 Hello, everybody, and welcome to another hobby-cheating video, and today it's time to get iron within, iron without. It's time to paint the Primark of the Iron Warriors, Pertorapo. Let's get into it. The strict technomancer that is Vinci V. Let us get to the technique and learn it Vinci V style. This is week two of heresy launch content, and you might have thought if you watched last week's video where I'd painted up the Alpha Legion that I might be doing alfarious, but of course I am alfarious, so I couldn't paint him. Instead, I was given the challenge of painting Pertorapo, previously my mortal enemy, but that's alright. I thought he would be such a fun unique challenge. A lot of the Primarks still feel very, well, human, for lack of a better term, that is to say, they look like people in armor. But Pertorapo looks like a complete and total monster, somebody who's given over totally to the machine, and I think that makes him an interesting challenge. So today we're going to paint him in true metals, and I'm going to show you lots of awesome ways to bring your true metallics to life, to make them more interesting, to add colors and tones and take control of the light with those true metallic metals, so it's not just two colors, steel and gold. We're going to go through a lot of different really fun techniques. We're going to get this guy a little messy, a little grimy, just a little grim dark. So let's get over to the painting table, and let's have some fun. Alright, so he's already steel, and if you want to see the exact steps I took to get him to this place, it's the exact same prep I did last week in the Alpha Legion. So this is a dark metal, and then Xenothode above with a bright metal. Check out that video, it's linked up above if you want to see those kind of pre-steps. Now we're going to go ahead and basically hit all of these sort of bronze, or whatever they happen to be, these other contrasting elements. And this is where I'll actually say that this figure poses an interesting challenge because he has lots of different layers of metal on metal. One of the things that you always have to be careful for in a figure is when you have too much space that is all exactly the same. So what I mean by that is when you have a figure highly dominated by one material, one substance, one something, it's easy for a lot of that to end up looking samey. The key is usually to break that up and make sure that there are spaces that make your eye alternate between one to the other. So hence making sure the gold, or bronze in this case, is evenly distributed around the figure. Now since this is metal and I want it to retain its highly lustrous qualities, a regular wash or something like that isn't going to do, now I'm going to end up dulling the metal in lots of ways later. I want to get that deep recess shading without really messing up my metals. So hence an oil wash is just an easier thing to do. The advantage to oil washes is not only do they flow into the recesses incredibly efficiently, but as you can see after we let it sit for a little while, maybe like 30 minutes I let it sit here, then I just came back with some makeup sponges and wiped it up and you can see how easily it cleans off of the highlights, it leaves no coffee staining or anything like that behind and yet I still get the advantage of all those nice deep lines and deep recesses being shadowed without any kind of damage to the shine of the more lustrous elements of the metal. One of the things it can do if you're fairly careful and you let it sit a little longer is it can actually stain the metal a little bit too, in this case I picked a couple colors and they were going to give me just a slight brown sheen, which is what I want. I want this guy to appear warm, he is chaos after all. Now my next step here is to make sure that all these little recessed vents or whatever they are, these things are really dark and black. The wash isn't intense enough as you can see to actually darken the whole thing, so instead we're going to take some black Templar, always a great thing for doing your own panel lining or tracing or something like that and just clean up a couple of those areas that need that attention. And that's just again, we want to create more instances of that light, dark, light, dark transition and break up the large areas of single materials. Now let's talk about shading metallics. When we're working with pure metallics it's best to treat them just like non-metallic metal, although you're going to get a lot of your work done for you, you still want to take control of the light. Some of this would be in shadow and we need to establish a viewing angle and reduce the shine in those areas. Contrast paints are actually wonderful for this. So here I've simply thinned them down and I'm going to apply them as a thin glaze over all the areas that I want shaded. And I'm not going to do it just once. I come back in with multiple passes with this Wildwood, slowly building this up, covering less and less with the glaze each time so I get a nice natural transition. And the more you apply this into the shadows, the deeper you get of these color transitions. But I don't just want to do light and shadow, I also want to control some of the hue. Create some variation of hue here. Hence my move to something like fire slayer flesh, which has a lot more red in it. This gives me not only the variation of value on my metals that you would normally get out of non-metallic metal by, you know, sort of controlling through black to whites or whatever you're having to be doing. But it also gives me variation of hue, of color. And it just makes those metals much more interesting. I can do the same thing on the steels. Now this time I'm being much more light. Because the steel already had such a significant transition because it was part of the initial zenithal, I didn't need to do as much here as far as value goes. But I did want to make sure we integrated other colors. That same color can also be used on the brown just to restore some of the richness, some of the sepia tone to some of those bronze colors, where it might have been subtracted a bit too much. But either way, these light brown yellow tone spread around on both the steel and the bronze helps keep it more interesting. But just like with non-metallic metal, all metals need to be edge highlighted. Light gathers around the edge of metallics. I'm not generally the biggest fan of edge highlighting every single edge of every single matte surface on a miniature. But on metallics, it's pretty much essential. And that's because metals really do gather light around the edges. So here I'm just working my way around the fig. And yes, this is incredibly laborious and time consuming. And I'm hitting all of those edges with this bright silver color. I'm also moving off the edge and focusing in just a few points to really show where some light gathers direct the eye and create those spots like right here on the knee. I want that where the triangle is to be very