10 balls WIP

BloodASmedium

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Let me just add if you ever question your painting again I'm going to hire BFOK to seek and destroy you!!! Lol YOUR PAINTING IS NOT THE PROBLEM. OT NEVER WAS. It's there lame way of dealing with so many splendid models in a short period of time. Including when I almost botch slapped ty finichiaro a judge who's painting is for the birds and I investigated the rumors of "they look past the first row" I can corded him skipping the rows my models were in , looking at his watch and mouthing the words "we need to get this over quick ,I have a flight to catch!" Lets just say after a talk I had 7 finalist pieces in 1cobtest and an apology in writing from Tim Lison. So I e seen the bullshit and heard the bullshit first hand.

Thights for the day:"FOR EVERU GREAT PIECE THAT GETS LOOKED OVER THERE ARE MEN LIKE ME AND BFOK WHO WILL NOT GO QUIETLY INTO THE NIGHT!!!
 
My W&N Series 7 Watercolour Size 1 screws apart in the center, revealing a razor sharp stiletto dagger. With the brush end/sheath I carefully paint poison onto the blade before seeking out my ignorant prey...
 
Without bone structure to protect his eyes, Cookie Monster was at an increased risk for blindness.

I'm mean enough, just not cool enough to be the Series 7 Assassin. <----In retrospect, would have made for an awesome username.
 

Milosh

New member
Nice start 10. I think too much emphasis is placed on awards, if you're painting for trophies and medals you are in the wrong hobby.
 

Digganob

New member
I don't think it's all about medals and trophies as much as it is certain joys of work not getting recognition. I mean two comps his jungle fighters didn't place is frustrating when I think everyone agrees it should have at least once if not both times. Am I right ten or is it all about the shinies :)
 

ten ball

Active member
Well mr Milosh is correct that chasing medals is the way to madness BUT every human has that built in fire for winning!
I've been dreaming of a demon for 30 years.
 

Dragonsreach

Super Moderator
Staff member
Andy got CROCS! Andy got CROCS! Andy got CROCS! Andy got CROCS! Andy got CROCS! Andy got CROCS! Andy got CROCS! Andy got CROCS! Andy got CROCS! Andy got CROCS! Andy got CROCS! Andy got CROCS! Andy got CROCS! Andy got CROCS! Andy got CROCS! Andy got CROCS! Andy got CROCS! Andy got CROCS! Andy got CROCS! Andy got CROCS!
! :victory:
View attachment 32132
Yep.

Andy got CROCS!
 

ten ball

Active member
I've been married for 35.

Just saying.

I could of been a page boy :p

Couldnt sleep so some sneaky midnight painting. Finished her face with some glazes to blend the shades in. Went real high on the extreme highlights (listening to some good advice from sproket at GD) also (and this will be controversial) after watching some painting tuts from painting budda i went with a thicker mix of paint (yes I said thicker not thinner) with some good results.

Also using the scale75 black / white set that i used on Gandalf started on the armor plates. hair just base coated.

View attachment 32133
 
Nice highlight there on her lower lip! Well placed.

Thicker paint, eh? Personally, I think I dilute a bit less than most. I definitely dilute the least on my highlights, generally because of the small area extreme highlights occupy, but also because the light colors react better when not over diluted. It was one of those really good female painters, forget which one, that says she hardly diluted at all. I can't see ever doing that, but in many cases a 1:1 ratio is fine. I probably dilute the shadows the most. Like on my copper NMM right now I am lightly glazing on a Rhinox hide. The extra dilution is for feathering purposes.

When/ why do you over or under dilute, Lee?
 

Avelorn

Sven Jonsson
Very nice beginning! You're images are a bit on the fuzzy side. You don't use to small f/stop opening, do you?

Diluting depends a bit on the technique you use. If you use feathering or wet-blending diluting too much can very much defeat the purpose. When I paint quickly I don't dilute that much for the main layers but use very diluted intermediary glazes to smooth out the transitions.
 
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