 Hello everybody and welcome to another hobby-cheating video, and oh do we have a fun one today? So today we are going to give ourselves a little hobby challenge, and that challenge is going to be to paint a 2000-point army in 24 hours. Here I have an ogre army with the release of the Mawtribe's book I thought it would be fun to see to get out all these old ogres that I had restore them up a little bit and get them ready for the paintbrush and see if we couldn't just knock out a whole army in 24 hours. So we're going to do a little bit of a challenge but before I start the official clock I wanted to kind of set up what I'm going to be doing here because this is going to be an unusual video in that there'll be some clips of things we're gonna go sort of step-by-step and I'm gonna talk about all the tricks and tips and techniques I use to achieve high quality results fast. This one's going to be a real challenge to go super fast so we'll see how it works out. I don't know if I'm gonna be successful at this but hey you got to push yourself right? So we're gonna really push the speed muscle. Now ogres represent a pretty easy way to accomplish something like this just because it's less bodies, they're bigger space, they're much more uniform and they have like a lot of flesh and simple materials they're not they don't tend to be too covered in nonsense although some of these are quite detailed figures and that's fine but it's still less of them. Their size also lends itself to doing stuff with the airbrush or something like that. So we've got a bunch of different ogres here of different kinds and they've been prepared. Now I'm not counting their preparation in the 24 hours I understand this is can I paint the whole army in 24 hours? So they've been cleaned up and Zenithal primed and are ready to go. Their bases were also made and our Zenithal and also ready to go off-camera. All told the preparation was maybe six hours to get the army back to restoration that is to say to clean up things and to fill gaps and restore broken pieces because this army had been sitting on a shelf forever and then to create the bases and then because obviously these guys are all sitting on old squares right now so to create the bases and texture them and prime them and get everything ready. So that's what we're gonna do and I'm gonna walk you through all the steps that I do here to get these guys going fast but I thought first I would start with just kind of some of the paints I'm gonna use so you kind of understand because I won't have a chance to show it later. So these guys obviously have a lot of flesh so we want to really hone in there and make that look interesting. To that end we've got a nice mixture of paints here so we've got some African shadow from Scale 75, some Bugman's Glow from Citadel, some flesh three from Warcolors, Harvester flesh from Scale 75 and some olive flesh for a highlight from Proacril. So there we go with those and we for their pants most of them have some nice pants. We're gonna give them some nice blue pants which will be a nice mix of deep blue and Caspian blue and then we'll probably use a little bit of that olive flesh to highlight and then they have some belts and leathers and stuff like that. So for that we're gonna use some mahogany and some light umber and then we'll actually take it down with some of the deep blue mixed in because that'll make a nice dark color and we'll bring it up again with the olive flesh. This is one of the tricks to doing a lot of speed painting. You use universal highlights and shadows can help that. Having similar colors and a limited palette used throughout your army can absolutely expedite the process and that's the other thing before you begin a project like this you want to make sure you understand how things are going to be painted especially the major areas of your figures. These guys have other things that are you know metal and stuff like that and for that we'll just use some standard Vallejo metal colors some steel and things like that. We'll probably do some fast rust and things of that nature but for the most part you know they have hair and beards and things and we'll color those in pretty standardly. For wood we'll use our old friend Scale 75 Ink Tensity Wood since that's basically wood in a bottle and that makes that really easy. And you'll see me use some other things and I will narrate the other pieces as we get to those sections but I wanted to give you the major colors now. The other thing we're gonna do is we're gonna start with an anti-Xenithal highlight so a natal highlight I believe is what it's called or natal low light I don't know. I'm going to shoot them from below with some whole red to create a universal shadow. This is a nice deep warm red color and it'll work well with the flesh. It'll work well as a shadow to the blue because it'll end up being it'll end up sort of turning a deep dark purple which will be great and it'll work well with the brown where it will give a nice low light. So basically we're gonna take each of the ogres and turn them over where he's still very dark. You can see how dark they are from below and we're gonna shoot a bunch of red up at that angle. Okay then we're just gonna get into the painting. So what I'll do is obviously you're not gonna see me paint the whole army because I think a 24-hour video even at a highly highly compressed speed would still be a bit too long to watch but that's the general concept of what we're gonna do. So I have my stop watch here on my phone. As soon as I start painting I'll hit start. Obviously I'll be able to pause myself in the middle because it's fairly critical that I don't... it's fairly critical that I do be able to stop every so often to say use the bathroom or something like that. But this is 24 hours of painting time which I'm gonna do in a single weekend. We're not gonna sleep a lot. We're just gonna paint paint paint and get these bad boys these fat boys on the table. So with that we're gonna kick it off and we'll pick back up over in the airbrush booth. I'm gonna... I'm not gonna record me shooting them from below though that'll be on the time because it's just... you've seen me do it in previous videos. I'm just using a color to literally spray them at a downward or at an upward angle like this. Nothing real interesting there. So I'll do that off camera and then we'll pick back up and you'll see me spraying the flesh because that's what we're gonna start with since that's the biggest and most obvious and important color for a lot of these ogres. So back in a moment. Alright so we're in the airbrush booth here and I'm narrating this because it's just very noisy. So as you can see we're 11 you know minutes in or whatever from what I'm doing which was the first 11 minutes was just quickly spraying the undercoat of whole red. And so now we're do using a little a Bugman's Glow which is actually a color I quite like in the in the Citadel range and we're doing a little undercoat. And the goal here is very thin. So as if you've seen how I work with the airbrush previously you know that I'm working very very very very thin. So this is probably... let's put a number on that. This is probably 5 or 6 to 1 thinner to paint. Okay now Bugman's Glow is a base color within the Citadel range so it's quite intense but the goal here was just to get a nice all overcoat of a deep red under shade but still letting the zenithal show through. Okay so that took about 17 minutes to do the whole army. I'm gonna start off all these so then