AK-Interactive launches a

new line of publications

amongst which a
magazine dedicated
exclusively to aviation
modelling in all its
genres emerges. ’Aces
High’ is and will continue
to be a magazine with a
thematic content, covering
everything related to
fighting units, or battles in
which the aircraft has been
the main proponent of the
action. Our first issue is devoted
to the formidable German night
fighters of the Second World
War, with a wide variety of subject
character which was typical of the
German aircraft industry at this time,
including the legendary Messerschmitt
Bf 109 with a completely black scheme, and
one Focke-Wulf Fw 190 with its characteristic
antenna arrangement which resembles a
“hedgehog“. Aircraft such as the spectacular
Messerschmitt Me 262 jet fighter, or the impressive
Heinkel He 177 ‘Greif’ heavy bomber (although not a
fighter, the camouflage scheme, equipment and night
operations, give it a foothold in this genre), and last
but not least, the Messerschmitt Bf 110 and Heinkel
He 219 that swelled most Luftwaffe Nachtjäger units.
Other types such as the legendary Ju 88 will be subject
I hope our approach is to your liking. We have put a lot
to future issues of the magazine, due to the number of
of enthusiasm and commitment into this publication
variants, camouflage schemes and theaters of operation.
and we will continue to improve with each and
An essential addition to this publication would have to
every issue we publish, giving the best of ourselves
be the inclusion of a military vehicle and a pilot figure in
and the all modelers who work with us, on this
order to create a different approach than that employed
and future issues.
by other publications.
Daniel Zamarbide Suárez

Produced & Distributed by Original Idea & Concept Art Direction Cover Artist Collaborators
Fernando Vallejo AK Interactive G. Kowalski Aitor Azkue
AK Interactive Andrés Montiel
Manuel Gil
Chief Editor Graphic & Layout Pin Up Artist
Tomás de la Fuente
Daniel Zamarbide BMS Designs A. Messina
José Luís Echaide
AK Interactive
Roberto Ramirez
www.ak-interactive.com
Editor Management Article Assisstant Sales Manager Francisco J. Martínez Rodríguez
Follow us in: K. Novák H. Flemming Jalal Benali
Rubén González
Printed by Depósito Legal
English Texts Editorial Assistant LR-218-2014
James Hatch P. Klausen
Maciej Goralczyk contact@aceshighmagazine.com
 pag. 6
Heinkel He 219 A-0 ‘UHU’
from the Japanese manufac turer
The most advanced night fighter of WW2. The He 219 Uhu, in 1/32,
Zoukei-Mura, built by Aitor Azkue, in a stunning diorama.

pag. 22
Focke-Wulf Fw 190 A-6/R11
with its characteristic antennae in a
One of the legendar y fighters of the Luftwaffe, the eternal Fw 190
kit with Owl’s conversion set, by Dani Zamarbide.
‘hedgehog’ arrangement. Built from the Hasegawa’s 1/32

Heinkel He 177 A-5 ‘Greif’ pag. 32

MPM, with a complex camouflage
Andrés Montiel shows us the huge 1/48 Heinkel He 177 ‘Greif’ from
and an array of deadly weapons including a Fritz X guided bomb.

Messerschmitt Me 262 B-1a/U1 pag. 44

Me 262. Jose L. Etxaide has captured
Deadly with its impressive speed, manoeuvrability and weapons, the
in a variety of colors, building the Dragon 1/48 model.
this with an interesting camouflage scheme

Messerschmitt Bf 110 G-4sky, the Bf 110 G-4 was it. Manuel Gil builds pag.
54
a
If there was one true defender of the German night
superb example of the Eduard 1/72 model.

pag. 66
Messerschmitt Bf 109 E-4 E-4 variant, which Tomás de la Fuente
The best known of all German fighters of WWII was the Bf 109 in its
an exhaustiv e process of painting in an always hard-to-work black scheme.
builds for us, including

Mind The Gap The ground section pag. 75

e pilot, with a leather
In thissection, Roberto Ramirez shows us how to masterfully paint a Luftwaff
jacket and a jaunty pose.

Mind The Gap The ground section

e Kfz.385
pag. 79
To round off this section, Francisco J. Martínez teaches us how to paint a Luftwaff
Tankwagen, to help spice up our diorama.

pag. 82
In The Next Issue:
World War 1 Centenary Special
 Aitor Azkue

A huge number of gray plastic parts are included, having the interior of the cabin, with its instruments, seats, radios, etc. all
perfectly recreated, along with the rest of the fuselage. Engines are amazingly detailed. In the front of the plane, the FuG 220
aerials are finely represented, although I replaced the originals with metal ones from Master Model, who dedicate much time
to the actual study of the subject, which is reflected in their quality. Highly recommended.
UHU ASSEMBLY

1 2 3

4 5 6

7 8 9

10 11 12
 13 14

The upwards firing cannon are now 15

1 Partially assembled office. Detail is superb, finished. I added a few cables to the
but I added the seat straps from photo actuator cylinders.
etch.

2 We use Model Air paints for the base layer

and hightlights.

3 With pastels we emphasize panel centres

giving volume to the parts.

4 All interior elements were painted, 16

following the magnificent He 219 book
from Kagero. I concentrated in creating a Pastels were again used to create different
dirty looking cockpit floor. tones to the various exposed areas.

5 Radio detail. Aber photo etch has been

added to simulate dials, etc.
6 Both engines assembled. They could be
separate projects. Even the interior pistons
are recreated.
17 Using Humbrol enamels, cables and 18 We add dirt with different AK
pipes are now painted. products (Grime and Engine Oil)
and give metallic hints to the
edges.

7 With Black and Médium Metal colours, we

give the engines a metallic base layer.

8 With pigments, we give a dirty and dusty

appearance and add nuances.

9 By painting with the appropriate enamel

colors, the different elements of the engine
block are brought to life.

10 The rib structure of the wing has an area

where ammunition is stored. I advise
painting this before joining the wing halves
together.

11 With green Gunze RLM 02, the interior,

upward firing guns, radio and navigation
equipment, etc. are painted.

12 We again emphasize volume with pastels,

by creating different shades.

13 Interior parts are now painted.

20
14 The interior fuselage fuel tanks are painted View of
in the same Gunze RLM 02 colour. 19 Using tin wire, cables are added to represent the cabin painted
various landing gear hydraulics lines etc. and in its place.

22 Awesome product from Eduard Brassin 23

for replacing the wheels. A comparison
between the detail
of the kit (in black)
and the resin
(light gray).

21
A comparison
of the antennas.
The black parts
are from the kit,
whilst the metallic
ones are from Master Model.
 UHU PREPAINT

The doors to access the engine are opened. 26

25 As not much is seen, we open one that
Detail of the painted cabin with the glass not yet was moulded as closed in the kit, as to
Overview of the assembled kit, 24 fitted. We see one of the kit options, giving the better see the engine. The cover’s built with
ready to paint. frames, without glass. evergreen plastic.

