How to paint Horus the Warmaster| Horus Heresy | Duncan Rhodes

[Music] every great story has a great villain the lord of the rings has sauron and star wars has darth vader and warhammer has of course horus lupercal in this video we're going to be showing you how to paint this magnificent miniature from start to finish using techniques that are easy to replicate and will get you a fantastic result and one to absolutely be proud of we hope you enjoy it and we'll see you at the desk before we can start painting horus we just need to take a look at some of the various assemblies i've built with the miniature because these are quite important for the way we're going to be painting the model essentially what i've got is horus himself as a full assembly and then i've got the scenic base now horus is going to fit into that scenic base later on and the scenic base itself is in a few components but this way you can see we've got two distinct parts which are going to be painted very differently i'm going to take a closer look at each of these as well starting out with horus and if we take a good look here you can see what i've done is glued them to a spare base and this is a 40 millimeter round base just here i've just super glued him very lightly underneath those tabs that fit into the scenic base just there and the idea is this allows me to handle him whilst painting him at the very end is going to be nice and easy to remove him from the base so we can glue him to the main assembly now also with a large resin figure like this there's probably going to be some air bubbles so you can see i've done a little bit of green stuffing to hide those and you can see there was some on the shoulder plate just there also i've done a little bit of green stuffing on the fur pelt just up here to blend together without a little bit of a gap and you can't really see it but at the pommel of the mace just away hidden there there's an air bubble too so i was sure to get that whilst putting the model together but there we go that's the main assembly for horus and for the scenic base things get a little bit more complicated because if you've not seen any of these prime ministers up close before they're actually designed to have a scenic base where you can display them in a cabinet or something like that but it disassembles for gameplay to a smaller base that's a bit more useful for the tabletop really so what we've got is the base prepared for that and you can see it here it's actually really large like a large broken marble statue and it actually does come apart because the base is hidden in the middle just here this piece comes off the back so there it is and that reveals some of the base hidden just in there you see and this then removes from there and there it is so this is the actual gameplay base that he fits into and you can see the base just hidden away down there now there is a bit of super glue fogged up on here and there's a reason for that and that's because i've put some magnets onto it to make it more secure so these three i just super glued underneath here and then what i did on the main part of it i've got three balls of green stuff and i pressed three magnets into it and i made sure that it was still you know pliable and not fully glued so that i could play around with it to make sure they all matched up so that this would lock into place so it's nice and secure and that is going to break now the magnets on the inside these three on either side these are all five millimeter by one millimeter in size so nice and strong for what we're doing here and also if you look at the back with a little piece that hides this part of the base here there's also some more magnets here now these are two millimeter by one millimeter and what i did for both of these was just cut a little gap inside all that little scenic rubble down there put some green stuff pressed them in and then on this piece i did the same thing some magnets on the back there were some green stuff made sure they all lined up so that this would lock into place as well and so that's nice and secure and it's not going to fall apart now all this is going to be painted together later on and we'll come to that later but first of all what we need to do is undercut everything then we're going to start painting horus so because these two parts are separate i can undercoat them in appropriate colours horus is going to be undercoated with chaos black spray and the base is going to be undercoated with some xandria spray so i'm going to go and do that now when we come back we'll start painting horrors we've got all the components undercoated and we're going to be starting out by painting horus and what we need to do is take a quick look at him because you can see as i mentioned i undercoated him with some chaos black spray and at this stage because he's so intricate just take a few minutes just looking around and all the nooks and crannies like the back of the cloak round there and things just to make sure you've caught that if you haven't what you need to do is just use a flat black of some kind something like matte black for the army paint or a brad and black anything like that just to make sure you get those parts fully black before you start painting some color on there and for a model like horus and indeed any of the primarks they're very intimidating at first glance because they have so much going off and so much intricate detail on their armor so where to begin the best thing to do is to look for the biggest part of them which in the case of horus is going to be his armor which is the serpent scales now this is mostly black with a sort of brass gold trim and there are some parts of green on there but what we're going to do is do all this together so all the components at the same time and it's best to start out with trim like this where so intricate by base coating that trim because we can do it quite roughly then neaten it with the black on the inside and having that chaos black undercoat's going to make doing that really easy so what we need is a nice brass color and for this i'm going to use some balthazar gold and to apply it what i've got is a regiment brush from the army painter and it's important to understand for this first step that we don't need to worry about being neat and to a degree you definitely want to keep it just to that trim but if you do go over it doesn't really matter because we are going to need them later on so don't worry too much about that it's going to make sure it's nicely thinned down so i want to bring it down to about this consistency here you see i'm just testing to make sure it's just a little bit inky not really really runny but it's also not as thick as it is straight out the pot and i'm also making sure my brush hasn't got loads of paint on there because it's very easy to overdo this because as we move in you can see especially with the breastplate the detail is so intricate and in some cases really fine it's very easy to accidentally gum too much paint on there and clog it all up so going into this what you need to do is just focus it towards that trim area but as you can see i'm not being too neat it's catching some of the flat panels but i'm just making sure the paint's kept thin so it doesn't clog that detail now doing it this way does mean you are going to have to apply the paint as multiple thin coats but don't worry about that just take your time just really you know make sure it's not too thick and it's not clogging anything up and just work around the miniature looking for any brass and this includes on the weapons as well [Music] and there we go i've picked out all that bronze trim and you can see i've got it on the weapons too and with that done we can now move on to the next step which is going to be to apply a washer at the top of this bronze and the reason why we're doing this now is because that detail's so intricate in some places it's quite hard to tell where it actually ends so by applying a wash over the top of it what it's going to do is fine line it and clearly define it too so in the next step when we start kneading up that black we can see clearly what we need to do and where we need to go with it so for this what we need now is a dark brown wash and the one i'm going to use is snag rags her shade and to apply it i'm going to stick to the same brush so still that regiment brush and with this all you need to do is use a palette i do recommend it here just to make sure there's not too much on there because again we don't want to gum up any of this detail but it means we can get the right amount on the brush there by just removing excess off on the tile and then it's just a matter of painting it directly over the bronze so for example on the chest just here you can see it's quite tricky to tell what's going off there but if we apply the wash over the top of it all of a sudden those wolf heads and details all stand out nicely and this way it'll be easier in that next step so now it's just a matter of applying this quantity over all this bronze and giving it about 20 minutes to dry [Music] and there we go the wash is completely dry and you can see whilst it's darkened that color down it has clearly defined it so perfect for what we need to do now which is going to be to neaten up that black plate and here what you need is a pitch black and this can be any sort of black you want in this case what i'm going for is doom death black which is on the two thin coats paints but if you want to stick to citadel then a bad and black is the colour to use here and if you want to go from the army painter then what you want to use is some matte black the choice really is yours whatever you go for though what you need to do is set this up and if you haven't got one already i do recommend using a wet palette for this stage because this stage will take a little bit of time it's gonna be neat with it having a wet palette really helps keep the paint pliable for a long time so i just need to get a little bit of this on the palette so there we go and then go for a brush with a really fine tip on it so the best one you can get hold of in this case what i've got is one from art stopos i've got a size zero for this but if you want to stick to citadel then a small layer is what i'd recommend here something smaller like that with a good point because we need that control definitely make sure you thin that paint down on your palette so add that little bit of wasp to it as you need to to bring it down to that inky consistency and once you've got that ready just twist away the excess paint so that you get those bristles to a nice point because what we're looking to do is to carefully apply this onto these panels in between that trim so for example on the breastplate just here you can see now the wolf standing out the lightning bolt and things what we want to do is carefully apply it into that recessed area like this just going up to that trim but not onto it so it neatens it up so we get that smooth black on the armor [Music] once you've finished kneading up all that black the next thing that we're going to do is apply a subtle highlight onto the black because there's quite a lot of it and of course this is pretty much as big as characters go in warhammer 40k and 30k so what we're gonna do is add an extra subtle highlight to that black star to build up towards the highlights which we'll add later on and for this what i'm going to use is some corvus black and to apply it i'm sticking to that size zero brush and with this what i'm looking to do is to thinly apply it on parts where it's going to be catching the light so it's still going to look black overall it's just going to give that black more depth and it's going to well really give a bit of shadow to it as well because that darker black is going to be showing through underneath and around the sides as well so for this what we want to do is thin it down so it's a little bit inky about that sort of consistency there and what we're looking for is areas where light would be catching on the armor so a really clear example would be on top of this leg just here what we want to do is apply this color thinly onto this area here so towards the top of it where that light source is going to be coming down from the top you can see i'm almost flicking it on there but i'm not going into the corner where it meets that trim so it stays dark in the recess and i'm also not going to be going underneath either so it goes darker as we go around the leg same on the other side we're looking at this sort of area here i just want to thinly apply it to the top there so again almost flicking it on along there like that and the same is true on all the black armor plates now there are some parts to avoid and that's on these little luna wolf icons that appear in his armor the background circle of it needs to stay pitch black because that's the night