we WT Frequently Asked Questions of the AFV painting techniques by Mig Jiménez2, INTRODUCTION | wanted to start by adding this brief explanation for the English readers of this book 11am sure that many of you already know that | am Spanish and my primary language is castellano (commonly refered to as Spanish), not English. | wrote this book using my native language. Therefore, | hope that all of my thoughts, explanations and ideas have ‘been properly translated with the same essence in which they were originally written, | apologise if the translated text is not perfect in regards to sentence structure or in the ‘lanty of my exoressions. |! you find some dificuly in understand something inthis book, please write me a brief email containing your question. Upon receiving your letter, | will ‘try to quickly provide you with a reply containing a proper explanation. | know that it can be difficult to translate one language to another while carrying all ‘the same thoughts and emotions. This may be foremost when talking about the com- plexity of modelling and the use of different words labelling one type of technique. | hink that the available text and numerous images contained in this book will be sufficient for You to use it tothe fullest. Thank you very much, ‘mig@migproductions.com[years ago, the person who taught me everything eg gave me the answer to one ofthe mast impor ‘ofthis hobby: Why is modelling so complicated Bicouree, anyone can find an explanation for such @ a, but beyond individual subjective opinions, by different contexis and situations, there is an iat unites all of us. Ths answer isthe synthesis of Mit summarises all the chapters that the reader will cleat the same time is dificult to understand fst Perhaps only at the end wil he reader turn to this, eating this book. This is because all the ques Bilin this book stem from this answer. But this almost rallecton is nethor banal nor superficial. tis the pillar ofall existence and modelling exists. does fino only does it exst, but it keeps us from sleeping Bporsibie for our headaches on numerous occasions rot tue, why did you buy this book? ... Wel, sim- modeling is important to you and you need to find all he enigmas that surround you. You need to Why modeling is important for your own exis- fd watare. For sorie, modelling is the only reason to erst isa reason to slay indoors on a rainy day and itis a rain of intense emotions. But this does not intial question. These are also questions, though Wyno question mark. [ook inside yourself to discover this answer that a iShowed ma. Look deep inside your pockets, even You then your skin, bones and flesh. Look there, ig intertwined with dreams and dreams begin to “here isa place inside yourself whore somothing fen you see a picture in a book that awakens your ff and then your mind sketches a vague image that les form. This image is usually a tank, a vehicle, a some colours, surroundings and is frequently inio an imaginary diorama, full of colours, action jlemenis. This place is called the mind, but coula the soul. lis there that our own identity blends fears and illusions and our ie sei. All ofthis Wih hat which we receive from the exterior, through cars. That place is ike a huge blender that press- @ that comes from the outside and condenses it into an idea: An idea that will probably end up becoming a beautiful and flamboyant diorama or vignette. Its tho path of creation, but a path that is born from within, It is the rellection, ‘of our soul, our personality, our being. Thus, we are often able to identity works by the same author, because they are a part of his very being, For many, modelling is their only means of communication with others, They use modeling as a vehicle of communication because they don't achieve these objectives in their daly ite, Precisely because modeling isthe mirror of our soul, we can Use it to communicate with cthers, showing them what we are like inside, such that further explanations of our work becomes unnecessary. This is the greatness of modeling. Now you know why modeling is so important to us. Modelling can change our lives, it can make us botter, make us happy and can transtorm us into living legends. But modelling can also destroy, deteat and sadden us, Movelling also generates envy, jealousy and resentment. I can become a double-edged sword,..both dain igerous and beneficial What makes modeling dangerous or beneficial depends upon how we use it, how we interpret it and how others under: ‘stand i Ths is why itis 60 important to have answers to all the ‘questions that arise, because only then can we achieve our objectives with total efficiency. modeling is such an important thing, we cannot only walk the path ful of dificulties and prob lems. The techniques used are not important, it is not neces: sary for everyone ta spend 20 years of his fe disaovering them in order to be completely satistied. The ends are more impor tant than the means. We should make our dreams reality as ‘soon as possiblo, because the rast of the world simply cannot ‘ail. am certain that magnificent ideas are brewing inside our heads. | am also sure that you have ideas that can change the ‘modeling world, that you possess the kay to tne happiness of many modellers, but you cannot achieve this because you are tll struggling to distinguish a fiter from a wash or the ditfer fence between aluminium and stael corrosion. Don't it this ‘treasure escape you. Transform these ideas into reality and ‘show it where there is someone wiling to enjoy your creation °5. CONTENTS (GUIDE TO TECHNIQUES)WORKPLACE, TOOLS AND MATERIALS Work place: positioning the tools, paints, etc. 1. What should the work area be like? Ventilation, organization, etc Fist of alt should be comfortable, atiough not necessafly large. Ive seen modellers whom havo a vay large wor ‘ramall part aff with an almost microscopic tabi. Ii important to be cos id tr 10 avodd ating direct surlight 10 fll on the workbench. f you have It to make short articles about your models,fatlighting should | use? ingsten oh bubs the most appropriate for painting om a normal tungsten bight bal ght and wil give our models an sual aigue. The perfect combination is Bhs ceing and abive Glass tungsten lamp on the Should the light positioned Jp Jou ot you are right-handed. This wit avoid ie pitng| bre should the painting ick when pairing our modes, we should 3 the wrench. Then we wil nd at hand saving us tne then i ooking for pots of paint in dere boxes ful of materia.5 What should | do if I'm building several models at the same time itis highty advisable to work on two or throe project ime. In thi ou get red with assembly aways paint and vice versa But this means having th ‘models at hand, close lo us. n this ease, remember to al keep the model you are painting n a sealed box ym tho dust caused by planes and es. dst fl hall-painted model... wil ave a nasty f How should | work at my workbench? tis neeciess to say that our workbench should be orderly ana clean, An organised table wil help us to progress more quickly Pace the reference books infront of you and the tools to one: ‘side, Whon painting, tis highly appropriate to loave the paints ‘on one side and the brushes and tools onthe other When painting. we must be very eareful with open bots ot and paints If we leave them coce to us or fe table, tis quite key that they will ond ‘ground oF over our modal. Conversely, t he model and ourseves, but never babing the ing the brush wath paint you can drip to place paintols: airbrush, paintbrushes, compressor.. i; What basic materials should | have? ‘Actaly you only nad a ter and a few fis to build a model. Plastic brands such as Dragon and Trumpeter now include several Millers, suchas photoeiched pars, for wich we wil need some other more technical fase, you wil probably nood a hand gil to get several pieces and met fang psi vil be very useful if wo want © portorm some simple conversions, In any ease, remember th feral improve the qualy of our assembly work thie use of an airbrush essential? wih much patience, the base colour can be applied to model (appl i) and most weathenng and environmental fects can be applied wi ine wish o create a c 9 high uted coats of Vale itbrush, including dustiness a umoullage with sot borders will we need to use a sultable airbrush. yes with a ain fading. 1008 such as small prs af clamps. In many tal parts to fit together. A saw for cutting resin and @ compass for Investing in tools wal con:What type of airbrush Of course, it should be a dovble-action painttrush, i possible wih stainless stee! body and parts, never plastic. | personaly recommend the Japanase IWATA CM-B or the Taiwanese SSPARMAX DH-102, although the German EVOLUTION or amiya HG-SF aro sulable enough, What is the difference between a simple and double action airbrush With @ simple action aitrush, is enly possible to contol the quantity of air that is projected, white witha double action aibrush,boh the quantity of air and paint can be controlled, allowing finer lines tbe drawn. Hence You should always choose a double action a brush How should | select my airbrush? In question number 3 ofthis section, you can see the recommended brands, but if you are unable to obtain these, make sure tha th aitrush you buy Nas no plaste pieces, that the Brand offers spare pars and naedies and overall that thas a cover on the paint hod Furthermore it should be light an the tigger must be smooth acting with shor mavaments (up and down, back an orth) fo cont both the air flow an pain. How should | use my airbrush? Grasp the airbrush as shown inthe photo alloning ito rest in your hand by its own weight, therwise your hand \vinen you paint fine ines or smal stale models, hot! the aiforush with Both hands to keep It steady should | clean my airbrush? Fist empty the alrbrush’s pant reserve then pour in the appro: ate solvent needed for the paint you used, allowing it o sft tn the dry paint deposits. While squeczing the tigger to expel the paint and ar, cover the ext with a finger or cloth to observe how the aiorush reguritates the paint from ince the reserve This il clean the inner part ofthe rush, Empty the contents land abd solvent once again. This time, using a Sot paintbrush clan the pai resi6us from the reserve and nozzle. Finally, Temove the needie and clean i with more solvant and an Absorbent paper or cloth. When you put the airbrush away leave afew drops of airbrush cleaner or window cleaner inside the paint reserveWhat sho e? Bs rary compressor models eis, itis advisa ght without ereng aryore. i ye powerful enough fo give ate ow us to save we en | airbrush with propeliant from < Bibscause he pressure offoréd by th 1s is very itegular and can create an exoees of ‘gain’ when airbrushing, The botties are 8 for painting 19 speci n 8 basic way, but thay ate not advisable for advanced modeling What pressure shou Bp ver win at east 1 ko of pressure, the resuting otfct wil be very grainy and rough. Bu i you ute the paint well (8 parts of Biitic part pant inthe case of Tamiya) very line and precise stokes can be oblained. With Vallejo Model Alr paints, you must the paint wil oa nozzle, Ade! | part of varnish ar glossy Model Air and 1 part of Inthe case of Humbrol, add 50% of dlutant 10 50% of paint| Techniques \Witn pressures creates than 1 kilo, the result wil be & much finer and putverisad grain, finer and more precise, but you run the risk of Creating ‘spider's tral! due to the excess pressute. This pressure is good for painting large surlaces, such as the Dase colt 11. Can paintbrushes replace the airbrush? Wie could say so. Without going ary further, we can appreciate the incrdible works made by some figure painters using pantbrusos lone, Any etfoct can be reproduced with a paintbrush Hf you know how. Having the patience and krowiedge required is ancinor mata nly it you dont have access to an eibrush for health or financial reasons should we use the paintbrush for everything, 12. Which paintbrushes should | use? 4. Allat paintbrush is very pracicl for applying a base colour. The special cut ofthis pabrush wil help us to apaly the panto all the cornors of ur model 2. The flat paintbrush is essential for blencing decolouration cil 3. A short-haired rounded paintorush is used to paint shadow marks and rusted zones. 