Ehrmahgerd, rofl!
But have no fear! I'd like to get it across to you all that my technique is not based on skill per se, but more on method. I guess you could boil down the philosophy to persistence, patience, and layering.
Persistence and patience can be applied to the techniques I use, which is mainly just drybrushing and washes & glazes. Also you may have noticed that I use a limited colour palette throughout the army; red, black, bronze/gold, metallic, khaki, two colours for all cabling, and some green used sparingly. This already ensures a unifying looks and keeps everything visually tied together.
And believe me before putting down the 'X' on the predator I was procrastinating for weeks, feeling daunted by the complexity. But then at a certain point I said 'screw it', took a pencil and a ruler and crossed out the center of the hull, stuck on two perpendicular pieces of masking tape with the middle of the tape drawn with a pencil stripe so the lined up nicely and then just went to work. First the large section, taking care to line them up and then put in all the little bits with scissors, a modeling knife, and pincers and a cocktail stick to put 'm into place; Fiddly work, but worth it.
My red is just base coat, 4-5 consecutively lighter drybrush highlights, a dark wash, a light glaze, touch-up the highlights, another wash, another glaze, touch-up highlights again, a final glaze, and a light touch-up on some edges. I make sure I drybrush very, very dry to avoid any streaking and I thin my inks and glazes so I don't risk overdoing it in one go and build up the layers. The amount of layers really add depth to the colours.
Blacking out details can be tedious and stressful, but it must be done. And if you take your time to do it calmly and methodically, the accuracy achieved pays of on the finished model. And cleaning up messed spots is just depressing and annoying, so best to avoid them in the first place. And when I do have a tiny slip-up or lack in concentration (I tend to watch series while painting), I can blend them in with the weathering down the line. One of the benefits of doing a lived-in and weathered look is that it doesn't hàve to be absolutely 100% perfect to the micrometer.
For decals I take the effort of putting down a gloss cote, and using Micro Sol and Micro Set to apply them. And I use like 10 layers of Micro Sol so the decals really melt and blend in. And I use a little bit of paint to further blend in the edges.
Same goes for the dry-sponging when weathering. Do it very, very dry, with almost nothing coming of when you dab the cut-to-shape piece of foam on a piece of newspaper. The whole idea is to avoid any unwanted streaks and blotches as with drybrushing. And I usually use three colours; a dark grey, a dark brown, and boltgun metal. Each layer again adds depth to the look.
The oil wash is a technique that sounds daunting but is actually very simple. Coat your model in gloss to protect underlying layers and help the flow of the wash, and apply with a relatively large and soft brush. When applying you can wash and smear it where you want, ensuring relatively clean surfaces while the wash suck itself into every nook & cranny like nothing you can ever hope to achieve with acrylics. When it's starting to become touch-dry (anywhere after 3 minutes to a few hours) I take a firm cotton stick, moisten it with turpentine and gently clean up wash that has pooled too much, and some panels which have been darkened or obscured to much.
Weathering powders; again apply in layers. Use an absolutely desert-dry brush to apply, or even a little flat make-up brush, dust it on as subtle or liberally as you like, gently dab with turpentine or pigment fixer and let it dry at least a night or full day, add another layer, fixate, add, etc Just until you're satisfied with the effect.
As you can see, they main recurring thing here is layers, and lots of them. Sure, it takes longer, but in each stage you can do as many layers as you like. And be assured, there is nothing really difficult about it, at all. You just have to restrain yourself from rushing. Also be aware that since you are already painting miniatures, no matter the years of experience, you already have skillset.
Never be intimidated or daunted by unfamiliar sounding techniques or materials. I prefer not to do wet blending or layering blended highlights in 50-80 layers (which the réally awesome painters do) because I don't want to invest thàt much hours on a single model for competitions. My weekly painting time is limited with a full time day job, and plenty of other stuff to fill my private life, so when I picked up the hobby again in 2008, and started this army in 2009, I deliberately experimented with techniques that were not overly time consuming and not requiring tóó much accuracy so I could make the army and units grow within the limited time I devote to painting.
The techniques I use can easily be adapted to large batch painting in case you want to get a full army on the table as soon as possible. The basecoats, highlights and washes can be done in one big batch, giving an already nice looking coat of paint, the blacking out can be done whenever you have time and the you can choose to pick out units for finishing off, or to keep continuing the entire army one colour at a time.
So there you have it, if you scrutinize my techniques you'll see that no individual element has a great amount of difficulty involved, just restraint and time. The S.A.S motto 'Slow is smooth, smooth is fast' comes to mind. I mean, from time to time I have to really have to fight the urge to rush things because I want to see more results of what I'm doing. But the thing is that when layering your stages like this, there are always points when something just goes 'click' when applying a certain highlight or wash that just suddenly makes it look good while before that, nothing much seemed to change whilst doing the first few highlights or washes.
Wow, this exploded into a wall-of-text... but as with painting, once you're in the zone...