27 This view of the Master metal antennae,

now installed, shows how refined they are.

29
28 This view shows the finished
The folding hinge of the rear access door is ammunition and weapons bays,
made with evergreen. including fuel tank access.

Rear 31 32 Another view of the engine.

cannon and
weathered fuel tank, creating
a well-used appearance.
Being a promotional model kit,
I did not want to add too much
extra detail.

30
Here we see
all access to
the engine and
the new access
panels.

33 Rear view of the cabin, with

all its elements painted.

34
At the rear of the fuselage we 35 The exhausts were detailed with a
add the backwards pointing little Evergreen plasticard to create the
antenna. straps that were missing in the kit.
 UHU PAINT

36 We prepare the model for the

painting phase. Masking tape is used
to blank off painted areas and secure
loose parts.

37 To create a base color, Gunze RLM 76

was airbrushed over the entire model.
Personally, I prefer this brand for the base
colors due to their excellent covering
qualities.
38 For the top half, I used RLM 75. Paint
dilution was done with the manufacturer’s
own specific thinner, Mr. Thinner. 36

39 The squiggles are painted with RLM 76

and a little white, so as to stand out on the
RLM 76 of the fuselage. This is the same
as shown in profile, but the weathering
steps will reduce the effect. I advise gloss
varnish from Model Air, then adding the
decals, with matt varnish applied before
any weathering.

40 We proceed to give “volume” by

highlighting all surface detail with pastels
and pigments.

41 Things are now looking a little dirty

due to surface pastel and pigment
application, but still allowing the
previous detail to show.
42
With AK082 Engine Grime enamel, we
create a little random dirt, diluted with AK
thinner. 37 38

39

40 41 42
43 44 45

46 47 48

49 50 51

52 53 54
 55 56 57

43 We continue with pigments on the sides

of the plane. Simply put a dry brush into
the pigment, and apply directly. The excess
is removed by rubbing with another dry
brush.

44 Another view of the same process.

45 I usually paint rivets one by one with a

freehand brush. However, there are tools
on the market, which will make this task
far easier to carry out. I advise you do rivet,
as without, the models looks “flat”.

46 Sides are now riveted. I’ve used an

intermediate gray enamel for these. If you
see real He 219 photos, you will clearly see
these rivets.

47 To paint and “highlight” the tail, follow 58 59

these steps: First, highlight all panel lines
with pigments. When removing excess
60
pigment it should remain on the base paint
color, modifying it slightly.
48 To highlight a panel line, we use Tamiya
tape, leaving a small gap between strips,
and depositing pigment between them.

49 Remove the tape.

50 Use more tape to serve as a guide when

marking the rivet lines.
51 Final appearance. We have given more life
appearance of the painting.

52 Same process with one of the main wings.

We see an attractive matte, but lifeless
finish (I prefer matte models).

53 We highlight panel lines with pigments,

although you can use your own
technique, or those well-known ones
already described in many other
modelling articles.
54 The highlighting of panel lines with
pigments is now complete.

55 Freehand riveting using a small brush.

56 Final look of the wing.

57 We highlight a panel with the adhesive

tape.

58 Remove it.

59 Rubbing removes the excess pigment, and

this is the end result.
60 Overview of “paneling” and riveting.
We have used the test shot canopies to
temporarily cover the cockpit.
UHU FINAL

Overview of the plane.

The wing span is
considerable on a 1/32
He 219. This was a large
aircraft.

The riveted appearance, and the antennae

installation can be appreciated in this view.
The front wheel is turned so as to give
it more dynamicism in its final pose.
61 62 Doing this requires modifying the part.

65
63 …and of the
engine.
No final quality canopies
were given by the
manufacturer, as this is a
test shot model kit, but it
gives an idea of the
“separate-frame” approach
that is an option in this release.
64 Top view of the cockpit...

From the rear, the View from behind the left wing.
camouflage creates a
special look, fulfilling its
role and distorting the
surface of the plane.

66 67

68 Overview view from the rear.

 Starboard engine with scratch built central
access panel. The kit supplies this area as a
closed panel which I
needed to open up.

69 70
In this view, we can appreciate the various open ports which have
been modelled. For extra realism, try not to duplicate the appearance
on both sides with regards to what is displayed.

Where dirt and grime is more

apparent, I used various items
from AK’s weathering
products range. Wheels are soiled
with pigments for the perfect look. 71

72 Antenna cables from stretched plastic. 73

Another view of the side. Here you can also

appreciate the various elements normally
hidden away within the fuselage, such as the
ducts, etc. Of course, releasing this hidden
detail means we have had to paint it.

74 A curious view of the aircraft, giving it a futuristic and

strange appearance, far from the typical airframe. Normally
I like building“operational” models, so I don’t skimp on dirt,
but as this was a promotional model, I refrained.
 I added panel restrictors from 75
lengths of stretched sprue.

Another rear aerial view, this 76

time from the right wing.

77 Here, we can see the

central fuel tanks pipes 78
and cable detail that is
integrally moulded as a
single piece.

78 Left front view.

Leaving out one engine, I had to detail the

gondola with cables and different thicknesses
of tin plate. Detail can also be appreciated in
the belly weapons pack.

79
80 I always try to subtly chip plate 81 Aerial view of the plane,
edges with a brush, so as to give which gives us a perfect view
the appearance of general wear of its silhouette.
and tear.

83
For this photo I
placed a pilot in
order to give an idea
82 of the scale of the
Side view of plane. Later they
the plane. will be together in a
diorama.
84 Photo shot with a wide angle where the engine is
dismantled and placed under its gondola.

More views of the 85

engine painted and
weathered to look dirty
with usage.
86 Workbench with tools
and cables, which will
be integrated into the
diorama.

A number of cables 87 88
provided by the
manufacturer had to
be supplemented
with a few other tin
wires of different
thicknesses.
 View of “Owl’s Nest” with
several pilot figures.

There’s nothing like creating a

diorama, to fully appreciate the
realistic finish of your model.
The R11 model is a factory variant of the A-6, so the nomenclature for this
model would be A-6/R11.

The peculiarities of this Fw 190 night fighter model are the large number
of an-tennas leading into the wings (top and bottom), and the bonnet and
fuselage along with a flash suppressor. These certainly are the most obvious
traits of this version.

The model chosen for this occasion is the grand Hasegawa 1/32 mold, with its
superior quality, and a conversion set from the Czech brand, Owl.

Daniel Zamarbide
 1
With different
colors, blue trousers,
black jacket and brown leather
boots, gloves and hat, we paint the
figure completely by brush.

After assembling 2
the fully furnished
interior, we create the
appearance of dirt to
replicate the effect
of this being used in
combat.

Parts of the model and cockpit

prior to closing the fuselage. Once closed, and
because of its design, the interior will not be easily seen;
even less so, with the pilot inside.

