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Pat Covert’s painting

and weathering tips

FSPDF024
© 2009 Kalmbach Publishing Co. This material may not be reproduced in any form
without permission from the publisher. www.FineScale.com
© 2009 Kalmbach Publishing Co. This material may not be reproduced in any form
without permission from the publisher. www.FineScale.com
© 2009 Kalmbach Publishing Co. This material may not be reproduced in any form
without permission from the publisher. www.FineScale.com
Technique

Big paints
for scale models

Using full-scale paints on small-scale models

© 2009
42 FineScale Modeler Kalmbach2001
December Publishing Co. This material may not be reproduced in any form
without permission from the publisher. www.FineScale.com
By Pat Covert
Photos by the author

C ar modelers are lucky – they can

spice up their models with a limitless
variety of paint. In the home and auto-
motive sections of department stores,
shelves are loaded with bottles and cans
of familiar brands, such as Krylon, Dupli- 1 Do as much bodywork as possible 2 Always wash kit parts before applying
Color and Plasti-kote. Automotive paint before applying primer coats, especially primer. Mold release agents used in the
supply stores also offer arrays of stock and since primer tends to clog sanders. This manufacturing process can keep primer
custom paints that can be used for mod- handy Creations Unlimited Flex-I-File bow and paint from adhering well. This can
els. Some of these paints are also sander can get into places other sanding cause both materials to chip and flake off
packaged by hobby-oriented aftermarket tools simply can’t. The sanding strips of after curing. Once this happens there is
companies in modeler-friendly portions. the bow sander can be detached, thread- no alternative but to strip the model and
Handling “hot” solvents. Though ed into tight areas, and reattached for start over. An ounce of prevention is
it’s wonderful to have so many paints to sanding, as shown here. worth a pound of cure!
choose from, using commercial-quality
paints requires some extra work and
caution. You see, many of these paints
– generally classified as acrylic enamels or
lacquers – are not made for painting
styrene. The strong or “hot” solvents in
them help the paint set up faster, saving
time while eliminating drips and runs;
however, they can also damage plastic.
Fortunately, there are ways to deal
with these solvents, but they may require
some experimenting and testing on your
part. In most cases, a good primer will 3 To protect the plastic, prime all parts 4 The Testor Coupster shares many parts
prevent hot solvents from attacking the that will be coated with commercial-quali- with its sibling, the Testor Boyd’s
plastic, and many paint companies offer ty paints. Because most commercial Smoothster, shown here. The pigments in
primers that will do the job. Dupli-Color, primers can be applied in thin layers – the Smoothster’s yellow styrene could
a commercial paint line popular with car and then dry fast – mounting the parts is bleed into the primer and paint you use.
modelers, sells a primer that is used wide- not usually necessary. Also, taking the Pay special attention to body prep when
ly, even by car modelers who prefer hobby parts on and off their mounts to correct using kits molded in yellow, red, or
paints. Similarly, aftermarket hobby sup- flaws can be time-consuming. orange. If a primer blocks these pigments,
pliers who repackage automotive paints – the paint should be protected as well.
such as Model Car World and Black
Gold – include primers and sealers in
their product lines.

Get a hot look for your model cars with

“hot” paints. Pat Covert shows you how
with this slick Testor Coupster.

STAY SAFE
When using commercial-quality
paints, spray away from sparks
and work only in a well-ventilated
area – such as a spray booth. Be
sure to wear a respirator equipped
with the appropriate cartridges.
5 Primer serves other purposes besides
protecting plastic. Paint adheres better to
primer than it does to plastic, and it is
easier to spot flaws on a primed surface
than on bare plastic. Here there are a
few areas along the rear body and fend-
er that need correcting. Once these are
smoothed out, a fresh coat of primer will
be applied.
6 Before getting started on the paint, let’s
take a look at the interior. Scale Motorsport
Faux Fabrix textured tan paint was used to
finish the Coupster’s interior. This paint, a
spinoff of a type of commercial-quality
paint, is packaged for modelers. The Faux
Fabrix imparts a slight texture that adds a
realistic look to interior components. This
paint dries quickly and requires no primer.

