www.theweatheringmagazine.comV/ EQP AIlI ~ IE I NODE! LLER: » i IN ALE VWwAALeE IVi i The official Airfix Model World magazine is your complete guide to the world of scale modelling, making it essential reading for modellers with all levels of experience. Focusing on model aircrat, Airfix Model World also features cars, ships, scifi and space, ‘armour and figures. EXCLUSIVE BUILD ALSO AVAILABLE IN DIGITAL FORMAT: CN al ea OL cee ie) ever CSS Lad Oot] Ra On CR ea ep MM ERM MUL Re cay te ti § 5,4 Wel Tchr fd 1, 29. ne comecon med fini oe. aise yay RES a hoa corks a ‘ ss lange as act ne ree.ii August, 2015, ad news shook the modeling word like an arthquates the tre father o scale modeling, the man who ‘THE WEATHERING MAGAZINE a 100k a mature, cohesive approach 0 our hobby forthe firs ie fi [AMMO of Mig Sener time and led many of ws nour very flstdorane- bln eps Copyright 2045 hha passed away. Aman of many alent; inthe tradition the seekers tsraere ert oe Tr yateas eeeea ete cee Bu bso mere drs ee cy oi \ thes magn puting ee ndg tne of les a US WW ryt of isha He di mere vnc * iy thas th ret af the erly elrd pad gether Chief Eltor the last 30 sears. It cam be argued that he ereated the basis Rick Lawler > of scale modeling. as we know it. And yes it 8 sod that En ea tan fhe never pean may et ear of is ‘Mig Jiménez seminal work. Sheperd Paine has left us and we fee 0 lonely asin an Editorial Management empty void wandering inthe wilderness and so think it Carlos Cuesta is pertinent to dedicate this issue devoted 9 desert subjects 1 him: this memory and work. By sher coincidence the first recollection Ihave of Shep's works isthe Lady be Good diorama, depicting the infamous B-24 Liberator financal Manager lost inthe Sahara during WWI and later found in the 1980.1 wax barely 13 years old and thi pice shook me area 1 felt overawed. That diorama contained jus the exsence of what any scene should be about: a story. Sometimes, es we don needa docensilfully painted figures and vehicles, t's actually beter to have the sensibility t convey ArionetAlores 0 mach with very ile Cover ilustation only hope tha this terrible oss wil help as to look back and rediscover the treasure trove of Shep’ teachings José Angel Trancén Fernandez ‘passed on his books. We mast strive fr a simple, more touching modeling, maybe enjoying our hobby more and layout worrying less about achieving tha technical perfetion. Jus enjoy gluing and painting, almost always in the ntonio Alonso solitude of our homes, of our workspaces, alome ina vast desert where nothing has yt to Been done and nothing ‘Omar Andrés fee o last forever. Arte Assistant f fic Horse A reader wrote me not long ago. annoyed because Ihave listed Sheperd Paine among the modelers who have created ther own style. certainly mentioned Akasa Photographer Verlinden and some other names but not him, Andi’ tre that he didn’t José iran created one style: he dd erate scale modeling as a whole Tere ae That‘ itz Sheperd Pane is our founding father. We owe him everything. Elzabeth Wiese Akatsja Mig Jimenes Barbara A. Colaborators| ‘Martin Siska Jean-Bernard André Roberto Aguilera ‘Mig Jiménez Juanma Vergara Oishi 10 Quijano Gavin *slardy” Clarke ‘Mark Chisholm Translation Rick Lawler lain Hamilton ‘owe theweathingmagaine com Irigerjmenes ton ISSN 2340-289x September 2015INDEX DESERT FOX ‘The panzer's mobility was instru: mental to the Afrika Korps suc cesses they battled not only the ‘enemy, but also the unforgiving environment. In this article by Martin Siska, you will be able to ‘experience firsthand the dust, grit and oppressive heat of the desert battlefield as he portrays his Pan: zer IN. f I WHAT FREEDOM JBA presents a surreal, juxtaposed scene of sandy waves and subma Fines in this dreamlike presenta tion based upon an llya Repin painting. Inspiration and hall ination collide in this sea-faring desert story; with a good dose of JBA artistic flair thrown in for good measure, ag. 14 IN A DESERT, FAR...FAR...AWAY. The Force is strong with one, as Robert Aguilera ashe tackles Luke ‘Skywalkers iconic Landspeeder in this daring adventure of galactic ‘modeling. Brace yourself as every feature is considered to ensure that Luke's desert roadster i true to its Jedi heritage. pag. 20NEW DUST TECHNIQUE Observation is often out best in structor and that is certainly true in this article as Mig Jimenez ob- serves and then instructs ways to create dusty surfaces on a BMP-1 But, never content, Mig shows us a few new techniques for achiev. ing these realistic dust and dirt effects ‘CHIVALROUS IN WAR, VIGILANT FOR PEACE” (Erwin Rommel) Careful planning and master: strokes of paint are engaged on a figure of the Deutsches Afrika Korps as _Juamme Vergara takes command this figure painting ‘masterclass, ao. 40 DESERT PATROL In the traditions of the Afrika Korps, the "Desert Rats” and SAS raiders of World War Il, the MS- 06 Zaku I of the Zeon military patrols a barren desert landscape during the One Year War. With his expert style and techniques, fol ow along as Oishi animates this desert warrior. “4Martin Siska | find that vehicles from the Deutsches Afrikakorps (DAK), are interesting, but also believe that in many regards they are more difficult to make - as compared to grey or three tone vehicles. | have spoken to many modelers who seem tohave two main questions; which types of chips are better for DAK vehicles, and how to make convincing dust. These are the same questions that | struggled with as well. When viewing photos of DAK vehicles, we can easily see the ev- idence of chips due to the fact that most vehicles began their service in German Grey color which was later painted over to the tropical yellow camouflage colors. From my observations | amable to tell the difference between soft chips (or scuffing) versus hardedged chips. Knowing that all chips were not the same, it allowed me to explore using two different types of techniques (and products). For the- 6 | THEWEATHERING MAGAZINE / DESER ‘to replicate the scuffing using the new AMMO washable colors, and in other areas, | used conven tional techniques to create normal, sharp edgedchips. For dust I tested on this tank with emails and also pigments dry blend and also like pin wash (pigment diluted with thinner). | also see in many historical photos that panzers hhad loadsof water cans (white cross), tracks or wheels 50 | also addedsome of these extra accessories. In this article | also present also the oil paint rendering technique, which is possible, in some cases AMMO enamel products can also. bbe used. This is my first DAK vehicle, but | hope that | am able to help you by showing a few ideas and techniques. | ‘want to thank all friend which support me and also mem: bers FB group Czechoslovak modelers seriously.Because wanted lite blue tin tothe grey base lightly oversrayed the model with a highly diluted Tamia XFB Flat blue; basicaly a uice filter Atter allowing the base colar to dy, | gave the model another layer Of pain, this time using AMMO Washable RAL 8020 Sand. Not only will ths give my Panzer IV an authentic camouflage color, but the washable nature ofthe pant will provide wonderful weathering options. 2s the name onthe paint bottle implies, these washable colors alow ime to disvess, or remove the paint using a stiff brush moistened with water litle scrubbing onthe gun quickly shows the results of my effrts asthe yellow camouflage cor looks to be worn of exposing the base grey color Turning my attention to the exhaust | painted it using two rusty shades colors from life color st; fist the lighter shade and then abs ofa darker rust color for variation. Similar 25 when using the Hatspay Technique, the washable paints make it possible to create fine scratches using the tip of a toothpick or needle fo demonstrate a different style of paint wear on aust as might be caused by the heat. | ceated these Ber, flake type paint chips using AMMO Worn Effects Fl,|S the German Grey colored vehicles arrived to North Africa it was common that they were quickly repainted fo thet yellow desert schemes without regard to fist removing the tools. To show thi, | again used the Won Effects Fluids to create larger chips on the | added the decals and then used AMMO satin to seal and protect the colors. a ni — & Na added afew more andom chips and blemishes by ficking small eoplets An Ocive colored fiter works to unify the finish; adding richness to the of ight grey colored artists ol onto the vehicles” surfaces, sand color and aids depth tothe scratches and chips. \While | used the Ochre colored fiter fr the majonty ofthe model, on This step realy brings everything together. Using the medium brown ‘ certain surfaces and panels | used grey and brown tones to add subtle fica Korps Wash | ad a pin wash around all of the surface detail and shit in color, panellines. I want to stress that this was apin wash and not wash over the entire surface as |ddnt want to darken the overall appearance. The wash was applied only around details and after S minutes I removed the excess using a clean brush moistened with thinner. THE WEATHERING MAGAZINE / DESERT | 9Using artist's ols allows me to continue to add et ferent types of effets tothe finish, For example, | decide to add a small rust stain to this comer. Fis! ‘a small amount of rust colored artist os apalied. just to moisten, ‘The color blended into the surface using a neary dry brush, with only about 196 thinner inthe hats | then dry brush a black-bown oil color along the along the edges of the panel and rust are | to ce ate the shiny metal appearance often seen with this ‘ype of west. 1D) Olle are used to enhance the shadows around many ofthe surface features using the same black-brown ol cola. In this example, the paint is edded in the recesses around the armored periscope cover FAN) Then, using a nescy dey brush, | work the dark oi color into the recesses and feather the edges outwar for aso, shadowed ap- + (pearance. Set the model aside for at least 24 hous to allow the tod 10 STHERING MAGAZINE / DESERT ~e7 % Mey . y Here we see the rear panel after ol rendering. Notice how the em: bination of various materials and techniques has produced nice shadows, and many interesting shades and rusty eects For rust and other elfects we can alo use enamel products from |ANIMO, the method isthe same as with ol add paint and blend.Py OF course dus isan important weathering element fix ths layer of pigments in place by aibrushing | then ficked tiny droplets of North Af for any DAK vehick. | began by siping onto the ight coating of Pigment Fer. This process of adding _ensme effects over lower hull two shades of pigments (and and ight pigments and then faing canbe repeated fr greater ul. These tiny droplets wll ad small highligh for ust, each color being applied overtop each for a accumulation. an added layer of visual interest. random appication Dust 3 pigments on the lower [>| When | finshed working on the lower hull, | ellowed by working 7} In adltion tothe pigments we can aso use enamel products to add the dust onto upper surfaces of tank. The process i similar, but | another type of dust effects. Only paint where we want effect and, need be alitle ioe careful and usea thin brush n ore tostipple if reed, blend o correct with thinner. pigment only where we want it 2D) As this photo cearly demonstrates, the combination of pigments ‘Again, odorless thinner is used to wet the surface £0 as to blend and enamel effects can create a very convincing dusty appearance, the pigments in place. Once!_am satisfied with the application Iset the pigments permanently with a bghtabrush application of Fixer THEWEATHERING MAGAZINE / DESERT / 11.ah Or TRACKS 12 | THE WEATHERING MAGAZINE / DESERT ‘The tracks ar fst given a base color of Tamiya NATO Black Next, | used enamel rust products and applied regular maps on tracks, when dy they look nie and rusted | also stippled some rusty acrylic colors 5 of effect, (0 add another layer {final ight wash using the rust colored enamel together the diferent layers and fects helps blend ts a very real sppearance. Here | used Earth Nature Effects, but only avery tle bit in order to better imitate texture of sanclearth in tracks, Because these track are Full white metal its posible to sand the igh pont to imitate the polished appearance where the track con: tact with ground (On the interior side, | use a graphite pencil to iitate polished co: tact areas where the wheels ols over the racks(One day | received a note from one of the nice guys at AMMO of MIG that said; "Mig wants you to build a derelict submarine in the desert”. “Fine” | said. I'm sure that they thought that they were giving me an impossible task, but | have had an idea in my head for about. 15 years that | knew would be perfect for this. |happened to know that three of the Naiade Bact saison ech auto par mret to rut nats (ha) pe Fee ert ar re win canes ger damm, ody toot the Ga ; Maiti citiniy Wotoosentensmect QC - ‘a submarine sailing through the desert sands - the view about 30 years later. That diorama fi po takes inspiration and is also a pun at the famous llya Repin painting called "What Freedom”THE WEATHERING MAGAZINE | DESE16 | THEWEATHERING MAGAZINE / DESERT na ths crazy idea for this scene, whereby nly the sub's conning tower would need to be modeled. Since the tower would be the foal point, | wanted to be sue that | gave it as much deta as possble. And since | have mastered the deliate art of homemade photo-ech this wasn't too ‘much ofa problem for me to create a few extra touches. Here is one of the tw frets that crested In addition the PE | used just about anything else | could ind to fabricate the submarine hulk; including plastic card, Magi Sculpt, Duro Putty, tons of Tamiya mastic - and yes - even a tolet paper cardboard tube of the proper diameter Irall looks alot better after a layer of primer | noticed when laoking at some very old metal that the usted surfaces seem to separate and fll off as large plaques, and this was something that | would want to capture in my surfaces as well. The mosaic of plaques was made fom thin plaster, broken and glued onto the surface The rust tel is painted with a combination of ANIMO Ayes mixed with pigments and then finished using rust washes imagined the desert surface as a gigantic wave; rong over and swirling around the exposed carcass ofthe submarine. To create this foundation, | eut layers of foam cardboard that | glued in pace using wood gluethe borders ofthe base woul | wanted to make sure 1 perfectso! ad thin balsa around the edges those before pouring the plaster. tinted he Paster of Pari with acrylics beforehand so as to avoid the presence cof any white showing through inthe final presentation, Te tinted plaster is worked over the entire surface to create the sand appearance. My ony dificity was in getting complete coverage inside the cavity and around the sub’: outer edges without making a mess of the sub’ surfaces, Usually, | would build a sandy surface using some micro-talloons (the same stuf eiorama makers use to do the snow in scale nted with acrylic paints. But here, I wanted to create undulations on the and, and since ‘mico-balcons are sl-eveling | needed to find some other type of mate ral could work with; I chase to use car bodywork putty. The stuff smells rather bad anda respirators needed if sing indoors. Depending on the amount of hardener and the temperature inthe room you have between 10 and 20 minutes to work i. mixed some plgmentsinto the putty to give ita slighty orange tint. For optimum result | bult the undulations with a brush dipped in same solvent - turpentine worked well for this, Its a relatively straightforward proces that took me less than 2 hours ta complete the entre base. Upto this point my base has been colored and tinted using uneven mines of paints and mastic over the tinted plaster, and so now | ed to correct and unify the colors over the entire seene. | use Mr Paint inks to do tis kind of work as these colors overlay rather than replace the existing colors, thus retaining all the subtle tints of the underying paint, Colors used were mosty RAF Middle Stone, Suifur Yelow and Light Brown, | created a definite lighting effect, by keeping some areas na shadow created with mixes of rust and purple its, People walking on the san leave traces, | had to add them after wards. The tick was to cover the feet ofthe figures in Vaseline and to leave the car bodywork mastic to set around it. | could then it ‘ut the figure without any damageapplying shadows. as well as ying together is was done by spray ng some ofthe Mr Paint purple mized with White from the angle of the dorama where the sun doesn't shine. Further color corrections were made using a mix of re, blue and sand colored pigments want tostress again and again thatthe key to success anda good diorama & ta work the colors again and again. Hee lam applying extra shadows by bending the airbrush at the most important angle | could manage so that ‘the paint (once mare inks which produce a mere subte effect) onl the part that is supposed to stayin the shadows) acrylic binder and added a micure of pigment colors and acrylic paints to the mix and applied them with a brush where the sand would have cept ‘on the submar itdrie. wreck. used my finger to wipe away any excess before The final touches- some AMMO whit acrylics onthe ip ofthe undulations mast