 Hello everybody and welcome to another hobby cheating video and Merry Christmas happy holidays this video releases On Christmas even as such I thought it was time to to give everybody a special gift or at least what I hope is that and Celebrate the holidays right so today. We're gonna actually paint a whole model I'm gonna take you through my process my thoughts my decisions everything I do in painting one entire model from beginning to end Let's get into it. Let's strict techno man sir. That is VinCV. Let us get to the technique and learn it VinCV style Since it is Christmas time. There's really only one thing we can paint. It's got to contain green It's got to contain red that means it's time for an orc specifically. We're gonna be painting up the awesome golf rocker Recently released from GW. This is such a fun model. I love orcs. I love when they're goofy I love weird rock and roll chaos and orc things for no reason like it's just absolutely fun So today, we're gonna break him down to all the component parts We're gonna talk about orc skin and we're gonna talk about Using color and all of those things to make a fun sort of Christmas themed orc who knows how to rock and roll So Merry Orchmas. Let's get over to the desk With a model like this that I'm looking to take to display quality, but it's not for competition I want to try fun things. I want to do fun things. I want to make sure it stays interesting to me to paint And so these types of models where you're doing them as a one-off, you know, this isn't part of any army This isn't part of any larger project. This is just for pure fun These are the models that when you get your hands on them experiment try some freehand try some new paints Some new colors, right? Give yourself the gift Of getting rid of the guilt Of what if I fail? What if I mess something up? Who cares? It's a one-off. It doesn't matter and if you learn, well That's the best gift of all All right, the paints are going to scroll up top. So I'm not going to focus a lot on that We're going to talk about technique and the choices I make. That's our goal here This is an orc and we're going to work inside out. And so we start with the skin And I'm laying down this sort of very rich green vase Even though eventually I'm going to tilt a lot of this into the yellow green Because I want it to have that that richness that saturation underneath Now I'm using and working up into yellow as a highlight all the colors that I'm integrating here Add more and more effective yellow to the green. I could have done this all just through mixing the two colors themselves But it was more interesting to use these exact tones And the reason I'm using yellow is twofold first It's much more translucent and so I'm working in very gentle layers here Even though the transition might seem quite strong when you first see it when you first see it go on as I'm painting it in the video Once it dries, it's so translucent that I don't have to deal too much with layer lines and things like that I can get nice smooth transitions though. We will still glaze later The second reason I'm using yellow is because yellow just has a higher luminosity Luminosity, sorry And so it just Catches the eye. It's a lot more bright. It's a lot more vibrant. It's a lot more alive And so our orc here needs to be flashy. He needs to be eye grabbing. I mean, he's a rock star So hence we want that piece to really jump out The integration of the yellow into the skin tone and in fact highlights all around the thing will use yellows As I said a sort of universal highlight color Uh will help establish him as you know living in this place with this light this yellow this warm light Now as I build up the muscle structure again Notice how I'm still connecting some of the muscles together with the mid-tone highlights I don't just highlight each individual muscle group. Some of them become connected Some of them retain their deeper shadows as I get into the highest highlights That's when I start only working individually each little tiny area So this is a thing that I see people screw up on a lot And it's something that you just sort of have to establish over time But you're the easiest way I can say it is on upward facing areas Your shadow Color is your mid-tone That is as deep as it ever goes Now that I have all those there is still layers there Even when we're using something soft like yellow because acrylic paint just isn't meant for blending It's terrible at the thing use oil paints if you want to blend easily And so we're going to have to go in with glazes And here I'm going to do multiple glazes up and down the color spectrum The skin should feel very very smooth. It's the main show here. It's the main attraction And orks skin is naturally very interesting being green and having this yellow highlight as I have it So we want to really spend our time here to make sure that this pops this is smooth that it feels like skin So as I work these glazes around to get these slight color variations of value effectively right now in place and smoothed out That's mostly what I'm focused on. It's just are the values in the right place and are the transitions happening smoothly As I work though now now we need to bring in tonal variation of hue That means it's time for the red tone red tones, especially on green skin communicate life red tones in general communicate life Human eyes and the human brain is a real bias towards seeing red in skin We see that as being blood vital