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FineScale Modeler 2018 Holiday Special Edition - Great War Scale Modeling
FineScale Modeler 2018 Holiday Special Edition - Great War Scale Modeling
17 PAGES OF NEW
SHOW PHOTOS
WonderFest
IPMS
AMPS
Great War Scale
CONTENTS
Modeling
4 Editor’s note
Revisiting the Great War
6 Portfolio
Aircraft of WWI
BY CLAUDIO KALICINSKI
30 Raising König
Easy extras elevate this battleship
BY CARLO ALONZI
40 Deborah, unearthed
he 1998 excavation of a Mark IV
BY JONAS DAHLBERG
www.FineScale.com 3
EDITOR’S PAGE
By Mark Savage Great War Scale
EDITORIAL
Senior Editor Aaron Skinner
Digital Editor Elizabeth Nash
Editorial Associate Monica Freitag
ART
Senior Graphic Designer Scott Krall
Senior Graphic Designer Drew Halverson
Illustrator Kellie Jaeger
Photographer William Zuback
Production Coordinator Cindy Barder
CONTRIBUTING MODELERS
Paul Boyer, Federico Collada, Andy Cooper,
Raúl Corral, Frank Cuden, Phillip Gore, James Green,
Joe Hudson, Rick Lawler, Karl Logan, Harvey Low,
Rato Marczak, Chris Mrosko, Bill Plunk, Darren Roberts,
Chuck Sawyer, Cookie Sewell, Bob Steinbrunn,
Cristóbal Vergara, Jim Wechsler, Adam Wilder
KALMBACH MEDIA
Chief Executive Officer Dan Hickey
Senior Vice President, Finance Christine Metcalf
Vice President, Content Stephen C. George
Vice President, Consumer Marketing Nicole McGuire
Vice President, Operations Brian J. Schmidt
Joe Lumusio of Murrieta, Calif., created biplane magic via major improvements to this Academy Vice President, Human Resources Sarah A. Horner
1/32 scale Nieuport 17. He scratchbuilt fuselage framing, cowl braces, rudder pedals, machine- Senior Director, Advertising Sales and Events
gun supports and added spark plug wires. Plus that prancing horse from Count Francesco David T. Sherman
Advertising Sales Director Scott Redmond
Baracca’s plane went on to be used by Ferrari as a way of honoring Baracca, Italy’s top ace in WWI. Circulation Director Liz Runyon
Art and Production Manager Michael Soliday
New Business Manager Cathy Daniels
Retention Manager Kathy Steele
A
Single Copy Specialist Kim Redmond
s the 100th anniversary of the some particularly special builds for
EDITORIAL
armistice ending World War I this special issue! 262-796-8776
grew closer over the past several We think you’ll like them, and ADVERTISING DEPARTMENT
years, we’ve seen more manufacturers learn a lot from the tips and tech- 888-558-1544
Advertising Sales Representative
turning out kits of WWI subjects, niques these authors explain in their Michael Wieloch, Ext. 630
Advertising Services Representative
and more modelers building these stories. And remember many of these [email protected]
unique vehicles. techniques can be used on military RETAIL, TRADE ORDERS, AND INQUIRIES
Selling FineScale Modeler magazine or products
his special issue celebrates both vehicles from other eras. in your store:
Phone 800-558-1544
the war’s end, and the genius behind Steve and Bill deliver excellent Outside U.S. & Canada 262-796-8776, Ext. 818
Fax 262-798-6592
those early war machines that still armor pieces, Chuck tells you every- E-mail [email protected]
Website www.Retailers.Kalmbach.com
fascinates us. thing you ever wanted to know about
CUSTOMER SALES AND SERVICE
As a kid I was entralled with biplane rigging, Jonas re-creates Phone 877-246-4847
biplanes and the aces that lew them. some moving dioramas and Joe and Outside the U.S. and Canada 903-636-1125
Customer Service
hat led to builds of quite a few Aaron pitch in on a joint diorama [email protected]
Digital
WWI aircraft, all 1/72 scale, and all and igure painting project. [email protected]
Back Issues
pretty basic. I didn’t even understand here’s a lot to digest here, plus [email protected]
why there was rigging at the time. we’ve sprinkled in a portfolio of SPECIAL EMAIL & WEB ADDRESSES
Ad Sales [email protected]
Well, we knew Great War Scale WWI aircraft builds, a WWI photo Letters to the Editor [email protected]
New Products [email protected]
Modeling had to address that issue, gallery from various shows this year, Reader Gallery Contribute.Kalmbach.com
Reader Questions [email protected]
along with inspiring you to build plus a wide variety of non-WWI Reader Tips [email protected]
better armor, ships, and maybe a builds from those same big shows — Great War Scale Modeling (ISBN 978-1-62700-603-3,
diorama or two. think Great Scale Modeling. EISBN 978-1-62700-604-0) is produced by FineScale
Modeler magazine and published by Kalmbach Media Co.,
So we scoured our iles for infor- Enjoy! 21027 Crossroads Circle, P.O. Box 1612 Waukesha, WI 53187.
© 2018 Kalmbach Media Co. All rights reserved. This
mative stories and enlisted the help publication may not be reproduced in any form without
permission. Printed in the U.S.A. Single copy price, $9.99 in
of top modelers like Steve Zaloga, U.S.; $10.99 in Canada and other countries. Canadian price
includes GST. BN 12271 3209 RT. Canadian and international
Chuck Davis, Bill Plunk, Jonas orders payable in U.S. funds. Canadian International
Publications Mail Products Agreement No. 40010760.
Dahlberg, Joe Hudson, plus our
go-to guy, Aaron Skinner, to create
170+
MODELS IN
CONTEST
Coverage from
MODELS
the biggest shows
Be inspired by
top builders’
best models
ONE PLACE!
SHIPS
SCIENCE FICTION
VEHICLES
10
ARMOR
models from the best modelers in the world. From SHOWCASES
armor and aircraft to figures and science fiction, this + DAN JAYNE
CUTAWAYS
special edition includes never before seen photos that AIRCRAFT
www.FineScale.com 5
PORTFOLIO
Aircraft of
WWI
T
he Great War may have
been the irst conlict to
see this new technology, Dragon’s SPAD XIII (No. 5902) was decorated with decals from
but that didn’t stop airplanes from AeroMaster’s SPADs set (No. 48-075). to model an early SPAD XIII of
becoming as varied and colorful Escadrille SPA.48 flown by Sgt. Jacques Roques, April-May, 1918. The
four wingtips were extended with 1mm styrene sheet. I painted with
as weapons far more ancient. Model Masters enamels. As with the Dr.1 (left), I weathered it with pastel
Fascinated with the subject, chalks, watercolor washes, and a thin mix of black and red-brown
airbrushed in light passes.
Claudio sent us a portfolio of his
WWI bi- and triplanes, which we
were happy to publish. Here are a
few with descriptions in Claudio’s
own words.
Dragon’s 1/48 scale Fokker Dr.1 (No. 5906)
originally represented the triplane flown by Lt.
Josef Jacobs of Jasta 7. Instead, I built a red-nosed
Dr.1 piloted by Lt. August Raben of Jasta 18
during the first half of 1918 with hand-painted
markings. The weathering is a combination of
pastel chalks, watercolor washes, and a very thin
mix of black and red-brown airbrushed in light
passes. Eduard’s 1/48 scale Albatros D.V (No. 8112) was reimagined as Lt. Otto
Kissenberth’s biplane of Jasta 23b. I enlarged the fuselage frames with
styrene strips, then detailed the cockpit with a compass and the RPM
indicator made out of a piece of plastic rod and a FotoCut bezel. I replaced
the grip of the control column with copper wire and added the machine
gun triggers, cables, throttle, and locking levers. I rigged the biplane with
monofilament thread colored with a black permanent marker.
I emblellished Eduard’s 1/48 scale Hanriot HD.1 (No. 8018) with photo-
etch (PE) from a later ProfiPack (No. 8034) to build the biplane flown by
the greatest balloon buster of WWI, the Belgian Willy Coppens, while he
was with 9ème Escadrille in 1918. I scratchbuilt the missing tail-skid tu-
bular housing structure, created a carburetor intake with a hypodermic
needle, added a PE pressure gauge by FotoCut, and padded the front
section of the headrest, and painted with GSI Creos acrylics.
www.FineScale.com 7
This 1/48 scale Lindberg Curtiss JN-4D Jenny represents a 1918 trainer based at Love Field, Texas. It took me seven months to complete, including
a completely scratchbuilt interior and engine (minus the cylinders), radiator, propeller, and exhausts. I added the aileron control pulleys, control
horns, and upper wing king posts. The landing gear and wheels were detailed. I made the fuselage decals and painted the individual numbers,
cockades, and rudder stripes with the help of a cutting plotter machine and CorelDraw graphics software. Rigging is invisible thread painted black.
I finished Směr’s 1/48 scale Sopwith Camel (No. SE0105) in the markings of Belgian
ace Jean Olieslangers. After reworking the fuselage and wings to match plans, I cut-
out and repositioned the ailerons and elevators, replaced the Vickers machine guns
with resin copies of the Dragon’s SPAD XIII guns, and scratchbuilt the landing gear,
wind-driven generator, and tail skid. I used Aeroclub’s white-metal Clerget engine
and the propeller is a resin copy of Eduard’s Camel propeller. I added PE control
horns from Part and gunsights from FotoCut. All the markings were hand-painted
with the exception of the thistle on the fuselage and rudder serial.
