RAAM FAQ draft (warning VERY long)
L. M. Lloyd
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Q: Where are some good web sources for buying anime models and
supplies?
A: Ordering over the web is, of course, a highly personal decision,
but the general consensus is that the best way to go is to order from
one of the Japanese based businesses that accept international
orders. Of these Hobby Link Japan
is the most popular due to both its low prices and excellent webpage,
but many people also like Rainbow Ten
http://www.wbs.ne.jp/bt/models/english/
for their quicker response time, and because they only list what they
currently have in stock, so there is never any confusion as to
whether or not your order will be placed on backorder.
Q: What is the difference between an original model and a recast?
A: There are many differences between original kits, and recasts that
fall into the category of ethical considerations. I will not get into
those, as they are highly personal issues that a person has to decide
for himself or herself. Legally speaking, the difference between
recasts or bootlegs, and licensed original models, is that the
licensed original model has legal permission to use the copyrighted
subject matter where the recast/bootleg does not. This means that the
studio that created the subject of the model is getting some sort of
compensation for the use of their design or character in the case of
licensed originals, whereas the company is not getting any
compensation from recasts or bootlegs. Practically speaking, the
difference between originals and recasts is primarily on of cost vs.
quality.
Original Japanese resin kits are typically of good to excellent
quality in terms of both the materials used, and the quality of the
casting and accessories, where recasts range in quality from
absolutely horrible, to excellent in terms of quality on both
categories. The biggest functional problem with recasts is that it is
often difficult or impossible to know the quality of materials and
casting before actually purchasing the item, whereas original kits
are almost always of a known quality. However, recasts are typically
half the price or less of the original kit, which is why they are so
appealing to so many.
Usually the quickest way to tell the difference between a recast and
the original is by looking at the packaging. Most original Japanese
kits have rather elaborate boxes that clearly display the name of the
company that manufactured the kit. In contrast, most recasts have
rather plain boxes displaying only a picture of the finished kit, and
usually no company name what so ever. The other way to tell a recast
is often by price. Japanese garage kits come with a suggested retail
price, and it is extremely rare to see an original garage kit sold
for more than 20% below that suggested retail price, so chances are
if the price is lower than that, it is probably a recast.
Do remember, however, these are just rules of thumb. I have seen
recasts selling for more than the original kit, in clearly branded
boxes from companies like Elfin or Ben Di.
Q: New Bandai kits say they do not require paint, is this true?
A: Many of Bandai's newer kits are "molded in color" meaning that the
parts of the model are cast in a color that either matches or is
close to the color of the design in the show. Many people find that
this color molding is an acceptable substitute for painting the
model, while others feel that small additional amounts of paint are
needed to enhance the appearance of the model, while still others
feel that color molded plastic is no substitute at all for a complete
paint job. Ultimately, it is a matter of personal preference.
However, as a rule, color molded kits will be acceptable to the
majority of anime modelers in their un-painted or semi-painted state.
Q: What tools do I need to make an injection plastic model?
A: As with many other of the questions, this will vary wildly
according to personal taste. Some people like to use household items
like nail clippers, and emery boards, while others like to use items
you pick up at common hardware store, like wire cutters and
automotive sandpaper, and some prefer tools made specifically for
hobbyists, like sprue cutters and flexigrit plastic backed sanding
sheets. Whatever the flavor of tools and supplies you prefer and have
available to you, they fall into a few groups.
Cutting:
This is one of the few tools in which people almost unanimously agree
to some extent. Exacto brand knives are the defacto standard for
hobby cutting tools, and what most people use. The standard #11 blade
that comes with the handle seems to be the most popular, though I
have also found several of the other blades (especially #5 blades) to
be very useful. Exacto knives, and the many compatible knockoffs, are
quite useful for a variety of cutting tasks, from trimming to full on
carving.
The other commonly used cutting tool, is some form of nipper, to
remove the part from the sprue it comes attached to. However, there
is not nearly the consensus on this tool as there is on knives. As
far as nippers go, some people find that they don't need anything
more than a pair of toenail clippers, where other people prefer the
type of wire cutters available at most electronics stores, and some
use specialized tools designed specifically for removing model parts
from their sprue. Largely this difference is an issue of personal
preference, and you should just decide what works best for you.
Beyond this, there are a number of more exotic cutting tools, but
these are covered in the scratchbuilding section.
Sanding:
Often, it will be necessary to sand a part for various reasons,
whether to correct fit, clean off excess plastic left over from the
casting process (called flash), or to smooth out the finish of a
part. Many people buy their sandpaper from a myriad of different
sources, but for beginners, I recommend going to a hobby shop, and
getting an assortment pack of flexible sanding films. The main reason
I recommend this, is so that you will get some idea as to what grades
of sandpaper you need, and so that you can experiment with both wet
and dry sanding plastic. Once you are familiar with the various
grades, you can then get whatever grades you found most useful, from
whatever source you prefer.
Another sanding product that many find useful is called a sanding
stick. These are various grades of sandpaper attached to a thin piece
of foamcore board. You can buy sanding sticks at most hobby shops,
though some people prefer to make their own, or use emery boards
available for nail care at beauty salons and drug stores.
