FineScale Modeler 2018 Holiday Special Edition - Great War Scale Modeling

• Easy ways to rig a biplane
• Create realistic dioramas

• Build British, French,
and German tanks
• Detail, paint a battleship
PLUS
• 12-page WWI gallery
• 3 Builder Basics
+ more!
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
10 Tickling the Rhino

Building a resin and metal diorama of
tank combat debut
BY JOE HUDSON AND AARON SKINNER
16 The end of the Red Baron

Multimedia build portrays inal chapter
BY JONAS DAHLBERG
22 Master the art of rigging

Here’s how to improve your biplanes
BY CHUCK DAVIS 22
28 Coming Home
Building a diorama of war’s end
BY JONAS DAHLBERG
30 Raising König
Easy extras elevate this battleship
BY CARLO ALONZI
34 Urgent message from HQ!

Add realism with aftermarket details
BY STEVE ZALOGA
40 Deborah, unearthed
he 1998 excavation of a Mark IV
BY JONAS DAHLBERG
42 WWI photo gallery

A collection of the best WWI builds
from major modeling shows
BY FSM 34
54 Build a one-of-a-kind A7V
How to build, weather Germany’s
irst armored tank 66 AMPS 2018
BY BILL PLUNK Photo gallery from the Armor
Modeling and Preservation
60 Builder Basics: Bracing Society show in Dayton, Ohio
broken parts BY FSM
Making a strong connection with wire
BY AARON SKINNER 70 WonderFest USA 2018
Photo gallery from, the sci-i and
62 Builder Basics: Weathering fantasy show in Louisville, Ky.
with hairspray BY FSM
An easy way to model distressed paint
BY MARC ROCCA 76 IPMS/USA National
Convention 2018
64 Builder Basics: Painting Photo gallery from the
wood grain International Plastic
Easy methods take just minutes to Modelers Society/USA
replicate wood grain show in Phoenix, Ariz.
BY CHUCK DAVIS BY FSM
76
www.FineScale.com 3
EDITOR’S PAGE
By Mark Savage Great War Scale
Revisiting the Great War

Modeling
Editor Mark Savage
Art Director Tom Danneman
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
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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 EMAIL & 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
[email protected]
4 Great War Scale Modeling

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PORTFOLIO
Aircraft of
WWI
See more online

Go to www.FineScale.com/WWI-Aircraft to
see even more of Claudio’s builds.

Amazing diversity of war’s
new weapon
MODELS BY CLAUDIO KALICINSKI
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.

Here we have a 1/48 scale Eduard Nieuport 17
(No. B1566) flown by the Canadian ace William A.
Bishop while he was with the Royal Flying Corps’ No. 60
Squadron in August, 1917. I added wires to the throttle
lever and control column, and a cushion made of epoxy
putty to the seat. The Foster mount is scratchbuilt, as is
its pulley mechanism for the upper-wing Lewis machine
gun. I detailed the simplified engine with spark-plug
wires. I painted with Gunze Sangyo acrylics and Model
Master buffing Metalizers.
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.

1 2
I inspected each figure for mold seams, flash, and pitting. To clean up the parts, I used the I covered the bayonets with tape to maintain
backside of a No. 11 blade to scrape lines, and assorted files and a wire wheel in a rotary tool to the bare metal appearance of the weapons.
smooth surfaces.
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.

18 19 20
I joined one side and the center section with I filled gaps between the PE belly with JB Kwik. Priming is essential on multimedia kits to cover
5-minute epoxy to be sure the heavy parts Pushing the thick 2-part adhesive into and disparate materials and provide a uniform
stayed together during painting and across the seam sealed it. I wasn’t worried base for the camoufalge. I primed with Tamiya
weathering. about it being too neat as the seams are under sky gray. Tamiya lacquer thinner was used to
the tanks and will be covered with mud. thin all of the Tamiya acrylics used.
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.
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.

