 Hello everybody and welcome to another hobby cheating video and today we're going to talk about pink fire. So with zinch rolling around there's a lot of talk about, you know, pink fire. That's kind of a thing that they do. So we're going to play with fire in an alternate color scheme today and in doing so we'll talk about how you can make a lot of other colors fiery. You can apply many of these same lessons to do any kind of color fire you might want to. We're going to turn this big endless spell here, the eight-pointed star of chaos. We're going to turn all this fire into pink fire. So right now I just have it zenithal primed. You'll notice that I really went in hard with the white on the fire and that's the first thing I'll say. Anytime you're doing fire you want to make sure that the base priming of that fire is very white, white gray, warm white, something it doesn't really matter. Just some kind of pretty intense bright color. So if you only have a rattle can use a brighter color, if you're doing like a pink fire, something like that Wraith bone or whatever it is from GW, like that gray white would be good. But any kind of white or near white will work in the end. So what we're going to do is I'm just going to jump over to the airbrush booth real quick and I'm going to give the whole thing a coat of Daler Rowney FW ink specifically. This is process magenta. I'm not going to film that because it's just literally me spraying all this fire with pink. I don't think you all know how to base coat something. But I'm going to start from there because I want to get a nice even tone over the whole thing in this very thin pink color. You'll see what it looks like when we come back. So I have something to work from. So give me just a moment and we'll be right back and we're going to then dive into the actual painting. All right, we're back and you can see everything's turned pink. So nice little effect there. Easy peasy. Now we've got a nice base color down. You didn't worry about getting it over the metal parts or whatever because those will hit later and it's fine. Now when it comes to fire, of course, we have a sort of inverse of our normal highlighting. That is to say the deepest parts actually need to be the brightest and the highest parts need to be the darkest. And that's true both as you go forward into the fire and as you come up to the top of the fire. So after some coat of pink, by the way, if you don't have the magenta ink, you can just you know any kind of base coat of some kind of pink will get you in the right place doesn't really matter. So now I've got some paints here we're going to use some pale pink from Proacryl. But again, any very light pinky color will work. I've got some purple three from more colors, which is actually a very pink color, but a nice rich magenta. We've got some burnt red from Proacryl. Violet five from more colors and then Avedon Black from Games Workshop from Citadel. OK, and here I'm going to work on just a nice dry pallet so I can work quick because we're going to be basically doing this is going to be a little wet blending adventure. So I'm going to actually move my pallet over the other side of me here. So it's right there. We're going to start with just a little bit of that pale pink and I'm going to find deep spots around all the fire. Basically just somewhere where I can shove that down inside there. I want that to be kind of the the base of the flames. OK, so you can see how when we push that down in there immediately already it looks more fiery because we have that hot color down in there. Do the same thing over here on this side. I'm not worried about the little skulls. We'll come back and we'll handle them later. At the moment, we worry just about the fire. OK, great. Clean the brush and we're going to take a little bit of our color here and we're just going to kind of pull some of that up. Just kind of mix it with some of our that previous pale pink. Gives us a nice chance, I'm sorry, a frame with a little tippy top flames. Gives us a nice chance to just get some extra color down. Now we're going to take a little of that, mix it with some of the red. I can move this on screen so you can actually see what I'm doing. But it'll kind of get in the way, I suspect. You see how I mixed there. I'll pull it in and off so you can see it. So we get a nice mix between the two. And what I'm going to do is just start using the side of the brush. You notice I'm just hitting these top parts, working fast. Sorry, those little tippy flames are out of shot. In other words, I'm not really focused on I'm trying to. You can see how this is how I'm touching the brush at this angle. And the reason I'm bringing in a little bit of that burnt red is because, one, we still expect fire to have some. Redness to it, even when it's weird, magical pink flame. Let's get a little bit more of that. Kind of bring that in. I'm just going back and forth here. You notice I'm using a really big brush. That's intentional. By using this big brush, I can work over all this space really fast. I can hold a lot of paint in the belly of the brush. And you notice what a lot of what I'm doing is just smoothing out on the miniature itself. Push the red up a little more on that side. Okay. Then we're going to take a little bit of that burnt red. Back over here. A little bit of that burnt red. We're going to mix it with some of that purple. Get a nice, deep, dark color like that. Take just a touch of that pink, just to cool it off a tad. Okay. Now, up at basically just the tips of the fire. Don't worry, it's going to look ugly. Everything has an ugly face. It's okay. It's just fine. This is just a fun part where we get to go nuts. Obviously, this is a whole lot of fire. You can do this with a lot less. This was a smaller miniature. It'd be certainly pretty easy to just, you know, work some little flamer of zinch or something. So we just kind of, you can see how we're getting that transition there. Okay. Now we're going to go for a little