How to Paint - Drukhari Archon by Mezgike

[Music] get a my good friends how are we all let's pan Ettrick re icon part 1 preparation we always have to have a good think about the setup of a miniature think about how we prepare how we divide it up into subsections here we've got the main body and then this section which is the cloak it's always important to make sure that you can get to that cloak whether you're painting this miniature or any other miniature with a cloak this little holdren here we're keeping that off the body because if it's glued on to the body it gets a little bit difficult to paint around it and you can clearly see underneath it up in there so we want to make sure we've got easy access to that there's no trouble keeping it off just for a little while I'll show you how to do it the next thing we've got to do is drill some holes so that we can insert wire into those holes and that's going to allow us to hold on to the subsections so straight up I can see that for this subsection the best spot to drill a hole is in this spot here where it's out of the way we're not going to see it once the subsections are glued and the other subsection we're going to drill straight into the bottom of the foot that's a great spot for any model straight up the straight up the foot and the little pauldron we're simply going to just whack him on some blue tack stick it on a base now we're going to snip up some wires and just insert them into a block of wood which I've which has been drilled out here to get your pliers and just Ram it up it get it in that hole and if you've got bits of cork that's good to stick it in the cork then we need to take our clippers and clip off an extreme angle on the end of it and what we're going to do here is make a very sharp point so you can see I've got a got a hard angle up there and it's very sharp now we need to be very careful here and get our lighter in what we're doing is heating up that while can get very hot and we've got our our subsection on hand ready to go as soon as this wire gets hot enough we're going to quickly grab our subsection and insert that way into the hole and press down hard and that that hot wire is melting its way into the plastic and so those holes we drilled earlier they were only drilled very shallowly so that this allows us to insert the wire into the plastic without having to glue it the one setback with this is that you'll see here a bit of plastic can often seep out and we need to clean that up later on right oh let's get some blue tack I've got some old paint pots here and I usually use those as little handles whack on some blue tack like so and then these little bits and pieces these little fiddly subsections we've got here just work those onto these little paint pots and this is my process of preparation before I put any paint on the miniatures and we're ready to prime now so I'm gonna turn the sound up so you can hear that actually you can hear the sound of the spraying because that's important let's take it our chaos black spray and you get it 30 centimeters away from this subsection and take note of the the small bursts just like 1 2 3 & 4 just like that don't hold it down don't go all over the place with it and what we're doing here is priming me not putting our first color down you've got to get that out of your head if that's what you think priming is priming is about putting a layer down that the pain was going to stick to you know we're not just paint it black right now and what we want the end result to look like is a little bit transparent if it's a little bit especially that's a good thing but we don't want it to be speckly as in we've put way too much paint on and it's got orange that's sad if that's the case strip it and do it again what a very in coat climb down now it's very thin and you can see some of the gray shining through you can see some of that yellow putty shining through and if that's the case that's good we've done a good job and you can pry them in any weather I believe that it's 42 degrees today when I'm priming and I just did it when I did my night Lord it was hailing outside I got footage of it it's pouring rain so if you do a light program like that you can prime it anywhere though anyway we're consulting the almighty paint rack here making a few paint selections before we put a drop of paint on the miniature bit of a caveman color theory which is what I call it we're just going to grab some colors and put them all together like this and see how see how they're looking so we've got incubi darkness Abaddonn black cab a light green Sabra green goes blaster green Emperor's children for a bit of pink we what are we doing for some gold blighted gold in whatever that g-dub pain is at this stage we're looking at a very dark green model with some pink contrasting colors and we want to get some greenish gold we've also got bone on this guy we've got got a couple of skulls we've got the bone sword and a dead skin so only use a rack off flesh I reckon for that so here's we're looking okay maybe a bit of purple a little bit of a bit of blue so take green I believe for the base which is going to be a space seen in washes we've got Coe Elia green shade and Ruchi violet I reckon that's all we're gonna need for that so this is one of my most important processes it's absolutely primitive that's why I call it the caveman color theory I'm literally just grabbing pots of paint and holding them together and gone yeah that's looking all right like that and you know I do have a pretty extensive knowledge of color theory but you know you've got to looking you gotta know your color wheel but there comes to it comes a point where I just know what colors look good in pink and green here's a good colour that's why that's why watermelons exist let's start painting a bit on black we're gonna get it on the wet palette and thin it down and I want you to take notes of how neat my desk use at the moment it won't stay like that but anyway the large base brush by Games Workshop I think it's their best brush it's nothing it's their only good brush if I'm being honest but let's just water water some of that I put on black down and start going over that prime this is our first real color we're just pulling it all together really coming over and making sure that that that chaos black spray you can't see any of that anymore and there's no plastic shining through there's no yellow putty shining through and like I said it's very watery so this isn't gonna clog any detail at all you could slather it all over it and because it's that watery the water is going to evaporate and we're not going to leave any any brushstrokes at all you'll notice a couple of little random pieces like that little spaceship which I built for the base but ended up not using let's now grab some incubi darkness and we're going to begin painting this all over the armor once again this has been thinned down just like the chaos black I'm sorry the Abaddonn black and we'll do talk to this you could possibly do three if you want to make it extra thins but I reckon two is going to be playing this is a base colour it's got quite a good pigmentation so got good coverage two coats is gonna be fine I reckon for this yes this Archon did begin life as a dude with a helmet you're gonna see that helmet on and off throughout the video but yeah I decided against the helmet in the end now we're going to use rock earth flesh we're going to paint all of the the dead skin on on the miniature this actually wasn't dead skin on the original model which by the way I forgot to mention is converted from the va's arch the yanari vizag he's not even a Dark Eldar dude but I converted him up to be Dark Eldar and this was probably meant to be a nice clean white cloth on the only fancy Inari fella but I made it look like dead skin and in good old Dark Eldar fashion stitched it all up so we're gonna paint that to look like dead skin all the bone the skulls and the bone sword we're gonna hit that with some rock our flesh as well this is the blocking in the stage as I call it it's the most boring stage of a model but we're just laying down those first colors and and then we can see how it's going to look from a very early stage this here is blighted gold by p3 and it's it is a fantastic paint it is top is top draw and if you can get your hands on some I would get it if I were you it's a very dark gold with a green tinge so it's perfect for what we're doing here because this model we want to give him a bit of a green theme we want to make him look like he's possibly in a bit of a dark green environment so he's going to be standing inside his spaceship and I imagined that to have some kind of green lighting so he made gold our gold is going to have some green to it this fella here we're just going to turn him upside down and paint the other side that's what that's one of the good things about using blue tuck you can just paint one side then when it dries just turn it back over and paint the other side and two coats with blooded gold it's got quite good coverage but you do need to hit it twice you know I'm gonna use a baton black to paint all the black areas all the stuff we want black like this little dagger thing and all the black straps the leather straps are going to paint those Abaddonn black could paint them Brown but no way why would we do that why would we do that to ourselves these guys it's just gonna we're just going to try and get as much darkness into this bloke as possible when I am painting these fellows these hero models for you guys I'm I try to give I try to give each one of them a word and I think about that word while I'm painting them in the word for this guy is sinister I want I wanted him to be sinister because when I think of a Dark Eldar dude flying around in his spaceship going let's find a planet to read I think that's pretty sinister I think I think I think he's up up in space and he's dark and he's pale and he's just mean so when we're thinking about that word sinister while we're painting this guy it's going to come across in the choices we make and the colors we pick in the ways that we paint them I decided to paint the these little bits of string or rope or whatever they are silver just to make it a little bit different he's a Dark Eldar and Dark Eldar have awesome tech so maybe they've got some kind of you know mithril rope or something we're just doing a little quick little touch-up here using incubi darkness we've finished all of the blocking in but we make it a little bit of a mess inevitably so we going over it with you by darkness and fixing it up I did forget to paint this a little bit here which is some kind of bone rathbone design and just like the rest of your bone on the model we'll just paint a track our flesh mummy Kolia green shade I'm going to use this and we're just going to paint this over the entire model this is going to give every element of the model something in common with each other so the armor the gold the dead skin the bone the black everything is going to have a bit of this going on inside it and that's going to help us to create that that ominous sinister dark green vibe we talked about and it's gonna it's gonna help make him feel like he's in a spaceship with the dark green light all around him and if you've checked out the knight Lords video we do the same thing there although we used tracking off nightshade because we wanted to create a bit of an environment for that fella we wanted him to be in a cold snowy icy environment so using a blue wash over that whole model just pulled him pull it all together gave all those elements something in common with each other which was blue and we're doing the same thing here but with green one thing I will say is don't put this curly the green shade on the leather part of the cloak put on the fur but there's no need to put it on the leather part we want to get some nice smooth transitions across those folds and if we just slap Karelia all over that leather then we're just going to get puddles everywhere I love how it looks when it dries we can straightaway see that each element of the model is now in the same environment it's taking on the same kind of green light part three the armor we're going to use CAV a light green for this you can see how we just thin it down on the on the wet palette right there and we need to we need to be a bit sketchy here we're going to be going to sketch where we think the light is going to hit each panel you need you need to see each each little section of this armor each bit of detail has its own panel reacting to light in its own way and that's going to give us a kind of a cool stylized lighting effect for this armor which I wanted it to be something kind of alien since since the this fellow is a bit of a xenos filthy bugger he's a he's a Dark Eldar dude and they've got some pretty good tech as I mentioned before so one of the armor to kind of have have that sort of violent want to go too crazy with it making it like looking visible or something silly but just have some kind of unique lighting about it so imagine the light coming from