How to Paint: Night Lords by Mezgike

[Music] [Music] yeah hey happy new year everyone this month we're going back to chaos we're gonna paint a night Lord have a look at him we've converted him up from the black stone fortress dude yeah we got a bit of an army of subsections going on here you've got the power more with some Lightning coming off it which is gonna disappear and here we've got the mark one base that I made up the original base which I ended up changing my mind and redoing it we're gonna make a better base than this and it's fun to change your mind throughout these projects let the model evolve the way it needs to evolve so we've given it a quick prime with cows black spray and as you can see here some of the plastic is showing through and that's fine that's what we want anyway before we can begin painting we got to consult the pain rack before we start any project we're gonna have a bit of a think about what we're doing first not just I'm just gonna jump into it straight off the bat the blindfold week we want to just think about think about the colors and composition and all that kind of thing anyway he's a good start got a few paints going on here what we've got use good incubate darkness and Drake and Hoff Night Shade that's what we're thinking for the armor not not something like like this we don't want that sort of to go away we don't want that so we want something a bit more dark and moody not so vibrant and saturated so yeah we're gonna hit up with incubi darkness and we're gonna wash it with Dracon off nightshade obviously we're going to use some black and I'm thinking of putting a bit of snow on the base so we're gonna get some white in there I'm gonna go to two different golds Balthasar gold and screaming Bell screaming bells basically a red man we're gonna use this we use this for the wings so most knight Lords have red wings and normally you'd paint them something like this evil son scarlet or whatever but we're going to think outside the box and we're going to use screaming Bell which is bujji's red it's basically red it's just a metallic red and we are still going to use something like this for the eyes though in the plasma we use Balthazar gold for the trim and I reckon we'll highlight it with something like this Sycorax bronze just to keep that gold nice and muted we don't want it to be too saturated and drawing too much focus really well we use something like this to create the Lightning mother and blue and that's going to go nicely with this armor looks good together you know as I said before we're gonna get some gonna get some red glow happening on the eyes and the plasma gun will probably use evil Sun scarlet for that and might get a bit of pink in there just to make it a little bit unnatural looking or maybe we can get some orange in there or maybe we'll just mash it all up together and see how that goes we'll have to deal with some bone so I reckon Rock our flesh is gonna be the way to go there it's a bit of a nice muted color it's gonna go well with our night Lord check this out this is some red pigment that I've got that I want to try up look how intense it is compare that with something like this it's just pre it's pretty hardcore so we want to try that out here we go that looks pretty good as the saying goes it's progressed pretty much what I do I just grab a bunch of paints like that and I go yeah that looks pretty good let's paint it so without further ado let's get to chapter 2 blocking in we're gonna get a baton black for this and we've already sprayed this with chaos black so we just want to do a nice a nice thin coat of this that paint get that nice and wet watered-down consistency and just start hooking into it painting over the model filling up all of the gaps as I mentioned before this is this has been primed with with Kahless black spray and when I prime I like to I like to do a nice light Prime so that the paint's kind of speckly the whole point of a prime is not to apply your first colors to its the primer maintenance to to get a bit of a speckled finish so the paint has something to stick to so all we're doing now it's just filling up those gaps that we've we've missed and just pulling it all together we're gonna gather the incubi darkness and this is this is our first real color we're gonna thin it down on the wet palette there you can see I just grabbed a few beads of water and just mix it in that's how I'm going to be mixing my paints from now on so there's nothing to it we're just going to start painting the all of the armor with incubi darkness you can see that it's been thinned right down with the water it's very important at this stage we're gonna be putting lots of layers lots of different colors over this so right from the get-go we want to make sure that paints nice and nice and thin we're not clogging up detail we're not gonna leave brushstrokes or little crumb YZ or anything like that we are however gonna need to do two coats of this you could do three if you want but I'm not too worried like I said we're gonna be putting a lot of a lot of colors over this so if you can see a little bit of transparent paint through here and there I'm not worried I'm really never worried with that sort of thing with my models because you know like I just said I'll just keep putting more and more paint over it and by the end you're not going to see if there's a tiny little bit of black showing through this this color here but we definitely want to do at least two coats so we'll just make our way around the model here and then we don't even waste your time being neat bugger just get into it and get it done quick so you can move on to the fun stuff I'm really a blocka tintype operator I like to get it I like to get it all done at the start all these boring stuff so that we can just move on to the fun stuff Hey look that's after the first coat you can see it really does need a second coat so let's just get into it get done this ink you by darkness is quite green it's got a bit of a green sort of tinge to it which we don't really want your we're going to change that change those color properties later though so don't worry about that for now let's start painting some of the pipes with rock our flesh we definitely don't want to paint all the pipes with rock our flesh in fact we want the minority of them to be rock our flesh we want we're actually gonna paint most of these pipes black but we just want a few of them just to pop out a little bit and be a little bit more interesting we're gonna paint these kind of like a feral skin color type stuff we're gonna get some nasty arts of veins going through it like these these pipes have kind of come alive or something I don't know just kind of chaos here I guess and got that kind of mutation thing going on just mixes it up as well yeah so this one here I paint I started to paint skin color but decided against it we're gonna repaint that black because we're gonna have some Lightning coming out of these cracks and I want that to reflect off their black pipes and it's not going to work so well reflecting off a skin color pipe so we'll keep that in mind it pipes pipes that are coming out of cracks we want those to be black because the lightening on this fella is going to be coming out of the cracks it's going to originate from those cracks anyway we'll get into that a little bit later for now we've got a crack up the Balthasar gold you begin blocking in all of the all of the trim this is a really awesome color really it's got really good coverage it's it's good just for any kind of gold even if you don't know what sort of gold you want to do you can you can base coat with this color and you can quite easily change the properties of this color I find that this this color can turn into anything you just base it just whack it down and then depending on what Gold's used to highlight over it that is what will determine the color of the gold even even the colors that we use to shade it or glaze it that can change the color of this completely and you'll see that's exactly what we do later on and as I mentioned earlier for this night Lord we're going to use two different golds so we need to be careful with that in in the plan there is to make this nice and muted and not stand out too much and in contrast the other gold which will be the red gold used on his wings we're gonna make that quite prominent because that's going to be a feature over the model and it's going to help draw your attention to the head and if you can draw draw the attention to the head of a model then you're doing something awry let belcher we're just going to use this to paint all of the pipes the internal pipes that we can see in the tears in this pipe here is completely exposed we're going to paint that and we'll make our way around the whole model all the subsections just just picking out these little pipes these little exposed pipes as well as anything else that might be silver like those gas canisters on his face these little pipes at the back of his ankle and there's a few little cheeky ones in here we don't want to miss those there's a few little silver details in there around the ear as well and of course these little exhaust things these exhaust pipes they are always silver in my book and what chaos Space Marine doesn't have a few silver spikes poking out of his armor yeah we've got the metal areas of the gun we're going to paint the panels on the front of the gun we're gonna paint those black later on but make sure we paint in between them with a bit of this LED belcher and the handle there we'll get that silver too and of course his power model we've painted the fancy bits Balthasar gold we just want to paint the internal bits the stuff that does the banging we're gonna make that kind of a steel color and you'll see later on those clunky bits of lightning I just removed them I'm just like bro I'm not feeling that anymore let's chop it and that's that's the way it goes you should always allow yourself to change the model for the better if you need to let the model evolve don't just be a stubborn bugger just let it let it do what it needs to do right ox-hide let's see use it I see using abuser we're just gonna paint the the leather belt you can't around his waist and this little pouch probably got gold coins in there then we're gonna paint the strapping on his power mall Ripper of a color right oxide very versatile I use it a lot we're gonna go for a bit of a dull grayish kind of color here going back to rock our flesh for the back of their head here which I forgot to paint earlier this is a bit of exposed skin because of the conversion using the the night of shrouds that the night haunt fella using his helmet which is more of a mask than a helmet so we can see a bit of the back of his head now we're going to clean up the pipes the black pipes the pipes we want to be black with believer or not we're gonna use a baton black for that and they were already painted really but when we when we getting into it with incubi darkness and Balthasar gold and all that we just get it we're just making a bit of a mess so what we've got to do is just clean it up it shouldn't take long but we do need a nice solid really not nice solid black to make these pipes look good and we'll have to go around the little tears there clean it up from from the lead belcher there probably but no doubt spilled out all over the place we probably just got that all over the shop not to worry check it out here's a sneaky joint in the armor hiding in this little tear in the cloak we need to we need to pick out those as well as his eye sockets let's make those nice and dark more pipes there are so many bloody pipes on this fella but as much as a pain in the ass that was to paint I love them I reckon they just look so good to me this is what chaos is all about you know he once had Imperial armor and over the years have been being heretics and naughty and all that modding it putting bits on that the Emperor wouldn't approve of like pipes and spiky bits that's what a chaos fella would do and that's what that's what I love to see in these in these new moles or g-dubs doing actually actually putting this kind of detail in it and giving them the attention they deserve and it's just that's just really cool man I'm loving it anyway screaming bill here's the first layer of the reddish gold that we're going to use for the wings let's whack a bit down here on some of these random pipes and that's just gonna that's just going to help make those those copper wings relate to the rest of the model because those copper wings are they're quite out there they're going to be they're gonna be a bit of a feature so we don't want them to be too random we want to tie it to the rest of the model and we can do that just by having a few little flashes of it here and there some of these little baby pipes now we're just going to do a real quick touch-up before we move on to highlighting and shading in the rest of the model and making him start looking a bit interesting I always say that when you're doing the blocking in stage to not be too neat with it because you just waste your time and you don't want to be going all dopey with it and just slapping it over the place like a drop person but you know just just get it done quick and then we can always go back and touch it up at this stage and I find that much quicker I find it easier psychologically as well knowing that I'm getting through this stage quick I'm not taking too long here we got a couple of sneaky horns or spikes or teeth that I didn't see before there's two on a shoulder pad here and then there's one on the tip of the gun we're just going paint those we have Rock our flesh as with the rest of the bone like the skull we painted earlier and here he is ready to go part three the armor yeah well this this stage this stage is gonna be either your best mate or your worst enemy it's a bit of a long slog but it's very important to get this right the armor makes up what do you reckon about 80% of the model so yeah it's it's a big deal we've got to get it right we're using Skaven blight Dinge and we're using this to just paint well sketch if you will where we want basically the highlights to be and we're not blending this right now we're just we're just painting it roughly like here along this arm we're going to have a bit of a shine so from this panel to the next panel we're just going to paint sort of a rough line reasonably thick as well thick as in wired not not thick like we don't want the paint thick of course this paint is thinned down but it's not what I want it to be too transparent I want to just want a fairly opaque layer on the tips of the toes here creating a bit of a shine we got what we're going to create a bit of a shine and this skeeve and black tinge is the first step in that process so we're painting a reasonably large area and then later on we're going to go over that area within that area with a brighter color and work our way up the highlights the highlights later maybe this is not a neat stage this is one of those stages where you just want to get get it done quick sort of like the blocking in as we progress from one stage to the next we want to progressively get a little bit neater and a little bit neater as we begin refining the armor but yes this stage is just slap it on we're roughly where you think the lights going to be and don't worry if you don't get it quiet right I get a little bit wrong here too and in the following stages we can just we can tweak it and correct it as needed you don't just don't expect yourself to just get this correct the very first time placing light on these kinds of things is a bit difficult you just have to do your best and just apply it where you think where you think it's going to look the best you don't need to be a scientist of light you know I'm certainly not a scientist I just put the light roughly where I think it's going to translate the best and look the best on the shoulder pads here I'll just paint pretty much the top half of it with this Gavin black tinge well whatever the first layer of this process might be in a bit of a circular motion it's like a semicircle and along the arms I like to create a bit of a shine going from one panel to the next it just it translates well and makes that I'm a look like it's slightly shiny or it's reflecting some kind of light now we'll switch to dawn stone and we'll begin refining that light by painting more shines within that Skaven black tinge here's a bit of a visual description of what