The Weathering Magazine Issue 1 - Rust - superunitedkingdom

CREDITS Publisher AK Interactive S.L. Fernando Vallejo Chief Editor John Murphy Original idea Art director Mig Jiménez Editorial management Carlos Cue...

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CREDITS Publisher AK Interactive S.L. Fernando Vallejo

A passion by Mig Jimenez

Chief Editor John Murphy Original idea Art director Mig Jiménez Editorial management Carlos Cuesta Graphic and 3D design Enrique Royo Layout PER Article assistant Iain Hamilton Illustrations Claudio Fernández Editorial Assistant Chema Pellejero Sales manager Jalal Benali Akatsiya Photographer José Irún Akatsiya Leticia Crespo Collaborators Marc Reusser Martin Kovác David Martí Mr. Scratchmod Fran Romero Chris Jerrett June 2012 Depósito legal: LR 203 2012 LR-203-2012

www.theweatheringmagazine.com [email protected] [email protected] Quarterly magazine

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ince I began making scale models more than 25 years ago, my main interest has always been the weathering and all that this word means in modeling. Maybe the fascination with the weathering is due to the difficulty in achieving these effects. The same is true of a climber who doesn’t feel attraction to a small hill, but desire for a tall and difficult mountain. The modeler will never feel satisfied with a clean model without effects, without realism, and definitively without magic. He will always look for the most difficult subjects, the unique and special projects, and for these he will use his products and appropriate techniques to meet the challenge of his imagination. Until the FAQ2 was published, a publication had never been 100% focused on the painting techniques. Although in the last few years, most of modelers have shown special interest in all that is related to the painting. All they are aware of is that what makes the difference between a boring model and an exceptional one is in fact the painting & weathering. This is not an option, since all scale models need to be painted. But in spite of everything, the existing publications focused in the painting are not abundant. This publication begins in an important moment of the history of modeling, a time when all over the entire world, painting & weathering has occupied the place that it deserves in this hobby. We will discover throughout these pages and successive issues, all aspects of the weathering. From the most classic techniques through to the most complex and difficult techniques, we will show different perspectives from the best modellers explaining how to make weathering with different techniques. It will be “The Weathering Magazine” and here, you will find all that you need to know to bring realism to your projects. Although this first edition has more pages to celebrate the inauguration, each new issue will have 64 pages filled with articles related to each theme, for this inaugural issue we will explore rust in many forms. Here you will see techniques not only applied to AFV’s, but also to ships, robots, trains and also in the future you will find airplanes, figures, and many other subjects. All areas of modeling will take a place in this space, because each subject can be useful to learning and also to be used for a possible diorama. Also, you will find numerous real photo references, vehicle color profiles, and much more information that you can use as inspiration and as a guide for your projects. Of course in any important project, it is necessary for a captain to make it reality and in this case, John Murphy has been directing this exciting work. Besides being a great modeler and having knowledge of many things, I admire him for his professional trajectory and his pleasant personality. And lastly, you will notice as soon as you pass pa ass this page, a new character in the magazine that will accompany accompany us in an amusing and different way in each issue. It is our pleasure to introduce Akatsiya. We have captured this dream for you, so thinking about modeling will be something more human a and nd more touching. Well, in fact the truth is that the production team has only two options, Jo John ohn with underwear or Akatsiya, and I believe that that we have chosen well, right?

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INDEX RUSTING A PAPER PANZER Mig Jimenez explains us how to paint a very rusty “what if” tank. pag. 7

RAW STEEL PLATE Bare steel plates have become very popular, Mr. Scratchmod shows us the way. pag. 16

BARE METAL ARMOUR One of the most realistic modellers, Martin Kovác, teaches us some rust tips. pag. 20

SHIP RUSTING Ships are a natural place for rust & corrosion, don’t miss this exciting look with Fran Romero. pag. 30

SAND BLOWN OLD RUSTY STEEL Marc Reusser shows us how to treat an abandoned 1/20 th scale Ma.K. pag. 50

RUSTY BEETLE Our debut artist David Martí will surprise you with an amazing corroded Beetle. pag. 60

CHOOSE THE RIGHT PRODUCTS Our sensual muse Akatsiya, will help us to know each rust product in the market. pag. 68

THE WEATHERING MAGAZINE / RUST / 5

Model and Photos Mig Jimenez Text John Murphy

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lets

recycle

this

scrap!!

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n our first article we want to show how to create a number of rust effects that would not only be seen on a tank or armoured vehicle, but would also be seen on huge variety of vehicles, machines, and equipment made from iron or steel. To demonstrate these techniques we will be using a vk 4502 (p), panzerkampfwagen “tiger” p2, which was never actually put into production and is commonly known as a ‘paper panzer”. For us this is perfect because we can be creative with both the camouflage and weathering as this vehicle never actually existed! Our idea is to depict the vehicle after test and evaluation and the vehicle now sits abandoned and neglected in the backyard of the Porsche factory. In very little time, the condition of the paintwork would start to deteriorate and rusting would soon take place. Here we offer a comprehensive guide to creating these effects. THE WEATHERING MAGAZINE / RUST / 7

RUSTING A PAPER PANZER

4 Once we are happy with the chipping effect, we need to seal the model with a matt varnish before adding Streaking Grime for Dark Yellow Vehicles.

This matt coat will prevent the Worn Effects Fluid from being reactivated by the White spirit used for streaking effects. The Streaking Grime will tone and unify the base colours and add subtle streaking effects to all the sloped and vertical surfaces.

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1 Even though this issue is dedicated to rust effects, we will include the initial stages of painting to get the model ready for the weathering process to begin. Here we have the model divided into sub-assemblies ready for priming with Vallejo’s hardwearing AcrylicUrethane Grey Primer. 2 For the base colour of red primer we use the new AK Interactive Modulation set for German Red Primer AK 124. Once we have completed this to our satisfaction, the next step is to airbrush the hull and turret with AK Interactive’s Worn Effects Fluid. 5

3 Once the Worn Effects Fluid has dried, a camouflage pattern of broad sand coloured stripes is airbrushed on and allowed to dry for a few minutes before wetting the surface of the model with water and then scrubbing and scratching the sand coloured areas with an old paint brush and cocktail stick to create chips and scratches 5 A heavy wash using the same Streaking Grime for Dark Yellow is now applied to the deck on the front section of the hull, where the focus of our rust effects will be. 6 Chips and scratches are added to the rest of the vehicle using Vallejo’s Camouflage Black Brown. This colour is perfect for simulating bare metal where it has been exposed to the elements.

