Latest / The Euro Legions Podcast / 137. Nate Baertsch & Joe Vasapollo from Four Horsemen Studios

Transcript

137. Nate Baertsch & Joe Vasapollo from Four Horsemen Studios · The Euro Legions Podcast

• 0:02
  My wallet is sobbing. I can hear it.
• 0:04
  I can hear it in the hall now. It is breaking down crying.
• 0:08
  It turns out that Attila the arrogant so and so he's got a
• 0:11
  fake hammer. Oh.
• 0:13
  A fake? Yeah.
• 0:14
  Whoa. As I say, Dick.
• 0:19
  Welcome to episode 137 of the Religions Podcast.
• 0:23
  And this week we have some special guests who work for Four
• 0:27
  Horsemen Studios. But first of all, we have Rich.
• 0:31
  How are you, Rich? How's it going?
• 0:33
  Good. Thank you.
• 0:33
  Glad you got my name right this week.
• 0:34
  So. Yeah.
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  Oh yeah. Yeah.
• 0:36
  Well, I'm I'm doing good. People that didn't see the don't
• 0:39
  follow us on Instagram won't won't get that joke.
• 0:41
  But yeah, I did some plastics intro and Mal, how's it going
• 0:47
  this this week? I'm all good, her works cranked
• 0:52
  up a bit, a bit busy, but to them that I can't complain too
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  much, you know? Got to earn those shackles
• 0:59
  before legions con, you know? Got to have some stuff to spend.
• 1:04
  They're making sure I know I've earned my holiday.
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  Well, joining us from 4 Horsemen Studios, first of all, we have
• 1:14
  Nate Barch. The reason that Mal probably
• 1:16
  buys 2 figure obscurers every time, or one of the reasons at
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  least. Hey, Nate, are you?
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  Great. How are you guys doing?
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  Yeah, absolutely great. And and we have Joe Vaspolo.
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  How are you, Joe? Doing great, enjoying a little
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  respite before we get even busier than we already are.
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  Yeah, because, you know, we know you for a long time now, both of
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  you. But Joe, we, we kind of followed
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  your career through the the Four Horsemen and you've kind of had
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  your fingers in nearly every department from what I see when
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  you were definitely involved in shipping.
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  I know you were involved in like the cleaning off the 3D prints
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  and all that kind of process. You've been involved in the
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  painting, I guess continue to be involved and all that kind of
• 2:03
  stuff. You're the kind of link man for
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  a lot of the stuff I guess. I fill a lot of gaps.
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  Yeah, I guess, you know, I don't, I don't sit in one
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  particular place. I just move around where needed
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  and it gets it. Keeps me pretty involved and I
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  like it. Yeah, as my mother said that
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  like a little small pot, you know, useful for everything.
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  I'll take it. I'm going to send you some
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  artwork I just need. You got it.
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  Let's just fill in some shadows here and there, right?
• 2:37
  Very good. Well, it is nice.
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  So we're recording this the weekend before we release it, so
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  a couple of a couple of days before.
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  So we've got about 3 weeks now to Legions Con.
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  And I guess for you guys, that deadline is probably closer than
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  that because you have to have a lot of things squared away.
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  I mean, Joe, you were saying that you're trying to give
• 2:58
  Trevor, for example, at least a week or more to, to get all
• 3:03
  these shots done of the stuff so that you can get the stuff back
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  into the studio. Obviously, you're going to have
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  to be showing that off on the G Conde, for example.
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  And yeah, exciting. We make about two of everything.
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  Yeah, yeah, that's, that's true as well.
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  Yeah. And do you, umm, yeah, because
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  you have one that you send off to China, right?
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  Right. One goes to China, one stays
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  with us and umm, you know, just so we can compare things when
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  China sends us something back. But normally in the beginning I
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  only build one of the two in case anything gets, you know,
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  really banged up. I don't want to take apart both
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  of them to make one really good one to show off to everybody for
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  legions con. So I I tend to leave the other
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  one completely unbuilt. But this time around I may be
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  doing a little bit different just because I'm I'm feeling the
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  crunch. So I want to make sure I have a
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  full set ready just to go and, and not have to worry about, you
• 4:01
  know, anything unforeseen happen or, or any hold UPS And this the
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  preparation is that's needed for them this time compared to last
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  time is it's a little different. So we may be doing everything
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  before. And do you take your own little
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  safety pictures as well before you sent them off so you know in
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  case something gets dinged or whatever, you know how it looked
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  before it left? Well, no.
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  Well, I'm not too worried about that.
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  You know, even even in the studio, like I break pieces all
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  the time, all the time. I had plenty of experience with
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  them, but still, resin can be pretty fragile.
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  I got butterfingers. Sometimes I'll with something
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  drop loose or, you know, my ring will catch something.
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  But yeah, yeah, we we tend to take pictures of everything
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  before we send it off to Trevor to China and we'll do touch ups
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  of things when when they come back from Legions con and before
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  everything goes out to the factory and we'll be looking
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  good. I was going to ask actually,
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  Joe, it must be terrifying putting the the resin pieces
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  together with bits that might not be resin and and getting all
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  that sorted. But you said you drop them and
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  break them, so that's all right. Yeah, yeah, that's fine.
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  I've gotten really good at putting it back together, you
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  know, dumb. Dumb enough to make the
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  mistakes, but smart enough to fix them, you know?
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  It's a it's more the case, you know when, when you realise 10
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  minutes before the the live stream that all this one thing
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  is actually quite broken and I need to try and get it back
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  together. I guess that's when it's.
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  That that's me during the present, during the G Con
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  presentation most of the time. Oh wow.
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  It could just be standing on the table and something like flops
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  over and it's like, well, we're fixing that.
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  So I've got I've got my glue, I've got my fixer, I've got my
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  little, I've got my little stick that's not sick.
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  I got my little stick and there's like popping things
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  together and you'd be amazed how much tape and and putty and
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  things are are keeping it together before we bring it out.
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  Of a heart attack. Couldn't cope with that.
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  I remember last year looking at the wave, the IT because it was
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  the rise of the beasts. And I remember just oogling over
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  the wave as Joe was trying to prepare and get them ready to
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  show, like in the little room behind.
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  And Joe just politely says, Nate, I just I need you to nod.
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  I need you to step away, step aside, because for me, that's
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  the first time I get to see him. Like, of course, kids.
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  Looking into Mom's closet, looking for the Christmas
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  presents, you know, And yeah, Joe.
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  All you love and respect. Yeah, yeah.
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  And and you throw that in, but I, I always take the message of
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  Nope, Nope. I'm not going to be the cause
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  for the breakage in Joe's headaches today.
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  Yeah, because you you, you you're further in the life cycle
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  in terms of your of your work for for this for the pre-order
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  stuff at least Yeah, yeah. So in terms of allegiance can do
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  you do you have anything specific you need to work on?
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  Are you working currently on stuff that's just ongoing?
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  Ongoing as yes, the. Answer that is yes, because
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  well, for example, this year there will be there will be some
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  things that Jeremy needs for the presentation, right, that he
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  needs right now kind of a thing. So yes, there are things on my
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  plate right now that I have to get for him for Legions Con.
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  And then also, yes, I'm working on packaging that's down the
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  road, so. Got you.
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  And what about, for example, last year's G Con wave?
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  Have you worked on the packaging for that yet or?
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  I'm in touch, No for Rise of Beats, Yeah, however that is
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  coming up quick. Both both Rise of the Peak and
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  Bay of Fear are coming up very quick on my schedule.
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  Very good, very good. And do you do you 2 interact at
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  all in terms of of what you do or?
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  Not not too much to be honest, unfortunately, but umm.
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  So you can just be friends then? Yeah, we're just.
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  Yeah. You don't need to be annoyed
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  with each other professionally. George doesn't have to get after
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  me like some others do, right? Yeah, if anything else, every
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  now and then I'll, I'll send them a, a picture like a
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  reference from a, a different angle of a, of a piece here and
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  there. You know, just because straight
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  on shots or, or turns don't allow for something.
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  Or, you know, if let's say you want to have some fabric kind of
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  swept back, but you don't know what it looks like underneath
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  from the shots we took. And I may, you know, just pull
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  that back or take off the fabric and be like, here's what's
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  underneath, but little stuff like that.
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  Yep, so it does happen. Interactions do happen.
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  They're pretty, they're few and far between and it's always fun
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  stuff, at least fun from my end because and I get peek behind
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  the curtain because for me, for the most part, the curtain is
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  there just like it is for most of the fans.
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  And I don't know that that's necessarily intentional.
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  I am aware of other things that are coming up and you know, I
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  do, I do know some of the secrets, but I've, I've said
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  this before, Eric and the guys know that I like, I like to be
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  surprised on the often times. So they, I think sometimes they
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  intentionally keep things from me and I and I treat that as a
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  grace and a, you know what I mean?
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  Like I'm grateful to do that. So.
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  Yeah, for I guess you could stick your nose more in it if
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  you, you know, if you really wanted to.
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  But by the sounds of it, you just, you'd rather do your own
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  thing, get surprised along the way.
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  And then of course you do have some of the insight and some of
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  the stuff like figure obscure for example.
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  Figure I'm usually well aware of well in advance.
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  Yeah, because we we get them when they're already in stock
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  pretty much, you know, or like the Jersey Devil recently, you
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  know, a month out or whatever, you know, so packaging is well
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  done by then. But yeah, we we sorry, Yeah,
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  Rich go for. It can I ask a very dumb
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  question of Nate, but before I forget, basically with with the
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  Dragon box art, this is going to be ridiculous, but do you have
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  to do a bigger picture as it were, or would you just normally
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  work your normal sort of size and then just scale it up?
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  I mean, you saw the boxes, right?
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  You saw George and Chris standing there with like
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  furniture sized boxes. Yes, I so I do.
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  If it has to look good on the box, I've got to blow it up,
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  which is going to allow for a little more detail.
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  At some point though I will probably because it's so big.
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  I'll start with it smaller and then grow it in stages as I
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  flesh out detail. Just as an artist in general, I
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  try to work out the broad strokes and the big shapes
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  first. A lot of times you'll hear from
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  artists, they'll say, I, I use the biggest brush I can for as
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  long as I can because it, it keeps you from getting down into
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  the nitty gritty in the details too fast.
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  It helps you solve compositional and layout issues well, well in
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  advance. So when I'm at that stage, yes,
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  it'll probably be smaller like the other boxes, but I'll have
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  to remember as I go into finishing stages, I, I'll have
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  to increase the size of that canvas.
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  Yeah. Yeah, I think that's even even
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  great advice for customizers when they're painting, you know,
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  their custom pieces. Use the biggest brush you can
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  until until you get down to, you know, the really small detail
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  because it actually is easier in a way.
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  And and then you just tidy up with the the smaller stuff at
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  the end. Exactly.
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  Yeah, umm, and uh yeah. I guess if you paint really big
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  which is is more work, but when when it is shrunk down to
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  whatever degree it actually then has more detail in it
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  automatically no. It does you.
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  You have to be careful, umm, when you work on big stuff too,
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  a lot of times artists will have you can, there's a, there's a
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  function in Photoshop where you can open up another window of
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  the art piece that you're working on and then you can
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  shrink that down so that you can kind of glance at it and see
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  what it looks like. Small as well as big.
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  Because you, you, you still want it to read like a good artwork
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  should still read well on both, both levels.
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  As much as you can give or take. Like it's a given that they're
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  going to be details that are going to be lost.
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  Yeah. But again, those those overall
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  compositional shapes should still read.
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  Excellent. Yeah, it was all the way back in
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  episode 29, if you remember that.
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  We tried to have you 2 on together and we had some
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  technical issues that meant Joe was on with us that time.
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  And then we had you a couple of episodes later, Nate, I think
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  was episode 36. So, you know, a bit later and it
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  was I think that was before G Con 23 or really in the run up
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  to so, umm, we did say we would get you both back on again
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  together. And we have we have gone through
• 13:07
  on that and I can see it nearly 100 episodes later.
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  Yeah. Well, you know, I think I think
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  the best thing to say about that is at least we're still going
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  and that we could have a monster, you know.
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  Yeah. And that's the awesome thing
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  about that. And but, yeah, so why don't we
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  have a look at some of the stuff that you've worked on over the
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  past while? And let's take you first, Nate
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  Singh, as we were. We were on the art thing.
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  Anyway. This first one I have here is
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  from the STCC. Figure Joe has the cards there.
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  Yeah. This is the paladin and the
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  cleric, right? Paladin Yeah, for the longest
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  time I just called the STCC night.
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  Yeah, I got you. Yeah.
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  When did you? So I guess this is interesting
• 13:58
  for you, but when when did you start working on this art?
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  Or when did when did this art? This one, surprisingly, this was
• 14:07
  one of those that snuck up on my schedule.
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  I think he snuck up on everybody's schedule.
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  That job of fun. Yeah, he snuck up everybody.
• 14:16
  As a collector and a fan, it definitely snuck up on.
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  Our I remember, I remember it was April or May, and I knew
• 14:26
  that there was rumblings of a San Diego Comic Con figure.
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  And I'm thinking if that's going to happen, what is it?
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  You got to get this together. Maybe I'm telling too many trade
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  secrets on how close we have this one.
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  Yeah. I think the art, the art doesn't
• 14:45
  say that anyway. For sure.
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  It's amazing. Definitely not, no.
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  Thank you. I mean, this came on the heels
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  of me doing the other portraits for the legacy characters,
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  right? And we were, I don't know how to
• 15:00
  phrase this other than I mean, some of this has been said in
• 15:03
  other interviews where it was by happenstance.
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  I was out on a walk and I'm under the gun on some big piece
• 15:12
  of packaging art. I can't remember which one it
• 15:14
  was, whether it was Ox crew or something else, but I remember
• 15:19
  just asking Jeremy and Eric because I could.
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  I just do some portraiture and, and just for me to do a portrait
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  like this, I can kick these out so much faster than I can the
• 15:30
  big extravagant paintings with the big rich backgrounds and
• 15:34
  full body characters and all that stuff.
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  So I mean these, they're just nice to have and plus we can get
• 15:39
  so much usage out of them. So because of that, it was, I
• 15:43
  had just finished up the legacies portraits and then Joe
• 15:46
  comes to me and says, K, now we need to, we need you to do the
• 15:49
  San Diego night like as fast as you can.
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  And so off I went. And then I knew he did.
• 15:56
  He had different heads. There was a plan at one point
• 15:58
  for me to do that third head. And I still may, OK, maybe
• 16:02
  that'll be something that'll be done for the Kickstarter.
• 16:04
  Who knows? But yeah, just kick these out.
• 16:08
  Obviously it's the same body. It's it's kind of funny.
• 16:11
  This is one of those paintings where I treat it like the action
• 16:13
  figure. It's like you can pop and off
• 16:17
  and you're off and running so. That's all right.
