 Hello everybody and welcome to another hobby-cheating video and... Vint. Paint Nurgle, man. Okay, I don't know what that was, but that's not what we're gonna talk about today. Obviously I would never paint Nurgle, so... Vint. Paint Nurgle. Okay, I don't know what that was either, but fine. I guess we're going to... Vint. Paint Nurgle. Paint Nurgle. So today's hobby-cheating video is going to be the first Nurgle miniature that isn't a space marine that I've ever painted. Let's see how we do. The strict techno-mancer that is Vinci V. Let us get into the technique and learn it Vinci V-style. Alright, so thank you to Ben Cantor, to Miniac, and to Ninjon for providing those little clips. That was a lot of fun. I have truly never painted a Nurgle miniature that wasn't a Horus Heresy space marine before, so this will be fun. The paints will scroll up top as to what exactly I'm doing, and you saw the paint list at the beginning, so I'm not going to talk about the exact paint colors. Instead I'm going to talk about what my goals are here. I started with the red undercoat because this miniature is going to be green as we've done with many times lately. It works and things like that. Red makes an excellent undercoat. But because I want this to be very, very sickly, I'm applying a nice strong yellow. Whenever you're painting in a very translucent color, green is one of those off-translucent colors, you can get a lot of work out of under shading. It not only helps speed up the work, but it also can help really add a lot of depth to the contrast of what you achieve in your final result. I wanted to do this all without an airbrush to show you all that you don't need an airbrush to do this. You could have Rattle Can Prime red it, and I'm going to do everything with a brush from this point on. No airbrush in this tutorial. Once I had that additional highlight where you notice that I was always swiping my brush down, so only hitting the highest areas. My goal here is then to tint everything. So again, really trying to push the under shading of this green yellow tint. So with this color, my goal is not to create a final product. My goal is to bring all of the under shading together to smooth out some of the roughness from the dry brushing on this guy. And to make sure that we have a really nice warm yellow green underneath for our eventual paint. Now it's time to actually start painting my guy once we've prepped all this under shade. And so yet again, I'm going for this very green yellow mix. And I'm using, because it's a mix of contrast and ink, both of these things are very transparent. So I'm not going directly to a normal thick miniature paint because I want to use all of the work that we've had underneath. I want that stuff to show through. So I'm focusing on the skin. I am covering there's still some areas of the original red primer that show through now, but I am running a layer of this color over them. And the reason for that is because when the green hits the red as you'll see right here, it just becomes this wonderful, nice, desaturated deep shadow. You can see it right on the curve of his back there. It's such a wonderful combination when you put those two things together. As I push up the highlights, this is where we get into a little more opacity. So the general nature with highlighted colors is that because you're adding things that have some amount of white in them, probably, they tend to be more opaque. And in this case, the green that I'm using is a very yellow white green. So it really, I want this guy to feel radioactive. My take on Nurgle has always been that they look the coolest when I mean they just look radioactive as all get out. And so I want this guy to just feel like he is toxic. I'm sure he walks around just bumping Britney Spears all the time. He's definitely on the free Britney movement. So the goal here is when you work in the highlights, they're going to naturally have a higher opacity. And that's OK. As per always, don't worry about with these initial highlights achieving a smooth blend. It's not going to happen. You are dealing with very transparent paints and then all of a sudden you're going to things with a higher opacity. There will be lines between these two colors. Now, if you're feeling especially saucy, you can try to do some loaded brush or even wet blend these individual things. But for me, that's just not the right workflow for a piece like this. I like placing all my highlights, getting them around. There are obvious lines in between the blending and that's OK. I'm hitting all the tops of those muscle structures. But you notice how most of my focus with this highest highlight is around the top of the miniature. When we talk about volumetric highlighting, this is one of the things we're doing is not just the individual muscles, but it's also the fact that the top of the miniature is going to be exposed to more light than the bottom. So we want to really draw the attention up. One of the things you can do to make your miniatures more interesting is, ironically, paint less on the lower part of the miniature. You want to really push the highlights on the upper parts and then don't push it as far in the lower parts. Now is where we bring it all back together. I take some of my original green and I then glaze it over these, the transitions in between the highest highlights and the mid tones. Once again, then I'm going to grab some more of the high wind, make little mid steps. It's just a little bit of futzing around as you've seen in recent videos. Now, this guy is in a display piece, so we're not going as far. The next thing we have to do is create a shadow and I want to really show you how I make a glaze here. Every time you see my brush go off screen, I'm getting a full brush load of water into this paint. This is a very highly pigmented paint, but I am really thinning this down. And you can see when I test it here, that's how thin it is. Why am I using a purple? Purple is a wonderful natural complement to green. It's the classic villain colors. If you think of Lex Luthor's Power Armor or lots of other villains in comics, it's purple and green. The reason for that is because when