 Hello everybody, and welcome to another hobby-cheating video, and today we've got a big one. Today, we're going to take you through every step of my Golden Demon project, one of my sort of dream projects. Today, we're going to create Bain Lash. Uh, the strict techno-mancer that is Vinci Vee. Let us get to the technique and learn it Vinci Vee style. If you're a longtime fan of this channel, you know I love Imperial Knights, Renegade Knights, Trader Knights, whatever. Big, stompy, robots. Love them. Can't get enough. I've painted several of them. I've taken them to competitions and such, and they've done pretty well. But, I really want to paint one that I think, well, will win a Golden Demon. That's the goal here. So, in this video, we're going to dive all the way in, and I want to make something really special. Bain Lash, I think, is one of the coolest knights. He's, you know, out of house divine, one of the first houses to fall, to the ruinous powers, and I've always wanted to see him brought to life. With the release of the new Abomination Knight, I finally had sort of the last missing bit that I thought would make this absolutely perfect. So this video is going to go from construction all the way through to finished project. And we're going to really, really get into the detail. I'm excited. I hope you are too. Let's get over to the desk. Alright, well, we're going to begin with assembly. And these knights, things like this, have so many, many, many pieces. And so here is my strongest piece of advice for you. When you're dealing with these really big projects, with these big, you know, managers like this. You see, I have all sorts of sanding sticks out. I've got my sprue goo. I've got my normal glue. I've got everything. You know, I'm popping on Uncle Adam and watching him stream on Twitch and stuff like that. That's the kind of thing you want to do. Treat it like its own project. Don't rush it. Oftentimes with assembly, it becomes something that just has to get done. It's simply racing for the destination. But when it comes to a really important project, something really big, something you want to do a good job on, then don't treat it as a cost. Treat it as part of the journey itself. Get into it. Find the zen of the motorcycle maintenance here. Right. So here this is just hours and hours of work as I'm, you know, watching every, watching a channel, pulling every piece, cutting things, sanding things, assembling it carefully, dry fitting, test fitting, gluing in place, so on and so forth. When you set about to sort of make the assembly a real part of the project, it can just make your life so much easier down the road because then things are clean and smooth. Remember an ounce of prevention is worth a pound of cure and nowhere is that more true than when you're going to run into potential challenges painting everything down the road. And this one was very fun because as I was going along, I realized I was going to build half the night as Imperial and half the night as chaos and use that to tell the story of the split that always comes along with slanesh. I will fully admit that when I started this, I didn't have this idea of the split 50-59. This came up almost as organically as I was assembling it, as I was going through the bits and as I was putting it together. It was a happy accident of sorts. And when you're working on a project, even something so big, so serious, like a Golden Demon project, don't ever, ever turn away when that inspiration knocks the door. It's so important to sometimes just follow that good idea that you have. It won't always work out, but when it does, it'll be awesome. And I love this new concept of the sort of split night, the Imperial and the chaos, it's past and it's present and I think it's very slanesh as it traditionally has a lot of that sort of split, you know, male-female type of thing going on. Perfect for the Dark Prince. Now I decided to start with the base here and why am I starting with the base? I'm starting with the base because it's, well, relaxing. And also because I know when I get down to the end of painting the night, I'm going to be exhausted and I'm not going to put in the effort that I should to this base if I do it at the end as opposed to if I do it at the beginning. So instead, I'm doing this nice, simple, relaxing, messy, pigment-infused, slap washes around, dry brush stuff, you know, play with colors early. I already know what color the night's going to be so there's no risk to doing this thing early. It's not like it's going to clash and I made sure as I built it to test fit it to his feet so I knew exactly where he was going to stand. So once all of that's done, I did this first so I would force myself to put the time into it to make it look cool and as I started playing around with those things and all the different textures that I had created through the many different rocks and grits and sand that I'd used, I think I came to something fun and interesting, although still relatively simple for the base. With that out of the way, it was time to begin working on the armor plates. They're all primed in dark neutral gray from Pro Acryl and then it was time to start adding in some of the white, okay? And here with the white and my white specifically in this particular case is a little bit of white primer from Stino Res is actually