 Hello everybody and welcome to another hobby cheating video and today we're going to talk about stippling What is stippling? Why it's painting with teeny tiny little dots stippling is great It's an easy way to achieve smooth blends while at the same time Also achieving things that have particular feels like certain fabric so it works great on stuff like cloaks Which is what we're going to do today Now you're already familiar with stippling even if you've never painted with it Maybe you know the famous pointillism piece that shows up in Ferris Bueller's But regardless of that you're watching this right now on some kind of digital screen and that screen is composed of tiny pixels Which are just little points of light, but they're so close together that they're tricking your brain into believing It's one smooth fluid image We're going to use that same trick to achieve our blends and to make our model feel like it's wearing a particular type of fabric So come along on this journey into stippling with me It has the bright side of being a lot easier than maybe things like traditional glazing to achieve smooth blends And the upside is it's completely mind-numbingly boring. So this will be fun. Let's get into it The strict techno mancer that is Vinci V. Let us get to the technique and learn it Vinci V style Have you ever read the book Zen and the art of motorcycle maintenance? I ask because it's going to be relevant during this demonstration a Lot of this is going to be me doing the same thing over and over and over again. I warn you now The colors I use today are pretty straightforward It's Camara violet plus some sunny skin tone and that's basically it over the black primer I just gave a quick base coat of the violet thinned just to turn everything sort of a purple tint Now I'm using a straight violet and just doing some very rough stippling my brush is still big and I'm just going very wide with this I am avoiding putting the texture into the deepest shadows, but everywhere But the deepest shadows are going to get some dots. I don't care that this is rough I don't care that it's messy at this point. I'm just trying to set up the texture so that it looks You will barely be able to see it But it will be there and subconsciously you'll see that it looks like the texture slowly fades into shadow to where it's gone Over the course of the next few cuts What you're going to see is just the integration of more and more sunny skin tone Now as I go and continue to put these stippled dots On to the miniature Two things are happening First like any traditional layer. I'm covering less and less area each time Now you can start to see it actually snap into focus where it's starting to make a difference The second thing I'm doing is I'm actually going to a smaller and smaller and sharper and sharper brush. I Will warn you you need an extremely Extremely sharp brush for this technique. You want to have something with a really really fine tip and Honestly, the smaller the better depending on how How small you're trying to get your dots? As far as paint consistency goes you're talking about a normal layer Consistency so in other words the paint thinned with water Nothing special basically the way you would always thin your paints When you're painting with them to do a standard layer You do want to make sure you're wicking off your paint every single time You can see some of the mixes. I'm making in the background there as I'm getting progressively lighter Touching your brush to a paper towel, which is what I mean by wicking or kitchen roll or whatever you call it where you live Is a really important step in using stippling before it touches the miniature Because you always need to be making sure you're just Depositing the amount of paint that is equal basically to the tip of your brush You can see now that we've moved to a very small sharp brush. We've gone down another size I think we're down to a two-ot here and I'm really covering less and less and less each time as more and more of that sunny skin tone gets Integrated into the overall mix Now because my blends They're they're still gonna look a little rough what I mean by that and that's intentional When we're doing something like fabric with stippling we want the stippling to be visible However, you'll notice I'm using what I call like a typewriter pattern there See how I'm moving back and forth back and forth on these higher highlights Because where the light hits is where the texture is going to be the most visible So I want the dots to be the tightest at the points of highlight If I was trying to do the whole model this way to completely replace all blending with stippling I could do it. I would just need to be using a much smaller brush and doing a lot more little dots. I Continue to build up here all the way basically to pure sunny skin tone though. There's still purple in here at this point Now why am I using sunny skin tone? Why that instead of gray or white or something else? Well as I've talked about before white is much too hard of a jump It will make it very visible as you integrate the white Sunny skin tone having a bit of yellow in it and being a complementary color to purple Actually helps increase your contrast in