This 1/48 scale vacuum-formed Tom’s Modelworks Sopwith 1½ Strutter is modeled as a plane from No. 43 Squadron of the Royal Flying Corps
in 1917. The interior is completely scratchbuilt and I replaced the Vickers machine gun with a resin copy of Dragon’s SPAD XIII gun, detailed the
landing gear and wheels, and added PE control horns from Part, and gunsights and a pitot tube from FotoCut. I painted with Testors Model Master
enamels and weathered with pastels and different shades of linen airbrushed on. The fuselage markings were hand-painted. FSM
www.FineScale.com 9
Tickling the Rhino Multimedia kit brings to life
the arrival of tanks on the
Western Front
BY JOE HUDSON
AND AARON SKINNER
Surprised by their
first sight of a British
tank, German infantry
try to breach the
beast in this 1/32
scale diorama.
F
rom the irst deployment of Rhino, this multimedia kit includes a Mark I
British Mark Is at the Battle of tank with steering trailer, ten igures, a sce-
Flers–Courcelette in 1916, tanks nic base, some stowage, and two rats.
revolutionized warfare, making While the bulk of the tank is cast in
irepower mobile and providing protection large resin pieces, most of the parts are
for the crew and accompanying troops. white-metal. A few photo-etched (PE)
Dedicated anti-tank weapons were years items and a small decal sheet round out the
away, but early tanks were vulnerable to package.
artillery and infantry with grenades. We split the work with Joe assembling
he latter is depicted in Andrea and painting the igures and Aaron build-
Miniatures’ 1/32 scale Tank Fight diorama ing the tank and bringing all of the compo-
kit. Inspired by an illustration published nents together on the base.
during World War I entitled Tickling the Joe kicks things of.
3 4 5
Then, I assembled each of the figures with After pinning each figure and placing them on Working in assembly-line fashion, I hand-
5-minute epoxy leaving some limbs and cork stoppers, balsa blocks, alligator clips, or brushed base coats on the uniforms. I kept the
weapons off to ease painting. This process pin vises to use as handles, I airbrushed them mixes simple — easy to replicate if I needed to
required a lot of small batches of adhesive to with a primer coat of Tamiya sky gray (XF-19). correct mistakes across the eight German
assemble all 10 of the multipart figures. soldiers. Altering the highlights and shadows
painted later gave variety.
6 7 8
To match my mixes, think of an eye with the Because these figures were going on a … then added progressively more of the AK
initial color as the iris and the second color diorama that would be viewable from all set’s uniform shadow color to gradually
added like the pupil. This can be replicated in angles, I didn’t want to give them a specific deepen the centers of folds, underhangs, and
small and large amounts of paint. light source as I do with single figures. Instead, creases.
I painted shadows almost to black using
AK-Interactive’s WWI German Uniforms three-
color set (AK3090). I started shadows with the
unmixed color uniform base, …
www.FineScale.com 11
9 10 11
After completing shadows under folds, For highlights, I added AK uniform light to The brightest highlights were added to the
equipment, and limbs, I checked where the Scale 75 field gray and applied this mix to the most extreme spots with reference to how the
figure would be up against the tank and top side of folds, limbs, and others salients. figure would be positioned on the diorama.
added large shadows with thin Vallejo Model
Color black in the contact areas.
12 13 14
The finished work shows how the harsh Attaching the pre-painted parts with 5-minute But the work often took the paint to bare
shadows contrast nicely with the highlights. epoxy left gaps at the seams. I filled them with metal requiring me to repaint those spots. This
That should allow the figures to pop without a mix of Squadron Green Putty and Tamiya is where those simple base coats are essential
overwhelming the diorama. To learn about the Extra Thin Cement. Once it was dry, I smoothed to easily match the patches. At this point, I sent
colors I used for flesh and equipment, see the the putty with sandpaper, sanding foam, and the figures to Aaron, who takes it from here.
list on p. 15. Scotch-Brite pads.
15 16 17
After sanding the bottom of the exhaust To ensure a good fit, I smoothed the mating The advantage of the soft metal is that its
covers flat, I attached them by flowing super surfaces of the wheels for the steering trailer shape and pins can easily be adjusted with a
glue into the seams. Solvent-based plastic against a sheet of sandpaper held flat on a little gentle pressure. A razor saw quickly
cement won’t work on the resin or metal. solid surface. The wheels were joined with separates the parts from attached sprues.
super glue.
21 22 23
The first British tanks in France wore To help break up the finish, I sprayed IJN gray The green is a mix of equal parts Tamiya NATO
multicolored camouflage. For the base coat, I mixed with a drop of German gray (XF-63) green (XF-67) and flat green (XF-5) with just a
airbrushed the tank with Tamiya IJN gray (XF- along panel lines and rivets. Then I sprayed a touch of flat yellow (XF-3). I mixed the mustard
12) a pretty good match for stone gray. thin mix of IJN gray and white into panel with Tamiya flat white (XF-2), yellow green
Andrea’s instructions lacked clear painting centers. (XF-4), and a little desert yellow (XF-59). The
diagrams, so I followed one of the patterns final shade is Tamiya NATO brown (XF-68).
provided in Takom’s Mark I Male kit.
24 25 26
I hand-painted the lines separating the colors To base coat the tracks, I hand-brushed a mix I enhanced the terrific surface detail with
with Tamiya flat black (XF-1) and a 0 brush. of Vallejo gunmetal gray (70.863) and Ammo Tamiya brown Panel Line Accent Color, first
Keeping the bristles damp with thinner helps by Mig Jimenez dark tracks (A.MIG035). flowing it into recesses and around rivets, …
the paint flow. Later, I cleaned up the edges of
the color areas by hand.
www.FineScale.com 13
27 28 29
… then I refined the wash with clear enamel On the vertical side plates, I removed excess To further weather the sides I applied dots of
thinner to feather edges and remove excess. wash by stroking the clean brush down the several colors of oil paint to the panels, then
Use a paper towel to clean the brush between sides replicating water streaking on the sides drew a saw-tooth brush with a little clean
applications of clean thinner and prevent of the full-size tank. Turpenoid down the plates until almost all of
reapplying the wash you just removed. the color was removed.
30 31 32
Who doesn’t enjoy playing in the mud? I … and a little lighter along the edges of the Using a chunk of sponge, I textured the mud
applied Vallejo Environment European thick upper runs. The acrylic mixture remains and feathered the edges. Photos showed mud
mud (26.807) around the running gear with workable for about 30 minutes, so it’s easy to collected on top of the sponsons so I built up
heavy deposits on the lower sections and on push around on the surface. A little water thins sizable deposits there.
the tracks … it, and I brushed a few streaks down the sides.
33 34 35
With a plastic knife, I scraped the mud from After spraying the display base black, I applied I also brushed a thin mix of the mud and water
the ridges between the track links. A pencil Vallejo mud to the area underneath the tank onto the boots of the figures to tie them into
gave those ridges a steely sheen. that would be inaccessible once the vehicle the scene.
was in place.
39 40 41
Before attaching each of the figures with … then pressed the figure into place so it I drilled holes and glued in the white-metal
5-minute epoxy, I brushed the mud around its appeared to be in, rather than on, the soft posts before stringing them with PE lengths of
molded locators, … material. I refined the fit by pushing mud barbwire. Posts and wire were painted with
around hands and feet. Vallejo Environment rust texture (73.821).
www.FineScale.com 15
“Fight on and fly
on to the last
drop of blood
and the last drop
of fuel, to the last Although von Richthofen scored
beat of the 80 victories, bullets play no
heart.” favorites. A combination of photo-
— Baron Manfred von etched metal and plastic kits, plus
Richthofen
tissue, glue, and clear varnish,
helps tell the end of a story.
The end of the
Red Baron Multimedia memorial combines plastic, metal, tissue, and time
BY JONAS DAHLBERG
I
n an era illed with larger-than-life igures and incredible sto-
ries reported by an emerging worldwide press and literary
corps, the most famous legend of all may be Manfred Albrecht
Freiherr von Richthofen, commonly known as the “Red Baron.”
With 80 aerial victories, he was the “ace of aces,” exalted and
revered by his German countrymen, respected and feared by his
Allied enemies.
But even the greatest of heroes can run out of luck. For von 1
Richthofen, the string began to fray in July 1917 when a grazing
Construction starts with the PE skeleton …
bullet fractured his skull. He never quite recovered, complaining of
headaches, and some have speculated he may have been alicted
by what was then being called “aero-neurosis” — known to us now
as post-traumatic stress disorder (PTSD).
Finally, von Richthofen was shot down and killed near Vaux-
sur-Somme on April 21, 1918. He was 25.
www.FineScale.com 17
4 5
Airbrushing with Vallejo aluminum and Ammo by Mig Jimenez old Test assembly with the base colors dry on the skeleton frame.
wood.
6 7
Using diluted burnt umber artist’s oil paints I created imitation wood. Next I glued the aircraft’s plastic and PE subassemblies together.
8 9
Because the plastic Eduard kit matched the PE one, I had my pick of The pilot, seat, engine cowling, engine, wheels, wing struts, and
parts when combining the two. propeller are all plastic.
