 Hello, everybody, and welcome to another hobby-cheating video. And today, 10th Edition 40k is upon us, Leviathan is upon us. That means it's time to crack into this box and have fun painting something. Let's get into it. When I got this big, awesome box full of minis, the first thing that jumped out at me was the terminators. I think terminators are some of the coolest space marines, maybe the only cool ones. But they're pretty awesome. The problem was traditional terminators, hmmm, how do we say this nicely? Well, that fig was really showing its age. However, with the resculpt, their new proportions and the look of them is awesome. It appeals to the classic design while not basically looking derpy anymore, and I think they're great. So today, we're going to paint up one of those terminators in the Ultramarine's colors, but we're not just going to paint it up straight, no. In the video that released for the release of 10th, these guys were in the middle of a fierce battle with the Tiernids. So we want to show a survivor. We're going full Grimdark. We're going to paint up one of these Ultramarine terminators, and we're going to make him grim and gritty and grimdark. So let's head over to the desk and let's have some fun. All right, so here we've got our new terminator. He's just been primed basically gray black. Just dark color is an easy place to start. I did leave the head not glued in. I'm going to pull it out later. And we're going to start with just some prokril bright ivory, but any ivory color, any bright white will work. You want it to be a little warm. Don't use just like a normal dead cool cold white, because we want a little warmth in life in that blue. And then we've got a cheap makeup brush. I always use cheap makeup brushes for my sort of dry brushing type activities. It just makes it easier, but we're not going to do a traditional dry brush. We're still going to get it in there, wipe off some of the paint like we always do. But instead of dry brushing it, we're going to basically stipple him. And so as you can see, I'm just going to stab him repeatedly like this. Now we'll go into hurry up mode here because there's a lot of this guy. So sorry if it's very shaky. But I focus my way around the miniature and I'm paying a lot more attention to the top and the upward facing flat surfaces than anywhere else. But when you do this, as opposed to the dry brush, it creates a sort of texture to the miniature. There's a sort of stippled, dappled texture to it. And that's actually very helpful to us. Once I have one good coat on, I go back over just the up top areas, like the very top of his shoulders and his head and give a second coat. Now we're going to go ahead and get into turning him blue. And here I'm just going to use a sermon blue contrast paint plus a little medium. When I'm using contrast paints, I actually like to work with the medium quite a bit. And here we're going to work three to one. So this is nine drops of the medium to three drops of the sermon blue contrast paint. And the reason we're going to do that is because we want this to be thin and we want to be able to just build it up. And you'll see here as it goes on, it's actually fairly weak. But that's advantageous to us because now the upper parts of the miniature we just can put less onto and they'll be naturally highlighted. It will help reinforce this sort of pseudo zenithal or slap choppy type scheme that we've already done. And you see how when because I was doing that stippling and you've got some of that texture, that's going to aid our grim dark work later by making him look the armor look a little rougher, a little more worn, a little more battle damage, dusty, dirty, crusty goodness. So we just make our way around, you know, base coating the miniature with this blue. I am being very careful though. As you can see, I'm using a big brush. One of the another trick to using contrast paints is use a bigger brush. This is a big size six brush and I'm making sure to sweep with that large brush. Don't use a little thin brush or something like this sweeping around. If I see any type of pooling occurring, I immediately sweep back over, spread that paint out and sweep it over there. I want a nice, even thin application of it. And by applying it multiple times, I then reinforce the color and we move it out of the pastel blue into a more solid blue. And it's very quick to make your way around the miniature like this. And you don't really have to be careful. I'm kind of avoiding the areas that are going to be white as sort of best I can just to keep my life a little easier. But you know, things like the chest eagle, the Aquila and stuff like that, I'm not worrying about at all. I then go back for one more thin quick coat in effectively the shadow areas. And this is just quickly getting some real saturation. Basically one coat per, you know, sort of ratio of the thinner. So in this case three makes it so we get a nice solid blue. But then only in those shadow colors or the lower tones is where we see that. Now this Pilar Glacier is like a really bright blue and it's super weak. All I'm doing with this is hitting all of the highlight areas of it. So this is like the tops, the shoulders, the outstretched pads, the back of his little Terminator backpack and all that kind of stuff with this. And really this is just a sort of smooth out and hide some of the texture and things like that we had from the from the rough undercoat. It's still there. It just minimizes it and makes it look a little more in scale. Now we're just going to turn all the other things, the colors they are. At this point, the armor is the big show, right? That's where we're going to focus most of our attention is where people look. It's where we're going to do a lot of work later. So for stuff like these other details, we just want to get them done, get them base coated because we're going to be doing other things later. So here I do have some moisture in the brush. I'm not working just