exposed to the sun, and some purple and blue acrfic touches on some places inthe shadows. Only by spending hours on those fr ‘an you ceate the impression of chrome should be about. ness that every diorama “ysSee TCS TLIC EC eee aga De oe De et CE ecg = : , ; uaan woe sunset nau wae cs unter Histon Sra aecuone SCTE WRT Hirst) ANTE ES NONOHELIG —getTEeRTLDE MeN SCHWEREUTEATELMGSH 30 LEC MIO ‘ABRAMS SUUAD TT eo asa 2 ‘eR SH. ELINA Enon amore‘a Roberto Aguilera Traveling over the sand-packed and sun-faded landscape of Tatooine, Luke Skywalker relied upon his X-34 Land- speeder as he journeyed between the Lars homestead to outposts such as Tosche Station and Anchorhead. The X-34's powerful repulsorlift engine allowed the craft to float about a meter above the ground, with thrust aug- mented by a trio of air-cooled turbines. Luke's Speeder was old and battered and missing the port turbine’s cowl- ing, but through constant tinkering the Landspeeder al- ‘ways remained in good working order. am a huge fan of the Star Wars series and one of the most iconic vehicles in movie history is Luke Skyalker's Landspeeder. As a model maker, | truly appreciate the craftsmanship and ingenuity that went into making the set models. With a theme of Desert, what better subject to capture my model-makers attention than by adding the ef- fects of Tatooine's barren, desert environment onto Luke's Landspeeder For years | have seen many people painting Star Wars repli- ca props and models, their building knowledge is impres- sive, but when it came to painting they simply copy the original model paint job - which was not meant to be @ static model. Originally, these models were meant to be shot in. motion movie, so the style of painting on these_ originat movie models is rough ~a very different type of ~ modeling and painting than we are used to doing on our static models. | like to take these models into a more-tealis- tic world, one with more contemporary painting technics; based upon the original paint scheme as a reference, and then make it look better and more detailed.Tis kit comes from the Spanish company, Toric Models. And, de- spite @ minor error in design (the two rear blocks that are upside dw), this kit a eal beauty. The main sue had, however, as that this particular with the kit came to me completely warped fom nose to toe, a significant molding issue that is very hard to deal with, especialy inthis case as its basicaly a single cast block that isa thick asa brick The crude realty is that there is only one way t0 fx this ype of warp and my fend Gerardo Cortes came up witht to sce the kt with two cuts across the made ike and accordion, tying to ull it. straight ave to say that | had nothing to loose as was going to put the model away na box if this would have not worked, ut it id, With the major issue fixed | continued with a few deta; the wiring on the engine was added and the gear stick was scratch built and after these few modifications the model was ready to be primed, Ths vehice is one ofthe mast challenging Star Wars models you can paint; the finish isn a gorgeous virtage colo, sexy pin-stiped lines, chipping, dust=it has it all After reveveng my ceference: pictures, | see that the orignal land speeder shows some prety basi metal (ser pint dry-brush effects and silver “chips” overall ~ generaly basic weathering techniques, yet effective. | decided that Alla’ Stainless steel was the perfect base color to begin ths process and so two coats were airbrushed onto the mode Photos of the original model anpear asa ight tanvpink color overall with siver damaged areas, the engines look grey in some photos| af they where ony primed. | was sure | wanted toad more layers and more depth into the frish, therefore, | decided to adda layer primer in between the Aldad siner and overall pinkish color, | also felt that in this way the grey engines Iwas seeing in the references ‘wuld make more sense. Hair spray was applied over the Alclad finish and then a mix of Vallejo German Grey and London Grey was airbrushed into the adel | fllowed by alte scrubbing with a moistened brush to create small chips and blemishes inthe grey primer: allowing the sir to shine through, | then wanted to estabish a bit more depth and character to the ‘ey primer finsh, and so using a soft sponge (with most of the paint fist removed) | add bghter and darker grey colors. This is ne using a dabbing motionWhile dabbing the colors | take care to move about the surfaces with the sponge in a random fashion, being careful to not lave a patter ‘Around the engines and where | want to emphasize the primer appear: ce | tend to use the darker grey color so as to add a sense of depth and shadow Paying close attention to my reference, carefully mask the grey and me- talc areas using (many) iegulaly shaped pieces of tape. ye With Me" The model looks “patterned” after the Ito achieve a natural, organic look and fel tothe chips and scratches by only sing the masks. Therefore its i portant that brake-up these unrnatural pattems and refine the chips by hand ot of tiny bits and chins are careful scratched and added with the help ofa sharp piace of styrene used 2¢ 2 tool, chipping off micro bits con ever inch ofthe model The final result i looks rather convincing to me! Areas of lighter and arker primer color fade in and out amongst the bright flashes of the stainles steel chips and scratches. | believe that this extra attention to layers is important, and pays off handsomely wit afinsh that he base colour is very much the issue on this model, a very distinct and recognizable color that i not available straight from a single bottle, 1s, The base colours airbrushed onto the model after a coat of hae spray, then the masks were removed and the chipping process begins. Therefore, mixed a matching tone using AMMO acyl couple of coats of satin varnish to protect ny prior work, and ‘then carefully mask the entre model forthe red in-stripe pattern to be applied on the Spee THEWEATHERING MAGAZINE / DESERT / 23“The Force i Strong with this One*. eautiful | fel that is these RED stripes are what really makes this vehicle so unique and gives it that great vintage design | id the same treatment on the engines as on the resto the speeder, the only variation was the base color underneath the engines, which is med toa bit more of an orange tone as seen onthe reference pictures. The exhaust ofthe engines were masked and Lifecolor acy dust was sofly applied, the intake was airbrushed ith Lifecolor Worn Black and Dust 2. The exposed engine hoses and wires were painted using Lifecoloracyics and lightly weathered with Lifecolor Dust 1, ‘The Tatooine desert weathering begins with a light misting of highly thinned North Africa Dust enamel effects to establish an overall dusty anpeerance, The larger horizontal surfaces receive ight applications of pigment pow- The pigment can be mited with alte enamel thiner and then applied {der andthe pigments are worked into the panelines and recesses ~ any wet onto areas, and ance dry any excess pigment can be brushed from ‘where that dust would normaly collect. the surface, The use ofthe ename! thinner aio helps the pigments ad- here tothe vertical surfaces 24 | THE WEATHERING MAGAZINE / DESERTFeet be = 3) An Fresh Engine Ol Effects are added near the rear venis, ust around some | used these same oll effects to demonswate oll an fuel steaks running ofthe detain asimlar manner aa pin wash, The sight glossy nature down the side ofthe cowing, Ido this using many layers, adding more ofthis effect stands out nicely against the dusty surfaces. less in certain areas to vary the appearance ~ giving some steaks 3 fresh appearance while other streaks look old and Tadd, use artist's oilsto add another level of dust nd grime tothe engine area. Panel Line Washes offer one more option to add dusty tones tothe en Tinned applications of pale yellow and reddish brown colors addjustthe gine area, These enamel paints come already ina thinner consistency right amount of muted color tothe wiring and hoses. than the Nature Effects, alowing them to mare easly fow into the re cesses and edges. Once chy, these fine accumulations of color lok jst lke deposits of dust THEWEATHERING MAGAZINE / DESERT £ 2526 / THE WEATHERING MAGAZINE / DESERTea Rd Peo ars 1/35 CMP Chevy C60L Petrol Tank Truck (Cab 13) 4/35 CMP Chevy C60L GS Truck (Cab 11) 1/35 CMP Chevy HUP Heavy Utility 1/35 CMP Chevy C60S Holmes Breakdown 1135 CMP Chevy FAT 7B3 Body -- <) egcadron nse Escadron Is the ultimate model shop eas the centre of Europe. Visit our er for everything the modeller needs: | ie ‘ars, figurines, .. a a... eee: yea gout .0.Box 1266, Royal Oak, MI 48067 iT ete LASTCAYV - lastcavaliry.comArticle and painting by Mig Jiménez ‘Model building by Xiang Zhu Kit: Trumpeter 1/35 BMP-1 (kit no. 05555) 2 Almost all desert environments share a common aspect: dust. Although there exist different types of desert from salt flats, through rocky aid Stony areas to the com pacted, hard soil deserts- dust is in most cases a pervasive presence in all of them. To be able to {get a realistic finish in desert vehicle, you'll need to master this weathering element. Dust appears in a Wide range of random patterns depending on a series of factors: the shape of the surfaces it adheres to, presence or lack of wet areas, and the amount of time the vehicle has been opefating in the given envi- ronment. Colors also vary depending on the different geographical locations, thus it will be necessary to research the specific setting for our model. In this occasion, I've painted a Soviet BMP-1 during the Soviet invasion of Afghanistan in the 1980's, a protracted war of attrition that pushed the vehicles to the limit, [As can be seen by the turret slogan, the crew of this AFV has still to serve'for 280 days before finishing ‘thelr'tour of duty and returning home. It's quite easy to imagine the’poor shape that this vehicle finds itself after long-term operations in such harsh cont 5 < Mig Jimenez ,x pha (I DS NSDREALISTIC DUST ‘One of the key aspects to achieving a satisfactory dust effect is to have contrast between the very flat dust areas and the slightly satin vehicle sur- face color. This subtle contrast will make possible ‘to tell the dust apart from the very similar camou- lage colors. Many times this difference in sheen is. the only way to distinguish dust from sand-colored paints. Additionally, ust weathering should be ap- plied in various layers and using different painting techniques to get a more realistic finish. Another consideration isthe random patterns dust tends to produce, creating odd effects quite different from ‘the preconceived ideas ofa stereotypical light, uni- form dusting. As always, the fist step isto prime our model. Airbrush the primer in muitisle light passes to break the surface tension of the plastic jet camouflage scheme that was in hanistan, using the chipping fds to use during the war in get a wel- worn look on ‘The reference AMIG-1201 STREAKING GRIME FOR DAK is used to create additonal grayish shadows around some hatches and) ‘ther details. They are blended witha brush moistened with clean enamel thinners. 30 / THE WEATHERING MAGAZINE / DESERTitterenteerents 2nd 0 ight al color. AS sons wit 3 ve re inners once dy r0 the ou he contrast among We can ure enhance he one extra volume by appl feather ey ae vl gt ace sharp CO samme ras To depict rust buld-up in certain areas AIMIG-1204 STREAKING RUST EFFECTS is parted and then the edges softened with 2 brush moistened with thinner Aluminum chips ae painted with Humbrol 11 siber mined with some green pant, Usea fine pointed brush and be sure 1 apply them only on aluminum parts inthe real vehi, because the main hull parts were made from welded stel plates THE WEATHERING MAGAZINE / DESERT / 31To achieve a realistic and fresh cust effect, start by applying a generous amount ofchipsing fd ‘over the areas to be dusted, FAs soon as its dry tothe touch alight coat of dust enamel color airbrushed on 5 When the Dust effec is dry we can start to remove it immediately with a big brush moistened with water (NOT ENAMEL THINNERS!) [F Alter letting this dry for 24 hours, some pigments ae applied over the previously dusted areas and the fred with enamel thinners. AF- {er this has dred, | go over the pigments once more with the same enamel dust color to further refine the area, With the cust enamel effect diluted with 40% thinners, the pige rents ae streaked with vertical downwards brushstrokes FS once cy welthave obtained an extremely realistic dusty appearance 32 / THE WEATHERING MAGAZINE / DESERTThe same processis repeated over the horizontal surfaces: an ena AAS soon as it's dry, the surface is mais 1 dust tone is airushed over the chipping fd previously applied, ened with water and chipped with a No. TO brush The paints removed progressive, creating extremely intresting effec. Insist on removing the paint especialy in those areas mere exposed to wear and tear. Net step i to apply small amounts of pigments and then wet the area with enamel thinners. THE WEATHERING MAGAZINE / DESERT / 33‘the pigments too much, but simply move the brush ust enough o spread them around - unevenly i We aleady have quite believable, very dusty appearance, but its necessary to further refine certain areas with the same dust enamel product On rased details su 's applied and eft to dry to Then it’s blended with @ lean brush dust effect is created with enamel effects the touch ith enamel thinners rather pigments, otherwise it could be eas: ilyworn away 34 / THE WEATHERING MAC DESERTEFFECTS OF DUST MIXED WITH GREASE AND SMOKE In arid environments, the areas close to the exhausts tend ‘to show different effects as a result of the mix of oll and ‘exhaust gases with the desert dust. n this case they were faithfully copied from various examples of similar BMPS ‘seen in my reference photos. Next, Humbrol Matt Black 33 mixed with Humbrol 29 Earth in an 80/20 ratio and airbrushed over the exhaust. &-: SS 2 (Once dry, the black is chipped away with a brush and water36 / THE WEATHERING M‘Asa final touch, FRESH ENGINE OIL (A MIG-1408 is airbrushed to depict the area closer to the exhaust, stained with wet, glossy ol The smoke emanating from the engine will ary small particles of ol and grease that wil stick onto the nearer surfaces, 1G) We can also add some slater eects by flicking a brush ightly 15) The same products used to create spied diesel around the Fuel caps moistened inthe fresh ol pcoduct with a finger. This represent ‘on the back doors, Once again reference photos have been used to ‘mimic eal effects accurately and without excesses larger and more recent ol stains DEDICATION The war in Afghanistan was an extremely terrible experience for the Soviet soldiers that 100k part inthe fight. The effects ofthe confi are stil present in many survivors, who safer the pica and pychological consequences otis da. me of them are now madeles and I'd ke dedicate his model al of thm, ut also thse who never returned home. THE WEATHERING MAGAZINE / DESERT / 37i ‘As the first light of day begins to stretch across the desolate landscape, the Deutsches Afrika Korps launches a morning ‘counterattack in a desperate attempt to regain the initiative. However, it soon becomes clear that the troops courage and prowess cannot overcome a lack of fuel, thus stopping the counter-offensive in its tracks. ‘Abandoned vehicles, burning tanks and crushed guns litter the desert landscape. During the course of the day the infantry ‘and artillery of the support group’s crumbles, and the stalled panzer brigades are decimated. tin the desert has become a war of attrition as men and machines endure the relentless pursuit of the British Desert Rats. Ritterlich im Kriege, wascham fiir den Frieden (chivalrous in war, Vigilant for peace) was the motto of the This time I'll explain in detail the pai ing an Afrika Korps Panzer Grenadier. jing process of 1/10 scale bust by the South Korean maker Young Miniatures depict- I start with the flesh areas, which on this occasion demand a great deal of patience due to the large size of the piece.1am using my usual Pesh mix of Valejo Brown Sand, English Uniforn, Vermilion and Violet, adding 2 try bt of Tamiya X-21 Fat Base to avoid any glossy effect that may sometimes occur bythe apolication of many color layers For the frst three highlights | add Beige Red tothe base color. This tone. ies a pinkish hue perfect asa beginning layer. Then, | continue ming in Sunny Skin Tone unti reaching the overall flesh color Finally ight Flesh isincreasingly added to the Sunny Skin Tone forthe last 3 highlights. The final highlights are made using almost pure Light Flesh colo, dling this only tothe most exposediaised areas: nose tip, cheekbones, chin, ec Assad before, this can be quite a tedious process because ofthe need toapply the many highlighting layers (up to 12/15) ta achieve the dested blending on such large surfaces. But, the final result is well worth the effort. Now begin to weather the face, using the same tech riques asi we were working ‘onan AFV model, Small dots and lines of ANNI Fresh Engine Ol (A MIG-1408) and, Wet effects (A.MIG-2015) ae applied to upper ares ofthe face and haiie, =)f, while werking, you find that some of the highlight transitions are to stark the gradation can be cowected with avery luted transpar- ent layer (or laze) of