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7 Now the Streaking Grime has had time to dry for a few minutes, we can now blend and soften this colour using a long bristled brush carrying a small amount of White Spirit. The grime is worked into the edges and also allowed to pool in certain areas to create a random natural effect. 8 We can now mask around the deck area ready for the first of the rust colours to be airbrushed on. Make sure the tape is lined up perfectly with the edge of the deck area. Poor masking can spoil the whole effect! 9 First we spray on a very light coat of LifeColor Rust Light Shadow (1). Notice that the streaking grime effects are still visible through the LifeColor paint. Keeping the paint mix thin and the air pressure low on our compressor will offer the greatest control of these colours.

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10 Next we add Rust Basecoat, which is concentrated along the front portion on the hull. We then follow this by spraying on a small amount of Rust Dark Shadow. This is focused on only the front edge and right hand corner of the deck area.

11 More of the LifeColor Rust Base colour is airbrushed around the gun barrel and mantlet joint, as this area would be prone to paint wear and damage.

12 With the masking tape removed we can see how the effect has been graduated to reveal the darkest and deepest rust colour in the front right-hand corner of the deck. This will simulate where the rainwater has collected mostly in this corner due to the vehicle being parked on sloping ground. THE WEATHERING MAGAZINE / RUST / 9

RUSTING A PAPER PANZER

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Now that all the basic weathering is complete, we can add both specific and general rust streaks to the vertical surfaces. For this we use AK Interactive Rust Streaks AK 013.

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To add these streaks we first make sure the bottle is shaken well before using, we then start at the top edge of where our streaks begin, then simply drag the brush down over the surface making sure we vary the width & length of the streaks.

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With the rust streaks in place, the next step is to use a clean brush wetted with White Spirit and gently flick the brush up and down the streak. If you only drag the wash downward or use too much pressure, you will remove it all and will have to start again.

16 The Rust streaks have now been completed on both the turret and hull. It is important take into consideration the story we are trying to tell with the model. We need to remember how old the vehicle is, what it has been used for, and whether it is in service or abandoned.

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On the horizontal edges of the armour plates, we can now add pin washes to the chips. These can also be softened and blended with a clean brush and White Spirit.

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Next we can start to add weathering to the large engine-access cover and for this we will be using Winter Streaking Grime. 21

White Spirit and a clean brush can now be used to blend and soften the Winter Streaking Grime until it becomes a subtle dark stain that perfectly replicates dirt, grime, and old fuel and oil stains that often accumulate on these areas.

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Vallejo German Camouflage Black Brown is now heavily thinned with water and washed onto the centre of each engine-grille mesh. This colour is then stippled and blended onto the mesh using a flat brush. 20

We work this colour into the corners and edges of the hatch and as we can see this is a great colour for adding general grime to the surface of a vehicle. 22

After allowing around 12 hours for the Winter Streaking Grime to dry fully, we now add some more rust stains to the engine deck hatches.

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RUSTING A PAPER PANZER

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With various areas of rust added to the engine deck, we can now blend these with more White Spirit. We aim to be left with faint areas of rust caused by rainwater and not unrealistic patches of red/brown paint. 25

As with all the previous streaking effects, the hard edges need to be softened and blended to finish with faint and natural looking rust streaks and staining.

Moving to the turret roof, we can now add individual rust streaks to the chips we added earlier. It is important to get these lines parallel. If they are at different angles on the same surface it will look unnatural. 26

Here we can see the finished effect, notice how we try to make the streaks softer and spread slightly outwards as they go further down. This is achieved by applying a little more pressure with the brush toward the bottom of the brush stroke. This may take a bit of practice to perfect. 28

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The steel wheel rims are an area that will rust very quickly, you only have to check the disc brakes on your car after a night of rain. They will quickly start exhibiting yellow/orange surface rust by the morning. To simulate this we paint the wheel rims in LifeColor Rust Light Shadow. 12 / THE WEATHERING MAGAZINE / RUST

This LifeColor rust colour dries to a completely flat finish and replicates this effect perfectly.

In these views of the completed model we can see that all the effects used are combined to make a truly eye catching model.

THE WEATHERING MAGAZINE / RUST / 13

RUSTING A PAPER PANZER

VK 4502

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THE WEATHERING MAGAZINE / RUST / 15

RAW

PLATE

Mr. Scratchmod

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he technique shown here is just one of many different ways to create raw steel effects. Depending on the type of steel, how long it’s been exposed to the elements, and of course the setting will depend on how it is painted and weathered. The technique described here can be altered to suit the situation for many types of modelling projects.

1 The first thing we have to do is apply a base colour to the model. This is always done after applying a coat of primer to be sure the plastic is covered and sealed. For a base colour of steel plate we use Tamiya’s acrylic Flat Brown XF-10. 16 / THE WEATHERING MAGAZINE / RUST

The next two steps involve the use of the sponge technique to add the small chips, which will give visual interest to the base colour. For the first choose a dark brown. To get the best results we use a fine textured sponge like those used for packaging of electrical items.

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For the second colour we use a rust colour that is brighter and lighter than the brown base colour. First dip the sponge in some of the paint, then remove the excess on a paper towel; otherwise we will end up with large blobs of paint on the surface instead of a chipping effect.

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The next step is to apply a dense filter using oil paints. Here we are using Winsor and Newton Vandyke Brown thinned with odorless thinner to a consistency between a filter and a wash. This filter will help to unify the previous effects and tones.

5 Once the filter has dried fully, the next step is to apply a medium that we use to create a chipping effect. This can be done using the ‘hairspray’ technique and in this case we are using AK Interactive’s Worn Effects which has been developed for exactly this type of effect and will guarantee consistent results. 6

With the Worn Effects coat dry, some light grey colours were then airbrushed on in a random cloud pattern. This effect can be varied from panel to panel to help create the effect that vehicle is made from individual steel plates. Once dry, more sponge chipping can be added.

THE WEATHERING MAGAZINE / RUST / 17

RAW STEEL PLATE

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The paint is then allowed to dry for about an hour before starting the chipping process. To chip the paint we simply wet the surface with warm tap water and let it soften the paint. A variety of old stiff-bristled brushes are used to scrub and dab the surface to create the chipping effects in the light grey areas.

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For smaller areas of the light grey chipping we can add this directly using a sponge technique instead of using the hairspray technique. This is faster to apply and easier to control on smaller areas.

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To add colour and interest, the factory worker’s chalk marks are added using a white pencil. The two round access plates are also painted in a red primer colour to add even more visual interest.

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Fresh rust marks can now be added using heavily thinned bright orange paint sprayed along the edge of some masking tape in a couple of light coats.

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With the tape removed we can now add some bright orange rain marks in the form of thin squiggly lines. A wash of enamel Light Rust will add softer tones to this rust effect and will also help unify the airbrushed and brush painted rust marks. 18 / THE WEATHERING MAGAZINE / RUST

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To finish this panel a pencil was run along across the weldbeads as they did not rust like the actual armour plates. This was due to the high Nickel content of the welding rods used during the construction of the real vehicle.