December 2001 www.finescale.com 43

7 Properly mounting parts for painting is
important. For the Coupster, most smaller
parts were super glued on the end of
styrene, brass tube and other such stock
for painting. The engine block was mount-
ed on a bamboo skewer (without glue). To
avoid marring the wet paint, the parts were
then set into an open-mouth wine carafe.
This held them vertical between coats of
paint and kept them from touching.
10 Now it’s time for the wet coats! The
key is to apply just enough paint to
achieve a slick coating overall, but not so
much that the paint drips or runs. Because
the solvents in commercial-quality paint
are hotter than in standard enamels, the
coats will dry quickly and overapplication
is less likely.
12 Here’s the Coupster ready to cruise the boulevard. Looks like a couple of friends
showed up to admire the little rod. As you can see, the Coupster’s finish – with the “big
scale” paints – turned out beautifully.
44 FineScale Modeler December 2001
8 The main body of the Coupster was
mounted on a paint stand made from a
wooden base and coat hanger wire. The
four wire holders have prongs bent at
90-degree angles that pressed against the
inner walls of the body, holding it in
place. This simple contraption makes an
excellent paint stand, and the wire holders
can be bent outward to fit any size body.
11 The crowning touches on any finish
are the final polishing and a coat of high-
gloss protectant. Pat’s favorite products for
this process are Novus Nos.1 and 2.
Novus No. 2 is a fine-grit cream polish
that removes any surface haze left by
sanding grits. Novus No. 1 adds even
more gloss and protects the finish.
9 The painting begins! The main body of
the Coupster was coated with Krylon
Pumpkin Orange gloss in aerosol form.
Unlike enamels, commercial-quality
paints like Krylon do not need to be
warmed before spraying, but they should
not be used in a room colder than 68
degrees. The first coats of paint applied
to the Coupster’s body were mist coats. It’s
best to build these coats up until coverage
is complete.
Preventing paint problems. Before
you use an unfamiliar brand of primer or
commercial-quality paint, test the results
with a piece of sprue from your kit. This
will ensure you won’t have problems later,
when the paint is applied to your pet
project. Most problems with hot solvents
appear as an etched or wrinkled texture
on the surfaces of painted parts. However,
“ghosting” can also occur, where an
imprint of an area of bodywork, such as a
removed emblem, reappears on the paint-
ed surface. This is caused by the solvents
eating their way through the primer
down to the plastic and attacking the
bodywork. Should these problems plague
your parts, do not add more paint –
instead, use primer.
Another problem you may encounter
is “bleeding pigments.” This is evident
when the color of the plastic bleeds into
the primer or paint, distorting the color of
top coatings. Red, orange, and yellow
plastics are most prone to bleeding and
the problem can occur with hobby
enamels just as easily as with commercial-
quality paints. Many primers block these
pigments, but each primer manufacturer
uses different pigments – so one primer
could work well with one maker’s plastic
but not necessarily with another’s. Testing
your paint and primer is critical.
Sealing styrene. Aside from using
primer to block solvents and bleeding
pigments, a “sealer” can be used to protect
styrene. Over the years many modelers
have used Floquil Barrier for this pur-
pose. This product, however, is no longer
available. I recently experimented with a
similar product called Design Master
Super Surface Sealer. This sealer, avail-
able in aerosol cans at craft supply stores,
has many of the same qualities as Floquil
Barrier, and so far my experiments show
it protects styrene and blocks pigments.
(My tests are far from conclusive, though,
so be sure to do your own testing before
using this product.)
Alternatively, sealers are available from
the automotive paint industry, and some
can be found through aftermarket hobby
suppliers. Regardless of where you get
your sealer, be sure to follow manufactur-
ers’ directions when using it.
A final word. Most commercial-
quality paints are applied using the same
techniques as hobby paints. However, the
key to using “hot” paints lies in the
preparation of the plastic and the testing
of your paint and primer combinations.
One of my favorite commercial-quality
paints is Krylon, which behaves nicely
when applied over most automotive
primers. Krylon, like similar paints, is
easy to use, dries faster than typical
hobby enamels, and polishes beautifully.
Give any of the commercial-quality,
“full-scale” paints a try, and add variety to
your paint selection and extra shine to
your models. FSM
SOURCES
Automotive paint products Dupli-Color,
www.duplicolor.com; Plasti-kote, 1000 Lake
Rd., Medina, OH 44256, 800-431-5928,
www.plasti-kote.com
Automotive hobby paint Black Gold Inc.,
2247 E. Division St., Arlington, TX 76011,
817-633-1135; Model Car World, P.O. Box
0518, Burlington, NC 27216-0518
Faux Fabrix Scale Motorsport, 3 Topside
Ln., Newtown, CT 06470-2023,
www.scalemotorsport.com
Flex-I-File bow sander Creations
Unlimited, 2011 Plainfield Ave. NE, Grand
Rapids, MI 49505
Krylon paint and primer Krylon Products
Group, 800-457-9566, www.krylon.com
Novus Plastic Polish Nos. 1 and 2 Novus
Inc., 10425 Hampshire Ave. S.,
Minneapolis, MN 55438
Super Surface Sealer Design Master, P.O.
Box 601, Boulder, CO 80306, 303-443-
5214, www.dmcolor.com
Tips for using commercial-quality paints
• The “hot” solvents in commercial-quality paints can attack the surface of
your model or cause the ghostly reappearance of bodywork marks on a
painted surface. To protect your model, apply a coat of primer before the
coats of paint.
• A primer that works well with one paint brand may not work well with
another – and vice versa. Always test new paint and primer combinations
on a piece of sprue from your kit.
• Manufacturing residue on kit parts can cause primer and paint to flake
off, ruining your beautiful paint job. Make sure to wash all of your kit
pieces before adding primer.
• Primer can easily clog sanding tools. Clean up mold seams, ejection pin
marks and any other flaws in the bodywork before applying primer.
• Want optimum results from your primer? Apply a sealer under the final
coats. Remember to test a new sealer before applying overall and follow
manufacturer precautions.
• Mounting kit parts can help improve your paint coverage. Super glue
each small part to the end of a piece of stock. Use a paint stand for the
main body.
• Straight wet coats can drip or run, and they tend to pull away from
recesses in panel lines. Apply mist coats first, until the model is completely
covered. Mist coats will fill in the recesses and help wet coats adhere to
the surface.
• For the wet coats, use just enough paint to get a slick coating over the
model. Generally, these paints can be rubbed out after two to three days of
curing; however, curing time can vary with temperature and humidity.
• When polishing out the wet coats, be prepared to work for your shine.
Commercial-quality paints are tougher to buff than enamels, which are
often softer because of their high resin content.
• Applying a fine-grit cream polish in circular strokes can coax a gleam-
ing finish from your paint job, and a high-gloss protectant can enhance
the effect. Novus Plastic Polish Nos. 1 and 2 work great together for this
job.
• Never take chances with safety. If you use these paints, spray only in a
well-ventilated area – away from sparks or open flames – and wear a respi-
rator equipped with the appropriate cartridges.
December 2001 www.finescale.com 45
Technique