we add in a little flesh 3 from Warcolors. Same dilution ratio but now what we're doing is we're gonna go ahead and hit just the highlights. So you're gonna see once I get back on camera here as per standard for me you're gonna see how I'm focusing in on you know upper areas. I'm still covering a fair amount of the ogre. This is bringing some brighter Caucasian flesh tones into the into the ogre and covering some of that red. The Bugman's Glow was really more about undercoating and providing the the tone for the skin more than it was actually the skin itself. It's a good base. So now we're gonna take a step up again. We're up to 43 minutes. That one took a little longer because I had to be a little more careful right so that was maybe 15 minutes. Now we're gonna go with some flesh 3 and Harvester flesh which is another brighter pinker flesh and so this is gonna be one of those times where now I'm focusing in on even less of the ogre. So again hitting things like the top of his head. I'm always shooting down the front of the face. I'm using like the the faces of these ogres have great features but they have really really deep recesses. So you can use your air brush to just shoot straight down that face and really make a lot of effective highlights over things like their eyebrow ridges and the cheekbones and stuff like that. As for usual I am still just hitting the tops of the muscles, tops the shoulders, hands. I always shoot down the tops of the knuckles. So from the top knuckle down I changed my angle just to get that bright light because most people are making fists and when you make a fist your your knuckles tend to go white. So now we're up to an hour. Okay and this time I have a little bit of a a little bit of a a wash as you can see here. So this is some rikelin flesh shade, some agrax earth shade and some flow improver. Now the goal here is not to wash the whole model. Instead what you'll see is I grabbed a nice big brush and I'm gonna hit all of the relevant areas where there would be deep shadows that might have been obliterated by the airbrush. So specifically you'll see how I'm hitting like the face, the ears, the lower part of the face. I'll go do the hands and in between the fingies right where I can see them. Basically any place where I would want a little bit more life and red and sort of vitae injected back into the model especially in those very small details. So again like here on the back of the where his sort of folds meet his pants you know and really honing in on that face making sure we bring out that detail. That wash here is a nice quick way to bring that facial detail out but I wouldn't want to wash the whole model. The airbrush is gonna do all the major folds on the muscles. That took a little longer so now we're up to about an hour and a half into this project and we're gonna go back in with just Harvester Flesh so just my highlight color. Again this is very thin now so I'm working about six to one and I'm going to just go ahead and reinforce some of those highlights. So this is sort of the edges of their pecs, the very top of the knuckles that are facing up, the very top of the sternocleidomastoid and upper shoulder muscles like those kinds of elements just really bringing that highlight up okay. So but wait there's still more we're not done yet. So now we're up to an hour 43 relatively quick step because I have to be careful but it's also covering very little and now what we're gonna do is we're gonna take some that Harvester Flesh and mix in a little olive flesh which is a really nice color from Pro Acryl that has a lot of obviously like warm white tone to it and here I'm hitting just the tippy tippy tops right the very top of the shoulder the very top of the skull the very top of the that that neck and sternocleidomastoid muscle and that's it right. The goal here was to be like really really specific. So and then that's that's the skin done like we're calling that in a speed paint army that's what we're doing and you notice there I started very dark and worked my way all the way up here with the pants I'm gonna do the same thing so that was some deep blue from scale 75 and that's gonna be my base for the paint but again working very thin so this is about eight or nine to one thinner to paint. Okay and again the goal here is to let the zenithal tell part of the story to work in a nice thin layer of blue over the pants which are already zenithal. I wanted to give them a nice blue pant almost like a denim-ish color so that's what you'll see me work in here but this dark blue will work well with the shadows it acts as a great shadow color to build up additional layers with you know my airbrush and you can see how some of that highlighting is preserved and able to continue. So then the next step and that took a little while because the pants I had to be careful so two 14 two hours 14 minutes in not bad we're making good progress and so now we're gonna take a little bit of I didn't show the paints like I'm like a dumb dumb but what I did is I mixed up a little bit of a lighter blue from scale 75 but it's very faded basically I mixed in a blue gray specifically this was bearing blue mixed in there and again just hit some highlights like reinforce those colors top of the knee his big giant butt the tops of his folds on on the backs of his legs those kinds of things and then finally and so here we're at almost two and a half hours in now we've got just the straight bearing blue along with a little bit of olive flesh so we've gone completely to a lighter color and now I'm gonna hit those high high highlights by the way the ratio here is still eight to one thinner but it's also about three to one blue to white so like the white is a very minimal impact here I'm not looking to completely desaturate this blue I'm not looking to blow the light out the skin should be brighter the pants are lower on the model they're a darker color naturally they would and they're a very matte material so they should not be very bright like the satin skin and basically there we go that's airbrushing done touch it up and now we're going over the painting booth eight so we're back over at the desk all the airbrushing is complete this is the stage all my ogres are at we are at I pause the clock here so I could talk for a moment so but you can see we're at three hours and four minutes to bring basically the whole army up to this stage which I feel like it's pretty good we've got nice tonal variation in our skin with the face as well defined you can see we've got all our nice shadows picked out there our pants have some highlights stuff like that so now what I do is one of the common things I see people do with batch painting is they'll do like one little thing like I'll do these little beard this is little beard and then I'll put him to the side and then I'll grab the next dude and I'll do his little beard and I'll put him the side and I'll grab the next to you that's just inefficient like I you you think you're being efficient in this sort of factory line mechanism but you're actually slowing yourself down doing like major areas like I was doing there where I would do them all in one color with the airbrush and then move the next one or if you're doing if you're like blocking out colors that's being efficient sure but when it comes to small details you're better to just have your palette prepared as you can see here what I've got like I'll need to get the top of his pants this little area right here so I've already got the blues to do that I need