The Modeller’s Guide
Superdetailing, Painting and Weathering
Aircraft of WWII, with airfield accessories, ordnance and diorama
The Modeller’s Guide:
Superdetailing, Painting and Weathering
Aircraft of WWII
ACKNOWLEDGEMENTS
This book is dedicated to my first son Marko, who was born at the time it was being written.
Special thanks is due to my dear wife Tanja for all her encouragement, motivation, understanding and patience. Thanks love!
I would like to acknowledge and thank the following companies and people who kindly supported this book:
The Cool Tool GmbH for their very generous provision of amazing multi tool The Unimat MetalLine and all of the accessories.
The Airbrush Company for their very generous provision of Life Color paints, thinners, cleaners and Iwata Airbrush.
Harder & Steenbeck GmbH for their generous provision of EURO-TEC 20A silent airbrush compressor.
The Small Shop US Company for their kind provision of two amazing ‘Hold & Fold’ tools, cutting mats and brass rolling station.
Graham from Relish Models for his kind provision of the 1:32 Tamiya Supermarine Spitfire Mk.IX and Baracuda Studios resin accessories. Essco Aircraft Company for their provisions of five aircraft manuals which helped me to build more accurate models in this book.
Models For Sale Ltd. for their kind provisions of Testors Models Master paints.
NeOmega Resin Kits Company for their provision of Vector resin engines, used on P-47D Thunderbolt in this book.
Signifer Company from France for their provisions of resin airfield accessories used on Thunderbolt diorama in this book.
Sell Model from China for their provision of magnificent 1:32 Trumpeter P-47D ‘Razorback’.
Historex Agents for their provision of two resin figures used on Thunderbolt diorama in this book.
Wesco Enterprises US for their provision of really magical ‘Magic Sculpt’ modelling clay.
Panther Models UK for their provision of Hornet resin heads and airfield accessories used on Thunderbolt diorama in this book.
My good friend and a club mate Vojislav S Stankov for his help with historical references and encouragement with daily question ‘is that book ever going to be done?’
My good friends and club mates Miroslav Šljivic, Nenad Miklušev and Pegi Stamenkovic for all of their support, encouragement, technical and historical references.
CONTENTS
THE MODELLER’S GUIDE TO SUPERDETAILING, PAINTING AND WEATHERING AIRCRAFT OF WWII
SCALE MODELLING: A LOvE STORy READy TO ASSEMbLE
10
CHAPTER
1:
TOOLS
AND
MATERIALS
14
CHAPTER
2:
TECHNIQUES
18
CHAPTER 3: bUILDING THE AIRCRAFT
n SPITFIRE
MK.
IXC
28
n P-47D
THUNDERbOLT
77
n JU-87D
‘STUKA’
125
M
y story as being a modeller begins more or less the same as any other modeller's story, once upon a time when i was a little kid... I was born in 1982 in a loving family living in west Bosnia. One of the world famous military airbases constructed and completely hidden under mountain, Željava airbase, was just a few kilometers from our home and daily Mig-21 low level flights over our house left a passion for military aircraft ever since. From when i was seven years old, my father used to take me to air shows held at the airbase and my fascination and passion grew by looking at the men in flight suits and perfectly aligned natural metal Mig's. My modelling skills were at work with model trains at first, trying to make entire communities, tunnels, stations… out of wood. My first diorama was a small ‘wild west’ town with railway station and everything that goes with it, measuring five meters across and completely done from scratch. With being only 9 years old, making photographs of it was the last thing on my mind, something I regret now. With plastic models being my main focus for years now it is still hard to simply build a model out of the box without trying to add some scratch build parts, just to make the work more interesting. Over the years, my skills have evolved and been refined with constant modeling experiments. My models have been published numerous time in various modeling magazines and since I am not attending any competitions, seeing my models published is the right kind of food for my peculiar modeler’s ego. Now, i am a father of a wonderful boy named Marko, aged three, who is already showing his interest in scale models by going through the kit boxes and ‘dry fitting’ parts as he sees fit. Soon, I am about to become a father for the second time, this time a baby girl, Aleksandra. With being a father now becoming my main occupation as well as due to my work, there is less and less time for scale models which is kind of liberating at the moment. I still keep buying kits though, habits are hard to change… and for my interests, that’s evolving too judging by more and more ship kits, both woodenFOREWORD
L
ooking back to the mid-1980s one remembers how
the modelling fraternity was dwindling fast and nearly
dying as computer games took over whatever free
time was previously dedicated to model making.
Fortunately this new fad did not last long and genuine
modellers returned to more creative activities. Our launch at
that crucial time of a new style modelling magazine, Modelaid
International, helped to keep the modelling hobby alive during
a period when other hobby magazines were closing down.
This brave initiative also had the surprising effect of raising
model standards in many ways, replacing the previous 'boys'
hobby' mentality with a selective and mature approach to
aircraft modelling. Over the last two decades we reaped
awesome results from those whom one cannot continue
to call modellers; they are now truly masters of an art that
continues to seek perfection with every new creation.
That modellers are exhibitionists is a very well known fact.
And why not? There's not much satisfaction in spending
hours, days and nights working on a masterpiece that is
then put away inside a cabinet once it has been finished.
Super detailing and weathering have become more and more
specialised and beyond the modest means of someone like
myself who used to build models to museum standards.
So now I stick to super detailing and weathering my
drawings in an effort to reach standards set by modellers,
while enjoying whole heartedly their magnificent work as
explained and illustrated in this wonderful publication by my
friend Aleksandar Pocuc. His work is truly magnificent and
should serve as a superb basis of learning for those who still
consider themselves novices in the field, while without doubt
they can also be a source of inspiration to established and
experienced modellers.
I continue to promise myself to take up aircraft modelling
again when I retire. The big question is 'when'!
Richard J. Caruana
Malta – 2014
SCALE MODELLING: A LOVE STORY READY TO ASSEMBLE
E
verything you knew about plastic modelling, every model you built, all that you have learnt and researched, it needs to be done all over again, old knowledge is out, new technologies are in. If you’ve been into modelling for 30 years or just starting, obvious starting point is the Internet. And there it is, product of global informational revolution under your fingertips, all the information you’ll ever need just few clicks away: modelling techniques, tools, which airbrush nozzle you need, what type of cement to use, exact colour shades, the right brands and manufacturers, what’s inside that box, how’s the plastic looking, is it accurate enough, decal and paint options, aftermarket parts. Then countless references, photos, texts, book excerpts, walkarounds showing all possible details, forums, blogs, mailing lists, social network groups, SIGs, instant contact with thousands of fellow modellers around the globe, some more or less keen to help you, various experts and „hexperts“ advices, endless debates over historical accuracy of some oddball scheme or Spitfire prop shape. Then, there are all that new, super detailed kits, with hundreds of parts, high quality injection molding, accurate, researched, with gaudy decals printed in high quality, and all that repeated in all the popular scales. But that’s not all! Call now and get all the aftermarket parts you can and cannot imagine! Coloured photo-etched parts, detailed resin parts, even better decals printed abroad, turned metal gun barrels for tanks, metal casted tracks. If you’re into some rare and less popular subjects, there’s something for you too – short-run and resin kits, now with details and quality matching styrene ones. When you run out of paint, you can order it online, shop for some discounts, just like regular stuff you order. Lacquer and acrylic paints, authentic and general shades, various specialized thinners, flat, gloss, satin coats, decal setting solutions, weathering liquids, pigments, fillers, putties, paint retarders, paint cleaners, DIY resins...It’s good to be a kit modeller these days, there’s plenty of goodies for us... And a few drawbacks...