36 37 38
Before adding the model and mud, I picked Just before I attached the tank, I brushed Now I could cover the rest of the base with
out details: sandbags were painted khaki with Vallejo mud around the track marks. Then, Vallejo mud, carefully working it up to the
buff fading, the gas can red, the trench wood while the mud was still wet, I liberally applied tank, steering trailer, and molded details like
walls a mix of Vallejo Model Color deck tan two-part epoxy to the grooves and pressed the abandoned machine gun ammo box.
(70.986) and Panzer Aces new wood (70.311). the tank’s locators into the base.
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).
Figure paint mixes

Flesh: Base: Vallejo beige red (70.804) + Haversack: Andrea khaki light 5 +
mahogany brown (70.846) Andrea khaki base 4 (from Khaki Paint Set
Shadows: Base + more mahogany brown ACS-014)
Deepest shadows: Pure mahogany brown Boots: Base: Vallejo flat black (70.950) +
Highlights: Base + more beige red Vallejo mahogany brown
Next highlight: Pure beige red Shadows: Vallejo flat black
Final highlight: Beige red + sunny Highlight: Base + Vallejo mahogany brown
skintone (70.845) Next highlight: Vallejo mahogany brown
Tunic: Scale 75 field gray (SC-46) + Final highlight: Vallejo mahogany brown +
AK-Interactive field gray base (AK3141) Vallejo flat earth
Pants: Scale 75 field gray + Vallejo Model Rifles: Metal: Vallejo Model Color gloss
Color dark sea green (70.868) black (70.861), then apply Vallejo oily steel
42 Weathering: Gray base color mixed with (70.865), followed with a black wash
To weather the trench wall, I flowed on a thin Vallejo flat earth (70.983) or burnt umber Stock: Andrea Brown Paint Set 5 (ACS-013)
light brown enamel wash to highlight the (70.941) + Andrea Flesh Set 5 (ACS-01). Next,
wood grain. I sprayed the lower portions of the Gas Canisters: Vallejo stone gray (70.884) randomly apply Andrea Flesh 5, then
wall with thin Tamiya flat earth (XF-52) to hint Rifle straps: Vallejo Model Color German apply a thin coat of Vallejo woodgrain
at the trench below. For a final touch, I beige (70.821) + Vallejo Model Color burnt (70.828). When everything was dry, add a
streaked Vallejo Environment rainmarks umber (70.941) thin coat of Vallejo clear satin (70.522)
(73.819) down the planks. FSM
“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.
Ironically, the Canadian pilot credited website, I understood that it had to be

for the victory, Capt. Roy Brown, also close to 1/48 scale.
sufered PTSD after seeing von After that, I ordered an Eduard
2
Richthofen’s corpse in the wrecked plane. Fokker Dr.1 in plastic with a PE details … which is a thing of beauty all by itself.
(Actually, many sources believe the fatal set. With both kits in hand, I was ready
wound came from ground ire.) to build a diorama depicting von
he souvenir hunters who fell upon Richthofen’s fate.
the downed plane had no such compunc- You will see that, although tedious, it
tions, cutting it up for trophies and keep- was a straightforward build. he trick was
sakes. to follow through.
Yet even 100 years later, von he temptation to leave the plane
Richthofen’s bright red triplane, a Fokker intact once built and abandon the idea of
Dr.1, is still well-known. a wreck did cross my mind.
Inspiration for my model came from Spending 40 hours building a plane,
an airframe-only photo-etch (PE) kit of then 20 minutes destroying it, may seem
a Fokker Dr.1 I found on the internet. strange. You can decide for yourself if it
3
From the rough pictures on a Chinese was worth it. Dry-fitting the plastic on the PE skeleton.
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.

10 11
Before final assembly, the cockpit and pilot were painted. The pilot was Thin tissue paper is soaked with diluted white glue and attached to the
set aside during painting and the cockpit covered. airframe. This creates the perfect fabric effect.
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.
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.

A sturdy primer is important for plastic and metal models. Also, the
multiple layers of varnish enabled me to inflict realistic damage without
tearing up the delicate decals. If you haven’t tried a PE skeleton, I urge
you to give it a go. It is especially effective for depicting wrecks. —
Special thanks to Axel Örtenblad for his feedback. FSM
Rigging Wingnut Wings’ 1/32
scale Sopwith Snipe may seem
overwhelming, but work line by
line and you’ll be done in no time.
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.

“Don’t
worry.
It’s not as
hard as
everyone
says. In my
opinion,
it’s actually
easier than
natural-
metal
finishes.”
– Chuck Davis
on rigging biplanes
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.
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.

11 12
Before rigging can commence, use a No. 80 bit in a pin vise to drill open Add a small drop of super glue to the hole. Don’t flow in too much or
— or in this case deepen — a hole for the eyelet. These need to be the glue may close the eyelet hole.
securely anchored so they don’t pull loose under tension.
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.
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!

