Hello everybody and welcome to another hobby cheating video and today it's time to talk about swamp bogglers or as they're more commonly known cruel boys but I do love swamp bogglers his name. So we've got this guy here from the new Dominion box set which GW was nice enough to send to me one of completely unexpectedly so I figured hey, might as well do a tutorial for this guy and we're going to start obviously just priming it black but now we're putting some of that red primer over him the rotten brown primer. We're starting with a red because red is a great undertone for green skin because it's a complementary color. We're then proceeding back to a more standard zanithyl this is actually using styna-res ivory primer and basically I'm just shooting this from above making sure to create all of the nice volumes really just giving myself a leg out for the painting but the shadows are going to stay in that red color and that's going to be really important later when we add the green of the skin because green plus red becomes a more neutral brown and that will make for very natural shadows. I'm going to try to keep my palette and view here from most of the work so you can actually see what's going on but I'm beginning with the leho olive green and we're just applying a relatively thin base coat over the whole area. Nothing too exciting everything skin. Now I'm not getting it in the deepest deepest areas you notice how my brush is moving kind of quickly and I'm avoiding the deepest areas I want those to stay somewhat red. Once that's done I'm then going to take some whole red from AK Interactive but any brand of work mix it with my olive green and create more of a desaturated green color. This is going to be my shadow color so it's going to have these very naturalistic tones. The other advantage to this is because that red is worked in there it's going to feel like blood like life. Now I don't want to get into an argument of do works have red blood I don't really care. The point is that when you mix red into something the human perception of that thing is that it's alive subtracting red from things makes it feel dead. So by adding the red in it makes this green skin feel like it's more alive whether or not the blood is actually there. Now this time we've just mixed a darker version of it slightly deeper more whole red into it and this is going only in the deepest shadows so up against other surfaces up under his head in those deep scars he has on his face basically wherever the shadow would naturally fall. Now we begin the highlighting process and this is olive green plus the work color spear staff brown which is really just a yellow ochre any yellow ochre will work I just happened to quite like this one. I'm using yellow because it's going to produce that more natural swampy feeling when I think of works that live in a swamp they should have this natural tone to them and when we use yellows as our highlight color it just has a much more natural feel to it and so it's not going to feel crisp or clean it's going to instead feel swampy and kind of dirty. Now as I highlight here we're going to focus in a lot on the face and we're going to focus on those top areas from this point on what I'm doing is I'm integrating my highlight as 50 50 spear staff brown the yellow ochre and ice yellow which is basically just the cloudy sky from Camara that's just really an ice yellow color plus the olive green so I'm taking equal parts of the yellow and the ice yellow and mixing them into the green but increasing the amount every time so I'm never getting that pure ice yellow but that ice yellow is always being warmed up some by the yellow tone and a lot of this highlight action I'm focusing very much in my paint time on the face and on the upper areas because that's where most of the lights can fall but also the face is where we want to have the most in detail these guys have a lot of really wonderful expressions in their face the scars their nose their the little ridges as they for their brow we want to make sure we bring all of those out I'm using relatively thin paint here it's a thin layer consistency it's certainly not a glaze I'm still wicking my brush every time but just again you can see I'm trying to create that light that brightness on the face now this is meant to be a tabletop job but overall this is pretty fast work this guy did not take me a long time to do and you could easily replicate this across a whole army but I'm using a traditional layering method just bringing the light up and up and up and in fact when I highlight with these highest highlight colors I wasn't actually working past the lower top of the body so those final highlights were only on the face the upper arms etc now I've mixed the whole red into a very thin glaze and I'm just going to go around and I'm going to retouch all of these deep scars and shadow areas but softly with this glaze work it into places like the lips the lower cheeks now I take some of that whole red I'm going to mix in some of that icy yellow which will give me a wonderful pink color and we're going to use that to create a little bit of pinky pink highlights on the orcs face which really just has a great way of selling again that this is a living creature so the lips the nose maybe a little bit in the ears wherever there would be blood quote unquote near the surface maybe right under the cheek the elbows the knuckles the knees basically those kinds of areas when you integrate just that little bit of pink tone into that green yellow it really makes the rest of the green yellow pop because we're playing here in complementary colors reds and greens you can see how much more that face stands out once just that little bit of pink is added now for my final steps here I'm just going to show you through the whole process of me cleaning it up I'm just taking the previous layers of this is some of the not quite highest highlight and I'm working my way around the miniature smoothing everything out making sure that all my highlights are popped up where they should be like the chin maybe taking a mid step and smoothing a blend that didn't come out quite great that sort of thing but you can see how much brighter the face is than anything else especially the lower part of the body which I want to be more in shadow especially as they're probably standing around in swamps or knee high grass all day now I'm just going to slowly take those mid tones and smooth it out one of the advantages of working with yellow as your highlight is yellow is quite naturally transparent in miniature paints which means that yes it doesn't cover as much but when we're talking about blending it gets a lot easier my last step is to take some pure olive green and work it into a glaze and you can see just how thin that is basically a filter there and now what I'm going to do is just do a nice little quick glaze not over the highlights but starting in about the mid tone area up into the shadows you notice that my brush is pushing into the shadows okay and I'm just doing this to get a nice filter of color on there some of that is a little too red so a green filter over top rings it back into clarity so there we go there's our finished swamp boggler I painted the rest of him obviously this is just for the skin the rest is pretty standard techniques if you want to know about the leather you can see that up in the top right as I just did a leather video recently so that's where you can find information on that so I hope this lets you get your cruel boys on the table if you liked this give it a like subscribe for more hobby cheating in the future if you've got questions drop them down below always happy to help but I do hope you enjoyed this one and as always we'll see you next time