Frequently Asked Questions about techniques used for constructing & painting aircraft byJM. Villalba
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F re q u e n tly A s k e d Q uestions
Frequently A sked Questions about techniques used for constructing & painting a irc ra ft JM.
Vill
ANDREA
IN D E X
INDEM INTRODUCTION 1
The book 1.1 In tro d u c tio n ..................................
2
Considerations before starting 2.1 2.2 2.3 2.4 2.5 2.6
3
.13
How to use this b o o k ......... 16 How did aircraft scale models e u o lu e ? ...................................................... 16 What do I need to take into account before selecting a kit? . ........... 17 How mang and w hat tools do I n e e d ? ........... 17 I t is necessarg to carrg out research before making a m o d e l? ........................ 17 Superdetailing scale m odels .....................................................................17
The w ork enuironment and time 3.1 How much space do I need for mg hobbg? .................................................. 18 3.2 Working w ith sufficient lig h t ................................................................... 18 3.3 Making the hobbg safe ......................................................................... 19
TECHNIQUES FIRST STEPS 4
On opening the bon 4.1 4.2 4.3 4.4 4.5
5
What do I need to look at f i r s t ? ..............................................................22 Separating and protecting decals and transparencies .................................... 22 How do I handle the s p ru e s ? .................................................................. 23 Whg is it w orthw hile to check the parts before s ta r tin g ? ............................. 23 Whg is it important to plan the order o f assemblg and painting? .................... 23
Basic assemblg tools 5.1 Scissors and cutters ............................................................................ 25 5.2 Modelling knives ................................................................................. 25 5.3 Tweezers ......................................................................................... -26
6
Liquid glues 6.1 6.2 6.3 6.4
7
What glues can I use on mg model? ........... ............................. ............... 26 How do I use polgstgrene liquid glue? ...................................................... 26 What tgpes o f cganoacrglate are the most a p p ro p ria te ? ................................ 27 How do I use cganoacrglate? .................................................................. 27
First questions about paintbrushes and their usage 7.1 7.2 7.3 7.4 7.5
What paintbrushes are themost a p p ro p ria te ? ............................................. 28 What paints should I usewhen painting w ith a paintbrush? .................. 29 How do I successfully paint fine lines w ith a paintbrush? ....... ........ ............. 29 How do I apply a base coat w ith a paintbrush? .......................................... 38 How do I clean and maintain my p ain tb ru s h e s ? ..................................... — 31
Index
8
First questions about the airbrush 8.1 Ufhat is im portant to know when choosing an airbrush? ................................ 31 8.2 How do I load the airbrush? ........................... 32 8.3 What air pressure do I use? .................................................................... 32 8.4 How do I apply a base c o a t ? ................................................................... 55 8.5 How can I paint subtle effects w ith an airbrush? ........................................ 34 8.6 How, and when do I need to clean the a irb ru s h ? ........... ............................ 34
COCKPITS HND INTERIORS 9
Building a cockpit straight from the bon 9.1 9.2 9.3 9.4 9.5
What does building straight from the bon' m e a n ? ....................................... 36 How do I prepare the p a r t s ? .................................................................. 36 What is 'dry fitting' and w hat purpose does it serve? ................................... 57 Rre seat belts an enception to building ‘straight from the b o n '? ...................... 38 How do I make my own seat b e lts ? .......................................................... 38
10 Painting a cockpit built straight from the bon 10.1 10.2 10.3 10.4 10.5 10.6 10.7 10.8 10.9
Why do I need to paint the parts w ithout touching th e m ? ............................. 40 What do I need to take into account before applying the basecoat, and how do I do it? .41 Why emphasize the effe ct o f uolume o f the p a r t s ? ...................... ............. 41 What is an outline and how do I apply i t ? ................................................. 42 What purpose is served by the technique o f dry brushing and how do I do it? . . .42 What purpose is served using washes, and how do I do it? ......................... 43 How do I paint a cockpit side panel step by s t e p ? ..................................... 44 How do I paint a s e a t? ....................................................................... .46 How do I make an instrument panel using d e c a ls ? ..................................... 48
11 Rssembly o f a cockpit w ith m ulti-m edia elements 11.1 What is a cockpit w ith m ulti-m edia elements? ......................................... 49 11.2 What precautions do I need to take with resin p a r t s ? .................................... 50 11.3 How do I clean resin p a r ts ? .................................................................. 50 11.4 How do I prepare the model before fitting the resin p a rts ? ...................... . . .52 11.5 How do I cut, handle and attach photo etched parts? ................................. 54 12 Painting a cockpit fitte d w ith m ulti-m edia elements 12.1 12.2 12.3 12.4
What special care do I need to take w ith a cockpit containing fragile parts? .. .55 How do I paint an instrument panel that includes photo etched m etal? .......... 56 How do I paint a cockpit containing m ulti-m edia elements .......................... 57 How do I paint a modern aircraft seat made o f re s in ? .................................60
13 Painting the wheel wells 13.1 How do I paint and w eather the wheel w e ll s ? ........................................... 62 14 Rssembling and detailing engines 14.1 How do I clean up the engines w ithout damaging the detail? ....................... 65 14.2 How do I detail an engine? .................................................................. 66
Ö
Index
15 Painting engines 15.1 How do 1 paint a radial engine?
.............................................. ........... 67
RSSEMBLV RND TRERTMENT OF SURFRCES 16 Joined panels and surfaces 16.1 16.2 16.3 16.4 16.5 16.6 16.7 16.8 16.9
How do I eliminate a panel line or a surface s c r a tc h ? ................................. 70 Uihg repeat the riuets? ...................................................................... 71 How do I make a riv et w ith a serrated ring to o l? ......................................... 71 How do I make a riv et w ith a n eed le? ..................................................... 72 How do I close a fuselage jo in ? ............................................................. 73 What is puttg and how do I use it? . . . . . . . . . . . . . . . . ........................... .74 How do I sand and w hat are the best sandpapers? . . .................................75 What do I use to scribe panel lin e s ? ....................................................... 76 How do I cut flging surfaces to create an effe ct o f m o tio n ? ......................... 77
PRINTING TECHNIQUES 17 Protecting pre-painted areas 17.1 How do I applg a mask to protect a pre-painted a re a ? .................................... 81 17.2 How do I seal the m a s k ? ..................................................................... 81 17.3 What precautions do I need to take w ith the mask? ........................... . .82 18 Before applging paint 18.1 References for authentic colours ................................................. .......... 82 18.2 How do I choose the appropriate p a in t s ? ................................................. 82 18.3 Whg is it important to avoid handling alreadg painted areas? ........... ................ 83 18.4 To avoid handling, where do I begin painting the m o d e l? ............................. 83 19 Masks for delineating outlines and edges 19.1 What tgpes o f edges can I obtain using different masks? ................ .84 19.2 How do I applg a mask to get a hard e d g e ? .............................................. 84 19.3 How do I applg a mask to get a semi-hard edg e? ........................................... 85 19.4 How do I applg a mask to get a soft ed g e? ................. ....................... . . .86 20 Rirbrushing from a distance 20.1 How do I make a stain or f le c k ? ............... 87 28.2 How do I make a fine or blurred lin e ? ...................................................... 88 21 Special finishes 21.1 How do I paint a simulated wood s u rfa c e ? ................................................ 88 21.2 How do I paint a bare m etal s u rfa c e ? ...................................................... 98 22 Panel lines 22.1 22.2 22.3 22.4
Whg How How How
emphasize panel lines? ................................................................. 92 do I emphasize the lines w ith a pencil? ............................................. 93 do I emphasize the lines w ith a paintbrush? ................. .93 do I emphasize the lines w ith an airbrush? ........................................ 94
Index
23 Shadows and highlights on the external paint 23.1 What are shadows and highlights on scale model painting and w hat function do theg fulfil? .......................................................... 95 23.2 How do I applg shadows and highlights? ................... .............................. 95 23.3 What is p re-sh ad in g ? .......................................................................... 97 24 Scratches and bare patches 24.1 What is the difference between a scratch and a bare patch and in what areas can I reproduce th e m ? .............................. 97 24.2 How do I reproduce scratches and bare p atches? ........................................ 98 25 Oil and fluid stains 25.1 Where should I reproduce oil and fluid s ta in s ? ........................................... 99 25.2 How can I simulate oil and fluid s ta in s ? ...................................................99 26 Exhaust stains 26.1 Where should I simulate exhaust s t a in s ? ................................................. 99 26.2 How do I paint exhaust s ta in s ? ............................................................ 188 27 Uarnish 27.1 What kinds o f uarnishes are there and how do I use o n e ? ........................... 188 27.2 How do I applg a uarnish b a s e ? ............................................................ 188 DECHLS HND POINTING NHTIONHL INSIGN 18 28 Decals 28.1 28.2 28.3 28.4 28.5 28.6
Decals and decal setting solutions ....................... ................................ 181 Whg cut out a decal and how do I do it? ................................................ 181 How do I separate a decal from the carrier film ? ............................... 182 How do I applg a decal? ............................................................. 184 How do I attach a decal to a painted s u rfa c e ? .................................. 184 How do I keep a decal inuisible when it cannotbe cut? ......... 185
29 Painting national insignia and numbers 29.1 When do I paint national insignia and numbers? ....................................... 185 29.2 What process do I follow when painting anational insignia or n u m b e rs ? .......... 186 38 Graphics o f painting 38.1 Graphic o f painting the upper s u rfa c e s ................................................... 189 38.2 Graphic o f painting the undersides ........................................................ 118 FINHL FINISH 31 Parts to be assembled at the end 31.1 What parts do I paint and assemble separatelg, and for w hat reason?
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32 Propellers 32.1 How do I paint and w eather propellers?
............................................... I l l
33 Enhaust 33.1 How do I paint the enhaust on in-line e n g in e s ? ................................ . . . . . 1 1 4 33.2 How do I paint the enhaust on radial eng in es? ..........................................116 34 Landing gear 34.1 34.2 34.3 34.4 34.5 34.6 34.7 34.8
How How How How How How How How
do do do do do do do do
I I I I I I I I
clean a landing gear l e g ? ........................................................ 117 detail a landing gear le g ? ..... 117 paint a landing gear l e g ? ....................................................... 119 replace the tgre tread? .........................................................128 create the e ffe c t o f weight on a t g r e ? ........ 121 paint a t g r e ? ....................................................................... 122 paint the tgre t r e a d ? ............................. 123 get readg to paint the landing gear bag doors? ............................ 125
35 Cannons and machineguns 35.1 How do I hollow out the barrel o f a cannon or m achinegun? ....................... 126 35.2 How do I paint a cannon or machinegun? ............................................... 127 35.3 How do I paint additional a rm a m e n t? .................................................... 129 36 Nauigation lights 36.1 How can I make nauigation lig h t s ? ....................................................... 132 37 Transparencies 37.1 37.2 37.3 37.4 37.5 37.6
How How How How How How
do do do do do do
I I I I I I
prepare transparencies? ...................................................... .135 cut a transparencg to open the c o c k p it? .................................... 135 mask a transparencg? ............................................................ 137 paint a transparencg? ...... ........................................................ 137 prepare a uacuum-formed tra n s p a re n c g ? .................................. 138 attach a transparencg? ................. 139
38 Herials and rigging 38.1 What materials can I use to make an aerial or rig g in g ? .............................. 148 38.2 How do I prepare a model before attaching rig g in g ? ...................... .......... 142 38.3 How do I make an aerial wire? ............................................................ 143 39 Finishing the scale model 39.1 GHLLERY
Hduice on presenting and preseruing a scale m o d e l .................................. 144 145
F re q u e n tly A s k e d Q uestions
Frequently A sked Questions about techniques used for constructing & painting a irc ra ft JM.
Vill
ANDREA
1.1 Introduction Vy first contact with scale models occurred in the toy section of = arge store one Saturday afternoon: they were Airfix kits, and I stiil clearly recall the hypnotic effect that the box top artwork had on me. r those days, Airfix classified each scale model by series on the casis of their individual difficulty rating, starting with 1 and rcreasing according to size, complexity and number of parts. I •ery much wanted to buy one of the Halifax or B-24 kits, but my •eager budget would only allow me to buy a 1:72 scale Vesserschmitt Bf 109 from Series 1. This was packed in a trans parent blister around a box, with the latter bearing a magnificent rawing of the aircraft in action. jn til the appearance of Airfix scale kits, the only available mod es of aircraft were the ones you cut out of cardboard and stuck ngether, or toys, either in plastic or cast white metal; the plastic •odels, on the other hand, brought with them the possibility of earning the history of each aircraft, they were in a definite scale s"*d could be authentically decorated and, most important, it —ade possible the opportunity of having at home a replica made by oneself of those aircraft that, until then, had only been seen in encyclopedias and the Sunday movies. Fnom that moment, I remember that any money I saved was used lo buy plastic kits. Sc little by little, kits from the likes of Matchbox, Heller and Vonogram followed the arrival of Airfix, and with them the enthu siastic introduction of the hobby across the whole of Spanish society. This soon resulted in the appearance of the first specialst shops and with them came new challenges, such as painting. * must be remembered that up to then the goal had been to com pete a scale model by assembling the parts as quickly as possi: e without getting too much glue in the wrong places. The arrival of the first tins of Humbrol was as exciting as it was frustrating;
the rush to see the scale model finished resulted in it often end ing up in the scrap box. Fortunately, my overriding passion for scale models helped me to even overcome the painting phase and to finally have some com pleted scale models that afforded me the confidence to move on to the next ones. Eventually, the old ‘trial and error’ school gave me better control over the painting, so much so that I arrived at the stage of making the airbrush the next step. Almost in the same way as I had encountered Airfix kits, one day a book about aircraft scale models appeared in my usual shop. Titled ‘On Plastic Wings’ and written by the world famous Belgian modeler and kit manufacturer, Francois Verlinden, this publica tion revealed some magnificently realized scale aircraft models and, in addition, brought with it numerous ideas of how to make my models even more realistic. I devoured the book in just a few hours, trying to absorb every ounce of its content, and in a few weeks it had a well-worn appearance from the intense use it was subjected to. Today, it resides on my shelf along with other books that definitively changed my way of viewing the art of making air craft models. The arrival of competitions gave me the possibility of teaching others about how I went about constructing my scale models, while also making friends with those who share the same pas sion for the hobby. These were the times when cockpits were constructed from plastic cut from any available containers, usu ally of cleaning products, transparencies were polished with toothpaste and photo etched parts were unheard of. One day, the appearance of a photograph of one of my scale models in Model-making e Historia [Model-Making and History] magazine provided me with the greatest incentive to further improve my technique. Then, with my first articles having been published, the possibility arose of my joining the technical team of the magazine Todo Model Making, today titled Euromodelismo
o
Introduction
[General Model-Making and Euro Model Making, respectively]. It was this experience that allowed me to perfect my techniques and which became the medium that today forms my life’s work ing base. Furthermore, looking back, it represented, without doubt, one of the most pleasant interludes of my career. The growth of the model-making industry and the appearance of new kit manufacturers, along with the parallel rise of the aftermarket accessories industry, in addition to new magazines and work opportunities, caused me to consider the possibility of com bining my other hobby, photography, in a professional manner and interweaving it with model-making. Next came the difficult, and life-changing decision to give up writing for magazines to fol low a solitary path. It is now over 30 years since Airfix first appeared in my life, and more than eight since I took the decision to dedicate myself inde pendently to photography and model making. For the moment, the story continues... Even after years of making scale models, when I am asked my opinion of the hobby, I still say it is one of the best pastimes one can have. Making static scale aviation models, like that of cars and boats, etc, is a totally absorbing activity that bring with it immense satisfaction. Model making provides us with the possibility of creating our own works of art; it constantly imposes its own challenges to improve our technical skill while creating the capacity for observation and analysis that does not figure in many other hobbies. The constant search for information with which to improve, com plete or become familiar with a particular aircraft creates a direct link with the hobby through reading, reinforcing in a very important way the cultural aspect of the activity. More than a few model-mak ers have, on the basis of gathering reference for making accurate scale models, turned themselves into historians; I sincerely
6
believe that not many hobbies can boast this effect. With regard to personal relations, model making also favours the establishment of clubs and associations where modelers can get to know others engaged in the hobby. In addition, the advent of the Internet brought with it an expansion of the hobby along with an almost limitless interchange of information, with Web pages, forums and blogs making us aware of ideas and techniques that probably we would otherwise never be exposed to. Digital photography, another means of high-speed communication, makes it easy to teach everyone about the evolution of a scale model. All these things combine to afford us the possibility of receiving information and advice during the construction of a spe cific model. There is no doubt that the Internet has given us the fur ther possibility of creating a global community of modelers. One further point that the hobby has in its favour is the potentially low cost of pursuing it. Admittedly, this point can be controversial as it is often dependent on the modelers’ situation, both financial and geographic, and with the comparatively recent appearance of after-market accessories for enhancing a particular scale model, one may find oneself paying a final price that will appear high. However, as with all things, each of us will view this from different viewpoints, so that the final valuation becomes relative. It is my opinion that the hobby is not expensive if compared with other activities or pastimes. While a cinema or concert ticket may cost less than a scale model with accessories, how many hours of diversion are offered by the construction and painting of the scale model? Indeed, how much satisfaction and how many memories will it bring us when we see it year after year in the cabinet? So, if looked at from this viewpoint it can be considered an emi nently accessible hobby.
Introduction
F -16 P hoto JM U illa lb a
-.rather controversial question is, ‘What is the best scale?’ My :ersonal belief is that no scale is better than another; there are TxxJel-makers who deprive themselves of the possibility of makng a given model simply because it is not in ‘their scale’, thus ■making it a barrier that cannot be crossed. However, I think that i n e model-maker's first commandment is “I will have fun”, then r e difference in scales need not be a problem, rdeed, in my cabinet I have models of various scales sharing r e same space, and I can only say that I enjoyed in equal meas-re making everything, be it an Grumman Avenger in 1/48 or a Vesserschmitt Bf109 in 1/72. * is undoubtedly true that the larger size of an aircraft that is available in different scales may allow the inclusion of more oetails. Then again, even this is perhaps an outdated idea from • le n an empty cockpit was difficult to add extra detail. Today, ra .sever, one has only to look through the after market parts catsogues to see the vast range of accessories available that will enable us to convert a 1/72 aircraft kit with few parts into a spec tacular, award-winning scale model. = j t our hobby, controversy aside, also has its problems. That •mch is most evident is trying to attract new adherents from among the young. It seems so difficult trying to get a 12-year-old to understand that it is better to sit at a table to sand, ? je together and paint a model for several hours than to sit at a games console and pilot virtual aircraft or to develop digital per sonalities. Our hobby is damaged by a mistaken idea that others see us as producers of scale replicas of machines of war while obscuring •re technical, historical and cultural aspects. Paradoxically, the violence produced by model making is nil in comparison to that stemming from some of the video games jsed daily for much less time. I is incumbent on us, through our ability to share and make oth
ers understand the hobby, that new generations realize that it can be both more fun and more eminently more gratifying to be able create something that is your own and which encompasses part of your personality than to live in a world that ends when you attain the highest score and then disconnect the console.
6
Introduction
2. CONSIDERATIONS BEFORE STARTING 2.1
With regard to the photographs appearing in the book, I must confess that, of course, the development of the actual techniques were carried out on the work table, not against a blue background; the blue background is sim ply for aesthetics. Nevertheless, that said, the position ing of the airbrush and paintbrushes and their distances from the surfaces have been made as realistic as possi ble within the limits dictated by photographic techniques. Finally, I wish to add that in no case do I claim to sug gest that the techniques explained in this book are the only ones or, indeed, the best ones, neither do I claim to be their author or discoverer. They are simply the ones used by me and which have produced good results for me and are, therefore, those that I wish to teach in graphic form so as to share them with model-makers unfamiliar with them. As for my skill with this work, this will depend entirely on whether this book proves useful to you, the modeler, or if some new model-maker joins our community. If this happens then my efforts will have been worthwhile.
How to use this book? During the development of this book, I have tried to have the order of questions presented in such a way as to fol low an ordered sequence of assembly and painting that corresponds to a methodology in common use among model-makers, so that each question and answer corre lates to a projected course of progress in the construc tion and painting of a model aircraft. For example, the first questions concern a model’s inte rior, its assembly and painting, and then progresses to how to close the fuselage and mount the wings, how to paint and age the model, and finally how to add the decals and complement it with additional details. However, it is likely that this structure cannot be followed for all scale models because certain constructions or painting processes may require a different method that would alter the sequence of application of the different steps.
2.2
How did a irc ra ft scale models euolue? The pioneering manufacturing companies, such as Airfix, Matchbox, Heller, Monogram, etc, producing scale aircraft models offered the fledgling model-maker the comparatively inexpensive possibility of enjoying at home, in reduced form, those fascinating flying machines. Those of us who started in the hobby around this time assembling those kits were used to spartan cockpits, panels in relief and the fluctuating quality of the decal sheets. Fortunately for the hobby, today’s advanced production techniques applied to scale plastic models has resulted in it being possible to assemble a kit using only the parts
6
Introduction
supplied in the box and having a super-detailed model as an end product. Extremely fine, incisively etched panel lines, complete cockpits that need no additional detailing, hollow machine gun barrels, movable control surfaces as separate parts and top quality decals, are common in the latest generation kits. Personally, I believe that this is wonderful. However, all this should not make us look upon, say, a 1980s Monogram kit, correctly assembled and painted, as a lesser-valued scale model.
it is advisable not to skimp on the cost of an air brush, the matter of an air supply can be addressed in more affordable items, such as diaphragm com pressors or compressed air containers. For the first scale models I painted with an airbrush I used as an air source an inner tube filled with a pedal pump. Over time, other tools can be purchased on the basis of your criteria of what can simplify a given task or as a help in developing more complex tech niques.
2 .5 2.3
What do I need to take into account before selecting a kit? Before choosing any model, it should first be assessed whether the kit about to be purchased is compatible with the free time one is able to dedicate to it. It is all too com mon to overhear modelers decrying the fact that a kit bought months ago is barely started and still languishes in the box. This being because there are too many parts and insufficient free time has diminished the motivation that was so strong on the day of purchase. Many would-be modelers who end up abandoning the hobby do so out of frustration brought on by the inability to complete a model. So, it is important to assess the possibilities offered by our available free time. Thus, affordable projects can be chosen that will provide more in terms of amusement and fun than disillusionment, thus improving our link with the hobby and allowing us to progressively tackle more complex projects. When buying a kit in advance for future assembly, it has to be taken into account whether it is a model from an established manufacturers catalogue list or from a limit ed series from, say, a ‘cottage industry’ short run manu facturer. If it is the latter case, it is best to purchase a kit of a model of an aircraft that has a particular appeal, oth erwise it is sure to disappear and not be available when you are ready to work on it.
2.4
I t is n ec essa ry to c a rry out res e a rc h b e fo re m aking a m odel? Any model can be constructed perfectly well just by following the instructions included in the box. However, research allows us to complement our hobby with knowledge of the aircraft’s history, its technology and its function. In addition, by comparing scale models with actual aircraft, we can determine their pros and cons, thus improving our observation skills. The different criteria that appear will also be the result of discussions that constantly increase our knowledge, thus enriching the hobby.
2.6
S u p e rd e ta ilin g scale m odels
How many and w h at tools do I need? If one is of the belief that model making requires high expenditure for tools and not doing so is an obstacle to developing the hobby, it is an erroneous one. Starting in this hobby does not require complicated and costly tools, indeed just some side-cutter pliers, a set of good tweezers, model knives, scissors and paintbrushes are sufficient to allow us to start and finish a scale model. Also, these tools last a long time! The largest investment any would-be modeler will have to make is an airbrush and compressor. While
After-market resin detailing kits, photo etched parts and decal sheets that are different from those sup plied with the kit allow us to realize a personalized version of our model or assist us in solving a partic ular detailing problem(s) that would otherwise occu py too much of our time. The after-market detailing industry has grown signif icantly in recent years. This is good, as the growth of this add-on activity will undoubtedly contribute to the hobby attracting new fans, thus allowing it to expand and endure.
6
Introduction
3. 3.1
THE WORK ENVIRO NM ENT AND TIM E Howmuch space do I need for my hobby? I believe that, unlike other hobbies such as building radio controlled flying models or wooden sailing or power boats, the development of static model making does not require too much space. In my case, the work table and the various tools that I use are all concentrated in a small corner of my home, and a space such as this is more than sufficient if our pri ority does not turn to building a model such as the 1/48 scale B36.... Static model making is also a reasonably ‘clean’ hobby, that is, if we are careful with the paint overspray from the air brush. The area around the workbench will remain comparatively clean and tidy thus ensuring that we remain part of family life.
5.2
Working light
wi th sufficient
One of the more important topics to take into consideration is the light source. There are modelers who prefer to use 'daylight' bulbs, which work at a tempera ture that allows them to emit a colour close to that of natural light. It has to be considered whether these lights are ideal for constructing and painting scale mod els, if the possibility is taken into account that when the scale model is completed it will be displayed in a house or other indoor areas that is lit by bulbs that tend not to emit natural light, thus giving the further possibility that the colours that have been applied to the scale model under our ‘natural light’ source will appear differently. 10OWatt lamps that emit white light work quite well. Any colours applied under this light will not vary over much when a model is later viewed under the customary light in our homes or when they are displayed in competitions where the exhibition areas may be illuminated using neon, halogen, etc, light sources.