what I'm using just for extra durability and I have the PSI set up at 40 PSI to really atomize it and thin it down and there's a couple drops of thinner in there beforehand and I want to create a unified lighting scheme. So here I have an old cutting mat and all of the pieces of armor are blue tacked onto the cutting mat in the position they will occupy on the night top to bottom, right? So they're all in order, you know, they're organized by side and so on and so forth. That way I can know and set my under shade and my light accordingly as I continue to work on this. I'll sometimes pull a piece off, put it on an individual painting handle but it always gets restored to this position zero here on the cutting mat and the reason for that is so I can always keep my lighting scheme consistent across the entire miniature. Once that's down it's time to start building up the individual plates and when it comes to the individual armor plates we're going to work in thin glazes with the airbrush. You'll see the colors scroll up at the top of the screen. The key with the airbrush is there's no reason not to work extremely thin. You can work so fast with the airbrush, why not work thin? Even going over all of these plates and doing all of the different layers I'm going to do which is a lot. This still didn't amount to more than 10 or 11 hours of work which in the scope of this whole project on maybe 12, maybe a few more doesn't matter. The point is it was maybe 10% or less of the whole project and so that's nothing when it comes to what I'm going to put in brush painting time. So let's take the time, let's do these thin layers, let's do multiple glazes, let's take advantage of the tool that is the airbrush and how much we can cover how fast. Now you see me putting each one of these colors down. I should note that in between each shot I'm actually of course doing the rest of the night and pulling each piece off and doing it accordingly to match what you see here. I'm not like doing one piece completely up. I'm doing all of the armor plates on the step you see here. There's just happening off camera. You'll also note that I'm working a lot of back and forth. That is to say I'm back to light colors, I'll be back to glazes and that's because each of these colors will have a different feeling, a different impact, a different intensity when put over top of the other colors. Bringing these thin glazes together in a really harmonious way. And again this is something that would to do with a brush would just take 10 times as long but when I'm doing it with the airbrush I can work fast, I can work smooth and I don't have to worry. This would normally take hours or days, takes minutes. Now the reason I'm working a little bit of a lighter color glow into the underside of the shade is both because I find it visually compelling and interesting but also because it just adds more to that light dark light transition. And that's always something you want to think about. Shadows are fine but shadows don't communicate much information. So if you have a chance to hide a little pop color in there in some way to make it a little more visually interesting to just add a little bit of zhush, why not? And it's going to tie in later with the free hand that I do. And here he is after all the airbrush work is all done. With that out of the way it's time to turn to the skeleton and so we're going to just begin, we're going to add a lot of color to this by the time we're done and start out with a nice coat of magnesium. Now I'm shooting mainly either from straight on or just slightly below and above. So I'm not looking to cover every single nook and cranny with this magnesium. If there's a little bit of black still left in the very recesses from the underside, that's fine. Above with the silver gives us our zenithal, our light source on this guy. Now some of this stuff is going to end up being covered up by later armor plates and that's okay. If it is it will be dark in the shadows, but especially where things are going to be exposed. We want them to be nice and bright and shiny. It is really amazing how little of this ends up displaying. We want to reinforce and soften those shadows from below and so that's why we bring this Payne's gray ink in. It also adds a nice soft blue tone to our shadows, which will tie it in with some of the other blues we have in the shadows of the armor plates. You saw we were building in those turquoise and blue-green colors. We'll have the same sorts of things going on in the shadow on the metal, which even though minor will help to bring and tie the whole piece together. Now there's a lot of little rivets and edges, and we're going to go in and pick a lot of them out later, but we also want to just generally make sure that there's some variation across them where the airbrush didn't necessarily hit. So a very, very light, soft, dry brush of silver helps to really give that pop to all the edges and crisp points. Now, our next step is, of course, an oil wash. And I mixed this thing up messy and it had a couple different thicknesses, and I left in the whole part of me sort of mixing this stuff around because I wanted you to see sort of mixing an oil wash. Part of the thing I think with oil washes and people is they mix them way too thin and then it doesn't have any effect. You want your oil washes pretty