Hobby Cheating 226 - How to Paint Textured Cloth

[Music] hello everybody and welcome to another hobby cheating video and today we're going to talk about doing textured cloaks so there are many ways to do this and today we're going to talk about lying texturing this will give you a more satin effect there you could of course do the same thing I'm going to do here with stippling with dots and that would give you a more silken or sort of velvet effect there's lots different ways to do this but we're going to talk about a way to make cloaks more interesting so here I have one of the UK s warriors in my new scheme and he's getting close to being done but we have to do the lower part of his cloak here what I've got so far and where you start is I basically established just a simple braiding with the airbrush it goes from black to it just slightly lighter gray that's it all I want you don't need a big thing with this in fact you can go you can do this off of just a mono color scheme so even if you don't have an airbrush you're just base coating it with a with a brush perfectly fine you can start from a single color but you want to start from the deepest shadow that you're going to have on the area of the miniature you're adding texture to okay so our goal in the end is to look something like this like here's one that already had it happen and you can see how it's got the texture there's when you turn it around the highlights catch the various hopefully what looks like fabric the cloth of it right ok so here's another one you can see that's actually the same model but there he is you know done so this is kind of what we're gonna look like and the goal as you can see we're trying to create the light and highlights not through just flat applications of the brush like we normally do you know the normal way we paint treats paint like it's just a uniform thing that goes on like we just apply it flat I want to make this brighter I hit this with a lighter area texturing is a great way to create much more visual interest and separate the various types of material on your miniature so for example up here on this top part that's more ragged I used more of a stippling when I blended everything together so I was stabbing with the brush right whereas whereas down here we're gonna make it more cloth like so what color is rigging use today well they're already on my palette over here so I'm gonna use a little orchid light from Nocturna fantasy pro set just a very light purple they have it if you love Purple's like me this Nocturna purple sets actually really wonderful and then I've got some doll around EF w Payne's gray ink that's right here and then we have a very sharp brush in this case I'm going to use a size double lot you don't have to it's just I happen to have it it's a good control and then we have some flow improver okay so here's what we're gonna do we're gonna start by moving my paints all the way and then we're gonna start let's bring our homeboy back over here we're gonna get some flow improver in our brush we're gonna make a little pile of our purple over here and then we're gonna work a bunch of flow improve her into that okay so we want it to be nice and thin and controlled okay so once you've got that down we're happy with that just that should be about right okay I'm gonna scoot my palette here slightly so I can keep him more in frame this is a very difficult thing to paint sort of that on camera I apologize for the shaking my chair hit it because what we're gonna do is we're just gonna come in we want it to be rather intense we don't want it to be super thin but we want to be flowing hence why flow improvers our way to go so we're gonna come in and we're gonna just start pulling little thin lines just like this we just take the tip of our brush and we just do tons of little slashes okay and if they're not quite perfect it doesn't really matter you want to have the flow improver because you want these to be little razor thin scratches I'm gonna start from up here then I'll kind of go over it but this time hit a little bit more let's go to the other side you want these to extend slightly in even into shadows you don't want a hard drop-off okay because if you drop off completely it's gonna feel very fake like cloth doesn't change like that it doesn't have light doesn't hit light like that it's not a hard reflective surface it's not metal there are soft transitions in cloth so hence we're gonna get in both sides of a change like this will just push more shadows plus when we do this and end the brush in the center it creates this buildup of light okay so we'll do a little bit up here highest point for our highlights you notice how I have my hands locked and I'm just sometimes I'll even miss that's okay the goal is to just barely be touching the miniature taking just the very tip of this tiny brush and we're just gonna do lots and lots and lots of slashes now the key with where you place these is in general just think about it like if you were going to highlight it with a you know with a standard technique if you were gonna come in and take your brush and apply some highlights where would these largely go right well they go on this raised area here that is foots kicking back it would come out here on the bottom where that light is maybe a little bit up here because there's like a curve to it right stuff like that