One o p tio n is to use a lo w - e n e r g y bulb. These can p ro d u ce a lig h t in te n s ity e q u iu a le n t to IB B w w h ile co n su m in g less th a n h a lf the p o w e r and p ro d u c in g m uch le ss h e a t. H o w euer, i f such a bulb is to be used, m a ke su re th e lig h t g iu e n o u t is w h ite , as som e m a n u fa c tu re rs p ro d u c e b u lb s th a t e m it lig h t w it h a c le a r p re d o m in a n c e o f g re e n o r blu e . To te s t th is, s im p ly p la c e a s h e e t o f w h ite p a p e r b e n e a th th e lig h t b u lb and see w h a t to n a lity i t a cq u ire s.
The s u rfa c e on w h ic h th e m o d e l is to be c o n s tru c te d is as im p o r ta n t as th e lig h t source. W o rk in g on a s u rfa c e th a t r e fle c ts a lo t o f th e lig h t d im in is h e s th e c o n tra s t o f th e p a r t on w h ic h w o r k is b e in g done, and u is u a l fa tig u e w ill also in cre a se . Thus, u sin g a d a rk s u rfa c e w ill h e lp to a u o id lig h t r e fle c tio n , a d a rk g re y o r b la c k c a rd p la c e d on th e w o r k ta b le w ill a b so rb th e lig h t, th u s p re v e n tin g r e fle c tio n .
Introduction
3.3
Making the hobby safe Although we may greatly enjoy our hobby, it must never be forgotten that for its development, materials, tools and prod ucts will be used that can have an adverse affect on our health if we do not take simple, but necessary precautions.
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S a fe ty g o g g le s s h o u ld be an in d is p e n s a b le ite m on th e w o r k ta b le , a lth o u g h th e y m a y o n ly be used fro m tim e to tim e, th e ir use m a y be n e e d e d to p re u e n t d am age to o u r eyes.
C u ttin g h a rd p a rts w it h p in c e rs w ill, because o f th e p re s s u re e x e rte d b y th e c u ttin g edges, cause fra g m e n ts to f ly o f f a t h ig h u e lo c ity ; th is is a c le a r e xa m p le o f w h e n to use s a fe ty go g gles.
R s im p le fa ce m a s k is c a lle d f o r w h e n c u ttin g (e x c e p t as a b o ue ) o r filin g o r s a n d in g p ie ce s, as th e se w ill g iu e o f f a t le a s t s m a ll p a rtic le s .
Rn g o o d e xa m p le o f w h e n to use a m a s k is w h e n filin g o r sa n d in g re s in p a rts ; th e fin e d u s t g iu e n o f f b y th is m a te r ia l is to x ic and can be in h a le d i f a m a s k is n o t used.
W hen p a in tin g o r u sin g s o lu e n ts, a m a s k f it t e d w it h a f i l t e r is re q u ire d . R s im p le m a sk w o u ld n o t be c o m p le te ly e ffe c tiu e .
There a re a n u m b e r o f u o la tile a n d /o r to x ic p ro d u c ts th a t can be in c o n s ta n t use. To use th e se s a fe ly , w e m u s t a b id e b y th e w a rn in g s d is p la y e d on th e c o n ta in e rs .
Introduction
XF-54
NET 10ml (1/3 FL.Oi \U y n
I r r ita n ts , i t is e s p e c ia lly im p o r ta n t th a t w e do n o t in h a le a n y o f th e u a p ou rs, and s h o u ld also a u o id c o n ta c t w it h s k in and m ucous m em b ran e s.
E n u iro n m e n ta l c o n ta m in a n ts : N e u e r p o u r, sp re a d o r th ro w th is p ro d u c t in to the tra sh . UJheneuer th is ty p e o f p ro d u c t has re a c h e d th e e n d o f its u s e fu l lif e a lw a y s p u t i t in to a s u ita b le re c y c lin g c o n ta in e r, l.e . one f o r p a in ts and so lu e n ts.
To disp o se o f p a in t re sid u e , ja m , o r o th e r p ro d u c t ja r s can be used. F irs t, p u t som e to ile t p a p e r in th e ja r , th is w ill s to p th e c o n te n ts fro m s p re a d in y i f th e c o n ta in e r g e ts a c c id e n ta lly b ro ke n .
P o u r a n y e xce ss p a in t in to th e c o n ta in e r, w h e n th e to ile t p a p e r is c o m p le te ly s a tu ra te d i t can be s a fe ly d isp o se d o f.
W hen a n y sh a rp in s tru m e n t is n o t in use, o r a re b e in g tra n s p o rte d , a lw a y s e n su re th a t a n y s a fe ty d euice is in p la c e to a u o id a ccid e n ts.
F lam m a ble: HIw a y s use and s to re these p ro d u c ts f a r fro m a n y h e a t o r p o te n tia l s p a rk sources.
H fte r a n y p a in t is added, clo se th e j a r w it h a h e rm e tic a lly s e a lin y lid . HIw a y s fin a lly disp o se o f th e f u ll ja r s o f p a in t in th e c o rre c t c o n ta in e rs a t th e re c y c lin g p la n t.
S im ila rly , h a n d le a ll sh a rp to o ls, such as th e tw e e z e rs , c o rr e c tly b y p ro te c tin g th e p o in ts w it h th e co u e rs in w h ic h th e y w e re p u rch a se d .
Techniques
FIRST STEPS ON OPENING THE BOX 4.1
Uthat do I need to look at first? Before opening the bags of sprues, it is advisable to examine as far as possible the condition of the parts. Most manufacturers tend to pack all, or at least several sprues in a single bag; some parts may have broken during handling or transport. Locating these defects early allows you to exchange the kit for another, undamaged one.
4.2
Separating and protecting decals and transparencies
I t is q u ite com m on to fin d a n y tra n s p a re n t p a rts , canopies, e tc ., p a c k e d to g e th e r w it h th e r e s t o f th e p a rts . These a re d e lic a te and e a s ily sc ra tc h e d , so ta k e th e m o u t and p u t th e m in a s e p a ra te bag.
R s e lf-s e a lin g b a g w ill p r o te c t th e tra n s p a re n c ie s fro m b e in g s c ra tc h e d o r d is c o lo u re d u n t il th e y a re re q u ire d .
Decal s h e e t a re also o fte n le f t u n p ro te c te d in th e b o tto m o f th e bon.
The la rg e bags th a t h e ld th e sp ru e s can be use d to ke e p the d e c a l s h e e ts sa fe . I f le f t o u t, th e y can e a s ily g e t d a m a g e d o r w e t w h ile th e m o d e l is b e in g c o n s tru c te d .
Techniques
4.3
Howdo I handle the sprues?
Sprues h o ld in g th e in d iv id u a l p a rts , som e o f th e m v e ry d e lic a te , can be fra g ile . I f h a n d le d ro u g h ly , th e y can be e a s ily b ro ke n .
4.4
To a v o id a n y p o s s ib ility o f b re a ka g e , c a re fu lly h o ld th e sp ru e s b y th e o u te r edges.
Ulhy is it worthwhile to check the parts before starting? By checking each part before starting, a clear idea can be obtained of what we are going to work with. By so doing, we will realize what parts require more work in the way of cleaning up or, perhaps, further detailing. Using this information, we can then start to calculate the time required to assemble the model, thus making it easier to plan the work.
4.5
Why is it important to plan the order o f assembly and painting?
The f ir s t s te p is to do th e r iv e tin g . Rt th is sta g e , i f a n y p a rts a re d a m a g e d and th e re a re no sp a re s, th e re is o n ly one a lte rn a tiv e ... p u t i t in th e b in and b u y a n o th e r k it.
N e xt, w it h th e r iv e tin g co m p le te d , f i t and p a in t th e in t e r io r d e ta ils .
Early planning of the assembly sequence and subse quent painting will help to complete the scale model in a reasonable time. Also, planned assembly and painting will prevent the parts from being incorrectly assembled, or having to re-touch the paint because it has been han dled too much. This sort of activity unnecessarily increases the time spent on the model and makes the process overlong, so much so that making the model no longer seems fun and, in many cases can cause the modeler to abandon the project. Not all scale models can be planned in the same way; it all depends on the type of process the individual model er wishes to develop. Generally, the modeler needs to begin with the more complicated processes, such out cutting flying surfaces or adding rivets, as these may include the breaking of parts causing the work to stop. However, for standard planning, it is best to start with the interior, fitting and painting all the parts constituting it. Next, proceed to the closing the fuselage, attaching the wings, and tailplane. With the fuselage and wings completed and attached, work can begin on the general painting. Once this has been done, the aircraft can be completed with the addi tion of any accessory parts that have been purchased separately. As an example, let us look at the complete process of assembling and painting a Bf 109.
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Techniques
M a k e re a d y a n d g lu e a ll th e p a rts th a t re q u ire a d d itio n a l w o rk , f o r e x a m p le lo w e rin g th e fla p s, and p o s itio n in g th e a ile ro n s .
M a s k o f f a ll th e p re - p a in te d s u rfa c e s and cle a n th e re m a in in g a re a s b e fo re b e g in n in g th e p ro ce ss o f g e n e ra l p a in tin g .
C o n tin u e b y p a in tin g th e w h e e l w e lls and th e u n d e rsid e s w h ile h o ld in g th e m o d e l w it h ‘b u b b le w r a p ’ to a u o id d a m a g in g the, a lre a d y p a in te d u p p e r sides.
P a in tin g th e fu s e la g e re q u ire s th a t th e m o d e l be h a n d le d q u ite a lo t, so c a rry o u t th e w h o le p ro ce ss w h ile h o ld in g i t b y the w in g tip s.
Now, p a in t one w in g w h ile h o ld in g th e m o d e l b y th e o th e r one th a t, a t th is p o in t, has y e t been p a in te d . In e u ita b ly , p a in tin g th e re m a in in g w in g re q u ire s th a t th e m o d e l has to be h a n dled . So, h o ld i t b y th e a lre a d y p a in te d o th e r w in g u sin g ‘b u b b le w r a p ’. By d o in g th is, n e c e s s a ry h a n d lin g o f the m o d e l’s p a in te d a re a s w ill be k e p t to a m in im u m .
R fte r a p p ly in g a c o a t o f u a rn ish , fo llo w e d b y th e d e ca ls a n d a n o th e r c o a t o f u a rn ish , th e w o r k o f g e n e ra l p a in tin g is c o m p le te .
P re p a re and p a in t a ll a c ce sso ry p a rts s e p a ra te ly , as th is s im p lifie s th e w o rk .
F in a lly, c o m p le te th e m o d e l b y a d d in g a ll th e e le m e n ts th a t haue been w o r k e d s e p a ra te ly .
Techniques
5.
BASIC ASSEMBLY TOOLS
5.1
Scissors and cutters
M in ia tu re s c is s o rs a n d c u tte rs a re b a sic a sse m b ly to o ls. C u tte rs a re s u p p lie d w it h e ith e r fin e tip s f o r s tr a ig h t c u ts o r o th e rs f o r c u ru e d c u ts. T o g e th e r w it h a s e t o f sid e c u tte rs , th e se a re in d is p e n s a b le to o ls on the w o rk ta b le .
S p e cia lly d e sig n e d side c u tte rs , o r sn ip s f o r re m o u in g p a rts fro m th e sp ru e a re use d b y p la c in g th e c u t t e r s ’ f la t side a g a in s t th e p a r t to be re m o u e d . By d o in g th is, th e p a r t w ill be s e p a ra te d c le a n ly fro m th e sprue.
Scissors f o r c u ru e d c u ts a re u e ry u s e fu l f o r c u ttin g in d iu id u a l d ecals fro m a la rg e d e ca l sh e e ts, m a k in g b e lts , e tc.
Scissors w it h fin e tip s a re used f o r c u ttin g th in w ire , p la s tic sh e e t, sa n d pa p e r, e tc.
5.2
Modelling knives
M od eling kn iu e s w ith e ith e r a s tra ig h t o r curued blade are tools th a t a re used c o n tin u a lly. The cu ru e d b la d e d kniues, o r scalpels u su a lly haue a s u rg ic a l o rigin. Rs such, th e y are e x tre m e ly sharp and g re a t care m u s t be ta ke n w h ile b o th using and s to rin g them .
C u ru e -b la d e d s ca lp e ls w ill c u t e a s ily w it h a lit t le p re s s u re i f th e b la d e is n e w . They do n o t te a r the p la s tic .
The s tr a ig h t- e d g e d s c a lp e l is use d f o r c u ttin g , b u t also f o r re m o u in g m o u ld lin e s b y sc ra p in g in a re a s w h e re sa n d p a p e r w o n ’t reach.
To m a in ta in kn iu e s in g o o d c o n d itio n , p la ce th e m in a bag o f s ilic a gel. This w ill a b so rb a n y h u m id ity , p re u e n tin g a n y r u s t fo rm in g .
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Techniques
5.3
Tweezers The points of good quality tweezers should have points that come together without a gap. This prevents the part from slipping or jumping out. Flat-headed tweezers can also be used and, for reaching hard to get at areas, curved points ones are very useful.
6. 6.1
LIQ U ID GLUES UJhat glues can I use on my model? The glues most commonly used are those that have been specif ically designed for gluing plastic, polystryrene cement, and the cyanoacrylates, or so-called superglues in their different guises. As seen in the following sections, all these products must be used with caution.
6.2
How do I use polystyrene liquid glue?
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Polystyrene liquid glues are extremely useful for assembling plastic models. Although they do not dry as quickly as superglue, they operate by actually melt ing the plastic making a sort of weld, when dry the joints have a much greater strength. When using them, it is important to realize, that if too much is applied it will dissolve the plastic and ruin any work. So, they need then to be used sparingly.
There a re a n u m b e r o f liq u id p o ly s ty re n e y lu e m a n u fa c tu re rs , m a n y o f w h ic h com e w it h an a p p lic a tio n bush in clu d e d . H ow euer, i f i t does n o t haue one y o u w ill n e e d to use a p a in tb ru s h w it h a c ry lic b ris tle s .
Rs th is p ro d u c t d isso lu e s p la s tic , i t is u s e fu l f o r se a lin g p a rts .
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W hen use d u e ry s p a rin g ly , jo in t s can be g lu e d w h ile also m a in ta in in g a u is ib le jo in lin e f o r la t e r p a in tin g as a p a n e l lin e .
Techniques
6.3
What types of cyanoacrylate are the most appropriate? There are many cyanoacrylate (superglue) products and, although each may have its own characteristics, it can be said that, in general, they are all classified by texture, capillary action (fine), liquid (medium) and gel (thick).
M e d iu m u is c o s ity liq u id su p e rg lu e s d ry a lm o s t im m e d ia te ly ; th e y a llo w f o r li t t l e o r no c o rre c tio n s b u t a re g o o d f o r o b ta in in g u e ry s o lid jo in ts . The fa s t, o r c a p illa ry te x tu re v a r ie ty a re e v e n m o re v is c o u s a n d d ry eve n fa s te r; th e y a re id e a l f o r g lu in g p a rts w it h m o v e m e n t in th e jo in , as the c a p illa ry a c tio n e n su re s th a t th e y p e n e tra te in to th o se jo in t s .
6.4
Gel, o r th ic k su p e rg lu e s d ry m o re s lo w ly , th u s m a k in g i t p o s s ib le to c o rre c t th e p o s itio n o f th e p a rts f o r a fe w seconds. They a re id e a l f o r g lu in g p h o to e tc h e d p a rts and s m a ll pieces. Rlso v e ry g o o d f o r f illin g s m a ll gaps.
To m a in ta in su p e rg lu e s, i t is a d v is a b le to k e e p th e m u p rig h t, thus p re v e n tin g th e g lu e fro m d ry in g in, and b lo c k in g th e n o z z le . Rlso, ke e p th e m a w a y fro m d ir e c t lig h t.
Horn do I use cyanoacrylate? Superglues are adhesives that must be used with caution as they will glue materials, including human skin, within seconds and can cause serious injury. In addition, the vapours emitted are irritants. To avoid running any risk, the best advice is to use them in small amounts that can be kept in a small receptacle.
R s m a ll p la s tic b o x w it h an e a s ily re p la c e d c a rd b o a rd base w ill s e rv e to h a n dle th e s u p e rg lu e w it h le ss ris k .
To a p p ly a d ro p o f su p e rg lu e , f ir s t c u t a b it o f a c e ta te fro m th e g lu e ’s b lis t e r p ack.
Place th e a c e ta te in s id e th e b o x so th a t i t s e rv e s as a base.
Then, sq u e eze a d ro p o n to th e a c e ta te .
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Techniques
F or a p p ly in g s m a ll q u a n titie s o f glue, use a to o l m ade fro m a le n g th o f s tre tc h e d sprue.
F or a p p ly in g a la r g e r q u a n tity , use a k n ife blade.
I f a w h ite h a lo a p p e a rs a ro u n d th e drop, th is is an in d ic a tio n th a t th e cya n e le m e n t in th e g lu e has e u a p o ra te d , s ig n a lin g th a t i t has lo s t it s e ffe c tiv e n e s s . The tra n s p a re n t a c e ta te is a w o n d e rfu l in d ic a to r o f th e s ta te o f th e p ro d u c t.
7. FIRST QUESTIONS ABOUT PAINTBRUSHES AND THEIR USAGE 7.1
Ulhat paintbrushes are the most appropriate? For the best results, high quality paintbrushes are needed. This rules out brushes with plastic bristles or with bristles that fall out easily. For painting with enamels it is best to use paintbrush es with acrylic bristles, as these are more resistant to the solvents use for cleaning them. However, when painting with acrylics or watercolours it is always advisable to use the best quality sable brushes. F la t p a in tb ru s h e s a re m o re s u ita b le f o r a p p ly in g base co a ts.
UJith re s p e c t to d ry b ru s h in g m e ta llic p a in ts , i t is a d v is a b le to use th e sam e one e v e ry tim e as h o w e v e r m uch i t is cleaned, m e ta l p a rtic le s w ill a lw a y s re m a in in th e b ris tle s .
No:0 p a in tb ru s h e s , and o th e r fin e ones do n o t h o ld v e ry m uch p a in t, so th e y s h o u ld o n ly be use d f o r p a in tin g s m a ll d e ta ils . F o r o u tlin in g o r p a in tin g in d iv id u a l p a n e ls i t is b e s t to use a th ic k e r p a in tb ru s h w it h a g o o d p o in t th a t is a b le to c a rry m o re p a in t. In th e p h o to can be seen a n o :2 p a in tb ru s h th a t has a p o in t as th in as th e no:0.
Techniques
F or p a in tin g u e ry s m a ll d e ta ils a No:B p a in tb ru s h , o r euen sm a lle r, can be used.
7.2
R h ig h q u a lity N o :I o r No:2 p a in tb ru s h can be used f o r a lm o s t a n y th in g as th e ir g r e a te r p a in t c a rry in g a b ilit y a llo w fo r e x te n d e d use. W hen p u rc h a s in g one, i t is im p o r ta n t to m ake su re th e p o in t is undam aged.
What paints should I use u/hen painting with a paintbrush? Acrylic and water paints are best for brush painting as they spread easily and cover well. One of their best characteristic is that any retouching is hardly noticea ble, after a few hours left to dry, a retouch will just have a softer finish. That said, tamiya-type acrylic paints are difficult to apply with a paintbrush, so using them in this way is to be avoided. Humbrol enamels, on the other hand, can be applied quite well with a paintbrush. These usually cover very well with just one coat and, although retou ching may be more noticeable, after waiting three or four hours until they are completely dry, the final finish becomes quite hard.
7.3
How do I successfully paint fine lines with a paintbrush? Learning to paint fine acrylic lines with a paintbrush can be extremely useful, especially when being used to apply the techniques for panels and outlining. However, this technique requires practice, so it is advisable to experiment and prac tice to perfect the technique to obtain satisfactory results.
2
F or p a in tin g lin e s w ith a p a in tb ru s h i t is e ss e n tia l to use a p a in tb ru s h th a t holds s u ffic ie n t p a in t, u su a lly the b e s t sizes a re nos: 1 and 2. Rem ouing any excess p a in t is the ste p th a t re q u ire s a g re a t deal o f p ra c tic e to g e t rig h t, tu rn in g and slid in g the p a in tb ru s h on a piece o f to ile t p a p e r a llo w s the re m o u a l o f the excess w h ile , s im u lta n e o u sly, m a in ta in in g the p a in tb ru s h tip in goo d co n d itio n.
On lin e 1, th e p a in tb ru s h w a s c a rry in g to o m uch p a in t, g iu in g a lin e th a t is th ic k a n d im p re cise . On lin e 2, th e p a in tb ru s h is to o d ry ; th e lin e has b ro k e n up and is in c o m p le te . On lin e 3 re u e a ls a p e r fe c tly e x e c u te d lin e w h e re the s tro k e is th in a n d c o n tin u o u s. So, th e q u a n tity o f p a in t on th e b ru s h is th e m o s t a p p ro p ria te . This ta k e s p ra c tic e !
Techniques
7.4
Hou/ do I apply a base coat with a paintbrush?
P o u r a s u ffic ie n t q u a n tity o f p a in t in to a cle a n re c e p ta c le ; a b o ttle cap is id e a l f o r th is.
Using a d ro p p e r, add som e w a t e r to m a ke th e m ix tu re . R lth o u g h i t m ig h t n o t c o u e r w it h th e f ir s t co a t, i t w ill haue a th in n e r te x tu re m a k in g i t s p re a d e a sily.
Using a p a in tb ru s h sp re a d the m ix tu re u n til a hom ogeneous appearance is obtaine d . I f the w a te r is n o t m ixe d w ith the p a in t s u ffic ie n tly , g le a m in g s tre a k s w ill a p p e a r d u rin g the d rying.
R em ouing e xce ss p a in t on th e edge o f th e couer.
R pply an in it ia l c o a t th a t w ill p a r tia lly c o u e r th e p a rt. R fte r a ro u n d IB m in u te s d ry in g , o r once th e p a in t has a m a tt a p p ea ra n ce , a n o th e r c o a t can be ap p lie d .
I t is im p o rta n t to p re u e n t the p a in t p o o lin g a round any ra ise d areas as th is w ill re s u lt in !h a lo s ’ th a t w ill co n tin u e to shine euen a f t e r the p a in t has d rie d co m p le te ly.
R fte r tw o o r th re e c o a ts o f p a in t, th e p a r t s h o u ld be w e ll co u e re d . I t w ill ta k e a ro u n d 2 h o u rs f o r i t to be c o m p le te ly d ry.
0
Techniques
7.5
Houj do I clean and maintain my paintbrushes? Paintbrushes are expensive items and should be correctly maintained to ensure a long working life.
The m o s t d e lic a te p a in tb ru s h e s a re th o se w it h sa b le b ris tle s . To e x te n d th e ir u s e fu l lif e a n d p re u e n t th e b ris tle s fro m d ry in g o u t and b e c o m in g b r itt le , i t is a d u isa b le to w a s h th e m p e rio d ic a lly w it h w a t e r and a n e u tr a l soap.
UJhen n o t in use, ke e p th e p a in tb ru s h e s in th e ir p ro te c to rs . This w ill p re u e n t th e p o in ts fro m b e co m in g dam aged.
FIRST QUESTIONS ABO UT THE AIRBRUSH 8.1
Illhat is important to know when choosing an airbrush? When deciding to buy an airbrush, you should not only take into account its modeling applications but also assess its construction. An airbrush is a tool that will be used for a long time and, to keep it operating well, will need dismantling many times. One that is manufactured entirely from metal will guarantee a long life for its components. Another factor to be taken into account is the specific application for which the airbrush has been designed. Some lea ding manufacturers produce airbrushes for illustration work and have not designed their tools for the modeling applica tions of metallic enamels or varnishes. In consequence, their use in model making is somewhat limited. UJhat is re q u ire d is an a ll- t e r r a in ' a irb ru s h , th a t is one th a t w ill n o t be a ffe c te d b y d if f e r e n t p a in ts and s o lu e n ts . One m ade e n tir e ly o f m e ta l w ill, o f course, be th e m o s t d u ra b le .
I f th e a irb ru s h s e le c te d uses a n u m b e r o f heads f o r d if f e r e n t s tro k e th ickn e sse s, i t w ill possess g r e a te r f le x ib ilit y in j u s t one to o l.
To p re u e n t dam a g e to th e heads and p a in t ne e dles, s to re th e m s a fe ly and p ro te c te d in s id e a d e d ic a te d c o n ta in e r.
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Techniques
8.2
Hour do I load the airbrush?
The a irb ru s h cup o r b o ttle q u ite o fte n has a m a rk in d ic a tin g th e m a x im u m u p p e r le u e l f o r th e p a in t. I f i t is f ille d aboue th a t lin e , u ie r is k s p illin g th e p a in t euen bg c a rrg in g o u t th e a c tio n s a s s o c ia te d w it h sp ra g in g .
The f ir s t liq u id in tro d u c e d in to th e p a in t c o n ta in e r needs to be a d ro p o r tw o o f th e s o lu e n t th a t is to be used w it h th e chosen p a in t. I f u n d ilu te d p a in t is in tro d u c e d d ir e c tlg in to th e cup o r b o ttle , i t co u ld e n te r th e s u c tio n tu b e and clo g it.
P u t the p a in t in to th e p a in t cup o r b o ttle w it h a p a in tb ru s h ,
To o b ta in th e c o rre c t m ix tu re , th e n e x t s te p is to a d d th e a p p ro p ria te a m o u n t o f so lu e n t.
S till u sin g th e sam e p a in tb ru s h , s t ir th e p a in t u n til a h o m o g e n e o us m ix tu r e is o b ta in e d . B e fo re s ta rtin g on th e a c tu a l m od e l, f ir s t a irb ru s h som e p a in t on a p ra c tic e s u rfa c e , ke e p in g in m in d th a t th e f ir s t d ro p s w ill be s o lu e n t th a t w ill pass th ro u g h th e s u c tio n tube.
