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CREDITS

Publisher
AK Interactive S.L.
Fernando Vallejo

A passion
by Mig Jimenez

Chief Editor
John Murphy
Original idea
Art director
Mig Jimnez
Editorial
management
Carlos Cuesta
Graphic and
3D design
Enrique Royo
Layout
PER
Article assistant
Iain Hamilton
Illustrations
Claudio Fernndez
Editorial Assistant
Chema Pellejero
Sales manager
Jalal Benali
Akatsiya
Photographer
Jos Irn
Akatsiya
Leticia Crespo
Collaborators
Marc Reusser
Martin Kovc
David Mart
Mr. Scratchmod
Fran Romero
Chris Jerrett
June 2012
Depsito legal:
LR
203 2012
LR-203-2012

www.theweatheringmagazine.com
info@theweatheringmagazine.com
suscriptions@theweatheringmagazine.com
Quarterly magazine

ince I began making scale models more than 25 years ago, my main interest has always
been the weathering and all that this word means in modeling. Maybe the fascination
with the weathering is due to the difficulty in achieving these effects. The same is true of
a climber who doesnt feel attraction to a small hill, but desire for a tall and difficult mountain.
The modeler will never feel satisfied with a clean model without effects, without realism, and
definitively without magic. He will always look for the most difficult subjects, the unique and
special projects, and for these he will use his products and appropriate techniques to meet the
challenge of his imagination.
Until the FAQ2 was published, a publication had never been 100% focused on the painting
techniques. Although in the last few years, most of modelers have shown special interest
in all that is related to the painting. All they are aware of is that what makes the difference
between a boring model and an exceptional one is in fact the painting & weathering. This
is not an option, since all scale models need to be painted. But in spite of everything, the
existing publications focused in the painting are not abundant.
This publication begins in an important moment of the history of modeling, a time when all
over the entire world, painting & weathering has occupied the place that it deserves in this
hobby. We will discover throughout these pages and successive issues, all aspects of the
weathering. From the most classic techniques through to the most complex and difficult
techniques, we will show different perspectives from the best modellers explaining how
to make weathering with different techniques. It will be The Weathering Magazine and
here, you will find all that you need to know to bring realism to your projects. Although
this first edition has more pages to celebrate the inauguration, each new issue will have
64 pages filled with articles related to each theme, for this inaugural issue we will explore
rust in many forms. Here you will see techniques not only applied to AFVs, but also to
ships, robots, trains and also in the future you will find airplanes, figures, and many other
subjects. All areas of modeling will take a place in this space, because each subject can be
useful to learning and also to be used for a possible diorama. Also, you will find numerous
real photo references, vehicle color profiles, and much more information that you can use
as inspiration and as a guide for your projects.
Of course in any important project, it is necessary for a captain to make it reality and
in this case, John Murphy has been directing this exciting work. Besides being a great
modeler and having knowledge of many things, I admire him
for his professional trajectory and his pleasant personality.
And lastly, you will notice as soon as you pass
pa
ass this page,
a new character in the magazine that will accompany
accompany
us in an amusing and different way in each issue. It
is our pleasure to introduce Akatsiya. We have
captured this dream for you, so thinking about
modeling will be something more human a
and
nd
more touching. Well, in fact the truth is that the
production team has only two options, Jo
John
ohn
with underwear or Akatsiya, and I believe that
that
we have chosen well, right?

4 / THE WEATHERING MAGAZINE / RUST

INDEX
RUSTING A PAPER PANZER
Mig Jimenez explains us how to paint a
very rusty what if tank.
pag. 7

RAW STEEL PLATE


Bare steel plates have become very
popular, Mr. Scratchmod shows us the
way.
pag. 16

BARE METAL ARMOUR


One of the most realistic modellers,
Martin Kovc, teaches us some rust
tips.
pag. 20

SHIP RUSTING
Ships are a natural place for rust & corrosion, dont miss this exciting look
with Fran Romero.
pag. 30

SAND BLOWN OLD RUSTY


STEEL
Marc Reusser shows us how to treat an
abandoned 1/20 th scale Ma.K. pag. 50

RUSTY BEETLE
Our debut artist David Mart will surprise you with an amazing corroded
Beetle.
pag. 60

CHOOSE THE RIGHT


PRODUCTS
Our sensual muse Akatsiya, will help us
to know each rust product in the market.
pag. 68

THE WEATHERING MAGAZINE / RUST / 5

Model and Photos Mig Jimenez


Text John Murphy

6 / THE WEATHERING MAGAZINE / RUST

lets

recycle

this

scrap!!

n our first article we want to show


how to create a number of rust
effects that would not only be
seen on a tank or armoured vehicle, but would also be seen on huge
variety of vehicles, machines, and
equipment made from iron or steel.
To demonstrate these techniques
we will be using a vk 4502 (p), panzerkampfwagen tiger p2, which
was never actually put into production and is commonly known as a
paper panzer. For us this is perfect
because we can be creative with
both the camouflage and weathering as this vehicle never actually
existed!
Our idea is to depict the vehicle after
test and evaluation and the vehicle
now sits abandoned and neglected
in the backyard of the Porsche factory. In very little time, the condition of the paintwork would start to
deteriorate and rusting would soon
take place. Here we offer a comprehensive guide to creating these
effects.
THE WEATHERING MAGAZINE / RUST / 7

RUSTING A PAPER PANZER

4 Once we are happy with the


chipping effect, we need to
seal the model with a matt varnish before adding Streaking Grime for Dark
Yellow Vehicles.

This matt
coat will
prevent the Worn
Effects Fluid from being reactivated by the White
spirit used for streaking effects. The
Streaking Grime will tone and unify the
base colours and add subtle streaking effects
to all the sloped and vertical surfaces.

1 Even though this issue is dedicated to rust effects, we will include the initial stages of painting
to get the model ready for the
weathering process to begin. Here
we have the model divided into
sub-assemblies ready for priming
with Vallejos hardwearing AcrylicUrethane Grey Primer.
2 For the base colour of red primer we use the new AK Interactive
Modulation set for German Red
Primer AK 124. Once we have completed this to our satisfaction, the
next step is to airbrush the hull and
turret with AK Interactives Worn
Effects Fluid.
5

3 Once the Worn Effects Fluid


has dried, a camouage pattern of
broad sand coloured stripes is airbrushed on and allowed to dry for
a few minutes before wetting the
surface of the model with water
and then scrubbing and scratching
the sand coloured areas with an
old paint brush and cocktail stick to
create chips and scratches
5 A heavy wash using the same
Streaking Grime for Dark Yellow
is now applied to the deck on the
front section of the hull, where the
focus of our rust effects will be.
6 Chips and scratches are added
to the rest of the vehicle using
Vallejos Camouage Black Brown.
This colour is perfect for simulating bare metal where it has been
exposed to the elements.

