I'm 42 years old and although I was born in

Teruel, Spain, my family moved to Valencia when I

was a kid. I was around 13 years old when I first
had a scale model in my hands, and from then
until now I have dedicated all my free time to this
hobby.
I don't consider myself a modeler dedicated
to a single category or specialty. I have built all
type of scale models, but if I had to choose I
would stick with dioramas and vignettes. I
consider these the most demanding models to
build due to the variety of materials, techniques,
models, and combinations that can be used.
I am crazy about this hobby. I enjoy it with
my friends and I love competing in contests. It is subject of this handbook is an old, unfinished
something that motivates me to better myself and scale model, but it has allowed me to compare
to improve my skills, but also motivates me to do the effects and techniques on something as basic
something as simple as to build an old model and as the yellow and the grey colors. There is nothing
paint it with nothing more than some paint, so simple, and at the same time so significant, for
paintbrushes, and a jar of pigments. us modelers who love German stuff as these two
There are many times that I felt like making colors. Maybe the next time will be for the green!
something similar to a test bed, without any
innovation, but at the same time without fear. The
Dedicated to Maria Jo
 ytThe approach of this guide is not very so. Later discussion shows in what order and
conventional, as is the paint scheme chosen for what distinct colors I have applied to this model.
this model. The question solved in the end is to The process order is especially relative and the
convert any model, in this case an old StuG III best thing to do is to try it out on your own. A
from Tamiya, into a workshop of demonstrations technique used in a previous phase may need to
for applying different techniques, or rather, be used again to make the wanted effect more
processes used, for finishing a scale model of a visible, or to reinforce the effect in a specific area.
military vehicle. As you can see in the pictures, the model is
And why do all this? The simple answer is not finished.
because this was a workshop that I presented at This makes the techniques and their effects
the World Expo held in the beginning of July of contrast more. What you are going to see
2008 in Girona, Spain. presented is a way for painting or applying
After thinking about several different ideas, painting techniques to scale models. It is not the
I chose one that attracted me from the only method, nor does it mean that it is any
beginning and stood out above all the rest. The better than others; it is simply my way only.
idea was to paint a tank with two different I hope that by reading this guide your
colors. "What an innovation"! (I can here the modeling will improve, but the best advice that I
sarcastic modelers saying now). It may not can give you is to watch other modelers paint
sound so innovative; however in this case, the their models. Although books are always of
two colors divide the tank into two totally great help, no picture will ever teach you how to
different work areas, as much for the color as for hold the paintbrush, or what quantity of paint to
the effects and techniques that can be used on load up in the brush, or how to move your hand
each one of these halves. I suppose this is an across the model. This is all better learned by
innovation. seeing it being performed by other modelers.
One half would be painted in a uniform Before beginning to describe how I used
layer of desert yellow and would receive the use each technique, or rather as I interpret it, for
of "dry techniques", while the other half would what reason I use it, and how and with what
be painted in a dark uniform layer of panzer gray tools I use, I have made a script of what is my
for applying "wet techniques". Besides these way for painting a model. But keep in mind what
differences, all the colors or methods used in all I have already commented on regarding the
the techniques, (filters, oils, pigments), are on order of application of these techniques. The
one half, and vary on the other. However there script should be flexible. It should adapt to our
are exceptions that I call "jokers". These are way of painting, not us to it, and you should
colors or methods that I use on all kinds of interpret to your way. I think that it is always
vehicles with any base color, from any time necessary to contribute a personal touch to our
period, or operate in any environment, since the models.
effects are possible on any of them, and they Although I don't always follow the same
don't depend on specific factors. rule, I believe that these are most of the rules I
This guide first shows how I apply certain usually follow:
techniques and with what means and tools to do
1.- Airbrushed base coat
Base paint is chosen
Shadows and highlights are added from the base color
Tonal variations of the base color are added
2.- Treatment of the base painting with a paintbrush
Change of color or shade in some distinct areas
General filters are applied
Outlining of details with washes
3.- Chips and scratches
In the first stage lights chips are added
In the second stage, red primer, or dark brown, or both are added
over the previous chips
Texture is added on the biggest paint chips
4.- Oil paints
Choice of the colors made in relation to the base color
Treatment of the horizontal surfaces
Treatment of the vertical surfaces
5.- Rust
Streaks and stains of rust are added
Rusted paint chips and other rusty surfaces are added
6.- Dust
A choice of the surfaces and areas to add dust is made
Treatments with oil paints are done
Treatments with pigments are done
7.- Oil, grease, and fuel stains
A choice of the surfaces and areas to add to are made
Oils, pigments, and varnishes, used alone, or in combinations, are added