8.3
What air pressure do I use? For airbrushing, air pressure is a very important factor. Insufficient pressure causes application failures that, in turn, makes using this incredibly useful tool all that much more difficult. As with using a paintbrush, constant practice with the airbrush is essential because there are innumerable combinations of pressure and texture. In the following two examples the same composition of paint has been used, 50% tamiya acrylic matt black mixed plus 50% pharmacy alcohol at 96° in a badger 150 airbrush with a medium head.
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Techniques
Line 1 re u e a ls th a t in s u ffic ie n t p re s s u re has ca u se d p o o r d e fin itio n o f th e lin e , w it h g re a t g ra in d is p e rs io n and th e a p p e a ra n c e o f s o lid p o in ts on th e edges. Line 2 re u e a ls to o m uch a ir p re s s u re , as th e edges o f the s tro k e s a p p e a r h a rd . This is ca u se d bg th e a ir p u s h in g th e p a in t a cro ss th e s u rfa c e . H o w e ve r, i f th e d is ta n c e b e tw e e n the a irb ru s h and th e s u rfa c e is in cre a se d , th e h ig h speed o f the p a in t f lo w ca u se d b y to o m uch p re s s u re w o u ld p ro b a b ly cause i t to re a c h th e s u rfa c e a lre a d y d ry, th u s p ro d u c in g a sa n d y e ffe c t.
8.4
Using th e c o rre c t p re s s u re g iu e s s tro k e s w it h u n ifo rm d e g ra d a tio n a n d lo w p a in t d isp e rsio n . I t m u s t be re m e m b e re d th a t e u e ry a irb ru s h has it s o w n in d iv id u a lity , so th a t y o u w ill h a ve to a d a p t each one to it s o w n c o m p o s itio n o f p a in t/s o lu e n t m ix tu re . That said, as a fra m e o f re fe re n c e , th e a ir p re s s u re s h o u ld a lw a y s be s o m e w h e re b e tw e e n 0.8 and 1.5 b a r (1 b a r = 14,505 p si).
How do I apply a base coat? Applying a base coat of paint with a fine grain finish is important for the scale model to have a realistic appearance. It is better to progressively apply the coat so that its final appearance is more regular. The following trial was carried out using tamiya acrylics thinned with 96°alcohol.
Hs an e x a m p le , a lig h t g re y sq u a re has been p a in te d on a te s t pie ce . By d o in g th is, y o u w ill be a b le to see h o w th e p a in t p ro g re s s iv e ly co ve rs.
The d ire c tio n o f th e a irb ru s h ’s m o v e m e n t is fro m le f t to r ig h t a n d fro m to p to b o tto m .
The a n g le o f th e a irb ru s h r e la tiv e to th e s u rfa c e s h o u ld be as close as p o s s ib le to 90 d e g re e s.
Using a m ix tu r e o f a p p ro x im a te ly 70% p a in t -50% s o lv e n t, th re e c o a ts w e re a p p lie d to th e area. I t can be seen th a t th e g re y s q u a re is s t ill v is ib le .
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Techniques
R fte r a f u r t h e r th re e o r fo u r co a ts, th e s u rfa c e is a lm o s t couered.
8.5
R co u p le m o re c o a ts o f p a in t e n su re th a t th e g re y c o n tra s t c o m p le te ly d isa p p e a rs. The p a in te d s u rfa c e has no u is ib le g ra in and in t o ta l th e w h o le jo b to o k a ro u n d 2 m in u te s . In le ss th a n th re e h ours, th e p a in t w a s c o m p le te ly d ry.
How can I paint subtle effects with an airbrush? Airbrushing fine, blurred lines will result in soft shadows and produce tarnish effects on scale models. The trial was carried out using tamiya acrylics and alcohol in a badger 150 with a medium head.
W hen p a in tin g w it h u e ry s m a ll q u a n titie s i t is a d u isa b le to p la ce th e s o lu e n t in th e c o n ta in e r fir s t. By d o in g this, g r e a te r c o n tro l is m a in ta in e d o u e r th e m ix tu re . To ach ie u e th is s o rt ty p e o f e f f e c t th e a m o u n t o f p a in t re q u ire d s h o u ld be a s m a ll b ru s h s tro k e , w it h th e c o n ta in e r b e in g fille d w it h s o lu e n t up to th e m a rk.
8.6
P ra c tis in g on a t r ia l s u rfa c e b e fo re p a in tin g th e a c tu a l p a r t w ill h e lp to p e r fe c t y o u r te ch n iq u e b e fo re a p p ly in g it. In th e p h o to g ra p h , the d is ta n c e b e tw e e n a irb ru s h and s u rfa c e is c o rre c t. To s u c c e s s fu lly o b ta in th is e ffe c t, th e a ir p re s s u re s h o u ld be s e t a t 1 -1 .5 bar. Rt I b a r th e d isp e rsio n , and th u s th e lin e th ic k n e s s w ill be g re a te r ; a t 1.5b a r th e d is p e rs io n w ill be lo w e r and the c o rre s p o n d in g lin e th in n e r. W ith a fin e lin e h e a d and n eedle, th e lin e s can be m ade euen th in n e r.
How, and when do I need to clean the airbrush? Cleaning the airbrush is a necessary task if you want this tool to continue operating at its optimum efficiency. So, the air brush should be cleaned regularly, for example whenever there is a colour change, if the paint begins to build-up in the diffuser, and particularly at the end of each days’ use. This will prevent any paint residue building up inside the tubes.
W hen d is m a n tlin g th e h e a d be c a re fu l n o t to lo se th e s m a ll se a lin g w a sh e r.
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R lw a ys e x tr a c t th e n e e d le fo rw a rd s to p re u e n t a n y p a in t re s id u e fro m b e in g d e p o s ite d in s id e th e a irb ru s h .
Techniques
C o m plete th e re m o u a l o f th e n e e dle b y re m o u in g i t fro m th e f r o n t o f th e a irb ru s h .
Clean the n e e d le on a p ie ce o f p a p e r so a ke d in s o lu e n t, w h ile b e in g c a re fu l n o t to b e n d i t o r d am age th e tip.
F o r c le a n in g th e a irb ru s h ’s in te rio r , do so u /ith a c u rle d p ie c e o f p a p er.
B e fo re cle a n in g th e s u c tio n tube, s o a k th e to o th b ru s h in s o lu e n t.
In th e sam e w a y , clean th e a irb ru s h ’s f r o n t tube.
B n o th e r a re a th a t re q u ire s re g u la r c le a n in g is th e p a in t d e p o s it tu b e ; th e to o th b ru s h also com es in u s e fu l h e re .
I f th e p a in t has d rie d h a rd in sid e , o r on th e p a rts , so a k th e m in s o lu e n t f o r a fe w h o u rs.
Techniques
COCKPITS AND INTERIORS
BUILDING A COCKPIT STRAIGHT FROM THE BOX 9.1
Ulhat does 'building straight from the bon' mean? Building ‘straight from the box’ indicates that the model has been built without any complementary after-market parts or any scratch built parts by the modeler. In fact, nothing that was not included in the kit. Many of today's model kits include plastic parts for creating a cockpit that would once have been considered super-detail ing. Generally, it is sufficient to just clean the parts or fine-tune some to obtain an excellent cockpit.
9.2
How do I prepare the parts?
Using a c u ru e d b la d e to a u o id te a rin g th e p la s tic , re m o u e a n y ‘ fla s h ’ o r re m a in in g sp ru e on th e p a r t a f t e r i t has been c u t fro m th e sprue.
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UJith a p ie ce o f 8 6 6 - g ra in sa n d p a p e r fin e d to a s m a ll u /o o d s trip , lig h tly sand the s u rfa c e to le u e l it.
Techniques
To e lim in a te a n y c a s tin g ‘fla s h ’ on s m a ll p a rts , scrap e th e m c a re fu lly w it h th e edge o f a s tr a ig h t s c a lp e l blade.
G enerally, c o c k p it s e a ts te n d to be to o th ick. To th in th e p la s tic a n d g e t a m o re r e a lis tic lo o k in g se a t, sa n d p a p e r th e o u ts id e o f th is p a rt.
C leaning and th in n in g som e p a rts w ill enhance th e r e a lis tic lo o k o f th e fin is h e d m odel.
9.3 llthat is 'dry fitting' and what purpose does it serve? 'Dry fitting’ is a no-glue process whereby the parts are fitted together to see if there is any problem with the fit before they are glued and painted. By devo ting a little time to doing this will spare us a heada che if parts already painted subsequently prove not to fit in position.
R n o -g lu e t r ia l a sse m b ly u till s h o w i f th e re a re a n y f i t c o rre c tio n s re q u ire d b e fo re fin a l g lu in g .
Hold th e p a rts to g e th e r w it h m a s k in g tape.
C hecking th e f i t o f th e fu s e la g e in t e r io r p a rts is a n e c e s s a ry s te p i f w e a re to g e t a c o rre c t clo su re .
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Techniques
C a rry in g o u t a u a lid t r ia l a sse m b ly depends on o u r fin in g th e p a rts in th e ir a c tu a l fin a l p o s itio n s .
C o c k p it sid e s a re u s u a lly th e m o s t d if f ic u lt in te r n a l p a rts to m a ke f i t c o rr e c tly so th a t th e fu s e la g e sides can be closed.
W hen c lo sin g th e fu se la g e , c a re fu lly c h e c k th a t no p a rts h in d e r th e pro ce ss.
9.4
Rre seat belts an to building ‘straight from the bon’? Seat belts are one of the more obvious details that tend to be missing in kits. After all, including a decal would take up little space! This detail is so obvious that many ipms chapters provide for it in their rules of participation for competitions in the category of build ing ‘straight from the box’. Unfortunately, some of the more modern kit manufac turers still fail to resolve this problem. I recall, with some smugness, that many of the old monogram kits had superb belts etched on their seats. So, making and including belts is surely a detail for completing excellent, realistic cockpits that can be made ‘straight from the box’.
9.5
How do I make mg omn seat belts?
Lead sheet, found in c r a ft shops o r euen around b o ttle tops, is easy to cu t and mould. The id e a l thickness is B .I-8 .2 mm.
F or m a k in g th e b u ckle s, B. 15 m m th ickn e ss c o p p e r w ir e can be used.
Techniques
Using a n e w s tr a ig h t s c a lp e l b lade, a s te e l ru le and a li t t l e p re s s u re , th in s trip s o f le a d s h e e t can be cu t.
Taking th e w id th o f th e b e lt as a re fe re n c e , d o u ble th e c o p p e r w ir e u sin g the tip s o f the tw e e z e rs to m a ke th e b u ckle .
Close th e b u c k le w it h th e tw e e z e rs and c u t o f f ang excess w ire .
Double o u e r the e n d o f th e b e lt, p re s s in g w it h th e tw e e z e rs to tra p the b u ckle .
R fte r p o s itio n in g one b u c k le a t the end, p o s itio n a n o th e r in th e b e lt ’s c e n tre .
W ith a p la s tic p o in te r, p la c e a d ro p o f s u p e rg lu e o n to th e r e a r o f th e se a t.
Then g lu e th e b e lt w it h th is d ro p and w a it a fe w m in u te s u n til i t d ries.
Double o u e r th e b e lt and g lu e i t a t th e fro n t.
C o m plete th e s e a t bg a d d in g th e re m a in in g b e lts .
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Techniques
10. PAINTING A CO CKPIT BUILT STRAIG HT FROM THE BOX 10.1 Why do I need to paint the parts without touching them? It is very important not to touch the parts while painting them, as we do not want to get finger marks by handling them while they are being painted. In the case of small parts, attaching them to a piece of adhesive tape or on one end of a plastic strip will make it easier to paint them .
W rap a le n g th o f p la s tic s tr ip w it h m a s k in g tape, a f t e r th e f ir s t r o ta tio n tu rn th e ad he si ue ta p e so th a t th e a d h e siu e sid e is u p p e rm o s t.
N ow , p o s itio n th e p a r t th a t is to be p a in te d on th e adhesiue.
W ith th e p a r t on th e adhesiue, i t can be h a n d le d w ith o u t a c tu a llg b e in g touched.
W hen p a in tin g s m a ll p a rts , g lu e th e m to a le n g th o f p la s tic s tr ip th a t can be c u t fro m th e k i t ’s sprues. F irs t, a p p lg a d ro p o f s u p e rg lu e to a h id d e n a re a o f th e p a rt, and i t can th e n be h e ld w it h im p u n ity .
To p re u e n t tw e e z e rs s c ra tc h in g p a rts th a t hau e a lre a d y been p a in te d p u t som e e le c tric ca b le s h e a th in g on th e tip s.
Ruoid d a m a g in g th e p a rts b y h o ld in g th e m in th e c o u e re d tips.
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Techniques
‘B ubble w r a p ’ use d in p a c k a g in g is u e rg u s e fu l f o r h o ld in g p a rts w ith o u t m a rk in g them .
To re le a s e th e p a rts fro m th e s u p p o rtin g p la s tic s trip , i t ju s t needs to be g e n tly tw is te d ; th e d ro p o f s u p e rg lu e used to h o ld th e p a r t w ill e a s ily b re a k a w a y.
IB.2 What do I need to take into account before applying the base coat, and do I do it? When ready to apply the base coat, first take into account what treatments are to follow. Techniques, such as dry brushing require a solid coat to work on to avoid leaving any edges uncovered over which the paintbrush will be passed. Also, if washes are to be applied, ensure that the base coat is impervious to any solvent that might be used. An enamel paint base coat can be damaged with an oil wash, as oils contain solvents that are also used to dilute enamels. Applying a solid, compatible base coat is an important step that must always be taken into account.
IB.3 Why emphasize the effect of volume of the parts? When looking at photographs of actual cockpits, one sees how the objects in relief are seen more clearly, while the more hidden parts remain darker. This is because light entering the cockpit increases the threedimensional effect of each object.
In m o d e l m a k in g , u a rio u s te ch n iq u e s a re used to s im u la te th is e ffe c t. In som e cases, i t m ig h t a p p e a r th a t the e f f e c t has been o u e rd o n e , h o w e u e r i t needs to ta k e n in to a c c o u n t th a t, once the fu s e la g e has been closed, th e s m a ll p a rts w ill re c e iu e u e ry lit t le lig h t, so th a t a n y p o s s ib le excess w ill be co m p e n sa te d .
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Techniques
IB.4 UJhat is an outline and how do I apply it? Outlining is a technique of applying shadows to parts in relief to increase their three-dimensional effect.
B w e ll- u s e d p a in tb ru s h th a t, a lth o u g h i t m a y haue lo s t som e o f it s b ris tle s has re ta in e d a w e ll-s h a p e d tip, w ill be id e a l f o r th is ta sk, as th e p o in te d tip can be p a s s e d th ro u g h th e c u ts in th e p a rts .
F o r a p p ly in g an o u tlin e u sin g a c ry lic s , use a m ix tu r e o f p a in t d ilu te d w it h w a t e r to g iu e a lig h t te x tu re .
By s lid in g th e p a in tb ru s h th ro u g h th e c u ts in th e p a rts , b la c k lin e s w ill be m a rk e d th a t re in fo rc e s th e sh a d o w e ffe c t.
On p h o to e tc h e d p a rts , o u tlin in g in cre a se s th e u is u a l e f f e c t o f p a r t s ’ s e p a ra tio n .
18.5 What purpose is serued by the technique of dry brushiny and how do I do it? Dry brushing is a technique opposite to that of outlining and washes. The latter serve to bring out the shadows of the various elements, while dry brushing increases the effect of light on them.
I f th e p a rts to be d ry b ru s h e d a re sm all, th e y can be p la c e d on a p ie c e o f a d h esiue ta p e to p re u e n t th e m m o u in g w h ile c a rry in g o u t th e te ch n iq u e .
B e fo re d ry b ru sh in g , i t is f ir s t n e c e s s a ry to a p p ly a s o lid base c o a t th a t m u s t be a llo w e d to th o ro u g h ly d ry f o r a t le a s t fo u r hours.
Techniques
A lth o u g h d ry b ru s h in g can be a p p lie d u sin g a lm o s t a n y p a in t, th e tr a d itio n a l H u m bro l is e n c e lle n t f o r c a rry in g o u t th is te ch niqu e . To o b ta in g o o d re s u lts , i t is n o t n e ce ssa ry to d ilu te i t fir s t. J u s t e n su re th a t i t has bee n w e ll s tir r e d a n d th e n eu tr a c t a s m a ll q u a n tity w it h a p a in tb ru s h .
R f la t p a in tb ru s h w it h a c ry lic b ris tle s a n d a sponge, f o r re m o u in g a n y e xcess p a in t a re th e o n ly tw o ite m s re q u ire d .
F irs t, ru b th e p a in tb ru s h on th e sponge to e lim in a te a n y excess p a in t, so th a t p ra c tic a lly a ll th a t re m a in s is a lig h t sh a d ow .
Then, g e n tly pass th e p a in tb ru s h o u e r th e p a r t a n d see h o w th e ra is e d d e ta ils a re illu m in a te d and no lo n g e r a p p e a r fla t.
Dry b ru sh in g , a te ch n iq u e g iu in g w o n d e rfu l re s u lts on a n y p a r t w it h ra is e d d e ta il, is e s p e c ia lly e ffe c tiu e on th o se p a rts w it h d e ta ils e tc h e d w it h g re a t fin e sse , such as r a d ia to r g rille s , ca b le s o r w h e e l b o lts .
IB.6 What purpose is served using washes, and how do I do it? Applying washes is a technique similar to outlining; its function is to accentuate the shadows to define the etched elements of the parts. Although applying a wash is a faster process than outlining, it has the disadvantage that areas adjacent to the raised details may also be stained, giving an appearance of rings when dry. Washes can be applied with acrylics or oils, although using the lat ter will minimize the problem of rings because the drying time is that much slower. In combination with dry brushing, this is an ideal technique for rein forcing the three-dimensional effect of parts with etched details.
W ashes a re a u e ry e ffe c tiu e te ch n iq u e on p a rts c o n ta in in g e tc h e d d e ta ils , such as r a d ia to r g rills .
Techniques
R fte r a p p ly in g o f a c o m p a tib le base co a t, a w a s h w ill p ro d u ce th e e f f e c t o f s h a d o w on th e p a rt. In th is case, a base c o a t o f b la c k m a tt a c ry lic , h ig h ly d ilu te d w it h w a te r, w a s a p p lie d . I t can be seen h o w th e p a in t becom es c o n c e n tra te d on the d e ta ils , le a u in g th o se in r e lie f p a r t ly u isib le .
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N ow , to b rin g o u t th e ra is e d d e ta il, d ry b ru s h u sin g th e sam e c o lo u r as th e base c o a t (T a m iy a ’s m a tt a lu m in iu m enam el).
UJith th e w a s h a c c e n tu a tin g th e s h a d o w and d ry b ru s h in g h ig h lig h tin g th e ra is e d d e ta il, th e p a r t ends up w it h a m uch g r e a te r th re e -d im e n s io n a l e ffe c t.
19.7 How do I paint a cockpit side panel step by step? As an alternative to the washing and dry brushing techniques, we are going to put into practice some other techniques that make elements appear more defined and with greater detail.
On th e p a rt, a lre a d y g iu e n an a c ry lic base co a t, a p p ly som e s h a d o w a ro u n d a ll th e d e ta ils w it h an a irb ru s h , u sin g m a tt b la c k a c ry lic h ig h ly d ilu te d w it h alco h o l.
W ith th e base c o lo u r lig h te n e d w it h g re y, a p p ly h ig h lig h ts to th e c e n tra l a re a s d e lin e a te d b y th e sh a d ow .
Techniques
Using a fin e tip p e d p a in tb ru s h , p a in t a ll th e p a rts bla ck.
To in c re a s e th e e f f e c t o f h ig h lig h ts on th e b la c k -p a in te d p a rts , a p p ly a u e ry lig h t g re y b y s lid in g th e p a in tb ru s h a lo n g th e edges o f th e p a rts . D on’ t w o r r y a b o u t g e ttin g cle a n lin e s a t th e s ta rt, as th e a c ry lic can be re to u c h e d la t e r w ith o u t le a n in g a n y tra ce .
F irs t, p a in t th e w ire s b la c k ; la t e r th e y w ill be p a in te d w it h th e ir a c tu a l co lo u r, b u t o n ly on th e top.
C o n tin u e w it h th is p a in tin g pro ce ss, u sin g th e sam e te c h n iq u e on a ll th e re m a in in g d e ta ils .
By o u tlin in g , sh a d o w s w ill be r e in fo rc e d on th e s m a lle s t d e ta ils .
L ig h te n th e edges u sin g th e base c o lo u r m in e d w it h w h ite .
To add e x tra re a lis m to th e p a rts , a p p ly som e scra tch e s.
The u p p e r a re a s o f th e sid e co n so le s a re m o re e xp o se d to ru b b in g ; to s im u la te w h e re p a in t has been ru b b e d o ff, a p p ly s m a ll to u che s o f T am iya ’s m a tt a lu m in iu m enam el.
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Techniques
To re d u ce th e sh in e o f th e b a re p a tc h e s and th u s in te g ra te th e m in to th e p a in t, a p p ly a li t t l e w a s h o f h ig h ly d ilu te d n a tu r a l b ro w n a c ry lic sh a d o w to them .
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This p ro ce ss o f p a in tin g th e p a n e ls m a k e s the e tc h e d d e ta ils s ta n d o u t euen m o re a n d m ake s th e m lo o k as th o u g h th e d e ta ils a re ra is e d .
IB.8 How do I paint a seat?
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R fte r lig h t ly g lu in g th e s e a t to a p ie ce o f p la s tic sprue, g iu e i t a base c o a t o f ta m iy a a c ry lic p a in t.
N ent, o u tlin e th e b e lts u sin g w a t e r - d ilu t e d m a tt b la c k a c ry lic .
R fte r o u tlin in g , a p p ly som e s h a d o w w it h an a irb ru s h u sin g a lc o h o l-d ilu te d m a tt bla ck.
On th e c e n tra l areas, a irb ru s h th e e ffe c ts o f lig h t u sin g th e base c o a t p a in t lig h te n e d . F or th e b e s t re s u lt, add a to u ch o f lig h t g re y o r lig h t g re e n to th e o rig in a l m in tu re .
Techniques
Being c a re fu l to a u o id s p o ilin g the o u tlin e , p a in tin g th e c o lo u r on th e b e lts w it h a p a in tb ru s h .
To s im u la te th e b e lt seam s, a p p lg a c e n tra l lin e u sin g u e rg d a rk g re g p a in t.
Using th e b e lt s ’ base co lo u r, p a in t tra n s u e rs e lin e s acro ss th e b e lt, c u ttin g th ro u g h th e c e n tra l d a rk g re y lin e , to g e t a b ro k e n lin e .
B p p ly th e sam e p ro ce ss on th e lo w e r p a r t o f th e b e lts .
Techniques
10.9 How do I make an instrument panel using decals? Some kit manufacturers include a decal sheet for the main instrument panel. This decal is designed to be placed on a panel that has the various compo nents are in raised detail. To obtain a realistic result, the following process can be used:
R fte r th e p a r t has been fin e d to a p la s tic o u tlin e w it h a d h e sive ta p e ; p a in t i t w it h th e base co a t.
Us th is c o lo u r w ill haue to be re to u c h e d q u ite a b it, g iu e i t a th in c o a t o f b la c k a c ry lic o u e r th e b la c k base so th a t a n y re to u c h in g w ill n o t be v is ib le .
Using th e sid e o f th e p a in tb ru s h , a p p ly som e c o lo u r to th e ra is e d p a n e l d e ta ils .
Using v a rio u s to n es o f g re y, th e p a n e l d e ta ils can be co m p le te d .
Using som e d if f e r e n t c o lo u rs l.e red, y e llo w , e tc , p a in t th e p a n e l s w itc h e s .
To p re v e n t th e d e ca l fin in g s o lu tio n s fro m d a m a g in g the p a in t, f ir s t a p p ly a c o a t o f m a tt v a rn is h .
N ow , c u t th e in s tru m e n t p a n e l fro m the d e ca l sh e e t.
Techniques
Using a c u ru e d b la d e c u t th e d ia ls in d iv id u a lly fro m the s h e e t (to k e e p th e m in th e c o rre c t o rd e r a n d to a v o id lo s in g any, th e y can a tta c h e d to a d h e sive tape).
Using a p a in tb ru s h c a re fu lly p la ce each d ia l in it s a p p ro p ria te h o llo w , fin in g i t w it h m ic ro s o l liq u id .
By d e p o s itin g a d ro p o f g lo ss v a rn is h on each dial, th is w ill s im u la te th e g la ss c o v e rin g it.
Once th e v a rn is h has d rie d , th e p a n e l is c o m p le te .
11. ASSEMBLY OF A CO CKPIT W ITH MULTI-MEDIA ELEMENTS
11.1 U/hat is a cockpit u/ith multi-media elements? A model or, in this case, a cockpit is considered to have multi-media elements if it includes a com bination of parts sourced from a number of man ufacturers: parts in resin or white metal, photo etched parts, instrument panels with transparen cies, etc. This type of after-market items first appeared as complementary, super-detailing kits for scale models and was sold separately. However, recently some manufacturers have been including them as standard in their boxes.
