 All right, there we go, it should be good. Hello, everybody, and welcome to another hobby cheating Q&A live. I need to look at it four times. That would probably help. Boy, oh boy, what a day. Sorry, everyone. Hello, everybody. Welcome to another hobby cheating Q&A live. So, what do we do here? Well, basically what we do is for the next hour or so, I'm gonna sit here over on one of these sides. There's a comments box. You can type in your questions. It's been quite a day. I'm sorry, everyone, that I was late. My pup, one of them, had a little incident. She has a gimpy leg, and she heard it real bad doing something, and I was afraid she had broken it because she wasn't putting any weight on it or anything like that, which is no good because I thought the dog had a broken foot or leg or something, but no. In fact, she cut herself somewhere and got infected or something, but we got some medicine now, so she'll be okay. So thank you, everybody, for your patience. I'm gonna pause here at the beginning. Take a drink. This is my new thing. It's Pellegrino. It's not alcohol. I'm not getting drunk in the middle of the thing. Okay. So we're rested, we're refreshed, we're ready to go. So go ahead and drop any of your hobby-related questions over there. While you're waiting, I'll just show you an update on what I'm working on. I'm working on Larissa Shadowstalker, Shadowspear, something like that. She's very small. There you go. There'll be several videos for her. I'm not happy right now. She's in a place where I'm just, she's nearly done and something is off and I have to sit here and stare at it. So at any rate, I'll be fighting with that later today for a couple hours. I'm also putting up some new shelves that are very heavy. So that's been part of my day. It's been a busy day. Moving around 1,200 pounds of glass is not easy. Yeah, so Puff's on the mend. She's here next to me. She's all wiped out because she's tired from being at the vet and getting looked at and stuff, but everything's fine. So I know that there's probably won't be as many people as we had our original start time, but that's okay. That's all right. That just means that we get to have more questions answered from you who are here and hopefully some more people will trickle in. But at any rate, what is this? So we do this once a month. You drop your questions over in the comments and I do my best to answer them in real time. We always do this on Saturday. We try to do it in the middle of the day so that that way both East Coast, West Coast and Euro folks can participate. But today, obviously, we were delayed. All right, so let's take a look. So we've got some questions rolling in. Thank you all for your concern about the dog. I really do appreciate it very much. She's all my dogs are my little kids. I am the worst cliche, but there we are. Also, my wife's not here today, so. And if the dog gets hurt and I'm the only one here, that's just not gonna end well. That's gonna be a bad day. So Michael had said, talking about the series on colors, obviously I released another hobby cheating today with in my color series and this one was about red. He says you'd like to see yellow next. I'll tell you right now, if you wanna see a lot about yellow, go watch the Imperial Fist video. I certainly will do a yellow video at some point, but the Imperial Fist video is a good holdover because I talk about the properties of yellow quite a bit. Okay, oh good, for you in the EU, this is perfect at this time. Yeah, I guess it's like probably 825 or 925, maybe 1025 depending on where you are in Europe. So that's not bad. Okay, let's see. Hello, Adam from Poland, good to see ya. I am glad my dog is okay too. All right, so Joshua, two quick questions. I'm doing two-tone squigs. Half will be turquoise-orange and the other is F.W. Purple Lake, but I'm having a hard time figuring out a color to go with it. Sure. Since they are alive, should I use a pale flesh from my undercoat? I think that's generally a good idea. Yeah, sure. Using something like a pale flesh is your highlight on the zenithal. I think that's probably a good idea. Now, speaking about what goes good with purple, well, when you're looking at turquoise-orange, you're in a sort of pseudo complementary color scheme there, blue and orange being traditional complementary colors. So the easy answer would be to say green, but I think that's actually gonna be too clashy because green and purple are both very intense colors and they work well when you want something really overwhelming. I think honestly, one of the best combinations for purple is just like flesh-tone or a gray or a pale ivory or something like that. So go for purple on the top and make the underbelly one of those more neutral tones. Let the purple win out and I think you'll have a better day there. That's something like I'm picturing in my head like a soft pale Caucasian flesh or maybe like a light to mid-grey with maybe a little bit of pale flesh as a highlight and I think you'll be rock and roll because then you won't clash too much. It'll still seem like something organic and the advantage there with the turquoise orange is that Caucasian flesh, most flesh is actually still just orange plus other colors so you're still getting that feeling in there. This would allow you to sort of keep that on the one that's purple, which is a very alien color. All right, Adam, first question if I may. How to shade vertical round objects like the shaft of a standing spear. I have always, I've been always wondering about this. Okay, sure. So that's actually not a sphere. It's a, it's a, like the shape of that is a column, right? And I'm not trying to be pedantic. I'm just meaning like that type of shape is, they are different. I assume you mean like imagine I'm holding a spear in my hand straight up and down like this, right? So the shaft of the spear that's in there. And, you know, the answer is, I'll tell you how I like to do it. I mean, if you can, you can do it with an airbrush or a brush. One of your choices is to not do much with it at all because it's kind of a small space and to rely more on texture to do the work for you so you can do things like scratches, hashes, lines of leather straps, those kinds of things. The second answer is you can like, you can pick one side of the column of that shape, right? To be highlighted and then pick the opposite side to be shaded. So you just kind of work literally around it so you can take your airbrush, you know, paint the whole thing in neutral tone, take your airbrush and go light from one side in a spray and dark from the other side in a spray and job's a good, right? And do it kind of early on so then you paint everything around it. The other option that you can do is you can have reflected lights, you can go like light here, bring it around, make the sides, think of like a compass sitting on top. So north is light, east and west are the darkest and south is like mid dark, or sorry, mid light. So like one, it'd go one, two, you're sort of at the anti meridian, is that what those are? I'm not sure. Whatever the other ones are, so you can go one, two, three, four, five, four, three, two. And kind of have reflected light in there as well. Either one of them's fine. In the end, I don't tend to worry too much about things like that there unless like I'm going for a competition piece because outside of competition pieces, things like spear shafts are generally painted in like a wood or a gray color and they're just kind of ignored. They fade into the background and they're not really a big deal. So there you go. All right, okay, chaos spawn. Question, I noticed that the new chaos warriors are edge highlighted in a light gray or blue gray, but the older chaos warriors are edge highlighted in a silver. What contributed to this change? Is this a shift toward non-metallic metal in a studio? No, I think it's just how they do black armor now. For the most part, the heavy metal style has evolved. Like the old chaos warriors were, you know, painted God knows how many years ago. So I mean, I think if you look at any of their black armor, like if you look at the chaos space marines of the black legion, you'll see the same thing. If you look at the, what's his name? Shrike or whatever in the Raven guard, they're the same. It's just, they have a very particular way they do black armor in the heavy metal studio. And so you see it on all of the black miniatures that they do, all the black painted miniatures that they do. I mean, as a studio, they tend to still not do, I mean, I don't know what their personal painting is like. I mean, I'm sure every so often they, for their own personal projects, they do whatever they feel is appropriate. But within the studio, they don't really do non-metallic metal in the traditional sense that we would think of it. That is to say, like they'll still have reflective, you know, ceramite panels and stuff like that. But for the most part, they stick to true metallic metals because they're trying to replicate or they're trying to do something that looks ultra high end with the paints that they sell and the techniques that they would prescribe and stuff like that. Let's see, Greg, glad your dog was feeling better, me too. My question is, do you ever use isopropyl alcohol to thin acrylic paints? Nope. I mean, I use it as cleaner for my airbrush and find it to be a very useful thing. I use it to thin alcohol-based paints. So like the Molotow liquid chrome here that's alcohol-based or anything like that, the liquid chrome from, or sorry, not liquid chrome, the liquid gold from the Leho, you know, that kind of stuff. I'll use alcohol for. And then I use 99%. But