thick. Like you want it to flow around, but you want a good amount of paint in there. And that's fine. It'll still run. The white spirits don't act like water. It doesn't have the same cohesion or surface tension, so it really does flow a lot more easily. And remember, you can always clean it up later. So you see here I have sort of two different thicknesses, a very thin and then a slightly thicker one. And I use these back and forth kind of using the first one to smooth out the second one and so on. Now I don't cover every single surface on the miniature. That is to say like any large flat sort of rounded area. There's really no reason for me to put a wash on it. So I don't. I just wash the rest of the stuff in the end because of my ability to clean it up. With a normal wash, that would be suicide because you would see this hard line, like a stain where the wash ended and then the part you did wash begins. But with an oil wash, since it's going to largely sink into the recesses very easily and I'm going to come back in and clean it up, it's no problem. I can just not cover those spaces and they'll blend into the other ones normally. Makeup sponges are my key for cleaning up oil washes. I take about three drops of white spirits into the opposite side of the side that's wiping. And then I just wipey, wipey, wipey, wipey. I try to always wipe in like a downward motion, but you don't necessarily have to. You can just sort of scrub the thing. I like the soft makeup brushes because they're, you're much less likely to sort of do anything to your paint. They are very gentle. They're obviously made for skin normally, so they're not going to injure your paint or anything like that. And I just work my way around the whole model, cleaning it up and getting it ready for the next step. I want to break in here real quick and talk about these massive projects. Now, at this point, I don't know exactly how many hours I am into this. The total project is about 150-ish hours, 130, 150, somewhere in that range. It's a lot. And when you're dealing with a project of that size, right, that's like four work weeks, basically, you can't make the only goal the finished model. When you're dealing with these massive projects and things like these nights are good for it, you can do it with any figure. You've got to set those micro goals. Those tiny little things that give you the dopamine hit that says, hey, you did something, you accomplished something, you got somewhere today, you took another step on the road. So as I was working through this guy, maybe one day it was just like airbrushing some of the plates. I want to get some of the plates done or maybe one day it was like, I'm going to get the free hand on this shoulder done. That's all. That's going to be five, six, seven hours of work just on the free hand on the shoulder, but it's going to be worth it. When it's done, that's one more thing completed. And I get the same feeling, the same rush, the same excitement that I get out of completing a model that I'm doing for my army. So don't be afraid to set those little goals for yourself, those milestones. The journey can be just as rewarding as the ultimate destination. Now it's time for tedium. One of the downsides of the airbrush is that because it is so sort of all-encompassing and how it applies colors is it blasts all the edges and destroys any separation line you might have between things like the sort of edge of the armor plates here and the patterning, the patterning, brocading, whatever around the edge and the actual armor itself. So we have to re-instantiate that. The other thing that it can sometimes do is you've got to be able to sort of see what your job is going to look like when it's all done. So I slowly blacked in all the parts including all the edges and made sure everything had a nice defined line. Having the dark lines done, it was then time to do the light lines that highlighted everything in a nice bright pink to magenta color. After I had gone to all that trouble I realized the inner parts of the two bottom legs I actually wanted to be hazard stripes. So we taped off the half that we didn't want to cover and we're going to restart with some hazard stripes. Let's talk about hazard stripes. I always start from black. I know some people like to start from white but I'll show you why over the course of this I start from black. First of all it lets me very easily modulate the gray in the black amount here and kind of set a nice universal color across the whole thing. But then secondly because when I do the white I'm going to want us to do it at a higher PSI and it's going to be sort of ink and things like that. I can, as I move in thickness so moving from the lower the more thin of the white as you'll see up into the darker colors I can actually create an edge highlight. You'll see. When I apply this little tape this is just Tamiya tape. It actually comes in this thinness so this is like the two millimeter or something I don't know whatever it is. It's the very thin one. You can find it. Just search for Tamiya tape and get the thin one. It's very useful for hazard stripes and you notice how each time I'm comparing it to it marking the end spot and then moving the top down to where the bottom was. You can actually do this you can actually lay down every strip and then pull out the middle ones