SUKIMA SANGYO

[Making process] Vispo's Azur Lane Gorizia making process and tips 1

Added 2025-05-30 21:23:38 +0000 UTC

It's been a while since my last post.

I have been away from work for a while, but now that I am able to return to production, I will try to write articles in parallel with my work.

Recently, there have been video lectures where you can learn about prototype production and painting, which I think is great, but in the end, it is up to you to decide whether or not to do it, and you need to actually do it yourself to incorporate it into your own work.

However, even if you have accumulated know-how, if you cannot output it, it is nothing but a waste of treasure.

Only those who can put in an inordinate amount of time will be able to move on to the next step! They are crazy people who enjoy (important) work with such vigor that they don't even have time to sleep.

They don't think about work-life balance, so they are invincible and the strongest.

That being said, I do sleep 8 hours a night because that is what I am talking about. If I don't sleep well, I don't perform well...

I'm going to start working hard in the second half of this year, including commissions work.

So, I would like to write about the production of Vispo's Gorizia, which I have been working on at a slow pace recently.

By the way, I referred to the production process of this Gorizia because it was published on Kukurido's blog. I didn't see anyone who actually made it, even in X, so it was a great help.

■ Making Process - Parts Check, Surface Treatment to Temporary Assembly

┃Parts Check

The Gorizia has 56 parts. The number of parts itself is not so large, but the hair parts are detailed and many, and the painting of the costume and cape is highly difficult, making this kit more difficult than expected.

┃Surface Treatment

In addition, this kit is reproduced with considerable layer marks remaining, probably due to the lack of surface treatment at the time of prototyping.

So, before painting, both split lines and layer marks must be treated in the surface preparation process.

When using a 3D print as a copy source, even if a layer is left behind, it is quite scary to think that it will be copied to all the casts. Of course, I understand the difficulty and hardship of the prototype production side, so it's a very frustrating situation.

Anyway, we painters need to treat the surface on the assumption that the layers will also remain.

Incidentally, layer marks can be sanded normally with a file, or they can be treated with a spiral wheel. The latter is often used in the surface treatment process of 3D printer output products, so it is a good idea to have multiple numbers available to increase the number of methods.

As with any kit, surface preparation of long hair is a devil's task. I think I spent almost 20 hours on this alone.

The parts that are difficult to sand are spread out by heating the parts with an embossing heater and bending them.

For kits with long hair and fine parts, the appearance of the hair is extremely important anyway, so the key is to be very enthusiastic, or rather, to take the time to carefully surface the hair.

(It's really hard to deal with this kind of thing.)

No matter how carefully you paint, if you find a rattling in the forelock or an unfilled hole in the back of the hair, you will lose interest, won't you?

I personally think it is important to eliminate these things as much as possible and give them a clean, crisp paint job.

I think most people in the world think that painting is the most important thing, but personally, surface treatment is just as important.

In fact, if the surface treatment is not done properly, no matter how beautiful the paint is, it will always look rough, so I want to make sure the surface treatment is done properly.

Incidentally, if the surface treatment is not done properly, this is what happens when the surface is painted.

Well, this is painting for condition check.... From here, we have to do the surface treatment again. The more complicated and detailed the hair parts are, the more this will happen, so it is a good idea to be persistent with the surface treatment.

Well, as a result, I spend 20 hours or so just processing hair...

┃Fill in the blank yourself.

When you are assembling hair, it is obvious that the part is not wide enough, right? This is the situation that I've been posting about in X.

This is what I'm posting in X.

https://x.com/sukimasangyo2/status/1901151913921691755

The only way to fill the gap is to pour Cyanon as hard as you can.

But if you just pour Cyanon, it will harden and the parts will not come off.

Therefore, you can effectively fill the gap by applying Vaseline as a mold release agent on the side where you are not pouring Cyanon. I think it is hard to understand this, so I'll put a video of it.

https://x.com/sukimasangyo2/status/1928327506320322737

Once it is well arranged, all that remains is to shape it.

┃Why resin round bars should be replaced with aluminum or brass round bars

Not only this Gorizia, but round bars made of resin or plastic will bend over time.

Especially thin ones will bend even when no weight is applied.

Like this...of course I had to rotate the bent part just a little to put it back. But I thought it would be necessary to take countermeasures if I was going to put it up for auction, so I replaced it with a brass round bar.

Naturally, Gorizia also replaced the sheath of the small sword with a round bar, because she thought it would "definitely bend.

Prepare an aluminum round bar of the same thickness and adjusted length, and cut the tip.

Process the aluminum round bar so that it can be inserted.

If you can do it like this, it is OK, but I do not recommend it because working with metal rods requires a certain amount of nerve and there is a possibility of injury if you are careless. However, if you can replace it, it will definitely improve the quality of your work, so if you have the interest and tools, and can concentrate on the work without getting hurt, please give it a try.

As for the cape, it was a little difficult to temporarily assemble. First of all, the parts themselves are thin, so it is difficult to fix them with brass wire alone. I did it, though.

However, even if fixed in this way, the weight is so heavy that it will come off by itself when placed on the shoulder. Therefore, the problem can be solved by temporarily leaving it in this state when temporarily assembled, and then completely fixing it so that it becomes one part when painted.

Problem-solving ability is very important for GK!

When working on any kit, problems or troubles like “I wish this could be done” or “I wonder how to handle this well” will erupt.

And when you solve them, it's really interesting! And when you solve it, you can't stop doing it. I think it's a good hobby.

As for this Gorizia, it is a commission item, but the client wanted to see it without the cape if possible, so the cape is not fixed to the body, but can be attached and detached.

I am happy if my work is of any help to someone because my job is to solve someone else's problems.

┃The shoulder chain was damaged the fastest, so I made my own.

Now, this kit has shoulder strap parts and also chain parts. But...the parts are too fine and damaged at the fastest speed. I've done it! So I had no choice but to make it myself by braiding Φ0.3 brass wire.

The base of the chain is made of aluminum pipe. The chain is made of aluminum pipe and painted to blend in with the rest of the body.

Anyway, the difficult part of this Gorizia is the following points.

Hair (simply too many small parts + gaps that need to be filled)
Slim shoulder chains that are easily damaged
Cape gluing (need to be glued and painted again after painting)

This is how it looks. If you want to cast off the chest part, you have to remove the head part once. It is a little bit difficult because it interferes with the shoulder patch parts at that time.

I thought that it would be easier to remove the shoulder straps with neodymium magnets embedded in the shoulder straps.

It is better to just detach the parts than to have them break because they are glued so tightly that they get caught in the hair.

I guessed at the tentative assembly stage that this kit would take some work. I expected it to take about 70 hours, but when I finished it, it took 110 hours... In a world where things often don't go as expected, I think it is important to be prepared for the unexpected.

If you are prepared, you can deal with the situation calmly without panicking (what am I talking about?).

I apologize for the lack of pictures, but I also corrected the mouth shape.

The hollow of the mouth is a little too strong and changes the image, so I made the mouth as soft as in the original illustration.

I think it was probably corrected very early in the process because there are only corrected face parts at any of the times I was photographing.