8 / THE WEATHERING MAGAZINE / RUST

7 Now the Streaking Grime has


had time to dry for a few minutes,
we can now blend and soften this
colour using a long bristled brush
carrying a small amount of White
Spirit. The grime is worked into the
edges and also allowed to pool in
certain areas to create a random
natural effect.
8 We can now mask around the
deck area ready for the rst of the
rust colours to be airbrushed on.
Make sure the tape is lined up perfectly with the edge of the deck
area. Poor masking can spoil the
whole effect!
9 First we spray on a very light
coat of LifeColor Rust Light Shadow
(1). Notice that the streaking grime
effects are still visible through the
LifeColor paint. Keeping the paint
mix thin and the air pressure low
on our compressor will offer the
greatest control of these colours.

10

11

10 Next we add Rust Basecoat,


which is concentrated along the
front portion on the hull. We then
follow this by spraying on a small
amount of Rust Dark Shadow. This is
focused on only the front edge and
right hand corner of the deck area.

11 More of the LifeColor Rust Base


colour is airbrushed around
the gun barrel and mantlet
joint, as this area would be
prone to paint wear and
damage.

12 With the masking tape removed we


can see how the effect
has been graduated to
reveal the darkest and
deepest rust colour in the
front right-hand corner of
the deck. This will simulate
where the rainwater has collected mostly in this corner due
to the vehicle being parked on
sloping ground.
THE WEATHERING MAGAZINE / RUST / 9

RUSTING A PAPER PANZER

13

Now that all the basic weathering is complete, we can


add both specic and general rust streaks to the vertical surfaces. For this we use AK Interactive Rust Streaks
AK 013.

14

To add these streaks we rst make sure the bottle is


shaken well before using, we then start at the top
edge of where our streaks begin, then simply drag the
brush down over the surface making sure we vary the
width & length of the streaks.

15

With the rust streaks in place, the next step is to use a


clean brush wetted with White Spirit and gently ick
the brush up and down the streak. If you only drag the
wash downward or use too much pressure, you will remove it all and will have to start again.

16 The Rust streaks have now been completed on both the turret and hull. It is important take into consideration the story we are trying to tell with the model. We
need to remember how old the vehicle is, what it has been used
for, and whether
it is in service or
abandoned.

10 / THE WEATHERING MAGAZINE / RUST

17

On the horizontal edges of the armour plates, we can


now add pin washes to the chips. These can also be softened and blended with a clean brush and White Spirit.

19

Next we can start to add weathering to the large engine-access cover and for this we will be using Winter
Streaking Grime.
21

White Spirit and a clean brush can now be used to


blend and soften the Winter Streaking Grime until it
becomes a subtle dark stain that perfectly replicates
dirt, grime, and old fuel and oil stains that often accumulate on these areas.

18

Vallejo German Camouage Black Brown is now heavily thinned with water and washed onto the centre of
each engine-grille mesh. This colour is then stippled
and blended onto the mesh using a at brush.
20

We work this colour into the corners and edges of the


hatch and as we can see this is a great colour for adding general grime to the surface of a vehicle.
22

After allowing around 12 hours for the Winter Streaking Grime to dry fully, we now add some more rust
stains to the engine deck hatches.

THE WEATHERING MAGAZINE / RUST / 11

RUSTING A PAPER PANZER

24

23

With various areas of rust added to the engine deck,


we can now blend these with more White Spirit. We
aim to be left with faint areas of rust caused by rainwater and not unrealistic patches of red/brown paint.
25

As with all the previous streaking effects, the hard


edges need to be softened and blended to nish with
faint and natural looking rust streaks and staining.

Moving to the turret roof, we can now add individual


rust streaks to the chips we added earlier. It is important to get these lines parallel. If they are at different
angles on the same surface it will look unnatural.
26

Here we can see the nished effect, notice how we try to


make the streaks softer and spread slightly outwards as
they go further down. This is achieved by applying a little
more pressure with the brush toward the bottom of the
brush stroke. This may take a bit of practice to perfect.
28

27

The steel wheel rims are an area that will rust very quickly, you only have to check the disc brakes on your car after a night of rain. They will quickly start exhibiting yellow/orange surface rust by the morning. To simulate this
we paint the wheel rims in LifeColor Rust Light Shadow.
12 / THE WEATHERING MAGAZINE / RUST

This LifeColor rust colour dries to a completely at


nish and replicates this effect perfectly.

In these views of the completed


model we can see that all the
effects used are combined to
make a truly eye catching model.

THE WEATHERING MAGAZINE / RUST / 13

RUSTING A PAPER PANZER

VK 4502

14 / THE WEATHERING MAGAZINE / RUST

THE WEATHERING MAGAZINE / RUST / 15

RAW

PLATE

Mr. Scratchmod

he technique shown here is just one of many different ways to create raw steel
effects. Depending on the type of steel, how long its been exposed to the
elements, and of course the setting will
depend on how it is painted and weathered.
The technique described here can be
altered to suit the situation for many
types of modelling projects.

1 The rst thing we


have to do is apply a
base colour to the model. This is always done
after applying a coat of
primer to be sure the
plastic is covered and
sealed. For a base colour of steel plate we
use Tamiyas acrylic Flat
Brown XF-10.
16 / THE WEATHERING MAGAZINE / RUST

The next two steps involve the use of the sponge technique to add the small chips, which will give visual interest to the base colour. For the rst choose a dark
brown. To get the best results we use a ne textured
sponge like those used for packaging of electrical items.

For the second colour we use a rust colour that is brighter and lighter than the brown base colour. First dip the
sponge in some of the paint, then remove the excess on
a paper towel; otherwise we will end up with large blobs
of paint on the surface instead of a chipping effect.

The next step is to apply a dense lter using oil paints.


Here we are using Winsor and Newton Vandyke Brown
thinned with odorless thinner to a consistency between a lter and a wash. This lter will help to unify
the previous effects and tones.

5
Once the lter has dried fully, the next step is to apply
a medium that we use to create a chipping effect. This
can be done using the hairspray technique and in this
case we are using AK Interactives Worn Effects which
has been developed for exactly this type of effect and
will guarantee consistent results.
6

With the Worn Effects coat dry, some light grey colours were then airbrushed on in a random cloud pattern. This effect can be varied from panel to panel to
help create the effect that vehicle is made from individual steel plates. Once dry, more sponge chipping
can be added.

THE WEATHERING MAGAZINE / RUST / 17

RAW STEEL PLATE

The paint is then allowed to dry for about an hour before starting the chipping process. To chip the paint we
simply wet the surface with warm tap water and let it
soften the paint. A variety of old stiff-bristled brushes
are used to scrub and dab the surface to create the
chipping effects in the light grey areas.

For smaller areas of the light grey chipping we can add


this directly using a sponge technique instead of using the hairspray technique. This is faster to apply and
easier to control on smaller areas.

To add colour and interest, the factory workers chalk marks are
added using a white pencil. The two round access plates are also
painted in a red primer colour to add even more visual interest.

10

Fresh rust marks can now be added


using heavily thinned bright orange paint sprayed along the edge
of some masking tape in a couple
of light coats.

11

With the tape removed we


can now add some bright
orange rain marks in the form
of thin squiggly lines. A wash
of enamel Light Rust will add
softer tones to this rust effect
and will also help unify the
airbrushed and brush painted
rust marks.
18 / THE WEATHERING MAGAZINE / RUST

12

To nish this panel a pencil was run along across the weldbeads as they did not rust like the actual armour plates.
This was due to the high Nickel content of the welding
rods used during the construction of the real vehicle.

