How to IMPROVE INSTANTLY using basic techniques

how often did you see an incredible paint job and just wish that there was one simple way for you to be able to instantly up the level of your painting maybe not to the level of that paint job but just significantly maybe you've got a special character or a special miniature and you'd like to be able to get there as fast as possible in today's video I'm going to be trying to do that I am the guinea pig and we're going to be conducting a little bit of an experiment like with any experiment it's important to Define our variables so I'm going to be using pretty much the paints techniques and methods from my last video which was speed painting skeletons and I'm going to be applying it to allbe a slightly more complex and much more modern model about three decades more modern I'm going be painting a Terminator but same paints same methods roughly the same brushes pretty much the same sequence so what possibly could I be adding what magic source is going to make it so I can achieve what I would regard as like a fancy paint job a display paint job using the same methods well it's very very simple actually and go slower and I'm going to be careful and that's it let's jump all right so priming wise we've gone pretty simple just word bear is red which is a classic of mine also you might recognize it from our blood thirster as The Slap Chop base we use there so what we're going to do now is going to spray this guy and I'm going to be aiming out 45° from his front especially with the spraying the back's going to be a bit darker want to be lazy but from the front we're going to be kind of trying to copy a light hitting it from this angle so primarily I'll be spraying from that angle and a little dusting from above okay so here we have our zenithal what you can see is that angle the base of my brush is the angle we've sprayed at the mini from here we sprayed it kind of lightly from above and I've done that whilst turning it around so roughly we' got the impression he's lit from the top if we look at it from below darker look at it from above much lighter so step number one we've got to counter the slightly fluffy white spray that we've used and we're doing a two-step contrast process in this minimum so what we're going to do is make a soft mix of an already soft contrast using skeleton h going to be using a size two or a size three for this something that's not too small but not too [Music] big so that's a one to one ratio I'm going to be using this contrast quite thin and it's already soft let me show [Music] you and I'll show you on one part of it I'll do the rest off camera because I'm going to be keeping this at the same orientation so if we take his power fist going to go top to bottom we'll make sure we cover the entire thing this is why working sections and we're going to be pulling our Strokes downwards and soaking up any extra if I were to tip this around now it would already start ruining things one thing we can do is anywhere we get excess you can pull it off as long as we're fast you can only really do that if you're quick the spray white bases actually dry quite fast so got to be quite Speedy all right we'll do that all over when I say all over I do literally mean all over by the way you can maybe try and avoid the gun and stuff but there's there's no real benefit to it and remember that your corners and your edges you got to go over them too so often I'll start on the edges and then work my way onto the main piece just to make sure I didn't miss them so easy to miss bits especially on white it's not very forgiving okay so we actually look surprisingly good already really couple little of internal kind of drifts from the contrast but overall pretty good we only did one thing coat I let it go too thick here it's always a problematic point on Terminators but what we're going to do now is Polish this so first selection I'm going using D+ is probably medium and small for this and I'm going to be using the small especially when I need to do a smaller stipple okay so going to be using screaming skull which should be a pretty close color to this slightly lighter but not loads lighter and that soft rather than aggressive Step Up is what's hopefully going to lend a little bit of kind of finesse to our paint job okay we have our 100% dry model that's very important let's go little bit more moisture in [Music] there okay so going to use the medium we're not just going yellow all over although we can go kind of lightly and then do that with a white afterwards as far as being specific goes what we're going to do is start off hopefully this color looks kind of bright I took a picture but we know where we sprayed it from we're going to start stippling the areas that we would like to bring up to be where our light was reflecting when we took that picture so the same angle that we sent our spray from that's the same angle that we're painting it from anywhere there was a particularly light part from The Gauntlet was one here was one we're just going to stipp it up really simple no need to over complicate it I'll paint is slightly dilute things are not super strong I've chosen colors that are close together it's going to make it more forgiving don't overthink it anywhere where we had it lighter on the photo you're going to stip a little circle if the medium is too big I will drop to the small plus and if that was too small too big I could