just think where would my highlight to normally go and then instead of doing just a flat highlight like with the side of your brush instead you're gonna come in and you're gonna do a little bit of this sideways streaking now sometimes when I see people do this technique I notice that they I notice that they don't they take these lines all the way into the deepest shadows you actually don't want to do that you don't want these lines everywhere because what you're trying to capture here is the thread that this cloak is theoretically made of the thread that this cloak is theoretically made of is catching the light at the highest point all right so where the light would be reflecting instead it's catching those individual threads so with that in mind why are shadow shadows well their shadows because their shadows see it's amazing circular logic meaning that there's no reason there's no light reflecting down in there as a result it's not going to catch any light so we do all our little lines do to do to do to do to to you notice I'll often make them they spread as we go down so like it's thinner at the top and wider at the bottom again just like my normal high light would be same thing here we don't want that harsh edge so we come in from the other side and we get our little lines going that way too the key is just lots and lots of very very very very very very thin lines just super thin and lots of light folks on the top if you really want to pop it up you can add something like maybe a little white or a little glacier blue so like for example I could take I have a little bit of glacier blue over on my pilot off-screen take some of that you really want to see ultra high highlight then you can take some of that you can come into sort of the middle part of these lower areas where the light would really catch the thread and you can just and in the middle there you just do some real in real thin scratches this is just a long slow process you can also place it on one side of a fold it's just that and that'll make that site seem a little brighter so it won't have the biggest effect that the key is it will punch it up you don't want you want these little hashes to be very close to one another you really it's your first instinct when you start doing this is going to be to leave a space between the hashes because you'll think to yourself well if I don't leave a space you're not gonna know it's hashes it's gonna seem just like a solid piece of paint that's not true the human eye is really good at picking up texture even when the paint is together okay so there's step 1 all right so now we take some of our purple we're gonna move it over here get some fresh stuff get a little flow improver great okay and we take a little bit of our blue-black ink let's just mix some of that in so now we get this slightly more gray shade okay not a huge jump we want to be very slight okay you can see their original color new color pretty slight change okay then we come in and right next to our original lines we do a second set of lines and we overlap our first one just slightly now I can hear you out there in TV land you're like my god Vince why would a human being ever do this this seems like the least efficient method for highlighting ever and on one hand you're not wrong believe me I hate myself for doing this to a unit of guys you know I made this choice when I started working on the army and now I regret it fully but that's okay we're in it to win it but the reason you would do it honestly this is kind of thing I do more on competition pieces characters you know display models something that I want to really stand out adding these textures helps to break up these large flat areas if you're a person who's not comfortable with freehand if you say to yourself you know like I know I've made a ton of videos where I say really actually look freehand is pretty simple you can do it you just got to get into it and if you're the type of person who afterwards videos has just said you know what Vince no look you don't know me you don't know me you know I don't have any talent any uh any artistic skill like that I'm not putting together some freehand the problem is large flat areas of the same color are really boring on your miniature one of the ways we tackle that is by doing value contrasts so we create blends but the reality is even that's pretty boring unless it's doing something really cool and original with the color unless it's really moving an interesting way also people often I you know have trouble doing those big sweeping blends over large flats one of the fun things about this is it actually makes blending super duper duper easy because I just keep coming over all my edges and that that's the trick all my lines are crossing over the previous line just slightly so like here on the bottom I come up and the key is I'm never not cover coloring over my old line I'm starting and maybe 20% of the new line I draw is over the old line that I already created right so it well if you do this enough it's actually one of the fun things about texture is it's the cheaters blend you can be terrible at blending and with stippling and hashing like this you can get amazing awesome blends now it's gonna take time but it'll look better than just a flat blend because it will actually have more visual interest it's doing more with the eye and it's making the