How to Paint a Tyranid Neurogaunt!

[Music] foreign [Music] hello and welcome to my latest video this is going to be another video for the Leviathan box against Workshop sent me in the previous video I looked at the Terminator how to paint it as a death contaminator from the Space Marine range and in this video I'm going to be painting one of the tyranids and this is a neuroga I think it is so you can see the models are already stuck together and primed so it's all ready to go one thing I will say about this and this is actually true for all the models from the uh the Leviathan boxes they're all push fit and that means that they're made of much fewer pieces than the normal models they're very quick and easy to put together so you can get straight down to gaming but it's actually a little bit harder to you know get them for painting because you can't make sub-assemblies very easily especially because the where they push fit you do have to tend to fill those gaps around on them so for this model because the like arms and legs are very close together it's quite hard to paint the underside on the plus to that though no one really turns the model upside down to look at the underside so you don't have to spend too much time on that so just things like the base colors will be fine for painting The Underside if you look on the wet palette there in the top left so you can see there's quite a few colors there it looks um you know very colorful and the colors are a bit misleading so uh a lot of the colors here are going to be working as sort of Base colors to give subtleties to the model and by the time I've actually finished with it it's going to be not quite as colorful as the palette suggests and but you know those colors will still be there just to you know but they'll be a little bit more subtle than that just to go through the colors quite a few of these are mixed you don't have to worry too much about getting the exact color ratios that I've that I use as long as it goes from like a dark to a light and the colors are roughly the same the result will be very very similar so in the bottom left there so we're starting with xerious purple and it has a small amount of fire dragon Brian mixed with it so like I said you don't have to be too precise with this but what you'll find is like a very small amount of fire dragon bright will make kind of a significant difference to the look of the color and that's the first color that I'm using covering all of the sort of the carapace or like the Bony exoskeleton parts of the model um above that it's the same mix again but different ratios so it's various purple fire dragon bright and above that again I think you can click kind of like you see as it gets lighter and lighter as it goes up it's just the same thing but just more fire dragon bright each time the color in the top left is a shabty bone um then starting uh next line across at the bottom that's incubed by darkness and then I just add white each time to that you might want to do like a one or two more transitions for that actually and you can see I'm just using the ink apply Darkness on the model at the moment as well one thing to mention with the incubai darkness going straight over the black primers you're gonna need probably two or three coats just to you know get like an opaque kind of finish and it doesn't have to be perfect because you will be highlighting up over it so like inconsistencies in the Finish can be sorted out later on but you do kind of like want to be able to see the color so make sure you do like a couple of layers at least just so you can see what's going on there uh also while you're doing this don't use a small brush I know the model is very small but just get a big brush and slap the paint on it's going to be quicker and you know even though the larger brush will give a slightly more translucent finish to the layer of paint when you apply it um you can very quickly cover the model with the larger brush so I'm using a size two artist opens brush it's a little bit worn out as well so don't you know for all kind of like base work and things like that don't use brand new brushes with sharp tips because you'll just end up wearing the tip off for something that doesn't need like finely detailed uh work on it um so after the incubai darkness as I mentioned you know you go up and you add a white each time on that then the next paint color along this is again zarius purple at the bottom but this time mixed with Empress children so at the bottom it's mostly Sirius purple with Empress children a small amount of empress children then as you can guess you see it goes further up you add more Empress children however at the very top that is just pure Emperor's Children whereas important to remember on the first row of colors none of those uh where it's with the iso is purple and the fire dragon bright none of those are pure colors they're all mixed just varying amounts when it comes to the um the Emperor's Children and serious purple mix it does actually go up to Pure Emperor's Children at the top um but you can see on the video now that I'm filling in this complain the brain area this is one of the reasons why I picked this model actually I love the fact that it has like this massive brain just sitting exposed at the very top of the model and he's got like this little symbiote creature stuck on top of it uh like a little hat on top of his brain but you know what there's all sorts of reasons why we paint things under but um you can see the paint colors I'm playing it and so this is remember this is serious purple the small amount of Emperor's Children and when you apply this over the black it's going to have really bad coverage you're going to need probably at least three coats going over this and again use a larger brush and when you are applying it and hopefully you noticed when I was doing as well I was getting the paint right into the recesses just cover the whole area you want the paint to be quite opaque again when you've done it so you know really slather the painting and don't worry too much about catching some of the other edges because there's going to be quite a few layers of work on top of it so if you catch a little bit like the purple uh carapace or whatever it's not going to be a big issue you know try to be neat but don't worry about it if you catch other things um then at the far right on the wet palette it's just Emperor's Children mixed with white and then above that is pure white which in this case is Mara white from P3 you don't have to use P3 paints for the white anyway I mean it's pretty much the only P3 paint that I use but um I do like the P3 model white as my preference but you can use whatever white you want so now I'm starting to add like the first highlight if you like to the uh the the bone sections on the model and again I'm sticking with a large brush and remember this brush has no sharp tip on it I actually find sometimes that having a large brush with like a very soft worn down tip is quite nice because you get very s um what happens is you get like a large surface area contact when you do the mark and it leaves a very big soft marks on the model so one it