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Name: Beirut Wattad and Besan Wattad
MEPI Program/Year: Student Leaders Program 2018 and 2019
Beirut (SLP 2018) and Besan (SLP 2019) Wattad are sisters who both got the chance to
participate in the Student Leaders Program. After their participation in the program and upon Besan’s return to their country in 2019, they decided to create their own social initiative Finjan, which aims to spread purposeful content and promote expression of opinion. The idea came from a lecture by a blogger that Besan attended who said, “The available meaningful content on social
platforms within the Arab community is only 4%.” With such a low statistic, Beirut was motivated to promote meaningful content creation by targeting the Arab minority in their community. Beirut and Besan said their MEPI experience encouraged them to be more active in the civic
engagement field and strengthened their leadership and teamwork skills. They also said that the Student Leaders Program gave them valid tools to manage projects, and they were inspired by others in the talented MEPI network.
Finjan Initiative created a very positive impact in their community, where they encouraged students to be civically engaged during their studies in the university through webinars, sessions, and trainings. They also introduced new diverse content to students that was not directly related
to their fields of study. Finjan offered online and offline workshops to teach university students new skills. One of the most important achievements of Finjan is creating a cross-regional network where people have bonded over their mutual interests and developed work plans together for community projects. Beirut and Besan have expanded the Finjan community through the help of the MEPI alumni network. They have received programmatic support, such as their logo design was produced by the help of Moneer Alwerfally, (SLP 2018) . MEPI Alumni have also supported them with speaking at Finjan events. Sinda Arfaoui (SLP 2018) and Heba Mahafdeh (SLP 2018) have facilitated
multiple workshops. Beirut and Besan believe in investing in people by growing and strengthening their communities.
They aim to develop Finjan to become an official NGO that promotes meaningful content for the social media platforms within the Arab community and to devolve the skills for content makers and youth influencers to serve their larger communities and to also create a safe platform for the youth to express themselves and learn
The Underdog Event was proud to have Unorthodox Underworld as part of the Bona Fide August Round! At Unorthodox Underworld, you can find a wonderful & eclectic mix of artistry as well as a bit of naughty kink!
To keep up to date on their newest releases, be sure to Visit their:
Main Store: maps.secondlife.com/secondlife/Malkine/160/245/3499
Flickr: www.flickr.com/photos/144978514@N02/
Marketplace: marketplace.secondlife.com/stores/179827?id=179827
About Coefficients Co. Ltd.
Coefficients Co. Ltd. is an outsourcing company that offers business solutions beyond Virtual Assistance and Customer Support and has been helping businesses grow by offering Business Development, Consultancy and Design Solutions to its clientele.
Offering services such as Advertising & Marketing, Content Creation, Graphic & Web Design among others, here at Coefficients, we go above and beyond for our clients. From assessment, to solution design, to training, transition and launch; we cater to every phase and we got you covered every step of the way. We don’t go for temporary aids. We strike to the core.
Award 17. Best Integrated Media Strategy sponsored by Snap - Zurich Ireland
Pictured Clare McCarthy, Sean Carty and Caitriona Laffanfrom Zurich Ireland winners of the Best Integrated Media Strategy sponsored by Snap for Future Ready at the 2019 Digital Media Awards hosted by Newstalk’s Tom Dunne at the Clayton Hotel, Burlington Road, Dublin on Friday 15th February. Now in their 16th year, the Digital Media Awards are the most prestigious digital awards in Ireland. They recognise creativity and innovation across multiple areas of an ever evolving sector which includes digital content creation, advertising and marketing, mobile media, social networking, app development, web design and development.
A full list of winners can be found at digitalmedia.ie
- ends -
For further information, interviews with winners or to receive imagery from the awards, please contact; Niamh McDermott, Event Manager T: 01 432 2232 or E: niamh@ashville.com
Digital Media Awards 2019 - Winners Captions
2019 Digital Media Awards hosted by Newstalk’s Tom Dunne at the Clayton Hotel, Burlington Road, Dublin on Friday 15th February. Now in their 16th year, the Digital Media Awards are the most prestigious digital awards in Ireland. They recognise creativity and innovation across multiple areas of an ever evolving sector which includes digital content creation, advertising and marketing, mobile media, social networking, app development, web design and development.
A full list of winners can be found at digitalmedia.ie
- ends -
For further information, interviews with winners or to receive imagery from the awards, please contact; Niamh McDermott, Event Manager T: 01 432 2232 or E: niamh@ashville.com
Full-Service Filmproduktion & Videoproduktion Munich. From concept to 4K delivery, we tell your brand's unique story. Start your project with LANIZMEDIA!
2019 Digital Media Awards hosted by Newstalk’s Tom Dunne at the Clayton Hotel, Burlington Road, Dublin on Friday 15th February. Now in their 16th year, the Digital Media Awards are the most prestigious digital awards in Ireland. They recognise creativity and innovation across multiple areas of an ever evolving sector which includes digital content creation, advertising and marketing, mobile media, social networking, app development, web design and development.
A full list of winners can be found at digitalmedia.ie
- ends -
For further information, interviews with winners or to receive imagery from the awards, please contact; Niamh McDermott, Event Manager T: 01 432 2232 or E: niamh@ashville.com
2019 Digital Media Awards hosted by Newstalk’s Tom Dunne at the Clayton Hotel, Burlington Road, Dublin on Friday 15th February. Now in their 16th year, the Digital Media Awards are the most prestigious digital awards in Ireland. They recognise creativity and innovation across multiple areas of an ever evolving sector which includes digital content creation, advertising and marketing, mobile media, social networking, app development, web design and development.
A full list of winners can be found at digitalmedia.ie
- ends -
For further information, interviews with winners or to receive imagery from the awards, please contact; Niamh McDermott, Event Manager T: 01 432 2232 or E: niamh@ashville.com
2019 Digital Media Awards hosted by Newstalk’s Tom Dunne at the Clayton Hotel, Burlington Road, Dublin on Friday 15th February. Now in their 16th year, the Digital Media Awards are the most prestigious digital awards in Ireland. They recognise creativity and innovation across multiple areas of an ever evolving sector which includes digital content creation, advertising and marketing, mobile media, social networking, app development, web design and development.
A full list of winners can be found at digitalmedia.ie
- ends -
For further information, interviews with winners or to receive imagery from the awards, please contact; Niamh McDermott, Event Manager T: 01 432 2232 or E: niamh@ashville.com
Artwork based on the figure/statue: Stage 1/4 - Model shots with editing
Character history:
Kotone grew up in an orphanage, often looking after children younger than her. As a result of never having her parents in her life, she is easily made to feel unwanted. It is unknown what happened to her parents, but Kotone believes that they are still alive.
She initially transferred to Tokyo-3 while NERV was scouting her out as a pilot candidate, being appointed to the role officially after she started attending school.
She attends Class 2-A of the Tokyo-3 First Municipal Junior High School, with fellow Evangelion pilots Shinji Ikari, Asuka Shikinami Langley, Rei Ayanami and later Kaworu Nagisa, who she also trains under. Shortly after her arrival at NERV, Gendo Ikari entrusts her with additional surveillance work, which involves her monitoring, and reporting to him, on the daily lives of the other pilots. Her pilot’s work soon becomes a cover for her "real role". Kotone demonstrates significant problems with her synchronization rate that prevent her from being appointed as a pilot in actual battle.
In her spare time, she creates videos to post online, which usually involve her singing and performing original dance choreography. Her popularity in this sphere of content creation has earned her the title of an "internet idol", which she is sometimes referred to as by the other students, even before her introduction in Season 2. She believes that continuing to make videos may lead to her parents finding them and getting into contact with her. This hobby proves to be a security risk as far as NERV is concerned, and following her accounts being brought to the attention of Gendo, her channel is altered without her knowledge to restrict viewership to a pre-approved group. Kotone notices the stagnation in her viewership and becomes distraught, as she fears it may mean her parents will never come across her videos, but advice sought from Hitomi Amagi and Kaworu eventually convinces her that her motivation to create should come from within instead.