medium tones. Shacing i created by sightly darkening of the base tone, Fst, Burt Cadmium Reds added as the darkening color, but always mixed with the basecolor. When | fea that\ have eached the darkest tones with the Burnt Cadmium | begin adding small amounts of Olve Drab; a calor | especial ike for shading. Adding small amounts of creates the darkest, final shadows black to Olve Orab and applied to the deepest recesses 5 Once the shading is finished, the flesh color gradation i ivened up with ed and violet glazes, and dark grey mined with the base color is Used for the five-otclock shadow. ‘And then blended with AMMO Oderess ThinnetNow, moving to the helmet, I start by aibeushing it with 2 base color using AMMO Black and Dunkelrau, After allowing for the dark base colors 10 dry, | then airoush a couple ayers of AMMO Scratches Effects (AMIG-2010) over the surface. For best results its best te apply a couple ofighter coats, rather than a single, thik layer of the Seratches Flu, AMMO Streaking Grime is used to outline the helmet detals and apply thick stains. Dont be shy about applying these product, being enametbased, they can be tweaked with AMMO Ename! (Odoriess Thinner and a flat brush nti we're satisfied To unify the finish, and to slighty change the tone, a brown wash is applied with a fat brush, ‘We have quite alot af choices when it comes to the jacket colt 2s there were a great variety of tones and diferent levels of fab tic discoloration because of weathering and washes, and even the use of captured Commonweath uniforms In this case, ve mized an olve green from AMMO Olivegran ‘opt.2 and Dunkeigelo (Mid War) and applied it by brush, Dont forget to add a small amount of Tamiya Flat Base to j aig 42 | THE WEATHERING MAGAZINE / DESERT When the sand colored paint has dried to the touch | use a stiff brush moistened with water to scrubit away. Take care to ty and remove the paint in logical areas where normal wear would occu. General, paint the removes eas- Il witha stronger rubbing action and ifthe paint is reshly apple. When the Scratches Fluid f= dey ANIMO Sand Yellow is then ap plied tothe helmet ti Lastly | paint the desert goggles with AMO Crystal Colors paints, which beautifull imitate crystal surfaces, using A.MIG-099 Crystal Black Blue i ap pied over @ Gun Metal (A MIG-045) undercoat.Once dy, highlights and shadows are aitbrushed adding Details ae outined with the darkest shadow color plus a litle |ANIMO New Wood and Black to the base color With the black. The straps are painted green with AMMO acrylics. A general highlightingshacing placement pointed out by the touch of sand colo s added tothe green colors to add high- aibeush, | continue adding highlights and shadows by brush lights The last step is to paint the Kar Then, and with a dean fing, 90K rifle. | use a very easy proces: the pigment is rubbed again until ater airbrushing an overall black reaching the desired metalic frsh. coat, AMIMO Gun Metal pigment is smeared onto the metalic pats with my finger The only remaining thing to do is to pain and dents with a variety of bghter coors. wooden areas; simulating scratches Looking at the finshed bust, realized that a dusty finish to the helmet would {add an extra ‘desert dimension. So, | proceeded to mask ofthe figure and base, anda layer of AMMO Nature Effect North Africa Dust (A.Mig-1408) is arushed ‘over the helmet that added dusty touch. | wata couple minutes and then begin removing te product with a flat brush sighly moistened in enamel thinness the esta thinner on a paper towel). The desired effects achieve by Brushing the Nature Effect off using dowmuard strokes ‘THE WEATHERINGIn the traditions of the Afrika Korps, the “Desert Rats” and David Sterling's SAS raiders of World War I, the MS-06 Zaku Il of the Zeon military pa- trols a barren desert landscape during the One Year War. As desert fighters, all soldiers share one common enemy; the harsh environment and the ‘wear and strain that it causes upon their bodies and machines. Even this tough veteran Zaku tl Clearly shows the effects of operating amongst the Ingged rocks and the ever preset Jatee ht ths ype of ping important to tart the pocorn the et sages, era {5 Ateralowng ted brown wash other oer to adn oso ars’s () Aga talw the pants to ry eorbepng ths neststp.repeae sme dy sto te surface forthe Ol Dot Fant fatngecngue, Notice ow hee appl the sas and aod ear cor dmensan onto Ue mode Fr his we Bown Wash fo ater an her dts tonard te brighter tp aes, while ping darker oes dong «Gein Dak Yow apple to cert ees sng oft pong inorder t Cte thelover shadows ‘aro, requ patons Ths elersleto dy fe 23 hous. 1G Teo dts are then bende in We surtace using absh mastered with ers) Ale th wash (3s use en sponge mers with ear ine 0 ben and fae the cols is rom te pes sep mote artace Th step =) Ths photo deat stows the add clr denon and oval etecnesof he Det sens theappeaarce and geste sppeaance oe ans. Anew ayer of lr Fang Teomue, Aspe procs, but very we ‘canbe sed orp to at te appesance of recent sa ‘46 / THEWEATHERING MAGAZINE / DESERTYou do not know how long you've been unconscious, but it couldn't have been long as you notice the fresh blood tricking down your forehead. Slowly - you open your eyes and manage to focus, first on the wheel and then on the endless road stretching out to the horizon. Your world is this endless road, surrounded by an endless desert. Then you hear them. First a slight relentless roar ke distant thunder, and gradually distinguish wild war cries of engines and people. You've been discovered - again. Connect the contact again. The engine roars again. Everything is repeated. Grit your teeth and realize something that you already know. On the road you can only fight or die. In the desert you can only be the prey .. or hunter.‘The desert terran for this episode could not have been any easier | bul a slight elevation to one side of the road and then simply stuck some stones onto it withdabs of white glue. The sandy road is mace using beach sand ako stuck to the surface using white glue. Once dry the entre base i painted in black to cre ate contrast for maximum shadoves I paint the desert scape with brown and ‘cher colors. To create dynamic effect, | hold the aiorush horizontally - painting the colors only onthe tops of the relies leaving the bottoms black. | do this in Carder to create high-contrast shadows. | 30 concentiatelighter colors onto the higher elevations of the ground while the leaving the darker color othe lower layers adding even more contrast (on the road | airbrushed some ireguar spots of gray to break the monotony. | follow thes with a dark wash using Cam= ‘ouflages Wash for NATO Vehicles that ‘ive the road the appearance of rough asphalt. also add touches of dark brown wash hete and there along with Fresh Mud; both products are diluted with thinner to help provide for smooth tr Stepping back for 2 moment realize that roads missing something Somethingto give it personaly. Oh, how about the yellow cen terines! Again, a very simple and quick task to do; the lines are masked and then peeling quid arorushing, | tape off thelines and then follow by an application of Chipping Fld. After allowing for the Chipoing Fluid to dry forabout 15 minutes painted the stripes by laying dow a fist ayer of white in order to prepare the dark surface, flowed by the yellow color {And then,without waiting long, | moistened the surface with water and scrubbed the stipes using 2 stiff bush to create a wom and scutled appearance Finally Yada the typical dark gray and cracks with a fine brush THE WEATHERING MAGAZINE / DESERT / 49and needed sim lacked variety and personaly jatsand enn srt a pulled off as tufts of different rand dusty environment aatetrom the rat ith sap SSO cant aoe cking material is removed. al Fi cess bach craton ee cond ater psn te xs an agen [oven tes nasi ec teenie pea Now i tie to give the appearance of typical dusty desert terrain. To do this we will use various shades of products Effects Nature series. The enamel weathering effects are applied directly tothe ground, keep fig in mind to preserve the gradation from dark tolight that estabished- luring painting. | use the light toned North Africa dus in the highest areas, a slightly darker tone such as Kurk Solin the intermediate zones and a dark tone such as Dark Mud on the lowest areas fe) Te products ate extended with enamel thier tohelp better blend them inte the groundwork. I important that this application of ‘weathering effects does not cove ll of the shading | dd earlier th the arrush The same is done in the lower area of the fed, but ths time with dark colors, Earth in the mediumow and Dark Mud area in the lower sections