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 Winter 2018
modeling is fun

04
Sure, there is a serious side to the subject matter Toyota Geneo 20
— especially the history of the combat aircraft and Aoshima’s 1/32 scale forklift takes a beating
armor that dominate the hobby — but we all enjoy by Rubén González
the process of building. Sometimes the subject
14
T-47 Snowspeeder
matter can be fun, fantastic, and even zany. Cool finish for Bandai’s 1/48 scale Star Wars
rebel ship
That is what’s great about the magazine you hold by Juan Manuel Villegas
in your hands. With bright layouts and big pictures,

25
Damaged celebrates the “rest of modeling.” While Playing Cards
Small-scale café diorama brims wth details
you’ll find popular genres like sci-fi in the mix, many
of the subjects are things you might find categorized
26
Seaplane: Northway Aviation
as “miscellaneous” or “other” at model contests. This Painting and a clever base put Modelcraft’s
issue includes civil aircraft, construction equipment, 1/48 scale Norseman at a Canadian dock
a steampunk train, and, believe it or not, a whimsical by Daniel Zamarbide Suárez
Chernobyl diorama. Uniting all of these disparate

38
The Imperial Express
ideas, whether it’s a kit built straight from the box or It’s scratchbuilt and it’s steampunk — need
a scratchbuilt masterpiece, are the first-rate finishes we say more?
done by some of Europe’s top modelers. You may not by Gabriele Leni
know who they are now, but I guarantee you’ll want

46
to see more of their work after reading Damaged. Chernobyl Attraction
Photographers explore an abandoned
amusement park in 1/35 scale
That’s why FineScale Modeler is excited to partner by Tomek Rojek
with Spanish manufacturer AK-Interactive to expose

56
a wider North American audience to Damaged. Mad Max
This is not a one-off either; as I write this, we are Patrol the wasteland in the last of the V-8s
working on at least three more issues that you can with Aoshima’s 1/24 scale Interceptor
by Andrés Montiel
expect to see on newsstands, in hobby shops, and at
KalmbachHobbyStore.com. Plus, look for expanded It Came From Outer Space
digital content from Damaged and AK-Interactive at
www.FineScale.com. 64 Kit-bash a crashed space probe in 1/43 scale
by Marcel du Long

68
Now sit back and prepare to be surprised, delighted, Dark Justice
Building Moebius’ 1/25 scale big-screen
and inspired. And have fun! Batmobile in layers
by Aaron Skinner
Aaron Skinner

for 502 abteilung for kalmbach media co.

Original Idea & Concept Graphic & Layout Collaborators Editor Retail, Trade Orders, and Inquiries
Enrique Royo BMS Designs Ruben Gonzalez Aaron Skinner Phone: 800-558-1544
Fernando Vallejo AK Interactive Javi Diesel askinner@kalmbach.com Outside U.S. & Canada: 262-796-8776, 818
Ignacio Fernández Andres Montiel Fax: 262-798-6592
Article Assistant Daniel Zamarbide Art E-mail: tss@Kalmbach.com
Chief Editor Maciej Goralczyk Juan M Villegas Drew Halverson Website: www.Retailers.Kalmbach.com
Fernando Vallejo Kristof Pulinckx Marijn Van Gils
Rubén González Gabriele Leni Copy Editor Customer Sales and Service
Editor Management Tomek Rojek Timothy E. Kidwell Phone: 877-246-4847
Enrique Royo www.abteilung502.com Marcel du Long Outside U.S. & Canada: 903-636-1125
www.ak-interactive.com George Mefsout Advertising Customer Service:
English texts Michael Wieloch customerservice@FineScaleModeler.info
Pete Hamann 262-798-6630
mwieloch@kalmbach.com
Damaged (ISBN 978-1-62700-627-9, 978-1-62700-628-6) is produced by FineScale Modeler and published by
Kalmbach Media Co., 21027 Crossroads Circle, P.O. Box 1612, Waukesha, WI 53187. All rights reserved. Published & distributed by
Reproduction in whole or part in any language without written permission of Kalmbach Media is prohibited.
Single-copy price $9.99 in U.S.A.; $10.99 in Canada and other countries. Canadian price includes GST.
BN 12271 3209 RT. Canadian and international orders payable in U.S. funds. Address all correspondence
to Damaged, P.O. Box 1612, Waukesha WI 53187. Printed in the U.S.A.
 1

The model’s subassemblies don’t

The 1/32 scale Aoshima Toyota present any problems during
Geneo electric lift truck is one of construction and allow for easy
those models that a modeler looks painting. After removing mold
marks and checking fit, I was ready
forward to building from the first
to begin painting.
time they set eyes on it, whether
in the hobby shop or in photos
on the internet. Luckily, I was able
to get my hands on this gem of
a kit. With its high quality and 2
amazing realism, it is a welcome
break from typical builds and is a
great opportunity to practice all Painting starts with a good layer
kinds of painting and weathering of gray enamel primer (AK758)
techniques. I used AK-Interactive applied directly from the bottle.
It’s easy to spray and produces
products unless otherwise noted.
exceptional results. AK-Interactive
cleaner removes residue from the
airbrush and leaves it spotless.

WINTER 2018 4
 Modeler
: Rubén G
Brand: A onzález
oshima
Scale: 1/
32
Tools:
Airbrush,
tweezers
Paint pro , cutter, m
duc ts: asking ta
pe
Acrylics
Enamels
Pigments
Oils

3
To paint the mast, back
rest, drive train and
rear axle, engine, and
chassis bottom, I used
satin black (AK719)
diluted with acrylic
thinner (AK712).

4
I painted the lift chain with a
mixture of satin black (AK719)
and dark rust (AK170). The
hydraulic cylinders, muffler, and
exhaust were finished with a
mix of aluminum (AK139) and
burnished metal (AK798).

WINTER 2018 5
 5

For the lift truck body, I began with base

coats of gray, applying a lighter shade
to the rear and a darker shade to the
main body. Masking tape protected the
previously finished work; MXpression
Panzer Putty (MXA001) or liquid mask
also works well for this.

6 7
I applied a generous coat of Worn Effects After masking areas to remain dark gray, I airbrushed the body with a
(AK088) with an airbrush. This serves as a mix of red (AK740), orange (AK3032), and Tamiya clear (X-22).
release agent to produce believable wear and
scratches.