12 13
I let it dry thoroughly before trimming the edges and fixing All pieces clad in glue-soaked tissue paper. I’ll be able to tear the
imperfections. material easily later.
14 15
Painting begins with Vallejo white primer followed by pre-shading with Ammo red paint was airbrushed onto the Fokker, followed by numerous
flat black. layers of gloss varnish.
www.FineScale.com 19
16 17
Decals were placed using decal solution, then fixed with multiple layers After a layer of flat satin varnish, the base was prepared with Woodland’s
of gloss varnish. scatter material.
18 19
I glued the plane firmly to the ground, pushing a wooden stick through Then I started tearing it up. This is the fun part! I used tweeers to pull the
the propeller hole to anchor it. The pilot was then returned to the tissue apart.
cockpit.
20 21
The uncovered wood struts and aluminum parts make for a convincing Paint touch-up, a slight repositioning of the pilot, and some wildflowers
triplane crash scene. strewn about complete the vignette.
R
igging is one of those modeling full-size aircraft. Just as in real life, this More at FineScale.com
skills that many people are method adds substantial strength to the
afraid to try. But, like many of inished model.
the things modelers do, all it he primary material is ine nylon
takes is seeing examples of the techniques monoilament similar to ishing line. I use
used — and practice. medical suture because it comes in black
here are many techniques to replicate — I’m lazy and don’t want to paint the
rigging. Some are easily adaptable regard- rigging. A magniier and a few simple
less of scale, while others only work well tools that you likely already have on your
for small sizes or as a shortcut if you don’t workbench are all you really need. hose
need to show every detail. items along with some simple twists and Want to see more? Watch Chuck
One of my favorite rigging methods is turns with the monoilament and you’ll demonstrate his rigging technique in a video
great for simulating early biplanes have your model rigged in no time. at www.FineScale.com. Go to the “How to”
equipped with visible turnbuckles, a device Follow along as I rig the tail boom of section under “Videos” on the homepage.
used to adjust tension of rigging lines on Wingnut Wings 1/32 scale Fe.2b.
1 2
I use a No. 79 drill bit in a pin vise to make holes to mount rigging A selection of tweezers are perfect “finger extenders” to grab rigging
attachments or deepen existing holes if they are too shallow. lines and maneuvering them through tight spots.
3 4
This technique requires precise application of super glue in hard to A hobby knife is useful for some cutting, but to get in close and trim
reach areas. To make the perfect tool, I wrapped fine electrical wire excess rigging, nothing beats fine scissors, sometimes called squizzers
around the tip of a self-locking tweezers. because they combine the actions of tweezers and scissors.
www.FineScale.com 23
5 6
Regardless of your age and visual acuity, you’ll want some type of I remember my grandma knitting with yarn secured nearby so it
magnifying lens to get up close and personal with the work. wouldn’t get away and unwind. I do the same thing with my rigging line
by placing the spool of suture over a screw in a small block of wood.
7 8
To anchor lines and simulate turnbuckle ends, I use tiny eyelets from The turnbuckle’s other part is a simulated wrap or sheath to hold the
Bob’s Buckles (www.bobsbuckles.co.uk). I place the eyelets I need on a wire after it’s passed through the eyelet. I use fine plastic tubes made by
square of double-sided foam tape to trim the shaft to size. stretching the hollow plastic handles of cotton swabs over heat.
9 10
Get to the chopper: To ensure the tubes are consistent, I use a Can you can see the tiny tube next to the blade? Now you know why I
NorthWest Short Line cutter. You also can use a knife and a ruler. said a magnifier was essential for rigging.
13 14
Carefully place the eyelet in the hole with the wire loop aligned parallel Next, cut a piece of line longer than you need. Thread one end through
to the direction of the rigging line. Let the glue dry thoroughly before the attachment point, in this case, one of the molded rigging points on
proceeding. the Fe.2’s boom. Stop when you have three or four inches through.
15 16
Thread one of the pre-cut tubes onto the long end of the line and slide Hold the tube with tweezers and grab the short end of the line with
it down the monofilament until it is close to the attachment point. another. Thread the short end back through the tube, grab it on the
Here’s where you start to appreciate a good pair of tweezers. other side, and pull it through without wrapping another part or line.
www.FineScale.com 25
17 18
Snug the tube up to the attachment point while holding the short end Once the tube is in place, hold a drop of super glue at the end of the
taut. Sometimes, the other or long end of the line moves instead. That’s tube farthest from the attachment point. The glue will wick into the
all right, just leave enough line at the other end to repeat the process. tube and lock the line in place
19 20
Note the darker area in the tube is the glue. Placing the adhesive away Place another tube onto the line.
from the attachment point allows the line to move freely. Too much
glue at the end nearest the attachment point will lock the line in place.
21 22
Thread the end of the line through the next attachment point, and then Pull out most of the slack while ensuring you haven’t looped the line
thread it back through the tube. around something else. It’s easy to do!
25 26
Now you should have a taut, straight line of rigging with excess at either Control the loose end with a pair of tweezers, then slide the blade of the
end. squizzers or other precision cutting tool up the line as close as possible
to the tube. A quick, careful snip, and your rigging line is done. On to
the next line! And the one after that!
www.FineScale.com 27
Remains of the French village of
Fleury-devant-Douaumont after
months of all-out warfare.
After months of fighting, this is what’s left of a village /// BY JONAS DAHLBERG
A
husband and wife come home to the During these months, the Battle of Verdun
small French village of Fleury-devant- was a blood-bath. At least 700,000 soldiers
Douaumont on the hills northeast of were killed, wounded, or went missing and
Verdun. Between February 21 and December Fleury changed hands 16 times.
15, 1916, it became the scene of some of the I wanted to show the destruction wrought by
most violent ighting in the recorded history this level of conlict, as well as the devastation
of warfare. left behind.
Fleury-devant-Douaumont is one of dozens of villages spread across The figures are from Verlinden and PlusModel. I painted them using
France that were not rebuilt after the war. It is known as a village detruits, thin, watery layers of acrylics, building up the colors over multiple
or destroyed village. The foundation of the diorama started off as painting sessions.
styrene foam, which I carved to create the uneven ground and trench.
The ossuary on site contains the bones of 130,000 The dirt is a mixture of clay and brown artist’s Today, markers point to where the school,
unidentified soldiers. I made this casualty with oils. While it was still moist and pliable I church, water fountain, shops, and roads once
a Hornet skull and helmet on a Scratchbuilt sprinkled real dirt and small rocks on the stood. I painted the base with Tamiya colors and
body of Magic Sculpt, mesh, and Mr. Surfacer. surface. weathered it with oils, acrylics, and pigments.
1 2
Here is the basic setup sculpted out of styrene foam. I dug out the To make the sides, I glued large sheets of styrene around the foam.
trench and inflicted gashes with a small metal grinding bit in a motor Once the glue set, I cut the sheets down with a sharp hobby knife to
tool. I took my time so as not to take away too much foam. match the outline of the ground.
3 4
Diorama before painting: I like to paint once everything is in place Flowers are brightly-colored foam glued to small twigs. I made about
because it’s easier to tie the pieces together using harmonious colors. I 300 of these. With all the muted colors showing the horrors of war, I
then used filters of acrylics and oils to bring out details. think the red flowers symbolize hope and that life still goes on. FSM
www.FineScale.com 29
RAISING
KÖNIG
Easy extras elevate ICM’s 1/350 scale battleship
BY CARLO ALONZI
T
he irst in its class of four dreadnought battleships in the course, I added photo-etch (PE) and turned aluminum pieces.
Kaiserliche Marine (Imperial German Navy) in World To be honest, most difficulties I had stem from my approach to
War I, SMS König was named in honor of King William ship modeling. Many modelers assemble nearly the entire ship,
II of Württemberg. It entered service in August 1914. then ill gaps and make other repairs before painting.
At the end of the war, König was among the ships interned at However, I prefer to build subassemblies and paint them of the
Scapa Flow in November 1918, and one of those scuttled the fol- model, weathering them separately. his increases variations in the
lowing June to prevent it from falling into Allied hands. Unlike colors. Later, there may be some inaccuracies — and it is certainly
many of the others, it was never raised. more complicated to remedy them in the post-inish stage.
he ICM kit is well molded and could be a good model right However, it is for you to decide what works best.
from the box. But I have become aftermarket-dependent — so, of All paint references (and numbers) are for Humbrol enamels.
1 2
The kit provides a one-piece hull. The first color Photo-etched (PE) rain guards (sometimes
applied is the antifouling red (bright red gloss called eyebrows) were glued over each
19) below the waterline. I glued a plastic oval porthole.
inside to make it easier to handle.
Loop
Boom support
3 4 5
Lower on the hull are PE supports for torpedo- Cables for the torpedo-net extensions are Booms for the torpedo net are in place. I
net booms, with styrene loops to guide cables made of .5mm fishing line painted black. The painted the anchors gunmetal (53) and I
that maneuvered the net. upper hull is flat light gray (64); propellers are weathered those along with the PE royal
painted with brass (54). crown at the bow.
www.FineScale.com 31
6 7 8
The main deck is a single piece that I painted a I chiseled away molded anchor chains to Anchor-chain races are painted light gray
base-coat of flat pale stone (121) and applied replace them with brass chains from RB before fitting the chains, painted coal black
washes of sepia ink and burnt sienna earth. Models. satin (85). Torpedo-net anchor points are fixed.