bit of that more straight purple. Still haven't put my brush in water. Make sure I'm getting around all the sides. Some of these angles are kind of wonky. Now we're going to take some of that purple, mix it with a little bit of that black. We don't want pure black, but a nice purple black will do as well. And then we're just going to get the very tips of some of the big flames. So now we've got that nice little quick sketch of our colors established there. So I'm just going to repeat this around a little bit off camera. All I'm doing is going through and making sure like in these areas, I have a nice transition that I don't have any jumps that are too far, that kind of thing. Basically, we just want to make sure that we have all of our nice colors laid in here appropriately. So that's just a little bit of cleanup. When I come back, I'll show you how we then continue to refine this. I'm going to let all this dry because I just threw a lot of wet paint on this thing. So we'll be back in just a moment, but I'm just going to keep touching this, doing basically exactly what you saw here. Just making sure all the colors are transitioning up. And then I'll show you how we go from here. So back in just a moment. Alright, so we're back. You can see I just kind of went through and smoothed everything out a little bit. The other thing I did was I did a little dark outline of just a weak dark outline around all the skulls. They'll probably end up being sort of a white pink that stands apart in some way when I'm done. But it's hard to tell how light your lights are if you don't have a dark to judge them against. So if I had blackened this later, this would seem a lot brighter. You kind of need to understand your shadow and light concepts to really to really understand exactly where you got. So there you can go. You can see how it varies like here's a dark strand down here and it comes into this and so on and so forth. We don't want it to be completely uniform. Like one of the things I see people do with fire a lot is they'll be light, you know, brightest, slightly darker, slightly darker, slightly darker, slightly darker, darkest. And it'll just be uniformly moving up. You want there to be differences in there. So you can see how some of this red comes down farther. There's little, you know, trails down here that are darker. Some of the light pink goes up higher. You want a nice mix there. Now that being said, you might ask, well, Vince, why did you use a dry palette for this? Why weren't you just using your wet palette like always? Well, that's a great question, imaginary person. I'm glad you asked. The answer is so that I would have them on a dry palette so we could do some dry brushing. So I'm going to use a nice soft round makeup brush, which is what I've got here. Always our best friend for dry brushing. We're going to go into just a little bit of that magenta color. So this is our purple three for more colors. It's got just a little bit of the actual purple mixed into it there. As always when dry brushing, we give a test on the back of our hand. That looks nice and soft. And then literally we're just going to come across the fire and we're just going to do some nice, smooth applications of the dry brushing. Of course, the key being it's going to hit just the high points when we do this. And that's exactly what we want. And this is just going to kind of help us to easily get those edges nice and picked out while leaving the lower parts still brighter. Then I'm going to go into a little bit of that purple color, that purple red, nice darker tone. Once again, let's test on the back of our hand. There we can see much darker tone. This time I'm going to focus mostly on the higher areas of the fire. Just again, quickly moving through a nice soft dry brush. Great way to blend honestly. Because it ends up being tiny, tiny applications repeatedly a very dark paint. Alright now, without cleaning the brush, we're going to go into a little bit of that black. Once again, let's give a little test. Okay, a little too much still. Now we're just going to get those tippy tips. If you had a smaller fire, you probably, you might not need to dry brush. You might be able to do this with just, you know, the blend alone depends on the size of the fire. Like this is a really big fire on this endless bell. So pulling out all the stops. Okay, so there you go. Now we've got this nice transitions going throughout. You can see the white to the pink there. Easy peasy. Rinse out our dry brush. Now, final steps. Nice and easy for your pink fire. Two potential options. First of all, you could certainly just stop here. Let me say that. Nothing wrong with that. Like that's a perfectly acceptable fire. But there's a couple more things we can do. If we want to keep going, first we go into that black. And we're just going to kind of very carefully. Now we're working with thin paints. Just going to pick some of those edges. And with that nice thin black, we're just going to pick a few of them out. Just to really make sure we're showing that transition up. So it gets nice and dark at the very tips. Just our tippy tips. So if I go over something else, it's not really the end of the world. That purple in there. So now we've got that great transition in there. And this is where I make a note about sort of fire in general. Most of your fire should be whatever your middle color is. So one of the things, another thing I often see people do with fire is make a whole bunch of it. I'm just going to keep refining while I'm talking here momentarily. Is they make a whole bunch of it. Really, really yellow. Fire isn't yellow. Fire is always orange. Now there can be bright spots, but I mean that's your mid-tone color. That doesn't mean you can't have yellow in there. It shouldn't be a cold sort of like these ice yellow type of colors I often see. It should be a very warm, orangey yellow. But you can have those in there. The key is the majority of the fire is pretty much this orange tone. It's