AHMMM BAACK! The mystery continues.

What I am trying to accomplish.

We are back to that philosophical question, "why"? Perhaps you are asking, "What the heck is he doing" and why? Finishing models goes beyond just painting them. Because of my previous life as a Bohemian painter, complete with beret and mustache, I approach a model as if it were a piece of art. Yeah, it is an art form of sorts. I try to look at the subject with an eye or feel for having "been there". I attempt to recreate, if possible, a slice of life. I proceed as if my Sherman tank is not a model, but a real tank, sitting on a piece of Korea, a smaller version of the real thing. I want this model to look as if it’s "been there and done that". How should it look after days, weeks, or months of service or neglect? What kind of environment is it in? What color is the dirt it is sitting in? Not on, but in! What is it doing there? Is it believable? Ask yourself these questions.

Now try to replicate it in miniature. How do you solve the problems? Think about it. While on my soapbox I will address a few things that have been kicked around in the model press, by some of the guys, and in other areas of communication. I love these topics, because sometimes you can really stir up a hornets’ nest of emotion and attitude. Remember - we are having fun! Some will listen and think about it, some are dogmatic in their beliefs. Where are you?

Scale effect:

The effect of scale on both paint color and sheen is a topic can raise a few hackles. I believe in scale effect. Just go out and look at the world around you. Get up 30 - 40 stories in a high-rise building and look out and down. Take a good look at the mountains, the city, buildings, vehicles and people. The farther away a subject is, the lower the sheen and the more muted or pastel the colors become. The bright red car seen up close is sharp and glossy. (Unless its mine, then it is a nice, weathered dull red - a point made?) From a distance however, the sheen is reduced and the color is muted. The only shine is the reflection off a mirror, glass or other shiny object and then only when you are at the proper angle to the sun’s rays. So, when finishing a model, lower that shine and mute those colors. The models will look better, especially military models. The real masters in the use of scale effect are the model railroad builders. If you get a chance to see a well done model railroad take a good look at the way the builder handles color, sheen, texture and presentation, i.e. you will very seldom see a black steam locomotive. I know we use the Federal (and other) standards (FS) to find the correct color, but for us, those standards should be used as a guide, to get us into the "color ballpark". These colors are just a guide for other reasons as well. In the real world, paint manufacturers can miss on a formula, primary product can be substituted, the amount of reducer and number of coats can vary, effecting the color we see. You can read or hear about all these "excuses" in any number of articles, books and lectures. Someone said "if it looks right, it is right!" I think we can follow this advice, within reason, and get good results. For almost all colors on my models, I add 10-15% white to the base Federal Standard (FS) color. It is as simple as that. There are more complicated formulas, but this works (KISS principle).

The color (or lack of color) black is too black, too dark. Using straight black hides detail and form, leaving a dark void and details get lost. I use straight black only when necessary, such as when matching those fancy decals on demonstration/commemorative aircraft such as Canada’s Hawk one-CF101/Mt. Olympus, Greek F 104. I can safely say that at all other times I use a whitened black or dark gray. Black is usually reduced with 15-25% white. Tires are not black. Normally Floquil grimy black or a mixed color made up of black, white, touch of red, or brown - whatever will give that grimy look of tires.

The sheen on my models is usually dull/flat/matte or semi-gloss. I consider high gloss finishes toy-like and unrealistic. Depending on the effect you are after, flat or semi-gloss finishes will look better. Even shiny demonstration and commemorative aircraft such as the Blue Angels or Snowbirds, will look better in model form if finished in semi-gloss, rather than gloss. There is an exception of sorts. Model auto builders do use a gloss finish, because mostly they build finished, new, fresh-type subjects. However even there, a straight spray on gloss does not look as good or as rich as a rubbed out finish. This is a topic for another article.

Weathering:

Do you use any weathering techniques? How much is enough? Too much? Not enough? To me, not enough is better than too much, but as they say, "beauty is in the eye of the beholder". Go out into the real world and look around you. My minivan isn’t the only vehicle with a coat of mud, dust or grime on it. I have been told it is unrealistically overweathered! Most vehicles, structures, natural objects, and our fellow modelers are "weathered" to some degree. The only exception would be a car, truck, or plane right off the assembly line or just washed and polished. Even this showpiece won’t take long to "grunge it up". Shouldn’t we incorporate this look into our model building?