covers the area very very quickly but also you never get any sort of like hard uh sharp marks when you actually make the you know put the brush on the model as well so you can quickly get like soft nice blending all over it and you can see here as I'm painting the marks on as I said I'm covering the area very very quickly but I'm still looking for highlight placement now so remember this is a highlight stage I'm not too worried about any of the texture work that's going to appear on there and indeed if you want to kind of like stop at this stage say for example you're painting this as for an hour I mean you've got to paint a load of these guys then you know all that takes to work and all the you know the nice highlights and things later on that's too much really for doing this kind of painting for Army paintings that standard anyway and but you still wants kind of like a little bit of interest on there and make the models look cool you know this first layer of highlight just using the large brush will you know give something that looks interesting uh creates a bit of definition a bit of contrast on the model uh but it you know it's not too much work and you can get the the marks down very quickly because of the large brush so again I'm just looking for the Highlight placement to cover the area I'm not being you know incredibly neat while I do this because all of the you know the texture work that will work on top of it in fact if you're too neat when you do this and you know you're painting on all the lines already what'll happen is that when you paint the texture marks on top they will look too high contrast whereas if you have these big blocks of highlight as you apply them you you know it gives you like a you've already got like a lighter color there so when you paint the extra details on top uh it's still working as the Highlight area without having like a really dark line in between each section of um you know scratchy Mark making uh now I'm working on the kind of like the the limbs of the model and this is also the same for the tail and the underside a little bit and I do actually end up painting the little guy that sits on his brain uh the same color as well uh this is also quite quick work I changed my mind a little bit on how I paint the we'll call this a skin area so um I changed my mind a little bit as I go along for how I paint the skin area to start with I was doing or I am doing you can see on the screen on some very quick blending so again it's so Tech green and I've just added uh White for a few different sections and again if you want you can do multiple uh mixes of this so I've got obviously the three mixes starting with just pure sotec green at the bottom but if you wanted to have like four or five variations at getting lighter each time it makes it a little bit easier when it comes to the blending uh but also like that means there's a lot more layers which also means it's you know it's going to take more time and it's not really that great if you're doing a lot of army painting so uh I've started with three but I can always make more later if I decide that I need to refine it a bit more but also because of the technique that I'm using with the larger sort of blunted brush I can very quickly blend in these anyway because it it's just easier to do blending with a larger brush especially because the paint stays wetter longer on the model if you apply like a larger amount of it but also you can like maintain some of the paint within the brush longer and it's kind of like you know you're painting paint on some of the model then put the brush into the next highlight and when you paint that on because there's quite a large body of paint already in the brush it will blend as you mix mix it more on the model so you know it's quite a quick technique but it gives a very um interesting and reasonably smooth effect with the blending it's not going to be super detailed when you do it but still at this stage that's not really that you know it doesn't matter that much as long as it looks kind of uh like interesting with the highlight I do later on start adding some stippling effect to the highlights on it because I thought it'd be just makes it yeah when I'm doing these paintings I get kind of excited uh and like oh I want to put some texture work on so you'll see the texts start to appear on the you know all the bone armor and I'm like oh that looks good so I want to put some more texture on and start doing all this stippling effect on the skin area and the skin sort of looks interesting so you have like the dots on the skin and the the lines on the the carapace armor uh you know it's I was enjoying myself doing that but it's just again it's really not suitable for Army painting but I mean doesn't mean say you shouldn't pay attention to the technique or if you enjoy it you know you want to use it maybe on the more important models within turinod army or indeed just take the technique or you know the style of painting that I'm using and apply it to whatever model you want it doesn't have to be a tyranid you know it's not I think people get very focused on using paint recipes and colors for particular armies but you shouldn't you know if you're watching a painting video you don't want to limit yourself to be like oh that's how you paint that tyranid that color you should be like oh that's a cool color that's a cool technique how can I use that on my painting because then it gives you a lot of options when you want to come paint something and be you know make something up yourself you can be like I've got such a broad range of ideas to work from and I thought oh that thing on the Tyranny or that thing on the orc or that thing on the Space Marine that'll look really good when I paint this eldari model uh you know so always take you know think about these kind of things don't just take painting videos as and I know the videos are always titled how to paint this or how to paint that but that's more for the algorithm but um you know if you try and take it as a learning experience or like a potential technique to use on other models as always yeah it'll just help you in your painting as you go along uh one thing to note with the the colors of the so take green as you add more white to it the paint becomes a little bit more opaque so it covers a bit better when you if you find when you make the the highlights with the lighter colors they're a bit stronger when you put the brush down if you find that maybe the Mark is a little bit hard or just stands out too much you can go back with the previous colors and if you go back to sotek green it's really good for blending over the top because it's quite translucent color and good for glazing and it just softened the you know the highlights a little bit especially you know if you do it at the edges using the larger brush um you know just kind of like feather at the edge of the the Highlight that's a bit strong it'll blend in quite nicely you can see at the moment I've now gone to a nice open size zero zero brush it's been really using these small brushes for Army painting like so this by this stage if you ignore these highlights on the skin and you just