AFV Modeller - Issue 02 - 2 - Winter Wonderland Part 1. JS-1

❄ Part One

WINTER WONDERLAND

MR.JOECOOL

By Adam Wilder

Photographs Adam Wilder & Miguel Jimenez MIG

A winter camouflage can add a very dynamic appearance to your

an extra sprue added containing JS-1 parts) to get a closer

armour model. If your imagination is strong enough, adding a winter

representation of the actual vehicle. After covering the construction, I

camouflage will bring you to a cooler climate on that hot summer

will go through each painting step. I will then explain how I applied

day, or maybe help bring in the holiday spirit on that early November

the seven-step winter camouflage. I will then finish this article by

morning. Although it makes for an exciting finish helping to separate

showing how I used different weathering processes in a random way

your model from other dark-green, yellow, and German-grey models

to help break up the model giving it a three-dimensional appearance.

in your curio, a realistic winter camouflage can be time consuming

Lets quickly look at the construction of the DML JS-1.

to apply. There are numerous articles in various publication that will help give beautiful winter camouflages to your models when followed closely. With this article I am going to try and sacrifice some of that beauty for realism. You will probably find this method to be more tedious and time consuming then some of the other methods previously documented.

What we are going to do… I will start by quickly showing you with the aid of photos how to basically correct the DML JS-1 kit (which is simply their JS-2 kit with

8

The DML JS-1 Upon viewing the Russian publication Armada No. 6 “The IS Tanks by M.S. Svirin”, I found a couple of views of a production JS-1. I felt that the subject in those photos would be a good subject for this winter camouflage article. The JS-1 is very similar to its famous predecessor. The DML JS-1 kit needs some small modifications to make it a more accurate production of a JS-1. Along with those modifications, lets not forget the typical corrections we have all encountered when constructing one of the DML JS tanks or its variants. One example is the sponsons under the hull that need to be constructed. I fabricated mine using Evergreen plastic. Lets quickly discuss some of the other smaller details.

1

Weld Seams

3

Hull Rear

The locations of the weld seams attaching the front casting to the rest

The picture of the hull rear below shows the relocation of the lifting

of the hull on the DML kit are different from the drawings I have

eye in the upper right corner. A bolt has been added approximately

viewed in publications by accredited authors. To correct this problem

where the lifting eye was originally located. This needs to be done on

I made my own weld seams from stretched sprue. I glued the sprue

each side of the hull rear. The bolts were made from Evergreen using

in place with Testors liquid plastic cement. After applying the cement I

a hexagonal punch-and-die set. Notice that rings made from

waited five minutes to let the sprue soften. I then took my exacto-

soldering wire were added to the two-rear transmission hatch covers.

knife with a new blade and carefully textured the weld seams giving them a rough surface. After texturing, I applied some more liquid cement over the welds and let them dry. All weld seams on this model were done using the same technique. The photo below shows the correct location of the weld seam fastening the front casting to the rest of the hull.

2

Te x t u r e d H u l l , Tu r r e t C a s t i n g , a n d M o r e Weld Seams

Although the DML kit has a fairly realistic texture representing the castings, I thought that these surfaces were still too uniform. I went over the rest of the cast surfaces with a mixture of Testers liquid cement and Tamiya modelling putty as shown above. I applied the putty/liquid cement mixture with an old brush. The weld seam joining

4

Other Added Goodies

the upper and lower castings of the turret was also redone. Weld

The picture above shows the brass fender supports manufactured by

seams were also added around the turret lifting hooks.

The Show Modelling. The turned aluminium gun and resin mantlet manufactured by CMK item no. HB021, can also be easily seen. The mantle was about 1/32” narrow on one side. This gap was easily filled with a piece of Evergreen that was glued into place then sanded to size. The seam was then filled with putty and textured to match the rest of the mantle. I was not happy with the detail on the ends of the toolbox so I sanded them smooth and added my own handles from copper wire. The toolbox hold-downs were made from copper sheet. The spacers and bolts are punched pieces of Evergreen. Please note that the directions in the DML kit instruct you to glue one rectangular toolbox on each side of the hull. I think DML incorrectly assumed the smaller toolbox on the left side of the prototype to be another standard rectangular toolbox. The smaller toolbox is not present in the few photos I have viewed of the production JS-1s.

