TIFA 1 Final

£599
OCTOBER 2018
ISSUE 1
Premiere
Issue!
FEATURING
Fausto Palumbo
Skoll from Abyssoul
Javier Molina
Asimov Deceived Us
Kristian Simonsen
Gorgon’s Cave
Interview
A conversation with Camelson
Arnau Lazaro
Mirai from Life Miniatures
Chris Suhre
Understanding Composition
Dmitry Fesechko
Realistic Skintones
Lukas Zaba
Brommhir the Bruiser
PLUS MORE!
CREATING BEAUTIFUL ART TOGETHER . . .

JOURNEY’S PATH
S
o, I guess it seemed of in-depth writing, quality and belief to try new things
inevitable! Since projects backed with an and level up!
starting The Illustrated award-winning design team. We always This first issue sees work
Historical Artist, I had many I have to admit that I from Fausto Plalumbo, Javier
messages, comments and always get excited when I
wanted to Molina, our very own (from
emails asking why we have purchased a new magazine create a the figurementors team)
not done something similar but too often then felt a Kristian Simonsen, Arnau
for the Fantasy genre and little disappointed that the
magazine Lazaro, Chris Suhre, Dmitry
truth be told, my main interest contributors and editors that was Fesechko, Lukas Zaba AND an
at the time was to provide had not provided enough interview with one of my good
a magazine exclusive to the information for me to be able
truly a friends and a truly amazing
Historical genre, which I to replicate the techniques useful talent Jaroslaw Drabek aka
believed to be less popular and finished that I was seeing. CAMELSON!
and evasive. With that in mind we always
resource That is enough from me,
We always wanted to encourage our contributors to for figure I won’t spoil the surprise of
create a magazine that was explain the WHY and HOW , the contents any further but
truly a useful resource for not just the WHAT. All three
painters instead invite you into the
figure painters of all skill of these (WHW) is what will Fantastical World that is The
levels, to help painters enable you, our readers, to Illustrated Fantasy Artist!
develop and to support the truly learn something new and Enjoy
amazing community. With it is this approach that will Jay!
this new magazine we will hopefully give you the courage
aim to provide the same level jason.martin@theillustratedfantasyartist.com
2 The Illustrated Fantasy Artist 10.2018

What Lies Beneath...
CONTENTS
In light of a renewed efforts at raising awareness to the
ongoing piracy and recasting, Fausto Palumbo, explains the
5
process and effort involved in bringing a new product to
market. 5
Asimov Deceived Us
This first issue sees us begin a collaborative series of articles
37
from Green Stuff World, presented by Javier Molina. 11
Stone Cold Killer
Kristian Simonsen goes wild with extreme lighting and
ambience with his Gorgon’s Cave from Aradia Miniatures.
Putty&Paint Gallery
21 11
This issue sees us begin a new partnership with the online
gallery Putty&Paint, who, like ourselves, are keen to support
and inspire the figure painting community. 33
Conversation: Jaroslaw “Camelson” Drabek
We interview the multi Golden Demon winning Jaroslaw
“Camelson” Drabek with a large gallery of some of his most
iconic pieces! 37
The Beauty of Technology
Arnau Lazaro explains his creative process to approaching
a new project, in this article focusing on Moirai from Life
21
Miniatures. 47
Review
This month Jay Martin reviews The ToadFather by Ariada
67
Miniatures 53
Composition in Miniature Art
Chris Suhre is one of our favourite, up and coming names in
the figure painting community and has established himself
as someone who has a keen eye eye for composition. Who
better then to ask for some pointers?! 59
Classical Atelier
Achieving realistic skin tones is always difficult so we get
one of the very best to talk us through his process and shows
how studying the contemporary Masters can prove very
useful. 67
Cleft from Stone
Lucas Zaba announces his latest release in our first issue and
describes some of the various techniques involved to create
and paint Brommhir the Bruiser. 83
83
10.2018 The Illustrated Fantasy Artist 3
CONTRIBUTORS Kristian Simonsen
is an integral
member of the
figurementors team
with a penchant
for creating strong
lighting effects
and powerful
atmospheres. He is
fascinated by how
much real life history
and art can influence
fantasy miniatures
and art.
Fausto Palumbo is a Javier Molina is Jaroslaw Drabek aka Arnau Lazaro, Chris Suhre is Dmitry Fesechko is a Lucas Zaba as I have
figure painter turned a tour de force Camelson is a prolific recently married, a name many Russian painter with recently found out
figure manufacturer concerning painter and a fan of is a painter I truly will know for his a plethora of arrows is a super talented
hailing from Milan. the creation of all things related to admire for his use stunning dioramas in his quiver, canvas, sculptor as well as
His company fantastical and sci fi GamesWorkshop, of colour and his that have served sculpture, digital, a award winning
Abyssoul looks very scenes. We will be his multiple Golden flexibility in painting him so well at oils and acrylics, a figure painter,
interesting indeed! working with him in Demon wins are anything from busts Crystal Brush, I’m true Artist by any excited to be
a collaboration with testament to his of the Royal family very happy to have definition. collaborating with
Green Stuff World. ability with a brush. to Celts and fantasy him share some of him too!
creations such as his secrets!
that seen here.
TK

What lies beneath...
With the latest campaign to
raise awareness about the
pirate activities of recasters
Fausto Palumbo takes
us on a timely journey to
discover all the work that’
goes to getting a figure
to your painting space

Insight | by Fausto Palumbo
FELLOW HOBBYIST,
WELCOME HERE.
T
his will not be the usual
article about “how to
paint that surface”, but
my intentions are to make
a journey with you for the
discovery of all that’s behind a
final product.
Abyssoul is my little
child, it is part of me, my
blood, my sweat and a few
of my tears too. Probably
it has always existed inside
The my soul, and finally it came
out. The decision to produce
satisfaction a miniature line or a brand
of a happy is something that isn’t for
everyone.
painter who There are a lot of risks,
has a fun unexpected problems and
strange customers, yes. But
and creative the satisfaction of a happy
time with painter who has a fun and
creative time with the result
the result of your labours, is definitely
of your worth everything.
First of all, some credits: of
labours, is all the people involved in this
definitely article:
andreatentorimontalto.com
worth puttyandpaint.com/bilibov
everything brokentoad.co.uk
abyssoul.com
Everything comes from

an idea. My inspiration
for Abyssoul comes from
several different genres
and industries, obviously
the history of the real-life
pirates, Lovecraft, videogames
(Bloodborne, Sea of Thieves)
and some good, dark fantasy.
All mixed together inside
my brain, add a dash of
imagination and some extra

A sketch (no matter how basic) is always useful and gives a

reasonably precise vision of the whole work
CONCEPT: Andrea Tentori Montalto, a

After the whole talented artist specialised
brainstorming phase, now in book covers. After he
is the time for the first Artist. received all of my information,
In this case the drawing is sketches and references, he
from the great makes a first “beta” version of
it. And it is great.
That’s so good, but not
creativity what I had in mind. We
and voila! corrected some stuff here and
A nice cocktail! there that makes a difference
However, my to the final product. After
skills as a drawer/ all this work, he created
illustrator are this insanely good piece of
minimal at best, art. Truly 100% Abyssoul, and
so my basic the perfect vision of what
brainstorming was in my mind. Thanks
is really...basic: again Andrea!
but everytime I You can see more
have a project of his work here at
(also about painting andreatentorimontalto.com
miniatures) a sketch
(no matter how basic)
is always something that
is useful and gives me a
reasonably precise vision of
the whole work.
My aim was to do
something like a “dark captain”
of a ship, full of mystery and
with a particular weapon.
Actually, for my new models
I also wrote a story, search a
lot of images for references,
I make some pics of me
in their pose. Everything
(even the strangest stuff!) is
useful for a better product.
Don’t underestimate the power
of empathy.
And yes, I can see you
still laughing about my
drawing skills!

For me
a good
package is
the best way
to create an
emotion,
something
that is like
a “cherry on
the top of the
cake”.
SCULPTING: is the best way to create an

Obviously, after a concept it emotion, something that is
is time for a sculpt. This time like a “cherry on the top of the
I chose Oleksandr Bilibov, cake”. What do you think?
a great sculptor enthusiast The moulding process of
about things with Skoll was done by Brokentoad,
a “lovecraftian” touch. and it was perfect.
“Directing” a sculptwork isn’t Actually, this is the final
easy at all, but the final result version of Abyssoul package.
is astonishing. Seriously,
Oleksandr did a perfect job. PAINTING:
You can see more of his The boxart was done
work here: https://www. by myself, but sadly I
puttyandpaint.com/bilibov don’t have many Work In
Truly another piece of art Progress (WIP) pictures. I
for me, full of character and will try my best to explain
with a great touch. He did everything for you.
really a great job. I chose to use mainly some
dark tones full of purple
MOULDING AND and blue, this would help me
PACKAGING: to create a dark and somewhat
This is an interesting topic. I cold atmosphere, but keeping
see many producers that don’t some nice tones that will not
pay attention to the packaging let all appear grey. A kind of
and sell stuff in blister, or pale yellow helped me to keep
plastic bags. For me (and other a balance in my colour scheme.
colleagues!) a good package Actually, saturated colours

are what
works best for
social networks, so
my aim was to have some
nice saturated colours with atmosphere I used the
some strong shadows, that pale yellow as a general
would help me to still keep a light, because in my mind
dark look. I don’t use so much he was looking to the sea
an airbrush, instead I prefer to in the morning. So, with
do a quick sketch with brushes that in mind I wanted to
to create some deep contrast achieve warm lights, and
from the first step. some cold shadows with
Using a light from one the primary blue (I love
side is always a good way primary colours, they
for me to paint a bust, as it are so rich and useful
gives you the chance to create for lots of various
more focus where you want. applications). I use
In this picture you can see mainly Liquitex Heavy
the early stages of the face, body’s one, they are
where was done using the really rich in pigments
photo in the background as and have an almost
inspiration source. That’s a satin finish. This will
great piece of art from Steve help you to create some
McCurry. Amazing bright lights or some deep
Here you can see shadows, both full and rich
another WIP image of the of colours!
clothes. For a balanced Totally worth for me! I had

it was a
pleasure
for me to
introduce
you to
something
a bit
different
from the
usual article,
I hope you
liked it!
a lot of fun creating so many

different textures. For example
the bone blade was really a lot
of fun to do….maybe I can do
a tutorial about it with a SBS
next time?
So, this is the end of this
part of my travel, creating a
brand-new range of figures.
As you can see, creating a
bust is really something
quite complex! If you were
to ask how much time all
this required? More or less one
full year. From the creation,
drawing, sculpting, logo,
website, moulding, boxart and
first shipping of copies.
Would you ever have
believed it?
By the way it was a pleasure
for me to introduce you to
something a bit different from
the usual article, I hope you
liked it!
To find more info go to:
.abyssoul.com or follow us on
Facebook