do some quick highlights on the brain section and pick out a few bone bits that would be perfect for for an army painting piece so maybe skip ahead on the video to see those bits and that'll you know that'll be fine uh you paint it you know 20 models like that for your unit and I think they still look quite interesting on the battlefield but the bits I'm going to be kind of like painting from now on they're more just fun painting things for me uh or you know if you want to do kind of like interesting texts and things on your model or maybe if you're painting a kill team or something like that whatever it is you know it it's going to be a more involved process and you can see straight away that the marks that I'm making they are they're much more they're much smaller they're more controlled and it's a lot of that is because I'm using the smaller brush now if you're using a larger brush say like the size two that I was using before you want to then swap over to a newer larger brush so you can still use it you can still paint the whole thing with a size two if you want it although I will say if you try and paint any of the inside sections on a model like this uh you know with the the limbs so close together there's a strong chance you're going to catch edges that you don't really want to because they're obviously a larger brush has it's just wider so you're more likely to catch Parts you don't want to uh but you can still paint most of the model pretty uh well with a like a new size 2 brush say with a sharp point on it but I just find painting all the texture work is easier with a thinner brush like this like in size zero zero because I can push quite quick and quite hard and it still makes a reasonably thin long line whereas if you push a little bit too hard with a larger brush you're going to make a big Mark whereas you know so I can very quickly you know rush through all these texture marks and even though it'll look very detailed and um like I spent a long time doing it by the end of the video I haven't actually spent that long because I can make the marks quite quickly and you know and just keep going over and over areas and things so what I'm doing here remember the colors I used so this was serious purple mixed with uh five Dragon uh bright yeah but with this by the time it gets to this it's firing right through his purple and a little bit of white is added at this stage as well so it's sort of like a kind of peachy kind of color I you can see above it I think I mentioned before actually that I've got a shabty bone as like the top highlight color but if you don't want to use shabty button you can just do the same mix again and just add a little bit more white to the this sort of like peachy color and it'll give a very similar effect anyway but all I'm doing now is like it's purely focused on text you work on the the carapace so the main trick to look for is looking at the flow of the armor the main reason I picked this model to paint is because I just love the shape of the the crown that goes around the brain section and you can see it's got these really long sloping curves on there and they sort of like flow in s shapes into it really nice to paint or just make the the brush follow those shapes but do it in a kind of like a rough way so sometimes they go a little bit too high a little bit too low doesn't matter if you catch different parts of the curves accidentally because it all will add up to making that texture effect because you just have to do lots and lots of them and they they also they will work together and you kind of actually working against yourself if you try and make these two neat so these want to be like say kind of like scruffy but still small marks so again you want to be really ideally using a small brush to do this because you can just do so many marks over and over again being quite rough um you know to get them done quickly and you don't have to worry about accidentally making a very fat Mark when you do it because if you actually make the fat mark on when you do these thin marks it's going to cover like quite a lot of the work they've already done so it's sort of it ruins it a little bit but you can still work on top of that but it just means it's harder to fix so you always run that risk by using a larger brush that you you can make your life a little bit harder trying to achieve the same effect um while I'm still following all the flowing lines and things like that if you've seen the photo of the final piece there are highlight light volume blocks on this now that's not really added until the shabty bone and I think I do actually take it up to White a little bit at the end so it is more of a case of just still getting the textures down at this stage then you can highlight on top of them again afterwards um however it is the case that if you're kind of like planning ahead for where the highlights are going to go uh the you know the Big Blocks of light volumes that if you can try and make the lines a little bit more tightly packed in those areas when you start going over with the shabty bone it will just makes your life a little bit easier again to sort of like block those in more strongly I want to say block in I mean like you're kind of like repeating the texture marks over and over and it kind of fills in but you can still see their lines at the same time it'll make more sense as I go along because it's kind of hard to explain uh because you know if you're going if you're painting these lines uh you know all over each other you kind of think well I'm taking I'm going to be painting if I paint too much the lines will vanish and they kind of do a little bit on the very brightest parts of the Highlight but what you'll see is so you can see there there's still lines fairly strongly visible and also what you'll find is sometimes you'll see a bit and you can see on the character that there's a couple of thin lines and you can turn those into interesting details so those aren't sculpted on that's just a case of me applying lots and lots of lines and then seeing a detail appear through the marks I've made and then thinking oh that might be quite interesting so I can push that a little bit more or I can keep that within the final design so you end up adding basically details that aren't sculpted on um and but they look like they're part of the model which I think it's quite cool anyway to do things like that it's very interesting though that sort of painting another thing you can probably just about make out there is sorry as well if you can hear a clinking sound in the background I've got ice in my water it's quite hot here so so I'm uh trying to keep cool but um if you look on the like the in the middle of this bone carapace section there's quite a like a deep recess but I've actually painted the Lines within that recess and so the Temptation would be just to leave that as dark because you think oh it's a recess it's going to be in Shadow but I've you know painted like the middle section which you would think oh that's the darkest but actually when you hold that the like the model under a lamp you'll see the light goes straight in there and the highlights the back of