 Hello everybody and welcome to another hobby cheating video and today. It's finally time. Let's paint up the big boy himself The big bad It's time for Horace Ascended. Let's get into it Let's strict techno man sir that is Vinci V. Let us get to the technique and learn it Vinci V style If you've been watching the channel the past couple weeks You've seen me do a little bit of painting on Horace You've seen me prepare him and get the resin ready Today, we're going to go through the whole painting process I'm going to take you through painting Horace Ascended how I attack it why I attack it the colors I choose where I place them basically we're going to do the whole model from top to bottom This guy is a really really cool model. I really dug him as soon as I saw him I knew I wanted to paint him So let's get over the desk and get into it the paints are going to scroll up top for you as we're going here And if you watched the previous video where I introduced the new signature series of paints I partner with Monument to bring some of these clips will be a little familiar here at the beginning But we're going to go into more detail and we'll breeze through some of this pretty quickly The idea here at the beginning is to start on the black armor It's a pretty important core element of this guy though. It is less of him than I would like I'll be honest He's got a lot of stuff all over him, but I want to add some real infusion of tones Black armor will still read as black as long as about 50% of the surface that you're painting is actually still black You can have really bright reflections other colors that aren't in there If you've ever seen a shiny black car driving down the highway Well, a lot of there's actually a lot of white and gray and reflections of the trees and sky and things like that But you still easily recognize the surface as black So as long as about half of the surface is still in black tone, you'll be fine And when I soften everything up here with the airbrush I'm really just wanting to still preserve some of those colors and those tones underneath While diminishing somewhat of the the color travel. So it's not going quite as far Now when I move on to the cloak and and you might ask why am I working from black? Why didn't I zenith or something like that? I have some very specific lighting elements in mind and so instead of Doing a general all-over highlight diffuse highlight I wanted very specific placed highlights as a result I'm working up from black to preserve all my deep shadows between everything and be able to set my colors individually So these next steps are really just base coating these individual things laying down that dark plum on the cloak and now building up the wolf now in the Box art the original art the wolf is actually quite Dark, but I didn't like that as much I wanted the wolf to be a little more bright A little more white to sort of draw more attention to the top of the figure And this is one of those things where how you balance the colors and the intensity and the value On your miniature can often have a big impact on its readability You generally want the brightest areas the things that are going to draw the most attention That are also the warmest to be up around the head area effectively where you want your Viewer's eye to land and to look the first place people look is the head If you place really bright colors in the area around it in a sort of halo as this wolf's fur does It will help to instantiate that and draw that effect Now this is helped by the fact that Horace has a red glow inside his armor and human eyes track to the color red So, you know extra benefit I guess With the wolf done I then turn to you know building up the actual cape And here I take multiple passes with the airbrush and the important part with this is I'm using The shape of the cloak to do a lot of the work for me So that is to say I'm working you know at these angles where the airbrush isn't going to hit those lower recesses And then working progressively smaller and smaller areas Building up to that intense full royal purple and then eventually integrating in some of the Colder blue into that as well to give it this nice royal luxury a sheen This is another one of those things where in the art His cloak is red, but I like it better as purple purples the color of royalty and Horace imagines himself a You know a would be king I suppose Then we turn to a bunch of little details and boy is this guy full of bejangles I mean he is the king of bejangles But really it's just laying down base coats on all these And then seeing how it looks once we have all of them in place Remember when you're placing these initial colors Sometimes these things might seem too bright or too dim But that's because I left the metallics for last now once the metallics get on there later in the paint job It's going to really change the way the whole thing looks They're going to be so bright so shiny that they'll make some of these very bright things actually look quite a bit darker by comparison So you'll have to often go back and readjust your work at the end Don't ever feel bad about going back and forth in an area or painting on something Bringing an area to 80 90 percent and then reattacking the rest of