Welcome back to our lecture series Math 4220 Abstract Algebra 1 for students at Southern Utah University. As usual, I'm your professor today, Dr. Andrew Missildine. This is the first video on lecture 12, which begins our discussion of cyclic groups, which is the main topic for chapter 4 in Tom Judson's Abstract Algebra textbook. This lecture will follow the majority of the content from section 4.1 entitled cyclic subgroups. And so we want to actually define now this titular topic, what is a cyclic subgroup? Well, it turns out that oftentimes a subgroup will depend entirely on just a single element of the group. That is knowing that the particular element, knowing that particular element will allow us to compute any other element in the group in the subgroup, I should say. So suppose we do have a group in play, call it G. And let's take an element inside of the group G. We'll also call it G, but lowercase G. We then will denote the set angle G angle. And just to be clear in terms of the latex, this would be backslash L, A, N, G, L, E, langle G, and then backslash R, A, N, G, L, E, wrangle. Don't use the less than or greater than symbols to work on this one. So we're going to take, the angle G angle, and this is defined to be all of the integer powers of G. So this would include things like G to the first, this will have G squared, G cubed, G to the fourth, right? I mean, it has all integer powers. So it would have G to the zero, which is just the identity, it would have G to the negative one, which is its inverse, G to the negative two, which is its inverse squared, etc. Now, admittedly, it could be that there is some finite number that makes this thing equal to the identity, like maybe G to the fourth is equal to E. So some of these could be repetition, that's okay. So this set that you take the powers of G, we claim that this set is in fact an abelian subgroup of G. And this is referred to as the cyclic subgroup generated by G. And we're going to in fact see that this cyclic subgroup is the smallest subgroup containing the element G inside of the group G. So for this discussion, we're going to use capital H to denote the set, this set generated by G. And we want to argue that this is a subgroup. So let's first, let's first show that it is in fact a subgroup. So let's take two different elements that live inside of H, let's call them H and K. Now, because they live inside of this set, H and K can both be expressed as integral powers of G. So let's say that H is G to the N, and let's say that K is equal to G to the M. Now, to show that this set H is in fact a subgroup, we have to show it's closed under the multiplication here, it's closed under binary operation. So H and K were arbitrarily chosen from the set H. And because they belong to H, we're able to use these identities here, right? What happens when we multiply H by K? Well, since H is G to the N and K is G to the M, we multiply those powers of G together. But by the exponential rules that work for every group, G to the N times G to the M is the same thing as G to the N plus M. This of course being a consequence of the usual associative law of a group. Notice then that H times K can be written as a power of G. So it belongs to the set H itself. This shows us that H is closed under multiplication. Now, when one's proving that a subset is a subgroup, you don't have to prove associativity because an associativity will be inherited from the larger group. But as that group isn't necessarily abelian, we do have to specifically prove that the operation for this cyclic subgroup is a commutative operation. Hence, that cyclic subgroups are always abelian, even if the overgroup is itself not abelian. So to see that H and K commute, because again, H and K are still arbitrarily chosen right here, we're going to get H times K, which as we saw a moment ago, this is G to the N plus M. But in terms of the exponent laws that we prove for any group, this again, this is derived solely from associativity, that G to the N plus M becomes G to the N plus N, which then can be factored as G to the N. That's a typo there. Sorry, everyone. You'll only even notice it. And then G to the M times G to the N is equal to K times H. So this shows us that powers of G will commute with each other. And so the cyclic subgroup will be, it'll be an abelian subgroup, assuming that even is a subgroup, we haven't finished that fact yet. To finish showing that it's a subgroup, we do need it has the identity, which we can see very clearly right here by definition G to the zero is equal to the identity of the group, which we're calling it one right here, as it's a multiplicative group. So H contains the identity. What about N versus? Well, that's also pretty easy, because if you take any element H inside of the set H, it can be written as G to the N. But because we take all integer powers of G, we will also contain G to the negative N.  G to the N is just G inverse N times, right? And so the inverse of H is contained inside of capital H. This now shows us that H is closed under the inverse operation. And in fact, it is an abelian subgroup of G. So this cyclic subgroup generated by G, we've now established is, it's always an abelian subgroup. Now to show that H is the smallest subgroup of G containing this little element G, we have to kind of first make sense, what does it mean to be small, right? This of course means that if we take any other, any other subgroup, any other subgroup K that's inside of G, and little G belongs to it.  So this is what we mean by H is the smallest subgroup. And to show that H is a subgroup of K, we really don't have to show it's a subgroup again, we just have to show that it's a subset. Because the subgroup relationship is transitive, a subgroup of a subgroup, you know, if H is a subgroup of K and K is a subgroup of G, then H will be a subgroup of G because if H is a subgroup, is a group inside of K and K is a group inside of G, then H will be a group inside of G, right? So it suffices just to show that H is a subset of K, that's what we mean by H is the smallest subgroup that contains little G. All right, so with that, with that clarification in mind here, let's go about showing that here. Suppose that K is a arbitrary subgroup of G that contains little G. Now, since K is a subgroup of G, it contains the identity, right? And this is going to act like a base case because this argument is going to follow by induction. Because after all, the cyclic subgroup is going to be integer powers of little G. So we're going to play induction on the power of G. So K contains the zero with power. For our inductive hypothesis, we're going to assume, so this is our inductive hypothesis right now, we're going to assume that the nth power of G belongs to K, all right? And again, this isn't too much of a stretch, right? Because if you have the identity, we also have G by assumption, you're going to have one times G, which is G, you're going to have G times G, which is G squared, you're going to have G squared times G, which is G cubed. This is the train of thought we're going down right now. So suppose we've now argued that G to the n is inside of K. Well, since K is a subgroup, it's closed under inverses. If it contains G, then it'll contain G inverse. Likewise, if it has G, so that's one thing to be aware of. Let's see. Likewise, it'll contain the inverse of G to the n, which G to the n inverse is G to the negative n, since it's closed under inverses, it has that. And likewise, our group K is closed under multiplication. So it'll contain G times G to the n, but that's just the same thing as G to the n plus one. And likewise, it'll contain the element G inverse times G to the negative n, and that's just the inverse of G to the negative one. That is, it's G to the negative n plus one. And so then we see using our inductive hypothesis that G to the n was in there, that we get all integer powers of G. And so therefore, because K is a subgroup and it contains G, it'll contain all integer powers of G. Well, as the integer powers of G are just that's what H is defined to be, this then shows us that H is a subset of K. And like we mentioned earlier, this then proves that every subgroup of G that contains little g will contain its entire cyclically generated subgroup. In this case, we would call it H.


Late that afternoon at Uncle Heinrich's house, there were people sitting around in the living room and there was a coffin in the middle and Anne-Marie was sitting there as well and she was watching everybody in the room and just then a soldier came to the door. He banged on the door and opened it and he pointed to Anne-Marie and said, who's in the coffin? Who's there? And Anne-Marie responded and said, my Aunt Birdie, she's in the coffin. The soldier went up to the coffin and he put his hands on it. If you're curious to know what happens, go ahead and read.