Take a look at some online pictures of completed kits, pure craft, skilfully built, detailed, painted and weathered. These are far cry from first models you did as a kid, with some basic tech skills, sharp box cutter, glue and, if you were too advanced, paint. If you need your model to look like that, then you need that new pricey kit, aftermarket resin seat and wheels, photo etched dashboard and seatbelts, super-clear vac canopy, thin-film decals, metal tracks instead that poor rubber ones, metal hooks... Add some precise engineering skills for photo etch bending, panel opening showing engine, radio set, guns and ammo, turret interior, lower ship decks, tail gunner’s pack of smokes, first aid kit, glycol tank, map of occupied Europe and half eaten wurst on the field shop table, somewhere in the Eastern front.
You must know your chemistry too! Which putty reacts badly with what Japanese paints, what kind of primer undercoat for this marvellous metalizer, buffing it or not, which brand of setting solution will melt your decals, do you need cellulose thinner in acrylics, is that small bottle of thinner really that better than that bought in supermarket?
Then, some machine shop skills for drilling all those tiny holes, cementing flimsy photo etch parts to non-existent details, major surgery for fitting that resin cockpit tub into fuselage, assembly of flaps hinges, tank aerials, AA gun intricate sights, ship railings and tiny float plane launcher, WWI biplane rigging (oh, the HORROR)... Don’t forget to gather all precious tools you might need: craft knifes, tweezers, chisels, pin vise, clip holders, pliers, files, sanding sticks, saws, scribers, micro drills, cutters, small electric drill with gazillion bits, magnifier glass, brushes, paint stirrer, airbrush and compressor, paint booth...
Also, you need to be pure artist in he heart and painter by the hand. Good eye for all the various shades of grey, green and blue, steady hand for airbrushing,
preshading, postshading, pin-washing, washing, drybrushing, filters, mists, grading, fading, layering, weathering, chipping, and to seal all that with several coats of clear varnish.
But, that’s not all, in order to present your fine work, you must be a talented photographer. Build small photo studio, with correct lightning setup, uniform background, good dSLR camera, tripod, softbox, flash, zoom lens, and knowledge to operate all that if you want your photos to look like on „that website“, with cockpit details like in „that magazine“, without thick layer of paint showing, or fine dust on some parts, or dirty keyboard and coffee mug in the background. White balance, light settings, shutter speed, flash level, shades, dubious macro mode or not, priority settings, manual or auto mode, depth of filed, all that fancy talk.
Still, it’s not over. You HAVE to prove authencity of your kit’s scheme, with period pictures, colour profiles, scans, heavy megapixels showing museum pieces, books, magazines, papers, websites – pure detective work, with bit of a historian and a philosopher. Then, how to present your work? Your own blog, where you set the rules, or some public forum, but not just any, as you must beware of those gritty old modellers, always ready to throw rotten tomatoes on your fine handiwork, make a laugh of it and ridicule you as a modeller, so you need to run and hide in shame. Or do you choose all friendly shoulder patting good days forum, where all you get are praises, superlatives and cheerful emoticons in several rows? Maybe those lethargic places, where your post don’t get any replies, positive or not? Or to take it to the competition? Put it just in the show section, or to compete with others? Is my model really up to it? Am I born
a clue. Maybe I could sneak into junior competition, I still look boyish, I need that medal! Or I’m modelling just for myself, just for fun, for positive energy, to past the time and relax from daily chores? Or to harvest all the praises? Booo, this competition is rigged, I’m not a winner. There should be more competitions, I need a chance to win win win! Or we need to calm down, it’s just a hobby? Or I must be the best?
If you take back yourself to that kid gluing his first kit, and present him with all this complications, will you still be in for it? Why do we complicate things when grown up?
And the modelling dilemmas of modern modellosapiens go on and on...
It’s often said that we are living in golden times for modelling. Quantity and quality of new kits can’t be disputed, all the available information, connections with thousands of other modellers. The new age brought new norms, standards and expectations. Life style and tempo are different, people are changed and their social interactions are more dynamic, affecting all aspect of living, including our hobby. Total communications and global connections made the need to compete even greater, we are now eager to prove ourselves to total strangers, to step into this virtual arena and fight for our piece or recognition in modelling cyberspace, just like you fight and strive in your everyday life, to survive, to do better, do be safer. And why not? If one has the time, the means and the talent, with all the abundance on the market, it’s logical way to go. The problem is if it’s presented as the only way there is. Not all modellers need to have Advanced Modeller Syndrome, to make perfect kits. You should build kits for yourself in the first place. And learn as you go. Stagnation is also counter productive,
and magazines, ask other modellers, practice.
To be honest, these are not the real golden times of modelling, rather golden times of modelling business. Late 70’s and 80’s were the real golden times, as proven by ever more aging modelling demographics. The world is changed, back in the day it was just a hobby, meant to relax and have fun, kits were more crude and limited in range, there was no Wiki on click away, no forum pictures of the exact kit you were building, no WWW and vast amounts of information. Out of the Box was the norm. Scratchbuild details in the cockpit, thin seat sides, add foil seatbelts, drybrush instruments. Take wheels from the Matchbox kit as they are more accurate, and Airfix prop, suitable for this version. Cut off and control surfaces and put them in more dynamic position. Sand down overscale details, make sub assemblies, be spare on cement, use masks when painting, and better paint in few thin layers. Don’t use ALL the decals from the sheet, just for one version, mix paints for better shade, fix decals with varnish. Add subtle weathering, then matt cote over it. Be proud of it, put it in the display case, show it to your friends. Ask older modellers for advice, let them show you some tricks for even better models. Enjoy kits better than yours. Learn on your errors.
Modelling should be relaxing, place where you go to recharge your ’batteries’, in this fast and stressful times. Precise manual work is known to stimulate endorphin production, that why DIY is still popular. Working on our little kits, we get better, happier, settled, more patient and focused, fulfilled with something that’s not our day job. And when the hobby becomes frustration, something’s gone wrong. Leave it for a while, take a step away, think, don’t push it. Be satisfied with your work and inspired to evolve, respect your standards first, then others’. They used to say: make one kit to try it, two for competition, three for display and all rest for yourself.
Going further, we get ourselves into new realm of critical modelling. Deep panel lines, rubber tracks, too short wings, accuracy issue, wrong cross section, raised panel lines, out of scale rivets, spartan cockpit, unbuildable, no weapons, no details, bad decals, lousy instructions – problems big today, not so big back then. You had to scratchbuild, now you can buy the specific part. Somehow you had more time for kits before. And there were no ’shake and bake’ kits, nor kits with over 100 euros price tag. You pay to save your time, and to get more accuracy, so you carefully choose kits to be bought. You forgot the times when you respected every kit you could find. And you get frustrated when the super new kit is discovered to have same old issues as 30 old one, just with 100 more parts for the interior that will be invisible once you close all the panels.