it so actually filling that in with the lines fills the area nicely and if you imagine if that area was just dark that'll be a really big dark area within right in the center of the detail and it would look kind of wrong and a little bit obnoxious really to to see that big dark mark right in the center of all these like fine light bone textures uh what you may have noticed as well while I've been painting some of these like kind of like peachy colored lines on those I did go back to the previous uh highlight so again that would be serious purple with um fire dragon bright and there's no white in that one and I've Blended in some of the like or went over some of the lines that you can see but very delicately and you know kind of it's just helping to sort of blend it in but you're still doing the texture marks so it's sort of it's blending but but keeping the lines and so you have to be a little bit careful when you do it that you're not going to completely wipe out all the textures that you've painted on um it is something to be aware of when you're painting doing these kind of texture marks because what happens is you kind of like get into a like a mental state where you're like okay I'm painting and you sort of almost like a trance you're just doing these marks over and over following the shapes and things like oh that's cool that's cool I've done it all over um and then you've done too much and all the texture work starts to vanish because you've actually put so many lines down and you've not really been paying attention to the position of them because you've got so many to do that you like so you've just been doing over and over and you've actually lost the texture that you've applied there so you do have to keep paying attention to what it is you're doing just to make sure that you're maintaining that having said that when you come up to the highlights for the shabty bone uh it will like I mentioned sort of hide some of that texture a little bit but the the texture marks on the mid and dark areas on the bone work uh will still give the indication of all that texture work being all over and it's just the light will be sort of um like um covering the uh the texture marks a little bit so if you imagine like a a strong light hitting a surface the light gets into all the crevices and everything and it hides to detail right where the spotlight is and then you can see the details as it gets further away from the light source so now you can see them up to The Shanty bone and the lighter that you get with each highlight stage the more delicate and precise that you have to be with the marks when I was doing like the times with a peach color I'm just doing that over and over I was still being delicate and making sure that I was following the shape of the the bone you know the sculpting on it but because you're doing so much of it you can be a little bit kind of um gung-ho with how you apply it but what by the time you you're starting to use your shabty bone you have to be much more careful with how you do it look very carefully at where the strongest light points are on the uh you know if you hold the model in the lamp see where the light is shining most strongly on that part of the model uh but also bear in mind that Ashanti bone is a very different color to the other ones that you've already put on the carapace and if you go really heavy with the shabty bone you're going to lose a lot of the color that you've already painted on and it was quite intentional to get all those previous colors on there so if you just go over it all painting like lots of texture marks with a shabty bone going over the top of everything it's just going to look like a generic sort of bone color in which case you may as well have not bothered mixing these colors yourself and just going for some straight from the pot because you could achieve the same texture Mark with any colors you know going from dark to light and indeed that is the case like if you don't like the colors I'm using for this you know don't feel like you have to use them to to achieve the same effect you can use whatever colors you want as long as it goes from dark to light and you keep building up with each successive layers doing more texture work doing the same sort of strokes and lines and Scratchy marks you know you get the same effect with different colors um but you know it's nice to have these colors visible within the look of the carapace and it's something also that people other people will pick up on they'll be like oh that looks interesting look at all those like subtle little colors in there that's very different to how I normally see you know bone painted you don't excuse that see that kind of thing um but because it's like a fantasy creature you can get away with kind of things like that uh because you know there's no set color for them but I mean even if you're painting like realistic things if you look at the way artists paint 2D things not everything has to be like an exact copy you can get watercolors and people will use like or imagine like there's a sunset or something like that and it's got like some nice uh pinks and oranges or whatever hitting whatever creature it is that the sun's hitting you know lighting up so those colors are then part of the like the skin or fur or whatever it is of the the creature that would be being lit so you can see there now going back to the the skin color so the sotek green mixed with white with successive layers I've added another highlight and I knocked back the uh the one that's now one down from the top um you can see here I'm gonna start painting on this kind of like stipple effect now as I mentioned I do change my mind on how this is gonna look for start off I was being are spacing these dots out quite far so it this wasn't a really a way to blend it this is more to get like a pattern on the skin and I thought I was kind of interesting but then I thought I want to do some like I want to blend the textures a little bit more together so I did more dots on top of it and then I changed my mind again and so I jumped like I go backwards and forwards uh deciding on what I think will look better at any stage if you think you'd like the look of whatever you know technique I'm using and you'd like the result that it's getting then you know keep that um it because you can see there so that the dots I think work quite well in combination with the the lines of texture on the the bone Crown but um I don't know I just I changed my mind I'm like a just a little bit weird I guess without I like to paint the things and I just changed my mind as I go along I think I actually I want to paint in a different way and what you see with the finished result is that the dots become much more closely packed together it's sort of like it it is more like traditional sort of stippling using the stippling as a blending technique but you can can still separate the dots out so you still get that texture effect it's not just a a smooth perfectly Blended finish but also if you do like a smooth perfectly Blended finish that's also like a good combination because you'll have the texture work of the bone against the very smooth skin