no, I use it mostly as cleaner for my airbrush more than anything. Let's see, Dorn Jr., Vince from the last airbrush video. Do you adjust the amount of thinner for Vallejo metal color versus the regular acrylics? Yeah, I would say I still thin them one-to-one, which is like on the low end of what I thin. I thin them like inks, I think, is the real answer I would give, unless I'm trying to really just do a very thin highlight, but always at least one-to-one. I don't think I thin anything less than one-to-one just because there's no reason to thin anything less than that. You're just asking to get clogs in your airbrush. It takes seconds to do an additional coat with your airbrush and you get it, if it's more thin, you get a much smoother application but especially once you have sort of the trigger control to make sure that you're not getting spider webbing and stuff like that. Let's see, Michael Anderson, my perspective on metallic dragons is they are not true metal, but more like fish scales, still shiny but no tarnish. What are good undercoat colors for silver, gold, copper, brass, and bronze? Well, I mean, in general, the gold or brown tones you would undercoat in brown and the silver and steel colors you'd undercoat in black. Honestly, I think you would still use true metallic metals on them. So there's a couple of different ways to do this. You know, Bohun, famously a little while ago, painted like a white chromatic dragon, I'd rather like, that still had a bit of shine to his scales. True metal paints can be a bit overwhelming to use on something like a dragon where it's all one thing. That being said, I would still do them in true metallic because trying to get like a non-metallic effect to look correct would be just ungodly time consuming. And then I would just shade appropriately with inks and stuff like that. And that's how I would kind of get that in there and probably do some dry brushing with lighter metallics to just catch the edges and stuff. I've never painted, admittedly I've never painted one of the metallic dragons. That's just my intuition on the thing of how I would go about it. Like if I was gonna paint a gold dragon, I'd probably just undercoat him in a brown of some way, of some kind. Like probably glossy. Then I would shoot the whole thing with, you know, Vallejo metal color. And then I would just start working inks in with airbrush first to create some broad volumes and then go in with a brush and start creating them and then do some dry brushing and then probably some more very thin metallic work with a brush to sort of smooth everything out. H347H, hey man, thanks for your videos. Just got an airbrush and was able to get 10 tabletop standard skeletons done today for D&D in under an hour. The plastic ones from GW's fanfare accounts. Awesome man, that's great to hear. And yes, that's, yep, exactly. Zenithal plus contrast with some quick semi-glazed highlights. Beautiful, beautiful my friend. That's the thing. Like, you know, I love Doug from two plus tough but I watched his hangouts yesterday where he was painting terrain and I just watched him for like an hour and a half base coat wood, like one color of wood. And all I could think was either, A, he needs a bigger brush, like that's number one. He should be using a giant brush. If he's bound to determine to use a brush, he should have been using something way, way, way bigger. But two, I could think like, wow, I could do that whole thing he just did in five minutes tops with an airbrush. So, but you know, spend your life how you like. It's your time. So there you go. All right, Tom Whitbrook. I've got a question on weathering candy metallics. Okay, sure. Blue, yellow, red, how should I paint scratches? Straight to silver as the brightest layer underneath. No, so if you're gonna weather them, they should go to a dark steel. Candy coated metallics and their reflectivity. So here's the problem if you paint silver. Like, I don't like silver as scratches ever. And I watched, so Darren Latham has a battle damage video and he makes the same point. Like one, things often aren't metallic underneath. So a lot of things in like the 40K universe or Ceramite or whatever or other weird metals. But on a deeper level, two, those things aren't polished. Metal only turns silver when it's highly polished and like cared for. Industrial steel that sort of got the candy coat on it. We paint it silver to get the bright candy coat, but that isn't how it would be done probably in reality, right? It wouldn't chrome the whole thing and paint it and then spray it red. They'd use like a highly glossy red sort of paint over steel. So if it's damaged, unless that damage happened eight seconds ago, you know, water and weather and wear got in there and dimmed the metal almost instantly, not to mention the fact that it would be unpolished metal underneath. So if I was gonna scratch it, candy coats hard to battle damage in general. But if I was going to do some scratches in there, I would actually go to like a dark steel and make it darker and then take some of the, probably silver plus red with a brush or, you know, let's say we're doing like a red candy coat, for example, and mix that together and make that the underlight where the sort of torn away because your scratches in the simplest conception consist of two things, right? A darker deep spot and a lighter thing where the paint is peeled on the bottom against the light. So that would be how I'd go about it. Tyler Miller, question, you said you're comfortable airbrushing regular acrylic paints with just the spray-brew filter, yes. What about primer and varnish? Do you vent outside or wear a mask, both neither? Well, I mean, if you're asking me how I do it, I turn the vent on the back of the thing. It doesn't go anywhere. It's just filtered air, right? It has a big filter in it. And I turn that on and then I run the primer and the varnish through. If you want to be safe, you want to be like what I am not, you should wear a mask for those kinds of things. It'll be much better for you in the long run. But I spent 20 years as a smoker, so I already ruined my lungs long ago. And then thankfully I've given that up, but I mean, my point is that it's not good for you. You shouldn't spray non-acrylic things without some kind of filter. Those things, especially primers, have polyurethane and stuff like that in it that's not healthy, you don't want to be inhaling that. But I don't vent outside. A mask is what you need. Like run the air filter and wear a mask and you'll be fine to do it inside. And you can order nice masks off like Amazon, pretty cheap. Emily, oh boy, I jumped way down, sorry. Scan them back up. I gotta catch up. All right, how do you set your pigment powders? I've picked up a few to try out but haven't opened them yet. Sure, well, first off, open them. They're super fun. Come out, start putting them around people's bases around their feet, like just start going nuts. Powders are awesome. I use pigment in almost every project because it's hilariously fun to just start throwing pigment around. When you're doing bases, just start dumping washes on things and jamming pigment into there and you'll get awesome effects. Literally just go nuts. Imagine you're making a Jackson Pollock painting or something, like just go crazy and you'll get nature. Now, how do I fix them? Well, I just mentioned part of it. If you wash over the top of your pigments, that will set it and it puts a layer of acrylic medium over the top. You can use pigment fixer. That does exist and it's fine. The pigment fixers that go along with stuff like Obtolung makes one, Vallejo makes one, Secret Weapon makes one, they're all fine and they all more or less preserve the pigment's colors. You can also just use regular acrylic medium if you just have like medium, just any medium, thinner medium or anything like that or master medium from Green Stuff World or anything of that nature. Lamea medium, contrast medium, any kind of medium work because it'll form that acrylic bond over the top of the pigment. But it may change the color a little. You can use alcohol. Somebody mentioned isopropyl alcohol earlier. You can fix it with 99% or 91% isopropyl alcohol. That'll hold it in place. When I need to actually pigment fix, that's often what I'll do. You can also just varnish the whole thing, which is again, a step that I'll usually take. So if I'm varnishing as a last step before I attach the miniature, I'll just hit everything with a quick code of AK Interactive Ultramat Varnish and Bada Boom. There you go. So there's many options for you. Choose any of them as you like. Okay. Adam Pasek, I need a good cyan. Any recommendations? Sure. Scale 75 in their blue set makes a really nice cyan. It's called like Adriatic blue. You can always go to good old fashioned heavy body acrylics. I don't know if I have my cyan in reach, but there's like Golden and Schmecky and people like that make a good cyan. Yeah, that's probably two good recommendations. I think there's also a good cyan ink from Daler Rowney FW. So that's another one you could look at. I like all of those. So those would be my recommendations. Purple and teal are my favorite. Purple combo. Yeah, they're pretty good. I like them too. It just might be a bit much on an organic creature. It's different if it's Lex Luthor's power armor to reference back to what I said earlier. All right. Thank you. Runs with Caesars is a truly glorious name. And thank you. Hello, and I'm glad you enjoy the content. Due to do, okay. Mathias Runchol. Vince, I'm doing a Stormcast statue, Stormcast statue scheme with copper and niloxide. I'm adding plants, leaves in