Glues:
Many modern anime plastic models are snap-fit, and a lot of people
choose to put their models together that way. However, even on a snap
fit model, there will be times, when some sort of glue might be
needed to better join two parts together. Therefore, I recommend that
even if you are planning to simply snap a model together, it might
not be a bad idea to get a little glue anyway.
There are a variety of different styrene glues available, and for the
most part, brand makes very little difference, but there are a few
things to keep in mind. Plastic model glues work by actually melting
the two parts of the model together, as such, none of the "nontoxic"
model glues are very effective at all. Also, even though the gel type
model glue that comes in a squeeze tube is the most commonly found,
liquid model glues are typically stronger, easier to control, and all
around better for most needs.
In addition to styrene glue, you might have times when you wish to
glue two parts together, without melting them together. For this,
cyanoacrylate based glues (like SuperGlue and CrazyGlue) can be very
useful.
Seam filling:
Those who paint their models, often like to use some method to fill
the seams before applying paint, there are some particular putties
and primers that can help you do this, which are covered below in the
seam filling section.
Advanced:
There are a number of other tools that are very useful for more
advanced modeling, the most notable being an airbrush. An airbrush
setup could well be the most expensive single modeling tool you will
ever buy, but it also has the potential to add more to your finished
models, than any other single tool. Since an airbrush is such an
important tool, it gets its own question further down. Aside from an
airbrush, other useful tools include specialty tools, like panel
scribers, files, drawknives, and razor saws, which are covered in
more depth further down in the scratchbuilding section.
Q: What tools do I need to make a resin model?
A: Resin kits require most of the same tools needed for plastic
models, but there are a few differences. First off, styrene glue will
have no effect on polyurethane resin. Instead, you should use a
cyanoacrylate based glue (like SuperGlue or my favorite Zap-A-Gap),
and even this will not stick that well, so it is recommended to get a
length of metal wire that is at least 1mm in diameter (this will
often be included with the kit) and drill a hole into both joining
parts, then put your cyanoacrylate based glue on the pin, and use
that to join the parts together. This will require what is called a
pin vise. This tool is a bit like an Exacto knife in construction,
except instead of holding a flat blade in the nib; it holds a small
drill bit. You will also need various sized bits for the pin vise. I
have noticed that all the holes that need to be drilled in resin
kits, usually do not exceed 5mm, and the model parts that are suppose
to fit snugly in these holes are always metric sizes, so it is more
than worth your time to hunt down a set of bits that are exact metric
sizes, else you will have some loose fitting parts. Secondly, resin
kits require considerably more sanding than plastic kits, so a set of
jewelers files is also recommended. Last, a scribing tool is most
helpful in freshening up those obliterated details that fall across
the casting seam.
Q. What tools/supplies are recommended for scratch-building and
modifying models?
A: Obviously, once you head out into the uncharted lands of
scratchbuilding and modification, anything goes, but here are a few
tips that can help you along the way.
Tools:
One of the most useful items you can pick up is a razor saw. These
are made by most of the same companies that make Exacto type knives,
and come with a handle with a removable blade. Blades come in several
different sizes and tooth configurations, and you should experiment
to see what works best for you, but basically these things are for
the quick and dirty removal of parts in a straight line. There are a
million uses, so these things always come in handy.
Another must have is a scribing tool. These things come in a variety
of configurations ranging from simple dental picks, to specialized
carbide tipped modeling tools, but the basic idea is a very sharp
point on a handle used to scribe detail into a surface.
Drawknives are also a nice addition to your modeling arsenal. These
can range from a simple utility knife of the sort available at
hardware stores and larger grocery stores, to the very fancy hook
bladed knives often seen in Hobby Japan magazine. The main advantage
of these types of knives is that they are gripped like a standard
steak knife, rather than held pen-style like an Exacto knife, and
pulled toward you as across the surface. This gives you a much
steadier cut, and results in better straight-line cuts.
A Dremel style rotary tool is another item that most people find
invaluable. These tools can fit a large variety of ?-inch bits,
allowing hundreds of uses including cutting, grinding, shaping and
even polishing. Some people find these tools too coarse for model
work, but others swear by them.
Clamps are pretty much a must when scratch building your own parts.
Holding a part in the exact position for as long as it takes for your
putty or glue to dry can be at best trying, at worst impossible.
There are a number of different hobby clamps available, including
miniature plastic C-clamps, alligator clips, and miniature vise
clamps, and none of them are bad things to have, and I would suggest
a selection of all of them. However, I have found one type of clamp
that is even more useful than the others: Berna Assemblers brand
friction clamps are one of the nicest solutions I have ever come
across. These clamps use two polycarbonate I-beams with rubber ends,
sliding along a carbon-fiber rod. The friction of the I-beams against
the carbon-fiber rods is what provides the clamping force, and can be
adjusted to apply anything from light finger pressure, to 11 pounds
of force! They also come with connectors to form jigs for holding
more complex shapes. I highly recommend giving them a try.
If you are working with tubing, a tubing cutter can save you a lot of
trouble. This is basically a tiny version of a plumbers pipe cutter,
utilizing a vise like clamp that has a small cutting wheel in the
center of the top jaw. As you slowly tighten the clamp on your
tubing, you rotate the clamp around the circumference of the tubing
to successively cut deeper and deeper until you cut through the
tubing. This is much easier than trying to cut the tubing with a
razor saw, and yields much nicer results.
