Tanker Digital 02

Welcome to the second edition of Tanker Magazine digital edition.
Turn the calendar page and we enter the Cold War, and perhaps one of
And, what a wonderful edition it is. I feel that this is a particularly the more unusual armored weapons to evolve during this period was
unique episode in that it not only showcases works by very the Obiekt (Object) 279 heavy tank introduced by the Soviet Union.
accomplished modelers, but that it also covers subject that are very An extremely imposing vehicle in real life with its four sets of tracks,
interesting. Some subjects are fan favorites and will feel very familiar, uniquely characteristic sloping armor and heavy gun, Alex Clark tackles
while others are more unique and off the beaten path. a small scale 1/72nd version of this beast and adds some big-time
upgrades to this Cold War Monster.
As you scroll through the pages we can summarize the articles in a
chronological fashion. Within, you will find two article that feature Turn the page again, and this issue also features two lesser known
World War II subjects, these are the fan favorites; a StuG III finished in a subjects from the Post-Cold War Era. Specifically, the focus here is
worn winter whitewash set in a 1943. Another familiar subject would upon two vehicles from former Yugoslavia. One being the OT-M 60
be a T-34/85 as it might have appeared in the early spring of 1945. Both personnel carrier as it might have been found during the war in Bosnia,
of these articles are handled by Rick Lawler. 1992-1995. The Second being a TAM 110 truck, significantly upgraded
by its users, and widely displayed in period videos. Both of these
subjects are handled brilliantly by Kamil Knapik.
contents: Produced & Distributed by
KHARKOV BATTLES Rick Lawler page 4
COLD WAR MONSTER OBYECT 279 Alex Clark page 20
BERLIN SPRING 1945 T-34/85 Rick Lawler page 30

www.ak-interactive.com
OT M-60PB THE FORGOTTEN YUGOSLAV WARRIOR Kamil Knapik page 50
Follow us on:
TAM 110 YUGOSLAV MILITARY TRUCK Kamil Knapik page 68
DIGITAL / TANKER / 3
4 / TANKER / DIGITAL
If “sexy” is an appropriate word to use to describe a lethal military The kit used for this project is from Dragon, initially released some years
vehicle, then the StuG certainly deserves a walk on the modeler catwalk. ago, a time when Dragon ruled the modeling world. The kits from this
It’s attractive, low profile, and aggressive wide stance certainly demands era (especially the StuG’s) are still unbeatable when it comes to detail
a second glance. Add a pair of Ostketten tracks to the outfit and, at and ease of assembly. This F/8 version is now out of production and was
least in my eyes, the StuG is a thing of beauty. somewhat difficult to come by, but luckily we live in the internet era
and with some persistence I was able to source a kit. I wanted this to
When this opportunity came to contribute a StuG for this publication, be a special build, and with that in mind I also purchased a set of photo
I had wide choice of variants and time periods. My decision of which etched fenders and tool clasps, both from Aber, along with a set of
variant to build was almost immediate, I wanted to portray a vehicle Fruilmodel Winterketten metal tracks. As you will see my plans changed
from the desperate and pitched Kharkov battles during the winter of a bit once faced with the realities of construction and decided to omit
1942-1942. This time frame led to a number of choices, in the end I the PE fenders.
decided upon the StuG III f/8 variant as produced by Dragon.
As you look through the pictures and read my descriptions you might
The Ausf. F production of the StuG III began March, 1942 and was a sense that at some points this project seems, how shall I say it, less than
direct reaction to the war experiences for the need to find a foe to thought-out. – maybe even disjointed. For me, this is my style and how
combat Russian tanks, specifically the T-34. Equipped with the high I tend work, whether I like it or not. My method is a lot of back and
velocity 7.5 cm StuK 40 L/43 long barrel gun, the upgraded platform forth. My intention is to show a winter warrior as might be seen during
proved to be an instant influence on the battlefield. The Ausf. F/8 the time of the 3rd Battle of Kharkov, 1943. My hope is to present a
version of the StuG appeared in September of 1942. The name is derived balanced finish within the the working elements; vehicle damage, dirt,
from the chassis version of the Panzer III upon it was based, the 8th, or mud, snow and rust, while resisting my natural urge to take effects to
Ausf J/L. The F/8 entered production armed with the new 7.5cm StuK the extreme. In most cases (as with this project) I will approach a subject
40 L/48, which had a greater impact against the most common tank of with a concept, or idea of how it will finally appear. This concept then
the time, the T34. The new hull featured a redesigned rear-plate, with helps guide me as I decide how to approach the project; whether or not
larger louvers to improve engine cooling. which jutted slightly forward I will need use photo etch, scratch build parts, the types of paints and
of the front of the hull, and were drilled with holes for towing. Initially weathering that I use – and so on. However, what tends to happen is
designed to be a welded plate of front armor, during the production that the project begins to take on a life of it’s own, and there are times
run of the F/8 the extra armor went from being welded in place to being when I’m compelled to listen to what the models is telling me; what it is
bolted on, in order to save production time. calling-out for, what is needed – and often most importantly what isn’t
necessary.
Let’s get to it.
1 2
1. As mentioned, I had initially planned (and purchased) to install a set 2. I then pull and push the plastic to simulate dents and bends
of photo-etch fenders as I feel that there is nothing better than the along the length of the fenders. It’s important that the pliers
appearance of bent and dented metal than, well, real bent and dented that you use are flat, that is that they do not have any raised
metal. However, even with my best efforts I could not manage to make grip pattern, otherwise you will simply emboss the plastic with
them to fit properly onto the hull. Therefore, I reverted to my backup that pattern. Patience is key here as I try to show normal wear
plan which is to alter the kit parts. To do this, I begin by scoring the and tear, but not rips and breaks in the plastic parts.
various panels and joins along the fender with a sharp blade so that
they will be easier to manipulate. The thickness of the plastic with these
fenders is not too great, therefore I didn’t feel the need to thin the parts
before manipulation. 3
3. Generally the cleaning and assembling the

wheels is a tedious task, which it is, and so I
always feel a sense of accomplishment once I
have completed this step. In this case the nice
fit and wonderful detail of the Dragon parts
provide a worthwhile reward. I’ll leave the
wheels separate for now and install them after
painting.
4. Fast forward a bit, and now I’m getting close to the finish of
construction. This photo shows the the sub-assemblies and other
parts are laid out for a final review before assembly and painting.
4
5. I feel that most modelers must be more organized that 5

me, knowing their end goal even before the box is opened.
However, that’s not me. At this point ’m still undecided if I will
leave the hatches opened or closed. Therefore, the interior
parts are painted, along with the subsequent weathering in
anticipation of a peak inside. In the end I will decide that the
hatches would remain closed and all of this will be hidden.
Regardless, I still enjoyed the painting.
6
6. Here is the all important beauty shot of the mostly completed kit. Due to my change of heart regarding the photo-etched fenders, the kit is built
nearly straight built from the box with the exception of the replacement of the molded grab handles with brass wire.
7. According to one of the reference photos, there appears to be a small field

modification, the installation of a small steel bar to hold a couple of track links
to no doubt up-armor the shot-trap in the corner of the casement. I am using
a small section of Evergreen strip, cut to length, and then glued into position.
Welding marks are made using thin strips (.10) of Evergreen brushed with liquid
cement to soften and then textured using my blade tip.
8. This is the part of any project that I

really look forward to; final assembly
and ready for paint. As you can see,
the kit is now adorned with Fruilmodel
Winterketten tracks and Aber photo-
etch has replaced most of the tool
holders and clasps. I used a couple of
links of parts box Pz IV tracks as the
added armor to the casement corners.
9. Using a primer layer before painting 9
is generally a good idea, but it is an
especially good idea when the project
is of mixed-media, as is in this case.
The primer provides a unified surface
for better paint adhesion over both the
plastic and photo-etched parts.
10. Given the time frame of this vehicle, 10

winter 1942-43, there is some leeway as
to the vehicles’ base color. The order to
change from Dunkelgrau to Dunkelgleb
was given during February of 1943,
which indicates that most of the vehicles
involved in in the Kharkov battles would
be painted Dunklegrau. However, units
assigned to Army Group South operating
in the Ukraine, including Stalingrad and
Kharkov, entered service painted in
Tropical Dunkelgleb, RAL 8000. That
said, I went ahead and painted my StuG
using Dunkelgleb 7028 using AK Real
Colors thinned with lacquer since that is
what I had at hand. I didn’t lighten the
base as is my usual practice and trusted
that future weathering steps would serve
to darken the base color to something
closer to RAL 8000.
11. Once the base color has dried I apply 11

a layer of acrylic gloss over the entire
model in preparation for the chipping
stage. In my experience not only does
the clear coat protect the base layer, but
aids in more predictable chipping. This
is followed by a layer of hair spray. Of
course, any of the various hobby specific
chipping fluids could also be used with
similar results.
12. For the worn white washed 12

appearance, I begin by adding an
inconsistent layer of white using Tamiya
paints thinned with water. I prefer to
use water (versus lacquer thinner) as a
thinning agent for this purpose. Keep in
mind that paints thinned with lacquer
hold much stronger to the surface and
are much more difficult to remove during
the chipping process.
13. Now the fun begins, chipping. I
usually begin the action using a medium
stiff brush dampened in water. As I
move through the process I will often
switch brushes, (softer, smaller, stiffer,
etc.), depending upon the effects that I
am trying to achieve.
13
14
14. Once finished, I use these chips as
a guide, or starting point upon which
I continue to enhance and amend
the results. In this step I am applying
thinned Vallejo acrylic paint to certain
areas to reinforce the white wash areas.
This is a useful technique in order to
refine what can be the sometimes
an overly random, or perhaps visually
unpleasant outcome of the chipping
process.
15. Keeping with the same thought

of amending, I use a sponge tinted
with paint to add a few small flecks of
the white wash. I find this approach
particularly useful to show different
types of chips to tools and other fittings.
15
16
16. Details are painted out using