I'm talking about so we're gonna we're basing it with incubi darkness then we're going to lay out our rough highlights using skeeve and light beam and it's completely opaque it's not transparent within that area we're going to highlight with dawn stone which is what we're doing right now then we're going to begin blending those two gray areas back down using thin down Skaven blight tinge then we're going to do the same thing using incubi darkness to blend the incubi darkness and scape and blight tinge colors then we can begin adding highlights edge highlights now that's that's the basic idea of what we're doing right now after that we're going to be doing some glazing and changing the color properties a little bit introducing a little bit of blue but but for now that's the basic concept so we're we're doing those opaque colors kind of loosely and sketchy and then we're going to blend them back down using the previous colors and that's going to create a nice smooth blend in some cool transitions we're going to go we're going to get some some blue to gray transitions which which is going to look quite unique the color of this armor is really important like I said before it makes up most of the models so getting that color right is very important and back when we were talking about colors back in step one when we were consulting the paint rack we we for this model we don't want to have a very bright saturated blue for the armor we want to be a little bit different and and use an unsaturated color so that's why we're using grey to highlight here we're going for a mood here we want we want this guy to look scary and evil and dark and on top of that he's a knight Lord so I thought it would be cool to make him look like he's actually walking around at nighttime so we definitely don't want want bright blue for the armor always loved Knight Lords and I've been painting warm up for about 20 years now well I mean that does 10 black about 10 years of that maybe I was doing other stuff I guess but ever since I started I've loved Knight Lords but in that 20 years time this is the only night Lord I've ever painted I'd actually really love to paint one of each of the chapters for you guys like I'd love to paint an emperor's children fella and an alpha Legion dude how about that new jetpack guy Harken I'd turn him into a corn black for sure the way he's leaping and charging like that next stage we're using scape and black tinge to to blend these areas together now so we've thinned it right down into a very thin glaze and just wipe it on the tissue and absorb some of that water so it's not gonna flood out all over the shop then we can begin just just blurring those that blurring that line between the scheme and black tinge in the dawn stone we just sort of paint over it and blend it together blend it into a into the blue a little bit a little bit into the dawn stone and you'll see it's quite easy it quite easily and quickly starts looking like a bit of a decent blend at this point we can also begin mixing up some of the da genus from before I mean if we put if we put some highlights in in the wrong place like on his on his right knee I think I put a bit a bit too much of a line going down the center of the shin so at this stage I'll start sort of cutting that out and keeping him a bit more of a highlight towards the top of the knee rather than going straight straight down the center of the shin which was looking a bit weird you can see a little bit of line down there it's a little bit on his left left leg - I was gone a bit strong with the lion down there down the shin plate so using a bit of that see even black dinners just to cut out some of the dawn stone and pull it back and later on when we when we get into the incubi darkness we will do that even more with the chest plate I usually try to keep the top of the chest plate nice and bright and the bottom of it will fade fade to the darker color so when we're looking at that model we're going to naturally follow follow the highlights and our is going to go up the breastplate and look up up up up up as it gets lighter and lighter and then I bought before we know it looking at his face so it's quite easy to do this stage and it's it's a bit of a relaxing stage because it's just it's just so easy and it's quite rewarding because you're just making easy blends this is just the easiest way to blend laying out those solid colors and then just blurring the lines that's what we're doing I mentioned before that I'd never painted a night Lord before so how how do I know what I'm doing right now well sometimes I just wing it and other times other times I do a little test and so what we're doing right here is we're using incubi darkness which is a very dark blue with a bit of green in it and we're highlighting it with grays what's going on man like that almost doesn't make sense but I had the idea in my head before we started this is what I wanted to do so I tested it out just to make sure it works because I don't want to be I don't want to be filming and video for you guys and not know what I'm doing so you can do the same thing if you if you need to if you need to come up with this color scheme for your army grab a pair of old Space Marine legs that you're never gonna paint or just some piece some component that you've got lying around that you don't need anymore for me for this guy I'd used to the sort of old Terminator legs and I'm never gonna paint a man like I don't care so a way I went I painted one leg in this exact method and I painted the other leg in a slightly different method that involved a bit of rhinox hide and I took both of those legs to completion and then I could compare them we're now finished it's chalk and cheese one leg looked bloody awesome and the other leg looked just a little bit wrong so I went with the bloody awesome one you know and it's a it's a pretty it's pretty avant-garde type process what we're doing here it's a little bit different using that that kind of blue on a knight Lord for starters and then highlighting it up with grey but you'll see once we've highlighted it with grey we're going to pull it all together with a dark blue wash and it's just going to change everything it's gonna change the whole look of the model you know I like doing that I like doing that with my models I do it with my plague Marines I paint them I paint they start off looking a bit like what what's going on here and then as soon as I do a few washers and a few glazes changing the colors it starts looking very interesting because we've used we've used those unexpected colors as the foundation layers and those will always shine through the glazes that we do so keep that in mind I'd say when you when you when you want to come up with your schemes just paint a small piece and just test out test out your theories test out your ideas just so you don't go on paint a whole model and realize that it's not going to work so we're still making our way around this bad boy weird engine it up with Skaven black tinge blurring those lines together getting the foundations of those blends setting us up for some cool armor I've made this section of the video a little bit longer than I'd normally like to but I wanted to do that to show you to show you a little bit more detail of of this blending where I'm putting the highlights and how I'm blending it all together you can get a bit more of an insight into this process because as I keep saying it's the armor and it's a really important stage it's time for the incubate darkness blend now we can really we can really fix up any kind of highlights that we're not digging like this knee pad here shin plate sorry you can see I'm just I'm blending some of that incubi darkness into it especially in the bottom the bottom half of it and when you blend like this you should always direct the paint to where you want it to be thickest or strongest sorry what do I mean by that well wherever your brush leaves the model it will it will inevitably leave a small puddle of the paint and that's where the paint is going to be strongest always every time so where you want the paint to be thinner that's where your paint brush should touch the model first and where you want the paint to be strongest that's where the paint brush should leave the model while we're doing this stage with the incubi darkness we're actually making that gray a little bit more colored as well so when we when we glazing over that gray some of the some of the incubi darkness the blue and the green from it you starting to stain the gray this gave and black tinge in the dawn stone which is helping to blend the colors together as well as add a little bit more blue you can see here we're pushing the paint towards that crease where we want it to be strongest and darkest and we want it to be lighter on the tip of the foot again with the breastplate we're directing that paint downwards because we want it to be darker towards the bottom and lighter at the top you should you should do this as as much as you can wherever possible for the front of the forehead we want it to be darker at the bottom and lighter at the top because for that panel the top of the head should be lighter and on the temple we're going to reverse it so that we get a bit of a reverse gradient thing happening so we're going to make it lighter at the bottom where the cheek flares out and catches more light and it will be darker towards the top of the temple where it dips inwards it also matches up nicely to the lightness on the top of the head that temple being dark at the top in the head being light and so we get a nice nice contrast a bit of a reverse gradient if you will and of course we really want to push that and enhance that later on when we get into the highlights with the hand and the arm we want to keep that incubi darkness away from those shines that run down the center of the arm so we'll just focus this towards the middle the middle of of the sections check out my thumb there I'm always I'm always controlling my paint on the thumb so once you once you stick your paintbrush in a bunch of paint that's just sitting there floating on your wet palette you don't really have much idea of what's what's on there so well sometimes you do and sometimes you don't but you can always just give it a quick a quick flick on a thumb just to see just engage what's going on with a brush how much paints on it if you need if you need to adjust you can sometimes the paints too thin or sometimes your brush might be just you've just like sucked up away too much paint on that brush and then as soon as it hits the model it just floods out everywhere you can make a bit of a mess so just just just be aware of that sometimes you need your thumb or your handle whatever just just so you can gauge it if you don't want to paint it on your thumb you have a piece of paper wax paper or something sitting there ready to go you paintbrush a bit of a wipe or a twist just blending blending blending just making it all smooth where we go around the model it does take a long time to do this you know I want to show it to you I want to show you this is the majority of the model being done here thanks everybody for voting for the next model that I'm gonna paint for you I'm thinking that I'm going to I'm gonna leave the gene Steele occults for about a month or so until until D dubbings out the new models because I think I reckon they're going to bring out some pretty cool stuff and I really like those the dirt bikes so depending on what other cool stuff they might bring up for the genes deal Colts when they codex finally arrives I might paint a jeans deal a dirt bike for you dudes what do you reckon that does mean that the winner for the next one is Drew Carey I've got some ideas for that so stay tuned of course it's going to be it's going to be something different that's my style I like to try and I like to try and do things that we haven't seen before I'm always trying to think outside the box and that's what I want to try and show you guys how to do just got to come up with ideas that just knock socks off and blow your minds and make dudes go by that's just sick in a really simple way to do that is is what we've already talked about in this video and and we sort of touched on it in the whites car video just just choosing colors that are a little bit different instead of choosing a red choose a metallic red choose a copper or instead of choosing red choose or a brown she's a brown that's got red in it right now we're painting a night Lord right and and pretty much every night Lord that you'd see on the Internet is as bright saturated blue color with sort of 80s style airbrushed lightening painted on the armor and that's cool that's what they are that's what a knight Lord is but when I see that I try to try to interpret it a bit differently while retaining will still still keeping some of that that iconography in the in the classic night Lord stuff we still want we still want this armor to be blue and we still want there to be lightning on it but we are going to make that blue dark and scary we're not gonna make it bright like how my eyes in the lightning we're gonna do we're gonna do something a little bit different for the Lightning as well we're not gonna have that airbrushed look all over the armor we're gonna try and make the lightning we're going to interpret that lightning as kind of like sparks originating from within the armor so all these pipes and everything he's got some electrics going on inside so he's gonna have sparks going off he's got he's short-circuiting and all that electric activity he's gonna be shining through the cracks and translating through onto the armor as lightning here we go bit of administrator I'm gray now we're just using this to to push the highlights get this stuff close to the edges and water it down obviously get a nice and thin you do a bit of a glaze and we're just going to blend it and push this towards the edges where we want it to be strongest so we kind of start a couple of Mills out from the edge and just push it towards the edge and you get an instant gradient and this is this is laying down a foundation for for the glaze that we're going to do very shortly when the glaze hits this light color that's going to that's going to go nice and blue it's not going to be too too saturated but it's definitely going going to pick up a lot of the blue and shine through that blue so again we just work our way around this fella picking out all of those highlights all the highlights that we've been working on for the past few hours just making the armor look as good as we can make it and as we've progressed through the colors and the different stages of the armor we've been getting a little bit neater and neater so you want to be quite neat at this stage get your finesse on and I'm using my Windsor Newton series seven brush for this getting fancy with it I sort of used the the Games Workshop brushes for all the industrial stuff all the heavy lifting and I just sort of used and abused them I just get them get there tough work done with it and then I save the nice clean finesse work for my good brushes so I don't wreck them basically all of these gradients that we've put into his his head on the top of his head and his cheeks just enhanced those we can also begin highlighting around the cracks and working our way into that sort of area there are a lot of cracks on this model and we're gonna make them sparking and surging power so we need the outsides of those cracks to be highlighted so we're just a couple of mils out from each crack and just push that push that administrate and great ords the the edge where we want it to be brightest highlight under the cheeks here and under the nasal cavity as well the tops of the pauldrons of course we want those to be nice and bright the shoulder pauldrons are really good for helping helping you to direct attention towards the center of the head generally they sit by the side of the head so if you can make the shoulder pads or the shoulder pauldrons nice and bright you can you can help direct the viewer to the face and we're getting there we're almost done with this on this stage of the armor and then we can move on to something a little bit different which is glazing make sure we highlight the tops of the edges of the feet as well as the bottom my fiend for highlighting the bottom of the feet I don't know why a lot of the times you can't even see it but just occasionally you can and doesn't hurt to give it a quick highlight