the right hand side that's what I normally do picking pick the light coming from the right so each little panel each little section of armor will make lighter on the right hand side so we can begin glazing towards the right hand side of each little piece of armor each little panel well we're glazing these highlights though we don't need to cover the whole surface of the armor because of the style that we're going for here we want we want very dark armor but with very light highlights so it's gonna have a really cool contrast where there's these kind of bright pin lights on the roof on the tops of the panels but quite dark in the shadows and that's how we're going to create that kind of Zeno's tech armor this is the hardest stage of the AMA so once we get this out of the way where we'll be smooth sailing but this is this is a little bit difficult in that we need to we need to think carefully about what we're doing many where we are we are placing light and and that's a thing that's a thing that you've got to learn like where do we place this light where's the light touching this this 3d panel right here because when we get that right the rest is just easy when we're placing the light on these on these panels you gotta go your say to yourself is it gonna look weird from the back you know like if I if I put the highlights on the front of this leg in this certain way when I turn the model around when I pick it up and view it from the back how is that going to look so sometimes you need to you need to treat the front in the back and the side a little bit differently it's quite hard to explain but you just it's you just have to give it a go and learn from your mistakes and learn from your successes that's that's all I'm doing I'm just I'm just like a dude with a brush put it in some paint and just bumping it into the model with it and seeing how it looks and then going this but it looks alright now this bit I could improve on but it all comes from just having a go and placing this light for me is one of my what are the hardest things for me you know I'm still learning every every model I do I'm getting better out I'm learning new things the armor here is quite it's quite anatomical it's like almost divided up into muscle it musculature so we've got the calf muscles here and we were hamstrings and quadriceps and all that kind of thing in in for me seeing the armor like that helps me to divide where the light hits so we've got these calf muscles here just below the knee you can see where it's highlighted there and then below the calf muscles here I don't know what the muscle is called but it's like a bit below the at this bit here I'm seeing that as its own panel which means that I'm highlighting that muscle if you will towards the top so then when that highlight meets the bottom of the calf muscle which is dark you have this cool contrast this opposites whether with a light panel meets the dark side of the next panel and that's part of the style that we're going for here creating those opposites the opposite gradients and here's a good example of this x-blade type knee pad thing this is this is going to be a good example we'll highlight this bottom point then that top point and then this point here and we're doing it on an angle so that it's creating that offset gradient where the dark meets the light and we will just continue this throughout the model throughout the armor especially and the shin pads here the front of the knees is another good example this side is very light in the side next to it it's very dark same thing with these with the feet here's little shoes these little space shoes so yeah we're just being loose loose EUC just sketching it putting a little light where we want where we think it needs to be and going over and over it again probably about hurricane five times it's not too many times it's quite quick actually to do this it didn't take me long because it's quite sketchy and you don't need to worry too much about making mistakes just going over it again and again we're in refining it and you can see what I why I wanted to keep that Holdren off there so we can get get to those little shoulder pads there nice and easily make sure we get get each little fingertip in each little finger knuckle and we don't want to worry too much about this slowly slowly scroll work throughout the armor just paste basically at this point pretend it doesn't even exist and just glaze over it as though it was a smooth surface you'll see that some of the glaze will sit sit in it kind of catch it a little bit and that's fine it kind of kind of works the the glaze will the glaze will catch those swirls and sit sit in it under gravity and create a bit of a natural highlight you'll see throughout the process of painting this armor those swirly things almost they just paint himself just a reminder here about how the paint should look on your wet palette it should be very thin when we're glazing and we load up that brush so that it's full of paint and then lightly wipe it off onto a tissue or paper towel before letting it touch the model so the idea is that that model that paintbrush is full of wet paint ready to go but it's not going to drip everywhere you know it's not going to flood all over the model because that that's basically what a wash is and this is not a wash this is a glaze no your glazes and washers here we're doing that that opposite gradient thing again between each panel it's just a good example even though this little shield thing basically doesn't even get seen and so does that arm I put a lot of work into painting that arm and I didn't I didn't think to check it to make sure that it's not going to get hidden under that fur coat it just gets completely covered but that's okay good practice so this stage of the armor is now complete we're ready to move on oh yeah unfortunately the sword did snap off but it's my fault because I was lazy and I didn't pin it I just glued it on there I was gonna he was always gonna come off but that's okay let's pin it now let's do it properly we'll just grab it grab a sharp tool like a sculpting tool here or a pin whatever and you can use that to locate the center point or where the where the hole is going to be and then the drill will sit nicely in that little hole and will be easy to drill out and here I've poked the hole in but it's not quite in the centre so what I'm going to do is hit it with the drill on an angle and that's going to direct that hole back towards the center where we want it easy stuff you don't have to be an engineer for this sort of work it's time for the next stage of the armor and we're going to use a baton black create a glaze in this same way that we did with the cab a light green by mixing water I will say that when you're creating a glaze like this not to thin it not to cut it with Lommy and medium we want water and we want this kind of consistency here it almost looks like an old oil but it's a little bit more viscous a little bit a little bit thinner than known oil so if we were to use if we were to thin it with larmy and medium it would become basically known oil and Lommy and medium is just invisible paint it doesn't evaporate as well as water it it will you will start clogging up detail with the amount of layers that we're going to do it starts to clog up detail and we'll leave brushstrokes so with this glazing we want to use water because water evaporates and leaves the pigment behind so you can glaze a million times and you'll barely leave a mark anyway what are we doing here we were using this urban on black glaze in exactly the same way it was did as we did with Kaaba light green however we're going in the opposite direction instead of creating the highlights and placing the light we're placing those shadows and this is a bit easier than the color cab a light green stage because the cab a light green stage was where we did our thinking now we can put our music on and just chill out and just do the opposite thing of what we just did so that's the first thing that we're doing with this with this urban black pushing those shadows and creating that depth and making that almond ice and doc the second thing that we're doing is we're doing a bit of cleanup we can we can sort of erase some of the cab a light green if we put it places that we don't want or we did a bit of we did a bit of lighting that might look a bit weird or you know like they shouldn't be will light going on that bit there so we're just going to get some some of these black glaze and just sort of erase it erase it man just like that so we're on cleanup duty with this Abaddon black in this stage we're also you can see that leg it's looking much more dark and we're getting I'm getting happy about the the style of the the armor so it's having that really dark shadow and bright highlights since got kind of it almost a sheen it starts looking almost a little bit nonmetallic metal in a way it's not quite like that's not what we're trying to do here sometimes it has a bit of that effect have a look at a comparison here but the left leg this is the right leg the left leg has no abbott on black on it and the right leg has a bit on black on it and look at the the right leg there underneath that on the bottom side of that calf muscle yeah the contrast the contrast is just really cool like how it how that black meets the the dark side of that calf meets the highlight the cab a light green of the muscle below the calf muscle and you know that transfers across to the rest of the model doesn't it on all the other parts so try and get that kind of contrast as I was painting this and as I watch this it makes me think that this this sort of recipe could work well for a dark angel Space Marine Hama that's not what its intended for I mean like it's Kaaba light green and Sagara greens and all that and and it's kind of that classic talk about a green armor look but when it's finished I think it looks quiet it looks like it could work well as the Dark Angel as well maybe yeah that's how it should look nice and contrasty I reckon we're probably ready to move on to the next stage for this are none other than cyber right green of course it makes sense to use cyber right green after cover light green just because their name sounds similar I guess and this is just dead easy to stage you've already we've already been glazing and we're just going to do exactly the same thing however we're going to do this inside the cab a light green and this is just like coloring in a kids book man we're just trying to stay inside the lines cover light Green has been mapped out for us already it's all there we just need to get some of this and put it a little bit inside it and if we did about five passes of cab a light green so five layers of glaze I reckon we only need three layers of cyber right it's quite a bright and light color it's going to do a lot of heavy lifting for us it's gonna make this armor come to life this is mostly focusing on on the points and the very tops of the highlights so as I said we we're staying kind of within that within that cab a light green zone we definitely don't want to be glazing this all over the armor we don't want to be getting this on the black areas this is a very pastel color and it has a lot of white in it and if we were to glaze a color like this over a color like black we're gonna have disaster because there's so much white that it's going to it's going to leave streaks and it's going to go all chalky and pasty and just horrible so when when glazing with a light color like this with a lot of white in it we have to be careful and we've got to think about what we're doing just stay within that cab a light green zone it's like out of bounds if we go past that yeah you can see how this little axe head here sort of comes to life you could paint axe heads just like this to have this kind of non metallic metal vibe going on with the strong contrast and the opposite gradients meeting up between the panel's would work well as a as an axe arc and that's how I'd probably paint an X and you could even do it with metallics you know and just metallics and glaze it down with some a baton black to create those shadows I was talking to me mate Jake who's painting some custodian I reckon he could paint the armour of his custards in the same the same style as this armor the very dark armour with the very light light highlights so I would I suggested to him that he paint painted a very dark gold color and then push a few highlights with a very light gold color just same as we did with the cover light green and then use a purple a purple wash or a purple glaze to create the shadows that would look really good on that on the gold for his custo dand then the final highlight well like what we're doing here with a cybereye green he would use a very light gold color or a gold mixed with something like metal medium or some kind of very light silver color so that would have a really cool effect and it would look very similar to this style of our so the point I'm trying to make is you can you can take this this same kind of style of armor and change