8.- Bare metal areas

A choice of the surfaces and areas to add to are made
Paint, pigment, and graphite, used alone, or in combinations, are added

4
 USED TECHNIQUES
FILTERS

As modelers we have recently I use a #4 or #5 synthetic

seen a period of really impressive paintbrush to apply them. The jars
airbrush work that goes beyond a must be shook violently to ensure a
simple base coat to add shadows and complete mix before using them. I
highlights, but we have become so introduce the paintbrush directly into
accustomed to the airbrush that we the bottle and remove a little of the
continue working with it, as opposed excess on the side of the jar, and then
to some other technique or tool. A on a paper towel. Next, I apply the
technique called "filters" is used to liquid quickly on the selected surface,
help break up the monotony of the covering it completely. If the surface is
base coat and add chromatic richness horizontal, it is sometimes interesting
to the base color, an effect that the to use a round #5 or #6 paint brush to
airbrush alone cannot obtain. A filter distribute the filter by smoothly
is a highly diluted mixture of up to dabbing the surface.
95% carrier to paint, and is used to tint Filters can be superimposed
the surface it is applied to. Its high once they are dry, or mixed wet on the
transparency is why it is called a filter model for interesting effects. You can
instead of a wash. also create very interesting effects on
Until recently, I used Humbrol the paint if rings appear and are not
enamels and thinner to get the colors I excessive; if they are excessive, you
wanted. Now, we can find specific can correct them with thinner. Filters
products in different colors for these are, in my opinion, a good beginning
filters. I have been using the prepared point for paint fading and the basic
filters from Sin Industries (Mig weathering process of our model.
Productions) lately, and the results
have been very satisfactory.

6
 FILTERS
The purpose of filters is to enrich the base
color of the model by subtly modifying its
shade and enriching its chromatic range.
It is advisable to use some highly diluted
colors applied to different areas of the
model.
You must allow each filter layer to dry before
adding an additional filter.
Use enamel paints diluted up to 95% with
thinner and a big paintbrush.

FILTERS FOR THE DESERT YELLOW

I have used the following filters from Sin
Industries:
- #P400
- #P402
- #P406

FILTERS FOR THE PANZER GRAY

I have used the following filters from Sin
Industries:
- #P245
- #P404
- #P406

77
PAINT CHIPPING

There are three decisive and and then continue on with the darkest
critical factors for making good paint colors and chips inside the lighter
chipping: their form, their size, and ones, and of a smaller size. This implies
their distribution. The ideal thing in age when done this way, as the darker
order to get a good random form is to ones represent older chips and the
use a high quality paintbrush with a lighter more recent ones in terms of
good tip. I use a #1 brush from Marten rust, dents, or scratches.
and many reference pictures. Another detail to keep in mind is
Regarding their size; small is always that the chipping shows the
better than large, and if they are large, overlapping of the paint layers.
that they are made up by the union of This is not an exact process, and will
many smaller ones. This factor will depend on how the paint has been
always depend on what you want to applied to the real vehicle that you are
represent, as there is no rule to follow. seeking to represent.
Finally, the distribution of the An example would be a vehicle
chipping should not be a figment of that has been painted completely in
your imagination and should always green and then had sand stripes
be done through the observation of added to camouflage it. Any close
photos of your chosen subject. contact on the sand first would allow
Here is something curious about the green base coat to show through a
paint chipping. When they are not on a little, and then, depending on the
model nothing happens, but if they depth of the dent, the rust.
are done, and they are not done well, You need to be particularly
they ruin the model, even though the meticulous in this phase of
rest can be well made. weathering, as much with the
I usually always begin with the paintbrush as with your head.
lighter colors and biggest chips first,