13

To add even more effects to the raw steel plate, we can


use a whole range of products and mediums, such as
enamel dust, streaking effects, washes, and pigments.
These will all help bring the model to life.

Overall views of the nished Mine


Roller. All of the realistic weathering
effects used on this Mine Roller will be
covered in detail in future issues.
THE WEATHERING MAGAZINE / RUST / 19

Martin Kovc

sing a combination of acrylic paints, AK Interactive Worn Effects, and enamel washes we show how to make scratch built plastic card appliqu armour look like totally
realistic heavy steel armour-plates complete with mill scale effects, surface rust and
welding seams.

20 / THE WEATHERING MAGAZINE / RUST

1 The first step is to


base coat the appliqu
armour sections with
Tamiya NATO Black XF69. This is sprayed on using an airbrush.

2 A random mottled
rust pattern was then airbrushed on using Tamiya NATO Brown XF-68
thinned with Tamiya Acrylic Paint Thinner X-20A.

3 The armour plate sections


ections were
we
ere
AK-Interactive
then given a coat of AK-Interactive
uid
een
e
en
Worn Effects Fluid. This
uid has be
been
o produce the
t
specically developed to
ar way to tthe
chipping effect in a similar
e difference
difference
hairspray technique. The
ts can
a
is that the Worn Effects
ore
be easily applied in a more
controlled way. Remem-ber the more coats of
Worn Fluid that are applied the greater the
chipping effect will be.

4 A light blue/grey colour mixed from Tamiya


acrylics is then sprayed in
a random pattern of the
steel parts. This colour will
help represent the areas of
steel that have not rusted.
THE WEATHERING MAGAZINE / RUST / 21

BARE METAL ARMOUR

5 Using a needle some of the blue/


grey can be carefully scratched off
before the paint has had time to dry
fully.
6 More of the blue/grey colour
can now be removed by wetting
the surface and by gently rubbing
it with a piece of sponge we can
create a mottled mill scale effect.
7 Here we can see the result of the
scratches and sponge effects.

8 The next step is to paint tiny


chips of blue/grey over the surface
to replicate mill scale, which is a effect formed on the surface of hot
steel during the rolling process.
9 Instead of using enamel based
washes to replicate rust we are using acrylics. The trick behind painting rust with acrylics is to have the
surface dampened with water before starting to apply the paint. The
wet surface helps to blend and thin
the acrylic paint for a natural effect.

22 / THE WEATHERING MAGAZINE / RUST

10

11

10 When adding ne sharp-edged


scratches and rust marks using acrylics, it is best to add these to a dry
surface, so the edges do not soften
or blur.

12

11 Chalk marks added at the factory during the manufacturing


process are simply drawn on using
sharp white pencil available from
art supply shops.

12 By loading some of the rust


coloured acrylic paint onto an old
brush with cut down bristles and
icking with a nger creates random rust splashes on the surface,
this helps to unify the rest of the
rust effects.

13

13 Using graphite pencil is the


best way to achieve metallic shine
on edges of the metal plates and
fresh cutting-torch lines.
THE WEATHERING MAGAZINE / RUST / 23

BARE METAL ARMOUR

14

14 Applying graphite powder with


a piece of rubberized sponge is
a great way to achieve a realistic
metallic sheen to the surfaces of
the plates. It is important that the
graphite powder is only applied to
the areas not covered by rust.

15

16

15 SSharp edged rust stains are


i
painted
on using Tamiya masking
tape as a mask. This is very effective when replicating the marks
left when steel plates have been
placed on top of another during
outside storage before being used
in the factory.

The same Vallejo rust colors that


16 T
were used on the armour plates will
be perfect for recreate realistic rust
effects on the tracks as well. These
Friul Model white-metal tracks were
rst primed using Tamiya NATO
Black. The orange and brown tones
were applied using a ne textured
sponge.

18

17

17 O
One of the main advantages of using acrylics paints
is that enamel washes can be applied straight after
without causing damage to the base colours. If using
enamel washes over enamel paints then the model
must allowed to dry fully for a couple of days
before attempting to apply these washes.

19 When painting weld seams


it is important to rst spray the
surrounding areas in a very
dark grey or black to
simulate the burn
marks caused
by the heat
from the welding process.
24 / THE WEATHERING MAGAZINE / RUST

18 The
T kit tow chain was weathered in exactly the same
way as Friul Model tracks.

20

21

20 The
T
weld seams are picked out
using a bright silver colour to make
the welds shine. A dark brown pinwash can be added to highlight the
texture of the welds.

In this photo of a Hobby Boss Super


Pershing we can see that the same
painting effects have been used to
replicate the bare metal parts of the
mantlet counter-balance weights.

G
N
I
R
E
H
T
A
E
W
R
A
C
A BOX

eathering railway (Railroad) locomotives


locomo
otives
and rolling stock has to be approached
approache
ed differently than modelling static models
models of
aircraft or amour. For example, the modeller will have
to weather many carriages and wagons to complete
a particular train.Also, these items will receive much
more handling than a static model, this means regular
weathering products such as pigments would get worn
away after the carriages have been picked up a few
times. Pigments can be sealed in with matt varnish, but
these tend to darken or reduce the pigment and spoil
the final look.
Our idea is to show a method of producing a nicely
weathered American railroad boxcar that will not take
frequentt hantoo long to finish and will be resistant to frequen
dling and look great on any railway layout.

John Murphy

This is how clean the boxcar


looks out of the box from
the manufacturer. Some
model railway companies
do supply rolling stock
pre-weathered, but to be
honest they look like they
have just been airbrushed
with some brown paint
randomly around the
lower sides and look
unrealistic.

The rst step is to airbrush


on Humbrol Super Enamel
No.26 Khaki. This is thinned
with Humbrol Enamel
thinner and misted over
the undersides and lower
sides of the bodywork.

26 / THE WEATHERING MAGAZINE / RUST

Once the enamel has been left to dry for around 30


minutes, the next step is to use a brush wetted in
White Spirit and start to drag the bush down over the
sides to achieve a streaky look. Make sure the brush is
not too wet, as it will remove all of the paint on the
rst pass of the brush.

Here we can see the streaking effect as the White Spirit evaporates.
As we can see, the heavier streaks
remain along the bottom of the
boxcar.

Rust patches and chipping can now


be added once the White Spirit has
fully dried. For the rust areas we use
German Camouage Black/Brown
from the Vallejo Modelcolor range
of acrylics. The vertical frames have
been masked off and a piece of
sponge carrying a small amount of
paint can be carefully dabbed onto
these frames.

Further rust areas can be added


to other parts of the boxcar. Here
masking tape has been applied to
create horizontal areas of rust.

Here we can see the completed rust


patches and chipping. Compared
to some reference photos this rust
damage is quite restrained!

The model boxcar came with a bright silver roof and to tone this down a
mixture of rust colour and brown acrylic paints were sponged onto the
roof section until virtually all of the silver had been covered.
THE WEATHERING MAGAZINE / RUST / 27

WEATHERING A BOX CAR

10

The roof section with the sponge effects completed. A sponge


was chosen, as it would not cover the silver completely in the
same way as if a brush had been used. The sponge also adds a
little texture to the effect.

