BIG Ogre Painting - HC 567

Hello everybody and welcome to another Hobby Cheating video. And today it's time to get big with the new Ogor Mawtribes. Let's get into it. >> The the strict technomancer that is Vincey V. Let us get to the technique and learn it Vincey V. >> Thank you to GW for sending me the box and I'm excited to paint up the new Ogors. But of course, if we're going to paint some new Ogors, then it's time to retire an old friend. Yes, if you've been with this channel for a long time, you know our good friend Larry, who has taken us through so many tutorials. And now finally, it's time for him to retire and go to that great Ogor Maw pit in the sky. So thank you Larry for your service. And of course, if we're going to get rid of Larry, we've got to have a new one. Now I don't know exactly which Ogor I'm going to use, but today we'll call our Ogor Gary. Maybe he'll show up in some future videos as well. Maybe I'll pick a different one out of the box. But Gary and Larry, here they are. Uh as you can see, there's some differences. So let's head over to desk and let's get to mention in the comparison between the two. Here they are again. Uh you can see that with the new Ogors, their heads are a little more correctly proportionally sized, same with their hands. Their pants go down a little farther, but I love these models. They're still not overly detailed. They don't have like a bunch of garbage on them for no reason. The weapons are really nice. >> [music] >> Everything's great. So just all in all, A+ design on these. Uh and so we're going to paint him up. Uh Gary is going to become uh our little test subject. And today we're going to focus on the skin and the armor. The areas that matter. So let's start with the skin. Uh I begin by just doing a nice under shade all over the model. So, this is a nice dark blue to begin with. Uh Uh this will be just a good universal shadow. I probably won't leave much of this showing, but it's valuable to be there. And then I'm going once that under shade's down, I'm going to take a nice yellow. It's warm, but not incredibly bright and do a very light dry brush over everything. This is just as much about learning the model and being able to see all the detail and pick it out. My eyes >> [music] >> are getting, you know, I I am old. Uh so, it's just nice to be able to make the fig a little more readable. Once that's uh done and I've got the fig kind of ready to go, now we turn to the skin proper. I'm going to use these three paints you see here. Now, the skin on these models is exceptionally good. It's detailed. It's got scars and nicks and dings showing that it's like their flesh is thick, like tire rubber. I love it. And so, I want to take full advantage of that. We're going to do the skin. I'm going to show you all the details. We're going to do tattoos. We're going to do it all. All right. But to begin, we're going to work big. So, we start by just coating everything in this red. You'll notice there's quite a lot of step in between the red and my middle brown yellow and then my actual highlight. There's a wide variance of value. And that's intentional. That's so we can make a lot of mixes in between. And you can see how I'm just layering up the flesh, slowly integrating more and more of the yellow brown as I layer up and then eventually some of the peachy flesh will bring that into work the highlight. But I want to talk about my theory of the case here. By having a more yellow brown as our mid tone, it makes the skin seem a little more dry, a little more dead, a little more rough. When skin has a lot of very pink tones to it, it tends to feel a little more soft and, you know, just like a little more fresh, like baby skin, right? It's very pink. If you're dealing with this like thick tractor tire skin that can get hit by a sword and just kind of shake it off, you want it to seem a little more rough and dry and tough. And so, hence the brown yellows. Now, uh as I continue to work my way up, you'll notice that sometimes there are some pretty significant layer lines here. That's okay, don't worry. You'll see also intermittently that I come and just glaze back down working the small line in between those. I do spend a lot of time working the face. Um there are lots of great areas on this model worth exploring. The face is definitely one of them. They did such a great job within the sculpting of like these little, you know, their double triple chins, the folds, the ridges and scars and their flattened, you know, busted noses and on their cheeks and stuff like that. There's just a lot to explore. >> [music] >> My recommendation as ever is when you're highlighting up like this, remember that when you're working from the shadow to the like upper midtone, you're ignoring all of that micro detail. Remember, we start broad and thick and as we work, we work thinner [music] and more targeted. Now, the reality is is that as I get into my specific highlights, you know, pushing more and more into the peachy flesh, that is when I start pushing a lot lot more of the little details. Finding the nuance like you know, the top of the nose, the