Supplies:
Sheet plastic is by far the best friend of the mech model scratch
builder or modifier. Various sizes and gauges of sheet plastic can be
cut to shape and used to fill the back of hollow parts, add volume to
a part, add detail to a part, or even fabricate entirely new parts.
Epoxy putty is to figure modelers, what sheet plastic is to mech
modelers. With a 12-24 hour cure time, and clay like consistency and
a simple 1:1 mix ratio, epoxy putty is ideal for those looking to
sculpt their own freeform parts. There are several different brands
of epoxy putty out there, ranging from hardware store products made
for plumbers to patch pipes, to specialty putties made specifically
for modeling applications. Any epoxy putty will work pretty much the
same, but the ones made specifically for modeling tend to be finer
grain, and less tacky than those made for general applications. Some
of the popular brands include Mori Mori, Milliput and Briggs A+B.
Polyester putty is a relatively fast-curing, high-tack putty.
Polyester putty is especially useful for building up or filling parts
that need more volume. This putty uses a small amount of catalyst to
cure a putty of polyester resin in a few hours. Polyester putty also
forms a fairly strong bond with the surface it is on when it cures,
so can be very useful for repairing chipped or cracked pieces. In its
initial state, just after being mixed, polyester putty is about the
consistency of Toluene based putties. After about an hour, its
consistency is about that of uncured epoxy putty. Once fully cured,
Polyester putty is very similar in hardness and consistency to the
type of polyurethane resin used in most resin kits.
Tubing and solid wires can also be very helpful. You can use these to
add detail, provide support, create armatures, or act ad the post for
a polycap. There are a million sources for tubing and solid wires,
but I find that some of the most accusable sources, are stores
specializing in train models, they tend to have a lot of different
gauges of both this and sheet plastic.
For mech modelers, both Wave and Kotobukiya make a line of very nice
option parts that make it quite easy to add detail, and even joint
structures, to your creations. I highly recommend that any mech
modeler check these out!
Q: What paints work best for anime models?
A: There is no magic paint that will automatically make your model
look better, and everyone tends to have a strong personal preference,
but here are a few guidelines.
Most of the models in Hobby Japan magazine are painted with Mr. Color
lacquer based paints, which is the only brand that makes paints
specifically for anime paint schemes. Mr. Color is also one of, if
not the, most durable hobby paints, but yields much better results
when airbrushed, rather than hand brushed. However Mr. Color is hard
to find, and rather expensive in the US, though readily available,
and reasonably priced in Asia.
Tamiya makes the largest selection of colors in a liquid acrylic
paint. However, Tamiya paints are one of the least durable hobby
paints, and tend to streak when hand brushed.
Humbrol makes the largest selection of colors in an enamel hobby
paint, and has a recipe book for exact mixing instructions on many
other colors, but is hard to find in some areas of the world,
including parts of the US, and their line is heavily weighted toward
military colors. However, Humbrol is a fairly durable paint, and by
far the most likely to yield good results from either airbrushing or
hand brushing.
Testor's enamels are the easiest to find paint in the US, and between
their ModelMaster and Boyd brands have a fair selection of colors,
however, not all Testor's, ModelMaster, and Boyd paints can be
intermixed. The various brands of Testor's paints respond differently
to airbrushing and hand brushing, but most look far better when
airbrushed, with the extreme being ModelMaster Metalizer (which is
actually a lacquer and can not be mixed with any other Testor's
paint) recommending airbrush only application. Testor's is, however
rather durable.
Q: How can panel lines be enhanced?
A: There are a few techniques for doing this, and which method you
use will largely be dependant on the effect you are going for, and
the surface of the part to be enhanced. Basically, the techniques
break down to three categories.
The pen:
Many people like very stark, and prominent panel lines. One of the
best ways to achieve this, is with the use of a dark technical pen,
or specialized marker. You can use this technique with any type of
fine tipped pen, or even pencil for subtler effects, but some of the
favorite pens for this technique are Micron Pigma disposable
technical pens, Rapidograph technical pens, or Gunze Sangyo's Gundam
Markers. There is very little difference in the finished result of
these various pens, so you should probably choose which brand you use
based on the availability, color selection, tip size, and price range
that best suits your needs.
Using the pen method is probably the easiest to explain of all of the
methods. In fact, all you do is literally draw the seam as you want
it to appear on the model. This is, of course, often easier said than
done, but here are a few tips that will help you with your
experimentation.
This technique works best, with either a gloss paint job, or on bare
plastic, because then it is easiest to clean up mistakes. If you
accidentally draw outside the area you intended to, you can lightly
wipe away the excess using a Q-tip that is moist with either rubbing
alcohol, or acetone, with little or no resultant discoloration to the
finish. If you are doing this on a painted surface, you should test
for compatibility on some scrap, before trying to wipe ink of an
actual model. Unfortunately, this technique does not work as well
with matte paints, as the ink will be absorbed into the matte
pigment, thus causing edge discoloration, and making it impossible to
wipe away mistakes.