Small box, 40 parts, two decal options, 1/72 in Europe, 1/48 in USA, a typical kit many generations of modellers know very well. Now we get everything in all the scales, 1/100, 1/144, 1/72, 1/48, 1/32, 1/35, 1/24. Kits with hundreds or a thousand parts. Ships, tanks, airplanes, vehicles, figures of all sizes... And there used to be just Airfix small soldiers, British, German, American, commandos. It’s hard to imagine old Matchbox kits available everywhere, every plastic frame in different colour, easy to assemble, cheap, all popular subjects, with small window at the back of the box, for kid to see colourful plastic. So father buys the kit in one of the numerous specializes kit stores, kid runs back home and assembles it at kitchen table in an afternoon. No painting, plastic is vivid enough and it has decals, what do you need more? And there was that magical box art, no CAD back then, no digital backgrounds and smeared hi speed flying 3D renderings, just good old hand drawn masterpieces, with bombs and explosions, Cross, Koike, Huxley, Knight, Velc...
But, how do you sell it now against social networks, electronic gadgets, reality shows and killing evil zombies in
full 3D acceleration?
So, what’s the main problem with this hobby? It’s a dinosaur. Young generations smirk at it: what you like waste time building it? Your friends are horrified: what, you still play with that toys? And this dinosaur is looking at the incoming comet, slowly but surely filling the horizon. In order to survive, modelling needs to unstuck from 20th century and step into modern times. Yes, sure, details are better now, more refined, and precise. Still it’s manual labour, so strange to young generations. We need real technological boost, we need and „i“ in front of our terminology, iModelling, iWeathering, iWash, iPE, iDecals. We need apps for smart phones and electronic gadgets. Download app for Bf 109, Mustang or Panther tank, send it to 3D printer, choose painting options, markings and weathering level, click OK and wait overnight for your finished product. In few years, those slow printers will be at the scrap yard, new, smaller ones, will print in just and hour. If you are really at it, you can get those 5-minute printers, instead a new car. Of course, if you get a free app, then your models will be just OK, not bad, fit for back row on the shelf. Sometimes they have some bugs, so you get left Corsair wing on Focke Wulf model, asymmetrical USAF markings, French roundels out of register, unrealistic chipping, spartan details in cockpit, orange peel finish on NMF F-105. So you buy hi-end designer brand apps. Yes, you can get just most popular subjects, but those are perfect! The details, the paint finish, the subtle weathering! And for limited time offer, you get self photographing kit booth, for that superb jaw dropping images. On the next competition, you will surely get the right attention, judges know what the good apps are... So you’re sipping Pina
Shermans. With wrong tracks. Just when you finally break the bank and purchase dreaded printer (cartridges available separately), Tamayato introduces the next best thing in modelling, Styr’n’Bots(tm), nanotechnology wonder bots, that produce exact replicas on subatomic level. Now, that’s something rad! Finally we have true scale models, with ALL the details, no corners cut. Yes, it’s big buck, but hey, it’s a hobby. It’s modelling dream come true. Scale can be
changed in the fly. Squadron markings changed in matter of seconds. Pilot can actually move his hands. Panel lines are overlapped, rivets flush and tiny, surface detail restrained. Tank suspension is better than original, zimmerit looks the part. Wing trailing edges razor sharp, wheel wells full of pipes and wires, canopies thin and clear, all control surface moveable, no silvering around markings, invasion stripes uneven, Russian T-34s have chalked in slogans with Nanochalk(tm). Real oil spills, real gun powder residue and exhaust stains. Hasego will pack their Styr’n’Bots in 523 different packings, but all will be the same inside. Mr.Styr’n’Bot will be the preferred brand for replenishing wasted little bots. Drogony will master armour kits, Slide Armor’o’Bots specially tuned to reproduce composite steels used to cast real tanks. Hornblower will be known for it’s unorthodox Special Mini Roboters, capable to reproduce to scales up to 10:1, with slight accuracy issues. Ravelle will be planning to reissue plastic kits in Plastic Nostalgic series. For those seeking the ultimate perfection, aftermarket RezNbots will be available... And then someone will have bright idea to send a Styr’n’Bot in the past to fix all the faulty plastic kits...
So, we’re waiting for the future, until then enjoy building kits your way, learn
Chapter I
TOOLS
TOOLS AND MATERIALS
T
here is no trade without proper tools and the same stands for our hobby. Number and variety off tools that you use often depends of your modelling skills. Beginners usually work with basic tools only, modeller’s knife, tweezers, files and sanding sticks. With your skills improving, you will be able to do more complicated modelling tasks and would naturally require and use more different kinds of tools. We can divide all of them into three main categories, hand tools, makeshift tools and power tools. Hand tools are the most used tools in scale modelling for large variety of tasks like cutting, drilling, sanding, trimming, filling, parts holding, measuring, painting and so on. In terms of accuracy hand tools are invaluable and their limits are only determined by how skilled a modeller is. There are situations when we do not have an appropriate hand tool to do the task and then we make our own tool, those are makeshift tools which can be used for parts holding, model holding, strip cutting, sanding of irregular surfaces, rigging, scribing and all the other tasks we cannot buy a tool for. At the end, no matterhow long you are in the hobby you can never have too many
tools. Every day, new tools are becoming available and made especially for us modellers in a never ending quest for perfect model. Scribing access panels, riveting, photo-etched parts cutting, bending, rolling... the list is endless.
Power tools are something a lot of modellers argue about, are they appropriate and necessary in our hobby? Well, it all depends on what modelling material you are working with, personally i do not use power tools on anything made from styrene including plastic kit parts as well. The reason is quite simple, power tools sand, spin, cut too fast and will melt the plastic and even if you can adjust the speed they are still a lot more difficult to control than hand tools and after all, why would you need a power drill to make a hole in a small plastic part. So why do we need power tools in the first place? At some point, an average plastic kit modeller will become advanced modeller which now implicates use of resin upgrade sets, metal upgrade and replacement parts and finally, scratchbuilding. We can still rely on hand tools for some of the simpler tasks but as our skills improve we will get the urge to make our own parts, upgrades and conversions, that is where the power tools are irreplaceable for turning, milling, grinding, drilling... with accuracy and precision. Power tools require more
Basic cutting tools every modeller should have. Three types of knives for different tasks, pointed tip blade for very fine cuts and trimmings, curved blade for trimming, cutting styrene rods and shapes and inside curved blade for separating moving surfaces, scoring styrene sheets and so on. Saws are important for cutting resin bits, kit parts and even small gauge aluminium and brass pipes. Small and sharp cutting pliers for detaching kit parts of the sprue, remember not to use these for cutting wires and things as you want them sharp for plastic.
