Frank P. DeCandia’s Tron Lightcycles

“Think we can merge with this memory, Bit?”

The basic technique here is to “paint it flat”. Minimize your paint choices, and depth shading.
The most obvious shading helps the illusion of depth and movement. Too many colors at too many shades ruins the effect. The TRON movie makes “cartoonish” images appear as “something real”. The idea here is to make “something real” appear “cartoonish”. In the TRON world, “cartoonish” is not only good, but desireable – “plastic” is bad.

“Prepare to transport to Lightcycle grid…”

In excited anticipation of this model, I knew EXACTLY the look I desired.

To capture the essence of the movie images’ soft glow.
To sit on the absolute borderline of realism vs animation with no black lines.
To meet the sheer ambition of TRON’s pseudo-existence of “Half real – half animated”.
A digital dream seemingly real, but its’ substance is imagination.
That is what makes TRON animation an artistic visual feast.
The images are too life-like to be fake, but too fake to be life-like.”

“…we have transport.”

TRON inspired me to purchase a blue (not black) florescent light fixture in 1984.
Lots of blue light used in the movie, and gives the models a cool glow.
Perhaps my ambitions are too high. Perhaps I see these through an artists eyes.

Grid Bugs:

They require some wet and dry sanding, plus primer for best results. Mine arrived pre-sanded, and primed by special arrangement. Lacquer paints stick better on resin models. I did some spray painting for the shading, and canopy windows. Otherwise, they are painted completely by hand. Then some various shading for “coolness”.

The designer recommends silver paint for the frame, and I concur that gray is too drab. Blue lighting in the movie make the frames appear more cyan. Sure, gray or cyan are accurate, but this is a stationary model. Silver has that grayish tone with metallic appeal. Avoid gloss body paint unless you WANT a Lightcycle toy. As with my Robot models, I use “signature chrome” in obscure places to enhance appeal. Finally decided on chrome “signature” hub caps for the Lightcycles.

The canopy windows are done with a special coating. How do you make solid plastic appear as dark canopy, without appearing as painted solid plastic? (If you guess, more power to you!) Semi-gloss black would work extremely well in any case.

The forthcoming grid base is also by special arrangement. It is made by Cliff Erasmus – the Lightcycle model designer.
Inoperative Data Pushers:

The beauty of this model lies in the brilliant simplicity of the mold. Mostly one solid body with four additional pieces that are easily painted and glued on. Thus allowing easy air brushing, or spray painting of parts like window canopy, an important aspect. Other paint borders are of relative concern. Basically an “A+” design. Perfect for the beginner, or advanced modeler. Once completed, it lacks any balance. Not the designers fault since it belongs in a computer world where logic defies gravity. Prop it up with some cardboard tubing underneath.

At a whopping At 9-¾” long it is far easier to detail, and displays more like a movie prop model. It’s the perfect size to catch the eye. This versitile piece allows different perspectives of build up, depending on the builders intent. Some may opt for black light options, while others desire to use simple gloss paint. But this “Automan” is ready to make 90° turns at 100 MPH velocity!
Made by: Erasmus Designs

By: Frank P. DeCandia

Space Paranoids Addendum:

Mark Dickson is the one who grew the master from the Disney CG files. He prepares the files and pays for the master pattern. Thanks, Mark! Cliff does the molding and casting. Cliff came up with the great idea of using a brass pin under the wheels to stand the models upright.

The red Lightcyle (Known as Gold 1.) was a challenge. Recalling how difficult glow paint is to coat, I first used two coats of a flat red. I was tempted to leave it, but it less compliments the glowing yellow and blue. Florescent red comes rather orange, but the translucency should hint at the red beneath. The glowing reddish-orange, is a little redder under room light. Red or orange is an accurate color in any case. It’s like two Lightcycles for the price of one.

The specially coated canopy windows diffuses camera flash so well, it’s difficult to even get photographic glare. But, it can exhibit a realistic sheen under normal room light. Much better than flat black, or gloss black.

Instead of silver this time, I opted for an aluminum frame. The duller sheen better resembles the movie Lightcycle. The chrome hub caps also stand out better.