 Hello everybody and welcome to another hobby cheating video and that's right. The big day is finally here for big pig Let's get into it. The strict techno man sir. That is Vincy V. Let us get to the technique and learn at Vincy V's Gw was kind enough to send me this copy of the new what's he actually called tusk boss on Maug Ranta But I think we all know he's just called big pig and I'm really excited about this model Today, I'm gonna take you through painting it We're gonna focus specifically on three key areas the armor the orc skin and the fur These three elements make up the vast majority of this model though Big pig is not a misnomer this thing is huge and has a lot of stuff going on but I'm gonna take you through those core elements how I painted them to match with the rest of my existing iron jaws army and Basically how we make this thing really pop and be super figs a lot of fun as you know my existing iron jaws army I'll show some pictures that up here Is something I'm very very proud of and something I put a lot of time and work into So I want to make sure the big pig fits in with that force which presents a challenge We're gonna have to go back resuscitate some paints I haven't used in a while remember how the heck I did this scheme like four or five years ago and So it's gonna be a journey along the way of rediscovery But I hope you find this video useful. Let's head over to the paint desk. See what we can do All right, so we've got the model just zenithal prime just seems like an easy way There's a model with a lot of detail a lot of texture a lot of little things So we're gonna start with just a nice simple very light dry brush with some ivory But you know any off-white color will work really I'm just wanting to pick the all the details out It's gonna help for some of the thinner paint layers But it's also just gonna make the model more readable because this guy is just jam-packed with stuff And so seeing all of it is legitimately sometimes tough I want to set down just a basic blue tone on the armor to get working and the easiest way to do that is generally the airbrush so here I'm just using my Infinity and I'm working with some army painter speed paint To lay down this blue now This is not the original blue that I used and you know, this is where I want to make a slight point of fact I think people get really wrapped up in like recipes and stuff on You know their armies and the reality is you don't have to make it match exactly in the span of a whole army You know I painted most of this army five years ago. I don't really remember what colors I used I went back and looked at my old videos actually and I was like man I don't feel like using those exact same colors I'll get to something close once it's all painted and everything's done. You're not gonna really notice any difference You can use some of the same and vary it up and that's all right. It's fine But it takes me a couple of quick coats of this You know just two very thin layers to get it up to a point of where I'm happy with the blue Next up we're just you know sort of starting to sketch out some highlights This is just really using the airbrush to to jam in some of these highlights quickly and really heat some of these shapes All of the iron jaws armor have these really nice panel plates and planes that just sort of move in different directions And so you can really use the airbrush or or even a dry brush As you'll see me do a little later to to bring out all that interesting texture and the direction and things like that and create sort of interesting planes of light Across the surface But of course we can't create light without a bit of a shadow so here in of course we're getting our old favorite panes gray And just working in some of those deeper shadows and specifically I'm trying often to oppose the lighter parts that I just did With deeper shadows now when you're adding so much shade and tint like this You are knocking out all of the saturation. So some of our later steps will be to bring that back in a Lot of this is and I'm gonna spend a lot of time in the armor is because this is such a big major part of it By the way, if you're wondering why his one shoulder pad is attached and the other three like plates aren't it's because you can't Not have that piece attached. It's actually part of the leg The other three plates are all separate, but that piece is the leg That's how you actually attach the leg so you can't leave it off Now again, we're gonna do some easy edge highlighting Which is called get a dry brush a very soft makeup brush Wipe basically all of the paint off and then just very very very lightly go over it and you will catch just the edges It's a wonderful trick I may do a video on that or or include that in a video in the future, but yeah Just a light dry brush is a good simple easy highlight trick Now I mentioned the lack of saturation once we apply all those highlights and all those shadows We're gonna kill out all the saturation. So I'm coming back in with some Vallejo blue ink This is basically a single pigment color. It's highly saturated blue and so as a result We're gonna you know instantiate in a lot of that saturation back in make it actually feel blue again Which is important. This is supposed to to feel like blue armor and so building in the saturation into the mid tones not not covering all of our highlights not Covering all of our shadows just using a very very thin filter of this to build that back in whenever I work like this I'm usually thinning like six to eight to one something like that just to really get it Just to really get the tone back there But we're not done yet. The back and forth work continues. Oh tuck in folks. There's so much of this Now I'm gonna take that same thing and I'm gonna start creating little micro volumes of light on there So I the airbrush gave me the broader planes of light across say the entire back of the armor here Where I'm working but I wanted to have the smaller plates also have some variation in their light as well Making sure I get the individual little Raised lines and that those stand out having some light gathering in some of the lower areas those kinds of things and So that is a little too precise really for