I'm 42 years old and although I was born in
Teruel, Spain, my family moved to Valencia when I
was a kid. I was around 13 years old when I first
had a scale model in my hands, and from then
until now I have dedicated all my free time to this
hobby.
I don't consider myself a modeler dedicated
to a single category or specialty. I have built all
type of scale models, but if I had to choose I
would stick with dioramas and vignettes. I
consider these the most demanding models to
build due to the variety of materials, techniques,
models, and combinations that can be used.
I am crazy about this hobby. I enjoy it with
my friends and I love competing in contests. It is
subject of this handbook is an old, unfinished
to improve my skills, but also motivates me to do
the effects and techniques on something as basic
something that motivates me to better myself and
something as simple as to build an old model and
paint it with nothing more than some paint,
paintbrushes, and a jar of pigments.
There are many times that I felt like making
something similar to a test bed, without any
innovation, but at the same time without fear. The
scale model, but it has allowed me to compare
as the yellow and the grey colors. There is nothing
so simple, and at the same time so significant, for
us modelers who love German stuff as these two
colors. Maybe the next time will be for the green!
Dedicated to Maria Jo
ytThe approach of this guide is not very
conventional, as is the paint scheme chosen for
this model. The question solved in the end is to
convert any model, in this case an old StuG III
from Tamiya, into a workshop of demonstrations
for applying different techniques, or rather,
processes used, for finishing a scale model of a
military vehicle.
And why do all this? The simple answer is
because this was a workshop that I presented at
the World Expo held in the beginning of July of
2008 in Girona, Spain.
After thinking about several different ideas,
I chose one that attracted me from the
beginning and stood out above all the rest. The
idea was to paint a tank with two different
colors. "What an innovation"! (I can here the
sarcastic modelers saying now). It may not
sound so innovative; however in this case, the
two colors divide the tank into two totally
different work areas, as much for the color as for
the effects and techniques that can be used on
each one of these halves. I suppose this is an
innovation.
One half would be painted in a uniform
layer of desert yellow and would receive the use
of "dry techniques", while the other half would
be painted in a dark uniform layer of panzer gray
for applying "wet techniques". Besides these
differences, all the colors or methods used in all
the techniques, (filters, oils, pigments), are on
one half, and vary on the other. However there
are exceptions that I call "jokers". These are
colors or methods that I use on all kinds of
vehicles with any base color, from any time
period, or operate in any environment, since the
effects are possible on any of them, and they
don't depend on specific factors.
This guide first shows how I apply certain
techniques and with what means and tools to do
so. Later discussion shows in what order and
what distinct colors I have applied to this model.
The process order is especially relative and the
best thing to do is to try it out on your own. A
technique used in a previous phase may need to
be used again to make the wanted effect more
visible, or to reinforce the effect in a specific area.
As you can see in the pictures, the model is
not
finished.
This makes the techniques and their effects
contrast more. What you are going to see
presented is a way for painting or applying
painting techniques to scale models. It is not the
only method, nor does it mean that it is any
better than others; it is simply my way only.
I hope that by reading this guide your
modeling will improve, but the best advice that I
can give you is to watch other modelers paint
their models. Although books are always of
great help, no picture will ever teach you how to
hold the paintbrush, or what quantity of paint to
load up in the brush, or how to move your hand
across the model. This is all better learned by
seeing it being performed by other modelers.
Before beginning to describe how I used
each technique, or rather as I interpret it, for
what reason I use it, and how and with what
tools I use, I have made a script of what is my
way for painting a model. But keep in mind what
I have already commented on regarding the
order of application of these techniques. The
script should be flexible. It should adapt to our
way of painting, not us to it, and you should
interpret to your way. I think that it is always
necessary to contribute a personal touch to our
models.