Asimov
Deceived Us
Green Stuff
World Creative
staff build a
robot that outlives
us meatbags

Step-by-step | Vignette | by Creative Green Stuff World
B
y way of
introduction, for
those who do
not yet know us, we are a
Spanish company dedicated
to the design, production and
distribution of accessories
and tools for modeling and
wargames. In addition, we
are lucky enough to say that
we love both, which makes
us want to gather around us
people who enjoy the hobby.
Nothing better than this
magazine to share with you
what we like!
And what we like is the
creation of “parallel” worlds.
With the right tools, you can
create miniature realities.
That’s why we’re going to
create a vignette based on
the laws of robotics, where
the human being is absent,
perhaps because the machines
have definitely taken control.
Give your interpretation that
you like!
With the right

tools, you can
create miniature
realities.

01 Whenever we start a project, it is very important to

know the amount of space we have to display the project,
and above all, to present the different elements prior to starting
02 Well, that will be the space where
we will tell our story, which we
will decorate with the remains of a collapsed
the construction. wall, with pieces taken from our mold for
concrete blocks.
03 We are going to use our plastic

tubes to give an industrial
environment to the vignette, manufacturing a
04 And to help tell the story, a billboard on the wall,
which we will manufacture with plastic strips.
section of broken pipe.

05 The poster
is easy to
manufacture, we only have
to try to give it an old and
deteriorated aspect, forcing
the angles and folding the
surfaces. If we want to
recreate a post-apocalyptic
environment, given the detail,
don’t forget it.
06 We have finished
the terrain,
slightly elevated to the rear,
lower to the front, so that the
angle of vision is perfect from
any position.
07 It is important to
work on a surface
that helps us in the final finish.
For that reason, we prime the
cement, earth and sand with
grey matte surface primer.
08 On that basis, we
will use ochre
colours, earth and sand, to
decorate the different areas,
taking into account that the
final finish will be achieved
with pigments.

09 While we let the

terrain dry, we
focus on the protagonist of the
scene. A robot of the Fillbot
brand, perfect for the 1/35
scale, to which we will give
a glossy black primer before
painting.
10 The glossy black primer is ideal to

enable the use of chameleon colours
later on. Using this primer, the effects are
11 We have decorated the chest of the figure with “Cobalt Blue”.
The paint tends to turn from blue to purple, depending on the
light. The iridescent effect is really attractive.
accentuated.

12 Well, let’s let the robot’s paint dry,

adding colour at this stage. The
chromatic richness of a scene will make us
13 The wall is submitted to a session of washes or glazes
in brown and green to imitate moisture and decay. The
pipe, painted in rusty colours, will also have a blue rusty patina.
contemplate it with more or less attention. For
that reason, I advise to load of shades the same
one.
14 The time has come for pigments, which help us to

texture the terrain. Although there are many ways to
work them, I use a brush, fixing it to the surface with a layer of
15 Let’s start to integrate elements. The
poster has been painted in rust colour,
on which we have added a layer of chipping
airbrushed matt varnish. medium, then move to decorate it in yellow. We
want it to attract attention.
16 While the poster

dries, we have
masked the painted area
with chameleon paint, to
give colour to our robot. The
choice of this industrial blue
will give it a lot of prominence
in the scene.
17 Well, the painting of the poster is dry,

now it is a question of wetting it with a
brush, and lifting it, letting you see the layer of
oxidized colour below.

18 A good sponge dabbing session. We will finish the work

with a few touches of airbrush and sepia ink, and a little
oxide pigment.
19 This is how our post-apocalyptic stage
is going. We have used a transparent
plastic strip to imitate the trickle of water from
the pipe to the area that we will flood later with
artificial water.
20 It is very
important that
we leave messages to the
spectator, to accompany the
scene. These posters are part
of the environment we want
to transmit. They are printed
on photographic paper,
respecting the scale of the
vignette.

21 Now we approach
the most dangerous
moment of modeling! When
you must imitate water in a
vignette. We have made the
dam, directly with transparent
vinyl tape, which you can find
in any shop.
22 As you can
see, we have
decorated the bottom of
the flooded area, giving it
colour and adding vegetation.
Carefully and very slowly,
to avoid bubbles, we drop a
thread of artificial water.
23 It’s time to wait for the water to

dry out. Normally it is a matter
of 24 hours. I advise to avoid that in that time,
24 If the water has become a little uneven, which can
sometimes happen, acrylic products to imitate
water, are very good for smoothing the surface. They dry in the
dust or impurities can fall onto the surface, air and are completely transparent.
so protect it as much as possible, a tin or pack
lunch box placed over the top.

25 New drying time for our terrain, which we use

to give touches of aging to the robot, gently, in
some areas. We use oxide colour and a very fine (pince.) No
26 Cyanoacrylate glue of fast drying
and our scene is almost ready!
exaggerations in this case.

Here you have the

vignette...I hope you like it!
Translated with www.
DeepL.com/Translator

Stone
cold
killer
Kristian Simonsen
throws some light,
and shade, into the
Gorgon’s Cave part
of Aradia Miniatures’
Divine Comedy series

Step-by-step |Gorgon’s Cave | by Kristian Simonsen
G
orgon’s Cave from
Aradia’s Divine
Comedy kickstarter
last year is a fantastic little
vignette featuring Medusa
fighting a Greek hero. She
has turned him to Stone and
is now crushing him with
her tail, while looking away
bored. This little fight to the
This is a death is just another day at
the office for her, he is no
perfect challenge at all!
piece for This is a perfect piece for
my special way of painting
my special firelight and hard contrasts of
way of light and dark, cold and warm.
My use of fluorescent paints
painting for that firelight. I have really
firelight been looking forward to paint
this piece, now is the time.
and hard
contrasts GETTING STARTED
To begin with I constructed
of light a base with a background
and dark, inspired by my friends at
the Chromanaut studio in
cold and Copenhagen. This background
warm. I plate allows me to create a
background painting, placing
have really my piece within its own
been environment as well as giving
me the opportunity to fade
looking the 3D representation of the
forward to figures into the 2d background.
Upon the background I
paint this will make a small painting
piece, now depicting a vision of Hell.
With the help of boiling
is the time water, I bent the front of the
background plate to make
room for the vignette and
provide a gradual transition
into the background. As the
front was tilted I had to build
up something to create a level
base for the figures. I sculpted
stones in Miliput and added
some Juweela bricks to match

In the back of the ruin I

placed some natural stones
to fill in empty spaces and
create groundwork. Lastly, I
made a mix of PVA glue, sand
and soil, which I smeared on
the lower areas. After that I
brushed on a little water with
a tiny amount of glue, a little
soil and static grass. This, I
smeared randomly all over the
stonework to make it a little
rough and represent a tiny
the stonework at the bottom cured I ground some holes amount of vegetation. Just to
of the vignette itself. I let the with various sized drill bits give it a little bit of life, though
stones in the left side sort of with my motor tool. I did this I don’t I don’t think you’ll find much
slide out into an empty void. to make it look corroded and vegetation in Hell.
This provided a good and burned like the environment
think With this done I was ready
stable mounting point for the of Hell itself eats away at the you’ll find for some paint.
brass rod, that I used to mount plate. Once I was satisfied with
this whole thing above a nice my corroded areas I soaked
much THE FIRST COLOURS
wooden plinth. I test fitted the them in liquid polystyrene vegetation First, I base-coated it white.
figures several times during cement. This would melt the This is quite opposite to what
this process to make sure plastic a little bit, clean of
in Hell I do most of the time, but I
that everything lined up as it excess material and make for a had this vision of painting
should. Once the Miliput was nicely corroded looking finish. it in a warm red orange