sometimes if you can see the bottom of the feet and that and if it's being highlighted it adds a little bit of finesse to the model it just separates that foot from the from the environment a little bit gives a bit of contrast you can see here the shine that I'm talking about going down the center of this limb when we highlight the metal will will continue that shine as well as when we highlight the joint in the armor the black rubbery under suit or whatever it is will continue that shine through all of the elements and because these paints are so thinned down we can we can go over them again and again making them stronger where we need them to be and just gradually refining refining it with each brush stroke it's very important as well to paint paint the fingers and show a lot of attention to them make sure we get the knuckles and the tips of the fingers as well as each little panel within the finger these subsections the two arms I've taken them off they're wire and I've done that so that I can place them onto the main body and just have them sitting there every now and then so that I can check the light and make sure everything's looking okay as well as that his right arm the shoulder pauldron is split in two so it helps to have them but up every now and then and just sitting next to each other so that we can make sure that the the highlights are consistent and you know like one side isn't really bright and the other ones hasn't even had any highlighting done to it so it means we've got to handle it a little bit and the problem with handling handling these is that some of these highlights will rub off but it's okay because right at the end we just touch it all up when the models all glued together and we just do a once-over and we can go oh yeah look at his fingers make moves just the highlights have rubbed off and we'll just whack a bit of extra highlight on there and she'll be right don't forget to highlight around these cracks in the armor oh just makes it a little bit a little bit easier later on when we start defining where the electricity is going to be coming from and these putts these these spheres on the on the backpack we want to try and get a bit of a zenith or highlight happening with those so we want to round like a circular highlight on the tops of each of these domes with the backpack there are also these few little sneaky bits of blue armor hiding amongst the all of the cables and the pipes so we can't forget to do those now we need to just do a quick tidy up with rock our flesh over all of the the fleshy skin colored pipes that we're going to do as well as this this little skull going on here we just want to clean it up we've been painting this armor for quite a while now and there's definitely some some damage and we need it nice and clean for this stage which is Drake and half a nightshade and we're going to paint this over the entire model except for the black cloak just avoid putting it on that black we don't need it on there but everywhere else that includes all of the blue armor all of the bronze trim the copper red wings all the bone and all of the skin color pipes everywhere and this is key we're using a blue wash a very dark blue wash and we we're tying all of these colors together we're giving them all something in common with each other which is blue a midnight blue if you will because we're trying to give this night Lord a bit of a mood like he's he's dark and gloomy and he's possibly walking around at nighttime so when you're walking around at nighttime you start looking a bit blue everything starts kind of reflecting the dark blue sky or the moon so every single element of this model is going to have blue in it that includes the Cape we're gonna we're gonna had blue to that later we don't want to add any dragon hoff nightshade to it though but we're gonna highlight with some Blues later on so this fella he's gonna look cold and dark like he's walking around at nighttime he's gonna be some there's gonna be a bit of a winter thing happening it's gonna look cold and he's just gonna be ominous and gloomy night Lords seemed to have a bit of an undead vibe happening with him maybe a vampire type thing going on so I think the night the night theme in the cold the cold snowy look that we're gonna go for I think that's all gonna work now we are washing this model with dragon off night sheet but we certainly don't want to flood it don't let this go out of control and don't put too much the mean the main goal is to tint everything with a bit of blue we definitely do want it to sit in the gaps and define the different elements of course we do but we don't want it we don't want ruining all of the nice blending that we've done all of the work and here's what it looks like when it's dried it immediately just looks so cool like everything look at the color of the the the bronze armor it's just totally changed the color of that Balthazar gold and his backpack here with all of the pipes have a go out the the Lightning on this mace it's already broken off who cares we're gonna chop it later even that Brown strapping has turned out really cool if you're breaking off wash sorry to say but we got to get back to the armor for a little while I'm using Thunderhawk blue here and we're just glazing it towards the highlights in a similar way as the administrator and gray that we did a little earlier in a very similar way we're just adding a little bit of blue in and look at look at the chest here what we've done so far you can see it immediately looks like he's walking around at nighttime Thunderhawk blue is a very muted blue it's it's it's a good midpoint between gray and blue which is what we're after keeping away from the really saturated stuff for the armor at least contrast man we want some dull dark armor and that's gonna contrast well with some really bright intense electricity in plasma so this is a fairly reasonably quick stage but we want to we want to focus on tinting the highlights as well as we can use this to clean up any sort of da genus that occurred from hitting it with a wash because you know like oh you know I washed gonna be a washed can be a pretty rough stage for a model you know like it goes it takes a beating mate like it cops it when you do a wash like we've spent hours on this fella putting the nice blending into it and then we went and did a wash over it so we just have to repair it a little bit here and there making that nice and thin really really thin paint so remember the consistency of this kind of operation it's we want a very very watery it's almost it's more water than it is paint probably 70% water 30% paint well there abouts I'm not really a mathematician at this point let's add some scratches so to add really thin scratches what you've got to do is have firstly you've got to have a good brush you can have a good brush with a fine point secondly that paint has to be very thin with water and of course once that brush is loaded up with water it's got to be wiped on a towel paper towel or something so that it's not it's not gonna flood out all over the place because that won't make a sharp scratch so we can just begin adding random scratches make make some of them crisscross it looks good if you if you sort of originated these scratches from the edges like this makes the edge look kind of raggedy mix it up a little bit more Thunderhawk blue they're got really really hot days here in Sydney at the moment my paints dry and pretty quick see if you've got similar if you've got a similar climate and there's like 42 degrees and it's off the tree hot then what you've got to do is just make your paints a lot thinner than you normally would and keep keep that paint on your brush keep it nice and wet painting that sort of climate is sort of taught me to paint like that with with really wet paint it's almost every every single color that touches my models has been really thinned down with water yeah so don't don't forget to to give a lot of attention to the fingers and the knuckles finger tips in all of the different joints in the finger armor show them a lot of love because it does go a long way when the fingers look good the thing is other things that are holding the weapons and we're often looking at the weapons going oh wow that's cool that's a cool plasma gun or power sword or a bloody huge axe whatever the things are the things that are holding those weapons hands or the gloves you know there that's what's holding their big the big body gauntlets you know so yeah just just just show a lot of attention to the fingers pain I'm good I'm good now let's move on to alpha one gray we'll be using this to accentuate the highlights and just push them a little further a little bit further and then we're all done this is the last color for the armor so we need this to to just pop it on the corners of things on the tops tops of the edges the little sharp bits whatever making this armor look really really good we'll use this to to highlight a few of the scratches as well to this point right there with us to scratches crossing each other just whacked a little dot of alpha one gray where those two scratches intersect here where these scratches originate from the edge of the armor just painting a little dot near them just to pop them out to make them look like they've actually scratched into the armor and there's a bit of depth going on of course we want to get the top of this breastplate this is the very last highlight that we get to put on this armor so we're gonna make it good this is our neatest painting and we'll get those cracks where the pipes are coming out we'll get those nice and sharp in the cheekbone or the eye socket we're gonna get some cool glow happening on there later on so if we can get a nice nice highlight there we can get we can set it up later foundations for and when when we're using this alpha one grade to do the final highlight we can do a little bit of a stipple here and there Nick that helps to create a bit of a bit of irregularity on the armor on the surface of the armor so maybe it's a little bit bumpy or it's a little bit battle damaged if we do if we stipple the edges rather than just doing an edge highlight like a line then the armor can look like it's a bit wonky and barrel damaged and like with all of the other colors that we've used so far we're making this nice and thin so we can layer it up if we need to we're just going a hundred percent color bang because if we've done too much what do you do then you've got a you're going to fix it so with Lane transparent paint down 50% color 40% 30% whatever you want just not a hundred percent color because if you need it to be a hundred percent color just layer it up and make it more and more more and more bright you can always add more paint but it's a lot harder to take it away look at this what I'm talking about gauntlets I don't know what it is with my with my fingers but I've got to make fingers look as good as I kind of making them go finger finish I guess Mei doesn't sound good no I don't know I just I guess I just like my gloves looking their best leave me alone it's the coolest backpack a like a look at all those pipes in the detail on it spaceman chaos space marines they've got to have this kind of detail they've got to be really separated from the imperial space marines like they've just been modifying this over years and years and years they've bastardized it with all sorts of crap from across the galaxies and whatever I don't know traded it traded parts for yeah I just think it looks cool yeah it just makes it really fun to paint we're almost finished with this armor I promise just bear with me we get to some more fun stuff soon just gonna lay down the last of these lots of these highlights make that armor look Schmidt speaking span highlighting a little a little scratch there on the corner of the armor little details like that go a long way just a little scratch crossing that crossing that border the divide between the elbow had put a bit too much pain on there quickly whack out your g-dub and sort of feather it out before it dries you get a nice little blend you can see how the contrast of the highlighting just really really makes these armored panels come to life when you give them the attention that they deserve we're using alpha line graveyard highlight in edges using oath line great because it is a grey and it's a white and it's a blue it's all the things that we need to do adding more scratches it's really fun adding scratches just don't go overboard with it can go aboard we've been adding adding detail like that more fingers thing is that you possibly won't even see I'm pretty sure it's very hard to see these fingers so you probably don't need to be fanatic like me and I like fingers as much as I'm doing here ooh part for freehand something different so I just got up the old knight Lords logo on the on me on the iPhone there I'm just using it as a reference then we're gonna crack out the rack our flesh and thin it right down with the water you can see how thin it was there and let's just do a little dot on the very center of the armor that is our reference and from there we can branch out we can branch out either side of that dot or a line and start adding the key components of what will be a skull the skull that makes up the knight Lords logo start with very simple lines sort of mapping out where the eyes are in the nasal cavity that's the center of a skull once we've got that we can add the top of the jaw in the teeth and then we'll probably add the cheek bones next and I will start tracing out the top of the skull the cranium will fill it in fill in that forehead with this thinned down rock our flesh and when we're free-handing like this keep two things in mind what that paint super-thin like man just so thin we've got to go over this again and again so if this paint is not thin it's gonna look like a mess it's gonna be it's gonna be a bloody 3d freehand you know there's gonna be so much paint on that you're gonna be sculpting it we don't want that we want super thin paint the other thing we've got to keep in mind is that we're going over this again and again and we don't need to worry about being perfect straight up like bro this skull is gonna look it's gonna look pretty wonky it's gonna look ugly it's gonna go through many stages gonna go through stages where it looks alright and then then I'm gonna add something that makes it just look dopey as so keeping that paint thin is what we want so that we can we can go over it and over it again with ease and we don't need to worry about it turning 3d on us free hand is about constantly refining and you've really you've really got a gift free hand ago it's it's scary I suppose when you when you first start but I I started doing freehand at some point and I just winged it I just was like screw it let's do it don't know what I'm doing but I'm just gonna give it a try we're gonna use screaming Bell here for the wings and that's gonna tie in with the wings on his helmet we can use this to cut in to the skull a little bit since the wings go either side so the skull looks a bit fat at the moment and so we can cut in and as you can see we've cut in a little bit too much but that's fine that's what it's all about it's about refining now we're gonna use a bit of incubi darkness and we'll start start fixing up some of the stuff start fixing up some of the things like the eyes and the nose add a lion down the sides of the skull to define it separate it from those red wings painting the tiny little nasal cavity sharpening up the cranium looks a little bit like a skull with a red and mullet at the moment but this is what I mean it looks ugly for a while and then just one it just all of a sudden gets to a point where it's like oh that actually looks okay now and then if you keep refining it and then you get to a point where it's like bloody hell that looks good doesn't it because we had that lion a tiny little dot right at the start we found the center point we're not gonna paint this whole design and then after a while sit back and go oh bloody hell it's not centered because that would not look good if this was just off to the side a little bit it would stand out like a sore thumb so we really want want to set ourselves up right from the start get that little dot in the center and now we can concentrate on making things symmetrical keep checking the left side and the right side making sure it looks symmetrical well you can see you can see that the the top of the jaw just