Beruflich Dokumente
Kultur Dokumente
volume 37
S c i . f i & f a n t a sy m o d e l l e r
SCRATCHBUILT
1:1 JAWAS!
STUDIO
SCALE
TIE FIGHTER
14.95
ISBN: 978-0-9930320-1-1
37
9 780993 032011
K A N E
E X C L U S I V E
www.scififantasymodeller.co.uk
info@scififantasymodeller.co.uk
|2
volume 37
Editor-in-Chief/co-Publisher:
Specials Editor:
Art Editor/co-Publisher:
Regular modelling team:
This volumes contributors:
6
8
18
24
29
38
45
52
56
64
72
79
92
Michael G. Reccia.
Andy Pearson.
David Openshaw.
Iain Costall, Jim Costello, Barry Ford, Andy Pearson, Gary R. Welsh.
Paul Bodensiek, Jean-Marc Deschamps, Jason C. Gares,
Barry Maddin, Steve Neisen, E. James Small
web: www.scififantasymodeller.co.uk
editorial email: info@scififantasymodeller.co.uk
Published by Happy Medium Press copyright 2015
ISBN-13: 978-0-9930320-1-1
Printed in the United Kingdom by Pioneer Print Solutions.
All rights reserved. This book may not be reproduced in whole or in part
without written permission from the Publishers, except by a reviewer who
may quote brief passages in a review; nor may any part of this book be
reproduced, stored in a retrieval system, or transmitted in any form or by any
means, electronic, mechanical, photocopying, recording, or other, without
written permission from the Publisher.
The views expressed by our contributors are not necessarily shared by Happy
Medium Press. Every care is taken to ensure that the contents of Sci.fi &
fantasy modeller are accurate, but the Publishers cannot accept responsibility
for errors. Responsibility for correct copyrighting of photographs, artwork
and illustrations lies with the contributor. All copyrights are acknowledged.
Reasonable care is taken when accepting advertising. However, the Publishers
cannot accept any responsibility for any resulting unsatisfactory transactions
or any inaccuracies contained within the ads themselves.
|4
The publishers and author (contributors) take no responsibility for any harm
or injury to the reader as a result of using the techniques described in this
publication. Safety and common safe should always be foremost when using
these techniques and materials. Read all instructions and warnings on tools,
paint, glues, and all chemicals. Hobby knives are very sharp and serious injury
can result from improper use. Your work area should be well ventilated at all
times. Children should be supervised at all times by an adult familiar with
hobby safety. Please note that all hints, tips and procedures in this
publication are given in good faith and based on actual experience. However,
neither the publisher nor authors (contributors) can be responsible if
something goes wrong during construction.
volume 37 EDITORIAL
We might still have the best part of a year to wait before
since 1977, when the first kits based on A New Hope hit
Hmmm.
Yess!
...In detail, covering those subjects,
Editor-In-Chief
5|
Round 2
|6
Paragrafix
Moebius
Wildhouse Models
Out by the time you read this should be the Hostile
Realms Medical Console kit (F) reported on last issue.
www.wildhousemodels.com/medical-bay-console/.
G
7|
A LOST WORLD
Barry Ford proves once again that he has a head for figures
|8
Above:
Parts from box.
Joins are filled
note texture
stamp.
Stegosaurus built.
IVE
9|
| 10
Above:
Figure.
Clay base.
Stegosaurus
primed.
Opposite:
Stegosaurus
painting:
base colours
applied...
...highlights...
...further
Before proceeding any further with constructing highlights...
the dinosaur I posed the two figures together to get ... secondary
a feel for the final diorama size. A wooden cutting colours.
11 |
| 12
Opposite:
Base built and
painted.
More flesh tones:
...dark base colur...
...then lighter.
Masking flesh
areas.
Base colour of
turquoise applied
to clothing.
Pre-staining the
Stegosaurus.
13 |
| 14
15 |
| 16
17 |
TIEmes Two: 1
The kit
To tell you the truth, I have never seen a resin
model like this one before. At first I thought it
was an injection kit as the resin is so perfect,
with crisp details and exceptional casting. It was
a pleasure to work with, the build being almost
straightforward throughout, the one exception
being the two front fuselages that didnt align
themselves with their tube sections. I found it
difficult to create a perfect alignment here as air
bubbles under the resin skin began to appear
during the sanding process.
