<p><span style="font-family: arial,helvetica,sans-serif; font-size: x-small;"><span style="font-family: arial,helvetica,sans-serif; font-size: x-small;"> Over Christmas I finally found some time to ties everything together assemble and paint what needs to be painted. The only thing left is the loincloth and, I think, I have pretty good idea what I want to do with it. I tried several things on this model that I’ve never attempted before, including some sculpting that is more complicated then filling joints - Look at his helmet, for examples, and the dead CSM – too bad GW now came out with space marine casualties that could be used straight without conversion.</span></span></p>
<p><span style="font-family: arial,helvetica,sans-serif; font-size: x-small;"><span style="font-family: arial,helvetica,sans-serif; font-size: x-small;"> The base was done with very extensive use of MIG pigments and some clever (or so I think) texturing with various acrylic modeling pastes.<br /> <br /> The model itself is very limiting. Don’t get me wrong this is great sculpt, perhaps one of my favorite but the way it is sculpted pretty much define how you can paint it. Yes, you can vary colors, in fact I am considering a commission that centers around the idea of “blue fire”, but in the end of the day deep cracks and heavy texturing define the model and you have to work around it trying to satisfy the demands of the sculpture. Anyway, I am quite happy with the results, and I continue touching it up here and there. As usually, comments, suggestions criticism are welcomed and appreciated</span><span style="font-size: x-small;">.</span></span></p>
<p> </p>
<p><span style="font-family: arial,helvetica,sans-serif; font-size: x-small;"><img src="http://i23.photobucket.com/albums/b383/chinenovy/Front-tpositions.jpg" border="0" width="752" height="693" /><br /> </span></p>
<p><span style="font-family: arial,helvetica,sans-serif; font-size: x-small;"> <img src="http://i23.photobucket.com/albums/b383/chinenovy/full-sideleft2positions.jpg" border="0" width="840" height="737" /></span></p>
<p><span style="font-family: arial,helvetica,sans-serif; font-size: x-small;"> </span></p>
<p><span style="font-family: arial,helvetica,sans-serif; font-size: x-small;"> <img src="http://i23.photobucket.com/albums/b383/chinenovy/Full-back2positions.jpg" border="0" width="833" height="760" /></span></p>
<p><span style="font-family: arial,helvetica,sans-serif; font-size: x-small;"> </span></p>
<p><span style="font-family: arial,helvetica,sans-serif; font-size: x-small;"> <img src="http://i23.photobucket.com/albums/b383/chinenovy/Rightsideanddetails.jpg" border="0" width="665" height="739" /></span></p>
<p><span style="font-family: arial,helvetica,sans-serif; font-size: x-small;"> </span></p>
<p><span style="font-family: arial,helvetica,sans-serif; font-size: x-small;"> <img src="http://i23.photobucket.com/albums/b383/chinenovy/base-combined.jpg" border="0" width="741" height="516" /></span></p>
<p><span style="font-family: arial,helvetica,sans-serif; font-size: x-small;"> </span></p>
<p><span style="font-family: arial,helvetica,sans-serif; font-size: x-small;"> Several people have inquired so there....</span></p>
<p><span style="font-size: small;">Painting lava effect:</span><br /><span style="font-size: small;">Painting lava effect on this model is rather challenging mostly because you have to do things upside-down (or rather inside-out). The deepest parts are the brightest, not what you normally do when you highlight. The color progression was as following (from deepest part to the surface)</span><br /><br /><span style="font-size: small;">1) Privateer press, P3 Heartfire - applied until saturation. You do not want ANY white in the recesses. Yes, technically it should be there (the hotter the whiter) but it simply doesn't look good - it looks like an unpainted surface that you just missed. White has its uses here but not in the deepest parts </span><br /><br /><span style="font-size: small;">2)First "shade": Vallejo Model Light yellow</span><br /><br /><span style="font-size: small;">3) Skull white. It this point you pick you favorite plated edges and highlight them all the way to white. Now, it has to be the sharpest edges with no transition. If you white at this point start to blend with yellow on a surface you will loose sharp transition and simply desaturate yellow. Instead of very bright shining from inside edge you end up with very light yellow surface - avoid it. Also, don't do it on each and every sharp edge you see. This is very hot very complex metallic shape we are talking about - some randomness is good. Some edges are hot and bright white some others are less bright and therefore yellow/orange, some others are cold and red. Avoid uniformity</span><br /><br /><span style="font-size: small;">4) Orange. Pick any orange you like. I used either GW blazing orange, or Simple mix between P3 Heartfire and Vallejo Model FLat Red. Again the simplicity of the approach is that you don't really need to control the precision of your orange since different parts could have different temperature. Avoid desaturated orange.</span><br /><br /><span style="font-size: small;">5) Vallejo Model Flat Red. This color was used as a transition between really dark parts and really bright. I used it as a wash over orange applied in the direction away from edges</span><br /><br /><span style="font-size: small;">6) Cold parts. Again, same as above - things cool differently; some are completely cold others are actually quite hot. 4 colors (not at the same time) were used for colder parts</span><br /><br /><span style="font-size: small;">"Hot" cold parts - Vallejo Model Violet Red washed over with diluted Vallejo Game Hexed Lichen. The more washes the darker the center will become</span><br /><br /><span style="font-size: small;">Cold-cold part - Vallejo Model Violet+GW Chaos black (1:1) washed over Vallejo Game Hexed Lichen, sometimes washed over Vallejo Model Violet Red</span><br /><br /><span style="font-size: small;">Really cold part - Chaos Black washed over Vallejo Game Hexed Lichen sometimes washed over Vallejo Model Violet red or even Flat Red to ensure smooth transitions</span></p>
