 Hello everybody and welcome to another hobby-cheating video and today we're gonna talk all about ghoul flesh and bat wings And we're gonna use some very different methods of painting at least for part of it. You'll see let's get into it The strict techno man sir that is Vinci V. Let us get to the technique and learn it Vinci V So I love painting sort of undead things I think it's just really fun because you can really use any color use you want and It sort of combines one of my favorite things are just painting skin and using lots of wild colors So boom the perfect center of that particular van diagram is undead creatures So the new flesh-eater quartz release was right up my alley Now one of my favorite models from this new release is the gore warden It's a cool flying bat guy for whatever be the lack of a better term And so today I thought we'd explore sort of two different methods of painting And how to get some cool effects with ghoul skin and bat wings and make this model pop So if you're working on your own flesh-eaters, hey Hopefully this gives you some really good ideas for both some paints some colors and even how to apply those paints for some Really cool effects. So let's head over to the desk and see what we can do. All right to start out We're gonna use this unusual selection of colors now. You might think this a bit strange at first I have basically a purple a couple greens a very very light purple and then some some reds Now trust me This is all gonna make sense in the long run One of the things we're gonna do with this video is show how we can put together these purples and greens To make a chromatic more interesting gray Rather than using sort of traditional mid-tone gray, which is quite boring and uninteresting Chromatic gray integrates colors into it I've talked many times in this channel about how if you're gonna use a gray color try to use a gray that has some color in it This time. We're actually just going to mix our own We're gonna start with the skin and so with the skin We're actually just gonna go ahead and lay down through basically a very heavy dry brush this sort of dark plum base purple now this is from pro krill and really one of my favorite colors, this is part of John and I signature series and This just gives a wonderful base tone for us to work up from nothing's actually gonna stay this color or at least not really But we're gonna use this to work over top of I didn't want to use an airbrush in this video because I wanted it to be very Easily followable by everybody, but there is sort of no reason you couldn't just airbrush this on as well If you want to go that direction and speed this up now from this point my journey is really going to be mainly through layering and As I'm working on the skin and shaping the light all I'm doing is I'm going to integrate more of the green But here's the key as we work with it. I'm never going to use just the green So as I begin I'm combining that darker green with my purple to get a more interesting chromatic dark gray and Then as I continue to layer up and apply that over the miniature I'm going to eventually integrate more and more and more of my light green But I will always still mix the purple in and One of the tricks when you're doing this is that you have to be controlling your ratios What I mean by that is as you'll see me building this up I'm using very very little purple that purple is so intense and strong and the green so weak and Tin and highly tinted especially in the case of the brighter when tinted just means more white content higher value That it doesn't take much of it to like completely push it into the purple tone So it's just a lot of mixing But all I'm doing is just slowly building up layers of this And hitting higher higher and higher highlights higher values and covering less and less and less space This is traditional layering. I've done videos on this before The important part about this is this is how we ultimately shape the light on this model and get this really interesting tone the cool thing about it is since it's built out of this green and This purple is that later when we tint more into the purple for our shadows It's going to feel very natural and as we're continuing to push this layering Eventually what I'm going to do is push all the way into just the tiniest touches of that pure bright Green which is going to appear almost white here in our overall composition when put next to the gray It won't actually feel very green at all With because we're only using it in very small areas and we're using it very thin So I continue just layering up until I get to a good overall position and feel confident about sort of my values Are where they are now a word of warning when you're layering like this Especially when you're working into these bright colors you often end up with let's call it a bit of a clown show Don't worry. We're going to fix that Our next step on this journey is then to begin to smooth it and so to do that I'm going to work it back down now I went up to a little bit of that very pure green as a high highlight which might have seemed too bright That's okay when you're initially working especially with these layers It's often okay to go a little higher than you think you want to go Ultimately because when you glaze back down you will be bringing that color back down with it Now I know glazing can be scary. I've done it several times or I've done tutorials several times on this channel You can go check those out But ultimately there's nothing too frightening about it We're just taking the previous mixes we made and then adding a couple more brush loads of water and apply and then wicking off That excess water into a paper towel very important. We go to the we dip the brush we touch it to the paper towel Then and only then do we touch the model and I'm actually working in reverse order So I start basically with one step below my highlight or two steps down and then glaze down and then glaze down And then eventually ending up at something close but not completely to the original put dark purple It still has some of that mid green in there because I don't want to work all the way back down But I am going to allow some of that purple tone to show through very thinly in the shadows and This is Ultimately what this does is adds a lot more visual interest because now instead of just trying to create this dead flesh Through you know a regular mid gray that I then build purple into and I had doesn't quite feel like it works because the colors Not exactly there now. I have this chromatic expression Running from green down to purple two colors that work very well together as Lex Luthor will certainly attest But also that have a bit of more color harmony a bit more visual interest all those kinds of things are