 So just when I think I'm out they pull me back in that's right It's time for another army painting video and today We're gonna make it a little more challenging because we're gonna do this whole iron jaws army in yellow Let's get after it Let's strict techno man sir that is Vincy V. Let us get to the technique and learn it Vincy V style This is my co-host Tyler on Warhammer weekly. He's a great dude and a great human being and a good friend a Long time ago. I told him he should be playing iron jaws instead of the silly armies. He is playing He finally took my advice and really loved the army, but he doesn't know it And I was recently given a chance to paint a whole iron jaws army for him and how could I say no? So Tyler this army's for you. I really hope you enjoy it, and I hope you get many big was out of it all right, so we're gonna start off with a primer coat of rocked brawn, which is just a red primer if you don't have this Just coat them in black or whatever you've got and then just spray some like whole red or some kind of deep red Over it. It really doesn't need to be anything special if you don't have an airbrush You can just do this with a rattle can no big deal at all Now why am I using reds? Well red is gonna be a great setup for everything We're doing later as I said this army is going to be in yellow and this red color is effectively going to act as our Shadow colors notice. I'm really trying to make sure I get it in all the low spots I want everything nice and covered, but especially from below I'm also gonna go ahead and shoot the base because this is gonna lay down a sort of Martian earth base Which is what I want for later now over the top of that my first zenith a layer is light rust and The light rust is just there to add some softer tones to it It really has this like creamy milk chocolate sort of tone and it acts as a great base for our next color Which is gonna build again for the yellow The battle with yellow is all in the under shading If you don't have an airbrush just jump straight to this step Which this is bone white or an ivory color So if I didn't have an airbrush, I would do rattle can of some kind of red like that There are many types of reds you can buy from the hardware store or anywhere Then I would grab an off white like a warm off white and I would do the rattle can only from above With the airbrush, however, it makes things a bit easier notice I'm not paying any attention to the weapon because those are gonna be metallic later So they don't really matter but here I am focusing just from above and I'm doing this in multiple thin passes I think a lot of times with our airbrush We feel like oh, we've got to do it all at once because I can You don't we can do multiple thin passes and build up that color Now here we have a mix of yellow ochre and orange ink from FW Dalla Rowney The orange the drop of orange is to warm it up And you notice I'm just hitting all that armor and look how bright and beautiful and intense That is intensity and ten cities that yellow right there Now ironically the yellow plus orange mix is actually Has a decent opacity to it when applied through the airbrush. You'll see it here on that red I don't want the red to be quite that strong So I'm just kind of very carefully hitting it but leaving that soft transition but I'm just rocking that airbrush trigger slightly and The idea here is I can go ahead turn them all yellow and all so much of our base work is done Especially on things like these are boys We don't want to stop just there So I've got a little dab of heavy-body acrylic white if you don't have the Heavy-body acrylic titanium white any white will work, but we're gonna I'm gonna show you how to cheat at edge highlighting Notice how much of this I'm taking off the brush Basically almost all of it. Look at how little shows up on my hand But then we're gonna hit the model and I turn to the the brightness of my my lighting set up way down here Because I really wanted you to be able to see those white edges when they stood out Notice how when I run the brush over the edges It's literally just catching the edges because I have to drag it over a line That actually catches the paint. This is what we call edge highlighting for free None of it stays on the armor. None of this scratches over it just hits the edges And I'm making sure I just very carefully hit everyone light strokes lots and lots and lots of passes notice How many passes I'm doing on this right? I don't need to hit it all at once But this is your secret to edge highlighting if you work a soft makeup brush and work all the paint out Easy now because I've used inks. It's quite this this whole paint job is quite sad and we need to matt it out So we're gonna use a mix of one to three Satin to ultra matte varnish satin for the thickness to protect it ultra matte for the ultra matte This also is very grippy as a varnish So it's gonna make future layers We do grip really well and will allow us to have sort of save points where if we make a mistake And paint goes where we don't want it we can rub it off So everybody gets a nice coat of varnish Okay All right one more quick step We're gonna take a little bit of yellow white and just at the highest high points I'm gonna hit those just real quick and fast just boop boop little tiny boops Just boop like you're touching the little dog's nose Just to make sure those get bright Now we got to do it to everybody else So this is my fun time lapse footage start by turning everybody red then light brown then white You can see how that I am in fact painting a whole army not one figure. I felt it was important You might think I'm cheating otherwise. I mean the series is called hobby cheating. So you don't know what I'm up to But uh as with all this stuff The key is to take the steps That you know are going to be the largest sort of surface area And break them down Into things that are simple and give you the most success. That's why I paid so much attention here to under shading Because I wanted to make sure that when that yellow went on because the yellow is the hard part That it was going