By Elliott Kay
Alex Carlisle has sufficient to house even on quiet days. dwelling with an angel and a succubus isn't any effortless feat. One has divine obligations she can’t clarify, and the opposite tempts him towards a decadent way of life he’s unsure he can deal with. upload to that the stresses of school and attempting to carry down a task, and it’s fortunate Alex also can continue his head on straight.
Yet the problems stick with it coming. An amorous (and terrifying) werewolf won’t take no for a solution. Vampires from around the state need to know what occurred to their allies in Seattle. To most sensible all of it off, occasions within the urban have drawn the eye of Federal brokers who be aware of a ways an excessive amount of concerning the supernatural, they usually haven't any persistence for the chaos that Alex and his buddies depart of their wake.
Contains mature themes
Read Online or Download Natural Consequences (Good Intentions, Book 2) PDF
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Extra info for Natural Consequences (Good Intentions, Book 2)
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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