8
When the paint is dry, it’s time to scratch the paint. You can obtain a
wide variety of wear effects using just a few simple tools, including pins,
toothpicks, and stiff-bristled brushes. Before you start scratching though,
soften the paint by brushing on a little water, which activates the
Worn Effects fluid applied earlier.

WINTER 2018 6
 9 10
Tools for proper application of decals, including a I used self-adhesive Bare-Metal Foil for the mirrors.
knife, tweezers, a brush, and setting solutions.

h e fo rks
nti n g t
pai

rylics.
etal with ac
Polished m

ith oils.
Weather w
ith black.
Basecoat w

of
Last touchmetal with
po lis he d
nd
pigments a
gra ph ite.

ons of dust
Accumulatients.
ons of rust with pigm
Accumulatiels.
with enam

.
Final result

WINTER 2018 7
 selective
application of
the oils
To add wear and grime to the horizontal and lower surfaces
that typically receive more dirt, I used 502 Abteilung oil
paints — dark mud (ABT130), cream brown (ABT240), dust
(ABT003), and snow white (ABT001). Combining these
produced brown and greyish tones that work nicely for a well-
used lift truck.
I selectively applied oils to the areas I
thought needed treatment ...

Depending on the area and

the effect desired, I applied different colors
from my palette. Notice the colors only
... and then blended them with
blend at the edges between them and not
mineral spirits.
throughout the piece, which would result in
a boring appearance overall.

ready for
the finishing
steps
To add a fine layer of dirt to lower areas
and horizontal surfaces, I airbrushed a
thin mixture of Tamiya dark sea gray (XF-54), flat
earth (XF-52), and buff (XF-57) at 10 psi.

Once applied, the result is

very subtle, and will serve as a base
for the later treatments.

WINTER 2018 8
 wheel
painting
process

Drybrush the tread.

Coat of dust with airbrush and acrylics. Add wear and tear with oils.

Grease stains
and wet effects
with oils.

Blend the oils

with mineral spirits. Dust accumulations with pigments.

The application of pigments to the floor around the

pedals reinforce the impression of constant use.

In addition to dirt, pigments allowed me to easily

create greasy stains, as well as all kinds of other fluids,
enhancing what I’ve already done with oils and enamels.

To achieve the brushed and satin look on the seat, I

dry-brushed the edges of the seat and back with oils.

WINTER 2018 9
 back rest
and mast painting
process

Dust and dirt accumulations

with pigments.

Stains produced with Abteilung 502

engine grease (ABT160). Rods and polished metal with graphite.

This is the most complex part of

the kit, and requires applying a
multitude of effects and combined
treatments to achieve a realistic
appearance.

WINTER 2018 10
 To complete the treatment of the sides, I applied various spots and fuel
streaks with oils and enamels. Depending upon the effect, I used either a
brush directly or flicked the paint from a brush to get spatter.

The rear of the lift truck shows signs of rust Then, and without covering I finished the process with an
and damage from use. I brushed light rust colors the light rust, I application of a mixture of
over the chips and dings I made earlier. applied darker tones. oil and enamel.

Pigments and some paint spatters

help integrate this part with the rest
of the vehicle.

WINTER 2018 11
WINTER 2018 12
 I want to thank Juan M. Villegas for helping with the assembly and with a
complete photo report of this lift truck, which served as a great reference.

WINTER 2018 13
 Bandai’s Snowspeeder is one in the magnifi-
cent kits from its extensive series dedicated
to the Star Wars saga. Like all other kits in
the series, it is designed to be assembled
gas
n Manuel Ville
Modeler: Jua
without glue.
ai
Brand: Band It includes a set of waterslide decals as well
Scale: 1/48 as a second set of self-adhesive markings for
tape inexperienced builders. Being a model “for
Tools: e r, d rills, masking
eze rs, c u tt all audiences” is not at odds with the level
Airbrush, twe of detail, which is very good. The kit does
cts:
Paint produ not include landing gear, so the model must
be represented in flight. For this, the kit
Acrylics
supplies a base and posable support.
Lacquers
Enamels As for painting, I wanted my Snowspeeder
to represent one that appears in The
Pigments
Empire Strikes Back. But I pushed the finish
Graphite a little to create an operational ship that has
seen several battles against the Empire and
has not been maintained well by the rebels
as they continuously move from one
provisional base to another.

WINTER 2018 14
 1
I enhanced the kit’s
fine rivet detail by
deepening them
with a fine needle in
a pin vise.

2 I shaved off part

of the molded
mounts for the
crew, preferring
to glue them in
place.

The pilot and gunner 3

figures are quite static. I
modified both, replacing
their arms with parts
from other 1/48 scale
pilots. For one of them,
I repositioned the head
so it looks in direction of
the turn that the ship will
make when I set up the
display stand. I also added
harness details with fine
wire and lead foil.

WINTER 2018 15
 I added rivets, small
knobs, and switches to
the forward console ...

... and the gun.

4 5

6 7
Often ignoring the order of the instructions, I built parallel subassemblies together. This I added a strip of styrene to help close the
helped me add similar detail to similar parts. An open airbrake is one of the options that gap left when the lower airbrake is posed in the
the kit offers, showing the wealth of detail inside. neutral position.

8 9

The canopy frames are well defined so the process of masking both the inner and outer surfaces was easy. I
painted the interior black and used gray to highlight the quilted padding detail on the ceiling.

10 11

WINTER 2018 16
 13 Next, I applied Tamiya medium gray (XF-20) in thin layers
so as to not completely cover the shading effect.

14

12
To make interior details pop, I followed these steps:
White primer (AK759) airbrushed from above added strong pre-
shading to the cockpit components. Then, I added shadows by
airbrushing the parts with black primer (AK757) from below.

15 16
I picked out panel To enhance details, I used a
lights and buttons with mixture of burnt umber and
white, red, and green black oil paint applied as a
acrylics. Attention to wash to the cockpit parts.
these details can bring
a model to life.

17

The washes darkened some areas, so I applied

highlights to the gray areas with artist’s oils. To
avoid the highlights mixing with the wash, I let
the gray dry, then blended it with a makeup
sponge or a clean brush.
18
See the transformation of the crew with respect
to the original on the previous page. They fit well and the
colors will stand out against the rest of the cabin.

