How to Paint MALIFAUX - Aua Warrior

[Music] hey folks welcome to the channel today I'm going to show you how I painted this guy the owl Warrior for my T crew in malipo now I go over a few techniques like glazing and non-m metallic metal and I also do a little something different for you at the end so let's get this show started but first first before we start slinging paint let's start with the plan now whenever I look at a new model I tend to think of it in blocks of color I look for the biggest elements of the model that give it the most identity pick what colors I want for that element then work my way to the next big thing with this model I immediately note that it's mostly armor and I love painting armor I also decided early on that I'll challenge myself with painting non-metallic metal without an airbrush now non-metallic metal is just painting the metal with regular paints rather than paints with metallic pigment which in my experience can be made easier with an airbrush but has benefits of control with a standard brush I'll be going for a silver metal so I can assume that these parts will be mostly gray the next element I consider is the skin tone I decide to paint the skin turquoise keeping it close to the source art and it gives me the idea of giving the armor a blue or turquoise tone to it to tie it in with the skin the next biggest element I see is the cape I I could use some contrast and decide it on red I've always loved red against turquoise and I'm sure there's some kind of wheel or book that can explain this but I just kind of know that it's exactly the pop I need and the right place to break up some color blocks then there are the pants I decided I'm going to use this element to push the other elements forward it really doesn't need more contrasting colors with the red and the turquoise out there so I decided on keeping it dark gray to avoid looking like a clown with all these other colors so what next well there's the base itself which is probably the best opportunity for creating contrast and introducing color elements that really don't belong on the model itself I can tell that the model is going to end up fairly dark so a very bright base will help push that paint Scheme forward throwing in a bright yellow will help play against all of the existing colors plus I'm fairly sure that they've got a desert theme or something in the lore I don't I don't know I've never read it lastly we've got some elements that I consider accents which is what I categorize all the little things that are littered throughout the entire model and in this case he's got some pipes and tubes some opportunities for glowing lights and leather with the belts and pouches I have some ideas but I like to leave these accents open so that I can look at the big elements when they're done and figure out what the best options are at that point these are great opportunities to add more contrast if it's needed or use colors that put these elements in the background to push the other stuff forward and help break up any repeating or similar colors okay man enough planning let's dive in and start with that turquoise skin I start with Vallejo game color turquoise for my base coat whenever I start base coats I tend to paint at least two passes with the first coat focusing on capturing all the areas that need Paint to sort of tag it and a second pass after it cures to saturate the color so that every area is uniform and [Music] solid next we're going to add some shading to the turquoise and I'll be using scale color deep red for this I'm going to roughly place where I want the skin to transition to its darker parts think of it as sort of a sketch by using red we're contrasting the tur voice and by using a darker red we're further emphasizing the parts that don't receive as much light now this is actually different than how I usually paint skin as I usually would like to start with my darker colors and layer up to the lighter ones but I figured with the sharp transitions over a small surface area that my traditional technique will end up looking more like red than turquoise and I always like to apply at least one new technique to try on new models now we're going to try to smooth out the transition from dark red to turquoise by using some medium with our paint now I like to use gw's lamian medium for this but you can use water or any other type of matte medium and mix it in with a turquoise I usually start with like a 50/50 mix uh what this does is cut the amount of pigment in your paint down so that when you paint with it it's more translucent I think this is what folks consider a glaze so I'll just I'll just go with that and when I paint with this glaze over the red it's going to smooth out that transition by creating a layer that shows red underneath the turquoise and the same brush stroke that goes over the turquoise part will simply further saturate that turquoise I don't know if this is how other folks use glazing but back in the day when I read about it in a white dwarf magazine it's what I imagined so it sort of stuck and Lamy and medium was the first one I used to try the mixing with and I liked it and I learned to work with it since then I've tried a bunch of other mediums and I tend to go back back to lamian medium as it's the one I'm most comfortable with but try experimenting yourself to find what you like you may watch these clips and think it isn't doing much but the trick comes with progressively adding layers and using a thinner glaze so inherently it won't be so imp parent until you've thrown on several layers it's a tedious way of blending but it offers a lot of control and here you see me doing the same thing but with the red at first I did a 50/50 blend but found that it wasn't strong enough so I added more red and was more pleased with how it stained the turquoise now going back and forth between these two glazes is the trick to having more interesting Transitions and blends one thing that helped me work with