Dark Sword Female Ranger

Dark Sword Miniatures has just released a new set of figures, and I was happy to be able to paint a couple of them for their studio collection. One of the figures I painted was this female ranger sculpted by Tom Meier.

Fr low profile 450The completed figure. But this post is about the journey of how I got here.

I enjoyed painting this figure a great deal. It was not a project I approached by planning everything out in advance in terms of creating an elaborate diorama, nor even in terms of choosing all my colours in advance. However, as I worked on it I realized it was a good example of the kinds of planning new and intermediate painters often ask me about. New painters want to know how we figure out what to paint first, and how to build off of a few initial colour choices. Intermediate (and advanced) painters benefit from thinking about what materials and textures make up areas of the figure and how to represent those with paint. Those of us painting figures on commission also need to think about the preferences and needs of our client. So I’m going to run through my thought process related to those elements for this figure.

Colour Scheme Thoughts

My first impulse for a colour scheme was to base it on the gorgeous reds and yellows of a Japanese maple. But on further consideration, I was not sure that idea fit this particular figure. If you take the tree out of that colour scheme, it doesn’t really scream ‘ranger’. So I put that idea aside. I decided to stick with an autumn inspired colour scheme, but use less saturated reds and yellows. That idea fit in well with the lovely leaves sculpted on the base.

While I was getting the figure ready to paint, it struck me that she was a good representation of a character type I often play in computer games. I’m not the most original person, so I reuse a few names and concepts for characters in various games. One of them in a bow wielder. I usually create her as being fair skinned, with blonde or light red hair worn in a ponytail or bun. I have never painted a character to match, and doing so seemed like it might be fun. That gave me enough of a colour plan and character concept to get started on painting.

Order of Operations for Painting

My general advice for what order to paint elements of a figure is roughly to work from the inside out. Some people suggest a guideline of painting in the order you would get dressed (skin, underclothes, clothing, accessories, hair, etc.) For example, on most figures the face, neck, and upper chest are all under other parts – hair frames the face and neck, and clothes sit on top of the chest.

The basic idea behind these guidelines is to first paint areas that would be harder to reach with your brush at a later time. For example, if you paint a belt first, chances are pretty good that you are going to slop paint onto it when you paint the shirt that sits beneath it. So it makes a lot more sense to paint the shirt first, and then the belt.

When I first looked at this figure, it seemed like the face and neck would be the place to start, but when I sat down to paint it, I realized the dynamic pose made the hard to reach considerations a little different than with many figures. The recesses of the cloak behind the arms would be very difficult to paint once the arms and torso were painted. This was equally true of the hem area of the inner side of the cloak if I waited to paint it until after the pants and jerkin.

Range wip1 left 600I started with the inside of the cloak, then the area of jerkin touching the cloak, and then the pants.

It is pretty common for figures to have recesses and overhangs from cloaks or skirts or similar items. I recommend you look for these before you begin painting. Even if you don’t know exactly what colours you want to use, pick a shadow colour like a very dark blue or brown and paint it into these recesses. If they do end up being very hard to reach, you’ll have set them into deep shadow and there won’t be obvious unpainted spots.

So my order of painting was:

Inner side of the cloak
The area of the jerkin touching the cloak
Pants
The parts of the chainmail on the sides of the torso
Shirt
The rest of the chainmail
Jerkin, boots, bracers (these had slightly different but related colours and were in separate areas)

Range wip2 front 600It seems more convenient to paint all of an item at the same time, but sometimes it makes your life easier to paint parts at different stages. That was how I had to approach the chainmail and several other areas on this figure.

Then I started doing some basecoats to figure out the best order for the rest, which was a little different than I had assumed it might be.