Although I don't always follow the same
rule, I believe that these are most of the rules I
usually follow:
1.- Airbrushed base coat
Base paint is chosen
Shadows and highlights are added from the base color
Tonal variations of the base color are added
2.- Treatment of the base painting with a paintbrush
Change of color or shade in some distinct areas
General filters are applied
Outlining of details with washes
3.- Chips and scratches
In the first stage lights chips are added
In the second stage, red primer, or dark brown, or both are added
over the previous chips
Texture is added on the biggest paint chips
4.- Oil paints
Choice of the colors made in relation to the base color
Treatment of the horizontal surfaces
Treatment of the vertical surfaces
5.- Rust
Streaks and stains of rust are added
Rusted paint chips and other rusty surfaces are added
6.- Dust
A choice of the surfaces and areas to add dust is made
Treatments with oil paints are done
Treatments with pigments are done
7.- Oil, grease, and fuel stains
A choice of the surfaces and areas to add to are made
Oils, pigments, and varnishes, used alone, or in combinations, are added
8.- Bare metal areas
A choice of the surfaces and areas to add to are made
Paint, pigment, and graphite, used alone, or in combinations, are added
4
USED TECHNIQUES
FILTERS
As modelers we have recently
I use a #4 or #5 synthetic
seen a period of really impressive
paintbrush to apply them. The jars
airbrush work that goes beyond a
must be shook violently to ensure a
simple base coat to add shadows and
complete mix before using them. I
highlights, but we have become so
introduce the paintbrush directly into
accustomed to the airbrush that we
the bottle and remove a little of the
continue working with it, as opposed
excess on the side of the jar, and then
to some other technique or tool. A
on a paper towel. Next, I apply the
technique called "filters" is used to
liquid quickly on the selected surface,
help break up the monotony of the
covering it completely. If the surface is
base coat and add chromatic richness
horizontal, it is sometimes interesting
to the base color, an effect that the
to use a round #5 or #6 paint brush to
airbrush alone cannot obtain. A filter
distribute the filter by smoothly
is a highly diluted mixture of up to
dabbing the surface.
95% carrier to paint, and is used to tint
Filters can be superimposed
the surface it is applied to. Its high
once they are dry, or mixed wet on the
transparency is why it is called a filter
model for interesting effects. You can
instead of a wash.
also create very interesting effects on
Until recently, I used Humbrol
the paint if rings appear and are not
enamels and thinner to get the colors I
excessive; if they are excessive, you
wanted. Now, we can find specific
can correct them with thinner. Filters
products in different colors for these
are, in my opinion, a good beginning
filters. I have been using the prepared
point for paint fading and the basic
filters from Sin Industries (Mig
weathering process of our model.
Productions) lately, and the results
have been very satisfactory.
6
FILTERS
The purpose of filters is to enrich the base
color of the model by subtly modifying its
shade and enriching its chromatic range.
It is advisable to use some highly diluted
colors applied to different areas of the
model.
You must allow each filter layer to dry before
adding an additional filter.
Use enamel paints diluted up to 95% with
thinner and a big paintbrush.
FILTERS FOR THE DESERT YELLOW
I have used the following filters from Sin
Industries:
- #P400
- #P402
- #P406
FILTERS FOR THE PANZER GRAY
I have used the following filters from Sin
Industries:
- #P245
- #P404
- #P406
77
PAINT CHIPPING
There are three decisive and
and then continue on with the darkest
critical factors for making good paint
colors and chips inside the lighter
chipping: their form, their size, and
ones, and of a smaller size. This implies
their distribution. The ideal thing in
age when done this way, as the darker
order to get a good random form is to
ones represent older chips and the
use a high quality paintbrush with a
lighter more recent ones in terms of
good tip. I use a #1 brush from Marten
rust, dents, or scratches.
and
many
reference
pictures.
Another detail to keep in mind is
Regarding their size; small is always
that
better than large, and if they are large,
overlapping of the paint layers.
the
chipping
shows
the
that they are made up by the union of
This is not an exact process, and will
many smaller ones. This factor will
depend on how the paint has been
always depend on what you want to
applied to the real vehicle that you are
represent, as there is no rule to follow.
seeking to represent.
