Jay Blakemore expands The completed Defiant in all its

weathered glory, showing the subtle

effects created at the wing roots
upon his introductory
2021 tutorials by exploring
some of the more-
advanced techniques
possible when using an
airbrush. This month, he
examines layering

IT’S ALL ABOUT

LAYERS
T
he potential of an
airbrush can be lost on
novices, who might use
theirs as they would a
they are used to doing with
a brush. This is, of course,
understandable when grappling
with the intricacies of a new
practice, enables the operator to
apply subtle tonal variations that
will add gravitas and interest to
any scale subject.
the previous seven-part series
(see AMW122 January 2021 to
AMW128 July 2021).

spray gun or ‘rattle can’ – that and rather complicated piece The aim of this (and next- What is Layering?
is, to simply apply opaque coats of equipment. But the airbrush month’s) tutorial is to build on Layering is the gradual build up
of paint onto their models, as is a precision tool, which, with the basic skills highlighted in of light and/or dark values, and

A heavily weathered appearance was

required here, hinting at the field-applied
nature of the night fighter scheme by
revealing the previous layers of paint, plus
down-to-the-metal wear likely to be found
on a much-used wartime airframe. Initially, a
coat of Alclad II ALC-105 Polished Aluminium
(www.alclad2.com) metallic lacquer was
applied to the nose and wing roots

After a protective layer of ALC-312 Klear Kote Semi Matte varnish, the next step
was to add camouflage colours, in this case Humbrol’s 163 Dark Green enamel
(www.humbrol.com), on the port wing root and 29 Dark Earth on the opposite
side. The paint was then ‘scrubbed’ using a stipple brush

24 Airfix Model World KeyModelWorld.com


requires several applications
before a desired result is
achieved. The beauty of using
an airbrush for this technique is
it enables the artist to add each
coat without disturbing or lifting
a previous one, even if it has
KeyModelWorld.com
THE NEXT STEP | Advanced airbrushing: layering
Best results are achieved if the ‘scrubbing’ is conducted while the paint is
still soft, concentrating on areas likely to have been heavily trafficked – such
as below the cockpit – plus along the edges of panels. The effect is created
gradually, with the worn appearance revealing the metal coat beneath
not yet fully cured. There are
two versions of this technique,
opaque and translucent, which
are explained here.
Opaque layering
When painting a model with a
brush, several opaque layers
will be required – if the colour
is applied too thickly, it will
completely obscure previous
coats and any engraved surface
detail. Airbrushes enable you to
add paint layers more precisely,
with less risk of smothering
detail. Many more layers can
be added, therefore opening
endless possibilities to create
different degrees of effect. This
technique is illustrated using Rubberised masking fluid is ideal for forming random shapes or patterns. In
this instance, it has been haphazardly dotted onto the wing roots before the
Airfix’s recent 1/48 Boulton-Paul model was over-sprayed in black. Note how the upper layer is airbrushed heavily
Defiant NF.1 night-fighter. over panel lines, with the centres receiving relatively little
The masking fluid was then removed to reveal the previous weathering
effects. Three subtle paint layers have created an effective and convincing worn
appearance, without obscuring any of the kit’s moulded detail
Airfix Model World 25
Translucent layering
Translucent layering requires
two or more applications, which
allows for an impression of the
previous colours to remain. Such
techniques require considerable
planning, which comes with
practice, though it is essential
you have at least a notion of the
result you are trying to achieve.
Two slightly different approaches
are explained here, using either
a light or dark basecoat as a
starting point.

CASE STUDY ONE

When painting the rudder of a Wingnut Wings 1/32 Sopwith Pup, the aim was to
accentuate the rib effect by adding shadows on either side of the raised detailing.

Next, the tri-colour markings were sprayed, beginning with the central white
central section. Repeated light passes of the airbrush formed a translucent layer
leaving a shadow effect created by the previous shades

A pale mushroom-coloured basecoat The masking tape strips were cut

was airbrushed and then masked with to the same width as the moulded
thin tape strips, prior to a darker shade detailing. Once removed, they revealed
being over-sprayed ribs in the original shade

The finished rudder shows how successive light coats of each of the three
colours provide an effect that subtly accentuates the rib-effect moulding
The results of subtle layering effects can be seen on the tail surfaces of the
finished Wingnut Wings Sopwith Pup

26 Airfix Model World KeyModelWorld.com

 THE NEXT STEP | Advanced airbrushing: layering

This time, a dark,

CASE STUDY TWO almost black basecoat
A slightly different approach provided the starting
was used to achieve a point. Masking tape
similar effect on the pied tail was then utilised to
surfaces of a brightly coloured create white stripes
Eduard 1/48 Fokker D VII. on the raised surfaces
of both sides, as can
be seen here on the
starboard half. The
other side has already
been further painted
in a translucent black
coat after the masking
had been removed
The starboard half was then completed, the white paint being
added along other raised sections, such as the join between the
flying surfaces and the ailerons. The centre sections were also
filled, leaving the raised ribs edged with a hint of the darker shade

The finished model displays very

subtle ‘shadows’ edging all the raised
rib detailing on the tail and rudder.
A similar effect can be glimpsed
beneath the translucent Aviattic wing
decals, as described next

For the wings, a light basecoat was

again utilised, with darker shades to
edge the raised rib detailing

The aftermarket markings were

then applied. Note, this effect can only
be achieved when using translucent
decals, such as these four-tone lozenge
pieces from Aviattic (www.aviattic.co.uk)
NEXT MONTH
We reveal the ‘dark side’ of modelling, in the shape of using dark
basecoats as a pre-shade for overlying tones.

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