glazes is the idea that your brush is a mop and some folk tend to expect it to act like a marker when you're mopping your paint you're likely going to have more pigment and medium end up where your brush leaves the surface this Behavior becomes important when you're working with thin down paints like this so the direction of your brush Strokes really matter because it's where your paint will end up concentrating so you may see how I tend to brush my red glazes toward where the red shading resides remember your brush is a mop the world's cutest mop for a mouse here I am going back to a turquoise glaze you'll just keep going back and forth until you're happy or until you realize that you're never happy then just pick a place to stop before Madness Creeps in I like to stop right before crippling depression but hey pick what's right for you now I'm going to highlight this skin and for this I picked a sort of seafoam green specifically foul Green from Vallejo game color from here I want to place paint where the skin would likely get more light and where the shift from turquoise to Green would get the most interest places like the flat areas of the shin the big sections of the deltoid and triceps the top of the biceps these are sort of My go-to Places to emphasize with highlights I chose green green rather than simply lightening the turquoise because I wanted more of a shift of color rather than a lightning of color with turquoise being a mix of blue and green and with this turquoise especially leaning heavily Into the Blue territory it seems smart to pick a light green to tie to the base coat while also going in a different lighter Direction choices like these are what can differentiate your paint jobs from the typical ones you may see which tend to be just lighter variations of the same color [Music] with the skin tone done I decide to start on the base since it's a big area and can help with color choices later I used some paint I hadn't used before abong 502 yellow ochre you know this paint is the bees knees cuz it comes in a fancy tube not a small bottle like The Peasants use here I use about two or three coats to cover the entire base's Rocky stuff then I use Naples red a sort of orange color put some shade where I think it could use some honestly I'm just kind of winging it here I hadn't tried anything like this before but I had some ideas on how to tie it together now I throw on some highlights using Naples yellow since it's the first time I've used these paints I kind of roughly apply these highlights to see what comes out I found that the coverage is excellente for a yellow and I start to creep in that brighter color more toward the shaded areas to give a brighter tone to the whole thing whenever I'm experimenting like this I make sure not to get too married to any single idea I may have had when I was planning it out I remember thinking to myself when I painted here that I love how bright bright bright this thing is going to be but the napls red that I used isn't going to cut it in terms of contrast by itself this led to some inspiration to try on the base but I couldn't do it until the end so with this idea I had in mind I chugged along applying the Naples yellow until I decided to blend the colors more [Music] and here I start blending the yellows together this time I'm not going to add any medium or anything I think that the rough surfaces and the random pattern of the rock doesn't need to have the smoothest of Blends so I just go over the layers with like the three colors to smooth them out but only to a point I'm mostly making the coats more solid and adjusting where the bands of each color reach out to you may have noticed that I didn't paint the rubble between the Slate much past the base coat and even then I didn't do much of a solid coat don't worry so much about that it'll get taken care of with that idea I have at the end but just making sure that there's a foundation of the yellow to work with later and give myself an idea of how the majority of the base will [Music] look now comes the final touch to this yellow which is just a dry brush of sand I don't want to dry brush a lot of this base I'm mainly focused on the highlighting the areas that have the brightest yellow and make those edges stand out now if you're liking what you're seeing so far maybe Mash that subscribe button like you're playing street fighter and you'll get more goodness in the future now let's move on to the non-m metallic metal for the armor just for a little bit I start with a dark gray in this case scale colors graphine gray it's a nice dark gray but over this white undercoat I'll have to put on several base coats before it looks nice and solid and dark this armor is the meat and potatoes of the whole model so make sure to take your time and identify all the parts that need Paint and focus on making smooth thin layers base coats are the foundation of your paint job doing it well will set you up for more success as you build on it any bumps from too thick paint or overworking it while drying will affect all the other layers you place on top of it so it helps a ton when you work with care I found that it's always better to be too thin than too thick and with thin paint comes multiple layers I think I did about two or three layers here and this can be very timec consuming but trust me it all pays off when done well now after doing that coat I felt like I really wanted to cleanse my palette so I started working on the cape and in the spirit of trying new things I decided to start with my purple shading rather than starting with the red base coat in this case I'm using GW used zerious purple because I primed the model with white ink sprayed over black I was able to place this purple in the shaded areas first I think this is what some folks call pre-shading or something I don't know I learned how to paint over black primer and I didn't try anything different for a long time and I didn't know how this was going to go but I knew