34 Part Two - Painting Adam Wilder demonstrates the techniques behind his STZ T-34/76 35 36 In the first part of this article I discussed the assembly...
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Adam Wilder demonstrates the techniques behind his STZ T-34/76 Part Two - Painting
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In
the first part of this article I discussed the assembly of the STZ T-34. I explained with the aid of photos how I backdated the DML T-34/85 mod. 1944 kit, to represent a variant manufactured at the Stalingrad Tractor Works in 1942. I then explained how I constructed the base and adapted the models suspension to its uneven bricks.
different storage facilities. The reference pieces of steel in photos one Steel forms a gray finish when manufactured. This thin coat responsible for this color is called mill scale, which is a result of impurities in the metal boiling to the surface when the metal is hot. Depending on how steel is manufactured, colors of the mill scale can vary greatly. Photos 1 and 2 display each side of the first reference piece. Note the difference in gray tones on each side as well as the chips in the mill scale in photo one.
can now move on to the fun and most
Different oxide rust colors and chips in the
important part of this project - painting and
mill scale can also be seen.
the most extremely detailed model is only half complete if it lacks a carefully researched, planned, and executed finish. Let’s start by viewing some reference pieces I obtained at a local vocational school.
right is much rustier, probably as a result of
photos 1 through 4
With the model and base completed we
weathering. In my opinion, a complex and
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Looking at some references
through four show just how different the color of steel plates can be. Steel color variation can be a result of thickness, storage, manufacturing processes, and transportation to the factory. Notice the different faint blues, whites, and rust slightly visible on the mill scale. As modellers, these color variations give us a unique opportunity. These color differences will allow us to paint all of the model’s steel plates (or ingots), castings, and components with different shades of grays and oxides highlighting each detail
Photo 3 gives a clear view of a flame cut
resulting in an extremely dynamic
edge and heat-affected zone, which
appearing finish. Other references used for
results from the heat of the cutting
the tank’s castings will be shown as the
process. This photo will be important.
article progresses. Let’s start painting.
Photo 4 shows some pieces of sheet metal weldments. Note how the weldment on the
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Photos 5 through 7 The model’s gray base coat was first painted using acrylics thinned with tap water. After spraying the base coat, different shades of gray were then sprayed on each part of the model to represent the
onto a dinner napkin or you will apply too
component of the turret before the
much hiding the oils applied in the
graphite was added. This is what makes
previous step. You only want to give your
this models finish so unique. Notice that I
model a metallic sheen with the different
used more of a red oxide colored oils on
oil colors still visible. I used an artist color
the turret to further distinguish it from the
sharpener to get the graphite into those
hull.
difficult-to-reach places. Photo 21
different shades of mill scale. Filters using enamels were also used to further break
Photos 12 through 17 After the enamels dried, graphite was also
up the models different plates. All of the cast components of the tank Photos 8 through 9
acrylics. The lighter sheet metal In the next step, I used oils to add the different blues, grays, whites, and oxide colors I pointed out in photos one through four and fused them with brush cleaner. You only want to fuse the colors and not completely blend them as shown in photo nine. Use different amounts of the oil colors on each ingot of steel on the tank. Remember, each plate will differ in color. Give the oils a day to dry. Photos 10 through 11 Next I rubbed graphite from an artist pencil over the model. It is important to first rub
lightly rubbed over all the castings.
were painted a mild oily steel color using Photos 22 through 23
components were painted black. After
All of the model’s bolts, fasteners, and
letting the acrylics dry, different shades of
hinges were painted with acrylics and
black and oxide colored enamels were
rubbed with graphite.
spotted onto the castings. After drying for about five minutes the enamels were fused
Photos 24 through 31
using a brush dampened with thinner. If
Steel is not covered by a consistent
your brush is soaked you will get a wash
metallic gloss. Areas will oxidize from the
resulting in a less convincing result. Oxide
elements and rust or get covered with soot
filters were bushed onto the lighter sheet
in the manufacturing process. To simulate
metal components.
these areas, random sections of thinned oils were again added around the model.
Photos 18 through 20
Different blues were added to the grays. The gun was masked and airbrushed. Note
Large areas of rust were added to further
the different shades of steel on each
break up the different larger ingots, and
some of the excess graphite off your finger
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smaller areas of rust were also placed. Note the different shades of rust added to the turret. Picture 31 shows all of the steel ingots and castings of the model. Photos 32 through 34 Because of reasons regarding storage, straight lines of rust sometimes appear on steel plates. While masking and airbrushing the lines of rust, other areas of the model such as the turret were lightly airbrushed. After airbrushing the lines different oxide enamels were painted over the rust lines and blended like on the castings in photo 16. Photos 35 through 39 The next step is the most tedious and time consuming. As I discussed in photo 3, heat affected zones appear around the cut edges where the steel was heated during the flame cutting process. Four steps were needed to simulate this process. First, a light metallic gray line was painted
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around all of the flame cut edges. The size
Some of the edges of the rust spots were
sheet metal parts as a result of the
of this line will be wider on the thicker
mapped using a lighter gray enamel and
stamping process during their
pieces. In step 2, a mixture of Humbrol
artist oil mixture. Random spots using the
manufacture. Next, all of the metallic gray
color no. 15 and black oil paint were
same mixture were placed around the
edges were mapped using a mixture of
painted over the metallic gray line then
model representing scratches in the mill
enamel and artist oil oxide colors.