1: The parts. No need to source the wings from another kit, as they are provided. 2: The casting is clean and the details
crisp. 3: Just one line was re-scribed. 4a: There is a error on the right wing, so the upper raised line has been duplicated at
the bottom 4b: and the original erased. 5-8: The most difficult job on the kit was to try to align the fronts with their
respective fuselages. Bond, Bondo and cellulosic putties were extensively used.
| 18
4a
4b
19 |
10
11
12 13
14 15
| 20
16
17
18
Paint
Pfffffffft No, this sound is not caused by chili
emanating from a place you might think of
but is rather the sound of
exasperation due to
21 |
| 22
Conclusion
What more can I say? Just that the
Double Chili Dog is a superb kit
that more than satisfied my appetite
for an excellent replica of the subject.
Special thanks to my friends Olivier
Cabourdin and Sylvain Viatte.
23 |
Construction
Crustacean
| 24
1 2
4 5
3
6
7 8
10 11
9
12
1: A selection of original components. The round tube option was dropped. 2: Wire bars to main window. 3: Titanium gold to
interior. 4: Brass rod detailing. 5: A selection of primed greeblies for interior detailing. 6: Driver figure. 7: Interior detail.
8: Further interior detailing. 9: Driver located. 10: Base fixing for arms. 11: Arm sections. 12: Test fitting of arms.
25 |
13 14
16 17
15
18
19 20
22 23
21
24
13-14: Manipulators. 15: Further test fitting. 16: Test fit of rubber pipe work. 17: Arm sections drilled for tubing. 18: Self
adhesive border detail. 19: Access ladders. 20: Ladder access at rear. Note self-adhesive border detail. 21: Adding hoist detail.
22: Hydraulic/steam lines added to arms. 23: Pigment powder panelling detail. 24: Finished model on workbench.
| 26
27 |
| 28
for
your
a b
c d
B C
D E
can be used to make a sturdy box-type enclosure
to place your model in while it is being cast. A
good seal around all the edges of the box is key to
making this type of mould successful. You could
use hot glue to seal the edges of the box together.
Another good tip is to seal the edge of the model
to the base in order to keep it from moving during
moulding. You can also choose to screw or glue
the model to the base if that is an option to keep it
in place. Make sure to construct your box with
enough room to allow " to 1" surrounding
your model, including the top. This space is for the
mould rubber. If your model is porous, consider
cutting a vent hole in the base of the mould so as
not to harm it (Fig. A.).
| 30
H I
K L
M N
1 2
3 4
6 7
8 9
jelly and begin to prepare the mould on one side of
the model. This can be made of plaster, resin or
other such material and should be about "- "
thick, or thicker depending on the size and mass of
the object you are casting. Allow the mould to cure
completely. Repeat the steps for the other side of
the model. Again, allow the second side to cure
completely before continuing (Fig. L.).
Once its cured, you can begin to carefully
remove the mould halves. If done with care, the
mould should easily come apart at the shim you
created, as the petroleum jelly created a barrier
between both halves. After you get the mould off,
your model is left coated with the thin layer of
rubber. Carefully cut the rubber in half at a desired
point and slowly peel it off, as you would a sock
from your foot, for example. Your mould should
be flexible and uniform in thickness to create
future copies. In order to create a copy, simply
place the mould back into the plaster cast, vent
and fill with your preferred casting liquid. As with
the poured moulds, strapping the plaster cast
together is a good idea as it will keep both halves
together securely.
31 |
| 32
12 13
14
15 16
17 18
19 20
21 22
23
24 25
STEPHEN HOWARTH
Original
Props,
Robots,
Kits,
Collectibles
for sale
https://www.etsy.com/uk/shop/Timemachinesetc
26 27
liquid latex by Castin Craft (Photo 7.). To protect
my workbench, for both pieces I laid down some
aluminium foil as this would be easy to remove. I
started brushing it on the crater section and
worked my way outward towards the edge of the
base. On the mountain region, I naturally started
at the top and brushed towards the bottom. I also
made sure to create a one-inch flange on both
pieces that would come in handy later. You can use
any brush of your choice to paint on the latex as it
is water soluble and can be easily washed out. I
decided to take the easy route and use disposable
foam brushes (Photos 8-18.). Even though I had
really strong moulds, they were way too flimsy to
cast anything in, as there was nothing to hold the
weight or the volume of material that would be
poured into them (Photos 19-20.). In order to hold
the weight and volume of material used to make
the copy and keep the shape of the latex mould, I
would have to make Mother moulds that would
cradle the outside of both latex moulds.