Vallejo colors. As you can see here, the
chipping of the white wash provides a
wonderful basis upon which to continue
add color and effects.
17. I continue painting/weathering by

enhancing the Dunkelgleb color using
varying mixtures 502 Abteilung faded
yellow, yellow ocher and brown colors.
By changing brush strokes (dry brush) I’m
able to use these same colors to create
small scratches along edges.
17
18 18. The key to using oils, and
weathering in general, is to do the work
in logical areas. The engine access
hatches, for instance, would see a quite
a bit of use by the crew. As such, most
of the whitewash has been removed
from this area and I have reinforced the
yellow and dirty brown tones around
the hatches. This attention provides
nice contrast to the whitewashed areas
of the front hull.
19 19. In a similar manner, areas of white

wash are reinforced using white, or near
white oil paints. This step adds areas
of brightness to the model as well as
interest and added contrast.
20 20. I continue to work with artists’ oils

around the model. I find it especially
important to emphasize the edges of
the plates and panels so as to help
define the outline of the vehicle.
21
21. There is nothing like a set of metal,

workable tracks to kick any project
up a notch or two. In this case I am
using Fruilmodel Winterketten tracks
to provide the stylish footwear for our
attractive subject. Assembly of the
tracks begin, as usual, by drilling out
the pin holes. A tedious, but necessary
task.
22
22. Once assembled, the tracks are

treated in blackening solution. The
result is a durable, rich natural finish that
is certainly one of the benefits of using
metal tracks.
23. At this point I thought long and hard 23
as to how I wanted to show the winter
elements on this model. Many references
from this period show vehicles operating
in deep snow with heavy accumulations
on the suspension and road wheels, and
vehicle as a whole. While this reference
was tempting, I preferred a bit more
contrast. That said, I also wanted to
represent the cold and snow with the final
finish. My solution was to show areas of
packed snow in the treads.
The snow, in this case, is a powder that I originally received from fellow modeler, John Steinman, some years ago. This is a dental industry powder, but
the consistency is similar to micro-balloons that can be purchased at many craft stores. I used Wet Effects Fluid as the glue, brushing it onto certain
areas and then adding the powder. To begin the powder becomes nearly transparent, but as the Wet Effects dries, the powder returns to it’s natural
color including a bit of sparkle. This same process was used to add small accumulations of snow onto the the lower hull as well.
24. Next I tackled the road wheels. 24

The easiest painting technique that I’ve
found is to simply paint the entire part
in a rubber tire color, and then use a
circle template to mask and paint the
Dunkelgleb color to the centers of the
wheels. The parts were then given a
light coating of hairspray, and once
again the circle template was used
when paining a light white wash to the
wheels.
25. The road wheels are treated in the 25

same techniques as used on the vehicle
overall, that being the chipping of the
white wash via hairspray technique,
and then mapping of shadow and
highlight colors using oils.
26. The same process of chipping, 26

then mapping with acrylics and oils
was also used on the drive and idler
wheels. I must say that I am pleased
with the results here which further
convinced me to follow the “Less
is More” approach as it came to
pigments and heavy weathering.
27. The contact surfaces of the drive and idler wheels are 27
polished by first applying a light coating of Mr. Metallizer
Aluminum paint followed by a polish of Dark Steel
pigment to simulate track friction and wear.
28
28. Deciding not to indulge in “heavy” weathering doesn’t mean that I don’t weather. In fact, I feel that if this were to be a pristinely white washed
vehicle (as seen in many references) the subject would look unnatural, or even toy like. And such, I applied significant amounts of pigments to the
lower hull as I felt that this would be only natural for a vehicle in this environment. The darker colors of the pigments also lend weight and a sense
coldness to the subject. Once this application is dry, I add snow accumulations as described above to areas around the running gear.
29 30
29. While many StuG’s can be seen carrying heaping loads of
supplies and personal materials, I very much wanted the vehicle
itself to be the focus of this project. However, one omni-present
feature on nearly every StuG is the tarp that serves to cover the
gaps around the gun and casement. Some years ago I stumbled
upon this idea of making realistic tarps using parchment paper.
To begin, I cut the paper to the appropriate size.
30. Once I have the paper to the proper size, I make a straight
crease along each edge. The photo etch tool is an easy way
to make this fold without much effort. The highlight of using
parchment paper that it is durable and is able to be folded and
wrinkled in very convincing ways without ripping or tearing.
31. The folded edges are turned and glued down using CA glue. 31
32. Small gauge wire is wrapped around the smooth end of a 32
small drill bit; these will become the tarpaulin eyelets. This is
the same technique as one might use to create springs.
33. A sharp blade is used to slice ringlets from the wire coil.
These ringlets are then glued along the folded edges of the
paper to create the tarp eyelets.
34. The parchment paper takes paint very well and would even
work very well for those wishing to paint a camouflage pattern.
33 34
35. The tarp material (paper)l is very pliable and can be easily put into a natural looking positios, held in place using CA glue. As you can see in this
photo, my positioning and re-positioning has cause some of the paint to flake away. No need to worry, these areas were easily re-painted once the
tarp is fixed in place.
35
36. And now the project is nearly
complete, the only remaining task is to
balance the weathering effects. I am still
keeping to my intention of restrained
weathering, however, there are some
areas that need reinforcement using the
same pigment mixture as used on the
lower hull. This included the recesses
between the fenders and casement.
36
37
37. I work the pigments in a controlled

manner using a solution of pigments
dissolved with thinner, and then applied
with a small brush. The thinner helps
to distribute the pigments and acts as
a light fixer, and the small sized brush
ensures correct placement. Any excess
or unwanted pigment can be edited
or brushed away once the thinner has
dried.
38
38. I also use pigments to add visual

interest to features. In this case a
particularly dirty road wheel becomes
an interesting focal point as compared
to its’ neighboring wheels. I prefer
to use natural elements such as mud,
dampness, or clean versus dirty surfaces
to add focal points rather than relying
upon a oxide red road wheel or some
such “gimmick”.
39
39. As a final step I drill small pilot

holes into the mounts so that they can
receive the brass antennas.
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EXTENSION 1.3 EXTENSION:
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PLANNING
AK288 AK630 F.A.Q. 2 SEVERAL LAGUAGES

F.A.Q. 3 FIGURES F.A.Q.
MODERN AFVs FIGURE PAINTING
TECHNIQUES
The Obiekt (Object) 279 heavy tank is probably one of
the most unusual and unique designs to emerge from
the Soviet Union in the Cold war era. Developed in the
late 1950s, it was very much a by-product of the early
Cold war period, being designed with survival on a
nuclear battlefield in mind. One of the most unusual
features was the presence of four sets of track and
running gear rather than the much more usual two
found on other vehicles. This gave the vehicle a very
low ground pressure, enabling it to operate over
cross-country terrain where other heavy tanks couldn't
access. The hull was unusually shaped with an almost
aerodynamic, saucer-like appearance that was designed
to keep the vehicle stable against a nuclear shock wave.
Ultimately the project never proceeded beyond a few
prototypes. It suffered from a number of issues, but
more importantly heavy tanks fell out of favour within
the Soviet Union.
Takom released a 1/35th scale kit of this vehicle several
years back and recently scaled it down to 1/72nd scale.
Interesting there are parts for 2 full vehicles in the
box, the vehicle with the standard gun seen on the
prototype, but also more of a 'what-if' Ob. 279M with
a shorter, higher calibre gun. It also included a single
figure in anti-radiation gear. The kit is well moulded
and even includes a twisted copper cable a small
etched set for each vehicle. Marking are plain green
for the prototype vehicle, and an attractive 3-colour
camouflage for the 'M' kit. I decided to build the M
and to finish it as a hypothetical winter camouflaged
vehicle. I find white washed finishes can be very
appealing and give plenty of scope for some dramatic
weathering effects!
THE BUILD
I followed the instruction order quite closely, building up the running gear
units first. To make painting easier, I glued the wheels to the lower hull
sections, but left the assembled track runs separate. I also left the lower hull
assemblies separate from the main hull. All the parts are nicely detailed and
well moulded with excellent fit, which made the job easy.
The upper hull has very few parts. The upper and lower halves fit well and
I then just added the remaining smaller parts, such as the gun travel lock,
exhausts, headlight assemblies and rear fuel tanks. The light guards are
delicate etched brass pieces and require a bit of patience to fit correctly
aligned, but look good once done. The kit includes a twisted metal cable
but I found this to be a bit loose and lost its shape a little when bent, so
I replaced it with one from Eureka XXL. Finally I created a tarpaulin for
the engine deck to break up the shape of the vehicle and add a little more
1
individuality to the build.
The turret also built up quickly without any issues. I replaced the plastic
grab handles with wire and drilled out the small coaxial machine gun end.
One more noticeable omission is the lack of cast texture over the main
turret shell. I created this using Mr Surfacer 500 putty stippled on with
an old brush, followed by a light sanding. I also added some tiny stowage
strap handles from very fine stretched sprue sections, along with one of the
straps cut from extra thin plastic sheet.
The figure comes as several parts and is impressive, especially given its small
size. The creases and folds in the NBC outfit are very natural and realistic
looking, which make painting easier. It also comes with a choice of 2
different weapons.
1. The running gear is impressively detailed, with delicate and in-scale

