completely defined Where every piece has this like really dark line and then it jumps right up into your two Right where we just go five two five two five two like it's too much too fast So that's what's stopping it from selling, right? We need to we need to smooth that out You can sell the effect, but it can be through hashes that slowly transition the color and that kind of texture will Will solve a lot of your problem Uh, so I hope that helps carl, but very cool take on a model. I love the the concept I need I like the skin tone all of that stuff works for me. We just need to smooth out those transitions Uh, john bringing us, uh, this guy, uh Advice on how we can take it up to a competition level So the uh, the answer here is more more more, um, like these sort of infinity miniatures, which I think is what this guy is Um, or something approximating that if you look at how somebody like angel girl, or you know, an hello girl does Uh paints these that's what you need to go for These things need every panel needs to have a thin clean dark line between it The edges need to be highlighted and and edged around and then the Reflection itself the light needs to come up to like a darn near white or something really bright, you know Not actually white, but it's something in the like an icy yellow, right? Where we're actually catching the reflective sheen on each panel and tracing it down Any of uh on hell's master class volumes will be really helpful in this because they show you exactly how he goes about creating this But if you can't get ahold of one of those books just go, you know, google out any of the Infinity figs that he painted and you'll see exactly what he's doing The gun is another area of interest that uh, is not very interesting right now. Unfortunately. Um, it needs some more kick to it As it stands right now. It just doesn't have enough variation enough life Like it's fairly gray with just some edges We need to create more variation of value there pick out a few pieces make them a different color You know something like that to make that area have some kind of Reason I want to look at it. It shouldn't be overwhelming, but it shouldn't just be basically lost against the background either Which is what's happening So overall like the color scheme the color choices compositions all good the execution Uh on the colors that are there are good. We just need to take that up a notch. So hope that helps All right, next up robin Talking about the shoulder pads and the grip are supposed to be gold non-metallic, but that doesn't sell. Yes, correct Um, and then the sword was mostly practicing blends of being blue non-metallic metal Sure So as far as shadows go he was going for like a rembrandt shadow. I think that's fine You need to bring a little bit over here. So like literally google All right, just so everybody understands because I've mentioned this multiple times. So let's do rembrandt shadows Okay So a rembrandt shadow is this where this side of the face is cast in deep shadow And then you have the triangle of light here, right? And I mean that's kind of what it's taken as But it it gets used a lot in photography and other types of of painting, right? Where we have these hard light triangles you can see down here where You know, basically there's a triangle on this side of the face and then everything else is cast in this deep shadow, right? um And like just googling on that will give you a lot of good images to base it off of and you'll see how Deep the shadows go now as to the gold it definitely doesn't we need to come up to a white there's not near enough one or two in there at all and shape wise it should be you know A shape like that that cylinder would actually probably have more of a Cut horizontal line across it and then the edges of the edge plates would be lit And with one part popping out and creating like a vertical light line across it where it was hitting um with the blue on the sword again one of the things you want to avoid is Having the same color reach across both directions just evenly like this It generally looks better if there's offset light against dark always looks better So like this light was up here this dark You know and this dark was down here So then you had opposing colors and and you continue to to do that and that'll generally do it We also need to go brighter. We need more white. There's not enough number two number one in here Edges need to be all edged and and like All the way down and in this like blood imaginary blood channel the thing that doesn't exist But uh, those need to be edged around the side as well That kind of stuff is what's going to help that sell. So hope that helps robin overall cool fig. It's an e-fig I don't know where it's from, but I like it Okay, next up sam Feedback that's been given over the last couple of months take control of the light across the whole volume Um Recently happened to be with a texture, but the magic glow needs some work on intensity and crispness crispness what I really uh, wasn't really sure what to do the sword. I didn't want to do it as bright non-metallic Yeah, so I think the glow is honestly fine I think that actually works quite well the red and then the yellow in the middle That actually sells for me. I don't have much of a problem with that now as to the The volumetric highlighting. I do feel that it's definitely there. You're right. I love the wood texture you've created We just need to go farther on it This whole area needs to be a little brighter same with here like we keep keep pushing But you're getting there definitely we're a lot closer than we have been As far as the sword goes I think it's I think it's fine But I would still you know, you don't have to go full non-metallic But just creating those areas of contrast picking out the edges on the leaf sword and stuff I've painted all these different current off varieties And uh with the swords it's really just you know getting a light line on like the bottom of each of the things Each of these little like leaf cuts into there Well, and then edging it and so like that will really make a big difference and make it stand out But I think your texture is really good your your uh, your contrast is definitely getting there We just need to push a little bit farther, but overall I think you're definitely making some some great progress there Okay, next up Jim, uh, eighth mini, uh, okay Overall contrast texturing of the cloak and the osl from the power fist around the face Sure All right, so Um, I think that the lighting on stuff like the armor is pretty good I mean we could smooth that out a little more but for your eighth mini. This is you know, absolutely Incredibly fantastic. So I don't really have issues there I don't really have issues there Uh The as far as the individual elements go again work on just a little bit more of separation and making things clean In your light to dark the texture on the