9

> Opposite, you will notice a close up of the work needed to backdate the fenders, as well as detail the shackle holders, horn, and light. The brass fender supports, shackle holders, and buckles are from The Show Modelling set. The light and horn brackets along with the front of the fenders were all fabricated from sheet copper. The brackets holding the front of the fender in place were fabricated from sheet plastic. The lead foil gussets where not included in The Show Modelling set. The boss where the light and horn wires protrude is Evergreen rod and stretched sprue. The wire was manufactured by Detail Master item, no. DM1102.

5

R e a r H u l l -To p

The detail on the rear hull-top was minimal. On the picture at the bottom of the page, you can see the brass exhaust directors. The Evergreen plastic strips on the side of the louvers are simply hiding some sinkholes. I cut and sanded off the molded bolts, applied the Evergreen strips, then new bolts where added.

6

E x t e r i o r F u e l Ta n k s

The Show Modelling etched brass set included the exterior fuel tank straps but I could not get them firmly glued to the tanks. Instead I constructed my own straps and mounts from Evergreen plastic strip. The Show Modelling etched-brass set included the tightening bolts which where used. I added the weld seams and Show Modelling brass handles on the fuel tanks.(Right)

10

7

The Assembled Model

As you can see the construction of the JS-1 was fairly basic. I like to keep my running gear separate from the model until after painting for ease of weathering. Now with an understanding of the minor corrections needed to assemble the DML JS-1 lets jump into the fun part of painting this mama!

2

Post Shading

Post-shading is a way of adding an artificial shadow to your model, helping to give it a scaled appearance. The secret to post-shading is not making it look obvious. Using my air tank and Tamiya airbrush, I post-shaded the JS-1 with a mixture of five parts Tamiya Dark Green, one part Tamiya Sand, and a few drops of clear. I carefully sprayed the flat areas of the JS-1 focusing primarily on the top horizontal

PAINTING JOECOOL 1

surfaces. (see below.) Notice that I did not shade the gun.

Applying the Base Coat

In the top right you have a view of the completed JS-1. Below the picture is the running gear. Leaving the running gear attached to the sprues allows you to easily airbrush and weather them. I have an air tank and a Tamiya Super Fine airbrush to help me with the complex detailing, but when applying the base coat, I simply use my old trusty Brown air compressor and a double-acting Badger airbrush. I used Tamiya Dark Green acrylic paint for the base coat. I mixed a ratio approximately 60% paint and 40% Tamiya thinner with four to five drops of Tamiya clear. When spraying the base, I apply four to five very light coats of paint. Five light coats of extremely thinned paint provide you with a smoother finish displaying the detail better then two thick coats. The photos in the top right show the JS-1 with only the base coat. After applying the base coat, my compressor and Badger airbrush were no longer used on this model.

11

>

3

Te s t P i e c e s

castings. This was to insure that I did NOT obtain an unrealistic drybrushed appearance. After I finished brushing the oil paints onto the

I cannot emphasise this enough!!!!! Test pieces allow you to

model, I placed it in my curio away from any dust, and let it sit for

experiment and make errors without harming the model while trying

two days.

new paints and techniques. I always have three 3” pieces made from Evergreen sheet plastic on my desk. I sprayed them with the same base coat as the JS-1. The piece on the right was used to test the shade of my post-shading colour.

The picture to the bottom left shows the oils being applied to the model. Notice the smooth, glossy, pleasing, but unrealistic finish. The glossy appearance will be reduced in the upcoming weathering steps to take on a more realistic appearance of painted steel. Note how the seams and details are now more apparent.

5

Where Are We?

By this point I have now assembled and painted the JS-1. I will

4

continue this article with applying the winter camouflage. Winter

Adding Oils

camouflages used during the Second World War were usually made from a lime whitewash applied with various mops, rags, and brushes.

Carefully brushing light, transparent coats of oils can highlight seams

Using a lime wash was convenient because it simply washed away

and details and add depth to your model. You can use this technique

when the spring rains began. Because the lime did not adhere to the

as an alternative to washes. Oil paints dry very slowly giving you

tank like paint, the winter camouflage was easily scratched and

more then enough time to work and blend them. You need to be alert

chipped away by the crew, stowage and terrain. Consequently, the

when brushing on artist’s oils because you could break off small

tank was left with a very rough, scratched, and muddied appearance

brass parts if not careful.

that is now difficult for us modellers to simulate. In the next part of this article I will explain how I simulated that appearance.

