#Zero Scale Model Paint Masks

[buildmodelstuff]

A Step By Step Guide For WWII Model Plane Building

Building model planes is a fascinating hobby, especially when it involves recreating historical aircraft from World War II. In this blog post, I'll guide you through the process of WWII model plane building, from choosing the right kit to adding realistic details.

1. Choosing the Model Kit:

Start by selecting a model kit that suits your skill level and interests. Popular WWII aircraft include the Spitfire, Mustang, Zero, and Messerschmitt. Check the kit's scale and reviews to ensure it meets your expectations. There are many places you can go to purchase your kit. Many hobby websites like Hobbylinc, Mega Hobby or ebay will have plenty of options for you.

Before you make your purchase, you will want to check out some review websites to make sure you are getting the model and quality you expect.

2. Gathering Materials:

Before you begin your build, you will want to make sure to have the following materials on hand:

Model kit

Hobby knife and cutting mat

Plastic cement or glue

Sandpaper (various grits)

Paints and brushes - some models will come with paint and others will not. Be sure to read the packaging to see if you need to purchase it separately

Decals

Tweezers for handling small parts

Clear sealant (for a glossy finish)

3. Assembly:

The key to assembling a model is patience but some additional steps are laid out below:

Carefully follow the kit instructions, organizing parts before starting.

Use the hobby knife to remove parts from the sprues, and sand edges for a clean fit.

Dry-fit components before applying glue to ensure proper alignment.

Assemble major sections (wings, fuselage) and let them dry completely before moving on.

4. Painting:

Painting your model can be fun and is an important step to make your model more realistic:

Research historically accurate color schemes for your chosen aircraft. - Some models will contain the color codes you need to purchase.

Prime the model with a suitable primer to enhance paint adherence.

Paint small details first, working towards larger areas.

Use masking tape to create clean lines between different paint colors.

Apply decals following kit instructions.

5. Weathering and Detailing:

If you decide that your model needs to be more realistic, try some of the below techniques.

Add realistic wear and tear using weathering techniques (dry brushing, washes, and chipping).

Detail cockpit interiors with tiny instruments, seats, and control panels.

Consider adding aftermarket accessories like photo-etched parts for extra detail.

6. Final Assembly:

Once any extra details have been added, you will want to put together your new model:

Attach remaining components, such as landing gear, propellers, and antennas.

Double-check alignment and make any necessary adjustments.

Seal the model with a clear finish to protect the paint and decals.

7. Display and Photography:

Once your model is complete, you should show off your accomplishment:

Create a display base that complements the aircraft's historical context.

Experiment with lighting for dynamic photos, showcasing your model from different angles.

8. Community Engagement:

Lastly, you should feel free to share your model far and wide! This is an important way to build community.

Share the building experience through a blog post, documenting challenges and successes.

Include photos at various stages of the construction process.

Discuss historical aspects of the chosen aircraft and any interesting anecdotes related to its service.

Connect with fellow modelers on forums or social media platforms.

Share your blog post and seek feedback from the modeling community.

Building a WWII model plane is not just a hobby; it's a journey through history. Enjoy the process, learn from each build, and share your passion with others in the modeling community. Happy modeling!

[thecraftingwell]

A6M Zero (Tora)

Scale Model Paint Masks for the A6M Zero (Tora)

[cozy-possum]

Support My Ideas?

Horizon merchandise I want:

A machine strike set (figures being able to be bought individually in  ‘booster’ packs)

More figures, pre-painted and blank (similar to the ones from the board game)

GAIA + sub function patches and stickers

Project Zero Dawn/Enduring Victory shirts

“I blew up Yosemite and all I got was this lousy t-shirt” (and ptsd/death)

Reproductions of the ‘ancient vessels’

Solar powered models of the metal flowers that open and recite a poem fragment

Aloy’s hair beads/necklace set

Banuk figure set

A Horizon themed colouring book which features symbols/glyphs from various tribes

Machine Armor plates/patches 

Face paint themed face masks (skincare and surgical)

Replica of Elisabet and Beta’s clothes (they look comfy)

Quen focus headpieces

Repilcas of the weapons (just like 1:12th scale I’m begging)

Watcher/burrower alarm clock that moves around when it goes off

Power Cell portable chargers

Shellwalker storage box

��Healing berry’ trail mix

A cookbook/recipe’s based on the foods in forbidden west (I’m trying to compile them all anyways)

Vantage/Vista point postcards

Support My Ideas?

[xtruss]

Conformity: The Vice of the Coward

"They Were Not Cowards; By Adamantly Supporting 'Lockdowns,' They Were Heroic Saviors of Humankind"

— Mind Virus-19 | Stacey Rudin | May 24, 2021

One of my favorite phrases, coined by Robert Greene, is “resist the downward pull of the group.” Remembering this every day, every hour, is necessary to keep our minds free and independent, able to innovate and decide what is best for us, as opposed to what is best for the rule-makers, the most powerful in society. Everything must be questioned.

Historically, cigarettes were encouraged for pregnant women. Mercury was administered as a medicine. Lead was in all of the paint; asbestos in all of the insulation. Butter and lard were good, then bad, then good again. Populations were systematically killed with the cooperation of nearly all of polite society. These things happened, and they were completely bizarre and crazy, yet they happened. “Everyone was doing it.”