8
 CHIPS AND SCRATCHES
Paint chips and scratches can be superficial and only
show the base color on a camouflaged vehicle or a
lighter base color if the vehicle is only one color; or
they can be deep, reaching the metal. If they are
deep and reach the metal, you can make the paint
chip rusted, or not.
The golden rule is: less is more. Smaller chips are
better than bigger. There will always be the
opportunity to join several smaller chips to make a
bigger one.
Use acrylics paints and small paintbrushes that are in
perfect condition.

LIGHT PAINT CHIPS

I have used these acrylic paints from Vallejo:
978 Dark Yellow
819 Iraqi sand
313 Stencil DARK PAINT CHIPS
I have used these acrylic paints from Vallejo:
950 Black
941 Burnt Umber

9
RUSTY PAINT CHIPS Some rusty chips were added with enamels and
oils to add variety to the dark chips and add
I have used these acrylic paints from Vallejo: brilliance to the model.
303 Yellowish Rust
302 Dark Rust

CHIPS ON WHEELS
They stand out more in the "dry model" only
because the accumulated mud on the running gear
of the "wet model" hides them.

LIGHT RUSTY PAINT CHIPS The horizontal scratches on the sides of the vehicle
I have used these acrylic paints from Vallejo: show the effects of close contact with different
elements in the environment; bushes, rubble,
816 Luftwaffe uniform buildings, etc. They have been represented by
305 Light Rubber scratching the surface with a needle and then
touching up with acrylic paint.
313 Stencil
10
RED PRIMER PAINT CHIPS In this picture you can see the paint chips that
I have used these acrylic paints from Vallejo: have been formed when the paint is chipped and
the red primer base color shows through.
814 Cadmium Umber red
C42 Red Cadmium
945 Magenta
944 Old Rose

DARK PAINT CHIPS

At the end of the chipping phase we should have a
I have used these acrylic paints from Vallejo: combination of these diverse colors; primer, light
chips, and dark chips. They should have diverse
950 Black
forms, diverse sizes, and a varied disposition to
941 Burnt Umber represent the most reasonable thing possible.

11
WASHES

Although there are already all the painting you have already
specific products for making washes, I done. I don't think that washes have
have used oil paints and enamels on such a specific sequential location.
this model to outline the details and They are usually done at the
make some of the form and shape of beginning of the painting process,
the vehicle stand out. but there are different opinions or
I used a fine tip paintbrush to likes. That is to say you could apply
control where the paint was filters/ washes/and chips, or
discharged for the wash. chips/filters/and washes. The
This usually goes in all the corners, different steps are equally valid as
gaps, screws, around raised detail, well as different orders. In my opinion,
and prominent forms. It is necessary the important thing is the variety, and
to keep another clean paintbrush and following a flexible pattern when
solvent handy to remove the possible applying the techniques that we
small rings that the wash may make. know. For example, if you make paint
Many modelers believe that chipping before and after the filters,
washes, as well as other treatments, you will notice that using the same
have a specific sequential location in acrylic color will obtain varied results
the painting process, and if you and contribute to increasing the tonal
altered the sequence you could ruin richness of the model.

12
 WASHES
This technique is used to add depth and contrast to
the model, emphasizing its forms and details, and
adding volume to the different surfaces.
Washes can be general or precise.
The best colors are dark brown shades. Don't use
pure black for a general wash as it is too harsh.
Use enamels or oil paints and a big paintbrush.