The Light Rust wash is best applied with a


brush with long bristles, this help the wash
ow over the surfaces and around the details.
The drying time of the wash can be reduced
by using a hairdryer on a low heat setting.

11

12
The light Rust Wash
is then followed by
a further wash, this
time using a darker
colour in the form of Track
Wash. This is added mainly to the bolted panel
joints and the recessed channels on each panel.

13

The next step was to add a wash onto the trucks, by


using an acrylic colour we save having to wait days for
the enamel paint to dry before adding an enamel wash,
which could soften and ruin the Humbrol Khaki colour.
28 / THE WEATHERING MAGAZINE / RUST

The trucks were


painted separately
using the same Humbrol Khaki as used on
the rest of the boxcar.

14

AK Interactive Engine Oil was applied to the axle hubs


to simulate lubricating grease.

15
16

Moving back to the boxcar, we can


now add a Light Rust Wash to the
sides and ends of the bodywork.
Unlike the photo, this wash is best
added while the model is laying at
on its side so the wash doesnt pool
along the lower edges.

Once the Light Rust wash had been allowed to dry, some of Lifecolors Sleeper Grime was misted along the lower edges to blend and
tone down all the previous effects. This colour is available in LifeColors excellent Rail Weathering paint set.

17

18

A mixture of Rainmarks for NATO Tanks and Summer


Kursk Earth is applied. This was washed into the recesses of the end panels. It was also added as a pin wash to
details on the lower sections of the sides.

Dark Steel pigment was added to the independent


brake wheel and chain using a bre rubbing stick from
an art supply shop.

19

The nished boxcar. When compared with the


photo of it un-weathered, it is clear to see a much
more realistic and attractive nish.
THE WEATHERING MAGAZINE / RUST / 29

RUST ON THE HIGH SEA

Model Fran Romero


Photo Mig Jimenez
Text John Murphy

This is an example of a Heavy


cruiser made by the same author.

Using a ne tipped artists paintbrush, Vallejos Model


Color German camouage black Brown is used to add
random scrapes and areas of chipped and aked paint.

30 / THE WEATHERING MAGAZINE / RUST

This is best done completing small sections at a time. If


we loose patience and start to rush this part, the chips
and scratches will look too large and spoil the effect.

rust on
the high sea
B
y design, ships of iron
and steel will spend
their entire existence
on the oceans and salt water
seas. Heavily effected by
corrosion, ships will very
quickly show heavy signs of
rust stains and streaking rust.
Here we will explore some
techniques used to paint the
unique rusting that occurs on
ships.

Heavier chipping is added to the cut out on the top


edge of the hull where the anchor is raised and lowered.

Rust Streaks and Light Rust Wash will be our choice for
adding the many rust streaks and stains covering the
ships hull. These colours can be used individually or
mixed to create varied tones.
THE WEATHERING MAGAZINE / RUST / 31

RUST ON THE HIGH SEA

Using a ne tipped brush, the Light Rust Wash is painted in vertical lines from various chips and scratches
added earlier.
7

With the Light Rust stains now fully dry, thinner rust
streaks can be added to the centre of these lighter coloured stains. These are then blended to create a natural effect.
32 / THE WEATHERING MAGAZINE / RUST

Once the Rust Streaking


has been added to the deck
details, it can be blended
again using a soft brush
wetted with White Spirit.
We can see the difference
between the blended rust
at the top compared with
the unblended still being
applied.

Once the Light Rust wash has been allowed to dry for a
short while, a brush dampened in White Spirit is then used
to blend and soften these streaks for a more subtle effect.
8

Rust Streaks can now be added to the deck areas, paying particular attention to the area where the anchor
chain lays and other raised xtures on the deck, such
as the capstons used to raise the anchor.

Here we can see the nished rust effects, which


work really well on the grey painted deck.
This heavy rust effect would happen
in only a short time on warships
operating in the harsh conditions of the Baltic or
North Atlantic during WWII.

10

11

Even the modern U.S. Navy supercarrier, USS Abraham


Lincoln (CVN-72) is showing signs of heavy rust staining on her hull sides whilst deployed on operations.

13

We think displaying the ship with weathering adds so much


interest to the nished model and really tells the story of
how harsh sea conditions take their toll on any ship.

12

Some more subtle Light Rust Wash streaks have been


added further along the hull. These are also softened
and blended using a brush dampened with White Spirit.

14

In this close-up of the bow of an old navy warship, we


can see several weathering effects, including chipping
and worn paint on the front edge of the bow. Also of
interest is the patchy worn paint on the grey and red
areas of the hull.
THE WEATHERING MAGAZINE / RUST / 33

Mr. Scratchmod

n this guide we will explain how to create


textured rust using pigments, acrylic paints
and stiff brushes.

of paint, in exactly the same way as paint


would flake away from a heavily rusted metal
in real life.

This technique is perfect for creating heavily


rusted vehicles, but instead of using the
new chipping fluids, or hairspray and salt,
which are used in combination with water
to remove the top layer of paint to create
chips and scratches in the surface, this effect
relies on the paint being scrubbed off of the
unstable pigment underneath the top layer

For this feature we will be using an old


turret from a U.S. M26 Pershing tank with a
faded green as the camouflage colour. This
technique is obviously not limited to just
green and will in fact give even better results
on a German dark yellow or Gulf War desert
sand coloured vehicle for example.

The turret is rst primed using Vallejos Black acrylic


primer, followed by a LifeColor dark brown acrylic,
which will act as the base rust colour, we can now
start adding the rust pigment. To do this we rst mix
Dark Brown Wash with some Track Rust Pigment. This
is then painted onto the surface of the model using a
large brush.
34 / THE WEATHERING MAGAZINE / RUST

Track Rust Pigment is now stippled onto the Dark Brown


Wash and thanks to the slow drying time of the wash,
there is no need to rush this part. The wash will help
to x the pigment models surface. Different shades of
rust pigment can be used during this process to vary the
effect. It is worth noting that the more pigment that is
applied the thicker the rust effect will be and the easier
it will be to chip off the camouage paint later.
5

To ensure the pigment adheres really well, a light coat


AK-Interactives Pigment Fixer is misted on using an airbrush. This will darken the pigment a little, but do not
worry as it is to be expected using any kind of pigment
xer and will not spoil the overall effect in this case.
7

Here is where this technique differs from using either


the salt or hairspray technique. Instead of using water
to remove the paint to create chipping and exposed
rusty metal, we just use various stiff brushes, including worn out wire brushes and even a cocktail stick to
make individual scratches.

