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 Charles Rampant wrote:
I got a box of Odalisques for Christmas. The resin that I was using mysteriously failed to glue two of them, so they remain in the box. Also, I managed to snap off the barrel of the contender while doing flash removal, whoops. Not the best assembly process ever.

On the plus side, the two assembled ones are starting to get painted in preparation for a game on Tuesday, and the models look amazing. Though Infinity models always make me feel like I'm going blind.

I snapped mine too. it seems like everyone I know snaps the contender. A bit of plasticard tubing will fix it.


...and now you have a miniature metal dildo in the form of the contender barrel. Yes, that thought will haunt you forever.

I'm thinking of leaving it off, actually. Doesn't look like a long-ranged gun anymore, but has a somewhat compelling snub-nosed look. That model is still unassembled at the moment, partially because I have Druze for my full sized link team.

The models make me feel like I'm going blind because I have to squint so hard to make out the teeny tiny details. I just sort of wave my brush at them and hope that the colour goes on the right bits

Saying that though, I dug my own grave by deciding that my colour scheme required three coats of paint on each part of the armour and cloth. So I have to keep repainting the same bits, and try not to get any paint into the black recesses. Ho hum.

I guess I finally have an advantage from having such a high myopia. I can still see at short distances, I just raise my glasses over my forehead.

But I can't aim at my wet palette so good. So I use more paint making wider patches to hit them every time.

Having astigmatism kind of sucks for painting models.

I have almost perfect vision (25-20), but at one point I thought that my eyes were getting duller. I had an eye checkup and turns out my eyes are just stressed for painting small things too much. Especially if you're painting stuff like this:



So I think I should NOT paint for 6 hours straight without breaks.

I saw your log on the Infinity forums. Those Odalisques are going to look stunning.

I wish I could paint like that.

That is some amazing detail work.

I'm going to be painting Kirai from Malifaux in a flowered kimono... I wonder how much fun that's going to be...

I'm having difficulty just establishing where the chevrons on the cloak are, let alone painting flowers on them. Curse you! Come here so that I may consume your brain for precious painting knowledge!

My lament is not poor eyesight or dexterity, but a distinct lack of the necessary patience.

My eyesight last tested at about 20:11.5, slightly above average*, and I have the fingers of a fairy. (The bow on the corset of the Sister of Battle I sculpted a year and a half ago is a genuine reef bow, tied out of the thinnest brass wire I could get).
However, I have never been able to take painting slowly enough to capitalise on that. Most I've ever managed is to stretch painting a model out over four evenings, with some other stuff mixed in the middle.

*Contrary to common misconception, 20:20 is not "perfect", but a slightly arbitrary measure to be able to resolve detail at minute of arc levels - that is, one sixtieth of a degree. This is actually below the average of a healthy eye, which is about 0.7 MOA**, but 1 MOA acuity is more than sufficient for normal purposes, and is a useful cut off for test purposes.
**Or in normal money, 20:14. My 20:11.5 means I can resolve down to about 0.55-0.6 MOA. Some subjects can achieve 20:8, or 0.4 MOA.

I had to start using a magnifier head set. It's actually really good. I didn't think I would like it and now I hate not using it.

 MarcoSkoll wrote:
My lament is not poor eyesight or dexterity, but a distinct lack of the necessary patience.

My eyesight last tested at about 20:11.5, slightly above average*, and I have the fingers of a fairy. (The bow on the corset of the Sister of Battle I sculpted a year and a half ago is a genuine reef bow, tied out of the thinnest brass wire I could get).
However, I have never been able to take painting slowly enough to capitalise on that. Most I've ever managed is to stretch painting a model out over four evenings, with some other stuff mixed in the middle.

*Contrary to common misconception, 20:20 is not "perfect", but a slightly arbitrary measure to be able to resolve detail at minute of arc levels - that is, one sixtieth of a degree. This is actually below the average of a healthy eye, which is about 0.7 MOA**, but 1 MOA acuity is more than sufficient for normal purposes, and is a useful cut off for test purposes.
**Or in normal money, 20:14. My 20:11.5 means I can resolve down to about 0.55-0.6 MOA. Some subjects can achieve 20:8, or 0.4 MOA.

Pics or it didnt happen.....?

And im right there with you on the patience thing MarcoSkull, i dont have the skill either, but patience is a killer for me.....

If you're talking about reef bows, here. What made this a particularly silly effort is this is actually normally hidden by the backpack.

I was yes, and wow thats an impressive bit of knot tying! After having spent many summers trying and failing in the 'spaghetti challenge' i know just how tough tying a know can be on something small (and slimy/wet and often brittle) let alone something that small, congrats to you!

...But yeah, a shame that the backpack almost completely obsures it!

Really nice job on the Jotum there Mathieu Raymond! Like the weathering effect you've done.

And that detail work on the Odalisque is stunning Heartserenade - I can't do anything like that, but I know what you mean about getting eye-strain from painting too much.