23 24
Carefully pull the remaining slack out of the line while holding the tube Secure the line with a drop of super glue flowed into the tube from the
near the attachment point. end farthest from the attachment point, just like before.
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!
As a rule, I work on lines

close to the fuselage first
and work my way out
along the wings. I used
the rigging method
described in the story on
this Sopwith Snipe. It took
about six hours. FSM
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 soil of Fleury was saturated with ammunition and metal. This Today, Fleury-devant-Douaumont (population zero) is home to war
scarred earth made it impossible to re-establish the once thriving memorials and a small chapel constructed after the war. I littered the
village. On top of the styrene foam, I added wood, plastic, plaster, and ground with smaller, more intimate, memorials well as other debris
metal. The 75mm French Schneider gun is from Tom’s Modelworks. mostly using PlusModel parts and details.
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.
CONSTRUCTING THE SCENE
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
RAISING
KÖNIG
Easy extras elevate ICM’s 1/350 scale battleship
BY CARLO ALONZI
ICM’s 1/350 scale SMS

König is a fine model in
its own right — but a
little scratchbuilding and
a lot of aftermarket
accessories add potent
firepower to the World
War I dreadnought.
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.

Grip
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.
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).

18 19 20
König had twin 30.5cm (12-inch) guns in five Each turret’s body is flat light gray, and the roof The 15cm casement guns are painted and
turrets. I added turned-aluminum barrels from flat dark gray (32). I used an air-recognition ready to be mounted.
RB Models and used sheet styrene for hatches. circle decal on the roof and weathered it.
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
Replaced molded chains
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
Opened hatches, ventilators

PE rain guards
Detailed boat, davit

In the end, ICM’s kit yielded an attractive
model. As it was my first WWI ship, I found
PE rails
certain things a little confusing. But I was still
happy to have produced such a ship on the
Stowed torpedo net
occasion of its centennial. FSM
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.
lot of stuf on the rear unditching tail. My

go-to supplier for superior resin stowage is
Blast Models in France. Blast has a nice
Renault FT upgrade/stowage set (blast-
models.com, BL35203K).
Building the Renault FT

I decided against building this model with
all of the interior bits. hat means more
stuf for the spares box!
he new fad for instructions seems to be
7
to tell modelers to glue all the little iddly Here’s the model with its suspension modules
bits to the major assemblies before sticking in place.
the main parts together. his can be a recipe
for disaster, especially on a delicate kit such hull done before adding detail parts.
as this, which requires real care in getting Inspecting the kit, I noticed that each of
the hull together. So I ignored the instruc- the track plates had a small dimple in the
tions’ sequence and used my own judge- center of its face. I dealt with this problem
ment. while waiting for the hull to dry, 2.
his is not a “shake-and-bake” kit. he he rest of the suspension is straightfor-
hull comes as a bunch of lat panels that ward, but Meng has broken it down into
require a lot of dry-itting before assembly, dozens of parts, so it takes considerable
1. In addition, this model is quite small, so time to assemble, 3-7.
it requires a fair amount of attention in the I made a few changes. I used the Blast
basic assembly. I used tape to hold together wooden idler wheel that has more subtle
the major hull parts as I assembled them. wood texture than the kit part (D-6).
My aim was to get the basic shell of the he kit’s springs are a bit too open and
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.
Building the motorcycle