4
The engine
when fitted
to the aircraft,
with the
propeller fan, is
barely seen,
but it’s the
aspect of
it, when
completed,
with the
addition of the
BMW emblem.

6
Airplane fully
assembled, with the additon
of the flame arresters over
the engine exhausts.
5 Minor problems were
Fully
experienced when
enclosed
fitting the
fuselage and a
wings to the
perfect fit with the
fuselage.
engine and the
cowling.
7 8
We mask with low adhesion tape,
Underneath the wings, we mask
everything that is not painted in
off the wheel wells with both
the plane’s camouflage colors. We then
tape and Humbrol Maskol.
seal with Humbrol Maskol.

10
We apply the lighter
top gray, in this case,
the RLM 75.

9
We start the
painting phase,
always using the lighter
color first. In this case,
RLM 76 Light Blue.

11
On the undersides, one of the
wings is painted in RLM 22 Black,
whilst the rest is RLM 76.
12
With a series of
homemade masks, we
add the black band edged in
white in the area of the engine exhaust.
then apply the RLM 74 Dark Grey.
 14
We always apply the
13 lightest color first. In 15
this case, white. Then
With vinyl
masks from Polish we apply the
brand Montex, we are masks that will
ready to paint the national cover the white crosses, so
markings. we can airbrush the black.

16
Final result
after removal of
all masks.

17
Now, to create volume, white is mixed with
RLM 75, and each panel centre is tinted in
order to highlight it.

18
Next, we perform the same
operation, this time with the
19 darkest color, the RLM 74.
...we end the base color painting phase
process by performing the same effect for
the lightest of all the colors, the RLM 76.

20
We remove the
masks carefully,
so as not to raise the
white paint of the
dashed lines.
21 22
We apply a layer View of the model
of gloss varnish, place after removing the excess
the decals, and after a new layer of wash with a clean wash cloth,
gloss varnish, apply a dark brown wash and always in the direction of
for panel lines and rivets. air flow.

24
With earthy-toned
23 oil paints, we wash the panels
next to the exhausts in order to
With oils added,
create the effect of “burning” in
to gray shades and into
those areas.
shadows, we add several dirt
effects to the plane, including the
areas near the engine exhausts and
around the gun ports.

25
After removing all masks, we
check and rectify any small
defects of the paint layer.
 26
Parts
of the
canopy,
cockpit, and
interior
parts
27
finished
with common Cutting the gun
techniques. tubes from their supports.

28
I choose a hypodermic needle that fits the
scale of the guns.

A short needle Both parts are The completely

of the proper length is
inserted into the barrel holder,
using a previously placed a
rod to ensure a proper fit and
alignment of parts.
assembled using cyanoacrylate finished part, ready to be
glue. placed along with the rest
of the guns on the plane.

29 30 31

33
32 Fully finished
fuel tank after the
Propeller hub and fan
process of applying
set completely finished.
oils and filters.

35
34
Undercarriage,
Improved landing gear completely finished
brake wiring made from thin with the addition of
electrical wire. metallic paint on the
hydraulic dampers.
 36
We perform
the same 37
procedure on
The outside, of
the inner gear
each gear door is
doors as we did
painted to match
within the main
the underside
wheel wells.
colours of the
wings, we use the
same techniques
as on the outside
of the aircraft.

38 39
Landing gear pieces completely finished. Landing gear assembled and ready to install on
the plane once it is finished.

40
The airframe, and fully finished
completed exterior parts, ready
for final assembly of the model.
 HEINKEL
This is a larger dimensioned, short-run kit from
the Czech company, MPM. This is a simple to build
model, with a logical assembly sequence. The model
is complemented with an Eduard photo etch set for
the exterior, seats and belts, plus a Fritz X bomb.

The chosen color scheme corresponds to that

proposed by the instructions, plus I sourced reference
for myself in the form of various pictures obtained
from the internet, and Warpaint series book # 33.

Andrés Montiel
 The cockpit
is ready to paint
after test fitting in
the fuselage. 1

2
I apply a thin layer of RLM 02
base color from Gunze, always
3 With a soft fine brush, I apply
AK024 Dark Streaking Grime diluted with its specific thinner.
enamel into the recesses and
separate the different areas
that make up the cockpit. The
excess can be removed with a
brush dipped in thinner.

It is important to dry fit the interior to confirm the

curvature match with the fuselage.

4 5
Once in place, check its
position and fix with
cyanoacrylate.
 The interior of the fuselage
needs plasticard strips that guide With careful alignment,
us, as the model does not the fuselage halves are joined, using
have locating pins. 6 7 the classic Revell polystyrene cement.

8 9

10 I apply Mr. Surfacer 500 to caulk seam

areas, and then sand back to check the
perfect union of parts. This stage is very
tedious but important, because if not done
correctly, errors will be seen in the final
paintwork.

Full instrument panel 11

with cables that are
highly visible.

I finish the assembly of the

wings and reinforce the
seams with C.A. glue.

12 13 Products used for seam filling

and leveling plastic.
14 I apply a final
priming coat to
ensure the work is
free from possible
imperfections.
The AK primer has
a drying time of
around 48 hours.

15 For the top color, I applied Gunze lacquer RLM 76.

Mixing a little With the airbrush

white to the base in perfect working
color, panel centres are condition, I began
highlighted, breaking to spray RLM 75 to
up any uniformity mimic the familiar
in the basecoat. camouflage
blotches.
16 17

18 19

It takes patience to Based on available

achieve a regular pattern
with equidistant spots,
and you may need to
tweak the base color. This
job will run into multiple
sessions.
documentation, RLM 22 black
color is applied. The lineation
between the black and the
camouflage is not hard-edged,
and applying several passes
with the nozzle almost closed,
and not masking, will soften
this edge.

20 Gloss varnish the plane, and begin to apply the

decals for your chosen version, paying particular
attention to the small stencils. Thanks to their
excellent quality, the decals went down without
any problems.
21 22

23 24

After a fresh coat of gloss varnish, the weathering solution is applied

to the top of the model and removed with a paper towel before
drying. It’s more convenient to perform this in sections.

Afterwards, with a small brush,

I define the panel lines and Here, the black vertical
access ports, with AK024 Dark stabilizer is treated in the
Streaking Grime, and bring out same way, but with a lighter
25 other small details. wash shade.

26 27
28 29

Using the airbrush in a You can see the effect achieved

freehand style, and AK708 on the lower surfaces.
acrylic paint, the heat
effects around the exhaust
pipes are created.

The exhaust pipes are

painted in oxide base
30 color.

