 Hello everybody and welcome to another hobby cheating video and today we're going to be talking about Ruddy Dwarven Flesh. So here I've got a little dwarf, this is of course Gotrek, I'm sure everybody recognizes him. Our everybody's favorite Slayer and we're going to be painting him up and we're going to give him some very nice Ruddy flesh tones and show how we still build our full contrast in there but really stay in those tones. I love painting flesh. I think it's so much fun because you really get to experience it with a lot of different colors and just really have fun. So today here's what we're going to be using. So start at the dark end. Scale 75 Black Leather, that's our deepest shadow. We're going to use a little Scale 75 Indian shadow, that's a very red shadow. We're going to use some Kala Hari Mari something orange, it's rubbed off and I can't remember the joke anymore but it's this very desaturated deep orange color. We're going to use some Proacryl Shadow Flesh, some Scale 75 Golden Skin, yes we're still going, some Scale 75 Ten Air Yellow, some Scale 75 Fantasy and Games Moon Ray Flesh and then just a little bit of Ivory and Bold Titanium White from Proacryl. Oh my goodness, we've got some paints. It's a lot of paints for such a tiny amount of flesh but that's what's fun about it. So I have all those laid out on my palette here. In basically that order the white's kind of off to the side here. There's also back here a little drop of Flow Improver and a little drop of Retarder because we're going to want to be doing some blending that's going to allow that to happen. Now what I'm going to do is just kind of focus in on one element of this guy so that you can see what the process is here rather than kind of go all around him. So what we're going to do is we're going to focus in on just this shoulder area right here and probably this little bicep because these two will sort of show what we're aiming at pretty well. So what we're going to do is we're going to go into our Flow-Aid a little bit, a little bit of Retarder, kind of wipe that off. I always keep a paper towel over here just to wick things off as per always. Then we're just going to grab a little bit of that black flesh or sorry, what is it? Black leather, sorry. I always use it for flesh. Black leather, mix it with a little bit of that shadow, get a nice deep tone there and then get a nice thin version of it over here. Now a quick note on what's already on the miniature. You notice he has kind of a greenish tone to him. That was intentional. We're doing a little bit of Verdaccio which is just green underpainting. So I Xenothal primed him and then shot green from below at this angle, specifically I used some Dark Angels Green Contrast paint and then I just went around him with a neutral flesh tone just to get something down so that all this other color has something to sit on top of. So we're going to start by just applying our deepest shadows down here at the bottom. Then very quickly, I'm going to keep some of that Retarder in my brush and I'll work up into a little bit of that lighter shadow. Cover most of my work except for a tiny, tiny, tiny little amount. Then what we're going to do is we're going to go straight into our shadow flesh. I know I'm flying through paints quickly. There's no real great way to keep all this on camera by the way, I apologize. And we're going to take some of the shadow flesh which is our first real flesh color and we're going to just go ahead and work that in a little bit. Then we're going to go up into our golden skin, mix that up a little bit because it came out kind of chunky. All scale 75 is a little bit chunky. Grab some Retarder, grab some Flow-Aid. You notice I'm not really cleaning my brush here, I'm just kind of working quick. I'm going to take some of that and this time I'm going to actually run it all the way up to the top. But each time you notice that I'm working right over the existing layers. Each time it's kind of thin because it can be. I'm going to take some of that yellow, sorry, what is it called, tenere yellow. Get the very tops of the muscle there. I'm going to grab some of that Moon-Rife flesh and mix it with a little bit of that yellow because we're going to keep bringing the yellow into everything from this step on for our highlights because we want it to be very warm. He's got this big firey axe right next to him. So this whole side of him should be quite light. And what we're going to do is just grab some of that ivory and bring that into our mix here and we're going to hit just the highest highlights here. Now this guy's not going to have any like crazy OSL or anything. I looked at a lot of art of him and most of the art doesn't actually portray the axe as glowing that brightly. So I didn't think it was apricot to do like this. I've seen some versions of him. It's fine. It's artistic interpretation. But I've seen some versions of him where people really like take the fire out of here and just throw it up over the whole model. And it looks cool. It's just not my particular taste for what I wanted to accomplish. So now we have this whole spectrum and he looks a little bit like a rainbow on this arm. But that's okay. Notice I skipped