Finally,
the
An example would be a vehicle
chipping should not be a figment of
the
distribution
of
that has been painted completely in
your imagination and should always
green and then had sand stripes
be done through the observation of
added to camouflage it. Any close
photos of your chosen subject.
contact on the sand first would allow
Here is something curious about
the green base coat to show through a
paint chipping. When they are not on a
little, and then, depending on the
model nothing happens, but if they
depth
are done, and they are not done well,
You
of
the
need
to
dent,
be
the
rust.
particularly
they ruin the model, even though the
meticulous
in
this
phase
of
rest can be well made.
weathering,
as
much
with
the
I usually always begin with the
paintbrush as with your head.
lighter colors and biggest chips first,
8
CHIPS AND SCRATCHES
Paint chips and scratches can be superficial and only
show the base color on a camouflaged vehicle or a
lighter base color if the vehicle is only one color; or
they can be deep, reaching the metal. If they are
deep and reach the metal, you can make the paint
chip rusted, or not.
The golden rule is: less is more. Smaller chips are
better than bigger. There will always be the
opportunity to join several smaller chips to make a
bigger one.
Use acrylics paints and small paintbrushes that are in
perfect condition.
LIGHT PAINT CHIPS
I have used these acrylic paints from Vallejo:
978 Dark Yellow
819 Iraqi sand
313 Stencil
DARK PAINT CHIPS
I have used these acrylic paints from Vallejo:
950 Black
941 Burnt Umber
9
RUSTY PAINT CHIPS
I have used these acrylic paints from Vallejo:
Some rusty chips were added with enamels and
oils to add variety to the dark chips and add
brilliance to the model.
303 Yellowish Rust
302 Dark Rust
CHIPS ON WHEELS
They stand out more in the "dry model" only
because the accumulated mud on the running gear
of the "wet model" hides them.
LIGHT RUSTY PAINT CHIPS
The horizontal scratches on the sides of the vehicle
show the effects of close contact with different
elements in the environment; bushes, rubble,
buildings, etc. They have been represented by
scratching the surface with a needle and then
touching up with acrylic paint.
I have used these acrylic paints from Vallejo:
816 Luftwaffe uniform
305 Light Rubber
313 Stencil
10
RED PRIMER PAINT CHIPS
In this picture you can see the paint chips that
have been formed when the paint is chipped and
the red primer base color shows through.
I have used these acrylic paints from Vallejo:
814 Cadmium Umber red
C42 Red Cadmium
945 Magenta
944 Old Rose
DARK PAINT CHIPS
At the end of the chipping phase we should have a
combination of these diverse colors; primer, light
chips, and dark chips. They should have diverse
forms, diverse sizes, and a varied disposition to
represent the most reasonable thing possible.
I have used these acrylic paints from Vallejo:
950 Black
941 Burnt Umber
11
WASHES
Although there are already
all the painting you have already
specific products for making washes, I
done. I don't think that washes have
have used oil paints and enamels on
such a specific sequential location.
this model to outline the details and
They are usually done at the
make some of the form and shape of
beginning of the painting process,
the vehicle stand out.
but there are different opinions or
I used a fine tip paintbrush to
control
where
discharged
for
the
paint
the
likes. That is to say you could apply
was
filters/
wash.
washes/and
chips/filters/and
chips,
washes.
or
The
This usually goes in all the corners,
different steps are equally valid as
gaps, screws, around raised detail,
well as different orders. In my opinion,
and prominent forms. It is necessary
the important thing is the variety, and
to keep another clean paintbrush and
following a flexible pattern when
solvent handy to remove the possible
applying the techniques that we
small rings that the wash may make.
know. For example, if you make paint
Many modelers believe that
chipping before and after the filters,
washes, as well as other treatments,
you will notice that using the same
have a specific sequential location in
acrylic color will obtain varied results
the painting process, and if you
and contribute to increasing the tonal
altered the sequence you could ruin
richness of the model.
12
WASHES
This technique is used to add depth and contrast to
the model, emphasizing its forms and details, and
adding volume to the different surfaces.
Washes can be general or precise.
