The Weathering 30

8 432074 045298
Co-founder of AMMO and founder of the “AMMO for life” solidarity project.
Passed away on 30th. December 2019 after a long battle against her cancer.
2
1
2
3
F
or the past few years I avoided thinking about writing this, but deep down I knew that this moment
would come one day. I still remember the moment many years ago when Elizabeth Wiese and I along
with several friends were out enjoying cocktails, inspired by excellent company, the crazy idea of
creating The Weathering Magazine was introduced. The best ideas always come to mind when you are
relaxed and having fun, and that wild idea of creating a magazine focused only on modelling techniques
featuring beautiful hostess in each issue became a reality soon after. Elizabeth was the type of person
who enjoyed adding fuel to the fire, so she took an active role in the creation of the magazine from the
very beginning. The concept immediately benefited from her choosing the aesthetic and specifically by
Chief Editor shaping the character of Akatsiya, who starred in our pages for a few years. It is interesting that this
Sergiusz Peczek aspect was criticized by some readers as somewhat sexist, when the idea, wardrobe, and the direction
Original idea Art director
of photo sessions was actually conceived of and directed by a powerful and intelligent woman who also
Mig Jiménez chose to appear herself in several issues. The trivial controversy is ancient history now. When Eli began to
suffer from the physical effects of cancer, she gradually lost the vitality and drive required to continue gui-
Editorial Management
ding aspects of the magazine, and today the provocative Akatsiya is only a distant memory. That playful
Carlos Cuesta
Sara Pagola and carefree angle was a true reflection of one of the creators of The Weathering Magazine in particular,
and the entire AMMO project in general. Many of you will also remember that she also wrote informative
Cover product reviews and appeared in articles to share modelling events from around the world with you. Eli
Antonio Alonso
was always surrounded by modellers who valued her as an energetic and forward thinking promoter of
Layout our hobby, always absorbed in the organization of online contests, events, and
Antonio Alonso modelling shows all over the world. Her passing on December 30th, 2019
Article Assistant
at the age of 32, closes a chapter in the history of AMMO of Mig Ji-
Iain Hamilton menez, TWM, and TWA. In the past two months, we have received
tens of thousands of messages of condolence and support through
Special Thanks
social media expressing appreciation for her contributions to the
Elizabeth Wiese
global modelling community. Elizabeth, the creator of this ma-
Collaborators gazine and one of the founders of AMMO, my wife and mother
Alex Clark of my son, leaves a huge void in these pages and in our hearts
Kreangkrai Paojinda
Tomasz Janiszewski forever. Wherever you are, this magazine will always carry your
Alberto Palomares Durán name and your memory, these pages will always beam with your
Jamie Haggo joy, the inspiring modelling and informative articles will
Jan "Scale Dracula" Chojnacki always reflect your creativity and generosi-
ty. Thank you for giving us the best years
Translation
of your life. I want to thank each of you
César Oliva
for giving her so much love in life and
after her death.
THE WEATHERING MAGAZINE

by AMMO of Mig Jimenez
Copyright 2020
www.theweatheringmagazine.com
info@migjimenez.com
Quarterly magazine
DL NA 2273-2014
ISSN 2340-275X
March 2020
INDEX
BEAST IN
THE RIVER
pag. 6
RADIACTIVE RUST HIGHWAY OF DEATH

pag. 20 pag. 30
DERELICT
pag. 40
MSN-04 SAZABI
ABANDONED
pag. 48
CHIEFTAIN, A SWEET RETIREMENT

pag. 58
POSTCARDS FROM THE WORLD

2ND SPANISH MARINE
INFANTRY CORPS CONTEST
San Fernando Naval Museum
(Cádiz, Spain)
pag. 66
DVPhoto THE WEATHERING MAGAZINE / ABANDONED / 5

Tanks have fought and are still fighting in conflicts
at various exotic locations around the world. And
although in some cases the conflict has long end-
ed, the wrecks of tanks stand to remind us. Some-
times wrecks become part of the landscape, as is
the case in Afghanistan and some African coun-
tries. I found this wreck of a burned-out T-55
tank partly buried at the bottom of a river
on the Internet. There was not information
about who took the photograph, where, or
when, but for me it did not matter. I de-
cided that the image is a perfect compo-
sition for a small diorama that I would
make for this article.
Tomasz
Janiszewski
6 / THE WEATHERING MAGAZINE / ABANDONED

RUSSIAN MEDIUM
TANK T-55A
TAMIYA
1/35
THE WEATHERING MAGAZINE / ABANDONED / 7

STEP BY STEP
1 The construction process for this project was a bit un-

usual, I cut off one of the fenders using a sharp mod-
elling knife and a Czech razor saw. I did not remove
the other fender at this stage, as the whole body of
the model was to be removed anyway.
2 Then I assembled the resin engine for the T-55 from

the old MIG Productions kit which I found the re-
mains of in my modelling stash. This set was intend-
ed for the Tamiya kit so there was not the slightest
problem with assembly.
3 The turret and burned-out wheels from the same set

were temporarily placed and the basic model used to
rough out the base.
4
A hole was cut out of thick cardboard to the size
of a model using a sharp razor knife.
5
The model was placed in the cut-out in a position imitating the ref-
erence photo and temporarily fixed to the cardboard template using 6
Blue Tack. Then the water line/ line to be cut was marked by transfer- A Czech razor saw and an
ring the horizontal plane of the cardboard. When drawing a critical Olfa saw were used to cut
line such as this, a ruler was used and a certain margin factored in for the model.
adjustments if needed.

7 8
The texture of the casting on the turret and rolled steel was made by tap- The metal fender was fashioned from 0.1 mm thick copper
ping the surface with Tamiya putty diluted in acetone. The missing welds sheet with the edges formed in a photo-etch bending jig and
were made of Green Stuff two-component putty. the applied using flat-nose pliers.
9
Before painting, the model was washed in water with dishwashing liquid
and the individual pieces temporarily mounted on handles and tooth- 10
picks with Blue Tack. The Mr Mahogany Surfacer 1000 was applied across the
model using a rattle can. Before painting, the can was placed
in warm water for 15 minutes which improves paint flow with
more pressure and thinner paint.
11 A dark rust-coloured base was applied as the

foundation by mixing a dark rust tone.

12
Accurate rust colour variance was created by applying three shades from
the AMMO palette - A.MIG-0040 Medium Rust, A.MIG-0041 Dark Rust,
and A.MIG-0042 Old Rust.
13
A transparent acrylic varnish was applied
and allowed to dry before airbrushing
two layers of A.MIG-2011 Heavy Chip-
ping Effects.
14
To further differentiate the
base colour, contrasting
patched were added with
red primer, A.MIG-0932
Russian Base, and
A.MIG-0036 Old Wood
placed on several scat-
tered surfaces.
15
Almost immediately after applying the colours,
some of the paint was removed using a brush moist-
ened in warm water. The goal of this treatment was
to obtain a variety of desert camouflage colours
bleached into subtle transparencies revealing years
of oxidation.