bridge of the nose, the little scars on his face, right? All of those more little details, the knuckles, things like that. That's when I really start pushing all of that stuff. And >> [music] >> the reason for that is because you don't want, especially on these guys where you've got some really defined ridges, >> [music] >> in those upward facing areas where they're exposed to the light, none of my shadow should be present. There's going to be a whole video on this in the future, but in quick summary, when you're dealing with an upward-facing plane, your shadow is at darkest your midtone. None of that actual shade color should be showing. Okay? It's a band of light, and even though the whole figure might run 1 through 10 or brightest through darkest, not every single area has to have that. And that's what you see me doing here as I work the skin. The upward-facing areas have very minimal shadows. I'm using my midtones as shadows. Whereas on the more hidden areas, down below the arms, where they're tucked in and stuff like that, there I'm using the midtone as my highest highlight. Same as the back curves away and stuff like that. I decrease the actual highlights as we move down the figure. Okay. So, I've pushed that skin a lot, right? Trying to Trying to make I've pushed that skin a lot. Trying to make sure that we get up to an appropriate highlight, and then we have all the details picked out. And I'll openly admit I did do some more work off camera, especially on the smaller details, lips, teeth, very small things, stuff like that, right? But, there's a lot more to do because this skin, as I said, is so rich. So, let's start with something fun. Now, next up, the most important thing I do is I we go Let's go back to that uh to that uh blue black uh one-step. And let's go ahead and [music] let's blackline everything around the model. Okay? The value of putting in This is a great trick for blacklining. We want to separate the flesh from the armor, from the pants, from straps and belts, anywhere where two volumes meet. I take a thinned version of that. It's like 1:1 with water. And I'm just going to go ahead and [music] shh just give that a nice little black line. It doesn't need to be perfect. I can clean it up back with a flesh. Takes 2 seconds if I get a little too fat. But it really does make a difference for for making the figure read as clean. The combination of those darker black lines plus some edge highlight in some later steps really will make a big difference uh for helping the figure stay readable and making your paint job look great for the tabletop even if you're not spending a ton of time on it. Now, the next thing we're going to do is look at all of the scars on these guys. And these guys are just like covered in really cool scarification and like weapon strikes and stuff like that. So, I go back to my Blanche Berry, my original dark red. This is one of the reasons I started here. I thin it way down. Again, probably two three drops of water to one drop of paint, if not four or five. Like it's very thin. And what I'm going to do is just drop that little thin paint into each little scar. Just trace it out. It's not actually that hard. It's a pretty fast process, right? And by dropping it in there, I am able to then make sure each one of those is pronounced. And you see how it acts as like instant contrast and tells a story. I also take some of my lighter highlights for my skin tone. And on the bigger scars, I trace the bottom of that line where it's scarred. Not every one. Where it's very thin shallow cuts, we don't need to push it that far. Okay? But where it's an actual like cut that's meant to be a little more it's thicker it's exposed. It's obvious they got into some real meat there. There you want to hit that bottom of the line with just a little bit of a action. Okay? All right. He's an ogre. He's got a big pronounced jaw. Let's give him some stubble, right? I think stubble on these big masculine figures like this just looks really cool. So, I'm going to take some of the uh one step blue black. And if you're interested in doing beard stubble, this stuff perfect for [music] it. I take it and I thin it down about two three to one water to paint. And I with that just like thin dirty paint water, I start coating the edge of his cheeks pulling toward the chin. I leave the actual chin itself where it's very bulbous a little more clean of it. Let it settle into the recesses because that brighter poked out chin that's in the light area would not show as much of the stubble cuz it would be directly in the light. And I just do about two or three passes of it. You'll also see me a little bit kind of put it on a little thicker and then smooth it feather it out as I wipe it down. And you can see like two three passes, boom. Instantly, you have this beard stubble. That blue black tone, that sort of Payne's gray adjacent tone is perfect for doing that beard stubble. Great trick for these new ogres, for your space marines, for anything you want to show that kind of effect. So, next up what we're going to do is we're going to do a little bit of tattoos, right? What would