Bad actors know about this, about the madness of crowds. They’ve used it for millennia to control the masses, culminating in the biggest tragedies the world has ever seen. In the present era of mass data collection, manipulation of populations is even easier. The more they know about us, the better they can tailor their messaging.

This use of manipulation on a population-wide scale used to be highly controversial. When JFK ran for president, back when computers were new, his campaign enlisted a startup called the Simulmatics Corporation to create a computer model of the voting public, compiled using surveys, then asked this virtual populace how it would respond to various civil rights messaging. JFK used that messaging and won, but when his tactics leaked, the public was outraged. They wanted authenticity, not a data-driven betrayal. Who knew what JFK really thought about civil rights? Not them. He’d merely figured out what they wanted to hear, and said it.

Viewed through the lens of today’s data goldmine, the social science models used by politicians like JFK back in 1960 were laughably unsophisticated. Yet they still worked. Today, tech companies have all — and I do mean all — of our data, so they can do a much better job of controlling us. Combine this with Robert Greene’s 27th “Law of Power,” and you get the “COVID-19” propaganda campaign and resulting cult, complete with universal mask-wearing and the exclusion of “the unvaccinated” from polite society.

The 27th Law of Power: Play on People’s Need to Believe to Create a Cultlike Following

People have an overwhelming desire to believe in something. Become the focal point of such desire by offering them a cause, a new faith to follow. Keep your words vague but full of promise; emphasize enthusiasm over rationality and clear thinking. Give your new disciples rituals to perform, ask them to make sacrifices on your behalf. In the absence of organized religion and grand causes, your new belief system will bring you untold power.

As Greene explains, charlatans understand that “the greater the group they gather around themselves, the easier it is to deceive.” In a group setting, “people are more emotional” and “less able to reason” due to the “communal mood of rapt attention.” This makes it “impossible to find the distance to be skeptical . . . any deficiencies in the charlatan’s ideas are hidden by the zeal of the mass. Passion and enthusiasm sweeps through the crowd like a contagion, and they react violently to anyone who dares to spread a seed of doubt.”

Why does this happen? Because humans are what humans are. Like bees, they behave a certain way in the hive. When they see “everyone else” doing something, they assume it must be the right thing. They want to be popular, and to “do the right thing,” so they follow the crowd, regardless of what the crowd is doing at the moment. In the 1940s, the crowd was burning Jews in ovens. In 2021, the crowd is bankrupting business owners, prohibiting children from breathing, and requiring perfectly healthy people to receive an experimental injection in order to go to the theater. This is “the downward pull of the group” in action — the conformity of cowards sinking the entire societal ship.

Resist the Downward Pull of the Group: The Law of Conformity

“We have a side to our character that we are generally unaware of — our social personality, the different person we become when we operate in groups of people. In the group setting, we unconsciously imitate what others are saying and doing. We think differently, more concerned with fitting in and believing what others believe. We feel different emotions, infected by the group mood. We are more prone to taking risks, to acting irrationally, because everyone else is. This social personality can come to dominate who we are. Listening so much to others and conforming our behavior to them, we slowly lose a sense of our uniqueness and the ability to think for ourselves. The only solution is to develop self-awareness and a superior understanding of the changes that occur in us in groups.”

Knowing this about human nature, today’s tyrant can easily use social media (and mass media) to create the impression of a completely unified group. Astroturf propaganda was used by China early on to create the impression that “lockdown works,” and any politician who fails to impose one is “committing genocide.” Now that the data is in, we know that the people imposing the lockdowns were actually the ones committing genocide. But the cult cannot admit that — doing so would at this point be blasphemy.

In short, it was very easy to know how to manipulate today’s society into “lockdowns,” masks, “social distancing,” and universal experimental injections for people at statistically zero disease-risk. The manipulator merely needed to create the impression of a very scary risk, and use virtue-based messaging to convince the fearful, emotional masses that (1) they indeed should be very scared, and (2) an action was available to them to ensure not their own safety, but “the safety of others.” They were not cowards; by adamantly supporting “lockdowns,” they were heroic saviors of humankind. “Just obey the rules, and you will save lives.” Boy, did this messaging work.

The manipulators now have an emotionally vulnerable population on the defensive, unwilling to concede — even after unequivocal data on the failure of lockdowns is in — that its actions resulted in untold damages and saved no one. The cult members will never admit that they were taken in by the classic logical fallacy, post hoc, ergo propter hoc: “because the disease went away, your actions worked.” These people were duped, on some level they know it, and as a result, they are willing to look the other way when their unvaccinated fellow man is forced to wear a symbol of “the unclean.”

Now we know how historical tragedies unfold.

Most people stay “safe” in the crowd, unwilling to stand out, infected by the group mood. Whatever the majority is doing is the most comfortable course of action, and most people default to comfort. They fail to understand the value of discomfort, and of following the few courageous people who are willing to endure that discomfort by standing apart from the crowd.