under the cheekbone is a little bit it's a little bit short on one side so and add that we're gonna add a little bit of rock our flesh in a minute just even it out we can also use ink it by darkness like what we're doing here and cut in we're going to cut in on the on the bone here to thin thin that side and bring it a little bit back towards the other side so we're switching between these three colors rock earth flesh screaming Bell and incubi darkness we're just going back and forth between them now we're using rock our flesh death to make that side symmetrical and we can use it to thin down that nose cavity a little bit make it a little bit smaller the more detail you can add to these these kinds of things more impressive it'll look using incubi darkness to cut in and sharpen up the teeth area as well as the copper wings made a clean slate so that we can paint some new teeth using Rakoff flesh checking both of those sides trying to get it symmetrical as it's symmetrical as we can now let's add some teeth there's tiny little dots really and then we'll we'll try and push some of the jawbone in between each teeth if we can or at least just move that bone closer to the teeth here's the finished design for now we'll come back to it a little bit later and finish it off but there we go that's good enough for now part 5 the black pipes there are a lot of black pipes on this model it's one of the largest areas of the model erican after the armor so we're going to use dark reaper and thin it right down with water and we'll just begin glazing it upwards towards where we want the highlights to be dark reaper is gray but it's a very bluish grey so it's perfect for highlighting these black areas and adding a little bit of blue because we want to try and get all of the elements to have a bit of blue so that they all have something in common with each other and so that they also look like they're in the same dark nighttime environment now these pipes are all very Wiggly and [Music] unique and they're really nicely sculpted so we've got a we've got a given a lot of attention and make them make them look good they've got little knobbly bits and little twisty bits they've got tears in them where the metal is showing through underneath there very interesting so we need to try and give them the attention that they deserve the black gun casing on the nozzle of the gun we want to sort of direct that paint towards where the plasma is going to be where those plasma coils are because that's where it's going to be brightest since that plasma he's going to be casting light these little black bits are gonna catch that light so when you think about that those sorts of things when we're highlighting around the plasma we want to try and put the highlights on the sides that that are going to be closest to the coils not just for the black areas but for things like the metal and the other pipes we'll make sure that we hit these joints in the armor with dark reaper as well get the sneaky ones behind the legs and don't forget about that little one hiding behind his cloak next we're using administrative gray and thinning this down in the same way that we did the dark Reaper we're gonna highlight those pipes just a little bit closer to the edge and you can see that I've just placed the arms on the model so that we can we can highlight those black pipes without without having to highlight unnecessary pipes that aren't going to be seen so then the arms aren't glued on so if there's a pipe that we can see that is a little bit hard to get to we can just take that arm off like we have here so that we can paint these ones on the chests because these pipes on the chest and the abdominals we can see we can clearly see those pipes but they're a bit difficult to paint and get to when when the arm and the power Maul is crossing over the body so we can see them but we can't get to them so we just pop the arm back off get to those pipes these ones down here they're very hard to get to because of the power mall he's sitting right in front of them and to forget about those little pipes hiding underneath the Greaves and sticking out into the ankles and the Achilles like these ones we want to make sure you really highlight all of these pipes and cables because there's such a cool feature of the model it's a very distinct model I've never seen any other model any other warhammer model it's got so much pipes on it far out now we are highlighting the black components off the plasma pistol we sharp edges we can double up on the highlight you can double up the highlight on the corners and things like that and of course the joints in this armor and we want to continue the shine we've put lots of work into creating going down the center of these limbs you can see how just having that shine on even even these a little rubber power power armor joints just having it continue through that just goes a long way you were just highlighting around those around those tears a backpack pretty soon we'll we'll get into highlighting those that the exposed metal those exposed metal pipes highlight those up and make them look nice and shiny now we're going to use a baton black and thin it write down with water as you can see on the wet palette using those beads of water and we're going to flood this into the tears this is just going to create a nice dark or a black line defining both the middle areas and other areas we're also going to use it to darken up the pipes because we went a little bit far we're a little bit far with the gray highlights and when you highlight black you've got to try and keep in mind not to go too far with those grades because it stops looking black and starts looking like grey so we need to just easily fix that by glazing some Abaddonn black into the pipes when you're highlighting black you need the highlights to be quite stark it needs to go from a very bright highlight to very dark back to black really quickly if there's too much surface area that's gray it won't look like black it'll look like duck gray so anyway let's get them back to get them back on track to being black I briefly mentioned this earlier we were very selective with what pipes we made black and what pipes we made skin color all the rock are flesh colour this is something you should always think about when when you're planning on getting a bit of glow happening like we're going to be putting electricity and the sparks and all that on this fella so we need to think about how how are we going to how are we going to get the best results out of that and in my experience glue works better when it's surrounded by dark areas because you have that contrast of really bright intense power source and that is surrounded by a dark area it's naturally going to stand out a lot more imagine if you've got a really really bright blue power glow coming out of a white a white area it's not gonna that's not always going to work as well it can work well like that's exactly what we did on the white scar that was a bit of a challenge and I wanted to try and challenge myself to see how we could make that work but if you have the option to try and design the model lay out those colors and choose choose the colors accordingly so that we can position as much black area or dark area around the power source as possible not a bit of Abaddonn black into these joints in the armor get it in between the little ridges there when we did add our creeper glazing inevitably we get some of that dark creeper going in between those ridges losing a bit of contrast and definition so we want to direct a little bit of that a bit on black in there now we're just jumping back to dark Reaper just to blend blend what we just did with that a bit on black just blending it back to the highlights a little bit this is my process as you'll learn I like to jump back and forth between the colors going up the lot up the high light ladder and then back down the shade ladder just making things balanced and blended I keep mentioning that we're using paint here and we should always allow the model to evolve the way it needs to evolve if we do too much of something we can just knock it back with the previous color or if we do not enough of something we can just layer it up a bit more time to crank some of the storm host silver and we'll begin highlighting the internal sections of the pipes the metal areas we're just going to lightly highlight each one of those ridges as you know I paint a lot of Deathguard models so every time I paint one of these things on a death guard dude it gets rusted to the so it's a bit of a bit of a new concept for me for this fella not making these rusted but we've hit it with a blue wash earlier yeah so we did we've done these LED belcher and then they've had a Dracon off nightshade wash and now they're getting highlighted with stomm host silver we're going for kind of clean but oily look now for the final stage of these black pipes and the black gun casing we're going to use alpha and grey and we're just doing very very very tops of these areas and just pinging them with a little a little white dot or a little alpha line grey dot less is more with this color definitely don't want to go overboard with it and have to pull it back down again if you do probably use a little bit of dark reaper around around the dot that might be offending dot that's gone a bit too hardcore and thick but generally speaking we want just little little dots like this on the prominent areas on the corners where there are tears or on the peaks of any little knobbly bits or bulging bits from the these pipes bits like this where it's protruding out of some kind of metal joint and try not to go overboard with it you can see how this shot right here the the whole model has got a bit of a shine thing happening so we got shine on the armor shine on the tip of the toes there a bit of shine on that on the metal protruding from the pipes now we're continuing that theme popping some little sparkles onto the black areas pick out these little rivets and the very very edges of these these little black panels on the gun this backpack is gonna look very sparkly it's it's gonna look really cool when I finish with these little white dots here watch it just come to life and it will start looking a lot more black when you do these little shines within those gray areas that we've highlighted it just assists in that black look that we're after black needs to be well contrasted it needs to go from almost pure wet for the shines to full-on black in the shadows in the darker areas you know we'll just go from pipe to pipe picking out those little bright areas that we want to that we want to go ping with a bit of light make sure the paint's nice and thin not so thin that it's going to be a little bit too transparent probably want this a little bit a little bit more opaque then we usually would use you can see it starting to starting to come to life with all those shines make sure we get these pipes here on his on his power mall or his balmy naka I don't know if anybody else's ever called a mace a balmy naka but when I was a kid that's what they were called balmy naka because you knock stuff you know bombings with it I don't know what a balmy is but you just knock them with it the black pipes are now finished we can come back and touch them up here and there later if we need to but for now they're good to go part six skin pipes in bone we're going to just highlight up these areas back with rack our flesh hitting them with that Dracon off nightshade has made them a nice blue color which is perfect that we just want to begin our highlighting stage by glazing some of that pure rock our flesh back to the tops of those edges where we want those highlights to be we want a bit of a highlight on the left side of this pipe the side that's facing the plasma coils is that's a power source and that's going to be casting light that way teeth these sneaky buggers hiding here on the shoulder pad we just want to pop a bit a rack our flesh on them as well as this skull here begin glazing this upwards we want this skull to look nice and dark and blue and cold objects like this will catch the light from above so that means we need to highlight the top areas of each section that means the top of the head here it means the top of the cheekbone which effectively is the bottom of the eye socket and do the same thing with a nose cavity there old mate dark reaper let's get him out and we're gonna begin painting some bulging triumphant veins in these fellas so just as neatly as you can stop just painting some random lions here and there make them sort of branch off like beans would use reference pics if you need them and then we'll use rock our flesh just to thin those lines back down don't don't put too much pressure on yourself expecting that you're gonna get it a perfect microscopic thin vein first time around so you can you can thin them back down with rock our flesh and if you stick to them the top side of those veins it gives them a little bit of a 3d look so like the the light is catching them on that side makes them look like they're bulging out of these skin pipes and that the darker a part becomes sort of the shadow and these veins this is just a really cool little detail that you can you can add whether you're painting a death guard model or some jeans stealer dude whatever veins go a long way in adding realism and detail now it's time for drew Chee violet I always say it's the coolest of the washers we're gonna use it really without really fine detail brush and just paint over some of the veins some of the areas focus them focus this color where the veins sort of intersect or branch off making those areas look a little bit stronger and darker maybe the bulging got a bit of blood pumping through them or something and we can also use it to sort of blend it into the darker areas of these pipes where where it sort of tucks underneath another pipe like this or or there's a it goes around one of the tears making it look a little bit sore or where it's coming out of the armour out of some kind of socket or cracking the armor or whatever like this just making those areas look a little bit darker maybe a bit sore gives a little bit of a pink hue a purpley pink hue which you'll see relates later to the model when we add a bit of pink with the red plasma glow it also makes this area stand out a little bit as an organic area so this fella he's walking around in very mechanical industrial hard surface type armor with all these black cables and electricity sparks and then we've got these strange organic growths coming out of him we're going to use pallid witch flesh to highlight these pipes now this is this color is very similar it's on the same plane as Earth one gray but we want to use this instead because it has a little bit of a skin colour a bit of a pinkish hue to it whereas also on Grey's more of a blue color they like brother and sister this one's the girl version and of the one gray is the boy version so we're just using this to just ping out those those highlights similar to when we were highlighting alpha long gray on the black pipes just in a very very tops of these organic pipes you can also use it to define a little bit of the veins if we need to here and there we've got a couple of little tears and holes in this pipe we'll just pick those out as well there's this top area where that where it tucks underneath the black pipe we're giving it we're giving it levels different levels so these pipes are kind of weaving and tucking underneath each other so we want to really accentuate that coolness we do that with highlights and shadows now we're going to use screaming skull which is like the half-brother to Alan gray and pallid which flesh this one's the yellow version so we're going to use this to highlight the bones and this is going to give this is going we got to remember that this is a skull in its we want it to have a bit of a bone feel so we need to give it a little bit of a bone color and that's what that's what screaming skulls all about giving a little bit of a yellow hue but those under layers that rock our flesh and Dracon off nightshade they've laid the foundations to make it look nice and cold and blue in this this screaming skull is just giving it the bone that we need very lightly paint some lines going up those horns and now we're going to switch to white scar for the very tips of very tops of these bone areas right on the peaks of the top of the head there peak of this nose the neighbors nasal