 Hi there! It's DJB and welcome to part three of my three-part Drastic Fjord custom tutorial series. In this part we will be painting the final model to start to finish to a classic fjord done coloration. If you're new here you should start with part one which was deconstructing the model and part two was reconstructing the model and now we are painting the final piece. So I hope you enjoyed this process. It was lots of fun! I'm going to be painting the fjord to a classic fjord color while following my reference of the long main version. So as a base I'm going to use white then I'm going to use aged white then I'm going to use camouflage brown camouflage pale brown and a dark sea gray for details. I'm using Vallejo model air airbrush paints and I'm going to be using a combination of my iwata eclipse and iwata micron airbrush. So just inserting that white in there testing that airbrush out I'm just going to paint the whole model in white so this is the easy phase you're just going to spray paint the whole thing until it's opaquely white because the primer is gray we need a white base coat to start on and this is the easiest way to do it creates a smooth good base to start the finish work on. Of course in the background I am wearing my respirator mask as I air rush and I'm running an air purifier in the room. So then adding a a layer of aged white I'm going to start the shading process so that's making darkness on the top upper layer of the horse and shading down into the muscle structures. So we want to use this as kind of a second base coat so that it's shading in the ways that it needs to shade but we're also leaving areas of that white because there is areas such as the flank and the elbow and around the muzzle that stay the true white of the fjord. Making sure I clean out my airbrush after each coat using iwata media airbrush cleaner and then I'm going to take the slightly darker brown and this is where the real shading comes in texturing the upper layer of the horse into the barrel of the horse and on the prominent muscle structure while leaving some of that yellow aged white and some of that pure white as well. So you want a layer in sections and you want to make sure that your shading is consistent and each layer is leaving portions while also covering portions of the color pattern. So on the face painting around his eye but making sure that there is white fully around his eye as good fjord would have making sure i'm not painting too much on the legs. Then using this darker tone brown that's actually just going to be for the legs so the legs are quite dark. Painting around the hoof and in the knee area not so much on the back of the leg because the back of the leg they actually have quite a white hair pattern. I'm airbrushing a base for the dorsal stripe as well. Then I'm bringing out my micron and this airbrush is a lot more for fine detailing so I'm going to be using it to paint the muzzle gray in the lip areas making sure not to cover up too much of the weight and follow the pattern as well as around the eye airbrushing just a tiny bit in there and also in the groin. So once I have a good airbrush base I'm going to go in and hand paint those little zebra stripes that show up on the fjord's knee. So this is a long tedious process using a Windsor and Newton Kalinsky sable series 7 paintbrush in triple zero. It's my favorite one for small detailing like this and I'm actually creating individual hair detailing so it's a huge process in just painting little tiny hairs. And then I'm actually going to go back in and take my aged white as well and paint over some of those areas on the back of the leg that flow into those little fetlock hairs and so just texturing it enough that it looks accurate to the breed and shading it enough that it doesn't look awkward in comparison to the flat body. So lots of little detailing in here using a combination of the dark browns and the aged white. So here you see my model is wrapped in a towel so that I don't wreck any of the base coating and you'll often see me wearing a rubber glove as well if I'm touching the model in any way because you don't want fingerprints or oil off of our hands getting on your paint job. So this takes quite a process and it was really worth it in the end. Then I am going into the eye area and creating some detailing within the eye adding some white around the wrinkles of the eye and the underside of the eye as well as some dark black that will go back in. So I detail a lot of the face in acrylic using a darker acrylic in some of the shading areas and a lighter acrylic in some of the highlight areas but making sure to do not too much because acrylic paint that's painted on is very harsh in edge versus airbrush which is very soft in edge. So I just add a few details but I try to blend and smooth as much as I can using a very diluted white to highlight some of the areas in the muzzle around the nostrils and in the lips and then also really detailing into the ear creating that outer edge that is a dark brown and then the inside of the ear which is lots of different little fuzz that's a white color and also the brown color and then painting in the main. So here I had some trouble deciding if I wanted to paint the main a dark brown or closer to black so I actually did a combination of both so here I'm base coating in brown but later I add more black in and then more brown tones in the lighter areas as well. So it's a combination but just using a large flat brush and acrylic paint I use Joe Sanja Matte Acrylic and it's in the burnt umber shade. We'll take a smaller kolinsky sable brush to go into the details of the main that fall down onto the body to create the actual texturing of the hair. I'm going to spend a lot of time working in the main creating fine lines of fading texture and highlights and lowlights so it's a long long process of just painting strokes in the dark black color highlighting with brown the white color for shadowing in a gray and adding lots of little hair detailing in the fact that the hairs are mixed throughout the whole main but making sure that I know that the center of the main is the definite black portion and the outside of the main is white so the main would be falling over the crest of the neck is all going to be dark. Same thing on the tail just a simple base coat to start with letting it dry and then detailing on top. Yards have a bit of a fade in the way that the base of the tail is black and the top of the tail is white as well as the fact that they have kind of a dark stripe that goes down to the middle center of the tail. Here I'm adding in eye details painting in the eye. I like to highlight the eyes with golds because it shimmers in the light when you gloss it and there's a lot of work just done on the hair mostly. Most of this model was the focus was the hair so I had paid a lot of attention detailing the hair adding some veining details using a slightly darker brown on the face there. Detailing in the tail here with some brown as well layering until you achieve the look that you feel confident with. Then I'm going back in and I'm actually going to hair detail the dorsal stripe so I'm adding a brown tone to the outside of the dorsal stripe and then I'll go back in and add some of that aged white as well for highlights. So hair detailing and the hair growth pattern so on each side the hair is going outwards until I achieve the dorsal striped look that I am going for. For the feet I paint with a base coat of gray. It's the dark gray that I used in the muzzle and in the groin just creating a solid color to begin with letting that dry. And then going in with my Kalinsky sable with a combination of white gray and black to create both texture going down and texture to the side. Horses have growth rings on their feet that go both directions so you want to make sure that you're going both directions. Creating a dark to light gradient. I signed my name in some dark brown in the groin area and the base of the feet are same kind of thing. Painting a dark rim with light in inner tones following reference of true to light horse feet but using a combination of the black whites and grays on all of his feet to create a three-dimensional texture in the accurate presentation of the frog. Then as a final step I'm going to add some burnt sienna pan pastel applied here with a makeup brush and I'm just going to soften up some of those herring details I did in the hawks, fetlocks and knees of the model. Then I'm going to seal the model in a tester's dull coat outside doing swift strokes just like this and I will do a couple phases of this that I get all of the model holding it from different sides and directions to really make sure that it is all sealed up good. Then when he's dry I go back in and I add gloss to the eyes to the nostrils. I also add some gloss to the lip line as well as glossing the hooves as a good sealer and a touch of realism. Paint cans and here we have the finished drastic custom fjord. I've named this guy Keon I think he turned out really fantastic considering he started as the Halflinger mare. He is now a beautiful long main uncapped fjord. Thank you so much for watching this has been part three and the final part of my three part video series to create the drastic custom fjord Keon. I hope you enjoyed this as much as I did it was a lot of fun I learned a lot there was a lot of mistakes a lot of success. I feel like him as a finished piece you really turned out really awesome and I'm really proud of what I created here and I hope that you learned something from me documenting the process filming the process and uploading it for you guys. I will also be releasing the full length version of this video so that is all three parts combined if it's easier to share if it's easier for you to watch. If you have any questions of any kind feel free to comment. All of the tools that I used in this video are going to be linked in the description below. Be sure to subscribe and like this video you can follow me on instagram and facebook at dgp studios