Techniques
11.2 What precautions do I need to take with resin parts? Resin is a material that has allowed the makers of after market detailing kits to carve out an important niche in the model-making industry. The primary disadvantages of these parts are their greater fragility when compared to plastic, and the appearance of air bubbles that can deform the parts or even render them useless. Another factor that must be taken into account is that these parts tend not to fit with the same precision of those made of plastic. So, the job of dry-fitting the com ponents and adapting them becomes much more necessary. On the other hand, their great advantage is that they offer the possibility of improving a scale model that might contain relatively few details and of super-detai ling an assembly in less time than would otherwise be the case.
11.5 Houj do I clean resin parts? R ESIN PARTS
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Those a re a s to be re m o u e d fro m re s in p a rts a re u s u a lly m a rk e d w it h sh a d in g on the a sse m b ly in s tru c tio n s .
Once th e p a rts haue been in d iu id u a lly se p a ra te d , th e p o u rin g s tu b s m u s t be re m o u e d .
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W hen c u ttin g re s in p a rts , i t is ad u is a b le to g e n tly p re s s w it h th e s a w and use i t w it h a s lo w m o u e m e n t. This w ill p re u e n t th e p a rts fro m b re a k in g .
Techniques
Once th e p o u rin g s tu b has been rem oued, c o n tin u e b y c le a n in g up th e c u t s u rfa c e .
W ith a cu ru e d b lade, re m o u e a n y re m a in in g e xcess re s in fro m th e re a r. This w ill th e n a llo w th e p a r t to f i t c o rre c tly .
Using a f la t file , cle a n up th e c u t face.
Using a la rg e p a in tb ru s h , re m o u e a ll th e d u s t and scra tch e s .
The s m a lle r p a rts w ill also re q u ire som e c le a n in g to m a ke th e m re a d y f o r use.
H olding th e p a r t b y th e a re a to be re ta in e d , p ro g re s s iu e ly re m o u e a n y re s in th a t needs to be d isca rd e d .
The c le a n e d -u p p a rts a re n o w re a d y f o r a d r y - f it t r ia l a sse m b ly. This w ill g iu e us an id e a f o r a n y th e n e c e s s a ry c o rre c tio n s b e fo re th e c o m p le te d p a r t is fin a lly g lu e d and p a in te d .
Techniques
11.4 Hou/ do I prepare the model before fitting the resin parts? Generally, after market resin parts are designed to fit a specific manufacturers kit. That said, there are often small modifications that can be made so that they will fit other kits of the specific aircraft.
The f ir s t th in g n o tic e a b le w h e n c o m p a rin g th e re s in p a rts w it h the p la s tic ones is th a t th e re s in ones te n d to haue th ic k e r w a lls . This is because re s in is m uch s o f t e r th a n p la s tic and needs th e g r e a te r th ic k n e s s to g iu e th e m s tre n g th , e s p e c ia llg f o r th e la r g e r p a rts .
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To a d a p t th e k it f o r th e a d d ed th ickn e ss, th e p o in ts f o r f it t in g th e m in to th e m o d e l w ill haue to be changed.
W ith a c u ru e d -p o in t blade, re m o u e th e o rig in a l s u p p o rt.
Sm ooth th e s u rfa c e w it h 800 g ra in sa n dpaper.
M a rk th e n e w f i t lin e w it h a p e n cil.
Techniques
On th e fro n t, in c re a s e th e c o n ta c t a re a u /ith a n o th e r s m a ll p ie ce o f p la s tic .
R echeck to e n su re a c o rre c t f it.
Scrape th e p la s tic w it h a c u ru e d blade.
I t is u it a lly im p o r ta n t to ch e ck th a t th e p h o to e tc h e d p a r t th a t g iu e s fo rm to the in s tru m e n t p a n e l f it s c o rre c tly .
C a rry o u t a d r y - f it a s s e m b ly to ch e ck th a t a ll th e p a rts f i t c o rre c tly .
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Techniques
11.5 How do I cut, handle and attach photo etched parts?
C a re fu l s e p a ra tio n o f th e p h o to -e tc h e d p a rts fro m th e f r e t is a p ro c e s s th a t w ill p re u e n t th e m b e in g b e n t o r lo s t.
To a cco m p lish th is, use s p e c ia lly d e sig n e d scisso rs f o r c u ttin g p h o to e tc h e d p a rts and a d ia m o n d file .
Glue a p ie c e o f m a s k in g ta p e to th e lo w e r p a r t o f th e p h o to e tc h e d p a r t so th a t i t re m a in s a tta c h e d to th e m a in fr e t.
Hold the f r e t w ith o u t d e fo rm in g th e p a rts i t h o ld s and p ro g re s s iu e ly c u t th ro u g h th e a tta c h m e n t p o in ts .
The p a r t w ill re m a in h e ld w it h th e a d h esiue tape, thus p re v e n tin g i t fro m d ro p p in g o f f w h e n p re s s u re is a p p lie d . Use tw e e z e rs to s e p a ra te it.
R em ove a n y re m a in s o f th e a tta c h m e n t p o in ts w it h a d ia m o n d file .
Squeeze o u t som e s u p e rg lu e a n d a p p ly a sm a ll q u a n tity o f i t w it h a p la s tic p o in te r.
Rs s u p e rg lu e g e l d rie s m o re s lo w ly , i t is m uch e a s ie r to p o s itio n th e p a rts and m a ke a n y changes to th e fin a l p o s itio n .
Techniques
On th e sid e pa n els, use th e sam e p ro c e d u re fo r g lu in g ang s m a ll p a rts .
The c o c k p it is n o w re a d g to b e g in the p a in tin g pro ce ss.
12.PAINTING A COCKPIT FITTED W ITH MULTI-MEDIA ELEMENTS 12.1 UJhat special care do I need to take parts?
a cockpit containing fragile
Cockpits that contain delicate parts, such as photo etched components or scratch built items, are poor candidates for using such techniques as dry brushing, as the delicate parts might break away or get damaged by the rubbing action of the process. For this type of cockpit it is better to use other airbrush and paintbrush techniques to increase the parts’ illusion of volume.
Techniques
12.2 Hour do I paint an instrument panel that includes photo etched metal?
Using a tr ia n g u la r b la d e and c u ttin g w it h c a re fu l p re s s u re , s e p a ra te th e tra n s p a re n c ie s fro m th e sh e e t.
P re p a re th e p h o to e tc h e d p a rts a n d ch e ck the c o m p o n e n t’s c o rre c t f it .
To g lu e th e tra n s p a re n c y s e cu re ly, f ir s t lig h t ly sa n d p a p e r th e p h o to e tc h e d p a rt. This le ts th e g lu e a d h e re b e tte r .
P ro te c t s m a ll c o n ta c t a re a s w it h m a s k in g tape, so th e s u p e rim p o s e d p a rts can be g lu e d on.
Using an a irb ru s h , a p p ly a base c o a t o f p a in t to th e p h o to e tc h e d p a rts .
R n e w a c ry lic c o a t o f th e sam e c o lo u r a p p lie d w it h a p a in tb ru s h a llo w s in u is ib le re to u c h in g .
P a in t th e ra is e d d e ta ils w it h a p a in tb ru s h .
Rlso w it h th e tra n s p a re n c ie s , som e a re a s m u s t be p ro te c te d so th e p a rts can be s a fe ly glued.
Techniques
To g e t a w h ite b a c k g ro u n d th a t w ill be co m e tra n s p a re n t a n d th u s g iu e fo rm to th e in s tru m e n t d e ta ils , a irb ru s h a c o a t o f m a tt w h ite .
N e xt, g iu e i t a n e w c o a t o f b la c k to p re u e n t th e tra n s p a re n c g b e in g seen as a c o a t am o n g th e p h o to e tc h e d p a rts .
Raise th e p r o te c to r a n d sq u e eze o u t a s m a ll d ro p o f su p e rg lu e gel.
Glue th e tra n s p a re n c g to th e base p h o to e tc h e d p a r t and th e p a n e l is c o m p le te .
Glue th e fo r w a r d p h o to e tc h e d p a r t to the base.
12.3 Hour do I paint a cockpit containing multi-media elements
Hold th e p a r t on th e p la s tic sp ru e w it h a p ie c e o f a d h e siu e tape. This w ill a llo w i t to be h a n d le d so th a t th e base c o a t can be e a s ilg a p p lie d .
R irb ru sh a m a tt b la c k s h a d o w c o a t a ro u n d th e ra is e d areas,
Techniques
N e xt, h ig h lig h t i t usin g som e lig h te n e d base co lo u r.
Up p ig som e o u tlin e to re in fo rc e th e e f f e c t o f the p a r t s ’ s e p a ra tio n .
Using a fin e tip p e d p a in tb ru s h , p a in t th e s e a tb e lts ’ base c o lo u r
Rdd som e d e ta il to th e s e a tb e lt, in c lu d in g th e seam.
Using m a tt a lu m in iu m , d e c o ra te th e s e a tb e lt buckle s.
H ig h lig h t th e b u ckle s bg p a in tin g th e edges w it h a lig h t e r tone.
In th e sam e w a g , p a in t th e cables and o th e r s m a ll ite m s .
Glue on th e re m a in in g p a rts th a t w e re p a in te d s e p a ra te lg e a r lie r and th is w ill c o m p le te th e c o c k p it.
Techniques
Use m a s k in g ta p e to p r o te c t th e c o n ta c t a re a s in th e lo w e r p a r t o f th e fu se la ge .
M a sk o f f th e a d ja c e n t a re a s to re d u ce th e c o c k p it p a rt.
P a in t a base c o a t th e sam e c o lo u r as th e c o c k p it.
R fte r w a itin g f o r e u e ry th in g to d ry, re m ou e th e p ro te c tiu e m a s k in g tape.
Using a p la s tic p o in te r, a p p ly a s m a ll q u a n tity o f s u p e rg lu e gel.
Fin the c o c k p it sides. UJith th e b a c k g ro u n d p a in te d th e sam e co lo u r, i t w ill p re u e n t th e p la s tic b e in g u isib le .
Use th in s u p e rg lu e to fix th e m a in p a rt, th e c a p illa ry a c tio n o f th is u ltr a - r u n n y g lu e w ill e n su re th a t i t re a ch e s a ll th e p a rts .
Glue in th e f r o n t in s tru m e n t p a n e l and th e c o c k p it is c o m p le te .
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Techniques
12.4
Houj do I paint a modern aircraft seat made of resin? Modem aircraft seats have so many details that they are almost complete scale models in themselves.
R fte r g lu in g th e s e a t o n to a h a n d lin g s tic k , g iu e i t a c o a t o f base co lo u r.
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W ith th e base c o a t o f m e d iu m g re y , a p p ly any s h a d o w in g u /ith d a rk g re y r a t h e r th a n bla ck. This w ill p re u e n t a n y h a rd c o n tra s ts .
W ith th e h a n d lin g s tic k g lu e d to th e s e a t base i t a llo w s th e b e s t a n g le s to be a d o p te d w h e n a p p ly in g p a in t.
The s e a t q u iltin g is p a in te d in a g re e n tone.
R cce n tu a te th e u o lu m e o f th e s e a tb e lts b y o u tlin in g th e m w it h b la ck.
Using th e a irb ru s h , a p p ly som e h ig h lig h ts on th e q u iltin g .
P a in t lin e s w it h a p a in tb ru s h to s im u la te th e crea se s on th e q u iltin g .
Techniques
Giue th e s e a tb e lts a c o a t o f base co lo u r.
C o m plete th e s e a tb e lts b y p a in tin g d e ta ils to s im u la te te x tu re and m e ta l p a rts .
Using th e sam e base c o lo u r as th e q u iltin g , p a in t th e po u che s on th e sides.
O u tlin e th e p ouch d e ta ils in b la ck.
The la b e ls a re p a in t b ru s h e d on. F irs t, g iu e th e m a c o a t o f the b o t t le ’s base co lo u r. To m a ke re a lis tic la b e ls, f ir s t p a in t one lin e a n d th e n c u t a cro ss i t w it h th e base c o lo u r in u e ry fin e tra n s u e rs e s tro k e s . By d o in g th is th e s m a ll sq u a re s th a t w ill re s e m b le lin e s o f te x t.
Rdd th e in s tru c tio n la b e ls to th e b o ttle and s t a r t to b rin g o u t th e s e a t side d e ta ils b y h ig h lig h tin g w h e re n e c e s s a ry u sin g a p a in tb ru s h .
H fte r p a in tin g th e m e ta l d e ta ils , th e s e a t is c o m p le te .
F in a lly, p a in t th e s e a t e je c tio n m e ch a n ism s e p a ra te ly .
Techniques
On th e re a r, th e d e ta ils hau e bee n p a in te d u sin g th e o u tlin in g te ch n iq u e s h o w n e a r lie r a n d a p p lg h ig h lig h ts , b o th w it h a p a in tb ru s h .
The s e a t m o d e l th a t has been used f o r th is c h a p te r is an a ire s re s in 1:32 scale Rees I I se a t.
13. PAINTING THE WHEEL WELLS 13.1 Horn do I paint and weather the u/heel wells?
To p a in t th e w h e e l w e lls o f th is B f 1B9, b e g in bg a p p ly in g a c o a t o f base c o lo u r to th e a ir c r a f t ’s u n d ersid e s.
Once th is c o a t is d ry, p re c is e ly m a sk o f f th e edges o f the bays.
Techniques
Using s m a ll p ie ce s o f m a s k in g ta p e g ra d u a llg e x p a n d the a re a co u e re d so th a t th e re is no d a n g e r o f s p o ilin g th e base co lo u r.
W ith an a irb ru s h , a p p lg th e base c o lo u r to th e in t e r io r o f th e bags.
R fte r a llo w in g the base c o lo u r to d rg fo r aro u n d th re e hours, a cce n tu a te the edges o f the ra is e d d e ta ils using an hb le a d pencil. The p e n c il lin e s w ill a c t as an o u t lin e r, th e re b g re in fo rc in g the e ffe c t o f shadow . In th is case, i t is b e tte r to use a p e n cil r a th e r than a p a in tb ru s h , as the d e ta ils are h a rd to reach.
Using m a tt b la ck, add som e sh a d o w in g to th e lin e s th a t w e re m ad e u sin g th e p e n cil. The a irb ru s h w ill e lim in a te a n y sh in e p e n c il’s lead, w h ile c re a tin g an e f f e c t u e ry lik e th a t o f o u tlin in g w it h a p a in tb ru s h .
B e tw e e n th e s h a d o w e d areas, a p p lg som e h ig h lig h ts u sin g som e lig h te n e d base co lo u r.
R etouch th e edges w it h th e lig h te n e d base co lo u r. To g e t th e b e s t r e s u lt w it h th e p a in tb ru s h , a m ix tu r e w a s m ade o f e q u a l p a rts a c ry lic p a in t.
Rs a fin a l ste p , som e s m a ll b a re p a tc h e s w e re a d ded in th e w e ll’s in te rio r . R fte r re m o u in g th e m asks, th is p ro ce s s w a s c o m p le te . Rs th e base c o lo u r o f th e a ir c r a f t ’s u n d e rsid e s has a lre a d y been p a in te d in th is area, i t does n o t n e e d to be co u e re d w it h a n y m asking .
Techniques
I f th e w h e e l w e lls w e re su p p lie d as in d e p e n d e n t p a rts , te c h n iq u e s can be d e u e lo p e d f o r p a in tin g th e m th a t w ill re a c h th e d e ta ils w it h g r e a te r ease.
F irs t, p a in t th e base c o a t and w a it f o r i t to hard e n .
F or w o rk in g on th e cables and w irin g , f ir s t p a in t th e m bla ck.
UJhile d o in g th is, i f th e y e llo w to n e is a c c id e n ta lly o u e rp a in te d i t can be re to u c h e d u sin g a p a in tb ru s h and a s im ila r a c ry lic m ix tu re .
Hs th e base c o a t is lig h t, use u e rg d a rk g re y f o r sh a d o w in g . Doing th is w ill h id e a ll tra c e s o f re to u c h in g .
Only p a in t th e to p o f th e cables a n d w ir in g b y d o in g th is, th e b la c k base w ill a c t as an o u t lin e r and th e ca b le w ill a p p e a r th in n e r and m o re in scale.
H pply th e lig h te n e d base c o lo u r m ix tu r e to th e ra is e d d e ta ils , such as th e riu e ts .
The w o r k o f s h a d o w in g a n d th e e ffe c ts o f the h ig h lig h ts m ake s th e w h e e l e ll d e ta ils s h o w in c re a s e d r e lie f.
Techniques
14. ASSEMBLING AND DETAILING ENGINES 14.1
Howdo I clean up the engines without damaging the detail?
E lim in a tin g m o u ld lin e s th a t u s u a lly a p p e a r on a r a d ia l e n g in e h e lp s to e n su re th a t w ill haue a m o re re a lis tic fin a l app ea ra n ce . In e u ita b ly , a m o u ld lin e m ill a p p e a r on the d e lic a te c y lin d e r h e a d c o o lin g fin s , th u s c o m p lic a tin g th e re m o u a l pro ce ss.
Rem ouing these m o u ld lin e s w ill re q u ire some 8 0 0 -g ra in sandpaper. This can be fo u nd in m o s t iro n m o n g e rs and is so m e w h a t h a rd e r than the Tamiya one and b e tte r fo r th is process.
R f la t file and a p a in tb ru s h f o r re m o u in g a n y d u s t a re th e o th e r to o ls re q u ire d .
Slide th e edge o f th e s a n d p a p e r b e tw e e n th e b la d e s a n d g e n tly re m o u e th e m o u ld lin e .
The s a n d p a p e r edges q u ic k ly w e a r o u t. W hen i t does, s im p ly c u t o f f a fe w m illim e tr e s w it h th e scissors.
Use th e p a in tb ru s h to re m o u e a n y sa n d in g re s id u e fro m b e tw e e n th e blades.
R etouch th e c y lin d e r heads w it h th e f la t file .
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Techniques
E lim in a te a n y s tr ia tio n s m ade b y th e file iv it h th e sa n dpaper.
F or th e n e x t p ro ce sse s, th e e n yin e w ill n e e d to be h e ld on a h a n d lin y s tic k .
By a p p ly in g som e p o ly s ty re n e liq u id glue, a n y s m a ll s c ra tc h e s re m a in in g b e tw e e n th e b lades can be re m o u e d a n d i t w ill s o fte n th e shapes.
Using th e p o in t o f a blade, re m o u e the m o u ld lin e s fro m th e u a lu e g e a r p u sh ro d s.
Bs w it h th e c y lin d e rs , use th e liq u id g lu e to im p ro u e th e s u rfa c e s .
F in a lly, le a u e th e g lu e to d ry f o r a fe w h ours.
Î4.2
Hoivdo I detail an engine?
th e m o s t com m on d e ta il u s u a lly m is s in g fro m r a d ia l e n g in es is th e ig n itio n w irin g . To m a ke it, b e g in b y m a rk in g d r ill h o le s w it h a needle.
Techniques
Using a 0.4 m m d r ill b it, m a ke som e s m a ll h o le s u sin g as a g u id e th e p o in ts m a rk e d w it h th e n eedle.
To s im u la te ig n itio n cables, use 0.15 m m c o p p e r w ir e th a t is e a sy to o b ta in in a n y g o o d e le c tric a l s u p p lie s shop.
To im p ro u e th e m a lle a b ilitg o f th e c o p p e r w ire , h e a t i t w it h a lig h te r. Doing th is w ill re m o u e ang p ro te c tiu e u a rn is h c o a t w h ile also a n n e a l lin g it, th u s im p ro u in g it s m a lle a b ility and also m a ke i t e a s ie r to glue. In a d d itio n , i t w ill re m a in m a tt and th e p a in t w ill a d h e re b e tte r .
Clean th e s o o t fro m th e w ir e w it h p a p e r to p re v e n t i t s ta in in g a n y s u rro u n d in g p a rt.
Use tw e e z e rs to shape th e w ire s and a d a p t th e m to th e e n g in e a lth o u g h , a t th is tim e , o n ly te s t th e m f o r f it . R fte rw a rd s , ta k e th e m o f f and ke e p th e m sa fe , as th e y w ill o n ly be g lu e d on a f t e r the e n g in e has been p a in te d .
15. PAINTING ENGINES
15.1 Hour do I paint a radial engine?
Give th e e n g in e a base c o a t o f Tam iya m a tt a lu m in iu m enam el.
Techniques
W hen the a lu m in iu m p a in t has c o m p le te ly d ried , g iu e th e e n g in e a w a s h o f m a tt b la ck.
Using th e sam e base co lo u r, lo a d a f la t p a in tb ru s h w it h it, as th e e n g in e n o w has to be d ry b ru sh e d .
Rem oue m o s t o f th e p a in t on som e p a p e r o r a sponge.
Now, lig h t ly b ru sh th e p a in tb ru s h o u e r th e engine, p re s s in g lig h tly to a u o id lif t in g th e base p a in t a lo n g the edges.
I f a d if f e r e n t to n e is re q u ire d a ro u n d th e base o f the c y lin d e rs , use an a irb ru s h and a p p ly som e d a rk b ro w n sh a d o w in g .
P a in t th e c ro w n o f th e u a lu e g e a r co u e rs w it h a base c o lo u r o f m e d iu m g re y.
Using th e p a in tb ru s h b e g in p a in tin g th e d if f e r e n t d e ta ils .
O u tlin e w it h b la c k m a tt.
Techniques
D uring th e o u tlin in g phase, also a p p lg som e s h a d o w in g u sin g u e rg d a rk g re y.
P a in t th e u a lu e g e a r p u sh ro d s m a tt b la ck.
W ith m a tt a lu m in iu m and a u e rg d ry p a in tb ru s h , add a m e ta llic sh in e to th e p u sh ro d s.
To e m p h a size th e e n g in e b o lts , f ir s t p a in t th e m b la c k and th e n g iu e th e m a lit t le to u ch o f u e rg lig h t g re y.
The tw o m a in e n g in e p a rts a re c o m p le te .
Glue th e u a lu e g e a r co u e rs o n to th e e n g in e a n d th e n g lu e th e ig n itio n cables th a t w e re m ade e a rlie r.
P a in t th e ig n itio n ca b le s w it h a fin e tip p e d p a in tb ru s h .
The e n g in e is n o w re a d y to be m o u n te d o n to th e m odel.
Techniques
ASSEMBLY AND TREATMENT OF SURFACES
16. JO INED PANELS AND SURFACES 16.1 How do I eliminate a panel line or a surface scratch? Quite often an incised line or accidental scratch must be removed. If this is done correctly it will ensure that the repair becomes invisible once it has been painted.
B co m m o n e « a m p le is e lim in a tin g p a n e l lin e s.
o
Using a h e a t- s tr e tc h e d sp ru e p o in te r, a p p lg som e s u p e rg lu e a lo n g th e in c is e d lin e u n t il i t is c o m p le te lg fille d in. S uperglue w o rk s m uch b e t t e r th a n fille r , as i t d rie s m uch fa s te r, is s tro n g e r, and does n o t e u a p o ra te .
Once th e s u p e rg lu e has d rie d , sa n d the a re a s m o o th w it h 10B B -grain s a n d p a p e r to a u o id s c ra tc h in g th e s u rfa c e .
Using a s t i f f b r is tle d p a in tb ru s h , cle a n o f f a n y re s id u e fro m th e p la s tic .
P olish th e s u rfa c e w it h a p ie ce o f t o ile t p a p e r.
F in a lly, g iu e th e re p a ire d a re a a c o a t o f p a in t. This s h o u ld be a d a rk m a tt c o lo u r th a t w ill re u e a l a n y d e fe c t in v is ib le to th e eye no m a t t e r h o w s m a ll i t m a y be. R fte r ch e ckin g , re m o v e th e p a in t w it h alco h o l.
Techniques
16.2 U)hy repeat the riuets? Repeating rivets is another technique for detailing scale models that, in recent years, has gained promi nence. Rivets add realism to a scale model, although there is a need for a cautious approach when repro ducing them. If they are too large, the effect will be at odds to what is sought. Personally, I believe that the riveting techniques add attractiveness to scale models, although this is not to infer that scale models without them are inferior or incomplete.
16.3 How do I make a
riuetwith
a serrated ring tool?
A riveting tool allows the speedy creation of panel lines, however this tool also has its disadvantages. If a mistake is made while marking a line, it will be very difficult to eliminate.
To o b ta in a r e a lis tic a p p ea ra n ce , a p la n o r d ia g ra m s h o w in g th e a c tu a l p o s itio n o f th e r iu e t lin e s m u s t f ir s t be c lo se lg stu d ie d .
Using a s e t o f d iu id e rs , tr a n s fe r th e p o s itio n s o f th e r iu e t lin e s fro m th e p la n o r d ia g ra m o n to th e s u rfa c e o f th e m odel.
C onnect th e s t a r t a n d fin is h lin e s w it h a s tr ip o f m a s k in g tape, th is w ill se ru e as a re fe re n c e p o in t a n d a g u id e f o r m a k in g th e lin e .
To p re v e n t an a p e rtu re c o in c id in g w it h a p a n e l lin e , p r o te c t th e m w it h a p ie ce o f m a s k in g tape. Once p ra c tic e has b ro u g h t w it h i t s u ffic ie n t c o n fid e n ce , p a n e l lin e s can be c o m p le te d m uch q u icke r.
W h ile fir m lg h o ld in g th e p a r t to be w o rk e d , a p p lg th e w h e e l w h ile u sin g th e ta p e as a g uide.
o
Tmctmtques
The h u e tin g to o l le a u e s a s m a ll b u lg e a ro u n d th e riu e ts . These can be le f t (th e g a re n o t u e rg n o tic e a b le ) o r th e y can be s a n d ed to m a ke th e r iu e ts le u e l w it h th e s u rfa c e .