you put a thin purple glaze over green, and this is quite a thin glaze, it makes a really wonderful natural shadow. Yes, still part of the purple shows through, but it makes a great, what feels like, organic shadow. In addition, this has two benefits on a nergal model. Purple on skin feels bruised, sick, bad. There are simply predispositions humans have toward colors as they exist on skin, and when we look at purple, we think of it as sickly bruised, etc. So by placing that color into the shadows, not only do we create natural shadows, but we also reinforce that gross, nergal idea. Now to smooth it out and add a little bit more living tone, that's why we're using this Reigland Fleshade. Now we're not using it like a wash. I think people get obsessed with using washes in only one way. They're a very powerful tool. Here, I'm just using it as a slight filter, running it over the edge line between the green and the red. Now, or sorry, the green and the purple. Now because red is the complementary color to green, it's going to create a much more natural transition, because it's so faint, and that red-brown will then fade it into the purple so wonderfully, and importantly, add some slight red tones back in that make things feel very alive. Red equals alive. This is a horrible, gross, diseased, toxic, icky monster. But it's still something that needs to feel alive. So it's very important that we still have a little bit of red tones in. Finally, all these little edges and rips and tears in the flesh, you want to make sure those are well picked out, especially because the colors we're going to add inside there in just a moment. So I'm just taking my highest highlight and just hitting all the little edges and making sure that they're well picked out so that they actually show and pop to the eye. All right, now we've got to turn to these gross wounds. And so here we've got a, you know, a nice deep red purple mix, and the goal initially with the wounds, the eye around the teeth, all these areas is just to get them darkened in, and this is what's really going to snap the skin into place. So part of the magic of really bright things like, you know, super bright skin or this kind of a high toxic super green paint job is contrast. You want more areas to break up these large flat surfaces. No matter how cool your colors are, no matter how neat your blends are, if a paint job is just one big color, it's boring every time. There is no way around that. So I'm then taking some, you know, some of that basic red and we're covering all the buboes. So many buboes. Oh my goodness. My goal here though is always contrast. It's to make sure that these things stand out and create more visual interest in the skin. Ironically, by darkening these other areas or picking them out in different colors or whatever we're doing by breaking up the surface area of the skin, we make the skin actually seem brighter and more visually compelling. So many buboes. Why are there so many buboes? These guys are so gross. All right. So the other thing I wanted to mention here is the reason I have red in both the wounds and the buboes is again for the same reason I used the brykland flesh shade. Red being the complementary color to green. It's what's going to make them stand out the most. But if they were just little red dots, they would be a little boring. So hence we're integrating in some of that ice yellow and then basically making them look like pimples. I mean, it's pretty straightforward. Again, the yellow when mixed into the red will have a very different feel, a very different effect than the yellow mixed into the green. So as a result, they'll still stand out, especially with those big red wounds around them. And you can see that when I'm touching these with the final highlight, I mean, I am just tip, tip, tipy touching the brush onto the edge of the onto the top of the bubo to make a little pimple. And as always, a little bit of flow improver and, you know, keeping your paints thin is the way to go here. But flow improver will make your life a lot easier for something like this where you can see I can just touch it and a bunch of the right amount of paint flows off. The wounds themselves need to also be a little more visually interesting. But here I want to up the red because that's going to make them stand out even more against the green skin with the pimples. We ended up desaturating them quite a bit by adding the top color with these we're going for a little bit stronger red so that they seem more open and seeping. Now with things like the intestines, you notice I don't actually paint them. This is a thing I think people often mess up. They feel like there's only one way to use your brush. Your brush is a multifaceted tool. Instead of trying to paint a line dragging my brush across the intestine, notice that I stab and dab it. I'm just dabbing the color to create a natural texture of the intestine. And I do the same thing in the open wounds. I make sure that we just have little dots points. I'm never dragging my brush across. This is such a little thing, but it's just one of those things that I think a lot of painters miss out on. Your brush does not have to move in one and only one way. Like it only sweeps across miniatures to paint, apply, and then layers always the same layers, IMA robot. No, you can use it in lots of different ways. And by creating these little stabby-dabby textures, not only is it more visually interesting, but it feels more correct for what we're representing, i.e. bubbly, gross intestines that are spilling out. I mean, these models have character. I'll give them that. What I'm doing now is just blacking out some things that are going to end up being different colors. So like I'm just painting the sword black, so there's a good base to work for my metal and a good separation between that and the skin. But I'm also going to hit things like the toenails, the actual fingernails, what there are on this model, his horn on his head. The black horns on Nurgle work really well. You know, just looking like it's totally gross and infected or something, I think is a nice way to go. So pretty straightforward. Then we just do some