In "Case:02" of the game, a separate timeline set 14 years in the future, around the same time as “Evangelion: 3.0 You Can (Not) Redo”, she lives at the NERV base with the other pilots and Hitomi. She arrived there sometime prior to Shinji's retrieval operation. She finds life at NERV to be draining, with most of her days consisting only of training and little else. She is asked by Gendo to monitor the other pilots in this timeline as well.
In "Case:03", yet another universe set in the 3.0 timeline, she and Hitomi instead reside on the AAA Wunder. Little information on Kotone's history is presented in "Case:02", however, in "Case:03", she tells Hitomi about how she was separated from her parents as a young child after the Near Third Impact and grew up in a surviving village without them. Her desire to become a pilot was motivated by hearing stories about EVA pilots being able to roam the core-ized Earth without restriction.
She struggles with poor performance in her training sessions and considers becoming an operator instead of a pilot. This version of Kotone grew up in a world with little in the way of animal life and finds herself fascinated with the photos of animal families in pre-Third Impact encyclopedias kept in the Wunder's library. She's still a video creator in both "Case:02" and "Case:03", though in these timelines she records snippets of her daily life in the form of vlogs, rather than dance videos.
Character description:
Kotone's official character profile describes her as being "bright and happy", her positive personality having attracted a large amount of attention to the videos she posts online. The children at her orphanage also considered her to be like a big sister to them. She's moderately extroverted; while she is generally very friendly, open to expressing her feelings and can border on excitement at times, she mostly keeps herself company and her affability gives way to a defeated mentality whenever something goes wrong.
She puts forth a ton of effort in her work, not just in her video making, but her classwork and training as an Eva pilot as well. She stays determined during her training, despite her synchronization rate being slow to improve, a problem that is related to her hobbies as a video creator being her main priority, rather than piloting. Kotone is also rather naïve, seemingly unaware of both the nature of her monitoring work, and the NERV staff tampering with her online presence.
Despite her outgoing and dedicated demeanor, she's quite shy and avoidant when it comes to her daily life at NERV and struggles with overworking herself. She regularly loses sleep trying to balance training with homework and her personal life and goes through significant bouts of low self-esteem whenever she fails at something. She tends to become fixated on seeing through many different ideas and interests, and will latch on to any encouragement she's given, even when others disapprove.
Kotone is good at cooking; there was an episode where they made chocolates with female pilots on Valentine's Day and distributed them to male pilots.
Within the game’s context Kotone (琴音) is around 14 years old (born June 3, 2001) and (only) 5’ 3” tall. Her name literally means “Sound of the koto”, a Japanese plucked half-tube zither instrument, and the national instrument of Japan. It is known for its clear and melodious sound. This name evokes images of music, harmony, and beauty and is often associated with grace and a gentle personality. It might hint at her media activities, and also at her responsiveness and empathy towards others.
“Suzunami” is the name of the Yūgumo-class destroyer of the Japanese Imperial Navy, a code surname in a similar fashion to the other EVA pilots who are also named after battleships.
Despite being the same age and in the same class as them (except for Mari), Kotone refers to all other Evangelion pilots with the "-senpai" honorific, normally reserved for students in higher grade levels. She does this to indicate her respect for them as her senior pilots.
There are two people who call Kotone unusual: Mari Makinami Illustrious and Asuka Langley Shikinami, respectively. Mari calls her “Junior”, and Asuka calls her “Kazamidori”, a chicken-shaped weathervane on top of a roof, probably because of Kotone's unusual hairstyle (If you paraphrase, it's about “chicken hair”…)
The kit and its assembly:
This is a rather exotic project, and it took some weeks of preparation before I could start with hardware work. It is an attempt to create an anime character figure of which I do not think any model exists at all. The subject is Kotone Suzunami, and it’s is not a shame if you had not heard of the character until now at all – even me, who has been quite interested in anime for decades did not know her and only became aware of the character but that is probably due to her media “origin”.
Kotone Suzunami is an original character from (and created for) the Evangelion Battlefields computer game, introduced in Season 2. She is a newly appointed Evangelion pilot and popular content creator for an unnamed in-universe video streaming platform.
My first impression when I saw her for the first time was that she was just a re-skinned Rei Ayanami with a wild hairdo, but upon closer inspection I recognized some differences on her plugsuit, beyond the different colors, and I thought that building a figure of her would be a nice challenge.
Since I am not a big sculptor it was clear that I would convert an existing kit, but finding one – either in The Stash™ or at retail/online – turned out to be more difficult than expected, due to different issues like posture or being original (and quite valuable) kits. I even procured a 3D-printed Rei Ayanami model as a potential basis but found it at ~1:6 scale to be VERY large and bulky (even though detail and fit are very good!). Eventually, I stumbled upon the two Max Factory/PLAMAX kits of Rei Ayanami in her white plugsuit. At first I thought that it was a poseable action figure model, but effectively it’s a snap-fit statue with a fixed pose, molded in proper colors, so that you can put the figure together in less than an hour – but probably with a very good and presentable result.
Max Factory offers two versions of the kit: one “original” Rei Ayanami with her characteristic bob hairdo, and the other boxing comes with flowing long hair. This version comes from the ‘Rebuild of Evangelion’ new theatrical edition, a re-boot of the original anime TV series Neon Genesis Evangelion. Otherwise, both kits are the same, though.
I settled upon the flowing hair kit, because Kotone’s weird hair style caused me some headaches since I had to create it somehow. To avoid sculpting with 2C putty I hoped that I could trim the flowing hair down and use the excess material for Kotone’s overhanging hair, so that I’d also avoid material mix and use simple styrene glue to put the “wig” together.
Work started carefully with the arms – building this type of statue/kit is quite new for me, even though I had some experience with Bandai’s 1:12 action figure kits for Star Wars. However, the fact that the PLAMAX kit is intended to be a simple snap-fit kit, to be assembled without glue and paint, created some issues. I could have built arms, legs and torso as complete modules and then paint them, but I wanted to use rattle can paint for light shading effects. This would be easier to accomplish when the differently colored sub-builds would remain this way until they had been painted, with a final assembly. The kit’s construction makes this impossible, though, or would require complex (and doubtful) masking. In the end I modified the parts so that they could be painted separately and then finally assembled, grinding away locator pins and other internal alignment aids. This move also offered the benefit of being able to safely PSR away light seams and other mismatches – even though the latter are minimal, the fit of the parts is really excellent, this is detail work on a very ambitious level.
In parallel I also started with the legs – same strategy: no external changes yet, but internal mods to allow later assembly after painting parts with different colors. Due to their construction the upper legs required some light PSR. What’s really neat is the kit’s construction and production in differently colored material. For instance, the “stripes” on the upper legs are separate parts, so that they can be conveniently painted in a different color. Their shape on Rei’s plugsuit does not 100% match those on Kotone’s, but I leave them this way because I feel that modding these details is not worth the hustle and the potential flaws I add to the model. That might have been easier with a simple and massive resin kit.
As another parallel work step I created a display base for the figure. It comes with a neat hexagonal black base, but for a “uniform look” in my cabinets I adapted my standard base design. It consists of a square 4x4” melamine-coated press board base, flanks covered with edge-band and custom adapters made from sprue material that fit into respective openings under the figure’s left foot. Some PSR was necessary to fill some dents, carpet tile material was used underneath, and later the whole thing was painted black with matt acrylic paint from a rattle can.
As another major body module, the torso came next and it required more work, because Kotone’s plugsuit differs in some respects from Rei’s. Again, I made a compromise concerning details and what the kit offered as basis. The most obvious difference is the belly area and the zip at the front. Rei’s suit features what I call “headlights” under the breasts, and these had to be removed - the kit makes this easy, because these are separate parts, but the leftover holes had to be filled and blended into the rest of the body. The zip is also shorter, and an area between the breasts had to be levelled out and PSRed, too. Due to the separately colored/molded parts I also had to PSR the shoulder area, and the “0” on the suit’s back (also separate parts) had to be hidden, too. However, Kotone’s back is quite obscure, I only found a back picture of a quite rough Takara Tomy A.R.T.S. plastic figure of her, which suggests that her suits also has a similar shield and an “opening” underneath that shows the light grey “underwear”.