In this image, the results are seen after

applying matt varnish and acrylic paint
for the small details.
31 32

33 34 The wheels on this model are very large and visible. Pay special
attention to their alignment and paint finish. The rims are in black satin,
whilst the details are highlighted with a brown wash. The black matte
tyres are enhanced with light gray paint to create volume.
 The
propeller
prepared with a
metallic base color
before adding
37
chipping
effects. ...and sprayed with RLM 70. Then the entire
A combined layer of both surface is wetted with water and with a
35 36 products is airbrushed... brush, the paint can be removed.

38 With this
technique, a
realistic effect is
achieved.

This detail adds

refinement to the
model.
39

40 Oil and fuel

leakage effects
are carefully
brush painted on
the upper filler
caps.

In this phase, the model is thoroughly 41

retouched with small amounts of paint in
order to correct any masking defects, prior
to a final varnish in satin.

42 44

43
The Fritz X bomb comes as its own
kit, with photoetch fins and a ventral
support that we will adapt to fit the
plane. It is painted with RLM 65 and
slightly weathered with dark wash.
 aide
José L. Ech

The Messerschmitt Me 262 B-1a/U1 was a provisional night fighter aircraft

developed from the two-seater training Me 262 B-1a. Only a handful of these
were rebuilt from Me 262 A-1a & A-2a aircraft in the Deutsche Lufthansa
workshops at Berlin-Staaken in late January or early February 1945. Each of
them was equipped with a FuG 218 Neptun V airborne interception radar, and
the day fighter version of the Me 262 under close ground
‘Hirschgeweih’ (stag antler) type aerials. The radar device had a range of between
guidance by the Luftwaffe’s fighter-control system.
120 to 5,000 meters, and a search angle of 120 degrees. The modifications were
non-standarized, hence the particular Me 262 B-1a/U1 night fighters had various The plane we represent, ‘Red 8’ with manufacturing
armament configurations, including at least one example fitted with ‘Schräge number (W.Nr.) 110305, was the machine piloted by Kurt
Musik’ - two additional upward-firing MG 151/20 cannons. Even without this, the Welter, and was surrendered to the British at Schleswig,
Me 262 B-1a/U1 was a dreaded and deadly night hunter. along with “Red 10” and “Red 12”. On May 18, 1945 it
was sent by rail to Gilze-Rijen, and then to the RAF
The new night fighters were allocated to the 10. Staffel (10th Squadron) of the
airfield at Farnborough, UK, for evaluation. When it
Nachtjagdgeschwader 11 (11th Night Fighter Wing), known as Kommando Welter,
completed the tests, it was shipped to South Africa on
based on the outskirts of Berlin, and more precisely, in Magdeburg. As is usually
February 23, 1947, arriving at Cape Town on March 17.
cited, three Mosquitos were shot down by the Me 262 B-1a/U1 crews of 10./NJG
11. The pilot with most victories claimed in the Me 262 was Oberleutnant Kurt Here it was stored until its restoration in 1971, then
Welter, with 2 Mosquito kills achieved in daylight and 23 kills at night, including 21 being exhibited at the National Museum of Military
Mosquitos and 2 Lancasters. Worth noting is that Oblt. Welter was usually flying History in Johannesburg, South Africa, from 1972.
 1 With very fine tweezers, we apply
short lengths of thinly cut tape to mask
both the interior and exterior of the
canopies for use in a later phase.

2 Different materials used for making

additional wiring: copper wire, tin wire
and elastic, all of different thicknesses.

1 2
3 The cockpit, FuG 16 radio panel and
rudder pedals enhanced with extra
wiring.

4 We improve the left side interior of

the fuselage by adding scratch-built
styrene parts, and various pipes, using
the materials shown before.

5 In the right fuselage, a number of

electrical cable looms were added from
copper wire.

6 We proceed to paint the interior with

metallic paint.

7 With RLM 02 (H70) and RLM 66 (H416)

3 4 from Gunze, we paint the fuselage
interior areas.

8 With the same colors we add

highlights, lowlights and shadows.

9 With Citadel metallic paint, the tire

hydraulic lines are brush painted.

10 Using AK711 Chipping Color from

AK Interactive, the undercarriage legs are
detailed. I prefer to use a ‘wet palette’ as
it’s both very convenient and practical.

11 Landing gear finished over the absence

of tire wear.

5 6 12 Main gear wheels, painted and worn

with acrylics, and awaiting the final
“weathering” process.

13 Range of Vallejo acrylic colors used to

retouch the cockpit.

14 We work on the undercarriage bay

doors, using the same techniques as
employed on the undercarriage struts.

15 With a fine tip Edding 780 chrome

color pen, we ‘paint’ the undercarriage
compression strut.

7 8 11
9 10
 12 13 14

15 16

17 18 19

16 The completed cockpit, to which we

added extra detail such as wiring and
plumbing. It is detailed and weathered
with Vallejo acrylic paints.

17 Fuselage interiors are now detailed,

volume created, and also weathered with
a brush, using Vallejo acrylics and AK711
Chipping Color from AK Interactive.

18 The model is now assembled and C.A. glue

used to fill the seams before sanding. This
ensures all seams are hidden.

19 A top view of the assembled model, with 20 21

cockpit masked off, ready for painting.

20 The underside of the model, with masked

gear bays, ready for painting.

21 Metallic paint from Lara, is airbrushed over

model, omitting the front windshield.

22 The underside with its metallic finish. This

will serve as priming and base color for the
chipping process.

23 We apply the camouflage base colour onto

the upper sides of the model, using RLM
76 (H417) from Gunze. The thinner used
is alcohol 96° as the degree of dilution is
optimal and the paint dries quickly. 22 23
24 25 26

27 28 29

30 31 32

33 34 35

36 37 38
24 With the fuselage paint dry, panel lines
are shaded with an airbrush.

25 Panels are painted with a heavily diluted

H68 Dark Grey from Gunze. The airbrush
is well filled with 96º alcohol and only two
drops of paint, whilst the compressor is set
up to a very low air pressure (0.5 bar).
26 We spray a thin base color coat to reduce
27 any hard edges and unify the paint layer. 39 40
28 First camouflage color begins.
29 My reference shows this is exactly the
way this should appear.

30 With strongly diluted paint and low air

pressure, we can achieve these results.

31 Gunze RLM 82 (H422) is now applied. The

airbrush is a Badger 100, which I’ve now
used for about 20 years.

32 Second camouflage color, Gunze RLM 81,

(H421). The mottles are applied in the same
way as the previous color.
33 With the fuselage masked, the process of
painting the top of the wings can begin.
41 42
34 We airbrush AK088 Worn Effects Fluid from
AK Interactive to later create chipping.
35 Once dry to the touch, we airbrush the wing
with Gunze RLM 82 (H422) and ensure that
everything is dry to the touch.

36 Moisten the surface to chip, with water, and

use a stiff bristled brush to rub the areas
where we want to remove the paint.

37 We do the same with the engine access

panels, as well as the wing root and the
leading edge.