it would certainly look goofy before it looked good so worst case if I didn't like how it was going I'll just paint over it with a base coat of red and here's where I paint the base coat with that same dark red from the skin part it actually does super well over this white and when I start going over the purple that transition is just chef's kiss oddly satisfying material the cool thing is that since I use the same red from the skin tone it'll really help with pulling those different colors together and the purple shading works really well because uh red and blue make purple right a red cape bluish skin seems like science I'm pretty sure that wheel talked about it I don't know for this step though I focused on getting a good even coat and maybe shape the purple areas to be a bit more clean I'll get the purple looking smoother later but I still want to start with a good shape for all the purple lines and the creases and would you look at that I mean I'm getting pretty pumped for this cape man it's looking it's it's looking pretty sexy and here's where I start adding in another coat of that red and I'm focusing not only on solidifying the red but also cleaning up the shapes of purple where it meets the red I'll lightly go over the Transitions and maybe add another layer or two where I want to scale back the purple shading and I was really loving how the two colors were working so well together I mean I honestly love this scale color paint because I usually don't experience this ease of blending with dark Reds I've used in the past but I also think it's probably made easier cuz it's over that zenial primer now here's the cool payoff part I use gw's evil Sun Scarlet which I still call blood red and I'll never change I start by placing a substantial set of highlights where I felt they were needed and I make sure to leave plenty of that previous dark red around so that I still have a wide range of red everywhere I just don't want to lose that base of dark red and making sure to leave larger bands of the dark red help sell the transition from dark to light I plan on going further up with the highlights which guides me to make sure I keep fairly big bands of this Blood Red where I plan on adding more highlights I like to think of it as like my new base coat in terms of coverage kind of zoning off areas that I designate as mostly dark red separated from the areas that get most light as mostly bright red it's hard to explain but basically instead of thinking of the cape as like a single Cape I think of a section broken up into further sections like top of Cape mid Cape and bottom of Cape the top is mostly bright red mid is mostly dark red and the bot is mostly purplish these aren't really rules so much as targets and I guess the best way for you to get a better understanding would really be just paint more capes and see what works for you wavy cloth can be really tricky sometimes especially with models in the malao range as the values or rather the Hills and Valleys of the cape can sometimes be really shallow [Music] here I'm going back to my purple to reclaim some of the Shadows painting over some areas that could use more saturation as well as blending to the dark red a little bit better sometimes when we paint in layers we'll lose some of the cool stuff our previous layers were doing by going to ham with the new layer here's where we take some of that back down to what it was originally doing we can also find some places to introduce more purple maybe the area was too mon tone it could use some pep or maybe I just missed a spot I mean I'm human really though it's kind of like a reset that you wouldn't see without the other colors on the [Music] model and now I'm doing the same thing but with the dark red painting it over the blood red to bring it down a notch where it's needed having a thinner glaze helps that blend too now I'm going to mix in a bright flesh tone into our blood red in this case it's Reaper golden skin and start to sketch in some of those highlights adding in a bright tone to light and red is a really good tool to add to your Arsenal as it brightens a color without getting all crazy weird extreme like when you add Pure White you avoid getting that sort of flat pastel color and I don't want my model to be as flat as house Decor in the 9s I want my colors to punch you in the face so for even more intensity you can try swapping this out for like a bright orange I don't plan on going going any further up than this as it's a pretty wide range from this color down to the purple and going further it starts looking like a kaleidoscope so I'm going to keep these highlights fairly [Music] minimal you know the story by now we're going to go back with that blood red and glaze it over this highlight color to soften the blend in some cases I go over the entirety of the highlighted section like if it's in the lower section of the cape that thin glaze of blood red over the highlighted area will still will be brighter than the blood red on its own so it's not like it's wasted effort you're just adding more variations of highlight to the cape while using the same tools for the other areas where you'll want a smooth blend with a thin glaze you want to set down a layer let it dry then go over that same area but pull a bit further toward the side you're blending to and if you want too Ham on the glazing just go back over with your highlight color to get a reset and start again or just glaze the highlight color on both will net you a different result and a wet palette really helps with this but really it's just going to take tons of practice but don't worry it'll all work out in the blend I'm so funny all right enough procrastination let's get back to the meat and potatoes with the armor I start my midtone with a nice neutral gray rainy Gray from scale color sorry about the focus I'm new here and I don't know what I'm doing just like in real life now here I'm going to start roughly sketching in where I want to place my