sky of that particular symbol so be sure to avoid that but on the other hand if you encounter any cables or any joints in the armor and they're a bit hidden away but there are some hidden underneath the back just there be sure to block them entirely in with this colour at this stage [Music] and with that we've now got that first subtle highlight on the black and we'll come back to that black later on but before we do so what we need to do is just knead up the trim first of all and then there are a few other colors that we need to add on as base coats so for this we're going to return to balthasar gold first of all for that trim but then after that we're going to add in some lupical green followed by some gorthol brown now first of all we need balthazar gold and to apply it i'm sticking to that size 0 brush and here we don't have to do all the trim we're just looking for the parts that are larger and flatter we just want to bring that shine back to some of those areas so there's not actually loads to do for this part but it is important to make sure that paint is under control because it is intricate unfortunately so just make sure it's nicely thinned down and just remove the excess off your brush because you're really not going to need very much here what you do need is that fine tip on the bristles so once you've got that control there what we're then looking for is these parts such as this one here on the chest you can see how there's this wider trim going around this part here all we're looking to do is to carefully apply it onto these flatter parts such as around here and around this eye design and as i say it's just to bring that shine back to these little parts here so really we're just looking at these sort of more open areas including on the shoulder just here and in the eye of horus symbols around here like this when it comes to the narrower trim such as along here you don't need to worry about that because it's so narrow the highlight's going to do the job for us so just look for these more open places and just gently lay out on each one just to bring that shine back to them [Music] with that done now you can see we've got a nice shine return to those larger parts of the bronze and so now we're going to move on to lupercal green and this is for this shoulder plate at the top just here now blocking this in is a little bit intricate because we've got to avoid all of that trim but it's just a matter of taking your time and being aware that this is quite a thin color so we'll need a few coats to build it up i'm sticking to that size zero brush to keep that control but it's just a matter of being patient [Music] once that green's been built up we're then ready to move on to goth or brown and this is for the leather straps and they appear here on the groin and also they're on the arms too and for this i've switched up to a size one brush because it's quite easy to access this area so good for base coating here but if you want to stick to citadel then go for a medium layer brush for this [Music] once you've finished base coating that leather too the next thing to do is apply another wash to the miniature and this time is going to be a black wash for that dark green that we've added and also the brown detail just to give it that definition and that depth and so i'm using normal oil for this and to apply it we're going to do is change brush sizes depending on which part you're doing because that green as you know by now is quite intricate so here i'm sticking to the size zero brush flat control but for the leather straps feel free to go for whatever size you like just as long as it keeps only on that leather but for the green what i'm going to do is use the palette just to make sure i don't have loads on the brush here and even some tissue to remove excess because what we need to do is just introduce it into that recessed area in amongst all that bronze trim so for example here what i want to do is just approach almost straight on with the brush and just gently introduce it into the middle and just let it flow outwards so it meets that trim and gets that shading and definition around the outside edges of the green [Music] once our wash is completely dry we've now got laid in the majority of the colors up here on the armor so what we're going to do now is start the highlighting process here i'm going to start out with that trim for this what i've got is some liberator gold and we're going to be doing is edge highlighting with it on all of that trim which is actually not as difficult as it might first appear because a lot of it sort of raised up and stands out quite clearly so it's quite easy to get to but for it you definitely want to go for a brush with a really good point on it so here i've actually gone right down to a size double zero from artist opus so nice small brush here lots of control on it ideal for what we're doing if you want to stick to citadel then you're looking at something like a small layer brush really just a nice small brush with a good point and here the trick to it is to make sure it's nicely thinned down so that it flows easily from the brush but not so fast that it runs out of control because you don't want to swamp that detail with this so it's a matter of bringing it down to this point where you can see it's almost inky and how thin it is it's quite translucent on the palette there too but also it's flowing easily from the brush and see i'm just playing around with it on the palette and seeing how it flows from the bristles and it's nice and smooth there so i'm happy with that now the next thing is just to make sure you don't have loads in your brush so i'm just going to use a tissue to remove excess paint draw up a small amount and if you look close at the bristles now it doesn't let as much paint on there when i run it on the pallet you can see it does leave the trail behind so that's the sort of load that we're looking for with this this way we won't go out of control and so what we're looking for is all of that brass trim that we picked out and the brass details and the weapons and what we need to do is highlight all the parts that stand out so you can see the edge that stands out quite distinctly on here this is why it's relatively simple to do this for majority of it because all you've got to do is angle your brush fairly flat against it and just skim along with the side of the bristles like that the color only catches that raised area and this way it's very quick and very easy to get a nice highlight running across that edge and the same is true for well most of it really you just got to make sure you angle the model slightly comfortable and so you can approach using the side of your brush and then just take your time just gently skimming across those details just as neatly as possible now you won't always be able to do this and that's when you have to use the tip of the brush and that's when this highlighting process is a bit more tricky but to do it what i do is really brace my hand so nice and steady so make sure you've got that point on your brush and then painting downward motion towards yourself so for areas like here where it's not standing out quite so much this way you can go downwards and follow that edge and get the highlight on the corner to help it pop without it running out control or being too wide or anything like that so now it's just a matter of taking your time and this will be one of the longer stages of painting horror simply because there is so much trim to do here but it is also one of the points that if you get it really neat it's going to look fantastic when you're done so just really take your time and be as neat as possible [Music] and there we go it took a little bit of time but you can see now we've got a nice highlight applied onto all of that trim and so it's popping out nicely and so now what we're going to do is move on to highlighting the black and to do this we're first of all going to return to corvus black but this time bringing some mechanical standard gray to it to make it a little bit lighter and it's going to be the first highlight which is going to be soft so we're looking for where the light is going to be cached on top of the armor and after this we'll then move on some edge highlighting finish stuff but first of all what we're going to do is get that mix ready and so you can see i've already got some coffee black still ready from previous stages but now it's going to bring some mechanical standard gray into it and for this i'm still using that size double zero brush here because we only want a small amount of it and we're looking to create that slightly lighter shade of black really well a dark grey and this sort of tone is what we're going for now we need to make sure it's nice and thin because we're going to be thinly applying it onto this surface just gradually to build it up so what we want to do is bring it right down to that sort of consistency nice and translucent you see and then to make sure you've only got a small amount on your brush and then it's just a matter of identifying these areas where the light will catch the armor plate so for example on the leg once again around this top area just here what we're looking at doing is just applying it into this area just around here so it gets a little bit lighter towards the top of it so it's almost a crescent shape that i'm applying on there same on the other side where again we just want to dot it on very gently like that just to steadily build it up so we get that lighter tone towards the top of the armor [Music] once you're finished with that soft highlight we're then ready to move on to those edge highlights and here we're going to be applying two first of all just mechanical standard grey on its own but then after that what we need is a light gray so for this i'm going to use some administrator and grey but we're going to be starting out with the mechanical standard gray and for this i'm sticking to that size double zero brush and here it's just going to be an edge highlight so just like what we did with the gold the good thing about the black is there really isn't that much to do with this stage but there are still a few edges that we do need to pick out just to give them that sharp finishing touch so make sure your paint's thin down for the purpose so make sure it's nice and smooth and also remember just make sure it's flowing well from the brush but also that has not loads on there because what we want to do is again wherever possible going with the side of the brush so around the top of the armor for example some approach using the side and just gently skim across that corner to get a nice highlight going across that edge looks nice and clean just to help finish this detail off now of course you won't always be able to reach for the side of the brush so sometimes you will need to have to paint downwards towards yourself using the tip such as around here on the top of this part of the armrest but just very carefully follow it just taking your time to get that neat highlight [Music] once that's done we're then ready for a fine highlight using administratum gray and this is again an edge highlight but instead of everywhere now on the black details we're just focusing it towards sharper corners and details that pop out more so for example on the top of the armor just here see i'm just focusing it towards this corner it's very lightly skimming it along so it gets a little bit lighter and it helps it pop a little bit more when it comes to curved surfaces we're looking for the areas where the light is going to catch in the case of this one across top of the head that means just applying it just along the top middle along here [Music] and there we are with that the black armor is complete and so what we're going to do now is move on to highlighting some of those smaller details i'm going to return to that green first of all to do this we first need to layer it with some lupical green once again just to make it a little bit lighter and so to do this i'm sticking to that size double zero brush because as you know the green area is actually really small so we need a lot of control here you won't need loads of the paint but the idea here is to layer this towards the middle of this area just to make that green just a little bit stronger and as i mentioned earlier it's quite a weak pain to just bear in mind you will have to build this up with just one two layers of it so you need a small amount and then once you've got it ready what we're looking to do is to carefully start applying it into the middle of these areas so for example between the eye just there in that chain we just want to apply it just into the middle very carefully around that area there leaving it darker on either side in the corners [Music] once that's done the next thing to do is to apply a highlight onto the green parts and for