cavity and under the eye sockets as well as these teeth will also pick out those those teeth all those horns cheeky ones on the on the shoulder pad right on the tip as well as that one on the tip of the gun part 7 the bronze trim time for another major element of this guy we'll just start off using Balthazar gold Balthazar gold and just begin highlighting it up bringing bringing some a little bit back to life giving it a bit of a shine you want to retain that awesome coldness that the drake and off nightshade has given it we just want to kind of clean it up a bit get our polishing on so just here where we think it's gonna give a nice shine we're using this thin down Balthasar gold and just pushing it into those areas setting it up for a bit of a bit of a Sycorax bronze highlight later on for this bronze we're going a little bit unorthodox in our system here where you know you know operation we're sort of gonna jump between these three colors Balthasar gold dragon off nightshade and Sycorax bronze let's jump back and forth between these three colors as needed when we want to darken up some areas will will use Drake an off-night sheet when we want to push some highlights will use Sycorax bronze and when we want to blend those colors a little bit if you go a bit far knock it back with some Balthazar gold here's a bit of Sycorax bronze action popping it out popping out those highlights and we want this bronze to look kind of classy kind of old maybe not quite ancient but it's been through the wringer it's been around for a while we don't want it to look rusty or corroded or anything because that's not a style we're going for here we're not kind of creating we're not going for like a death guard filthy bugger going for a different kind of mood an old-school kind of mood a classic kind of gold that commands respect anyway using our Sycorax bronze we're just doing a bit of edge highlighting and pushing the paint towards the points especially on things like like that horn we want the tip of that horn to be quite shiny and prominent get the edges the inner edges of the shoulder pad trim always important we'll just take our time working away around the model making his trim look special making him look like a boss these sharp points we want to really focus on getting them to a nice bright finish they're going to be look a lot sharper and more polished at those points jumping back and forth between the colors were using Sycorax bronze now just shining up those edges and creating creating these little Cheyenne's we can really see this this color combo of of Balthazar gold washed with dragon off nightshade and highlighted with Sycorax bronze it's just what we want for this model it's kind of muted it's it's muted but classy and interesting it's not taking any any attention away from the rest of the model at all but it's there and it's doing a job that it needs to do continue the shines that we've applied on the blue armor continue that through the bronze trim where possible these corners here these little sections of the shoulder pauldrons I like to put a little bit of a shine there so we're just building that up here with some Balthazar gold and blending a little bit of our at outwards where we've got a bit too much breaking off nightshade yarn on creating a little bit of a blend same deal with these spikes on his balmy naka just making them get to a nice bright point we want them a little bit darker at the base brighter at the tip we also want to try and enhance the edges of this fancy brass trim on the head of the power Moll some of these cheeky sneaky bits on the on the backpack make sure we get those and now we're just continuing that shine that shined down the center of this limb is arm you want to make sure that we continue that across all the elements if it's shiny on the on a blue armor and the black the black joint in the armor but wasn't shiny it wasn't you're continuing that shine through the bronze you would look a little bit unfinished so make sure we just get that right there ping you can see a few of those rivets need to be highlighted it up - we'll get to that got the arms just resting on the model sitting there so we can line this up make sure we've got the highlight going along the tops of the shoulder pad trim and that they they balance well back to Dracon off nightshade what we're doing is we're pushing the depth of this bronze trim metal works best when it has a winner when it has a good strong contrast between dark and light similar to what we talked about with the black pipes we want this bronze trim to go very dark and very light we're not gonna go overboard we're not gonna use any black when highlighting this though and this would be the first model I've painted in a a very long time where I haven't used null nil or a grexit earth shade just rake it off nightshade what's doing all the heavy lift in here isn't it get some of it around these rivets make them pop out make them make them distinguished makes it look like they've been bashed into the armor and they've got 3d 3d shadows around them I like to add a little bit of darkness in the center the Centers of the trim just makes the it makes the edges look brighter without having to spend too much anguish trying to highlight them when they're very shallow edges sometimes it's hard to highlight those effectively so you can rather than highlighting them darken the insides up a bit now we're just banging out the storm host silver and we're gonna put this just on the very tips very pings and the very corners of the armor definitely don't want to go overboard with this storm host silver is basically it basically gray with metallic so we don't want to be highlighting too much we don't wanna be applying too much grey onto our bronze color you can very easily go overboard highlighting gold or bronze we have silver so be careful with it less is more with this so just find the very tips the very points in sharpest areas of this bronze trim we can work a bit on these rivets too I suggest that when you're picking a gold for the model you're painting whatever that model might be that you have a real think about it have a think about what you want that goal to achieve because a gold can make or break our model in my opinion are you painting something Imperial like an ultramarine or a white scar or he painting something super fancy like a custodia lire itch and vibrant and yellow or are we painting a knight Lord if so let's make that gold cold and dark and muted and not draw attention [Music] speaking of golds let's turn the page to part eight but copper wings what we're gonna do we're gonna use two colors for this dragging off nightshades first up and we're going to use this to shade it and create a bit of a blend all we're gonna do is push a bit of this dragon off knightshade in between each section of the wings whether the way the sort of the membrane of the wing is I guess I'm just going to do one coat like this and then we're going to move on to the other wing I'm going to do a similar sort of operation on the backs of the wings just pushing it upwards like that so it's going to be brighter towards the bottoms now we're going to go back to it once it's dry and paint another do another pass of Dracon off nightshade but a bit closer to the tops it's very easy seeing with on the other side and then we're going to just do it a third time third and final time right in the very tips right up there just like this three passes we made and it looks like that now we're going to get back to screaming Bell and just lightly blend it outwards thin it right down of course and just enhancing the shine on the outer edge of these red wings we're just going to do this a couple of times maybe three times just like the dragon off knight shape three times dark and then three times light you can see it's really just stained pop out just highlighting the edge with some screaming Bell we're only gonna use these two colors for these wings and they're gonna look awesome just using a screaming Bell to edge highlight it now and pop out those sharp bits definitely don't forget about things like this where it joins the blue armor we really want to make that nice and distinguished separate it we use the edge of the brush to highlight these membranes super easy then we're going to pick out the underside of these holes these pox or damaged damaged areas and that is that's that's all there is to it for these copper wings we've managed to make something pretty interesting which could have just been a bunch of red stuff instead we've created a cool focal point for the head using a really interesting copper color and shaded down with a blue wash to help tie it in with that cold night theme part and iron the head details got a few little random bits and pieces on the head we're gonna use LED Belcher first and highlight up these gas canisters popping out of the sides of his cheeks now we're using storm host silver to accentuate those highlights pop them out a little bit make them look nice and shiny we'll get a bit of a highlight on the back of his head here we're just simply going to use pallid which flesh and will thin it right down and just sort of glaze it towards the top of the head we're not gonna go too fancy with this skin this is all there is to it we've had rock our flesh and then Drake and half the night sheet now we're just highlighting it up just like that so it looks nice and cold and pale he's a night Lord so he hasn't seen much daylight part 10 the leather we're gonna hook out the bane blade Brown and thin it right down just using the wet palette there and the water that we've got on hand we'll start with a strapping on the balmy rocker and we're going to just pick a line we're gonna just on each strap add a little line going down the shaft of the weapon and this is going to be kind of the focal point although it's going to be the highlight a highlight zone of the rod we want this line to be sort of like the shine and when the piece is in place sitting on the model we want that shine to be sort of at the top going along the top of the shaft what we're doing now is blending into that line within each strap just blending it upwards making it nice and smooth a bit of a gradient so we'll just get closer and closer to that line on each strap we use a bit of Spain blade brown to highlight the edges of the belt going around his waist we don't want this to be as pale as the strapping we want it to be want to retain the kind of dark leather look we're just sort of highlighting the edges here and you can sort of stipple the edges so that it looks like the leather is kind of old and cracked and sort of got little tears and all that these a little money pouch here with his gold coins get a bit of Bane blade on that brighten them up a bit do a little bit of work to it make it look good then just keep going over it and over it until we're happy with it now jump back to some Drake an off night sheet and we'll go back to the strapping and we're just going to blend this downwards and create a bit of a shadow along the bottom of the shaft three things we're doing with this Drake an off-night shape we're blending it into the bottom of the shaft to create that shadow the second thing we're doing is what we're doing here we're putting it in between each strap to create a bit of depth and the third thing we're doing because we're putting it into any tux where the where some straps tuck underneath other straps just to create a bit a bit of depth we want to make the bottom side of the shaft darker than the top will of course and get a little bit of striking off nightshade on the money pouch and the leather belt and force a bit of this striking off nightshade into a the belt tucks under this belly plate thing will quickly just go back to rock our flesh and we're just gonna very nicely very carefully highlight the edges of each strap just trying to be very neat and very fun get a really sharp a really sharp highlight on the edge of each one of these straps and you can do a little bit of stipple action like this making each strap look like it's got a bit of tearing or it's sort of starting to fray that can always make the straps look a bit more interesting you can also put some little scratches and little rips in the straps here and there so we've created all the shadows now we're just defining all the elements defining each strap defining the belt and define yours money-pouch and of course we'll pop out some of those tears in his belt part 11 the cloak now we're gonna go we're gonna do a fairly simple cloak here we want this cloak to just look dark and ominous we don't want it to look fancy or considered putting some freehand on it but I think there's enough going on with this model didn't need any any more freehand on the back what we want to do is create just a nice smooth blended cloak just a black cloak man reflecting a bit of the blue night sky we're just using dark Reaper and just got it got it kind of thinned down but not much just make sure the paint's sort of flowing consistently and smoothly we're just painting some opaque layering down we're laying down some opaque dark Reaper just on on the high side of each fold nothing to it it's um you can use use a big fat brush for this we don't need to be doing any kind of fine detail here just really roughly mapping out the top side of each crease we're going to do a similar concept of blending here to what we did with the armor we're paying these opaque solid colors and then we're going to blend it back down with the previous color so in a minute we're going to use some Abaddonn black to blend this dark reaper into the black areas just wipe a bit of the paint off and get a bit of a dry brush action go on here just to just to pick out the bits of fur here it's not full-on dry brush like we're not using a dry brush and you know the paint's not as rubbed off as you'd want for a proper dry brush we're just really roughly picking them out that's all we're doing just finding that detail so that we know where everything is and we can highlight it properly in a minute time to hang out with some Abbott on black for a little while we're thin this right down we're gonna glaze this now and just blur the line between the dark Reaper and the Abaddon black inside the folds that's all there is to it it's not difficult at all this stage just go over it a few times and get it a little bit closer and closer to that black area and you'll see that it starts to just blur together which is what we want when you're doing a black cloak like this you don't want to go the other way you don't want to be using dark reaper to blend you don't want the dark reaper to be the thin color that you're blending over black because it will look streaky and chalky we want to get we want to do what we've done here where we just map out those opaque dark reaper colors and then we're gonna use the stronger color which is that which is the abbot on black we're using that to pull it back it's that's a very important thing you will never get a very smooth cloak if you're using really thin layers of dark rebar and just just add some shadows here and there where you think it needs it and we don't want to forget about this area here this is seen from the front over the model it is kind of hidden by the by the gun but we still want to give it a bit of attention we'll also thin some this a bit on black down sort of into a bit of a wash and just wash it over this and just pull it and pull that that dodgy dry brushing that we did pull that all together darken it back down well go and get out the old dark reaper again get back to it and we're going to just brighten up some of those dark reaper areas that we that we just glazed over with a bit on black some of the areas we may have taken a little bit out of here in there a little bit too much dark reaper away and we just want to bring that back a little bit as i was saying though we want to be really careful we don't want to be glazing this over all of the black areas we just we're just brightening up some of the dark reaper areas if we start getting this all over the black we're gonna get streaks and it's going to look choppy and it's not a little very smooth so we're just trying to keep this to the dark reaper areas and just just writing them up a little bit we'll just pick out these claws with rock our flesh we're going to paint them in a very similar way to the rest of the bone we're not in any kind of real hurry with this we just want to take our time and make sure we do