the orange. We didn't touch that. That was intentional. So we let that dry now. You notice I worked pretty quick over it. And this is a fun way to do flesh is to just like you take a couple of muscles like this and you just work real quick. And you notice every time I was covering basically like 80, 90% of what I just put on. Like I was like shingles on a roof, right? Just very, very, very slowly building up, okay? And this is how I generally like to work them in this case where I'll just kind of, so I'll do like, okay, these two muscles and then I'll do like this muscle in the elbow and then I'll do the hand. And as you work your way around, it actually becomes kind of repetitive in a good way where you get into the rhythm and you can get it going pretty quick. Okay. I'm just looking at his shoulder and seeing that I kind of missed a spot there. What's great about using the green underpainting, you might ask, while I'm waiting for that to dry completely, I'll talk a bit about Berdaccio. Why did I use the green under shade? Because I knew that I was going to use a lot of heavy red and pink tones in the low. I was going to have very, I knew I was going to have very warm shadow because I want this whole side to be warm. Oftentimes you want to oppose where your warm highlights like yellow highlights would have cool shadows. But because he's got the flame under here and I didn't want it to be cold underneath because then there would be this misalignment, I decided to make him completely warm in these areas over his flesh tone. It's a small touch, but it's something that can sort of help. Okay. So now that the red, when it hits the green, red and green are complementary colors, hence what you get is a much more rich shadow than either one would do alone. This is a technique from like the old masters where a lot of them would paint using Berdaccio where they'd sketch out an entire portrait in green and then you just lay transparent layers of pink colored flesh over top and what you get out of it is, ta-da, normal Caucasian flesh tones. You can do the same thing actually with darker skin tones as well. You can lay that green down and if you're using more ruddy colors for like African skin tones or something like that, it'll still have that same wonderful effect and your shadows will be so much more lustrous. So no matter what sort of type of flesh you're doing, from very pale sort of Northern European to African skin tone or anything like that, this technique can apply. All right. So now that that's dry, we're going to go in. I just keep running my brush into these two every so often and like making little piles of it over here for me to work with. Now what I'm going to do is grab a little bit of my Kalahari, Kalamari orange, whatever it's called. I suspect it's probably Kalahari. So you can see I'm just making down, these are very watered down versions of that and those are just glazes for the future. But then I'm also going to grab a little bit of that yellow and a little bit of that moon ray flesh up here on one side. I'll wipe the brush real quick lightly and I'm going to grab a little bit of that shadow flesh and come in on the other side. Okay. So what I get is just kind of a little chart like that where I've got the lighter color. I know it's very reflective because of my overhead light. There you go. The lighter color, the orange and then a more shadowy color. Okay. So now that that's there, what we're going to do is we're going to take this orange and really get it nice and mixed in until I get this good skin tone. So Caucasian skin tone is just orange plus white. All white people are basically just orange with some pale color mixed into them. You can make your own flesh tone with just red, yellow and white pretty easily. You can make it more interesting with blue. So now what I'm going to do is just keep bringing lighter and lighter versions of that up here as I bring some of the muscles up but just keep working in these very warm tones. Always having a bit of the yellow, right, just trying to basically lighten up that whole area. Then we're going to go into that nice thin orange and we're just going to bring it down in a nice thin glaze right over the top, okay? So what we get is this nice really ruddy skin tone. That orange being pretty weak when put against it, especially when combined with a little bit of the shadow flesh. And you notice slowly I'm shooing away at my deepest shadows, which is fine. I can always bring a little bit of that in and just kind of glaze that down. But we don't want these super-duper hard lines in between the muscles. We don't want this unbelievably rich dark shadow because that's going to be a bit much. His muscles aren't that crazy where everything goes completely from white to black. We want to join it together somehow. Okay, so now we're going to build back up again. And you'll notice by the way a lot of this technique is just basically a lot of back and forth as I continually just make these slight adjustments on the skin tone, pushing these little muscles, adding a little more white, adding a little more yellow, adding a little more orange, until I'm really happy with the results. And what that allows me to do is