Arrow shafts
Fletching
Face
Outer side of the cloak
Bow
Hair
Belt and straps
NMM – buckles and trim on bracers
Base

Pants contrast compA brief digression to talk about contrast, because we always need to think about contrast. “More contrast” doesn’t always mean a huge or harsh level of contrast. It just means you almost always need more contrast than you initially think you do. These pants are matte cloth, and they are not an area of major interest. So they shouldn’t be hugely contrasted or draw the eye away from more interesting focal points. But when I came back to look at this figure after initially painting the pants, I realized they were a little too flat, even given those considerations. I deepened the shadows just under the folds slightly by adding more dark blue to my shadow green. I made the top level highlights a little lighter in value, but I also added a little more yellow to make them brighter in saturation. That creates additional contrast so the peaks of the folds stand out a little more even though the highlights aren’t super light in value.

Other Planning Considerations

This figure was sculpted by Tom Meier, and that was a fact I took into consideration when planning how to paint it. Tom Meier sculpts at as realistic a scale as is possible for a gaming scale figure. What he can accomplish at gaming scale is a marvel, but it does mean that some areas and textures are finer or shallower than they would be on many figures. For this ranger, the eyes are quite small, and the chainmail texture is fairly fine.

I took this into account from the very start. Rather than using aerosol primer (which I tend to spray pretty liberally), I decided to brush prime by hand, being very careful to apply only the minimum amount of primer necessary, particularly on the chainmail and the face.

Prior to painting this ranger I had painted a few figures to practice the approach I learned a few months ago in a workshop with Sergio Calvo. This includes starting with your darkest shadow colour painted on all areas, and working up from there. I’ve also been increasingly using other methods of pre-painting, like doing a grisaille or notan style primer undercoat, or sketching and then refining in colour. Although I think those methods are effective and highly recommend that people experiment with them, I decided against using them on this figure for several reasons.

1. The Dark Sword studio miniatures have a cohesive style. I was not sure I could achieve that style with the Sergio Calvo approach. I try to push my skills and improve with figures I paint for clients, and I generally only accept commissions for figures that I know I will find interesting and fun to paint. But when you’re painting for a client, the primary consideration is to paint what the client wants and needs.

2. As mentioned, above, I attempted to minimize the amount of paint applied to the figure so that I did not obscure any of the fine details or textures. (Generally this is much less of a concern than people worry about as long as you’re not using super gloppy paint.) Colour sketching and grisaille approaches do not add so much more paint to a figure that I would normally think about it as an issue, but based on previous experience with delicate Tom Meier textures, I wanted as little extraneous paint as possible.

3. I had to remove the figure from its holder to effectively paint the initial recessed areas of the inner side of the cloak, underside of the jerkin, and the pants. Usually a holder makes it easier to reach all the areas of a figure, but in this case I had to come at a lot of areas from directly below. Numerous small spots of primer rubbed off of the face, hair, cloak, and other areas due to the way I had to hold the figure in my hand to paint the recesses. This is the other reason to use a holder whenever possible – your primer and paint will adhere much more sturdily! So had I used a pre-painting method, I’d have had more complex repairs to make than simply repainting some primer.

My last consideration before painting was to think about the textures of the various surfaces of the figure. Some of these are determined by the sculpt – skin, hair, and chainmail are all pretty obvious, likewise a fantasy character’s bow and arrow shafts are going to be made from wood. But what material is the clothing? Tom Meier is a master of sculpting drapery, and I really love his sculpting of that on this figure. To me the thickness and weight, and the types of folds on the jerkin and cloak felt like heavy leather, which would be logical attire for a ranger. 

Range wip3 face 600I had so much fun painting the leather jerkin that I was impatient to get to the stage of painting the leather cloak. But first I had to pass over some bumps on the road…

I recently watched an episode of a marvellous BBC series where they recreate apparel from famous paintings using traditional tailoring methods. One of these featured a leather outfit worn by a hedge cutter, and they tested the leather and found it very effective against thorny vegetation. So leather is a solid choice for ranger gear!

Having a lot of leather to paint was exciting because it gave me an opportunity to practice techniques I studied in another workshop I took this year, with Fernando Ruiz. He opened my eyes to the idea that washes can be used for advanced painting techniques as well as tabletop. In the workshop, we used a variety of coloured washes over a light leather colour to create something that looked worn and well-used. This is a different look to the worn leather you get using stipple and dash brush strokes. (Though the two approaches can also be used in concert.) I am very happy with the result, I like the richness and complexity of the shadows a lot.

