The essential guide for the serious modeler
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G US ARMOR LD WAR 2 STEVEN J ZAlOGA
A complete guide to building and finishing _ Hundreds of color photos _ Step-by-step instructions Techniques for the expert _ Ideas for more creative modeling _ Create realistic & eye-catching models
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I• OSPREY MASTERCLASS
Modeling US Armor of World War 2
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Steven
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Zaloga
Series editors Marcus Cowper & Nikolai Bogdanovic
CONTENTS First published in 2009 by Osprey Publishing Midland House, West Way, Botley, Oxford OX2 OPH, UK 443 Park Avenue South, New York, NY 10016, USA E-mail:
[email protected] © 2009 Osprey Publishing Limited All rights reserved. Apart from any fair dealing for the purpose of private study, research, criticism or review, as permitted under the Copyright, Designs and Patents Act, 1988, no part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, electrical, chemical, mechanical, optical, photocopying, recording or otherwise, without the prior written permission of the copyright owner. Enquiries should be addressed to the Publishers. ISBN 978 1 84603 398 8 E-book ISBN: 978 1 84603 772 6 Editorial by llios Publishing Ltd, Oxford, UK (www.iliospublishing.com) Page layout by: Ken Vail Graphic Design (www.kvgd.com) Index by Peter Finn Originated by PPS Grasmere, Leeds, UK 910111213
10987654321
A CIP catalog record for this book is available from the British Library.
FOR A CATALOG OF ALL BOOKS PUBLISHED BY OSPREY MILITARY AND AVIATION PLEASE CONTACT: Osprey Direct, c/o Random House Distribution Center, 400 Hahn Road, Westminster, MD 21157 Email:
[email protected] Osprey Direct, The Book Service Ltd, Distribution Centre, Colchester Road, Frating Green, Colchester, Essex, C07 7DW E-mail:
[email protected]
www.ospreypublishing.com
Author's note Many thanks go to the "usual suspects" at my local hobby club, AMPS Ground Zero in Aberdeen, Maryland.
Introduction
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Chapter 1
Construction tips and tricks
13
Chapter 2
Painting techniques
43
Chapter 3
Battle bits: stowage and tools
90
Chapter 4
The human factor
124
Chapter 5
Setting the scene
144
Chapter 6
Photography
174
Chapter 7
Further reading
186
Index
188
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INTRODUCTION 've written several books and
I want ro emphasize the phrase
u,ere will be enough techniques fi-om
"my techniques."This book does
the basic through advanced levels to
not cover every possible painting or
appeal ro a broad range of modelers.
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modeling, and I decided to take a
construction method as there simply
different approach in this book. Instead
isn't the space ro do so. It is about
and I would rather build ten prctty
of describing some specific modeling
the methods that I use. I do not
good models a year rather than onc
projects, I've stepped back and ttied to
clam, that they are the best
single super-duper-spectacular.
provide a broad overview of my
redmiques, bue they are techniques
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hundreds of articles on armor
modeling techniques. I've done this so
that I have found effective for my
that I can spend more time on eacl, of
own style of building. This book
these modeling specialties. When
is intended to be a bit of a
writing about my latest model, I've
smorgasbord. My modeling style
often found that I falJ back inro
encompasses not only a tank model,
robotic mode when u'ying to
but associated figures, srowage, scenic
summarize my painting or weathering
display and phorography. I don't
ted1l1ique for the 400th time. So this
expect readers ro be interested in
format provides me with a bit more
all the subjects, and I don't expect
space than usual to describe my
readers to be interested in all the
tedmiques.
various techniques. It's my hope that
I am a fairly impatient modeler
My modeling these days involves more than just building a tank model. I also like to display the model on a scenic base and include one or more figures to give the model a sense of time and place. The final stage is photography both as a tool to explain my modeling in articles and books, but also to help to recreate the historical setting of the model, as in this photomontage don in Adobe Photoshop of my Academy M3 medium tank of the 2/1 3th Armored Regiment in Tunisia in December 1942.
TOP You only improve your modeling skills by experimentation and experience. This is one of my earliest scratch-build attempts in the mid 1960s, an M5A1 light tank cobbled together from balsa wood, index card and the suspension from an HO-scale Roco M4 high-speed tractor. It's pretty crude by today's standards, but I thought it was wonderful when I first built it. MIDDLE This is one of my earliest attempts at scratch-building in plastic, an M8 75mm HMC which I built around 1970. BonOM This is one of my conversions from the early 1970s, an M31 tank recovery vehicle based on the old Airfix 1/76 Grant kit.
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After a month or two, my patience
from Tunisia, Italy and the Pacific,
while tanks are complex, full
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has worn thin with any project. So
but the vast majority depicts
of small detail and easier to
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a lot of the techniques here are
vehicles from the battles in France,
individualize with crew and
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aimed at a happy medium for very
Belgium and Germany in
stowage. I was first inspired by the
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good results without consuming
1944--45. I've also thrown in the
new American magazine Military
vast amounts of time. More
occasional Allied vehicle such as
Modeler. The first issue I found on
fastidious modelers may want to
the Locust and Staghound that
our local newsstand had a really
use more elaborare techniques to
were manufactured in the US even
exciting article about recreating
obtain a more precise result. Other
though used by other Allied forces.
the battle of Kursk with Roco
modelers with less time or less
I've been modeling since I was a
I/87-sca1e mini-tanks. For
ambition might want to take
kid back in the mid-I950s. From
authenticity, they set a few of the
shortcuts. That's the nice thing
the dim fog of memory my first kit
models on fire! They also had the
about this hobby. You can spend 10
was a Lindbergh "Spirit of
first articles I had ever seen on
hours on a model or 1,000 hours.
St. Louis" in 1956. Until my
converting models into different
teenage years, I built mostly
variants. This was eye-opening stuff
The content of this book is heavily slanted towards the US
aircraft. I eventually became more
in the I960s even if it's appallingly
Army in the European Theater of
interested in armor modeling
amateurish by today's standards.
Operations (ETO) in 1944--45 as
because I had the most fun with
that is the period that interests me
small-detail work. Airplanes tend
small-scale AFVs in 1/76 scale.
the most. There are a few models
to be smooth, simple and boring
The hobby back in the late 1960
This is one of my better small-scale scratch-building efforts in the early 1970s while in college, a 1/76-scale T26E3 Pershing. The mud was made from Testors' putty mixed with enamel paint, an early and somewhat crude weathering technique.
One of my favorite small-scale conversions from the early 1970s was this M15A1 based on the 1/76scale Matchbox kit. There were very few parts from the original kit by the time I was finished!
For many years, I built mainly
This Korean War diorama showing a Marine patrol walking past a destroyed 1/76-scale T-34-85 is one of my better-known early projects as photos of it appeared in one of the original Shep Paine modeling books.
and early I970s was very different
time, but the early Tamiya kits were
I slipped out of the hobby in the
than it is today. There was little in
much more toylike than today's
I980s because the daily commute
the way of aftermarket products,
superb offerings. As a result of the
to work in New York ate up most
and no photo-etch. Resin kits were
thin offerings available at the local
of my free time, and I devoted my
apt to be simple, and the resin
shops, a large fraction of my
spare time to my military history
back then was nasty and brittle
models were substantial
writing and book illustrating
with a sticky surface like a damp
conversions or scratch-builds. I
instead. I was lured back into the
candied-apple. Kit releases were
began experimenting with resin
hobby in the mid-I990s after I had
few and far between. Small-scale
casting, and I did a few of the
switched jobs and no longer had
modelers were lucky to get one
earliest photo-etch sets. At this
three hours of commuting each day.
new Airfix kit each year, and there
time, I was very interested in model
With more leisure time on my
was jubilation when other
competitions, and I did quite well
hands, I noticed the abundance of
companies like Fujimi and
at International Plastic Modellers'
excellent new armor kits, the
Matchbox entered the market. I
Society (IPMS) regional and
flourishing aftermarket supplies
built a few I/35-scale kits at the
national shows.
and the general renaissance of
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There are also an increasing variety of
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plastic kits in 1/72-scale, such as this
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Mirage M3A3 seen here in the markings
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of the French 2nd Armored Division.
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Other hobbies can serve as inspiration for new armor modeling techniques. ABOVE I revisit some subjects. Thi I an
Having seen the use of photo-etch parts
Airfix 1/76 LVT-4 that I convert d into
by model railroaders and World War I
an LVT(A)-1 complete with interior
model aircraft modelers like Harry
detail back in the early 1970s.
Woodman, I designed the first AFV
LEFT I modeled the same vehicle and
HMC half-track conversion. This was
same scheme in the mid 1990s usln
marketed for a short time by Foto-Cut,
the Cromwell resin 1135-scale kit.
photo-etch set as part of a no 75mm
better known for its World War I model aircraft sets. This model was featured in Fine Scale Modeler magazine a few years later in the Fall 1983 issue.
I still like to do the occasional conversions and this M4 Crocodile flamethrower was more straightforward than most since the armored trailer was already available in the Tamiya Churchill I still like the build an occasional small-
kit. This scene depicts the M4 Crocodile
scale tank model. This is the Giesbers
during one of its rare combat actions
1/76-scale resin T14 assault tank
against the fortress in lulich during
converted into a "what if" version,
Operation Grenade in February 1945
re-armed with a 76mm gun.
with the 739th Tank Battalion (SMX).
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I revisited anti-aircraft half-tracks more
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recently with this T28E1 combination gun motor carriage based on the old Tamiya kit. As can be seen, little is original to the kit but the chassis and cab with the rest fabricated from sheet plastic and resin. Although elaborate conversions such as this one were relatively common in the hobby in the 1980s and 1990s, they have become a bit of a rarity due to the profusion of excellent new plastic kits from Asia.
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Here is the completed T28E1 CGMC in a photomontage showing it in action in 1943 in Tunisia.
armor modeling. The emergence
my fair share of bad armor judging
trophies, and I don't need the
of armor modeling groups in the
at shows, I gave up on model
aggravation. So I promised myself
United States, notably the Armor
competitions. Back in the early
not to enter any more competiti ns
Modeling and Preservation Society
I990s, I put off too many projects
and to focus on building things I
(AMPS), certainly aided this
because I kept thinking, "Well,
wanted to build in the fashion
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process as it brought together a
I'm going to have to correct that
wanted to build them. I wanted
core of dedicated armor modelers
god-awful thingamajig on that
modeling to be fun again.
to swap notes and to encourage
Tamiya kit, otherwise some judge
But for modelers who have fun
fellow hobbyists. This has been
will ding me at the competition."
further amplified by armor
Modeling became a chore. Projects
to you! I will enjoy seeing your
modeling on the Internet, and I
became victims to my worries
models at the shows. But for those
have been fairly active on the
about the whims of contest judges
of you who worry about how a
Missing-Lynx site over the past
and I dropped some adventurous
judge will score your model at the
several years. My style of modeling changed a bit as well. Having seen more than
entering competitions, all power
projects or novel techniques for fear
next competition, nee yourself
that wouldn't please the judges.
from the slavery of other modelers'
I've already got plenty of model
opinions and build models to have
fun. These days the Internet offers
Model/il/g, this has shifted my
scratch-builds any more. This is in
a splendid venue to display your
modeling focus somewhat. Editors
no small measure due to the
models to enthusiasts around the
are always happy to get articles on
constant arrival of new kits that
globe, all from the comfort of
the latest new kit, so my choice of
have steadily filled many of the
the den.
subjects is often sparked by the
gaps. Likewise, I don't do as many
In the late I990s, I began
arrival of a new kit. While the
heavy conversions as I used to do,
writing about modeling on a more
preponderance of kits these days
for much the same reason.
regular basis, and these days I write
is still World War II German
Even when I/35-scale releases
articles on nearly everything I build
subjects, there is a steady enough
slow a bit, there is always myoid
except for my occasional aircraft
flow of new US and other Allied
favorite, 1/72 scale, or the newly
or ship model. Since I write for
kits to keep me busy. Unlike
revived 1/48 scale. I am sticking
commercial magazines like Military
the old days, I do very few
with 1/35 scale for most of my
Some tanks still haven't been kitted in plastic, so conversion is still the only alternative. This Leaflet night-fighting tank is a real Frankenstein, consisting of a Verlinden resin CDL turret, a Cromwell resin hull, suspension from an Academy M10 and bits from several other kits.
Here's the Leaflet night-fighting tank in a photomontage showing it during operations along the Rhine in 1945 with the 736th Tank Battalion (SMX).
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I don't scratch-build tank models as often as I did back in the 1970s, but here's one of my 1/35-scale projects, a scratch Marmon-Herrington T16 light tank of the type used in the Aleutians in 1943.
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CHAPTER 1: CONSTRUCTION TIPS AND TRICKS This chapter looks at some basic construction problems that US tank modelers commonly encounter.
There are still many gaps in the coverage of US artillery, so I scratch-built this 37mm anti-tank gun. It's shown here in a small vignelle depicting the clash between Darby's Rangers and a battalion of Italian Renault R-35 tanks in Gela on Sicily in July 1943.
Super-detailing often involves a variety of techniques and material. This is an Italeri M36B1 that has been upgraded with lots of small detail, casting texture, resin stowage and other enhancements.
RIVETS
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ivets are to tank models as rigging is to biplane aircraft
models - an unavoidable challenge. It's not an overwhelming problem on US World War II tank models due to the extensive use of casting and building, as over the years I have
in this book as it's too vast a
every single product seen in thes
welding construction, but the
built up quite a stash of
subject. So you won't find a history
pages as there are too many. Some
problem crops up often enough
aftermarket accessories such as
of the evolution of the Sherman
aftermarket products such as resin
that it is worth examining. There
crew figures, stowage and decals.
turret in these pages. I have thrown
figures I used a decade ago are n
are numerous techniques that can
On the other hand, I find the
in a few historical notes about
longer in production and, by the
be used, varying in cost, complexity and authenticity.
smaller scales such as 1/48 and
"frequently asked questions"
time you are reading this book,
I/72 to be ideal for vignettes
(FAQs) that turn up repeatedly
some of the products I used
and dioramas, as well as for more
on Internet websites that deal
more recently may also have
complex subjects I am too lazy to
with more general issues about
disappeared. A far timelier source
do in I/35 scale. So this book
US Army tank modeling.
on information for hardcore
will focus on I/35-scale modeling,
Having described what this
hobby consumers is the Internet;
but with the occasional foray into
book is, I should also describe
I encourage you to log on to the
the smaller scales.
what it is not. It is not a catalog
better Internet hobby sites such
I've tried to avoid too much discussion about research issues
for ordering hobby products. I
as Missing-Lynx, Military
have not gone to great pains to list
Modelling and Armorama.
ABOVE Some projects require a lot of rivets. This is my scratch-build of the MarmonHerrington T16 light tank with plenty of rivets made using a Waldron punch and die. LEFT My method for attaching rivets is to spear them using the sharp tip of an Olfa hobby knife, then dip them in a drop of Testors' liquid cement and attach them to the model. This is a better alternative than trying to put a small puddle of glue directly on the model, which is too difficult to control.
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This is a comparison of some of the rivet options in original form (left) and painted (right). From top to bottom: (A) salami-sliced .015in. plastic rod; (B) Waldon Sub-Micro punch and die .01 B and .023 discs from .10in. plastic sheet; (C) Grandt Line injection-molded rivets 153 rounded .032in. and 152 conical .032in.; (D) rivets cut from Tamiya 1/35-scale Grant kit; (E) rivets painted using Tulip Slick black dimensional fabric paint.
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There are a variety of rivets available from aftermarket firms, as seen here. Starting from the top, the brown sprue is from the Modelkasten set, followed by some extra sprue details from an Academy M10 kit, some Tichy modelrailroad round rivet heads, and finally sets 151 and 152 from Grandt Line of round and conical rivets. To the right are some of the new Archer decal rivets.
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a small number of rivets are needed.
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I make extensive use of these CANNIBALIZING KITS
stash of M3 Lee/Gtant kits. These
this may prove to be too expensive.
products on my models as they are
One way to obtain rivets is to
wete always a good soutce of rivets;
This technigue is also good if yOLi
easy to use and very handy. I use
cannibalize other kits, or even
these days many kits result in a
only need to replace a small
bolt and washer sets more often
AFTERMARKET DECAL RIVETS
started to use these but they are
the kit itself In the old days,
small stockpile of unused parts
number of rivets that were
than the simple rivets, as I have
This is a new field pioneered by
still so new 1'm not yet ready to
you could always tell serious
and the spares box can also serve
damaged during constructions,
easier and cheaper technigues for
Archer in the United States. These
cast a final verdict. I think that this
as a source of rivets. The best way
such as when gaps have to be
reproducing large numbers of rivets.
are conventional wet-slide decals
style of rivet is best for depicting
to remove rivets is with a sharp
cleaned up at the expense of
Some kits these days, such as the
but instead of a thin coat of ink,
relatively small rivets, especially
single-sided razor blade or a chisel
neighboring detail. I seldom us
Academy kits, come with spare
the decal consists of a thick layer
scratch-builders by counting their In the old days, you could always identify a serious scratch-builder by how many M3 Lee/Grant kits they had in their stash. This has long been a favorite source for obtaining plentiful rivets. 1 don't use this method much anymore as it is needlessly expensive, but I use an Olfa chisel blade to remove rivets when 1do use this method.
blade on a hobby knife; my favorite
this method, as I have plenty
is the Olfa brand, which is
other methods of doing rivers.
(
extremely sharp. This approach is good if you are only replacing a
AFTERMARKET PLASTIC
small number of rivets. If you are
RIVETS
scratch-building a riveted tank,
Railroad modelers also have a river problem, and some of the aftermarket firms such as Tichy and Grandt have packages of small river that come on sprues. These come in a variety of shapes and sizes including both round and conical rivets. In addition, these firms als do other types of industrial fasteners such as hex-rivets, bolt and washer sets, and other designs. The good side is that these are of styrene plastic and so easy to glue. The downside is that they are relatively expensive per rivet, and so better suited to projects where only
rivets molded on the sprues. This is
of resin on the decal sheet. These
a clever idea but there are seldom
come in a variety of styles
enough of these to do much more
including rivets, weld beads,
than replace a few missing kit rivets.
anti-skid and casting marks. I have
Archer makes an extensive line of "surface detail" decals, which include rivets in various sizes. These are especially useful for rows of small rivets or screw heads.
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rows of small machine screws such
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as rhose found on rhe rank's sheermeral pares. I don'r rhink rhar rhe rivers srand proud enough from rhe surface co be suirable for rhe larger rivers on armor plare, alrhough
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they may suffice wirh careful
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pai nei ng where rhey can be
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acceneed in the finishing pcocess.
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COUNTERSUNK SCREWS/ RIVET ENHANCEMENT
Some rivets and screwheads are 0::
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countersunk. These can be
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reproduced using a beading tool,
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a small rype of awl used in jewelry
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work and other crafts. This is also ABOVE My preferred technique for making rivets is to use a Waldron Sub-Micro punch and die to punch them out of .010 or .015in. plastic sheet. I place the die on top of a wooden "0" to catch the rivets and to prevent the punch from impacting the worksurface. I use a small craft hammer to avoid damaging the delicate punch.
a simple merhod co simulare very small rivets, even if ir is not enrirely accurare. These cools work best wirh sofr plasric. I also find rhat a beading cool is very useful when dealing with kirs rhar already have molded rivers rhar are poorly defined. The detail can be reinforced by stamping over rhe rivet, which creares a small depression around it, berrer defining its shape.
ABOVE One method to represent countersunk screw heads is to use a beading tool. These usually come in sets with various size dies.
BELOW Here, I'm using a b adll1t tool to make some countersunk screws next to a row of Arch r rlv l for comparison.
RIGHT Here, I'm punching out some small rivets to replicate the small pop-rivets around the rim of the stamped Sherman wheel.
last one I boughr cosr around
make it easier co feed plastic sheet
ir co bend if coo much force is
MASS-PRODUCED RIVETS:
$115, bur I use it so often that I
through the gap berween the metal
used. My spacer is simply a
PUNCH AND DIE
rhink ir's woreh rhe money. I
die and the plastic alignment plare.
wooden number "0" I purchased ar
The merhod I use mosr ofren for
generally use rhe rwo smallest sizes,
This is easy
a local Home Depor DIY srore,
reproducing rivers on my models
which punch our discs rhar are
.020in. plasric.
is co use rhe Waldron Sub-
.023 and .OI8in. in diamerer. I
Miniarure punch and die sec.
generally use
Waldron went out of business
plasric sheer depending on how
some years ago, bur rhe set has
prominene I wane rhe river co be.
coneinued co be marketed; there
. ...... . . ..... ....
.oro or .OI5in.
There are several tricks to using
CO
do using a piece of
ineended as a house number. This
Anorher useful addirion is a
shape is good since it provides a
spacer co place under the tool
good workspace under the cool
while punching to avoid driving rhe
while ar rhe same rime acting as a
punch into the worktable. Ir's nor a
carch co corral the flying rivets. I
good idea co allow rhe punch
usually cur a strip of plastic sheet
CO
hir
are orher brands available as well.
one of rhese cools. To begin wirh,
rhe work surface below since rhis
and feed it inco rhe die, punching
The Waldron cool is nor cheap; rhe
ir's a good idea co add spacers to
dulls the punch and can also cause
abour 20 rivers ar a time.
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The third trick in using this
razor blade. If you want to get
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type of tool is finding a suitable
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fancy, it would also be possible to
hammer. You do not want to use a
do this with a commercial cutting
normal hammet as they are too
tool such as North West Shore
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latge and heavy! I found a small
Line's "The ChoppeL"
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btass hobby hammer that works
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This technique has the same
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quite well.
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die method is that it is possible to
shape. In the case of very small
generate large numbers of rivets of
rivets, the shape issue is even less
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advantages and disadvantages as the
The advantage of the punch and
punch and die: uniformity but flat
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identical size and shape. The only
worrisome than for larger rivets.
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negative side is that the tesulting
This technique is also very useful
rivets are small discs rather than
for creating other shapes of rivets.
rounded or conical in shape like
For example, Plastruct has
actual rivets. This doesn't bother
hexagonal rod that can be salami-
me very much as their small size
sl iccd to produce hex-head bolts.
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means this is not especially noticeable and furthermore, a
PAINTED RIVETS
coat of paint further disguises
begin with, I would strongly
their shape.
recommend using commercial plastic rod rather than sprue. Sprue
Rivets can be cut like a row of salamis by making a small log raft from length of .015in. plastic rod, glued to a pi of scrap plastic sheet to keep them together. This is a particularly useful technique for very small rivets.
It is possible to "paint" rivets using a th ick paint. The best approach is to use an acrylic gel paint, which is
MASS-PRODUCED RIVETS:
has two principal disadvantages.
SALAMI SLICING
First, it is of inconsistent diameter,
Another method of creating rivets
so the rivets end up in random
is to cut them from some circular
diameters that do not look too
stock such as stretched sprue or
good. Secondly, stretched sprue is
technique is to cut several
thin plastic rod. In the old days
apt to be a bit brittle, and instead
once, making a dozen or so rivct
of small-scale modeling, I used
of getting a nice little disc, often
at a slice. The way to do this is t
which is available in my area
this technique quite frequently
the sprue splinters leaving a
create a small "matchbook" using ~
through the Michael's art chain.
for small-scale models where the
misshapen little slug of
strip of sheet plastic as a bindcr
This can be applied using a very fine brush, but I usually use a very
basically a thick acrylic paint. This
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BELOW For small rivets, the Archer "surface detail" decals offer an excellent alternative. This shows the Archer decal at the top, and some impressed rivets done with a beading tool below both unpainted and painted.
is sold in arts and crafts stores for painting T-shirts; it could be mixed
The easiest way to use this
ABOVE Rivets can be painted on using acrylic dimensional paint, a type of thick acrylic gel paint. I usually put a dab of the paint on a disposable surface such as the plastic bottle cap seen here, and I use a sharply pointed tool to apply the rivets. This technique is most useful for projects such as the pop-rivets on the inner rim of the Sherman road wheels where the rivets are not close together and so where their irregularity is not very noticeable.
by adding a little colored paint to
• •• • •• • • • • • • •••
artist's thick acrylic gel. I use Tulip Slick Dimensional Fabric Paint,
1111\11111111111111
mm
10
20
30
40
rivets from the Waldron tool were
indeterminate shape. Plastic rod gets
for several strips of plastic rod. It's
just a little too big. This is still a
around the diameter issue, but some
best to dampen the strip with
fine needle. There are several
damp, the edges blend into the
very useful technique for small-
care has to be exercised in choosing
liquid cement and then attach thc
advantages to this technique: it's
surrounding surface, making an
technique especially useful is for the
scale modelers, but it is also handy
the brand since some plastic rod is
rods, because if you "paint" the
quick, it's cheap, and if you mess
unsightly pimple instead of a rivet.
small pop rivets along the inner rim
I don't think this technique is
of Sherman stamped roadwheels. I
obvious. Where I have found the
for I/35-scale models when
made of a glossy and brittle plastic.
rods with liquid cement the
up, the rivet can be removed very
dealing with small rivets or
The ideal plastic should be soft and
capillary action tends to run up
easily. The technique also has
particularly useful for most rivet
am not keen on attaching dozens of
machine-screwheads.
I prefer Plastruct or Evergeen for
the gap between the rods, fusing
plenty of negatives. It takes a fair
applications as it is very hard to
tiny rivets to all of the Sherman
this process. It's theoretically
them together. Not good! Once
amount of skill to create a small
create a line of uniform rivcts.
wheels, but "paint rivets" can be
possible to use .0 Win. rod, but I
one of these "matchbooks" is
rivet on the surface, and even more
Where it is handy is for rivcts that
added fairly quickly. In summary, I
The idea of "salami slicing" hundreds of rivets may not be too appealing, but there are some tricks
find this is too small to be practical.
created, the rivets can then be
difficult to create uniform rivets.
are not in close proximity. s their
would categorize this technique as
that make this much easier. To
I generally use .OI5in. rod.
salami sliced using a single-sided
In addition, if the paint is too
lack of uniformity is n t so
"better-than-nothing" but not ideal.
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OTHER (LOUSY)
CASTING EFFECTS
The acrual surface finish on
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TECHNIQUES
The US tank industry made very
tanks in 1941--45 was seldom
o
While scratch-building small-scale
extensive use of cast armor,
rough as it would appear from
Z
Here's another example of casting on a one-piece transmission cover on an Ml0 tank destroyer.
.h
models back in the I960s, I tried a
especially for turrers. Most plastic
many old museum tanks. As alwo\
variety of methods to create rivets,
kits depict this as a smooth
the bottom line is to use reseal' h
most of which have overwhelming
surface, and so this provides the
to inform your modeling. I've
o
problems. I am going to mention a
modeler with an opportunity to
included some photos here
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few as a warning rather than as a
add some casring effecrs to
US ranks in museums that weI'
recommendation. There are a
personalize the model.
sandblasred during the restol'alll
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variety of pounce wheel tools that have been promoted as a method
A warning first: US rank casting was nor as rough as Soviet wartime
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process, which brings them ba k tll rheir original finish. Casting rexrure occurs on aSl
of making rivets by impressing the
casting-don't overdo it! I have
detail through the back of plastic
seen grossly exaggerated casting
armor due to the producti n
sheet. This might okay for creating
effects on some models at hobby
method. The castings were mat/I'
0..
a rivet strip as seen on World War I
shows apparently influenced by
by pouring molten steel inl a
s.\ll
tanks, but it's not really useful on
existing museum displays.
mold. The resulting casting
ull
most AFV applications. A variety
Remember that rhe rough finish on
therefore pick up any irregulal'llll
of other rivet sources have been
many museum tanks is caused by
in the mold surface. The m I Is
decade after decade of sloppy paint
usually had a smooth surfa
the ball-shaped crystals in water
finishes, peeling paints, exposure to
some irregularities would
filters. Many years ago I scratch-
the weather and general neglect.
can be seen on photos. In ad Ilium
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suggested such as salt crystals, or
IV
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I Some castings had mold sprues much like plastic kits that were then machined off at the foundry; these machining gouges can be seen on the 76mm Sherman turret casting.
.1
built a Char BI bis and glued on salt-crystals for rivets. It looked fine for a few days until summer moisture caused the salt crystals to leach, leaving funny white salt stains around each of the rivets. An ugly mess! I am also not very keen on various non-plastic aftermarket rivets such as photo-etch or resin rivets. Aside from the difficult of cleanly removing these from their runner or sprue, my mall1 objection to these is that they are simply a nuisance to glue on a plastic surface. This inevitably means cyanoacrylate (CA) glue or some form of contact cement. I much prefer some form of plastic rivet.
US wartime casting was not especially rough and it helps to study actual examples. Beware of placing too much faith in museum tanks as they may have years of old flaking paint. This Sherman turret is a good example of the actual original appearance as it was sandblasted and repainted during restoration.
the cast part had sprues for
noticeable gouges from the post-
skills-the risk of accidentally
pouring and overflow, much like a
casting machining process, ir's best
damaging nearby surfaces or detail
plastic kir, and these sprues would
to take care of this effect first. I
is great, and the results aren't worth
have to be cut off This could be
use a power tool to do this, usually
the risk.
done with a variety of techniques,
my trusty Dremel Mini-Mite. I will
There is a wide range of
but usually any rough spot would
usually use a relatively large round
then be machined smoorh. This
cutring bit and randomly let it chip
texrure to a plastic model. One of
offers orher modeling
into the surface where I want the
the oldest techniques is to soften
opportuniries as sometimes the
effect. I would not recommend this
the surface of rhe plasric using a
machined surface had a noticeable
technique to beginners or
solvent such as liquid cement.
texrure difference from the rest of
intermediate modelers as rhe
Once the surface is softened a bi t,
process requires a fair am Lint of
a stiff acrylic brLlsh can be used to
artistic judgment as well as tool
make rhe surface look a bit less
the casting. If the tank being modeled had
techniques for imparting a little
22
23
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It's best to prepare the parts before applying casting texture. A frequent frustration with Sherman turrets is the side pistol port, which has an awkward joint line around the part.
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The Dremel Mini-Mite is th workhorse on my hobby tabl . I IIkl III rechargeable type better th n til powerful cord version sine It I \111.111, and handier to use, and not IIkt'ly ttl melt plastic due to exces Iv p WI'.II I speed.
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Here's a detail photo of a Sherman pistol port to give a better idea of its actual appearance.
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and painted on with an acryl i
regular. (Warning: don't use an
this is Gunze Sanyo's Mr Surfacer
expensive natural hairbrush for
500. This is a thick, lacquer primer
brush. For more intense ca ling
this!) I find that this technique
that can be painted on with an
effects, I have also used epoxy
works very well on r/72-scale
acrylic brush, and then roughed
putty thinned with lacquer thinner.
models, or for very smooth
up a bit to give an irregular effect.
but this was mostly for Soviet
castings on I/35-scale models.
Lately I have been using Tamiya's
tanks that had a noticeably rough r
white or grey surface primer, which
finish than US tanks.
For a bit more texture, some form of surface coating will offer
works in much the same fashion
Once dry, these finishes can be
more opportunity for a greater
with very similar results. For
sanded here and there to provide a
degree of texture. The usual surface
deeper texture effects, a mixture
contrasting pitted/smooth surface.
coating for this process is either
of hobby putty and liquid cement
Applying casting effects requires
some thinned hobby putty or a
provides a thicker paste. I usually
artistic judgment; it's hard to
thick surface primer. One product
use Tamiya silver hobby putty
define when to stop or when to
I have used quite extensively for
mixed with Testor's liquid cement
add more effect.
To get rid of the joint line around the pistol port, I fill the gap using Tamiya Surface Primer.
24
25
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I usually put a blob of Tamiya Surfa Primer on a disposable surface, and I
f-
keep a supply of plastic bottle cap handy for these projects. After dl In
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out a dollop of the thick putty from til bottom of the bottle using a tooth pi k,
Large cast surfaces such as the hull on this Italeri M4A1 are too smooth straight out of the box, but a little texture on the surface provides a more realistic finish.
I apply the primer on the mod I u 1m an acrylic paintbrush.
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The main challenge in c1eanin up th gap on the Sherman turret Is to bl
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the putty with the surroundin
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I find that rounded polishing bit In my Dremel Mini-Mite are the b st
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Another example of Mr Surfacer 500 at work, this time on an Extratech 1/72scale M4.
approach, with the final smoothln done with a soft rubber bil.
Various coatings can be used to enhance casting texture. On this 1/48-scale Tamiya Sherman turret, I used Mr Surfacer 500, which is fairly similar to the Tamiya Surface Primer in texture and handling qualities.
CASTING NUMBERS
three-piece transmission cover, as
main approaches to duplicating
An offshoot of the widespread
shown in the photo on page 26.
casting numbers: glued numbers
use of castings on US tanks was
This is common to all parts of
and decal numbers.
a corresponding use of casting
the same type. The second is a
numbers on the surface. This was
serial number/mold number
a variety of sources. The most common approach is to use
Glued numbers can come from
done primarily for quality controL
indicating the casting facility. This
The casting numbers generally
number will vary from one part to
photo-etch numbers since many
consist of three items. The fitst is
the next. Finally, there is often a
of these casting numbers are quite
a part number such as E4151,
casting facility marking which
small. I usually attach the very
which was the part number for the
identifies the plant wher the
small numbers using some sticky
right-hand casting on a Sherman
casting was made. Ther ar two
paint such as Tamiya Clear Acrylic.
26
27
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Many cast parts on US tanks had casting numbers for quality ontr I.
Once the casting number decals have dried, I apply some casting texture
The top line (E4151) is th part nUl1l1 ,
using Tamiya Surface Primer stippled
and would be the same on all of tl1l'''' right-side transmission covers. Th r, I
on with an old acrylic brush.
numbers are peculiar to the foundry and usually indicate the mold nun Ill"
rf
or part serial number; thes vary
III
foundry to foundry. The G in th octagon indicates that this part cast by American Steel Foundrl
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(A I)
at its plant in Granite City, Illinol
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The cast three-piece transmi Ion
Here's the finished result after painting
housing on the Sherman provld \.,
on a Tasca M4Al "Major Jim."
I
good example of applying
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texture to the plastic parts. I'v IhUh by assembling this Tasca tr n mill I II
tiny
cover, and have used Tamiya llll.tc, Primer to fill in the gaps wh r '1" I
With the surface prepared, I u
Ar Itc·,
texture decals to apply the castln numbers. This decals adhere b tt r
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painted surface, so I usually apply a luil clear gloss paint on the area wh r thl
Once these are dry, I usually paint
casting numbers will appear. Th pia t
a durable and thick paint over the
is the raised numbers and letters
particular casting number
lid serves as a water reservoir for th tiny number decals.
PE numbers to make sure they stay
found on some kit sprues; Tamiya
combination, and it is fairly tricky
in place; my favorite for this is
kits are especially good for th is as
to cut off enough numbers and letters for a typical project.
nLllnbers. Another potential source
sometimes inadequate to depict a
Tamiya Surface Primer or Mr
they have prominent but small
Surfacer 1000. There are a variety
numbers and letters and the high-
of small plastic numbers available,
quality soft plastic makes them
mostly from model railroad
relatively easy to remove using a
preferred technique at the moment.
companies such as Slater's. These
razor blade or a chisel blade. The
The main advantage is that the
are quite nice, but they are usually
main drawbacks arc that the variety
sheets contain typical casting
too large for most US casting
of letters and numbers i
marks as well as numbers. The
The other method is to use Archer texture decals. This is my
29
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Weld beads can be painted on using thinned hobby putty. Here I have masked the area where I want the weld bead, and I've put a blob of hobby putty on a disposable plastic bottle cap. I will mix in some Testors' liquid cement to make it thin enough to brush using an acrylic brush.
Weld beads were not as prominent as many modelers seem to think. Here's an example on the right front corner of a Sherman hull roof.
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main drawback is that the numbers
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aren't especially thick, but this
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can be helped during the painting
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process with a wash to help
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accentuate the numbers, followed
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by some dry brushing to make the numbers pop out.
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WELD BEADS
to.
After 1942, most US tank hulls
RIGHT Once the weld bead has been painted and the masking tape removed, a round toothpick can be used to smooth out the weld bead and add a little texture.
