 Hello everybody and welcome to another hobby cheating video and today we're going to talk about doing lava swords. Hot, hot lava, oh hot lava. So yeah this is going to be fun. This is a big giant ridiculous sword from the sword is actually originally from Gale Force 9 from the Storm Giant guard if you're ever curious you want to do this but at any rate step one of doing lava is pretty simple. We need to get everything bright so I just laid down some bright ivory from Pro-O'Crell over the whole sword. No problem. Next up we are going to just do a quick layer over the whole thing of warm yellow from Camara. So we're just basically putting on a nice quick dirty layer not worrying about too much. It goes down smooth and easy over a bright white. So tada now you notice I left a teeny tiny bit a little bit a little bit of white right near the base of the sword where I know I'm going to want it the hottest. I will put some paint there later but we're going to leave that white just for now. Okay. All right so now with a 50-50 mix of the Camara warm yellow and some Scale 75 Mars orange now you'll notice I'm kind of hitting the outside of the blade. Let's watch that again. You notice how I'm focusing sweeping the brush along the edge and just kind of really focusing which is going to take me off camera here in a second I know it because that's the kind of person I am. I'm bad. I'm bad at this. 280 videos you think I'd have figured it out but nope. At any rate we're just focusing in on the edge. Now I went to pure Mars orange and again just really with a stabbing stippling motion like you notice how rough I'm being. I am not absolutely not attempting to get a smooth blend here. In fact I don't want a smooth blend. There we go that's off camera like a genius. Hey there you go Vince now you remembered. I want this to be rough. I want there to be rough transitions because lava isn't this smooth even transition. Okay. All right so now we've got a 50-50 mix of Mars orange from Scale 75 and Proacryl burnt red but again I'm saying these colors but like anything will do. You don't need to worry about it being exact and again always with this sort of sweeping and stippling sweeping and stippling off camera in the same way again. Love this. He's really big by the way it was hard to keep this guy on camera. So then I let it all dry. Now I've taken some of that Proacryl burnt red and I've mixed it 50-50 with Vallejo whole red which is a really nice deep red brown black and again you notice how rough I'm being. I'm just stippling in here just stabbing it getting this ugly ugly messy thing going on. You notice how much stronger this is. You see how I keep working the brush over the wet edges to then kind of just stipple it out and I'm making these little pockets of where it's still yellow. The key is you need to be kind of random with this. I wasn't really thinking while I was doing this. I was focusing on staying on camera. I was focusing on you know is my brush kind of being in the right place where you can see what's happening. I'm using a really old crappy brush with literally no tip. It's flat on top. I cut it flat. I just literally cut the brush completely flat but it's not a dry brush or anything but you could use a small dry brush. Now we're going to this is pure whole red and then eventually we're gonna go whole red plus black. I never go pure black yet. The black is just Abaddon black from Citadel because it's a nice weak black that will actually work well for this because I just want to color the red not paint something black. But you see how now and so once we've got this messy little transition all these different natural things where we've just stippled randomly. That's the key. We let it be random because that's what gives us the magic of nature. Lava and natural patterns are really really random. They're not these smooth even perfect transitions. They just happen and so you've got to let it just happen. Go where the paint takes you right. So I just kind of let it back in. I was going in there dropping a little red in stuff like that. Now I'm going to take a little white and yellow so this is some of my original ivory mixed with some of my warm yellow and I'm just kind of building up those center areas where the sword has told me that it's hot. Based on just however my brush went it told me it was hot right. I did you just showing you I did both sides there. By the way this whole tutorial could be called listen just trust me this is gonna work. Because I imagine you looked at it in those previous steps and you were like Vince are you out of your mind what what is this nonsense you're doing? Trust me it'll work. You got to stick with me. It's only like 10 minutes you can do it. Okay now what I'm doing is climbing back down the colors. So after I took that small amount of white and yellow you see I popped out those areas now I'm gonna take some thin orange yellow which is gonna really show over the white like you saw it turned the white instantly that color but it has almost no effect on the dark red brought black brown. It's a little bit of an effect it softens it just a little so but it didn't have a huge effect. I'm gonna go back in I'm gonna find those little hot spots and again you notice the stippling motion just always stabbing lots of stippling stabbing I'm not making a lot of like long traditional brush strokes here. Okay now what I'm gonna do is just soften the area in between the two so I'm taking some of that Mars orange was a little strong in its initial application there had to thin it down just a tiny bit more and you see I'm just stabbing just literally stabbing the edge of the transition line right I'm not trying to get this perfect smooth blend that's not what we want instead we want this wonderful random organic pattern where it looks like the lava's flowing and cooling and