 Hello everybody and welcome to another hobby cheating video and today we're going to talk about painting faces. So I wanted to be here first and actually talking to you, but then we're going to go and I'm going to narrate over the top because we're going to speed this up because it'll be a rather lengthy process. But I just wanted to very quickly lay down some stuff. The tools we're going to use, where we're at, and the kind of paints and what we're doing. So faces are really fun. Space Marine faces are actually some of the most fun because they're very character bold. They have lots of nice ridges and shapes and things like that. So that's what we've chosen today. Paint wise what we're going to use. Here we're going to start with some Bugman's Glow. In our highlights section, or our brighter section, we have some beige red from Vallejo, some ice yellow from the third generation, aka Interactive, and some olive flesh from Pro Acryl. Down in the darker colors, we have some deep blue from Scale 75 and brown glaze from War Colors. Then I also have some Retardor and some Flow Improver also from War Colors. Got them all out on the palette. Now when we think about faces, I've started with just a basic zenithal highlight here. I've come from one side, so you'll notice he's a little bit heavier shadowed here. I don't generally like to come straight from above because straight from above is kind of boring. The light would only truly be straight from above during a very small portion of the day. Something like this range over here is a much larger portion of the day, so a slight angle often helps. The basic way to think about faces, especially if you've got a bald head or not, it doesn't matter, is that the top section here is going to be quite bright and that's going to follow a T down the face. So there's a T line right here on the nose and the chin and then a T that crosses here on the cheekbones. The middle section of the face will have more infusions of red or pink type colors from blood in the cheeks and then if it's a male figure then this area down here around the jawline will be infused with a little more blues. That's a pretty simple, reductive way to think about it, but it's instructive as to what you ultimately are aiming for. So I'm going to go ahead and get all my paints going and we're going to jump in and you'll see how I actually paint it. The first step will be, by the way, just to base coat this with, when I say base coat, I'm going to put a thin layer of Bugman's Glow over the whole thing. I'm not going to do that on camera because you don't need to put a thin layer of paint over something. That's just a basic base coat layer. So back in just a moment. Alright so we're starting out here. I just did a nice thin coat of Bugman's Glow over the whole thing. And you notice it was pretty splotchy and that doesn't really matter. It's fine because in the end we're not too concerned. We're going to put so much additional paint over all of this. It doesn't need to be actually well applied. It's just adding some slight base tone. Every single part of this will be touched again. So here we're adding in a little bit of the Vallejo Beige Red and beginning to sketch out sort of the initial light areas. As I said in the beginning I always like to go from a slight angle as opposed to directly from above. I just think it makes it more interesting. I've always been more of a fan of Rembrandt style lighting. I will also say that as I mentioned I do have retardant mixed into my paints here. And that's so they'll stay wet for longer and allow me to keep mixing this in here. So even right out of the rip there after I applied the beige red I then went back and mixed that with a little bit of Bugman's Glow to kind of just very quickly wet blend those together by having the additional time where everything's going to stay wet here. And I'm using the retardant from Warcolors for this which is pretty potent stuff. So this stuff will stay wet for actually quite a while and give me a lot of working time to kind of smooth everything out which is great. It just means that you do have to be wary. Anytime you're using a lot of retardant you do need to be careful and make sure you're actively paying attention to what you're doing. So what I'm going to do here for the next couple of steps is just slowly integrate more and more beige red. And you can already see the face really taking shape. But you notice I'm really focusing hard on that T line we talked about right where like right there, right down the center of his head, his eyebrows, his cheekbones, his nose and even on the shadowed side of his face. I'm still hitting the cheekbone because it protrudes enough it should be catching some of the light. Same with the other side of his top lip. That plane that's there below the nose but above the top lip. I'm also trying to not just paint his entire forehead so you'll see as I go I oftentimes am working like little horizontal lines across the forehead where I'm trying to catch those wrinkles that he has there. Space marine heads are actually wonderful to practice on and you can usually get quite a big number of them pretty easily from various places like online you can just go buy bits. So you know if you ever get a chance to just go buy a big bulk amount of space marine heads and you want to practice on faces it's actually a really good way to practice just because they are very expressive a lot of them have different emotions and stuff like that. So eventually what I did is I worked up you know more and more of the beige red and then eventually integrated in my off white color and that took me up to the highest highlight. Going through those steps I'm now working in some shadows so I took some of that bugman's glow and I integrated a little bit of deep blue and that might sound strange to people why you would bring blue in but I feel like I want to do a whole video at some point in the future about understanding shadow colors and how oftentimes you can create shadow colors just through the integration of something like a very deep blue. And so what I did is basically sketch out the where I thought the sort of deep shadows were going to fall. Now if I were going for sort of a tabletop standard I'd be stopping not too far after this point like when we get to the end of the first cut here in just