surface much more interesting and as a result will like it better people eyes go hahaha I see what you've done there I enjoy that I am a happy eyeball and that's what we want right we all want happy eyeballs ok so now guess what we do we take a little bit of that we repeat this is it really a magical process it's pretty much the same thing so now I'm slightly darker right and then in between that guess what the next step is if you guessed drawing thousands of tiny little lines with light brushstrokes repeatedly I'll give yourself a no prize you are correct that's what this is now one of the fun things about this is it's really hard to screw up the reality is you can just keep doing it over and over and over and over again if you make a mistake if you jump too far if you make too much of a you know like if it's too stark cool just go remix a new color and guess what put some new lines right in between the two lines you already did easy peasy it's really not hard like because you're not trying to make these big moves but instead you're just working in these tiny increments it effectively makes it a technique that's almost impossible to actually screw up which is awesome it's a great trick for those people who want to create visual interest but don't really want to but find you know blending with acrylic paint they're naturally bad at blending you'll find that challenging so it's just a great way to go about small turn things like I said it really does add a cool interest to your miniature here I'm doing it with these colors because I'm working over black I'll talk for a minute about your color selection your colors as I said the base of your cloak should or whatever you're working on you can do this by the way I'm doing I'm saying cloaks but like that's just the most common place you're gonna do something like this you could do this with pants or shirts or you know any kind of cloth fabric okay alright once mixed one more just a little bit darker and just hit a few of those Center areas pretty much gonna be good so one of the if it was working in alternate colors if I was working in say let's say I had a red cloak I would do this whole thing in various shades of brighter red and then actually white at the highest part and then you'll see how we bring it all together at the end because I'm gonna do the same thing here by working in blues I would just use lighter blues if I were working in greens I would just use you know lighter greens and then up to yellow or flesh tones or something like that I wouldn't probably use white at the highest here I wanted these cloaks to have like a somewhat purple Sheen to them I think a light purple if you're if you're working in black either a light purple or a light blue just makes for a really nice sheen on a cloak it's much much much more interesting than white it's much softer it blends easier like in general white is just a very visually uninteresting color and doesn't really do a lot for you fusing okay so now we've got all our little hashes on sorry okay see if we can zoom in a little there and really get that I mean he this is this is teeny tiny of a board nope we're at maximum okay that's fine so that's what you got all right now comes the magic of how we bring it all together um before I do that step I'll take one more moment to reflect here you can keep doing this like if you want to keep popping up some of these things you can come in here and grab a little more purple maybe a little bit of that brighter color that I had you know I could like reinforce and go over creating multiple layers back and forth like if this were a competition piece I would do all of these hashes about three times okay so I would go in I would do the lightest color then I would hatch over it with the second color again then the third color again in the fourth color again and then I would just repeat all of that so if it were for competition that's what I would be doing and the reason because each hash is close but it's not right up against each other so when each time you're covering those previous layers one paint is transparent or translucent sorry and so it's it's showing a little bit of the previous version through and two every time you're overlapping just slightly you're getting slightly softer tonal changes out of there so each time is creating a little bit more visual interest um so when I've done this on like competition capes and stuff and before you know primaries captains and things like that I'll just sit here and do this for hours where I'll just literally do all the lines and then do it again then do it again and each time slowly working those aligns until it's just this like little perfect cornucopia of tiny hashes okay so but in this case we're not doing that we're doing an army gosh darn it and if I'm gonna get these slaves darkness on the table before the new book comes out in you know 20 29 or whatever then I better have my better have some finished units so let's talk about what we do now so we've got all our little hashes now we're gonna grab a bigger brush so I'm gonna move from a to OTT to a straight to and with my big size two brush I'm gonna just take some of that blue black ink that I've got over here I'm gonna turn it into a glaze so let me bring this back on camera you can see I'm just wicking it off over here okay let's see if we're in the right place test it