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To add even more effects to the raw steel plate, we can use a whole range of products and mediums, such as enamel dust, streaking effects, washes, and pigments. These will all help bring the model to life.

Overall views of the finished Mine Roller. All of the realistic weathering effects used on this Mine Roller will be covered in detail in future issues. THE WEATHERING MAGAZINE / RUST / 19

Martin Kovác

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sing a combination of acrylic paints, AK Interactive Worn Effects, and enamel washes we show how to make scratch built plastic card appliqué armour look like totally realistic heavy steel armour-plates complete with mill scale effects, surface rust and welding seams.

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1 The first step is to base coat the appliqué armour sections with Tamiya NATO Black XF69. This is sprayed on using an airbrush.

2 A random mottled rust pattern was then airbrushed on using Tamiya NATO Brown XF-68 thinned with Tamiya Acrylic Paint Thinner X-20A.

3 The armour plate sections ections were we ere AK-Interactive then given a coat of AK-Interactive fluid een e en Worn Effects Fluid. This fl uid has be been o produce the t specifically developed to ar way to tthe chipping effect in a similar e difference difference hairspray technique. The ts can a is that the Worn Effects ore be easily applied in a more controlled way. Remem-ber the more coats of Worn Fluid that are applied the greater the chipping effect will be.

4 A light blue/grey colour mixed from Tamiya acrylics is then sprayed in a random pattern of the steel parts. This colour will help represent the areas of steel that have not rusted. THE WEATHERING MAGAZINE / RUST / 21

BARE METAL ARMOUR

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5 Using a needle some of the blue/ grey can be carefully scratched off before the paint has had time to dry fully. 6 More of the blue/grey colour can now be removed by wetting the surface and by gently rubbing it with a piece of sponge we can create a mottled mill scale effect. 7 Here we can see the result of the scratches and sponge effects.

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8 The next step is to paint tiny chips of blue/grey over the surface to replicate mill scale, which is a effect formed on the surface of hot steel during the rolling process. 9 Instead of using enamel based washes to replicate rust we are using acrylics. The trick behind painting rust with acrylics is to have the surface dampened with water before starting to apply the paint. The wet surface helps to blend and thin the acrylic paint for a natural effect.

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10 When adding fine sharp-edged scratches and rust marks using acrylics, it is best to add these to a dry surface, so the edges do not soften or blur.

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11 Chalk marks added at the factory during the manufacturing process are simply drawn on using sharp white pencil available from art supply shops.

12 By loading some of the rust coloured acrylic paint onto an old brush with cut down bristles and flicking with a finger creates random rust splashes on the surface, this helps to unify the rest of the rust effects.

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13 Using graphite pencil is the best way to achieve metallic shine on edges of the metal plates and fresh cutting-torch lines. THE WEATHERING MAGAZINE / RUST / 23

BARE METAL ARMOUR

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14 Applying graphite powder with a piece of rubberized sponge is a great way to achieve a realistic metallic sheen to the surfaces of the plates. It is important that the graphite powder is only applied to the areas not covered by rust.

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15 SSharp edged rust stains are i painted on using Tamiya masking tape as a mask. This is very effective when replicating the marks left when steel plates have been placed on top of another during outside storage before being used in the factory.

The same Vallejo rust colors that 16 T were used on the armour plates will be perfect for recreate realistic rust effects on the tracks as well. These Friul Model white-metal tracks were first primed using Tamiya NATO Black. The orange and brown tones were applied using a fine textured sponge.

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17 O One of the main advantages of using acrylics paints is that enamel washes can be applied straight after without causing damage to the base colours. If using enamel washes over enamel paints then the model must allowed to dry fully for a couple of days before attempting to apply these washes.

19 When painting weld seams it is important to first spray the surrounding areas in a very dark grey or black to simulate the burn marks caused by the heat from the welding process. 24 / THE WEATHERING MAGAZINE / RUST

18 The T kit tow chain was weathered in exactly the same way as Friul Model tracks.

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20 The T weld seams are picked out using a bright silver colour to make the welds shine. A dark brown pinwash can be added to highlight the texture of the welds.

In this photo of a Hobby Boss ‘Super Pershing’ we can see that the same painting effects have been used to replicate the bare metal parts of the mantlet counter-balance weights.

G N I R E H T A E W R A C A BOX

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eathering railway (Railroad) locomotives locomo otives and rolling stock has to be approached approache ed differently than modelling static models models of aircraft or amour. For example, the modeller will have to weather many carriages and wagons to complete a particular train.Also, these items will receive much more handling than a static model, this means regular weathering products such as pigments would get worn away after the carriages have been picked up a few times. Pigments can be sealed in with matt varnish, but these tend to darken or reduce the pigment and spoil the final look. Our idea is to show a method of producing a nicely weathered American railroad boxcar that will not take frequentt hantoo long to finish and will be resistant to frequen dling and look great on any railway layout.

John Murphy

This is how clean the boxcar looks out of the box from the manufacturer. Some model railway companies do supply rolling stock pre-weathered, but to be honest they look like they have just been airbrushed with some brown paint randomly around the lower sides and look unrealistic.

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The first step is to airbrush on Humbrol Super Enamel No.26 Khaki. This is thinned with Humbrol Enamel thinner and misted over the undersides and lower sides of the bodywork.

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Once the enamel has been left to dry for around 30 minutes, the next step is to use a brush wetted in White Spirit and start to drag the bush down over the sides to achieve a streaky look. Make sure the brush is not too wet, as it will remove all of the paint on the first pass of the brush.

Here we can see the streaking effect as the White Spirit evaporates. As we can see, the heavier streaks remain along the bottom of the boxcar.

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Rust patches and chipping can now be added once the White Spirit has fully dried. For the rust areas we use German Camouflage Black/Brown from the Vallejo Modelcolor range of acrylics. The vertical frames have been masked off and a piece of sponge carrying a small amount of paint can be carefully dabbed onto these frames.

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Further rust areas can be added to other parts of the boxcar. Here masking tape has been applied to create horizontal areas of rust.

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Here we can see the completed rust patches and chipping. Compared to some reference photos this rust damage is quite restrained!

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The model boxcar came with a bright silver roof and to tone this down a mixture of rust colour and brown acrylic paints were sponged onto the roof section until virtually all of the silver had been covered. THE WEATHERING MAGAZINE / RUST / 27

WEATHERING A BOX CAR

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The roof section with the sponge effects completed. A sponge was chosen, as it would not cover the silver completely in the same way as if a brush had been used. The sponge also adds a little texture to the effect.

The Light Rust wash is best applied with a brush with long bristles, this help the wash flow over the surfaces and around the details. The drying time of the wash can be reduced by using a hairdryer on a low heat setting.