Fernando Ruiz is giving more workshops this month. If you can get to the Atlanta area between October 25 to October 27, try to make it to one of these!

Bumps in the Road

Apart from having to put more thought than usual into the best order to paint items, the painting of this figure went pretty smoothly and enjoyably. Right up until I reached the face. Painting the face and skin in general is usually one of my favourite parts of painting a miniature. I love seeing a figure ‘come to life’ under the brush. But pale skin is tricky. I wanted to try using a bit more of a reddish shade tone than I normally would, to tie in with colours used elsewhere on the figure. I could tell when I started painting that it wasn’t working as I had hoped. So I mixed a second shade series using a little more of a purple shadow tone, using a colour I’ve successfully used to shade skin before. It was better, but the shadows got too dark and harsh pretty quickly. 

I debated trying to work with my midtones to see if I could get it closer to what I was hoping for. But then I thought about the fact that I needed to get this figure finished up quickly, that being a delicate sculpt it is not an optimal candidate for a lot of paint application, and that my mood in the moment was more frustration and less feeling invigorated by the idea of a challenge. So I instead decided to repaint the midtone colour and use an old reliable colour for the shadows. (That colour is Ashen Brown. Reaper had canceled this colour, but it and some other colours of the past are returning to us via the latest Reaper Bones Kickstarter, which is running right now! Saddle Brown in the Bones HD paint line also works well to shade pale skin tones.)

Range wip4 face1 600I’m happy with the end result. Sometimes you have to just try and try again.

Unfortunately I had already finished repainting the base coat midtone of the skin before it occurred to me that I should take a picture to share here. Sorry about that! I still worked in a little red to the skin by use of a soft overall glaze, and a glaze to create a blush in the cheeks.

Finally I got to paint more fun leather on that cloak! The picture below is from my ‘final check’ series of photos, which I have talked about doing before. (Final check stage for Tara, and then a second post listing the issues found in the final check.) In the case of this ranger, I found a pretty big oversight in the final check photos. It saved me a lot of time and annoyance to find it at this point rather than not noticing until I was taking the final photos. Or even worse, having the client find the problem for me!

Range wip5 back 600Job one when painting a miniature is to paint the whole miniature. I had forgotten the bottom and top trim areas on the quiver. Very easy kind of thing to do, and one reason a final check step can be worth the effort.

Here are some additional views of the completed figure.

Fr low face3 450

Fr face low2 450

Fr low 34 450

Fr back high 450

Fr left low 450

Hands on How To with Paint Resolutions

We’re a few days into the new year, and I imagine the reality that resolutions are a lot easier to make than they are to keep is coming clear for a lot of us. (I certainly have not been a brand new me…) So as promised in the last post, I want to discuss some concrete strategies for how to put resolutions like ‘paint more’ into place amidst the reality of busy lives and crowded homes. Many thanks to the people who posted ideas and experiences on my Facebook posts to help contribute to this post If some of the issues you’re having or some successful strategies you have tried aren’t mentioned below, I hope you’ll share them in the comments and continue the discussion!

My New Year's photoHey, it’s the photo I’ve been using at New Year’s since 2017! In my last post I promised to share what happened with these figures. Read through the comments on photos in this post to find out. I have to admit that sharing this photo and realizing how long some of these had been mouldering did push me to do some work in Januarys past.

Time Constraints

It’s easy to feel like you need a block of several hours to sit down and paint or it’s just not worth the bother. But with work, school, family, friends, and other demands on our time, it can end up pretty hard to find blocks of several free hours. If you’ve been waiting and waiting to paint until you have some free time like that, you might want to try painting in shorter blocks of time. If you can get an hour to yourself every few days, or even 30 minutes every day, you might be able to get more done than you think. It might not be the way you want to do it, it might not be ideal, but it might also beat the alternative of not getting in any paint time at all. So if this is your issue, give shorter sessions a shot! Maybe it’s a perfect time to try speed painting, or work on grunt type figures for your game. I recommend some speed painting practice even to those who primarily paint display. I found that working this way really did end up helping my painting in general. Partly in terms of time, and partly just to help me loosen up a little and discover that a lot of things can be corrected or improved later. You don’t have to get every step right along the way or it’s all doomed.