track detail. The track is provided as link and length sections and to make
painting easier I assembled them without glueing them to the wheels. As 2
there are four track runs rather than the usual two found on most vehicles,
I was pleased to find the fit was perfect - making it a little less on the 3
tedious side!
2. The kit includes a small photo-etched fret covering the headlight guards,
hull periscope covers, cupola light mount and a small frame that fits to the
right side of the turret.
3. A length of twisted copper cable is included in the kit. The strands were
a little loose, so I replaced it with a section of similar diameter copper cable
from Eureka XXL.
4 5
4. The turret is smooth and so lacks the characteristic cast surface 5. Once covered the turret looks a bit of a mess and needs further
of the real thing. I find an application of 'Mr Surfacer 500' liquid refining to reduce the rough appearance. Using a piece of 600 grade
putty to be a good way of representing this and applied a rough, wet and dry paper, I lightly sanded the putty down. If done too much
stippled coat using an old cut-down brush. in any areas it can easily be fixed with a localised application of more
putty.
6 7 8
7. The kit includes four grab handles located 8. I mounted the L-section piece onto
6. The completed cast texture - under a
around the turret sides and rear, but I decided to another strip of plastic to ease working
coat of paint this will give a nice contrast to
use thinner brass wire replacements. Generally, with it. The depth of this piece is equal to
the much smoother surface of the hull.
these look better than plastic ones and don't the distance the handles protrude from
require delicate and tricky clean-up of mould the turret (the reason for this is explained
seams and sprue attachment points. I made a very a little later).
simple jig to create these using a short length of
L-section plastic.
10. I placed the wire into the L-shaped channel,

with the perpendicular section snug against one
end. I thine gently clamped the wire at the other 11. I bent the wire to another 90 degree
9. I bent a section of brass wire to 90 degrees. end of the channel with a pair of flat-nosed pliers. angle against a steel rule.
9 10 11
12 13 14
12. After trimming the piece I made 3 13. After drilling out a series of holes for the grab 14. I sealed the hole where they meet the
more identical ones. handles I started super gluing them in place. The handles with small blobs of Mr Surface
handle of the small jig was used to get the correct putty, pushed into the area with a cocktail
and consistent depth for each handle. stick.
16
15
15. The turret of the real vehicle has eight small attachment points on the left side for four
stowage straps. These are missing from the kit so I made some from short sections of heat-
stretched plastic rod, super glued into place. I just added one of the straps, making it from thin
strips of plastic sheet and an etched metal buckle from the spares box.
16. The kit includes a single figure wearing a
full NBC suit. It's actually composed of eight
parts and is very well done, being one of the
better injection moulded figures in this scale
that I've seen.
17 17. I test fitted all the parts

as a final check before
painting.
PAINTING AND WEATHERING
White wash finishes lend themselves to a variety of possibilities ranging
from clean newly painted vehicles all the way through to heavily worn 18
with barely a trace of white left. I opted for something dramatic with
quite a high degree of wear. Having plenty of the original colour showing
through gives a nicely contrasting effect with lots of visual appeal.
I created the finish using a combination of acrylics, enamels and a small
amount of oil paint. I tend the use acrylics for the main colours and
enamels for the various weathering stages. The key to the worn white
wash was the now well-known ‘hairspray technique’, although a few
other standard techniques were used alongside it to enhance the worn
look. The accompanying step-by-step photos show the general process
and sequence of events, but I find I usually repeat one or more steps again
to reinforce and tweak the effects. This is especially true of things like pin-
washes where sometimes the effect may not initially be as strong as I'd
like, or perhaps later steps reduce the impact.
18. I sprayed a thin coat of AK757 Black Primer to prepare the surface for
the base green and highlight any imperfections or areas that may have
needed further work. This would also serve as a pre-shading layer for the
base green.
19. Next I applied a slightly patchy coat of AK031 Russian 4BO base,
concentrating on the upper areas and horizontal surfaces.
20. I used some decals from the spares box, applied over a localised
application of gloss varnish. A few drops of Humbrol ‘DecalFix’ helped
draw the decals tightly over the slightly rough surface.
21. After applying a couple of thin coats of Worn Effects AK088 over the
whole model, I sprayed a patchy layer of Tamiya White XF-2. I left more
of the base green showing through around the areas of most wear and
tear, for example the crew hatches.
19
20 21
22 23
22. I dampened small areas of the model at a time with plain tap 23. With a small trimmed down brush, I gently began scrubbing the
water. surface. The paint tends to wear off edges and raised parts first,
mimicking the way it would wear in real life. I wore more of the paint
away near the extreme edges of the hull and turret, and around the
crew areas.
24 25
26
24. Very small scratch can be made using the tip of sharp nosed
pliers. Be careful not to be too aggressive as the paint can
potentially scratch down to the bare plastic.
27 25. Covering the whole model took some time but the variety
of worn effects is quite striking. Although dry brushing isn’t as
popular a technique as it was many years ago, it still has uses.
I applied some subtle effects on the centres of panels using
Humbrol Light Olive enamel (86). This approach gives a more
subtle worn appearance that nicely complements the harder
edged chipping.
26. With a fine brush I created further worn effects to enhance

and refine the results of the chipping step.
27. A diluted mix of Humbrol Brown enamel was painted over

sections of the model and allowed to dry to the touch.
28. After a few moments, I gently started removing some of

28 the wash with another clean brush dipped in thinner. I worked
the wash around the surface, drawing it more to the edges and
details. Once done, the wash gives the model a nice grimy look,
adding some warmth to the finish.
29 30
31
29. The previous step had a general toning down effect on the
finish. To restore some of the white and give more variation to
the appearance I applied a dilute, almost translucent mix of white
acrylic to certain areas. This strengthens the white regions and
tones down any green showing through. This is sometime called
‘mapping’ and is a good way to break up uniform colours.
30. A pin wash was applied around all the details using AK Dark
Brown Wash AK045. I kept a clean brush to hand to remove any
unwanted excess.
31. Another way to achieve different kinds of worn away effects

is to spatter the base colour by flicking it onto select areas
against a cocktail stick. I diluted the paint a little and kept the 32
effect subtle. I tested the mix on some white paper next to the
model to ensure it was as desired. If too much is applied it can be
easily wiped away with thinner
32. I gave the lower hull components a light misted coat of

light brown acrylic. The track was initially just left with the black
primer as the base colour.
33. I worked Light European Earth pigments, ABPT 415, into

the surface. I flicked diluted matt enamel varnish lightly over the
pigments to fix them in place.
33
34. After drying, I repeated the process a couple
more times to build up the effect to give a nice
mottled, dry mud appearance.
34
35. To create wet and damp mud, I mixed up some Glossy

Engine Oil, AK084, Dark Brown Wash AK045 and Humbrol Matt
Tan 118 and painted it directly over the wheels and tracks. I
stippled it over the lower hull, and then flicked it onto the upper
areas to give a spattered appearance.
35
36. The exhausts received a thin application of Light Rust wash,

AK046.
Once the rust wash was completely dry I gently shaded darker
rust tones using a weathering pencil, Medium Rust AK10012.
Some black pigments, applied around the open top area of the
exhausts finished them off.
36
37 38
37. I dotted small amounts of thinned Engine Oil around the 38. Deeper scratches and worn areas were represented by a sharp black
recesses to give the impression of damp, grimy areas. water colour pencil. Some scratches were drawn directly on, others by and
running the pencil along the edges.
39 40
39. For the darkest and deepest areas of shadow I applied a pin 40. I created some select areas of more intense whitewash with pure
wash of MIG Productions Black wash. white oil paint. I dabbed small amounts on and blended and feathered
them in with an almost dry brush.
41
41. The running gear looked a