highlights for the metal this is really no different than how I did the cape the only tricky thing is that shiny metal is going to reflect light a whole lot differently than some cloth like a cape so you just need to adjust how you place these colors with more of an emphasis on where the light sources are coming from the curves and the angles of the armor in relation to those lights and Tighter gradients from dark to light remember those art exercises where you drew a cone and a cube and a sphere that's probably the best way for you to understand where to put this color just dive in and try never be afraid of jumping into the Maze and bumping into the walls folks try your best knowing you're going to make some Derpy models for a little bit even here I'm experimenting a lot the trick I learned is to start with a biggest section like here with the bicep and forearm figure that section out use the lessons you learned with it and apply it to the smaller bits is it a cylinder shape start the Highlight in the middle rounded area a square put that stuff on the bottom spherical I don't know just pick a spot and make a circle if it doesn't work try the opposite side bump into the walls my friend don't worry they're padded and sometimes a tray comes through the middle second verse same as the first but this time it's pure white I'm going to build off the shapes I sit down earlier and just put the white down in the same shape but with a tighter perimeter I start with a pretty thin white which makes crappy looking coverage but it's a good way to make non-committal brush Strokes for ideas because this is where I want the brightest highlights to go I make the shape super tight sometimes it's just a single thin stroke but given just enough room for blending don't worry about having this solid we're going to go back and forth with glazing anyways but aim for a decent block of color then when you like where it's at start focusing on additional layers to make it more opaque thin paint really helps here but also a lot of patience you want to make sure the layer is dry before trying to manipulate it again or else you're going to get divots and trenches as a reward moving between three or four spots as a rotation helps with impatience too the last thing I tend to do is pick a spot that'll catch the eye like a glamour spot if you will here I pick the top of the bicep and the forearm to draw attention and I make that spot at the top a bit bigger than I do everywhere else here we are glazing again this gets tedious fast and it's going to look like we wasted some effort in the previous step sometimes times but it's really worth doing and the white we paint completely over isn't a waste at all as we needed it there in order to get a good blend using some medium or water with our neutral gray I start working on the perimeter of the white to blend the two together the first layer or two will be really hard to tell you did anything or it'll look really bad experiment to see how thin you like your paint and figure out your preference I found that it's better the thinner the mix but uh it takes more time to see just trust that each layer you're adding more gray and it won't really be visible until after several layers the same advice of letting your paint dry before manipulating it again still applies here and I make sure to tackle both the blend from Gray to white as well as from Gray to dark gray I'm sure that some folks are going to watch this and think my man you're doing so much pointless work there's a better way of doing this and to that I say you're probably right this is just the way I paint non-metallic metal and I'm I'm just guessing around [Music] here here I start glazing some black and because black is such a strong color I actually mixed more medium than paint on my palette as I'd rather have it too thin than to accidentally stain this too dark I just throw this in the dark gray areas that need a band of black to push it further down because I started with a dark gray base it give me more room to push the shading further like this and it's okay to hit the neutral Gray as long as it's a super thin glaze it'll actually work out pretty well now here I am doing the same thing with a glaze of white I'm mostly focusing on expanding the perimeter blending and saturating those glamour spots you'll be surprised at how this step gives such a soft subtle effect with the light but feel free to skip this if you want it's not always necessary but it does make me feel good now for a few hits of that pure Colombian white to give that final glimmer to the Highlight this sort of gives a hot spot of light that's a characteristic of the way some metals reflect light and that's definitely a fact I didn't make up I also start hitting up some hard edges for later did you think all of this was tedious well get ready for some black lining where you'll take some thin down black contemplate the last time you drank coffee and carefully start drawing in lines between every panel of the armor now this takes some patience buddy hell a whole bushel of patience even but this is the trick that really sets your metal apart and really helps sell it all practice breathing control while painting make sure to rinse your brush off often and thin your paint maybe keep small children away because you will curse the a around you with a fervor that's mte but with practice you'll learn to pull it off with minimal [Music] Forte now that's out of the way we're going to throw on some Edge highlights using pure white this is where you can fix some mistakes you made with the black lining earlier using both the edge of your brush as well as some careful Strokes using the tip of the brush I pick out the edges of the armor focusing on on the top parts that would catch the light but don't be afraid to try out the other edges if you're so inclined maybe try mixing in some of the neutral gray if you want to Edge the other parts that aren't the top um I've also found that edging