the colors for for whatever you're painting at the moment be it cuss toads or a dark angel a bloody angel it's a very simple process of we've only used three or four colors a dark color a light color you know a couple of other light colors and like dark colors whatever you can just take this process and swap the colors to something similar and you're we right you where you go create some cool armor also if you ever need if you ever need any help with what you're painting like Jake did with his custo he just flicked me a message and we worked out a bit of an armor a bit of a recipe there for his custody and Terry one of my other mates he's had um had a few questions about glazing and I showed him a few things and he's never glazed before in his life and he's just showed me something that he's painted and it's bloody awesome he's just he's painted this skull with a glowing green eye like a sort of kind of glowing intense green like on the playground video he's never glazed in his life before and it looks like he's been doing it for years so if any of you my friends have any kind of questions like this please just ask me anytime like I'm really I love I love helping and helping you guys come up with color schemes or recipes or whatever you're working on I love saying it so don't feel like you're inconveniencing me by asking me any questions please ask away how look at ax head just come to life there just as soon as we hit it with this cyber eye cream it's all about contrast just kind of jewel that into your head a couple of other you blokes asked me about asked me to do a video on the tools of the trade as well as kind of the inspiration for my models I'm gonna talk a little bit about what inspires me for my models in this video but I think it deserves its own video and I kind of ran out of time to do it for this video so bear with me I'm gonna I'm gonna do a full on proper video on the tools of the trade what like what my setup is and everything all my brushes and I set up all my lights my desk everything I'll do a video on that and as well as a video on how I come up with the ideas which for me the ideas for these models is almost the most important thing trying to come up with something different that no one has ever seen I'm going to touch on it a little bit later but yeah I really want to I want to do a full-on proper sit-down and talk to you guys about that properly anyway part for the dead skin let's use a baton black and once again we're going to thin it with water into a glaze will simply begin just directing some of this into the shadows where where the skin tucks on other pieces of skin or where it tucks into the belt or we can run run something here over over these stitches here to begin to begin getting some shadows in there and lining some dark lining around those stitches also run a little bit into the folds of these of the skin create the beginnings of shadows let's crack up rock our flesh and thin it as we've almost every color that touches the model almost every color not every color but almost we liked we like to do a lot of glazing around here a lot of thin layers building it up well we're doing here is just building up the highlights on the tops of the folds remember earlier with the armor we mentioned that we're gonna imagine the light source coming from the right hand side so we don't want to go too hard on that with things like the dead skin here but keeping in mind just make the right hand side of each fold just a little bit lighter than the left hand side of the fold you know sometimes it's just all about the angle just like flipping the model upside down if you're right-handed like me sometimes it's hard to paint some things with your right hand if the model is up the wrong way so just flip it around flip it around the side flip it upside down and you'll see that it just makes things a lot easier sometimes the other thing I'm doing here which a couple of guys have asked about having trouble with shaking hands and being steady I always always hold both of my hands together so in my right hand here is pressed firmly against my left hand it just makes your hands each hand isn't acting independently your hands are now as one if they're shaking they're gonna shake together you know you're not gonna have a shaking right hand and then a shaking left hand and that's just going crazy and paints looking everywhere and the brush is just going mental at least this way you can kind of squeeze your hands together and levels out that shaking you can see how how how basically there's no shaking happening right now it's quite steady the the other thing I do you can see that block of the box on my desk that's my granddad's whetstone and I like to have it with me all the time when I paint that way it's almost like granddad's with me and I use it to sharpen my blades but I also use it to rest my hands on so right now the model is resting on granddad's whetstone and so on my hands I mean that's that's just a good way of being steady anyway what are we doing right now we're we're using coelho green shade and it's been cut down a little bit with la Mian medium we're running this into the shadows of this cloth because we used a baton black earlier it's just kind of made it a little bit a little bit dark and a little bit be saturated we want to introduce a little bit more green to this dead skin and notice that I did use la me and medium to cut this because I never like to use water to to cut washes because they can go a little bit weird and funny I'm not sure what it is but the paints can kind of separate a little bit or go a little bit crystally if you use water on the Games Workshop washes so whenever you're using whenever you want to thin a Games Workshop wash it use low mean medium now let's mix have a light green with rock our flesh and we're just going to do the same thing that we just did with the camellia green shade but the purpose of this is just to lighten those shadows a little bit again using that Avedon black I'll probably want a little bit heavy on it end I made contrasts a little bit a little bit too much on this dead skin we do like contrasts around here but you know sometimes contrast works where the armor is very contrasting but the cloth is not very contrasted and that in itself is a contrast I'd just making I don't know if I'm just making this up or not but it's just it's just my process it's just how I think and you know normally when I'm painting dead skin I'm wanting to put you know purple washes drew Chee violet and Drake an off-night shade blue wash those kinds of colors you really want to get those kinds of colors into your dead skin to make it look like there's kind of bruising or bleeding or rotting a bit of a bit of frostbite or whatever but for this model I'm trying I'm trying to make it work without doing that trying to make this skin look dead without going heavy on purples and blues because we're really pushing that the the green theme and there's going to be pink and purple later on you know the soul stones and things like that so I'm just trying to make it work make a dead skin based off green so let's see how it goes anyway rock our flesh here we thin it down as we do with all their glazing glazes but we're not glad in it we actually we actually stipple that and that gives it a bit of an interesting texture let's just map out these stitches and clean them up a little bit with some a baton black thin it down but not so much like it's a glaze just make it a little bit runny so it kind of flows into the detail itself and does the work for us let it run around the edge of each stitch and down the middle of each crack like this and then we'll go back to wrack our flesh pushing the highlights a little bit more with the stippling that we did got a little bit too textured for my liking so I'm glazing back over it and that's gonna pull pull that texture together and subdue it a little bit if you imagine the glaze is going to go in between each one of those little stipple dots and fill the gaps and smooth it out a little bit and I'm stippling more here for some reason try to try to erase some of the sniffles by glazing it and now I'm just putting them back again I don't know I'm not sure what I'm doing here but it's gonna look good in the end maybe got a little bit dark up the top there where where all the all the pendants and things are so we want to make sure we lighten that up a little bit you always wanted a little bit darker there so that that detail pops out all of those gold pendants and the soul stones all those tassels all those sorts of things that you they're going to they're gonna stand out against that the dark dark recesses but we want to want to make sure that it's not too dark this is incubi darkness here and we're picking out the stitches first the first order of business of these stitches is to hit him with incubi darkness and just create a little bit of color and then we'll use alpha line gray for this next highlight just pick out right along the top the top edge of each one of these stitches I usually don't like to make my stitches colorful almost every time I paint stitches it's going to be black and highlighted up to a grey or you know just a shiny black still using a long gray we're going to quickly add one last highlight to this cloth this dead skin just along the ridge along the top the topmost point of each fold as well as any little cracks like this or the undersides of those little holes in the skin and this off line grades just going to give it a little bit of a blue a light blue color to it and make it look a little bit shiny and there's this finished dead skin and I'm pretty happy with it part 5 the gold part 1 yeah we're gonna make this gold nice and green as well we're using Co elia green shade and all we're doing is putting this into those shadows begin building up the depth of this gold and it's going to be a dark green depth blotted gold is already a very green gold color now we're just pushing it if you can't get hands-on blighted gold by the way you could probably try and mix mix up some using games workshop's paints I'd probably use retributive armor mixed with a phony and camo shade probably you can experiment with that and you'll get a kind of a green a greenish gold color that's similar to this I think once we've done those shadows we'll go back to blighted gold and begin pushing up the highlights and you've got to be careful not to go overboard I go a little bit overboard with it and I I remove a little bit too much of the green which is not a problem because we just go back and add more green later on so not to worry about that but just just try not to go too overboard with it so yeah we're making this gold have a very green tinge because that's that's the that's the theme we're going for for this model but I mentioned before me mate Jake he's pinks and custards and I suggested that he use a purple shade and that's going to give his armor his gold a really purple kind of color and that's gonna that's gonna work really well with his custards because the theme he's going for is kind of magenta power and purple robes so giving his gold a little bit of a purple tinge it's gonna work it's gonna work really well so that's what we're doing we're doing the same thing but with green and using some Abaddon black and thinning it down as we normally do was quickly going to deepen some of the shadows in this gold oh he's got a helmet where did I come from yeah so I started I started this fella with a helmet and I both loved and hated the helmet in the end I decided just to get rid of it for a few reasons one I felt like there was too much gold I didn't want gold to be too much of a focus on this guy and yeah I could his painted the helmet a different color but if he was gonna have a helmet it was gonna remain true to this guy the classic are gone which is what I was basing my Ark on off in the first place so if he's gonna have a hell when he was gonna be gold like that but regardless I just decided in the end that a bear head would be better to create that sinister look that I'm going for because I actually really wanted to create expression on his face that made you go well that dudes bad to the bone so the helmet had to go part six the leather specifically the cloak end straps using incubi darkness we're going to begin painting the raised areas of the folds on this cloak use long sweeping brushstrokes don't go sketchy and scribbly in all over the place right from the get-go we want to get that smooth transition between each fold which means from the very first color we want to be kind of precise and clean with our lines cleaner we are now the less we have to clean up later and this is not glazing right now this is painting an opaque which means a solid color it's not a transparent color it's it's completely solid of course we thin it though so that we're not going to leave big fat brushstrokes and bumpy lines and all that we don't want to do that so we're going to thin it of course but paint it you know in an opaque manner and we're painting on the raised areas and venturing a little bit into