life And so using it as a soft shadow color throughout on his elbows his knuckles Uh, and in the actual shadows of his muscles can do a lot Integrating it into things like his lips his tongue around his eyes and his nose also helps him feel more alive Now is this guy wearing lipstick? I mean probably rock stars wear lipstick. So he does too But I'm carrying those colors to these other areas as well So there's red integrated throughout which of course because we're dealing with green is a contrasting color will really pop The veins I'm not trying to make red. I'm just popping those out of the skin and making them slightly brighter colored Than everything else. So they stand apart from the surfaces there on With the skin intact, it's time to really turn to our Christmas colors And I've seen most people paint this jacket black And I suppose I get that the whole black leather jacket thing, but that's boring to me I went for red. We're making a Christmas orc And at the same time why use black just for our shadows when we've got perfectly good red and green right here Ready to make a sort of chromatic shadow. That's much more convincing Using your contrasting complementary color To create your shadows is a really great effect, especially with red and green the two colors where it sort of works the best And I really love the effect this green has When put onto the red now when wet it's going to seem slightly more green and you might think Oh, no, what have I done? However, when it dries and it's exposed to the natural shadows that are going to happen is the miniature's sort of sitting straight up and down And the natural shadows are falling on it as well It will become darker and let much less expressed We're also going to tackle it slightly In another way here in a moment My next step, of course, is to smooth out some of that transition of the shadow And so with a very thin whole red glaze I'm going to bring some of that back into the spectrum and again just smooth down those shadows make them feel a little more natural Occlusion shadows are really important. They are effectively the very small shadow that separates the various elements Our brain again subconsciously expects them. And so anytime there is an area where two different Levels are meeting. So for example, his skin and the jacket sits on top of it Or the pocket sitting on top of the jacket or so on I'm working that very dark line in between Those dark lines are important. Not only do they help the paint job feel more clean And like the lighting is more realistic, but they also help your brain read the miniature better, which is really important Now that it's time to set some lighting and I want it to match the skin He's effectively lit above and slightly to one side. And so we're going to match that with the jacket Highlighting mostly on the top and to one side to create Direction in the lighting In general, I find directional lighting i.e. You know, there's sort of one sun and it's sitting in one direction or something like that to be far more interesting Than a sort of diffuse general all over lighting, but your mileage may vary. That's they're both perfectly valid styles And then of course we've got to pick out the edges and here I'm integrating sunny skin tone another yellow influenced color I didn't want to use one of the pure yellows as I didn't want to turn the jacket orange So instead sunny skin tone stands in being a sort of yellow orange derivative That will also make it feel like it's in the same color family The problem is doing all this highlighting and shading has knocked all of the saturation out of the jacket So we're coming in with that nice intense red glaze and this is very very very thin Just to re-instantiate some of that life and vibrancy into the jacket Now he does have these tiny little spikes and details all over his jacket And for the most part i'm completely ignoring those When you have lots of micro details on a surface You just ignore those to begin with treated as one large volume And then as you work smaller you'll then go in and handle those Speaking of which I then turn all the spikes black as that will be a good base for the metal later But of course now it's time to travel to other parts of the miniature Now i'm always a fan of this secret weapon rubber as pants on my orcs I don't know when this started. I think probably with my iron jaws army But I just like gray pants on orcs. I just think it looks good. It's a nice neutral tone And importantly it doesn't conflict with anything else going on in the miniature By being here and being this sort of neutral gray I don't have to worry about introducing additional color flammie families If I introduced it and made his pants brown That's almost by its very nature going to be bringing orange or something similar into it And making my miniature have a sort of color palette. I really wasn't intending the neutral gray stops that Now of course his hat is very much like a knockoff of slash And so that has to be this black top hat and black boots because you're not a rock and roll star unless you wear black boots That's why I wear black boots every day. Of course, it's the only pair of shoes I own But again with these I'm being very gentle with the highlights. So with the boots and with the hat I'm just very carefully integrating in these brighter colors I don't want them to be too stark. I don't want them to draw focus away They need several layers of highlights and it needs to directionally