you don't want to paint if you're looking to be exactly mechanically mathematically perfect but I'm not even on a project like this I'm sort of there are limits to my patience. Now going with the white you know this is just some of the white ink and I'm just building this up very slowly a lot of what you see the airbrush doing isn't applying more paint I'm just blowing air to make sure it's nice and smooth. Once that's there I can then do my nice turquoise color which will be the other color for the hazard stripes. Obviously these aren't traditional yellow and black hazard stripes on all of my house divine nights their hazard stripes are in between their legs are turquoise and black just feels more appropriate to the overall color scheme. Of course we have to rebuild in a little bit of those shadows because we do really want to impress upon people the sort of three-dimensional nature and the inside of that leg is an area of extremely high shadow most of the night is hanging right over the top of that so after building that back in we're then ready to peel back the tape and the nice part is because of the way the white ink versus the thicker turquoise works you can see how it actually creates a very nice little soft subtle edge on the turquoise you kind of get these you can kind of get free edge highlights to mix your consistencies right effectively you want your first color to be slightly thinner than your later colors so it's a very odd trick it's sort of an organic thing you can't always bet on it but it's really nice if you can get it to land like you can see how it looks like I highlighted the turquoise but I didn't there's always going to be errors masking is never perfect and that's fine come back in and fix it here I just have some of the black mixed with some of the pastel blue same as I did with this color doesn't have to be perfect it just has to be close no one can tell with a tiny little line and you build it back in very slowly you can see how I'm not trying to cover it in one pass notice how I start with my brush in a very safe area where I'm not risking anything a lot of this guy is going and correcting stuff one of the things you probably have seen me do in this video is go back and forth correct something here or there or at least you've noticed something's changed in between shots and that's because when you're going all the way when you're going for golden demon you don't allow mistakes to stand you go back, you fix them immediately because you might forget them later so don't ever hesitate to just get those things fixed you will make mistakes errant brush strokes will happen it's fine, just fix it now we're going to take a little detour into non-acrylic paints namely some extreme metal chrome and this is just here to pop up some of those really high highlights with this metal I really wanted to shine this is a slanesh knight and so of course it should have some real shine and goddiness to it and I'm just hitting this on the highest highlights and you'll notice one of my themes here across this is working broadly and then coming down to the very specific and that's the same thing here whereas before I was working across the whole surface of the thing applying broad highlights and shadows now I'm working in very specific areas and in the same way I'm going to go ahead and start filling in some of the detail and then applying very careful shadow there when you have areas of a lot of metal like this, a lot of steel which is what this guy is right or whatever future metal they have I don't know steel 7 there you go, yeah it's steel 7 but nights are made up I'm sure of it so when you have these future sort of metals and they're all monotone that being the key you have to come in and break that stuff up that one color no matter how much you recess line it no matter how much you edge highlight it is just going to be visually boring and so that's where we turning even some of those elements copper and as you'll see in a moment things like the pipes turning those into a different color little hints of color of different shades help to really break up the monotone nature and make it more visually interesting now once again with my magic gold recipe that I used to actually do that you know we want to still make sure we apply shading here is another great use of contrast through the airbrush it's wonderful for warming up gold little bit of violet little bit of rallying grime boom we have something that's really nice and matte and will help give a contrast of a shadow to this otherwise very bright metal but of course we can't just apply shades we also have to apply highlights and so on the surfaces we want to make sure especially the copper ones that they have this pop out so a very thin glaze of this silver just to make sure that that shine and the light are really under our direct control which is what we want at the same time it's these tiny little details that matter so things like the edges of every one of these little vents every one of those would catch light and be a little tiny source of reflection so we're going to take that silver and we make sure to catch every single one of those same with the edge and the separation so on and so forth speaking of light dark light dark the inside of it needs to appear very dark so hence AK intense black to bring that all the way down