this what we're going to be using is sons of horus green and to apply it we're going for a smooth highlight so it's going to be a lot like when we're highlighting that black what we want to do is just get some of this only a small about but thin down so we can apply it as a few coats to really build up the colour so we just need to get a small amount on the palette and again i'm still using that size double zero brush and as i mentioned what we want to do is just add that water to it to make it nice and translucent and a little bit inky so just bring it down to about this sort of point here so you can see the palette showing through there and with that prepared then we just need to start applying it onto the green panel but towards the top where the light would be catching it so in the case of this side here that means just painting it towards the top of this part around there just on the inside there and on this side just here and once that's dry just a second coat in the same way on the back of it again we're looking to go towards the top so we're looking at this area just here right underneath the eye symbol on top of the shoulder pad [Music] having built up that sun's a horus color there you can see now we've got a nice highlight on that green panel on the shoulder and so now what we need to do is to highlight those leather straps that we did earlier on and for this the color to use is some vein blade brown and to apply it again stick to your small brush so i'm still using the size double zero here and what we're looking to do is to apply it as an edge highlight a bit like with the armor but slightly rougher and also adding just a few little lines in there just to give the impression of texture because we want this to look like old cracked leather so to do this setup as if you're going to be highlighting so just making sure that paint is nicely thinned and again just making sure you don't have too much of this on your brush so we're looking for about this sort of consistency i think that feels about right and then just remove the excess and then we're ready to go and what we want to do is when we're applying it rather than just smoothly applying it want to be a little bit rough in the application so as i'm putting it on here i'm just going to be dotting it ever so slightly so you can see i'm just letting my hand shake just a little bit as i work my way down and this way i don't get a consistent line instead i do have a line but it's just a little bit rough and a little bit uneven can always go back to it to emphasize a bit more if you want to but then as you're going along every now and then just introduce a few little lines going out into the flat of the leather so just very gently like that just to give the impression of a few cracks in it just to help build that texture a little bit more [Music] and with that done the leather is now complete and so what we're going to do now is move on to the next area of color because all that black and gold armor with all the green and things we've pretty much finished all that now and so what we now need to do is start painting all the silver detail that appears around it and under it and for all of this what we're going to do is start up the base coat of iron hand steel and then wash over it with some normal oil some definition and with a black wash like this it'll look nice and clean after that some select parts will need to be layered using iron hand steel once again to make them a bit brighter then finally we need a highlight of storm host silver we're going to start out with iron hand steel for the base coat and to apply it i've switched to the size zero brush here but you will need to change sizes a few times throughout this phase because some of these details are quite large some are quite small just change depending on what you're comfortable with but throughout the process as ever it's a matter of making sure your paint is nicely thinned down and then you just got to identify all these details and they are scattered across the miniature but generally you're looking at mechanical kind of things so for example in the leg army you can see as these pistons are visible just in here we're looking to get details like this so it's just a matter of just being as neat as possible blocking this in around the surrounding area that we've done already and just really taking your time remember to brace your hands here nice and steady so you're not shaking so you can be neat as you're doing this in addition we're looking at things like cables there's some mechanical parts in the bolt on the back of the wrist just here also the claws too but the thing that we definitely need to get at this stage is all these cables that appear around his head now these can be a little bit tricky to get to so just make sure you angle the brush this sort of way here just so you can carefully move in and just get the metal details that are visible and don't worry too much about getting everything just as long as the parts that are more visible are painted silver then that'll be absolutely fine [Music] once you've picked out all those silver areas the next thing to do is apply a coat of lawn oil over each one and for this again change brush size as you need to i'm starting out with a size zero and you can see i'm just being really careful just making sure i only get the black wash over the silver [Music] once that wash is completely dry we're then ready to return to iron hand steel and this time we're going to layer it onto the silver details and really the larger more open ones to make them a little bit shiny so the talon for example on the fingers just here this is a great place to do it what we're looking at doing is applying this silver onto the flatter surfaces whilst avoiding the recesses so just being careful to get that rivet at the top and this way you can see it returns the shine to that detail and makes it look that much sharper [Music] and with that layering done we can now move on to highlighting all the silver and for this what we need is some stormhost silver and this is going to be just like with the gold we're looking to edge highlight all of it and this means switching down to that smaller brush so i'm back to using the size double zero and wherever possible you want to use the side of the brush to skim along these edges but if you can't quite reach it remember just switch to using the point of the brush and to do this it's all about just turning the model see nice and comfortable just so you can find those edges and follow along each one now if you want to at this stage as well what you can do is add an extra fine highlight to the gold to really help finish that off and if you decide you want to do this look for the sharpest details that stand out to the top of the knee just there just gently skim across it just to add a little bit of that silver onto the sharpest point just to help finish that off [Music] and with that the silver is now finished and so we can move on to the next thing which is going to be to paint that wolf pelt that goes over the top of the armor for this we're going to start out with a base coat of a dark gray so i'm going to use some mechanical standard gray here and to apply it i've got that size one brush once again and with this all looking to do is block it all in essentially so what we need to do is just set it up that base coat by as ever making sure the paint's nicely thinned down so it's nice and smooth and then it's just a matter of taking your time blocking this in now the texture does mean that doing this can be a little bit frustrating because you do need to work it into all the nooks and crannies as you go along but don't get carried away doing it because it's very easy to lose control the bristles and get the colour onto parts i've done so far especially around this targeting lens just here so just take your time as you get close to the details like this but otherwise as you get to more open areas you can be a bit quicker but it's just a matter of making sure all of this is blocked in at this stage [Music] once you have that even base coat on the pelt all the way around including on the back there the next thing to do is to apply a wash onto it and here what we need to do is get a nice earthy natural feel to it so we're going to use a brown wash for this to start out with so what i'm going to use is some aggressor shade and to apply it i'm going to begin with that size 1 brush but feel free to have a larger one on hand for the more open area across the top but as you get to the edges around that detail especially the top of the armor you do need that control so definitely keep a brush of about this size for that purpose also i recommend use the palette to draw from just to control exactly how much is on there because when painting this on what we need to do is be careful and what i recommend you do is start by applying a distance away from the edge of it so around there for example then once you've got some of that wash on there and just draw it down to the edge just bring it down to it this way you'll have much more control as you get close to that detail [Music] the wash is now completely dry and you can see it has darkened that belt down quite a bit but that's okay because now what we're going to do is move on to our first dry brush to start to lighten things up and dry brushing is perfect when there's loads of texture here what we need is a medium gray color so i'm going to use some dawn stone for this and i'm going to be driving it on there's kind of two phases to this i'm going to be starting out using a small dry brush here from citadel and with this we're looking to do the majority of it so all you need to do is get a small amount of the paint in the brush and get some tissue and just start working it into the bristles whilst also removing the excess paint until there's not that much appearing on the paper so that sort of appearance just there and then with this what we're looking to do is a fairly broad dry brush across all of the pelt so we're looking for the main body just here i'm gonna go back and forth just building up that color really working it in so we get that lighter gray starting to catch onto that texture now the reason why i've got a second stage here is actually for a different brush because as we get towards the front here starts gets quite tricky as we're getting close to the detail we've done so far so for that reason i've got a second brush and this one is actually a regiment brush and the army painter now this is an older one that i keep around for this sort of purpose because i'm going to be sort of dry brushing with it but it just gives a bit more control than what the main dry brush does so you want to set it up in a similar way just a small amount of paint there i'm going to do is just start running it into the brush so you see the motion i'm doing here i'm not being super rough with it to keep the bristles together but i am doing the same sort of thing in that i'm removing excess paint off and just making sure the paint on the brush is pretty dry and then with this what i can now do is have more control as we get close to that detail because you can go in at this sort of angle here just start gently brushing across it and this way you won't go over the parts that we've already painted so far [Music] once that grey's been built up to this point the next thing that we need to do is apply a darker pattern in the center of that fur because in the box artwork what you've got is a bit of a dark patch there and to get that we're again going to use a wash this time a black wash so what i've got is some non-oil and to apply it i'm going to be using a medium shade brush from citadel so surprisingly large for this kind of thing but that's because of the sort of area that we need to cover here and the method to do it so what we need to do is just start out with some of that on the palette so a good amount loaded up in the brush and this we're just going to start by applying it in the center of the pelt so looking at this sort of area around here the reason why i've gone for this larger brush is just to get a good amount of that paint to really make it run into that texture so we just want to work around this sort of area like this now the idea to make it fade out into the surrounding area is to bring it up to about this sort of point here towards the bottom of the pelt just there and then quickly wash the brush and just make sure i've got a little bit of water in there not loads and loads but just enough so that what we can do is just start smearing it over where the paint ends and pulling it downwards and this way what it will do is fade out into that gray surrounding it [Music] the wash is now completely dry and you can see it's given us that darker patch in the center of the pelt which is great because now what we can do is work on that to