he Peugeot motorcycle is a tiny, delicate
model, and I probably spent as much time
building it as the tank, 11-13. A Google
search turned up several restored examples
to help me with small detail such as brake
lines, coloring, and so on. he Cix Models
upgrade kit adds several nice features,
including the PE spokes.
I especially liked the small decals for the
gas tank, which adds colorful detail to the
14 15 inished model. his model required con-
Here’s the completed motorcycle with Meng I made a small jig from a piece of styrene foam siderable detail work. I added the cabling
figure in place. It’s important to assemble the insulation and a couple pieces of basswood to using EZ Line, a ine, lexible thread used
motorcycle before the figure to make certain help make sure the figure was properly by model railroaders for rigging telephone
that the figure fits properly, especially the left aligned. lines (berkshirejunction.com)
hand holding the handlebar.
Building the igures
limsy. So, I made my own springs by wrap- from the resin casting, and added the glass I intended to have three igures in my
ping copper wire around a suitably sized part from the Tamiya kit with the metal vignette, the tank commander and dispatch
plastic rod. bits cut away. rider from the Meng igure set, and a driver
he Blast upgrade includes an amply here are a few other enhancements for sitting in the hull.
stowed unditching tail. One detail on the the Renault FT, such as adding chain to the I built the motorcycle dispatch rider
tail is a bottle and a gas lantern, 8,9. I sus- tow hooks, 10. I also substituted a turned from the box, except that I substituted a
pected that the lantern’s glass would be dif- brass Hotchkiss 8mm machine gun barrel Hornet resin right hand, 14, 15. Depicting
icult to paint convincingly. I recognized its for the kit’s plastic barrel, using the Magic human hands in plastic is hard. I also sub-
origins from the Tamiya Churchill Models example (magicmodels.ru, stituted Hornet resin hands on the tank
Crocodile kits. So I carved away the glass MM3580). commander.

16 17 18
When using Hornet resin heads, I usually Here are the two tank crew figures prior to I usually add the terrain to the wooden piece
hollow out the neck with my Dremel tool and painting. The driver is a simple torso and using a piece of plexiglass. The Tamiya tape
cutting burrs to make positioning the head spacer since only the head will be visible marks the location where the tank tracks will
easier. This is the tank commander minus head through the open hatch. sit to provide a guide for creating a suitable
and hands. I cut away the lower legs since they depression.
are not visible in the finished model.
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.
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

32
The Cix Models stowage on the cycle’s rear was With the painting completed, I combined the base, motorcycle and tank to create the finished
painted with Andrea acrylics. vignette. The insignia for the French tank force came from a pin I bought years ago at the Saumur
tank museum, copied using a mold and cast with Apoxie Sculpt.
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
I deliberately used vivid colors on

the stowage, tools and crew to
provide a visual contrast to the
tank’s grimy weathering.
Deborah, unearthed
The 1998 discovery and excavation of a Mark IV
BY JONAS DAHLBERG

T
he Mark IV Female tank
D51 was in the No. 12
Section of the 12th
Company at the Battle of
Cambrai, November 20, 1917.
Named Deborah, it was the only
tank to pass through the village
of Flesquières on that fateful 1 2
morning as the 12th Company I added thin aluminum foil to the old (not very Once the tank was properly converted and des-
tried to capture the Hindenburg well constructed) Airfix kit to depict extensive troyed, I fitted it to a styrene-foam base. Gashes
damage. I used several reference photos to mared the surface of the foam. After all, this was
support line in the sector west make sure I shaped the torn “metal” just right. supposed to be a messy dig site.
of Flesquières.
As Deborah entered the
village, the leading company of
the German 153rd Brigade,
which had been stalking the
section, tried to stop the tank’s
progress. When D51 left the
shelter of the last surrounding
houses, it came under ire from 3 4
a ield gun, which disabled the I boxed-in the styrene with foam board and I converted the Mark I kit to a IV with the use of
put that on top of a wooden base. The ground- sheet styrene, metal scraps, and putty.
tank and killed ive of the eight work is made of plaster and Celluclay. Before
crew. painting, I added roots, dirt, sand, and rocks.
How the tank ended up
buried under 3 meters of earth
remains a mystery, but Deborah
was forgotten — lost to the
pages of history for 70 years.
In 1998, Philippe Gorczynski
rediscovered Deborah and
disinterred it from its resting
5 6
place. It is now on display at the
I added track imprints mimicking those made The 1/72 scale construction and military
Cambrai Tank 1917 museum in by a construction excavator. figures are from Preiser.
Flesquières.
Loving the tumultuous
history of this archeological
ind, I built this diorama.
Because I ended up destroying
much of this Mark IV, I didn’t
feel bad using an old 1/72 scale
Airix Mark I kit. FSM
The diorama, including the figures, was first

painted with Tamiya acrylics through an
Evolution airbrush. I then picked out details
with Vallejo acrylics and filters. To finish, I
weathered with a mix of acrylics, oils,
7
pigments, and pastels.
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.

▼ HARRY CROSSLEY
MIDDLETOWN, PENNSYLVANIA
Harry equipped Young Miniatures’ 1/10 scale
German storm trooper with a scratchbuilt
helmet strap before painting the bust with
various acrylics and burnt umber washes.
He designed and printed a decal for the
skull and crossed grenades emblem on the
helmet.
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.
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.

