Custom couple caricature, 3D printed and hand-painted
A custom caricature is not simply a matter of printing two characters and placing them together. When the composition represents two specific people, each figure needs to work individually while also maintaining a coherent visual relationship with the other.
Introduction
A custom caricature is not simply a matter of printing two characters and placing them together. When the composition represents two specific people, each figure needs to work individually while also maintaining a coherent visual relationship with the other.
The goal was not to achieve an exact photographic reproduction. We wanted to represent each person’s features, hairstyle, clothing, pose and personality through a more expressive visual language typical of a three-dimensional caricature.
Why we used resin 3D printing
For figures of this size, the choice of technology directly affects the result. FDM printing works very well for functional parts, large components and objects that need strength, but it can leave more visible layer lines on faces, hands and small accessories.
In this case, we used resin 3D printing because it allows elements such as lips, eyelids, fingers, glasses, hair, shirt collars and the shape of the microphones to be reproduced with greater definition.
This does not mean that resin is always better. The right technology depends on the size, function and desired finish. In our guide to FDM or resin 3D printing, we explain the practical differences between the two options.
Preparing a caricature so it can be printed
A model can look correct on screen and still present problems when turned into a physical piece. Before printing, we review thicknesses, joints, stability and especially delicate areas.
These figures had several points that required attention: fingers around the microphone, the male character’s glasses, both characters’ hair, the ankles and the joint between each figure and its base.
It is also important to decide which parts should be printed together and which are better separated. Strategically splitting a figure can make support removal easier, improve access during painting and prevent marks in visible areas. However, every split adds a joint that later needs to be fitted and concealed.
Post-processing determines much of the final finish
When printing is complete, the figure is still not ready for painting. The parts need to be cleaned, properly cured and checked one by one. The supports are then removed and any small marks left on the surface are corrected.
The usual process includes:
- Cleaning and complete curing of the resin parts.
- Careful support removal and inspection of fine details.
- Localised sanding and correction of small imperfections.
- Application of primer to unify the surface.
- Hand painting in layers and final protection of the finish.
Primer is especially important. In addition to helping the paint adhere correctly, it makes it easier to detect defects that were difficult to see on untreated resin.
Hand-painting without losing the caricature style
The paint should reinforce the volume of the model, not compete with it. On a caricatured figure, trying to reproduce every detail as if it were a hyper-realistic portrait can make the result feel harsh and cause the piece to lose expressiveness.
That is why we work with recognisable colours and controlled contrasts. On the female figure, the voluminous hair, green jacket, dark trousers and red shoes stand out. On the male figure, the black glasses, blue suit, light-coloured shirt and white shoes quickly help define the character.
The faces require special care. Skin tone provides the base, but soft shadows around the nose, eyes, mouth and ears are what add depth. The lips, eyebrows and hair need presence without turning into overly harsh patches.
The microphones and bases were painted in more neutral tones so they support the composition without taking attention away from the characters.
The challenge of making two figures work as a set
When two related caricatures are made, it is not enough for each one to resemble the person separately. They also need to share a scale, head-to-body proportion and similar level of exaggeration.
If one figure has very realistic features and the other is much more caricatured, the set loses coherence. The same happens if the accessories, bases or poses look as though they belong to different projects.
For this couple, we maintained a common visual language: oversized heads, compact bodies, performance poses and microphones as the element that visually connects the two characters.