• 16:20
  So, so you would have taken some of the like that for example,
• 16:24
  the torso here that you painted, you would have taken that for
• 16:27
  the for the other head and other detail.
• 16:32
  Yeah, and you can. There are no change details
• 16:34
  really in the body at all. It's pretty.
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  I mean, some artists would probably scoff at me for doing
• 16:39
  that, but given the timeline that we had, we were just like
• 16:43
  look like ideally I would have liked to have maybe drawn him in
• 16:46
  a different pose or something like that or turned him a little
• 16:49
  bit differently. But for the time that we had, we
• 16:53
  just, we did what we could and great.
• 16:55
  Thankfully most people like it so.
• 16:58
  I mean, this is perfect for you, Rich.
• 16:59
  This is how you pose your figures on the show.
• 17:03
  No need for that, John. But yes, you're correct.
• 17:05
  Guilty as well, Yeah, I can't criticise.
• 17:09
  I've got so many. I can't, I can't have them doing
• 17:11
  like flying axe attacks on each other and that sort of stuff.
• 17:14
  It's just like there's just no room.
• 17:16
  Yeah, well. A couple a couple of weeks ago,
• 17:19
  I was in a bit of a funk, quit my whole thing and I was trying
• 17:21
  to paint stuff and everything was so messy that I just took
• 17:24
  all the figures off the shelves, put them into boxes, cleaned the
• 17:27
  whole room, and now I have them to put back up.
• 17:31
  And actually I'm just delaying that.
• 17:33
  I think I might leave it till laughter allegiance kind at this
• 17:36
  point because yeah, I just I want to do it right and nicely.
• 17:40
  And you know, some polls, some, you know, in ranks for short for
• 17:44
  space reasons. But yeah, it just is.
• 17:47
  It's going to be like a weekends, you know, on and off
• 17:51
  when you have the time work. And I'm I'm I have too much
• 17:54
  other stuff on to get to it now. But that's my wife for the
• 17:58
  holiday. Yeah, I'll come.
• 18:00
  I'll come home. And my box, my my fingers are
• 18:02
  just being a box. And you got, you know, there the
• 18:05
  holiday kind of town up in the snow globe and the snowman
• 18:09
  collection and not my skeletons and my undead and my Knights.
• 18:14
  And just like, OK, I guess we, I guess we switched over and good
• 18:18
  luck getting them back up. Yeah.
• 18:20
  Brilliant. And tell us about the the light
• 18:25
  here, Nate. It's kind of, it looks like it
• 18:29
  kind of, Yeah, the lighting looks like kind of a sunset or.
• 18:33
  Yeah, it is. It's.
• 18:34
  I'm trying to remember which came first on this one, the the
• 18:39
  portrait or the back. I think the background came
• 18:41
  first, like I had done the card back for this.
• 18:44
  Yeah. And George was like, let's do
• 18:48
  the and that's when he came to me and said, we need the, we
• 18:52
  need paintings for the night too.
• 18:53
  And I thought, well, I'll just make my life easier and slap him
• 18:56
  on the same background that's used on the card back.
• 18:59
  And so because that was kind of sunsetty.
• 19:01
  I just, yeah, one of the things that I'm liking about doing
• 19:07
  these portraits specifically, and I know we're going to talk
• 19:09
  about some of the others, I'm guessing based on the PDF that I
• 19:13
  saw of the artwork. It's, it's the same one, yeah.
• 19:18
  I like to play up the lighting on these things and and
• 19:22
  especially like with the armour, like, I don't know, I I had way
• 19:25
  too much fun painting at that shoulder pauldron, for example,
• 19:28
  like that came out so much nicer and it it's a nice piece to
• 19:34
  paint anyways, But if you can throw lighting on it, it just it
• 19:38
  just adds. Trevor could be saying the same
• 19:41
  thing, you know, kind of a thing when he's taking pictures of of
• 19:44
  the figures. The more dynamic you can get in
• 19:46
  some lighting, it really helps the character stand out.
• 19:50
  Stand off the background. Yeah, and it gives it it it
• 19:55
  makes it even more metal looking, if you know what I
• 19:58
  mean. Do it because of that.
• 19:59
  Yeah, exactly right. And we have a few, so we better
• 20:04
  move on. But I could look at these for
• 20:06
  longer. Scaphoid.
• 20:10
  So he's bravo. So the big thing.
• 20:16
  But the new scaphoid apart from everything is the new skull is
• 20:21
  got all these kind of runes and stuff on it yes.
• 20:25
  And then you I think it was your art that gave us the notion that
• 20:31
  actually these could, you know, you could do this kind of magic
• 20:35
  stuff where where they would glow.
• 20:36
  So, yeah, tell, tell us how that came about.
• 20:40
  Or you know, because I guess you could do this, but if it doesn't
• 20:43
  match with with maybe the character of the story, then,
• 20:46
  you know, the guys will tell, you know, sorry Nate, you have
• 20:49
  to take that out. Yeah, well, and, and this was
• 20:52
  something where I had I had scaffold Moist mostly completed,
• 20:56
  I want to say at this point. And I did, I reached out to Eric
• 20:59
  because I was like, I wouldn't mind playing with the runes and
• 21:02
  see if they could. Are you OK with them glowing?
• 21:05
  And he was like, yeah, go for it.
• 21:07
  And I, I maybe had it already somewhat painted in.
• 21:13
  So I was like, hey, look, can I are, are you guys OK if I keep
• 21:17
  running with this? And yeah, both he and Jeremy
• 21:19
  were totally fine with it and loved it.
• 21:22
  So yeah. And, and this is another one
• 21:24
  again with the lighting where I was, it's scaphoid.
• 21:27
  So I wanted to play up the interesting just I love his
• 21:33
  colour palette in general on the figure.
• 21:36
  And so I I leaned into that in the lighting so that the
• 21:41
  background was very purpley, but then the the under light
• 21:44
  underneath him that whatever that toxic venomous stuff is
• 21:47
  lives in was charging him up from the front kind of a thing?
• 21:54
  And had you painted scaffold before in any of the?
• 21:58
  This was the first time I had painted.
• 21:59
  Right. Yeah, I think he was.
• 22:02
  Legacy was long overdue. Yeah, in fact, a lot of, well, I
• 22:06
  think about it every. Every Legacies figure so far has
• 22:10
  been. It's the first time I'm painting
• 22:12
  them, and that's the other. The other side to doing these
• 22:15
  portraits quickly is that in time, as we build this library
• 22:20
  of Legacies characters, it gives me the opportunity to finally
• 22:25
  put them on a canvas, so to speak.
• 22:29
  I'm. Literally on a canvas that we
• 22:34
  can talk about later. Yeah, yeah, definitely.
• 22:37
  That is definitely something that's been noted.
• 22:40
  So we'll get back around to it. And if we don't, guys, it's it's
• 22:45
  my fault. So I mean we're going to go on
• 22:49
  and look at several more. So this is probably a bit
• 22:51
  premature just but, but I will say that seeing John putting
• 22:56
  them all together in this slideshow made me realise
• 23:00
  actually how much we'd missed something like this as in VR
• 23:05
  they'd look it just, they all look just so good.
• 23:08
  And it's such a nice way to present the character, I think.
• 23:13
  Yeah, I think it's really good. For sure.
• 23:17
  And, and I don't think it's a spoiler to say with the lore
• 23:21
  book that is coming forth, there's a lot of art to be done
• 23:24
  that is going to continue to enhance a lot of that.
• 23:27
  Like we're, we're going to get some stuff in there that, yeah,
• 23:31
  many of us are very excited to actually see as a painting, as
• 23:35
  well as stuff that Trevor is photographing for it, which it's
• 23:39
  going to be awesome. Yeah, it's going to.
• 23:41
  Be really cool. So plug for the lore book?
• 23:44
  Oh, don't. We're all very excited.
• 23:46
  Yeah, don't worry. We love our lore around here, we
• 23:51
  love reading the lore on the show.
• 23:53
  So the lore book will get plenty of air time when it comes
• 23:57
  around. And yeah, I think you're right
• 24:00
  to say, but the photos as well. But when you do the paintings, I
• 24:04
  guess. I mean, of course, it depends on
• 24:06
  how, how much time you have with all your other stuff going on.
• 24:10
  But even just doing scenes, I mean, yes, Trevor can do scenes
• 24:13
  with the photography, but you can do even more with the
• 24:16
  painting given, you know, time because you can, you know, on a
• 24:20
  canvas it's easier to do stuff that maybe is in photography
• 24:25
  physically almost impossible. Yeah.
• 24:29
  You know, a bit, a bit like the difference between cartoons or
• 24:32
  live action, you know? Exactly.
• 24:34
  Yeah, If you can imagine it, it can be put on a canvas.
• 24:37
  Yeah, kind of the point, yeah. And seen as you know, getting a
• 24:41
  movie of this stuff might be unrealistic at this point in
• 24:45
  time, this is kind of the next best thing or maybe even better,
• 24:51
  you know, depending on on your viewpoint.
• 24:56
  Sir Valgard was another one. He obviously is coming with
• 25:01
  scaphoid that legions can. So on topic a little bit for
• 25:05
  what we're running up to as well.
• 25:07
  And this for me, was a surprise that we were getting him again
• 25:10
  because he was the Kickstarter exclusive.
• 25:12
  Now, I understand he's a good surprise for sure.
• 25:16
  Joe, That's absolutely correct. Yeah.
• 25:18
  And because I don't have him and, you know, I'm not that kind
• 25:22
  of collector that I'm going back to get stuff like that at this
• 25:26
  point in time, which is why the legacies line is just such a
• 25:30
  boon. And but yeah, we got to serve
• 25:33
  Alguard, so and he's obviously important to the story, so great
• 25:38
  to get him and you got to draw them.
• 25:41
  Yep. Yeah, he's, he's such a fun
• 25:44
  little character. And or maybe not so little.
• 25:48
  I mean, he's little. Yeah, he's dork, but he's he's
• 25:50
  still big. Broad, Broad.
• 25:54
  Big in presence. Yeah.
• 25:57
  It's funny, a while ago I had done a sketch, just a loose
• 26:00
  sketch, I think of the, of the accessory pack for the giant,
• 26:05
  the noble barge. I had done just a quick loose
• 26:08
  sketch and it was, I just had loved how that sketch
• 26:12
  composition was. So I thought, you know what, Sir
• 26:15
  Valgard here has that same helmet and same wing motif and
• 26:19
  saying all that sort of sort of deal going with the beard and
• 26:22
  whatnot. So I just leaned into that and
• 26:25
  ran with it. Plus I, I honestly, again, as as
• 26:29
  weirded as as it is, these shoulder pauldrons are gorgeous
• 26:32
  and especially this Aetheron shoulder pauldron.
• 26:35
  I was just like, I I just want to paint it just as much as I
• 26:39
  want to paint the portrait. And you know, artistically or
• 26:41
  even compositionally, you could argue argue that the two are
• 26:44
  kind of fighting each other a little bit, but for attention,
• 26:47
  right? But it just can't.
• 26:50
  It came together nicely and been painting all that gold.
• 26:54
  I really do enjoy painting metal.
• 26:57
  I it, it pushes me, it is challenging at times and I think
• 27:00
  I could do better and I over over the years, hopefully we'll
• 27:04
  continue to get better at it. But I do love painting metal.
• 27:09
  Yeah, because you, you don't, you know, as an artist, you
• 27:12
  don't use metallic paints like we would use on figures.
• 27:16
  You, you get the effects through the use of light.
• 27:19
  So that's, you know, that's next level stuff in terms of of
• 27:24
  painting there, you know, and lots of, yeah, lots of textures
• 27:29
  on this with the beard and those feathers as well.
• 27:31
  And even you have the feathers of ether on the pauldron.
• 27:34
  So lots of cool kind of detail like that.
• 27:39
  Can't see it in this painting and I kind of intentionally hit
• 27:42
  it, but there's a slight eagle wing ish motif in the clouds
• 27:45
  behind him. Yeah.
• 27:48
  If I were to turn off the layer that is Sir Valgard and you
• 27:53
  would look back there, you'd be like, oh, there's an eagle
• 27:55
  there. Cool.
• 27:56
  Love it. Someday, maybe.
• 27:58
  But yeah, that's a that's a real Easter egg.
• 28:00
  Yeah, maybe that's for your leaders con presentation.
• 28:03
  You know, if you're for intern, sorry, intern, maybe, maybe.
• 28:06
  So that's an idea that could be your like, you know, your mic
• 28:10
  drop at the end. And Joe, I presume you're
• 28:15
  getting one or two of this guy for Wolf Customs?
• 28:19
  Two, yeah, a couple, a couple. Yeah, I'm, I'm, I'm happy with
• 28:24
  how the Valiant guard turned out as well.
• 28:27
  So I already have some some variations of parts ready to go
• 28:31
  for swapping of that. And and even, OK, even thinking
• 28:36
  about what's what's coming up in this wave, just trying to think
• 28:39
  ahead of what works for previous things.
• 28:42
  That's that's something I try to pay attention to.
• 28:44
  There there was a there was an aspect of one thing where I was
• 28:47
  like, you know, maybe that maybe that could go along with this.
• 28:53
  We'll see what we can do. Joe, I have a question.
• 28:57
  Is Sir Algard's golds? Are they at all compatible with
• 29:00
  the Bayothere Knights golds? No, no, not Bayothere.
• 29:07
  They're far brighter and more orange, while these golds are
• 29:12
  are closer to, I guess a a cooler yellow.
• 29:17
  Yeah, that exists, but you know what I mean.
• 29:20
  It does without going puts, but yeah, right.
• 29:23
  Yeah, yeah. That's trigger.
• 29:27
  Helping the horsemen here they can do like work stuff while.
• 29:33
  And we're happy to listen to it. To be fair, you know, this is,
• 29:36
  this is not a waste of time for us and there is so many goals
• 29:40
  and and obviously there's so many shades of gold.
• 29:43
  I realised that exist would never have thought of this
• 29:45
  before I started, you know, this line and customising and all
• 29:49
  that. It's always something that's
• 29:51
  considered because depending on the type of character, how many
• 29:54
  you expect somebody to want to pick up.
• 29:58
  You don't want to keep using the same gold over and over again
• 30:01
  because then you'll feel like you keep buying the same figure
• 30:03
  over and over again. So you want to change up those
• 30:05
  shades. But also you, you want, you want
• 30:09
  to have a lot of possibilities somewhere down the line with
• 30:13
  reusing A colour so you can swap it around later with other
• 30:16
  things. And it looks intentional when
• 30:18
  originally the, the original character design wasn't meant
• 30:21
  to. But you know, looking at the
• 30:22
  toys afterwards and thinking, you know, swapping around, if
• 30:26
  it's an army builder or unnamed character of sorts, you want to
• 30:28
  have that possibility there to use those extra parts, that
• 30:31
  extra helmet, that extra set up pauldrons, anything like that
• 30:35
  to, to mess around with and, and find those, those hidden figures
• 30:38
  that we toss in there every now and then that could take years
• 30:42
  to build if you think about it. True, true.