If you are able to set up a painting area in your home, that will help a lot. Try to create a system of logical (to you) storage for your materials, as well. If you keep your paints jumbled up loose in a box, you’ll lose a lot of time searching for particular colours. Store paints and other tools in a more systematic way. Put a drop of paint on the lid of each bottle and/or paint a swatch of paint onto the label to help you find colours more quickly. Have a drawer for brushes and paper towels, and another for basing materials, etc. I’m not saying you have to be a super organized neat freak. That would be very hypocritical of me as my painting area is generally pretty messy. :-> But it’s a chaos organized in a way that my brain understands. Every paint has its place, and I can usually find my commonly used paints and tools very quickly. (Finding the less commonly used stuff can be a bit more of a trick, granted.)

Tillie, Fighter PilotTillie, Fighter Pilot by Bombshell figures was the first of the miniatures in the New Year’s photo that I finished painting. She was awarded a silver medal at the Atlanta Model Figure Show 2018, and first place Bombshell Babe at ReaperCon 2017. I had a lot of fun making her leather suit look well-worn but still army tiptop.

Even just storing the paints and tools for your current project on a tray you can safely store on top of a bookshelf can help speed things up. If keeping things out of the way of others isn’t an issue, fit setting up and putting things away in around other tasks (while cooking or doing laundry, say), so that when you’re ready to sit down for your 30-60 minutes you can spend the whole time actually painting (or prepping or basing.) Another thing that is helpful with this approach is to try to map out your next session before your last has ended. While you’re working, try to identify one or two things to work on next time, so you will be able to just sit down and get started. Write down your ideas if you’re a forgetful person. It is also helpful to be working on two or three figures at a time. Then if a wash is drying on one, you can pick up another and work on it while you wait. A hairdryer is a useful tool to speed paint drying. 

Space Constraints

It is very helpful to have a dedicated area of your home set up for you to paint in. As outlined above, this makes it easier to keep your tools tidy and to-hand, and to jump in and get to work on projects and then stop as needed. Unfortunately that kind of space is not a luxury that everyone will have. But there are definitely ways to manage with less space, or even to make a portable painting kit that you can travel with to paint wherever you find yourself.

This is an area where I don’t have a lot of personal experience to offer, but I have seen discussions with many creative answers to the problem in forum discussions and Facebook groups. So if you need more ideas, try starting a conversation in a venue like that. If you aren’t currently a member of a group like this, two I can recommend as helpful and lively discussion areas are the forums at Reaper Miniatures (http://forum.reapermini.com/) and the Hobby Hangout group on Facebook (https://www.facebook.com/groups/thehobbyhangout/).

Portable Paint StationThis portable paint station was part of a Kickstarter and is available for preorder. I have no experience with the company or the product. The Kickstarter page with pre-order link is here: https://www.kickstarter.com/projects/695455704/portable-paint-station-take-paints-minis-and-tools/comments

Start by trying to condense your tools and materials down to just what you need for your current project. Pick out a small selection of paints and brushes. Find a container with a watertight lid to keep your water in. You will also need to find a palette solution that works for the way you paint. This could be as simple as a plastic plate, or a low profile food storage container if you like to use a wet palette. Include a small box with bubble wrap or other method to secure your miniature(s) while your hobby supplies container is in storage or transit. You can buy small brush holders to protect your brushes, or try using poster tac to stick them to the inside lid of your storage box. If lighting is an issue, you can buy small and inexpensive LED lamps off Amazon. For a storage box you can consider solutions as diverse as craft organizer tubs, large gun cases or brief cases, and many other options. I have seen some very creative solutions that people have built for themselves if you happen to be handy. There’s a link to some great pictures on this Pinterest collection: https://www.pinterest.com/captainfatnasty/portable-paint-stations/. For more commercially available options and inspiration ideas, try doing a Google search for ‘portable paint station’.

