AndyG WIP (pic heavy)

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SkelettetS

New member
agh, knight in shining armor! ace my friend!

seriously i had love to paint this miniature, if anyone see it anywhere pleeeease tell me!
 
Digganob

Digganob

New member
I agree with blood. It does look like it just stepped out of a fantasy novel. Also I'm with wargamer and you and ten should do a tutorial so your fanboys (like me) can strive for greatness like you.
 
BloodFather of Kharnath

BloodFather of Kharnath

Active member
I think us Fanboys need to take action. We inundate their WIP pages with demands for a pictorial step by step of a figure like this that is almost all NMM. Just keep posting our demands until he folds!!!

Or Id say boycott his page until he makes an SBS, but I don't think I am capable of that. :(
 
BloodASmedium

BloodASmedium

[img]http://pnp
I have a basic question to ask Andy skellette or ten ball first off let me start by saying Andy has become a monster a painting entity of high standards known for his nmm. The fact that ten ball aided him along with many of others and this in turn has caused ten ball to achieve even more great painted models in response to what is friendly competition . And the Swedish chef is just in another level altogether with Andy and ten ball very close to his exceptional finished models. So any of the three from what I call the painting triumvirate can answer this . I at a stage where my technique is acceptable to be considered good enough in the eyes of top artists. But I have a dilemma. How do you guys know exactly where to place highlights (highlight placement) on such surfaces of broad flat armor plating like Im seeing here I read color theory until I'm blue in the face I've researched the stop sign rule given to me by bouzoe and Sebastian archer but when it comes to the model above I'm still left guessing. Is there anyone of you that can help me be able to breakdown with a "rule of thumb" how to go about this . I seem to have been at war with this my whole career and if I don't address it to the too guys I shan't move forward. Andy ten ball skellette I need you help. And again I'm not sure to post if it goes on this thread or somewhere else but I figured let me stop and ask a question to a bunch of gents who are always willing to help and who paint such amazing models. Please help guys s.o.s
 
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Swanpthing5383

New member
put some silver or chrome objects (knifes, forks, spoons for example) near where you paint and hold them under the same light source is what I was taught eventually you'll have the knowledge to just know off the top of your head is the way I was shown.
 
AndyG

AndyG

Active member
Ok right er light placement is everything. I always do a slightly off centre top illumination imagine the sun hanging over your left shoulder so one side always gets more illumination. Then when the primed figure is dry hold it under a light in the position described and photograph where the light shines off so you know your main areas of highlight and shadow and you can refer back to them when needed. Also a few tips metal is painted like a gem the parts that catch the most light will be raised up so immediately behind that section there will be a shadow region. If the metal continues beyond that region then the shadow will lighten up and then eventually re brighten so smooth into midtone and then back again into a slight highlite but not as bright as the raised section as this will always catch the most light. Flat surfaces or slightly curved surfaces catch more light but there isn't such a sharp transition so the contrast isn't as pronounced. Here subtle is the watchword you tend to get shadow regions at both ends a big bit of midtone in the middle and some highlite in the centre but not as bright as really raised sections. Remember edges always catch the light so edge highliting is a must. Smooth transitions so lots of smooth layers I think about 18 layers from black to white is average and lots of glazing medium. Always let the layer underneath dry or you risk overworking the paint. Other than that shamelessly rip off the greats like yellow one and tommie soule his flower knight is a revelation in nmm for steel. Last but not least glaze some colour in I use hawk turquoise really thinned down for the top surfaces and purple yet again thinned down a lot for the bottom surfaces. I can't think of anything more other than lots and lots of practice!
 
Demihuman

Demihuman

Active member
AndyG said:
Ok right er light placement is everything. I always do a slightly off centre top illumination imagine the sun hanging over your left shoulder so one side always gets more illumination. Then when the primed figure is dry hold it under a light in the position described and photograph where the light shines off so you know your main areas of highlight and shadow and you can refer back to them when needed. Also a few tips metal is painted like a gem the parts that catch the most light will be raised up so immediately behind that section there will be a shadow region. If the metal continues beyond that region then the shadow will lighten up and then eventually re brighten so smooth into midtone and then back again into a slight highlite but not as bright as the raised section as this will always catch the most light. Flat surfaces or slightly curved surfaces catch more light but there isn't such a sharp transition so the contrast isn't as pronounced. Here subtle is the watchword you tend to get shadow regions at both ends a big bit of midtone in the middle and some highlite in the centre but not as bright as really raised sections. Remember edges always catch the light so edge highliting is a must. Smooth transitions so lots of smooth layers I think about 18 layers from black to white is average and lots of glazing medium. Always let the layer underneath dry or you risk overworking the paint. Other than that shamelessly rip off the greats like yellow one and tommie soule his flower knight is a revelation in nmm for steel. Last but not least glaze some colour in I use hawk turquoise really thinned down for the top surfaces and purple yet again thinned down a lot for the bottom surfaces. I can't think of anything more other than lots and lots of practice!
Click to expand...

Wow! thanks for writing that all down! I have been trying to piece it together too and this is very helpful. Especially the bit about large flat areas!
 
Digganob

Digganob

New member
Thank you very much for the link Skraaal, very helpful. Now if I can only get a smooth blending tutorial out of you I might turn out to be quite the painter....maybe even better than AndyG......then I wake up.
 
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dogfacedboy uk1

New member
I am really impressed with this fine display of nmm, really good job Andy! It is a brilliant mini must say, saw Tim Cook (tidoco) do it in one of the CMON annuals with normal metallics and was blown away by that to. Awesome mini for sure. Keep up the good work !

dfb
 
K

Kretcher

Active member
Nice looking, very nice looking... some day I will do more NMM but at the moment I want too go back to true metalics. much easier :)
 
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