an ogre be without tattoos? They love tattoos and big open areas of flesh are great for it. I'm going to do a nice simple tattoo. Yet again, that blue black one step is coming in. It's like our perfect uh it's it's slightly thinner than an ink. I can really control it. I love working with this stuff. Um so, we're going to take that and I'm going to do some simple free and we're going to do a maw on his back or a version of it. Now, things like these sorts of teeth are easy. Remember, again, when I see people try to draw a simple shape like this, I see them always draw the outside of the thing first. That's the wrong way to go. Drawing the outside of the thing is the easiest way to screw it up because you draw the shape imperfectly. Instead, find the core of the shape. And in this case, each little tooth is just a cross. So, I draw a straight line, then I cross that at the top, and then you see me trace around and fill it in slowly, building it out so that each one I can get to about the same size. Now, notably with tattoos on sort of monstrous creatures like this, you don't have to actually be perfect. Assuming someone else in the tribe gave them these tattoos, [music] and they're big ogres, they're probably not too focused on absolutely perfect tattoos. They're like not professional tattoo artists, is what I mean. It's probably a little more like a prison tat kind of situation, where it's kind of whoever's around. But, I work my way through, get all of those tattoos in place, just fill out the teeth. I do a six across the top, kind of a couple across the bottom. Good to go. He's got a nice maw on his back. One of the challenges though, when you do this, is that the tattoo, with being this dark, will seem really, really fresh. Now, these guys are assuming the outside a lot, roaming around in the sun or the whatever the Haitian light. And so, assuming the you know, their tattoos might have a little fade to them, and we want them to respond to the overall lighting scheme. When you lay something down like this on top, and then you have it be monochromatic, I eat all one color, but you're at the skin underneath it has a lot of value change, that's going to feel weird. So, instead, we just grab some of our near highlight flesh tone, just a little bit of the yellow, the the ochre from earlier with a with mostly the peachy flesh. I thin that way down, and I glaze, pulling up, right? Especially focusing on the top teeth that are more in the bright exposed area. And you can see how I just give two passes over the teeth, press the brush down, drag up into the highlight where it will have no effect. Press the brush down, drag up into the highlight. >> [music] >> Some very soft, quick, subtle glazes over the tattoos make them feel a little faded and like some of that flesh is shining through. [music] It's a super easy trick, takes all of, you know, 20-30 seconds, and yet it will add so much credibility to [music] the tattoos overall. Okay? All right. With that, our skin is done. But there was one more big element I wanted to talk about. I did stuff like the pants and the leather straps and all of that off camera because they're frankly not that interesting as parts of the model. Like they're fine. They're not bad, but they're not the big show. The skin and the armor, especially the gut plate, is the big show on this guy. So, what are we going to do? Well, we're going to start with it with a steel. I grab my old friends Vallejo metal color, the gold standard, ironically. The steel standard? I don't know. You get it. Of true metal paints. I'm going to start with the steel over everything, >> [music] >> and uh just kind of give that a nice base coat, nothing complicated there. What I then do is go back yet again to my old friend, that uh that blue black one-step, and I use that to just lightly sweep in some shadows on the downward-facing sides, pull out some of that texture that's in the metal. I'm not washing it. I'm target I'm applying this in a targeted way into areas that should be shadows or recessed or hidden from the light, but it naturally creates that matte variance we'd want to see, so it gives us a little bit of the non-metallic principles on our true metallic metals. From there, what I do is grab some of my brighter silver color. This is like a pale burnt metal, and I just do some little textures and scratches and scratches and fade it out. I then go back into the steel and smooth that transition. So, I kind of mix it just literally wet on the brush as I've still got the pale burnt metal in there. You see me grab the steel, kind of let them work together, wet blend it out and just until they look like they're blending into one another. You'll notice I work rough and sketchy, especially with beaten metals like this where there's a lot of texture on it, you can take your brush and just work in a stipple stabby fashion very roughly, work that until the bristles are basically dry, and it's a great way to make sure that those metals blend into each other naturally so you get a nice smooth transition across all of the model. Uh now, once those steels are good, I've got one