 Hello everybody and welcome to another hobby cheating video today. We're gonna talk about making warp stone glow We're gonna talk about underglow that cast light and we're gonna do it in that wonderful beautiful Skaven green. Let's get into the strict technomancer that is Vincy V Let us get to the technique and learn it Vincy V style a lot of what I'm going to discuss today is Related to an earlier video. I did you can find that linked up above In there I talk about setting up these two different lighting patterns in this video We're gonna do a very similar ish scheme But we're gonna use green as the glow and what I want to discuss here is when you have one light That's sort of a soft environmental light and one light that is very motivated and in this case an extremely dominant color right now I have a bunch of extra lights around me So there are lights over here off-screen. You can't see obviously that are lighting me while I'm shooting this Those lights are all operating in a relatively normal band of light between four and five thousand k So when they create light we perceive it as just light if you've ever said that's a warm light or a cold light So a candle or a campfire. That's a very warm yellow orange light Whereas oftentimes fluorescence or things like that that drain the life out of things are very blue. They're very cold Sometimes however light is colored the motivating source is actually colored now plenty of YouTube people who aren't me Have fun gel lights and stuff behind them where they take a normal white light Put a little colored thing over it and then it turns the background behind them blue or something cool like that This is much the same thing So this isn't a normal light. This is light motivated through some kind of Interfering translucent surface such as a gem like warp stone You know it's self emanating a glow that is turning in a color once it becomes that dominating color And that is the color of the light It will then win out over everything else on the surface and that's what we're going to explore today because painting this way is actually super easy so Let's head over to the desk and see just how easy it can be We're going to start over a neutral dark Neutral gray primer something near black. This is really important when you're doing this sort of thing You don't do a traditional Xenothal Xenothal highlighting means light from above from the zenith and in this case our light is not It's going to be very directional very spotlighty and then very motivated from the under light the warp stone glow under this scaven guy here and So as a result we're starting over pure black and I'm going to start by establishing the zone of the glow This is the area Direction where the glow is coming from and I use the airbrush to do this because it's just the most effective way The light comes out of the end of the airbrush like a cone and when we spray it effectively creates the outer edges of Everything we're going to do. I'm then going to create the oppositional light the spotlight What sits on the other side of the light from that? And the key is this might feel like it's something traditionally Xenothal But it's not because I'm not going all over. I'm just holding the miniature very very stable and working in this very tight cone pattern Now once that's there, I'm just going to start toning things The normal light quote-unquote the light. He's jumping into is just going to express all of the colors That are on the sky in a fairly normal warm fashion So I just used a simple contrast paint to start toning all the skin And we're gonna I'm just gonna focus on the fur and skin to show you the contrasting light first When we're painting out the normal areas the key with this is we always want to be Integrating that tone the reason I zenithal with skinny skin tone as opposed to dead white is because I want The area that is revealed to be very warm very bright But very small and controlled so this so I'm integrating a lot of like yellows and Off-whites and sunny skin tones and things like that to produce my highlights And I'm focusing in very very much on that on the area closest to his top left shoulder That's where the lights coming from you can see that's where I sprayed from that's where we're saying the lights from So all of these highlights need to be really really focused in that direction and then fall away quickly The key with this sort of paint scheme is to first establish your light source your primary light source Like you've got the the airbrush from the under shade as a guide okay of where your Both your primary light source and your secondary motivated light source are coming from and as I continue to just work this miniature I'm going to just focus in on tighter and tighter areas toward the top left of his face and the top areas of any exposed Fur that are there so for example the top of his left forearm where there's really expressed muscles And a little bit to fur those would also catch the same similar work might Same with his ear and the top of his right arm and so on and so forth all of which are very pointed toward the light I do some final checks here just sort of I didn't like it that his whole nose was was brown the Muzzle should be a slightly different color a little more fleshy tone So again, we turn that warm and then I work in my normal Sort of additional highlights to really pop up those final areas In those elements where it's focused toward the light and set some final tone So for example, I'm going to introduce the pinkiness of his nose and so on but as you can see I'm really really really focused in on The area of the top left of his face and when I turn the miniature you'll see that it falls away very quickly into the sort of Normal brown where the light isn't expressing the highlights and then into my original dark and the black and the green and The important part is those areas have been touched from the initial application of the contrast I didn't put that contrast over all of the skin. I put it over all of the skin that wasn't in the zone of