chapter T h e E x p e r i e n c e d
O N E
1-1 An Italeri Tiger I superdetailed with new Academy tracks with spare links, On the Mark etched brass
grilles, skirt hangers and smoke discharger supports. The 712 decals are from Tamiya.
MAKING HISTORY
Model building is essentially recreating
realistic history you can hold in your hand.
The miniature in your hands is there because
there was a real or imagined prototype (the
real thing). When you are successful as a
modeler, it takes virtually no imagination to
see that model as the real thing. A realistic
model can be defined, then, as a model where
there is nothing about that model that makes
it look like a model.
Before the introduction of plastic kits, it
took the talents of a sculptor to shape blocks
of balsa into the shape of an aircraft or an
armored fighting vehicle (“armor” for short).
Thanks to plastics and resin, the shapes are
generally perfect. Sure, you’ll discover as you
research the prototype for your model that
the aircraft or armor you want to duplicate is
really a variation on the kit and yours may
need a new wing shape or cockpit or turret,
M o d e l e r
in addition to some minor details, paint,decals
and weathering. There are,however, enough
limited-run resin,plastic, and conversion kits
that you can likely buy the shapes you need.
ARE YOU AN ARTIST?
In spite of the large availability of kits for
the basic shapes of a model, it still requires
the skill of a trained artist to match the colors
and hand-paint the markings of the proto -
type. The hobby manufacturers have gone a
step further in the last decade or so to make
it possible for just about anyone to match
the specific colors and markings of aircraft
and armor. The perfection of the airbrush
and reliable and quiet sources of “ a i r ”a re
now available to anyone, not just the profes-
sional artists who were the first customers
for airbrushes.
1-2 A MIG-29 and the twin-seat MIG-29UB “in flight.” Both are Testor models built by Terry Tuytscheavers.
The airbrush has also made it far simpler
to apply weathering to aircraft and armor
models because you can mix the colors with
thinner and apply them as “virtual dust”
in a process very much like the exposure to
the conditions of the real-world colors of
the prototype.
BRING REALISM WITHIN YOUR REACH
The basic tools and materials are now
available, but they are not going to be useful
to you without three other elements:
1) technique – to use those tools and
materials and 2) the practice it takes to
develop the skills to apply those techniques.
We can help you find the materials and all
the techniques you need,including many
alternatives, on these pages. T h et h i rd
element is what you must supply, 3) the
patience to try these techniques and, if
you’re not satisfied with the results, to try
them again and again until you master them.
Everyone, even the professional artist, has to
learn by practice. Thanks to the modelers
who have been willing to share their tech-
niques over the past half-century, the tech-
niques are available to you and they are sim-
ple enough and well-proven so you definitely
can learn them. The ultimate realism,not
being able to spot a flaw that would make the
model different from the prototype in any-
thing but size, is available to you.
Some modelers refer to the place where
they build their models as their “workshop.”
I prefer to call it a studio as in“artist’s studio.”
Traditional advice is to recommend a perfectly
clean and well-illuminated room dedicated to
the building of models. The reality, however,
is that some of the best modelers work at a
desk in their den and the area looks like a
bomb armed with paint and pieces of plastic
has just exploded. No one but your immediate
family is going to judge how neat or orderly
your area must be.
1-3 This Priest M7 self-propelled artillery vehicle is an Italeri kit. The interior is superdetailed with over
50 shells and ammo boxes from Verlinden. Doug DeCounter used fine mesh screen and brass wire to build
the gun basket. The markings are Verlinden dry transfers.
SEEING IS BELIEVING
The one essential ingredient for your
studio,however, is good light from at least
three sources so you are never working under
a shadow. You can choose a couple of fluorescent
lights placed directly above and to the side
of the work area plus an incandescent “spot”
light from a third direction. Or you can choose
three fluorescents,three incandescents or
any combination. If you opt for fluorescents,
I would suggest using one of the “Warm White”
or “Soft White” bulbs that have an orange
tint rather than the cold blue of “Cool White”
and similar shades. The warmer colors are
more typical of outside light and you are more
likely to get a better match for prototype
colors under those lights. Incandescent or
halogen lights all produce a warm enough
light to be similar to natural lighting.
Modelers pride themselves on their
excellent close vision. Maybe your eyes are
powerful but, too often, it’s a case of ego
interfering with reality. It is impossible to get
really parallel lines or correctly aligned parts
or even correctly aligned decals if your close-
up vision is poor. A free-standing magnifying
glass, a headband with magnifying lenses or
just a really good pair of magnifying glasses
are helpful modeling tools. Some modelers
take close-up photos of their work to help
them catch any flaws in the models. That’s a
bit cumbersome when you can see the flaws
just as clearly with the help of some on-the-
spot magnification as you are building and
finishing the model.
THE COMMITMENT,
YOU AND YOUR KIT
If you want to get the most from each
model you finish, you will want to find a kit
that suits your skills and your willingness
to get involved with the model and the
research process: in very loose terms, a
commitment. Find a kit that’s a match and
you’ll have pleasure and delight. Find a kit
that’s not a match and you’re doomed to, at
best,frustration and, at worst, pitching the
model into the trash.
Plastic model kits have evolved to the
point where they are available in a wide
range of complexity to challenge all skill levels.
Some of the very simple kits are marked
as beginner kits. It’s the other kits that can
prove frustrating.Generally speaking,the
larger the model, the more complex and the
greater the number of pieces. Some of the
1/72-scale aircraft,however , have as many
pieces and details as the larger-scale models
and,perhaps, photo-etched parts (explained
later) as well. Some of the resin kits require
extra skill. The assembly of the vacuum-
formed kits (made from sheets of flat plastic
formed over molds by vacuum) require new
skills. Do not, then, assume that just because
the kit is plastic it will be easy to build.
Develop your modeling skills in obtaining a
perfect fit and finish with simple kits, then
progress to the more complex kits once you
have mastered the advanced skills of making
that simple kit into a realistic replica.
The finish you want on the model can
also make it more complex a project than
you might imagine. It takes some real experi-
ence,for example,to learn how to apply a
realistic bare aluminum finish. If this is your
first model to be finished in bare aluminum,
you’d be happier with a 1/72-scale P-51 than
a 1/48-scale 747. Similarly, some of the more
complex camouflage paint schemes are best
avoided until you have first mastered the art
of airbrushing on a model with just a simple
two-color solid paint scheme. If you decide
you want a well-weathered aircraft or armor
model, learn that art on one of the simpler
kits before tackling it with a complex 1/48-
scale bomber or a 1/35-scale Armored
Personnel Carrier.
RECREATING HISTORY
You can buy a model to duplicate just
about any aircraft or armored fighting vehicle
from any period. If the kit is not available now,
it likely has been made and can be located
at swap meets or through classified ads in
the modeling magazines. If you don’t find it
there, you may find a conversion kit to create
it, by modifying some existing kit. If you still
can’t find it, be patient, there’s a good chance
some manufacturer is tooling up to produce
it in the near future. Go on to
something else while you wait.
When you know that there’s a kit available
for just about any prototype, you can take
a slightly different approach to the hobby.
Rather than starting with the kit, start with
research on the real thing. Most of us have
specific aircraft or armor that we’ve always
wanted to model. The proliferation of kits is
only exceeded, perhaps, by the proliferation
of books. Public libraries often have major
sections on aircraft and armor. The libraries’
book selections, however, tend to be rather
broad with books that show a lot of photos
about a lot of airplanes. What you may prefer
are some of the smaller books and booklets
that deal with specific aircraft or armor and
the close variations,with aircraft or armor
from smaller countries, or from very specific
time periods in limited theaters of operations.
The best source for those books is your
hobby shop.There are probably a hundred
publishers of books on aircraft and armor.
Many of the publishers are based in America
or England, but some of the more interesting
titles come from other countries in Europe
and from Japan.You do not, necessarily,
need text in English since the identification
designations are a universal language once
you know something about the prototype
aircraft or armor. Larger hobby shops should
be able to get catalogs from publishers
that include Aero Publishers, Aerofax,Air
Research,Aircraft Photo Packs, Ian Alan,
Arco,Argus,Aries, Avery, Aviation Heritage,
Aviation International, James Bender, Berlin,
Challenge, Bill Dean, J.J. Fedorowicz,Flying
Machine Press,Ghosts,Ginter, Grubb Street,
Hippocrene, Historic Av i a t i o n ,H o w e l l ,
Jane’s,Kalmbach, Merriam Press,Monogram
Aviation, Motorbooks International, Osprey,
Pacific A e ro ,P residio Press,Phalanx,Prentice
Hall, Putnam Aeronautical Books, RZM
Imports,Shiffer, Specialty Press,Squadron-
Signal Publications, Sterling Publishing,TAB
Books,Valor Publishing, Windrow and Green,
Uni Pub Books, and others. Hobby shops
usually have buyer’s guides for the hobby
industry that list the names and addresses
of publishers or you can ask a book store to
look them up in Books In Print.
1-4 Italeri’s M4A3 Sherman tank with Calliope
rocket launching battery is featured in most books
dedicated to Sherman tank variations.
HOW TO TELL IF YOU’RE AN
EXPERIENCED MODELER
The one skill that separates an experienced
modeler from a newcomer to the hobby is
that the experienced builder never, ever,
starts a model without at least one published
photograph of the prototype he or she is
going to recreate on the workbench.You can
develop your modeling skills by duplicating
the box art, but there’s an ever greater satis-
faction in finding a variation on the box art
model, even if it’s just an I.D. number.
The drawback to working from the box
art is that you are removing yourself from
the prototype by one giant step: you are not
modeling the real thing, you are modeling an
artist’s or modeler’s interpretation of the real
thing. That same statement is true if you
1-5 The Accurate Miniatures A-36 Apache was a
variation on the P-51 Mustang.
1-6 The Italeri A-6E Intruder painted and decaled to match the box art.
try to duplicate the work of another modeler
whose model might have appeared in one
of the magazines. It’s enough of a challenge
to interpret the prototype’s subtle color
and shape variations when you are working
directly from a photograph of the prototype.
Trying to model from a painting or another
model is a virtual guarantee that you will
compound the errors that the first painter
or modeler has included.
THE HOBBY WITHIN THE HOBBY
If, like most of us, you just could not
resist buying that kit at the hobby store, set it
aside until you can locate a book or booklet
that will provide at least one photograph of
the real thing. This sounds like discipline, but
you’ll soon discover it is one of the greatest
pleasures in modeling. When you spend
some time researching the prototype for your
model, you discover why the real thing existed,
how it performed, where it performed and
generally make a “friend” of that aircraft or
armor. It’s that familiarity that can give
your model character and life in your eyes
and that can often translate into including
tiny details (perhaps, like chipped paint
around the doors), that really do improve
its credibility. The experienced modelers
often spend as many equally enjoyable
hours reading about and studying the proto-
types for their models as they do building
and finishing the models themselves.
chapter A d v a n c e d
T W O
2-1 Some of the special tools that can make plastic modeling easier and more accurate.
A F EW GOOD TOOLS
You can assemble most plastic kits with
nothing more than a good hobby knife and
some fine sandpaper. There are ,h o w ev e r,
some special tools that have been discovered
and embraced by experienced modelers that
can make the model building and finishing
easier, quicker and more accurate. A minimum
set of tools for an active modeler should include:
• Hobby knife
• Tweezers
• Sprue cutters
• Square jeweler’s file
• Round or rat-tail jeweler’s file
• Razor saw
• Pin vise
• Drill bits from size 61 through 80
M o d e l B u i l d i n g
• 1 x 2 x 2-inch cutting and alignment
blocks
• Airbrush
• Air supply
• Spray booth
Most of these tools will be available from
the better hobby shops. Those that do not
actually stock this stuff can order most of it
for you.Hobby shops do not, however, carry
hardwood blocks. The hardwood blocks can
be obtained from cabinet-making shops.
The shops may have cut-offs they’ll give
you. What you want are three or four blocks
about 1 inch thick and between 2 and 4
inches long and wide. The corners must all
be perfectly square. I use these blocks as
supports for models while filing or drilling
holes and as alignment tools to help obtain
truly vertical or horizontal surfaces during
the assembly process.
PREPARE FOR ASSEMBLY
You experienced modelers won’t want to
read this, but you really do need to read the
instructions. Use the instruction sheet and
the parts sprue to do an imaginary “dry run”
of assembling the kit before you remove a
single part from the sprue. Some of those
parts are not exactly what they might appear
to be. This is the time, too, to decide if you
want any open hatches,cockpit covers,or
working flaps, or interior details or to model
the aircraft with the landing gear up or with
it down and include landing gear bay details.
You may need to modify some of the kit’ s
parts before assembling them to include
those optional details. When you are ready
to assemble the parts, wash each of the
sprues or trees in a large container of soapy
water to clean any grease or mold release
from the parts. Rinse the parts thoroughly
under running water. Dry them by letting
them rest overnight or use an airbrush to
blow them dry.
2-2 Fill the ejection pin marks with a drop of Instant Plastic Adhesive.
KIT ASSEMBLY
That “dry run” assembly will have made
it clear which portions of every part, or parts,
are aligning pegs,and which are tabs that
must be removed. This is also a good time to
identify where the molding or parting lines
(where two separate pieces join) travel across
the more complex parts. Some modelers prefer
to remove those hairlines while the parts are
still on the sprue. This is a good time, too, to
look for any ejection pin marks and, if they
are on visible surfaces,to fill them with a
small puddle of #8874 Model Master Instant
Plastic Adhesive (hobby-type cyanoacrylate
cement) followed by a spray with #8875
Adhesive Accelerator (kicker).Use Model
Master 50628 Micro Shear Sprue Cutters to
remove each part from the sprue. Take the
time, as you remove each part, to be sure
all traces of its connection to the sprue are
removed by gently carving away or sanding
any remaining traces of the sprue.
 Decide,now, which parts you are going
to paint as separate pieces.The landing gear,
landing gear bay doors, bomb bay doors,
propellers,any underwing munitions,the
tracks and undercarriages of armor and any
tools, ammo or other hardware that will look
“loose” should be painted as separate pieces.
Also decide if you want detailed interiors or
landing gear bays because you may want to
detail those areas and even paint them before
the fuselage, body, or wings are assembled.
Test-fit all the parts and be prepared to
remove any aligning pins that make it difficult
to get the edges perfectly even. You have three
choices of adhesives for assembling the model.
The traditional Model Master #8872 Precision
Cement (a thickened liquid cement for plastics),
Testor #3520 Liquid Plastic Cement, or Model
Master #8874 Instant Plastic Adhesive (hobby-
type cyanoacrylate cement) followed by a
spray with #8875 Adhesive Accelerator
(kicker). Drier climates may need accelerator
for every application of Model Master Instant
Plastic Adhesive. Try all three or combinations
of all three on different kits before you decide
on a favorite.
2-3 Mark Dickenson painted the interior of this Accurate Miniatures A-36 Apache before assembling the
halves of the fuselage.
ASSEMBLING WITH
TRADITIONAL PLASTIC CEMENT
The Model Master #8872 Precision Cement
for plastics is thick enough so you can apply it
with the built-in needle applicator in a thin
bead. If you do, run the bead along the inside
edge of any seam to minimize any cement
oozing from the joint. When you assemble
the parts, use a lot of force to wiggle them
slightly to speed up the time it takes for
the cement to dissolve the plastic.Use just
enough cement so a hairline of dissolved
plastic and cement will appear along the full
length of the seam. When this dries for about
48 hours, it can be easily trimmed flush with
the surface of the model to minimize any
need for filler.
Some modelers prefer to use the thinner
Testor #3520 Liquid Plastic Cement . To use
this cement, assemble the parts to be joined,
hold them firmly, and apply just a drop of the
liquid cement to one end of the joint with a
number 2/0 paint brush. The cement will flow
down the tight joint by capillary action and
not onto the surface of the model. With
practice, you can control the flow of the

2-4 Hold the parts in place while you apply a drop
of Instant Plastic Adhesive with a toothpick.
Remember that a small amount of Model
Master Instant Plastic Adhesive or other
cyanoacrylate cement works better than a
large amount. If you are assembling small
parts, use a pin to apply just a drop of the
cement to the joint. Use the corner of a facial
tissue to wick away any excess cement. Just
touch the corner to any puddle and it will
wick away the excess cement – no wiping
or rubbing is necessary – when the excess
cement is gone, spray on the Adhesive
Accelerator for an instant bond.

liquid cement so capillary action alone carries

it the full length of the joint. A single drop of
this cement, applied with a needlepoint, can
be enough to attach smaller parts to the model.

