 Hello, everybody, and welcome to another hobby-cheating video, and today we're going to talk about speed-painting zombies. Hey, did you know that Uncle Adam and I wrote a war game? It's called Rain and Hell. It released yesterday. It's a fast, brutal, miniature zagnostic skirmish war game. It's a lot of fun. Guess what? You can find all the information about it in the links below, as well as the link to the website that explains everything and tells you where you can pick it up. There's a whole video about what exactly this is that's down there, too. All right, let's get back to the tutorial. Okay. Bye. You know, the funny thing about zombies is there always just seems to be so many of them. So, so many of them. And we're not going to spend a lot of time on the walking dead, and the best part is we don't have to. So I've started out with the model just primed in my standard German panzer gray, but instead of doing a traditional zenithal, instead what I'm now doing is taking some whole red and shooting up from below just giving it a nice code. I'm not really too worried about it. I'm not ever shooting from above. So there's going to be areas still black, but it's fine. Get a nice solid establishment of that whole red. Now once that whole red is on, we're going to go ahead and move to a little bit of aged white from above. This is a warmer white. It's a little more of a bone color, and it's going to set us up well for our later steps. What we're going to effectively do here, both through the under shading and through the later steps, is basically a sort of reverse Verdaccio. So Verdaccio is a style of painting where you use greens to undercoat warm pink flesh. It stabilizes the tone, makes it seem more realistic and muted and provides for natural shadows. Since our zombie skin is going to be rotten and green, we're going to set ourselves up here by doing kind of the opposite. We're going to set ourselves with some base red tones and then use greens over the top. And what we'll get is a nice, established, rich, dead flesh. So once that was done with the airbrush, and by the way, you can see that with rattle cans, I'm just dry brushing a quick pale sand over the entire area. With that dry brush done, now it's time to get to the fun. And speed painting for me is all about doing glazes, thin colors, working fast. Painting that requires any kind of real brush accuracy for the most part. So I've got a nice big brush, and I'm using some Rikeland Flesh Shade, which I'm just going to go ahead and throw that all over the flesh parts of the miniature. Now when Rikeland Flesh Shade is applied over sort of this kind of zenithal, this whole red and ivory, you get a really nice warm flesh tone. It looks rather alive. That's not what we want here. We want a dead thing. But this dead thing used to be alive. So now it's time to kill it. So this is some Andalusian Earth. It's a very green color. You can use Athonian Camo Shade if you want instead. That would also be fine, but this is a little more green, so that's why I used it. And I'm just running a nice wash of that all over the place. You'll notice I'm not letting anything significantly pool. If I see extra pooling build up, I do go back with the brush and collect that and move it around, spread it into the other areas. You want a nice even coat of this. You do not want to let pooling happen. You can see how once that green dries, look at how wonderfully dead that flesh looks. The red has been killed and now becomes sort of a deep color. It's such a great combination. So now I'm taking a little bit of Magos Purple, which is a contrast color. And I want to, again, add just a little bit more deadness to this. And so that purple tone is a great way to get that dead feeling into skin. So in places where the blood would have been close or around joints, stuff like that, I'm putting in that Magos Purple on the face to create definition under the knees, just anywhere where it seems like there might have been blood close to the surface. Now I'm taking some of that Blush Red, and this is a really important part. These new zombie sculpts are great. They have lots of little holes and stuff like that in their skin. And I want to get that Blush Red in there to show some old blood, right, congealed blood. So you notice how every little pockmark or open wound or everything like that, I just put a little drop of that Blush Red in there. Again, if you don't have this color, you can just use Carrie and Bird Crimes and perfectly fine substitute. So I'm just dropping that all over as well as in some of the hands, the feet, places like that. Now when you got to handle the pants, this is sort of a major thing. Zombies still have clothes on them, but we don't really care that much. The skin is where a lot of the action is happening, right? So that quick progression of washes gives us something fun. So we just get a nice coat of German gray on those pants. We want something neutral. Whenever you've got colored skin, it's best to go with clothes and keep them neutral so that that way it's not clashing. This whole, a zombie needs to feel dead, needs to feel muted, needs to feel old, weathered, grim. So we don't want to give them any bright color pants. Even brown feels a little too earthy and warm. No, we're going gray. So then I just highlighted it by mixing in some pale sand, did one little highlight, and now I'm just literally texturing the pants. There's no after this. I think people are normally scared of texturing. I have a sharp brush, fresh paint, and I'm just doing little slashes, hashes, dots and spots all over the pants. Just going nuts with it. Just to add random beat up texture, like these pants are all scuffed up and worn out, right? Because, you know, I don't think he's taking care of them anymore. To bring that all together, I'm just going to throw a quick wash of Nuln Oil over the whole thing. Again, real easy, real smooth, just