Here we can see that the pigment has soaked up all


the wash and is already starting to produce a realistic
effect. For even thicker rust, more wash can be painted
on followed by more pigment.
6

In this close-up of the turret we can see the rough texture the pigment creates under the faded green layer
of paint. This layer of paint is best applied in a couple
of light coats, so we dont get the surface too wet and
ruin the pigments underneath.
8

If there are any areas that are hard to chip, then just
dampen the area with a soft brush and water before
scrubbing and scratching the paint off as normal. Remember do not use too much water, as the pigment
will become very soft and could easily be ruined.
THE WEATHERING MAGAZINE / RUST / 35

RUST
RUST
R
RU
USTCHIPPING
CHI
CHIPPING
HIIP
H
PP
PIIN
NG

10

11

Even an old metal wheel from a mini-drill set is perfect


for adding random scrapes and scratches. Each style
brush or stick helps to create a different damage and
wear effect that has occurred over a number of years.
12

In this close-up we can see when the surface is damp it


helps to create natural and realistic stains around the
rust patches, just as it would happen in real life.

13

Here a pointed wooden stick is being used to create


individual scratches in specic areas. This method offers greater control than the more random effect produced by scratching with wire brushes.

In this nal photo we can see just how good the result
is that this technique produces. Notice how the aked
paint at the edge of the chips and scratches has a real
three-dimensional effect.

Here we can see the


same technique can be
used to add texture to
the exhaust mufer of a
larger scale 1/24 vehicle.

On this AFV Club Centurion Mk.5/1 pigments have


been used to add texture the exhaust cover, to simulate paint that has burnt off. This time the pigments
have been stippled onto a base coat of oil paint instead of an enamel wash..

36 / THE WEATHERING MAGAZINE / RUST

OLD METAL
FIXTURES

AND FITTINGS

sing enamel washes and graphite powder we show how


replicate realistic old metal fixtures and fittings. for our
to re
example we are using an old wooden door with metal
exam
hinges
this effect would also be perfect for many
h
hi
inges and brackets.
bra
items, such
drain covers and just about any iron or steel components
it
h as d
used in construction of old buildings.
John Murphy
2

This can be sprayed or brush painted onto the part


depending on how large the area is that requires
painting.

The rst step is to


paint the part in a
suitable base colour.
We have chosen
Frame Dirt from the
LifeColor acrylic range

AK Interactives enamel
washes Light Rust Wash
and Track Wash are mixed
in various ratios to replicate fresh rust or much
darker old rust.

4
5

This wash mix can now be allowed to ow over the


part and around the details. Pre-wetting the area with
white spirit will help the wash ow more easily over
the surfaces.
38 / THE WEATHERING MAGAZINE / RUST

Graphite powder is the


secret to achieving an
ultra-realistic metallic nish
to these iron parts. For this
we use AK Interactive Dark
Steel Pigment.

The area around the parts to be


rubbed with the Dark Steel Pigment, are rst masked off to ensure
we dont end up with a polished
metal nish on the wooden parts!
9

To make the metal look older we can


add another wash, this time just using the Track Wash. This will give the
metal an aged and weathered look.
10

Here we can see the nished effect.


Rust washes can now be added to
the wooden parts surrounding rust
to simulate where it soaked into
the wood.

A make-up applicator sponge is the


perfect tool to apply the pigment,
as it applies and buffs the pigment
at the same time.

With the tape removed, we can see


how good the Dark Steel Pigment
looks. If the metal work isnt too
old we can stop here, but for an
older look we can carry on.

WEATHERING
WHITE METAL

Model and Photos Mig Jimenez


Text John Murphy

TRACKS

hite metal tracks such as those produced by Friulmodel make a fantastic addition
to any tank or armoured vehicle, but one of the problems has been how to paint
them. Sometimes the paint doesnt adhere well and when paint chips off, bright
silver is left showing through, By chemically treating the tracks with a fluid that turns the
metal to a realistic rusted metal finish, we can make sure this will not happen in future. Here
we show just how simple this is to do.

These are the products and tools you will need to turn
shiny white-metal tracks into one that look as real as
the real thing. A glass dish or bowl, an old toothbrush,
Acetone, water, and the secret ingredient, AK Interactives Metal Burnishing uid.
3

With the track soaking in the Acetone, an old toothbrush is used to scrub the tracks which will ensure all
grease & any mould-release agent has been completely removed from every surface.
40 / THE WEATHERING MAGAZINE / RUST

The rst step is to clean and degrease the tracks prior


to immersing them in the Burnishing Fluid. Acetone is
perfect for this task as it is especially formulated for
degreasing or paint removal.

After removing the tacks from the Acetone and allowed to dry out fully on a paper towel, we can now
prepare the Metal Burnishing mix. This is mixed in a
ratio of 1:1 with water into a glass dish or bowl.

The track section has now been immersed in the Metal


Burnishing mix and again using an old toothbrush, the
tracks are scrubbed to ensure that any trapped air bubbles
are removed from recessed details. This is to make certain
that the Burnishing uid effects every part of the track.

Once the tacks have been removed from the Burnishing uid, they should be washed under running water
and then left to dry fully. When they have dried it is
clear to see just how excelent the tracks look.

The pigments can now be permanently xed in place


using Pigment Fixer.

Here we can see that the chemical reaction happens


quickly and how it turns the tracks from bright silver
into a more realistic rust brown colour, which is now
etched into the surface of the metal.

The tracks can be left as they are, or weathered further


depending on how the model is to be displayed. In this
case European Earth and North African Dust pigments
are being applied dry.

10

Here we can see in this photo of the completed model


just how realistic the tracks look, and thanks to the
Metal Burnishing uid this is easy achieve.
THE WEATHERING MAGAZINE / RUST / 41

AND
RUST
STAINS
SMALL CHIPS
N

ot all rust effects have to be complex when adding them to a


model. Here we show a simple technique that can be used for many
different scales and subjects such as military vehicles, railways,
ships, buildings, and civilian cars. In this instance we are adding the
rust damage to a US Army World War II supply truck.

John Murphy

The rst step is to apply the light green colour


rst, this is then followed by the brown making
sure the light green is visible around the edge of
the brown spot or scratch to simulate a three-dimensional effect.

1
To create the chips and scratches on the olive drab base
coat, we are going to use Vallejo US Grey Light, which
is actually a light green colour and LifeColor Brown.
3

For the rust streaking effect a good quality oil paint is


used. In this case Burnt Sienna is chosen as it offers an
excellent orange/brown colour perfect for simulating
this kind of rust.
42 / THE WEATHERING MAGAZINE / RUST

2
4

Small dots Burnt Sienna oil paint are now placed beneath the scratches and chips. You will need to take
into account the angle of the scratches and which way
the rust stains would ow over the surface of the real
vehicle when it is wet.

Next we need to drag the oil paint downwards using


light strokes with a at brush. The type of brush used
for dry-brushing is perfect for this. Again think about
the angle of these streaks. If they defy gravity, they
will look unnatural therefore they will look unrealistic
on the model.

Some further blending of the pigment and oil paint


with a clean dry brush will help create the nal look of
a soft and subtle rust effect.
8

Before the oil paint has dried fully, rust coloured pigh of the chips and
ment can now be added onto each
hat occurs around
scratches to represent rust staining that
ll add texture and
these marks. By using pigment it will
ent rmly in place
the oil paint will help to x the pigment
once it has dried fully.

Here we can see this same


ame
effect applied to the
exhaust cover on a Tiger
ger
I. The same technique
ue is
perfect for simulating
ting
rust around bullet and
shrapnel damage, as well
as bent and creased metal
etal
where the paint has aked
ked
away from the surface
e of
the exhaust cover.
ver.