Tip size is very important to achieving the desired result.
Optimally, the tip of the pen should be narrow enough to rest on the
bottom of the seam groove, without touching the uppermost sides of
the panel line groove, but wide enough that it does not wobble from
side to side along the bottom of the groove. It can take some
experimentation to find the tip size that works best for you, but the
resulting line will appear much smoother once you have found the
correct size.
Play with colors. Varying up the colors can make a dramatic
difference in the final appearance. Think about the look you are
going for. Many people like the stark black look of a drawn cartoon,
but lighter tones, or even colors like reddish brown, can also be
used to nice effect.
There is also a variation to the pen method, instead of markers, ink
or paint, get a mechanical drafting pencil (Stadtler brand, for
instance) at an art or drafting supply store. Be sure and get the
kind that has a three or four jaw "chuck" at the front (much like a
drill) but NOT the kind that automatically advances the lead as you
click the end button... although the chuck-type pencil does use an
end button to free up the lead.
You'll also need to get inexpensive "lead" (polymer or graphite),
which comes in different hardness (try several kinds), and a
sharpener specific to that type of drafting pencil. You needn't get
the expensive four-inch diameter metal kind: Mars or Stadtler makes a
perfectly workable one-inch diameter plastic sharpener for them too
(in either style the pencil sharpens via a sort of stirring motion in
the sharpener). I used one for years as a tech illustrator. You'll
also need to get a grey kneaded eraser to clean up errors or smears.
Then just sharpen your lead to the panel line thinness you want and
draw on the model where you want, using plastic drafting templates
and/or rulers as needed. Goofs are easily fixable by simply erasing
and redoing: much easier than repainting! When the lines are done,
spray over with matt or gloss finish to seal.
For variety/effect, you can also use conventional colored pencils.
The wash:
Another method for blacking panel lines is the use of thinned out
paint, which is then carefully applied to model so that capillary
action will carry the paint along the panel lines, since they are the
lowest point on the surface.
This technique is much more difficult to master than the pen method,
but has several advantages that might make it worth the trouble,
depending on the result you desire. The biggest advantage to the wash
method, is that it can be done with any color of paint you desire,
allowing for a greater range of effects that the pen method. Another
advantage is that when done correctly, it can produce a much cleaner,
and regular line than pens typically do.
The major disadvantage to this method is that if done incorrectly it
can quickly ruin a paint job, or even destroy a model. As such, I
will go into a bit of detail of what not to do when using a wash.
The first and most important thing to pay attention to when doing a
wash, is what you are using as a thinner. A common mistake is to use
brush cleaner, or turpentine/turpenoid as a thinner. This will eat
through a plastic model and destroy it, so don't do it! Another
common mistake, is to use a thinner that is corrosive to the previous
layers of paint, this runs a high risk of destroying your paint job,
so be careful!
One of the best ways to safely apply a wash, is to do your base paint
job in one type of paint, clear gloss coat over your paint job with
the same type of paint, and then apply the wash with a less
aggressive type of paint. This way you can easily apply or even
remove the wash with no fear of it effecting the paint you laid down
before the wash. As a general rule lacquer based paints, like Mr.
Color and ModelMaster Metalizer, are the most aggressive, closely
followed by enamel-based paints, like Humbrol or ModelMaster, with
acrylics being the least aggressive. Of course, these are just
general rules, and I would recommend testing various brands before
actually trying a wash. However, if you are using a lacquer or enamel
paint, acrylics make a perfect wash, because you can thin them with
water, and clean them up with the same, thus risking no damage to
your original paint job.
All of that said, I will get to how to apply a wash. First, you want
to thin the wash color heavily. I will usually start with as much as
5 parts thinner (water for acrylics) to 1 part paint, and then thin
even more from there depending on the effect I want. How much you
thin depends on what you are trying to achieve, so you just have to
play with it a little to get the hang of it. Then you put the wash on
the model. How you put it on once again depends on what you are
trying to do. Some people only wish to darken the panel lines, and
therefore apply the wash to the edge of a panel line with a small
brush, and allow capillary action to carry the paint along the panel
line. Others wish to darken all low-lying areas and details, so will
apply the wash to the entire surface area of the model part.
Whichever way you apply the paint, you can then wipe unwanted excess
away with a Q-tip moist with thinner. If the end result is not as
dark as you would like, don't be afraid to apply another wash, as
long as the first wash has not completely cured, you will still be
able to cleanup with a Q-Tip.
Edge gradients/Pre-shading:
This is by far the most complicated form of panel line enhancement,
but can also offer some of the most stunning results. This technique
requires an airbrush, and an understanding of how they work. There
are a few different ways to achieve this effect, but the basic idea
is to create a gradient running along the edge of the panel line, to
accentuate the panel line. The main ways this can be achieved is
either by underpainting, masking, or a combination of both.
By underpainting, what I mean is that you first paint a dark colored
airbrush stroke that follows the panel line, then once that is dry,
then put a thin coat of either a lighter color, or a transparent
color, over the part, so that the first stroke blends into the second
coat and appears to be a gradient. The trick with this method is to
make sure not to apply too much paint on the second coat, if you do
your gradient will be completely obscured, and you will have to start
over. This can take quite a bit of practice to get right, and you
have to carefully pick the colors you are using, to make sure the
blend together well, but can look quite nice, so is well worth the
trouble.