4. Use an ol thick paintbrush for dry-brushing, Nover use a flat paintbrush fr éry-brushing. 5. A vory hard bristled short-haired rounded paintbrush wil serve to apply smal quantties of mud no the wheels nd in most hid parts ofthe model 16. ‘oats tongue! paintbrush is very appropriate for dispersing and blending rusting effects and dirty stains 7. Afine paintbrush for painting detals and profiting.Techniques 5. How many paintbrushes should | have? Atleast 3 @ round number 00, another round number 2 and another number 4 or 6. The hair should be either sable or synthetic | What are the differences between the paintbrushes? The main giterences reveive around the quality, both ofthe hair and metal tube around The hair should be fine, uiform an! aligned, laways converging a he point. Avoid paintbrushes with open or irogular har. The metal tube should be mad oa single piece, wit ne ther soams nr cnt marks. This is because the paint and humidity can penetrate at these seams and joins rusting the inside, opering the brisies and freeing the hairs of he paintbrush. Generally, only schoo! or hotby paintbrushes tend to be of this type. Almay fry 1 buy sists paintrastes. How should | clean ‘My paintbrush? Fistcean the paintbrush wit water and thon uso a spect. sieaner finishing wth soap and water. To make Suro the paintbrush ic prfecty clean, press # onto a piece of taper while itis stil wo. long should a paintbrush last? om this om the paintorust’s appearance, as can be seen inthe example photos. Also, the fac that one ofthe hits tho outside ofthe paintbrush isa sign of wearMaterials: paints, thinners and other products.Techniques What is an enamel paint? WNsa rlavely new type of paint belonging more tothe 20th (Getury than fo previous periods. ts main characteristics that Wiakes quite a long te to dry, making it quite flexible when we Fave to mix or blend colours. Buti also emits a strong ane Tnierse smo! wrich can be unpleasant at tines and harmful 10 frre pectle. Tho colours tond to be toned down and not very righ. fhat is an oi! paint? iss very note material, highly valued armong 19th and 20th sy avsts. is igh density and ely base make ita Waly {UM of possibies,ainough it res very slowly and tnus 8 gat patience. The colours are very intense and can nied win enamels to accelerat the drying proces. fat is a pastel paint? beseely pment hardenad with Arabi rubber that when dry can be used as a chalk or charcoal, The modeller uses this materia the oust using i as a pigment. The pastel contains mary impurites making tan almost obsolete product nowadays. fat is a pigment paint? lndovbiedy tne most revolutionary modeling produet of (entry Uri recently was Used primary by raiway Mig Poductors nas now introduced pigments into lel mitry modeling n a more elaborate way, creating deus fr use in surroundings rusting and metals. snot the same as a pure pigment, because the used fc modeling are much finer and offer the fate range ol colours for models. can be applied lor ming t with any other product to create effects pen boo.8. What is a filter paint? It ig a very current and innovative paint especialy designed for ‘making titers on vehicles. It's olFbased, but cries very quickly. STANDARD TRICO! 9. What is a priming paint? tis product especialy designed to be applied as a foundation bofore painting the detnitve base colour Mary plastic models tend to have an aly and extremely dark or very light coloured surface, which makes i dificult fo apply the base colour, Priming leaves a smoath and uniform surface in a neutral grey colour vwhich wil assit usin the application of the base colour. Itis necessary to use this product in a well vent ated piace By 8. What is a liquid mask? Nis @ viscous and dense product whichis aped toa sil ‘with a toothpick or paintorush handle It hardens upon da ‘8 it was lato, but I can later be removed easly ae ‘damaging the paint undernealh. inthis way, we can ah some of our madels detas while applying ancther cea it algo useful for creating paint chips and camoufags 1, What is an acrylic resin? itis product used to agglutinate other products such as pig ‘ments with plaster and earth thal are used to create mud ‘etfects. II we divi them highly, #o can use thom to fx the pig ‘ment onto a surface in dust form, When dry, they are extreme: Iy hard and transparant. They are totally diferent to white glue.Techniques 12, Which products are used to apply decals? ‘hoy are liquids that help to fx and adapt decals to the mode's surface. These products S210 as an adhesive and furthermore eliminate or reduce the thickness of the tanefers plas- Tiesupport Each producti aterent and itis convenient to follow the producers’ guidelines 13. What are solvents? ‘They are agents capable of dissolving a pain or material, even nen it isn a solid or dry state. Athough ety paint can be ‘luted itis not recommenced, because all he paint’ proper ties are destroyed by the solvent. The solvent is nt a ita WW many types of solvent are ere? t-cellose savers, acetone and wator soll are the ieonmoniy usod solvents in modeling, Water, due to is spe: ltaractoristies can alco serve asa civtant. Should a solvent be used? (adisabl to use them for cleaning tools and when we want to remove incoreclly applied paint. But you must be careful, as fan destroy plaste and resin. The niro-cellulose attacks porous malavals such as panor, cardboard and plaster. is a dilutant? is 4 agent hat dimishes the concentration of a ige iis charactrisics and composition. The avant Jl pains thus facilitating ther application with an Theorsicaly a solvert does not aggressively iakeaty dy colour whatever the paint ype17. Can | use a solvent as a dilutant? It eould be used, but its not very advisable, as eolvents very aggressive and can damage our models, but f we know how fo use them, they can be a great help occasionally. Water hen using @ lata, in his case turpe 329, i wil ever damage the surface. n the ether hand we use any type of solvent (except water) on an acrylic surtac, it roy oF damage the surface. 18. Which dilutant should | use? Mary specific eliuiants can be foun in the market, almost one for every type of -_= paint available, although the manufactur es themselves are often unclear about the difereneas, which ean ba counter productive forthe modelers. Also, generic and ron-specialised modeling procucis | an be dangerous, even if these are sold Ei as ‘cllutants. Never acquire a produ that i not directly focused on modeling i you want to avoid unnecessary rakewWhat is a cleaner? fa haf way between a solvent and a diutant, cleaners are chemical products specialy designed uniquely or cleaning Bie nmany cases, hey ictuée soapy solutions, Thus, you should never use a cleaner as a dita RATor Sud 4 i ps familar CLEANER eee” 099 hat is a retardant? Hb oalor ig nat serves to slow down the drying processing some painis, mainly quick érying acre paints. Is main drawback Bil ites he orginal colour making it more transparent and reducing Its covering capaciy, What is a drying accelerator? pote that speods up tho crying process of certain paints, especially slow dying oils. Gasoline for eigareie lighters fying acslerator for ol pants Which products are available for making water? pares eomimercisise various products to simulato water Some olfer an appearance more lke gelatine than that inc Hee souk be very care Water-based products aro availabe, as are resin-based ones. The later, with two components are et else, nouch they are smelier anc more complicated to use5.2. TECHNIQUES a) CONSTRUCTION as a support for painting Planning a model before painting, preparing the surfaces. 1. How should | breakdown my model for painting? gh some fragile or icky 2. Should | arrange the tools before painting them? Inis advisable not to tek them onta you cnt them more proc lames. nt nk and vary caratuly paint them atthe end,Should 1 paint the wheels and caterpillar tracks rior to painting? Wea atsona ry This a spec ks ater oy have nt eater When should How sh Schurzen arm nays ples glued and paint the arm How should | p: elements? Bogen amo, musquards and detals, you oe in usin ape. Th Sire sm i poh sides and an b Bb wih 2 sal ro and stuck with superglue »fiuld | treat the surface before ainting? iy sarscbe to clean the plastic places of the model itap and water rubbing them wth a brush Leave ito dry Meopen ar andi nl then be ready for pairing, The mote tflnheve oly remains frm the moulds, which Would [avimpedenent whon painting tho base colou bi Should | plan the painting ocess? ollé decd which pars of our mode can be paintea and nhich ones cannot Prepare the pieces on Sup- owas having to touch them win your hands. alwaye Hs pms especialy the model includes photo-eched o parts aly ry to paint al the pioces at the same time fs apping the wash to all the saparate places, hon tho ots the dustnoss, ot. aat the same time, Dont nil nising it and paint the loose pars from scratch. That would ber ean tingTechniques Creating de textures: foundry metal, sand moulds, exhaust pipes... 