Finding proper tones for the plugsuit (and slightly different tones to apply a light shading effect) was another challenge I had to sort out before building the figure. I went for RAL tones, RAL 3005 (Weinrot) for most of the suit and RAL 7035 (Lichtgrau; I wanted to avoid pure white because it would look very harsh in contrast to the red) for the suit’s “inner sections”. Lighter shades (Montana 3060 and RAL 7047) were used for subtle shading effects. For good adhesion, opacity and contrast I gave all parts a thin coat with grey primer first, before adding the real color – also as thin as possible, because the OOB IP parts match (very!) tightly and too much paint would certainly impede the good fit.
Painting the body parts went well, but what scared me more was the yet-to-be-scratched hairdo of this figure. And looking at the 13(!) blue OOB parts for the long-haired Rei worried me a bit- one can wonder how much ingenuity had gone into the parts and their respective molds, to create this complex and tightly fitting 3D "mess" with only 2D parts of limited depth. However, fit turned out (again) to be excellent; while it's an expensive offering for an IP kit (apparently including license fees), you receive an impressive piece of kit and mold construction!
“Understanding” the original hair parts was not easy, though. Things became clearer when I cleaned the single parts and dry-fitted them: there is basically a front and rear half of the "plastic wig", with the rear being attached to the scalp first and then the three front parts would follow. This provided some direction how and where to cut down the hair parts, and then I also had to add Kotone's "hair wings" over the virtual ears and scratch hairbands with the plugsuit's typical sensor clips (taken from the kit) at their base.
The hair parts were radically cut down to nape length, and I started to sculpt/shape that rear area to resemble Rei's original bob, which comes close to Kotone's rear (according to a PVC figure, the only reference I have found so far). I also reduced the locks around the face and stockpiled cutaway parts that might become hair bands on the head's flanks. I also filled the holes that hold Rei's sensor hairclips.
However, the plan to complete the full "wig" and then mount it onto the bare head did not work, the hair was too tight and had to be mounted in at least two sections (front and back were possible, at least after my internal mods to gain space and flexibility). But my experience with similar character figure builds over the years paid out and I followed a different assembly strategy: I completed the head with the hair first, PSRed the front/back seam away (while protecting the face with a mask made from pan liner!), and just then started with the scratched braids/hair bushels that come through the headbands. The latter were created with styrene material from a ball pen’s body, plus the OOB sensor hairclips that were PSRed onto them.
After that “hairdressing” began! I used what I had at hand: lots of leftover plastic locks, cut away from the OOB parts and then glued/layered into the hairbands, with more and more strings of hair filling gaps and adding volume. While the result is not as solid as Kotone's "animation version" from the video game I think that this "wild" style matches the rest of the figure as well as the basic hair well - the alternative would have been a full 2C hair sculpt, I thought that this recycling path I took was the safer method.
Once completed painting started. This began with thorough cleaning to get rid of sanding residues, and the whole affair initially received a basic coat with a mix of pink and wine red (Humbrol 200 and Revell 361, first pic). While still wet I added shading with Humbrol 200 over that base, more or less stirred up to receive varying shades/brightness degrees, plus a final artificial light reflex "halo" with pure pigments and some white to keep the animation look (instead of relying on real light reflections on a glossy hairdo finish).
After completing the hair the painting of the hairbands/sensors followed - as an odd/unique detail they were painted differently, like position lights: pale pink (red) at port and light green at starboard. The face was not painted at all, due to the pre-printed skin-tinted parts.
Finally I applied varnish to the major modules. The head and the hair became matt, while the rest of the suit became satin/semi-matt - the illustrations of Kotone suggest that her plugsuit is a bit shiny (like uncoated neoprene) but not glossy.
2019 Digital Media Awards hosted by Newstalk’s Tom Dunne at the Clayton Hotel, Burlington Road, Dublin on Friday 15th February. Now in their 16th year, the Digital Media Awards are the most prestigious digital awards in Ireland. They recognise creativity and innovation across multiple areas of an ever evolving sector which includes digital content creation, advertising and marketing, mobile media, social networking, app development, web design and development.
A full list of winners can be found at digitalmedia.ie
- ends -
For further information, interviews with winners or to receive imagery from the awards, please contact; Niamh McDermott, Event Manager T: 01 432 2232 or E: niamh@ashville.com
2019 Digital Media Awards hosted by Newstalk’s Tom Dunne at the Clayton Hotel, Burlington Road, Dublin on Friday 15th February. Now in their 16th year, the Digital Media Awards are the most prestigious digital awards in Ireland. They recognise creativity and innovation across multiple areas of an ever evolving sector which includes digital content creation, advertising and marketing, mobile media, social networking, app development, web design and development.
A full list of winners can be found at digitalmedia.ie
- ends -
For further information, interviews with winners or to receive imagery from the awards, please contact; Niamh McDermott, Event Manager T: 01 432 2232 or E: niamh@ashville.com
2019 Digital Media Awards hosted by Newstalk’s Tom Dunne at the Clayton Hotel, Burlington Road, Dublin on Friday 15th February. Now in their 16th year, the Digital Media Awards are the most prestigious digital awards in Ireland. They recognise creativity and innovation across multiple areas of an ever evolving sector which includes digital content creation, advertising and marketing, mobile media, social networking, app development, web design and development.
A full list of winners can be found at digitalmedia.ie
- ends -
For further information, interviews with winners or to receive imagery from the awards, please contact; Niamh McDermott, Event Manager T: 01 432 2232 or E: niamh@ashville.com
2019 Digital Media Awards hosted by Newstalk’s Tom Dunne at the Clayton Hotel, Burlington Road, Dublin on Friday 15th February. Now in their 16th year, the Digital Media Awards are the most prestigious digital awards in Ireland. They recognise creativity and innovation across multiple areas of an ever evolving sector which includes digital content creation, advertising and marketing, mobile media, social networking, app development, web design and development.
A full list of winners can be found at digitalmedia.ie
- ends -
For further information, interviews with winners or to receive imagery from the awards, please contact; Niamh McDermott, Event Manager T: 01 432 2232 or E: niamh@ashville.com
2019 Digital Media Awards hosted by Newstalk’s Tom Dunne at the Clayton Hotel, Burlington Road, Dublin on Friday 15th February. Now in their 16th year, the Digital Media Awards are the most prestigious digital awards in Ireland. They recognise creativity and innovation across multiple areas of an ever evolving sector which includes digital content creation, advertising and marketing, mobile media, social networking, app development, web design and development.
A full list of winners can be found at digitalmedia.ie
- ends -
For further information, interviews with winners or to receive imagery from the awards, please contact; Niamh McDermott, Event Manager T: 01 432 2232 or E: niamh@ashville.com
2019 Digital Media Awards hosted by Newstalk’s Tom Dunne at the Clayton Hotel, Burlington Road, Dublin on Friday 15th February. Now in their 16th year, the Digital Media Awards are the most prestigious digital awards in Ireland. They recognise creativity and innovation across multiple areas of an ever evolving sector which includes digital content creation, advertising and marketing, mobile media, social networking, app development, web design and development.
A full list of winners can be found at digitalmedia.ie
- ends -
For further information, interviews with winners or to receive imagery from the awards, please contact; Niamh McDermott, Event Manager T: 01 432 2232 or E: niamh@ashville.com
2019 Digital Media Awards hosted by Newstalk’s Tom Dunne at the Clayton Hotel, Burlington Road, Dublin on Friday 15th February. Now in their 16th year, the Digital Media Awards are the most prestigious digital awards in Ireland. They recognise creativity and innovation across multiple areas of an ever evolving sector which includes digital content creation, advertising and marketing, mobile media, social networking, app development, web design and development.
A full list of winners can be found at digitalmedia.ie
- ends -
For further information, interviews with winners or to receive imagery from the awards, please contact; Niamh McDermott, Event Manager T: 01 432 2232 or E: niamh@ashville.com
2019 Digital Media Awards hosted by Newstalk’s Tom Dunne at the Clayton Hotel, Burlington Road, Dublin on Friday 15th February. Now in their 16th year, the Digital Media Awards are the most prestigious digital awards in Ireland. They recognise creativity and innovation across multiple areas of an ever evolving sector which includes digital content creation, advertising and marketing, mobile media, social networking, app development, web design and development.