nea the road. 50 / THEWEATHERING MAGAZINE / DESERT 1 get a tie more contrast in the surface rele (the stones) | apply ‘2 wash of lighter color to each of the rocks. | sed Light Duston the stones of the highest area while a slighty darker shade such as "North Aca Dust onthe stones nearer the bottom, For contrast cary guy lke myself leven accentuate the bottom edge Of the ground nearest the road with a black wash of NATO Camo. \Wesh | also apply alte at the bottom of the boulders for added shadows'm pleased with the results thus fa; the stones and bushes ae perfect integrated thanks to the use of the Nature Effects, and earthy tone & very realistic. There we are =a realistic base with minimal effort However, the appearance can be made even more interesting with the use of pigments. In this case, | use four different light and dark colrs with some resemblance to the Nature Effects colors prev: ously used. From dark to light: Russian Earth, Dark Earth, North Africa ght Dust and Dust Lets start dusting thera. For this applied the pigmentin the form of watery diuent mixed with enamel thinner that helps trite it smoothly over the rough surface. The four tones ae used to create an regular eect. A the pigment wash is being applied it canbe dificult to see, bout as it dis the residual pigment becomes evident, Don't ory if the stains are somewhat exaggerated and unatracive at this stage because the next step is to blur these spats of pig ‘ment. I start by rubbing the dy pigments with a with a wide brush and then dssole any hard edges or exaggerated areas with a brush moistened slightly wth thinner for enamel irish the road ty adding some ol stains using Fresh Engine Ol effect. This can be applied dec from the botl to mimic 8p, rsh stains or cuted with thinner to create a more aged appearing tin. Taso use washes of pigments on the ground, but only in those areas that | think need a litle move variety of col In ough terrain, suchas this, the pigment will bond sufficiently without the nee for a fier. The pigment wash eaves a powdery effect thats ideal for desert tein, And nally pigments are add along side the road to give the appearance of dust and dit. | continu to use a varity of pig ‘ment shades to avoid a monotonous appearance In those areas where do need to permanently adhere the pig- ‘ment powder | simply touch next tothe pewvder with a brush loaded with Fer allowing the liquid to flow over the pigment. Pigment Fixer may darken the tone ofthe pigments a litle bit ifthis happens simply add retouch the area using alighter tone 26 The final presentation is extremely realise land more attractive than the simple iii tase (photo 17). The! us of pigments in both the wet and/ary application i the trick to geting’ pesfect dusty look ING MAGAZINE / DESERT 751Moving my attention tothe veh, | begin the effects of dust and mad by aiorushing a thin base layer of color (Dustin this, ase) to those areas that | intend to get ity; mainly on the horaontal surfaces and the sidewall ofthe wheels and ties Besides mimicking the effect of fine dust, the paint’ matte texture is very helpful in creating the folowing effects of dust and mu In wet or damp conditions dust can accumulate and create ‘eas of ay To mimic these accumulations! create amiture of dlay colored pigment combined with plaster, acrylic olue white ue oF schoo! glue) and a ite water The ratio 6 approx: ‘mately 50% pigment and 50% plaster in order to achieve the texture of the mud, More can be found on this technique in sue 5 of The Weathering Magazine (The Mud lsue) JE) | apply the mud using an old brush to the lower areas ofthe (rand near the wheels ‘Once the mud pastes dry Icontinue working the areas by =f) adding Nature Effects. These allow me to enhance the diy ‘mud tones, ox, by choosing darker color can even ad the appearance of mosture tothe mud, A ofthe muddy ares first received an overall wash using Kursk Solland Natu Effects luted witha litle thinner for enamel and the flicked nthe ighter colored North Africa Dus is applied to the upper edges, conto the surface. | combine faint highly dlvtedspashes along with While Fresh Mud Effect fs added to the lower areas to mimic a wetter ‘more recent and darker splashes. | recommend that you ist ty iton fect. paper 1 contol the dretion in which each brush splashes. Another typical effect of any vehicle traveling on dusty roads is the typical =c} Any sashes that don'fall where they should, or appear exaggerated Splashing from the wheels. These splash effects are very easy todo using ‘oc unpleasant can be quickly removed with a brush dipped in thinner. 52 / THEWEATHERING MAGAZINE / DESERTTo mimic the accumulated dust on wheels ae 3 good method watery pigment luted with w pigment, one ight and one dar, in this case Rubble and Dark Earth To ‘moisten the pigment darkens but ry regains its color er. We can use a couple of earthy tones of Pigments cuted in water are used to asa wash over the tiesto create accumulations of dust. chose water this time because pigments ca ed using water have les sulace adherence tha if diluted with tinne, hecefore they are easier to remove. A useful oa isthe makeup sponge lor shor haired brush - or even your ing t remove the pigment. Clean he treads asf the vehicle has rolled aver the asphalt, and remove excess pigment wherever ese you might want to ceate interesting spots. Dust is a perfect surface to mimic areas dampened by stains of excess ‘grease oxi, just apply Fresh Engine Oil with afne brush. Use thsefect straight from the bottle fr fresh stains, or clue wit a litle thinner for colder or faint stains [an occasional rainstorm leaves traces of water running off the sides of he car. Rainmarks Effects are painted on in a vertical manner using a fine toned brush and then allowed to set on the surface for at last 5 minutes, E) After waiting for 2 period of time, the vertical rainmark streaks are blended away wing a downward motion with a clean brush dipped in enamel thinners. RING MAGAZINE / DESERT / 53And finally if necessary I can always add 2 litle dey pig by simply rubbing with a soft bru er integratedREST OF SPAIN EUROPE . REST ONS 34 38 Ale World wide shipping cost include ~~ “THE WEATHERING MAGAZINE SUBSCRIPTION Contact info@migjimenez.comGavin “slardy”” Clarke Asa lad | was fascinated with the desert, with its harsh and brutal environment, the open and arid landscape and the desperate conflicts in an around North Africa during the Second World War. As a game modeller, (or is that a ‘modeller who games?) Rommel’s Deutsches Afrika Korps has always been a force that | have wanted to collect and game. With this in mind, I've recently begun amassing the beginnings of a 1/56th scale DAK force for use in my fa- vourite game, Bolt Action. 1/56th AFV scale poses a number of challenges as it’s pre- dominately a "gamers" scale, with often limited choices of suitable models that are often more functional in their depiction than historically accurate. To develop my 1942 El Alamein force | have modified and used a nice Rubicon Pz.Kpfwz.ll Ausf J with a KwK 39/L60 supported by a small squad of infantry from the Perry Brothers. Every table top force needs to be transported to its gam- ing battlefield, and so | created a small wadi scene faci tate this. | was really looking forward to creating the large cracked crust of the dry wadi, adding unique visual inter- est and atmosphere to the display board, Later, this small section will be incorporated into a much larger display for the entire force.My display base needs to be robust for trans pert to game nights, and so using this Sm backed MDF board is perfec. | cut some shaped cork tiles with a sharp knife and then alue them in pace to form the banks of the ‘adi using liquid nails and Wellbond, Usilsing epoxy sculpts and cast plaster rocks, begin to buld the wad bank, My goal isto create sore interesting surfaces and textures to the landscape. To do this, 1 use a wide varety of fine and course grit sand and pebblegich | then glue onto the base around the rock features. At tigin | aso carve a 25mm dameter cece in order to place on infanty figures. j fUsing 2 mitre of crackling medium and Citadel Agron Earth, ad avery generous layer of the paste over the freshly laid DAS base. As the cracking medium dries (and shrink), almost magically rates these very convincing, and natural Joking cracks inthe putty and painted surface To obtain my envisioned cracked earth effect, | used a hair dyer to accelerate the drying ofboth the Das and the crackle pain. The combination ofthe diving pant and clay wil ive us larger more pronounced cracking Whit the pant and putyis stil workable, | pressed the tank tracks into the surface so as to ceate a signfcant depression and unique look to where our Panzer has travelled over the wadibed. 