Cut open
9 10 11
The second deck received the same base coat Aft on the main deck, I cut through the kit Embellishments at the stern include open
and washes as the main deck. plastic to open three hatches. More PE will ventilators plus hardware for the opened
enhance these. hatches, with ladders inside.
Stowed net
12 13 14
Torpedo nets were deployed when the ship Superstructure is painted gray like the hull; The masts feature PE details; brass rod replaces
was moored. Modeling the furled nets is easy; those decks are hand-brushed with flat brick plastic because it stays straighter, especially
they’re shoelaces painted gunmetal (53). red (70). The bridge is painted thinned white. when rigging is attached.
15 16 17
The mast and rigging (.5mm fishing line) are The superstructure at the stern was painted The aft funnel was detailed with PE ladders
painted flat black (33). Vertical surfaces on the the same — flat light gray and flat brick red. and grilles from White Ensign Models.
upper structure are camouflage gray (28).
21 22 23
The kit’s boats were fairly well detailed; I added A view from starboard shows four types of The motor launches were improved with PE
the life preserver. boats, including two motor launches. propellers, rudders, handrails, and ladders.
Brass rod
PE grilles
24
Outboard, suspended boats received
superdetailing: oars, rudder, and various ropes
were added, along with fine PE for the davits.
Printed flag
Aluminum barrels
Thread for cables
www.FineScale.com 33
Urgent Message
from HQ!
Aftermarket detailing may cost extra, but adds realism, interest to a Renault FT
BY STEVE ZALOGA
T
here’s an old saying in engineer- designation: Renault FT char léger modèle (CixM.001) that includes resin tires with
ing that the inal 5% of quality 1917. tread detail, photo-etch (PE) spokes, gas-
doubles the cost of a project. It’s After looking over the kits, I decided to tank decals and other resin upgrades. A few
like that with modeling. Add a order a few aftermarket bits. he limitations weeks later, a tiny package was in my hands.
few aftermarket sets to a project, and costs of plastic molding doom most motorcycle Renault FT tanks frequently carried a
shoot up. But on the other hand, aftermar- wheels to clumsy spokes. I found that Italy’s
ket bits can substantially improve the Cix Models (www.cixmodels.com) does a
appeal of the inished model. Meng Peugeot Super Detail set
his project started when I spotted
Meng’s French FT-17 Light Tank Crew
and Orderly (HS-005) at a hobby store.
his provides the crew for the tank, and
includes a lovely little Peugeot motorcycle
with dispatch rider — instant vignette in a
box! So it was a matter of getting the Meng
Renault FT kit. I’ve always preferred the
round Girod turret version rather than the
riveted Omnibus turret, so I got kit TS-008.
By the way, there is no such thing as a
Renault FT-17. he tank was simply called
the Renault FT, the FT being the Renault
code for this product. Various people called
it the FT-17 as a contraction for its official
1 2 3
The kit hull consists of multiple flat plates that Each track link had a small dimple in the I assembled the model in modules, leaving the
require considerable care to align properly. I center. After cleaning them, I put a drop of two suspension sections separate to make it
used Tamiya tape to hold the parts in place Tamiya Liquid Surface Primer on the easier to paint.
while they dried. depression. After a few days, I used a motor
tool and polishing burr to clean up the spot.
4 5 6
The suspension spring in the kit is not robust Here the tow hook is in place, attached to the I replaced the PE part (W4) for the small grille
enough. I replaced it with coated copper wire small clip on the hull using copper chain on the engine deck with laminated plastic
wrapped around a plastic rod of suitable placed into a small hole drilled into the hull. I sheet to provide more depth.
diameter. The idler wheel is from also replaced the main suspension spring with
a Blast resin update set. a sturdier one made from coated copper wire.
www.FineScale.com 35
8 9 10
The Blast upgrade set provides a lovely Here’s the Blast stowage with the lantern glass The tow hooks had a small piece of chain to
depiction of the unditching tail filled with removed using cutting burrs and the secure the retaining pin. I added this with fine
stowage. Notice the lantern in the stowage. I replacement glass from Tamiya in palce. I also chain, attached to the tow hook with very fine
replaced the glass part with an example from replaced the bottle. copper wire.
the Tamiya Churchill Crocodile. It’s hard to
depict glass convincingly with paint alone.
11 12 13
Cix Models offers a very nice upgrade set for Here’s the basic assembly of the motorcycle Here’s a detailed view of the basic assemblies
the Meng motorcycle. It includes PE wheel along with the Cix wheels. I used the kit of the Meng motorcycle with most of the CIX
spokes as well as a fuel tank decal and many fenders with the wheel cut away. This little parts in place.
small resin upgrades. Notice the kit wheel in model is quite complex, and I left many of the
the lower right. smaller parts separate to make it easier to
paint.
19 20 21
I created the terrain using Apoxie Sculpt epoxy For surface grit, I use Elmer’s wood putty Here’s the terrain portion of the base after
putty. I used some spare track links to create thinned with water, then sprinkle static grass, initial airbrushing. The base color is a light tan,
the impression of tracks behind the tank. I use sawdust, and finely ground dry leaves before with irregular squiggles of two darker dirt
a coarse stipple brush to impress coarse painting it with a thin mixture of carpenter’s shades.
texture in the terrain once the putty is in place. glue thinned with water, then sprinkled with
more covering while the adhesive is still wet.
22 23 24
I started airbrushing the suspension with dark I hand painted the camouflage colors to the Here’s the suspension with the basic
dirt (Tamiya JGSDF brown (XF-72) and rubber suspension, and then did some streaking airbrushing completed.
black (XF-85)). Then, I highlighted the more effects by airbrushing JGSD brown and a a mix
prominent areas such as the track faces with of wooden deck tan (XF-78) and flat white (XF-
JGSDF brown as the principal dirt color. I then 2) through PE wood-texture stencils. By
applied the basic ochre camouflage color to altering the distance and angle of the stencil,
areas not covered in dirt. various streaking effects can be created.
he kit’s driver is in a standing pose, so I Plastic igures tend toward soft detail built the groundwork on a piece of
didn’t use it. Instead, I found a torso in my with prominent mold lines. hese can be a Plexiglas, which is less susceptible to warp-
spares box since it serves little more than to challenge to remove, especially in areas such ing form the moisture in puuties than wood
hold a head looking through the hatch, 16. as the dispatch rider’s puttees. I rescribed or plastic, 18. I used Aves Apoxie Sculpt, a
Aside from the hands, I swapped out a many details. two-part epoxy putty (avesstudio.com), for
Hornet head with beret (Hornet set the terrain surface, 19. Once dry, texture
HQH03) for the tank commander as I Creating the base was added by painting the base with car-
didn’t like the kit head’s Adrian helmet, 17. I found a suitable wooden base in my stash. penter’s glue thinned with water and sprin-
I did considerable detailing on the igures, It was probably intended for a mounted kling on static grass and inally ground
especially the rider. igure, but it works well for a small tank. I dried leaves, 20, 21.
www.FineScale.com 37
25 26 27
I used the same process on the hull and turret I use a glaze over the airbrushed weather for The Renault FT looks more realistic after
assembly, using wood texture stencils for the further effects. I mix this in a yogurt lid from applying the weathering and completing the
streaking effects. Sepia oil paint with lighter fluid or mineral hand painting of small details.
spirits ats??? the solvent and Winsor & Newton
Liquin Original as a medium.
28 29
The most complex element of the hand- My approach to leather coats is shown here. The first step is an airbrushed coat of Tamiya royal
painting was the stowage on the unditching light gray (XF-80), followed by a glaze of Andrea black with Liquitex Slow-Dri Blending Medium
tail. This was painted with Andrea acrylics thinned with water. Once dry, I airbrush the coat with semi-transparent Tamiya smoke (X-19) to
using figure shading techniques. blend the colors.
30 31
I generally use Andrea acrylic paint sets for my figure painting. I especially like Andrea’s flesh Here’s the dispatch rider after painting. The
color set (ACS-01) as it provides a good variety of basic shades, plus matched highlighting and trousers and puttees were painted using
shading colors. Andrea’s blue acrylic set (ACS-05).