Mental Constraints

I’m going to discuss some dilemmas that are purely of the mind, but I think a lot of issues like the space and time constraints also have a mental component. If you feel like you don’t have enough time and/or space to paint, there’s no way around the fact that it is going to take some shifts of thought as well as process to make it happen, and that’s uncomfortable. You’re going to have to identify issues and come up with solutions, and you’re going to have to accept that these solutions might not look like what want or how you think things should be. I think sometimes it can be helpful to be very mindful about your alternatives. Is it better for you to not paint at all if you can’t do it the way you want, or is painting an activity that you get enough out of that it’s worth pursuing some alternatives to see if you can make it work after all?

For example, you might be someone who likes to have a collection of 100 or 200 paints. Maybe you find mixing paint to be time consuming and inconvenient, or maybe you just aren’t very confident about colour. But if you just don’t have space to keep out that amount of paint right now, or if all your paint dried up and you can’t afford to replace that many, you just can’t paint the way you prefer. So why not try the idea of putting together a small set of paints and mixing? It’s a pretty great way to learn a lot more about colour. It might take more time to mix, but at least it’s time spent at an activity you enjoy. Or maybe you try it for a while and you learn that you just cannot handle painting that way, and you choose not to pursue this hobby at this time. That is you making an active choice then, not feeling like life is keeping you from what you want to do.

Burgundy Wine MageThe second time I posted the New Years photo I figured I really needed to finish up this figure. It was just so close to done, needing only some gold NMM and to paint up the pages of the book, plus a few touch-ups. Seeing the photo again pushed me to finally get those parts finished! It’s not the best mini ever but it was a fun test of unifying colours. (Every area of the figure incorporates the dark pink seen on her boots, including shadows of hair and skin.)

For some of us, the main issues holding us back in our pursuit of our hobby right now might be primarily mental. Perfectionism is one that several people mentioned in our discussions on Facebook. I think there are a few different varieties of that – avoiding doing anything cause if you don’t try you can’t fail; spending a lot of time and/or stress on something trying to get it just right; starting off with the intention of trying freehand or another technique/effect but then wimping out because the figure is going well so far and you don’t want to ‘ruin’ it, and many, many other scripts that our brains recite that knock us off track.

Unfortunately there are not quick or simple solutions for this like swatching your paint or finding a storage container, or even better time management. You’re going to have to spend some time trying to dig into your mind scripts and figure out root causes and ways to soothe or sidetrack your mind. 

One suggestion I’ll make is to have a conversation with yourself about the alternatives and consequences. What’s the worst thing that happens if you try something and you fail? You don’t even have to show it to anyone else! You can paint over it, or strip it and paint over it. Or just call it done, figure out what you’ve learned, and move on to the next figure. And on the other side of the equation, what’s the worst thing that happens if you keep not painting at all? You’re just as guaranteed not to succeed as you are not to fail if you don’t do anything. It’s also a great way to make sure you never learn anything and never improve at all. And most of all, it’s a way to deprive yourself of the enjoyment you get from painting.

Along those lines, it might also be helpful to figure out what you enjoy about the process of painting miniatures. What do you get out of it apart from the figure at the end? Make sure to include those things regularly in your painting process. If you need to, write the list of benefits down so that when you start roadblocking yourself, you can remind yourself that it doesn’t matter if what you paint ‘sucks’, you will still have gotten to relax/play with colour/whatever your personal joys of painting are. 