and make it seem like you know it's something hidden in a recess in a shadow in that cover over the gun there so just very carefully covering each one of those on the journey to break up all the metal of course things like tubes and pipes and stuff like that are another excellent thing to hide a color on so here again I'm using my pop color the main color of this guy as you look at him will obviously be the purple and the pink but my pop color across him is going to be this bright blue and so having this blue appear on things like cables gems little tiny lights in the resources in the recesses it makes it so that color is there and present and keeps the eye moving and creates more visual interest let's talk about detail on a golden demon project each of these tubes has a texture to it and we can't just rely on something like a wash to pick this all out so of course we're going to have to go in and manually highlight each little striation each little texture line whatever we want to call it in each individual layer of the tube and I do this through about three different layers getting smaller each time that way we have a nice variation across the surface and we can reflect the light being as it would be caught by these individual little striations coming up to this sort of like eventually pastel blue integrated color that really is only going to be where it's the most exposed to the light so each time we cover less and less that is to say I'm not outlining every tube all the way around same thing with these larger tubes on the bottom where it's in the center the lower part facing upward so hence the most exposed to the light we run the same series of highlights when you're doing a competition project you have to invest the time into every element of the thing it's not as though you can just sit there and sleep on some part that's not how something like Golden Demon especially works every single piece every single part every single element of the miniature sort of needs to have an extremely high level of attention speaking of which it's time to turn to the edge highlights and the glints for our metal to make sure it really shines and for that we're turning to the Molotow chrome which reflects like a mirror and so all of the steel edges on this thing are going to be done in this Molotow chrome now this admittedly took a while because I do the entire skeleton as well with this but I'm only showing the gun because it's a lot easier to paint on camera than that giant unwieldy skeleton so just tracing it around and making sure it pops out details like these bone protrusions that break up through the chaos side of him here we're using our old contrast loaded brush technique where the belly of the brush is full of contrast paint and then the top of it is full of a thicker paint now if it was a just a gaming piece I would probably stop there but of course we have to go farther and again this is where contrast paints are so useful even for things like display competition pieces because thinned down with a glaze this night haunt into a glaze this night haunt gloom is so perfect for this sort of subtle shade I want to apply to these bones and the fact that it will also draw into the resources will make that even better especially with this kind of bone shape the sort of striated stacked bone with the horizontal lines my least favorite type of bone by the way I much prefer the horns when they're just one solid smooth piece and I can do whatever texture I want on them but hey what do I know I'm sure these are better for most people because they do take things like contrast paint better finally of course we want to pop out the edges as with all things edges catch light it's true for metals it's true for bone it's true for everything it's especially true for golden even projects and so we have to go through and make sure that with just a little white ink we put a nice little dab little dibby dab onto every one of those edges free hand is the next stop on this journey and this was a long portion of this now whenever we do free hand especially on something this size this requires a lot of research I had to first go and look at exactly where things belong on nights like what is every area supposed to contain this is a dread blade so there's a little more freedom than with you know somebody who's in a house but there are still some basic tenants and rules that you should follow and it's something that I've gotten dinged on in the past so fool me once you know shame on you fool me twice you never fool me again and so I then had to go and find things like the dark language the little chaos runes and I then wrote out a big list of interesting words to say in this across him I as well wanted to have this this little sort of artistically styled fire pattern and so little free hand like this again helps break up these larger flat surfaces even when they have a fun transition on them it's still a really big area that's why you'll often see decals put in these areas because it helps to break up the space it helps to make it look more interesting speaking of decals we're going to use a few of them it's not all free hand so of course we start by soaking them and then we apply a healthy amount of Microsoft now I want to take a brief aside here you'll notice I am slapping slaathering this stuff on okay and that's because