1. How can | create the foundry moulded metal texture (allied tanks)? ‘Many World War I tanks wore made from parts cast in industrially moulded pleces, which gave them extra rigidity as they nad no weld ‘seams thal frequently caused vulnerabliy. Thase foundiy pieces had marke and very regular shapes tnat ean be simulated wih ie files, its and then joined with clutod putty. Try to combine small laminations with more longitudinal inesthat of the Eat 3 inerior qual extreme: lly tho T34 anelee Detneen the sand toxture and the models orignal sur Greate the texture of (German tanks)? Sada very ofciont method for armouring their je heavy tanks. They used thick steel thich provided them delensive eficen- ad avery Special texture with amv. thatcan be easly mado witha cil th nish wih gue and a tne te,‘The diference between the stl plate and the mode! original surtace can be seen. 4. How can | make an exhaust pipe texture? ‘By using Tamia putty an an old paintbrush wil be easy to create a simple texture, leaving the purty to dry a itl, fo ater creat texture, applying pressure with the paintbrush,Technigu ects, du to the fact thatthe paint base coat had peeled du fo external factors, Sometimes a shell, shrap~ ean mako a tank real reli map. To create these elles, we use MASKOL liquid mask to mako the chips. Ate (Tamiya pty overt wth an old painibrush. Once the mask is removed, we obtain this special tenure,6. How to make mud texture? ‘Although itis better to make the mus atthe end ofthe painting ‘rocess, we can also do so atthe beginning, mixing Tamiya ‘putty with sol or sand and applying «tothe suriace with an ols paintbrush_ °°» oe Special effects: Impacts, imperfections... I) How can | create impacts on WWII tanks? The Word Wart penetrating shes eft crater-ke features on hichly armoured surfaces. We can create these elfecis using an electric sok feng ron 38 shown inthe photos.2, How to create modern shell impacts? leave curious offects on he armour. The most originals undoubie tht ‘during the Gull War. The missile cleanly perorates the amour, butt eeves a curious sla-shaped ma wil use ine sukdor andthe miling machine Tor this 5. How can | make burnt wheels? Fiing a normal whee! witha dil or lathe, we can eliminate the nique isnot easy, but can be achiaved with ali patience.Techniques How can | make wheels with damaged tread? Win cre, small grooves can be made on the whee! troad. Afterwards, the surface is softened with fle. o-etchings and aluminium guns Wow should | handle an aluminium photo-etched part before painting it? ihe paring a model with photo-tenings or aluminium cannons, we always complain thatthe paint doesnit adhere as wel tothe pi es othe plastic To avoid this, we can pass a fine file over the surlace which will assist n the stronger adhesion of the paint othaTechniques b) PAINTING TECHNIQUES ‘Tank painting scheme (hacer un esquema © tabla para esta seein) ‘Those modellers who havo trouble planning @ complete palnt- ing process wil find som basic euggestions forthe majority of these cases, Of course, this I Just an example and each mod- ‘aller can create or develop variations, but this section wil undoubtedly sorve as a reference forthe least expert. Each point corresponds to a question in this book, so Ifyou {don't know how to make one of thom, look for the answer in the! book’ index. grey base colour sand base colour, satin alrbrush fitters ‘washes ‘fading chipped areas chips running rusty chips rust streams pre-dusting dusting oll effects colour base ‘satin varnish running rusty chips pre-dusting general dustiness route dustiness dry mud oil effects ‘camouflage base colour and camouflage wihite airbrush colour white colour in mapping white chips in negative fiters washes running rusty chips rusty corners pre-dusting 10) wet mud 11) fresh mud base colour satin varnish filters washes fading aluminium chips pre-dusting ry mud oll effects white airbrush colour white colour in mapping white chips in negative filters washes running rusty chips rusty comers: pre-dusting 10) wet mud 11) fresh mud12-MODERN TANK ON MANEOUVRE base colour satin varnish filters washes pre-dusting route dustiness general pigment dustiness spilt fuel ‘wear with dry-brushing chips with a paintbrush aged rusty chips fading 41) rusting with pigment 12) general pigment dustingTechmiques Priming What is priming? Itis a layer of paint applied before the base colour. speci primer is generally used, applied witha spray can or arbrush. A eutral grey coloured primer is normally used, o highight any possible ascembly faults and to help caver the original plastic salou 2, When and what should | prime? “Terrains, metal caterpitar tacks, very dark plastic modal, and very lage vehicles are the most appropriate for apelying ap though almost any model can be primed. You should be very careful with small models or models with very fine detl, be ‘wal contralieg, the primor can ide the devas, 5. Which primer shauld | use? Fr large miodals or those with not much detail, we ean use a gray colour Andrea priming spray, but for very ine elements wa with Tamiya paints or Tamiya primer. Varnishes 1, When should | varnish a model? NEVER, exoopt fit is done atthe beginning to act or protect the tase colour or prepare the surace for decals and Wanse varnish is ust used for specific effects. I a model s varnished al the end, this wll make all our madets blends uno, lawl and boting, 2. Which varnish should | use? ‘The Model Air varnish by Valeo is very good for use with an alrorush, among the acrylic varnishes and among th Humbrol is traly excellent, except the matt finish, Before using a varnish, perform & test with an olé mode)Techniques en should | use a gloss varnish? jouer use Tamiya acre vartish combined with the base inorder to prepare a soft and appropriate base forthe Humbe) enamel varnish can be used mixed wth eeu o produce oll and spilt fuel eltects. should | use a matt varnish? alt aryl varnish to accentuate the dey mud effect hen should | use a satin varnish? cas or transfors are placed on the tank, apply Vallejo Namich with an airbrush.Base Colour 1. How should | apply the base colour? rather you help the p the wholeWhat base colour should | apply? Tes prconae 1 bogin wth a Tara base colour, as these colours ae highly re Ful One he Tamiya base colour had bean appad, you ean apply arotne they oer mere Ivey ans appropiate clour Tan a base colour be Wecoloured, faded or lightened? Ns, by ming the base colour with a lighter colour, heap hs tocmnique 's Becoming outmoded or many. When should | add gloss to the base colour? (hte should be addec nant trom the beginning, especialy for fic cour apeled atervards to create the camoutlage ales we fa to do so, the camoutlage wil appear ditfer- fatto the base colour and wil 2 strange att. nt as bases, although the colours are not very olour base trom tho ajo Mos oeTechniques 5. Can I apply the base colour with a spray paint? ‘Yes, by using one of the numerous sprays avaiable in the mar lor this purposo. This can replace the use ofthe airbrush to ply the base colour Camouflages When should | apply a camouflage to a model? ‘Overall when you are sure of how you are going to ago and create the camouflaged moder suroundings you ae to practice with some monochrome models before embarking on a camouflaged ane, Thera ara also some modes that a fe for the appliation of camoutlage, because i breaks up ther lines and shage, On the other hand, other tanks ad the apeeain cuflages, especialy large scale tanks. 2. What type of camouflage should | choose? Choose one that adapts well o your skils. That is, don't try to make an ambush camouflage you don't know ow o maka Hal able number of itis clas. tis also important to know if you have the patiene® required. A well painted model wth sone Simple camouflage can be quilo pleasing, but a bady painted model with @ complex camautage wil aistusion the pe i 5. What paints should | use for a camouflage? Will cuted Tamiya paints are a magnificent choice for ou camoutlages, although the prablom is thatthe colours aval nl logue are not very appealing Valo offers a greaer varely, though these colours are dificult to use, Can | create a camouflage with a paintbrush? Yes, athough this requires a certain dagree of sil. Use Humbrol colours over an acrylic base. Dita the Humbrol paint to the consistency of mik and apply # with the paintbrush ina ‘sing brushstroke. if you use acrylic, you should apply botwoon four and six highly cuted coats. With Humbrol pains, lust one is suficient,What are masks? They re protections to cover or protect certain areas to avoid paimting over thom whan using an airbrush or paintbrush. Both adhasive bn ak masks aro availabe areas, The adhesives leave a clear border and the ait masks leave hazy one. 1h) When should | use masks? ests ae very useful if you don't possess the skill required for painting a camoullage freehand or if you want to make @ hard bordered earoutage 7, How can | draw a camouflage freehand? His very important to hod the airbrush confidently. Use both hands for mproved preesion.Techniques 8. How can | create a camouflage using both paintbrush and airbrush? When you create large scale camouflagos or have a largo sur face to pain, you can creale a camoullage with a mixed tech nigue. You should fret draw the camouilage borders with 2 paintbrush using acrybe paints. Aply at least three coals, ‘Altenwards, fil he centre of the camoulage with an airorush, ‘voiding going too cose to the borders. What pressure should | use in my compressor? re patched 7 (es paint high 16. How can | paint ‘panzer grey'?Techmiques Wow can | paint German yellow? Wow can | paint an ‘allied green’? How can | paint a three-toned semi-hard NATO camoutflage? Ihe a semi-transparent tracing paper by means of a mask bie inorder o achive softened borders.5. How can | create a@ winter camouflage? filow can | create a two-tone fobra camouflage?Techniques 17. How can | create a three-toned hard-bordered camouflage?19. How can J create circular ambush camouflage?Techniques, ow can | create two-toned soft-bordered camouflage? Ins technique for vehicies with complex shapes where ‘oucannot apply an air mask, Use Blue Tac as a maskDecals, Transfers and Numbers. Positioning and Protection 1. How many types of decals are there? ‘and damp transte ate also adhesive sonctsi, How should | use water decals?4, How should | use dry transfers? How should | use damp transfers?6. How should | protect the decals and transfers? neo the decals or transfers have been positioned, they should be varnished with a satin vamish to Turpentine for example does not attack an acrylic base but it can destroy an unprotected decal 7. On which types of surface should | use decals? reaping a decal, you should always apply a gloss varnish to the area. This wl provent tsa| What colour should the Zinmerit chips be? {ough nee are rumerous theories on the oFignal colour of Dimer twas actualy a greyish pase, “anja puty, perhaps a ile ighter anc Hon Hence il we make tho superticia chip Zinmesit Tys, thse should be a bleached Ight grey colour I tho chips Be dooper, the resulant colour should be grey. even i he tank wer colour, because the omit eavos incrusted remains lon the orginal surface of id paint the priming layer fe Colour tothe rest of the lt be vary corec. sling and realistic option would be paint the se covout in which the tank Jhips are painted ina it grey co forthe unper pat, hs time using soa painonush io omphasise texture, Techniques, the relet We can do the at dusting. You shoul eTechniques Filters What is a filter? The for is a painting technique that is used to enrich, unity and vary the tone ofa base colour. Ii useful for untying tal complex and contrasting camouflage, oro enrich @ flat colour and also to vary the base colour we would ike tober his is colour closer to a more appropriate one. The resuling appearance should be sighty satin 2. What do we need to apply a filter? because the colours are speesaly dasigned for miltary mode! ling and hey p0s80e the perect quantity of colau Simply 2s shake them vigeously an they are ready tobe appli with a ses baintrush Fite can also be appiled wih enamel paints and some ean How should | apply a filter? ‘The fiter should be applied with a soft rounded number 6 paintbrush. The paintbrush should be dampened with the The anda soaked. The paintbrush should be passed over the surace once and no more then twice, avoiding the accumulation of pata ners or deta. slightly matt surface wil help us to apply the fier. Many layers of itor can be applied, but the model sho {ry for at least two hours in between coats. Special fiters can also be applied, that is, a diferent coloured titer for each pat tank, which wil provide a mors realistic etoct@, What is the difference between a filter and a wash? The fer serves to modily the base colour and enrich a surface ina uniform manner, while the wash serves to highlight the details and Yeheie panes using a mich denser and opaque colour. 