© 2009
46 FineScale Modeler Kalmbach2000
November Publishing Co. This material may not be reproduced in any form
without permission from the publisher. www.FineScale.com
 A fresh look at

Enamels!
How to use the old standby modeling paints
By Pat Covert Photos by the author

T
hese days we have many options for painting models.
The hobby paint manufacturers and aftermarket com-
panies have bombarded us with a plethora of new
offerings – from aqueous acrylics to exotic automotive
coatings. It can be confusing, and you might find your
shelves filled with a myriad of paints and thinners!
Good old-fashioned enamel paints have gotten lost in the
shuffle. Yep, the ones many of us grew up using. What a shame,
because enamels are still the most reliable paints available to mod-
elers. Gloss enamels take on a fantastic shine when polished and
there are more colors and varieties of these available to the mod-
eler than ever before. Likewise, flat enamels come in an
unbelievably wide choice of colors for any type of modeling you
choose. Also, other types of paints can be used in conjunction
with enamels to enhance their usefulness.
In this article we’ll take a fresh look at enamel paints, show you
the many ways to use them, and perhaps open some new doors
that can make your modeling easier – and more fun!
Proper preparation for painting. Before you begin paint-
ing, wash the model parts thoroughly in a solution of warm water
and dish detergent, 1. This will remove oils and mold-release
agent and ensure that your primer and paint will adhere properly.
Resin kits have mold-release agents that are a bit tougher to
remove, so use the company’s recommendations to strip these
coatings.
I advocate using primer before applying gloss paints. Plastic
can be a slippery surface, and primer gives the surface a “tooth” to
which paint can better adhere. Primer also helps you spot surface
flaws that must be corrected before painting.
I recommend going outside the hobby paint market and using

LEFT: Enamels are the most reliable hobby paints, and most model-
ers find them easiest to use. The AMT Ford GT-90 was finished in 1 Always wash kit parts with a solution of dish detergent and
gloss yellow, while the Sci-Fi 3D contraption was sprayed with flat water to remove oils and mold-release agents. After washing,
green and camouflaged with an airbrush. rinse the parts off and allow them to air-dry before painting.