Once the oil paint has been allowed to dry for a few
days, further
Dust washes or airbrushed dust can be added to help
create the overall effect of a hard working US Army
supply
pp y truck during
g WWII.

THE WEATHERING MAGAZINE / RUST / 43

m60a1

Chris Jerrett

LESS IS MORE

ubtle rusting is a tool all modelers should have in their painting arsenal because small
patches of rust are found on virtually all armoured fighting vehicles. When trying to
achieve a realistic rust finish, it is an important part regardless of how extensive you
want to go with your model. So for this issue dedicated to RUST, we want to do something
subtle to illustrate that sometimes less is more. Our example is of a USMC M60A1 involved
in intensive training leading up to Operation Desert Storm.

1 Before we can start adding the rust


effects, we must apply some enamel
washes. These will form the foundation of the general weathering and
also the rust effects.

44 / THE WEATHERING MAGAZINE / RUST

We can see that the washes have now added subtle


stains and streaked effects to the model. Scratches are
being added using a very pale cream colour.

Finer scratches and smaller chips using Raw Umber


acrylic are now added onto to the pale cream areas to
create a three-dimensional scratch effect.

With a ne brush we gently apply random streaks


and marks. It is not critical how they look at the moment, because the next ssteps
teps will tone these down
considerably.

As we can see here a variety of oil paints will be used


for the rust effects. It is best to put the
paint onto cardboard to allow the excess oil to
soak away rst, which
nish.
c will
will ensure the oil paint dries to a matt
nish.
THE WEATHERING MAGAZINE / RUST / 45

M60A1 LESS IS MORE

First we start with a ne


tipped brush and dab paint
in the recessed areas where
water would pool and cause
rust to generate.

With a
wide brush
dipped in clean
White Spirit we
gently draw the oil paint
out from the recess to create streaks,
which blend and soften as they are
pulled from the starting point.
8

Heavier rust streaks can be added to the sloping sections of the engine deck, where lots of paint damage
can appear due to engine maintenance etc.

46 / THE WEATHERING MAGAZINE / RUST

While mixing the oil colours we make dark grimy tones


to build-up dirt and corrosion in these areas.

10

To produce the tiniest of rust spots and chipped paint


the sponge technique is used. In this case we use very
little paint on the sponge and dap the paint on gently
to create these.

11

With a ne brush and thinner we simply run more of


the rusty enamel wash gently down over the vertical
surfaces, such as the sides of the turret. One light wide
stroke for heavy water ow and narrow strokes for
more concentrated ow of rusty water.
THE WEATHERING MAGAZINE / RUST / 47

M60A1 LESS IS MORE

12

Using a very thin mixture of Light Rust washes and


Rust Streaks we use a syringe to inject this wash into
areas where water would collect and cause pools of
rusty water.

48 / THE WEATHERING MAGAZINE / RUST

13

Spare track links and tow cables attached to a tank


are also prone to rusting. These are rst painted using acrylics followed by oil paint washes. Be sure which
parts would actually rust before applying the washes.

THE WEATHERING MAGAZINE / RUST / 49

or this project we wanted to create


the look of an old rusting steel space
suit, on a forbidding, desert planet.
A place where heat, sun, and wind-blown
sand, have worn most of the paint away,
and pitted and oxidized the metal surface

below to a dull sheen. What moisture there


is would merely be due to the temperature
cooling at night which creates some humidity
in the atmosphere. So no real streaking of
rust is caused by water running down the
surface. The rust would appear mainly along
the newly exposed edges, where the sand
and wind have eroded the paint and where
moisture has been slowly creeping under the
remaining paintwork causing it to crack and
flake away.

Marc Reusser
Gunze resin primer is used before airbrushing a basecoat with various mixes of Hull Red and camouage
Black Brown to emulate the colour of old oxidized steel.
50 / THE WEATHERING MAGAZINE / RUST

Pale green
and grey
tones are
sprayed on top of
the hairspray layer. The top layer
can then be chipped using water
and a stiff bristled paintbrush.

The salt technique is now used to represent newer rusting/oxidation.


We leave the highest points in the darker tones, as these areas
would have been exposed to the elements the longest.

All the parts are now sprayed with a matt


varnish in preparation for the hairspray
application. Notice how it has darkened
the rust tones and unied them.
THE WEATHERING MAGAZINE / RUST / 51

SAND BLOWN OLD RUSTY STEEL

Using a 10/0 artists brush, small pin-washes of rust are


added. For these we use both enamel rust washes and
oil paint, which are applied along the edges of panels
and around details.

The pin-washes can now be applied along the edge of the


chipped paint areas. The turpentine will cause the wash
to spread much further and create very subtle tones.

On some corners and horizontal


protrusions where rust would
collect over time, additional
thinned spot washes of AK
Interactive Rust Streaks
were layered on to produce
this buildup.

52 / THE WEATHERING MAGAZINE / RUST

We now add washes to the larger surfaces, but rst


we must dampen the area with odorless turpentine
before adding the pin-wash. This will help the pinwashes ow over the surface for a subtle effect.

To create texture and sun bleaching, some of the paint


chips were then mapped using LifeColor White Oxide. This can also be done before or after the pinwashes to create variations of discolouration.

To accentuate some of the


edges and simulate slightly
polished edges and high
points on some curved surfaces, AK Dark Steel pigment was applied using an
artists bre pencil.

10

THE WEATHERING MAGAZINE / RUST / 53

RUST
REFERENCE

PHOTOS

eathering references are all around us, but all too often we dont even notice or
give them a second thought. During the research for this edition of the magazine,
it has become a mission to find and observe many forms of rust and rust based
weathering effects on many varied items that we have found on our travels. We hope this
small selection will prove invaluable for your own reference library.

In this photo of an abandoned BMP in


Northern Afghanistan, we can see that the
rust has taken on an even tone of brown
all over. It actually looks like it has been
painted brown, because the shade of rust
is so uniform over the entire vehicle.
On this steam locomotive boiler we can see numerous rust tones,
which can be replicated by using some of the techniques described in
this issue.
The glacis plate of this captured Iraqi T-55 on display at the Tank
Museum in Bovington England. Displays both rust chips and
scratches on the front fender as well long rust streaks from the
headlight guards due to the vehicle being stored outside for a
period of time.

54 / THE WEATHERING MAGAZINE / RUST

On the side of this railway locomotive it is interesting to see that not


all rust streaks are bright orange. In
just this one picture there are many
weathering effects to be seen offering great references for many
forms of scale modelling.
Even on a modern warship such as the USS Essex LHD-2, we can still see it
is affected by rust and after long operational deployments the hull sides
can be completely cover in rust streaks.
Could this be the ultimate photo
to demonstrate both rust streaking
and chipped paint effects? It would
be a real test of ones painting skills
to replicate this on a model.