Oh my God, what is in my eye? I can't see. Dude, what the hell? Okay, there I am. I see myself now. And I see you. What's up, beautiful?  And welcome back. Yo, today's we got some juiciness going on. I mean, we always get some juiciness going on here, but let's talk about overtone. The overtone adds, I am the opener. That's me saying I love overtone. And guess what? So, you know, when overtone released the ad before this one, I was briefly in it, okay? And there was plenty of comments saying, Brad, do you know you're in this? Do you know you're in this?  They're using your face. Oh my God. Ooh, ah, ooh, eat. And let me tell you one thing first. I love you guys. Y'all mean so much to me looking out for me. I see you homie. I see you looking out for me. I mean, y'all are in like everything to me and thank you for sticking out for me, even though I knew I was in the ads. And today's video is also a sponsorship by overtone. Thank you, overtone. Greatly appreciated.  That ain't true. That'll never be true on my channel. I always and only, and well, only ever sell products that I genuinely am obsessed with. And listen, before any of the sponsorship stuff came about with overtone, I used overtone and talked about it for nothing. So, you guys don't believe me then.  Ugh. Listen, I even used overtone when I did that split hair color moment. This one, it was really good. It came out really dope too. I gotta admit it. It came out really dope. Like it was pretty good. It was good for me. Enough of that. I wanna talk about overtone today and we're gonna talk all about colors, all about some new stuff they have going on, all about really exciting overtone things because guess what? Overtone's f***ing man. We're gonna put some overtone colors to the test today. We're gonna see if they live up to my expectations that I already have of Miss Overtone, okay? We're gonna really check them out up close and personal. We're gonna get in there. Even though this is a sponsorship, I'm not gonna hold back. Overtone was like, give us your honest opinion. And guess what? I'm gonna do just that. We're gonna be testing six overtone colors today. So if you've ever been curious if you should be using overtone on your own head, which I know most of you guys are because I get asked all the time, does overtone work and should I use it on my own hair? Well today, ma'am, we're about to answer your question. So let's do it. Let's first review what we're reviewing today. We're gonna be reviewing these three earthy shades and these consist of Honey Brown, Expresso Brown, and we have Rich Black. These are Overtone's three earthy shades and oh, don't mind the writing on the top of these. This is just because when I put them away on drawers I can just look down and be like, ooh, I want that one, ooh, I want that one. It's just like a way of me organizing. So yeah, that's that. If you're not into like, you know, fashion colors, extreme, crazy colorful colors, you can always use natural ones. Some earthy shades, if you know what I mean. So we got three of them. We're gonna test all three of these out. And then after that, we have two extreme colors. One is extreme red, we're gonna be testing today. And then we have extreme purple because I just feel like those are pretty color. Okay, perfect, we're gonna do those. And then we have their limited edition turquoise, which, ah, I love turquoise. So we're gonna test that today. It looks sickening, so I'm excited about this. All right, let's get testing on this mannequin and how easy they are to apply and to use. So let's do it. I know this looks a little creepy right now. I'm just doing it for this mannequin's sake, okay? I don't wanna get color all over her like I always do, okay?  All right, now this mannequin's all prepped, she has a coating of conditioner on her forehead just so I don't get it all color all over her because that tends to happen. Cause you know what I'm messy. As you can see, we have six sections laid out here. All right, we're gonna do this half with the earthy shades and the other side with the extreme shades and turquoise. Up first, we have honey brown.  And normally I would probably use a brush because I just like brushes and I'm just taught like that, you know, in hair school to use a brush for everything. But I wanna show you that you can use it with your hands because I know a lot of you guys are just gonna use your hands and not have to buy more stuff to like then apply the color with. Wow, this looks pretty. But yeah, so hands easy, you can also use a brush. You can do whatever you want really but oh my God, it looks like fudge. So this is gonna be overtones very, very warm, bronzy, brown color. I'm already seeing it. Ooh, lots of like very rich undertones going on in here. I'm gonna get right to that root without getting it too much on the face. And what I always say with this stuff, guys, more is more. The thicker coat you have with overtones, the better in my opinion. I think that's with like any color line. You just really need to coat every single hair strand or you're not gonna get consistent color all the way through. See, like that is good. Like it looks creamy on the hair strand. So that is one piece done and let's move up the hair and it's already changing color right before my eyes. Ooh, girl. Basically the ideal starting color is platinum blonde for this. It's gonna really be super rich on platinum blonde but you can definitely use it on all kinds of blonde hair. With this one, you can tell it's, it looks like a pretty, you know, light color. It's definitely not like a dark, dark brown. So you're gonna want something that's one to two shades lighter than this in order to achieve this. Typically I would recommend two shades lighter. And we can even comb this through. It is very conditioning so it's really easy to comb through. There's no developer in it so it's not going to cause any damage. You're actually gonna have healthier hair after using this 100% because this is a deep conditioning formula and it's gonna make your hair really feel amazing after that. You'll see how silky the hair looks after using overtone. All right, so this is processing beautifully. Let's finish the section off and then move on to the second color. And done. That is the first color complete. And our next earthy shade is Expressor Brown. Let's give her a try. Again, we're just gonna section out. Doesn't need to be neat. Doesn't need to be like crazy. Just, I like sectioning, you know? That way you know that you're getting every hair strand. And look how pretty, ooh, girl, hi. This is gonna be your dark brown with golden undertones. Oh yeah. Oh, that is rich. This is some rich girl color, honey. We're gonna rip those roots with our fingers, you know, right in there, okay? And normally, you know, this will come off of regular person's skin but today I don't have regular person's skin. I have a doll. So this color is gonna cover most hair colors. You can really get away with, you know, starting with a deep color but of course it's gonna look just more vibrant on lighter hair. But just make sure it's at least one shade lighter. So I hope that makes sense to you guys but if you're starting color is any lighter than that, you're just gonna get a lot more vibrancy. All right, I'm breaking out the brush. I was getting too messy with these sections here. If you're gonna do one head, one color, it's one thing but guys, I'm trying to do like six different ones so we're just gonna keep it organized and we're gonna use a brush but you can definitely apply with your hands. Also, the coolest part about these conditioning colors is that you can use it straight out of the bowl. You don't have to even use another bowl. Like normally you have to squeeze the color into a bowl then you have to wash the bowl after you're done. No, dude, I just go right in. I go right in, girl. No shame, no harm, no foul. Up next, now we have Rich Black and this is our last earthy shade on this side so let's get to it. Oh, girl, that's black. You guys are probably gonna be like, well, Brad, you always tell us to go to a professional, right? That's true, that is very true but there are some things that you can do at home yourself that I feel very comfortable that you guys can do yourselves and this is one of them. Because this is only depositing tone into your hair and not lifting, there's no possible way to fry up your hair. There's no possible way you're gonna end up with a bald head. That is why I, Brad Mondo, say that you can use this hair color at home. I love that, it's the first time I've ever said that. So as you can see, this is a very, very, very dark black.  Oh, girl, it is rich and it is really turning that hair of a different color. Something about hair just turning different colors is like so fascinating to me. And so this color, if you have a dark hair color to start with, this is gonna be your girl or your boy, whatever you want it to be. I'm not judging. Because it covers pretty much every single hair color but ideally, you know, if you can start off with a lighter shade, two shades lighter, this is gonna be your bae. It's gonna make your hair really, really dark. I'm interested to see how much pigment is actually in these colors because you can always tell a cheap color from an expensive color formula because cheap color formulas, you'll see kind of like a cast of the color but it won't be rich and it won't have depth. And when the color line has good formulation and good ingredients, that's when you're gonna see that very, very rich, rich tone with depth to it. So we're gonna definitely test that when we're done with this. Let's just cruise through this and finish this last section and then we're gonna get to some fun, crazy shades on the other side. Again, guys, lay that color on there. You're gonna get more vibrancy, the more colored you lay on there, all right? Those, my friends, are the three earthy shades. So we're gonna go with this process and while we're letting this process, we're gonna start on the other side. And next up, we have Extreme Red. I'm really psyched for this one, okay. Because girl, it looks like blood. And I love blood. You mean it to be that creepy, but. Can you see now why I covered it with Suramup? I swear, I'm not that creepy. I just wanted her to be covered and safe. She is gonna have the color of the ear, honey. Girl, it is so bright. They're not kidding me, it's the extreme. These are their extreme colors, honey. And Overtone has so many shades, so many different shades. So if you're looking to have purple hair, blue hair, pink hair, any kind of color, you can find it most likely on the website. They also have different vibrancies of each color. This is the extreme, so this is the brightest red color that they have.  And of course, you're gonna get the most vibrant results, like I've been saying this whole video, on blonde hair. I chose to use this blonde today because I wanted to show you just how vibrant it can be. But if you're gonna go down to a darker level, you're not gonna get as vibrant as results, but it still is going to make a difference on your hair, no matter even if it's like a light brown color. You're still gonna be able to see that red, but it's gonna show more in the sunlight rather than all the time, like you're gonna see with this one. All right, let's just quickly run through these next few colors, then we'll talk more about the actual product.  Wow, girl, this is definitely extreme red. And our next color is extreme purple. Let's do it, let's put this on there. And you guys, I will run over more information about the product once we have all this on. I swear, I'll tell you more, okay? I just wanna get this on real quick and then we'll talk. All right. Oh my gosh. Gosh darn it, this is purple. Did I get my hair? Girl, one stroke of that and you got some purple locks. Hello, this is some purple hair. Guys, when you're putting this color in, break up the hair with your hands, smush it in there, do whatever you need to do to make sure that every hair strand is covered. Or else you're gonna get spotted and nobody likes a spotty-headed color. Swear, nobody does. Ask your mom, she doesn't like it, neither do I. Okay, let's apply the last color and this is the limited edition turquoise. Oh, girl, let's see this turquoise. I am a turquoise. Fiend is my go-to color. Let's check this out. And bam! Ready to have turquoise, all right? Not gonna lie here.  