bright and direct the eye. My next step is just to black out all of the areas that I think are going to be that I need to turn a different color. So I'm just using some standard old rubber black to basically rebase code over these. This color from AK Interactive is really, really intense and it covers really well. So it goes over the metals. One of the problems you might worry about when you're doing something like this is if I did a lot of that initial step through the airbrush and then I mess up later, how do I fix it? Because I can't go back to the airbrush now, can I? Well, one, yes, you could. You could simply be very tight and controlled with your airbrush. But if you feel like that's outside of your sort of current skill level with your airbrush, no problem. Mistakes when you're messing with true metallic metals can often be valuable. They're not mistakes. They're happy little accidents. When you have to cover something back over with a brush, if it makes it look more rushed or sorry, it makes it look more if it's not as smooth, if there's sort of brushed metallics to it, if there's scratches, if their coverage is uneven or whatever, who cares? Integrate all of that into your paint job. Make those spots of damage, of wear, of weathering. Integrate other tones into it over those areas to make it look like what? Not a painting mistake, but instead just part of the natural organic weathering and damage that would happen to this metal as it exists out in the world. It truly can be a happy little accident. All right. So now that we have everything blacked out, it's time to create some hazard stripes. What are iron warriors without hazard stripes? And for this, I'm just going to leave the black. It's already been done with the rubber black. It's a very nice, soft, cray black tone that's perfect for this, so it's just about getting that yellow. And of course, to do that, we're never going to just try to paint yellow directly over black. We always use something like an ivory first to reset it because that makes our lives so much easier. So after working those in and getting them all squared away and even, then I just start with a little bit of yellow ink. I love hazard stripes. They're actually really easy to do because you can alternate with just white and black like this as long as you can paint a straight line. And remember, the key is you don't have to actually be able to paint a straight line in one go. You can just go back to the other color and fix it. And as I work these up, I'm just slowly reinforcing the yellow, creating both highlights and shadows in them. And that leads me to my next point. When you do other elements on top like this, you see how I'm creating the shades in the yellow with this light rust tone. If you have your metals and everything with a high amount of tonal variation, then you want the same thing on your other tones as well. Consistency in the lighting situation is important across the miniature. And so for Pertorabo here, we want to make sure that everything appears as though he's actually in some kind of realistic lighting conditions. From this point now, honestly, most of him is done. He is mostly metal. So it's just about hitting those final, final details, those small items. And I want to talk for a minute here about the importance of these last details. So here I've chosen the color red for many of his pipes and tubing. And I'm just working them up with some rather gentle highlights. Nothing too exceptional, nothing too crazy, but again, making sure that we have contrast on all the elements. But why red? We already have two effective colors in this model. Yellow and orange in the sort of bronze color. Red stays in that warm spectrum, but red does something else that's important. Red draws the eye. That is a color that human eyes are naturally attracted to look at. And as such, it makes your eye more excited to look at the piece. So by distributing a little bit of red here and there on things like these various tubes and pipes, it makes it so the eye is encouraged to move around a figure. Sometimes little tricks like that, taking out color that is bright and interesting, but making sure it's evenly distributed around the figure. And you can see how all of his different tubes and pipes presented the perfect opportunity for that can help keep the figure, even when it's mostly one tone or two tones as it is like in this case with mostly metal, it can help keep it visually interesting. Now this guy's face is a real problem, but I wanted to keep the recipe fairly simple. So as you can see, we're just slowly working it up. The key here is I'm going to accidentally hit some of those metal pipes when I'm working on the skin. There's no way around it. What I really want to talk to you about with the skin because I'm basically just doing some layering of various flesh zones here and creating the light on the small amount of skinny as exposed is two things. First making the skin a very bright pale color is important here because that makes the brightest area of the miniature, the center of the miniature and his face where we always want to be drawing the eye on our miniatures. So I purposely push the highlights on the miniature quite high. The second thing I want to say is you will never be in a position most likely where you will not make some mistakes. As I was layering this flesh around, especially trying to do it on camera, I sometimes touch the pipes. Don't worry about that. You can always go back and just retouch. Doing good work is a matter of covering over your previous mistakes, not making no mistakes. We all make mistakes. When I last step here, I took a little raw pigment. I mixed it with just a little water to get it flowing and then I run it down into the recesses around his feet and his heels and stuff like that just to add some more tones as though he's been walking on kind of a red iron earth base as would seem appropriate for him. All the metals, those red tones feel very natural. I hide a little bit of it here and there in some of the upper metals, especially in creases, because it's just water and dry pigment. It will dry extremely matte and look like dust. So there you go. There's Pertorabo all painted. I hope you found this helpful in case you want to join the Iron Warriors. I am going to roll some pictures over the top here. This was a really fun challenge. I love true metallic metals as long time fans of this channel will know and I found this to be a really unique and interesting challenge to integrate a lot of different techniques into this single figure. I hope you found something here that's valuable in your own painting. If you did, give it a like, subscribe for more hobby cheating in the future. We're here with new videos every Saturday. If you're interested in taking your painting to the next level, we have a Patreon focused on review and feedback. You can find that link down below. As always, I thank you so much for watching this one. I really do appreciate it and we'll see you next time.