[interviewtion]

Niku Gutfuck Interviewtion

In this interview I talked to Texas-based musician Niku Gutfuck about the role of ambient music as a healing tool, the inspirations for their new EP, and the process of focusing on addressing mental health.  Q: You’re extremely honest and outspoken about your struggles with mental health. How have those struggles informed and inspired the music you make, especially on this new EP?

A: I've had these issues for a long time but never bothered to talk about them. I never really knew how to. That said, I didn't know how to make art about them either. I didn't even know I had bipolar disorder or OCD until I was diagnosed this year. It all made sense after I was diagnosed, but finding out I just...gave up. I stopped caring. I skipped class, I never went outside, I avoided other people. I just kinda existed. 

Relating this to the EP, someone very dear to me who had been a very big part of my life for about two years tried desperately to help me. They tried their best, but the issue is I didn't. I instead, pulled the stupid pity party card multiple times and found myself being like "well, this is just life. Whatever," rather than growing the fuck up and taking the initiative to make things in my life better. Suffering took zero effort. That's why I decided to just be miserable. Eventually, these issues of mine took control. 

I said things I didn't mean and acted in ways I never thought I would, all to this person that has always been there for me. I hurt them badly. We ended up going our separate ways. I didn't realize how much their company meant to me and how much I had taken them for granted until they were gone. It was too late. I grew the fuck up too late. I did everything too late. 

I found myself remembering that this person always told me that I was one of the few people who truly cared about them. That I was always there for them. That I was very important to them. And in return I gave them a big "fuck you" without even realizing it because I was so clouded by my own self loathing and selfishness. It fucked me up. I considered this person family, and honestly still do. But because of me they are gone. It pains me more than I could ever explain. 

This EP is about that. It's about me grieving over losing this person. How much I miss them. How sorry I am. How I decided to start self harming because I couldn't live with myself. How I became even more of a shut in because of my actions. And finally, realizing that I need to change. 

It's entirely ambient because I feel like droney ambient music is best at giving off intended emotions. Ambient music is very personal, I feel like lots of people don't realize that. The message behind the EP is "look into yourself, see if your problems are becoming you, and change it before it comes at a price that you would have no choice to pay." 

I don't want my listeners to be like me, I want them to learn from me. I don't see myself as a role model. I see myself  as a colossal fuck up that's trying to change their ways and NOT be a colossal fuck up. I care so much about all of my supporters and their well being. To be honest, I want to make that person proud despite everything. I hope I am. Take your mental health seriously. You don't want to find comfort in your problems. That's a path that leads to a very dark place.

Q: In your essay on your latest release you talk a little bit about Tamakichi Anaru, so how has his visual work inspired your own music? A: Snuff films used to really interest me in the sense that I never really got what motivated people to do such acts. Anaru-san's work is very very violent and, to be blunt, fucked up in nature ranging from the most heinous acts of violence to straight up gore porn. I find Anaru-san's work to be in a sense some of the most human shit. To explain, we're fucked up. 

I have a writer friend named Noah, who once told me that he believes that humans are naturally born evil. Though it isn't as black and white as that, there is some truth to the statement. The human race in general is just fucked up. We spread the message of loving each other through media outlets or to strangers passing by, yet we hurt each other every single day. Slavery, genocide, war, oppression, even things that are on a smaller scale like bullying. This is the shit we do to each other. We make each other miserable. 

I feel like, in a way, Anaru-san's work is a manifestation of that. It's fucked up, and in no way do I condone any of it, but at the end of the day all of us have the potential to be fucked up. Some people just choose to hide it behind a mask. Q: What made you end the Midori Kida project in order to start releasing music as Niku Gutfuck? A: Niku Gutfuck started last year, actually. I was releasing very violent harsh noise music, it was straight up a wall of power electronics. The project initially was started because of my experiences with anger issues and obsessive compulsive disorder. 

It was meant to portray a feeling of anger. As a society, we look down upon anger. Anger is painted in a negative light all the time, people with bad anger issues are often demonized, and looked at as violent people that just want to inflict pain on others. For the longest time, I shamed myself for it because of that. I believe that we shouldn't be judged for our emotions, but for our actions. Anger is human. We tend to think of humanity as whatever the media portrays humanity as. That feeling of being an outcast due to my issues was initially what inspired Niku Gutfuck. 

Midori Kida, however, wasn't at all as deep as that, nor do I think it ever could have been. I was catering. It was me not being myself. It felt like I was making music under someone else’s project. That's a very harmful way to look at doing something you like to do, but it's the truth. I didn't realize just how personal Niku Gutfuck was until very recently, so I decided to keep the name and take the project to new places, while still keeping the themes that were personally significant to me.

Q: How did you choose the name Niku Gutfuck for this project? Are you worried at all that a name like that might turn some people away from listening to the music? A: Originally I just picked it because it sounded violent and angry enough for the context of the music, but after I got tired and upset with Midori Kida, I realized I had some personal connections to it. Like I said, Anaru-san's films depict the ugly fucked up side of humans that we like to pretend doesn't exist. Well, one has to be ridiculously fucked in the head to commit such heinous acts of violence upon another person. To me, it's giving in to your mental health problems. Letting them take control and change you. You're no longer yourself, you're your problems wearing your skin and passing off as you. It makes you harm people, break others, destroy them because your mental health problems grabbed you by the collar and you didn't have the willpower to force them to put you down. Just like I did to my best friend. 