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were welded. As a result, the joints between the plates often exhibited signs of the welding process whether just a fine gap between filled with weld-bead. (Author rant:
the plates, or sometimes a gap
look at your photo references
particular problem in Ill)' 1'.1'1
before proceeding!) Here's a comparison of three different weld-bead techniques: (A) two of the Archer Surface Detail decals; (B) Slater's plastic rod, and (C) a masked putty bead. They each have their uses depending on whether they are being used on a flat surface or in one of the notorious "Tamiya Sherman trenches."
One of the classic problems in this regard is the old Tamiya M4
Osprey Sherman modclin' bllU~
h~ H .11.
Sherman series, which depicts the
more general perspective.
joint between the plates as a deep
several approaches that can b~ u,,·
depression. In this case, it is
some more suitable for pani uLlI
necessary both to fill the
welding styles than others.
A
B
c 1""111111""11
mm
,
so let's look at this issu (r0I11.1
Inunn..)un..))nunnnn..))n..)))))n))"))))))n....)
1111
BELOW Here's an example of a putty weld-bead in use, in this case on my M4A3E2 "Cobra King" model where a Tamiya Sherman trench had to be filled.
till weld-bead. I've dealt with till
depression as well as mimi
10
20
30
40
I.
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PAINTED WELD BEADS
slowly enough that some regular
hard, britL! pl,l'lI.!-t1l
One neat and effective way ro depict
texture can be carved inro the
find Slater's r I pl,I\lI
Evergreen or Plastruct. The reason
a more difficult procedure than the
this approach might work
is that the brittle rod tends ro
painting method mentioned above.
compared with the other
weld beads is to paint them using a
surface using a hobby knife or other
much better
thick surface primer or thinned
tool. I like ro do a small section at a
white plastic type,
when ir is bathed in liquid cement.
DECAL WELD BEADS
well in both 1/48 and 1/72 scales,
putty. The material is the same as
time, remove the tape before the
In some cases, I put the plastic rod
Archer has released a number of
but I am not sure if the texture is
I
r til" tlUIl til 'II
II
.1
develop a rough, crazed surface
techniques. It would certainly work
that described in the casting section,
putty is dry and then work my way
on a steel ruler, then paint it with a
their "texture" decal sheets
thick enough for 1/35 scale until
o
such as Mr Surfacer 500, Tamiya
down the bead with a fine acrylic
lot of liquid cement to make it
depicting weld beads. These
I try it more times.
f-
surface primer or a mixture of
brush and some liquid cement to
soft. Once it develops a bit of a
include some weld beads with the
hobby putty and liquid cement. The
blend the bead a bit.
crazed surface, I move it to the
characteristic
model. This technique is better for
typical of arc welding. I have not
The thing I dislike most about
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main difference is that the weld-
"»»>' appearance
WHEELS
bead is narrow and even and so a
GLUED WELD BEADS
filling weld-bead depressions than
used these often enough to make
modeling the Sherman and similar
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freehand painting approach won't
Another approach, which is
flat surfaces, and I would rate it as
up my mind on how successfully
US tanks like the Stuart is all the
....
work well. My approach is ro mask
somewhat simpler than painting
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off the area where the weld bead is
the weld beads, is ro glue them on
fe>.
wanted using tape; I prefer the
the surface. This is a particularly
yellow Tamiya Kabuki tape. The
useful approach in the case of a kit
weld-bead material can then be
that has a trench representing a
brushed on using an acrylic brush.
weld bead, like the Tamiya
I prefer ro use a putty/glue mixture
Sherman, where the aim is to both
for several reasons. This solution is
fill the trench and create a surface
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thicker than surface primers, so it
weld-bead effect. I prefer ro use
creates a more prominent bead. If
plastic rod or stretched sprue for
mixed with enough glue, it dries
this process. The best material is a
ABOVE To make a pia tl r if w,·I.1 bead, I usually start by .lklllllli. Slater's plastic rod on rl lei, non-porous surface, Iik • n At Ie saw blade as seen hr. BELOW Here's an exampl
I
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plastic-rod weld bead, u d II 1''' fill the trench on a Tamiy M4 1111 my M4 Crocodile flam -thr w,·, II TOP LEFT One of my least favorite
BODOM LEFT By mounting the wheel in
chores with many US World War II
the spindle/screw assembly, the wheel can be turned in a Dremel Mini-Mite and the
tank kits is removing the prominent mold seam found running down the center of the wheel.
offending mold seam removed with a straight
TOP RIGHT The spindle and screw
the plastic. This technique is modestly hazardous and modelers should take the
razor blade or sanding stick. The drill should be operated at slow speed to avoid melting
assembly found on many Dremel grinding and cutting tools can be
usual precautions, including eye protection.
adapted to create an improvised lathe for cleaning wheels and shaping parts.
BODOM RIGHT The wheel after the mold seam was cleaned off.
32
33
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damned wheels with the mold line
combination of all three.
SHERMAN/STUAR
running down the middle of the
(Warning: wear eye protection
TRACKS
tire. This inevitably means one or
when doing this and be careful
In contrast co many W rid \
II
,lI
two evenings with files and
as the blade can catch on the
tanks, US types such as th
sanding sticks making them flat.
moving part!) This method is not
Sherman and Stuart u ed
In reality, Sherman tires had a
perfect as if the wheel is slightly
with end connectors n b Ih
o
mold seam, but the kit mold seams
off-center then it doesn't get
instead of centerline gui Ie 1('('1"
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are much more prominent than on
cleaned evenly. However, I prefer
This complicates the ass mill "I
an actual tank. Besides the obvious
this method to the tedium of
individual-link Sherman n.l k
II
methods to remove the seam, I
hand-sanding the wheels.
as in some of the older I
kit
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methods with mixed results.
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The wheels can be chucked
GETTING RID OF THE FUZZIES
(formerly RHP ) and
into a lathe and turned, cutting
Having just described how to
I have assembled
0..
off the mold seam. This works
clean up some Sherman or Stuart
link-co-link Sherman and
I
well enough but has several
wheels, now is a good opportunity
tracks that I learned m, n)'}'
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those from AFV
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as well as aftermark t Lra b
have tried various semi-automated
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drawbacks. First, you need a lathe
to discuss another bane of the
that a simple assembly jl'
and I suspect only a small fraction
tank modeler's existence, the
the trouble since it n toni,
.11'
of modelers reading this book
"fuzzy" trim that tends to
time in the assembly pr
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have one. Second, it's hard to keep
congregate on edge of parts after
makes the assembly pr
the speed of the lathe slow enough
sanding or filing. Sometimes this
arduous and frustrating.
to avoid melting the plastic.
is best removed physically by
assembly jigs were made
Finally, it takes so much time to
rubbing the part with your finger
of some basswood strip. I 1.11 ,
get the part and cutting tool set
or a tack cloth. But many times,
redesigned the jig using l,:,vcl'l
up in the lathe that it is hardly
the fuzzies and burrs are very fine
square plastic tubing. Th
worth the trouble.
and hard to remove.
is configured like a tren h t h,,1 I
I came up with a simplified
In some cases, the best solution
I· III ]111
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ABOVE Assembling individual link track can be a chore without an assembly jig. I've built two different styles for assembling Sherman tracks. The upper set was made out of basswood and consists of a simple tray on the left to assemble the links with one set of end connectors, while the second set to the right is pinned together and can be taken apart, allowing me to add end connectors on the opposite side. The white plastic jig works on the same principles but is a bit more robust. RIGHT My newer plastic assembly jigs are made from Evergreen square plastic stock. The final assembly jig has a removable end piece so that I can slide a section of track in and out to attach the end connectors on the second side.
the track blocks in place whilc I
approach using a Dremel Mini-
is to melt them with a careful
attach the end connect r L
Mite. In this case, I use the screw
application of liquid cement. This
side. Once I have a length
that comes with Dremel sanding
works very well on wheels like the
with end connectors on on si 1 • I
drums to act as an axle to hold the
Sherman ones just mentioned, as
remove it /Tom the jig and m unt
wheel in the Dremel tool. If the
painting the part with liquid
in the second jig. The other jig
screw is slightly too small, a thin
cement removes the fuzzies and
similar to the first, but hoi I w n
layer of modeler's tape or Teflon
smoothes the surface. This works
the bottom so that I can slip in a
plumbing tape can be used to stop
in a variety of areas in the same
length of track with end connect rs on one side, and slip it out again
n (1I.1
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the wheel from wobbling off-
dual tole of eliminating persistent
center. With the wheel on the tool,
plastic dust/fuzzies while
once the end connectors have been
I then run the drill at its low-
smoothing the plastic. It is not a
added to the second side. With
speed setting, and trim off the
universal solution, because it can
these assembly jigs, I find that I can
mold seam using a razor blade,
also melt small detail! So use it
put together a set of Sherman
hobby knife, sanding stick or some
with care.
tracks in about two hours. Once I
My Sherman track jig in operation. I've trimmed the RHPS blocks and end connectors and placed them in plastic yogurt lids. The jig on the bottom is a simple tray for making the first connections of tracks and end connectors. Once a length is completed, I move it to the open, "U" -shaped jig seen above where I can add the second side of end connectors.
:::::::::::::::::
34
35
assemble two lengths of track, [
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dry-fit them ro the suspension. Invariably, I have to 'ldd or subtract a track or two as each suspension is a bit different
111
fir. Once I have the
right length, I paint the end
o
connectors with some liquid cement
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to hold them in place.
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SALAMI-SLICING
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DETAILS
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Sometimes there is a need for some
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repetitious small detail bits, uJ
especially items like hinges or
"-
fasteners, that are roo complicated
I
to repeatedly fabricate out of sheet
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plastic. If the detail part is flat, it may be possible ro fabricate a master shape out of sheet plastic
TOP Plastic stock from firms such as Plastruct and Evergeen comes in a variety of shapes. These can be salami sliced using a razor blade or hobby knife to create very useful small details. MIDDLE Some simple shapes can be salami sliced using a razor blade or a dedicated cutting tool like the "Chopper" seen here. I make some stock using sheet plastic in the proper cross-section, then chop cross-sections to make the final shape, in this case a small oval. BonOM Here's an example of salami-sliced detail at work to enhance the detail on a Tamiya M8 75mm HMC. In some cases, the salami-cut detail can be used by itself to represent hinges or other small detail, while in other cases several small parts can be added together to form a more complex shape.
ABOVE Aftermarket model railroad detail sets are a wonderful source of small, complex shapes that are useful for super-detailing tank models.
others have extensive lines of small injection-molded plastic parts for super-detailing HO-scale railroad models. Although these are not
and then salami slice it inro thin
specifically designed for tank
wafers to create the piece. The
models, I find that a lot of these
photos here give some idea of some
parts prove very useful when
applications of this technique. I use
super-detailing tank interiors
it fairly often with Evergreen or
or artillery.
Plastruct plastic strip in various shapes since it's a quick way ro create small detail bits.
MODEL RAILROAD AFTERMARKET DETAIL PARTS One of the secrets of modelers who do a lot of super-detailing work is a stash of model railroad aftermarket parts. Firms like randt Line, Tichy, Cal-Scale and
BELOW Styrene is a thermoplastic, so it is possible to set it using heat. I use this property to form some shapes, such as when I need lots of half-round or round shapes. I wrap some plastic rod stock around a suitable form, clamp it in place with cross-action tweezers, submerge the plastic in boiling water for half a minute, and then quickly temper it by placing it under cold water. The resulting round shapes seen below can then be chopped into the appropriate parts.
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PLASTIC SHAPING IN BOILING WATER
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Styrene plastic is a thermoplastic that "retains its memory" after it
World War II handles are small
dropped lh old sguat bottle for
for gluing large bits together as this
enough that the pliers work just as
a tall bottle. This creates a major
cement stays moist longer than
well. For consistency, I sometimes
spilling risk on the hobby table so
liguid glues and allows more time
place a piece of yellow Tamiya
I decant it into a leftover Tamiya
for repositioning. The main
has cooled. Heating can reset its
hobby tape on the proper place on
glue bottle that is less prone to be
disadvantage of gel glues is if they
"memory." One of the more useful
the pliers' surface so that I get
knocked over. I use this glue where
are used to bond surfaces that later
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applications of this technigue is
consistent sizes. To attach the
slower drying time is preferred. It
need to be sanded sufficiently to
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bending plastic rod into repetitive
handle, I use a drill marginally larger
is especially tenacious if there is
erase any trace of a seam. The
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shapes such as lift rings or handles.
than the wire diameter, so typically
time to paint both gluing surfaces
substance in the gel glues never
In this case, a suitable, thin plastic
a .021 or .022in. drill for .020in.
with the glue.
rod can be bent around a former
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wire. I usually drill only the first
of the right shape and held in
....
hole, and test-fit the handle. Once
Tamiya "green" extra-thin liguid
impossible to make the seam vanish.
place using tape or cross-action
the handle is in place, I then use a
cement. This is similar to Testors',
So where I want a vanishing seam
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tweezers. This combination can
fine drafting pencil to mark where
but is a bit more aggressive and
I use liguid glue, preferably
the second part of the grab handle
faster drying. This glue is thin
Tamiya extra-thin.
will fit. CA glue is the best suited to
enough that it is possible to place
attaching metal handles such as this.
two plastic parts together and then
My preferred glues are Testors' liquid
dab the surface wi th the brush; the
cement, Tamiya extra-thin (green cap)
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then be dunked into boiling water for 30 seconds or so, and then
necessary to get rid of the crude
The Gold Medal photo- L h han(lIt Il'I
plunged under a cold-water tap to
solid handles. I prefer to use a
comes with a handy drillin
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makes it much easier Lo prop rly \1101
set the plastic in place. The
chisel blade to do this. In the case
the two holes necessary (or alltl II II I
resulting shape can then be cut
of separate but thick handles, it is
the grab handle.
apart to create parts of consistent
I
My other favorite plastic glue is
totally disappears, and it tends to leave a slight residue making it
and Tamiya liquid/gel (orange cap)
HOBBY GLUE
glue will spread into the gap by
often necessary to fill in the
I use three principal glues when
capillary action.
size and shape. The shapes are
oversize hole in the hull. This can
assembling plastic tank kits. My
My third favorite is Tamiya
I find that the Testors' bottle is too
limited by how much the plastic
be done using putty, but I like
handles. The other rca
all-time favorite is Testors' liguid
"orange" cement, which is a thick
prone to fall over and spill, and the
rod can be bent, but I find this
using the new Tamiya surface
fond of this set is thaI II
cement. This is a good all-purpose
glue somewhere between the liguid
primer, which acts much like a
with a photo-etch drill ji . 1111
better suited for most hobby work
technigue works very well for
glue. In recent years, Testors has
and tube gel glues. I use this mainly
than the broad Testors' brush.
small wheels.
thinned putty. I dtedge a bit of
makes it much easier I dnllill"
the thick glop from the bottom
holes to fit the handles.
SMALL HATCH HANDLES
of the bottle, plop it down on a non-porous surface like a plastic
my own using copper wire. Ye,lI'
One of the weaker features on
soda bottle cap, and then apply a
ago, I purchased several r lis f
many US tank kits is the poor
dollop using a pointed toothpick.
at a local Radio Shack store
representation of the hatch handles. On some kits, the smaller
With the model ptepated, the next chore is to create or obtain
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For larger handles, I usu, lIy I1l.1k.
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have a copper core with a colored lacguer coating. I usu~lIy
handles, such as those over the
new handles. For the very small
rely on .020in. wire for most I/
drivers' hatches, are just solid
handles, I like using photo-etch
scale handles. I find that the m Sl
lumps. In other cases, separate
model railroad handles. The best
useful tool for creating grab handle, is a good guality set of needlenose
handles are provided but due to the
in my opinion are the Gold Medal
limitations of molding technology,
Models Grab Irons (Set 160-56)
pliers; I use the Xuron brand
they tend to be much too thick.
intended for N-gauge trains. There
which has a well machined flat
A better solution is to replace
are three useful sizes on each sprue
surface. Mission Models also has
them. The first step is to prepare
and 24 of each per set, making this
a dedicated grab handle tool, but
the model for new handles. It is
an economical source of multiple
I find that most American
cement. I use the extra Tamiya green bottle at the left for Testors' cement as
Tamiya brush is much smaller and
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the type found in stationery stores
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for the mixing surface. This has two
a
advantages: the self-stick feature
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keeps the paper in place while
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mixing, while at the same time, the
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small size is good for a single mix
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and then it can be thrown away to
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avoid messing up the workstation.
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blobs on the paper, I use a tapered
After depositing two nearly identical
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toothpick to thoroughly mix the
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epoxy. Toothpicks are ideal both for mixing the epoxy, and applying tile
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(urthermore, they are disposable.
J leave mine
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the remnants of the
epoxy on the Post-it note paper as a method to test when the glue is dry. Once dry, the Post-it note and USING EPOXY
amount being used. I find that the
There are some occasions where
tube versions of this glue turn into
attached toothpick go in the trash.
One of the main problems I have with cyanoacrylate glue is keeping track of where I placed the last blob of glue. So my practice is to use a plastic bottle top to keep the glue elevated off the surface and less likely to get into mischief. I use a small polyethylene toothpick trimmed to a fine point to apply cyanoacrylate glue.
point on the workbench, only to find that a part has wandered into it, or that I have brushed my hand against it. To apply CA glue, I usually usc a plastic toothpick
plastic cements are not ueable,
a sticky mess. The main drawback
USING CYANOACRYLATE
especially on multimedia models
of epoxy glue compared with other
GLUE
that involve resin and photo-etch
alternatives such as cyanoacrylate
Cyanoacrylate glue, also known as
parts. Two-part epoxy glue is a
(CA) is that it takes time to mix,
Krazy Glue and by various other
useful substitute for many
and some degree of precision is
brand names, is a widely used,
photo-etch and resin. The
alternative glues these days, all of which have good points and bad
applications. I use ordinary
needed in the mixing process for
five-minute epoxy glue. I prefer the
the epoxy to dry properly and keep
sguirt two identical blobs
type that comes in plastic sguirt
its strength. My method to ensure
on to a disposable work surf.l (.
bottle, as it is easier to regulate the
reasonably accurate mixing is to
I use small paper Post-it n lCS
The secret to epoxy glue is to mix the two parts equally. My usual technique is to put a Post-it note on the workbench, and then place two blobs next to each other, which makes it easier to determine whether they are of equal volume. I then thoroughly mix the two parts with a round toothpick, which also is well suited for applying the glue, even on tiny parts. Once the glue is dry, the Post-it note, toothpick and glue can all be thrown away.
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sharpened to a fine edge.
OTHER GLUES
There arc a large number of
fast-setting, one-part glue. I don't
advantage of CA glue is that it sets
make as much use of it as I did in
very fast and so is easier to use
points. I have some carpenter's glue
the past as I find the fumes,
than epoxy glue. The downside is
and Elmer's (white) glue handy for
especially the CA glue accelerator
that it has no tackiness at all until
little jobs, but neither of these is
fumes, to be extremely obnoxious.
it sets, and once it sets, it cannot
particularly durable when used with
Nevertheless, there are ti mes when
be moved. In addition, it does not
plastic. I often use them for
it is invaluable. I generally use the
have much shear strength so parts
attaching small parts that are
Sinbad brand, but I have used
can be knocked off.
unlikely to pull off. For example,
Zap-a-Gap in the past. I am not
My technigue for using CA glue
sure there is a lot of difference
is to place a drop on a disposable
between the various brands, though
plastic surface, namely an old soda
these glues can be used for attaching MV-brand lenses in a socket mount. My most useful glue other than
there arc variations in drying time
bottle cap. I've found that lhis is a
the well-known types is Walther's
and thickness.
useful practice as it makes il easier
Goo, a brand popular with
to find the glue, and prevcJ1ls lhe
American railroad modelers. It is
problem of pUlling somc on a
basically contact cement in a tube.
I mainly use CA glue for multimedia applications such as
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This stuff is very useful for arraching items after the painting
aftermarket brushguards for
has been finished, such as resin
Sherman and Stuart headlights. As
stowage. The resulting bond is
often as not, there is no gluing
somewhat rubbery, so it is not
surface at the base of the part that
ideal for attaching structural items
can be used to create a useful joint.
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that cannot move. It is doubly
There are two solutions to this.
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strong if applied on both sutfaces
The first is for the modeler to
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to be glued.
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examine the part before cutting it off the fret. Often there is a bit of
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ATTACHING PHOTO-ETCH
rest of the fret. Instead of
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Attaching photo-etch is always a
trimming this off, this can be left
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One method to attach difficult photo-etch parts such as brushguards is to use a strongly adhesive epoxy putty such as Duro Kneadatite. This epoxy comes in a two-part blue/yellow ribbon that must be mixed. I usually prepare several photo-etch assemblies, ready for attachment to the model, before mixing the epoxy putty.
example is the numerous
"sprue" connecting the part to the
problem as none of the existing
on to serve as an enlarged contact
glues are ideal. Cyanoacrylate is
surface for attaching the part.
easy to use, but too often the part
Some parts, such as some tool
Here's an example of an a lLlal h"111"'" brush guard showing how il W,l w, hI. I to the hull surface.
falls off at an inopportune
clasps, have an adequate gluing
moment for no apparent reason.
surface. But CA glue is always a
Epoxy putty is a bit more durable
problem when positioning small
using CA glue. Thcn, till' ",II I
but far from foolproof and it is
parts since the parts do not really
be glued to the m dcl
time-consuming to mix and often
stick until the glue sets, and then
normal plastic ccmcnt,
leaves a glossy little puddle due to
there is no chance for
considerably easicr
its thickness.
repositioning. One alternate
part properly.
The other problem with
approach to make it easier to
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Another approach is l
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attaching photo-etch is the poor
reposition the part is to laminate
design of many photo-etch parts.
a small piece of very thin, .005in.
putty. My favorite for this
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plastic sheet to the photo-etch part
Duro Kneadatite, which
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All too often, the photo-etch firms come up with beautiful, intricate designs, but give absolutely no thought to how the part can be attached to the surface of the model with any realistic hope of it staying in place! A perfectly good
My main tools for working with small photo-etch are a pair of good crossaction tweezers for handling the parts and a pair of Xu ron needlenose pliers for bending and shaping the parts. A small scrap of hard rubber and some steel rods are very useful in bending flat photo-etch into round shapes.
With the Kneadatite mixed, I keep it on a work surface such as a disposable plastic bottle cap. I use a small pointed toothpick to place the epoxy putty on the model.
glue alternative, namely p
The Kneadatite provides a strong bond between the photo-etch and the model surface while at the same time it can be used to replicate the weld bead used in actual tank construction.
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Positioning photo-etch parts can be a chore if using cyanoacrylate or epoxy glue. One alternative is to attach photo-etch parts with flat joining surfaces to a small piece of very thin .005in. plastic. After the part is trimmed away from the plastic strip, it can be attached to the model using normal plastic cements.
CHAPTER
2:
PAINTING TECHNIQUES
Painting models is a far more individual process than assembly since there is such a wide range of paint and painting tools available. Furthermore, painting is an artistic process that encompasses much greater latitude in styles than the relatively standardized dynamics of kit assembly. So this chapter is about my style of painting, not necessarily the best style of painting or the only style of painting. I seriously doubt that most modelers will use most of my techniques, but I hope that readers will find some useful hints
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amongst this smorgasbord of techniques.
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yellow/blue strip and turns green
recommend ation I will make to
useful when soldering small 1.11'1'
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when blended. In contrast to more
modelers interested in soldering
since the iron can be uscd t
clay-like epoxy putties such as
photo-etch parts is to invest in a
the part in place, and oncc the
Apoxie Sculpt, Magic Sculpt or
rechargeable soldering iron rather
solder is melted, the triggcr all Ill'
Miliputt, Kneadatite is extremely
than the conventional plug-in
released and the iron hcld in pl.l( •
ACRYLIC VERSUS
begin with, my condominium in
Andrea and Vallejo acrylics are
sticky, more like taffy or chewing
type. I use the Wahl Iso-Tip
until the soldered joint has
ENAMEL
the I990s was small, and I didn't
superb for hand painting. Tamiya
gum. When dry, it remains slightly
Quick Charge soldering iron.
before the iron is pullcd away.
paint is designed primarily for
flexible. I find that this works quite
This has several advantages over
T
have the space to set up a dedicated
Since buymg one of thcse, I h.lI'~
paint booth to draw off the toxic
airbrushing, and I find it is a
well as a glue alternative as it is
conventional soldering irons. First,
done much more soldcring
cnamel being the predominanr
lacquer and enamel solvent fumes.
horrible paint for hand painting.
both durable and extremely tacky,
it is small and so much easier to
the past as it is much qui k(
types, and with lacquers and oil
Acrylic paints are a good deal less
The Tamiya acrylic is not as
so that unlike with epoxy putty, the
use, and it can be fit with a very
more convenient.
paint having some relevance for
of a problem in this regard,
rough on airbrushes as enamels or
part stays where it was placed. In
useful small tip. Second, because it
particular applications. In the old
particularly when used with some
lacquers-or more to the point,
the case of items such as
is rechargeable, it is not especially
days, I favored the more durable
safety equipment such as a good
the solvent needed to clean the
enamel and lacquer paints, with
mask, supplemented by a good
airbrush after use is not so
Floquil railroad paints being my
HEPA air filter to help clean the air
aggressive against the "0" rings
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brushguards that have no joining
powerful. It is certainly hot
surfaces, Kneadatite can be used to
enough to melt normal solder,
mimic the weld beads that held the
but it is not so hot that it will
real parts in place. The downside
obliterate nearby solder if some
of Kneadatite is that it takes a bit
care is taken. Third, it is trigger-
of material to create a bond, and
actuated, not constantly on. This is
IH11.1
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The most useful tool I have found f I soldering small photo-etch par I ,,, Wahl ISO-Tip Quick Charge sold rlnt iron. It is rechargeable, so do sn'l IMv the distraction of a cord, is small n II Jh for delicate work, and is low pow r enough not to overheat the m I, I.
he first issue these days is the type of paint, with acrylic and
long-time favorite. In the late
after the painting is done. The
and delicate seals of the airbrush.
I990s, I began switching to acrylic
second reason I switched was the
Tamiya also thins well, either with
paints, and now about 95 percent
arrival of better-quality acrylics. I
Tamiya's own solvent or with
of my painting is wirh acrylics,
quickly found that Tamiya acrylic
isopropyl alcohol from the local
in the case of very small parts, this
even figure painting. I switched to
paints handled very well in the
pharmacy; it can also be thinned
is too much material and will
acrylics for a variety of reasons. To
airbrush, and correspondingly,
with household spray detergents
create an unsightly blob next to the pact. Like many techniques, it has some useful applications but it is unsuitable for others.
SOLDERING PHOTO-ETCH
I am not going to go inro an extensive discussion of how to solder photo-etch pacts together as frankly I am no expect on the subject, and I seldom use the technique. However, the one
This is my usual arsenal of paint. Testors' Dullcote is about the only lacquer I use due to toxicity and harsh impact on the airbrush. I still use Humbrol in spite of the horrible tin as the pigment sludge is very useful in dry-brushing. Vallejo acrylics are my favorite for hand painting, and I especially like their Game Color line, aimed at wargamers, for its intense and opaque colors. Nearly all of my airbrushing is done with Tamiya acrylics.
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My airbrush arsenal consists of the Badger 1DOG, which I use for 98 percent of my work. I have a superb Iwata eM from my days doing illustration work, but it is much fussier to use and more difficult to clean.
AIRBRUSH
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In my opinion. an airbnl\h
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modeling. It is lhe be~l ,\lid
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method to apply pain!. I hrll
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two big issues. 'vVhat tYII' til
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airbrush? What lype o(
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My favorite 3irbru~h " Ih.
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Badger IOOG, whi h i
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conventional doubl -a
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98 percent of my w rk,
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I use a respirator filter mask while airbrushing as even acrylic paints create obnoxious fumes.
though I own 3 mu h mIll' expensive Iwata
M-B. I hI'li
several features 1 like abolll Badger IOOG. Firsl
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never use a single-a ti n ,lid
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it does not provide nou ,h Acrylics are especially friendly to use in the airbrush, and it is easy to clean up my Badger 1DOG with a sprit of Windex household cleaner into the open gravity-feed cup.
keep natural-bristle brushes clean
flexibility when pail1lin ' ,"
when using acrylics since they dry
coverage is concerne I. I hk,
fast and are more difficult to clean
configuration of th I~,l 1"1 I(
after the paint has dried.
with the small gravilY "UP,
As I will mention further below,
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not one of the m re P pul.lI
1.1
I still use enamels and lacquers for
configurations amongst n1l) I,
such as Windex. I have found
some applications such as dry-
Some modelers complain .1111111 II
that some other brands of hobby
brushing and final flat coats, but
small size of the cup. but 1111
acrylics have "housepaint disease,"
by and large, nearly all of my
doesn't bother me as il' I
which is my nickname for the
painting is with acrylics.
clean. I seldom have t
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more than two or three time,
tendency to form a thin skin over
1'1" II
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finish an airbrush session, I will
which I find to be ghastly and
from an Internet shop.
remove the needle and clean that
unworkable. Others use big old
off The ease of cleaning and the
Binks or Paasche airbrushes, which
small cup size encourages me to
in my opinion are crude beyond
compressor since I was a teenager
change colors more often. This is a
words. Yet they get great results
and I have owned only two through
very important consideration when
from them. As I mentioned at the
my 40 years of serious modeling-
The choice of air source is an obvious one for me. 1 have had a
the paint when drying. This is a
PRIMER
when painting an entire
problem as this congealed paint
Some modelers like to paint their
tank model in a single c I r.
is a primary source of clogged
models with primer before
much prefer an open cup t
airbrushes.To clean my airbrush,
proceeding to the actual painting.
alternatives such as side cups
r
weathering models, as the only way
beginning of this chapter, painting
my original cheap Sears compressor,
I keep a spray bottle of household
I avoid using primer as, in my
under-the-barrel types using
ttl,
to get color depth is to use
is very individual and if you feel
and an expensive German Art-
cleaner, such as Windex, close at
opinion, it's just another layer of
since the open cup type is mu h
multiple colors. On some of my
comfortable with some other type
Material International compressor
hand and a squirt into the
gunk that will crud up fine detail.
easier to clean. A quick squirt
old airbrushes, the cleaning process
of airbrush, stick with it. But if
dating from 1986 that I bought
reservoir is usually all that is
I occasionally use primer if I have
Windex, swish around a Q-tip,
was so time-consuming and so
you're not happy with the airbrush
when a local art supply store went
you are using, the Badger 100G is
out of business. These days, there is
a good alternative. It is reason;lbly
;l very wide range of compressors
priced, and the last tim
available. I strongly recommend one
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needed for cleaning between
a lot of dissimilar material such as
spray out the cleaner in an old
tedious that I had little inclination
colors. Likewise, acrylic paint is
resin and metal where I am not so
plastic cup, on to the next col r.
to use lots of different paint colors.
not so destructive of brushes,
certain about the durability of my
There are no tubes or hoses to g l
though special care is needed to
usual acrylic paint.
clogged with paint. Usually when I
I kn w some brilliant modelers who use the Aztec plastic airbrush.
I bought
one in 2006, it cost me;lb ut $60
with an air tank, as this ensures
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continuous, constant pressure. Two
PAINTBRUSHES
such as figures, J am a firm
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other vital features are a pressure
There's a simple rule with
advocate of the Wins I' &
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gauge to adjust the air pressure, and
paintbrushes-use the type you
Series 7 Kolinsky sable brushcs.
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a moisture trap to clear water out of
need for the appropriate painting
Very expensive, but very go d.
usual 9 X I2in. sheet into half and
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the air that would otherwise spoil
medium, buy the best you can afford
They are long lasting if kept 1''.111,
then again into three sections for a
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the paint finish. It's helpful to try
and keep them clean. Don't expect
and keep a sharp point b ucr th.1I1
total of six 4 X 4Yzin. sheets. I find
out the compressor at a hobby show
that you can do fine hand painting
any brand I have tried.
this is a good working size. Palerte
or art supply store. One of the
unless you have excellent brushes
main issues is noise. If you live in
that are kept
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an apartment with neighbors nearby,
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prime shape.
These days there are a very
of disposable palerte paper. Once ClVlOll
again, this comes in pads at art supply stores. I usually pre-cur the
For any modeler buyi ng g( Ill! brushes, an absolute essential
IS
paper provides a good, non-porous .1
working surface on which to mix
good brush cleaner. 1stI' ngly
paint and the various other liquids.
recommend Winsor &
Some figure painters go one step
eWWIl
a noisy compressor can be a source
wide range of good-quality brushes
of needless headache. Mine is a real
available and they fall into two
Artgel brush and hand dC.IIll'I; II
clunker, but I don't have downstairs
primary categories: natural-bristle
comes in a jar or in a smalk'r IlIh,
palette with a damp sponge
neighbors to worry about!
brushes made from natural material
I don't use this primarily r)r
underneath to keep the acrylic
further and use a type of porous
such as sable hair, and synthetic
cleaning brushes, but rathcr ft)!
paint moist and to slow the drying.
"Y" junction that permits two
brushes made from acrylic or other
preserving them. 'Whcn 1I,illl
I don't find this very convenient
air-brushes to be hooked up
materials. Natural brushes are the
acrylic paint, I will pcri( dl ,lih
Another handy feature is a
simultaneously. I keep my expensive
berter of the two, bur quite
clean them by dipping L1H'1ll
Iwata handy if I need to do some
expensive for the berter brands.
Artgel and brushing thc !"L1111
very delicate work, but as I
These are often advertised for
mentioned before, my cheap Badger
"watercolors" as they are more
IOOG does the vast majority of
sensitive to damage from the
the work. When airbrushing, I always wear
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Winsor &: Newton Artgel is little known in the hobby but an essential product for modelers using high-quality brushes. It comes in a large jar or smaller tubes; I usually decant some from the large jar into a smaller recycled Tamiya bottle which I leave on my hobby table for frequent cleaning of my sable brushes.
doing the dirty work, such as applying coats of Tamiya surface primer or thinned putty.
and so don't use this method. I then make sure I have all of the usual liquid supplies on hand: distilled water, flow enhancer,
PAINTING
blending medium and Artgel. The
TECHNIQUES
distilled water goes into a small
stronger solvents used with oil,
I use acrylic paints for nearly all my
metal or glass cup. I use a small cup
enamel and lacquer paints. They
detail hand painting and there are
because when it gets dirty there's less water to dump. Since I generally
a respirator mask as even acrylic
are also susceptible to damage
in tissue paper. This replaces the
some techniques and products that
fumes are not good to inhale. I get
from use with acrylics, as this type
natural oils in the brush and helps
can make this process easier and
use Vallejo or Andrea acrylic paints,
the mask from a local Home
of paint tends to dry quickly into
to restore the sharp tip that tends
more effective. A well-organized
which come in small squeeze bottle,
Depot or DIY shop. It is the type
a solid mass that is difficult to
to splay out after too much
work surface can help, and I follow
I deposit a few drops of paint on
with one or more replaceable filters
remove. I use these brushes for a
immersion in strong solvents. At
a standard approach. I begin by
the palette paper as I need them.
and designed for use with toxic
wide range of paints bur I am
the end of a painting session, I
taping a piece of plain rough
Now, I'm ready to paint.
materials such as insecticide. It is
especially careful about cleaning
always dip all of the brushes, even
newsprint to my work surface, one
awkward and clumsy at first, but
them. More on that later.
the acrylic ones, in Artgel and only
of the usual non-absorbent green
useful when using acrylic paints
damp-dry them so that some
cutting boards. Newsprint is a
for fine detail work. This is a thin
Artgel remains in the bristles; I
plain, rough, absorbent paper that
liquid much like water and is
also make sure that the fine
is sold in art supply stores in pads.
available in small bortles at any
better than inflicting lung
The new synthetics are quite
problems on yourself I do not use
good, bur I don't find that they
a spray booth, but instead I open
keep a fine tip for precise ",;ork
up my hobby room window during
such as figure painting. So I use
and after spraying, and in the
the natural brushes for the most
winter months I leave the room
delicate painting work, but
after an airbrush session and turn
synthetic brushes for everything
on a heavy-dury air filter with
else, such as the application of
HEPA filter.
washes. For delicate painting work
The good, the bad and the ugly. Th brush at the left is well used but stili In good shape, which is obvious from It excellent point. The brush in the mlddl is a decade-old Winsor &: Newton sabl brush that has seen better days and hd lost many hairs; I still use it for som rough tasks. If your brushes look like the one at the right, they are in seriou trouble! Go out and buy some Artg I right away!
