Inquisitor Coteaz - Large Scale
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Thread: Inquisitor Coteaz - Large Scale

  1. #1

    Default Inquisitor Coteaz - Large Scale

    Hi Everybody,

    I finally managed to get some suitable pics of my painted large scale Inquisitor Coteaz figure. Nearly a year in the making /painting it's based on the Forge World large scale Space Marine figure. The submission entry can be seen here :-

    The unpainted version can be seen here :- where you can also get an idea of what went into the figure before it was undercoated.

    I entered it into the UK GD2014 in the Open catagory but it didn't make the cut. A shame really but, personally when I look at the figure I still think that it is one of the best things that I have done, both from a sculpting and painting point of view. In case anyone is wondering the 'tree' on the back of the base is actually the roots from a rosemary bush that had died in my garden.

    I would appreciate any comments or criticism that people wish to voice about the figure.
    What you leave behind is not what is written on your tombstone but what is written in the heart of others.

  2. #2
    I paint my thumb. GreenOne's Avatar
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    Feb 2006
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    Sculpting and painting are near perfect, a lot of people just don't get subtlety, it has to be 'in your face' to get their attention.
    That shows a lot thru the voting system too... 7.8 what a joke
    CMON painter born and raised, soft seven and proud
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  3. #3


    Love the sculpting! Really well done!

    The painting is also pretty nice but lacks definition and it looks like you could have spent more hours on it actually even if I am sure you feel like you've already spent an enternity. :P The red cloth with golden freehand is a highlight! Very nice work on that part. I don't think you should feel slighted on not getting a finalist but use it as a motivation for improving future miniatures (or this). The sculpt is really nice and merits no further comment but I really think you can improve the paintjob for a competition such as GD. I don't think it's about skill but rather time spent in the end so it's up to you if you if you want to take my advice!

    To be more precise what I mean by lack of definition, I am going to comment on one specific part, the belt buckle. Look where the skull meets the inquisition I. Why is there a lighter line there? That should be one of the darkest parts of the shading but now looks like paint overlapping. Why is the dark of the eyes and the nose of the skull not also repeated under the cheekbone? Why is the brown on the eye of the skull going down one side of the nose like shading, but not the other. Why aren't the teeth picked out? Maybe they are but the tonal values should be equally dark as on the other places. On the I itself the red seems to have spilled slightly into the recesses that separates it into the gold, at least on the right side. That recesses should also be the darkest part. Then we have the gold part where the gold outline of the I does not separate well from the rest of the golden armour.

    If you are not already, try turning your miniature upside down when doing shading and outlining parts.

    I am also going to comment on another part when I say spend more hours. Look at the shading of the pages of the book. Why is the part right underneath the chain lighter then the rest? I don't know how you painted that part, but to my eyes it looks like one wash, maybe two, not more... and that you missed the part under the chain.

    I hope you don't feel bummed out for me pointing out these things, it really is fine as it is, but it is just if you want to have a shot in a competition such as the Open category in a GD these things are essential.
    Last edited by Avelorn; 02-15-2015 at 02:46 PM.

  4. #4


    First off thank you for your comments, especially to Avelorn for the time and effort you've put in for your criticism. I don't feel bummed out, quite the opposite in fact. It is nice to have someone point out where I am going wrong and make positive suggestions as to how to rectify it. The points you make are quite valid and to be honest most of them I hadn't actually noticed. Part of the joy of photos is that your mind can't fill in for errors, especially when you've been working on something for a long time. The errors are there in full detail, often a lot larger than real life. I knew it wasn't perfect when I thought I had it finished, now I known it's even less perfect, lol.

    I started this project - not solely with the aim of making a GD entry - but because I do really enjoy doing them. I did one before and somehow fluked a bronze demon. That was a few years ago and I decided to have another go and this time push the sculpting side, something I don't do much of. I knew that the only category that it could be entered would be the open cat and as such knew that a place was almost certainly beyond my reach. As it was it took so long to complete that I didn't have time to do any other entries.

    I may do another in the future but it takes so long to do the sculpting side that I get out of practice with the painting. Sculpting Coteaz took around 8-9 months, during which time I got no painting done. Now I have a whole stack of figures which I want to get through.

    So thanks again to Avelorn and if anyone else wants to chip in, feel free.
    What you leave behind is not what is written on your tombstone but what is written in the heart of others.

  5. #5


    I wouldn't say you've gone "wrong" anywhere with this model except in terms of adopting a style that tends not to fare well within this genre of competition. One thing to bear in mind is that the GD is a painting competition, not a sculpting one. Officially, no credit is given for sculpting - although, practically, judges have to have their eyes caught by unique, high quality models. So take heart. Your work on this "conversion" (practically a sculpt from scratch that just happened to use another model as an armature and occasional donor, plus a conversion on the eagle) is spectacular and inspiring.

    Your painting style is "realistic". That is, the way you've approached the armour suggests that you've actually taken time to study real-world bronze-coloured armour from history to understand how it fits together and how embossing looks. The truth is that it doesn't look all that good. It's rather flat, unreflective and dull - which is how you've painted Coteaz here. Had you, instead, taken a less realistic approach, the dark areas would have been much darker. The bright areas would have been much brighter. The designs on the armour might have been painted to stand out rather than as a part of the armour itself.

    Less realistic, but much more attention-grabbing in competition terms. I suspect that, in a more historically-focused competition, like Euromilitaire, you would fare much better. For a start, they give credit for original sculpting and composition, but the judges also have a more nuanced and educated eye when it comes to capturing the historical "reality".

    This is an under-rated masterpiece. No question.

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