to get his belt so I've already got the browns to do that I need to do his boots so I've already got the grays to do that right and that kind of stuff like you want to make sure that you're not because you're going to end up spending just as much time literally moving and fishing around for the models and getting paints out whereas if you just put it all on at once one by one and go especially with little details it will actually be more efficient because you just end up you end up there's such a thing as segmenting a task too much so so let's go ahead and I'll show you what I'm gonna do with this guy so let's get him in camera here we're gonna start with the boots so we grab some of that gray and I'm gonna talk about some of the things we do for speed painting here so here on his boots you know I'm gonna use a rather like I didn't really thin this very much I just put on the gray we slap it around I'm using a big brush so tip number one when you're doing this kind of thing use a bigger brush then we're gonna do some web blending so I'm gonna grab the lighter gray come up on the parts that I want to get highlighted I'm gonna wipe that I'm gonna grab some of that olive flesh that light color then we're gonna low it wet blend that right into the top and right into the top of that and in there wipe the brush a little bring more of that other color back up then we just kind of smooth it out then we're gonna grab some of the dark I've also got some pains gray ink there that was off camera but it's there we'll kind of bring that around and then we'll just kind of wipe the brush there and then we'll just bring that all together if I want to reinforce a little more grab a little more of that white gray and there we go and then I basically have this blending and everything I need already done no need to go back I didn't have to do 20 steps I just have the whole thing ready to go and that's what I mean when I say like you can just be more efficient like this using some clever tricks so that way the boots already ready everything's highlighted it's ready to go if you still don't like where you're at we can always grab a little more smooth it like you can work while wet for a while so you can work back and forth a little and just kind of smooth out then we do the other boot so once again we work rather thick with that initial base layer because you want this night you want again I'm not thinning this there's no water beyond a slight amount of moisture in my brush people get obsessed with painting with very thin paint when really the key is to just keep it moving around and this thicker base coat will actually help you when it comes time to wet blending it in because you're gonna be pulling off as much paint as you're putting on so yet again we'll just kind of push some of that gray there we'll get some of that lighter white we'll get a little tozy here get the bottom of that boot a little bit right there right then we just kind of wipe that down bring that back up into the top of the brush we just kind of draw that together and do a nice smooth blend and if we end up a little too light we just add a little bit that original color back grab a little bit of our deepest shadow and we just kind of smooth that together and but that guy's boots are done right so that kind of like wet blending trick is just a good way to go about something like this it just makes your life a lot easier when it comes to when it comes to getting something like this done especially when we're talking about a speed painted army like this right where what we're aiming for here is fast so yet again same thing with his little the this whatever on the back of the this thing we go for all of that we get that all nice and gray then we grab some of the lighter gray put that up there then we grab some of the darker put that on the bottom and bottom being we've got a nice little thing there now there's also some little strappy lines in between there so I can take my just pure ink and I can just very quickly trace some of those lines and bring some of those shadows up so that way we've got those nice and picked out we can also take a little bit of that pure white or pure olive I should say it's all the flesh and we can just really carefully now the top of each of those and kind of bring that down a little bit and there we go boom done fast easy that's what we want just rocking and rolling right around this guy you know next up we've got our leather belts so we're gonna go for a little bit of that mahogany another thing I see people often freak out about is stuff like this where you can't quite reach that thing in there because it's under his arm you know what I'm doing about that nothing because look if you're trying to compete for like some kind of painting award sure go nuts go all the way don't don't hesitate on anything if you're going for a speed paint if you're trying to get your army on the table for something then don't worry about it if you can't see it unless you if you can't see the spot unless you turn the fig in some ridiculous direction like I have to go like hold on where oh just leave it alone it doesn't matter like no one else can see it either so why are you freaking out about it when it comes to the the leather will do a little extra we'll do a little extra touch we'll take some of our pure ivory here our olive flesh which is very ivory color and I'm actually gonna come in and I'm just gonna do a little hashing right along the bottom of his belt so we're just gonna do to do do often times little details like this will go a long way I know I just said if you're speed painting why would you waste time on stuff like this because it makes me happy do you have to do this kind of step nah but it's pretty easy because I like stuff like this or it's not careful painting it's just dragging your brush around and kind of a random pattern doing stuff like that elevates the paint job while being fun because you don't have to be careful anything where I have to be careful and really focus up that's what I try to avoid when I'm speed painting so now we've got those those little hashy hashes there and they're real rough but that's okay we're gonna take a little bit of our our brown our lighter brown we're gonna thin that down with some water we're just gonna go right over the top of that and you can see then we get that nice texture that just shows through a little bit while still maintaining the color of the of the belt if you want you can also take a little shadow so we can do it we can mix in a little bit of that that blue black into that red brown mahogany we can draw some of that shadow right across the middle to kind of reinforce that area another trick for doing these sorts of things like for when you're when you're trying to work quickly on an army like this I see people get out like 80 different kinds of paints they're like oh well now I'm doing you know leather so I've got to get out my exact leather recipe okay like sure I guess you could or I've used the same color to highlight three different things in a row and it actually only makes the fig look more cohesive so again little tricks like that use a universal highlight like the flesh the pants the boots and the the flesh the pants the boots and now the belt all of these have the same olive flesh highlight which actually one makes the model look more cohesive because it looks like it's standing in the same light and two is way easier because I only need to have one type of paint on my palette I'm not digging for anything I'm not