By masking, I mean to use frisket, masking tape or masking film to
isolate each panel after your base paint job has been applied, then
one panel at a time, spray a gradient of another color along the edge
of that masked panel. The trick here is to never spray directly on
the model itself. Spray, instead, on the masking material, or out to
the side of the part, so that you only get the soft spillover at the
edge of the airbrush stroke (called
overspray) onto the model. This technique can be very time consuming
and difficult, but much like a wash you can do it in several stages,
with any color you want, to achieve a variety of effects.
Of course for extremely complicated panel line effects, you could
combine Pre-shading, masking, washes, and even pen or pencil strokes
to get some amazing, and truly time consuming, results!
Q: What are some recommended airbrush setups for an enclosed space
like an apartment?
A: An airbrush setup is probably the single most expensive part of a
decent modeling tool kit, and as such many people have strong
personal preferences when it comes to particular brands and
configurations. However, most can agree that the extra control and
added accuracy make dual-action airbrushes far more useful than their
single-action counterparts, and therefore worth the extra money. As
far as brands go, there are several out there, and some of the
favorites include Aztek, Paasche, Badger, and Iwata, but brand is
less important than features. If you are getting the airbrush
specifically for painting models, you need to make sure that it has a
head capable of dealing with the fairly heavy paints used for models.
You also might want to consider a low maintenance airbrush like the
Aztek, or Paasche Millennium, if you do not want to have to
completely take apart the airbrush between sessions.
The next concern is what kind of air supply you will be using. For
painting models you really want to go with some sort of regulated
constant air supply, like a compressor, or a large refillable air
tank, as cans of propellant will get very expensive very quickly, and
do not offer a very consistent supply of air on long painting
sessions. The preferred method is to use a regulated compressor, but
many people like the lower cost, but more inconvenient, air tank
solution.
The thing to remember with compressors is that the main thing you are
paying for is how quiet it is. For example you can get an extremely
quiet (DB40 or less) ΒΌ HP compressor from Paasche that has a
regulator, and a 4-gallon tank for around $800, or you can go to
Sears and buy an extremely loud (DB 90 or so) Craftsman 2 HP
compressor that has a regulator, and a 12-gallon tank for around
$200. Personally, I recommend the Craftsman, because you only have to
put up with the noise for ten minutes, then the tank is full, and you
have hours of quiet airbrushing before the pressure drops to the
point that the compressor needs to be turned back on, but many people
prefer to just have an expensive studio compressor quietly humming
along as they paint. Either way, having a compressor with an air
tank, regulator, and water trap will greatly improve the quality of
your finished paintjob. If your compressor does not have a regulator
or water trap, you can always buy one and add it on. One of the nice
things about compressors is that they all use standard connectors; so
most accessories are not brand specific.
Just remember that the point here is to get a steady flow of moisture
free air running through your airbrush at between 20-40 PSI. Don't
let a salesman talk you into spending more than you intend to with
some promise of their compressor providing "better airflow." As long
as whatever device you use allows you to regulate the flow of air,
filter out the moisture, and provides a steady flow (as opposed to a
lot of tiny little bursts of air), then it will work just fine.
The final thing to think about is waste removal. An airbrush can
generate a lot of fumes, as well as a lot of particulate matter. If
you are working indoors, this can quickly become both a health risk,
and a great way to ruin your furniture and carpets. The best solution
for this is the use of what is commonly called a spray booth or vent
hood. A spray booth is essentially a semi-enclosure of some sort,
with a filter and a fan at the back that sucks the fumes and
particulate matter into the filter. The simplest spray booths expel
the fumes to the exterior of your workspace through a length of
ductwork that you then run outside. Some of the fancier spray booths
use a filtration system to clean the air then expel it back into your
workspace. Some people buy commercially made spray booths, and others
make their own, but either way, the use of some sort of spray booth
is highly recommended if you are painting in a confined space. If you
do attempt to make your own spray booth, one thing you should note is
that both enamel and lacquer fumes are flammable, and there is a
higher risk of combustion when those fumes are concentrated, so be
sure to use a type of fan that will not rub, or otherwise generate
sparks.
Q: What sorts of paints should I use on Vinyl?
A: Vinyl kits are made of semi-flexible PVC. As such, painting them
can be difficult. Primers like Mr. Surfacer can help enamel and
lacquer paints adhere to a vinyl kit, but any flex in the part can
still cause cracking and chipping. In light of the flexibility
issues, it is often advised to use acrylic paints on vinyl kits,
since acrylics tend to be more flexible, and cling more readily to
vinyl. Ultimately it is best to experiment, and see what works best
for your needs, but acrylics are probably a good starting point.
Q: How do I cast my own parts?
A: Casting can, and in fact is, a subject for its own FAQ alone. So I
have included some links to some sites describing how to cast your
own parts.
- From the RMS FAQ:
http://www.ninfinger.org/~sven/models/rms_tips/rmsfaq.18.html#q1
A very technical, and complete FAQ from alt.sculpture:
http://users.lanminds.com/~drewid/resin_faq.html#Anchor-Casting-59440
A brief run-through of the process:
http://miniatures.de/html/ger/resincasting.html
Resin Casting for Dummies!
http://www.mgussin.freeuk.com/1-32Casting.htm
Q: What are some common techniques for mech weathering models?