A full list of winners can be found at digitalmedia.ie
- ends -
For further information, interviews with winners or to receive imagery from the awards, please contact; Niamh McDermott, Event Manager T: 01 432 2232 or E: niamh@ashville.com
Artwork based on the figure/statue: Stage 1/4 - Model shots with editing
Character history:
Kotone grew up in an orphanage, often looking after children younger than her. As a result of never having her parents in her life, she is easily made to feel unwanted. It is unknown what happened to her parents, but Kotone believes that they are still alive.
She initially transferred to Tokyo-3 while NERV was scouting her out as a pilot candidate, being appointed to the role officially after she started attending school.
She attends Class 2-A of the Tokyo-3 First Municipal Junior High School, with fellow Evangelion pilots Shinji Ikari, Asuka Shikinami Langley, Rei Ayanami and later Kaworu Nagisa, who she also trains under. Shortly after her arrival at NERV, Gendo Ikari entrusts her with additional surveillance work, which involves her monitoring, and reporting to him, on the daily lives of the other pilots. Her pilot’s work soon becomes a cover for her "real role". Kotone demonstrates significant problems with her synchronization rate that prevent her from being appointed as a pilot in actual battle.
In her spare time, she creates videos to post online, which usually involve her singing and performing original dance choreography. Her popularity in this sphere of content creation has earned her the title of an "internet idol", which she is sometimes referred to as by the other students, even before her introduction in Season 2. She believes that continuing to make videos may lead to her parents finding them and getting into contact with her. This hobby proves to be a security risk as far as NERV is concerned, and following her accounts being brought to the attention of Gendo, her channel is altered without her knowledge to restrict viewership to a pre-approved group. Kotone notices the stagnation in her viewership and becomes distraught, as she fears it may mean her parents will never come across her videos, but advice sought from Hitomi Amagi and Kaworu eventually convinces her that her motivation to create should come from within instead.
In "Case:02" of the game, a separate timeline set 14 years in the future, around the same time as “Evangelion: 3.0 You Can (Not) Redo”, she lives at the NERV base with the other pilots and Hitomi. She arrived there sometime prior to Shinji's retrieval operation. She finds life at NERV to be draining, with most of her days consisting only of training and little else. She is asked by Gendo to monitor the other pilots in this timeline as well.
In "Case:03", yet another universe set in the 3.0 timeline, she and Hitomi instead reside on the AAA Wunder. Little information on Kotone's history is presented in "Case:02", however, in "Case:03", she tells Hitomi about how she was separated from her parents as a young child after the Near Third Impact and grew up in a surviving village without them. Her desire to become a pilot was motivated by hearing stories about EVA pilots being able to roam the core-ized Earth without restriction.
She struggles with poor performance in her training sessions and considers becoming an operator instead of a pilot. This version of Kotone grew up in a world with little in the way of animal life and finds herself fascinated with the photos of animal families in pre-Third Impact encyclopedias kept in the Wunder's library. She's still a video creator in both "Case:02" and "Case:03", though in these timelines she records snippets of her daily life in the form of vlogs, rather than dance videos.
Character description:
Kotone's official character profile describes her as being "bright and happy", her positive personality having attracted a large amount of attention to the videos she posts online. The children at her orphanage also considered her to be like a big sister to them. She's moderately extroverted; while she is generally very friendly, open to expressing her feelings and can border on excitement at times, she mostly keeps herself company and her affability gives way to a defeated mentality whenever something goes wrong.
She puts forth a ton of effort in her work, not just in her video making, but her classwork and training as an Eva pilot as well. She stays determined during her training, despite her synchronization rate being slow to improve, a problem that is related to her hobbies as a video creator being her main priority, rather than piloting. Kotone is also rather naïve, seemingly unaware of both the nature of her monitoring work, and the NERV staff tampering with her online presence.
Despite her outgoing and dedicated demeanor, she's quite shy and avoidant when it comes to her daily life at NERV and struggles with overworking herself. She regularly loses sleep trying to balance training with homework and her personal life and goes through significant bouts of low self-esteem whenever she fails at something. She tends to become fixated on seeing through many different ideas and interests, and will latch on to any encouragement she's given, even when others disapprove.
Kotone is good at cooking; there was an episode where they made chocolates with female pilots on Valentine's Day and distributed them to male pilots.
Within the game’s context Kotone (琴音) is around 14 years old (born June 3, 2001) and (only) 5’ 3” tall. Her name literally means “Sound of the koto”, a Japanese plucked half-tube zither instrument, and the national instrument of Japan. It is known for its clear and melodious sound. This name evokes images of music, harmony, and beauty and is often associated with grace and a gentle personality. It might hint at her media activities, and also at her responsiveness and empathy towards others.
“Suzunami” is the name of the Yūgumo-class destroyer of the Japanese Imperial Navy, a code surname in a similar fashion to the other EVA pilots who are also named after battleships.
Despite being the same age and in the same class as them (except for Mari), Kotone refers to all other Evangelion pilots with the "-senpai" honorific, normally reserved for students in higher grade levels. She does this to indicate her respect for them as her senior pilots.
There are two people who call Kotone unusual: Mari Makinami Illustrious and Asuka Langley Shikinami, respectively. Mari calls her “Junior”, and Asuka calls her “Kazamidori”, a chicken-shaped weathervane on top of a roof, probably because of Kotone's unusual hairstyle (If you paraphrase, it's about “chicken hair”…)
The kit and its assembly:
This is a rather exotic project, and it took some weeks of preparation before I could start with hardware work. It is an attempt to create an anime character figure of which I do not think any model exists at all. The subject is Kotone Suzunami, and it’s is not a shame if you had not heard of the character until now at all – even me, who has been quite interested in anime for decades did not know her and only became aware of the character but that is probably due to her media “origin”.
Kotone Suzunami is an original character from (and created for) the Evangelion Battlefields computer game, introduced in Season 2. She is a newly appointed Evangelion pilot and popular content creator for an unnamed in-universe video streaming platform.
My first impression when I saw her for the first time was that she was just a re-skinned Rei Ayanami with a wild hairdo, but upon closer inspection I recognized some differences on her plugsuit, beyond the different colors, and I thought that building a figure of her would be a nice challenge.
Since I am not a big sculptor it was clear that I would convert an existing kit, but finding one – either in The Stash™ or at retail/online – turned out to be more difficult than expected, due to different issues like posture or being original (and quite valuable) kits. I even procured a 3D-printed Rei Ayanami model as a potential basis but found it at ~1:6 scale to be VERY large and bulky (even though detail and fit are very good!). Eventually, I stumbled upon the two Max Factory/PLAMAX kits of Rei Ayanami in her white plugsuit. At first I thought that it was a poseable action figure model, but effectively it’s a snap-fit statue with a fixed pose, molded in proper colors, so that you can put the figure together in less than an hour – but probably with a very good and presentable result.
Max Factory offers two versions of the kit: one “original” Rei Ayanami with her characteristic bob hairdo, and the other boxing comes with flowing long hair. This version comes from the ‘Rebuild of Evangelion’ new theatrical edition, a re-boot of the original anime TV series Neon Genesis Evangelion. Otherwise, both kits are the same, though.
I settled upon the flowing hair kit, because Kotone’s weird hair style caused me some headaches since I had to create it somehow. To avoid sculpting with 2C putty I hoped that I could trim the flowing hair down and use the excess material for Kotone’s overhanging hair, so that I’d also avoid material mix and use simple styrene glue to put the “wig” together.
Work started carefully with the arms – building this type of statue/kit is quite new for me, even though I had some experience with Bandai’s 1:12 action figure kits for Star Wars. However, the fact that the PLAMAX kit is intended to be a simple snap-fit kit, to be assembled without glue and paint, created some issues. I could have built arms, legs and torso as complete modules and then paint them, but I wanted to use rattle can paint for light shading effects. This would be easier to accomplish when the differently colored sub-builds would remain this way until they had been painted, with a final assembly. The kit’s construction makes this impossible, though, or would require complex (and doubtful) masking. In the end I modified the parts so that they could be painted separately and then finally assembled, grinding away locator pins and other internal alignment aids. This move also offered the benefit of being able to safely PSR away light seams and other mismatches – even though the latter are minimal, the fit of the parts is really excellent, this is detail work on a very ambitious level.