looking for anything I'm just literally I'm just literally moving along happy as a clam now grab it one more time let's grab a little more of that olive and guess what we're gonna just go like a doo-doo grab right on there get a little highlight and there we go that's all done we'll get a little bit right there cool cool cool cool am I trying to edge the whole thing no do I care if I have little spots missing nope because it can only help okay and so all of a sudden you know all those nice details are done then I can switch up to a nice little bit of a sharper brush and take some of that that olive flesh yet again same color nothing's changed still using the same color and we're gonna come in and we're gonna go boop boop and we're gonna hit all those teeth all his teethies we're also gonna get that eyeball the one thing that's always bothering me about ogres they have such tiny eyeballs why are their eyeballs so tiny on a model this is big never made any sense to me they have like eyes that are smaller than Empire dude's eyes I'm gonna draw some quick lines here in the beard with this ivory just sketch out some nice thin sharp lines so that that way that stands out that's not gonna be our final color don't worry don't worry I saw you freaking out don't freak out all right we're gonna grab a little bit of our skeleton horde contrast perfect for tasks like this you can also by the way use this I could have used this for the belt as well to cover over your like your hashing back here it's a very nice you know using contrast paints a great way you can paint over with the ivory and then just cover it over with that so then I'm just gonna bring some of that contrast down there there we go now he's got a nice sandy brown goatee or whatever I can keep playing with that if I want I could let it dry I could do something else I can take a little bit of this maybe we grab just a tiny bit of that red and we kind of go around the base of the teeth there so the teeth aren't so perfectly white right we just toss a little color in there we grab a little more of that red brown all my color choices here we're very intentional and then we're gonna come in and just hit that bottom lip nice and gentle about a boom the lip has some color the beard has some color fast easy okay last thing we want to do on this bad boy before we send him off is we're gonna take a little bit of that ink with a little bit of flow aid to help us out we always want a little flow improver and our nice sharp brush we get that full of flow aid then we get some of that that blue black ink and back here on where his little butt flap is and just see I'm just tracing over the top you could use a wash for this as well but I like an ink because it's actually gonna leave like real pigment deposited in the end like a wash is very weak whereas inks are very highly pigmented and they already flow very well so I get that nice outline on there I can come back into the same thing over here by the way now that this is dry you can reinforce my lines here I could even if I feel a little saucy come up here and put a little shadow side his face why not when things take a half a second it's fun to just touch and add a little bit of a little bit of heat on there then we come in what color guess what's that same ivory again we're back again guess who's back back again ivory's back tell a friend alright so then we just hate each one of those and now he has his little his little pants tied together and all the details on him are done other than the metal obviously right in the metal we always do separately so and that guy's ready to go so I can then just set him to the side look at that I say okay I spent about 15 minutes on him and then I multiply that out times you know the X number of ogres I've gotten say okay yeah that's the appropriate amount of time to spend I'm gonna feel comfortable with that I'm gonna be able to replicate that and the amount of time I've allotted for myself it lets me then like I get a good-looking guy with some different things going on and I can then move on to spend more time on something like the characters so like that because rank and file dudes are just rank and file dudes so I'm gonna carry on we'll do all the details on all the ogres and then we'll be back as we got more to do alright so let's see where we're at so currently everything except the characters all the details have been picked out painted etc. I paused the clock at 8 hours and 54 minutes so we're doing alright I thought I'd share a couple see where we are so like here's one of the man-eaters one of the old empire man-eaters I like this guy a lot so he's fun here's one of the lead belchers he's got a little knobblower on his shoulder you can see where he's at and then here's our friend we've used for all our examples that you saw earlier that I finished up so there we go everybody's looking pretty nice for that work the whole army's up to this level like I said I did leave the characters out so for example here's like one of the butchers he's still back at that level and that's because even when you're speed painting with the characters it's a good idea to just take them apart you know do all this stuff that you're gonna do basic first but then take them out and you want to do them a little separately because even when you're speed paying the army who cares move as fast as you can you know get stuff done cheating every way you can just get completed but with your people who matter with the center characters that's when it's time to spend a little bit of extra time okay so there are four characters in the army a tyrant a butcher a slaughter master and a hunter that I have here so we're gonna spend a little more time on them when we're when we're all good but next up we're gonna do where you know we're at nine hours we're feeling pretty good so on my palette here I have some deep blue of my original blue that I used for the pants we've got some some blue black ink some Payne's gray we have some bugman's glow and a little bit of flow improver and we're gonna put tattoos on these bad boys because why not we got it they got it ogre's gotta have their tats gotta have the tats let me put these guys back okay we'll quickly get him on to his base all right so there we go we'll talk about how we do these tattoos we are gonna restart the clock for this one all right since we're painting it counts okay so what we're gonna do is we're gonna take a relatively sharp brush and i'm gonna grab some of this blue a little bit of that ink to get it flowing rinse off the brush there i'm gonna grab a little bit of that flesh mix that in a little more have a little more ink to add a little more black to it we're adding the flesh because tattoos are somewhat transparent they sink into the skin translucent i should say and uh by desaturating out the color it makes it feel more like that and we're probably not going to have time to go and um and glaze back over all these so we're going one shot and then we're done so then we mix in some flow aid let's pull just a little bit more blue in there okay all right so here we've got our ogre so let's go for the classic maw that's the that's an easy one so we what we're gonna do first is just sketch in some lines real quick and you notice i'm just jumping right into this and the reason i'm just jumping right into this is because one it's an ogre if i was doing a tattoo on you know some thing some creature that would be more careful about its tats i might be more careful but the reality is i don't think