 Hello everybody and welcome to another hobby-cheating video and today I am really excited GW sent me this awesome box of flesh eater quartz and today We're gonna paint up one of these models specifically one of my favorite models from the box And we're gonna talk about some really interesting and different ways to attack speed painting Models like this. So let's get into it The strict techno man sir that is Vincy V. Let us get to the technique and learn it Vincy V Those of you who've been around for a little while you may remember that a long time ago I did a speed painted flesh eater quartz army over a weekend and I still have that army and I love it It's a lot of fun and I get on the table every so often So I was excited to see more releases for flesh eater quartz But since the previous version of my army was speed painted I wanted to do kind of the same thing here But instead of just using the same tips tricks and techniques that I used in the previous video I thought we'd try something new and exciting. So today we're gonna do we're gonna mess around with oil paints Now just wait wait wait wait don't turn it off. I know it's scary We're talking about different paints different things, but trust me I think this is a really really fun way to go about base-coding your miniatures and getting things done fast Especially when you have a large amount of an army to paint because the time it takes these things to dry You can effectively batch paint a whole army along to a good place And then let it rest and then come back and do the finishing work But you'll see as we get into it Don't tell anyone but this is kind of how you subtractively slap chop. It's reverse slap chop. It's chop slap I don't know. It's using oil paints in a subtractive way with under shading to create tonal variation You'll see it's really easy despite the fact we can use a bunch of five dollar words to describe it Let's get over the desk. Let's get painting a model. Let's have some fun As I mentioned we are starting with oil paints, but don't be afraid We're not going to be we're not going to get too crazy here. This is a simple selection of colors They're very easy to manage and we're going to have a lot of fun with them It's just a nice range. It's going to help us do some deathly flesh And stuff like that and you'll see that when we apply these We're going to have a lot of fun with it. So oil paints The nice part about them is they stay wet for longer. The bad part about them is they stay wet for longer It's kind of a double-edged sword But the advantage here is you can't make a mistake when you're I'm working with this big giant brush And as I'm working my way around the model applying these tones If I ever get paint somewhere I don't want or don't like or anything like that Then in that case, I can just use white spirits and erase it So I always use Mona Lisa sort of white spirits or gamble gamsol white spirits. Those are my two preferred I'll link those down in the description as well But they make honestly the whole process very easy So what I'm working with here is the oil paints out of the tube thinned maybe one to one with white spirits And I'm just applying rough and dirty base coats Because I can clean it up later in later steps and because I'm going to subtract a lot of this paint off I'm not too worried about being a hundred percent accurate if some colors get into each other Or we're not quite as accurate with our base coats as we'd want to be or things look a little thick worry not For we will come back later and remove a bunch of this paint When you're working with oil paints when I say it's a subtractive method What I mean by that is you're going to apply the paint and then remove it We're effectively going to end in the same place as you would get if you put a thin glaze over You know a zenith all undercoat or a dry brush undercoat or something like that That's why all I say this is like And I hate to use the term but it is kind of a sort of slap choppy like method okay because The execution here is going to end in a similar place although we're using a very different method to get there And so when I'm putting down all of these base coats Even though they're really thick and you're like geez you really blew away your zenithal like nothing from the zenithal shows through This paint when it goes on right Don't worry as you see in later stages because we're going to use mostly subtractive painting for this We will in fact preserve a lot of that And as a point of fact here I went for a pretty simple black to white undercoat But there's no reason you'd have to do that playing with this subtractive method of oil paints You can actually get quite Experimental you can use yellows under there and reds and purples and stuff like that and get all sorts of fun interactions with the oil paint above Now I let it sit for maybe 20 minutes not very long and then I'm using these little makeup sponges I'll also link those below And you see I'm just wiping a lot of the paint off now I am not using any white spirits in this brush at this time. This is nothing more than a dry makeup sponge being wiped over the thing And that's because I want to start by just removing the excess and you see how immediately awesome those muscles look. I mean Honestly, even I was kind of blown away. I'm not gonna lie like the muscularity on this guy just pops right out When you with this method and you can then focus in Just lightly dabbing the thing across the higher areas and the more you remove The more you will reset the tone and remove paint bringing it back to kind of how it was with the gray and and Lightening the effect of the stain now. You'll never remove this completely unless you go to to actual White spirits with white spirits. You can actually strip it back down to the primer But