different colors to both bases and models to give them an ancient look. Any tips for this? Sure. You can use little, what is it? Like birch seeds are pretty good. But if you really want to get leaves in different colors, you want this little guy right here, which is the Green Stuff World leaf punch. Choo-poo-choo-poo-choo. By the way, stamping stores are a really, I see people oftentimes wondering how do you get a good punch out of things? I think this came up on like a trapped under plastic. Talking about how you'd cut a round circle, like out of plastic card. Like how you get something perfectly round. Get yourself some thin plastic card. And my wife is like a stamping enthusiast. I don't mean stamps like the things that go on your letters, stamping like the thing that you go to stores for. Like the stores for like doing scrapbooking and stuff. They have punches like this of all different things. Anything you would want to punch, it's amazing. They just have row upon row upon row of these punches, of just shapes and sizes and designs. You can get these, it's amazing. So at any rate, I've borrowed some hers. So like if you're trying to get something perfectly round out of plastic card, they have basically a socket wrench set of punches you can get there. You know, five eights and half inch and three quarter and so on and so forth. Most soccer wrench sets I buy only go up to half inch. I'd like to see something a little larger. Let's get crazy. Maybe a five eighths. So at any rate, but the trick with these is you take a coffee filter and you just stain it with a bunch of inks. Okay, let the ink dry obviously. And then you just move this thing around the coffee filter and just punch, punch, punch, punch, punch. And what you'll get is a wonderful array of colors and leaves that are super easy to utilize. And yeah, it looks really nice. If you want the traditional fall stuff, you can stain it with a little sepia, a little orange and you know, kind of yellow and stuff like that. And you just kind of let the inks run into each other and it just gives you a really nice texture. And then you can just fix them with a tiny drop of glue and you're good to go. So hopefully that helps you there, Matthias. Joe Orthober trying to paint rancid-ish fat. Oh my God. Well, that sounds terrible. When I use reference pictures, I'm using yellows, orange, reds as in fat that's bloody. It's coming out as looking like lava. Any ideas to get it more like human fat? I mean, human fat is like ostensibly yellow with veins in it. I would subtract the blood and go for things like veins. I remember that stunt Oprah pulled back in like the early 90s where she walked out with a wheelbarrow full of fat or something. This was the thing that happened, right? I'm not imagining this. And like that looked gross. But like yellow, I would inject some fleshy tones into it. Whether scientifically accurate or not, we tend to recognize various flesh tones like Caucasian flesh tones as being something alive. So you could inject a little bit of that into there, make your, push your yellow more into that kind of a spectrum. And then for rancid, I mean, if you want to just add some greens or something that would also subtract out the lava pretty easy because it would look rotten. Like green on flesh just looks rotten immediately. And then you could put like some veins and blood vessels in there. And you could have them actually like, if you still want blood effect, just have the veins like leaking blood and drips almost like you would do rust weathering on concrete. This is the weirdest conversation I've ever had on a Q and A. So you're, you've set a record, Joe. I want you to know that by having this conversation. All right, time for a drink. So refreshing. Okay. It is for those of you who weren't here earlier, by the way, it is, it's Pellegrino, not alcohol. I'm not getting smashed on, on a Q and A live. My days have been that rough that I started to drink for the first time in 20 years. All right, so let's see. Starting a scaven army and I'm going to play with glow in the dark paints for the warp stone parts throughout the army. Apart from, oh God, no, any considerations that jump to mine. Yeah, sure, they're very dry. So use them sparingly because they will make all your work look chalky. They will work best if you use them. There you go, baby. They will work best if you use them in the highest highlights and stuff like that. Honestly, you can also just use like the, the fluorescent paints or the pigments, the glow in the dark pigments, but some of the fluorescent paints will also actually fluoresce in any event. Sorry, we've got a guest. We've got a guest host here and my other dog. So the, you can use those and those are smoother and they'll still kind of glow. Massive Voodoo has a great article on using glow in the dark pigments. So you may want to give that a read. That comes from Roman, who I know is a big fan of using them in lots of projects. So give that a shot. Hopefully that helps. Lone Goat 81. Oh, where are the rest of your goats? And how are you 81 if you're the Lone Goat? This raises many more questions than it answers. Question, working on some cheaper minis, no there's nothing wrong with a no there's many. And the features are muddy. Yes, on their smaller minis, I like the nozzar stuff for the larger stuff, as usual with any kind of cheap miniature like that. This is true for bones and stuff too. Once you get up to like ogre size, they're pretty good and they have good detail. When you're smaller, it's like they're soft on the detail. Any tips for painting soft confusing parts? Black lining, you have to, the paint has to do the work that the sculpt didn't do. So you have to black line everything and make sure that there's a dark separation between the various elements. That's my best advice. It's tough. Okay. And yeah, somebody had said I'd be tempted to use glow in the dark just for highlighting. And yeah, I agree. That's right. Yeah, just use it at the highest highlight. Josh Arden. I'm sure you've answered before, but what are your go-to brands for primer through the airbrush? Vallejo Surface Primer and Stynal Res is the only two things I use. I like both of them. And if you're gonna ask me which one's my favorite, I don't have one. I like them both. You could use either and you would be perfectly fine. I know a lot of people say they have bad experiences with one or the other. I've never had bad experiences with either. And I have bought a lot of it. Just a lot of it. Okay, but that's not to say their experiences are false. I'm just saying, you know, I've never had that. That's all I'm saying. All right, Fib Ghibli. Thanks for teaching me wet blending. Hey, happy to help. It is like, it's such a strong, fun technique. When should you not wet blend when you're trying to finish? So the answer is you said you find glazing tough because you got stains. Go, I think you should go watch my glazing video again. That either means A, you're not wicking off enough liquid or you've broken down your paints too thin and you wanna use like medium or something like that to thin them out. You won't have stains if you're doing that. A proper controlled amount of paint is all you need. And depending on the type of paint you're using, some painters don't glaze well because when you introduce the amount of water you need to break them into a glaze, they just break apart. That's what's causing staining. You have too little pigment spread across too much. Like the water, the solvent to body ratio, to medium ratio has gone too far towards solvent and it's broken down and distributed the pigment unevenly. That's what causes staining. So thinning with a thinner medium or something like that could help you a great deal. Okay, all right. Adam Bow, how to highlight shaded areas after a zenithal? As an effect of zenithal highlighting is it is often the case that a large part of the model is covered by cloth and everything underneath is plain black. Well, I have a video on unusual shapes. Keep in mind when I talk about zenithal in general, I don't just do it the white from above only. Like you have to get in there and sometimes have some other areas where you introduce some light to because we're not lit solely by a spotlight above us, right? Like that's the simplistic sort of way to say it because I need a way to describe what the heck it is. But, you know, if you go back and watch the videos I have on zenithal highlighting I'll talk about how you do have to move the white down and kind of come into these other areas. Now, if we're talking about like way up under their crotch or something, right? Like where you've got a front tabber to back tabber and two legs and that part under in between that box is sort of all dark. Yep, and who cares? Again, unless this is like a golden demon piece, who cares? It's gonna be glued to a base. It's part of an army of a hundred other people. It is irrelevant if that part is black. It just doesn't even need to be painted. If you can't see it in any way by holding the miniature once the base is on it for an army, you don't worry about it. Move on. So that's my answer. Now, if it's somewhat visible, then yeah, just bring it down and give yourself a little light toward the bottom. Just you kind of imagine that there's gonna be reflected light from the atmosphere. Just like right now I have tons of light above me. But like, this still has light right here, right? This part of my neck, even though it's completely covered by my chin. But even though it's completely covered by my chin, right? And why is that? Well, it's because there's reflected light bouncing off of everything in the