ogres have the best tattoo artists they're probably not plotting it out too much so something that gets the general idea across is going to get there and just like that boom now we've broken up that massive area of flesh we can fix that up just a little bit here and there balance out our triangles and there we go now he's got a little little maw tat and he's ready to go you could do other things so for example maybe on his other arm over here ogres are kind of the ultimate bros so maybe he's got a little let's give him one of these guys we'll go all the way around his his bicep here and then we'll do some spiky lines off it because he's got to have his barbed wire tat yo right sorry i was a little out of focus there so there you go now he's got a little barbed wire tat on that arm a little maw tat there and he's good we can move him along so now i'm just going to continue just doing fun tats over a lot of their skin some of them will have some face tats because why not we'll go nuts we'll see what we can do and uh yeah we'll let the clock run and continue on back in a minute all right so we're done with that step and i'd pause at the clock again but as you can see we are just under 12 hours in and i'm feeling pretty good we're right about where i think we'd want to be all the tattoos are done basically these guys are all detailed out except for of course the metal uh everything's looking i think pretty sharp now those tattoos are like really strong they're really vibrant see here this guy's got a little swirly poorly giggy go going on whatever the iron guts i went for like the angular sort of tattoos like that the lead belters i did a lot more circulars mixed in like moths and tusks all over the place that kind of thing just having fun so uh now it's time for a stage that is is particularly less fun uh something that's going to be one of the longer ones we've done which is the metals uh and what we're going to do here with the metals is we're not going to mess around with trying to do a singular base code of everything and and just kind of get everything going so what i'm actually going to do is i'm going to actually varnish the whole force real quick and the reason i do that is because uh it just locks everything in and sometimes when you're working with metals you'll get metal paint somewhere where it shouldn't be and all of these you know some of these things have a slightly different finish because of the different paints that i used or whatever some was done more with washes some was done with whatever so we need to get them all evened out before we start applying metals because we don't varnish metals so everything's going to get a quick varnish uh i'll actually probably use a little bit of a mix of a satin and a matte varnish just because i want them to have i don't want them to be completely matte in this case uh it'll help remove some of the like airbrushy look if they have a slight satin sheen to them you know you can always set whatever you want with it then we're going to come in and i'll show you how we're going to do the metals basically all in sort of one big fell swoop by type so what i mean is we're going to do all the steel the whole way through including all the shading highlighting and weathering and then we'll do the uh and then we'll do any golds and stuff like that so uh back in a moment after we're varnished and uh i'll restart the clock for the varnishing obviously and we'll come back and we'll do the metals all right everybody's varnished everybody's dry and now we have a new little palette we've got ourselves and this will be our metal palette we work with a dry palette when we're working with metals because we don't want them polluting our wet palette so what have i got here well right here i've got some vallejo metacolor steel the only metal acrylic paints we trust vallejo metal color here i have some silver just for a brighter color down on the bottom i have some proacryl cold black then i have some proacryl black brown i have some secret weapon brown rust right there and then i have some vallejo game effects rust which is a really nice color i like so that's what we've got to work with we're going to go ahead and just show what happens here i'm just going to do the sword on camera uh and then you can see you'll be able to see how the whole process kind of kind of works here okay so the idea here is we're going to work fast and we're going to work rough and we're going to use a big brush still has a point on it okay so we grab some of that steel i'm going to bring my my dirty paper towel in here so you can see what i'm doing we wipe off some of the excess we get that steel on there nice and quick like nice big brush few seconds boom steel's done this guy's all bumpy because you know i didn't bother to strip all these this is just a fun speed paint army project and the original primer was rough but hey that's all right so we grab some steel work that there okay now we're just going to grab a little bit of that silver we're going to work it right along the edge and we're going to work it right along the edge we're going to wipe our brush we're just going to bring those two together okay you need to grab a little more of the original steel they can and there we go so now we get a nice little transition there we're going to grab some of that black a little more you see how i'm always just working just working fast working wet on wet not worried about it if something gets messed up who cares we can fix it it's meant to be a dirty rusty sword so it's fine okay so we reinforce a little bit of that black we'll rinse the brush real quick and we're going to grab some of that brown we're just going to start kind of stippling that in there focusing more toward the back it's still quite dark there's still some of the metal paint in my brush that's what i want we're going to grab some of the bigger brown the more brown as it were again just stipple it around we're going to take some of that brown and grab some of that orange get ourselves a nice orangey brown color just kind of again work it pretty randomly around always go back and forth then we're going to take a little bit of that orange itself pure but still on a dirty brush so it'll naturally mix in and we're just going to slap a dab that top edge a little bit rust will tend to gather around edges where there's maximum surface area and exposure and it will tend to not form where there are reasons why the blade would be continually scraped clean i.e. along the edge okay then final step we're going to take a nice sharp brush we're just going to grab some of that silver wake off the excess and then we'll just kind of create some little bit of little bitty lines here where that's been scraped from this over go into battle the key with these is you really need something like metal color where it's so liquidy that you can do these ultra sharp thin lines because if these lines are thick they just look immediately fake so with regular metal like with some other companies metals it's going to be very hard to achieve this same thing i'll warn you right now like this is one of the reasons i like these paints because they're basically like they have the consistency of an ink so they can actually do sharp thin lines okay then we're going to take that silver on that same brush and we're just going to give ourselves a nice little edge nice little edge there and there we go boom we got ourselves a nice rusty crusty but still interesting sword just that easy okay so we'll do the same thing