WINTER 2018 17
19 20
The interior sides were finished the same way, painting I used watercolor pencils for final details: brown to provide a little dirt near
every detail its proper color and taking into account the bottom, a light gray to simulate scratches, and graphite to give a metallic
highlights and shadows for each. sheen in some areas. Then I clear-coated the parts.

21

22 To enhance the radar screen, I added gloss and depth using transparent green.
In this sequence, you can see the rear radiator painted with burnt
metal (AK484) over a gloss black base (AK471) from the Xtreme Metal range. I
added shading along the bottom of
the fins with a thin blend of sepia ink and Tamiya black (XF-1).

23 24 25

WINTER 2018 18
 I pre-shaded and pre-highlighted the body to give slight tonal difference
to the finished model under thin layers of the base color. I started by
masking various panels and areas and spraying several shades of brown,
white, and black. It is laborious but I think the result is worth it.

26

27

28 29
Then, I hand-brushed white
acrylic to highpoints to add
extreme highlights.

31
Using thinner than normal paint, I
airbrushed the upper final color. This
allowed me to keep the paint a little
translucent and not completely cover
the pre-shading.
30
The tonal steps are exaggerated, but
remember that later they will be
integrated into the overall scheme
once I apply the final color.

WINTER 2018 19
 32
The Snowspeeder’s red ID bands
were heavily worn. I painted a layer
of flat red over AK-Interactive Worn
Effects, then removed some of that
color with a brush and a little water.
I added a slightly different shade
of red over more Worn Effects and
repeated he process for a deeper,
more realistic finish. This approach
goes a long way to simulating the
effects of moving mechanical parts.

33 34
I added some
chipping to
the red bands
with deck tan
(AK3067) on a
fine brush
and a chunk
of sponge.

The basic color for panel

lines and dirt is a mixture
of burnt umber and black
oil paints. I add other
colors as I go, mixing and
blending them while they
are still wet on the model.

35
Oils can be 36
feathered around
the edges with a
soft sponge.

37

I added dirt streaks flowing aft from 38

the panels using AK-Interactive
streaking grime over the dried oils.

WINTER 2018 20
 39
I wanted the back
area to be very dirty — a
result of continuous low-altitude
flying in the turbulence caused by a not
particularly aerodynamic airframe. The idea came to
mind simply by seeing pictures of the back of a car after a long
trip in rainy weather. After applying oils, I used pigments to create dirt
with a little more of volume. I picked out the edges of the radiator fins first with
dark steel pigment and then with a graphite pencil.

40 41
Using earth-tone pigments, I added dirt to access areas on the upper surfaces and in areas prone to accumulation on the lower ones. In order to create
burned areas on the nose from the heat of the laser cannons, I first applied burnt rust red pigment (AK144), then smoke (AK2038), a perfect combination
for that effect. I also placed some earth tones under the smoke to add depth.

Due to the conditions in which these ships operate, I couldn’t leave the canopy clean and bright. I applied AK-Interactive
rainmarks (AK074) to all of the clear areas, then removed it with clean thinner. Scratches completed the effect.

42 43

WINTER 2018 21
WINTER 2018 22
WINTER 2018 23
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WINTER 2018 24
playing cards

next match
The smells and sensations of an old café are
difficult to capture in a vignette, but as we see
here, it’s not impossible. Reference photographs
helped to re-create a corner with all the charm and
old-fashioned flavor of a small coffee shop.
Various elements were used to make this
scene: resin, wood, plastic, and even a
straw for the chimney on the old stove. It’s
definitely an inspiration.

WINTER 2018 25
 From the cold waters of
Canadian lakes, I present this
floatplane, a subject that often lurks on the
must-build-someday list of aircraft modelers. Building
the model was a simple and enjoyable experience. The interior
features were pretty basic, so improvements were in order. They included
custom-built details, such as anchors, cushions, and harnesses in the seats, and a
few photo-etched parts and surplus resin pieces from other models.

Modeler
: Daniel Z
Brand: M amarbide
odelcraft Suárez
Scale: 1/ U C - 64 Norse
48 man
Tools:
Airbrush,
tweezers
Paint pro , cutter, m
duc ts: asking ta
pe
Acrylics a
nd enam
Pigments els
Watercolo
r pencils

WINTER 2018 26
1
2
All components were
painted separately with
various vivid and
eye-catching colors.

The instrument panel was com-

pletely scratchbuilt based on pho-
tos of a full-size UC-64 Norseman.

4
The engine of the model is
basic, so I improved it with
solder and copper wire.

I used a dark brown 6

wash to highlight
the details.

5
I applied a basecoat of
AK-Interactive Xtreme Metal
dark aluminum (AK480).

WINTER 2018 27
 7
Once the fuselage was closed and
the airframe assembled, I made
some improvements, such as the
addition of a styrene tube exhaust
pipe.

Other areas of the model that

needed improvement were the cowl vents and the
windshield frame, which I enhanced with thin styrene strips.
Then I masked the windows and prepped for painting.

When starting to paint, and even more so when colors overlap, I always start with the lightest
color — in this case, Tamiya flat white (XF-2) on top of the fuselage.

When the white

was dry, I masked
it to apply the
second color.

10

WINTER 2018 28
I painted the rest of
the fuselage and the
wings with Tamiya
yellow (XF-3).

12
After masking, I applied
flat black for the anti-glare panel on the
nose and painted the floats aluminum. Then
11 I removed all the masks.

I used a mechanical pencil to mark 13

the panel lines, door outlines,
and similar details. It’s simple and
produces good results. The fine
point is easy to use on flat paint. I
sealed everything with clear gloss.

I used a black technical marker to

highlight super-fine details, such
as the rivets on the engine cowl.

14

15 I sealed all of the work with a layer of Intermediate Gauzy Agent

Shine Enhancer (AK894). It helped bring a consistent sheen to the
model and added a bright, vivid quality to the colors.

WINTER 2018 29
 I masked and painted
warning stripes that
show the area where the
propeller spins.

16 17

Dark brown wash (AK045) enhanced the joints

18 and recessed details of the float attachments. 19 Oils are perfect for shading effects and color transitions.
In this case, I used sepia to add some shading around the
float attachments.

Norseman tails were rigged, so

I drilled holes in the vertical and I passed fine copper wire through the holes and, after
horizontal stabilzers. tensioning it, anchored the ends with a little glue. Note the
dynamic appearance created by turning the
rudder slightly.

