Review article of the past 15 works for 2018-2020

I started seriously garage kits around the summer of 2018 and somehow 4 years have passed. Fourth year of GK!

After 4 years of doing this, I've produced a good amount of work, so I'm going to do a look back at my past work (2018-2020), which was requested.

┃Maybe the first work, Cherry Blossom, Rinko Kobayakawa

WIP

https://sukimasangyo.com/archives/1704

Photos

https://sukimasangyo.com/archives/1713

I'm putting it up as it is since it is still in the blog.

I didn't know how to do the surface treatment yet, so I don't know what I'm writing, and it's all a mess. It's embarrassing...

┃Maybe the second work, Onsen Tengoku, Bunny detective Shizuru

WIP

https://sukimasangyo.com/archives/2186

https://sukimasangyo.com/archives/5129

The production articles are quite long from here on. I guess it's a habit of recording...

I did my best at the time, but when I look at it now, I think, "Hmmm...

I was not satisfied with it at all, and I had to repaint it 3 times, but even the 3rd time, when I look at it now, the skin tone is too white.

┃Maybe the third work Piyopiyo-do, Tsugumi senpai, Part 5

WIP

https://sukimasangyo.com/archives/2535

Photos

https://fantia.jp/posts/222604

I feel that it has finally stabilized in this area. By the way, the skin tone was painted in a semi-realistic style at this time.

After all, this Tsugumi-senpai was repainted in 2022.

WIP＆Photos

https://www.patreon.com/sukimasangyo/posts?filters%5Btag%5D=Tsugumi%20senpai 

It is fun to rework and repaint the paint to give it a refined look. The body was coated with clear urethane, so it was a bit troublesome to peel it off... I don't like to use urethane too much because it is troublesome to handle.

┃Maybe the 4th work, Onsen Tengoku, Sukumizu Tantei Shizuru

It's Shizuru-chan from Onsen Tengoku again. I repainted this one quite a bit, but with the skills I had at the time, I couldn't make it as cute as I wanted it to be. Sad...

As a kit, it was quite easy to make and easy on the wallet (about 5,000 yen), so I think it was a great kit for practice.

┃Maybe the fifth work, Cherry Blossom, Manaka Takamine

WIP

https://sukimasangyo.com/archives/2790

Photos

https://sukimasangyo.com/archives/2792

I tried blush highlighting on the cheeks, veining on the chest area of the rejected ones, and many other things. I think these simple kits are better suited for experimenting. I want to repaint both the first Rinko...

┃6th work,  Primal heart, St. Louis

Photos

https://www.patreon.com/posts/photo-album-azur-30848463 

I started using Twitter seriously (?) around this time. I started using Twitter in a very serious way.

I was summarizing the production at moment.

https://twitter.com/i/events/1118411942698217472 

I still have a lot of rough edges and I would like to repaint it.

┃7th work Return Tamamo no mae

wip・photos

https://www.patreon.com/sukimasangyo/posts?filters%5Btag%5D=Tamamo%20no%20mae 

This is Tamamo-no-Mae, probably the most well-known of the ones I painted.

I had no idea what I was going to do, but I added details in the style of a dancer by using body chains and a face veil. It's hard to see in the photo, but I drew veins and made sunburn marks with paste eraser masking.

I am amazed that people still dress up as cosplayers, but on the other hand, the image of "the guy who made this tamamo" has stuck with me for a long time. I want to do something about it...

┃ 8 work, Hermit Crab, Minamoto no Raikou

Photos & wip video

https://www.patreon.com/sukimasangyo/posts?filters%5Btag%5D=Raikou 

This is a bust of Raikou-mama by Hermit Crab.

I used a lot of urethane clear, which I have given up using now, and I tried to add a little maki-e element to the base, but it may not have been very effective...

I started to use pure color paints from this point on. It is not an exaggeration to say that I was able to paint the little different colors thanks to Pure Color Violet. Thank you Pure Color!

┃9th work Figure Rise LABO Hoshino Fumina

wip & Photos

https://sukimasangyo.com/archives/5373

What is a plastic model? I painted Fumina, which was made with super-technology, using a surfacer to make it white like rubble, and then painted it completely.

In the comments of the video, some people said, "It's meaningless if you paint it even though it is colored with super-technology. That is true. I am sorry.

I painted it with LG pearl before matting it to make the color look like actual safface.

To be honest, I later found out that even pseudo-surfaces are almost the same as surfaces depending on how they are applied, so I think now that it would have been fine without applying LG Pearl.

By the way, after this Humina, there was also Miku, but I haven't heard anything about her since then. I wonder what happened to her...

┃10th work: Takemitsu-do, Takao

wip & Photos

https://sukimasangyo.com/archives/5448

This is Takao, who made this video as a beginner's video. Looking back, I wonder how difficult the surface treatment was for beginners.

This was actually the first time I applied decals, but I'm glad I didn't fail.

After completing this kit and uploading it to Twitter, I am glad that Takemitsu-san was able to see it on video as well.

┃11th work: Tutuji no mitsu, Kashima

photos

https://www.patreon.com/posts/photo-album-30848666 

Kashima-chan is often called the queen of Ariake, "有明の女王" (lol), but in fact, after uploading this Tsutsuji no Mitsu's Kashima production video, the number of views and registrations on YOUTUBE increased by a bak. As a result (?) YPP violation and the channel was threatened with a ban for a moment. Too much influence...