November 2000 FineScale Modeler 47


2 Primer helps paint adhere better to plastic. Pat prefers the light
gray automotive-based primer packaged by Model Car World.
3 Always warm up gloss paint before spraying. You can use a
bowl with about 2-3 inches of hot tap water or simply hold the hot
water in your sink.
4 Start your gloss paint job with light mist coats. Build up several
mist coats until you get complete coverage.
48 FineScale Modeler November 2000
a commercial grade primer made for 1:1 scale automobiles.
Hobby enamels do not require special primers for blocking hot
solvents, but some commercial enamels do. These “modified”
enamels can “craze” (etch) plastic, so it’s a good idea to use an
automotive-grade primer to protect the plastic. You can find these
at department stores and auto-paint supply houses under such
brand names as Duplicolor or PlastiKote. My favorite primer is a
light gray Martin Senour blend by Model Car World, a company
that specializes in packaging auto paints for hobbyists, 2.
The number of primer coats you need depends on how much
modification is necessary to bring your body, fuselage or whatev-
er up to snuff. If you have simply removed molding seams, you
can get away with just one or two coats. If you have done a lot of
filling and contouring, you may need several more coats of primer
to fill minor imperfections in the touch-ups.
Primer may look smooth, but sanding will make it even
smoother. Smoothing primer won’t make the color coats stick any
better, but it will allow the paints to lay more evenly. A fine 800-
or 1,000-grit wet sandpaper works well here, or you can use a
3,200-grit pad or cloth from a polishing kit. Sand lightly, as cut-
ting through to the plastic will require re-priming the affected
area.
Using primer under flat paints is only necessary if you are cre-
ating a barrier for forthcoming “hot” paint (paint that might
craze) or sealing fillers. When in doubt, use primer.
The glossiest gloss. Gloss enamels’ high resin content
enables them to be polished to an ultra-high shine. Because of
this, clear-coating is optional. Gloss enamels in particular have a
high viscosity (syrupy), so they need a little extra attention when
spraying. Warming enamels before applying them helps them
flow better, and cuts down on texture problems such as the dread-
ed “orange peel” effect. Aerosol enamels can be heated in a bath
of about 3" of hot (not boiling!) tap water for five minutes before
spraying, 3. Between coats, return the can to the bath and replen-
ish the hot tap water when it cools. If you are airbrushing
enamels, keep the room warm. Cold temperatures are gloss enam-
els’ worst enemy.
To thin or not to thin? There is no hard and fast rule for
thinning gloss enamels for airbrush use because viscosity can vary
from one bottle to the next, even in the same manufacturer’s line.
Also, paint tends to thicken the longer it stays on the shelf, due to
slow evaporation of the solvents. The rule of thumb is to thin
enamel to the consistency of milk. For most bottled paints, this
ratio is two parts paint to one part thinner for most bottled paints.
Paint flow is critical with gloss enamels. When airbrushing any
paint, test the flow of the paint on a scrap piece of plastic before
painting your project. In your test, you should achieve a solid wet
coat with two or three passes of the airbrush. If you get a wet coat
on the first pass, your paint is probably too thin. If it’s hard to get
a wet coat at all, or if you’re getting a lot of texture on the surface,
the paint needs more thinner. If the paint does not flow well or
spatters, you may need more thinner, or the airbrush tip may be
clogged.
Whether using an aerosol can or an airbrush, always start by
spraying three dry, mist coats, spaced about 15 minutes apart to
allow each to set up, 4. Now you can apply wet coats. Spray just
enough paint onto the surface to impart a wet look, 5, but not so
much that it drips and runs. Apply each wet coat in several pass-
es, judging your progress as you go. For best results, allow 25-30
minutes between wet coats to allow the gloss paint to set up.
Inadequate time between coats can cause the paint to drip or run,
so don’t get overanxious here.
 A typical gloss enamel paint job requires four to six wet coats
from an aerosol can – even more from the airbrush, as the paint is
thinner. And remember, because there is a wide range of paint vis-
cosity, these estimates only serve as a guide.
The biggest disadvantage of gloss enamels is drying time. You
should set the painted parts aside for at least a week to allow the
paint to cure. After the paint has fully cured, you can use a pol-
ishing kit to “rub out” the finish to a textureless, high-gloss shine,
6. (For an even more detailed look at applying gloss enamels,
check out my book The Modeler’s Guide to Scale Automotive
Finishes [Kalmbach Books]. Also read my “Polished to perfection”
article in the October 2000 FSM.)
Clear gloss overcoat – need it? There are certain circum-
stances when gloss enamels can benefit from a clear gloss
overcoat. As a rule, properly applied enamels polish out beautiful-
ly. Clear coats over solid colors can add a bit more visual depth. 5 Several wet coats follow the initial mist coats. The trick is to
However, some clear enamels have a warm, yellowish tint that apply just enough paint to gloss the surface, but not so much as to
shows up on cool, light colors such as white and baby blue. Stay cause drips and runs.
away from clear coating in these instances. Warmer colors, even
lighter ones such as yellow, are not as affected by the yellowish tint
in clear enamel.
The pearl paints in the Testor Colors by Boyd line are translu-
cent, so much so that they must first be undercoated in a color
coat. These paints have a high carrier-to-flake ratio, so clear coat-
ing is an option. On the other hand, the tiny flakes in metallic
colors tend to be more abundant than in pearls, and these can
have a flattening effect on the paint.
Consequently, clear coating can improve the appearance of
most metallic paints, especially if you intend to rub out the finish.
Keep in mind some manufacturers add more gloss to their metal-
lic paints than others, so clear coating may not be necessary for
every metallic enamel paint you encounter. Test the paint on a
piece of scrap plastic first to see if it meets the level of gloss you
desire. If you’re satisfied with the gloss you get, don’t bother with
clear coating.
Spraying clear gloss over decals is not recommended. The yel-
low tint found in clear enamel can darken over time, drastically 6 Enamel paints are loaded with gloss carrier and polish out
affecting light-colored decals. Also, some decals could be adversely beautifully. Usually, gloss colors do not require clear coats.

