The Making of Home World 3: A Journey Through Design and Creation

Our journey began with a question - who got salt all over the table? This seemingly mundane moment set the tone for our collaboration on this exciting project. As we settled in, it became clear that both of us were willing to work together under the Restriction, but it was unnecessary. We were both at the same position, and I don't really know what I'm saying, yes, I feel like that's enough.

As we delved deeper into our design process, we discovered the joy of working with a graphic. The triangles in the graphic and the triangles on the model became a recurring theme. It was as if we had stumbled upon a secret code, one that revealed the hidden patterns and structures beneath the surface. Our love for lacquer became apparent, as we marveled at its ability to bring out the intricate details of our design.

One moment stood out - "Hey, oh dude, I mean, I could do this for hours." It was a sentiment shared by both of us, as we found ourselves lost in the world of model making. The hours flew by, and before we knew it, time to abandon ship - or rather, our project. We had reached a point where we could call it done, and it was a truly satisfying feeling.

We couldn't help but express our gratitude towards the makers of Home World for designing such an exciting game to build and execute. The virtual environment they created was a masterclass in design, allowing us to bring this ship to life in ways we never thought possible. As we worked, we marveled at the fact that there's no wrong way to do it - only when it doesn't yield the desired result.

The journey through our model-making process was not without its challenges. We remembered the good old days of working on similar projects, where we would stop and move on to another part, each bringing their unique perspective to the table. This ebb and flow of creativity allowed us to tap into a wellspring of inspiration, one that fueled our passion for model making.

As we worked, we discovered that time was not always on our side. The marathon of model making had taken its toll, but with 40 hours of work under our belts, we finally reached the finish line. We reflected on how long it would have taken if we were working individually - a full week, Monday through Friday - and realized that we made it possible because we worked together.

Before wrapping up our journey, we took a moment to express our gratitude towards our audience for watching and participating in this exciting project. A special thank you went out to the Home World 3 team for giving us the opportunity to make this replica of the Interceptor ship from the game. We also announced that some additional models would be available to one lucky winner, courtesy of a collector's edition kit that includes a digital copy of the game and more.

In conclusion, our journey through creating this model was an unforgettable experience, filled with laughter, creativity, and camaraderie. We hope you've enjoyed joining us on this adventure and will continue to watch for future projects. Until next time, when hyperspace has been weaponized, and nowhere is safe...

"WEBVTTKind: captionsLanguage: enfor today's build we partnered with gearbox publishing to build a model of the Interceptor ship from the game home World 3 you do all this work to get the reference right and then the last step is not to make it perfect to the reference make it perfect to itself and then it lands yeah it's a nice looking chip it's a nice looking chip I love that it's not obviously derivative of anything specific no we cannot wait until you all can see this when it gets primered the primer is like this you're going to need to find some good editorial music for that the timeline was super tight so I called in my friend former ilm colleague Fawn Davis to help detail this model just like we used to using materials I inherited from the old ilm shop and techniques we've been honing for decades we had so much fun with this challenge we felt right at home in home world's Universe here's how it went fwn great to see you good to see you Adam fwn we have a model making project for you guys today this is so exciting very exciting there's a new game that's actually out today home World 3 it's out on Steam and the epic game store it's a realtime strategy game it's a successor to one my favorite realtime strategy games and there are a ton of different ships Adam has selected a ship the Interceptor here and the developers would like us to make a 20in model of it what's funny is they gave us the digital assets but some of the texturing is is simply visual right which is how it works for games and you know even for visual effects for films like the geometry that you get the game geometry is simply this this is a 3D print of model that we had Daryl uh processed so we can actually turn it into a 3D print uh this is that 20-in model you can tell it's smooth I mean there's a little bit of geometry here and there little bit here but none of this stuff this is all in material normal maps in texture Maps uh and so the challenge seems like will be how to transfer details like the paneling onto these 3D printed Parts taking this Visual and making it actual any immediate thoughts any immediate thoughts on the approach yeah absolutely I mean this could all be vacuformed yep y yep so we could vacuum form over these patterns and then cut out the panels from the vacuum form to create a lot of the panelization right now my stock of styrene is all 060 it's fairly thick okay okay uh so uh I because we have the ilm big blues uh we're going to go through their styrene stock and see I think there's probably some o23 in there okay hopefully yeah ideally cuz then we could cut that out with scissors y so there's a lot of panels so and imagine you know the the blue and the gray here will be a paint pass but even details like in the top and the bottom of the shift you guys have decide whether that's a mask I can make with our vinyl cutter that you can as a mask or something like this whether that's actually dimensional and a vinyl or a decal that you want to put on top of the ship I feel like these color hits are fine to do as vinyl decals yeah maybe this is a frisket though yeah yeah oh okay sure and then Adam we also have options for you cuz I know anytime you can add a piece of real metal to a sh build that's great so the gun module in the front here we have Daryl procet both as the full completed piece or also the barrels missing so I can turn those I think I would cut these off and put little nice brass things in there yeah that'll be nice very cool these orthographic layouts are just fabulous we have both the textured and just the normal map versions anything you guys might need in terms of Parts the 3D print Parts the vinyl cut Parts decals to make let me know I'll run the art department and Supply you with whatever you guys need amazing dude great I think we probably both want to hit panelize yeah because it's a lot of panels it's a lot of panels maybe one of us can start on this and one of us can start on uh the body this is like this yeah the body has the body has about I would say equal number of panels to this cuz it's so detailed yeah you're right this is like we're cutting it all the way up to get all of that panel is um do you have a leaning a preference I I'm inclined to start with this one okay so I can start on the body so for vacuum forming Zilla MH I am going to make one of these vacuum form buck so I'm going to slice off the registration pen oh perfect so I can lay it flat and I'll this will be the one we build off of okay okay all right cool so this we've covered this vacuum forer on the channel I think even more than once in the past we'll include a link in the description um but the origin story is that there was a company called vacuum form that made what I think is one of the most beautiful desktop vacuum formers ever they are impossible to find uh and fawn and I each coveted the one our Mentor Mitch Romanowski had and each of us built a version of the same um and I'm about to pull this o3o styrene over this form to start the panelization process this is totally identical to how we would do this in the actual field on an actual job there are two ways to penalize you can score into the shell of your object or you can dimensionally put plastic on the outside and that's what I'm doing here I'm vacuum forming a shell I'm going to cut apart that shell and that will become the panels uh I'm going to turn from heat onto vacuum I have all that on one switch so I can't turn both on at the same time which would immediately blow any fuse so here we go Beauty A Perfect Pull there used to be this um metal fabrication place in San Francisco where I would go and buy offcuts from their stock because I couldn't afford to buy huge sheets and then have them cut down and this perforated plate here came from that place and I think I got enough for both you and me the same perforated plate we have matching perforated plates oh that came out nice yeah beautiful awesome I'll do the back side of him okay here we go yep there we go you heard the pop oh it's a good pull yeah do it like that I'll also probably get a blow through here but that's fine with a rag I can jam it in there we go that's cool you can see the line right through so you can cut to it oh right that Top Line all right so what I'm doing is I'm I'm cutting into the corners of each of these um so that this top piece can bend out without tearing that's what you just it's just a real easy way to release apart see that allows this to open up and you want to do is little damage and tearing to the part as you can when you pull it out boom all right uh we are making great progress we're about 2 and 1 half hours in uh the orthographic views supplied by home world were absolutely Mission critical for the penalizing but we're executing this in two totally different ways yeah uh I I pulled this form over my piece and I've