Painting the tank various acrylic colors, mainly from Andrea FT usually had a four-digit factory number
In 1918, the Renault FT was generally and Vallejo. In reality these patterns were on the hull side below the turret in black or
painted ochre with patterns of dark green, factory applied, often in a hasty, inconsis- red, and a six-digit “matricule” (military
brown, and black. A recent restoration tent fashion. I tried to duplicate the style registration number) on the side of the sus-
found that French ochre is similar to sometimes called “lame-pattern” from its pension and on the hull front, usually in
German World War II dunkelgelb, so I shape 22-25. white. I made my own factory numbers
used a 50:50 mixture of Tamiya dark yellow Once the camoulage was inished, I using a ine India-ink pen on some clear
(XF-60) and lat white (XF-2) as the base added markings. Unfortunately, the kit decal sheet, and I assembled the matricule
color. After airbrushing the base coat, I decals are incomplete and there isn’t much using some appropriate numbers from the
added the camoulage colors by hand, using in the way of aftermarket sets. he Renault Blitz Models’ WWI decal sheet. his item
is difficult to ind, but there are likely some my usual weathering glaze consisting of Painting the igures
suitable substitutes from Microscale and Sepia oil paint in a solution of lighter-luid I usually use Andrea acrylics to paint ig-
other decal makers. he “playing card” sym- (or mineral spirits) with Windsor Newton ures. hey can be purchased as individual
bol on the rear hull came from an old, out- Original Liquin as the medium, 26-28. bottles, but I usually buy sets such as lesh,
of-production decal sheet from Blast. his works somewhat like a wash, but due black, khaki, ield gray, etc. hese sets
Once the markings were on the model to the use of a medium, the mixture can be include several related colors for shadowing
and sealed with a clear coat, I did initial streaked and stippled on the surface with a and highlighting, 29-32. I also used these
weathering with my airbrush, using PE paint brush to create various weathering sets to paint the stowage in the tank’s
stencils intended for depicting wooden sur- efects. his particular technique requires unditching tail.
faces on aircraft. Several irms ofer these, considerable practice!
including Zoukei-Mura and RB he resulting inish is quite glossy so The completed model
Productions. after it dried, I applied Testors Dullcote. Meng provided the essential ingredients for
his may seem a rather odd way to do Once that was dry, I did detail painting and my vignette, but a few enhancements raised
tank weathering, but I ind that they work dry-brushing. its overall appeal. FSM
well with World War I tanks with lat sur-
faces since they can be held a few millime- For more information on French WWI tanks,
ters from the surface to create a ine vertical pick up a copy of Steve’s book (below), from
streak pattern. he pattern can be made Osprey Publishing.
softer by holding the stencil further from
the surface.
After the streaking was done, I applied
BY JONAS DAHLBERG
www.FineScale.com 41
Great
As the first major conflict of the 20th
century, World War I occurred as
technology leaped forward. For the
first time in history, aircraft prowled
the skies over the front lines and
tanks trundled across no-man’s-
War
land in an effort to break the
stalemate of trench warfare. All of
that technology makes it a period
rich with modeling subjects.
Manufacturers have responded in
recent years with state-of-the-art
kits of all the major tanks along with
Gallery
many of the aircraft. FSM shot these
WWI subjects at major modeling
contests during the past couple of
years.
DAVE PARKS
NEWARK, CALIFORNIA
Modeling a German soldier’s last act of desperation, Dave combined
Emhar’s 1/72 scale Mark IV Female tank with a scratchbuilt trench base of
wood and styrene foam. The diorama was painted with Tamiya acrylics and
weathered with artist’s oils and pigment powders.
CURTIS KNIGHT
ROCHESTER, MINNESOTA
Meikraft’s 1/72 scale Caproni
Ca.3 is more than 30 years old,
so it needed a little TLC, not
least of which scratchbuilt
wings, to turn it into the mas-
terpiece Curtis did. Using
Testors Model Master enamels,
he layered thin layers of nearly
transparent color over the
model to built up the clear
doped finish used on the full-
size Italian bomber.
◀ VLADIMIR YAKUBOV
NEWARK, CALIFORNIA
Vladimir backdated Flyhawk’s
1/700 scale USS Ward to model
the USS Fairfax during builder’s
trials in March 1917. He
replaced or modified most of
the superstructure and deck fit-
tings.
www.FineScale.com 43
SEAN FALLESEN
DOWNEY, CALIFORNIA
Commissioned in 1908, HMS Lord Nelson
served as the flagship of the Royal
Navy’s Eastern Mediterranean Squadron
from 1915-18. Sean scratchbuilt upper
masts on HobbyBoss’ 1/350 scale kit,
cast a third anchor in resin, installed
stowed torpedo nets made from elastic
bands, and added White Ensign antenna
spreaders. He painted the ship with
Testors Model Masters and White Ensign
enamels.
▼ TOM BORRELI
ERIE, PENNSYLVANIA
Clyno Engineering and Vickers teamed up to
produce more than 1,700 machine-gun
armed motorcycles from 1915 to 1918. Tom
combined a 1/32 scale kit of the bike and a
sergeant from the fledgling Motor Machine
Gun Service, both from Tommy’s War, and
painted them with acrylics over black.
▲ CHUCK ALESHIRE
SHOREWOOD, ILLINOIS
Chuck built Meng’s 1/35 scale Mark V Female out of the
box and painted it with Tamiya acrylics. Weathering com-
prised both pre- and post-shading, artist’s oil washes and
dot filters, and plenty of splattered mud. Groundwork on a
foam base puts the late-war tank crossing no-man’s-land
during the Allies attack on the Hindenburg Line in
September 1918. The kit included the crib fascine used for
crossing trenches.
www.FineScale.com 45
▶ PAUL BISHOP
PROVO, UTAH
To finish Hasegawa’s 1/16 scale skeletal
Sopwith Camel, Paul added EZ Line sparkplug
wires and some rigging, and GasPatch white-
metal turnbuckles. He painted the ribs, string-
ers, and spars with Testors Model Master
enamels, Metalizer lacquers, and Tamiya acryl-
ics. “I’ve always loved the design of the Camel,”
says Paul. “ I would have built the larger-scale
Hasegawa version, but had nowhere to put it!”
◀ GARY WEEKS
RATHDRUM, IDAHO
Both sides made extensive use of
artillery as they tried to break the
stalemate of the Western Front.
Gary placed Takom’s 1/35 scale
21cm Mörser 16 in a firing posi-
tion made from Celluclay on a
wooden plaque with mud mixed
using pigment and Pledge Floor
Gloss. The German gun was
painted with Testors Model
Master enamels.
▶ RON DAMRATOWSKI
TINLEY PARK, ILLINOIS
Headed to the front, MMK’s 1/35
scale Mack AC Bulldog hauls
Meng’s FT-17. Ron rebuilt the
truck’s radiator intake but other-
wise, both vehicles are out-of-
the-box projects. He painted the
truck with LifeColor acrylic olive
drab and used Vallejo Model Air
colors on the tank.
▲ JOE MARTINEZ
EL PASO, TEXAS
After removing a lanyard sculpted around the neck of Model Cellar’s 1/10
scale British trench raider, Joe enhanced the gasmask with stretched sprue,
wire, and lead foil. He pre-shaded the soldier with black automotive primer,
then sprayed gray from directly above to show highlights. The uniform and
flesh were painted with Andrea, Vallejo, and Jo Sonja acrylics.
www.FineScale.com 47
JEFF LIVINGSTON
CORRYTON, TENNESSEE
When British tanks first arrived
on the Western Front, they wore
elaborate multicolored camou-
flage, which Jeff painted with
Ammo by Mig Jimenez acrylics
using tape masks. He placed
Takom’s 1/35 scale Mark I Female
on Apoxie Sculpt groundwork
with Eduard barbwire.
▶ CHARLES HARDWICK
HOUSTON, TEXAS
Replicating a well-known
photo of Werner Voss in
front of his plane, Charles
built Squadron Encore’s
1/32 scale Fokker F.1
which includes a resin fig-
ure of the German ace.
Using Testors Model
Masters enamels, he hand-
painted the Fokker-factory
streaked green camou-
flage over an airbrushed
light blue base coat.
ROGER TORGESON
SEQUIM, WASHINGTON
The battlecruiser SMS Von der Tann took part
in the Battle of Jutland and was scuttled
with much of the German fleet at Scapa
Flow in 1919. Roger built Combrig’s 1/350
scale kit as the ship appeared in 1909 with
Gold Medal Models photo-etched railings,
turned-brass gun barrels, and anchor chain.
The ship was painted with Testors acrylics.
www.FineScale.com 49
▶ GIL GONSOULIN
KENNER, LOUISIANA
The British, French, and
American armies used
Holt 75 tractors to move
heavy artillery; about
2,000 were built. Gil fin-
ished Roden’s 1/35 scale
tractor with Testors Model
Masters enamels and
weathered it with Winsor &
Newton artist’s oils.
▲ CLARA TRIEM
TUCSON, ARIZONA
Legendary aircraft designer, Anthony Fokker, tests the machine guns on a prototype
F.1, the precursor to the famous Fokker Dr.1 triplane fighter, in Clara’s 1/32 scale
scene. She incorporated Airfix figures and Roden’s F.1 and a Wingnut Wing’s kit
supplied the all-important Spandau machine guns.
◀ DENNIS ROSSKO
CARROLLTON,
TEXAS
After building Roden’s
1/32 scale Siemens
Schuckert D.III out of
the box, Dennis air-
brushed a custom-
mix of lacquers on the
fuselage to match the
special varnish used
on the real aircraft.
Washes and dry-
brushing weathered
the German fighter.
CHRIS TOOPS
LANCASTER, OHIO
“My grandfather drove one of these
in France,” says Chris. That service
prompted Chris to detail ICM’s
1/35 scale Ford ambulance with
scratchbuilt blankets on the
stretcher, rolled tarps on the cab
made with tissue and white glue,
and M.V. Products lenses in the
headlights.
AL BUBNIS
WINGDALE, NEW YORK
Courtesy of Al, Takom’s 1/35 scale Mark IV Male sports a
scratchbuilt interior and sits in a deep mud concocted from
Durham’s Rock Hard Water Putty, Woodland Scenics water,
and scrap sprue posts supporting photo-etched barbwire.