Like I said before, I want to make music so people learn from my mistakes, I don't want people to be like me, I want people to LEARN from me. Mental health problems can be fixed with time, willpower, and effort. It takes courage. Something I lacked. And in turn I hurt someone who was very important to me. Niku Gutfuck is supposed to symbolize that. Not even being yourself anymore. Becoming a costume that your paranoia wears to look like you. 

I was worried about the name at first, and in a way I still am, but the more I thought about the personal aspects the more I felt like I had to. I'm so obsessed with people being happy honestly. Happiness is the best thing in the world in my opinion. Just seeing someone, anyone, happy makes me emotional and happy too. But while that's something I wanna do with my art, at the end of the day I need to do this for myself too. I do this for other people, but I also do it for me. Art is the only method of self expression that I have. I want to make things for people who need it, but how can I expect my art to help others if it can't even help me first?

Q: What is the appeal of ambient music for you? A: My friend Warren (he makes music as Foxes in Fiction) once described ambient music as "audio xanax". I think that's very accurate. To me, ambient music is the epitome of emotion. A lot of ambient and drone-y experimental music doesn't have a ton going on, and I normally see that as a common complaint with the genre. I, however, think that is fine. There is this science where certain frequencies and tones can make people feel certain emotions. Music can be healing. That inspires me a lot. 

Ambient music is a genre I always find myself going back to, especially when things start to become overbearing. You don't have to worry about any drastic changes, it's pretty much just music to remember things to. I enjoy that. I'm a very sentimental and sensitive person, so I remember things in my life a lot. Good and bad. Ambient music tends to be my soundtrack for that.

Q: Who are some of your personal favorite ambient/drone/noise artists? Do you have three albums in those genres you would recommend to people who aren’t familiar with them? A: An artist that has always been there for me is Yuko Imada. In fact, Yuko Imada's "Untitled (Moon)" was pretty much 99% of the inspiration for Everything is Gone. On Seeing has been my favorite song for years, I listen to it when insomnia keeps me up. I Am A Lake of Burning Orchids has also inspired me a ton as well. I also can't go without mentioning Watashi no Koko and Apollo Knives. Since I have quite a few influences for this album, I decided to give five recommendations instead of three, simply because there are a lot I recommend. Yuko Imada - Untitled (Moon) I Am A Lake of Burning Orchids - Summer in My Veins Apollo Knives - The Harshest Winter Watashi no Koko - まごころを君に Nobuto Suda - Modest Calm I also want to point out that the Yume Nikki and .flow soundtracks are fucking fantastic. They inspire me a lot, both of those games are so dear to me.

I really wanna talk about some of the other artists that inspire the album I am working on. Not ambient artists, but I really feel like I should point them out because of how much they all mean to me. 

One of my biggest influences is Halsey. She's honestly one of my favorite artists of all time. Her music is so important to me and she's somebody I really really look up to and view as a hero. Her lyrics hit very very close to home to me, I relate so much to them. Reading interviews with her and seeing that she also deals with bipolar disorder makes me feel like I'm not alone. I usually feel like I'm an outcast because of my BPD. Like I shouldn't have anybody close to me and I should remain in solitude cause I'll just end up hurting them by accident. She showed me that my mental health doesn't have to define me. She influences me in so many different ways, in my opinion all of her music is perfect. I honestly can't stress enough how vital Halsey is to me and how much I look up to her haha. 

I feel the exact same way about Meishi Smile. Meishi Smile has been one of my favorite music projects for so so long. The amount of raw emotion in the music is so breathtakingly beautiful to me, I've viewed Garrett Yim as a hero since I was a Junior in high school. I've always been obsessed with his countless projects (nono., and the previously mentioned Yuko Imada) and honestly he is one of the reasons I ever started making music in the first place. 

Meishi Smile and Halsey both make me feel like somebody gets it. Every day I wake up and feel like I am inhuman. Like, my mental shit makes me some monster that deserves to have nobody. They show me otherwise. I wanna do that for somebody at the end of the day. Show someone that they are not alone.

On another note, I am also very inspired by J-Pop. I really love the works of Yasutaka Nakata, whether it be Perfume, Capsule, or Kyary Pamyu Pamyu (the queen haha). J-Pop just has this sound to it that really makes me gravitate towards it. It sounds very happy on the surface, but if you look deeper it's a very dark genre, a good example being Kyary Pamyu Pamyu's music video for Kira Kira Killer (one of my personal favorite Kyary songs) exploring themes of death. 

Tyler the Creator is also a colossal influence on me, he's helped me a lot when it came to dealing with my anger issues and shit. And of course I am also very inspired by Porter Robinson and Madeon, they are also heroes to me. Also, anime haha. Stuff like Danganronpa, Anohana, and Madoka Magica fill me with this weird urge to recreate how those franchises make me feel and how they sound to me. 

