Texturing with a Dremel
|Ok. On this page I will attempt to show
how I add detail back in on styrene kits after cleaning
up the joints.
This will also work on resin kits, but it is geared more towards styrene.
First thing I will talk about is the dremel itself, and the bits that I use.
|For the scales I added in in the pictures
above, I used the bit you see here. It's got a nice point
on it and does a decent job.
Below you can see the set of bits that I use for fine details.
|There are a variety of shapes and sizes, and the effects I am going for really dictate which one I use.|
|On the tail shown above, I had already
used 2 other bits to get to that stage before switching
to the one discussed here.
I used both the ball shaped one, and the cone shaped one to clean up the seam itself. And restore the contours of the ribbing on the tail at the seam.
It's one of those things that is a personal preference. There is no right or wrong bit to use in any given case.
Just whatever you think will work for the job at hand.
|Above is a before picture of one of the
arms for the same model.
Note the smoothness where the seam is in the before picture.
That is what we want to address. It doesn't look right. And will only continue to not look right as you paint it.
There are no places for a wash to seep into, there are no high points for drybrushing to highlight. It will just look smooth, flat, boring, and unnatural.
several reasons for the smoothness and soft detail.
|Here is what it looks like
I take the dremel and follow the patern that is already there.
This can be tricky sometimes as there might be large areas that are smooth, and you have no idea where to go.
First, work the edges of the smooth area. Recarve the lines that you can see. Follow them to their logical ends.
After you have done this all around the smooth area then you should be able to find some logical areas to connect things.
Also, tilt the piece and watch how the light cast shadows. Sometimes even if it is smooth, you can still see shadows of where detail used to be. Follow them and bring that detail back out.
You want to follow what you can of the original texture, as your work won't be out of place then.
As you work on the piece you will start to get a feel for what the orignal sculptor was doing. So if you do get into a totally blank area, you should be able to free hand your way through it rather convincingly.
When you think you are done. Take a quick break. The hold the piece away from yourself a little bit.
Look it over.
Bet you find some more places that still need some work.
I know I always do.
You will probably notice that the
carved grooves aren't exactly smooth. And that there are
still some little chunks of plastic in there. I clean
that up with an old toothbrush. The soft plastic bristles
won't hurt the plastic, but they will get in there and
clean things out for you.
|Widen out your work.
In the pic above, the seam wasn't that big.
But I worked my way out into the texture that was still there.
But going a little lighter on detail that still remains, it help blend your new work with the existing texture on the subject.
It adds in some of the tool marks of the dremel, without overpowering what is already there.
This brings me to
something I almost forgot to cover.
The dremel is a great tool.
|Try getting a dremel down into that area under the
chin on this kit.
It isn't going to happen.
Sure, you can get some of the seam with it, but not down where it counts.
For areas like that, you have to be extra carefull during assembly and seam clean-up That way you won't need to try and get something in there to carve details back in.
That is also where
these little babies come in handy.