I started
out with
a white
so my
red and
orange
would
stand as
pure and
bright as
possible
firelight from below one side mixing Aerocolor Carmine in

and a cold blueish light like the Magenta and lastly pure
moonlight and darkness from Carmine.
the other side. So, I started out Now I had a strong
with a white so my red and saturated red that faded into
orange would stand as pure something a little colder
and bright as possible. before dissipating into the
I came to regret this a base coat. I followed this with
couple of times later on while a big blast of the airbrush
painting as deep bright spots with black. I basically needed
can be difficult to reach with a black undercoat for the rest
the brush to correct, but in of the model. With the black
the end, I managed. With the down I had firmly established
white undercoat down, it was my main light source of
time to add the primary light firelight, rather focused and
source, that of the firelight. close, when later I would
I airbrushed it from below add light and volumes from
right in an angle of about my secondary light source it
45 degrees with Aerocolor would be much more diffuse.
Magenta. This would be the Then came the blocking in
direction of the light source. of the main colours. I would
I warmed up the red by first blend all colours into the

soft edges of the red areas, this point, but it is

going for a smooth transition. supposed to be in
Medusa’s tail got a mix of a dark setting,
Schmincke Phthalo Green so I would
and Vallejo Model Color Dark rather start
Sea Blue, our poor petrified quite dark
hero got GW Skavenblight and build up
Dinge with a drop of black highlights
and his helmet got GW XV-88 from there
mixed with Vallejo Model than the other
Color Burnt Umber. Medusa’s way around.
skin got a mix of GW Cadian All of the
Fleshtone, P3 Umbral Umber other colours than
and Dark Sea Blue, this makes the red were quite
for a kind of cold, not quite cold providing me with a
alive skin tone, Medusa is after strong contrast of cold and
all quite an unnatural creature warmth on top of that of
and Hell is not the most light and shadow. My colour
healthy of places to be. Her choices were also informed by
wings got a little of that as well. the complimentary contrast I get my
The crest of the warrior’s between the red and the
helmet got some pure Phthalo greens. I had further “plans”
colour
Green and lastly the stones for those: As I would highlight composition
of the ruin on which this and glaze the dark colours
battle takes place got a liberal I would take them more
down and
smearing of Skavenblight towards blue and as I would learn how
Dinge, black and Burnt highlight the firelight it would
Umber in random patches naturally move into orange.
the colours
and colour variations. All the I had in
time I avoided covering the LIGHTS AND VOLUMES
red areas and made sure that Now on to lights and shadows
mind for
any transitions from these to create the volumes. First up the piece
shadow colours and the red is our poor Greek hero. I go
were smooth. This stage is very with the principles of zenithal
interact
important to me because now lighting where I imagine the with each
I get my colour composition light coming from above, bear
down and learn how the in mind that this light source
other
colours I had in mind for the is secondary to the firelight so
piece interact with each other. everything is supposed to be
Everything is pretty dark at dark except from where it gets

direct lights
and reflections.
I mixed a little black in my
grey Skavenblight Dinge going
gradually darker downwards
and pure black in the deepest
recesses. Then I mixed in a I built
little Schmincke Titanium
White in my grey and went
up the
gradually lighter upwards and remaining
on the outermost areas and
edges that would catch the
volumes
light. In the end I made a few in the
highlights in pure white where
I imagined he would catch
same
the light from a source above way with
and a little behind him on the
background plate. In this way
light and
I sort of framed him and made shadow,
for a dramatic backlit scene. a lot sharper and focused to up to Titanium White. I kept
Next up was the Gorgon’s
always represent the shiny and hard it all consistent to capture the
tail. For the shadows I mixed keeping surface of a snake. I also made same cold mood of moonlight.
a little black in my green mix a lot of small dots of white for I glazed it all with a little
and pure black for the darkest
the same direct reflections everywhere. Prussian Blue in my airbrush
areas. When highlighting direction I made sure to leave a bit of to tie all the colours together
it I imagined the same light dark green or black in the and to further emphasise the
source as on the warrior. I
of the recesses between the scales. mood of cold light.
mixed in some turquoise and light I built up the remaining I painted the helmet of
Titanium White making the volumes in the same way with our hero using a non-metallic
highlights gradually lighter light and shadow, always metal technique. Starting with
building up to pure white in keeping the same direction of the XV-88 and Burnt Umber
the end. These highlights were the light and taking everything mix that was already there,

added
Umbral
Umber for
shadows, made the lights by
first using the pure XV-88,
then adding P3 Menoth
White Base to gradually
make it brighter. I put a lot
of thought into where I put
the lights and shadows on
the helmet, in order to make
it seem metallic and highly
reflective. When highlighting
the helmet, I went for a lot of
tiny brushstrokes instead of
the usual smooth blending
you mostly see in NMM. I
did that to add some texture
to the material, both in
terms of making it look like
the surface of beaten metal mood of moonlight. The most two paintings by Hieronymus
instead of highly polished, but extreme highlights got a little Bosch, integrating them as
also to make it seem worn I went for extra white at last and I added one background for my vision
and dented. a little bit of reflected colour of Hell! One is called “The
I added in some extra
a lot of tiny from the surrounding areas. Ascent of the Blessed”, the
reflections where it looked like brushstrokes other is called “The River
it would reflect the moonlight PAINTING THE to Hell” These images are
directly. When I had taken
instead of BACKGROUND connected anyway, being
all the lights up to white and the usual I would paint the background of the four “Visions of the
some of the shadows down to before finishing my model, to Hereafter” panels, made to
black; I airbrushed a glaze of
smooth tie all colours and elements match each other and to show
Prussian Blue, this helped tie blending together, as well as to make different aspects of the afterlife
it together with the rest of the them interact with each other. and the passage beyond.
model as well as keep the blue I had decided to try to copy I am a huge fan of Bosch,

I find him highly inspiring

and quite frankly challenging.
He has some very powerful
images of Hell which can
serve as a lot of inspiration for
works like my little vignette
here. “The Ascent of the
Blessed” depicts a tunnel
high up in the sky leading to
heaven. Angels are helping
the blessed, praying people
up there where they are
greeted by their loved ones.
I would use the tunnel itself
and the angels nearest to
it for my image. It would
hang there in the sky far
away shining like the moon
with cold clouds around it
offering the way out, though
impossibly distant.
“The River to Hell” on the
other hand shows this sharply
shaped rock jutting out of a
blood red river with a burning
inferno all around. Strange
demonic creatures and weird
animals all around and poor burning for the bright bit in the end
sinners drowning in the water. inferno behind the rock. I of the tunnel, painting the
A nicely horrible image of Hell airbrushed the water with surrounding area in mixes
or the way thereto. There were I refined Tank Brown and black in the of pale blue and grey. This
some demons and damned most shaded areas and then I followed up with a lot of
souls in the foreground of the
the image the same Carmine all over, brush painting. It was actually
picture, these I would omit, and tried that I had used on my figure. I important to add brush
because my vignette would painted the rock as one solid strokes to it in order to make
serve as the foreground.
to capture silhouette of black. With a it feel like a painting, so my
I started out with my as many fine brush I refined the image airbrushing with the stencils
airbrush, which I used to and tried to capture as many was only to get the shapes
block in the areas with the
details as details as possible looking at right and properly round.
most light and yellow tones, possible the picture in a book. Quite a Once I was happy with my
so my paint would get a nice daunting task I must confess! painted tunnel, I added a tiny
bright finish in these areas but
looking Once I was satisfied with angel leading a soul to heaven
stay dark and sinister in the at the my River to Hell, I painted the and some people to greet him
rest of the image. I sketched in tunnel in the sky. I airbrushed at the end. I glazed the whole
the rocks and other prominent
picture in the area white at first, then area around the tunnel with
features with a pencil. Using a book used a lid from a small jar as a Prussian blue and glazed the
a sponge, I applied yellows, stencil to make it round, then whole area of the River to Hell
reds, olive green, browns and airbrushed black around it. I with Carmine in keeping with
black to represent the chaotic, used a small coin as a stencil the rest of my vignette.

Fluorescents
are
transparent,
so the
effect
needs to
be built
up over
several
layers
LIGHTING THE FIRE

AND COMPLETION
The last and most
powerful step is to
make the glowing
firelight as powerful as
possible, I use fluorescent
paints for this. First, I used
Vallejo Model Color Orange
Fluo. I built up highlights with
this all over the Gorgon and the
her ruin in all the areas I had rocks
painted red in the beginning. and building blocks of the
Now this project comes ruin I let my brushstrokes
full circle! show in order to create
The fluorescents are an uneven and jagged
transparent, so the effect needs rock texture. This paint is
to be built up over several quite shiny, but this can be
layers. All my highlights of remedied with a little matte
this Orange Fluo were done in varnish. This I highlighted
2-4 layers. On medusa’s skin I with Createx Wicked Fluor
used nice smooth glazes. On Sunburst, which is a brighter,

more yellowish fluorescent

orange. This one is matte, so
I didn’t need my matte
varnish for this. The
Wicked Orange is also
transparent and I
built it up in the
same way. Lastly,
I made white
highlights to the
highest points
and sharpest
edges, which I
painted over with a
couple of layers of the
bright orange for extra
powerful highlights.
Then came the moment of
truth, time for final assembly!
The figure came on the
base without a hitch. I only
needed to tweak the painting
a little bit in order to match Then
the two parts. Among these
tweaks was an airbrushed
came the
glaze of yellow on the back moment
of the figure to represent the
reflected light from the scene
of truth,
behind. The wing needed a time
bit more adjustment in the
painting to come together
for final
with her body, but nothing assembly
alarming. An orange glaze on
the silver NMM spear tip and
I was done!
This was a very intense
paintjob for me and I was very
intimidated by integrating the
art of Bosch with my work.
Especially the task I set
for myself in recreating
Bosch’s painting and
make it work with my
three-dimensional
figure. It was quite the
challenge! But also, a
very rewarding piece to
make. I am very proud of
the result.