Presentation:

This is the art of showing your model at its best. Any simple base (tarmac, dirt, grass) is better than plopping that model down on a bare table or tablecloth. The base gives the model its own piece of real estate. It tells the observer it belongs somewhere. Do you notice that your eye will usually go first to the model sitting on a base? I know, I know, in contests the base doesn’t count except in dioramas or vignettes. But, the model on a base will usually attract you first, and getting looked at is important in a contest. (Presentation/showmanship)

Character:

A model with character sits on its presentation base and with some dirt and dust, a few paint chips and scuff marks. It might have a rolled tarp tied on this back deck, a couple of ammo and gas cans in their welded-on holders. There may be a few rust streaks from the new welds and fuel stains. Because it has these features it will say to the observer, "I just got here" or "I’m ready to move out". Whatever story you want to present, build it in. Have I gone over the edge? I think not. Building models with character is also part of this great hobby and the fun that results. We do exhaustive searches for information and "truth" in our models. We spend inordinate amounts of time building these things just right. We exhaust ourselves looking for the right paint scheme. Shouldn’t we also use our artistic side to tell the story when "finishing" our models? You can expand your abilities in many directions and have fun doing it. Isn’t that what it is all about?

Caricature or Cartooning:

I am actually struggling for the right word to describe this quality. There is probably a more accurate descriptive word I have yet to come up with. This involves exaggerating certain aspects or details of the model in order to see them, and to add some character (that word again). The best examples I’ve seen of this use of "artistic license" (I did say art form) is achieved by figure builders/painters. Next time you see a well done figure, look at it carefully and see how the modeler used exaggerated light and darks to "pop out" the finish allowing you to really "see the figure". This exaggeration adds shape, form, dimension, interest and realism to that blob of plastic or metal. Without this "caricature" technique most detail would become flat or disappear. In the real world this exaggeration would look clownish or foolish (ever see some of those grunge rock groups?) In our miniatures, this exaggeration, done with restraint and good taste, is a definite plus to seeing our models. Other examples of "caricature" include panel lines with washes to accentuate them, dry brushing wheels, rivets, edges, cockpits and on and on. Ouch! I just fell off my soap box.

Terminology:

Before I get to the procedure for finishing, I would like to clarify some of the terminology I will use. I will list them in order of use.

Oil color wash or simply wash:

Washes are highly thinned-out colors that will flow by capillary action along a scribed line or into a corner or a recessed area. I apply washes over gloss lacquer finishes that have dried completely. A darker color in those areas will add dimension and depth to a model or parts of a model. This technique works very well on aircraft, auto and tank interiors, any and all exteriors, obviously panel lines, landing gear, wheels & wheel wells, figures, etc.

The wash I use is made up of artist oil colors and mineral spirits/odorless paint thinner. I mix a little paint on a piece of glass with lots of thinner. Experiment and practice are key here. The colors of choice are usually black, raw umber, and white. I occasionally use cadmium orange for rust stains. Squeeze 1/4 inch of each color onto a piece of glass, get your odorless paint thinner and a small #1 sable brush. Dip the brush into the thinner, touch the oil paint and mix up on the other end of the glass. Add thinner and color as needed. I rarely use straight black unless washing a black (really a dark gray) object such as an a/c instrument panel. The black here helps add depth to the panel. The wash color is usually a dirty gray/black mixture of all three colors. The color is varied to go with the finish. A lighter grayish color on light paint schemes and a darker gray black on darker paint schemes. Sometimes on a finish like a dark blue U.S. Navy W.W.II subject a light color wash can be effective. Try it out.

The wash mixture is applied with the loaded brush by touching the tip of the brush to the panel line or the corner of the subject. Do not use this mixture on an enamel finish, because the enamel uses a mineral spirit solvent and our oil wash will attach an enamel finish and can ruin the paint job. The wash will travel along the line. Touch again where needed and continue to completion. Let dry for an hour or so and wipe off excess and "slop-over" with a dry cloth or your thumb. The excess will wipe off the gloss surface with ease, leaving a clean, dark line. Use caution when applying washes in corners and tight spots. You want to leave just the right amount of color in those areas so that you will not have excess to be wiped off. Practice! Practice! Practice! Allow at least 12 hours to let things dry well and avoid Murphy. The model can then be sprayed with gloss or flat finish as needed to protect and seal the wash.

I have used water based paint washes and they do work. A water-based wash will work with an enamel finish. For a water wash use the same color selection of water base paint (Polly-S, etc.) and thin it out with water that has a few drops of detergent or photo flo solution added. This breaks the surface tension and helps the water flow better. When dry, clean off excess, allow to dry and apply the clear coat. Treat just like an oil wash. I prefer the oil wash, because it "runs" by capillary action much better than a water wash.

Dry Brushing:

This is a technique to highlight and accentuate raised details such as edges, knobs, dials, rivets, etc. Dry brushing is done over a flat finish. A short, stiff-bristled filbert style brush is best for this technique. Micro Mark sells a decent quality set of dry brushes for about $20.00. Better quality (and higher priced) brushes can be bought at any artist supply store. Almost any paint can be used for dry brushing, but a slower drying paint such as Humbrol or Model Master is usually best. I use those paints as well as Dolly- S, and artist oils. Artist oils dry very slowly but work very well. Unlike washes, dry brushing needs a heavy, unthinned form of paint. Get some paint on a brush then brush it back and forth on a paper towel, or a 3" x 5" white card, (my favorite) until there seems to be little or no paint left on the brush. Now it is ready to use. Lightly float or whisk the brush over the raised details hitting the high spots and leaving a small amount of paint. Go over again as needed to achieve the "look". Practice and experiment in the use of this dry brush, highlighting technique. Allow the paint to dry for an hour or so, longer when using artist oils. Then clear coat with flat. Follow drybrushing with pastel chalks.