SCOTT LORDS
IDAHO FALLS, IDAHO
Improving Lindberg’s 1/48 scale Curtiss
JN-4, Scott scratchbuilt cockpits and
added engine detail. He sprayed the U.S.
trainer with Floquil enamels and hand-
painted the Kaiser getting the boot.
▼ 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.
▶ 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.

▼ JERRY JACKSON
OCEANSIDE, CALIFORNIA
Working with Trumpeter’s 1/700 scale kit, Jerry modeled
HMS Queen Elizabeth as it appeared in 1918. He dressed up the
battleship with White Ensign photo-etched railings and painted
it with Testors Model Masters enamels. After applying the base
coat shade to the deck, he separated sections with lines drawn
on with a No. 2 pencil. Then, he shaded individual planks with
Prismacolor pencils.
▲ 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.
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.

▼ JOHN CARR ▼ RON SCHLORFF
SAN JOSE, CALIFORNIA TUCSON, ARIZONA
To improve MS Miniatures’ 1/15 scale German trench raider, John Ron had his work cut out for him with Tom’s Model Works’ vacuum-
replaced the handles of the shovel and hand grenades with wooden formed 1/48 scale Halberstadt CL.IV that he described as pretty basic.
cotton swab handles shaped on a lathe and stained. He also removed “I had to extensively augment the kit with scratchbuilt and aftermar-
the resin helmet strap and scratchbuilt a new one with lead foil. The ket parts. The fuselage was painted with Tamiya and Vallejo acrylics.
soldier was painted Humbrol, Vallejo, and Testors Model Master colors. The lozenge camouflage on the wings and tailplanes are decals.
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.
▶ 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.

DAVID KOOPMAN
AIKEN, SOUTH CAROLINA
David launched ICM’s 1/700
scale SMS Grosser Kurfürst
with Flyhawk photo-etch
cranes and ladders as well as
Lycra and wire rigging. He
painted the German veteran
of the Battle of Jutland with
Testors Model Master acrylics.
◀ 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.

BILL CHILSTROM
PORTLAND, OREGON
In Bill’s 1/35 scale diorama, Busted, a Libyan arms transport is
stopped by an Australian patrol in the Egyptian desert. Bill detailed
ICM’s Model T car with a GasPatch Lewis machine guns and 3-D
printed spare wheels; the driver and passengers are scratchbuilt.
The animals and rider are from Masterbox and Heller kits. He
painted the scene with Mission Models and Reaper acrylics.
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.
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

1 2
While gluing together the chassis modules, I also assembled the Return roller racks and the hull side armor brace supports also were
sprockets and idlers that go with them to complete the main added to the suspension, along with the two large mufflers on either
suspension components. side of the hull.
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.
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

14 15
To give the illusion of depth, vents were airbrushed flat black prior to Here is the A7V fully assembled, but prior to painting. The turned-brass
installation. replacements from Aber added realism and heft to the model.
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.
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

24 25
Here I am applying a wet application of Mig dark mud pigments. Stiff-bristled brushes removed excess pigments.
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.

1 2
While trying to install the landing gear, I broke one of the struts. The The wire for the fix needs to be thin enough to fit inside the strut. I used
1/32 scale part is 1⁄16-inch wide. a copper wire salvaged from a junked toaster. I found a drill bit slightly
larger than the wire and put it in a pin vise.
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
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

1 2 3
The base coat is Testors Model Master After the base coat cures, the hairspray comes Spray the top coat over the dry hairspray. The
Metalizer nonbuffing brass lacquer. next. The effect partially depends on how thickness of this coat helps determine how
heavily you apply it. The thicker the hairspray, easily it fails. So does the kind of paint —
the more easily the paint comes off. acrylics come off more readily than enamels.
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.
BUILDER BASICS
Painting
Wood Grain
Chuck had to make a lot of plastic

look like wood when he built
Wingnut Wings’ 1/32 scale
Salmson 2-A2, a French-built
reconnaissance plane that served
in the United States Army Air
Easy method takes just minutes Service during World War I.
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.

