"ANGELINA Sorceress of Light"
First of all a concept against "recasting": the kit is really original (certify nš142).|
First impression opening the confection of the kit is satisfaction for the choice made, in fact the quality and the detail of the several parts are remarkable.
Habit leads to carry out some tests before proceeding, we say in order "to take confidence with the model", so I noticed of a fissure that would remain visible between the two parts of the body, so I removed belts in order to facilitate working.
Belts will be restored subsequently, and some milliput adapted top and bottom parts for assembly.
In the meantime I have predisposed two hinges on the base: left foot's one is for support, while the right one is for positioning only.
Preliminary tests make me aware feet are not aligned to the pavement, so I decide to adapt cutting left leg over the ankle.
An half millimeter thickness inserted in back part sets corrected position, while a plasticard tube hardens the splice.
Parts are glued, then splice and residual casting lines are refined with putty.
Paper sanding and washing with powder detersive complete the model for painting.
First layer of gray primer evidences some microporosities that come cancelled with putty and a light sanding with wet fine abrasive paper.
Another coat of primer leads to airbrushing of the incarnated base (a mixture of matt white and tan Humbrol 119).
Obviously all the operation described here are worth also for arms.
In the meantime, since the figure is quite detailed (and I do not say more...) I decide to modify the insufficient apparel moving one of the two "tails" to the front.
Transparent parts must be adapted with warm water and keeping in position during cooling.
Hair base is a dark yellow (Humbrol 63), while lips and nipples are delineated with same color added to red (Humbrol 60) in equal parts.
Belts and neck strap come realized with two millimeters wide strips of medium abrasive paper (why we must use only "noble" materials?) glued in the original position, attending to hide defects.
Adding of red color and tinner to the base incarnated makes a mixture that is sprayed around the belts to create some contrast between skin color and the successive electrical blue of belts.
Intentionally I do not describe other phase of coloration of the figure (shading, washings etc.) since this is widely dealt from modeling literature.
In addition I have still very many to learn, and however it appeals to me to improvise on the base of the inspiration of the moment.
For ulterior details in purpose, I send back therefore who wanted to deal with this beautiful model to the instructions of the kit.
Synthetically, however, the incarnated base comes added to tan (119), white or red (60) in order to realize several shadings.
Shadings, realized with paint-brush and airbrush, have to be not so emphasized since details in this scale (and with this quality) are sufficient to guarantee a correct game of shadows and lights, to greater reason having chosen incarnating clearly.
Overall colors are amalgamated by a 50% mixture of matt transparent and the skin base color.
After a pair of days so that all the colors are perfectly dried, relief parts come polished with a cotton cloth.
I preferred making brightness unless heightenings to depict a sweaty body due to heat.
However heightenings are necessary in order to differentiate skin color on several parts of the body.
By the way, being a fantasy character, she must be gorgeous, not a simple beautiful woman!
Hair are washed with tinned brown, then highligthed with base color.
Lips come completed with a transparent red coating.
Eyeball are painted white, then I applied transferable iris EZ-Eyes™ by Archer Fine Transfers® .
Inner and inferior sides are drawn with light red, while upper corners are darkned by a brown line.
The realization of the base begins from the cauldron that, after a primer coat, comes colored with matt black.
Venatures come created spaying tinned gray and subsequently with some white lines.
Light and not homogenous spays of red and blue transparents render a "marble-like" effect , that comes fixed with gloss transparent.
When all it is dry I mask the inferior part and paint edge and the inside with gold color.
Transparent part representing the content of the cauldron is firstly colored with transparent red strained in the cavities.
Subsequently the block comes sprayed with same transparent red and once dry it comes glue in the cauldron and upper side comes washed with diluted gold.
Before painting this part I drilled in the inferior part four holes in which I will glue light bulbs.
The external parts of these and the inferior part of the "liquid" come painted with silver in order to prevent that it can leak of the light from the base of the cauldron.
In the meantime the tripode has been colored with usual gray primer, then washed with several tonalities of brown, dark and black gray, therefore sprayed in not uniform way with red and blue transparent and finally with of matt transparent.
The base comes completely colored matt black on the usual gray primer.
Front plate is masked and painted steel color, while inscriptions and ornaments are painted gold.
Washings and polishing complete the work.
Floor tiles come colored with some colors (tan, transparent blue, white, red) airbrushed in a way to realize a "granito like".
They come subsequently polished and, once dry, delimited with a washing of diluited white in the intermediate spaces.
Cauldron and tripode join to complete the base, that's also equipped with electrical socket connection on the back side.
Work is completed by fixing figure (you can see other pictures clicking on bottom picture):