How to EDGE HIGHLIGHT Warhammer - Is it worth it?

Edge highlighting scary it can look this good this good and we're kind of held to a standard where like we're just assaulted with things that look this good all the time from Games Workshop and from really high level painters is it worth doing though can we get something close fairly quick that doesn't need the amount of skill and patience can we enhance that until it looks nearly as good as Edge highlighting it can be like cater for its weaknesses it's dry brushing of course I'm talking about dry brushing it's been a while we're bringing it back it's been like a video anyway what we're going to do after showing you how to get away without using Edge highlighting how to enhance that is we're going to do so much highlighting and we've broken this down incredibly carefully for you we've got some ways to understand it that maybe you've never thought of before we've got some diagrams about how your brush is going to behave while you're trying to Edge highlight with the side of it we've given you the most help we can think of we're pretty pleased with this one and I think quite a lot of people will have something to take away from it even if you don't plan on edge highlighting watch this section because it might teach you what you could get away with not doing a lot of the stuff that we do the glazing and making the sections darker at the bottom makes our dry brushing look more and more like Edge highlighting because the contrast is higher so there's loads of different steps through this that will help you both improve your Edge highlighting if you want to try it which you can just do only characters or the head of a model in their shoulders or something like that or never do it and work out why we did it and how you can get there with our shortcuts that we're doing in the first part so it's kind of like a three-part video one more thing stick around till the end we're doing a great big giveaway we're giving away five full brush sets five full texture palettes whatever size you like you'll probably choose the biggest one because it's free why not yeah we're about to get 100 000 Subs that's because you guys you have a heartfelt thanks for that thank you so much all right straight into it you've got a voiceover because I have building work going on in the house so we're placing our base coat down now this is my favorite way to place down base coats and it's uh it's pretty efficient actually um I tend to use the dry brush for a lot of my base coats especially if I'm dry brushing afterwards because you get that little extra layer of protection on the edges of your minis go super fast you get the same amount in the recesses that you do on the raised areas we have a video about this it's probably appearing now um you can paint something that big in five minutes doing it too great two Thin coats nothing new there still helpful whatever you're doing okay so using a fist on red here um that's how much water you need in your dampening palette just like a mottled amount on your finger that will do so much of keeping things smooth and it's going to introduce a little bit of pain of moisture to our painting process this is how we're achieving the super smooth base coat and how we get away with something that looks a little bit airbrushy actually so I'm stippling from the direction that I'm imagining my light if you have issues with Imagining the direction of your light while your model's black hold it under a lamp just take a picture use that as your reference super easy you can see I'm concentrate on stiffing from above I'm not overloading my brush I'm taking it very very carefully and I'm building up these slightly thin layers because the water that we've got from the dampening pad so we've already got quite a subtle blend going on there it doesn't have to be perfect part of the joy of the technique we can see especially in the little circle it's a really good way to um it's one of the reasons they're nice in the middle of a pad you can put a fade on them quite nicely looks kind of fancy [Music] let's see I'm still using quite a big brush here um this is a medium to medium um it doesn't particularly matter the size of the brush that you're using until you need to only be able to hit a small area it's not like a smaller brush will give you better quality dry Brushing in fact quite the opposite what I'd be doing is if you end up hitting areas you don't want to um that's probably when you drop down brush size and normally I hold on a little bit longer than I should but it does make me paint faster so you know there's that point where you realize that maybe you should be dropping down a brush for us that might be around now speaking honestly so stepping down on glazes um this is time looted and it makes quite a big difference they're kind of patchy but again it doesn't matter don't obsess about whether it's perfectly smooth or not you can fix that later and we will fix that later just what we did from the top the red doing From The Bottom the black [Music] at any point if you're too worried and you want to go slower you don't want the idea of going in with like a majority black mix just add more of your base to uh whatever color you're using for your shading same with your highlights um works the same both ways I can see here I've got my tired but beloved old baby M1 it's an ancient brush this doesn't go to a pointed tip anymore it goes to like a flat top like that kind of if you zoomed in on it this is great for stippling I use this or the baby d uh kind of interchangeably depending what I'm going for don't throw away your brushes they have use [Music] jumping into a highlighting metal we can see evil Sons don't you put it next to my fist on you realize how much black Memphis Stone red has in it that's one of the reasons it dilutes so nicely with black uh in conjunction with the fact that a baton plaque is weak as hell um it's a very weak black that doesn't make it bad makes it bad for coverage but it makes it