 Hello, everybody, and welcome to another hobby-cheating video, and today, the time has finally come. It's time to paint some space dwarves. Uh, the strict techno-mancer that is Vinci V. Let us get to the technique and learn it Vinci V's style. GW was nice enough to send me this box set here of the Leagues of Votan, but I just think of them as squats, or just space dwarves. That seems perfectly fun and normal, and I have to say, I'm pretty blown away by these guys. I'm super enamored. Now, if you're a longtime fan of this channel, you'll notice that in more than 360 tutorials, there's only been one ever dwarf, and that was go-track. That was the only exception I ever made, and that was for charity. Uh, but these guys have got me. I like them. I want to paint them. So today, we're gonna paint the Trans Hyperion Alliance, which is basically the orange color scheme. Uh, just because I thought that was the coolest one. I love painting orange. I don't get enough chance to paint orange on this channel, and I thought it'd be a fun opportunity not only to show you how to paint one of these new dwarves, but also to talk about tips and tricks to make orange a lot easier. So, let's get over the desk and get painting. Alright, so we're gonna actually start by undercoding this orange model completely in a dark green. And you might ask yourself, why? Well, green is the complementary color to red, and I'm gonna use some more red-influenced tones as my first layer. And I want them to counter each other out and create some nice, uh, deep, rich shadows, uh, that are still, you know, actually based on a hue, not just black. Uh, so hence covering over all of that dark or gray black. Uh, then we shoot some ivory from above. Uh, it looked a little speckly at first, but don't worry, as we get it filled in, it's gonna be, uh, a nice solid base coat there. Uh, and just really going pretty heavy. Not a lot of green left. Uh, as we continue working, now is where we, you know, we start doing most of our work. And I'm using a pretty precise airbrush here. So, I'm using my, uh, Infinity from Harder & Steinbeck. This is actually the Charity airbrush that's available right now. Um, and I want this to be a little more red-influenced. So you can see there's, this is a very orange tone, but it's a fairly orangy red. Uh, but as I start integrating in the cold yellow into it, it's going to get more and more orange. And in fact, it's going to eventually appear quite yellow. Now I spend a lot of time here with the airbrush working close, working tight. This is a 0.2 millimeter needle. Uh, I'm working at, uh, you know, 18 psi like always, but I'm, I'm very, very, very tight on the trigger. Uh, I'm sorry that it keeps going out of focus, but I need to turn the model a lot. Um, because everything I'm doing here is directional. The vast majority of this figure is the armor. So the armor is the model. If it's not good, the model's not good. And I can do a lot of work here with the directional lighting I'm trying to take up and trying to establish with the airbrush alone. If I'm careful, if I don't just put in a 0.4 needle and just blast everywhere, right? No, I'm working individual tiny sections. And as I build up that light, I need to then bring the thing back into tone. So with this extremely thin flame orange ink. Um, so this is thin, that was thin like, uh, eight to one. I just built up some quick layers to re-instantiate that saturation. With that done, of course our next job is, you know, making an oil wash because, uh, no armor in the 41st millennium can avoid panel lines. They all have to have them. So we're going to just make up some black oil wash here. We're not going to anything too crazy. Uh, I just want these to be nice and dark kind of a simple cut. And boy, is there anything more rewarding than watching an oil wash flow into recesses? I mean, black rimming a base, but other than that. Uh, and so yeah, I just work my way around the model, you know, touching all of the various areas. Now I'm actually going to make sure that all the little plates have a little black line separating them. So not just the recesses, but things like the feet here. You can see how that just flows out so nicely. And the best part of this, of course, with an oil wash is that we can just let it set and dry some and then clean it right back up with, uh, with some white spirits on either a paintbrush or a little makeup applicator or something like that. But we want those panel lines to be dark. Again, the armor is the figure. And if that pops to make that orange and that yellow really pop, there has to be these dark lines separating everything. Now in the cases of the side armor panels, there's not really a strong recess. So the oil wash doesn't want to flow quite as smoothly as I would like, but that's okay. We just get some white spirits on our paintbrush or a little makeup applicator bud, and we clean that right up easy peasy. Uh, the same thing is going to be the case here in separating those out. So we just start to base coat all of the black parts that aren't going to be orange, uh, making sure that those, you know, stand out. And again, the more dark we put on this figure, the more the light orange will stand out. Whenever we use our airbrush this heavily, we