 Hello everybody and welcome to another hobby cheating video and today we're going to talk about painting blood angels red. This is going to be a really fun project, we're going to use some oil paints, we're going to use inks, we're going to use the airbrush, we're going to use the brush, we're going to go nuts. So you saw that I started with a very simple zenith old blood angel and what I'm doing here is just giving him a nice all over glaze of Vallejo game ink red. Just set an initial tone, it's going to give me a little bit of variation and we're good to go. And you can see that mattes out real nicely and presents something really fun. So what we're going to do now is we're going to go ahead and we're going to get out some, this is some Obtolung 502 light flesh tone and I'm just smearing it around. I've got a little bit of white spirits mixed in, if you want to see more about how to paint with oil paints, I have other videos in this playlist on that. But effectively I've thinned it out with white spirits and I'm just setting my tones where I want them. So placing some highlights with a brush and then placing some shadows. So now I'm coming in with a mix of the dioxazine purple and shadow brown and I'm going to place where I want my shadows and you can see how I'm just working my way around and I place all these big thick tones in here. Because this is oil paint, it's not going to dry. So the advantage of working with oils is that you've got this super long working time and I can just kind of, I'm using a big brush, this is like a size 3, I think, just a cheap synthetic brush and I'm just getting everything where I want it, kind of messing around with how I like it. Once I feel like I've got the right color set up, then I move to a similar brush but dry. This does not have any white spirits in it, this does not have any paint in it, this has nothing in it. And now I'm just going to go ahead and start bringing all those colors together. You can see what I do is I kind of just fuzz over the whole area. Painting with oil paints is a subtractive method. You're effectively pulling the paint off and smoothing it. Every time you see my brush go off camera, I'm wiping it on that paper towel and just getting rid of the excess. Now red, especially the warm red when you're working with these kinds of main colors is very, very powerful in any oil paint range. So it's going to go ahead and really dominate the white in most cases or the light flesh. I'm using light flesh instead of white because it has a little bit of pink to it, which is very helpful when we're mixing with red for obvious reasons. It's already slightly in the red tone. So I go ahead and smooth everything down and then once again just start correcting. So I go back in with more oil paint and just continue the smoothing adventure. Like the goal here is to make sure that I'm constantly resetting my values. And it's so quick and easy because you can't mess anything up. You're just going to put more paint on and then smooth it into the mix and then put more paint on and then smooth it into the mix. Like there you saw, okay, the knee came out too pink. Cool. Add some more red in, smooth it in, it's a red knee. Just that easy. Okay, so I've done some more work around the miniature. I wanted to show you some other parts of painting space marine legs, though one of the most popular things to do on YouTube. I wanted to show you some more unusual volume. So when you look at something like the shoulder pad, what you'll often see people do is these on a surface like this is the sort of dual set highlights. This is very popular amongst like Darren Latham and people like that where you sort of imagine that there's kind of four lights shining at the miniature. Two from the front, two from the back at a high level. And what this gives you is, it gives you a really nice reflection pattern. It also then creates natural shadows in the middle and just creates a lot of moving from light to dark contrast. Now, could I have just made the top of the thing light and then the middle, you know, mid-tone and the lower part shadowed? Yes, of course, there's nothing wrong with that. But I quite like this particular look. Again, there's no single correct answer with how to light these things. It would be whatever lighting condition there under is what's correct. You can see my tactics here exactly the same. I laid down the very thick paint and then I come in with that bone dry brush. I cannot impress this upon you enough. Do not have white spirits in it. Do not have anything like that. Just have a nice dry synthetic brush you push all this together with. Different paints will set up differently. If you're using the obtilung, they give you a nice long working time. They tend to be very easy to work with. If you're using more traditional artist paints like the Winton's or anything, those are absolutely fine too. You just generally want to make sure you stay above like student grade stuff and make sure you're at least the artist grade or the mid-range oil paints. And they'll be successful for you. Now, here I'm using mainly that big heavy brush, which you're going to see later on once I have all of these initial parts done. It will then be time to go deeper and we're going to start using different blending brushes for different purposes. This is one of the great secrets of working with oil paints is because it's subtractive and because it's a very wet paint, using different brush types can have different effects. So there we go. That's him dry. It's been about 24, 48 hours, something like that. It's about two days, I think, when I did