around their gut plates and around his you know his iron fist over here same principle but i'm working all the metals at once now for some of these smaller areas like these little bracelet things here or stuff like that i'm not going to go to all that trouble i'll be a lot simpler with the application there what we're looking to do is really focus it on the areas of large attention so things like the blade the plate these fists you know stuff like that if it's a smaller thing we can be a little quicker with it we don't need to maybe go through all the steps so this is the long part gotta settle in folks we gotta we got a lot to do here so there you go that's uh that's working the metals and how we work them fast and rough to get a good looking effect quick and that's all the steel i'll come back when i'm done and we'll do the gold okay all right all right we're in the final stretches now so you can see all of the metallics are done we've got some rusty crusty goodness on our swords and things like that and that leaves gold gold always believe in your soul so um for gold we're gonna do much the same here here this right here is a three to two to one mix of leo metal colors three copper every two drops of gold every one drop of pale burnt metal that gives me something that looks like that this is just pure pale burnt metal to highlight this is a little mahogany and black so more red brown color more reddish color and cold black both from pro acryl and then over here we've got some vallejo game effects vertigree so we can do a little bit of that so uh here we've got this big rune maw statue i there's not a lot of gold in this army like ogres aren't exactly stacked in ostentatious wealth here well my slaughter master will be because he's actually a pay master instead of the slaughter master i'm uh i'm actually taking the idea that the reason that these ogres have figured out that money is worthwhile because they can use it to buy food as well and so they've started hoarding money in addition to eating the people that they get it from i mean of course like let's not be silly here they're still ogres but the point is they figured out if they don't eat the money they can both they can then actually use that to purchase even more food so they get to eat the people and then take the people stuff and use that to buy more food it's really a win-win so the my instead of a slaughter master i have a pay master who has a big pile of gold behind him uh you'll see it when we get to the basing it's fun at any rate so you can see what i'm doing here is just laying down a nice nice layer of this stuff we're not worrying about it too much notice i'm not being real super careful we're keeping the brush moving we're just flattening it out as always the coverage on vallejo metal color the thinness the ease the smoothness of the flow is always why we why we use it because it's so simple and easy and clean and nice and amazing and the best yeah all right so there we got a nice base coat down of our kind of coppery gold color which is what i want all right so let's get my base coat brush cleaned there then what's the same here what we're going to do is we're going to wet our previous brush we're going to get just a little bit of that gold in there then i'm going to mix in just some of that mahogany get a nice little mix of that paint plus the the gold and then we're going to come in here and we're going to just force some of that down into these recesses now you might say well vince why don't you just wash it like i don't wash it because i i don't i don't want to no because i don't want to ruin the shine and putting it non putting non metallic medium that much over everything is just going to ruin it like you're just going to literally remove the metal effect washing metals is generally like your quickest road to to making them not look like metal so there you go not whereas instead i can do this and just easily force some of those shadows in and look how much more control of the light i have all of a sudden right so then i you what i did there while i was talking was just mixing a little black we'll do it here on the back because that'll be a nice easy way to show it off so let's uh let's go ahead and rinse the brush and let's do the same thing so let's take some of that gold just a little bit we wick off some of the excess on a paper towel just off screen grab plenty of that mahogany now i have gold and then mahogany in my in my uh brush so then let's just start using the side of that brush and then we can use that to just we can get a little bit more of that golden there we'll push that up then let's grab a little bit of that black just a little you might say venture crazy you didn't wait for it to dry yeah yeah this is a speed paint homie we ain't got time for that ain't nobody got time for that we're here to do work we're not here to sit around and watch paint dry we're here to get an army painted okay it's now got that nice transition there grab a little bit of that silver or sorry it's technically pale burnt metal but it's effectively a highly silver color bam look at that beautiful light reflection in just a few seconds let's take that silver on the other side let's go ahead and there we go now we've got a nice bright shiny reflective thing copper thing now if you want to go a little farther we want to add a little bit of a visual interest let's take a little bit of that vertigris which much more of that came out of my uh bottle this is the vallejo vertigris by the way and just happen to like it a little better than the nilic oxide we can take a little bit of that and we just kind of force it around and we get that nice light green touch some of the areas there and boom easy so one of the tricks with with painting like this just as a i want to sort of at this point the video take a quick moment to just talk about you know things that i know were wrong when i'm working around on this i'll see stuff like this the back of his thing like when i painted the front chainmail and rusted it i'll see stuff where like the back right here isn't painted you know what i'd do with that nothing just nothing because it's again we're speed painting like people are going to see your army like this on the table they're not seeing that stuff if you're if you're trying to win a painting competition or something like that great you shouldn't be speed painting you should be taking your time right this is about i've got uh you know a week or two and i need i want to get our nice good-looking army on the table okay i can help you out there right so we just want to make sure we set our expectations accordingly the other thing i'll say is when it comes to little details like this like this little cross guard here on his sword right i'm not going to kill myself with all that same highlighting and shading you just saw me do right maybe i'll take a little bit of that black maybe we'll work a little bit of that in just a tiny amount maybe i'll grab a little bit of that pale burnt metal and maybe we'll just highlight that and the rivet on that side and we'll call it a day and bottom boom right like we don't need to go nuts i'm not going to try to edge highlight all that and everything not on a project like this so set your expectations accordingly focus on the stuff people are actually going to notice one of the things that i see with people waste a lot of time with when they paint their figs in general whether it's speed painting or not as they're like they talk about trying to make every detail