really helpful for kind of softer dilutions when normally a black would overpower things it's really it readily dilutes as well it dilutes really nicely and of course as we're stippling we preferred GW paints for the first stages because they don't build they're not on maps they don't build up texture in the same way that other painters do their satin so it's really helpful for kind of keeping things looking smooth on the traditional dry brush you know I can see is you only need a tiny amount and the moment you pop it down it softens any transitions that you have those dark to light transitions we've got that airbrushy blend that airbrushy base and this is the type of Base that edge behind wonderful yeah smooth transition not perfect but smooth from top to bottom or from light to dark or whatever and then you put this over and it just jumps onto the edges but it also softens uh let's say you didn't do a particularly good blend like this um it just softens that transition between your black and your red for example rather than having like a hard line [Music] I didn't really need to do this at this stage by the way but it helped me kind of separate things in my head so um you could leave this to the end if you wanted [Music] to make you do do it though this is exactly the type of practice that makes you realize that maybe you don't need Edge highlighting so have a think about that if it's important to separate one section from another and do that with a highlighted Edge or you can do it with a shaded line between the two that both will help you achieve the same thing and of course you can use both at once both at once is fine [Music] in the chat if you'd stop here for Army level painting bringing our bright colors in especially with the top of the model again we don't need a smaller brush yet but we're going to start getting to the stage scene with the front bits in particular where I might start struggling because my brush is too big and that's just because I want to put smaller diameter circles one reason to not change is I want to be able to use the same brush for dry brushing that I do for the poking for the stippling so you're going to be sacrificing one slightly to make it more convenient you know not having to change colors not having to make mixes again that's one reason to kind of hold on to a large brush for a little bit longer if you possibly can you can always jump back into it switch brushes but I'm lazy and it's efficient being lazy is efficient a little fun test first gradually bringing things up now we have lost the redness slightly here that's coming up in the upcoming section of the tutorial after the next face to camera section um I'm going to be bringing the vibrancy of this back so we've lost a little bit dry brushing does desaturate your colors just by Nature whereas layering puts them down thick thick you know film well it doesn't put them down physically think if it does put down a thicker layer of paint and it tends to look like a more saturated version of the color so we're going to be fixing that coming up shortly we've also we've started leaning towards colors that have like more white or orange orangey white in them um so we're just taking away from the redness of what's going on look at that we can highlight edges so nicely with the dry brush if they think this is possible it's absolutely possible just don't have much paint on the brush um make sure that paint isn't dry you won't get scratches then um it's all about setting up the brush and you can get pretty precise highlights in the last section of the tutorials you'll see me doing the same thing with Edge highlighting you can dry brush on your Edge highlights uh absolutely fine so the reason we've put everything together in the same tutorial is if you need to see the potential of dry brushing edges you need to see the potential and actually knowing about both of those techniques you might be able to start kind of combining them or replacing one with the other same without brushing we're going to do some more airbrushing on the channel very soon and the reason we're going to do that is it's going to help me teach you about stippling and dry brushing so all the techniques go together it's not like you do one or the other the more you add to your toolbox you've got in your head of potential ways to achieve effects the more you're able to kind of adapt things or make them fit for purpose right bringing that glaze now so this is going to really bring the vibrancy back that we were kind of lacking look at that and pause there or like two seconds ago hopefully on screen now is a really good demonstration of one glaze what that can do for a mini such a stark contrast real up taking vibrancy [Music] to me ending my Strokes where I want the most paint even though it's a very thin amount and I've been careful with the control of how much is on the brush I've taken it off on my thumbnail you still want to lean your Strokes to have your sets going to be at the end you want to leave that where you want the most of that paint so if you need that it's the brightest bit that's to be in such work isn't it fixing's easy [Music] look at that again do we need to Edge highlight or can we just Pam alone think about it [Music] we separated those lines really clearly from like two feet away that red bit stops there's a black line and that rabbit begins you don't have to have an orange line on the edge of the red bit to achieve can you don't have to you can achieve the same thing two ways just like painting a rivet really bright orange you could also put a black ring around it like we have either is fine both is also fine [Music] love Baby D yeah so efficient because you because you're not having to try and be precise because you set up the brush like this this is the efficient way to do it highlighting it is not the same as the other one it's not a like a like for like replacement but it is efficient because you don't have to worry about control in the same way you do all your control