room, right? So you can kind of replicate that. All right, chaos spawn. How do you handle the blending between smoke and another object? I'm thinking sorcerers, sorcerers, sorceresses? Sorceresses, sorcerers, such as one of the Glocken brothers or the Iron Josh Shaman. I just make it all smoke. Like in the Iron Josh Shaman, I just made it all smoke. And then I just lit part of the smoke. Sam Lenz on Tabletop Minions channel had a great video for doing sort of his explanation for kind of object source lighting where he was under lighting the smoke. I think that's a good trick. But, you know, effectively, like if it's flame to smoke, then it should just go through the normal fire transition to carbonization, which is a deep red, black, brown, and then go from that red, black, brown out into gray of smoke, right? And then eventually to like white at the wispy tail. So you've got this long transition through all these colors. Other than that, I just tend to like, if you can just make it all be smoke, just make it all be smoke. That's my simplest answer. Is that a massive drill bit by your door? It looks like it, doesn't it? No, it's a big giant wizard staff. I got it at a Renaissance festival when I was like 17. That's probably true. My God. And somehow it's actually stayed with me. I've moved so many times. I've left almost all my belongings behind, but, you know, multiple times, like to the point where I just kept like a box of books and basically that kind of stuff. And so, and yet the staff always came along. I don't know. It must want to be here. It's waiting for its time. But if a ballrog ever tries to get in this room, don't worry, I am prepared. Okay. Wandering turtle. Oh, that's, somebody had answered the understandable question and saying just spray a color up underneath. Also a good, yeah, that's also a good play. You can just kind of opposite, natally, natally, natally, I don't know. Natal highlights. Maybe that's what it's called, I don't know. Okay. Vince, have you ever tried psychedelics and did it impact your art style? Sure. And no. So there you go. I'll leave that answer simply at that. All right. Rewrolling one's Jack. Question. How do you paint eyes? So the model doesn't look like it's missing a chromosome asking for a friend. Well, I have a couple of videos on painting eyes and the short answer is this simple answer. Let's talk tabletop for a moment. You need to make the whole thing dark, preferably like a dark red, purple, the whole eyeball area. Then you paint over that, but not cover. You need to have a dark line around the eye with an ivory or a gray, never a bright white, never, ever, ever a bright white, never, ever, ever a bright white. Your eyeballs are not white. Okay. And then you take some black and the easy trick is you put a black dot in the corners of the eyes. So like the evil dog where it's going and looking aside so you come like here and here with the dots, because then it's easier not to screw up and you'll know that they'll be in line because you've pushed them to the edge of both eyes or you do as best you can to like line them up on the face using other signifiers. And you just tap, tap with some, I use Payne's gray ink. There's a little blue black in it. That's usually your best way to go. It'll flow off the tip really nicely. There's my simplest explanation. But the trick is you, it's a sharp brush and it's brush control on its practice. I paint eyes on every miniature I paint ever no matter how hard it is because the only way you're gonna get good at it is reps. Reps, reps, reps. You just keep doing it. And eventually you'll find you just be able to drag the brush and just flip, flip and just hit them in there, you know. And the, but you're never gonna do that if you were like, what's really hard? I might mess up this figure that's one figure and a hundred in my army and doesn't matter. It's one army out of the five armies I'll collect over the next two years and it's one tabletop rank and file infantry guy that nobody's ever gonna look at. What will I do if I mess it up? Who cares? You're gonna put, if you mess it up you just put some more skin around it or something. So like the point is that's the simple steps. Lose the fear people, no fear. Paint bravely. All right, Al Capone. Hey Vince, any tips for blending gradients created by airbrush with regular brush? I find matching, touching up my airbrush with a pencil gradient with a brush to be challenging. Sure, the color will apply differently. So I like to work very thin over the top and do some tests. Effectively I start with a very thin glaze and I often will try to correct it with inks because they're highly transparent so I'll still get some of the color underneath. So working with thin ink glazes is usually a good way to then be additive with the color from your airbrush. Hopefully that helps. Sutterbox, hi Vince. Are there any acrylic metallics that you trust? I've been using Vallejo model color and as you know the flakes are huge and just slide around. I assume team that we can answer this gentleman's question. I'm hoping somebody has already answered it as I slide down. But there is one and only one acrylic metal paint we trust. Period, here on this channel. The answer is, say it with me folks, Vallejo metal color. It is the best, the only, all other metal acrylic paints are garbage and should be thrown away. Scale 75 like their speed metal stuff is okay. It's like a B, that's an A plus. Everything else, F, total failure. If you're using them, no, stop using them. Vallejo metal color, it's the only accept no substitutions. All right. And no, you don't need to go to alcohol based. Those will do you just fine. There are, the next question is which color should you buy cause there's big ones in the range. Here we go, ready? Steel, dark aluminum, silver, pale burnt metal, gold, copper. There you go. Season to taste from there. Okay. The James Waffle style of basing. Throw paint and pigment everywhere and see what happens. I agree. Yeah, he and Roman Lopot are both very famous for that. For pigments is buying are required after putting them on. If you're gonna, if it's a gaming model kind of, if it's a, I mean, if you really work them in then or wash over them or drivers over them, even less, if for a display piece, no, I wouldn't buy pigments on display piece. If it's gonna sit in the cabinet and never be touched. No, I don't buy them. Yep, I agree with Lone Goat. You can leave it, you're all but the extensive handling will rub it off, yep. Ha ha ha ha ha, to do, to do, to do. Okay, Dave Doge. Dogey, doggy, dog. I don't know. Vince, you've done great videos on yellow and red but you will ever do a video on blue. There are tens of thousands of people out there with the Warhammer 40K Ultra Marines. Yeah, I wanna talk about blue. Blue is a pretty fun color because blue is another one of those colors like, like green, that we recognize a very large part of the spectrum to be blue. Where human eyes are willing to tolerate a wide amount of blue. And in fact, blue itself as we recognize it is probably not a color in the traditional sense. Like cyan is actually probably the true primary color and blue is actually a mix. Lots of languages didn't even have words for the color blue for most of human history. Blue is a fascinating color. I do wanna do a big long video for that and I'll actually touch on some more of the history because blue has one of the most, which is insane to think, by the by, that like people didn't have a word for what we think of as like the color of the sky and the ocean and, you know, things like that. A lot of the world that we experience every day and yet it didn't exist. So blue has a fascinating history that I'll delve into and as well talk about its properties and its difficulties and stuff like that. It can be a very challenging color to work with. Yeah, there you go, cool. All right. Oh, neat. Yes, Joe Orthaba, trust Emily when she's talking about wounds. She has this experience from her professional career so if she says that's how it looks, I believe her. Kelly Audia, hey Vince, I love these. Thanks again. What do you undercoat yellow in typically? Bright yellow, blitzball team. A medium brown, light rust ivory. Okay, let's see. Like you've been painting my ogre tyrant at the moment. I'm jelly, that's a cool figure. I might try to pick one of those up at some point but at any rate just for a fun project. Any tips for how to do tattoos? Well, I think I should get some better brushes maybe being precise helps. Yes, I have a video on doing tattoos. It's an older one in the hobby cheating series but I stand behind everything that's in it. It's one of the few older videos I did that I still really like to this day. So my short answer is go watch that. The long answer is you wanna use ink, you want it to have the flesh tone of whatever it's over mixed into it so it looks faded and desaturated and you want flow improver and a sharp brush so you can get those nice thin lines. Flow improver ink, a little bit of paint for adhesion and mix in the skin color. Those are your sort of chief concepts. Michael Anderson, any idea on painting the parts of the miniature that is supposed to be empty space but still has a solid piece as part of the sculpt? Empty space. I don't know what that means. Can you give me an example? I'm not sure what you're describing there. Joe, I wouldn't wanna look at your Google history. Okay. Rob, CG01, Huyvins, you mentioned in a past Q and A mixing dry pigments and paint to make war paint. Yeah, indeed, absolutely. Can you go into any more detail and would you modify this technique for full body war paint? Sure, I can go