been using uh uh uh calipers to transfer the marking and what I'm trying to do is just make sure all of my angles are straight to the model and look right once I get that then I'll start to cut this apart you what you're doing something completely different yeah so what I did is I took the vacue form and I took a photocopy of the model I cut out a section of it and I uh just glued it right to the vacu form oh amazing with spray 77 and then I've just been using that to cut out the parts so I actually have the paper right on there so once I I sand this and get it to the right shape I'll peel that paper off and then it'll go on there so one of the things that we've been chatting about which is funny is that like we are starting with reference material that's absolute um but the final model will not necessarily always follow the reference material exactly because if it doesn't work to the model you got to change it so the bilateral symmetricality sort of Falls by the wayside uh and it's because basically it's like I know that this square is not exactly the same size as this square but given that no human will ever see them together it doesn't matter that much what's incoming on me is just to make sure that the lines are square and the corners are square that's the places that catch your eye that's where I'm starting from it's also a way that you maintain uh scale you got to keep all your edges really really sharp soon as you start to soften those edges that's that's what we call a scale Buster so especially when you've got a line a panel line that moves like this and if it one part is soft and the other's rigid yeah all of your hard work falls apart yeah so we'll have a lot of sanding with these things to keep everything super straight uh and the specific panelizer that I've got that is one of the biggest pains in the ass is these louvered parts of the engine cowlings um I was thinking about cutting the styrene and then I remembered I've got all this Evergreen strip from the stash and I will basically glue these in using Weldon uh and get them lined up with each other that's also going to be a pain in the butt and that's actually I think the very next thing that I'm doing because everything else I do after that sort of hinges on that being right yeah and one of the biggest challenges in in working on this particular design is keeping the space between the panels consistent or at least consistent in a way that looks intentional that's exactly how it works it is it's funny when you're up to it that like there's this moment from um I know that you listen to Too Much Beatles when you were a kid but um and by that I just mean he he was oversaturated with beetles it's one of my favorite facts about you like I can't do the beetles but uh in get back the documentary there's this point at which someone says to George about the album will be and George says we don't know what the album will be the album is going to tell us what it wants to be and then our job is to service that and it is such a pure way of describing exactly that you make it look right to itself you do all this work to get the reference right and then the last step is not to make it perfect to the reference make it perfect to itself and then it lands yeah all right yeah we're hoping to finish all the penalizing by the end of today that might be it's it's a lot it's a lot there's a lot of small pieces but we're moving all right yeah okay I have um I've successfully added these um ribs to the engine the cells and I want you to take a closeup look and see how kind of crunchy that is closeup none of that matters all that crunchy stuff all the little defects all that's going to go away in the paint job once the panels start going on we'll put a little weather in there your eye won't see any of that stuff it'll just feel like it's coming out of there in fact I'll show you over here I got a little too much glue here and it's started to eat away but again you're never going to see that cuz this is under the ship you're going to be seeing it this way only ever so there only so hard I need to work to make that look pretty um but I am just about now to start to cut out the panels and actually install them and I'm going to start with the middle one and then build down from both sides all right so here is the detailed barrels next to their undetailed counterparts I'm about to assemble so here's how this is going to go the brass bit goes in here and then this bit goes on there and a little super glue we'll hold it all in place and right there you see how much more scale I get for that yeah I get a lot more scale out of just that little bit of extra detailing so we going to assemble but first I want to clean up these little posts with CA glue and kicker you often with all of these glues that we're using there is time to move um with styrene you put a panel down it sticks very quickly but with a little bit of force you actually can very sensitively adjust it and it was only that that let me get some of the Precision out of my paneling and with this I've got enough space between the brass and the aluminum tubing that I was using that I was actually able to level these up so that they're cuz again if these are even remotely not the same level oh there we go oh I need to add a little more glue and this is also the object lesson and why it's always fantastic to print out your reference material in one to one scale like there's just nothing that makes it more pleasurable to play with this stuff all right yeah that's what I'm going to do the other thing that surprised me when I first started doing this at a very high level is how little like that's sometimes all you need is a it's really like it's it's great at those moments when you're nearing the finish of your sanding to really just inspect every time the sanding stick goes past only that kind of thing will really yeah it's like you'd be surprised how much you can take off and how little Force you need if you're paying attention one of styron's like great achievements and it's great Terrors is that it Wicks into everything really beautifully which can save or ruin your life in equal measure can we do it yeah let's do it oh oh may I yeah all right let's add some nice size to work in absolutely right all right let's I think I'm going to do this with a masking tape use that as just a tiny little panel raise on the edge of the barrels there that's awesome I'll have to straighten that one out cuz that's a really cool design I like these little pods I don't mind them yeah I like little magazine holders for the flette guns whatever they are oh dude that is oh yeah so one of the funny things that used to happen at ilm is we would finish you know whatever like four months on some giant $2 million construction that like a dozen people put their heart and soul into and then it's got to go to the shooting stages which we're across a busy thoroughfare in Marin so you're always p in the model literally this $2 million model through traffic to get it to the sound stages terrifying we call that the gauntlet it was The Gauntlet you run the gauntlet with your model at this age what I find most sad is that around about like 7 o' my eyes are like we're done reading and I'm like trying to read my eyes are like we can't no you just have to stop watch TV or something cuz they won't focus anymore sorry I don't mean to yell all right we'll see you guys tomorrow all right I think it's a reasonable time for a check-in we've gone Gang Busters this is not bad for I think what is just about 8 hours of work for us right yes give or take um you paneled the large bottom uh I paneled the underneath of the engine the cells I love that we have two totally different approaches to executing this yeah we do I built from this Center out you were attaching the piece of paper to it that's also what I love about doing builds like this is like there is no right way to do um the wings were really pretty straightforward I used a hole punch to add some little detail there uh just a couple little greeblies and then um I turned some barrels uh to get a little more detail and actually it's really neat um to render faster there are high levels of detail that are just texture not actual topography uh so I added in the actual texture and um I think the guns are done too so what do we have left oh yeah got to put the whole thing together with the gun there and your it's attached yeah yep oh dude so this is the underside oh man seeing it dimensional like that it's really kind of exciting it's pretty cool um now it would seem like we're only halfway done cuz the top has no detail yet but actually that's not really the case yeah the top is much simpler in terms of its layout yeah than the the bottom yeah we'll divide and conquer on this as well there's like seven panels as opposed to 30 exactly yeah wait a second oh I see it's it goes to for me in penalizing of this one of the key things is where how edges are met so there's an open question as to like would you do this panel first or these panels first and my Approach is always to do the outside side ones first because the Outer Perimeter is going to be what draws your eyes and the inner one can be fit to that but anyway that's the philosophy of where I'm starting from I like this kicker it's um I find it doesn't work with old superg glue as well oh interesting yeah oh that's the thing that I find disappears with Superglue is It's ability to set so what I'm doing here is I have the 3D prints is done in two halves and we did that so we could 3D print I mean sorry the 3D print is done in two halves so we could vacuform each half for our panels but when we're looking at the design we realize that there are some panels that span the seam that goes from end to end so we can use those panels to hide the seam of the 3D print on our final model so I'm using this which is our vacuum form plug um to to vacuum form over with without a seam then uh the panels will hide the seam on our final this