perfect and my question always is oh were you were you trying to submit this to golden demon no then why are you wasting your life because most people will never notice that kind of stuff you're doing and if you say yeah but i'll know okay no you won't like because you will forget do you think i know the imperfections of my armies that i painted you know uh that i painted like three years ago or a year ago or two weeks ago no you know when you're painting that fig at that moment so my advice is just you know relax keep it relatively simple and uh and keep going so that's what i'm gonna do i'm gonna keep rocking on uh and keep painting this guy are these guys this guy's done now he's totally done yay i'd like these rivets on the back sorry these rivets on the back i'll probably hit those with steel and call it a day so there you go all right time to do all the gold and then we're done with that all these ogres uh are almost done we have one more final step we always do in speed painting so back in a moment i'll tell you about what our final step always should be all right so everything is now been hit with the gold you can see we've got one of our standard bears here and uh basically we're done but wait there's one more step so whenever you're speed painting like this and you're just flying through things like you've seen me do so there's generally one final thing you want to do and that final thing you want to do is you want to take a look around the model and you just want to make sure that you've gotten kind of everything and that there's no obvious details or something you missed because when we're working fast like this it can be easy for you to sort of miss something so like right there on the back of that banner those little nuts and bolts you know whatever they are aren't uh metal so i have all my paint still out and ready so we take a little bit of a darker steel color we just come in and we go there we go hit those up bang bang now they're metal they're good to go right and so you just make a little final check over of the miniature before it's done and then when it's done you set it to the side so like we look here on this guy my lead belcher right one of them and i look around him and i see like okay these the sticks of what's in the uh the gun here aren't uh colored wood okay so let's grab a little bit of brown and we'll just hit that real quick again we don't have to worry about it being too amazing it's a little minor detail realistically no one would probably notice right and then we've got those covered and if we want to do a little bit extra sure because why not we can mix some of that brown in with a little bit of white and we can just very quickly a little bit ivory we can give that just a little little quick touch of a highlight just so it's got something going on and there we go and we look around him look around him really look at all the details make sure we've got everything covered how we want in fact i'm looking at the screen right now where this is recording instead of looking at the miniature because oftentimes that like we see things differently when we look at a screen so you can do things like take a picture of your army and look at it in the picture and see how it looks because it will look different you will notice things on a picture you don't notice in reality because it just changes the your the nature of your perception so real quick i'm going to give everybody a look over and it's uh and we're doing really good by the way uh so we're right on time uh so i'm pretty happy with where we're at in this process here's where we're at time wise 17 hours 14 minutes to get to this point so i'm feeling pretty good so now we're in the cleanup stage then we got a base stick them to the base and you're going to see how i do the basing when we're doing an entire army's bases all at once so back in a moment with a whole bunch of bases all right so here we are uh we're currently at 18 hours and 41 minutes so we got a little more than five hours remaining and we gotta get all the bases done so all the bases are here there's a lot more but this is just some of them in the shot obviously they've been zenith old and then i just shot him with a little thin coat of contrast brown just to get some color on now how are we going to paint these bases fast and still make them look good well the answer is we're going to rely on our old friends dry brushing and washing i'm not normally a fan of these techniques uh to just be randomly applied but they're very useful techniques is when you apply them in the right place and something like a base with a lot of little rough texture and stuff like that this is the right place so here on my palette i have a mix of i have some skeleton bone i have some beige red from vellejo and i have some medium flesh tone notice how this is very pink this one's very caucasian flesh and this is very yellow white and you can see i've just got three big globs of that over here uh and the idea is we want to mix those up a little bit so tip number one is get the right dry brush if you're using something like this this is junk get rid of this this is this is this is rookie dry brush we don't need this let's get rid of that we need something bigger something like this so this is a makeup brush you don't notice how big it is this is the kind of thing you want to be using right so we're gonna take a little base here we've got a paper towel over on the side i assume you all know how we dry brush so let's grab some of that flesh tone to start we're gonna wipe it off a lot on our paper towel grab a base and then we just start working it maybe we grab a little bit of that white not cleaning the dry brush in between we'll let these colors get up in each other's business and maybe we give a little bit of that focus especially on like those rocks okay cool sounds good looks like we're in the right place all right then what we're gonna do is we're gonna take something like oh i don't know let's say some magrax earthshade but you can use anything use any wash in fact as you'll see in a moment i would encourage you to mix it up so we grab a big wash brush in fact we can do better than that now we got a big wash brush there we go don't hold back bigger brushes equal faster painting especially when you're doing stuff like this and you don't need to be careful stop using little baby brushes especially for tasks like this okay all right so now we got some wash in there starting to get those colors darkened picking out those recesses you know often when you're doing a wash on a model you're like oh you got to you know avoid pooling and stuff like that when i'm working here on a base like this no i'm fine with pooling i'm okay with it all right what else we're gonna do well what do we have right here about our old friend the pigment palette so let's just set that down on the shot and you'll see what i'm gonna do this is still obviously wet there's washes all over it i don't care i'm gonna grab some of my pigment we're just gonna drop some of this around in some places let's grab a little bit of that dark and then we'll take our other crappy brush and some of that wash and we're just gonna kind of smush it around all right and that's gonna be really strong right now like that's real red and that's okay then we let that one dry and we move on to the next one and what's gonna happen is i'm gonna do all these and then i'm gonna come back and dry brush it again over the top and wash it again i'm gonna throw some green pigment on there