Basic tools for sanding, smoothing and polishing, all equally important. Blue makeshift sanding tools on the left hand side are a fellow modeller’s product and great thing for sanding cylindrical and round shaped parts. Sanding pads and Alclad polish cloths are perfect for smoothing and polishing painted parts as they are soft and when used with water will produce very smooth satin-like finish. Squadron sanding sticks are my favourites and i use them on plastic, metal, resin and wood with equally good results, wet or dry. Dark mesh clots is suitable for smoothing larger parts turned on lathe, also a perfect thing for gently rubbing over Alclad finish to get scratches and more realistic look.
TOOLS
caution so be sure to wear protective goggles and hand gloves at all times. Remember, it is better not to see well with goggles than not to see at all without them!
PAINTS
One of the most asked questions in any discussion on painting models either by brush or airbrush is which brand and type of paint is the best out there. Considering the number of brands and types of paints available on the market today, there is simply no straight answer to this question. First, we need to analyze the properties of each paint type,
modeller who in some stage of his modelling have not used enamels, regardless of his favourite scale, period or point of interest. Enamels are oil based paints and that oil component is what determines their drying time ranging from a few hours to a few days, not so desirable having in mind a number of different colours and coats we have to deal with on a single subject. Brush painting with enamels over enamels is another bit of a problem as no matter for how long you leave it to cure they will dissolve one another more often than not and create bumpy and irregular paint surface. One
dry to a hard surface which can be easily sanded with fine wet sanding paper, sanding pads or abrasive cloth to achieve perfectly smooth satin finish. Highly diluted enamel paints will make a perfect wash for panel lines and recessed areas. Highly effective filters can also be made by highly diluting enamels and airbrushing it on the model. Adding thinner to enamel paint will shorten the drying time as thinner evaporates faster. To prolong drying time simply add small amount of artist oils to the mix. To faster the drying time use lacquer thinner instead of enamel, in this case the paint can be considered dry after just
a couple of hours and can be safely masked or over-painted. Enamel paint drying time also depends on humidity in the air, more humid the air is paint will dry slower. Some modellers like to protect their paint work by putting it into sealed plastic container to prevent dust particles sticking to the model which will only prolong drying time as by evaporating paint raises humidity in the container. The best thing after painting your model is to leave it aside on a tabletop for at least 24 hours. I have found the best results to be with Testors Model Master, Revell and Humbrol enamels. Enamel paints are flammable and toxic so use them in well ventilated area or outside only!
lAcquEr PAINTS
Lacquer paints dries by solvent evaporation and produces a hard, durable finish, in any sheen level from ultra matte to high gloss which can be often further polished as required. Drying time is shorter than for enamels, surface is generally harder, more durable and can be easily sanded and polished with dry and wet abrasives. Thanks to excellent surface properties of lacquer paints and to the fact that they can be produced in any sheen level, the best metalizer
reamers, pipe cutters, pin vices, callipers, sculpting tools, files, scribers and rivet makers are just as important for any serious modeller and scratchbuilder.
Tools for holding parts are especially helpful when working with small objects and in situations when you need a part to be securely held for painting but also to avoid holding and touching it with your hands. Particularly interesting is jewellers universal work holder with comfortable wooden handle and very versatile vise that can hold pretty much everything from figurines, kit parts, pipes, resin parts...
paints we have now days are lacquer based, as well as the best primers and micro fillers. Generally, models and parts painted with lacquers can be handled, masked and over-painted in just a couple of hours while brush painting with lacquers over lacquers will not dissolve the paint. Oil washes can go directly over lacquers as enamel thinner will not dissolve or mix with solvent component. Lacquer paints are also more aggressive than enamel paints which is actually a good thing in our case as by airbrushing it on the model, solvent will melt an ultra thin layer of model plastic and will actually fuse the paint to the model creating even tougher paint finish. Lacquers, even with short drying time, will not clog the airbrush if diluted one to one paint to thinner ratio, thanks to excellent paint structure and flow properties lacquers are one of the best
paints for airbrushing. My favourites and the only ones i use are Gunze Sangyo Mr. Color paints.
ACRYLIC PAINTS
Acrylic water based paints are relatively new in scale modelling and their popularity keeps growing. For a modeller who has been using enamels or lacquers transition to acrylics may seem hard or pointless. With acrylics, it is a whole different philosophy, they are paints of course but function in a completely different way than enamels or lacquers. Acrylic paints dry very fast and thus can often clog your airbrush if not diluted a bit more than other paints. Fast drying is one of many good sides of acrylics as you can spray one coat and handle it or use masks just a few minutes after as well as spray the next coat. Another good side is the fact
that water based acrylics are much less hazardous or non toxic at all and most of them are odourless. It is important to remember that if you are not spraying your models with lemonade, it is not healthy! Just if something says non-toxic that does not means that you can keep inhaling it all day long! Further good sides of acrylic paints are: you can dilute most of them with just water, if you mess up your model with acrylics, most of them can be relatively easily removed with alcohol or soapy water and without damaging you model. When it comes to brush painting, it is another great deal as you can paint with acrylics over acrylics after just a few minutes with no chance of dissolving the paint beneath. There is, in fact, one thing that i do not really like with acrylics and that is blending which is used on figures, diorama
elements and of course model parts. It is very simple to do it with enamels and oils as they are oil based, stay wet enough for you to work with them and the blending process goes smooth every single time. With acrylics it is a whole different story, layers and layers of different shades of the base paint, over-painting, feathering... The results are surprisingly good but the process itself is a bit too much, at least for me, oils were and will continue to be the only way to go. So, as almost all said above sounds great, why do not we all use acrylics only? When i first started using acrylic paints my experience was a mixed bag, one day it would all went great and the next a disaster. I simply could not get the proper paint to thinner ratio, my airbrush kept clogging, many times the paint simply do not cover the model well enough and
Chapter I
TOOLS AND MATERIALS
Never settle with one type or brand of paint as best results are achieved by combining them and experimenting.
above all, paint surface was not that tough as with enamels or lacquers. At present, i am using acrylics for most of the time and i am more than happy with them. So far, i have been using almost every single brand of acrylic paints available on the market and achieved the best results with Life Color, Gunze Sangyo Mr. Hobby acrylics and Tamiya acrylics.
Varnishes
Varnish is transparent, hard and protective finish or film primarily used to seal and protect the painted surface, it is usually a combination of a drying oil, a resin, and a thinner or solvent. Originally transparent but may be designed to produce satin or semi-gloss and matt sheens by the addition of flatting agents. Scale models are not heavily handled or exposed to elements so in scale modelling varnishes are used as a barrier between different paint type layers and as a base for washes, weathering and decal placement rather than as protective finish. Most commonly available as enamel, lacquer and acrylic based. Due to better self levelling properties, varnishes are easily applied with both brushes and airbrushes, in two or three coats for the best effect. When used as a base for washes, varnish must be different typethen the wash is so if you are using oil washes, varnish should be acrylic or lacquer. In my experience, i have found the best varnishes to be from Life Color and Gunze Sangyo
acrylics as they are durable, easily applied and produce beautiful finish. As alternative to common varnishes very nice results can be achieved with floor polishes as Future and Pronto, most easily applied with wide and soft brush and also resistant to oil washes. It is advisable to seal finished models with two or three thin coats of varnish especially if dry pastels are used for weathering as they need to be sealed. If the model is painted with metalizers, varnish is not recommended primarily because it will ruin your metal finish but also due to the fact that it will not stick to some of them especially to those that need buffing, like Model Master and Gunze Sangyo metalizers. Enamel Varnishes and white paint tend to turn yellow over time, to prevent this from happening simply add a drop of blue paint into the varnish or white paint, it will stay perfect forever.