B e fo re sa n d in g th e r iu e te d s u rfa c e s , f ir s t p r o te c t a n y ra is e d d e ta il to p re u e n t th e m b e in g dam aged, in th is case the s im u la te d ra is e d rib s o f a c lo th s u rfa c e haue been p ro te c te d .
/ /
Use 1BBB g ra in sa n d p a p e r to sand th e r iu e te d s u rfa ce s.
The p h o to g ra p h sh o w s th e h o le s s im u la tin g th e riu e ts . The re s id u a l d u s t has n o t been re m o u e d so th a t th e r iu e ts can be seen m o re e a s ily .
Rem oue th e d u s t fro m in s id e th e h o le s u sin g a s t i f f b r is tle d p a in tb ru s h .
16.4 Hout do / make a riuet with a needle? Reproducing rivets using a needle has its pros and cons. Among the advantages is that, generally, it is relatively easy to do as the process is quite slow, which allows better control although it is precisely the slow speed of the process that represents one of its drawbacks.
To e n s u re th a t th e h o le s a re r e g u la rly d is trib u te d , m a rk o f f a p ie c e o f p a p e r in m illim e te r s and use i t as a re fe re n c e to o b ta in a u n ifo rm s e p a ra tio n .
Techniques
By u sin g as a re fe re n c e a n y a u a il a b le p la n s o r d ia g ra m s o f a c tu a l a ir c r a ft, m a k e m a rk s to in d ic a te th e p e rfo r a tio n lin e s s im ila r to th o se on a f u ll- s iz e a ir c r a ft. By p o s itio n in g th e s te n c il a n d r e ta in in g i t in p o s itio n a lo n g th e re fe re n c e m a rk s w it h m a s k in g tape, th e s t a r t a n d fin is h p o in ts w ill be e s ta b lis h e d f o r m a k in g th e lin e s.
16.5
Lock a s e w in g n e e d le in to an H -a c to handle, and th e n b y p re s s in g w it h th is to o l, th e h o le s can be m ade one b y one. Be e s p e c ia lly c a re fu l to a p p ly a u n ifo rm p re s s u re so th a t th e r iu e t d ia m e te rs a re id e n tic a l.
Howdo I close a fuselage join? Any part joined using superglue will set much quicker than those joined with polystyrene Cement. In addition, superglue not only seals the joints but also acts as a filler.
Using a b lade, sp re a d th e liq u id s u p e rg lu e o n to one o f th e s u rfa c e s to be jo in e d .
Close th e fu s e la g e b y a p p ly in g th e a d h esiue to j u s t one side, be i t th e u p p e r o r lo w e r one. By d o in g th is, th e tw o h a lv e s o f th e fu s e la g e a re m o re e a s ily a lig n e d . Use a b la d e as a w e d g e to open a n y p a r t o f th e jo in th a t has n o t been g lu e d a n d f i l l it.
Seal th e e u te rn a l a re a o f th e jo in w it h a ‘s t r in g ’ o f s u p e rg lu e a p p lie d w it h th e blade.
o
Techniques
16.6 U/hat is “P u tty ” and how do I use it?
P u tty , o r f ille r is a p ro d u c t th a t is p e rh a p s one o f th e m o s t u s e fu l in th e m o d e le rs ’ a rm o u ry . I t a llo w s us to f i l l holes, c o rre c t m o u ld in y fla w s , r e p a ir d e fe c tiu e jo in t s , e tc. Mr. S u rfa c e r liq u id p u t t y is so ld in a n u m b e r o f d if f e r e n t te x tu re s and is id e a l f o r f illin g s m a ll jo in s as i t can be e a s ily a p p lie d w it h a p a in tb ru s h .
F or p ra c tic e , le t us c o rre c t a b le m ish on a c ir c u la r m o u ld in g , th is d e fe c t is q u ite com m on on scale m odels.
Using a cu ru e d b lade, ta k e a s m a ll q u a n tity o f p u t t y d ir e c tly fro m th e tube.
Spread th e p u t t y o n to th e b le m is h u n til i t has been c o m p le te ly co ve re d . Rs th is p ro d u c t e v a p o ra te s as i t d rie s, th e p ro c e s s m ig h t h a ve to be re p e a te d to c o v e r th e b le m is h c o m p le te ly .
R fte r w a itin g a ro u n d tw o h o u rs f o r th e p u t t y to d ry, sand i t w it h 888 g ra in sa n d p a p e r m o is te n e d w it h w a t e r to re m o v e a n y e xce ss p u t t y a n d le v e l th e s u rfa c e .
The b le m ish w ill be in v is ib le u n d e r a n y s u b se q u e n t p a in tin g .
Techniques
Mr. S u rfa c e r liq u id p u t t y is a p p lie d u sin g an a c ry lic b ris tle d p a in tb ru s h . Rs w it h th e p re u io u s ly d e s c rib e d p u tty , th is one a lso e u a p o ra te s so i t is n e c e s s a ry to w a it u n t il th e f ir s t c o a t d rie s b e fo re a p p ly in g the n e x t one. Once d ry, sand th e s u rfa c e u sin g th e sam e pro ce ss.
Use a lc o h o l to cle a n th e p a in tb ru s h .
16.7 Horn do I sand and ufhat are the best sandpapers?
High q u a lity s a n d pa p e rs can be fo u n d in a n y g o o d iro n m o n g e rs , h o w e u e r i f th e u e ry b e s t is re q u ire d , th e re a re som e e x c e lle n t s e ts au a il a b le fro m Tamiya.
Rs a p re c a u tio n , and b e fo re s ta r tin g a sa n d in g jo b on an a re a o f a n y scale m o d e l c o n ta in in g p a rts a lre a d y w o r k e d on, th e y w ill haue to be p ro te c te d to p re v e n t d am age ca u se d b y the p la s tic d u s t m ix e d w it h w a t e r le f t b y th e sa n dpaper.
D ipping 8BB g ra in o r h ig h e r s a n d p a p e r in w a t e r w ill a llo w w o r k w ith o u t le a u in g deep s c ra tc h e s on th e s u rfa ce . P ut th e s a n d p a p e r in to som e w a t e r a n d th e n re m o v e m o s t o f th e m o is tu re o n to a p ie ce o f p a p e r, le a v in g th e sa n d in g sid e o f the p a p e r s lig h tly dam p.
W hen sa n d in g a f la t s u rfa c e , f ir s t sa n d in th e d ire c tio n o f th e jo in lin e and th e n a lte rn a te w it h tra n s v e rs e m o v e m e n ts . This w ill g e t th e jo b done m uch fa s te r.
o
Techniques
UJhen sa n d in g a c u ru e d s u rfa c e i t is b e t t e r to sand o n ly w it h tra n s u e rs e m o u e m e n ts to a u o id c re a tin g f la t a re a s on th e jo in .
The re s id u e o f p la s tic m in e d w it h w a t e r se ru e s to in d ic a te th e s ta te o f the p a n e l lin e s.
F or re m o u in g th e p la s tic d u st, use a s t i f f b r is tle d p a in tb ru s h .
16.8 LUhat do I use to scribe panel lines?
R fte r sa n d in g, som e o f th e p a n e l lin e s w ill haue d isa p p e a re d . To re -s c rib e them , to o ls such as n e e d le s a n d s c rib e rs m u s t be used.
R n e e d le is b e t t e r f o r re p la c in g a cu ru e d lin e , w h e re a s th e s c rib e r w o rk s u e ry w e ll f o r s tr a ig h t lin e s.
W hen s c rib in g w it h a n e e d le i t is b e t t e r to a p p ly ju s t a li t t l e p re s s u re a t th e s t a r t to o b ta in the in it ia l curue.
Once th e in it ia l cu ru e has been e s ta b lis h e d , i t can be d e e pe n e d b y a p p ly in g a lit t le m o re p re ssu re .
Techniques
When s c rib in g w it h th e n e e dle, s ttia ll rid g e s w ill a p p e a r on b o th sid e s th a t w ill n e e d to be re m o u e d w it h sa n dpaper.
S te n cils a re a n e c e s s a ry ite m f o r p re c is e scrib in g . R 8 .2m m th ic k tin s h e e t, c u t in to s m a ll s e ctio n s, w ill e a s ily b e n d ro u n d o r o u e r m o s t s u rfa c e s and se ru e as a s te n c il.
F or c u ru e d shapes, b e n d th e tin s te n c il and h o ld i t s te a d y w it h m a s k in g tape.
Rs w it h th e nee dle, i t is b e t t e r to f ir s t p re ss s lig h tly and p ro g re s s iu e ly o b ta in th e lin e .
R fte r s c rib in g th e lin e s, s m o o th th e s u rfa c e w it h sa n dpaper.
16.9 How do I cut flying surfaces to create an effect of motion?
S e p a ra tin g fly in g s u rfa c e s , such as a ile ro n s , fla p s, ru d d e rs and e le u a to rs , and re p o s itio n in g th e m in a d if f e r e n t p o s itio n is a p ro c e s s th a t adds re a lis m to a sca le m odel. Begin b y re m o u in g th e s u rfa c e w it h a n e w tr ia n g u la r blade.
Slide th e b la d e g e n tly a lo n g th e e tc h e d lin e th a t d e lin e a te s th e s u rfa c e .
6
M a k in g p ro g re s s iv e passes w ill p ro g re s s iu e lg deepen th e cu t, w o rk in g fro m b o th sides u n til th e c u t is n e a rly th ro u g h .
Then, b y p re s s in g lig h t ly w it h o u r fin g e rs , th e fly in g s u rfa c e w ill se p a ra te ,
Doing i t in th is w a y w ill e n su re a cle a n s e p a ra tio n .
Clean up a n y im p e rfe c tio n s r e s u ltin g fro m th e cut.
Using a f la t file , s m o o th th e s u rfa c e .
Using an H -U cto s a w m a ke a c u t a p p ro x im a te ly 2 m m deep on the edge o f th e s u rfa c e .
This u - c u t w ill a cco m m o d a te th e n e w fo rw a r d edge th a t w ill be m ade on th e fly in g s u rfa c e .
©
Techniques
Cut a s e c tio n o f e u e rg re e n p la s tic o u tlin e .
Glue the p la s tic s e c tio n a long th e edge o f the flg in g s u rfa c e .
Begin ro u n d in g th e p la s tic s e ctio n .
P e rfe c t th e shape w it h a file .
S an d p a p er th e edge so th a t i t is in te g ra te d c o m p le te ly in to th e fly in g s u rfa c e .
F it the n e w cu ru e d edge b a c k in to the o p e n in g and se a l th e jo i n t w it h ta m iy a ’s e x t r a - t h in liq u id glue.
F in a lly , g lu e th e s ta b iliz e rs o n to th e a ir c r a f t ’s fu se la g e .
Bn im p o r ta n t a s s e m b ly d e ta il is to m a ke su re th e jo in s th a t re m a in u is ib le a re co u e re d w h e n th e fly in g s u rfa c e s a re re - in s ta lle d .
This d e ta il also te n ds to be seen w h e n th e fla p s a re fitte d .
To c o u e r th e se up, ta k e som e p ie ce s o f c a rd b o a rd p ie ce s and use th e m to m a ke a s te n c il a n d t r a n s fe r th e shape o n to a p ie ce o f p la s tic a rd o f the c o rre c t th ick n e s s .
R fte r th e y haue bee n d ra w n , c u t th e m o u t w it h th e blade.
Using e n tr a - th in liq u id glue, a tta c h th e m to th e jo in .
This sim p le s o lu tio n w ill so lu e an im p o rta n t, a e s th e tic a lly p ro b le m a tic d e ta il.
Techniques
PAINTING TECHNIQUES 17. PROTECTING PRE-PAINTED AREAS 17.1 Hout do I apply a mask to protect a pre-painted area?
C losing th e c o c k p it w it h a s o lid m a s k w ill p re u e n t p a in t f ilt e r in g in to i t fro m th e o u tsid e . Begin bg c o u e rin g th e c o c k p it w it h s m a ll sq u a re s o f m a s k in g ta p e a tta c h e d to th e edges.
Bg su p e rim p o s in g som e la r g e r pieces, th e c o c k p it’s c e n tre can be closed.
To a u o id d a m a g in g th e fr a g ile p h o to e tc h e d In s tru m e n t p a n e l bg a tta c h in g m a s k in g ta p e to it , f ir s t c o u e r i t w it h a p ie ce o f p a p er.
B tta c h som e ta p e to th e p ie ce o f p a p e r and c o m p le te lg clo se th e c o c k p it.
17.2 How do I seal the mask? If the masking is only to be used for a short period, the masking tape’s own adhesive will be sufficient. However, if it is to remain on the model for some con siderable time, the adhesive might dry out and become unstuck, leaving the area unprotected. To avoid this risk, apply some white pva glue to the covered area. Using a paintbrush spread a thin coat of diluted pva glue onto the tape. When it dries, the masking will not move. The white glue will maintain the unity of the pieces of tape, and when it comes time to remove the mask it will come off as a single piece.
Techniques
17.3
W hat precautions do I need to take with the mask? M a s k in g o f f is n e c e s s a ry to p re u e n t a n y su b se q u e n t p a in t jo b fro m e n cro a ch in g o n to p a rts a lre a d y p a in te d o n to o th e r p a rts th a t do n o t re q u ire p a in tin g .
I t is u e ry im p o r ta n t to p r o te c t th e jo in a re a s o r f it t in g p o in ts f o r p a rts th a t a re to be g lu e d a f t e r p a in tin g has been done. I f th e se jo in s o r f it t in g p o in ts g e t p a in t on them , g lu e w ill n o t w o r k p ro p e rly and th e u n io n s w ill be in se cu re .
18. BEFORE APPLYING PAINT 18.1 References for authentic colours. Much of a model’s realism is obtained by being painted in the same colour as that found on the full size aircraft. A number of publications are available containing actual examples of the colours and these allow us to compare the paints used. The publications providing us with this important tool include the federal standard, monogram editions, etc. The internet is also an important colour source but it must be remembered that the colours themselves are conditioned by what the monitor screen is able to reproduce.
18.2 How do I choose the appropriate paints? Today, manufacturers of paints for scale models tend to produce two distinct product lines, enamels and acrylics, with each type having its fans and detractors. I believe that each modeler must experiment and decide what type of paint suits his/her and gives the best result. Personally, except for metallic colours, I prefer acrylics. The gunze sangyo range includes colours whose references are based on accepted colour norms such as rim or federal standard. A disadvantage of these is that some of the colours are only produced in gloss or semi-gloss finishes, that somewhat complicates their use. Tamiya’s acrilica range does not have a wide range of referenced colours, but the fineness of their grain makes them my favorite; diluted with common 96°-pharmacy alcohol, they allow the creation of very subtle paint effects. Both types of paint are toxic, which makes imperative the use of a mask when painting.
Techniques
Whyis it important to avoid handling already painted areas?
18.3
In te n s iv e h a n d lin g o f a re a s a lre a d y p a in te d can dam age th e p a in t, w it h g lo s s y a re a s a p p e a rin g in th e w ro n g p la ce s o r euen b e co m in g scra tch e d . There a re a n u m b e r o f w a y s o f h a n d lin g a m o d e l and also a v o id d a m a g in g th e p a in t. L a te x g lo u e s a re u se fu l, b u t u sin g th e m can be in c o n v e n ie n t and th e p a in t bases do n o t a lw a y s le a v e th e s u rfa c e s in th e b e s t c o n d itio n , ft s im p le m e th o d is to use a h a n d le m ade fro m a p ie c e o f p la s tic ‘b u b b le w r a p ’. This is a q u ilte d m a te r ia l and re s is ts slip p in g , so th a t th e scale m o d e l can be h e ld s e c u re ly w it h o u t d a m a g in g th e p a in t.
By h o ld in g th e m o d e l b y it s w in g tip s, th e le n g th y p ro ce ss o f p a in tin g can be e a s ily c a rrie d o u t, m o v in g th e m o d e l a ro u n d as re q u ire d w ith o u t any d a n g e r o f i t b e in g dro p p e d .
18.4 To avoid handling, where do I begin painting the model? Usually, the fuselage is the part of the model that requires the most time painting. This part is also the hardest to airbrush in a comfortable position. I belie ve that painting the fuselage first is the best way for ward as, by handling the model by the wing tips, it can be easily turned and moved as much as requi red.
To p re v e n t th e a p p e a ra n ce o f a d e m a rc a tio n lin e b e tw e e n th o se a re a s th a t h a ve been p a in te d and th o se th a t re q u ire p a in tin g , a lw a y s p a in t to a s p e c ific p a n e l lin e .
W h ile p a in tin g th e u n d e rsid e s, h o ld th e m o d e l b y th e to p o f th e fu s e la g e , w h ic h has n o t y e t been p a in te d . The b u b b le w ra p w ill p re v e n t a n y d ir t o r s w e a t fro m o u r hands fro m g e ttin g o n to th e m odel.
On c o m p le tio n o f th e lo w e r c e n tra l p a rt, b e g in p a in tin g th e r e s t o f th e fu se la g e , h o ld in g th e m o d e l h e ld its w in g tips.
19. MASKS FOR DELINEATING OUTLINES AND EDGES 19.1 Ulhat types of edges can I obtain using different masks? The types of edges that can be achieved using diffe rent masks are hard, semi-hard and soft.
D e lin e a tin g th e c o lo u rs o f th is g e rm a n s p lin te r c a m o u fla g e has been done bg g lu in g th e m a s k d ir e c tly o n to th e s u rfa c e th e re b y c re a tin g h a rd lin e s. The d iffu s e d d e lin e a tio n lin e s o f th e u n d u la tin g c a m o u fla g e on th is S p itfire has been m ade u sin g m asks th a t a llo w som e o f th e p a in t s p ra y to pass u n d e rn e a th , th u s c re a tin g a s e m i-h a rd edge. On th is Ruenger, th e lin e s o f d e lin e a tio n w e re m ade b y h o ld in g th e a irb ru s h a w a y fro m th e s u rfa c e . The s p ra y d e lin e a tin g th e c o lo u rs is fu ll, th u s c re a tin g a s o ft edge.
19.2 How do I apply a mask to get a hard edge?
To o b ta in an edge th a t is clean, n a rr o w a n d ‘h a rd ’, f ir s t la y d o w n a th in s tr ip o f m a s k in g tape, w h ic h can be a d a p te d to the s u rfa c e s u n d u la tio n s and curues.
To p re u e n t th e p a in t le a k in g u n d e r o r a ro u n d th e m ask, e n te n d th e m a ske d a re a u sin g s m a ll p ie ce s o f ta p e a n d o u e rla p th e f ir s t s trip s .
Rdd m ore , la r g e r p ie ce s to e n la rg e th e m a ske d area.
Techniques
To p re u e n t th e base c o lo u r s h o w in g th ro u g h use a s o lid c o lo u r u n d e rc o a t, such as g re y . By usin g th is co lo u r, th o se shades th a t c o u e r p o o rly , such as y e llo w and red, w ill fin b e tte r.
R irb ru sh the y e llo w to n e and le t i t d ry f o r a co u p le o f h o u rs b e fo re re m o u in g the m ask.
The s tr ip e is p a in te d w it h a h a rd edge.
19.3 Hour do I apply a mask to get a semi-hard edge?
B lu -ta c k , th a t u s e fu l re u s a b le r u b b e r -lik e a d h esiue p u tty , can e a s ily be use d to m a ke a m a s k w it h a s e m i-h a rd edge. The m a in p re c a u tio n th a t has to be ta k e n in to a cco u n t is th a t som e o f th e se p u ttie s s ta in m a tt s u rfa c e s . I f th is p ro d u c t is to be used, te s t i t f ir s t on a s m a ll area.
Roll o u t som e s trip s o f a p p ro x im a te ly 3 -4 m m th ic k o n to a cle a n s u rfa c e .
Cut th e p ro d u c t w ith o u t to u c h in g i t w it h y o u r fin g e rs , to p re u e n t i t a b s o rb in g g re a se fro m th e skin.
Once th e s trip s haue been m ade, o n ly h a n d le th e m fro m th e top.
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Techniques
P re p a re th e s u rfa c e b y f ir s t a irb ru s h in g th e lig h te r to n e a n d a llo w in g i t to c o m p le te ly d ry.
P o s itio n th e b lu - ta c k s tr ip s o n to th e s u rfa c e , fo llo w in g th e lin e o f th e p ro p o s e d c a m o u fla g e schem e.
The m a s k e d a re a can be e n la rg e d w it h tape.
H irb ru sh th e d a rk co lo u r, k e e p in g th e a irb ru s h as n e a r 90 d e g re e s to th e s u rfa c e as p o ssib le .
Once th e p a in t has d rie d , re m o u e th e s trip s .
The ro u n d e d edge o f th e b lu - ta c k s tr ip s a llo w s th e s p ra y fro m th e a irb ru s h to lig h tly f ilt e r b e lo w , c re a tin g a d iffu s e d edge.
19.4 How do I obtain a soft edge? If we need to create a delineated edge that is even soft er than that produced using blu-tack rolls, then airbrush ing from a greater distance will do it. This technique requires practice before attempting to paint an actual surface, and doing so will allow you to become familiar with the paint flow and the airbrushing distance. In the example shown, tamiya acrylic paint has been used. To get the desired fine grain that will help to repro duce the effect of scale, the paint has been diluted with alcohol. The percentages of paint/alcohol are approxi mately 40% paint with 60% common 96°-pharmacy alcohol. Use a medium head on the airbrush and air brush at a pressure of 1 bar.
From a good distance, p a in t the d e lin e a tio n edges o f the cam ouflage.
Techniques
Using th e sam e m ix tu re , f i l l in the in te rn a l a reas, th e y can be c o u e re d c o m p le te ly o r th e base c o lo u r can be le f t p a r t ly u is ib le , th is la s t b e in g q u ite u s e fu l f o r som e typ e s o f ca m o u fla g e .
20.
AIRBRUSHINGFROM A DISTANCE
28.1 Houi do I make a stain or fleck? Painting flecks is one of the techniques that many modelers ask questions about. Its application was widespread for german camouflage during world war ii. Constant practice with the airbrush to the point of ease will help the modeler to apply this technique on scale models. To make flecks or dots, use a mixture of very light composition paint. For the example, a mixture of 20-25% tamiya acrylic with the remainder 96°alcohol was used at an air pressure of 1.10 bar. The distance of the airbrush from the paper is as shown, while the airbrush’s attitude with respect to the painting surface has to be as close as possible to 90 degrees.
B e fo re b e g in n in g , f ir s t ch e ck the te ch n iq u e b y a irb ru s h in g som e p o in ts . This m ill h e lp to assess and a d ju s t, i f n e ce ssa ry, th e flo w o f a ir and p a in t.
H fte r su cce e ding in m a k in g p o in ts w ith o u t a n y s p a tte r in g o r p a in t a c c u m u la tio n s , n e x t t r y e n la rg in g th e p o in t o u tw a rd s .
The n e x t s te p is to c re a te an ir re g u la r shape b e g in n in g fro m th e in it ia l p o in t.
Once th e te c h n iq u e has been m a s te re d , i t can be a p p lie d to th e m odel.
By u a ry in g th e c o m p o s itio n o f th e m ix tu re , i t is p o ssib le to re p ro d u c e fle c k s o f u a ry in g in te n s ity .
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Techniques
28.2
Horndo I make a fine or blurred line? Making fine lines with the airbrush is very useful when simulating, for example, exhaust stains or smoke on a model. By making a simple wrist movement, a line appears that has a visible start and a blurred end. The paint solutions are identical to those explained earlier in point 8.5 of the section dedicated to the first ques tions on the airbrush.
To r e s t r ic t th e s t a r t p o in t o f th e s tro k e use a p ie c e o f m a s k in g tape. Rt th e b e g in n in g o f the s tro k e , h o ld th e a irb ru s h c lo s e r to th e s u rfa c e .
M o v e th e a irb ru s h w it h an a rc in g m o tio n so th a t, w it h th e s e p a ra tio n o f th e lin e o f flo w , th e lin e w ill b lu r.
C o m bining u a rio u s to n e s and th ickn e sse s, re a lis tic ta rn is h in g e ffe c ts can be c re a te d .
21. SPECIAL FINISHES 21.1 Horn do I paint a simulated utood surface?
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C re a tin g a u is u a l e f f e c t th a t re s e m b le s w o o d is a te c h n iq u e th a t w ill be p u t in to p ra c tic e w h e n p a in tin g W o rld UJar I a ir c r a ft. The fu s e la g e s e c tio n is th e b e s t a re a fo r p ra c tic in g on.
R irb ru sh a w o o d base c o lo u r u sin g ta m ig a a crg lic s . The base m ix tu r e use d is m a tt g e l lo w w it h a s m a ll p e rc e n ta g e o f re d to c re a te an o ra n g e tone. To add sub tie tg to th is f ir s t m ix tu re , a s m a ll q u a n titg o f b ro w n can also be added.
Take a p ie c e o f g re a s e p ro o f p a p e r s o m e w h a t la r g e r th a n th e s u rfa c e th a t has been g iu e n a c o a t o f base c o lo u r. Then, c u t an ir r e g u la r lin e a lo n g the u p p e r edge.
Glue th e p a p e r m a s k to th e are a , h o ld in g i t in p la ce w it h m a s k in g tape.
Techniques
R fte r in c re a s in g th e p e rc e n ta g e o f b ro w n in th e base m ix tu re , p re p a re an a lc o h o l-d ilu te d m ix tu re , the a p p ro x im a te p e rc e n ta g e o f p a in t s h o u ld be a ro u n d 38-35% .
P ra c tic e th e lin e on a p ie c e o f p a p er.
R irb ru sh th e edge o f th e m ask.