• 30:45
  But that's the thing. I think those kind of things
• 30:48
  reward the people that are collecting long term, right, or,
• 30:53
  or are in it for the long term, you know, even if you've just
• 30:55
  started now. But if you collect for the next
• 30:57
  number of years and, you know, there's no rush, you will get
• 31:00
  cool things like that just just crop up.
• 31:03
  And they've been thought about as, as you've heard Joe say, you
• 31:08
  know, but even the shades of gold are so rich.
• 31:11
  Yeah, you go. Sorry John, nice to meet.
• 31:13
  Umm, I'm just going to say, do you guys like so say to
• 31:16
  factories, Remember, you know, whatever colour combinations you
• 31:18
  use for this particular gold, don't throw away the recipe.
• 31:21
  We might want it again at some point in the future.
• 31:24
  So yeah, sometimes we'll we'll have it as a note, like this
• 31:26
  base coat needs to match the base coat of this previous
• 31:29
  figure and it can come down like I think the factory has one of
• 31:32
  everything we've already made. So it could just come down to
• 31:36
  like, hey, we send a picture of it, or I send it like maybe a
• 31:39
  leg of something and say here, it's got to be the same exact as
• 31:43
  this even even if our paint is just a tiny bit off, you're
• 31:47
  like, you know, just make, make that work.
• 31:50
  And there's something coming up that that falls along those
• 31:53
  lines that everybody knows about.
• 31:55
  But yeah, it's absolutely something we try to keep track
• 31:57
  of. Got you.
• 32:00
  And like you see in, for example, Army of Lee, Odysseus
• 32:04
  has this kind of warm gold. Even if all the golds don't
• 32:09
  exactly match the they're in the same ballpark.
• 32:13
  And then maybe either on the gold is slightly more kind of
• 32:17
  towards the brown end of it or I don't know, greenish, maybe with
• 32:22
  eh Gideon, for example, it's a it's a lighter gold than than
• 32:26
  Magnus, you know, right, Yeah. So anyway, not gold, green.
• 32:36
  I love this. This is so, so good and awesome
• 32:41
  use of shadow here, yeah. Yeah, no, this one was fun just
• 32:47
  for all of like this is this is the ultimate work in my brain
• 32:52
  like there there's no work other like Erzak is everything that an
• 32:56
  orc is and I what I love about the legacies version of him is
• 33:02
  it reads like all of the up new updates on the armour and all
• 33:05
  the new shapes that are there. I just, I had so much fun trying
• 33:09
  to capture a snippet of that figure, which that's all this
• 33:12
  is, is just a little, you know, it's a bust essentially.
• 33:17
  But yeah, I, I had a tonne of fun.
• 33:21
  You know, so contrasted to like Sir Valgard or even to Otho,
• 33:24
  where his armour is dinged like it's been hammered together.
• 33:28
  It's, it's, it's not refined. It's, you know, it's the
• 33:31
  opposite of all that. And, and I love that kind of
• 33:34
  textural kind of stuff. So I did.
• 33:36
  I had, I had a lot of fun playing with his armour.
• 33:39
  And then likewise with his his portrait.
• 33:41
  Just that evil poop eaten grin. You know what I mean?
• 33:49
  He's just, he's like, he's like, please come mess with me.
• 33:53
  Like mess around and find out, right.
• 33:55
  Kind of, yeah, he's that kind of guy.
• 33:58
  And I, I was, it was the bad guys are always so much fun.
• 34:02
  Like Herzog and and Scaphoid easily were my favourite of
• 34:07
  these, of all of these. But it's also fun to capture the
• 34:10
  heroic nobility of the, the various Knights in their armour.
• 34:13
  But at the same time, like the kid in me, just I, I like the
• 34:18
  bad guys and I like playing up, you know, the villains.
• 34:23
  Because if the villains aren't cool, then what's the point of
• 34:25
  the good guys? Right.
• 34:30
  Yeah, this is I think one of my favourites as well.
• 34:34
  Just. He's just, he's got that look
• 34:37
  that you could, you know, you could imagine he's staring
• 34:39
  directly at 10 Red Shield soldiers just on the other side
• 34:43
  of the, you know, of the camera, as it were, sort of thing.
• 34:45
  And it's just like, yeah, come on.
• 34:46
  No problem. Lunch.
• 34:49
  Yeah, you've, you've captured the character here, you know,
• 34:52
  straight away, you know, it could just be the figure, you
• 34:56
  know, in art form, which is awesome.
• 34:59
  And I love the the way you got the glowing out of the eyes kind
• 35:02
  of going along the the war paint itself.
• 35:05
  Some of those are happy accidents, honestly.
• 35:07
  Like I, I let the paint kind of breathe a little bit on canvas
• 35:12
  sodas. I don't know how to describe
• 35:13
  that exactly other than you, you're laying down layers of
• 35:16
  tones and all of a sudden stuff starts working and you'd cut.
• 35:21
  You just kind of want to leave it alone.
• 35:22
  So I, I, yes. His eyes look like they glow.
• 35:26
  I, I can honestly say I didn't intend it to be that way, but it
• 35:29
  just kind of happened because of the nature of the white markings
• 35:32
  on his face and that kind of a thing.
• 35:35
  And then do you base these off pictures of the figures or do
• 35:39
  you get the figures in in handers of?
• 35:42
  I, I wish I had them in hand while I was painting, but no.
• 35:45
  I it's largely pictures, right? And largely, thankfully, Trevor
• 35:49
  has shot a lot of this by the time I get to it.
• 35:52
  So and, and he already liked stuff be like, there's a lot.
• 35:56
  I don't know if I've ever told Trevor this or said this, but
• 35:59
  his his photography influences my art frequently and for which
• 36:04
  I'm grateful. Like I love, I love the back and
• 36:07
  forth that he and I get to do. Yeah, Dream team, dream team
• 36:12
  stuff. And then who came along with
• 36:17
  Otto and that little first legacies way or, or is actually
• 36:20
  in that first legacies wave was Otto.
• 36:24
  And so this was obviously your first time to draw Alto as well.
• 36:28
  And he's, it's just been a long time coming.
• 36:31
  I I guess we all knew we were going to get Alto again at some
• 36:34
  point and maybe didn't know we were going to get art from of
• 36:38
  him. Yeah, But yeah.
• 36:42
  And, and talk to me a little bit about the, the kind of age
• 36:47
  decision here with the, the character, because obviously he
• 36:50
  looks a little bit older. Maybe it's a little.
• 36:52
  More older, yeah, a lot of that is coming from I, I guess what's
• 36:58
  in my head of the character coupled with what Eric's, you
• 37:02
  know, he, he was showing me the new sculpt, the new head sculpt
• 37:06
  and even the new head sculpt. Admittedly in hand it looks
• 37:08
  younger, but I still had in my head the the original head
• 37:14
  figure. So this is maybe blend of the
• 37:16
  two. This was also the first portrait
• 37:19
  that I had done started for all the legacy stuff.
• 37:21
  He was #1 got him out of the way done, done first.
• 37:25
  So that in many ways this piece is me trying to find, OK, how
• 37:30
  far am I going to take this? How, you know, in some ways I
• 37:34
  can look at this painting and I see where I was a little quicker
• 37:37
  or rougher with things. He came together the quickest
• 37:42
  and then I and, and as I go, I that tends to happen with me
• 37:46
  anyway and it drives Chris and George nuts, but I I can.
• 37:52
  Thank you for that. That makes me happy.
• 37:57
  Yeah, you too. It's.
• 38:03
  And admit it it it drives them nuts for a good reason.
• 38:05
  Because I'll kick something out in, in a certain amount of time
• 38:09
  and then I'll go to do another one and it'll take a little
• 38:12
  longer and then I'll do another one and it'll take a little
• 38:14
  longer and I and I need to recheck myself and, and knock it
• 38:18
  back. But yeah, but for the most part,
• 38:20
  this was another one. I don't, I keep talking about
• 38:24
  shoulder pauldrons, but his arm is fun.
• 38:26
  Like I, I kind of played with whatever the reflections were
• 38:30
  happening. I, I don't know what he's
• 38:31
  standing next to or how beat up that armour is to, to react.
• 38:36
  It almost looks like water. Yeah, and it's different, but it
• 38:41
  was kind of fun to try to pull out a different Sheen out of it.
• 38:45
  So it. Looks almost more mirrored than
• 38:48
  than for example the armour from the first one.
• 38:54
  Yeah, the contrast is higher. And again, it's all of these
• 38:58
  even moving forward, like with legacy stuff, as long as Eric
• 39:03
  will let me that he, he allows me to just kind of play with it.
• 39:07
  Like here's, here's the job. It's just going to be head and
• 39:10
  shoulders of the character. We're, we already know that's
• 39:12
  what it's going to be. But then I, I always have to try
• 39:16
  to inject something else into it.
• 39:20
  I, I don't like leaving things just just straightforward as
• 39:23
  they are. I like to introduce something
• 39:26
  new, whether it's lighting, whether it's colour, whether
• 39:29
  it's where the light's coming from, whether it's what's going
• 39:32
  on behind them, you know, that kind of a thing.
• 39:36
  Yeah, no, I think it makes it much less boring, you know, it
• 39:40
  makes it gives it more interest for sure.
• 39:44
  Yeah. I love, I love this guy.
• 39:47
  Thank you. If there's a chance for me to
• 39:49
  express or to just really sell who the character is in the
• 39:53
  portrait, that's important too. Like that has to has to be
• 39:56
  there. Absolutely.
• 40:00
  OK, we move on then to some figure obscura.
• 40:03
  So Ganesha had some. Amazing box art and we've 3
• 40:09
  pictures here, but first two. So tell us a little bit about
• 40:13
  him. I guess you had to do some
• 40:15
  research, A lot of research maybe.
• 40:19
  Very much so. I had been to India once in my
• 40:21
  life, many, many generation ago really.
• 40:27
  And I just remembered how rich and lush it, it was over there.
• 40:33
  And I just, I knew that as we approached Ganesha that I,
• 40:36
  that's, I had to bring that to the box.
• 40:39
  And yeah, I had to do a lot of research.
• 40:40
  Like I, I didn't have a familiarity with these
• 40:44
  characters and, and these deities and, and at the same
• 40:48
  time, I had to be, I wanted to make sure, and we've talked
• 40:51
  about this in the past with these box, with this box in
• 40:54
  particular, we wanted to make sure we were respectful because
• 40:57
  this is an act of religion for millions, not billions of
• 41:00
  people. So I wanted to be very
• 41:04
  respectful to that and make, make sure I got as many of the
• 41:09
  details as I could write. I'm sure that there were, I hope
• 41:11
  I didn't offend anyone essentially at the end of the
• 41:13
  day. But yeah, it was, it was also
• 41:16
  fun for me to just kind of step into that that world and and
• 41:25
  play and it it, it's a beautiful, like it's a
• 41:29
  celebration of the creation in many ways.
• 41:32
  And I think, in my mind at least, I got out of it.
• 41:36
  Maybe you had to add a few colours to your normal palette
• 41:39
  for this. For sure.
• 41:41
  Yeah, for sure. Because I remember when you at
• 41:44
  your presentation that intern you, you said that, yeah, you
• 41:47
  have a lot of the same colours in your palette for for lead,
• 41:50
  for Mythics, for example. And then Cosmic obviously
• 41:54
  expanded that for you and, and I'm sure your other work that
• 41:58
  you've done before and for example, Masters of the Universe
• 42:02
  does that. But yeah, this one is got a lot
• 42:04
  of bright colours and now you're you're into the the kind of
• 42:12
  Asian stuff yourself. Tends to go a little further E
• 42:19
  the stuff that writes me to be honest, but I mean it's
• 42:22
  incredible, isn't it? It's, I mean, Ganesha does
• 42:26
  featuring across a lot of the Eastern religions in one form or
• 42:31
  another anyway. And what, what kind of a
• 42:37
  character is this? The that's flying?
• 42:39
  What is? What is that?
• 42:41
  That's his brother, that's Ganesha's brother and that's
• 42:44
  that's a part of the story that's going on.
• 42:45
  The golden I don't know if it's the golden mango or the magic
• 42:49
  mango. OK.
• 42:51
  And this animal that he's on is what?
• 42:53
  What is that? Yeah, he's flying.
• 42:57
  The idea was to go around the world as fast as they could,
• 43:01
  right. So his brother is like, I got
• 43:03
  this. He hops on his Peacock and takes
• 43:05
  off around the world. And in the time that he did
• 43:07
  that, Ganesha just sat put and stayed close to his parents.
• 43:11
  And he said, you are my world. And it was, that was the, it was
• 43:16
  the just how important family was and how important parents
• 43:20
  are and that kind of thing. It's, it's, it's a sweet little
• 43:22
  story. So because of that, Ganesha won
• 43:25
  the the magic mango, which is George's favourite thing.
• 43:28
  And all of all of the artwork I've never done for anything.
• 43:33
  Magic Mango. Yep.
• 43:36
  Well, I can tell you, you definitely nailed it.
• 43:40
  Yeah, thanks. And this is goodness shit.
• 43:45
  Yep, on the throne. On his throne, in his temple,
• 43:49
  yeah. Yeah.
• 43:50
  And this was, I think this is on the front of the box, right,
• 43:53
  Correct. Yeah.
• 43:55
  Yep, yeah, beautiful. Referencing an actual temple in
• 43:59
  India. I can't remember.
• 44:01
  It's got a big long My apologies Indian name that I would
• 44:05
  butcher. But yeah, it's it's taken from
• 44:09
  an actual temple there where they worship him.
• 44:13
  There are many temples like he's worshipped in many places and in
• 44:16
  many temples, but this is one of the bigger ones I've as far as I
• 44:20
  understood. Yeah, and so much kind of warm
• 44:25
  tones here behind him. I guess that was fun to do.
• 44:30
  Would you, would you be ever at a point where you're like, I'm
• 44:33
  just going to punch up that that light a bit more?
• 44:38
  You're doing it. I remember fighting it a little
• 44:41
  bit because there was at one point I thought of putting
• 44:44
  another. A lot of times I will sandwich
• 44:46
  like if something's glowing or magical or emanating, I'll put
• 44:50
  layers both behind it and in front of it that enhance that
• 44:53
  glow. And there was, I think there
• 44:56
  still is kind of a top layer or veneer over top of Ganesha that
• 45:00
  has some of that glow. But I remember going back and
• 45:03
  forth on it of like, how much to show, how much not to make each
• 45:07
  contrast would read. And at the end of the day, I'm
• 45:10
  like, look, it's about the figure.
