Working my way from the top of the figurine, the painting process for the Hasegawa 1/12 scale resin figurine known as Girl's Rider thus begins with her long brown tresses. It's still considered early phase because the hair was painted in isolation without knowing how the final skin tone is going turn out. As such, I'll most likely need to revisit the hair to see how bright hair highlights need to be in order to complement a fully painted face. For the moment, the brown hues on the figurine's hair are a bit on the dark side so there is room for brighter highlights if need be.
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Canon EOS 650D settings: f/16, 1/60sec, ISO-1600; with Tamron 90mm macro lens
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| Canon EOS 650D settings: f/16, 1/60sec, ISO-1600; with Tamron 90mm macro lens |
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| Canon EOS 650D settings: f/16, 1/60sec, ISO-1600; with Tamron 90mm macro lens |
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| Canon EOS 650D settings: f/16, 1/60sec, ISO-1600; with Tamron 90mm macro lens |
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| Canon EOS 650D settings: f/16, 1/60sec, ISO-1600; with Tamron 90mm macro lens |
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| Canon EOS 650D settings: f/16, 1/60sec, ISO-1600; with Tamron 90mm macro lens |
Vallejo Model Color acrylic paints were used to paint the hair, with the process as follows:
(a) Basecoat: a mix of 70.950 Black and 70.822 German Camouflage Black Brown;
(b) Shadows: a mix of 70.822 German Camouflage Black Brown and 70.941 Burnt Umber;
(c) Midtones: a mix of 70.941 Burnt Umber and 70.873 US Field Drab;
(d) Hightlights: 70.873 US Field Drab. [used sparingly for now]
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| Canon EOS 650D settings: f/16, 1/60sec, ISO-1600; with Tamron 90mm macro lens |
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| Canon EOS 650D settings: f/16, 1/60sec, ISO-1600; with Tamron 90mm macro lens |
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| Canon EOS 650D settings: f/16, 1/60sec, ISO-1600; with Tamron 90mm macro lens |
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| Canon EOS 650D settings: f/16, 1/60sec, ISO-1600; with Tamron 90mm macro lens |
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| Canon EOS 650D settings: f/16, 1/60sec, ISO-1600; with Tamron 90mm macro lens |
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| Canon EOS 650D settings: f/16, 1/60sec, ISO-1600; with Tamron 90mm macro lens |
All the photos shown above were taken using the Canon EOS650D camera with a Tamron 90 mm macro lens. They were shot in RAW format so that I had sufficient image data in order to produce the necessary white balance, exposure, and color correction edits. Having the means to do so meant that not all was lost if I happened to have photos that were not properly exposed or were taken under wrong white balance settings. All edits were done in Adobe Lightroom Classic.
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iPhone 13 Pro Max ultra wide lens at f/1.8, 1/100sec, ISO-32
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| iPhone 13 Pro Max ultra wide lens at f/1.8, 1/100sec, ISO-32 |
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| iPhone 13 Pro Max ultra wide lens at f/1.8, 1/100sec, ISO-32 |
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| iPhone 13 Pro Max ultra wide lens at f/1.8, 1/100sec, ISO-32 |
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| iPhone 13 Pro Max ultra wide lens at f/1.8, 1/100sec, ISO-32 |
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| iPhone 13 Pro Max ultra wide lens at f/1.8, 1/100sec, ISO-32 |
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| iPhone 13 Pro Max ultra wide lens at f/1.8, 1/100sec, ISO-32 |
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| iPhone 13 Pro Max ultra wide lens at f/1.8, 1/100sec, ISO-25 |
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| iPhone 13 Pro Max ultra wide lens at f/1.8, 1/100sec, ISO-25 |
Meanwhile photos with the white background were taken using the iPhone 13 Pro Max, also in RAW image format using the mobile Lightroom app's camera function. Even with a 10-year-old DSLR technology, the the Canon 650D's image quality still exceeds that of the latest iPhone, especially in macro/product photography. This is to be expected as the Canon 650D has a bigger sensor as well as utilizes a bigger lens, which in this case was the Tamron 90 mm macro lens. That being said, mobile photography has come a long way and image quality is fairly decent as you can see here.
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| iPhone 13 Pro Max wide lens at f/1.5, 1/140sec, ISO-32 |
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| iPhone 13 Pro Max wide lens at f/1.5, 1/180sec, ISO-32 |
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| iPhone 13 Pro Max wide lens at f/1.5, 1/150sec, ISO-32 |
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| iPhone 13 Pro Max wide lens at f/1.5, 1/160sec, ISO-32 |
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| iPhone 13 Pro Max wide lens at f/1.5, 1/160sec, ISO-32 |
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| iPhone 13 Pro Max wide lens at f/1.5, 1/180sec, ISO-32 |
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| iPhone 13 Pro Max wide lens at f/1.5, 1/200sec, ISO-32 |
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| iPhone 13 Pro Max wide lens at f/1.5, 1/180sec, ISO-32 |
Rather than painting the hair in broad swathes of shadows and highlights, I focused on creating pseudo-individual strands of varying hue values. As it stands, the figurine's hair should be able to accommodate more highlights without being too bright overall. While I am aiming for a black brown or brunette look, brighter highlights may be needed to create contrast and prevent the hair from looking too dull and flat. The nuances of how I'm going to further tackle the hair aside, I'm simply glad I'm actually painting at the start of the year instead of just assembling and priming. For just that reason alone, I'm happy, more so that I still enjoy and haven't yet given up on this hobby yet. Cheers!
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Lovely looking mini at now!
ReplyDeleteGreat to see your tutorials!
Best
She is still in the very early stages, nonetheless I appreciate the supportive comments. Thanks :)
DeleteGreat work Kuan ! I'm glad you're happy & enjoying the hobby.
ReplyDeleteLooking forward to more progress.
Greetings
Thanks Mario! Me too, I am glad I haven't completely lost my love for the hobby yet! :)
DeleteNice work on the hair so far! Really looking forward to your next steps. I find painting female skin convincingly somewhat daunting.
ReplyDeleteAlos interesting on the camera(s). Really should try to make better use of mine ( I do have the same as you) but find it such a time sink.
Painting female figurines is always a daunting prospect, even for me. There is always the fear I am going to mess things up. It's the small wins that keeps me coming back for more.
DeleteAs for the cameras, it is indeed a time sink, but only at the start. Although you never cease to learn something, it gets easier once the basics are learned :)
That hair is insanely good! :O
ReplyDeleteYou're too kind Suber. Truly thank you for such nice comments. ^_^
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ReplyDeleteNice work - the hair looks good.
Thank you very much :)
DeleteLooking good so far. Lots of different tones in her hair, so it should help it look "real" when it comes down to the final coloring.
ReplyDeleteThank you :) It's still the early stages but a reasonably good start never hurts for the rest of the painting process.
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