5. When should | apply a filter? his aways advisable to apply fitrs to a model, as they provide us withthe first real aspect and leave an adequate surface for the later application o ha washes, 6. Cana filter be replaced by another technique? When we create wear eects with ol paints, this technique can cancel out the filers, overall if we app alot of waar to the whole model surface But enee and forall, itis bette to apy he fiers fst in case some areas are fe ‘unworn!Techniques 7. Why does the filter have a glossy finish? It you create a fiter with household means, using turpentine or ‘some poorly recommended type of white spit, we run the risk that our fiter wil have a glossy fish, or even that it will never completly dy. This sticky appearance is the fit of having used an inappropriate turpentine, Buta well apple fiter can leave a sightly eatin appearance, especially ater a third titer, but itis always dey. 8. How long does a filter take to dry? A Sin Industries titer takes approximately to hours to dry completely. If we make a hand-made fier rom turpentine anda ‘made! should be lel fora whole 12 hours to dry between iters 9. How many filters can | apply? (nly you can decide that, but tis normal to apply between three and te fiters untl achieving the desired appearance ‘You should consider that the superposition of the fiters darken Ing the base colour irreversible, Although you ean apply 2 light coloured fier, this wil not prevent the darkening of the ‘mode! as a whole, Dont be ata to investigate applying ‘range filer colours. You can apply a blu or orange without the colour being to noticeable. Remember thatthe fiters are a vary subtle buld-up of colours, 10. When will | know when | have finished the filter phase? "Nobody can halp you thore, as you are the only parson who knows the direction your base colour should take. your base ‘8 ard you want lo make it more yellow, appiy as many yellow fiters as you see fit unl your idea is reached 11. What colours does should | use in the filter for a panzer grey tank? Blue gray and dark brown are the most aopropriate for Panzer Grey tanks, usually too neutral and monotonous. 12. What colours should | use for a green tank filter? Ht your green is too toned down, apply ochre, orange and brown ites. the green is too yellow or bright, apply grey, dark ree dak brown titers. 13. What colours should | use for a three-toned German tank? ‘Ochre brown and light brown. Ifthe camoutlage is vory ively apy gry titers 14, What colours should | use for a white tank? Light grey. ochre brown and blue rey. °fat colour should | use for a sandy coloured tank filter? fetes yews, roys and light browns. jat colours should | use for a three-toned NATO tank filter? iF, 10 brown and dark brown. jal is a wash? Ppete a he odes techniques and also one ofthe most ead bul unt vary recently, nobody was really sure fives In at, everything bu dy-brushing has been ashing Bul iis necessary to define exactly what a ie mcrde o progress and understand modeling, The Hanes hichight cetais and vehicle panels withthe idereing orestor dopth thus increasing the contrast il alow sto batter appraciate the dieront shapes of ree! What do | need to apply a wash? Adar own pant mitre Thich shoud be used. I ou fing some alcorot -an be used, with ols or enamels, diluted with 80 to 70% of dlutant. A sot, rounded number 2 or 4 pain: ‘medels base colour is enamel, then an acrylic wash can be applieg,dluting them with water and later3. Huw should a wash be applied? With a miure of dark brown diluted with turpentine, the paint should Be deposited atthe cracks and details ofthe mod, ‘without worrying if the elects uneven. Leave it 10 cry fora fow minutes and then with a clean paintbrush moistened with turpentine, he wash marks should be blended untl they are soft and woll definedTechniques 1s @ Wash symbolise? Ihe criness mixed with oll and fuel remains that colact around the rivets and also accumulate around the hi “Thay generally ropresent accumulated ditiness, ld | apply a wash? No contast the modet's deta, especially those numerous deta, rivets and hatchways. They work betlr of light than on dark coloured rod vehicis.Rain marks What is a rain mark? Ite technique for representing the marks let by tho rain and humiety onthe vertical pano! aways covered with some dust. When the rain or dew fals over it, the dust is ragged down vertical ines of various intonsties. vohicles. Genera, al eh the vertical panels, thus genta 2. What is required to create a rain mark? ‘A water mark ean be made wit cry p nibrush and a light sand or earth colour with is corresponding diutant How should | apply a rain mark? By using Bull and Fiat Earth paints by Tamiya and dilating it with 30% water. Vertical nos a brush, trying to vary the thicknesses of these ines and avoid allowing them to touch each this time accing new jinas on top ofthe eld ones traced on the panes with a undid other. Once dry, the process sre When should | apply a rain mark? Whenever our vehicle is in a dy ¥ area, where it has previously rainad, especialy on vehicles with large areas or highly contastng ea ‘utlages. Ty 10 aveid apniying them to sand or ght coloured tanks and vehicles, whore the elf! wil nol be wel ccaiding (oil paints) What are fading effects used for? 1 deterioration produced in tank paints by sun and ran action, A wear eect wi in colour without any eamoullage, though they can also be used on cemoutlaged 1 nprove the tank's appearance, 8. When should | use a fading effect? tpt woar canbe used whenovor the model is panied with acrylic paints the base colori enamel, you run the risk thatthe oxo Bing oocsurc i ol re base catou tothe ol part can damage he base colo | How can | create horizontal wear? Baal quarities of cil are applied to the surlace, starting with Be ahos pains and tnishing withthe darkest ones, being #8 usa any colour rom white, yelow ochre, ues (or fee coloured tanks), grays and the whole range of browns. {hee he colour pons avo been applied, they are blended Hihacean paintbrush, moistened wrth turpentine, in acre fiten ul he paints mined wel removing the excess painTechniques 4. How can | create vertical fading? !tis applied in exacty the same way 2s the horizontal fading, but using a ft paintbrush to bend the paint with vertical movements 5. Special precautions to be taken with fading. ‘You should try to apply the appropriate quantity of ol, because by applying too much, you run the risk of obscuring the de ‘darkest colours closer to the details and corners, as well as forthe hatchways or zones protected from the sun. Tho light ‘be in the areas most exposed to the light. Dont pass the paintbrush over the same area too much when bend, you Wl removing al the paint. You should try to reach the point where the paint is mixed with the background without losing or tao much paint. The mode's surface can be moistened bolorehand with turpentine, especialy the finish is too mat. Apna ‘effects attr the washes and ters can be very appropriate,uration or fading (with pigments) tan | create a decolouration? fautec bythe sun can also be created with pigments. Fading pigments from Mig Productions wil be used for groan ies ae ot very appropiate for camouflaged tanks. The pigment is appied witha paintbrush to the vertical panos yg lien verial ines Atenwards, the excess dust will be removed with another paintorusn, jen should | create a pigment decolouration? beasts, we forget to create the facing with ais, oF simply won the model is finshed, the previously applied facing eltect ey sol or sub. n hs case, to intensity the decolouration or fading effect, wo can nique lo contrast our fal considerations for using pigment decalouration. Fey porert or ne surace to be sighty mat, so thatthe pigment adheres ecient Cinerise, i wil be suiciont to moison he Ih Be turpentine or acrylic resin highly luted with water. A final solution is to vamish the decoloured area with mat var {PPoigh ths wil exoossivly olminate the dacivd eset ishing fat is dry-brushing? BSprtop ho cldoct anc most popular modeling technique. It represents wear caused by rubbing, that i, the wear action caused fi sd sone ox even a tree trunk. But they never represent the facing of the tank’ paint, because the paint peels of, when com: Pic coviac withthe crew or external agents and produces chips. A ew years ago, this technique Was used exleneivaly by many flog the details ofa model, without freting if his is totally Unreal and a real tanks never actually produced. Wo can fassin oer uses tothe dry-brushing process, much more apprepriate for achieving more realistic etfects, though these are far fom he prooese’ original applications2. What is dry-brushing used for? eral or porous abject such as coment, Wo Dry-brushing can be used to represent wear from rubbing against any rains, ot., but alse to imitate the effects of rusted zones and large chipped areas. How can | perform dry-brushing? trace remaining on tha brush, Then the dy paintoruch can be applied ver the sited zone, rubbing Finally, one should emphasise the fact hat itis always best o use enamels fortis techni Using dry-brushing for chipped areas on vehi nbine this n be used to create chips, espe thar eolour applied over the base ase with winter = We sh nips applied by a brus ry-brushing | with an technique wing dry-brushing for rusting BBjiseg 2 dark rusty brown colour, we can imitate worn and rusted areas caused by prolonged usage. Abandoned ve GD opin ito pracice Wsing dry-brushing for cleaning surfaces. Beraiines, ster spplying tna washes, we can see how some areas have ended up a Bit case, vo can apply a vary light dry-brushing tothe affected areas to clean and pu se cobu, but never too light, as tis wil produce a “rack appearance, ly and the results neither clear nor ‘he deli, using a similar colour to the ped paint What should | know about chips? (Chipped eects are the most dasred and hated by modelers, Beonuse # you know how the create them well, you ean break Pears, but you apply them badly, the model wll end up in Be rubbish bin or on tho least valued shel. Chipped paint is the most rebolious and dificult ofall the effecs, You should Places alt nd take inspiration trom nature if you wan to frase rem successfully Thay are also extremely random and 8 manifest themselves in the least expected way. They subtedly and wil continue to be your nightmare ang eedache for ite, unless you manage to dominate them Ike aHboy icing a wid ull The chips wil play with you, it wil bad you to boiov that you know how te dt but only when Jou are practicing on al old made! when you are painting & amtoyant and recently paints Panther oF Tiger it wil deceive you and transform ise nfo tha most homie of forme. luton for this i to obgarve real chips and to prac+ lo. The paintbrush, paint used and your pulse can nlp naka the best chips elects,2. What should the chips look like? ‘Areas surrounded by small gaps and scratches. 