In order to create Mother moulds to securely
hold both latex moulds in place during the casting
process, I had to make a box around them. The
first step was to make sure the latex moulds were
securely set on the original master sculpture so
they didnt move around. I brushed on a little bit
of rubber latex in a few key areas and placed the
moulds back on. While I let the latex set up, I took
measurements of the sculpture and added a
quarter to a half inch around the total height and
33 |
30
32 33
| 34
Test Casting
With the Mother moulds created, it was time to
start test casting. The client wanted to know what
the difference would be between a solid base and a
hollow base with expandable foam inside it to give
it strength. After some discussion, the customer
and I decided to make the test castings out of
Durhams Water Putty instead of wasting resin or
any other type of expensive material.
For those of you who have never heard of
Durhams Water Putty, its a gypsum-based filler
in powder form and becomes almost rock hard
when mixed with water. It never shrinks and has
great bonding strength. Mix with cold water for a
longer setting time and warm water for a faster
setting time.
Its always a good idea to coat the inside of any
mould with some sort of mould release.
The type you use depends on what type
of material your mould is made of and
the material you will be pouring into
that mould. If you dont put any release
inside a mould, theres a greater risk of
not being able to get the part out, and,
if you do get it out, a high probability
of critically damaging the mould and/or
31
34 35
36 37
38 39
40
41 42
43 44
thats not very economical. The next step was
therefore making the two sections hollow.
After mixing up more Durhams Water Putty
powder with warm water to accelerate set-up time,
I pushed it in to the moulds using a putty knife
(Photos 38-39.). I conducted a few test castings to
check out the durability and overall thickness of
how the two halves were going to turn out. Full
castings werent necessary, just sections, as to not
waste time and material (Photos 40-43.). I figured
out how to go about things with the test castings,
deciding what I did and didnt like, and proceeded
with full castings. I repeated the process of pushing
the water putty into both moulds and, after letting
set-up for 24 hours, I got highly detailed parts that
are both thin and durable (Photos 44-47.). I took
the parts out of both moulds, placed them end to
end and added more water putty to permanently
join them together where the seam line is. The
castings were now complete. Three test castings
were produced to check if there were any changes
between each one if there need to be any changes
made between multiple castings, nows the time to
find out. You dont want to put a lot of time and
effort into multiple castings only to find they are
less than perfect. Its always better to test things
out early. (Photos 48-55.). Expandable foam you
can buy at any hardware store was sprayed to the
underside of the castings to add strength and
durability. Any excess was cut so the bases could
sit flat on any smooth surface.
35 |
45 46
To finish this project
off, it was time to add
paint, as the customer
needed to get a full
visual of what the final
product would look
like. Grey primer was 49
applied along with some
quick airbrushing, resulting in a finished moon
crater base suitable for any science fiction model
kit (Photos 56-60.).
Unfortunately my customer decided that the end
cost to produce the base would be too expensive
with having the crater as the main focus. It looked
nice but wasnt practical for his needs. A big part
of the cost was the casting process and that part of
production with time and materials had to be cut
down in order for him and his company to justify
producing it. I suggested he could have it vacuum
formed, but that by doing that some of the detail
could be lost. He went back to the drawing board
and decided to get rid of the crater altogether,
making the front of the base flat with some slight
rock formation detailing. The final product was
made with hollow resin and only sold as a package
47 48
50 51
52 53
deal with build-up work he would do for clients.
After selling about a dozen bases he decided to
retire it.
In the end, this was an educational experience
for both me and my client. Both of us became
educated with how things worked on both ends of
the design process. In a way, we educated each
other, which gave us more than we ever expected
and that in itself made this project
54 worthwhile. Never be afraid to ask
questions or experiment, as you wont
know what youll end up with if you
dont.
Thank you for reading, the support
and MODEL ON!
55
56
| 36
57 58
59 60
37 |
CANT
ABIDE
THOSE
JAWAS!
DISGUSTING
CREATURES!
Jim Costello scratchbuilds an armed and dangerous pair of 1:1 scale Jawas.
| 38
39 |
| 40
41 |
| 42
43 |
| 44
TIEmes Two: 2
Next in our back-to-back TIE-fest:
45 |
| 46
47 |
| 48
actual detail kit part, you run the risk that it may
not fit or the kit part may swim if your
scratchbuilt part is too large. This attention to
detail continued with the wing supports. John is
one of the best scratchbuilders around his skills
are at master level and things he can do with
styrene strip and sheet are actually remarkable.
...Hes a human 3D printing machine!