They're so fun. And now ideally for the turquoise shade, you're gonna wanna start off with a lighter blonde than this, ideally platinum because this blonde that I'm working on right now already has a lot of yellow undertones in it. It's gonna come up more as a greener tint because that blue is gonna mix that yellow and it's gonna produce green, but that is how color theory works. And if you wanna counteract that, you can also just mix in more extreme blue into this turquoise overtone. When I blow dry this, it's probably gonna be more on the green side than turquoise. Just wanted to tell you that before you see the finished result. Okay, so that is all the colors. That is six different overtone colors on this head. We're gonna let that process for 10 to 15 minutes and I'm gonna rinse it out and blow dry and I will be back to share more information about overtone that you might be wondering. I'm excited. And here we have it. Oh, are you kidding? Are you joking?  I'm obsessed. Oh yes. Let me just run through some quick details about overtone. Okay, when I was rinsing it out, I was a little worried that the colors would bleed into each other, but because the color is so thick, you don't see a lot of the color running out and they didn't mix at all. As you can see, this dark, dark purple and this turquoise didn't mix at all. Like you don't see any purple residue on the turquoise, which is really cool and really impressive. Also, can you look at this pigment we have on here? Oh my God, here are some pictures of that.  That is amazing. Just important things that I don't even need to say, but I would like to make a point of overtone is vegan and cruelty free color, which is so exciting, I love that. So you're also gonna find colors like extreme purple and extreme red also come in the daily conditioner and this is just gonna maintain your colors. I like to use the color conditioner to first do the color and then use the daily conditioner to keep up with the color. So both great products, that is the difference, the daily conditioner does not come in the earthy tones and the turquoise because it is limited edition, it is only gonna be around for a very limited amount of time. So if you guys want the turquoise, get on that. And this is only available to purchase with the complete system, which includes one daily conditioner and one color conditioner and one two ounce travel size. So you always have that fresh color on the go, honey. So to end this video, I'm gonna do a quick inspection of all the different colors we tried out and I'm gonna show you guys up close what they all look like compared to what we started with. So let's do that. The turquoise. Oh, yes. Like, what, should this be my next color? Like, it really does condition. Like, I know I'm sounding like I'm gassing up over telling like crazy, but I'm just generally telling you guys how I feel about the product. Yeah, it's a very, very conditioning product and it makes the hair feel a lot better and a lot smoother. And let's move on to the purple. The purple looks fabulous too. It is highly, highly pigmented. It is a dark purple girl and this is the extreme colors. So they're gonna get as much pigment as possible, which I personally really like, you know. The red. Oh my gosh. This is honestly crazy to me because I've used a lot of color lines in my life and I don't know how many of them have a red, a true red that is this vibrant. It is highly pigmented. Highly, highly, like look at this. On camera, I'm looking at it on my monitor. Whoa. That is one coat and that is like dark. Like there's no undertones of like purple. There's no undertones of like orange. Like it is just pure red, which I love. Now onto the black. And girl, they are not kidding when they say it's an inky midnight black. It is dark as hell. It's black. Okay. It is like the blackest black. I really like this. Even though it is like an inky color, like it has a little bit of like purple undertones to it. Like blue, it has a lot of shine and luster. And you can tell it's a very high quality color. And then let's move on to the brown bits, which I think this is just like a beautiful natural color. It picks up differently on different tones. So if you have like pre-highlighted hair and you put this over it, it's gonna like keep those highlights there. It isn't gonna change that. It's just gonna add to it and add more dimension to them. It's like kind of a neutral brown. It's beautiful. And this is going to be our honey brown. So it is a mega warm, warm brown. And again, super rich, super beautiful, great. This is super pretty for those of you with, you know, warm skin tones. I mean, it's just a gorgeous, very shiny, lustrous color. It almost has like a little bit of an orange undertone, which I really dig. And yeah, I love that. So those are the six different colors we tested today. You guys can be the judge. I don't need to gas up over tone. Like you can just look at the evidence. It's dope. And you guys, I have this really obnoxious light here and I wanted to show you like the shine. Okay, that's all. And one last thing before I go, all these colors are available to purchase at overtone.co. And they are $29 besides a turquoise one, which comes in a package for $47. And the website will be linked below for you of course. And that is all for today. That was fun.  I love that this is my job to play with color. If you guys end up using overtone and color your hair with it, send me a picture. Tag me, tag overtone. I'd love to see it. Make sure you follow me on Instagram, apprime on my NYC and my brand X-Mondo hair. And thank you guys so much for watching today.  And I will see you all next time.


Hello everybody and welcome to another hobby cheating video and today we're going to paint a or attempt to paint a serif on army in 24 hours will we make it who knows am I recording this after I've already completed everything maybe it's hard to say you don't know but at any rate that's what we're going to do and a couple quick notes you're going to see me go through a lot of different video on my process here some things I narrate over some things I'll talk over the actual process where apropos in any case obviously throughout there there's a lot of hours you're not seeing I think that's probably obvious also about what we're what I am capturing in that 24 hour window I didn't count any of the priming work or the prep work although I'm going to show you some of the prep I did beyond just a standard zenithal to make it easier for me to then paint I also did the bases completely separate so you know all in this is probably actually more like a 48 hour project when you consider the bases and the prep and stuff for everything but the goal here is to paint the army in in a day in 24 hours that 24 hours is spread out over a three day period over a weekend Friday Saturday Sunday so that's I do sleep a little bit in the middle year I can paint for a long time I cannot paint for 24 hours straight so that's the setup I'm going to take you through how I attack speed painting challenges like this where you've got a lot of figs and you want to get them on the table fast and you want them to look decent so that's what we're going to break down so with that let's get right into the video okay so we're going to start off here with a little all overwash of agrax earthshade obviously this footage is sped up because I don't think you care that much about what I'm doing but I'll just talk about my prep process so I started with an all over light brown basically to prime them and then I went with a sort of pretty ivory color like a fairly bone color from a 45 degree angle and from above then I took some basic white mixed it in and shot it from 90 degrees so that was my sort of zenithal scheme now these guys have a lot of texture so I wanted to bring a lot of that back out hence giving them a nice agrax wash once that's done then the goal was to add some detail and some texture back in so we took some pale sand which is a nice sort of mid ivory and we just gave them a good all over dry brush focusing on dry brushing down and the upper parts of the miniature to really bring out all those scales those ridges those detail for the later steps alright so now it's time to head to the airbrush booth and we're gonna start with a thin coat of contrast paint so we're gonna use some griff hound orange this is thinned one to one with my traditional mix of thinner and flow improver just gonna kind of hit them all over contrast paint is great for this kind of a base color step because it's so naturally transparent it just makes it easy it flows through the airbrush smooth it spins down wonderfully and most importantly you see how it's preserving a lot of those darks the next thing I'm gonna do is grab an ivory color in this case this is just ivory from pro acrylic thin it way downs this is maybe four to one with thinner to paint and I'm gonna just go and re add in some spot highlights so that way we up that contrast hit things like the side of his head the top of his back those areas that I really want to be popped out to be catching the light he's in a very hunched position once that's done we then make up a mix of Camara colors orange and cold yellow with a little bit of flame orange dollar roundy ink and we thin that way down six to one with thinner and we're just gonna kind of give that a quick all over coat to rig enriching rich yeah to make the orange look more orange that's what we're doing this is a more traditional orange color and it'll give us a lot more variance and it really brings out the contrast in this guy so that's what we're doing on this step now we can't stop there so once we get that covered up then our next step is going to be to bring back in add some more yellow to the mix so I added some warm yellow from Camara colors thinned down just the same and then I go ahead and build that in as a higher highlight all right so I'm two hours into the 24-hour army project two hours and 12 minutes to be specific and we've made some good progress so everything is orange and there'll be pictures and stuff you'll see everything is is orange you'll have seen the video to get to here obviously there was a lot of airbrush layers I have the clock paused at the moment I'll all interject every so often to do these little updates so this was a lot of different layers and stuff to get a lot of nuance in there orange is a really tricky color and I wanted to take the time with the airbrush so now though we've gone as far as we can go with the airbrush but two hours out of the 24 to get you know good coverage on a majority of the model and a lot of solid base coats with still good gradients down I feel like was a good use of time so at this point now we're going to move over to the desk and we'll see what we can do from there we've got a lot of a lot more to do but where you'll see how we attack it I'm pretty confident at this point we'll get to the the full project and we'll get everything done within the 24-hour span but only time will tell so back in just a moment all right so as mentioned we're a little over two hours in we've got a bunch of orange dudes they're very orange here they are so orange so now it's time to add some other colors to it but of course my palette is all set up I've got my other I've got all the other colors I'm gonna use because what I'm gonna do is go one by one and hit all the other elements that are non metallic so some of these guys have metallics on them when they do I'll come