In parallel I also started with the legs – same strategy: no external changes yet, but internal mods to allow later assembly after painting parts with different colors. Due to their construction the upper legs required some light PSR. What’s really neat is the kit’s construction and production in differently colored material. For instance, the “stripes” on the upper legs are separate parts, so that they can be conveniently painted in a different color. Their shape on Rei’s plugsuit does not 100% match those on Kotone’s, but I leave them this way because I feel that modding these details is not worth the hustle and the potential flaws I add to the model. That might have been easier with a simple and massive resin kit.
As another parallel work step I created a display base for the figure. It comes with a neat hexagonal black base, but for a “uniform look” in my cabinets I adapted my standard base design. It consists of a square 4x4” melamine-coated press board base, flanks covered with edge-band and custom adapters made from sprue material that fit into respective openings under the figure’s left foot. Some PSR was necessary to fill some dents, carpet tile material was used underneath, and later the whole thing was painted black with matt acrylic paint from a rattle can.
As another major body module, the torso came next and it required more work, because Kotone’s plugsuit differs in some respects from Rei’s. Again, I made a compromise concerning details and what the kit offered as basis. The most obvious difference is the belly area and the zip at the front. Rei’s suit features what I call “headlights” under the breasts, and these had to be removed - the kit makes this easy, because these are separate parts, but the leftover holes had to be filled and blended into the rest of the body. The zip is also shorter, and an area between the breasts had to be levelled out and PSRed, too. Due to the separately colored/molded parts I also had to PSR the shoulder area, and the “0” on the suit’s back (also separate parts) had to be hidden, too. However, Kotone’s back is quite obscure, I only found a back picture of a quite rough Takara Tomy A.R.T.S. plastic figure of her, which suggests that her suits also has a similar shield and an “opening” underneath that shows the light grey “underwear”.
Finding proper tones for the plugsuit (and slightly different tones to apply a light shading effect) was another challenge I had to sort out before building the figure. I went for RAL tones, RAL 3005 (Weinrot) for most of the suit and RAL 7035 (Lichtgrau; I wanted to avoid pure white because it would look very harsh in contrast to the red) for the suit’s “inner sections”. Lighter shades (Montana 3060 and RAL 7047) were used for subtle shading effects. For good adhesion, opacity and contrast I gave all parts a thin coat with grey primer first, before adding the real color – also as thin as possible, because the OOB IP parts match (very!) tightly and too much paint would certainly impede the good fit.
Painting the body parts went well, but what scared me more was the yet-to-be-scratched hairdo of this figure. And looking at the 13(!) blue OOB parts for the long-haired Rei worried me a bit- one can wonder how much ingenuity had gone into the parts and their respective molds, to create this complex and tightly fitting 3D "mess" with only 2D parts of limited depth. However, fit turned out (again) to be excellent; while it's an expensive offering for an IP kit (apparently including license fees), you receive an impressive piece of kit and mold construction!
“Understanding” the original hair parts was not easy, though. Things became clearer when I cleaned the single parts and dry-fitted them: there is basically a front and rear half of the "plastic wig", with the rear being attached to the scalp first and then the three front parts would follow. This provided some direction how and where to cut down the hair parts, and then I also had to add Kotone's "hair wings" over the virtual ears and scratch hairbands with the plugsuit's typical sensor clips (taken from the kit) at their base.
The hair parts were radically cut down to nape length, and I started to sculpt/shape that rear area to resemble Rei's original bob, which comes close to Kotone's rear (according to a PVC figure, the only reference I have found so far). I also reduced the locks around the face and stockpiled cutaway parts that might become hair bands on the head's flanks. I also filled the holes that hold Rei's sensor hairclips.
However, the plan to complete the full "wig" and then mount it onto the bare head did not work, the hair was too tight and had to be mounted in at least two sections (front and back were possible, at least after my internal mods to gain space and flexibility). But my experience with similar character figure builds over the years paid out and I followed a different assembly strategy: I completed the head with the hair first, PSRed the front/back seam away (while protecting the face with a mask made from pan liner!), and just then started with the scratched braids/hair bushels that come through the headbands. The latter were created with styrene material from a ball pen’s body, plus the OOB sensor hairclips that were PSRed onto them.
After that “hairdressing” began! I used what I had at hand: lots of leftover plastic locks, cut away from the OOB parts and then glued/layered into the hairbands, with more and more strings of hair filling gaps and adding volume. While the result is not as solid as Kotone's "animation version" from the video game I think that this "wild" style matches the rest of the figure as well as the basic hair well - the alternative would have been a full 2C hair sculpt, I thought that this recycling path I took was the safer method.
Once completed painting started. This began with thorough cleaning to get rid of sanding residues, and the whole affair initially received a basic coat with a mix of pink and wine red (Humbrol 200 and Revell 361, first pic). While still wet I added shading with Humbrol 200 over that base, more or less stirred up to receive varying shades/brightness degrees, plus a final artificial light reflex "halo" with pure pigments and some white to keep the animation look (instead of relying on real light reflections on a glossy hairdo finish).
After completing the hair the painting of the hairbands/sensors followed - as an odd/unique detail they were painted differently, like position lights: pale pink (red) at port and light green at starboard. The face was not painted at all, due to the pre-printed skin-tinted parts.
Finally I applied varnish to the major modules. The head and the hair became matt, while the rest of the suit became satin/semi-matt - the illustrations of Kotone suggest that her plugsuit is a bit shiny (like uncoated neoprene) but not glossy.
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A sim for content creators: rent, display, teach, learn, discuss and party! Rooftop dance club, quality shopping and art gallery, arts and content creation seminars. All a content creator needs in one sim.
Posted by Second Life Resident Torley Olmstead. Visit Quadrapop Tree Isle.
2019 Digital Media Awards hosted by Newstalk’s Tom Dunne at the Clayton Hotel, Burlington Road, Dublin on Friday 15th February. Now in their 16th year, the Digital Media Awards are the most prestigious digital awards in Ireland. They recognise creativity and innovation across multiple areas of an ever evolving sector which includes digital content creation, advertising and marketing, mobile media, social networking, app development, web design and development.
A full list of winners can be found at digitalmedia.ie
- ends -
For further information, interviews with winners or to receive imagery from the awards, please contact; Niamh McDermott, Event Manager T: 01 432 2232 or E: niamh@ashville.com
🚀 I am excited to present some of the machines and people I captured during a 5 year collaboration with Danneels SBA, a Belgian company specializing in the sale and repair of agricultural equipment and machinery.
🎥 I developed a new marketing strategy for Danneels SBA and carried out hundreds of video and photo shoots, captured thousands of professional photos and portraits, and produced and distributed hundreds of pro video reports and commercial interviews to showcase their products, services, and customized advertisements
🚜 Find more photo and video content for Danneels SBA and other brands at: benheine.com/fr/services/contenus-videos/
✨ Here’s what I bring to my clients:
✅ Creative and impactful audiovisual content creation: I produce professional videos, animations, photo reports, and custom designs to highlight your products 💥
✅ Marketing strategy: Digital diagnostics, needs analysis, and powerful brand positioning to optimize results and sales. 🎯
✅ Community Management: Active management of your social media (Facebook, Instagram, LinkedIn, TikTok, YouTube...) to engage your audience and attract new clients 📱
✅ Custom advertising: Optimized ad campaigns to generate leads and maximize conversions 🚀
✅ Website and landing page creation: Designing modern, high-performing pages that turn visitors into customers 💻
✅ SEO and e-reputation: Boosting online visibility with effective SEO strategies and digital reputation management 🌐
🎯 My services are tailored to all budgets to help maximize your growth and reach your goals faster!
📧 Ready to boost your business? Contact me now for a custom digital strategy: info@benheine.com
🌐 More information about my services: www.benheine.com | www.digitalsuccess.ai
Let’s turn your ambitions into success together! 💪🔥
Danneels SBA represents major brands like Fendt, Cat, Iseki, McHale, Trioliet, Pottinger, Franquet, Claas, Kuhn, and more. They have showrooms and warehouses in Beaumont, Mettet, and Marche-Lez-Ecaussines, Belgium.