on the back your hand yeah seems good grab just a little bit of flow improver cause we really want that to move you want that to flow down in the crevices as you'll see in just a moment perfect okay so now back now we start in the deepest shadow with our brush and we just do a light glaze up now I'm not going to glaze every bit of the cloak instead what I'm gonna do is I'm gonna focus the point of the brush toward the deep recesses so that's where the paint is gathering then I'm gonna rinse the brush you need to lick the paint or whatever or just rinse it off like I did there and then I'm just gonna take that and just feather it out nice and lightly just push that around make sure we got a nice even application of that glaze and by putting that colored ink over there now in this case I'm using like the dollar rowney ink if you don't have that it's no problem you could still certainly do this you can do this with just black paint you don't need this special ink there's nothing magic about it I just like the way the tone works when you put a little bit of a slight blue black color over this purple I enjoy that you can do whatever you want straight black will still produce an awesome effect okay nothing magical about this particular paint we're always keeping the tip of the thing toward the area where we want the darkest shadow because that's where the when you're working with a glaze that's the part of it that carries the most pigment we always pull toward the shadows like if I'm ever pulling a color I'm always pulling toward the shadow okay and there you go that's it that's really all there is to it then you just you can stop there now one fun thing you can do as I mentioned if you had like a red cloak right I would have done the high parts and white I would have glazed the whole thing with red a few times just to snap it all together you can do multiple applications of these glazes if your lines are a little thicker if you're not quite as practiced in your lines end up a little thicker couple glazes will bring it together but that's really all the secret there is it's a very nice technique it's you know I'm not gonna call it fast but it's not the most painful thing in the world and it's a great way to make fabric and these big open spaces look way more visually compelling than they would if it was just some normal highlighted thing with nothing else going on and - in my mind to be completely honest this was so much easier than trying to do this with a brush now that is to say like I mean applying normal highlights like I came in with some gray and traced it and then smooth and smooth and smooth that just it takes forever it especially when you're working with like black to white it's gonna be a very frustrating blend because you're dealing with on 1/2 very transparent colors not the other half very opaque colors they're always difficult to blend together whereas with a technique like this it's fun you know you can just get into the Zen of it you just you just focus in and and you start doing your happy little hashes think of this like the sand garden of miniature painting you're not sure you know you're just you're just pushing that sand around just making these beautiful just making these beautiful lines in the sand just lines in the sand over and over again and it is relaxing after a little while I promise if you think about it like that but there you go gives you a nice look of cloth that has a texture that's catching that light where the highlights are remember teas a simple gradient of paint that doesn't change a lot between steps ultra-thin hashes with a very sharp brush hence flow improver is quite valuable your lines do not go all the way into the shadows the deepest shadow should not have any texture in them because there is no light in there or you know a minimal enough there's not no light in there there's some light you can see the thing but there's very little light in there and as a result you you're not going it's not going to be reflecting the texture okay so there you go that's how you do a textured cloth specifically in this time we're talking about something like satin as I said if you wanted to deal with to have it look more silken or crushed or something like that velvet you would just do dots instead an even longer process but still just as doable so there you go that's how you do that I hope you liked it if you did hey give it a like subscribe for additional hobby cheating in the future if you have questions drop those down in the comments I'm always happy to see that and I always answer every comment if you have suggestions for future videos feel free to drop those down below but as always I very much appreciate you watching this one and we'll see you next time [Music]

Channel: Vince Venturella

Views: 37,157

Keywords: Painting, Miniature Painting, Warhammer: Age of Sigmar, Age of Sigmar, Sigmar, Hobby, Games Workshop, Miniature Wargaming, Wargaming, Warhammer: Fantasy Battles, Warhammer, Mordheim, 9th Age, Popular Culture, D&D, Dungeons and Dragons, Dungeons & Dragons, D&D 5e, Sorastro, Miniac, luke aps, darren latham, scale models, diorama, kings of war, frostgrave, kujo, dr. faust, basic, stormcast, space marine, imperial fist, aos, sisters of battle, crafting, wh40k, warhammer hobby, basing, terrain

Id: _fScMZ1ZkOU

Length: 24min 29sec (1469 seconds)

Published: Sat Feb 01 2020