back and do that last that's just so I can seal them before I put metallics on there but the and I'll all roll the colors up on the screen as I as I go through them but as you probably noticed I I also went ahead and whiten the sort of you know the hands and the tummy up a little and that's so I can then go in and rebuild some colors because I have the same orange and yellow mix that I used on the model itself here on my palette so I can go in and the first thing I'm gonna do is just make sure that you know any areas I want to be nice and well-defined are are like the thingies you know I want those those areas to kind of stand out the toes even though I'll end up I'm not gonna spend too much time on the feet because I'll end up putting like some probably pigment on those at the end because these guys have bare feet and walk around in the dirt so I'm not too concerned about their feet it's just gonna be kind of dirty dirty feet but this lets me hit these appropriate areas just even out some colors if I need to get all my oranges in place make sure everything looks right just some minor touches we've also got some deep brown here so I've got some like burnt umber mix if I need to go in and realign anything like if I want to hit those fingers get a nice dark line between there get those elements nice and separated I can do so real fast so stuff like that go around hit all of those make sure I have a nice line around the eyeballs most of time I do just anything if there's a spot that kind of got overshot with the airbrush or anything like that I can command and correct it here very quickly so once all that's done then it's time to turn to our next largest element which is these big scales that he has on his back these guys have a whole bunch of big giant scaly plates because you know their source and they're tough so we're gonna start with just a good amount of black I've got some pro acrylic and Avedon black I like both of them one's a little satin one covers a little stronger I'm literally just gonna come in and hit all of those and as I start removing the orange it'll actually make the orange that remains feel brighter and more impactful it's one of the weird elements of things that we only really notice colors in when they're put against like you know things to contrast them and it's one of the reasons we try to put so much contrast in our models it creates a visual interest and when you do something like run a nice dark color against that orange it will make the orange feel brighter because it's sitting next to something dark a white dot just sitting on a screen of white doesn't look very bright a white dot sitting on a screen that's completely black is very noticeable right so just quickly work my way around the many hitting all of the various scaly plates that he has not worried about being too perfect this is meant to be a speed paint and there are like 50 of these dudes and they're just normal Sorus so if I make a little mistake or something honestly who cares one of the important elements you know I made a video recently about you don't always have to paint your best and I think that's true when it comes to a project like this you know this is a fun project to see can I get something painted it's fun and looks cool it'll let me get an army on the table in 24 hours the time is obviously arbitrary I just picked it because it's a it's a round number and it doesn't really matter the point is a lot of times people beat themselves up on like having a perfect paint job on stuff that in the end you would be much better off having more stuff painted and learning more than you would worrying about trying to get perfect base coats or something like that that's just generally a big waste of time if you're really concerned with painting something at a high quality then it's more about the refinement stage when you're fixing things at the end then it is about trying to make it look perfect right up front okay so a couple little plates left you've got a bunch of them they're hiding all over the place sneaky little things so once he's got that black on there right you can tell how much more that orange really stands out now however that black is a little too stark and a little too flat and a little too boring so what we're gonna do is we're gonna add in a little bit of blue so I've got some hold your blue mixed with some blue black ink and what I'm gonna do is just kind of start lighting the edges here of some of these plates hit the lower sides if I miss spots then this will also make sure that it covers over the reason I'm gonna go to blue here is because blue is the complementary color to orange and as I continue to climb up the blues here in the next couple of steps you'll see how it really makes it pop out and stand out having the two bright colors next to each other will in the end make both of them feel more impactful and painting something like lizard men or saur serif on or whatever we want to call them the reality is it's one of those chances that you you don't always get where you can just go nuts right like these guys can be so wacky colored because they're meant to be you know walking around talking living dinosaur lizards like what a great chance to just go crazy with color schemes okay so now I'm gonna mix in a little Adriatic blue and it's something brighter now on a job like this I don't want to mess with blending I don't have time for it and but I don't want it to look bad or at least not as bad so instead we're gonna go for texture so you'll notice how I attack this sorry we would notice if I was on camera like a dumb dumb what I'm gonna go for here is instead you see how I'm just doing this like stippling and hashing this these scales have texture so instead of trying to actually just paint them and create something smooth I'll just hash at it or stipple at it okay and what that'll do is it'll make it look more like a natural pattern it's a nice cheat especially on small spaces like this adding texture both makes it feel more realistic because it is a natural creature and also is just faster and easier to do so it's a win-win we'll mix in a little bit brighter blue so I'll take that same blue we'll kick it up a notch with a little bit of ivory and then we'll just very lightly hit the edges there I need to switch brush sizes on this one so then we can just come in there and do some nice then we'll do more like a tiered in a type pattern on this on this central ridge and then on these other ones we'll just scatter around some dots don't have to put them everywhere on the scales that are kind of more low down in the lower areas maybe we don't go as bright you know because those are more in shadow so we can use that to our advantage so there we go now we got a cool pattern on him if it's too stark we can always go back into that original dark blue and we can always just kind of stipple over the middle area there and kind of create a little transition fast and easy no big deal but again this is more about impact from you know a distance and I think that looks good enough all right so let's keep moving around this guy we got lots more to do and we got like 50 of these idiots all right we're gonna start with all the base characters like whenever I'm doing a big job like this I'm starting with the the base troops first get all my source all my skinks done then I can spend more time on the the actual models like that characters and stuff like that that I really care about so here I'm gonna take some black leather hit the tongue go around the teeth just get that area nice and dark as we start picking out those elements his face will come into his face will come into play he also has a little horn these sources have little horns on the tip of their nose they're a little like rhino sources the old school ones so hit that part cool good stuff easy peasy now we'll take a little bit of an ivory flesh tone mix and I had hit the belly with a lighter color and so let's go ahead and keep building that up so now we're gonna pull toward the center and just give him a nice light little under belly and you know so I was constantly pulling the paint toward the middle I got a little little bit of paint on his thumb thumb there wipe that away good to go I can take that same color and I can go ahead and just side swipe these teeth they're very little but they'll respond well to just basically a side of the brush quick and easy now he's got little teeth ease her getting mean getting mean let's take that same white mix and this is the key one of the keys to speed painting is stop changing paints use as much as you can as often as you can let's get them little tiny eyeballs for as media as this guy is they do have little tiny eyes so now he's got some some good eyes okay while we're at it we can take that ivory and we can hit things like this wrap down here on his club his backup club you can add a little extra up here to to this one so the wrap up there we can get the little rope that's around his belt again we'll go for just sort of a light step along it doesn't really matter it's a tiny element we're just picking out those elements just moving quickly let's take some some intense wood we'll go ahead and drop that on there in the part that's actually meant to be wood the magic paint now we got to hit this little Tabard he has down here at the bottom so for that we're gonna go for a little bit of a dark green color just a minor complementary colors all this still has some strong blue with the tones in it you notice I'm just working around working quick hitting everything I want to hit letting things dry and then coming back so go back to the tongue now I'm gonna go for now I'm gonna go for another brighter color some Indian shadow from scale 75 and we're gonna just go ahead and trace that tongue out with a little brighter color there get a look in a little more more tongue colored I assume these guys have normal color tongues I don't know though you know maybe like these lizards would have black tongues I think a lot of creatures like that have black tongues but yeah I don't know he's gonna still have a normal colored tongue let's go ahead and de-satrate down that and highlight up this cape a little bit or Tabard or whatever this thing is I don't know his little loincloth I guess maybe that's what we'll call it his loincloth just add a quick highlight there pull just a tiny amount of ivory into that we hit that edge apart there by de-saturating the color through those highlights will actually make it so it's not as contrasting because it doesn't have as much of the green in it when we knock that green out it becomes less contrasting let's use that same green mix and let's cover over his eyeballs because that'll be a nice place to hide just a little bit of that color in and having a little green tone to his eyes is more interesting take a little bit of that pure ivory we'll get his toesies as he has little toe claws and we can reinforce the center of his belly a little bit get the front teeth a little bit so those are nice and bright just burning through them then we're going to go ahead and finish him off we're going to grab a little bit of of Sera from sepia we're going to use this to just tint some of those ropes and toes and things like that where we don't want it to be quite so stark white it shouldn't be that clean also it'll kill the shine off of the intense wood which unfortunately has a quite a glossiness to it but a little wash of Sera from sepia over the top will still look very much like wood and we won't lose any of the the effect we can run along that rope that we put on there we have a little bit of a sort of he has like a backup rock club on his belt so we'll hit that with some gray stone just literally using the black and white I already have on my palette and a little more black to get some more shadows it's just a minor feature so it doesn't need to be anything other than looking like some basic rough stone and finally sense his tails