FIGUREMENTORS.com’s
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permalink/2066242986773235/
GALLERYSome of our favourite
works as featured on
Putty&Paint, who, like
ourselves, are keen to
support and inspire the
figure painting community
Fairy by Sergio Calvo Rubio
Find more amazing historical and fantasy Figure artists at puttyandpaint.com

Gallery | Putty&Paint
MAMA BUHO by Autumn

Junwoo-Park Priestess by
Chris Suhre
Queen of the Void by Enrique Valasco

Nalani by
David Colwell
Dimitr by Kirill Kanaev
Centaur by Andy Wardle
The Arcane Traveller

by Arnau Lazaro

Demon Slayer Lucilla

by Raffaele Picca
The Smoking
Caterpillar by
Luis Gomez
Pradal
Sword of Dawn
by David Arroba

CONVERSATION
Jay Martin
interviews
master fantasy
figure Artist
Jaroslaw
“Camelson”
Drabek

Conversation | Jaroslaw “Camelson” Drabek
Before we start talking Who have been your biggest

about figure painting, influences and how did
can you tell us all about you develop your skills
Jaroslaw the man? over the years?
Hi! Yes, my name is My biggest influences
Jaroslaw and I’m a normal were the CoolMiniorNot
guy from Warsaw, Poland! website and galleries
I’m 32 and I like French from Golden Demon
comedies, Heavy Metal, competitions especially
HipHop and Classical demonwinner.free.fr.
music. I also like good However, there were a few
cold beer! works that really influenced
and inspired a lot, such as:
When and how did you get - Grey Knight
into the hobby? Dreadnought by NANO
It was in 2006. With - Eldar Wraithlord by
my friend Bartek I walked Julien Casses
into a Cytadela store - Apothecary by
in my neighborhood. Matt Cexwish
It was a small shop - Brother Fonsel by
with Warhammer, Rafael Garcia Marin
Warhammer40k and aka Volomir
Warmachine & Hordes. I - Khemri by Derwish
remember that it was the - Landspeeder Storm by
year of Warhammer 6th Akaranseth
edition premiere, and we And many more, but
decided to buy a Battle for these were my biggest
Skull Pass box. That’s how inspirations!
it all began. I never had the
opportunity to paint

together with other good

painters, so except photos
I learned everything alone.
Of course, the basics
showed to me by my friend
Edwin Smoliński aka
Daith, helped to kickstart
everything but it was at
the beginning and it was
something like how to thin
paint and how to use the
drybrush technique, the
rest of the techniques and
how I paint today I learned
by myself.
Do you consider our hobby

to be an Artform?
Discuss...
In some way it is an Art.
I always say to my friends
who ask me what do I do
exactly, that miniature
painting is a form of
Modern Art. People paint
dolls and miniatures for
several centuries and then
like now it is kind of an
Artform. But like in dolls
case there are painters who
focus only in painting to
a simple tabletop level, for
example about 100-200
models per month as a
commission and here we
can argue whether it is
still Art. This way in my
opinion is colouring or
painting, it is not a form
of Art. I believe Art should
take time and should show
something more than just
putting paint on a model.
But there are also painters
who spend many hours
on one project doing
something special and
one of a kind and this is
creation is Art.

Of course, everyone funny or a nice model I

who wants to can be called use bright colours, but if
an Artist, but I think that this is serious model like
people create Artists, so if Black Sun Barbarian I use
you are a good painter and limited colour palette with
you do something good, desaturated colours. My
people will call you an compositions are always
Artist, and your work will very simple. Because I’m
be considered Art! really weak in creating
bases and dioramas. I
Can you talk us through how always try to focus on the
you achieve such strong model, not on the base. But
and pure colours in your I’m working on it, maybe
projects? soon it will change!
This is top secret!
Ok I joke! We all know you are an avid
Of course, I can! I GamesWorkshop fan but
paint on top of a black what is your favourite
basecoat. If you paint on universe Warhammer or
a black basecoat and your 40k and why?
first layers upon the model My favourite is
are well painted, you will everything that GW create!
achieve strong, “juicy” However, if push came to
colours! The secret is, to shove I think I like more
add black paint to the first the 40k universe. I love the
layers, this will help you to atmosphere and ambience
achieve a strong and solid of the Adeptus Astartes
basecoat, and with every projects! Crude, brutal and
next layer, the colour will gory! I think that Fantasy
be stronger and brighter. It Warhammer is for younger
is really simple! people who started their
journey in wargaming, 40k
Taking that answer further, is for real men!
how do you manage
to control your colour What has been your biggest
choices and create achievement to date and
harmonious and balanced what would you like to
compositions? achieve in the future?
I am always and So far my biggest
constantly inspired by achievement is the Grand
Fantasy and SciFi Arts. If Prix on Hussar where I
I want to paint a cool Orc won a ticket to Crystal
I google “Fantasy Orcs Brush Chicago where I
Art” and I search for the won 2 Bronzes. Also, I’m
inspiration, then the rest really proud of my Gold
is in my mind. I always Demon from the Golden
try to match colours Demon UK 2013 in Single
to the atmosphere of Fantasy category. There
the miniature. If this is were about 100-150 works

in this category, but judges

choose my Skink Priest for
the Gold! (I remember it
well Ed.).
And my biggest
achievement in the future,
as a fan of GW, is to win
Slayer Sword in the UK
of course! One day it
will be mine!
I remember all of the help

yourself and the other
Polish painters gave me
when I started taking
my painting more
seriously. You have begun
teaching in Poland have
you considered running
seminars and workshops
around Europe/Rest
of World?
Of course, but I really
do not know where to
start with them! In Poland
people invite me to
organise workshops, no
one yet though has invited
me to another country
and I really do not know
the stores or people who
can help me organise
such workshops. Maybe
after this interview it
will change!
Can you tell us about the

Cyberpunk 2077 project?
I can’t tell you much
about this project, because
NDA hold me. But there
was an idea, and guys from
CD Projekt RED asked me
if I’m able to paint a model
for them, of course I was
ready to do this and that’s
all, it was a conceptual
model on the basis of
which subsequent copies

– gifts for journalists etc.

were made.
What differences are there

between painting smaller
scales such as a Space
Marines and something
more ambitious like the
Glottkin?
The main difference
is time I spend on it. I
always try to paint to
the same level regardless
whether it is a small or
big model, I always try to
paint on top. So biggest
difference is time!
More and more painters turn

to other avenues to raise
money such as Patreon,
how are you finding the
platform and what can
prospective patrons
expect if they were to
join you?
Patreon is not my way
to earn money, because I
have really small amount
of permanent Patrons,
I do this because it is
good replacement for
Workshops. I do video
tutorials for my Patrons
about my painting, and I
will do more and maybe
one day I will have more
patrons and I will focus
only on Patreon!
What is your creative process

for each project, do you
do lots of research, do you
plan your colours etc first
and so on?
As I said before when
you ask me about colour
choices I search for an
inspiration on the internet,

mainly looking for the

Fantasy Artists painters
and sculptors. I often try to
plan my colour palette, but
it always change during the
painting process.
When can we expect

to see a Camelson
historical figure?
When I will find figure
that I will like, haha! But to
be honest, I think it is not
my style. I want to focus
to improve my fantasy
painting and maybe one
day I will paint something
historical. Also I really love
to paint plastic models, I
hate metal models… and
most of historical models
are metal, maybe this is
why I still do not paint any
historical model.
What are your secrets and

techniques that enable
you to paint consistently
at a high level and so
very quickly?
I’m a really slow painter!
There is no secret or any
mystical technique how to
paint on high level, you just
have to spend a lot of time
on painting and perfecting
your techniques. There is a
simple diagram that I tell
to everyone who ask me
about painting. My skills
are 10% of talent, 20%
of inspirations and 70%
of hard work and time I
spend on painting! It is
really simple! And as I
said before, I’m a really
slow painter, I paint 1 or 2
models in time that others
paint whole unit, lol!

You are a prolific commission

painter, how do you
maintain you mojo ?
I think I maintain
my mojo because I like
it, I just like to paint
miniatures. I really love to
watch paintjobs of other
painters and looking for
inspirations. But this is
just about my mojo, about
commissions I mostly paint
like my clients wants to.
So here is only technique I
need to focus on. But I also
have days that I lose my
muse, and I do not paint
until it is back! Sometimes
I just need a few days off.
Rarely happens that I do
not paint for weeks, but
always when I come back, I
do so with more power and
new ideas and often it is
a moment when my skills
grow. Sometimes a little
break is good!
Can you tell us about the

painting community in
Poland and why there
seems to be so many
incredibly good Polish
painters?
Why they are incredibly
good in Poland? I do
not know, haha! Maybe
because they spent a lot of
time painting miniatures
and always trying to do
it better and better. Here
in Poland we have a really
nice painting community,
we often meet and paint,
or just talk and drink beer,
but there is no hate and
sick competition between
Polish painters. I really
like my painting homies

from my country! Once

a year in the largest group
we meet on Hussar, the
biggest Polish painting
competition, where
everyone shows their
latest works and we talk
about it and we advise
each other. This is maybe
another reason why they
are really good!
But I think on first place
is still hard working.
Tell us about your paints

and tools? Also there
is a big debate about
brushes at the moment,
what are your favourite
brushes and why?
I use paints from
Citadel and Vallejo
Model Color. I also have
few paints from other
manufacturers, but I like
the most Citadels. There
are many opponents of
Citadels, but probably
because they just prefer
different paints. I love
Citadels and I think they
are very good paints and
colours. Sometimes you
have to spend more time
to cover well with Citadels,
but for me it is not
a problem.
About brushes… yes,
there are a lot of brushes
and many companies that
produce brushes, but I use
only Windsor & Newton
brushes. I know it is not
original and someone
will tell “OMG W&N
again!”, but this is true,
W&N Series 7 are the
best brushes ever! I used
many companies cheaper

or more expensive, but I

always come back to W&N
because their brushes are
great from first touch to
the last one. Face the truth.
Of course it is my opinion
and maybe I just got used
to them, but I didn’t find
any better so far!
Finally for those looking to

improve their own skill
sets what advice can
you give?
First will be of course
the most important, it is
hard work and time you
had to spend on painting.
As I said before there is
only 10% of talent, the rest
is inspiration and practice.
But there is also very
good way to improve your
painting, competitions. Yes,
painting competitions like
Golden Demon, Monte
San Savino Show, Hussar,
Crystal Brush, Scale Model
Challenge etc. There is
nothing better to see best
painted models in real and
talk to other painters. This
is what Polish painters
do. Every Golden Demon
and Hussar gave me a lot!
I remember that feeling
when you see something
amazing in showcase,
and you want to take
your brush and paint
straight away, right there
now and just paint your
model better!
I think this is the most
important, inspiration and
hard work!
Thanks!
Camelson.