Flow enhancer is extremely
brushes are shaped into a fine tip.
It is inexpensive and its absorbent
good art supply store. It is basically
This helps restore the brush when
surface make it ideal for testi ng
a chemical designed to help
not in use.
paint from the brush, removing
overcome the surface tension that
paint from the brush and other
prompts water to bead up on hard
range of brands and I reserve some
For acrylic brushes, I use a wide
common painting tasks.
n t p f
surfaces such as plastic or dried
cheap or worn-out brushes for
the newsprint, I tape a small square
acrylic paint. It helps the paint
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Two useful additives when hand painting with acrylics are a flow enhancer and a blending medium. A flow enhancer is especially valuable for precise, delicate painting on plastic as it overcomes the surface tension that plagues water-soluble paints. A blending medium slows the drying time of acrylic paints, keeping the brush moist and the helping the paint to flow.
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ABOVE This is my modeling table. Good lighting is an absolute must and I use a color-corrected Ott Lite closest to me, a cheap Ikea fluorescent behind it, and a few more fluorescent lights overhead (and out of view). The cable TV is an optional distraction, but the XM radio is essential for maintaining my sanity while working with Modelkasten track and other hobby absurdities.
BELOW When painting, I usually stage my work area as shown here. I place a sheet of newsprint on a non-absorbent surface like a green hobby cutting mat. In the lower right corner is a piece of non-porous palette paper for mixing paint, along with all the various solvents and other things I need for preparing acrylic paint.
paint to completely cover an area in a single color. there are times
paint and cleaned again dozens of times. The constant immersion in
usc a blending medium. Since it
when it is helpful to apply a
contains acrylic retarder, this slows
semi-transparent layer of paint
paint and water allows dried
the drying process of acrylic paint.
to help blend colors together.
acrylic paint to build up in the
This is a useful feature as acrylic
This technique is more useful for
brush hairs, degrading
paint tends to dry so quickly that
painting figures and cloth stowage
performance. This is especially
it becomes difficult to unload a
items, and I will go into this in
evident in the tip, which tends to
brush load of paint before it has
more detail when covering these
go from a fine point to a useless
already started to harden. By
subjects below.
jumble. I will occasionally clean
mixing a little blending medium in when doing detail p~il1\1l1' the paint flow int
ra,k
crevices better than W~l('I, tends to keep the bru -h usually keep a small am
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,til
I
,til
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tape while painting. Pri r
help remove some of the caked-in
in the brush for a longer period.
optimum condition for painting.
paint, but also to add some natural
The second use is to apply acrylic
During the course of a few hours'
oil to the bristles, which helps to
paint in a semi-opaque fashion.
painting, my overused Winsor &
restore the brush to its proper
While most modelers aim to apply
Newton 000 brush will get filled
pointed shape.
II In
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a color, I will dip the pai.1Lh. \I II the flow enhancer, and mix
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with the paint. Blending medium is all Lhll anist's tool that is useful wlwl1 painting with acrylics. I us Liquitex Slow-Dri blending medium. If this isn't availabl
111
your area, a substitu te can b
111.1
by combining a clear gloss a rylt
I,
the brush with Angel to
paint bench to keep the brushes in
1"'1" •
ll'
I keep Angel handy on the
with the paint, it will remain moist
old eye-drop bottle, and I Inl. a few drops on the pal
with paint, cleaned, filled with
medium with some liquid retarder. There are two principal reasons to
Although I usually paint my tank models mostly assembled, there is invariably a number of separate bits to be airbrushed in various colors. I use promotional credit cards with masking tape attached to keep together various sub-assemblies that will be airbrushed the same color. Needle-nose tweezers are another of my favorite tools for holding assemblies while painting.
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In one respect, modeling US tanks of World War II is
old references on US armor colors, Terence Wise's
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easy in that only one basic paint was used for the vast
venerable American Military Camoujlage and Markings
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majority of equipment-lusterless (flat) olive drab.
1939-1945 from Almark in 1973, shows an M3
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The subject of this paint has been a contentious issue
Lee painted in "dark green 320:' Many popular
over the years, encrusted in modeler's lore and
hobby references such as the older Squadron Signal
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The most common camouflage color in US Army use was black, and this was an especially common as an addition over olive drab in Europe in 1944-45. Here is an M15 on beach defense during Operation Dragoon in southern France in August 1944.
OLIVE DRAB: FROM THE ARCHIVES
distorted by poor or non-existent research. Over the
books also show US armor in a dark green color. To
past 30 years, I've spent a great deal of time in the
make a long story short, dark green and dark olive
archives, and this is my view of the subject based on
green are inappropriate for US armored vehicles in
this research. Before describing what olive drab is, I'd like to describe what it's nor. Probably the most common mistake I see at model shows is the tendency to paint
World War II (or before World War II for that matter)' The color of US vehicles was olive drab, not olive green.
US World War II tanks in various shades of dark
World War 1. Some accounts claim that it originates
green. This stems from a lot of artwork that depicts
with commercial Pullman railroad colors. This may
US armored vehicles in dark green shades. The old
be true, though I have never seen an official refer n
Tamiya kits from the 1970s such as the Stuart, M4A3
live drab color as a standard military shade, as it C
to any sucl, connection. Many countries adopted an
Sherman and others, are one of the causes for this
Profile publications, and even newer publications showing US World War II armor, show some form of dark green. A popular variant of this mistake is that pre-war US armor of the I930s was painted in dark green, but that this changed at the beginning of the war to olive drab. For example, one of the standard
I keep four olive drab colors on the rack while painting to
provide some color depth to an otherwise dull finish. Asid from the basic Tamiya Olive Drab on the left, my main color is "scale olive drab" labeled as medium 00 here, which is a 2/3 to 1/3 mix of olive drab and dark yellow. I also keep a light olive drab, which is half-and-half oliv drab and dark yellow. Finally, out-of-the-bottle Dark Yellow is useful for depicting badly sun-baked olive drab and breaking up a monotone finish.
/
specification remained essentially the same. Through
represents a compromise between earth colors and
this entire period, US Army armored vehicles
foliage colors in temperate climates. Olive drab was
officially were finished in the same shade of lusterless
established as the standard color for tactical vehicles
(flat) olive drab.
in Bulletin
mispetception. But this mistake goes back much fllrther. Many of the old references, sud, as the
.
Olive Drab was used on US ordnance since before
o. 90 of the General HQ of the
Problems cropped up during the inter-war years
American Expeditionary Force (AEF) on II
for a variety of reasons. Due to its matr finish, the
November 1918, a practice that would remain in
lusterless olive drab scuffed easily, and looked beat
place through the end of World War II. The World
up. In a peacetime army, officers don't like scruffy-
War I Quartermaster olive drab was described by
looking equipment. Army administrative vehicles were
Charles Lemons, curator of the Patton Museum at
finished in gloss olive drab, which certainly looked a
Ft Knox, as the color of pig dung-that is, a very
lot smarter than the dull and dirty tactical vehicles.
muddy olive brown. The Manual for the
As a result, in many units, the practice began of
Quartermaster Corps, 1917, Par. 3964 established
either painting the tanks in gloss or semi-gloss olive
the color for this olive drab. The pigments used to
drab, or of coating them with spar varnish or
mix olive drab were very simple: black and ochre. What was lacking was a reliable color specification
polishes to get a more acceptable peacetime finish. The second problem with the paint used in the mid-
that could be issued to industry for the formulation
I930s was that it had a very long drying time, and it
of commercial paint, so in 1920 the Army released
was difficult to obtain an even finish. Vehicles that
Specification 3-1 that established olive drab as one of
had patches of paint applied looked sloppy as the
24 standard colors for US Army use. The Spec. 3-1
new paint didn't blend well with the old paint, which
olive drab was a darker shade of olive drab than the
was not durable enough and tended to fade. Due to
World War I Quartermaster color, and would remain
pressure from the spit-and-polish crowd, in 1935 the
the standard for olive drab through World War II and
Ordnance Department began studying a "long oil"
beyond. Although the paint formulation changed
(enamel) paint that was faster-drying and, because of
several times during this period, the basic color
its finish, resisted scuffing and wear. In November
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Ci LEFT The US Army used improvised mud camouflage over olive drab in Tunisia. This is one of my early attempts on an M3 I built back in the mid 1990s based on the old Tamiya kit.
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BELOW Here's another example of Tunisia mud camouflage, this time on a Peerless M6 37mm GMC.
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ABOVE Here's my depiction of the common black-over-OD camouflage on one of 2nd Armored Division's up-armed M2 half-tracks with the 37mm anti-tank gun off an M6 37mm GMC, based on the recent Dragon kit.
1937, Ordnance recommended that this new formulation
With war clouds brewing in Europe, the Army
(RIXS58A) be adopted as substitute standard for peacetimc,
began
while the normal lusterless formulation be retained for wart i,m'
footing. On July 14, 1940, the Adjutant General
use. This olive drab appeared darker
[0
the human eye than till'
lusterless olive drab even though they both shared the samc BELOW Here's another example of the blackover-olive drab camouflage, this time on a Tamiya M8 light armored car with the elaborate yellow tactical markings of the 2nd Armored Division; the tactical numbers are dry transfers from Archers.
have a darker appearance than flat finishes of the same ell,
color more vivid.
[0
enhance tl,e color saturation, making
take steps to move towards a wartime
shifted all responsibility for protective coloration and camouflage
color specification. Gloss finishes of dark-color paints gcnl'I.,I"
and the gloss tends
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the Corps of Engineers, and on 18 July
material under procurement be painted with a new lusterless enamel under the tentative specification ES 0.474, with the color being Color
0.22 from
the Color Card Supplement to US Army Specification No. 3-1 (also known as Quartermaster Color
0.22
shifted decisions on the paint formulation and
or QM Color 22). In other words, aU new armored
procurement (but not the colors) to the
vehicles procured starting in fiscal year 1941 would
Quartermaster Corps. In view of the likelihood of
be painted (again) in lusterless olive drab of the same
US combat involvement, on October 12, 1940, the
color as established in 1920. This revised paint
Quartermaster Corps issued orders that all new
formulation had a lighter appearance
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the human
55 54 VI UJ
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No. 22 on their aircraft, it was felt that this was too
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light. As a result, starting in 1932, the USAAF began
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to adopt a dark olive drab, that is, darker than the
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BELOW Another view of "Major Jim" in a photomontage
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AGF olive drab. This dark olive drab was first known
<{
as Color No. 31 for the water-based camouflage
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against a desert backdrop.
paints. In October 1940, it was standardized as Dark
specifying lusterless, semi-gloss and gloss finishes. In
Olive Drab 41 for dopes, enamels, and lacquers.
addition, the various branches of the armed forces were ordering 175 different colors of paints, most
A number of changes occurred to army olive drab
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very toy-like and unrealistic, so lately I've been adding a glaze over the finish to reduce the contrast. Here's an example with "Major jim."
Alrhough the USAAF started using olive drab Color
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LEFT I find sharply contrasting camouflage pattern to look
II and the teason for this will become evident below.
Some tanks in Tunisia had a particularly vivid pattern, and I replicated this on a Tasca M4A1 by using reverse masking. After painting the model in sand color, I masked the pattern using Tamiya hobby tape before airbrushing olive drab.
paint during the war, though not to the color its
Ir.
based on commercial paints without government
According to Ordnance records, a shortage of col r
confuse matters, the Corps of Engineers adopted a
specifications. So the services tried to reduce the
charts in 1942 led to some manufacturers using
parallel set of color numbers during the war, olive
number of colors they were employing. On March 16,
paint that did not precisely match the Specifi ali n
drab being called Color No.9. This was the same
1943, Specification 3-1F/Color Card Supplement
eye than the gloss olive drab used on tanks produced
3-1. These vehicles were accepted for service in Spil'
color as Quartermaster Color No. 22 of Spec. 3-1.
(Rev. I) was recommended by Ordnance, whid1
in the late 1930s, even though they nominally
of this cosmetic problem. The issue was brou hi
matched the same color specification. As a related issue, it is worth a brief mention about
under control later in 1942 by wider disseminali
Custodianship for paint shifted back to Ordnance 1Il
of the color specifications and stricter en for emcnl
on October 21, 1942, and an effort was begun to modernize the old 1920 Spec. 3-1. The old
established 72 standard colors and the three basic finishes. This becan1e official on April 21, 1943. As part of this ptocess, in January 1943, Major A.
what was happening in the US Air Force at the time.
of government standards. Scarcity of cadmium
specifications listed only 24 colors, all with gloss
1. Totten Jr. of the Army Resources and Production
There are a lot of myths about the relationship
pigment led to reformulation of paints in thc c.lI11
finish, while the services were now interested in
Division proposed to consolidate the two shades of
between US Army Air Forces (USAAF) paint and US
war years, though these paints were supp sed
Army Ground Forces (AGF) paint during World War
with the color established in the 1920 pec. 3-1. I"
Here's my Tasca M4A1 in the rnarkings of "Major Jim" of 2/1 3th Armored, 1st Armored Division, in Tunisia. Reverse masking is an easier approach than hand painting with such a complex pattern.
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a
olive drab in use ac chc cimc, che U AAF dark olive
is chac che color FS-34087 dlangcd whcn FS-595
drab and che AGF olive drab, inco a ncw color
was released in 1968. Thc color sh wn as 34087 w, ,
much more roughly applied, and 1do
Army/Navy (AN) 319, chac was the same color as che
lighcer and browner chan dle lusccrless olivc drab u"ed
these with hand painting as in the case
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AGF olive drab. The Air Forces went a bic nucs over
co chac dace, and didn'c even maccll dle suppa edly
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chis, as in 1942, chey had developed a painc
identical gloss and semi-gloss 14087 and 2'W87.
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formula cion of cheir dark olive drab chac would noc
And guess whac? Model paint companies, and many
show up well on infrared ftlm. The AGF olive drab
modelers never nociced che change, since dlC h bby
painc did noc have chis characceriscic. As a resulc, the
didn'c really pick up sceam uncil che lace 1960s, by
USAAF scudiously avoided use of dle "new" 319 olive
whicll cime che "new" olive drab 34087 was shown
drab. This issue may seem irrelevanc co cank modelers.
the contemporary Federal Scandards.
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Some of the Tunisia mud finishes were
of this Dragon M3 75mm CMC from the 701 st Tank Destroyer Battalion.
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Buc ic is an importanc issue since ic helps demolish a
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popular myth amongsc some modelers and vehide
As a resulc, many modelers, and paine manufacturers, aldlough appreciacing chac che \ ,U'lll11<
rescorers. A legend has developed over che years chac
luscerless olive drab corresponded co chc pOSl-w.1r
che "lighc" 319 olive drab was also adopced by the
FS-34087, didn'c appreciace chac thcre was m rc lh.ul
AGF, so chac after 1943, dle Army began painting
one posc-war FS-34087. I have color c1lip fr m
cheir canks and caccical vehicles in a lighcer shade of
wartime sources, 1956, 1960 (prc-F -595A) .1I1d
olive drab. This was noc the case, as the aeronaucical
che firsc edicion of FS-595A, and dlC differen l'
319 olive drab was identical in color co standard AGF
lacer color is obvious when che chips are c m\,.1I<·d
olive drab, and was only "Iighc" in comparison co che
The army was noc amused by dlis slip-up, as rill' .111
USAAF dark olive drab. Indeed, in calking wich people who have had
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olive drab on adminisu'acive vehicles wa difCC'l'nl
.111
BELOW Here's my M3 75mm CMC in the markings
I
darker) rhan che flac olive drab on caccical vch,d..,. \
frequent contacc wich actual vehides and vehicle pares,
a resulc, in Change 7 of FS-595A in 19 4, rl1l'
like Charles Lemons of dle Paccon Museum, che olive
colors were deleced and replaced. Howcv r, in dw
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drab painc used on new canks lacer in che war was
I990s under FS-595B, chey were rcvivcd wilh .111 d,,,.
darker chan chac seen in 1942-43, noc lighcer.
-4087 colors standardized as a singlc color. I 101\1'\1 I
Alchough che color specificacion never changed, the
the old FS-14087 became 14084 and dlC Id 3.JOW"
paint formulation did, noc only including a change in
became 34088. In other words, extreme care sh ukl h.
pigment bue improvements in dle painc icself chac
caken when assessing che shade of wartime 01 ive dr.lh
made ic more durable and less subjecc co fading.
based on che various posc-FS-595 color specs!
Anodler source of confi.lsion over che precise shade of olive drab occurred afcer dle war. When che new
Anyone who has been around the hobby long enough has heard plenry of old wives' cales aboul
Federal Specificacion TT-C-595 was firsc issued on
wartime paiming based on supposicion, hearsay. myl h,
January 12, 1950, olive drab was designaced as 3412.
speculacion and che ingescion of ample quaneicies of
When che new Federal Scandard (FS) was adopced on
beer and pretzels. This is certainly more common
March 1, 1956, luscerless olive drab became (FS)
among airQ·afe modelers than armor modelers, becau e
34087. The gloss and semi-gloss versions were
ic is precry hard co weave a good yarn abouc someching
respeccively 14087 and 24087. Ac dlis scage, dle reader
as dull and boring as olive drab paine. A rypical yarn is
mighc well ask whac all chis mumbo-jumbo means co
something along che lines of "My neighbor Fritz was
somebody modeling World War II canks. The problem
a I2-year-old volunteer in dle Eva Braun Blond Assaulc
of the 701 st Tank Destroyer Battalion at the time of the fighting around EI Cuettar in March 1943.
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LEFT US tanks seldom need sharply defined two-color schemes. When I need to do such schemes, I often use Silly Putty as a mask rather than tape as it is easier to apply over an irregular tank surface, and it is not as destructive of small detail below.
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to describe the color. Your average person does n t distinguish the subtle differences represented by rerms
by a lazy modeler who can't be bothered trying to get
like khaki drab, olive drab, field drab, olive green and
the color right. There undoubtedly was variation in
dark brown. Most tankers I have interviewed don't
paint during the war, but the variation would be
remember the color their tank was painted, and those
relatively modest. During the war, the US Army had
few that had some recollection usually described it as
ll1spectors at the paint plants whose job was to ensure
"some dark color" or dark brown.
that color specifications were followed. There were
Another popular myth follows the pattern, "Well,
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I saw a TV show, (color pharo, etc.) that showed tl1e
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BELOW Here's the Yugoslav M3A3/75mm PaK 40 conversion after painting showing the two-color paint scheme.
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Battalion and he told me that they painted their
grandfather were in the US Army in the ET
Kingtiger tanks with lozenge-shaped patches of
the war and, like most soldiers, the last thing on I hell
Luftwaffe purple brown RLM 069, etc:' The more common tale follows the pattern: "My neighbor (uncle, granddad, etc.) was in the army
during
minds was the color of the military equipmenl ,!If)' were using. They can tell you in vivid detail h IV ill\' chow tasted, but couldn't care less about pain' 0101',
during the war and he said ... " I am extremely
I have never interviewed a Gl who had any inll'1\'"
skeptical of any accounts of precise paint shades
or knowledge about camouflage paint, and all il1.11 I
recalled a half-century after the war. Both my dad and
have spoken with didn't have the technical v ,lhul.l1 \
truth in this, but more often than not it is an excuse
only a handful of plants that manufactured olive drab paint for Ordnance. Keep in mind that when a plant
color to be ... "This is complete bunk. I worked in
assembled a tank, it assembled it from components
the TV business for a number of years, and I can
already pre-painted in olive drab. The Army didn't
assure you that the image you see on your TV set has
want multicolored tanks (or artillery, or radios) and so
little to do with the original object t11at was filmed.
standardized on a single color to avoid such issues.
early all TV documentaries using World War II
Variation in color is more likely to come from
color footage are created using videotape that was
fading, poor mixing or poor application than pigment
transferred from color film. I have worked with
variation. Tanks are not repainted when d1ey are brand
honest-to-goodness original World War II color film,
new. They are painted after being in service for a while
and the condition and color quality of the film varied
and needing repairs. So by the time new paint is
considerably. To begin with, wartime color film was
applied fresh out of the can, the original paint on the
notoriously subject to color shifting due to chemical
tank is likely to have faded and weathered. Contrary
111
instability. Secondly, if extreme care with color
to modeler's lore, US tankers seldom had any paint
balance is not taken during the film-video transfer
on hand to satisfy their artistic whims. Unlike the
process, changes result in the colors. During the
German army, the US Army seldom issued
editing of the tape, IUrtl1er color variations are
can10uflage paint to tactical units like tank battalions.
introduced unless color balance is precisely set. And
Painting was done by ordnance battalions during
finally, the same situation applies when the master
depot maintenance, and camouflage painting was done
video edit tape is dubbed for dissemination. This says
by camouflage engineer battalions. I am not a stickler
nothing about conunercial VHS copies, which are
for exact paint matching. But a modest variation in
often several generations removed from the original
wartime paint is no excuse for modelers to use any old
film stock. Many of the same sorts of problems exist
green or brown shade of paint they have on the shelf
with color photos. By the time they are printed in a
This stupefying account of the intricacies of paint
book or magazine, they are several generations
and color begs the obvious question: so what do I
removed from the original, and with all the care in
paint my World War II US Army tank model? Now
the world they will differ from the original.
that we have some handle on the historical issues, it's
Another popular modeler's yarn is, "Well, when I was in d1e army (or at an army base, etc.) when we
time to test paint. I sprayed a number of common olive drab hobby paints and compared them under
painted our vehicles there was a lot of difference
natural sunlight, fluorescent light and incandescent
between one can of paint and another so any shade
light to see how they matched up to the original color
f live drab is acceptable ... "There is a measure of
chips I have f the original TT-C-595 color
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3412/FS-34087. The results are summarized in the
Having matched the colors co actual cok" dlll • how aboLIC use on models? There has bccn .\ lOll •
chart on page 62. Basically, the only color that comes close co me
running argument between two comending clIlll
wartime color is me Tamiya acrylic, with the Polly Scale
whom I shall dub the"sciemists" versus till'
acrylic a distant second. Two colors fell for the old FS-
The sciemists argue that a color is a col
595A snag, Gunze Sangyo's and Model Master's, which
and that hobby paint should exaccly mat h til\' off,
are coo light and vivid for wartime olive drab. The two
color c11ip. The artists argue clut clle usc of
Model Master paints intended co represent A
matcll creates an unrealistic looking model dill'
613
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1'''.1, 010, I
The issue of US Army paint finishes becomes more complicated when dealing with interior surfaces. In general, the rule of thumb was that anything visible from the outside, such as the floors of open-topped vehicles and the interior of opening hatches, would be left in olive drab. But interior surfaces were painted in white. This is the interior of a Tamiya MB armored car showing the colorful consequences of these practices.
Humbrol 155 is coo green for US olive drab.
viewed from some distance away will appear
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lighter color than a small mip exanlined at close quarters. I tend co side with the areists over me sciemists on mis issue, as I think mat models painted
ABOVE One of the few occa iOI1\ when camouflage painting wa mandated in operational ord rs was for Operation Husky in July 1943 when US armored units were instructed to paint their vehicles with a pattern of earth yellow over the usual olive drab. This was done with sprayguns, so I did this M4A1 of the 2nd Armor d Division by hand with an airbrush. LEFT Here's another example of th Husky camouflage seen on my conversion of the Tamiya M3A2 half-track into a no 75mm HMC.
fading cowards a grayer shade, and some co a reddishpurplish tinge (evident to anyone who has visited Aberdeen Proving Ground over the years!). \Veamering
dire is lighter in color than olive drab.
10
"scale effect:' A full-sized vehicle painted in olll\' ILll>
the changed paint formulations of the postwar years led co different fading effects wicll some of the paint
also tends to lighten clle color since most dust and
.1I1 ...11 I
dark olive drab are both coo gray for me army color.
anyone who saw a lot of wartime vehicles. Likewise,
in precise matclles of dark colors like olive drab look unrealistically dark. This is an areisclc judgmem, not a sciemiflc assessmem. Added to this issue is the matter of paint fading and weathering effects. Dark-colored paims fade. Remember that many US tanks deployed in Normandy in 1944 had been manufactured and painted one or two years before and had been sitting out in the sun for most of that time. To make matters worse, the color fades in different ways depending on the paint formulation. For example, wartime US olive drab tended to fade towards me omre, as is evident co
From a modeling standpoint, these issues are further complicated by popular painting methods, especially washes. If a modeler begins with a close match co wareime olive drab like the Tamiya color, and then applies a dark wash of raw umber, the resulting color is going
CO
be darker than wartime
olive drab. At this point, it becomes a matter of areistic judgment. To begin with, it depends on the subject. If you are modeling a mid-production M4A I built in mid-1943 and depicted in the markings of a tank from late 1944, the color is apt to be more faded than an M4A3E2 Jumbo from the same timeframe which was manufactured in February 1944 and so less subject co f:1ding.
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recommendation is to start with a reliable
some sort of grand scientific validation.
color match and then tinker with it to get suitable
I usually keep three shades of olive drab handy on
results. If you are planning to use a very dark wash,
my paint rack: hIll-strength Tamiya olive drab, "scaJc
plan on starting with a lighter shade of olive drab. I
olive drab" as mentioned above, and an even lightcr
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like Tamiya olive drab, but when applying it to
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50:50 mix of olive drab and dark yellow that I use fl r
models of wartime US armored vehicles, I always
color depth and shading, as I will mention below.
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lighten it with dark yellow (Panzer yellow) since
Besides olive drab, the only other camouflage color
olive drab is by its nature ochre mixed with black. I
widely used by the US Army in the European Thcalcr
would strongly recotmnend avoiding the use of white
of Operations (ETO) was black. As in the case of
to.
to lighten olive drab since this tends to make it
olive drab, I never use black straight out of the bOILic. I
grayer when lightening it, robbing it of
always use a "scale black" whicl, is basically half
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chroma/color saturation. Ironically, "scale effect"
Tamiya black and halfTamiya red. The U Army u'c I
can obtained instantly by using the colors that have
a handful of other colors such as Earth Yell w during
been slightly mismatched to the FS-595 standard.
Operation Husky on Sicily and improvised cam unage
The Polly Scale color closely matched the test panel
sucll as mud in Tunisia.
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right out of the bottle, and the Model Air was close.
The other common paint color used by rhc
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The Gunze Sangyo acrylic and Model Master
Army was white for the tank interiors. This wa
enamel appear to have been matched to the mistaken
supposed to be applied to opening surfaces su h
FS-595A olive drab. This brings them close to
hatch interiors that could be seen by thc enemy; du'"
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"scale-effect olive drab:' though they are a bit too
were supposed to remain in olive drab. In thc
.1'1'
vivid due to greater color saturation. But this can be
open-top vehicles such as tank destroycrs, lhc
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of
reduced with a bit of weathering. In the chart below,
interior and floors were generally olive drab, lholl ,h
I include some notes on "suitability for models" but
the hull interior below the turret ring was usually
this is only my opinion and does not purport to be
white, Half-track interiors were entirely olive dr.lb.
Paint
TT-C-595/FS-595 match
Suitability for models
Polly Scale 505370
Lighter than wartime color
Okay for wartime olive drab
Model Air (Vallejo) 043
Lighter, grayer than wartime color
Okay for wartime olive drab
Tamiya XF-62
Best match for wartime color
Should be lightened a bit with ochrc
Gunze Sangyo H52
Matches 1968 FS-595A
Okay for wartime olive drab, a bit vivid
Model Master 4728
Very light, too gray-green
Too light
Model Master (613)
Lighter, grayer than wartime color
Too gray
Acrylic
Enamel
Model Master I7II
Close to 1968 FS-595A
Okay for wartime olive drab, a bit vivid
Model Master 2050 (613)
Lighter, grayer than wartime color
Too gray
Humbrol ISS
Lighter, greener than wartime color
Too green
WEATHERING
model is cvalualc I al thc whim or
winter temperatures are well below
Weathering on models is very
the judgc.
freezing, snow conditions tend to
much a personal style. Some
Before wcathcri ng a model, you
mimic dry temperate since the
modelers like realistic, heavily
should try to think about thc
snow does not melt; as the
weathered tanks, others prefer
circumstances of the tank you are
temperatures rise nearer to freezing
"extreme" unrealistic weathering
weathering. Historical photos can
point the ground conditions move
with a lots of intricate chipping,
only go so far in establishing the
through the damp and wet phases.
others like light weathering or a
amount of weathering, as black and
factory finish. My style leans
white photos are difficult to
toward the dull, restrained style
interpret except for extreme levels
which I feel is more appropriate
of mud or other weathering. I
to the subjects I usually do, which
usually define four basic levels of
It's important to give some thought to the type of weathering
Not exactly a World War II subject, but a useful introduction to the subject of
tend to represent vehicles in
weathering as summarized in the
northwest Europe in the rainy,
chart below. I have omitted snowy
this M2 Bradley IFV? Desert sand? No,
muddy autumn/winter 1944-45
conditions as this is not actually
it's forest green. But this vehicle has
pcriod. Weathering is your choice,
one ground state but several
unlcss you enter your models in
corresponding to the temperate
competitions in which case your
conditions mentioned below. When
weathering. What is the base color of
become so thoroughly caked in dust during trials at the Yuma Proving Ground that it appears to be a uniform sand color.
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Environmental conditions
Ground conditions
Overall effect on tank
Effect on
Effect on tracks, guide horns, moving parts
Example
rubber wheel/ tire surf.-tces
RIGHT Standing back for a moment, the dust coating on this M3 medium tank at Ft Knox in 1942 is a bit clearer.
Dry desert
Dry, abrasive sand
Dusty, possible paint abrasion and fading
Clean or dusty
Metallic sheen
Tunisia, II) I \
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Dry temperate
Hard, dusty, dry ground
Dusty; lightcolored weathering
Clean or dusty
Metallic
BELOW LEFT Not to belabor a point, but here is yet another example of a nice wash of dirt over the front of an M3 medium tank at Ft Knox in 1942.
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Damp temperate
Moist ground
Dirty; dried fringes of dirt turn to lighter dust color
Dirty, little rubber visible
Dirty, some metal exposed on extreme surfaces when in motion
Wet temperate
Sodden ground, mud
Glossy dark mud
Muddy, little rubber visible
Muddy, exposed extreme when in
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some metal on surfaces motion
BELOW RIGHT This M4 at the Desert Training Center in 1943 is not completely covered in dust, but this rare color view does give an impression of how dirt quickly becomes beaten into the finish. iegfried 1.1111', ovemb(1 19 II
conditions you are trying to depict
wheels will be bathed in moist dirt
I am going to deal Wilh till
as this affects the painting choices
and so there is no need to carefully
of soil texture separately Iwlllll.
1lH'llt II
you will have to make. I find it
I
paint the rubber separate from the
will skip this one for a ml
very odd to see a tank model with
rest of the wheeL This is especially
go directly to the airbru h
1',1111111
extensive mud, but with the rubber
useful if the kit assembly
stage, I try to add as mu h
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on the roadwheels clean and
encourages attachment of the track
depth to my model as p .,,111,
painted black,
to the model prior to painting, such
before hand painting, Theil' ,II.
as with some individual-link track,
three subcategories of the l.lllk
My preferred weathering style
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is "damp temperate," I like this environmental condition for several reasons, To begin with, it offers the widest range of dirt color since the moist soil on some parts can be shown as a dark brown, while dried areas can be shown in lighter colors. Secondly, if the soil is moist enough, the inner faces of the track and the moving surfaces of the
Another quiz, The base color is",? Well, if you read the previous caption you probably guessed that the base color is olive drab and the sand color is simply a thick coat of dust.
which need separate colors: the
I usually start by painting my tank
soil, After this, I apply "scale" olive
01 ive drab sections that have little
model witl1 t11e two "base" colors,
drab on the upper surfaces. At this
or no dirt, the lower surfaces which
For the dirty areas of the suspension
stage, I don't worry about the
have lots of dirt and the "blending
and lower hull, I start with lamiya
blending zone,
zone" in between these, which is
XF-51 Khaki Drab, which is a bit
mostly 01 ive drab but has some
darker and duller than olive drab,
khaki drab base color with my
hints of dirt,
and a good approximation for wet
favorite dirt color, Tamiya XF-62
On the undersides, I follow the
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It doesn't take much travel in soil 10 start the tank weathering process. Thl M4A 1 at the Virginia Military Vehicl Museum is kept washed down and In pristine condition. Driving it from lh shed to the public display area for lh annual open house is enough 10 I rt , rl accumulation of bright red Virginia IllY all over the lower surfaces. A World Will II tank operating for weeks in lh II It! with no cleaning but the occasion, I r,l " shower would accumulate mu h m r dirt and grime.
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Even in dry and dusty condition, the rubber portions of the wheel tend to become saturated in dirt color, as seen on this M5A 1 running gear. (Cookie Sewell)
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JGSDF Brown, whid1 is a useful
the suspension so that the face of
a more vivid color (buff).
hi,
intermediate grey/brown color. I
the track and the face of the
coating includes the side
(, hl'
avoid using too vivid a.dirt color
roadwheels touch ing the track
track/end connectors, the (a
such as red-browns or mustard
remain mostly khaki drab. When
of the bogie assemblies that
yellows unless I am trying to
spraying the lower hull side behind
outwards, the tops of the bogi
s
r.,
duplicate a specific soil color. Some
the bogies and wheels, I usually try
and the centers of the wheels,
areas, sud1 as Lorraine, have a very
to apply the paint a bit irregularly
leaving the rubber bits in Khaki
reddish-orange soil; others have a soil
rather than a solid coat. After this,
Drab or JGSDF Brown.
c
With the basic undersides done.
with a lot of clay, which can run
I go for a highlighting coat to
towards the yellow/mustard. In some
mimic the area where the dirt has
I turn my attention to the upper
cases, I will alter my soil color if I
dried in the sun. I usually use either
surfaces, wh ich have already been
have some evidence it was distinct
Tamiya XF-55 Deck Tan or XF-57
painted with "scale" olive drab. Th
from my usual soil color choices.
Buff for this depending on whether
next phase is to try to give these
I want a duller color (deck tan) or
areas a bit of life by increasing the
I pass the airbrush parallel over
One weathering effect ignored by many modelers is the staining caused by the oil in the wheel hubs. No matter how good the seal, some of the oil tends to leak out, in this case mingling with dry soil to create a darker stain. (Cookie Sewell)
In spite of the pressures involved, tanks moving through soft, wet soil often have the soft rubber of their wheels completely covered in dirt with little evidence of the rubber surface.
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Track such as that on thi h 1111<111 I 1 can have the soil color mb c1c1rd III It soft rubber surface.
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Soil effect on tracks d p nd n till configuration. On the T48 rubb r chevron track, the chevron PMl ,III become soiled with dirt 01 r Irl cross-country travel; trav I n h,"d roads can remove this oatln
This shows a typical progression of my weathering style. The first stage (1) is a an airbrush coat of "scale 00." This is followed in (2) and (3) with bands of "light 00" and dark yellow to add some color depth and mimic rainwater streaking. The blending with the dirty suspension begins with (4) and some JGSDF Brown along the lower edge followed in
Steel chevron track tends to sh d th soil color from the chevron mu h m Ie readily than rubber tracks, leavin < r,lW metal finish until rust sets in.