drop to a small and go all over the model doing those stipples first [Music] generally speaking you're not going to be going you're not going to be stippling anywhere where it's pulled and it's really dark there will be only a very fewer sections probably on smaller parts of the model like this back bit there okay so we're doing pretty well I actually haven't needed to go to the smaller brush yet what we're going to do now I'm sure you're wondering what we're doing about the edges is we're going to take care of those with the same brush we just can be doing traditional dry brushing rather than stippling so see I'm carefully removing on my palette here now start stippling so you can get an idea of what's going on with your brush when you're confident with the brush go to an edge you definitely want highlighting spend a little bit of time there then once you feel super confident if you want you can do circles this is going to slowly and carefully kind of blend your stippling with the rest of your model but most importantly perhaps it's going to take care of those edes you're not looking to make a massive difference for this all this will do as well is any areas where you got smudges or mistakes like add on the shin or I've gotten his crotch bit you can dry brush those all about making sure you not got too much excess but what's there is ready to leave this should not take long at all if you want to specifically hit some edges even if it's unrealistic to be reflecting light or anything like that go for it you could even get out your normal brush at this point and Edge highlight if you wish if it turns out you've missed any bits like these fingers you can always just put a little bit more on and give them what I would call a heavy overbrush so especially on a downwards facing bit it's not particularly a worry but uh it kind of sorts them out really firm grip on your mini for [Music] this much done make sure you shake it's important so what could possibly next after that step so what we're going to do is we're getting out Ivory which is a much brighter bone color from Val model color you can add a little bit of white your previous color if you wanted whatever whatever you prefer Ivory is perfect though for my bit what I'm going to do is going to make a little bit of a mix could do this with a dry brush but there we go you can just drag one into the other with a dry brush I'll do that now actually either way is fine at this point you have the option to drywash you have the option to stipple you could skip this you could just Edge highlight it's all about catering it to your needs and specifications which they might be to do with skill people often say it to do with skill but really I think it's to do with how much time you're willing to spend on the model if you got 20 of these then maybe you want to skip a step or speed it up or something like that just make it suitable for whatever time frame you've got in mind put these two together the ivory is a lot stronger than the GW color so for it to look 50/50 you'll probably need like a 1 to2 or maybe even a 1: 3 ratio and you'll have to be careful with your dilution in terms of uh bringing water into the equation too we're going to stipple in the middle of any section or the front of any section the brightest bit of any section that we stippled with in the previous step and we can always make it lighter afterwards in another step okay we're cool just uh go steady pay attention to whether the paint is actually leaving your brush nicely and you don't have to go back for more paint you can always go back for more water to to help the paint that's on their leave like I just did [Music] there okay removed access then you can go around and do your edges just as we were you don't want it creeping further than it needs to so you're just going for the ER very edges with [Music] this small Plus [Music] the reason we drop down and brush is because we want a smaller circumference on the circle diameter I guess is more [Music] relevant there we go so that shoulder pad is kind of finished what we can do there is if you want to manually highlight you can so again fully optional if you want to pop an edge [Music] down guess which body part fixed that we've all done it don't pretend so what we had there before I started trying to wedge highlight and couldn't multitask was our dry brushes taken us with a soft Edge highlight and then we've put down a hard Edge highlight which actually looks really really good now if you want to put a brave highlight in the middle of any of your stipple [Music] sections you can put something manual down dilute your paint a bit more you could glaze it you could could go in with a smaller D and pure Ivory completely up to you and it's a fully scalable technique okay so we can see that I spent some time with the shoulder pad on The Gauntlet um you can stipple it you can glaze it whatever you like you just kind of following the tone that you've set originally I went a little bit rougher here and I don't think it's that noticeable with the stiffling just jumped up straight to nearly an ivory and obviously you could go to White if you wanted I think I'm going to skip that option for now though I'm going to do is put a very very thin version of our contrast [Music] down white is very unforgiving or light Ivory whatever you want to put it so I'm really taking no Chances with contamination in terms of like Little Bits or