38 Panel lines are treated with a brushing of

AK711 from AK Interactive. Acrylics dry
quickly and lack the more intensive cleaning
regime of other paint types. 43 44
39 The final camouflage result is achieved. A
little skill and practice is all it takes.

40 Panel lines are flooded with diluted paint by

capillarity action. If it leaves the panel line,
a moistened swab or toothpick will remove
any excess.

41 I intend to airbrush the markings. With a

photoetched mask we proceed to paint the
swastika.

42 With Vallejo Acrylic Grey, similar to the

base color of the fuselage, a small brush is
used to create wear and tear scratches from
general use, especially in the area of access
around the cockpit. 45 46
43 We also work on the access panels such as
the ones for the cannon. 47 48

44 With masks made from masking tape,

the fuselage crosses are airbrushed.

45 The wing crosses are sprayed with Gunze

H21 Off White, because pure white would
not suit the weathered finish of the wing.

46 Another view, this time from the left.

47 On the right wing, the same effect except

with less pronounced wear on the wing root
as this area wasn’t walked over as much.

48 The variety of colors used in the processes.

49 50 51

52

49 For finer details, such as scratches, it is best to

use a metal tool with a very fine point.

50 We do the same with the undersides. First,

Worn Effects Fluid followed by matte black.
This is conveniently done in stages, as if we
did all surfaces at the same time, the fluid may
become too dry, and chipping won’t occur.

51 We can see the realistic effect achieved with

AK Interactive’s Worn Effects Fluid. As a plane
53 with only hours of flight, we stick mainly to 54
areas such as panels and landing gear doors.

52 Once the process of painting and chipping has

ended, the national markings are painted on
the undersides of the wing.

53 Bottom view of the model, painted, chipped

and weathered, using only acrylics, applied
with a brush or airbrush.

54 We remove the adhesive mask from the cockpit

and brush paint Vallejo Acrylics RLM 66 over
the deck surface areas.

55 55 We paint with very well diluted paint and a

56
56 very fine brush (00), along the panel lines. If we
leave the line, we have to remove the excess
with a cotton swab, or a toothpick dipped in
water.

57 View of the bottom of the nose. The detail can

clearly be appreciated here.

58 Using Micro Set, flood the area where decals

are to be placed. Use a brush or fine tweezers
to separate it from its backing, and place it
on the model. Adjust this with a brush or a
toothpick and let rest. After a while, brush
apply a coat of Micro Sol onto the decal and
let dry. The next day, add another layer of gloss
varnish to seal the decals and protect them.
57 58
 59 We make the aerial
dipoles, the pitot tube and
restrictor of the canopy
from pieces of stretched
plastic sprues. The pilot
figure helps us to perceive
the size of the aircraft.

60 We see other details such

as fluid leaks, and dirt
caused by the guns. Note
the realistic effects made
with AK084 Engine Oil and
AK025 Fuel Stains enamels
from AK Interactive.

61 Close up of the area near

the cockpit. Note small
scratches near steps and
access panels.

62 Antenna and tail area. Less

“abused” by mechanics
and pilots.

59

60 61 62
 I know about several photographs
on which four Bf 110 G-4/R3 appear, destroyed
by German personnel and captured by allied troops in Manuel Gil
Luther plant, Brunswick, during the final assembly phase. You
can clearly see W.Nr. 160791 on one of them. The main features of
these aircraft are the two-tone camouflage, RLM 75 and RLM 76, the
four exhaust flash hider tubes, and FuG 218 Neptun radar installation.
Other interesting features present on these Bf 110 G-4s are simplified
national insignia used at the end of the war, an absence of unit markings,
as well as a yellow band on the rear fuselage and yellow under-
wingtips. With all data taken from the Monogram Close-Up 18 Bf 110
G, and a series of photographs in the Kagero book, Messerschmitt
Bf 110 vol.III, where W.Nr. 160791 appears, I have made my
interpretation of a final production aircraft, ready
to be delivered to any operational unit.
 Thin plasticard was used to disguise the wing root joint, 1
instead of using putty. 2
Interior parts were attached to lengths
3 of plastic rod, making them easy to hold
To fill gaps, I whilst painting.
use stretched
plastic which
I soften by
dipping in liquid
glue. When 4 Engine nacelles sanded
and re-scribed.
dry, remove the
excess with a
curved blade
and sandpaper.

Copper wire and adhesive foil was added to the

undercarriage to create hydraulic lines.

5 Gun muzzles are 6 I used plastic card to fill the gap between
the horizontal tailplanes.
hollowed out with a
knife point.
Set of parts prepared for painting phase. 8

9
With an airbrush, I applied an AK704
Dunkelgrau basecoat.

10
Highlights are added
with 8 parts of AK704 Dunkelgrau
and 2 parts of Model Air 71008 Light Blue.
 11 12 13
Second highlighting consists of 7 parts of AK704 I apply the AK070 Brown
Dunkelgrau, and 3 parts of Model Air 71008 Light Blue. Blue Wash over all surfaces, as a filter.

16
Using AK505 15 I brush apply highlights
Black oil paint, diluted with using 7 parts of AK704 Dunkelgrau
14 I remove excess wash. AK049 solvent, I add a pin wash. and 3 parts of Model Air 71008 Light Blue.

19
I add the
pre-painted
17 18 photoetch.
AK735 Black was used to I apply highlights with gray,
paint various details within the cockpit. mixed from AK735 Black and AK738 White.

20
With black, white, yellow, blue, red
and light green/gray paints, smaller
interior and photoetch parts are detailed.
21
I stain the floor and 22 Klear is applied to the dials
the lower side of the cockpit with of the instrument panel in
AK042 European Earth pigment, applied dry. order to reproduce
the glass.
 A graphite draughtsman’s pencil is used to 23
burnish the weapons. 24 Interior finished.

27 I apply highlights with a

25 26
brush using the same mixture as
for the airbrush.
I apply highlights, I wash with AK045
mixing equal parts Dark Brown enamel.
of base color with
AK738 White.
Landing gear legs. 29

28 A little detail painting.

Once dry, the lower

engine nacelles are
added, along with the
The engine nacelle radiator shrouds.
is fitted, adjusted and glued
to upper wing panel joint.

The fuselage halves are closed, using thin 30 31 32

glue and capillary action.

33 34
I join the The upper and lower
wings to the seam lines are now
fuselage. scribed onto the
fuselage.
 I opened up the ends of the flash 36 37 All canopy parts are masked
hider tubes, using successively using the excellent self-adhesive
larger drill bits. masks supplied with the kit.

35 For the external fuel tanks, I

correct the mounting struts and
add the fuel lines.

39 I start by applying Tamiya XF-2 40 Yellow markings

are painted with a mix of
White paint, as the base for the
The kit is ready for the painting phase. 38 yellow color.
Tamiya XF-3 and a little XF-7 Red.

