Monument One Step (Set 2) Review - HC 568

Hello everybody and welcome to another hobby cheating video and today it's time to return to one step part two. Let's get into it. >> The the strict technomancer that is Vincey V. Let us get to the technique in learned Vincey V style. >> That's right. Monument was nice enough to send me the part two set two, whatever, of the one step paint. Now, I'm on record saying I really love the first one step paints. I thought they were sort of the best version I've used so far of the contrast speed style paints. And if you've watched videos, you're going to see them in recent videos as well as many upcoming videos. But with the new set out, that means there's more colors to play with. So, let's not waste any time. We got a lot of colors. Let's get over the desk and let's get painting. All right. So, once again, we're going to use this adorable little goblin. Uh this is from Goblin Hobbies. Uh Casey and Brent. Uh I love these little goblins and they are just the perfect figures to do fun stuff like this on. Uh we start out of course uh by just getting all these paints ready. Let's see what we're dealing with here. >> [music] >> So, we've got uh a lot of paints in the mix here. Uh and you know, lay them all out. It really is a nice addition of colors to the first set. Fills a lot of holes that weren't necessarily there. Gives you a lot more options. So, I get all the paints out of my wet palette, no big deal. You can use them on a dry palette. You can use them on a wet palette. Perfectly fine. They will, of course, after some amount of time break down on the wet palette, but for what we're doing today, it's no issue. I take my little goblin girl and I get out my secret weapon, which is bright ivory. Whenever you're working with these sorts of contrast paints, having a good white as both a reset, a way to make things lighter or mix it in or, you know, play with values is really a pretty good place to start. Uh so, I get that and I just give her a nice all over dry brush. Just make sure we bring in all the details, get a lot of light in there, and that's going to give us a place to go from. All right, so she's all dry brushed. That lean That means that our next step is going to be to go ahead and get some colors on. Uh what we're going to do here is we're going to start with just some greens and yellows. We got to start with the skin, right? So, what we're going to do is go ahead and grab our uh yellow green, literally the perfect goblin color, and we're going to apply that. Now, last time I did this, I got some pushback that I didn't use them in the more traditional one-step way. So, this time I decided to use them straight as one steps, like one coat over everything, and then you're going to see me at the end start playing around with some different techniques. So, we just put coat of that yellow green over her skin, and bing bang, look at that. I mean, like it looks really good. Like, this is great goblin skin tone coloration. Honestly, I'm not sure I needed to do much more. So, fantastic start. I then take some of the olive yellow, which is this much darker greenish color, and I use that to just like knock in some shadows and some deeper colors like in her ears, around the bottom of her cheeks and neck, and so on and so forth. Just using that to really kind of reinforce some of those again as a one-step. In most of these cases, I'm going to try to keep the color uh just one step over the base so you can see how it goes. Maybe then apply it one or two more times, just so you can also see what happens if you actually apply multiple coats of the stuff. All right, so her skin is looking great. That leads me directly to her hair. That's going to be the next thing we tackle. So, I grab the scarlet red, because why not? It seems like a perfectly fun color to work with for her hair. And the scarlet red kind of surprised me. Looking at it in the bottle, it seemed really, really intense. But, in applying it, it was quite weak. Like, it's quite It's not a very strong application of color. So, when it first goes on, it really does leave a lot of the underlying tone [music] present. Um I went ahead and applied a second coat, and you do get a much, much stronger red on the second pass. [music] So, my suspect is this one's just a little bit more translucent than some of the other ones. And that's always the thing when you're learning these like sort of very translucent, transparent speed contrast one-step paints is which ones are really intense and which ones might need a couple applications. So, this red falls into that latter camp. I do like the color once I got the second one down. I thought it was nice and intense. Okay. Uh so, once that's on, then our next step is going to be with some of the playing with some of the like brownie yellow tones. I actually really like both of these. They're interesting for playing with sort of quick non-metallic colors. So, I start with the bronze yellow. This one again is incredibly translucent, but here I think it's quite valuable uh because what I want is to have the wood still really show a lot of that underlying texture. So, I put it all over her staff. And as you can see, a lot of the previous dry brush and that wood texture does show through [music] really, really nicely. Um it has this, you know, yellowish tone to it, makes for really nice natural wood. So, I thought that looked pretty good. I then go ahead and take the dark brown, which is much more intense and like much higher opacity and sort of it's straight out of the bottle uh application, and I run that down the shadow side of the staff, use it to create some value transitions. And the two of these are really a great pair. What's interesting about this set, too, is I found there were lots of really natural pairs in here, as you'll see. So, it started with the yellow green and then the olive