little on the plain side, so I created
some small traces of snow and
ice, using a scenic snow set from
Deluxe Materials. This consists of
powdered ‘snow’, thinned glue
and some optional ice granules. I
just used some of the powdered
snow, fixed with small patches
of the glue applied with an old
brush.
LEARNINGSERIES
When it comes to armored warfare and the history of WWII, the T34 (and Realizing their disadvantage, Germany set about an aggressive program
its variants) deserve an extra thick chapter any book that chronicles the of regaining the advantage, upgrading the panzer forces with armament
defeat of Nazi Germany - and afterward. In 1942, Adolf Hitler is reported upgrades to existing the of Pz. III and Pz IV variants, and the introduction of a
to say to his military staff at his Wolf's Lair headquarters in East Prussia, newly designed Pz. V, Panther, and later King Tiger, whose designs are clearly
"If I had known that there were so many of them, I would have had influenced by the T34 distinctive sloped armor.
second thoughts about invading!" Of course, a punch must be responded to by a counter-punch and by 1943
The "them" he was referring to was the Soviet Red Army T-34, the now the Russians realize that the T34’s 76.2 main gun is becoming ineffective
iconic tank that had come as such a nasty surprise to the Germans in the against the up-armored German panzers. In response, a program was begun
summer of 1941. The T34, and its variants continued to be a thorn in to up-gun the T34. After tests, the ZiS-S-53 (85mm) and chosen to go into
the side of the German’s throughout the war, ultimately rolling onto the production as the new main weapon. For expedited production reasons it
streets of a shattered Berlin in April of 1945. was ordered to be equipped upon the existing T34 chassis design. In the end,
Drs. Matthew Hughes and Chris Mann in their 2002 work The T-34 Russian the turret required some modifications to accommodate the larger 85mm
Battle Tank noted, "The presence of the T-34/76 in 1941 proved to be a main gun, and heavier armor was added to the same basic chassis. "Indeed,
rude shock for the Germans. Compared to other Soviet tanks, the T-34 the T-34/85 makes the strongest claim of any of the T-34 family for the title
was able to take on and destroy the best of the German panzers. In of best all-around tank of any stage of the war," wrote Hughes and Mann.
various modifications---and despite some setbacks---the T-34 held its own "The design has also proved to be remarkably durable. It remained the Soviet
until the war's end in the ruins of Berlin in 1945.” main battle tank until the mid-1950s, and the Bosnian Serbs were still using
Initial T34 production models sported the 76.2mm gun as its’ main T-34/85s during the fighting in the former Yugoslavia in the 1990s. Such
weapon which had a real hitting power by the standards of the day. longevity in a modern major weapon is unprecedented.”
Perhaps more importantly, was its radical sloping armor that gave When this project came to me the only direction was to “build a T34”. Now
superior protection while keeping overall weight down. Its diesel that’s wide open…and great. That is until I realized that choosing which
engine and Christie suspension system provided superb cross-country variant I was going to do of this iconic tank was going to be a bigger
performance as well. challenge than I expected. What to do? Should I do an early version or late?
Should it be with the 76mm or 85mm gun? Of the nearly 40,000 vehicles
produced during the war should I find a unique, eye-catching example; or
one-of-the-many? The T34 world is very big, indeed. In the end, I decided to
portray a more-or-less “run of the mill” T34/85 as would be common during
the spring of 1945. However, being “common” doesn’t mean that I can’t have
fun with the project; test my skills using aftermarket upgrades and produce
an interesting finish.
Before I get started, let me give you a bit of an overview about the base that can included adjustments, alterations, improvements and additions
kit and a few thoughts and intentions for this project. First, as the article to the basic kit, along with an explanation of what I did and why.
progresses you may notice a lack of kit build shots. This is partially due to In terms of finishing I wanted to change-up my normal routine, even if
the fact that the kit is a relatively easy and straightforward to build and only slightly, by using a different brands of paint and fully exploring
I felt that it might become redundant (boring?) if the body of the article the power within artist’s oils. I’ll get into these specifics as the article
was a recipe narrative of “I glued this part to that part”. Modelers with unfolds. Overall, I chose to portray a veteran tank with wear and
basic skills shouldn’t find any difficulties with this model if built straight damage operating in the spring of 1945, its’ winter white was nearly
from the box. That said, what I hope will to accomplish is to show areas worn away.
Here is a quick rundown of the kit and aftermarket items used for this
project:
• Dragon T34/85 Mod. 1944 - ’39-’45 Series, Kit No: 6066
• VoyagerModel PhotoEtch, PE 35124
• E.T.Model Soviet Fenders for T34/76 T34/85, E35-147
• Fruilmodel T34/85 Track Links, ATL-09
1
1. It’s an armor kit, and guess what? Road wheels. In this instance
along with the normal cleaning of the molding seems and sprue
points, I also wanted to create a worn, used appearance on the
rubber adding divots and blemishes using my trusty #11 blade. While
the these effects can be subtle, it’s the cumulation of these small
enhancements that help to create the overall tone of the model.
2. Photo etch details can add exceptional touches of realism to your

models, but using it also brings an added level of complexity to the
project. First, there is the balance of two (or more) sets of direction
on the workbench. Then, there is the decision of when to use the
kit part, or when the use the photo etch replacement is the better
alternative. And finally, there is a base level of skill, proficiency and
probably most importantly, confidence that the use of photo etch
requires.
Once you’ve decided to take the photo etch plunge, one of the most important investments you can make is a good photo etch bending tool. These
tools are available from a number of companies, look for one of the finest quality you can afford. This photo shows one of the fender stowage boxes is
bent to shape using my bending tool pried upward using a straight edge razor. A file is used to remove unwanted sprue burs.
3. Photo etch parts can be attached using two methods; the first
being the use of CA glue, the other being soldering. Each of these
methods has it’s purpose and use, but on larger parts such as the
stowage boxes solder is the better option as it provides a strong bond.
Soldering also allows for further manipulation (read damage) that I’ll
be doing in the later steps without fear of everything falling apart.
4. The lid of the stowage box has raised strengthening ribs. The photo
etched part includes location indicators on the inside of the lid part.
Pressing these areas using a ball point pen and using a thin piece of
cardboard underneath (rather than on a hard surface) will indent the
part to create the raised feature.
4
5. This photo shows the reverse side of the same piece after pressing,
now with the raised ribs. The next step for this part will be to fold
downward the thin edges to create the sides. To do this, I will flip
the part over once again and then bend the small tabs upward, using
the etch tool to securely hold the part while using the razor blade to
leverage the part upward for the bend.
6. Two stowage boxes are used on the T34, one on the front left
fender and the other on the right rear fender. After building the basic
box shapes, including soldering both the lid and box on the inside
joins, the hinges, latches and chains are added and secured in place
using a tiny amount of CA glue.
6
7. The rear engine vent and hatch is the most complicated photo etch
element of this project in that it’s a large, and includes curved surfaces.
The payoff is that it absolutely enhances the final appearance of the
model. The curved shape is dictated by the side pieces, and with a
little patience and some gentle coaxing, it’s fairly easy to get the top
piece to follow the side-wall contour. I used a pen, rolling it back and
forth to help initiate the curve of the top piece.
Even with this preliminary bending and coaxing there still is quite a
bit of tension and spring within the parts. This is absolutely one of
those instances where soldering is the best option to ensure a tight,
permanent bond between parts. The soldering bead is done on the
inside of the part so that only a small bit of clean-up, or filing is require
along the outside edges for the part to look perfect.
7
8. This photo clearly compares the kit part against the new photo
etched part. The solid, textured plastic screen is now replaced with
a real mesh screen. The unevenness of the new screen adds a bit of
lived-in character to the part. One note, the mesh of the provided
photo etch screen is very fine and the open areas are susceptible to
being filled, or clogged during the painting process - this happened
to me. Later, during the project you may notice that I removed the
screen that you see here and replaced it with a larger weave mesh in
order to eliminate the issue.
8
9. Another important point to consider when working with photo
etch is that there is a lot of time spent simply making the necessary
preparations to the kit in order to accept the photo etch details. In
this case, the notches on the rear hull are locator holes intended for
the kit's external fuel tank brackets, but since I’ll be using photo
etch replacements these holes must be filled. The quickest, easiest
method for dealing with this type of issue it to first fill the hole with
an appropriate size of plastic stock (Evergreen), and then finish the
surface either with a bit of putty or CA sanded to remove any trace of
the hole.
9
10
10. This same type of prep work is done in each of the areas where I
will be adding photo etch details. It’s at about this point that I have 3
set’s of instructions spread out on my work table - one for the kit and
2 for the photo etch - at times it can feel a bit overwhelming with all
these diagrams telling me what do do. Just take a deep breath. It’s
important to study all sets of instructions thoroughly so as to come
up with a game plane on which items you will choose to remain as
original kit parts, and which items are to be replaced or enhanced by
the etch. In this photo I am removing the brackets for the snow cleats
as they will be replaced with small photo etch brackets.
11. The Voyager set includes a resin replacement for the copula ring, a
nice addition as it has finer detailing than the kit part. While the resin
part fit perfectly into the turret hole, the hatches did require a bit of
sanding. As you can see photo etch details also replace the periscope
covers and hinges.
11
12. Is there a doctor in the house? Now comes the major surgery, and as scary as this
looks it is really a simple process and one that really makes a statement. The goal here is to
replace the existing kit fenders with brass etch fenders. On most armored vehicles this is
one of the more important upgrades that you can do, as the slight wrinkles and waves in the
metal provide a very realistic appearance. Not to mention the fact that if you are portraying
damaged metal fenders there is nothing more realistic than bending real metal.
The T34, in particular, is an easy surgery as

the fenders are clearly defined along the
hull edge. The plastic fenders are removed
by scoring along the edge of the hull and
fender using my trusty #11 blade using
light strokes until I achieve a depth of cut
that allows me to snap off the fender. For
ease I did this in two parts removing the
front fender separately.
12
13. Work preparing for the photo

13 etch fender continues as I remove
the last of the molded molded
details. A sharp blade makes this
work much easier and helps to
ensure a clean cut, making for less
clean-up or fixing.
14. It’s not uncommon when

removing plastic that gaps may be
revealed, and that was the case
here along the front of the hull.
Once again I used an appropriate
size of Evergreen strip plastic to
fill the gap and then sanded the
surface flush. 14
15
15. After all of the unwanted plastic is removed,
the surfaces are sanded and clean, it’s time to get
busy on the new photo etch fenders. One of the
first things I notice about these fenders is that
they include a very small upward profile along the
outer edge. While it’s possible to ,accomplish this
bend with the etch as is, it is much easier to do
this type of bending after first annealing the brass.
Annealing is a simple technique of heating the
brass, using a flame or burner, so as to “soften”
the brass. You will know it has achieved the
desired heat threshold when the brass either turns
a bright orange or darker blue color as it’s heated.
It’s a quick process and you’ll need to be careful
not to over-do it and burn the metal.
16. This photo shows that the brass has been annealed and taken
on the typical shades of blue, and turned to a darker color overall.
This annealed metal will be much easier to bend. The small outer
edge of the fender is secured by my folding tool and now all I need
to do is bend the fender fold the fender upward using the razor to
create the upward edge.
16
17
17. This is one of those “sense of accomplishment” photos that I like to

reward myself with. The plastic fenders have been removed and I have
two newly formed brass fenders ready to install. All is good, ready to
move forward.
18. I mentioned earlier that soldering parts was preferred, especially