something like that in my painting area he says that watch a great big splodge appear contamination on my paint pots though fine you guys know that though okay very very soft mix I'm actually going to go for two contrast medium to one skeleton h we're going to be extremely careful with this we're taking it down to where we want it darkest away from where it's lightest and we're ready to work fast can deposit more if we wish and if it work super quick with a licked brush of course we should be able to push it away from our highlight areas think I actually want it a bit thinner than that do I have time to fix it or not stes happen guys I think what's happened here is even though I'm very us to doing this type of thing and using that type of ratio the light colors you just need to go so much softer so yeah I can push it off I think actually I'd maybe even double the contrast medium ratio that I Ed there so I'm going to I'll complete this section do another mistakes happen all the time don't worry about it if uh if something that you think should have gone one way goes completely another way there's often a very good reason and the reason here is because I'm not painting deep red I'm not doing a blood changer I'm not doing a blood thirster I am doing a uh a very very light armor now we have done that should probably jump to a triple Zer here I'm still on the two but we can reestablish our edges very carefully and very [Music] fine particularly in the areas of the model where we've put the [Music] highlights first time Edge highlighting that that screwing up excellent I would normally be much closer to my face if I was doing that I'd recommend you put it right by your nose those Edge highlights all right let's see if we can't get this guy finished off armor wise at least it's turned out pretty well there are a few weaker spots for sure this bit below the knee in general but uh something turned out really well and he's looking pretty effective so we've worked out how to not screw up and we need to be just a little bit more subtle with our contrast so the ratio you need is way way way softer than I expected and that's because as we figured out it's going over a lighter basee so actually this ratio is probably somewhere between 1 to 4 and 1 to six contrast medium to skeleton horde and skeleton horde is already a soft paint I got two Aras remaining three areas maybe shoulder pad need even [Music] softer go quick there we go okay so that is probably a 1 to8 I would say cannot be too subtle with this it turns out put a little bit of water in to help things out as however we perfect things at the very end when the model is 90% done oh well yeah that was perfect cool right let him dry and then we can fancy him now if you do wish to black line I think probably most people would default to n noil but on a base this soft you're going to have to do something a little bit different so we go for one n noil 2 one sarapin sepia people normally use shades for panel lining uh if you're going to do it lazy and sloppy which we are but then what we're going to do is because it'll just make it easier to have it kind of match the rest of the piece we can use one skeleton H people would wonder why we're not using uh color in the middle of brown and cpia it's because we want it to be as coherent as possible we still need it dark hence the N oil although it is incredibly weak these days but uh yeah we want it to be able to kind of if it goes a little bit sloppy want it to at least gel with the rest of the piece that skeleton ho in there will really help with that so make sure we not got too much on the brush great [Music] optional like I said up to you if you want to do it or not you could always varnish it and then use an oil wash as well of course if you just wants draw attention to his face selective highlighting is in like just doing the stippling on the shoulders or the face or something that would be a really good way to get 90% of the effect of this with about 10% of the effort so just popping some dots in key areas around the face is definitely worth the one or two minutes that it takes might even be less than that it is extremely efficient all right so we're fairly happy with our guy how are we going to go about the detailing I thought on this one I would just give this kind of method real proof of concept by trying to do as much as possible in the same way so just like we've done the armor I'm going to try and do his Aquilla which is in a pretty striking green actually so having checked out the box art and some other stuff like that I think warp lightning is probably the best bet if we need to adjust it we can this is quite a strong contrast so start off with plenty of medium in there and we'll see how it [Music] goes one to one we do want quite a strong color even if we're using it super thin so let's see how this looks on the first coat this has been washed around with n oil by the way and I've just dry brushed and highlighted it uh pre-shading with exactly the same color that we've already used so let's see if this works I think that is the right color maybe we've gone too weak but that's okay I can always do the uh n oil around the edges again if I need to still going to bear in mind our stroke so if I want it to pull against these wing tips got to end my Strokes at them all right this can take a few goes I think make sure we don't miss anything but especially with that N noil Wash around