(5) with some deck tan. Next is some scuffing with a pencil in (6) to further add some distressing to the surface. The next big change occurs in (7) with the addition of a dust wash to accentuate the details and blend the lower colors. The final dry-brushing in (8) further pops out the details and replicates how dust is scuffed off the tank by crew action.
color depch. This is ineended co
yellow mix). I apply the dark olive
mimic normal paine discoloracion
drab under the overhangs such as
che sun, and chen doing che same
as well as co hine ac weachering
the currec buscle and under che gun
sort of screaking on the vercical
such as che screaking chac occurs
barrel, as well as in areas chat
surfaces. If I wane a lighcer appearance, such as a vehicle
surfaces chac might be exposed co
when rain washes che cank pareially
would be wiped clean of dire by
clean. Bcfore proceeding wich chis
crew anion. I thcn begin a process
heavily caked in dusc, I use "light
sccp, I cry co decermine che desired
of screaking che vereical surfaces co
olive drab" and scraighc Tamiya
final effecc of che weachering. Do I
mimic rainwacer screaking. I usually
Dark Yellow for che color depch.
want a very dark overall olive drab
crank down che air pressure on my
finish, or a lighc, more duscy finish?
compressor, and spray vcry narrow
If J wane a dark finish, I will chen
lines with che airbrush vcry c10sc
finished, I chen curn co che
use Tamiya XF-62 Olive Drab
co che surface. I chcn rcpcac chis
"blending zone" where che clean
scraighc from chc boccie, and "lighc olivc drab"
(50:50 olive drab/dark
Wich che airbrushing of the basic cop and boccom surfaces
process wich chc lighccr color,
upper surfaces scare CO merge wich
applying marc of chis color co cop
che dircy undersides. On a cank
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This M3A 1 half-track in the UK in 1944 is pretty clean, but careful inspection of the olive drab surfaces show the subtle effects of weathering.
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like the Sherman, this means the
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hull sides near the bottom of the
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sponson, and the front and rear
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lower hulls, especially in the areas
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near the track. For this, I use
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irregular pulses of the lighter dirt
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2 ABOVE Here are some examples of Liquitex acrylic texture gels with the raw material painted on some black board on the bottom and the same type above but painted in with khaki acrylic with a sepia oil wash and dry-brushing to highlight the texture. These are: 1) ceramic stucco; 2) black lava; 3) resin sand; 4) blended fibers; 5) white opaque flake. My favorites are ceramic stucco and blended fiber.
colors, starting with JGSDF Brown, and then finishing with the lighter Buff/Deck Tan colors. The most important effect to achieve in this step is to mimic the way that dust accumulates on the lower hull sides, and around the track area on the front and rear.
UPPER RIGHT My preferred method to depict soil accumulation is acrylic texture gels. These come in the form of thick paste with different types of texture, and are both easy to apply and easy to remove if mistakes are made while applying.
SOIL ACCUMULATION When a tank moves through soft farmland, it usually picks up varying amount of dirt. The tracks tend to thrown this on to the rear, over the front and up against the sponson
substantial texture. Other substances
air-brushing the model. This make,
bottoms. This ambulation of soil
can be added to the mixture to
it easier to blend in the soil alar,
can be replicated in a variety of
replicate tree root, sad or other
with all the other weathering
fashions, but my preferred method
terrain conditions. I make my own
effects. These textures could be added afterward, and since the
is to use acrylic texture gels. These
natural textures using a cheap coffee
are thick acrylic paints with various
grinder. Dried leaves are a good
texture gel is acrylic, it's quite easy
materials added to them to provide
source of natural texture, as are
to mix in ordinary dirt-color acrylic
specific textures. My absolute
dried tree roors. Adding this to the
paint to make it the proper shade.
favorite is Liquitex Ceramic Stucco
mixture helps to diversify the
I do not use texture on all my
texture gel, which has a fine grit. If
texture and make it seem more
tank models, since under some
I want to replicate thick, gooey
natural. Another good addition is
conditions, sud, as a tank traveling
mud, I will usually mix in some
static grass, which helps create the
for a long distance on a hard road or
Liquitex Blended Fiber texture gel,
impression of grass sod.
which has a stringy and more
I apply this texture gel before
after rain, much of the accumulated soil washes or wears off.
LOWER RIGHT Mud and dirt is especially likely to build up on the rear of the tank, kicked up by track action.
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Here's a sample of soft mud
I usually apply the texture gel before the
a
accumulation on a Stuart light tank
airbrush painting, and then subject it to
z
suspension. This is a museum vehicl
the same stages of painting as the rest
that acquired this thick coating after
of the tank model so that the whole
less than hour of travel.
effect blends together. I like to use
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a light, dried-earth shade in the areas
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with dirt accumulation, as it is then
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possible to pop out the texture using
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a dark wash and a light dry-brushing.
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The addition of a little static grass in the texture gel can result in a more turf-like build-up on the model.
However, track action can shed soil v n out of steel grouser tracks, as seen on this M5A1 Stuart.
Texture gels are not sufficient by themselves to depict mud accumulation, and some careful painting also helps. I find that dry-brushing is an especially effective technique for enhancing the texture.
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MARKINGS
Allied stars with surrounds and
Micro Sol bUl Ihere arc olh
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process will crack the decal.
and then use M icr
-onunately, most US Army
the decal is sitting on some raised
markings are white, and the cracks
or depressed detail.
With the basic airbrushing
registration numbers inevitably
brands. Some brands arc a bil
complete, 1 next turn to the
have large clear areas. When
strong, so it's a good idea I n I'
can easily be repaired with a little
f-
markings. My favorite source of
applying dry transfers over complex
experiment before trying il
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markings for US vehicles is the
shapes, a problem often arises
model as adding a little wal
Archer dry transfers series. Archer
when the dry transfer will not
weaken the softener. After apl'lY"l ,
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a small drop of Micro Solon rill'
white paint. In the event that 1 am obliged to use wet-slide decals, 1 follow
'01· [tener if
The large Allied stars common
masks are not always useful as they are of rigid metal. The Eduard masks work well, but 1 often find myself without a mask of a
in 1944-45 can pose a headache.
suitable size. The homemade
When working on a very complex
solution is to use one of the
area that is not suitable for dry
photo-etch masks to cut a mask
offers a very wide range of Allied
conform exactly to the shape. For
stars, registration numbers, bumper
example, when placing an Archer
recalcitrant decal, I let the s lUll
the usual procedure to minimize
transfers or decals, such as a
out of some adhesive material.
codes and other typical US World
dry transfer on an engi ne deck, the
do its work for a minute or IWO,
any silvering of the clear areas. I
Sherman engine deck, I will
The usual material recommended
War II markings. The main
dry transfer sits on top of rivets
then use a damp catron swab to
spray the area where the decal
sometimes mask the area and
for this is Frisket, a type of thin,
advantage of these over-water-slide
and depressed surface detail. The
press the decal to the surface anti
will be placed with Tamiya Clear
airbrush on the star. There are
transparent, self-adhesive vinyl
or with Future floor finish. I
photo-etch masks for this, and
sheet sold in an supply stores
III
decals is that there are no clear
way around this is to use a decal
absorb any excess Micro ' I.
areas to worry about silvering. This
softener of the type used with
Sometimes when placed over an
usually use Micro Sol setting
Eduard offers pre-cut vinyl self-
specifically for this. I sometimes
is an issue with US markings since
water-slide decals. 1 use Microscale
especially challenging shape this
solution when applying the decal,
adhesive masks. The photo-etch
use a related product called
The complicated Allied star can b painted on models much like the original using a stencil, and several aftermarket photo-etch stencils ar available from Verlinden and oth I' firms. For more complex shapes, th stencils can be used to cut out Furth r stencils from self-adhesive graphi h t like that made by Frisket. In this ca ,I used some leftover Letratone sheet as it's easier to see on the model.
Reverse masking is sometimes useful for complex markings. This is a Tamiya M3A 1 light tank I was building in Tunisia markings with the Armored Force chrome y~lIow stars and bars. Since the Archer decals weren't available at the time, I used reverse masking for the markings. After priming the area with white, I then applied some yellow and once dry, I masked the star and bars before proceeding to the olive drab stage.
Another advantage of airbrushing stars rather than using decals is that it offers a natural irregularity much as would have occurred when the markings were stenciled on the original tank. This is a sample on my M3 Leaflet night-fighting tank.
Here's an example of reverse masking on a finished model, my Academy M3 medium tank in the markings of the 2/1 3th Armored Regiment in Tunisia in December 1942, with the characteristic Armored Force yellow star and bar markings along with the battalion marking on the hull glacis plate.
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Zip-tone after one of the more
little chips all over the surface with
the existing racLOry finish.
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popular brands. I have lots of this
no rhyme or reason. In the hands
and British tanks in thc descrt
stuff left over from the I970s in
of a skilled painter, chipping can
campaign usually arrivcd in thcir
f-
the pre-computer days when this
add an exEra patina of
European factory finishcs, and had
SALT MASKING FOR A
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stuff was widely used for doing
aurhenticity; in less skilled hands it
a hasty coat of some sort of sand-
DISTRESSED FINISH
graphics and illustrations. Either
exposes the modeler's limited
colored paint applied. In the case
I haven't done a lot of models of
way, the material behaves the same.
talents. Unless you are an
of Iraqi tanks, they arrived in the
US tanks with heavily distressed
It is less tacky than masking tape,
exceptionally good painter the old
usual Soviet dark green but were
finishes, but I have used extreme
and is somewhat more rigid and
adage "less is more" is wise advice.
locally repainted, in some cases
distressing techniques on other
with house paint. Field expedient
models. I have tried the "salt" method to replicate distressed
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erman
with improvised paint substitutes such as lime whitewash.
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less apt to fold over on itself,
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ruining the mask in the process.
for chipping comes from photos
paint is far more likely to chip
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Creating your own mask takes
of ranks from various desert
than factory-applied paint as it
paint, and, while it works, it is not
patience, and I would recommend
campaigns such as rhose in North
is often done
easy to control and the results are
Arrica of World War II or Iraq
conditions, often on surfaces that
erratic. This method involves the
:Juring Operation Desert Storlll.
have not been cleaned. Another
application of salt crystals as a
'ome caurion is needed when
situation where chipping would be
mask. The model is painted in the
trying to extend this source of
common was with whitewash
dark base color, such as olive drab
inspiration to other theaters.
finishes. Once again, these were
for a whitewashed AFY, and then
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One of the main inspirations
this only to the more die-hard
to break up the monotony of large
airbrush enthusiasts. It is a useful
areas of dark yellow and it is quite
technique for some subtle effects
visible on a light paint finish such
such as showing a slight bit of
as that on German AFVs in
overs pray around the mask edge, as
1943-45.
often occurred when World War II
There are a few controversies
GIs were using cardboard masks
about chipping. Did it occur in
themselves to paint the real thing!
relation to US tanks of World War
II? If so, what should it look like?
CHIPPING,
A whole book could be written
SCUFFING AND DETAIL PAINTING
about this, and I will try to keep
With the decals and markings
opinion, the depiction of chipping
my musings short. In my humble
under way, I usually do a variety of
has become excessive in the hobby.
detail hand-painting that is better
Most tanks didn't survive long
undertaken before the wash and
enough to get that beat up.
dry-brush phases. Some of this is
Modelers are basing their
to mimic various weathering effects
weathering on contemporary
while other is simply to deal with
construction equipment which is
parts that may require a different
in service for many years, often in
color than the rest of the tank,
an environment worse for paint
such as rusty mufflers.
wear than the battlefield. Old
Chipping is one of the more
beat-up museum tanks are another
recent modeling fads that started
unfortunate inspiration. Chipping
about a decade ago, mainly among
certainly did exist, but I think that
German AFV modelers. I think it
many modelers overdo it, and
is particularly attractive to German
depict it in unrealistic fashion. The
AFV modelers since it is one way
worst examples are models with
ABOVE Black and white historical photos can easily be misinterpr t d as showing paint chipping. In my opinion, a far more common ran f r the distressed surface on tanks 0 un when a top layer of dust and rim I_ scuffed by crew action, revealin th tank's original color below, as n 1\ the rear deck of this Sherman.
1I1
less than ideal
Desert paint finishes were almost
improvised field applications, often
the surface is dampened and some
invariably applied in the field over
on top of dirty surfaces, and often
salt crystals are randomly dropped
BELOW The most likely area for p,IJrIl chipping on US World War II tank W,I in areas where frequent crew, tl 11 wore through the paint to th bar metal below. Here's an exampl n ,In M4A 1 driver's hatch where th r w action has worn completely through the paint along the forward lip of th hatch opening.
Salt masking involves the use of salt crystals to create an irregular mask. TOP LEFT The model has been painted already in the base coat of olive drab, the surface dampened and salt crystals spread on. TOP RIGHT The whitewash has been airbrushed on over the salt crystals. BOTTOM LEFT Finally, the salt has been brushed off.
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Here's an example of salt ma king
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this technique a few tim
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on it as I think that the app aran
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M36 tank destroyer. Althou h I'v \1\1 It ,I'v
up
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the salt is a bit too regular. Th
fortunately, the results actually
damp piece
desert color is then applied and,
trying to mimic where the paint is
after the paint becomes dried to
most likely to be scraped off. After
the touch, the salt is brushed off.
painting the whitewash or desert
history" of a typical US World War
color, and after the paint is dry to
II tank to get some sense of why
I prefer toothpaste masks.
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r natural sponge,
on the surface. The whitewash or
r move
improved the effect. It's worth examining the "paint
TOOTHPASTE FOR A
the touch,
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DISTRESSED FINISH
sink, and wash off the toothpaste.
to the final finish of typical
r have
I've found that this method creates
models. Our sample Sherman tank
more controllable masking
a nice amount of natural
was produced at the Detroit Tank
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found that toothpaste is a
the model to the
chipping wasn't especially relevant
medium. The one important
randomness, but it requires some
Arsenal in the spring of r 943. The
fe>.
warning is that toothpaste is a
practice. A good method to
initial olive drab finish was applied
soap, and so it will attack acrylic
practice is to use this technique on
in the factory using the usual
paint. So after painting on the base
secondary bits of the model. I
industrial processes, including heat
tried out these techniques first on
treatment for durability. Many
clear lacquer finish to act as a
wooden doors that were part of
subcomponents for our Sherman
barrier to prevent the toothpaste
a vignette base. This is where I
actually arrived pre-painted in olive
from attacking the acrylic paint.
discovered that toothpaste will
drab from the subcomponent
I then apply toothpaste using a
weaken acrylic paint, but
manufacturers. The big tank plants
ex: UJ
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scenic setting on its vign II b, s .
coat of olive drab,
r then
apply a
LEFT Toothpaste masks work the same way as salt masks except that the toothpaste is applied with a small piece of sponge, allowing more control.
BELOW Here's the result of toothpaste masking showing the nice, irregular results. However, this also highlights one pitfall. If the base coat is acrylic, it's necessary to seal the paint with an On some winter finishes, I apply the whitewash finish with an airbrush, trying to keep the coverage a bit irregular and faded, as on this Tamiya 1/4B-scale M4 fitted with a Verlinden T1 E1 Aunt Jemima mine-roller.
enamel or lacquer clear coat as the toothpaste will wash away some of the paint below.
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and the periscope covers tended to
thin semi-transparel1l wash of rust,
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be in high-traffic areas.
not the rust itself In summary,
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Assuming that some chipping
chipping might occur but in the
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did occur, how should it appear on
case of the average
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your model? Some German AFV
it would appear as small areas of
modelers like an especially fussy
dark rust color, in other words, not
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herman tank,
presentation showing the paint
markedly different than the existing
chipping off a red lead primer base
olive drab paint.
coat. This is an odd notion since
My own opinion is that paint
the main reason for primer is to
chipping was not that prominent a
form a strong bond with the
weathering feature on World War II
finished paint coat. This is one of
US Army tanks in combat in
the less likely scenarios. If there
Europe in 1944-45 and that the
were enough action to chip through
real source of most of this
the paint, the more likely scenario
apparent chipping seen in black-
would be that the paint was
and-white photos is actually the
did not manufacture tanks from the
next spent a few months bouncing
chipped down to the metal surface.
erosion of layers of dirt and dust,
ground up, but rather assembled
around the English countryside on
In this case, the most likely result
exposing a darker paint finish
components from other plants and
training exercises. In preparation for
is a small area of rust, since the
below. I refer to this as "scuffing"
only created a fraction of the tank
the shipment to France it received
exposed metal surface, unless
rather than chipping, as basically
wooden door on my M5A1
on the premises. Our Sherman was
wading trunks and another
repeatedly abraded, would turn to
the crew action is scuffing the dust
vignette base.
white photos that se m tt> "
then sent to the Chester Tank
treatment of waterproofing. On
paint chipping. The bottulll
rust. Contrary to modeling lore,
and dirt off the surface, exposing a
Depot where it received some of
arriving in France in August 1944,
not a lot of chipping \VulIll.
steel does not rust bright orange.
darker layer of paint below.
tlle Blitz upgrades such as applique
ordnance again stripped off the
on most average U
Some alloys do in fact turn a
armor that required at least some
waterproofing and touched up the
Where chipping is m(
touch-up painting over the new
paint (again!)' By the time that our
to occur would be on art ,h
armor and welds. It was then
Sherman saw combat, it had several
of sheet metal which all h..
waterproofed for shipment to the
layers of olive drab paint starting
easily deformed, enc ura
UK. On arriving in the UK,
with a faitly pristine factory coat,
paint to peel. Chipping \Vol' I..
Arm)'
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II .1
Regardless of whether it is
Toothpaste masking is very effective for other weathering projects, like this
pattern. One way to avoid this is to use an application method other
bright rust color, but not steel
chipping with rust, or scuffing with
than a brush. I sometimes use a
armor. I live a few miles from the
exposed paint, the application
small piece of natural sponge that I
1110'
Ordnance Museum at Aberdeen
techniques for this are the same. I
hold with cross-action tweezers. I
tilt
Provi ng Ground where there are
use two methods for these effects,
dip the sponge in the paint color,
plenty of examples of tanks from
either paint or pencil. Paint is well
dab it a few times on an absorbent
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111'
1
ordnance teams removed the
plus several layers of olive drab
likely to occur on hard arm
around the world that have been
suited to this effect, and can be
work-surface, and then apply it
waterproofing material, which often
from the various touch-up jobs.
surfaces except in heavy-trarfl
sitting exposed to the elements for
applied with a fine brush. I will
irregularly to the tank model.
included adhesive like Bostik to
Even if the hastily applied surface
areas. Some areas over! ok I by
decades. The World War II tanks
mention some painting tips below
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Colored pencil is a useful
hold canvas water-covers in place.
layers chipped a bit, they were likely
modelers are the rectangulal'
have many chips and dings, and the
that make it easier to do fine detail
tedlnique for chipping/scuffing.
This process left an unsightly mess,
to encounter layer after layer of
periscope covers on US tanks.
tracks are unfinished steel. The
work. For the moment, I will skip
There is a wide range of colors and
and so the ordnance crews then
paint. On top of tlle paint was apt
These were often made of
color of rusty tracks and dinged
this issue and assume the reader
types of pencils available. I usually
cleaned up the tanks with another
to be a thin layer of dust on many
aluminum, and in wartime t st
metal surface is a dull dark brown.
knows how to do fine painting. The
use a very dark, very duB brown
quick spot coat of olive drab. (This
surfaces, and a thick layer of dirt or
photos I have noticed that 1hesc
Some sheet metal bits do suffer
main drawback with painting with a
color in the sepia range; lighter
is also where the official blue drab
mud on other areas. It was far more
are one of the few areas where
from rust after decades of
brush is that it is very difficult to
paint finishes such as German AFVs
registration numbers became
likely that the dust or dirt would be
chipping did regularly occur sin
exposure, and this sometimes
recreate the irregularity seen in
could be done with lighter colors.
overpainted with more commonly
"chipped" away, and this process
paint does not bond well to
appears as a brighter rust color on
natural effects. The chipping tends
One of the main advantages of
available white paint.) Our Sherman
may account for many black and
aluminum without special pl'imer"
light surfaces since it is actually a
to take on a very predictable
pencils over brushes is that they can
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be kept very sharp for small
especially if there is a lot of
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chipping effects and they are better
contrast between the main colors.
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suited to some effects such as
This usually isn't a problem with
whitewash finishes often come out
I-
scratching caused by tree branches
US World War II tanks as the
looking crude and messy. By
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running alongside a tank hull.
schemes are dull. Glazes are also
mixing together a glaze from
useful for toning down US World
Tamiya Clear and a little white
War II tanks that have a lot of
paint, the contrast between the
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BLENDING/ PROTECTING THE PAINT AND DECALS
Two types of washes predominate: an overall wash, as seen here on the left, which thinly colors the entire surface but congregates in cracks and crevices, and a pin wash, which is aimed only at accentuating detail or for streaking effects. I usually use an overall wash on olive drab finishes both to accentuate detail and to weather the surface. An overall wash can be done in different colors, either a dark wash with sepia or a dust wash with a light earth color.
Glazes can also be used when re-creating winter finishes. Rough
white markings on them.
whitewash and olive drab can b
Sometimes the decal markings can
subtly reduced, making the m less toy-like and more realistic.
lei
Before I move to the wash/dry-
look too stark and unrealistic
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brush phase I usually seal the
against a dark olive drab finish,
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model with a clear acrylic coat.
and the use of a glaze helps to
ApPLYING WASHES
I usually use a glossy clear acrylic
blend them together. I use a
Washes have been a traditional
for sealing, since my wash will be
blending glaze most often when I
weathering technigue since the
based on mineral spirits. It's
build German 1943-45 AFVs, as
I970s, but have fallen
ut (SI yll'
essential to use an acrylic sealant
the multi-tone camouflage usually
in recent years in favor
(pigml'l1h
when using a solvent-based wash
looks too pretty and toy-like.
and pastels. I still prer, r IVa,hl" ovn
Washes are good for accenting
pigments as they perr, rm, widl'l
detail as well as replicating the
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to prevent the wash from
A glaze is basically a clear coat
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dissolving any decals or enamel
but with a little colored paint
range of functions. Washe
paints below. I mainly use a clear
added in. My usual glaze mixture is
used both for weathering ~11 I\n
sealant to protect decals. If I
Tamiya Clear plus a little Tamiya
help sharpen and delln ,
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111)
to
flat surfaces as well as crevices.
dark wash on the light dirt color suspension and undersides. A wash can be mixed out of
Another useful solvent is turpenoid, which is an artificial turpentine substitute. Several solvents are very
natural accumulation of dirt and
nearly any solvent and any paint, but
bad choices for washes. Artist's
grime on tanks. Glazes are better at
some solvents and paints work
turpentine should be avoided as it
replicating other weathering effects,
better. My preferred approach is to
tends to lead to a sticky mess.
happen to be working on a model
Khaki or Buff, plus some thinner.
details. When most m d I " t1\1l1~
especially dust which tends to cover
use oil paint for the color and
Lacguer cellulose thinners are
without decals to protect, often I
The amount of paint added to the
of washes, they think prima," ' nl
the entire vehicle.
mineral spirits (white spirits in the
simply too aggressive to be used as
will skip this step since all my
mix depends very much on how
dark washes. In the case (
UK) as the solvent. Mineral spirits
they will often craze underlying
painting up to this stage has been
much blending is desired. Too much
tanks of World War II, light du,t
only dark washes and cover the
is relatively mild and does not attack
paint.
paint in the glaze will obliterate the
washes are actually a more us rul
whole model with them. In recent
underlying paints as aggressively as
susceptible to mineral spirits or
finish below, so it is a good idea to
approach for most models.
years, I have begun to use light dust
some other hydrocarbon solvents.
similar solvents. Another reason
start out using glazes with very
to use a clear coat is if the model
modest amounts of paint.
with acrylics anyway which are not
is painted in a white winter
Glazes can also be used to
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A wash is basically a small
In the old days, I tended to use
washes more and more often as
amount of paint suspended in a
they are especially suitable for the
solvent. This is in distinction t ~
dark-colored olive drab US tanks.
glaze where the paint is suspended
My usual approach these days is to
scheme. The flat white paint is apt
create weathering effects, especially
to be excessively stained when
dust. The nice thing about a glaze
in gloss medium and solvent.
use a light dust wash on the darker
applying a wash, but the addition
with a small amount of paint is
While this may seem to be a minor
olive drab upper surfaces, and a
of a clear gloss coat helps prevent
that the dust effects can be
distinction, the results are
the wash from soaking into the
gradually built up-more opague
significantly different. A wash
white paint.
in some areas, and more
tends to run off all the flat bits
transparent in others. I nearly
and congregate in depressions,
protective coat prior to the wash
always use a glaze when doing US
crevices, and holes. A hand-applied
is to blend a finish or to duplicate
AFVs in Tunisia in 1943, as it is
glaze also will congregate much the
dust. Some model finishes come
a good way to replicate a faded,
same way, but due to the use of a
out much too garish and toy-like,
dust-covered appearance.
medium, the paint will cling better
Another use for a clear
Until recenlly, I had used a dark wash over the whole vehicle, as on this Tamiya M5 conversion. But I don't think it gives as good a result as a light dirt wash on the upper surfaces. I still use a dark wash on the lower surfaces.
In the old days I made some use of acrylic washes, but I would not
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Here's a good example of the excell nl results possible using a Iighl dirl wash on an M4A3E2 conversion. The fra lal rain pattern on the glacis plale is du the use of the Liquin medium in lh wash, but in all honesty, I haven'l figured out how to reliably creal lhl effect. Sometimes it appears, som lim \ not.
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The specific mixture of solvent
problems, such as mixing the W.ltl"
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with a flow enhancer. BUl in
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general, I would recommend
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against acrylic washes.
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My usual dark wash consi:il' of mineral spirits, Holbein 'epi,1 oJ! paint, and some Liquin (;Isl-dry medium. Mineral spirils an 11<' easily obtained at any large hllllH improvement or DIY Slore ,111 II inexpensive. Although I m,1I111)' Winsor & Newton oil 1',1 1I1l , I Holbein Sepia as I like til(
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better than the ones avail.1hl.'
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III
extremely dark, dull br wn, bordering almost on black. \
111\1"
ewton Liquin original" ,1
thick liquid added to oil painl to accelerate drying time. 1 usc il
fil'
several reasons. Besides speeding th' drying, it also seems to harden lhe oil paint where it congregates m Sl recommend them. There are two
effect sometimes called water-
thickly. By adding more Liquin
principal problems. To begin with,
staining or soap-scum. When some
the mixture the wash become a
the usual solvent used for acrylic
of the treated area remains damp,
hybrid wash/glaze, with the
washes is water, and water does not
suspended paint in the water tends
Liguin acting like a clear medium
penetrate into cracks and crevices
to congregate at the edge, leaving
and helping to spread the paint
as well as mineral spirits,
an unsightly line around the former
over the whole surface. I don't aim
diminishing the effect of the wash.
puddle. Acrylic washes are certainly
for this effect with dark washes,
Water is not as volatile as mineral
possible, but not the best choice. If
but I do use this effect with light
spirits and takes longer to dry. In
you do use them then consider
dust washes, as I will mention in
so doing, it leads to the unwanted
methods to avoid the most obvious
a nl0nlent.
while overall washes can use either
have yet to figure out any precise
two parts Liquin and one parr
a light or dark mixture. On most
and convenient method of
paint mixture. BUl this is only a
of my US World War II tank
measuring small quantities of liquid
rough estimate!
models, I use a light dust wash on
LO
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the olive drab upper surface and a
differently to my dark washes.
dark wash on the dirt-colored
dependent on the intended
Although the solvent is the same-
lower surfaces. Washes should be applied enough to dampen the
results-more paint, greater effects;
mineral spirits-I usually use
less paint, more subtle effects. This
enamel paint for the color as I find
whole surface, but it's best to avoid
comes down to artistic judgment
that such products are more opaque
excessive puddles. The puddles
and, if you have never used a wash
than oil paint. My usual mix
take forever to dry and often look
before, experiment on an old kit
consists of two shades of Humbrol
excessive. It takes practice to learn
first. 1 mix my wash fresh on every
enamel. I have had a
how to properly apply washes.
project. I have tried mixing washes
hard time finding ex,ledy the right
in batches and storing them, but
shade of Humbrol to satisfy my
wash, I usually mix it thickly
I find that the mineral spirits and
taste for a light dirt color.
enough and with enough Liguin
oil paint separate and sometimes
Humbrol's light earth colors tend to
that it leaves a distinctive trace over
deteriorate. In the event, it is easy
run either too much towards the
the entire upper surfaces. Rather
and quick to mix a wash. I usually
yellow mustard side, or too much
than let it flow randomly I will
use a disposable plastic yogurt lid
towards the earth red side. So I mix
usually use a wide brush and stroke
a little of both! If the result is not
tile side surr.,ces to mimic the effect
In the case of the light dust
for a typical 1/35-scale project. In
light enough in color, I throw in
of rainwater washing dirt down the
addition, I like the side area of the
some white. The aim here is to
sides. In the case of the dark wash,
yogurt lid as it gives me a surface to
create a light dirt color that is
I seldom bother with this because
wipe the brush across to help blend
plausible as a coating of dust. It
I generally use this wash on the
the oil paint paste with the mineral
must serve two functions: to
lower sides and suspension where
spirits. Another advantage is that
weather the model by imitating a
there are few large, flat surfaces
the transparent plastic makes it
layer of dust, while at the same time
worth streaking.
fairly easy to determine when I have
accenting the details by
the right mixture. One of my tricks
congregating around the various
start by applying the light dust wash
to test the wash mixture is to apply
surface details. I tend to add more
on the upper surfaces, and then
some paint to the parts of the
Liguin into my light dust wash than
applying the dark wash. I sometimes
underside that will not be seen on
my dark wash as I use th is ina
accelerate the dryi ng between these
the finished model. I then test out
fashion closer to a glaze, aiming to
stages using a drying box, but other
On most of my tank models, I
my wash on this area and, if it
have more of the paint remain on
times I do both the light and dry
doesn't have enough color, I add
the flat surfaces, not only in
wash in the same session to better
some paint, If it coats too well, I
the crevi ces.
add some mineral spirits. The
[\
I mix my light dust washes
amount of paint in the wash will be
tllat I find to be about the right size
Winsor & Newton line, -"1'1,1 I ,Ill
&
washes usually use a dark wash,
roughly len pans mineral spirits,
and pastes. Furthermore, the
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but I would say ih,ll the mixlure is
and paint is difficult to describe as I
blend them together. I will explain
There are two ways to apply a
amount of Liquin in the mixture
wash-either an
verall weathering
also depends on rhe desired effect,
wash or a detail "pin" wash. Pin
the drying box in a moment. Pin washes are localized washes usually intended to accept detail
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rather than create weathering effects.
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Typically, they are applied using a
12 to 24 hours to dry, sometimes
inside a plastic shopping bag. The
u
small 000 brush, and applied lightly
more. So I use an improvised
aim is not to hermetically seal I h
f-
near a prominent detail to allow a
model drier. This is basically the
drying area, but to let some of the
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dark wash to flow into the crevices
heating/fan unit from a food
air escape. I set the dehydrator at
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case with washes that can take
dehydrator top, and placed it
RIGHT Dry-brushing is a very effective way to help accentuate small detail as well as to mimic some weathering effects such as dust and dirt.
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to help accentuate the detail. I don't
dehydrator mounted on top of
about 125 degrees Fahrenheit
use pin washes very often as the
a plastic box. These dehydrators
(about 50 degrees Celsius). ]
overall wash usually takes care of
are commonly available in large
find that the dehydrator will dry
the accenting details.
cooking stores and are used for
a model wash in about an hour
preparing dried fruit or beef jerky;
to a finish hard enough to do dry
ACCELERATING PAINT
I use a Nesco brand example that
brushing. It is also a good sy tem
DRYING
is configured with a removable
for accelerating the drying of
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I am an impatient modeler, and I
heating/ fan element at the top of
normal airbrushed pai nt, e p
don't like waiting overnight for a
the drying device; other brands
when it's necessary to mask area,
layer of paint to dry when I still
have them on the bottom. I like the
between paint colors.
have an hour or two of "hobby
top-mounted style as it keeps the
time" left. This is especially the
fan/heater further from the model,
I use an improvised drying box consisting of the top heating/fan element of a food dehydrator mounted on top of a large plastic stowage bin surrounded by a plastic bag to prevent most of the hot air from escaping except for the necessary venting. I set the dehydrator at about 115 degrees F (45 degrees C).
ially
BELOW LEFT Here's what my work surface looks like at the beginning of the dry-brushing process: a bit of pigment sludge from a Humbrol tin in the appropriate color, some Winsor & Newton Titanium White oil paint on the palette paper, and a suitable flat brush. BELOW RIGHT This is my work surface while dry-brushing. I always cover my work surface with newsprint paper as it gives me a working surface to brush off most of the paint from the brush, I aving only a very slight trace of paint for the dry brushing.
DRY-BRUSHING
which rests below it. All the
Dry-brushing is an ther \,.linlll1 ,
dehydrators I have seen are not
technique that is no I nger
III
immediately suitable for use as
favor with the avant-gardl' 111 1111
model driers since the interior
"extreme modeling" c ml11111111 .
consists of layers of trays that are
but I still think it is a very d fr
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too shallow for placing a typical
method to enhance detail If
I/35-scale rank. So instead, I took
applied in a subtle fa hi n. 1111
a plastic stowage bin large enough
real problem with dry-bru,hll1 ,
to accommodate the round
comes when the contrast b tlVl'lIl the dry-brushed areas and ti,e surrounding areas is too extr mI'. Do not use white dry-brushing on olive drab tanks! Do not usc bin k dry-brushing on tan tanks! Dry brushing can have two uses: to replicate actual wear and tear,
medium for blending the mixture
worktable so that only the faintest
Iight dust wash and exposed the
to the paint surface. In the case of
amount of paint remains on the
01 ive drab below. In the case of a
dry-brushing on a model with a
brush. I then begin applying this
lust and dirt represented by the
and to highlight detail. I find
light finish such as this, I use a
light dust wash, I use a Humbrol
to raised detail on the model, as
dry-brushing is extremely effective
dark dry-brush color. I usually use
color close to olive drab, and a
well as over textured areas.
when using a light dust wash as
a mixture of Humbrol enamel and
dark oil paint such as black or
described above, as it is a very
some oil-paint, as I find that the
sepia. I use a flat brush, usually in
the lower dirt color areas, but I
good method to replicate the
chalky pigment at the bottom of
the Xin. to ~in. range, and dab it
reverse the color dynamics of the
scuffed surfaces where the actions
the Humbrol tin allows the
in the enameI/oil paint mixture.
dry-brush, using a light color
and movement of the crew on and
mixture to dry quickly, while the
I then brush off as much paint as
instead of a dark color. The aim
possible on the newsprint on my
here is the same: to accentuate
off the tank has scuffed off the
il paint pI' vides a smoother
I use the same technique on
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of Liquin in the washes. So it's
with dust, which is probably nor
accumulating on the high points.
necessary to apply a clear matt coat
real istic, but they sure look pretty!
metallic effects, let me also raise
depict this as a metallic sheen
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My dry-brush mixture here is
to flatten the overall finish. I use
I occasionally use plastic lenses
the controversy over wear on the
from missing paint and vigorous
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usually a dull sand or tan
Testors' Dullcore, which is about
that arc available from aftermarket
end of the gun barrel. There has
crew-cleaning efforts.
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Humbrol enamel color, mixed
the only lacquer T still use in
car model sources if the particular
been a flap over the years about
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with Winsor &
modeling. I find that Dullcote
headlight is large or obvious, since
showing tank models with black
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detail and to replicate dried dirt
ewton Titanium
White oil paint. I emphasize the
provides a very flat finish, and I
use of Titanium White as many
prefer to use a more tenacious
other white oil paints are semi-
lacquer on top of a mixed
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While on the subject of
tear at the muzzle end, but T
PIGMENTS
headlights during this period had
soot at the end of gun tubes, with
Readers may notice that T have
diffraction lenses that are not well
some modelers arguing that
finished the section on painting
depicted using a plain MV lens. I
modern powders do not produce
without a single mention of
et:
transparent and Titanium White
acrylic/enamel/oil finish than an
paint the rear lenses using a
that much soot and orher arguing
pigments. This was nor an
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gives the best results.
acrylic matt coat. Marr finishes can
metallic red color for the upper left
that photos seem to show such
oversight, T simply don't use them.
be a bit dangerous to apply since if
lens, and black for the other lenses.
effects. I am an agnostic in this
T have seen many models with
FINISHING
they are pur on too thickly, they
Somctimes, 1 will make them
debate, but the effect often
finishes attractively done with
TOUCHES
will turn frosty and white and ruin
glossier by adding a dab of five-
overlooked on gun barrels is the
pigments, bur I simply don't like
minute epoxy to them.
tendency of high-temperature
their lack of durability compared
propellant gases to blister the
to paints. I will make some rare usc
material found on photographic
paint. On top of this, crews were
of pigments, for example, a little
negatives to replicate periscope
obliged to regularly swab out the
orange rust on a muffler, or black
faces. This material is very glossy
main gun tube to prevent an
soot near an exhaust.