the shadows because we're going to we're going to blend them out quickly thing over to our our detail brush and while we've got out the incubi darkness we might as well paint all of the highlights on the straps and the other little black areas like those that's scabbard in the belt here all of the strapping on his chest all we're doing is painting thick lines on each edge of the strap so a thick line here on the bottom edge and a thick line here on the top edge when I say thick I mean Wyatt I don't mean a thick layer of paint never do a thick layer of paint unless otherwise specified now we can use a baton black and this is a transparent glaze this is thinned down so that it's transparent and all we do is paint over the lion where the incubi darkness met with the abbot on black and we're just blurring it that's all it is we're making that we're making that line no longer sharp and stuck we're blurring it below the line this is a very easy and quick way of of creating a gradient and I'm starting to believe it's it's the only way to get a smooth transition between folds on a black cloak in the past I've done things like painted the claw up painted the cloak black and glazed graves over the folds with transparent layers and it all almost always ends up a little bit chalky so by doing the the gray layers or the incubi darkness layer which is almost a grey with a bit of blue and green in it by doing that first layer as as an opaque layer means we can use black to glaze downwards because the problem occurs when you when you glaze a lighter color over a dark darker color so blazing a lighter gray over aboutin black you're almost always going to run into a bit of streaking or chalkiness but when you go the opposite way and you glaze with a black or a darker color over the light grey color there's no white to leave behind and it's I think it's white it's the white pigment in these paints that causes the issue where it where it kind of separates and gets left behind and goes it a little bit chalky anyway I'm going on a bit of a tangent there but this is the best way to just get to get that smooth transition on black surfaces you can see just there how easy it is to just glaze a bit of transparent black over the lion over that stark line and you'll see when it's finished it looks very smooth smooth as a baby's bum in fact that's how a smooth little look and you don't even need to do many many transitions like that was one in he is two on this particular fold and I daresay that will only do one more on that a little bit there and that's done so this this cloak probably took me about 20 minutes [ __ ] you not it didn't take long at all anyway we just we're just gonna take our time with her though there's no hurry and just concentrate on what we're doing get getting getting a nice transition between each fold for the straps and belts we're doing exactly the same thing all we're doing is painting a black line in the center of each belt and that's going to simultaneously blur both of the incubi darkness edge highlights let's switch over to Thunderhawk blue to just give a really a really subtle highlight to the black areas and what we're going to do is we're going to stay inside the lines of the incubi darkness same thing with the armor where we didn't want to get any cyber right green outside the cab a light green doing the same thing here don't let any of this Thunderhawk blue leave the incubi darkness zone if it ventures off into the black area the Badlands you're gonna run into trouble and this is a very subtle highlight the more subtle you can be with this the better it will look you start going overboard with it like getting too much of this it's going to stop looking like black it'll no longer look like black it'll look like a bluey grey cloak so try and control yourself with this if you do a mistake like that just give it a quick dab with your finger and carry on with your life you can build it up with two or three layers and obviously we're going to go around and hit up all of the other black areas like the scabbard and the handle here of his sword as well as those straps on the front of him as well we hit those but again being very subtle with this black black is a tricky thing to highlight because you can you can just easily overdo it and I think possibly I overdid it a little bit here and there on these belts but we can touch it up later with a bit more black I'm gonna take it absolutely random detour here I can't I can't remember why I stopped painting the black there's still one more color to go on that black but for some reason I just wanted to have a break and start paying the gems these soul stones we're using blue violet which is a Vallejo color but it's very similar to jeans steal a purple if you have that Games Workshop pain I just don't have that color I had this color and so that's what we're using but yeah basically you could just use jeans still a purple and it's very similar painting all of these soul stones in there there are millions of these little buggers all over this guy notice that some of these soul stones I've actually damaged them I've chopped them cut them so that they look like they're they're broken because this icon is a bad boy he's gone and he's taken the souls out of them I'm not too not too versed in elder law but I know that the dark elder fellas doing are doing in Spica balana SH at bay so one of the things that they're doing one of the things that this guy's doing is stealing Souls stealing Elder souls what he's got here is a soul trap sounds sounds funky doesn't know I guess it's trapped Souls but whatever it's a magical thing it's a pyramid that's on fire we're making it purple and we're going back to painting black now we've we've got that out of our system we've painted a little bit of purple and now I can just do the very last thing which is alpha line grey just a very just a very pink highlight on the black and again the more subtle you can be with this the better just creating little little highlights on the very raised surfaces here and there and have a look at this barely any of this goes on to the cloak just right just along this edge it don't paint the whole edge just a little bit now we're going to paint the soul stones using Dru Chi violet we will paint over each one of those soul stones this is going to if you have a look at the diagram at the top left is going to both tint the surface of the stone as well as darken the recess between the stone in the gold now we will use a baton black and if you look at the diagram that's basically what we're doing is thinning it thinning the a baton block down so that's transparent and painting that kind of circular shape in the top right hand corner I'm showing you this diagram as we go just to make it easier because each one of these stones is quite small hard to see they're actually very small to paint and they're all on different angles and things it's a bit hard to see so keep an eye on the diagram as we go check it out we're using blue violet again which was our base color or you can use jeans steal a purple if you want whatever whatever the base color is for your gems paint the bottom left Crescent like a crescent shape on each of those soul stones and then getting a little bit thinner use Emperor's children which is a pink and that's just going to make gems look a little bit more magical by just introducing a little bit of a a related color not the same kind of hue it's not purple it's pink but gives it a little bit of a magical interest just be as neat as you can with this now we'll use Sarah my white to paint a little white shine in the top right-hand corner of each gem or soul stone and this is this is to create the very shine the very top of the shine make sure your Sarah might want is has been thinned down a little bit when you do this so you'll notice that I just picked out a few gems to start off with there rather than painting all of the gems at once which would just drive me insane just picking three or four and painting those to completion and then we'll pick another three or four and paint those to completion as I mentioned before some of the stones I've I've kind of cut them so that they look like they're cracked any of those ones we'll just pick out some of those the edges with any color really like you could use white or or purple or pink whatever whatever color you want just pick out some of those edges just to just to help make those cracks look a little bit more defined now just carrying on painting the rest of the gems and when we turn the model around we've got to remember that we're doing the gems on the opposite side so the shine is going to be the white shine is going to be on the left-hand side this time and not the right because we're looking at the model from the back now always remember where your light source is little things like that are important to keep keep the shines consistent across you know when you've got a bazillion bloody soul stones to paint it it makes it goes a long way when they're all facing the same way you know I'm saying this is a good time to practice being steady and holding your hands together or resting on resting on a hard surface check these out some of these shines I've done they're just way too big and they're just dodgy as hell so I'm just getting some a habit on black and cutting them back down a little bit shaving a bit of that white off making it look a little bit more refined nothing's ever final with paint you if you make a mistake you just keep on just keeping keep on fixing it up until it looks right and that's that's that's why it's so important to have thin paints let's chop that let's chop this little blob off here way back when I showed you I'm using the lighter to heat up the wire and inserting that into the plastic and this little blob seeped out we just shave that off and then glue the pot together and that these little boss pole snapped off so he's sort broke off and and then this little fella broke off too because I was lazy and didn't pin it we'll fix it up part eight gold part two let's finish it let's finish this gold I told you earlier I kind of went a little bit overboard with the highlighting of this gold and sort of lost a lot of the green so let's just introduce some more Coelho green shade back to the gold not too much just glaze it glaze it in there we're not washing it get some curry Leah green shade on your brush and wipe it on your paper towel lucky you would any other glaze this that's not a flood out all over the place we don't want to undo everything bright brass by Vallejo couldn't get any of the g-dub Gold's to work for this gold recipe because none of them are none of them have any green tinge they're all kind of they're very yellow golds or red goals like Gehenna scold is kind of like a rose-colored gold or ik armor is totally yellow but there's no green gold so I went down the local shop and had a look what Vallejos got and this is perfect this color bright brass it's it's got a very green tinge to it it's just perfect for what we want so we're using that and we're just putting it up putting these putting some highlights in on this gold along the along the eyebrows here of this face and the cheekbones here in the nose and lips the points of the shields the shield kind of shape is all those little things pick those out with this bright brass color as well as the the rings holding the soul stones this is quite hard this is very fiddly especially for me at the moment it's it's so hot in Australia at the moment it's the middle of summer and we've got a bit of a heatwave I've got the aircon going I've got a fan blasting me my wet palette is drying out at a rate you wouldn't believe the paint on the brush is drying seconds after it leaves the palette so metallic paints especially seemed to dry faster I've noticed in this climate so got to try and keep the paint as wet as possible so it's a little bit slow going at the moment for this gold but you know we're getting there in the end the final stage for the gold using a mixing metal medium also Vallejo with that bright brass color metal medium is amazing it is basically white paint it's basically white paint with metallic uh-huh so effectively its pearl white it's the brightest metallic color of I've seen you know I always use it for the very final highlights of the moment of my metals whether it be gold or silver it's amazing stuff so yeah when you when you need a cut when you need a metallic color to be lighter you don't want to mix white paint with it because it's just going to lose its shine it's not gonna be metallic anymore but mix a bit of this metal medium and you'll be sweet as and this we're using only for the very very tips of the highlights here on this gold you definitely don't want to go overboard with it and start making a look a bit pale and almost a silver in color you don't want that we want to maintain this cool cool rich gold color that we've got with green green tinges so only on the edges and the very corners are we putting this this mix holding my fingers there together just because it's a little bit of an