the Nuln Oil. Again, I don't let it pool. I threw it on and slapped it on real heavy, but then what I'm doing now is going back with my brush and actually sopping up the excess. Really important step there. You don't want to let big, ugly, tight marks. Back to the pale sand, and what I'm doing is just picking out kind of some of the detail on this nonsense that's stuck to his back. These new zombies out of the Cursed City box all have this junk stuff stuck to their back. So, just making some lines there for later steps. I also pick out his teeth. I'm going to pick out the rope around his neck. The bones that are poking through his body, so like his ribs are exposed there. He's got a forearm bone poking out on the front side, hitting the bottom sides of the pants right at the edge, underneath the tears and the ants to create some light and little light catches. I'm also just going to go ahead and put the base tone down on this piece of paper that's stuck to the thing that's on his back. Again, I don't know what in this stuff is or why, but nonetheless, we can just use one color for all of this. One of the keys of speed painting is beyond just keeping things simple with washes and glazes, is use the same color as you can for everything. Keep reusing and finding ways to use the same paint. So Pale Sand was our dry brush earlier. Now it's this thing I'm creating just some more pre-shaded contrast with. Okay, now that we've got some wood, you know what we're going to. It's our old friend Scale 75 Ink Tense Wood. It's intense wood. So always a favorite of mine for just setting down a base tone of wood color. Hitting all of the actual wood pieces with that, pretty simple. Just running it over top. Word of warning, it is very glossy. Don't worry, we'll handle that later. This isn't the final step. Now quickly again, just taking the ivory and just hitting like edges, things that are stuck out, just to create more little working under shade for the next step. This is about the speed I'm moving. This is slightly sped up footage, but only slightly. I'm not being careful because I don't need to be. It's nature. We want to be random. So now that that's on there, we're going to grab some Agrax Earthshade and we're just going to slop it all over that wood. That's going to help mute that out, but don't worry, we'll kill the rest of the shine later. I'm also going to go over top of the rope to create definition. All of the sticks and the piece of paper. Just making sure that everything's got this, that those elements all have this shade on it. Sorry, I'm going off camera there at the top of the top. Classic me. So I'm also again, as always, making sure that there's not extra there. You see how there's some extra on the side of that paper. I come back, drink that right up with that dry brush, scoot it around to other parts of the miniature. We're getting into the home stretch now. So now I'm taking some agraros dunes. I'm hitting that belt. You thought I forgot about the belt. I didn't forget about the belt. And I'm just going to give that a nice, I'm not going to cover all of the wood on top of them, but I'm going to cover a lot of the wood. Let's say like 70%, not the tips basically. And that's going to add more rich sort of brown tone to it. If you want to kill it, you can also do another layer of something like Nulnoil over the top of this. That's perfectly fine. That will make the wood feel more dead, perfectly valid choice. I also then go into the rest of that and to lose an earth, that green. And I just start slamming a bunch of it in up top where they're sort of earth and grass melded in with those twigs and running it over that. Still working wet on wet. Because a lot of that is still some kind of earth or life he picked up out of the ground with and it's still stuck to him. So that adds that green tone to that that we need. All right. So last details are there's a couple little metal bits on him. Clearly the coffin lock. He had had some kind of he had been like my guess is the people of this town took some precautions to prevent the dead from waking up. They did not work. So he has like a manacle and these little locks and things. So just hitting all those with Vallejo metal color burnt iron. It has a nice brown to it. So it sets us up well for older, more dark metal. The other thing I'm going to do with some black ink is just quickly write some little nonsense scroll on here. I think a lot of people are afraid of freehand like this on these things. It's so super easy. Like I'm just literally dabbing, stabbing the brush in this nonsense pattern and assuming that it's some weird language we can't read or whatever. Because I don't know what they speak in Ulfamkarn. Maybe it's just nonsense. So just four quick lines, little scratches. If I was doing something for a display piece, I'd take much more time doing it. But let's be honest, again, this is zombies. Final step is I'm taking some pale sand, mixing it in with some of that remaining and to lose an earth and just kind of hitting a couple of highlights that I wanted to bring out top of the arm, a little bit of a fingertip, things like that. The only other thing I do is I take some of that ink, tense wood I saw on the pallet, put it into the metal to make it look older and more rusted, then I cover the whole thing in ultra matte varnish, even the metals, because I want them to be older and dead. So there you go with that. You can see how quick that was. This whole guy took me maybe 20 minutes tops. And I think he came out looking pretty great, especially if you need to paint up 120 of these or something for massive hordes. So if you liked that, give it a like. Subscribe for additional hobby cheating in the future. If you've got questions, drop those down below. Always happy to help with any questions you have. But I hope this helps you bring your armies of the walking dead to life. As always, we'll see you next time.