Rem oue th e m a s k a n d assess th e e f f e c t o f the f ir s t lin e , w h ic h s h o u ld lo o k lik e w o o d g ra in .
R fte r a n u m b e r o f lin e s haue been p a in te d , r e - c u t th e edge o f th e m a s k to c re a te a s lig h tlg n e w p a tte rn .
P ro ce e d in th is w a g u n til th e p a n e l is co m p le te d .
Finallg, rem oue the m asks and u ie w the re s u lt. To p a in t the w h o le fuselage and c re a te a m ore co m p le x c h ro m a tic e ffe c t, tr y s lig h tly u a ry in g the base c o lo u r and the c o n tra s t o f the lines.
Techniques
21.2 Hout do I paint a bare metal surface? Applying metallic paints requires that the surface to be painted must be free of defects, as even the smallest mark or scratch will remain visible even after it had been painted. Masking metal surfaces can cause the paint to lift when removed. To reduce this problem, try to keep the masking tape’s contact surface as small as possible. Planning the application of metallic paint is paramount, as metal finishes deteriorate much more if over-handled.
Use 1508 g ra in , o r h ig h e r, sa n d p a p e r to re m o u e a n y s m a ll s u rfa c e b le m ish e s o r scra tch e s,
L ig h tly sa n d a ll th e s u rfa c e s , f ir s t w it h 1500 g ra in and th e n w it h 288 0 g ra in sa n d pa p e rs. Ind ee d , on e u e ry m odel, c a rry o u t th is p ro c e d u re a f t e r th e m o d e l has been assem bled, g lu e d a n d the jo in s sanded.
Using a th ic k p a in tb ru s h , re m o u e a n y re s id u e fro m sa n d in g o p e ra tio n th a t has a c c u m u la te d in th e p a n e l lin e s.
Upply th e ch ro m e s ilu e r, H-11, in th e sam e w a y as a p p ly in g a base c o a t; th e m ix tu r e p ro p o rtio n s a re 70% p a in t w it h th e re m a in d e r b e in g th e e n a m e l s o lu e n t fro m th e sam e m a n u fa c tu re r as th e p a in t.
R llo w th e p a in t to d ry f o r a p p ro x im a te ly tw o hours.
R e tra ce th e p a n e l lin e s u sin g d ilu te d a c ry lic .
Techniques
W hile m a rk in g th e p a n e l lin e s, i f th e p a in t s tra y s o u ts id e th e lin e use a c o tto n b u d to re m o u e it.
M e ta llic p a in ts a re e s p e c ia lly s e n s itiu e to m a s k in g ; th e p ig m e n ts q u ite o fte n com e a w a y w it h th e m a s k euen w h e n th e p a in t is d ry.
By p a in tin g w it h h ig h ly d ilu te d a c ry lic c o lo u rs on a n a tu r a l m e ta l fin is h tra n s p a re n c ie s can be c re a te d . Using w h ite w ill lig h te n w h ile u sin g b la c k w ill d a rke n , w h e re a s u sin g b lu e a n d b ro w n w ill c re a te tin ts th a t s im u la te th e c o lo u rs on th o se p a n e ls th a t a re clo se to a h e a t so u rce such as e n g in e e xh a u sts. To m in im iz e the e f f e c t o f m a s k in g o u e r th e base p a in t, use p a p e r and a tta c h i t to th e m o d e l’s s u rfa c e w it h s m a ll s tr ip s o f m a s k in g tape. By d o in g th is, i t w ill re d u ce th e a d h esiue s u rfa c e a re a in c o n ta c t w it h th e p a in t.
B d ju s t th e s tr ip o f m a s k in g ta p e to th e p a n e l lin e s ; th e p a p e r w ill in c re a s e th e a re a o f a n y m asking .
Using a h ig h ly d ilu te d p a in t m ix tu re , s im ila r to th a t use d fo r b lu rre d lin e s and, in th is case, w h ite p a in t to a irb ru s h th e p a n e l w it h an h o m o g e n e o us c o a t to lig h te n th e pa n el.
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Techniques
R llo w th e p a in t to d ry and re m o u e th e m ask.
I f th e tra n s p a re n c y d rie s to o m a tt, a f t e r i t is c o m p le te ly d ry i t can be s h in e d b y g e n tly ru b b in g i t w it h a li t t l e c o tto n sw ab.
R epeat th e p ro c e d u re u sin g d ilu te d b la c k to c re a te a d a rk e n e d s u rfa c e .
By co m b in in g th e c o lo u rs o f th e tra n s p a re n c ie s , p a n e ls o f s e u e ra l b rig h tn e s s ’s a n d shades can be c re a te d .
By fo llo w in g th is p ro c e d u re , th e n a tu r a l m e ta l s u rfa c e s ta k e on th e a p p e a ra n ce s im ila r to th a t o f a f u ll- s iz e a ir c r a ft. The to n a l u a ria tio n s a re p ro d u c e d b y d iffe re n c e s in a llo y s , re p a irs o r the e ffe c ts o f h e a t.
22. PANEL LINES 22.1 Why emphasize panel lines? Emphasizing the panel lines on model aircraft is complementary to the overall painting process and adds realism to the model. Panels may be highly empha sized, subtlety emphasized or not at all, and is a matter for the model maker’s personal choice. Personally, I prefer to mark the panels and enjoy to the same degree whether I do it with sub tleness or more intensively.
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Techniques
22.2 Hour do I emphasize the lines utith a pencil? Emphasizing panel lines with a pencil prevents them from being darkened when completing the painting process. Emphasized panel lines differentiate the sur faces, adding complexity to the model.
To e m p h a s iz e w it h a p e n c il, use a le a d s iz e o f 0.5 m m w it h a h a rd n e ss o f hb o r lo w e r, a n y th in g h ig h e r in th e hb se rie s haue b r ig h te r leads.
Sharpen th e le a d on a p ie c e o f 800 g ra in sa n d pa p e r, th is a llo w s i t to be in s e rte d in s id e th e p a n e l lin e .
This te ch n iq u e a llo w s e m p h a sis on p a n e ls th a t m a y be s h a llo w o r haue a d if f ic u lt shape.
This m e th o d is also a p p ro p ria te f o r e a s ily e m p h a s iz in g th e o u tlin e o f a n y ra is e d d e ta il.
0s the s tro k e can be e a s ily c o n tro lle d , i t can be a p p lie d o n to u e ry s m a ll shapes w h e re e m p h a s iz in g w it h a p a in tb ru s h w o u ld be ris k ie r.
22.3 Horn do
I emphasize the lines with a paintbrush?
Emphasizing lines using a paintbrush and acrylics is a technique that requires somewhat more practice than doing it with a pencil, as the stroke has to be handled with more control to avoid spilling the paint and creating rings. Over panels painted in lighter colours, brown shades can be used to mark the lines. With darker panels, use brown mixed with black.
The in it ia l p a in t c o m p o s itio n s h o u ld c o n ta in a p p ro x im a te ly 40% p a in t a n d 60% w a te r. Rn e x a m p le can be seen in th e p h o to g ra p h .
The m ix tu r e use d is a h ig h ly d ilu te d one and th e p a in tb ru s h is p re p a re d in e x a c tly th e sam e w a y as f o r d o in g o u tlin in g .
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T ecrtntques
In s e rt th e p a in tb ru s h in to th e p a n e l lin e w h e re th e h ig h ly d ilu te d n a tu re o f th e m ix tu r e w ill cause i t to flo w e a s ily , q u ic k ly d a rk e n in g th e p a n e l lin e .
W hen th e base c o lo u r is b la c k o r a n o th e r u e ry d a rk co lo u r, th e p ro ce ss is s im p ly re u e rs e d and a lig h t e r lin e is c re a te d u sin g g re y .
This te ch n iq u e a llo w s th e c o m b in a tio n o f u a rio u s to n es as a fu n c tio n o f th e base c o lo u r and o f th e a re a w h e re i t is a p p lie d ; f o r e xa m p le , in a re a s clo se to th e e ngine, e m p h a sis can be w it h a d a rk e r to n e to d if f e r e n t ia t e p e rm a n e n t p a n e ls fro m the th o se th a t can be re m o u e d fo r, say, m a in te n a n ce .
22.4 How do
I emphasize the lines with an airbrush?
The technique of emphasizing panel lines using an airbrush is appropriate for reinforcing the effect of movement of the flying surfaces. By applying the airbrush over a mask, a hard edge can be created to mark the line while, at the same time, a soft one is created that can blur with a few strokes.
F or a p p ly in g th is te ch n iq u e , use a u e ry s m a ll q u a n tity o f a c ry lic p a in t and, f o r e xa m p le , use u e ry d a rk b ro w n on lig h t e r c o lo u rs o r b la c k on th e d a rk e r ones.
The p a p e r re u e a ls th e m ix t u r e ’s co m p o s itio n ,
R p o s t - it n o te is u e ry g o o d to use as a m ask. Pass th e a irb ru s h a lo n g the p a p e r, th a t has been p o s itio n e d d ir e c tly a lo n g the p a n e l lin e , a n d i t w ill c re a te som e s h a d o w in g , th e e f f e c t can th e n be c o m p le te d w it h w r is t m o u e m e n ts to c re a te a ta rn is h e d lo o k th a t b e g in s r ig h t fro m th e lin e .
This p ro c e d u re re - c r e a te s q u ite w e ll th e ty p ic a l ta rn is h e d lo o k o f th e jo in lin e s on fly in g s u rfa c e s th a t a re co m m o n ly seen on a ir c r a ft.
Techniques
23. SHADOWS AND H IG H LIG H TS ON THE EXTERNAL PAINT
23.1 U/hat are shadou/s and highlights on scale model painting and what function do theg fulfil? The effects of highlight and shadow on the general painting of a scale model allows the creation of tonal differences to simulate the wear imposed on real aircraft as a consequence of friction with air, dirt or harsh climatic conditions.
23.2 How do I applg shadows and highlights?
W hen s h a d o w in g p a n e l lin e s th a t haue a lre a d y been e m p h a s iz e d w it h an a irb ru s h , a ta rn is h in g e f f e c t w ill be c re a te d on them . Use a u e ry lig h t p a in t m ix tu re , 5% p a in t d ilu te d w it h a lc o h o l w ill s u ffic e , w h e n a p p ly in g th e se sh a d ow s.
a p p ly in g th e se sh a d o w s ir r e g u la r ly on the p a n e ls ’ c e n tra l a re a s w ill c re a te a u a r ie ty o f to n es th a t r e in fo r c e th e e f f e c t o f p a in t ageing.
By a irb ru s h in g sh a d o w s on th e p a in te d d ecals o r n a tio n a l in s ig n ia w ill r e in fo r c e th e ir in te g ra tio n in to th e s u rro u n d in g p a in t.
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Techniques
Using sh a d ow s and h ig h lig h ts on th e base p a in t, th e a g e in g p ro ce ss u n d e rg o n e bg th e p a in t on som e a re a s can be s im u la te d . To g iu e the a p p e a ra n ce o f p a in t a b ra s io n p ro d u c e d bg g ro u n d c re w w a lk in g on th e w in g s , s t a r t bg a p p lg in g sh a d o w on a n d a ro u n d th e p a n e l lin e s.
Using a h ig h lg d ilu te d m ix tu r e o f th e base c o lo u r lig h te n e d w it h g re y , a p p ly th e h ig h lig h ts in th e in te rm e d ia te a re a s p ro d u c e d b y th e sh a d ow s.
R epeat th e s h a d o w in g p ro ce ss in a t o ta lly ir r e g u la r fo rm , im p a rtin g m u ltip le tin ts to th e base co lo u r.
F or a n y s u rfa c e th a t has e le m e n ts o f ra is e d d e ta il, th e se can be e n h an ce d b y a p ro ce ss o f s h a d o w in g on m asks.
P o s itio n a s m a ll s e c tio n o f m a s k in g ta p e on each ra is e d d e ta il.
On each s tr ip a irb ru s h a m ix tu r e o f m a tt b la c k a c ry lic h ig h ly d ilu te d w it h alco h o l.
R fte r re m o u in g th e m asks, i t can be seen h o w the sh a d o w in g enhances th e ra is e d rib a re a s o f th e fla p .
Techniques
23.3
Whatis pre-shading? Pre-shading is an alternative to shadowing panel lines. The difference with this technique is that it is applied before the base coat, and it is the consistency of the latter that produces the transparency.
F or a p p ly in g p re -s h a d in g , b la c k o r u e ry d a rk b ro w n can be use d a n d th e p a in t m ix tu r e m u s t p ro d u ce h a rd lin e s f o r th e m to be u is ib le u n d e r the base co a t.
Hirb ru s h th e p re -s h a d in g o n to th e p la s tic , a f t e r e n s u rin g th a t i t is d e u o id o f a n y im p u ritie s .
P a in t th e p a n e l lin e s, th u s c re a tin g a c o n s is te n t shadow .
F o llo w in g th e a p p lic a tio n o f th e base co a t, c h e ck to see i f the sh a d o w s th a t w e re a irb ru s h e d f ir s t a re s t ill u is ib le b e n e a th it. By ch a n g in g th e c o n s is te n c y o f th e base c o a t m ix tu r e w ill cause the e f f e c t to be g r e a te r o r le sse r.
24. SCRATCHES AND BARE PATCHES 24.1 What is the difference between a scratch and a bare patch and in what areas can I reproduce them? If one looks at photographs of actual and relatively common world war ii aircraft, it can be seen how the access panels around engines and equipment have been rubbed bare of paint, forming the now characteristic bare metal patches. This sort of bare metal effect is usually combined with other marks such as scratches. These, although they may not result in bare metal showing through, can change the colour of the paint and expose underlying coats that may be lighter or darker according to the amount of oxidation accumulating on them. Sometimes, inferior quality paint on the actual aircraft may produce effects of bare patches that extend across all the surfaces, not only those for access or maintenance.
24.2
Howdo I reproduce scratches and bare patches?
Scratches te n d to co m m o n ly o ccu r in a n u m b e r o f areas, e sp e cia lly aro u n d e q u ip m e n t access panels. Using d a rk base colours, th is e ffe c t can be sim u la te d using a m ix tu re o f m edium g re y colour, c re a tin g th in lines, p o in ts and irre g u la r shapes close to the p a n e l lines.
I t is im p o r ta n t to m a ke su re th a t a n y s c ra tc h e s do n o t c o n tra s t to o m uch w it h th e base c o lo u r base, th e y m u s t be v is ib le w ith o u t b e in g to o o b vio u s.
R m a tt m e ta llic p a in t s h o u ld be used to re p ro d u c e b a re p a tc h e s th a t le a v e th e base m e ta l v is ib le . T am iya’s m a tt a lu m in iu m enam el, lig h tly d ilu te d u sin g Tam iya s o lv e n t, is re a d ily app lie d .
Spread th e b a re p a tc h e s ra n d o m ly , c re a tin g ir r e g u la r shapes a ro u n d th e access areas.
To re d u c e a n y sh in e on th e b a re p a tc h e s and to in te g ra te th e m in to th e m o d e l’s o v e ra ll tone, a p p ly a w a s h w it h th e p o in t o f th e p a in tb ru s h on each b a re p a tc h ; a d a rk b ro w n to n e d ilu te d w it h lo ts o f w a t e r w ill p ro d u c e th e d e s ire d e ffe c t.
R fte r the w a s h has been a p p lie d , see h o w the sh in e on th e b a re p a tc h e s has n o w been re d u c e d and th e y h a ve be co m e h o m o g e n iz e d w it h th e p a in t and d o n ’t s ta n d o u t to o m uch.
Techniques
25.
OIL AND FLUID STAINS
25.1 Where should I reproduce oil and fluid stains? Oil, hydraulic fluid, and fuel stains are produced when an aircraft begins to leak, and they all do in one way or another. These liquids make their way onto the aircraft’s surface and then assume shapes dictated by the aircraft’s passage through the air. These stains can be imitated so that our model will have an operational appearance.
25.2 Hout can I simulate oil and fluid stains? F or c re a tin g th e d is tin c tiu e shapes o f le a k in g flu id s , h ig h ly d ilu te d a c ry lic c o lo u rs a re used, in a m ix tu r e s im ila r to, o r lig h t e r th a n th a t use d f o r a m ash. I t is im p o r ta n t th a t, in th is in s ta n c e , th e p a in tb ru s h m u s t be a lm o s t d e u o id o f p a in t to p re u e n t i t fro m sp re a d in g a n d c re a tin g rin g s. I f i t is done in th is m ay, th e s tro k e p ro d u c e d m ill be a lm o s t tra n s p a re n t. The c o lo u rs use d a re b la c k and som e shades o f b ro m n ; these can be c o m b in e d to c re a te m o re r e a lis tic e ffe c ts .
By f ir s t s p re a d in g th e p a in tb ru s h b ris tle s b y p re s s in g th e m o n to som e p a p e r to re m o u e any excess p a in t, u e ry th in and p a ra lle l lin e s can th e n be p ro d u ce d . Old p a in tb ru s h e s a re u e ry g o o d f o r a p p ly in g th is te ch niqu e .
26. EXHAUST STAINS
26.1 Where should I simulate stains? The action of combustion in a piston engine generates a great deal of exhaust smoke that also tends to con tain a fair amount of oil. This mixture is dragged along any adjacent aircraft surfaces by the airflow and gen erates the characteristic staining that can be seen on the sides or undersides of the aircraft. If the engines are installed in the wings, the exhaust will be blown over their surfaces, creating a quite odd coloured effect.
O
Tecttnxtues
26.2
Howdo I paint
stains?
By ta k in g th e B f1 0 9 as an e xa m p le , th e e x h a u s t s ta in in g can be p a in te d w it h a s t a r t p o in t b e in g th e h o llo w o ccu p ie d b y th e e x h a u s t. The s ta in lin e w ill c o n tin u e a lo n g th e w in g r o o t a n d the fu se la g e .
Using a m ix tu r e o f e a rth - b ro w n a c ry lic p a in t d ilu te d w it h a lc o h o l in s im ila r p ro p o rtio n s to th a t use d fo r th in o r b lu rre d lin e s, f ir s t m a rk a r e la tiu e ly sh a rp lin e n e a r th e e x h a u s t, m a k in g i t lig h t e r to w a rd th e end o f th e w in g ro o t.
R epeat th e p ro ce ss f o r th e b ro w n lin e , c re a tin g a c e n tra l b la c k lin e r ig h t a lo n g th e p a n e l lin e .
27. VARNISH 27.1 Uthat kinds of varnishes are there and how do I use one? Just as with the paints, varnishes are available in both acrylic and enamel ranges. As with paints, it is recommended that they be practiced using the different products to discover which one is preferable for your particular needs. Generally, it is best to use each varnish with the same manu facturers’ solvent, although there are cases where solvents, such as those by marabu that yield better results when mixed with the modelmaster solvent. Unlike with paints, I prefer enamel varnishes, in particular those by the german maker, Marabu.
27.2 How do I apply a uarnish base? Applying a varnish coat is a similar procedure to that for applying a base coat; to get a fine-grain finish it is better to give the surface a number of passes with the airbrush, progressively covering the surface. As for when to varnish and with what type of finish, there are many different combinations that can be used and various criteria to be followed. A particularly common technique is to apply a gloss varnish coat after the model has been painted, with this serving as a base coat for the decals. Once the decals have been applied, a new coat, which may be a matt or satin-finish, will be applied. This constitutes the model’s final finish. The option I use is to apply a satin-finish coat as a base for positioning the decals. I first trim the decal carrier film to make them invisible, position each one, and then, when the decaling is complete, apply an overall final finishing coat that may be a new satin or matt coat. The advantage of this technique is the avoidance of applying a gloss varnish coat that, generally, is thicker and harder to airbrush.
Techniques
DECALS AND PAINTING NATIONAL INSIG NIA 28. DECALS 28.1 Decals and decal setting solutions Today, a f t e r m a r k e t d e ca l s h e e ts a re m a n y and u a rie d and th e y a llo w us to p e rs o n a liz e o u r m o d e l usin g d e c o ra tio n s o th e r th a n th o se in c lu d e d in th e box. F or e n s u rin g th e d e ca ls f i t sn u g ly o n to th e s u rfa c e , th e re a re a n u m b e r o f d if f e r e n t s e ttin g s o lu tio n s . N o t a ll m a n u fa c tu re rs use th e sam e c h e m ic a l c o m p o s itio n , so i t is b e t t e r to use each one s p a rin g ly a n d w a it b e tw e e n one a p p lic a tio n and th e n e x t, as an excess o f th e se liq u id s can lit e r a lly d isso lu e a decal.
On th e m a rg in s o f the d e ca l sh e e ts, th e p r in t e r p la ce s a n u m b e r o f crosse s th a t a re used to e n su re th e c e n te rin g o f each c o lo u r d u rin g th e p r in tin g p ro ce ss. I f th e se crosses haue no d if f e r e n t c o lo u r s u p e rim p o s e d o r o ff- c e n t r e lin e s, i t in d ic a te s th a t th e d e ca l s h e e t is a g o o d q u a lity one.
I f a d e ca l s h e e ts p o sse sses th ic k o r e x c e s s iu e ly m a tt c a r r ie r film edges, th is w ill in d ic a te th a t th e d e ca l w ill be d if f ic u lt a d a p t to th e m o d e l’s s u rfa c e . In th is case, th e p ro c e d u re o f c lo s e ly trim m in g th e c a r r ie r film a n d u sin g a p r o p r ie ta r y d e ca l s e ttin g s o lu tio n is h ig h ly re co m m en d e d .
28.2 UJhy cut out a decal and how do I do it? A decal is removed from the sheet to make the carrier film invisible. Even if the model has been given a high gloss final coat, it is still best to cut off as much of the carrier film as possible to allow the decal to appear part of the aircraft’s paint work.
Using s c is s o rs o r a b la d e s e p a ra te th e in d iu id u a l n a tio n a l in s ig n ia .
Using th e tr ia n g u la r blade, re m o u e th e m a rg in s, th u s e lim in a tin g th e c a r r ie r film .
Techniques
W ith n u m b e rs o r le t t e r s th a t haue in te rn a l open shapes, l.e . 0, p, b. Etc., i t is n o t n e c e s s a ry to trim th e tra n s p a re n t p a p e r. J u s t s lid e a b la d e a lo n g th e m a rg in s to re m o u e o n ly th e c a r r ie r film .
Using th e p o in t o f th e blade, c a re fu lly l i f t th e film .
W ith tw e e z e rs , re m o u e th e c a rr ie r film fro m in s id e th e le tte r .
28.3
Horndo I separate a decal from the carrier film?
H olding th e d e ca l w it h tw e e z e rs , d e p o s it i t in a w a t e r - f ille d re c e p ta c le , le a u in g i t to flo a t on th e s u rfa c e .
R fte r a s h o rt tim e , th e p a p e r b a c k in g w ill s e p a ra te fro m th e decal, in d ic a tin g th a t i t is re a d y.
Techniques
W ith th e tw e e z e rs re m o u e th e d e ca l fro m the w a t e r a n d t r a n s fe r i t o n to th e m o d e l’s s u rfa c e .
W ith le tte r s and n u m b e rs, a f t e r re m o u in g th e c a r r ie r film , the d e ca ls w ill becom e m o re fra g ile . To p re u e n t th e m b re a k in g up w h ile b e in g re m o u e d fro m th e w a te r, m a ke a s im p le to o l.
M a k e a s p a d e -s h a p e d to o l fro m a le n g th o f p la s tic sp ru e a n d a p ie c e o f tra n s p a re n t a c e ta te .
Using th e to o l, th e d e ca l can be e a s ilg p ic k e d o u t o f th e w a t e r a n d p la c e d a p p ro x im a te ly in th e p o s itio n i t w ill occupy. Hs the m o d e l’s s u rfa c e can be seen th ro u g h th e tra n s p a re n t a c e ta te , i t j u s t needs a p a in tb ru s h to re m o u e th e d e c a l fro m th e to o l b e fo re p la c in g i t on th e m o d e l’s s u rfa c e .
By u sin g th is p ro c e d u re f o r c u ttin g o u t decals, th e n u m b e rs and le t t e r s w ill lo o k as th o ug h th e y haue been p a in te d on th e a ir c r a ft.
Techniques
28.4 How do I apply a decal?
Using a c o m p le te ly cle a n p a in tb ru s h f ir s t a p p ly a s m a ll q u a n tity o f w a te r. In th e case o f a d e ca l th a t is u e ry s t if f , a d e c a l s e ttin g s o lu tio n , such as m ic ro sol, can be use d to a ch ie u e a g o o d re s u lt.
P u ll th e d e c a l in to its c o rre c t p o s itio n , u sin g a to o th p ic k to a v o id d a m a g in g it.
Once i t has been p la c e d in to p o s itio n , a p p ly a s m a ll q u a n tity o f s e ttin g s o lu tio n th a t w ill e n su re th e d e ca l is p ro p e rly in te g ra te d o n to th e s u rfa c e . I f th e d e ca l is ha rd , re p e a t the o p e ra tio n a f t e r a fe w m in u te s has elapsed.
To m a ke th e d e ca l a d a p t b e t t e r to th e s u rfa c e , in s e rt som e m ic ro s o l s e ttin g s o lu tio n in to th e p a n e l lin e s, the liq u id w ill f i l t e r b e lo w th e d e ca l th ro u g h c a p illa ry a c tio n a n d p u ll i t s n u g ly d o w n o u e r a n y ra is e d d e ta il.