build up the light part surrounding it and for this we're going to do some more dry brushing by first of all returning to dawnstone and then after that we'll need some administer item gray followed by some pallet witch flesh but first of all we need dawn stone and to apply it you can see once again i've got both brushes and just change as you need to as you get close to that detail but i am starting out with a small dry brush here from citadel what we need to do is set it up again for a very light dry brush and then the idea here is start working around the outside avoiding that darker patch that we've got in the center so this color for example we're looking at going down areas like this tail just along here but only going up to around about this point here so you can see by lightly applying it and building it up it stays darker in the middle but gets lighter as we get further to the outside [Music] with that done we're now ready to build up that colour a little bit lighter so here i'm using some administrative gray and you can see i'm starting out with that regiment brush right to begin with now because we're going a little bit further out and so closer to that existing detail so just take your time just making that grey lighter towards the edges of the belt [Music] and then finally we need some palette of which flesh and this is once again a dry brush but just very lightly now around the outer edge of the petal to look at areas which is down here and these edges that go really close now to the detail of the armor [Music] and there we are with that all that fur on the pelt is now painted and so we can move on to the next thing which is going to be to paint his red cloak and for this what we need to do is start out with a really strong base coat red so we're going to use here is mephiston red this isn't really a weak paint or anything but you do have to go into this expecting to have to apply it as a few thin coats because we are painting it straight over black so it's going to take a little bit of time to build up and it is important that it's as smooth as possible because we are going to be doing some blending on it so we want a nice smooth surface to work upon so definitely make sure that you like paint thin down in your palette and for this i've actually started out with a monster brush and the army painter so nice large brush because most this cloak is very easy to get to and it's quite large so good for base coating it but you might want to have some smaller ones on hand when you start getting around to the detail underneath the pelt especially because you'll need much more control around those areas but throughout this process it's just a matter of making sure that paint is nice and smooth and once you've done so all you've got to do is start blocking it in so we're looking at all of the cloak around here just need to apply a few thin coats to make sure it's a nice strong red before you move on to the next stage [Music] there we are that red's been built up and it does take a few coats to get it there but it is important it's nice and smooth for the next step which is going to be to start to do some shading on here and what we're going to do is do some wet blending with it we need some a fist and red once again but now we need a pitch black so go for the same one they used earlier on in this case i'm using doom death black once again and what we need to do is just create a variety of tones on the palette now for this i'm using a regiment brush you can see i've got my black here and i've also got the red what i'm looking to do is never actually use pure black but instead i just want to have a variety of tones of red so i'm going to bring some of this into it and just start mixing these two together like this and so what i'm looking for is this sort of really dark brownish red there like that but also i want to just bring in a bit more of this red to get a slightly lighter tone going off just there as well so there we go you see this way i've got a variety of colors all prepared and i'm just going to get a bit more of the pure red as well just a bit more of that ready there we go and so with this prepared then what we can do is start to apply it and the idea here is that what we're going to do is start introducing the darker shade of red into the deeper recesses on the fabric but whilst it's still wet then also start applying the lighter red and just mix the two as we go along on the miniature itself now it sounds complicated but it's really not that difficult really you just have to get into it and just have the confidence to give it a go and so what we need to do is to help out with this is just make sure that paint's thin just a little bit and then i'm going to start with that darker shade so with this what we're looking to do is to introduce it into those deeper areas so for example on here we're looking at painting it directly into this corner down here so i just want to paint it in this area there like that and then whilst it's still wet i'm just going to quickly grab some of that brighter red and i'm just going to start applying it on the side like this and you see by just doing this downward motion like that the color mixes directly on the fabric and it starts to blend the two together now that darker color is quite strong so i'm just going to get a bit more of the brighter red and just to bring that on top of it there like that and you can see as long as you're quick you can get that nice gradient going from dark to light now if it's ever too starker transition in one go then don't worry about it just let it dry and do a second coat over the top because like anything multiple thin coats will really help build it up so it's just a matter of taking your time and playing around with it and this way you start to get that nice shading in the deeper recesses of the fabric [Music] and there we go that's the shading applied now it takes a little bit of time just going back and forth between the colors just adjusting it as you need to but you just need to stick at it until you get that smooth gradient happening there on the inside as well with that done we're now going to move into the highlights here and for this what we need first of all some evilson scarlets but again at the same time i'm going to be using some of this and red because once again we want to blend them as we apply them so we need to get all ready first of all i'm using the size 1 brush here from our supers this time just for a little bit more control because now this is going to be just a little bit more focused as we apply this you don't need quite as much of it with as with that previous stage but it's still a matter of just getting both these really next to each other on your web palette once again so there we go and then we just want to start bringing them together so we got that variety of tones now these two colors are already quite as close to each other so actually this is quite straightforward doing this stage but having the variety there that you can draw from means you can adjust quickly on the fly as you're applying it and again the way to do this is to start out with the light color in this case so we're looking at using some evils and scarlet we just need to get some as ready so it's a little bit too thin there so there we go and then let's get not too much on your brush and with this we're now targeting the parts that are more raised up so for example on this part of the cloak just here we want to start applying it onto this kind of area so away from the darker parts more in the middle just at the very crest of the fabric so all the way down and then quickly whilst it's still wet we're just going to grab some of the mix of the warmer fist and red tone and just to apply that next to it to help just blend it into that surrounding area [Music] with evil sun scarlet now applied you can see now we've got a lovely rich red going off with the cloak and we're ready to add a highlight onto it for this what we need to do is go a bit brighter so here we're going to use some wild rider red and to apply it what i've got now is a smaller brush i've gone for a size zero one here and with this what we're now looking to do is to accentuate the outer edge of the cloak so following it all the way around except for the darkest areas but also what we want to do is to pick out the sharpest creases on the fabric too so you need to prepare the paint as if we're going to be edge highlighting with it really it's making sure it's nice and thin again testing it for that consistency and just making sure it's flowing well from the brush and then with this to begin with what we need to do is to look to those parts that are on the outside edge and here you can actually use the side of your brush so for example these curves we've got around here so make sure you angle it so you're approaching with that side of the brush and then just gently skim across these parts where it's strongest and brightest so going down to about this sort of distance here then leaving it darker in the recess and carrying on again on the other side to around about there now also we want to use this as the final highlight on the actual curves the fabric too so here what we're looking for is the crease this is just this one just sweeping around here so i want to very carefully using the tip of the brush just follow it down with this sweeping motion all the way down the very top of it just to give it that final highlight to help finish it off [Music] and with that highlight applied the red of the cloak is completed but we still do have to do a bit of a trim because you can see just as a key line around the base just along there there's a little design so we need to pick that out and for this what we're going to go for is a sort of goldish kind of effect and to do it we need to start out with a base coat of some zandry dust now to apply it's definitely go for a brush here with the fine points you are going to need it for this because we've got to pick out that pattern so it requires quite a lot of control so i'm using a size zero artist opus brush for this one and to get it ready again it's just a matter of making sure it's nicely thinned down so you've got that control over it and then with this what we're looking to do is use the tip of the brush to pick out that pattern so it's a bit like free handing but you have already got it laid out there for you so it's not as difficult as just doing it purely you know on your own so what we need to do once that's ready just test on the palette make sure you're happy with that and that looks good to me well then ready to do is to start tracing along this pattern so you can see around here with our eye symbol and then the banding going down what we want to do is just very carefully move in and just very gently follow it all the way around just turning the model as you need you to be comfortable just very carefully take your time picking out that raised pattern now when it goes especially dark like in the deepest area there don't worry about that for now because we're going to come back to that in the next stage so instead you just want to go close to it going to around about that point just there you also need to pick up that eye symbol and for this again it's just a matter of just turning the model and being comfortable as you do it because i'm really bracing myself so i'm nice and steady but just take your time picking out that raised pattern [Music] with the trim blocked in the next thing to do is apply a little bit of shading to it and for this what we're now going to do is bring in some rhinox hide but i've still got some xander just to use at the same time because it's kind of two stages to this first of all what we need to do is mix a slightly darker color so you can see i've already got some zander just just here what i'm going to do is just get a little bit of rhinoxide and just start mixing them together so we get a darker tone so we're looking for something in the region of this sort of color just here and with this prepared what i'm looking to do is to apply it into the recessed parts and the cloaks where it dips in and it's going to be in shadow so it's going to be tracing along where you've done the darker colours really originally when doing that cloak so with that prepare then what we're looking for is going to be areas such as in this little area just here so you can see it's a little bit hidden away what we want to do is again follow that raised up area and just apply this into here so we end up with that unbroken line of this color going all the way around but as it dips into that shadow it just gets a little bit darker so it stays consistent with the rest of the cloak now in addition there's another thing we can do at this stage using rhinox hide on its own and that is just to get a bit of sharpness and definition between that banding and also