stuff like that right so then I let all that dry. Now what we're gonna do is just keep building that up so now I have a little bit sharper brush and now it's time to get in those little details that are gonna make everything pop the next couple steps is really about building and refining building and refining we were so messy in the beginning because we wanted to let the randomness show us nature right by not being intentional by kind of turning your brain off and just letting it happen we were we were letting nature take its course letting the paint just mix and get all up in each other's business okay now though it's time to take a little bit stronger hand so here I have some white mixed with that yellow again so this is the pro grill ivory mixed with the chimera warm yellow again any paints will work you can use anything you want and what I'm doing here is I ran some thin lines up the middle always building up so it looks like there's a real inner heat and that white yellow will really pop that inner heat then I went and just dabbed just touched some of the edges where it looks like because that's where he's swinging the sword I'm gonna contact with people so it makes sense that some of the harder lava would chip and let out some of the heat from inside right I want to put a couple little hot spots in there now what I'm gonna do is take my brush and my nicer you know I'm taking that nicer brush and I'm just gonna find those areas that need a little more refinement okay so again now we're working with a nice sharp brush and this is where we get fun so after I did a little bit of refinement there you saw me like stabbing some oranges moving on out now we've got to make lava cracks lava is hot it travels it cracks the solid part the the the parts that are drying so what I'm doing is again this is the same ivory and warm yellow mix and we're just gonna go ahead and trace some thin lines here little tiny squiggly squiggly lines little squiggles little cracks here and there just kind of all over the blade varying thicknesses you need to be really really sharp sharp and thin tharp be tharp you know thin and sharp tharp and drawing a couple up from the bottom and this is really the magic that brings it together okay by doing these lines we can't just leave them like that because they don't stay that white yellow we're using that bright color because that's what's gonna show real opacity over what we've already done now I'm taking some of the orange and I'm just glazing it over the edges of the cracks I'm not being careful I'm dragging it over the crack and the area around it with the glaze because that's gonna give me this weak OSL effect where a little bit of the red deep red or black gets this tiny orange tint to it right beside where the lava crack is the white yellow gets tinted orange strongly it basically becomes orange but the black next to it gets this nice orange infusions you get this light all right now it's time to bring it home so here I'm just applying up at the top and wherever I want the blade to be the coldest the farthest away from the lava here I've went and got some chimera black because it is super strong black it's also a little satin which I had to take care of at the end and I'm just applying some little spots okay and you can see there is dry so now we've got these dark dark areas but stop there of course now comes the fun part now we're gonna crack this lava in the same way so we take that white yellow mix once that black is completely dry and it has to be completely dry you don't want to drag black into it my head's in the shot all right this is very precise work so I apologize everybody for leaning into the shot and we're just gonna draw these little thin cracks all throughout the darker black that we just did okay that's gonna make it look like it's solidified completely into this dry lava but is cracking but yet again we're not gonna leave it completely white yellow because that would be too stark so instead I grabbed some of my deeper red color and I'm just gonna do the edges I'm doing the red here first you can do any color again same thing I'm not just tracing the line with this glaze it is a very transparent layer but I'm tracing the line and the stuff around it because the heat would be emanating now I'm gonna grab some orange and I'm just gonna continue refining those areas up there and by the way I play with this a little off-camera I just like adjusting fixing a line here or there whatever caught my eye there's some adjustment that happens after the video because I'm just I'm always staring at it just fixing little things here adding a little touch but you get the basic concept here once that's orange you can see how now all of a sudden it looks like that heat that cracking in the lava is coming up if I tried to draw that thin line with the orange directly it would never show and it wouldn't have the brightness I wanted right by doing it first in the white yellow with the under shade and then just dropping the glaze not only do we get a single pass opacity but we also get the brightness from the under shade helping the orange and it lets me then glaze with the orange to show the heat and the glow so there you go that's it that's your cracked lava sword I'm really happy with how this effect came out I do hope you enjoyed this if you liked it give it a like subscribe for additional hobby cheating in the future as always I very much appreciate you watching this one if you've got any questions about this technique feel free to drop them down below like at the end here I was taking some black red and I'm just kind of touching the edges of the black to make sure that it's a soft transition that there's a little bit of softness to the edge of black that's all good if you've got any questions drop them down below subscribe hit like as always I'll see you next time