16
Once the paint had dried, I re-apply the
clearcoat and two layers of Heavy Chip-
ping Effects. I have also sealed off the
burned road wheels with a masking tape.
17
A sand-coloured paint was
mixed from A.MIG-0061
Warm Sand Yellow and
White A.MIG-0050.
18
A brush moistened with water was used to activate the Heavy Chipping Fluid, tooth-
picks and a sharp tweezers were used to drag scratches and pick away chips and wear.
Once dry, the effect obtained was protected with clear varnish.
19
An airbrush was used to apply a range of rust stain-
ing that influenced and in some cases dominated
the sand camouflage. Using a piece of cardboard,
sharp edged contrasting colours were added. For
this step the paints were slightly more diluted than
usual, so that areas of camouflage paint remain
veiled and visible.

20 21
Due to the fact that the engine plate was not glued and the engine compart- Various chipping patterns of both small and large were applied us-
ment not masked, I was able to paint the engine in several shades of grey ing acrylic shades with retarder added. Large patches of "mapping"
and rust based on reference photographs of burned tanks found online. Two which is chipping painted in the shape of the continents, were applied
layers of clear varnish were applied to seal the entire model. to strengthening the base colour. In addition, strongly diluted acrylic
paints were used as filters to add discoloration in several places.
22 23
At this stage classic enamel weathering came into play. On the sand-painted A few layers of vertical dirt streaking was applied along with Streak-
surfaces, Africa Korps Wash A.MIG-1001 was used and on rust-coloured sur- ing Rust. Just like with the wash on sand coloured surfaces, Streak-
faces, Light Rust Wash A.MIG-1004 enhanced the tones. After drying, the ex- ing Grime for DAK A.MIG-1201 was used, and Streaking Rust Effects
cess was removed using a cotton bud and a brush moistened in A.MIG-2019 A.MIG-1204 on rust-coloured surfaces and tan surfaces effected by
Enamel Odourless Thinner for difficult areas. rust.
24 I used the enamel Streaking Grime for Panzer Grey A.MIG-1202 for
deep shaded areas of rust. The effect was allowed to dry for several
minutes before blending with a brush moistened in enamel thinner.

25
An interesting characteristic of
burned vehicles is the appearance
of blue discoloration from steel.
This effect was realistically replicated
with an enamel dedicated to early
war German vehicles - Blue for Pan-
zer Grey A.MIG-1006 blended with
a brushed dampened with Enamel
Odourless Thinner.
I consider oil paints necessary in the process of painting 26

each model. I only used three colours to further diversify the rust
colour on the model. The paints were placed on cardboard which
wicks away and absorbs excess linseed oil. The rust tones were
applied to various rusted surfaces and blended using a brush
moistened in a thinner.
27 The highly visible welds on abandoned tanks are made of alloys that
never corrode. This interesting accent on the model was made with a
Mr. Metal Color 211 Chrome Silver and a black wash used to slightly
dim its shine down to scale.
28. Real rust is always dull so it was necessary to matt coat the entire model. 28
Using the airbrush, an excellent deep-matt varnish Ultra-Matt Lucky Varnish A.MIG-2050
was applied and allowed to dry.
29
29. The last touch of realism added was the effects of engine
oil staining, a detail not uncommon in the engine compart-
ment of a Russian tank. Even after partial burning of the
vehicle, some of the greasy dirt should be visible.
Satin and glossy spots are an interesting accent of
contrasting surface texture on the matte surface
of the model easily added using Fresh Engine Oil
A.MIG-1408 to place the staining.

BASE
30 31
At this stage focus shifted to the diorama. The basis for the construction of The Styrofoam was then covered with 1 mm thick HIPS polystyrene.
the riverbank was a 20x22cm XPS Styrofoam board, and 1 mm HIPS board The plastic was also applied to the board by drawing the shape with
used for framing. Using a sharp knife, the foam was shaped to match the a pencil and cutting it out with scissors. I glued each component
contours of a riverbank and the rough edges sanded with coarse sandpaper. in place with universal polymer glue and left the base to dry for 24
The model was constantly test fitted onto the profiled cut out in the surface hours.
so that the positioning of the model remained similar to the photo of the
original wreck.
32
Ordinary ceramic tile glue was applied to the base prepared in this way, and
then it was covered with a sheet of foil and the body of the model used to
press the shape in the adhesive to fit it to the ground.
33
This step is the defining moment of terrains creation. I am a supporter of
using natural materials and in my studio, I have many types of outdoor sand,
gravel, sand from the aquarium, a range of soils, various stone types screened
through sieves with different mesh sizes. Before the tile glue dries, the base
was covered beginning with the larger stones, then the finer sizes were added,
followed by a gravel and sand mixture, and finally the finest sand intended for
an aquarium. The area that will be flooded with "water" was lined with the
fine sand, thicker sand lies on the beach, and soil from the garden was placed
farther from the water’s edge were plants will be placed which creates natural
shading of the terrain. Root fragments were arranged in several logical places.
Once complete, diluted acrylic resin was used to seal the rocks and sand. The
glue was mixed with liquid dish soap to weaken the surface tension which
prevented a lip at the edge. At this point the entire piece was left to thoroughly
cure. Instead of resin, you can also use diluted PVA carpentry glue.
34
The base must be completely finished before pouring the resin water. The miss-
ing towing cable was placed and merged with the base by repeating the steps
from the previous stage. Once dry, the entire base was filtered using heavily
diluted Humbrol 29. The detail of old rags visible in the photo were made of
tissues fixed in diluted PVA glue and painted with acrylic paints. Realism and
movement were added to the scene with the branches and a plastic PET bottle
that appear to have been pushed up against the hull by the current.
When considering the best possible options for vegetation, I decided add elevation with a vertical 35
accent in the form of a tree growing from the river bank. Copper wire of two different diameters was
used to build the base of the tree. I made the trunk of the tree and the main branches from a thicker
diameter and made thinner branches from the thinner wire and finished the tree trunk.

36
After forming the wire
skeleton of the tree, it's
time for test fittings - and
it fits perfectly!
Gypsum was mixed with sawdust, water, and PVA glue to be placed on the 37
prepared wood skeleton. Sawdust allows you to create an authentically tex-
tured bark structure on the trunk while the PVA glue gives the mix flexibility.
38
To extend additional branches
used to flesh out the tree to
the branch ends, I wind thinner
copper wire and cover it with a
mixture of gypsum and PVA glue.
39
39. The skeleton of the tree was
painted with grey and brown paints
and then glue used to place the
Heki leaves # 1676
40
Here you can see the
finished tree in its place,
all that remains is to
realistically plant it sub-
merged and surrounded
by sand, stones, and
exposed roots.
41
The next step was to add depth with both low and medium
height vegetation. Diluted PVA glue was used to place 2 mm
grass and 6 mm grass in places. I formed tufts of 12 mm grass
in my fingers, dipped the root end in PVA glue and carefully
placed them startegically. The medium vegetation is a mix of
what I found in the modelling stash and on a walk around the
area. I especially recommend the ends of the cane, which by
the way fits my scene perfectly.
42 43
44
42 The river was tinted with a filter made of thinned Humbrol 29
enamel and Olive Green oil paint.
43 A frame for the resin water was made with 1 mm HIPS. The plas-
tic elements were glued to the height of the planned water level,
which avoided problems with the concave meniscus formed once
the resin has solidified.
44 Water was made of epoxy resin symbol QXR tinted with a drop
of Tamiya XF-58 Olive Green paint. The resin was mixed with
fixative and colour before slowly pouring the river bottom so as
not to introduce air bubbles into the resin. Pour the mould to an
45 even level with the frame and allow the resin to cure for at least
24 hours.
45 Even the calmest river has an uneven wavy surface. To reflect