the red cloak itself and for this we just need rhinox height on its own but just make sure you thin it down more now so we're making it quite runny really quite inky we want to go for about this sort of point just here and with this just make sure you don't have much in your brush so just remove the excess so you've got that fine point on there and with this what we're looking to do is just run it into either side of that raised up line so for example in this part here just want to very carefully just look at that recess between the raised apart and the flat of the cloak and just gently run the color into here and this will provide just a bit more definition between these two details [Music] with that we've now got much more definition on that pattern and so we can move it on towards highlighting it and for this what we need first of all is some of shabti bone followed by some screaming skull and then what we're going to do is glaze over this with some really thin down iron and yellow and what this is going to do is give it a bit more of a gold sort of luster for it but first of all we need a shabti bone and to apply it again stick to your smaller brush so i'm still using the size 0 here and with this what we're looking to do is to sort be layering it really focusing on the parts that are raised up so remember where the highlights were on your cloak it's that sort of location that we want to apply this so as ever make sure it's nicely thinned down and quite translucent as well we want to bring it right down to about this sort of point here and with this prepared then we're just looking to focus on those areas so on these parts the cloak for example up here what we want to do is to look where the highlight was and to trace along that sort of area with this color again following that race pattern just very carefully very thinly applied into this sort of area along here [Music] next up we need some screaming skull and this is going to be a highlight on the parts where it's going to be the brightest so again we're looking at these parts of the cloak where it's lighter we just want to add a fine line of this colour just going across the very top of it so just very carefully along areas such as here [Music] and then finally what we need is some iron in yellow which i've heavily thinned down with water because this is a contrast paint and what instead we're using it here for is a glaze we just want to hint more of a yellow across this detail so once it's thinned down all you need to do is just very smoothly apply a thin coat over the top of this detail just to give it that little hint of yellow [Music] and with that the cloak is now complete and so we can move on to the next detail which you can actually spot just around here because what we need to do now is to paint in the skulls up here on the back of the miniature there but also there's some claws and teeth up here in the wolf pelt so we can do them at the same time and for this what we need to do first of all is base coat all of this with some zandry dust and then on that wolf pelt you can actually see its gums a little bit so here we need some screamer pink but first of all what we need is zandry dust and to apply it i'm sticking to that size zero brush and for this step all i've got to do is base coat these details in so it's just a matter of getting that paint thinned down ready for the purpose make sure you don't have too much on the brush so you have the accuracy with it and then it's just a matter of picking these details out so we've got these skulls to begin with just being careful those gold designs that are on them so just block them in all the way around like this but also keep an eye out for the claws which appear down here you can see there's some just on the very end of the arm of the pelt and also we've got the teeth round here too so be sure to get them at this stage as well [Music] with that base coat done we can now move on to screamer pink and this is for a really small detail but we do need to do it just for the little gums are visible right in here [Music] that little detail picked out the next thing to do is to apply a wash over both of these colors and for this what we now need is a dark brown wash so i'm going to use some agraxer shade here and to apply it i'm going to stick to the size 0 brush because we don't need loads of it but we do need to keep it just focused on these new areas especially on the mouth of the wolf just there you don't need to run out of control so just use the palette to control how much is on your brush and then it's a matter of just painting over these areas so again we've got the gums and the teeth and the wolf here and also there's going to be its claws on the back of the pelt so just very carefully apply over these parts but of course we do have these skulls on the back too so be sure to get them as well [Music] that wash is completely dry and so now we can move on to highlighting these details and here i'm just going to do the bone details because the gums we don't want to be too bright and catch too much attention because it is an animal carcass so they should be faded and we don't want to be too distracting or anything but for the bone what we're going to need is some of shabti bone followed by some screaming skull so we're going to start out with a shabti bone and i'm sticking to that size zero brush for this and here what we're looking to do is to really pick out the more raised areas and avoid the recesses so mostly we're going to be layering with this color really so what you need to do is just make sure it's nicely thinned and translucent for the purpose so there we go and just make sure there's not loads in the brush and then the skulls what we want to do is to start looking for those raised up areas so for example on this one just here it's a matter of just looking for areas such as the forehead and not going quite to the corners where it meets that gold design so just very gently there like that and following the eyes all the way around and around the nose areas like that and then just start dotting along the teeth so it's just picking out those flatter more raised up parts when it comes to the teeth though in this case what we want to do is to start painting downwards towards the tip of them leaving it dark at the very base of it where it meets the gums just there so we're looking at this sort of area just here in this downward motion it's exactly the same on the claws too just to get that nice highlight going down towards the sharpest part [Music] once that's done we're then ready to move on to a highlighter screaming skull and on the skulls that means just looking for the most defined features and gently picking them out so that's gonna be areas such as around the eyes just here and also the nose and the teeth but when it comes to the claws and the teeth on the wolf hole we're not going to do here is instead just focus the color towards the tip of them where it's sharpest so just very gently down to points such as here [Music] and there we are all that bone detail is complete as are all the claws on the pelt and the teeth on it too and so now we're going to move on to the next feature which is actually a major one on this miniature and that is horus face because it's such a big character here what we're going to do is push this further and for it what we need to do is start out with a nice warm brown to get things going so the color i'm going to use here is scrag brown and to apply it i've got my size 1 art soaps brush and with this all we're looking to do is to base coat all the face at this stage so all the flesh that we can see so make sure it's nicely thinned down but remember we are applying this over a black undercoat so you will need to do two or three thin coats just to build up the color but it's importantly smooth before you move on so with that prepared it's just a matter then of blocking the skin in and we're looking at just here take your times you're doing this because of the hood around the top of the head just there so just really be as neat as you can as you're painting all of the flesh [Music] with that base coat done what we're now going to do is start a process of adding in lighter colors working our way up through them to create highlights and that definition on the skin and to do this what we're going to be doing is sort of in between stage here because we're moving towards using kdm flesh tone but it's too much of a jump in one go so what we're going to do is mix it with scrag brown and then do that as an in-between stage so that's what we need to do now see i've got both the paints ready and i've got a size zero brush now from art sopas and i've still got the scrag brown from the previous stage what i'm gonna do is just get some cadium flesh tone and put it onto the palette next to it so it's gonna build up a fair amount of it just there like that and then what we're looking for is a color that's sort of in between the two so we need to do is just bring them together in the middle and this way by mixing them in between the two major parts of the paint you can see the sort of tone we're creating and so you can adjust it as you need to we're looking for something like this it doesn't have to be exact but just something loosely like that is absolutely fine and then we just need to make sure it's nicely thinned down so we've got that translucency and make sure it's under control as well so with this the idea is to start applying it onto the skin on the more raised parts whilst avoiding recessed details so we're looking at avoiding things like wrinkles next the nose that sort of thing so once you've got that fine point in your brush prepared you just got to start looking to i'll avoid that sort of thing as we apply it to the flesh so for example if we go around the face here we're looking at just following the nose down there and down the side of it but when we get into the deepest part just there where it arcs in it's going to skip past it and carry on again just past it so just underneath here underneath the eye on the cheek and then we're just going to bring it down to the mouth now again i'm just going to leave that little recess darker where we actually go to the lips here so we've got the upper lip just on there and then we've got the lower one as well and then skip past the recess again to the chin so you see now it's getting a little bit lighter we're starting to get some definition showing and it's just taking your time and just steadily building it up now you can see this first cut i'm applying is a bit translucent which is ideal because what we want to do is gradually build it up especially if i look at the forehead just here see thinly applying it if it's put on correctly and it's nice and thin it'll dry relatively quickly so i just need to pause and just let that settle and then we're ready to go in for a second coat and now when you put that second coat on it's going to be stronger so you can direct it to where you want it to be lighter such as across the top of the head and this way we're starting to get a nice gradient building up [Music] now that's done we're ready to push it a little bit further by just moving on to canadian flesh tone on its own this time and i'm still going to use that size zero brush for this but now what we want to be is just a little bit more selective as to where exactly we're going to be picking the features out because now we want to start to bring out the expression a bit more so again you don't need very much of it but just make sure it's thin down because it's good to have to go into this needing to apply a few thin coats of it because you just want to build that color up you see if it's translucent then it's ideal you just need to make sure it's not so runny that it's going to go out of control so remember just use your palette to remove excess paint so it's not too much on there so you just got about that much and then it's just a matter of looking for those more raised up areas once again and now i'm going to be really steady as i'm moving in here because i'm looking for things such as the brow so i just want to very gently start running across there picking that out slowly and you can see the colors not making a massive starting distance difference immediately but that's good because what i'm going to be doing is just letting that first coat dry and then building it up so if we just go across the brown just there then skip past onto the forehead and smoothly start applying it across the forehead just there onto the top and again you can see that translucency there which is ideal because if we just let that dry for a moment and then go in for the second coat we just push a little bit further up we now get that gradient even more as we get a little bit lighter towards the head because you see i've not gone quite so far down to the brow this time i'm