 Hello everybody and welcome to another hobby cheating video today. We're gonna talk about making a cool fallen temple Desert base. I don't know. It's just a cool-looking base And I thought it'd be fun to show how I kind of make display bases when I wanted to be simple But but really tell a story. So let's get into it The strict techno man sir that is Vincy V. Let us get to the technique and learn it Vincy V style I'm painting up this super cool barbarian figure. You saw him in a recent video And I wanted to take the chance to actually make a display base for him now This guy is not really going to competition or anything. He was just really More of a chance to show with all of you how to do these like really intense saturated tan skin tones and add that color But I still want a base that tells a story and so today what I thought we would make is this guy looks like a cool Raider he's got that deep tan. So I wanted to put him out in the sun in the desert In sort of a wasteland. So we're gonna make a base that tells a small but simple story About fallen temples and him sort of standing atop these ruins And we're gonna do that in about two inches by two inches. So let's head over to the desk Let's start building something fun All right, well, we're gonna make a base. We got to start with materials This is a simple little wooden block. It's a two by two inch block I think they're made for like kid's toys. You can buy them from craft stores and off Amazon eBay and stuff like that in bulk cheap That is some resin pillars and columns. We've got some indoor houseplant tree bark This looks like rocks and is great. That's what it looks like You can get it at your hardware store or your garden center or anything like that These are some little pillars and fallen statues basing bits from gamers grass Thank you gamers grass for sitting those along and then these are some glass Chunks, I guess from again the for my local you can get those at like fairy garden centers and craft stores and Garden centers and things like that yet again. I got that from Amish store From a fairy garden center So we're gonna start out here just kind of laying down a base and we're gonna, you know lay a lot over this But these are just gonna be kind of the little things that get our figure up and elevated As I'm working with the one of the reasons I'm using this glue as opposed to anything else is because I want a chance for it It won't dry right away it actually the wood very much soak some of this up and so you'll you'll have a few minutes to Minutes is probably long But you have a few a little bit of time to sort of work with this and you'll see is how I kind of slide things around And find exactly the right angle even though I kind of set this up beforehand before I started shooting I still make these minor adjustments and That's the first thing I want to tell you when you're making a base like this Especially when you have sort of stacked elements do make sure your figure sits on here and fits on here and is correct And all of that beforehand like test out your vision before you put the figure on and you know Kind of dry fit as it were all of the components same as you would for any normal miniature Once you've got kind of everything in place. I just scatter some other drops glue around and we're good to go That's the center point now We need those other details that bring the base to life and start to tell the story So here I'm using this stone helmet looks like that sort of the head of Statuary that's been crumbled you can see like the cracks and stuff in it up close I'm also going to put a little bit of a fallen pillar here on the back of the thing one of the things it's fun as you can have pillars of different sizes and scales and you can use them all in the same piece because Pillars are actually lots of different sizes it turns out Now if we're going to have this destroyed temple We've got to have more than just one fallen pillar these things would be smashed apart And there would be lots of rubble and rocks everywhere So my next steps are to basically create all the other size rubble So I'm going down from sort of the original bark which would represent these big chunks of stone Down to these glass chunks, which are going to be like the the smaller Rocks and pieces and then we'll get down all the way to the We'll get down all the way to the the sort of smallest elements at work Which is right here, which is just some very small scatter stone But it's important when you're making a base especially one that with it's going you know You want to feel like a credible environment that it has all of these different sizes and textures of Elements in them if you're going to have broken rocks, you know rocks when they get smashed and some building falls apart It's not like all one-size uniform rock So you want to make sure you're running a full gamut from these big giant rocks the big pillar itself Down to the medium down to the very small and then as you'll see we're going to use texture paste to then simulate the The desert itself right kind of the smallest stuff So here I'm using some Vallejo ground texture and what I'm going to do is a couple of things first I'm going to just cover all of the rest of the wood That's around so that'll be number one The other thing I do is I use it to hide some of the nonsense in the 3d printing like they're on the edge where there's Clearly those sort of resin print lines or whatever that from where this thing was cast We can cover that kind of stuff up because Dirt and dust and detritus would be everywhere up on this if these things have truly fallen apart It's all mixed in the dirt and the rocks and the statuary and everything is going to be all up in each other's business So I'm pretty liberal with this quote unquote dust and dirt across the miniature Bringing it up onto the rocks onto the other elements to fully integrate the scene Remember the store you tell is really in two parts So the first is the pieces and the the choices that you make in what elements you use in the base So like here using the pillars using the fallen Statuary the rocks that kind of stuff That's all part of the story. I'm telling the other parts going to be in the paint And you want to make sure that when you have lighting in a figure or narrative in a figure You know if you're using an environmental color if you're telling a story If you're having a directional that the light that the light is coming from All of that needs to carry over into the base as well to sell it This is a common thing. I see people go wrong on they'll do some kind of directional light or osl or something or whatever on On the figure and then they'll make the base in order to be completely flat and normal as though nothing is different The figure has to exist In the world that you have created and told Through the way that you painted it and the lighting you created So let's start painting and see how that gets on So let's do some painting. Uh, I'm just going to start out by actually laying down. This is some warm brown from pro acrylic And the reason i'm starting brown even though this will end up being a desert is because this is sort of the lowest base tone The shadow tone for it And so I want this to just kind of be everywhere to set The the darkest tone and cover everything else up Now red gray bone and pastel yellow so two from pro acrylic signature series in one a k paint This is going to be my Base for my stone and we're going to work with this stone a lot I wanted something that was more naturalistic that was very warm the figure that goes on top of this is very very warm He's in the desert. He has a very warm skin tone. It's very tan. So I want to carry that through To everything in here. I didn't want like again It's the thing I tell people all the times. Please