this movement, the acrylic product Clear Water A.MIG-2205 was
used to create surface waves on the river. I applied a thicker layer
where the current of the river hits obstacles.
46 Fallen leaves from the tree were carefully glued to the water’s
surface with diluted PVA glue, this realistically ties movement and
natural elements of the setting together convincingly.
47 Where the rivers current hits obstacles, white foam appears. This
effect was recreated with a mixture of Mod Podge (glossy de-
46 coupage glue), shaving gel, and white acrylic paint. The foam
was applied to selected locations around the edges of the wreck
and obstacles on the river. Although the foam volume partially
collapsed, what remained realistically conveyed the sensation of
movement from the current of the flowing river.
48 Some last corrections and adding of the photographer's figurine,

painted by my colleague ฀ukasz Kapelski, remain.
47 48

This book is one clear and easy-to-follow guide not only
for those who love the aircraft of the First World War.
Many of the techniques presented in this volume can
also be used in other modeling disciplines. This is an
essential resource for any aviation modeler.
26,5 €
144 Pages/Páginas
www.euromodelismo.com • web@euromodelismo.com
As the weathering is hands down my favourite stage of making a model, I’m always looking
for projects that would require lots of it. The explosion in Chernobyl in 1986, as tragic as it was,
Jan provides many tempting subjects for modellers. The contaminated vehicles abandoned in the
“Scale Dracula” exclusion zone, both military and civilian, are a comprehensive study of slow and continuous
Chojnacki decay. In other words, just a perfect example of accurate weathering taken to the next level!
While browsing through the photos of the vehicle graveyard in Chernobyl, red ZIL fire trucks
caught my eye immediately. I chose one of those for my project as it was a unique opportunity
to work on a vibrant colour instead of the usual camo green. I also decided to step outside of my
usual 1:35 scale to see how my weathering techniques would work on a tiny 1:72 replica. Let’s
see how it went step by step.

1
As the base for this project a 1:72 model of ZIL 131
by AVD Models was used.
2 After the construction stage, the model was divided into 3 parts: the
undercarriage, the main hull and the interior. Keeping them separate
will make the painting much easier.
3 The basic kit lacked some details which were scratch-built from sty-
rene tubes, wire, and some random PE parts.

4 5
All the parts were primed with A.MIG-2024 One Shot Grey Primer. The model was then airbrush with A.MIG-0044 Chipping acrylic co-
lour. This will be the base colour for all the paint chips to be revealed
later. At this point a thin layer of A.MIG-2011 Heavy Chipping Effects
fluid was applied to all surfaces.
6 7
A piece of paper was used as a mask to give highlights the proper con- The model was painted using just two colours of Tamiya acrylics: red
trast and definition. and white.
8
The surface was wetted with a
flat brush dipped in water before
carefully creating some tiny chips
on the surface. As far as I’m con-
9
cerned, an old airbrush needle After another layer of A.MIG-2011 Heavy Chipping Effects fluid was
provides the best control over the applied, all of the white parts of the model were painted.
process.

10 11
12
10 Here goes the third and the last layer of chipping fluid. The model
was then sprayed with a very diluted pink colour. It was essential
to keep the layer thin and semi-transparent.
11 Some of the colour was removed with a brush to create a very

subtle fading effect.
13
12 The interior is almost invisible, so it was painted rather quickly The numbers were painted free-hand, a very thin strip of masking tape was
using AMMO acrylics weathered with oils. used to accurately simulate the stencil marks.
14 Here’s how the model looks after the base painting

stage and ready for the
weathering already!

15 16
The effects started by applying a tiny amount of Oilbrusher co- The panel lines themselves were carefully traced with a mix of raw um-
lour Red A.MIG-3503 around the panel lines and blended them ber oil paint and A.MIG-3513 Oilbrusher Starship Filth. Any mistakes
with Enamel Odourless Thinner to give the model more contrast. were corrected with a brush dipped in Enamel Odourless Thinner.
From time to time I throw Oilbrusher colour Yellow A.MIG-3502
into the mix which made the red colour look warmer.
17 18
19 20
17 The white surfaces were treated with a thin yellowish filter made from oil paints while
making sure some of the areas remained clean.
18 The rust was also painted with oil colours begining with a light orange shade used to
trace all of the paint chips applied earlier.
19 Then a darker brownish colour was used to give some depth and variety to the rusty spots.
Some streaking was added by dragging the paint downward with a fine tipped brush.
20 At this stage I switched to green shades to make some damp mouldy effects which were focused
on the lower parts of the vehicle.

21
The clear parts provided in the kit were not used as they didn’t look realistic. Instead rectangle
shapes were cut from transparent plastic sheet and used as replacements..
22 23
To create little moss clomps, compressed pieces of package sponge Finally, the windows were weathered with green and brown oil paint
were made using CA glue. Then the sponge was tinted with a bright followed by convincing algae staining applied using Slimy Grime Light
green colour and placed on the vehicle. & Slimy Grime Dark.

24 25
26 27
28 29
24 At this point the ZIL was ready but I felt it needed a base to tell the 27 Once dry, the surface was airbrushed with Heavy Chipping Ef-
complete story of such a unique subject. The basic shape was cut fects fluid A.MIG-2011. Then a semi-transparent layer of light
from Styrofoam with the sides covered with pieces of sheet styrene brown mixed from Pale Grey A.MIG-0063 and Red Brown Base
cut to size. A.MIG-0913 was sprayed randomly.
25 The composition consists of hexagonal pavement blocks, a con- 28 A great deal of the top layer was removed with a flat brush dipped
crete fence, and some vegetation composed of grass tufts at- in tap water, this step helped me to create an interesting bare met-
tached using PVA glue. al texture.
26 The sides of the base were painted in rust colours to make them 29 The surface was then covered with a semi-transparent filter of dark
look more interesting and fit the theme of the subject. The base brown oil paint as part of the first step in building up a convincing
colour was a 50/50 mix of Chipping A.MIG-0044 and Rust Tracks rusty appearance.
colour A.MIG-0034.