into more detail and no, I would not. It's exactly what it sounds like, like you war paint. So if you watched Westworld season two, like the greatest, the best episode in the whole season was the one that focused on the sort of Native American who had never been sort of rebooted and updated or whatever. And if you saw his war paint that he wore, it was always very dry and cracked and stuff. And that's what you're trying to get with war paint. It needs to miss spaces. Like if I was gonna wipe, go look at the scene where they're putting the white hand on the oryx of Isengard, right? There's lots of space in the wrinkles there, flesh that doesn't get covered. So I'll usually use white pigment or gray pigment, something light. And then I will, I'll mix in the paint color I want. I'll keep it so it's a very, very, very, very dry mixture. And then using an old crappy synthetic brush, I'll just wipe it across there. So it misses, almost think of it like dry brushing, which I'll do it fast. You're doing just slow streaks of it. And you're trying to miss, just like with dry brushing, where you're trying to miss the low spots, same thing here. Hopefully that helps. David, painting Sylvaneth tree revenants and struggling with their skin tone. Any advice for painting their blown out ghostly skin? Sure, start with the high tone. So probably what you're having trouble with is trying to highlight in a light blue or blue green color. So here's my best advice, do the opposite. Paint the skin in a bright color. Let's say we make the whole skin ivory or something like that, or some kind of pale sand or some kind of gray white if you want it cold or warm. And then only shade down using like glazes. Take your thin green or blue or whatever you're going for for your spectral color and just glaze in the shades. Keep that as your highest highlight. And so you don't paint over all of it. You use that as your highest highlight and then you just pull that down, okay? Wing Walker, is that dog okay? Yes, she rolls around like that and does that. She's crazy, but she's fine. That's not the dog who hurt herself. She's just a loony tune. Caspawn, ridiculous question. If you had to eliminate one technique from your toolbox, which would it be and why? Oh boy. Loaded brush because you can replicate almost anything like that with, you know, wet blending or something similar. It's purely a time saver as opposed to anything else. So, there you go. Alec de Velia, a question new to AOS, got the new cities of Sigmar book and trying to generate a dwarf list with a Warhammer fantasy battle army. Based off the war schools, I'm assuming they'll be wise to invest in fast units. Well, Alec, my answer is go back and look at our, so go back to the episode of Warhammer Weekly we did recently about unusual lists. I do not remember what we called it. There's something like that, unusual lists. And the last list in that episode that Tom shares, the last full list is a cities of Sigmar dwarf list that I think is actually pretty darn good. So, there you go. You can get the whole deets right there. Crazy horse. Vince, wire display boards, the best hobby project one can have. Very nice. They are most definitely not, but I do want to give a small shout out. Sorry, I'm gonna reach for something here real quick that's sort of out of my reach. That all being said, Steve Foote was nice enough to send me this, which is his book he published from Footworks, which is, came out of his Inktober 2018. And it is so gorgeous. If you ever do want display boards, like this is just amazing. It's his sketches for just display boards and these worlds he's creating. And it's amazing. I think you can still get copies from him. It's completely worth it just for seeing the kind of stuff he uses. He gives you like interesting like side views. I don't know if you can see that, like side views and the materials. And I am so grateful that Steve sent me one of these. It's so imaginative. They're so amazing. He's just absolutely brilliant with this kind of stuff. And the worlds he's creating here are just fantastic. So in this regard, crazy horse, they are the best. And I am already planning my display board for my cities of Sigma army. So what do you do? Cheap or expensive brushes? Trick question, the answer is both. You need to have both in your toolkit. You should have cheap brushes for doing the majority of your work in base coding and you should have expensive brushes for detail, fine lines, things like that. W. Soren, can you give me advice on how to improve my black lining for a comic style black and white knight hunt? Well, I saw the one you submitted to the PMP and I mean, I thought it was pretty good as far as comic style goes. You could tighten up, some of your lines a little thinner, make them more hashy so they look more like that kind of thing. But I actually thought it was pretty darn good, man. Like I said, in the text you had said you were kind of going for like a black and white television and that's really not what you got. Go to putty and paint and you can look up some people have done that. You see what I mean about the richness of the grays but I think for like comic book ink style I actually think you're pretty close. I think it's just like kind of refining your lining and shading technique of like the sort of hashes and stuff that you're using there. But all in all, I think you're going down the right road. Get to, for my ADEPTCON 2020 classes. Oh yes, by the way, the ADEPTCON 2020 preview is up. I'll be teaching three classes at ADEPTCON. Would love to see you there if you're going to be there. So also, for those in Australia, I am teaching the day before CANCON. I'm going down to Australia. You can, I'll drop a link for that in the description of this video. So if you are in Australia, sign up, get into it. Let's go. Gotta get that we still got some space in them classes. I would love to fill them up. It's going to be a great day of painting. It's like two, four hour classes. We're going to really dig into it. And the answer is for the ADEPTCON classes, no, you don't need to bring stuff to paint. I'll have stuff for you. For the CANCON stuff you do. Those are longer classes. Okay, Califax. First time catching you live, any advice on painting snakeskin? I'm having trouble understanding the highlights of the pattern that is black across green-yellow. Highlighting it means less contrast. It's tough. Snakeskin is very glossy, often satiny. And there's a lot of different colors going in a lot of different directions on a lot of different scales. My best advice is if it's actually scaled to do things like some dry brushing, like do it all through under shading. So you zenithal the snakeskin, you wash the snakeskin, you dry brush the snakeskin, and then you apply your colors over the top. And that will give you a natural pattern and highlights and all of that. And then you can go in on the parts that are more exposed to the light and you can just touch up the edge highlights of the scales with brighter versions of that color. So like in the black part, you go in with a little bit of gray on the edge and reinforce that on green. You go in with a little bit of brighter green and so on and so forth. So hopefully that helps. All right, mouse baits. I probably need to watch your zenithal video again, but the main issue I have is I get lost halfway through. Like I can't keep what's supposed to be shadow light in my mind. Any advice? Think of a light. Okay, here's my best advice. Have a lamp on your desk and hold the miniature under the lamp. Where the light falls, that should be turning white. That's the simplest answer. Use real reference. Adam, another question. How to glaze with bright colors, bright colors over dark zenithal in a shaded area? Is it okay that shades just look black or very dark gray? How to glaze with bright colors over a dark zenithal in a shaded area? I don't glaze with bright colors often much at all. It's usually tough. I wouldn't glaze, like I wouldn't be careful with glazing period over a dark zenithal. Um, if you're asking me, like I put blue over my zenithal and the dark area still just looks black, yes. If you don't want that, then before you go to the gray and white step, put on a thin layer of the color you want it to eventually be. So like, I think Scott, the Miniac did this in like his most recent video. He like primed it black, but then he turned the primer blue, then he zenithaled, right? Then when you glaze over the top, the deepest parts are just gonna be really dark blue. So like that I'll often do where I'll shoot the black with some colored ink to just make it a dark version of that color. And then you, you know, you don't get those like overwhelmingly dark spots. Okay. All right. Miniatures paintbrush. If you are, hey Rob, if you are painting up a flesh eater quartz, can the crypt ghouls have different color schemes as in green, red for one unit, off white and black to the flesh for the next of 10, like nurglings? Oh, my answer is always yes, man. Can you? There's no rules. There's no rules in this. The rules are all really more guidelines, Miss Turner. So yeah, absolutely. Go nuts. I think that's a great idea. Helps keep the unit separate too. Helps make the army look more visually interesting. I would keep like one color generally tied together. Like maybe have, if there maybe their hands all end in like bloody fingers, you know, or something like keep one element the same and then rotate the rest. Baso, just want to thank you for what you're doing. Oh, well, thanks, man. I'm always glad to help. Derek Graham. Hey Vince, can you explain the basics to creating texture on things like