I'm going to need to move this guy around this this when I want to get it affixed and this is also a great example of failure look what happens with the deckle when I try to take it off oops it sat in the water a little too long and it broke down too much and now it's sort of snapped do we panic no with all that Microsoft on there we'll be able to scoot this bad boy around and fix it there's always going to be mistakes on a big giant important project you will always have mistakes push through them you can work through them you can fix them there we go we got it all back aligned now one thing I will say is that I did varnish in between heavily before I put all that Micro on there you do not want to put a bunch of liquid over paint without a protective varnish layer in between many of the steps you've seen here so far I have varnished this night with all the metals applied it was time to of course give them some shadow so here I taped off the other areas brought in the airbrush and the panes gray and I'm applying some soft subtle shadows now this is very very very thin ink so this is thinned down seven drops of thinner to one drop of ink and we're just building it up nice and slowly helping to integrate it into the other metals with that shadow done it's then time to trace every edge on this night the inside and outside and every edge of every plate does that take a very long time yes it does does it absolutely make the night look better yes it does should it be done if you want to for golden demon yes it should so just very carefully hitting those edges every time there's a raised edge of any kind both sides of the top both sides of the bottom the inside edge towards the color so on and so forth just working all those edges now sometimes when you're doing this you'll hit a little snag you'll make a little line that's too fat or something like that no problem when you do that you just go back in with the other color right near the edge and smooth it out we also have to hit every rivet all the way across the model so if there's a rivet it needs to turn silver and then finally where there should be bright highlights collected we take some of that silver and work it in there actually into those highlight spots so you know where I have some center reflections then I work it off my brush and just feather out the wet paint the regular steel or magnesium sorry I'll also come back in with a little 50-50 mix of the silver and the magnesium and kind of smooth that out some more as well one of the last steps is just these tiny little details like the embedded gems and his little slanesh icon that's in the center of the helmet or sorry of the carapace it's not his helmet that's his carapace he has a very big head if that's his helmet and just applying again the magic gold recipe to those to make sure that that's all set to go and then once the gems are in there everything's good now this part didn't work as well as I hoped I used the rattling grind to create the edges and then it kind of was a little darker than I was thinking I should have really used Garagax sewer that was actually the right color but hey I end up going and fixing it off camera so no big deal and once again with new metal parts that means new edge highlights every single sharp edge everywhere has to have its pop and has to have its edge the last thing I did of course was then do the gems I did those off camera but those are done in the same way I always do gems I have a whole video on gems that meant it was finally time to assemble him oh goodness gracious get him all glued in place get all the plates on this is a good moment like I cannot explain how good this feels when you're working through this guy for this long and then you you get to put them all together it feels amazing so we got this guy all assembled all of his plates in place everything fastened in now the important part here is I did let him dry for a little while and then came back in and things like where there might have been a little gap beneath his feet and the bottom I built in some more texture or rocks just to make sure that everything was nice and solid in there and then finally we've earned it that sweet sweet citadel abaddon black base rim after 130 hours there is maybe no better feeling in the entire world so there we go Bainlash is all finished to me he's sort of a dread blade since his house is kind of in ruin and not really actively fighting the war so he's the last remnant of this first household that fell and then got wiped out now he exists as a dread blade roaming through the galaxy reveling in ecstasy and death for the dark princess so there you go that's Bainlash obviously some pictures are rolling over the top for you here this was a heck of a project I'm excited to have it done but these are always so rewarding and I will say that if you've never tried a big giant project like this do something think of an idea you've got plotted out get into it it's a lot of fun so if you liked this give it a like subscribe for additional hobby cheating in the future don't forget we've got a patreon if you're interested in taking your next step on your hobby journey you can do so the link is down below and you get to join an awesome discord community full of enthusiastic hobbyists as always I thank you so much for watching this one and we'll see you next time