um but it's just like about separating out all these surfaces and it just depends which way you want to go when you do it I think I probably went a little bit high on the highlights at this stage as well so I was kind of thinking of like the the aliens from the alien Aliens film uh you know the originally Scott films or and the um you know the xenomorph so they don't they're not really speckled but because they're so shiny you get very harsh highlights on them because they've got you know that sort of like um glossy sort of coating and so any highlight is like almost instant going from white to the very dark color of their skin and I kind of like that look and I because the the skin that I'm painting on this was quite dark I thought like very strong high contrast marks would be interesting on it but I kind of feel like uh it's you get kind of it works better with a very specific look of lighting and high contrast and you really have to focus just on the lighting and I think the way that I've highlighted the bone doesn't go that well with that look so I change it as I go along um but you know just to talk about what I'm doing with the giant brain here the uh so again this is empress children and serious purple uh and again it's like serious purple mixed with a small amount of empress children um and you can do as many variations of this mixture as you want however after you get to the pure Emperor's Children which is sort of like the top right pink color you start adding white to the the empress children color and you can take that as high as you want as well because I'm going to glaze over the top of the brain and it looks very purple at the minute it's quite dull and this is definitely one area that I would do a little bit of work on even if you're doing these as Army painter pieces because uh you know having the the purple purple kind of color for the brain is kind of close to the the green look of the the body um so yeah having that little bit more color just separates it separates it down a bit more and also this model in particular the neurogaunt uh I can't remember what the so it's like a node creature or something it's it's the boss version of the the neurogorn so he's a little bit bigger than the other ones and he's got this massive brain I don't think the other ones are quite so big with their brains and um like it's not going to be a big issue it's not like you have to do this over and over for lots of different gaunts but just for this particular model there you know it's just worth spending that tiny bit extra time just to do a couple of highlights just to get that sort of Pinky look in there and then you'll see that later on I'll be glazing some red around the edges and in the recesses and that will make quite a large difference to the overall look of this sort of pink error area area and the way I'm painting this is again just look you can kind of see if you look towards the top left of the brain section that the light from the lamp is hitting it so you can see certain areas are lit up and other areas just look kind of like flat purple just pick out those areas that are catching the light which whatever of the the highlight colors that you want um you can probably actually ignore the uh the darker colors and just go straight in with the the light pink I did find that I the you know the Emperor's Children mixed with a small amount of xerious purple uh it makes a highlight but it's something that you know probably if you only want to do very smooth Blends is it worth doing and by the time I glaze them a piston red on that will hide the transitions if they're not perfect a little bit anyway so it's just not really that necessary to use quite as many uh highlight colors as I started off using but then as I get further along I end up just using pretty much just purely the the empress children color and then adding some white to it for the highlights and it looks a little bit rough to start with um but then when you get as I said the Piston red glaze on it it makes a big difference just to sort of fill it all in and helped her to blend it all together one other thing is so one so you can see here straight away I'm just going straight in with the the empress children color and one other thing is that I paint a line so kind of like an edge highlight going all the right way around each kind of sausage shape of brain matter um so you can see what I mentioned like holding it under the lamp shows you like the blocks of highlight like I'm painting in there but also after doing that I go back in and I just sort of very quickly pick out all the edges with the empress children as well so you get quite a uh a strong Edge highlight look to it but that represents sort of Bounce highlights because I want the brain to look a little bit shiny look looking and having those bounce highlights everywhere on the because it's a curved surface that makes sense uh like normally I I wouldn't highlight everything quite so strongly but you know because of the shapes of them and the shyness of them it does work and it makes sense when you actually look at it afterwards so now going back to the carapace section just going to paint in a few things just so you can see from different angles how to do it the head section is one of the easier Parts on the model and you can see that I'm skipping out uh well not really skipping out because I guess I did it earlier but I'm going straight in with the peach color so remember there was the um serious purple mix with fire dragon bright like a small amount of it but you know you don't have to worry too much about that layer whereas the head on this needs to be quite bright and shiny uh it is tilted down a bit so you're not going to paint it as bright maybe as you want to or it's hard to get it as a focal point because even if you do paint it bright when you look at it like the yeah the natural light from your lamp or whatever it doesn't quite catch it as much but I do want to make the head nice and bright and like a strong focal point on the model so I will be going over a lot of these lines quite a bit so the first few lines you can be extra rough with them because it's going to be a case of you know going over and over and over then when you get to the shabty Bone and going up to White that's when the detail like the fine lines will stand out a bit so it's kind of like you're almost just blocking in with this color really also the front plate you know the very front one that has got like the Diamond Head look to it that will um that's the most important one all the other ones as they fade further back you just carrying on the lines pretty much but they don't have to be anywhere anywhere near as neat also on the front section because they're quite small each successive layer of you know armor plating um I I do pick out the edge highlights going around on these as well because what will happen is with all these lines on them and the best way is always like a draw like a draw Mark towards you so you're pulling the brush towards you that's why I had it upside down but when you do lots of those um marks over and over it kind of leaves like a feathered Edge so it's not a very