on larger parts. For these small fender supports I choose soldering for
no other reason than I needed them to be securely fastened so that
they won’t pop off later while I’m “damaging” the fenders. I prepare
the surfaces by brushing a light coat of soldering flux to the area that
will receive the part.
18
19
19. In this particular instance I first tinned the bracket and then placed
the bracket into position onto the area that I had previously added flux.
Next, I will touch the bracket (while in position) with the soldering iron,
re-melting the solder on the bracket which will then mate the bracket
to the fender. This is a quick and clean way to attach small parts when
soldering.
Before I move along past this step, let me try to clarify and define • Annealing - This is the physical process of softening the brass using heat.
some of the soldering terminology. This can be done using a burner, lighter or candle, just be careful not to burn
• Flux - Think of this as the oil in the skillet. It usually comes as a through the parts. It’s really quite remarkable how pliable the brass becomes
paste or gel that when heated bubbles and sizzles, and promotes making it much easier to bend those tricky parts.
the melting of the solder. Quick tip is that the solder usually is • Tinning - The process of “pre-soldering” a part or area before adding the
maintained only to the fluxed area, making it possible to limit the second part. Using the fender bracket as an example, the small bracket was
soldering zone to very specific areas. This will make your life much first brushed with flux and then solder added and melted onto the bracket.
easier as the more localized the solder means less excess solder to Then, then area of the fender the bracket is to be installed is brush with flux.
cleanup. The tinned bracket is placed upon the fluxed area on the fender, and then
• Speaking of clean-up. To remove excess solder, metal files are your the soldering iron touched to the bracket. The heat reactivates solder on the
friend. If an area can’t be reached by a file I will use various grits of bracket, melts and adheres to the fluxed fender.
sand paper and then usually polish the area using steel wool.
20. This photo shows the results of the soldering of the fender 20
brackets. As you can see these are small parts, but the solder has
been limited only to the concerned areas eliminating the need for
excessive cleanup. Not to mention I don’t need to worry about these
small brackets popping off!
21
21. The full fenders are ready to install. The curved
front and rear fender flap are separate parts,
formed to shape and then soldered to make the
complete fender. Looking at the curved fender
you will see where I once again made use of the
pen to create the raised rib along the edge. I also
annealed this piece before bending just to make it
a little easier to get the proper shape. This is also
the stage that I’ve done a good deal of test fitting
of the fender to the hull and I know that it all fits
perfectly. Phew!
22
22. In preparation for adding the fenders, I glue a number small tabs
along the bottom edge of the hull. These tabs will help hold the
fender in position as the glue dries. Once the the glue is dry and the
fenders are secure I’ll remove these tabs.
23
23. The fenders are glued onto the hull using Medium Cure, Gap
Filling CA glue. I like using this type of glue for two reasons; first,
the longer drying time (a minute or so) allows me time to move the
part and make sure everything is lined up properly before it is set,
and second, the thicker quality of the Gap Filling glue helps to ensure
a complete bond between parts. As you can see in this photo the
glue is set and I have removed the plastic tabs.
24
24. Finally I get to the point where all of that photo

etch and soldering work really pays-off; adding
damage. As I mentioned before, nothing looks
like bent and damaged metal better than bending
real metal (brass in this case). For the front fender
I was actually working to replicate the damage as
seen on a reference photo, a crumpled edge with a
bit of a tear. An old pair of flat, needle nose pliers,
tweezers and my X-acto are all that is required
to create the damage. I continued to add small
bends, dings and damage along length of each
of the fenders. This is where having soldered the
support brackets (See above photos) really paid
off as I am able to bend and twist sections of the
fender without popping-of these tiny parts.
25. It’s the small details. I replace bow machine gun barrel with
a small length of .005mm brass tubing. This was a much easier
solution rather than trying to drill out the tiny diameter kit barrel.
25
26
26. This is a nice “fast forward” photo showing my progress thus far.
As you can see I really haven’t done much in terms of gluing plastic
parts together, that has mostly been limited to joining the upper
to lower hull, adding the driver hatch, bow machine gun and rear
exhausts.
The majority of the work, thus far, has been in the removal of kit details
and replacing those using the brass etch. I have installed the large
engine vent as well as added the intake grilles. The Voyager photo etch
kit provides two options for the intake grilles; the first making use of
small brackets and brass wire in order to actually fabricate the grille, the
second being a single photo etched part for each opening. While the
first option is more accurate as the rods have dimension it is incredibly
tedious. I chose the easier, second option and simply installed the pre-
fabricated grilles using CA glue. In either case the appearance in far
better than the solid plastic kit part.
This photo shows drilling our holes in order to replace the plastic kit grab handles with bent brass wire. I used .020 brass rod which to me appears
more in-scale than the thicker plastic part and has the added bonus of being able to be bent to show wear and damage.
27. Ok, these fuel drum brackets are simply a Pain in the Ass!
There, I said it. Early on I had decided that this tank would not be
carrying external fuel drums - although Voyager does make a nice
set. Instead, I wanted to show-off the empty brackets, damaged
and bent. This appearance also helped to tell the story of a veteran
tank participating in the fast moving advance with fuel trucks at the
ready.
The new photo etched parts are delicate, flimsy little assemblies that
wanted to fight me every step of the way. However, I did learn a
trick or two, and by the time I built the third bracket it came much
quicker and easier than the first.
One note to point out - yes, a mistake - you can see that I still have
the original small mesh over the rear engine vent and you can clearly
see areas that are clogged due to solder and/or glue. At this point
I am already contemplating on how to fix this problem - solvents,
sanding? As I mentioned earlier, ultimately I chose to replace the
entire screen with a larger mesh.
27 28
28. Honestly the kit supplied tracks are very nice, single
links that glue together quickly and would be very
acceptable. However, once I got going on this project
with all of the photo etch I just felt that a nice set of
workable metal tracks would help complete the model;
give it weight.
I have used Fruilmodel tracks on a number of my past

projects and have always found them to be of good
quality. Just be prepared to spend some quality time
drilling out the track-link pin holes ,and maybe cleaning
up the odd burr or twenty.
29. I had a few thoughts going into this project on how I 29
might approach the painting and finishing. Primarily, I wanted
to break out of my normal routines and try a few different
products and ideas. I’ll expand upon this as we move
forward.
The first step in this painting process is primer. The primer

layer is particularly important when building with mixed
materials, in this case plastic, brass and resin. For this step I
chose to use K4 acrylic surface primer overall, and then again
in certain areas slightly darkened with a little Tamiya German
Grey for a hint of pre-shade.
30 30. Now for the color, and this is an area where I wanted to
stretch out a bit from my usual arsenal of paint products.
I had been introduced to the K4 brand of paints over a
year ago and have been waiting for the right project to try
them on. These are an acrylic paint produced in Chile and
can be found through the K4 website and online retailers.
Thinned only with a few drops of water these paints worked
extremely well. I have their range of Russian colors, 4B0,
3B0, etc. In testing I found that the colors matched very well
to references, but for this project I found that the 4B0, with
it’s dark blue/green tones was a great color match but too
dark for this project, especially after weathering. Instead, I
opted for the 3B color lightened with a few drops of white.
Also notice that this base layer has a lot of variation, light
areas, dark areas and faint streaks. My purpose is to provide
subtle variations to add interest upon which to continue with
my painting and weathering.
31
31. Continuing upon the theme of creating an interesting base, a

small piece of card-stock is used as a quick masking tool to help
define certain features; creating sharp lines and defined areas of
light and dark.
32
32. As long as I have all of the paints out on the table I might
as well take care of the road wheels too. I first painted them an
overall rubber color using Tamiya German Grey lightened with
Buff. Then, using an drawing circle template as a masking tool,
he wheels are painted using the same 3B green shades as used
on the vehicle.
33. A final look at the T34, painted using
the K4 colors of 3B Green, Khaki Light &
33
White in various combinations. When I lay
down my base colors my overall goal is to
create interesting, almost random areas
of interest; whether that be light and dark
areas, random streaks or even an accidental
blotch of color here or there.
34. I understand the the debate of whether to use a protective clear coat, or not, is an ongoing conversation
with modelers divided on the best approach. What I say is do is this; do what you want and what is best and
easiest for you that helps give you your best results.
34
I generally prefer using a protective layer of clear
over my base. I do this for a few reasons, the first
being that most of the paints that I use are flat
finishes, which are great, but I find that the paint
is susceptible to staining and other unpleasant
or unpredictable effects when working over top
them. Secondly, I enjoy the ease with which the
subsequent layers flow over the gloss surface, this
is especially important when applying subtle pin
washes.
35
35. One additional reason for a protective clear layer is when

be applying hairspray or other chipping solutions this layer
provides a predictable base for the hair spray to adhere to, and
allows for more predictable chipping.
36. As mentioned in my opening, my intention is 36

to portray a veteran vehicle operating in the spring
of 1945, with only remnants of winter camouflage
remaining. I’m always looking for areas that I can
create interest with the model, and so decided to
omit the front track link armor. This presents an
opportunity to show the “negative”, or the clean
areas underneath where the track once might
have been when the vehicle’s camouflage was first
applied. To begin, I lay the tracks in place using them
as a quick mask in preparation for a light misting of
white.
37. Next, I applied white patches to the vehicle
using Tamiya Flat White over the layer of
hairspray. Two points to mention; first, while
the white may appear to be applied randomly,
I have concentrated the application primarily
to areas that would logically be protected
from wear. Areas such as tight corners or
around prominent surface details like lifting
hooks and brackets. Secondly, you can see
the effectiveness of using the kit tracks as a kit
mask, providing a nice silhouette, or template,
for further weathering.
37
38. The oh-so-familiar scrubbing when

employing hair spray or chipping fluids. Since
my goal is to only have remnants of white
wash, accuracy isn’t my primary concern and
so this larger sized brush is ideal and quickens
the pace.
Again, notice how well the spare track

template worked to provide an interesting
visual on the hull.
38
39. This photo shows the finale of the