ASSEMBLING WITH
INSTANT PLASTIC ADHESIVE
An alternative technique for assembling
any plastic kit is to use the Model Master
#8874 Instant Plastic Adhesive (hobby-type
cyanoacrylate cement) followed by a spray 2-6 Touch the cement with the corner of a facial
with #8875 Adhesive Accelerator (kicker). tissue to wick away any excess cement.

If you are assembling painted parts, none

of the plastic cements will form a strong bond.
The plastic cements are all designed to bond
by dissolving plastic, and the layer of paint
prevents that from happening. Carefully scrape
the paint off of the area to be cemented,to
attach prepainted parts.

2-5 Set the joint instantly with a quick spray of

Adhesive Accelerator.

With this method, you need only hold the

parts together (with your fingers well away
from the joint) for a few seconds because
the Accelerator makes the joint firm almost
instantly.
ASSEMBLING WITH
COMBINATIONS OF CEMENTS
Some modelers prefer to apply both
plastic cement and Instant Plastic Adhesive
to important seams like the joints between
2-7 Shave the seam of dissolved plastic flush with
the surface.
fuselage halves or the upper and lower
halves of large wings. Apply either Testor
Liquid Plastic Cement or Model Master
Precision Cement first and press the parts
together (remember to keep your finger
tips well away from the joint). When you
are satisfied with the alignment of the parts,
apply the Instant Plastic Adhesive followed
immediately by a spray with Adhesive
Accelerator to create a hard bead at the
joint.If you use this method, file the bead
at the joint flush with the surface within a
few minutes before the cement has a chance
to become rock hard. This combination of
glues provides the penetrating quick hold
of Instant Adhesive, with the rock hard grip
and strength of the liquid cement. Smaller
parts can be assembled using either method.
2-8 Sand any joints cemented with Instant Plastic
Adhesive within minutes before they become rock hard.
CORRECTING
ASSEMBLY MISTAKES
It is possible to disassemble a joint made
with Model Master Instant Plastic Adhesive,
but the results are certainly not guaranteed.
Common household ammonia will usually
dissolve a joint made with Model Master
Instant Plastic Adhesive. Find a plastic
container with a lid that will seal and pour
in enough ammonia to cover the joint you
wish to disassemble. Let the model soak
overnight and the joint should be broken.
Rinse the model thoroughly and try again.
Clearly mark and dedicate this container to
modeling so it cannot accidentally be used
for food storage.Obviously, this method (nor
any other) will not work to disassemble joints
made with a combination of Model Master
Instant Plastic Adhesive and plastic cement,
nor joints made with any plastic cement.
Fingernail polish removers (which contain
acetones) can be used to remove Model Master
Instant Plastic Adhesive from your fingers,
but keep it away from the model because it
will dissolve plastic.
FILLING THE SEAMS
The best technique for filling seams is to
use just enough cement, as described earlier,
so there is no seam but, rather, a bead of
cement that can be sanded or filed away.
Even with that precaution,however, there
2-9 Use Masking Tape to protect the areas you do
not want covered with putty.
will probably still be areas on the model
where the seam is visible or areas where
there are sinks caused by the molding process
or by using too much cement. Smaller
depressions, like ejection pin marks and
small gaps in the seams,can be filled with
the Model Master Instant Plastic Adhesive
followed by a spray with Adhesive Accelerator.
Larger areas can be filled by covering the
depression or gap with baking soda or
micro balloons (small glass beads, available
at hobby stores that specialize in flying model
aircraft) applied with a toothpick and spread
only where needed, followed by an application
of Instant Plastic Adhesive and Accelerator.
Any damaged panel lines can be rescribed
by pulling a needle or a knife blade with the
cutting edge backwards to chisel the line.
Use a ruler or thin piece of plastic as a straight
edge to guide the pin or knife blade.If the
panel lines are raised, you may (with a lot of
practice) be able to replace them with heat-
stretched plastic sprue (stretched almost as
thin as a human hair ) as described later in
this chapter. For most of us, filing in the raised
panel line and replacing it with a scribed line
will yield better results. Rivets can be
replaced by applying a single dot of plastic
cement with the point of a pin.
Some modelers prefer to use putty because
it is a bit easier to control. Model Master Red
Putty #8879C is the best choice for model
work. Use masking tape to limit the area
where the putty will spread. Use a toothpick
or spatula-type tool to apply the putty even -
ly over the seam or depression.Remove as
much excess putty as possible while it is still
wet. Let the putty dry overnight,then sand
the joint smooth with 400 grit sandpaper
2-10 This sink on the top of this wing was formed
when the landing gear bay was installed using too
much cement. It should have been filled before the
model was painted.
wrapped over an ice cream stick. The put-
tied-in area will absorb paint more than the
plastic, so be prepared to paint and sand it
several times to remove any traces of the
putty.
ASSEMBLING BIPLANE MODELS
When assembling biplanes or triplanes,
cement the struts to one of the wings and
temporarily tape the wings in position to
be sure the wings are positioned correctly.
Often, some adjustment must be made
to the strut mounting to achieve perfect
alignment. When the fit is perfect, set the
parts aside and finish the model including
final colors and weathering. It is far easier to
paint biplane wings as separate assemblies.
The final steps include assembly and the
addition of the flying wire braces between
the wings and at the tail.
chapter F i n i s h i n g f o r R e a l
T H R E E

3-1 Testors T-33A painted with Metalizer paints and polished to look just like bare aluminum.

PAINT FINISH pressure through an airbrush to blow water

No matter how well detailed or super- from crevices.
detailed your model may be, it is the paint Select the paints to match the prototype
that captures a viewer’s attention. If there based on your research. Read the chapters
are paint runs or sags, dust flecks, or other on airbrushing for some experienced model-
distractions in the paint, the realistic effect ers’advice on special paint effects that might
you are striving for is lost. The model must influence your choice of paints.
be virtually surgically clean before applying
paint.From now until the final clear coat is 3-2 Wash the model
with ammonia or
dry, handle the model with disposable cotton detergent, then protect
gloves and use wire or wood holders to it from greasy hands
support the model while you are painting it. by wearing disposable
cotton gloves every
Wash it by scrubbing the exposed surfaces time you handle it.
with detergent (not soap) and a stiff tooth -
brush.Thoroughly rinse the model by
holding it under running water. Let the
model dry in the air for a few hours, turning
it every so often to be certain any trapped
water runs out or evaporates.You can speed
up the drying process by using a hair dryer
set on a minimum setting or by using air
3-3 Paint the interiors of the cockpit, bomb bays and
landing gear bays before assembling the model.
3-5 Bend a wire coat hanger to hold the model while you paint it with an airbrush.
Begin by painting all the interior surfaces of
the cockpit or driver’s compartment, the inside
of wheel wells, and areas visible through any
open doors or ports. This painting is best done
while the model is still in pieces.
Next, install the clear canopies or windows.
Plastic cements and cyanoacrylates can frost
clear plastic, so it’s safest to install them with
a water-base cement like Model Master #8876
Clear Parts Cement. Mask them with either
3-4 Finish the cockpit interior paint and detail,
then attach the canopy with Clear Part Cement.
Model Master #50622C Masking Tape or
#50641C Parafilm M Masking Material.
The masking should stay on these areas
throughout the entire painting, decaling,
clear coat process, and weathering to protect
the clear plastic surfaces.
PARTS HOLDERS FOR PAINTING
Cut some wire coat hangers and bend
them into large C-shapes so the ends will