straight with a contrast paint. I make sure to dip the brush in water first and then go into the contrast paint. That will make it a little more thin and so it flows a little more into the recesses and stays a little off of the highlights and really aids the sort of overall contrast. But where the blue will really start to pop is once you get all of these various other elements toned and you stop having this sort of zenithal. So, you know, this is the the black carapace in between the armor and the tubes and gun and stuff like that. Just, you know, turn all the black things black. My final step here is just to make sure that I'm getting all the things that are meant to be white, like these little insignias and such that are on the terminators are meant to be white in the art. So you'll notice that deep parts are still black because of the way we stippled on. So they're already naturally shaded, but we are going to reinforce them later. But I just want to you may want to make sure we turn them white. We want them to be nice and clean because those areas will really show later if they're not sort of that clean white application. I am going to go ahead and apply the metals as well. Here I'm using Vallejo metal color pale burnt metal. It has just a slight yellow brown tone to it. But really, we just want things to the metal things to be metal. We're going to turn the Aquila gold, of course. This is Vallejo metal color gold, plus a little bit of green stuff, world antique gold pigment, just to make it more rich. And I'm not really too worried about shading or anything like that at this point because we're going to handle all that very easily with one fun step in just a few minutes. But really, these final things are just get all your colors on and you want to use brighter colors than you normally would. So like ball red is pretty bright for a purity seal. But in this case, it's exactly the right thing, given what our next step is going to be. So work the gold, make it very bright. You want the white to be very bright. You want the blue to be a little more bright than it would normally be. When you're going to work with this ultra dark scheme, you want to start or sorry, this ultra grim dark scheme, you want to start really bright. And that's because now we're going to get out the streaking grime. So streaking grime, this is from AK Interactive. And it's just a big goopy thing. You want to make sure you shake the living bejesers out of this bottle before you use it. And then we just get a big giant flat brush and we just coat this whole thing. Just gloop it on. No, do not hold back. Do not be worried. Do not worry about pooling. We're just gloop. Just the gloopiest of gloops. And I'm just coating him absolutely completely with this stuff. Remember the key when you're using this streaking grime is you don't want to spend a lot of time on anything but really getting everything base coated because it's going to universally tint the whole figure. If you invest a lot of time into initial highlights and stuff like that, really what's going to end up happening is you blow all those out with the grime. Remember also that the streaking grime will affect very bright areas, say like the things you paint white, a lot more strongly than it will any other color. So you'll need to either spend extra time cleaning that up or maybe touch them up just a little bit quickly with some of your original tone. But that's where the white spirits are your friend. All the detailing, the grit, the scratches, and the scratches, we're going to put that on after we do the grime. So I let it sit there for 10 maybe 15 minutes at most. And here I have my little makeup triangle sponges and my little makeup eye sponges. You can order these things in bulk from like Amazon or get them at the dollar store or whatever. And I'm starting with them just dry. They're nice. They're soft. They won't damage your paint or your paint jobs. And you see I just wipe the bulk of this away. There is no white spirits. There's no nothing on this. This is just a dry makeup sponge. And if you can, you want to wipe in the direction you'd like the streaks to go. So like if I can, I try to wipe down or something like that. But it's not always really possible or feasible on these little 32 mil models. But you want to be always rotating the sponge. Don't wipe dirt over dirt. So rotate the sponge around, a sponge around, use all the sides of it and just start wiping the bulk of that grime away. Then I'm coming in with a little one and using that to then clean up the other areas where the big sponge triangle couldn't really reach. This gives me a little more precise application of the individual wiping. And again, this stage is really about the initial cleanup. Now I put a few drops of white spirit into one side of the makeup sponge and then press and squeeze it so it kind of soaks in. Then on the areas that are white, I'm going to use the white, sort of the white spirit side directly and then wipe away the liquid with the dry side. So I wipe with the wet and then wipe with the dry. Wipe with the wet and then wipe with the dry. And by rotating back and forth like that, you can restore a lot of especially those white colors back to where they were. And that's just letting me get that so that that those all those deep recesses still keep that grim gritty darkness. Now we've got a little sponge. There's just a piece of just any little piece of sponge. I like to use clamp pack sponges or something like that, but you can use anything you want. And I have a little bit of that original ivory. And I'm just going to there I had a little too much, but don't worry if you mess up, it's cool. We're just going to do some simple sponge weathering. You put a little bit of paint on it, you wipe most of the paint away, and then you just touch the sponge repeatedly to the guy. You will not get a lot off. You don't want to get a lot off if you drag it along edges. That can be a good way to go like I was doing there. And