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By this stage of the painting
the paint finish. The best way to
process, my tank model usually has
avoid this happening is to properly
a glossy finish from the
mix the paint and to apply the flat
combination of glazes and the use
coat in a gradual fashion. My usual mixture is 50:50 Dullcote and automotive lacquer thinner.
Here's an M4A3E2 conversion with film negative periscopes. If you look closely at the cupola vision port towards the rear under the figure's hand, you will notice how this surface realistically reflects like glass. The oval shapes for these vision cupolas are easy to cut by starting with a rectangle, and then trimming each corner with a diagonal cut.
I airbrush this in thin coats,
My preferred method for dealing wilh the numerous periscopes on US lank I to use small rectangles cut from old film negative strips. The material is v ry glossy, cuts easily, and can be aUa h d to the model using white glu or contact cement. It creates a prop r, optically flat surface, unlike glossy I ,1111I, which tends to be lumpy or cov r III curved edge surfaces.
building it up if necessary on areas
I usually use the glossy black
and its flat surface replicates glass
accretion of propellant residue,
better than a coat of gloss paint. T
and they did this by slamming a
simply cut this material into little
bristle brush down the rube from
that retain excessive sheen. Once
acrylic still lodged in the airbru,h.
rectangles of the appropriate size,
the muzzle end. As a result, gun
the Dullcote is applied, T use this
Some care has to be used with
and then glue them the periscope
tubes may very well show wear and
opportunity to give my airbrush
lacquer thinner as it can arrack thc
faces using white glue, carpenter's
a good cleaning as the lacquer
Teflon "0" rings in the airbrush,
glue or contact cement.
thinner will dissolve any remaining
so T never soak the airbrush in
The extreme end of weathering
lacquer thinner, I only spray it
o curs when the dirt and paint is
through the brush, or use some
worn away
tissue dampened with lacquer
I his can be replicated using
thinner to clean the surfaces. Once the Dullcote is applied and dry, I then finish the model by adding any glossy bits that are
to
the bare metal.
gr,lphite powder. T make my own by using a drafting pencil sharpener, but running a pencil vcr a piece of sandpaper can also
needed that would have been ruined
make a small supply. T usually
by the Dullcote. This includes items
apply the graphite with my
such as headlights and periscope
fingertip, and multiple coats can
covers. This is also a good time to
provide a suitable sheen if desired.
apply any metall ic effects.
I usually use MV's lenses for headlights. T seldom weather them
I ometimes further accent the metallic effect by highlighting ,lreas with a silver pencil.
I'm not a big fan of pigments, but I do use them to depict rust and exhaust stains around mufflers and exhaust pipes as on this M4 high-speed tractor.
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CHAPTER 3: BATTLE BITS: STOWAGE AND TOOLS
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US tanks were not as vividly camouflaged as German tanks but this should not limit modelers to dull
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and colorless models. There are plenty of opportLInities to add interest to models by imaginative use of
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I try to keep the overall color of the stowage light as cloth does not reflect as well as metal surfaces, and cloth tends to degrade in color faster due to sunlight, dust, and weathering such as rain.
weathering. But more than that, other features such as stowage and figures can really bring a model to life.
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US STOWAGE: MORE PLEASE!
T
color schemes of US tanks. There are three basic sources of
he tanks of each army
stowage: plastic kit stowage,
have their own unique
aftermarket resin stowage and
BELOW Stowage can make a dull olive drab tank a lot more interesting by adding a variety of colors as well as adding considerable amounts of small detail.
characteristics. such as Zimmer;t for German AFVs, elaborate political slogans on Soviet tanks. World War II US tanks were most distinctive for the enormous
Stowage can include a wide range of items including musette bags, bedrolls, rolled and folded tarps, and the very colorful US air identification panels as seen on this M4A3E2 assault tank.
amount of stowage carried. This was in no small measure due to the fact that the US Army was relatively wealthier than most other armies and tended to allot a great deal more "stuff" to tank crews than did more impoverished armies such as the Wehrmacht and Red Army. Personally, I find that this is a blessing in disguise for modelers interested in US tanks, as the stowage offers a colorful counterweight to the otherwise dull
RIGHT Stowage can add a lot of interest to the rear area of the tank, in this case my conversion of the old Tamiya M4A3E2 assault tank with a new scratch-built turret in the markings of "Cobra King," the tank of the 37th Tank Battalion that led Patton's advance to relieve besieged Bastogne during the Battle of the Bulge.
Open-topped artillery vehicles are particularly good subjects for extra stowage detail. This Academy M7 105mm HMC is full of stowage including resin ammunition boxes, turned brass ammunition and numerous other resin and plastic accessories.
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scratch-built stowage. My favorite
bedrolls. The plastic molding
plastic instead of cutting. Since til<'
non-Dremel bits at various hobby
than hcaps of monotone slowagc
shows. They arc all no-name
items ploppcd on thc back dcck
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is aftermarket resin stowage, but all
process is limited in its ability to
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Mini-Mitc relics on a rcch~rge:\bll'
three sources have their value and I
do undercuts, so the resulting
battery, thc power output is
brands so I have no easy way of
like a stack of mulricolorcd bricks.
significantly less. I usually usc my
directing readers to where to get
Flar and lifeless stowagc items can
Mini-Mite on the low power
these. I have found that figU[e
be enhanced wirh some simple
setting.
model shows tend to have a better
painting tricks.
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often mix all three on one model.
plastic items look clunky and simplified. For modelers with a
«
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PLASTIC STOWAGE
more generous budget, resin is the
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The main advantage of plastic kit
better approach for these types of
stowage is that it is relatively
items. But for modelers on a
o
selection rhan tank or IPMS
One of the most imp0l'l~nl
V)
acquisitions along with a good
shows. Figure modelers seem to
glaze. This is a quick and lazy
have more demand for the very fine
alternative to the complex blending
tools due to the delicate work
techniques used by master figure
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I use a technique I call an accent
inexpensive. Some Tamiya and
stricter budget, and who are willing
power tool is a rangc of goo I,
Academy kits come with stowage
to do a little extra work, the plastic
sharp cutting bits. Drcmel offl'r~
items, and several firms offer
stowage items can be significantly
fairly extensive rangc of CUlling
,I
nccessary on 54mm figures. Improving plastic stowage items
painters to achieve their little
afrermarker sers rhat widen rhe
enhanced. I use a power tool for
bits, but mosr of rhc rhcm nre
variety of items available. Some
this, usually a Dremel Mini-Mite,
on the large side, and some or
focuses on thinning out bits that
accents the detail and reduces the monotonous uniformity of
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plastic items such as jerricans and
to recreate the undercuts and other
them lack durable or shnrp CUll ill'
arc roo thick, such as straps, and
ammo boxes are very good replicas
details that are not present due to
surfaces. Ovcr thc yc~rs I h,lvl'
carving out areas that should be
single-color paint finishes. Like
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of the real thing, and the some
the limitations of the injection-
accumulated somc cxcell nl
undercut. This requires careful
most glazes, this II1volves the use
I
recent releases such as the Tasca
molding process. The Mini-Mite is
grinding, but at the end of the day,
of a transparent medium over an
jerricans are much better than most
my preferred power tool as it is
it can result in some much
existing paint finish.
expensive resin offerings. On the
smaller and handier than its more
downside, injection-molded plastic
powerful Dremel brethren. Less
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is not the ideal medium for representing cloth storage such as knapsacks, duffle bags, tarps, or
power is a good thing with plastic, as too much power usually results in the cutting bits melting the
Artillery vehicles are well uil d l aftermarket ammunition produ l This PSP resin M4 high- P d ll,l I contains a load of plastic and turned-brass 155mm ammunitl 11 from the AFV Club set.
improved detail. This type of work I
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masterpieces. This technique
For any readers with any art
rends to result in lots of "fuzzies;'
background, the best way to
rhe little plastic bits that seem to
explain this approach is to use the
cling to plastic in spite of attempts
watercolor analogy. As in the case
to clean them off As mentioned
of watercolor, the accent glaze will
earlier, a careful application of a
be applied in a semi-transparent
slow-drying liquid cement such as
fashion over a relatively light base
Testors' can melt rhese and smooth
color. One of the key details of
the surface. However, extreme care
this technique is that the base
must be used when doing this,
color of the stowage item should
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Here's an example of the use of an accent glaze on a plastic Tamiya tarp. The top view shows the tarp after being painted in Tamiya Dark Yellow lightened with white. The middle view shows it after an application of Liquitex blending medium and Vallejo English Uniform color. I intentionally overdid this stage so that the contrast is a bit too extreme. When overdone, the effect can be redeemed by airbrushing a glaze of clear plus a light color as seen at the bottom. The final step would be to do the detail painting such as the straps.
otherwise the liquid cement is
be a relatively light color. On the
simply going to melt all the nice
khaki side, I like colors such as
delicate detail you have just carved
Tamiya Deck Tan, Buff or Dark
airbrushll1g the stowage in one of
Yellow, though I actually prefer the
these colors.
into yoU[ plastic rucksack!
colors to be lighter than the
The next step depends on
ENHANCED STOWAGE
manufacturer's version and I have a
individual item and the coloring.
PAINTING
set of mixes of all of these colors
I sometimes "line" some of the
Another method to improve the
considerably lightened with white.
more prominent details with a
appearance of plastic srowage is to
On the green side, Tamiyn has a
darker color. These would include
usc a more sophisticated painting
good selection of suitablc colors
prominent straps or major cloth
method than simply airbrushing it
including XF-I4 JA
folds. It's not necessary to do all
in a singlc color of paint. Nothing
IJN Gray Grccn and XF-71 IJN
of these, or any of these, but
ruins a perfcctly nicc tank model
Cockpit Grccn. J begin by
sometimes it helps. I also sometimes
rcy, XF-76
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do a little light dry-brushing. It's
Liquitex Slow-Dri Blending Fluid
more restrained glaze. That is to
Resin stowage can be enhanced with some small additions. This is from the Blast M7 105mm HMC set, but I've added the cooking pot, ammo boxes and tie-down ropes.
very difficult to dry-brush with
Medium and a little color. If you
airbrush on another glaze. The
acrylic paints as they tend to dry
can't find the Liquitex product, a
difference between the airbrushed
quickly and do not blend well. One
similar acrylic glaze medium will
glaze and the accent glaze is that
technique to skirt around this is ro
work, especially if a little retardant
the airbrush glaze is going to cov
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mix in some white tempera paint.
is added to slow the drying. The
the stowage evenly and reduce the
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Tempera is a water-soluble paint
aim is to create a semi-transparent
contrast between the light and d;;rk
that comes in tubes like oil paint or
glaze, not an opaque paint. This
areas. I mix this from the original
watercolor. However, it is much
takes a bit of practice, and the
airbrush color used on the piece, in
more opaque than watercolor. It is
glaze can range from a nearly
a ratio of about 1:10 paint to
not as durable as acrylic paint, and
transparent coating barely evident
clear. I then airbrush this on until
it will often bead up on plastic or
once dry, through to a very dense
am happy with the blending. This
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painted surfaces. However, mixing
glaze with only highlights showing
process may seem ridiculously
some in with acrylic creates a hybrid
through on the finished piece. This
complicated, but it is actually
water-based paint that does
requires artistic judgment and I
pretty easy and goes quite qui kly
dry-brush much better than acrylic
can't give you any hard and fast
if you are painting multiple il m~
paint alone. I use the same
rules about the relative amounts of
at the same time.
This Blast resin stowage wasn't designed to fit the M5A1 Stuart, but with some careful sanding and file work, it was possible to make it fit quite naturally.
technique here as I would with an
paint and glaze. In terms of color,
enameI/oil paint dry-brush: mixing
my favorite glaze color for khaki
used on resin stowage whel'
the colors on a palette, removing
stowage is Vallejo Model Color
several different items al' mold d
This technique can als
be
most of the paint from the brush
70921 English Uniform and my
together in one piece. In Lhi.
on the absorbent newsprint and
favorite color for green stowage is
I use a very dull base color, u\u.dl\
then lightly stroking the brush over
Vallejo Game Colour 67 Cayman
something bland like Tamiya I
the surface to pick out highlights.
Green. When applying this accent
Tan considerably lightened wlLh
The one problem with dry-brushing
glaze, you want to apply the color
white. Then, each of the sepal'. L
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k
with tempera is that the medium is
freely so that it flows into the
items on the part can be accenL-
not water-fast, meaning that if you
creases and crevices. You don't want
glazed using different color mixes.
apply another water-based paint
so much that it creates excessive
I have found this to be a very
over it, the pigment is still active
puddles. A few puddles are okay,
effective method for painti ng
and will leach out or blend with the
but not deep puddles of glaze. I
large clumps of stowage such
other color. The only way around
usually stick my glazed pieces in
as the Blast aftermarket resin stowage sets.
this is to fix it using an overs pray of
my drying box to accelerate the
a clear medium. I usually seal in the
drying, otherwise it can be quite
tempera with an overs pray of an
time-consuming.
acrylic satin or gloss finish. I do not usually paint the straps or other
I tend to mix a wash that has a
RESIN STOWAGE
In my opinion, resin stowage is the
little more color than ideal. As a
best alternative for cloth/canvas
details at this stage, as they will be
result, the pieces have an excessively
stowage items as it has the advantage
stained in the glaze process.
stark contrast between the light
of undercuts and sharper detail than
With the basic painting done, I
and dark colors that is too extreme.
plastic. However, not all resin
next turn to the accent glaze. This
There is a solution to this problem
stowage items are of equal quality.
is mixed using distilled water,
that I find works better than a
My favorites by far are the Blast
This is another example of Blast resin stowage items being adapted to fit a kit other than the intended one by means of a little shaping.
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is attachcd to placcs where thcrc
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were no tie-downs or other mcan
o
to attach the itcms.
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Aside from laziness, thc main
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reason for this affliction is thc
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Here's an assortment of Blast resin items adapted to fit the Dragon M3 75mm GMC tank destroyer. The tarp was originally released for the Dragon M2 half-track, but is easily adapted to the M3 half-track as well.
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of straps and other attachmcnL devices on most plastic stowagc
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items. In the case of crew g ar til
such as rucksacks, it hclps
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an appreciation of how thc a 11I.ll
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item was configurcd. Thcrc ar
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number of good rcfcrcnccs
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n US
combat gear that show phOlO,. The scraps on thcsc itcms .In II('
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duplicated most casily using dUll
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metal strips. Soft Icad from There's a wide range of resin aftermarket stowage from firms such as Goffy in 1/72 scale, and as often as not I use aftermarket stowage in small scale, as on this Hasegawa M24 Chafee.
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set they release and mix and match
wine botde works vcry wcll. hlll
them to fit other vehicles. Some sets
with the new laws f, rbi Idlll' Ih.
are designed to conform to specific
use of lead on food pI'( dLl I "
shapes, such as a curved bedtoll that
supplies of this old sl.1I1d h)
II
fits a half-track fender. But most
fading. It is still P ssibl, ttl fill I
include jumbles of stowage that can
sheets of thin lcad, mO'11
be adapted to a wide range of US
figure shows or from sh0l"
done by the very talented Frederic
AFVs. Legends makes some nice
specializing in figurc m) Il,llIl '.
Astier. What appeals to me about
sets, but these tend to include too
The main advantagc of Ic.l 1 m.
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I
resin sers with the master sculpting
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the Blast sets, aside from the high
many separate items and not enough
other options is that it gllll"
quality of detail, is that the sets
tailored stowage bundles. Verlinden's
paints well, and it is so
usually include at least one large
older sets were decent, but usually
can be easily draped ovcr
mass of stowed items molded
follow the "brick" approach.
hand holds or othcr attachmcnt
together in a convincing assembly.
S
This upgraded Tamiya M8 75mm HMC has a relatively modest amount of stowage including resin, plastic and scratch-built items. Notice that the musette bags on the front are hung from the front brush-guards by their straps.
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It
points. Aluminum foil is an dll'l option, but I find that it docsn't
Most other companies simply
ATTACHING STOWAGE
provide an assortment of rucksacks,
One of the main problems I see on
take paint well and it marc
bedrolls and tarps, and expect the
US tank models at hobby shows is
difficult to gluc than lcad. Non-
modeler to assemble these together
the "magic glue" approach to
metallic options are various f, rms
in a convincing mass. Unfortunately,
stowage. R.ucksacks, tarps and
of paper. The same methods can
soft cloth items are not like bricks
other items are attached to tank
be used for bedrolls or other itcms
and it's difficult to replicate a
turrets or along the side with the
that are held together with straps.
typical assortment of US wartime
secret wartime "magic glue." There
R.ope is another option, and this
stowage using a bunch of rigid little
is no evidence on the model of thc
can be duplicated with thin thrcad
bits. The Blast sets are tailored to
straps or ropes that held real
or lead wire as used by fishermen
specific models, but I buy every US
stowage in place, and often stowage
for tying nies.
Here's a fairly typical example of the profusion of tie-downs on the rear of an M24 light tank, with the arrow pointing to one of several examples. These were simply small lengths of steel rod spotwelded to the surface with a small gap to permit a belt or strap to be run through.
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SCRATCH-BUILDING
folds and creases very well and the
you are not comfortable sculpting
STOWAGE
heavy texture is fine at 1: I scale,
an identifiable bit of stowage, you
It's often difficult to find stowage
but much too coarse for 1/35
should consider the option of
to fit a particular space on a tank
scale. I have had better luck with
using a lump of epoxy putty as the
model, and in this case some
making bedrolls from aluminum
underpinning for a larger assembly
scratch-built stowage can come in
foil and lead sheet, but even these
of "brick"-style stowage items.
handy. For many years, modelers
are not ideal in my opinion.
A modest blob of epoxy putty
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have been using tissue paper or
My preferred choice is epoxy
conforms to a complex shape such
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ABOVE RIGHT Here are some options for depicting tie-downs: 1) Academy sprue extra; 2) punch and die rivets with plastic rod; 3) crimped plastic rod; 4) Fine Molds photo-etch; 5) Aber photo-etch; 6) Royal Models photo-etch.
other paper products to create
putty. This may intimidate many
as a Sherman engine deck better
bedrolls and tarps. I'm not entirely
modelers, but it is not as
than plastic or resin bits, and then
keen on this method, as a tissue
complicated as it seems. Sculpting
plastic and resin bits can be
putty into a I/35-scale figure
submerged into the epoxy putty,
requires considerable sculpting
giving them a more natural
bedroll is nearly as rigid as a resin r plastic one, and doesn't conform t
underlying curved or complex hapes. Also, it does not replicate
talent; sculpting a lumpy heap of
configuration than if they were
cloth is far less demanding. Even if
simply glued to a flat surface.
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ABOVE LEFT One method to massproduce tie-downs is to crimp .015in. plastic rod and then cut it into appropriate lengths. LEFT Stowage on models should h w some evidence of how the stowa attached. The better-quality resin It m , such as those by Blast, usually hav convincing straps
FAQ:
TOOL COLORS
US vehicle tools, officially called OYM (outer vehicle
dipping the tool in a bucket of paint and letting the
material), were ordered from hundreds of different
excess drip off Commercial finish will be familiar to
manufacturers and so varied a bit in shape and detail.
anyone in the US who has seen older tools such as
Officially, all OVM was supposed to be painted olive
picks and shovels. The metal bits are either in raw
drab like everything else. In fact, tools were delivered
metal, varnished raw metal, or black paint. I usually
in at least three fmishes: dip-painted in olive drab,
paint my tools in commercial finish, not because it
dip-painted in black, and commercial finish. Dip-
was the most common finish, but because it makes
painting was simply the name for the finishing
the model look more interesting than the official olive
technique which, as the name implies, simply involved
drab paint coat.
Officially, all external tools were supposed to be painted in olive drab like the rest of the tank. This results in a fairly dull vehicle, so on this M3 Stuart I painted the tools in a slightly different shade of olive drab from the rest of the tank.
This M5 light tank conversion shows several different tool types including the original Tamiya plastic tools and some Collectors Brass brass tools. On this model, I used aluminum foil for the straps, with the usual photo-etch brass buckles.
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FAQ:
AIR-IDENTIFICATION PANELS
One of the more distinctive features of US
covered with crew gear or obscured by dust. There had
combat vehicle stowage in the ETO was the use of
been experiments with brightly painted cloth panels,
The reverse of the air 10 panels was white plastic. I replicated this effect here by spraypainting some white plastic sheet from a thick plastic shopping bag with fluorescent red paint, cut it to size, and then masked and painted the olive drab fabric trim.
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air-identification panels. These are extremely bright
and the US Army pushed this option in discussions
and add quite a bit of color to an otherwise dull
with the British Army prior to D-Day. There were
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tank model. These were in use in the ETO from
already two different air-identification panel sets in
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D-Day until the end of the war. This subject is not
inter-Allied use by this time. Unit headquarters
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well undersrood in the modeling community, so
employed fluorescent colored panels laid out on the
e!>
here's a brief account of it.
ground in particular geometric patterns under a SYSl m
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Some form of air identification was necessary due to the difficulty that Allied aircraft crews experienced
called combined panel code (CCBPS). There was als a set of panels used by airborne troops during landing
trying to identifY friend and foe on the ground. There
operations. However, the British and Comm nweallh
were repeated complaints about US Army Air Force
forces did not use panels but were experimenting wid,
aircraft strafmg US columns in Tunisia and in Italy,
personnel indicators, a type of yellow Celanese lrian Ie
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leading to the nickname "the American Luftwaffe:'
panel. As a compromise, the planners incorp raled
I
Until 1944, the Allied armies tended to rely on
insu'uctions that forward Allied u'oops w uld b
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canvas tie-down straps, as will be seen in the
painted insignia on the tops of combat vehicles. The
marked by yellow smoke or flares, the yellow pers( 1111 ,I
first such US marking was a white star on a dark blue
indicators or the newly adopted US Army flu res "'111
circle that was adopted for Operation Torch in
colored panels. This was approved in the firsl elht \lllls
November 1942. This wasn't entirely adequate as at a distance, the star could be mistaken for a German
of Ops Memo 19 in time for D-Day. The US Army Panel Set AP-SO-A consisled of
cross. So in 1943, in preparation for Operation Husky,
the AL-I40 cerise (fluorescent pink/red) pam-I ,lIld
the landings on Sicily, the US Army adopted a large
AL-I41 fluorescent electric yellow panel. A lhird
circle around the star. This insignia would later become
fluorescent blue panel was developed and issued, lut
a generic Allied air identification marking in the ETO,
only for rear-area troops such as u'uck convoys. The
under Ops Memo 19 in 1944, prior to
panels were 12ft long and 28in. wide, and made of
D-Day. The US Army was still not entirely satisfied
plastic material with the reverse side in white. They
with this solution as the star insignia often became
came with an olive drab canvas bag and associat d
The issue began to change in mid-August 1944
accompanying photos. The US Army had adopted
when Allied counter-intelligence discovered that the
two colors since it was felt that the colors could be
Germans had obtained Ops Memo 19 and other
changed from day to day in case the Germans found
operational details of panel identification systems like
out about the scheme. The yellow AL-I41 panel was
the CCBPS, probably through documents captured
the preferred choice of US Army tank units during
during the
the
Army 12th Army Group suggested on I I August that
ormandy campaign since there was some
ormandy fighting. As a result, the US
concern that red might be confused with a target
Ops Memo 19 be changed to permit the use of both
marker. Red smoke was tl,e accepted Allied target
red and yellow panels on an alternating basis to
marker color at the time.
prevent the Germans from confusing Allied aircrews.
,I
Here's a color photo of some actual air identification panels. The blue panel was not used with combat vehicles but was intended for support vehicles such as trucks. The red and yellow panels are the short six-foot versions.
The usual way I make air ID panels is to cut a sheet of lead foil to the right size, prime it with white, and then airbrush it with fluorescent red paint.
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Higher headquarters dawdled on the matter, and as a
about two weeks in advance of which panels would be
By 1945, the ID panels had become ubiquirous
O Z
result, VIII Corps tank unirs began using rhe cerise
used the following month. The late April schedule was
on US tanks and other vehicles in forward combat
panel system remained in use after World War II
AL- I 40 panel anyway, afrer alerting rhe associared
changed on 17 April 1945 when it was found rhat rhe
areas, though there were some complaints about the
and in modified form during Desert Storm in 1991.
Ninrh Air Force commands. The British 21st Army
Germans had caprured a set of rhe instructions.
actual configuration of the panels. Their 12ft length
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Group recognized rhe utility of rhese panels and, in
made them very awkward ro use and, if displayed
of six feet in March 1945. The air-identification
For modelers, the panels are a fairly easy addition ro Allied tank models. In 1/35 scale, rhe fUll-lengrh
o
early September, requested a supply from US Army
12th Army Group air-identification panel schedule
full length, it tended to make them conspicuous
panel is 4.1
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stocks. There were not enough yellow panels to go
1945
ro enemy ground troops. As a result, many units
mentioned above, this was ftequently shortened. I've
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around, and as a result, in late September 1944, a
22-28 Jan 45
yellow
decided that it would be better to shorten the panels
made panels out of several materials, including lead
secret priority dispatch was sent to Allied air units
29 Jan-4 Feb 45
red and yellow
rather than avoid using them. So for example, the
sheet, aluminum foil, white plastic from shopping
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X
0.8in. (125
X
20mm) although, as
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warning rhem rhar British armor units were
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5-8 Feb 45
yellow
2nd Armored Division during Operation Grenade in
bags or rhin sttips of epoxy putty. Fluorescent paints
indiscriminately using rhe cerise and yellow panels
9 Feb-I7 Feb 45
red and yellow
February 1945 ordered its units ro shorten their
are widely available, even in acrylics. Archer has a dry
CO
due ro rhe shortages.
18-22 Feb 45
«
yellow and white
panels by folding them ro 36in. in length. It was
transfer version rhat can be applied to foil or lead
23-28 Feb 45
red and white
inrc rmally agreed to shorten the panels ro a length
sheet, avoiding the need for painting.
Allied Expedirion Force (SHAEF: Eisenhower's HQ)
1-5 Mar 45
yellow
to..
continued, rhe I2rh Army Group commander,
6-9 Mar 45
red and yellow
1:
General Omar Bradley, personally intervened on
10-18 Mar 45
red
IO Ocrober 1944 staring rhat it was essential rhat
19-24 Mar 45
yellow
authority be given ro use alternating color panels to
25-31 Mar 45
red and yellow
prevent recurrent strafing by Allied aircraft. Drafts of
1-6 April
red
While the debare ar Supreme Headquarters c:r: w
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the second edition of Ops Memo 19 were circulated
7-12 April
yellow
in November and December, and still stated that
13-18 April
red
only yellow or white panels would be used for
19-24 April
red and yellow
ground-ro-air identification of forward troops, but
21-24 April
yellow
that the use of orher colors would be permitted if
25-30 April
yellow
the appropriate air commands were notified 96 hours in advance. A number of US armies used both types
The white panels were obtained by flipping over the
of colored panels as originally intended. However,
panels to expose rhe white backing. The neighboring
the yellow panel was rhe preferred solution rhrough
British 21st Army Group supported rhe scheme, but
rhe end of 1944.
was concerned since it only had 4,000 fUll sets of
The issue cropped up again in January 1945 after
AP-50-A, and rhe remainder of its units only had the
it was found rhat, during rhe fighting in rhe Ardennes
yellow AL-I4I panels. As a result, in February 1945,
in December 1944, German troops were using
there was a crash program to provide II ,000 sets for
captured cerise AL- I 40 panels in hopes of warding
British and orher Allied units of rhe 21st Army
Epoxy
duplicating the original process by
known British brand Milliput, is a
There are plenty of plastic and
rolling the epoxy putty into sheets,
two-part putty rhar is clay-like when
resin sources for most items of
or shaping a blob of putty into a
mixed. I don't particularly like
personal crew gear such as musette
convincing rolled tarp. There are
Milliput as I find it a bit roo hard
bags, rucksacks, ammo pouches,
also two basic types of epoxy
and crumbly, though that may be
PUTTY OPTIONS
water bags and ammo crates.
putties on the market, each with its
because by the time it reaches the
A large percentage of US tank
own characteristics. I'll start with
United States it's reaching expiry.
stowage was made up of tarps
the putty options first.
and shelters, which do not have a
The most traditional style of
uniform shape and which need ro
epoxy putty, epitomized by the well
conform to the contours of the tank model. Epoxy putty is a good alternative for this, though it takes more skill and time than using plastic or resin options. There are two basic approaches Lo tarps and rolled canvas items:
off Allied air attacks. After getting fed up with
Group. The US Army at rhe time was using about
SHAEFs foot-dragging on rhe issue, in mid-January
40,000 sets, and attrition of rhe panels was fairly
1945, I2rh Army Group took rhe matter into its own
high. Production was started in France ro supplement
hands and decided to issue orders rhat all of irs
US supplies so rhat by March about 30,000 US
destroyer, which has an open frame
forward troops would alternate the colors displayed on
AP-50-A panel sets were arriving plus about 50,000
rack in the back, and a forward box
forward armored vehicles. A schedule was published
locally manufacrured French sets.
Some vehicles pose a real challenge for stowage, such as this M18 tank
that butts against a curved surface. Epoxy putty stowage was the most straightforward approach on this model.
The brand I use the most is Apoxie Sculpt-Neutral; other modelers swear by the similar Magic Sculpt
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Epoxy putty can also be rolled flat and then treated like a miniature tarp and
Historical photos are a good source of inspiration for stowage, but a simple
folded. When using Apoxie Sculpt, I
reference for creases and folds can be
liberally coat the glass worksurface with
created quite simply by taking some clothing and stacking it to create a
talcum powder to avoid sticking, much like using flour while making pastry.
handy reference while sculpting.
Both the glass and rolling tool should be liberally coated.
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Sometimes it's desirable to make some
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Duro Kneadatite is considerably stickl r than most other expoy pu tties and so requires stronger lubricants to avoid Il sticking to the rolling tool. I usu lIy u
t
Vaseline petroleum jelly on both th glass and rolling tool.
Kneadatite is so strong even when rolled thin that it can be used in very thin sheets to create tarps, as seen here on this stowage box.
stowage that can be removed when dry for painting. A simple barrier can be used to prevent the putty from sticking to the plastic using aluminum foil, as seen here on a Dragon half-track, or other alternatives such as plastic food wlap.
Here's the epoxy putty tarp on the M3 75mm GMC after painting.
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Larger tarps like this on n lll\ M high-speed tractor c n dull 011\(1 lifeless if simply paint d a In usually try to add a bit mOl depth by carefully airbrushln til hle,lI points on the frame with, II Illly lighter shade whil dgln Ihl wllll.\ slightly darker shade.
I
Notice that this Kneadatite bedroll also has Kneadatite straps that secure the tarp to the kit's existing tie-downs.
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Another use of Kneadatit Is to r \1 straps. The material is elasli unlll dry, it can be stretched to form Ihln tr'l One of my favorite approach I stowage is to use epoxy pUlty fOl th stowage underlay, which ha 10 nf II to the shape of the tank, and Ih n lUi some good-quality resin aft rm rk I items like these Blast items on top f It I simpler epoxy putty stowag .
brand. In the event, all these putties
Sculpt for most general-purpose stowage tasks such as bedrolls and
have similar handling characteristics.
Apoxie Sculpt and similar brands
There are also non-hobby sources
are not as sticky, but they are not as
rolled tarps. I use Kneadatite for
available, including a variety of
benign as normal modeling clay.
tarps that will be draped open or
plumber's putties that are also
Modelers may have problems
for small-detail items, such as
two-part epoxy putties.
handling these putties as they are a
musette bags.
The second major type of epoxy
bit tacky. However, these don't
The accompanying photos show
putty is Duro Kneadatite. Instead of
require heavy-duty lubricants and
a typical use of epoxy putty:
coming in two separate bars of
the only time I need them is when
creating a rolled tarp on a half-track
material, this is marketed like a roll
rolling the putty into sheets: more
fender. This is a good example of
of taffy with the blue and yellow
on that in a moment.
components on either side.
Here's the Kneadatite/Blast stowage combination after painting.
painting; I use lacquer thinner.
Kneadatite and Apoxie Sculpt
the benefits of epoxy putty, since it is difficult to get a tissue or
Kneadatite is mixed together like the
have different surface textures as
aluminum foil tarp to conform to
other epoxy putties, but has a very
well. The more clay-like putties are
this shape. This tarp can be created
different consistency, more like
also a bit more granular, and have a
using the two methods already
sticky chewing gum. I have used
slightly rough surface finish unless
mentioned, either using a flat sheet
both and each has its advantages.
they are smoothed or sanded.
of putty and rolling it like the real
Kneadatite is more difficult to use
Kneadatite has a very smooth,
item, or taking a piece of putty
as the surface is so sticky that it can
almost plastic surface if handled
roughly the right size and then
be difficult to sculpt. To avoid this,
correctly. Kneadatite also has a
shaping it. The project here shows
it's a good idea to keep some
finer consistency than the other
the first approach.
lubricant handy; I use Vaseline
putties and so is better suited to
Flattening putty into a sheet takes practice and patience. The
petroleum jelly. Surprisingly, a bit of
projects where very fine detail is
Vaseline on the putty does not seem
needed. Indeed, Kneadatite is so
process is very similar to rolling
to have any effect on its drying,
sticky, so strong and so fine-
a piecrust from dough. A good
though it is a good idea to clean off
grained that it can be used to make
working surface for this process is
any remaining Vaseline before
straps and slings. I use Apoxie
an old piece of glass. I have plenty
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Epoxy putty stowage can be made to fit into corners and on odd shapes where resin or plastic stowage would not comfortably fit. Here's some Kneadatite stowage on an AFV Club M5A1.
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With the putty ball mixed I
work. A plain piece of plexiglass
it is hard to remove the putty from
works well as it is easier to clean
the glass without it breaking up.
roughly flatten it with my fingers.
off afterwards than other options
One method to reduce this risk is
To make the sheet a uniform
such a wooden dowel. The putty is
to let the putty sit for a half hour or so allowing it to partly dry and
place it on the glass sheet and
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thickness, you can tape two strips
rolled much the same as dough fot
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of plastic sheet or cardboard of
a piecrust. As in the cooking case,
become a Ii ttle less fragLle. I usually
o
the appropriate thickness to the
it's a good idea to lubricate the top
stick the glass and putty sheet into
outer edges of the glass in order to
surface of the putty to prevent the
my improvised dehydrator/hobby
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serve as guides. I seldom bother. I
toller from sticking.
eo
use a one-inch-diameter piece of
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Once the putty is flattened, ie's
heat box to accelerate the process. After the putty sheet is freed from
-'
plexiglass rod to roll the putty,
time for shaping. This is the most
the glass, it is usually a shapeless
«
though any other similar shape will
difficult phase of the project since
blob. To give it straight edges I
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Here's another example of mixing resin and epoxy putty stowage. Some resin boxes form the basis of the stowage heap on this Recce Stuart, followed by some Apoxe Sculpt stowage with straps coming from aftermarket photo-etch sets.
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Here's the Kneadatite stowage after painting with some other items add d, including a musette bag and som stowage on the glacis plate.
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Here, the underlying stowage is made from Apoxie Sculpt while the outer bedrolls are resin items.
on hand as I often use picture
this on a disposable surface like a
solvent for Apoxie Sculpt and
frames for model bases, and I save
sheet of newspaper.
similar putties, so if the putty is a
the 5 X 7 in. glass sheets for these
The easiest way to mix epoxy
bit dried out a little alcohol will
sons of projects. The glass has to
putty is to create two small balls of
moisten it up a bit. Don't use to
be lubricated to prevent the putty
equal size. This provides a simple
much or it will turn into a sticky
from sticking. I use baby powder
way to measure the amount being
mess! It's imponant to thoroughly
( talcum powder) for Apoxie Sculpt
used. I usually keep a small cup of
knead the putty together. If it is not
or Vaseline for Kneadatite. If using
denatured alcohol or isopropyl
mixed properly, it will not dry
baby powder this can be a sloppy
alcohol handy to keep my hands
properly and you will end up with a
process, so it's a good idea to do
clean. Also, alcohol is a good
soft mess.
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type of work is a simple round
will dissolve small detail. Some
hobby tape. I then roughly apply
toothpick. If you want to get fancy,
modelers like to add texture to cloth
the putty to cover the atea. The
there ate a variety of sculpting
items, but I avoid this at all costs.
secret here is to use the minimum
tools available in art supply shops.