need to take real control of the rest of the figure. That means reinstantiating those other elements that aren't the dominant color, in this case that aren't orange. Now, as well, you want to think about how you can build in interesting, soft, small areas of complementary colors. When I integrate the black to break up the orange, integrating a little bit of blue into that, integrating just true off blues into the rest of the model. Those little hints of blue, those little bits of blueness in the black, all of those things help the orange seem brighter and pop even more. Remember, it's not just in how bright the color you paint is, but the comparative colors around it to how bright it reads to the eye. Okay, the other thing that, of course, comes along with panels is not just the recess shading that it's edge highlighting. Oh, everybody's favorite. And just to quickly talk about edge highlighting here and the nature of this thing. I'm using these two Camaro paints you saw listed, but I'm not always using them in the same mix. I prepared several different mixes of them starting from almost completely orange up to almost completely yellow. And as I work my way around the fig, I use a value step that's basically one higher than the particular area I'm working in to establish these highlights. Here I can also thin that same mix down to a glaze and reinforce the tops of panels. So I basically have about eight different versions of this color. So an almost completely yellow and almost completely orange to half steps and then duplicate all of that in glazes. And what that lets me do is go in and just make little corrections in the different areas using the different mixes and making sure that the edge highlights for the appropriate areas are properly suited to the area. We're not going to put the bright orange yellow highlight in the shadow area where it's really, really bright. So the very, very top edges that are already very heavily influenced. I add just the slightest touch of ivory to really make sure that those areas that are in primary highlight pop out. Now we come to basically paint the rest of the owl because with the armor done, I mean, that's really, or at least everything except the metal runes on the armor done, that's most the shooting match. I was so happy with how this armor came out, by the way. These Votan models are just so awesome. I don't know what it is. Something about their armor is so perfect for me. But hey, anyways, your mileage may vary. I wanted to capture the whole face painting here, so I just did the whole thing. This is about 45 minutes of footage in the next one minute, so we're moving very fast. But this is just slowly building up through the colors you see. And the important part I want to stress here is when you set up a lighting scheme, as I did on the armor, where the light is heavily coming from the top left shoulder of the model and then down at an angle, you have to reinforce that on everything. Both the hair and the face need to have that same lighting scheme. They all have to show the same structure of light. So if the same reflection is captured in the face, is captured in the armor, is captured in the details, then the lighting scheme you set up will sell. If it's not, it won't. So don't just highlight your face in some standard way you're used to, because it's sort of the way you paint faces. If you're going to do a cool lighting scheme, as I am here, sort of like pushing a heavy influence light to one direction, then everything else in the model has to reflect that in the same way. Case in point, these little blue diodes, I don't know what they are. I painted them like just kind of opaque blue dots. I don't really know what they are supposed to be, and they were too small to really be effective gems. So I'm not sure what they're supposed to be. It's new armor. They're magic blue rocks. So I'm just going to assume they're a magic blue rock. But those have the same lighting direction as everything else. Okay, now we get to do some fun power weapons. The Leagues of OTAN have some really cool, really different power weapons. In the box art version of their axes and stuff, they're all done in this sort of orange to yellow flame that I really do not like and do not think looks good at all in the way it's done. No offense to the heavy metal painters, but it's just not my speed. Maybe you love it. That's fine. Instead, because the model itself is orange, it would have been pretty terrible to also make the weapons orange red. That would have been way too much of that color, and then the weapon would not have stood out from the figure at all. Happily, the normal color for power weapons is blue, and blue is actually the complementary color to orange, so I've never been more happy to paint some blue power weapons here. And as I'm building this up on this axe, I'm doing the other side, and by the way, in between steps, so don't worry, both sides of the axe are done. And you'll notice I made a little mistakey there, you know, going a little farther than I wanted to. Those kinds of things, don't worry about it. I keep the flat head that isn't the sort of metal center of the blade, just black, so it's easy to clean up later. And that's why I'm doing the blade part first. So always do