The best colors are dark brown shades. Don't use
pure black for a general wash as it is too harsh.
Use enamels or oil paints and a big paintbrush.
Washes have been applied to the gaps in the armor
plates and to the brackets as well.
WASHES
Humbrol 110 Matte Earth
Abteilung 080 Wash Brown
Abteilung 110 Black
P239 Thinner
13
PAINT FADING
Paint fading truly starts the
when fading the paint. They are: the
weathering process of our model. This
treatment of the horizontal and
technique involves the use of oil
vertical surfaces, highlights and
paints by dotting the surface with
shadows, and the starting point.
different
colors
In terms of the starting point for
compared to the base color, then
this technique, the thinner is used by
blending these dots with some
"sweeping" the surface from up to
thinner to obtain tonal variation in
down. I always begin on the upper
the base color. I use a (#0 or #1) fine
part of my models so that the thinner
paintbrush to apply the color points
doesn't ruin the work already
and a (#5 or #6) round or a (#6 or #8)
finished.
flat
for
appropriate
colors.
In regards to the surfaces, you
The colors are blended using clean
blending
the
need to move the paintbrush in
solvent, with most of the solvent
circles or by picking at the horizontal
removed from the brush with a paper
areas, and use quick up and down
towel. I used the oils from 502
movements of your wrist in the
Abteilung for this model. In addition
vertical areas.
to their original colors, their new list
To
create
the
proper
of colors is clearly for use in military
illumination, I use lighter colors in the
vehicle modeling. The pigment is very
upper areas and darker ones in the
fine and the results obtained are very
lower
good.
areas.
This technique adds artificial
There are several important
highlights and shadows that natural
aspects that should be kept in mind
lighting cannot create.
14
PAINT FADING
This technique starts the extreme weathering of the
model. The idea is to achieve the same effect as the
filters (chromatic richness) with the technique of
the washes, but carried out as a different step.
Use oil paints, a fine paintbrush, and a large
paintbrush.
PAINT FADING - DARK YELLOW
PAINT FADING - PANZER GRAY
I have used these Abteilung oil paints:
I have used these Abteilung oil paints:
Abteilung 001 White
Abteilung 030 Blue
Abteilung 010 Luftwaffe Yellow
Abteilung 035 Buff
Abteilung 060 Light Rust Brown
Abteilung 080 Wash Brown
Abteilung 090 Industrial Earth
Abteilung 100 Grey Faded
P239 Thinner
P239 Thinner
15
RUST
I enhance some of the paint
armor plates by means of this mixture
chips with rust using oil and enamel
using a little larger tipped paintbrush.
paints applied with a fine (#0 or #1)
To do this I soak the paintbrush
round paintbrush and thinner.
in the paint mixture and then touch it
The mixture is approximately
to a paper towel to remove a lot of the
50% paint and thinner, and is
paint, and like the filters, locate the tip
deposited in a small point on some of
of the paintbrush against the external
the chips, borders, edges, or areas
border of the plate flat to the surface.
suitable to be rusty. Then, I draw a
This allows for a nice faded look to the
small fine streak with the clean round
color used. I usually dilute the paint
paintbrush moistened in thinner to
less than the paint used for the filter
reproduce the effect of rain or
technique.
humidity on the metal when it is
rusty.
Another interesting effect is to
reproduce the developing rust that
takes place in corners, on edges, and
in certain specific areas around the
16
RUST
Adding rust starts the precise weathering on the
model as this technique focuses on selected points
or areas of the model.
Although iron rusts easily, you must be moderate in
its application.
The technique is applied on some of the paint chips
and in vertical streaks to simulate rain streaks.
Use oil paints, thinner, and two fine pointed
paintbrushes.
I have used enamel and oil paints:
Humbrol #62 Leather
Abteilung 070 Dark Rust
Abteilung 110 Black
P239 Thinner
I have used the same colors for the panzer
gray as the desert yellow.
The same combination of colors has been used on
the gray color that was used for the dark yellow.
The different results are due to the base color
applied.