20 21

WINTER 2018 30
 22 23
I applied dark yellow oils to the recesses After letting the oil paint sit for
between the ribs on top of the wings a few minutes, I blended it into
and the lower fuselage to enhance the the underlying yellow using a flat
molded fabric texture. brush and smooth, even strokes
from front to back.

The finished floatplane 24

received a coat of satin varnish
to give it a realistic shine.

For the scene’s base, I used a picture frame, cork-

k I disassembled the picture frame and
board, and wooden bits from a craft store. inserted a layer of cork.

25 26

WINTER 2018 31
27 To attach the cork, I used super glue. This step is very important: Seal the joint around the perimeter of the 28
cork and the picture frame using white glue. It adds strength to the
join and provides a watertight seal.

29 30 31

32 I made the pier from

wooden coffee
stirrers. Assembly
went quickly using
super glue.

Strips of balsa wood

attached with white
glue finished the
pier’s deck.

I used wooden
dowels and copper
wire to make the pier
posts.

33

34 To add a little life to the lake, I made a few fish from The fish were painted silver and then given a transparent orange coat. 35
epoxy putty. The fins are thin sheet styrene.

WINTER 2018 32
36
I finished the lake
bottom with the fish
propped up on wire,
epoxy-putty rocks.
Painting the base
with a brown gradient
gave the lake bed an
impression of depth.

I used AK Resin Water to

simulate the lake, following the
detailed mixture instructions.

37

38
This resin can be dyed with green and blue acrylics to tint the water.
It is important not to add too much paint and to control the color by
adding it gradually.

39

WINTER 2018 33
These small dry leaves give the scene an autumnal appearance, and 40 41 After applying two layers of epoxy resin to simulate the water, I
locate the scene at a lake surrounded by trees. simulated ripples with transparent gel daubed over the surface.

el tank.
e MiG-21 center external fu
ard 1/48 scal
42 I made a kayak from an Edu
ene,
etail for the sc
As an added d

finished kayak.
is is the appearance of the
washes, th
adding a few highlights and
paint and
After applying

WINTER 2018 34
43
To give a the pier a richer
look and provide something
more to catch the eye, I stained
each of the planks with a different 44
shade of wood.
Then, I applied a brown wash to blend the shades
and lend the pier a realistic finish.

The figure is a white-metal sailor from Hecker & Goros that I modified slightly and painted with acrylics to finish the scene.

WINTER 2018 35
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WINTER 2018 37
the imperial
concept
The Imperial Express is one of
my latest sci-fi dioramas. It was
built for the World Model Expo in
Stresa,Italy, in 2014.
I wanted to make a train — not
an ordinary train, but a steam-
punk vehicle you could believe
had once existed. For this reason,
I preferred to build a classic
locomotive and add a futuristic
steampunk design.
All the parts of the train are
based on real-life steam locomo-
tives; I changed elements of the
design and numbers of things.
For instance, I preferred five
boilers to the typical single boiler
and a cab placed high
up similar to a plane’s
cockpit.
The Express is completely scratch-
built: All the items you see were
made with styrene, glue, and, in
some cases, brass. I formed some
of the cylindrical parts on a small
lathe, and I sculpted the figures.
I built the diorama in 1/24 scale;
the locomotive measures 65
centimeters long and 25 centim-
eters tall. I didn’t choose 1/35
scale because there are too many
commercial parts available and
I wanted to make a completely
original model.
I found many technical plans for
steam locomotives on the inter-
net to reference, and, after many
sketches, I was ready to build my
Imperial Express.
WINTER 2018 38
vehicle
Before construction, I spent time
studying designs and the individ-
ual mechanical parts.
For easy painting, I preferred to
make the locomotive in a series
of subassemblies, building each
component as a kit. After build-
ing each subassembly, I painted
it; final assembly was done after
painting.
boilers
I built a structure of five
boilers, arranged in two rows
of two and one on the top.Their
shape is unusual and each cylin-
drical row is different.
Using wood, I shaped the
boilers on a lathe and then
coated them with epoxy putty
to smooth the surface. They are
all the same length, but differ in
diameter and shape.
I made structures using wood
and styrene, with five holes in
each bulkhead for the boilers and
another four to accommodate
aluminum support rods.
chassis
This was the most important
part of the project. The chassis
would feature attachment points
for all of the other subassemblies.
I started with two styrene panels.
After making the housing for the
express
gabriele leni

WINTER 2018 39
 other mechanical elements, I
proceeded to create a space for
the shock absorber.

A shock absorber element in a steam

train is composed of leaf springs sus-
pended on a box that moves up and
down. Each leaf spring was made of
seven pieces of sheet styrene. Two leaf
springs for each wheel, for 10 wheels,
for a total of 140 pieces of styrene and
20 leaf springs. I made the aluminum
housing for the wheels on my lathe,
and made 12 resin copies.

lights and
front view
This was my favorite part of the
project. I built five smoke-box doors,
one for each boiler. Then I drew a
part to mount them to. I included
a big cylinder in the middle for the
lights. I turned it out of aluminum
on my lathe and then made a resin
copy. I drilled eight holes for the
LEDs with a milling machine.

front bogie
The front bogie was made from
styrene, and the wheels were
turned on my lathe.

cab and
gear box
My idea for the cab section was dif-
ferent from standard trains. I want-
ed a circular structure, similar to an
airplane fuselage, supported by the
chassis. I used lightweight polysty-
rene for the body coated with epoxy
putty for a uniform finish.

After engraving panel lines, I cut the

housing for the cab and made the
structure and instruments with parts
from old model kits and placed two
red LEDs inside.

WINTER 2018 40
 driving
wheels
I made a single aluminum driving
wheel on the lathe, then added a
counterweight and other details. After
finishing the master, I made 10 resin
copies.

running gear,
smokestack,
and more
Real steam locomotives inspired the
running gear. Every part was made of
sheet styrene — more than 100 differ-
ent pieces in all. I made the smoke-
stack from aluminum and added extra
bits. The panel between boilers and
cab incoporates many gears I rescued
from an old clock.

front and
rear
I made the front and back ends of
train with sheet styrene and resin
parts. The lion and numbers are
aftermarket parts, as are the brass
details; I liked the fine detail they
added. I made rivets with a punch-
and-die set.

people
I’d never made my own figures before.
For this diorama, I wanted to show
control by the Imperial Police.