first pass I'm not trying to get it smooth yet I'm just trying to get it in all the cracks just kind of smooshing it in there W yes there we go gentlemen sir how you doing great we're good we're we're we're we're barreling toward finishing up the top fantastic um so I'm ready to start vinyl cutting or even styring cutting using our crcket maker uh want to get a sense of what you guys wanted to have cut in what color and what would make sense as extra dimensional stuff that you might need before you do a base coat I think that stuff is dimensional mhm I think that's dimensional and what I also have is additional render with some lighting that might give some insight into like yeah no I see what they're thinking and we're not cutting those out as holes up there we can fo the eye yeah so all this let's make all that dimensional let's do this as a frisket okay and that's a stencil that's a stencil you know I'm wondering should we do these yeah I think do those as vinyl yeah so these could be vinyl and to be fair that should be should be kind of a piece like this that comes down and drops like that cuz it's going to go over the edge it could mirr oh actually that's it it could have a space and then mirror that's we do see from the side yeah it does wrap around yeah it's so let's make it like that and it wraps around so it's that plus that and then the other trapezoid and these are basically all the same yeah so let's cut out like 10 of those okay um I think these guys will make panels and styrene so so and vinyl you that's okay to apply at the end after at the very at the very end anything dimensional you need prepaint those yeah the V actually the vinyl I would I would love to have before I prime it okay so you think of this vinyl I do black vinyl I think those are vinyl and or yeah black vinyl and black styrene if you can do I don't have black styrene but I but this can be at the very end so and so can this so to me uh the only thing we need before paint are some we can do the little gelies like that right the only thing we need before paint I think are these guys that's at the end this is at the end you know these might be fun to do painted separately and stuck on that's what I mean so all we need before primer are these trap oh I see what you're saying yes um you could also draw us these in in the same and we paint over that yeah if that on these six panels in vinyl would' be a really nice drop mhm so actually these I was going to say these should be wider cuz we're looking at this shape here right so um pull this out I have it I have it flattened oh perfect so it should be wider on here I've actually squished it but okay so on these to be fair given what I see here you know what might look really great Norm is if we could do these as borders oh where you made them like you know so B is the only thing we do and we paint it and then it gives us a drop back great and that's vinyl yep it's great okay if we could have those six borders and these 10 trapezoids before your primer code before we primer code and that's all vinyl nothing styrene yet nothing styrene yet uh styrene at the end are really these uh dimensional lot of these little yeah yeah yeah and we can do those even as styrene that's D first that's and then and this little Pip those could be metal and I think that those are notched in oh actually if we had those squares yeah you're right cuz we would we could add squares I notched them in yeah we could add a square in the notch yes yes yes yes you're totally right yeah here's one thing that's happening about your piece there yeah is that um this isn't as long as it needs to be oh it's fine we can compl that's what I needed to yeah no oh I should have cut off the front and the back it's just to that's hilarious uh so but I did it fast exactly so we're going to have to figure out uh so maybe I elongate this uh so tell you what I can cut this out in a minute and then we can just start to okay all right figure it out and you can pull oh right we don't have the yeah we can actually just end up putting a little filler in there yeah we'll have to okay we'll make up that's bonus detail ah what a bummer oh wait I have this oh but it's missing yeah but but that therein is the piece we need right there right you know okay I am coming you know what I'm going to do here because I don't like how this settles in here I'm going to chop off these two horns when I'm going to because I don't like how that settles in sure okay just checking with you on that it occurs to me that it's worth showing you guys how I make my notches because a notch like this an absolutely critical Star Wars feature um and it has delightfully infected other ship designs so here's how I make a notch if I have to make a notch this is a frangible piece now let's say I want to make a notch right here so first I use my finger to give myself the distance then we'll roughly Mark out the location and I come in with a Nibbler and I'm just going right to the uh right to the edges but I'm staying one square away from the outer extents there we go then I come in with the Flush Cutters this is only my method everyone does it differently and I hit the corners like that then I come in with a sanding stick sorry about that Josh we'll take a look at it from the underside there it is crispness really counts on The Notches all right there you go there's a nudge oh yeah yeah yeah follow it mhm yeah and then that'll be that then I'll follow this side for this and come um I'm just adding a little spot putty to hide this one seam because if you see this seam the illusion will be shattered put it there woo I know terrifying yes terrifying um look oh it's going to look great yep awesome now I know how to do this right instead of the dumb way which I did it before are we going to paint right here too uh we could okay there it is okay if there's one takeaway as a modeler you came away from this build with it's how much work you can do with a sanding Stick Over almost every other tool like you can do so much forming with a sanding stick and so much finessing that was the thing that surprised me when I started making spaceships I'm so excited for what you're about to witness because with these parts of the gelies on they may look cool now but the moment they get hit with gray they become an actual thing it's super cool uh so I'm going to Prime these three pieces we go is spe okay so interesting thing I learned today um uh Adam prefers the uh iata airbrush and um I really like using the Pache um but I was like you know Adam Adam and I have traded notes on tools for a long time so I thought I would try the iada just to see if I could um have the same kind of experience with it and actually um it's it's a great airbrush but um and it's very easy to clean uh but it sprays differently than what I'm used to with the Pache and sometimes you just need something you're comfortable with so um I actually started the model with the iada and then I um I I went back to my Old Faithful uh pashe H style airbrush um because that's the one I'm most comfortable with I have lots of of these um and I use them all the time and uh I just I just couldn't do it uh but while I'm on the subject of airbrushes uh you notice how clean and shiny this is um one of the reasons they make these out of chroma so the paint doesn't stick to them so and and that's one of the things I'm always telling people when um they learn how to airbrush is you should clean your airbrush to always look like it's brand new sorry uh the reason you do that is I always say it's like a surgical tool um if it's if it's um if it's dirty if it's if it's got stuff inside um you can kill your patient so I always treat it like a surgical tool because uh there's nothing worse than having a little blob of paint that just sprays out of your airbrush randomly when you're using it so um that's why it's very important to clean these um like I I clean them obsessively perfectly shiny clean every time I finish with one so that the next time I use it I can just pick it up and go for it anyway I'm way into airbrushes if you can't tell well uh we're running into a third day I don't think we I think once these let's not mask tonight I'm a little afraid of this paint job I wanted to have a few hours so we're working with a new paint new to us yeah uh Adam's worked with it a couple times I've never worked with this paint it's an acrylic I usually work with enamels so um there's a lot of unknowns I discovered that wall I was working with it you have to go lighter coats more coats to keep it from dripping um we got a few artifacts but it laid out and dried out really beautifully but I don't want to touch it yeah I feel like we're going to leave it for 12 hours it feels fragile yeah so we're going to leave it um but after that uh we're going to do some gray masking I think actually the the primer we've got is ideal for the uh the gray stripes M um and then you've got to add technique I'm dying to try oh yeah yeah yeah this a model maker named uh Martin McDonald used to work for uh fonco when it was in Northern California um this kind of technique here yeah he showed me this really cool trick for getting this scratched up kind of um style of paint like where where it's been scraped off and um basically you just wet salt and you put it on your model and then you uh paint over that and then you wipe off the salt and it gives you this great pattern dude we are totally doing that I'm super psyched to try that yeah that's going to be awesome and and it looks just like this it's a great technique and then once we've got that it's about adding a few decals and then an hour or so worth of weather passing yeah I mean that's the most fun part of it is it is that's when it becomes real oh man um yeah I'm really pleased with how it's shaping up oh it's beautiful yeah and actually it's interesting because I I wasn't really familiar with this paint uh when I put it on uh I got a little bit of splotchiness but that splotchiness