match everything else that's going on, of course And I'm still hitting the edges and elements like that where appropriate to pop out and separate it So between the dark lines separating it and potential edge highlights, you get a really clean looking job But of course, I do want them to be more or less Uh, you know something in the background the boots the hat They're not they're not the thing we want to focus on what we're focused on is of course the work itself Its face and the action around the center of the figure Now the hat has a little more central location, but still it's basically the same story So I work it up gently and then glaze it back down And as a point of fact, you're going to see that happen quite a lot as you've already noticed with the red As I work up these layer highlights the last step in the refinement is almost universally glazing And that's because that's how we Finally bring our things together and though you only see me do one glaze on camera Understand that in reality I'm often doing two three maybe four glazes to bring things back together and get it in line Now I know I just said about the brown, but here I felt it was appropriate to pop it out And that's because I wanted a leather strap and some of the Belts to stand apart I did want to introduce a little bit of this color here as a minor element, but not as a major element with the pants Uh, and as I work up through the various ochre browns Uh, I'm now trying to tell a story through texture Whereas before I was mostly trying to be smooth Here I am in fact trying to be rough and let the brushstrokes actually create a narrative I want to separate this element of the miniature not just by its color, but also by its texture So I'm using these brighter colors and every step up is not at all applied as a a layer in any way my brush never rests and drags the miniature in fact, it's all just these hashes slashes stipples and dots Uh to create that variance Now what is a orc without some kind of especially an orc rock star without some kind of checks? Checks and daggs being of course the most important element of any orc's fashion Uh, these little uh daggs are on this belt. This belt is about Three millimeters across or something. I don't it's very small So this is just unbelievably zoomed in And at first I will admit even I was intimidated to try this freehand on something so small And I almost abandoned it and then I got my courage up and said I almost abandoned it because I was recording it And I thought I don't want to you know be crappy on camera for all of you But then I remembered. Oh, yeah, the whole point of this guy is to have fun is to experiment And what that means is that when I first applied those little boxes, you know As I just over the black painted little white squares and that sort of check mark pattern But it was far from perfect and that's fine I ended up working these back and forth as you can see now I'm back to the white again to correct it I ended up working them back and forth with magnifiers about five times To just get everything in place and where it should be and the manager looks a lot cooler. I have to say because of it Having conquered the tiny tiny tiny Little checks. It's time for some flames because you know, that's That's cool flames are cool Uh, so we're going to give him some flaming pants because rock stars need flaming pants. That's that's just the thing I didn't make the rules. It's just the rules And so to start out, of course, we just create the basic flame shape I wanted them coming up out of the boots, especially up out of these little skulls I thought that was kind of a just neat Combination the fact that those skulls were there and these kind of look like a little headdress on top Total accident. It just seemed like it fit the sculpt And the reason I'm working now with the flame and extremely thin glazes is because then I don't have to worry about being too careful Uh, the glazes are so very thin. They will have no effect whatsoever on the gray on the darker color But of course over the white they will immediately tint it into the shade that I want and make it look like fire Very easy very peasy. That's what I like With his flaming pants, he's ready to go and now it's time to turn to the guitar Uh, I noticed I think in the base art they had the guitar white Or the sort of sort of whitish color and that seemed fair enough. Um, it is a nice again neutral tone So after having base coated it, we're going to just again create some of those gentle shadows Uh, this when you're shading white, it's really a sort of game of chicken Where you're doing these incredibly subtle glazes and just trying to make it not suddenly stand out and look bad If you do you can always glaze back the other direction as you see me doing here But I just wanted some very soft very gentle shadows to show that the guitar does still have a shape Along with some very pronounced edge highlights using the same pass of yellow That a lot of other elements have used or gone to with their highest highlights including the scars on his body The hats and all those other the hat and leathers and all those other things But we can't just have a guitar it's got to have flames on it too because again rock star This was really such a fun chance to play around with this like ultra tiny freehand And I will admit this guitar stumped me for a little while I stared at it and then googled a bunch of pictures of I just literally googled the the