cloak. I think works fine for me. I've got no issue there. That's that's fine Um Yeah, I think you could probably glaze a little bit more here toward the edge because we kind of end from abrupt texture to not a little too fast um, but beyond that I don't really have much of an issue and then The glow on the face Uh It's quite minimal Um Yeah, I mean I think it works. So you're going for kind of the apodon glow there Uh, are you know coming around the helm? Um, I think it works You'd probably need to punch it up a little bit more in the skin tone And to do that you need to take the skin and make it a more paler shade and then have the magenta actually show A little more So I think that's probably what I would say, you know, if you look at all the pictures of apodon where his face is glowing His face is generally very pale and that's so they can show the contrast of the pale Top versus the pink over here. I think that would help it sell if that's what you're going for Uh, but overall cool stuff. Um, I like the little glow cast down here on the leg. I think that works and uh, yeah, uh great, uh, great work with a great conversion there from Tor Garadon into the uh, into the crimson fist. So yeah, awesome I changed mine into a crimson fist as well All right, kevin maroc. Well first time trying oil paints any appreciation be any advice to be appreciated Um, yeah, I mean, I definitely think you're going the right direction here. It's uh It's good. I think you need to work on smoothing a little more So when you're using your oil paints, you want to make sure that they're you're you're really working in those colors And smoothing them out Obviously the conversion is, you know, excellent as always maroc But yeah, I think just with the with the oils you want to make sure that you're actually going in and rebuffing them in And really smoothing them out. That's the major place I see where we've got a bit of too much of a jump here in some places between Some of the darker tones not the blood streaks because that's fine But like here where this is clearly a muscle line that kind of thing needs to be smoothed out up here on the arm In those areas is where I see the opportunity for improvement. So there you go. Hope that helps Okay, next up, uh, bringing us a fish man. All right So do do do and just looking for feedback. Okay, sure Yeah, I mean, I think this is really nice. I like the texturing on the banner I think the the freehand on it works Where I think we've got opportunities is largely in things like your Again, like I've mentioned a couple times things like volumetric shading His and and to just kind of get back to an image where this is going to sell The top of his arm here is about the same color as the bottom of his arm here Like the individual piece are picked out, but the whole volume Right of the arm is not So think that you you need to heed the whole cylinder and also the individual components Same with like the fins as they get closer to his head having more contrast there Same with like the lower part of his legs versus the top of his arms Like this whole area should be brighter than this area down here That kind of thing is is would be my chief recommendations for kind of where to go next But overall it's a really cool mini and I'm super glad that you did well with it competitively That's fantastic. He looks great. What a I have no idea what this is from, but it's a very neat mini All right, next up mart Uh model a few miscast spots tried to hide with burns and likes would appreciate some comments on the robe and the models a whole Sure, so I mean the the story here is contrast and we need a lot a lot a lot more of it Um, you know in the end in the end the robe is basically a flat red The cloak is basically a flat purple and the fire is basically a flat green and and that's a challenge, right? We need to come higher With all of these so I have an exploring colors red series. I would highly recommend and purple I would highly recommend you go watch those. I tackle the contrast element in those I have a green as well and I talk about how to do magic In the green series and what makes things look magical But effectively I just need a lot more highlights and shadows on all the pieces of the model We've got to up the contrast of value here. That's going to be your number one thing mart Uh, okay next up kyle, uh, all right, uh, we've got our little crazy walker thing here Uh heavy antiquing on the gold. You definitely did go nuts with it. The blood effect is certainly interesting Like the eyes. I mean this dude is super gross and weird Uh the antiquing I would still I would try to work in some color to that I think your contrast is in the right place This guy really does show the individual elements are nice even with the damage But I would try to work in some hints of color into the antiquing Oxidation vertigris and the like that could be a really interesting thing to put in the center Of your so like let's just take this little cast ours as a microcosm Right, you've got this really nice interesting color transition on his little spider butt here But like having some vertigris or or stuff like that here in the middle There's some turquoise and blue green some pure vertigris in the middle of this Would then help create new instances of that dark light dark Changes and that's what again the more of that the more interesting the mini gets So, uh, overall very cool, uh, very cool stuff. I dig it. That's probably the biggest thing that jumps out of me Uh, next up erin, uh, tried to really push himself and go above just table ready feedback on relating to the color composition and where to push contrast So, um, the number one thing that jumps out of me is actually this guy's weapon We need to do more with that. It just kind of has like this airbrush situation And it's not doesn't look like a weapon. It looks like a big piece of stone Like if we're going to do this, we need to cut the edges have shadows in here have the edges that sort of thing Like actually have there be Light and life to this blade. It feels like we just didn't give it the full the full monty here. Okay Now as to, um Composition it's fine. You're in sort of a standard zinchi kind of color scheme with the pink purple and And blue this combination works just fine. I use it on my slanesh as well So you're on the kind of this chaosy color scheme. I guess I should say um And I think that Overall the metals present the most opportunity for pushing additional contrast again the metals are pretty flat The gold is just gold. The steel is just steel Um glazing and additional inks colors and shades there as well as popping out the highlights on things like the gold I think is your your big opportunity Um, most of the purple feels right um contrast in stuff like the leather straps Darker lines between brighter edges on the edge of the straps making sure those are really standing out Same