or something like that right uh if there's little rocks or details that's when i might get out a little bit of actual paint you know maybe with these little dry areas here maybe we grab a little bit of that bone white we were dry brushing with and we actually like come in and specifically just kind of pick out a few of those edges and make it a little more right so it looks a little more cracked maybe we do the same up here with this rock so you can just pick out a few little details and suddenly you've made a big difference so this is just going to be a whole lot of washing and dry brushing so the clock's running i'm going to keep working to start knocking out these bases just like you see here thrown around colors the key is i see a lot of people who just have like some brown and that's it don't let your bases just be brown through either your washes or your pigments you know if i didn't have pigment you bet your bottom dollar i'm going to wash with some mothonian camo shade at some point because i want to work some green tones in there i'll wash it with some rikelin flesh shade at some point because i want to get some of that more red in there you know you can get out like some of your contrast paints and go a little nuts whatever you want to do the point is is that just have fun play around use some different colors and and make those bases more interesting so i will come back and we'll finish up with just some final steps and then we'll take a look at the army and hopefully we'll do that all in the next couple hours and we're done so there we go and the clock says 22 hours 44 seconds and point to two whatever things 22 hours 44 seconds we got it this obviously isn't the whole force this is as much as i could fit in camera there's more ogres over to the side there will be shots of everything here at the end of the video so there you go that's uh how we speed paint a whole army in 24 hours i thought at the end i'd kind of talk about this project and why it was fun and and sort of summarize the tips so if you just skip to the end or anything hey how you doing welcome glad to have you but at any rate the idea that you can't speed paint something to a relatively high quality i just don't find to be true to perfection sure of course not there's there's these guys have so many errors and flaws and things that i didn't do or wish i had done better on them but at the same time i think they're perfectly serviceable like when i look at these guys when i take homeboy here my standard bear like he's got a nice little banner you know he's got some good weathering he's got a nice gut plate we've got good metallics and you know visual interest he's got a cool tat on his back like that's cool stuff and i'll be happy to like put him on the table for a fun game uh i think that it shows what you can accomplish when you use the right tools have the right plan and go in with the right techniques so the summaries that i would give is number one i mean you know an airbrush is obviously a powerful tool for this but something like contrast paints or thin glazes with a brush over a zenithal could achieve a lot of the same stuff if you saw me do the paint and army in a week previous video i did that's what i did there very little of that was airbrushed so i mean obviously the airbrush can speed it up but you know there you go number two is pick your project well um i could do this because this is ogres even even a note like this is only like i said part of the army but it's just not that many figures even so um you know it's less than 50 figures all in uh so set your expectations accordingly something like ogres or iron jaws or you know whatever an elite force a skirmish force if you're playing a skirmish game you know it's not a os something like that is just going to respond to this kind of technique a lot better because you've got uh bigger space to work with you know stormcast would be another great way to do this with stormcast would be fantastic for this kind of thing um so just think about you know sort of the figures you're going to choose if you want to do this but even if you can't do this sort of thing in a day the reality is is that this kind of speed painting these tricks of like how i built up the primary areas with the airbrush very quickly then i went through and did the details and when i did the details i'm working with a big brush right and i'm working broadly with a lot of quick wet blends uh and then i'm more or less stopping doing things like that wet blending is going to be where you want to be practice that technique it is the speed muscle builder right and can really help you get a lot farther a lot faster um no win to say something doesn't matter so in any kind of figures like this there's little things that are kind of hidden away and in places and you know i'm sure if i like flipped these guys up underneath you can see how dark he is still on the bottom right because i didn't bother to really put a lot of shading down there but this is how you look at the fig normally and there it looks like he's got real nice shadows like that's great does that look too heavy yeah of course but who cares right that's not how you look at a figure for an army so this kind of stuff is what i mean figure out what you can ignore figure out your wet blending and your tactics that's going to to help you achieve uh you know areas that you can't do with your airbrush or your contrast quickly uh work with a bigger brush work with a limited palette um i did not use a lot of colors for these guys i think they're still visually interesting but i kept it simple and use that to work quickly um you know work off your wet palette because there your paints are going to remain active and you can keep going now most people probably don't have 24 hours in a single weekend to paint a whole army like i did here and i understand that but most people could find 24 hours in a month to paint an army right uh if you can find an hour most days of the month you could do this same thing that i just did so you know there's my point is that you can do this there's no special magical skill i have other than just reps and practice and that's not magic that's just time you can do it too and whatever your outcome is any painted model is better than an unpainted model period every time never let the perfect be the enemy of the good get your models your units your army painted there will always be another figure there will always be another army there will always be another chance to improve uh and i'm a big believer in deliberate practice and slowing down and taking your time and learning things that has value too please do not mistake that i'm saying you should speed paint everything because you shouldn't but you should be able to have confidence that you can accomplish this kind of stuff and you can get your armies painted if that's what you want uh so there you go uh that being said there'll be some shots here at the end of the army i'll put them up on the table and take some photos and things like that put them in the lightbox i'll this will be a deluge of pictures probably but at any rate i very much appreciate you coming on this journey with me i'm happy we made it with two hours to spare uh what a fun project and hey now i've got another army to put on the table so that's super cool but uh thank you all for watching give it a like if you liked this subscribe for additional hobby cheating in the future but as always i very much appreciate you watching this one and we'll see you next time