15 Once the cracking has stopped and the putty has died | am able to paint the base surfaces in their appropriate desert tones. Using a range af light coloured earth tones, greys, cchres and sandy white colours | begin to slowy work on both the wadi andthe wad bank afea, applied by airush in very Baht translucent layers. | am going to create some Slight differences in the colour between the ‘wo areas, but some commonalities as well 0 a5 to create a homogenous scene Using some Windsor Newton Ight grey and Vanbyke brown oll paints | ad subtle glazes to the rocky outcrops and also darken the surface cracks and well as the sunken tank racks. 5) Using a broad soft bruh I lightly ey-rush, bush and stipple many of the individual cracked wadi pieces as well as some of the individual rocks. More light glazes of both oils and Warlord Games Strong tone and Soft tone acrylic inks follow to further blend and soften the painted effects 2) By carefuly blending pigments into the paint surfaces | can ad tothe dry dusty fel that we are attempting to create in the wad The pigments are fixed using a fine mist of Amo pig fies apple trough my bash ( l. , yoo lage sept iia and sc holedia tore vataneTae Va nag cee; carly postoned if compte the Vase. 150 conser that « Pe Sere mara eta eer eer encyyibgig gp| perform some selective rendering using inimal amounts The origin Rubicon Panzer Il Kit encompasses a range of vatians, so some modifications to the kit are necessary This modifications include the side escape hatches, storage rack and new tow cable so typical of ths variant. The tarpaulin was fashioned from teabags soaked in wa ter and acrfic tile sealant that creates a very tough, yet malleable material whist the sandbags were made from reenstuff, Some other battle damage was applied to the kitincluding the removal ofthe front fenders. The Panzer is fistly glen a kght spray of Mr Surface, this is followed by a coat of thinned ANIMO Grey primer and then alight, uted airbrushed coat of AMMO 008 Dunkel. ‘grav Ral 7021 base colour After giving these layers plenty of deying time | continue by adding 3 successive layers of chipping effets, allowing each coat to dry for proceeding with the next ‘This Panzer IJ isto have @ worn paint appearance, the result of exreme heat and sun exposure - as opposed to Jot of heavy chipping. The AMMO Gelbbraun RAL 8020, colour was sprayed in very thin, nearly transucent layers with careful thought given less coverage to areas of greater wear and exposure to the sun, To achieve a worn pant effet, | allowed the chipping ef feats to set for a much longer petod of time than | normaly would making it harder and slower to remove. Armed with a soft brush and water | carefully worked ina slow rubbing ‘mation on the top Gelabraun painted surtace as | worked down to the underying Dunkegrau coat of paint. Scratch es and more pronounced chipping were achieved with the Dunkelorau base colour and 2 ver fine brush. A range of too including dental picks, small wire brushes and tooth Picks were aso used to carefully remove paint and add in eased depth and interest othe tank. As an be seen inthis photo, my meticulous work nthe previous steps have result ein the subtle wear ofthe pant, and even inthis smaller scale, the effects are pleasing 10 the eye and highly effective. To complement and accentuate the raised features on the Panzer il, seal the surfaces with satin varnish. Once the vaish icy, | apply Afrika Korps Wash thinned with white spirit 10 some very selective area, and gin washes around surface eet cof muted coloured ol pains. This palette of colours wal be effective in further enhancing the worn and faded paint of four Panzer. The small scale ofthe model should not pro hibit us creating some interesting colour nuances ‘ls ae used to accentuate the more faded areas, fist the ighter earth tones, ochves, Naples yellow ar used to fade the more prominent Gelbbraun ple my ol rendered tank is drying for a gg 48 hours, equipment -affh acryicsin preparedness fr some fury weatheringContinuing onward using AMMO ‘The lower hull and running gear is The same pigments that had used on the Streaking Gime. | don’t want to overdo further accentuated and weathered to adi base are now applied on and around the this effect onthe vehicle, soles is show more wear and tex, demonstat sandbags, tarpaulin and othe stowage on the move. Subtleness, a steady hand and ing paintwork that is brutally exposed to rear ofthe tank. A moderately sf brush s fine streaks are the keys to success in ‘the rigours of the desert environment. used to apply pigments and alowed to settle this scale 50 a5 1 show an accumulation of desert ust ‘thats trapped or setied on the vehicle, ‘once | am satied withthe ‘appearance ofthe pigments, adhere them in place using Fixer To avold “tide marks”, 1 use the AMMO fer genty sprayed though the aiorush at alow PSL [Adding these layers of pigments from 12-15 em away. don't S a stow process, but youcan see want to blow away all of my hard how siomly blding up these fine work! layers of dust an the Panzer looks auite convincing! ‘The tank tracks and Funning gear ae attached and Ihave acom- pleted, custy worn desert Panzer Il complete with painted tank In this scale I need to exaggerate the shadow and highlights so as to be visu aly appealing and noticeable onthe tabletop. | was stil, however, able to vary the tones and create some subtle varation inthe uniform colours to convey sun bleaching, desert dust and dirt. The bass of the DAK uniform colour i MIC 914 which was then lightened witha range of colours including VMIC9R6, MC837, VMC976 and VMIC918. These paints were lad out on my palette and P added randomly to create the variations | was ate Jf To create added contrast on the webbing, bread bag, canteens and other per= sonal items, they are painted in stronger, bolder colours in order to offset the crab uniform colour Skin tones and features are also somewhat exaggerated for effect. The basecoat was shaded with an eclectic mix of YMCBB7, VMC924, VMC921 and VMIC880, with a “greenish tnt” added to the base, shade or highlight colours. The final touch applied to each figure vasa very light dusting of pig ‘ments onthe trousers and a dilute airbrush of AMMO Dust knows th there is alyays dhother figure to paint another tank to build. For mags time to catch my breath, as this small force is ready for some tabletge action “wadi ya think?” Well fs the beginning and every gamer, hobbyist and modeller } 60 / THE WEATHERING WIKGAZINEgP DESERTSTEEL. MODELS The most amazing kits available only on www.steelmodels.com @ 2 IUCEDT intt-1045 patriot surface-to-air Missile (SAM) System (PAC-1) wiM983 HEMTT TFIRIBLE SLE ALT FOR ORDERS OVER: _ 100€ - europe vi 75€ - aly62 THE WEATHERING MAGAZINE / DESERT MIRROR MODELS CMP WITH BREDA AA GUN My choice for the desert theme is an unlikely little workhorse. These Cana- dian Military Pattern (CMP) vehicles were produced in the 100,000's and were the logistical backbone to the allied armies throughout the second world war. Such vehicles, although appearing innocuous, were very adaptable at being able to cope with the harsh desert climate and able to deliver the life blood to the fighting troops. This one may have had a mechanical failure or simply run ‘out of gas, so “Katie” remains on this desert road for you to adiThe model i constructed in two main subassemblies, thse being This kt, although mainly of plastic material, does contain some the chassis with cb and the rear cargo compartment This wil aid brass photo etch deta. As such, itis preferable to use a primer to vith the painting and weathering ‘aeate a good base forthe colour paints. The AMMO black primer (@.4iG-2005) was used as it also provides some nice preshading SS | used the AMMO acrylic colour Dark Tracks (A.MIG-035) to paint | arrush the fst camouflage clour onto the vehele. Wen painting the colour of the underside of the vehicle. | also used ths same muttisle camouflage colours, | find it best to begin by painting the ‘clout to paint the interior ofthe cargo bay. Tis was fllowed by lightest colours fist and then add the darker colours. ‘an overalllight ayer of AMMO Chipping Fluid THE WEATHERING MAGAZINE / DESERT / 63Now, using water and a stif brush | activated the Chipping Fluid to create a heavily chipped appearance tothe cargo bed. | take care to produce chips only in logical areas, such as along edges and comer. Te complicated Caunter camouflage scheme consists of sharp demarca- Jons. By using masking tape, the paint scheme i recreated by masking off the individual colours | airbrush the blue