If you were to mash up the terms “retro sci-fi” and “adorable” I’m confident what you would get is Eddie the robot.

Eddie, a garage resin kit created by visual FX artist Paul Braddock, was an impulse purchase I made some time ago. Its box has migrated around my workshop, moving from one storage area to another. Finally, it has found its way onto my workbench for painting.

Assembling Eddie is a breeze due to the kit’s simplicity. It consists of relatively few parts, and much of the work has already been done during the manufacturing process. The head and arms come with built-in magnets, seamlessly integrated into the design. Additionally, the LED eyes are pre-installed and ready to light up. It’s almost embarrassing how long it took for me to start working on Eddie.

I’m excited to bring this unique character to life with my paintbrush. The craftsmanship of the kit and the thoughtful features included make it a pleasure to work on. Eddie’s quirky charm and impressive design make it a standout piece in my collection. Stay tuned to see the final result as I try to bring out the best in this fantastic kit.

There wasn’t much that needed to be done other than a quick clean and prime. I kept all the parts separate during painting as they were already in logical sub-assemblies. For priming, I applied Mecha black with an airbrush to ensure good adhesion. To add contrast and modulation, I pre-shaded with white ink, although it wasn’t essential since I used highly opaque Tamiya paints for the base color.

To give Eddie a retro feel, I opted for a desaturated Tamiya blue-grey for most of the body, head, and legs. The metal components were based with a combination of Vallejo Metal series Duraluminium and Magnesium, heavily dulled with earth tones and black. I then refreshed the metallics with airbrush layers of steel and chrome before polishing them up using AK True Metal Steel for piston shafts and sleeves.

Since Eddie is more of a ‘prop’ than the typical gaming pieces I’m accustomed to, it has a place in the real world, figuratively speaking. Therefore, the materials have to look and feel realistic rather than abstract. Being able to buff the moving parts to a more realistic sheen helps sell that. In the past, I would have used lacquer-based Alclad for the chrome parts, which would have given a near mirror-like finish. However, downsizing the workshop space due to necessary COVID changes in the household meant I no longer had access to them. True Metal doesn’t quite achieve that level of finish, but it is significantly easier to work with, and I find the polishing stage to be pleasingly therapeutic. It reminds me of the gold Rub ‘n’ Buff I used on the Warhound Titan trim.

Key components of Eddie the robot during painting and assembly

Weathering in acrylics and oils

The version of Eddie painted by its designer gives off a post-apocalyptic, environment-worn vibe that wouldn’t be out of place in the Fallout universe or Wall-E. It reminds me of a classic 50’s car discovered in a barn, undergoing a loving restoration. Mechanically sound yet adorned with spots of corrosion and grime, it carries them with grace.

I didn’t deviate too far from the techniques I use on my wargaming tanks. I applied them in areas where wear and tear would be most appropriate, such as seams, sockets, joints, and panel edges. The first step involved adding a few chips and scratches using a lighter grey than the base coat, followed by a dark reddish earth tone (Games Workshop Rhinox Hide is my go-to color). To create tonal interest and homogenize the chipping, I applied a filter of wonder wash. This stage also protects the underlying acrylics and decals from the subsequent oil stage, while providing a natural satin finish that is visually pleasing compared to the flat matte finish of the base colors.

When applying the oils, I work on one layer at a time, sealing each layer with a light coat of varnish before moving on to the next. This approach helps distinguish different effects, such as staining, water damage, leaking oil seals, or streaked grime. For this stage, I typically use burnt umber and burnt sienna, either individually or in combination. I keep it simple with grime and light corrosion, without dot filtering.

At the time of taking these photos, I would say Eddie is ninety percent done. He is fully assembled and good enough to join other finished projects on the workshop shelf. However, there is still more work to be done. I have yet to add the textured oxidization effects, the patina of lubricant grime, and some light environmental dust in the recesses. When I find the time for that, I will refresh the photos with proper ones that showcase his light-up eyes. Unfortunately, I couldn’t capture that for this post as the switch wiring requires some minor repairs. But that can be taken care of another day. For now, Eddie is out of his box and free to roam the workshop!

It only took two years and one pandemic to bring this about…

Until next time, happy hobbying.

Also: You can your own Eddie following this link: https://www.paul-braddock.com/collections/resin-kits/products/eddie-resin-kit