Yamazaki: I suggested that in order to take advantage of the luster and colors that Vitrail and Prisme have, it would be better to simply limit the number of colors rather than have a bunch of different shades on them. Several color tests were conducted on the elements before applying on the sofvi models. Yukayama: We went through a lot of experimenting, adjusting the viscosity in order for the paint to be airbrushed, layering gradients, and changing the primary color to begin with.
This technique is called "Kurumi Coating". Considering the impact of the base color, I thought it would be better to paint the whole thing in just a single color first. Yamazaki: There is also the fact that the remaining Demstrone happened to be a marble molding color.
Yukayama Koutei : Normally, Demushiron’s colors are painted with molding colors because of the request from our leader (Yamazaki), but the paint we used this time is quite transparent, so we had to change our painting style. The soft vinyl models in WAGAYA KOBO may be similar to the ones made in those years. Gigan Yamazaki : Nowadays, sofvi Kaiju models, including the ones for children that are sold in toy stores, are very much like realistic ones, but up until the 70's, the mainstream models were rather stocky or deformed. ーWhat is the concept behind the creation of your work this time? We interviewed the two members of WAGAYA KOBO about the concept behind the production of this project and their thoughts on the use of the paints. The creature is mainly colored with Nagashima's Sofvi (soft vinyl) colors.Īnd here's the form recreated by using Pebeo Vitrail and Prisme!Ĭompared to sofvi paints, it feels more lustrous and richer in color.īeautiful and shiny results, all thanks to the unique luster of alkyd resin. Left : original color / Right : unpainted version WAGAYA KOBO’s original creature, 「Demushiron the Blue Arthropod Human」 I wonder what kind of work will be created from Kaiju and Creature’s hideout? This time, Yukayama Koutei, who is the director of WAGAYA KOBO, kindly gave us the opportunity to use Vitrail and Prisme on one of his collections. WAGAYA KOBO, hosted by writer Gigan Yamazaki, where he creates original monster costumes and soft vinyl figure. (* Connecting Artists and Materials ~PIGMENT Material Conference Vol.2: ) Therefore, PIGMENT TOKYO invited "WAGAYA KOBO"(My home laboratory), an alternative space in Tokyo that has been featured in previous articles*, to join us in this interview. Since oil-based alkyd resin is used as the adhesive medium, these products take about 6 hours to dry.ĭue to its extremely high transparency, this kind of multi-layered expression is possible by combining Vitrail and Prisme, giving it a smooth gloss and tough coating result that cannot be found in water-based paints. Moreover, Fantasy Prisme allows you to create a realistic, structured painting surface, just like the compound eyes of an insect. When the paint dries completely, it can take on a texture like this lacquer that shows on the picture below.
Both Vitrail and Fantasy Prisme can be used on smooth surfaces such as glass and metal, as well as canvas and paper.
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