As far as kit part identification goes one of the
details found on the TIE ball was discovered to be
49 |
Top left: the TIE features decals that have only recently been spotlighted on the internet.
Top right: completed front view showing guns (LEDs) in place.
Above: completed rear view.
Above right and opposite top: outer and inner wing detailing.
Armature
Several incarnations of the backbone support of
the TIE went through several changes over the
years. The current and final armature is a five-part
milled aluminium piece that is exact in design to its
movie counterpart. The armature was designed by
Alan Hanson and machined by Robert Bosnjak.
Wing Stars
The wing stars, like all other parts, went through
several incarnations during the ten-year
development of the studio model kit. As new
reference surfaced changes had to be made. NiceN Model Designs enlisted the help of 3D artist
Mike Reis in drawing the basic wing star shape in
| 50
51 |
SECOND
MOEBIUS
Opposite: The bits from the bag. Fuselage clamped after glueing. Main components assembled prior to primer coat.
Pencil enhancement of panel lines. Clear engine detail painted in clear red and inserted. Masking cockpit transparency.
Painted cockpit. Cockpit interior with figure for test fitting. The pin is to enable insertion during this process.
| 52
53 |
Above: inserting the completed interior. The pin now holds a blob of putty that will be removed when the glue within the
fuselage has set. Close-up view of cockpit with crew. Opposite: finished model shots.
| 54
55 |
INSIDE
PARAGRAFIX
* That description makes ParaGrafix sound more impressive than it is since I started the company in 1994 I have
been the sole employee and Ive used one or two rooms in my home as the base of operations.
| 56
Above: When
Worlds Collide Ark
built by Iain
Costall.
Opposite top: Ark
girders / bulkheads
painted by Iain
Costall.
Opposite centre:
Moebius Flying
Sub interior (work
in progress) and
detail of painted
panelboth from
Iain Costall.
57 |
| 58
59 |
| 60
Right: pack of
hold and place
pencils.
61 |
| 62
Paul: Ive been a Star Trek and Star Wars fan since
day one, probably because they are what I grew up
on. Trek was playing every afternoon when I came
home from school beginning in sixth or seventh
grade and Star Wars premiered the summer before
I entered high school. (I wont say how many times
I went to see it that summer on the grounds that it
may incriminate me.) Now they continue to appeal
to me for very different reasons, though back then
it was mostly about the cool spaceships flying
around outer space.
I love doing interiors and anything that will
work with lighting. Both of these come together in
Top left:
Star Trek sets.
Top right:
Galactica sets.
Above:
Star Wars sets.
Opposite top:
Space:1999
Eagle set.
Opposite bottom:
Lost In Space
Robot B9 set.
Our thanks to
Paul for taking
time out of a busy
schedule to talk
to us. Ed.
63 |
FUTURE IMPERFECT
Iain Costall integrates his Deckard Sedan into a grimy, retro-fitted Bladerunner diorama.
Part two of two: expanding and customising Randy Coopers resin building kit.
| 64
10 12
13
11
65 |
14 15
16
17 18
19
20 21
22
23 24
radical in mind...
The first thing that struck me was how close the
columns were to the rear wall (5). To increase the
space on the pavement I installed the wall further
back on the base (6), which caused a gap to appear
under the door so a styrene extension was fitted
beneath it (7, 8).
The only flaw in the kit was a taper in the
canopy roof (10), which I remedied by using
styrene strips of various thicknesses then skinning
the underside with sheet styrene. At the same time
| 66
25 26
28 29
27
30
31 32
34 35
33
36
67 |
37 38
39
40 41
42
43 44
46 47
| 68
45
48
49 50
51
52 53
54
55
56
57
58
69 |
59 60
61
62
63
64 65
| 70
71 |
Gary R. Welsh
builds Moebius new 1/72 Galactica Viper Mk VII and Raider kits
ARRIVING AT THE SAME TIME AS THE 1/72ND. VIPER
MKII RELEASE FROM MOEBIUS (featured in Vol. 36),
I also received test shots of both their new
Battlestar Galactica MkVII and Cylon Raider
1/72nd double kits. Again two kits are included in
each release, with an undercart up or down option
featured on the MkVII only.
The Viper comprises twenty-six light tan parts
and three clear parts (including a one-piece
canopy). The fit is very good, with just a little filler
required where the upper and lower fuselage
halves meet... and this could be simply down to
the fact that the samples sent were test shots.