But I get most of my creative inspiration from my personal experiences. I do lots of venting through art. All of the upcoming album is me doing that. Venting.  I have a lot of emotional scars and have so many regrets. This new album is so personal. One song is about how in my state of feeling torn up over what I've done I turned to drugs as a coping mechanism and ended up having this mental breakdown after getting super fucking high. Another is about my dependency issues with self harm and how I've become addicted to cutting and burning myself. It feels weird, honestly. Makes me feel kinda naked, you know? At the same time it feels so good putting feeling into my music. Letting out all my regrets, grudges, and anxieties into a tangible form just feels...good. It's something I wish I've always done rather than make music I'm not proud of. I'm hoping I find myself while making this album.

Q: It seems like video games are an important component of your life, so do you ever see yourself soundtracking a game? A: I've actually thought of this quite a bit. I'd love to in all honesty. I'd soundtrack any game really, but I'd really love to make the ost to a Yume Nikki fangame. Yume Nikki is such an important game, it's amazing that Kikiyama was able to create such a dedicated fanbase over a simple little RPG Maker game. I still visit Uboachan, though not too frequently. 

I first got introduced to video games in the Gamecube/Game Boy era, so growing up games like Pokemon Silver, Sonic Adventure (both of them), Super Mario Sunshine, and my favorite game of all time Legend of Zelda Twilight Princess took up all my time. I remember maxing out the ingame clock in Twilight Princess haha. From there I graduated to PC gaming, and now the game I've been playing the most of is Overwatch. I'm pretty garbage at it but competitive has been helping me get better. I'd also like to point out while we're on the topic of video games how much Danganronpa means to me. It's one of my favorite games and makes me hella emotional. There's a song on my new album about it haha. Q: What do you have planned for the future of this project? A: I have a new album coming out at some point that’s named Stay. Niku Gutfuck is split into two different styles: The ambient, droney harsh noise side such as Everything is Gone, and a very J-Pop inspired electronic music side. The topic of Everything is Gone is gonna be elaborated on in a few songs, as well as other topics I want to get off my chest. I am not sure when this is coming out, where I will release it, or if I will fuck with any labels at all, I am just trying to get my emotions out in audio form as of right now. I'm ultimately trying to improve as a producer and musician as much as I can, music production is honestly something that I just adore fucking with and I can't see myself stopping no matter how discouraged I get. 

There's this fire in me that won't let me stop, and I am so glad it's there cause it keeps me going. I'm trying to find an artist to work with to make the album cover, especially since I love working with visual artists. The feeling of two artistic minds that focus on different art forms coming together to create something is so inspiring to me and one of my favorite things about making music.

Be sure to follow Niku Gutfuck on Twitter to keep up to date! 

[silkysign]

Hiko Seven releases resin-made 1 / 18th scale "Toyota 'Crown' (GRS 202) 2011 Police Headquarters traffic department traffic masked vehicle (Silver)" as a new product of original brand "RAI'S" with 400 units limited, June 5 Start accepting more reservations.

The model was modeled on a masked police car of the 200 series crown that began to be deployed around 2011 instead of the zero crown. The body color of the 17-inch aluminum wheel with a displacement of 3000 cc deployed for transportation is the most widely used silver among the four colors actually used: silver, black, gold and gold. It is 1/18 scale of force, and the total length is about 27 cm. Body material is resin (resin), it will be painted finished products.

[mredwinsmith]

Details on Bluefin’s SDCC 2017 Exclusives

Bluefin is the US distributor for a number of eastern brands and they have a long list of SDCC exclusives for the 2017 show. From Bandai Hobby (Dragon Ball and lots of Gundam) to Storm Collectibles and Iron Studios – booth #401 at SDCC will be a busy one. Keep reading for details on all of the exclusives Bluefin will be offering at the show. Bandai Hobby Figure-Rise Standard Super Saiyan God Super Saiyan Goku Model Kit An early release! Due to the overwhelming popularity of Dragon Ball, this special articulated model kit has been created for audiences outside Japan. As a result, it’s not available in Japan, and this action figure model kit will be for sale at SDCC ahead of its August release date! All plastic comes pre-colored and requires no glue for assembly! Comes with Kamehameha effect and multiple facial expressions. Price: $32.00

Bandai Hobby HG 1/144 Gundam Barbatos Lupus + 200mm Gun Clear Colour Ver. Model Kit A special limited translucent armor version of Gundam Barbatos Lupus that includes the Sword Mace, 200mm fore-arm guns, and Twin Mace. Translucent armor shows off the internal Gundam Frame archetype used within the Gundam Iron-Blooded Orphans universe. Price: $17.00

Bandai Hobby HGBF 1/144 Hi-Nu Gundam Vrabe Amazing Crimson Comet Ver Model Kit A special Hi Nu Gundam Vrabe Amazing that utilizes unique molding methods for a very hot color scheme, it is joined by new additional weapons that you could previously get only from Japanese magazines. Includes beam rifle, 2 detachable funnels, Amazing Lev weapons x2, sword binders, shield, bazooka, beam sabers. Price: $36.00

Bandai Hobby HGPG Black Tristar Petit’GGuy This cute adorable little bear model kit is themed after the Black Tri Stars from the anime series Mobile Suit Gundam. Part of GunPla Expo in Asia, it is available at SDCC in very limited quantities. Price: $8.00

