Sarah Connor

And somehow, after all these weeks, she is finally finished.

This project ended up being much more difficult for me than I expected, and not really because of the miniature itself. I had quite a few personal problems along the way that slowed everything down, and there were periods when I simply didn’t have much time — or much inspiration — to sit down and paint.

There were definitely moments when it would have been very easy to put the model aside and tell myself I would come back to it “later”.

But that is also one of the things I’ve appreciated most about taking part in this competition. Sometimes having a deadline, sharing the process and knowing that you are working towards something alongside so many other hobbyists gives you exactly the push you need to keep going, even when you are not at your most motivated.

Looking back at the first stages of the project — studying the wolf, figuring out the fur, collecting references for the rider and trying to decide how all the different materials and colours should work together — it is really satisfying to finally see all of those separate ideas become one finished miniature.

I’m sorry I don’t know how to make one of those fancy rotating miniature videos. I’ve just taken some photos of the model with my phone, so I really hope they show her clearly enough and let you see all the details.

The only digital editing is putting the photos together into a collage — the background is just darth fabric, not digitally added.

A big thank you to everyone behind competitions like this. Giving hobbyists a reason to commit to a project, keep working through the difficult stages and actually bring an idea to completion is more valuable than it might seem.

Here she is. Finished at last. I really hope you like her — she’s been a long time coming.

:S

It’s still very early at this stage, so this definitely isn’t the final look yet. There’s still a lot to refine, push and clean up, and none of the detail work is really there yet. Right now I’m mostly just trying to establish the general direction and get a first feel for how the tones are going to work on the fur and overall body.

So yeah, still rough for now — but at least the wolf has officially begun.

I’ve picked just five paints to start with, and from there I’ll only add extra colours when I actually need them. I want to keep the palette as controlled as possible instead of ending up with twenty different tones fighting for attention.

I also went back to the colour wheel and marked the areas I want to use, as well as the tones I’m deliberately leaving out. The idea is to keep the whole piece feeling cohesive while still having enough contrast to separate the rider, the wolf and the smaller details.

This week I’ve mainly been exploring possible background ideas for the piece and trying to decide whether I actually want to include one at all.

I’ve been testing different environments and moods to see what works best with the wolf rider, from darker and more dramatic settings to brighter, more spring-like landscapes. The main thing I’m still considering is whether adding a full background is worth it, since it would inevitably hide or reduce the visibility of the rear views of the figure.

So at the moment I’m weighing both options: creating a more complete diorama-style composition with a strong background, or keeping the presentation more open so the miniature can still be appreciated properly from every angle.

This week I spent some time planning the base instead of putting paint on the miniature.

The idea is to create a natural forest floor that complements the wolf without stealing attention from the rider. I've been going through different types of tufts, ferns, and ground cover to decide what combination works best.

I want the base to add atmosphere and tell a story, while still keeping the miniature as the main focus.

This week I shifted my focus from the wolf to its rider.

Before putting any paint on the miniature, I spent some time collecting reference images for the elf herself. My goal was to better understand the materials, color combinations, and overall aesthetic before making any decisions.

I looked at a wide range of references, including fantasy artwork, historical clothing, leather equipment, fabrics, hair, and armor. Rather than copying a single piece of art, I wanted to build a visual library that would help me create something believable while still fitting the style of the model.

I think this stage is often overlooked, but it's one of the most important parts of the process. The better the references, the easier it becomes to make confident painting decisions later on.

This week I’ve been studying references to better understand how wolf fur behaves, especially the way it grows, overlaps, and changes direction across different areas of the body.

I’ve also been looking at possible colour schemes, from colder grey and white tones to warmer browns, creams, and darker markings. The goal is to find a palette that feels natural while still giving the miniature enough contrast and visual interest.

Before starting the actual painting, I want to make sure the fur texture, shadows, highlights, and colour transitions all make sense. Good references are essential for avoiding a flat or artificial result and for giving the wolf a more believable, realistic appearance.

This week I moved on to the rear of the miniature, continuing the black-and-white value study to establish the main light and define the remaining volumes. With the front already completed, the focus was on ensuring the lighting remains coherent from every angle.

Working only with values at this stage makes it much easier to judge the shapes, depth and overall readability before any colour is introduced. The complete lighting structure is now taking shape, providing a solid foundation for the next stages of the project.

This week I focused on defining the primary light direction and establishing the overall volume of the miniature. Starting from a black primer, I gradually built up the light by applying white from the chosen light source, creating a strong value sketch that clearly defines the major forms.

At this stage, the work has been concentrated on the front view of the model. The goal wasn't to add detail yet, but to create a solid foundation where every plane and volume reads correctly under the intended lighting. This monochromatic phase is essential, as it will guide every color decision that follows and ensure a coherent, dramatic lighting scheme throughout the project.