to be bright clean and beautiful with one quick easy coat No building up 50 layers. No nothing like that We just get that yellow on there and that fig is ready to go with the thing that's going to stand out the most So take the time to set yourself up for success. That's the key Okay Uh, we gotta turn everybody yellow and you can see because of that shade right because of the the gradation That we used originally Look at how wonderful those guys look out of them out of the rip Not only do you have this bright yellow, but it fades into this really natural warm Deep orange yellow where the sort of red is showing through It's fantastic And all of that's basically free. This took almost no time. I mean getting all of these figs done This was seriously a couple of hours at most for for this pay stuff and for things like the art boys So much of them is already done So much so that this is where I get a little cocky and I'm like, well, we're gonna do this army for a friend We've got to put some free hand on here, right? So I decided to do Dags on this one. I think is what works would call these but little triangles Uh, so we're just going to put a bunch of little triangles on let's talk about the key to free hand in an army like this Don't make it complicated stick to a simple pattern And make it something where it's going to break up the Sort of flat surface you have because so much of these guys are yellow It's actually can get a little boring even once I pick out all the other elements It'll be a bit overwhelming by having a little bit of simple free hand in there. It breaks up that space Now the mix I'm using for the free hand is quite simple It's just some black paint with a drop of black ink And then a tiny drop of flow improver if you don't have the flow improver the black ink, you know Then use some extra water with your paint to get it thin down which probably can do a couple passes The reason I like a little ink is because the ink makes the paint flow better while also increasing the pigment And the little drop of flow improver really makes these lines sharp and easy You see how I'm basically doing one pass and getting great coverage This is ak interactive rubber black by the way, which I really like it's kind of a slightly softer gray black. It's not hard Uh, true black. I guess I don't know it works. Well here And I just I never constrain myself with these kind of patterns as to exactly where they need to be Over the course of the army one of the great parts about doing works in general is that they can kind of be wherever So some have it on just their hands or their hands their shoulders or on leg plates or kind of wherever I felt like it Whatever I felt the model needed that kind of visual interest, right? Now comes a really interesting step Mixed into these guys are some these little tiny pockets Of other elements like here They have these little bits of chain and armor and then it goes up to flesh and things like that And a lot of that got hit very significantly by the yellow or by the white And so the separation line between those things isn't quite as strong as I would like So just very quickly. I'm taking the same black black mix that I just did the freehand with and on critical areas Where there's a hard separation of elements Painting in a line that's going to help us achieve that light dark light Okay, with that down it's time to paint the rest of the model And we're going to do get out our old friend contrast and keep this simple So some wildwood is our friend here to do all the leather stuff. I like wildwood. It's a nice deep brown black leather. It's great for the wood for Uh, you know, basically anything I need it to be where I need to sort of darken it And I'm not going to honestly put much other effort into it. I'm just going to rely on whatever zenithal I already did to keep it visually interesting Uh, as usual, I can't go a whole video and stay on camera. Let's not be crazy Um, but because so like that the the spill over zenithal is there the wildwood is going to have a natural gradation One coat done call it a day Um, I did black out the rest of their elements that are eventually going to be metallic as well Now because I'm using a bright color and their skin is going to be green We have to make the other elements neutral. So for their pants. I went for this nice gray color. Um, this is a light rubber Uh, or just tire rubber, I guess from a or sorry. I'm from secret weapon and then I just mixed A little bit of deck tan into it And created a quick highlight Now I wanted to kind of talk through the other models in the army because some of the other models have Interesting shapes and challenges. It's not all our boys, obviously When it came to the beaten up armor of the brutes Notice that the dry brushing I went back over it there to make sure that it really lightly caught and brought out all those fun edges I also changed the patterning some of my dags putting it in the places that I thought would be visually interesting For the brutes same with the pigs and so on, right? My point is when you're doing something like little freehand patterns, don't get addicted to placement It's the presence that matters not the placement So put it where it's visually interesting for that model Here you can see again to keep it consistent. Their pants are in that same gray Just doing a quick highlight there on it again, just mixing a little white into the gray Boom done and and we're happy with that nice little So there's some contrast there, but we don't need to build too high on a part That's really not important to the overall visual impact of the model We've got to hit all these little I don't know what they are wraps straps. I hate straps on models. I really do so here we've got uh a little bit of a mix of Dectan and Wildwood and I'm just giving them a nice quick coat I'm going to rely on the deep shadows later. You'll see how we get to deep shadows in just a few moments But I kind of do a nice mix there Of the Wildwood plus the Dectan. I'm minimizing my palette work with as few paints as you can When speed painting Just to rely on