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12 The light Rust Wash is then followed by a further wash, this time using a darker colour in the form of Track Wash. This is added mainly to the bolted panel joints and the recessed channels on each panel.

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The next step was to add a wash onto the trucks, by using an acrylic colour we save having to wait days for the enamel paint to dry before adding an enamel wash, which could soften and ruin the Humbrol Khaki colour. 28 / THE WEATHERING MAGAZINE / RUST

The trucks were painted separately using the same Humbrol Khaki as used on the rest of the boxcar.

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AK Interactive Engine Oil was applied to the axle hubs to simulate lubricating grease.

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Moving back to the boxcar, we can now add a Light Rust Wash to the sides and ends of the bodywork. Unlike the photo, this wash is best added while the model is laying flat on its side so the wash doesn’t pool along the lower edges.

Once the Light Rust wash had been allowed to dry, some of Lifecolor’s Sleeper Grime was misted along the lower edges to blend and tone down all the previous effects. This colour is available in LifeColor’s excellent Rail Weathering paint set.

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A mixture of Rainmarks for NATO Tanks and Summer Kursk Earth is applied. This was washed into the recesses of the end panels. It was also added as a pin wash to details on the lower sections of the sides.

Dark Steel pigment was added to the independent brake wheel and chain using a fibre rubbing stick from an art supply shop.

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The finished boxcar. When compared with the photo of it un-weathered, it is clear to see a much more realistic and attractive finish. THE WEATHERING MAGAZINE / RUST / 29

RUST ON THE HIGH SEA

Model Fran Romero Photo Mig Jimenez Text John Murphy

This is an example of a Heavy cruiser made by the same author.

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Using a fine tipped artist’s paintbrush, Vallejo’s Model Color German camouflage black Brown is used to add random scrapes and areas of chipped and flaked paint.

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This is best done completing small sections at a time. If we loose patience and start to rush this part, the chips and scratches will look too large and spoil the effect.

rust on the high sea B y design, ships of iron and steel will spend their entire existence on the oceans and salt water seas. Heavily effected by corrosion, ships will very quickly show heavy signs of rust stains and streaking rust. Here we will explore some techniques used to paint the unique rusting that occurs on ships.

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Heavier chipping is added to the cut out on the top edge of the hull where the anchor is raised and lowered.

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Rust Streaks and Light Rust Wash will be our choice for adding the many rust streaks and stains covering the ship’s hull. These colours can be used individually or mixed to create varied tones. THE WEATHERING MAGAZINE / RUST / 31

RUST ON THE HIGH SEA

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Using a fine tipped brush, the Light Rust Wash is painted in vertical lines from various chips and scratches added earlier. 7

With the Light Rust stains now fully dry, thinner rust streaks can be added to the centre of these lighter coloured stains. These are then blended to create a natural effect. 32 / THE WEATHERING MAGAZINE / RUST

Once the Rust Streaking has been added to the deck details, it can be blended again using a soft brush wetted with White Spirit. We can see the difference between the blended rust at the top compared with the unblended still being applied.

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Once the Light Rust wash has been allowed to dry for a short while, a brush dampened in White Spirit is then used to blend and soften these streaks for a more subtle effect. 8

Rust Streaks can now be added to the deck areas, paying particular attention to the area where the anchor chain lays and other raised fixtures on the deck, such as the capstons used to raise the anchor.

Here we can see the finished rust effects, which work really well on the grey painted deck. This heavy rust effect would happen in only a short time on warships operating in the harsh conditions of the Baltic or North Atlantic during WWII.

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Even the modern U.S. Navy supercarrier, USS Abraham Lincoln (CVN-72) is showing signs of heavy rust staining on her hull sides whilst deployed on operations.

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We think displaying the ship with weathering adds so much interest to the finished model and really tells the story of how harsh sea conditions take their toll on any ship.

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Some more subtle Light Rust Wash streaks have been added further along the hull. These are also softened and blended using a brush dampened with White Spirit.

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In this close-up of the bow of an old navy warship, we can see several weathering effects, including chipping and worn paint on the front edge of the bow. Also of interest is the patchy worn paint on the grey and red areas of the hull. THE WEATHERING MAGAZINE / RUST / 33

Mr. Scratchmod

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n this guide we will explain how to create textured rust using pigments, acrylic paints and stiff brushes.

of paint, in exactly the same way as paint would flake away from a heavily rusted metal in real life.

This technique is perfect for creating heavily rusted vehicles, but instead of using the new chipping fluids, or hairspray and salt, which are used in combination with water to remove the top layer of paint to create chips and scratches in the surface, this effect relies on the paint being scrubbed off of the unstable pigment underneath the top layer

For this feature we will be using an old turret from a U.S. M26 Pershing tank with a faded green as the camouflage colour. This technique is obviously not limited to just green and will in fact give even better results on a German dark yellow or Gulf War desert sand coloured vehicle for example.

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The turret is first primed using Vallejo’s Black acrylic primer, followed by a LifeColor dark brown acrylic, which will act as the base rust colour, we can now start adding the rust pigment. To do this we first mix Dark Brown Wash with some Track Rust Pigment. This is then painted onto the surface of the model using a large brush. 34 / THE WEATHERING MAGAZINE / RUST

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Track Rust Pigment is now stippled onto the Dark Brown Wash and thanks to the slow drying time of the wash, there is no need to rush this part. The wash will help to fix the pigment model’s surface. Different shades of rust pigment can be used during this process to vary the effect. It is worth noting that the more pigment that is applied the thicker the rust effect will be and the easier it will be to chip off the camouflage paint later. 5

To ensure the pigment adheres really well, a light coat AK-Interactive’s Pigment Fixer is misted on using an airbrush. This will darken the pigment a little, but do not worry as it is to be expected using any kind of pigment fixer and will not spoil the overall effect in this case. 7

Here is where this technique differs from using either the salt or hairspray technique. Instead of using water to remove the paint to create chipping and exposed rusty metal, we just use various stiff brushes, including worn out wire brushes and even a cocktail stick to make individual scratches.

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Here we can see that the pigment has soaked up all the wash and is already starting to produce a realistic effect. For even thicker rust, more wash can be painted on followed by more pigment. 6

In this close-up of the turret we can see the rough texture the pigment creates under the faded green layer of paint. This layer of paint is best applied in a couple of light coats, so we don’t get the surface too wet and ruin the pigments underneath. 8

If there are any areas that are hard to chip, then just dampen the area with a soft brush and water before scrubbing and scratching the paint off as normal. Remember do not use too much water, as the pigment will become very soft and could easily be ruined. THE WEATHERING MAGAZINE / RUST / 35

RUST RUST R RU USTCHIPPING CHI CHIPPING HIIP H PP PIIN NG

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Even an old metal wheel from a mini-drill set is perfect for adding random scrapes and scratches. Each style brush or stick helps to create a different damage and wear effect that has occurred over a number of years. 12

In this close-up we can see when the surface is damp it helps to create natural and realistic stains around the rust patches, just as it would happen in real life.