a few thin coats and not get it onto the nice armor or a gold we don't have to clean that up again the sake of some some like rat clothes or whatever they are and some more dark reaper this time we're using our fine brush and we're going to paint each little tuft of it's not as monotonous as it sounds it it didn't take long only a few minutes and we want to paint sort of about 80% i reckon of each tuft of fur just leaving leaving that Abaddonn black in the gaps in at the base of each little bit of fur it's gonna quickly work our way around this this rat fur coat is black rat coat whatever it is maybe it's a wolf well well it's obviously a wolf in it the dudes Black Legion isn't he and correct me if I'm wrong but Black Legion used to be lunar wolf so they got a wolf thing going on he's Horace's boy isn't he Horace has got a wolf on his shoulder you know regardless of what it is it's got to be black it's could have easily been a brown fur coat but that's just gonna take away too much attention away it's not going to mix with our color palette very well we want this dude dark and ominous he's walking around at nighttime with his dark blue armor he's big balmy naca he's wearing a black fur coat it's not beige or brown or pink or some nonsense like that it's got to be black anyway it's not taking long to get this done yeah only took a few minutes you don't have to be too precise with it just knocking out about 80% of each one how are we that's how it should look well we cranked and dark Reaper let's go and do a bit of an edge highlight on this cloak area we'll hit these edges and we'll hit the edges of the tears like these ones right here this doesn't need to be a perfectly thin highlight because we're gonna do a brighter highlight over it later on we've always got to make sure we get the bottom hem right oh let's do the first coat of Drake an off-night sheet on the claws we're gonna do a couple of coats of this here's the first one right here and we're just going to get that Drake an off-night shade and push it towards the base of each claw that's what we wanted where we want it to be darkest easy well that's drying let's bang out the dawn stone now we're going to do the same thing that we did earlier with the dark Reaper we're gonna paint these Tufts of fur but we're gonna be a little bit more fine with it we're gonna paint 80% of each one I reckon we'll paint about 40% of each one maybe even 30% whatever what we're doing is we're just painting the tip of each tuft of fur with our fine detail brush and we're just bringing them to life a little bit and popping them out and you'll see that doesn't take long for this fur to start looking good this is quite an easy and relaxing and reasonably fast process but if you didn't want to do this you could always dry brush it I suppose if you're gonna dry brush anything you're gonna draw brush fur aren't you sculpting on this fur is pretty good though it's pretty well defined and easy to pick out the detail you see we're just kind of putting a few random ones here and there like doubling up with a few random Tufts just to make it a little bit more random and unique as fur would be it's not all going to look exactly the same is it and you want to sort of double up a little bit on the tops on the top section of the fur so it looks a little bit brighter up the top always want to sort of make make the top of the model brighter than the bottom so this is just another way of getting that done go back to the second coat of Drake and off-night shade on these rat claws just getting a little bit closer to the base of them making them nice and dark down there now we'll highlight up those claws using administrative gray blending them towards the tips so they're obviously going to be brighter at the tips and darker at the base and we're going to make these look nice and gray and cold not like your typical bone colored claws we got to think about how to make every single element of this model cold while we're painting it just going to pop out the tips of those claws and the edges with white scar yeah so always think about that while we're painting this we want we want this to this guy to look cold and like he's walking around at nighttime so even little things like claws can tell can help tell that story there we go the claws are finished and for now the cloak is finished - we're going to come back later on into a final highlight but for now we're just going to leave that to later because it's going to handle it we don't really want that to be rubbing off so we'll save that for last there's a few little bits of silver lying around so part 12 we're gonna paint that silver using LED belcher we'll just pick out some of these areas on the gun first always going to make sure we highlight that nozzle the gun or the gun barrel that always needs to be kind of clean and sharp looking and we're just very loosely painting this really don't really have to be too fine with what we're doing this metal has been painted LED belcher and has had a dragon off nightshade wash over it so what we're doing is just bringing up some of that surface metal back to a bit of a shine not quite so dull however we want to leave that well some of that Dracon off nightshade we want some of that lying around you want some of it in the gaps and we want it stained on some of the surfaces we're just using it led belt chart to just polish it back up a bit prepare it for the shines to come and of course we're going to use storm host silva to create these shines and their little pings on the corners of the metal we'll be creating a bit of plasma glow here later so we want to make sure that we mean we get that edge around the plasma coils make that nice and bright setting it up for some some cool glow rip into it just go around all of the metal areas and highlight the edges absolutely nothing to it we're getting these exhaust pipes again and to prepare for the cool plasma glow we're gonna do we just need to clean up those coils with a baton black part 13 red-hot glow this is where it's happening over here we're going to be using some pigment some bright intense pigment check it out super bright in it let's scoop some of it out and just whack it down there on the wet palate and we'll mix it in with a bit of Alejo matte varnish blend it together into a bit of a into a bit of a slurry and we'll switch to our fine brush and paint a little dot in the center of eye and here we go we've got some quality filming for you sorry about that I think I need to get some contact lenses or something there and I completely block out the next shot too so pause it there what I've done is I've just put a whole bunch of dry pigment in each of those eye sockets it's almost like flooding it with a wash but we're using dry pigments on pause now we're continuing using a little bit of dry pigment around the outside of the eye sockets and we're just creating a bit of glow effect using a pigment using a completely dry get some pigment on the brush and put it on the eye socket and start feathering it around the place it's very easy and you can create a really intense glow almost instantly the pigment of those eyes is very very hot in vibrant dip the brush in a little bit of clean water and we can begin going over that that glow a little bit you know just sort of sets sets the pigment melts it down into a bit of a paint and we can feather it out and blend it away we'll put some glow on these gas canisters as well intensifying the glow and making it look like it's reflecting on those metal areas as well as this bit here in the center of his forehead little pointy bronze bit will get some glow on there mix up that same kind of paste and we're gonna create plasma we're going to make this a little bit different we'll put it into the crease here and kind of acting like a bit of a wash because we've got it quite runny but what we're gonna do something a bit different we're gonna make this plasma gun on standby so it's not going super charged and ready to milk faces or anything like that it's just it's just idle it's glowing quietly maybe humming whatever but we still want it to look very dark and scary and evil so getting a really really intense in that crease once we've got some of that wet pigment in there we can pull it up upwards in between each plasma coil like so we'll go back and forth doing this a couple of times just adding more and more pigment and you'll see it just gets very hot looking but it's not going to be overpowering my thinking here is that I don't want this plasma gun gone mental and going supercharged and glowing and making everything just reflect red I don't want to I don't want to draw too much attention away from the center of the model this guns kind of hanging out the side it's way out of the way at the side of the model so if we've got a whole bunch of crazy-ass glow happening causing a whole bunch of mischief all the way out there in no-man's land it's gonna be very distracting isn't it we're not gonna really know what to look at first so let's have a think about that when we're when we're designing the model and we've got to come up with a solution and the solution here is to make this plasma gun on standby just glowing a little bit and from the top it's going to remain quite black it's only going to have this this intense red on the sides now where we're thinning that pigment down into a bit of a wash similar to how we did the glowing eyes but we've got a little bit more water and at this time and we're applying this around the outside of the plasma coils all over the metal and these these black pipes but we're not going to go overboard with it going back to the eyes we are going to add a little bit more focus to the center of them using riser rust I'm going to thin it down like so into a usable paint so it's no longer going to be a dry paint you fine detail brush and pop a little bit of this riser rust in the center of each ire fire dragon bright we're going to do exactly the same thing except a slightly smaller dot inside that riser rust a circle remember right at the start in part one when we're doing our color theory I wasn't quite sure about what what kind of red I wanted this to be whether it was going to be an orange red or red red or have a bit of pink in it wasn't sure so I'm kind of experimenting here and adding orange to the red highlighting highlighting the eye sockets as well and adding a little bit to the outside of the plasma glow just a little bit we definitely don't want to go overboard with it and change the color of that red too much we don't want it to go too orange and by adding that orange we can see that it's going a little bit fiery looking we need to define these eyes a little bit more we're going to thin down a little bit of Abaddon black and paint just underneath each eye very slightly we're pretty much painting an eyelid well it looks like an eyelid and you can see it's just defined those eyes a little bit more we're going to accentuate the the plasma coils a little bit just by adding a tiny bit of watered-down mefist and red in between each of the plasma coils on the top just showing a little bit of love to this area we don't want it to just be a solid black area with with no paint happening on it you can see here we're just letting the paint flow in between each plasma coil and it's very very subtle we're only lightly tinting that black area making it feel a little bit hotter there I guess we're also adding some of this watered-down mefist and red to the plasma glow sure why not no doubt we're going to add some around the eyes as well keeping it consistent I suppose screen a pink I really want to make make this plasma and these eyes have a little bit more of an unnatural feel the orange the fiery orange is cool but yeah I wanted I just want a bit more of a magical or unnatural kind of heat this guy is very electric he's going to be having Sparks and electricity and all that sort of stuff coming out of him so I really want to get an almost like an electric electrical magical type of heat going here so we're just thinning down some skreamer pink and blending that into the mix putting some around the around the plasma glow as well we're not going to worry about putting any of it inside the plasma glow for now we'll focus on keeping it to the exterior putting it on the pipes and the bits of metal and all that stuff alaya we're gonna put a little bit on the plasma coils just a little bit though emperor's children this is a pretty cool color we're just going to focus this on some of the highlights of the red areas the bottom of this nasal cavity we'll put a little bit on the bottom of the eye sockets and a little bit in the center of the eye it's thin down so it's just glazing over that orange that we did before just giving a very slight hint of pink definitely we want to get some of this pink on the on the gas canisters coming out of his helmet that metal is going to reflect the colors so we definitely want some of that pink in there and of course we'll put some emperor's children in the glowing area around the plasma gun you can see what I mean how this glow isn't taking too much attention certainly interesting but it's not it's not distracting we're gonna use white sky to paint a tiny little dot in the center of each eye and a few tiny little pings of light on these very sharp bits and we'll speckle it along here to make that look like it's kind of sparkly that little wire electrical wire there the glowing eyes in the plasma on standby are now finished part 14 eyeball part 1 hook out the rack our flesh give it a quick base coat then we'll give it a quick wash of breaking it off a nightshade and that's it for part 14 we'll come back to this later and we'll let this just dry and now we're going to work on something else and that would be the electricity part 15 Sarah might white thin this down with a little bit of water and start painting this into the cracks where we're going to create some electrical sparks which will translate to our classical night Lord lightning or our interpretation of it it's very easy what we've got what we're doing here is it's literally just letting this thin down Sarah my Wyatt flood into the gaps on its own the cracks are already there in the sculpting so what we're doing is letting the paint brush touch those cracks and the Sarah might why it's just flooding out of it and filling those gaps filling those little cracks and that's going to become the power source for our lightning and we're going to create a little bit of glow coming off that and if we want to create awesome glow we need a power source we need something that is something that's causing the glow whether it be the center of the plasma coils or the center of the eyeball whatever's the hottest area or the most intense area and for this it's just purely Sarah might white and that's electrical energy sparking from with inside the armor we can begin venturing away from some of these cracks like so just painting some very thin lines and getting a little bit more of that lightning pattern trying to make it look like sparks are starting to venture across the armor got to control the paint a little bit a little bit on your your finger there because it can get away from you don't really want to put too much on we want this lightning on this fella to be a little bit subtle we don't need to go overboard and make make lightning sparks all over the place each one of these is going to be quite intense really so if we have them all over the place it's just going to look very busy so we don't need to even even put this put this effect in every single spark we can just do most of them or some of them here we're having a bit of fun and venturing out creating a bit of a lightning strike we can afford to put that here on this panel because it was quite bare now we're going to use incubi darkness and thin it right down and this is this is going to do two things the first is that it's going to thin down some of those those lightning strikes or the little sparks whatever you want to call them we can we can refine them and make them a little bit thinner and more detailed the second thing it's going to do is it's going to tint it slightly it's going to give it a little bit of a blue a little bit of a green tinge even and that's that's creating almost an immediate bit of glow because the colour is quite transparent and when we paint over the white it's not going to make that white completely disappear it's going to tint it and make it look blurry and fuzzy and