5. Where should the chipped patches be positioned? [As a generat rule, thay tend to appear near the edges, hatch ay and door borders, on handles ot light protectors, n hor- zontal zones, tru of footsteps and on the upperparts of he 4. How can | create chips with a paintbrush? Using @ number 1 or 0 paintbrush, we dilute the paint until a quite liquid paste is obtained, which wil allow us to draw the pm [Avery thick paint vl produce too thick chips and excessivly ilted paint wil produce rounded and golatinus chipped aie weytan | create chips with a running rust effect? ost central and at ltr be 'A touch of darkTechniques 6. How can | create chips with the sponge technique? Moisten a pi th absorb ‘excess can result somewhat unrealTochmiques How can | create chips using dry-brushing? By using the cry-brushing technique and choosing a dark rusty colour, to ital large chipped and rusted areas. Look a the section on Giybnusing to learn more about ths technique. Corrosion and scratches 2 fine paintbrush and acrylic paint Yo oreate tis typeof effects, The soralches wore caused by rubbing against a surface with & a Pointed surface, and the corrosion spots onginaled from waler entering bolween the metal and paint ofa vehicle, thus creating st spots9. Negative and positive chips ‘can distinguish between two types of chips, depending on chips affects he paint ccupying a large surface farea orf the chips is just a small pat ofthis colour covering the Whole surtace. The red oc Indicatas an area wit positive chips, painted with groy paint vera white area. The green circle Indicates negative chi, for which white paint was applied over whether te 16. Chipped wood “These tend to have a longitudinal for, following the erection ofthe wood gain. Ligh thats exposed underneath the paint protecting itTechniques Chips on old rust “These ar ke tho chips on running ust, but on larger scale, Ire closely grouped together and witha greater concentration “hut sams. You can draw a‘small ine o ight coloured paint ‘ihe chips, in ordr to imitate the effect of raised paint. ecently rusted chips ype is perhaps the most common ofall and works very fonplan coloured vehicles with very complex camou Fist, chips shoud be ereated witha paint igher than base cur ontop ol which anather slighty smaller area wilbe applied, tis time using a dark brownTechmiques| 13. Aluminium flakiness ‘This section wil serve to describe lth 3 on non-corresive metals, suchas aluminum ‘aluminium colour wil be used to represent these effects. You must be very caraful wih tho tank wold tines, a tesa ie rem ‘and lead navar ruships, but rather ireqular ran- fled sans. The term mapping comes trom thrae-dimensional programe where taxtures are mapped on vee di logye them colour Inthe case of mod application one ot more layers of small pa and combining tem with other techniques employed above end below them, produce very deep ad lve and ite known of al he techniques availabe W can | create mapping? marks are painted Peaks contours. The paint elt to ry and the isrepeated until te desired intensity is achieved. ects are used nthe exaggerated mapping etlecs,3. How can | create rusted mapping? ‘This option roquir the combination with dry brushing technique. You should begin by aprlying imteguiar mapoing stains them with dry-brushing, thus breaking thelr hardness. Aller adding other rust and dust effects over this, avery realstersing achieved Rusting What are the colours of rust? How to understanding rust \What colours ust? Al eolours? No, but almost ll of them, [Bronze produces an oxide green and in stool and iran, we can find granite, ochro, back, grey, re, orange and even dark blue Colours. We should not limit oursaives to saying that rust is a specie colour reference in a catalogue. We should adapt our colour to each situation, for example lighter more orangey rust colours are used for green tanks and browns are used for sand coloured tanks. Whon eroating burnt vehicles, we should open | Up our whole colour repertoire to tran our eyes to mix colours visually This is what happens in the reality! Why do desert vehicles rust? Tis vr singe: tno oxsising agent isnot water, but rather t Piss usied as one in Europe. Now, the rust streams on des ° e ‘though i does not ran very much 3 in Tunisia, th ° lly fusting the corners Tsing a dark brown enamel or oi pair, the 1 are painted. Aer a few minutes, these stains are blended 1 wih white spit.Techniques Applying surtace rust with a paintbrush “This technique combines various materais that otter very realistic results We commence by painting the most protected z ‘number 62 paint, randomly creating the rust streams. Afterwards, wit a similar colour, large chipped areas are created tha Lniied with oxide pigments, 5. Surface rust with texture ‘This technique ean be used for vehicles and highly rusted and doteriorated metal parts. First, the chips are painted in rust colour (large quantities), then a mixture of exe pigment paints is mage wit plastor and acrylic resin. This mixture is doposi- don the surace, applying pressure wih an old paintbrush, (Once dry, the finishing touches are appied to tha whole area with pigments fixed with turpentineTechniques 6. Rusted chips (see section on chips) ?. How can | create rust streams? ‘A vertical ling is drawn with ols or enamels and later blendes with a itl white spirit and a soft clean paintbrush 8. How can | create rust with pigments? ‘Asmall quantity of pigment is posited onthe surface anda few drops of turpentine i ater added o compact he 9. How can | rust a large surface? In this case, you shoukt combine other techniques such as "mappings (See section on mapping), rust streams and chips Craated with sponge.14. How can | rust an exhaust pipe? oat pigment colous ow a aust pipes, retro iheJoppasie of what our mothers and grandmothers do every day with those porcelain igures that they keep in their shelves 55. That i, the aim i 1o add dust to our models to simulate the crtiness ofthe battled and dt tracks, The dusting tech lo create, butt we abuse thom, the rasults can be catastrophic jould | apply a pre-dusting? Glued Tamiya paints and applied with an airbrush JIFREGULAR layer of cust on the most appropriate Jasthohorizorals areas around the turrt, under parts of he side panels. This phase is very im- lo enable he later application of dusting with pig: low should | create a general dust et with pigments? have fst appliod a pre-dusting layer to assist the sting, Mterward, wo wil proceed to apply the darker {cou to he mosi protected zones and lighter colours aes that are most exposed tothe ight. A few drops of are added and the miu is stirred very gently to Int the cracks and fissures and cirecting it away from Jaeas more prone to contact by the crew. Once dry ithe sol convincing enough, we can molston the area once locorect the part thal we dn’ ka tis hight advisable wih ight pigmentsTochaiques [create dustiness caused in the same manner as for the gener using a difrent colour on each wheel, ehromaticrchness. tis very important 2 enous darken when wel, but regain wen ty {16 to dust smal areas wih groator precision and conto. Apply the pigment aiecty with a painterush, over a matt Bie heady been rated wih a po-dusing. Atrwards, remove he excess pigment witha smal pecs of gaze oF youTechniques Mud When should | apply mud? Whenever you see glue stains or when you have made some kind of assembly ertor, mud can be used to covert up Fa Is clearly nota joke, but until very receril, more than one madellr has used noble mud for such an indignant mision Ml sod just to cover up mistakes, because mud fs one ofthe mast important elements of a mode ands not aliays ej "Mud has a word of is own, is own physiognomy and behaviour and fling to understand his mean making mud that eo Chocolate or the excrement trom some strange type of animal, Hence the ime has come to pay more altertion to this sh ‘ment that we all love, though it remains too unknown fo the medellor. Without going any further, would be easy onda Invests tree manths painting @ wonderful model and as the end spends just fve minutes in appying a home creamy mi Prato fora breaklest toast than to represant cry mud in Kursk. A specitc type of mud can take several days, especaly a fnvich it with many blend and orm: 2. How can | make dry mud? “Theoretically, dry mud is less voluminous than fresh mud. Firstly because it doesnt have the water fo moisian it and seconly because due toils dryness, it has less adherence capacity and fals off easy: Ory mud can be made by mixing ight earth colour pigments with plaster or fine pumice etona. I! @ matt acrylic varnish is aged, the mucs inal appearance wil be Improved. Apply the mixture with an eld paintorush via the | wheels and ty to create imegular patches over them, Avays Anply tha mud over the pre-custed zonenl create damp mud? scan be present atthe same time: Mix earth colour pigments (medi Sh. The mixture should be applied with an ol paintorush‘mud pigment h paste, d Bi tank and then lft to dry. This type of mud shotracks pis about Caterpillar Tracks inks ahvays rsists the modelers skl. On mary cocasions they doesn't know how to pain them, whether io postion finkor pant them separately and others don't know how to wear them oF treat them. Mary believe that the catorplar Haiays te rusted, whl this 's not necessarily true, Certainly, caterpllar tracks always end up taking second piace on our ind oinvst itl time n them because we don't know what to do with them. You should realise thatthe caterpilar racks Pig partl the tank, as thoy adapt othe tecan they move over, assuring the terrain colour and changing thet appeet Ph hs passing cays. A catorpilar track can go from being shiny and polished fo be sul be kan into great consiceration when making mo fowl pant. A caterpilar rack only has a completely rusted efflect wi ning rusty in just few days. Al kis to be positioned in en itis recent produced and has bean stored in 5 redeah and matt appearance, ke the ralway ralls when they are left unused. Once they are placed Bsiibegn oro tho metal on the outside areas become polished and acquire a darker metal colour. The caterpila tracks laopthe colour of he terrain, because the dust and dry earth becomes encrusted on