 Hello, everybody, and welcome to another hobby-cheating video. And today it's time to strike up the fire and stand in the soft, warm glow of a nearby light source. Today we're going to talk a little about cast light and warm-fire OSL. Let's get into it. Let's strict techno-mancer that is Vinci Vee. Let us get to the technique and learn it Vinci Vee style. This video is sort of a part two of last week's video, so if you haven't watched that, go check it out, linked up above. In that video we set our vampire figure in moonlight. But of course I love the idea of him standing there waiting and stalking his prey just outside of a quiet fire that maybe a few villagers or something have gathered around thinking they're safe. How do they know that this ultimate predator waits in the darkness? So we're going to take the figure we started on. We're going to talk about how we create a soft, influenced glow of like nearby fire. How we set that orange light of an environmental cast light that isn't present on the miniature. So this isn't really traditional OSL or object source lighting. Since the object isn't present, it's sort of assumed. This is just another form of environmental lighting. But it's still the same principles in play and it's a really, really cool effect. Let's head over to the desk and we'll get into it. Alright so there is one step that happened before this and it's pretty important. Now I secretly did it during the last video but you'll notice there was a bunch of areas I just effectively left in the base black primer. The first and most important thing you can do when you're doing this is decide the radius of influence of your light. How intense, how bright is the light? And you do that by setting a circle on the figure that you relieve dark and it isn't influenced by the other light source, whatever your general environmental lighting is in this case the moon or whatever and instead it's the circle of influence of this. So you can see how I have a little circle of the bottom part of the figure. It's obviously facing one direction of the direction the light is meant to be coming from. So I had set that already but you can make it small, you can make it big, it just needs to be set and roughly a spherical area. Now to begin here I'm just taking down my bright orange and I am hitting all of the areas that I want to be sort of the highest highlight of fire. And I'm starting with the brush because I want to set those high highlights. Doing this as a value sketch I find to be very, very powerful and it helps you understand the light more than anything. You're not trying to paint all of the light, you're trying to hit the areas where your main reflection is. Where is the main glow influencing? And if you kind of squint your eyes and look at that it will still feel right, it will feel like the fire is influencing it. You don't need to do any more than that until you're in the right space. And if you have the appropriate amount of lights and shadows it will read even with just that simple value sketch of black and the bright light. It's just the same as a value sketch with black and white. It's no different than when you Zenith Alert create any other light source. We like to make it more complicated but it's not. And then all the steps from here are just me working and controlling the size of the volume. That's really it. How strong do I want the light? How punchy do I want it to be? And what surface is it reflecting off of? The matte wooden tree even though it is as close so it's going to be fairly bright but it's still matte so do we matte it somewhat whereas with the bright shiny metal armor it will reflect from farther away. So as I'm mixing in these darker paints and making these other dilutions what I'm doing here is just slowly expanding with weaker and weaker tones out the influence of the light into the deep shadow area. In all cases there has to be some amount of that shadow left separating your normal color, your normal light, in this case the blue moon light, from whatever your environmental cast light is, your object light, in this case the fire light. Because both lights will create a shadow and where those two shadows come together that occlusion shadow is where the magic happens. Now with certain elements like the armor it's going to extend slightly beyond its normal sphere and that's because that armor is incredibly bright and reflective and shiny that's how I've painted it and so as such it would be reflecting because it's a very glossy surface, the fire light in a wider range than the matte surfaces like the cloth would be. And from the viewer's perspective they would be tiny specular bounce lights so notice how I set the fire in direct opposition to the moon light, the moon lights in the lower right, the fire lights in the top left right and that's to represent that it's the bounce light, non-metallic metal for it to really sell needs a bounce light for this our bounce is fire. Remember the most important part about this is setting your volume of the light accordingly. Think of what the light is casting like a sphere as I said already and that orange only reflects from the angle it's cast from within the radius of that sphere okay and so that's how we define the intensity to power the scope of the globe but at the same time the brightness of the original source also sets how powerful our light volumes will be if we have something very weak and very soft a very low fire maybe just some embers dying then it's just a very soft influenced warm orange yellow light. Now if we have a roaring fire and that's the only source of light and somebody's very close to it well then that might overwhelm any other light source even the moon and become the dominant color setting our entire figure into this orange glow. It's up to you to decide exactly how big and powerful and intense your glow is and that then should be reflected throughout your painting. Now that we've set the orange and put it in place it's time to knock it back because we don't want it to actually be that strong so we've got to re-instantiate some of that shadow and control our volumes and one of the things I really want to impress upon you is don't try to nail it in one okay it's just not realistic you're going to need to mess around with the volumes and you'll see me many times throughout this you know paint and then hold the figure way turn it look at it is it looking right from all the angles you know here what I did is I took some of that original dark mix I was glazing to create the shadows and I mixed it in with a little bit orange to more easily smooth the transition out okay in the end we started with the brush because we want to really kick on those powerful brush strokes and that intensity and that opacity we get out of the brush but we're going to end with the airbrush now you could do this all with glazes with your brush there's no reason you can't but I'm lazy and the airbrush is faster so here I'm using my infinity with a point two millimeter needle at 18 psi and a very very tight trigger control and we're just going to slowly take those shadows and build them back in now I'm not looking to cover my work not completely the orange is still there it's just very soft it's very subtle by simply having that strong shadow area that occlusion shadow between the fire and the moonlight though we sell the effect that that this is a cast light and that both this light and the other light are real and they're both acting as light does and creating a physical shadow in the middle now I'm not too worried about you know over spray here I mean I'm being careful but this airbrush is like you know using a surgeon scalpel so I can be pretty careful I did cover the face and hand since they're very bright and didn't want to get extra sort of darker paint which would have easily shown on that part but I just work that in now I'm coming in with some golden high flow fluorescent orange and I'm using that to just pop up with the airbrush these tiny tiny areas and lights why didn't I just do this all with airbrush Vince why not just point the figure at that direction blast it with the air brush and just go ham because it's not realistic and it looks bad and it doesn't create the shadow delta between them and the brushstrokes have a bit of a they have a bit of texture to them and that's what you want fire doesn't cast that light completely perfectly there's there's inconsistencies in the textures of the cloth and the metal and things like that and those tiny brush strokes add a lot of value and they make the flame seem like it's dancing because it's not completely perfect the final step is to make sure that on surfaces where the light would catch very strongly i.e. his metal armor or the edges of other surfaces we're building in those edge highlights those strong reflection points so here we take the same you know golden high flow but we're popping it up a little bit with that yellow and we're using that to create those really really bright points so the patent leather on the boots reflecting at the tip the very edge of the cloth that would catch in the fire light all those final elements that make it really seem like it's glowing and popping and fire there we go our vampire is all done ready to stalk through the darkness as I said this was a super super fun fig to paint I really enjoy this guy this vampire model is I mean just amazing so 10 out of 10 would recommend thank you to GW for sending it to me to paint love it if you've got any questions I didn't answer well then hey guess what you can drop those down below in the comments I always answer every question asked on the channel give it a like if you liked it subscribe for additional hobby cheating in the future don't forget there's a patreon down below if you're interested in taking the next step on your hobby journey that patreon is completely focused on review and feedback and you can join an awesome community full of enthusiastic hobbyists on discord as well as get tips for how to up your hobby game but as always I thank you so much for watching this one and we'll see you next time