everything white then going over Parts again with neutral gray has a pretty cool effect when doing this though sometimes less is more but figure out what you like and here's the magic step where we take some turquoise we throw in some medium and start applying a tactical glaze focusing on the areas where the transitions from dark to light occur we don't want to go too far toward the brighter areas and overtake the white we only want to add some visual interest to the Transitions and give the effect of reflecting Sky off the armor it's also a good way to hide your more murky Blends and trick some decent folk into thinking you know what the hell you're doing just like in real life and that's the trick now I just have to apply it to all the the other armor sections on the model while contemplating why I chose this hobby for enjoyment why do I do this to myself it's a lot of work but I feel like it's worth it in the end I know that I'm getting better with each panel each section and I'm figuring out what works what doesn't and I'll get faster every time if this is something you wanted to try just dive in and work it out if something's causing you issues try a different way keep moving forward and learn to Pivot when you hit a wall I'm sure there are tons of other ways people do non- metallic metal just keep looking around till you find a technique that speaks to you or Hell try them even if they don't start looking at the world around you and observe how light bounces off of different Metals how it works on curves versus flat surfaces draw it on paper just obsessively start to gather data at the expense of your responsibilities and you'll both be homeless and a decent [Music] painter now we're going to move on to the accent starting with that little air tank that's a attached to his side I get a heavy brown from Vallejo and put on a base coat which is kind of tricky due to the placement I'm intending to do gold non-metallic metal but I also start cutting some Corners later on as I realize how long I've spent on this little dude so far and I need to move on to other models now I'll grab heavy gold Brown and place some highlights using the same principles outlined before in the other metal Parts I only quickly placed these highlights down and didn't Focus too much on blending smoothly later adding in more white for further highlights when I paint I tend to get a little too obsessed with making every part of the model as neatly painted as I can but sometimes you just got to tell yourself that it's okay not to spend too much time on detailing a part or two sure this could be a cool bit but really it's not going to draw too many eyes compared to the other metal in the cape so save yourself some sanity and learn when and where it's best to cut Corners in fact I'm pretty sure I consciously chose to not go too crazy on this tank and the pants when I was planning it out uh which can be pretty handy to keep in mind because you can give yourself room to add details later if you choose to do so in the future also I'm pretty sure I was over this part pretty quick because the placement was a bit annoying now on to the leather where I cheated and used a paint set from Vallejo that included a guide because I'm a weak man who struggles with brown the set includes these color my favorite being smoke which is actually a pretty versatile paint when used [Music] creatively I start with a base coat of chocolate brown over all the leather bits you may need an additional layer When painting over white and try not to use actual chocolate it's tempting I know next up is a highlight using Flat Earth which is both a paint color as well as a theory I could have sworn we got passed long ago but keeps popping up something fierce notice how I'm highlighting away from the flap to help emphasize some Shadows later [Music] on for this next highlight we're going to create some texture using dark sand here we want to give the impression of scratched and worn leather focusing on the edges now although it's perfectly fine to be messy here I'd suggest using a fairly thin and sharp brush rather than being lazy like me and thinking a fatter brush will be just fine I could have gotten cooler lines if I just swap brushes but just like the tank this will be fine enough with the next steps if you see any scratch marks in the sculpt just make sure to follow the Highlight there but otherwise you can just make stuff up and see what you like don't copy me kids start somewhere in the back for your experimentation rather than somewhere prominent like I [Music] did now we're going to thin down some smoke to have a wash consistency and just dowe the entire thing with it what this does is create a sort of filter and brings all the different colors together and since it's fairly dark it'll create shadows in The Recess is where we left the base coat like in the [Music] flap once that's completely dry and I mean completely we're going to use gw's NL oil to add more concentrated Shadows like where it meets the pants or in the flaps don't worry too much about getting it on the pants but try not to get it anywhere else that's already done or accident accidentally flick paint by going too aggressively if you don't have n oil just take some black and thin it down with a bunch of Lami and medium or water and I love n oil but so does everyone else and I find that it's like the most often sold out paint in any [Music] store finally we're going to emphasize the scratched Parts by throwing in some solid black lines where the prominent scratch highlights are again if I had used a teeny brush this would have looked great but here you see some fat lines we're just going to move on and convince ourselves we're fine we're we're now on to the pipes or tubes or whatever you know the stuff that I assume is feeding him applesauce I use a blue gray color called anthy Gray from scale color and based like 90% of this stuff leaving only a line of black between the tubes to separate them a bit and