distinct Edge right where all those lines stop and it looks very broken and you lose the shape of the armor plate a bit so that's why I'm go I'm going back in and I tilted the model around again so I can just run the edge of the brush down those you know the edges of the armor plate just to get uh like an edge highlight in there just to define the shape a bit a bit more because it does get lost you know as you add all these extra lines on so now I'm going to be adding the the shabty bone this is as I said this has to be a little bit stronger on the uh the top section here than the other parts of the the bone armor the carapace armor uh just to get the strong bright highlights on it try not to go too far down to the size because you still want to get some of that color in there you still want it to match the rest of the the bone armor on the model but don't worry about it too much because you do have to look at models as a whole when you're painting them so it's not like the highlights are not taken to the same brightness or Shadow or whatever equally all over a model if you're painting with light volumes because uh some things will naturally just be lighter because the the light is hitting the more and other areas will be naturally darker because they're in the shadow and there's not a lot of light hitting them so and you're relying kind of like on the mid-tone areas uh to uh to show off the colors where it's not like as you go more into the shadow the the sort of like uh the colors become more desaturated you might be adding black to it or whatever it is but you're taking away the color the same for the highlights uh so even if I wasn't using a shabty bone if I'd just carried on using uh fire dragon bright mixed with zurious purple but added more white to it the more white that I add is still desaturating the color so it still eventually will end up as a white or an off-white color and then again you don't get to see the the orange and purple that you'd already put on there as you go over the layers but you can see as I've been highlighting the the layers up um as it got brighter and brighter I start picking out other raised ridges on the armor just so that you can still see some of that texture work on there so now just very quickly I'm just showing you uh adding them mephistan red around the edges of the brain and you do this all over so ideally finish painting the brain I've just rushed this small section to give you an idea on how to do it the red on the wet palette I said when fist in red is very heavily watered down so around about four parts water to one part paint and it's supposed to be a glaze but I'm not rubbing the excess off of the brush like I normally would the reason for that is because I want to get it all running within the recesses and like the natural surface tension will just kind of like pull the the paint in there and it looks very kind of messy while it's wet but when it dries it'll all uh it becomes more matte it looks a lot neater so don't worry too much if you think I'm messing this up as I apply that also just ignore the little legs on the the chap sitting on top of his brain because it's easier to ignore those and then paint them in afterwards rather than keep trying to paint around them all the time then here you can see I I am kind of like glazing from like the the mid sections of each part of brain matter then going towards the The Edge and the recess and here you can see it more as it's dried out it becomes a lot softer so when you're applying it while it's red well it's wet it looks quite strong red but because it's so watered down once it dries uh it's a much softer and you know just becomes a a bit more pinky a bit more red the pink on it actually because there's a big difference there between the sort of like the purpley look of the brain matter where I haven't finished painting it and decide that the section where I have where I've been you know highlighted it up through the empress children adding white and then going over it again with the uh the fist in red so now back to another part of the carapace and I thought it'd just be interesting to show you like this this is the easiest part to paint on the carapace because you've got full access with the brush and it's just very quick and easy just to do lots and lots and these are the draw marks I was talking about pulling the brush towards you there's a little bit of fluctuation in the shape like the surf the the curve at the side the right hand side there just curves round a little bit so if you're going to apply the texture on that that would be a little bit lighter and it's just a case of again using that sort of peach color that you mix going over and over and over it and because this area is a little bit in shade more than the top section so you can see the bit that sticks out like just above his bum I went in the center of there with the Ashanti bone and I can't maybe a little bit of white but you know not too much right in the center that's again where if you hold the model under a lamp you'll see that's where the light hits it because it's in that nice curved section and then it gets a bit darker either side of that but then this um bit on the tail is underneath that it's not really in Shadow but because it's a bit lower down you don't want to take the highlights quite as light on that because that then means that the highlights on the Bony ridge above that they stay bright and more of a focal point and again so it's a tricky thing to to get just right when you're looking at adding highlights because the Temptation is always to highlight everything up to the same brightness because what you feel is that you haven't finished painting the model by not taking it up taking everything up to the same brightness so you just they think oh I've only taken this up to that color whereas that that section over there that's taken up to Pure White so if I haven't painted this up to Pure White I haven't finished painting it but actually if you do take it up to Pure White the bits that you'd already painted Pure White then become less impactful and nothing looks bright and there's no all right real Focus to it whereas by keeping this area dark and just sticking with the shabty bone on just the brightest parts of it it means that one you can still see a lot more of the color that's in the carapace armor anyway and it also allows the focus to stay on the bright parts and it creates more variation on the model which I think just makes it look more interesting you know you don't really want to paint everything to the same brightness all the time because then everything's the same it's not interesting to look around the model once you've looked at one part of it that's it you've seen the whole thing basically so you can see that I'm just focusing right on the the very top section because that's closest to the brightest part on the curve of the sticky out bit on his bum but again I'm using those draw marks you know pulling the brush towards you because that is that gives you the most control and it's the the easiest Mark to do as well like you're not going to go too wrong and I think most people should be able to achieve