• 45:12
  So the figure has to be as it can so.
• 45:20
  Yeah, and we have this one. I had to put this one in because
• 45:23
  as far as I can remember, this is from last Christmas with the
• 45:28
  Ghost of Christmas Past, right? And so this is the scene where
• 45:35
  we're from A Christmas Carol, where George's are sorry, Jim is
• 45:40
  playing who? Fuzzy wig.
• 45:43
  Fuzzy wig. That's right.
• 45:44
  And it's it's a bunch of people from the studio or related
• 45:50
  closely to the studio as the other characters.
• 45:54
  So many. Others.
• 45:56
  Richard Pryor got in there somehow.
• 45:57
  I don't know how that happened. I was literally just painting a
• 46:02
  guy like I was feeling because I, I remember I had thought I
• 46:06
  had been finished and I showed the guys and, and Jeremy
• 46:11
  rightfully so, like he's doing in the picture he's looking at.
• 46:14
  He's like, this needs to feel more like a party.
• 46:17
  Like there's just not enough people in here.
• 46:19
  Like, well, I'm late on it as usual, as I always am.
• 46:23
  So how many more characters shall I slam in there?
• 46:26
  And so, you know, not not to make Jeremy a curmudgeon.
• 46:31
  I love Jeremy, he's awesome. He's.
• 46:34
  Got a good pose though hasn't. He yeah, it it felt sparse.
• 46:38
  So I'm trying to think of characters I added.
• 46:44
  Basically, if it's not a studio person, that's that's how many
• 46:47
  of the people that I then added after the fact, then I kind of
• 46:50
  stuck them behind just to help it feel more like a party.
• 46:53
  It was nice too, because it allowed me to bring in some more
• 46:55
  ethnicities and that kind of a thing.
• 46:58
  But yeah, if you go, I think everybody knows this by now, but
• 47:02
  you have from the from right to left, you have Vern and Cameron.
• 47:08
  That's Jim's wife in the yellow dress, Barbara.
• 47:12
  And there's Jim. Yeah.
• 47:14
  And then Cookie is playing the fiddle.
• 47:16
  You got Walter and then and, of course, Jeremy.
• 47:20
  Yeah. And who was in the know on this
• 47:26
  as you were going along? Because I guess it was the
• 47:28
  surprise to Jim, for example, right.
• 47:32
  So even Jeremy got the surprise. No, yeah, I mean, Jeremy was
• 47:36
  getting art updates. So yeah, The funny thing about
• 47:38
  this was, and people are going to ask for this, but I actually
• 47:43
  had a painting of Bill Mancuso in here.
• 47:46
  Awesome. And anytime I show Jeremy for
• 47:50
  approvals, I gave them the one with Joe with Bill in it.
• 47:54
  Yeah. And and so Jeremy like, yeah,
• 47:58
  this is great. Awesome.
• 48:00
  And I think I even switched him around and whatnot.
• 48:02
  And then, yeah, Chris and George and I had to be careful.
• 48:06
  I'm like, OK, here's the real art that is going to the fact.
• 48:12
  Yeah. I think Jeremy expressed a, you
• 48:15
  know, a four letter expletive when he finally saw it from
• 48:18
  first. It surprises a lot of us in the
• 48:23
  best of ways, of course, but. What was this real?
• 48:28
  But he really, he really loves this story and you know, it's,
• 48:31
  it's he's really someone I associate now with the Christmas
• 48:34
  Carol because of, you know, he talks about it and obviously the
• 48:37
  figures now as well. Well, with Jake Marley, yeah.
• 48:41
  With Jacob Marley's box, I had to put him in as a spirit.
• 48:44
  Yeah, just because I'm, well, Jacob Marley is his favourite, I
• 48:48
  believe. Character.
• 48:49
  I'm speaking for him and he can chime in and.
• 48:52
  I think that's a good assumption.
• 48:54
  I think I. Think I remember him telling you
• 48:56
  that. So I was like, yeah, you've got
• 48:58
  to be on the Jacob Marley box then if he's your favourite.
• 49:00
  And then I'm like, well no, the whole story is his favourite.
• 49:02
  So I have to sneak him in on all eventually.
• 49:07
  But we've only done the two so far and and this one was a
• 49:12
  surprise to him, so I'm sure on if or when we ever get to the
• 49:15
  next box he'll have to. He'll already know that he'll be
• 49:20
  in there whether he wants to be or not.
• 49:25
  So if if by for some reason we get the figure and he's not on
• 49:32
  there, we'll know there's been a giant fight or something, you
• 49:34
  know? Yeah.
• 49:36
  He came in and he put his back down and he won.
• 49:42
  Yeah, don't do that, Jeremy. OK, The Dark 4, so this is a
• 49:47
  picture that evolved over the past while obviously with the
• 49:50
  dark 4 coming out because we we would have had Arithir first to
• 49:55
  Lithia and the other ones would have been greyed out in the
• 50:00
  background or darkened out. And then we got poxes and
• 50:04
  finally Necronomanous. So this is the complete picture.
• 50:09
  I think for me this is one of the ultimate mythic Legions
• 50:13
  pictures, you know, pieces of art that you've done.
• 50:17
  I think because it's amazing, but also because of the
• 50:20
  evolution of it. I assume you know you had it in
• 50:24
  finished form at some stage but still had to darken out the
• 50:27
  stuff. Yes and no.
• 50:30
  So this all first came from the very first concept of them all
• 50:34
  being in silhouette. Yeah, it goes back to a concept
• 50:38
  that I had done for a pitch for a possible Netflix animation at
• 50:43
  one point. So there's some behind the
• 50:45
  scenes info for you. I had done some really rough
• 50:49
  painting. In fact, there's a there's a
• 50:51
  number of painting, in fact, that the castle of four sides
• 50:55
  painting that I had done started out as one of those concepts.
• 50:59
  And then like I said, I had done the dark for all in silhouette
• 51:04
  form. And I thought, what if?
• 51:06
  And that's how I pitched it all to Eric at the beginning.
• 51:08
  I was like, what if we just slowly reveal these over the
• 51:11
  years and he was totally good with that and so each year I
• 51:16
  only had the silhouette. So I mean I had seen Eric's
• 51:19
  sketches because he had his rough, but even his sketches
• 51:23
  changed once it became final figures.
• 51:26
  Anyway Long story short though, no I I only got to flesh out
• 51:30
  each character the year that they were released.
• 51:33
  Otherwise they were just a shadow and I didn't know what
• 51:36
  they were going to be fully. And then with Necrominus in
• 51:40
  particular, like for him, he's my favourite of all four of
• 51:44
  them. I had looked at, I'd spent a lot
• 51:49
  of time on this painting. I had looked at a lot of
• 51:50
  classical paintings and I don't know if it reads well enough in
• 51:54
  this painting or not, but he's, I remember George saying, it's
• 51:58
  like I look back at Aerothea and even Lithia a little bit.
• 52:01
  And I think you need to go back and redo those because they're
• 52:04
  not to the same level that Poxus and Necrominus are.
• 52:07
  I'm like, you're not wrong. I don't know when I'll get to go
• 52:12
  back and do Aerithe or Lithia. I hope I get to again because I
• 52:16
  love both of those characters. I'm hopeful and, and this isn't
• 52:20
  me saying this is happening or not, I don't.
• 52:24
  But I would love it if we get another shot at Aerithe or
• 52:28
  someday for like maybe a Legacies figure or something
• 52:30
  like that just because I could. I can imagine how much more
• 52:35
  intense he could become with just the way that Eric handles
• 52:40
  stuff today. It would look he'd he'd be
• 52:43
  phenomenal. I'd back you 100% on that.
• 52:47
  I'd like, I would love to see it root scale too, like like a
• 52:51
  little more imposing. You know, for the time it was
• 52:54
  one of the most metal figures they'd ever done.
• 52:57
  And and since then, just in this picture, you can see how much
• 53:00
  further it's gone. So yeah, absolutely agree with
• 53:03
  you on that. Yeah, and I love that Nick
• 53:07
  Ominous was slightly bigger. So in my mind there's room for
• 53:10
  that. Let's, you know, let's plus up
• 53:13
  air through a big time. Yeah, because I think Lithia is
• 53:17
  is fine. She doesn't need to to be, but
• 53:20
  plused up I think she is. You know, we're almost where we
• 53:23
  are now with the lineman in terms of with the soft goods and
• 53:27
  all that. But our there was maybe just
• 53:30
  before the jump with with certain things, although I still
• 53:35
  think he's awesome figure and for example, I think those
• 53:37
  pauldrons are still unique to him yes in the line.
• 53:41
  So there is special things about him.
• 53:43
  The head is obviously unique. Yeah, Buckle.
• 53:48
  So Mal is looking at his. Up on the wall up here.
• 53:55
  You have you have these in box or a box.
• 53:59
  Yeah, just without the horse. I just went with the, you know,
• 54:02
  because I like the way the weapons are displayed and the in
• 54:06
  the box. So yeah, I kept one in box which
• 54:09
  have up on the wall appear. So yeah, if you see me.
• 54:14
  And yeah, I I also included the kind of full picture there, but
• 54:18
  I did to pick the zoomed in one as well so we could see the
• 54:21
  characters on the on the live stream or the recording here.
• 54:25
  It's a hellish landscape. Yeah, but I thought it was Yeah,
• 54:29
  it's worth to have the whole picture.
• 54:32
  And this is very much where Necronominus lives, which is why
• 54:35
  Scaphoids background kind of looks the way that it does.
• 54:39
  Oh, nice. Yeah.
• 54:44
  And this, this is one of the fun I've evolved to kind of handling
• 54:50
  the boxes. Now.
• 54:51
  The box art is I'll do a large environmental piece and the
• 54:55
  characters are pretty small within it because I'm accounting
• 54:58
  for all the sides in the top and the bottom that fold out.
• 55:02
  And so I find it's just easier for me to fill as much of that
• 55:07
  canvas as I can, knowing that depending on what canvas I need
• 55:11
  to put it on next for what other whatever box, it's just then I
• 55:14
  then I have the real estate of the environment to play with.
• 55:20
  And so this this is an example of that kind of shot where, and
• 55:24
  I think this is even still cropped.
• 55:26
  This must be from like the 11 by 17 print that I did or one of
• 55:29
  the poster prints. Yeah.
• 55:33
  And then lastly here, OK, it's not the best picture of you
• 55:37
  yourself, but it was the only one I had on my phone.
• 55:40
  This was from intern last year and I just I just wanted to ask
• 55:44
  about the what you were shown as the green stuff has that
• 55:47
  appeared yet in on a box or? Joe says Oh no.
• 55:54
  No, go ahead, go ahead. Oh God.
• 55:57
  It's, I mean, obviously if he can't say that's fine, but I
• 55:59
  mean, it's green and purple, so. I'll say, I'll say later.
• 56:02
  Go ahead. Yeah.
• 56:04
  The background there, I was working on Ox Crew, the first Ox
• 56:08
  Crew one boxes at the time. And so I was playing up what was
• 56:15
  I playing up? Just the Aurora Borealis kind of
• 56:18
  idea of the sky. Like if you look at your Ox Crew
• 56:21
  packaging, I think I have this here anyway, you can see that
• 56:28
  there's a lot of green up in the sky.
• 56:30
  And that's what I was doing at intern was really my, this is
• 56:35
  how I paint kind of presentation kind of a thing.
• 56:38
  So that's what's going on. And then Chris was nice enough
• 56:41
  to bring in some actual sheets that he receives of the
• 56:44
  packaging just to kind of show what that looks like for people
• 56:48
  when they're, they're an intern. So it's a lot of fun.
• 56:53
  And that's, that's all I'm going over.
• 56:55
  And, and if you're coming to intern this year, I'll be doing
• 56:58
  another similar demo on something else.
• 57:01
  I don't know. I haven't decided yet what I'm
• 57:03
  going to be demoing because I think whatever I would be
• 57:07
  working on next can't be talked about.
• 57:09
  So I'll have to come up with something.
• 57:14
  I mean, I, I have some ideas, but yeah, well, the nice.
• 57:19
  Oh, go. Go, go, Nathan.
• 57:20
  No, sorry. I was just going to say years
• 57:23
  past I've split an hour with myself and Trevor where people
• 57:28
  get to stay for 1/2 hour and with Trevor for 1/2 hour.
• 57:31
  But now Jeremy has fixed that so that you're with me for a full
• 57:36
  hour and then with Trevor also full, full Oh.
• 57:38
  Nice. Cool.
• 57:40
  Yeah, for the interns that are coming to join us this year,
• 57:43
  you're getting. That's that's the three of us,
• 57:45
  so we're happy. Yeah, we got Mal got lucky in
• 57:49
  the in the read the second draw when some people couldn't make
• 57:54
  it and then they draw some more names.
• 57:58
  And yeah, we both count as a half a person, apparently.
• 58:01
  Rich, the We'll take it. I was ready to just let them
• 58:06
  fight it out, but yeah, Jeremy very kindly said they could come
• 58:10
  so. I mean, that would have been
• 58:13
  more fun, you know, for content wise.
• 58:15
  But I think, you know, we're happy with the the solution.
• 58:19
  It's worked out all right. That's it.
• 58:20
  I'm looking at that painting now and remembering where that
• 58:23
  sketch was. There's not a lot of that ended
• 58:25
  up on the box. I mean, kind of, it kind of
• 58:29
  ended up on the box, but kind of not.
• 58:31
  So yeah, you never know. So, Joe, do you want to tell us
• 58:35
  what you were all knowing about or?
• 58:37
  So where this picture was taken, this area no longer is available
• 58:43
  for this year's intern for a day and and all this preparation
• 58:48
  we're doing it it. It's all for like really like G
• 58:50
  con and legions con. We keep thinking like all this,
• 58:54
  all these things that need to happen, but intern happens 1st
• 58:57
  and it happens in our in our house.
• 59:00
  So it's like, woah, right. We still need to pull our place
• 59:03
  together. It might, it might have been
• 59:06
  mentioned before. Yeah, right.
• 59:09
  Jim had mentioned before that we're, we're going to be moving.
• 59:12
  So there's a lot of things in our areas right now that are in
• 59:17
  flux, let's put it that way. So even though it's not
• 59:20
  happening like, you know, soon or during or you know, around in
• 59:25
  turn, still things are changing. So just seeing this picture and
• 59:28
  remembering where we had you just reminded me we need to find
• 59:31
  another place for you to go. Oh.
• 59:33
  OK, OK. So like another thing I need to
• 59:36
  do OK. Nice.
• 59:39
  So Joe, do you guys have to like a security sweep of the building
• 59:42
  before people come in for intern?
