 Hello everybody and welcome to another hobby cheating video today We're gonna take a deep dive into orkskin and war paint. 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 recently games workshop Released a bunch of new iron jaws models and obviously I'm excited now We covered the big pig on this channel sometime back, but there's still a lot more green skins to get painted So today we're gonna talk specifically about turning that skin green some different options for doing so How you can tone the skin and ultimately how you can put some cool war paint over the top? That you know get your orks dogged up and ready for battle. Let's head over to the desk. Let's do some painting All right, let's talk about paints So first off I've got a nice range of greens here and when we're dealing with works There's lots of different greens that can work, but this is gonna be my run pick three four greens and Run a nice spectrum up from dark to light I'm gonna use the whole red the complimentary color for the shadow and we're gonna use those two pink colors to add some pop So you can see even though it's work in a green skin We're actually using three different forms of sort of red in those pinks. I Started with a simple zenithal just shot a little bit of that whole red from below nothing big It's just adding a little bit of low tone to cover up some of the black much of that won't show through But it's just there to make it a little more visually interesting First things first we turn the green or green just a simple thin quick base coat with a massive brush of a you know very thin layer of this Of the the black green now we start building up those muscles, okay, let's talk about ork muscles If and the colors you're gonna choose The more your green yellow the more your green tones drift into the yellows the more you're using green yellows The easier the build-up process will be and the less it will show layer lines Because yellow is so naturally transparent So if you stick mostly yellow if you like yellow green orks pistachio orks something like that Then you will be it's gonna be much easier on you as far as blending goes The more sort of white or minty type colors you use the harder the blending becomes The other thing I want to talk to you about is placement When I'm working on these initial colors, you'll notice up top like I'm not leaving much any of that shadow color showing In fact, I leave a little too much of this next layer as well. I end up going back and correcting some of it later We want to avoid those muscle islands So what that means is that for any upward facing angle and orks have these really hunched Stances usually where they're like they've got a bunch of their back and spine facing directly upward Whenever we have those kinds of a build we're never We're never leaving any of that shadow showing in the upward facing angles The darkest shadow on the upward facing areas is your mid-tone So technically I should have covered everything up on the top with that previous color probably with with maybe even this color And I will go end up correcting that later Because there are no shadows even in the recesses on the upward facing angles Now as we get to his arms and stuff like that You notice I still connected a lot of those colors Like I covered most everything except the deepest deepest shadows with multiples of those first layers So you can see here as I'm working his back I did leave a little too much of that darker color there and I'll see that once I get to the final highlights Oftentimes it's hard to do this solely through layering because you have some like Conception of how bright you're going to end up going but you don't really know until you get there And that's okay, but you see how I'm connecting these muscle structures like across the back We do not start highlighting each individual volume So we want to avoid the muscle islands That means at the top of the muscle structures and anything that's facing upward We are connecting the two together. We only highlight the individual muscle clumps the individual volumes On the upward facing angles with the final final highlights. That's the last time And as I slowly start integrating that green sky, which does have much more white in it And so my layers are going to become much much more stark Right as I start integrating this you're going to really see that much more clearly As I'm working my way around the figure The other thing I'll say is when it comes to the face many of the same rules apply You want to avoid going too very dark Even in these deep recesses you want you don't need those to be super down deep This is where I see a lot of people go wrong. They leave their deepest shadows in the face recesses It should not be that dark. It doesn't need to be that dark. It shouldn't look at that stark And so you want basically the shadows on most of the face to be your mid-tone maybe one step lower As I'm pushing here into the highest highlights with the green sky And now we're basically completely white infused with the green we're using Our layers become really really really stark and that's okay Don't worry about seeing these layer lines with the initial work you're doing. That's going to happen All I'm doing at this point is just laying down these layers just shingles on a roof covering a little less every time And as I work my way around the figure hitting things like the knuckles and that You might ask yourself, where do we put those highlights? Well as I've said in previous videos We're putting it on the tops and the sticky outie bits so the upward facing stuff the very top And then anything that sticks out like his knuckles Now you're going to see a lot of back and forth work of glazes to bring this together because again That green sky is like a very very stark color But you'll notice that the other thing I'm doing here is running this glaze down over a lot of the shadows This