like a really nice textured finish with that even if you don't like have a steady hand or whatever the movement is very uh mechanical just going over and over and you should be able to do something quite similar as long as you have a bit of practice with the you know getting the right amount of paint on the brush that is something that is important though that the correct amount of paint on the brush so you put the obviously take the paint from the wet palette apply it to the brush the brush is now overloaded and you need to take off the excess paint by either so what I do is I rub it along with them or you know people can you can drag it along the the palette that you're using now because of the way I set out my palette that's not as easy for me because I'll be dragging it through the other colors but if you've got like a spare area on your palette or you've got like a tile or even a bit of kitchen roll just rub off the excess and you should be should end up with like a sharp point on the tip of your brush and now you have like a limited amount of time to finish getting the paint onto the model because uh while you've been doing that the paint's been drying the good thing is what if you put it on your I know some people use a thumbnail even you know when you do that you know take off the excess you can see how the paint flows so it gives you a good indication of will the paint leave the brush and adhere to the model in a nice smooth motion but that's the main thing you'll see and because the draw movement is so obvious on the model you do the same movement when you're dragging it over your thumb you can very quickly see if that Mark is going to achieve the same effect when you apply on the model so going back to the skin here and you can see now I'm going back and I'm adding a lot more dots and getting that kind of like stipply sort of effect and as I mentioned it's entirely up to you if you want to go for the same sort of look I what I do find though is even though this is more time consuming so again maybe not suitable for an army that's kind of you need hundreds of models on the board for um the effect itself I think is a lit a little bit easier to achieve to to look neat whereas the the other ones where if I'm where you're putting the dots on and the dots are spaced out and they're very obvious each individual dot you can see quite clearly and when you do that the dot has to be perfect because if it's a wonky looking dot it'll stand out and people be like oh that's not painted as neatly as it could be whereas when I've been painting the carapace on it you can see like all those lines like none of those lines are particularly neat when I've been doing them but they look great all built up together and it's kind of like a similar thing while painting the uh the dots on the the skin here um each particular each individual dot doesn't might not be amazing but when you do lots of them built up then they work really really nicely together but if they're all like left on their own like floating in the dark area of the skin you very quickly see if they uh are well painted or not and you can see that I'm going back a bit if you remember earlier earlier on in the video when I was talking about using the large brush so again you can see this is now the size two artists brush and the tip is completely worn out so it's like a very soft tip on it and I'm going over like some of the stippled areas and I'm using the darker color so this is it does have a small amount of white in it it's just one above using so take green straight from the pot but it just Blends over very nicely from the dots you've made on there and it won't wipe them out because it's quite a translucent color but by going over them it sort of knocks them back makes them look a lot softer and then you have that like you can see the texture but it it it's more subtle um but also like I got a little bit bored doing it and again I was trying to get this painted for a Warhammer Community article so I am I just kind of like to start blocking in some of these highlights a little bit on the legs and things I was running short at the time so that's also why you'll see like the bass suddenly gets done very quickly just to talk about the bass very very simple all I did was you cover it in PVA glue put sand all over it then put more PVA glue on more sand so it's like in certain areas because this particular model he has like some Big Blocks that he's standing on you can see on his back foot there he's got like a little bit of rock sticking out but also the front foot has the same and I didn't want to paint that so I just loaded up sand and PVA around there then I use the hairdryer to kind of like speed up the process a little bit but also um I did while the sand was all over it watered down some PVA and gave it a coat all over as well so the base is very wet it does make the sound sort of like all mushes together a bit but having that layer of PVA water down PVA over the top means that um the sand won't come off like when I dry brush it at the end it's all very very solid which is ideal for Army painting stuff like so you can pick the base up and you don't have to worry about it knocking off but what I do find it or I used to find anyway before I put that layer of PVA on when I tried to dry brush the base you're knocking sand off all the time because it's um you know you've glued it on but the sand sort of like clumps together a little bit and there'll be particles of sand that are closer to the PVA than other parts and those bits that are higher up and further away they get knocked off when you try and dry brush on top of it so you know putting the water down PVA over the top it makes everything stick really hard to the base and you never knock anything off when it comes around the dry brushing it so I do that all the time now and then the other all I did from here was I covered the base in skeleton hold contrast paint and then a quick dry brush of I think actually I used the the peachy color that I'd mixed up uh just to do a very very quick and dirty dry brush on it and that's all I did so I didn't even paint the sand as such it's just uh you know letting the wash do the work and then a quick dry brush on top of it so not even any primer or anything like that on it uh but as I've been you know talking about the base there you can see I've just been doing a little bit more work on the skin a bit more stippling because but slightly messy stippling it's keeping the text you work on there but the main thing is really it's just like the contrast and the light volumes are doing all the work it's not the neatest thing you'll ever see in terms of painting but if you wanted to spend more time on it and you know get something that looked like golden demon quality or whatever you can do that you can use all these techniques I've used on this and just spend a long time doing them make it look super neat and it'll look kind of like this but better one of the things just to point out while I'm quickly doing all these other bits is so if you look on the the bone Crown around the you know the big brain area if you look at the edges of those so like the