 Hello everybody and welcome to another hobby cheating video today We're continuing on with our adventure with scavics plague pack And today we're gonna use them to talk about doing glowing smoke This can be a really tricky effect, but it's actually really fun. Let's get into it Let's strict techno man sir that is Vinci V Let us get to the technique and learn it Vinci V style personally I don't really like when models have painted or sculpted air So this means like smoke and little wisps of things Things that don't really have a physical tangibility in the world and yet we're supposed to paint them like they're solid objects It's somewhat annoying, but if we're going to deal with it, then we might as well do it cool and make it look awesome So today we're going to take you through because a couple of these little plague bunk boys Have little plumes of smoke on them and of course scaven don't walk around with normal Braziers just burning frankincense or something. No, they've got cool warp stone gas So we're gonna make it some fun green glowing smoke. Let's head over to the desk And we'll show you how to do it All right, we're gonna start out with a little bit of tenebrous gray Now you can use any color you want, but here's my best advice when you're doing smoke Don't just mix black and white as with all things when you're working with neutral tones Something with an actual color in it is going to be more interesting Since this is going to have green in it a little bit of purple In the tone will act as a contrasting color purple and green. It looks good together. Think villain colors. Think dr Sorry, I think lex luthers, you know super villain outfit, right? So by infusing a little bit of hue of real color We can do a lot of work Now we're going to chart out the individual volumes I'm going to hit the little edges of the smoke and then everything else with this light It's just getting pushed towards the top. This is just traditional layering I'm adding an increasing amount of that reddish gray. Again, it has that warm sort of ruddy tone It'll suit well with the purple And I'm just highlighting toward the top of each individual volume in the smoke Making it look like so each individual billow is getting highly contoured Now as I go and continue highlighting I'm going to highlight less and less and less of course each time just like with all layering But I'm also only I'm going to restrict the amount of the thing that I highlight What I mean by that is you'll notice in some of the later steps I really only hit the top part of the plume With the highlight or I focus in much more on the top part of the plume Because in the end we want the part of the plume that is the most distant from the source To be the most gray the most lit it would be the most thin And hence the most light would be coming through it and it would be the most sort of light values You can see there how I hit only the highest part of it, right? Now To help smooth out all my layering we're going to go back in with a glaze, but this will be the first of many Whenever we're going to do normal smoke You could just kind of stop with a step like this a few back and forth glazes and you're ready to go If we're going to do something like glowing glazes then we have a lot more work in front of us But step one is we want to make sure there's plenty of space for the shadows So I'm glazing down here pulling everything darker using a darker tone To suppress all some of the highlighting work I've done And that's because right now I'm going to come in with this ivory color And we're just going to set our values Now when we were doing glow the key is all of the deepest spaces need to be what gets the light So the inside of his little brazier up under the hook and then the lower parts of each recess So I'm going to hit the now we're going the opposite of whatever we did before so when the plumes We're getting contoured we were highlighting them towards the top Right when we're doing the glow We're starting at the crease that's under each individual volume each each individual little bubble of smoke Each contour each volume And then we're bringing it up and this is going to look horrible when you first do it Don't worry the goal here is we are trying to set the inner hottest glow of the light and we'll build from there Now right away you're probably freaking out and saying oh my god vince you made that look completely ugly Hey, I understand The reality is we're going to have to make it look real ugly here for a minute before we make it look cool If you want to stop before the glow and just do the smoke You can stop back before I add anything into the recesses and end up with a cool looking just plume of smoke But if you want to make it glow and really pop then Hey forge ahead with me All right So now i'm just going to keep trying to smooth that out The first thing I do is I realize I didn't quite have enough dark space above to work So i'm going to sort of glaze back down try to fuzz some of the edges of that hard white that I put on Smooth it back into place, but it's this isn't a step one step two step three process When you're working with glow and with osl and anything like that I need you to get rid of this mindset That you're supposed to be baking that it's some kind of Recipe thing where you can just go okay now do this now put a quarter cup of this in now do this and you're all done That's not how it works Whenever you're working with something like osl any kind of glowing source Your subconscious brain has a lot of preconceived notions about how things work So you're going to need to be able to screw it up You're going to need to slightly adjust it go back and forth a little more light a little more dark change the position slightly move Things around over and over and over and over and over and over and over and over again Until it feels like it's in the right place. And so as a point of fact, I'm just going to work back and forth quite a lot here Once I'm relatively happy with my hottest lights Then we come in with the actual glow So this is golden high flow fluorescence for my money. These are some of my favorite fluorescence to work with You notice how this is just like nuclear. I mean it pops. It's so bright. It's so intense