it later. That's not bad That's just standard painting and in fact when you're doing display or competition painting The reality is you'll go back to those areas two times three times five times ten times to continually adjust them And that's okay All right, let's work on the face for us for as big as he is his head is not that much larger than a normal human's head Which I suppose is probably somewhat appropriate. He is still a normal human or well He's a human at least or was But at any rate I'm working in a lot of like red and pink tones to start and that's because I want to build this up He has this very warm skin tone because of the red Underglow this sort of light from below this light from hell that's on his armor And so I want that to be infused into all of the tones until I get up into the very highest highlights And shift it over into the yellow tone, which will be the reflection of the sort of fiery battle around him As a result it's I I'm slowly subtracting out the pink and infusing in more yellow influenced tones like warm flesh And things like that as I climb up And I'm also using sort of a Rembrandt style lighting here Which just means I'm focusing most of the light to one side of the face and from slightly above and then hitting that upper cheek On the opposing side of the face This will give me a lot of room to play with the counter glow of the red shooting up And since he's facing to his left in the actual miniature once this head is placed in It'll then sell that color in that effect really nicely My last step in this particular phase with the face Is to get nice deep magenta tones in there under the eyes and the lips And down at the lower part of his face pretty heavily on the left side Where it's going to be really influenced by that glow now again. This isn't the glow itself. This is just prepping for it Speaking of orange and yellow lights from hell. Let's talk about his little eyes of Horus here or whatever With each of these they were very simple. I just started by Covering them all in a nice ivory tone and then once that was done. I then build them up So but in sort of reverse instead of building toward the top I build toward the bottom So starting with that yellow and then working into more orange yellows and finally into the fluorescent orange pulling all the colors down toward the bottom Working in very very very thin glazes with all of these all these paints are highly transparent already oranges and yellows And then I'm working in just thin glazes of them multiple applications so that I get a nice smooth application of You know of the actual tones and don't have to go back and do any extra work a few quick layers and we're good Now I'm setting some of the edge reflections and since I had that fluorescent orange This is why I decided to do this so I pop out things like the edges in that fluorescent orange mix with just a little bit Of the red not because I intend to keep them like that but because I'm doing that as an under shade for later Speaking of that red glow I load some of that up in the airbrush and then just very quickly shoot that up at this low angle At his face and I'm working the angle and it might look a little strong here But that's just because the paint's wet and shiny once it dries down It's not going to be bad at all. It'll be exactly what we want I do end up working a little on both sides of the face He does have the red glow coming up all around his head But we're focusing a lot more heavily on his right side the side that will be more exposed to the viewer Um, and then I go back with a little 50 50 mix of my warm skin tone and that red tone And just kind of smooth out with a quick simple glaze between those two areas Again, I want the red glow to feel like it's coming up from below And then naturally transitioning into the ambient environmental light of the battlefield With all of those basic lights and edges and colors and tones in place We then turn to the most annoying part of the figure Which is the base coating of all of these metal edges and more Just so many metal edges on this guy It just keeps going and then of course even more even his cape has these Now oftentimes I don't recommend doing true metallics on cloth. I think it can kind of look weird But these were so pronounced like they're so raised off of the cloak that I felt okay doing it and like it just would Fall in line with this sort of edge pattern of the armor itself But he's not all gold Between his little studs in his armor And then these pistons and such that I assume are in the power armor helping him move and change Those are also there, but we can't just straight apply the metallics The next most important thing and what I want to do here is make sure that the lighting of the metallics Matches the lighting that I've set up on the matte areas And that means applying these tones these brown tones these matte paints And then into purples Into these areas to create shadows to matte out the reflections And this is a really important step There's a bit of non-metallic theory in here as to where you want to place these particular shadows in this case I'm placing the shadows just wherever it matches the lights I've done on the matte armor So in other words if I said there was a