28.5 Hou/ do I attach a decal to a painted surface?
Euen i f s e ttin g s o lu tio n has been used, a d e ca l s t ill m ay n o t a d a p t to p a n e l lin e s on the su rfa ce . To r e c t if y th is and m ake the d e ca l in te g ra te b e tte r, a p p ly a sm a ll q u a n tity o f s e ttin g s o lu tio n and then p re ss g e n tly w ith a needle.
l i f t e r th e d e ca ls a re c o m p le te ly d ry, re d o the p a n e l lin e s u n d e r th e m b y u sin g a n y o f th e d if f e r e n t p a n e lin g m e th o d s. In th is w a y , th e e f f e c t o f In te g r a tin g th e d e ca ls w ill be re in fo rc e d .
Techniques
28.6 How do I keep a decal invisible when it cannot be cut? Decal carrier films are impregnated with a powerful transparent adhesive. If a small quantity of this adhesive is diluted with a drop of water and then deposited on a matt or satin-finish surface, when dry it will remain glossy. This property can be used to keep small decals invisible and fix them solidly onto the model’s surface.
Using a tr ia n g u la r b la d e and a p p lg in g a lit t le p re s s u re , trim th e c a r r ie r film as clo se as p o ssib le .
Using a p a in tb ru s h , p la ce a d ro p o f w a t e r to one o f the m a rg in s o f th e s h e e t, d ilu tin g th e g lu e th a t c o a ts it.
D e p o sit th e g lu e e n a c tIg o n to th e a re a w h e re th e d e ca l s h o u ld be pla ce d .
R fte r p o s itio n in g th e decal, a s m a ll q u a n tity o f m ic ro s o l s e ttin g s o lu tio n w ill a d a p t i t to th e s u rfa c e . W a it f o r i t to d ry. Then, re m o u e a n y g lu e re s id u e u sin g th e p a in tb ru s h d a m p e n e d w it h w a te r. D c o a t o f m a tt o r m a t t - s a t in u a rn is h w ill e lim in a te th e sh in e and le a u e th e d e ca l s e e m in g ly in u is ib le .
29.1 When do I paint national insignia and numbers? National insignia and number painting processes are called for when a different version of an aircraft not covered by the available decal sheets is wanted, or when the painted surface contains details such as riveting that would be hidden by a decal. One basic element when painting national insignia is masking film. This material, found in art shops, is usually available with two levels of adherence, low or high tack. The low tack film is more appropriate for use in model making, as the high tack sort may lift the base coat when being removed. It is important to first test the film on a painted surface similar to that of the scale model, as some may leave adhesive residue on the surface that will be difficult, if not impossible to remove.
Techniques
29.2 U/hat process do I follow when painting a national insignia or numbers?
W hen p a in tin g a n a tio n a l in s ig n ia usin g a d e ca l as a te m p la te f ir s t s e p a ra te i t fro m the s h e e t w h ile r e ta in in g a m a rg in o f p a p e r b a ckin g .
Rs w o r k e le m e n ts , use a p ie c e o f a c e ta te s h e e t as a c u ttin g base and a p ie c e o f m a s k in g film la r g e r th a n th e d e c a l b e in g use d as a te m p la te .
C ouer the s u rfa c e w it h a n o th e r p ie ce o f m a s k in g film . Use tw e e z e rs to a u o id g e ttin g ang s w e a t o r o th e r b o d y o ils on th e adhesiue.
Techniques
To a u o id s p o ilin g it, s e t a sid e th e m a sk and a tta c h i t to th e edge o f th e a c e ta te .
Using th e sam e p ro c e d u re , trim th e c ro s s ’s e x te rn a l o u tlin e , th is w ill also g iu e a m a sk f o r th e second ste p .
P o s itio n th e m a s k th a t fo rm s th e e x te rn a l o u tlin e o f th e cross on th e m o d e l’s s u rfa c e .
Enlarge th e edges o f th e m asks w it h tape.
R irb ru sh a c o a t o f b la c k o u e r the m a s k in g w h ile k e e p in g th e a irb ru s h as clo se as p o s s ib le to 90 d e g re e s to th e s u rfa c e to p re u e n t th e a ir flo w fro m lif t in g th e m a sk a n d a llo w in g th e p a in t to ‘c re e p ’ u n d e r it.
H fte r w a itin g f o r the p a in t to d ry, p o s itio n th e m a s k f o r th e c ro s s ’s in te rn a l o u tlin e . To p re u e n t i t fro m m o vin g , re in fo rc e th e fa s te n in g w it h p ie ce s o f m a s k in g tape.
Techniques
P a in t i t w h ite .
Once again, a f t e r w a itin g f o r i t to d ry and then, u sin g tw e e z e rs re m o u e th e m ask.
N e xt, re m o u e the ew te n d e d m a sk and th e n th e m a s k p ro p e r.
The n a tio n a l in s ig n ia d e sig n is n o w p a in te d and to ta lly in te g ra te d in to th e s u rfa ce .
I f a d ra w in g is to be used as a te m p la te , i t can be tra c e d o n to g re a s e p ro o f p a p er.
F irs t, fin i t o n to an a c e ta te s h e e t a n d th e n p ro c e e d in th e sam e m a n n e r as p re u io u s ly d e scrib e d .
H p p lyin g th e m a s k in a p la n n e d sequence, th e d e c o ra tio n is c o m p le te .
Techniques
30. GRAPHICS OF PAINTING 38.1 Graphic of painting the upper surfaces
12-
3456789101112131415-
Panel lines marked in black on the engine cowling. Simulating gunsmoke residue using an airbrush. Making scratches on access panels with greg paint. Oil stains in and around the engine with black paint. Rust on the exhaust using brown and black tones. Delineating the edges of the soft camouflage. Degrading the base colour with a lighter tone. Panel lines painted on the national insignia. Simulating oil stains on the flging surfaces’ joins. Greasg marks on the walk wags using black paint. Bare patches on the walk wags using metallic paint. Bare patches around the access areas. Scratches using greg paint. Painted national insignia on the fuselage to leaue the riueting uisible. Trimmed decals.
Techniques
30.2 Graphic of painting the undersides
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accentuating the raised detail accentuated with pencil. Base colour shaded with dark grey inside the areas that form the panel lines. Panel lines marked out in dark brown using a paintbrush. Tarnish with grey shadow on the flying surfaces. The flying surface lines highlighted with airbrush and paintbrush. Registers and panels marked on the decals. Stains and spatters on the undercarriage doors. Simulating oil stains on the engine cowling with black paint. Bare patches made with metallic paint. Panel lines marked with black paint on the engine cowling. Simulating rust with an airbrush. Staining caused by leaking fluids using a paintbrush. Stains and bare patches in the wheel wells. Contrast of base colour with lightening tone and shadow. Surface riuets.
Techniques
FINAL FIN IS H 31. PARTS TO BE ASSEMBLED AT THE END
31.1 Ulhat parts do I paint and assemble separately, and for
reason?
The parts to be painted separately include such components as landing gear, propellers, etc. This allows them to be worked on more conveniently and gives the modeler the ability to carry out work on them, such as detailing and painting that can be extensive despite the reduced handling of the model.
32. PROPELLERS 32.1 Hour do I paint and u/eather propellers?
To p a in t p ro p e lle rs s u p p lie d w it h s e p a ra te blades, f ir s t a tta c h each one to a s tic k f o r e a s ie r h a n d lin g .
R irb ru sh the base c o lo u r.
UJith the base c o lo u r lig h te n e d w it h m ed iu m g re y , a p p ly de sig n s to th e b la d e s ’ fo rw a r d edges, thus c re a tin g a w e a th e rin g e ffe c t.
Techniques
R fte r s e p a ra te ly p a in tin g th e d if f e r e n t p a rts , a sse m b le th e c o m p le te p ro p e lle r.
W hen p a in tin g a ‘o n e -p ie c e ’ p ro p e lle r, f ir s t a tta c h i t to a h a n d lin g s tic k th a t can be b e n t a f t e r a p p ly in g som e h e a t.
Rem oue a n y encess p a r t o f th e s tic k a n d p u t som e m a s k in g ta p e on th e end.
In s e rt th e s tic k in to th e p r o p e lle r f it t in g h o le ; th e use o f m a s k in g ta p e w ill ke e p th e p ro p e lle r h e ld s te a d y b u t w ill also a llo w a change o f p o s itio n .
By d o in g th is, th e p ro p e lle r can be k e p t in an o p tim u m p o s itio n w h ile b e in g p a in te d .
To im p ro u e th e a d h e sio n o f th e y e llo w , f ir s t a irb ru s h a base c o a t o f m e d iu m g re y.
Ouer the, n o w d ry g re y co lo u r, a p p ly th e d e s ire d y e llo w .
W h ile w a itin g f o r th e y e llo w to h a rd e n , usin g a liq u id m a s k s o lu tio n , c o a t th a t p a r t o f the p r o p e lle r th a t w ill be p a in te d in n a tu r a l m e ta l.
Techniques
UJith a ru le r, m e a su re and c u t e q u a l le n g th s o f m a s k in g tape.
P o s itio n th e p ie ce s o f m a s k in g ta p e on th e b la d e tip s b e fo re c o u e rin g the g e llo u j.
Hpply th e b la c k p a in t and re m o u e th e m asking .
Using tw e e z e rs , re m o u e th e liq u id m a s k in g th a t c o u e re d th e p ro p e lle r boss.
N e xt, p r o te c t th e b la d e s th a t haue a lre a d y been p a in te d w it h m a s k in g tape.
H irb ru sh th e p ro p e lle r boss w it h Tam iya m a tt a lu m in iu m .
Techniques
To g e t a b e t t e r u is u a l e f f e c t o f w e a th e rin g , co m b in e th e s c ra tc h e s w it h b a re p a tc h e s u sin g m a tt a lu m in iu m .
P o s itio n th e d ecals and th e n fin and a d a p t th e m u sin g m ic ro s o l s o lu tio n s .
R c o a t o f m a t t - s a t in u a rn is h w ill c o m p le te th e jo b .
33. EXHAUST 33.1
Howdo I paint the
The m o u ld in g o f m o d e l a ir c r a f t in - lin e e x h a u s ts p a rts te n d to haue b re a k s m a k in g i t n e ce ssa rg to re to u c h them .
enhon in-line engines?
Sand th e im p e rfe c tio n s w it h som e 8 0 8 -g ra in sa n dpaper.
Techniques
Clean up a n y ‘fla s h ’ u /ith a file .
F or an e x h a u s t th a t s h o u ld haue a w e ld lin e , th is d e ta il can be re s to r e d w it h a s m a ll s tr ip o f 0.1 m m p la s tic .
d u e i t an a irb ru s h c o a t o f Tam iya m a tt a lu m in iu m enam el.
Giue i t a w a s h o f ta m iy a m a tt b ro w n m ix e d w it h b la c k h e a u ily d ilu te d w it h alco h o l.
P a in t th e a re a th a t s h o u ld be h o llo w w it h m a tt bla ck.
Using th e p a in tb ru s h and lig h t b ro w n , p a in t th e edges o f th e e xh a u st.
Techniques
The h ig h lig h t e f f e c t th a t has been p a in te d a lo n g th e edge o f th e e x h a u s t and w h ic h c o n tra s ts w it h th e b la c k in te rio r , im p a rts a u is u a l e f f e c t th a t g iu e s th e illu s io n o f a h o llo w tube, a p p ly in g a q u ite in te n s iv e b ro w n w a s h g iu e s th e e x h a u s t a d is tin c tiv e app ea ra n ce .
33.2 Hout do I paint the exhaust on radial engines?
F irs t, a tta c h the e x h a u s t p ip e to a p la s tic h a n d lin g s tic k .
Give i t a d a rk b ro w n w ash.
P a in t th e h o llo w in t e r io r o f th e p ip e b la ck.
Using an o ld p a in tb ru s h , a d d s m a ll s ta in s o f a d ilu te d m ix tu r e o f d a rk b ro w n and bla ck.
Rdd a to u ch o f lig h t b ro w n h ig h lig h t a ro u n d the edge o f th e p ip e to r e in fo r c e th e h o llo w e ffe c t.
The e ffe c ts o f th e h o t gases ca u sin g a sco rch e d a p p ea ra n ce w h e n i t is e je c te d is an im p o r ta n t v is u a l e le m e n t o f th e m odel.
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Techniques
34. LANDING GEAR 34.1 Hout do I clean a landing gear leg?
The m o s t co m m o n d e fe c t on a n y c y lin d ric a l p la s tic , o r m e ta l p a r t is th e p re se n ce o f a m o u ld lin e . This m u s t be re m o u e d i f i t is h o p e d to y e t a r e a lis tic a p p ea ra n ce .
Using a cu ru e d b la d e w ill p re u e n t d am age to th e p a r t w h e n re m o u in g i t fro m th e sprue.
Scrape o f f th e m o u ld lin e s w it h th e p o in t o f a tr ia n y u la r blade.
B f t e r re m o u in g th e m o u ld lin e s, th e p a rts a re re a d y f o r f u r t h e r d e ta ilin g .
34.2 Hour do I detail a landing gear leg?
Begin th e d e ta ilin g o f th e la n d in g g e a r le g b y p re p a rin g som e 1 m m p la s tic a rd o re p la c e th e s h o c k a b s o rb e r s c is s o r lin k .
Cut o u t th e sq u a re shapes w h e re th e s c is s o r lin k s f i t o n to th e legs.
Cut th e p a rts to g iu e th e m a tr ia n g u la r shape.
Techniques
Glue on th e p a rts w it h su p e rg lu e .
The k it s u p p lie d sh o ck a b s o rb e r s c is s o r lin k s a re u s u a lly q u ite th ic k . In th e p h o to g ra p h th e o rig in a l can be c o m p a re d w it h th e s c ra tc h b u ilt one.
F or h y d ra u lic p ipes, use a le n g th o f B.3 m m c o p p e r w ire .
Rem oue p a r t o f th e in s u la tio n , r e ta in in g o n ly a s m a ll p o rtio n th a t w ill s e rv e to s im u la te th e fle x ib le s e c tio n o f th e p ip in g .
Coil th e r e ta in e d p a r t o f in s u la tio n o n to a m e ta l c y lin d e r.
R tta c h th e le g to th e h a n d lin g s tic k .
Using a p la s tic p o in te r, a p p ly s m a ll d ro p s o f s u p e rg lu e gel.
P o s itio n th e w ir e on th e u n d e rc a rria g e leg.
Techniques
Rdd som e clam ps m ad e o f 0.1 m m a lu m in iu m s h e e t. This m a te r ia l is use d to m a ke caps and se a ls f o r m a n y h o u se h o ld fo o d ite m s .
W h ile th e cla m ps f u lf ill a d e ta ilin g fu n c tio n , th e y also e n s u re th a t th e w ir e s s im u la tin g th e h y d ra u lic p ip e s re m a in g lu e d in p lace.
R fte r m a s k in g o f f th e c o n ta c t s u rfa ce s, th e p a r t is n o w re a d y to be p a in te d .
34.3 Hoiv do
I paint a landing gear leg?
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R fte r a tta c h in g th e p a r t to a te m p o ra ry h a n d lin g s tic k , a irb ru s h i t w it h a base co a t.
To g e t th e e f f e c t o f th e d if f e r e n t p a rts th a t go to m a k e up th e c o m p le te d u n d e rc a rria g e leg, a p p ly som e o u tlin in g .
I f y o u haue n o t y e t m a s te re d th e te ch n iq u e o f o u tlin in g w it h a p a in tb ru s h , u sin g a p e n c il w ill o b ta in a s im ila r e ffe c t.
Rpply som e sh a d o w s w it h h ig h ly d ilu te d b la c k a c ry lic .
Techniques
P a in t th e cla m ps w it h m a tt a lu m in iu m .
H ig h lig h t th e ra is e d d e ta il bg p a in tin g th e m w it h a m ix tu r e o f p a in tb ru s h a c rg lic s s im ila r to th e base to n e b u t lig h te n e d w it h m e d iu m gre g .
P a in t the p ip e s m e d iu m g re g b u t p a in t the fle x ib le p o rtio n w it h a b ro w n le a th e r tone.
R cce n tu a te th e b o lt heads bg f ir s t p a in tin g th e m b la c k and th e n a d d in g a w h ite h ig h lig h t sp o t.
W ith th e le g s c o m p le te , re m o u e the m asks th a t haue been c o u e rin g the c o n ta c t a re a s a n d th e h a n d lin g s tic k s .
34.4 Houf
do I replace the tyre tread?
Using 8 8 8 -g ra in sa n d pa p e r, re m o u e ang m o u ld lin e s on th e w h e e ls.
W hile re m o u in g th e m o u ld lin e , p a r t o f the tg r e ’s tre a d d e ta il w ill also be lo s t.
Techniques
By u sin g th e edge o f th e sa n d pa p e r, th e ty re tre a d can be re c u t.
34.5 Hour do I create the effect of weight on a tyre? Reproducing the effect of weight on a tyre will make the model look much more realistic. While this technique can be applied to solid plastic wheels, it cannot be carried out on wheels that are composed of two hollow halves.
Use a b la d e to scrap e a f la t a re a on th e ty re .
S m ooth th e s u rfa c e w it h a f la t file .
M a k e su re th a t th e f la t s u rfa c e th a t has bee n c re a te d is re g u la r and n o t tilte d .
R fla t-h e a d e d s c r e w d r iu e r f it t e d w it h an in s u la te d h a n d le w ill be re q u ire d to d e fo rm th e ty re a n d m a ke i t b u lg e re a lis tic a lly .
Place th e s c r e w d r iu e r on a n o n -fla m e h e a t so u rce such as an iro n . R fte r a ro u n d 7 o r 8 m in u te s , p re s s the s c r e w d r iu e r o n to th e ty re , ta k in g ca re n o t to b u rn y o u rs e lf.
The h e a t w ill d e fo rm th e f la t s u rfa c e in to a b u lg e on th e b o tto m o f th e ty re , th u s p ro d u c in g th e d e s ire d e ffe c t.
Techniques
34.6
Howdo I paint a wheel?
R irb ru sh a b la c k base coat.
W ith th e tip o f th e p a in tb ru s h and u sin g d a rk g re y p a in t, a c c e n tu a te th e w h e e l’s in te rn a l d e ta il.
R etouch th e g re y p a in t w it h bla ck.
Cut a ro u n d m a sk to p r o te c t th e w h e e l’s c e n tra l rim .
R irb ru sh e a rth - b ro w n p a in t a ro u n d th e m ask. This w ill s im u la te th e d u s t th a t a c c u m u la te s a ro u n d th is a re a o f th e ty re s .
Use tw e e z e rs to re m o u e th e m ask and th e n u ie w th e e ffe c t.
Using th e sam e b ro w n m ix tu re , a irb ru s h th e ty r e tre a d to c re a te a d u s ty e ffe c t.
D arken th e tre a d w it h b ro w n p a in t to g iu e c o n tra s t.
Techniques
Odd a fe w m e ta llic to u che s to those p a rts th a t can be d is m a n tle d .
Using ju s t th e se sim p le p a in tin g te ch niqu e s, th e w h e e ls w ill end up lo o k in g as th o u g h th e y haue been in s e rv ic e .
34.7 Horn do I paint the tyre tread?
O fte n w h e n s a n d in g th e ty re to re m o u e a n y m o u ld lin e s, som e, i f n o t th e e n tire ty re tre a d w ill also be lo s t.
B e fo re s ta r tin g to p a in t, c o u e r th e c o n ta c t a re a o f th e p a r t so th e in te rn a l disc can be s a fe ly g lued.
P o s itio n th e s trip s o f ta p e a t e q u a l in te rv a ls .
On th e t y r e ’s u p p e r p a rt, a irb ru s h a v e ry th in c o a t o f m e d iu m g re y.
Techniques
R fte r th e p a in t has d ried , re m o u e th e s trip s .
To p a in t th e w h e e l’s in te rn a l disc w ith o u t h a n d lin g them , a tta c h th e m to h a n d lin g s tic k s w it h m a s k in g tape.
Upp ig th e base co a t.
Em phasize th e ra is e d d e ta il w it h a p e n cil.
R irb ru sh b ro w n a n d b la c k s h a d in g on th e ra is e d d e ta il.
a c c e n tu a te th e b o lts w it h w h ite p a in t,
N ow , g lu e th e disc to th e w h e e l; th e c o n tra s t g e n e ra te d bg the g re y th a t w a s p a in te d on th e ta p e s tr ip s c re a te s a u is u a l e f f e c t re s e m b lin g th e ra is e d tre a d .
Techniques
34.8 Hoiu do I get ready to paint the landing gear bay doors?
The u n d e rc a rria g e d o o rs haue som e m o u ld e je c t o r p in m a rk s on th e m th a t lo o k b o th u n re a lis tic and a e s th e tic a lly u n a p p e a lin g . These m a rk s a re u s u a lly in th e m o s t ‘h a r d - t o - g e t - a t ’ p la ce s on th e p a rts u /h e re s a n d p a p e r c a n n o t re a c h o r a re clo se to som e d e ta ils th a t m ig h t g e t dam aged. To so lu e th is p ro b le m , c o u e r th e e je c t o r p in m a rk s w it h m a d e -to -m e a s u re p ie ce s o f p la s tic .
Place th e p a r t on som e g re a s e p ro o f p a p er, h o ld in g i t in p la ce w it h s tr ip s o f tape.
Using th e p a p e r’s n a tu r a l tra n s p a re n c y , d ra w th e in te rn a l a re a s o f th e p a r t w it h a p e n cil.
H o llo w o u t th e se are a s w it h a blade.
Using th e p a p e r as a s te n c il, t r a n s fe r th e o u tlin e o f th e p a rts o n to a s h e e t o f B .lm m th ic k p la s tic a rd .
Cut o u t th e p ie ce s w it h a sh a rp blade.
N o w th e p ie ce s can be g lu e d o n to th e d o o rs to c o u e r up th e m a rks. Hs a fin e a d ju s tm e n t, se a l th e jo in t s w it h Tam iya e n tr a - th in liq u id ce m e n t.
Techniques
Use som e f ille r to f i l l in th e m a rk s on the u p p e r a re a o f th e p a rt.
Once th e f ille r has d rie d , sa n d i t s m o o th w it h 1BO B-grain sa n dpaper.
C o m bining th e a lre a d y fa m ilia r te ch n iq u e s o f a irb ru s h a n d p a in tb ru s h , th e ra is e d d e ta il e f f e c t on th e p a rts can be in cre a se d .
35. CANNONS AND MACHINEGUNS 35.1 How do I hollow out the barrel of a cannon or machinegun?
I t is q u ite com m on to fin d th a t th o se p a rts re p re s e n tin g cannon a n d m a ch in e g u n b a rre ls a re n o t h o llo w e d out. D rillin g th e m o u t w ill g iu e th e m a m o re r e a lis tic a p p ea ra n ce .
Use a n e e d le to m a rk th e c e n tre o f each b a rre l, so th a t w h e n i t is d rille d th e c e n tre o f the h o le is g u a ra n te e d to be c o rr e c tly alig n e d .
The m o s t fr a g ile a re a o f th e d r ill b it is th e lin e w h e re th e s p ira l begins. UJhen in s e rtin g a b it in to a h a n dle o r d r ill hole, be c a re fu l to m a ke su re th a t th is a re a does n o t co in cid e w it h th e p o in t o f p re ssu re .
Techniques
G e n tly tu rn in g a 0.4 m m d r ill b it o n to th e c e n tre p o in t th a t w a s m ade w it h th e nee dle, d r ill d o w n a ro u n d 1.5 m m.
I f th e o p e n in g is to be co n ica l, tr im th e sides o f th e d r ill h o le u sin g th e p o in t o f a tr ia n g u la r blade.
Using liq u id glu e , s o fte n th e scra p e d a re a on th e in s id e o f th e hole.
H fte r a llo w in g th e g lu e to d ry, th e b a rr e l is n o w re a d y f o r p a in tin g .
D rille d b a rre ls adds e n tra re a lis m to sca le m odels.
35.2 How do I paint a cannon or machinegun? Viewing photographs of cannon and machineguns on full-size aircraft shows how the black tone of these items has worn off. This effect is produced by a number of causes, including handling, lubricants and heat. A piece of plastic can be given a similar appearance by the judicious application of various techniques.
F irst, se cu re th e p a rts in a h a n d lin g s tic k . Hs p re s s u re m u s t be a p p lie d d u rin g p a in tin g , th e y n e e d to h e ld s e cu re ly, so i t is a d u isa b le to d r ill a s m a ll h o le in an a re a th a t w ill e u e n tu a lly be h idden.
Techniques
R irb ru sh a base c o a t o f Tam iya m a tt a lu m in iu m enam el.
Using b la c k a c ry lic d ilu te d w it h alco h o l, a p p ly a u e ry th in c o a t o f p a in t th a t does n o t c o m p le te ly c o u e r th e p a rt.
Leaue th e b la c k p a in t c o a t to d ry f o r a t le a s t tw o hours.
Using an a b s o lu te ly clean, f la t p a in tb ru s h , g e n tly ru b th e gun b a rre l. The e f f e c t o f th e p a in tb r u s h ’s b ris tle s ru b b in g th e b la c k p a in t w ill re m o v e i t fro m a lo n g th e edges a n d on a n y ra is e d a re a s a llo w in g th e m e ta llic base c o a t to s h o w th ro u g h .
I t is n o t n e c e s s a ry to v a rn is h th e p a r t; th e e ro d in g o f th e b la c k p a in t b y th e p a in tb ru s h w ill also c re a te d iffe re n c e s in sh in e and g iv e th e p a r t e x tra re a lis m .
H n o th e r m e th o d th a t can be u se d to c re a te a s im ila r e f f e c t is th e g ra p h ite te ch n iq u e . F or this, the p a r t m u s t f ir s t be a irb ru s h e d w it h a base c o a t o f m a tt b la c k a c ry lic and a llo w e d to d ry f o r tw o h ours.