Beauty
technology
of
The
Arnau Lazaro downloads

his ‘mind process’ when
approaching a new project
in this case he chose Life
Miniatures’ Mirai Humanoid
Cyborg Assassin A.D.2074

Step-by-step | Cyborg Assassin A.D. 2074 | by Arnau Lazaro
MIRAI ANALYSIS, HOW
Y
TO APPROACH A PROJECT.
ou know when you see
a figure and you know
this will be a really fun
canvas for you? Well this
happened to me with this
beauty from Life Miniatures. A
friend and collector asked me
if I wanted to paint her and I
immediately said yes.
We will try to explain
in this article what are the
main points for achieving
the result seen on our Mirai
figure, which “mind process”
we followed and what
technical aspects or tricks we
used to reach our goal.
At first when you approach
a figure you need to have a
plan for it, something you
want to achieve with it. My
friend told me he liked the
technological lights like blue
or green so I knew I wanted the chest.
to do something with a bright Very fragile
light but without losing the and humble she is
delicacy and softness of the covering her breasts, almost
character. like in a modest way. At the
The important points for same time, she has a very
me about this piece was like I hard and badass side, with When you
said the feminine the metal parts and the gun.
part such as the The way she is holding her
approach
face, the metal arm, feels like she a figure
arm, can have some issue
with it, maybe it was
you need
damaged in some to have a important to consider what
mission. This you want to do, we are not
would make
plan for it, just colouring, we are creating
her vulnerable something images, 3D artworks of fantasy
as well, so or historical characters. It isn’t
more contrast
you want much fun to paint something
between her to achieve without a background story,
two sides. it is always better when we
This was
with it look at it, we all have a huge
the reasoning I imagination and immediately
had before I started we will wonder, maybe
painting. I think it is very unconsciously about the

situation that surrounded the

character.
We all started doing what
we could, painting the best
we could and improvising to
achieve the better result, but
having a goal, you will paint
better, quicker, probably you
will struggle less with the last
hour decisions (you know,
how the heck will I paint
this or that now to fit with
the other painted parts) and
definitely you will have more
love for the piece once it is We all have
finished.
For doing this, we
a huge
need more than just our imagination
imagination, but also
references. We all have a very
and
large data base in our head, immediately
but this data base is not easily
accessible, usually it is a bit
we will
blurry, so we can decide and wonder,
know what we want based
within our “head gallery”
maybe
however, it is very difficult to unconsciously
copy it from there, yes? We
need then some references, for
about the
example in this case, I asked situation
my friend to present me with a
series of female cyborg images
that
from a google search, to help surrounded
me visualise what he had in
mind. I found great ideas in
the character
this search, not just what I had
in mind but also good things
I could use. The idea for the
base started here too, it is a
very simple resource but does
the job perfectly. I thought
she would be in a bath of
restorative liquid, where she
is still cautious due to herself
preservation protocols and
her recent encounter with a
formidable adversary.
In this search I also found
some ideas taken from

Manga characters such as the tedious than it actually is, it

little “panties”. Then, once can take you half an hour or
everything is sorted and I less, just stop and think a bit
know what I want and where about what you want to do
I have to direct my painting with your figure.
I tried to match exactly what As you can see in the
my imagination was building pictures, the piece has a few
through the process of very important focal points.
research. Let’s start with the chest
This step seems more and face.
Both face and chest are
very bright, we have here the
most important part of the
figure, we have to make it
‘’shine’’ so almost nothing can
overstep this brightness. The
face has very high contrast
Both face even with the soft transitions
and some powerful colours
and chest are around the eyes. This is
very bright, because we want to catch the
attention there. As the face is
we have here absolutely the main part of any
the most figure, more even in a bust, we
need everything to be as sharp
important and well defined as we can.
part of the The different eye colour (some
sort of cyborg heterochromia)
figure, we is very catching and even sexy
have to so it was added to the pool of
eye-catching things
make it we used for it.
‘’shines’’ Next,
we

and thighs. Just

underneath we
will find the
blue light
from the
base OSL.
I
usually
do these
kinds of
effects first,
sketched
with airbrush
have to understand
then where the lights
the metal will start, end, etc. In the
arm. This element is very picture above, you can see the
bright by nature because I preliminary effect, quickly
chose to make a polished and done with airbrush. At the
shiny metal. This is why we end we will have to work a
had to compete a lot with lot on it, making shadows,
the chest and face because increasing lights etc. But it is
in brightness, we had some really important to have this
equals. Anyway, it is not first. Once we have the OSL
something that overly bothers sketch, we can start working
me at this point, because this on the entire figure sketch,
is also a very important part of and we will start seeing the
the piece along with the burnt/ overall effect.
corroded hand and wrist, the Sketching is one of the
lower part of the arm loses main points of my personal
strength in the overall view understanding of painting. I
and this is interesting because use this part of the process to try and repeat things so we
the abdomen should be and it really define what I want, and Don’t be lose a lot of time, second, we
is a lot darker than the upper to try to make some effects don’t know where the figure
elements. So now, we have the pop, because effects like OSL
afraid of is going, so we can’t really tell
beginning of the very dark are never easy and you have trying if it is right what we are doing
zone required to create the to find the way that your brain or what we really want. It is
effect of the blue light. tells you “this is acting like
things, be quite easy to give something
In a project with Object a source of light”, not just a ambitious the approval when it is really
Source Lighting (OSL) it coloured part of the miniature. under what we had in mind
is very important to have a In conclusion, it is very
with your the first time because we don’t
strong shadow, because a light important at the start of a projects, have anything to compare.
touching another light, breaks project to have a plan for The other thing is don’t be
the effect. Lights are made the figure, this is the better
it’s the afraid, trying things and being
because they have a shadow way to speed all the process best way ambitious with your projects
immediately behind it. So, in and make everything work is the best way to improve.
this case, we need the zone of together at once, because
to improve Have fun guys and see you
shadow to be along the hip when we improvise, first, we between brushes!


REVIEW
The ToadFather
by Aradia Miniatures
Review by Jay Martin

Review | The ToadFather | Aradia Miniatures | by Jay Martin
Manufacturer: Aradia Miniatures

Title: Toad King: the Toadfather.
Scale: 75mm
Material: Polyurethane Resin
INTRODUCTION
When we decided at
Figurementors to release a
fantasy painting magazine,
there was only one company
on my mind who I wanted
to review for the very first
issue. Aradia and myself go
back a long way and this feels
a little like a rebirth for me!
When I made contact with the
guys and they told me of the
impending release of a new
ToadKing I was so excited
and for good reason too!
Sculpted by Joaquin Palacios
and based on the concept by
Stefano Moroni, this is a nine
part, 75mm scale figure cast in
polyurethane resin.
This continues Aradias’
fantasy range and is a stunning
sculpt! I have received one
of the very first casts prior
to its pre-release at Scale
Model Challenge, during the
weekend of October 20-21st.
As such the piece was sent in
plain packaging, at the time of
despatch the beautiful boxart
by Arnau Lazaro hadn’t even
been finished. My figure is SCULPT AND DESIGN
also currently missing the Let’s begin with the design, I
feather headdress which love it! The ToadFather sits,
was being cast separately lounging in fact, upon a tree
and to which the guys stump which is slowly being
at Aradia will ship on to taken over by fungi. The
me as soon as possible. base is a two part affair with
What we present here is the branch arching up and
the very first sighting of over to the figures right hand
the new ToadKing! side, smaller stylised twigs
twist and curl like tendrils
of smoke. The composition
of the kit makes for an

interesting project, whether positioned to clever cover the

painted as it is, or one even join although an initial dry fit
more expansive. This clever shows that a little gap filling
composition offers a balance to may be necessary. The elbow of
the figure and gives guidance the left arm then nestles upon
to the painter to achieve a very the branch, adding to the sense
pleasing result. of weight and volume of the
This character reminds piece. The right arm connects
me in some ways of the at the shoulder, a natural fit
jungles of Lustria in the but again some putty may be
Warhammer universe, simIlar needed. The hand rests upon
to the Slann mage priests. his brow, thoughtful and
Either way, the ToadFather contemplative.
for me is a protector of the In addition to the main
jungles, a guardian of nature. character and the base we
I can imagine damp, humid have a little snail fanning our
environment, trees, creepers, ToadFather with a clover leaf,
bugs and small reptiles and a nice little touch of humour to
amphibians scuttling around further tell the story that this
in the undergrowth. Toad is important and regal.
As always the sculpt by
Palacios is stunning, capturing CAST QUALITY
all of the pomp, confidence In places the cast is a
and “royalty” of our little rough yet on further
ToadFather. The majority of inspection all of these areas are
the figure is cast in one piece hidden once the toad is in situ
and sits snugly to the hollows upon the stump and probably
of tree and fungi. This is an more a reflection of the cut
anthropomorphic character for casting than anything
but leading more to the side else. There is a little clean up
of wild animal than man, with on the toad, with some mold
bloated stomach, webbed lines present on the stump
toes, broad mouth and a bug and branch, putty will be
catching tongue. The face is needed to assemble the two
exquisite, perfectly capturing parts of the base. There is a
the essence of a toad, with mold line that runs the length
beady, intelligent eyes and of the snails back but careful
squat snout. removal should not deface any
The left arm carries the of the details. All in all the cast
elaborate looking “sickle” quality is very good and there
bladed weapon, the curve of are no major defects such as
which accentuates the lines air bubble holes or casting
that flow throughout the slippage. After I assembled
design. There is a length of the figure I decided to test fit
handle that needs attaching to the tree where I discovered
to the blade, I may consider there wasn’t a perfect fit. So
pinning mine for extra I have decided to assemble
stability. The forearm attaches the whole kit in one assembly
at the bicep with a arm torque and then I filled with Milliput

