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A turquoise ring surrounds a shaded central opening, with an ivory lip at the neck. Soft layers brighten the curved front rather than outlining the whole silhouette.
Ring Vase→
Stage 1 of 5
Remove support marks and dust without flattening the curved body. Clean the print for its material and let it dry fully. Apply thin Grey Surface Primer around the ring and inside the neck; keep both openings clear.
An even thin primer coat covers every visible surface.
Do not let primer collect inside the neck.
Where to paint: Whole model
Remove support marks and dust without flattening the curved body. Clean the print for its material and let it dry fully. Apply thin Grey Surface Primer around the ring and inside the neck; keep both openings clear.
An even thin primer coat covers every visible surface.
Do not let primer collect inside the neck.
Where to paint: Turquoise body
Cover the body with thin coats of Sotek Green, following its curves. Turn the vase to reach the central opening and lower edge. Leave the top lip and inside of the neck for ivory.
The turquoise coat is solid and smooth.
Do not bridge the central opening with paint.
Where to paint: Ivory lip and inner neck
Paint the top lip and visible inner neck with Ushabti Bone. Work from inside toward the outer edge and keep a clean boundary against the turquoise neck.
A continuous warm ivory band frames the opening.
Keep ivory off the broad turquoise shoulder.
Where to paint: Turquoise body
Mix Incubi Darkness into Sotek Green and thin it to a transparent glaze. Deepen the upper inside arc and the bottom edge, fading the colour onto the front rather than drawing a hard outline.
The opening has depth while the front stays turquoise.
Keep the whole body from turning nearly black.
Where to paint: Ivory lip and inner neck
Glaze Rakarth Flesh down the inner wall, leaving the upper lip untouched. Keep the deepest visible interior darker than the cream edge.
The lip remains pale above a softly shaded interior.
Lift any puddle before it dries into a tide mark.
Where to paint: Turquoise body
Use thin Sotek Green to tidy the transition next to the inner shadow. Overlap small strokes around the ring, keeping the darkest paint inside the opening.
The dark arc joins the body without a sharp band.
Do not cover the deepest inner shadow.
Where to paint: Turquoise body
Lighten Sotek Green gradually with Temple Guard Blue. Build overlapping thin layers across the upper-left shoulder, then a quieter light on the lower-right curve. Keep the central shadow intact.
The light follows the round body without separate colour bands.
Avoid equal brightness all the way around the ring.
Where to paint: Turquoise body
Apply thin Temple Guard Blue to the upper-left shoulder and a smaller patch on the lower front arc. Soften each patch into the surrounding turquoise instead of outlining the silhouette.
Two restrained highlights describe the rounded ring.
Do not turn the broad body pale blue.
Where to paint: Ivory lip and inner neck
Layer Screaming Skull onto the front-left lip. Keep the inner edge warmer and the far side slightly darker, so the rim reads as a curved surface rather than a white line.
The cream lip is brightest at the front left.
Keep the light paint out of the shaded neck.
Where to paint: Turquoise body
Add a little Screaming Skull to Temple Guard Blue. Glaze a narrow soft highlight within the upper-left light area, then feather its edge with a clean damp brush. Leave the lower highlight quieter.
The strongest light stays near the neck and upper shoulder.
Stop before the turquoise becomes chalky.
Where to paint: Turquoise body
Check the vase from all sides. Repair turquoise spills on the cream lip with Ushabti Bone and ivory spills below it with Sotek Green. Match any light area with the mixes already used before touching it up.
The lip is neat and the ring remains smoothly shaded.
Do not fix a pale highlight with an unlightened base colour.
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