Enamel Do’s and Don’ts

• Do use a primer under gloss enamel paints. The paint

will adhere better.
• Do warm gloss enamel paint cans before spraying. The
paint will cover and flow much better.
• use clear gloss over metallics and other paints that
Do
aren’t very glossy. The clear coat will add more visual
depth.
• Do apply mist coats for gloss and flat enamels before
spraying wet coats. The paint will adhere better.
• Do use “mild” thinners for washes. “Hot” solvents can
blister or even dissolve the paint.
• Don’t use clear gloss over white base coats. It will yellow
over time.
• Don’t apply washes over uncured paint. The solvents
could soften and dissolve the undercoats of paint.
• Don’t mix resin-based enamels with acrylic enamels of
any type. The solvents are not compatible.
• Don’t spray lacquers, even Glosscote, over gloss enamel 7 Flat enamels are easy to apply straight from the can. Here Pat
paints. This can damage the finish. used Testor Medium Green military color for base coats on the
SF3D manned walker.

November 2000 FineScale Modeler 49


8 A light camouflage pattern was applied by airbrush over the
green base coats. Flat enamels are opaque, so applying a light
tan over the green wasn’t a problem.
9 An enamel wash can be used over chrome to take away the
toy-like quality of model car grilles.
10 Dry-brushing light colors was done to accent the high points
on engine components.
50 FineScale Modeler November 2000
affected by the solvents in the clear coat and cause cracking or
wrinkling; this may take months to become evident. The only rem-
edy is stripping the paint and decals off and starting over (see Chris
Appoldt’s article “Stripping Paint” in the September 2000 FSM).
Never spray gloss lacquer paints or clear coats over gloss enam-
els. Automotive lacquers have very “hot” solvents in them that can
blister enamel undercoats. Lacquers with cooler solvents, such as
Testors Clear Gloss Lacquer, will not blister enamels but they will
separate over time – shedding away from the enamel like a snake
loses its skin – so stay away from these as well.
The clear coat I recommend is Testor “Clear Top Coat” (No.
2736 in the bottle, No. 2936 in the spray can). It won’t separate
from enamels and won’t blister them, either.
Those unflappable flats. Spraying aerosol cans of flat enam-
el is so easy that a beginner can do it without much trouble, 7.
Testor offers a tremendous range of colors for all types of modeling
interests. Unless you’ve used fillers on your model, you won’t need
to prime before applying a flat enamel. It is, however, essential to
wash the parts to remove oils that may affect the paint’s adherence.
When painting with aerosol flat, apply a heavy mist coat first
– one that all but covers the subject. Wait about five minutes or
so, then lay down a wet coat for complete coverage. Flats are more
opaque than gloss paints, so you won’t need so many coats. Light
colors painted over dark are the exception, of course; you may
need an extra coat or two.
Applying flat enamels with an airbrush is easy, too. Flats don’t
contain a lot of resin in the carrier, so they are not as temperature-
sensitive as gloss enamels. They cure faster and can be thinned to
a wider range of viscosity than their gloss counterparts.
For fine, smooth coverage, thin two parts of flat enamel with
one part thinner (use the brand’s recommended thinner for best
results), 8. Depending on the brand’s viscosity, you may need to
add more thinner. Airbrush a heavy mist coat to serve as a base.
After that, one or two solid wet coats is all you need for full cov-
erage. If you are not particularly concerned with covering up detail
and just want solid coverage fast, add less thinner to the paint.
Don’t forget that decals don’t sit well on flat paints, so prepare
flat-painted models with a couple of coats of clear gloss before
decalings. You can always apply a coat of clear flat after decaling.
Fresh paint for an old look. While flat enamels are useful
for most aspects of weathering, the gloss variety can be used as
well. For instance, if you want the look of fresh oil, mix a bit of
gloss black and clear enamel together to the density of your
choice. The more black you add, obviously, the dirtier the oil.
Thin this to the consistency you desire (not too much or you’ll
lose the gloss) and drip it over your engine block, wheel hub, or
whatever for an oily look.
You can also drip the mixture on the base of your diorama or
vehicle hauler to simulate leaking oil that has dripped from an
overworked engine. Want to simulate oil that’s not so dirty? Use
brown paint instead of black and lean heavier on the clear gloss in
your mixture.
Flat enamels open up a world of effects for weathering mod-
els. A “wash” is drastically thinned paint that collects in corners
and crevices and darkens the shadows, 9. Allow the flat color
coats to cure for at least two days before applying the mostly thin-
ner wash. Use a mild thinner (Testor is good) so the wash doesn’t
undermine the color coats. Test your thinner before applying the
wash to your project.
Washes made from water-based acrylic paints can be used
harmlessly over flat enamels, but they may be repelled by the
somewhat oily enamel surface (oil and water don’t mix, right?).
You can solve this problem by adding a drop of dish detergent to
your wash. This helps reduce the surface tension and allows the
wash to flow better.
“Dry-brushing” is common in military and figure modeling.
Here, a flat brush is dipped into the flat enamel, and then wiped
onto a clean cloth so that most of the paint is removed. The thin
layer of pigment left on the brush is gently stroked onto raised
details, 10, highlighting the . . . well . . . highlights!
Aircraft modelers often dry-brush silver paint onto leading
edges of wings and tail fins to simulate exposed metal left by paint
peeling away. For ground vehicles, dry-brushing an earth-colored
paint can be used to simulate mud splatters around the body pan-
els and undercarriages.
Flat coats. It is generally safe to use a flattening agent, such
as Testor Dullcote or lusterless enamel over flat enamels, 11.
These are mild lacquer paints but, unlike their gloss lacquer coun-
terparts, they don’t separate from flat enamels because they have
very little resin content. I prefer to apply a flat coat because it
helps protect against solvents associated with washes and from 11 Testor Dullcote can be applied over flat enamels. It is available
damage caused by handling the model. in aerosol cans or in bottles for airbrushing.
The bottom line. Enamels have been available to the hobby-
ist for decades, but just because these paints have been around for
a while doesn’t mean they’re outdated. Two huge advantages REFERENCES
The Modeler’s Guide to Scale Automotive Finishes Pat
enamels have over other paints are that they are easy to use and
Covert, Kalmbach Books, Waukesha, Wisconsin, 1998
more consistent from brand to brand. Those are monumental
benefits to beginners who need to build confidence. SOURCES
Enamels allow experienced modelers to move through projects Primer MCW Automotive Finishes, Box 518, Burlington, NC
more quickly, granting the builder more time to concentrate on 27216-0158, http://ourworld.cs.com/mcwautofinishes
adding more detail. So next time you’re at the hobby shop look- Polishing kit LMG Enterprises, 1627 South 26th St.,
ing for the latest, newest paint for your impending project, take a Sheboygan, WI 53081
fresh look at enamels. Like an old friend, they won’t let you down!
FSM

