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Paint NIGHT LORD Armour SO GOOD You’ll Make Konrad Curze CRY!


What’s up guys, welcome back! Today we’ll be looking at how I painted the
blue armour on this Night Lord model. I’m not going to show every single surface
because, really they’re all pretty much the same, once you know how to approach one armour
panel you can apply that across the rest of the model. So for the sake of your sanity, and mine,
we’ll mostly focus on how I painted the leg and the shoulder pad. To start off I used some Scale Colour Black
Leather and painted all the armoured parts of the model. I had already primed the model using GW Chaos
Black spray, I find these darker scale colours go on better over a darker primer, that’s
why I opted for the black over my usual grey. You can also leave the black in the recesses
between panels to help get clear definition between each section. It just saves us a bit of time, because we
don’t need to go back and line everything later. In order to get a smooth coverage I apply
this over a few thin layers until the colour is solid without any patchyness. Alright, so for our first highlight, and because
we used our shadow for the base colour this is actually going to be our midtone, and for
that we’ll be using some Scale Colour Cantabaric Blue. We’ll block that in, over the areas where
we want our highlights. You could also start off by basing the model
in this blue and then paint in your shadows later but I find this way, where you’re building
up the colour on top of the shadow is a little less hassle. If you’ve seen my other videos on painting
space marines you’ll know I like to simply block in the colour without trying to blend
it out. It looks a little odd until you blend it out
but it’s actually quite a good way to map out where all your highlights are without
having to worry about getting smooth blends while you’re doing it. So that the model looks interesting from multiple
angles we’ll try and imagine four general light sources, two coming down from the front,
one on the left, and one on the right, and then two from the back, again on both the
left and right side of the model. When I’m painting the highlights I’m always
trying to match the shape of the surface I’m working on. For example, the shoulder pads are kind of
egg shaped so on the front I paint a sort of egg shaped highlight around the area where
the light would be hitting it. Again we have a light source coming down from
the front side of the model so our highlight will be around here, underneath the light. Then on the back of the shoulder, we have
a light coming down from the rear so I paint a vaguely egg shaped highlight just underneath
where the light would be hitting. This time, because of the way the model is
tilted, less of the shoulder would be exposed to the light, so I make the highlight a bit
smaller than the one on the front. I’m using basic NMM rules to work out where
to place most of the highlights. These little bum plate whatsits are essentially
flat surfaces so I’m highlighting towards the lower edge. You could do multiple highlights along the
length similar to painting a sword, but this model is going to be wearing a giant backpack
meaning this this area will be partially obscured so I may as well paint it fairly simply just
to save a bit of time. On the leg you’ll see I place two highlights
to represent the light hitting it from both sides. I should have done a similar thing on the
other leg but I forgot. Alright, so I just continued placing highlights
on each armour plate, the surfaces on space marine armour are all quite basic so it’s
fairly straight forward to work out where to place them. If you’re a bit unsure about this, check out
my video on NMM highlight placements, it goes into a lot of detail and should help to make
it clearer for you. Once all the highlights are blocked in I make
a glaze by making a one to one mix of the Black Leather and Cantabaric Blue then I added
some water, thinning it down so it looks like coloured water. With only a small amount of the glaze on the
brush, I pull the bristles up and over the transition of the two colours, moving the
brush towards the highlight. Always pulling the glaze from the darker colour,
to the brighter one. I do this over multiple layers, letting the
glaze dry after each application until the harsh line seperating each colour fades out,
leaving a smooth transition between the two. You can speed this process up by using a hairdryer
to dry each layer. Using a hairdryer lets you apply many layers
in a very short amount of time, so if you’re using this method of blending I highly recommend
having one on hand to speed up the drying time. To blend out the round highlights on the shoulder
I work my way around the outside of the circle, pulling the glaze up and over the transition,
going round the circumference. I also try to vary the length and direction
of my brush strokes so that I don’t build up a noticeble pattern on the surface. Some of my brush strokes will be short, some
long, some at a bit of an angle, some straight. etc. When you’re using glazes, if you make your