Unlike the MkII the cockpit is a three-piece tub
affair, with coaming detail and a rear bulkhead, a
seat and two-piece pilot figure finishing off the
internal details (to me the pilot looks a little small
in comparison to the MkII figure).
Six parts make up the rear engines and these
1: Main sprue layout for the Viper MkVII. The detail is excellent and as with the MkII, two complete kits will be included in
the box when released. 2: Sprue layout for the Raider. Clever tooling means this kit is incredibly easy to build. Again, two
complete kits are included. 3: Construction is quick with undercarriage parts included so the model can be built gear up or
down. 4: Underside of the model. Undercart doors can be glued directly into the bays. 5: Main components of the Viper
completed ready for priming. Even with a little filling and re-scribing it took very little time to get to this point. 6: The pilot
appears to be slightly too small, as illustrated here in a side-by-side shot with the MkII pilot. The MkVII pilot is the one on
the right. 7: The completed Raider ready for paint. 8: Prior to painting the third engine is drilled out and filed into shape.
| 72
73 |
10
11
12
13 14
15 16
| 74
17
18
19 20
9: Both models primed ready for colour. The canopy of the Viper has been masked. 10: The engines have been sprayed grey
and silver and the interior grey. Note the canopy that has been sprayed inside with Tamiya Smoke. All that remains is for the
pilots visor to be picked out in sky blue. 11: Following a coat of grey the model is carefully mottled with a mixture of yellow
ochre and cork. 12: Post-shading brings it all together using a wash mix of black-grey, black-green and black-brown.
13: Additional streaks and scorch marks are added. Grey is applied to the middle of the main damage areas using a brush.
14: Further scratches are created using the bouncing rigger brush technique. 15: Following a desaturation and a bit more
shading using black the model is sealed and the canopy masking removed. 16: The black recognition strips on the Raider
are masked with thin strips of masking tape. 17: French blue-grey is misted over the model as a base coat. Note this is a very
thin mix so care must be taken not to scratch it before it has dried and cured. 18: A scribble of violet mix is applied across
the model. 19: A second custom mix of rich silver is used to create a shaded panel look. 20: The underside of the model.
Although difficult to see, the metallic shading has been applied. 21: Laser and helmet detailing is added using a brush.
21
75 |
| 76
RAISING KANE
AND PUTTING HIM IN THE SPOTLIGHT
By Barry Maddin and E. James Small
Poor Executive Officer Kane was the very first
victim in the entire Alien quadrilogy to die (an
agonising and shocking death in the first film,
directed by Ridley Scott in 1979), as he was so
unfortunate as to unwittingly discover the alien
derelict ships deadly secret.
Thus it seems only fitting that he be
immortalised in a brand new model kit from
Round 2s Polar Lights division. The kit captures
in great detail Kanes iconic moments in his
environmental protection suit as he kneels to
examine the alien embryonic egg containing the
facehugger that will be his ultimate doom.
77 |
E. James Small
ASSEMBLY OF THE MODEL IS SO STRAIGHT-
DID WAS IN
LEDS and
wiring that would help to bring the figure to life
before turning them over to Barry to paint. I began
by planning where the lights would go and
studying stills from the original film. I figured that
lights would need to be placed as follows:
| 78
Unique Master
Two lights (5mm white LEDs) in the spacesuit Fig 1: Helmet light
backpack.
sliced off with a
originally provided
at top of picture)
sanded down to
replace the lens in
the helmet light.
Holes for leads to
pass through
drilled out with a
Dremel tool.
Fig 3: Rear helmet
LED glued to the
back of the clear
kit part and fed
through helmet
shell. Leads poke
through to helmet
interior.
Fig 4: Paying
careful attention
to polarity, LED
leads from top and
rear lights brought
together inside the
helmet. They will
be soldered to the
wires that will pass
into the torso.
Fig 5: A rasp bit
chucked into a
Dremel tool is used
to hollow out the
helmet dashboard
to admit the LED
that will be glued
inside.
Fig 6: The
dashboard LED is
tested.
79 |
| 80
Fig 7: LEDs are buried into drilled holes on the back of the
clear parts, then fitted to the backpack after holes were
drilled to admit the leads.
Fig 8: LED leads are bent over and the wiring is soldered to
them.
Fig 9: Kanes back is bored out using a Dremel tool and a
ball-shaped cutter to make room for wiring.
Fig 10: Holes are drilled out through the left leg and torso
to admit wiring. Bamboo skewers are put in place to show
the path of the drill.