Humbrol – The “other” enamel

Testor Corporation is the largest

producer of hobby enamels, but
England’s Humbrol has been a major
player in the hobby paint game for sev-
eral decades. Humbrol paints, widely
used in Europe, can be found in the
United States in some hobby shops and
mail-order sources.
Humbrol packages its paint in 14ml
“tinlets.” The only identifier is the lid,
which is painted with the color of the
paint and has the product number
stamped into it. Humbrol paints have a
product number, but you need to have a
Humbrol color chart to know what that
color is, and they are not easy to find.
With more than 150 colors, grabbing
the right one can be a problem.
Flat military colors make up more glosses cover quite well when brushed Properly thinned, Humbrol covers
than two-thirds of the Humbrol line, onto a surface. I tested three colors: well when sprayed through the air-
but there is a small selection of gloss, gloss red, matte black, and matte silver. brush. The mist coat/wet coat tech-
satin, and translucent paints. Each took only one coat to achieve nique worked to perfection.
Humbrol paints have very finely total opacity. They seem just a tad thin- If you can find a good supply, con-
ground pigments and an excellent ratio ner in viscosity than Testor enamels, so sider Humbrol enamels. – Pat Covert
of pigment to carrier. Both the flats and if you thin, keep this in mind.

November 2000 FineScale Modeler 51

Building Blocks Special

Polished to perfection
Bring out
the shine
in your
model’s finish

By Pat Covert
Photos by the author

ost newcomers to our hobby are they’ll all use the same method for polish- Achieving a high-gloss, mirror-like finish