A: Of course any weathering technique used for any other type of
modeling can be applied to a mech model, but there are a few
techniques that tend to be some of the preferred methods among mech
modelers. The first of these is to darken the paint job around any
sharp edges. This is accomplished in much the same way as panel line
pre-shading, except instead of masking the surface, and spraying on
the masked area, you spray out away from the part, and let the darker
overspray fall on the leading edge of the part. This gives the part
the appearance of the sharp edges having gotten burned or having
collected dirt, if you use a darker color. You can also make it
appear as though the paint has worn off the sharp edges, by applying
the same technique with a lighter color.
Another great effect that is very useful in mech modeling is that of
metal fatigue. This can be achieved by applying a wash of different
colors of metallic paints. You can thin to the desired consistency,
and simply wash the desired piece with various colors to get the look
of worn, or heat distressed metal.
Battle damage is also a very popular way to detail a kit. This can be
achieved in many different ways, but for the most part you either use
a knife to gouge pits in your model, or use a soldering iron to burn
holes into your model. You can then take a brush with very little
paint on it, and drybrush the area to bring out the raised detail,
and accent the effect of damage having been done.
Q: how do I paint anime eyes?
A: there is a great How-To at:
http://www.moschini.org/models/tipsntricks.htm#paintingeyes
Q: What are these abbreviations?
GunPla: Gundam Plastic
Often used to refer to Gundam modeling as a hobby, or to the models
themselves.
Plamo: Plastic Model(s)
Often used to refer to modeling as a hobby, or to the models
themselves.
Retconned: Retroactive Continuity
Used to indicate that something has been rewritten or redesigned
after the fact, presumably to better fit with the story/design
continuity as it currently stands.
MS: Mobile Suit
The name given to the giant robots in the Gundam Saga. Often used as
a generic term for any piloted robot of approximately Gundam size.
MSiA: Mobile Suit in Action
A line of PVC Bandai Gundam toys in approximately 1:200 scale.
PG: Perfect Grade
Bandai's highest quality line of kits. These kits are typically in
1:60 scale, and feature complicated internal skeletons, high amounts
of external details, and many other extras, such as snap-fit
construction and color molding.
MG: Master Grade
A line of Bandai plastic models in 1:100 scale. MG models are
typically of higher quality than their earlier 1:100 predecessors,
and feature high external detail, as well as detailed interior parts,
and other extras like snap-fit construction and color molding.
HG: High Grade
This was once a designation meaning the top of Bandai's model line,
but now is the base grade for Bandai kits, and as such does not mean
anything more than snap-fit construction and color molding.
HGUC: High Grade Universal Century
A line of Bandai kits in 1:144 scale, consisting entirely of suits
from the Universal Century saga of the Gundam universe.
SD: Super Deformed
A line of inexpensive Bandai models depicting mobile suits with
shortened torsos, enlarged heads, and generally widened proportions,
so as to make the suit look like a baby version of the original. This
term is also used to refer to anything depicted in this style.
Q: Who are these people?
Max Watanabe
Hobby Japan Magazine's resident master modeler. Considered by most as
one of the best modelers working with anime subjects, Max Watanabe
has long been the example to look up to for many anime modelers.
Hajime Katoki
One of the most popular modern mechanical designers working on Gundam
designs, Hajime Katoki got his start with a series of designs that
ran in Model Graphix magazine, under the name Gundam Sentinel. He now
works for Bandai, as their main designer for most of their Gundam
models. His illustrations are also often the inspiration for garage
kits, which are usually then designated "ver. Ka" meaning Katoki's
version.
Mamoru Nagano
Considered by some to be the best mechanical designer ever, Nagano's
distinctive work on Z Gundam, L-Gaim, and the manga series of his own
creation named Five Star Stories, has won him a following of
extremely devoted fans who hold his designs above most others.
Nagano's work is usually characterized by a heavier bent towards
fantasy inspired styling, than most other designers.
Kunio Ookawara,
The man responsible for the Gundam, Ookawara has had some level of
involvement with every Gundam show ever made. His work on such
pivotal shows as Gundam, Dougram, VOTOMS, and others, helped
introduce the modern idea of the "mech" as a machine of war, as
opposed to the older idea of the "hero robot." Ookawara's designs
Shoji Kowamori
Probably one of the most popular Mechanical designers in all of
anime, Shoji Kowamori, has done designs for everything from Macross
to Cowboy BeBop. Kowamori has been involved with a number of series,
including Gundam, and his work has certainly had a big influence on
anime mechanical design.
Makoto Kobayashi
Best known for his work on Z Gundam, Makoto Kobayashi is both an
innovative mechanical designer, and master modeler. Most of
Kobayashi's designs are best known by their wide girth,
hyper-detailing, and semi-organic look.
Kow Yokoyama
Probably best known for the SF3D series of models, Kow Yokoyama
continues to have a huge cult following for his mech designs, great
models, and beautiful paintings.