Fig 11: A plywood riser is made for the base to allow room
for the battery box to be hidden underneath. A piece of
styrene sheet is put in place to mount the switch.
Fig 12: The resin base is glued down to the plywood riser.
Hole for the switch is visible on the side.
Fig 13: Holes are also drilled so the figure can be screwed
down to the base from underneath.
Fig 14: The battery box is roughened up on the joining
surface and glued to the underside of the resin base using
a hot melt glue gun.
Fig 15: Parts temporarily assembled to test that the
passageways for the wiring are clear of obstructions.
Fig 16: Here you can see the holes drilled through the torso
to admit the wiring from the helmet.
Fig 17, 18: Testing the clearance of the wiring from the
helmet to pass through the torso.
81 |
| 82
Barry Maddin
EXCELLENT FIT, AND
GIVEN THE
EASIER, I DECIDED
TO MAKE THINGS
83 |
| 84
85 |
| 86
87 |
Conclusion
E. James Small
Living in Lower Onslow, Nova Scotia, Canada,
www.smallartworks.ca
Jim works as a professional model maker
building custom projects for the public and
model kit companies on demand. Education
includes certificates in Electronics, Machine
Shop and Draughting acquired in the 1980s and
a computer-based multimedia degree including
CGI modelling from Mackenzie College in
1997. Interest in model-making was inspired by
his father Ed who liked building WW2 aircraft
and the model work done for Space:1999 and,
of course, Star Wars. Jim also loves his wife
Julie, his daughters Florence and Adeline, as
well as his three members of the Felis silvestris
catus family.
| 88
89 |
| 90
91 |
PROJECT MOBILE
Part Four tackling SHADOwy areas
Mike Reccia builds the new Studio 2 kit
Headlights
But first I needed to turn my attention to those
headlight units. It is thought that early versions of
the studio miniatures simply featured a silver
| 92
Below left:
two keyring
torches, the
front sections
of which were
installed as
the headlight
units.
Below right:
headlight
units in place
with rims
painted grey.
Bottom left:
front console
unit from an
earlier Mobile
build.
Bottom right:
this was
reshaped
slightly to fit
the cab and
dressed with
fake gem
stones and kit
bits.
SHADO operatives
Studio 2s Mamas kindly sent me a second driver
figure on request as I wanted my Mobile to feature
a complement of two personnel as per the original
studio miniatures. The drivers are resin castings
93 |
Cab interior
Two seats and upper and lower back wall detailing
pieces (more of which later) are provided with the
kit, but the fleshing out of the interior detailing is
| 94
Top left: a
well to
accommodate
the seats and
central
console was
created from
plasticard and
installed in
the hole cut
in the front
top of the
body.
Top right:
front console
in place.
Above left
and right:
two views of
the completed
rear plate
prior to
priming.
Below left:
primed rear
plate ready
for final
painting.
Below right:
the two
converted
Captain
Bridger
casts note
binoculars
and control
levers.
Bottom left:
central spar
and areas
above the
windows were
also detailed.
Bottom right:
supplied
lozenge rear
wall and
scratchbuilt
lower rear
wall.
95 |
lower left of the rear plate sits vertically against the Above left:
rear plate, and not at an angle as per the rest of the front
kit pieces.
underside
With everything securely in place the plate was
sprayed in grey primer and glued in position. Two
tubular details, originally made from the gun shells
of the Tiger Joe tank toy that was used as the basis
for the track and chassis sections of the studio
Mobiles, sit in the gaps to left and right between
the rear plate and the tracks on the original
miniatures. My Mobile, however, features
independently sprung wheels, the axle casings for
these making it difficult to add these pieces. I may,
detailing
completed
according to
known parts.
Above right:
taking a trip
with the top
down.
www.scififantasymodeller.co.uk
| 96
Above:
completed
cab interior,
crew and
headlight
units.
97 |
Above: Studio miniature showing front underside kit detailing I have not been able to identify. Anyone out there know what
these parts are, please?
Classic kits
from
Studio 2
Models
Large scale:
SHADO mobile SKY 1
Skydiver Stingray
Terror Fish
Friendly service
with superb after sales support.
http://studio2models.webs.com/
email: studio2models@hotmail.co.uk
Tel: 07534 294 216
| 98
copyright 2015
99 |
volume 37
S c i . f i & f a n t a sy m o d e l l e r
SCRATCHBUILT
1:1 JAWAS!
STUDIO
SCALE
TIE FIGHTER
37
K A N E
E X C L U S I V E