 Hello everybody and welcome to another hobby-cheating video and today Game's workshop was nice enough to send me this big angry boy And so it's time to talk about painting wings. Let's get into it Let's strict techno man sir that is Vincy V. Let us get to the technique and learn it Vincy V style One of the things I love is painting big angry demons, and you know what's cool about big angry demons They often have wings wings can present an interesting and fun challenge There are a lot of space, but they tend to be a low amount of materials that is to say It's usually just the membrane in between and maybe the bones that hold that membrane together So making wings both visually interesting while respecting all of the different little details They have can sometimes be a challenge and seem time-consuming But don't worry today I'm gonna take you through some very simple tips tricks and tactics you can use to give your wings a lot more pop This tutorial is gonna use the airbrush quite a lot, but don't worry if you don't have an airbrush It's fine. You could do all these same things I'm doing with just either some heavy quick dry brushing or glazes or even contrast paints We're gonna use the airbrush a lot just because over such a big surface area It does make our lives easier, but a brush is fine and can do everything you see So let's head over the desk. Let's get into it. All right. Let's paint the big wings get this boy out of the box Find the wings get them assembled Now I'm starting over black here because I'm gonna control the lighting very specifically But there's no reason you couldn't start over zenithal if you were just looking for something more You know in a general lighting pattern But I'm beginning Which is this very dark red and even though it looks quite intense when it first goes on You'll notice just even over the course of this few seconds as it dries. It's really gonna dull out I'm working quite thin and I'm working quite thin because with the airbrush. It's easy to work thin I can just apply a few layers build it up slowly There's no reason we have to try to rush as you can see here I just continue the process using the same paint just building it up building it up Using that natural black and the transparency of the paint to integrate and create those naturalistic shadows I want to build this slowly So when you're working with your airbrush and you're working especially with highly transparent colors like red Let's use the fact that red is so transparent to our advantage and the fact that the airbrush is so fast To allow us to put on multiple layers of this relatively quickly Work our way around even this very large model efficiently and then create this very natural color transitions with just one paint Now it's time to switch to a little bit simpler technique and that is just dry brushing Everybody's favorite and guess what on textured wings like this demon wings. It's a go-to I dry brush all the time don't ever let anybody shame you for dry brushing It is a perfectly acceptable technique It's just about using in the right place and on heavily textured wing surfaces like this Where there's veins and ridges and all sorts of things of that nature This is exactly the thing to do I use a soft makeup brush made for eyes and blush and very very very little paint And we just make lots and lots of strokes So I'm just you'll notice how little paint comes off the brush on any one individual stroke I'm you know really brushing any area of 10 20 30 50 times It's still very fast But I don't get a lot of that rough texture and the paint goes only where I want it because Of that's the softness of the brush and how little paint there was and so on Now we need to just re-instantiate some color. This is meant to be red And so I'm actually starting by getting out some of this fluorescent orange not red Why because I'm using the fluorescent here to undertone It's really going to pop and shine over the very bright white parts They were caught things like the veins and the tops and edges of these little ridges and the bones Once that's done and I have that really intense color Then I can bring back in the red glaze But it will be much more warmer and much more intense over that fluorescent orange under shade I get a lot more mileage out of the color a lot more punch and kick When you lay down something like a red, which again is very naturally transparent over The fluorescent orange which is going to shine through and create a lot of intensity But like with any surface like this where you've got any of these highly textured highly detailed surfaces The key is just working back and forth Now here I'm going back in with a little bit of this Brighter mixture and but it's thinned to a glaze and I'm just going to pop up some of those key areas Any of those places I think would be caught by the light I want to go ahead and really make sure those get popped out and smoothed out Just really keeping that highlight intense, but smooth Now we're back to the glazing again going back to that soft red and just kind of again reinstant shading that saturation This secondary glaze step to follow up where you place back the saturation on the model is so important It's what makes something red seem red not the entire surface needs to be red You can have quite a lot of pink or quite a lot of orange But that extra little step really goes a long way to creating that saturated color Next up it's time to knock back some of the dry brushing with glazes on the wing membranes And here I'm just getting out our old friend paints gray This is thinned to a filter and yet again I'm going to go ahead and cover more or less the whole surface But let the highly transparent nature of the paint of this dark paint Win out and keep that light traveling through when I say a filter I'm usually thinning something like eight or ten drops of thinner to one drop of paint Now this whole time I'm working at probably an 18 psi. I don't really ever change it Now using the angle of the wing I'm going to shoot from this upward angle with that white integrated panes gray