reflection in the matte armor Then I made sure there was a reflection there in the the metal as well If I said that area was a shadow I painted it as a shadow and so on and so forth Just making the metallics match what I've already said is the lighting situation With the actual matte paints that helps bring it all in line There's not a ton of silver as I mentioned just like his claws and a few chains And though normally I'm quite against washing metallics because it makes them look a bit dirty and dull I actually thought that was appropriate for this battle-worn claw Like I imagine he stabs and kills quite a lot of people with these So I didn't think it would look too rough or sorry too, uh too shiny and new I thought it would look quite rough and besides I go back of course after that And clean it up focusing mostly on the edges that would be glinting very brightly Now we're going to turn to that actual red glow the the red inside his helmet And the important part to sell this is to pick a direction and cast that light In this case, I'm assuming it's casting from his right your left as you're viewing this And then throwing that up into the air So I set that base direction and you'll see how we finish it up later While I was waiting for that to dry. I just turned to the base Starting by giving it a nice warm brown heavy Wet sort of brush like a brush over there and then giving it a traditional dry brush of dark ivory just to pick out all the details This is really a sort of quick simple base. We don't need a lot on it Um, I figured he was killing imperial fists. That's what he's killing in the the video that sort of where Horace marches Where you see his original guy in the Uh In the original trailer there and so I thought hey, let's put in a few little bit imperial fist body on here And that yellow is really really shockingly bright But the key is we're going to muddy it up. We're going to dirt it up We're going to pigment it up And so when we knock it back later often we'll want to over highlight these things Just like we did with the original black armor That way when we come back in later and mess it all up that color still shines through For things like the metallics on the base. I'm very rough, but I'm also still somewhat dry brushing I don't want to get metallic paint down in those lower areas I want to preserve the deep brown that looks like dirt trapped under these metal planks And so I'm just giving it a pretty simple dry brush of the thing Hit the bullets with some simple copper Just to get those colored and toned appropriately for the jackets from what he is shot And then comes the magic step with things like this pigment goes so far because it adds a lot of depth and realism And just life into the base So I just kind of slap around some of this red pigment and then over the top of it Do a nice thinned wash of some agrax earth shade that will not only fix the pigment in place But it will also reduce it and darken down all the colors As I apply it I do then sort of wipe away from some of the higher most or more exposed areas Like the top of the armor and the skulls with my finger your best and most trusted tool in miniature painting just to make it go To make those little bright areas stay clean and preserve a little bit of the tone Weathering the metallics are also going to be important. This is a beat up rusty crusty battle zone. So I slap on some Some vallejo dried rust there And then while it's still wet start integrating in orange rust Just because that's gonna I want it to get all mixed in with the brown I want it to feel organic and natural Where some of it is very brown orange and some of it is very speckly I want it to dry in an irregular pattern just like the actual rust would form itself And with that done Then it's just a matter of Black rimming that base Oh, what a wonderful end of this road Uh, this guy was a heck of a paint job. He has a lot going on and let me tell you what Uh hitting the black rim on this base. Hmm This was been uh, this was a rewarding one. So I know that was very fast, but there's a lot to cover I hope you enjoyed it There we go. Horus is all set all done painted ready Uh to bring down the imperium Uh, so I I have to say this was a really fun fig to paint. Um, this guy is super awesome I mean, it's just a wonderful fig. Uh, he's so mean. He's so cool looking. He's very iconic Uh, I just had a great time painting this up honestly I don't normally like painting black space marine armor, but this gave me a fun chance to experiment With some different color reflections in the armor and stuff like that Uh, and he's just a great design So kudos to the sculptors and thank you very much to gw for providing this miniature for me to paint I hope you all really enjoyed it. Uh, if you did, hey, give this video a like Subscribe for additional hobby cheating. We have new videos here every saturday As always, uh, if you want to take your next step on your hobby journey You can do so through the patreon link down below that patreon is focused on review and feedback And helping you in whatever way you need in the hobby There's also a merch store where you can support us down there Uh, but as always, I thank you so much for watching this one And we'll see you next time