mixing two things together. Hey, I need a white brown. Cool. I grab the Dectan throw it in the brown I need a white gray grab some Dectan throw it in the gray Now I take that same Dectan. I'm just going to create some again some contrasts some edges on there Just hit basically the edges of the the straps Make sure that they stand out have a little bit of highlight to them stuff like that Again, just keeping it visually interesting and making sure that they show and read as straps with lots of light dark light For the big fur on the gor gruntas of which there are six Yet again, we're going back to our old friend Wildwood and we're just going to get a nice heavy coat of that all over the fur Again over the natural gradation that was created earlier. That's already going to create some contrast You'll see how we're going to buff it up in just a moment. I grabbed a big ugly brush and just slapped that paint on just get just getting schwifty with it Then I grabbed a flesh tone just a nice medium flesh tone that I had there And I just do a very light sort of pseudo dry brush But really I'm just taking it's more of a little wet brush Across the tips of the fur and you can see how that makes it feel very natural end of day two Everything's looking good. We've made a ton of progress All of the base stuff is down except this skin. We've got everything shaded Highlighted all of that except we don't have those nice deep dark recesses. So now it's time to ruin the project That means it's time for grime So before the next step, we're going to varnish again same ratio as before one satin two three Ultra matte we're going to normally people use streaking grime. We're going to use starship streaking grime It's a slightly more green influenced colors a little more green brown as you can see from its color there I really like it. It's going to work a lot better in this yellow So we basically just spray the model down again if you don't have a airbrush you can just brush this on Make sure you get it from below all of those low areas need to be well coated Please wear a mask when you're doing this a respirator run a fan. It is extremely extremely toxic Now we've got a mix of makeup brushes both big wedges sponges like that as well as tiny little sponges We've got our gambling gamsol white spirits, but any white spirits will do but I like gamsol or Mona Lisa We wait until the model looks dry i.e. it's no longer looks wet and glossy And then we're just going to take that makeup sponge and we are going to go to town Now we have multiple settings we can do here the first setting that we get to and maybe I'll do a whole video on this Sometime is called ultra grim dark And that's where you just use the makeup brush and kind of give it a good wipe in the the key areas and leave Everything else brown and gross and gritty If you're looking for ultra grim dark, there is no better setting than this right here. You can see how Everything gets influenced by that brown and just becomes really nice and deep and gross Because you can't get into all the shapes with a makeup brush you then grab your little tiny brushes Uh, if you're skinny then use your little brushes And then you get those in there and that can help you get all the recipe areas like that are stuck in between However, we're going to go a little cleaner than ultra grim dark We do still we did a lot of work on that yellow so we want it to be bright So we're going to get a little pipette of our white spirits and we're going to put one drop On to one side of our tiny sponge. So one side has white spirits one side does not Look at how much more yellow that is once I just touch that there And then I use the dry side to wipe down Now an important part about the use of streaking grime Always be moving the brush in the direction you want the streaks to travel It leaves the impression of subtle streaks So when I move the brush, I'm usually moving it at an angle down and back Right because that's where I want the streaks to travel and notice how I alternate Between the wet side of the brush and the dry side. This is the waste. That's everything after I'm all done They're all cleaned up and now it's time for the final details. So first off the little bones Which is just doing some quick striations of dectan again sticking to those same colors I did wild with them all out. So they were brown and then I just do some quick streaks Some quick little striations. I have a whole video on bones striations You can see that linked in the top corner now But those look great then we do the skin Now the skin is a fun mixture of 3 to 1 Orc flesh contrast paint with the same yellow ink from the armor The regular orc flesh contrast paint is way too green But that dollar roundy yellow ink yellow ochre is so intense that it just yellows it right out Especially when combined with our already warm tones underneath And you can see how there when it dries look at how much difference it looks when it dries Then we're gonna but we need to make these more visually interesting We can do more than just a layer of contrast So I grab some uh Orcish dermis dermis sorry from scale 75 Which is basically a pink color each need like a soft pink color And I'm gonna work some pink into the knuckles the lips the nose around the eyes All of those areas that make the thing seem more live And because the pink works as such an excellent contrasting color to the green It just provides a ton of visual interest Now a note if you actually use this orcish dermis from scale 75 when it first goes on It looks really intense and really pink when it dries it actually softens quite a bit Next up it's time to scuff up this armor. We're gonna use some sponge weathering here I have these little sponge sticks from green stuff world. I decided to give them a try I don't love them But any basically take any kind of little sponge if you have little clam shell sponges Those are actually perfect from like the old school clam shells You can just tear those into pieces and use those but any nylon sponge like that'll work I'm using rinox hide. I just grabbed a little wipe almost all