Pastel chalks:

These are small, square sticks of colored chalk that are sold in art supply stores. There are over 90 colors available for 90 cents each. I use this material to help replicate the dirt, dust, gun blast stain, exhaust stain and general grime and grunge on any subject. Pastel chalks work best on a dry flat finish. The usual colors are black, raw umber, burnt umber, cadmium orange (rust) and a tan color. Experiment with other colors. To use, scrape or sand a small pile of color from the stick onto a card. Use an old, stiff brush, Q-tip or an artist’s stump. A stump is a small pencil-like rolled up paper stick with a pointed end - available at any art supply store. Dip the brush or stump into the color powder, tap off the excess, then brush, rub and scrub the color into the area to be weathered. Go slowly and carefully. The chalk leaves a pleasing look. Remove any excess with an office eraser.

Les Knerr taught me a technique he uses to color panel lines. Les rubs colored chalks into the panel line area. Then he uses an eraser to remove the excess chalk leaving a darkened panel line. With a bit of artistic flair and control, Les erases the pastel chalk away from the panel lines, with an eye to the air flow over the surface of the aircraft. This allows him to leave a pleasing, dirty area on the "downwind" side of the line. Be creative (more artist talk).

After you have "dirtied" up behind the exhaust (look at photos) and gun blast area, a light (not wet) coat of Dullcoat can be sprayed over the model. This clear coat will reduce the intensity of the color. Repeat the chalk and Dullcoat routine 2 to 3 times until you have the desired results. For a finale, after the project is complete, you can just use the powder color on some areas such as gun blast and exhaust, then leave alone, without a clear coat. This leaves a dry, dusty looking area. Try not to handle these chalked areas. Handling could leave finger prints.

As an alternative to the pastel chalks, I use a dry powder color instead. It is used in the same way and produces the same results. A source for a dry powder set of 12 colors is Micro Mark, priced at about $20.00. Also dry powder colors are available at art supply stores but somewhat expensive and in fairly large quantities for our use.

The Procedure:

Getting a model ready to apply the finish requires preparation, which usually takes much more time than actually applying the paint. For most models, I begin by building up the interiors and preparing all the small parts such as props, wheels (including landing gear), guns, running gear, seats, etc. I treat each of these subassemblies as a completed model to be incorporated later when the model is in final assembly stage. My goal is to have all those "fiddly bits" completed and ready to install, instead of leaving them to be done as last minute efforts. In addition, I often delay attaching whole components. For example, I have often left wings and running gear until very late in the construction. I almost always leave aircraft tail surfaces unattached until final assembly.

Each part is scraped, sanded, fitted and painted the appropriate base color. I brush paint all details such as knobs, boxes and lines. Here is an exception. I do not normally prime these parts unless I have used a filler. I will prime parts, especially those to be painted silver, after using a filler because the paint does not cover filler as smoothly as I like. After painting, these parts are sprayed with a couple of light coats of gloss Duracryl. When dry, these paints are treated with an oil wash and allowed to dry, then a coat of Dullcoat is applied. The parts are now dry brushed and given another coat of Dullcoat. Touch up any details that need it and put the finished parts aside ready to install.

Next I install these interior parts, fit and assemble major parts, mask off where needed, fill and sand as needed. I then spray all those major assemblies with 1 - 2 light coats of primer. The primer coat lets you see any additional filling and sanding areas that need attention. The "tooth" of the primer makes rescribing easier because it helps prevent the scribing tools from sliding all over the model. Continue priming, filling, scribing and sanding until you have this neat, smooth, slick surface, free of defects and ready to paint. Throughout this whole process I am constantly "chasing panel lines". That means during the sanding, priming, printing and even clear coating, I am rescribing panel lines to ensure they will still be there when the project is done.

The assemblies are now ready for paint. Select your first color. I usually start with the lightest color and progress to the darkest color last. It is easy to cover up a light color, but more difficult to cover a dark color with a light color. Spray on 1 - 2 coats of your first color. Allow the paint to dry. Mask if needed, spray second color, then 3rd, 4th - whatever your scheme requires. When the color coat is dry, spray 2 - 3 coats of clear gloss and let sit over night. Look at the finish - is it smooth and shiny? If not, lightly sand (with 400) and or Scotch Brite the surface, spray another 2 - 3 coats of gloss and let dry.