these very complicated areas of your blends first and keep a nice neutral color next to them if you can. That way it becomes very, very easy to clean up any mistakes if you get a little errant brush stroke. As I build it up, again, remember the key with our sort of non-metallic or power type weapons is we want to work in varied sizes of highlights. They should not all be the same. Think in triangles, not flat areas. So I have a smaller highlight area towards the flat at the back of the blade than I do towards the cutting edge. And I just build it up, build it up, build it up through these very thin incremental layers, and then use some small quick glazes to snap everything into place and make sure we've got a smooth blend between. Now it's time to destroy a bunch of hard work. This is fun. The League's models have iconography on their shoulder pads, I assume because they draw their sort of, I don't want to say traditions, I guess, from the same place as the Imperium. So I had to paint over all of that, you know, blending work I had done a long time working on with the airbrush, but that's okay. And importantly, I have to replicate it with a brush. So I'm working these extremely thin glazes down of these half steps into the reddish gray over and over and over again. This is probably six or seven glazes going down over the space because it needs to, again, reflect the same shadow travel that all of the rest of the figure does. I cannot stress this enough. When you do lighting, when you set armor up with these things, you have to carry that through all your work. So now I've put some microset down, we're going to get a little decal on. I end up messing this up slightly, but hey, that's okay, life happens. She's not going to competition or anything. She was just my fun test model. I definitely want to do a whole army of these after painting her. But I basically slather the area in microset. I had varnished first just to make sure everything would be okay. And then with that in place, I just push it around and you'll see how doing this on camera is incredibly frustrating. This is called Watch Vince, fail at putting a simple decal on. So that's fun. Eventually I get it lined up and then what I do is apply a big thick layer of micro sol to soften it. I know some people say they don't understand the point of micro sol. Micro sol is so important to me. It truly does melt the decal and gets rid of any bumps or spaces like that. And then afterward, I do varnish it one more time just to blend the decal into the paint job itself. With that last varnish, it's now time to do metals. So I will not varnish this model again. I do not varnish paint after my figures after metal goes on. So I make sure I've got a good solid varnish. Everything's done on my matte paints. Now it's time to do the metal work. And yet again, the same rule is going to apply. I want to carry those bright travels into silver, into the brighter gold in line with my other highlights. So wherever I would be creating those other bright highlights, I want to make sure that there's also then reflected in the metals with that being where the brightest silver is. I do do a couple of gold elements. I've noticed in a lot of the art they paint this outline in sort of the same color as the armor itself. Maybe that's the right choice. I just wanted two different gold elements, like one on each arm because there's going to be a little bit of gold on the axe head. So I wanted to balance it out with something on the other side. That may be the right choice, maybe the wrong choice, but I went with it. A little bit of quick shading again just to bring that through and then a little bit of highlighting with some pale burnt metal on that to get both of those areas in line and to again establish the appropriate shine and edge highlight and light catches on the metal as well. And with that, that model is complete. Now remember with this, the armor is the whole shooting match. So you could spend a lot less time on all these details, which took me a while and still have an amazing figure to put on the tabletop. There we go. Our little space dwarf champion. She's all done. I had a tremendous amount of fun painting this girl. Like this will become an army. I don't know if I'll use this same scheme or not. This was a fun test of this and I've got to say, I actually really liked it. So maybe I'll use this. Maybe I'll play around with it and experiment even more. I don't know, but for now I'm happy. She goes in the cabinet and I can't wait to paint more of these little space dwarves up. Apparently, I don't know. Check your, check the forecast. It may be raining frogs. There may be other signs of the apocalypse inbound if Vince is painting space dwarves and loving it. So, but if you liked this, give it a like, subscribe for additional hobby cheating. We have new videos here every Saturday. If you've got any questions about what I did, feel free to drop those down in the comments below. I always answer every question. Don't forget, we do have a Patreon so if you want to take your next step on your hobby journey, you can do so and join an awesome community full of enthusiastic hobbyists at the same time. But as always, I thank you so much for watching this one and we'll see you next time.