hairspray scrubbing process. Again, the
idea was only remnants of the winter wash
would be remaining at this stage of service.
With that in mind, notice how the white is
concentrated around raised surface details,
tighter corners and low traffic areas. Also
notice the two shapes of brushes used, both
quite large as compared to my usual chipping
work.
39
40
40. Hairspray round number 2 (limited). My

second round of hairspray chipping centered
around creating worn dirt effects. Over
the existing paint I applied a second layer
of hairspray, followed by a light coating of
Tamiya Buff directed toward the rear and
lower hull of the vehicle, but with a light
misting overall.
41. Once again it’s time to scrub paint. This time, however, the
second layer of HS and paint are applied over the initial layers of
HS and paint, and as such, the chipping experience is different as
the gloss coat is now one or two layers underneath. The Buff color
adheres very well to the existing white color, providing a dirty or
stained effect to the pre-existing white areas. Generally, because
the surfaces are not as slick as when originally gloss coated, harder
scrubbing is required and the resulting chips tend to be finer. For me,
this is all good. The random nature of this combination of effects is
exactly what makes for an interesting finish.
41
42
42. This stage shows the result of the hairspray chipping over the
previously applied white wash chipping. Now, in my eye this is
random, or as Bob Ross would say the “Happy Accidents”. If Bob
were making models this would be the type of starting point he’d be
taking about and certainly the type of base that I makes me excited
to continue. Notice the areas of clean(er) base green, notice the
dirt, and notice the bright whites. This is a perfect roadmap for the
weathering steps. These are all areas that I will work to capitalize
upon and enhance.
43
43. As I mentioned in my opening I hoped to push the limits of
using artists’ oils on this project, at least a little further than I do
traditionally. In the past I would add oils to influence the tone of
the base, initiate paint fading and to perhaps lay a foundation color
for a final finishing using enamels effects and/or pigments. Usually, I
will get to a point where I feel I have achieved all I can from the oils,
then move on to other mediums. On this project I’ll try to resist that
temptation to move on and keep with the oils.
I begin by setting the color tones on the turret. This choice of colors
is important and consistency needs to be maintained throughout
the weathering process. As you might see from the palette in the
background I will be using the oils to adjust, or enhance, the dirt
tones, the base colors as well as the white washed area's.
44
44. One final step of preparation before I begin weathering, a light

sanding using fine grid sandpaper over the turret decals to add a bit
of wear and take off some of their sheen.
45. Over time my thoughts about applying chips has changed quite
a bit. In the past, chipping was a separate, but integral step in my
finishing process. Not only was it fun to do, but the chip also served
to help outline and define features on the model. You know the
drill; chip (maybe of light and dark colors) around the hatches, chip
along the edges, chips on the fenders and chips running down the
top of the barrel. At some level I began to feel that chips applied
in this manner were becoming a weathering cructh, and that my
finishes were becoming routine and predictable. I began to wonder
if chipping, at least in this traditional sense, was even necessary.
Furthermore, when studying reference photos I began to understand
that this entire pattern was at best unrealistic, and at worse and
45 exaggerated caricature.
As I my use and control of oils and enamels has expanded, I have almost totally eliminated adding chips as a separate step for the reasons described
above. However, that doesn’t mean that chips don’t exist and that wear isn’t a part of an AFV’s experience. And so the challenge is how to express
this wear in a more realistic, even restrained method. In most cases subtle chips, blemishes and texture are all natural by-products of using oils and
enamels without needing to overthink or control the results.
On localized areas where more extreme wear is present, simply tapping the edge of a brush lightly loaded with artist’s oils can easily create a pleasing
and realistic chip, or in this case a rusted surface.
46. The front hull, the “blank canvas” as I begin working with the
oils. Obviously, when looking at this photo you can observe that
this is anything but a “blank” canvas. The earlier preparation of the
surfaces by adding color variation to base green and through the use
hairspray provides a lot of interest to the whitewash and buff layers,
and has certainly paid-off with many creative opportunities.
I begin working this area by adding subtle shading using a dark

brown color around the driver’s hatch. I will repeat this technique
around other prominent surface features and along the edges of the
hull. The exaggerated size of the brush stroke, as seen here, will
46 later be blended and softened as work continues.
47. Here is a work in progress photo of the front hull. As you can
see I have begun to blend the harsh shadow strokes around the
driver’s hatch. I have also begun to work and blend green and ochre
colors to the hull; notice the differences between the top right (with
oils) and top left corners (before oils). You can certainly observe the
added richness and depth that even a small amount of artist’s oils
provides.
Most dramatic is the preparation of the area of the missing spare

track armor. My thought here is that the tracks provided some
amount of protection from the elements, and as such helped to
protect the paint from fading., However, being that the area is under
the track accumulations of dirt and abrasion marks would be present.
Again, I am using oils to outline and define the area and add slightly
different tones than from the other areas of the front hull. It all looks
a bit random now, but that is part of the charm of using oils. I will
work to tighten it up as I go along.
47
48
48. Moving right along with my work on the front hull. Changes of
note from the prior photo is that I have to a large extent worked with
the green base color over the entire hull, and as can be seen, the oils
have produced depth and subtle color shirts. The right fender has
also received some extra attention and is beginning to look properly
dinged-up. Keep in mind that all of the wrinkles, dents and scratches
have been produced only with oils.
As for the missing track area it’s obvious that this is still a work in
progress, but I can see that I’m heading in the right direction, even if
only that this chaos looks different from the surroundings. The nice
thing about working with oils is that I have plenty of time to come
back and refine areas. Matter of fact, simply leaving oils sit and rest
for a few hours often changes their appearance, some areas blend,
while other may fade during drying. I’ll continue to work on this
area.
49
49. This side-by-side photo helps to illustrates the power of using oils. The top photo shows the left side after my first round using only oils. The
bottom photo shows the base before oils, the starting point after the base color and hairspray treatments.
As I work, I often take photos such as this to review my progress, and help me see areas that might still need attention. And yes, I see a lot of areas
that I will be intending to. My intention for this project was to stretch my use of oils, and limit my use of pigments and other enamel weathering
effects. This photo clearly shows the power in using oils.
50. As I mentioned earlier my intention is to limit my use of pigments, but in certain

cases pigments are the obvious solution. I used Dark Steel pigment to polish the
contact surfaces of the road wheels.
51. The Fruilmodel white metal tracks are

treated with a burnishing fluid (Blacken
It) that I purchased from my local train
hobby store. The guide teeth and other
contact areas are polished in order to
restore the original metal color of the
tracks.
50
52
51
52. These same areas were further enhanced, or polished, using the
same Dark Steel pigment color as used on the road wheels.
53
53. The reverse side of the tracks is treated with a combination of earth toned
pigments. These colors were mixed together in a side dish, and then stippled
into the crevices of the tracks followed by a light application of pigment fixer to
keep them in place. As a final step, the raised surfaces were lightly sanded for a
polished sheen on the contact points.
54
54. As a final touch I add pigments

to certain areas that I felt necessary
to enhance the over all appearance,
especially in terms of added textures.
The OT M-60 is an armoured personnel carrier produced in the former Yugoslavia. It was the first serial produced armoured
vehicle in this country. Serial production of the first version started in 1962 and continued to 1979. Around 790 vehicles were
produced, of which 190 have been exported to Iraq. In 1973 an anti-tank variant with two 82 mm M60 recoilless guns was
developed. It was designated OT M-60PB.
OT M-60s took part in the Iran-Iraq war and in conflicts caused by the breakup of Yugoslavia. The vehicle had many
disadvantages such as weak armour and lack of power, but it was also very important in the process of mass mechanization
of the Yugoslav People’s Army. Experiences gained during production and usage of OT M-60s helped Yugoslav engineers to
develop a new BVP M-80 infantry fighting vehicle.
My intention was to reproduce a vehicle which took part in the war in Bosnia (1992-1995), being used by the Bosnian Serb forces.
This vehicle was spotted for the first time in 1992/1993 and lasted in service until the end of the war in 1995. The last known
video featuring this OT M-60PB was recorded during the fall of Srebrenica in July 1995. I tried to replicate the appearance of this
vehicle from that particular period.
1 2
1. The base model is a resin set from Triglav Model in 1:35 scale. It
gives a fairly good overall impression, but the quality of resin parts
leaves much to be desired.
2. The model has quite a lot of parts, but most of them require some
extra attention and work, so it is rather intended for experienced
modellers who are ready for a lot of scratch-building. Photo-etched
parts and metal tracks are also supplied with the kit.
3. My first step was to deal with the upper hull. The resin casting
suffered from imperfections such as air bubble holes and uneven
surfaces, so I had to correct these with Tamiya’s white putty. I also
removed all protruding details like hatches, etc.
3 4. The OT M-60’s running gear is a copy of the Soviet SU-76 running

gear, so I could replace the resin wheels and torsion bars with more
accurate plastic counterparts sourced from the old MiniArt’s kit
of SU-76. I added some damage to the rubber rims of the wheels,
using a hobby knife to give them a worn look.
5. I gave a coat of primer to the upper hull to check if the surface