Consider adopting the goal of ‘finished not perfect’, at least for a while. Most of the time it’s better to finish something that’s just good or okay or even not amazing than it is to never complete something that might be awesome. There’s a sense of accomplishment that comes just from completing a project, and never finishing things can be very discouraging. We don’t only learn from striving for perfection. In fact if you’re working on a particular skill, you are likely to learn more challenging yourself to work on it to a competent level repeatedly rather than trying to render it perfectly once. You’ll gain experience using it on different shaped surfaces, with different colours, for different moods, etc. I recommend following the artist page of Jessica Bathory if you want a great example of someone who practices finished not perfect, and who has also forged ahead with her own style of painting miniatures when she found attempts to conform to the more generally practiced styles frustrating. (https://www.facebook.com/Blood-Busts-Booze-the-painted-miniatures-of-Jessica-Bathory-329890724470632/)

A far as ‘ruining’ a figure that is going well, which was certainly a fear of mine for many years, and one that held me back considerably… Getting something that looks great can be a fluke, but if you’re really learning, success starts to become repeatable. One of my big fears was freehand. Looking back at it, I had reached the point where I was pretty competent at blending. So if my freehand sucked and I had to paint the blends back over the cloak, I would be able to paint it back to pretty much the same standard. So it was silly of me to be afraid to do that.

I was also over concerned about ‘wasting time’ in this same time period. I was (and still am, really) a pretty slow painter. So the idea of having to repaint that cloak from a time point of view was not appealing. Looking back, that also seems sort of silly. Yeah, sometimes I was on a deadline to enter a contest or for some other reason. But overall, I think I would have learned more, and more quickly, if I had paid the price in time of taking risks and failing. I think I would also have learned a lot more if I’d done more speed painting or half-assed areas that weren’t the focus of that figure. Being super persnickety and perfectionist about figure painting has had some benefits, but there are things definitely have regrets about, and I know I’ve held myself back in several ways.

Victorian Lady - contrast shiftI’ve got a blog post about this Victorian Lady, who had been sitting on my desk for upwards of three years before I put brush to hear again earlier this year. She ended up being a great example of what more and less contrast look like. I’ve since repainted her handbag. She’s still not quite done, but largely this is because I have four of these Victorians that are all on similar bases so I figure it’ll be quicker and easier to paint all the bases at once. I might give up on this notion just to get the three that are almost done to be truly done. (Blog post on this figure here: https://birdwithabrush.com/2018/09/27/compare-and-contrast/.)

Roadblock: Burnout

If you paint because you’re trying to fill your table (particularly on a deadline), paint for commission, or constantly paint to enter contests, chances are good you’ve experienced burnout. You’ll reach a point where you drag your feet and avoid sitting down to work because it feels like all of it is just work and you’re just plain tired of it. Sometimes taking a break and not painting is the correct answer. But if painting is something you love and you don’t want to stop forever, try to reconnect with what it is about it that you love. Sometimes just shaking things up is enough – painting something just for you or a friend, painting a different subject matter/scale/colour than you usually do just because you want to, not because you have to.

If you’ve been suffering with burnout for a while or find that too often your painting sessions are mired in negative feelings, it might take a little more work. You’ll have to do some detective work to reconstruct or rediscover things you find fun about the process and develop ways to fit those into doing your work. Some of the tips in the next session might also be helpful for that. You might also do some work to identify which aspects are most stressful and if there are ways you can ameliorate those.

Roadblock: Boredom and/or Discomfort

Sometimes the problem isn’t getting yourself into the painting chair, it’s keeping yourself there. It’s all too easy to take a five minute break to check Facebook that turns into an hour. Or get up for a drink and forget to go sit back down. As fun as painting miniatures can be, there are likely to be parts of the process you find tedious, like painting basecoats or cleaning mouldlines. 

My first tip is to minimize discomfort. For years I painted on a chair with no back. I lean forward to paint, so why not just use the broken chair instead of wasting money on a new one? Because yeah, I lean forward to do most of my painting, but it’s also good to be able to lean back to take a break and generally shift position. My back was a lot happier once my husband forced me to buy a better chair. In a similar vein, having a desk at a good height for you, good lighting, magnification if you need it, an insulated cup to keep a drink cold/hot, whatever simple things that add to your comfort and ease – why not figure out what they are and do them so simple discomfort isn’t making you want to stop painting? 