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Here a pointed wooden stick is being used to create individual scratches in specific areas. This method offers greater control than the more random effect produced by scratching with wire brushes.

In this final photo we can see just how good the result is that this technique produces. Notice how the flaked paint at the edge of the chips and scratches has a real three-dimensional effect.

Here we can see the same technique can be used to add texture to the exhaust muffler of a larger scale 1/24 vehicle.

On this AFV Club Centurion Mk.5/1 pigments have been used to add texture the exhaust cover, to simulate paint that has burnt off. This time the pigments have been stippled onto a base coat of oil paint instead of an enamel wash..

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OLD METAL FIXTURES

AND FITTINGS

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sing enamel washes and graphite powder we show how replicate realistic old metal fixtures and fittings. for our to re example we are using an old wooden door with metal exam hinges this effect would also be perfect for many h hi inges and brackets. bra items, such drain covers and just about any iron or steel components it h as d used in construction of old buildings. John Murphy 2

This can be sprayed or brush painted onto the part depending on how large the area is that requires painting.

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The first step is to paint the part in a suitable base colour. We have chosen Frame Dirt from the LifeColor acrylic range

AK Interactive’s enamel washes Light Rust Wash and Track Wash are mixed in various ratios to replicate fresh rust or much darker old rust.

4 5

This wash mix can now be allowed to flow over the part and around the details. Pre-wetting the area with white spirit will help the wash flow more easily over the surfaces. 38 / THE WEATHERING MAGAZINE / RUST

Graphite powder is the secret to achieving an ultra-realistic metallic finish to these iron parts. For this we use AK Interactive Dark Steel Pigment.

6

The area around the parts to be rubbed with the Dark Steel Pigment, are first masked off to ensure we don’t end up with a polished metal finish on the wooden parts! 9

To make the metal look older we can add another wash, this time just using the Track Wash. This will give the metal an aged and weathered look. 10

Here we can see the finished effect. Rust washes can now be added to the wooden parts surrounding rust to simulate where it soaked into the wood.

7

A make-up applicator sponge is the perfect tool to apply the pigment, as it applies and buffs the pigment at the same time.

8

With the tape removed, we can see how good the Dark Steel Pigment looks. If the metal work isn’t too old we can stop here, but for an older look we can carry on.

WEATHERING WHITE METAL

Model and Photos Mig Jimenez Text John Murphy

TRACKS

W

hite metal tracks such as those produced by Friulmodel make a fantastic addition to any tank or armoured vehicle, but one of the problems has been how to paint them. Sometimes the paint doesn’t adhere well and when paint chips off, bright silver is left showing through, By chemically treating the tracks with a fluid that turns the metal to a realistic rusted metal finish, we can make sure this will not happen in future. Here we show just how simple this is to do.

1

These are the products and tools you will need to turn shiny white-metal tracks into one that look as real as the real thing. A glass dish or bowl, an old toothbrush, Acetone, water, and the secret ingredient, AK Interactive’s Metal Burnishing fluid. 3

With the track soaking in the Acetone, an old toothbrush is used to scrub the tracks which will ensure all grease & any mould-release agent has been completely removed from every surface. 40 / THE WEATHERING MAGAZINE / RUST

2

The first step is to clean and degrease the tracks prior to immersing them in the Burnishing Fluid. Acetone is perfect for this task as it is especially formulated for degreasing or paint removal.

4

After removing the tacks from the Acetone and allowed to dry out fully on a paper towel, we can now prepare the Metal Burnishing mix. This is mixed in a ratio of 1:1 with water into a glass dish or bowl.

5

The track section has now been immersed in the Metal Burnishing mix and again using an old toothbrush, the tracks are scrubbed to ensure that any trapped air bubbles are removed from recessed details. This is to make certain that the Burnishing fluid effects every part of the track.

7

Once the tacks have been removed from the Burnishing fluid, they should be washed under running water and then left to dry fully. When they have dried it is clear to see just how excelent the tracks look.

9

The pigments can now be permanently fixed in place using Pigment Fixer.

6

Here we can see that the chemical reaction happens quickly and how it turns the tracks from bright silver into a more realistic rust brown colour, which is now etched into the surface of the metal.

8

The tracks can be left as they are, or weathered further depending on how the model is to be displayed. In this case European Earth and North African Dust pigments are being applied dry.

10

Here we can see in this photo of the completed model just how realistic the tracks look, and thanks to the Metal Burnishing fluid this is easy achieve. THE WEATHERING MAGAZINE / RUST / 41

AND RUST STAINS SMALL CHIPS N

ot all rust effects have to be complex when adding them to a model. Here we show a simple technique that can be used for many different scales and subjects such as military vehicles, railways, ships, buildings, and civilian cars. In this instance we are adding the rust damage to a US Army World War II supply truck.

John Murphy

The first step is to apply the light green colour first, this is then followed by the brown making sure the light green is visible around the edge of the brown spot or scratch to simulate a three-dimensional effect.

1 To create the chips and scratches on the olive drab base coat, we are going to use Vallejo US Grey Light, which is actually a light green colour and LifeColor Brown. 3

For the rust streaking effect a good quality oil paint is used. In this case Burnt Sienna is chosen as it offers an excellent orange/brown colour perfect for simulating this kind of rust. 42 / THE WEATHERING MAGAZINE / RUST

2 4

Small dots Burnt Sienna oil paint are now placed beneath the scratches and chips. You will need to take into account the angle of the scratches and which way the rust stains would flow over the surface of the real vehicle when it is wet.

5

6

Next we need to drag the oil paint downwards using light strokes with a flat brush. The type of brush used for dry-brushing is perfect for this. Again think about the angle of these streaks. If they defy gravity, they will look unnatural therefore they will look unrealistic on the model.

Some further blending of the pigment and oil paint with a clean dry brush will help create the final look of a soft and subtle rust effect. 8

7

6

Before the oil paint has dried fully, rust coloured pigh of the chips and ment can now be added onto each hat occurs around scratches to represent rust staining that ll add texture and these marks. By using pigment it will ent firmly in place the oil paint will help to fix the pigment once it has dried fully.

Here we can see this same ame effect applied to the exhaust cover on a Tiger ger I. The same technique ue is perfect for simulating ting rust around bullet and shrapnel damage, as well as bent and creased metal etal where the paint has flaked ked away from the surface e of the exhaust cover. ver.

Once the oil paint has been allowed to dry for a few days, further Dust washes or airbrushed dust can be added to help create the overall effect of a hard working US Army supply pp y truck during g WWII.