any gaps between Toad and

the stump.
PRESENTATION
With my copy being a preview
of a pre-release mine arrived
in plain packaging although
I am sure, just as with other
releases, we can expect to see
the usual style of packaging,
plastic clam pack with the lid
adorned by the beautiful box
art of Arnau Lazaro.
COST
This is a sumptuous kit, lovely
character, composition, details
and textures. As I have said
many times before Aradia
Miniatures for me lead a small
list of companies who actually
design their own concepts
and bring their ideas to life
in miniature form. With that
in mind the €60 asking price
seems a bargain! The official
release date is October 25th!
Our Verdict
HIGHLY RECOMMENDED One For The Grey Army
Give it a chance Not This Time

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Composition
in
Miniature
Art
Chris Suhre
tells a
story with
cinematic
framing

Theory | Cinematic Composition | by Chris Suhre
H
opefully it’s no big DIFFERENT TYPES a more photographed/posed
surprise that to OF COMPOSITION effect. An advantage of forced
do well in painting Composition can be broken composition is it helps direct
competitions you need to have down into a few different the viewer’s eye to where
a good grasp of colour theory, areas. There is forced vs you want it.
lighting effects, and painting natural composition. There
techniques. But having a well To quote is balanced vs unbalanced Natural
composed setting can also composition. There are Natural composition is when
help you present a much more
a famous various geometric shapes one there is a lack of parallel lines
pleasing piece to your viewer. pirate can employ in composition in a piece. This is more often
Have you ever noticed that and then there are ways to what we see in dioramas
certain dioramas keep your
captain, arrange your elements to keep where there is a battle. That
eye traveling around while these are the focus on your main point. doesn’t mean there can’t be
others seem scattered? This good composition within the
is due to composition of the
more like Forced piece yet. Just that warriors on
setting. In this article we will guidelines First, let us address forced opposite sides of the battlefield
discuss some of the elements composition vs natural shouldn’t be directly lined up
of composition and how we
than composition. In forced against one another.
can use them to reinforce the actual composition we are lining our
feeling we want to invoke in models up with the scenery Forced Example
our viewer.
rules. around them in parallel This is the Devil Shadow
lines. This gives a forced or Mutineer’s by Kat Martin.
Rules artificial feel to the piece. This is an example of forced
A note before we start. To This is often what we see in composition. Notice how it
paraphrase a famous pirate family photos. Everyone is almost seems like the crew
captain, these are more like lined up and placed in front of members came out of the bar
guidelines than actual rules. scenery or behind it but not and then posed for a picture.
It’s okay to break the rules but actually interacting with it. We can draw parallel lines
you need to understand what Forced composition can work not only between the figures
they are first and why you’re on a display piece but you themselves but the scenery
choosing to break them. should realise it will give you around them.
Devil shadow mutineer Devil shadow mutineer forced composition

BALANCE
Next is balance. Balance is
when the piece is divided in
half vertically and it appears
to have the same “weight” on
both sides. In general we
often want our final piece to
feel in balance, but there are
times when we don’t. Now
this can be done simply by
making sure the same number
of items are present on each
side. For instance, a 5 man
unit of troops, having the
leader in the middle with 2 Devil shadow mutineer balance
troops on either side produces
a simple balance/symmetry to Symmetry
the piece. This is also known Look back to the
as perfect balance, when all Mutineer’s by Kat. The scene
items are distributed evenly can easily be divided down
both in quantity and weight the middle vertically with a
between both sides of the member on either side and a
piece. There is also balance by balance in weight of the items
equivalence when you have a on each side on the back wall.
large item on one side and its Notice the symmetry and
visual weight is balanced out forced composition in this
by numerous smaller items scene from Game of Thrones.
on the other side. It should Game of Thrones balance The items, hues, and light are
also be noted that balance equal on each side making
can not only be created by the this a balanced scene. Notice
weight or quantity of items the importance of the balance
but by colour itself. Warm in this scene. By having the
colours (red, yellow, etc) have scene in balance both Little
a higher visual weight than Finger and his opponent seem
cold colours. Harry Potter balance to not only be opposed to one
another but to also have equal
footing/power at this time.
Assymmetry
In some instances though
an unbalanced image would
work best. In this image from
Mad Max Fury Road notice
how the majority of the
weight is on the left side of the
image. This works because
it helps to reinforce this idea
of a desolate place that Max
Mad Max unbalanced lives in.

INVISIBLE GEOMETRY Take a look at Winter’s

We’ve hit on the ideas of Maw. By adjusting the
forced vs natural composition creature’s right leg upward, I
and symmetry/balance was able to bring the head and
vs asymmetry, let’s now hands in a horizontal line with
discuss geometrical types each other. This coupled with
of composition. These are the ice shards on the back and
patterns you can place within the mammoth skull created
your composition to reinforce a cross composition with the
the importance of an item or lines meeting right over the
enhance the feeling generated face, helping to drawing the
by the piece. focus to that place. You may
also notice how the trees in
Cross the background help frame the
The first type of composition piece. I often like doing back
pattern is the Cross. This is drops to my pieces because it
probably the easiest form of helps direct the viewer to what
composition with which to I want as the front of the piece.
Winter’s Maw highlight our main character. It helps define the optimal
Simply put there’s a vertical position to look at the piece.
and a horizontal line that run Notice in this screen
through the piece and these shot from Jaws how the wife
two lines are perpendicular to behind Brody and the flat
each other. The two lines form horizon form a cross that
a cross and the maximum draws even more attention to
point of interest is where the what the director wants you to
two lines meet. focus on, Brody’s face.
Jaws Cross configuration
By adjusting the creature’s right leg

upward, I was able to bring the head
and hands in a horizontal line with
each other. This coupled with the ice
shards on the back and the mammoth
skull created a cross composition with
the lines meeting right over the face
Winter’s Maw Cross configuration

Grid
The second type of geometrical
composition is the Grid.
Create an imaginary grid
with 2 equally placed parallel
horizontal and 2 vertical
lines creating 9 sections on
the grid. We then work to
arrange figures in each box or
at the points of intersection
between grid lines. This is also
known as the rule of thirds.
The grid often works well for
arranging multiple figures
on a single piece. Take for
example Kith, Kriel, and Kin.
Place an imaginary grid over
the diorama you can see how
pieces are placed in different
sections and at points of
intersection.
Here is another example
of the grid placement in some
famous screen shots. In the
Incredibles screen shot the For Kith, Kriel, and Kin
grid is used to place focus
on Mr. Incredibles face. Also
notice that this scene is
not balanced which makes
him feel a bit more alone or
isolated.
Incredables Grid composition
Rear Window Grid Composition

Kith Kriel and Kin Grid composition

Diagonals
A third type of composition
is diagonal composition.
Diagonal compositions are
often dynamic and reinforce
the feeling of movement in
the piece. This can be made
even stronger if you combine
it with additional forms of
composition like the grid.
Take for example Borka’s
Berserkers. Notice how a
diagonal line can be drawn
through the Earthborn into
Borka and then the Axer.
This diagonal line reinforces
the feeling of movement or
charging that is present with
the figures in the piece.
The diagonal composition
can also be seen in these
two screen shots. Note the
sense of movement in these
Borka’s Beserkers still images.
About Chris Suhre

Chris Suhre is a miniature Artist
from the United States who has
placed in Crystal Brush, Privateer
Press P3, Gencon Modeling and
Hobby Events, and ‘Eadbanger
online competitions. You can find
more of his work at Chris_Suhre_
Miniature_Art on instagram and at
www.puttyandpaint.com/Dvader.
Borka’s Beserkers Diagonal Composition

Triangle
The triangle is a fourth form
of composition. The observer’s
eyes often scan miniature
pieces for basic geometric
shapes including the triangle.
The triangle composition helps
guide our eye to all 3 corners
of the triangle and placing
objects at these intersections
can increase their prominence
within the piece. The triangle
composition can also lend
prominence to items within
the shape.
In Dogs of War a triangle
symmetry was used to
highlight the importance
of the Butcher and his two
war dogs. The blue line helps Dogs of War Triangle Composition
shows the symmetry in the
piece. By placing the Butcher
at the top of the triangle he
is made to feel like the most
powerful and important figure
in the piece.
Blood and Flame by
Andrew Leung also uses a
triangle composition. Note
again how Andrew used
a triangular composition
to guide the observer’s
eye to each member of the
Daughters of the Flame and
then keep the Dire troll within
the triangle composition of
the piece.
These screen shots for
Stanger Things and Breaking
Bad also use the triangle Blood and Flame Blood and Flame Triangle composition
composition to keep your eye
scanning over the piece.
Breaking Bad triangle Stanger Things triangle