• 59:43
  Yes. Make sure there's no anywhere.
• 59:46
  Yes. You did.
• 59:47
  Last year, I won't say on what, but if you know, you know, like
• 59:50
  we failed, we failed and we could have failed so much more,
• 59:55
  right? So we pretty much gave it to
• 59:58
  everybody. Like the area that you work in,
• 1:00:01
  that's your responsibility to clear up anything that we don't
• 1:00:04
  want to have seen. And, and I don't necessarily
• 1:00:08
  have an area because I'm all over the place out in like in
• 1:00:11
  the studio and not so much on the, the shipping end.
• 1:00:14
  But like I had, I feel like I had a little bit more area to
• 1:00:18
  cover and even I missed one or two things, but I don't think it
• 1:00:22
  was anything that anybody picked up.
• 1:00:24
  At least the one thing in like wasn't me.
• 1:00:28
  Wasn't. Me but.
• 1:00:31
  But, but we're a lot more like, like I said, there's this things
• 1:00:35
  in different places right now. So I, I really feel like I need
• 1:00:37
  to keep a really, really good eye on that ahead of time.
• 1:00:41
  So. Why not throw?
• 1:00:44
  Why not throw a few red herrings in there?
• 1:00:46
  You know, just just print, print some random, print some random
• 1:00:51
  3D resin scopes, you know, and just kind of leave them
• 1:00:55
  somewhere where. I I've always left, I've always
• 1:00:58
  left some questionable things out.
• 1:01:00
  Umm, I think there was one year where we had a round tower in
• 1:01:05
  the office as just a bunch of figures on a display.
• 1:01:10
  I had put like 5 characters next to each other where you know, if
• 1:01:14
  you don't know you never notice. But like they all ended up being
• 1:01:17
  ones that we're going to be coming that we had like plans
• 1:01:21
  for later on. Like I, I just had AI overheard
• 1:01:26
  something and it's like alright, I'm just going to put them
• 1:01:28
  there. And it's all older things like
• 1:01:30
  from the first couple of waves. And I'm like, you know what?
• 1:01:32
  Just as a, you know, if anyone's taking any pictures, if they're
• 1:01:35
  ever scrolling through and they're like, oh, wait, like
• 1:01:38
  there's five in a row. Holy crap.
• 1:01:41
  Like that sort of thing. So I, I'll do little things like
• 1:01:43
  that. But of course, you know, you
• 1:01:44
  don't know until later. Yeah.
• 1:01:47
  And even that just leave too much sometimes.
• 1:01:49
  Just leave a clip, a whiteboard or one of these, you know, flip
• 1:01:52
  chart things with, you know, just some renting on it, like,
• 1:01:56
  you know, ideas for a new legions line and then just
• 1:01:58
  having a couple of random. We have a whiteboard.
• 1:02:02
  We, we have a whiteboard like that.
• 1:02:04
  And that is something that was erased.
• 1:02:07
  I, I kid you not, like maybe 5 minutes before we let everybody
• 1:02:11
  in for intern last and you know how far in advance we work on
• 1:02:15
  things. So there were absolutely things
• 1:02:17
  on that whiteboard where it's like like, why are we seeing why
• 1:02:21
  would that character who's been out for four years, why would
• 1:02:23
  their name be on the whiteboard? The situation So we.
• 1:02:29
  Might we might have seen one of the other in legacies recently,
• 1:02:32
  so you know, for example. It's a it.
• 1:02:35
  We got to be careful. Everybody needs to be more
• 1:02:37
  careful, yeah. And Mal reminded me today when
• 1:02:41
  we were chatting about, you know, the this recording with
• 1:02:45
  you guys that you are going to be working in the armoury, of
• 1:02:49
  course with the big Greg. That's right.
• 1:02:53
  So that's one of your big things for Legions Con yes.
• 1:02:55
  So how obviously you've had a test run as in you did it last
• 1:03:01
  year. So you know, you've had proof of
• 1:03:03
  concept and maybe identified things that you want to do
• 1:03:07
  differently or the same. And so how's that been coming
• 1:03:10
  along? Or, you know.
• 1:03:13
  It's a bit. Different this year because of
• 1:03:15
  the the characters obviously. And you know.
• 1:03:17
  Absolutely, yeah. Just because of the contents of
• 1:03:20
  the bags and how like, like this year, I think we're going to
• 1:03:24
  start with like the flesh tone first, just about like the
• 1:03:27
  layout of the things on the table.
• 1:03:29
  Because I feel like that's going to be most important because
• 1:03:31
  that's going to dictate exactly the type of character you're
• 1:03:34
  going to be making, Not just, you know, a gladiator type.
• 1:03:38
  You know, none of these guys are named.
• 1:03:40
  We just have a theme that runs across all the parts, but it's
• 1:03:44
  up to you to decide what your figure is exactly.
• 1:03:47
  A story, it's names, background, all that.
• 1:03:48
  So you start with that. Initially you you claim your
• 1:03:51
  actor and then you dress your character from there on.
• 1:03:56
  So it'll probably go flesh legs, armour, maybe even helmet after
• 1:04:02
  that, once you figure out the armour, just the kind of keep
• 1:04:05
  you're keeping track of your colours at that point.
• 1:04:07
  Of course all the weapons afterwards, you know
• 1:04:09
  everything's going to be the same that the weapons and the
• 1:04:12
  belts all in one bag. You not to choose anything
• 1:04:14
  that'll be at the end. But over the last couple weeks
• 1:04:17
  I've been making all the plates for display and.
• 1:04:21
  Very awesome. Yeah, yeah, it was.
• 1:04:23
  Yeah, I think it was over 100 plates.
• 1:04:26
  And last year, unfortunately I had, I didn't get too good of a
• 1:04:31
  start on it last year. So I glued a lot of things onto
• 1:04:34
  the plates and between the time we had it at intern for a day
• 1:04:38
  and then they moved it to the next location, had basically 3
• 1:04:41
  days of armoury. I had some of those plates
• 1:04:44
  falling apart. So in my mind I'm like, you have
• 1:04:46
  to do this different. So I drilled holes and a lot of
• 1:04:49
  them and I'm like wiring pieces on or I've got screws going
• 1:04:53
  through the backs of things like really make that stuff secure
• 1:04:56
  and and be able to survive. They're all bagged up.
• 1:04:59
  So that's been like that's armoury is like my
• 1:05:02
  responsibility in a way. So there's been a lot of prep
• 1:05:06
  just going into that. Besides like even earlier on,
• 1:05:10
  just some of the the the parts and some.
• 1:05:13
  But like the colours, Eric and Jeremy always they dictate the
• 1:05:17
  colours. But sometimes I'll I'll get a
• 1:05:19
  little involved with the shades of things just so we can mix
• 1:05:23
  them so they work well within the experience and they work
• 1:05:25
  outside the experience with things that people already have
• 1:05:29
  or even things that are coming up for thought like the grungy
• 1:05:33
  armour. And the armoury goes with
• 1:05:37
  Herzog. And of course I can't say that,
• 1:05:41
  but that's one of the concepts we had early on.
• 1:05:44
  So any one of those helmets, anyone Pieces of those armour
• 1:05:48
  paper onto an Ersock body or even the the warrior revenant
• 1:05:52
  that's exclusive to that show. While not exact from 2 feet
• 1:05:56
  away, it just makes like such a great comprehensive look across
• 1:06:02
  all those. So we can mix those parts in.
• 1:06:04
  And now all those pieces have a different place to live on your
• 1:06:06
  shelf, not just in the box. Which that, that's one of the
• 1:06:09
  things I I really like to do is how you can play with them, how
• 1:06:12
  you can be creative with that outside of the initial character
• 1:06:15
  and offering. That's so cool.
• 1:06:19
  Yeah. And yeah, it is.
• 1:06:22
  It is it a big pain in the ass that you have to set it up for
• 1:06:25
  intern and then bring it over to the hotel for it's.
• 1:06:28
  It's not the most convenient thing, but you know that that is
• 1:06:31
  an absolute perk of, you know, showing up to the event and we'd
• 1:06:35
  like to share that with everybody.
• 1:06:37
  It'll be, you know, everything will be available from what I
• 1:06:40
  understand, but we won't be doing like the entire thing, not
• 1:06:42
  like both sides. I don't think it's necessary
• 1:06:45
  just because of how people, like, run through it.
• 1:06:49
  And and of course, you have wonderful guys like Kirby Smith
• 1:06:53
  who made that whole programme where you can mix all the parts
• 1:06:55
  around. So hopefully some people have an
• 1:06:58
  idea of what they want to grab ahead of time and they're paying
• 1:07:00
  attention to it. Right, Right.
• 1:07:03
  Right. Yeah.
• 1:07:04
  I mean, I don't mind saying I, I don't.
• 1:07:07
  Think you. I did, yeah.
• 1:07:10
  Yeah. I mean, you did as well, didn't
• 1:07:11
  you? Yeah.
• 1:07:12
  That I have a little more of a hands on experience here, so
• 1:07:16
  just to get familiar with some of the parts, Oh, that I've
• 1:07:19
  mixed up some pieces ahead of time.
• 1:07:21
  Oh. That looks pretty good.
• 1:07:23
  Oh, red one there now. Oh.
• 1:07:24
  Right, just like shows up that. Looking red as well.
• 1:07:29
  Show shows up that last one you had up the the darker skinned 1.
• 1:07:34
  Yeah, it's almost. It almost reads monochromatic.
• 1:07:37
  I really like it. Just how they all kind of flow
• 1:07:39
  into each other. Yeah, and that works so good
• 1:07:42
  with that red. Right.
• 1:07:45
  Yeah, and and this red it, it didn't quite work out the way I
• 1:07:50
  would have liked it to, but it's not the same as last year's
• 1:07:52
  Armoury. It's probably closer to the
• 1:07:55
  original Vorgus, but not an exact match.
• 1:07:58
  But what's good is it's its own thing, Yeah, but it works well
• 1:08:01
  with a bunch of other it's. In the ballpark, yeah.
• 1:08:03
  Right, right. Yeah.
• 1:08:04
  We don't want to really repeat ourselves.
• 1:08:08
  Yeah, we, you know, because we already use a lot of parts over
• 1:08:11
  and over again. So we want to be, you know, the
• 1:08:13
  colours help diversify the offerings, but also keeping some
• 1:08:17
  colour schemes prevalent through releases is also pretty fun to
• 1:08:23
  to mess with later. I know when you said on how many
• 1:08:26
  which it was might be in the reveal show and you said that it
• 1:08:28
  was closer to Bulwich than the Red Armoury and I was like, oh,
• 1:08:31
  cost more money then, because I need a few of those.
• 1:08:34
  There's white skin ones now is like Vargas, you know, sycophant
• 1:08:38
  type followers sort of thing. So if it's close to the arm and
• 1:08:42
  then that's that's going to be great.
• 1:08:43
  Right. And you had the Vorgas.
• 1:08:44
  You know, we have a Vorgas too, that was out, you know, a couple
• 1:08:49
  months ago, maybe the year before last.
• 1:08:51
  Yeah, it's, they're all starting to bleed together for me.
• 1:08:54
  But you know, if you had the original 1, get some parts of
• 1:08:58
  the armoury and toss them on your older style Vorgas and just
• 1:09:03
  kind of like, you know, give that older figure life again
• 1:09:05
  instead of being like, Oh well, I don't want to Vorgas on the
• 1:09:07
  shelf. No, no, no, like take that guy
• 1:09:10
  out, mix up some pieces. It's newer parts compared to his
• 1:09:13
  original, like, you know, Kickstarter release.
• 1:09:17
  And it's just that it could be just another iteration of the
• 1:09:19
  blood armour, because obviously it changes by the wearer.
• 1:09:24
  Yeah, that's true. Yeah.
• 1:09:25
  Or the one who's consumed. So I don't know, maybe it just
• 1:09:27
  takes on certain attributes of whatever, you know, whoever's
• 1:09:30
  wearing it. So it just makes sense that that
• 1:09:33
  wants to keep, you know, carrying over and changing.
• 1:09:36
  But, you know, tell a story with it too.
• 1:09:38
  That's that's what I love about these.
• 1:09:40
  I can just see you Rich like adding to his spreadsheet in his
• 1:09:44
  brain now about the stuff that he needs.
• 1:09:47
  People make a plan and I can't tell you how many times when,
• 1:09:50
  whenever someone comes to the table and I had a plan, I have a
• 1:09:53
  list. It doesn't mean anything
• 1:09:55
  anymore. It's in front of me now and all
• 1:09:57
  of it has changed. Like I need to make these three
• 1:09:59
  that I planned. But now I have this idea and
• 1:10:02
  that idea and I saw I saw a head out in the show that will like
• 1:10:06
  it would go great with these pieces.
• 1:10:08
  And, and I, I love how a lot of our fans in the community, a lot
• 1:10:13
  of creators out there, they, they see the stuff and they
• 1:10:15
  think ahead and everything just like really just feeds each
• 1:10:21
  other. And it's such a good feeling to
• 1:10:23
  have that everyone reciprocates, everyone's work.
• 1:10:26
  It's a lot of fun. Yeah, I mean, John lost his mind
• 1:10:30
  an intern when it came to picking.
• 1:10:32
  Headless chicken. He just, yeah, me and Mal were
• 1:10:35
  like really structured. I mean, you pictures what we
• 1:10:37
  wanted. And just after the con, John was
• 1:10:39
  like, I don't know what I'm going to do with this stuff.
• 1:10:41
  And none of it goes together. OK, that's an exaggeration.
• 1:10:43
  I did get a couple. Like I did get 4, maybe four
• 1:10:47
  kind of fairly well matched ones, nice ones.
• 1:10:49
  But there was 2, I think I got 6 in total and there was 2 that
• 1:10:53
  were like mish mashes stuff as if what was that?
• 1:10:57
  And it was only when we went to do the record our legions can
• 1:11:01
  recap. And when we were all back at
• 1:11:03
  home the week after and I said, why don't we take pictures of
• 1:11:06
  the stuff we got. And I was taking my putting my
• 1:11:09
  armoury stuff together and I was like, what did I do with this?
• 1:11:14
  But I did what you'd actually suggested there, Joe.
• 1:11:17
  I got some older figures. I think I mixed some of the
• 1:11:20
  brown leather parts I got with the Gold Knight, and I used the
• 1:11:25
  barbarian torso with some of the red night parts that I got.
• 1:11:30
  So a little bit like that gladiator you had there with the
• 1:11:33
  darker skin. And so you end up with cool
• 1:11:36
  figures anyway, even if it's the ones that you weren't quite
• 1:11:41
  expecting. But my advice would be, yeah,
• 1:11:44
  zone in on a couple of bills that you really, really want,
• 1:11:47
  can't live without, and definitely build those.