WASHES Washes have been applied to the gaps in the armor

plates and to the brackets as well.
Humbrol 110 Matte Earth
Abteilung 080 Wash Brown
Abteilung 110 Black
P239 Thinner

13
PAINT FADING

Paint fading truly starts the when fading the paint. They are: the
weathering process of our model. This treatment of the horizontal and
technique involves the use of oil vertical surfaces, highlights and
paints by dotting the surface with shadows, and the starting point.
different appropriate colors In terms of the starting point for
compared to the base color, then this technique, the thinner is used by
blending these dots with some "sweeping" the surface from up to
thinner to obtain tonal variation in down. I always begin on the upper
the base color. I use a (#0 or #1) fine part of my models so that the thinner
paintbrush to apply the color points doesn't ruin the work already
and a (#5 or #6) round or a (#6 or #8) finished.
flat for blending the colors. In regards to the surfaces, you
The colors are blended using clean need to move the paintbrush in
solvent, with most of the solvent circles or by picking at the horizontal
removed from the brush with a paper areas, and use quick up and down
towel. I used the oils from 502 movements of your wrist in the
Abteilung for this model. In addition vertical areas.
to their original colors, their new list To create the proper
of colors is clearly for use in military illumination, I use lighter colors in the
vehicle modeling. The pigment is very upper areas and darker ones in the
fine and the results obtained are very lower areas.
good. This technique adds artificial
There are several important highlights and shadows that natural
aspects that should be kept in mind lighting cannot create.

14
 PAINT FADING
This technique starts the extreme weathering of the
model. The idea is to achieve the same effect as the
filters (chromatic richness) with the technique of
the washes, but carried out as a different step.
Use oil paints, a fine paintbrush, and a large
paintbrush.

PAINT FADING - DARK YELLOW

PAINT FADING - PANZER GRAY I have used these Abteilung oil paints:

I have used these Abteilung oil paints: Abteilung 001 White

Abteilung 030 Blue Abteilung 010 Luftwaffe Yellow

Abteilung 035 Buff Abteilung 060 Light Rust Brown

Abteilung 080 Wash Brown Abteilung 090 Industrial Earth

Abteilung 100 Grey Faded P239 Thinner

P239 Thinner

15
RUST

I enhance some of the paint armor plates by means of this mixture

chips with rust using oil and enamel using a little larger tipped paintbrush.
paints applied with a fine (#0 or #1) To do this I soak the paintbrush
round paintbrush and thinner.
in the paint mixture and then touch it
The mixture is approximately
to a paper towel to remove a lot of the
50% paint and thinner, and is
paint, and like the filters, locate the tip
deposited in a small point on some of
of the paintbrush against the external
the chips, borders, edges, or areas
border of the plate flat to the surface.
suitable to be rusty. Then, I draw a
This allows for a nice faded look to the
small fine streak with the clean round
color used. I usually dilute the paint
paintbrush moistened in thinner to
less than the paint used for the filter
reproduce the effect of rain or
technique.
humidity on the metal when it is
rusty.
Another interesting effect is to
reproduce the developing rust that
takes place in corners, on edges, and
in certain specific areas around the

16
 RUST
Adding rust starts the precise weathering on the
model as this technique focuses on selected points
or areas of the model.
Although iron rusts easily, you must be moderate in
its application.
The technique is applied on some of the paint chips
and in vertical streaks to simulate rain streaks.
Use oil paints, thinner, and two fine pointed
paintbrushes.

I have used enamel and oil paints:

Humbrol #62 Leather
Abteilung 070 Dark Rust
Abteilung 110 Black
P239 Thinner

I have used the same colors for the panzer

gray as the desert yellow.

The same combination of colors has been used on

the gray color that was used for the dark yellow.
The different results are due to the base color
applied.