Happening so as I just continue to glaze. I'm just smoothing and smoothing and smoothing now I did some of this off-camera. It took me maybe two rounds of glazing across the figure to get it looking You know relatively decent this isn't for competition. It's just for an army So I'm not going to waste a bunch of my life on it. It was you know, maybe 30 minutes or something But ultimately if you were going to go for competition You could spend another six hours if you wanted glazing this go nuts. That's that's the end of the road Of course, the other thing you can also do is then come in with very gentle glazes of just or even filters Of some of the very thin red now I'll really end up touching that later But that interference color of a little bit of red can help make him feel more alive I don't put even though he is a dead thing, but like a Mobile moving organic creature. Yeah That there's blood there and this guy does seem like he likes blood. He is a vampire after all so a little bit of a interference color like this Red color can ultimately work well in our favor All right, now let's turn to the wings the wings are a big part of this model and so this is going to be a little bit of talking about how you can do leathery bat wings in general and Also, if you made it this far, thank you because now we're going to talk about a really cool way to paint That doesn't require blending I took you through the basic layering and all of that and you glaze back down and Sometimes that can be a little challenging and annoying and time-consuming Frankly ain't nobody got time for that, right? Let's get to something more fun So these wings are just base coated with a sort of standard the base red that I'm going to use here But what I'm going to do from this point now is all through stippling So I grab myself a small round brush and I just start stepping up values and Jabbing and attacking the miniature like I like it owes me money. I'm just just just get at this miniature. Just stab it, okay? and I Like though the key here is to work just think just like you're layering. All right, what I mean by that is You're covering less and less space like shingles on a roof every time The trick is instead of trying to do these careful controlled layers and stuff like that You're just repeatedly stabbing the miniature now a note about how much paint is on my brush I dab my brush into the paint then I wipe a lot of it off, but not all of it Call it halfway to what you would do if you were dry brushing, okay? You don't want a lot of wet paint running around anywhere You want just enough that it transfers over to the miniature and in fact as I'm working it around You'll see how I work a lot of it off and Then eventually it ends up thinning and I kind of will start going outside of that layer area so the application and the method is the key here as I stab and and just sort of dab the miniature I start in the center hottest area of where I want the color because when the paint is fresh It's going to apply the most it'll still have that that sort of stippled texture look But it'll I'm getting the most paint transfer off of the brush And I work and work and work in that area and then as I pull the paint off the brush Then I start spreading out from the initial area I'm covering and blend it in and overlap with the other areas and I just repeat this process covering less and less but then like we start small expand out start smaller Expand out start even smaller than that expand out again Now you could stop right here. I'll just say that it gives you a really cool texture and it feels very much Like these leathery wings I really like it in in the case of sort of leather type wings because it gives them a natural texture that Sets them apart from the rest of the smooth skin and you want there to be some kind of Delineation there some contrast of texture not just of color contrast can exist in many forms But of course we can go a step further and by the way if you ever jump too high in your value you can always just simply Stipple back go take one step back grab your mid-tone Wipe most of it off again and then stipple around the edge of that You can keep going back and forth and stippling over top of each other Multiple times to create even smoother blends that still have that cool stipply texture to it Ultimately the end of this road is the same as it will be for almost anything I do end up doing a nice quick glaze over the entire surface This time when I'm glazing over the surface It's very thin and I'm just doing one or two glazes over the entire surface of the miniature Now from there I do go in and actually just draw down some shadows very quickly because I want there to be some darkness in the Wings as well so towards the center of the folds. I just glaze in a little bit of this This is just black in play here nothing more than a thin black glaze and it's very stark when I glaze it on there But again, we can just use stippling as I go back to my original mid-tone What I started with over the whole miniature and I then just stipple over the edge of that line smoothing that back out and creating a more natural transition between The area of the mid-tone and where I've stippled and that area where I've glazed So you can keep you this this stippling technique and these you could you know If you if you don't have a brush like this just take a regular round brush and Snip it with some scissors and you're good to go. Ta-da you have the appropriate brush for this task You can also just buy small round dry brushes like makeup brushes is what you want They they sell them in very very very small Versions what this then allows me to do is one final glaze to draw the darks and the lights all Back in together one quick thing just running over every wing one time and boom there we go So there you go. He's all done. You can see how we use two very different techniques I'll be honest. I really do love the crazy stipply stabby technique. It's fun. It's relaxing. It's not hard There's no careful painting to it if you get a little paint up on the wing bones or anything like that as I did It's no big deal. You just go back and I cleaned those up took me maybe five minutes to just quickly reapply a nice layer there over those little over the phalanges, I guess is what they would be and The what it's just really a nice way to paint that looks cool and is a way to use texture and What would traditionally be thought of as like brushstrokes to your advantage rather than being something You're constantly trying to get rid of it makes the model look cooler and it's way easier to me That's a win-win. There you go. If you liked this. Hey, give it a like Subscribe for additional hobby cheating in the future. Don't forget. 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