17
DUST
Most modelers use oil paints,
I don't usually apply a pre-
pigments, or both for this task. I prefer
dusting with the airbrush, although it
pigments because they are dust, and
is sometimes convenient to do so as it
look just like the real effect we are
creates a dull and rough surface for
trying to obtain.
the pigments to adhere to. I use a
Spectacular effects can be made
couple of paintbrushes to apply them
with the pigments, and it is my
dry; one fine tip to deposit them in
opinion, that they contribute a touch
place, and another larger, plane tip, to
of realism difficult to get by other
fix them with thinner. I usually use a
means. However, there are also
light color, a mid range color, and a
modelers that don't use them, and
darker color, so variation appears. I
they obtain equally exceptional
place them where I believe they
results.
should go and distribute or remove
There is a problem when using
them with the thinner. I sometimes
pigments: you must be extremely
add a little more pigment on the area
careful when applying them, or they
that is still wet with the thinner to
can
create a bit of texture.
destroy
your
entire
work.
Although there are a great number of
Pigments are an ideal material
articles published on their use, as well
to test and experiment with to see
as a DVD, I believe that the question
how many ways you can apply them
of how to use them has not quite
and how many different effects can
been answered.
be achieved.
18
DUST
All vehicles operating in the environment end up
covered in dust. Dust adds "life" to scale models
because our brain unconsciously interprets it as a
sign that it has been used.
You must be restrained in the application; if you use
too much and cover the entire model, you won't get
the effect you are looking for.
Use different colored pigments applied dry with
different sized paintbrushes to distribute the
pigment where wanted on the model.
DUST AND EARTH PIGMENTS
I have used MIG Productions pigments in these
colors:
P027 Light Dust
P028 Europe Dust
P232 Dry Mud
P239 Thinner
DUST AND EARTH OILS
I have used MIG Productions pigments in these
colors:
ABT. 090 Industrial Earth
ABT. 110 Black
P239 Thinner
19
In this picture you can see the results of combining
the dust technique with pigments, and the
splashes made with oil paints, which are explained
later. The result is a great variety of effects and
textures that simulate environmental conditions
as experienced by the vehicle we are trying to
reproduce.
MUD
Mud is an optional technique, although almost all
military vehicles have dry mud on their lower areas
and it is advisable to add dry mud to your model. It
is obligatory for models set in a wet environment
and in spring or winter scenes.
For this model the mud was applied on the lower
hull and chassis, as well as the mudguards,
fenders, wheels, and tracks.
Earth and dust accumulate in the lower hull of the
vehicle in a dry environment and mix with oil and
grease. These effects can be made with pigments
and oil paints, and the process can be repeated as
many times as needed to achieve the desired
effects.
The lower hull of vehicles operating in dry areas
show the effects of oil and grease in various areas
including; the wheel hubs, shocks, and grease
points. Polished and bare metal effects on the drive
sprockets, idler wheels, and tracks are made with
graphite pigment and a pencil, which is
demonstrated later.
The exhaust pipes have been painted with dark brown acrylic colors. I
applied various colored pigments while the paint was still wet to achieve a
diversity of tones characteristic of the rusting that they suffer. The smoke
is simulated with black pigment.
20
MUD
If you want to make some mud
work with a relatively big #4 or #5 round
that sticks to the lower hull, wheels, and
paint brush with hard bristles that is of
tracks, the ideal thing to use is an acrylic
poor quality, and then clean it out only
resin mixed with some pigments, some
after the session is over so I can use it
plaster, some small stones, and pieces of
again.
synthetic
grass.
Blend
everything
The mixture is applied in a logical
together and then apply it where you
way, that is to say, in the places where it
want it with an old paintbrush or similar
would
applicator. You will be amazed at how
conditions; the fenders, bogies, lower
much it looks like natural mud. Of
hull, tracks, and rear plate. Make sure to
course this alone is not enough and it
have several good pictures to follow.
will need some painting or other
Allow it to thoroughly dry.
accumulate
under
real
treatment. You can leave it alone to
Deciding on dry or wet mud
represent dry mud, or you can paint it
completes this process. The ideal thing
with some clear gloss to make wet mud.
to do is to add some more dry pigment
The chart of colors and materials
around the areas where we have added
contains the specific items that I have
the mud. This increases the chromatic
used. The idea is to keep in mind the
richness and breaks up the monotony of
components of the mixture, their
the previous mixture.
characteristics, and their manipulation.