Canvas may have some textute in
putty necessaty and not to use so
My favorite is a category of
1:1 scale, but in 1/35 scale it
much putty that the covet looks
tools actually intended for
should be smooth. To furthet
lumpy and unrealistic. I usually
painting called"colour shapers"
smoothen the surface, I usually
smooth out the canvas cover using
and made by Royal Sovereign
prime the epoxy before the final
an acrylic brush dampened with
(www.colourshaper.com). These
painting using Tamiya Surface
lacquer thinner. It's possible to
resemble paintbrushes but, instead
Primet thinned in lacquer thinnet
sculpt some of the folds and
and airbrushed onto the epoxy until
creases using the same technique as
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f the usual bristles, have soft synthetic rubber tips in various
a slightly glossy finish is obtained.
rounded shapes. The amount of shaping depends cr:
n y ur talents and your patience.
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the rolled tarp by impressing the detail with a toothpick. However, I
CANVAS DUST COVERS
find that to create larger folds it is
Epoxy putty is also a good medium
easier to add the folds rather than
for creating canvas dust covers over
try to sculpt these into the surface.
"-
At a minimum I usually try to
I
create depressions where the straps
the main gun, as were found on
I do this by rolling some small
will eventually go. More elaborate
some US AFV types, such as the
"worms" of putty and then placing
folds and creases can be easily
MI8 Hellcat tank destroyer, or
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A simple scratch-built stowage item is a stowed camouflage net, seen here on
play. I usually fold the sheet to get
it separate for paintin . I
want it separate for painull',
where it will be placed, and then
then there's the issue
utility vehicle. The camouflage net
begin rolling it. The trick hete is to
the surface to permit the
stowed in the side rack is simply
avoid using too much pressure and
be removed when the sculpull
crush the edge detail. Once I have
complete. It's a nuisance t
the putty in a roll, I place it on the
the model with talcum powd r
tank destroyer into the M39 armored
some medical gauze dyed with olive green paint, and soaked with a solution of Elmer's glue and water to keep it in place.
which was added to tanks like the
toothpick or shaping tools. For
Sherman when they were prepared
My favorite material for doing canvas
beginner sculptors, a useful guide
for deep wading during amphibious
dust covers is Apoxie Sculpt epoxy
is to study plastic or resin stowage
operations. I usually begin this
II
items with a style of detail you
process by masking the area that
and so I make two balls of equal size as
I
like. For more advanced sculptors,
will be covered by the tarp using
a handy method to measure them.
I.
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it to the right length to fit the area
my conversion of the AFV Club M18
sculpted into the surface using a
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the bible for figure sculptors is Bume Hogarth's Dynamic Wrinkles
model to do the final fitting and
Vaseline and then tty to clean iL-
and Drapery: Solutions for Drawing the
complete the detail work. If there
An easiet altemative is to use
Clothed Figure (Watson-Guptill:
are problems with the putty
aluminum foil. The foil conforms
1995) which is primarily aimed at
dust the glass with some more
refusing to cling or stick due to an
well to the model surface, and can
showing how clothing wrinkles on
talcum powder, and put the putty
excessive amount of talcum
be left in place with the putty until
humans, but which also provides
back on the glass to cut the edges.
powder, the excess can be brushed
this dries. I find that usually
useful inspiration for other types
I find that the easiest way is to use
away and the surface cleaned using
aluminum foil will peel off the
of fabric effects.
a steel ruler since it is easier to
a cheap paintbrush dampened' with
putty even after the putty is dry,
make one guillotine cut than to try
a little alcohol or water.
and even if it doesn't, the
it's a good idea to try to smooth out
aluminum foil that temains will be
the surface if it is a bit granular and
to drag a razor or hobby knife blade along the edge. One you have a nice square of
Since the putty is going to cling to the model, it's a good idea to decide whether you mind if the
under the tatp and invisible. With the rolled tarp in place,
Once the rolled tarp is complete,
rough. I usually use an acrylic brush dampened with lacquer thinner fot
putty the shaping takes place. This
tarp will be permanently attached
it's time to do some final detail
this process. It's important not to
is where the artistry comes into
to the model or whether you want
shaping. The handiest tool for this
use to much lacquer thinner as it
putty. This putty consists of two parts that must be mixed in equal amounts
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To add the creases and folds, I roll some
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"worms" from leftover putty, and place
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and folds.
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I begin the dust cov r by rou hly
The worms are then blended into
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covering the area. It' import, !'lIn
c..
to put too much mat rial on th model, and it is better to I rt wllh
the rest of the dust cover using shaping tools and brushes soaked in
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lacquer thinner.
skimpy coat and add mat II I.
With the area covered, I then smooth the putty. Some alcohol or lacqu r
After the epoxy dust cover dries, I
thinner is useful to keep the material
usually airbrush the surface with a coat of Tamiya Surface Primer thinned with
smooth and your fingers clean.
lacquer thinner to give it a smooth surface. Canvas may have texture in 1:1 scale, but it should be smooth in 1/48 or 1/35 scale.
114
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Here's an example of a relatively
Here's my AFV Club M18 in action at
complicated dust cover on a Dragon
Arracourt in September 1944. This
T26E3 Pershing done with Kneadatite
model has an epoxy putty dust cover
epoxy putty.
over the mantlet as well as epoxy putty stowage.
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Here's my first attempt at an poxy
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putty dust cover on an Acad my M18. At the time, there wer no
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aftermarket resin kits availabl .
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Besides dust covers, tanks prepared for amphibious landings had canvas added over hatches and other large openings. This is a Dragon M4A1 with canvas covers fitted for the Operation Husky landings on Sicily in July 1943.
The dust cover on this M18 shows how the material can be shaped to look as though the creases naturally follow the wayan actual dust cover would conform to the shapes underneath.
117
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them on the surface where I want
half-hour, or put it in my hobby
once it's a bit firmer and dryer.
them. I then blend these into the
heater box to make the part a bit
As in the case of the rolled lilrp,
FAQ:
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existing putty surface, first using a
firmer before doing any final
I usually airbrush the finished :lnd
US machine guns in World War II, such as the ubiquitous .50-cal Browning M2 heavy barrel,
toothpick or shaping tool, and
detailing. Often these covers have
hardened dust cover with s mc
received a Parkerized finish, which was a type of coating to resist rust. This left the machine
then doing the final blending with
some small details such as fastener
thinned Tamiya Surfilce Primcr
gun in a dull, dark gray finish. My preferred method to replicate this is to use a medium gray
S
a brush soaked in lacquer thinner. I
loops or straps, and it is easier to
until it has a smooth surfilce.
paint and then apply a black oil paint wash over this to accent detail.
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usually let the dust cover dry for a
impress this detail into the surface
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MACHINE-GUN COLORS
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LEFT The US Army's .50-cal M2 Browning heavy-barrel machine gun was given a Parkerized finish, which is a dull dark grey. I usually replicate this by painting the machine gun in medium grey, followed by a dark wash. The machine gun accessories such as the cradle and ammo box were in the usual olive drab. Nice accessories for the .50-cal machine gun include Mission Models' expended-ammo set, which provides turned-brass .50-cal casings as well as the small links used to clip the ammo into a belt.
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LEFT This Dragon M4A1 is configur d to depict a tank from the 741 Sl Tank Battalion that landed on Omaha B , h on D-Day. Besides the epoxy pUllY cover over the gun, there is also a ov r over the hull ventilator.
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RIGHT The strange protrusions on the back of late-production Sherman turrets are for stowing the .50-cal machine gun during travel. This is a nice option for models and this M4A3E2 shows the stowage method with the barrel removed and stowed in front of the main body of the gun.
SANDBAG ARMOR
stacks of sand bags. I usually use
through one side. This creates a
US tanks made frequent use of
Apoxie Sculpt for this. There's a
long worm of uniform diameter
sandbags for improvised protection
variety of ways to create a uniform
that can then be cut and shaped
against German anti-tank rockets.
size for the sandbags. Sometimes
into multiple bags of the same size.
There are a number of after-market
I extrude the epoxy putlY by
Another way is to simply roll the
resin sets for this, but epoxy putty is
punching a hole in a pie e f thick
putty into a bunch of worms of
an ideal medium to create rows and
cardboard or plaslic, ilnd
r.
rcing it
the same diameter, and cut these to
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TOP This M4A3E8 has a heap of sandbag armor in the Seventh Army style with the metal frames on the turr l and hull sides. I did this using epoxy putty and this project is covered in detail in Osprey Modelling 40. MIDDLE Here's what the sandbag armor looks like after painting. 80nOM LEFT The simplest way lO make sandbags or other stowage is simple to make up a batch of epoxy putty and shape it. I usually start by rolling the mixed putty into worms of roughly the right diameter and lhen ul them into the right size before addin any detail.
shape. My one bit of advice in
TOOL STOWAGE
creati ng sandbag armor is to study
Most US tank and AFV kits come
using aftermarket photo-etch parts.
photos of the real thing. Modelers
with tools that lack the appropriate
I occasionally build my tanks
tend to adorn their tanks with
attachment straps. There are several
without tools, but usually I have a
enormous sandbags. Remember how
approaches to solving this problem.
full set as it adds interest and color
heavy a sandbag is when filled with
One method is to omit the tools
to the tank model.
dirt. Go into your garage or go to a
entirely. I have interviewed tank
replacing them from scratch or by
If you want to have your tank
DIY or home improvement center
veterans over the years, and an
fitted with tools but don't have the
and lift a bag of dirt or concrete.
almost universal complaint was that
patience to add all the litde
Gis were not superhuman and didn't
the accompanying infantry would
attachment straps, there are
make 200 pound sandbags. Keep
steal tools at the first opportunity,
aftermarket solutions such as
your sandbags a reasonable size!
since items like tank shovels and
Formation's excellent resin set that
F r modelers interested in the
picks were much better for digging
has the straps in place. In the event
vcry elaborate Seventh Army
foxholes than the shovels issued to
you want to add your own straps, I
sandbag frames, I covered this in
the infantry. As a result, most
find that the best method is to use
'on iderable detail in my earlier
experienced tank crews would hide
b ok
their tools by wrapping them up in
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80nOM RIGHT Another way lo m k sandbags is to punch a hole of suil bl diameter in some thick plastic sh l or cardboard and then extrude lh poxy putty worm by pushing the blob through the hole. This resull In a m ( uniform diameter than rolling lh I \lily
sprey Modelling 40:
lVlodelling the US Amry M4 (76111110
tarps and lashing them securely to
Shennan MediulII Tank (Oxford, 2007).
the tank. Actually, omitting the
This configuration is widely
tools on most tank models is more
available in resin aftermarket kits for
work than putting them in place
modelers not wanting to go through
since most kits have small locator
so much work. One point that I
holes for attaching the tools, and
would like to make is that these
these have to be filled. In addition,
elaborate, framed sandbag
many kits lack the small fittings for
configurations were not universal
attaching tools, or have the fittings
through the US Army in the ETO,
molded to the tool. This means
but were almost unique to the 'evemh Army in Alsace and sOLllhern Germany. I have seen m delers do these in the markings of other units such as 2nd Armored Division (First Army), which used a different type of layered applique armor, and even in the markings of units of Patton's Third Army such as the 4th and 6th armored divisions, where sandbag armor was expressly forbidden. When in doubt, consult the historical references.
Many kits have holes or dimples where the tools go. I usually fill these in as they often aren't entirely covered when the tool is added. An easy way to fill holes of various sizes is to stretch some sprue over a candle. The ends of the sprue are conical, so it can be pressed into the hole until it completely fills it, then cemented in place using an aggressive liquid cement like Tamiya Extra Thin. Once dry, the excess can then be sliced off with little need for clean-up.
121 120 V"l
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NATURAL FOLIAGE CAMOUFLAGE
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tanks occasionally used tree
branches for natural camouflage.
I've used two methods to duplicate
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this. Several phoro-etch firms have
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sheets of branches with oak, maple
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and other eypes of leaves. These can
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be used ro create some attractive
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foliage effects but they require
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quite a bit of care in painting
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and in bending ro obtain a
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natural-looking shape. An easier approach is ro use model railroader
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lice-making.
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This shows the sequence of adding tie-downs and straps once the tools are in place. In this case, I made the tie-downs from discs punched from .010in. sheet plastic the same way I make rivets (TOP LEFT). In the second stage (TOP RIGHT), the steel rod is depicted using short lengths of .015in. plastic rod. Next (BOnOM LEFT), I add the straps made from thin strips of lead foil from a wine bottle. Finally (BOnOM RIGHT), I lace some of the same lead material with photo-etch buckles and then glue these to the straps.
this in a bit
I use two different approach s.
more detail below when discussing
complete in number. I usually don't
One method is ro cut a bun h
scenelY, but the basic idea is ro use
botller to replace the kit attachment
attachments ftom .015in. I b'lI
sea-roam weed for the branches and
points even if they are molded
rod about 1.5mm wide. I lhUl
attach aftermarket leaves using
they are missing or only partially
against the surface. But I sometimes
some needle-nose pliers l
need ro replace these when doing
both ends, whidl cr ales lhl'
11'1
111111
correction work, or there are tiDles
impression of the weld be.ld
when they are missing. There are
either side. I then glu lh e ( 11 til
n
several approaches ro adding these.
the model. Another appr a h th.1l
(See pages 97-98 for more details
I use which creates a more
on these attachments.)
round bit at the end is ro han mel
The simplest method is ro use
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the ends with a circular nail pun h.
some fine lead foil cut into strips,
aftermarket bits. Academy had the
This is very effective but very
with the buckles coming from
clever idea of having spare
time-consuming. One of the
phoro-etch sets. This takes
attachment fixtures and rivet heads
simplest and most realistic ways 1
considerable patience and precision.
molded on the sprues of several of
have discovered is ro use dimensional
their kits. These can be trimmed off
paint of the eype described earl ier
One of the more common issues
r describe
when doing srowage on US tanks is
and glued on where needed, bue
in the rivet section. This is basically
the matter of the little attachment
unfortunately they are few in
a thickened acrylic paint. What 1 do
fixtures ubiquirous ro US AFVs.
number. Some phoro-etch kits for
in this approach is ro cut a bunch of
These are simply a little piece of
Shermans and Stuarts come with
attachment rods from some .OI5in.
steel rod that was spot-welded ro the
photo-etch replacement parts, but
plastic rod, and then place little dots
tank surface, leaving a gap below that
these are fidclly to glue in place.
of diDlensional paint where I want
was high enough ro permit a su'ap ro
It's not hard ro scratch-build
the weld beads. Then I impress the
be laced through it. Kits frequently
these attachments though it is
attachment rod into the paint while
have these molded in place, bue often
time-consuming and delicate work.
it is still wet.
contact cement.
ABOVE One approach to foliage camouflage is photo-etch branches which are available from a number of manufacturers including Eduard. One of the secrets of using this effectively is to carefully bend the branches and leaves to give them a more natural appearance.
BELOW Here's my AFV Club M10 with photo-etch foliage camouflage in an action scene done in Adobe Photoshop.
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RIGHT The US First Army and some other formations welded Sommerville matting, a type of metal fencing material, to the sides of their tanks to attach foliage. I replicate this with tulle, an acrylic mesh that is used for making floral arrangements and available in arts and crafts stores. It comes in rolls, as seen here, and in various colors.
In the summer of 1944, lhe
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12th Army
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roup came up wilh
a method of welding ommerville
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matting, a type of metal fencing
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material, to the sides of lanks l
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encourage troops to use m re
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natural camouflage. This creales
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an interesting effect on tank m del, even if the branches are nOl alla hl,d. The material I use to depi l Sommerville matting is called tulle, and it's a type of syntheli material used for floral arrangcm'Ill'. It comes in rolls and is availabl in ABOVE My current favorite for foliage camouflage is to use sea-foam weeds with Noch leaf flakes glued on with spray adhesive. This process is described in more detail in the scenery chapter.
arts and crafts stores. In pra li e, till'
BELOW Here's a close-up of the sea-foam/leaf-flake foliage. This has a natural delicacy to it, and is also very inexpensive compared with photo-etch foliage.
bar (rebar) to the sides
US Army engineer battalj n
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usually weld some steel rejn~
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uld
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r the hull
or turret to provide a lilll ~p.l
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between the Sommervill m. 1lI1l' and the surface. This can be depicted on models with pla~lj
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BELOW Here's another example of Sommerville matting on an uparmored M4A3E8 of the 4th Armored Division in Germany in 1945, a modification of the Tamiya 1/35-scale kit with an aftermarket AFV Club HVSS suspension.
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CHAPTER
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nearly always do a figure with
THE HUMAN FACTOR
US WWII steel helmets and with
head to fit the plastic figure, it's
US WWII tanker's helmets. Adding
easier to adapt the plastic torso to
a useful way to convey the size of
heads to plastic figures substantially
the head. I begin by drilling a large
the vehicle. A well-painted figute
improves them as few plastic figures
hole where the neck will go, and
each of my models. I think it's
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is also a good visual
have clean, sharp facial features. The
then gradually enlarging it umil the
counterweight against a heavily
head sets are relatively easy to use.
Hornet neck will fit. There are
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weathered vehicle, which reminds
Rather than trying to cut the resin
two issues that warrant attemion.
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non-modelers that you really can paint and that the sloppy-looking finish on the tank is intentional! My first rule about figures is to use a resin figure where possible. Plastic figures, while they may be cheap, are much more complicated to clean up and assemble than resin figures. Even the really good plastic figures, such as those by Dragon take a lot of work to remove seams, create undercuts in the clothing and sleeves, and to assemble. Good resin figures are much easier to assemble, much easier to clean up and much easier to paint due to sharper detail.
If your budget limits you to plastic figures, invest in some good resin heads. Hornet's are the best, and they have useful sets with TOP Another example of a single figure adding life to an otherwise static scene. This is a Yosci resin figure next to an Academy M18 76mm GMC. I usually have at least one figure with most of my tank models as I feel that it
ABOVE The better figures help tell a little story. This superb Wolf figure of a GI in a
adds a sense of scale as well as adding
greatcoat brings this display of the Italeri M36B1 90mm GMC to life.
an extra point of interest for the casual viewer. This is a Royal Model resin figure
RIGHT The easiest figures to paint are the high-end resin figures such as Alpine and
(Kit 193, "US Soldier at Break")
S&1. This is a superb S&T figure that was a breeze to assemble and paint due to its
modified with a Hornet head.
superb casting and fine detail.
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This simple vignette based on the Academy M7 105mm HMC is brought to life by another superior resin figure, this one from the excellent Alpine series.
The first rule of figure painting is that you have to be able to see what you're painting. I use an Optivisor with the powerful No.1 0 lens when figure painting.
Sometimes a single figure can help to define the vignette. This is a Warrior German ski trooper converted to a U" 10th Mountain Division skier alon Id a resin ADV/Azimuth M29 W a 1.'11 Weasel was originally develop d ( I' 1/\( by arctic and mountain sped I for
Although there are a number of mediocre Tamiya US tanker figures, the only decent plastic set is an old one from Dragon. These can be made into nice figures with a little work. The addition of a resin head and resin hands considerably enhances plastic figures, which usually suffer from poor detail in these areas. My preferred approach to using Hornet resin heads is to drill out the torso so that I can position the head. Sometimes this means adding an epoxy putty collar, as seen here.
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Some figures are available in sets that help to create an instant vignette. This is a good example, the ADV Azimuth resin jeep crew seen here in an Italeri Jeep passing an abandoned ADV Azimuth resin Borward demolition vehicle.
l
The most common problem I see at
unless it is really necessary for
levels of dedicated figure painters
hobby shows with modelers using
composition. Tilting the head
as a well-painted figure is going to
resin heads is that they position the
right or left can make the figure
take 40 hours or more, which is
head too high so that the figure has
more natural and more interesting
about the amount of time I devote
an excessively long neck. Be careful
to look at.
to an entire out-of-the-box model.
with neck length! Secondly, the use
Painting figures is an art in
I try to reach a fairly high level of
of separate heads offers the
itself, and modelers interested in
finish but in a fracrion of the
possibility of rotating the head off
this subject in more depth would
time as I simply don't have the
the centerline either right or left.
be well advised to search out
time or inclination to reach that
Avoid having your figure with the
dedicated figure-m deling books. T
higher level.
head pointing straight forward
do not aim to match the paiming
In the case of paiming the
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It's hard to populate some tanks with figures due to awkward hatch arrangements such as the commander's machine-gun cupola on the M3 medium tank. This tanker is a Frankenstein combination of resin torso, resin and Dragon arms, and Hornet head and hands, along with some epoxy putty to blend the arms to the torso.
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Infantry figures add even more color to a tank vignette as they tend to have more gear. The basic torso of this figure is from Verlinden with arms and Browning machine gun from Dragon's Pusan perimeter set and the head from the Hornet series.
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Here's the figure alongside my reworked Italeri M24 light tank, along with a driver and tank commander.
Here's the Frankenstein tanker in the Academy M3 medium tank after painting.
clothing on the figure, I use the
olive drab No.3 and the olive drab
the accent glaze. For the 1943
same accent glaze approach that I
No.7, which formed the basis for
drab No.7, I use one of the
mentioned above in the stowage
the new 1943-pattern uniform.
Tamiya gray-greens mentioned
section. I start with a very light base
For the early war khaki and
01 iv
earlier (XF-l4 JA Grey, XF-76 lJN
color and then deepen it with a
associated items such as ammo
Gray Green or XF-7l lJN Cockpit
glaze that at the same time accents
pouches and puttees, I use. a very
Green) with Vallejo Game Color
the details. US uniforms came in
light tan color with an accent glaze
Cayman Green in the accent glaze.
three basic colors, though there was
of Vallejo English Uniform. For the
The US Army tanker's jacket was
far wider variation in cloth color
early olive drab, I use Tamiya Dark
usually in the olive drab No.3 and
than in the case of painted objects.
Yellow, lightened Dark Yellow, or
I like to use an ochre color for this,
The three main families of colors
some close equivalent, also with
usually a slightly lightened version
were pre-war light khaki, wartime
English Uniform as the basis for
ofTamiya Dark Yellow.
Plastic and resin figures can be easily mixed if they are roughly the same size. This vignette based around a Tamiya M5A1 uses two Tamiya infantry figures behind the tank, a Warriors resin figure of a surrendering German and a Verlinden resin tank commander.
131
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Here's a fairly elaborate set of
u
figures I did for a vignette with a
u.
T26E3 Pershing. The figures are a
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mixture of Dragon, Nemrod and Royal
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Models products with the heads and
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hands coming from Hornet, Warriors
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and Historex.
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The most elaborate figure conversion in this Pershing vignette was this combat engineer sweeping for mines with an SCR-625(H) mine detector. The basic torso is from a Warriors infantry set (35234) with a Hornet head, arms from epoxy putty over an aluminum wire armature and various scratch-built bits for the mine detector.
Here is the T26E3 Pershing vignette placed in a historical setting via Adobe Photoshop. TOP On this vignette based around a resin ADV/Azimuth M8 armor d car, I used resin infantry figures from Warriors and Yanks; the dragon's teeth are Armand Bayardi aftermarket resin accessories. LEFT As in the case with tanker figures, plastic figures can be brought up to resin standards with a little work. These paratroopers are from the Dragon Operation Varsity set, with Hornet heads and hands and some small detail work. ABOVE Here are the Dragon paratroopers in a vignette with a Commander's M22 Locust in the markings of the British 6th Airborne Armoured Reece Regiment during Operation Varsity in 1945.
II
132 133 IX
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TOP One of my most elaborate figure
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vignettes was this set of tank riders I
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built for an Operation Cobra M4A1(76mm). The figures are another match of torsos and heads from various sources including Yanks Miniatures "US Tank Riders (9702)," Verlinden's
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"Trapped US Infantry (1663)" and "US
I-
Tankers: Have a Light" (1257), modified with various Hornet and Warriors heads.
IX
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MIDDLE Here are the Operation Cobra
tank riders after painting with most in
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the typical Model 1942 battledress but
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one figure in the camouflage battledress worn by some elements of the 2nd Armored Division in July 1944. BODOM Here is the Operation Cobra Sherman and its team of tank riders in action. I took the background photo in Normandy near Utah Beach while doing historical research there.
TOP LEFT Plastic figures can certainly be as allractiv good resin figures, but they usually involve more con tru tl " work. This pair of figures for my Sherman Crocodil ar fr m the Tamiya Battle of the Bulge Sherman set, but with Horn t heads and hands as well as a lot of detail work. TOP RIGHT Here is a close-up of the Tamiya greatcoat figur with BAR on the Sherman Crocodile vignette base. BODOM LEFT Here is a close-up of the Tamiya crouching figure seen advancing behind the Sherman Crocodile.
135
134 cr:
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Dragon's new "Gen 2" figures are a
U
major step forward in quality, but they
u.
involve a fair amount of assembly work
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to get them to fit properly. This is their excellent US Marine flame-thrower figure from their Tarawa set, with a Hornet head. UJ
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tel.
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ABOVE Artillery is one area where the pickings are thin, especially
BELOW This Academy M12 155mm GM
regarding suitable crews. When I did this KMC resin conversion to
some conversions from the Nemrod US tank r ('\ lot
Is r 'w f II
make a 3in. anti-tank gun from the Italeri 105mm howitzer, I was
the figure pulling the lanyard, and a Roy I M diU
obliged to do some heavy conversion work to provide a crew.
tanker for the kneeling figure; both use Horn t II
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Here's the Dragon flame-thrower figure with a better view of the Dragon M4A2 in Tarawa markings.
136
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The Dragon figures take time and ffon
There are very slim pickings for 1/48-
u «Ll.
to build and detail, but the results an rival resin figures. This is th pron BAR
scale figures, and the Tamiya plastic
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gunner from the 29th Infantry Dlvl Ion
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figures are small and have soapy detail.
«
set. I used a Hornet head on this II ur
Here is one of the Tamiya figures with the out-of-the box version on the left
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and so I used a Tamiya helmet that I smaller and fits better with th m, II r
and the cleaned up and resculpted
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Hornet heads.
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figure on the right.
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Here's a rear view of the d tail work
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on the Dragon figure for my
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Panzernest vignette.
«
Here is the Tamiya figure in a vignette with an abandoned Wirbelwind with a Tamiya Jeep nearby, crewed by some Gasoline 1/48-scale figures. It is difficult to mix Tamiya figures with other brands as they tend to be quite small. On this vignette the two brands of figures are separated enough for their size difference not to be so noticeable.
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Here's the finished Panz rn t vi with two Dragon figur s. M r (1",.111 on this vignette are in th
n ry
chapter of this book.
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138
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ABOVE Here are the Tamiya 1/48-scale
BELOW Here are the Tamiya 1/48-scale
infantry from the rear. Adding the
figures in the finished vignette next to a
Allhough Tamiya's figures are mediocre,
backpacks and other gear makes the
Tamiya 1/48 M4A1.
lheir small arms and infantry gear are
figures much more complicated and
first rate; the small arms only need straps
time-consuming to paint, but also add a
and other modest improvements.
lot of interest to the figures.
PPOSITE PAGE BODOM Here are the I /48-scale infantry from the front.
TOP LEFT Here is another example of a reworked Tamiya figur in il 011 1r,•• 1 configuration on the right and the improved version on the lefl. Thl l than an evening's work.
k 111111.
TOP RIGHT For a small Operation Cobra vignette, I cleaned up four f lh
1.11111
1/48-scale US infantry figures. One of the most important changes wa l
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all the heads, and add a neck. This permitted me to move the heads l
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dynamic poses than the usual straightforward style found on most pia 1I flfJIIf'
141
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Th r 's a fairly good assortment of US tankers available in 1/72-1/76 scales including Milicast and Caliber 72 resin figures, as used on this Extratech M4, as well as whitemetal figures from AB and other manufacturers.
Good 1/48-scale aftermarket figures are starting to appear, like this white-metal 1/48-scale US tanker from Dartmoor.
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BELOW The figure situation in m, II scale is better than in 1/48 seal , th scale is longer established, and tl1 r 1\ ,I lot of crossover potential from warga mer 20mm figures. Thl Operation Cobra vignelle ha captured German prison rs fr Lamercraft's white-metal rl (L 0'/) while the Gis come from th Mill ,1\1 resin "Walking GI" set.
1hi Dragon l/72-scale M4A3 (76mm) I r w d with white-metal figures from th xcellent AB wargame series.
PAINTING FACES
is that modelers read the articles by
glasses. I use an Optivisor fitted
A painted figure succeeds or fails
master figure painters and are
with its No. 10 lens. Yes, it will
depending on how well the face is
completely inrimidated by the
~ake yOll look like a hobby geek,
painted. If the face is poorly
complexity of the techniques used.
but at least you will be able to see
painted, it will ruin the figure.
I use a much-simplified approach
what you are doing. A corollary to
Many modelers are intimidated by
and I probably spend a half-hour
this rule is to make sure that you
rhe challenges of face painting.
on an average face.
have adequate lighting at your
Part of this is simply due to the
It
The first rule is that if you
workbench. I lise an Ott-Light
difficulty of achieving a convincing
can't see well, you can't paint well.
that is fitted with a color-
finish. But I think another problem
Buy a pair of h bby magnifying
corrected fluorescent bulb, and
143
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My approach to face painting is "makeup" to accentuate the features, not to give it the full treatment as applied by master figure painters. Faces usually take me about a half-hour to complete.
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painters. My approach is m re akin
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Each figure is different and requires
to women's make-up, that is
!.I"" il,,' sides of the nose and the
some tweaks in the paint finish to
accenting facial features. J begin by
IIl1dnside of the lower lip with a
make it work, but this is the basic
painting the face in the base c lor,
11.111 I)' lighlened version of this dull
and I usually use a darker flesh
'1.1)' fle,h shadow color.
color for this such as Vallejo
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amI'
J lhen paint
I mix up
,III .KCl'nl wash of the Charred
process I use in figure painting.
I use the same co]OtS and same techniques with the hands.
completely ruined by grotesque
Color 41 Dwarf Skin.
"fried egg" eyes with enormous
the area around the face, such. s I h
"lIh,1I1 "er, waler and a little blending IIll'dlll111. I"his is going to act like a
US Atmy rank insignia is quite
IImwlI p.l iI1l wi th some flow
RANK INSIGNIA
white blobs with a dark little
helmet and collar, as there is no
f-
misshapen splotch in the middle.
point painting a wonderful fa e,
1'"1 w,lsh 10 get into crevices, so it
delicate and intricate in 1/35 scale,
""
I prefer the "Clint Eastwood stare"
and then messing it up while
h,t,
but fortunately, there is an excellent
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bl' thin and runny; this is
approach. Most people when
painting adjacent areas. I next p,lll1l
\\'h"I\' till' flow enhancer plays a key
standing outside on a bright sunny
the deep shadows under the naSI',
III"'.
day are going to be squinting with
and below the chin. J usually mi.\
difficult to get the insignia to
LJ,ing
.1
fine 000 brush, I hold
set of Archer dty transfers for this.
I use these all the time and they
very little of the eyeball and pupil
up a dull grey flesh col r for thl'
tI" Ill'.1 I upside down and apply a hll "l' il", in eilher eye socket so
visible. The easiest way to create a
consisting of a lirtle
tlI,1I It flows il1lo the socket and
conform to intricate folds in the
pupil is to find a very sharp
45 Charred Brown (a ri h d,1I k
IOIl'I\'g.lIes under the eyebrows.
cloth, and the way around this is to
pointed tool-1 use the point of
brown), a little Game
a set of dividers but a very sharp
Sombre Grey (a me lium hlll(' '1.1 ),
of additional overhead
needle will work fine-then
with some of the base I
moulh and cars. At this stage
decal setting solutions and I use
fluorescent lighting.
carefully poke a pair of small holes
I begin blending in the colors.
Microscale Micro Sol. After
to represent the pupils. These will
Acrylic paint does not blend as well
applying a small drop of Micro
as enamels
Solon the recalcitrant decal, let
this is supplemented by plenty
The second rule is that unless you are a master figure painter, do
be filled with wash in a process I
not try painting eyes! Especially
will describe in a moment.
don't try painting the whites of
My face-painting technique does
the eyes and pupils. I have seen
not aim to replicate all the fancy
more perfectly adequate figures
effects achieved by master figure
am
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BELOW LEFT AND RIGHT A face can help add interest to Hornet sets the industry stand this regard, as in this exampl Italeri BT-5 tank converted into a pre-war 13 Christie tank.
I ,ll'l'ly the same mixture under the ~ III
1I0s<"
into the nostrils and into the
r oils because it quickly
dries lO a water-fast hard finish. But
work quite well. Sometimes, it is
treat the dry transfers like other decals. They can be softened with
the solution do its work for a
it's possible to mimic the blending
minute or two, then use a damp
process by adding semI-transparent
Q-tip cotton swab to press the
1.1yers of acrylic paint on top of the
decal to the surface and absorb
existing paint to minimize the
any excess Micro Sol.
(ont rast between two colors. I do thi, using the base Dwarf Skin fl'sh olor mixed in with Liquitex blending medium. This takes I'r.lclice and patience. I finish the (,Ice by adding highlights to pop OUl details. For this, I start with a lighr flesh color that I apply to the peak of the nose, the upper surface of the cheek and the upper surface of the chin. I then blend this as before with the basic flesh color in a mixture with blending medium.
ABOVE Archer dry transfers are the best approach for U5 rank insignia as the detail is excellent and they are easy to apply. This is a Nemrod resin figure from the "US Tanker-Winter" set. BELOW The US Armored Force insignia is also available in the Archer dry transfer series and is seen here on a converted resin tanker figure on an M4A3E2 conversion.
145
many computer illustration
CHAPTER
5:
SETTING THE SCENE
programs. Several samples are sh wn here. I often incorporate
I always mount my finished tank models on a base. Usually it is a scenic base, but sometimes it is a plain
a unit insignia as well as a
base. I do this fOt two teasons. To begin with, it protects the model since it's possible to move the model
description of the vehicle type
without having to actually touch any of the delicate bits, or to ruin a paint finish with a big, greasy
and unit in the illustration.
fingerprint. Secondly, scenic bases help establish the environment. A tank with whitewash but with mud aU over its side makes more sense if depicted on a muddy road with some melting snow by the roadside. A tank by itself is just another toy; a tank on a scenic base tells a little story. I don't aim to create a TOP This M8 75mm HMC and
diorama, rather a simple vignette with little more than some terrain features, maybe some structural
ammo trailer is mounted on a
details, and a figure or two for good measure. So this chapter is not going to discuss any elaborate
simple illustration done in Adobe
diorama construction techniques, but rather it will focus on the more elementary tasks of creating a
Photoshop showing two camouflage colors and some text
simple scenic base.
Identifying the vehicle. I printed it off on satin-finish photographic
GRAPHIC BASES
O
Photoshop and printed out on
This is the oldest model in th book
n some occasions, I decide
glossy photo paper, which I then
which I built back in the 1970s,
against a traditional scenic
place under the transparent plastic
75mm HMC converled from lh Tamiya half-track. It is also lh fir l
or glass of a picture form base.
armor model built with a phOlO l h
base and instead make a graphic
no
base. This consists of some form
These are fairly simple to do if
detail set, a set I designed lh l w
of illustration done in Adobe
you are familiar with any of the
produced by Foto-Cut. Th ba I v," elementary, consisting of lay r , black styrene sheet plaslic I min It I to a wood base with conla l with a photo-etched nam pial
m 'nl
paper on my inkjet printer, and laminated it to a flat wood base using 3M photo contact cement, which comes in a spraycan. MIDDLE This
n
Christie tank was
converted from the Italeri BT-5 kit using the Commander Model resin kit. The graphic is a metallic surface created in Adobe Photoshop, printed on an inkjet printer and laminated to the wood base using 3M photo contact cement. BonOM This is a slightly different approach to mounting the graphic. This Tamiya M8 armored car is mounted on an inexpensive plastic photoframe base that comes with a glass front. The graphic was done in my usual fashion in Adobe Photoshop, and then printed out on photographic paper. After cutting it to size, I mounted the graphic under the glass.
