 Hello, everybody, and welcome to another hobby-cheating video, and today we're going to get into some Monument Proacryl fluorescent paints. Let's get into it. The strict technomancer that is Vinci V. Let us get to the technique and learn it Vinci V style. Long time viewers of the channel will know I'm a big fan of Proacryl paints. In fact, I even have my own signature series with Jason over at Monument. I use them all the time. You'll see them featured in many of the videos that I use. So when I heard Monument was doing fluorescent paints, I was immediately interested. Now, I love fluorescent paints and think they're generally a lot of fun and have a lot of interesting uses. So I thought today we'd give these paints the run, see how they work and just kind of give them a test and then maybe give our opinions on how they compare to other fluorescent paints that are out there in the world. So let's see what these things are capable of. First things first with the paints. Let's go ahead and get them out on the palette. And this might seem like a simple test, but it actually means a lot. Because my initial question was what's their consistency? Do they have a very, very gummy and poor kind of tacky proficiency like many older fluorescent paints like Vallejo have? Or are they super runny like sort of golden high flow, which I love, but are basically inks? Or are they somewhere in the middle? And as you can see here, it turns out they are in fact somewhere in the middle. They're more like the traditional miniature paints as far as their viscosity. But still I found them easy enough to sort of mix and manipulate with the brush. Not too liquidy, not too gummy. They basically painted with the sort of consistency I would imagine out of the paint. So that's fine. First test passed. We're doing all right. Now as we get into these, it's important for me to make a few notes about how fluorescence work. Thing number one, all fluorescence cover like crap. That's just the nature of them. They are not meant to be single pass high opacity paints. Fluorescence are all in any brand quite naturally transparent because of the nature of the pigment used and the suspension of those paints. So when we set them over something, they take a lot of what's the under shade and it shows through. Meaning if we have it over a traditional zenithal, then what we're going to see, for example, is that anything that's very bright shows a near true color of the thing of the fluorescent itself. Whereas anything very dark, especially as we get down into grays and blacks will basically kill all of the effect of the paint. In other words, they are very subject to a sort of slap chop like effect being naturally much more thin and transparent like a contrast paint or a thin down ink. So when we're applying fluorescence, the first step is usually to make sure that whatever we're putting them over is very bright. This means that as we're working, we want to either have some white or I prefer actually an off white. I almost never use a true white. I'll use something that's white gray or white yellow or a warm white basically or a cold white is what I mean. And that will be what I apply. I do that for two reasons. One, those paints tend to be smoother, easier, higher opacity. They don't cover as poorly. But also two, it then adds a little bit of extra warmth or coldness, depending on what you're aiming for, to the final feel of the fluorescent. So you want to go as bright as you can, but just take one step back in either to the cold or the warm spectrum. All right, our next test here is simple color application. So what I'm going to do is we're going to use this old Zeench guy. This was the guitar player. I sort of did some stuff with him. I didn't like it. I never actually painted him. He's just kind of sat in my shelf in my sort of overflow shelf for a long time. But he's perfect because he's primed very, very brightly. And so he'll give us an interesting test of the paints. So I moved through them. And what I saw is that they are in fact, as I expected, very transparent and showed a lot of the color underneath. I did find actually that the way these paints work, they were good to sort of take work into your moist brush. I didn't thin them at all with water. So I just used a moist brush and basically kind of got the moisture out of my brush into the paint on the palette and then started applying them. And what I saw is that it was best when I smoothed the paint on the model. So what I mean by that is because of their thickness, but their staining power, I saw that what I actually liked was to apply them somewhat thickly and then just actually smooth and thin on the model. Meaning I'm constantly pushing it around, smoothing it out, spreading the paint while it's on the actual model itself. I found this basically gave me the best results and a nice even coat. I will say, however, it did take two applications of this to really get a true color. And that's usually the case with fluorescence. I don't know that there's any fluorescent out there I've ever utilized where I put one application of it onto a model and thought, yep, nail it, that's perfect. Fluorescence because of their highly transparent nature usually need multiple applications and that was the case here as well. I will say as I got the second coat onto each of these colors, I did like them quite a bit. Of particular note, the orange is really, really, really super intense as is the pink. These are both fluorescent colors I favor for different reasons. The pink because it works excellent for just cool stuff like Sonesh I like to paint everybody. I hope you know how much I love pink. But also, as you're going to see later, you can do some really awesome things with fluorescent pink. Orange, fluorescent orange is just really great for stuff like doing firelight and any sort of glowing orange torch. All those similar OSL effects that glowing orange really works. A note here though is that the yellow is very sort of green tinted. It's almost a chartreuse. It's pushing in that direction. But it's overall a nice enough color. It would work well to undershade other things and we'll talk about that in just a moment. The purple I found to be sort of the least interesting fluorescent. It was a nice purple, but it didn't really do much for me as far as brightness or intensity. Okay, our next test is to get this thing over some pure white. So now we're back to our Skaven friend here. Love these little acolytes. I've had them for years and years and they always end up showing up in videos. Our little acolyte I started by basically base coating all of the areas that I wanted to use the fluorescent on in white or some amount of white. You'll see I left the orb that he's holding the orbs not completely. I did a more traditional spherical highlight on them. And then I applied the colors. Here I really liked the effects. When we're going over an intense well applied white, I found that this actually gave some pretty awesome results. They were bright. They were really strong. Those colors punched. And honestly, they jump out from, you know, the from many feet away. Again, I