this next one. I was working on another project. The next thing I'm doing, so the oil paints all dried and then I put a nice coat of varnish over the top. So what I do for my varnish mixture is a 50-50 mixture of satin varnish and AK interactive ultra matte varnish. I find that kills out all the shine of the because the ultra matte is so powerful. That kills out all the shine of the of the oil paint, especially reds, which will be naturally shiny and gives me back to a good place. Now it's time for a little bit of acrylic staging and you saw I blacked out the gun, that side of the gun, the edges on his chest or whatever. All this stuff, I'm just sort of blacking it out. I'm also going ahead and doing all the panel lines. So wherever there are little elements that I want to be dark, wherever there are things like the connective black carapace that you can see there, I am covering all of that and just blacking it out. I'm not trying to paint it, I'm just turning it black. I see things that shouldn't be red and I want to paint them black. And what I'm doing that for is because I'm going to be setting the color tones here in the next steps, pushing them really out of whack and you'll see why. And because of that, I need all the things that aren't going to be red to be a dark color. So it doesn't throw off my perception. If they were also red and then they weren't blended, it would look really strange. So we got all that blacked out. Now it's time to go ahead and apply our oil paints for the second time. And what we're going to do here is this is reinforcing. You see how he looks when he's dry. Now you could go from here, but I wanted to go for a really high contrast marine. And the way we're going to do that is we're going to take him way, way, way up and way, way, way down. And then we're going to use glazes to bring it all together. So I'm reinforcing all of my shadows. I'm doing a really good job of saying just on the edge of the camera, that's right. Here you only need 30% of your screen to watch these tutorials. Feel free to have another window open on the left side of the screen because apparently I'm not using it. But what I'm doing is I'm going in mainly with just little dabs of the light flesh and that mix of shadow brown and dioxazine purple. And you see I'm just applying little bits of it and then taking my bone dry brush and smoothing it out. The difference is I'm using very different brushes this time. I'm not just using the synthetic brush, although sometimes I do that as well. The big, heavy synthetic brush will really remove a lot of paint. When you put that bone dry brush against it, it's going to pull a lot off. So I'm using a couple of different brushes, more of an edged brush, that's what you see here. And you notice because it's a flat, angular brush, I can be very precise about where I want to be, right? So I can get in there and use that angle and that flatness of the brush to just pull it down. I also, you'll occasionally see me use an actual sable hair brush, which I use just for very soft, smooth blends. Okay, let's get on camera, back on camera, Vince. But I'm using these brushes to just create these nice, soft, smooth blends. And the goal here is just to go around and reapply these highlights to every part of the miniature. And I'm just, I'm overblowing it with red for a reason. If this were a different color, I probably wouldn't be doing this work. But because it's red, I'm going farther than we would normally need to. And you'll see why in the next step. Okay, so, here he is. He's all over-highlighted. You can see how I feathered out the oil paint, the lights and darks over everything. It's dried, that oil paint's dried now for another 24 hours. We did another coat of varnish to lock everything in. And now what I've got in the airbrush is a 50-50 mix of Vallejo Game Ink Red and Camara the Red. Camara's so intense. And I have it thinned way down. Like I have one drop of each of those to 12 drops of thinner. Okay, thinned way down. And now what I'm doing is I'm glazing with the airbrush. This is the only way to glaze. Once you glaze with an airbrush, you're gonna hate glazing with a brush. That's the only problem. And I'm just very gently going over the whole thing. And then I'm gonna let it dry completely, move it around in different lights, see how it looks. Did I turn it red enough? It's really important to let the red dry because red looks very different wet than it does dry. So there's what he looks like after basically two, maybe three coats in some places of that red. And look how rich he is. I love how this came out. I really do. I had never done this exact color scheme before, but I had a feeling it was gonna work out well, but I was not expecting it to be so lush to be completely honest. So now we're just doing the final work. I've taken some of that same reds I used with the airbrush and I've mixed it with some sunny skin tone. I have two mixes, one of the red with sunny skin tone and one of the mix with red with light flesh, both from Vallejo. And that's what I'm gonna use to highlight. So still sticking with those flesh colors as highlights means it ties in with the basic environmental lighting tone that I set with my oil paints. So now it's just edge highlighting, finishing out all the other details. So there you go. That's how to get a really kick in Blood Angels High Contrast Marine. I hope you enjoyed this. If you did, give it a like, subscribe for additional hobby cheating in the future. If you've got questions, drop them down below. But as always, I thank you very much for watching this one and we'll see you next time.