41
First, I apply
the lightest color,
RLM 76, composed of 6 42
parts of XF-23, 2 parts of I lighten panel
XF-19, and 2 of XF-2. centres with
a mixture
composed of 6
parts of RLM 76
and 4 of XF-2.
 43 44
The areas of RLM The RLM 75
76 are masked off is added,
around the fuselage made of 5
and nacelles, using parts of XF-24
Play-Doh. and 1 of XF-50.

46
Our result,
45 after repeating
I mask the outline. the painting
process and
adding RLM 75
to the wings
and horizontal
tailplane.

47 48 Result.
Using Tamiya tape, I
carefully applied
home-made masks
for the Balkenkreuz.

50
51
I perform the same
process over the RLM 75,
mixing Vallejo’s 71052
German Gray with 71046
Pale Gray Blue, and
applying highlights and
wear around the wing root
and filler ports.
49

By airbrushing 71046 Pale Gray Blue from Vallejo Model Air, mixed
with AK738 White, I changed the tone of panel centres, and applied Decals were applied using 52
highlights. I created ‘wear’ effects in the direction of air flow over the Micro Set and Sol, before
RLM 76, repeating with AK739 Yellow on the yellow markings. sealing them under a
brush coat of Klear. The
decals are from Tamiya.
 54 55
I seal the entire aircraft by applying Klear with an I apply AK045 Dark Brown Wash
53 airbrush before further painting and weathering. to all panel lines and access ports.

58
With a sponge
56 57 and three shades of
brown, I paint flame tubes, ending
I remove the excess wash with a piece of paper towel or a dry flat brush, wiping from front to back. with the lightest color on the edges.

59 60
I paint the exhausts streaks with an airbrush, mixing
identical quantities of XF-1 Black and XF-64 Red Brown,
very diluted in 96º alcohol, akin to dirty water.
61
After painting the wheels in XF-1 Black from
Tamiya, gloss varnish and AK045 Dark Brown
Wash are added before applying XF-24 Dark
Gray on the tread.

62
64
Matt varnish is combined with a mixture of 1
part of Model Air 71059 matt varnish and 3 With AK039 black pigment,
of Tamiya X-20A thinner. 63 I add staining to the weapon ports.

I add the undercarriage, fuel tanks, etc.

Washing with 73200 Sepia and 73201 Black
from Vallejo, I cover the new joints, and
make the cyanoacrylate gloss disappear.

65 Canopies are fitted using

Micro Kristal Klear as a glue,
and stains are added to the
fuel filler ports with AK025
Fuel Stains. The antenna cables
are made from 0.08 mm Neptun antenna, 66
fishing line. scratch built.
 BigCat
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 I know by now I can not
bring any thing new to
legendary aircraf t, as the histor y of this
rivers of ink have been
Instead, I’ll just explain wri tten about it already.
the peculiarities of the
which were evaluated nig ht-fighter variant,
v July and August 194
(Cologne). Specifically, 1 in Köl n-Ostheim
Bf 109 E-4 variants we
black, to which an ant re use d, painted entirely
enna was added, to aid
PeilG IV, consisting of nav iga tio n. This was the
a solenoid to detect the
beams directed from ear int ers ect ion of two radio
th. This solenoid was mo
fuselage, protec ted by unted on the lower
a teardrop- shaped fair
compensate for the ext ing of plexiglass. To
Tomás de la ra weight and change
due to the radar install in the centre of gravity,
fuente ation, the tails of these
by adding a fin and a pai airc raf t were modified
r of counterweights to
the rudder.
It is known that aircraf
t equipped as such, we
NJG 1. This Staffel was re assigned to 10. /
previously equipped wit
109 ’s, which came from h old C and D variant
IV.(N)/JG 2. It is also kno
not a successful Staffe wn that this was
l in combat , and later
transferred to the Nethe in Oct ober 1941 it was
rlands, where it began
the Bf 110. to be equipped with

To meet the challenge

of reproducing this pla
model (ref. 8263) in the ne, I used the Eduard 1/4
ProfiPACK edition, wh 8
model, but also photo- ich not only includes the
etch, and masks for the
make the night versio canopy. However, to
n, I needed to get mysel
OWL (ref. OWLR4 8017), f the conversion kit from
which supplies the res
tail, vacuform plexiglas in, with the antenna and
s fairing, and a set of ful
Balkenkreuz, swastika l dec als which include
s, the emblem of NJG
two machines, namely 1 and fus elage codes for
the G9+JV and G9+GV.
some controversy abo I have to say that there
ut the color of these cod is
red, and others say tha es. Some say they were
t they were RLM 77. The
OWL has chosen, and latter is the color that
I have respec ted this.

With regard to the Edu

ard model kit, I have to
point of view, it is not say that from my
an easy model to make,
number of par ts than and has a much higher
the same aircraf t made
including the engine and by oth er manufacturers,
the armament , if we we
off. The problems I enc re to leave the cowls
ountered were with par
the cockpit. The engine ts fit, especially within
also needs special care
order to close the fusela and adjustment in
ge without any dif ficu
the detail is ver y fine, lty. Generally though,
as is the paneling and
sur faces are per fec tly rive tin g. The moving
detailed, and despite the
dif ficulties, the rest of coc kpi t and engine
the assembly was ver y
put ty in only a few are sim ple , req uiring
as, such as the bot tom
the engine. An additio of the radiator, under
nal advantage of this
dif ferent versions/sch model is that it has five
emes; something which
Eduard brand. is common with the
 1 2

3 4 5

6 7

8 9
 10 I do a dry assembly to ensure how the cockpit fits and
that it closes well.

11

1 The parts count of the Eduard kit is

very extensive, and this image includes
most that I have used for assembly. I
prefer to prepare all neccessary parts
from the beginning.
2 Once painted with RLM 02 (Gunze H70),
highlights are added, and details within
the cockpit are painted with Vallejo
acrylics. Gloss varnish is applied, and
then I proceed to add shadows using AK
Interactive’s AK045 Dark Brown Wash,
which runs smoothly into every nook and
cranny, and boosts volume. 12 13
3 Besides the effect of accumulated dirt The radiator grilles of the wing. I first paint with The assembly of the rest of the plane is very
applied in the lower areas (Tamiya XF- Tamiya XF-1 Black, and then touch them up with simple and requires almost no filler. I paint
52), I finish by varnishing everything in a graphite pencil to highlight the matte black with RLM 02 (Gunze H70), the area of the
matte, with acrylic polyurethane varnish background. I then fit to the radiators underneath wing where the slats are deployed. I also
from Vallejo. the wings. airbrush the canopy frame lines too, as these
4 The other side of the cockpit will be seen from within the cockpit.
gets the same treatment.
5 The same applies to the cockpit 14
tub, to which we add seat belts
The resin tail is not as
from a photo etch set. I weather
detailed as the Eduard part so
the seat belts by creating a
using OWL as
patina, using strongly diluted
Vallejo Black (855).