more step. These are meant to feel a little old. So, I grab a little bit of brown, basically a brown I used earlier for, you know, things like straps and stuff off camera. And what I'm going to do is just thin this way down. Again, dirty paint water, three to five drops of water to one little drop of paint, very thin. And I'm just going to swoosh it all over the model but focusing or sorry, not all the model, all over the steel, but especially in focusing on the shadow areas where there's rivets, where rust would naturally collect or dirt or grime or whatever. And you'll see how I just kind of sweep it around there and it changes the tone of the metal. It makes it feel older, a little more worn. It will gather into those spaces like around a rivet and feel like a natural rust build-up. It's a simple trick, again takes a few seconds and really does add to the overall impact. Next up, we're going to do the sort of bronze elements. So, specifically this is like the part of with gut plate itself that represents the maw. And what I do here is this is going to be my own little special mix. You can see this is what I'm grabbing. And I mix these together. Nice little speed paint, and then popping it up with a little more intensity with a little bronze pigment. I'm going to take some of the same pale burnt metal from the last step. That'll be my highlight. I'm going to take some of the brown from the previous steps with belt and stuff, and that'll be my shadow. Okay. I start by just base coating it down. Just laying it over that area, getting a nice full opaque base coat. The pigment added to this really does help its opacity even as a speed paint, and make sure that you get a nice intense opaque layer. Once that's there, I then grab my brown and start knocking in some shadows. Where are those downward facing angles? Where does it turn away from the light? And I want to create again those basic principles of NMM on my TMM. Right? And I just work it in there. Subtle glazes. Again, working very thin. Probably like not as thin as the dirty paint water. More like two drops of water to one small drop of paint, something like that. But working very thin, and then feathering it out. Once that shade is in place, I then go to the highlight. And uh I just start mixing in a little bit of the pale burnt metal into my existing uh recipe. Hit all of those upward facing areas, the highlight spots, and of course, add in then a little more pale burnt steel or pale burnt metal, whatever the bright silver color to do all my edge highlights. Okay? So, after all of that, all the skin work, all the metal work, here's how he looks. And I was looking at him in the in the screen, and I was like, man, he's missing something. He's still missing something. And I realized I had put the brown as a nice wash over the steel, and that really I think brings it to life, adds some color, makes it more vibrant, credible, and interesting. But, I didn't do anything with the bronze. So, I went back and grabbed some thin turquoise. And I just thin it way down, and I'm going to go ahead and trace that into around the rivets on the bronze, into some of the shadow areas, the same as before. Just letting that really play in there, and adding a very subtle soft touch of that turquoise into the bronze. And I think it adds a lot of life and visual interest. So, now with that little touch, here's how he came out. I think these new ogres look absolutely fantastic. This guy was super fun to paint. I am excited to have a chance to paint more of them. I got to go through the whole box and figure out who my perfect Gary will be going forward that I want to use for tutorials uh when I don't when I'm just trying to show a technique off. But, this guy was just great fun. Uh so, if you like this, give it a like. Subscribe for additional hobby cheating. We've got new videos here every Saturday. If you've got questions about anything you saw in this video, including where Larry will actually go, or what will become of the new Gary, drop it down below. I always answer every question asked. Uh do please give me a comment. It really does help engagement, even if it's just talking about Larry or your favorite video with Larry in it. Uh if you want to support the channel, help us keep making content. Lots of ways you can do so. There's affiliate links down there that save you money, and uh really do help the channel. Please pick up all your hobby supplies using those. There is, of course, the new games uh the new game that Uncle Adam and I made, all the games we make, including Repent, Ye Foolish Gods, uh the uh dark fantasy skirmish game focused on taking revenge on the gods and killing them and their followers. There's also, of course, our Patreon focused on reviewing feedback and taking your next step on your hobby journey. Elsewhere in the Vincey Cinematic Universe, of course, I've got Fireball the Gazebo, my RPG podcast with Ninjon, and Snalcast, to indie wargaming podcast with Uncle Adam. Check it all out. It's really appreciated. I thank you so much though for watching this one, and as always, we'll see you next time. >> [music] [music]