I sculpted 10 figures: four policemen

and their commander; a suspect; and
four passengers. I formed a brass-wire
armature for each figure, then overlaid
it with Tamiya putty. Then I sculpted
clothing with Milliput and other ma-
terials. I used commercially available
heads and hands. The shotgun was
made with styrene and brass.

wood base
I put a control box for the LEDs and a
battery container inside the wooden
base. Using a darker wood, I placed
two gears — one of these houses the
power button — on the front panel.

WINTER 2018 41
 On the base, I built a railway
platform using sheet styrene and
resin. I engraved a tile pattern on the
floor with a scribing tool. The bench,
clock, and monument were all fash-
ioned from sheet styrene.

roof
The platform roof and columns are
made of styrene. The roof’s internal
structure is soldered brass.

painting
I’ve been a modeler since 1990. Back
then I painted military models, Gun-
dams, historical and fantasy figures
and much more.

When I began the Imperial Express, I

already had a vision for the diorama.
The painting style must not be
dusty or weathered. The locomotive
belongs to an omnipresent, dan-
gerous, imperio-autocratic system.
Its trains are brightly painted and
are kept clean. Following this idea, I
chose a bright, vivid color scheme:
red, green, and black, with gold
highlights.

Most of the figures were painted

with artist’s oils, but I used acrylics
for the faces and hands. For the rest
of the diorama, I applied acrylics
with an airbrush and hand-painting.

For the red areas on the locomotive’s

undercarriage and wheels, I started
with dark green for shadows and
pink for highlights. Then I sprayed a
thin layer of red. Next, I used purple
for shadows and yellow for high-
lights. As fourth step, I sprayed a last
thin layer of red. With this method I
was able to produce a brilliant red.

I got the dark green effect using the

same method, but but substitut-
ing blue and pink during the first
step, followed by a thin coat of
yellow-green; then dark brown and
Payne’s gray, followed again with
yellow-green.

For weathering, I used AK-Interactive

products and some oils, but as I
wrote earlier, I wanted a bright mod-
el, so I applied minimal weathering.

On the other hand, the pavement

and the train tracks were well-suited
to weathering.

After applying gray primer, I used a

sponge with black acrylic to make
a mark on every single tile. A mask
restricted the effect to individual
tiles one at a time.

I made a variety of other marks on

the tiles using different colors —
blue, green, red, yellow, and white.
Then I airbrushed a layer of thin
sand color. Before it dried, I judi-
ciously removed some of the paint
with a microfiber cloth. This gave
the pavers a nice worn appearance.

WINTER 2018 42
 awards
As I wrote at the beginning, this
diorama competed at the World
Model Expo 2014 in Stresa, Italy.
That was the only time I took it to
a contest. The Imperial Express won
a gold medal and Best Sci-Fi Fan-
tasy Mechanical Model, an award
offered from NKGC, a wonderful
community of sci-fi modelers.
Building this diorama was a great
adventure, and I hope it will not
be my last.
Gabriele Leni

WINTER 2018 43
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WINTER 2018 44
26 april 1986.
as the result of a failed
experiment, the chernobyl
nuclear power plant experienced
the most destructive nuclear
accident in history
About 350,000 people were displaced from the area near the power plant.
The single largest population, as many as 50,000 people, were residents
of the city of Pripyat, Ukraine, located in the immediate vicinity of the
plant.
Thirty years have passed since the accident. Pripyat, abandoned by
humans and gradually being repossessed by nature, has become
a destination for thrill-seekers.
I, too, have succumbed to the power of this modern ghost
town, although I did not dare to visit. Instead I made a
diorama illustrating a fragment of the “nuclear” town.
Seeing amazing photos of Pripyat, my attention was
drawn to those of an abandoned amusement park.
The bumper cars made the deepest impression on
me and became the inspiration for this diorama.

Model
er: Tom
Brand: ek Roje
Trumpe k
Scale: 1 ter, Ree
:35 doak
Tools: A
irbrush
Evergre , tweez
en and ers, cut
Plastru ter, ma
Paint p c t sking ta
roduct m aterials pe, cop
Acrylics s: per,
Ename
l effect
s
WINTER 2018 46
Pigmen
ts
WINTER 2018 47
 base
I made the bumper car facility from sheet styrene and Plastruct and Evergreen
structural shapes, mainly L- and I-beams. The fence was made with tin and copper
wire. I used a template to shape the panels.

The rust coating the structure was applied using LifeColor Rust & Dust paint set
(CS-10). The rust colors were initially applied with an airbrush and then with a
sponge. The effect of peeled paint was achieved by applying different shades of
Vallejo blue with both hairspray and salt used as release agents. I used the same
techniques on the fence and service kiosk. Finally, to enhance detail and blend the
colors, I applied a wash and filter made of oil paints thinned with mineral spirits.

Concrete slabs for the pavement surrounding the facility were made from drywall
that I soaked in water before peeling off one of the paper faces. After cleaning
and drying the plaster, I scribed contraction joints between the slabs. After pre-
shading the slabs with black acrylic, I airbrushed various shades of Vallejo grey
until I was happy with its appearance. After placing the bumper car arena on the
base, I glued moss into the joints dividing the slabs. The moss is ground foam,
a scenic material used by model railroaders; it is important to use appropriately
sized foam to avoid an overscale effect. The next step was to glue on a few grass
tufts from Federicus Rex. Then I set the base aside.

WINTER 2018 48
 bumper cars
The bumper cars were my greatest challenge in building this diorama.
I began by making a master using sheet styrene of varying thickness. Next,
I made a silicone mold of the master from which I cast the required number
of bumper cars in resin. Then I added necessary hardware — headlights,
steering wheels, and indicators. Headlights were made by cutting pieces
of transparent sprue. I also used it to make indicators and taillights, which
I painted with Tamiya clear orange and red before attaching them. Lastly,
I made the steering wheel from tin and copper wire. I painted the bumper
cars with Vallejo acrylics using the hairspray and salt techniques to weather
them. Once the cars were mounted on the diorama, it was time to add the
vegetation.

vegetation
Dry leaves are the main element of the vegetation. I made them all using a
Green Stuff World leaf punch, a must-have tool for diorama builders. Using
real leaves and this punch, I made natural-color leaves in scale.