6 It’s the same for the landing gear

wells. I use the same, standard
method of adding highlights to
centres of panels, creating a very
realistic effect.
7 The exhaust manifolds need
to be painted before you close
up the fuselage. I used Tamiya reference, I add
XF-64 Red Brown, and once dry, the missing detail to
I add a Dark Brown pin wash, The OWL conversion kit has everything needed 15 Eduard’s part.
from AK Interactive. to build the night version.

8 I continue by applying AK043 Medium

Rust and AK044 Light Rust pigments
from AK Interactive, which give a variety
of rusty brown tones.

9 Finally, a graphite pencil is used to touch

up the manifold welds, and then with
Tamiya XF-1 Flat Black, I airbrush the
opening of each manifold, in turn.
11 Dry fitting allows me to foresee any
difficulty in closing up the fuselage. It’s
16 17
found that I have to sand the sides of the
photo etch instrument panel in order to All moving surfaces are painted with a coat of Tamiya I also do this for a number
close up the fuselage properly. XF-83. Once dry, I mask the ribs and then apply XF- of aircraft panels.
77.
 19
Some circular panels are painted
with Tamiya XF-77, using a
Verlinden template. This creates
rich nuances and shades to
the plain surfaces.
18
I airbrush the model
with a mixture of Gunze
20 Panels are then highlighted
individually, with a mixture of
H77 (9 parts), and Tamiya
Gunze H77 (3 parts) and Tamiya
XF-77 (4 parts). This creates
XF-83 (10 parts).
a dark gray color. Rule number
one: when you want to paint a
black aircraft, never use black! Once
dry, I
apply a
filter to the
entire model,
consisting of Gunze H77
(4 parts) and Tamiya XF-77
(10 parts). This way, all
of the various tones
become
unified.

21
In this picture you can clearly see all of these applied
effects.
22
I did not
want to use the
crosses from the OWL kit,
as the open style of them
means there is a risk of silvering.
I prefer to paint using
Tamiya masking tape,
which is a great
help.

24
Now it’s the
turn of the oils, which
will create a very convincing patina.
The oils I use are: AK500 Light Gray
Highlight, AK502 Shadows
for Grey Ships, AK505 Black Smoke,
Titan 55 Blue Cyan, and Titan 74
Ground Natural Shade. I apply the
23 paint onto a paper towel to
absorb excess oil.
The result is perfect. I used
Tamiya XF-2 Flat White for the
crosses.
 25
I apply small dots with all these colors randomly
across the surface of the aircraft, and later with a
flat brush dampened with heptane, I drag the oil in
the direction of air flow.
26
Once all of the paint,
and oils were dry, gloss varnish
was applied in order to create a
perfect surface for the decals.

27
These aircraft
had very few
markings, so
the work of
placing them
is relatively simple and
quick. I had to leave the Micro
Sol for up to 24 hours, since the
decals were initially reluctant to 28
conform to the panel lines and Now it is time to enhance the panels and rivets with oils. We can not
rivets. I then apply too light a shade, as this would appear exaggerated and unnatural.
re-gloss with varnish. Nor can it be a very dark tone, because there would be little contrast.
I tried three different mixes before finding the one that convinced me.
I made this from with AK500 Light Gray Highlight and AK502 Gray
Shadows for Ships, diluted with heptane.

29
The mixture is
applied with a brush.
Don’t worry if you go
too much out of the
lines.

30
Leave to dry and remove
excess using a paper towel,
dragging in the direction of
air flow. As seen in the image, the
effect is very subtle, not too much nor
too little.
 31
In this
picture we can see
the overall look that is
created after washing
the panel lines.

32
33 The moving surfaces have rivets out, these For the moving surfaces, and the light areas,
can be highlighted by rubbing with a white such as numerals and crosses, I prefer paneling
retracting pencil. with a dark color. AK045 Dark Brown Wash is
perfect for this purpose.

34
Here we can see the
results of the previous
weathering treatments.

In this picture we can see the 35

effect on the wing.

36
The final effect, here on the fuselage.
37
To complete the airframe, I varnish
with acrylic matte polyurethane
varnish, which provides a uniform
very dull tone with very few
airbrush passes.

With the wheels, I paint these as per the instructions, To weather them, The tires however, receive a wash
I use pigments from AK interactive. In particular, I use AK042 European with the AK015 Dust Effects, from
Earth and AK081 Dark Earth, the finish you achieve is very realistic. AK Interactive.

38 39

41
As for the
propeller, the
hub receives the
same treatment as
the fuselage and
wings, whilst the
blades are painted
with Gunze RLM
70 (H65).

40
In this picture we can see the look
achieved after the weathering stages,
described above, are complete.
Rubbing the edges with a
graphite pencil, creates effects
with very faint gray tones.
42
As for the antenna, I paint the solenoid in
brown and the coils in a copper color. I cut
the fairing and glue the grid of the antenna
inside. Once done, I fit to the bottom
of the fuselage.
 In this article we will see how, in a short space
of time, we can decorate a figure with a leather
suit, using oil colors. These paints are suitable,
as their satin appearance reproduces an effect
Roberto Ramirez quite similar to that imparted by actual leather.

The figure discussed here, could be a pilot of either fighters or bombers,

widely used by the German side during WWII. His suit is composed of a black
leather flight jacket and trousers of the same material. There are some vari-
ations on the trousers, as some could be the typical blue fabric used by the
Luftwaffe, including brown and khaki tones.

This particular combination is all

black leather. These uniforms
were used from the mid / late
1944 until the end of the war in
1945. Certainly with jet bomb-
ers, like the Me 262 and also
used in all types of legendary
war plane, such as the Bf 109
G-6, G-10, G-14 and K-4, as
well as Fw 190 A-8 variants,
and A-8/R2 or D-9. Suits can
easily be discolored from use,
or by the friction caused by
intensive movement. For the
Iron Cross around his neck,
this figure represents an ace
of German aviation. In this
case, we will not try to name
the pilot, but look at it as being ‘typical’ of the age.
The figure belongs to the Ultracast catalogue, sculpted with great
care by Mike Good, moulded in high quality resin. Having been
designed with few parts, which really makes the assembly an easy
process. The kit offers the option of interchangeable heads, of
which two are included in the kit; one with officer’s cap and an-
other with a flight cap, also in leather. In order to break things up
we will use the head with the officer’s cap, so as not to have too
much leather on show. The cap will be finished in Luftwaffe Blue
with the insignia for this branch of the German military, which
gained many successes during this armed conflict.

Once the parts are prepared, I sand and clean them with a little
soap and warm water, to get rid
of resin dust produced during
sanding, and mould release
agent. We use a neutral gray
primer with both the figure
and the head, applied with
an airbrush. Continuing with
this useful tool, we apply a
layer of dark brown acrylic, 1 2
which will be the basis for
further work with our oil
paints (photos 1 & 2).