the porosity of the rusted Inks, iy iicuit 0 rrnove. The probiom is that the marty of madellers are used to seving rusiy coloured caterpiiar tacks Inlay slat modeling and furthermore, when observing the photos in thek books, they discover with confusion that al finback and white and tis impossible to distinguish what colour they really were, But this can be resolved by buying & ipfclogeohs of modern tanks, because a calerpilar track is sentially the same as it was 60 years ago. es det way ol psiming a caterpitar racks when itis already stuck to wheels ofthe tank and we dont have the em sera: Tis is vice as cfcut if mud also has to be applied othe wheels wih everyhing assorted. I his istpaite base colour of he model ard ten foe cater acs by reonan with an help oa paper mack f necessary to avoid fptl irk. Te rst washes wl tn be Bdereokw ard ro whoo yrs wil be pelted ‘Ate apn gereral sting wh pg Iu ispsnine, aur of cry mud wil be care fhe ovsdofce of th cterpia racks using Mw ces is oreved wih a smal ot or paper and once ry, te poled part's fy bush and sie colour enamel. With the help Bpepting pol th nso pars of th caterpiiar st he part tat shouts have become pot acto, Fal, he ack part o! te whe! Ewin the cater racks are pained with pigfe boon abandoned or are not appropriate fora tank inthe factory. Bleu just the opposio to what we ci for dry mu caterpillar tracks. fad wih turpentine. A dark brown rust colout is ack, lo slate the rusting ofthe polished metal. Finally, smal to ested eters on ne nseTechie }/ make dusty caterpillar and rubber e tention hough they iat The met! part wit be paintedTechniques 5. How can | make moist and muddy caterpillar tracks? Start by painting the caterpilar tracks ina light brown eclour and lator dust t with earth colour pigments Once dy a tanh Atte spit, a moistor esh mud mixture is made with pigments. acrylic resin, plaster and gloss varnish tis pple the outside face ofthe caterpila rack wth an old paintbrush and let to dry. ARervard, large grained piece of ub the outormost part of the metal to eliminate the paint and leave the metal colour tthe caterpilar rack exposed vohy be done with Priimodel type metal catorpilar tracks. On the inside face, a graphite rod is passed over the zone ‘wheels to imitate the polished mataTechniques Wheels ‘Toe wheels can totaly alter our model's appearance (in contrast to caterpillar tracks on tanks, whe less work well, You should pay attention tothe environment where our vehicte ist be located trying to define 3s uh That i, a truck whee! in'a dager plain wll not have tha same appearance asthe same truck in he same desert zon, bl ‘oad, The dust, mud and other affects act on these elements ina very special way depending on how they are preset ings and what the vehicle is doing at that paricular moment in ime. You should cbsorve vehicles in your usual suo car can serve as an example, but also the diggers and trucks that you can see In your streets avery day. Hence, youl {describe the immense numberof variables that can affect a whee. T have felt it necessary to gather together five different types of whoels, in cifferont envronmonts and situations tha coe ‘our needs. The examples have been taken from the same model of wheel (specially an American wheal) hat coud wall ‘any place Inthe word. You should remember that techniques can be applied to any wheel on any typ of vehicle at ayTechniques 1. How to paint wheels in desert asphalt zones? The vehicle base colour is paint ed with Tamiya paints “Then the tyes are painted using ‘black acre pigments. Gut is appld with a paintbrush particularly insisting on the tyr, Afterwards, the surface is nent, moving In a ioutar mation lowards the centre of the he appearance ‘should be very uneven, Now, the tread of ‘woatod dry- brushed, using a dark grey Humbrol paint “Tris i the resulting eftec.How can | paint wheels on asphalt in the winter season? 1. The vehicle baso colour is painted with Tamiya paints. ‘Then the ives are painted using black acryes Using the Tamiya butt colour paint lied witha paintbrush, sot ‘marks are paintod ina rac al direction. The paint must be highly cates. Now a prior muddling wil be applied, u ‘A mixture of plastr, gloss varnish ‘and brown colour Humbrol and oll ‘made, 19 the paste with an at brush, attempting to splash the whee in a radial fas 8, The fnal app should offer a variety of eitferent gloss and satin finwuld | paint on asphalt in pason?Techniques 5. How should | paint wheels in a muddy terrain? “The vehicle base colour is painted with Tamiya paints, ‘Then tho tyros are paintod using black acres. 1 soft water marks are applied ina radial direction witha paintbrush and a butt olour Tamiya pai, The paint should be highly diutod. Je are going Wo prepare a mixture of ight mud wth plaster, pigments and acry A drop of resin is deposited over the pigments and p With an old paintbrush and a few drops of water, the mixture is stirred unti a paste is obtained. Airis crected over the paintbrush to remove the excess mud mixture ‘the same i done forthe whee! 35 Is repeated wit ctlerent colours and lt to dry between coats jared with @ mad colour pigment and gloss vamishhe fished whos! | paint the metattic IS of a tank? Bb indas the ofect of polished metal on a tank. ‘Oly Stoo or similar nam paint vith a dry dvecton on the sutace that i in con tracks. Just one layer should be ie could ropoat the process to achieve aExhaust Pipes 1, New Exhaust Pipes When a vehicle has spent a few weoks fighting atthe fron, the exhaust pipes stil maintain the orginal factory colour: The exhaust pipes are not rusted atthe origi, bu they rust quickly Aided by the heat of the mator fumes. In order to create an exhaust pipe that has received ile use, you should respect the base colour, adding as many small corrosion points and dirinass as you S98 ft and do the same for the smoke, a —| Techniques 2. Used Exhaust Pipes Used exhaust pipes show a large rusted ares although the fac: {ory base colour can be perceived atleast on a third ofthe sur face. You should begin by painting the exhaust pipes withthe base colour progrossivaly rusting the zones that are more exposed to the light with diferent blende of runing rustRusted Exhaust Pipes ran and used vehicles can present exhaust his one, ful of dirty rus, ut one can also appre- he remains of negative corrosion in the original colour pocess begins with painting the exhaust pipes in rusty and by appying negative corosion in the original ureombined wth st iS rusted corrosion, TechniquesTechniques: jow can | create effects on the ?Techniques 2. How can | create ash on burnt vehicles? In order to create ash effects on bumt vehicles, large quantities ‘of PO28 biack pigment should first be dopasited, forming smal! ‘mounds and humps and we wil then alow some smal specks 1 P02 white paint 10 fal over these: To fi the pigment, we will careully allow some drops of turpentine to fall and let them spread out over the whole pigment by difusion, Without touch ing absolutly anything, we leave kt to dry. Once dry, the impression of volatila and loose ash is pleasing Special Effects 1. How can | create oil stains on the wheels? Many vehicle wheels release oll withthe rotation and contact withthe dirtness and dust, producing a blackening and the zones tha they fester. A very dark brown colour is mixed with a gloss enamel varnish and this is mig on fe o ‘wheels ina very uneven manner. This should always be applied over a surlace where a general sting has aad pigments. Once dry, tha same colour wil be loaded onto a paintbrush and air clrected over the paintbrush with an Central part of the wheel. tis not necessary to treat al the wheels in the same way, You can leave one whe ean, tial stain and the rest alco with the splashing eect.pw can | create rust mai orjoined to the Mask withTechniques How can | create ail effects? Dilute a dark brown mixture with black and paint fine semisransparent cloud’ with @ paintbrush on the areas close to the mo hatchways. Leave the fist marks to dry and create some more a ile thicker and with a slightly satin finish, panting over hep tects,Techniques How can | create the effects of spilt fuel? ‘Make a mixture of brown and black enamel and ol paint, mixed with gloss varnish and a ile white eit. Oraw uneven vt leave it to dry. Afterwards, draw new and thicker lines over the previous ones lo obtain the effect of trashy spt fue 5. How can | create the crew’s footsteps? Use the Calibre 35 footstep markers, impregnate the footprint witha dry earth coloured eral paint. Prose the marker oe {ce until you can observe that the boo! mark has beon perfectly drawn. At this momant, apply the footprins on the tank {and without exaggeration,pols and Accessories f How can | paint a fuel drum?Techniques. How can I paint a helmet? ‘th | . How paint a towing cable? Begin painting cable in metalic back, Later dust twit pig: ‘meni removing the excess with a finger. Finally, apply a itle ‘graphite dust withthe fingarWow can | paint a wooden jack block? Motos pats ofered by Ando in matt ish to pant the jack, starting with a medium colour to later caw the wood veins |5. How should | paint a jack? ‘The painting process fora jack is exactly the same as that for painting any other part ofa tank, but emphasising the chips and toa greater degreeHow should | paint wooden boxes? ‘sine method for painting boxes consists of painting the ase colour, applying some dark colour washes and adding a gieral dusting. Atterwards, should you wish to, wooden cts can be created (see the section on woodenHow can I paint a cannon barrel? ‘As opposed to what we think, itis dificult to find a cannon barel that is completely black due to missile smoke, Only a vee resent this effect. ut as a general rule, the barrels are not so smoky. The barrel should be the same colour as the lank, cap ‘hat can be a burnished metal or patina biack colour. The inside of some cannons can be painted in red primer, overall the new. Finaly, we can create some corrosion.lors should the inside be painted? us pay special attention to the insides of tanks. First ould ty to paint each part separately to have betta pre- th he dotalls. Spactic washes ara subtly appiiod to gh the detals and afterwards some corrosion and dust or eles can bo croatod, coming from the crew boos. ing ates cannct be applied tothe inside, because itis posed othe elements, The inside should be as realistic Techniques;;) SURROUNDINGS AND DIORAMAS How should | plan a diorama? jon ule that you wwe can generate the se sol paige, Figures that “1 vty ba quality mm an unebtainable dream, There are nj fow privileged modellers in tis withthe patience required to cre- ate something ike ans Bc Lttorman is ho best example. in any 38, When embarking upon a diorama, we should have a very clear idea in etine what is required and which tank and figures to use. You UI start by making ture that wil alow us to move th ments to adjust moment, another one that can that tl 0 lumes ane! detais ate created, Stick the Jes and tgy ntheWow can | create the volume for a terrain? easeat way to create an elevated sto