9

9

THE WEATHERING MAGAZINE / RUST / 43

m60a1

Chris Jerrett

“LESS IS MORE”

S

ubtle rusting is a tool all modelers should have in their painting arsenal because small patches of rust are found on virtually all armoured fighting vehicles. When trying to achieve a realistic rust finish, it is an important part regardless of how extensive you want to go with your model. So for this issue dedicated to RUST, we want to do something subtle to illustrate that sometimes “less is more”. Our example is of a USMC M60A1 involved in intensive training leading up to Operation Desert Storm.

1 Before we can start adding the rust effects, we must apply some enamel washes. These will form the foundation of the general weathering and also the rust effects.

44 / THE WEATHERING MAGAZINE / RUST

2

3

We can see that the washes have now added subtle stains and streaked effects to the model. Scratches are being added using a very pale cream colour.

Finer scratches and smaller chips using Raw Umber acrylic are now added onto to the pale cream areas to create a three-dimensional scratch effect.

With a fine brush we gently apply random streaks and marks. It is not critical how they look at the moment, because the next ssteps teps will tone these down considerably.

4

5

As we can see here a variety of oil paints will be used for the rust effects. It is best to put the paint onto cardboard to allow the excess oil to soak away first, which nish. c will will ensure the oil paint dries to a matt fi finish. THE WEATHERING MAGAZINE / RUST / 45

M60A1 LESS IS MORE

First we start with a fine tipped brush and dab paint in the recessed areas where water would pool and cause rust to generate.

6

7

With a wide brush dipped in clean White Spirit we gently draw the oil paint out from the recess to create streaks, which blend and soften as they are pulled from the starting point. 8

Heavier rust streaks can be added to the sloping sections of the engine deck, where lots of paint damage can appear due to engine maintenance etc.

46 / THE WEATHERING MAGAZINE / RUST

9

While mixing the oil colours we make dark grimy tones to build-up dirt and corrosion in these areas.

10

To produce the tiniest of rust spots and chipped paint the sponge technique is used. In this case we use very little paint on the sponge and dap the paint on gently to create these.

11

With a fine brush and thinner we simply run more of the rusty enamel wash gently down over the vertical surfaces, such as the sides of the turret. One light wide stroke for heavy water flow and narrow strokes for more concentrated flow of rusty water. THE WEATHERING MAGAZINE / RUST / 47

M60A1 LESS IS MORE

12

Using a very thin mixture of Light Rust washes and Rust Streaks we use a syringe to inject this wash into areas where water would collect and cause pools of rusty water.

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13

Spare track links and tow cables attached to a tank are also prone to rusting. These are first painted using acrylics followed by oil paint washes. Be sure which parts would actually rust before applying the washes.

THE WEATHERING MAGAZINE / RUST / 49

F

or this project we wanted to create the look of an old rusting steel space suit, on a forbidding, desert planet. A place where heat, sun, and wind-blown sand, have worn most of the paint away, and pitted and oxidized the metal surface

1

below to a dull sheen. What moisture there is would merely be due to the temperature cooling at night which creates some humidity in the atmosphere. So no real streaking of rust is caused by water running down the surface. The rust would appear mainly along the newly exposed edges, where the sand and wind have eroded the paint and where moisture has been slowly creeping under the remaining paintwork causing it to crack and flake away.

Marc Reusser Gunze resin primer is used before airbrushing a basecoat with various mixes of Hull Red and camouflage Black Brown to emulate the colour of old oxidized steel. 50 / THE WEATHERING MAGAZINE / RUST

Pale green and grey tones are sprayed on top of the hairspray layer. The top layer can then be chipped using water and a stiff bristled paintbrush.

2

The salt technique is now used to represent newer rusting/oxidation. We leave the highest points in the darker tones, as these areas would have been exposed to the elements the longest.

3

All the parts are now sprayed with a matt varnish in preparation for the hairspray application. Notice how it has darkened the rust tones and unified them. THE WEATHERING MAGAZINE / RUST / 51

SAND BLOWN OLD RUSTY STEEL

4

Using a 10/0 artist’s brush, small pin-washes of rust are added. For these we use both enamel rust washes and oil paint, which are applied along the edges of panels and around details.

6

The pin-washes can now be applied along the edge of the chipped paint areas. The turpentine will cause the wash to spread much further and create very subtle tones.

On some corners and horizontal protrusions where rust would collect over time, additional thinned spot washes of AK Interactive “Rust Streaks” were layered on to produce this buildup.

52 / THE WEATHERING MAGAZINE / RUST

5

We now add washes to the larger surfaces, but first we must dampen the area with odorless turpentine before adding the pin-wash. This will help the pinwashes flow over the surface for a subtle effect.

7

To create texture and sun bleaching, some of the paint chips were then mapped using LifeColor “White Oxide”. This can also be done before or after the pinwashes to create variations of discolouration.

8

9

To accentuate some of the edges and simulate slightly polished edges and high points on some curved surfaces, AK “Dark Steel” pigment was applied using an artist’s fibre pencil.

10

THE WEATHERING MAGAZINE / RUST / 53

RUST REFERENCE

PHOTOS

W

eathering references are all around us, but all too often we don’t even notice or give them a second thought. During the research for this edition of the magazine, it has become a mission to find and observe many forms of rust and rust based weathering effects on many varied items that we have found on our travels. We hope this small selection will prove invaluable for your own reference library.

In this photo of an abandoned BMP in Northern Afghanistan, we can see that the rust has taken on an even tone of brown all over. It actually looks like it has been painted brown, because the shade of rust is so uniform over the entire vehicle. On this steam locomotive boiler we can see numerous rust tones, which can be replicated by using some of the techniques described in this issue. The glacis plate of this captured Iraqi T-55 on display at the Tank Museum in Bovington England. Displays both rust chips and scratches on the front fender as well long rust streaks from the headlight guards due to the vehicle being stored outside for a period of time.

54 / THE WEATHERING MAGAZINE / RUST

On the side of this railway locomotive it is interesting to see that not all rust streaks are bright orange. In just this one picture there are many weathering effects to be seen offering great references for many forms of scale modelling. Even on a modern warship such as the USS Essex LHD-2, we can still see it is affected by rust and after long operational deployments the hull sides can be completely cover in rust streaks. Could this be the ultimate photo to demonstrate both rust streaking and chipped paint effects? It would be a real test of ones painting skills to replicate this on a model.

This T-62 at the tank graveyard in Kabul, Afghanistan has received a lot of battle damage to the turret and each of the shell and bullet marks has generated an area of rust around each impact. This rusting will happen in only a few hours after it has happened. THE WEATHERING MAGAZINE / RUST / 55

RU R RUST UST ST R REFERENCE REFERENCES EF E FER E RENC E NCE EN CESPHOTOS

Here is the perfect photo to illustrate how rain, which has formed a puddle in the metal component leaves a tide mark of bright orange rust as the water evaporates.