over here and just kind of hanging out we'll make sure that's a nice orange now that that's on there and unfortunately these old models like this they don't have the sharpest lines between things like the sculpts were kind of soft so we'll put a little black line in right there separate the club from the tail just so that looks more like a natural shadow and something that's actually two different pieces and do the same thing down here on the bottom of the club there under the rope just kind of build in some shadows here and there just light touches separate the elements just quick separations like that of the various elements especially on a fast paint job can make a big difference so when you have like softer sculpts one of the things you always want to make sure of is that you have a really clear definition between the the elements of the miniature it's one of those things that's a little bit can go a long way to making it look a lot better and there we go there's there he's ready everything except metallics done and dusted if I want to push a little farther I could take some of that tongue red we used plus a little bit of ivory maybe we give him a little bit brighter tongue so that that looks a little more like he's got some light hitting that that wet tongue he's out there out there ready to give him the lick so that's the plan now I go around and do this on every source so this is gonna take a little while you know the air brushing part was you know two two and a half hours now comes the reel where we got a tuck in because we got a lot of these guys to burn through and not a lot of time to do it so there you go that's the strategy I think he looks pretty nice he looks for what I'm going for he'll certainly do the job so we'll continue this a lot and I'll be back in what one for me will be many hours for you will be no time at all alright so we're just checking in how everything's going you can see the carnosaur right over my shoulder there he's hanging out so we are currently at six and a half hours roughly we put a pause on this and so I can eat not making as much progress as I hoped so it's it's slow going at this stage because it's a lot of brushwork plowing my way through as many little soruses I can they're coming out okay you just watched how I was was doing those so that's just repeating that process lots and lots and lots of times I've decided what I'm gonna do as a strategy is I'm going to do like 20 of the source I have so many source and they're just so frustratingly deep I'm hoping that once I finish them the rest of the stuff will go faster that's the hope so I calc down exactly how many hours and hopefully by 10 hours in I can be done with the source what I'll probably do is break them up with some other stuff and this is one of the things I think you've got a this is sort of strategies for doing a lot of speed painting when you get to a point where you're really getting frustrated or tired just put that particular element down work on something else like go grab a character do that character real fast and that'll break it up in the monotony you'll work on a different thing you have different shapes different forms different pieces it changes things up so I'll probably do the 20 source I'm rounding toward the 20 right now and then I'll do like a monster or something and that'll be a bigger piece but it'll get that knocked out and feel good about it back and forth and back and forth I'll probably show a couple other monsters here in the video so I'll grab some video of me working on those so you can see how I tackle the bigger things we focused a lot on just the source piece of it so far but there's obviously a lot of different forms and shapes so I'll grab one of those and insert a couple videos of those guys as I do them as well trying to bring you along through the whole thing obviously I can't paint all of this on recording that would get a bit tedious but yeah so there's how we're going so far six-and-a-half in we're making progress we got a long way to go so see if we can make it fingers crossed all right so we're still on the source but I did want to take a moment to talk about actual strategy for painting so when I say I do everything complete to the end so that I end up with a guy that looks like this and is more or less ready to go except metals that doesn't mean I only literally paint one at a time so the other strategy you can do is you can do small groups so here I have three and this is how I tend to work I have three little sticky tops and I work like this so that my I can use a bigger brush I can load my brush up get everything I need done and then I'm not and then I'm not wasting paint and I'm not switching the color as often right that kind of thing so in other words to make that more real forever everybody what I mean is I'll start with this guy so we want to reinforce his cheeks top of his arm pull down the light line on there let's finger blah blah blah do all the orange for that guy whatever that happens to be all right so we just work our way around okay cool so yep he looks nice and he's got his orange areas then I just go to the next dude do the same thing so the difference here is that I've got three prepped up and I'm working relatively quickly on one particular element the reason I find this easier than just the traditional sort of method you see of like just do all the orange then one and one and one and one and you're doing one at a time is that one it's a lot less rewarding it just for me it's mentally harder to get through because you don't actually see anything happen for so long like you have to sit there with half painted models for so long with this method like if I decide to stop I've got you know 20 source or whatever ready to go they're done right so if I say you know what I just can't take this part anymore right now I'm not leaving half finished miniatures just sitting there I've got 20 source ready to rock and roll now maybe I want to do 30 more maybe not I don't whatever whatever but it also like I haven't had to go back into my paint once you haven't seen me rewick anything I haven't had to clean a brush this is about the most you can do on a single brush load of paint right and so what that lets you get away with is a lot more speed when you're trying to do 30 guys or 50 guys you're just moving them along on a completely repetitive factory sort of assembly line the issue that you're going to run into is that your paint you know drying on your brush you can't sit there and do all 30 guys on one brush load of paint so you're gonna have to be rinsing your brush you're gonna have to be changing things anyways so at that point why not just why not just actually switch what you're doing so the goal here is as I said by doing these three I get more done quickly but by taking them all the way through the steps then at the same time I still feel the the that little dopamine hit of a finished model and that sounds like a joke but it's really important because as you go through trying to do a big speed paint project like this you need motivation like you need that you need some kind of reward system there to keep you going and the reality is something like having finished models you know knowing that basically I've got 20 source ready to rock and roll whenever I want is is a great reward like I know hate those guys are ready right so at any rate just a little tip of how I work as always with this kind of stuff your mileage may vary I don't know like everybody kind of has their own their own sense of these things and what they find comfortable so if you find the one at a time scooting over method more comfortable then by all means do that but hopefully this kind of by this will give you some alternatives to maybe give a try and see if you like it better all right so I'm just going to continue on the fight continues see now this is why I hate metal models because I dropped him and sure enough boom there went his arms all right the fight continues I thought it'd be fun to show a character I'm working my way through the army and so I thought let's let's show how we do a tackle an individual character so in the case of somebody like this this is my this is originally obviously the guy off the top of the troglodon if you build it that way but I build as the carnivores so he's an extra priest so we're going to use him as a star priest I added some little feathers to him and we're going to start again like the skin more or less I was able to do with the airbrush and I'm happy with how that came out like I feel like that looks good we've got a nice lighter underbelly you know good highlights good muscle definition because of how careful we were with the airbrush so we're good to go there so instead what we do and this is where when we're when we're trying to speed paint we want to focus on having the most impact the quickest so here instead we're just going to focus on some of these when you saw with the sources I really kind of focused on every little scale but some of these newer guys they have a lot of different scales and honestly I don't want to sit there and I don't want the pattern to be that big it'll feel a bit overwhelming so again when you're when you're trying to speed paint when you're thinking about stuff like this the answer is don't feel like you have to be you know hooked or sold to any pattern as long as your color signifiers and the elements you're using on the miniature are stable that is to say as long as you know somebody can look at it and recognize sort of the pattern there there's visual similarities between all of them then they're going to feel like it's a harmonious force that belongs together don't beat yourself up don't hold yourself to anything that's unreasonable I mean that's a good lesson just sort of in general with painting I think a lot of people when they paint even if it's just an army if they're not you know they're not going to a tournament they're not trying to compete for best painted or something they just they get themselves into this loop where they get wrapped around the axle and think that only something everything has to be kind of perfect and they started something with one way and it has to look like that everywhere else that's just unrealistic a painted money is always better than an unpainted mini and so getting your miniature painted and on the table should always be the goal okay so here i'm just getting these little thingies i realize these weren't orange so we'll go ahead and tint those some orange get that down there i left off the hands and feet some because i wanted to be able to come in and brighten them up by brush with a thinner layer and have a little more control that way i didn't get rid of the dark lines stuff like that as strongly now i'll probably still end up going back and putting a reinforcing that line but that's okay okay so now we've got that little space dark i also want to go ahead and hit the and that's the key i'm just always working always moving keeping the brush going trying to hit all the areas that make sense so like this big tabard that he has is going to be the same dark blue as his spot on top where his shell is um with all the skinks i just used this kind of a signifier they all have these kind of blue tabards and notice that paint is going on there real real thin thrill liquidy that's fine let's me control it it's not going to cover in one application and i don't care i don't need it to that's not what i'm on about let's get his little eyeballs that are showing through there then we can quickly work up the back scales so we'll go into our brighter blue or mix of a little bit of holdra and uh an adriatic blue and then let's create a nice little pattern let's bring down some light on the top and then have a little bit underneath bring down some light on the top have a little underneath we're going to go for kind of a reflection type pattern on these make them look like they they scintillate a little