yellow. Those worked really well together where one was a very natural shade tone for the other. And then here again with the bronze yellow and the dark brown. Both of these being effectively sort of brownie tones where one of them works as a pretty natural highlight over bright under shading and then the second one works as a really naturalistic shadow. Okay. So, once the staff is all good to go, my next step is going to be we're going to start playing with some of these more fun colors and get on to her robes. So, I start with the dark turquoise. Which I really love this color. So, honest answer, this is my favorite color in the set. Who's Vince loves the turquoise. But it's really radiant. It's very saturated. It went on really nicely. It has the sort of the perfect opacity where it was letting a lot of the light come through, but still had a really saturated tone. One of the things you often deal with with these kinds of like slap chop style paint jobs is that the colors don't feel very saturated or intense. And you know, you kind of get what you got with like what I got with the scarlet red. But that's not the case here. This was super duper vivid and really nice. And I just love how punchy that dress is with it. And as you'll see later it becomes really easy to just like kick this up a notch so so quickly. I then go ahead and grab the deep blue. I wasn't sure cuz there's actually two colors I think you could very reasonably use as a shadow for this. Either the deep blue, which is also as you can see here very very saturated, and so adds to just kind of it's a good like half tone mid tone color for that turquoise. And that looks really nice. It's not as dark as I was imagining. It's really just more of an extremely radiant blue. This deep blue would be your perfect sort of ultramarine color if that's what you're going for. So, if you're looking to slap chop the Smurfs, well, here you go. You're done. Like doing it but kind of honestly with the turquoise and then this blue from below, you'd be done. But at any rate, so I like how that looks, but I didn't quite get the shadow I wanted out of it. So, what I went to next was to the dark green blue, and that was the other one I had been contemplating using for a shadow, and I tried that on just the cape first. [music] So, she has a cape over her robe on the back, and that came out perfectly fine. That one it seems the closest to one of the colors in the previous sets, cuz there's another sort of off green color that's not too far off of this. Both of these would honestly be fine as like a base start for a quick non-metallic metal in steel or something like that. But, I also used this as shadow for the blue, and that worked out very very well. So, I did like that. And there we have this really nice three color progression over the robe, which is sort of the biggest area of the model, and so you want a little more travel of light and such. All in all came out pretty good. Uh, next up I went ahead and grabbed the dark purple. It is dark, as a matter of fact, which again I actually like. One of my big problems is that there are very few good dark purples on the market. Like, >> [music] >> Army Painter's Terran Titan is one of them, and now this, and end of list. Uh, so but I was happy this was actually so dark, because the previous set had a much brighter more intense purple in it, and again this will form a perfect two color, you know, sort of highlight and shadow set with that previous purple. Um, so here again I just, you know, you can see I put it over a couple of small elements, and we're good to go. Uh, we'll talk about how you can kick it up and make it a little more visually compelling in a moment, other than just using also the royal purple from the last set. The next question I had was this bright slate gray. I'm not going to lie, I saved this one for last cuz I didn't know what to think of it. Gray contrast paints and anything like that have really never impressed me. They've always been like either basically super weak or just done nothing of value. This one's kind of spun my head around a little. So, as you can see, I put it over the pages on the book. And as well as like the rope around her waist and stuff. And it's actually really intense. Much more uh like it's still a a one-step paint. There's still a lot of translucency there. But it's a lot less translucent than I was imagining. And I actually think you could use this with you know, normally I'm using ivory and stuff like that as my highlight tone as you'll see in just a moment to [music] to create highlights on uh the models that I then you know, you can run another uh one-step over. But I honestly think this might be such that you could just do this. Uh it is strangely intense for what's going on there. So, I definitely need to I think that bright slate gray again, especially combined with like that dark green blue from earlier could be some fast one-step NMM. And so, I'm going to play with that in a future video and see what we can do um because it just it was very very interesting to me how actually intense and effective that color was. It really surprised me. It was much more effective than I was imagining. So, that's I think might be the sleeper color of the of the set. All right. So, now you've seen how everything works, all the one-steps. You can see I didn't cheat. I just put one step of the paint over the zenithal thing, so you got a good take of them. Now, let's do some fun. I mean, this is my channel. Come on. Of course, I'm going to do some crazy things, right? Of course. All right. So, now I get out my ivory and I'm going to start playing with different colors as the highlight. And you'll see me work my way around the figure here with several different items. We're going to touch things like the hair, the robes, the purple sleeves, all of that kind of stuff. Because what I wanted to do