just very carefully and lightly control the way that these things are working together. And you'll notice that I don't really wait for things to dry in most cases. Like I'm kind of just working around him nice and quick, just getting things painted. And frankly working with that wet on wet just helps because it allows me, that's why I have the retarder in here, it allows me to just keep getting those blends basically for free. Now I'll stop to go in at the end and glaze things, but it just makes my life a lot easier if they're already basically blended and I'm just smoothing out some items at the end, rather than needing to try to put together some very hard lines. A little shadow flush, one of the tricks with skin is that it's basically translucent and so it shows a lot of interesting and different colors underneath it. You see a lot of detail within skin. So what happens is by doing a lot of these glazes back and forth over and over again, what we get is something that looks much like actual skin where there's all these colors hidden underneath it. So what I'm going to do here is I'm going to repeat this process around the rest of him so he doesn't look so strange with just like this basic color next to this color. So we'll do that all over him and then I'm going to show you how we sort of bring this all together and finish it off. So back in a few moments. Alright, we're back. You can see our dwarfy boy is now all his muscles have been turned into this ruddy color. And you can see how he don't have that green present anymore. How it's really like it's there because it was there when I painted it, but it's disappeared now underneath the red. The contrasting color has given us a nice rich tone and you can see how the muscles all over have this nice sculpted ruddy quality to it. So what we want to do is we want to make sure we smooth everything out and this is a competition piece so I'll do a lot more work on him off camera, but I don't want to take you through the hours and hours and hours of me very carefully refining each little bit. Instead I want to talk about kind of where we go from here. And the answer could be nowhere by the way because I think like just doing a technique like this, which was pretty fast, to sketch my way all the way around him like that took, I don't know, let's say 30 minutes, which I don't think is actually too bad for a character model for somebody like Gotrek. I mean, if he shows up in your army, he's like a quarter of your army. He's one of the most famous characters in the game, you know, spending 30 minutes on his skin feels like a pretty worthwhile expenditure of time, I think. But if you want to smooth it out a little more, we're going to turn to some inks. So here I've got some Vallejo Gaming red and yellow. And what we want to do is we want to add some richness into that skin tone without and smooth it out basically. So we're just going to put a drop of the yellow there and we're going to put a drop of the red here. Now these are really, really, really strong inks out of the gate. So I have, as I said, some retarder and some flow aid, but I don't have any actual medium. So we're going to take some Green Stuff World Master Medium. You could also use Lamiah Medium or anything like that, and that would all be fine. We're going to put a little bit of that there. Okay, I know that's clear and doesn't really show up, but trust me, it's there. And the reason is because we don't just want to use water. The medium is going to help us thin it out and keep it nice and flowing. And obviously what we'll get is a somewhat orange tone out of this. We're going to take a little flow aid, a little tiny bit of retarder. We want this to be super weak. OK, so now we test it on the back of our hand to see how weak it actually is. That's how weak it is. Like that's over a white spot on my hand. I think we can go a little bit weaker. Let's grab a little bit more medium. OK. We wick off all the excess. You can see here where I'm just wicking off the excess because we're not washing. We're just glazing. And what we're going to do is we're going to pull this toward the shadows over each muscle. And what happens is this orange, this sort of red orange, because that's what color it actually is, doing a couple of things. One, it helps to smooth out some of the blends. Two, it adds a really nice richness into the tone. It adds a depth to it. Right. You can see how it adds that extra little color, extra little layer of visual interest. This is this is basically using a pop color on skin where we have this extra filter. It's not actually a strong paint, right? We're not actually painting anything. We're filtering the existing colors down, right? And what that helps us do is bring everything in line tonally. I don't want to wash him because that's going to ruin all my good work that I did in all this blending because it's going to put way too much pigment over over large flat spaces where I just I don't want it. But by just lightly pulling this extremely thin glaze toward the shadows, what I get is a much richer tone, right? And you can see now how he has that extra kick in his skin, right? Gives him a little bit of that fire feeling, which is great