TOBY JONES
OAK POINT, TEXAS
More than 1,000 Pfalz D.IIIs were built for the Imperial German air service
between April 1917 and the Armistice. Toby painted Wingnut Wings’
1/32 scale D.IIIa with Testors Model Master enamels.
www.FineScale.com 53
Build a one-of-a-kind
A7V
Constructing and weathering Germany’s first tank
BY BILL PLUNK
The 20 different A7Vs
created during WWI
could fit between 18
and 26 men on board.
W
orld War I was a war of many irsts in the development
The base
of military equipment, including the use of armored he A7V used a modiied Holt tractor
vehicles in combat. design for its chassis, so that’s where the
While the British introduced their novel Mark I tank in 1916, project started. hree chassis modules are
needed and involve the assembly of no less
the Germans lagged behind. It wasn’t until late 1917 that they than 75 parts, 1.
came up with their own: the A7V Sturmpanzerwagen. he hull tub was constructed by apply-
ing liquid glue to the four separate panels
Only 20 tanks were produced and none of them were exactly and the transmission housing to provide a
the same, creating a series of individually-named vehicles in the solid foundation.
process. Incredibly, one example, Mephisto, still survives in he he suspension modules were installed
along with the idlers and sprockets to
Australian War Memorial in Canberra, Australia. round out the lower hull, 2.
I’ve always been fascinated by the A7V. Excitedly, I got a hold
of Meng’s terriic new-tooled 1/35 scale kit (TS-017), which rep- Tracks and additions
he tracks are a prominent feature on this
resents tank 504, Schnuck. To make the kit even better I added a model and assembling them is a two-step
turned-brass and aluminum barrel set from Aber (No. 35 L-164). process. he irst step involved building
All paints referenced are Testors Model Master enamels. each link from two parts, 3. he second was
snap-itting the links together to form runs
3 4
I assembled each link of the tracks from two pieces. A long process, sure, To test-fit the tracks, I wrapped small strips of blue painter’s tape around
but worth it for such a prominent component. the runs. I checked the clearance with the fighting compartment floor
plates to decide when and how they would be painted and installed.
of 48 links per side, 4. seats for the machine gunners and the to airbrush a primer coat of Italian dark
I moved on to the ighting compartment ammo locker for the main gun, 7. brown to ensure no bare plastic showed and
starting with the loor plates. he elevated For the six Maxim machine guns, to provide pre-shading.
platform for the driver and commander replacing the barrels with the Aber turned- he hull underside, suspension, and
that sits over the engines came next, along brass parts involved surgery and delicate armored hull side overhangs were air-
with the twin radiators that are part of the work. To make the trunnion pins, short brushed Italian olive green.
hull roof support columns. pieces of brass rod were hammered through For the tracks, I airbrushed a base coat
Turning to the armament, I tackled the the provided holes and cut to length. A of burnt umber followed with a heavy dry-
57mm gun irst. I used a razor saw to touch of super glue added the muzzles and brushing of steel for a metallic look. Dry-
remove the barrel forward of the shield lash suppressors to create the full barrel, 8. brushing involves dipping a lat brush into
mounting brackets, then drilled a hole with he machine guns’ plastic barrels were the paint and then wiping of almost all of
a No. 53 bit in a pin vise to mount the Aber removed from the receivers with sprue cut- the color on a paper towel before lightly
turned-metal replacement, 5. Super glue ters. After sanding the front of the receivers dragging the brush across the surface to
secured the aluminum barrel. I added lush, I drilled small holes with a pin vise to deposit a trace of color on raised detail.
breech details, along with the supports, accept the metal barrels. Kit-supplied A wash of heavily thinned raw umber
gunner’s seat, and wheels to inish the mounts inished the six guns, 9. toned down the steel dry-brushing, 10.
weapon, 6. he tracks were installed over the sus-
Rounding out the rest of the ighting Painting, part 1 pension and clicked together, creating uni-
compartment, I assembled and installed the he irst step in painting the lower hull was form runs on either side, 11.
www.FineScale.com 55
5 6 7
A razor saw removed unneeded plastic and a Gun assembled with barrel in place. Fighting compartment with gunners’ seats and
pin vise and drill bit created a mount hole for details installed.
the Aber barrel replacement.
8 9 10
The look of the six Maxim machine guns was Here are the six machine guns assembled Tracks after airbrushing, dry-brushing, and
amped up with turned-brass barrels and before installation. washes.
cooling jacket replacements.
11 12 13
The tracks installed easily on the vehicle. Here are the side, front, and rear panels with The box for the driver’s compartment went
machine guns attached. together quickly.
Finishing construction hen, the driver’s compartment and vent To tighten the pattern and eliminate
With the suspension and underside cover grilles were added to complete the overspary, I used a combination of dry-
painted, I moved back to the hull. he vehicle, 15. brushing and careful airbrushing at close
machine guns and mounts were added, 12. range.
hen I assembled the boxy hull box by Painting, part 2 To blend the scheme, I airbrushed the
holding the parts together and lowing liq- I began painting the camoulage with an entire model with a mist coat of the light
uid glue into the joints. airbrushed coat of Italian dark brown that gray and panzer dunkelgelb mix, thinned
Next, I added exterior hatches and served to both prime and pre-shade, 16. more than normal. Keep the brush 6-12
details. he machine guns are designed to Using the kit-provided color schemes as inches from the surface to avoid runs.
be movable, but I glued them in place to a guide, I airbrushed a 50:50 light gray and I picked out the machine guns using
prevent them from coming loose once the panzer dunkelgelb mix freehand, 17. non-buffing Metalizer gunmetal and then
roof was attached. he green tone splotches came next. I lightly dry-brushed them with steel, 20.
I assembled the driver’s compartment, used the Italian olive green used on the sus-
13. To hide any bare plastic, I airbrushed pension, 18. Decaling
the interior areas of the large air intake With these two colors in place, I could I airbrushed a coat of Pledge Floor Gloss
grilles on the roof and the driver’s vent with clearly see how the pattern would look and (PFG) to seal the paint and provide a foun-
lat black, 14. make adjustments. Satisied, I airbrushed dation for the markings. (Decals prefer a
I installed the roof panel, checking the the inal color, a 50:50 mix of military smooth surface.)
seam was even before applying glue. brown and leather, 19. he kit-supplied decals include large
16 17
A primer and pre-shade coat of Italian dark brown would have the First color: A 50:50 mix of light gray and panzer dunkelgelb mix was
added benefit of helping create the three-color camo pattern by airbrushed in splotches over the Italian dark brown.
serving as a stand-in for the red-brown until the end.
18 19
Second color: Italian olive green was added. Third color: A 50:50 mix of military brown and leather was airbrushed
over the remaining Italian dark brown, completing the camouflage.
www.FineScale.com 57
20 21
After painting the guns, I base-coated the exhausts with gunmetal Markings that overlapped rivet detail at the nose and rear were also
followed by dry-brushed leather. A careful application of black artist’s treated with Solvaset to get them down tight.
pastel dotted their tips.
22 23
A square-tipped blender brush lightly dampened with thinner blended This pinwash was adjusted and tightened using a 10/0 brush. Clean
the colorful dots into the surface. thinner removed excess wash.
black crosses for the roof air intake grilles. I used dot-ilters to alter the colors, 22. ken into multiple sessions, totaling about
hese required heavy doses of Solvaset and Dot-iltering is where you apply small 10 hours to get it all done. (For safety, I
a sharp No. 11 blade to carefully slice blobs of various colors — in this case, deep used a breathing mask to counter fumes.)
through the openings so the decals would yellow, lat white, and panzer dunkelgelb — Finishing assembly, I added exterior
conform, 21. to a model and then almost completely details and sprayed an overall coat of luster-
After the markings were on, a second remove them using a brush damp with less lat lacquer to dull the PFG and seal
sealing coat of PFG was airbrushed to pro- thinner. his provides the slightest hint of the washes and ilters.
tect them during the weathering process. variation and grime. To dirty the running gear and tracks, I
I followed this with careful dry-brush- applied a wet mix of Mig Productions dark
Weathering ing of deep yellow and panzer dunkelgelb mud pigment and tap water with a drop of
I applied an overall wash of thin raw umber in alternating amounts to create a consis- liquid dish soap added to break the surface
to the vehicle to serve as a weathering tent but still somewhat varied color scheme. tension, 24.
foundation. he full-size A7V’s armor panels were Once it air-dried, I removed excess
As applied, the light gray and panzer attached with rivets and plenty of them. pigment with stif-bristled brushes, 25. I
dunkelgelb mix was too light and wasn’t a hat means a lot of raised detail on the made more adjustments by moving and
good match to the yellow ochre color model. To highlight this, I applied a pin- removing mud using both wet and dry cot-
needed for German WWI three-color wash of thin burnt umber with a pointed ton swabs, 26.
camoulage. However, it did provide a solid 10/0 brush, 23. With that the weathering was inished,
point to work from versus trying to mix the Because just one side of the tank had 27. My A7V was now ready to clank its
right color from nothing. more than 350 rivets, the process was bro- way into history! FSM
26 27
Both wet and dry cotton swabs adjusted the mud application. Here is the overall finish with the muddy running gear and tracks.
Basically a giant
armored box on
tracks, the A7V
was armed with
a 57mm cannon
in the nose and
six individual
7.92mm water-
cooled Maxim
machine guns.