But it's also very thin It will have basically no effect on anything that you put on that's dark and black It won't do much of anything at all. You can see I'm I'm going to push it up there And it will tint that a little but when it dries It's going to basically completely be suppressed And that's the key you do need to push this green beyond just where you did white So you can see how I'm I'm working over everything that was white, but also beyond And now just begins the back and forth refinement. So here I'm going back to a dark color trying to smooth the transition And a lot of this looks pretty rough at this moment, but don't worry. We're going to work back and forth a lot The real journey From this point forward Is constantly trying to smooth the transition because with each little individual puff little plume little volume In the smoke We want it to transition from on the low side being an intense Bright green Into a sort of darker green into the darkest area of the smoke Which should be in the dead middle of each volume the sort of center point where your eye is going to meet Right the horizontal right in the middle is the darkest spot Then transition back up into light, but into the neutral gray light of the of the ambiance of the environment So all i'm doing with this point forward is just mixing the previous colors you saw me use Meaning I take a little green. I mix it with a little bit of the black I mix it with a little bit of the white. I mix it with a little bit of the reddish gray Whatever and I just keep adjusting and effectively working those volumes Right until I get the right balance on each individual little plume So making sure that each recess has the correct amount of light It transitions into a full shadow and then transitions back up into a full light Now on the lower part of the smoke I want to talk about that for a minute because in the upper plume that's actually kind of the easier part Here you can see i'm redefining some of the tops of the plumes You want to make sure that none of that green gets down onto the top of the plume You want it to be caught hidden inside because you're not really capturing an emanating glow You're capturing an inner glow So hence why I have to go in with the gray and Resolidify all of the the tops of my volumes to make sure that it's it's nice and clear the cut there between With the lower parts of the smoke There we want to in between where it's where the The sort of sculptor has had cracks in the smoke where it's going back into the brazier That's where we want to hide the light And that's where we're going to then stick that same green and do that same transition So the innermost areas are what gets lit Now there are parts of the smoke that are exposed That don't necessarily On the lower side Have any green near them. So there you treat them much like a one of the upper volumes And you work some of the gray The sort of reddish gray color into that because that smoke still needs to catch the light where it's Wisping out of the actual brazier itself Moving back up here you can see that what i'm just constantly doing is just slightly adjusting these volumes And all of this is working in very very thin glazes. So everything from the midpoint of this on Is just glazes and smoothing and smoothing and smoothing and refining Because it's very easy for it to be and to end up quite rough So you notice i work light and then work back to dark and then work light and then work back to dark When you're trying to do this one of the reasons it's so hard to blend is not just because you're working with acrylic paint And not just because you're working with very thin fluorescence, which you know are naturally quite transparent But also because your value here is going from basically one as bright as possible to near white I mean that green is being under it's being underlit by near white All the way back up to Or all the way down i'm sorry to black So you're trying to run the entire value spectrum with acrylic paints which blend like crap all of the time So trying to go from white to black is really hard and takes a lot of back and forth glazing and blending to make it look smooth Okay, but you can see after constant adjustments. We're actually getting to a pretty nice place where it's feeling quite organic So now i'm just smoothing out some of the tops the grays making sure that those areas that are supposed to be like that Uh are are still looking nice and smooth Once you've done all this it's important to establish that hottest hot hottest center Of your glow that's when we come back in with the white and we're going to go ahead and You know just hit the smallest space And then boom we come back in with another layer of the green So by continually doing white Putting the green on top add another layer of white in a small area Put the green on top another layer of white You can repeat this as many times as possible getting thinner and thinner and smaller and smaller each time And each time will make it slightly more intense And make it pop and glow even more until it really looks like it's just jumping off the figure There we go. He's all done. Uh, I think he came out pretty cool That smoke really pops really glows and it's actually a simple process There's a lot of like just simple back and forth and back and forth to get the balance right To where it tricks your eye into thinking you're looking at the right thing that you're looking at something That is glowing lit from below, but also a somewhat dark tangible object So I hope you enjoyed this if you did give it a like Subscribe for additional hobby cheating in the future. Remember we have new videos here every Saturday If you've got questions drop those down in the comments below Uh, if you want to support the channel, you can do so. There's a patreon link down there Focused on review and feedback and taking your next step on your hobby journey We'd love to have you as part of the community There's also links to all of my books that I publish with uncle adam We have a company called snarling badger studios and we do fun Fast easy to learn skirmish games. You can find those down there links below As always though, I thank you so much for watching this one And we'll see you next time