the white dust represents those very surface level chips in the army or in the armor where it's scratched away. Some of the blue paint color cover, but has got down to effectively what for in world would be the primer. It also just looks very naturally like dust scratches and things like that or build up. Then we take Rhinox Hide and we repeat the exact same process, but we go a little harder on this one. The Rhinox Hide, we can use it on the metal. We can use it all over him. And we want to focus these chips down into the areas where he'd be more likely to be scratched. The ends of his arms, the lower parts of his feet, his legs, things where he would naturally has these walking kick rocks and stuff like that. If when applying it, you get a little too much white in an area, you get like a big white chunk and it looks weird. You can always just come back in with a brush and the Rhinox Hide, take a chip out of the center of that with the Rhinox Hide, just a little quick touch and it will look perfect. It'll look like a deep chip in the paint, but then showing a little bit of primer around it. You can also just tippy tap it along the edges of the armor to make it look like those kinds of chips along the edge. But by using both the white and then the dark Rhinox Hide Brown, you get to a really organic looking set of scratches of varying depths that feels like this guy's really been in battle and hasn't had a chance to replace his armor or clean things up. Now it's just time for some final details. I added with a little bit of that black contrast paint. I capped in some little dots and scritches for purity seal. I take some of the Pilar Glacier and run it over the little power sword to give that the sense of a little bit of blue energy and vibration. I don't like going over the top with power swords. I feel like they still would or vibro blades, like they'd still look like normal sort of weapons. But of course, now we got to do the base and we were to keep it simple. We want to make a whole army of these guys. This is a big box with a lot of figs. So we just drop some super glue on, then we take our sand mix. This is just a mix of a bunch of different sized grits of sand and then let it dry. Then I'm going to take some Rhinox Hide. Again, I'm working in like five different paints here. We want a scheme that's easy, that doesn't use 50 different paints. We want to keep things simple and fun. One of the things we can do within Rhinox Hide once we got it on there is you can thin that Rhinox Hide way down and use it like a wash, especially on the feet and the lower parts of the miniature. And it'll look like the same dirt of the earth itself he's walking on is kind of collected in there. It makes it look like these guys have all the different layers in this guy's armor would completely collect dirt like crazy. Since I had that Rhinox Hide wet on my palette, I mixed a little bit in with the Ivory I had had on my palette from earlier. This whole paint job took maybe an hour, probably a little baby a little longer with the drying time, but the actual painting time was maybe an hour. Then we go to some pigment. This is our favorite iron earth red pigment and I'm just going to smoosh it down into the dirt. It works really well over a dark pigment, over a dark paint like this. And I'm going into different colors of pigment, but like the combination of some reds, some yellows, some oranges, some browns, and I work up onto the feet of the miniature, really smooshing and squishing it in there. I want that pigment to be like very much part of the miniature itself. He is not just walking on this. He's not clean. This is a guy who's seen some things. It's a rough fight. And by kind of working that pigment up and around there, we show that he's part of the miniature. We show that he's part of the world he's living in. Final step and this is pretty completely optional is just some light edge highlighting. We're not going crazy. This is again meant to be fast and fun, but like all these black elements that are just black, we come in with just a gray and we're going to just hit the edges of like the top of the belt and I'm mostly focusing on the upward facing lines. So the top of the gun, wherever there's like a line that's facing up, we trace those kinds of things, the top of the belt, the little upward facing ridges and the black carapace and so on. We can do the same with a light blue. This is just literally mixing the contrast paint with some of that same ivory and then just tippy tapping along the edge. I'm not trying to edge highlight. I'm using this tippy tappy staccato application of it because it should feel chipped and worn and weathered just like everything else on this guy, but it still shows that he's exists and the light is real. Final step of course, the best step, the most rewarding step, we get out our favorite Abaddon Black. The only purpose of that paint is for base rims and here it is and we just get a nice smooth layer of that Abaddon Black and this gritty, grim, dark space marine is ready to go. So there you go. He's all finished. I think he came out looking pretty awesome. He looks grim. He looks gritty. He looks battle worn. I really love painting up stuff like this. This is the kind of thing I could easily do a whole force in. You could batch paint like this. This guy did not take a long time to do and I think he'll look great on the table, especially with a whole squad, a whole force that has clearly seen the worst part of this war. So I hope you enjoyed this. If you did, hey, give it a like. Subscribe for additional hobby cheating in the future. Remember, we have new videos here every Saturday. If you've got any questions, drop those down in the comments below. If you'd like to support the channel, you can do so through the Patreon down below. That's focused on review and feedback and taking your next step on your hobby journey. As always though, I thank you so much for watching this one and we'll see you next time.