3 4

5 6 7 8 9 10

13 14 15 16 17 18

21 22 23 24 25 26
3 On a piece of paper, I put a lot of colors to
that I’ll use, so that the oil in which they are
diluted will absorbed into the paper. This
reduces the sheen which would normally
occur when you apply them.
4 After draining the excess oil, move it to a
plastic dish, which we will use as a paddle,
and develop all the blends for both light and
shading, slightly diluting the oils with White
Spirit.
5 We then apply a thin layer of base color in the
6 middle of the jacket and then with a small, flat
quality brush, let the paint flow in a vertical
7 movement, both up and down.
8 27
9 Shade it with pure black on the darker parts
10 beneath creases to emphasize final volumes
and enhance the effect of the leather.
11 When we finish this step, we highlight the
12 ‘higher’ parts of the figure, according to the
daylight scheme, using a bit of the base color
13 lightened that we had previously added.
14 Applying small amounts and blending them
in the same way, but this time only upwards
towards the lighter areas. To intensify scuffs,
scratches, etc, apply small white streaks
and merge, but this time “picking” on the
area with the brush, so we produce a slight
textured effect in these areas.
11 12
19 20
27 28
15 As you can see, and read, this is a
16 simple and quick technique that can
17 also tweak as much as we want, since
18 the oils dry slowly over dry several days.
You can speed up the drying time by
placing the figure under a light source,
giving off some heat, but not too much
because we run the risk of “cooking”
the figure, and perhaps even to melting
it if left too long. While they drying, we
will decorate other areas of the figure.
In this case, the hair, collar, jacket,
gloves, shirt collar, Iron Cross, and the
belt and holster. We will paint these in a
lighter color with acrylic paints.
19 For the trousers, follow the same
20 technique used for jacket colors. The
21 most remarkable detail are the multiple
22 zippers these clothes had. We will use
a gold metallic acrylic color, mixed with
some dark brown, to create a realistic
effect.
23 With the main part of the finished figure,
we will paint the head. First apply all base
colors to the parts, such as hat, hair, and
flesh, in order to get a general idea of the
variation of colors to used to highlight
these areas of the figure.
29 30
24 To facilitate the process of painting the head
25 and so as to reduce the number of potential
mistakes, we will paint the head going from top
to bottom, ie, first paint the cap with its details,
and finally the flesh and hair. The hat, we have
painted in the regimental color of these pilots, ie
Blue Luftwaffe. Try to weather this color a little
by adding some “golden flesh” to the blue paint
and gradually adding highlights. This creates a
very attractive appearance to the officer’s cap.
With patience and care, also paint all logos,
lacing and the white trim of the hat.
26 With the new set of paints from AK-Interactive,
designed for painting of flesh, decorate the
face. Gradually, the base color is illuminated
28 with the specific paint for that color, and then
we add shadowing equally. To customize our
face painting, we have decided to close the right
eye of the figure, as a wink, and play on a small
scar on his left cheek, which adds a touch of
personality to our character.
29 In these concluding photos, you can see that
30 using different types of paints, oils, acrylics
and metallics, that we can achieve a very
31 attractive realistic representation of the materials
incorporated into the pilot’s uniform. Adding
figures can add another dimension to aircraft
models, broadening the possibilities open to us
and opening a whole new area of creativity.
31
 workshop
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Creating One’s Self
Directing One’s Own
Discovering One’s Dream

www.creativemodels.co.uk
REATIVE UK Importers ,wholesalers and distributors of plastic
C model kits, diecast, paints, pigments, tools and glues.
Product ranges we stock include Aber, AFV Club, AK Interactive,

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Kfz 385 Tankwagen

er
Francisco Javi
tín ez Ro dr íguez
Mar

The base model to be used is the old Italeri kit (reference 6467, 1/35
scale), which is still very good when adding a little detail and modification.

Parts were used from the Hauler photoetch set (ref.HLU35038) designed
1
to fit the Italeri kit. It has previously been prepared using AK159
Photoetch Burnishing Fluid. This aims to darken the metal and give it a
very natural appearance, similar to dark steel. It is highly recommended
for all photoetch before use, as the process creates a rougher surface that
will facilitate subsequent gluing and painting processes.

2 A view of fully
assembled
vehicle. The use
of photoetched
detail parts
brings much to For the interior
the model. acrylic paints were used,
as are AK Interactive’s washes and pigments.
 4 5
With the primer layer, on one hand we achieve unification of I used the new AK180 Surface Primer Red
the various different materials, and on the other, preparation from AK Interactive. It has excellent covering
for painting. It also allows us to observe any defects in building, power, hardness and it is based on an
gluing, and sanding. original primer color.

6 7 8
The vehicle base color is AK704 Dunkelgrau (RAL 7012 gray). This was A filter is applied in order to produce a variation
followed by adding AK738 White to the base colour, and highlighting in the base color. For this, I used AK071 Blue for
the centres of various open expanses, such as panels etc. Panzer Grey.

9 A wash with AK070 Brown Blue is

added to all recesses. After a few
moments, the excess is removed
with White Spirit.

We are trying to reproduce the overall 10

soiled and worn-looking paint of a
vehicle. The oils used were the 502
Abteilung brand, from MIG Productions,
and the colors used were 150 Field Grey,
080 Wash Brown, 035 Buff and 015
Shadow Brown. A dot filter was applied
over the vehicle. This was blended and
blurred with a thick brush, dampened
in AK Interactive’s White Spirit.
11
The first paint layer was done with 305 Light
Rubber from Panzer Aces. In a second phase,
302 Dark Rust from Panzer Aces is used to add
chipping. For this, a fine brush is used.
12 13
A mixture of AK080 Summer Kursk Earth and AK022 Africa Dust
Effects is applied with an airbrush, and their distribution across
horizontal areas is designed to accumulate in areas more prone to dust.
A brush dampened in White Sprit is used to aid this process.

14 15 16
To finish the dust phase, I applied AK080 Summer Kursk Earth and a little plaster For the fuel stains, oil, grease and other
to achieve a consistent liquid, which would create a texture when applied with a wet effects, I use AK079 Wet Effects,
brush. The excess can be removed with White Spirit. AK084 Engine Oil, and oil paints Abt.015
Shadow Brown, Abt.110 Black and
Abt.160 Grease, applied as small splashes
and washes.
by
Daniel Zamarbide
In commemoration of the centenary of the beginning
of World War I, our next issue will be dedicated to this
conflict, with the addition of several characteristic models
of aircraft of that era, in both 1/32 and 1/48 scales. We
will show you in detail, effects such as fabric and wood,
which are the main elements and sign of identity of
these beautiful aircraft. You will also learn how to easily
reproduce the rigging, as well as the weathering effects
distinctive for the Great War aircraft. We will include
articles about figures and vehicles too, making this next
issue a very special edition. Tally Ho!.