Fujiyama Sankaku - Houshou Marine 3D Edition Making Process Part.2 (Patreon)

There is not much to say about the colors to be used for painting except that we should take a close look at the illustrations that will serve as documentation and mix the colors...

I adjusted the luster based on the atmosphere I felt when looking at the illustrations and 3D models in the 3D Edition.

It's a bit messy, but this is how I adjusted the luster.

The skin, hair and skirt top cloth are the areas matted with GX114.

Hat decorations are pearl coated (Gaia's Glass Pearl GP-04).

Gloves, fan, skirt, obi, leather belt, and tights are semi-gloss (Gaia Ex-09).

The main visuals such as boots and suits are glossy, so I finished them with gloss. Even without clear coat, glossy paints can be left as is to give a nice texture.

When clear coating, it is safe to apply a thin coat because a thick coat will create a thick glossy layer that does not look like an outfit.

At first, I tried the suit thinking it would be semi-gloss, but it didn't feel right, so I closed it with gloss and the texture was perfect.

■The unspoken theory is that black is not painted in black

No one is saying this, but if you look at samples of finished figures on the market, you will see that black is not painted with black paint.

In fact, black paint by itself has too much impact and does not blend with other colors.

Therefore, in order to make it blend in more mildly, they use blackish gray or dark enough to create a gradation, and they make various efforts to express it.

Following suit, this time this Senchou is also dressed in black, but only one part of the costume is black.

Only the brim of this hat is monochromatic black. If you increase the brightness of the photo just a bit, you can see that the hat is not entirely black, but a blackish color.

I start with a slightly grayish base color and gradually adjust it to darker colors by mixing magenta, yellow, and other colors.

The part on the left is in the process of gradually darkening the color. Once a good color was achieved, I painted the shadows and adjusted the overall color using a black color made by mixing CMY and pure violet (hereafter referred to as "pure clear black") (right side).

If you want to make it quickly, you can mix pure clear black with a solid color such as gray, make a base, and then use pure clear black for shadows and adjustments. It is probably faster that way. There is no particular point in painting over and over again.

■How to apply gloss to the armpits

The armpits were sculpted with a lot of care and attention, and the artist wanted to add redness and gloss, so I applied a skin tone and then made adjustments after the gloss was applied.

By the way, this image is before reddish adjustment.

Here is the image after adjustment.

I put a solid reddish color to give it a three-dimensional look.

Photographs look better when the shadow is slightly darker, so aiming for that level of darkness is a good idea.

There are different tastes in color and luster, so it is best to adjust according to the preference of the creator.

I used Enamel Mucous Membrane Clear (ME-01) because it is difficult to redo when adding red with lacquer.

It is exactly the same color as the lacquer Mucous membrane clear (C-12), so it is very easy to use. If you have it on hand, don't say it's a waste, by all means make use of it.

Glossy clear is sand-blasted (a method of blowing paint particles by squeezing air pressure). This is recommended when you want to create a sweaty texture. It can create a very erotic atmosphere.

■How to add textures to  tights (not required)

I simply wanted to try a new technique, so I added a fiber texture to my tights. I used だのん-san's tweet as a reference.

https://twitter.com/danone0723/status/1489888518814171137 

The first step is to apply a skin tone and a slightly thicker coat of clear coat as a preliminary step.

Next, apply a light coat of tights color.

Then, lightly scratch along the curved surface with Kovax Super Assilex (#360).

It is easier to work with tights if you are aware of which direction the fibers are facing.

The first layer was done like this.

The second layer does exactly the same thing.

When you have finished applying the texture like this, you can adjust the color of the tights.

Frankly, once you get to this stage, the texture is barely visible. Since the texture is finally matte with semi-gloss, this is the part where you finally notice it when you are told that there is a fiber texture.

If you want to make a texture that can be recognized at a glance, you can add larger scratches, but that would give a strange sense of scale, so it is a little difficult to use.

However, if you can't help trying out interesting expressions and techniques, I encourage you to give it a try. It's fun.

The lining of the boots is fairly simple: clear red candy paint with silver as the base.

If you use silver as a base, the red color will come out better, so I think silver base is better than gold if you want to make the red look stronger. It is just a feeling, so either one may be fine.

Once the candy red color is achieved, apply a coat of pure clear black along the seam as a shadow. In the original illustration, the red color is quite saturated, but when it is made into a three-dimensional object, it seems too strong.

Therefore, after applying the shadow, I sprayed a thin layer of black along the entire area to reduce the saturation of the red a little.

If the saturation is lower than expected, I think you can apply another coat of clear red to get a deeper candy red.

Incidentally, the gold is gradated with clear red. Metallic colors tend to be painted as a single color because they are quite beautiful even when left as is, but I feel that it is better to use a gradation because it makes them look less spaced out and more lively.

I feel that clear red tones are often used for gold and clear blue tones for silver.