 Hello everybody and welcome to another hobby cheating video today. We're going to talk about making your true metallic gold Really really pop the strict technomancer that is vincey v Let us get to the technique and learn it vincey v style So some time back I made a video about the best-looking gold recipe And it's still the gold recipe that I used to this day one of the questions that was frequently us In response to that video was how would you highlight and shade this well today? We're going to break into that and talk about the tools the tips the techniques that you can use to get your true metallic gold Looking really awesome and popping on your miniatures. Let's head over to the desk and do some painting We're gonna start with the simplest answer, which is the humble wash We're all familiar with the wash. We've all used it a hundred times now generally I'm quite against using traditional washes on metallics You're putting an interference medium over top that isn't glossy of a very glossy surface And hence you're going to dilute the shine to some degree however, the exception is If you have if you're using sort of one of the newer washes, which is does fall into the recess easier But also if you're dealing with a highly textured surface Surfaces like this are just almost impossible to really get all the detail too So for these kinds of surfaces a traditional wash is best if you're dealing with very smooth surfaces Look somewhere else when you're dealing with very smooth surfaces Such as this as you see me working here The wash is going to have almost no effect and you can use it as an extremely subtle glaze as you see me doing But keep in mind you want absolutely just the minimal amount there All right, so here you can see the wash is dried and we haven't left too much extra paint on there Your next option is something like inks or contrast paints here I'm using some grass rack sewer a contrast paint, but inks would perform very similarly The challenge is the surface of metal paint is so glossy and so smooth There's very little for these kinds of paints to grip onto as such They will tend to bead and then have be very Inconsistent in their coverage So finally we have traditional matte paint This is Rhinox hide and ultimately Rhinox hide is what I like to create my real shadows on metallics with It's matte and so it does kill the shine and create actual shadows What you're looking for here is a thin layer consistency Rhinox hide has sort of the perfect mix of brown and purple tones To achieve the shading on gold now It's not a required color if you don't happen to have that paint Anything in a sort of deep rich brown can certainly work in the same way But your goal is to create a nice thin layer paint Something more than a glaze but not just a few drops of water say two drops of water to every one drop of paint something like that and You just work your way around the miniature Applying it smoothly and evenly to these surfaces now even the matte paint will sometimes not stick as well as you want and will Sometimes have inconsistencies in the drying. Don't worry. We can fix those later or with additional glazes Now if you do run into a challenge One of the things you can do as you're working right across the surfaces is work a little thicker and then instead We just work it back later So here on his helmet just because of kind of the positioning I'm in and when filming this I worked a little thicker because I didn't want it running everywhere on these very very thin surfaces And as I work my way around the helmet I'm making sure to get sort of the shadow side a consistent shadow side So the left side of all the teeth and you know, I'm running my shadows on this metallic in similar directions There's no single golden rule you that that is the right way to shade metallics Because light bounces off of them in lots of ways the important part is to simply be consistent with what you do on your individual miniature The last option if you've got the space and the control is to airbrush Here I've thinned down that same Rhinox hide and I'm using it to smooth out some of the inconsistencies in the paint I'm working here with my Iwata CR plus this has a point one five needle in it, and I'm working at 18 psi I'm just very gently hitting those areas of the metal and I can work very very very small with this What this allows me to do is create these nice small subtle transitions Well, at the same time reinforcing what I do with the brushwork Now I can't hit everything the paint is very thin. I have to use very very small Applications and then come in multiple times to get to the the strong shading that I'll need to create a good effect Remember the key here when you're applying the shades is that something like the wash even when applied as a sort of glaze the sort of GW shades Versus the inks or contrast paints versus the matte paints are all gonna perform differently And they're all going to be difficult to make them adhere and look really smooth on that sort of very glossy surface That metallic paint provide so experiment around and see what works best for you Let's talk about smoothing and highlighting. I have silver my gold mix and some rhinox hide here on my palette I'm going to begin with a mix of Mostly the rhinox hide with just a little bit of gold say three to one And what I'm gonna do is just sort of smooth out those edges by adding in some metallic pigment Into the rhinox hide and then thinning it down with a decent amount of water We create the ability to have simply a darker looking gold and I'll move around the miniature actually making this the transition point Between my previous glazes or airbrush work where necessary to smooth it into the gold I do multiple passes multiple mixes multiple different opacities What I mean by that is I'll work different amounts of the gold in eventually moving up to sort of a 5050 To then smooth that edge that I just created if you get Any sort of situation where you have a hard edge line. This is how you smooth it out Now once I've smoothed out those shadow transitions. It's time to turn to the highlights For the highlights I begin with just the straight gold and I'm going around and making sure I'm working on those areas Uh where I had washed bringing those very tight The areas that I want to be, you know, really clean metallics that are effectively the mid-tone back up to the area Reinforcing any highlights from any errant brushstrokes. I also correct around the miniature for anything else I then create a 5050 mix of the silver and the gold And here I'm going to start laying down my highlights now again consistency is the key Here I've put the shadows toward the top and I so hence the highlights need to be at the bottom Each surface even on a complicated item like this can be Attacked relatively easily when you stop trying to think of this thing as a super complicated surface Think of it as one volume one shape and highlight accordingly So the entire lower head of the axe is just one big triangle Hence how I ran the shading across the top completely and then the highlighting along the bottom Once you've got that total volume in place You can go in with a brighter color and pick out the individual elements But treat it like one shape one ball one flat surface ignore the detail to begin That's how you set your initial tones Now I've moved up to more three to one so three silver to one gold And I'm focusing on smaller and smaller areas every time I do this Highlighting less and less and less I'm working my way toward sort of that pure silver But this still has a little bit of the gold influence in it and will still reflect You know somewhat yellow making it feel just like a very bright gold more than anything else I work my way around the miniature again covering less and less spaces each time So it gets progressively faster as I go Uh and then basically just work in those highlights if you ever feel it's over highlighted You can always go back to your gold in the same way and then smooth out that transition Just as you saw me do into the shadow I can rebuild out any smoothing transition Into the gold with just some of the original gold thin down The last and most important step is using basically pure silver and hitting all of the edges Bright gold reflects white light it effectively reflects something that looks like silver At only its highest highest highest highlights So the edges of metallic surfaces reflect very cleanly So the last step is a very sort of stressful one as I work my way around the mini And just highlight every single edge with pure silver Now this won't always show sometimes it's a muted effect where you will notice it the most Is when you are highlighting next to your darker shaded areas, but you still want to do that I end up tracing both sides of all of this metallic filigree All around the miniature to create The strong bright poppy edges and complete the true metallic effect selling in a non-metallic way So there you go. He's all finished King broad came out really nice. I'm very excited to finally get this Conversion that we did a few videos ago painted up As always, uh, I uh, I really enjoyed painting this it was really fun I hope this was helpful to you if it was hey, give it a like Subscribe for additional hobby cheating in the future if you want to take your next step on your hobby journey There's a patreon link down below That you can join focused on review and feedback and it gives you access to an awesome discord community full of enthusiastic hobbyists But as always, I thank you so much for watching this one and we'll see you next time