 Hello everybody and welcome to another hobby-cheating video today. We're gonna take a deep dive into non-metallic metal specifically gold The strict techno man sir that is Vinci V. Let us get to the tech So I think non-metallic metal in general is a really tricky thing for a lot of painters and in the end You know, I'm a huge fan of true metallic metal But painting non-metallic metal whether you ultimately want to do it a lot or a little I've always found to be sort of very helpful in understanding light And so regardless of whether or not you think it's ultimately what you want your figures to look like or something like that It is very instructive in a good learning process to go through for those who enjoy NMM It can often be tricky to resolve gold gold is a complicated color It has a lot of different tones in it. It needs to look yellow, but not really yellow and It needs to look sort of brown, but there's also white. It's just a lot going on So today we're gonna break down non-metallic metal I'm gonna show you my recipe that I use for it, but really any series of these colors can accomplish it It's not it's a with non-metallic gold It's a lot less about the specific colors and a lot more about the light and the value and where we place Everything and how it all works together. So let's head over to the desk. Let's get into it Talk about paints now. I'm gonna use this particular progression Which is violet Diet I don't know how to pronounce that word, but that yellow you see over there those two are actually gonna make brown You'll see how that works. It's like magic. Then we're gonna use dark ochre warm yellow and pastel yellow Now as a matter of fact, there are lots of other colors you could use So for example, you see many of them up on the screen here if you don't want to mix your brown There's a couple browns if you don't have dark ochre. There you go. There's some options same thing Then at the end, we're gonna just take a little bit of titanium white just as a slight pop color at the end But I want to make sure everybody saw the paints and saw their options All right. Now I have this dial Deny I have this yellow We're just gonna call it D yellow It's a great color And what's fascinating about yellow and purple is they are Complementary colors and when you put them together they make brown, but they make a wonderful really rich perfect brown for non-metallic metal and What's great about this is you can control the Value of the brown simply through the addition of more purple So as you mix in more purple and make it slightly darker and darker and darker You can get different base tones for your gold So you can if you mix mostly yellow with just as you saw a slight touch of the purple and by the way You are only using touches of this you get something rather light if you mix a lot more it becomes a lot darker So our first step is pretty straightforward. It's just base coating everything that we're going to want to be Non-metallic with this brown Nothing too tricky about this part. The paint is thinned with water because it's rather thick and chunky otherwise For the most part we're just gonna go ahead and base coat everything and this girl has a lot of little elements on her That are gonna end up being gold and I'm gonna try to take you through the various shapes because I think one of the biggest Problems people have here and they're working on non-metallic gold is not just the color progression But the value progression and where to place the highlights So if you're scared if you're worried if your problem has been you don't know where to place the highlights Don't worry. We're gonna tackle that in-depth in this video. We will get there so I'm gonna slowly move up the spectrum You can see I'll see the paints as I as I add them a base. I'm just going through the progression I showed you at the beginning we're up to dark ochre which I've mixed in with a little bit of the brown and I'm just gonna very slowly and naturally build up thin layers All of these are thinned with water about a little less than one to one so a little less water than than one to one paint to water and I'm just gonna layer it up But I'm working it very thin each time I'm gonna do two full layers and importantly each time I cover more of the surface than I think I should What I mean by this is you will inevitably when you're trying to do this cover less than you think you should You'll say oh, I want to leave all this in shadow and then as you travel the whole progression up You'll realize you've left way too much in way deep of shadow So just cover more than you think you should with every single step Okay but what my real focus here is Placing the highlights where I want them each time and that's gonna vary by shape So it's gonna look kind of funky and weird by the way You'll notice this looks kind of like copper or non-metallic copper for a moment If you just cut out the rest of the yellow and go straight into white There's your non-metallic copper recipe by the way Now the like don't add any more yellow just go straight to white but here I want you to pay attention to where I'm focusing on Where the light is telling me so in this case from the top left Or sorry her top right where you're looking at a top left That's where the armor and everything else is so that's where we're gonna focus the light Now we're gonna start to bring in that warm yellow Which is the real actual sort of like yellow color as we would think of it as opposed to an ochre And this is gonna start to form my upper mid tones and highlights This is when we're gonna start to actually feel like gold And since the light is traveling in and as I said don't worry. We'll deep dive later in placement I'm focusing on these particular areas and just building it up very thin very naturally One of the things you're going to have to accept when you're working on non-metallic gold Is that there will be probably many steps in the middle where it doesn't actually look like gold at all And in fact it might look quite terrible That's okay Don't worry. That's