I used two soft high quality brushes. I used the big brush for the flat surfaces and the larger components of the model while hitting the small details with the smaller brush. On a piece of scrap Evergreen I mixed a green-brown colour using toothpicks. I then added a little gloss. I carefully dipped my brush into the oil paint then wiped off as much as I could from the brush onto the Evergreen. (see above.) When applying oils to your model for the first time in this manner, I would recommend practicing on one of your test pieces. When brushing on the oils to the JS-1, I really needed to take my time and work them into the concave areas of the turret and hull

12

STARTING THAT WINTER CAMOUFLAGE 1

A White Base

Adding a realistic winter camouflage to your model can be time

After the mask was applied I studied the photo of the winter JS-1,

consuming, but very fun to apply. I did this winter wash in seven

then spent some time looking at my model. I tried to conclude

steps. For the first step I went over the entire model randomly

where the winter camouflage was apparent in large amounts and

adding Humbrol Maskal using a cheap brush as shown in the

where the camouflage had been loosely applied and/or worn away. If

picture (top left).

you are not using a specific example you should try to visualise your

I added the mask to all of the bolts, weld seams, and other extrusions such as the perimeter of the fenders and driver’s hatch. I went over

finished model in your head and use your mental picture as your guide.

all of the cast surfaces placing small dabs of mask on all of the large

In the second step, which was adding the base of the camouflage, I

bumps. I then placed small oddly shaped dabs of mask randomly

decided to use a matt white colour called Skull White manufactured

over the entire model. Closely view the photos of the turret and hull

by Games Workshop (see over page), A product geared for war

for a better understanding - the purpose of this will be apparent in

gaming figures and fantasy AFVs. I thinned the paint to a ratio of

the next steps.

about 40% paint and 60% tap water. Using my Tamiya Super-Fine

It is important to keep cleaning your brush during this step or the mask will build up in the bristles making it useless. Have a jar of clean tap water on hand. A damp brush will also improve the spreading capabilities of the mask.

Airbrush, I carefully sprayed the areas on the model where I wanted to have the winter wash very evident. I then carefully sprayed lighter areas where the winter wash appeared faded in the photograph. I kept the regulator of my air tank set between 10 and 20 pounds per square inch (PSI).

13

>

Thinning the paint as much as I did allowed me to spray the base on

chip the base coat when removing the mask it can be fixed later by

very lightly. Spraying the paint lightly allowed me to easily regulate

adding more white or metallic coloured paint.

the amount of white I deposited in each area. You want to have a feathered edge with no spattering during this step. If you are not careful, certain acrylic paints can dry very quickly on the needle of your airbrush resulting in spattering. To avoid this I simply kept cleaning the needle of my airbrush with a soft brush and tap water as shown in the picture (top right). Please practice on your test pieces before spraying your model. While spraying the winter base, I kept the book on my lap opened to the page showing the JS-1 I was duplicating. I had to use my best judgment on my model for the sides of the tank not visible in the photograph. After spraying the base white, I let the model dry for a day.

2

Carefully Removing the Mask

After letting the white base dry, I then carefully started step three, which was removing the mask. To do this tedious task I used a set of small pointy tweezers that I purchased in a jeweller supply store. I find these tweezers useful to get under the mask and lift it from the model. I removed the mask in one imaginary section of the model at a time. The mask was often hard to see so I brushed some straight Humbrol thinner over small areas. The thinner will react with the mask making it more visible and easy to get at with the tweezers. I recommend that you only brush on Humbrol thinner after you have removed as much of the mask from the tank as possible. The thinner will make the mask more apparent but less elastic and easier to break, therefore harder to remove. After I had removed all of the mask, I brushed the entire model with straight Humbrol thinner removing any loose chips of white paint left over from removing the mask. If you accidentally

14

If you look at the pictures of the turret and hull with the mask removed, you might think that some of the areas of green appear to be too clean against the white. That is how we want it to look for now. Step three will make these areas appear more realistic.

