


Created by Arnold Gillespie and another designer—and finalized by Robert Kinochita, who drew heavily on Japanese folklore—the entire project was produced at MGM Studios.
The robot’s various parts are molded from a material called Royalite—a lightweight, durable orange plastic that used to be used to make suitcases! - The arms, connected to Robby’s body by two large hollow ball joints, were made by gluing rubber bellows between eight wooden rings to make them extendable and flexible. Inside, there was a person operating the robot. The manipulator’s head was hidden behind a cluster of neon tubes, while Robby’s transparent head was created by thermoforming a sheet of plastic—a process that involves heating a sheet of plastic over a mold with holes in it.
The model is an old, fairly simple plastic kit that has been reissued by Polar Light in recent years...

All two-piece parts must be sanded, glued, and filled. Once sanded, the joint should be invisible...

Next, we always apply a coat of primer or paint, which reveals any imperfections...

Aside from the "shoes," footwork also consists of two parts and requires good coordination...

The side accessories have been remade from plastic. Some parts of the helmet have also been refined. The arms are in place. The seams are invisible...

The robot is assembled and glued, ready for painting...

The painting process is relatively simple. One coat of Humbrol 15 glossy midnight blue mixed with a little black. Then a highlight of glossy blue 14 to brighten up the figure. The whole thing is done with an airbrush, of course...

View from the back. The side seam on the torso is completely invisible...

The visor was coated with Klir to enhance its shine and eliminate any scratches. Painting of details and accessories. The model is finished...

Altaïra, the film's heroine, is from the Flingstone brand, which produces a few resin figurines and 1/24-scale car bodies...

While the brand stands out for the originality of its figures—especially those in 1/24 scale—the finish is, unfortunately, far from high-quality, even for a model of this size...

Anyway, after a few hours of sanding and grumbling, here's the result—ready for a coat of paint...

Winsor & Newton artist's oil paints in tubes. We always start with the flesh tones. The basics are always the same; see the relevant workshop for the technique...

Now that the skin, hair, and makeup are done...

The figurine in her rescuer's arms...