Noir detective front 450I’ll be honest – this is not the same figure as in the photo. I painted this one years ago. The one in my New Year’s photo was from a class on painting in monochrome. And for subsequent sessions of that class, I think it’s useful to have a WIP figure to show various stages of work, so I don’t really plan on finishing the other.

The second issue I would have is that many painting tasks do not really occupy my mind that much, so I would get bored. And then I’d notice how much my back hurt on my bad chair, and then I’d definitely not want to paint for too long. My painting area was in a different room than my computer. Once tablets became a thing and I got one, that was a whole new world for me. I could put TV shows or YouTube videos on in the background! I could listen to audiobooks! Likely you’re already doing something like that, but my suggestion would be to use something like that as a lure to get you into your paint chair. Have a TV series or an audiobook that you only consume while you’re painting, and make it something really engaging. Then even if you aren’t excited to sit down and paint, you might head for your chair because you’re excited to watch the next episode and find out what happens.

Many of us are introverts who are happy to enjoy our peaceful alone time painting and listening to audiobooks. But not every geek and painter is, and even introverts need some human contact sometimes. Sharing our hobby frustrations and triumphs, having people to ask for opinions, those are very helpful things. For some it may be enough to visit hobby forums or discussion groups online, or to form a small critique circle with some friends in email or message. Others might benefit by having friends to paint with. There are people who use technology like Twitch and other chat channels to gather to paint with others. Check the Hobby Hangout group linked above for people who do this, or ask on your favourite forums or groups if people have suggestions for how to meet up with others to paint. I know a lot of pro painters and sculptors who ‘get together’ with other friends and colleagues via digital applications like this to keep their workdays from being so lonely.

I hope you’ve found some of these suggestions helpful! If you’re running into different roadblocks or you’ve been successful with other strategies, I hope you’ll share in the comments so others can benefit from them. Thanks for reading!

Links to Figures and People Mentioned in this Post

Tillie the Fighter Pilot by Bombshell Miniatures – http://store.bombshellminis.com/10024-tillie-fighter-pilot/
Victorian Lady (metal) by Reaper Miniatures – https://www.reapermini.com/search/victorian/latest/50327
Victorian Lady (plastic) by Reaper Miniatures – https://www.reapermini.com/search/victorian/latest/80068
Female Mage by Dark Sword Miniatures – https://www.darkswordminiatures.com/shop/index.php/miniatures/visions-in-fantasy/female-mage.html
Noir Occult Detective (plastic) by Reaper Miniatures – https://www.reapermini.com/search/occult%20detective/latest/91013
Noir Occult Detective (metal) by Reaper Miniatures – https://www.reapermini.com/search/occult%20detective/latest/59039
Reaper Miniatures forums – http://forum.reapermini.com
Hobby Hangout Facebook group – https://www.facebook.com/groups/thehobbyhangout/
Jessica Bathory artist page – https://www.facebook.com/Blood-Busts-Booze-the-painted-miniatures-of-Jessica-Bathory-329890724470632/

Looking Behind, Planning Ahead

Today marks the end of the solar year, and we’re in the lead-up to the end of the calendar year. It’s a good time for reflection on the year gone past, and doing some thinking about the year next to come. And this is just as relevant for our hobby interests as anything else in our lives! On this darkest day of the year (in northern climes), I’d love a little cheering up or food for thought by hearing about your hobby year.

What moments stand out to you from the past year? Did you experience revelations of learning? Did you find tools, processes, or techniques that helped you out? What did you make? What treasures did you add to your collection?

What are some of the less positive moments of your hobby life over the past year? And most importantly, are there lessons you can draw on from those to work on a plan to improve your hobby life next year? Resolutions are nice pithy proclamations, but I think it’s probably more helpful to reflect on your experiences and work to create more of a plan of action for how you might accomplish more of your hobby goals and avoid more of your hobby pitfalls in the year to come.