BUILDER BASICS
W
hile working on a Wingnut Wings 1/32
scale Fokker D.VII, I broke one of the 3,300:
Number of
landing-gear struts. his thin part bears Fokker D. VIIs
much of the aircraft’s weight, so I didn’t think just made in 1918,
gluing the broken ends together would make it before the war
strong enough. I needed to reinforce it to ensure it ended. The plane
used a Mercedes
didn’t come apart — so, I splinted it with wire. engine and was
Follow along, then give it a try. It’s easy to do. such a success
Break a leg … then ix it! that the armistice
specified all
remaining D. VIIs
be given to the
allies.
3 4
This is the tricky part. I carefully drilled a hole into the broken end of the Then, I drilled a corresponding hole in the stub of the strut. Try to drill
strut. Work extremely slowly and hold the part firmly between two the hole at the angle of the strut. It doesn’t have to be perfect; the
fingers to keep the bit and strut aligned just right. You don’t want to drill flexible wire will compensate.
through the strut’s side.
5 6
I super glued the wire into the strut. Limit the amount of glue that dries I test-fitted the wire in the landing gear, trimming a bit at a time for a
on the end of the strut; too much will interfere with fit. Cutting the wire snug fit. Then, I super glued the wire into the hole. A little excess glue is
long makes it easier to handle. OK here as it will flow into the gap and help join the parts. FSM
www.FineScale.com 61
BUILDER BASICS
Chipped paint and crusty corrosion are two of the realistic finishing touches Marc gave his Wingnut Wings 1/32 scale Albatros D.Va by using the
“hairspray technique” he picked up from the realm of armor modeling.
Weathering with
HAIRSPRAY An easy way to model distressed paint
/// BY MARC ROCCA
W
hen I returned to modeling … the Spanish School … dot ilters … the coat can be chipped or worn away by apply-
a few years ago, I picked up hairspray technique … ing water and scraping or scrubbing it of
right where I left of — all Hairspray? Given the sad state of afairs the hairspray layer, revealing the base coat.
aircraft, all the time. Kits on the top of my head, I was glad to ind a I learned this from armor modeling, so
have changed, and today’s multimedia kits use for that aerosol can collecting dust on let’s try it on a tank — an aircraft fuel tank.
with high part counts suit me just ine. the bathroom shelf. As it happens, this is an
But when I started building armor efective way to distress paint on all kinds More at FineScale.com
models, I quickly realized that the weather- of subjects, not just armor.
ing required an entirely new skill set. It’s simple: A layer of hairspray is Marc’s Albatros was one of the many impres-
A lot of armor weathering techniques sprayed between two coats of paint. he sive aircraft you can still view in the FSM 2013
are unknown to aircraft guys. Even the ter- base coat is the color you want to show WWI Aeroplane group build.
minology was foreign to me: color mapping through; the hairspray is clear; and the top
4 5 6
Apply a little water to the surface and, using a Once you’ve gotten the effect you want — After everything has dried completely, use a
stiff brush, lightly scrub the paint so the water metal showing through worn and chipped soft brush to apply raw umber artist’s oil (a bit
reaches the hairspray to start the process. paint — gently pat the surface dry. Removing of japan drier speeds things up if you want).
the water stops the process. Wait 20-30 minutes to let it set a little.
7 8
Gently wipe away the artist’s oil, leaving a thin film on flat surfaces and a And there it is! This is a simple technique you can use creatively across a
little more in recessed details. You can use a cotton swab to remove broad spectrum of modeling subjects. It’s fun, too! FSM
more paint and brighten or highlight.
www.FineScale.com 63
BUILDER BASICS
Painting
Wood Grain
BY CHUCK DAVIS
I
f you build World War I aircraft, sooner or later you are going
to have to paint plastic to make it look like unpainted wood.
That means adding wood grain. On some aircraft, it may be
just the prop. On others, like the Wingnut Wings 1/32 scale
Salmson 2-A2 I reviewed in the July 2014 FSM, almost all of the
interior is bare wood.
I use a quick and easy method to replicate wood grain on
plastic. All you need is tan paint — acrylic works best — brown
artist’s oils, thinner, and some old brushes.
3 4
Here’s a selection of brushes I use to texture wood grain. I find that flat, After an hour, I drag a brush across the surface in the direction of the
stiff brushes work best, but experiment for the effect you want. grain, “scrubbing” the oil paint into streaks. Twisting and dabbing creates
knots and swirls in the grain. This technique is fun and very forgiving.
5 6
Here’s the finished floor, which took all of about 10 minutes actual A coat of clear orange or clear yellow adds richness to the wood. I left
working time. Yes, it’s that simple. The longer you let the oil dry, the the interior parts untreated, but sprayed the prop with Tamiya clear
more you have to scrub — but that can be an advantage if you’re orange (X-26). The gloss finish also gives the part a varnished look.
worried about taking off paint too quickly. FSM
www.FineScale.com 65
SHOW GALLERY
AMPS
2018
▲ RICK KEASEY
EDWARDSVILLE, ILLINOIS Dayton, Ohio, is best known as the birthplace of aviation,
“Movin’ Out” is Rick’s diorama depicting thanks to Orville and Wilbur Wright. But this year Dayton
Operation Barbarossa in 1941. The StuG III
Ausf B, its crew, and a group of soldiers are hosted the largest military modeling contest and show in the
ready to advance from a small village they’ve U.S. when the Armor Modeling and Preservation Society rolled
captured. Rick used a 1/35 scale Dragon tank into town in May. More than 700 model tanks, armored cars,
along with Master Box, Stalingrad, Tahk, and and other vehicles crowded the tables in the contest room and
Dragon figures to populate the scene. The set a record for the most entries at AMPS’ annual show. FSM
tank includes Fruilmodel tracks and Eduard
photo-etch, and was primed with GSI Creos editors Mark Savage and Aaron Skinner photographed scores
Mr. Surfacer and painted with Vallejo acrylics of models and this sampling is representative of the high qual-
and Mission Models paints. Weathering was ity we saw. (More photos appeared in the October 2018 issue,
accomplished with dark brown and dust pin- too.) Next year’s show will be May 9-11 in Buffalo, N.Y., at the
washes and a dusting of Vallejo pigments. Adam’s Mark Hotel. More info: www.amps-armor.org. ... We’ll
The house is made of balsa foam.
be there, so stop by the FSM photo booth and say hello!
◀ SCOTT A. BREGI
NEWPORT NEWS, VIRGINIA
Talk about rocket’s red glare, the
Soviet 9M8M (Krug-A) could
launch its missiles up to 34 miles.
Scott used the 1/35 scale
Trumpeter kit, but added tow
cables not included in the kit.
AK-Interactive Real Colors mod-
ern Russian green was used on
the launcher over a Tamiya flat
black primer coat. Various pig-
ments and washes weathered
the launcher.
www.FineScale.com 67
SHOW GALLERY
▲ PHIL CAVENDER
MYRTLE BEACH, SOUTH CAROLINA
King Tiger 332 is loaded on an M9 trailer and headed for the Aberdeen Proving Grounds, Phil tells us. The tank is a 1/35 scale Takom kit, the
trailer from Merit International, and the setting is 1944 Germany. Vallejo primer and acrylics were used for the finishes and Vallejo pigments and
washes to weather the vehicles and scene. Modifications to the vehicles include an Aber metal tank barrel, Acurate Armour shackles, and
Archer transfers.
STEW LANGENBECK
AKRON, OHIO
The crew cleans the barrel on this Dragon 1/35 scale SU-100. The self-
propelled gun features a scratchbuilt interior plus an R.B. Models gun bar-
rel and Jaguar hatches. Color comes from a Tamiya lacquer spray can, the
dark green being sanded to lighten its shade, then weathered with Stew’s
homemade dust wash and chalk pastels. The base is a picture frame and
foam core covered with papier-mâché, and dirt
and stones from Stew’s garden.
▶ SANDY MCRORIE
TORONTO, ONTARIO
Sandy added a Verlinden driver’s compart-
ment to this 1/35 scale M32 from Tasca. Paints
were all Tamiya applied via an Iwata HPB air-
brush, with weathering done with artist’s oils.
◀ DAVID FARRIS
MADISON, ALABAMA
David modeled a Sudanese Civil War T-55
with a 1/35 scale Tamiya kit and placed it in
this street scene. Tamiya and Vallejo paints
were applied with an Iwata airbrush and a
slew of Wilder pigments were used for the
weathering. The base is made from plaster.
www.FineScale.com 69
SHOW GALLERY
WonderFest
2018
If you want fun, look no
farther. Every summer,
FSM happily travels to
Louisville, Kentucky for
the annual WonderFest
show and contest, which
sports the largest collec-
tion of sci-fi, fantasy, and
horror models. It never
fails to deliver spectacular
builds from our favorite
pop-culture icons. Here
are only a few of our favor-
ites seen in 2018. The 2019
show — the 30th anniver-
sary — is scheduled for
June 1-2. See you there!
SCOTT OWEN
MORGANTOWN,
WEST VIRGINIA
In Rogue One: A Star Wars Story, we
see a Star Destroyer hovering over
the ancient city of Jedha, or what is
soon to be a hole in the ground.
Scott re-created this intimidating
scene with Bandai’s 1/14500 scale
plastic ship and JPG Productions’
resin base. He painted the destroyer
black then slowly brought it to light
gray with layers of Tamiya white and
off-white acrylics. Oil washes
brought out the mechanical details.