Bandai Hobby HGUC 1/144 Pale Rider Hades Mode Extra Finish Ver. Model Kit The original Pale Rider saw a limited P-Bandai release in Japan to promote the video game “Mobile Suit Gundam: Missing Link.” This Ground Heavy Equipment version is now available at select events with a new special coloring finish and includes folding bazooka, machine gun, arm mounted shield, and leg mounted missile pods. Price: $30.00

Bandai Hobby MG 1/144 Sazabi Ver. Ka Mechanical Clear Model Kit A special Sazabi with translucent armor designed to showcase the heavy mechanical internal detail of its internal frame. Sold only at GunPla Expo events in select countries, it is available in limited qty. All original equipment including both beam rifles, beam tomahawk, wrist mounted beam sabers, and massive shield are present. Price: $120.00

Bandai Hobby RG 1/144 00 Qan[T] Trans-Am Clear Ver Model Kit From “Gundam 00” this premium model kit utilizes clear pats to show off its internal mechanical skeleton, the Advanced MS Joint system. Armor parts are dyed red and pink in “Trans-Am” colors giving off a beautiful shine. Included GN Sword V and Sword Bits retain all features including ability to combine into different sword and gun configurations. A small display arm is included to assist with weapon poses. Price: $30.00

Bandai Hobby RG 1/144 Gundam Astray Blue Frame Plated Ver Model Kit This variant Gundam Astray was previously a P-Bandai item available only in certain parts of Asia and is now at SDCC 2017 in limited quantities sporting a metallic hot blue special coloring and white pearlescent armor. Special Bazooka, beam rifle, shield, and beam sabers included. Price: $45.00

Bandai Hobby RG 1/144 Gundam Astray Red Frame Plated Ver Model Kit Brother unit to the Blue Frame, this special red metallic and white pearlescent armor finish version retains all the features of the original including Katana, beam rifle, shield, and 2 beam sabers. Price: $45.00

Bandai Hobby RG 1/144 Gundam Exia Trans-Am Clear Ver Model Kit A Trans-Am clear variant of the RG Exia. Its outer armor has been dyed in various red hues that show case the internal frame called the Advanced MS Joint system. Includes GN Sword, GN Short Blade, GN Long Blade, shield, 4 beam sabers. Price: $30.00

Bandai Shokugan Dragon Ball Styling Launch This Premium Bandai exclusive DRAGON BALL STYLING figure of the character Launch, has alternate switchable head and arm parts to recreate both of her personalities just like in the original manga and anime! Available in very limited quantities. Price: $25.00

Bandai Shokugan Sailor Moon Mini Compact Case Pocket Watch SDCC Exclusive This small cute charm is shaped after the pocket watch belonging to Tuxedo Mask from the manga/anime series Sailor Moon! An exclusive item in Japan, it is available in limited quantities at SDCC 2017. Price: $7.00

Iron Studios 1/10th Art Scale Batman “Arkham Knight” Bronze Edition Features: – Limited edition, exclusive for SDCC 2017 – Based on original 3D references from the game – Made in Polystone – Hand painted – Includes base display Product dimensions: 26.2cm high x 32cm wide Price: $149.99

Sailor Moon Pegasus Message Case SDCC Exclusive This very limited item released only in Japan is a replica of the original Sailor Moon Bandai toy released many years ago and features removable Pegasus with compartment, ball chain. It is available at SDCC 2017 in limited quantities. Price: $30.00

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[taoyuanleduv]

UV LED curing technology used in the mobile phone industry

With the rapid development of wireless communications in recent years, mobile phone models after another, not only more powerful, more and more beautiful appearance, or dazzling, or fresh and pleasant, or dust, light can be Kam, or elegant Subtle, very texture, people dizzying. These changes benefit from the application of UV (UV) curing coatings in cell phone production.

   U UV Ultraviolet Curing Coating (Ultraviolet Curing Coating) referred to as UV coating, which is the use of ultraviolet light as a curing energy, at room temperature caused by different components of paint molecules between the chemical reaction, and instantaneous rapid cross-linking film A new type of polymer environmental protection coating. The product does not contain organic solvents, the main ingredient belongs to the polymer resin or monomer fat, the coating has no residual volatiles. Based on its unique curing mechanism and raw material characteristics, the product has a non-toxic environmental protection, energy efficient, wear resistant, highly decorative effect and other prominent features. UV-C LED light. 

In the international community known as the twenty-first century green new materials.    Attention to environmental protection is a common trend of social development, in the United States, Germany, Japan, Italy and many other countries have adopted legislation to limit VOC (volatile organic compounds) emissions of traditional paint use, and gradually use UV coatings and other environmentally friendly new materials to replace the traditional product. On the other hand, due to its fast curing and no need to heat baking and other energy efficient features, is very suitable for pipeline operations, the market development of more than 25% annual rate of increase. According to the German company Hesi predicts that by 2010, worldwide world solidified coating production will reach the entire surface coating industry, the total output of more than 20%. It can be seen that UV radiation curing technology has been increasingly applied to the industrialization of large-scale production of goods, its wide range of applications for the entire surface coating industry has brought a new revolution.