30 31
30 Afterwards, another thin layer of Heavy Chipping Effects fluid was

applied followed by random transparent spots of A.MIG-0017
Cremeweiss airbrushed in place and immediately activated and
distressed with a damp brush.
31 Next, a medium rust tone was built up beginning with a dark

orange oil paint less thinned for a more opaque finish.
32 The last step was to add some speckling using a very light and
bright contrasting orange shade. Here you can see how every-
thing came together once the base was finished!
32

1
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Alex Clark
The Chinese-built Type 69-II is a development of the Type 59 tank, this earlier vehicle being a very close copy of the
Soviet T-54A. It featured many improvements in a number of areas, in particular involving the sighting equipment and
engine. Externally it can be distinguished from the Type 59 and T-54 series by a laser rangefinder over the main gun;
twin headlight assemblies on the front fenders, and a circular bulge under the rear hull plate. This accommodates a larg-
er cooling fan for the engine. Some versions are also fitted with saw-tooth side skirts, turret mounted smoke grenade
launchers, and 'Boom Shields' - standoff turret grill armour that also serves as stowage baskets. Several countries have
used this feature, most notably Iraq during the Gulf Wars.
I find the look of this vehicle very appealing so decided to convert the excellent AMMO T-54B kit into an abandoned
Iraqi Type 69-II. This was a complex conversion and this kit was the best starting point. Many photos of abandoned ve-
hicles from the Gulf War period of 1990-1991 show plenty of blankets, tarps, and other stowage items
strewn over the vehicle and I decided to model something similar. One of the most famous inci-
dents of the war involved the “Highway of Death” that runs from Kuwait to Iraq. Iraqi forces,
retreating from occupying Kuwait in late Feb 1991, were dealt a devastating blow from
Allied forces. Estimates of 1500 – 2000 military and civilian vehicles were abandoned, hun-
dreds of which were completely destroyed. Crews hurriedly dumped all sorts of stowage
into their vehicles as they started to make their way out of Kuwait. Tarps, blankets, all
sorts of containers, and even the civilian clothes carried to change out of military gear if
under threat of being captured were on board. The swiftness of the attack lead to many
being hurriedly abandoned, and photos of the event show stowage strewn over the
vehicles and the road.

1 The most difficult part of the conversion was creating the
‘boom shield’ baskets around the turret. The hard work was
worth it as they give a unique appearance to the turret. Al-
though most of the additional changes were scratch-built, I
used a few aftermarket parts. These included a turned brass
barrel from Zedval and a beautifully made DShKM machine
gun mount from Miniworld. I left the actual machine gun
missing as many photos show these to be absent– presum-
ably taken by the escaping crew or scavenged.
2 I scratch-built some interior details

for the driver’s compartment as I
planned to leave the hull hatch open.
Abandoned vehicles usually have
at least some if not all the hatches
open, and during the Highway of
Death incident many crews quickly
bailed out of their vehicles in order
to make escape. I cast most of the
scratch-built parts in resin for future
builds.
3 I also added some interior detail to the turret.
4
I primed the interior parts with One Shot Grey primer, A.MIG-2024.
This was followed by a couple of thin coats of Satin White,
A.MIG-0047. 5
After painting the smaller interior details with enamels, I used Interiors
Wash A.MIG-1003 and Streaking Rust Effects A.MIG-1204 to create a
worn and well-used appearance. Dark Wash, A.MIG-1008 was applied
around the details which enhanced the shadows.
6
Iraqi sand camouflage was usually painted
over the original Soviet green. I gave the
whole model an airbrushed coat of Hum-
brol Light Olive 86 which was left to fully
cure for 24 hours in a warm room.

7
I sprayed a thin coat of A.MIG-2011 Heavy Chipping effects over the entire
model. Over this I sprayed a mix of Tamiya acrylics, Buff (XF-57) and White
(XF-2) in a 1: 1 ratio. Keeping this layer thin will help to make the chipping
process easier.
8
After a few minutes, water was brushed over small sections of
the model at a time using a flat brush.
10
9 Very small scratches and chips can be creat-

ed using a fine pair of tweezers or a sharp-
Using an old brush with the bristles trimmed down, I gently began scrubbing the ened cocktail stick. I took care not to scratch
surface. Different motions will give different effects – dragging, or scrubbing in away the green layer underneath.
circles for example each create a unique and realistic worn effect. Concentrate
the effects on edges, corners, and surfaces more likely to come in contact with
the crew.
11 Note how the worn areas are concentrated on

horizontal surfaces and edges, especially around
the crew hatches.
12
To create the green camouflage, I again applied Chipping Effects, followed by an
equal mix of Tamiya NATO Green XF-67 and Cockpit Green XF-71. Photos show
this green to be more vibrant than the original Soviet green base colour.

13 14
I chipped the green away using the same techniques shown in earlier I added a little thinner to the enamel green used for the base colour and
steps to reveal the sand colour underneath. gently flicked it onto selected areas. This gives a subtly worn and speck-
led effect that compliments the other chipping methods. Take care to
not overdo this effect as it can easily become unrealistic.
15
I painted the tracks using acrylic A.MIG-0033
Chipping, which has a nice dark and slightly
rusty appearance.
16
The rubber portion of the wheels were painted with
Rubber and Tires A.MIG-0033.
17
Archer Fine Transfers have a range of Arabic numer-
als. Iraqi vehicles have some variety in markings al-
though there is also some degree of standardisation.
Often, vehicles wear registration plates on the front
and rear of the hull. Sometimes the placards appear
as white numbers on a black plate, sometimes the
other way around. I created a simple stencil from
plastic strip for the rectangular base.
18
I painted the black base plate with Humbrol black enamel and applied
the numeral over the top. I sealed both the markings and the paint with
a coat of Klear acrylic varnish.

19 20
19 I mixed a diluted wash of Humbrol Matt Tan, 118 and applied it

to small sections of the model at a time.
20 Once touch-dry, I blended the wash with another clean brush

dipped in thinner by working it into the corners, around details,
while also dragging subtle vertical streaks.
21 The wash step has 3 purposes – reducing the glossiness of the

Klear coat, giving a general grimy appearance to the surface,
and finally to enhance the fine details.
21
22 Small amounts of Dust Oilbrusher,

A.MIG-3516 were added to the mod-
el with a small brush.
23 A broad and flat brush was dipped

in enamel thinner, wiped almost dry,
and dragged down to blend and soft-
en the dust effect. The effect stays
workable for a while, so the Dust can
be modified or even removed if over-
22 23 done.
24
Shadows were created around the
details using Dark Wash A.MIG-1008
applied with a small brush. Dampening
the area first with a touch of enamel
thinner helps the wash flow by capillary
action. Any excess wash can be cleaned
up with a clean brush and thinner.

26
25 Pigment Fixer A.MIG-3000 was dropped
around the pigment and left to fully dry.
I applied Sinai Dust A.MIG-3023 pigment to the wheels.
27 28
For the lower hull I applied the pigment When the pigment fixer dries, the result is a
and then spattered the fixer over the top. nice dusty build up on the inner side walls
of the wheels.
29 The tracks received the same treatment with

pigments. Once complete, I dry-brushed
Streaking Rust Effects A.MIG-1204 over the
raised areas.