3-6 Loop Masking Tape to provide a sticky surface
to hold small parts for painting.
spring outward to hold the model firmly by
inserting the ends of the coat hanger through
openings for the engine, landing gear or the
accessible parts-attaching slots or holes. Be
sure the hanger holds the model firmly. Use
it to rotate the model into any position to
apply the paint.
Make holders for the smaller parts from
scraps of 1/4 x 2-inch wood slats (old wood or
metal venetian blind slats are perfect). Form
Masking Tape into four to six-inch-long loops
with the sticky side of the tape out. Press one
half of the loop onto the slat and you’ll have
a sticky surface (from the remaining half of
the Masking Tape loop) to hold those small
p a r t s .P ress the small parts onto the sticky
tape. Paint one side of the small parts and
let the paint dry. Remove the parts and apply
new tape, press the parts onto the tape with
the unpainted sides exposed, and finish
painting the parts.
PAINTING TECHNIQUES
Major portions of the later chapters in this
book are devoted to airbrushing techniques
because airbrushing is the method of paint-
ing that has been proven, by virtually all
experienced modelers,to produce the best
results. Refer to those chapters now to learn
which airbrush, air supply and equipment to
use and for step-by-step instructions on how
to apply Model Master paints with an airbrush.
You can apply Model Master paints with
a paint brush. If you opt for the paint brush
technique, your choice of camouflage patterns
and weathering will be extremely limited, but
it certainly is possible to finish a model with
this method.Use the best brushes you can
find like the Model Master #8841 Number 2
Red Sable Round for smaller areas, the #8861
1/2-inch Black Sable Flat for larger areas and
the #8842 3/0 Red Sable Round for details.
Paint the edges of any colors with the number
2 brush, then fill in the larger areas with the
1/4-inch brush, overlapping each stroke.Use
enough paint on the brush so the paint will
flow and settle on its own to minimize visible
brush marks.
3-7 Apply several coats of Decal Setting Solution
to force the decals to settle into the seams.
DECALS
On most prototype aircraft and armor, the
markings are painted on, unlike the full-size
stickers used on some modern trucks. The
g o a l ,t h e n , for applying decals is to make
them look like they were painted onto the
model, not applied as separate stickers. If you
simply slide the decal in place,air bubbles,
some of them almost microscopic in size,
will produce a slightly hazy effect, known as
“silvering.” You can eliminate the silvering by
using the Model Master #2146 Decal Setting
Solution or the stronger #2145 Decal Solvent
Solution. These solutions actually dissolve
the decal enough so it hugs onto the painted
surface just like another layer of paint.
3-8 This Italeri Panzer IV F2 has been superdetailed by Doug DeCounter with On the Mark etched brass
tool brackets, jack holders and barrel-cleaning tool brackets. The barrel-cleaning tools are plastic rod. The 433
numbers are Tamiya decals.
APPLYING DECALS
The Model Master II paints are formulated
with just enough gloss so you can apply
decals directly to the paint. With all other flat
or no-gloss finish paints, you should apply a
coat of clear gloss to minimize the forming
of those microscopic bubbles beneath the
decals that make them appear frosty. If
you have to cover a very large area with a
decal or apply a decal to a surface that is
convex in shape like the nose of an aircraft
model, the decal will fit more easily if you
polish the surfaces painted with Model Master
II paints with a clean cotton rag.
Most decals have a clear film that extends
about 1/16 inch from the outer edges of the
decal.On most models,that clear film will
disappear after the final clear coat is applied.
If,however, you are applying the decals to a
model painted with a metallic finish or with a
light color like white or yellow, the clear film
should be trimmed before the decal is soaked
in water. Place the decal on a piece of glass
or Plexiglass and use a sharp hobby knife to
cut through both decal and paper.
The decals included in kits and most of
those sold as accessories consist of a series
of layers that begin with a piece of paper,
then a layer of water-soluble glue, several
layers of ink, and a final layer of clear usually
called the decal film. To apply the decal, first
cut it from the sheet so you are only handling
a single decal at a time. Dip the decal in warm
water and set it on a piece of paper towel for
about a minute while the water has time to
soak through the paper backing to reach the
water-soluble glue to dissolve it. Do not soak
the decal in water for too long, or the glue
will dissolve, and the decal will be far more
difficult to apply.
You can test the decal to see if it is ready
to be installed by trying to move it on its paper
backing with a small brush.
MAKE DECALS LOOK PAINTED ON
The Decal Setting Solution partially
dissolves the decal so it will be almost as
soft and pliable as wet paint. It takes a few
minutes for the solution to soften the decal.
It is during this time that you can move the
decal into position. If you wait too long, the
decal will be too soft to move. If you need to
move a partially softened decal, you may be
able to add enough water so the decal will
literally float above the solution. Pick very,
very gently at the edge of the decal with a
3/0 paint brush to lift it enough for the water
to work beneath it. It’s a tricky process,how-
ever, and the chances are good that even an
experienced modeler will ruin the decal, so
it’s wise to have the decal positioned before
you even remove its paper backing.
When the decal is soaked long enough to
slide from its paper backing, use a number 2
paint brush to apply a coat of Decal Setting
Solution to the area of the model that will be
covered with the decal. Pick up the decal and
the paper backing with tweezers and position
both decal and paper where you want them.
Hold the surface of the decal in place with
that number 2 paint brush dipped in water
and slide the decal just far enough off the
paper so you can grip an edge of the paper
alone with tweezers. Use the tweezers to
pull the paper from beneath the decal while
you hold the decal itself with the paint brush.
If the decal will not move with the pressure
from the paint brush, add some more of the
Decal Setting Solution. The goal is to have
just enough water and Decal Setting Solution
so the decal will move, but not so much that
the decal literally floats. If you do use too much
fluid, touch the puddle at the edge of the decal
with the corner of a piece of facial tissue and
allow the facial tissue to wick away the excess
fluid. Do not touch the tissue to the decal or
attempt to wipe away the water and fluid.
When you are pleased with the decal’s
position, use the tissue to wick away any
excess fluid, then cover the outside of the
decal with a second coat of Decal Setting
Solution. Do not touch the decal for at least
three hours because it will be about the
consistency of wet paint. During this time,
the decal should begin to conform to any
irregularities in the surface of the model.
DEALING WITH
STUBBORN DECALS
If the decal is positioned over a panel line
or a door or hatch seam, you will have to
apply at least one more coat of Decal Setting
Solution and, perhaps, as many as a dozen
coats. If the decal does not respond in about
an hour, you can use a stronger decal soften-
ing agent like Model Master #2145 Decal
Solvent Solution. This solution is stronger
and works even faster. After a half dozen
applications of Decal Setting Solution and
five or six hours of drying time, the decal
should conform to every irregularity. If,
however, the decal still is not nestled into
the seams around the doors or hatches,
you may have to gently slice through the
decal with a hobby knife. Do not slice the
decal until it has had 24 hours to dry com-
pletely.After you slice through the decal, apply
some Decal Solvent Solution to the cut edges
so they will conform tightly to the model.
If you are attempting to fit decals over
a convex surface, you will also have to use
many applications of Decal Solvent Solution.
Watch the decal over the first hour or so and,
if it softens and tries to wrinkle over itself,
use a number 2 paint brush dipped in water
to smooth out the overlap. If the decal has
lapped over itself after the Decal Solvent
Solution has dried overnight, you may need
to resort to trimming the edge of the decal
to disguise the overlap.
 When the decal work is finished, gently of a hatch or panel, you may have to slice
scrub the model with a cotton swab (moist- through it with a hobby knife and burnish
ened in water) to remove any of the residue the edge of the cut with the pencil tip.
left from the decal’s water-soluble glue or Protect the dry transfers with a coat of clear
from the decal softening solutions. flat or gloss.
Apply a clear coat to protect the decal, CLEAR COATS
and to blend it into the overall finish of the
Model Master II paints are formulated
model. The clear coat protects the decal so
so you can apply decals directly to the paint
humidity won’t loosen it, and it blends the
with no clear coat.You will, however, want
finish on the decal with the finish on the
to protect the decals and blend them into
model so the decal truly does look like it
the finish of the model with a final coat of
was painted onto the model.You can apply
clear. Model Master offers a choice of Flat
any weathering coats over this clear and, if
Clear #2015, Semi-Gloss #2016, or Gloss Clear
you wish, protect the weathering coats with
#2017, so you can match the overall finish
another application of clear.
of the model to the prototype. Although
DRY TRANSFERS these clear lacquer formulas are completely
Some accessory firms like Verlinden pro- compatible with all Italeri and Testor kit
duce markings for aircraft and armor that decals, you are strongly advised to test their
are applied without water. These are called compatibility when oversprayed on other
dry transfers and they apply just like a child’s manufacturers’decals.
rub-ons. Each of the markings must be cut
from the clear plastic sheet so you can posi-
tion and apply them individually. Position
the plastic sheet that holds the dry transfer
with the hazy side up in the precise location
you want the marking, then tape one edge
of the plastic sheet to the model with Model
Master #50622 Masking Tape. Burnish over
the dry transfer with a number 2 pencil with
a dull point. Carefully lift the edge of the
plastic covering from the dry transfer, using
the Masking Tape as a hinge, to see that all
of the dry transfer has adhered to the model.
If not, put the transfer down and rub some
more. When the transfer is in place, remove
the plastic sheet and Masking Tape. Put a
piece of typing paper over the dry transfer
and burnish the paper with the pencil to
completely set the dry transfer. If the dry
transfer is across a deep recess for the edge
chapter U n d e r s t a n d i n g
F I V E
WHAT IS PAINT?
Since the basic premise of this book is on
how to choose and use paints, we thought
we would write a section on just ”what is
paint?” We realize that everyone knows what
paint is, but we thought we would get to the
meat and potatoes (so to speak) of paint,
the “Technical Perspective.” For this we went
to our Technical Director and resident paint
expert,Dave Licht. Dave has been with Testor
for more than 25 years,and was more than
happy to share with us the following technical
perspective for the nontechnical. We have
broken down the information into two main
categories, both solvent-based (alkyd) enamel
and water-based (acrylic) enamels.
I. Basic Composition (what is it?)
In general, all paint products (whether
water-based or solvent-based) are made
up of four essential components (raw
materials).
1.) Binder (vehicle or resin)
2.) Solvents
3.) Pigments
4.) Additives
1. The principal binder in most Testor/Model
Master enamels is a specially modified
alkyd. The binder is a polymer which
forms the final dry film and “binds” the
paint to the substrate and the other paint
components.
2. Solvents in the enamels are a blend
of various organic solvents.The blend
chosen (different for gloss and flat colors)
is one that maximizes desired evaporation
ra t e ,d ry time, proper flow, level and anti-
sag properties and also promotes excellent
adhesion to polystyrene and other mate-
rials used in model construction.
P a i n t
3. Pigments include organic and inorganic.
Organic pigments are primarily the
bright and clean yellows,oranges, reds,
blues and greens.Inorganic pigments are
represented by white (Titanium Dioxide),
black, yellow and red iron oxides, umbers,
siennas and similar “dirty-shade”pigments.
Although not exclusively true, the cleaner
organic pigments are used primarily for
car model colors, while military paints
use mostly inorganic pigments.
4. Additives include many key components
of paint such as driers, anti-skinning agents,
plasticizers,viscosity modifiers, wetting
agents,defoamers, anti-settle agents, and
more.While, even when taken collectively,
these additives comprise a small percent-
age of the final paint formulas by weight,
they are critical components that will
“make or break” the final performance
and appearance of the paint when put
into the hands of the end user.
II. How paint is produced
The raw materials briefly identified
above and used in Testor paints are
acquired in quantities ranging from
5-gallon pails and small packets to 6,000-
gal.tank wagons and truckloads of
palletized stock.
The raw materials come in many forms
including dry powder, flakes,beads,
granules, as well as liquid forms such as
solvents, resin solutions, plasticizers and
many other additives.
The process of producing paint from
raw materials varies widely depending
on the desired physical and performance
properties of the finished product.
1. The first and most critical step in the
entire process is the dispersion of the dry
color (pigments) into a proper liquid
vehicle. Sometimes this vehicle is the
same resin that is the primary binder
for the paint. It may also be other resins,
plasticizers,or solvent /additive combinations.
This important step (referred to com-
monly as “the grind”) is done by one of
the three methods for MM enamels:
a. Steel Ball Mills
b. 3-Roll Roller Mills
c. High-Speed Dispersion
Regardless of the method used, the goal
is to produce a superfine dispersion of
the pigment in the liquid vehicle.This
fine grind optimizes gloss, color strength,
coverage (hiding power), and the general
smoothness and uniformity of the final
paint film.
In general, darker pigments are dispersed
in steel ball mills, and lighter pigments
on roller mills or high-speed dispersers.
Very tight controls are held on pigment
grinds, because as any paint formulator
will tell yo u ,“ You can’t make good paint
from bad grind.”
The fineness of dispersion is measured
with a Hegman gauge having a 0-8 scale.
Testor dispersions are typically and con -
sistently 7–7 1/2, which is a very fine grind.
2. Once all the pigment grinds have been
made and approved,they are then “let
down” while mixing into finished paint
by a predetermined order of addition
of the remaining components. These
components include all remaining vehicle
(binder), appropriate solvents, and neces-
sary additives as mentioned above.Final
batch sizes range from 5 to 50 gallons.
III. Quality Controls
The process of producing paint from
original raw materials to finished product
obviously involves many quality assur-
ance tests and controls at all key stages
of the process. A detailed description of
all these tests and parameters is not pos-
sible within the space limitations of this
b o o k .H o w ev e r, regardless of the paint
batch size, and without exception, Q.C.
lab technicians carry out a minimum of
the following quality control tests:
1. Fineness of grind (dispersion
of pigment)
2. Color match
3. Gloss (at 60° incident light angle)
4. Viscosity
5. Density
6. Coverage (hiding power)
7. Visual appearance of final dry film
All of these tests are conducted to
ensure a final product that is consistent
from batch to batch in all respects and
to provide the consumer with the finest
quality hobby paint available anywhere.
IV. Stability and Packaging
Anytime new paint product lines or colors
are developed,lengthy compatibility and
stability tests are conducted on the product
in its final formula and package configuration.
The tests are done at ambient (normal)
conditions, low temperature (-50°F) and
elevated temperatures (120°F and/or
140°F) for predetermined time periods.
New formulas must pass all tests con-
ducted. This assures that the product
arrives in the hands of the consumers
as quality material regardless of prior
shipping and storage conditions.
V. Compatibility Considerations
1. Most solvent-based hobby coatings are
classified as either enamels or lacquers.
2. Enamels and lacquers should never be
wet-mixed at any time.
3. All Model Master enamels (both
pigmented and clear products) are
wet-mix compatible. They can be com-
bined in any ratio in order to produce a
finish which produces the final color
and gloss desired by the modeler.
4. When thinning solvent-based hobby
finishing materials (for brushing or air-
brushing application), it is essential to
select and use correct thinners. In general,
the best thinners for enamels are those
which contain petroleum distillates.
These thinners are primarily blends of
aliphatic hydrocarbon solvents such as
mineral spirits, naphtha, or stoddard sol-
vents. Occasionally these thinners also
may contain small amounts of aromatic
hydrocarbons (such as toluol or xylol)
to enhance certain application and
performance properties of the paint.
Lacquers, on the other hand, usually
contain little, if any, hydrocarbon solvents.
I n s t e a d ,t h ey usually contain what is
often referred to as “active” or oxygenated
solvents.These include ketones (such
as acetone,MEK,and MIBK),esters
(isopropyl acetate, butyl acetate) and
sometimes alcohols (isopropyl alcohol,
butyl alcohol), and occasionally small
amounts of aromatic hydrocarbons.
5. Most modelers are familiar with the
general rule, “Never apply lacquer over
enamel.” This is generally a good rule of
thumb. However, Testor has developed a
line of custom-formulated clear lacquers
(available in gloss, satin semigloss and
flat) which are specifically designed to
do just that. They may be brushed or
airbrushed over our dry enamels or
unpainted polystyrene surfaces to
produce smooth, transparent overcoats.
They will not lift or wrinkle previously
enamel-painted surfaces or decals, nor
will they craze clear polystyrene parts
such as windshields or canopies.
6. When in doubt, always follow manu-
facturer’s directions when mixing or
thinning any hobby finishing enamel
or lacquer.
WATER BASED (ACRYLICS)
In coating technology circles,acrylic
coating is used in both water- and solvent-
based paints. However, in the craft and
hobby industries, the term “acrylic paint”
has become known as or referred to as
any water-based paint. As with solvent-
based paints, the ingredients of acrylic
paint are divided into four categories:
1. Vehicle or Binder
2. Solvents
3. Pigments
4. Additives
I. Vehicle or Binder
Vehicles used in water-based paints can
be divided into two separate classes:
a. Latex or Polymer Emulsions
Latex is a stable dispersion of a
polymeric substance in water. Strictly
speaking, an emulsion is a two-
phase liquid system in which very
fine droplets of one liquid are sus-
pended or dispersed in a second
liquid.Conversely a latex is a solid
dispersed in water and therefore is not
a true emulsion. In the paint industry,
the terms latex and emulsion are often
used synonymously.
 b. Water-Soluble Resins
These are resins which can be diluted
(or reduced) with water, water cosolvent
mixtures and sometimes with alkali.
This type of resin is produced in water-
soluble form by incorporating acidic
groups,e.g.,carboxyl, in the molecular
structure. These groups are then neu-
tralized by bases such as ammonia
or amines to form products soluble
in water.
II. Solvents
a. Water
Water is the carrier phase of latex
coating. It normally constitutes about
half of the content of a latex paint on
a per-weight basis.
b. Coalescing Agents
Next to the polymer vehicle and
water, coalescing solvents are the most
important components in the water-
based coating. In latex paint, the film
is formed when the polymer particles
coalesce. To coalesce properly, the
polymer particles must be sufficiently
fluid in order to coalesce to a continu-
ous film. To reach this condition the
temperature of the film must be at
or above the “minimum film-forming
temperature”of the polymer. This
is generally the “Glass Transition
Temperature” (Tg) which is the
temperature at which polymer or
resin changes from a brittle solid to a
viscous fluid condition, or vice versa.
Addition of small quantities of certain
slow-evaporating solvents can assist in
film formation at lower temperatures.
These solvents, which are called coales-
cing agents,temporarily soften the
resin and then slowly evaporate after
the film has formed.
III.Pigments
In general, the term embraces not
only the primary hiding and coloring pig-
ments but also the extenders used as
low-cost inorganic fillers to supplement
expensive pigments.
a. Prime and Coloring Pigments
The most commonly used pigment
for hiding in latex coatings is Titanium
Dioxide. The coloring pigments used
in latex paints consist of organic and
inorganic pigments usually supplied as
aqueous dispersion by most suppliers.
b. Extenders
The most commonly used extenders
in latex paints are Calcium Carbonate,
Calcium Silicate, Silica, Mica and Talc.
IV. Additives
Most latex pigments contain the follow-
ing additives:
a. Dispersants
A surface active agent that aids in
breaking down pigment agglomerates
when the paint is mixed. It also prevents
re-agglomeration in storage.
b. Wetting Agents
An addition that helps a paint to
wet the substrate. It also aids in color
development and mechanical stability.
c. Defoamers
An agent to minimize foaming during
mixing and application.
d.Plasticizers
Plasticizers are required with hard
resins to produce durable films with
necessary flexibility.
e .G l y c o l s
Glycols are used to improve freeze/
thaw stability and to modify the rate
of drying, which is important in
wet-edge retention.
 f. Thickeners Water-based paints and solvent-based
A material added primarily to control paints have similar quality assurance tests
viscosity. Usually one material serves and controls. Since latex emulsions are more
as both protective colloid and thickener. sensitive to low temperature (below freezing)
and elevated temperature (120° F), thorough
g.Preservatives stability tests are conducted at these two
A chemical added to protect the paint temperatures for our water-based products.
against microbiological attack during These assure that the product arrives in the
storage.Usually, the same additive hands of the consumer in top quality, regard-
functions as a mildewcide to prevent less of what time of the year the paints have
mildew formation on the applied film. been shipped. As with any paint product,
h .A m i n e s whether solvent or water based, the best
storage condition for paint is a cool to ambient
Amines are responsible for activating (room temperature) environment. This will
the vehicle’s thickening mechanism. help enhance shelf life and promote long-
In water-soluble resins,amines ar e term stability.
used to neutralize the carboxyl group
present in the resin in order to make We hope this brief overview has given you,
the resin soluble in water. the consumer, better insight and knowledge
of our product.The following glossary
Water-based paints have many similar- will help you with those “big” words in the