the but without that you'll always leave a stain there and that's good That's not bad. It's an advantage for us Because it lets us use all the hard work that was done in the in the airbrush and by hard work I mean the 15 seconds I spent doing a zenithal prime To our advantage to create all of this all of this contrast and shade with basically no work And it's fast. That's the advantage of it Like layering like doing all the base coats on this guy and then wiping this off took maybe 30 minutes And I did all three of them now what I'm doing here is going back and then I'm going to reapply with some areas We may want to You can go back and forth the same way as you would do with acrylic paints So I can reinforce it. So for example here on the fur I'm going to start by reapplying some brown Then I'm going to work in some of that naples yellow Which is going to stand in for sort of our flesh tone here or a lighter color our universal highlight We're going to use a similar universal highlight across both acrylics and oils And I'm just going to work it into the the upper parts of the fur now. It will be rough when you start Like here it pulled off a little bit more of the red than I wanted so I can restain it And then next time you can pull it off in a lighter fashion and so on and so forth So you you have a choice when you work with this you don't have to be stuck Now I'm taking a clean dry brush just Bone dry large brush And I am going to just blend the two wet paints together when my brush goes off camera That's me wiping it pretty aggressively on a paper towel. You can use a paper towel or an old t-shirt t-shirt's actually better because you know get any little texture from the paper towel traits or paper towel Detritus But I'm just blending it together in that way We can also still push our highlights more. I thought the muscles look pretty good But I thought hey, let's push it even farther So this is nothing more than that purple plus a little bit of that naples yellow I I hit the tops of the highlights and then again back to my clean dry brush And then I just again wipe and smooth most of it together Really making sure we get that nice highlight pop on the muscles and now we're getting some real action here And again, this is so easy and the blend is liquid smooth Right. There's no glazes. There's no nonsense to achieve a smooth blend because you're working with these wet on wet paints and just bringing the tones together you end up with something completely smooth Because all the paints are perfectly integrated Now the downside is we're going to have to let this dry once we're done with the oil paint step for quite a while But for our purposes here Like I want to pop up the actual ghoul's flesh and subtract some of the green I don't want a huge amount of actual green and actual purple. I need to kind of kill both of those out Otherwise the two models will be too contrasting. So I need to to basically De-saturate the ghoul. We'll get rid of some of the green. So I bring in a lot of that yellow ochre But it's the same trick. I just once again go to my clean dry brush wiping aggressively on a paper towel in between And then blend that into his skin and once again, we get a completely smooth perfect blend No drama. No llama. No issue It really is an incredibly relaxing way to paint and I would highly recommend it But if this so you could get to this point and stop but of course We're going to keep going Now I will openly admit here that the downside is the amount of time it takes oil paints to dry Uh after I did all of these base coat steps It took me uh, I let them sit for The better part of three days to really fully cure Now that sounds like a lot if you're like on a tight schedule But I'm usually working on two projects at once. So I didn't just paint this guy I base coated a bunch of these models set them all to the side under a light And then just let them be and then I went and worked on a different project So it's not as though I was sitting there doing nothing This is why I usually recommend that it's good to have two different projects going at a time So if you get bored with one or you get tired with one or frustrated with one or blocked with one Whatever would happen You have that other project to go to to cleanse your palette to keep yourself fresh to keep yourself Hobbying and at the desk So for me, I just traded to my other project until it was dry then came back to this and quickly finished them up Speaking to finish them up. Hey, let's get back to the desk and you know, let's finish this guy up So now we're going to move to acrylic paints and I'm going to use a sort of similar-ish range of colors But effectively this is just going to be my detailing and highlights and just a little bit of cleanup Now one thing I'll say here is if you want You could just stop here Like I'm going to go in and touch up and push some of the highlights and things with little details with the acrylic paint But you don't have to you could just rely on what was here on the oil and it's perfectly tabletop ready But my first step is actually to deepen the shadows one of the problems with working with oil paints like this is You end up with a pretty samey color and you don't get those nice deep recess shadows in some places So here i'm just taking some of that garagak sewer running it in places like the fur where you want those nice deep shadows And and jobs are good. It's just applying a contrast paint. It's very easy Now anytime you see me layering on the skin of the beast or the ghoul or anything like that. I'm working very thin When I'm working the the paints sat for three days and then were varnished I gave them two I gave the model two solid coats of my standard varnish mix of three to one ultramat to satin Let that cure and then i'm ready to paint