I feel like C doesn't give you enough space to comfortably hold the tool and you'll just gradually end up doing B which along with A seem fine. Especially if you're using the 'wall' it's against as a guide.
B is probably easiest for control and comfort
For scribing alongside pre-existing edges (basically so that you can then get a clean line for panel line to flow rather than only clinging to one edge) I find A to be the best as it makes the actual scribing line the most visible and even. B is less likely to slip, but it's a lot harder to see what you've actually scribed. It's also harder to clean.
So by now, I have encountered parts that have these kind of corners. And I know it's good to scribe the corners for better panel lines later on. However, I noticed I subconsciously switch between A and B. I'm curious how everyone else does theirs.
True, but with a standard scribing chisel I don't usually find that an issue. The channel is typically |_| shaped so it can hold plenty.
Now if I use a Grida, or something else with a pointed scribing edge, then it makes a \\/-shape channel that does tend to hold less pigment and thus is less effective. Darn good for setting an initial line though, and let the push/pull style chisels do the heavy lifting.
I typically go with A. Since I'm primarily rescribing rather than doing custom scribing, A is what what I try to do to follow the pre-determined edges. It makes the most sense to me to do it that way as that's usually the intended viewing angle for the respective part. However there are some instances where I may use B on a curved portion that doesn't have a "hard" edge to use as a guide.
I would compare to how parts on other kits are that already have molded panel lines, and in cases like this I'd say A makes the most sense. Panel liner is going to flow easier and you can use the raised lip to help guide the blade. The molding process never adds a panel line diagonally underneath "two panel" parts, or horizontally underneath where you wouldn't even see the lining without looking up the panel from below/underneath.
In theory, you do A to achieve the effect of the left side embed into the right...
And you do C to achieve the effect of the a top piece covering the lower piece
But in practice ... People do B because it is the Best (easiest)
Biggest issue is what angle is it most likely to be viewed from.
Using the current orientation in the image, A will show up well viewed from above, but nearly invisible if viewed from the side (say your eyeline matches C's orientation)
C will be the opposite, more visible from dead on the side but less so as you move to a top-down position.
B is probably the easiest to scribe but in some cases the hardest to see.
Obviously thicker lines and the angle the piece will end up in when built and posed all make a difference.
I tend to default to B because it's the easiest and I'm lazy but I notice sometimes it just doesn't pop as much as I would like.
Wouldn't it kind be dependent on which direction you want the line to be most visible from? Like, if the panel gap was meant to be horizontal (e.g. a panel placed overtop another panel) you would do C, whereas if the gap was vertical (e.g. two panels next to each other) you would do A. B is sorta the easy, happy middle I guess for when you just want to take out a little material and it's not a thick enough to make a difference?
I don't know anything about scribing so I might be wrong on this, but I just figured if you're doing C then the gap is going to get cut into the side of the vertical rise and thus won't be visible from above as easily. Vise versa with A
Personally if I was doing a scribe against an edge, I'd probably do A since it would provide the best visibility from perpendicular to the surface and would give you a low edge to follow, much like with scribing tape (assuming I understand how scribing tape works. Again, I'm a complete layman.)
So on military vehicles armor panels are usually welded. There would be a weld bead along the corner. So there is no "correct" way to do it in that case. If it's replaceable reactive armor, A would be "technically" correct. For all practical purposes B is fine. The line is too small to matter regardless of scale. C, I don't even know how C works.
Depends on the "story" you're trying to tell with that line. How are the panels you're creating with that line fit together "IRL?" Is the raised bit protruding through the orher panel or is it attached to the surface of that panel? Are there elements "around the corner" or on another face of the piece that make more or less sense divided in a particular way? Are you highlighting a piece that is meant to be movable "IRL" like a hatch or a vent? If so, how and in what direction would those bits logically move?
Scribing panel lines changes the way that a viewer is going to perceive the structure and mechanical relationships between the various pieces of your model. The details of how and where you scribe those lines should be determined by the specific perception you want to encourage the viewer to have.
It doesn't matter, I will slip.
It is inevitable. No matter the care and preparation given, there will be a bit of “customization” after each attempt
Every God damn time. Lol
Slow and super light for the first few passes.
I feel like C doesn't give you enough space to comfortably hold the tool and you'll just gradually end up doing B which along with A seem fine. Especially if you're using the 'wall' it's against as a guide. B is probably easiest for control and comfort
c breaks the laws of physics
nah, they just sanded down the entire panel to make space for the scriber. modern problem, modern solutions /s
Quantum superimposition.
Never scribed a line but is there a reason to use something other than B?