17
DUST

Most modelers use oil paints, I don't usually apply a pre-

pigments, or both for this task. I prefer dusting with the airbrush, although it
pigments because they are dust, and is sometimes convenient to do so as it
look just like the real effect we are creates a dull and rough surface for
trying to obtain. the pigments to adhere to. I use a
Spectacular effects can be made couple of paintbrushes to apply them
with the pigments, and it is my dry; one fine tip to deposit them in
opinion, that they contribute a touch place, and another larger, plane tip, to
of realism difficult to get by other fix them with thinner. I usually use a
means. However, there are also light color, a mid range color, and a
modelers that don't use them, and darker color, so variation appears. I
they obtain equally exceptional place them where I believe they
results. should go and distribute or remove
There is a problem when using them with the thinner. I sometimes
pigments: you must be extremely add a little more pigment on the area
careful when applying them, or they that is still wet with the thinner to
can destroy your entire work. create a bit of texture.
Although there are a great number of Pigments are an ideal material
articles published on their use, as well to test and experiment with to see
as a DVD, I believe that the question how many ways you can apply them
of how to use them has not quite and how many different effects can
been answered. be achieved.

18
 DUST
All vehicles operating in the environment end up
covered in dust. Dust adds "life" to scale models
because our brain unconsciously interprets it as a
sign that it has been used.
You must be restrained in the application; if you use
too much and cover the entire model, you won't get
the effect you are looking for.
Use different colored pigments applied dry with
different sized paintbrushes to distribute the
pigment where wanted on the model.

DUST AND EARTH PIGMENTS

I have used MIG Productions pigments in these
colors:
P027 Light Dust
P028 Europe Dust
P232 Dry Mud
P239 Thinner

DUST AND EARTH OILS

I have used MIG Productions pigments in these
colors:
ABT. 090 Industrial Earth
ABT. 110 Black
P239 Thinner

In this picture you can see the results of combining

the dust technique with pigments, and the
splashes made with oil paints, which are explained
later. The result is a great variety of effects and
textures that simulate environmental conditions
as experienced by the vehicle we are trying to
reproduce.
19
 MUD
Mud is an optional technique, although almost all
military vehicles have dry mud on their lower areas
and it is advisable to add dry mud to your model. It
is obligatory for models set in a wet environment
and in spring or winter scenes.
For this model the mud was applied on the lower
hull and chassis, as well as the mudguards,
fenders, wheels, and tracks.

Earth and dust accumulate in the lower hull of the

vehicle in a dry environment and mix with oil and
grease. These effects can be made with pigments
and oil paints, and the process can be repeated as
many times as needed to achieve the desired
effects.
The lower hull of vehicles operating in dry areas
show the effects of oil and grease in various areas
including; the wheel hubs, shocks, and grease
points. Polished and bare metal effects on the drive
sprockets, idler wheels, and tracks are made with
graphite pigment and a pencil, which is
demonstrated later.

The exhaust pipes have been painted with dark brown acrylic colors. I
applied various colored pigments while the paint was still wet to achieve a
diversity of tones characteristic of the rusting that they suffer. The smoke
is simulated with black pigment.

20
 MUD

If you want to make some mud work with a relatively big #4 or #5 round
that sticks to the lower hull, wheels, and paint brush with hard bristles that is of
tracks, the ideal thing to use is an acrylic poor quality, and then clean it out only
resin mixed with some pigments, some after the session is over so I can use it
plaster, some small stones, and pieces of again.
synthetic grass. Blend everything The mixture is applied in a logical
together and then apply it where you way, that is to say, in the places where it
want it with an old paintbrush or similar would accumulate under real
applicator. You will be amazed at how conditions; the fenders, bogies, lower
much it looks like natural mud. Of hull, tracks, and rear plate. Make sure to
course this alone is not enough and it have several good pictures to follow.
will need some painting or other Allow it to thoroughly dry.
treatment. You can leave it alone to Deciding on dry or wet mud
represent dry mud, or you can paint it completes this process. The ideal thing
with some clear gloss to make wet mud. to do is to add some more dry pigment
The chart of colors and materials around the areas where we have added
contains the specific items that I have the mud. This increases the chromatic
used. The idea is to keep in mind the richness and breaks up the monotony of
components of the mixture, their the previous mixture.
characteristics, and their manipulation. This is all good for dry mud. But
When talking about their characteristics, what if you want it to look wet? Quite
I am referring to the texture, which simply, you make it look wet by adding
should be consistent, rough, thick, and some clear gloss to vary its color, and by
granulated. I suppose that the pictures doing the following step of adding
that you have seen in magazine articles splashes and wet effects.
should help clarify this point. I usually