I made the trees from dry grass roots, which are easily transformed into
branches and even trunks of small trees or shrubs. After shaping the roots
and painting them dark brown, I attached leaves and mounted the trees to
the base.

In areas where I imagined the wind would blow through the scene, I applied
a thin layer of finely ground bark, a dark brown-and-yellow ground cover
blend also used model railroaders. Here it imitates a layer of crushed and
decomposing organic debris. Then I added about 1,500 individual leaves.
Such a large amount was necessary to obtain the impression of multiple
layers of leaves that have fallen from a large number of trees surrounding
the bumber car enclosure. I concentrated the leaf
deposits where they would accumulate due to the
wind, such as the recesses under the bumper cars
and along fences.

The final stage of work on the base was the applica-

tion of several layers of filters on the concrete slabs
around the dirt and moss.

WINTER 2018 49
vehicle
I included a UAZ 469, because it’s still
popular in Ukraine (and elsewhere). In
my opinion, Trumpeter’s 1/35 scale kit
is the best on the market. The plastic
parts are good, with no flash, no sink
marks, and no fit issues. Pay attention
to alignment when assembling
the chassis, but it should not cause
trouble, even for less experienced
modelers. For this scene, I built the
truck without the roof or windows on
the rear doors. I wired the engine with
fishing line, but it was otherwise built
out of the box.

To paint it in ever-popular Russian

green, I started with a coat of Tamiya
flat black (XF-1). Once it was dry, I
airbrushed a top coat of Tamiya NATO
green (XF-67) mixed with buff (XF-57).

Next, came a wash of Vandyke brown

artist’s oil, applied in small amounts
before excess was wiped off with
mineral spirits. Once the wash dried,
it was time to chip the paint. This
time, I decided to make very small
chips, painting them on by hand with
a fine brush and light green paint.
Inside some of the light green spots,
I painted a darker chip with brown
and rust colors. Next, I applied Mig
Productions pigments to the chassis.
I followed a similar approach for
the wheels, but used less pigment.
A couple of drops of pigment fixer
anchored the powder. The next stage
of weathering was making rain marks.
I applied small amounts of AK-Inter-
active Kursk earth (AK080) and winter
streaking grime (AK014) to the body.
Then, I streaked the enamel products
with a brush dipped in mineral spirits,
pulling them down the sides just like
gravity would draw rain down a real
vehicle.

The interior received minor weath-

ering, including delicate paint chips,
rust, and some dirt and sand. I

WINTER 2018 50
 achieved this effect with
AK-Interactive rust streaks
(AK013), Kursk earth, dust
effects (AK015), and Africa
dust effects (AK022). The
next step was adding dirt
by airbrushing a thin layer
of Tamiya buff over the
lower areas of the truck.
I added more dust to the
rear of the vehicle because
I omitted the mud flaps.
Lastly, splashes of mud
were added. I loaded a
brush with a mixture of Mig
pigments and Kursk earth,
then directed air from
an airbrush through the
bristles. Dirt on windshield
was produced by applying
a small amount of heavily
thinned wash with a soft
brush. I mounted the
wheels on the model and
placed it on the diorama.

WINTER 2018 51
WINTER 2018 52
 the
figu
The ma res
in insp iration
chose t for this
he
by Reed se figures for dior
oak, a F this sce ama were pho
manufa re ne tos
ctured nch company — to show ph of abandone
Reedoa u s , w o d
k figure ing 3-D printin hich recently tographers at Pripyat. That’s
outstan sn g ap work. T why I
ding, w atural poses . The prototyp peared on th hey are
m
compa ith the and fin e fo r each e sc ene. Its ade
ny laye e de
Civilian produces bot ring typical o tails. The qua subject is scan models are
Photog h civilia f 3-D pr lity of R ned giv
(No. 35 ra n in ee in
0103). I pher 1 (No. 3 and military fi ted objects be doak’s figures g
finished 50068) gures in ing almo is
the figu and se s
Once th res with Modern Civil veral scales. I t invisible. The
e a rtist’s o ian Photo u sed Mod
outside figures were o ils and
Vallejo grapher 2 ern
of the b n the d acrylics
ase — iorama .
I alway ,
Work o s leave there was not
n t his part h ing else
made m the diorama la for the
end. I u to do but pain
e realiz sted ab sed Vall t the
most a e o
mbitiou that with disc ut three mon ejo flat
b la
s and e ip th ck.
xtraord line and dete s. It was a big
inary w rminatio challen
ork. n, one c ge
an acco for me, but it
mplish
even th
e

WINTER 2018 53
WINTER 2018 54
WINTER 2018 55
WINTER 2018 56
 In a world of absolute chaos, only the strongest men with a penchant for
violence survive. This car evokes endless, deserted roads in arid and decaying
places surrounded by shattered vehicles. It’s a slice of the history from
modern cult cinema. I finished the Interceptor with AK-Interactive products
unless otherwise noted.

To mimic decay from multiple effects on the

original vehicle, I started with a body painted
glossy and bright, just like a new car, using GSI
Creos Aqueous Hobby Color black (H2).

Weathering products such as

washes and filters over the glossy
exterior will make it look like the
old car I have in mind. It helps
to achieve this effect gradually,
working some areas more than
others and enjoy the painting
process. Applying the enamel
effects directly to the glossy paint
mimics the extreme weathering I’m
looking for very well.
Modeler
: Andrés
Brand: A Montiel
oshima
Scale: 1:2
4
Tools: Air
brush, tw
Paint pro eezers, cu
duc ts: tter, mask
ing tape
Acrylics
Enamel e
ffects
Pigments

WINTER 2018 57
 What really gives the model a worn
appearance is the combination of
pigments and fixer applied wet. In this
case, I prepared a slightly reddish
mix to imitate desert dust with clay
components.

Once the pigments are dry, the tone of dust

becomes increasingly evident and realistic.

Underneath, I weathered the chassis with red primer

(AK180) and an airbrush over Vallejo black (70.950).

WINTER 2018 58
 The fuel tanks were worked
with the same rust and dust tones
to integrate them with the overall model.
I added a little extra touch with some fresh
fuel spills around the caps.

This car has no windows, so dust gets

into all parts of the interior — it would be
a mistake to leave it clean. I deposited a drop of Gauzy gloss (AK893) in the
dashboard gauges to simulate glass.