ities to the solvent-based paints in the previous perspective, and as general infor-
production procedures. Both require: mation, if you ever get into a conversation
1. Grind Phase about paint formulations or chemistry.
Dry pigments are dispersed into a
carefully selected vehicle with some
additives until the desired fineness is
obtained. The quality of dispersion is
checked by using a Hegman gauge.
2. Let down Phase
Once the pigment grind is obtained,
the grind is then let down by adding the
remaining ingredients with good mixing.
In water-based paints, the letdown phase
is more sensitive than with solvent-based
paints.The addition of ingredients should
strictly follow the recommended sequence.
Any deviation from the recommended
sequence can sometimes “shock”the
formulation,i.e., causing the mix to gel
or resulting in grit in the mix.
GLOSSARY OF PAINT
FORMULATION TERMS
Additives – Any one of a number of special
chemicals added to paint to bring about
special effects. Examples are plasticizers,
driers,fungicides, anti-setting and anti-
skinning agents.
Agglomeration – Merging of dispersed
particles into aggregates that adversely
affect smoothness, hiding, color and gloss.
Anti-Skinning Agents – Chemicals added to
paint to help prevent the formation of a
surface film.
Base Coat – A highly pigmented color coat
applied prior to a clear coating that
gives the system the desired color.
Binder – The paint material which forms
the film. So called because it binds the
pigment and any additive present into
a solid durable film.
Bleeding – A defect in which pigment from
a lower coat of paint diffuses into an
upper coat and discolors the latter.
Blistering – Formation of dome-shaped
projections in paints or varnish films
resulting from local loss of adhesion and
lifting of the film from the underlying
surface.
Blocking – The undesirable sticking together
of two painted surfaces when pressed
together under normal conditions.
Blushing – Usually caused by condensation
of moisture during the drying period.
The film becomes cloudy or translucent.
Chalking – Formation of a pigment layer
on the surface of weathered paint.
Promotes self-cleaning of white paint
but causes fading in colored paints.
Coalescence – Merging of latex particles to
form the coating film as the latex or
latex paint dries.
Colloid, Protective – A water-soluble gum,
protein or cellulose derivative used to
obtain mechanical stability and improve
brushing,leveling and package stability.
Crazing – The formation of a surface crack,
often as a fine network, which does
not penetrate to the underlying surface.
Crazing is sometimes caused by the
softening effect of solvents from succes-
sive paint coats as in lacquer operations.
Critical Pigment Volume Concentration –
The volume percent of pigment in a
paint film at which the particles pack
together and contact each other.
Deflocculation – Dispersion of pigment
or extender in water. Chemical and
mechanical aids are used.
Degreaser – Combination of solvents for
the purpose of removing grease and
oil from the surface in preparation for
painting.
Diluent – (1) A volatile liquid which, while
not a solvent for the nonvolatile con -
stituents of a coating or printing ink,
may yet be used in conjunction with
the true solvent, without causing pre-
cipitation. (2) An inert solid or liquid
used to increase the bulk of another
substance.
Dispersing Agent – Additive that increases
the stability of a suspension of pigments
in a liquid medium.
Drier – A catalyst added to speed the cure
of oil base paints. Driers are often metal
salts of naphthenic acids obtained from
petroleum.
Drying Time – The expected time for a
paint film to harden.Varying by product,
temperature or atmospheric conditions,
drying time is usually expressed as
dry-hard,dust-free, set-to-touch time,
tack-free, or dry-to-recoat time.
Dry Spray – Sprayed paint which loses so
much solvent in the air that it becomes
too dry to flow over the surface. Dry
spray has a lower gloss than the normally
sprayed surface.
Durability – The lasting of a paint film. The
wearability of paint under conditions for
which it was designed.
Enamel – A very confusing term as it has
several meanings: (1) Topcoat which
is characterized by its ability to form a
smooth surface; originally associated
with a high gloss, but may also include
lower degree of gloss, i.e., flat enamels.
(2) In shop terminology, any paint which
is not a lacquer.
Extender – White or light-colored inorganic
filler. Supplements expensive prime
pigments in building up the pigment
volume concentration.
Filler – A paint or paste applied to fill holes
or other irregularities in a surface prior
to painting.
Fish Eyes – Paint defect which manifests
itself by the crawling of wet paint into
a recognized pattern resembling small
“dimples” or “fish eyes.”
Flaking – The paint film separates from the
substrate and flakes off. A paint failure.
Flash Point – The temperature at which the
vapor of a thinner or solvent will ignite
in the presence of sparks or open flame.
Flatting Agent – The ingredient used in
lacquers and varnishes to give a flat or
hand-rubbed effect. Calcium,aluminum
or zinc stearate are used. Silicate flatting
pigments give better product than those
metallic soaps.
Floating – The tendency of some pigments
to separate and float to the surface. Also
called flooding and results in a streaked
or spotty application.
Flocculation – To form masses of particles
either by settling out or forming a gel.
Gloss – The degree to which a surface reflects
light. Glossy surfaces are generally very
smooth.
Gloss Meter – An instrument that measures
the degree of gloss of film by its reflectance.
Most commonly used in a 60-degree
meter, which measures gloss at an angle
of 60 degrees.
Hiding Power – The ability of a paint to mask
the color or pattern of a surface. Usually
expressed as square feet per gallon or
square meters per liter.
Hue – The name of a color. The property of
a color by which it can be distinguished.
R e d ,B l u e , Yellow, etc.
Kick-Out – The precipitation of dissolved
binder from solution as a result of solvent
incompatibility.
Lacquer – A finish or protective coating
consisting of a resin and/or a cellulose
ester dissolved in a volatile solvent.
Sometimes pigment is added.Dries
when solvents evaporate.
Latex Paint – A paint containing colloidal
binder particles formed by emulsion
polymerization.Generally applied as
a water-base coating which dries by
evaporation and coalescence.
Matte – A surface with minimal reflectance.
The opposite of gloss.
Mil – Unit of measuring film thickness.
One mil is one thousandth of an inch
(0.001 inch).
Mildewcide – Paint additive used to prevent
growth of mildew in painted surfaces.
Nonvolatile – (Solids) Does not evaporate.
Orange Peel – An irregularity in the surface
of a paint film resulting from the inability
of the wet film to “level out” after being
applied.
Paint – A material which, when applied as
a liquid to a surface, forms a solid film
for the purpose of decoration and/or
protection.Generally, a paint contains
binder, one or more solvents, and
pigments. Often other materials are
present to give special properties to the
paint film. Examples of such additives
are wetting and dispersing agents, cor-
rosion inhibitors, thickeners,plasticizers,
anti-skinning and anti-setting agents.
Peeling – The failure of a paint film to adhere
to its substrate. Peeling results when
contaminated surfaces are painted or
when there is an excessive difference
between paint and surface polarity or
thermal expansion characteristics.
Percent Solids – The present mass of a paint
due to its non-liquid components.
pH Value – The chemical symbol that
together with a number describes the
alkalinity or acidity of a solution. Seven
is neutral. Below 7 indicates acidity.
Above 7 indicates alkalinity.
Pigment – Finely ground,natural or synthetic,
inorganic or organic insoluble dispersed
particles which, when dispersed in a
liquid vehicle to make paint, may provide,
in addition to color, many of the essential
properties of a paint: opacity, hardness,
durability, and corrosion resistance.
Pin-Holing – Tiny round breaks in a paint
film giving the appearance of a pinhole.
Caused by rapid solvent loss. They may
or may not have raised edges.
Plasticizer – A low molecular weight sub-
stance added to polymeric materials
such as paints, plastics, or adhesives to
improve their flexibility.
Preservative – Paint additive used to prevent
microbiological attack with resulting
loss of viscosity and/or putrefaction
during storage.
Primers – Undercoats which bind topcoat
to substrate.
Retarders – A solvent added to a paint to
slow down its evaporation rate.
Sealer – A primer which does not allow
succeeding coats to penetrate. Also seals
in material that might otherwise bleed
through the surface.
Shelf Life – The length of time a paint
product may remain on the shelf or be
stored and still be usable.
Skinning – The formation of a thin tough
film on the surface of a liquid paint film.
Usually due to reaction with the air or
to rapid solvent evaporation.
Solids – The pigment and nonvolatile vehicle
components of paint. Material which
remains on surface. Can be measured
by weight or volume.
Solvent – The liquid or blend of liquids used
to dissolve or disperse a paint.
Surfactant – Contracted from surface-active
agents, these are additives which reduce
surface tension and may form micelles
and thereby improve wetting (wetting
agents); help disperse pigments (disper-
sants); inhibit foam (defoamers); or
emulsify (emulsifiers). Conventionally,
they are classified as to their charge:
anionic (negative); cationic (positive);
nonionic (no charge) to amphoteric
(both positive or negative).
Thermoset – Materials in which catalysts
are used to cross-link and polymerize
the final product. Includes phenolics,
polyesters,alkyds, and some acrylics.
Cannot be reformed simply by heating
and melting.
Thermoplastic – Materials which are poly-
merized and formed by a heating and
cooling process. Includes polystyrene,
P E ,P P, nylon, PVC polycarbonate
(Lexon), and some acrylics.Generally,
thermoplastics can be reheated,melted,
and recooled without significant chemical
or physical changes. The material simply
recrystalizes again when it cools.
Thinner – (1) The portion of a paint, varnish,
lacquer or related product that volatilizes
during the drying process. (2) Any
volatile liquid used for reducing the
viscosity of a paint mixture; may consist
of a simple solvent or diluent, or a
mixture of solvents and diluents.
Thixotropy – The tendency for the viscosity
of a liquid to be shear rate dependent.
When the liquid is rapidly shaken,
brushed or otherwise mechanically
disturbed, the viscosity decreases rapidly.
Tint – The color produced by the mixture
of white pigment with absorbing
colorants.
Tinting Strength – The relative ability of a
unit quantity of colorant to alter the
color of another colorant to which it is
added. In popular usage, tinting strength
is an index of the effectiveness with
which a chromatic colorant imparts
color to a standard white pigment.
Topcoat – Usually the final paint film applied
to a surface.
Varnish – An unpigmented binder-solvent
solution applied to protect or decorate
a surface.
Vehicle – The liquid portion of paint, in
which the pigment is dispersed; it is
composed of binder and solvents.
Viscosity – The property of liquid which
enables it to resist flow. Often measured
by the time required for a given volume
of liquid to flow through a small hole
in the bottom of a cup with controlled
conditions.
VOC – Volatile Organic Compound.
Wet-Edge Retention – Time after application
during which fresh paint has sufficient
flow and rewettability to permit lapping.
chapter A i r b r u s h
S I X
6-1 An Italeri Panther D superdetailed with new track and spare links from Kasten by Doug DeCounter.
AIRBRUSHING MAGIC
The airbrush has added an element of
magic to model building. How else could
you reduce yourself to the size of a person
that was actually painting the prototype
on the assembly line? The airbrush literally
allows you to duplicate the effects of a spray
painting gun reduced to any scale you choose.
With the airbrush, you can control the paint
pattern to create those “soft”blended edges
between camouflage colors with relative ease.
Further, the airbrush allows you to apply
a color evenly without burying the details
under too much paint.
With practice, the airbrush eliminates
the messy runs and spatters that are all too
common with spray cans. Both spray cans
and hand brushing have their useful place,
but airbrushing allows you to supercede
both techniques with practice.Don’t let
the perceived complexity of airbrushes stop
you.You can buy environmentally safe cans of
propellant like Testor #8822 Ozone Safe
Airbrush Propellant and an inexpensive
airbrush for the price of a few kits. On warm
and calm days you can spray outdoors with
P a i n t i n g
a large empty corrugated cardboard carton
to catch the overspray.
The “ultimate” airbrush outfit, however,
may include a double-action airbrush (so
you can control both the flow of paint and
the flow of air with a single downward and
backward stroke), a silent compressor fitted
with a pressure regulator and moisture trap,
(one that runs quiet enough so you can con-
tinue painting until two in the morning if you
wish, without disturbing others), and a spray
booth (vented to the outside so you can spray
anytime of the year without worrying about
airborne dust or spreading the odor of drying
paint throughout the house).
THE CAVEMAN ERA OF AIRBRUSHING
There’s an archaeological theory that
suggests that some of the paintings on the
walls of caves were done by the cave people
blowing air across a hollow reed straw, which
in turn siphoned “paint” up the reed and
deposited it onto the cave walls and ceilings.
This basic siphon technique describes the
actions of the most primitive, contemporary
low-end airbrushes. Now if we can just prove
that the cave people used this technique
on some of their handcarved stone woolly
mammoth miniatures we can push back the
date of the beginning of the modeling hobby.
PROFESSIONAL QUALITY AIRBRUSHING
A commercial artist may spend up to
hundreds of dollars on various airbrushes
and a silent and clean air supply. A modeler
also may spend this amount, although there
are lower-cost airbrushes and air supplies.
SELECTING AN AIRBRUSH
Airbrushes are divided into two camps,
the External and InternalMix. External mix
airbrushes atomize the paint as the name
suggests, outside the airbrush. Internal mix
airbrushes are designed to bring both air
and paint together inside the airbrush nozzle.
After this, you have varying control mechanisms
for both air and paint.
External mix airbrushes generally have
a separate adjustment for paint and air. Air
is generally switched on and off by pressing
the trigger. Paint flow is adjusted by rotating
the threaded paint nozzle, which allows the
paint volume to be adjusted on an external
mix airbrush.
Internal mixers, on the other hand, are
available in up to 3 control mechanisms:
• Single Action
• Double Action
• Fixed Double Action
Single Action – Air supply is regulated
via a simple on/off trigger. Paint supply is
adjusted generally by a separate roller, com-
monly located at the rear of the airbrush. This
roller allows variable line widths to be selected.
Double Action – Air supply is regulated
by pressing the trigger. The further down the
trigger is pressed,the more air is expelled.
By pulling back on the same trigger, paint is
introduced into the airstream. The further
back one pulls, the more paint is injected.
Fixed Double Action – When pressing the trig-
ger both air and paint are expelled.The
more the trigger is depressed, the larger the
quantity of both air and paint.
SELECTING AN AIR SUPPLY
Propellant cans are an economical source
of air for airbrushing. Pressure inside the
propellant can is 60 pounds per square inch
(psi), but this pressure drops as it is used. It
will recover, once left to stand (warm up). If
you wish to keep the pressure from dropping
so quickly, place the propellant can in a
shallow pan or coffee can of room tempera-
ture — not hot — tap water. This prevents the
can from chilling too rapidly. Change the
water if you are using propellant for an
extended period. For big jobs, two cans used
alternately will ensure continuous painting
without affecting the overall paint job quality.
When using an air compressor, selecting
one that has an airflow between about 10
and 30 psi of air pressure is desirable.More
pressure,up to 60 psi, can be useful in cer-
tain circumstances.You also want a moisture
trap so the water that is compressed out of
the air won’t find its way into your paint job.
It’s also important to have a compressor
with either a large enough pump or with 2
storage tanks, so that it can maintain at least
22 psi continuously to ensure effective atom-
ization while you continue to spray. Finally,
it’s really nice to have a compressor that is
virtually silent in operation. Of course, the
more of these features you want, the more
you will need to spend.
CO2 cylinders of compressed gas are
another option. Totally silent and moisture
free,they provide long service between refills
(accomplished at your local beverage supplier/
distributor). A regulator is still necessary –
in fact you can’t run without one.
WH Y SO MA N Y TY P E S O F AI R B R U S H E S?
One reason, the simpler the design, the less
expensive it is to produce,ergo the less expensive
it is for you to buy. Having said this, you will
be getting exactly what you pay for.
External Mix airbrushes such as our
new A220 are very good for spraying large
6-2 It is easy to recreate blended color demarcation line camouflage patterns with an airbrush.
quantities of paint, but do not easily lend
themselves to small detail work. The A220
is an excellent tool for producing car bodies,
large single-colored models, priming,etc.
Whereas our new external mix A270 (a little
more complex/expensive) is quite capable of
creating all but the most complex camouflage
or what have you, and is still able to provide
broad coverage as with the A220.
Aztek Internal Mix airbrushes such as the
A320, A430, and A470 are all capable of the
same interchangeable selection of nozzles,
but the double-action controls of the A430
and A470 allow you to exploit the finer points of
airbrushing.
BALANCING AIR, PAINT FLOW AND TIME
Successful airbrushing depends ultimately
on a balancing act of sorts. Always remember
the three variables.
Air Pressure (PSI)
Paint/Thinner Ratio (Viscosity)
Spraying Position (Proximity)
And to balance all three of these is to
obtain perfection.
PERFECTING THE BALANCE
FOR FINE LINES
There are actually two ways to approach
fine lines, and they come about this balance
in totally opposite fashion. We will call them
Method 1 and Method 2.
For Method 1 use:
Thick paint (viscosity – high)
High pressure (30 psi and up)
This allows you to create fine lines when the
needle is partially retracted into the airbrush
nozzle.
For Method 2 use:
Thin paint (viscosity – low)
Low pressure (10-15 psi)
This combination produces fine lines with
the needle fully retracted into the airbrush
nozzle.
Choosing is up to you and what you feel
you are most comfortable with. We would
like to encourage you to experiment with
both methods,so at the very least you can
appreciate the differences this balance has
on your resulting paint jobs.
We would like to point out that both
methods have their advantages. The down-
side with Method 1 is that the thicker the
paint is being delivered under higher pres-
sure, the more paint builds up on the needle/
nozzle, causing spitting and clogging, which
in turn requires more interruptions to clean.
This is especially noticeable when spraying
acrylics, since solvent-based enamels tend to
redissolve themselves when dried accumula-
tions are met with additional wet solvents as
you spray. The acrylics do not. Method 1 also
requires that you work faster and keep the
airbrush moving across the surface to be
painted, as any hesitation in your travel will
result in a wetter and wider than desired fine
line. The advantage of Method 1 is that you
get better paint coverage/opacity without
creating those weak runny spiders.
The disadvantages with Method 2 are the
potentials for both poor coverage and atom-
ization (due to insufficient psi).The distinct
advantages are far more control and the ability
to “build up” color with multiple passes (coats).
Having said this, what is the ideal balance?
Unfortunately the answer rests with the paint
viscosity itself, period. The only way to be
specific about this is to nail down for you an
example to illustrate an ideal balance.Ye s ,i t
sounds self-serving, but an ideal balance –
as a guide – would be found as follows:
Take Model Master II enamel, sprayed full
strength using an Aztek A320 or A430 armed
with a 9305C .45 mm ø gr ay nozzle (a.k.a.
“general purpose nozzle”) hooked up to 15–
20 psi. Paint can be dispensed using either
a siphon feed jar or paint cup if you prefer.
Life doesn’t get any better! Of course, a slight
thinning of the paint may be required,espe-
cially when shooting glosses, up to 20% or 2
parts of Airbrush Thinner to 8 parts paint.
Now given these two extremely different
methods, you’ve probably figured out that,
somewhere between thick paint/high pres-
sures and thin paint-low pressures,will be
the spray characteristics you’re looking for.
THE BALANCE OF
BROAD AREA COVERAGE
For broad area coverage,pressure and paint
viscosity are not nearly as critical due to the
large output pattern over a large area. Taking
into account all the previously mentioned
variables, higher pressures and thicker paint
are ideal for obtaining maximum coverage in
the shortest amount of time. Again,when
spraying glosses, some thinning (actually
more) is conducive to smooth glossy results,
up to 50% or half-and-half. Light gloss colors
such as yellows or gloss white require signifi-
cantly less thinning, more like 20% or 2 parts
Airbrush Thinner to 8 parts paint.
The upshot of all this can be summarized
as follows: Fine line work, weathering effects
and detail “spot” applications are best done
using thin paint/low pressure (Method 2)
because thick paint/high pressure (Method 1)
will obscure delicate details. And for
broad coverage, Method 1, or thick paint/high
pressure, tends to yield more uniform and
consistent coverage.
DUSTING – T HE TECHNIQUE
As an adjunct to Method 1 (high pressure/
thick paint), and because straight use of this
technique will generally smother the model
with paint, causing runs, pull the airbrush
back and spray from a distance of at least 6
inches. This will allow the paint to dry some-
what on its approach to the model, creating
a very thin paint film on the model’s surface
without obliterating fine detail.
LEARN AIRBRUSHING
BY DOING IT
Here are some samples of good and bad
applications of paint with an airbrush. Make
a dozen photocopies of these pages and leave
most of the page empty to provide an area
for pra c t i c e .S p ray the photocopied pages
with Model Master II Flat Clear Lacquer
#2015, thinned down using Lacquer Thinner
#2018 to about a ratio of 8 parts clear to 2
parts thinner; it’s not all that critical, but try
being as precise as possible – it’s good practice.
Adjust your airbrush for a broad coverage
application and spray the photocopies, sealing
the paper so the practice paint will not soak
in .S t u dy the examples and then try your
hand at imitating the patterns – noting pressure,
distance,viscosity, and adjustments. Have
fun, loosen up, nobody is going to get critical
on yo u .P ractice will lead to mastery.
Bumpy/Uneven Lines
Causes: Insufficient pressure or
pulsation from compressor
Solutions: Thin paint further or use a
compressor equipped with a
reservoir or use a Co2 tank.