Thor Diamond Composition
Diamond branches, swords, spears etc,

The final geometric shape in you can orient them to point
composition is the diamond. back toward the key item in
In the diamond we are lead the piece.
from one strong focal point In this piece, called Into
at the top, out to both sides Darkness, you can see there’s a
as we scan the piece and then pillar in the left upper corner
back to a strong focal point to grab the viewer’s eye. The
at the bottom. I don’t have a yellow and orange lines show
personal piece of diamond how elements in the piece are
composition I can show but used to frame it. The purple
let’s examine this screen shot line shows how each figure
from Thor. Note how you start looks to the next. Into Darkness
from a strong upper focal
point, scan the piece back and FINISHING THE SCENE
forth, and then end at a strong To summarise, there
focal point at the bottom. are several elements that
go into making a beautiful
FRAMING display piece of miniature art;
To wrap up this article we’ll painting techniques, colour
discuss a few additional tips theory, and composition.
and tricks for composition. Composition can be used
When constructing a piece you to make a display piece
can use terrain elements to more visually appealing by
frame the sides of the piece to employing techniques like
keep your viewer’s eyes locked balance, forced vs. natural
in. In most languages we read composition, and geometric
left to right. Having an item in shapes hidden within the
the left upper portion of the piece. Hopefully you’ll be able
piece can help pull the viewer’s to apply these techniques in
eye in. If there are items in future pieces.
the piece; say like broken
Into Darkness framing

Classical
Atelier
Dmitry Fesechko
draws from classical
painting techniques
to inform modern
skin tones

Theory | Classic Skin Tone | by Dmitry Fesechko
M
any miniature the visible light spectrum. materials different objects
artists face Colour Because of the difference in were made: leather, metal,
problems trying to wavelength of light our eye wood… Colour is not so
paint human (and not only
is not so can distinguish yellow from dramatically important for us
human) skin realistically. important blue, etc. This parameter to realistically depict different
In my experience the main forms the basis of the colour materials. Tonal values
problem is inaccurate tonal
for us to wheel. Saturation is how vivid and value relations—that is
values. The second common realistically the colour is. It is the intensity important. Sometimes it is
problem is oversaturated of a hue from grey tone (no also called Brightness.
colours. And of course, we
depict saturation) to pure, vivid To measure the values
should not forget about colour different colour (high saturation). But artists usually use tonal
relations. Let’s take a look at the most important property scale, dividing it from 0 or 1
each of them.
materials of all—Tonal Values. (black) to 10 (white). Or vice
while If you desaturate a photo, versa. It does not matter. But
TONAL VALUES then you can notice that you should always compare
In colour theory, colour
Tonal our eye still recognizes your values to get proper
has three properties: hue, values are materials. Even looking on relationships.
saturation, and value. Hue black and white photo you
is the wavelength within can understand from what

Now let’s analyse some

paintings of old Masters.
One of my most favourite
portrait painters is Rembrandt
van Rijn. If you look at his
paintings you can notice that
he depicted the human skin
in very high key of the tonal
scale, even the shadows. And
he was not the only one. Look
at the paintings of John Singer
Sargent, William Bouguereau
and others. The effect of the
skin that glows from the
inside is something that makes
it look realistic and conversely,
dim dark shadows on the skin
(many miniature painters like
to use it) make it look burnt
and dead.
Let’s have a look at
the desaturated photo of
Rembrandt’s self-portrait.
We can say that the face

is divided into the shadow
area and the light area. The
light area has values of about
7,5 (75%) on tonal scale. The
shadow area has values of
about 3,3. Reflected light
in the shadows—4,5 and
highlights - 8,5. What can
we learn from this? First, the
tonal scale of the face has
about 5 steps: from 3,3 to 8,5.
Second, there are no 100%
white highlights on it. Third,
the darkest shadow is quite
light—only 3,3.
Now let’s take a look at
the painting called Mimosa
by William Bouguereau. We
have almost the same tonal
relations here. Highlights—8.
Lights—7. Shadows—3.
Reflected light—4. The same 5
steps on the tonal values scale.

You can use the same

relations in your miniatures.
For example, I have
desaturated “Demon hunter”
miniature, painted by me
to show you quite the same
tonal relations. About 8,5 for
highlights, 7 for lights and 3
for shadows.
I also would recommend

you pay attention to the scale
of a model. Usually we look at
the model under the sunlight
or under the lamp light. Both
of those light sources lit from
above. It gives you additional
shadows on scales higher
than 54mm. Especially, don’t
forget about dropped shadow
when you paint busts. On
scales 54mm and less you can
enlarge your tonal scale for
the skin to have more contrast.
On this bust my tonal
scale was the same—from 3
for shadows to 8 for lights. To
create some focal point on a
face I usually allocate the area
under eyebrows with deeper
shadows and I use some
lighter highlights on nose and
forehead. Also pay attention
how dropped shadows affect
the overall look.

HUE AND SATURATION and divide it into shadow, light crossed or an arm held tight
OK, now we are slowly and highlight area. Highlights to the chest and so on. Skin-
moving to colour itself. are directly reflected light and tones start to reflect each other
Human skin (and not I prefer to paint them with and become very saturated
only human) is quite a very light bluish colour. You in their shadows. Also pay
complicated material. It has can find a lot of information attention to the chin and lower
a very interesting property— that shadows should be less shadow area under the breast
so-called Sub Surface saturated and cold. Well, for The of female subjects.
Scattering. Light pierces the some materials it works but Shadows are definitely the
skin and starts to scatter under usually it does not. Especially
colour of most colourful area, don’t
it acquiring colours of blood, for the skin. If you want to lights on overpass it, especially painting
bones, veins. And the same paint realistically you should busts. Also, shadow area on
time it has some local colour forget about it. What happens
the skin the skin is usually the most
and it also reflects the light with shadows? First of all, consist saturated and now we are
of course. remember about sub-surface moving to lights.
Now I want to talk about scattering. Areas that have a
of some The colour of lights on the
light a little bit. Usually we lot of blood capillaries under reflected skin consist of some reflected
imagine our model under the skin would give you some light from the light source,
the day light. Let’s forget reddish tones. Especially
light from local colour and colours
now about Object Source fingers, toes, central area of the light from sub-surface scattering.
Lighting (OSL) effects or the face. If you have seen a dead skin
dusk and dawn light. What Where bones are near the
source, colour, then you know that it
is daylight and how does it skin’s surface—there you can local is very light and pale, little bit
look? It depends on external usually find some greenish yellowish.
influences such as the weather. yellow colours. For example,
colour and A “peach” colour of human
If we have clear sky, then forehead and temple of the colours skin is obtained because this
usually the light is very cold. face. Sub-surface scattering pale yellowish colour mixes
Yep. It is cold. It consists of works not only in shadows of
from sub- with red colour of blood
about 70% of reflected bluish course but it is in the shadows surface under the skin. If we also add
sky dome and only 30% or you can find a lot of reflected some reflected bluish colour
less is warm colour of the sun. light from nearby objects. If
scattering to this mixture we get quite
Many miniature painters try there is red cloth near the a desaturated (comparing
to use warmer colours for the shadow, for example, then to shadows), pale colour,
lights, but if you want to paint it would be reflected. If you sometimes almost grey. So,
realistically—it works vice paint a nude figure, or two this is a secret of realistic
versa. Also, we can imagine semi-nude figures are in close skintones and Masters of
some cloudy weather—then proximity to each other, then traditional painting know it
the light would be neutral, but pay attention where two areas well. Let’s take a look at some
still not warm. of skin may come in contact, paintings.
Let’s get back to the skin for example, legs may be

Anatomy Lesson by
Rembrandt. You can see the
saturation difference between
lights and shadows here.
Also, I chose this painting
to illustrate how sub surface
scattering affects the skin. The
corpse has no reddish areas,
while you can notice them on
faces. Also pay attention to
values, how light the skin is.
William-Adolphe
Bouguereau is a well-known
Master of skin-tones. You can
notice the same scheme here.
Shadows are very saturated,
about 45%. However, if you
look at angels faces, that are
also in shadows, you would
see even more saturated
reddish colour. About 70% of
saturation! Lights are quite
pale and have about 20% of
saturation. In highlights you
can notice how bluish colour
mixes with the colour of lights
and becomes colder and also,
less saturated: About 10%.
Now let’s take a look
how I use it when painting
miniatures.
If you look at
angels faces,
that are also in
shadows, you
would see even
more saturated
reddish colour.

The scale of this “Chaos

Dwarf ” bust is about 1/12
and bearing in mind that it is
a dwarf the real size is even
smaller. So I have pushed
up the contrast a little bit.
Lights have values of about
8,5. Saturation is about 35%.
Highlights are very close to
lights; tonal values are about 9.
Yet the saturation drops to 8%.
Shadows have values of about
3,5 - 4 and saturation rises
to 60%. You can also notice
that the face has more reddish
tint than the hand. Also pay
attention that the shadow on
the temple of the face is more
yellowish.
It would not be fair if I

would not write some words
about black skin for example.
Everything here works
quite the same way. More
saturated shadows, less
saturated lights. Lights
have tonal values of 5 and
35% saturation. Highlights
values—6,5 and saturation is
only 15%. Shadows have tonal
values of 1 and about 40%
saturated. By the way we have
almost the same 5 steps on
tonal scale, but the overall key
is lower.
More saturated
shadows, less
saturated lights.