15

16

3

A d d i n g t h e To p L a y e r o f W h i t e

Step three was my favourite part of this project, this is where the

After approximately ten minutes, I took a small round no. 8/0 brush. Using the thinner from the second jar, I carefully further blended the edges of the already blended Humbrol white. Again you will need to

model started to come to life. I carefully poured some Humbrol matt white into an empty glass paint jar. I then added just a drop of Humbrol matt black and mixed the colours with a toothpick.

use your best judgment to decide when blending is complete. The thinner in the first jar will have paint mixed with it because of the first part of the blending process. The second jar of thinner will be clear to do the finishing touches in the second part of the blending process. The picture at the bottom left is the turret with the finished blended Humbrol white. When adding the Humbrol white to the turret and hull sides, I tapped the paint in place, let it dry for 10 minutes, then blended it. After Again you will want to

waiting another 10 to 20 minutes I then took a fine brush and further

break your model into

blended the Humbrol paint using vertical strokes to simulate washing

imaginary sections. During

from the rain. As I got better at this step, I was able to move from

this step I first did the top of

section to section blending the paint on one part of the model while

the turret then each of the

the other parts dried. As you do this step you will encounter small

turret sides and rear. After

pieces of mask. Just keep your tweezers handy so you can remove

completing the turret I

them as you blend. When you have finished let the paint dry for a

slowly worked onto the hull,

day.

one part at a time. First I tapped some small amounts of the Humbrol white paint mixture over the base white paint on the top of the turret with a no. 1 round brush as shown above. I brushed over the green areas left over from the mask as though they did not exist. After carefully covering the white base, I let the Humbrol paint dry for 10 to 20 minutes. While waiting for the Humbrol to begin drying, I opened up the window for ventilation. I then filled two empty paint jars about 1/4 full with straight Humbrol thinner. Using the same round brush, I dipped it into the first jar of thinner and wrung out the excess thinner on the opening. With the damp brush, I carefully started blending the semi dried Humbrol white. Too much thinner will simply turn the Humbrol paint into a heavy wash giving you an undesirable result. You will need to use your judgment to decide when you have blended the Humbrol paint enough. Again I blended onto the green areas left from the mask as though they were not present. After blending, I let the paint dry again for another 10 minutes.

17

>

6

Adding Spots and More Scratches

I have noticed in photos of AFVs that random thick spots of winter wash remain as the rest slowly washed away. In step number seven I represented these random spots with Humbrol matte white and a small brush as shown to your right. After I placed the spots on the model, the winter wash was complete. I then added some final scratches with my dental pick and some sandpaper for personal preference. Use the sandpaper to make clusters of short scratches. I had to do some practicing on my test pieces until I could get a result that made me happy.

4

Adding Scratches

Where are we?

Branches and obstacles cause scratches as they rub against the

After you have finished the winter wash step back and look at your

passing tank. Carefully adding scratches to your model will greatly

model. You can see how the green areas on the white mask are still

enhance its realism. Before spraying on the base coat of white, I had

noticeable but less evident and more realistic in appearance. These

airbrushed three different brands of white paint on one of my trusty

areas represent where the winter wash was once chipped away and

test pieces. I then took a dental pick and scratched each of the dried

have since been faded with new layers of lime washed down from the

paints. After scratching the three different brands I found that Games

rain.

Workshop’s Skull White had the best scratching qualities. It is

I did not apply any of the winter camouflage to under chassis or

important that you practice scratching the paint on your test pieces,

running gear. During the late winter and spring thaw, large amounts

before scratching your model. It will give you an idea as to how much

of mud can stick under the chassis and on the running gear covering

pressure you can apply to the paint before digging through into the

an/or washing away the winter camouflage. With the winter

plastic. After practicing on my test pieces, I carefully performed step

camouflage completed, I started weathering the model

five by putting some random scrapes on the models sides as well as on top of the turret and hull.

5

Adding Runs

When viewing the photo of my example (right) I noticed lots of runs from where the winter wash was placed on in large amounts. I simulated these runs by brushing on lightly thinned Vallejo - Air matt white using a small brush. Vallejo paints are great for this step because of their superb brush painting abilities.

18

7

19

WEATHERING Weathering is a topic that we have all discussed with varying

As we will discuss, I first simulated some chipped paint then added

opinions. It is just as important as the model’s actual construction.

washes to specific areas. I then carefully applied some different

Randomness is the key to achieving a convincing weathering job.

shades of dust and mud on random parts of the model. When all of

Brushing on pastels the day before the contest is quick and easy but

the dust and mud was added to the hull, I attached the running gear

makes for a plain unrealistic finish. With careful planning, weathering

and treads. After the model was assembled, a little more mud,

could make a show stopper out of the simplest and most basic of

chipped paint, and some other finishing touches were added. Lets

models.

now go through each step one at a time.