actually looks great for scale because we're doing a weathered look it it's not the kind of splotchiness that is a scale Buster it's high frequency enough to just look like you know something's been out in the the weather and been used for a while which is what we're going for so it's another happy accident you get a lot of happy accidents in this work uh is there anything else to go over before we wrap for this day no I think that's it all right yeah we're going to go home and like eat dinner and stuff but for you it's just going to be like a second or two we have our ship in uh masking tape right now for the very light gray stripes the three stripes that are across the top and bottom of this ship um when you look at this artwork you can see that there's this chipping that is happening this kind of flaking away of the paint paint uh this weathering um and I'm going to use a technique I learned from a friend of mine who used to work at fonco here in Northern California named Martin McDonald but it's um technique where you use um crushed salt use rock salt to create this pattern on the model and then you paint it and then you take off the salt so um the reason you use rock salt is because and these pieces are too big to use but what you do is you crush this stuff up I'm just going to smash it with the scissors here the reason you you crush it up is cuz you want that variation of sizes and shapes and it breaks into these really great shapes that if you look at them they look very very similar to this style of um wear so now I've got all these really cool shapes I can use to mask the paint and I just take a little cup of water it's going to want to repel the the liquids so you have to kind of do this in phases and I sprinkle it on and then I kind of tap it kind of tap it and roll it get some of that if you have a little too much water you can get some of that off with the rag that feels very much like what the artist describing I'm focusing on the Leading Edge because that's usually where most wear happens and stuff like this I'm going to do a little bit more than the artwork shows just to kind of to make this feel uh more used I guess then I'll move to the other area I just keep doing that one of my favorite things about working professionally in model making is uh the Brain Trust that you get in working with other model makers because everyone has their own little bag of tricks and so you get to learn all these really cool tricks from your colleagues and it's funny sometimes you you learn these tricks and you're very excited to use it again and you won't touch it for years but then when you get to that that particular uh design aesthetic or something you need the the technique it's it's great cuz you go I know a way and that was definitely what uh what I thought when I saw the artwork because it looks so much like this pattern there we go okay we knock that off that'll expose the undercoat of blue so now we just brush little soap flakes off you can see all right I was um off doing an appearance for a few hours how did we do how how's things been going since I've been gone I feel a little guilty I've been having a blast without you what's what's been happening I suspected as much weight be the case oh look at the salt we did the salt yeah I went a little heavier on the bottom feel like that yeah I see how that's going to be cool yeah we we'll probably still want to come in and do some hand workk to get really specific but it's a great way to get that randomization quickly you know than only two stripes on the big one three three the nose well the nose and two stripes yeah and so did you do a spritz and then put the salt on the sprits um just just a little dab of water and then you get the salt wet and it sticks oh and then you just let it dry out there yeah just used a Q-tip yeah this actually uh I hit with the gray and a black tip because this one this is the only piece that needed two layers of masking so I let that dry I did that first so it could dry and just hit those those are the little wing winglets nice oh I see you doing a dark gray to Black on the ends that's so I just threw the black on there just to give it that variation very very cool and then timing wise we'll have to decide whether there's time to do some gradients but those are always fun yeah which what should we start unwrapping I think anything you want to start on the main one there be delicate around the gray yeah I'm going to start there oh dude it's cool oh good you found some of the pin striping tape yeah and I switched to I switched to enamel oh yeah for the for the black and the I did well I did the Tama for the um the T to me a primer was really good for the light gray and then um for the grimy black yeah uh that was a floquil oh nice nice that makes total sense yeah it just goes on nicer I mean the funny thing is is that when people ask me advice about types of paints it's like I've seen every finish from every paint yeah it's all preference really absolutely preference cuz I know people who swear by acrylics I'm I'm not that guy personally but I know people who are yeah and their models don't look bad no they don't look like they don't know what they're doing we did an experiment on an architectural model project once where we switched to uh latex house paints for Miniatures what and it was remarkably uh good stuff it was great we just wanted to see if we could do a less toxic right version of paint ooh oh yeah that's sweet sexy paint the salt just looks so good isn't that great it's random in a way that would take a very long time to do another way which is my favorite part about it it's super cool wow but this is all the base coats are done now all right that's what I wanted to grab have you played around with this no it's fantastic I can't wait yeah it's really good and this is the that's what painted uh rub the Iron Man oh the refill for moloto malov something really interesting to take a look at here is that when something is shiny black it's almost hard to see and so detailing is actually just about helping the black be more visible it's giving your eye some parameters to understand the structure because something that's too shiny is actually like I said it's hard to see the the the golden Idols from Raiders are sprayed with dulling spray even though they were chromed because when they're perfectly shiny they're actually to too shiny it's a nice looking chip yes I mean and I mean their design I think we're executing it well I'm really happy with how it's going it's a nice looking chip I like it yeah I love that it's not obviously derivative of anything specific no we're on the like the last one of the last painting STS yeah I don't want to say it too far out little but we're really close right I think first get we should do some like out of the vent we should some of that little grimy stuff well you can do that with a wiping huh MH oh do you mean this stuff yeah yeah you'll get yeah oh I'll totally yeah yeah yeah so that'll be after first get huh so the we want to do the oh want to throw that out we need to put the graphic on and the triangles the graphic and the triangles okay who got salt all over the table do you want to do triangles or graphic uh you have a preference no graphic okay halfway hey actually you know what we can benefit each of us by doing it this way that's the direction that's facing it we were both willing to work under the Restriction but it was unnecessary that was funny cuz I was I I was like doing the math yeah me too I was like we we both at the same position I don't really to Zilla yes I feel like that's enough don't you yeah yeah yeah yeah oh and this is why I love lacquer giving you all the detail look at that it's beautiful oh nice that looks really good it really does there's just no yeah I'll hold this down for you there it goes oh yeah time to do the middle o H hey oh dude I mean I could do this for hours what that's saying right it's never done it's never done it's only abandoned yes um so I painting I think it's time to abandon this this is uh I think we can call it done I think we can stick a fork in it absolutely dude uh I want to thank the makers of Home world for Designing such a fun ship to build and execute and weather um for the designers who built this in a virtual environment I hope it's exciting for you to see it made physically this has been so much fun it's yeah and this is a great design remarking earlier that um it's not it it's not obviously derivative of anything which is a really uh refreshing thing to see these days in in spaceship design I agree I totally agree oh it smells so good it's like just nothing but voc's pouring off this thing it's a great off-gassing smell um I also I I love love love working together first of all because we've been doing it for decades now but also because it really really shows how many different ways there are to get something like this across the line there's no wrong way the only wrong way is when it yields a model that's not what you want or a far techniques so much you can tell which part each of us had done oh yes yes yes so I'm very uh yeah I love that cuz I remember that from from the good old days as we would call them now right everyone would sort of stop and move on to another part to do gribling yeah they'd sort of like shift your dance card yeah oh man so yeah it's beautiful um it makes me want to go take it onto the motion control stage yes I would love to shoot this model that was the most fun I've had easily in at least a year this is like amazing I'm so happy yeah the marathon of model making that this was was um we figured it out off camera 40 person hours of work giv yeah yeah yeah about 40 hours you were you were saying you or I could have done this in a week a full week Monday through Friday and I think you're totally right it's about just about what it would have taken yeah thank you guys for joining me for this one day for joining us for this one-day build that took three