By Sarah A. Hoyt
Each folks has the beast inside.
But for Kyrie Smith, the beast isn't any metaphor. when you consider that she used to be 15, while she first shape-shifted right into a savage, black panther, Kyrie has wondered her humanity. even supposing she's controlled to maintain her internal beast mystery more often than not, the panther sometimes emerges to strike unbidden. Terrified she'll harm somebody whereas in panther shape, Kyrie strikes from city to city, looking for the way to consider human again.
Kyrie's lonely existence adjustments eternally whereas waitressing at an inexpensive diner in Goldport, Colorado. Investigating frantic screams from the car parking zone, Kyrie stumbles upon a blood-spattered dragon crouching over a mangled human corpse. The dragon shape-shifts again into her co-worker, Tom, bare, dazed and not able to recollect how he received there.
Thrust into an ever-changing international of shifters, the place shape-shifting dragons, colossal cats and different beasts salary a mystery warfare in the back of humanity's again, Kyrie could locate the solutions she seeks with aid from Tom, a legendary item referred to as the Pearl of Heaven, and her personal internal beast.
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Extra resources for Draw One in the Dark (Shifters, Book 1)
For the silver thread, we’ll use Neutral Grey (992) as the base colour (Figure 72). The highlights will be painted as with Drouot, but using Light Grey (990) for the first highlight (Figure 73), Sky Grey (989) for the second highlight (Figure 74) and Mithril Silver (61-55) for the final metallic touches (Figures 75-76). 3. We’ll paint the other colours to complete the figure (Figures 77-79). As Napoleon’s Orderly, Gourgaud’s uniform has to look brighter and more impressive than, for example, a Bavarian private.
This will absorb most of the paint … but not all of it. This way, there will still be some paint on the brush, but it won’t run or drip off. Now go to the figure and ‘wipe’ the whole area to paint with the brush (Figure 13). As the brush is mainly dry, the little paint that remains on it will highlight only the raised areas (Figure 14). Given its simplicity, the drybrush technique is perfect for a fast paint style, but not suitable for a quality finish except to work on very specific areas, either rough or textured (such as chainmail, terrain, furs or horses tails and manes) or especially plain (cannon or wagon woodwork).
Regarding the metals, the technique I use to paint bronze guns is very easy, but involves more steps than usual, and requires some drying time in between steps. Citadel Colour references are going to be used as, in my opinion, this company’s metallic paints are superior to Vallejo’s. I follow a five step process: (Figure 151) (Figure 152) 1. Base colour: Paint the gun barrel with several layers of watered down Citadel Shining Gold (61-63) to get a smooth result: we don’t want a rough or lumpy finish!
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