Spidering
Causes: Paint too thin and/or airbrush
held too close.
Solutions: Increase your distance and/or
spray at a lower pressure.

Dots at Ends of Lines

Cause: Releasing trigger too abruptly
and or continuing to spray after
stopping at end of stroke.
Solutions: Practice releasing trigger gently
and smoothly. Follow through
or move past end point of spray
pattern.

Asymmetrical Lines
(Sharp on one edge, fuzzy on the other edge)
Causes: Bent needle, airbrush not held
perpendicular to surface. Paint
buildup on aircap or particles of
dried paint obstructing nozzle.
Solutions: New nozzle, hold airbrush more
perpendicular and clean aircap.

Paint Too Thick

Causes: Not enough pressure and/or
insufficient thinning of paint.
Solutions: More pressure and/or add
more thinner to paint.

Paint Too Thin

Causes: Overthinning of paint.
Solutions: Increase air pressure and/or
use less thinner in paint.
FIRST PRACTICE X’s
Setup: 22 psi/thin paint to “milk consistency.”
Using A320 or A430
Start by applying more paint, holding
your airbrush approximately 4 to 6 inches
away from the paper, then move progressively
closer, while applying less paint (by not
pulling the trigger as far back) until you can
duplicate the X’s on the bottom line. These
are created with the airbrush nearly touching
the paper.

N O W T RY O’s
Using the same technique
More paint/more distance
Less paint/closer up
NEXT TRY SQUARES
More paint/more distance

Less paint/closer up

HOW ABOUT SOME DOTS

More paint/more distance

Less paint/real close

Less paint/but moving farther away

AND MORE DOTS
Now that we’ve been running the compressor
for a while, moisture has been collecting in
the air hose. So, every so often the airbrush
spits some water along with the paint. This is
why a moisture trap is mandatory to prevent
this from happening.

READY FOR S O M E
NICE FINE LINES?
Come in close, and try to keep them
consistent and straight.
Work swiftly at high pressures (25 psi), then
slow down and reduce pressure to 18 psi and
lay down a few.
 Dots at the beginning of a stroke or line
are caused by lingering too long at the
starting point and/or getting a little too
close to begin with.

Keeping your distance is

important,too.Notice
how the same amount of
paint creates a puddle if
you move too close.
BROAD AREA COVERAGE
A common error is to turn around on
the model surface, causing excessive paint
build-up at the beginning or end of each
pass.Always work in linear straight strokes,
and continue a pass past the model surface
before turning around to make the next pass
in the opposite direction.

P R O P E R G R A D AT I O N
O R F E AT H E R I N G
is reliant upon applying the paint smoothly,
starting (in this case at the lower part) and
backing off with both paint and distance as
you proceed upwards.Always continue your
strokes PAST the desired end points to
ensure consistent coverage.
 START

Grainy –
not enough air

Not enough air

Sometimes
a lot of
different problems
Moisture can occur
in a single pass.

Apply small
amounts,close
and fast

Too heavy,
coat-blotchy

Too much paint

Too close – start of spiders

Spiders
Too little paint

FINISH
 Once you are more familiar and comfort-
able with your airbrush’s functions, move
onto an old model and repeat the entire
learning process.You may find that it takes
much less paint to produce a run or sag on
the three-dimensional model than it did on
flat paper. Adjust your airbrush and technique
as directed on the practice page until you
can duplicate all the effects shown on this 6-3 Use an eye dropper or a Model Master Pipette to
page – even the wrong ones.Your goal is to mix paint colors.
be able to apply a pencil-thin line, with the AIRBRUSH PAINTING
edges evenly feathered, and without any GLOSSARY OF TERMS
telltale blobs of paint. Line Width Adjustments – The adjustment
Your airbrush can be used to apply a of a sprayed line – mechanically – without
series of dots no larger than the periods on changing the paint volume used, by changing
these pages or to draw lines as thin as those the relationship or distance from the surface.
you would make with a pencil. The airbrush Paint Volume Adjustments – The adjustment
can be adjusted to produce a pattern that is of the quantity of paint exiting the air-
the size of a period, as well as patterns the brush nozzle.
size of a dime, on up to about two or three Castellations – Raised protective features
inches in diameter. on the airbrush nozzle tip, designed to
protect the needle from damage.
The closer the tip of your airbrush is to
the model, the more focused or narrowed Viscous – Having a thick, sticky consistency.
the spray pattern becomes. In fact, to get Viscosity – The state or quality of being
a period-size dot from the airbrush, the tip viscous. With respect to paint, low viscosity
should be almost touching the model’s is thin, high viscosity is thick.
surface. For most model work, hold the air-
brush substantially further from your model.
Remember, the goal in learning to airbrush
is to master and gain control of three variables:
1) The flow of air (as determined by
how far down you push the trigger).
2) The distance the airbrush is from
the model.
6-4 A Testors MIG-29 painted and marked to match
3) The amount of time you hold the the box art by Terry Tuytscheavers.
airbrush spray pattern over a given
area of the model (loitering vs. proper
time-over-target).
 AIRBRUSH MODEL DESCRIPTION CHART
Airbrush Description Suggested Trigger Air Suggested
Model Features Model Scale Valve Uses*
Number Usage Type

A220 External Mix All Standard Priming and single-color application

(8821) Single Action (Priming) On/Off1 for car bodies, and large surface area
Fixed Nozzle 1/24th coverage on big scale models. Will do
1/25th most any camouflage providing
larger masks or templates are used
to restrict overspray. Best airbrush
for car modelers.
A270 External Mix 1/35th Standard As above, plus more control that allows
Single Action and Larger On/Off1 more freehand camouflage work on
Interchangeable on larger scale subjects using less masks.
Nozzles Also a favorite with car modelers.
1000S Internal Mix 1/48th Variable2 Key feature: Fine atomization, creates a
(8826) Single Action and Larger finer mist – best used for detailing but
Interchangeable not broad coverage on large scales kits,
Nozzles since the “focus” of its adjustability is
concentrated at the finer range.
GP–100 Internal Mix All Variable2 Same as A320 and 1000S above, but
Fixed Double Gladly even finer control allows you to do
Action these things on even smaller scale
Interchangeable subjects.
Nozzles
A320 Internal Mix 1/48th Standard Same as 1000S above.
Single Action and Larger On/Off1
Interchangeable
Nozzles
A370 Internal Mix All Variable2 Same as 1000S, GP-100,A320.But
Double Action with the addition of double action.
Interchangeable
Nozzles
A430 Internal Mix All Variable2 As with GP-100,A320. But with the
Interchangeable addition of double action.
Nozzles
A470 Internal Mix All Variable2 With all the abilities of the A430,plus
Double Action With features variable trigger positions, which
Single Action Ease will appeal to the full-fledged expert.
Fixed Double
Action
Interchangeable
Nozzles
*Your results may vary. Always bear in mind, it is your skill developed through practice and patience plus our airbrush
= results that will amaze yourself and impress your peers.
Trigger air valve type: 1. Standard = Simple On/Off Action – similar to all other manufacturers
2. Variable = Proportional increase in air volume-to-trigger movement – more control
 OUR AIRBRUSH CONFIGURATIONS AT A GLANCE

Airbrush Air Trigger Air Hose to Hose to

Model Hose Type Valve Airbrush Airsource
Number Position Type Connection Connection

A220 Conventional* Air Standard Permanently Propellant

(8821) Only On/Off Fixed Can Ready**

A270 Conventional* Air Standard Permanently Propellant

Only On/Off Fixed Can Ready**

1000S Rear Air Variable Permanently Propellant

(8826) Only Fixed Can Ready**

GP–100 Rear Fixed Variable Fixed Propellant

Double Swivel Can Ready**
Action

A320 Conventional* Air Standard Permanently Propellant

Only On/Off Fixed Can Ready**

A370 Conventional* Standard Standard Permanently Propellant

Air & Paint On/Off Fixed Can Ready**

A430 Rear Variable Variable Detachable Compressor

Downward Air & Paint Ready

A470 Rear Variable Variable Detachable Compressor

Downward Air & Paint Ready

* Conventional air hose position: industry standard – downward from midway on the Airbrush body.
** All propellant can ready hose fittings include an air compressor adapter.
 AIRBRUSH NOZZLE MATRIX
Item Orifice PSI Needle Tip
Number Size Color Range Type Style Uses
9304C .3mm Tan 10–30 Stainless Castellated All ultrafine applications
Steel 1/144th scale and up.
9305C .4mm Gray 10–30 Stainless Castellated Fine line applications are
Steel possible with more skill.
An excellent general purpose
nozzle for medium coverage.
9306C .5mm Turquoise 20–40 Stainless Castellated Large camouflage patterns
Steel 1/35th, 1/48th aircraft
camouflage.
9307C .5mm Pink 0–20 Stainless Castellated Spatter and stippling
Steel effects – diorama bases,
weathering for large
scales. Rockwork on
model railroad layouts.
9340C .3mm Black 10–30 Stainless Unprotected Same as 9306C, but much
Steel Easy to easier to clean. No castellations,
Clean so it is easier to damage.
9341C .5mm White 20–40 Stainless Unprotected Same as 9304C, but much
Steel Easy to Easier to clean. No castellations,
clean so it is easier to damage.
9342C .53mm Red 20–40 Acetal* Cone Best for viscous (thick)
Protected acrylics. Car bodies. Large scale
camouflage applications.
9343C .70mm Orange 20–40 Acetal* Cone Best for viscous (thick)
Protected acrylics. Broader spray
patterns. Medium range
of control.
9344C 1.02mm Yellow 20–60 Acetal* Cone The “Blunderbuss.” For
Protected priming big things. Virtually
no adjustment/control, but
excellent for R/C aircraft
large-scale spray gun effects if
you require major coverage.

* Acetal resin copolymer. Acetal resin is used selectively by NASA in the space program because of its light, stable,
and nearly unbreakable nature. Acetal resin, unlike metal, does not deteriorate through contact with solvents; and
its manufacturing tolerances are much more precise and uniformally produced.
6-5 Hold the model with a coat hanger bent to plug into holes in the fuselage.

6-6 This Italeri MH-53J Pave Low III was painted using the A470 Double Action Airbrush.

6-7 This Italeri M24 has been superdetailed with On the Mark etched brass fender supports and about 50
other details by Doug DeCounter.
chapter M a s k i n g T e c h n i q u e s
S E V E N

7-1 The cockpit on this Testor T-33A was detailed only with paint and the decals from the kit.

MASKING CANOPIES AND WINDOWS together. Slice around the areas beside the
It is possible to paint the framework frames with a hobby knife and remove the
around a canopy by hand or to cover just mask from the frame areas. Paint the cockpit
the framework with black draftsman’s lining interior color on the the canopy first and let
ta p e .U s u a l l y, however, the model will be it dry, then apply the exterior color. Leave
more realistic if the canopy is glued in place, the masking material on the canopy (and
at least until the painting is complete, so the a ny other clear areas) to protect the clear
canopy can be painted at the same time as plastic surfaces until the model is completely
the model.You can use pinhead-size dabs finished, coated with clear finish and weathered.
of rubber cement or artist’s matte medium
(a clear liquid latex) to hold the clear canopy
in place until the painting is complete.
Use Model Master Masking Tape #50622,
Pactra Trim Tape, or Model Master Parafilm
M Masking Material #50641, pressed around
the edge of the canopy frames with a pencil,
to mask canopies.Cover the entire canopy
with tape, but try to position the tape so most
of the overlapping edges occur on the clear
portion of the canopy rather than on the
framework. If you must join strips of masking 7-2 Leave the masking tape or film over the clear
on the framework, position them tightly areas of the cockpit until the model is completely
painted, clear-coated and weathered.
7-3 A Testor Douglas AC-47 painted and decaled to match the box art by Terry Tuytscheavers.

7-4 Cover the entire window area with masking 7-6 The two rear windows on Terry Tuytschaever’s
tape, then slice around the window frames. Douglas AC-47 are open to be used as gunports.