basic highlights on that horn. So we're going to just take it and basically mix in a little bit of our Ice Yellow. Again, as always, we're trying to keep the colors, you know, reasonably in line here. Don't add more colors if you don't need to. With the pure Ice Yellow and some Flow Improver, I'm going to hit the teeth. We are really approaching the border of what is reasonable to paint on camera and here you'll watch me mess up the eye in 3, 2, 1. There it is, messed it up. It's too big and now it lost its contrast to the edge. I kept this part in because multiple reasons, I wanted to show you that everybody messes up painting eyes, even when it's only one eye. And two, it's easy to fix. I just use some very thin black paint, go right back around the outer edge, let that dry. It was just very thin with a little Flow Improver, so it dropped right in that low recess. Then I take the Ice Yellow and I have to pull it closer. I'm sorry, I'm off the side of camera, but I need to be really, really close to my face to do this. And then just very carefully hit that and bottom boom. Now we have an eye that stands out just that easy. We're still going to add some color to that, of course. So I take some red, thin it way down into just a super glaze. Like this is very, very thin and a little watery intentionally because I want it to overflow and look like it's seeping out into the skin around it. Then I take some of the red, mix it with some of the Ice Yellow to get a nice pinky pink color. And we're just going to take the center of the eye and turn it pink. Off camera, I do take a little Ice Yellow dot and put it right in the middle. There is just, there is a limit to what you can actually film that is visible. So there you go. This part's pretty simple, just adding some visual interest to the horn. Again, using the Ice Yellow to create some nice striation and transition there, traveling up. Just make it so it's not one flat area. I don't, this isn't something that takes a lot of time. It's a minor detail, but you want it to be, you know, somewhat visually interesting. So just painting some thin lines up and then making sure the top has a stronger amount of that color. I'll do one more light touch on it at the end just to make sure it's good. But I want it to stand out so that that way these areas don't seem flat. With the metals, now I did not yet varnish this miniature. We'll talk about varnish in just a second. With the metals, I actually don't try to turn the whole blade metal. I have some black underneath, if that shows through. Great. I just basically touch metal all over the thing. This is Vallejo Metal Color Steel, of course, as you can see. But I'm just being pretty strimpled with it. Just kind of again, stabbing it around. Then I take some of my old favorite Vallejo dry rust, and again, we stab in that. We want this to be rusty. Plague Bear weapons, as they paint them from Games Workshop, often seem like they're, they paint them like black with this weird turquoise edge. I've never understood that or what that's meant to be. That just, I don't know, that always looks silly to me. So instead, I want these to just be weird rusted plague weapons. So we're going through a bunch of different rusts. You can see them up top there. And just again, always with the stippling motion. One of the reasons I like these liquid pigments is because they look super bright when they go on, but they do dry really, really, really matte. So these are fun, something to maybe check out. I should probably do a full review on them sometime. But I like these, and again, I just want to work that color in. I like them because not only do they dry matte, but the orange fades a lot when it dries. You'll actually see it happening here over the course of this video. When I turn them back around, like look how much less orange that is. I don't want the blade to be super orange because there's not other orange on this miniature, and it will distract from the area I want focus, which is on the face and the plague bearer. This is just a final little wash using a traditional method, both over the horn and the weapon to just add a little bit of additional tone. Now comes the fun part. We grab our old friend blood for the blood god, and we're just going to put some dabs into the open wounds. I am not seeking to cover the entire area. Notice how I fit it in toward the bottom where blood would naturally gather or something like that. Just dab it in there. It's a big, goopy paint. In between those steps, I matte varnished the whole miniature, including the metals. Now I know I say I never varnished metals, but in this case I did because I want the metal to be extremely dull. When you're doing highly weathered metals, it's okay to varnish them. With the blood for the blood god, then I also take a nice sharp brush and draw some little streaks seeping out of the wound because I want there to be blood actually seeping down out of these open wounds. Blood runs. It doesn't just stay in an area, so hence the right wherever I put the little dab, now there's a drip coming out of it. Final step, I take a little Nurgle's Rot and just touch it over the blade in a few places. Why? Because these are plague swords and they're gross and filled with vile, awful disease. And it's also because the blade has become so matted with all the pigment and the varnish. Nurgle's Rot is very glossy. So instead of having a metal shine, our reflection will actually be a goopy gross shine. And there we go. That's our plague bearer done. I think there's hopefully a lot of tips in here on how you paint Nurgle, you know, how to really manipulate the colors. Remember, using your alternative things like purples and the shadows can make things seem more bruised. So work in those purples, those reds, push your highlights and bring them back together. I think this guy came out pretty awesome. It was fun to paint Nurgle. If you want to know how I painted the base, well come back next week and we'll cover plague bases. If you liked this, give it a like, subscribe for more hobby cheating in the future. But as always, I very much appreciate you watching this one and we'll see you next time.