 Hello, everybody, and welcome to another hobby-cheating video. Today we continue our Exploring Color series, and today we're going to talk about Chartreuse. No, no really, we're going to. Alright, let's do it. Let's go. The strict techno-mancer that is Vinci V. Let us get to the technique and learn it Vinci V style. Chartreuse, or Yellow Green, or Escorpina Green, it has lots of different names depending on the paint brand. It's actually a really interesting paint. It has some very unique properties that we can put to use to do some very fun things on our miniatures. So we're going to head over to the painting desk and explore this, what the color is, and how we can best work with it. Chartreuse, Yellow Green, Escorpina Green, Pistachio, whatever you want to call it, it exists in a spectrum. Chartreuse itself is of course a French word. It originates after the liquor. I was named in 1764 basically, so the mid 18th century. About 50 years years later, Chartreuse Yellow also got sort of named in the same way. It occupies a fairly decent spectrum and the world of it is how much yellow is integrated in the green. So here you can see the four different paints that I had. We're going to talk about highlighting it and shading it. Now Chartreuse itself is used a lot actually in the real world. That is to say it exists in nature, things like algae often have this color. It's used on a lot of emergency vehicles and that's because what you'll notice is just how eye-catching and intense and bright it is. One of the fun things about Chartreuse is that because it has this high yellow content and it makes the green often very cold, is that it can stand in as both a cold green or as a very eye drawing focal point of a piece. Now when you push the highlights as you see here, you can create both a warm and cold version of the highlights. So mixing it with just the yellow, the sort of medium white or this pastel blue gives me three very different temperatures, all of which might have value as your highlights depending on the environmental lighting you're working with. Now when you shade it, our initial sort of instinct if you've watched previous versions of exploring colors would be to go grab something like purple or a red violet which is the opposite complementary color to Chartreuse to a yellow-green or to grab something like a deep red to play against the green that's in there to work it down and make it a more shadowed color. It can work but the problem is you basically end up with kind of a muddy, ugly brown. Chartreuse, I actually prefer to shade either with something like black, just straight up black, to get a deeper, more basically shadowed color of it. Most paints have most black paints in the miniature lines having a little bit of blue in them, it actually works really well. We can pull that out even farther with something like a deep sea blue or an anthracite blue or something like that wherein we get a really, really nice, rich, cold shadow color. So it's all about finding sort of the thing that's going to work with you but I think it's time we take this over to a miniature now that we've seen how it all works. Here we have an old empire wizard, he's missing hands and stuff but he'll serve fine for this with his big cloak. I start by just laying down a lot of that yellow-green. Now this color is not as transparent as yellow, the mixture of the green in there plus usually a little bit of white pigment will protect that and make it so there's a little higher opacity. However, it is still fairly transparent and as a point of fact here I'm working pretty thin just to show you kind of how this can lay over a standard zenithal. Now the advantage to that is that it will blend quite easily. As you can see here with just some quick web blending, I'm able to pretty efficiently and effectively hide those lines in between these two colors using the transparency of the paint. So this is one where it's really often difficult to get your base coat but it's much easier to get your blends. Now because I used a cold shadow, I go into the warm highlight here so this is the cold yellow influenced version which is ironically a warm color in this case. And we have the traditional sort of warm shadow or sorry warm highlight cold shadow. Now I tend to prefer this particular mix for inorganic materials. I think if you're using chartreuse, if you're doing something like armor on a Nergal Marine or something, this is kind of the color spectrum that looks good to my eye. Pretty warm highlights, fairly cold shadows feeling like quite natural explorations. Now if we play with the red influenced, so this is the one with whole red, on something that's inorganic like cloth or you know metal or something like that, in other words not a living being, it feels a little strange. Certainly we can still do it, we can use the same thing. So let's here we're going to make warm shadows and you notice how I'm constantly using the transparent nature of the paint to help smooth out, soften those shadows and build up the blends, just working very quickly over the piece. So even though that went on initially quite red, we can we can basically soften that out nice and nice and quickly and just get the impression of that soft red. With those warm highlight or sorry warm shadows, we're going to go ahead and do cold highlights. So here I'm using the pastel blue influenced version. This can certainly work, but it will make your figure feel like it's standing in a much colder environment and it tends to be a little strange to our eyes. Just because normally we exist in pretty warm lights, the objects we see in nature that would be this, you see an emergency vehicle or something, it's usually going to be in a warm light. So it will feel a bit strange to have these, you know, pretty warm red shadows and these cold blue lights when you're sitting the miniature somewhere in like a normal room. However, there is a type of miniature where that exact color combination can work really well. And that is our old friends, the greenskins. So here we have a big orc megaboss. And the fun thing about working in chartreuses since they exist in this range that you see here from escorpina green up to pistachio, the original four actual chartreuse colors I had on the palette. We can just literally use those as a map for our highlights. Instead of trying to move into the warmer cold necessarily, we can just climb straight up the progression of chartreuse. So each layer you see here is me taking one step up from escorpina green into the yellow green then into the light livery green and then into pistachio, each time covering less and less space. And again, because all of these paints have a fairly high transparency, once you've established a good base coat, it's actually quite easy to use traditional layering and still get some very smooth blends, a little bit of wet blending here, there may be a glaze or two and you've got something that looks like an extremely smooth but very bright progression. And because you're moving into the integration of more yellow, the highlights become very, very eye catching. They feel very natural. They're in a more interesting light than just sort of blank base white. So if you're playing around with green skins, this is a fun progression to do. It will give you more, for lack of a better word, lime colored orcs, I suppose, but you can always simply glaze over it with a darker color or make deeper, more neutral green shadows or mid tones, whatever you want. You can experiment with these as the highlights in your normal work flesh if you don't want to go all in on the super bright radioactive orcs. Now at the same time, speaking of radioactive, a lot of these colors work great for something like radioactive goo or glowing radioactive rocks or whatever. Now on living beings, on organic things, that's where all of a sudden the red infused shadows really come into their own. So here again, we're using the whole red infused chartreuse. And I'm putting that around things like his lips, his nose and the cracks of his head, shadows under the muscle structures on his arm down under his armor. There it can feel very natural. I did the same thing around his knuckles, his elbow, basically anywhere where quote unquote blood might be closer to the surface. And you can just basically build that up over a few layers as you see me doing here. And now those red shadows don't feel strange or out of place. On something like an orc's skin tone, it helps to warm up and act against those very cold feeling lime greenish highlights while also making the thing feel very alive and natural. And you can really kind of be pretty, pretty fluid with it because in the end you can always go back and just grab a little bit of your high highlight color, put it over those small areas and you're all set with a bright orc. So there you go. Whether you're painting Nurgle or Greenskins or any other fun project that you think this very unique color would be of value on, I hope this gave you some ideas for how to use it and integrate it into those projects. As always, if you liked this, give it a like, subscribe for additional hobby cheating in the future. We have new videos here every Saturday. If you've got any questions I didn't answer, drop those down in the comments. Don't forget we've got a Patreon focused on review and feedback, helping you take your next step on your hobby journey and you can join an awesome discord full of really enthusiastic, positive hobbyists. But as always, I thank you so much for watching this one and we'll see you next time.