• 1:11:50
  And then afterwards live in the moment, you know, if right, for
• 1:11:55
  example, we're, you know, we have a table.
• 1:11:57
  So if, if sales go well, we might, it might end up in
• 1:12:00
  another trip down the armoury than we were expecting, for
• 1:12:03
  example. And then that's when maybe the
• 1:12:05
  more random stuff turns up, you know?
• 1:12:07
  Well, I'm hoping I get to you guys sooner and later.
• 1:12:10
  I've, I've been to every legions con and I was, you know, I've
• 1:12:15
  either had my own table or, you know, especially last year, like
• 1:12:19
  working for the studio and, and it, it's not lost on me how
• 1:12:22
  lucky I am to have that opportunity.
• 1:12:24
  But it also like deep down it, it prevents me from kind of like
• 1:12:29
  being a fan as well and getting to walk the room and see what
• 1:12:33
  everyone else is doing. So I'm going to do my best to
• 1:12:37
  get everything set up as best I can.
• 1:12:39
  Like I want to do like a quick run around, just check some
• 1:12:42
  things out early on. So that way I'm, you know, I'm
• 1:12:45
  at my post throughout the day and, and we stay pretty solid
• 1:12:48
  there. But but yeah, I'm really looking
• 1:12:50
  for, I know what we've done. I'm looking forward to see what
• 1:12:53
  everybody else is doing, honestly.
• 1:12:56
  Yeah. Yeah, maybe that maybe even the
• 1:12:59
  hour before you open in the morning, you could get into the
• 1:13:02
  exhibitor floor. You know that that was the case
• 1:13:05
  last year. Like I was, I think it might
• 1:13:07
  have been like I was a minute late, but like, you know, we
• 1:13:10
  had, we had coverage, we had coverage there.
• 1:13:12
  And I'm just like, of all, you know, I, I want to be a, a good
• 1:13:15
  responsible employee. But also like I, I want to, I
• 1:13:19
  want to see everything, everything.
• 1:13:20
  I want to, I want to, I want to be involved, so.
• 1:13:23
  I think that's allowed. I think that's allowed.
• 1:13:25
  Can I check Joe? Probably the most important
• 1:13:27
  question for the armoury is obviously Greg.
• 1:13:30
  Has self declared himself the Lord of the Armoury.
• 1:13:32
  What title do you have? No, no idea.
• 1:13:39
  OK, no idea. Something dwarf.
• 1:13:40
  Something something dwarf. Not dwarf related, no.
• 1:13:45
  No, no, no. No, no, no, no kings.
• 1:13:49
  No kings, yeah. There is that.
• 1:13:56
  OK, let's let's have a look at a couple of figures.
• 1:14:00
  About this Quartermaster. Quartermaster of the Armour.
• 1:14:04
  Oh yeah, like. That, that was, that was my
• 1:14:05
  title in Boy Scouts. I was always a quartermaster
• 1:14:08
  because I knew what all of our equipment was.
• 1:14:11
  I, I, I knew where everything was.
• 1:14:13
  I'm really good at most of the time.
• 1:14:15
  I'm really good at keeping track of objects and, and just knowing
• 1:14:19
  that. So, but let's say quartermaster,
• 1:14:21
  we can go with that one. That's very fitting.
• 1:14:24
  I'll never forget helping you take that down last year.
• 1:14:28
  And anytime I had a question like, Joe, where is this?
• 1:14:31
  And you're like boom, boom, boom.
• 1:14:33
  It. Was instant, like he means what
• 1:14:36
  he says, like he knows exactly where everything needs to go.
• 1:14:41
  It's like my mind has a little a little tether on so many little
• 1:14:47
  objects at any given moment, even in the studio that I think
• 1:14:53
  that's one of the reasons why they they have me there in that
• 1:14:56
  experience. Absolutely amazing so.
• 1:14:59
  It's really awesome. So did the did the armoury go
• 1:15:02
  into storage for the year then and gets pulled out or did you
• 1:15:05
  have to build it again? This year we're going to reuse
• 1:15:11
  all the crates and I need to even get more because just
• 1:15:14
  because of the size of the bags, it just it's changed up.
• 1:15:17
  So that's one thing I really need to figure out soon.
• 1:15:20
  All the plates are a lot of them are the same from last year.
• 1:15:23
  I stripped all the parts off. I flip them upside down.
• 1:15:27
  So you don't see the, the areas that you know, where I, I tore
• 1:15:31
  off the glue or where what's written on it.
• 1:15:33
  Like you don't necessarily see it on these.
• 1:15:36
  I just flipped them over and now they they're down and face
• 1:15:39
  backwards and, and we'll mark them all up the same because
• 1:15:43
  every one of those plates we don't see from the backside of
• 1:15:47
  what they are exactly. So I need to have either a
• 1:15:49
  written designation or even a number designation of what is
• 1:15:52
  there and then a number that corresponds with the boxes of
• 1:15:56
  our restock behind. So I can see, OK, pull that box
• 1:16:00
  is low. It's number is #8 I need to go
• 1:16:03
  to box 8. I can find all the parts for
• 1:16:06
  that table box in this cardboard box underneath the table.
• 1:16:10
  So just little things like that, little details that you know,
• 1:16:13
  work out probably the day before intern.
• 1:16:17
  No, we'll, we'll have it all. We'll have it all planned out.
• 1:16:20
  It's going to be fine. Everything, everything,
• 1:16:22
  everything's going to be fine. OK, and let's have a look at a
• 1:16:28
  couple of figures here. So the golden pride of Leandor.
• 1:16:32
  Tell us about this one. Joe, What?
• 1:16:33
  What? What you did with it or?
• 1:16:37
  So this was super exciting for me because just about everything
• 1:16:41
  on it at the time is completely new sculpt, so it's not like I'm
• 1:16:46
  painting a part that's been out for two or three years in a
• 1:16:49
  different colour. All that was new.
• 1:16:53
  I got caught up in a little bit of a crunch with this.
• 1:16:55
  So Sherry ended up painting everything that is flesh and I
• 1:16:59
  handled everything that is armour and fabric, leather on
• 1:17:03
  this guy and the weapons. It's just kind of helping to
• 1:17:08
  expand the world of mythos itself by looking at kind of
• 1:17:11
  like a different cultures and even history of that world.
• 1:17:15
  Kind of, I think it goes backwards.
• 1:17:17
  That's an older style character. Yeah.
• 1:17:21
  And it'll be really fun to see those parts pop up later.
• 1:17:26
  Oh yeah, absolutely. Yeah.
• 1:17:28
  Joe, have you handled the the new arms and the butterflies and
• 1:17:32
  the double joints? Like, are there production
• 1:17:35
  pieces that have come through? Not that I not that I've seen
• 1:17:38
  yet. OK.
• 1:17:40
  I know they're they're moving along on those there.
• 1:17:43
  There's there's some pieces, yes, but maybe maybe not that
• 1:17:47
  joint exactly, but I just knowing what the the 3D parts do
• 1:17:53
  and how they were, you know, cut you're going to have a a really
• 1:17:56
  decent amount of range on those. I'm looking forward to it and
• 1:17:59
  they'll be able to rotate from like the sleeve, like the
• 1:18:03
  rotational happen from inside the sleeve if I remember
• 1:18:06
  correctly. So that'll that'll also be great
• 1:18:10
  because you have the double joint here in the elbow when
• 1:18:13
  normally the older style would rotate from the elbow.
• 1:18:16
  You don't have that anymore. So now it comes from further up
• 1:18:18
  on the bicep because we want to advance in the articulation and
• 1:18:23
  not, you know, go further ahead in One Direction and pull it
• 1:18:26
  back in another. So, you know, these these parts
• 1:18:30
  are going to allow us to do that.
• 1:18:33
  OK, we move on then, right Sir, Benniger did.
• 1:18:38
  This, this guy was so, so, so much fun.
• 1:18:44
  I was, you know, I was given a render.
• 1:18:47
  What you see here is basically the render that was given to me.
• 1:18:51
  Besides, besides the green, I think we might have switched up
• 1:18:55
  the green a little to match orange steel hide almost exactly
• 1:18:59
  the best I can match it to his colour of armour and just using
• 1:19:07
  I feel like it's unintentional. It's it must be a subconscious
• 1:19:10
  thing, but I, I guess I really like turquoise for whatever
• 1:19:16
  reason like that, that kind of that kind of greenish blue.
• 1:19:20
  It pops up in a lot of things that I've worked on and you
• 1:19:24
  know. We had that, Sir Andrew's soft
• 1:19:27
  goods know. And the big colour the the Blue
• 1:19:31
  Shield soldiers, because you have that that tabard colour
• 1:19:34
  come back again in fabric. So that's pretty prevalent in
• 1:19:39
  that as well. But this is another situation
• 1:19:42
  where the figures great, but those soft goods really, really
• 1:19:47
  take it up a notch. And I love how that tape is
• 1:19:49
  scalloped and and just those extra like cuts and details in
• 1:19:52
  the tunic. See just some team always does
• 1:19:55
  incredible work. And when that all comes
• 1:19:58
  together, it's it's fan freaking tastic.
• 1:20:01
  It's got a good load out too with that, with the Lance and
• 1:20:04
  multiple swords and the the other head in there that you can
• 1:20:07
  put on a lot of things that that that head and chainmail will
• 1:20:12
  work on other figures as well. So as often as possible.
• 1:20:16
  You want to be able to have parts that can work on that
• 1:20:18
  thing and work with other things as well to, you know, always
• 1:20:21
  feel like you're, you're getting a lot of value out of the
• 1:20:23
  figures. And when, when the soft goods
• 1:20:27
  come back from. See, Jessima, are you the one
• 1:20:29
  that, you know, builds the figure then and puts them on and
• 1:20:33
  tests it or yes, depending. Yeah, it's you.
• 1:20:35
  Yeah. Yeah.
• 1:20:35
  That's one of the responsibilities.
• 1:20:37
  I I dress up and construct like the whether I painted it or not.
• 1:20:41
  I I build all the prototypes. Awesome.
• 1:20:47
  OK, yeah, I can't wait. I mean, I can't wait for the
• 1:20:50
  dragon, but the figures as well, you know?
• 1:20:53
  Yeah, this guy for sure. I mean, he is.
• 1:20:56
  He's going to be such a sought after figure years down the
• 1:21:00
  line, you know? Such a great fantasy night.
• 1:21:04
  You know, Cameron used to be in armour like he could forger.
• 1:21:08
  He's made armour that's historically accurate and in a
• 1:21:11
  past life and previous profession.
• 1:21:14
  I should say that that that's a loaded statement.
• 1:21:16
  The previous profession he he he would make armour.
• 1:21:19
  So it's fun to like when we get a new knight or new parts, like
• 1:21:24
  old call out like, oh, this is this style and this is like his
• 1:21:27
  French and his English style and all that sort of thing.
• 1:21:29
  But then you have this guy and it's just, it's just like full
• 1:21:32
  on fantasy. And I love it when Eric takes
• 1:21:36
  things in this direction as well because in his imagination runs
• 1:21:40
  wild. And I can't say it looks like
• 1:21:42
  any type of historical armour I've ever I've ever seen before.
• 1:21:46
  But this is mythos, you know, not, you know, 1600 years ago.
• 1:21:51
  So I'm totally a fan of these type of builds.
• 1:21:57
  Absolutely. OK, and this is Bay Tears Fury.
• 1:22:03
  Mustard Knight. Yeah, see it.
• 1:22:09
  Now what you were saying where this is more orange and
• 1:22:12
  brighter? Right, yeah, and and to I
• 1:22:17
  believe I tried to match the colour of the Elf Legion builder
• 1:22:21
  armour as best I could on this. So people are really trying to
• 1:22:25
  get a grasp on, you know what, what that really is in hands.
• 1:22:29
  I would say it's it should be that I have not seen a painted
• 1:22:33
  version of this yet back from the factory.
• 1:22:36
  But that's absolutely what we're going for on this.
• 1:22:39
  And we just wanted something that just made a really like
• 1:22:43
  awesome builder of sorts. Yeah, yeah, very cool.
• 1:22:52
  Then we have this guy Halbert Frost Frost for.
• 1:22:56
  Right now, yeah. This, this is more, you know, a
• 1:22:59
  little more accurate to what you would consider it a, you know,
• 1:23:02
  an old, an old time Viking sort, you know, no helmet with horns
• 1:23:06
  on it. This is closer to a reality than
• 1:23:10
  most things that we have. And there's that, you know,
• 1:23:13
  there's that kind of turquoise colour again.
• 1:23:16
  Wow, I can't avoid it. There it is.
• 1:23:18
  It's. Just a shade liner.
• 1:23:21
  Just just a bit. It was just to work.
• 1:23:26
  On something I wasn't such like clean paint application and the
• 1:23:30
  soft goods really again, you know that that's the trick of
• 1:23:34
  it. Most a lot of my work gets
• 1:23:37
  painted covered up by awesome soft goods and I'm totally fine
• 1:23:42
  with that. I'm just realising this now,
• 1:23:44
  like oh OK I see how it is. But people will take them off
• 1:23:48
  and on, so they'll see it, don't worry.
• 1:23:49
  Yeah. There's still, there's still
• 1:23:50
  good stuff underneath there. Yeah, once you take yours apart,
• 1:23:54
  but yeah, again, that that blanket blanket kind of Cape is
• 1:23:58
  awesome. And that tunic, I put that tunic
• 1:24:01
  on a few nights, especially the, what was it, the Xylarnian
• 1:24:06
  Guard? Yeah, because it also has that
• 1:24:08
  green and gold accents. Like that's absolutely a build
• 1:24:12
  I'm going to do when I get mine. I'm taking all that green tunic
• 1:24:15
  and I'm tossing on the Xylarning and Guard.
• 1:24:19
  But yeah, I just like how more of like a traditional Viking
• 1:24:22
  this this looks, and I'm glad to have it in a line.
• 1:24:25
  Yeah. So, so bad.
• 1:24:26
  The Sherry, also the head of that one.
• 1:24:29
  Oh, right, yeah, it's wonderful. The.
• 1:24:31
  North. I watched the Northman today,
• 1:24:33
  just coincidentally, and it just made me want this even more.
• 1:24:37
  Yeah, I was like I might have to get multiples.
• 1:24:40
  Yeah. For sure.
• 1:24:41
  Viking Conan. Yeah, and nature love all this
• 1:24:45
  northern stuff, don't you? Oh, I love it so much Like this.
• 1:24:48
  Yeah. You.
• 1:24:51
  We're making the toys that I've always wanted my whole life.
• 1:24:54
  Yes. Yes, yes.
• 1:24:55
  And that's not just my, I mean Vikings especially, but I mean
• 1:24:59
  it goes without saying for all of it, but especially the Viking
• 1:25:02
  stuff I like. I still have Freya dead hall on
• 1:25:05
  my shelf that I can't I can't put away.