is smooth enough. After some corrections, I scratched the welding
lines and drilled out holes for the handrails. At this stage, I also
glued the MiniArt torsion bars in place.
6. Next, I applied another coat of primer over the kit, this time
using Mr. Surfacer 500 which ultimately levelled the surface. I then
recreated the weld seams with Tamiya Epoxy Putty Quick Type.
4
5 6
7. I could now focus on details. 7
Hatches and pistol ports were
scratch built from pieces of styrene
sheet and rod. Some details of the
hatches were borrowed from Tasca/
Asuka’s Sherman kits since the OT
M-60 has some parts copied from
American vehicles too!. The engine
grille is a PE part from the Triglav
set - one of the few original parts I
used. I purposely bent the louvres
to replicate the damage caused by
the crew walking on them countless
times.
8 9
8. The Browning machine gun was also sourced from Tasca/Asuka 9. The rear hatch for personnel was also scratch built using pieces of
kits. I detailed it with an RB Model metal barrel and PE parts. The 0,5 mm styrene sheet. Lights were made from drilled-out plastic rods
vehicle which I wanted to reproduce had additional armour around with photo-etched lights placed inside. Towing hooks came from the
the gunner’s hatch, and so I made it from a piece of copper sheet, MiniArt T-70 kit, because the OT M-60 shares this detail. Once all of
bending it around the roller of a PE folding tool. these parts had been installed, I applied the weld seams made from
Tamiya Epoxy Putty around them.
10. Triglav’s kit includes Masterclub metal tracks for Pz.38(t). The manufacturer informed
me that the first batch of OT M-60s was fitted with such tracks, but the vehicles built later
featured a different type. I found out that PT-76 tracks are the most similar to the latter, so I
bought a set of Friul metal tracks intended for this tank and replaced those from the kit.
10
11
11. As the model required a lot of scratch building, the real
salvation for me were various spare PE parts, which I have
been collecting for many years. This helped me a lot during the
building stage, because I was able to replace many details with
them or add those which the kit lacked. That is why I advise you
to do the same with your spare or redundant PE sheets - you
never know when you will need them!
12. New fenders were made from 0,2 mm 12
brass sheet, whilst for the trim vane on the
front I used thin aluminium sheet. I bent it
inwards and reproduced some bullet holes:
quite typical damage that can be spotted
on the OT M-60s which took part in
combat. I also added front lights, exhausts
and scratch built tool boxes.
13. The port side of the

vehicle was fitted with
handrails, spare tracks and
tool clamps which were
supposed to be there. I then
started to work on the most
challenging part - the hatch
with two recoilless guns on
the rear hull.
13
14. The starboard side of the

14 APC was detailed in a similar
manner. This included adding
the antenna mount. The
antenna itself was bent like on
the real vehicle. The tool box
on the fender lacks a lid for
the same reason. The exhaust
was made from a length of
drilled-out plastic rod with a rust
texture added using a mixture
of Tamiya’s Extra Thin Cement
and Putty.
15
16
15-17. The final constructional

step was to install the two 82
mm recoilless guns. Their mount
was built from scratch, whilst
the guns combined scratch built
parts, kit parts (back) and... F-34
gun barrels for T-34 tanks! It’s a
minor cheat, but those guns fit
almost perfectly in this case.
At the end I added wooden

boxes visible on real vehicle,
some tools, tarps and stowage
made from pieces of a nitrile
17 glove. The boxes were made
from pieces of styrene sheet. I
added wood texture to them
using files and sandpaper.
18
18. The kit was primed with Mr.

Surfacer 500. I subsequently
pre-shaded it with black and
white Tamiya paints. Of course,
many parts were to be painted as
separate pieces. For this purpose
I temporarily attached them to
toothpicks or bottle caps.
19
19. The base color is the SMB (sivo

maslinasta boja) color which was
typical for Yugoslav military vehicles.
I created it by mixing Tamiya’s XF-21
Sky and XF-71 Cockpit Green. For
the highlights, I added XF-2 White
and XF-78 Wooden Deck Tan to
the mixture. One of the guns was
painted with a slightly darker shade
of the base color.
20
20-22. To add more tonal variety

to the basecoat, this time I
used the distressing technique,
which helped me to achieve an
interesting paint job. I sprayed
brighter shades of the base color
over a layer of hair spray and
subsequently partially removed
them using a brush dampened
in water.
21
22
23 24
23-24. The paintwork was sealed with a layer of

Gunze semi gloss varnish. This allowed for the
application of the tactical numbers. Using the hair
spray technique, I painted the worn off camouflage
patches and BPC letters (VRS in Cyrillic - Vojska
Republike Srpske) on the front of the vehicle – these
are visible on a video that shows the real vehicle.
25
25. The weird colored spots which are visible on the side of the
real vehicle, were reproduced using the hair spray technique. I
added chips and scratches using a brush that had been dampened
with a small amount of water. The kit was then sealed with
another layer of Gunze semi gloss varnish.
26
26. Small details were painted with Vallejo acrylics. The
photo shows the base colors, highlights, shadows applied
as well as initial weathering effects on some tools.
27 28
27. The wheels were finished in a similar way. The chipping effects on the rubber 28. The wooden boxes were painted in different shades
rims were created using a sponge and light grey acrylic paint. Deeper recesses of green and shaded using an airbrush. I then added some
within the rubber surface were emphasized with a darker grey tone. I wanted to damage to the paint layer using light sand and beige acrylics
simulate fresh rubber, not worn or faded by long term usage. that had been applied with a fine brush and a sponge.
29 30
29-30. Additional armour around the gunner hatch was basecoated with a light grey color. The subsequent discoloration was created by airbrushing
heavily diluted white and blue Tamiya paints which acted as filters. Next, I replicated some paint chips using a fine brush and German Camouflage
Black Brown color from Vallejo. Rust effects and streaks were added with oil paints that had been diluted with white spirit. At the end I randomly
speckled tiny quantities of white oil paint over the surface to create small scratches and damages to the paint layer.
31
31. The hull was pin-washed using Abteilung 502 oil paints. Next, I added three layers
of chipping effects. I started by applying light green chips and scratches, which were
then partially covered with dark brown Vallejo paint. The third layer was created using
oil paints and the speckling technique.
32 32. Rust time! The exhaust was painted with various acrylic colors
from the Lifecolor Rust&Dust set, which were speckled onto the
surface using a brush and a toothpick. It is important not to overdo
the effects - we don’t want to cover the previous layers, but to
enhance the color variety!
33
33. The rust effects on the hull

were created with oil paints
and weathering enamels.
The products were applied
over the chipped areas and
subsequently blended with
white spirit, which allowed
for creation of smooth and
transparent transitions. Dark
oil paints were also applied
into various nooks and
crannies in order to replicate
accumulated old dirt. These
were also diluted and blended
with white spirit.
35
34
35. To reproduce dry mud, I mixed some tile adhesive,
34. The tracks were finished in a similar way to the exhaust. Some links were treated
acrylic paints, static grass, soil and water, and applied this
with waterbased Lifecolor paints to create even more color variation.
over the tracks, wheels and the entire running gear.
37. Once the mudy mixture had dried, I airbrushed it with fine layers of various
36. However, the wheels received a limited treatment with the earthy colors inc. Tamiya’s Buff and Flat Earth and Lifecolor Dust 1 and 2.
muddy mixture as I didn’t want to cover the previously applied Afterwards, I added some speckles with light colors and grease stains and streaks
colors and effects. that had been created with Engine Grease oil paint from Abteilung 502.
36 37
38 38-40. The mud layer
on the running gear
and tracks was finished
in a similar manner.
Once I’d sealed the
upper hull with a
layer of flat varnish, I
sprayed a thin layer of
Lifecolor dust paints
over the whole model,
creating smooth and
transparent dust effects
which didn’t cover
other previously created
weathering effects.
39
40
41 41. I made a very simple base for the
model which shows a part of a dirt road
somewhere in Eastern Bosnia. The ground
was created in the very same way as the
mud mixture for the kit, and applied over
a piece of styrofoam whose sides had
been covered with pieces of balsa wood.
The plants are modelling products from
various brands.
42 42. The base was painted with the same

colors as the mud and dust on the vehicle.
The paints were sprayed gradually from
the darkest to the brightest color. Once
they had dried, I applied a dark brown
wash and dry brushed the ground with a
light sand color, using Vallejo paints.
43 43. The model was almost ready so I could attach

all separately finished tools, boxes, tarps, etc. I then
checked if the vehicle fits well to the base.
44. The
side wall of the base
were painted in black. Some of the
stones placed on the ground were also painted
in different shades of brown, grey and sand. I then crushed the
rest of the mud mixture (I always keep it until the end of the painting stage!)
and used this as "3D dirt", accumulating it in some hard to reach places like the nooks on
the fenders and fixing this with AK-Interactive’s Sand&Gravel fixer. The model was then ready for the final
photo shoot. Even though this was a very challenging project I am really happy to have this model in my collection.
TAM 110 is a general purpose
off-road truck produced in the
former Yugoslavia from 1976 to 1991.
It was based on a Magirus-Deutz design.
TAM 110 was a very modern design for its time,
with good terrain capabilities. The factory in Maribor
produced several different variants, inc. a mobile NBC
laboratory, communication vehicle, ambulance, fire truck and even
a minibus!
After the breakup of Yugoslavia, the TAM 110's were passed to successor states.
Many of these trucks were widely used during the wars in former Yugoslavia. TAM
110 was often used as a platform for field modifications. This included installing various AA
guns on the cargo bed, additional armor or rubber plates. One of such vehicles, a guntruck armed
with a Browning machine gun that had been featured in a video recorded in August 1992, became the
subject of my model.
1 2
1. This is a resin kit from Triglav Model in 1:35 scale. It is similar to the
OT M-60PB and although the quality of parts is much better, it is still a
challenging model which requires a lot of work and scratch-building.
2. I firstly glued together the chassis and engine. These steps required
a lot of attention as the resin kit does not have many clear construction
marks or mounting pins. Any mistake during this stage would result in
crooked wheels or even the whole chassis.
3. The first test fitting of the cab and cargo bed. These parts don’t have
any mounting pins so I had to control their position and constantly refer
to the photos of real trucks. 3
4. Before the cab and cargo bed were glued to the chassis frame, I
added some missing details to the latter, inc. a new tow cable, the
engine of the winch and some further parts in the suspension area.
5. My next step was to reproduce the fuel installation and other