steel and cloth? That is the basics. Sure, lots of sharp thin lines using flow improver and ink and a very, very sharp brush. That's the basics. I don't think that's what you want though. Yeah, I mean, the answer is lots and lots and lots of tiny lines or hashes or stifling dots. There's really nothing more to it than that. For leather, it's an organic random pattern. For steel, it's stifling, right? For satin sort of silky cloths, it can be stifling as well. Darren Latham did a stifling tutorial recently on doing that kind of cloth. Nicholas Gareth, if you go look at his stuff, he does this quite frequently in his cloaks and they look really good. It's just time consuming. I mean, that's the answer. But this cloak is sort of satin and there's no way you're gonna see it. But I just sat there for an hour drawing thin lines of slightly varying colors, ultra-ultra-thin lines with a very, very sharp brush and a lot of flow improver in my paint. I just sat there going hash, hash, hash, hash, hash, hash, hash, hash, hash, hash, changed my color slightly, went next to it over the top. Changed my color slightly, went next to it over the top. Went back to the original color, went over that. Just repeat, rinse and repeat. And just do that over and over and over and over and over and over again. That's the basics. If you go look at the stifling video I do on the bust of the Samurai Warrior, you'll see that in practice. That I have a full tutorial on it and talk about it more in detail. Okay. Ha, ha, ha, ha, ha. All right, I'm just caught up to where everybody shouted Vallejo Metal Color. I'm happy to see that. Darren Scott, question. If you were forced to paint a black Templar army, how would you do it? Angrily? Ha, ha, ha. As it combines all of my least favorite things. Like just painting boring black and white. But that being said, if I was forced to do it, sure. I would zenithal the figures. I would use some camouflage plastic putty, this stuff, or just silly putty, on the areas that are meant to be white. Then I would mix Payne's gray and black ink into an airbrush and I would slowly and carefully shade down away from the highlights, just like you pull a glaze. Then I would go in with a brush and I would just build up the white using successive grays to white. You could also use black Templar the contrast paint over the black areas. I would just take probably a couple coats of it and you'd want to be very controlled. There you go. Well Dave, you can stop painting those Orc Shooters with GW Lead Belcher by just going and ordering some Falejo metal color steel. It's that easy. Okay, have you ever tried Rub and Buff on a mini? Yes I have. I have some of the true metals, the non-acrylics. That's why I was very careful to say limit it to acrylic paint. So the enamels and stuff like that which have the buffable quality. I like them. They're fun. They're good for larger stuff, especially like vehicles and things. You can get a really nice shine out of them. So yeah, I think they're good. But they're a much different product than trying to use them. What many people with acrylic paints would be used to working with. K-Garden, I've got a bit of a problem when highlighting my orange. I tried Lamia Medium to thin it down. It still looks patchy for the highlights from highlighting my orange. Well the easiest way to highlight orange is to not highlight orange. What I mean by that is like you take the orange and you paint something orange. Orange is a funny word to say 100 times. And then you apply some flesh tone to the areas you want highlighted and you kind of thin out the edge of that through a little void blending or something. And then you just use a thin glaze of orange back over the whole thing and that flesh highlight will actually, a Caucasian flesh highlight, like a medium or pale flesh will make the orange look really bright. And as to like getting a good glaze, I would say try a different or, it might depend on your paint. Like GW's oranges are okay at best. Like Proacryl orange is really pigment rich and intense. They have an orange and a burnt orange and they are both fabulous so you may want to give a look at those. I don't know, it could be the paint. Vince needs to try Liquid Mirror Heavy Body Metallic, that is a long name, made by TriArt in Canada. It's one of the whitest metallic highlight colors ever. Okay. Hey, I'm down for anything. I use my chrome right now for my high highlight and it reflects pure white. People who saw it like in person at Holy Havoc were like, my God, what is that reflection? Because I mean, it's like a mirror. That Molotow Liquid Chrome is incredible for your high highlights. But yeah, I'll write it down, let's see. Liquid Mirror TriArt, I'll see if I can get some. Always interested in new metallic paints. Oh, I don't know, I don't see that a lot on the miniatures I paint. That's probably more a result of different kinds of modeling. I'm not sure, Mousebait. But here, okay, let me, Michael Anderson's response to my previous question about things that aren't really there. Like a rope that is being held by the mini in the hands away from the body, but the sculpt is solid between the body and the rope. My honest answer is I don't pay minis that have that sort of thing on them. That sounds like an incredibly A-holish thing to say, but that's just bad. That kind of extra stuff shouldn't be there. That reeks of older miniatures where the sculpting technology wasn't up to modern stuff. And if that's a current mini, there you are. If you can't cut it away under any circumstances, if you can't actually razor that away, then some kind of dark color to make it not really there, like black or something, but that shouldn't exist. Okay. All right, Rob V. Johnson. Haven't been able to catch a live show in a while, just came to say hi. Well, hi, Rob. How you doing? And thank you. Keep pimping away, my friend. Martini 78. I'm doing some bases with a ghrelin earth crackle paint. How do I go about making the cracks bigger? Two concepts. One, thicker. Thicker, thicker, thicker. You need to apply a ton of that stuff to get it to crack. It should have mass. It needs to be like an eighth of an inch thick for big cracks. There's one. Two, apply a different basing paste underneath. So I cover this in a video where you lay down your Vallejo ground paste first, and then you put your texture crackle paint on top. The lower bit, they have different drying speeds, and this one when it dries will pull the top one farther apart and give you like huge cracks. That's one of my favorite tricks. So you apply like the Vallejo basing paste, and then, which I can't get at right now because my dog is laying in front of my drawer that has it in there, but you know, it's just like sand and dark earth and all that stuff. You just search Vallejo ground paste or something, anything like that, you'll see what I mean. And I apply a layer of that, and then immediately, while it's still wet, you go over top with Martian Iron Earth or something like that, and they will pull way apart. Marcus Miller, how do you deal with models that have built-in terrain on their feet like rocks or skulls when you want to base them into a drain? I cut that crap off. Almost always one of the first things I do is cut that junk off their feet. I mean, I just, you snip models out of that stuff. I hate it when people have junk on their feet to get them into that Captain Morgan pose. This is something Games Workshop loves to do. I cut it away. Just cut it away, and then I build a new base underneath, unless it's an element that I can definitely work into exactly what I have going on. I cut it off. Alessandro, Havens, great content. Oh, well, very good, man. Thank you. I appreciate that. I'm glad you're here live. Zektari, which war brand in Warcry do you think, aside from the Cypher Lords, fit best with Zinge, both lore and possible color schemes? Well, definitely the Cypher Lords. They're absolutely zinchy. Their leader has three arms, like true followers of Zinge. If you needed a second one, the Corvus Cabal guys, because they're bird people. So, you know, birds. Bird stuff. Zinge likes bird stuff. Soon, ever coming over to Europa? Yeah. I mean, sure. Eventually, yes. I will eventually get everywhere. I know I'll be in the UK in the spring around Warhammerfest teaching. Beyond that, I don't know. Let's see. W. Soren, is there a way to convert models in a KS army for a specific god but still be able to use it as standard slaves to darkness? Yeah, sure. That's all in paint, my friend. Whatever you want. Do what you want. Like, again, you could just paint them in standard kind of black armor. You know, the generic slaves to darkness black. And then just say they're dedicated to a god. And that's fine. I don't think anybody's going to bust your chops for that. Who cares? But if you were like, um, if you were like, you know, very nurgly or very slanesh or something. And then, and then you just said, well, in this game, they're regular slaves to darkness. I know I wouldn't care. I'm fine with it. And I doubt anybody would care, by the way. Uh, Alessandro question, I'm starting a Sylvaneth army and realize the color scheme I want to go for is really similar to the one that you used on your, on yours. What pink and teal would you suggest for something similar? Sure. So the teal I used was despair green as a base from scale 75 fantasy and games. That was my teal colors, the sort of base color of that. There's other highlights in there, but obviously that was the main one. And the main pink I used was blood fest crimson. Also from scale 75 fantasy and games. Uh, so if you want to be pretty dark, like there was