1 2
First I paint a base coat of light tan acrylic, in this case Tamiya buff Next, I brush Winsor & Newton burnt umber artist’s oil paint onto the
(XF-57). It’s hand-brushed; any unevenness adds to the wooden effect. floor, keeping the strokes roughly in the same direction and pattern as
I seal this with Model Master clear gloss acrylic to protect it from the oil the grain I am replicating. There’s nothing like cheap brushes when it’s
paints and thinner to come. not fine art.
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
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!

▲ RON DAMRATOWSKI
TINLEY PARK, ILLINOIS
Starting with an AFV Club chassis
for his Philippine Marine Corps
M35 gun truck, Ron scratchbuilt
the body for this 1/35 scale
model. Using Silly Putty for mask-
ing, Ron sprayed Tamiya paints
through a Harder & Steenbeck
airbrush and then lightly weath-
ered it with Mig Production pig-
ments. Paper plants on the base
are from Mig and J’s Work. His
build took several years after
snagging photos of the M35
online.
◀ 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.
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.

◀ DUSTIN DIAS
GREENVILLE, PENNSYLVANIA
Clearing the Battlefield is Dustin’s terrific
diorama that uses MiniArt and Dragon kits as
a starting spot. He scrtachbuilt various
details, including the bulldozer’s rollover pro-
tection structure made from aluminum
tubes. Dustin applied Ammo by Mig Jimenez
paints from a U.S. color set with his Iwata air-
brush, then used washes and pigments to
weather the American ’dozer. The diorama is
1/35 scale with the base of foam covered
with plaster and glue mixed with top soil.
▶ 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.
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.

PAUL RATHBUN
BOTHELL, WASHINGTON
From sea to space, Paul heavily modi-
fied Monogram’s 1/20 scale Stinger, a
submersible from SeaQuest DSV, and
transformed it into a 1/350 scale inter-
stellar space yacht. What used to be a
one-man sub is now a pleasure boat
for many. Paul primed the vessel white
and airbrushed Vallejo acrylics. He
kept it in prime condition with zero
weathering. What a way to get from
one solar system to another!
▲ 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.
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.
SHOW GALLERY 2018
▲ MINDY MOORE ▲ PAUL HELFRICH

PHILADELPHIA, PENNSYLVANIA DAYTON, OHIO
Using plenty of colors and some metallics, Mindy brought to life At FSM, we don’t get to use the word bedazzled often, so here’s our
Bandai’s 1/20 scale Nausicaä, riding her horseclaw, Kai, from Hayao chance. Paul bedazzled the dress of Dracula’s victim in Moebius’ 1/8
Miyazaki’s epic Nausicaä of the Valley of the Wind. She had fun air- scale diorama. He airbrushed various acrylics from Citadel and Tamiya
brushing the detailed parts freehand. Weathering came from pastels. and then hand-painted details. Finally, he shaded with pastels.
▶ 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.

ROBERT KOENN
MERRITT ISLAND, FLORIDA
Robert built Bandai’s 1/12 scale
Star Wars speeder bike with
trooper out of the box. He air-
brushed Vallejo acrylics and
hand-detailed the finer points.
He weathered using his airbrush
again, and finished with pastels.
Off to the Battle of Endor!
▲ 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.
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.

▲ JOE MARTINEZ ▲ MIKE OTIS
EL PASO, TEXAS PALMDALE, CALIFORNIA
Nocturna’s 70mm 82 Airborne trooper at rest It’s not out to pasture yet, but Thunder Model’s 1/35 scale Case VAI tractor looks like it may
is based on a photo taken by Robert Capa in soon be in Mike’s scene. He built it out of the box and painted it with a mix of Testors Model
Saint-Sauveur-le-Vicomte shortly after D-Day. Master acrylic insignia orange and Tamiya acrylic red-brown to match Case’s signature color.
After adding plaster to the exterior wall, Joe Hairspray between the orange and a base coat of brown allowed him to chip the top color to
applied a base coat of black automotive show a well-used farm tractor.
primer, then painted the paratrooper and the
window with Andrea acrylic and pigments.
The newspaper is a homemade decal. ▼ CRAIG SARGENT
AUCKLAND, NEW ZEALAND
To put Hasegawa’s 1/48 scale AV-8B in flight, Craig placed a modified pilot in the detailed
cockpit and added a simulated moving fan blade inside the intakes. His other improvements
include new vortex generators cut from brass and Eduard Brassin Sidewinders. He painted and
weathered the Harrier with GSI Creos and Italeri acrylics. TwoBobs decals mark it as the com-
mander’s aircraft from VMA-231.
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.