Before You start
Painting
Many modellers propagate the theory that you should and must wash your model with soapy water before you start painting, well, i had never ever washed a single kit part and i cannot recall ever having a problem. Kit parts may have some mould releasing agents left on them but those are the least of your worries. Same applies for resin parts and kits. If the paint is not properly diluted and applied there is simply no magic that will keep
it on no matter what you did to your model including washing it in warm soapy water, with point on the warm. If you have spare time to stand by the kitchen sink with an old tooth brush in your hand to wash your model, maybe consider tidying your work table instead. Another interesting dilemma concerns primers and priming of your model, do we have to do it and when we have to do it. The main point of using primers is to make a better surface for the paint to come. For some it is a must for others it is just another unnecessary step in the process. First of all, what is a primer? It is essentially a paint product that allows finishing paint to adhere much better than if it were used alone. For this purpose, primer is designed to adhere to surfaces and to form a binding layer that is better prepared to receive the paint. Because primers do not need to be engineered to have durable, finished surfaces, they can instead be engineered to have improved filling and bind-ing properties with the base material underneath. Primers are used mainly on porous and water sensitive materials while using it on surfaces made of plastic is only necessary when making a drastic change of colour, in example, if you want to paint very dark plastic with light colours like white, yellow, light green as those are known for poor coverage ability. Having in mind that plastic models are likely to have some gaps along the seam lines due
to fit imperfections and that those gaps are hard to spot on unpainted model, it is advis-able apply the primer prior to painting. I am often using ordi-nary grey paint for this task as its main purpose is to point the imperfections rather than to fill them. Acrylic or lacquer paints are the best solutions as they dry fast and are easy to sand. Priming your models prior to application of metalizers like Alclad, Mr. Metal Color and others is advisable although it is not necessary, the main point is to level and smooth the surface for better final paint surface results. Metalizers including Alclad will not craze or ruin the plastic and you can apply them directly on the model without priming it first. The best primers and micro fillers i have came across are Gunze Sangyo Mr. Surfacer and Alclad II Primer and Micro Filler.
ConClusion
We are now back to that ques-tion about the best paint brand and type, let me tell you, there is no such thing as the best paint type or brand! All three main paint types mentioned above have their lows and highs and the best way to go is to combine them depending on a specific task or situation. It is not the paint type that makes a good modeller and airbrush artist but the time and practice only. Take the best of each and never stop experi-menting as that is the only way to get results you have never achieved before.
Chapter II
OIL TANKS
TECHNIQUES
NON CYLINDRICAL TANKS
Scratchbuilding area around the engine may look difficult and challenging to some modellers but is actually quite easy. Apart from a whole bunch of wires, cables, tubes and hydraulic lines which are easily done with various gauges of lead wires and plastic cables from small electric devices
there are a few more parts that would require. Junction boxes, controllers, filters and connectors usually have very simple form whether it is a cylinder or a cube so those does not really require any special explanations or modelling instructions. Our points of interest in this area are hydraulic tanks as those can be a bit more difficult
to scratchbuild. We will start with non-cylindrical oil tanks like the one found in SBD Dauntless aircraft. Instead of bending a piece of styrene sheet and wrapping it around the cylindrical object i will use a piece of aluminium sheet for two simple reasons, styrene is elastic and would be difficult to get the perfect shape without heating boiling or heating it, on the other hand aluminium sheet is more plastic than elastic and once wrapped around a cylinder it will retain the perfectly round shape. Cross
section of our fist oil tank is elongated circle and to get that shape i am going to use one of the rollers from The Small Shop brass rolling set. First, we will measure and cut aluminium piece to be the same width as the tank. Start by bending aluminium piece over the cylinder to the point when you get aluminium sheet ends run parallel.
At this point, we will move the cylinder a bit away from the bent part and toward the marked number two. While holding the cylinder firmly pressed to the table, we will
Process and the tools for the tank scratchbuilding. Dentist’s probe is used as a sculpting tool.
Moving the metal cylinder towards the point number two will produce elongated circle cross sections as can be seen on the piece that has been already bent.
Convex oil tank side caps made from aluminium can be used for vacuum forming styrene parts if more desirable.
OIL TANKS
bend the point number two of aluminium sheet to the point when two ends meet. When cylinder is removed we should get elongated circle cross section while the elongation will depend on how much we have moved the cylinder from the first bending point toward the point number two. Cut the excess of aluminium with scissors and smooth the seam by pressing it with something flat while holding the cylinder inside the newly formed tank shell to give it a proper support while flattening the seam. Once we get a perfect shape we will secure it with a piece of masking tape to prepare it for the next step.
As the sides of oil tank are convex our next step is to place the shell on a 3mm thick piece of styrene and tightly outline its outer shape with a pen. By drilling a couple of holes we will continue the job of cutting the shape by sharp pointed knife and finish it off with files and rolled sanding paper. Making a convex tank sides is now an easy thing, we will place a piece of aluminium
excess around the part. Some sanding will be required to get it fit into the tank shell perfectly so keep checking the fit constantly. Once both convex parts are done its time to fill in the shell with Magic Sculpt to give it strength. We will apply it to the walls with small amount at a time and distribute it evenly with sculpting tool, at the end simply fill in the rest.
Before fitting the caps we will fill them with Magic Sculpt as well to prevent any damages that may happen when fitting them into the tank shell. To allow the clay to cure fully we will leave everything aside for some twelve hours. White
glue can be used to fit the caps as it is easy to clean up with wet brush as opposed to CA glue which can make this a bit messy. Now, thin vinyl strips can be used to simulate fasteners, draining section made of Magic Sculpt, a piece of styrene for the filler cap plate and we are done here.
CYLINDRICAL TANKS
Cylindrical tanks, due to their cross section being a circle are in many ways easier to scratchbuild than non-cylindrical ones. Using the process with bending of aluminium sheet over a cylinder is one way to do it while mypreferred method is turning it on lathe, it is easier, faster and the end result is better. Fully cured piece of Magic Sculpt rolled to form the cylinder is used as a starting piece.
I will first make a few shallow passes with turning tool to form the perfect cylinder followed by further thinning of the piece with constant stops to measure its diameter with callipers. Once we get the desired diameter we will proceed with sanding paper to get a perfectly smooth surface. In this stage while the piece is spinning it is the best thing to use wet sanding to prevent overheating of the sanding paper.
Finished aluminium oil tank still secured with the tape while magic sculpt is curing inside and
Convex side of the tank is quite an easy thing to achieve with Metal Line lathe by using a turning table as a pivot for turning tool. For smaller curvature of the cut we will move the turning tool away from the pivot point and vice
versa. With just a few swings of the tool, followed with some wet sanding and our convex part of the tank is done. Width of the tank is then measured and marked, cut either with cutting tool on the lathe or by saw and the previous step is
repeated to make the other convex side to it. The whole process takes as little as 20 minutes.