of it off So much that there barely looks like there's any on there and then you just lightly and repeatedly dab the model So you get little tiny dots all over it that looks very organic and natural All right, it's the end of day three and unfortunately tragedy struck Uh, we've made really great progress, but this morning I wrenched my back real bad. And so it was basically extreme pain to sit and paint I still managed to get about eight hours and we just we've we medicated and fought our way through the pain But I did not get as much done as I hoped that being said Everything is done except the metallics. Uh, so I feel really good about where we're at These guys are all coming together awesomely and uh, so it's going to be day four And hopefully we'll finish these bad boys up. So let's get over to those metallics Neurator he did not finish in time the metallics took forever. This is about two days of work I was still recovering but I'll take you through it because in the end the metallics always are one of the longer parts of the project we begin with laying down a big wet amount of Vallejo metal color Uh, sorry Vallejo metal color gun metal Mixed with our black the same black we've been using for everything else This is going to be our dark color and I lay it on thick so we can use our old friend wet blending Then I grab gun metal base start working it into places where I want the highlights Just kind of laying it in there mixing it with the still wet paint working that wet on wet One of the great parts about Vallejo metal color when you lay it on thick is it will stay wet for a little while Then I go up to pale burnt metal and I work that into the wet on wet Then I wipe my brush a whole bunch and just blend it together And you can see how then we get these natural organic movements between the different metals All right, it just easily blends into each other where we grab them And they all become one harmonious metal without any hard edges separating them You can of course reinforce them if you wet blend too much You can go back in put in a little dab wipe it off and then feather it more and that's in fact what I do Right here on the edge The other important part we're going to do is we're going to make sure that we get that The sort of copper color down This is a mix of three drops copper Vallejo metal color to one drop gold To two drops of flow improver and one 128th of green stuff world's copper pigment. So enjoy that You look people love recipes As with all metals we want to make sure we get a nice solid edge on there We use the lessons of non-metallic metal So I am tracing all the appropriate edges edge highlighting the metals As per, you know, what we would expect I do both the copper and the silver With those edge highlights and then once the brush is almost empty I add a little bit of highlights to the copper as well Now taking a mix of rinox hide again same color I've been using with a little bit of the black same color I've been using I just dab some around into the head of the axe to create some interesting brown tones old worn weather Pseudo rusty I put down some relatively reasonable dabs of paint not very thin And then I take a watery brush and I just feather it out over the entire axe head The non-blade parts the blades. I assume he hits people pretty often. So those stay fresh and clean Now I'm taking a sharp brush and some of the pale burnt metal and just making little hashes into the end You need to make these really really thin, but it has a great look as though this axe chops repeatedly Last step is to weather out these the the copper. So we grab our old friend niloxide I do have a larger video on vertigris. You can find that linked up in the top But we're going to keep it simple for this army painting project So we're just keeping it with the niloxide the important part is we focus it around like the bolts And stuff like that because that's where the water is going to collate. So that's where the oxidation happens Next up we've got to go ahead and get the bases ready to go So we're going to do a little dry brushing on the bases here Uh, we're going to make sure we're just using a nice medium flesh tone And we're going to just go ahead and dry brush that all out With that we grab a little mix of red and brown ink and we're just going to do a nice pass over the whole base Making sure that seeps down into there gives us some nice variation We're using the base mix the primer plus some of the leftover streaking grime We've already created some color variants that plus the dry brushing We're going to have something visually interesting Our final step though, we're going to grab some nice bright iron oxide pigment And we're just going to scatter that around the base Make sure that we have those bright red spots things look dusty kind of like a bit of a a rough iron infused Martian like setting which I think is just a really great base It's desaturated, but it sets off the the green skin of the orc really nicely It's all in that harmonious color palette of the red yellow and green Then that last step, ooh That sweet moment when you get to black rim that base Yeah, let's zoom in there real close Yeah, that's it. That's sweet sweet final step So good Yeah, so that's the last step, of course you can paint your base rims any color as long as it's black All right, so there we go We're all done it took longer than I thought ended up taking about five days, but we've got the army for Tyler I couldn't be more excited. You're going to see some shots of this coming up So you can see what we did in the five days, but I'll tell you right now I am just happy to be done with all of this. This was a So you'll have to come back next week to learn how we did the big maw crushes As we talk about giant monsters next week But I do hope you enjoyed this. This was a really fun army to do it took five days all in all And I think it was really worth it. I think it came out looking cool And grim and very much ready for a while If you liked this give it a like subscribe for additional hobby cheating in the future and as always We'll see you next time