the brush to do or for an airbrush to do all that kind of work So here we're gonna go in with the brush now. We come in with our Amarth blue this was the original color that I decided to keep from the original scheme because I really really like it And this is what makes it really feel like the same armor oftentimes If you've got one punchy color that feels the same it'll feel the same even if your other tones the same I use different shadows you different highlight tones if your punchy mid tone is the same tone It'll feel like it's the same thing so I'm just doing a couple thin applications that all over the miniature helping to sort of blend together the Original layers of where I put on those highlights and then into the the other tones So I'm using this here as a glaze To just bring it all together in much the same way then it's time to sort of buy brush and get those nice deep shadows in there This is once again very thinned panes gray ink You know down to a filter and I'm just finding those little itty-bitty spots They could use some more deep and rich shadows and and putting those in there Oftentimes you'll all go back and like feather it out with an even thinner filter after this just a couple quick passes Around the miniature to make sure that I've got that nice full run But of course once that's done, then we've got to go back to the mid tone again This time we are going to use the Amarth blue again through the airbrush but what we're doing here is just applying it as a bit of a A bit of a to get a filter just like I used it with a brush the first time to really pack that punch to smooth the transition between the lights and the shadows and To you know hide all not all the brush strokes like I don't mind if some of this armor looks a little rough It's okay. We don't want anything too obvious, but the armor is meant to be somewhat textured We're gonna put on a lot of battle damage later and stuff like that So if there's anything especially egregious We can always just hide it with later work One of the most fun parts of doing orcs and other creatures that don't take good care of their stuff is You don't have to worry about super smooth blends in the early parts because you can just go back later and Scratch and damage the heck out of the armor Now to show a little more detailed. Here's the three armor plates that are left off I'm gonna build up the final highlights in the corners You can see where I already worked now I'm gonna take that mix of Amarth blue and ivory and one more time I'm gonna go back into this and then I'm gonna take you know Sort of make sure every highlights where I want then with the brush I'm gonna take the final Amarth blue and really just do multiple glazes of it to smooth and work that in This starts with a little bit of wet blending actually because I'm working while the first layer of paint is still wet Then I feather them into each other then I come back with just the glazes of the Amarth blue and run that over the top This is a very lengthy complicated process. Don't feel like you should have to copy this in any way You could cut a lot of these steps. I just hold this army to like a really high standard So I you know spend a lot of time doing it, but you could do a lot less and still have it a little bit Of course this armor is textured as I said orcs don't take care of their stuff and even the sculptors know that so they worked in all of these You know scratches and dings and dents at the same time we have things like these rivets and other cuts so now basically we're black lining and and The model so I'm using just a black paint here to Fill all those cuts to black line in between everything painting all the rivets everything It's gonna eventually be steel needs to be turned completely black so that that way there's a nice dark shadow around it When I lay steel over the top Then I just use a little combination of that Amarth blue and ivory again to go through and hit my edge highlights to catch the To do the light catches on the bottom of the cuts stuff like that This is all still the early steps just me working with what's on the sculpt itself We're going to enrich and add to that sculpt with later steps So just because this is what the sculptor has on offer doesn't mean it's where we have to stop If it seems like I spent a lot a lot a lot of time on that armor That's for a good reason When you're painting your figures you shouldn't be spending the same amount of time on every element Especially when those are armies or you know for your for the tabletop not for display or competition Instead you want to really focus your efforts on the parts that people are going to notice that are going to matter That are going to really draw the eye and in this case and with most iron jaws. That's the armor It's such a huge part of the figure. It's such a serious focal point So between spending a lot of time on the armor and then the orc face itself If those two elements are really well painted and really well defined the rest of the figure could almost just be base coats And no one would notice So that's why I'm working so hard on making this armor look cool and doing a lot of back and forth To really make it pop and you'll see we're not done yet. We've got some more coming at the end Okay, we need a break from the armor my goodness That was like almost 10 minutes of just working on armor right there and in real life It was many many hours. So instead we're gonna turn to the skin and no He's not a red orc, but he's gonna be he's gonna be a green skin, of course Like like the name says, but I'm applying berserker bloodshade as a Over the zenithal first one to kill out any of the blue that might have over sprayed But also to because the red will seep into those deep recesses and it will act as a beautiful undertone for the later steps I also do it on the fur and so what we're gonna do here with the fur is this is a nice quick step This is really reinvigorating after working on the Armor for so long. I want to take a nice yellow color and I'm dry brushing the fur, but not all over Just just just just on the upward facing areas Okay, so just where the plane of the piggy skin his fur is facing up Then I'm gonna take this contrast so so we