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Giuliano Moschini
<snip>
>Q: how do I paint anime eyes?
>
>A: there is a great How-To at:
>
>http://www.moschini.org/models/tipsntricks.htm#paintingeyes
>
Thanks for the plug, but I feel compelled to include the original and
alternate versions of the Anime Eyes How-To:
Masaki Marler's original:
http://www.geocities.com/Tokyo/Club/8885/eyes.html
(page is slow, being on Geocities)
Cody Kwok's alternate version:
http://www.cs.washington.edu/homes/ctkwok/eyes.html
(image is not save-able)
These two URLs should be included in the Answer, as credit should be given
where it is due..
-Giuliano
--
Giuliano Moschini
Mail: Giul...@Moschini.org
Model Page: http://www.moschini.org/models
Patrick Moore
late.
First off, the little blurb on Kunio Ookawara gets cut off...
"...pivotal shows as Gundam, Dougram, VOTOMS, and others, helped
introduce the modern idea of the "mech" as a machine of war, as
opposed to the older idea of the "hero robot." Ookawara's designs"
See?
Secondl, I'm going to add a few of my own little things to expand on whats
already there.
Regarding Panel lines:
Another techniqu for shading panel lines is quite similar to the
underpainting technique. Instead of applying a layer of paint directly
onto the plastic, then overspraying with the base color, paint the base
color and use a special mixture of paint for shading on top of the base
coat. Basicly, the idea is to mix a transparant paint of your shading
color. A popular mixture is 1 part each of clear blue, clear red, and
clearcoat. This is then thinned for airbrushing. The result is a paint
that goes on very lightly, even if you actually lay down a large quantity
of liquid. The blue/red mixture also compliments white very well,
appearing as a greyish purple that makes the surrounding white look very
bright. And color can theoreticly be mixed with clearcoat, then thinned to
airbrush consistency. The clearcoat is there to give you an insurance
policy of sorts.
Regarding thinning paint:
Paint must be thuroughly thinned before it can be run through an airbrush
sucessfully. The reason being that an airbrush works by siphoning paint
out of a cup (unless youve got a gravity fed brush, which I dislike due to
thier small cups, difficulty of changing colors, and possibility of
spillage), then atomizing it with air and passing it through a tip that
controls the shape and volume of the spray. If the paint is too thick it
wont siphon, or worse, it will fail to atomize and you'll get a stream of
paint sprayng all over the place in an uncontrolled, messy fashion. Not
good.
That said, I've found that thinning paint with a 1:1 ratio with its
respective thinner works quite well. However, each bottle of paint can be
different, depending on how long it was sitting on the shelf, and other
factors. In the end, the paint should flow freely, with no globs, and it
should rn down the sides of the mixing container after shaking. Shoot for
something tinner than milk, but thicker than water.
Regarding brush painting and thinning:
Most paints, especially acryllics, are too thick for painting by hand
straight out of the jar. They will tend to leave brush marks and gum up
the paintbrush. When haind painting, thin the paint to about the
consistency of cream or milk. This will ensure even coverage on the
plastic. Furthermore, I recommend priming if youre gong to hand paint.
However, most bandai kits are molded in color, so priming the entire thing
white isnt a good idea if all you're doing is touch up work. In that case,
thuroughtly wet the brush in thinner before getting paint on it, and if
you think it needs it, stick the tip of the brush in thinner for a half
second to load a little more thinner into the brush. Then paint normally,
and the paint should flow on smoothly.
Regarding Bandai decals:
Bandai almot never ships traditional waterslide decals with their model
kits. Instead, they supply a combination of plastic stickers, foil
stickers, paper stickers, and dry transfers with thier kits, much to the
ire of serious modelers. Well, at least I wish they'd supply a set of
waterslides...
Onto application. Paper and foil stickers have the advantage of being very
opaque, and work quite well on dark colored plastic. Unfortunately, they
are both quite thick and inflexible, and tend to collect dust around thier
edges, which tend to be sticky. This isnt a problem if you seal the kit,
but the thickness issue remains. Paper stickers are also annoyingly easy
to peel off. They lose tack quickly. Clear plastic stickers have the
advantage of being thinner (still too thick) and quite tacky, but you have
to be careful applying them. They like to fold around the corners, and if
they get stuck to themselves, the sticker is pretty much a loss. They also
show any dirt that was on your fingertips when you applied them. They are
also quite opaque, but not so much as foil and paper stickers. Lastly, we
have dry transfers. These are commonly mistaken for waterslides, but are a
totally different beast. They have a pressure activated adhesive backing,
which allows them to stick to the model after being rubbed on. Basicly,
you cut the decal out (carefully!), use scotch tape to hold it onto the
model's surface, then take a dull #2 pencil and rub the entire thing, back
and forth, then up and down, until youve covered the enture decal in
pencil marks. Then you do it again. And maybe a third time just to be
safe. The bottom line is, if the decal slips, or isnt fully applies when
you remove the tape, it will tear, and the already applied decal is very
hard to get off, and furthermore, the decal as a whole is probably ruined.
The upside is they look very sharp, and conform well to curved sufraces.
The downside is they are very thin, so they tend to show the underlying
colors.
Well, thats it for now.. just a few missed points.