natural. It happens. There's going to be a moment You'll see later on where it just suddenly snaps into place So each time you see me going up a value step now we're into just the pure warm yellow Each time you see this I'm doing this is thinned very heavily as I said one to one basically with water and Each time I'm doing at least two full coats of it sometimes three if it's rather thin as we get up into the upper yellows We're going to need to thin it or we're gonna need to apply more thin layers because it is such a naturally transparent color so just continuing to add to the Overall layers and build up each time I'm covering less and less and less and you'll see how this gets a lot faster now. We take that warm yellow We're going to bring it in with the pastel yellow by the way. There's many replacements for pastel yellow ice yellow in many different brands Anything like that will work and if you don't have that just mix a little white in with it. It's fine It doesn't need to be this So here in I'm going to start focusing on just my highlight areas So where specifically the real highlights are going to be touching So this is the lower side of the plate over the stomach. This is the upper part of the knee and the edges This is the top Right as from from her point of view of that little chaos star on her neck and so on basically always working within the previous layers and Each one of these shapes requires a slightly different Resolution of where I want those highlights placed and the key with it is to just think constantly about as your light is traveling from up above Where is it naturally impacting as it cascades across? What we're working on here and the first step with non-metallic yellow or non-metallic gold, sorry Our first step is our primary highlights all of these layers are just our primary highlights It's what we're going to spend a lot of this video on And there are really three key elements to non-metallic metal the primary highlight placement And then and then appropriately where the shadows sit The edge highlights because the edges of metal reflect light and then the bounce light And we will cover each of these in turn The primary light is your main fight. This is this is the this is the big war This is the big battle and that's we focused on completely thus far Where I'm trying my best to pull out each shape and the area of that shape that would Connect with a straight beam of light if we imagine it just cascading Over the top of her right shoulder your left as you're looking at it. Where is that light directly hitting? The other thing to remember is that with non-metallic the light is a specular highlight So you have to pick a sort of viewing angle in this case We're going to pick straight on and all the lights all the white points of the light will reflect right there the bright white catches Because the light on metal being specular will focus in on Where the viewer's eye is it will always follow the viewer's eyes. So we need to help sort of fake that So now as I'm coming to my final layer highlight I've integrated more and more you can see I've gone three different steps of integrating the ice yellow there Every time just bringing in another little dab of of of pastel yellow. Sorry And every time covering less and less and less Focusing in on those edges focusing in on building up those spots where I want the light and where I already have it in the armor and on the Belt and other things like that it needs to follow that path I really do want to repeat that these particular colors I'm using as a recipe that I like and I found works pretty well But it's far from the only recipe out there Just a quick search around instagram or any of the or anywhere online Will reveal a ton of different non-metallic recipes and all of them are valid So whether you're using vallejo's english uniform or something from gw and then building up It's fine in the end you can get here The key is to remember the different elements and what they need to be As you have your deepest shadow in brown purple tones As you move into your mid tone, which needs to be more of an ochre ish Into the highlights, which needs to be slightly more yellow and then into the the highest highlights Which is white white yellow and then importantly that saturation that glaze that hint of yellow That will come at the end to bring it all together So this is in some ways a false tactic like what I mean by that is When you're painting nmm. It's always more real than real. It's always A bit of artistic license, you know things in the real world don't need to look exactly like this But it's about capturing something credible of how the light behaves and how the surface would reflect All right now. Let's talk about our next steps We're going to begin with finishing off with a little edge highlighting edge highlighting is really important Here I focus on every edge, but I do not highlight all of the edges equally where it's bright I will go one value step up from that to edge highlight it where it's dark or a shadow I will only go to my mid tone to edge highlight it So we never go darker than our mid tone, but we're always just a value step or so up We do not edge highlight the whole thing in the same color Because it wouldn't make sense that in the darker shadow areas We have an edge highlight that's just as bright as the edge highlight around the reflection And I just work my way around all the edges all the little pieces The other thing we have to talk about here now is light placement You can see the light is coming from the blue up above On a concave shape like her belly the shadow is going to be nearest the light Whereas the reflection will be on the opposite side where that scooped out cave is caught it On something like the knee which is a globe the light will be up at the top left facing it Whereas on a flat surface like the thing on her neck it will travel straight across Much like a clock face where it all oppose each other So if it's flat and directly perpendicular to the light Then what you'll have is you'll have an sort