Rubbing a s o f t 2b le a d p e n c il o n to a p ie ce o f s a n d p a p e r w ill r e s u lt in a p ile o f g ra p h ite du st.
Im p re g n a te a f la t p a in tb ru s h w it h th e g ra p h ite du st.
Techniques
Shake a n y e xce ss d u s t o n to a p ie ce o f p a p er.
Rpply th e d u s t-im p re g n a te d p a in tb ru s h b y g e n tly ru b b in g i t o n to th e p a rt.
The g ra p h ite d u s t w ill a d h e re to th e edges a n d ra is e d d e ta il, c re a tin g a m e ta llic sh in e s im ila r to h o w th e b a rre ls w o u ld a p p e a r in r e a lity . Rs w it h th e e a r lie r te ch n iq u e , i t is b e t t e r n o t to u a rn is h in o rd e r to p re s e ru e th e fu ll ra n g e o f shine.
35.3 Hoiv do I paint additional armament? Scale models of modern aircraft carry a lot of the additional armament that is an important part of the final detailing. Given the large quantity of detail that these items carry, a good deal of additional time will have to be dedicated to completing this stage of the model. As an example, let us illustrate the work required to detail and paint just one 1:72 scale gbu bomb from a hasegawa armament set.
B e fo re s ta rtin g , any residu e le f t w h e n the p a rt w a s se p a ra te d fro m the sprue b y the side c u tte rs m u s t be cleaned up.
Using a cu ru e d blade, f ir s t le u e l th e s u rfa c e .
The b ig g e s t d ra w b a c k w it h th e se ite m s te n ds to be th e o u e r scale th ic k n e s s o f th e fin s.
Using th e sid e c u tte rs , re m o u e th re e o f th e f o u r o rig in a l fin s.
Techniques
Then, u sin g th e re m a in in g fin as a te m p la te , m a k e a c o p y o f i t on a p ie ce o f g re a s e p ro o f p a p er.
N ow , re m o u e th e re m a in in g fin and le u e l th e s u rfa c e w it h th e cu ru e d blade.
Rgain u sin g th e sa n d pa p e r, s m o o th th e jo in lin e .
To fin th e n e w fin s, m a rk th e d r ill h o le c e n tre s w it h a n eedle. F or re fe re n c e to a lig n each hole, use a s tr ip o f m a s k in g tape.
D rill th e h o le s w it h a 0.4m m b it.
Using th e blade, h o llo w o u t th e f in ’s fo rm th a t w a s d ra w n o n to th e g re a s e p ro o f p a p er.
Techniques \
Using th e p a p e r as a te m p la te , t r a n s fe r th e shape o f th e fin s o n to a p ie ce o f B .lm m th ic k p i as tic a rd.
Once th e shapes haue been m a rk e d o n to the p la s tic a rd , c u t th e m o u t w it h a sh a rp blade.
B e fo re b e g in n in g to p a in t, te s t th e a lig n m e n t a n d f i t o f th e n e w fin s.
To p a in t th e fin s w ith o u t h a n d lin g them , fin th e m o n to a p la s tic s tic k w it h m a s k in g tape.
Hold the bo m b w it h a h a n d lin g s tic k w h ile a p p lg in g th e base co lo u r, in th is case T am iga’s o liu e d ra b a crg lic.
H irb ru sh th e fin s w it h the base co lo u r. R fte r th e p a in t has d rie d , re m o u e th e m fro m th e tape, tu rn th e m o u e r and p a in t th e o th e r side.
O u tlin e th e d if f e r e n t p a rts o f the bo m b w it h b la ck.
Shade th e o u tlin in g w it h b la c k p a in t h ig h lg d ilu te d w it h alco h o l.
Techniques
Using th e base c o lo u r lig h te n e d w it h lig h t b ro w n , a irb ru s h b ro k e n lin e s th a t w ill c re a te tin ts fo r th e base p a in t to s im u la te a g e in g on th e ite m .
M a s k o f f th e c e n tra l p a r t o f the bom b a n d p a in t th e b o m b ’s g u id a n ce u n it w it h lig h t g re y.
R fte r f u r t h e r m a skin g , p a in t th e c o lo u re d d e ta ils .
F in a lly, p a in t th e s m a ll d e ta ils to c o m p le te th is phase.
Once th e p a in tin g is c o m p le te , a irb ru s h th e bom b w it h a c o a t o f s a tin u a rn ish . Then, a f t e r a llo w in g th is c o a t to drg, a p p lg th e d e ca ls and th e d e ta ilin g is c o m p le te .
To c o m p le te th e bom b, g iu e i t a fin a l c o a t o f m a tt- s a tin u a rn is h as th is w ill in te g ra te th e d ecals and m a ke th e m a p p e a r in te g ra l w it h th e p a in t.
36. NAVIGATION LIGHTS 36.1 Hou> can I make navigation lights?
To re p ro d u c e b u lb -ty p e n a u ig a tio n lig h ts , b e g in b y c u ttin g som e s m a ll c ir c u la r p ie ce s fro m a tin sh e e t.
Techniques
This m e ta l’s n a tu r a l sh in e is id e a l f o r m a k in g th is ty p e o f lig h t.
Fin th e p ie ce s o n to a h a n d lin g s tic k w it h a d h e siu e tape.
Place som e d ro p s o f u n d ilu te d g lo ss u a rn is h o n to th e p ie ce s o f tin w it h a p a in tb ru s h , T am iya ’s c le a r u a rn is h is id e a l f o r this.
n ilo w th e f ir s t d ro p to d ry f o r a ro u n d th re e h o u rs and th e n re p e a t th e p ro ce ss. R fte r d o in g th is th re e o r fo u r tim es, a fo rm s im ila r to th a t o f a b u lb w ill haue fo rm e d .
To g iu e the lig h ts som e c o lo u r use T am iya’s tra n s p a re n t co lo u rs.
P ro g re s s iu e ly a p p ly th e p a in t to p re u e n t i t g o in g lu m py.
The disc fro m th e tin s h e e t th a t is b e in g use d as a base a c ts as a m ir r o r th a t, u n d e r c e rta in lig h t c o n d itio n s , c re a te s an e f f e c t re s e m b lin g th a t o f a lu m in e s c e n t lam p.
Once th e lig h ts haue been c o m p le te d , c a re fu lly s e p a ra te th e m fro m th e a d h e siu e and a tta c h th e m to th e m o d e l w it h pua glue.
Using th is te ch n iq u e a llo w s us to m ake tra n s p a re n t o r c o lo u re d lig h ts .
Techniques
To c re a te le u e l n a u ig a tio n lig h ts , a n o th e r p a in tin g p ro c e d u re is use d b a se d on s u p e rim p o s itio n o f tones.
Begin b y p a in tin g th e n a u ig a tio n lig h t a re a m a tt bla ck.
P a in t th e c e n tre o f th e m a tt b la c k a re a w it h re d h e a u ily d a rk e n e d w it h b la ck, le a u in g a s m a ll e d g in g o f b la c k a ro u n d i t to c re a te a g ra d in g o f tone.
N o w a p p ly m o re re d in th e a re a th a t w a s p a in te d d a rk red , thus c re a tin g a n o th e r g ra d in g o f tone.
F in a lly, p a in t a tin y re d p o in t h ig h lig h te d w it h w h ite , c re a tin g a la s t g ra d in g o f tone.
C o m plete th e lig h t b y a p p ly in g a s m a ll d ro p o f g lo ss u a rn ish .
B e fo re h a n d lin g th e p a r t again, a llo w the g lo ss u a rn is h to d ry f o r a t le a s t tw o h ours.
This te ch n iq u e p ro d u ce s u e ry re a lis tic re s u lts w it h le u e l lig h ts o r w h e n th e re a re no c le a r p a rts a u a ila b le .
Techniques
37. TRANSPARENCIES 37.1 Houi do I prepare transparencies?
The c o m p o s itio n o f th e p la s tic o f tra n s p a re n t p ie ce s is u s u a lly m uch h a rd e r and, in consequence, m o re b r itt le . W hen re m o u in g th e tra n s p a re n c y fro m th e sp ru e o r re m o u in g a n y fla s h fro m the p a rt, a p p ly as li t t l e p re s s u re as p o s s ib le as th e re is a fe a r th a t th e se fr a g ile p a rts w ill c ra c k o r euen b re a k w it h no p o s s ib ility o f b e in g re p a ire d .
To re m o u e th e fin a l re m a in s o f th e sprue, i t is b e s t to use a c u ru e d b la d e a n d le u e l th e s u rfa c e b it - b y - b it .
Giue a d e fin itiu e shape to th e p a r t b y lig h t ly sa n d in g i t w it h IBB Bgrade sa n d pa p e r.
I f th e tra n s p a re n t p a r t has been sc ra tc h e d , T am iya’s p o lis h in g co m p o u n d is id e a l f o r re m o u in g them .
B p p ly th e co m p o u n d w it h a m ic ro - fib re s ch a m o is le a th e r.
37.2 How do I cut a transparency to open the cockpit?
O fte n a c o c k p it ca n o p y is s u p p lie d as a s in g le piece. To c u t i t so th a t th e m o d e l can be u ie w e d w it h th e c o c k p it open re q u ire s th e fo llo w in g ste p s:
The p rim a r y p ro b le m w it h a n y tra n s p a re n c y is th a t th e o p e n in g ’s d e m a rc a tio n lin e s a re b a re ly u is ib le to g u id e th e cu t, i t is a d u isa b le to m a rk the lin e o f s e p a ra tio n o f th e ca n o p y w it h tw o s trip s o f m a s k in g tape, le a v in g a space b e tw e e n th e m o f a p p ro n im a te ly 1.5mm.
Techniques
Using th e ta p e s tr ip s as a c u ttin g re fe re n c e , p o s itio n a fin e - to o th e d r a z o r s a w a lo n g th e c e n tra l space and th e n t r y to m a in ta in th e s a u /’s in c lin a tio n w it h re s p e c t to th e p a r t so th a t th e c u t re m a in s s tr a ig h t.
Using th e p o in t o f th e b lade, re m ou e a n y p la s tic re s id u e fro m th e c u t lin e .
To a c h ie u e th e fin a l fin is h and e lim in a te a n y s c ra tc h e s ca u se d b y th e file , use som e IB B B -g ra in sa n dpaper.
To p re u e n t th e ca n o p y c ra c k in g o r euen b re a k in g , i t is w is e to g e n tly m oue th e s a w w h ile a p p ly in g u e ry lit t le p re s s u re w it h each m o tio n . Doing th is, w ill r e s u lt in a cle a n cu t.
L e u el th e s u rfa c e w it h a f la t file ,
F in a lly, use a s m a ll b ru sh to cle a n th e tra n s p a re n c y .
Using th is p ro ce ss, th e r e s u lt w ill be an open ca n o p y th a t can be g lu e d to th e m o d e l and w h ic h w ill g iu e an u n in te r r u p te d u ie w o f th e c o c k p it in te rio r .
Techniques
37.3 How do I mask a transparency?
To w o r k on a tra n s p a re n c y w it h o u t to u c h in g it, f ir s t a p p ly som e Tam iya m a s k in g tape, w it h the s tic k y sid e fa c in g o u tw a rd s , o n to th e end o f a le n g th o f sp a re p la s tic sp ru e and m o u n t th e tra n s p a re n c y on th a t. I t is m o s t im p o r ta n t to use a n e w p ie ce o f ta p e so th a t th e re is no d a n g e r o f le a n in g a n y a d h esiue re s id u e on th e tra n s p a re n c y .
To e n su re th a t th e m a s k in g ta p e a d a p ts to th e c u ru e d s u rfa c e s , f ir s t use 2m m w id e s trip s .
B p p ly m ic ro m a s k w it h a p a in tb ru s h ; th e c o n s is te n c y o f the liq u id w ill a llo w i t to a d h e re to th e s u rfa c e . In th e f ir s t in s ta n c e , i t is b e s t to a p p ly a s m a ll q u a n tity as, in e x c e s s iv e q u a n titie s , th e liq u id w ill s lid e o v e r th e s u rfa c e s . The p ro ce ss can be re p e a te d a f t e r w a itin g a b o u t an h o u r f o r th e f ir s t c o a t to d ry.
Then, e n la rg e th e s u rfa c e o f th e m a s k in g w it h s m a ll sq u a re s o f tape.
Use som e m ic ro m a s k liq u id m a s k to p r o te c t th e c e n tre o f th e tra n s p a re n c y .
F in a lly, e n la rg e th e m a s k in g w it h ta p e to p re v e n t th e p a in t fro m c re e p in g o n to th e in te rn a l a re a o f th e tra n s p a re n c y .
37.4 How do I paint a transparency?
Begin th e p a in tin g o f th e tra n s p a re n c y b y f ir s t a p p ly in g a c o a t o f p a in t the sam e c o lo u r as the c o c k p it in te rio r .
Now, ap p ly a co a t o f the e x te rn a l colour. This w ill c o v e r the fir s t co a t o f p a in t th a t w ill then o n ly be v is ib le fro m the in side o f the tran sp a ren cy. In this w a y, a co m p lica te d double m asking jo b is avo id e d th a t w o u ld o th e rw is e be re q u ire d to a p p ly the tra n s p a re n c y ’s in te rn a l colour. R fte r the p a in t has dried, g iv e i t a co a t o f the sam e v a rn is h th a t w a s used on the o th e r s u rfa ce s o f the m odel, thus o b ta in in g the sam e tone as a fin a l colour.
Techniques
Using the p o in t o f th e blade, re m o u e the liq u id m a skin g . This p ro d u c t is id e a l f o r m a s k in g tra n s p a re n c ie s , as i t le a u e s n e ith e r m a rk s n o r re sid u e .
F o r a fin a l ste p , c a re fu llg re m o u e th e f ir s t s tr ip o f tape. I t is b e s t to w a it u n til th e p a in t has c o m p le te ly d rie d b e fo re re m o u in g the m a s k in g so th a t c ris p e r edges a re o b ta in e d .
Release th e tra n s p a re n c y fro m th e h a n d lin g s tic k , a n d i t is n o w re a d y to be fin e d to th e m odel.
37.5 Hoiv do I prepare a vacuum-formed transparency?
R u a c u u m -fo rm e d tra n s p a re n c y is a u a ria n t o f th e in je c te d p la s tic typ e . These can be fo u n d in m o d e l k its s u p p lie d b y s h o rt ru n m a n u fa c tu re rs o r m a y be a c q u ire d as re p la c e m e n ts p a rts f o r o th e r k its . These p a rts , a lth o u g h m o re d if f ic u lt to h a n d le th a n r e g u la r tra n s p a re n c ie s , haue th e a d u a n ta g e o f b e in g m uch th in n e r th a n the p la s tic ones and w ill g iu e th e c o m p le te d m o d e l a m o re r e a lis tic sca le e ffe c t.
To re m o u e th e tra n s p a re n c y ’s base, f ir s t edge i t w it h a s tr ip o f m a s k in g tape.
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Edging i t w it h th e ta p e g iu e s a c le a r re fe re n c e f o r th e lin e o f s e p a ra tio n .
Techniques
To m a k e th e tra n s p a re n c y easy to h a n d le w ith o u t i t d e fo rm in g , f ir s t a tta c h i t to a c a rd b o a rd base.
Begin b y c u ttin g th e p a r t w it h a tr ia n g u la r H -R cto b lade, p re s s in g u e ry g e n tly so th e c u t lin e is p ro g re s s iv e ly m a rke d .
R fte r s e v e ra l passes w it h th e blade, th e u s e fu l p a r t o f th e tra n s p a re n c y p a r t can be s e p a ra te d w it h ease.
To p a in t a v a c u u m -fo rm e d tra n s p a re n c y , use th e sam e p ro ce ss f o r p a in tin g p la s tic tra n s p a re n c ie s as d e s c rib e d e a rlie r.
37.6 Hoiv do I attach a transparency? Although superglue is the most versatile and quickest glue for attaching parts to a scale model, it is not good for attaching transparencies. The reasons have already been described in the chapter describing its use, as the vapours this product gives off as it dries will stain the parts and damage the finish. To safely attach any transparency it is better to use white pva glue that, although it dries much more slow ly, does possess enough strength to hold these deli cate parts.
F ill a c o n ta in e r w it h p v a g lu e a n d w it h a p la s tic p o in te r ta k e a d ro p o f glue.
The p rim a r y a d v a n ta g e o f a v a c u u m -fo rm e d tra n s p a re n c y is th e th in n e ss o f the p la s tic , w h ic h g iv e s a b e t t e r scale e f f e c t to the fin is h e d m odel.
Techniques
F or h o ld in g th e tra n s p a re n c ie s w ith o u t d a m a g in g th e p a in t, p u t som e s m a ll p ie ce s o f ca b le in s u la tio n o n to the p o in ts o f th e tw e e z e rs .
flp p lg p u a g lu e to th e c o n ta c t a re a s b e tw e e n the tra n s p a re n c g and th e m o d e l and a f t e r an h o u r the g lu e w ill haue s e t and th e tra n s p a re n c g h e ld se cu re lg .
38. AERIALS AND RIGGING 38.1 Ulhat materials can I use to make an aerial or rigging? Rigging are cables used on the old biplanes and monoplanes to increase structural strength. Reproducing these cables in scale models is a delicate, time-consuming process. There are various types of rigging, plai ted cables, solid steel, etc. For model-making simple materials for making rigging can be used, such as plastic, copper or steel wires.
The s im p le s t m a te r ia l th a t can be used is h e a t- s tr e tc h e d p la s tic . This is o b ta in e d fro m th e sp ru e s th a t a cco m p a n ie d th e p a rts o f th e m odel. I f th e sp ru e s h appen to be m e ta llic b la ck, th e rig g in g p ro d u c e d w it h th e m w ill n o t re q u ire p a in tin g a f t e r b e in g fin e d , so th e rig g in g p ro ce ss w ill be s im p lifie d .
Begin bg c u ttin g th e sp ru e in to a p p ro x im a te Ig 5 cm le n g th s .
Using a lig h te r, a p p lg h e a t to th e le n g th o f sprue. I t is b e s t to s w iu e l th e sp ru e as i t is b e in g h e a te d , th is w ill p re u e n t th e a p p e a ra n ce o f bu b bles.
R fte r a fe w seconds o f h e a t, th e b a r w ill b e g in to ben d as a con se qu e n ce o f g ra u itg . This is th e s ig n a l th a t th e b a r is s o f t enough to a p ro d u c e th in th re a d .
Techniques
N ow , g e n tly p u ll b o th ends o f th e sp ru e and th e c e n tra l th re a d w ill b e co m e th in n e r. The m o re y o u p u ll, th e th in n e r the re s u ltin g th re a d . H o w euer, th is p ro ce ss does ta k e p ra c tic e .
This p ro c e d u re can, and w ill r e s u lt in th re a d s s im ila r in th ic k n e s s to, o r th in n e r th a n a h um an h a ir.
To m a k e a th ic k e r rig g in g th a t w ill r e ta in it s te n sio n, c o p p e r w ir e can be used. F or 1 /7 2 scale use 1 m m w ire , f o r 1 /4 8 use 1.5 m m w ire .
F o r th e e xa m p le , 1.5 m m w ir e w a s used. R fte r h e a tin g th e w ir e to re m o u e th e u a rn is h in s u la tio n , th e w ir e w a s s tre tc h e d usin g p lie rs . This w a s done w it h ca re to a u o id b re a k in g th e w ire . The fin a l r e s u lt w a s som e p e r fe c tly s tr a ig h t le n g th s o f w ir e th a t h a d also been re d u c e d in th ic k n e s s to a ro u n d 1.3mm.
Using th e s c is s o rs f o r c u ttin g p h o to e tc h e d p a rts , th e p a rts o f th e w ir e th a t h a d been h e ld in th e ja w s o f th e p lie rs w e re rem o u e d .
The le n g th s th a t re m a in e d w e re b o th s t i f f a n d th in eno ug h to s im u la te th e rig g in g as used on w o r ld w a r /'/' seaplanes.
8 n o t h e r u e ry u s e fu l m a te ria l is s te e l w ir e a lth o u g h c u ttin g and a tta c h in g th is typ e o f w ir e is m ore d if f ic u lt than usin g co p p e r w ire . Its a d u an ta g e is th a t i t has a m a g n ific e n t, high gloss fin is h w h ic h is u e ry u s e fu l fo r rig g in g a b ip la n e fro m the 1928s and 1930s.
To re d u ce th e sh in e on th e se w ire s , lig h tly sand th e m w it h 1 8 0 8 -g ra in sa n d pa p e r. This w ill re d u ce th e sh in e and m a ke th e m m o re a p p ro p ria te on a ir c r a f t th a t haue seen a g re a t d e a l o f se ru ice .
Techniques
38.2
Hoid do / prepare a model before attaching rigging? Preparing a model before attaching the rigging is paramount, as most aircraft models do not include any kind of hole for attaching the wires.
In fo rm a tio n on th e c o rre c t p o s itio n in g o f th e rig g in g is fu n d a m e n ta l i f th e scale m o d e l is to lo o k re a lis tic . F o rtu n a te lg , n o w a d a ys, m o s t m a n u fa c tu re rs in clu d e in s tru c tio n s to g u id e us th ro u g h th is pro ce ss.
f t f t e r c o m p a rin g th e p a rts w it h the d ra w in g s , m a rk th e p o s itio n f o r the h o le s to be d rille d f o r a tta c h in g th e rig g in g w ire s .
Using a n e e d le to m a rk th e d r ill h o le c e n tre s .
Using a B.4 m m s iz e d r ill b it m a ke th e h o le s a t th e m a rk e d p o in ts . D rill th e h o le s a p p ro x im a te ly 8.5 m m deep. This w ill a llo w s u ffic ie n t d e p th f o r th e w ire s to be s a fe ly and s e c u re ly a tta c h e d .
On th is ft ire o 2H 2, th e rig g in g w a s m ade u sin g s tre tc h e d P la s tic sprue. F irst, i t w a s g lu e d in to d r ill h o le s u sin g s u p e rg lu e gel. Once th e g lu e h a d h a rd e n e d , th e w ir e w a s p u lle d ta u t and s tu c k in th e s m a ll h o llo w s b e tw e e n th e s tru c tu re s and the w in g s . W ire s h e a th in g w a s used to s im u la te th e te n sors.
On th e C u rtis s P6, th e rig g in g w a s m ade u sin g s tre tc h e d c o p p e r w ire , fts th is m a te r ia l m a in ta in s it s o w n te n sio n, i t is s u ffic ie n t to c u t th e le n g th s in h a lf and g lu e th e m in to th e d r ill h o le s; once a ll o f th e rig g in g is pla ce d , p a in t i t w it h b la c k a c ry lic u sin g a p a in tb ru s h .
Techniques
On th e G rum m an F3 F2, the rig g in g w a s m ade w it h sa n d ed s te e l w ir e ; as w it h th e P6, s u p e rg lu e g e l w a s used to h o ld it.
38.3 Hoiv do
I make an aerial
w ire?
The process of making a wire antenna is similar to that for rigging; the same materials can be used, although given the greater fineness of an aerial, I prefer to use stretched sprue of various colours. To simulate the insulation on an antenna, a drop of white paint is ideal. For the less experienced modelers, it is perhaps better to paint the insulation after gluing the first end of the antenna, because if it is painted after pulling the wire taut and do not control the pressure of the paintbrush, it might break and the work will be ruined. To a tta c h an a n te n n a , s tr e tc h a le n g th o f p la s tic sp ru e and g lu e i t f ir s t a t th e m o s t d if f ic u lt p o in t, th is u su a llg b e in g th e a n te n n a m a s t. Use a s m a ll ro p o f s u p e rg lu e g e l as th e a d hesiue. Once i t is drg, th e a e ria l in s u la tio n can be s im u la te d w it h a d ro p le t o f u n d ilu te d w h ite p a in t.
O f t e r a p p lg in g th e w h ite p a in t f o r th e a n te n n a in s u la tio n , p la c e a s m a ll d ro p o f s u p e rg lu e g e l on th e o th e r a tta c h m e n t p o in t, p o s itio n the w ir e a n d gen tig p u ll ta u t.
Once th e s u p e rg lu e has d rie d , c a re fu llg c u t o f f th e excess w it h th e cu ru e d blade.
Techniques
39. FIN IS H IN G THE SCALE MODEL 39.1
Hduiceon presenting and preseruing a scale model If the model is to be exhibited or entered into competition, it is best to do so after mounting it on a suitable base. These can be made of various materials depending on the model-maker’s taste. However, above all, the chosen base must be finished to the same high standard as the model as all too often a fine model has been spoilt by mounting it on an unsuitable, or badly finished base. One very important piece of advice is to always indicate, with a sign, whether the model is attached to the base or not, as the case may be. By doing so, any judge who handles the model to study it will know how to avoid a devastating accident.
GALLERY
Gallery
Crmel F. 1 Edurrd 1/48
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F4U Tr m iw 1 /4 8
Co
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H -7E F u j im i
1 /7 2
Cors
P-6 Hmuk C lassic
1/48
Hi
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1/48
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FOKKER Dr. I SCRRTCHBUILD MODEL BRSED ON DRRBON
1/48
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H urricrne
Hrsebrwr
1/48
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F 3 -F 1
Hccurhte
1/48
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0 3 81 Url Hrsegrujr
1 /4 8
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Spitfire M k .U b Trm ivr
1/48
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M essehschmitt Be Hhsegmur
1/48
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F-4B Phhmtom I I Hhsebhwr
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TBH Rccurrte
1/48
R
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