Hello, everyone.
I'm making a knight of Andrea's Templar.
The assembly of a part is easy.
I don't glue a helmet and sling together.
Basic setting has to turn a figure to the top, a face doesn't look good any more.
A face faces to the bottom fairly by ordinary setting.

(1) I blew surfacer.
I applied liquid pate thin picked the surface with a brush and expressed a texture.

(2) a coat made the figure me once blackly.
And I painted roughly by a hand piece.
I painted armor by silver and did WOSSHINGU by the dark color.
A cross was painted by a brush.

(3) this is in the state completion of clothes has finished.
I frequently used WOSSHINGU and a dry-brush and finished off this time.
This is to make them emphasize the texture done at the beginning.

looks great, would love to know how you cleaned up the massive seam lines that these kits all appear to have?

Thank you very much for your comment, busso boy.
There is also a part put by oneself in front of the coat about a seam.

I finished a face of a figure off.
At the same time, a detail has almost also finished completion.
A helmet and sling were glued together as of this.
Painting of a figure has almost ended with this.
This figure is setting as (after war).
So I'm planning to give substantial WEZARINGU to a figure.

well done on a good job. he looks like he has been in a war. dave.

Thank you very much for your comment, diosytexas.
This figure lacks a helmet, and clothes are also ripped.
Soldier's face also seems tired.
I think the after state that a soldier fought is being expressed well.

c'mon great work

Thank you very much for your kind comment,Excatlon.

Painting is in the state which has ended.

WEZARINGU is being done by the mud color and the color of the blood overall.
It'll be that he won the war to live.
I made a mess on clothes and armor carefully with the color of the ground course.
Hard WEZARINGU is being also given to a helmet.
This figure was a bust model, so I didn't make a mess to a face.
I think this is a very good kit.
I wish to release a bust model much to Andrea.

I'd like to contribute a formal picture to a part of a painting.

Mitsutaka,
Very very nice. Great colours and weathering.
Cheers
John

Your work on this bust is excellent,Mitsutaka.
Beautiful painting.

Considering the long detailed discussions we've seen on the Planet about this bust I'd be interested to know what you thought about the casting of your piece,and how much prep work you had to do on it.

Thank you very much for your comment, JOHN BOWERY and stiff.

I'm sorry.
I don't understand English well.
But.
Perhaps I think it's about a texture of foundation of a figure.
First SURFACER is blown.
Melted pate (lacquer-pate) is applied thin by a flat brush partially.
After that an applied part will be picked with the brush immediately.
Melted pate hardens in about 10 seconds.
When it hardens, it'll be the granular surface.
This is repeated and a texture is given to the whole of clothes and a belt.
It's applied and more are increased thin by a brush thin, so there is no danger in which a mold is buried.

I chose this way this time.
But there is also something convenient such as texture gel in the subject matter for a painting which is art.
These aren't perfect paint.
These are used by a AFV modeler to be dished up and express a wall of plaster.
A medium also has the material which just applies and produces a sand-like texture thin.
But they seem to buy whether the grain matches the scale and have no choice but to experiment.
I ordered the gel which produces 6 kinds of texture from a manufacturer now.
When I'd like a result, I'd like to report it.