M blown away when they attend

their first show and see the amaz-
ing, highly polished finishes found on
automotive models and racing aircraft.
Don’t be intimidated, however – getting a
mirror-like, high-gloss finish on a model
these days is easier than ever before, due
mainly to the advent of the polishing kit.
These kits come in a variety of configura-
tions, or you can customize your own – but
© 2009
68 FineScale Modeler Kalmbach
October Publishing Co. This material may not be reproduced in any form
2000
without permission from the publisher. www.FineScale.com
ing out a gloss surface.
Polishing, or “rubbing out,” a gloss fin-
ish is essentially a four-part process. First,
a coarse grit levels out any texture found
on the surface of the paint. Second, a suc-
cession of finer grits continuously remove
scratches in the surface until there are
none. Third, a polish removes any haze
and minute scratches left by the sanding
process. Finally, a wax or protectant is
on your models isn’t as hard as it looks; in
fact it’s easy as 1-2-3 – or maybe 4000 –
6000 – 8000.
employed to bring the paint up to full lus-
ter.
Polish your nerve. If you’ve never
polished out a paint job before, you proba-
bly find the thought of sanding on such a
small, fragile surface a bit scary. Don’t
worry. The grits in a polishing kit are rela- 1 2
tively fine to begin with, and the finest
grits are virtually indiscernible to the touch
from one to the next. Like all modeling
processes, practice is the key – so jump in
and get your feet wet.
Our test model is an AMT/Ertl
Plymouth Street Fury with all of the trim
removed for a clean, oh-so-smooth look.
The body is painted in Tamiya Italian Red
(TS8) aerosol lacquer. The paint job is
already very slick right out of the can, but
virtually any paint is going to impart some Polishing clothes and pads are the work The cloths are numbered by grit on the
level of texture – the Fury definitely had a horses of any polishing kit, and can pro- back side. The higher the number, the finer
random texture that could be improved. duce brilliant finishes. Beyond that you’ll the grit. Most kits have coarser grits than
Follow along as we polish our little need polish, some soft flannel cloth, and a 3200 included, but they’re generally too
Plymouth’s paint job to perfection! sanding block for use with the cloths. coarse for rubbing out a finish.
Leveling the paint. Before you pick
up the first sanding pad, it is important to 3 4
make sure you have adequate paint depth
or you’ll sand through to the primer and
plastic. Typically, an enamel paint job
should have four to five wet coats of paint
applied to the surface. A lacquer paint job
should have more, because lacquer is
applied in much thinner coats. If you are at
all in doubt about the depth, try your first
polishing job on a scrap piece of plastic
and give the process a run-through before
working on the model. The Tamiya Italian Red lacquer went down Half of the roof has been sanded smooth
Sanding mediums come in three basic beautifully, but most paints impart a certain (left half) with the 3200 grit while the other
forms: cloths, pads, and sheets, 1. Both degree of texture. Use polishing pads to half remains untouched by the pad. The
cloths and pads have a fabric backing that level out the paint for a super-slick finish. finer grits will bring back the luster.
allows the surface of the medium to con-
form to the contours, though sanding 5 6
sheets have a clear acetate backing that
tends to make them stiffer. This makes
them harder to use during the sanding
process. I much prefer the fabric-backed
cloths and pads, 2. Of the cloth sanding
grits, my preference is the sanding pads.
These 2" x 2" pads have a foam core sand-
wiched between two layers of sanding
medium, 3. I find them much easier to
manipulate than the sanding cloths, which
are used in conjunction with a foam block.
The downside to using the pads is wet
sanding – I have had the grit cloth separate
from the foam core with repeated wet use.
Both cloths and pads work fine, howev- Here’s the entire roof with all of the texture As you can see, the 3200-grit pad removes
er, and they are equally effective. I suggest removed. No shine remains on the surface, a lot of paint. Notice also the creases in
you try both to see which fits your fancy. indicating that the paint is leveled. the pad where it was folded in order to get
Two companies, Micro-Mark Tools and into tight spots.
LMG Enterprises, offer their customers a
choice of cloths or pads. Other companies it consistently abrasive) or to dry-sand. It’s the first grit just to make sure my surface
offer sets of cloths and pads separately. easier to gauge your progress when dry has been completely leveled. From there, I
Wet or dry? There has always been a sanding, and I recommend that beginners wet-sand – it’s quicker because the grits
question when using a polishing kit of use this technique initially. By doing so, stay cleaner as you work. Wet-sanding also
whether to wet-sand (in wet-sanding, con- you’ll get a better feel for exactly what the extends the life of the cloth because it
stantly wet the medium with water to flush sanding mediums are actually doing dur- washes away much of the residue that
particles from the sandpaper grit, keeping ing the process. I prefer to dry-sand with tends to clog up the grit. Regardless, it’s
October 2000 FineScale Modeler 69
7 strictly a matter of personal preference and
The 3200-grit pad has done its work. I stayed away from the high spots, particularly on
the fins, because there was very little texture in these areas and I didn’t want to cut
through to the primer below.
8 9
The 3600-, 4000-, and 6000-grit pads are
used in succession to remove scratches in
the surface. I wet-sanded with these pads
to keep the grits clean. At this point you
can see the luster returning to the paint.
10
A two-step system that works well is a plas-
tic polish called Novus, which comes in
formulas #1 and #2. The Novus #2 is used
to polish out the surface while the #1 is
used as a glossing agent and protectant.
70 FineScale Modeler October 2000
What a difference the 8000-and 12000-
grit pads make! By the time you reach this
stage the paint will be up to a high luster
with only a slight haze remaining on the
surface. The polish will take care of that.
11
Polish is applied in circular strokes, much
as you would shine your shoes. Always use
a soft cloth such as flannel for polishing. A
coarse fabric can actually add scratches to
the surface.
has no noticeable impact on the quality of
the finished surface.
The first sanding grit is the most criti-
cal one you’ll use because its purpose is to
level out the entire painted surface.
Successively finer grits are used to remove
