 Hello, everybody, and welcome to another hobby-cheating video. Today, we're going to talk about one of my most specific topics ever. We're going to talk about doing colored non-metallic metal, specifically making pink pop. We're going to do some pink non-metallic metal. Let's get into it. The strict technomancer that is Vinci V. Let us get to the technique and learn it Vinci V style. Zambies Decays over on Twitch reached out to me about the Fabulous Marines project. Here, during Pride Month, she asked if we could several artists are participating together to paint Marines and then we auction them off and all proceeds go to the Trevor project, which is an absolutely fantastic charity all about helping LGBTQA youth. You can find the link to the eBay auction for this down below if you're interested in getting the Marine that you see in this video. I'd also ask you to just drop a like right up top. Hit this so other people can find it. I will also put in links to Zambies Channel as well as to Sam Lenz who's also doing some Fabulous Marines work so you can see what they have to offer as well. But what this afforded me a chance to do was some pink non-metallic metal and I really love it. So my first Golden Demon win was actually using pink non-metallic metal. You can see a picture of those figures here. This was for my Pris and the Replicants Necromunda gang and I was really happy with how this unit came out. And I think the swords were a big part of that and since that time I've really been fascinated by, you know, taking other colors and bringing them into a more non-metallic metal type of work and making it look like they have shine to them. So today we're going to break down how you work in these unusual colors. We're going to use pink specifically, but the lessons here can be done with basically any color even or maybe except yellow. That's just called gold. That's not like other non-metallic. So at any rate, let's head over to the painting desk and we'll take a look at the figure. Everything is done except for the sword and we're going to basically carry this through on the sword. So you can see my whole process. Let's get over there. All right, let's get straight into it. So we're not going to talk a lot about the specific paints. Those will scroll up top and you can see what I'm using. Instead, I want to talk about strategy, the why's, the what I'm doing, that sort of thing. Now when you're dealing with any kind of non-metallic metal, steel, gold, or unusual colors, the lessons are the same. All painting is trying to capture the light and when we're dealing with a surface that's highly reflective, what that means is that we're going to need to run from extremely high values to extremely low values from very bright to very dark. We also, when we're dealing with non-metallic metal, especially in these unusual colors, you don't just want them to run counter to each other. I've seen a lot of non-metallic swords where they just kind of run it sort of airbrush style. It goes to bright light on one side and then flip it around on the other half to the blade. And that just doesn't look like anything because reflections in reality are messy. They're unequal and extremely bright surfaces. Light scatters everywhere. They reflect the environment around them, all sorts of things like that. So what I'm doing here at the beginning with this very thin glaze is just trying to sketch out some interesting areas for the light to fall. Now, one of the most important rules when you're dealing with extreme high value jumps is to always oppose light with dark. Now, what I mean by that is the more transitions between light and dark you create, either on one side of the blade, you don't want it to be just like staccato. But the more transitions you have or the opposite sides of the blade against each other, the more visually interesting it is. And since I don't know exactly where I want them to be, I'm not going in with a strong layer. I'm feeling it out. What do I want the shape of these to be? How big should they be? What should the volume be? That kind of thing. You can source it out and just kind of feel as you're going. That's why I'm working in a thin glazes because then I'm not making a commitment. I can sort of do it, take a look at it and see how it feels. When you're working in bright non-metallic shins, especially on something like a blade or a large flat surface, this could be anything, you don't generally want it to be a complete rectangle. One of the other things I see people do with these lights and these shadows is make them so they're just one flat area of the blade like a rectangle is dark and then it transitions into another rectangle and another rectangle. Again, not how light works in reality or any world because light bounces around its scatters. Instead, we want to do different interesting shapes. Here, I'm sketching out more or less triangles or I have it reaching out where on the tip of the blade it's more of a U shape, but those kinds of things. Now, this magenta step is important. This magenta is PR-122, which is a really intense pigment. It's extremely transparent, but it's also extremely powerful. Even super thin to a glaze, it still really leaves a mark. But what this starts to let me do is really see the transitions that I'm going to have on the blade itself and start adjusting them. And as I get happy with those, I can start really pushing the darks. Now, let's talk about the presence of light versus dark on the sword or in any non-metallic metal surface. A non-metallic surface to read as shiny needs to contain the full run of the full gamut of volumes from quite low and dark, not necessarily going all the way down to like the darkest dark, not to black, but it needs to get pretty dark. If all light and dark is 1 through 10, you need to go 2 through 8 or something like that basically. It's somewhere, but not everywhere. I don't need the same amount of light and dark on each side of the blade. In fact, that will make it read false. You want differing amounts of darkness on one side and differing amounts of light on the other. That sword is undoubtedly slightly tilted, twisted towards the light, and this is true for the shoulder pads, the eagle, anything like that that I'm doing in this non-metallic. Whatever surface it is, you want to make sure that it, that there's alteration. You know, the top of the shoulder pad probably has more white and more light on it than the one that's facing toward the ground and is only getting bounce lights. So varying the volumes of your light and dark will help make the surface feel more realistic. And what you see me doing here, now that I've kind of locked in, you saw how I slowly worked those darks in and there's very little of this actual sword that is super dark. It's not a lot and that's intentional. We don't, you can have very, very, very, very small volumes of darks or very, very, very small volumes of light and still have something read as non-metallic. As long as you run the gamut and especially in a sword, as long as your edges are highlighted because on metal, sort of high-polish glossy surfaces, light does catch around the edges. That's not just there for readability and miniatures. That is just actually how light works. It catches on sharp edges. Then from there, it's just smoothing it down, making a lot of little adjustments to fix those volumes and make sure I like where they are and make sure the transitions look smooth. So now we get into the super-flething step. This is about 40 minutes of work that I've condensed down to about 30 seconds. But what I'm doing is just slowly adjusting each individual volume to get it where I want, placing the lights, applying thin glazes, smoothing things out, getting it to where I want it to be. Part of this is just because I wanted this figure to be really nice since it's for charity. But part of it is also because real effective non-metallic has these kind of variations. You can see now as it progresses, how much darker the bottom of the sword looks than the top of the sword. Again, those kinds of variations where we're still light is still opposed by dark. You still have opposites. You know, those kinds of steps make it feel more realistic. The final step I'm going to do is on what has become the bright side of the blade. I'm going to take just some pure white and in the hottest areas, I'm going to dapple in just slight stipples and then smooth it out some absolute pure white. So the very tip of the sword, I hit some of the edges in the brightest areas as well. The little power conductor thingamajiggy, I don't know what it is. Just to show that bright white light point where it's actually reflecting the sun or the light source itself. And there you go. With that, you are now armed to do non-metallic in any color you need. The marine is all finished. I think the sword came out really cool. I got to tell you, I really like this color scheme. It's a bit synth wavy, like the cyan, the pink and magenta with the white. Yeah, I could probably do a whole army of Marines like this. It seems like it'd be a fun scheme. So if you like this marine, don't forget you can go ahead and bid on this. The link is down below. All proceeds from this go to charity. It's an eBay auction for charity. So that's how it works. I don't actually collect any of the money from this. But if you're interested, cool. If not, that's okay too. I hope this was still informative and helpful to you. Give it a like if you do. Subscribe for additional hobby cheating in the future. We have new videos here every Saturday. And I'm always looking to build a big library of every topic you could ever look for. And well, hey, now somebody in the future will Google pink non-metallic metal and they'll have a video and that'll be awesome. We also have a Patreon focused on review and feedback. So if you're looking to take your next step on your hobby journey, you can find that link down below. But as always, I thank you so much for watching this one and we'll see you next time.