MASKING CANOPIES AND WINDOWS the framework with black draftsman’s lining
It is possible to paint the framework tape.Usually, however, the model will be
around a canopy by hand or to cover just more realistic if the canopy is glued in place,

7-5 Peel the excess Masking Tape away to leave the 7-7 Paint the inside walls of the cockpit and finish
tape covering only the windows. all the details before cementing the canopy in place.
at least until the painting is complete, so the
canopy can be painted at the same time as
the model. You can use pinhead-size dabs
of rubber cement or artist’s matte medium
(a clear liquid latex) to hold the clear canopy
in place until the painting is complete.
Use Model Master Masking Tape #50622,
Pactra Trim Tape, or Model Master Parafilm
7-8 When the painting is complete, peel away the
masking tape or film to reach the finished landing
gear bay.
M Masking Material #50641, pressed around
the edge of the canopy frames with a pencil,
to mask canopies.Cover the entire canopy
with tape, but try to position the tape so most
of the overlapping edges occur on the clear
portion of the canopy rather than on the
framework. If you must join strips of masking
on the framework, position them tightly
together. Slice around the areas beside the
frames with a hobby knife and remove the
mask from the frame areas. Paint the cockpit
interior color on the the canopy first and let
it dry, then apply the exterior color. Leave
the masking material on the canopy (and
a ny other clear areas) to protect the clear
plastic surfaces until the model is completely
finished, coated with clear finish and weathered.
When the last paint is dry, slice along the
edge of the masking tape again to cut the
paint layers away from the edges of the tape,
then gently remove the masking material
from the clear areas.
PAINTING INTERIORS
BEFORE ASSEMBLY
The interiors of the cockpit, landing gear
bays and bomb bays will not be accessible
once the model is assembled. If you want a
detailed interior in any of these areas,then,
finish the detail work and painting before
you assemble the model. The canopy itself
will mask the cockpit interior while you paint
the remainder of the model. Use masking
tape to cover the landing gear bays,bomb
bays,or other interior openings while you
finish painting the exterior of the model.
CLEAN AND CRISP COLOR
DEMARCATION LINE CAMOUFLAGE
If the camouflage pattern has a sharp
color demarcation line, use the paper photo-
copies as patterns to cut masking tape masks.
Tape the paper patterns beneath a sheet of
glass or Plexiglass so you can see the pattern
through the glass or plastic. Cover the glass
or Plexiglass with Model Master #50622
Masking Tape, overlapping each strip by
about l/16 inch to produce a solid surface
of masking tape. Borrow a fluorescent light
or use one of the “Light Stick”types of fix-
ture and place it beneath the glass on the
side with the photocopied plan. Turn on the
light and you should be able to see the pho-
tocopy through the glass and the masking
tape.If not, use additional fluorescent
lights. You can now trace the photocopied
patterns right through the tape with a hobby
knife. Remove the masking tape that will
7-9 Peel the paint and the underlying rubber cement
to reveal the rust-painted undercoat.
be used to protect the lighter color on the
model and apply it to the model.The patterns
will not be a perfect fit, but minor adjustments
can be made by trimming the tape slightly
or by adding additional strips of tape and
trimming them to fit with the hobby knife.
Finish masking the lighter areas, then spray
the darker color and, before the paint dries,
remove the tape. If the color demarcation
line is too jagged, try scraping it to a sharper 7-11 Wipe the ink from the area around the panel
edge with the tip of hobby knife. Alternately, lines before it has time to dry.
touch up the area with paint applied with a
number 3/0 paint brush.

BATTLE DAMAGE AND RUST

One of the most striking forms of battle
damage on armor is old damage that has
begun to rust and left long enough so the

7-12 The underwing stores of this A-6E Intruder

have fine lines that can be easily duplicated with the
slice and ink-stain technique.

You can, incidentally, use this same technique

for simple rusted and peeled paint without
the battle damage. Finish assembling and
the final painting of the model. The layer
7-10 Use a steel ruler to guide your knife when of rubber cement will be visible through the
slicing panel lines that are to be accented with ink. paint as a mound with brush stokes.Pick
gently at the center of the rubber cemented
adjoining paint is peeling. To model those area with the point of a hobby knife and the
effects, begin before the model is painted. outer coats of paint can be peeled a way.
As always, work from photographs of actual Peel only about half of the rubber cement-
battle damage, even if it did not occur to the
exact vehicle you are modeling. First, the battle
damage itself is inflicted with drills and files to
match the shape and texture of the damage
in the photograph.Next, that area can be painted
a rust color with Model Master #1785 Rust.
Adding a drop or two of black is often
close to the color of older and dirtied rust.
Paint the area you will want to find peeled
paint with a thick coat of rubber cement 7-13 Use the side of number 2 pencil lead to produce
(available at stationery stores) and let it dry. a shadow effect to accent individual panels.
coated area to reveal the rust; just loosen
the remaining paint and let it rest in a half-
7-14 Use a piece of business card, cut to match the
shape of the edges of the panel lines, to mask part of
the Aluminum Plate Metalizer while you airbrush
adjacent panels with Stainless Steel Metalizer. This
is Terry Tuytschaever’s Testor Martin B-57B Canberra.
peeled condition.
SIMULATING SEPARATE PAINTED PANELS
Some aircraft and armor, particularly
those with light gray colors and separate
panels,have very visible differences between
the panels.You can accent the lines between
the panels effectively by slicing over them
gently with a hobby knife, then painting over
the slices with black drafting ink. Paint only
three or four inches of ink, then immediately
wipe off the excess with a clean rag. The ink
will remain only in the sliced line. The trick,
here, is to make the slice so gentle that it
does not create a farmer’s plow-like furrow
with sides, but a thin slice.
On some models with raised panel lines,
you can achieve the effect of individual panels
by simply shading the seams by rubbing a
number 2 lead pencil across the panel seams.
Hold the pencil so only the side of the lead
contacts the seam and, thus, receives the
shadow effect.
An alternative method is to simply accent
the edges of the panel with a “wash”(nine
parts thinner to one part paint) of a color
one shade darker or lighter than the original.
You can paint the entire panel by masking
all adjacent panels.It is easier, however, to
adjust the airbrush to produce a pencil-thin
line and “mask”the adjacent panels with a

7-15 Doug DeCounter used styrene plastic sheet and strip to build the workbench with its open drawers.
The hand tools are from the Italeri “Field Tool Shop” kit. The markings are Verlinden dry transfers.
chapter S p e c i a l
E I G H T
8-1 The rock castings, ground cover and trees are products sold by hobby shops that specialize in model
railroad supplies. The tank is Doug DeCounter’s Italeri Panzer I V.
SCALE COLOR THEORY
For years, most modelers have primarily
concerned themselves with the full-size
or prototype color in terms of accuracy and
availability. The manufacturers, for the most
part,have collectively provided modelers with
the more popular colors, usually matched
to some prototype paint chip sample or
standard. In general, this has kept modelers
quite content. But a growing number of
conscientious modelers are becoming aware
of the theory of Scale Color.
The Scale Color Theory is founded on the
observation that our planet’s atmosphere
is not crystal clear or transparent at all.
Modeler/researcher David Klaus in his
excellent publication, The IPMS Color Cross-
Reference Guide, has suggested an exercise
P a i n t E f f e c t s
in which you spray flat black paint on two
cardboard squares,one 12 x 12 inches and
the other 2 x 2 inches. Outdoors, in sunlight,
lay the 12 x 12 card upright against a neutral
background.Now back away, holding the
2 x 2 square at arm’s length in front of you,
until the two squares appear the same size.
You will notice, while the black square in
your hand remains unchanged, the larger
square appears lighter, more grayish.This
has been termed the Distance Effect. Under
consistent lighting the intensity or tone of a
given color or hue will diminish the further
away from it you get. Although a fairly recent
concept to modelers, accomplished landscape
painters have observed the Distance Effect
for a hundred years or more.You can see, in
the artwork of John Constable for example,
the foreground objects are rich and vibrant
in hue, yet, as you gaze further back into SCALE OF PERCENTAGE OF
the painting, objects become more muted CHOICE WHITE TO ADD
gray and less intense. He accomplished 1/32 and 1/35 7–10%
this by adding white, grays, and even browns 1/48* 10–25%
into his colors to compensate for the Distance
1/72 and 1/76 15–30%
Effect.
1/87 20–35%
How does this apply to models? Well,
if you hold a 1/48-scale airplane 12 inches 1/144 23–38%
from your eyes, it is the same as observing A little more or less white will not spoil a
the real thing 48 feet a way. Naturally the thing.
Distance Effect causes the colors on the
*As an example, a lot of 1/48-scale aircraft
full-size aircraft to lighten or gray (remember
modelers prefer as much as 25% white
the black squares) as opposed to the
additive.
full-strength prototype color applied to
the 1/48-scale model. Model Master II provides three whites for
this purpose to be used in flat, semi-gloss
CREATING SCALE COLOR and gloss applications as required:
One could conceivably spend endless No. 2142 FS 37925 Flat White
time and effort achieving scale color by de- No. 2143 RLM 21 Semi-Gloss White
intensifying each hue with minor adjustments
No. 2144 FS 17925 Gloss White
in that hue’s pigment,and some may wish
to do so. It would also seem natural to borrow
from the landscape artists and add gray to
a color, to deintensify it. However, most
camouflage hues are low intensity, or loaded
with a lot of gray. Adding more gray could
change the color too much.
The broader, most acceptable solution,
which yields excellent effects with minimal
fuss, is to add white to camouflage colors in
various proportions depending on the scale
you are working in. White will reasonably
tone down the camouflage colors, to impart
the proper Scale Color Effect.
NOTE: The proportions themselves are
not agreed upon by all, as the mere observa-
tion of color is, by nature, a unique experi-
ence for each of us. The proportions given
here do reflect the conservative consensus
of modelers worldwide.
8-2 This is the type of incredible realism you can produce on a replica of an aluminum aircraft using
Metalizer paints polished to a sheen that looks like real metal.

SHADOW EFFECT SCALE SHINE EFFECT

It is common to paint miniature figures There is a “Scale Shine Effect” with clear
with special washes and accent colors to finishes as well as with colors. Truly glossy
emphasize the shadows on faces and the folds or shiny paint will look unrealistic on a
and wrinkles in cloth. You can use a similar model because you are viewing the model
technique to make the undercarriage of aircraft from a greater distance than the prototype
and the wheels, treads and undercarriage and because our real-world sun is 24, or 35,
areas of armor appear to be highlighted. or 48, or 72 times larger than the sun in the
There’s virtually no way to get enough “fill” “world” of our model. This “Overscale Sun”
light on the undercarriage of any model on effect makes the highlights on a glossy model
display. Often those lower details just vanish far too large.You can reduce that effect by
in the shadows. You can use the “Shadow using semi-gloss on smaller-scale models or
Effect” to bring some simulated light into
those shadows. When you are painting air-
craft, paint everything from the center of the
fuselage down and the undersides of all the
wings and stabilizers, and the wheels, treads
and undercarriage of armor 20 percent lighter
than the rest of the model. If you have already
added white for the “Scale Color Effect,” add
20 percent more for those areas that will be
in perpetual shadow.
8-3 Use a soft cotton tee shirt or diaper to polish the
buffing type of Metalizer paints.
a mixture of semi-gloss and gloss on large-
scale models.
USING METALIZER PAINTS
The Model Master “ M e t a l i z e r ”p a i n t s
include both “buffing” and “non-buffing”
colors. The buffing colors are designed so
they will respond to rubbing or polishing
by producing more shine or more reflectance
as you rub. It is important to apply any of
these metallic paints to bare plastic to take
maximum advantage of the already-polished
plastic. These metallic paints will accentuate
any imperfections on the model, so it is most
important to be sure all the seams are filled
with either dissolved plastic or Instant Plastic
Adhesive so the seams are as hard as the
surface of the model. Burnish the seams with
a knife handle or the round part of a screw-
driver blade so they are as shiny as the model.
If you find glue-smeared fingerprints or other
surface flaw s ,t ry polishing them away with
a metal polish like Brasso.If the damage is
too great,sand them very lightly with #600
wet-or-dry sandpaper wetted frequently.
The sanded spots can then be polished with
Brasso so the damaged surfaces look as shiny
as the rest of the model. If necessary, panel
lines can be rescribed by pulling a knife blade
with the cutting edge backwards to chisel
the line. Rivets can be replaced by applying
a single dot of plastic cement with the point
of a pin.
When the model is perfectly clean, spray
the metallic paint full strength.Use several
light coats to avoid any chance of puddles,
runs or sags.The goal, here, is to get a smooth
and even finish – we’ll get to the shine later.
When you are satisfied, set the model aside
to dry overnight.
8-4 To produce the effect of different shades on indi -
vidual panels on a black aircraft, mask the surrounding
panels with Masking Tape and use a kitchen scrubber
to lightly polish the unprotected panels.
MULTI-PANEL METALIZER EFFECTS
The Model Master Metalizer “Buffing”
paints can be polished so they shine like
new and untarnished Aluminum Plate
#1401, Stainless Steel #1402, Magnesium
#1403, Titanium #1404,Gunmetal #1405,or
Exhaust #1406 (there’s also Dark Anodonic
Gray #1412 and Burnt Metal #1415 shades).
Use an old cotton tee shirt or a cloth diaper
to polish the paint. The more you rub, the
shinier it gets. It takes some practice,however,
to know when to stop. When you’ve rubbed
through the paint, you have rubbed too long,
too hard, or simply not applied enough paint
and you’ll have to repaint at least that area.
The finished model will look like a solid hunk
of metal.
Unfortunately, real aircraft do not look
like solid hunks of polished metal. They look
like what they are, machines constructed
of hundreds of individual metal panels.
What makes this apparent is that there is
the slightest difference in sheen from one
panel to the next.You can duplicate that
effect with the Metalizer paints in two ways:
either polish one panel area more than the
next or spray one panel a slightly darker
color than the adjacent panel. Here is another
case where you must have a photograph For a replica of new aircraft, apply just the
of the prototype to see the effect you wish to lighter shade to match the prototype photo.
create. Some older unpainted or bare metal When the paint is dry, mask a few of the
aircraft have great differences in the colors panels with wetted wrapping tissue so you
of the panels, while newer aircraft have barely can polish the adjacent panels, polish those
discernable differences. panels, then remove the masking.
For a replica of an older, well-used
aircraft, paint the entire model a lighter
shade (Aluminum Plate, for example), then
cover some of the panels with wet white
wrapping tissue for the masking material.
Even the least-tacky masking tape will lift
some of the pigment. Paint the remaining
panels a darker shade (Stainless Steel, for
example). Let the paint dry, remove the wet
paper masks and, for a third color, mask a 8-7 The surface below any bright orange or white
paint must be as free from flaws as the surface
few of the lighter panels and polish the beneath Metalizer coverings. These colors seem to
remaining light panels. exaggerate any flaws.

When the polishing is complete,apply

decals, but cut the clear decal film as close
to the edge of the decal as possible because
the clear film will be visible on the polished
model. Finally protect both the shine and the
decal with several very light coats of Model
Master Metalizer Sealer.

8-5 Use Parafilm M (shown) or damp paper to mask

individual panels when you are using the non-buffing
Metalizer paints. Paint the exposed panels with a
darker color or with the buffing type of Metalizer.

8-8 Dab a coat of still-wet Testor Liquid Plastic

Cement with your fingertip to simulate the rough
surface of cast steel.