30 31
I enhanced the dusty and grimy effects by spattering Humbrol Pale Tiny scratches were brush painted using undiluted acrylic chipping
Stone enamel, followed by Dark Wash A.MIG-1008 placed around A.MIG-0044 colour which is a nice deep reddish-purple. If too much
select areas. I took care to keep this effect subtle, but it nicely adds a is applied, it’s easy to just gently scrap away any unwanted areas with
bit of tonal variety to the finish. a sharpened cocktail stick.
32 33
For rusted areas, I used Streaking Rust Effects A.MIG-1204. This was I created a grimy wash from Dark Wash A.MIG-1008, Brown enamel,
mostly applied to the exhaust by gently streaking and dabbing it on and thinner. This was applied to various recesses and crevices to accu-
in several layers with a small brush. rately represent stains and general dirt.

34 35
36 34 Diluted Streaking Dust A.MIG-1258 was gently dabbed and blend-

ed onto the larger surfaces, giving a subtle pale mottled effect.
This discolouration contrasts nicely with the previous weathering
steps.
35 An artist’s black watercolour pencil is good for adding deep

scratches and for highlighting sharp edges.
36 The exhaust smoke was reproduced with Black pigment

A.MIG-3001. The pigment was worked into the surface with a
small brush and small spots of pigment fixer flicked over the top.
37
I created a mix of stowage items with some homemade and others sourced from various aftermarket sets. I selected a variety of items to
include both military and civilian, especially blankets, tarps and containers. Period footage shows that these were common items found all
over the Highway of Death. These details also serve to provide some welcome colour and variety to the model. I painted them with enamels,
acrylics, and oils in order to create a variety of colours and finishes.

When the editor asked me whether I would be
interested in making this model I jumped at the
opportunity. Having done some research, I dis-
covered that the original aeroplane is on the elec-
tronic warfare range at RAF Spadeadum in the UK,
and I’ve operated in the range a number of times
in my flying career so I will have flown over this
aeroplane on a number of occasions. Looking at
the various photos in detail there would have to Jamie Haggo
be a few compromises, the tailplanes in the kit are
solid and the original had the outer sections miss-
ing so to recreate them in miniatures would be very difficult, so I ignored
that fact. It was only after I studied the photos in detail before painting
that I realised that there were a couple of missing panels, only small ones
but it was too late! Oh well… Looking at the real aeroplane though it
looked quite clean even though the paint work was obviously in a very
sorry state, therefore I set myself a challenge, could I recreate the airframe
with paint only without the usual gamut of oils, enamels and pigments?
Let’s see

1 I didn’t have any references inside the cockpit so decided to
1 2 use some artistic licence; it is common for derelict aeroplanes
to be stripped of useful parts, so I wanted to depict an empty
instrument panel. The kit had a plastic part with the dials
removed so it was held in place and black paint sprayed.
2 With the black sprayed, I had a guide to cut the centre out.
3 The Eduard colour photo etch part was then glued in place,
some damage and chipping were applied with a sponge and
A.MIG-0044 Chipping acrylic paint.
44 55
Great Wall Hobby has moulded some nice detail on the cockpit tub The only enamel/oil product used in the entire build was in the cockpit,
however it cannot compare to the finesse of the Eduard colour photo here Starship Filth Oilbrusher is painted on and blended with a moist
etch therefore the detail was removed with a Flory Models sanding flat brush.
stick.
6
Chipping was done using a fine sponge
and the chipping acrylic colour, note the detail
on the photo etch.
7 I painted up the seats as I hadn’t noticed they weren’t pres-

ent on the real thing! Here a cream colour is added to the
faded headrest to simulate worn and cracked material.
8
And the finished seat,
shame they weren’t
required!

9 Here are both instrument panels ready for installation
into the cockpit tub.
10 The finished cockpit tub ready for installation in the fu-

selage.
11 Pigments were used in the cockpit tub to simulate a

build-up of dirt.
12 13
These are the intake splitter plates base coated and then chipped with And then grime simulated with Starship Filth Oilbrusher.
the sponge method and ubiquitous A.MIG-0044 Chippi
14 To avoid a see through

look the inside of
the windscreen was
masked then sprayed
matt black.

15 16
The wheel wells are really nicely detailed, it’s a shame none of it will be The parts fit really nicely, a hairline gap was left between the parts then
seen but for strength the one piece part was glued in place then then the cement applied, after a few seconds they were pressed together
one piece undercarriage doors (the modeller has to cut them up for a and held, a small bead of melted plastic then oozes out of the join and
wheels down model) added. after leaving for a week to properly cure to avoid shrinkage the seams
are sanded smooth.
17
Here is the finished airframe, note I accidentally fixed the wingtip tanks
in place, they were removed a short time later! The canopy was fixed
using latex liquid mask so it could protect the cockpit and be removed
later.
18
The model was primed using Tami-
ya Fine Surface Primer decanted
from the spray can and thinned
with a few drops of thinner and
sprayed through the airbrush.
19
There are some prominent rivets on the nose, after prim- 20
ing they were enhanced using an MDC beading tool. The grey areas of the camouflage had faded to a clean
white tone, so this was sprayed on first.

22
Before the green was applied a thin coat of hairspray was applied. Now
21 for the green, various tones from MRP were used. In some areas there
Underneath the light grey was faded with a lighter tone, not much was a hard demarcation so small bits of AMMO masking tape were used
of this will be seen though. as a mask. The pattern was copied from the real aeroplane and I tried to
copy the fading and wear pattern.
23 Stage one complete, there’s still a

long way to go.
In some areas, the paint was gently polished 24

using water and a fine sanding sponge to create
the wear and tear.
25 26
This close up shows the wear pattern on the nose created by the wet In other areas a more traditional method of water and brush was used to
sanding. create the chipping.

27 28
29 30
27 Wing walkways were now masked and sprayed. Various layers of

greys and blacks were used with hairspray to create the patina.
28 Much corrosion was visible on the airframe, again a fine sponge

and the chipping acrylic was used, and it was slowly built up.
29 A close up of the nose shows the result of the chipping.
30 Staining on the underside was applied using a dirty grey tone.
31 More post shading with a very thin dirty grey/brown tone acts
like a filter.
32 Note the post shading grime and the orange/rust tone all done
with the airbrush.
31 33 The damaged windscreen was recreated using a drill and scalpel

blade. The armoured windscreen had delaminated, but a scriber
was used to try and recreate the effect.
32 33

34
The model was almost finished so attention
could now turn to the base. A box frame was
bought, and the base had a section where
the fuselage would sit removed, it was then
taped up to create a shallow depression
before the whole lot was covered in DAS
modelling clay.
34 35
It was then covered in AMMO One
Shot Black Primer.
35
36
To finish the model off, some markings were sprayed, and
the fake canopy recreated using lead foil. To get a weathered
patina, PE burnishing fluid was brush on.
37
The finished base. The grass was Winter 10mm static grass to which
A.MIG-8359 Small Bushes Autumn and A.MIG-8382 Early Autumn Fine
Bushes were added as well as a few off cuts of old grass mats.