underside bit I've painted those in as well and those don't have any texted uh section like from the sculpt so again you have to do the same thing and what I've done is I've carried on the shape of the lines I've painted on so you can see on the bit that sticks out near his butt um you paint the you know it's like basically lots of horizontal lines that end there and then you just paint them curving around the end and it's same on the bits that point downwards and you don't have to be extra neat with how you do it because again it's getting that sort of like a textured look on the uh the Bony armor but as long as you get the direction of those lines right I think it looks pretty cool uh this area I mess up a little bit on this to be honest because I was trying to do it quick I was literally out of time when I was painting it um so I'm painting all of the claws with xv88 and so I'm using the again the large brush to cover the surface area pretty quickly and that's great because you don't get lots of marks and I was trying to separate out the uh the look of them but what also happens is when you use a larger brush it doesn't give as like a thicker layer of paint because I've watered it down a bit um like if I'd spent a little bit more time and stuff and just got it just right I probably would have done better but you know kind of like it is what it is but you know I've very quickly covered all of the uh the claws and Hooves and things like that and then I thought uh because you know just to get it done I thought I'd do some more texture on them so this is actually very similar to the way that I do the the bone armor and I was kind of thinking maybe I should just actually paint it the same way the same colors but it's so actually if you remember earlier on I said oh you can use any colors you want I thought okay well I'll pick different colors and do a similar sort of thing uh and so this is going to be xv88 Baylor Brown and uh I think it's actually it's either more gas bone or shabty bone it doesn't matter too much uh it might actually be a shanty bone no it's yeah it's clearly it's got to be it's got to be more gas pain because you can see I've got a shabty bone there on the the left so that's lighter so this is more gas bone and all I'm doing is same thing again these are draw Strokes going down what you'll find though is if you've rather foolishly glued the model to the base uh and the only reason I did this is because I needed the base to be dry by the time I was going to take the photo but if you glued the model to the base with the sand on um you'll find that you can't do the drawstroke completely neatly because you're going to hit the bottom of the base all the time uh with the the stroke but the idea is that as you you know you want it lighter at the top section of the the hoof and then it gets darker as it gets further down which is actually a problem because ideally to do that kind of Mark you would be put pulling the brush and doing the marks in the opposite direction because it's usually you usually paint towards the Highlight point so you'd start around about two thirds of the way down and then paint up and finish right next to the ankle area or you know just the little blue line bit you know you paint up towards that and then you would stop and then you get like a nice transition with the paint markers you made it but I couldn't do that because then I'd be hitting the uh like the blue line but also because I'm trying to paint it so you can see what I'm doing if I was painting this and I wasn't recording it I probably would have the model upside down but it just wasn't like good for video uh but I I kind of made it work anyway so you can see here so I've been now through XV 88 betel Brown more gas bone and now up to a shabty bone right at the very top and again very similar to how I did all the texture work on the the other um plates you can see there a little bit I'm trying to push it towards the top uh but again I'm rushing it so it's not going uh super neat but it's the feet of the model I say this a bit but no one cares what the feet look like everyone's going to be like Oh look The the bone armor that looks nice or the brainy bit that's that's nice or they I've had a few comments people liking the little chaps out on his brain uh no one said oh look at the feet um and here you can see I've so I've watered down some um one thing Brown and there's also some rhinox high and then I've gone back in with a large brush and just like making the tip of the the hoof a little bit darker with a glaze uh you can do this if you want um you'll probably want to do it a little bit neater than I am but the idea is that you're sort of going around about halfway along the edge and then dragging it to the bottom and then if you want you can go in with some rhinox hide as well to make the tip very dark now I wasn't intending to do this too much on the hoof but on the claws from his hands and I'll probably kind of should have done that more as a focus than the the hoof but I just want to show the idea anyway uh if you you know so you're doing the same sort of thing but a little bit further down on the model um a little bit you know take your time a little bit more than I'm doing but you get a nice transition and the textures should still be visible on there but it's like nice and dark right at the base so that then separates these the Hooves and the claws and things out quite strongly from the uh the bone armor everywhere else on the model so because I messed that up a little bit off camera I do end up tweaking it a little bit to just go over it and make the texture more visible again so there you go you see I've just done the same thing same on the claws and the little hooks on on him and all those kind of little bits same colors actually on the teeth as well but you know just very simple quick lines that you can see how the base has already been dry brushed with the same color as the PG color that we used on the bone armor even though it doesn't look it because it's got the shabty bone on it and it's also got the the Purple colors on it so it actually separates it out and that's again a good uh like showcase for how you can use very similar colors but having different base colors makes a huge difference to the final look of the color that you're using but there we are that's the end of the video I hope you enjoyed it um and it I think that's going to be all I'm doing for Leviathan I might do another Marine depending on how I feel and how much time I have but don't forget that I have my patreon and my website where I have like a lot of things and the painting is more focused towards like golden demon style entries at high level stuff so there's I'm painting like Dante on there and a few other pieces so if you fancy that kind of thing please go and have a look but thank you for watching the video hope you enjoyed it and I'll see you next time

Channel: Richard Gray

Views: 25,642

Keywords: #AdWIP, #Leviathan, #New40k, #WarhammerCommunity, Richard Gray, Daemonrich, Games Workshop, Warhammer 40k, ASMR, Tyranids, Neurogaunt

Id: ds3B3MwoJvQ

Length: 57min 19sec (3439 seconds)

Published: Sun Jun 25 2023