is where I come to realize I've left some of the shadows especially in the side facing the light here because the light is to his left side As I'm painting him like I want that's the sort of golden angle where I want the light shining directly on his face and his slumped left shoulder So you'll notice I'm taking this this green tone the green yellow Which is basically just a thin glaze of that all the way down into those shadows covering everything now Because I've realized that I didn't have enough mid-tone there I was still leaving too much of that sort of very close to black green showing On the upward facing sides and on the side where that where the light is primary Now over here on the other side. I'm going to leave a little bit more of it visible Not a ton but a little more And the other thing I'm doing is running this glaze in between the two lines I'm just going to smooth it out And so as I work my way around I'm going to start making all these half mixes, right? They're all thin though The end of almost any road when you're trying to achieve a smooth blend is really just glazes And so a lot of this orc skin ends up becoming these back and forth lasers where I make half steps In between my previous mixtures So whereas before I would you know, I was doing maybe like 25 of the the dark green yellow 75 of the green sky I make a 50 50 step or or 25 75 if I did 50 50 before or whatever And you can see now we're starting to get somewhere like now We're starting to get to a good place as we continue this glazing He started to look a little smoother and the skin starting to really show that shine from that green sky And I as I'm going along I keep working thinner and thinner and thinner Every new glaze you see on the sky is thinner than the previous layer But I still have a lot of adjustments to do and most of what I'm doing here is adjusting light Like you see how I'm jumping across some of the divides in his muscles there That's because I want to reduce that muscle island syndrome. So at the tops of those points I connect the the the muscle together Finally here I'm working with basically water with some a slight amount of paint in it And this is for my final highlight This is where I'll actually come in and pay attention to each individual volume Each muscle structure only with a very very thin glaze of that highest highlight hitting the top of the sternocleidomastoid The top of his back the top of his forehead, you know his bicep so on and so forth This is where we really bring it together and lock in those highlights Remember the color progression. I'm using here is just one option orcs Just like humans can have lots of varied tones in their skin The important part is to work in those other colors those reds and things into the base And then as you'll see eventually the pinks and other things into the highlights the elbows wherever there might be um Sort of blood I guess as it were even though works don't tend to have red blood Uh, it still matters because we as humans recognize those red tones as making something alive So a little bit of that pink or uh, a little bit of those red tones will make it feel More like a living thing to our eyes But when it comes to the greens you can play all around you can go into the blue tones You can go into the yellows wherever you want to go You can continue, uh, you can you can explore in that spectrum Uh going throughout the values from light to dark So I encourage you to play around and have the orcs in your army actually be different tones Just like you might change the skin tone and alter it amongst all the humans in a different army But of course we're not done yet The glazing continues Now what i'm really doing is working the still with extremely thin glazes But now it's just about really smoothing out the blends Whereas before it was really about correct correcting the light and shadow Now it's a bunch of thin glazes to not only still work on some light here where I need to I'm adding a little bit more for example this glaze on the other side on his right side the side that's a little more in shadow But I'm also really just working on these things to refine the blends So it's still a lot of half steps and light corrections and just little touches here and there I want to draw your attention to in between his big biceps. You see how there's a highlight there I just want to really point that out One of the things I see people often do is when they just use washes that becomes a recess and goes very dark The line in between somebody with highly developed biceps is a highlight It is an upward facing point. It should have a highlight in it If you run a line of light down the center of that, it will look much much much more natural That's just a quick little very important tip Now in the same way that I was working the highlights for a long time Now we're going to work the shadows. So this is me taking some of the whole red red being the complementary color to green It's nice and dark and it'll make a very naturalistic shadow on the orc Especially since the green sky is very cold as a highlight. So again cold highlights create warm shadows I'm going to do the same thing with his cheeks and other very hidden parts where I need to reinforce the face in some way Because I'm adding just a little bit of red tone into those places a little bit of natural life Even if the orc doesn't have red blood Creating that complementary color placement still helps make his face stand out more And then I also like do things like around the teeth to create a nice dark line So I'm not using black to do that. I use the mix of the complementary colors Now we're going to get some red cheeks in there for him. My doubt. He's wearing rouge But nonetheless a little bit of a slight touch of red in the shadow makes those shadows much more visually compelling and interesting Uh same thing there again with the lips and the teeth This