days see you guys next time all right before we wrap up I have one more bit of housekeeping first of all thank you so much for watching and thank you to the home World 3 team for giving us the opportunity to make this replica of the Interceptor ship from the game the game which by the way is out today on Steam and the epic game store so you can pick up home World 3 as well by following links in the description below but you may notice also some additional models here this mother ship these ships are part of the home World 3 collector's edition which along with their influencer kit which has a bunch of awesome goodies is going to be made available to one of you out there you can win one uh rules and how to enter are also in the description below so you can win this Mothership which has sounds and lights up oh yeah or you can have this small Squadron of Recon ships on your desk as well as well as a digital copy of the game of course all the information is in the details description below but thank you again so much for watching we had so much fun on this project I'm norm and I'll see you next time bye hyperspace has been weaponized nowhere safe group one assigned move to location position noted moving now you have to go ahead to increase power to na sensor mhm understood it's the queen she's coming for us Target caged and locked on my mark go I am still struggling with it all hostile turret tracks me requesting support the losses alert we need cover taking turrets controller lead but I don't want to forget them out out adjust ATT even in Victory there is loss May the burden remainfor today's build we partnered with gearbox publishing to build a model of the Interceptor ship from the game home World 3 you do all this work to get the reference right and then the last step is not to make it perfect to the reference make it perfect to itself and then it lands yeah it's a nice looking chip it's a nice looking chip I love that it's not obviously derivative of anything specific no we cannot wait until you all can see this when it gets primered the primer is like this you're going to need to find some good editorial music for that the timeline was super tight so I called in my friend former ilm colleague Fawn Davis to help detail this model just like we used to using materials I inherited from the old ilm shop and techniques we've been honing for decades we had so much fun with this challenge we felt right at home in home world's Universe here's how it went fwn great to see you good to see you Adam fwn we have a model making project for you guys today this is so exciting very exciting there's a new game that's actually out today home World 3 it's out on Steam and the epic game store it's a realtime strategy game it's a successor to one my favorite realtime strategy games and there are a ton of different ships Adam has selected a ship the Interceptor here and the developers would like us to make a 20in model of it what's funny is they gave us the digital assets but some of the texturing is is simply visual right which is how it works for games and you know even for visual effects for films like the geometry that you get the game geometry is simply this this is a 3D print of model that we had Daryl uh processed so we can actually turn it into a 3D print uh this is that 20-in model you can tell it's smooth I mean there's a little bit of geometry here and there little bit here but none of this stuff this is all in material normal maps in texture Maps uh and so the challenge seems like will be how to transfer details like the paneling onto these 3D printed Parts taking this Visual and making it actual any immediate thoughts any immediate thoughts on the approach yeah absolutely I mean this could all be vacuformed yep y yep so we could vacuum form over these patterns and then cut out the panels from the vacuum form to create a lot of the panelization right now my stock of styrene is all 060 it's fairly thick okay okay uh so uh I because we have the ilm big blues uh we're going to go through their styrene stock and see I think there's probably some o23 in there okay hopefully yeah ideally cuz then we could cut that out with scissors y so there's a lot of panels so and imagine you know the the blue and the gray here will be a paint pass but even details like in the top and the bottom of the shift you guys have decide whether that's a mask I can make with our vinyl cutter that you can as a mask or something like this whether that's actually dimensional and a vinyl or a decal that you want to put on top of the ship I feel like these color hits are fine to do as vinyl decals yeah maybe this is a frisket though yeah yeah oh okay sure and then Adam we also have options for you cuz I know anytime you can add a piece of real metal to a sh build that's great so the gun module in the front here we have Daryl procet both as the full completed piece or also the barrels missing so I can turn those I think I would cut these off and put little nice brass things in there yeah that'll be nice very cool these orthographic layouts are just fabulous we have both the textured and just the normal map versions anything you guys might need in terms of Parts the 3D print Parts the vinyl cut Parts decals to make let me know I'll run the art department and Supply you with whatever you guys need amazing dude great I think we probably both want to hit panelize yeah because it's a lot of panels it's a lot of panels maybe one of us can start on this and one of us can start on uh the body this is like this yeah the body has the body has about I would say equal number of panels to this cuz it's so detailed yeah you're right this is like we're cutting it all the way up to get all of that panel is um do you have a leaning a preference I I'm inclined to start with this one okay so I can start on the body so for vacuum forming Zilla MH I am going to make one of these vacuum form buck so I'm going to slice off the registration pen oh perfect so I can lay it flat and I'll this will be the one we build off of okay okay all right cool so this we've covered this vacuum forer on the channel I think even more than once in the past we'll include a link in the description um but the origin story is that there was a company called vacuum form that made what I think is one of the most beautiful desktop vacuum formers ever they are impossible to find uh and fawn and I each coveted the one our Mentor Mitch Romanowski had and each of us built a version of the same um and I'm about to pull this o3o styrene over this form to start the panelization process this is totally identical to how we would do this in the actual field on an actual job there are two ways to penalize you can score into the shell of your object or you can dimensionally put plastic on the outside and that's what I'm doing here I'm vacuum forming a shell I'm going to cut apart that shell and that will become the panels uh I'm going to turn from heat onto vacuum I have all that on one switch so I can't turn both on at the same time which would immediately blow any fuse so here we go Beauty A Perfect Pull there used to be this um metal fabrication place in San Francisco where I would go and buy offcuts from their stock because I couldn't afford to buy huge sheets and then have them cut down and this perforated plate here came from that place and I think I got enough for both you and me the same perforated plate we have matching perforated plates oh that came out nice yeah beautiful awesome I'll do the back side of him okay here we go yep there we go you heard the pop oh it's a good pull yeah do it like that I'll also probably get a blow through here but that's fine with a rag I can jam it in there we go that's cool you can see the line right through so you can cut to it oh right that Top Line all right so what I'm doing is I'm I'm cutting into the corners of each of these um so that this top piece can bend out without tearing that's what you just it's just a real easy way to release apart see that allows this to open up and you want to do is little damage and tearing to the part as you can when you pull it out boom all right uh we are making great progress we're about 2 and 1 half hours in uh the orthographic views supplied by home world were absolutely Mission critical for the penalizing but we're executing this in two totally different ways yeah uh I I pulled this form over my piece and I've been using uh uh uh calipers to transfer the marking and what I'm trying to do is just make sure all of my angles are straight to the model and look right once I get that then I'll start to cut this apart you what you're doing something completely different yeah so what I did is I took the vacue form and I took a photocopy of the model I cut out a section of it and I uh just glued it right to the vacu form oh amazing with spray 77 and then I've just been using that to cut out the parts so I actually have the paper right on there so once I I sand this and get it to the right shape I'll peel that paper off and then it'll go on there so one of the things that we've been chatting about which is funny is that like we are starting with reference material that's absolute um but the final model will not necessarily always follow the reference material exactly because if it doesn't work to the model you got to change it so the bilateral symmetricality sort of Falls by the wayside uh and it's because basically it's like I know that this square is not exactly the same size as this square but given that no human will ever see them together it doesn't matter that much what's incoming on me is just to make sure that the lines are square and the corners are square that's the places that catch your eye that's where I'm starting from it's also a way that you maintain uh scale you got to keep all your edges really really sharp soon as you start to soften those edges that's that's what we call a scale Buster so especially when you've got a line a panel line that moves like this and if it one part is