8-6 Use tweezers to remove the Parafilm M or

masking material. Always pull the masking back
over itself as shown to minimize the chances of
lifting the layer of paint beneath it.
MORE SPECIAL PAINT EFFECTS
Cast metal has a texture that is seldom
duplicated in the kits. It’s easy enough to
simulate,though, by covering the surface of
the unpainted model with Testor #3520 Liquid
Plastic Cement and, for the few seconds it is
still wet, dabbing the model with a fingertip.
You’ll need to work quickly to avoid fingerprints.
The rough Zimmerit texture on some German
tanks is molded into the plastic in some kits.
If not, you can use Model Master Red Putty,
automobile “spot” putty (intended for filling
small areas and available at shops that spe-
cialize in full-size automobile paint) or
Squadron Shop’s “Green Putty.” Spread a
thin layer over the surface of the unpainted
model and use one of the throw-away paint
brushes with its already-stiff bristles made even
stiffer by trimming them to about 1/8 inch
long and also trimming the edges so only
about 1/8 inch of the bristles remains across
the width of the brush. Work the brush into
8-9 Doug DeCounter used Plastruct plastic tube, with the ends chamfered to a sharp edge, to make the smoke
dischargers on his Italeri Tiger I. The brackets are etchings from On the Mark.
the still-wet putty. The putty dries almost
instantly, so you can only work about a
half a square inch or so of the surface at a
time. A texture, like any other detail, must
be matched to photographs or, better yet,
a personal look at the effect you are trying
to recreate.
The anti-skid panels on the walkways of
some aircraft wings and on some armor can
be simulated by sprinkling talcum powder over
still-wet paint. The paint will probably have
to applied with a brush to get it thick enough
and wet enough to accept the talcum powder.
For colored wing tip and other warning
lights, mix a drop of yellow or red paint with
a puddle of clear window fluid and apply it
to the lights.
Simulate rivet and bolt heads on landing
gear and other areas with drops of gunmetal
color paint applied with a sharpened toothpick.
chapter W e a t h e r i n g
N I N E
9-1 Doug DeCounter superdetailed this Italeri M7 Priest self-propelled gun with dozens of ammo shells and
boxes from Verlinden.
THAT OUTDOOR LOOK
The term “weathering” is used to describe
the effects that the world has on an aircraft
or armor from the very moment it leaves
the end of the production line.Generally,
weathering falls into four categories: (1) the
effects of the sun in bleaching the paint,
(2) the effects of dirt and wind-blown grime,
(3) the effects of rain and water, and (4) the
effects of using the machine, including exhaust
stains or wear from opening doors or panels.
The first three types of weathering are often
seen in various combinations.
The cardinal rule of model building applies
more to making the model look as “used”
as its prototype: “Always match your model
to prototype photo, never to another model
or even a painting of the prototype.” Yes,
there are cases where you must refer to a
painting to determine the colors of the proto-
type, but go back to the photographs to see
how and where the patterns of wear occur.
MIXING WEATHERING WASHES
Weathering is easiest if done with at
least two and as many as twenty coats of
very thin paint. Remember, however, that
you can adjust how thin the layer of paint is
by adjusting the airflow or by moving the
airbrush away from the paint as well as
simply adding thinner to the paint. Experiment
with airbrushing weathering colors diluted
with two parts thinner to one part paint,
four parts thinner to one part paint, and
nine parts thinner to one part paint. Try
them all and decide for yourself which wash
provides the most control.Remember that
even darker stains like exhaust patterns
are better built up with several coats of paint,
so it better to err on the light side.
SIMULATING
SUN-BLEACHING EFFECTS
Sun-bleaching is,obviously, going to
occur most on the upper surfaces that
spend the longest part of the day exposed to
the sun. The upper surfaces of the fuselage,
wings and stabilizers on aircraft and the
upper surfaces of armor will certainly be a
lighter shade than the sides or lower parts
of these machines. Also, the dashboard tops,
the tops of the seats, the seat pads, arm rests
and other horizontal portions of the interior
will show signs of fading from exposure to
the sun.You can simulate that effect by mixing
a wash of a very light beige, about four parts
Flat White #1768 and one part of either
Sand #1706 or Panzer Interior Buff #2104.
Use this wash to subtly drape the model with
a bleaching effect, concentrating most of the
bleaching on the top and gradually allowing
the original full-strength paint near the bottom.
This is a very subtle effect. If you can see the
line where the bleaching stops and the original
paint begins, you’ve added too much.Do not
confuse sun-bleaching with scale effect.
MAKING IT
LOOK DIRTY
Dirt is certainly going to be more of a
factor in weathering armor models than air-
craft. Dirt is likely to stain an aircraft primarily
when it is parked on the ground.Some of
the aircraft that were based on the dirt run-
ways had noticeable stains from dirt that
had settled on the upper surfaces and been
washed down the sides as well as wet dirt
that had been splashed onto the landing gear.
Effectively, the dirtiest aircraft has about the
same weathering from dirt as the cleanest
armor or soft-skinned vehicle.
For this type of rain-washed dirt and dust,
mix another wash using a shade of dirt that
will match the dirt in the theater of operations
of the prototype. Apply this wash in streaks
down the sides to simulate wind-blown dirt
that has accumulated on the upper surfaces
and been washed down the sides by rain.
Apply this wash also to the lower edges of
the model to simulate splatters of dirt from
rain. The areas where the tires would have
kicked up a spray of muddy water are other
places to attack with the dirty wash.
Most armor spends time splashing through
the mud or, in the desert, wet sand. For this
effect,use the full-strength earth color that
matches that of the vehicle’s theater of oper-
ations. Adjust the airbrush to provide those
period-size dots and use hundreds of them
in an on-again, off-again action, sometimes
working the airbrush trigger as fast up and
down as you can, to create splatter effects.
Again,practice on a painted piece of paper to
perfect the technique. It is possible to adjust
the air supply low enough and to increase
the paint supply so the airbrush itself will
splatter. That,however, is extremely difficult

9-2 Adjust the airbrush to produce a period-size
pattern to apply final weathering touches like those
on Doug DeCounter’s Italeri Tiger I tank.
to control. If you want to try it, practice again,
and mask off all but the area you want to
splatter to minimize the harm it might cause
if you overdo it.
Real mud can be simulated using a paint
brush and full-strength paint. Apply a thick
dab of paint,then sprinkle on some baking
soda to create the effect of three-dimensional
mud. For a truly muddy vehicle,mix a paste
of baking soda and paint and apply it with a
toothpick as clods of mud.
THE DRY BRUSHING TECHNIQUE
Simulate that effect of the stringy splashes
of mud by applying just a trace of paint to
the first 1/16 inch of a 1/8 inch chisel paint
brush. Flick the tip of the brush over the surface
so just the barest trace of paint touches the
model. This is the “dry brushing” technique.
POWDERED PASTEL CHALK WEATHERING
For really dusty and rusty effects, use
artist’s pastel chalks. The conventional oil-
base pastels are too greasy and conventional
chalk is too white to be useful for this tech-
nique. Buy a color that matches the dirt in
the aircraft or armor’s theater of operations.
Usually, burnt umber will do for brown soil,
burnt sienna for reddish soil, yellow ochre
for beige soil, or you can mix two or three
of these as powders to get the proper color.
Reduce the pastel chalks to a powder b y
rubbing the sticks on a piece of fine sand-
paper. Apply the resulting powder to the
model to simulate accumulations of real dirt
and dust. Model Master II paints produce a
relatively smooth finish, so you may want to
add a bit of “tooth” to the model’s surface by
spraying it with a mist of Clear Flat #2015.
The flat finish will make it easier for the pow-
dered pastel to stick to the surface of the
model. The powdered pastels are especially
helpful in duplicating the effects of extremely
dusty conditions.You can protect the weath-
ering with a very light spray of Clear Flat,
but it will reduce the intensity of the pastels
by about half, so you may want to repeat the
process to get the darker weathering you
wish even after the spray of Clear Flat.
WIND-WEATHERED EFFECTS
The wind will also weather the surface
of both aircraft and armor. The wind, in
time, will wear away the paint from the most
prominent areas and that usually begins with
the tops of the rivets, the forward edges of
the wings, rudder, and stabilizer of aircraft as
well as the forward surfaces of armor. These
effects are most prominent on aircraft and
armor that serve in the desert theaters,but
they are also common on equipment that
has received little maintenance.
Use the dry brushing technique to simulate
the effect of wind wearing away the paint.
Dip the tip of the brush into some Metalizer
Gunmetal #1455 or Exhaust #1406 paint,
and hit the tops of the rivets. Use a number
00 brush to gently dab the Metalizer color
onto the leading edges to simulate chipped
paint. Use those photographs of the proto-
type as your guide to just how those chips
should look and where they appear. The
p rototype photo need not be of yo u r
specific aircraft or armor to serve as a guide
for weathering patterns.
The dry brushing technique will also work
well to simulate worn wood. Paint the wood
to match the prototype colors. Unpainted
wood quickly weathers to a light grey, but
the prototype may actually have painted wood.
Simulate the wood grains by dry-brushing
long and wavy streaks of a color at least
two shades darker than the basic color. If
the model has a molded-in wood grain, you
will find that,with practice, you can force
the dry-brushing to touch mostly just the
raised streaks of simulated wood grain.
Wood grain can also be simulated with a
thick coat of the model’s color. Let the under-
coat dry overnight.Spray on a thin single
coat of a lighter color (with about 20 percent
white added to the model’s color). To simu-
late bare wood, use Burnt Umber #2006 for
the thick undercoat and a light gray for the
thin second coat. Let that dry for an hour,
then gently scrape the surface with the teeth
of a razor saw so the original dark undercoat
shows as dark scratches. Jiggle the saw as you
scrape to produce wavy wood grain.
WEATHERING EFFECTS FROM USE
The humans that operate and repair
aircraft and armor can create their own wear
on the machinery. The edges of frequently
removed panels for access to engines, arma-
ment or controls will often be chipped and
worn. The areas where the mechanics and
operators touch latches or the edges of doors
or canopies will eventually wear and chip and,
if the vehicle is a light color, show signs of
dirty hands. Simulate the chipped paint with
dry-brushing Gunmetal or Exhaust Metalizer
and match the greasy smudges with period-size
applications of Black.
If the exhaust pipes exit near the surface
of the aircraft or armor, those areas will be
stained with black. Similarly, the areas in the
airflow behind guns will be stained from
gunpowder residue. Leaking hydraulic fluid
can cause similar stains, as can close encoun-
ters with explosions. Generally, dark grey is
a better choice for the stains that are black.
You can mix white with black or use a dark
gray like Panzer Schwarzgrau #2094.Mix a
wash of this dark grey and apply it in very
thin lines,building it up with at least three
and perhaps as many as six coats until you
get the effect that matches some prototype
photo of similar stains.
Simulate the “overheated metal” effects
found around jet engine exhausts with three
or four shades of Metalizer. Start with the
darkest shade near the edge of the exhaust
and apply lighter shades working forward.
The panel separation lines can be used as a
place to change colors but, again, check with
a photograph of the prototype to be sure
that is the effect you wish to duplicate.
Armor and some aircraft were often
repainted by maintenance crews with little
regard for perfect color match. Even if the
facility had the proper color, the paint on
the aircraft or vehicle was often weathered
while the touch-up paint was fresh.Simulate
those paint repairs by painting just the patches
with full-strength color and painting the remain-
der of the model with the same color with
10 percent or more white added as described
in the section on “Scale Color Theory.”
chapter S u p e r d e t a i l i n g
T E N
10-1 Doug DeCounter’s Italeri M24 Chaffee carries
the supplies for a tank at war including Italeri jerry
cans, AEF Designs 50 caliber machine gun shells,
and a folded-up orange I.D. panel made from facial
tissue. The decals are from Tamiya.
TINY DETAILS
MAKE THE DIFFERENCE
When you look at a photograph of a
model, it is often a lack of the tiniest details
that makes it look unreal.Every aircraft and
every armored vehicle has hundreds of tiny
details that can be added to a model of that
machine. It is not necessary to duplicate every
tiny visible part,just do enough to suggest
the presence of more such details.
It is now possible to buy superdetail parts
rather than make your own.Vacuum-formed
canopies,tires with the bottoms flattened and
bulged to show weight,cast resin interiors,
etched metal interior parts, brackets,guns
and details are available from Fine Details,
True Details, Academy, A.E.F. Designs,Kasten,
Collectors Brass,Verlinden,Accurate Armor,
Scale Model Accessories, Hudson and Allen,
Kendall Model, Eduard Model Accessories,
Dragon, and other firms that advertise in
Finescale Modeler and other enthusiast
magazines. It is still possible, however, to
make most of those details yourself.
BASIC MATERIALS
Most superdetails can be constructed
from several materials: Evergreen,Plastruct
and Squadron have styrene strips in sizes
from as small as .010 x .020 inches to .125 x
.250 inches, and styrene plastic rods are avail-
able from .010 to .125 inches.You can create
your own round plastic rod by stretching the
leftover sprues or trees that the kit parts are
molded on over a candle. Brass wire is avail-
able from Detail Associates and K&S in
.006 to .052-inch diameters. Sprue stretching
is a basic superdetailing technique that can
yield wisps of plastic as fine as .005 inches
or tapered rods. It is excellent for making
radio antennae and similar tapered devices.
To heat the sprue, use two-inch round candles
so the candle won’t tip over. Cut a six-inch-
long piece of sprue and hold the extreme
ends tightly in your fingers. Hold the sprue
just above the uppermost tip of the flame
and slowly rotate it while you pull on the
ends. When you feel the ends begin to move
apart, immediately lift the sprue from the
flame and continue to pull. The harder and
faster you pull, the longer and thinner the
heat-stretched sprue will be. With practice,
you can do a slow and gentle pull that can
produce a 1/16-inch rod or, with a quick pull,
you can produce a foot-long piece of plastic
almost as thin as a human hair. Keep a pan
of water ready to drop the plastic sprue into
if it accidentally catches fire. Plastic cement
will dissolve the thinner stretched sprue and
the heat from Instant Plastic Adhesive or
cement can melt it, so you may have to use
an acrylic cement like Testor #3515 Clear Parts
Cement to attach the stretched sprue or the
finer plastic rods.
 Facial tissue makes an excellent substitute
for canvas or almost any cloth. For canvas,
soak it in plastic cement and shape it as you
wish. If you want to simulate cloth upholstery
on 1/48-scale or larger models, coat the seat
with Testor #3520 Liquid Plastic Cement and
press a single layer of facial tissue into the
wet cement.When it dries,trim away the
excess tissue.
BASIC
SUPERDETAILING TOOLS
When you attach any thin plastic, do not
use any type of plastic cement because it
will dissolve the thin plastic. Use the Model
Master #8874 Instant Plastic Adhesive followed
by the #8875 Adhesive Accelerator to attach
small plastic parts, etched metal details or
interior bracing from thin strips of styrene.
To open up instrument faces, exhaust
pipes, gun ports or to provide mounting
holes for control cables or antennae, use a
drilling tool called a pin vise. The pin vise is
designed to be held in one hand, and it has
interchangeable chucks that will hold drill
bits from a size 80 (.0135 ) to 1/8 (.125) inches.
With practice, you can drill straight and true
holes in the relatively soft plastic or resin
used in model kits with a pin vise.
COCKPIT
DETAILING
The canopies in virtually all of the plastic
model aircraft kits are too thick for realism.
This is not readily apparent unless you want
to model a cockpit with an open canopy.
Squadron and others make vacuum-formed
canopies that are only about .010 inch thick
and are direct replacements for the canopies
in specific 1/72 and 1/48-scale kits.
You can also make your own thin plastic
canopy by stretching Squadron’s butyrate
heat-stretching thermal plastic over the
original kit’s canopy. Fill the kit’s canopy
with modeling clay and mount it on a six-
inch-long piece of pencil. Clamp the pencil
in a vise or to the edge of the workbench.
Light a small two-inch candle and hold the
sheet plastic three or four inches above the
candle until it sags, then immediately move
the plastic over the canopy and pull down
evenly and quickly. The canopy should cap-
ture all of the detail and shape of the original.
If not, leave the plastic over the candle just a
moment longer, but have a pan of water
ready to drop the plastic into should it catch
fire. Mark a line with felt tip pen to indicate
the edge of the canopy and trim it to shape
with scissors.
Simulate tinted canopies with an airbrushed
application of nine parts Gloss Clear #2017 to
one part Willow Green #2028 or True Blue #2030.