Compass cutter and sharp pointed knife are used to cut 0.25mm thin styrene sheet in a shape that will form the square
section of the tank with folding lines marked in red. To get a straight folding line, a few very light passes with sharp pointed knife are made along the red lines. Seams are then glued with Tamiya extra thin cement from the inside followed by a light sanding of the edges from the outside. Once the square section is in place, rest of the details are made with Magic Sculpt and shaped with wet brush. Filler cap pattern is achieved by simply pressing the allen screw head on a piece of Magic Sculpt while still being soft.
Chapter II
TECHNIQUES
Once cut to appropriate length the other end of the tanks is machined. Red marker line is very visible while the piece is turning allowing a high accuracy in sizing the piece to its final length.
Convex cap of the tank is nicely done with just a few passes with the tool.
After removing a few layers of material our lathe is reconfigured for making convex end to the cylinder. Pivot point position is essential for the curvature of the end part.
Compass cutter is used to cut perfect circles in the styrene sheet with the tank radius used as a measure. Note the red guides marking the bending line. Lightly scoring the lines with sharp pointed knife will make a perfectly straight bend. Fit is nice and tight.
Any part is simple enough to be scratchbuilt with ease once divided into simple subassemblies. Apply small pieces of soft Magic Sculpt on the tank surface and shape it with wet brush to create oil line connectors. Round and flat brushes are great tools for shaping Magic Sculpt especially when moisten with water.
I
n a never ending quest for that perfect looking instrument panel i have tried pretty much everything with more or less satisfying results. Kit instrument panels are either styrene or clear plastic and those can often be good but not good enough. Resin castpanels are one step up from the kit parts but those are often still out of scale. Personally, i have found photo etched instruments to be the best way to go with very fine details, raised and recessed surfaces and clean openings. Further, two options are available, pre-painted and bare metal
so it is only natural to analyze both. Pre-painted photo etched parts can seem like a best option, well they are already painted if nothing else and will save us some time and eyes but what happens when we give them a closer look? Immediately noticeable are the colours which are somehow
wrong more often than not. Apart from the questionable colours, we can also notice that some printed elements are actually shifted to the side from metal surface details, a printing offset that gives the part a bit funny look. Last thing with pre-painted photo etched parts is of course the
INSTRUMENT PANELS
Main instrument panel piece looks flat and uninteresting as opposed to the lower
section already painted with fine round brush. The difference between pre-painted photo etched parts and the ones we have just painted is obvious. Screen printing also produces a surface that seems to have a thick layer of dust on it. Note the lower piece dials and the print offset shifted to the left.
print itself which is rather dusty and grainy even when from the distance. Now, the best and only remaining options is to take bare metal photo etched instrument panel and paint it ourselves, it is easy, quick and the end result will be absolutely superior to anything else. I am going to demonstrate some of my techniques on Aires photo etched instrument panel for the
Eduard’s Bf-109E. To start off, dark grey is airbrushed on instrument panel parts as well as two layers of white at the back side of clear foil with dials. From this point, all we need is a fine pointed brush for painting the details. With the basic dark grey colour applied, everything now looks too flat and to change that, we have to enhance
raised details to get more of a three dimensional look. If you look at reference photos of instrument panels you will notice that raised rings around the dials have highlighted edge and so we are going to simulate highlights by applying lighter grey to those raised rings. When painting very small and fine details try to keep your brush at an
angle of approximately 15 to 30 degrees, almost parallel to the surface you are painting. Important thing to remember is that we are not painting with the brush tip but rather with brush sides as that is the easiest way to prevent brush hairs to slip of the tiny raised surface we are painting.
Rest of the details are painted with corresponding colours in the same manner as the highlights. As for the placard writings, white paint and a brush with very fine tip is used in short wavy strokes made horizontal to simulate the text lines. Once we are done with brush painting the next step would be to attach the back panel with the dials by using small amounts of white glue distributed as tiny dots on the areas between the dials. As the last thing, handles are attached with cyanoacrylate cement and these parts are ready to be installed in the cockpit. When it comes to fiddly bits and things try not to use pre-painted parts, take your time and do your own painting, you will be surprised with the results.
Chapter II
TECHNIQUES
Finished instrument panels look very lifelike and busy even being as small as a thumb nail.
aCCeSS paNeLS
C
utting trough the kit parts and opening access panels can seem hard and scary but that is really where all the fun starts as it’s not about just assembling anymore but making something that was not there, from scratch. Important thing to remember is that we are working with plastic and almost any mess-up can be fixed, filled and sanded, it’s not a rocket science really. The only tricky thing here is making the thin inner strip of the opening where the fastenersare going through, the thing which requires a bit of time and patience.
Before we start drilling trough the plastic part to make the opening, we must outline the panel on a piece of masking tape first to use it for cutting out the panel cover and inner strip later. Small, square piece of Tamiya masking tape is placed over the panel, then gently draw across the masking piece with sharp pointed lead pencil to find recessed panel line and once we find it we will use it as
a guide to outline the panel. Once done with outlining, we will transfer the tape to a piece of 0.25mm thick styrene sheet to make the panel cover and inner fastener strip. Here, we will use a sharp pointed blade to lightly score the panel line drawn on the tape. To make the things easier for handling, we are going to cut out the inner section first, hence just scoring the outline. Tape is now removed and stored for later use when we get to the panel cover.
When making fastener
strip the hard part is to keep the strip width consistent especially when the entire part is very small. Thin strip of masking tape will help do the trick. First, place the strip along the outline from inside of the shape, follow the outline by gently pressing the strip down with your index finger while holding and curving the strip with precision tweezers. Masking strips are flexible enough to follow any curved line so this trick can be used on variety of similar tasks and in cases when we need any
kind of guides. Once we get correct shape a little touch up is done by using fine pointed tweezers to gently nudge and press masking strip to follow the outline tightly. This task requires patience more than
score the inside shape of the tape with several light passes, again requires patience and time but it is worth every effort. I will now remove the tape and cut it trough by using scored cut line as a guide. Once the
accommodate the part we just made. Start by drilling a few holes trough the panel and then simply connect the holes by cutting the area between them with sharp pointed blade. The same blade is then used
apply very small amount of Tamiya extra thin cement from the inside of the fuselage half. As the cement is very thin, capillary force will make it run along the seam without making a mess. Further, fine touch-ups and adjustments of the part can be made before we leave it aside for an hour to cure. When the cement is fully cured everything will be sanded from the outside of fuselage half to make the seam smoother.
In some cases, when we have photo-etched access panel frame, it is somewhat difficult to position it perfectly mainly because those parts are ultra thin, rigid and smooth which makes them
A piece of Tamiya masking tape and a lead pencil are used to mark the panel shape. Sharpen the pencil core by rubbing it against fine sanding paper to get crisp and accurate results.
Sharp pointed blade is used just to score the shape on styrene sheet as cutting it trough at this point will make the part difficult to handle when cutting out the inner section.