that'll be a cool look okay great easy grab a slightly brighter blue we'll go for some pure adriatic this time covering less just pushing that shine good then let's go for a little bit of that adriatic plus some white or i'm sorry plus some bright ivory again always using the same colors like i'm consistently using the same color like the bright ivories my universal highlight color i'm not getting out 30 different colors to work on this right that way the piece feels more unified then we'll go add just a little bit more white into that blue mix so we get something real bright and then we're just going to go ahead and hit a little dot little dot little dot little dot little dot so then we get a nice sort of glowing scale effect there looks very magical very other worldly which is cool good for a priest grab a little dark brown now that our orange is dry we'll reinforce those fingy shadows hands are really important people notice hands hands and faces in this case this guy's got a big mask on which is going to end up being gold we'll take some of that brown we're going to create a little bit better shadow line around his belt okay let's shove some of that brown down on the bottom of those toesies all right let's take a little wood a little bit of our inktense wood let's hit his staff handle here as well as his spear shaft down here okay now for the feathers we want to do something nice the generally green has been my pop color for this with like a sort of green blue so here we're going to do is we're going to take some just some jade green from velejo okay and then we're going to just take that and we're going to with a very thin wet brush we're just going to run that right down there use the natural shadows we got out of the airbrushing let's get a little more we'll get the backside sorry missed a feather so that's good a little bit of shade there but we can do a little better let's give a little bit of thin black blue mix it with that green we'll start about halfway down the feather there we go now we got and we'll trace just a little bit up by that line now we got some good feathers it's fast and easy 10 seconds to cool looking feathers okay so then we just need to get his little strippy straps they're holding his armor in place so we'll grab a nice dark brown he's got little straps on the underside of his arm make sure we get those also see we're missing some orange down there on his strippy strap or on the underside of his arm which isn't that big a deal we'll fix it we're going to leave that brown on the brush just mix in some orange since these are the lower parts and they would be in shadow so we'll let that deeper orange shadow do some work down here same thing with the side of the thumb and the under part of the hand there all right then we're going to take a nice sharp brush something a little bit smaller going to grab some pure ivory and again on things like leather straps kind of thing you don't want to spend a lot of time on but it's got to look more interesting so we could there's lots of things we could do we could try to just highlight it and stuff like that but that's too long when we're in a wear and a hurry up mode so instead we'll do something better we'll do a little texture I'm just going to dab the brush around the side here real quick and then I'm just going to put some scritchy scratches down on one side just scritchy scratches scritchy scratches just bouncing that brush up and down where light catches on the top more of like a dot along the line but it doesn't need to be perfect it's supposed to look messy it's a rough leather strap then we sorry i'm gonna focus there just scritchy scratches dots hashes anything works just make it look like it has a little texture so once it has a little bit of texture then what we do is we grab something like a seraphim sepia or some kind of very light colored wash give that a good shake and instead of using our wash in a traditional way where we're washing a whole area instead we'll take a targeted amount and we'll just run it right over there use it almost more like a glaze to just bring that leather to tint that white that also has the advantage of you might say well why didn't you just do it in a lighter brown well because i want there to be the illusion of sort of layers there and so adding more translucent layers of paint like that actually helps create a deeper looking image throw a little bit of that down by the base of his hand there maybe some by the base of the foot just do some little tinting when we see an opportunity to just splash some paint somewhere to go to fact hey let's just take advantage of it now that we've transitioned to that sharper brush the same thing i did with the uh the uh the scales on his back let's go ahead and get the eyes here so we'll use just a little bit of that mid-brown kind of hit the center of the eye these guys have wonderful eyes they're very expressive very large so we just re-enrich that blue and we're going to go up to a slightly lighter blue then we'll take some of that blue white mixture and we're just going to hit the very sort of back of the eye i want the light to gather toward the back okay then we're going to take makes a little bit of pure white into that pure ivory i'm sorry and then we're just going to very carefully get a little dot right near the back so we've got a fun little transition there a spot in the middle it really seems like he's got those bright blue eyes go back to our other brush let's do the same thing down here with his tabard we'll put a little bit of our normal blue there basically covering everything except the deepest shadows hit the edge there that's why i wasn't too worried about covering up everything earlier because i knew i was going to come back this is a nice big flat surface so it's going to be annoying to to blend on but that's okay that just means we work nice and fast let's go to our higher blue we'll have that on the edges and just the brightest spots here then let's grab a little bit of blue white and here instead what i'm going to do again we're going to use our old pal texture so instead sorry i'll try to get that up to where you can really see it there there we go okay instead of trying to highlight it i'm just going to with a smooth motion we're just going to stipple some dots in just make it feel like it's got a little bit more texture there then i'll go back to my duller blue less white texture over the edge of that real quick it's kind of like stippling type of blending even when it's rough can really add a lot and it's so much easier than trying to like slowly work up a really smooth blend we'll go to the darker blue our original first dark highlight we had and then just to kind of smooth that all out we'll take a little bit of our original color that you saw me lay down which was that dark black ink kind of color the blue black paint's gray plus a little bit of holdra thin that way down test on the back of the hand there looks good then we'll just run a nice glaze of that over the edge feather it out just kind of helps glaze over all our stipple and boom now he's got a bright shiny cloak and then the last thing we want to do is whenever we use something like the like the wood like the um what do i want to say i'm sorry the right second to last thing i'm sorry whenever we use something like the intense wood it has a lot of shininess to it we don't want that to be too shiny so we'll just grab some agrax throw that over the top at the same time you can put little agrax down here in his feet just to build up those shadows he's going to be on foot he's not going to be mounted on anything so his feet will be dirty he's going to be up on a you know kind of a little rock piece so we'll just kind of get that down there for some dirty feet and then we just have a couple more touches and he's good to go so the other thing i've been doing on the skinks is giving them a little bit of a tiger or not tiger i'm sorry more of a spotted like pattern so we can do that on him as well so we can just come in and very quickly around this area here we'll just add a few spots out onto the shoulders the reason i use things like the stippling so much when you're trying to be fast is whenever you have like really hard easy line so if you've ever blended anything and you've got like a hard line of separation you notice that it's immediately really visible when you have a bunch of dots that creates visual confusion it becomes very hard for your eye to notice inconsistencies in the pattern when things are set up like that we're also going to hit his mouth so that's why you see me use a lot more like stippling techniques and things like that because it's just much more difficult for the eye to pick out when something is incorrect also just reinforce the line around the mask there so that has a nice separation cool all that looks good the let's see we can push those feathers just a little bit more now that that glaze is dry we'll grab some of our pure ivory make sure almost all of it's off the brush and then just very lightly we're gonna just drag it up there and create a nice little nice little transition and don't worry let's say you get a little too much white when you're doing something like that we'll just take a little very thin green of our original color and boom easy peasy lemon squeezy so that finishes that guy except the metals and that's so that was about 20 minutes on that guy pretty good for a character to now be done except for the metals and when i come back with the metals those will be fast and then you know in the end on an army like this you have maybe four or five six characters so if you can get them down to 20 30 minutes a piece that's pretty good you know that feels successful to me so that's how i'm attacking my characters uh this little skinky priest is is ready to go sans he has to get golded out all of the seraphon characters are of course rocking their bling real hard so you know we'll make sure he gets his nice bling here i'll show you the metals in a in a later step once i get closer to uh once i get closer to the time metals will be the very last thing i do so that that i always say for time in the end so we'll pick back up in the metals in just a little while all right all right so we're 16 hours in at this point in fact we are 1646 in i know that's a big time jump from the last time i checked in but i i got into the rhythm yesterday just and the 10 hours just flew by literally uh and i you know kept thinking i'll do it soon i'll do it soon towards this next thing uh and i'm not gonna lie we're not where we want to be uh i underestimated the complexity of each little skink and sorus and stuff like that but we're making good progress so i think we'll still hit 2 000 points within 24 hours uh it's just a question of whether i we're definitely not going to get everything i wanted painted painted that's not going to be possible i was uh if you've ever walked into a restaurant where you just had and you looked at the menu and you said um i would love to try everything so you order all this different food and then it shows up and you're like oh i have made a terrible mistake well there you go it all looked so delicious what could i do uh but at any rate we're going to keep pushing i'm going to do as much as i can uh and we're going to see you know if we can get uh certainly a fully playable army on the table uh which i have full confidence in at this point we've already got multiple units done battle line characters all the stegadons i'll have my uh i'm just finishing up the third stegadon uh he's right here so he's coming along real nicely and we'll uh we'll certainly get to a point where we can get that tallying on the table and stuff like that so we'll get to the 2 000 and i'll see where we are i'm going to check in some more times uh we'll show you some more stuff as i'm working as i do some more models uh but we're keeping keeping on keeping on we're going to do as much as we