because, as I said, he's fiery like he has a fiery axe sitting right here. So having him have a little bit of that that sort of very warm yellow tone, that red yellow tone is great. You can do this, by the way, if you tilt it way more yellow, you will get like here. I wanted it quite red because he is a dwarf and he is standing near flame. But you can do it with just the yellow and you'll get a nice rich tone there, too. So let's take just a little bit of that yellow. Let's grab some medium flow aid or tartar, a little more medium and we'll just do some light yellow. So we'll test in the back of our hand there. Yeah, great. That's basically not present. So here we can do with the yellow alone is then up above where we were before. We can come in with just that yellow and we can just quickly do that. Just hitting those muscle groupings. And that gives us a nice rich yellow tone to the skin. All right. And if he's too yellow, well, wait, excuse me, if he ends up too yellow or something like that, if we feel like he's too fiery, we can always back that out. So like right there where that is, I think that feels pretty good. Like I said, I'm still going to go through and fix it. But we can always add more end. So we could always take some of our two flesh colors here. We could thin those way down with the medium, maybe a little bit of ice or the yellow in there. And we can just sort of pull back this time toward the highlights and weaken out that yellow. And by the way, again, a lot of times, I think a lot of questions people have when I do stuff like this is, well, why didn't you just do it that way? The first time, the back and forth has value. The more you do this sort of thing, the more you tend to add these one, the smoother everything gets. So that's number one, because the more sort of paint is crossing over each other, adding to this like hyper smooth blend to the more you do this, the more it enhances these all these semi-transparent layers laying over top of each other. If you've ever looked at a paint job and it felt really good, like it just seemed very real and you couldn't tell why, one of the reasons that that often happens is because there's lots of different colors interacting and there's a lot of visual complexity that your brain is taking in. And that's much like what actually happens in reality, where your brain absorbs all this visual information and then just kind of smooths it out. That's what I talk about in some videos with the difference between looking and seeing, right? Because oftentimes what can happen is you're getting a lot of visual information, but your brain is just making it easy for you. It's not actually focusing you in. There you go. Now you can see we've got this nice, ruddy toned dwarf. You can push him into the red. You can push him into brighter, you know, whatever you want to do. But I think we've got a nice rich tone there. Now, if you don't have all the paints that I have that I was using here, you don't need them all. What you need to keep in mind when you're doing a technique like this, you don't have to use like the nine tones that I used. You can do this with three or four and still get a really nice effect. I just happen to love to go over the top. The key with it with a skin tone like this, for that ruddy dwarf skin tone is you start very low with something like this kind of a black leather. It doesn't have to be this. You can use a very deep purple. You could use a purple black. There's lots of colors and lots of lines that will satisfy this. And then from there, you need to have some kind of like deep red flesh. Anything like this would work. I used a couple ones, but you could pick any deeper red flesh tone like Dwarven skin tones, just as they're labeled on the bottle will often be like that. Then you need sort of a Caucasian ish skin tone, something like that, and then some kind of highlight that drifts into the yellow. OK, ice yellow from Vallejo is a good replacement. Pale flesh color is that kind of thing just so you can mix it together and get up to those high highlights. All right. But basically that's that's the deal. That's how we do our ruddy dwarf flesh. I hope you enjoyed that. I hope that gave you some fun things to think about. I think you can see how he came out like he's, you know, standing near that fire, but still has a lot of richness, a lot of complexity to the skin. On what is ultimately a very small model. So it's just a great, I hope the technique, even if not the exact paints are informative, because you can see how I built it up slowly, just laying down those shingles layer after layer and then went back and just smoothed it out with a few glazes there. And then that final ink filter to just kind of bring it all together. But there you go. That's dwarf flesh. If you liked that, give it a like. Subscribe for additional hobby cheating in the future. We have new videos here every Saturday. If you have suggestions for future hobby cheating videos, feel free to drop those down in the comments. Always happy to answer viewer requests. If you have any questions, feel free to drop those down there as well. But as always, I very much appreciate you watching this one and we'll see you next time.