After masking
the path of the
windshield wipers, I
gave the rest of
the front glass a mist of
I painted the engine ultra-matte varnish (AK183)
blower with Xtreme that perfectly contrasts the
Metal white aluminum two areas.
(AK478).

WINTER 2018 59
WINTER 2018 60
 Here you can see the finished model with the product range used to make it happen.

WINTER 2018 61
WINTER 2018 62
WINTER 2018 63
it came from
outer space
Over the last couple of years, I’ve become more and more interested in kitbashing projects. I like that I can do anything I want without any historical
or technical restrictions. Possibly the best term for the way I approach my projects is “imaginative modeling” — It gives the modeler the freedom to
build and make whatever they want to be there. You are in control of your own designs, colors, and setting. I’m very inspired by concept artists like
Simon Stålenhag, Ashley Wood, and Ian McQue. When it comes to fantasy or sci-fi, I’m also inspired by movies like Oblivion, District 9, and the Star
Wars series, as well as the Half-Life 2 video game.

It Came from Outer Space was a project I’ve had in mind for years but never actually started until I did a commission for a Dutch computer-game
studio called Ronimo. I built a small sci-fi vignette for them based on one of their main game characters named Clunk. Afterwards, I received some
broken Clunk spare parts, and Clunk’s body was perfectly suited as a start for a crashed “thing” from outer space. The project was born…

WINTER 2018 64
 d
she em-
ild up
r a
ec to l
ron anted ateria
bu sci-
fi d
ow em g
s et w a s a h. I als een th settin rials
t
ept n Ear t betw nd th ” mat d
e e
& co nc
re o tra s
ct a ac e ine l
The ewhe e con obje ter sp I imag e loca it
e u .
som size th of th om o h site for th hat is
a e r s
ph sha ech al cr scene and w
p “ f a
t r
and he hi- natu of the thing
t e s
— us t ene s t is thi
h s ,I
r s
ve stra n g h a b ase body
: “W am k s
the dents e?” l a r fo e Clun spare
si e r g u t h y
re g h tan ith m les
doi
n
a rec site w ts from need ause
on sh ar ure ec
r k ing e cra ded p punct clips b . I also a
Wo ted th n, I ad o acu aper jects from
r t b s
sta ts. The artial num p ci-fi o ) part , track
s E n
par . I’m p alumi ying ed (P g gu scale
l fl h n
box smal s suit o-etc kvierli 1/35
t a
and shape e pho an Fla from arts.
r p
the d spa Germ heels rcraft in
ild p
s e a l e e w a i b u
u
5 sc driv cal
e y“ ku
1/3 s and 1/48 s e of m o brea
link , and on t
k t o be at I do
tan g
oin jects s.
th
s
a ” prg o
sw uild
Thi week lved b
one , invo
lon
g
ing ” tely
t g e dia . So, I
in hin m ne
g im as do d star I
t-
pa
n
t ti
e“
ain ”w ,a n g,
in p “thing shing e wron et up
th t e
be g of bru
d to uction nd air n’t get nger t ust pic
m os k
n tr a o o j d
I wa r cons iming nd. D akes l oes to neede
e r a t d
aft ped p g by h but it an it me s.
, h e ti n
skip aintin shing sion t ion th sessio
p ru s t
ed airb ing se men ween ook
e
lov spray , not t sh be
o t
e y ; it t spilled
a u -gr .I s-
for brush airbr ht tan plastic as ea
a
up lean a
n lig ed is w
c c r ylic r the r but th
to da ve ts,
ap plie s to co PE par
t, I er e
Firs ral lay t on th
e
sev e pain
som

Model
er: Mar
Brand: cel du L
scratch ong
Scale: 1
:43
Tools:
Brushe
s, twee
Paint p zers, cu
roduct tter
Acrylics s :
AK ena
mel eff
Pigmen ects
ts

WINTER 2018 65
ily removed with fine sandpaper and
a knife. The hemisphere-shaped hood
was left in its original light gray color,
but I picked out some details with me-
dium gray. Next, I painted the exhaust
and wing attachments gloss black and
treated them with metalizing powder
from Uschi van der Rosten polished
in with a soft cloth. This combination
produces a superb metal finish; I can’t
recommend it highly enough.
Dry transfers from Verlinden were
added, before the craft, except for
the metal parts, was sealed with thin
Vallejo gloss varnish.
weathering
Usually, I use Liquitex acrylic inks for
weathering. They are a joy to use, but
this technique can be time consum-
ing. Since this was a “build in one
week” project, I went with a quicker
method.
blue foam to balsa foam were
covered with sand held in place
with white glue.
Then, I covered the groundwork
with a wet layer of plaster color-
ed with light brown acrylic and
covered it with very fine sand.
After letting it dry for 24 hours,
I applied patches of model
railroad grass along the sides of
the furrow..
The brown colored earth was
achieved by applying various
brown pigments with brushes.
The pigments stuck well to the
rough plaster, so I felt comforta-
ble not sealing this layer.
Finally, I added a few flowers,
placed some aluminum foil
shrapnel in the furrow, and used
Tamiya smoke to model leaked
oil.

Using Vallejo and Games Workshop

colors, I applied subtle acrylic washes
to panel lines and recesses. Some
streaks were added as well. A black
wash went over the PE parts. After
everything dried, I removed excess
wash with a fine sandpaper to
produce a clean, tight finish as well
as highlight the PE details. Oil stains
and streaks on the wings were added
with black thin acrylic ink and Tamiya
smoke.

the crash
site
Now that the paint was done, it was
time to start on the base. I glued balsa
foam to a wooden base, covered
the sides with sheet styrene sanded
smooth, painted black, and finished
with Games Workshop Purity Seal
from the spray can.

After carefully masking the base, I

started to shape the furrow left by
the crash. First, I carved a ditch in the
soft balsa foam, then I lined the gash
with chunks of blue modeling foam.
The transition areas between the

WINTER 2018 66
 mini me
The scene needed something to give the
object a sense of scale — like a bird or a figure.
Small-scale birds are hard to find and difficult to paint,
so I chose a 1/43 scale MK35 figure. I wanted the figure to
serve as a scale reference without distracting from the crashed
vehicle. Originally, I intended the figure to be a farmer or a
curious civilian who happened to be passing. But, during painting,
one of my modeling buddies said, “Hey, that looks just like you.”
So I continued to paint it as me in 1/43 scale, including my flat cap,
Adidas jacket, black shoes, and khaki trousers.