on the palette set up the brush nice thing and then work it over dotting those rows they've done work dotting those rivets has made my painting look better [Music] I miss a bit on this one it's triggering me [Music] again the amount of paint on your brush is really important if you want to make it harder for you to make mistakes don't have a wet brush have some watch on there but you know what I mean not too much paint paint just on the tip paint ready to leave easily but not with a great big well of water kind of ready to like inkbot your model for you behind and again putting these Punchy details on a lot of people ask me how do I improve my Blends or my stipple Blends whatever it is often you don't improve them all right so that looks pretty good I think at least at this stage we've used stippling kind of efficiently the bigger the model is the easier this gets we don't want a backpack and a backpack is kind of super varied it's classic it's definitely from Warhammer it's very recognizable it's got a lot of very different and somewhat difficult shapes on it so a backpack is about as hard as it gets it's small it's fiddly everything points in different directions there's flat bits there's round bits if you just got a great big Square tank you can use these same Concepts on it now what we're going to do is we're going to enhance where we've gone you know let's say we're a third of the way through the processor I'm going to add a little middle sliver which is glazing and some enhancing and that's going to push our highlights further and it's going to push our shadows further and by pushing our highlights and our shadows we're increasing the contrast in general and that just looks wonderful on a small miniature it helps you work out where things start and finish this also lays an incredible foundation for Edge highlighting which will be coming up in the next section the dry brushing is super cheesy you're going to see a few stages here where I start getting less efficient um that's because you just got to watch to the model you might get a mix wrong you might do something too soft you might do it too harsh it doesn't always go according to plan that's not a reason to stop that is not a reason to worry things will be fine let's go okay so this obviously is absolutely fine this is really high quality we look brilliant on the table top what if you want to take it to the next level if you're willing to invest a little bit of extra time it could be for character or just because we'll try and push it but um let's see what we can do and try and take the concepts that we've used already and apply them at a slightly higher level the first thing is I want to push the highlights just a tiny bit more and I'm gonna have to be quite careful with this but we do have the glazing in our back pocket at any time so don't worry too much if you're concerned about ruining all of your fancy paint work that you've done so far so I'm going to take a little bit of white scarf doesn't get used much as you can probably tell a little bit of evil scones now obviously we're going to end up with pink hair that is pretty unavoidable don't worry about it of course we do have the glaze which will beat with the evil sense again that we can use if we want now let's talk about brush Choice have a couple of options here we've got Baby D and then we have and it cannot be a new one you have to have a an old broken M1 you can use slightly old chubbier brush that's seen better days basically you need something it doesn't have a point but it's still high quality and fairly resilient so I've got a very very old 1M that's absolutely perfect now because the 1M is so small what I'm going to do is I'm going to make my mix up after cleaning this brush someone left their brushes out last night we do oh no that's soap hey someone cleaned their brushes last night that uh that changed fast oh silky smooth oh my good anyway seems like a worrying color to put on a Model that we're already happy with doesn't it anyway so let's go obviously we will test [Music] start somewhere that we definitely want right [Music] so if you can't tell from the absolute radio silence I find this worrying so don't worry it's not just you who worries about taking models you're already quite happy with and then doing additional steps on them okay last point top of the uh the round bit you can even up edges on the shrimp of course make sure to at least fade everything out so I don't want these like Great Big Blocks without something slightly softer transition from them all right I think [Music] probably about where I need to stop fiddling and pop the glaze down if I do more steps I'll probably get out the uh the chubby 1M I think anywhere that you've touched you need to glaze we'll probably need to glaze a couple of times as well I guess make sure we let it dry [Music] all right so basically you can repeat this crazy step as much as you want quite fast really and especially after the first one you kind of chill out and get a little bit more used to it even if you make some mistake when you're mounting a brush like I just did it's going to be a semi transparent mistake as it is not the end of the world okay I need to sort out some of these outlying dots but we're looking okay so what's next well we can't go much brighter at my skill level very easily unless we start doing individual stippling could look really good I tried out some recently here looks pretty solid but um definitely not my strong point yet work in progress so what we're going to do is we're going to push the Shadows here so the bottoms of all of our sections the corners right up against where the edges have been highlighted by the dry brushing we're going to exaggerate so just the same mix that we used with stippling we're going to use it with a little glaze so take a nice healthy week a bed and black and the red that helpfully already contains work my fist done you don't realize how dirty my fist on red is all right might be too weak but better than two