   Keyboard-UV wear-resistant character ink    If the phone as one of our partners, mobile phone keyboard, that is, we caress or torture most of the place, especially the thumb family, all day with its head pinch to pinch, born for the phone keyboard, only to rise Resistant, covered with UV "vest" (wear ink), and then covered with "UV super protective clothing" (special UV Varnish).

   Circuit board - UV electronic protective adhesive    As we all know, the circuit board is the core of electronic equipment, its production in two steps. First of all, the use of circuit etching ink in the copper film on the etching of the required lines, and then use solder mask ink on the copper line cover protection, to prevent damage to the components when welding. For extremely high precision requirements, the use of complex environment of the circuit board, you can also weld all the electronic components after the overall package of a layer of UV electronic protective glue, waterproof and dustproof shock.

   LCD display-UV glue    LCD screen can be seen as two thin glass piece of the middle of a layer of liquid crystal packaging composition, we may know that the LCD is not heated and can not be contaminated, and this is only UV glue instant curing and no heating and ultraviolet light through the glass Of the characteristics can be applied to this request.    In addition, the communications industry, there are many places using UV curing technology based on the production of products, such as communication cable inside the glass fiber dyeing paint, the semiconductor inside the resist, photoresist and so on.

   Application of UV Curing Technology in Mobile Phone    Mobile phone from the emergence of UV curing technology for a unique advantage to provide a great opportunity to show their talents, the market on a variety of models of mobile phones, are inseparable from the application of UV curing technology, in addition to the common mobile phone chassis surface decoration , As well as high-precision mobile phone circuit board manufacturing, LCD manufacturing, mobile phone keyboard wear-resistant character ink, and semiconductor, communications fiber manufacturing process should be applied to the UV curing technology.

   Case surface - dedicated UV varnish    Undoubtedly, this is the most common and most widely used place, and embodies the UV curing technology, most of the unique advantages of the use of uv curing technology to produce UV Varnish, only zero seconds to a second or so time can be completely Curing, curing process without high temperature baking, will not cause changes in the chassis and other issues, energy efficient, but also reduce the rejection rate. After curing the product without volatile organic residues, non-toxic harmless, after the strong ultraviolet radiation after the workpiece is also completely sterilized. Coating gloss from the highest light to the whole matte can be adjusted, with a variety of substrates and primers, can produce a wide range of surface effects. The entire coating is chemically reacted as a whole, extremely resistant to wear. The market commonly used in several brands GOVE, Puster, Musashi, etc., its surface gloss, fullness, texture are extremely excellent.

[brendagilliam2]

Texture an authentically worn K-2SO droid

In this tutorial we’ll be texturing and rendering K-2SO from Star Wars: Rogue One. We will focus on texturing the droid using Substance Painter to make him fit into the Star Wars universe; slightly reflective, yet dull and worn for that truly lived-in appearance. This will be broken down by surface damage, scratches, micro-noise and the roughness properties of the robot’s surfaces, with a final layer of grime to build up depth like a true Star Wars prop.

Finally, we will output everything for rendering in KeyShot for that advertising poster look. The model has been built in quads using subdivided surfaces, so it can be smoothed at render time using the surface normals of the mesh.

Download the files you’ll need for this tutorial and the accompanying video.

01. Initial setup

Download and import the model into Substance Painter

Download the model and you should find that it’s ready for importing straight into Substance Painter. This has been set up for a VFX production pipeline in mind. We will render in KeyShot and use the surface normals of the geometry with multiple textures per component. On importing into Painter, shaders are applied to each respective model part that require their own texture. To select the model parts use the Texture Set List window. UDIM’s are not used since KeyShot does not support them.

02. Blocking in: smart material presets 

Quickly block in materials using Painter’s presets

Using the presets that come with Painter, quickly block in the values and materials of the droid. Use Steel Gun metal that ships with Painter, and place this onto the model as a starting point, masking appropriately for the light trim and elbow joints by using the polygon fill tool, shortcut key [#4]. ZBrush is also used to create ID maps on the fly as and when required.

03. Building up the damage in layers and metal blemishes

Inspect and replace the preset layers with custom layers

Although the smart presets serve as a good starting point, the layers are inspected one-by-one and replaced with custom layers better suited to this project as we want a custom appearance. The dark metal material properties of K2 are broken down into three categories; (Colours above are exaggerated in the images for clarity). Metal colour/roughness variety – In effect this is procedural noise to create a variety of metal blemishes all over the surface to make the surface appear more worn and even sun damaged. The roughness channel is tinted to help alter the light absorption.

04. Micro scratches

Add scratches to subtly break up the surface highlights

Next we want to add some scratches to give the droid a more used look. Create a new fill layer, mask it and then apply an MG Mask builder with a stock Grunge texture to Image Input #1 to apply scratches. Manipulate and balance to your liking by using the exposed sliders. With this layer, we are aiming to subtly help break up the surface highlights.

05. Paint surface scrapes

Use the MG Mask builder surface to paint surface scrapes

Again, use the MG Mask builder surface to create variety, for example, you could make it appear that the paint has worn off or picked up other coloured abrasions by K2 interacting with an environment. At this point, the metal texture is tinted to again add texture variety. Strengthen the idea that this droid has been around by adding deep battle damage: my approaches are shown on the accompanying video walkthrough.