Danneels SBA website: www.danneels-sba.be/fr
Facebook: www.facebook.com/Danneels.sba
Note: To use high-resolution images, contact info@benheine.com. The images in this collection are compressed and protected by copyright!
#DigitalMarketing #ContentCreation #CommunityManagement #SEO #CustomAdvertising #MarketingStrategy #Reputation #ProfessionalContentCreation #ProfessionalVideo #Branding #AudiovisualMarketing #DigitalAdvertising #OnlineSales #DigitalStrategy #VideoShooting #WebCreation #DigitalSuccess #BusinessGrowth #BoostYourBrand #AgriculturalMarketing #BenHeinemarketing #LandingPage #WebsiteCreation #Tractors #Danneels #DanneelsSBA #Portrait #BenHeinemPhotography
digital marketing, photography, Ben Heine Photography, content creation, community management, SEO, custom advertising, marketing strategy, online visibility, audiovisual content, professional video, custom design, advertising campaigns, social media management, video shoots, creative ads, targeted advertising, conversion optimization, e-reputation, digital growth, custom strategy, content strategy, branding, Ben Heine marketing, visitor conversion, landing pages, website creation, performance analysis, sales optimization, creative content, B2B, tailored marketing, digital diagnostics, agricultural marketing, Fendt, Cat, Iseki, McHale, Claas, Kuhn, Pottinger, Trioliet, Beaumont, Mettet, Marche-Lez-Ecaussines, Franquet, agricultural machinery, portrait, tractors, harvesters, Danneels SBA, Libramont Fair, farm, farmer, tractors, sales, seller
MaM Content Creation Workshop Nigeria. “I don’t know how is the ‘road way’ (irregular migration rout), I have never tried it myself, but I have heard that it is bad.” Peter is a car driver and Smart’s father. Smart is a talented fashion designer, who wanted to go study tailoring in Italy. After receiving the local priest blessing, he left to try to cross the desert and the Mediterranean Sea to reach Europe. After facing hunger, thirst and violence he returned home. “I was disappointed that he has not make it to Europe, but I was happy to see him alive. I cried,” tells Peter.
Photo: Amanda Nero / IOM 2021
2019 Digital Media Awards hosted by Newstalk’s Tom Dunne at the Clayton Hotel, Burlington Road, Dublin on Friday 15th February. Now in their 16th year, the Digital Media Awards are the most prestigious digital awards in Ireland. They recognise creativity and innovation across multiple areas of an ever evolving sector which includes digital content creation, advertising and marketing, mobile media, social networking, app development, web design and development.
A full list of winners can be found at digitalmedia.ie
- ends -
For further information, interviews with winners or to receive imagery from the awards, please contact; Niamh McDermott, Event Manager T: 01 432 2232 or E: niamh@ashville.com
Designed and produced to celebrate the 500th anniversary of Raphael’s death (1483 – 1520), one of the greatest artists of the Renaissance, Magister Raffaello is a new cultural project by Magister Art, digital innovators in cultural heritage content creation, production and promotion.Responding to challenges of digital transformation and social innovation, Magister Raffaello explores the potential of new technologies, combining the high scientific value with the constant experimentation of new languages and media, to create an ‘augmented narration’ and a ‘total’ cognitive experience, aiming to accessibility of knowledge and the inclusiveness of widest ranges of audiences.
Magister Raffaello is supported by the Italian Foreign Ministry and presented in cooperation with the Italian Cultural Institute in Vienna.
Find out more here: ars.electronica.art/keplersgardens/en/magister-raffaello-...
Credit: vog.photo
Website design for New York-based alternative energy firm. Website construction and content creation.
This is more to my own benefit. Had to see how I'm using these networks.
Notes:
1) Jaiku is dead for me.
2) Ping.fm is included as a content creation service, the reading services (Bloglines, TweetDeck) are not.
3) The solid arrows indicate an automated data flow between services.
Intel and DreamWorks Animation announced a strategic partnership aimed at redefining 3-D filmmaking technology. This alliance will take full advantage of Intel's visual computing products and DreamWorks Animation's expertise in content creation to revolutionize the in-theater entertainment experience.
Campaign: The Chef's Table Chester
Requirements:
• Concepts & Development
• Graphic Design & Build
• Content Creation
• Search Engine Optimisation (SEO)
• Social Media Integration
2019 Digital Media Awards hosted by Newstalk’s Tom Dunne at the Clayton Hotel, Burlington Road, Dublin on Friday 15th February. Now in their 16th year, the Digital Media Awards are the most prestigious digital awards in Ireland. They recognise creativity and innovation across multiple areas of an ever evolving sector which includes digital content creation, advertising and marketing, mobile media, social networking, app development, web design and development.
A full list of winners can be found at digitalmedia.ie
- ends -
For further information, interviews with winners or to receive imagery from the awards, please contact; Niamh McDermott, Event Manager T: 01 432 2232 or E: niamh@ashville.com
2019 Digital Media Awards hosted by Newstalk’s Tom Dunne at the Clayton Hotel, Burlington Road, Dublin on Friday 15th February. Now in their 16th year, the Digital Media Awards are the most prestigious digital awards in Ireland. They recognise creativity and innovation across multiple areas of an ever evolving sector which includes digital content creation, advertising and marketing, mobile media, social networking, app development, web design and development.
A full list of winners can be found at digitalmedia.ie
- ends -
For further information, interviews with winners or to receive imagery from the awards, please contact; Niamh McDermott, Event Manager T: 01 432 2232 or E: niamh@ashville.com
2019 Digital Media Awards hosted by Newstalk’s Tom Dunne at the Clayton Hotel, Burlington Road, Dublin on Friday 15th February. Now in their 16th year, the Digital Media Awards are the most prestigious digital awards in Ireland. They recognise creativity and innovation across multiple areas of an ever evolving sector which includes digital content creation, advertising and marketing, mobile media, social networking, app development, web design and development.
A full list of winners can be found at digitalmedia.ie
- ends -
For further information, interviews with winners or to receive imagery from the awards, please contact; Niamh McDermott, Event Manager T: 01 432 2232 or E: niamh@ashville.com
Artwork based on the figure/statue: Stage 1/4 - Model shots with editing
Character history:
Kotone grew up in an orphanage, often looking after children younger than her. As a result of never having her parents in her life, she is easily made to feel unwanted. It is unknown what happened to her parents, but Kotone believes that they are still alive.
She initially transferred to Tokyo-3 while NERV was scouting her out as a pilot candidate, being appointed to the role officially after she started attending school.
She attends Class 2-A of the Tokyo-3 First Municipal Junior High School, with fellow Evangelion pilots Shinji Ikari, Asuka Shikinami Langley, Rei Ayanami and later Kaworu Nagisa, who she also trains under. Shortly after her arrival at NERV, Gendo Ikari entrusts her with additional surveillance work, which involves her monitoring, and reporting to him, on the daily lives of the other pilots. Her pilot’s work soon becomes a cover for her "real role". Kotone demonstrates significant problems with her synchronization rate that prevent her from being appointed as a pilot in actual battle.
In her spare time, she creates videos to post online, which usually involve her singing and performing original dance choreography. Her popularity in this sphere of content creation has earned her the title of an "internet idol", which she is sometimes referred to as by the other students, even before her introduction in Season 2. She believes that continuing to make videos may lead to her parents finding them and getting into contact with her. This hobby proves to be a security risk as far as NERV is concerned, and following her accounts being brought to the attention of Gendo, her channel is altered without her knowledge to restrict viewership to a pre-approved group. Kotone notices the stagnation in her viewership and becomes distraught, as she fears it may mean her parents will never come across her videos, but advice sought from Hitomi Amagi and Kaworu eventually convinces her that her motivation to create should come from within instead.
In "Case:02" of the game, a separate timeline set 14 years in the future, around the same time as “Evangelion: 3.0 You Can (Not) Redo”, she lives at the NERV base with the other pilots and Hitomi. She arrived there sometime prior to Shinji's retrieval operation. She finds life at NERV to be draining, with most of her days consisting only of training and little else. She is asked by Gendo to monitor the other pilots in this timeline as well.