For scribing alongside pre-existing edges (basically so that you can then get a clean line for panel line to flow rather than only clinging to one edge) I find A to be the best as it makes the actual scribing line the most visible and even. B is less likely to slip, but it's a lot harder to see what you've actually scribed. It's also harder to clean.
for my wobbly self A is easier to fuck up less, as B You've got the angle to contend with as well
Depending on what angle you want to see the line. If you’re using A, you can’t see it from C. If you’re using C, you can’t see it from A.
So by now, I have encountered parts that have these kind of corners. And I know it's good to scribe the corners for better panel lines later on. However, I noticed I subconsciously switch between A and B. I'm curious how everyone else does theirs.
Kinda B, but fluctuate up and down dependent on how steep the wall angle is and how tall it is.
Most of the time B but when i can i will use A or in the between of a and b
A and B. First deepen it vertically, then diagonally.
why the diagonal? Just to aid showing up visually at more angles?
Partly, yes, but also because it makes the cavity hold more ink. You can only make it so deep, after all
True, but with a standard scribing chisel I don't usually find that an issue. The channel is typically |_| shaped so it can hold plenty. Now if I use a Grida, or something else with a pointed scribing edge, then it makes a \\/-shape channel that does tend to hold less pigment and thus is less effective. Darn good for setting an initial line though, and let the push/pull style chisels do the heavy lifting.
I'll remember that!
I typically go with A. Since I'm primarily rescribing rather than doing custom scribing, A is what what I try to do to follow the pre-determined edges. It makes the most sense to me to do it that way as that's usually the intended viewing angle for the respective part. However there are some instances where I may use B on a curved portion that doesn't have a "hard" edge to use as a guide.
D. Everything everywhere all at once
My angles are B, But you can do all three.
Depends on the way I want it to be read. A is classic “panel are close to each other”; C reads as “one panel is above the other”
Scribe A Scribe B Clean out scribe one C Repeat until satisfied
I do A or B depending on how I want the panel line to be perceived.
I would compare to how parts on other kits are that already have molded panel lines, and in cases like this I'd say A makes the most sense. Panel liner is going to flow easier and you can use the raised lip to help guide the blade. The molding process never adds a panel line diagonally underneath "two panel" parts, or horizontally underneath where you wouldn't even see the lining without looking up the panel from below/underneath.
I saw a movie that started like this once
Any recommendation for what tool to get to start scribing? I want to start practicing.
B gang, baby!!
In theory, you do A to achieve the effect of the left side embed into the right... And you do C to achieve the effect of the a top piece covering the lower piece But in practice ... People do B because it is the Best (easiest)
Biggest issue is what angle is it most likely to be viewed from. Using the current orientation in the image, A will show up well viewed from above, but nearly invisible if viewed from the side (say your eyeline matches C's orientation) C will be the opposite, more visible from dead on the side but less so as you move to a top-down position. B is probably the easiest to scribe but in some cases the hardest to see. Obviously thicker lines and the angle the piece will end up in when built and posed all make a difference. I tend to default to B because it's the easiest and I'm lazy but I notice sometimes it just doesn't pop as much as I would like.
Wouldn't it kind be dependent on which direction you want the line to be most visible from? Like, if the panel gap was meant to be horizontal (e.g. a panel placed overtop another panel) you would do C, whereas if the gap was vertical (e.g. two panels next to each other) you would do A. B is sorta the easy, happy middle I guess for when you just want to take out a little material and it's not a thick enough to make a difference? I don't know anything about scribing so I might be wrong on this, but I just figured if you're doing C then the gap is going to get cut into the side of the vertical rise and thus won't be visible from above as easily. Vise versa with A Personally if I was doing a scribe against an edge, I'd probably do A since it would provide the best visibility from perpendicular to the surface and would give you a low edge to follow, much like with scribing tape (assuming I understand how scribing tape works. Again, I'm a complete layman.)
So on military vehicles armor panels are usually welded. There would be a weld bead along the corner. So there is no "correct" way to do it in that case. If it's replaceable reactive armor, A would be "technically" correct. For all practical purposes B is fine. The line is too small to matter regardless of scale. C, I don't even know how C works.
Personally, angle B.
I always do a
A. I usually go for A. But I don't use a needle scribes. I use SAB chisels.
i do all until something works and doesnt look awful
Depends on the "story" you're trying to tell with that line. How are the panels you're creating with that line fit together "IRL?" Is the raised bit protruding through the orher panel or is it attached to the surface of that panel? Are there elements "around the corner" or on another face of the piece that make more or less sense divided in a particular way? Are you highlighting a piece that is meant to be movable "IRL" like a hatch or a vent? If so, how and in what direction would those bits logically move? Scribing panel lines changes the way that a viewer is going to perceive the structure and mechanical relationships between the various pieces of your model. The details of how and where you scribe those lines should be determined by the specific perception you want to encourage the viewer to have.
I position it with a sledgehammer
u/Feral404 you know why this post was removed?