Just to catch those ridges and pop them out I really can't repeat this point enough and that is you want to utilize the shape of the wing Utilize those details with the airbrush to hit all of those things at once In other words, turn the surface of the wing and your airbrush So you're only shooting at a certain angle Use the fact that it's putting out a cone and will only paint and spray What is within that cone to your advantage It'll save you a lot of time and look very convincing when it comes to the lighting Now another way you can make wings like this Interesting is by integrating some sort of reflected color from below that they're catching Since this is a big giant demon, it would make sense that they're sort of fire behind him It doesn't really matter if you have fire on your base or anything like that It can just kind of be an implied color or assume there's fire behind him or hell below him or something like that It's just kind of a cool look to have a counter color on there and makes it a lot more visually interesting Extra points if you actually have like a lava base or something like that But again, this is really easy to sell with something soft like the airbrush But I'm focusing around the whole area of the wing rocking back and forth But building more toward the center Again, the center of that membrane is always where the most light will be kept will be caught And so where I focus both my dry brushing and the air brushing Now you can airbrush forever no matter how precise you are You must eventually go to the brush so here with these highlight colors I'm just going to get in there and make sure we get all of those little volumes all those little edges picked out And and those appropriate volumes and highlights sketched. It's really a pretty simple process It's just at this point because I have so much of the highlights there I can work rather thin and just build up each of these individual spots Whether it be at the sort of bone collection at the top of the wing where there's Do-claw I guess is or whatever that thing would be called Or you know down at these little wing membrane connections And then I want to make sure it just doesn't jump from dark to light So we have to start integrating that into the darker color Oftentimes one of the things that can create more visual interest in your miniatures is the Alternation of traveling from light to dark And so with these wing Sort of bones these fingers phalanges whatever they are By and by Creating more transitions in between the darker area of the wing and the lighter area of the wing is these big bone Like femur shapes pop out. It becomes much more visually interesting And then it's just a matter of slowly reintegrating those colors Now my step here is to just take another thin red glaze just like I was doing with the airbrush But this time we're going to do it with the brush because we want really proper control Over everything, but it's exactly the same premise and just I wanted to show you that you can work With the airbrush and you can work with the brush and achieve the same thing But once again, I'm building that saturation back in and connecting using this to like on the these bones here To connect the lighter color to the darker color using the naturally transparent nature of red once again to my advantage Where I can just do several of these thin glazes and build it out With things like his little veins that are popping up or extremely pronounced ridges We want to make sure we catch all those just to make them stand out When you have large surfaces that are all the same color the more detail you have picked out the more visual confusion The more elements there are that are sort of changing colors are doing something interesting The more compelling incredible the piece looks And in the same way here At the very tip top of the wing I take some of that light gray and just hit those upper ridges as well as the upper veins In the wing itself. I don't need to do this to every ridge It's about having a transition at the top. We have the cold light at the bottom We have this warm light and you can see how it's focused toward the center really catching in the center of that membrane But that downward facing edge Really needs to be popped out By having that sort of fire glow catch right on those edges It really sells it and on the tears and holes in the wings We want to do sort of the opposite light catch. So from our perspective here, it's going on the bottom Now when the wing is inverted we'll be sort of edge highlighting the top because it's not catching a light from above It's catching a light from below And if we're going to have the wing membranes themselves have this light Then it's important that the little phalanges in between also have the same light and need to exist in the same color tone Now again, I could do this all with the airbrush In fact, I do go up at the very end off camera and just sort of touch the whole area up But you can also just go ahead and do this same thing with a brush hitting the areas in between As well as the little bone claws and everything else with this color to pop it all out There's the wings. They're all attached Let's take a look at this boy as he's big and angry and ready to go This guy was a lot of fun A lot of the tricks and things you saw that I painted on him that weren't the wings Was actually very much similar to what I did in the recent horus video So if you want to see things like how I painted the armor or other elements like that Well, go back and check out that horus ascended video. I did very similar techniques here and even the same paints and colors But I thank you so much for watching this one. I really appreciate it Hey, if you could hit like it helps other people find the channel subscribe if you haven't already Uh, we have a patreon down below if you're interested in taking your next step on your hobby journey It's focused on review and feedback and it's full of an awesome discord community full of enthusiastic hobbyists But as always, I thank you so much for watching And we'll see you next time Oh