soft and the other's rigid yeah all of your hard work falls apart yeah so we'll have a lot of sanding with these things to keep everything super straight uh and the specific panelizer that I've got that is one of the biggest pains in the ass is these louvered parts of the engine cowlings um I was thinking about cutting the styrene and then I remembered I've got all this Evergreen strip from the stash and I will basically glue these in using Weldon uh and get them lined up with each other that's also going to be a pain in the butt and that's actually I think the very next thing that I'm doing because everything else I do after that sort of hinges on that being right yeah and one of the biggest challenges in in working on this particular design is keeping the space between the panels consistent or at least consistent in a way that looks intentional that's exactly how it works it is it's funny when you're up to it that like there's this moment from um I know that you listen to Too Much Beatles when you were a kid but um and by that I just mean he he was oversaturated with beetles it's one of my favorite facts about you like I can't do the beetles but uh in get back the documentary there's this point at which someone says to George about the album will be and George says we don't know what the album will be the album is going to tell us what it wants to be and then our job is to service that and it is such a pure way of describing exactly that you make it look right to itself you do all this work to get the reference right and then the last step is not to make it perfect to the reference make it perfect to itself and then it lands yeah all right yeah we're hoping to finish all the penalizing by the end of today that might be it's it's a lot it's a lot there's a lot of small pieces but we're moving all right yeah okay I have um I've successfully added these um ribs to the engine the cells and I want you to take a closeup look and see how kind of crunchy that is closeup none of that matters all that crunchy stuff all the little defects all that's going to go away in the paint job once the panels start going on we'll put a little weather in there your eye won't see any of that stuff it'll just feel like it's coming out of there in fact I'll show you over here I got a little too much glue here and it's started to eat away but again you're never going to see that cuz this is under the ship you're going to be seeing it this way only ever so there only so hard I need to work to make that look pretty um but I am just about now to start to cut out the panels and actually install them and I'm going to start with the middle one and then build down from both sides all right so here is the detailed barrels next to their undetailed counterparts I'm about to assemble so here's how this is going to go the brass bit goes in here and then this bit goes on there and a little super glue we'll hold it all in place and right there you see how much more scale I get for that yeah I get a lot more scale out of just that little bit of extra detailing so we going to assemble but first I want to clean up these little posts with CA glue and kicker you often with all of these glues that we're using there is time to move um with styrene you put a panel down it sticks very quickly but with a little bit of force you actually can very sensitively adjust it and it was only that that let me get some of the Precision out of my paneling and with this I've got enough space between the brass and the aluminum tubing that I was using that I was actually able to level these up so that they're cuz again if these are even remotely not the same level oh there we go oh I need to add a little more glue and this is also the object lesson and why it's always fantastic to print out your reference material in one to one scale like there's just nothing that makes it more pleasurable to play with this stuff all right yeah that's what I'm going to do the other thing that surprised me when I first started doing this at a very high level is how little like that's sometimes all you need is a it's really like it's it's great at those moments when you're nearing the finish of your sanding to really just inspect every time the sanding stick goes past only that kind of thing will really yeah it's like you'd be surprised how much you can take off and how little Force you need if you're paying attention one of styron's like great achievements and it's great Terrors is that it Wicks into everything really beautifully which can save or ruin your life in equal measure can we do it yeah let's do it oh oh may I yeah all right let's add some nice size to work in absolutely right all right let's I think I'm going to do this with a masking tape use that as just a tiny little panel raise on the edge of the barrels there that's awesome I'll have to straighten that one out cuz that's a really cool design I like these little pods I don't mind them yeah I like little magazine holders for the flette guns whatever they are oh dude that is oh yeah so one of the funny things that used to happen at ilm is we would finish you know whatever like four months on some giant $2 million construction that like a dozen people put their heart and soul into and then it's got to go to the shooting stages which we're across a busy thoroughfare in Marin so you're always p in the model literally this $2 million model through traffic to get it to the sound stages terrifying we call that the gauntlet it was The Gauntlet you run the gauntlet with your model at this age what I find most sad is that around about like 7 o' my eyes are like we're done reading and I'm like trying to read my eyes are like we can't no you just have to stop watch TV or something cuz they won't focus anymore sorry I don't mean to yell all right we'll see you guys tomorrow all right I think it's a reasonable time for a check-in we've gone Gang Busters this is not bad for I think what is just about 8 hours of work for us right yes give or take um you paneled the large bottom uh I paneled the underneath of the engine the cells I love that we have two totally different approaches to executing this yeah we do I built from this Center out you were attaching the piece of paper to it that's also what I love about doing builds like this is like there is no right way to do um the wings were really pretty straightforward I used a hole punch to add some little detail there uh just a couple little greeblies and then um I turned some barrels uh to get a little more detail and actually it's really neat um to render faster there are high levels of detail that are just texture not actual topography uh so I added in the actual texture and um I think the guns are done too so what do we have left oh yeah got to put the whole thing together with the gun there and your it's attached yeah yep oh dude so this is the underside oh man seeing it dimensional like that it's really kind of exciting it's pretty cool um now it would seem like we're only halfway done cuz the top has no detail yet but actually that's not really the case yeah the top is much simpler in terms of its layout yeah than the the bottom yeah we'll divide and conquer on this as well there's like seven panels as opposed to 30 exactly yeah wait a second oh I see it's it goes to for me in penalizing of this one of the key things is where how edges are met so there's an open question as to like would you do this panel first or these panels first and my Approach is always to do the outside side ones first because the Outer Perimeter is going to be what draws your eyes and the inner one can be fit to that but anyway that's the philosophy of where I'm starting from I like this kicker it's um I find it doesn't work with old superg glue as well oh interesting yeah oh that's the thing that I find disappears with Superglue is It's ability to set so what I'm doing here is I have the 3D prints is done in two halves and we did that so we could 3D print I mean sorry the 3D print is done in two halves so we could vacuform each half for our panels but when we're looking at the design we realize that there are some panels that span the seam that goes from end to end so we can use those panels to hide the seam of the 3D print on our final model so I'm using this which is our vacuum form plug um to to vacuum form over with without a seam then uh the panels will hide the seam on our final this first pass I'm not trying to get it smooth yet I'm just trying to get it in all the cracks just kind of smooshing it in there W yes there we go gentlemen sir how you doing great we're good we're we're we're we're barreling toward finishing up the top fantastic um so I'm ready to start vinyl cutting or even styring cutting using our crcket maker uh want to get a sense of what you guys wanted to have cut in what color and what would make sense as extra dimensional stuff that you might need before you do a base coat I think that stuff is dimensional mhm I think that's dimensional and what I also have is additional render with some lighting that might give some insight into like yeah no I see what they're thinking and we're not cutting those out as holes up there we can fo the eye yeah so all this let's make all that dimensional let's do this as a frisket okay and that's a stencil that's a stencil you know I'm wondering should we do these yeah I think do those as vinyl yeah so these could be vinyl and to be fair that should be should be kind of a piece like this that comes down and drops like that cuz it's going to go over the edge it could mirr oh actually that's it it could have a space and then mirror that's we do see from the side yeah it does wrap around yeah it's so let's make it like that and it wraps around so it's that plus that and then the other trapezoid and these are basically all the same yeah so let's cut out like 10 of those okay um I think these guys will make panels and styrene so so and vinyl you that's okay to apply at the end after at the very at the very end anything