a moment is when I would actually probably stop this if I were just painting for the tabletop. Like this will be a really nice image it will be like a really nice face it will be really impactful this whole process took not too long at all you know maybe 15 minutes to do the whole face that's perfectly doable and repeatable for a group of space brains and if you've got 50 of them on the table and that's what you're aiming at then hey you're golden right what I'm doing here by the way is just correcting out as I was you know some always spinning the head and looking at it that's because I'm always making sure that the shadows and everything like it looks right from every angle and I noticed that the shadow of the cheekbone was way too expressed it was coming forward too far so I had to eliminate some of that so I just took the head and made sure it dried because I was working with like I said a lot of retarder and wanted to make sure it was now set and now we're gonna come back in and just clean up so this is the stage where I go for when I want to go above a sort of tabletop standard now I apologize that I shifted a little bit to the side here that's because at this point I am wearing a pair of magnifiers and my eyes my head are about about two inches off camera okay because I'm I have to keep it in the in the focused range for the for the 3x magnification but you'll notice what I'm doing here is just smoothing everything out so this is taking intermediate steps from all the colors I worked with before and softening things right like I'm using some of the bugman's and blue and using a half step there to soften some of the direct blue should actually see true blue tone on the skin like your skin even in shadow doesn't actually turn the color blue unless it's very very cold or under a very direct expressed environmental light but that blue tone is what's underlying that as a true color so what I'm doing here is really just focusing on and shaping the the individual elements this is the refinement phase and this is one of the toughest things to actually show on video this is often the part where you'll see a lot of videos cut away and even I'm certainly guilty of this where I'll say okay from this point I'm just going to you know refine it out well okay what what the heck does that mean Vince what are you doing well this is what I'm doing I'm very slightly pushing colors up got off camera there why'd go good job as always it's a plus work for me I'm very slightly you notice how little like I'm working with very thin transparent layers of the colors I'm making sure all the shapes are exactly how I want them especially with something like a face that has so many different planes right between each wrinkle and the cheeks and the nose and the the lower eyelids and the top lip and the bottom lip and the indent in between your your your nose and your top lip which I'm sure that thing has a name I don't know what it is but I know it I know it has a name I always just remember the joke of or the statement of I remember the movie but is do you know why you have that indent in your lip it's because I came to you and went shh so I was the devil or somebody or God or something I don't know anyway doesn't matter the point is I'm trying to refine all these little elements right it's every is every little part expressed how I want it now what I did is I took a little bit of that brown glaze because I want to add some more warmth back into the skin tone a little bit more of a tan feeling and I'm hitting those areas off the highlight so you'll see how I'm glazing this into a lot of places where the sort of bright direct light isn't really expressed so side of the cheek that back right side of the head since the lights coming in from the left here I usually light from the from my right the figures left which is actually probably not the best thing to do most time you should be lighting from the left since that's how people read but I just don't find that comfortable I don't know why but I'm just kind of working in those soft subtle glazes here right the idea isn't to completely change what we're doing if you've ever heard me use the term filter that's what I'm doing right I'm filtering the skin and if you've ever watched anybody airbrush skin or oil paint with skin you'll be very familiar with the concept of a filter but it's where you're you're using the slight often sepia tones or something like that to just make very slight changes in the in the miniature so for the final step here it's expressing color so we laid down our base that was kind of our tabletop then we refined and added filters but that was all still skin work now we're going to start adding hue real hue okay so I'm grabbing a little bit of rikeland flesh shade and Indian shadow and the goal here is to express some more of that red tone that skin has in some places now I already have some of that in there from the fact that I was using red influenced paints like beige red and bugman's glow but this is about getting more blood into the cheeks in between the nose in the crease at the top of the nose to his furrowed brow right those areas will tend to gather a lot of redness to them so you notice here I'm hitting right though the lower his lower eyelids which the in other words the little section of skin that surrounds your eyeball in your orbital socket that's like those often have a very red hue at the bottom of them because there's a lot of blood vessels around the eyes and anywhere like that you're gonna see that expression the final things are just darkening the eyes and coloring the lips because you need to get all those details kind of filled in to make sure that your skin is in the right tone if stuff is still showing not correct it's gonna be hard to overall balance it but there you go that's painting faces if you've got questions about that drop them down below I do hope you liked that if you did give it a like that certainly appreciated helps other people find this video painting faces is really fun if you if you ever have challenged with it I recommend just set up 20 30 faces and go nuts over a whole day of painting but that's it give it a like subscribe for more hobby cheating in the future we have new videos here every Saturday but as always I thank you very much for watching this one and we'll see you next time