two ways So not only are you using light to dark contrast our standard value contrast, but you're also sneaking in contrast of hue The sunny skin tone also is more transparent So the blends will be smoother and it just feels like a more natural sort of silk Which is what I'm ultimately trying to emulate Now I'm using stippling here to simulate fabric and I'm leaving a little bit of space in between the dots So you can still see some of that color underneath you can feel the texture But if you make your brush smaller and you make the dots closer together There's no reason you can't achieve a completely smooth blend unless at least unless you zoom all the way in On the screen right now is a piece from Kareel Kanaev He's an amazing artist one of the best in the world and he uses a lot of stippling these tiny tiny dots Which you can see if you zoom way in Up now is a piece from Dave Caldwell. Dave is another amazing amazing artist out of Australia These both of these guys are absolutely incredible and in both cases They often not always use these kinds of tiny dots to achieve these hyper smooth blends, especially on skin So just because I'm showing you the more simpler form here on the cloak Doesn't mean you couldn't use this in all of your blending and on different materials All right, so we built our highlight all the way up, but our blends weren't exactly perfect However, I still have all my pools of paint from what I previously did So what I'm going to do now is go back and just Recreate some of the shapes sometimes I'm making some new half blends between the pools of paint that I already have Sometimes I'm using my existing pools of paint But what I'm doing is working along the barriers between the two lines and just adding more dots more dots more dots There is no reason for you to be in the welts right now more dots and You notice I do this on all of the sort of visible edges So I started there kind of in the middle between some of those high highlights Now I'm working the outer edge and every time I just take some of those Some mix of the color maybe a step in between where I was and I put it on there Now we're going to go into ultra speed mode I wanted to just show you kind of how much time this takes I did promise you that this was going to be easier because it is just literally tapping your brush against the miniature Several thousand times, but I didn't promise you it was going to be quicker. So you can't call me a liar on that This is definitely a time-consuming process But it is very simple and All I'm doing is just grabbing lots into a different blends and working them all in to smooth it out Now comes the secret step glazing I'm working with a very thin glaze of my pure violet here and I'm just gonna glaze over at first The edges of the stipple not going all the way into the middle But as I repeat the glazes, I'll go deeper and deeper but with thinner glazes and Still I'm always sweeping my brush toward the shadows. So remember golden rule of glazing We always sweep toward the shadows toward where we want the most paint deposit So you see my brush moves up unless I'm working directly in one of those folds and I started From basically a base color and then built my way all the way up with dots But you don't have to do that the other thing you can do is create some bands of your blends Just do traditional layers, but don't be careful about blending be Messy have hard lines between everything and then what we're going to do is we're going to use the dots To trick the eye into believing there's no line there at all Let's take a look at that. I Apologize in advance as my camera really wanted to lock onto the dragon's face, but I did want to show you this It's also really hard to see in white. So this is a double loss, but it's important When you're using this technique one of the ways to make it faster is you just create bands of color And you can see how I'm working down from a bright white ivory to a mid-grey. I don't worry about blending them together I just create the color bands Once that's done. I can then go in with the same technique, but I'm always working a step above So on the bright deck tan color I'm putting pure white as I work down into the deck tan gray mix I integrate more of the previous color in so when I'm working over pure deck tan I'm using white when I'm working over deck tan plus gray I'm using pure deck tan when I'm working over the dark or the mid-tone gray. I'm using deck tan plus gray Effectively your stipple colors are one step higher than whatever layer you're working on It actually makes this process a lot faster and can be a really super great way to achieve awesome looking blends fast So I did end up giving you a way to go fast at the end So if you stuck with it and you got to that little secret tip at the end congratulations I'm very proud of you. Thank you very much for watching all of this That's super fun to watch me make dots for 12 minutes If you liked this give it a like subscribe for additional hobby cheating in the future If you've got any questions about this technique drop them down in the comments I always answer every comment, but as always I thank you very much for watching this one and we'll see you next time