strong let's give it a quick test we're pretty careful here I'm ready at any moment to go to my water cup drench my brush to fix things but I think we are okay so ending our Strokes towards the bottom this might not be strong enough or there might not be enough on the brush but I'm more happy with that than I am with instantly ruining stuff in one game [Music] and sometimes even if you can't see changes happening you're still laying a foundation to make your next layer have a little bit of an easier job just like with the stippling so I think we can get away with more black what I'm going to do is I'm quickly going to use up the rest of the small mix I've got on my palette just repeating it in the same areas uh title Mark so spoke to you soon it's not it's not as subtle as we thought it's against being lazy don't think it's something we need to worry about though because as soon as we put a darker back down the hair that will pull attention yes I just needed to repeat it didn't need to go and get something darker and I'm glad that I didn't slightly rewarded for partial caution if not full caution okay so the circle's looking good I think actually in retrospect our wash was um our glaze rather was just absolutely fine now I might actually repeat the dry brush again [Music] because it's going to make our Edge highlighting easier right this needs to be soft powdery soft so coming mostly from the bottom because I don't need to take care of the tops hey at least we learned that with a dry brush rather than having to set ourselves up fully for Edge highlighting okay [Music] that seems scary though doesn't it it's thin enough and we don't start it anywhere but within the last ones that we did we should be okay so what I mean by that is if our last one went here to here this one needs to start within this not past it or on the lip we'll be careful [Music] maybe too much in the brush [Music] all right that's that's good so I'm just going to care if we do that Within the sections that we've already done all over with absolutely caution because it would be a real shame to ruin things now I'm gonna repeat the dry brush wanted to show it to you because it does make such a difference um we might obliterate a load of our black work that we just did but also any areas that aren't so smooth this should as long as we do it carefully this should give us the option to kind of smooth them out a little bit of that one powdery soft again and go up from the bottom but I'm also going to go side to side because I want to hit these lips or edges the at the bottom of the top part runs the risk of a slightly obliterating some of our highlights but I think we're good okay all right onto the scary bit time with the edge highlighting so we're going to jump in very shortly this looks pretty good this looks great I think this is a really high standard for Army painting all four characters in armies if you wanted to do it but of course you can try and going the extra mile with the edge highlighting one thing to bear in mind I've already touched on it I'm going to hit most of the edges on this you could just hit upwards facing edges you could just do this on someone's head you could just do this on someone's shoulders you could just do this on someone's weapon you don't have to do it from the bottom of the mini to the top of your mini and basically if someone looks at a mini they're probably gonna look at its eyes its weapon itch shield and its base so that's the places where I often spend the most time we've touched on this in our 10 rules video it's really worth concentrating on the good bits of the Mini or the bits that other people are going to look at because they're the same bits that you're going to look at so let's jump into how to Edge highlight again this isn't going to go perfectly this is how Edge highlighting goes we're not all God level painters we're not infernal brush you can go and see how someone who painted for heavy amount for 10 years paints it's like some really ridiculous painting robot he's nuts he's brilliant it's inspirational I'm going to make more mistakes than him which is probably fairly similar to you guys um maybe maybe not maybe better than me at this but the mistakes don't matter don't worry about it nothing that goes down isn't fixable so we've left them in here and you can see me screwing up just how it goes if you're setting a higher standard you've got to get there and it takes more perseverance more patience I did enjoy it though let's go now I'm not looking to do multiple you know like three or greater layers of highlights so it'll probably just max out her too because of that you won't see me trying to put down a fat one I'll show an example of heavy metal style fat highlighting here for an infernal brush it will be predictably gorgeous you know and be inspired and feel inadequate at the same time so we're going to be doing Edge highlighting using the edge of our brush this is the most forgiving type of edge highlighting so yeah it's my nail that's the piece with going like this this type is better like point on for a lot of things but also it is harder and way more technical so um we'll be doing the easier type right how to Edge highlight so I'm gonna get our brush it's pretty wet here I'm going to take a small amount of our color it's gonna remain pretty much on the end of our brush and then we just need to check the flow and consistency of the paint first so we want enough coming off that we don't have to go more than once and we want it to be leaving pretty easily I think that's about right we do not want access though choose somewhere nice and forgiving to kind of get our eye in brace firmly my um my wrists are pressed against the end edge of the table and then pretty close towards the end of the brush but still using the side whoops the bristles we're going to pop down our Edge highlights [Music] now something for you to bear in mind water is coming from here where we left it in the brush to the tip and it's taking the paint with