important wires which can be seen on the side of the vehicle. This area
will be well visible in the finished model so I paid more attention to it. To
this end, I used lengths of copper wire of different diameter.
6. Once I’d finished the chassis details, I glued the cargo bed to the
frame. This made the whole sub-assembly more rigid.
5 6
7 8
7. The add-on armour was made from pieces of 0,5 mm styrene 8. In the real vehicle, the upper parts of the cabin doors were made from
sheet and 0,4 mm magnetic foil sheet. As the port side of the canvas with transparent PVC windows, so I decided to sculpt some folds using
real vehicle was not visible on any video or photo, I had to Tamiya Epoxy Putty Quick Type. The windows were made from pieces of thin
follow the example of another armoured TAM 110. transparent plastic sheet. The doors will be covered with rubber sheets anyway,
so the results of my work on them would mostly remain invisible.
9 9. Building such unusual models based on

the real vehicles is a matter of constant
test fits and comparisons with reference
photos. This time the add-on armor fitted
almost perfectly. The steel texture made
with Tamiya Extra Thin Cement and Tamiya
Putty was added to the styrene plates, while
the rubber plates were sanded using files.
Such treatments gave them a more realistic
appearance.
10. The real truck had a Browning MG on the cargo bed. I 11. The armour plate for the gunner was made from a piece of brass
used a Tasca/Asuka machine gun detailed with a few PE parts sheet. I later replaced it with a larger one that better matched my
which I found in my stash. reference pictures.
10 11
12
12. The cab was glued to the chassis frame. The

frame for the tarpaulin cover was made from
lengths of copper wire. At this stage I also started
to test fit all important parts and sub-assemblies
to check if they all go together well.
13 14
13. Before the tarp was done, I had painted the cab interior. I also added 14. The new benches for the personnel on the cargo bed were made
a map and an empty bottle of fizzy drink, because only such details from pieces of 0,5 mm styrene sheet, whilst for reproducing the missing
would be visible from the outside. detail on the floor I used lengths of 0,2 mm styrene strip. The bundle
placed on the bench was made from the leftovers from the cab tarp.
15 15. The cab tarp itself was sculpted from

Tamiya Epoxy Putty. The first layer of the
putty formed the basic shape of the tarp.
Once it had dried, I added another layer of
rolled putty. Using a small chisel and brush
tips, I created some folds of the material.
Before everything had dried, I smoothened
the surface with a brush dampened in
water.
16 16. Before I could start
painting, I had to install
all necessary details. I
also took some photos
with the stowage
placed on the cargo
bed in order to check
which parts I will really
use and which ones
are worth painting.
These photos would
later work as a guide
on how to place the
painted accessories in
the finished model.
17 18
17. The accessories and a few details of the truck were left separate for 18. The truck was also primed with Mr. Surfacer 500. I then sprayed Tamiya
easier painting. I used Mr. Surfacer 500 as the primer. XF-1 Black into the deepest nooks and crannies to ensure that no surfaces
will remain unpainted. This way I also created some initial shadows.
19. The basecoat was applied with a mixture of Tamiya XF-21 Sky and XF- 20. The side armor plates were painted with different acrylics from the
71 Cockpit Green, highlighted with some brighter tones here and there. Lifecolor Rust&Dust set. This would act as a base for hairspray chipping.
19 20
21 22
21. The rubber plates were painted with two shades of grey that had 22. The side armor plates were painted with different green tones and
been separated with a hairspray layer, which allowed for scratching scratched a bit, but the end result was not as spectacular as I’d hoped.
off some paint and making interesting color variations. The third layer
applied was a green color, also sprayed over the hairspray layer to
simulate worn off remnants of a messy camouflage finish.
23 24
23-24. All details such as the

tarp, lights, etc. were painted
with acrylic colors. I also applied
a dark brown wash and added
very limited chipping and rust
effects. A base mud texture was
applied onto the chassis using a
combination of an acrylic mud
paste and Lifecolor dust colors.
25
25. The side armor plates were given another layer of hairspray
followed by further application of different green tones. I then again
created some chipping and rust effects, and applied a wash in the same
way as previously.
26. The lower areas, sides and wheels 26

were pre-dusted by airbrushing dusty
tones from the Lifecolor set. I then
speckled them with weathering enamels
that had been diluted with white spirit.
27 28
27. Afterwards, I created a simple base for the TAM. It is a part of a country 28. The fence posts were made from length of plastic rod, whilst for
road with a fence and wicket. The ground was made from a mixture of tile the wicket I used pieces of styrene sheet and thin round profiles. The
adhesive, soil, small stones and water. fence itself was represented with a plastic mesh.
29 30
29-30. I test-fitted the model to the base before painting the latter. It was the last moment to make any necessary corrections without ruining the paint job.
31
31. The Browning machine gun and all accessories were glued to the cargo
bed. These were previously painted with various acrylics. The use of oil
paints was limited to applying a pin wash and creating the rust effects.
32. Photos from the construction stage 32

were a big help in placing the stowage,
even though I made some modifications
in their final arrangement. Colorful and
diverse accessories gave the truck a more
natural and realistic look.
33 34
33. The front of the truck required some final touches: I repainted the 34. The cargo bed floor was dusted with pigments and weathering
side mirrors, added some rust to the rubber plate holders and applied enamels. The benches were chipped by applying light sandy acrylic
more dust over the rubber plates. tones with a sponge, simulating fresh wood color.
35 36
37 35. I also recreated some accumulated

dust on the top of the cab tarp using
a dust colored enamel that had been
thinned and blended with white spirit.
The key here was to apply the paint only
to the inside of the folds in order to
simulate dirt which was washed away
by rain.
36. The edges of the machine gun,

armor plates and truck were polished
with graphite to add some heavy
metallic look. The last step was to
scatter some empty ammo shells on the
cargo bed. Master’s .50 cal Browning
empty shells were fixed in place with
Sand&Gravel fixer.
37. The base was painted with the

same colors as the mud and dust on the
truck. I started with a black primer and
subsequently airbrushed all colors from
the darkest to the brightest, creating
natural shadows. Stones and some of
the leafs were brush painted to add
even more color variation. Before I
placed the model on the base, the color
contrasts had been toned down with
weathering enamels.
historic
publications from
ABT720 ABT722
DEUTSCHE PANZER PANZERWAFFE TARNFARBEN
ABT718 ABT724
PANZERDIVISIONEN STURMGESCHÜTZ (1940-1945)
ABT730 ABT738
DEUTSCHE UNIFORMEN 1919-1945 – THE DEUTSCHE UNIFORMEN 1919-1945 – THE
UNIFORM OF THE GERMAN SOLDIER. UNIFORM OF THE GERMAN SOLDIER.
VOLUME I: 1919 – 1935 VOLUME II: 1935 – 1945

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Welcome to the second edition of Tanker Magazine digital edition.

contents: Produced & Distributed by

KHARKOV BATTLES Rick Lawler page 4

COLD WAR MONSTER OBYECT 279 Alex Clark page 20

BERLIN SPRING 1945 T-34/85 Rick Lawler page 30

Let’s get to it.

3. Generally the cleaning and assembling the

5. I feel that most modelers must be more organized that 5

7. According to one of the reference photos, there appears to be a small field

8. This is the part of any project that I

10. Given the time frame of this vehicle, 10

11. Once the base color has dried I apply 11

12. For the worn white washed 12

15. Keeping with the same thought

16. Details are painted out using

17. I continue painting/weathering by

19 19. In a similar manner, areas of white

20 20. I continue to work with artists’ oils

21. There is nothing like a set of metal,

22. Once assembled, the tracks are

24. Next I tackled the road wheels. 24

25. The road wheels are treated in the 25

26. The same process of chipping, 26

37. I work the pigments in a controlled

38. I also use pigments to add visual

39. As a final step I drill small pilot

Sturmtiger: The Combat History of Sturmmörser Kompanies 1000-1002

£34.99 - use code tanker02 for 10% discount

AK038 AK276 AK282

AK288 AK630 F.A.Q. 2 SEVERAL LAGUAGES

1. The running gear is impressively detailed, with delicate and in-scale

10. I placed the wire into the L-shaped channel,

17 17. I test fitted all the parts

26. With a fine brush I created further worn effects to enhance

27. A diluted mix of Humbrol Brown enamel was painted over

28. After a few moments, I gently started removing some of

31. Another way to achieve different kinds of worn away effects

32. I gave the lower hull components a light misted coat of

33. I worked Light European Earth pigments, ABPT 415, into

35. To create wet and damp mud, I mixed up some Glossy

36. The exhausts received a thin application of Light Rust wash,

41. The running gear looked a

2. Photo etch details can add exceptional touches of realism to your

The T34, in particular, is an easy surgery as

13. Work preparing for the photo

14. It’s not uncommon when

17. This is one of those “sense of accomplishment” photos that I like to

18. I mentioned earlier that soldering parts was preferred, especially

24. Finally I get to the point where all of that photo

I have used Fruilmodel tracks on a number of my past

The first step in this painting process is primer. The primer

31. Continuing upon the theme of creating an interesting base, a

35. One additional reason for a protective clear layer is when

36. As mentioned in my opening, my intention is 36

38. The oh-so-familiar scrubbing when

Again, notice how well the spare track

39. This photo shows the finale of the

40. Hairspray round number 2 (limited). My

44. One final step of preparation before I begin weathering, a light

I begin working this area by adding subtle shading using a dark

Most dramatic is the preparation of the area of the missing spare

50. As I mentioned earlier my intention is to limit my use of pigments, but in certain

51. The Fruilmodel white metal tracks are

54. As a final touch I add pigments