The original illustration is silver hair, but for some reason, I had an image of purple hair at the time, so I painted it as I thought it would be. I painted her with a combination of veins and semi-realistic skin, so even now, people sometimes talk about it, and there are people who started garage kits because of this Kashima-chan video, so it was an epoch-making video in the world of Gareki.

The eye paint was based on the "shopping mode" that was sold as a finished product, and the eyes were painted light blue.

Looking back on it now, I think it would have been better if the skin color had been a bit more pinkish, since it was shaded in orange.

By the way, this Kashima was later sold as a Valentine's Day version with modified poses and parts. I have that one too, so I'd like to build it someday when I have time (I just bought a Belfast one, what are you talking about? I just bought a Belfast one!)

┃12th work: Kaiyoudo, Pafu Pafu Bulma

video

https://www.youtube.com/watch?v=hY5njMgQpCA 

I remember that it was quite a difficult job to make these puff puff Bluma. In fact, this repainting was my first order. Looking back on it now, I was offered a contract at an unbelievably low price for the work involved. I think the client was very lucky.... Now, the production cost would probably be seven times what it was then. That's how hard it was...

There were a lot of bubbles and the paint didn't come off easily, so it was very difficult. The eye painting was also very difficult because of the detailing in the eyes.

Bulma's face, with the exception of the bunny ears, was a single part, and the right tuft of hair was missing, so I had to rework it with epoxy putty while reading the instructions.

I think they did a pretty good job at the time of painting the bangs as skin color transparency.

Looking at the comments on the video, I saw that the previous paint job was more tasteful, that the hair color would be purple if it was the original standard, that the frying pan mountain doesn't have this much moss or ivy growing on it, and so on...I agree. ！！！！！ There were a lot of comments that I wanted to say.

Since people who comment on Youtube are not disciplined at all (which is natural since most of them are people who do not make models), it is a good learning experience or mental training, so everyone should try it once. You will go crazy. I did (after the fact). hahaha

You will improve a lot if you direct this unfulfilled anger to the next production. I recommend it. 

┃13th work  M x Hollick, Mash.

Photos

https://www.patreon.com/posts/photo-album-fgo-65368309 

This is Mash who redid the eye paint about 20 times.

The trial-and-error process at that time had a considerable impact on my later work. You can see how he learned how to create the gradation of eyelashes and eyes with much difficulty. Too much text in the article. Also, the hair saturation is too high and the skin tone is too white.

When I later making next kit upon commision, there was a request for a darker skin tone, and we were painfully aware that this much was still too white.

┃14th work Heartstrings Koyanskaya

Photos

https://www.patreon.com/posts/photo-album-fgo-65981779 

This is Koyanskaya, for which the client provided considerable supervision.

I was given a lot of instructions regarding the density of the skin tone, correction of the shape of the breasts, addition of wrinkles in the armpits, detailing of the bangs and double teeth, and coloring, so I had to think a lot about how I could achieve all of these.

I was left to my own devices when it came to the "puff puff Bluma", so I did whatever I wanted, but that was not the case when I was given various specifications for each part. It took a lot of time, but I am glad that you were satisfied with the work. The client's instructions were perfect, so I think this work was completed to a high degree of perfection.

Personally, the points I would like to correct now are that the lining of the dress is not black and the connection between the left heel and foot is a little floaty.

Since this period, I have been buying tools for detailing (liner saws, sculpting knives, etc.). To be honest, if I hadn't met this client, I don't think I would be producing as much as I am now. So it is a turning point kit for me.

┃15th work Cherry Blossom bust of Misa Suzuhara 

Photos

https://www.patreon.com/posts/photo-album-misa-65982993 

This is a bust of Misa, a prototype of Toria-san's. The round thing on the chest is made by myself with craft UV resin and FL rivets. 

Well... it's very ecchi…

┃Most of the work after 2021 is sample and commission. The starting point for my breakthroughs is the commission work

So far, production has been from 2018-2020.

As you may have noticed, the timing of my obvious improvement was when I started working as a production agent (especially Koyanskaya).

My attitude towards production changed quite a bit in this area, so it was a bit difficult to find the right balance. I was also able to estimate to some extent how much time it would take to produce the work, but the production cost would increase accordingly, so it was a daily process of trial and error to make the work satisfactory.

Now I'm doing a rubble RTA to see how much I can reduce the waste of time while ensuring the quality of the work. I'm also at the stage where I'm learning shortcut techniques such as using enamel to correct masking leaks and then correcting them with a brush gradient...

I think it depends on the timing of improvement for each person, and if you don't absolutely have to improve, I think it's fine to be an enjoyer. I mean, I'm still an enjoyer myself.

However, there were reasons why I had to improve (I was frustrated because there were so many people who were better than me! ). I'm still doing the frustrated), and I'm grateful that people contacted me even though there are other people who do production work on my behalf. Thanks to your help, I am now able to complete my work without being embarrassed to put it out there on the Internet... thank you...! I will continue to do my best, as I always feel like I'm getting a great workout from the examples and the requested items.

So that was my look back from 2018 to 2020.

There are many things that I wish I had done differently to make that kit more interesting, but there is no doubt that I am doing the best I can at the time, so I just have to accept it and go with it. No, I'm still embarrassed!