This sheet metal engine cover suffers from some serious surface rust, in fact there is more rust than paint remaining. Of interest are the many small rust coloured rain streaks fanning out from their point of origin. 56 / THE WEATHERING MAGAZINE / RUST

This rather battered looking Kubelwagen exhibits some great reference with the badly rusted front fender, displaying a textured rust effect where the paint has flaked away. There is also rust staining around some of these patches.

THE WEATHERING MAGAZINE / RUST / 57

RU R RUST UST ST R REFERENCE REFERENCES EF E FER E RENC E NCE EN CESPHOTOS

Here on these steel plates in an engineering yard, we can see the mill scale effect that we have replicated in our ‘bare steel’ article within the pages of this issue.

58 / THE WEATHERING MAGAZINE / RUST

This isn’t a photo of rust but it is worth remembering when you are about to add rust to a model, it is worth double-checking your references. For example the mudguard on this Soviet BMP is actually made of aluminium and not steel and therefore there would be orange/red ferrous oxide rust surrounding any damage.

COLOR PROFILES Claudio Fernández

THE WEATHERING MAGAZINE / RUST / 59

RU

We have selected a very popular and attractive vehicle, the ´50 Volkswagen Beetle. The idea is to create an old rusty Beetle with two different sides; one more damp and shadowed (the north face) and the other more sunny and dry (the south face), creating contrast between

David Martí

60 / THE WEATHERING MAGAZINE / RUST

E

R

ust is the main focus in this first issue, so we will focus primarily on the rust effects. Everybody knows that there are many methods used to paint rust effects, this way is only one option.

TL

S

B E Y E T

them while creating a logical transition.

1

We apply a base rust colour, using Tamiya (NATO brown XF-68 and Matt black XF1) mixed with matt varnish ( Hobby Color H-20), and diluted with Gaia thinner (T-01s).This way we create a strong resistant base of the appropriate rust colour.

2

This is the moment for the ¨ Hair Spray¨ technique, using Worn Effects (AK-088). We apply diluted with water if necessary.

3

We paint the base color, in this case white (Vallejo 71001). It is important to apply different densities for variation.

4

After dampening the surface with water, we can start to rub with different tools such as brushes , needles, etc. THE WEATHERING MAGAZINE / RUST / 61

RUSTY BEETLE

5

Now we have a good rusty base for the weathering effects. After varnishing with a satin varnish (AK010), we apply a dark wash to all of the panels. (AK045 Dark Brown).

6

We do some rusting with the ¨sponge technique¨ using acrylic paint (Lifecolor rust series), to create contrast and texture.

7

Now is the moment for oils, creating selective fading using rust tones and white. 9

We create rust streaks (AK-013) on all the vertical surfaces. 62 / THE WEATHERING MAGAZINE / RUST

8

We apply discoloration, shadows, and highlights.

10

Working the effect with white spirit (AK-011) to create vertical streaks using a flat brush.

11

Next we use Streaking Grime (AK-012) for the appearance of old rust.

13

12

With Light Rust Wash (AK-042), we paint the recent fresh rust.

14

To complete the rust effects, we apply pigments in specific places, creating more varied rust tones.

15

The beetle and the products used in for weathering.

THE WEATHERING MAGAZINE / RUST / 63

RUSTY BEETLE

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THE WEATHERING MAGAZINE / RUST / 65

RUSTY BEETLE

66 / THE WEATHERING MAGAZINE / RUST

THE WEATHERING MAGAZINE / RUST / 67

CHOOSE THE RIG Here we can see just a small selection of various products we can use to produce rust effects on scale models. Some are supplied as dedicated sets with a specific job, while others are available separately from within that company’s range of products

W

hatever our interest in scale modelling the types of paints and weathering products we use play a very important part in the way our finished models will look, therefore it is advantageous that we know the strengths and weaknesses of each type and which will produce the very best results.

To produce rust effects we can use enamel-based paints, oil paints, acrylics, pigments and pastel powders. Most manufacturers produce specific rust colours with in their ranges and as we can see in our small selection in the accompanying photos here, these vary greatly between manufacturers. We also have the choice of mixing our own shades and also combining different products, such as mixing oils with enamels and pigments to create unique effects. While we are discussing pigments, there has been a huge increase in recent years of the number paint and model manufacturers now producing specialist weathering pigments formulated for modelling and today we have many different brands and hundreds shades to pick from. Pigments for weathering are also available in the form of pastel chalk sticks, which have long been used by artists and are normally stocked by general art supply stores and in the ‘old days’ were the only way modelers could and realistic dust, rust and soot effects to models. Lastly we have specialist chemicals that can be used to create ‘real’ rust on metal surfaces, such AK Interactive’s Metal Burnishing Fluid or ‘instant rusting’ products supplied in a kit that will generally include a form of powder or paste that can be treated with a special fluid to rapidly produce a layer of rust oxide on the surface the metallic powder has been applied. In this section we are displaying only the tip of the iceberg of what products are available to the modeller today. With so many products to choose from, choosing the right one can be confusing, but hopefully after reading our RUST issue we will help you in the right direction. 68 / THE WEATHERING MAGAZINE / RUST

GHT PRODUCTS

THE WEATHERING MAGAZINE / RUST / 69

ENAMELS

RUST STREAKS

Enamels until the recent development of acrylic model paints were the only real paint suitable for our needs. Humbrol became the name we most associated with enamel paints and or years modellers experimented and developed techniques using these paints as a basis and it has only been since acrylics come to the forefront that we realised the smell is strong with these paints, the drying time is slow and that some enamels contained harmful toxins as do the thinners needed to dilute this paint and wash the brushes.

Easily imitate the rust streaks over any surface, using this color. Use a fine brush to draw the lines and a thick flat brush dampened with White Spirit to

Weathering with enamels has it’s advantage as they are hard wearing and the can be thinned in much the same way as oil paints or the newly developed and especially formulated filters and washes.

stump the lines.

1

2

They do dry quicker than regular oil paints when used as a filter or wash. The disadvantages with enamels are when they are thinned right down, the colour pigment can become gritty and not flow as a coloured wash. This can spoil the effect we are trying to achieve

3

4 Among all available enamels, AK Interactive has developed the exception, creating an advanced product specially designed for weathering. Even though they are enamel based, they have been optimised for weathering purposes. Specifi cally regarding dry time and other characteristics that convert this kind of paint into one of the best options for modellers. AK Interactive products are easy to use and are available in specific colors designed for different effects. There are a variety of colors for rust effects, designed to work in combination with acrylic chipping.