This T-62 at the tank graveyard in


Kabul, Afghanistan has received
a lot of battle damage to the turret and each of the shell and bullet marks has generated an area of
rust around each impact. This rusting will happen in only a few hours
after it has happened.
THE WEATHERING MAGAZINE / RUST / 55

RU
R
RUST
UST
ST R
REFERENCE
REFERENCES
EF
E
FER
E RENC
E NCE
EN
CESPHOTOS

Here is the perfect photo to


illustrate
how
rain, which has
formed a puddle
in the metal component
leaves
a tide mark of
bright
orange
rust as the water
evaporates.

This sheet metal engine cover


suffers from some serious surface rust, in fact there is more
rust than paint remaining. Of
interest are the many small rust
coloured rain streaks fanning
out from their point of origin.
56 / THE WEATHERING MAGAZINE / RUST

This rather battered looking Kubelwagen exhibits some great reference with the badly rusted front
fender, displaying a textured rust
effect where the paint has aked
away. There is also rust staining
around some of these patches.

THE WEATHERING MAGAZINE / RUST / 57

RU
R
RUST
UST
ST R
REFERENCE
REFERENCES
EF
E
FER
E RENC
E NCE
EN
CESPHOTOS

Here on these steel plates in an engineering yard, we can see the mill scale
effect that we have replicated in our bare steel article within the pages
of this issue.

58 / THE WEATHERING MAGAZINE / RUST

This isnt a photo of rust but it is worth


remembering when you are about to
add rust to a model, it is worth double-checking your references. For example the mudguard on this Soviet
BMP is actually made of aluminium
and not steel and therefore there
would be orange/red ferrous oxide
rust surrounding any damage.

COLOR PROFILES
Claudio Fernndez

THE WEATHERING MAGAZINE / RUST / 59

RU

We have selected a very popular and


attractive vehicle, the 50 Volkswagen
Beetle. The idea is to create an old rusty
Beetle with two different sides; one more
damp and shadowed (the north face)
and the other more sunny and dry (the
south face), creating contrast between

David Mart

60 / THE WEATHERING MAGAZINE / RUST

ust is the main focus in


this first issue, so we will
focus primarily on the rust
effects. Everybody knows that
there are many methods used to paint
rust effects, this way is only one option.

TL

B
E
Y
E
T

them while creating a logical


transition.

We apply a base rust colour, using Tamiya


(NATO brown XF-68 and Matt black XF1) mixed with matt varnish ( Hobby
Color H-20), and diluted with
Gaia thinner (T-01s).This way
we create a strong resistant base of the appropriate rust colour.

This is the moment for the Hair Spray technique,


using Worn Effects (AK-088). We apply diluted with
water if necessary.

We paint the base color, in this case white (Vallejo


71001). It is important to apply different densities for
variation.

After dampening the surface with water, we can


start to rub with different
tools such as brushes , needles, etc.
THE WEATHERING MAGAZINE / RUST / 61

RUSTY BEETLE

Now we have a good rusty base for the weathering


effects. After varnishing with a satin varnish (AK010), we apply a dark wash to all of the panels. (AK045 Dark Brown).

We do some rusting with the sponge technique using


acrylic paint (Lifecolor rust series), to create contrast
and texture.

Now is the moment for oils, creating selective fading


using rust tones and white.
9

We create rust streaks (AK-013) on all the vertical surfaces.


62 / THE WEATHERING MAGAZINE / RUST

We apply discoloration, shadows, and highlights.

10

Working the effect with white spirit (AK-011) to create


vertical streaks using a at brush.

11

Next we use Streaking Grime (AK-012) for the appearance of old rust.

13

12

With Light Rust Wash (AK-042), we paint the recent


fresh rust.

14

To complete the rust effects, we apply pigments in


specic places, creating more varied rust tones.

15

The beetle and the products used in for weathering.

THE WEATHERING MAGAZINE / RUST / 63

RUSTY BEETLE

64 / THE WEATHERING MAGAZINE / RUST

THE WEATHERING MAGAZINE / RUST / 65

RUSTY BEETLE

66 / THE WEATHERING MAGAZINE / RUST

THE WEATHERING MAGAZINE / RUST / 67

CHOOSE THE RIG


Here we can see just a small selection of various products we
can use to produce rust effects on scale models. Some are
supplied as dedicated sets with a specic job, while others
are available separately from within that companys range
of products

hatever our interest in scale modelling the types of paints and weathering products we use play a
very important part in the way our finished models will look, therefore it is advantageous that we
know the strengths and weaknesses of each type and which will produce the very best results.

To produce rust effects we can use enamel-based paints, oil paints, acrylics, pigments and pastel powders. Most manufacturers produce specic rust colours with in their ranges and as
we can see in our small selection in the accompanying photos here, these vary greatly
between manufacturers. We also have the choice of mixing our own shades and also
combining different products, such as mixing oils with enamels and pigments to
create unique effects.
While we are discussing pigments, there has been a huge increase in recent years of the number paint and model
manufacturers now producing specialist weathering pigments formulated for modelling and
today we have many different brands and
hundreds shades to pick from. Pigments for
weathering are also available in the form
of pastel chalk sticks, which have long
been used by artists and are normally
stocked by general art supply stores
and in the old days were the only way
modelers could and realistic dust, rust
and soot effects to models.
Lastly we have specialist chemicals that can be used to
create real rust on metal surfaces, such AK Interactives
Metal Burnishing Fluid or instant rusting products supplied in a kit that will generally include a form of powder or paste that can be treated with a special uid to
rapidly produce a layer of rust oxide on the surface the
metallic powder has been applied.
In this section we are displaying only the tip of the
iceberg of what products are available to the modeller today. With so many products to choose from,
choosing the right one can be confusing, but hopefully after reading our RUST issue we will help you in
the right direction.
68 / THE WEATHERING MAGAZINE / RUST

GHT PRODUCTS

THE WEATHERING MAGAZINE / RUST / 69

ENAMELS

RUST STREAKS

Enamels until the recent development of acrylic


model paints were the only real paint suitable for
our needs. Humbrol became the name we most associated with enamel paints and or years modellers experimented and developed techniques using these
paints as a basis and it has only been since acrylics
come to the forefront that we realised the smell is
strong with these paints, the drying time is slow and
that some enamels contained harmful toxins as do
the thinners needed to dilute this paint and wash
the brushes.

Easily imitate the rust streaks over any surface, using this color. Use a ne brush to draw the lines and
a thick at brush dampened with White Spirit to

Weathering with enamels has its advantage as they


are hard wearing and the can be thinned in much
the same way as oil paints or the newly developed
and especially formulated lters and washes.

stump the lines.

They do dry quicker than regular oil paints when


used as a lter or wash.
The disadvantages with enamels are when they are
thinned right down, the colour pigment can become
gritty and not ow as a coloured wash. This can spoil
the effect we are trying to achieve

4
Among all available enamels, AK Interactive has developed the exception, creating an advanced product specially designed for weathering. Even though
they are enamel based, they have been optimised
for weathering purposes. Speci cally regarding dry
time and other characteristics that convert this kind
of paint into one of the best options for modellers.
AK Interactive products are easy to use and are available in specic colors designed for different effects.
There are a variety of colors for rust effects, designed to work in combination with acrylic chipping.