Such small and relatively short projects are always a joy. As I said, I
usually complete several of these “build in one week” projects to
break up my other, more extensive modeling projects. You can
see more of this project at my website.

Marcel du Long
www.marceldulong.com
www.marceldulong.com/plastics/it-came-
from-outer-space

WINTER 2018 67
dark
ju st i c e

WINTER 2018 68
 introduction
Instrumental in the Caped Crusader’s
crime-fighting, the Batmobile has been around
almost as long as the character and been seen
in every iteration of the stories including TV
and films.

Those on-screen appearances range from

Chuck Barris’ hot-rod inspired design for
the 1966 TV series through the sleek, finned
machines of Tim Burton’s movies to the military
vehicle that is the Tumbler seen in the Dark
Knight trilogy.

They culminated in the sleek yet muscular ve-

hicle seen briefly in 2016’s Batman v Superman
— Dawn of Justice. To me the design looks like
the unnatural offspring of a union between the
1989 Batmobile and the Tumbler. Or if Formula
1 decided the premise of Death Race 2000 had
merit. Or … well, you get the idea.

For the model that means lots of steps: Paint

some parts and add them to the model, then
mask and paint some more, fix a seam and
touch up the spot.

The first step was part prep and cleanup. The

car’s exposed frames and mechanical parts
comprise round elements and most required
a quick scrape with a hobby knife to eliminate
mold seams. Then there were ejector-pin marks
small and large that mar many of the parts. I
removed large protruding marks with sprue
cutters, sanded smooth small ones, and filled
recessed marks with putty.

Model
er: Aaro
Brand: n Sk inn
Moebiu er
Scale: 1 s
/25
Tools:
Airbrus
h, mask
Paint p ing tap
roduct e, Silly P
s: utty, tw
Acrylics eezers,
knife

WINTER 2018 69
 1 2
For strong bonds unimpeded by First color shot was Tamiya flat black acrylic (XF-1) mixed with Tamiya
paint, I built subassemblies before thinner (X-20A). I airbrushed it at 20 psi over the front suspension
airbrushing. The rear-wing brace arms, engine compartment floor and bulkheads, rear-wing brace,
comprised five parts with play interior tub, and front wings.
between them. To ensure alignment,
I dry-fitted the assembled brace
into holes on the transaxle and
bulkheads as the glue set.

3 4
For contrast, I airbrushed the seats with Tamiya NATO black (XF-69) The interior is molded with part of the body, so I masked it with Silly Putty.
and the wheels with Tamiya semigloss black (X-18). The malleable material can be pushed into corners, forms a good seal,
and comes off the surface without damaging underlying paint. The front
suspension attached to the lower chassis was protected with tape.

5
Rather than black, this version
of the Batmobile should be flat
dark gunmetal. To get there,
I mixed equal parts Tamiya
gunmetal (X-10) and flat black. I
sprayed this on the body parts.
To ensure even coverage on
complex shapes like the upper 6
body, I first airbrushed corners, Don’t forget the smaller parts
recesses, and panel lines. Then I such as the wings and gun turret.
sprayed the overall part. I attached the subassemblies
to scrap foam board for ease of
handling.

WINTER 2018 70
 7
Prominent frames on the
windshield make masking
a snap. I placed Tamiya
tape over a pane and
aligned one edge with a
line on the part. After bur-
nishing it into place with
a wooden stick, I drew
a hobby knife along the
molded line to separate
the excess, which I careful-
ly peeled off the part.

8 9
To match the interior, I first sprayed the windshield with flat The panel featured molded bezels
black. Airbrushed body color finished it. I mixed a bottle full of but there were no dials. So I added
dark gunmetal to match touch-ups exactly. them with a set from Model Car
Garage modern-style gauges printed
on thin clear plastic. I brushed white
paint on the backside of four that
looked right for the Batmobile.

10
Using sharp scissors, I carefully cut
each gauge from the plastic. After
filling each bezel with Deluxe Materials
Glue ’n’ Glaze, I added each gauge and
carefully aligned them with the tip of
a knife. More Glue ’n’ Glaze over the
top provided glass faces.

11
Recesses in the vehicle’s sides reveal … well, I’m not sure what’s in
there, but I’m sure it’s important stuff. After airbrushing the panels flat
black, I picked out the gizmos with Tamiya chrome silver (X-11), flat
aluminum (XF-16), and metallic gray (XF-56).

WINTER 2018 71
 12
Being all black and mysterious, the front
suspension looked bleak. To break up
the gloom, I painted the rubber boots
on the springs NATO black.

13
Painting revealed pesky mold seams along the body panels, but sanding
them off damaged the paint. Before touching up the panels, I masked the
inner side panels to protect the details I’d slavishly painted. Tamiya tape is
perfect for this and a wooden stirrer pushes it behind the body panels.
14
Continuing assembly, I carefully flowed Tamiya Extra Thin Liquid Ce-
ment into the seams with a fine brush. Clever engineering hides most
of the joins between the layered body panels.

15 16
The exception is the edge along the air intakes. Once again, I broke out … and the airbrush to cover the blemishes. At this point, I was glad I’d
the sanding sticks to smooth the seam … mixed as much of the body color as I did.

WINTER 2018 72
 17
While I could still easily reach the struts for the
rear wings, I hand-painted the rods chrome silver.
The same shade colored the front-wheel brake
discs; the calipers were painted flat black.

18
I knocked the shine off the tires with a sanding pad. I’m pretty sure
Bruce Wayne doesn’t take time to Armor-All these suckers and I don’t
see Alfred doing it either; Robin, maybe.

19 20
Installing the rear wings proved to be the trickiest part of the build. Each is While the glue was still wet, I maneuvered the front braces
supported by five braces. Using slow-setting cement, I added the spearate into the holes on the wing. Liquid cement finalized the
forward-most struts to the body then lowered the wing onto the three nerve-wracking exercise.
rear supports and anchored it with thin liquid cement.

21
Gotham’s a dark place so the Batmobile needs lights. I
painted the parking lights clear yellow (X-24) over metallic
gray. The small lights below—infrared maybe—were
painted with Tamiya black (X-1).

22
The instructions don’t call it out,
but I figured the recesses molded
on the rear fenders were taillights.
So I painted them clear red (X-27)
over metallic gray.

WINTER 2018 73
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