In "Case:03", yet another universe set in the 3.0 timeline, she and Hitomi instead reside on the AAA Wunder. Little information on Kotone's history is presented in "Case:02", however, in "Case:03", she tells Hitomi about how she was separated from her parents as a young child after the Near Third Impact and grew up in a surviving village without them. Her desire to become a pilot was motivated by hearing stories about EVA pilots being able to roam the core-ized Earth without restriction.
She struggles with poor performance in her training sessions and considers becoming an operator instead of a pilot. This version of Kotone grew up in a world with little in the way of animal life and finds herself fascinated with the photos of animal families in pre-Third Impact encyclopedias kept in the Wunder's library. She's still a video creator in both "Case:02" and "Case:03", though in these timelines she records snippets of her daily life in the form of vlogs, rather than dance videos.
Character description:
Kotone's official character profile describes her as being "bright and happy", her positive personality having attracted a large amount of attention to the videos she posts online. The children at her orphanage also considered her to be like a big sister to them. She's moderately extroverted; while she is generally very friendly, open to expressing her feelings and can border on excitement at times, she mostly keeps herself company and her affability gives way to a defeated mentality whenever something goes wrong.
She puts forth a ton of effort in her work, not just in her video making, but her classwork and training as an Eva pilot as well. She stays determined during her training, despite her synchronization rate being slow to improve, a problem that is related to her hobbies as a video creator being her main priority, rather than piloting. Kotone is also rather naïve, seemingly unaware of both the nature of her monitoring work, and the NERV staff tampering with her online presence.
Despite her outgoing and dedicated demeanor, she's quite shy and avoidant when it comes to her daily life at NERV and struggles with overworking herself. She regularly loses sleep trying to balance training with homework and her personal life and goes through significant bouts of low self-esteem whenever she fails at something. She tends to become fixated on seeing through many different ideas and interests, and will latch on to any encouragement she's given, even when others disapprove.
Kotone is good at cooking; there was an episode where they made chocolates with female pilots on Valentine's Day and distributed them to male pilots.
Within the game’s context Kotone (琴音) is around 14 years old (born June 3, 2001) and (only) 5’ 3” tall. Her name literally means “Sound of the koto”, a Japanese plucked half-tube zither instrument, and the national instrument of Japan. It is known for its clear and melodious sound. This name evokes images of music, harmony, and beauty and is often associated with grace and a gentle personality. It might hint at her media activities, and also at her responsiveness and empathy towards others.
“Suzunami” is the name of the Yūgumo-class destroyer of the Japanese Imperial Navy, a code surname in a similar fashion to the other EVA pilots who are also named after battleships.
Despite being the same age and in the same class as them (except for Mari), Kotone refers to all other Evangelion pilots with the "-senpai" honorific, normally reserved for students in higher grade levels. She does this to indicate her respect for them as her senior pilots.
There are two people who call Kotone unusual: Mari Makinami Illustrious and Asuka Langley Shikinami, respectively. Mari calls her “Junior”, and Asuka calls her “Kazamidori”, a chicken-shaped weathervane on top of a roof, probably because of Kotone's unusual hairstyle (If you paraphrase, it's about “chicken hair”…)
The kit and its assembly:
This is a rather exotic project, and it took some weeks of preparation before I could start with hardware work. It is an attempt to create an anime character figure of which I do not think any model exists at all. The subject is Kotone Suzunami, and it’s is not a shame if you had not heard of the character until now at all – even me, who has been quite interested in anime for decades did not know her and only became aware of the character but that is probably due to her media “origin”.
Kotone Suzunami is an original character from (and created for) the Evangelion Battlefields computer game, introduced in Season 2. She is a newly appointed Evangelion pilot and popular content creator for an unnamed in-universe video streaming platform.
My first impression when I saw her for the first time was that she was just a re-skinned Rei Ayanami with a wild hairdo, but upon closer inspection I recognized some differences on her plugsuit, beyond the different colors, and I thought that building a figure of her would be a nice challenge.
Since I am not a big sculptor it was clear that I would convert an existing kit, but finding one – either in The Stash™ or at retail/online – turned out to be more difficult than expected, due to different issues like posture or being original (and quite valuable) kits. I even procured a 3D-printed Rei Ayanami model as a potential basis but found it at ~1:6 scale to be VERY large and bulky (even though detail and fit are very good!). Eventually, I stumbled upon the two Max Factory/PLAMAX kits of Rei Ayanami in her white plugsuit. At first I thought that it was a poseable action figure model, but effectively it’s a snap-fit statue with a fixed pose, molded in proper colors, so that you can put the figure together in less than an hour – but probably with a very good and presentable result.
Max Factory offers two versions of the kit: one “original” Rei Ayanami with her characteristic bob hairdo, and the other boxing comes with flowing long hair. This version comes from the ‘Rebuild of Evangelion’ new theatrical edition, a re-boot of the original anime TV series Neon Genesis Evangelion. Otherwise, both kits are the same, though.
I settled upon the flowing hair kit, because Kotone’s weird hair style caused me some headaches since I had to create it somehow. To avoid sculpting with 2C putty I hoped that I could trim the flowing hair down and use the excess material for Kotone’s overhanging hair, so that I’d also avoid material mix and use simple styrene glue to put the “wig” together.
Work started carefully with the arms – building this type of statue/kit is quite new for me, even though I had some experience with Bandai’s 1:12 action figure kits for Star Wars. However, the fact that the PLAMAX kit is intended to be a simple snap-fit kit, to be assembled without glue and paint, created some issues. I could have built arms, legs and torso as complete modules and then paint them, but I wanted to use rattle can paint for light shading effects. This would be easier to accomplish when the differently colored sub-builds would remain this way until they had been painted, with a final assembly. The kit’s construction makes this impossible, though, or would require complex (and doubtful) masking. In the end I modified the parts so that they could be painted separately and then finally assembled, grinding away locator pins and other internal alignment aids. This move also offered the benefit of being able to safely PSR away light seams and other mismatches – even though the latter are minimal, the fit of the parts is really excellent, this is detail work on a very ambitious level.
In parallel I also started with the legs – same strategy: no external changes yet, but internal mods to allow later assembly after painting parts with different colors. Due to their construction the upper legs required some light PSR. What’s really neat is the kit’s construction and production in differently colored material. For instance, the “stripes” on the upper legs are separate parts, so that they can be conveniently painted in a different color. Their shape on Rei’s plugsuit does not 100% match those on Kotone’s, but I leave them this way because I feel that modding these details is not worth the hustle and the potential flaws I add to the model. That might have been easier with a simple and massive resin kit.
As another parallel work step I created a display base for the figure. It comes with a neat hexagonal black base, but for a “uniform look” in my cabinets I adapted my standard base design. It consists of a square 4x4” melamine-coated press board base, flanks covered with edge-band and custom adapters made from sprue material that fit into respective openings under the figure’s left foot. Some PSR was necessary to fill some dents, carpet tile material was used underneath, and later the whole thing was painted black with matt acrylic paint from a rattle can.
As another major body module, the torso came next and it required more work, because Kotone’s plugsuit differs in some respects from Rei’s. Again, I made a compromise concerning details and what the kit offered as basis. The most obvious difference is the belly area and the zip at the front. Rei’s suit features what I call “headlights” under the breasts, and these had to be removed - the kit makes this easy, because these are separate parts, but the leftover holes had to be filled and blended into the rest of the body. The zip is also shorter, and an area between the breasts had to be levelled out and PSRed, too. Due to the separately colored/molded parts I also had to PSR the shoulder area, and the “0” on the suit’s back (also separate parts) had to be hidden, too. However, Kotone’s back is quite obscure, I only found a back picture of a quite rough Takara Tomy A.R.T.S. plastic figure of her, which suggests that her suits also has a similar shield and an “opening” underneath that shows the light grey “underwear”.
Finding proper tones for the plugsuit (and slightly different tones to apply a light shading effect) was another challenge I had to sort out before building the figure. I went for RAL tones, RAL 3005 (Weinrot) for most of the suit and RAL 7035 (Lichtgrau; I wanted to avoid pure white because it would look very harsh in contrast to the red) for the suit’s “inner sections”. Lighter shades (Montana 3060 and RAL 7047) were used for subtle shading effects. For good adhesion, opacity and contrast I gave all parts a thin coat with grey primer first, before adding the real color – also as thin as possible, because the OOB IP parts match (very!) tightly and too much paint would certainly impede the good fit.