21
 MUD APPLIED TO THE PANZER GRAY
WET MUD
I have used the following pigments from
MIG Productions:
P033 Dark Mud
P034 Russian Earth
P039 Ind. City Dirt
P032 Resin
Plaster
Sand and gravel

In these three pictures you can see the

texture of the mixture that has been used
as well as its distribution. I have tried to
produce volume, and place it in the most
logical places, just as it would happen under
real conditions.

22
 MUD APPLIED TO THE PANZER GRAY
DRY MUD
I have used the following pigments from
MIG Productions:
P026 Copper Rust
P037 Gulf War Sand
P039 Ind. City Dirt
P239 Thinner

In these three pictures you can appreciate

the dry pigments that have been added in
the borders of the accumulations of mud to
get a difference between dry and wet. The
next step will be to add some splashes and
wetness to reinforce the contrast between
dry and wet areas.

23
SPLASHES AND WET EFFECTS

I have used some pigments, oil brush instead of "flinging" it at the

paints and some thinner to make the surface, and they obtain very similar
splashes. I made several mixtures of results.
lights and darks in several bowls to I begin by soaking the
make it easy to compare the mixtures. paintbrush in the mixture in the
This is good for the yellow or "dry" bowls. I then hold the paintbrush
side of the StuG. If we add some gloss with my left hand and the toothpick
varnish to the dark ones, or we make in my right (evidently I am right-
mixtures with dark oil, asphalt, and handed). I then I place the paintbrush
gloss varnish in different proportions, perpendicular to the surface that I
they will be good for the gray or "wet" want to sprinkle and bend the bristles
side of the StuG. back with the toothpick. I then allow
The splashes are made with a #2 the bristles to return to their normal
or #3 round paintbrush with long position, which throws the paint
bristles, and a toothpick. It is an against the chosen area to produce a
interesting experiment to "fling" the sprinkled effect. As mentioned, be
splashes on a paper towel until you sure to practice this technique before
get the appropriate size of splashes trying on your model.
you want, and then to project them This technique is great for the
on to the different surfaces of the attractive results it provides, and is an
model to get the appropriate results. easy way to apply to the chassis,
The important thing to remember is lower hull, mudguards, and fenders
that each of you should experiment where these effects can be seen on all
to find the method and ways of types of vehicles used in normal
making things work. There are those operating conditions.
who use an airbrush to blow the paint

24
SPLASHES AND WET EFFECTS
These effects are indispensable for setting the
model in wet environments or in spring or winter
dioramas.
In the same way as dust, splashes add "life" to scale
models because our brain unconsciously interprets
it as a sign that it has been used.
Use a fine paintbrush and a toothpick to apply as
described in the article.