of round surface in this very common design You'll have it occur at basically like 12 and 6 or 10 and 4 opposite sides of the clock face Now I'm working in my bright light catches And this is really two steps I start with just some pure pastel yellow And on the very edges the very tip tops of where the light is I'm going to take some of that pure pastel yellow And just like you see dab it in stipple it into just a few places To show those specular highlights as they're caught By the eye of the viewer But it's not just those final little touches of highlight I also need to put the actual specular reflection the glint Of light And so here this is the only place I use the titanium white and you'll see it's just a dot In all places wherever my brightest highlight is I come in and I just put in a little stipple of that pure white Okay And I'm going to touch all those and follow that highlight line So where I'm touching or crown right now if you go down There's a highlight on the neck piece and then on the piece of the the gold Edging to the chest and then onto the leg and then onto the knee Now some shapes don't always resolve easily something like this sword. It's complete nonsense. There's no there's no easy way to do it You don't need to have this be perfect It needs a bright edge and it needs to travel between light and dark as you see me have done here in some way Don't put all the lights just on the mid on the edges I see a lot of people do that create a light spot in the middle reflect out and then travel back up Easy just it just needs variation When it's a silly shape like that and the minor element it doesn't need to be perfect. It just needs to have some reflection The next step is going to be smoothing all of this out even though I've been using very thin layers There's still certainly places where the layers show and need to be smooth So I start with a very thin version. We're now three four five to one for For for thinness so three four five water to one drop of paint. So the very thin glazes I start with my shadow Then I go to my mid tone and this is actually a really important step not just for smoothing out the layers But for building back in the saturation That final thin glaze tinting everything into slight yellow Really does bring things alive And then at the highest highlight where we where we we're always going to show the worst layers I thin some of my high highlight way down and then just glaze up into those highlights So this is a very small step, but it just helps smooth everything down Now we got to talk about bounce lights. We understand the primary light If it's a convex shape it hits at the top if it's concave it hits at the bottom Right. So think look at her belly. The skull is convex. The little plate behind it is concave Hence why they're alternating in light sources But non-metallic to read is non-metallic also has to have a bounce light on the appropriate shapes So this is things like globes or anything like that where it's facing not just up but down Any shape where there is where it is facing up and down or multiple directions simultaneously it will have a bounce light So I start by just kind of smoothing everything down and deepening that shadow and you'll see why here in a moment Because this area down in the bottom I need to build some light into Now in this case the girl is actually standing next to fire So I have to build in I'm going to be using orange If you were just doing standard non-metallic gold Then you would be building in here up to your mid-tone You do the same progression like you did for the primary layer. You would just stop at the mid-tone Bounce lights secondary highlights are never as intense as the primary They never go brighter than your mid-tone or at least most of the time they don't And you'll notice that I'm leaving that nice dark area between the bounce light in this case Which for me is orange for you might be yellow or or any other color you happen to be working here It doesn't matter. It's not about the color. It's about the value The light You'll notice I'm leaving that nice dark shadow in between the two lights. That's really important That occlusion shadow between the two is what makes this read as correct There needs to be a separation between The primary light and the secondary light and you see I actually kind of extend the shadow a little bit So I have more room to play So here you can see the red is the primary light coming down and hitting it Directly opposing it where the blue arrow is is the bounce light Whenever you have a shape that's like this Where it's facing that with the single shape faces multiple directions You have both a primary and then a secondary light So there we go, uh, that's everything about non-metallic metal gold I hope I gave you the information to go out to try this on your own Here are some pictures of what she looks like right now. She's mostly done There's probably still a lot of little refinement and things like that I need to do ultimately I think this figure will be for competition. So there's probably another 40 hours of work I need to put into her at least But I think this will give you a good idea of where we're at and really shows you the effect Of the non-metallic gold over the whole surface Uh, I hope you liked this. Hey, if you did Give it a like subscribe for additional hobby cheating in the future We have new videos here every saturday if you want to support the channel You can share this video with someone else. You can do that like and subscribe stuff Also, there's a merch store down there There's the books down in the description that I publish with adam if you're looking for Some fun alternative skirmish games for you and your friends And of course, there's also a patreon And our patreon is focused on review and feedback and taking your next step on your hobby journey I've helped many of my patrons resolve better non-metallic metal. That's for sure But we'd love to have you as part of the community As always though, I thank you so much for watching this one And we'll see you next time