phrase cool electric guitars And eventually found a little design of some flames. I thought looked cool And that's just it you're never going to just suddenly be able to pull everything from your head reach out into the world Find inspiration and get motivated and even on unusual shapes like this You can still make a real impression with this freehand Even though the bottom of the guitar as it is in the miniature is mostly taken up by those little knobs I was still able to paint sort of the illusion of flames around them pretending like I was doing the whole thing And your brain just tricks you and fills in the rest At that point then it's just a matter of laying them down Because there's a white background here instead of a dark background Hence why I use the dark edge line to make them pop out I didn't have to do so on the pants because the outer side was already dark and the bright color stands out against it His little squig speaker friend Of course needs some attention and love And after base coating him with that red, it's just a question of working him up naturally So because he is a natural organic creature here again, and we're dealing in the reds We're going to get into the sunny skin tone And again, I want all of this miniature to feel as though it exists in the same light In the same environment So we go repeatedly to the same color family over and over again for our highlights Pushing into these warm yellows or their derivatives to create a more unified visual experience And as with everything because we're jumping up Even when you're using a soft tone like sunny skin tone, you will see the layer lines really hard on reds So those final glazes are absolutely essential to bring everything together And this is another example of where I might have done it. I think two or three times some of them being off camera He has little bolts and you know fun things like that screwed into him because he's a machine and you know That's the nature of squigs So I of course coated all those but we can't just have a red squig I did a whole video on tiger squigs and I'm never going to back away from doing more tiger stripes Tiger stripes are also super rock and roll. This was just what is every 80s rock and roll trope? I can think of and then smash it together with an orc So Yeah, that's what we're going to do. We're going to make him a sweet tiger swig Now there's a secondary point though to this And that is that that bright red element red is really eye catching And it very much draws attention and so the whoever sculpted this fig It's challenging to paint because red draws the eye And the problem is the red is at the bottom of the miniature where you don't want the eye to be You don't want the eye staring at his left foot So we need to hide some of that but yet squigs are red So we had to desaturate a lot of that Hence the highlights hence these dots hence the black tiger stripes By bringing a lot of other colors in here by creating and instantiating other little elements That break up that red We disrupt its power and ability to simply draw the eye where we don't want it And allow it to then move back around the miniature over to the red jacket The red band on the helmet and those other things that will be attention grabbing The magic gold mix is then applied again. This is a whole video. I have if you want to understand what this mixture is Uh, then I moved on to the brass elements and look There it is. Okay. I don't know what to tell you. I messed around until I had a brassy color that I liked Life isn't about recipes. It's not always baking with painting painting is cooking not baking You season to taste and then you season some more But I wanted these elements to be different a different between sort of what his Grenade stick microphone was and the actual like gold skulls around him This silver that I then did all of the metal parts with so I could shade it down easily I started very bright that way it would be easy to just work in one direction namely down I was already at my highest highlight I also used that same silver to highlight the gold create the edges and the highlight points on that I'm leaving me with the final step of some very soft rhinox hide glazes Just as you saw in the recent shading true metallic metal video Basically just repeating a lot of what you saw there But in a very controlled way Now I did use the same shade color of the rhinox hide to create both the the interesting Tonal variation in the gold and also with this more bronzy Brassy color the same one works fine for both rhinox hide truly is a wonder and with that our little rocker Is ready to rock There we go. The golf rocker is all complete. I'll put some shots of him up here I do hope everybody is having a wonderful holiday season no matter what you celebrate if it is christmas Merry christmas to you. I love the holiday time of year And so this was just a really fun project to do for it He's green. He's red and he's probably a lot more fun than santa claus is But as always if you liked this give it a like subscribe for additional hobby cheating in the future We have new videos here every saturday not just christmas eve If you've got any questions drop those down in the comments below Don't forget if you want to support the channel you can do so There's a patreon link down below focused on review and feedback and taking your next step on your hobby journey Uh as always I thank you so much for watching this one and we'll see you next time