a lighter blue without light blue is sitting right next to that intense Sarah might what it's creating a natural glow I'm liking how this Spock is shaping up here on his shoulder pad here this becomes my favorite Spock I think also we want to put a little bit this incubi darkness on the pipes just just where they're coming out of of the cracks that's going to help dictate a bit of glow because they're right next to the the sparks of course they're going to be they're going to be taking on some of that electric blue color so we're going to put a little bit of that incubi darkness just just quite subtly don't want to go overboard with it especially on the black on the black pipes just put a little bit of it at the base where it's coming out of those cracks now going to use lava and blue and it's going to start look like lightning now this is a very intense well it's quite an intense blue really isn't it and we're going to thin it right down with water and just glaze it towards each crack and we can we can go over a little bit of the white here and there and we can leave some of that white pure iron shining through we don't want to we want to go over all of it but certainly we want to tense some of that white and in doing so we're gonna get a lot of nice variation a lot of variation of color here you can see we're just putting a little bit of that thin down loether and blue on the base of that black pipe creating a little bit of a glow and we can start a couple of mils away from each crack each lightning strike and push some of that thin down loether and blue into that into that area and it's creating really quick easy blends this doesn't even take long to do this is really easy I only make a couple of passes with this you will see however the more passes you do the more intense that blue gets so for the sake of variation you want to do a couple of passes in some areas and maybe three or four passes in other areas yeah just just to get a bit of variation some bits are going to be really really bright blue and other bits are going to be full-on white and other bits are going to be more of a dark blue but always keep in mind the theory of creating creating good glow he's having a really pure light source at the center and the that intense color is glazed around that source and towards that source and it fades away the further it gets from that source we'll have a break from the lightning strike so now and we're going to create we're gonna create a bit of glow on his balmy naka you can see I've chopped those silly lightning bolts off he's bobbing are they just weren't working but anyway or whatever this is going to be much better all we're doing is we're just highlighting around each of these three circles in the centre of the mace now we're going to use thin down Sarah my white just like we did with the cracks and have asked wizard how easy this is me all we're doing is touching the tip of the brush to the center of each hole and because the Sarah my white is quite thin it's like a wash it just does the work for you it just it just runs out and fills that hole it's so easy we know don't even need to do any touching up at all this is how you fill a hole with paint and it's going to be really intense as well that's just one coat done time to glue it to the body we're gonna go glue both of the arms to the body now time has come scrape away some of that paint and use a bit of plastic glue careful not to get that on you know it's paint work otherwise it's gonna melt I'm gonna melt that paint straight off so be careful make sure you don't have any on your fingers when you're doing this and this arm needs to be squeezed together nice and tightly so there's no gaps using incubi darkness we're gonna rip into blending our first layer of glazes on the balmy naca this think you by darkness is doing two things one it's introducing a lil bit of darkness to this to the bombing occur so that the glow has something to contrast against and the other thing it's doing is just tinting it tinting it too a little bit of a blue now in exactly the same way as we did the lightening we're just using loether and blue thinned right down with water of course blending it around each of these white holes will do do as many passes easy as you need but that's what one path looks like just like that and you'll see just how much difference a second pass is going to make in a minute the second pass is effectively going to duplicate that glazing that we've just done and really it's going to double that double the effect double the brightness and the vibrancy it's going to look good when we're finished as you wait and see we'll add a little bit to the bronze areas just on the edges where it's going to reflect a little bit of glow feel free to spill a little bit of this lava and blue over the Sarah might white areas that's fine so have a look that's what two passes looks like and we've done that we've done it probably have three passes over the entire thing now we're going back to our thinned down Sarah might wet and gonna put a little bit more in the center of each white hole and that's going to finish it off you can see it's it's glowing pretty pretty nicely well we've got the ceramide out we're going to quickly go over some of the lightning strikes and some of the sparks and pick some of them out and enhance them with a bit more wire just here and there wherever you think needs a little bit of a boost now at this point we'll have a quick squeeze at the model and I'm really liking how that intense electric blue is working with that that really hot red pink part 16 finished the freehand all we've got to do here is get some Drake and HOF nightshade and add a little bit of a shadow a little bit of a downward gradient over the design just so that's not a it's not nothing to do thing just floating around it needs a bit of shadow thinned down some incubi darkness and apply a little bit of a shadow a little bit more of a 3d effect not too much just a little bit on the forehead and under the cheekbones here make it look a little bit more 3d and interesting simple as that now we're gonna hook out a screaming skull and highlight the top of the skull blending it upwards to create a bit of a nice a nice gradient a nice blend we've pretty much - used the same color in this skull as we have for the other skulls on the model quickly add a little bit underneath the the eye sockets and underneath the nasal cavity and then we're all done we're all done with a free hand there is here's a little guy hello the knight Lords logo part 17 eyeball part 2 I'm going to use screaming skull and begin blending the white of the eye make it make it look a bit light up towards the top of this section it's kind of a strange design this eye it's quite bumpy and weird-looking but it's cool anyway evil sons gullet give her the old one - two thin coats over the center of the eye or the iris what will become the iris then we're going to use emperor's children and blend a little bit of this downwards get a bit of a gradient happening where it's pink at the bottom and to tire this eye in with the with the red eyes on the helmet will add a little bit of fire dragon bright and will now paint the outside of this iris using a baton black as thin as you can as neatly as you can paint around around the circumference of it and then we'll just fix that up again thin that lion down a little bit because we went a little wonky here and there with Emperor's children we use a bit of evil son scarlet as well and just stipple it back to a bit on black get your hand nice and steady and we're gonna paint a pupil and I'm just gonna make mine a slit kind of like a snake eye this is totally snake eyes thinned down some screamer pink and add it to the base of the eye around the white section just to give the idea that it's kind of a little bit bloodshot even nasty but two screaming skull highlighting that white section focus that on the tops and just clean up around that iris got a little bit of pink and a little bit of black on that section so this is what we use to fix it up a bit of screaming skull and as I was saying before it's a bit of a funny shaped eye it's got all little knobbly bits and wonky bits and it's got some dents and cracks in it they really know what's going on with it but we're just going to highlight all of those bumps and cracks and accentuate them because they're pretty cool part 18 finish them details just using a bit on black and got to put it into these in between these joints here in the armor we haven't used one speck of black on that armor so we want to define a few of those really deep areas like these bits around here around where he's holding the gun some of these bits between the fingers they're just not a little not quite dark enough the other thing we're going to do is clean up this plasma gun a little bit we're going to paint the tops of these plasma coils with a baton black clean them up because when we did that that mefist and red wash over them before or their glaze we made a little bit of a mess so we'll just clean that up with some habit on black let's get a little bit more in love with these plasma coils and hook out the Skaven black Dinge once again we'll focus a little bit of this on the corners of each plasma coil painting a little bit and pulling it towards the corner along the tops as well as on the side and when we're painting it on the side we'll pull it upwards towards that corner so it's strongest in the corner doing exactly the same thing I only this time with dawn stone getting our love on with these plasma coils gonna lightly kiss it on the very corner of each plasma coil there we up it's got a little bit more of finesse to it now writer using the Thunder Hawk blue we're gonna finish off the cloak all we're going to do with Thunder Hawk blue is edge highlight the cloak using the side of the brush you know all we're gonna do is run it along the edge of the cloak make sure we get the bottom hem it's always very important to paint the bottom hem of the cloak or any kind of robes that you're painting same thing but we're gonna use alpha-1 gray highlighting the bottom of the hem and all the edges and the tears in this cloak and I didn't want to do this before because we're gonna we've been handling this model a lot and I just didn't want to have have all this paint rubbing off while we're handling it we're getting nearer to completing this model now so it's okay to get get this finished now we'll use a B this alpha line gray to pick out some of the Tufts of try and keep this focused to the top of the model as I always say we want the top of the model brighter than the bottom this is going to help us help us look at the top of the model and and and our attentions going to be drawn towards the face now we'll use plastic glue to glue the backpack on storm house silver bang it out we're going to use it to do a once-over I'm gonna highlight any any bits of metal that look like they need fixing or I think well that includes the silver as well as this bronze especially on these spikes as I said before we've been handling this model these these spikes have already been highlighted so we're having a real highlight of them now because I've been handling the model so we're doing a once-over get him giving him a bit of a cleanup and you want to go and do this with any other colors that you reckon might have been damaged a little bit but here we go look at him he's looking pretty pretty bad to the bone isn't he he's just missing one thing a base part 19 eyespace it's been sprayed chaos black but we're just going to clean it up with a baton black we're going to paint the Space Marine using Dumba Brown this fellows going to be a bloody angel of course this paint has been thinned right down so we're going to do two or three very thin coats of this now I'll tell you about this later but I've actually had to make this base twice this one here that I'm painting it gets buggered up it gets wrecked but not to worry because I make another one a better one but anyway we'll talk about that later using Nolan oil all we're doing here he's just putting this into all of the gaps and all of the joints all of those little divides between the panels defining each area now we're going to use math fist and red and all we're doing is going to use we're just glazing a little bit of this onto the armor giving it a little bit more of a red color and this is going to be focused in the center of the model in the top of the model so where it's where you think the lights going to be strongest we can create a little bit of a shine here and there as we did with the knight Lord on his armor but we don't need to go too overboard with this because this fella is actually going to be encased in ice this poor Space Marine he's probably gonna live for like a hundred years or maybe in a thousand years trapped under this ice his suits gonna just keep him alive it's quite tragic I think I actually feel a little bit sorry for the poor bastard anyway this my fist and read what it's doing is just brightening up this armor a little bit making it look a little bit more like a bloody angel and later on we're going to add some cold blues to it making a look at a bit frosty and you could do the same thing if you wanted to paint a different Legion for example if you wanted to paint a salamander just paint however you want now in the Greens that you want and then you do the same blue highlights that we're gonna do later on the frosty it up a bit this is scrag Brown and we're using this to build up the highlights doing a bit of edge highlighting as well as a bit of glazing just make this space marine look as best as you can make him we've put a lot of work into the night Lord and there's no reason why we shouldn't put a lot of work into the base this is a hero model so we want we want him to look his best now of course we use a baton black to paint all of the joints in the armor clean them up a bit as well as the wings on his chest the Aquila you paint this gold if you are doing some other Legion if you want we're gonna pick out the eyes we're gonna make the eyes black if you've got any gold use Balthazar gold or whatever gold you want really but we're using Balthazar gold and LED bell jar for the pipes in his face using dark creeper will highlight the black areas and of course we want to use dark Reaper for this because there's a lot of blue in it and this guy he's going to is going to end up quite blue looking he's gonna look pretty cold he doesn't at the moment because he's his armor is very red and orange and very hot but we're gonna change that completely what we're doing is we're painting we're painting a Space Marine the way he should look and then we're gonna modulate him we're gonna change that by doing some blue glazes later on using dawn stone just to highlight those joints in the armor in this hand is going to be sticking out of the ice so you wanna you want to pay a special attention to the hand this hand is as important as any other element on the knight Lord Himself administrative gray pick out the very fine details of the black sections like the very tips of the wings on the Aquila and the prominent areas of that skull in the middle of it so we can just use the side of the brush there and it kind of finds the detail itself what a final highlight of these black areas with alpha one gray you can see we've tried to create a bit of a shine on this part of the the armor joints and we want this this Aquila to look nice and shiny as well so using the alpha line grey just kind of pings those areas makes them shining bright and of course we want we want to highlight those eyes normally bloody angels have green eyes but we want these eyes to look cold and lifeless like he's he's powered down or something he might even be dead I don't know but I think he's still alive in there and I think he's just powered down he's in hibernation mode or something we'll use a little bit of Kislev flesh to highlight the very corners of the armor and as I was saying before we're just painting a Space Marine the way we would if he was just walking around don't worry about him being trapped in ice right now we're just painting him in any normal way this is this is pretty much how I would paint her bloody angel I reckon using these colors and then later on when he gets almost when he's almost finished we're gonna do some we're gonna do some blue blue washes over him to make him look really cold so whether you're painting a salamander here or a black template