dimensional you need prepaint those yeah the V actually the vinyl I would I would love to have before I prime it okay so you think of this vinyl I do black vinyl I think those are vinyl and or yeah black vinyl and black styrene if you can do I don't have black styrene but I but this can be at the very end so and so can this so to me uh the only thing we need before paint are some we can do the little gelies like that right the only thing we need before paint I think are these guys that's at the end this is at the end you know these might be fun to do painted separately and stuck on that's what I mean so all we need before primer are these trap oh I see what you're saying yes um you could also draw us these in in the same and we paint over that yeah if that on these six panels in vinyl would' be a really nice drop mhm so actually these I was going to say these should be wider cuz we're looking at this shape here right so um pull this out I have it I have it flattened oh perfect so it should be wider on here I've actually squished it but okay so on these to be fair given what I see here you know what might look really great Norm is if we could do these as borders oh where you made them like you know so B is the only thing we do and we paint it and then it gives us a drop back great and that's vinyl yep it's great okay if we could have those six borders and these 10 trapezoids before your primer code before we primer code and that's all vinyl nothing styrene yet nothing styrene yet uh styrene at the end are really these uh dimensional lot of these little yeah yeah yeah and we can do those even as styrene that's D first that's and then and this little Pip those could be metal and I think that those are notched in oh actually if we had those squares yeah you're right cuz we would we could add squares I notched them in yeah we could add a square in the notch yes yes yes yes you're totally right yeah here's one thing that's happening about your piece there yeah is that um this isn't as long as it needs to be oh it's fine we can compl that's what I needed to yeah no oh I should have cut off the front and the back it's just to that's hilarious uh so but I did it fast exactly so we're going to have to figure out uh so maybe I elongate this uh so tell you what I can cut this out in a minute and then we can just start to okay all right figure it out and you can pull oh right we don't have the yeah we can actually just end up putting a little filler in there yeah we'll have to okay we'll make up that's bonus detail ah what a bummer oh wait I have this oh but it's missing yeah but but that therein is the piece we need right there right you know okay I am coming you know what I'm going to do here because I don't like how this settles in here I'm going to chop off these two horns when I'm going to because I don't like how that settles in sure okay just checking with you on that it occurs to me that it's worth showing you guys how I make my notches because a notch like this an absolutely critical Star Wars feature um and it has delightfully infected other ship designs so here's how I make a notch if I have to make a notch this is a frangible piece now let's say I want to make a notch right here so first I use my finger to give myself the distance then we'll roughly Mark out the location and I come in with a Nibbler and I'm just going right to the uh right to the edges but I'm staying one square away from the outer extents there we go then I come in with the Flush Cutters this is only my method everyone does it differently and I hit the corners like that then I come in with a sanding stick sorry about that Josh we'll take a look at it from the underside there it is crispness really counts on The Notches all right there you go there's a nudge oh yeah yeah yeah follow it mhm yeah and then that'll be that then I'll follow this side for this and come um I'm just adding a little spot putty to hide this one seam because if you see this seam the illusion will be shattered put it there woo I know terrifying yes terrifying um look oh it's going to look great yep awesome now I know how to do this right instead of the dumb way which I did it before are we going to paint right here too uh we could okay there it is okay if there's one takeaway as a modeler you came away from this build with it's how much work you can do with a sanding Stick Over almost every other tool like you can do so much forming with a sanding stick and so much finessing that was the thing that surprised me when I started making spaceships I'm so excited for what you're about to witness because with these parts of the gelies on they may look cool now but the moment they get hit with gray they become an actual thing it's super cool uh so I'm going to Prime these three pieces we go is spe okay so interesting thing I learned today um uh Adam prefers the uh iata airbrush and um I really like using the Pache um but I was like you know Adam Adam and I have traded notes on tools for a long time so I thought I would try the iada just to see if I could um have the same kind of experience with it and actually um it's it's a great airbrush but um and it's very easy to clean uh but it sprays differently than what I'm used to with the Pache and sometimes you just need something you're comfortable with so um I actually started the model with the iada and then I um I I went back to my Old Faithful uh pashe H style airbrush um because that's the one I'm most comfortable with I have lots of of these um and I use them all the time and uh I just I just couldn't do it uh but while I'm on the subject of airbrushes uh you notice how clean and shiny this is um one of the reasons they make these out of chroma so the paint doesn't stick to them so and and that's one of the things I'm always telling people when um they learn how to airbrush is you should clean your airbrush to always look like it's brand new sorry uh the reason you do that is I always say it's like a surgical tool um if it's if it's um if it's dirty if it's if it's got stuff inside um you can kill your patient so I always treat it like a surgical tool because uh there's nothing worse than having a little blob of paint that just sprays out of your airbrush randomly when you're using it so um that's why it's very important to clean these um like I I clean them obsessively perfectly shiny clean every time I finish with one so that the next time I use it I can just pick it up and go for it anyway I'm way into airbrushes if you can't tell well uh we're running into a third day I don't think we I think once these let's not mask tonight I'm a little afraid of this paint job I wanted to have a few hours so we're working with a new paint new to us yeah uh Adam's worked with it a couple times I've never worked with this paint it's an acrylic I usually work with enamels so um there's a lot of unknowns I discovered that wall I was working with it you have to go lighter coats more coats to keep it from dripping um we got a few artifacts but it laid out and dried out really beautifully but I don't want to touch it yeah I feel like we're going to leave it for 12 hours it feels fragile yeah so we're going to leave it um but after that uh we're going to do some gray masking I think actually the the primer we've got is ideal for the uh the gray stripes M um and then you've got to add technique I'm dying to try oh yeah yeah yeah this a model maker named uh Martin McDonald used to work for uh fonco when it was in Northern California um this kind of technique here yeah he showed me this really cool trick for getting this scratched up kind of um style of paint like where where it's been scraped off and um basically you just wet salt and you put it on your model and then you uh paint over that and then you wipe off the salt and it gives you this great pattern dude we are totally doing that I'm super psyched to try that yeah that's going to be awesome and and it looks just like this it's a great technique and then once we've got that it's about adding a few decals and then an hour or so worth of weather passing yeah I mean that's the most fun part of it is it is that's when it becomes real oh man um yeah I'm really pleased with how it's shaping up oh it's beautiful yeah and actually it's interesting because I I wasn't really familiar with this paint uh when I put it on uh I got a little bit of splotchiness but that splotchiness actually looks great for scale because we're doing a weathered look it it's not the kind of splotchiness that is a scale Buster it's high frequency enough to just look like you know something's been out in the the weather and been used for a while which is what we're going for so it's another happy accident you get a lot of happy accidents in this work uh is there anything else to go over before we wrap for this day no I think that's it all right yeah we're going to go home and like eat dinner and stuff but for you it's just going to be like a second or two we have our ship in uh masking tape right now for the very light gray stripes the three stripes that are across the top and bottom of this ship um when you look at this artwork you can see that there's this chipping that is happening this kind of flaking away of the paint paint uh this weathering um and I'm going to use a technique I learned from a friend of mine who used to work at fonco here in Northern California named Martin McDonald but it's um technique where you use um crushed salt use rock salt to create this pattern on the model and then you paint it and then you take off the salt so um the reason you use rock salt is because and these pieces are too big to use but what you do is you crush this stuff up I'm just going to smash it with the scissors here the reason you you crush it up is cuz you want that variation of sizes and shapes and it breaks into these really great shapes that if you look at them they look very very similar to this style of um wear so now I've got all these really cool shapes I can use to mask