This is all good for dry mud. But
When talking about their characteristics,
what if you want it to look wet? Quite
I am referring to the texture, which
simply, you make it look wet by adding
should be consistent, rough, thick, and
some clear gloss to vary its color, and by
granulated. I suppose that the pictures
doing the following step of adding
that you have seen in magazine articles
splashes and wet effects.
should help clarify this point. I usually
21
MUD APPLIED TO THE PANZER GRAY
WET MUD
I have used the following pigments from
MIG Productions:
P033 Dark Mud
P034 Russian Earth
P039 Ind. City Dirt
P032 Resin
Plaster
Sand and gravel
In these three pictures you can see the
texture of the mixture that has been used
as well as its distribution. I have tried to
produce volume, and place it in the most
logical places, just as it would happen under
real conditions.
22
MUD APPLIED TO THE PANZER GRAY
DRY MUD
I have used the following pigments from
MIG Productions:
P026 Copper Rust
P037 Gulf War Sand
P039 Ind. City Dirt
P239 Thinner
In these three pictures you can appreciate
the dry pigments that have been added in
the borders of the accumulations of mud to
get a difference between dry and wet. The
next step will be to add some splashes and
wetness to reinforce the contrast between
dry and wet areas.
23
SPLASHES AND WET EFFECTS
I have used some pigments, oil
brush instead of "flinging" it at the
paints and some thinner to make the
surface, and they obtain very similar
splashes. I made several mixtures of
results.
lights and darks in several bowls to
I
begin
by
soaking
the
make it easy to compare the mixtures.
paintbrush in the mixture in the
This is good for the yellow or "dry"
bowls. I then hold the paintbrush
side of the StuG. If we add some gloss
with my left hand and the toothpick
varnish to the dark ones, or we make
in my right (evidently I am right-
mixtures with dark oil, asphalt, and
handed). I then I place the paintbrush
gloss varnish in different proportions,
perpendicular to the surface that I
they will be good for the gray or "wet"
want to sprinkle and bend the bristles
side of the StuG.
back with the toothpick. I then allow
The splashes are made with a #2
the bristles to return to their normal
or #3 round paintbrush with long
position, which throws the paint
bristles, and a toothpick. It is an
against the chosen area to produce a
interesting experiment to "fling" the
sprinkled effect. As mentioned, be
splashes on a paper towel until you
sure to practice this technique before
get the appropriate size of splashes
trying on your model.
you want, and then to project them
This technique is great for the
on to the different surfaces of the
attractive results it provides, and is an
model to get the appropriate results.
easy way to apply to the chassis,
The important thing to remember is
lower hull, mudguards, and fenders
that each of you should experiment
where these effects can be seen on all
to find the method and ways of
types of vehicles used in normal
making things work. There are those
operating conditions.
who use an airbrush to blow the paint
24
SPLASHES AND WET EFFECTS
These effects are indispensable for setting the
model in wet environments or in spring or winter
dioramas.
In the same way as dust, splashes add "life" to scale
models because our brain unconsciously interprets
it as a sign that it has been used.
Use a fine paintbrush and a toothpick to apply as
described in the article.