10-2 An Italeri M24 Chaffee superdetailed by
Doug DeCounter to match photos of identical tanks
in battle. The model has been upgraded with etched
brass parts from On the Mark including fender
guard supports, light guards, tie-downs, the turret
vane sight and latches.
INTERIOR DETAILS
Your research should produce some
photographs of the interior of the aircraft or
armor you are modeling. If not, study similar
aircraft or armor, to fill in some of the areas
not visible in the photographs of the proto-
type for your model. The 1/48-scale and larger
aircraft usually include interiors that can
provide a guide to what parts are necessary
to include and which can be ignored,espe-
cially when you duplicate a similar interior
in smaller-scale aircraft.
A number of firms offer instrument panels
designed for specific aircraft in specific scales.
Other firms offer complete cast resin interiors.
If you’re new to the hobby, you might want
to buy one of these instrument kits and an
appropriate cast resin interior, if only to see
whether you want to build your own for the
next aircraft you model.
Even the cast resin cockpit interiors can
be superdetailed or you can add these touches
to your own cockpits.Make interior cables
with copper wire strands and control levers
from stretched sprue. After the seats are
complete, make seatbelts and harnesses
from masking tape – a single la yer for 1/72
scale and sticky-face-to-sticky-face double
layers for 1/48 or 1/32 scale. Make buckles
from pieces of clear plastic tape painted with
Aluminum #1781 and cut the tape to about
the thickness of a piece of thread.
The coil spring-style guitar strings can
be used to simulate oxygen hoses in 1/72 and
1/48-scale aircraft. The strings are available in
several sizes.The strings can also be used for
conduit on 1/48-scale or larger armored vehicles.
Apply drops of Model Master #8876 Clear
Parts Cement to the instrument panel gauges
after the decals are in place to simulate glass
faces. For colored indicator lights, mix a drop
of orange or red paint in a puddle of Clear
Parts Cement and apply it with a toothpick.
Simulate rivets and small knobs with drops
of aluminum paint applied with a sharp
toothpick.Add Waldron or a similar brand
of replacement decals.
For ultimate realism, build a new instrument
panel from sheet styrene using Waldron hole
punches for the instrument locations, then add
Waldron’s etched bezels and decal instrument
faces to create a more realistic instrument panel.
OPEN EXHAUSTS,
INTAKES AND GUN BARRELS
To open up gun barrels, round air intakes,
or exhausts,start with a drill bit about half
the diameter of the final opening. It is easier
to find the center of the part with the smaller
bit.Now, drill the hole larger with a bit three-
fourths the size of the hole. Finish with the
final-size bit. If the three-fourths size hole
is a bit off center, use a jeweler’s file to finish
the hole. If the hole is too small for a jeweler’s
file, use the drill bit as a file by moving it in
and out of the hole with a rubbing action.
K&S makes brass and aluminum tubing
from 1/16 to 1/2-inch diameter.You can make
this tube look like scale-size exhaust pipes,
gun barrels or carburetor intakes by rotating
a hobby knife in the open end to chamfer
the thick edges to a sharp edge.
If you can find a piece of tubing to match
the size of the gun, replace the gun with the
tube. Model Master Tube Glue Nozzles #8805
are one source. Some hobby stores sell a variety
of sizes of hypodermic-type miniature tubes
and other hardware. For guns, cannons,
intake or exhaust tubes 1/16 inch or larger,
use K&S brass or aluminum tube.
Open the vent holes in wings or the
small triangular fillets in landing gears by
drilling into the center of the opening with a
1/16-inch drill bit, then enlarge the opening
to size with round,square,knife-edged,or
triangular jeweler’s files. Etched brass gun-
sights and cooling grids are available for both
aircraft and armor. Cut them with fingernail
nippers or sprue cutters and attach with
Instant Plastic Adhesive.
ENGINE
DETAILS
There is no need to detail more than the
portion of the engine that is visible through
its openings unless, of course, you are modeling
an early era aircraft with an exposed engine.
For a diorama, you might want to build an
engine or modify an existing kit engine, and
install it with an open access panel. The access
panel can be made by heat-stretching Squadron’s
butyrate heat-stretching thermal plastic
over the engine area of the kit’s fuselage
as described earlier for making canopies.
Remove the engine cover from the kit with
a razor saw during the assembly process
and substitute the heat-formed cover in an
open position.
For a variety in the sizes of cables and pipes
on jet aircraft engines, select several different
sizes of the smallest plastic rods,stretch some
plastic sprue for even finer pipes and use both
thin solder and single strands of copper wire.
Match the proportions of the different sizes
to photographs of the prototype engine.
Add spark plug wires using single strands
of 14 gauge household lamp cord stranded
copper wire, inserted into holes drilled with a
pin vise. Add pushrod tubes to radial engines
using stretched sprue or plastic rod. Use a
half-dozen strands of copper wire to simulate
wiring harnesses. For exhausts or air intakes
that are supposed to be metal pipes, drill into
the “open” end of the exhaust with a drill bit
about half the exhaust diameter, then twirling
the end of a hobby knife blade into the hole
to chamfer or taper the edges so they appear
to be a pipe. Replace any molded-in screen
or mesh grills with etched brass parts from
after-market companies that specialize
in such products. For less expensive mesh
effects, paint the areas flat black, then dry

10-3 To open the barrel of a gun, mark the center
of the hole with a compass point, then drill the hole
using a pin vise.
brush the screen area so that only the screen
is colored.
DETAILING LANDING
GEAR BAYS
Hopefully, you will have located photographs
of the interior of the wheel wells for the type
of aircraft your are modeling. Most aircraft
models, even in 1/32 scale, lack complete
interior detail in the wheel wells. On the
l/72-scale models,there is often no detail
at all.The wheel well doors are usually
too thick. Use the heat-stretching process
described for making new canopies earlier in
this chapter to make duplicates of the wheel
well doors in thin clear plastic.You can make
them in two layers if the kit includes interior
details and, if not, build up the details with
strips of styrene to match your photographs
of the prototype.
To accent the details on landing gear struts,
use three or four colors of Metalizer or shades
of color, each slightly lighter than the next.
On telescopic landing gear struts, paint the
shiny telescoping portion with Stainless
Steel Metalizer #1402 and polish with a
cotton swab.
To make superdetailed tire s ,c a refully fill any
seams on two-piece tires and sand them so
there’s no trace of the joint. Cut new
treads with a razor saw. Use a household
iron,covered with a double layer of waxed
paper, to soften the bottom of the tire so it
can be made to appear slightly flat and
bulged from the weight of the aircraft or
armor. If you’d prefer, True Details makes
cast resin tires for most 1/72 and 1/48-scale
aircraft that have full tread and are flattened
and bulged to look as though they wer e
supporting the weight of the real aircraft.
MOVABLE AIRCRAFT
CONTROL SURFACES
“Movable”control surfaces can add much
to the realism of the model. They must,
however, be cut during the initial kit-assembly
process.Movable control surfaces can be
simulated by cutting the flaps from the model
with a razor saw. If the shape of the hinged
joint is complex or includes protruding hinges,
it may be necessary to use a jeweler’s saw
(available from hobby shops) to remove the
flaps. On some models, you can simply slice
through the molded-in seam by making
several dozen passes with a hobby knife.
Any of these methods will leave an unrealistic
gap between the control surface and the wing,
rudder, or stabilizer. On 1/72-scale models,
these gaps can sometimes be filled with a
single bead of Instant Adhesive or five-minute
epoxy. On large-scale models, a strip of .010-
inch-thick Evergreen sheet styrene may be
added to the flap to replace the material
removed by cutting.
chapter F i g u r e P a i n t i n g
E L E V E N
11-1 The darker “wash” produces shadows auto -
matically as it settles into the cavities of the cloth.
ADDING REAL LIFE
TO OUR MODELS
Some of the aircraft and armor kits include
figures. If not, a wide array of accessory figures
are available in all the popular scales. There
are, of course, figures available in scales much
larger than that used for aircraft or armor that
can be used to supplement your collection of
miniatures.
Some of these figures include a choice of
arms or legs so you can position the figure
in a variety of poses. If you want to modify
the figure ,h o w ev e r, it is relatively easy to
make cuts into the backs of the elbows or
knees with a razor saw.The arms or legs can
then be bent into the position you desire and
the open “v” filled with Model Master Red
Putty #8879C and filed to match the remainder
of the figure.You can even make cuts in the
front of the neck and at the waist to allow a
standing figure to be posed looking upward
or, with cuts at the rear of the neck and waist,
to pose that same figure leaning over.
YOURSELF
AS AN ARTIST
Figure painting can be accomplished with
several methods. The most difficult to master
is to consider the figure as a blank canvas and
you are the artist who will apply both color
and shadow. That method really requires some
special training in painting the shadows and
textures of skin and the shadows and textures
of cloth. Fortunately, the three-dimensional
nature of model figures makes it easy to adapt
the second method,which consists mostly
of simply staining the figure by applying thin
washes of about nine parts paint to one part
thinner.
PAINTING WITH WASHES
When you paint a figure with the “wash”
technique, the wash will automatically take
care of most shadows and highlights. It’s the
technique of choice for 1/72 and similar-size
figures. The thinned washes will travel by
gravity and capillary action to automatically
fill in the hollows or deeper areas with more
color, leaving the more exposed areas with
less color. To begin, paint the figure with the
lightest color you will want to use, right out
of the bottle, followed by one or more addi-
tional “washes” of the same basic color but
a shade or so darker. The wash technique has
the added advantage that you can remove it
before it hardens and start over with a lighter
or darker wash.Finally, the figure is completed
by applying pinpoint-size dots and streaks
to accent the eyes, eyebrows,mouth,nostrils,
buttons, zippers and similar sharp details. The
mixture and proportions that are suggested
here are simply a starting point; you must
still use your “artist’s eye” to determine if the
results really do match the color photographs.
PAINTING FACES
AND HANDS WITH WASHES
Start with a color photograph of the race
and hair color of the figure. Do not rely on
color illustrations in books or you will simply
be recreating another’s art – the goal is realism
and that means starting with the real thing.
You may be able to use the Model Master
II Skin Tone Tints: Base-Light #2001, Base-Dark
#2002, or Warm #2003 right out of the bottle.
Most often, however, you will want to mix two
or more of these shades. Consider this to be
the darkest color even if it exactly matches
the color of the skin in your photograph of
a real person. Mix colors on glass or acrylic
Plexiglass as a palette. For the first color coat,
take about four drops of the skin color and
add one drop of Flat White (to lighten the
tone by 20 percent).Compare this shade to
the photograph to see if this mix matches the
brightest areas of the skin. If not, add another
drop of white to lighten the mix or four more
drops of your mixed skin tone to darken it.
When you are satisfied,mix enough of this
color to paint all the skin tones on the figure.
You can apply the paint with a brush to save
time. Let this base skin tone dry overnight.
Mix nine parts thinner with one part of
that full-strength skin tone mixture and use
a paint brush to apply this to the skin as a
“wash.” Hold the figure horizontally on its
back so the wash will run into cavities around
the eyes,mouth,chin,ears,and around the
fingers,wrists, elbows and other depressions.
If the figure is sitting, you may need to wait
until the face is dry before applying the wash
to the hands or arms. The goal, here, is to
allow the wash of full-strength skin tone to
create natural shadows in the depressions of
the body surface. Use a dry brush technique
to apply some of the darker skin colors to
accent hollows in the cheeks or dimples in
the chin or tendons on hands, arms and legs.
Use the same technique to paint hair.
Again, mix the lightest color you can see in
the highlights of the photo and apply it as
the base coat. Mix a darker shade and apply
it as a wash and, finally, mix nine parts of
thinner and one part of Burnt Umber (for a
brownish tint) or Burnt Sienna (for reddish
tint) to accent the molded-in creases that
provide the hair texture.You may need to thin
this even more so that the dark color leaves
only a hairline trace. For larger scales, it is
sometimes useful to trace the lines in the hair
with a knife before applying this final dark
wash. When the wash is applied, it will collect
mostly in the knife slices and any excess can
be wiped away. On larger-scale figures, you
can effectively simulate beards or just an
unshaven look by picking at the bearded
areas with the point of a knife to provide
pinpoint-size cavities for darker stain to rest.
For smaller scales, apply a mixture of about
equal parts Flat Clear and the darker hair
color to simulate an unshaven appearance.
11-2 Use a razor saw to cut the figure so it can be
posed in a different position. Fill the gaps with putty.
For a final shadow effect, mix four parts
of your skin tone and one part “Base-Dark”
tint. Mix nine parts thinner with this and
apply it as a wash to the opening of the
mouth and to the eye cavities.Finally, use a
pin to apply Burnt Umber or Burnt Sienna as
a single dot to each eye and as a streak just five
or six “dots” wide to simulate the eyelash.Use
a “dry brush” technique with a sharpened
toothpick tip to streak on the eyebrows to
match the darker hair color.
PAINTING CLOTHING
USING WASHES
You may need to rely on color illustrations
of uniforms; however, a color photograph of
a similar uniform, even if from another era or
country, will provide the colors and shadows
you are trying to duplicate.The majority of
the uniform colors you will need are available
right from the bottle in the Model Master II
series because most countries in this era used
similar shades on both their uniforms and
their equipment. Some of the unusual bright
colors like Piping Pink #2010, Cadmium Yellow
Light #2011, Napoleonic Violet #2013, British
Crimson #2009 and German Uniform Feldgrau
#2014 are also included in the Model Master
II line.
11-3 The “Artist’s Method” of painting figures.
From left to right, Step 1, Step 2, Step 3 and Step 4.
Use the process described above for painting
hands and heads but substitute the ready-mixed
uniform colors. For the base uniform color, add
about 20 percent white. Use full-strength color,
thinned with four parts thinner for the shadows.
THE ARTIST’S METHOD
Each skin color will require a selection
of base colors and accent colors to match the
actual person. For this example we’re using
a relatively well-tanned Caucasian.
Step 1. Assemble the figure and file or carve
away all traces of mold or parting lines.Fill
in any recess or ejection-pin marks.
Step 2. Start with Model Master II’s #2001
Skin Tone Tint Base Light and allow the
paint to dry for at least 24 hours.
Step 3. Paint the low or “shadow”areas
including the creases, folds and along the
hairline with #2004 Skin Tone Shadow Tint
using a number 0 round sable brush. The
remaining painting should be accomplished
in a single evening while the paint is still wet,
so allow plenty of time for the remaining steps.
Step. 4. Paint the protruding and prominent
“highlight”areas with a mixture of about
four parts #2001 Skin Tone Tint Base Light
and one part White.There should be a bit
more gloss in the skin of larger-scale figures, Step 8. Finish the head by adding the hair
so you might want to use Semi-Gloss White color. This red-haired warrior was painted
for anything larger than 1/48 scale. with #2005 Burnt Umber as a base coat for
Step 5. Use a small amount of Model the hair. The hair was then highlighted by
Master #1156 Brush Cleaner and blend the dry brushing with #2008 Raw Sienna. The
areas between the darker “shadow”and beard was painted with #2005 Burnt Umber,
the lighter “highlight”areas by dragging but blended with Black and using #1156
paint from both to blend the light and dark Brush Cleaner to partially dissolve the Burnt
over the medium original #2001 Skin Tone. Umber.The eyes are added with Black applied
Do not, incidentally, use #1789 or #8824 with a number 00 brush and highlighted with
Airbrush Thinner because its greater solvent White. The teeth are a mixture of white with
action might dissolve right through to the a few touches of yellow and black.
original Skin Tone.
Step 6. Add some visual warmth to the
cheek under the eyes, along the jaws,lips,
temples, cheeks and nose with some #2003
Skin Tone Warm Tint.Leave the deeper
wrinkles and recesses alone.
Step 7. Again, use a small amount of
Model Master #1156 Brush Cleaner and
blend the areas that have been covered with 11-5 The final touches in Step 8 can include adding
white teeth using a 3/0 brush to apply the paint.
both #2004 Skin Tone Shadow and #2003
Skin Tone Warm.Touch the brush occasionally
to White to provide a lighter look. Use the
lighter accents to help make the figure appear
peaceful and more #2003 Warm Tint to make
the figure appear hot, cold,angry, or excited.

11-6 Use a 3/0 paint brush to apply the “wash”

to accent the details of the face.

11-4 The “Artist’s Method” of painting figures.

From left to right, Step 5, Step 6, Step 7 and Step 8.