147
AFTERMARKET SCENIC BASES As in case of most hobby items, the choice comes down to
Masterpiece Models produces some very nice resin bases intended for l/72-scale tank models. This one was easy to adapt to 1/35 scale and is seen here with a Dragon M3 75mm GMC.
aftermarket or scratch-built bases. There are not a lot of ready-made bases on the market, so the vast majority of my bases require some level of scratch-building. There are several brands of ready-made bases that I like, with Monroe Perdu being my favorite. There are some nice plaster bases available such as those by Farina Enterprises, but
I generally prefer the durability of resin bases over plaster ones, even
Verlinden offers a number of resin bases and the "City Diorama" base (Ver 2399) was used with a "Fighting 48" Crab flail-tank conversion in 1/48 scale.
if they cost more.
TOP Monroe Perdu produces an excellent line of resin diorama accessories including complete bases. Their "Sunken Road" is one of my favorites and I've used it several times as it can be adapted to fit a wide variety of geographic situations. Here it is with a Dragon M4A1 from Operation Husky, the invasion of Sicily in July 1943. MIDDLE Here's the same base, this time with an Academy M7 105mm HMC. BonOM Farina Enterprises produces a nice range of plaster bases, some of them quite large and elaborate. This is one I used with a Dragon T26E3 Pershing showing the tank moving over a bridge while an engineer with a mine detector sweeps the path in front of it.
The Canadian firm Astra produces some exquisite little bases for l/72-scale models and I used one here with a Mirage M3A3. The lamppost and bicycle are model railroad aftermarket items.
149
On many of my small-scale models, I mount the scenic base on top of a more substantial wooden base to give the finished model a bit more substance. The best source of this sort of base is at model figure shows or from dealers who cater to military figure modelers.
7in. photos works well with your average 1/35-scale World War JI tank. I vary the wood finish as sometimes a bright maple finish works well with a dull-colored scenic base, while other times a simple black finish works beller since it does not distract fr m
Llll'
model. When picking frames, I often look at the back of the fr:lml'
I've learned from painful experience lhat it's necessary to use a stable material as the basis for a scenic base. This small diorama of an Italeri leep passing an abandoned German Borgward remote-control demolition vehicle was done using some polyplastic material that I assumed would be stable. Unfortunately, it warped badly after the surface material dried as can be seen by the hump under the leep. The warpage was even worse before I placed some screws into the base!
as much as the front as someliml" the back will have a go d flal surface that will work b llcr lh.1I1 an elaborately carved fronl. With my underlay in hand, I next begin to work on lhc itself. I usually use a rc
t.
This is about as simple a base as possible. This Dragon M4A3E8 is sitting on a simple plastic cobblestone base from the Hansa line of diorama accessories.
b,hl'
nglll.lI
piece of plexiglass on mO~l
or Ill\
models. I have learncd fmm ",I I experience that organi m,1I111,II such as basswood, comp< "'"
h,
,II
I
and even some plasli s wdl nil I "I warp with age, Plexi la~ " designed to remain flal in oul fllm
HOMEMADE SCENIC BASES
my bases as they ate inexpensive,
rigid and relatively inerL vcr
Most of my bases start from a
attractively pre-finished and
I use picture frames for most of
use such as in windows, so
Il " LIIlH',
few standard elements: a nice
available in a wide range of sizes
01 Y Slon' carries sheets pre-cut in 8 X I in,
pictureframe and a piece of
and finishes. In the mid-Adantic
rectangles for about a dollar a shcct.
My local Home Depot
plexiglass (perspex). I sometimes
region of the US eastern seaboard,
use custom wooden bases, and
the Michael's chain of arts and
terrain surface. Cobblestone road?
My next decision concerns thc
sometimes I create irregulat bases,
crafts stores has a good selection of
Farm road with drainage ditches on
but the vast majotity of my bases
picture frames and these have
either side? Some sort of wall or
are simple rectangles. I generally
frequent sales. I seldom pay more
structure? These decisions will
try to create a base where the
than $ I 0 for a frame. I also buy
affect the next stage of planning.
model will fit comfortably without
frames at Ikea as it has some more
The least elaborate base is simply a
too much hanging off beyond the
unusual sizes, especially deep box
depiction of a flat field with some
edge of the base, or too much
shapes. I usually have a small
minimal foliage. So let's start with
blank space around the model.
stockpile of frames on hand as
that option.
I generally mount the model
tank models tend to be of similar
diagonal to the sides.
size. Usually, a frame aimed at 5 X
Plexiglass is too smooth to use with many typical hobby materials
Here's another extremely simple base for a small vignette showing a cratch-built Darby's Rangers 37mm anti-tank gun next to a knocked-out Italian Renault R-35 at Gela on Sicily in July 1943. I glued the resin cobblestone to some plexiglass as I've found that resin cobblestone sheet tend to warp with age.
151
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TOP Here's the start of a fairly simple scenic base. I've taken a sheet of plexiglass and marked out where the tank will sit with an indelible pen, with a special focus on the location of the outer edges of the track. To provide a little depth to the base, I've built up some of the areas with spare plexiglass and a couple of lengths of square plastic stock.
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UPPER MIDDLE I place the tank model on the base to make sure the dimensions are correct before proceeding to the epoxy putty stage.
On some of my bases for small-scale models, I don't bother with a plexiglass underlay but simply mask off the wooden base and apply ground texture directly to it, as in this base for a 1/76scale Giesbers T14 assault tank.
LOWER MIDDLE I cover the surface with epoxy putty, keeping the area wh re the tracks will sit free of putty. Once the base is covered, I add texture with a stipple brush. I also put some small stones into the putty before it dries, and impress some track detail.
the putty, and the resulting
I then put the putty on the
depression would probably be
plexiglass and spread it out with
compromised by the process so
my fingers. Once it's flattened a
that the model wouldn't fit
bit, I will sometimes smo th it
precisely once the putty dried.
out using a roller, normally tht
My solution to these various
ever-handy plexiglass dowel I
issues is to create a pair of
mentioned earlier when d s ri~
Ill'
(cpo y
for the soil such as plaster or
rectangular depressions equal in
methods to create sheets
Celluclay (papier mache) so I
dimension to the area of the two
putty for stowage. Once I have thl'
generally use myoid favorite,
tracks. I do this by placing the tank
surface of the plexiglass cover J
Apoxie Sculpt.
(I
buy this stuff in
the big two-pound tubs!) One of
model on the plexiglass, and
to my satisfaction, I clean up the
marking the track location using a
edges, and remove the masking
the main issues in planning a scenic
fine-tip, permanent marker. I then
tape, which exposes the two
base is how to depict the tank
draw the two rectangles, check if
depressions where the tank track
track sinking into the surface. I
they are correctly positioned, and
will sit. At this point, it's time
generally avoid trying to make an
then mask them with some tape.
to think about surface texture.
To create the ground texture,
I will often sprinkle some very
imprint into the Apoxie Sculpt wi th the actual tank model as the
I mix up a ball of Apoxie Sculpt
small stones that I bought at a
putty is fairly dense and it would
about the size of a golf ball This
figure show on the surface.
be difficult to apply enough
will be enough for a thin coat on
Model railroad shops also have a variety of small stones that are
pressure on the model to get it to
an average 5 X 7in. base. I make a
sink into the putry a sufficient
bigger ball of putty if I want more
used to depict track ballast. I will
amount. A related problem is that
ground depth or more variation in
then press these into the surface.
the putty is so sticky, it would be
the surface with more prominent
Even though I cover most of the
difficult to extract the model from
bumps and humps of ground.
surface with grass or foliage, I
BOTTOM Here's the base after it's painted but before I mount it on a wooden base.
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Here's a very similar example of this type of base with slightly higher walls, built for a Polish 4th Skorpion Armoured Regiment Stuart Reece vehicle in Italy in 1944.
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Here's another simple wedge design, but this time with a wood retaining wall. The tank is a scratch-built 1/35· scale Marmon-Herrington Tl 6 Iighl lank in the Aieutians in 1943. The groundwork includes some phOlO- l h PSP (pierced steel planking)
The railroad stone wall material can also be used to make simple buildings, as on this display base I made for an AFV Club M5A1. The door was made from slyren sheet plastic and the roof was made from the wood veneer liner that comes with some cigars.
A 10l of detail can be incorporated into a small-scale vignette. This little 5 x 7in. base contains a modified Revell 1/72scale Panther plus a patrol of US infantry figures from the AB line of white-metal wargame figures. The lrees are made from sea-foam with Noch leaves glued on using 3M photo spray adhesive.
Here's a view of the vignette from ground level. The main issue with using wargame figures in 1172-scale vignettes is that the sculpting style leads to thicker, exaggerated features, which makes it hard to mix them with figures from other sources.
usually apply texture to the putty
brush that provides a finer pattern
sticking to the epoxy putty. I then
to avoid leaving any of it with an
and which can be used to texture
press these into the putty. This
excessively smooth surface. I
any gaps in the areas missed with
completes the basic base and I
usually start by using a 3M
the stripper pad.
wait until it dries before painting.
Stripper Pad, which is an abrasive
In the event that you want
As a final step, I add some
sponge used for stripping paint.
track marks behind the tank. I keep
additional terrain details such as
It has a random, natural surface,
some old vinyl
a tree stump, this is a good time
and I use a small chunk of pad to
tracks as well as (ew
press some texture into the surface.
my hobby ro m. I damp n these in
putty before it dries, and blend it
r then
water or ale h I to 'lOp lhem from
into the surface.
follow this with a stipple
herman and
tuart
ther types in
to press the material into the
157
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TOP Here's an unconventional solution to an unconventional base. I wanted to depict a 1172-scale Dragon LCM-3 disgorging a Hasegawa M24 light tank during the Rhine crossings in 1945. Rather than the usual flat base, I used a clear plastic 8 X 1Din. photo display base as the foundation for the vignette. I built an elementary underwater portion, and painted the inside of the "water" with a semi-transparent murky green-brown color. The water surface is thick glossy acrylic gel for the wave texture, while the "land" portion is usual epoxy putty. MIDDLE Here's another view of this 1172-scale vignette from the other side, once again showing how much can be packed into a small vignette in 1172 scale. BonOM The M24 coming ashore from the LCM-3 during the 1945 Rhine crossings.
INCORPORATING AFTERMARKET DETAIL ELEMENTS I Ill' II'
"
~ vcry wide selecrion of
.lfll'llll.lrkct producrs for dioramas
brands available and they come
expensive, The Hansa plasric road
in different patrerns. I like this
sections are very nice and
material as ir is inexpensive, easy
reasonably priced, but they
to cut, and results in an easy and
accurare!y replicate real cobblestone
a((ractive wall. It can be adapted to
roads with a hump in the center to
create a low wall or retaining wall,
allow water to drain, and as such it
I,'\(nbc hcrc. I tend to favor walls
a much higher retaining wall or
can be awkward to position a tank
Ind othcr simplc srructures as I
even the side of a stone building.
model on them at an angle.
,Ind \'Igncttcs-far too exrensive to
,'Idom attcmpt to create a complex
1/72 scale.
Another product I use quite a
Vacuum-formed cobblestone is
bir is cobblestone. Once again,
inexpensive. but it is shallow in
I ,\trwr th~n try to catalog the
there are numerous producers of
depth and can create problems
n",nl' products available, the
aftermarket cobblestone including
around rhe edge where rhe hollow
resin sheets from Verlinden and
consrrucrion shows.
dllll.lma cxccpt in
.1'
omp,1I1yi ng photographs here
how how , h~vc incorporated dwnl
11110 11('
simplc sccnic bases.
product rhar I use quite a
orher manufacturers, molded plastic road sections from Hansa, and vacuformed plastic sheets from
hll in thcsc sccnic bascs is
several firms. They all have their
cxp.lIldcd foam stonework walls.
pluses and minuses. Resin
'-his omcs in sheets and is aimed
cobblestone sheets are great in
~t modcl railroadcrs for use in
terms of derail, but they can be
rctaining walls. There are several
hard to cut, prone ro warpage, and
There's a wide range of diorama accessories available from aftermarket sources, and I used this excellent Armand Bayardi resin walls and door set with a Commanders Models resin M22 Locust from Operation Varsity.
159
It's fairly easy to incorporate aftermarket
Here's the finished diorama
diorama items into a simple scenic base.
incorporating a 1/76-scale Milicast M32
Accurate Armour has a very nice line of
recovery vehicle pushing an Earthworm
fortification accessories for small-scale
mine roller. The grass is from the Noch
models and I got the sets that depict
line of scenic products.
the Siegfried Line dragon's teeth and the associated roadblock. Here, I've epoxied these to the plexiglass base.
RIGHT The complete Siegfried With the basic elements in place, I'v
Line vignette posed against a
added the soil areas from epoxy putty
natural backdrop.
and impressed track detail into th surface to suggest heavy traffic.
BELOW This base for a Sherman Crocodile flame-thrower tank is built in my typical fashion from plexiglass and epoxy putty, but I've incorporated a Farina Enterprises Panzernest cupola and a Verlinden plaster roadblock.
WJ !J"'''''"ll.1! \1'UU"
Here's the base after painting but before adding grass and other textures.
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ABOVE Another view of the heavyarlill ry vignette. The characteristic con rete electrical pole came from a rr nch model railroad shop.
scene in 1/35 scale due to the sheer size, but it is a very manageable scene in 1/76 scale. There is also a wide rang of buildings and other accessories available from model railroading sources.
This is another simple scene using a 1/72-scale Extratech Ml 0 tank destroyer with a Dragon SdKfz 251 passing a ruined building. The scenic base is only 5 x 7in.
Sometimes the usual rectangular base won't do, and another shape is better. In this case, I made a triangular-shaped base using plastic household trim capped with a piece of plexiglass. The model is an M33 prime mover converted from the Mirage 1172-scale M3 medium tank kit towing a Hauler resin 240mm howitzer on its transport wagon. The building is a resin wargame ruin from the JR Miniatures series.
Small-scale dioramas offer lots of detail in a small space as seen in this completed Ml 0 tank destroyer diorama.
163
ADDING DEPTH TO THE BASE
described earlier, srarting wirh a
Filler to seal and fill the edge for a
picture frame and suitable
smoother and neater finish. Acrylic
1: I-
After a while, simple flat scenic
plexiglass rectangle. To create a
putties are necessary as the fillers
o
bases get a bit boring so there are a
deeper surface, I use one or more
containing stronger solvents, such
Z
variety of alternatives. One
layers of blue or pink house
as hobby putties, will attack and
lI-
approach is to simply add more
insulation foam that I epoxy to the
melt the Styrofoam.
VI
depth to the base so that more
plexiglass. The resulting sandwich
VI
elaborate terrain features can be
of plexiglass and Styrofoam
provide enough depth ro carve
added, such as drainage ditches by
sometimes ends up with rough
some terrain features. I find that a
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The layers of house insulation
0.
the side of the road. In this case, I
edges, and so I use an acrylic putty
small rotary hand sander works
follow much the same procedure as
such as Elmer's Carpenter's Wood
very well for this, although this is
U
LEFT Here's a simple example of a scenic base with a bit more depth than most of my bases. In this case, I want d to show this 1/35-scale Super Pershing in hull-down with its massive gun ov r a small berm. The hill was made from some balsa foam with the usual coatin of epoxy putty.
Here's the same basic shape, though built in a slightly different manner by using pieces of plexiglass to create the basic wedge and then coated with epoxy putty to show the beach texture. This is a Dragon M4A1 modified to depict a wading tank from the 741 st Tank Battalion at Omaha Beach on D-Day, towing an ammunition trailer. The figures are modified from the Dragon D-Day Rangers set.
This base for a 1/48-scale Tamiya M4 with T1 E3 mine-roller started with the u ual plexiglass but then the rear area was built up using expanded-foam tonework for the road terrace and cobblestone plastic sheet for the road itself. The trees are Heki model railroad trees intended for HO scale by perfectly fine for a 1/48-scale diorama.
BELOW Here's a more dramatl vi w the Super Pershing vignette with tl1 enormous gun peering over th 11 etc)
definitely a job for the garage or
coating of textured epoxy putty on
outside, as it tends to create a lot
the surface.
of dust and Sryrofoam powder.
House insulation foam can also
alternative to Styrofoam house insulation for more elaborate consrructions is a product called
The aim here is to carve the basic
be used to create small stru
desired shape. It doesn't have to be
and one of my small- calc dioramas
texture than Styrofoam and the
perfect as I use the same technique
pictured here shows how I used it to
surface can be carved to create
as the flat scenic base, and put a
create a small bunker. Another
surfaces such as stone walls or brick.
balsa foam. This has a finer, grittier
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This base uses my usual plexiglass underlay but I've added a small styrene box for the fortified wall with resin Armand Bayardi wicker gabions to give the scene a World War I trench flavor. The model is the RPM 1/35-scale Renault FT in American Expeditionary Force markings.
Here's a more dramatic view of the Renault FT surmounting the obstacle with doughboys advancing behind.
TOP ROW LEFT Here the vignette is starting to take shape with the Panzernest in place along with two tree stumps. TOP ROW MIDDLE At this stage, I added the forest litter by gluing down various textures to the surface with a mixture of white glue and water. TOP ROW RIGHT Here are the basic elements of the base after the initial painting. MIDDLE ROW LEFT Here is the Panzernest vignette after a wash and dry-brushing but before adding the
This small figure vignette was design d
figures and evergreen branches.
to fit inside a small plastic 4 x 6in. photo box and is based around a 1/35scale RPM Panzernest cupola. I glued two layers of soft balsa foam togeth r to get the desired height at the back and then carved out a hole to fit the armored cupola.
TOP ROW RIGHT Here's the finished vignette with the modified Dragon figures from their "29th Infantry Division-Omaha Beach." The limbs of the pine tree come from a type of dyed dried fern sold at craft stores for flower arrangements. It comes in large bundles, and small limbs can be cut from the stalks. BonOM The finished Panzernest vignette photographed against a scenic background.
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Over the past few years, I've begun to use Styrofoam house insulation to make bases. This is a relatively elaborate example incorporating a Siegfried Line bunker to fit on an oval base obtained at a figure show. All the base is Styrofoam except for the armored cupola and embrasure.
Here's the finished base before it is glued to the wooden base and the vehicle and figures are added.
ABOVE The completed "Bunker-Buster" diorama in a photomontage.
Here's the model with the 1/72-scal ESCI M12 and a converted M30 ammo carrier in place.
Here's another example of the use of Styrofoam insulation for a thicker base than my usual plexiglass style. I designed this base to fit on a nice circular wooden base I found at a figure show. The 1148-scale Tamiya M4A1 is shown advancing along the hedgerows with a wary party of infantry. These figures are shown in more detail in the preceding chapter.
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PAINTING THE
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BASE
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I airbrush the base with a variety
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of dirt colors, and I try co use the
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Lhat there is consistency between
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gr und color on the light side ABOVE This 1/3S-scale Bronco Staghound uses a variation of my usual terrain base and wall. Instead of the usual wedge, the vignette is based on a wooden oval so the wall has to have a curved cross-section. The wall is the usual expanded-plastic railroad material while the curved back (not evident here) is simply a piece of curved styrene sheet. The Styrofoam insulation base allows more terrain depth than my usual plexiglass base.
,in e the upper layer of soil is apt LO be dry. So my usual colors are I:\miya Buff or Deck Tan. If there .Ire large areas that will not have .IIlY gr und cover on them, I LJ'ually paint irregular squiggles
or vari LO '0
us dirt colors over the base
break up the monotone finish. I might use three or four colors
including Buff, Deck Tank, JG5DF Brown and a lightened version of
RIGHT Here's a slightly more elaborate Styrofoam base carved in an angled wedge to show a German Wirbelwind abandoned off the side of a road with 1148-scale Tamiya Jeep passing by.
Buff Once dry, I usually apply a dark wash followed by a light dry-brushing to accent the surface and give it a bit more texture.
This is another example of a vignette in a small space using 1172-scale vehicles and figures. I like using a thicker base with small-scale models as it gives the finished model a bit more substance. The vignette is based on the usual plexiglass sheet with a layer of balsa foam epoxied on before carving the terrain details. The surface was coated with epoxy putty for texture and the foliage is the usual mixture of Siltlor grass and sea-foam trees.
r P This is the Monroe Perdu "Sunken R ad" resin base after my initial ,llrbrushing. I usually paint the side lion in some darker color such as lamlya IGSDF Brown or olive drab. MIDDLE This is the base after it has t iv d a wash of Holbein Sepia w,ll rcolor in a mineral spirit solution. II TTOM Once the dark wash has tin d, I do some dry-brushing to help P p oul lhe ground texture.
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The ground can be given some
GROUND COVER
B sides photo-etch foliage, the Japanese firm Kamizukuri offers pre-cut paper plants like these ivy plants. These paper products are quite delicate, so I usually paint them while they are still on the backing sheet.
cover in their Mini-Nanll' line of
more texture by adding some
There is a wide range of ground
products. This includes more
narural texrure to the surface either
cover available for scenic bases,
elaborate vegetation that offers a
before or after paiming. I often do
ranging from old stand-bys like
good represemation of weeds or
both. As I mentioned earlier when
static grass through co more
other plants. Silflor also has a line
talking abour texture on tank
elaborate grass and foliage
of grass rufts that are small c1ump~
surfaces, I make my own using an
materials. In recent years, I have
of grass rather than solid sheets.
inexpensive coffee grinder. I make
been using Silflor or Heki brand
These are an excellent adjunct t
up one mixture by grinding up
grass mats. These come in sheets
the grass mats since they can be
some dried leaves, and I make
in differem shades of color and in
used to break up their regularity.
another mixrure using ground-up
different depths of grass. They can
they can be used in areas barren
tree roots. I will glue a bit of these
be used in two fashions. Jn some
grass co suggest litrle clumps of
mixrures co the base before
cases, I glue them co the base before
grass or weeds.
painting using some white glue
paiming with Goo comact cemem,
(Elmer's glue) thinned with water
and then airbrush them along with
LIS' .\
and applied on the base. Then I
the rest of the base. This makes it
variety of products. Man)' art, .llld
sprinkle the mixture on the glue
possible
craft scores carr)' bundle
areas. This process can be repeated
grass a bit more than the original
colored plants that are us d
after paiming as well, since the
product. Many of the Silflor and
make floral displays.
ground leaves and root debris have
Heki grass colors are quite good
these natural products ar b.l,nl
CO
vary the color of the
f dill' III
narural colors a bit different from
sttaight out of the bag, so in other
on fine-leaf plams and s
cases, I paim the base in dirt colors,
useful representations
number of firms that offer other
and glue the artificial grass to the
scenic bases. One of the m.ull
types of dried leaf and plam
base using comact cemem.
products that can also be used, bur my method is cheap and effective.
Silflor also makes an extensive range of other types of ground
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the paimed surface. There are a
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be unrealisti
B Id their grass mats, Silflor also off r more complex sets of ground and tr cov r in their Mini-Natur line which I v ry good for depicting weedy round cover. On the "Sunken Road" base, I decided to use the Silflor 950-22 "Eichenlaub Sommer." These mats can be cut with ordinary scissors, and I attach them to the base using Walther's Goo contact cement.
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scenic base, often being c I It'd
III
To add a bit more complexity to the round cover, I usually glue some or ani debris along the edge of the r ad made by grinding dried leaves and Ir root in a coffee grinder. I attach this t th base by mixing up a solution of whit lue and water.
There's a wide range of aftermarket foliage products available. I sometimes use Alkem Scale Models photo-etch HOscale corn rows as weeds in 1/35 scale. Here I've already painted them and glued them along the base of the wall of the Monroe Perdu "Sunken Road" vignette base.
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problems using them is that till colors tend
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For taller vegetation such as small shrubs or small trees, I
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Another useful Siltlor product is a series of grass tufts that come attached with contact adhesive to a plastic backing material. This is very good for depicting irregular clumps of grass like those in the middle of a country road. In this case, I used Silflor Mini-Natur 727-33 "Tall Prairie Tufts-Late Summer," but they come in a variety of heights and colors.
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Ground texture can be enhanced by using multiple types of material to replicate a variety of ground effects. This base uses Silflor grass matt with the open ground areas covered with leaf debris created with a coffee grinder, as well as clumps of Silflor Beech tree hor etail foliage to mimic weeds. A few Eduard photo-etch plants were thrown in for some more variety.
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These are the basic ingredients for seafoam trees. The sea-foam weed material is available from model railroad scen ry dealers such as Scenic Express and sold under various brand names such as Super-Trees. I mix up a couple of different colors of Noch leaves and put them in a disposable container Iik thl plastic yogurt lid. After spraying th t of the sea-foam "tree" with 3M phot adhesive, I dip the tree into th I v Once it is dry, I generally spray It with some ordinary hairspray, which glv the leaves a slightly glossy textur and also helps them adhere to the s a-f am.
an excessively dark green or other
Express sells this material under
size, I spray the sea-foam with
color. Obviously, this can be solved
the name Super-Trees. It resembles
3M photo spray contact adhesive.
with the airbrush.
a miniature tree without leaves.
This spray adhesive is extremely
Larger shrubs or small trees can
To create the leafy cover, I use the
sticky so it is a very good idea to
be made using the techniques
Noch brand of leaves that eome in
spray this against some sort of
developed by model railroaders to
various colors. For summer foliage,
disposable cover; I use some old
depict HO-scale trees. There is a
I like to use a combination of the
newspaper. I place the leaf
type of European weed called sea-
Lime leaves (08020 Mittelgrun)
mixture in a small, disposable
foam sold by various hobby firms
and birch leaves (080 IO
plastic tub, and then dip the
that consists of the stems of this
HellgrLin). After cutting off some
sea-foam trees into the mixture.
plant. In the United States, Scenic
sea-foam branches of the right
After letting it dry a few minutes,
Mixing a variety of foliage can produce a very natural ground clutter as seen here on my Super Pershing vignette base. The taller plants are from various types of dried and dyed plants sold at arts and crafts stores for flower arrangements. I've also used various Silflor ground textures, and even some photo-etch plants to deepen and thicken the hedge.
J spray the trees with hairs pray
SCENIC IDEAS
years developing techniques to
that helps the leaves adhere better
I find that the best venues
replicate scenery and lots of good
to the trees and which also gives
for discovering new scenic
ideas can be obtained by
the leaves a slight natural gloss. Be
techniques are big model train
wandering around these shows.
torewarned that the slightly glossy
shows. I am lucky enough to live
Many vendors sell scenic products
finish of the hairspray tends to
near some of the biggest on the
at these shows that are not
make the leaves a bit darker than
US East Coast, which are held
commonly found at armor
their original color, so it's a good
periodically through the year at
modeling or IPMS shows. In
idea to use slightly lighter shades
the state fair grounds in
addition, these shows often have
of leaves until you get used to
Timonium, Maryland. Model
demonstrations showing how to
the effect.
railroad hobbyisls have pent many
create various types of scenery.
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CHAPTER 6: PHOTOGRAPHY
WHAT DO TO START?
I
NEED
have photographed my models
tO
I cannot imagine completing a model project without photographing it. I may not enter model
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competitions any more, but I do like showing off my latest creation. Photography offers a perfect means
35mm camera as well as newer
with a traditional (wet film)
camera can provide very good
Model photography requires a
results. The best options are
tripod ror best results since it's hard
cameras that have a macro feature
to ensure a steady hand without
that will allow close-up
one. A good lighting source is also
photography. Ideally, you want a
desirable, although a variety of
to do so either through the venue of Internet hobby sites, or the more traditional (dead tree) medium or
digital cameras. I have retired my
camera that can take a remote
household sources or natural
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hobby magazines. I do both. I also take my photography one step rurther, and I usually merge my model
old 35mm cameras, and now
shutter and that can have the
lighting will suffice if skillfully
exclusively use digital cameras. So
aperture set manually. I will explain
used. The most important tool is a
to.
photographs into scenery to create photomontages. When I was a kid, I liked to push my model tanks
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across the carpet accompanied by vroom-vroom, boom-boom sounds as I imagined I was Patton or
this section will focus only on these
these issues in a moment. It's
good digital photography program.
U
Rommel fighting some long-forgotten battle. I've grown up a little bit since then, and I still like to see
options. I have several 35mm
impossible for me to discuss the
This is needed to clean up lighting
my models in action, minus the sound effects. Computer programs make it fairly easy to turn a model
digital cameras, partly because I am
ins and outs of all the possible
issues that are a problem even with
photograph into a historic battle scene. This chapter is not long enough to explain every nuance or
a camera nut and partly because I
camera configurations, since there
the best of cameras. At the high
computer art, but at least I can provides some samples and provide some rudimentary explanation or
use them a lot for my work. If you
are so many options on the market
end, I recommend Adobe
are new to digital photography, the
at the moment.
Photoshop. At the low end,
how it is done.
decision on which camera to buy is dependent on budget as even some or the less expensive digitaJ cameras will take good pictures. Ir you have the budget, and are very serious about model photography, the choice is a 35mm SLR with a dedicated macro lens. (SLR is single-lens reflex, the type of cameras that can be fitted with alternate lenses.) I use a Canon Rebel with their 50mm macro lens. If you want a general-purpose ramily camera and have a limit on your budget, a less expensive
Model photography can add another level of interest to the hobby. This composite photo was done in Adobe Photoshop using a Fine Molds 1172-scale Akuyaku tank based on the sketches of the popular Japanese anime illustrator Hayao Miyazaki.
My photography set-up is nothing elaborate. I have a halogen light on a tripod seen at the left, and a Canon Rebel digital 35mm camera with 50mm macro lens and remote shutter on a tripod seen in the lower right. I have a basic background wipe which is nothing more than a long piece of white paper which can be obtained in arts and crafts stores in rolls and thrown away if it gets damaged or soiled.
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One of the most critical features needed for model photography is a lens that provides as much depth of field as possible. Here, my lens aperture is set wide open at f/2.5. As can be seen, this offers very poor depth of field with only the center being in focus and the near and far portions of the model out of focus.
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The variety of lenses available for SLR cameras offers some variety in imagery. This type of dramatic view of a Tasca M4A1 was made possible by using a 1Omm fish-eye wide-angle lens.
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Here's the same image but with th aperture set at the more desirabl fl 7., which gives much better depth of fI Id As a result, everything is in focu fr rn the nearest detail to the fUrlh l. N I ,III lenses will go down to a f/32 p rlIHl. but most lenses provide som thin 111 the f/22 range. A dedicated ma ro 1\ ", designed for close-up photography I desirable, and many digital cam r now have a macro mode built in.
photography since it controls
aperture settings, but the results
permits the camera to be used at
depth of field. An f/32 aperture
will not be as good.
slow shutter speeds-under
setting has much more depth of Adobe Photoshop Elements is an
too many possible variations of
designed for close-up photograph
I have my camera set up on an
I/60th of a second. This is vital
field rhan an f/22 setting,
old tripod. In fact it is a bit of a
because if you manually set the
excellent choice, but there are ftee
cameras and equipment to cover
work. Among other features, it
meaning that the camera will be
jumble, consisting of a tripod head
aperture to f/32, it is going to
programs on the Internet and many
all the potential configurations.
offers a very narrow aperture
able to keep more of the model
from a 35-year-old tri pod, attached
require a long exposure time since
digital cameras come with some
As I mentioned earlier, I use a
setting, f/32, while most lenses
in focus from the bits closest to
to the legs of a newer tripod. I
the narrow aperture lets in very
elementary free software.
Canon Rebel 35mm digital camera
don't go down much below
the camera to the bits furthest
liked the feature
little light. A remote trigger is
with a 50mm macro lens. The
f/22. A narrow aperture setting
away. It is certainly possible to
tripod head better than the new
necessary for the same reason. If
macro lens is valuable since it is
is extremely valuable in model
photograph models at higher
one, so I swapped parts. A tripod
you push the manual button on the
I am going to describe my photo set-up because there are just
n the older
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camera, even when it is on the
about photography, visit your local
as good an 1l11age as possible. It's
POST-PROCESSING
Photoshop CS, which is not a
but some uneven, hazy grayish
Even with my $1,000+ camera
package for the casual user both
white. By using the selection tool,
and other features, my photos are
because of its price ($800+) and
it is possible to select the white
usually underwhelming when I
its complexity. This is why there
area, and then using the
load them from the memory card
are many other popular photo
brightness-contrast command,
programs that provide the really
to increase the brightness and
tripod, it is going to cause the
photo shop and buy a color-
always possible to shrink the image
camera to bounce around a bit, and
corrected light. These days, there
later in post-processing.
so the results will not be as sharp.
are some fluorescent alternatives
For lighting, I use a dedicated
that are reasonably priced
On my Canon Rebel, there are a variety of shutter options including
3,400 degrees K halogen light on
compared to halogens. Some
automatic, shutter priority and
a pole-mounted tripod. These
photographers use a fill-in light
aperture priority. I set it to aperture
n to my computer. The colors
l
are a little off, and the contrast is
useful features such as auto-correct
decrease the contrast, providing
lame. Photoshop to the rescue!
at a fraction of the cost and a
a uniform white background.
come in kits with two lights, and
source, but I don't bother. When I
priority (Av), which aLlows me to
I bought my set about a decade
need a fill-in source, I use a white
manually set the aperture. I want t
I bring the photos into Adobe
fraction of the complexity.
These two steps usually deal
board (actually a white plastic
do this so that I can set the
Photoshop, and in one click, using
Photoshop allows a good deal of
with the majority of the problems
the Jmage> Adjustment> Autolevel
other corrections to be made
with the photo. My other usual
ago for around $100. This doesn't take up much space, and the 3,400
Japanese fan I got at a trade show)
aperture as narrow as possible, s
K bulb is close to natural sunlight
to bounce some light off the main
ideally at f/32. With that set,
command, I can correct 95 percent
relatively easily. A common
headache is dust on the camera
I let the camera do the metering.
of the problems in about two
problem is that the white
sensor since I use my old Canon
The only time this is a problem is
seconds. I currently use Adobe
background is not really white,
Rebel for model photography and
so the image colors are fairly natural. Household bulbs generally
light source. Backdrops are probably the easiest single item in the photo set-
when I use a very dark backgroun I
this will lead to discoloration in
up. My standard set-up is just a
such as black. In this case, the
the image, running towards orange
crude photo wipe made from a
meter overcompensates and the
cheap roll of white paper, and
model is much too light.
operate at lower temperatures, and
with incandescent bulbs and
n-U
towards blue or green with
tacked to a worktable and foam-
cameras, there is a manual sellin'
fluorescent bulbs. This can be
core backer board. If you want to
to compensate. However,
avoided even in inexpensive
get fancy, it's possible to use a color
vast majority of my phot s, th
cameras by setting the white
backdrop either in the form of a
camera's built-in meter is jusl
balance that measures the light
roll of colored paper, or a piece of
So I click away. I set up the m( dd
source temperature and corrects
colored art paper. I use Canson
so that the light illuminates the
for it in the camera. It can also be
colored paper when I want a color
proper side. I sometimes have t
corrected in post-processing such
background as there is a wide range
change the location of the light
as Adobe Photos hop, though it is
of colors and this paper is easy to
source from right to left to cover
certainly better to have the light
obtain at local art supply stores.
both sides, which is why I like a
Natural sunlight is always an
r th,
fI,H'.
compact halogen light. I usually usc
source as close to natural sunlight as possible.
r.
TAKING PHOTOS
autofocus on my camera, but I will
With my photo gear in place,
occasionally use manual focus if J
option but it has its own set of
I can start shooting photos.
am doing something a bit off-beat,
problems. One of the main ones is
Digital cameras permit the image
such as photographing with an
weather. Natural sunlight implies
to be stored in a variety of formats
alternate IOmm fish-eye lens.
photographing outdoors, and many
and a variety of resolutions. I save
days the weather is far from ideal
my images in Jpeg format as the
A 50mm macro lens allows me to get quite close to the model to
due to wind, rain, temperature and
Raw format is far too rich for my
photograph. If I need something
other variables. It is a good fallback
tastes. I always set the resolution
super-close, it's possible to add
if you can't afford a dedicated light
at the large/high setting as
some magnification filters to the
or workspace and are only a casual
memory chips these days are so
front of the lens. However, I
photographer. If you are serious
big and so cheap, it's better to get
rarely use these.