berserker bloodshaded the entire fur and the orc skin Then we yellow dry brush to the top Now we're gonna come in with this wonderful brown tone and we're gonna cover all the fur This is gonna go over everything top and bottom Making fur look interesting and cool is so easy and it requires no no no skill or effort You can just use dry brushing in more limited ways One of the things I always see people do is they dry brush the whole model equally top and bottom and then wash the Whole model equally top and bottom No light still exists and we can heed that so here again I go back and I dry brush just the upward facing stuff So there was yellow in the top part red and the original highlight down on the bottom But it was quite weak from the zenithal the initial zenithal and dry brushing and now I'm just redry brushing after that that wash the very upward facing stuff Now I take some of this red brown infused fire slayer flesh. It's a wonderful tone That's kind of part red part brown and now are you're gonna see one of my favorite tricks with contrast paint? So here I'm only doing the lower sections. Okay, we're not gonna get up into that upper area but instead of just Applying it only there letting it stop I apply it to a couple areas then I rinse the brush just dip it and water wipe it and Then I feather out the edge of the contrast paint contrast paint stays wet For quite a decent amount of time Meaning that what you can do is you can now take that that we've applied Okay, so we got it there We rinse the brush wipe it on a paper towel and then I can just use that water to feather out the edge of that red and Just feather it right up. It's amazing how smooth and heavily textured spaces you can make contrast paints It's really fun and it creates that wonderful variation because now the top of the fur has this wonderful yellow infusion Whereas as you move along to the belly, it's more red Okay Now let's turn to some work skin. I begin with just a base coat of phthalo green That's just a set of base tone. It doesn't very little that's actually gonna be there It just turn the orc green is the step really these three colors are gonna be our are the vast majority of our work So I start with the phthalo green plus a little bit of the sickly green Or sorry green sky. I apologize green sky and I'm just gonna cover almost all of that original phthalo green I mean we're working to cover Like let's say less than 10% of that Original phthalo green is still gonna be here Okay, and this is really our base tone, right? This this color right here By the way, I hate all the orcs that have these big jaw Things up in front of their face. It is the worst design element that makes them so hard to paint But there was no way to leave it off him unfortunately very annoying anyways The so now I'm just slowly infusing more and more of the sickly green as I build up the highlights But I'm not gonna go just sickly green. I Want to start you or gosh darn it. I'm infusing more and more of that green sky. It looks sickly doesn't it? Now as I continue building my highlights, I'm then gonna get up into and start including the sickly pink There we are and the reason I'm using the pink is for for sort of three different reasons Number one, it's a brighter value and so is a perfectly valid highlight color To its pink and so has a little bit more life to it than the green human eyes recognize red and pink things as being alive and three when the pink tones which is made from a red mixes with the green tones that Are the orc itself what you get is those are complementary colors and they come together into the yellow brown Spectrum in the middle. So you get a really really naturalistic highlight as you can see there I really like how that came out and that looked and that's through simply Equally mixing those pinks and greens and letting that complementary color action work against each other the final pick out was just with a little tiny mix of the Of the sickly pink and the green sky. Yes, nail it now. It's time for glazes Of course, we've got to bring all those disparate layers together here I use a mix of the original phthalo green plus some of the green sky Thin thin thin thin thin way down into a glaze and we're gonna just apply multiple multiple coats of this on the lines in Between to smooth everything down I also I never put it on the highest highlights But I do kind of run some gentle ones over there and then we glaze back in the opposite direction again taking that mix of just Sickly pink and green sky turning that into a thin glaze and then coming back up the other direction So we glaze down toward the shadows and then up toward the highlights by going in both directions with the glazes We end up with a much smoother sort of blend and gradient over our initial layers Now one of the things I often see people leave out of orkskin is the color pink And I love it when this is included for the same reasons I just said before when we put some pronounced pink on there. It's a complementary color. It looks really good It makes the model pop it makes the ork feel alive because we humans recognize pink and green as blood and vitae in life And so hiding that pink in the ears and the creases of the forehead on his little piggy nose on his little lips All right in his cheeky cheeks all of these wonderful places will give us a much more alive ork It'll feel like a face This is my progression for fire colors the bunch of doll around the inks We start with a mix of white ink and ivory then ochre yellow orange fire and red earth and this is for our freehand so of course the armor it is going to need freehand all of the armor in my Iron-dress force has these flames painted on it as you might have seen in the earlier images and These are really simple to draw. We just do some some swoopy swoops Just very little little swoops And you can always keep building them up and out and up and out like you start with one thin line And then I build wider and I build taller I'm using a 50-50 mix of the ink and the paint because that'll give me the opacity To cover in basically like one solid coat while still having the flow from the ink to make it easily Shapeable it's it's very easy to do these lines once that's on there