was see how they started mixing with the ivory, making highlighted versions of the color, and then you usually just go back to the original one step to smoothly blend them in. And I found yet again that this was a very effective way to get out of fast high-contrast paint job. Even when you're you have a bright under shade, the reality is is that with a lot of these times with the slapchop thing, your highlights do just get really diminished. They're not really that punchy. Now, that doesn't mean you need to come in and re-highlight the whole model. That means you take a few key areas like her hair, her robes, and so on, and you come back in with a slight mix of the ivory and the color. You You sort of draw in some sketchy highlights, and then use the one step as a as a little bit of a thin down glaze over the top to bring them the two tones back together, and bing boom, you've suddenly got something smooth enough for army painting, certainly, while still actually uh you know, being very fast and effective at recreating that contrast that you want to actually make the fig build readable and eye-catching at a tabletop uh level. And so, yeah, that's what I did. You can see move around, like I said, the hair, the robes, all that kind of stuff. All in all, I found it worked really, really well. Um the one thing I didn't mention in there uh was her was the black. There is a black in here. Um so, I did do her shoes in the black, uh and that was easy enough. Sure, it it works. Yep, it's black. It's very dark. But I was more curious with the black about black lining. Now, currently my go-to is the uh blue black out of set one. I use this for my black lining, my dark lining uh in between volumes on basically everything I paint, regardless of the level I'm trying to go for in the end. I just think it's so good [music] at it. But, I was curious as to how the black in here worked for that as well, and simple answer, it works very well. The flow of these paints [music] is just really nice for doing this kind of dark lining. So, I I'm not sure if I would use this black over the blue black. I think the blue black's a little more visually compelling, just because it's got a little bit of a hue in it, but it works fine in this regard as well, and I have no ultimate problem with with, you know, actually having dark black lines. The reality was if I was doing probably like steel or like a a machine where I was doing recess lining, I would use this base black as opposed to the blue black because you do want that to be just a little more like dark and more hard shadows in those deep recesses in between like panels and panel lining and stuff like that. Okay. So, with that all done, that left me just a couple of other small touch-ups. Um I did grab some of the pink that I had made for her hair, and just went ahead and saw if I could put that onto like her nose, her cheeks, her ears, [music] stuff like that to push some of the skin highlights up around, make her skin a little more visually compelling. I hit the eyes with some of the scarlet as well as a little bit of that highlight as well. Put a little white dot in the eyes, you know, those kinds of things. Just doing some final touch-up around the model. All in all, do it running through all these sets, even with recording everything and doing all of this, this fig was about 45 minutes to to do, to run through everything. That's with all the, you know, camera angles and setting things up and recording and stuff like that. So, this was a very fast paint job, but honestly, I think she looks pretty fun and cool for how fast it came out, and I she it shows you really can accomplish, you know, tabletop level quality with these kinds of things or tabletop plus, you know, that kind of stuff, really, really quickly and effectively. I think the combination of using those brighter tones, you know, ivory, potentially experimenting with that bright slate gray, um, can actually get you pretty far pretty fast. Um, the other thing that I did, by the way, was I went in and took the black, uh, and also in addition to the lining, I tested whether or not I could do the script on the book. And so, I went ahead and did that. And as you can see, it worked really, really well for just writing in, um, yeah, like basically small script onto like purity seals or books or anything like that. Effectively just writing with an ink when you've got a very sharp brush, so it came out really well. With those final little steps done, here's how she came out. Uh, all in all, I was pretty happy with with her her sort of final look. Like I said, for 45 minutes, we'll call it a winner. Uh, hey, if you like this, if you like how she came out, give it a like. If you want to pick up any of your hobby supplies, including these new Monument paints, you can find affiliate codes down in the description to do so. They save you money, and using them really does help the channel. So, please pick up all your stuff through that. It's a great help. Down there, of course, there's also our Patreon focused on review and feedback and taking your next step on your hobby journey. We'd love to have you as part of the community. There's also, of course, uh, all the other things around the Vincey Cinematic Universe, such as Fireball Gazebo, my RPG podcast with Ninjon, and Snarl Cast, my indie wargaming podcast with Uncle Adam. You can also find the games I make with Uncle Adam down there. Uh, so, check all of those out. There's so many fun things for you in the description. Just go explore. It's so cool down there. Check it out. Uh, but hey, I want to thank you so much for watching this one. I really do appreciate it. Uh, if you've got any questions or comments, don't forget to drop those down below. I always read every comment and answer every question. Thank you so much for watching this one, and as always, we'll see you next time. >> [music]