possibly can we've got a little less than a third of the time left so let's do we can shortly after i recorded the last segment i spilled an entire pot of agrax urshade right into my lap on my apron kids that's why i always wear an apron otherwise that would have been on the floor and my pants all right so we're at uh 21 hours and 13 minutes it's about to turn to the metals so we're down to the crunch time now we're doing our best to get through it as much as we can uh i'm not going to be able to i know at this point i'm not going to be able to finish everything i had laid out but good news is i will be able to finish well more than 2 000 points so that's awesome i'll have a full army and then i'll have some extra stuff that i work on in the future uh so i'm going to do a video here on what i do with doing the metals fast fortunately these lizards don't have a ton of metal so that's good but next up is uh is the metals and then we bring it on home so there you go all right we'll pick up and you'll see what i'm doing next all right so now we're going to do some metals uh some metal paint so here i've got my slon it's the old school slon you can see he's a happy little fat frog with an elvish head which is hilarious and so we're going to put some metals on him so what i've done when when you want to speed paint metals i'll show you what my palette looks like over here it's my wet palette so down here i have a mix of the gold that i'm using plus some dark matte brown black paint here i have my standard gold here i have silver and here i have some brown ink again the key is to be able to work quickly uh so let's bring back mr frog and we're going to do it on the top part here so what we want to do is we want to make sure that we when when it comes to metals honestly your your easier answer is usually just layering up so i'm going to leave those nice dividing lines we've gotten there and i'm just going to very quickly run right over the top of everything and so then i get that nice you can see that's a really deep color okay again the goal here is to be fast now at the same time i'll also hit this lower part of his head dress down here you notice on a lot of things like his hand here where he's got this bracelet i already have a nice thick black line around it going up onto the metals so that that way i can get in there get his little bracelet push that line so it's very thin and then we still have a nice separation of the elements there and that's a quick thing you can do when you're painting earlier okay so then our next step as we go into just our pure gold and then what we're going to do is just create a little highlight area so here we're going to talk about the brighter parts of this headdress that would be reflecting light so mainly bringing up toward the top i'm just using the sharp side of the brush drawing the paint in the direction i want it to gather so now we get that nice bright shiny gold reflectiveness there then i'm going to take just a touch of that gold but mostly silver thin it a little bit down with some water and then i'm going to pick a spot right along the top where the light would be reflecting and we're just going to nab each of those spots i see some people afraid to use a more pure silver in golds i say no way jose bright polished gold still reflects near white light and white light in true metal paints is silver or chrome paints so there we get a nice reflection line across the top right we can do the same thing on the bracelet where we just kind of put in some areas where it would be reflecting in general gold it's not our shadow pull that same silver color thin it down a little and then let's just put a little light spot right up there now i mentioned earlier there was some ink what are we going to do with that ink well we're going to take that burnt umber ink or any you can use any kind of sepia or brown or anything like that again we're going to thin it down with just a little bit of water there nothing too piss nothing too spectacular give a test on the back of our hand looks nice and then what we're going to do is we're going to reinforce those shadows along the backside i'm trying to make sure his chair doesn't get in the way so i'm just going to come in and let that that ink which inks are nice and shiny we're not washing this or anything like that we're just adding that rich tone right in there and then we get a really nice we can also add it in between the lines create a little bit of shadow we get that really nice effect you can always add it a couple times if you want to you could do a few depending on how fast you're trying to be but that's it you can see how nice and rich and like polished gold that headdress looks now so now i just got to do that to the rest of mr fat frog he's being carried around by a by a crocsillor by the way because i lost his original floaty thing so instead he's just being carried around by a crocsillor which i thought was funny so with that uh that's going to be the last part of this as we're coming down to the very end so i'll be back in a moment with how this all turned out all right that's it we're done it's been it was been a rough 24 hours but we made it so uh at this point we are at 2340 and uh we're gonna call it right there because there's nothing else i can do of value in that time so this has been a really intense project uh i will call it a partial success partial failure i don't know i'll let you be the judge how about that uh so i'll show you what i finished that'll be right up sorry right this hand it'll be right up here this is what i finished and so what you can see there is two regular stegodons my stegodon with uh skink chief and the uh a full hunting pack of three salamanders 20 skinks uh 20 sorus uh the uh a slon uh a skink star seer a skink priest and a sorus old blood and a sorus scar veteran so uh you know pretty good they're all considered oh sorry and five sorus knights my my teeny weenies raiders yes there you go had to look behind me at where they are just to make sure i didn't miss anything uh so all in all a good uh i think a good effort unfortunately this is what i didn't get painted in time so again got the right hand this one up here so what's left well quite a bit 10 regular skinks 10 chameleons uh my uh sorus uh old one on karnasaur and 30 30 sorus that's quite a lot i didn't get in now i'll say with the battalion that i wanted to run i did get the army i wanted done so i got 2230 points done let's call it roughly uh depends on kind of you know you could we could make a 2280 if i bought an extra command point or endless spells or whatever you know because obviously those are all still things i have painted and could just take and don't cost anything uh so all in all there's still a lot more to add uh i will probably continue working on this stuff over the rest of the week and see if i can just push through and get it done this week but to get i think a full 2000 point army paid in in 24 hours i feel pretty good about that uh there were a couple accidents as you saw with uh the spill of a full bottle of agrax earthshade so that's now completely empty since i dumped that all in my lap that's fun uh this is my by the way this is my uh paint water what it looks like right now after this pretty gross a lot of real that looks absolutely horrendous so put that away put that away okay uh all in all this was really fun uh i got the chance to work quick to work fast to experiment with some stuff and to get an army on the table one thing i'll say from what you can see with it sitting up there in that photo of what i got finished is it kind of looks boring because it looks like a lot of orange so let's look at it again with the bases so here's what it looks like on their bases i think that looks a lot better now i have to note that uh i didn't have time to put them on their bases in here but again the challenge was paint an army in 24 hours not also get that army based so look i'm the one who's made the rules i can break them if i want uh but i so as that picture you're seeing that was done after this 24 hour period after i'm technically recording this uh but i think they look really nice for what they for what they are for a speed painting project and the reality is sometimes it's okay to just do less than your best and have fun a painted model is always better than an unpainted model i've been trying really hard recently to push on that theme because i think it's really important the reality is is that there we all have a bunch of shelves of shame and sometimes we get over invested in individual things like we have to make everything perfect it has to be done it doesn't really have to be often uh sometimes just having a fun army that you're painted that you can have fun with on the table is great if it's your first army don't sweat it too much get it painted by the time you're done with it you'll learn so much you know your future armies will look 10 times better and you'll do them in half the time if it's your 10th army maybe don't worry about as much it's your 10th army the point is no matter where you are you can always choose to have fun and you can always choose to just do something that's going to get your models painted and sometimes if you really really love a force and you want to invest months into it that's okay too you can just invest that time you know that was my slanesh for me the lizards i wanted to play this army i thought it was cool i thought it was fun but i'm not hung up on it it's just going to be a fun army i can put on the table with some friends and have a good beer and pretzels game and that's what you ultimately want so there you go that was the challenge all in all i'm very happy with how it came out but never satisfied we'll do this again at some point in the future i'm sure so but if you liked this obviously i tried to shrink this down do a lot of editing really make this more coherent please tell me if you liked this format better this took a lot longer to put together obviously to both do and then put together so i can't do these often between the prep work and the actual painting which was 24 hours of you know paint work over three days and then all the editing and everything this is you know more work but it was a lot of fun so tell me if you like the stuff i added here i'm trying to learn more to how to use the software and tools that i have available if you did like it hey hit that like i really do appreciate that that helps other people find this video other people find this channel which i really really deeply appreciate but as always subscribe for more hobby cheating we have new videos here every saturday if you've got suggestions for future topics you'd like me to tackle please do put that down below i always respond to every comment so thank you very much to everybody who encouraged me when i said i was thinking about doing this thank you all very much for watching it is greatly appreciated and as always we'll see you next time


My name is Terry Massey from the National Centre for Collaboration in Indigenous Education, or NCCIE for short. Today, in this instructional video, I'm going to show you how to view videos in multiple languages. Our videos are hosted on YouTube, which features live translation using closed captions. This video will show you how to access this feature. When you view a story on nccie.ca, click on a story you would like to view in a language besides English. Place your mouse over the video. Click the CC icon in the lower portion of the video. Then click on the icon that looks like a gear. It's also called Settings. Then you would choose Subtitles CC1. Then choose Auto Translate. This allows you to choose from all of the languages you would like the subtitles to appear in. Typically in Canada, we are going from English to French. Then simply press play on the video and you will see that it is translating it into French live as the audio plays in English. Thank you. Have a great day.