brush strokes all the same length, and direction, paint builds up in the same spots over time
and you end up creating a noticable pattern on the surface. So instead of creating a soft transition between
the two colours you end up with little streaks forming over the transition which can be quite
difficult to fix. Try and be conscious of that when you’re glazing
and vary the length and direction of each brush stroke so that doesn’t happen. I also like to use stippling when I’m doing
the rounded highlights, I find it helps a great deal in evening out the blends. All I’m doing is placing little dots on and
around the transition to help break up the surface, still using that same glaze consistency. When I’m applying the dots I try to use the
very tip of the brush, and just lightly tap the surface so that they go on as small dots. If you’re too heavy handed with it they’ll
go on as rough blobs instead of dots, so you want to be careful that you use a light touch
when you’re doing this technique. As we’re going to be adding a textured metallic
effect, the little dots help to create a shimmery quality to the surface which will become more
obvious as we add further highlight layers. On the legs plates I switched back to Cantabaric
Blue, which I again, added some water to make it into a glaze. And I used that to add some subtle texture
by painting horizontal lines over the transition. Just like the dots on the shoulder pad these
lines help to blur out the transition while also adding some initial texturing that we’ll
build up later as we add our brighter highlight layers. I try to paint the lines on so that they’re
pretty tightly spaced. The effect we’re going for is a brushed metal
surface, and these lines are going to help sell the effect. You’ll see how effective it is as we begin
to develop the highlights. Just like with the initial glazes, I let the
lines dry and then apply another layer, and I do this 3 or 4 times until I’m happy with
the look of the transition. Alright I think you probably get the general
idea now so I’ll speed this up a little bit until we get to the next step in the process. For our next highlight we’ll make quite a
large jump in colour with some Scale Colour Mediterranean Blue and we’ll thin this down
to a thinnish layer consistency. So just a little thicker than a glaze. If you experiment on your nail you want to
be able to paint a thin semi transparent line without any pooling or loss of control. If the line isn’t transparent, it’s too thick
so add a little more water. If the paint is running off the brush and
pooling on the surface, it’s too thin so add a little more paint. To get the nice brushed effect we’re going
to start off by mapping in the middle point of each highlight. To do that, I simply paint a solid line with
the Mediterranean Blue along the centre point of our initial highlights. On a cylinder this is where the light is going
to be the strongest. You can see that the line fades out a little
as it dries, leaving it semi transparent. That’s going to act as a guide for all our
subsequent highlights on that piece of the armour. For now, we’ll add a little edge highlight
along the top of the plate. Just by holding the brush at a bit of an angle
and letting the side of the brush, gently glance along the top edge of the thigh plate. Using that line we painted earlier as a guide
we’ll paint over it, this time only covering about half of the line. Notice that the colour nearer that top edge
is now slightly brighter than before. This is actually the basis for a lot of blending
techniques. You start with a semi transparent layer, then
you add another semi transparent layer on top, and each time you add a layer, the colour
gets more intense and less transparent. Now that our guide line is in place, we’ll
paint over it with horizontal lines using that same transparent consistency. Don’t worry too much about your first pass
at this. As the paint is fairly transparent, you have
some leeway for making mistakes, the idea is to build the colour up over a few layers. Notice I haven’t tried to make the lines really
tightly pressed together. These are also painted on fairly quickly,
it’s much easier to paint a thin line with a fast flick of the brush, rather than meticulously
painting it on. Test it out yourself and compare the results
between fast and slow brush strokes. Do another layer of lines this time try and
fill in the gaps between the lines from the first pass. You’re also going to start trying to make
the lines longer at the top of the highlight, so that they’re not all the same length. I find this makes the highlight look a lot
more interesting. So you’re going to repeat this process a few
times, painting horizontal lines over that initial guide mark until it starts to become
somewhat obscured. Alright, I think that’ll do for now, we’ll
make a start on the lower leg. Again, painting on an initial guide line running
along the middle of our highlight. Then just like before we’ll add a little edge
highlight before painting on a few layers of horizontal lines, over the top of our guidemark. To continue we’ll mix a little Scale Colour