awkward position I just I always try want to try and remain maintain contact with both hands you know we don't want to forget the little rings holding the soul stones in the back here and if you make mistake it's okay I may if you make a few mistakes and got gold on the gems just clean it up touch it up move on let's get a Methot methylated spirits we're going to use this to strip this little piece which I buggered up when it broke off the paint chipped off and anyway I decided to modify it a little bit anyway I had sculpted a little a little chain on it with a the soulstone and I didn't like it anymore so I just chopped it off so I had to add a strip it and repaint it here we go and this just painted in the same way as the rest of the model don't need to show you show that to you and again we've pinned at this time so we can just we can put it into the drilled hole and not worry that's gonna snap off this time let's paint the black fur and clean up around that piece with a baton black going to our favorite dark green color incubi darkness and we use a fine detail brush and we're going to paint each one of these little Tufts of fur individually yeah that's right it's not as crazy as it sounds it doesn't actually take that long you don't have to be too neat with it it's the overall effect that will look good not in each individual piece of hair but anyway we're painting we're painting the end of each fur each bit of fur and probably about 50% of it 50% of each hair so we're leaving the base of each hair as Abaddonn black and only painting the the end half with incubi darkness and what we're doing is working our way around the fur as you can see it's quite it's quite quick it sounds crazy when you go are you just paint every single hair on the bloody for a coat but you know it's not it's not that hard at all and it looks like this you think we're done now let's do it again but this time we're going to use thunder hold blue and we're going to rather than paint 50% of each fer we're going to paint the last 25% of each fer the color choices for the black are quite important we've used blues and darker green so we're not we're not just painting this black with with grey you know like you could we could be doing things like I've been on black and then highlight it with Mechanica standard gray and then dawn stone and an administrator we can do that and it looks good as its place but when if we were to do that on this model the Cape in the fur would instantly look like it's not really in the same environment as the rest of the as the rest of the model which has a very green hue to it remember we want him to be standing inside a spaceship with green light so that green green needs to transfer to the black areas as well anyway we're going to get some Sarah might and paint just the very tips of each fur and as with the other black on a model like the straps in the cloak the more subtle you can be with this the better you definitely don't want to be putting a whole bunch of white all over this just tiny little pings tiny little dots of white it just makes it makes that each bit of fur look a bit shiny maybe maybe this fur is a little bit a little bit sticky and sickly and gross I don't know but yeah anyway there's nothing to it doing this fur it might look hard but it's not it's not hard at all well done now this pain is bonesaw door specifically his husk blade now we're going to use a sharp t-bone as the first car and we're going to cut this bit of footage I'm just going to show it to you in real time so we're gonna glaze up one side of the blade the front side and then while that's drying we're going to glaze downwards on the other side of the blade the back side and now we can go back up the front side again because that's going to be dry and we're pushing a paint towards the top where we want that color to be strongest and then on the on the back side of the blade we're pushing that paint downwards because we want this kind of opposite transition that we're going for that we've seen same sort of thing that we did on the armor and we're just pushing that paint down pushing it the way we want it to go and each time we we we go up the blade or down on the other side we just get a little bit closer you start a little bit closer towards where it's going and with something like this blade which is going to be a little bit of a focus we want to take our time with this and get a very smooth blend and because it's quite a pale color it's it's a very it's very thin so we got to do a lot of coats of this this isn't like with the armor where we could get away with kind of doing you know five five layers or the black the black cloak where we could basically do three layers with this we're talking like 20 layers maybe maybe more and it just gradually it'll start to look like this after a while it's worth it in the end because I always like to try and make my blades look very very smooth as smooth and as I can get pretty much they're my best blending a little bit of a little bit of highlighting you know that we've finesse to the these little spiky bits on the blade anything that ever comes to a point on the model should always be highlighted and so we're using a fine brush obviously to do that and we can we can get a little bit a bit more specific with what we're doing this is the other side of the husk blade we're keeping the same orientation so the front of the blade will be lighter towards the top in the back of the blade will be lighter towards the bottom once that's done and we're happy with it we're going to use incubi darkness and just push lis push the dark areas only a little bit we're not doing we're not going all over the blade just the tip so you can see it doesn't take long at all for this paint to dry that's that's how you know you've got the right consistency the right amount of water on the brush now if it's all is it's all wet and soapy it's going to take a look that's going to take too long to dry so when you when you've got a like this way you can kind of paint it and wait one or two seconds before doing the next layer and it's dry you're on you're on the good you're on the wind train there you've you've got the right amount and we're going to do exactly the same thing that we just did with the incubi darkness however using screaming skull and we're doing it on the opposite side this time in pushing the highlight so we're only only doing this in the in the very ends of the sharp t-bone sections not going all over the blade we will however just add a little bit of highlighting in in detail to the sharp edges like these little cutouts here as well as those holes in the center of the blade we'll pick those out as well just the underside of them don't worry about the topside of those holes you know of course do a bit of work to these spiky bits these spiky bits of the bone once that's done we're going to clip it off and we've already drilled out his hand we did that earlier so this is just going to sit nicely in there and we can superglue it and it's not gonna it's not going to fall off again and for now the blade is finished let's paint its head you see the rack off flush and get a get a nice solid coat all over it in fact two coats and switch to incubi darkness thin it down with water and we're gonna make it into a glaze what we're gonna do in this stage is just get you out some of the shadows of the face it's it's very it's very rough you don't have to be worried about being too too nice and neat or anything at this stage what we're doing is just having a play really we're just playing with it seeing where the shadows are where we want to put those shadows as well as introducing a bit of blue to the skin or green greenish blue so he'll relate to the rest of the model yeah so you want to looking sort of like this now we can do the opposite thing using offal and gray and push the highlights again just sketching it and having a bit of a play and finding where we want those highlights the face when I paint a face it's it's just a very it's a very loose thing I'm not I'm not too worried about it not too pedantic about making everything perfect yeah my face is when I'm painting them often look absolutely horrible they look hideous terrifying you and for most of the process and it's not until right at the end where they just kind of hit a point where that so I actually it looks okay now so don't worry if your face is look hideous - it's um it's this is part of the process and you've got to kind of push through that that really ugly stage when you're creating art you know the art goes through a lot of ugly stages and you've got to just push through those stages and you'll be rewarded with your hard work when it starts looking awesome all of a sudden and I'm no different I mean yeah I can paint pretty I can paint pretty well but I also make a lot of mistakes and things look horrible for a while and you just got to push through and fix it just keep on working it until it looks good you know see how horrible this face looks in a minute because we need use some tusk golfer and I'm gonna start using a bit of color and we're gonna paint the lips and I'm gonna make him start looking like a drag queen get some drew cheese while and give him some eyeliner and some blush I reckon and I can't believe how ridiculous this looks like he looks like he looks like Joker about the crossdresser version of Joker and have a go at the music I'm listening to while I'm painting this I have no idea what these music is but I also have no doubt that it is influencing my color choices in this face anyway let's get some a baton black and get rid of some of that crossdresser look we'll paint the eyes just quite loosely really I'm gonna see we're gonna add a lot of eyeshadow to it anyway and switch over to Sarah my white and paint the the whites of the eyes and these eyes gave me so much grief let's paint a pupil using a bit on black and let's see how a powder looks look yep this this is horrible this is how it looks for a while this is how you do is how I do eyes you go back and forth between black and white just working it until it looks good you paint the white of the eye then you paint a black pupil and you get it all over the place so then you get go back to white and try and clean it up and then you get that white all over the place and you go back to black just go back and forth back and forth back and forth until you ought to go crazy or you finally come up with something like this that looks half decent I can work with that eye for a little while we will just use a bit of a baton black to to cut it back down and Oh nope move just wrecked it we've gone all over it we've gone all over the white again we've just buggered it up yeah back to Wyatt back to Wyatt we'll fix up that people we do start again okay so we've got the black area around the weight of the ayah so that means we need to put a black dot in the white section anyway I've got a bit crazy at this moment so just going to put it aside for a little bit I'm gonna get some serious purple and just cut out some of this black we don't want the eye sockets to be completely black we want we want to have a bit of a purple color before a skin tone type setup so it's just glaze some that purple over it and then we can get some Rakoff flesh and paint in in those eye sockets we're kind of kind of aiming at painting of our bottom eyelid under each eye and even if you can't quite manage that just the act of putting that paint there in trying to trying to get an eyelid kind of line means that it's going to have it's going to suggest that anyway even if it looks a little bit blurred that you've put that rack our flesh there you've put that color there it's going to look better than did before you put it there and this this rack our flesh is very thin so you can kind of you can kind of get this all over the place and it's not even really gonna it's not gonna hurt anything you know you see I just got all over the eye there just quickly grab my other brush and wipe that off it's wet so you know it's it's quite easy to do that Wow let's let's do this again let's let's have another crack crack at the eyeballs okay what have we got he got some a baton black know we've got some wet Sarah might wait let's repaint over that I I can live with the right eyeball now I wrote right eyeballs okay well I'm having a little bit of a break having a bit of a breather I need some morale haven't having a crack at his mouth again the mouth is important by the way let me say that you don't have to you don't have to paint the mouth based on what the sculpt is you the mouth is a very suggestive part of the face you can tell a lot about a person just by the very slightest crook of their smile all the way that the lip might upturn Olivia see how I've painted his lip just to be cooked up a little bit that's not in the sculpt that's just paint all right so anyway let's have another go at the eye we're gonna fix up this pupil with a bit of white let's see if we can get it right this time I think that's actually I think I got it right then do you see my point even I I just bugger