Hello and welcome to the International Daily Roundup by People's Dispatch where we bring you some of the major news developments from across the world, our headlines. New York, the epicenter of the outbreak has begun to flatten the curve. The United States is set to block Iran's emergency loan appeal at the International Monetary Fund. British transport unions demand enhanced safety measures for workers in London and Australian parliamentarians call for Julian Assange's release amid COVID-19 spread in UK prisons. We begin with an update on the global coronavirus pandemic. With over 1.6 million cases and nearly 97,000 deaths, the number of newly reported cases was as high as 85,000 yesterday. The United States alone added 33,500 cases in a single day. The state of New York has hit a new high with over 10,000 cases at the end of the day and 779 deaths. But as a silver lining, New York may also be seeing the flattening of the curve. And Rukomo, Governor of New York reported a decreasing hospitalization rate for the first time. The state is the worst hit by the pandemic in the world right now with over 161,000 cases reported so far, which is higher than Spain, that is the second most affected country in the world. The governor added that as the decline continues, the capacity of the state's healthcare system will stabilize in order to deal with the crisis. This intern can bring down the need for temporary hospitals that were set up in public parks and open spaces across the state to deal with the outbreak. He spoke to Eugene Poudrier of Breakthrough News on the situation in New York. Here is what he had to say. Hello and welcome to People's Dispatch. Today, we are joined by Eugene Poudrier of the US-based media organization Breakthrough News, and we're going to talk about the COVID-19 situation in the United States. Thank you so much, Eugene, for joining us. Hello, Krishna. Thank you so much for having me. It's really a pleasure. So could you first talk about your basic New York right now, which is right now the global epicenter of the pandemic, so to speak? So could you first give us a description of what the situation on the ground is right now? What is the nature of the lockdown, for instance? Absolutely. So here in New York, as people are saying around the world, we're under a complete lockdown to some degree. You can still leave your home for crucial things, so grocery stores, banks, pharmacies, restaurants for delivery only. So there's still some economic activity going on, but by and large, most people are hunkered down. Many places have very drunken hours, for instance, and in different parts of the city, it's very different. There's parts that basically no one is going outside in parts of Queens and other things like that because the death rates are so high. I even have one contact where his zip code or mailing area is actually got a higher percentage of people with coronavirus than Wuhan at the height. So we're seeing some very serious numbers, some very serious concentrations, but I think a lot of sacrifices from working class people, both in terms of people staying home, doing their own child care, but also the fact that quite frankly, there's a lot of essential workers, public transportation is still running. Obviously, everyone working in healthcare, everyone working in food service, and because of the role of the federal government, basically none of these workers have significant personal protective gear. So there's a lot also of consternation, fear among a lot of the working class population here that's still being forced to go out. So it's apocalyptic movie seeming in some ways. There's field hospitals going up in Central Park and other large parks and things like that. So it's starting to take on that kind of feel, but it does feel as if the way numbers are trending is perhaps we're getting ready to reach the peak here, and I think there's a lot of hope psychologically among people here in New York that maybe we're reaching some inflection point. But certainly a serious lockdown and deeply exacerbated by challenges from the government. So could you talk a bit about this aspect, the challenges from the government? We've seen the federal responses over the weeks where, for instance, Trump has turned every press conference into an election campaign rally, so to speak. And there's been a lot of the WHO attacks, for instance, were the most blatant recent example. And there's been this whole attempt to blame China, blame the WHO, blame everybody else except the government. But in terms of the federal machinery working itself, how has it been? I think it's been very, very uneven and deeply inadequate. I mean, almost a little bit beyond the comprehension, I think, of many of us. I think that's actually becoming a major factor in the crisis is the government is less competent than I think many people thought it would be in a crisis situation. The challenge, too, in America is you have the federal level, the state level and the local level, and there's a lot of autonomy between all three. The federal government has the most power to streamline it, but if they don't use that power, then everything becomes a free-for-all. And that's sort of, I think, the basic way to understand what's happening in America is the federal government is essentially playing, you know, leading from behind. They're not coordinating production. They're not coordinating distribution. They're doing limited levels of coordination with private companies around personal protective materials and things like that, ventilators, hospitals, supplies. But then every state and sometimes every city isn't actually going into the private market to compete. There's a huge competition that's meeting the right medical supplies, aren't getting to the places that really need it, and a lot of speculators are getting very rich. And then that sort of ripples its way down because, you know, beyond sort of those issues, from a policy level, a lot of the issues around people's economic security are tied up in the local and state level. And states are refusing to cancel people's rents, utilities. They place moratoriums on a lot of things. But, you know, if you've lost your job, it actually compounds the problem, because in three months when your landlord can evict you, how are you going to find three months rent if you couldn't find one month's rent? So a lot of these problems that we're seeing that politicians are unwilling at the state and the local level to really challenge big money interests, especially landlords who seem to be getting the best treatment of sort of any subset of people in this crisis. But it really starts at the top. The fact that the federal government isn't putting the resources in place with the powers it has, using sort of World War II style productive powers. They can control the production and the distribution and sale of all critical goods and are just choosing not to. And so it's creating this strange competition between states, between localities, which means at the end of the day, the things that need to get where they need to be in terms of hospitals, frontline workers aren't getting there. And it's basically not because there are huge shortages, although there are some, but because the government's failing to coordinate. Meanwhile, the US is prepared to block the International Monetary Fund from providing emergency loans to Iran. Yesterday, Iran urged the IMF to expedite the grant of the loan to help it fight the coronavirus pandemic. Iran is one of the worst affected countries in the world and has more than 66,000 confirmed cases with over 4,000 deaths. Iran had applied for a $5 billion loan last month under the IMF's Rapid Financing Initiative, which gives member states a right to ask for emergency loans in order to tackle any sudden disruption of their economies. The US has claimed that Iran does not need any financial support and the loan money will be used for financing terrorism across the region. Last month, the US refused the United Nations calls for lifting its sanctions against Iran. The US has instead imposed fresh sanctions prompting Foreign Minister of Iran, Jawad Zarif, to call it an act of economic terrorism. Iran is a member of the IMF and has the right to borrow. However, given the fact that the US has the highest shares in the organization with over 17% weightage in wards, it can effectively veto any proposal made by the group with the help of its allies. Usually, such loan decisions are not voted upon, but the open hostility expressed by the US can play a major role in the final decision. Last month, the IMF had similarly denied a loan application filed by Venezuela. Major trade unions in the UK have demanded enhanced security measures for transport workers in the country, especially in London, where at least 14 transport workers have died because of COVID-19. Trade unions, including UNITE, the union, and the National Union of Rail, Maritime and Transport Workers, or the RMT, have raised concerns over workers' safety in the sector. UNITE's regional secretary, Peter Kavanaugh, said that it has been working with the Transport for London, which is the authority that governs much of the transport sector in the metropolitan region, to push for increased sanitation of buses and other transport facilities. The RMT, on the other hand, has said that they are pushing for labour negotiations with the TFL for full support and protection for the London transport staff in the wake of the health emergency. Meanwhile, the Mayor of London has been accused by left-wing groups of denying enough personal protection equipment to all transport workers to protect them while working. Continuing with news from the UK, two Australian MPs, Andrew Wilkie and George Christensen, sent letters to the British Parliament and the government, calling for the urgent release of Julian Assange. Wilkie and Christensen are co-chairs of the Bring Julian Assange Home Parliamentary Group in Australia, and have been advocating for the release of the WikiLeaks founder, who is an Australian national. The letter was sent to the UK House of Commons, the Justice Committee chair Bob Neal, and the Justice Secretary of the Boris Johnson Cabinet, Robert Buckland. It called for the compassionate release of the publisher and stated that Assange fits all the grounds for an early release as a prisoner, as advised by the WHO. The letter pointed out that Assange is in prison under judicial demand, has no history of violence, is not a threat of any kind to the community, and has several health issues that could make a coronavirus infection fatal. These are grounds enough for an early release on humanitarian grounds according to the MPs. The United Kingdom with nearly 65,000 confirmed coronavirus infections and nearly 9,000 deaths is one of the hotspots of the disease. But the government is yet to come up with a policy to prevent outbreaks in prisons, repeatedly denying even considering early release for certain inmates. The UK has over 80,000 prison inmates, and outbreak in prisons could be the cause for as many as 800 avoidable deaths, according to independent studies. The Justice Department itself has identified over 2,000 prisoners who are highly susceptible to the infection. Nine incarcerated people have died because of COVID-19 in the UK, including one in Belmarsh, where Assange said, Prison authorities are also reportedly keeping testing low and violating social distancing principles, by letting those with symptoms or even those tested positive remain in cells with other inmates. That's all we have in this episode of the International Daily Roundup. To know more about these stories, visit our website peoplesdispatch.org and follow us on Facebook, Twitter and Instagram. Thanks for watching. BANDERA, FLORE, CERDA, RUZE


We generally try to do the one hundred dollars per child This year we were lucky got a real generous donation towards the end of our almost the time for this to happen and This year we've gone up to a hundred fifty fifty dollars for coats or gloves or whatever the child might like Mine is picked up several different items of clothing. She likes that as much as toys apparently It's most of them want to go and buy their little brother little sister something or the mom and dad before they even decided to get them I just got my sister some things me a few things. I think I think I'm having with that Kind of hits home pretty hard. I want to see every kid here have a very merry Christmas and get what they want You know which way to head first They feel good still take their good size