In this article I will show the Saz-
abi GUNDAM robot from Manga
finished in the concept of "Aban-

doned". This article will teach you
Kreangkrai step by step how to build an aban-
Paojinda
doned damaged robot from a bat-
tlefield. Photos were used for ref-
erence and inspiration taken from
real-world abandoned vehicles and
tanks to accurately depict very in-
teresting effects of heavy wear and
tear combined with my perspective
and my painting and weathering
process. With this subject the fo-
cus was to recreate realistic effects
on the fictitious Manga model. The
Sazabi can be set amongst ground-
work and alongside figures to cre-
ate an intriguing and dynamic story.
I hope that you will enjoy learning
from my experience and more im-
portantly, set out to paint your favou-
rite GUNDAM.
2 I began by recreating a
damaged and heavily
chipped surfaces focused
on the armour areas by
using an electric router
2 to carefully apply battle
damage.
3 Once the surfaces and

edge areas were refined
with scotch brite, I was
able to evaluate the au-
thenticity of the damage.
4 Extra Thin Cement

A.MIG-2025 was used to
3 blend the plastic rough
surfaces and was applied
randomly into the chipped
areas to create different
textured effects.
1
The Model kit builds up nicely directly out of the box.
When studying the model, I imagine how this giant robot
would move and fight on the battlefield, where it would
receive damaged effects, and evaluated the final posture 4
and position.
5 Once the damaged was applied, the layout was test fitted and composi-
tion of diorama determined. Foam board was used for the ground base
and a civilian house to establish the setting.
The motorcycle was added for a human touch
and the Bandai UC Hardgraph 1/35 zaku head
kit for the very nice details. The model was
cleaned in soapy water to remove oils from the
plastic and allowed to dry
completely before the
painting began.
6
The painting process always begins with the primer foundation.
Because the model is large, I spray MR.Mahogony 1000 Surfacer
for the base and then used the 6 rust tones available in the com-
prehensive set A.MIG-7106. The tone Medium Rust A.MIG-0040
was chosen for the main colour and expanded on by mixing with
some Dark Rust A.MIG-0041, Chipping A.MIG-0044, and Rot-
braun A.MIG-0014 to create various shades on the model.
8 9
8 Once the layer of Chipping fluid was

fully dry, I misted the surface with an
application hair-spray mixed water
1:1 ratio and sprinkle the model with
salt. The hairspray allowed the salt
to stick, this step will help to depict
heavily worn layers of paint.
9 With the salt fluid coat fully dry I pro-

10 ceeded to apply the Red layer using
A.MIG-0049 Red. The colour was
mixed with White and Dark Yellow
and thinned down to apply a faded
colour effect.
7
Once dry, a layer of Heavy Chipping Ef-
10 The inner parts of the frame were
painted in Grey tones mixed from
fects A.MIG-2011 was airbrushed onto
A.MIG-0062 French Blue and
the surfaces.
A.MIG-0082 US APC Interior Green.
11
The next step was to remove the excess salt
excess using a toothbrush. For select areas, the
surface was wetted with water to create more
chipped wear and tear effects realistically fo-
cused on the edges.
12
To make an abandoned subject appear to be worn or damaged,
you can alternate salt and chipping fluid and a variety of acrylic
rust tones. Convincing areas of burnt paint and metal were created
using Flat Black and Flat White to simulate charred surfaces and
ash on the model.
13
After removing the excess salt and layers of Chipping Fluid, the model was sealed
in a layer of Satin Lucky Varnish A.MIG-2052 to prepare the Sazabi for decals.

14 15
14 The kit supplied water slide markings were applied

and set in place with Ultra Decal Fix. Once fully dry I
again top coated the model with Matt Lucky Varnish
A.MIG-2051 to seal and protect the decals. Once fully
dry, I began to paint chipping onto the markings using
the sponge chipping technique and the deep brown
colour Chipping A.MIG-0044.
15 I began to add filters of rust and dust tones with the

enamel colours Dry Steppe and Light Rust Wash. The
various of colours of the enamel Splashes series proved
valuable and versatile, when fully dry they have a per-
fectly in scale texture and are easily blended by brush.
16 While focused on the head unit, the enamel Dark Wash

was used to aged streaking rust effects which contrast
well with Fresh Engine Oil A.MIG-1408. To recreate au-
thentic oil leaks and staining, I carefully painted each
16 deposit using a fine tipped brush. I also applied enamel
Wet Effect splashes onto the model surface to give the
natural appearance of dampness.
17 Seen here is the chest unit, Oilbrusher

colour Summer Soil and Rust were added
to sections of the joints for a fresher and
brighter yellow rust toned staining which
adds to the desired finalappearence of ef-
fects accumulated over time.
18 The Streakingbrusher colour Rust

A.MIG-1254 was used for a darker tone
of rust streaking.
19 These effects were blended and shaped

with a small soft brush dampened with 17 18
Enamel Odourless Thinner. The full range
of rust toned streaking accurately created
an abandoned appearance that is quite
realistic.
20 Focus and a fine tipped brush were used

to create very thin vertical oil streaking
originating from the inner engine parts,
Fresh Engine Oil is dark brown with an
in scale gloss finish that creates excellent
contrast and makes the model look truly
mechanical.
19 20

21
I used the same various
shades of Oilbrusher
and enamels to apply the
effects on the left and right
side chest unit. Remember to
re-check these streaking ef-
fects are correctly in line with
gravity in relation to the base and
the angle of the surface.
22 23
The next section to address was the main unit of chest with the left Now for the right side of the chest which was painted to contrast
side burned out and stained with ash and soot effects on a com- the burnt left side by applying a lot of oil and grease leaking from
pletely rusty finish applied with enamel Light Rust and Oilbrusher the engine within. To powerfully depict the complex finish of aban-
Dark Rust tones. The inner most surfaces were covered with small doned machinery accurately, I used Fresh Engine Oil and Engine
splashes of rust applied by flicking the colour from a paintbrush. Grime both individually and mixed with Oilbrusher colour Starship
Subtle oil leaks and staining were applied with A.MIG-3532 Starship Filth to recreate the grime and accumulated grease combine with
Sludge Bay as seen here. dust.
24
Painting the colourfully contrasting jet exhaust nozzle was a blast.
First, I airbrushed Silver A.MIG-195 for the base and applied clear
colours Crystal Red and Crystal Black Blue followed by a wash of
Light Dust.
25
At this stage I returned to weathering the head. Thin and subtle
streaking effects were applied using Black enamel wash mixed with
Wet Effects in a 1:1 ratio and carefully drawn using a fine tipped
brush. The focus was to depict oil, fluids, and joint grease leaking
from the machine.

