大兵萊恩一路直前: 泡綿模型實作, (7) TORA-KUN (Paper Craft, EVA Foam)

這次, 吸走萊恩目光的模型公仔, 是 ROBOT IS LOST 推出, 藝術家 Malcolm Tween 創造的 TORA-KUN SERIES 1. 方整的體型, 搭配圓筒天線與手臂, 造型頗有樸拙感. 機體上的鏽斑, 層層疊疊雜亂無章的塗鴉與貼紙, 它像是科幻小說描寫的反烏托邦未來世界中, 在暗夜小巷向醉倒在垃圾堆的路人宣導法條或查核身份的執勤機器人.

This time, the model that caught Ryan's attention is the TORA-KUN SERIES 1 created by artist Malcolm Tween, released by ROBOT IS LOST. With a square body shape, cylindrical antennas, and arms, it has a somewhat rustic appearance. The rust spots on the body, layers of random graffiti and stickers, make it resemble a law-enforcing robot from a dystopian future described in science fiction novels, preaching regulations to intoxicated pedestrians in dark alleys or checking identities.

在 ROBOT IS LOST 網站上, TORA-KUN SERIES 1 共有四種不同配色, 共同特色是機體上的塗鴉與貼紙.

On the ROBOT IS LOST website, TORA-KUN SERIES 1 comes in four different color schemes, with graffiti and stickers being a common feature on the body.

萊恩本想自己建模, 後來在 Sketchfab 上找到現成的模檔, 省了這道工.

Ryan initially intended to create his own model but later found a ready-made 3D model on Sketchfab, saving him that step.

有了 3D模檔, 接下來把它轉化成 low poly 版本, 再拆解成紙模檔. 紙上作業到此為止, 接下來就是愉快的動手做時間.

With the 3D model in hand, the next step was to convert it into a low-poly version and then break it down into paper templates. The work on paper ended there, and the enjoyable hands-on construction began.

素體部份, 有幾個地方特别值得一提:

[1] 四肢靠磁鐵來吸附在軀體上.

[2] 天線則採用卡榫結構, 做成活動式的.

[3] 萊恩嚐試了好幾次, 才把軀體邊緣的斜角平整地切出來.

Regarding the main body, there are a few notable features:

[1] The limbs are attached to the body using magnets.

[2] The antennas are designed with a mortise structure, making them movable.

[3] It took Ryan several attempts to cut the edges of the body smoothly.

再來是填補縫隙, 並刷上 Flexi Paint, 在泡綿表面形成乳膠觸感的膜, 方便後續上色, 並遮蓋泡綿表面的細孔.

Next came filling the gaps and applying Flexi Paint, which forms a latex-like film on the foam surface, making it easier for subsequent coloring and covering the pores on the foam surface.

表面處理大致完成後, 過往萊恩都是將物件整個塗黑, 再刷銀色顏料上去. 這回心血來潮, 直接噴銀漆上去. 銀漆果然也符合期待, 很暴力的蓋住物件表面原本的黑色.

Once the surface treatment was mostly completed, Ryan used to paint the entire object black and then apply silver paint. However, this time he decided to spray silver paint directly, and it indeed met expectations, forcefully covering the original black surface of the object.

萊恩進一步地將全部物件噴上銀漆, 得到一隻銀色的 Tora-Kun. 不過, 由於先前的表面處理做的不到位, 這邊可看出泡綿表面仍有不少的細孔.

Ryan further sprayed all the objects with silver paint, resulting in a silver Tora-Kun. However, due to insufficient surface treatment done earlier, there are still many pores visible on the foam surface.

問題來了. 噴銀漆後, 萊恩得用更厚重的顏料, 才能蓋掉底下的銀色.

Here comes the problem. After spraying silver paint, Ryan had to use thicker paint to cover the silver underneath.

萊恩重做了表面處理, 刷上黑底, 再塗上綠色顏料.

Ryan redid the surface treatment, applied a black base, and then coated it with green paint.

這是第二次的配色.

This is the second color scheme.

至於機體上的塗鴉, 萊恩打算採用鏤空模版搭配塗刷上色的作法來實現.

As for the graffiti on the body, Ryan plans to use stencil templates and brush painting to achieve it.

先來一隻兔子來試試看. 萊恩發現, 綠/黑的底色太重了, 淡色系的塗鴉很難呈現出來. 把綠/黑刷白後, 兔子紅色的輪廓才終於亮眼起來.

Let's start with a rabbit as a trial. Ryan found that the green/black base color was too heavy, making it difficult for light-colored graffiti to stand out. After brushing the green/black with white, the red outline of the rabbit finally became eye-catching.

問題又來了. 萊恩塗白綠/黑底色時, 有點吝嗇不想用太多顏料, 造成表面白色色澤不均勻. 即便再刷上黃色, 仍掩不住底下透出的黑. 至此萊恩已不想再重新上色, 便說服自己這是特色, 它呈現出反烏托邦未來世界的衰敗感.

Another problem arose. Ryan was a bit stingy with the white paint for the green/black base color, resulting in uneven white color on the surface. Even when yellow paint was applied, it couldn't hide the underlying black. At this point, Ryan decided not to repaint and convinced himself that it was a unique feature, portraying the decay of a dystopian future world.