this up like sometimes I just paint an eye and I paint it perfectly and other times it just it takes me ten fifteen goes of of back and forth just trying to get it right yeah finally I'm pretty happy happy with that I can I can work with that eye back to rock our flesh and we are we are continuing our glazing toning down those those eye sockets which we are still a little bit dark it's still a little bit purple and this is just bringing it back down introducing a little bit of warmth to it as well because of that that alpha one gray which is a very cold bluey white color the skin is very cold which is what we want but we also want a little bit of warmth in Rach our flesh adds a little bit of a bit of warmth to it just going back to the mouth I want to just say reinforce that all you have to do to make a bit of expression on these Games Workshop models it's just just add a tiny little bit to the corner of their mouth or a little bit extend a little bit of paint past the the upper lip and you go beyond the sculpture a little bit and you can't tell because the paint does the talking not the sculpture at that point so you can see that the expression that I've achieved on this guy's face again while in the back of my mind thinking that word sinister thinking that all the time everything that I paint on this guy I'm thinking is this gonna make this guy seem more sinister anyway we're painting the earrings and the in the collar in the same way as the rest of the model we don't need to go too much into that they're gold earrings and the collar is black however I will say we'll just get out the metal medium to paint his eyebrows we've already painted them various colors throughout the process alpha long gray specifically but we're going over them now with metal medium and this gives them a bit of a shine and makes them seem a bit more interesting you know like kind of like the elves in Lord of the Rings they all got like that silver hair it's kind of metallic looking that's what I'm kind of going for here and once he's glued on to the body he's looking pretty good you can see a little bit of pain has rubbed off his nose when when he handling a little piece like that that's painted you gotta kind of glue it onto the body and press it on the red paint he's inevitably going to rub off and that's fine just touch it up and carry on roto part 12 his soul trap I've been looking forward to painting this we're going to begin with Sarah my white thinned right down almost to like a wash you can see I'm basically using it more like a wash than a glaze here and pressing it into the recesses and this is my theory with creating magic and glow and things like that is yeah the deeper the deeper you go with these magical things all these power sources the hotter and more intense it should look so we want we want those areas to be as pure white as possible you've got a imagine imagine this is an object that he's holding in his hand that's casting a shadow but it's not an object it's not a physical object anymore you can't think of it like that we've got to think of it like this is a light source it's not going to be casting shadows it's going to be casting light so yeah using using that Sarah Meyer white which is a very strong white color you can thin it right down and it retains its potency like this is basically a wash basically used it like flooded it in into all the gaps and it's still it's still very white with these bits of the flame we just want to blend them into the white area the pyramid just so that they're not just popping out of nowhere just got they got a bit of a fade happening and the pyramid itself is just painted pure white and we're about to do something crazy we're gonna use watercolor this is Windsor Newton artists watercolor that's called opera rose it is mental this stuff this is phenomenal make it into a glaze and start glazing this over over this salt wrap over the purple smoke more purple fire as well as some of the the white the white parts and it's just so intense it's like painting with fluro pink marker when you run this over the white and you get like one or two layers over it it gets so intense it's great none of the games workshop paints we were doing it for me when I was practicing this and trying to figure out a good recipe for intense magic pink magic and other Games Workshop paints were anywhere near bright enough so I started experimenting with watercolor and good quality water color like the Windsor Newton artists series that is good quality stuff so always keep in mind while we're painting magical things like this that there needs to be a very pure white source and I've decided that that pure white sauce is going to be the pyramid itself it's not going to be on underneath or between the pyramid and his hand that is going to be some kind of pink fire or pink heat or something cast by the white pyramid which basically isn't gonna have much painting done to the pyramid at all we just don't want to touch it we want to leave that as pure white as possible don't need to it's it's the it's the work around that white which is going to make a difference so when you start layering up this this pink you watch watch how intense it gets that this goes it just gets more and more vibrant which is what we want when we're creating this magic we want over-the-top intensity and over-the-top vibrancy that's what we're after so one thing to note when you're using watercolor is what a color can be reactivated and what that means is it's never fully it's never fully cured until you seal it so if you wet it with water or more pain the paint comes alive alive again so now we're using Sarah my white and we're just cleaning up this this pyramid a little bit and it's actually mixing with the pink watercolor that has already dried but because we're painting a wet a wet paint over it it's mixing it in and that's both a good and a bad thing it's good because we can kind of blend it and get some really nice blending almost in sort of a wet blending style but can also be bad if you if you go a little bit overboard and it will rub off that that pink paint that we put down so you're got to be careful you don't take it away I'm gonna go back to some blue violet here or jeans steal a purple if that's what you want and we're cleaning up cleaning up a bit of this purple smoke it's really cool this smoke when you've got the pink that intense pink in there recesses in the purple on the on the raised surfaces it's tough it's just looks really magical so we're going to keep that keep that theme now we're going to switch to 0oz purple which is a little bit darker and move closer towards the tip of the smokes as well as this bit here where it's a little bit thicker and we're doing this for a pretty important reason with framing with framing this magic now we have three stages I believe that there's three stages to creating this kind of magic this kind of magic glow not the glow itself just the magic the magic source you have the intense the intense white core I suppose then you have the intense color surrounding or framing that white core and then you have the dark silhouette behind that color which frames the color so you have the white again you have the white at the core and then surrounding that you have the intense color and then surrounding that you have whatever dark stuff you can put to frame it so here we're darkening the smoke we've went on black we've also got those dark fingertips holding holding the magic and they've been silhouetted so imagine if you're if you if there's a person standing in front of a sunset that that person goes black he becomes silhouetted he isn't he doesn't remain colored so these fingers these fingertips need to be dark they're basically they're basically already are dark and insane with these these little thick bits of smoke making those dark helps give context to this magic so you can see that since since darkening these little bits the the magic itself the white and in the bright pink colors they just look so much more intense because they've got context in the context is that they're surrounded by darker areas which makes them seem lighter this is sort of my theory that have kind of come up with well just making you know playing around with plasma glow and and this kind of thing yeah so context in contrast and we haven't even created glow yet we're going to create glow later but look between the fingertips see how hot it looks it's combination of that intense pink and dark fingertips anyway also I'll stop yapping on about that you should have the idea you know we're doing bits and pieces now things that we forgot to do earlier or couldn't be bothered to do like the skull here we're doing that in the same basically the same way as the husk sword the Husker blade sorry shove debone is our first color for the for the the skull just gonna glaze it and you can create a get a bit of a stipple action going on with a skull to get a bit of texture if you want otherwise you can just glaze it nice and smooth push the push that glaze upwards so the dome of the skull is going to be brightest and we also want to highlight be you know this is the stuff like around the nasal cavity and the eye sockets of course the teeth all the usual suspects there's nothing to it when you when you're highlighting a skull so you usually use the detail of the sculpting you know just going to thin down some screaming skull and push the highlights same as the Husker blade just a little bit closer towards the highlights working towards the dome of that skull the cranium and definitely want to enhance the the the eye sockets where the light catches in the underside of the nasal cavity etc then will we use some Karelia green shade and enhance the shadows as well as pick out the teeth which got a little bit lost with my glazing my glazing got a little bit watery around the teeth and so those that glaze I'll just filled up the filled up the teeth in the gum area between the teeth so now let's use some metal medium and highlight all of the little bits of string or the little little bit of the space elf string the silver stuff tinsel even basically it stencil let's call it tinsel use a Christmas elf now but anyway we're using metal medium because it's just the brightest metallic silver I can find and it's easy these parts have already been painted storm hosts silver and had a bit of Karelia green shade on them what we're doing is just brightening them up now let's finish off the armor gauze blaster green that's the final order of business for these Dark Eldar armor and this is just going on the very pings the very corners of the armor this way we want it to be the brightest and the reason why we didn't do this before it was a very there's a very specific reason why we didn't finish the armor way back at the start because we're putting this this highlight on the very corners and the very edges of the armor those areas are very susceptible to being touched by our hands while we're painting the model you'd see like I'm holding the model right here and you know corners of the Cape touching my hands so those those are going to rub off if you do that enough if you touch those areas enough they'll rub off so we just leave this stuff right at the end when we're getting close to finishing the model so we're less likely to rub these these highlights off part 14 glow and OSL right oh this is what we've all been waiting for let's be honest opera rose our magical watercolor paint that is going to be the hero here and we're going to glaze it and we're going to start with the immediate area around the magical sauce which is his hand once we've done that we can sort of start venturing off onto these areas like the hip and this the sword hilt these shoulder pads here will go down his arm and it's it's really important that we we we start off really thin while doing this we don't want to go too heavy and go and do too much we can always add more layers but it's difficult to take layers off if we go too far so just a little bit and add more when we need to we're gonna mix a tiny little bit of Sarah my white with that opera Rose what we're going to do with this is we're only going to add some edge highlights around around the model with where the way the glow is going to catch on on the edges on corners and things like that and the reason for this is it's basically a pre highlight we want to lighten up this area where where it's glowing but we definitely don't want to be glazing any of this kind of white or even white mixed with opera rose we don't want to glaze that over the armor no wait oh we do we want to do that that isn't gonna wreck it that's gonna leave chalkiness everywhere and it's gonna make it's gonna make it oh it's gonna totally cheapen our glow effect let's put it like that it's gonna it's gonna Rick it it's gonna make it look pasty so very important that this color this Sarah might white and pink mix is only used on edge for edge highlights like the tip of the nose here on this little face in the lip and any kind of little sharp bit on a forehead whatever these little points on the honour