26 The left chest unit was to appear damaged and hanging down, I added some details
such as cables and wires into the joint, then painted and weathered them to accu-
rately blend into the surrounding machinery.
27 Here you can see the complete right side of the Sazabi model. All that remains is
some fin detailing and fine touches with a brush and the model will be ready to be
mounted to the base.
28 Next a base was made with foam board coated with Acrylic Mud from AMMO. I
mixed coloured textures from three jars to make a range a various soil and dirt tones.
Small and fine gravel was added into the ground and fixed in the place using Sand &
Gravel Glue A.MIG-2012. The mud house was made with plaster and small grit, then
I left the base and groundwork to dry for about 6 hours.
29 Once the Acrylic Mud base fully cured, the terrain was airbrushed with earth toned
acrylics followed by various enamel washes to highlight higher areas and darken the
shaded surfaces. Dry pigment was used for the dust textures on the ground and a
mixture of vegetation from AMMO was added to the scene to give an authentically
natural overall impression to the setting for the abandoned Sazabi.

31
The abandoned roof received further damage with some
rolled up while others are bent or curled into natural shapes
as per online references.
30
To create the look of an abandoned house, I made these galvanized
roof sections using corrugated paperboard. First, I primer the paper
with One Shot Brown, then the oxide orange tone Medium Rust
A.MIG-0040 was airbrushed for variation. The surface was then
sprayed with Heavy Chipping Effects A.MIG--2011 and sprinkled with
salt as shown previously. The highly realistic acrylic colour Aluminium
A.MIG-0194 was sprayed and once dry, the excess salt was removed
to reveal the rust tones beneath. The weathering was applied to the
roof with enamel Light Rust Wash and Dry Steppe, subtle damage was
placed by poking holes through the corrugation using a straight pin. 32
Slow Dry Cyanoacrylate glue worked perfectly to fix these
paper roof sections onto the house and base to complete the
base and groundwork.
33 34
I began to build these figures from Master Box kit No. 35200 1/35. For the Addressing the figures , motorcycle, and gear was the final
GUNDAM Sazabi’s setting and story, I use the motorcycle and replaced painting step. I applied a series of AMMO acrylic paints us-
the AK47 with a rifle from 1/35 RAMBA RAL Commando Set with minor ing a fine brush for the figures, the camouflaged motorcycle
details added. was airbrushed with Dark Yellow and Dark Brown acrylic and
washed with earth toned enamel colours.
35 A full range of AMMO acrylic paints was carefully applied by brush,

making the process truly easy and enjoyable.
36 Mounting holes were marked and drilled into the base and metal
wire glued into each piece to attach these figures into the base.
Once everything was in place, the final touches were added using
dry pigment
North Africa Dust
A.MIG-3003 on
the boots and
feet to tie the
figures into the
scene’s ground-
work.

Having adequate photographic references is one of the most important parts of the hobby for mod-
ellers, allowing us to recreate real vehicles in model form much more faithfully. Although it is very
Alberto rare to find so many different nuances combined on a real vehicle as we like to add to our builds to
Palomares ensure that each part of the model provides enough visual interest and information to the viewer’s
Durán
eye.
I was lucky to see this vehicle in the flesh during a visit to the Armoured Vehicle Museum located
on the military base of El Goloso, in Madrid Spain. While looking at the tank, I was thinking about
how I would go about replicating each area in a way that the entire model made sense. The vehicle
featured such a diversity of colours and effects; so much that it is difficult to imagine the impression
of all effects combined without seeing it in person. Of course, I could not pass up the opportunity to
build a model of such a wonderful tank.

1 2
1 The model was first primed with One Shot Primer - White A.MIG-2022,
once dry the base colour of several rust tones was applied using Dark
Rust A.MIG-0041 and Rust Tracks A.MIG-0034 in this case.
2 The chipped paint effects were created with chipping products. The
simple process began by airbrushing several thin layers of Scratches
Effects A.MIG-2010, followed by Medium Rust A.MIG-0040 and Chip-
ping A.MIG-0044. The surface was moistened with water and scrubbed
with a brush until the colours lift in a chipping pattern to reveal the rust
tones below.
3 The mapping technique was then applied with Oilbrusher Red Tile
A.MIG-3525 and Rust A.MIG-3510. The colour was allowed to dry for
3 a couple minutes before blending the effect with a round brush damp-
ened in Enamel Odourless Thinner A.MIG-2019.
4 Acrylic colour Dunkelgelb High Light A.MIG-0904 was stippled onto

the surface with a brush to create traces of paint still remaining on
the rusted surfaces. The colour was thinned in different ratios for areas
more translucent and others more opaque to create different contrasts.
5 Next, enamel Light Rust Wash A.MIG-1004, Oilbrushers Red Tile

A.MIG-3525, and Rust A.MIG-3510 were mixed and diluted to differ-
ent levels with Enamel Odourless Thinner A.MIG-2019 to add filters and
washes over the entire surface.
6 A layer of Scratches Effects A.MIG-2010 was applied followed by acryl-

ic colour FS 35237 Blue Gray AMT-11 A.MIG-0210 airbrushed over
top. Using a small brush moistened with water, the surface was gently
dabbed until the paint peeled away revealing the chipping effect.
4
5 6

7 8
7 Acrylic shades similar to those seen in the reference photos were ap-
plied with a fine brush to recreate other traces of paint left in the
rusted area.
8 A piece of sponge was dabbed onto Streaking Rust Effects

A.MIG-1204, then whipped off almost completely on kitchen paper
towel before applying the effect to the areas with traces of paint to
create a superficial layer of rust using a stippling motion.
9 All of the effects applied up to this point were protected with Ul-
tra Liquid Mask A.MIG-2032 and Camouflage Masking Putty
A.MIG-8012 before airbrushing NATO Green A.MIG-0084 and Sand
Yellow A.MIG-0030 over different areas.
9
10 The Camouflage Masking Putty was removed first and then the liquid
mask was peeled away with a stiff bristle brush and water.
11 Traces of paint in the headlight area were applied with grey, pale
green and blue, followed by chipping effects using different rust
shades from the set Rust Effects Colors A.MIG-7106.
The skirts were painted using a brush and a mixture of Blue (RAL
12
5019) A.MIG-0086, Matt White A.MIG-0050, and a drop of Matt
Black A.MIG-0046. A mapping chipping pattern was painted with a
lighter tone and filters applied using a bluish grey enamel shade to
add more depth and contrast.
10
11 12