use polystyrene foam, hs eae to cut, cheap and ras Bet You rould avoid wood, because isvery hoawy, and plaster, which is [hnnable. Expanded polysyrene Han can be stuck wn wte glue How can | create a5: How can | create a terrain? farting from a foam volume, it wl be very easy to create an uneven terran using modeling clay and various natural mate th white glue over the modeling clay. An acrylic primer shouldbe ute Io bo carelul, Because enamels attack the foam and can cause it csintograe,4- How can | create water? There isa wide range of products availabio for making water, ‘but mary have a more gelatinous effact than that of real water. Polyester resin is one ofthe most sffcient products for making both transparent and coloured water. inthis caso, we have Used Andrea Miniatures ariel water. When itis necessary to create an area of deep water, but we have no more than @ few ‘We should do the following: Paint the Bottom with dark colour, using lighter colours at the 20926 ofthe banks and around eubmerged objects ‘Aterwards, isolate the porosities and dips with a gloss acrylic varnish and make a kind of swimming poe! with sticky tape, Pour in a fist layer of resin sightly coloured wih Tamiya paint, leave it to dry and apply anothor mora transparent layer. The last layer will be completely transparent and before i dry, the surface should be pressed with tha handlo ofa rounded paint- brush to simulate the water waves, When dry, the surface can ‘be varnished with a clear gloss varnish and smal objects and foating leaves can be placed on the sutace,in | paint cobblestones? Jt by painting @ ight colour to later highlight each cobble with a dry brush and dark grey pai inking ea fete of oy, tne whole area is dusted with pigments. An air mask can be used to contrast some zones using an aiforush [pat heavy tanks with metal caterplar track have passed over the cobbles, the resulting chips should be created, using @ fcoou: and painting lines to imitate the6. How can I paint bricks? ating from a light grey colour, the bricks are highlighted with diferent shades of with a paintbrush in different colours and the comers darkened with dark coloured ol paints How can | create earth and loose stones? It's often intresting to stick varus stones and sand on a pre= sly painted tank or terrain, to give the impression that they are lo0s0. Deposit sme of material in the dee places 2 | drops of engraving glue used fr ral ‘way modeling to fll on the model. Once dry, varnish the zone with an airbrush and a matt varnishHow can | create asimple vegetation? (re vary easy way to make roalistic nis by using ftcioeiched plans, Tere are many brands otering a wie feet, many if which are very realistic. Prime then paint the iris wih an aibrush before cutting them out. With a pain'= tnsh you can paint each leat a different colour, th the funks and branches. Afterwards, cutout tho plant andl foi t farllly using some pliers. Stick tin place using superciue fr combine it with some real branches taken from the coun tye. Techniquesou es5.3.MISCELANEOUS 1. Practical Interpretation Questions 1. How should | interpret black and white photos? ‘One ofthe most important parts of historical modeling is how to correctly interpret black an white photos. Inthe MAB modeller doesn't know how to distinguish between a sand or green coloured tank or whether itis realy covered dal hhow to cferentiate the tank's mad colour either and even less so whether the darkest colour should be the bron oi Solution for this isto observe colour photogranhs, aven though they may be modern vohicos, because this wi aya i ‘ment the lack of themes available on the Second World War. In his photo, you can see how the colours chang pas from colour to greyscale. For example i! you [ook atthe front ofthe tank in the black and wit photograph ou Wi really & grey coloured area can appear tobe the same green colour af the camouflage. O, you lock al he wheel think tna the wheo's are green lke the rast ofthe vehicla, when they ara actualy muddy. Only the smal ue gan Ol ‘wheel texture can lead us to think that we are dealing with mud and not a base colour In this other photo, the results of transforming the image into @ greyscale are even more alarming, In the upper Back ant we could never imagine thatthe turet fs painted with red primer rather than green, as would be the most og Hes Wa Jn idea of the amount of problems that can be encountered whan looking at period photos of tanks in 1845, where ma into combat in primer colours, or on many occasions the camouflages wore applied over the primer. Thus, the. posse infinite and neary no history expert would bo able to tll us whether a tank was painted one colour or another unless hi colour photo ofthe same madel. So, it can be a good idea to apply the effects and colours that can be seen on made Si Wer tanis. OF coutse, there are scientific methods for deducing what colours these crey blends actually were, but a {eal of artistic knowledge and the use of techniques that would be very laborious and extensive to des ple wo devote thomsclves to cricising the colours that other modellers apply to their models, using the ofl FAL ca Tino, the official guide that was used at the time, but these are nothing more than absurd theories that have no place bocause the paint suffered from mary decoiouraions on the batifiels, secondly because each factory used a dire ad |y because making a model's not the same as a feal tank and we should know how to interpret and adapt the clout a eiHow should | interpret a real reference? blend, stain and shadow. You should always search fora 20no in the ‘and from there onwards analyse which zones are lighter, mato, 0 the wee rim is rusted, when the most 10a polished metal, hence Bes rust carn how wo read photographs, analyse each change of ouhore you can be sure that tis the exact colour of the tank ener to know wat is mix, oF ust. In this photo you can see, for example that Hebe tats poished by the caterpillar tracks. But i was polished, the greyscale image should show the shir Freshy 0 Geduce tha tho whee! rim i rusted and tho tank isnot in service. origins of modelling 0 were the precursors of vehicle painting? gs.t was Sheperd Paine in the ‘80s who helped us to understand modeling in an artistic manner in his fabulous Book How to bulk rz, utich el remains an extremely useful and inspiring book, even today. Butt was certainly atthe enc ofthe ‘80s when Vatndos revolutionised vehicle panting to imaginable lite, For al those who have lived through that era it was tke & newer Denon of vspltaton and iresh ideas whose ettcts have lasied up to the present day. But the Verinden ara ended in the mid Fe than ine steady popular ‘Spanish ‘schoo! arived onthe European scene banded by Rodiigo Herndndez accomparved by rumor ae seten corn 2c Carlos de Diego Vaquerizo, one ofthe frst Spaniards 1 recave a gold medal at Euromiliae, a competion that Fraalyexchsvey fr figures The Sparish school continved propelled by mary other good medals who focused altel alors Haha eto. Great master pelos aso surged a the end ofthe ‘00s, many of whom have successively st their presence In Hay modoling ed, fra variety of reasons. Jean-Bapatste Verinac was one of the most important, together wit James Ivo Bayer, Maren| Van Gis, Makoto Takaishi, and more reverly Maco Eens, Adam Wider, Berard Lusting, Alessandro Beek Stacorekas. not to mention the rult-alented Marcus Nichols. All of them have focused their efars on improving the Hein of ritary voicls. ling today Js the Internet important for modelling? ng, acting as a medium for spreading techniques and our own work. The (rk to help US evONe, Ip also a vary useful and advisable tool fr retrieving HParaton unvalabe by other moans. But the Internet can also be a destructive element it you dont know how to itr its contents. fajeureel be carted avay by everyting thet you con see there, you may feel bad a inferior or that yeu ‘don't reach the grade pene itemel lxums gatver together the best madolers, enabling vs to contac them crecy and earn moro, ut many cher rstarclod bythe commercial periments ofa range of firms where diferent ways of hiking are censored simply because they Fistral the Internet greatly impellod he field of moti Tpenot can be a means of finding a ercal voice for our w Jy recommendable to show your work in the Internet. But remember that you wil nok always, compari the photos of your meds with you should never show your fociocre. Tis can affect the users’ opinions and you wil receive an answer that does ‘existing ones to know whether Yours are good or not, and in the latter Mei nenrsou can mprave your photographs in the forums, On the other hand, Hf you are a modeler thinking of publishing in maga aenyeuc) doco dor’ recommend tal you pUDIGh Your work onthe Interne! before doing so inthe magazino, or you must. Prhealeo publish a smal show of proto by way ofa prvien, always mentioning whore and wnen the models fo be published his il hep you to maintain a good relationship with your editors. She msjrty of cases, it can be high Fane rely and this does not mean thet your model has not been seen and liked. Always acc« Factor to encourage the not users to provide their comments. A very important piece of ache is tha. pods on tho inecnet if your photos are bad or mé Perle the realty, Compare your potos with some areare fr this to happen. In spite ofthe Inieenat's ease vost this moment in time, The reasons are vary snp: Bengal cay when you have a ott ma ‘can be taken anywho, Sela tn tend Where is modelling going to I. Are there different types of modelling? ng. This eho bogan promote thal Internet. The American continent has always been more discon: m what was happoning in Europe and their style model trends, ike Sheperd Paine or Votindan ari more recently Mirko Bayern, Marin} Van and Marcus Nichols. Some modelers take offence whe old that tir model hafan | influence my country with my modelling? Fetaps not your county, but you can deftly have an influence where you live, Many Nordic countries have produced very good mod: Jes hough wth a toned down excessively conrasted painting style. This is due 10 the natural ght present the whole year ound in These counties, The cloudy days tend to tone down the colours and a modeller from cold and wintry zones can find himsalf ntuenes Iyiis.Contesingly it you lua In sunnier areas, such as the Mediterranean or the Southern USA, itis very Fly that you wil have £0 et your models i ight and luminous colours and use less contra Js it possible to invent new techniques? Dfcouse, Athough it seems impossible to invent a new dry-beushing or fiter technique... there are a multitude of paths and combina orc or generating new painiing methods. Ths is certainly not easy and croating a new technique is simply a question of a lt of work, Hone nentation and of course being open to all posabliies, Often, a technique resuits partly from neces so that ..the more worries Tndneeds that you have to deal with the easier i will be to discover something new. odelling and Competitions (an competitions help me to evalue? Mba certain degree they can, though a competion wil not necessarily help you to evolve. I the competition simply serves to ascortain Jourcurent evel 6 discover i someone has done something new, of fo share lachniques, then i wil surely be very postive foro Main uso continue improving. But a compettion can generate alot of anger could make us stagnate and worse, because wo will ot teen to improverent, ust 1 the competition ise What does winning medals in competitions mean? Formany peool, itis the only Important part ofa competion, though sadly they always deny this. Many claim thatthe modal they won cacnot far main objective, but father see what was there at the competion and to seo thet friends. | can assure you that this isa ie Tserough 1o eve a person without a medal fo see the other side of ther face. have met loads of people who were only interested in fai recs metal and or them was only worth the weight they brought home, They desperately search the lst of prize-winners to (Ge herr name folowed by: gold, siver or bronze. So we should respec these poople and allow their ambition for tho noble metal to be Tmnsirmea sooner or later into rustation. However, advise you not to be around these people when they dont win any prizes. At this ope fm sure you oan think of more than one modeller with these characteristic. But f you are asking yourself how shoul | receive iit mode!?