going to skip past more when i go to the actual brow itself but you can see doing that is exaggerating the feature of the face just there so really now it's a matter of just doing this all across it and now we are looking for the features on it that given that stern expression which includes these lines i saw going down the side of the math just here so just make sure you pick those out as you're going around this area too [Music] with that step done you can see now the details standing out a bit more but still we need to push it further so now we're going to go on to a lighter color we've got some kids left flesh but again what we want to do is mix with cadium flesh tone as a sort of in-between stage to build up towards the highlight smoothly so we need to set up once again and so i'm going to get some kiss left flesh and i've already got the cadium flesh tone from the previous stage i have switched to a smaller brush however because i want a little bit more control now as we move into these finer details you can see on the palette what i'm doing is building it up as a gradual line of the color that we're going to be using here so at any point should i need to go back to a previous stage it's very easy to do so because you can see the different points of color that we've got across here so what we're looking for is that in between sort of tones once again something like this something around this sort of area here and then it's just a matter of again making sure it's nicely thinned down and we're looking for those more raised apart once again and now just focusing more towards them leaving more areas in shadow so what we're looking to do is again starting around the center of the face we want to pick out the center of the nose once more so we're looking at doing this area just here and the brows too and now as we get into the forehead what i'm going to start doing is making sure the paint's thin so it's got that translucency but i'm also going to start painting as lines on top here to be sort of like wrinkles on top of his brow so just very gently there and then just more opening up and covering a bit more as we get around the top of the head again applying it as two coats so the first one dry so the second one can be a little bit stronger and more directed towards the very top but again we're looking for those features that stand out so it's going to be around the eyes the cheekbone those lines going down the side of the mouth anything like that it just gives a little bit more definition to the face [Music] with that stage done you can see now it's really starting to develop and so we're ready to push it even further now just going on to kislev flesh on its own still using that size double zero brush here because now we're doing even finer detail and we're again looking to accentuate the features that stand out the most now because we've already painted the majority of it really what we're looking for is sharper things so for example looking at areas such as on the nose once again and now as we're doing this what i'm going to do is just focus it a bit more towards the tip of it so we're looking at just that sort of area just there a little bit flaring out at the bottom too when it comes to the brows rather than doing everything again now what we're looking to do is to go towards this little point just there a little dot in the center where it's just foreign just there and also a little bit on that side there too so you can see now rather than just doing everything it's just looking for these parts that stand out and just carefully accentuating them just to help the expression pop a little bit more [Music] that expression is really starting to stand out now but still you just want to push it a little bit further so now we're going to go even lighter but again in that two-stage process of first of all a mix starting where we are and then moving towards that higher color just on its own so that light color now is going to be flayed one flesh but of course we're still going to be using a little bit of kisly flesh at the same time for the mix and we're going to be starting out with that mix so again we need to get it ready first of all now i'm just going to get a little bit more kisly flesh ready on the palette just there and now what we need to do is bring that flayed on flesh into it so once again it's going to put it to the side so starting around about there and then we just want to bring it into the mix so again we've got that gradual well gradient really going all the way across from light to dark so what we're looking for is this mix then the two together like that we just need a small amount now and with this we're going for quite selective parts really just really want those those parts to pop out the most important bits of the expression really and the facial structure so it's only small amounts but again we're looking at areas such as the tip of the nose so just along there again just a small amount now on the brow so look at this sort of area just here a little bit on the top of the ear from the cheekbone the chin everything like that just to emphasize those parts just a little bit more [Music] and finally we just need a small amount of flayed one flesh on its own and this is just for the most extreme parts that we want to highlight so for example the very tip of the nose now there's just this little point just here on top of the brow all these small features are just a little bit of this color just to give them that final pop [Music] and with that the skin is now highlighted but it is a bit monotone at this point because skin of course has all sorts of different colors mixed in there very subtly so we're going to introduce a bit of that now and the first thing to do here is to get some pink horror i'm going to be using this for that lower lip now to do this what we need to do is mix into the previous colors that we've got here so we've got the variety of tones we're looking at this sort of one here in the middle so we're looking at the acadium flesh tone area for this sort of thing i just need a little bit of the pink and what we want to do is create a color in between the two so just bring some of this up into that color there and what we're looking for is something kind of like that you see so a little bit pinker than the main color that we've got now with that prepared then you just need to get a small amount of this thin down and what we're looking to do is to bring this onto that lower lip only so just a small amount there there we go and then we just want to very gently move in and just start dotting it onto that lower lip just for a little bit of texture on there so just along here [Music] and there we are it's a very subtle feature but it is important to do and we're now ready to do it once again but this time using a purple so the color i've got here is venetian purple and again what i'm going to do is start introducing it into some of the colors we've got already now in this case i'm looking to do this on the lower parts the cheeks that are in shadow and also the lower eyelids and the kind of color we've got for those at this point is around about this sort of area here so i'm just going to mix this purple into i'm going to be careful not to overdo it so what we can see already that color is quite weak on there so actually i'm going to take it a bit further into the brown what we're looking for is a color of this sort of tone here you see so it's only subtly purple it's not over the top it's just a small amount mixed in there and a little bit darker but it's ideal for what we need because once it's thinned down we can then start introducing it into the darker areas and because we've got quite a cold color here it'll be really nice contrast to the warmer colors that we've got for the highlights so what we're looking at doing is first of all very carefully moving in to pick out that lower eyelid so that's going to be just in here so look at this area right there but also what we want to do is introduce this into this darker part that we've got beneath the cheekbones so looking at this area just in here [Music] i finished with a more purple tone so now the next thing i'm going to do is actually add the hint of some shaved hair on top of his head because whilst horus is bald in some of the early books he talks about him having a shaved scalp so i want to give the impression of that here and so what i've got is some mechanicas standard gray which once again we're going to introduce in some of the previous mixers that we've got in this case what i'm looking at is going for around about this point here with the colors above it and what we want to do is and bring them together and we want to go quite far into it we're looking at getting this sort of tone here now when applying this i want to make sure it's really really thin because i want the flesh to be showing through so to do that we're going to be glazing this on so it's just a matter of making sure you really thin it down with quite a bit of water then on the more open part of the palette i'm just going to test it to see what sort of impression we're getting and you see that's the sort of color you can also see just how thin it is so i'm happy with that and with this all we then need to do is just glaze it over the area where the hair would be so following the line of it so that means we're looking at applying it towards the very top so around about here and then i want to bring it down the sides of the head to where the side burns would be so we just want to go down to that sort of point just there now depending on how strong you want this to be you will need to apply a few coats of it but i'm just going to go for two because i don't want to overdo it i just want to give that subtle impression of the shaved hair [Music] once you're happy with that effect the next thing to do is to paint in his eyes and here what we need is a black and then a white so first of all i'm going to be using some doom death black here and then i'm going to use some matte white from the army painter but we need to start out with the black and paint in the eyes is of course tricky so if you're not sure about doing this you could just do the black and leave it there the choice really is yours but for the black what we need to do first of all is just make sure it's nice and thin and relatively inky so just make sure you test on your palette just seeing how it's behaving it's flowing really nicely from the brush there so i'm happy with that and then that fine tip and the bristles is really important so just gently bring them together and then what i do for this sort of thing is just brace my hand so i'm really steady moving along the eye line like this and then just very carefully just paint that little black line in between the eyelids so we're looking at just here [Music] once that's done you're then ready for matte white and here we're just looking to do a dot on either side of the pupil so you just need to move in very carefully with your finest brush and just gently introduce a little dot on either side now it's very easy to go wrong doing this and make the eyes not look the same direction so if you do need to adjust just go back to the black paint just to make any adjustments you need to but really it's just a matter of being patient and being as steady as possible [Music] and with those eyes painted in you can see we get loads more character in the miniature and now horus is looking unsuitably imposing and soon we're going to be painting all those eyes of horus up here in his armor but before we do so there's a little detail we need to pick out and that is on the old luna wolf symbols up here on his armor and there are two of them now we painted the wolf heads and these gold and we've also got that background black but there are moons on here and we need to paint these with a near white so for this what we need is some palette witch flesh followed by a highlight of matte white so first of all we need some powdered witch flesh i'm sticking to my size double zero brush for this because these details are pretty small but they do need to be picked out so you want that control here for it let's make sure as ever it's nicely thinned down and this being a layer paint you will have to do two or three coats of it but it's just a matter of being patient again and making sure they're nice and smooth because what we're looking at is the moon that appears on this symbol so in the case of this one up here on the shoulder you can see it's this side of it so what we're looking at is painting this area just here and it goes up the side of the wolf's head the other one is on the knee down here and in this case it's once again just on the side [Music] with the base coat done we're then ready to move on to a highlight with a pure white so here i'm using matte white we don't need to worry about the one