1

Chipped paint

It is important to remember that chipped paint is random and you do not need to cover every inch of the vehicle. After all of the chipped

When simulating chipped paint on the JS-1, I started by carefully

paint was added I let the model sit for a day. With the use of washes I

adding chips to some of the sharp corners such as the hull and turret

then started adding .rust to the bits of chipped paint.

sides. Sharp corners are more susceptible to having the paint worn and/or knocked away from them. The other areas that I added chips to were the lighter gauge metal parts such as the fenders and external fuel tank straps. These parts are made of light gauge metal that is flexible and often gets bent and twisted while in the field, causing the paint to crack and break away.

Washes of rust

I represented the oxidisation using light washes of Humbrol 82, matt 160, and matt 62. I applied the washes to the chips using a pointed brush. On the models turret and hull sides I would carefully use the brush to tap on the wash, then finish with a small down stroke to

Simulating chipped paint is

simulate washing from the rain. The picture below shows the small

often very easy to overdo.

amounts of wash needed to get a convincing shade of rust on the

The last thing you want is

chips. I mixed the

to make your model

three different

appear as thought it has

Humbrol colours

been sitting on the

listed above to get

Aberdeen Proving Grounds

different shades of

for the past 50+ years.

rust as I went over

Another thing to remember is paint tends to chip in random rigid

the model. After

angles. As in previous steps you will first want to carefully look over

applying the rust I

your model and try to visualise an end result.

carefully added

With a pointy brush I replicated the chips using Hombrol matte 67

some washes.

paint. The Picture above shows small areas of chipped paint being

Immediately after applying the rust, I mixed a dark oxide colour using

added to the edges of the fender toolbox. Items such as toolboxes

Humbrol enamels. I went over the entire model carefully placing the

were often made from

wash into any seams and grooves. If you just simply touch a seam

formed sheet metal. This

with your wash soaked brush, the capillary action will draw the wash

toolbox was also located on

into the crease. I also got the weld seams on the turret along with the

the outer perimeter of the

louvers on the hull rear

tank and therefore often hit

over the engine. I then

by passing objects.

added a number of washes

These two factors made it

to the engine screens

susceptible to paint chipping.

being careful not to get any

The picture above shows chipped areas being added to the angles on the fenders. Riders, tools, and rubble chafed against these angles.

20

2

of the wash on the screen frames as shown left.

3

More Filters and Final Preparation before Earth Colours

Filters using Humbrol matt yellow were added to the cylindrical fuel tank straps and screen frames over the engine. Filters of yellow helped to slightly brighten the screen frames making them more noticeable. The yellow filters did the same to the cylindrical fuel tank straps as well.

hatches and other details are more noticeable. Remember, like the winter wash and the rust, weathering is also very random in appearance. One whole coat of dust will simply give your model a monotone flat look. Here you can see areas that are very dusty, other areas that are only moderately dirty, and a few other areas that still have nothing but the base and winter coat.

5

The picture (right) shows a

Adding Mud

The next part of the weathering process was randomly adding a light

pallet with all of the

dry layer of mud under the chassis. To simulate mud I made a

Humbrol colours needed to

concoction. I first mixed one part Tamiya Buff and one part Tamiya

apply the washes and

Dark Earth. To the paint mixture I then added plaster and sifted soil

filters. Note the straight

for texture. The final ingredient was some MIG Productions light buff

acrylic thinner used to

coloured pigments. After thoroughly mixing the mud concoction, I

make and maintain the

took an old brush and carefully started applying it to the lower parts

washes and filters.

4

leaving some parts clean and others dusty. You can also see how the

of the hull.

A d d i n g E a r t h To n e s

After the washes from the previous step had dried for a day, I started adding the earth tones. I used earth coloured pigments, a soon to be released product offered by MIG Productions. Using straight pigments instead of pastels or paints, proved to be easier to apply and control giving me a convincing finished result. As you can see in the picture below, I used three different shades of pigments which gave me a range of different earth tones. Using tap water as thinner, I randomly applied light dust-coloured pigments over chosen areas of the model. The advantage to pigments is that when applied with water, you can easily manipulate them as they dry. This makes it very easy to get a weathered result that satisfies you. I also applied the light earth coloured pigments to most of the seams and around the hatches and other details where it would collect as a result of rain and wind.

As with the dust coloured pigments you need to watch your mud concoction as it dries. You want the mud to dry with a textured appearance and not something that resembles a thick coat of glue. Use an old brush with rigid bristles to keep texturing the mud as it solidifies on the hull. Give your mixture of mud three hours to dry.