the paint and I just take a little cup of water it's going to want to repel the the liquids so you have to kind of do this in phases and I sprinkle it on and then I kind of tap it kind of tap it and roll it get some of that if you have a little too much water you can get some of that off with the rag that feels very much like what the artist describing I'm focusing on the Leading Edge because that's usually where most wear happens and stuff like this I'm going to do a little bit more than the artwork shows just to kind of to make this feel uh more used I guess then I'll move to the other area I just keep doing that one of my favorite things about working professionally in model making is uh the Brain Trust that you get in working with other model makers because everyone has their own little bag of tricks and so you get to learn all these really cool tricks from your colleagues and it's funny sometimes you you learn these tricks and you're very excited to use it again and you won't touch it for years but then when you get to that that particular uh design aesthetic or something you need the the technique it's it's great cuz you go I know a way and that was definitely what uh what I thought when I saw the artwork because it looks so much like this pattern there we go okay we knock that off that'll expose the undercoat of blue so now we just brush little soap flakes off you can see all right I was um off doing an appearance for a few hours how did we do how how's things been going since I've been gone I feel a little guilty I've been having a blast without you what's what's been happening I suspected as much weight be the case oh look at the salt we did the salt yeah I went a little heavier on the bottom feel like that yeah I see how that's going to be cool yeah we we'll probably still want to come in and do some hand workk to get really specific but it's a great way to get that randomization quickly you know than only two stripes on the big one three three the nose well the nose and two stripes yeah and so did you do a spritz and then put the salt on the sprits um just just a little dab of water and then you get the salt wet and it sticks oh and then you just let it dry out there yeah just used a Q-tip yeah this actually uh I hit with the gray and a black tip because this one this is the only piece that needed two layers of masking so I let that dry I did that first so it could dry and just hit those those are the little wing winglets nice oh I see you doing a dark gray to Black on the ends that's so I just threw the black on there just to give it that variation very very cool and then timing wise we'll have to decide whether there's time to do some gradients but those are always fun yeah which what should we start unwrapping I think anything you want to start on the main one there be delicate around the gray yeah I'm going to start there oh dude it's cool oh good you found some of the pin striping tape yeah and I switched to I switched to enamel oh yeah for the for the black and the I did well I did the Tama for the um the T to me a primer was really good for the light gray and then um for the grimy black yeah uh that was a floquil oh nice nice that makes total sense yeah it just goes on nicer I mean the funny thing is is that when people ask me advice about types of paints it's like I've seen every finish from every paint yeah it's all preference really absolutely preference cuz I know people who swear by acrylics I'm I'm not that guy personally but I know people who are yeah and their models don't look bad no they don't look like they don't know what they're doing we did an experiment on an architectural model project once where we switched to uh latex house paints for Miniatures what and it was remarkably uh good stuff it was great we just wanted to see if we could do a less toxic right version of paint ooh oh yeah that's sweet sexy paint the salt just looks so good isn't that great it's random in a way that would take a very long time to do another way which is my favorite part about it it's super cool wow but this is all the base coats are done now all right that's what I wanted to grab have you played around with this no it's fantastic I can't wait yeah it's really good and this is the that's what painted uh rub the Iron Man oh the refill for moloto malov something really interesting to take a look at here is that when something is shiny black it's almost hard to see and so detailing is actually just about helping the black be more visible it's giving your eye some parameters to understand the structure because something that's too shiny is actually like I said it's hard to see the the the golden Idols from Raiders are sprayed with dulling spray even though they were chromed because when they're perfectly shiny they're actually to too shiny it's a nice looking chip yes I mean and I mean their design I think we're executing it well I'm really happy with how it's going it's a nice looking chip I like it yeah I love that it's not obviously derivative of anything specific no we're on the like the last one of the last painting STS yeah I don't want to say it too far out little but we're really close right I think first get we should do some like out of the vent we should some of that little grimy stuff well you can do that with a wiping huh MH oh do you mean this stuff yeah yeah you'll get yeah oh I'll totally yeah yeah yeah so that'll be after first get huh so the we want to do the oh want to throw that out we need to put the graphic on and the triangles the graphic and the triangles okay who got salt all over the table do you want to do triangles or graphic uh you have a preference no graphic okay halfway hey actually you know what we can benefit each of us by doing it this way that's the direction that's facing it we were both willing to work under the Restriction but it was unnecessary that was funny cuz I was I I was like doing the math yeah me too I was like we we both at the same position I don't really to Zilla yes I feel like that's enough don't you yeah yeah yeah yeah oh and this is why I love lacquer giving you all the detail look at that it's beautiful oh nice that looks really good it really does there's just no yeah I'll hold this down for you there it goes oh yeah time to do the middle o H hey oh dude I mean I could do this for hours what that's saying right it's never done it's never done it's only abandoned yes um so I painting I think it's time to abandon this this is uh I think we can call it done I think we can stick a fork in it absolutely dude uh I want to thank the makers of Home world for Designing such a fun ship to build and execute and weather um for the designers who built this in a virtual environment I hope it's exciting for you to see it made physically this has been so much fun it's yeah and this is a great design remarking earlier that um it's not it it's not obviously derivative of anything which is a really uh refreshing thing to see these days in in spaceship design I agree I totally agree oh it smells so good it's like just nothing but voc's pouring off this thing it's a great off-gassing smell um I also I I love love love working together first of all because we've been doing it for decades now but also because it really really shows how many different ways there are to get something like this across the line there's no wrong way the only wrong way is when it yields a model that's not what you want or a far techniques so much you can tell which part each of us had done oh yes yes yes so I'm very uh yeah I love that cuz I remember that from from the good old days as we would call them now right everyone would sort of stop and move on to another part to do gribling yeah they'd sort of like shift your dance card yeah oh man so yeah it's beautiful um it makes me want to go take it onto the motion control stage yes I would love to shoot this model that was the most fun I've had easily in at least a year this is like amazing I'm so happy yeah the marathon of model making that this was was um we figured it out off camera 40 person hours of work giv yeah yeah yeah about 40 hours you were you were saying you or I could have done this in a week a full week Monday through Friday and I think you're totally right it's about just about what it would have taken yeah thank you guys for joining me for this one day for joining us for this one-day build that took three days see you guys next time all right before we wrap up I have one more bit of housekeeping first of all thank you so much for watching and thank you to the home World 3 team for giving us the opportunity to make this replica of the Interceptor ship from the game the game which by the way is out today on Steam and the epic game store so you can pick up home World 3 as well by following links in the description below but you may notice also some additional models here this mother ship these ships are part of the home World 3 collector's edition which along with their influencer kit which has a bunch of awesome goodies is going to be made available to one of you out there you can win one uh rules and how to enter are also in the description below so you can win this Mothership which has sounds and lights up oh yeah or you can have this small Squadron of Recon ships on your desk as well as well as a digital copy of the game of course all the information is in the details description below but thank you again so much for watching we had so much fun on this project I'm norm and I'll see you next time bye hyperspace has been weaponized nowhere safe group one assigned move to location position noted moving now you have to go ahead to increase power to na sensor mhm understood it's the queen she's coming for us Target caged and locked on my mark go I am still struggling with it all hostile turret tracks me requesting support the losses alert we need cover taking turrets controller lead but I don't want to forget them out out adjust ATT even in Victory there is loss May the burden remain\n"