and it's nice and dry We can then start tinting that color here. We're just going to work with thin versions of all the inks We start with a thin yellow ochre it will have a very pronounced effect on the white But the nice part about it is if you over spill just a tad and get a little on the blue When you're working with this very thin ink it really won't do much of anything and you won't really notice You don't have to fix anything These inks are really punchy and intense, but really the only cover over the white Next up but then we're going to start taking the orange and we're going to work in the opposite direction Because we want to pull the orange toward the top of the flame And we want the hottest part of the flame to be at the bottom the base where it's the warmest And so I start doing some very thin glazes of that orange Just tracing it up up up toward the tippy tip tops the flame This takes about three applications of this over all the different flames on the miniature and When you're working with inks that are this thin they will be very glossy Oh my goodness, they'll get so glossy and that's fine. It's no big deal You'll actually see the shine as I kind of rotate the orcs around in some of these things Finally moving up to the red earth and hitting just the tips and again working very thin I actually go back after and then do another glaze of the orange just to bring it in and then I ultra matte varnish everything at them at the very end Now let's do some added stuff. That's right. We're back to the armor now that the skin the fur all of that's done It's time to add more to the armor. We had some scratches and chips already from the sculptor We're gonna add more I grab some little pluck foam This comes out of old clam packs and stuff like that dip it in a little Rhinox hide white most of it off and just begin Dabbing dabbing and stabbing at the miniature not everywhere not equally This is the next place. I see people go wrong They hit every single section of it like they're trying to paint the model with the sponge You want to focus your stabs to where the model would naturally have damage occur So you notice that front corner of his shoulder pad I really really hit that over and over again because that's where I what he would use to ram into people you can see That the areas like the edges the places that would get struck the most That's where you focus and dab dab dab and the more you dab the more it'll build up Then we're gonna reinforce that we're gonna use that randomness that the sponge created this wonderful organic randomness That makes it feel so natural It we're gonna reinforce that with some brushwork here taking some of those that you know ended up kind of big or Or in a nice place around the corners where the damage would naturally occur because the giant pig would run and slam into things and scratch itself We're gonna put some more action lines. We're not just gonna draw a line. We're gonna show uneven terrors and scratches That's just more Rhinox hide. It's the same thing once that's there We're gonna then reinforce some of the new scratches We made as well as some of the original sponge weathering with some little light lines highlights underneath I just pick random ones and give them the line underneath to show that there's a bit of torn paint or something like that That's catching the light. Not only does this create more light dark light Alternations on the model. You don't want to do every dot. Don't try to find every dot your sponge left That is not the goal. You're just doing a few of them a few of them here and there By having it be more random it adds more depth and complexity to what the battle damage looks like Then we need to reinforce sort of the rust in here and for that I use Vallejo rust mixed with some of that Rhinox I just slowly move toward pure rust and yet again not every brown dot gets turned orange only some I Pick some of them to be rusted not all of them I picked some of them to go very very very intense on not all of them It needs to be random nature is very very random and so in that same way we have to be as well I then take that same orange mix with a little bit of the brown thin it way way way down just with water and We're gonna do some streaks. You don't need special streaking products and everything like that They work fine. We can use them You just go to a fashion thin to acrylic paint and lots of strikes The key is you want to work extremely thin and you want to be doing you see I'm striking at multiple times Strike strike strike strike strike. That's what we're doing. Then I go to pure Rhinox side same very thinness and I work there as well This is meant to be to represent water spilling out of this repeatedly repeatedly repeatedly over time So you want to have it you want to you know hit that with your brush 10 times 15 times each one being very thin That's to show the natural streaks not just out of the chips But also we're gonna do it out of the rivets because those would also gather water We're gonna also rust those rivets and then we just have some of those streaks coming down If you get one that's too strong when it's still wet Just give it a quick wipe with your finger and look at that You get a very natural looking thing because it looks like the middle hollowed out and dried first Which is exactly what would happen in real life So we can just rust some rivets rust some of our own pits and with that the armor is done And that's our main three elements There you go big pig is all done and ready to just charge and crush the enemies of the iron jaws I can't wait to get him on the table and get some games in with him and Probably do a couple more of these as well But thank you so much for watching. I really appreciate it If you liked this if you like big pig Hey, give this a like subscribe for additional hobby cheating We have new videos here every Saturday if you've got any questions about anything I didn't cover feel free to drop those down in the comments I always answer every question asked if you want to support the channel You can do so below through the patreon link or through the merch store link The 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 and we'll see you next time You