white sands into the Mediterranean Blue, in order to lighten it. White sands is a lot like Valejo Ivory, it’s
an off white with just a hint of yellow in it. It’s really nice to use as a general mixer
for lightening colours. Now you’re going to paint a line, down the
middle of your highlight, following your initial guidemark, but this time you’re only going
to paint along roughly half the length. And the same with the edge highlight, just
make it a bit smaller than last time. I’ll just reinforce it a little to make the
colour stronger. Alright, so once that’s in place we’ll repeat
the process and paint on horizontal lines over the top of our guide line, this time
making the lines a bit shorter than we did on the previous layer. And we’ll do this over a few layers. Maybe we can make the lines on the bottom
a bit more defined. Yeah that looks alright now. For the upper part of the leg we’ll do exactly
the same thing. First painting on that initial guide line
and edge highlight for about half the length. Then painting on horizontal lines over the
top of the guide mark. Mix some more White Sands into the highlight
colour making it very bright. This is painted on as a small T shaped highlight
on the bottom and top of the plate. So I paint a little vertical line at the bottom
of the plate, then paint a small edge highlight forming that little T shape. And I’ll go over that a couple times to make
the colour nice and bright. If you like you can add a little dot around
the middle of the plate to simulate a little light glint on the surface. If you do that, try and make it line up with
your original guide mark or it’ll make your highlight look a bit wonky. Alright, and we’ll repeat that for the upper
part of the leg. Using that same bright blue highlight colour. You can also add a little dot or two on the
edge of the armour plate to help sell that shiny effect. We’ll come back to that in a second but for
now we’ll add a little edge highlight on the upper side of the plate here, just with some
medeterranean Blue. So again when you’re doing edge highlights,
don’t try to paint it with the tip of the brush, use the side of the brush, near the
tip and just draw the side of the brush along the edge at a bit of an angle so that you’re
brush is just glancing along the edge. It’s much easier than trying to paint it with
the tip. Alright so I’ll take our brighter blue colour
and draw it towards that corner point on the armour plate. Then again with the brighter colour. It just helps to pick out the detail along
the edge there to give the plate definition, so you can see it from a bit of a distance. To finish off the highlights we’ll take some
White Sands on it’s own and simple place a small dot right on the middle of the highlight
at the very edge of the armour plates. You can see that strong contrast helps to
gives it quite a good shiney effect. Alright, so that is the basic process for
painting the brushed metal effect. I’ll paint the rest of the foot so you can
see a bit more of that in action. So I’m using the same colours as before and
I’m trying to build up the highlights on the upper part of the foot so that the highlights
line up with the one on the leg. Being careful to leave the dark lines between
the details so they’ll stand out and you’ll be able to see them from a distance. This little flat part on the other side is
going to be facing the light so we’ll highlight that as well, I’ll just let that play through
so you can see the process. Notice I’m adding a few little highlights
along the edge. Leaving some gaps along the edge helps to
emphasize the shiny nature of the surface, because you’re retaining more contrast as
you still have that interplay between the light and dark colours along the edge, when
you paint it as a solid line, you actually lose some of the contrast, which to me looks
less effective than when you just add a few little lines and dots along the edge. Alright, so on the plates at the front of
the foot it’s the same idea again. First painting the guide line where we want
the highlight. I try to get the guides to line up when I’m
doing this. Once those guidemarks are in place I paint
on the horizontal lines over the guidelines. And I do that over a few layers until the
line starts to blur out. Then with the brighter highlight I do the
same again, first painting in the guide mark. Then painting horizontal lines over the top. Then to finish off I come back with some of
the white sands and just add a few little dots to boost the contrast. Alright guys so that is how you do the brushed
effect on those pretty simple armour plate surfaces. Alright, so I think that’s all for now, thanks
very much for your continued support, I should be getting some new camera gear soon so you
should hopefully notice another jump in quality in future series. If you find this content helpful and you’re
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click the Patreon link on screen to sign up now and I’ll see you on the discord. Thanks again… Bye for now.

About Roger Trantham

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