This video is me painting the Lord Marshall of Ver Andria, and honestly I couldn’t stop thinking about what the model represents: that tension between flesh and machine, and the way sci‑fi borrows the “feel” of World War I without being history. I start by value sketching with the airbrush using a universal shadow (Stainsign Violet from Golden SoFlat), then I hit a clean zenithal with white ink. To push the concept, I add an intentionally artificial OSL from below—again with white ink first—so the underpainting already tells the story before I ever touch the brush. Once the values are locked in, I color the sketch: Wasteland Clay up top and a pure red from the Army Painter Fanatic range from below. That quick airbrush stage is the big unlock for me—fast, readable, and it lets me see the whole piece together early. From there it’s brushwork: glazing shadows, building fur texture with tans, playing the organic mane against industrial, weathered NMM, and making leather interesting by subtly shifting browns with violet, blue, red, or yellow. I also share a productivity change that’s helped my painting: switching (at least part-time) from a smartphone to a dumb phone, because the constant scroll was starting to feel like a leash. In the end, I reinforce the OSL with harder, brighter edge work near the source—digital smoothness from the airbrush, physical marks from the brush, and both are essential to my process.