06. Deep battle damage 

You can either add battle scars by hand or by using generators

Battle scars can be done by hand and/or by using generators. There are two approaches that are demonstrated by video. Ultimately ensure the diffuse fill layer is white with some opacity; this is the paint primer. The height channel for this layer is tinted darker so we can carve the scratches nice and deep. If they are not sharp enough, add a sharpen filter to the layer by right-clicking for that freshly sheared appearance.

07. Copy and paste 

Copy and paste your material data to the other nodes

Now it’s time to copy our material data across to the other nodes. To do so, group all your layers and name them appropriately, then right-click and create a Smart material. It will appear in your shelf ready to be used on the other components. By focusing on each component as we have done so far for the head, we can achieve the same level of detail for our other texture sets.

08. Dirt and grime for that weathered look

Paint in dirt and grime with a Dirt 1 brush

Finally, a custom dirt/residue pass is completed across the model. This could be done using the particle brush system, but I feel like I get too amazed by watching it and have more control this way. Apply a fill layer and paint in a dark value with the Dirt 1 brush, around areas where it would collect. By applying an alpha to this layer and changing the brush alpha to Drips, this layer is then customised further with weathering streaks. Since Dirt is not reflective, its roughness is made white and metalness is turned to zero.

09. The imperial icing

Add the rebel alliance emblem to K-2SO’s shoulder plate

For the grand finale, we now get to add that rebel logo on the shoulder plate! Drag the logo provided into your texture shelf. Whilst in brush mode apply the decal as a stencil to your brush by dragging it into your stencil slot. You should see it immediately tile across your screen. Press the S key, a gizmo will appear and with the Alt key and MMB you can move the stencil to your chosen position and scale with RMB.

10. Emblem integration 

Work on the emblem to give it a more worn appearance

Rather than blocking in the decal 100 per cent as if it was brand new, I use a standard layer and the Crystal brush; as it has some noise in its alpha, from the outset I can give the emblem a worn appearance. To finish using the stencil, hit the X next to the brushes Stencil slot. To bed the decal into the metal surface I then apply a Surface Worn Smart Mask and alter the MG Mask Editor’s Generator parameters to my liking. Roughness is then increased to break surface highlights by adding a level to only affect this channel.

Next page: Find out how to finish off your design

11. Keyshot preparation

Export your textures from Painter

The textures are exported from Painter using the KeyShot present configuration for Diffuse, Roughness, Height and Metallic. Before we take everything into KeyShot, subdivide your meshes until the geometry smoothens to your liking, whilst ensuring Smooth UV is not active under the ‘Tools > Geometry’ menu. Remember, every subtool also needs to have a unique name as duplicates will not export. 

12. Material preparation 

Take care when preparing your materials

In ZBrush the diffuse textures are applied to the meshes in their texture map slot. This is done so UVs are sent with the model to KeyShot. Be mindful that between sessions, the KeyShot bridge may wipe over the materials you’ve set up if you change a subtool name, for instance. So, try not to rename subtools and keep everything as consistent as possible to prevent this. As a failsafe, get into the habit of saving your materials in a folder.

13. Material focus

Pay special attention to setting up the head’s material properties

The head is isolated, since it has a large variety of forms, which allows me to focus and tweak its material properties. Using a metal shader, the rest of the textures are brought in and assigned one by one. Diffuse goes into Colour, Roughness goes into Roughness, Height goes into Bump. Spend some time adjusting the roughness texture brightness and contrast sliders to fine-tune to the desired look.

14. Perturb the surface 

Add a subtle grain to the model with a noise texture

To further enhance that metal feeling, a subtle grain is added to the model by layering in a simple noise texture. Using a Bump Add utility in KeyShot, the Chest height map is assigned along with the supplied Metal_Noise_Bump. Be sure to untick Sync on this texture so you can change the mapping to Box Map. Adjust the Bump Add ratio slider and texture intensities to your liking to balance the damage scrapes with this texture.

15. Advance material tuning 

Fine-tune your material then duplicate it

Finally, labels are used and our roughness textures are layered into our material again to provide more control over the grimy appearance. Once you’re happy with this material setup, we can then duplicate this shader and roll it out to the other components for consistency and assign their respective textures.

16. Create a sandstorm effect

Build up sand deposits across the model’s panel crevices

In Painter add a white fill layer with a mask and a Mask Builder Generator. Add a custom grunge texture such as Dirt 1, reduce the default grunge value to your liking and use the AO slider to build up sand deposits in the panel crevices. Increase the layer’s roughness, add some height and apply a Sharpen filter. 

17. Keyshot dust label 

Add a diffuse material type label to your shader in KeyShot

Back in KeyShot, a ‘diffuse material type’ is added as a label to my shader with a sand RGB colour value. Within the material graph, I import the new textures and assign the base colour texture as the opacity mask, adding the height map into the bump channel for extra definition. You can develop the look further from here. 

This article originally appeared in 3D World issue 216; buy it here!

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from Brenda Gilliam http://brendagilliam.com/texture-an-authentically-worn-k-2so-droid/