~or simply what does t mean if! cor't win a medal..you shouk! know that receiving & medal, evan in the most pres lis compettion dopends onthe opinions of just three o four people who feel that they are quaifed to judge your work the opinion Frese propo is very valuable, then recelving a medal can glue you a lt of encouragement and energy bul not receiving a medal (hovts not bo a great drama for you, # you trust those people. The radical problem is when you believe thatthe jury evaluating your Mrs rot qualified to so, yet you win « medal. | would certainly feel worse, Under these crcumstances, before attending @ competi fon, consider the qualty of te competion the organiser isa shop with commercial inforasts ora club dedicated to modeling Inter money pizes are offered or only symbolic trophies; and whether the judges themselves are at least modelers, of a mixture of a yournalist, an artist, a roid Soldier ar the town mayo, ‘Medals can somoalimes be posve if you are seeking to promote your work. A model that has won a GOLD medal wil aways be more interesting to be published in a magazine Inary case, a medal can be ‘encouraging afd itis always pleasant te receive ane, but you should never forget that ‘ho medal can measure your lave! as a modeller.What judges‘Miscolaneous ling and Art Modelling an art? 0 are we? Fre ae ee oat 9 exineton is path ended wih the dineaurs, now the Playstation wil put an end to al the medelers. n st. Canpurns Naeling isa hobby a8 ot as cur Own history, the odo the golden ea thal we are carenthoxpevoecner sc rier ar cron a ote ston of being abe wo rproduce scale models and he new elecoc gars no ery bias ad chien lose al nett in mealing, because a vdeo game le mach mote epponing tion ¢ nec anne aa erat curses, transiorming it ino a purely technical feld and making t almost pees lor bosnnans vie ara ‘of aecesorios to improve the dotal is lacing modeling to lose its lime and sees that in order to build a model moderately wel, you lere do we come from? the prehistoric era, humans had alteady begun to make reproductions of da ily objects and animals for more or less mythical ends. the entire history, modals have bee 0n the asic element for explaining tho world around us, because there were no pote ach ‘wooden and plastic kis that were quite froluionised the industry and brands ie Tamiya, level, Aix anda (pepe. The 90s were devoted o rosin and the Verlinden era and tne yea 2000 brought the most goldan mosseling period, when the i far om abundant and where the Inernel has made the world a smaller and doses pace, here are we going to? go the special photo-etoing for Order to make the Aust F version these, though they seam hard to ‘making modols straight fom the4. auscoiancous Js there life on other planets? | don't kaow, but thre s,m sure tha hey also make models. Is it really necessary in this world to have that class of people always criticise the work of others but never do anything them: ‘Absolutely Modoting i ike a small acosystam whera an infrity of eiferent people Wwe together and cause the. (One of these beings is present the whole world over and lives near tha modling shops and curently in the luneountable nicknames, according fo the country in question, but they aro one and the same psrson, a being everything we do, He starts by numbering all he faults of our mode's assembly and ends by saying that apart fom colour is incorect, this model was never used in that battle. He will use any mans to humilate you, especialy the town's modalors are present and no wil try to ive all kins of technical explanations as fo why your mud or fel spite ofthe fear that these malign belngs can g\va us, ther existence is completely necessary, because thy an adidtional reaction that vos us to mako another even better model, even thaugh we are aware that they were have never even tid to stick two pieces of plas together. When the same specimen ives in yur Inernat onan, he ‘VIRUS, though itis not the same thing that atacks our computers, but rather our models. fone of ham ver gies You ment, then he would be called a MIRACLE. All ofthis forms part of our world and without i, ight now I would be unable to write these tines that | dedicate to age to discourage you some dy, think about all hose other people who are anxiously awaiting your next ished itn the most intimate silence.FAQ MODELS GALLERY oy ‘Several modes have Deen featured inthe many techinues explained here. Models were selected speseally to lustrate anc caver the greatest numberof {uostons For example, allhough an alan Tiger | may not be overioing ith igally, many axpoct of genera ires! were covred wth, emembe that this book has been writen 1 anewer quesbors and otto present an abundance ‘timapiaton and ski. Only the Stalingrad dorama was made withthe double intention of tearing and ainng us fo make something eal teresting, yee| PA models galery 1) Panther D, 1943 KURKS. tanks were brought to cally for sion, However, this example Perfect for demon inane dust combined to form a satin surface usually found on an infrequently used vehiclea models gary 2) German KU II.5) Tiger 1 1945 Italy In February of 1945, 18 Tiger | Mics of the 504 P2Ab's were moved tothe 508 PZAD's as reinforcement forthe 1's. This model tals the story ofthese 15 tanks that changed unit and were left abandoned in Northern tly due us tank for showing Zinment, wat transfers and ols and rust etlects,FA mode gatary 4) Sherman “El toro”.FAQ models gary 5) Destroyed 154. ent vaisie ep and tho pot with toe trunks . 196d to bring folate postionographea! galery 1. PANIC IN THE BACKGROUND Berlin-Waidmannslust 1945 {SII Dragon / Stuglll C Dragon Lia (1) Year 2001 CaBiographies! gaiary 2. LAST BREATH OF THE PANTHER Panthor Tamiya (1/35) Year 2001 MIG Jiménez Currently in the Tamiya Musoum Collection |. TRUBIA Scratch (195) Year 2003 MIG Jiménez ‘Currently part of Kaz Yoshioka's private electionBiographical gaily 6, LAST BREATH OF THE PANTHER J) Panther Tamiya (1/85) Year 2001 MIG Jiméne2/ Pepe Frosedo Currently part of Pope Rosado's private collection (Spain)HE SECRET ARMY, Captured HETZER Warsaw 1944 non (125)Biographical galery 8. RED DEATH, WHITE FIELDS Year 2008 Mig Jiménez Currently part of Kip Anderacon's private collation (UK)Biographical galry . SINAI'S CLAW “SAM2” IN ¥0M KIMPUR 1973 ‘SAME Azimut (1/35) Year 1999 Jorge Lépaz/MIG Jiménez.Blographice! galeryBiographical gallery 11. FRANCE 1985 MAA Vorinden (1/85) 1995 MIG JiménezBiographical galery 13. PzIII M ANTI-MINF 1946, Renmark Pal(4. stue 111 TRANSEXUAL 1945 Czechoslovakia 4G I G Late Tamiya ( ii Biographical galloryBlographiea! galery 15. EGYPTIAN M88, 1991 MBB AV Club Year 2000 MIG Jiménez‘Biographical gator 6. THE BATTLE OF SAIPAN. 68th Commemoration Naval Forces ie 25 ro Mol Mand / MiG Jimene2.Biographical galery 17. BIG WIESEL. Certain Shield Germany 1991 AV Club (1035)18, AMK1@. 12 Regimen Etranger de Cavallerre. Bosnia 1995 AWK 10 172)Biographical galiry 19. BRONEKATER BK 1125120. BE AWARE: POLIZEI!! SS-Pol Geb Jb. Agt.18, 1944 B40 Victoria M Your 2004 a JiBlogrephica!gallry 21.16 / 48 AFRICA Models (1/38) 22. Eastern Front WTM 1/144 MIG JiménezBiographical galery 24.PzIU Burn Out 25, TIGER COCKTAIL (Wodka, Water, tiger and a bit of ice) Tiger | Early Halo (1/85) Year 2001 MIG Jiménezlograpice!gatery 26. QUIET PULLOUT 1988 tanBiographies gator 27. TUNISSIA 1943 Marder il Tamiya (13Biographical gatory 28. AFTER THE BATTLE. Mortal remains of Berlin June 1945 5) Panther G Ta Year 2000 MG in29. NIBELUNGENWERK’S LAST SON St. Valentin January 1945 Germany N54 16145Biographical gallery 38. KUII THE DEFENSE IN THE KRUPP PLANT August 1945 ,Germany. MiG Jimena 51. BRITISH BEDFORD QL52.LA RECONQUISTA Boadilla del Monte Pal 5Biographical galery 53. BORN IN U.S.A. Arab lebanese Army 1975Blogrephice! galleryBiographical galery 55. BEDFORD Boi Seratch (1/35)36. MARDER 11 WINTER Moret Tamiya (1/35) Year 2002 MiG JiménezPe re, 57. ORY REFUEL? Lost in RussiaBiographical gaiery 58. WORK OF A BRITISH /BEMBLITION TEAM Western Desert59. German 134 (0-1 Tamiya (195)Biographical gaiery 48. TECHNICAL BJ44 LAND CRUISER (w BROWNING Cal.5@ version) IMIG Productions (1/35)Blogrephical gator 41. TECHNICAL BJ44 LAND CRUISER (Transport version) "Biographical galery 42. TECHNICAL BJ45 LAND CRUISER, Long cargo version. (w SOUIET B11 GUN 146mm Recoiles version)‘AL BJ44 LAND CRUISER (w DUSHKA version)Blogrephice! glory 44, PZIA AFRICA Cart lection, (USA)3lographical gallery 46. PANTHERA JIRAFA1 J wintersimenee ‘only in the Euromodelisme privlographica gallery 50. 134 K.0. Verlinden / Mig Productions (1/95) Year 2005 MIG JiménezWhat comes next? J. Future Projects. ‘As far as | am concemed, | have earned the right to fake & rest ater having dedicated ton years ‘exclusively tothe development of painting techniques, devoted to spread them throughout ll he Counties ofthe word to finally gather togother everything | have learn from mysalf and other mod tlie in a single book, This projet has cost me ptwysically and mentally but it hasnt taken away my {desire fo open a new tomorrow and start painting i. There is stl alot to be dane and the book that {yu have in your hand is just the beginning, the foundation for creating real mode's, starting to cevel- ‘op new techniques and gather them together in future publications, However, iti stil necessary to go ‘back and gather together many other techniques that have been lft out ofthis book due to a lack ot space, such as paiting vehicle canopies, tanks under the rain, kit bags, motors, tanks in small ang large Seale. a complete repertire of more interesting themes that | promise to bagin wring about ‘ight now. really believe | wil forget to breath- there is no time to do 50,Path Mi