and grey camouflage colours onto their respective areas. After allowing the paints to dry | use a pair of fine tweezers to caefuly remove the tape, 64 / THE WEATHERING MAGAZINE / DESERT with the tape removed | get my fist chance to get a good look at the bass for my Caunter camo scheme. Any small eros inthe fish recorected by hand painting using paints thinned with water and fine brush Now, using the AMIMO paint Gelbbraun (A.MIG-016), | set the ae brush to low pressure and apply some highlighting tothe basic cam ‘ouflage colours, Ths wil vary the appearance and depicts the fading caused by strong desert sun, When undertaking this step, be careful to only apply witha the mide areas of te orignal colour add the deals using some softener to aid in conforming the decals to the surface ofthe mod | start my weathering process with perhaps the mest basic steps, but | believe one of the most important. After using AMMO 1504 Brown for Desert Yellow (A.MIG-1504) is applied using a round brush. The subtle colour ofthe fiter helps to provide a unified appearance tothe stark con- ‘rasts of the camouflage coloursTe fie is best applied working from top to bottom. If the fier be comes too concentrated in one area, just use the round brush damp: ened with AMMO enamel thinners to gently blend the excess paint. | sed a paste containing grit to depict the sand that often adheres to he under surfaces of vehicle, providing a good base forthe next series, cof weathering steps This model kit comes with rubber tyes, but this not a problem. The AMMO acrylic paints are flexible enough to adhere to a rubber surface. The tyres were first sanded to remove mould seams and then coated withthe AMMO colour dark rubber (A MIG-0033), Using a fine brush and AMIMO Arica Korps Wash, | apply a pin wash into the recesses and shadows ofthe model. Ths pin wash serves to highlight and emphasise the surface details, Being that ts a desert scene, why not sit some real desert sand? The resis are a vey fine powder that can be readily applied to the vehicles wheels and other details The AMMO weathering products are very versatile and can be used in many diferent ways. o create a realistic grimy and olly appear ance, | airbrushed the AMMO Africa Korps Wash the underside of the model For the area around the engine, | used AMMO engine ol effects, (A.MiG-1408), again applied by airbrush. The contast between the. ‘wo areas appears naturally blended using the airbrush as a method of appication THE WEATHERING MAGAZINE / DESERT / 65Te base steps of weathering are complete. My final step was to em ‘phasize some of the shadow areas by airrushing hight liuted AMMO paints Te devi isn the details! As | mentioned in my opening, these trucks played an important ole in keeping the front ine troops supplied. In or der to better canvey this stor | selected an appropriate cargo load, using [ANIMO Old Rust asthe base colow. An equal amount of dedication and attention tothe painting and weath cing ofthese accessory items will goa long way to adding tothe realism ofthe dorama, The AMMO wash is used to again emphasise the details and bring out the woad grin on these cargo boxes. (On the metal elements | used AMMO Light ust Wash to enhance the heavy chipped ap- pearance. Perfect for items such as these sand channels The harsh desert environment is atest to both ‘and machine, with the abrasive san tinualy wearing at the paint. | used AMMO Chipping colour anda very fine bush to create small chipping effects ~ dean the brush often with water to keep the chips relstcally sma 66 / THE WEATHERING MAGAZINE / DESERT Desert dust fora desert dorama is of course an essential component however, be modest with the application else you may overpower the weathering. n this photo, | am using AMMO pigment North Africa dust that has been mixed with water and applied tothe model using a raked brush, After the pigment dis | use the same raked brush (which is now dampened with AMMO thinner) and ckaw the brush dovirmards in order to create relisic rain mars. you wish the dust can also be removed from some areasif the application s too heavy by using a clean brush most ened with thinnersA sro ra bee sone Aero orai pty wa ert cet sah sufi before the mixture has time to set | s i top to give texture and also pOsition the a ES mse ie exam am TOY ee, ANE colour dust ‘dosely matches desert tera surface, holding my aitrush df the shading eects a5 ven (paMiG-072) the basic co} TSE TOS vrvrprsned te cour over te entre out 90 degree so aso maintain some red from te side ange our is used to shade he b Jement is covered 1 se a very datk ci ensure every el ‘using AMMO Dark T2Cks 1° ‘ANAM colout Sand scenic base wing highlights ation and shading to the su arth \ complete the arusing of NE jour was aushed in 2" lot rau (AMIE-ODS) Tis HT SEEN olor is ieal 10 Prowse sehen on he sao ans ft 9 terrain © To add vat (amiG.o73). This ol the Dust ase colour, instead orama base nay 6 ili itt ea entire diorama be fe coats na base. This final we ae wis hla unt pani ahr roca ay jatural appearance to my desert Ee THE WEATHERING MAGAZINE / DESERT / 67always find it good idea to spend some time arranging the cargo and supplies that make up your dorama. In this instance wanted the vehicle to looks asf the cargo was very quickly raided by its crew to take the most important material), prior tobe being abandoned. ‘Once t have the ehide is placed on the diorama ican add the final effects, Individual deals such as the grass clumps and rocks are painted using To blend the veicle tothe roa, |airbrushed AMMO North Aftca Dust ef acric pants. To remove the stark contrast ofthis new paint application, fects, imiing the spray to the track and only the lowest parts ofthe vehicle | again apply a wash to these individual detais so as to blend the entre such asthe tye, This ype of application helps recreate the appearance of scene. dst thrown up asthe vehicle moved, 68 / THE WEATHERING MAGAZINE / DESERTWWW.MODELLBAU-KOENIG.DE Nordenhamer Str.177 - 27751 Delmenhorst - Tel.: +49 (0)4221/28 90 870 - info@modellbau-koenig.de odelling) indy TiEVAmmojofl Mic THE online modelling resource shop: = 24h open online shop ~ more than 40000 articles listed - more than 150 manufacturers available - Plastic model kits, Diecast models, Military. Aircraft, Ships, Literature, Paint, Tools, Aftermarket Items, etc - always fantastic special offers - high availability and BIG stock - worldwide shipping - Complete english webshop sae! GISSCALE Bis LEM +44(0)1422 40 50 40 © Baa =n) AUSTRALIAN DISTRIBUTOR Ves) rere = ied ‘Scale Models Tool & Supplies Publications. www. modelworid. com om mimesIN THE NEXT ISSUE. By Rick Lawler Heavy Metal Rules! Ladies and Gentlemen, you wanted the best- you've got the best the hottest bandin the World -KISS! The yar was 1975, and with these words my world was forever changed, s Heavy Metal music became my ifelong music af choice to go along with my lifelong hobby of choice -rnodeling. And even now, some 40 years later these two passions ae stl important parts of my fe. So, you might ask, what the heck does al of ths have todo with The Weathering Magazine? Well, ke any good opening performer | am warming you Up, setting the stage for the main act - the combination ofthese two important influences into a single, healing event. Yes, the next issue of The Weathering Magazine -the ssue that you have been waiting for; The Heavy) Metal se. Now, before you go off to thinking that we wil be presenting Black Sabbath dioramas, or ron Maiden torture chamber vignettes (although those would be cool), we ar, afterall, a modeling magazine and the meta that we wil be featuring has todo with cast see, rolled plate and aluminum sheeting, ‘weld seams, rust streaks and glimmering metalic) surfaces. The metal issue the see issue forged by the hands ofthe worlds finest modelers. (Our attention n the uacoming issue wil focus on howe to achieve reac metal surfaces ofall ypes as splayed on alvarietis of subjects from aircraft sporting bare metal finishes to Mechasin listening, high-poish candy colors. We'lllook at sand blasted soviet armor in the process of restoration, al oad locomotives lft to rust and jet engines demorstratng the impact of heat upon metal - and of course a few other helpful and insightful surprises. Quite the plait! So bcs, dust off your favorite vinyl and crank it upto 1, The Weathering Magazine proudly presents The Metal se,CeCe om Role Re oc Sut Seen eed Soa) Cre om sass EEE AMic-7127NEW “ANTIDUST” FORMULA FOR MODEL KITS* Our kits are always original, accurate, and easy to assemble, and may never collect dust on your shelf because ‘you will want to build them as soon as possible. www.takom-world.com