TOP No matter how good the camera, it will not give perfect results when photographing complex scenes. In this case, the camera meter is confused by the very dark model in the foreground against a very light white background. As a result, the meter compromises and sets the aperture or speed to even out the results, giving you a murky grayish image. This can be solved by tinkering with the settings on the camera for every shot, or dealing with the problem in post-processing. I prefer the later. BonOM Here's the same photo after bringing it into Adobe Photoshop and hitting Image>Adjustments>Auto-Level commands. It clears up 90 percent of the problems with about 10 seconds of effort. Most other less expensive and less complicated photo-correction programs such as Photoshop Elements offer similar, easy correction features. CONTINUED OVERLEAF
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THE FANCY STUFF
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more times. The top layer will
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Okay, we have turned our nothing-
f-
special photos into photos good
I
enough for most hobby magazines.
a
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be used to create a mask to trim away the white background on the intermediate layer, which will
The next challenge is to place them
become my main working layer.
in a realistic scenic background. In ex:
After I strip away the white
the old days, I did this by having
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some large scenic photographs
I
printed up, and then placed them
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background, I turn off the other layers so that all that I have is the model floating in space with
behind the model. This was fine
transparency around it. Of course
for wet-film camera days, but now
I'm simplifying this a bit as
it's much easier to integrate the
it's necessary to trim off
model photograph with the sceni
extraneous bits, etc.
photo in the computer using
Now, I go into my file of scenic
Photoshop. I cannot possibly
photos looking for something that
instruct you how to use Phot sh p
will work with my model.
in the small amount of space her.
Obviously, a winter scene is not
Visit any bookstore and you will
going to work with an M3 75mm
find tomes 400 or 500 pages lhi k
GMC that was deployed in Tunisia
explaining the many possibililies of Photoshop. So instead, I will Iry
l
explain the nature of Phot sh p and how it can be used to reall' historical scenes using models. The basic concept to und
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about Photoshop is "layers."
nlike
a conventional image, a Photosh p
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TOP Here's a model photo that I want to use to create a realistic composite scene. Notice that I have photographed the model to appear as though it was taken at ground level, as is the case with the majority of historical photos.
file can exist in multiple layers, ea h with different imagery on it. Another way to think about this is to imagine a stack of clear plastic TOP Taking the post-processing one step further, I selected the white background using the Photoshop Magic Wand tool, and then dropped the contrast and increased the brightness. This changed the background to pure white. BOTTOM As a final step, I ran the photo through an Extensis Intellihance filter, which sharpens the detail and contrast a bit. This whole process took less than a minute.
save my newer Rebel for
sheets, each with a different image
professional work. These old
on it. You can see through the clear
cameras are harder to keep clean,
plastic, and see all or parts of the
and so smudges appear on t~e
images below.
image. There are a variety of
When I bring my model image
correction tools in Photoshop
into Photoshop, I save it in a new
to paint these out, and since they
file in the Photoshop format
occur in the same spot every time,
(.psp), which allows it to be
it means a Ii ttle predictable clean-
manipulated in layers. I usually
up work.
duplicate the primary layer two
MIDDLE In Adobe Photoshop, I create a second layer and I use various tools to cut away the background. The transparent areas in Photoshop appear with a white/grey checkerboard. This does not appear in the final image. BOTTOM I look through my photo library and I find a scene that I think will work. I shot this snow scene out in western Maryland a few winters ago and it has the right lighting and contrast. I import this image into my Photoshop image, placing it on a layer below the model image. CONTINUED OVERLEAF
Here's the final result. This process is more complicated than this simple explanation here, and this image took me about an hour to complete as I had to try various background images to find one that worked well. Also, cleaning up the model image and removing the original background can be time-consuming.
American farmland looks pretry
come in handy. Besides my
much the same as European
photography in rural Maryland.
farmland, but items such as the
I have the benefit of a fair am
farm buildings, telephone poles,
of business travel, and I always
haystacks and other details can give
carry a little digital pocket camera
away the location since these
with me. So I have a variety of
lUll
features are often peculiar to
French, Dutch, Belgian, Russian,
certain areas. So I try to find
Polish and German backgrounds, as well as some from the Middle
in I943! Over the past several
"generic" settings. Secondly, I try
years, I have collected a fairly
to gather photos during different
East. If you don't have a chance for
extensive library of scenic images,
seasons of the year. A great deal of
overseas travel, keep an eye on US
which I have photographed
my photography is on nice, bright
Government websites, as the US
specifically for model photography.
sunny days from the late spring
Government photos are generally in
This doesn't require a lot of travel,
through early autumn. But every
the public domain and free of
but it does require patience, a good
now and then, I will head off on a
copyright. The US Department of
photographic eye and a persistent
photo safari in the middle of a
Defense website (Defense-Link)
search for good locations. I shoot
snowstorm to get some winter
has an extensive photo library that
most of my scenic backgrounds
scenes. I also keep my eye out for
contains a good many photos of
in rural farm areas. The less
unusual or dramatic sky scenes,
exotic locales that will work quite
distinctive architecture the better.
such as during storms, which might
nicely in Photoshop.
TOP Here's another case of adding some action to the scene with Photoshop, in this case a 1/48-scale resin Sherman Crab flail tank.
BOTTOM A bit of excitement can be added to an image through the magic of Photoshop, in this case a bit of gun flash on this D-Day M4A1 wading tank.
-I I
185
184
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ABOVE Here's an even more complex composite I did for my Osprey modeling book on the 76mm Sherman. Aside from the Sherman itself, the Panther in the background is a Tamiya 1/35-scale model while the P-47 screaming overhead is a Dragon pre-built die-cast.
RIGHT Each element in the composite is photographed separately and then TOP A Dragon M16 MGMC seen in
BOTTOM Photoshop also offers the possibility of mixing scales. This AFV Club 1/35
action courtesy of Photoshop.
scale M5A1 is populated here by a couple of 1/6 scale Dragon "Battle Barbies" from their large-scale action figure series.
brought together and enlarged or reduced to fit the image. Here's the original photographic work on the P-47.
186
187
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I CHAPTER
7:
FURTHER READING
January 2002
Vol. 32/No. I
Detailing Tamiya M8 Greyhound
March 2002
Vol. 32/No. 3
History of World War II Olive Drab
April 2002
Vol. 32/No. 4
Converting Tamiya M4A3E2
June 2002
Vol. 32/No. 7
Detailing Italeri M4AI (76)
July 2002
Vol. 32/No. 8
Converting Tamiya M3A2 half-track into T28EI
October 2002
Vol. 32/No. I I
PSP resin M4 high-speed tractor
November 2002
Vol. 32/No. 12
Detailing and correcting Academy M3 light tank Converting Tamiya M4 into Crocodile
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Over the past several years, I have written four books in the Osprey Modelling series that cover most of the standard US armored vehicles of World War II, including the Sherman, Stuart and tank destroyers.
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Osprey Modelling 4: Modelling tbe M3/M5 St"art Ligbt Tank (Osprey Publishing Ltd: Oxford, 2003)
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Osprey Modelling 13: Modelling US Tank Destroyers
if World
JiJlar II (Osprey Publishing Ltd: Oxford, 2004)
U Osprey Modelling 35: Modelling tbe US Army M4 (751111I0 Sberman Medium Tank (Osprey Publishing Ltd: Oxford, 2005) Osprey Modelling 40: Modelling tbe US Army M4 (76mn0 Sberman Medium Tank (Osprey Publishing Ltd: Oxford, 2007) Besides these, I have written dozens of articles on US World War II subjects for Military Modelling magazine in Britain. I have included a list below that covers the Military Modelling articles as I have described most of the models shown in this book in these articles. So modelers wanting to learn more about these projects will find a lot more detail in these articles. I have not listed the actual titles of the articles as they seldom give a clear idea of the actual subject, and so instead I've provided a short description of their subject. Military Modelling is not monthly in the usual sense because they publish 14 or more issues per year. I have not listed the formal dates as they are needlessly complex (for example, Vol. 30 No.2 is listed as 18 Feb-I6 Mar 2000), but I have summarized the month they appeared. All these articles cover I/35-scale projects unless noted otherwise.
US
ARMY WORLD WAR
II
ARTICLES IN MILITARY MODELLING MAGAZINE
December 2002
Vol. 32/No. 15
February 2003
Vol. 33/No. I
Detailing RPM FT-I7
May 2003
Vol. 33/No. 4
Converting M3AI CDL Leaflet night-fighting tank
July 2003
Vol. 33/No. 6
Converting Dragon M4AI into D-Day wading tank
September 2003
Vol. 33/No. 8
Heller H-39 (German) and US paratrooper D-Day vignette
November 2003
Vol. 33/No. 13
Converting AFV Club M3A3 into Recce Stuart
December 2003
Vol. 33/No. IS
1/72 ESCI M4AI DD tank conversion
January 2004
Vol. 34/No. I
1/72 Revell Panther vignette
April 2004
Vol. 34/No. 4
1/76 Milicast M32 with TIE3 mineroller
May 2004
Vol. 34/No. 5
Converting Tamiya M4A3 as Heavy Armor M4A3E8
September 2004
Vol. 34/No. I I
1/72 M33 conversion
+ Hauler 240mm
December 2004
Vol. 34/No. 15
RPM Panzernest vignette with Dragon figures
February 2005
Vol. 35/No. 2
Commander's 1/35 resin M22 Locust
+ Accurate
April 2005
Vol. 35/No. 4
Tamiya M26
May 2005
Vol. 35/No. 5
1/72 Hasegawa M24, Dragon LCM(3) vignette
Armour Super Pershing conversion
October 2005
Vol. 35/No. 10
1/72 Extratech M4 and TnT SdKfz 250 bocage vignette
August 2006
Vol. 36/No. 9
1/35 Academy M3 medium tank
September 2006
Vol. 36/No. 10
1/48 Tamiya M4AI and figure vignette
October 2006
Vol. 36/No. I I
1/72 Mirage M3A3 light tank
January 2007
Vol. 37/No. I
Dragon M2 half-track with 37mm conversion
October 2007
Vol. 37/No. 12
Bronco Staghound
November 2007
Vol. 37/No. 13
1/72 ESCI MI2
February 2008
Vol. 38/No. 2
1/35 Tasca M4AI
May 2008
Vol. 38/No. 6
1/35 AFV Club M5AI
Issue
Volume/ number Subjecr
May 1997
Vol. 27/No. I I
Detailing Academy MI8 76mm GMC
November 1997
Vol. 27/No. 19
Scratch-built Marmon-Herrington T- I 6
May 1998
Vol. 28/No. 7
Detailing US M24 Chaffee
June 1998
Vol. 28/No. 8
Converting the Tamiya M3 into M3AI Stuart
September 1999
Vol. 29/No. 10
Scratch-built 37mm AT gun
October 1999
Vol. 29/No. II
Yugoslav M3A3/75mm
December 1999
Vol. 29/No. 14
Detailing Tamiya M8 75mm HMC
September 2008
Vol. 38/No. I I
1/35 DML MI6 half-track
February 2000
Vol. 30/No. 3
Converting Italeri BT-5 into T3 Christie
October 2008
Vol. 38/No. 12
1/48 Tamiya Wirbelwind
March 2000
Vol. 30/No. 2
Building the M6 3-inch AT gun with the KMC conversion kit
November 2008
Vol. 38/No. 14
1/48 Fighting 48th Crab flail
April 2000
Vol. 30/No. 4
Detailing AFV Club M10 .
June 2000
Vol. 30/No. 7
Detailing Dragon M26 Pershing
July 2000
Vol. 30/No. 8
Photographing tank models
August 2000
Vol. 30/No. 10
Detailing Academy MI2 I55mm GMC
January 200 I
Vol. 31/No. I
Detailing Italeri M36BI
April 2001
Vol. 3I/No. 4
Converting Tamiya M5AI into M5 Stuart
June 2001
Vol. 3I/No. 6
Cromwell resin M5 high-speed tractor
howitzer
+ M30
vignette
+ jeep
vignette
[
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Index References to illustrations arc shown in
bold
A Aberdeen Proving Ground 61,81 accem glaze/wash 93-94, 93, 128, 143 accessories 160 aftermarket products 7,12,14-15,15,32, 35,35,40, 74,89-90,92,92,94,96, 114, 117,119-121,130,140, 146, 147, 152, 157, 157, 160, 166, 170 airborne rroops 100, 130 airbrushing 43, 43, 44, 45, 45, 49, 54, 60, 66,69,73, 74, 74, 76, 77, 78, 86, 88, 93,93, 94, 101, 106, II I, 113, 116, 167,169,170,172 airbrush cleaning 43-45, 45 Azrec 45 Badger 44-46, 44, 45 Iwata 44, 45, 46 Paasche 45 aircraft 9, II air identiFocation panels 91, 100, 100, 101 Allied stat 74, 74, 75, 100 aluminum foJ 97, 98, 99, 103, 110 ambulation 70, 7I American Expeditionary Force 51, 164 ammunition 9 I, 92, 92, 95, 103, II 7, 128, 163, 165 amphibious landings II5 anti-mine paste 90 apetture 176, 176, 177-8, 179 Apoxie Sculpr purry 103, 104, 108--109, 111,117,150 Ardennes 102 armor 80, 117, II 9 armored Foghting vehicles Akuyaka tank 173 BT-5 tank 142, 145 M2 Bradley infamry Foghring vehicle (IFV) 63 M2 half-track 52, 97 M3 75mm gun motor carriage (GMC) 57,97, 105, 147, 165, 181 M3 half-track 60, 70 M3 Leaflet nighrFoghting tank 74 M3 Lee/Grant medium tank 4,9,50, 53, 57, 65, 75, 128, 147, 160 M3 light tank 75 M3A3/Pak 40 conversion 57
M4 Sherman tank 5,9,12,17, 19, 19, 20, 21, 23, 24,25,26,27,28,28,29,30-32, 33,34,40,40,50,54,60,61,65, 66, 68, 70, 75, 78, 78, 79-81, 84, 88,90,91,99, III, II 2, II5, II6, II 7, II8, 120, 123, 133, 135,139,141, 143, 146, 149, 155, 163, 167, 177, 183 M4 Crab flail tank 147 M4 Crocodile flame-thrower rank 30, 132, 159 M4 high-speed tractor 106 M5 (Stuart/Honey) light tank 5, 31-32,40,50,67,89,92,81,83, 95, 98, 99, 108, 109, 120, 129, 154, 156, 184
T28 anti-aircraft half-track gun motor carriage (GMC) 10 T30 7Smm half-track howitzer mOCQf carriage (HMC) 9, 60, 144 T48 68 T-34 tank 7 Borward demolirion vehicle 126, 149 Char IB bis 20 Churchill tank 8, 9 Kingtiger 58 Loeusr light rank 6 LVT-4 8 Pamher tank ISS Panzer IV tank 160 Renault FT rank 164 Renault R-35 rank 12, 149 SdKfz 251 161 Sraghound armored car 168 SU-76 80 Wirbelwind 137
M6 Peerless 37mm gun motor carriage
(GMC) 52,53 M7 IOSmm howitzer motor carriage
(HMC) 91,95, 126, 146
Armor Modeling and Preservation Society
(APMS) 10
M8 7Smm howitzer mQ[or carriage
(HMC) 5,34,98, 145 M8 light armored car 52,61, 130 MIO tank destroyer and variants 5, II, I~ 14, I~ 21, 121, 161 MI2 155m gun motor carriage (GMC) 134, 165 MIS ami-aircraft half-track 7,51 M18 Hellcat rank desrroyer 109, 110, Ill, II4, II5, 125 M24 Chaffee light tank 96, 129, 156 M22 Locusr tank 130, 157 M24 howitzer motor carriage
(HMC) 97 M29 Weasel 126 M30 ammunition carrier 165 M31 tank recovery vehicle 5 M32 recovery vehicle 159 M33 prime mover 160 M36 90mm GMC rank destroyer 13, 78, 125 M38 152 M39 armored utility vehicle 110 T3 Chrisrie light rank 142, 145 T6 Marmon-Herrington light tank 12 T14 assault tank 8, ISO Tl6 Marmon-Herrington light tank 13,154 T26 Pershing and Super Pershing tank 6,22, II 4, 131,160,162, 173
Arracourt I IS
Arrgel (Winsor & Newton) 46-47,46, 47,49 arrillery 92, 134 antitank gun, 37mm 12,52,134,149 howitzer, 105mm 134 howitzer, 240mm 160 Asticr, Frederic 96
B backgrounds 178, 180, 182 ballasr 150 balsa foam/wood 5, 163, 164, 168 bases 4, 108, 144, 144, 145, 146, 147, 148,148,149, ISO, 151, 152, 156, 158,162,166,167,168,168,169 Bastogne 90 Battle of rhe Bulge 90, 132 beading tools 16, 16, 19 bedrolls 91,92,96,99,107,107, 109 bending and shaping 40 birs, drill 92--93 blended Fobres 7 I blending medium 47,48,49,93, 143 Liquitex 48, 93, 94, 143 "blending zone" 69 blistering, paint 89 bolts 15 Braclley, Gen Omar 102 brass parts 98
British Army 100 brushes 24,29,30,44,46,46,47, 47, 48, 49, 86, Ill, 120 cleaning 46 stipple 151,153, 155 Winsor & Newton 46, 46, 49 Brushguards 40, 40, 4 I, 42, 97 buckles 98
c
cameras 175,175,176,178 camouflage 1I0, 121, 121, 122, 122 cannibalizing 14 casting fearures 15, 20, 20, 21, 22,22,25,25,26,27 Celanese 100 Celluclay 150 ceramic stucco 71 Chesrer Tank Depor 80 chipping 63, 76, 76, 77, 79-82 chisel bbde 27 cobblesrone 149,163 coffee grinder 70,170,171,173
duffel bags 92 dusr 63,64,82-83,91 dusr covers Ill, II I, II2, II4, 115-116 dust wash 83
carpenter's 39
conrace cemenr 20, 38, 39, 89, 121, I4~ I5~ 171 172 cyanoacrylare (CA) glue 20,37, 38-40,38,39,42 epoxy 38--39, 38,42 gel 37, 156 liquid cement 21, 29, 30, 32, 34, 37, 37,93
E Eisenhower, Gen Dwighr 102 England 80 environmental conditions 64
epoxy purry 22,40,42,42,89,99,103,103, 104, 108--109, ll5, 117-118, II8, 128, 131, 151, 152, 155, 156,158,159,162, 163, 163 Apoxie Sculpt 42, Ill, 167 Duro Kneadarire 40, 4 I, 42, 104, !O8, 108, 114, 166, 167,167 Magic Sculpr 42 Millipur 42 exhausr 84, 89 exrrusion rechnique (for sandbags) 1 J 7, I I 8
combat enginecrs 131 competitions 7, 63 compressor 45, 46
glaze 82-83, 93 glue 30,89, IIO, 171
F
computer programs 174, 176
r.,ding 59,61
conversions 5-7, 10, 11,57,60, 83,84,88,93, 110, 142, 143, 144 credir cards 49 crew 6,9,12,76,81 curting boards/mars 47,48
f.1st-drying medium (Liqllin) 84-85,
84,88 Fogures 4,12,46-47,49,93,124,124, 125,126,127,128,129, 130, 131, 132, 133, 135, 136, 137, 138, 139, 140, 165 Foller 162
plastic cement 38, 42
whire 39, 170 graphire powder 89 grass 70,73,150, 153,158,159, 168,170,171,172 gun barrel 89
H hairspray 172, 173 handles 36, 36 hands 127 headlights 88, 93, 94 heads 124, 127, 127 Hogarth, Burne III holes, foiling of I 19
I infantry 129, 136 image library 18 I, 182 interior sllrf..1ces 61, 62 Internet; see also websircs 10, I 1,12,
45,174 International Plastic ModeUcrs' Society
film negative strips 88
D D-Day 100,116,163,183,163 decals 12, IS, IS, 19,25,26,27, 27,28,31,74-76,75,82 decal softener/setting solurion 74, 143 dehydraror, food 86 deprh of Foeld 177 deserr 64 Dcsert Training Cenrer 65 Detroit Tank Arsenal 79
die 17 die-cast models 185
dioramas 7, 12, 146, 149, 157, 157,158,159,160,161 dirr wash 84, 87 dirches 162 dragon's reeth 130, 158 drill 37 dry-brushing 28,43,44,71, 73, 76, 82, 86--88, 87, 165, 169 dryer 85-86, 86 drying 39,49, 116
Folrer, air 43, 46 Fonishing 88 flow enhancer 47-48,49, 84, 143 foam
house insularion 163,165,167 Styrofoam 152,162--163,163, 165, 167 focus 174,178 foil aluminum 93, 96--97, 103, !O7 lead 100,120,120 foliage 121, 121,122, 123,148, 150, 153, ISS, 162, 165, 168,170,170, I7I, 172, 172, 173 formats, picture 178 Fortune floor finisher 75
Fr Knox 51,56,65 fumes 43,45 fuzzy trim ('fllzzies') 32
G German AFVs 76,81, 90 glass sheers I08--1 09
(IPMS) 93, 173
J
Jeep 126, 149, 168 jerricans 92
jig assembly 32, 33 drilling 36, 36 Julich fonress 9
K knal',acb <)2 kl1llc, hubb! 1n, I ~n
Ir" 13, 14 \ '" 1()
Kur k.I.lllr ..1 «
190
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lead
Frisket 74,75
sheet/foil 99, 101, 103 wire 96 Lemons, Charles 51, 56 lenses 39, 88, 89 eamera 174,176,177,178 model 74 lift rings 36 lighting 141,175,175,178 Lindbergh, Charles 6 liquid rcrarder 49 Liquitex Set blending medium Lorraine 66
Gasoline 137 Giesbers 8, 150 Goffy 96 Gold Medal 36, 36 Grandt Line 14, 14, 15,35 Hansa 149,157 Hasegawa 96, 156 Hawler 160 Heki 163, 170
M
machining gouges 21, 21, 22 magazines 6, 9, II, 173 Fill, Stale Model,r 9 Military Modelillg 6, 11 Magic Sculpt putty lO3 Imgnifying glasses 127,141, 141 "make-up" 142, 142
manufacturers
Academy 4, I!, 15, 15, 75, 91, 92, 98, 114, 120, 125, 126, 128, 134, 146 Accurate Armor 158
ADV/ Azimuth 126, 126, 138 AFV Club 32,92, 108, 110, lIS, 121,123,154,164 Airfix 7,8 Alpine 125, 128 Alsron 170 Archer 15,19,26,27,28,52,74,75, 103, 143, 143 Armand Bayardi 130, 157, 164 Astra 147 Blast 94, 95, 96, 97, 98, 106 Bronco 168 Caliber 72 141 Cal-Scale 35 Collectors Brass 98 Commander 130, 157 Cromwell I I, 160 Danmoor 140
Dragon 22, 32, 52, 57, 97, 105, II4,II5, II6, 124, 127, 128, 129,.130,131,135,141, 146, 147,148,149,156,163,165, 184, 185 Eduard 75, 121, 173 ESCI 165 Evergreen 18,31-32,33,34,35 Extratech 25,141, 161 Faller 160 Farina Enrerprises 146, 159 Fine Models 98,174 Formation [[9
Fujimi 7
Foro-Cut 9, 144
Hiscorcx 13 I
Hornet 124, 124, 128, 129, 130, 13 I, 132, 133, 134, 135, 136,142 haleri 13,25, 125, 126, 129, 134, 142, 145, 149 JR Miniatures 160 Kamizukuri 170 Lamercraft 140 Masterpiece 147 Matchbox 7, 7 Millican 140,141,159, 160 Mirage 9, 147, 160 Mission 36, 116 Modelkasten IS, 32, 48 Monroe Perdu 146, 167 MV 39,88,89 'emrod 13 I, 134, 143 oeli 122,159, ISS, 172, 172 Panda (RHPS) 32 Plastruct 18, 19,31, 35 PSP 92 Revell 155 Roco 6 Royal Models 98, 124, 13 I, 134 Royal Sovereign III Scenic Express 172, 172 Silflor 153, 168,170,171,172,173 Tamiya 7,9,10,10,14,22,22,24, 25,26,27-28,27,28,29,30, 30,34,36--37,37,43,43,47, 50,52,53,54,60-62,60,61, 65,69,75-76, 75,82,83,90, 92-93, 93, 97, 98, Ill, 113, 1l6, II9, 123, 127, 128, 129, 132, 136, 137, 138,39,144, 145, 163, 167, 168, 169, 185 T.1Sca 26, 27, 54, 92, 177 Tichy 14,35 Tulip 14,19 Verlinden II, 129, 133, 147, 157, 159 Warriors 126,129, 130, 131, 133 Wolf 125 Yanks 130, 133 Yosci 125 markings 74,74, 75, 76--77, 78, 79, 96
mask, respiraror filter 45,46,181 masking 29, 30, 54, 57, I I I, 112,150 salt 77, 78, 79 toothpaste 78, 79, 80, 8 I Milliput putty 103 mine rollers 159, 163 Miyazaki, Hayao 174 molding lines 32 seams 3 I -32, 37 Mr Surfacer (Gunze Sangyo product) 22, 22, 24,25,27,30 mud
as camouflage 53, 57, 62, 73 as environmental feature 64, 7 I.
72, 144 mufflers 76, 89 musette bags 91, 97,103, 107, 107 muzzle cleaning 89
N newsprint 47,48, 87, 94 Normandy 61, 64, 101, 133 numbers 74, 79
o oi.l staining 67
olive drab, Stl paint Omaha Beach 1I6, 163 Operations
Desert Storm 77, I 03 Cobm 133, 138, 140 Dmgooll 51 Grellade 9, lO3 HllSk), 60,62, 100, lIS, 146 Torch 100 v"rsity 130, 157
,10" 56 ,In .. dl"I1' 26 ( olllll.. S.lOlgro 60, 62 I hlll1hm 43, 60,83. 87---S8 kl...k, dr"h 65 I. 'illl'1IJ~4. 46, 79, 88, I I I t
50-52. 50, 5 I, 52, 53, '4-56,54,58-62,61,64, 65-66,69,69, 70, 75, 77---S0, 1I6---S7, 90, 99,101, II7, 128 I'.IIuer )'ellow 62 1'<>11)' Scale 60, 62 'l'll1l-gloss 56 \~lI1CJo 43,47, 142 w.llcrcolouf 169 p.un' 'pr.,}' boorh 43, 46 I"'"ltlng 40,43,43,47--48,76,93, lOll, 110, 112,127, lSI, 153, 155.158,169 ,lirbrushing sre airbrushing [me coat 64, 65, 77, 77, 8 I, 86, 93-94, 142, 169 blrnding glaze 82 dry-brushing 44 (,ces 141-143, 142 glaze 55 hand-painting 43, 43 Panzernest 159, 165 paper 99. 171, 171 p,lette paper 47--48,48, 87,94 tissue p'per 99, 107 pararroopers 130 P>rkerized finish I 17, I I 7 pastels 82 Patton, Gen George S. 90,119,174
Ordnance Museum, Aberdeen Proving
Patton Museum, Fe Knox 51, 56
Ground 81 overall wash 83, 85 overspray 94
pencil 69,81,89 periscopes 88---S9, 88 perspex 148 petroleum jell)' 104, 107-108 phow-etch 7,9,20,25,36,36,38--40. 38, 40,41,42,42,74,75,90,109, 119-121, 121, 122, 144, 170, 171,173,178,181-182 photography 4, 63, 76, 77, 96, 105, 133, 144, 154, 156, 162, 174---175,174,175,176 photomontage 4, 10, I I, 55, 151,167,174,173, 181,185 Phoroshop, Adobe 131,144,145,174, 175-176,178-181,179,180, 183, 184 photo wipe I78 picture frames 108,145, 148, 152 pierced steel planking (PSP) 154
p Paine, Shep 7 paim 169 acrylic 43, 43, 44, 44, 45, 46--49, 48,60,62,79, 79,82,88,94, 143, 162 acrylic clear 25, 82 acrylic dimensional 19, 120 acrylic(texture)gel 19,70-71, 71, 156 airbrush 43 Andrea 43, 47 blistering 89 enamel 6, 43-44, 46, 62, 79, 87---S8, 155 f.,bric 14 Floquil 43
pigments 82, 87, 89, 89, 94 pin wash 83, 85, 143 pistol ports 23 plaster 146,146, ISO, 159 plastic card 4,18 rod 14, 18, 18,28,30-31,30, 35,98, 109 shaping 36 sheet 10, 14, 17, 17,20,40 srock 33, 34 strip 35,42 s
Dremel Mini-Mite 21,22,24, 31-32,92,164 primer 22,23,26,27,27,30,36,44,47, I II, 113, II3, ll6 Pullman railroad colors 50
punch and die 13,14,16,17,18,98 putty 6,22,28, 29, 30, 36, 40, 47, 57, 110 epox}' 99, 103, 103, 104, 106, 107, 107,108, 109,109, 1I0, III, lOS, Ill, 1I4, I 15,131,159, 163,168
Q Q-tip cotron swabs 44, 143
R
railroad modeling 9, 15,27,35-36,35,39, 43, 121, 147, 150, 154, 157, 160, 161, 16& 17~ 17~ 173 Red Army 90 red lead primer 81
S salami-slicing
18, 19, 34, 34 salt masking 20, 77-78, 78, 79 sand 64,71 sandbags 117,118, 119 sanding 22,37, 162 "scale effect" 60-62,65-66, 69 scales 184 1/35: 7,8, 11-/2, 14, 18,22,31, 36,44, 85---S6, 99, Ill, 113, 123, 143,147,148,152,154,160, 162, 164, 168, 170, 184 1/48: 11-12,24,31,78, 1I2, 113, 137,138,139,140,147,163, 167,168, 183 1/72: 5,7,9, 11-12,22,25,31,96, 141, 147, 156, 157, 160, 161, 165, 168, 173 1/76: 5-7,8,141, 150, 159, 160 1/87: 6, 12 20mm: 140 HO: 5,35, 152, 163 N-gauge: 36 scouring pad 153 scratch building 5,6, 11,13,14.14, 20,92,97,99,110,154 screws 16, 16, 98 scuffing 5 1,69,69,76, 76, 81, 86 sCl"pting/shaping 99,103, 110-1 I I, 1I3,I55 sea-foam weed 121,122, ISS, 168,172 sealant, acrylic 82
self-adhesive sheet/mask 74,74,75 sepia 8 I, 84, 87 SHAEF 102 ship models 13 shows and competitions 10,93, 148, 173 Siegfried Line 64, 158, 159, 165 silvering 74---75 silver pencil 89 small-arms I 17
.50cal M2 Browning machine-gUll 117, I 17, 129 Browning Au,oma,ic R,ne BAR 132,136
reinforcement bar (rebar) 122 remote trigger 177
M 16 geller.,1 184
Republic P-47 Thunderbolt 185 rcslI1
:>110W
7, 8, 10, ll, 12, 13,20, 38, 39--40, 44, 90,91,92,92,94,95,96,97,98.10 108,109, Ill, 114, 119,124,124. 125,126,129,132,134,140,14J. 145, 146, 147, 157, 157. 160,166 retardant 94
Rhine, River ll, [56 rivets 13,14---18, 14. 15. 18, 19,20,1)11 Rommel, Gcn Erwin 173 rubber 67 rust 89, 117
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stowage 4,6, 12--13,40,49,90,90, 91,92--94,95,96,97,98-100, 104, 103, 108, 109, IIO-lll, lIO, lIS, 11.9 straps 96, 106, 107, 107, 109, III, 116, 119, 120 streaking 69, 69 stripper pad ISS scrips, lead 96 sryrene 152, 154 Styrofoam 152,162--163, 163 super-detailing 13
coornpasre
Set
masking
toothpick 38, 39, 39, 4 I, llO, ll6 Totten Jr, Maj A I 55 tracks/track marks 34, 48, 64, 68,70,71,150, 151, 155, 158 transfers 52,74,74,81, 103, 143,143 trees 121, ISS, 163, 165, 168, 170-172, 171, 172 tripod 177, 178 tulle 123 turpenoid 83
T
83 tweezers 36, 40, 49
turpentine
talcum powder 104, 108
u undercutting 92-94 units (US unless otherwise specified) lst Armored Division 54
painting 4, 19 weathering 4, 45, 59, 61-63,63,67,69,69, 70, 124 television 59 tempera 94
2nd Armored Brigade 103, 133 2nd Armored Division 52,60, 119 4th Armored Division II 9, 123
Dullcote lacquer 43, 88 liquid cement 13,22, 29, 31, 37,37,93 putt}' 6 texture gel 73 theaters and campaigns
Aleurian Islands 12, 154 Alsace 119 Ardennes 102 Belgium 6,13 European Thc;ucr of Operations
(ETO) 6, 51, 58, 62--63, 119 France 6, 61 Germany 6, 119, 123 Iraq 77 Italy/Sicily 6, 12, 62, 100, lIS, 146, 149, 154 Normandy 101 North Africa 77 Pacific 6, 135 Tunisia 4, 6, 10,53,54,57, 62,64,75,82,100,181 thinner 22, 43, 82--83, 88, 103, Ill, 1I2, lI3, 116 household derergent 43 isopropyl alcohol 43 tie-downs 95, 96-97, 98, 10 I, 107, 120 tires 32,64 tools
model 40,98,99,119,120 sculpting/shaping Ill, II3, 116
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wading adaprations 80, II 6, 183 ""'rgaming 43, 140, 160 Korean \Var 7
techniques
Testor's products
vacuformed models 157 Vallejo paint 43 Vaseline 164, 168 veneer lining 154 vignerres 12, 12, 78, 81, 126, 129, 13~ 131, 13~ 13~ 13~ 15~ 156,157,159, 161, 162, 164, 165, 168, 170, 173 Virginia Milirary Vehicle Museum 66
wars
tanks, sec armored fighting vehicles
tape 29,30,37, 54, III tarps 91,92,93,99, 103, I04, 105, 106, 107, 107, 11.0-111,116,119
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6th Armored Division I 19
10th Mountain Division 126 12th Army Group 122 29th Infantry Division 136, 165 First Army 119, 123 Third Army 119 Seventh Army II 8, I 19 VIlI Corps 102 Ninth Air Force 102 12th Army Gtoup 101, 102 37th Tank Battalion 90 705th T.'nk Destroyer Battalion 57 736th T.",k Battalion I I 739th T.l11k Battalion 9 741stTank Battalion II6, 163 Armored Force 75, 143 Army Ground Forces (AGF) 54, 56
World War I 9,20,50,51, 77, 164 World War II 7,51,54,59, 66, 124, 148 washes 28,46,62,69,71,73-74, 76,76,79,81-87,83,84,94, 103, II7, 143, 165, 169 warer bags 103 weathering 4,6,70,76,81,82, 86,87,89-90,91 websites
Armorama 12
Military Modeling 12 Missing-Lynx 10, 12 Wehrmachr 90 weld beads 15,28,28,29,30-31, 30,41,42, 120 wheels 31-32, 64, 66, 67 whire meral 140, 141 whitewash 77,77,78,79,80, 144 wire 36,96 Wise, Terence 50
Woodman, HalTY 9 work area
lighting 48 modeling table 48
Army Resources and Production
Division 55
work surface 47
British 6th Armoured Reconnaissance
Regiment 130 British 21st Army 102 Corps of Engineers 53, 55 French 2nd Armored Division 9 Ordnance Department 51,55, S9
y V-junction 46
Yugoslavia 57
Polish 4th Skorpioll Armored Regiment 154
Yuma Proving Ground 63
Quarcermasrer Corps S3
z
Rangers 12, 163 US Air Force (USAF) 54 US Army 6, 12,51,52,53,58-59, 61,62,75,81 US Army Air Forces (USAAF) 54, 56, 100 US Marine Corps 135 ULlh Beach 133
Zimmeri! anti-mine paste
90
The tanks and other armored fighting vehicles of the US forces in World War 2 have always been some of the most popular subjects for scale modelers. Now, renowned modeler and AFV expert, Steven J Zaloga, presents the definitive guide to modeling these famous fighting vehicles. Based around four building projects, Steven presents all the techniques necessary to get a great finish on a model, including super-detailing, building a resin model, scratch building, and painting and markings. These step-by-step guides are enhanced by numerous photographs specially shot from Steven's personal collection of US World War 2 armor, and will be invaluable in obtaining the most realistic results on a finished project.
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UK £19.99/ US $39.95 CAN $45.00 IS BN 978-1-84603-398-8
9 78184L3988
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OSPREY PUBLISHING www.ospreypublishing.com
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