– one by one – surface scratches from the
painted surface. In most instances you will
start with the 3200 grit, which works well
for removing a typical amount of texture.
If you have a particularly slick paint job to
begin with, you may wish to start with the
3600 grit.
Begin by sanding the area with back
and forth strokes – never sand in circles!
The sanding stroke will vary in width
depending on how much surface area you
have to work with. The broader the panel,
the wider the stroke, 4. With these fine
grits you can reverse direction, but don’t
crosshatch if you can help it. As you begin
sanding, you will note that a dull texture
will appear on the high spots of the paint
while the low areas remain glossy. Go
slowly at all times and inspect your
progress as you go, 5. Keep sanding until
all the gloss in the low spots has been
removed. Be especially careful sanding
around sharp edges and high spots – the
paint is thinner here, so it’s much easier to
cut through to the primer or plastic below.
On the plus side, paint is generally
smoother around these areas so you can
just sand close to them. When necessary,
fold the pad or cloth (without the sanding
block) or use just a corner of the sanding
medium to get into the tight spots, 6.
The goal is to sand the entire surface
(with the exception of the previously men-
tioned high spots and edges) until it is
consistently dull all over, 7. This is the
prime indicator that the paint has been
leveled. Repeat this process on each panel
until all surface texture has been removed.
Removing scratches. The purpose
of the remaining cloths or pads is to
remove all minute scratches from the fin-
ish. This is done by using successively finer
grits to sand the surface until it’s
scratch-free. The sanding process contin-
ues as you move up through the numerical
succession of sanding cloths (the higher
the number, the finer the grit). You won’t
need to spend as much time using these
grits as you did sanding with the first one.
The 3600-grit cloth will remove any
scratches left by the coarser 3200-grit
cloth. After you have sanded the entire
body using the 3600-grit cloth, you’ll do
the entire process again using the 4000-
grit cloth. From 4000 you will move up to silicone-based protectant that adds a Approved narcissism. Okay, so I
6000, then 8000, and finally 12000. Never glass-like finish to the surface, 13. need to add an additional step – I mean,
skip a grit in the sanding process – you’ll Protectants, like polishes, are applied what good is applying a great finish to a
end up with scratches that can only be with a flannel cloth, and you’ll use the model if you can’t sit back and enjoy it?
removed by going back and re-sanding same circular motion when applying them. Once you’ve got your model assembled,
with the previous grits. Watch carefully as I recommend using a separate cloth rather spend a little quiet time with it. I usually
you go from one grit to the next and you’ll than the one used for applying polish to set this time aside on a Friday night
notice the scratches getting finer and finer eliminate the possibility of contamination around the house. First, I’ll put on one of
along the way. This is a sure sign you’re on between the two. I keep an abundance of my favorite CDs, one that reflects the
the right track, 8. flannel on hand just so I can use a clean mood of the model I’ve just completed;
You will start seeing the gloss return to piece for each application – this cloth is rock and roll for a ’32 Deuce, hard rock for
the paint by the time you have finished inexpensive and readily available at your a street machine, jazz for a sports car or. . .
sanding with the 6000-grit sanding cloth. local fabric store. well, you got the picture. I’ll then set the
The 8000 and 12000-grit cloths restore Once applied, a protectant will give the model on the coffee table in front of me
virtually all of the glossy shine to the sur- painted surface a super-high shine and and reflect on the build. If you try this
face and leave only a haze that must be help protect the model when handled, as practice, all of it is made much more pleas-
polished out. At this point you will really well as from extraneous damage such as urable when you’ve got a killer finish, so
begin to appreciate the benefits of the pol- oxidation. These products do indeed vary get out that polishing kit and add some
ishing kit, 9. in consistency and chemical make-up, so brilliance to your project. FSM
Polishing. The purpose of polish is to practice a bit with them.
remove any haze and extremely fine
scratches left by the final sanding. There 12 13
are a myriad of polishes to choose from,
some that are supplied in polishing kits
and others that are available separately.
LMG Enterprises supplies both a polish
and an anti-swirl and haze remover with
its polishing kit. The polish is meant to
remove any scratches left by the sanding
grit, and the anti-haze and swirl brings a
high-gloss to the surface, 10.
Polishing paint is very much akin to
shining your shoes. Stick your finger into a
soft flannel cloth, add a little polish to the Look at those reflections! The polish imparts A sealant or protectant, in this case Novus
tip of your finger and go to town, 11. a blazing shine to the finish. Don’t be #1, adds even more gloss – plus a certain
Unlike the sanding procedure, polishing is alarmed that the cloth picks up paint amount of protection from handling and
done using circular strokes. Polish should residue. It’s part of the process. oxidation.
be rubbed into the surface of the paint
using medium pressure. Just as when you
were sanding, care should be taken not to
rub too hard around the sharp edges of
parts where paint tends to be thinner.
Once you have fully polished out an area,
switch to a clean area of the cloth and buff
away any excess polish. This final buffing
should reveal a blazing shine, 12. Note:
always test products not specifically made
for scale automotive finishes on painted
scrap plastic. Certain polishes may be too
harsh for use on softer paints such as
hobby enamels.
An ounce of protection. A gloss
protectant will add more shine to your
model and will help safeguard the finish as
well. If your polishing kit did not come
supplied with a protectant, purchase one.
Protectants usually fall into two categories:
wax-based and silicone-based. The Last
Detail Final Treatment Wax is a carnu-
ba-based wax that works well for both Here’s the Plymouth Street Fury ready for show. Go the extra mile on your next project by
adding gloss and protection. Novus #1 is a polishing out your paint – it’s the crowning touch to any gloss finish!

October 2000 FineScale Modeler 71

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