is very very thin when I'm working with this like again, this is basically colored water We just want a little touch of that around the elbows and so on Now it's time to really pop out the face And pink is the ultimate weapon in orc faces around the lips The bottom of the nose creases in the forehead Inside the ears under the eyes or in wounds and then the lower lip Uh turning these things orcish dermis from scale 75 is really one of the most perfect colors for this But actually all you need is just some kind of like bubble gummy pink. Anything like that will work So any bubble gummy pink in any range is fine And the pink not only acts as a complementary color But again will make him feel much more alive And then we still want to just put some quick highlights on that You know hitting where with adding in basically a lighter color pink To make sure that the face really sticks out in any place where there would be a small amount of light catch So the bottom of the lip the bottom of the nose the edges of the front lip and so on and so forth But that pink because it's complementary just makes that face explode and jump out at you. It is so powerful as a tool Now let's do some more paint So here I've got uh ivory dectan and reddish gray. Why do I have three colors for warping? We're going to keep this very simple which work all in white and gray And I'm going to have this orcs warp paint just be in in white and gray. It could be any color though You could do warp paint any color So the first thing about warp paint is Warp paint sits on top of the skin. It's not like a tattoo. It's not integrated in so it needs to be very stark It should be over the top The second thing I'll say is you want to rough it in it should look pretty rough warp paint isn't meant to be Smooth it's not meant to be like a tattoo. It's meant to be this harsh rough drawing So you'll notice all of the motions here I do when I'm working on this guy is mostly stippling especially around the edge So I rough in the edge of a skull Just just the outside edge of a skull and the normal sort of work thing I kind of take a look at where I might want the eyes. I'm going to paint over this But I'm just trying to get an idea of how it'll feel Once I kind of get a rough estimate. I'm then going to lay down the rest of the color Now warp paint because it sits on top of the skin It has to respect to the same light and shadow Which is why I started with my darkest color and then what I'm going to do is highlight up respecting the same muscle structures With the with the green that I did here with the warp paint But again, my motion as I'm putting on the warp paint is always stippling stabbing Rough right you want to cover up all of that darker color You don't want any kind of outline and that's what I'm spending most this time doing Then I work my way up into the ivory And make sure that we've got basically the warp paint Respecting that same like if there's a shadow on the green muscle there needs to be a shadow on the warp painted muscle Both need to come be there and and placed and I end up adjusting the light a little bit off camera Because it was a little too stark, but for the most part it's exactly what you see here So the reason I built up was with the warp paint was it's because the exact same thing I would do with the skin It needs to feel the same have the same lights and the same placements the same shadows so on and so forth Okay Now once I've got that done it's time to put the eyes back in and basically finish this off And this is I think a step that would scare people Because I have to recreate the skin on top here where he didn't get warp painted. It's actually very easy I think people are worried about matching exactly to what the other color is Like how do I match all that work I did around glazing and stuff like that? Here's the neat trick You don't have to match exactly no one can tell Separated as it is by the Um By the the white as long as you're anywhere close to the same green It'll feel fine So I started with a very light color then use the dark to set some shadows on the warp paint where I where I wanted the edges to be And now what I'm going to do is once those shadows are there and I'm like, okay Yeah, that looks good. That looks like the right placement Then I start coming in with the mid-tone that would more closely resemble the flesh that would actually be under there Because that's a lot of this is happening in shadowed areas. So I'm grabbing my um dark yellow green And I'm just going to cover some of that very dark black green that I used to to rough it out and see what I was doing And just finish it out and it'll look just like the skin And that war paint is ready to go All right, there we go. He's all done. I got a couple more to do but here you go He's how he came out all painted. Uh, I think he looks pretty cool I like this recipe for skin uh at about I keep playing with it every time I paint an orc I honestly like to grab a different series of paints and experiment accordingly There's so much space in the green spectrum to play with uh orc skin tone. It's just really really fun To paint So I hope you enjoyed this and it gave you some ideas for your own orcs I gave you some ideas for war paint. I think it's a really fun thing to do Uh, and if you did like it, hey, give it a like subscribe for additional hobby cheating in the future We've got new videos here every saturday if you've got any questions on something I didn't cover drop that down in the comments below You if you want to support the channel, you can do so you can share this video. There's a merch store down there There's links for purchasing things like for pro acrylic You're going to pick up some some of the paints that you saw today. Um, such as that beautiful, uh dark green yellow There's also of course a patreon focused on helping you take 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