blended using a brush and straight thinner.
scale. Photos 48 through 53
The same Humbrol enamel-artist oil mixture was painted over all of the flame-
Photo 45 With all of the different steel parts of the
cut ends. In step 3 different areas of rust
When assembling structures the
tank detailed, dust was added to all the
were spotted over the discolored edges.
fabricators and inspectors will mark the
welds. After viewing the dust that results
Follow the reference pieces.
metal with chalk to display notes and
from the welding process on the weldment
dimensions. Most of the components are
in photo 48, I mixed a dust color using
Photos 40 through 41
also numbered upon arrival at the plant for
pigments manufactured by MIG
To complete the flame-cut edges I rubbed
inventory reasons. I simulated these chalk
Productions. First I carefully placed the
a little more graphite over all of the heat-
markings with a colored pencil. Make note
pigments over the weld seams with
affected zones. Graphite was also rubbed
of these makings throughout the rest of
Humbrol thinner. Next using a different
over the flame cut ends using the color
the photos.
brush, dry pigments were carefully brushed over the weld seams to represent more
shaper. Photos 46 through 47
fine dust. As seen in photos 49 and 50,
Photos 42 through 44 Using a mixture of Humbrol metal coat
always brush the dust upward as it
Like the lines and spots of rust, oxidization
27001 and 27004, chips of metallic gray
traveled resulting from the heat produced
will also randomly appear on the steel.
were placed over all edges of the formed
during welding. Only a little dust is needed
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for the small components. If you are feeling brave, you might want to add a little weld spatter as seen in photo 53. Photos 54 through 58 Now for some minor but important details. First, stains from the coolant used during the drilling of the rear plate where simulated using a new post-shading product soon to be released by Mission Models. Lay the stains on flat as the plate was during the drilling process. Next, oxide pigments from MIG productions were added to represent new rust. Very light shades of earth colored pigments were brushed on different parts of the model to represent dust. Note how I focused the dust around the details to further highlight them from the rest of the model. Photos 59 through 62 Airbrushing on a coat of buff was the first step I used to start weathering under the hull. I then used a mixture of Humbrol
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chocolate, burnt umber oils, brown
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Photos 63 through 66
each of the gussets to break up the
pigments, and plaster to add a random darker coat of mud. The dark mud was blended with enamel thinner then different earth colored pigments were brushed onto the hull after the thinner and oils dried. With the tank weathered, I moved onto the wheels and tracks.
Apply different shades of rust between
I decided to mix my own color of acrylics as a base for the wheels. Tamiya acrylics are the easiest paints I have ever used
wheels. After the rust was simulated, areas and chips of worn steal were added using a mixture of enamels.
during airbrushing. After letting the base of acrylics dry for a day, different oxide
Photos 67 through 69
colored enamels where tapped on the wheels in spots and blended like on the castings discussed in photos 15 and 16.
Oxide colored pigments were then added and graphite was applied to obtain the final steel result. Photo 69 shows the
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wheels on top of the reference I used to paint them as well as the rest of the models castings. Photos 70 through 72 After adding the graphite to the wheels, I applied a light random coat of buff. Do not cover the wheels completely with the buff. Next, scrape off the areas of the wheels and torsion bars where the glue will be applied during assembly. Testors liquid cement is thick and slow drying, which allowed me time to position the wheels properly in relation with each other and the model. Photos 73 through 79 The tracks were painted just like under the hull in photos 59 through 62. View photo 75 to observe the placing of the dark earth on the inside of the track. Also look at photos 76 and 77 for the placement of the graphite then the light earth pigments. Photos 80 through 82 After the glue on the wheels had dried overnight, I started adding earth colored pigments using Humbrol thinner. I applied dust to all of the areas on the wheels air brushed with buff acrylics. Adding some grease around the hubs using a mixture of oils and enamels finished the wheels. Spilt fuel was added to the hull top using a similar mixture at this time.
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Photos 83 through 84 The gun was the last part to be detailed. I first added many different colors of rust
completed model. Note the model’s
stress that your base coats should always
dynamic appearance with all of the visible
be done using acrylics. Another point I
different colored components. With the
would like to mention once again is that
model finished, I painted the base.
lots of dust should always be present on
and steel using acrylics then finished with different washes and filters using enamels.
vignettes and dioramas with destroyed Conclusion
buildings and shell marked landscapes.
For the final touch, the undersides of the model were painted with the post shading spray soon to be released by Mission models. Photo 85
In the second part of this article we discussed painting the unpainted
References:
Stalingrad T-34/76 and its base. Although
Jimenez, Miguel. “Rarities” Euro
readers might find it easier to perform
Modelismo. Copywrite: Accion Press S.A.
some of the weathering steps in a different
C/Ezequiel Solana 16 Bajo, 28017 Madrid –
order than demonstrated in this article, I
Spain.
The remaining photo displays the
In the next Issue - painting the base
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