-Patrick
zubenelakrab
A basic Be Careful warning: Always Read The Label, take care with knives,
always try and cut away from your body, work in a ventilated area if you're
using glues/spraying paints etc.,
and maybe some specifics, like how to avoid slicing your fingers off with
your brand new X-Acto...and, of course, what to do if you _do_ cut yourself
open [those blades may be small, but they are very, very sharp, and cut
deeper than they appear to];
[Course, we don't want to put people off modelling, by making them think
they have to wear plate armour, chainmail gloves and a respirator to enjoy
it...though the chainmail gloves might not be a bad idea...]
zubenelakrab
zubenelakrab
WolfKeeper
@typhoon.austin.rr.com>:
>Q: What tools do I need to make an injection plastic model?
Might want to change this to "build" rather than "make". I instantly though
we were going to talk about cutting steel molds ;)
- WK
--
change spam to spring for e-mail replies
L. M. Lloyd
Hash: SHA1
Good point! I will change that right away.
"WolfKeeper" <wolfk...@mindspam.com> wrote in message
news:Xns904F60A2Bwolf...@207.172.3.55...
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L. M. Lloyd
Hash: SHA1
That is certainly an idea. I am not sure what should be in there
though.
I used to do safety training materials for semiconductor
manufacturers, and I found that one of the most dangerous things you
can do is to make an incomplete listing of safety tips. Sad as it is;
if you list a bunch of safety tips, then people often fall in to the
trap of assuming that that list is comprehensive, so they don't
bother checking the safety of activities not on the list, figuring
that if it was unsafe, it would have been on the list.
I would hate to have someone hurt themselves because they thought it
was OK to do something, just because I forgot to put it on the list.
That is why I tend to leave safety warnings up to professionals. I
might add a comment about always reading the safety labels on any
given product though.
"zubenelakrab" <zubene...@ntlworld.com> wrote in message
news:h9Rk6.9377$5n4.1...@news6-win.server.ntlworld.com...
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WolfKeeper
>There is also a variation to the pen method, instead of markers, ink
>or paint, get a mechanical drafting pencil (Stadtler brand, for
>instance) at an art or drafting supply store. Be sure and get the
>kind that has a three or four jaw "chuck" at the front (much like a
>drill) but NOT the kind that automatically advances the lead as you
>click the end button... although the chuck-type pencil does use an
>end button to free up the lead.
High end art and drafting stores sell a 0.3mm automatic lead pencil that I
(and others) have found works great for panel lines, as long as you buy a
soft lead for it.
- WK
Andrew Ryan Chang
the top of the FAQ ahead of the answers so that readers can get a quick
sense of what's going to be covered.
--
Hello. I'm Leonard Nimoy. The following tale of alien encounters is
true. And by true, I mean false. It's all lies. But they're
entertaining lies. And in the end, isn't that the real truth? The
answer is: No. -- "The Springfield Files"
Giuliano Moschini
pages, which is yet to be determined.
-Giuliano
>===== Original Message From arc...@sfu.ca (Andrew Ryan Chang) =====
--
John Hwang
cleaned-up proportions of HG and MG kits. They're generally better-looking
replacements for the much older non-graded kits.
--- John Hwang "J_H...@my-deja.com"
\-|-/
| A.K.D. F.E.M.C.
| Horned Blood Cross Terror LED Speed Jagd Destiny
Marlon Deason
formed FAQ so quickly.
I have only been hanging out here a few weeks and I have already learned a
lot (much from his FAQ). Thanks to everyone who contributed and all the work
of editing together.
I think L. M. Lloyd deserves a big thanks from all of us!
-- Marlon
mar...@mac.com
----------
In article <beTk6.49055$3B1.8...@typhoon.austin.rr.com>, "L. M. Lloyd"
James C. Nevermann
> MS: Mobile Suit
> The name given to the giant robots in the Gundam Saga. Often used as
> a generic term for any piloted robot of approximately Gundam size.
I'd suggest also a definition for "MA: Mobile Armour". All these years
and I still don't remember the difference.
--
Jim Nevermann
[usual disclaimers]
Patrick Moore
"James C. Nevermann" wrote:
> "L. M. Lloyd" wrote:
>
> > MS: Mobile Suit
> > The name given to the giant robots in the Gundam Saga. Often used as
> > a generic term for any piloted robot of approximately Gundam size.
>
> I'd suggest also a definition for "MA: Mobile Armour". All these years
> and I still don't remember the difference.
Well im not sure if thats a cry for a definition, but here comes one to
the best of my knowledge. A mobile armor is a very fast, very powerful
non-humanoid combat machine, generally used only in space. There are some
exceptions to this rule, such as the Psycho Gundam and Byg Zam. Also, to
my knowledge, all MA's incorporate a psychommu system. (With the possible
exception of the Dendrobium Orchis, which is only half way a mobile
armor). Also, size isnt always an indicator, but MAs tend to be very
large. A demonstration of this would be the Quin Mantha, which is a Mobile
Suit that happens to be almost 40 meters tall, almost as big as the Psycho
Gundam, which is a Mobile Armor.
--
Give a man a fire, and he'll be warm for a day.
Set a man on fire, and he'll be warm for the rest of his life.