The spray of the green and so the similar thing here as I work I shrink shrink shrink shrink shrink the circle of light that is being portrayed by the highlights One of the reasons I say this is a really easy and fun way to paint is because honestly you have to paint less When you're doing a traditional sort of GW style for light diffuse general light pattern You have to create light everywhere over the whole model. You have to highlight everything When you're doing it with a spotlight effect like this, you're only highlighting a much smaller portion of the miniature My last step here on the regular skin is just a light glaze of Basically some skeleton horde to sort of re-tone everything even warmer that skeleton horde is very yellow brown So again, it's going to push all of that Now let's talk glow so you can see how there's a very dark line in between where the Green ends and the skin begins that got a thin version of the contrast basically over black I'm not going to touch that And in fact my working area is going to be basically within Only where the airbrush touched Now because this is a motivated Colored light. I don't really have to worry about what color these things would be. They're all going to be green Now there is some difference there when you get into the upper levels of the science of this and really think about it Things that are sort of white would reflect the light brighter because they would be When the light hits them, they would be simply a brighter undertone that would reflect more light back Whereas things that are the complimentary color which his little Cloakie cloak that he's wearing there so half cloak whatever it is is going to be red once I actually paint it So as the complimentary color to green it's going to express the light much more dimly Same with his bracers. So as I work I really push the light on that little bone armor rib cage bracer thing He's or armor breastplate thing he's wearing more than I push it on the other elements same with the white ropes Now it's not a huge difference, but when I get up to my very final highlights. I'm going to then make sure that those Areas that are white or that would be bright or would reflect the light strongly have the strongest pops You notice I hit the underside of the eyebrow there as well as the underside of the lip I cannot explain enough how much little tiny details like that really matter to sell this scheme And in fact the key with this is really in those little details and Understanding all the tiny little under spots that would just catch tiny elements of the light So as I go along I hit things like the underside of his eyebrow the underside of his eyeball the underside of his lip the undersides of ropes and knuckles and little bits of fur even up into the area of brown all Occasionally stick just a desaturated small amount of green on the underside Deep in the shadow of those things and the reason for that is because that is what in fact would happen light bounces around It's chaotic. So though I'm working mostly within my my little Cone and that's my guide. I am placing little scatter lights on those other areas that are also directionally correct and facing the right way This is also really easy one of the wonderful things about painting in these like strong Motivated colored lights and by the way, you can't do this with just campfire or something like that as well Hey, like a really really strong orange torch or something will often turn things pretty yellow orange So you can paint them just in increasing amounts of orange into yellow Or a pink light or a red light where it's just increasing amounts of that color The key here being is what's so wonderful about this is this is all just two colors It's just two paints. It's my original green plus then slowly integrating more and more of that bilia screen. That's all it is and It's so freeing to just focus on the volumes and the the area is the miniature You know, well, you're not worrying about color. You're not worrying about anything else. You normally think about Because it's all just in this one tone. You're thinking only about the light. The light is all that matters Underlying colors and which paint do I choose and what should the appropriate highlight for this? None of that matters only the color only the the light matters and Because only that light matters it helps you to really focus in on those values And you can see here how I'm getting those final spot highlights on the areas that would really reflect Little bits of end of fur that would catch the white bone Right the edges of cloth and things that would catch the little ropes and With that and those little tiny light catches of the pure bilia screen The effect is done and we have our warp stone glow There you go. Like I said, super easy. Let's take a look at him all finished up I went ahead and did the other components that aren't really relevant to the tutorial You know off of the recording, but oh and all I think this guy came out pretty cool He looks like he's jumping out into the light from the darkness over this sort of warp stone glow Remember our keys when we have the motivated Light that is going to completely color over what it is But we do need to heed Sort of the imaginary color that that thing would be underneath as some of those colors may reflect more or less of The motivated tone our normal light We want to restrict way down on the figure shrink it as far as possible really push it to more tight Volumes to create that spotlight effect and finally that important occlusion shadow between This is a really fun bus to do hope you enjoyed watching me paint it if you did Give it a like subscribe for additional hobby cheating in the future if you've got questions drop those down below I always answer every question if you want to support the channel Hey, you can do that through the patreon link down below Our patreon is focused on review and feedback and taking your next step on your hobby journey as Always though, I thank you so much for watching this one and we'll see you next time