I left the back of the tubes alone because of reasons here I use gw's fenri gray to throw on some highlights to the pipes because the color is fairly light I had to do several coats before getting it solid I really only want the highest part solid the rest can be kind of left alone with to help with the blending these tubes luckily don't have too many kinks in them or other details making it a lot easier to paint I actually use this color combo pretty often as it's a great way to introduce cool tones into a model without going with an obvious approach by like adding in blue or purple everywhere here it's doing double work tying in those Grays with the turquoise or at least that's what I tell myself and finally we blend the two colors together by glazing that original anthracite gray onto the highlighted Fenian gray if you highlighted with this step in mind it can be made pretty easily into a buttery blend now are you starting to see that I use variations of this blending Tech pretty much everywhere else on the model even though it may feel like they're different it's just varying degrees of layers and blending but the root of it all is right [Music] here and I figure while I'm down here and the pants are based with that graphine gray I may as well do a heavy wash of n oil and I mean heavy like so heavy if it were an element it'd be like the the heaviest element one reason why I'm using so much wash is so that it's uniform when it dries if if I use a small brush with a small amount of paint I run the risk of it drying too fast before being manipulated which can cause all sorts of headaches like streaking or just patchy results remember that your brush is like a mop when moving this amount of pain around another reason why I do this is so that I can take this gray down further toward black without it actually just being jet black this way I get more room to shade with pure black if needed and I found it's a great way to give an impression of that black color without going too flat or too too [Applause] gray now that wash is going to take a while to dry so let's move on to the glowy bits I know in the planning I went with a yellow color but I decided to swap it to Orange so that it stands out a bit more from the base plus orange and teal are like so hot right now I mean look at Hollywood this combo's pretty much there all the time now here I make a bit of of a mistake what I should have done is taken a light gray or a white and painted on a layer or two before the orange as I can be difficult to get a solid coat and it would have been more vibrant and less time consuming but we'll keep that in the old brain jar for next time here you see me paint some reflected light from the chest glow that spills onto the hose painting the surrounding area where the light would bleed over is a great trick that helps sell the glow now this is called object Source lighting or OSL but it's also known as glowy glowy sexy bits at least scientifically like non-metallic metal this is a whole subject on its own but I usually keep two rules in mind the source of the light is always the brightest and that it works best when surrounded by dark colors now I'm doing what I should have started with I mixed in some white to the orange and started painting in the center part of each orb this helps brighten the source of the light and differentiates it from the darker glows and later when I put orange back over this stuff it should be more vibrant than the earlier Parts I painted around it now watch me struggle with this orange on the hose what an amateur while I'm making rookie mistakes here being impatient and not waiting for things to dry I'm also adding orange glazes around the rim of the armor to help with the reflected light on the hose essentially I'm imagining a cone of light coming from the armor and enforcing where I think the strength of that reflected light should be I don't plan on doing this for every little glowy orb really kind of just this one but you'd be surprised at how well you can sell the whole thing by only doing the trick in a few key spots and once again I'm reinforcing the brightness of the glow but this time using pure white and in a teeny Circle in the middle I tend to like to bring my gloves all the way up to White before taking it down a notch to do that I did a final glaze of orange over the whole thing and I think I put down like a glove of really watery glaze and just use that drop to glaze every orb thingy and now we're getting back to these MC Hammer pants I actually take the original graphine gray that was used for the base coat and start my first highlight and I intend to cover about 90% of these pants leaving only the deepest recesses alone now some may think that I wasted time by doing that very heavy wash over the whole thing just to paint the same gray back over again but I actually used the wash as a guide to figure out what folds need to be painted which ones can be combined as their folds aren't too deep and to leave a more natural Shadow this is especially useful with malao models as I've noticed that their cloth materials tend to have very shallow values that make that soft transition very difficult and I also mentioned before how I used this technique to give the impression of black without painting a solid black which gives me more room to add more shading with glazes if needed I came up with this method way back in the day and for a long time it honestly was how I did all my colors for years base coat wash base coat [Music] highlights here I am starting the next highlight I made about a 50/50 mix of graphine gray and rainy gray essentially the dark and midtone Grays so that I get a lighter color without getting too light that rainy gray is too light for a smooth transition and I don't want to have to glaze these colors to blend I just want the layers to do the work cuz I'm getting lazier notice how I'm only painting over the last layer and leaving the darker color alone I'm actually picking a