breastplates here and we're going to take that a step further right now with Sarah might white by itself and we're really enhancing these edge highlights but remember don't put it in the panels anyway I just put it on the edges on the edges that are facing the the sole trap which is the power source and definitely a bit on this little axe axe head here a little bit of Sarah my white by itself on a little edges and the points and this as I said before this is a pre shade and it's appreciate for this we're going back to opera rose and it's just by itself there's no white mixed with it very important there's no white mixed with it just a water and we were glazing back over our OSL our objects or sliding area and you watch as this goes over the white areas like this it just picks it up and intensifies it to see that little bright pink there pink bit there on that belt buckle it's just intense now intensified the whole area and this is this is the process that we're going to go a little bit back and forth with will glaze it and then when that dries we'll get our Sarah my white again and add some little pings little highlights here and there and then get back to the Opera Rose and start glazing that back down again and we do this three or four times and then the glow will be finished but I want to reiterate do not glaze any what ever on OSL only only glaze the pure intense color so it's getting there but we can make it a little bit more intense so we just keep on keep on adding layers of glaze and layers of white pre shade it's also important that you you put this glaze in the shadows where you you think that the the light wouldn't necessarily be touching like under the armpit and things like that or behind belt buckles and things like that where there might not necessarily be light touching but it's within the glow area so it will you will lose the effect if there if there are parts in the glow area that aren't pink but anyway just keep on adding more layers of glaze and until it starts looking as intense as we want back to Sara might want to enhance some of these these swirly bits that are in the immediate area next to the glow these areas should be more intense than the glow on the body because they're right next to the soul trap as well as these bits here on the shoulder they need a little bit more they need a little bit more pink so you can see on the side of that shoulder bit there that's just green it's not getting any pink so let's just appreciate it with a bit of a white on the edge and then get back to glazing it with opera Rose and that's really that's all there is to it that's how that's how you do glow and it was a challenge to come up with a way of making making this making a bright pink power source and in making it effective over dark green armor but you know just gonna have a think about what you're doing and give it a go very final stage of the armor we're just going to use some Sarah my white and just add a few little pings here and there pick out some of these swirls very tips we're gonna catch a little bit of extra light these breastplates that basically like arrows pointing at the head like hey look at me look at my face which is a good thing that's what we want we always want to try and draw attention to the face of the model so let's just make those as bright as we can and just ping out the the very points of the face part 15 color adjustments let's change the color of the soul stone let's make it pink like this all you're going to do is use opera rose and glaze it over each of the soul stones just don't get it on the on the white shine oh as you'll have to redo the white shine so we we made that soul stone of soul trap sorry we made that pink in the glow so having those stones as purple is clashing a little bit so you can see when they've been made pink they they work much better with the model and with the soul trap and I just want to say that the there has been no color correcting at all on this footage this is this is just what it looks like a raw so I put it all down to that opera rose color beautiful paint we want to quickly add a little bit of alpha line grade to the bone areas I love the color of the bone but it's it's a very warm you know ash of D bone and screaming skull they're very yellow in color very warm so alpha line gray is a very light blue gray color it's very cold so by adding a little bit of alpha line grade to these areas just makes the bone areas just a little bit colder puts them in puts them in a little bit more of a cold spectrum like the rest of the model which is very very dark green color you only the only exception being that hot pink color so we're at the end of the model where we're kind of looking over and going on this this color needs a bit of adjustment that color needs a bit of a bit of coldness added to it and all you've got to do is just glaze a little bit of something into it something that it needs is to change the hue or the color properties of it to some degree adding a little bit of a little bit to the skull here of a long grey and you can see it's starting to relate more with the face and the head which is predominantly a long gray going to do the same thing here with the dead skin cloth it already has a long gray in it but we want to live it more so we're gonna have these three areas that are very similar the bone the skin of the face and the dead skin of this cloth they're all very similar but they're all slightly different and they all have a few things in common with each other they've all got Karelia green shade or alpha line gray or incubi darkness rock our flesh all of those things they've all got them in common they actually all have a base of rock our flesh but they're all slightly different he's starting to come together now once again we're going back to KO Elia green shade for the gold we just want to make that gold a little bit more green again and I've had a bit of a bit of a relationship with this gold I mean been making a green and then highlighting it back away from the green and then introducing a bit more green back and forth but wear it like I said before we're in the we were in the color adjustment stage where at the end of the model I like to look over it and and just just tweak the colors just tweaking it's all we're doing and now I've decided that the gold needs a little bit more green there's simply glazing a little bit just a tiny little bit of Karelia green shade and also creating a bit of a shadow we can add a sneaky little bit of kolya green shade between the gold ring and the soul stone as well here and there if we need to just like that we're just refining everything this little bit here we made a mistake earlier it looked a bit chalky and streaky so all we need to do is get some incubi darkness and just glaze over and blend it out just being very careful making sure we don't muck it up and don't get any more streaks trying to get out the streaks and putting more streaks in so we're just being very gentle and a little bit there here and there where it's a little bit patchy just fixing it up now take note of the smoke on the sole trap here the tip of it it gets lost because it's black so what we're gonna do is use blue violet or jeans steal the purple if you want and what we don't need is picking out the very tip of it so makes a bit of white with that colour and just get it right on the tip so now we can see it it's time to paint have a bit of a space seen for the base I'm gonna get just using a growth Knight and mix it with water and slap it all over the base just whack it all over the whole surface area don't need to be neat or anything just get it on there quick and then switch to some called--or sky while that nagger off is still wet and start just blending this into it just get it in there just get a bit of that purple get a bit of the blue swirl it all together don't mix it up so that all becomes one color could get some more color or sky get that in there a bit of swell and action happen and bit of this bit of that bit up and down a bit of left to right swirly whirly a bit of water quick get some water in there keep it live right I use a compass and we're gonna draw a rough outline of a planet I'm gonna hit up so tech green now I'm gonna mix some water with it hit with a towel and we're about to get into it we're gonna start painting the planet no no yes we are we're going to paint the plant with this so tech green I'm gonna be really careful when we get to the horizon of the planet we don't want to get any paint any of this paint into the sky quickly paint the inside of it as fast as we can we're on a mission mission of painting this planet quick before it dries all fine gray let's get it quickly just start doubling some of it in here what we're doing well in here we're creating a bit of a bit of continents a bit of ocean and mountains mountain ranges whatever I don't know just some texture just get it on there and we'll think about it later queer to wipe it off we weren't happy with that we're happy with it now though getting some dots happening getting some randomness we want randomness to do the talking here because I don't know what I'm doing painting a planet I've never painted a planet before let's just let's just see what happens with the planet paint itself no it's going all over the place we need something to hold it down maybe we need to move it over a bit gonna get some called--or sky get a bit of that color in there don't really know why we're just doing it well we need some a baton black now I'm gonna create a little bit of depth yeah remember this paints would work in this quick so that all the paint stays wet and we can blend it together however you you don't want to mash it all up into one big ugly color that's he's been oh yeah the things I'm just gonna be bouncing around all over the place yeah so we don't want to mix up all these colors if we were to mix all of this together it's gonna be one big ugly color probably it's gonna be black and it's so important that we just let the colors swirl together but not fully mixed together and that's going to create interesting textures for us interesting textures interesting colors and the randomness that we want now he needs color or sky here we gonna paint some of this into this guy like a bit of a blue a bit of a blue haze we'll do the same thing with a baton black and it's thinned right down of course and this is enhancing some of the darkness of the space we want the edges of this base to fade to black I have a girl with this bloke checking me out he's just a million miles an hour here he's just doing a glaze over the planet well no he's doing not we're doing a glaze over the entire base and we're pulling we're pulling the colors together because that so Tech Green is a little bit it's a little bit green aqua color so just smash some called--or sky a little bit of black over at all and pulls it all together we'll get a bit of Z Rios purple happening in the sky and that's going to that's going to be the beginning of our kind of a pink cloudy nebula just going to be a bit of a feature of this base I think let's start painting some detail on the planet using rock our flesh and we're going to our fine brush now we're doing stipple stippling well we're not doing not quite doing stippling we're just kind of poking random dots and random shapes all over the place we don't really know what we're doing we are honestly being random here and we're letting letting the randomness dictate what this planet is going to look like so I'm being serious when I'm saying the planet let the planet paint itself let it do the talking we just got to think of a few things in the back of our mind while we're doing this think about things like oceans and continents craters you know those swirly swirly storm looking things when you see the planet from space all those sorts of things just think about them while we're doing this randomness and they'll start sort of shining through you'll start seeing them in the random patches that we're creating and we want to make the shapes and dots and everything that we do get thinner the closer we get to the horizon because that's how perspective works things will kind of thin out and flatten out the the further around the planet they go but as you get more towards the center down here shapes can be a little bit more 2d looking and sort of face on front on so you're just going to think of it a few basic concepts while we're doing this while we're being random so you can't be too random and just make things look silly it's got to think of a few basic principles while we're doing it we use some a baton black just continuing this and you'll start to see some kind of oceans forming or continent continents here got some dividing lines some like kind of inlet type things happening just by painting some black scribbling Lions starting to look like a real planet we've got kind of a bit of an ocean type thing there and back to rock our flesh and this is a very thinned down almost like we were going to use a glaze but we're stippling and the dots kind of get tight up as you get closer towards