Mud and dust do not cover

After the light layer of mud was dry I added another layer of wet

the entire vehicle. Coloured

mud. I mixed another concoction using Humbrol Chocolate, some

photos of modern armour

dark brown artist oil, some plaster, some dark earth coloured

will show that mud

pigments from MIG Productions, and some gloss purchased from an

becomes attached to areas

artist supply store. I added a random coat of mud under the chassis

of a vehicle in large

as shown in the picture below. As for the hull sides, I only added the

amounts while other parts

mud to the creases such as around the torsion bars where it would

of the vehicle only become slightly dusted or even not dirty at all. This phenomenon allows us to apply different amounts of earth colours to the model carefully breaking it up and giving it more of a three-dimensional appearance. The picture to your left clearly shows how the

easily collect. I then carefully added some small amounts of mud randomly around the rest of the lower hull. As I brushed on the wet mud I blended it with straight Humbrol thinner.

6

T h e Tr a c k a n d W h e e l s

model has been subtly

I airbrushed my cast-metal pinned Stalin tracks from Friulmodellismo

broken up by thoughtful

with Tamiya Dark earth. For those of you wanting to build an

application of the dust

accurate JS-1, it is important to note that the links provided with the

coloured pigments. Note

DML kit are incorrect. Friulmodellismo’s “light type” links (part no.

how I broke up the fenders

ATL-54) are more accurate for this variant because they lack teeth

between the supports

every other link. You can carefully cut and sand the cogs off every

21

7

Finishing With Some Spilt Fuel, More Rust, and Dark Earth By this point the model was just about finished. Just a few more touches where needed. Using a mixture of Humbrol chocolate and raw-umber artist oil paints thinned with Humbrol thinner, I added some “spilt fuel” to the rear hull and external fuel tanks as seen below. This mixture was also used to simulate leaking grease on the road wheels. Even these little details should be kept random. Again using a mixture of Humbrol chocolate and raw-umber coloured artist oil paints, I added some more areas of rust and chipped paint other link if you decide to use the tracks provided with the DML kit

further breaking up the model. As you view the pictures of the

but you will still be lacking detail.

finished model you will see that these areas included one of the fuel

The inside of the tracks where they rubbed against the road wheels was marked over with a dark graphite pencil purchased in an artist store. The graphite was then blended with my thumb. A dark mixture of earth coloured pigments was then added to the areas on the inside the track not polished from the road wheels. On the outside of the track the wet mud concoction was applied using an old brush. After the mud had dried, I took some coarse sandpaper and sanded the mud outside of the track until the bare metal was showing from the Friulmodellismo tracks as seen in the pictures of the finished model. Sanding the mud down to the track made it look as though it had been packed between the treads by the weight of the tank. The road and idler wheels were then cut from the sprue, cleaned, and glued together. By sticking the wheels onto the ends of toothpicks, I was easily able to paint the perimeters with a worn steel colour manufactured by Extra Colour. After the wheels and tracks were painted, I assembled them to the model.

tanks, the cover over the gun mantle, and various places on the turret side. The last step for weathering this model was mixing a damp dust colour using pigments and carefully adding them to all indentations, grooves, and seams. This step helped to add depth to the coat of dust covering the model.

Summary Lets review what we have done. We started the article with the After attaching the wheels and tracks, I added a layer of light mud

construction of DML’s JS-1 and the modifications needed to correct

using pigments to each of the wheels and drive sprockets as seen to

the kit. We then quickly discussed applying the base coat along with

your right. After letting the pigments dry for an hour I randomly

post-shading then adding oils which give the model depth. The focus

added a layer of wet mud using the same concoction that was

of this article was the seven-step method I used to add a realistic

applied to the hull and tracks. If you view the picture above you can

winter camouflage to the JS-1. We then finished the article using

see how the mud was added in large amounts to some of the road

straight pigments as a means for obtaining a more controlled realistic

wheels, only lightly to others, and a few wheels where simply left with

weathering finish.

light earth pigments. Coloured photos will show this style of mud

A good random weathering job will break up a model giving it depth

application to be accurate. Applying mud in this way also helps to

while highlighting its details. I hope that this article has demonstrated

further break up your model adding depth as the light and dark earth

that while it may take thought and talent to construct a super-detailed

colours contrast each other.

model, a thoughtful carefully executed finish is just as important and requires equal expertise.

22