Thin strip of masking tape is flexible enough to conform to any shape. Once the strip is down, gently press adjust it on the styrene to for nicer final result.
Even though the part is only 5mm across it looks nice and accurate, well worth the time and effort.
Chapter II
TECHNIQUES
Drilling a number of holes trough the plastic is one of the easiest and fastest ways of making the opening. It is better to use smaller drill bits for this job as they provide better accuracy, especially important when working with small openings.
Drilling holes along the panel line makes it easier for us
to trim the excess material. Once we trim the excess with the blade a set of various tools is used to smooth the edges. Files are used right after the blade and then we will smooth the edges with fine sanding paper wrapped around metal tube, especially good for rounded corners.
Not all fastener holding frames are done in one piece, in this example of Airacobra wing we are using styrene strips of different length for each section of the opening.
Different openings require a bit different approach for each. Note just partial fastener holders on the radio opening, far right hand side.
Basic electric junction box is being made from styrene sheet and various styrene sections still awaiting lead and copper wires to be added. The box has been made larger than the opening as more of it will be visible when looked from different angles.
Opened access panel always tend to add more life and depth to a model. Opening all those panels and making what’s inside them takes time and patience but the result pays off.
of the fuselage. Once scale to 32nd scale, we should pretty much make the two sections be on the same level with no recessed areas. I will use a simple trick with soldering iron to achieve this. Before going further please note that soldering iron is very hot and can burn your skin or melt the plastic parts if not handled very carefully. First, make the opening on the fuselage where the radio access doors are marked by using the same method with drilling holes and cutting, explained before. We
will make the fuselage opening slightly larger than the photo-etched opening but smaller than its outer dimensions. Tamiya masking tape is now used to accurately position and secure the part on the fuselage. It is important to use Tamiya or similar paper tape here as they are heat resistant and will not melt when we start heating the photo-etched part, vinyl cannot be used. With everything in place we can heat up soldering iron and begin by gently pressing photo-etched part against
the fuselage. We will start from the corner and will move soldering iron tip for roughly 2mm each time until we get to the point where we started. Keep the soldering iron in contact with photo etched part for at most one second at a time otherwise we can melt the fuselage beyond repair. The point here is to slowly impress the metal part into the plastic fuselage so they are both at the same level and to do it evenly it is important to touch the part with soldering iron in short intervals with constantly
moving the hot tip around. Good idea would be to try this with some spare photo-etched parts and spare plastic pieces. When metal part is finally fused to the plastic we will sand the surface smooth and its ready for painting. All we need now is to make the paint mask for which we will use photo-etched door as a guide. First the interior paint will be applied to the frame and then protected with paint masks. Once the model is painted and mask removed we will get the perfect looking radio access opening.
Photo etched part is positioned and secured in place with a single piece of masking tape. Gently pressing it with hot soldering iron will melt the plastic and fuse the two parts together.
Some gaps have been filled, everything sanded smooth and ready for masking and painting.
INTRODUCTION TO
PAINT MASKS
P
retty much all markings featured in this book have been painted by using paint masks and before you come to the point where their useapplication of the decals while the paint masks are something relatively small number of modellers use and many more are afraid of, with no good reason actually.
been and currently are the most popular way of marking scale models for a few good reasons. First and foremost, every scale model that we buy comes with the decal sheet
marks and various servicing stencils would be impossible to achieve without waterslide or dry transfer decals. As for the low points, there are plenty of those as well. Quality of
it, carrier film can be brittle and crack as soon as we try to position the decal on the model, thickness is another issue if the decal need to conform to a curved surface, adhesive being too weak and so on.
When it comes to paint masks the situation is a bit different but still not the ultimate or perfect solution for applying markings. For a start, paint mask give us the ability to control the colour which is actually a huge advantage over decals. Paint masks, if carefully stored, can be reused a couple of times which is another huge advantage over decals or dry transfers. Using paint masks does involve a bit more work as each colour of masking element must be separately masked of and painted but the end results are superior to any kind of decals. No surface preparation is need for painting with masks as long as the paint layer below is properly cured. Once painted, markings can be easily weathered by sanding, paint
chipping or scratching and will never produce silvering regardless of the surface condition they were painted on. After all, markings on real aircraft were also applied with paint masks. Using paint masks is easy and convenient way to achieve great results. With everything above said it seems like paint masks are the perfect solution for all of our troubles, or are they? Painting larger elements with masks is easy and effective, same goes for smaller but simpler elements. Problems start with small elements as unit badges, letter and numbers smaller than 2mm or 3mm in height and similar more complicated things. With today's technology it is possible to cut almost indefinitely small masking elements but since it would be impossible to apply them, those would be pretty much useless.
Also, we need to overview an important factor in mask performance and ease of use, a material they are made of. Currently, most popular
materials for die cut masks are vinyl and yellow rice paper tape often referred to as Kabuki tape. Specially developed for masking purposes, semi transparent vinyl is flexible, easy to use and thanks to its low tack water based adhesive, very safe for any kind of painted surface. Flexibility will allow it to conform on curved surfaces, transparency will make it much easier for accurate positioning on the model and water based adhesive will not lift the paint or leave any residue on painted surface. Due to its structure, vinyl is perfect for very fine and complicated cuts with lots of detail but still, vinyl has a major drawback, it shrinks! Once cut, vinyl will retain its shape and form for some 24 to 48 hours depending on the size of masking elements, after that it will start shrinking and creating gaps along the cut lines making it unusable for most of the part. Shrinking factor is minimal or not present at all on shapes smaller than 10mm which makes it perfect
for small and more detailed masking elements. Another interesting masking material is rice paper tape known as Kabuki, the same material Tamiya masking tapes are made of. This ultra thin, paper like material is flexible, will never shrink and can be stored for years. For those wanting to make their own masks Kabuki is perfect as it can be used in any laser printer, once the masking pattern has been printed on it all you have to do is to follow the print lines with sharp pointed scalpel. The only problem with this masking material is a fact that it is made of tiny rice fibres which makes it impossible to cut masking elements smaller than 5mm with accurate results. Now, we have a clear picture, vinyl for small masking shapes while Kabuki is just perfect for all elements larger than 5mm. By combining the two materials, we have precision cut paint masks good for all element sizes and shape, with no shrinkage!
Chapter II
TECHNIQUES
Just hours from being cut vinyl is already shrinking and exposing white backing paper. In case when we have to use more than one masking element on the model we would not be able to get a good fit which can result in paint getting in the areas between the two masks.
Chapter III
SPITFIRE MK. IXc
BUILDING THE AIRCRAFT
chapter III
SPITFIRE MK. IXc
BUILDING THE AIRcRAFT
Kit summary
Tamiya has pushed limits once again with their marvel of a kit Supermarine Spitfire in 1:32nd scale, a kit so smartly engineered and well detailed it simply cannot fail to impress you in every possible way no matter how picky you can be! To start from heart of the beast, Rolls-Royce Merlin power plant is probably the nicest and most detailed part of all the injection moulded kits i have ever seen and for sure better than some aftermarket resin engines too. Being a kit for itself, the engine will take a weekend of your time but considering a level of detail and the fact that it will be all visible at the end, it is worth the effort. Cockpit is just as nicely done but would require some wiring to go from excellent to perfect. Kit exterior surface features very intricate recessed panel lines and rivets, nothing out of scale. Other nice features are hinged moving surfaces, magnet attaching of the cowling panels and screw system for attaching the landing gear and engine. With just a few more parts there could be option to display the front upper fuel tank and the radio hatch opened but to be honest, that would just spoil all the fun of scratchbuilding.
