 Uh, the strict techno-mancer that is Vinci V. Let us get into the technique and learn Vinci V's style. Hello everybody, and welcome to another hobby-cheating video, and today we are going to talk about vertigree. So, I'm finishing up my cragnos, the end of empires. And, you know, I wanted to hit the armor that he has to be vertigreed. So, I've used bronze, this is green stuff, world bronze. The paint list was at the beginning. Of course, I will also scroll some words on screen here when I use various paints so you know what's going on. But the goal here is to create something that looks aged and very natural. The nature of bronze and copper is that when they oxidize, they get this wonderful patina. And I really want to bring that out in this model, in this wonderful color scheme. And we're not just going to use any simple technique. We're going to make this look really natural. So, you can see on screen right now that I'm just laying down a base coat. And I'm actually going to flip over here. And as I'm base-coding, I'm going to show you a couple images of what it looks like in reality. So, this is what these things look like when you actually see vertigreed bronze out in the world. And so, this is ultimately what we're going for, this kind of spot these images, this patina. So, with our base coat all down, the first thing we want to do is tone it some. Aged bronze is not going to be as bright. So, here I'm using the airbrush and I've mixed in 50-50 burnt umber and red earth, both inks from Dalla Rowney. And I'm just shooting the lower part of the bronze. And we're trying to create a naturalistic shadow, the sort of warmer tones that would be on the bottom because, first of all, it's not exposed directly to the light. And second of all, it's going to catch reflections from the earth below, which is going to be sort of this red and brown color. So, not only is we get sort of a two for here, because this is more matte, these inks, it will reduce the shine over the gold, but it will also set us up for reflections. We also have to define the individual models and as bronze ages, it darkens. So, here we're using some Wildwood and as with everything you've seen so far, I'm going to mix this surfactant, but you can use Flow Improver, into everything. I did it in my initial bronze mix. I did it, I'm going to do it in all paints you see so far. And I'm thinning all of these way, way down. Now, with that paint, then that contrast with other Flow Improver added to contrast, which already flows, this stuff is going to move basically like an oil wash at this point, but it will dry very quickly. And the general plan here is, I use it quite straight, so that is to say, I dip my brush in, touch a paper towel and then apply it and let it just run naturally on the lower sides of these shapes, where it's darker, where it's more towards shadow, where there's more detail, making sure it falls into all of the recesses in little areas. Then I wipe the liquid from the paper, or from the brush on a paper towel and I touch lightly with just whatever's left, the top side. So very little flows off the brush, but just enough to capture and flow around those rivets and those kinds of items. Now we're using our old friend Nilek Oxide, but once again, we're going to put in plenty of surfactant in there and keep this flowing and thin, even smoother. With that oxide, we're going to set our initial patina. Now, of course, I know it's very common to just stop here to apply this and call it a day. Obviously, you know this is hobby cheating, we're going to go farther. But I want to talk about how to apply this. I'm still focusing mainly on the lower areas, but also in between, in areas where the metals have joined to each other. So in cracks and crevices and connection points, because where water would collect, where liquid would collect and moisture, that's where the oxidation is going to happen the most. And so that's where with a vertigris would bloom and spread from. But we've got to make this more interesting than just that Nilek Oxide color. So here we're taking some Vallejo Game Color Turquoise and we're going to again add in surfactant along with a lot of water and we're going to mix that down. I'm going to keep using water and drawing it up. You see how I get a brush full of water, draw it against the side. Nope, still thick, brush full of water, draw it against the side, repeat. Once I have it thin enough there, we're ready to move on. Now I'm going to take some dark sea blue also from Vallejo. Again, mix in plenty of surfactant. So this is about one to one with surfactant or flow improver. And then again, another one to one with water. So we are thinning these to a glaze consistency. Once I'm happy with those, then it's time to add these additional tones into the vertigris. So starting with the turquoise. Now each time I do here, I'm hitting different areas. So the turquoise and the dark sea blue, I'm going to cover less than I did with the oxide and I'm going to overlap it in some places and touch some new areas. Yet again, I'm going to focus on those areas that are in between. I then take my glaze and thin it even thinner. And that's going to be what I use on some of the top areas and just kind of generally spread around. It is super duper thin and that thin to that level with the surfactant, it will only collect in the recesses, just very thin. Now we're going to use the dark sea blue and here I'm focusing it only on the lower sides. Effectively what I'm doing is shading the oxidation. It's important to understand that all of your weathering needs to respect the same volumetric lighting as anything else. So now we've got Vallejo Game Effects Vertigree, which is a little brighter than nilocoxide, but very, very thick. And that's an advantage for us here. It's not a liquid. We're not thinning this one down with low and proper for once. And what I'm doing is I'm just going around. You can see and hitting things like rivets and edges and little places where the metal has popped up to redefine things like pick out those rivets, pick out the edges of all the little designs. His armor is so intricate and so we want those little areas that are highly exposed and raised to still have light. Effectively we're highlighting all of the weathering still, but this time it's the highlight side. Now I've mixed a little bit of that vertigree in with that turquoise glaze and here I'm doing the same thing again, but to the side. So this is sort of a mid tone for this highlight color again. The reason we're using so many different colors and so many different touches of near the same thing is because oxidation in nature is so very random and we want to recreate those colors. So final step once all the weathering is applied. I've taken some Vallejo metal color pale burnt metal and I'm using that to just pick out edges that aren't weathered. Basically with it's still metal and it's still going to have a shine in some areas and so we wanted to have those light points those light catches those reflections. So I'm focusing on edges raised surfaces and those edges are the ones facing up but those little tiny areas where I want to show that this metal still is metal and still has a reflection. I'm just touching those lightly. And with that all of those different color tones now mixed in organically randomly and like nature. He's all done. So there you go. There's Kragnos the end of Empires. This was a really fun journey. I hope this helps you think about vertigris and how to integrate other colors. If you liked this give it a like subscribe for additional hobby cheating in the future. If you've got questions as always drop them down below. I answer every question down there. But thank you so much for watching this one and as always we'll see you next time.