• 1:25:09
  Although I put the new blonde head on her.
• 1:25:12
  From the from the. Ladies pack which that we I'll
• 1:25:20
  never forget George when we got those in in hand.
• 1:25:23
  He's like, wait, really? We named this cosmic ladies.
• 1:25:26
  That's what we named. This.
• 1:25:29
  Yeah, it is. It's hard to get confused with
• 1:25:31
  anything else in that way, but. No, she, Yeah, Great.
• 1:25:35
  It looks great up there. Yeah.
• 1:25:37
  With with that head on and I and I can't, I just can't put them
• 1:25:41
  away. And I'm.
• 1:25:42
  And with the waves that are coming up, the Einsamall and the
• 1:25:46
  and the Rising Suns, I'm going to have a lot of figures I just
• 1:25:49
  can't put away. Right to be fighting for shelf
• 1:25:53
  space. One thing I'm looking forward to
• 1:25:55
  with this guy is he comes with like no armour, he's pretty
• 1:26:01
  stripped down. So he's probably going to end up
• 1:26:04
  getting the armouries, Magnus head and some some robes and
• 1:26:08
  some cloak from another figure. And I'm going to turn one of
• 1:26:11
  these into a wizard. Within 5 minutes of having it
• 1:26:14
  out of package. I've got I've got a whole little
• 1:26:18
  list of parts and a little baggie put aside for when this
• 1:26:20
  is in hand. I'm making them a wizard.
• 1:26:23
  Excellent. Yeah, that's cool.
• 1:26:25
  CC even studio employees are just like us, waiting for the
• 1:26:29
  figures to absolutely they want to planning.
• 1:26:32
  Things. I just sometimes planning.
• 1:26:35
  With us, absolutely cheap. When when I was painting up Sir
• 1:26:40
  Andrew, I was thinking of all the other looks I wanted to have
• 1:26:42
  because there's the repentance behind him.
• 1:26:45
  So like, I had a whole bag of hearts.
• 1:26:47
  Hold on, we don't need the hot sauce on there anymore.
• 1:26:49
  That was last weekend. But yeah.
• 1:26:51
  Whole bag of hearts ready that it's like all the colour scheme
• 1:26:55
  is ready to go with all those. So like as soon as I had a few
• 1:27:00
  extra ones, I was just making other members of the Repentant
• 1:27:06
  and just had them, just had them ready, including this one.
• 1:27:09
  I was really happy with this one.
• 1:27:10
  So most of this is Kador. Yeah, right.
• 1:27:15
  So I have it in my mind as if Kador, like he has some history
• 1:27:19
  with Ether on that's like kind of like a mercenary as well.
• 1:27:23
  So this is him. This is my version of him.
• 1:27:25
  Kind of like going back and joining the Repentant after
• 1:27:29
  everything's done. He's like, you know what, I'm
• 1:27:31
  going to get my stuff together. So it's a lot of the same colour
• 1:27:35
  schemes are in there that that kind of like copper and the the
• 1:27:38
  purple. So I just wanted to kind of get
• 1:27:40
  him more in a night look. But yeah, I absolutely cheat
• 1:27:44
  when it comes to the customising these.
• 1:27:48
  That's how you pose a sword and a hand, rich.
• 1:27:51
  Whatever, whatever. There's many ways.
• 1:27:54
  Many ways, many trees. Thank you.
• 1:27:57
  Thank you. The Anthem out in accessory
• 1:28:00
  packs. Yeah, this, this is great
• 1:28:02
  because it wasn't some, you know, a little straightforward
• 1:28:05
  flat knight armour, so many different textures to to work
• 1:28:10
  with in this and and food even. Sausages.
• 1:28:14
  Amazing. Sherry Sherry painted sausages
• 1:28:18
  where we were all very, very happy with those.
• 1:28:20
  So many ways you can go, but yeah, just like making that
• 1:28:24
  frying pan look like it was very like kind of used and.
• 1:28:27
  Yeah, it looks like, it looks exactly like what you imagine
• 1:28:32
  when you think of that type of frame pan.
• 1:28:33
  Right, right, greasy spins frying.
• 1:28:36
  But yeah, it was a it was a lot of fun to to be able to work on
• 1:28:39
  this because it's not normally something I would, I would go
• 1:28:43
  after. I love how creative people's
• 1:28:46
  dioramas and pieces can be. But when it comes to my display
• 1:28:49
  space, I as much as I appreciate them, I have no room from them.
• 1:28:53
  I rather have figures, no matter how vanilla opposed they may be.
• 1:28:58
  I'd rather have a whole shelf of figures.
• 1:29:01
  And you know, the dioramas take up a lot of space.
• 1:29:04
  But this, this was really fun to work in because a lot of those
• 1:29:06
  items are handheld. So, you know, you want to, you
• 1:29:10
  want to put one of those mugs in a dwarf hand or or a gnome
• 1:29:15
  hands, you're you're good to go with that.
• 1:29:17
  And. Weapons on the back, mug in
• 1:29:19
  hand. Right.
• 1:29:20
  Yeah, exactly. Yeah, you know, it's good
• 1:29:23
  because the the beer froth is making me thirsty and the
• 1:29:27
  sausages are making me hungry. And after all, it's removable
• 1:29:30
  and the. Apples.
• 1:29:31
  You can swap those around, they pop out.
• 1:29:33
  That's right, you can swap the, yeah.
• 1:29:36
  So I'm, I'm waiting to see some like maybe some, you know, 3D
• 1:29:39
  creators, if they wanted to make like some kind of insert.
• 1:29:41
  It's like, you know, you do a toast and you have some of the
• 1:29:44
  liquids kind of flashing out, right?
• 1:29:47
  Yeah, have this like a little kind of rise off of that.
• 1:29:50
  And then you want to do a a special kind of shot.
• 1:29:52
  You have a flame coming out of it.
• 1:29:53
  You know, it, it could be fun. There's a lot of ways other ways
• 1:29:56
  you could go or maybe even like a pour out like if a hand is
• 1:30:00
  like holding it to its sides. Now that.
• 1:30:03
  'D be cool. That that would be pretty cool.
• 1:30:07
  OK, and the Silver Knight, we got him this.
• 1:30:12
  Is a good example of paying attention to colour.
• 1:30:16
  It's a, it's a very, you know it, it was meant to be a Legion
• 1:30:19
  builder. So there's very little paint
• 1:30:22
  apps on there. But one thing we want to pay
• 1:30:25
  attention to is that silver, that base coat, because we want
• 1:30:28
  people who got a lot of these to be able to mix it with the Blue
• 1:30:31
  Shield Soldier. So all those extra pieces that
• 1:30:35
  you have with that guy, our goal is to be able to put those onto
• 1:30:38
  this and just add a little bit more detail for the for the
• 1:30:43
  situation. And also he has that plain solid
• 1:30:47
  colour torso on the Blue Shield Soldier.
• 1:30:49
  He has the same exact breastplate, but it has a gold
• 1:30:52
  detail painted in. So if you wanted to take the
• 1:30:55
  soft goods and cover up this torso with no detail on it, you
• 1:31:00
  have a whole other look underneath your Blue Shield
• 1:31:03
  where you just have another kind of like basic night, but with
• 1:31:07
  more detail, right? So that's absolutely the kind of
• 1:31:11
  thing that that we're like looking out for in advance with
• 1:31:13
  certain characters when you're likely to get a few more because
• 1:31:17
  they're a little little bit cheaper to get a hold of, maybe
• 1:31:19
  easier to get a hold of, but you know, diversify the shelf a bit,
• 1:31:24
  dress them up. That's what we go for.
• 1:31:29
  And I just love that we got the Four Horsemen shield in Engine
• 1:31:34
  Builder. That's awesome.
• 1:31:37
  Beautiful. Go along with the sword horsemen
• 1:31:39
  as well. Yeah, strong arm.
• 1:31:41
  Do we strong arms the wield both of those at the same time?
• 1:31:44
  I'll tell you. Oh, that's an idea.
• 1:31:46
  Yeah. Make a make a custom character.
• 1:31:48
  You know, I'm we all got extras of this guy shortly.
• 1:31:52
  So you have an extra shield. Ron.
• 1:31:55
  There you go. Yeah, yeah.
• 1:31:57
  Yeah. Work and given the.
• 1:31:58
  Redundant. There you go.
• 1:32:01
  Give the shield to Echoedron and give the sword horseman.
• 1:32:03
  He has it already. So yeah, happy days.
• 1:32:07
  So then the paladin cleric. This is such a good figure.
• 1:32:11
  Yeah, that was a real, that was a real treat to work on.
• 1:32:13
  Again, awesome soft goods there we had on.
• 1:32:18
  Let me make sure. OK, we had seen those soft goods
• 1:32:24
  before on Otho, so this is a, a slight revision of those with
• 1:32:30
  some extra detail. So it was, it was neat to have
• 1:32:33
  that around because when I was making the prototype, I had
• 1:32:36
  painted everything up and it had Otho soft goods on it.
• 1:32:39
  And we simply sent that off and and just said to the factory
• 1:32:44
  like this, but black. Yeah.
• 1:32:47
  With with the details on there with.
• 1:32:49
  Those when I saw for to do the portrait, he had blue robes on,
• 1:32:53
  right? Exactly.
• 1:32:55
  I was confused when I saw the final I.
• 1:32:58
  Was like OK. Right.
• 1:33:00
  And try to tell me, OK, when you go to do the tunic, it's black,
• 1:33:03
  don't do blue. Yeah, but a little.
• 1:33:07
  Bit of turquoise here, as well as Joe on the.
• 1:33:10
  I don't exactly turquoise, but it looks like turquoise on the
• 1:33:15
  yeah. It's absolutely there in the
• 1:33:17
  staff, but it's more of a transmission flu, but it reads
• 1:33:19
  about the same, you know, and that was that was a fun thing
• 1:33:26
  that I kind of got the throw in there where there I don't, I
• 1:33:30
  don't think there was a render or, or any kind of showing of
• 1:33:34
  that staff. They just said use these pieces
• 1:33:37
  and I see the staff Topper and I'm like, we've gotten this in
• 1:33:41
  two colours already. How do we make it a little bit
• 1:33:44
  different from before, I don't know, maybe put some glass in
• 1:33:48
  there or make it look like it's magically like, powered up or,
• 1:33:52
  you know, emanating energies? So I asked Chris, I'm like, is
• 1:33:56
  there a possibility of us getting that made and clear and
• 1:34:00
  then we can, you know, go and stand in here?
• 1:34:02
  Will they be able to do that? It's like, yeah, you know, we'll
• 1:34:05
  try it out. So we had the factory actually
• 1:34:07
  send us a few instead of printing it out and clear
• 1:34:10
  because that's a really fragile piece and we had time.
• 1:34:13
  So he had the factory send over some of those and I, I stained
• 1:34:16
  them up a bit and they were able to do it and it worked out
• 1:34:19
  really well. And the blue lightning, just
• 1:34:23
  because I, I wanted to like have something close to that in
• 1:34:27
  there. And the, what was it?
• 1:34:31
  The du Bond head? The du Bond head wasn't part of
• 1:34:34
  the original design. And I remember hearing it's a
• 1:34:37
  cleric and I saw those two heads and like both of those heads as
• 1:34:41
  Paladin, like they, they read Night Paladin to me, but neither
• 1:34:45
  one of them really reads as cleric.
• 1:34:48
  And I'm like, I asked Eric and Jeremy, like, what are the
• 1:34:51
  chances we can sneak this head in there to make them look a
• 1:34:53
  little closer to wizard than warrior?
• 1:34:57
  And, you know, they're like, maybe, maybe.
• 1:34:59
  And I just painted one up and I put it on there and like, what
• 1:35:02
  do you think of this? And they're like, yeah, OK, so.
• 1:35:08
  And the shield is supposed to represent the Comic Con logo.
• 1:35:15
  I don't have it here with me. It's probably still at the
• 1:35:17
  studio, which should be anyway, but I had done a design in the
• 1:35:22
  yellow areas where it has some stripes running through and it
• 1:35:25
  represented the areas of you have comic and con written in
• 1:35:30
  both black and and yellow colours.
• 1:35:33
  So I've done the stripes about the same way.
• 1:35:35
  In the grey area, I think I had a black and white stripe running
• 1:35:38
  through it for the eye. So if you hold it in the right
• 1:35:41
  orientation, you can see that it's meant to represent that
• 1:35:44
  kind of square, rectangular logo of Comic Con.
• 1:35:49
  That's a nice little detail, isn't it?
• 1:35:51
  And the armour, all the the base coat of that armour is exactly
• 1:35:55
  armoury. So if you wanted to swap swap
• 1:35:58
  out your armoury parts to that, you could.
• 1:36:02
  So it's just another way to further customise the look of
• 1:36:05
  the character. Fantastic autumn self.
• 1:36:13
  This this one was a bit of an honour and A and a mind tweaker
• 1:36:18
  to be kind to work on. I had had the original oath
• 1:36:21
  though. And when COVID hit, we got hit
• 1:36:24
  with some like I didn't have I worked in production and didn't
• 1:36:26
  have that kind of work anymore. All the jobs fell out from under
• 1:36:29
  and they laid us all off. There was no events happening.
• 1:36:32
  So my wife said we have this oil bill.
• 1:36:35
  Like guess what, all these toys you say are worth something.
• 1:36:39
  Prove it. So I started selling some stuff
• 1:36:43
  off and it's like, instead of selling like 40 things to pay
• 1:36:46
  for something I need to, I need to make it quick.
• 1:36:49
  So I ended up selling off my Otho and it and it hurt.
• 1:36:52
  But also I was glad that, you know, this fictional character
• 1:36:55
  kind of helped save my day in a way, you know, pay this bill and
• 1:37:00
  just make things a little bit easier on us when I was out of
• 1:37:03
  work. So to one later on be able to
• 1:37:07
  work for the Horsemen and make my favourite toys is awesome.
• 1:37:09
  But to get to Remake be part of remaking Otho, but for something
• 1:37:15
  I did not want to get rid of, but like really felt like I had
• 1:37:18
  to to make things work to to be able to, you know, be paid to
• 1:37:23
  make the new one was just it's just mind blowing.
• 1:37:27
  And I'm really grateful to them for really be given that
• 1:37:31
  opportunity because there's other painters that could have
• 1:37:33
  worked on it and they're like, you're you're going to do it.
• 1:37:37
  So I was super, super happy. And this one's really kind of
• 1:37:40
  close to me. Yeah, that's awesome.
• 1:37:43
  That is really it. And again, awesome soft goods
• 1:37:48
  and the update of both those head, you know, Eric was like,
• 1:37:52
  we're you know, we're going to do it.