ACRYLICS The advantages with acrylic paints are that they offer great coverage and dry extremely quickly and a safer to work with than enamels or lacquer based products, they are also impervious to enamel based weathering products, which means we do not need to leave at least 24 hours before adding enamel washes or filters for example. Probably the biggest single advantage with working with acrylics is the can be thinned and any brushes washed and cleaned using regular tap water. The disadvantages of working with acrylics are that they are more difficult to use for colour washes, as they are more difficult to control and once dry they cannot be cleaned off and start again if we are unhappy with the final result.

70 / THE WEATHERING MAGAZINE / RUST

AK Interactive produces a very good d d set off ffour rust colours in their Chipping and Rust set.

The four rust tones in the LifeColor set provide a great starting point for some superb rust effects and are the colours we have used for some of the rust effects used on our VK 4502 (P), Panzerkampfwagen “Tiger” P2 article in this issue.

Com Art produce two rust tones in their Real Deal Weathering Set from www.iwata-media.com. We did find when airbrushing these colours that they took several coats before achieving a solid base layer. And the paint dried to a satin finish, not ideal for replicating rust!

Vallejo Acrylics produce a huge range of modelling paints, dedicated to armour, aircraft, general modelling and war gaming and amongst these hundreds of colours, their range are several that would be suitable for rust tones. In their panzer Aces line for example, they have three rust shades that can be mixed to produce many realistic effects. THE WEATHERING MAGAZINE / RUST / 71

3

Once the Rust developer chemical has been brushed onto the surface it reacts with the powder and starts to turn the powder rusty over a short period of time. Due to the course texture of the powder and final effect, we think it would only really be suited for larger scales

We can create rust using chemical based products such as Scenic Rust from Deluxe Materials. Included in the set, is a iron powder, a fixative and a chemical that will react with the iron powder to produce the rust effect.

1

First we must mix the fixative (glue) and powder to the manufacturers recommendations and the tools provided.

Another interesting product used to create natural rust is the Metal Burnishing Fluid. This product can rust any metal part, like iron or white metal. It has become very useful for the popular Friulmodel Tracks which are cast in white metal. Simply clean the tracks with acetone using a stiff brush, submerging the tracks in the liquid. Next, we need only to mix 50% water with 50% of Metal Burnishing fluid in a container and place the tracks inside. While using a stiff brush to remove the air bubbles from the tracks, we need only wait 10 - 15 minutes for realistic and permanent Fruil Tracks!

2

This mix can now be applied to the desired surface or item. We did find it difficult to get an even coverage and because this paste is quite thick it can easily cover and hide small details. 72 / THE WEATHERING MAGAZINE / RUST

Idea Patina is another chemical method used to create rust on large areas in an easy way. This product has two parts....one paint made with iron and one liquid which will produce the rust. Paint a piece with the iron paint, then apply the blue liquid. You will see how with time, the piece will become rusted.

OIL PAINTS

PIGMENTS

Oil paints have been used by artists and modelers for many years and for a long time have been used to add washes and many weathering effects to models. Like most other types of paint medium they are produced by many different manufacturers and the quality can vary greatly. We recommend using artist’s grade and never use the cheaper ‘student’ variety, which have inferior performance compared to the artist’s grade.

Artists have used pastel powders for hundreds of years and more recently specialised pigments have been developed and used by railway modelers to add weathering to locomotives and rolling stock. The use of these pigments has grown immensely in recent years have now incredibly popular and used in the weathering all other forms of scale modelling. As with any other product that proves successful and profitable it is inevitable that many different brands will appear on the market. Just as with oil paints, there is a huge difference in quality between manufacturers and some are no more than regular paint pigment that is actually quite coarse in it’s texture and do not adhere very well to the surface they are applied to.

A good quality oil paint can be thinned with turpentine or white spirit to produce amazingly subtle washes. They can also be mixed with enamels or varnishes to create glossy effects to replicate oil or fuel stains and spills for example. The disadvantages with oil paints are generally the long drying time, which can adversely delay the speed we can progress with our weathering stages.

Pigments are the perfect tool for adding dust, mixing into mud, adding exhaust soot, rust effects or even polished metal finishes to our models and are one of those products that have really helped revolutionise the painting and finishing side of our hobby. The disadvantage with pigments until the advent of ‘fixers’ was that they could be worn off, if the model is handled too much and when matt varnish is used to protect them and seal them onto the surface, it can drastically change the colour of the pigment, especially lighter tones and spoil the effect we were trying to achieve. Thankfully this has now changed e development of specialist sp with the fixers designed ally for this task. specifically

As we can see in this final photo of the test cards we painted using products from just three different companies, it is obvious there isn’t a single colour that could be classed as the perfect shade of rust, especially when they are compared to the right hand card, which has been treated with Deluxe materials ‘Scenic Rust’.

We can see that even the Scenic Rust has produced a number of different shades rust on this small test sample. The best advice is to study your references and have fun experimenting with some of the many amazing products now available to us. THE WEATHERING MAGAZINE / RUST / 73

POSTCARDS FROM THE WORLD D

uring May of each year, the city of Shizuoka Japan celebrates the most important model event in

the world: the Shizuka Hobby Show. It is mainly organized by Tamiya and here the best Asian modellers display their latest creations in the most grand exposition area that you can imagine.If you have the opportunity, visit this festival at least once in your life. Your mind will be changed forever…

74 / THE WEATHERING MAGAZINE / RUST

SHIZUOKA HOBBY SHOW 2012

THE WEATHERING MAGAZINE / RUST / 75

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ny and Mig Jimenez pa om C a aw eg as H President of

AK Interactive japan ese

staff

Crossroad modellers from Tokio me AFV C lub president and so

Spanish modellers

Tamiya party in Shizuoka Hobby Show

THE WEATHERING MAGAZINE / RUST / 77

IN THE NEXT ISSUE... by the Devil of Modelling

Over many years, I have noticed how many modeller follow others, imitating styles or methods. The worst offenders are those who follow the line of thinking that models must be clean and absent of dust and dirt. Where did they come up with that idea?? They simply follow others like sheep, explaining that those who apply dust or dirt are attempting to cover poor construction or remains of glue! But in our opinion, they are simply scared of the omnipresent effect: THE DUST. If you don’t believe me, take a look at this photo taken recently in a “model show”....you can see these modellers are kicking up large clouds of dirt and dust around them...perhaps the dust will fall down only on my vehicle!. But these modelers are so focus in their idea and they cannot see anything around them. Don’t be a sheep...break the rules and be adventurous! Cross the line and enter in the dark side of the modelling. If you are scared, please don’t read the next issue of “The Weathering Magazine” about dust and dirt. Be a good boy and leave your models clean of dust...or be part of realistic modeling!

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...and much more! Via Spagna 11 - 35010 Vigonza (PD) Italy Tel +39 049 8955008 - Fax +39 049 8959260 e-mail: [email protected] - website: www.steelmodels.com

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