Painting the body parts went well, but what scared me more was the yet-to-be-scratched hairdo of this figure. And looking at the 13(!) blue OOB parts for the long-haired Rei worried me a bit- one can wonder how much ingenuity had gone into the parts and their respective molds, to create this complex and tightly fitting 3D "mess" with only 2D parts of limited depth. However, fit turned out (again) to be excellent; while it's an expensive offering for an IP kit (apparently including license fees), you receive an impressive piece of kit and mold construction!
“Understanding” the original hair parts was not easy, though. Things became clearer when I cleaned the single parts and dry-fitted them: there is basically a front and rear half of the "plastic wig", with the rear being attached to the scalp first and then the three front parts would follow. This provided some direction how and where to cut down the hair parts, and then I also had to add Kotone's "hair wings" over the virtual ears and scratch hairbands with the plugsuit's typical sensor clips (taken from the kit) at their base.
The hair parts were radically cut down to nape length, and I started to sculpt/shape that rear area to resemble Rei's original bob, which comes close to Kotone's rear (according to a PVC figure, the only reference I have found so far). I also reduced the locks around the face and stockpiled cutaway parts that might become hair bands on the head's flanks. I also filled the holes that hold Rei's sensor hairclips.
However, the plan to complete the full "wig" and then mount it onto the bare head did not work, the hair was too tight and had to be mounted in at least two sections (front and back were possible, at least after my internal mods to gain space and flexibility). But my experience with similar character figure builds over the years paid out and I followed a different assembly strategy: I completed the head with the hair first, PSRed the front/back seam away (while protecting the face with a mask made from pan liner!), and just then started with the scratched braids/hair bushels that come through the headbands. The latter were created with styrene material from a ball pen’s body, plus the OOB sensor hairclips that were PSRed onto them.
After that “hairdressing” began! I used what I had at hand: lots of leftover plastic locks, cut away from the OOB parts and then glued/layered into the hairbands, with more and more strings of hair filling gaps and adding volume. While the result is not as solid as Kotone's "animation version" from the video game I think that this "wild" style matches the rest of the figure as well as the basic hair well - the alternative would have been a full 2C hair sculpt, I thought that this recycling path I took was the safer method.
Once completed painting started. This began with thorough cleaning to get rid of sanding residues, and the whole affair initially received a basic coat with a mix of pink and wine red (Humbrol 200 and Revell 361, first pic). While still wet I added shading with Humbrol 200 over that base, more or less stirred up to receive varying shades/brightness degrees, plus a final artificial light reflex "halo" with pure pigments and some white to keep the animation look (instead of relying on real light reflections on a glossy hairdo finish).
After completing the hair the painting of the hairbands/sensors followed - as an odd/unique detail they were painted differently, like position lights: pale pink (red) at port and light green at starboard. The face was not painted at all, due to the pre-printed skin-tinted parts.
Finally I applied varnish to the major modules. The head and the hair became matt, while the rest of the suit became satin/semi-matt - the illustrations of Kotone suggest that her plugsuit is a bit shiny (like uncoated neoprene) but not glossy.
Intel and DreamWorks Animation announced a strategic partnership aimed at redefining 3-D filmmaking technology. This alliance will take full advantage of Intel's visual computing products and DreamWorks Animation's expertise in content creation to revolutionize the in-theater entertainment experience.
More on the quirky avatars by Lime Breen: npirl.blogspot.com/2009/05/quirky-avatars-of-lime-breen.html
2019 Digital Media Awards hosted by Newstalk’s Tom Dunne at the Clayton Hotel, Burlington Road, Dublin on Friday 15th February. Now in their 16th year, the Digital Media Awards are the most prestigious digital awards in Ireland. They recognise creativity and innovation across multiple areas of an ever evolving sector which includes digital content creation, advertising and marketing, mobile media, social networking, app development, web design and development.
A full list of winners can be found at digitalmedia.ie
- ends -
For further information, interviews with winners or to receive imagery from the awards, please contact; Niamh McDermott, Event Manager T: 01 432 2232 or E: niamh@ashville.com
2019 Digital Media Awards hosted by Newstalk’s Tom Dunne at the Clayton Hotel, Burlington Road, Dublin on Friday 15th February. Now in their 16th year, the Digital Media Awards are the most prestigious digital awards in Ireland. They recognise creativity and innovation across multiple areas of an ever evolving sector which includes digital content creation, advertising and marketing, mobile media, social networking, app development, web design and development.
A full list of winners can be found at digitalmedia.ie
- ends -
For further information, interviews with winners or to receive imagery from the awards, please contact; Niamh McDermott, Event Manager T: 01 432 2232 or E: niamh@ashville.com
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2019 Digital Media Awards hosted by Newstalk’s Tom Dunne at the Clayton Hotel, Burlington Road, Dublin on Friday 15th February. Now in their 16th year, the Digital Media Awards are the most prestigious digital awards in Ireland. They recognise creativity and innovation across multiple areas of an ever evolving sector which includes digital content creation, advertising and marketing, mobile media, social networking, app development, web design and development.
A full list of winners can be found at digitalmedia.ie
- ends -
For further information, interviews with winners or to receive imagery from the awards, please contact; Niamh McDermott, Event Manager T: 01 432 2232 or E: niamh@ashville.com
2019 Digital Media Awards hosted by Newstalk’s Tom Dunne at the Clayton Hotel, Burlington Road, Dublin on Friday 15th February. Now in their 16th year, the Digital Media Awards are the most prestigious digital awards in Ireland. They recognise creativity and innovation across multiple areas of an ever evolving sector which includes digital content creation, advertising and marketing, mobile media, social networking, app development, web design and development.
A full list of winners can be found at digitalmedia.ie
- ends -
For further information, interviews with winners or to receive imagery from the awards, please contact; Niamh McDermott, Event Manager T: 01 432 2232 or E: niamh@ashville.com
Photo showing Art Historian Jelena Jovanovic presenting Magister Raffaello 2020 in Deep Space 8K.
Designed and produced to celebrate the 500th anniversary of Raphael’s death (1483 – 1520), one of the greatest artists of the Renaissance, Magister Raffaello is a new cultural project by Magister Art, digital innovators in cultural heritage content creation, production and promotion.Responding to challenges of digital transformation and social innovation, Magister Raffaello explores the potential of new technologies, combining the high scientific value with the constant experimentation of new languages and media, to create an ‘augmented narration’ and a ‘total’ cognitive experience, aiming to accessibility of knowledge and the inclusiveness of widest ranges of audiences.
Magister Raffaello is supported by the Italian Foreign Ministry and presented in cooperation with the Italian Cultural Institute in Vienna.
Find out more here: ars.electronica.art/keplersgardens/en/magister-raffaello-...
Credit: vog.photo
NEW YORK, NY - SEPTEMBER 29: Margo Georgiadis speaks onstage at the Brands and the Art of Content Creation panel on September 29, 2014 in New York City. (Photo by Monica Schipper/Getty Images for AWXI)
Photo showing the Italian Ambassador Sergio Brabani who came to see Magister Raffaello 2020 in the Ars Electronica Center's Deep Space 8K.
Designed and produced to celebrate the 500th anniversary of Raphael’s death (1483 – 1520), one of the greatest artists of the Renaissance, Magister Raffaello is a new cultural project by Magister Art, digital innovators in cultural heritage content creation, production and promotion.Responding to challenges of digital transformation and social innovation, Magister Raffaello explores the potential of new technologies, combining the high scientific value with the constant experimentation of new languages and media, to create an ‘augmented narration’ and a ‘total’ cognitive experience, aiming to accessibility of knowledge and the inclusiveness of widest ranges of audiences.
Magister Raffaello is supported by the Italian Foreign Ministry and presented in cooperation with the Italian Cultural Institute in Vienna.
Find out more here: ars.electronica.art/keplersgardens/en/magister-raffaello-...
Credit: vog.photo