• 1:37:54
  It's got to be different anyway, because the the dreads need to
• 1:37:57
  be able to go into the helmet just functionality wise, it
• 1:38:00
  couldn't reuse the original head.
• 1:38:01
  So, you know, given him a a slightly different, you know,
• 1:38:06
  updated look all together up here.
• 1:38:08
  It's just not, it's not like you're you're getting the same
• 1:38:10
  thing against all new body soft goods and awesome weapons load
• 1:38:15
  out. That's my new favourite heroic
• 1:38:17
  acts at the moment. There's so much awesome detail
• 1:38:21
  in there. It was just really a blast to to
• 1:38:25
  go at that one again. Yeah, and I love the the blue
• 1:38:29
  that's really just auto. Blue, right?
• 1:38:31
  You know exactly. Yeah.
• 1:38:35
  Or exactly. Yeah, yet another one that I I
• 1:38:39
  had to let go to to make things happen.
• 1:38:44
  That was later on, but easily one of my favourite works.
• 1:38:48
  And just this whole redesign, there's so like, I'm sorry, like
• 1:38:56
  like we were saying before, there's so much extra texture in
• 1:38:59
  that armour. You were saying Nate, like how
• 1:39:02
  it looks like it's all hammered out.
• 1:39:04
  Like there's, there's divots, there's dents, scratches,
• 1:39:07
  everything. It is so imperfect and so brutal
• 1:39:11
  that if you rub against it, you're getting an infection.
• 1:39:15
  Like it is the armour itself is a weapon and it's nasty and it's
• 1:39:20
  worn and it's been through heck. And we wanted to make sure that,
• 1:39:25
  you know, the paint really really showed that in this where
• 1:39:29
  you know, any any good knight or soldier after a battle, they're
• 1:39:33
  you're going to get their stuff fixed up and cleaned off and you
• 1:39:36
  know the where for a ceremony, this guy like, you know, it
• 1:39:41
  don't even get rinsed off. Whatever happened to it staying
• 1:39:44
  on it. You know, that was a lot of fun.
• 1:39:48
  And I love the update of the shield here as well.
• 1:39:51
  Yeah, I love that they kept it as a painted logo.
• 1:39:55
  So that works with this character.
• 1:39:57
  That was fun. Not fun at the same time because
• 1:39:59
  like we paint 2 of everything. I had asked, I had asked George
• 1:40:04
  to resize a print of the render on that, and he got as close as
• 1:40:08
  he could to the actual size of the shield.
• 1:40:11
  So I had a paper cut out of that shield size.
• 1:40:14
  And what I did, something I learned in elementary school, I
• 1:40:18
  folded it up in the quadrants. And I just focused my paint, I
• 1:40:23
  held it or really taped it against one side of the shield
• 1:40:26
  and on the other side on, on the shield itself, I just matched
• 1:40:30
  what was on the print of on that had taped on.
• 1:40:34
  So I wanted to mirror each side and then I would take that off
• 1:40:38
  when I do 1/2. And then I would mirror my paint
• 1:40:40
  job to the side that had the paper on it just to kind of
• 1:40:45
  bring it all together. And then I would take a little
• 1:40:48
  bit of time to do things a little uneven.
• 1:40:50
  So it wasn't an exact match. And that's going to happen
• 1:40:53
  naturally because, well, like my hand did it, so not every
• 1:40:57
  strokes going to be the same. And you make it look a little
• 1:41:00
  different, but it wants to be a little rough and that's OK.
• 1:41:04
  So I did one full shield and it was great.
• 1:41:07
  And then I go to do the other one.
• 1:41:08
  I hold them next to each other and looking at them
• 1:41:11
  individually, they're both fine. You put them next to each other.
• 1:41:15
  They're significantly different. I'm like, oh, no, so and I
• 1:41:21
  showed Eric and I'm like, if you want, I'll, I'll, I'll try to
• 1:41:24
  match them up better. But this is this is this is
• 1:41:27
  where I've got right now. And, and it just kind of came
• 1:41:29
  down to send that one to China, like send the better one off to
• 1:41:34
  make sure that for photography 1st and and then off later just
• 1:41:38
  to make sure they're everything's looking good.
• 1:41:41
  It's like, OK, great. There, there's an element to
• 1:41:44
  that, to the symbols and whatnot in mythic legions that I love
• 1:41:48
  that that these guys in this world are going to paint,
• 1:41:50
  they're going to hand paint their Shields, right?
• 1:41:53
  It should look at hand painted. It should look imperfect.
• 1:41:56
  It should all that. And I there's, I'm going to be
• 1:42:01
  quiet other than just to say no. Herzog's case here, that's
• 1:42:08
  absolutely appropriate. It's, it's almost I.
• 1:42:12
  In fact, I wouldn't. It would look wrong if it was
• 1:42:15
  exactly perfect. You know what I mean?
• 1:42:17
  Yeah, yeah. So that, that was fun and and
• 1:42:21
  those weapons, I I, you know, it's not our style to really,
• 1:42:26
  you know, bloody things up. But, you know, when I don't have
• 1:42:31
  it here now, but when I got home, it's like, that's one of
• 1:42:33
  the first things it did without the transparent.
• 1:42:35
  And just like, like it just needs a little bit, a little in
• 1:42:38
  there, a little splash there, you know.
• 1:42:41
  Yeah. But yeah, it was, it was really
• 1:42:44
  fun to see this character come back and in such a brutal
• 1:42:47
  fashion. And it has a new chest plate
• 1:42:50
  that that's something that the whole upper torso.
• 1:42:53
  And that's something I, I like really kind of begged and, and
• 1:42:56
  ragged on Eric for like for, for a while.
• 1:43:00
  I think when we were seeing images of the video game, the
• 1:43:04
  orcs had a different body all together than the figures had.
• 1:43:08
  And I was looking at it and I'm like, why would they redesign
• 1:43:11
  it? And what they did was they took
• 1:43:13
  the goblin torso and put it on to, they made it one point O
• 1:43:17
  instead of two point O. So that's basically the design
• 1:43:20
  of it. And since I saw that, I wanted
• 1:43:22
  all my orcs to have that torso, so Eric ended up making that
• 1:43:27
  one. And I, it's just like so much
• 1:43:29
  better than anything I'd seen before.
• 1:43:33
  And I'm really looking for. I have a couple of this, so I'm
• 1:43:36
  looking forward to get that on other types of characters now.
• 1:43:40
  Absolutely. And then lastly we have here.
• 1:43:44
  Nope, there he is. The deluxe night.
• 1:43:48
  This, this was a, this was a task.
• 1:43:50
  It was all that twice. Wow.
• 1:43:55
  And you know, all the details on the armour, every buckle, every
• 1:43:59
  stud, every little accent is is painted.
• 1:44:03
  And I got an early start on this and I might have been one of the
• 1:44:07
  the last ones that kind of finish his paint job in between
• 1:44:09
  all the other little things I was doing within a time to get
• 1:44:13
  this ready. So this is the one that matches
• 1:44:18
  the Silver Knight, you say? Yes, that that is the plan.
• 1:44:22
  I've I've seen a couple samples of this guy come in since and so
• 1:44:26
  far we're looking good. So whatever extra armour had
• 1:44:28
  like helmets and pauldrons and belts.
• 1:44:31
  All that stuff should work really well later on with that
• 1:44:38
  and what else? Oh, the the tunic, the plastic
• 1:44:41
  tunic on this guy. It kind of Harkins back to the
• 1:44:46
  the Knight Builder set and the two point O female and I, I love
• 1:44:51
  the look of that. So this is kind of my way of
• 1:44:54
  trying to tie in that look back to this guy in a one point O
• 1:44:58
  male form. Right.
• 1:45:03
  And even the gold on the on the helmet attachments here in the
• 1:45:06
  right, that looks kind of like that more yellow gold.
• 1:45:11
  Yeah. So we'll have to see how that
• 1:45:14
  matches up when we get it. Yeah.
• 1:45:16
  And there's, there's through technically there's like 3
• 1:45:19
  different torsos in here if you want to count the soft goods as
• 1:45:21
  well. So this set alone, I, I would
• 1:45:24
  hear people say, oh, I'm going to get a bunch of these.
• 1:45:26
  And I'm like, I'm only going to get like 2 because I want to
• 1:45:30
  take all those parts and put them on other things and try to
• 1:45:34
  spread it out. A lot of those parts will look
• 1:45:36
  really good on, on Otho. So this is this is Otho without
• 1:45:43
  all of his soft goods and and his official head.
• 1:45:48
  And while it's not an exact match, you know, if you want to
• 1:45:51
  put the tunic, either the plastic one or the fabric one on
• 1:45:54
  this, you could absolutely do that.
• 1:45:56
  And you've just upgraded this guy, or at least switch them up
• 1:45:59
  a little. I'll never forget when I was out
• 1:46:02
  there last year watching Diego because Diego.
• 1:46:06
  Both you and Diego will do this where you'll swap out if if it's
• 1:46:12
  close enough. And I find that with the
• 1:46:15
  silvers, especially between the dark silvers of the gun metal
• 1:46:18
  and the silver itself, as you switch that out with the
• 1:46:20
  Knights, it actually adds a lot of depth.
• 1:46:23
  Like you almost. It's it works out that they
• 1:46:25
  don't match in some respects. So like this case with Otho
• 1:46:29
  being slightly different patina or brightness than the than the
• 1:46:34
  Silver Knight, I think you're going to get some cool combos.
• 1:46:36
  Yeah. Yeah, Otho is definitely a
• 1:46:39
  slightly darker shade and a flatter finish then you'll see
• 1:46:45
  on, you know, the the silver anniversary night and this
• 1:46:48
  night. But yeah, like you said, it
• 1:46:50
  still kind of works monochromatically, you know,
• 1:46:53
  trying to keep like within one one colour, but you know,
• 1:46:56
  different shades and yeah, and temperatures moving along.
• 1:47:00
  It really does make it interesting, Yeah.
• 1:47:05
  Very good. Well, guys, I think we've kept
• 1:47:07
  you for enough of your time. Thanks very much for I think we
• 1:47:11
  should just jump in. Talk about the picture behind
• 1:47:14
  Nate since he's gone. Yeah.
• 1:47:18
  So yeah. Well, like a saved drum.
• 1:47:22
  This off me no? This is I had put a here.
• 1:47:27
  It's it's work in progress. Wow.
• 1:47:31
  It's work. In progress.
• 1:47:32
  However, those are actual oil paints.
• 1:47:35
  I'm stepping out of the digital realm.
• 1:47:38
  I had teased this on Facebook a while ago.
• 1:47:41
  I was like actual oil paintings. They're going to be, they're not
• 1:47:45
  going to be cheap. And and due to my schedule,
• 1:47:49
  unfortunately this is the only one I have so far.
• 1:47:52
  I have, I have a canvas prepped for a second one.
• 1:47:55
  So I may only have two and I may only really bring out one.
• 1:47:59
  We'll, we'll see. But yeah, that's so that's just
• 1:48:03
  a little study. What was happening was my
• 1:48:06
  daughter is a fine art major at the university here in town and
• 1:48:14
  through the summer she and I, I would just take a Wednesday
• 1:48:17
  morning for a couple hours and go and be with her in the studio
• 1:48:21
  and we would just she was teaching me how to do oil
• 1:48:24
  painting. So this what this is the preview
• 1:48:27
  of things to come like at legions Con in the past I've had
• 1:48:32
  those big like stretched canvas prints and that kind of a thing.
• 1:48:34
  And those sell and they're fun and, and unfortunately I didn't
• 1:48:39
  get any in in time for this year, but I I have some other
• 1:48:44
  things in the works, but that I'll be selling my my table
• 1:48:48
  won't be bare by any means. What's that?
• 1:48:53
  I said it never is. Never bear no towards the end on
• 1:48:59
  Sunday that I do lose some prints in the sense that some of
• 1:49:02
  them sell out. But yeah.
• 1:49:04
  So I'm, I think moving forward, I'm going to always kind of
• 1:49:08
  have, I've got this old Frenchy sole that my wife gave me years
• 1:49:11
  ago that has just sat and collected dust.
• 1:49:14
  And I vowed to not let that happen anymore.
• 1:49:17
  So there will always be an oil painting kind of in the works.
• 1:49:23
  Just just. And it's one of those things
• 1:49:25
  where it's like nobody, I'm not going to ever make prints of
• 1:49:27
  this. It's never going to be
• 1:49:30
  replicated anywhere else. Whoever buys it, it's theirs
• 1:49:32
  forever. And it, it, it's just nice to be
• 1:49:37
  able to take something that is straight from my hand to the
• 1:49:40
  canvas and it won't be seen anywhere else.
• 1:49:42
  So it's it's really unique for for whoever ends up with it.
• 1:49:46
  Old school, I like it. Yeah, exactly.
• 1:49:49
  Really cool. Plus, with all this stuff, who
• 1:49:51
  knows what artist jobs are going to be in the next five years.
• 1:49:54
  Right. No, that's true.
• 1:49:57
  Yeah, Yeah. You kind of have to do it.
• 1:50:00
  Like you might end up having to do it like that just to prove it
• 1:50:02
  was you that did it. Exactly.
• 1:50:04
  So. It's just crazy.
• 1:50:07
  Because it smells good. Like I love the smell.
• 1:50:10
  Yeah, like this. Like the smell of a freshly
• 1:50:13
  opened figure, isn't it? A little bit.
• 1:50:15
  Certain. I mean, it's not the same smell,
• 1:50:17
  but it's that same feeling that invokes in you.
• 1:50:21
  Those those old McFarland clam shells still got it, still got
• 1:50:26
  it still. Got it.
• 1:50:27
  Yeah, I'm, I'm going to be. I shouldn't drive for the next
• 1:50:32
  hour. Or two, you get pulled over and
• 1:50:37
  you How do you explain that one? Yeah, when you get home, yeah.
• 1:50:41
  All right, guys, before Rich falls out for these Wi-Fi again
• 1:50:44
  and is not able to do the outro, thank you very much for your
• 1:50:48
  time. It's amazing to have you on and
• 1:50:51
  somebody enjoyed the chat and looking forward to certainly got
• 1:50:55
  a lot of cool information off you and can't wait to see you in
• 1:50:59
  three weeks time. By the time this is released,
• 1:51:01
  it'll be two weeks time. One more week, please.
• 1:51:05
  Just just one. More time.
• 1:51:07
  Sorry, Joe. Yeah.
• 1:51:08
  No, too late. No, OK.
• 1:51:10
  We all enjoyed the rush, the general adrenaline rush you get
• 1:51:13
  from it's all work from that last week.
• 1:51:15
  Is working worth it? Yeah.
• 1:51:17
  All right. Thanks very much.
• 1:51:19
  Thanks. Much.
• 1:51:20
  Thanks guys.