ACRYLICS
The advantages with acrylic paints are that they offer great coverage and dry extremely quickly and a
safer to work with than enamels or lacquer based
products, they are also impervious to enamel based
weathering products, which means we do not need
to leave at least 24 hours before adding enamel
washes or lters for example.
Probably the biggest single advantage with working
with acrylics is the can be thinned and any brushes
washed and cleaned using regular tap water.
The disadvantages of working with acrylics are that
they are more difcult to use for colour washes, as
they are more difcult to control and once dry they
cannot be cleaned off and start again if we are unhappy with the nal result.

70 / THE WEATHERING MAGAZINE / RUST

AK Interactive produces
a very good
d
d set off ffour rust
colours in their Chipping and Rust set.

The four rust tones in the LifeColor set provide a great


starting point for some superb rust effects and are the
colours we have used for some of the rust effects used
on our VK 4502 (P), Panzerkampfwagen Tiger P2 article in this issue.

Com Art produce two rust tones in their Real Deal


Weathering Set from www.iwata-media.com.
We did nd when airbrushing these colours that they
took several coats before achieving a solid base layer.
And the paint dried to a satin nish, not ideal for replicating rust!

Vallejo Acrylics produce a huge range of modelling


paints, dedicated to armour, aircraft, general modelling and war gaming and amongst these hundreds of
colours, their range are several that would be suitable
for rust tones. In their panzer Aces line for example,
they have three rust shades that can be mixed to produce many realistic effects.
THE WEATHERING MAGAZINE / RUST / 71

Once the Rust developer chemical has been brushed


onto the surface it reacts with the powder and starts
to turn the powder rusty over a short period of time.
Due to the course texture of the powder and nal effect, we think it would only really be suited for larger
scales

We can create rust using chemical based products such


as Scenic Rust from Deluxe Materials. Included in the
set, is a iron powder, a xative and a chemical that will
react with the iron powder to produce the rust effect.

First we must mix the xative (glue) and powder to


the manufacturers recommendations and the tools
provided.

Another interesting product used to create natural


rust is the Metal Burnishing Fluid. This product can rust
any metal part, like iron or white metal. It has become
very useful for the popular Friulmodel Tracks which are
cast in white metal. Simply clean the tracks with acetone using a stiff brush, submerging the tracks in the
liquid. Next, we need only to mix 50% water with 50%
of Metal Burnishing uid in a container and place the
tracks inside. While using a stiff brush to remove the
air bubbles from the tracks, we need only wait 10 - 15
minutes for realistic and permanent Fruil Tracks!

This mix can now be applied to the desired surface or


item. We did nd it difcult to get an even coverage
and because this paste is quite thick it can easily cover
and hide small details.
72 / THE WEATHERING MAGAZINE / RUST

Idea Patina is another chemical method used to create


rust on large areas in an easy way. This product has
two parts....one paint made with iron and one liquid
which will produce the rust. Paint a piece with the iron
paint, then apply the blue liquid. You will see how with
time, the piece will become rusted.

OIL PAINTS

PIGMENTS

Oil paints have been used by artists and modelers


for many years and for a long time have been used
to add washes and many weathering effects to models. Like most other types of paint medium they are
produced by many different manufacturers and the
quality can vary greatly. We recommend using artists grade and never use the cheaper student variety, which have inferior performance compared to
the artists grade.

Artists have used pastel powders for hundreds of


years and more recently specialised pigments have
been developed and used by railway modelers to
add weathering to locomotives and rolling stock.
The use of these pigments has grown immensely in
recent years have now incredibly popular and used
in the weathering all other forms of scale modelling.
As with any other product that proves successful and
protable it is inevitable that many different brands
will appear on the market. Just as with oil paints,
there is a huge difference in quality between manufacturers and some are no more than regular paint
pigment that is actually quite coarse in its texture
and do not adhere very well to the surface they are
applied to.

A good quality oil paint can be thinned with turpentine or white spirit to produce amazingly subtle
washes. They can also be mixed with enamels or varnishes to create glossy effects to replicate oil or fuel
stains and spills for example.
The disadvantages with oil paints are generally the
long drying time, which can adversely delay the
speed we can progress with our weathering stages.

Pigments are the perfect tool for adding dust, mixing into mud, adding exhaust soot, rust effects or
even polished metal nishes to our models and are
one of those products that have really helped revolutionise the painting and nishing side of our hobby.
The disadvantage with pigments until the advent of
xers was that they could be worn off, if the model
is handled too much and when matt varnish is used
to protect them and seal them onto the surface, it
can drastically change the colour of the pigment, especially lighter tones and spoil the effect we were
trying to achieve. Thankfully this has now changed
e development of specialist
sp
with the
xers designed
ally for this task.
specically

As we can see in this nal photo of the test cards we


painted using products from just three different companies, it is obvious there isnt a single colour that
could be classed as the perfect shade of rust, especially
when they are compared to the right hand card, which
has been treated with Deluxe materials Scenic Rust.

We can see that even the Scenic Rust has produced


a number of different shades rust on this small test
sample. The best advice is to study your references and
have fun experimenting with some of the many amazing products now available to us.
THE WEATHERING MAGAZINE / RUST / 73

POSTCARDS
FROM
THE WORLD
D

uring May of each year, the city


of Shizuoka Japan celebrates the
most important model event in

the world: the Shizuka Hobby Show. It is


mainly organized by Tamiya and here the
best Asian modellers display their latest
creations in the most grand exposition
area that you can imagine.If you
have the opportunity, visit this
festival at least once in your
life. Your mind will be
changed forever

74 / THE WEATHERING MAGAZINE / RUST

SHIZUOKA HOBBY SHOW 2012

THE WEATHERING MAGAZINE / RUST / 75

76 / THE WEATHERING MAGAZINE / RUST

ny and Mig Jimenez


pa
om
C
a
aw
eg
as
H
President of

AK Interactive japan
ese

staff

Crossroad modellers from Tokio


me
AFV C lub president and so

Spanish modellers

Tamiya party in Shizuoka Hobby


Show

THE WEATHERING MAGAZINE / RUST / 77

IN THE NEXT ISSUE...


by the Devil of Modelling

Over many years, I have noticed how many modeller follow others, imitating styles or methods. The worst offenders are those who follow the line of thinking that models must be clean and absent of dust and dirt. Where
did they come up with that idea?? They simply follow others like sheep, explaining that those who apply dust or
dirt are attempting to cover poor construction or remains of glue! But in our opinion, they are simply scared of
the omnipresent effect: THE DUST. If you dont believe me, take a look at this photo taken recently in a model
show....you can see these modellers are kicking up large clouds of dirt and dust around them...perhaps the dust
will fall down only on my vehicle!. But these modelers are so focus in their idea and they cannot see anything
around them. Dont be a sheep...break the rules and be adventurous! Cross the line and enter in the dark side of
the modelling. If you are scared, please dont read the next issue of The Weathering Magazine about dust and
dirt. Be a good boy and leave your models clean of dust...or be part of realistic modeling!

Our distributions:

EXCLUSIVIST FOR ITALY

...and much more!


Via Spagna 11 - 35010 Vigonza (PD) Italy Tel +39 049 8955008 - Fax +39 049 8959260
e-mail: info@steelmodels.com - website: www.steelmodels.com

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