15
14
13
20
19
18 04 colour was
st Wash A.MIG-10
cumula- 19 Next the Light Ru surface and
were used for a t parts of the rusted
the ha irspray technique ts applied on differen blended with
13 Two lay ers of
For this step Scrat
ch es Eff ec ch, the edges were
top of the other. when dry to the tou
tive effect, one on ic mix used in the
previous el Odourless Thinn
er.
10 wa s used and the ac ryl
rtia lly re- a brush and Enam
A. MI G- 20 wa s pa
The top coat
additional white. shes to
step lightened with be for e rep ea ting by applying pin wa
an d wa ter and allowed to dry Th e process continued of Dark
moved with a bru sh
ck. 20 pop out. A mi xtu re
th Sc rat ch es Effects and Matt Bla ma ke specific details A. MI G- 10 05 and
the process wi Vehicles
wn Wash for Green
used Bro used for this step.
cre ate d wi th the same 3 rust tones Oi lbr us he r Ea rth A.MIG-3514 was
ipping effects were continuing
14 The ch vious steps beginning with the darkest hue, rust tone as where moss ha
s
in the pre
lou r, an d the n apply the lighte st
I wa s pa rtic ula rly drawn to the are we re
iate co effec ts
with the intermed nsparent effect.
21 real vehicle, these
ute d to create a subtle tra accumulated on the ht A. MI G-1411; the
htl y dil e Lig
slig
rep lica ted with Slimy Grim onge
G-1004 and dabbed with a sp
by mi xtu re of Lig ht Rust Wash A.MI en am el product was simply the eff ect,
lowed chips If you do not lik e
15 This was fol Effects A.MIG-1204 placed inside the paint ss ov er the desired zone. ou rle ss Th inn er
Streaking Rust Enamel Odourle ing Enamel Od 23
to the tou ch be fore blending with sim ply wipe it off us
and left to dry ce ss.
19. and repeat the pro
Thinner A.MIG-20
ads where the paint
all er sp ec ific are as. First ast ing de tai l of the bright weld be
once again on sm contr 0191.
Ch ipp ing fluid was used a lay er of AP C Interior 22 The critical were accurately depicted using Steel A.MIG-
16 was applied follow
ed by has peeled off
Scratches Effects lowed by
, the n Sc rat ch es Effects again, fol were used to recrea
te
Light Green A.MIG-
00 82
rev ea l the co lou r below each es fro m the Cr ystal Colours range ic co lou rs
nc ryl
and using water to 23 The refere weld seams. The
transparent ac
airbrushing black t pa tin as on the tra ns luc en t,
ects. differen e they are highly
layer or level of eff ap pli ed ov er the welds and becaus
were clearly visible.
ferent parts of the
vehicle; on the rneath will still be
re ap pli ed on dif 01 the metallic tone unde
filters we A.MIG- 15
17 Next, er Grey for White North Africa Dust
own here, the filt A.MIG-1400 and
area of the skirt sh colou rs Ku rsk So il ere dust
was used. 24 The enamel re both used to apply washes on the areas wh
r Earth A.MIG-1404 we
dots of Oilbrushe on the real vehicle.
p a filt er wa s ad de d by ap ply ing
en are a has accumulated
this ste the gre
18 In G-3514 and Medium Grey A.MIG-3509 over th a circular ividual laser-cut lea
ves from the refere
nce
A.MI be fore ble nd ing wi p wa s to ad d ind e. Tim e an d
and allowing it to
dry to the touch
En am el Od ourless Thinner 25 The last ste n A.MIG-8400 with a tiny drop of white glu ere they
wi th Maple – Au tum s wh
lightly moistened the leaves in the
same location
motion of a brush was taken to place
ca re
A.MIG-2019. erence photos.
collected in the ref

17
16
22
21
25
24

POSTCARDS FROM THE WORLD
2nd SPANISH MARINE INFANTRY CORPS CONTEST
San Fernando Naval Museum (Cádiz, Spain)
By Mig Jiménez
Rarely have I had the opportunity to visit a model contest in such an appropriate and
pleasant host venue as the San Fernando Naval Museum, organized with the sup-
port of the Spanish Marine Infantry, especially the Tercio de Armada (TEAR) unit cel-
ebrating the 483rd anniversary of the Corps’ creation in 2020. The base personnel
gave a warm and friendly reception to crowds of visitors with an impressive display
of its most modern vehicles and equipment including AFVs. This was a true paradise
for all the modellers attending the event, where we were able to freely photograph
each vehicle... with all the chipping, mud and rust! It is important to support and
give visibility to those who made such a tremendous effort to bring military life
closer to those they protect and serve, as is this case with most modellers, a link
between the civilian and military worlds. Our hosts showed us exceptional kind-
ness and generosity, and from these pages we want to thank the people in charge
with all our hearts, for making it happen: Brigadier General Rafael Roldán, Second
Lieutenant Colonel Martínez and Lieutenant Colonel Juan Almarcha.
In addition, the AMMO team formed by Selu Casanova, David Pérez, and Javier
López de Anca contributed a modelers touch to the event with several demonstra-
tions of painting techniques.
Of course, a visit to the nearby cities of Cádiz and Seville accompanied by mem-
bers of Seville’s scale modelling club was the highlight of this wonderful event,
which will hold its first competition next December. We invite all of you to return to San Fernando next year or come for the first time
to enjoy the third edition of this contest and everything that the amazing region of Andalusia has to offer.

IN THE NEXT ISSUE...
By Sergiusz Pęczek
BEACH
When hearing the word "beach", one immediately thinks of holiday memories, warmth, and relaxation
on a picturesque seaside. However, every modeler knows that coastal beaches are also places where great
military operations have taken place throughout history. Legendary military exploits including Operation
Dynamo – the successful evacuation of the British Expeditionary Force from Dunkirk in 1940, the landing of
American Marines on the island of Guadalcanal in 1942 during the island hoping campaign of the Pacific,
and the famous D-Day landing of Allied troops on the beaches of Normandy on June 6, 1944. Surf and sand
have been the backdrop to conflicts appropriate to every genre of modelling.
In the next issue of The Weathering Magazine our world class contributors will show you their stunning
modelling interpretations of this interesting subject. You will learn how to make realistic sandy scenery, sea
water, and learn how to connect the sandy groundwork with the model. As usual, our modelers will present
a wide spectrum of topics, styles, and techniques used to further enrich your modelling skills and inspire
you to hit the beach with confidence!

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8 432074 045298

THE WEATHERING MAGAZINE

RADIACTIVE RUST HIGHWAY OF DEATH

CHIEFTAIN, A SWEET RETIREMENT

POSTCARDS FROM THE WORLD

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1 The construction process for this project was a bit un-

2 Then I assembled the resin engine for the T-55 from

3 The turret and burned-out wheels from the same set

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11 A dark rust-coloured base was applied as the

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I consider oil paints necessary in the process of painting 26

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45 Even the calmest river has an uneven wavy surface. To reflect

48 Some last corrections and adding of the photographer's figurine,

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11 Some of the colour was removed with a brush to create a very

14 Here’s how the model looks after the base painting

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30 Afterwards, another thin layer of Heavy Chipping Effects fluid was

31 Next, a medium rust tone was built up beginning with a dark

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2 I scratch-built some interior details

3 I also added some interior detail to the turret.

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9 Very small scratches and chips can be creat-

11 Note how the worn areas are concentrated on

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19 I mixed a diluted wash of Humbrol Matt Tan, 118 and applied it

20 Once touch-dry, I blended the wash with another clean brush

21 The wash step has 3 purposes – reducing the glossiness of the

22 Small amounts of Dust Oilbrusher,

23 A broad and flat brush was dipped

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29 The tracks received the same treatment with

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36 34 Diluted Streaking Dust A.MIG-1258 was gently dabbed and blend-

35 An artist’s black watercolour pencil is good for adding deep

36 The exhaust smoke was reproduced with Black pigment

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7 I painted up the seats as I hadn’t noticed they weren’t pres-