it and in the recesses we should end up with quite a bit of contrast between the raised areas and the uh and the Shadows I think maybe we can be a little braver with a second application it's quite a strong contrast so it's actually deleting that black in the recesses a little bit which wasn't quite what I was going for but um we'll roll with it we can always put it back in okay color's right just going to do it a couple of times it'll do a little bit of highlighting give highlighting with scarn a go I'm going to put contrast over it again the highlight color on these is a little bit weird on the paint job I like it but it's not necessarily what you'd expect when you get in there close it's a little bit of like a a pasty I guess slightly yellow green copying where our highlights were we took our reference photo just give this a little bit more time like that and then it'll pop some contrast over it again added a little bit of ir over [Music] in okay so highlights are down we now need to apply a very diluted mix this contrast use quite a lot of water I'm going to use a smaller brush super soft one of the particularly nice things about momentum and building up positive feedback is it only takes a tiny amount to begin and from that you can grow and grow and grow on that as a foundation the moment things start going okay and I told myself go slowly pay attention do your best no pressure and without that kind of time constraint attached to it I found it was much more easy for me to kind of enjoy it and I started building up these little Loops of positive feedback and with those I was becoming more confident which is really really nice and I also felt slightly more able to experiment but not only that in my experimenting some stuff went like pretty wrong and I just didn't care and I did my best to fix it and distract people from my slightly pink marine and put some scratches on and stuff and by the time i' done those scratches I was really pleased with how they went and I wouldn't have actually tried those if it wasn't for my mistake so I was able to be way more chill about it just kind of accept what had happened and I've just found it really really enjoyable actually so yeah these little feedback loops they're really good and even if I was only sitting down to paint for like an hour I was just trying to get the most out of that time I had available without any pressure to rush okay so I was going to use a black but then I thought I can just use dra off so it's a shade it's already soft it's got black in it it's got blue in it which is a really good Association for steel so I'm going start off by dragging it towards the areas that we want darker but I think it should be safe to just basically go go everywhere if I dilute it again we're going over white or Ivory at least so let's learn from our previous mistakes and start Softly too soft is always better than two strong of [Music] course it's really easy to miss the trims which are quite um yeah just sorry which are quite thick so take your time we need to cover every single bit because if we've got any Ivory showing through it's going to be really obvious the blue should counts the yellow and the ivory pretty much entirely by the way um blue is the opposite yellow so we can fix that up pretty easily anyway we're looking pretty good after the first one I need to do the rivets and stuff like that as well and I've got a knee pad to go in addition just the same [Music] [Music] style all right so with that armor done we've got our learning points we' kind of managed to reinforce everything we've got there and I'm actually going to use the same techniques that we've used on the armor throughout the rest of the mini so here's um gaunlet um that got a little bit the same treatment although the masking didn't go very well I whipped out the airbrush and got punished for being lazy with my masking you'll be able to spot that as it happens live I didn't realize even though I was putting red all over a beige mini mask correctly so two videos that I'm going to link at the end of this video which are kind of relevant to this topic if you've enjoyed it on me painting the two Miniatures behind me so we've got the great unclean one where I tried to do very high quality dry brushing and sent it off to zamik Kito for some professional level finishing which worked out really well unsurprisingly he's fantastic there's also a wonderful uh chaos Lord on demonic Steed I think the miniature is we didn't do that in like a super slow time um but I tried to do what heavy metal had done in 7 Days in 7 hours so it still wasn't a short paint job he turned out quite nicely as well and he's done in metallics which is obviously very different to this where there is not a single metallic on the miniature anyway they'll be linked at the end of the video give us your best suggestion for a terminat chapter you would like to see us tackle I really enjoyed this you want to see Imperial fist space walls death company uh blood angels super classic right anyway let us know what Terminator chapter you would like to see the most so I can do some fantastic highlighting on a crotch terminatus at some point [Music] see [Music] [Music] [Music] [Music] there you go some BL so let's be [Music] brave okay I'll do [Music]

Channel: Artis Opus

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Id: imWw5f2SVDs

Length: 31min 52sec (1912 seconds)

Published: Thu Feb 08 2024