BREAKING THE
RULES WISELY
I always repeat that in Art
there are no rules but the
knowledge will help you
to speak a comprehensible
language when you want
to express yourself, tell
something to people and
make an illusion of reality. It
does not matter if you want to
create an illusion of something
that does not exist in our
world. I am talking about
fantasy. But understanding
how the skin interacts with
light will help you to create a
miniature that makes people
to believe that it could exist in
the real world. Take a look at
my “Demonette” figure.
Shadows here have an
exaggerated magenta tint.
But still the pattern is the
same—saturated shadows,
desaturated lights and high
key of a tonal scale for the
skin. You can also see that
the face and hands have more
reddish/magenta colours.

On my crab knight bust I have The highlights on metal

intentionally lowered the tonal are almost pure white, so
scale key on all the model, they have the value of 10.
except metal, to make it look Now there are 4 tonal steps
shiny. The face has tonal between the lightest part of
value of only about 6 and 17% the face and lightest part of
saturation. While shadows the metal. If the lightest area
have tonal value 3 and 45% of the face would have a value
saturation. If you want to of 9, then there would be
make metal or some other only one step between it and
object shine—the trick is in the metal. Metal would not
tonal relations. shine anymore.

It does not matter if you

paint the green skin of orc or
some bluish skin nymph. Just
always remember how the
light interacts with the skin,
don’t forget about sub-surface
scattering and reflected
objects near the shadows. Of
course, you can paint in a very
stylised way but if you want
to paint the skin realistically
and make an illusion of some
real object—in general still
follow the saturation and tonal
relations rule.
Thank you very much!

Happy painting!
Best regards,
Dmitry

Contest | Banshee

Contest | Banshee

Contest | Banshee

Contest | Banshee

Contest | Banshee

CLEFT from
Stone
Lukas Zaba
redefines the
archetype of the
fantasy dwarf

Step-by-step | Original Dwarf | by Lukas Zaba
F
rom the very beginning,
I’ve always been a figure
painter with his own
ideas. Despite the fact the
market was huge and full of
marvellous minis, I didn’t
feel free enough. This was the
main reason I started to learn
how to sculpt my own figures
based on my ideas, often quite
different from the mainstream
look of “common dwarfs”.
Even now, when I do
much more sculpting than
painting, I still consider
myself a “sculpting-painter”,
not vice versa. That’s because
everything I sculpt, I always
judge from the painter’s
point of view. That means
I would rather leave an area
flat, devoid of intricate and
awkward sculpted structures,
because painted texture
gives much more realistic
result than just coloured
sculpted structure, (like in
case of fur, for example, see
picture below).

CONCEPT AND SCULPT

My new project “Brommhir
the Bruiser” is based exactly
on this attitude.
The basic idea was quite
simple: I wanted a figure with
some nice runic tattoo, body
of strong huge warrior, and a
big weapon, all together giving
an impression of tough guy
never hesitating to jump into
even the hardest fights.

PAINT
When the sculpt was
finished, I started to paint the
flesh tones.
Oils for flesh

I always use oil paints for
the flesh tones, because
they create really smooth
transitions and a lovely
blended and uniform surface.
That’s really handy, especially
when some freehand detail
painting goes next.
Use oil paints for

the flesh tones

Intensify with acrylics Adding the light

When the flesh was done, I like to use highly diluted
everything was sealed using inks for final colouring and
matte synthetic varnish, so airbrush for the impression
I could add depths using of some “light source”—this
acrylics—I love acrylics makes specific areas of figure Airbrush for the impression
for deeper contrast, which more “eye catching” and
intensifies the oil paints attracting viewers’ attention. of some “light source”—this
underneath. It also gives specific mood or
feeling created just by light makes specific areas of figure
and shade. For the final touch
I use oil paints again to refresh more “eye catching” and
highest lights and deepest
shades, because airbrush attracting viewers’ attention.
tends to make the surface sort
of more uniform and flatter,
making contrasts and depths
partially disappear.

Time to get tatted up

So, the flesh is now ready for
next step, which is freehand
tattoo. I never use the same
technique for tattoos it is
slightly different every time,
depending on the effect I want
to achieve.
Thinned oils for tattoos

For this mini I chose the
technique of oil paints thinned
with turpentine oil, because
it gives maximum contrast
even in the thinnest lines, so
there is no need for multiple
passes and therefore lesser
risk of mistakes. The other
reason for oil paint, it’s slightly
transparent so lights and
depths of flesh base partially
show through.
The tattoo looks more
natural when blended in, not
sort of stepping out of the skin.
When it’s done everything
is sealed with matte varnish
again, and if needed, some
depth is added to the shades
to maximize the desired effect.
In this case I’m happy with
the result,
Clothing a warrior Defining the midsection

I cheer by doing a one man’s The belly protector is painted
Mexican wave and carry on using more diluted acrylics
with next task—legs and waist. and toned with sepia ink, I
I wanted the tattoo to be the repeat these two steps until I
eye-catcher, so colours used achieve a satisfactory contrast.
for the legs and waist need to The same technique is used for
go with the bluish shades of the leather straps and skirt.
the tattoo itself. It means black
and blue stripes for trousers
and brown shades for the rest.

Striping trousers
Next step is the trousers.
The trousers are completely
painted with blue acrylics
at first. I like textures on
my figures—at least slightly
painted—so I covered the
trousers completely with white
and dark parallel strokes, but
using just a lighter grey—a
buff shade.
I like textures
on my figures
Adding character with dirt

Now it’s time for the dirt. To
make the figure more realistic,
I cover the trousers, skirt
and boots with various dots
and micro-dots of muddy oil
paints and finally even some
dry pigments, resembling old
dried out dirt.
Cover the trousers,

skirt and boots
with various dots
and micro-dots

The hammer
The last part of the figure is
the hammer with only one
impression desired - stone.
I used exactly the same
technique like when I was
painting the belly protector.
That means mixture of light
and dark shades, later tinted
with various inks, in this case
greenish ones, to visually
determine the weapon from
the rest of the figure. Final
step is to highlight the edges
with off-white. I chose the
look of old canvas for the
helve-base is made with
green-brown acrylic and
then tiny strokes of grey and
finally cream shades were
added—the same technique
like that for the trousers—
myriads of tiny lines to mimic
the structure of fabric and to
break the uniformity of the
surface. Then I painted shades
dark to add more depth.
I chose highly contrast
colours for the head of the
helve to break the uniformity
of the look of the figure—this
creates interesting detail,
which steps out of the overall
colour scheme of the figure.
The base for the rust is made of Journey’s end
a mixture of red, ochre, yellow I love this hobby and I believe
and brown, finally followed by that the whole process is much
turquoise to partially blend in more important than the
with the other colours used on final result—it means to enjoy
this figure. every moment of working on
figure and I think in this case
Time to rest I really enjoyed every single
When it’s done, I leave the step. So, I hope you like this
figure at least for two days small sculpting and painting
unseen—it allows to see it adventure too.
with fresh eye again and to Cheers
decide, whether some final Lukas
touches are needed or not. ZabaArt eshop—www.
zabaart.com

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CREATING BEAUTIFUL ART TOGETHER . . .

2 The Illustrated Fantasy Artist 10.2018

4 The Illustrated Fantasy Artist 10.2018

10.2018 The Illustrated Fantasy Artist 5

Everything comes from

6 The Illustrated Fantasy Artist 10.2018

A sketch (no matter how basic) is always useful and gives a

CONCEPT: Andrea Tentori Montalto, a

10.2018 The Illustrated Fantasy Artist 7

SCULPTING: is the best way to create an

8 The Illustrated Fantasy Artist 10.2018

10.2018 The Illustrated Fantasy Artist 9

a lot of fun creating so many

10 The Illustrated Fantasy Artist 10.2018

10.2018 The Illustrated Fantasy Artist 11

With the right

12 The Illustrated Fantasy Artist 10.2018

01 Whenever we start a project, it is very important to

03 We are going to use our plastic

section of broken pipe.

10.2018 The Illustrated Fantasy Artist 13

14 The Illustrated Fantasy Artist 10.2018

09 While we let the

10 The glossy black primer is ideal to

10.2018 The Illustrated Fantasy Artist 15

12 Well, let’s let the robot’s paint dry,

14 The time has come for pigments, which help us to

16 While the poster

17 Well, the painting of the poster is dry,

16 The Illustrated Fantasy Artist 10.2018

18 A good sponge dabbing session. We will finish the work

10.2018 The Illustrated Fantasy Artist 17

23 It’s time to wait for the water to

18 The Illustrated Fantasy Artist 10.2018

25 New drying time for our terrain, which we use

exaggerations in this case.

10.2018 The Illustrated Fantasy Artist 19

Here you have the

20 The Illustrated Fantasy Artist 10.2018

10.2018 The Illustrated Fantasy Artist 21

22 The Illustrated Fantasy Artist 10.2018

In the back of the ruin I

10.2018 The Illustrated Fantasy Artist 23

firelight from below one side mixing Aerocolor Carmine in

24 The Illustrated Fantasy Artist 10.2018

soft edges of the red areas, this point, but it is

10.2018 The Illustrated Fantasy Artist 25

26 The Illustrated Fantasy Artist 10.2018

10.2018 The Illustrated Fantasy Artist 27

I find him highly inspiring

28 The Illustrated Fantasy Artist 10.2018

LIGHTING THE FIRE

10.2018 The Illustrated Fantasy Artist 29

more yellowish fluorescent

30 The Illustrated Fantasy Artist 10.2018

Fairy by Sergio Calvo Rubio

Find more amazing historical and fantasy Figure artists at puttyandpaint.com

10.2018 The Illustrated Fantasy Artist 33

MAMA BUHO by Autumn

Queen of the Void by Enrique Valasco

34 The Illustrated Fantasy Artist 10.2018

Dimitr by Kirill Kanaev