<p><span style="font-family: arial,helvetica,sans-serif; font-size: x-small;"><span style="font-family: arial,helvetica,sans-serif; font-size: x-small;"> The base was done with very extensive use of MIG pigments and some clever (or so I think) texturing with various acrylic modeling pastes.<br /> <br /> The model itself is very limiting. Don’t get me wrong this is great sculpt, perhaps one of my favorite but the way it is sculpted pretty much define how you can paint it. Yes, you can vary colors, in fact I am considering a commission that centers around the idea of “blue fire”, but in the end of the day deep cracks and heavy texturing define the model and you have to work around it trying to satisfy the demands of the sculpture. Anyway, I am quite happy with the results, and I continue touching it up here and there. As usually, comments, suggestions criticism are welcomed and appreciated</span><span style="font-size: x-small;">.</span></span></p>
<p> </p>
<p><span style="font-family: arial,helvetica,sans-serif; font-size: x-small;"><img src="http://i23.photobucket.com/albums/b383/chinenovy/Front-tpositions.jpg" border="0" width="752" height="693" /><br /> </span></p>
<p><span style="font-family: arial,helvetica,sans-serif; font-size: x-small;"> <img src="http://i23.photobucket.com/albums/b383/chinenovy/full-sideleft2positions.jpg" border="0" width="840" height="737" /></span></p>
<p><span style="font-family: arial,helvetica,sans-serif; font-size: x-small;"> </span></p>
<p><span style="font-family: arial,helvetica,sans-serif; font-size: x-small;"> <img src="http://i23.photobucket.com/albums/b383/chinenovy/Full-back2positions.jpg" border="0" width="833" height="760" /></span></p>
<p><span style="font-family: arial,helvetica,sans-serif; font-size: x-small;"> </span></p>
<p><span style="font-family: arial,helvetica,sans-serif; font-size: x-small;"> <img src="http://i23.photobucket.com/albums/b383/chinenovy/Rightsideanddetails.jpg" border="0" width="665" height="739" /></span></p>
<p><span style="font-family: arial,helvetica,sans-serif; font-size: x-small;"> </span></p>
<p><span style="font-family: arial,helvetica,sans-serif; font-size: x-small;"> <img src="http://i23.photobucket.com/albums/b383/chinenovy/base-combined.jpg" border="0" width="741" height="516" /></span></p>
<p><span style="font-family: arial,helvetica,sans-serif; font-size: x-small;"> </span></p>
<p><span style="font-family: arial,helvetica,sans-serif; font-size: x-small;"> Several people have inquired so there....</span></p>
<p><span style="font-size: small;">Painting lava effect:</span><br /><span style="font-size: small;">Painting lava effect on this model is rather challenging mostly because you have to do things upside-down (or rather inside-out). The deepest parts are the brightest, not what you normally do when you highlight. The color progression was as following (from deepest part to the surface)</span><br /><br /><span style="font-size: small;">1) Privateer press, P3 Heartfire - applied until saturation. You do not want ANY white in the recesses. Yes, technically it should be there (the hotter the whiter) but it simply doesn't look good - it looks like an unpainted surface that you just missed. White has its uses here but not in the deepest parts </span><br /><br /><span style="font-size: small;">2)First "shade": Vallejo Model Light yellow</span><br /><br /><span style="font-size: small;">3) Skull white. It this point you pick you favorite plated edges and highlight them all the way to white. Now, it has to be the sharpest edges with no transition. If you white at this point start to blend with yellow on a surface you will loose sharp transition and simply desaturate yellow. Instead of very bright shining from inside edge you end up with very light yellow surface - avoid it. Also, don't do it on each and every sharp edge you see. This is very hot very complex metallic shape we are talking about - some randomness is good. Some edges are hot and bright white some others are less bright and therefore yellow/orange, some others are cold and red. Avoid uniformity</span><br /><br /><span style="font-size: small;">4) Orange. Pick any orange you like. I used either GW blazing orange, or Simple mix between P3 Heartfire and Vallejo Model FLat Red. Again the simplicity of the approach is that you don't really need to control the precision of your orange since different parts could have different temperature. Avoid desaturated orange.</span><br /><br /><span style="font-size: small;">5) Vallejo Model Flat Red. This color was used as a transition between really dark parts and really bright. I used it as a wash over orange applied in the direction away from edges</span><br /><br /><span style="font-size: small;">6) Cold parts. Again, same as above - things cool differently; some are completely cold others are actually quite hot. 4 colors (not at the same time) were used for colder parts</span><br /><br /><span style="font-size: small;">"Hot" cold parts - Vallejo Model Violet Red washed over with diluted Vallejo Game Hexed Lichen. The more washes the darker the center will become</span><br /><br /><span style="font-size: small;">Cold-cold part - Vallejo Model Violet+GW Chaos black (1:1) washed over Vallejo Game Hexed Lichen, sometimes washed over Vallejo Model Violet Red</span><br /><br /><span style="font-size: small;">Really cold part - Chaos Black washed over Vallejo Game Hexed Lichen sometimes washed over Vallejo Model Violet red or even Flat Red to ensure smooth transitions</span></p>