down the knee here but the one on the shoulder there is an edge to it so we want to make sure we go around there we're looking at this part just along here [Music] with that small detail now done we're ready to move on to a much bigger detail because now it's time to paint all those eyes that appear on horace's armor and the first stage of doing this is to make sure they're all base coats of black so here i'm returning to doom death black though again go for whatever black you want to use here as long as it's pitch black it's fine and with this i've got a size 1 brush because for this first step all i'm looking to do is just to base coat all of them to make sure they're a solid black to build up the red effect on it so once your paint's ready it's just a matter of looking for each one and there are quite a few so just take your time looking around to make sure you get them all and just make sure you block them in entirely and this includes the pupil in the middle so all of it around here now in addition there's a little bit else to do with the black at this stage and that includes painting this little targeting lens just up here so we want to paint the glass of it and also the tiny one just above it and also we've got the eyes of the wolf to pick out as well [Music] there we go with the black applied we've got a nice neat starting point for all these eyes and also on the wolf you just notice i've also painted its nose black as well and with that done we're now ready to start the effect and to do this we need to start with a very dark red so i'm going to mix one here once again i've got doom death black but i'm going to introduce some corn red to it and so what we need to do is set up on the palette first of all i've also gone down to my size double zero brush here because we want to have more control as we apply it because we need to be accurate as we do this we're just looking to paint around the pupils that appear in the eyes just here so we need that control for it and the sort of shade we're going for is as i say a very dark red we're looking for something like that something in that region with that mixed up then you just need to make sure it's thinned down as ever and then we're ready to start blocking it in and what we're aiming to do is to paint it onto the ice that we get a little bit of black on the surrounding area where it meets that metal on the outside so on this one for example we're looking to paint the main part of it here just leaving it black around the outer extreme and then going right up to the pupil so just touching it in the center so just there like that same there on the other side now there's one eye whether it's a bit tricky doing this because the pupil isn't actually sculpted on it and that is this one down here right in the middle of his belt so for this one you'll probably need to re-establish the black towards the end of it but once again just a matter of painting it red at this moment to make sure it's got that glassy appearance also be aware that one of the eyes doesn't have a black pupil it's actually a gold one that's this one just here on the knee but the red of it is painted in the exact same way as what we're doing with all the other eyes [Music] with that first dark red done we're now ready to make it a little bit lighter so now it's just going to be corn red on its own and what we're going to do with this color is just focus it a little bit more towards the middle of each of these eyes so once again i don't need loads of it but definitely stick to your small brush so i'm still using my size double zero for this and what we're looking to do is to just build it by color really as we get closer towards the middle of the eye so to do this you need to make sure we have that translucency in the paint so just thin it down as you need to until it's fairly inky sort of this point here and then the idea here is to start to get closer towards that central pupil so in the case of this eye just here what we're looking to do is to apply it again going right up to that central part so just letting it settle in the recess right next to it and then bring it out to about that point there you see so it's a slightly darker red the further out that you go and the same is true on each of these eyes [Music] there we are with that red done we're now ready to push it even further so now what we're going to do is move on to quite a bright red so we've got some evil some scarlet next and after this we'll need some fire dragon bright followed by some uriel yellow and then finally we need some matte white and this is just going to be for that specular highlight so kind of a shine on some glass but first of all we need that evilson scarlett and to apply it i can stick to your small brush i'm still using the size double zero with this we're just looking to close that color in a bit further towards the pupil of each of these eyes so once again it's a matter of thinning it down and making sure it's got that translucency about it so we're looking for that slight inkiness in the paint so about this point just here and that was without prepared then what we're looking to do is to apply it around those pupils so for example once again the central eye we want to do is just make sure it touches the actual pupil itself so run it into that recess around it and then just take it a short distance away from it so to around about there [Music] we're now ready to add some fire dragon bright and this is going to be very much the same sort of procedure just tightened now even more towards the pupil so again we're just looking to paint into that recess surrounding it so just dropping it into that area there then just a very short distance now outside of either side of the pupil [Music] once you're happy with that orange we're then ready to move on to a yellow so here i've got some uriel yellow and this time it's just going to be a line around the pupil itself so very carefully applied right into this point of contact the two areas just along here [Music] and then finally we just need some matte white and this is to give the impression of a glassy sort of shine on these details and for this all we're going to do is just put a little dot of this white just in the top right of each eye like that just leave that little specular reflection on the glass [Music] and with that those eyes are now complete and so in fact is this part of the assembly of horus the warmaster because now we've painted all the features that appear on here but of course the model isn't quite finished yet because we do have to do that scenic base so that's what we're going to be moving on to now we're now ready to start painting that scenic base and remember this was undercoated using zandri dust spray and what i've done is just put it together at this stage so you can see the full assembly of it here but remember i've used magnets to help secure everything in place so for example it does still come apart but throughout painting this what i'm mostly going to be doing is painting it as a single piece like this and then in each stage i'll disassemble it just to be able to access all the nooks and crannies to make sure i've got everything before putting it back together for the next step and the first thing that we're going to do is start to build up the marble that appears for the majority of this base so it's all the parts on top of it like that eagle head the staircase everything like that for this we're going to be starting out with some rakath flesh and then we're going to move on to some wraith bone and both these colours are going to be dry brushed on and i'm actually using a bit of an unusual dry brush here what i've got is some of these rounded tip ones now these are from art sopas these are their series d ones and you can see the nice soft bristles so ideal for the sort of effect of what i'm looking to build up here but you can also get brushes like this from the army painter too there's a few companies that make them they're ideal for the sort of effect that we want to get for this though now to use them i've got two i've got a large one and a medium one the medium ones because there are going to be some parts of this base that i can't quite access with the big one but for the most part going to be using the big one and set this up it's a bit like an all dry brush just get a little bit of that paint on the bristles and then on your tissue all you got to do is work it into them so it's just a matter of this rounded motion to really work it in there and remove the excess too so just work your way along to get rid of most of that paint so there's not much left you'll see the sort of appearance of what we're getting there appearing on the tissue itself and once you're getting that sort of effect what we then need to do is start applying it to the base and we're targeting all the marbles so the evil head the stairs a few bits scattered around and for all of it what we're looking for is a buffing motion so this sort of round motion like this just gradually drawing it across all of this marble just get that smooth color building up [Music] once that's done we're then ready to move on to wraith bone and this is going to be softly dry brushed on once again and you can see i'm using the medium driver straight from the start here and what i'm looking to do here is add a little bit of variation to things as well as a highlight so you can see i'm still doing that same rounded motion and it's getting a bit of a highlight on there but on some parts i'm just pressing a bit heavier to make the color a bit lighter so for example on the beak just here [Music] with that done you can see we've got a nice marble light color happening on there now and so we can move on to the next step which is going to be to pick out a few of the details that appear around it i'm going to do this quite roughly which is why we're doing it now what we need first of all is some mechanical standard gray for various bits of rubble and then for the metallics we'll need a little bit of retributor armor followed by some lead belcher but first of all what we need is that mechanical standard gray and to apply it what i've got is a regiment brush from the army painter just to start out with but you'll definitely want to have a larger brush because some of these areas can be quite big change as you need to depending on what you're comfortable with but it doesn't however it's just a matter of making sure that paint's ready on your palette and then what we're looking for are the rough bits of rock that are somewhat underneath the rubble in some cases on top of it so for example there's some small areas such as the bits that you can see on the staircase just here i want to start just lightly dotting these parts just to give them that grayish tone like that just carefully applying it over the top of the more pale color we've got for the staircase some much larger areas of this for which you might want to go for that larger brush and they all tend to be down the bottom here you can see underneath the staircase for example all the way around here a good thing to do for this sort of thing is just to make sure the paint's thinned down a little bit more than normal just to help it soak into this detail so you can get all of that now bear in mind some of this is going to be hidden away amongst all the various assemblies so you will probably have to take some of it apart so for example underneath that rock just there you can see there's all this to do here so just make sure you take your time to get all of it [Music] once you've finished with the gray you're then ready to move on to some gold so here i'm using retributorama and this is first of all for this little decorative band that we've got going up the staircase so it goes up here on the banister all the way up to the top and the same is true on the other side and you can see here requires a little bit of control so switch to a size one brush here from art stoppers just to be able to go along there like that now in addition there's an optional piece of gold here because on the base there are some bits of dead space marine so for example got here a shoulder plate now depending on what legion you want to paint here you might want to do this band in gold the choice really is yours [Music] and then finally you're ready to move on to some lead belcher and this is for all these metal girders that i just cast around in all of this rubble [Music] once you're happy with those metallics we're then ready to do a few more base coats before we move on to adding a wash onto this base i'm going to be starting out with some corvus black for which there are a few things to do but then after that what we'll need is mechanical standard gray to add a bit of detail onto the marble and finally we're going to go to zandri dust and this is just to re-establish all the skulls that are on the