SPLASHES
I have used the following:
Abteilung 090 Industrial Earth + Abteilung 110 Black +
P034 Russian Earth + P239 Thinner
Abteilung 080 Wash Brown +P033 Dark Mud + P239
Thinner
Abteilung 035 Buff + P026 Copper Rust +P239 Thinner

25
WET EFFECTS
I have used the following:
Gloss varnish
P239 Thinner
MIG Productions Fresh Mud pigments set
Dark oils

26
 OIL, GREASE AND FUEL
For me, doing this step is a moment end up dirty. I take the mixture and place
that is very pleasant, not only for its it on the area in the form of stains, and
application, but it means that the paint then touch the surface around them with
work is coming to the end. There is no the other clean paintbrush dampened in
norm or standard concerning this type of thinner, extending and diluting them at
effects, or in their application to the the same time. I then add spots of the
model. It goes without saying that the different mixtures and dilute with the
key to doing these well lies in excellent other paintbrush again, to draw the stains
pictures of the vehicle you are trying to into a natural and believable way. Once
represent. With that being said, you can again, you must vary their size and shape,
be sure to find stains in greasing areas, and you must add a few streaks for
around wheel hubs, on hydraulic shocks, additional realism. The last step is to make
and around the fuel caps. sure the shininess of the stains is
I represent these stains with oil different.
paints, asphalt, a good gloss varnish, and Added realism can also be obtained
thinner. The key thing to remember is if you kill the shininess of some stains
that the shininess should be apparent. with some pigments. I do this by carefully
Several mixtures are once again applying the pigments on the perimeter
made in the bowls. They are oil paint with of some stains. This adds a quite desirable
thinner, asphalt oil color with thinner, and interesting effect to take place. Have
varnish, and another varnish with thinner. you ever noticed that the surfaces near oil
I use a #0 or #1 paintbrush to apply them. or fuel stains accumulate earth and dust,
The method is very easy. I use one and that they form a greasy and dull
paintbrush for the thinner and the other layer? With careful attention to detail you
one for the mixture, although they both can achieve very realistic effects.

BARE METAL
The last step to end the paint work will also need to highlight other areas
is to "metalize" the susceptible areas that and edges prone to rubbing and wear
show bear metal from constant rubbing. from the crew. This is all fairly easy to do
with enamel paint, metallic pigments, a
This includes the track guide teeth, the
common 2H pencil, a small paintbrush,
tracks, guide sprockets, road wheels, and and your finger. The most common
any other constantly moving surface. mistake with this effect is to over due it,
In addition to the running gear, you so the key here is to use restraint.
27
 OIL, GREASE, AND FUEL STAINS
These effects continue to add "life" to our model and
contrasts with effects already made including the
dust and mud.
I have used the following materials:
Pigments
Gloss varnish
Asphalt
Asphalt oil

BARE METAL PAINTING

The bare metal areas add realism to the
model by making the plastic look like metal.
This also increases the contrast with the
different effects already achieved.
Use metalizer paints and and Mig's P231 Gun
Metal pigment.

MAKING METAL WITH GRAPHITE

This is the last technique used on the model.
Lost volume from the previous weathering
techniques are recovered by applying the
graphite on the edges of shapes and to give a
metallic look to the model.
Use the lead of a soft #1 or 2H pencil.
Sometimes the best tool to use for applying
pigments is the good old finger.

28
These pictures show the different colors used weathering processes, the quantity made in
to paint the chips, as well as their locations in this phase will impact the final result of the
the areas of maximum rubbing. Although model.
many of them will get lost during the later

29
Faded paint made with oil paints can be seen in Work should not be neglected on the running gear
the upper part of the photo as well as rust effects. and the lower hull. You should avoid monotony in
The right lower half of the picture shows that the the wheels by applying different effects in
process has already been completed with the different areas.
pigments, oils, grease, and splashes.

The same area in the pictures of the yellow half of texture as the final disposition of the "mud"
the model. You can see the results of the wet or added to the lower hull. Also note the shiny
dark processes, but the most interesting things appearance due to the treatment with varnish.
that get your attention should be as much the

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Lots of contrasts. The most interesting thing is the combination of all these techniques and
about these pictures is that they show the way of applying them that will contribute
contrasting results, techniques, and specific variation and richness to a model at the end of
colors used on one base color versus another. It the whole painting process.

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ADDITIONAL GALLERY