Chapter III
BUILDING THE AIRCRAFT -
SPITFIRE MK. IXc
BEFORE WE START
Aftermarket sets used in this build:
■ BarracudaCast - 32001 Spitfire Seat with Leather Backpad
■ BarracudaCast - 32002 Spitfire Cockpit Door with Separate Crowbar
■ BarracudaCast - 32003 Spitfire Cockpit Upgrade Set
■ Maketar Paint Masks - 32040 RAF Supermarine Spitfire MK.IX
Tools and materials:
■ Cyanoacrylate glue
■ Tamiya cement
■ Tamiya extra thin cement
■ Scalpel and tweezers
■ Drilling pin vise
■ Masking tape in various widths
■ BluTack
■ Sanding sticks and files
■ Mr. Surfacer 500 and/or Mr. Surfacer 1000
■ Pacer Formula 560 - Canopy Glue
■ Styrene sheet in various size and thickness
■ Lead, copper and flexible wire
Paints used: Artist oils: ■ Burnt Umber ■ Black ■ White ■ Yellow
LifeColor acrylic paints:
■ LifeColor LC27 Matt Clear
■ UA207 Schwarzgrau ■ UA205 Rotbraun ■ LC06 Matt Red ■ LC03 Matt Yellow ■ UA511 Hellgrun ■ UA208 Anthrazitgrau
■ UA046 Neutral Grey
■ UA028 Grey
■ LC01 Matt White
■ UA524 US Neutral Grey
■ UA605 Dunkelgrau
■ UA095 Sky
Tamiya acrylic paints:
■ X-1 Gloss Black ■ XF-2 Flat White ■ XF-3 Flat Yellow ■ XF-7 Flat Red ■ XF-8 Flat Blue ■ XF-53 Neutral Grey ■ XF-58 Olive green ■ XF-60 Dark Yellow ■ XF-62 Olive Drab ■ XF-63 German Grey ■ XF-65 Field Grey
Humbrol acrylic paints:
■ Matt clear cote - aerosol
Unimat wood turning chisel is simply the best tool for thinning out plastic parts thanks to its curved sharp tip.
Radio access door frame ready to be glued to the fuselage. Slightly rounded corners will help to get tighter fit without any gaps between the frame and fuselage.
Rib sections and radio receiver holder glued in place.
THE BUILD
It is not a strict rule to start working from the cockpit but i find it rather logical as this way we can mate the two fuselage halves together as soon as the interior is done and continue working on the exterior assembly.
Apart from the kit parts, we are going to add some wiring to the cockpit walls, scratchbuild the back section of instrument panel, open up the radio hatch and add radio receiver. We will start with opening the radio hatch to avoid too much handling of
We have made just the sections which would be visible once the radio is in.
the fuselage halves once we start adding the wires. As the fuselage wall is rather thick we need to thin it first and the best tool to do so is modellers chisel or in this case, Unimat MetalLine woodturning chisel. Start by scraping inside section of the wall roughly 10mm around the hatch to get large enough flat surface to accommodate hatch frame. Extra care must be taken here as we do not want to thin the wall too much and to ruin
and cutting our way outward which is rather easier way. Once we drill a couple of holes it is easy to connect them with sharp pointed knife and then carefully continue by cutting small amounts of plastic at a time and once you come to the panel line continue with fine grain sanding paper to smooth corners and edges of the hatch opening. Steel rod wrapped with fine sanding paper is the best tool for rounded corners. Next thing
piece of tape on 0.25mm styrene sheet. If we cut the opening on the styrene sheet now by scoring marked line on the tape with sharp pointed knife, we would get the access door and to get the frame we actually need to make the opening smaller than the door. First, we will lay some masking tape on the cutting surface and by using ruler and sharp knife cut 1mm strips. Masking strip is now carefully laid inside of the marked panel line on the piece of tape we placed on styrene sheet earlier. Be patient and careful to get a neat bend of the masking strip as that strip is actually width of our hatch frame. Once masking strip is on, sharp
of the opening just like on the real Spitfire, once done it will look busier and more realistic. The same 0.25mm styrene sheets is used to cut the rough shape of the fuselage and then sanded and dry-fitted a couple of times until we get a nice fit. Here again, 3mm wide masking strip is laid to follow the curve of newly made part and to help us get consistent width of the rib section. Before we cut the section out, a couple of 2mm holes are drilled to along the rib part. Since the cross section of fuselage is slightly different on each side of the opening, we will repeat the process to make second rib part instead of just copying the first one. To
Basically just a few details will make a lot of difference and your model to stand out.
This view shows more of the radio holder ‘L’ section.
move to the cockpit walls. Since the kit parts for the cockpit are detailed and crisp enough we will only be adding a few wires here and there and a few resin bits from Barracuda Studios. Kit instructions are suggesting that we should paint and assemble the cockpit wall sections separately that is, lower wall section should be first mated with the rest of cockpit elements before finally being glued to the fuselage.
In our case, when we want to add more details and wiring to the walls this is not the best or easiest way to go, instead we will glue the wall sections to the fuselage before doing the rest. It is a good idea to have your reference photos and books at hand at this stage to help position all the wires and lines at the right places. Copper wire and various gauges of plastic wrapped wires are used for
the job. There is no too much philosophy here, small holes drilled to accommodate and better hold the wires when appropriate, CA glue applied sparingly with the toothpick and we are pretty much done. When the glue is cured, gently press the wires with fine pointed tweezers co conform them on the wall bumps. A few dry-fit tests are necessary when adding wires to the cockpit as the fit without them is perfect and we want to avoid mess-ups later. Oxygen hose is missing in the kit so we must make one. Plastic wrapped wire is first stretched between two fingers and the lead wire is wrapped around it tightly to simulate flexible hose surface. When we get desired length of the hose, both ends will be glued with CA glue and cut
to measure. Small pieces of copper wire are now inserted on both ends and will help us secure the hose to the wall and oxygen bottle.
By the time i have finished adding all the wiring to the cockpit walls an idea of exposing upper fuel tank seemed more and more tempting and interesting so i have decided to go with it. Removing sections of fuselage halves should be, indeed, done before anything has been done on the cockpit walls simply to avoid any mess but it should not be a problem either way. Upper fuel tank cover is slightly raised from the rest of the airframe and it is actually very easy to cut it out. Sharp pointed curved blade is used for the job, first make a few light pressure passes
Chapter III
BUILDING THE AIRCRAFT -
SPITFIRE MK. IXc
Level and quality of the details out of the box is amazing, however, a few wires and cables are necessary to make it complete.
Copper, lead and plastic wrapped wires are used to make the cockpit wall busy and realistic.
