Many thanks
Hmm...let's see, the silver hair...
1. Basecoat of Ghostly White, or Ghost White...the MSP one, new paints to me still, don't remember all the names yet. Took me a year to remember names like "scrofulous brown" and "sombre grey" from VGC.
2. Shade with a
glaze of that color mixed with a touch of Breonne Blue I think the name is.
3. Rehighlight with the Ghost White in areas of reflected light, keeping the darker area you applied in step 2 to represent the imaginary horizon line...sort of like NMM for hair, or the term NHH "non hair hair" has been used before to describe this style that I do, funnily enough.
4. Add Pure White to your Ghost White and highlight as normal up to the highest hotspots of pure white ink. I Always go for either white ink or Titianium White (tube paint) for my bright whites. Haven't found a mini paint yet that can offer that kind of brightness in their whites.
Working with the mindset of soft, silky hair and how each section or curl is it's own "reflective entity" helps. Each section possesses it's own relationship to it's environment, so try to conceive an idea of where the light would fall realistically, always keeping your imaginary light source in mind. Imagination is key, but reference helps the first few times. Once you get the knack for thinking in terms of gradients of color and how they work on planar surfaces, (basically the concepts and principles behind NMM) you can apply that technique to almost any line on a mini and have it work for you. Once you get the inner vision of how the hair "ought" to look, then it's just a matter of training your hands and mind to work together to produce that look. That's where practice comes in. I guess that can be said for just about anything sort of creative process though, but it definately applies here.
At least that's my approach to style.
Grasping certain concepts like radiosity and refraction of how light interacts with different materials is intrinsic to rendering the materials believably at such a small scale. I try to get my leather to look like leather, my metals like metals, my flesh to have the radiosity of flesh and my cloth to have the "feel" of whatever cloth it's meant to be. For me it's fun, and I hope it is for you as well. Eventually it all comes together and you can really just enjoy the process of painting, instead of struggling with the technical aspects of what you're doing, you can just sort of paint by after you've made the (mostly mental) hurdle of learning the technical stuff. I'm always learning from others and my mistakes, and I'm glad that others ask questions from me as well.