sort of banded area of the pants where I'm going to keep adding highlights I guess the best way to describe it is that I'm picking smaller areas in the middle of the thighs to highlight and in the back I'm doing the same in the center closer to the bottom [Music] [Music] [Applause] and now I'm doing the same thing in a smaller area using rainy gray this is where you really start to see the highlights progressing and you'll want to get more honed in on where you're placing the highlights notice how the places I left the darkest areas that show that wash base coat combo starts where the creases and folds meet the armor plate but that same line is continued over into just the base coat in those areas I mentioned kind of combining the folds it's hard to describe but this layer of highlight is where you sell that transition here it's much easier to just simply layer like this than say the cape because the majority of the cape flows with no real crease and needs glazing to smooth out the transitions but this one's a lot more Creasy now the last highlight is just to push it a little forward I think I added like a tiny bit of white and chose very small areas to put them in be careful to make these look natural as the further up in highlight you get the more subtle you'll have to be and it'll take more care to sell the cloth which usually doesn't have uniform highlights compared to say something more reflective now I know I mentioned I didn't want to do any glazing but I ended up taking some n oil and doing some quick glazes to sort of add a filter to the shading that meets up with the darkest areas toward the crotal region this should add a bit of depth to the shading making a smoother transition with very little effort a good tip to keep in mind is to think of the mop again you want to place a bit of wash but then when you're mopping it around you want to focus on ending your brush Strokes toward the darker areas rather than the other way doing it this way will make sure that to end that brush stroke which tends to uh bring the most paint along right where everything's already dark and if you do it the other way you're going to end up with a brush stroke with a big old blob and it's just harder to taper off that line that way and you may see me break this rule here and there but hey I'm allowed to be inconsistent I made it all up but with this done we're finally going to hit the home stretch where we get to do something different than just boring old brush [Music] work now we're going to finish this Base by busting out some good all dry pigments I rarely ever get to use these in most of my paint jobs but I actually love this stuff now some of you may not be familiar with dry pigments and it may look intimidating but once you get the hang of them you'll see that they're a great tool for cool transitions as long as you keep some things in mind one it's messy make sure to use these over like a paper towel or something you don't care about two When painting with your brush it's a mop here it's more like a stabby broom three start with a little then start adding more to taste experiment a bit and four wear a mask kids you don't want to be breathing the stuff in I use a glove as well because it gets messy on your hands I start experimenting with a color that's close to the bass's darkest yellow and start stabbing around figuring out the amount of pigment that I like to use now that I'm more comfortable I move over to a rusty red color to start stabbing in some cool Transitions and boy am I loving this combo it really does give an interesting shade to the yellow while contrasting with the turquoise of the little guy now I'm slowly moving up higher on the Rocks when I stab and sweep to test what it looks like because once you put this stuff on it's hard to take it back and don't forget to tap the excess dust off every once in a while keep sleeping and stabbing till you're mostly happy try not to get hung up too much cuz we' still got more to add now I'm moving on to the black pigment and I start this with very little on the brush because it's such a strong color and you could always add but you can't really take away I've used this as sort of a way to give the impression that explosions and stuff happened using the sculpt of the base to tell that story [Applause] here I made a boo boo and accidentally put too much on then I spread it out more due to panic but fret not for in the land where I make everything up on the Fly I figured I could just pack in some more of that Rusty red over the black then sort of sweep everything I'd be able to salvage it I think it works fine worst case we use some special edition toughs of cover up grass to hide our our shame and we can call it Mala foliage and back to our regularly scheduled program I just throw in some extra spots for the black pigment just to add some variation and interest maybe reinforce some earlier areas and pretty soon we're ready to lock this dust in using some pigment fixer see up until now this is just Dusty stuff sitting on top of the base and nothing stopping it from flying off when met with a stiff whiff of air conditioning but by tapping some capillary action with this fixer stuff we're able to lock in that pigment where we want it to be fun fact I totally made up the person who discovered capillary action was really meaning to say caterpillar but was too embarrassed to correct themselves once that fixture fully dries up and we add a few clumps of malif foliage around we'll finally be done with this bad boy and there you have it one minion in the crew down and hopefully you learned a thing or two along the way let me know what you think in the comments did you have any questions on some steps did you think it was crazy to paint like this and if you want to see more make sure to subscribe and I'll see you next time

Channel: SubParNinja

Views: 603

Keywords: Malifaux, Miniature Painting

Id: yHT9cbPUMNQ

Length: 43min 24sec (2604 seconds)

Published: Fri Jun 21 2024