The base started as a resin cast
topped with rock formations
sculpted out of a piece of pink
Styrofoam. Stones from Scott’s
driveway were stuck to a layer of
wet modeling paste. Once dry, he
painted the base with shades of
sienna and umber and then topped
that with pastel powders.
▲ JON-LUC FURQUERON
ALLEN, TEXAS
Jon-Luc tackled Games Workshop’s heroic scale Spirit Ghosts with brightly
colored acrylics from the same line. He painted entirely freehand and finished
with dry-brushing.
JEFF LAMOTT
MILWAUKEE, WISCONSIN
We love how this 1/12 scale figure of Black Widow shines. Small wonder know-
ing Jeff painted it like he would a pristine car model using Testors enamels. He
made the superhero’s belt from scrapbook supplies.
www.FineScale.com 71
SHOW GALLERY 2018
▶ PATRICK S. TOMLINSON
MILWAUKEE, WISCONSIN
For the sake of details, Patrick
started by remodeling the hands
of Creative Beast’s 1/12 scale
Dilophosaurus to include the
fourth finger and thumbs. He
airbrushed the complicated scale
pattern freehand with Testors
and Floquil enamels. To finish,
he gave the dino a black wash;
dry-brushing highlighted the
textures.
NEIL PRENTICE
WOODSTOCK, ILLINOIS
It took several shades of Tamiya
blue to paint Hasegawa’s 1/72
scale VF-1 Valkyrie properly. Neil
first pre-shaded with a dark navy,
then medium blue, and finally
light gray. The definition you see
isn’t weathering, just careful pre-
shading. Stripes were washed
and airbrushed flat blue and
white. He tinted the canopy
orange and added bombs from
Hasegawa’s modern weapons
set.
▲ RANDY VANDYKE ▲ RICHARD LOBINSKE
ADA, MICHIGAN CRAWFORDVILLE, FLORIDA
Things are not as they appear on the set of The Creature from the Black Richard built Comet’s 1/8 scale Dalek as one of the Ironsides from the
Lagoon. Randy painted Filmy’s Girls’ 1/5 scale “Laguna” figure with Doctor Who episode “Victory of the Daleks.” He scratchbuilt the har-
Garage Kit.US acrylics, followed by washes and pastels. He enhanced ness from wire, plastic, and epoxy, then painted the body with a mix
the base with sculpted lily pads and model railroad sand. of Tamiya greens, the base black, and the harness khaki.
◀ LOU DALMASO
RALEIGH, NORTH CAROLINA
Wanting a multidimentional look on
Starbug 1, a spacecraft from Red Dwarf,
Lou pre-shaded before applying the base
coat. He then airbrushed acrylics from
Tamiya and Polly Scale and weathered
Com-Art smoke and black. He replaced
the antennas with brass rod and straight
pins and added homemade vinyl pin-
stripes.
Go online
Type WonderFest into the searchbar
at www.FineScale.com to see photo
galleries from this year and previous
shows.
www.FineScale.com 73
SHOW GALLERY 2018
▶ GREG MAIOCCO
EBENSBURG, PENNSYLVANIA
Here’s the memorable moment in How the Grinch
Stole Christmas when the unpleasant, holiday-hating,
grinchy Grinch and the fearful, yet loyal Max make off
with a town’s worth of presents. Greg built Jimmy
Flintstone Studios’ figure and added it to a wooden
craft base along with dollar store finds like a ceramic
sleigh, tree, and gifts. After applying auto primer, he
airbrushed acrylics and enamels from several manu-
facturers. Details were painted with pastel chalks.
▲ MATT KOSTYK
ABERDEEN, NEW JERSEY
Matt used Silly Putty to mask Gillman Productions' 1/4 scale
bust of Eleven from Stranger Things. Washes on the stump and
pastels on the face and jacket highlighted detail.
▶ PETER FAY
LONDON, ONTARIO, CANADA
Peter painted Max Factory's 1/350 scale jaeger Cherno Alpha
from Pacific Rim with Vallejo acrylics. He airbrushed base col-
ors, applied stripe masking, and weathered with washes from
Games Workshop. Most of the markings were hand-brushed.
www.FineScale.com 75
SHOW GALLERY
IPMS/USA National
Convention 2018
▲ SIMON HERBERT
TUCSON, ARIZONA It was a hot time in Phoenix, Arizona, in August, and we aren’t
Classic Airframes’ 1/48 scale Savoia-Marchetti just talking about the weather. Hundreds of hobbyists from
SM.79 got the superdetailing treatment from
Simon. His mostly scratchbuilt improvements around the U.S. and as far away as Brazil, Switzerland, and
include: piano-wire tail braces and pitot New Zealand gathered for the annual IPMS/USA National
tubes; brass-rod antennas, including the DF Convention and the tables in the contest room were crammed
loop; aluminum-tube wheel hubs; scratch- with some of the best models in the world. FSM’s Mark Savage
built dorsal gun as well as the doors for the and Aaron Skinner were excited to take part and shot hun-
dorsal position; scratchbuilt wind-powered
generator; 54 bent solder exhausts, two for dreds of photos. Here are a few that caught our eye.
each cylinder; steel-wire landing-gear door Inspired by what you see here and want to attend the show?
actuators; and a torpedo kitbashed from the The 2019 convention will be in Chatanooga, Tennessee,
1/48 scale He 111 torpedo and mounted on a August 7-10. You can learn more, register for the show, and
scratchbuilt rack. He painted it with Testors book your rooms at www.ipmsnationals.com. We’ll be there,
Model Master colors as an Italian bomber
that disappeared in the Sahara during a mis- so stop by the FSM photo booth and say hello!
sion in Libya in 1941.
www.FineScale.com 77
SHOW GALLERY
JIM WECHSLER
LAGUNA NIGUEL, CALIFORNIA
Jim took home the top honors, the
George Lee Judges Grand Award, with his
1/35 scale M1126 Stryker. The interior is 75% scratch-
built with an engine from Legend Productions. Additional
resin and photo-etch upgraded the vehicle for service in
Afghanistan. He painted the AFV Club kit with Testors Model
Master enamels.
▲ MARK REZAC
OCEANSIDE, CALIFORNIA
Mark and Academy’s 1/72 scale P-51B almost came to blows as the kit fought his efforts to correct
inaccuracies. “I replaced the wheel well with a resin casting of unknown origin,” he says. “I almost threw
the model away a few times because I could not make room for it.” Other modifications he made to the
model included reshaping the wing leading edges, opening the cowl and adding a resin engine found
in a spare parts box at a contest, cut out and repositioned flaps, and scratchbuilt cockpit walls.
◀ LUKE EASTER
MONTGOMERY, TEXAS
Posing USS Miami doing an emergency blow, Luke added
a piece of plastic to the back of the sail in the shape of the
water spray, then stippled white caulk over it. For the
water streaming off the hull, he dabbed on Woodland
Scenics Water Effects. He painted HobbyBoss’ 1/330 scale
sub with Testors Model Master flat black and dark red; a
mix of green and blue put algae up along the waterline.
www.FineScale.com 79
SHOW GALLERY
▲ MARCOS CORREA
HURST, TEXAS
As a Marine Corps weapons and sensors officer (WSO),
Marcus logged many hours in the F/A-18D — firsthand
knowledge he used to build Hasegawa’s 1/48 scale
Hornet. To represent the Lot 21 jet he flew, he used
Wolfpack’s update set, a Black Box cockpit, Sierra Hotel
intakes, and Eduard photo-etch. After painting with
Humbrol enamels, he applied Superscale decals for the
VMFA(AW)-225 Vikings commander’s aircraft in 2004.
▶ RICHARD ALEXANDER
WELLINGTON, NEW ZEALAND
Dressing up Fujimi’s 1/24 scale Porsche 917K with Studio
27 photo-etch, Richard modeled the winner of the 1971
24 Hours of Le Mans race. Other changes include a modi-
fied Tamiya rally car driver at the wheel and side windows
replaced to replicate worn plastic. Richard damaged the
left front corner complete with tape to replicate the
appearance of the real car at the end of the race. Artist’s
oil washes and pigments finished the worn look.
▶ JIM FRYE
GARDEN GROVE, CALIFORNIA
After building Roden’s 1/144 scale C-141
Starlifter out of the box, Jim painted it with
Tamiya acrylics through Silly Putty masks. The
U.S. Air Force heavy lifter sits on a scratchbuilt
tarmac.
▼ ROY MCCARTNEY
HOUSTON, TEXAS
Using a big idea on a small model, Roy posed
F-Toys’ 1/144 scale F-106A just as its mains hit
the runway and the drogue chute is deployed
to initiate the larger drag chute. He blurred
the threshold markings on the runway to
give a sense of movement to the display.
Want more
models?
Head over to www.
FineScale.com/videos to
see not one, but three
video reports from the
show, including interviews
with several modelers
about their entries.
www.FineScale.com 81
SHOW GALLERY
▼ BRUCE MCKINNEY
TIGARD, OREGON
Some comrades are going to be in trouble
after drunkenly driving their tank through a
bridge in Bruce’s 1/35 scale diorama. He
added a full interior to Tamiya’s BT-7 and
scratchbuilt the bridge; the wayward crew
are Stalingrad figures. The scenery, tank, and
figures were painted with Vallejo acrylics.
Professional
Sprue Cutter
2175ET
A OF
DECADE
AIRCRAFT,
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