or an ultramarine or bloody angel whatever just paint it the way they would if there would be if they were alive and walking around if they were healthy because now we're going to use Drake an off-night sheet and we're just going to glaze this over the the entire model and this is going to this is going to darken it as well as give it all the blue hue so it's going to start looking a bit colder now as with the night Lord we don't want to do too much of this striking off night shade and we don't want to undo all the nice glazing and highlighting that we've done we just want to tint that armor and then for this model I'm using alpha line grey too to do the final highlight however as I mentioned before I made two of these two of these bases because this one that you see here it gets wrecked so the second one I made I did a little bit differently I did four things differently the first thing that I did differently is before I did this stage here with ortho and gray and right after I did the Dracon off nightshade I glazed over the model with thin down loether and blue and that made a huge difference made a massive difference so make sure you do that no matter what you're painting if it's a if it's a salamander or our black temple or whatever lava and blue is the color that you want to make it look frosty and icy and then you can carry on doing what we're doing here which is althe one gray highlighting the very tips we're also glazing this alpha one gray and venturing it out into the center of the panels which you wouldn't normally do with ortho and grey because it can look very chalky and and that's not a very nice look but it actually works really well for this because it gives it a frosty look like there is ice all over him so feel free to glaze a little bit of this all fine-grain into the into the main sections of the red armor and you'll see that it it it makes it look very frosty which is what we want from a fellow that's trapped under ice so here's the other version I made of this base and this is the one that I ended up using it and final and here you can see the second thing that I did differently and that's when we were painting that very first layer of Dumba Brown I just blended a little bit of it into the black area and that just makes him look like he's sinking into the darkness he's not just magically floating there with half a body and you can see the third thing that I've done differently is that added a little shoulder pad there the fourth thing is that his hand that's reaching out I made it reaching upwards more it's not leaning back so much check it out here's the final version and you can see what a massive difference that lava and blue glaze has has made it's just it's a massive difference it's so much better he looks so cold right now he's ready for his ice bath we're going to mix up some epoxy resin and just follow the instructions know whatever brand you're gonna use make sure you try and stir it nice and slowly like this so that you don't get bubbles in it and if you're anything like me you're gonna get loads of bubbles in it no matter what you do so you can do whatever you can to try and get some of these bubbles out tap it bang the out of it on the table 12 it around the side of the cup you can you can try blowing on it like this I don't even know if any of this works but hey whatever makes you feel better this resin in particular is actually really good stuff it it's quite slow drying so most of the bubbles that you can see here they all just evaporate anyway they all come out on their own so be very careful when we pour this resin especially when we get around that hand that's that's sticking out we don't want that risen to cling to the hand and kind of climb up the hand here we go it's all nice and dry now this is what it should look like first thing we're going to do is we're going to sand it and this is going to achieve three things the first thing is it's going to scratch up the surface of the ice and make it look a bit more frosty the second thing is going to do is it's going to help our glazes to cling to the surface otherwise if we just apply wet glazes over over a glassy surface they're just going to form little puddles and it's not going to look very nice the third thing that we're going to do with the sandpaper is we're making a nice smooth edge so when we pour that resin when it while it's still wet use a toothpick or something in or an old paintbrush and and sort of pull some of it outwards so that the resin clings to and over the over the lip of this base so we have something to sand down and make it nice and smooth like this and we're scratching up the surface making it nice and frosty but we don't want to go too overboard we don't want to sand too much of it over the space marine and make him disappear we'll clip this little knob off the bottom of our night Lord's foot don't need that and we're going to map out where his feet are going to stand and we'll mark it using a little bit of wire to poke a little poke a little scratch so we know where it goes now we're going to drill drill it out drill out where the pins going to sit now that we know where both feet are going to stand we're going to use a scalpel and this is a really fun we're gonna have a bit of fun here we're gonna we're going to create some cracks in the ice in the idea is that he's such a heavy bugger that every step he takes is making like a cracking sound like I don't know that sounds like ice or not but he's cracking that ice with every step he takes and every move he makes and then it starts looking like this but let's add a few more cracks time to make this look like actual ice we're gonna use lava and blue I'm gonna thin it right down with water make it really really thin start glazing it on the surface of this ice start inwards and push it outwards towards the outer rim of the base and we're just going to do it in a kind of a stabbing sort of motion or creating sort of lines shards of ice we're going for that kind of that kind of geometric sort of pattern and I suppose so we don't really want to be making swirly circular motions with the paintbrush we want to just get it get that sharp straight line look push some of it up around the the hand that's sticking out of the ice and you can kind of crisscross it go this way and that way as long as we're doing it in straight lines I feel like that just works better for ice continue glazing it and getting it a little bit stronger towards the out outside I'm going to do exactly the same thing using white scarf but make it even thinner and you guys are learning learning the secret my secret of how to how to make this awesome eyespace it's suddenly really popular on the internet and the secret is this it's so easy have a look at this look how many shits are given doing this base look at there so I'm just flicking it all over the place zero shits that's how many it's so easy we're just glazing it with only two colors what we've got to do here with the cracks is we want to force a little bit of this white scar into the cracks and it will quickly wipe it off with our finger before it dries and you can see that that makes it look kind of realistic gives those cracks depth like they're cracking all the way through the ice when really they're just scratches on the surface and keep smashing a bit of that white into the cracks until we're we're happy with the effect I've used a bit of a bit more of a strong white mix therefore that one you can see it shines up a little bit more now we're going to use a bit of meth oh this is the stuff I used to strip minis strip strip the paint off plastic I'm gonna dip our finger in and wipe a little bit of it off on our hand and really quickly gonna rub it all over the surface of the ice this is just blending it and blurring it a little bit so although all of those harsh lines and scribbles that we've done earlier we're blurring them together so they look sort of like this we'll quickly use a bit on black to paint the rim and we're going to use Games Workshop's best brush for this the large base brush this brush is perfect for painting the rims because it gets it really smooth now the painting of the base is pretty much finished let's add a little skull though wreck our flesh or base coat in that and we're gonna paint paint your skull exactly the same way well using the same colors that we have have used for the other skulls on the night Lord we want this skull to look very cold it's gonna be sitting in snow tracking off nightshade will will just basically drown it in that won't we and let it dry before we do the next stage which is to build up the highlights back up with a rack our flesh nice and thinly glazing it upwards so we're gonna have this lying down and one side so this this is this is going to be the top side and the other side you can see on the right there that's going to be the underside so we'll make that darker and we'll make this side lighter it's going to be like I said this this skulls gonna be lying down on its side just like it is right there so gonna think about where those shadows are going to be and I want you guys to be inventive inventive with the colors that you choose to paint bones because bones don't just have to be bone color you can you can add a lot of story to the bones like this bone this skull is going to look very cold like like he's just been sitting out in the snow for years and years and years and he's just absolutely cold to the core I'm gonna use incubi darkness and enhance the shadows thin it right down and glaze it glaze it downwards to this to the side that's going to be facing the ground you can see we can get really nice smooth blending happening now we're going to use screaming skull going back the opposite way pushing the highlights back up and also adding a little bit of a bone color screaming skull has a little bit of yellow in it it's a very bony color so that's gonna go nicely and the very final stage for this skull is to add a little bit of white scar remember that this has been out in the weather it's been out in the snow for who knows how long so it's gonna be very frosty and very cold you can see we're just putting some of this white scar on the underside of these cracks and the underside of the eye sockets popping out all the little cool details on this skull this skulls from that from that box of about a billion skulls the Games Workshop did and some of them are really cool looks like some of these ones with cracks in it and twisted jaw bloody awesome let's use some super glue and glue him to the eye space make sure we position him so that the shadow the shadow side of the skull is pointing downwards now it's time to varnish both models both the base and the night Lord you can use whatever matte varnish you like for this whatever tickles your fancy but I like the lay ho matte varnish the best and I like to run it through the airbrush because I find that you just get a much smoother finish with the airbrush than you do with a spray cam so when you wait it's airbrush it pretty simple stuff here just airbrushing is spraying spraying the matte varnish over the model make sure we don't do too much at once sometimes it's a bit hard to see since its kind of invisible so you just check the pressure and the consistency while spraying a bit on your glove there the finished product we want it to look nice and matte like this we don't want it to be shiny because when it's Matt it looks colder if it was shiny would be all melting and it's not as cold so we want that ice to be have a matte finish we'll just hit this eyeball with some odd coat to make it look nice and glossy load it up put a nice thick coat on do two if you want let's make some snow we use dishwashing detergent PVA glue and baking powder we'll mix about equal parts PVA glue to dishwashing detergent mix it up and it will push some baking powder into that mix and we got instant snow and we'll keep the left side of this mix have a look we'll have a little bit more glue in that section and the right side of this pile will have a bit more baking powder so we've got different consistencies to play with you know it's as simple as whacking it on putting some snow on this base wherever you think it needs it but we don't want to put too much of this snow on the base because we've got this really effective little scene here where the space means trapped under the ice and we don't want to ruin it by overdoing it with with things like too many skulls or too me too many bits of snow just a bunch of elements that it might be a little bit unnecessary so we just want to be careful and only a little bit of snow just to just to help tell the story that this is in some kind of freezing cold arctic environment or some frozen planet that's just super cold and there's some snow and this is really fun doing this is getting it on our brush using our using an old brush don't want to use good brushes for this sort of thing just putting clumps of snow on and of course we want to put some on this hand that's been sticking out of the ice for who knows how long a long time probably and you'll be there for a little bit longer I reckon my someone comes and saves him and have a look at how the consistency of this snow it just looks so realistic and you don't even have to do anything to it just the way it comes off the brush and it touches to the hand here like this it looks real work it looks like it's it's frozen on there and it's it's been wind blasted even we can brush it across the cross the fingers a certain way so it looks like it's wind blasted make sure we don't get any over the face of the Space Marine because we want to look in there and see all that detail later on to cover it up with snow definitely don't do that using a bit of the mix that has more glue in it there so it just makes it a little bit of a different snowy effect maybe it's a little bit more icy there when it dries it'll go it'll look I see now let's make it snow use a toothpick and just flick some flick some paint some of the snow mix using your paintbrush don't go overboard with this just put a little bit on just so it looks like there's a it's it's a bit snowing really and we're gonna stipple a little bit on the bottom of his cloak always be very careful when adding these kind of effects like mud and grime or snow or anything like that to your models because you can you can easily overdo it but we definitely want to put a little bit on his feet and his cloak just so that it puts him in that environment and lets us know he's been walking around in the snow for quite a while he didn't just appear magically out of a spaceship and just teleport there which I guess he possibly could have done but he didn't he's been walking around in the snow looking for blood 'angels get a little bit too much just wipe it off definitely want to put some clumps of snow under his feet here like this just stipple it get that sort of stippling action and it comes off the brush really nicely really realistically and this is the main reason why I mix my own snow and not only use the Games Workshop one which by the way is fine it's actually really awesome stuff I just I just think this is very very slightly better and the way it the way it works on the brush is just it's just a little bit different and I really like how you can apply it to the base like this here we go here's the finished the finished product we got some good snow variation we can clearly see that poor blood angel' trapped under the ice here's what the bottom of the piece looks like part twenty let's finish this all we've got to do is clip the night Lord off his office a while just leaving a little pin and we'll superglue him to the base we've already drilled that hole for that pin and one last thing which we forgot to do was just to flood some thinned down Abaddon black into these vents in in the backpack and believe it or not he's finally finished thanks so much for watching everybody hope you enjoyed this video catch you right back here next time for a new exciting model who wrote and Happy New Year [Music] [Music] [Music]

Channel: Mezgike

Views: 915,267

Keywords: warhammer, warhammer tv, chaos, chaos space marines, how to paint warhammer, warhammer tutorial, osl, plasma glow, mezgike, black legion, night lords, csm, blackstone, shadowspear, abaddon, warhammer 40000, wh40k, warhammer 40k, painting tutorial, miniatures, games workshop, space marines, chaos lord, ice base

Id: _vDiP3bZmoM

Length: 200min 3sec (12003 seconds)

Published: Tue Apr 09 2019