over it with acrylics. No problem Now when i'm working like this i'm working very very very thin Like my actual layer paints that i'm doing here are at minimum two to one water to paint And that's because I want them to be really transparent I'm not gonna this is a tabletop job. This is meant to be a speed paint So we're not spending a lot of time here. I don't want to be mixing different paints I make one mix I make it thin and then if I need to reinforce the color I'm just going to apply it more than once to an area as you saw me doing on the tips of those for the tips of Little I don't know his hair or whatever it is there So when you're working very thin your first layer of very translucent paint Will apply and not change much And then you apply it again and again and you can create a smooth transition Just through multiple applications of the same thin layer paint building it up without changing your colors But it will look different on the model Now here I wanted to bring some of the purple of the beast up into the ghoul Plus the ghoul is meant to be dead flesh dead flesh often has purple tones in it So I just took some of that Leviadon purple and thinned it way down and I'm with just with water not with anything else And work it down into the recesses Into the shadows basically anywhere where it looked like there might be a good excuse to capture a little purple there Then I take this beautiful pistachio mix with dark warm flesh to again And the reason I'm integrating these more traditional Caucasian flesh tones into the mix Is because this thing was meant to be have have been a human at some point in time And so we want to integrate You know human flesh tones You can use any tone of skin you like it doesn't have to be Sort of dark warm flesh or Caucasian skin tone, but you want it to have elements of Any of the any kind of human skin tone and so it feels like the thing was alive Now in a similar way, I want to bring some of the yellow green of the rider down into the Beast So instead of just going to ivory which the easy thing to do here would be oh, we've got teeth and claws Let's just go ivory. I want you to break those habits Stop the autopilot Instead I took the pistachio Mixed it with the flesh the same highlight. I just did on his flesh But this time instead of it going with being very thin and going over the green I have it as a normal layer consistency and I'm putting it over the Claws and the teeth so they appear very yellowed and sickly and gross And it's beautiful because it brings some of those same tones down into the monster and helps Mix up so they don't feel like this whole section is purple and this whole section is green I do some final touch ups on some little micro details here Like the little bumps on his skin and the scar he's got You know picking out the teeth of the rider the eyes of the rider stuff like that Give it another varnish and then it's time for the metallic paints This guy didn't have a ton of metal on him. So again, we're going to keep it very very simple This is speed painting. So we're just going to grab some Vallejo Magnesium metal color magnesium and I give the metal a nice ones overcoat I really like magnesium for this kind of thing. It's dark. It's a darker metal. It doesn't have like a huge shine to it But where the light hits it you still get a really nice You still get a really nice reflection just in a very limited place, which felt appropriate Especially since we're going to rust this up My rust is very simple here. I'm just going back to that Garagax sewer And I'm just our Garagax or I don't know whatever it is And I'm just going to run a quick Very thin. This is two to one water to Garagax Garagax To this brown color Over the metal to make it look dull and pitted and somewhat rusted and warm And then I'm going to use the oldest trick in the book here. Right here. We go. What happens. How do you clean up a wash? boom Like magic. So with that he's basically done So there you go He's all done. I'm going to show you some photos of him here. I think he came out pretty cool overall This is a really fun way to paint You can actually mess around a lot more with these oil paints. You can do more with them I do have previous videos on if you paint the entire miniature with oil paints But this was a really fun fast way to go about it You know base coatings like the entire unit. So this is like three of the bat riders took maybe I don't know 30 minutes 40 minutes something like that like it wasn't a long time And I didn't and once I sort of wiped the paint away. I already had a lot of progressions I could have just stopped there on many of the surfaces So all in all, I think these dudes came out pretty cool and I hope you like them If you liked this video, hey, give it a like subscribe for additional hobby cheating in the future We have new videos here every Saturday If you've got any questions that I didn't answer about using oil paints or mixing oils with acrylics or anything like that Feel free to drop those down in the comments below I always read every comment that you all leave and deeply appreciate them If you want to support the channel, there's lots of ways you can do so You can share this video out there. That's completely free. You can check out our merch store down there We've got some fun stuff that you can pick up. We've also got amazon affiliate links So if you're going to pick up any of those oil paints, I've got that linked down below And when you pick those up, it gives a little kick back to the channel and doesn't cost you anything extra There's also of course a patreon focused on review and feedback and taking your next step on your hobby journey We'd love to have you as part of the community As always though, I thank you so much for watching this one and we'll see you next time