stop with just the regular gray stone Gray stone is boring. It's the death of visual interest in your piece stone is so exciting It can be so many amazing colors and have so many different tones in it So let's mix it up and use some different fun stuff Here i'm like leaning into this yellow and pink To really push that kind of like warm sandstone, you know feel to the thing I start out with just some fast wet blending None of this is going to be final, but i'm trying to set those values I'm trying to focus the light Over on the right side from from the viewer perspective And you'll see me doing that here as well. So I am going to dry brush some of that icl But when I do so I'm dry brushing it always directionally From the I guess the the figures left to the right or from the viewer from as we're watching it from the right to the left I'm going one direction with the dry brush only And that is so all the light is only hitting That side where the light's coming from you can see how much I've pushed the light to our Viewer side right side of the base Now I'm just going to hit everything with some agrax This is going to darken everything way down But it's really important to get all those shadows in there to create that depth In the end we're going to cover a lot of this up But this is really about just sort of adding that depth in between all of the different layers Creating some natural shadows here in the base Picking out some of those natural textures and stuff like that This is far from the last step But just a nice quick important step that that you know helps to Really set all these textures apart and let's me see what I'm working with for the later steps All right, so now that it's dry we've brought our our base way down. It's looking very dirty We don't want it quite that dirty So important thing I'm doing here. I'm not just painting the upper ridges This is another thing I see people do wrong a lot The notice how in the in between right the little recessed areas I still painted light Those are upward facing areas so they would still be lit So once I kind of just go over a layer of everything on all the those Areas we get over to pigment So using this pigment now finally we're going to start setting some desert So here using this sienna color We're going to go ahead and really work some of this yellow in People often ask me do I fix my pigment? No, but I will totally varnish the figure at the end So that'll help to lock it in But what you'll see me do here is after I get some big dollops of this pigment on I wipe the brush and then I just really use this this synthetic You know junk brush to work that pigment in and I actually end up going over the whole figure like twice With this yellow pigment or over the whole base. I'm sorry Just really getting that yellow in there and then working it working it working it down in the paint And notice I'm also bringing it up onto the stone elements Now with the pillars and the stone we want to use a contrasting color So here I'm using this violet to set the sort of Deepest shadows, but add this like really rich hue When you first put this on it's going to be really intense But just like I did with the yellow I work a bunch of this off. I just Push it and push it and push it and slap it around with that dry brush Work a lot of it off because I just want it to as you can see there set the tone Once that's in place. I then use the clay brown Or the clay color this much lighter pink to start again reinstantiating some of that This also helps hide some of the sins from the previous wash I'm effectively using the dry pigment to blend my previous steps Uh now because I want to sell the idea that the light is coming from the figure's left side our right I need to also create shadows. Remember you can't create light without creating shadow So I grab some dark black and dark brown pigment and opposing The bright yellow I have on the figure's left side of the base I work those shadows into all those recessed deep areas Just shoving that dark pigment in there and again, I can work it loose and smooth it out It is a really easy way to do those natural shadows Now I want to bring up the lights really show that reflection So working with a very thin glaze of the pastel yellow I'm hitting the only the areas that are the most highlighted the most toward the left side again our right Really annoying to keep saying that uh of the actual pillar I'm also doing things like edge highlighting the little ridges on the pillar But I'm doing so with this very thin paint And as a matter of fact there where I went a little too thick I'll go in thin it down and then just kind of work that wet paint around and smooth it out But yet again even with these glazes I will do some down in the recesses as well on the very tip top of the pillar Because it's the most raised thing and as you can see there now we have this really nice natural progression between the pigment And the paint where we really have the perception that the light is cast from that left side Uh if this is I didn't want to see a completely sandy desert I wanted a little bit of of uh tufts and stuff in there So we're going to use these awesome pink these awesome tufts from gamers grass They're sort of this dark red and dark brown. I really like them for deserts Especially once we paint them here in a moment But I'm just going to kind of scatter them around now with tufts They often look very fake if you just kind of put two or three on there The key is placement. They need to be in a logical place So don't just scatter them haphazardly. They're like in recesses in between rocks They're effectively in places where water would naturally gather And that liquid that condensation that would gather from the shadows from the rock from the stone and then run and create these rivulets That's where the life would grow and where we'd see these little plants The other way to stop the fake tuft syndrome is to paint them And we start by of course shoving some wash down into all of these things Uh as I'm working it around and then shoving it down into the tuft It will look really weird when you first start But once it dries it because you shoved it all around the edge and down into the heart of the thing It will integrate it nicely Final step is we're going to use pastel yellow and the bone to dry brush the tufts The pastel yellow is for the tufts on the left side The bone is for the tufts on the right side And we just give a very light dry brush to make it look like the light passing through the thin upper reaches of the grass You can wet your brush and work it off as you see me doing here if it gets a little too intense But I'm still respecting the light the stuff over here on the on this side of it gets the pastel yellow All the tufts on the left side get the bone to completely and finally sell that illusion of light There you go. He's all done. Uh, I'm really excited about this guy. He was a lot of fun To paint up in this space was a lot of fun to make. Uh, so now he can go join his other friends in my cabinet Uh, this guy was was was really great I hope that you found something that you Can use in your own basing for your own figures here whether they be for your army your display figures or even for competition If you've got any questions. I didn't answer. Hey drop those down in the comments below I always answer every question that gets asked Uh, if you liked this give it a like if you feel I've earned your subscription. Hey hit subscribe It's really appreciated if you want to take the next step and support the channel You could do so through the patreon link down below Uh, that patreon is focused on review and feedback and taking your next step on your hobby journey As always though, I thank you so much for watching this one and we'll see you next time