base but first of all we need some corvus black and there are two phases to applying this starting out with just being quite neat as usual really so for this i've got my size one brush here for my stoppers and what i'm looking to do is to thin it down so it's good for base coating because i'm going to be painting the shoulder pads of the dead space marines on the base with this collar so it could be a potential different number of legions here it could be iron hands dark angels or raven guard but if you've got a friend who plays horus heresy then what i recommend you do is paint these in the colour of their legion of choice once you've done those the next thing to do with corvus black is going to be to darken down some of the underside of this base so it's going to be a little bit like soot damage that sort of thing and for this we're going to be applying it a little bit unusually what i've got here is a smaller dry brush from citadel and what i'm going to do is water this down quite a bit in the palette to make it quite inky so i want a bit more than that so let's get some more paint in there and then touch more water and we're looking for something kind of like this and the idea here is to start stippling it on the underside of the scenic base so for example around about this sort of area just here what i'm going to do is just start dotting it in so it runs into that texture it's going to roughly move it around and apply a good amount kind of like that then once you've done it roughly about that much just quickly make sure you wash your brush so it's damp and just use that just to sponge it and smear it around a little bit more just to spread that dark color into all of this texture [Music] once the corvus black is completely dry and you've got that darker color underneath the next thing we're going to do is add the impression of some veins running through the marble on here and for this what i've got is mechanical standard gray which i think down a fair bit so it's quite inky and what we're looking to do is just to very lightly and loosely just apply some hints of lines just running across the surface of it so just very gently like that you see i'm almost dotting it on keeping it quite natural as i go and occasionally you want to split it and start bringing up into different ones running away from each other but when you get to the end of segments such as just here bear in mind this is a different piece of marble from that one so you don't want the line to continue smoothly instead as you get to the next one you want to start a new one and just start going its own direction so you get that nice natural impression [Music] and finally we just need a small amount of zandry dust and this is just to neaten up all the skulls that are hidden amongst the rubble [Music] and with all those colors now applied we can move on to putting a wash on top of all this scenery and for this what we need is two colors need a brown wash and also a black wash so i'm going to be using some agar axes shade and some normal oil at the same time i'm going to let them mix as we go along but when it comes to the agarex hershey there's actually two different ways we need to put it on now when it comes to doing this what i recommend you do is wash all the parts separately because if you have them together whilst they're still wet and they dry that way it can really stick them all together and you won't be able to get it apart again so definitely keep each part separate as you do this and folks are not going to start on the eagle head but you do the same thing on the stairs and the other piece now first of all just want to set both these washers up so i'm just going to start out by getting some normal oil on the pallet and for this i'm using my monster brush here from the army painter going to be quite generous with the amount i get onto the palette just there and then just want to get some agraxer shade as well so just get a few brush falls so one two and three and i'll start out with the agraxer shade and having them both in the palette means i can jump back and forth between them as i need to without washing the brush so this way we can be nice and quick as we do it and the paint's not going to dry out so we're going to start with pure aggressor shade on the parts that are going to be like rubble so for example around here what we want to do is really run it into all the nooks and crannies to really darken all that rubble down but if we take this directly onto the marble it's a little bit too strong you see if we paint it straight on there you can see it's a bit too dark and it takes away that lighter color we've got so what i'm going to do is just get some brush fulls of water directly on the miniature just start using that to dilute it and spreading that around so this way it's weaker shading as we're doing areas such as the marble same on the stairs and things now we've got the black wash for doing the underside where we want it to be darker so as you get around to this area here just grab that normal oil and apply it directly onto the underside [Music] the wash is now completely dry and you can see it's giving us that really nice wartorn appearance of it so the marble's really been through hell as the temple it's made of is collapsing and landing on all the rubble beneath and with that all done we're now ready to move on to doing some highlighting here and for this dry brushing is the perfect technique to use because it's so textured and i'm going to start out with some administrative gray here for the darker parts and all the rubble and then i'm going to go back to wraith bone this is for that marble but also a little bit of dust on some areas so first of all what we need is that administrative gray and to apply it i've got my small dry brush here and when you're doing this you may find that you might want to use that regiment brush remember like we did earlier on the pelts on the back of horus for a bit more directional control when you're doing the parts of the rubble that are on top of the stairs but for the parts underneath a brush like this is ideal because what we can do is look for all this texture around here slightly start going back and forth across it very gently just to get a bit of a highlight on all that texture [Music] once you've finished with that we can then move on to doing some wraith bone which is once again going to be driver stun but you can see i've moved to a medium drivers from citadel now so much larger one because this is just going to be very lightly over all the marble for the most part so very gently just to really help it pop out once again but not so heavily that we started going over too much all the detail we put in so for example the veins you don't want to go and obscure them so just very lightly dust it across it but in addition this is a good colour for the dust that appears on the rubble too so as you're going across it be sure to just bring it down onto those grayer parts and just very lightly now go over those to help finish them off too [Music] and with that done we've now got a really nice ruined temple marble and if you wanted to you could just leave the base here however we think this looks really evocative almost like it's sort of standing out over a ruined city so what we want to do is add a bit of a fiery glow as if the city's burning underneath it and just reflecting on some of it and we're looking for that overhanging eagle head for where we're going to do this now if you want to do this what you need to do is start out with a dark red so here we've got some corn red and what we're going to do is stipple it on very much like what we did with corvus black earlier on it's a little bit stronger this time and for it i've got a new small dry brush here from citadel and the reason is because the bristles are holding together nicely so it's almost like a chisel tip so i've got control as to where it's going i just need to thin it down a little bit so it's a little bit more runny than it is straight out the pot so just bring it down like that i'm just going to remove the excess so it's almost like setting up for a wet brush really you can see the sort of consistency there of the paint in the bristles and with this what i'm now going to do is start stippling directly upwards from this point here so bear in mind some of this rock is overhanging what we need to do is be getting the red on the underside of it so building it up steadily like that but where it overhangs it will then just go straight past it so this girder for example will only catch the red at this sort of point here it won't go any further down that's also true as well as we go further up and get underneath the eagle just bear in mind where the overhang is if it's blocking the light the red's not going to get to it so just bear that in mind as you apply it underneath [Music] i've finished building up that red and you can see it's just a matter of taking your time and always making sure that it's going straight up so you're getting those overhangs that stay darker and well with that done what we're now going to do is make it brighter and so we need to go through a sequence of colours getting more towards yellow so what we need first of all is some evilson scarlet after this we're going to add some fire dragon bright and then finally we need some uriel yellow we're going to start out with evilson scarlet and the application this is going to be very very similar to what we've just done so i'm still using that newer small dry brush from citadel make sure it's clean for this but again what we're looking to do is to get this ready and just thin it ever so slightly as if we're going to be doing a wet brush with it so just thinning it down so it's a bit more inky than it is straight out the pot but then it's a matter of just removing the excess off on some tissue so there's not much there and then with this we're now just going to again start stippling it upwards towards the well towards the top of the base so we want to go from this direction remember straight this way only the difference here this time is that we're just not going to go quite so far so we're looking to make the red more intense the further down we get towards here so this time when you get to this point where the overhang of the eagle is we're just going to hint at it just in the middle just around about there but then really focus it more and more down towards the bottom [Music] once that's done we're then ready to move on to an orange so here i'm using some fire dragon bright and once again we're looking for that same sort of motion just stippling it upwards directly from underneath just to get this hotter appearance further down so now we're not going all the way instead at most i'm just going to be grazing that bit just there but instead i'm focusing it more and more towards the base down here [Music] and then finally we can complete the effect with some uriel yellow once again stippled on with the same motion just a bit further down now to be the hottest part of the fire so we'll look at this sort of area just around here and well once you've done this horus is complete all you got to do is just paint the base rims and this can be any color you like but in this case i'm going to be going for doom death black and then you just need to glue horus into the scenic base now and when you do this you super glue once you've done so horus is complete [Applause] and here we have the completed horus lupercal horus the warmaster the favored sun ready to go forth and cast down the false emperor so as you've seen when it comes to painting horus at first glance he is very intimidating not least because this model's very finely detailed and of course it's very expensive too but as you've seen by approaching it in simple steps and breaking it down it's actually just as straightforward as painting any of the miniature remember start out with painting that armor because if you do all of that black and gold whilst it takes a bit of time you will at the end of that so you realize you've actually painted the majority of the miniature and from that point on it's just a matter of painting small details now when it comes to those small details the key ones are of course his face because there's a focal point of any miniature but also the eyes of horus that appear on his armor definitely take your time when you're doing these features and this way you'll have an absolutely fantastic looking miniature at the end so have fun painting horus and see you again very soon you

Channel: Duncan Rhodes Painting Academy

Views: 282,656

Keywords: Duncan Rhodes, Duncan Rhodes Painting Academy, Miniature Painting, Wargaming, horus heresy, painting warhammer, horus the warmaster, primarchs, 30K, Wareahmemr 40K, 40K, games Workshop, Forge World

Id: q1ZM3v0-D5w

Length: 78min 59sec (4739 seconds)

Published: Fri Jun 10 2022