Once the finish is satisfactory the project is ready for decals. Apply decals, using your favorite system, and again let dry. There sure is a lot of drying time! I let decals set up over night to be sure everything is dry. Check panel lines that have decals over them. If the decal has not settled into the line, cut the decal with a blade, reapply the setting solvent and let dry. When all looks good, lightly wash the excess decal glue/stuff from around the decals. A water-detergent solution works well. Dry the model and spray 1 - 2 coats of clear gloss. Let this dry and get out your palette of wash colors. Mix up the color and wash the whole model. Now it sits over night (yeah, dry time again!) Check for wash "slop over", clean it up and spray another 1 - 2 coats of gloss.

We are now at a crossroads. At this point you can lightly sand or Scotch Brite the model and spray on your Dullcoat, or you can continue to follow me. Because I like to "bury" or imbed my decals in the finish, I usually don’t Dullcoat the model at this stage. Instead I apply another 2 - 3 coats of gloss. I do this to build up the finish and eliminate any edges. This gives the decal a painted-on look. After 4 - 7 coats of gloss over the decal area I let the whole thing dry again. I sand the decal area with 400 paper being careful not to go through the clear coat and damage the decal itself. Thicker decals may require more clear gloss and more sanding. If you do sand through into the decal, touch up and spray more clear gloss (How do I know about that?). Once the decal edges are smooth, you can put on your Dullcoat.

I have to digress for a moment. Some of you are saying "Spray how many coats?" I know it sounds like a lot but it isn’t really. The clear gloss, when thinned properly and sprayed lightly, will not build too fast. Also, this information is still just a guide. You are the builder. You have to decide how much is enough. I do have a rule I call the minimum rule: "Minimum material, minimum effort, minimum time, for maximum results." You have to do enough to get the job done, just don’t overdo it. This rule holds from start to finish.

Now we can rejoin the crowd who did not "bury" the decals in clear coats.

After I spray a coat of Dullcoat on the model I check it over, if it needs another coat of Dullcoat, I do it, if not, get out your dry brush and pastel powders.

Now comes the fun. This process can be done fairly quickly you do not have to wait overnight to let things dry. First, get out some silver paint. I prefer Polly-S. With a small brush, pick out paint chipped areas (cockpit entry, wing walkway, panels etc.) Do not over-do this. Understated is better than too much. Also look at photos and other models. What looks right? Go ahead and give it a try. Now dry brush any areas you think might need it. Hit highlight areas. Take your stump and apply pastels or dry color to those areas needing it (exhaust, gun blast, corners on tanks). Follow this with a light coat of Dullcoat over all. Go back to the dry colors and do it again. Dry brush if needed. See where the ART comes in. Look the subject over, visualize the use, dirt and wear. Now do it.

I use Rub N Buff to give a scuffed, worn look to areas such as the leading edges of wings and flying surfaces, spinner and walkways. I use it anyplace the paint on the real thing might have been worn away. I apply Rub N Buff with my finger or a Q-tip. Be careful though. This stuff goes a long way, and once on it does not come off. So put it only where you want it. Another coat of dull coat and you should be finished.

Semi-gloss finishes:

For a model subject that is to have a semi-gloss finish as a final coat we need to back up to where we have the decals on and "buried" or imbedded in clear gloss. Our sample project is an A-4 Skyhawk in Blue Angel markings. The real plane is a demonstration aircraft with a clean, polished high gloss finish. As I said way back when, if we apply high-gloss to our model, it will appear toy-like. I much prefer a couple of coats of semi-gloss lacquer. The model has a much richer, more realistic look. I can hear you say, "OK, so now he brings up semi-gloss lacquer. Another $20 purchase?" Well you can buy semi-gloss lacquer if you want to, but you can also make your own. Just combine 15-20% Dullcoat into 80-85% Duracryl gloss, add sufficient thinner and mix well. This should give you a very nice sheen on your A-4. If the result is not to your liking, adjust the sheen up or down by mixing the Dullcoat and Duracryl in different ratios.

An additional tip: When your model is complete and just needs that last coat of semi-gloss. You will get a smoother, slicker finish if you spray that last coat of clear mixed to the ratio of 80% thinner to 20% semi-gloss. Because this is a "clean" aircraft, we will not use any dry brush, pastel or Rub N Buff techniques.

Now we add all those pre-finished parts, remove the masking, touchup and clean up as needed, and set it on your base. You did build one, didn’t you? That about covers it I think. My hand is cramped. My mind is fuzzier than usual and I need a drink (coffee)!. This isn’t quite all of it but enough for you to mull over for a while.

One last episode will bring you a building review of the new accurate miniature IL2 Stormovik. It will be finished in a heavily weathered winter scheme from 1943. The review will have a blow by blow diatribe on how I achieved that finish and got the look I wanted.

Till next time.