SPLASHES
I have used the following:
Abteilung 090 Industrial Earth + Abteilung 110 Black +
P034 Russian Earth + P239 Thinner
Abteilung 080 Wash Brown +P033 Dark Mud + P239
Thinner
Abteilung 035 Buff + P026 Copper Rust +P239 Thinner
25
WET EFFECTS
I have used the following:
Gloss varnish
P239 Thinner
MIG Productions Fresh Mud pigments set
Dark oils
26
OIL, GREASE AND FUEL
For me, doing this step is a moment
end up dirty. I take the mixture and place
that is very pleasant, not only for its
it on the area in the form of stains, and
application, but it means that the paint
then touch the surface around them with
work is coming to the end. There is no
the other clean paintbrush dampened in
norm or standard concerning this type of
thinner, extending and diluting them at
effects, or in their application to the
the same time. I then add spots of the
model. It goes without saying that the
different mixtures and dilute with the
key to doing these well lies in excellent
other paintbrush again, to draw the stains
pictures of the vehicle you are trying to
into a natural and believable way. Once
represent. With that being said, you can
again, you must vary their size and shape,
be sure to find stains in greasing areas,
and you must add a few streaks for
around wheel hubs, on hydraulic shocks,
additional realism. The last step is to make
and around the fuel caps.
sure the shininess of the stains is
I represent these stains with oil
different.
paints, asphalt, a good gloss varnish, and
Added realism can also be obtained
thinner. The key thing to remember is
if you kill the shininess of some stains
that the shininess should be apparent.
with some pigments. I do this by carefully
Several mixtures are once again
applying the pigments on the perimeter
made in the bowls. They are oil paint with
of some stains. This adds a quite desirable
thinner, asphalt oil color with thinner,
and interesting effect to take place. Have
varnish, and another varnish with thinner.
you ever noticed that the surfaces near oil
I use a #0 or #1 paintbrush to apply them.
or fuel stains accumulate earth and dust,
The method is very easy. I use one
and that they form a greasy and dull
paintbrush for the thinner and the other
layer? With careful attention to detail you
one for the mixture, although they both
can achieve very realistic effects.
BARE METAL
The last step to end the paint work
is to "metalize" the susceptible areas that
show bear metal from constant rubbing.
This includes the track guide teeth, the
tracks, guide sprockets, road wheels, and
27
any other constantly moving surface.
In addition to the running gear, you
will also need to highlight other areas
and edges prone to rubbing and wear
from the crew. This is all fairly easy to do
with enamel paint, metallic pigments, a
common 2H pencil, a small paintbrush,
and your finger. The most common
mistake with this effect is to over due it,
so the key here is to use restraint.
OIL, GREASE, AND FUEL STAINS
These effects continue to add "life" to our model and
contrasts with effects already made including the
dust and mud.
I have used the following materials:
Pigments
Gloss varnish
Asphalt
Asphalt oil
BARE METAL PAINTING
The bare metal areas add realism to the
model by making the plastic look like metal.
This also increases the contrast with the
different effects already achieved.
Use metalizer paints and and Mig's P231 Gun
Metal pigment.
MAKING METAL WITH GRAPHITE
This is the last technique used on the model.
Lost volume from the previous weathering
techniques are recovered by applying the
graphite on the edges of shapes and to give a
metallic look to the model.
Use the lead of a soft #1 or 2H pencil.
Sometimes the best tool to use for applying
pigments is the good old finger.
28
These pictures show the different colors used
to paint the chips, as well as their locations in
the areas of maximum rubbing. Although
many of them will get lost during the later
29
weathering processes, the quantity made in
this phase will impact the final result of the
model.
Faded paint made with oil paints can be seen in
the upper part of the photo as well as rust effects.
The right lower half of the picture shows that the
process has already been completed with the
pigments, oils, grease, and splashes.
Work should not be neglected on the running gear
and the lower hull. You should avoid monotony in
the wheels by applying different effects in
different areas.
The same area in the pictures of the yellow half of
the model. You can see the results of the wet or
dark processes, but the most interesting things
that get your attention should be as much the
texture as the final disposition of the "mud"
added to the lower hull. Also note the shiny
appearance due to the treatment with varnish.
30
Lots of contrasts. The most interesting thing
about these pictures is that they show
contrasting results, techniques, and specific
colors used on one base color versus another. It
is the combination of all these techniques and
the way of applying them that will contribute
variation and richness to a model at the end of
the whole painting process.
31
ADDITIONAL GALLERY