it now if you edge highlight quite close to the ferrule or you know increase the beginning of the pain the water flow is going to start going out there without reaching the tip of your brush the moment you go more this way with an edge highlight so I'll exaggerate hugely if we were Edge highlighting like this the water flow coming out here means there's no more water flow coming through the tip of the brush and that means that the tip of the brush is going to dry out as soon as you stop the flow throughout the end of your brush the point after where the water's the next thing is going to dry out as a result I'm going to try and start my Edge highlighting towards the end of the brush and then if I have flow shoes I'll just step backwards in bits I'll do this a couple of times then I'll go and refill the brush if you are doing super high level stuff you'll notice that those people go to the palette a lot like a lot and there's only ever really paint in the very end of the brush um they are incredible at what they do they are geniuses really shows that is pretty timely though so this is the way that I've worked how to try and try and have the Best of Both Worlds at least a little bit right enough talking [Music] [Music] so starting to dry out a little bit there now for the entire process again water on the brush taking off the excess taking some of our paint which is diluted on the palette [Music] testing somewhere close to the model so it doesn't have time to dry out before we get there steady foam grip bracing with my fingers [Music] there we go now we try to include everything on this channel my mistakes my sufferings so um I'm not going to skirt around the difficulties of edge highlighting here um I'm going to show you the bits that are a struggle for me explain why they're a struggle and hopefully we can we can work out some ways to make them slightly easier or more approachable there are a couple of techniques that will really help and also there's some things that you can learn in terms of what needs doing and what doesn't need doing so one thing to note is that if someone is closer to a brighter section this stage of edge highlighting at least maybe isn't worth it so just don't bother really easy really simple so putting down our evil Suns next to the area that was you know very dark Blacky red it's going to show up instantly towards the tops of sections here at the top of the round bit I've not even bothered there's just no point because the next step I will ledge highlight with you know I might do it but it's actually going to possibly be dark in these sections so maybe don't do that you can see it's worked out really well here now I've been using the edge with the brush rather than the tip of the brush that is easier as we outline some areas that's just not going to be possible so I don't think I can hit this line that runs kind of down here I don't think I can manage that without using the tip and this line here which is in a horrible situation I really can't I could just about get an angle here my brush went in like this at the very very tip of it and I got a bit of a wobbly crappy one uh splitting a fourth onto the silver didn't matter we can fix that with washers so uh yeah I've done it everywhere that's easy I've noticed two things one is that I'm going to put some I'm going to quickly glaze some black in here because it'll make our Edge highlighting stand out and it'll look better and it's super easy I might do that now actually and then yeah the other thing that I noticed is that this one here it's really easy for me to like get it wrong because I can't use I have to be very close to the tip I'm just worse uh close to the tip of the brush so I've messed up a lot there and we'll just pop black wash in there so black washes for exaggerating good stuff and hiding bad stuff [Music] the first one we do not want excess on this so I'm going to run it down here and hopefully we can hide all my slips [Music] that went well all right now here these sections they should be quite forgiving and ready to quickly go and get some water and fix it if they're not I think they should probably be darker at the top so we're gonna go for that my Strokes are normally more control if I'm going down towards me so that's what I'll do [Music] oh my God [Music] then starting within the sections that we just did push the very tip [Music] how to redo much height as well no bad thing till while I'm here this River as well [Music] I think that's it cool okay [Music] [Music] we've got some really obvious bits that we need to fix it [Music] honestly some of this feels like it's worth doing in some doesn't so if you're wondering why I'm going to these uh these lengths I'm trying to demonstrate it but also I I am wondering the same thing so it's definitely a case for picking and choosing which ones you think are going to make enough of a difference that's worth your time if you do want to do this all right our brush has been washed thoroughly now stuff this hard I will be doing about a centimeter from my nose normally I'd absolutely recommend you do that as well um so I'll do a little bit we'll get to see me suffer maybe it'll go okay got my eye in but um yeah we'll try a couple of the hardest spots next to a review as well it's just nasty isn't it [Music] acceptable it's about acceptable [Music] okay cool that went that went okay the nastiest ones are remaining I'll try and do one of them and then the moment I make a mistake I'll take it off camera because I don't want to ruin this piece right the bottom bit is the most important bit where it's the darkest [Music] straight-ish [Music] I hear that'll do all right I don't know if they even go down that far but we can just glaze them out if they don't um cool we do need to uh we do need to pick up on them elsewhere though I think the angle is just a little bit too [Music] you can get it inside the brush [Music] cool all right final highlight now I know we used light uh sorry White um under our glazing step for the