with the straps up here I I hate leather straps on minis because they take forever But they take forever if you want to do them right and that means they need dark lines beside them And light lines on the edge with hashing and and texture And it takes a while But it's worth it because it really changes the whole feel of the mini when you get those little individual leather straps All individually picked out So that's probably the biggest areas I see erin and hope that helps overall very cool take. I've never seen anybody paint This guy quite like this so very cool take Daniel the king from kingdom death took the contrast advice to heart really tried to push the two color contrast on this model Sure, so The Honestly the flowers on his base is probably where we're going the most wrong This mini would be stronger if he were amongst all of that You've set it so aside that it's the juxtaposition is too strong There's also a lot more bright yellow down here when I don't have any real matching yellow up here Right like I have I have gold which is true color is yellow But it's a naturally desaturated version of it and then down here I have pure true You know like moon yellow, right? um As far as the contrast goes and stuff like the pink that's where I need to feel more of it Uh because we have these really deep shadows, but then basically it just goes five four three and then we stop Right and the five the four is pretty minimal. It's really just five three We're jumping quite a bit a lot of these shadows are very harsh very stark in how quickly they go over compositionally color if I block out this guy the corner And and just like look at the mini itself. It's stronger than with the base The stone also doesn't feels like stone. It feels like a cartoon version of stone because there's no texture There's no cracks. There's no chips. There's no dirt. There's no life It's just like that's how I would sell shade stone if that's why if I was doing like a transformers cartoon, right? So you want it like stone needs to feel as alive as the nature next to it It just happens in different ways Okay, uh, and then so like I would really focus on popping up that tonal variation that that variation and contrast of value On there and you can do that through the pink with things like introducing Deeper magenta and purple hues into the shadows and you can even use a unified Shadow scheme because you got blue here. So you can have unified purple as your scheme as well So there you go. Hope that helps Daniel All right last up Daniel different Daniel With uh, he says the best he can do on a mini and like to know where you can improve his painting Yeah, so I mean, I think it looks really nice. That's what I'll say first and he said he knows like the blending needs some more work So yes, I think overall what we need to be doing is again pushing our contrast some more Um, I mean I say this a lot, but it is it's just simply I could do this show as in five minutes And just say push your contrast more and it would cover 80 of every submission right Like learn how to use your light dark light dark Changes in a more authoritative fashion And again, go spend time looking at like go look at Michael Posarski Or go look at Sergio Calvo or look at the you know, the best artists in the world And what you're going to see is they really have those individual areas and look really see How you know, I have a hobby cheating. That's just literally us staring at a mini for 10 straight minutes Spend 20 minutes spend 30 minutes just staring stare one piece of it for 10 minutes and really understand what's going on there Because for instance here like the purple and the skin are not separated enough This should fall more into shadow as we get near the cloth And then this should come up into a higher highlight on the edge where it's catching the light That makes that stand apart more same here underneath You know where she's wearing like this tube top or whatever down on the side here We need you know stronger shadows in her face and her skin We need more colors more variation more subtle glazes that set the light as to what's happening Is she truly just standing in light at noon? Is there anything going on? Is there nature around her? You know, so moving into more warm lights and cold shadows that kind of thing introducing blues And blue elements into the shadows to make them feel more realistic when you get up into this scale And I think she's 75 mil if memory Serves on this particular model. She's either 54 or 75. She's bigger is the point You know, you you've got a lot more space So you want to be really pulling and upping that that feeling of contrast and effect Okay, especially what matters here is the variation of not just Value of light and dark and certainly things like the red and the purple do need more of that Especially in the in-between elements, but also variation of hue, you know, she's I'll show you what I mean here She's let's flip around to this to sort of back view She's sitting next to a bunch of Of life and green and You know, there's no green at all in her clothing. Even though it's red What we should and green doesn't generally reflect in red things like the purple would if they're highly reflective cloth Or even just normal cloth. You're going to get slight tones that in there So just like working in those little variations of hue, right with the hair It's the same thing look up, you know the panting sheen and you'll you'll see what I mean as far as You know getting that more defined area of more individual shadows more light more control of that So there you go, Daniel. I hope that helps But that brings us to the end of the month Uh with that being said we end on some uh, some sauce being cooked on my stove And uh, there you go. So thank you very much everybody. Uh, certainly appreciate it. I hope this was all helpful Thank you to everybody who submitted. Uh, it's always always always appreciated Like I said in future months, um, we're probably going to need to organize something different to make this happen because it's like my time is just Uh, such that it's hard to get time to do all this and that's why I'm a little late this month So I do apologize for that but, um We'll see what we can do for now. Keep please keep submitting and most importantly if you're in the pmp Please keep responding to questions answering sharing Liking everybody's stuff and helping out and just generally being positive you the greater community are what makes the pmp amazing And that's what I want to keep going I am not the critical lever here It is all the rest of you who are absolutely incredible and are answering stuff and liking things and sharing your feedback every day That's what makes this community incredible. So thank you all if you'd like to join us on your hobby journey again Link in the description, but as always, thank you so much for watching and we'll see you next time