a very singular sort of thing. However, what we're doing to create visual interest on the model is we're trying to take that mid-tone and stretch it out. So we're creating a very small, small, small refined area of white heat. Right down at the bottom. And again, just as I used, this was my white equivalent here. Which is this pale pink. There's no white in this mix, but you see how that still looks white partially from what I've primed it with and partially from just a bright color. It's still in the tone with the rest of the fire. And that's how you want to make sure you're sort of organizing it. Like, you want to have this really, really small area of high heat where that color is passing into basically white. You want a larger area of mostly your mid-tone. Now it can run from, you know, just as you see here, like a very light version of your mid-tone into a very dark version of your mid-tone. But it's still mostly that. So, you know, if this were to be a slightly different color fire, if it were to be green fire, the same thing. The majority of it should be that kind of green color. And then I'd have the yellow white down at the bottom where it's hot. You know, something like that. The same rules apply no matter what color the fire is. Okay? So now I'm just taking some of that original magenta pink and just kind of smoothing out, making sure I like all the touches, making sure I don't have anything hanging out. It's just a little bit too bright, still working off the same dry palette because we're just working fast. So, other things we can do here. Like I said, you certainly could have stopped already. So if you're still watching, hey, thanks, I appreciate that. That's very nice of you. I'm glad you're still here, welcome. But if you want to do some more fun stuff, there's a couple of other things we can do here. So let's talk about just two more final steps. The first is we can pop that pink way up with something like a fluorescent pink. So this is fluorescent pink for more colors. We're just going to get a little bit of that. You can grab any of your fluorescent colors. Plenty of different companies make fluorescent colors. I've done some reviews of it, so you can go check out the review of both this pink and the Vallejo FX fluorescence, both of which are nice. But we can take some of this and we can just kind of work it here into our mid-tone. Kind of above, it's going to be our next bright highlight color. So we're using that to capture the upper heat in the flame. It isn't white hot, but it's still real alien pink fire. So it can just give us a nice little pop in there. We can only use it on some of our raised areas down here to sort of stand out against the white. Just seeing that space there. I want to darken that up a little bit. Okay. So, all right. The other thing we could do is we can bring this all back together in some way. So if you go too far, if your blending goes a little bit too far, if you're not, you know, if you're too contrasted, we can go back to our original ink and then either in brush or airbrush. It doesn't really matter. Take a little bit of that Process Magenta or whatever you happen to use. Whatever your initial base color was. It doesn't matter. In this case, I'm using mine. If you don't have Process Magenta, don't worry. You don't need it. Not the end of the world. We're just going to take that and we're going to just run a thin controlled glaze of it over everything. We're not washing it because we don't want it to pool. So I'm making sure that my brush is just a nice thin glaze. All that excess liquid is wicked out and we're just giving it a nice simple coat of it to just kind of cover all that dry brushing, all that ugliness that happened there as we might have some brush strokes or stuff like that. This just kind of helps bring everything back together. You will note I am not covering the white or the pale pink as it were in this case at the bottom. Because I don't want to completely cover that part. But I am going up onto some of the darker color I did just to again add that tone back in. By having that it just helps us align all those tones. All these little pieces of flame are very annoying. So there we go. We've got our nice rich pink fire. The reason we go back in with that glaze at the end or with the fluorescent pink or anything like that is because we want to increase that intensity. A lot of what we're doing here is taking that pink and we're adding these other colors to it. This pale, this pale, you know, near white color. We're adding this sort of black and purple. All of that is just desaturating the fire and making it feel really, really weak. By adding back in these glazes of this really intense, heavily pigmented ink we can recreate a lot of that heat and intensity. So it still feels pink while still having the heat there that we would otherwise want, right? So that's the key. When you get that kind of intensity, you've got to really create it there in that space. Having in that middle ground, having even the glaze run over the darker colors up top it sort of tricks the eye because the eye sees this dark color and just associates it with that and says, okay, yeah, that's black or that's close to black. Like, all right, I'm good with that. But it's more comfortable with it. It's not a stark because there's this nice soft magenta glaze over the top. We're just tricking the eye, tricking the brain a little bit. You don't see it, but your subconscious does. So there you go. That's pink fire. I'll throw a little picture of that up at the end. Once it's all done, obviously we'll do a little bit of OSL, just dry brushing out some pink to show this casting light, that kind of thing. But that's a hope that helps out with your recipe for pink fire and how you think about painting it. I think this looks like a really cool effect. Great for zee and trade for that kind of chaosy magic effect. If you enjoyed this, hey, give it a like. 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