did do two applications of these colors on all of the relevant sections. And I found that they looked really good of particular note. Again, I really liked the look of the orange goggles with a little yellow dot. I thought that came out really nicely. And the green was actually perfect for warpstone. So I don't know if that was Jason's intent, but certainly that green color is like perfect Skaven warpstone green. Excellent for use in radioactive rocks, I guess of all types. So sci-fi or fantasy, if you're doing anything that's like radioactive or magic read energy. I think this is actually a wonderful color for that. And I was really happy with the finish and how that all came out. So again, so far, excellent performance. Our next test is basically layering these colors over the top of each other. How well do they work together? This is a simpler test. And in fact, I found this work just fine. So whether it was the green going over the yellow on the edge of the blade, which gave a nice sort of transition as I brought that thin green to one end. Or whether it was a little bit of yellow laying down on top of the green to add the kind of sickly yellow punch to the top of the green ball. I found it was fine. I did some additional testing off camera, mixing together the colors in different ways. And honestly, no complaints. They all work together quite well and can actually serve to punch each other up as you intermingle them. Don't feel with fluorescence like you have to stick with just the color that's on the bottle. You can add the yellow to the orange to produce something more interesting or the pink to the red or the orange to the red and so on and so forth and get more intense versions without suppressing the color of the individual fluorescent. Speaking of tips and tricks, let's talk about a few that I love actually using these colors for. Now, this is normally things I would do with fluorescent paints. So the question was, can I use these fluorescent paints for these common tasks I end up using them for? And step one was fun glowing red eyes. This is pretty easy. You take a model, you put a nice white sort of dot in the center of the eye while leaving the recesses around, dark, and then you take a little bit of something like a fluorescent red or pink or orange or whatever color you want the glowing eye to be. And in this case, you thin it down some and run it there. So it gathers around the edge of the orb with the center of the orb is still rather intense in the most white part. You can even spread it out onto the skin to give a bit of a glow effect. So it actually feels like there's a very soft emanation. And here this came out really well. I like the way that the glowing eyes looked on the guy past no problem. But eyes you might think, well, that's a simple test, Vince. What have you got that's more complicated? So this next one is a little more complicated. Let's talk about how you get really intense, saturated colors. If you've ever wanted to have a really bright intense kicking red or a really, you know, bright blue or something like that, right? So that's your goal. You want the most intense version of that color possible. Okay. Then in that case, as you can see here, I was working with a red cloak. Now I did this in bold pyrrole red. This is already a single pigment pyrrole pigmented red, which is one of the most intense red pigments there is. I love this red color from Monument. It is a wonderful red. I use it all the time. However, I wanted to punch it up even more. And so what I did was I applied some white paint over the top of the areas I wanted highlighted. Now I know this is going to, you're going to think, oh my God, what have you done that cloak look smooth? It was fine. It looked great. Why are you trying to change it? Well, because we're going to make it even more red with especially colors like red intensity, intensity is the key. You want that high saturation in the highlight, especially when you don't want to necessarily go to pink or orange. Speaking of pink though, after the white was applied, I then went in and applied a bunch of fluorescent pink. Stick with me. Just trust me. Now, in this case, I applied it not only completely covering the white area, but also took it down onto the red. Once again, two full applications of the fluorescent pink over the area. Once that had dried and I was all set, I then came in with the fluorescent red and covered all of the area there. That was covered with pink previously. Now, because I'm using a transparent fluorescent red over a transparent pink, which is over white, what I get is the most intense red you'll ever see. This is the way that you can get that really punchy final color for your highlights. So if you want your space marine captain to have the most intense cloak, this is honestly a really fast process. This took like another, I don't know, three minutes on the model. And yet, now this red is so kicking. Looking at these two things side by side, you can see how much more intense the red is after the application of the fluorescence. If I had just tried to put pink itself over the red, I wouldn't get that pure punch effect. By the way, you can do this all with an airbrush. I did try these through the airbrush as well. All went no problem. So what's the final thoughts on these? Honestly, I think that Jason and Monument did a great job with these. I really like them. They'll be fluorescence I use. They're interesting because intensity, color, and sort of the ease of use. I found them very much on par with Golden High Flow, which I consider the best fluorescence on the market. Now, one of the differences with Golden High Flow is they are much more ink-like, and so I do find that an advantage. I think through my airbrush and stuff like that, I still very much prefer the golden paints, to be honest. The fact that they're just so already liquidy and they flow through the airbrush, no problem. I've never had a clog or an issue with them. Just makes it more of an appropriate tool for an appropriate job. That being said, with the brushwork, I think these are extremely competitive. I liked the fact that I could work with the thicker paint and then smooth it out on the model. Something that you can't really do with the much thinner high flows. So legitimately here, I think this is a case of hammered nail screwdriver, right? You get the appropriate tool out for the appropriate job. And I think these will find a place in my rotation for when I want to do fire and warpstone and glow and intense highlight colors, like you saw here. So all in all, definitely a great review from me. I think these are very much worth picking up. I'm going to be using them. So I hope you liked this video. Hey, if you did, why not give it a like? Subscribe if you want to see more hobby cheating in the future. Don't forget we've got new videos here every Saturday. If you want to support the channel, there's lots of ways you can do so. You can share this video with somebody. That's always deeply appreciated. There's also a link down in the description specifically for Monument. 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