obviously a lot of other colors mixed in there, but like I used, um, pinky caucasian flesh tones for the highlight of the blood fest crimson. And I used, uh, whites and blue whites for the highlights on the, just on the despair green. So there you go. Hopefully that helps. Okay. Uh, what was the name of the display board's book? Oh, I'm sorry. I never showed the cover. It's just called dream lands by footworks. Dream lands. It's just such, it's really cool. He has some amazing ideas here. The Trojan horse one is so crazy. Yeah. Very, very cool stuff. Good for boards, good for table design, like for your, for your, your actual gaming table. Good for even like big display bases. It's just, it's so cool. Adam bow. Uh, let's see, uh, another one, how to fix mistakes on surfaces that have already been dry brushed wash or shaded with an airbrush. Sometimes multiple layers, how to easily fix them. Just paint over it. I don't have another answer, man. Just paint over it. Most. Okay. Here, I'll just give you a good example. See his cloak right there. It's got free hand on it. It's been airbrushed. It's been paintbrushed. I hate it. I can't fix it later today. You know how I'm going to get out my brush and go to work. And that'll be the third time I've painted over that, by the way. I am just cannot get happy with it. Who cares? Just keep painting it and like blend it out. Go back to the airbrush, go back to the brush, lays it out. Whatever you got to do. Uh, let's see. Our Dillgert Vince, how would you paint aged, decayed to bone? More browns turn the bone more gray color. Yeah. I think that's probably what I would do. Like infuse more old black brown and turn the actual white more gray. That has a natural sense of age to it, especially to, we tend to associate gray with age. Our Dillgert also on a scale of one to 10, how excited are you for slaves to darkness? 100, LOL. Yeah. I mean, to play within your scale, 10. Real answer, it cannot be quantified by the numerical system that we have yet discovered. Infinity does not go high enough. Okay. Uh, Chief, good day Vince, hope you're having a great weekend, a couple of questions. Do you paint bases first or miniatures? Miniatures and bases are always separate. Period. That is my answer. So I have the base, it's over here, I'm working on it. I might paint it first. I might paint it last. Doesn't really matter. But you know, I'm going to create it to make sure it fits with the mini and then the mini is on a holder of some kind and they are painted completely separately. Also have you seen Wargamer Online's How to Paint Brutes? If so, what are your thoughts? I have not. I will give it a watch. So I have no thoughts for the last one, but, you know, Brutes are one of my favorite models I've ever painted. The iron jaws, the people a lot of times just look at them like, oh, they're armored orcs, but they're really so much more. They did such a beautiful job on the re-sculpt of the orc faces because they have such character and detail and emotion. They're just wonderful. They're just an absolute pleasure to paint. Okay. How long do you have to wait for green stuff to dry before you can prime it? If you're in an absolute hurry, probably depends on how thick it is. That's number one and how much it is. Like a tiny little spot or a gap fill, couple hours. The safe answer is generally 24 hours. Now if you're doing like a big old chunk, you may even want to give it a little bit longer than that, but 24 hours is usually the safest answer. Alright, yippee. Can't recall if you ever mentioned a formal studying period, but do you have any recommendations on books, professional resources for getting deeper into color, light theory in a sort of painterly manner? Yeah, go to classical art is basically my best explanation. Like there's lots of books that have been written on the way the old masters use light. Any of those. That's what you want. You want to get out of the world of miniature painting and into the world of like traditional canvas art, especially those books that examine how the old masters use paint and light and captured light. Like that will be more valuable to you than anything you can buy that's a miniature painting book. Dorn Jr. is scraping mold lines like eyeballs, just get your reps in and repeat it to get fast. Yep, it is. Did you ever use Vallejo primer with a brush? I used it the first time, pretty thin, and painting on it was like painting on plastic. Nope, I never brush prime. Here's the fastest way to ruin a mini. So if it's a small area that got scraped, I'll just paint over it with paint. I don't reprime it. Sometimes I'll find something late, have to scrape it when there's already paint down. Scrape it carefully, I wipe away as near as I can, and then I just put new paint over the area. Job's a good one. Alright, yippee, for a technique question I've been messing with colored metallics by just adding FW Scale 75 inks to Vallejo Metal Color, Scale 75 Metallics. I get what was curious if you had other ideas or go-to methods. Yeah, sure, you can go on top or in. So I have a whole video on colored metallics, I would go give that a watch, I talk about this in detail, and the difference is between mixing and going on top. So give that a watch. But in general, you can use both. I have not yet tried the Scale 75 in intensity 2. Oh boy, sorry, long day folks. Is it viable to have an unaligned Slaves of Darkness army at the moment? No. And to come talk to me in a month? The answer is probably yes when the book comes out. Rob Johnson, sorry Vince, I couldn't hear what Vallejo texture you put under crackle paint. Is it like pumice or sandy texture? No, it's just this stuff. Alright pup, she gotta move a little bit here. It's this. Something like this. It doesn't have to be desert sand. There are 20 different varieties of this. Any of them will work. This stuff. It's all in one. Grit and everything you need. And they are great and I use them all the time and I love them. And they will dry at a different speed to pull it apart. Travarion? Hey, Travarion, how you doing? Just paint over it. That's my solution to everything. Yeah, I mean, like so much of display painting is just painting over stuff. Because you're going to get to play like no matter how well you plan, when you're aiming for like a perfect piece, not a thing that exists, when you're aiming for like the highest quality you can produce, you're going to have a concept in your head at the beginning. You're going to get into the project and you're going to realize that it's not going to work in exactly the way you wanted. Or you're going to realize that you didn't put the highlight in exactly the place you needed it to be once everything's there or or or and you're just going to paint over it. So much of what I do for for high end painting is just painting over stuff. Just keep painting. Just keep painting. Just keep painting. Just keep painting. You're pushing little tiny bits of paint around until it's, you know, kind of exactly right. By the way, congrats. We should all congratulate Travarion for for getting third in the ever chosen competition. Who's my personal votes? I like yours the best. That's not just me blowing smoke. I just thought it was cool and I really liked it and I liked the way you used color. I especially loved the way you used the color and the vertigree on the shield and the shadow balance. It was an amazing piece, but so there you go. But third is still amazing without a doubt out of that massive number of entries. So well, well done, buddy. Okay, Abominus looking to pick up blue, green and purple paints for shading. Okay, thinking of trying Army Painter quick shades instead of Citadel shades. The outside bet here is contrast paints instead thoughts. Sure, any of those would work. If you're looking for the traditional like base coat shade method, I have a video where I review all of the inks and washes and shades in the market and compare them in their coverage. Go watch that review video and it's a hobby cheating in there somewhere. I don't remember where it was, but it's in the list where I actually review all the different intensities of the inks and shades and washes. Go give that a watch and see which one you like best. That's my answer. The short answer is that the Citadel shades are a little more intense than like the Army Painter tones. And then the green stuff world is another option for you. Those are really nice. They're also fairly light. So just a question of what you want to achieve. Steven Pell, so I'm currently painting up the ghosts from Underworlds and I've decided I wanted to do the roses on them in black and pink. I figured out how I'll do it, but I'm curious how you would handle it. Sure, I would paint the rose black. I would then take like an ivory and I would basically side the brush like take the brush and side pick out the roses. Not really a dry brush, but not a, you know, just more like with the side of the brush just covering to get the high areas. And then I would take a pretty transparent layer of magenta and I would just kind of do the same thing, but be a little more messy and make sure nothing was pooling or anything like that. That's how I would do it. Because that magenta over white will turn pink over black, it will just tint slightly and it'll smooth it all out. My question is of your experience with waterslide decals. Do you use them or do you have any tutorial about it? Yes, I do. Have you ever dabbled with custom ones? Yes, I have. I have this whole set of custom ones right here that I really love. Not printing them. I haven't dabbled with that. You can order custom ones like I have these guys. I really