JOHN PATTISON
ALBUQUERQUE, NEW MEXICO
To depict a Pro Modified dragster leaving the starting line, John scratchbuilt a
chassis and rear tires to fit a Nova body from Perry’s resin. The inspiration for the
paint job came from a TV commercial. Using Tamiya acrylics, John airbrushed
white, applied masks, and began applying transparent red, yellow, and orange,
then sealed the livery with automotive clear. LEDs illuminate clear plastic flames
from the exhausts.
▲ INIMA SIQUEIRA FILHO

NITERÓI, RIO DE JANEIRO, BRAZIL
To model a Super Sabre in Vietnam, Inima hit the aftermarket to detail Trumpeter’s
1/32 scale F-100D. New parts include the canopy frame, ejection-seat rails, seat
belts, Mk.82 bombs, “Remove before flight” tags, landing lights, and wheel chocks.
The masterful metal finish is Chrominox and Dryco lacquers over black polyure-
thane primer. The model earned a special excellence in aircraft award at the show.
▲ DANIEL PERRY
RAMONA, CALIFORNIA
On the left is a plastic firefighter that came out of a bag of
toy figures; on the right is what Daniel did with it. He res-
culpted the molded hip boots to replicate modern turn-
outs, replaced the solid mask with a Hornet head behind
a clear plastic SCBA facepiece, added a strap and a regula-
tor, repositioned the arms, and added Hornet resin hands.
Daniel painted the face with Humbrol enamels, the uni-
form with acrylic, and stained to the wooden stairway.
◀ 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.
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.

▲ STAN SPOONER
LADERA RANCH, CALIFORNIA
Stan outfitted Gaso.line’s 1/48 scale M1A2 with a mix of stowage and new antennas to model
an American Abrams in Iraq in 2004. He painted it with Tamiya acrylics mixed with Tamiya lac-
quer thinner; artist’s oils and pigments weathered the main battle tank.
▶ 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.
SHOW GALLERY
▶ KEITH EDWARD MUNDT

SAN CLEMENTE, CALIFORNIA
Keith’s beautiful 1/48 scale French Lysander
started life as a 50-year-old Hawk kit. To bring
it up to modern standards, he scratchbuilt
the interior, landing lights, and exhaust, then
sanded off the raised surface detail. After
scribing new panel lines and adding rivets, he
painted the overall green camouflage with
Tamiya acrylics and Alclad II lacquers. The
work paid off — the model netted Best
Aircraft.
▼ 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.

Designed by a Modeler
for Scale Modelers
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Easily trim delicate, tightly spaced parts.

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▲ RAY ENGINEER
GREENACRES, FLORIDA
Purchase at hobby stores worldwide.
Ray built Hasegawa’s Skyhawk as an early A-4K of the Royal New Subscribe to our Xuron Blog to be automatically
Zealand Air Force with a True Details resin ejection seat and D-704 enrolled in frequent product giveaways.
buddy refueling pod. He painted the camouflage with GSI Creos
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• Easy ways to rig a biplane

• Create realistic dioramas

10 Tickling the Rhino

16 The end of the Red Baron

22 Master the art of rigging

34 Urgent message from HQ!

42 WWI photo gallery

Revisiting the Great War

4 Great War Scale Modeling

From the editors of FineScale Modeler magazine, FIGURES

Great Scale Modeling 2017 is the best edition yet!

will inspire you to build more, and better, models.

Order today at KalmbachHobbyStore.com/GSM

Sales tax where applicable.

See more online

6 Great War Scale Modeling

8 Great War Scale Modeling

10 Great War Scale Modeling

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Figure paint mixes

Ironically, the Canadian pilot credited website, I understood that it had to be

18 Great War Scale Modeling

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As a rule, I work on lines

28 Great War Scale Modeling

CONSTRUCTING THE SCENE

ICM’s 1/350 scale SMS

30 Great War Scale Modeling

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Replaced molded chains

Opened hatches, ventilators

Detailed boat, davit

lot of stuf on the rear unditching tail. My

Building the Renault FT

Building the motorcycle

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I deliberately used vivid colors on

40 Great War Scale Modeling

The diorama, including the figures, was first

42 Great War Scale Modeling

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Chuck had to make a lot of plastic

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▲ MINDY MOORE ▲ PAUL HELFRICH

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