Final highlights on this but I'm okay with going towards an orangey red for the edges I think wild Riders kind of slightly peachy weirdly take a little bit you can always mix it with evil Suns due to the high portion of white that it's got in it anyway though um it should stand out pretty easily what I want to do with this is I'm just going to go for the tips and the upward facing edges [Music] I could actually just cover all over these and try and keep it in a [Music] foreign didn't show up as much as we'd like this should show up a little bit better it is brighter all right just out all over I guess it's definitely it shows up a bit nice in these lights are areas so that's good okay so shout out to Gareth Nichols for this one he was a hero of painting the nicest red that I'd seen when I was a kid and there's still an incredible painter and he actually finally sent me a guide for his red method so I've taken that and I've applied some of the principles which involves using the White and the Glaziers which we've already seen here I'm going to try and do it on the edges I've already tried on the right hand side here it's been semi-successful that's enough for me with Edge highlighting just like freehand so let's have a little looks we're going to take quite a lot of white [Music] tiny bit of red his evil Sons I'm going to take a fairly thinned mix and what I'm going to do I'll show you on the area that I've already done how I did it we're going to apply it the bit that sticks out the most not going to worry if it's got some hard lines at the edges don't worry about that it's just a little block is fine try and keep it as a thin one then I'm going to water down the brush if I leave it a bit more soften it what we're going to do is starting past it we're going to drag into that that's going to give us a little Fade Into either of those either side of it then what we're going to do it's going to take the same red glaze that we've been using all over dilate it a lot and we're going to do kind of the opposite so starting at the middle we'll drag outwards starting in the middle we'll drag outwards and making sure we definitely don't have too much on the brush we're gonna basically highlight a highlight with a glaze [Music] there we go and same goes for Dots you can see I've dotted the corners here we're going to do that bits that face outwards on circular bits bits that face upwards on circular bits and then corners and little tippy top corners of sections like this keep the glaze thin otherwise you'll basically obscure stuff but even if you do that you can just repeat it so uh yeah hold your breath let's go nearly done foreign 's going to overpower white pretty easily so yeah don't worry for it takes a few ghosts to get the mix right [Music] I see bits like that all right yeah we're gonna we're gonna do that all over and it's gonna be good apart from the top okay so on to the very very last step things went okay there but it's uh it's pretty clear that this is the bit that I am the least practiced at the year kind of precise finishing touches I've already done it before so makes sense right rinse brush thoroughly and what we're going to do is we're going to make a very very white heavy mix just has a tiny dot of red in there [Music] and with extreme care dots of edges corners you could absolutely pop it in the middle of sections if it goes wrong just glaze them [Music] and that works all right they're all over and we are done [Music] that's it that's the technique start to finish I think this looks great where it is really good you can actually take it further if you wanted but I think that looks super solid um it's more forgiving than you think using the smaller brushes means that you're less likely to make a mistake especially if the edge highlighting stages let us know if kind of that information about the brush was helpful to you and what you can also do with a chance to win one of our brush sets one of our texture palettes we'll post this to anyone anywhere in the world everyone's eligible all you need to do is make a comment and suggest what you would like to see from us coming up in the future of the channel I'm fine with General stuff I'm fine with specific stuff if you want to see like how to get more out of your time in the hobby how to have fun more how to do particular techniques whatever it is it can be General it can be specific let us know below how we're going to do it is even if you don't have a suggestion go down and just give a like to someone else's suggestion that you think is great we will pick the top five in terms of votes and the top five come events they will get a brush out of their choosing and a texture palette if they're choosing so go down below pop down a suggestion of your own and give your own suggestion like if you like so yeah go down give it a like to something and let us know what we can do to help you get the most out of your painting in the future we're really really trying to nail down in-person education like you would do in a painting class online and that's quite hard so we need your help with it let us know what would be the most useful what you struggle with the most and what we can help you achieve that would make you the most pleased and accomplished in this hobby all right then thank you so much for your subscriptions your comments your input your suggestions half the videos on the channel are because you've suggested that we should do them so carry on doing that and we'll carry on making them thank you very very much we'll catch you in the next video I don't know quite what it'll be I screwed up paying a series of Sigma all right I'll see you in the next video well done for sticking around give the edge highlight and a go I promise it's not as bad as you think foreign

Channel: Artis Opus

Views: 55,504

Keywords: warhammer, artis opus, tabletop, board game, wargaming, mini, miniature, hobby, games workshop, painting

Id: QhgldVNKHe0

Length: 41min 41sec (2501 seconds)

Published: Wed Sep 20 2023