love these. These come from Green Stuff World. Mine I order a lot of stuff from them. I have like pin up stuff, pretty cool, like Mad Max bomb stuff. Cool things. I love decals. I use them all the time. The key is just get out your micro set and your micro sol. That's really the answer. What happened there? There we go. Sorry about that. Get out your micro set and your micro sol. I do have a tutorial on how to apply them. I'm thinking of recording another one just because there's some new tricks I've picked up in time. Apply them, let them set, use your micro sol to melt them down and then varnish over the whole thing. Basically, you'll get them in there. That's the best short answer I can give. Yonhei, hi. I'm about to receive a ton of minis. I want to stage the painting. Target one, color of the bases for play. Any recommendation on how to approach this big batch? Example, prep mandatory, full priming too. Or just painting them individually one by one instead of groups five. I did how to speed paint an army in a week. I did that video. You'll see how I did it. It's a lot of just my answer if you're just trying to get somewhere quick is you do a lot of zenithal and sketch style where you're painting thin glazes over the top. That'll get you on the table and happy. I do them in big batches like I did all 30 of my handgunners at once and so on and so forth. Then you can always come back later and just build up the highlights, reinforce shadows, pick out details more cleanly. You can basically clean them up. All right. So we've been going now for about an hour 20 and I need to go give my dog her medicine. So I'm going to go into a lightning round. We're going to wrap this up in about 10 minutes. So if you've got questions, put them in there. It's lightning round time. We're going into hurry up offense mode. Here we go. Manuel, good evening from Portugal. Hi. Hello in Portugal. How are you doing? K.Spawn, paint and copper. Do I desaturate it with, say, a green wash to counteract the red and then bring it back up or for the highlight or something else? In general, with copper, I prefer deeper browns and blacks. I use green in the shadows as vertigris, green turquoise and sort of an oxidation color as as vertigris in the shadows to create life in the shadows. Could you wash it with green? Sure, you could. It would still be fine. It's not going to have a huge effect other than kind of ruining the metallic shine, but you could do it. Let's see. The planet mark. How do you think Molotow Chrome would look as bases for night armor panels? Like a whole like a whole imperial night. If you mean like for the filigree around the side, I think it would look pretty cool. You would take a long time to brush it on. It would take a lot of it. But I like I use it for edges on nights. I use it like on my Zeench night, it's used in all the highlights and the edges in the very spot points. It's probably a bit too brightly. You'd have to shade it down. All right. Water fader. She wanted to tell you that Vallejo metal paints save my marriage. It's not surprising. Vallejo metal color is saving lives the world over. It is simply the best of the best. I heard I heard I can't verify this, but I heard that if you approach Vallejo metal color and and give it an offering, you know, it will it will it can it can bless your household. It can it can aid you to have a child. You know, all sorts of miracles have been attributed to Vallejo metal color. None of them have yet been verified by the Vatican. But, you know, I'm confident in time they will be. OK. Adam Bow question. Intensity chestnut goes down when I push it with my finger when try on primed mini and Vallejo extra opaque heavy warm gray. Do you have any idea why? Intensity chestnut goes down. I don't know what you mean by goes down. Do you mean like you're able to still scratch it? It's very thin. I'm not sure exactly what you mean. If you mean you can still like scratch it or mess it up. It's thin and you generally want to varnish over the top of it. Like contrast, it has a very small like micrometer of how it settles. If that's the right word. Kelger speaking of iron draws, how would you approach an orange red armor for them? I would paint it all the base red much like you saw me do in my blue iron jaws video. I would dry brush it ivory and then I would spray and then I would either airbrush spray or glaze over the top with some orange to make those highlights be orange. And then I would have some counter color in like battle damage that's dark black or something like that. All right. Dmitri, a question about your last exploring colors red. Why not use pure purple and glaze red over it for shadows? Sure, you can do that. I mean, I mentioned that purple is like one of the colors you can use in the shadows. You could also just glaze red over the purple. Absolutely. It's like I I'm starting from the color in those videos to kind of show you the options from there, right? Up into how you branch out, but you could build and layer into them absolutely in the way you're describing. And that would be perfectly fair. OK. Oh, let's see. Oh, that's a good. Yeah. Hey, great, great tip. Mouse fake gloss. Coach your area first for decals fills in any tiny gaps you may not see. Yeah, I actually find I use satin varnish on the area first. Your mileage may vary. I like a good, healthy. I'll do two applications of satin varnish just because that's better for your mileage may vary. That's what I like. Chief, thanks, Vince. Really appreciate you getting back to me. Colors used on armor based egg on scale. Green, Cali green, super green, second layer, highly wash and shade, none oil. OK. Josh, any guests on Mawtribe Weekly Wednesday? Yes, we have one of the re-rolling ones, folks. Brent from re-rolling ones coming on to join us. Let's see. Austin Fletcher never used a varnish before. What's the best way to get into using it? An airbrush. And I just use like Vallejo, satin and matte and gloss varnish. They're there when I use in that range. You can also get AK interactive varnish. They're fine. They're, in fact, I mean, if you're just looking for varnish, varnish, even things out. AK interactive ultra matte varnish is the best thing on the market. I would never use anything else to to finish an even out to miniature that I was trying to matte out. This is the only thing I will trust, period. It does not fuzz. It's you have to you have to do it. It doesn't really like provide a super hard layer, but it does perfect at killing shine and evening out finish. Uh, there we go. Oh, wait, there you go. Hold on one more question. Thought it was done. Uh, M5 to gaming, do you have a recommended brand for a first airbrush, first airbrush? Yeah, master the crappy airbrush that costs like 20 bucks. Get the G 22 combo set, because I if you were 16 and I was and I was your parents and getting your car, I wouldn't buy you a BMW, you know, I would go buy you some used piece of junk off of the used car lot because you're going to screw it up because you don't know what you're doing yet. And an airbrush is quite a fiddly little machine. And, uh, like that master series one in the end, it costs 20 bucks. If you break it, who cares, throw it in the trash, get a new one for $20. Um, but it'll still teach you the basics. How does Zenithal, how to prime, how to base coat, you know, applying colors, cleaning it, like it's a functional airbrush. It works. There's absolutely nothing wrong with it. It's just not good for like doing any kind of precise detail and it's got very poor control, but that's okay because in the beginning, you as an airbrush or have very poor control. That's not, there's no offense to just you, it's just the nature of the thing, right? Like we're using a new tool, we're not experts with it yet. And then from there, my next brush of choice, I mean, I have a lot of different brands of airbrushes, but my workhorse of choice is the Iwata HPCS. I love it. I think it's just, it's built from steel. It's not really, I just, I mean, it's very tough. It's not really made of steel, so it rests. It's, I'm sure there's stainless steel in there. I mean, it's just very tough. It's been my workhorse brush for primers, for varnishes, for bases, for God, I don't know, five or six years. I can't imagine how many thousands of hours I've put on that airbrush and it's still humming along. So there you go. That's my advice. So there we go, folks. Little, little bit around an hour and a half. We come to the end of it. I am again, sorry for the late start today, but thank you very much for all your patience. I'm glad everybody was able to join us. I'm always loved doing this. We do this at least one Saturday every month on the, usually in the middle of the day on Saturday toward the middle of the month. And I will try to start announcing it earlier, like I did today on Twitter, where I announced it like four and a half hours before it went live. We're supposed to go live. And then life got flipped, turned upside down. So life is crazy. There you go. But as always, I do appreciate you watching this one. Oh, Padre just joined. And yes, I am signing off. Sorry, buddy. Dimitri, glazing with a brush, what's your choice? The answer is yes. Glazing with an airbrush will always be easier and faster, but sometimes you don't have that choice. So yes, both. I do both quite frequently. All right, but as is now, I've got to sign off. But thank you all for all the fantastic questions. If you have more that you didn't get a chance to answer, drop them in the comments below. I'm happy to answer them there. But as always, very much appreciate you watching and we'll see you next time. Bye-bye.