the horizon here we go it looks that looks pretty good not bad for I mean it didn't took me like it probably took me like less than half an hour to paint that and I'm gonna paint something like this these fellows these kind of Drew Carey battleships so the idea for this base came to me while in a dream and I'm fair dinkum about that it happened with my wife's car as well I had a dream about a white scar that was a samurai and then I had a dream about about this guy where he was on a base standing in standing inside his spaceship looking through a window that he's standing on looking downwards at an armada his spaceships he's fleet or whatever and they're all flying to war and it was really epic in my dream and I wanted to try and recreate that and believe it or not a lot of my ideas a lot of my cool ideas come from dreams and I have a sketchbook next to my next my bed on my bedside table have a sketchbook and when I wake up in the morning and I've had a really cool idea or whatever I get out or draw it out will write it down so I don't forget because you can easily forget your dreams and so I had to dream for this guy and the very next night I had a dream about the next model that I'm painting for you guys I'm not gonna tell you what it is because it's a surprise but it's really cool I can't wait to do it but my point is I go to bed I go to bed often thinking about what I've just finished painting or what I'm working on and I think that kind of helps me come up with the ideas in my dreams like I'm I go to bed I go to sleep thinking about it so I dream about it and then I wake up and I quickly write the idea down so that's one that's one way that I come up with the cool ideas the other idea is you've got to work an idea you can't just you can't just magically expect a light bulb to just go ping and you've just got a brilliant idea for something you sit down and work an idea your think about it you've got to try and force an idea to come up with it it'll work for it so a lot of the time when I'm when I'm especially lately when I'm really thinking outside the box for you guys that's what I'm that's what I'm doing I sit down and I go what's a what some what's something I can do that no one else has done and that's how that's how I came up with the Space Marine trapped in ice I had a different base that I had already built for that night Lord and I just basically put it in a bin because it was just boring and I said I said to myself how can I create something that's simple but awesome that no one else has seen sat down and and I just thought about it and you work for it you try and come up with an idea you know just wait for the idea to come to you anyway I'm rambling on a little bit and I do want to make a a full-on video about about it's coming up with ideas because I really want you guys to be coming up with cool ideas for your models like the generals for your armies and stuff like that and that's kind of what I'm focusing on I'm coming I'm focusing on generals and heroes and those really cool models at least at the moment but I want you guys to come up with this cool stuff and I'll show you how to how to have the ideas in the first place but I'm getting a little bit sidetracked here in we've all sort of lost a whole bunch of time here but you know what I'm doing at the moment I'm just you're just basically building up layers I started up these spaceships by sketching out a black shape and just gradually refined them and then started adding highlights and the highlights were mostly stippled because I found that you could here we go we're using our magical pink color again but I find that when you're doing something this tiny this end this detailed that's stippling basically creating tiny little dots created sharper detail then I'm trying to glaze because when your glazing you're kind of moving puddles of wet paint around and that's it's hard to get a sharp line so when you're creating when you want if you want to have a go this sort of freehand just kind of really detailed tiny freehand stipple the detail and basically work like a printer where a printer prints on paper with tiny little dots and kind of creates an illusion of something it's kind of what I'm doing here let's create some little turbo thrusters some little boosts little jets whatever you want to call them Sara might wait that's all it is just paint a little kind of little triangle shape a little boost no jet thruster and then we'll thin it down and just glaze around it push the push that thinned paint into the the solid the opaque jet part and that creates a little bit of a blur you can see that that opera pink that we've painted over the nebula it's the same concept as OSL that we did on them on them the archons body earlier we want to we want to pre shade or pre highlight with white semi white and then we want to glaze with opera pink over it here we're creating a bit of a glow on the planet because planets do glow in light travels around the around the globe because it's a sphere and light just kind of somehow it travels around around us see I'm not sure on the science on that but that's just how it works it's just a bit of thin down alpha I agree blend it around the planets circumference and we'll add a little bit of it all fine gray to the spaceships here just highlighting some of the little sharp edges I'm trying to really define some of the little details there here we're going to sharpen a toothpick much the same way as you would sharpen a stick if you were on Pandora and getting hunted by monsters and stuff then we're going to get a bit of blue tack on our thumb attach this 32 Milly's to it crack up the metal medium and this little base is gonna be a little mini pallet for us we're gonna mix some water with it stain that paint down a little bit not too much just a little bit and then we're going to use the toothpick to paint stars dot dot dot dot dot dot so the reason why we've got this attached to our thumb is because you can only get two or three stars in one go before the paint dries out it just makes it a little bit quicker having the paint right there only like an inch away from where you're painting it if you have the paint down on the on the palette on the desk paints probably gonna dry by the time it leaves the palette and touches the the painting now we'll use some colored or sky and glaze it around some of the main stars this is only going to create a little bit of a glow a little bit of a blue glow around some of those stars and the stars are gonna twinkle because we haven't used we haven't used white to paint those stars we use a metal medium which is metallic white so now when you actually tilt this base in in person when you're holding it those stars absolutely twinkle and they look real it's really cool it's a bit hard to to get that effect from just having a look at a picture like this but when you hold the base and you turn it and those stars they catch the light and they twinkle like real stars it's beautiful what we're doing here is just creating a bit of a halo effect around some of those spaceships just to make them pop out just glazing around them brightening those colors and here we go he's finished painting we need to paint the edges of this panel in this panel exists for context it needs to it needs to exist on the base because it needs to tell us that the Archon is going to be standing on a window or glass glass panel of some sort like he's on the bridge in a spaceship and he's looking down at his Armada otherwise if this wasn't there he just looks like he's standing in the sky or we're not sure what's going on this way this way we can see that he's in a spaceship because this is kind of this is the panel between two windows so we need to cut it down and sand the edges so that it's nice and smooth we don't need to go overboard with it we just need to make it level with the rim of the base part of 17 the base will resin let's get some masking tape and run it around the rim of the base and we want to keep the same angle of that base rim and you've run out of the tape so so we just had a second piece of tape and this is just a masking tape nothing fancy let's make sure it's all nice and stuck together and then we need to cut the bottom in the top of that tape now we're going to mix up some resin and there are lots of resins lots of different types of resins but you need a two-part epoxy resin and just follow the instructions on the bottle and just mix up a little batch be very careful not to get bubbles in it it makes it nice and slowly and gently and when you pour it we want to pour it a nice thin thin stream like this so if there are any bubbles those bubbles can sometimes come out of that thin stream and once it's dry take off the tape and begin sanding it down and make sure you wear a mask boys and girls another thing I like to do is wet the sandpaper cuz look at all this [ __ ] you don't want to be breathing all that anyway let's get a little paddle and some of this sticky sandpaper and attach it to that pedal and we can begin sanding the edge of the base the rim of it we're standing that resin down nice and smooth making it have that exact same angle as the rim of the base so we've sanded down to the plastic is fine now we're going to take a darker alder gun and make it a bit of a light or bit of tech or something again this is just context just to make it look like we're inside a spaceship so we just cut it down and then glue it to the base like so at this point we need to varnish the model we're gonna use matte varnish for the miniature and we're going to use odd coat or gloss varnish for the base and make sure you wipe off all of the dust before you do this because I didn't and I got a little bit of dust so you can see that it's not it's a little bit rough in parts but anyway it's not so it's not too bad we can leave it after we sand down the rim we can paint a bit on black using games workshop's bestest it'll rush the large base brush and we need a paint this little window panel with a baton black too yeah and really we should be using black primer for this is that what we will be using right now no no it is not but it's fine should be right thank you bye darkness that's what we're going to use to highlight the black just as we have for the rest of the model in all the other black areas highlight around the these edges and try and sharpen them up and then we can glaze them out towards the black just to create a little bit more of a smooth blend bit of transition and then Thunderhawk blue of course as the next stage for the black highlight we're going to paint this little thing here to look like a light kind of like I guess lucky in the Death Star that's kind of what I'm imagining this is kind of the Star Wars Star Wars is kind of an influence for me with this new in there like in a star destroyers or the Death Star and then looking at the windows at the space it's kind of what I was thinking when I was doing this so Sara Maya Wyatt I saw will use to paint this light we're not going to go too hard on this light by the way we don't want to make crazy glow comment off it or anything we don't want it to draw too much attention from the model we just want it to be there and to provide a bit of context and a bit of story to this base for those who are kind of interested in looking into the story of of a model so just little highlights little white highlights on the black as well popping those corners out making them look a little bit shiny we use some thin down alpha one gray and just flood that into this light just to fill up any any unpainted areas and give it a little bit of a blue color just a slight blue color and then we'll add a little bit of glow around the outside here just very subtle then we're ready to clip off the miniature and attach him to the base and wait now we need to locate where we're going to put him and I decided to put him quite far up the back of the base so that we can see the front detail and all that space seen so we've got to just press in that pin to the base and make a little mark and that tells us where we got a drill and once we've drilled a hole we can superglue him to the base and then we're all finished [Music] [Music] my friends because of you I'm able to create models like this I'm able to film them and produce them into videos and to teaching my ways and I appreciate that so much and because of you guys each model I create is getting better and better you know I can't wait to show you what's next until then happy painting in hooroo [Music] [Music] you

Channel: Mezgike

Views: 218,073

Keywords: warhammer, warhammer tv, chaos, how to paint warhammer, warhammer tutorial, osl, plasma glow, mezgike, abaddon, warhammer 40000, wh40k, warhammer 40k, painting tutorial, miniatures, games workshop, space marines, death guard, dark imperium, painting miniatures, 40k, painting faces, painting bone, power armour, golden demon, eavy metal, contrast paints, eldar, dark eldar, drukhari, archon, ynnari, Visarch, aelves, art, how to paint, dark angels

Id: EHS9QhYF5e0

Length: 151min 38sec (9098 seconds)

Published: Fri Jun 14 2019