The weathering magazine free download

If we make some ugly fuel or oil effects, we can ruin our model. Of course, this issue also includes contributions by many of our friends who will explain to you many of the different tips and techniques that can be used for engines, fuel and oil.

Just go to the next page! Alexander Glass gives brings us an enlightened tutorial on using buffing metalliazer paints and metallic pigments.

K Down to earth elements of grease, grime and oil are taken to another world as Lincoln Wright weathers his Ma. This means that even a veteran vehicle surviving to the end of hostilities would perhaps be nine or ten months old and for the majority their combat life would be a matter of a few months at the most.

When modelling the Maybach HL P30 engine for my Trumpeter scale King Tiger this was at the forefront of my vision for the look of my engine. Tempting as it is to model a chipped and corroded engine with leaking oil running down the sides and big greasy stains I just dont think this would be realistic for a relatively new high performance German engine.

A leaky engine would be replaced and indeed the vehicle that I decided to model is shown in a series of photos having an engine changed within weeks of being delivered to Pz. There are limits to what can be done with injection moulding and all the small pipework detail needed to be added and I did this using different sized brass, copper and lead solder wire. Insulating tape was used to make the sleeves on the smaller pipes and lead sheet was used for the sleeves on the bigger cooling pipes at the back of the engine.

There was also considerable detail added to carburetors with the interconnected throttle linkages even though these sit under the big air filters on top of the engine. I wont go into detail here as the focus is on the painting of the engine. Here is the carburetor assembly which is actually four carburetors which are linked together so as to run in unison. The great thing about engines is that they are purely functional and are finished accordingly. The paint was diluted with Gunze blue label thinners although I find that water also works well.

The Black Grey dries with a very appropriate slight sheen which reqires no further varnishing but is immediately ready to begin weathering. The red pipes and their connectors were painted as were the other different coloured details before the weathering started. The air filters were painted in an ivory colour with plenty of scuffs and chips as well as a layer of dust as these are the parts that are visible when the engine deck hatch is opened. The orange label was hand painted.

A pin wash of a mid brown oil paint mix was applied over the engine and this was also used to add runs and streaks across the rocker covers and down across other parts of the engine.

As this dried I went back to enhance the effect with several stronger coats of wash in areas where dust and grime would naturally accumulate.

The magnetos were painted in Gunze Mr Metal Color Aluminium with the bolt detail picked out with Stainless This area of the engine will be covered by a fan cover so I did not waste time on weathering effects here. The exhaust pipes were painted with Gunze Burnt Iron before having washes of pale brown acrylics overlaid over them. The clutch plates were painted with Alclad Steel for a convincing polished metal effect. These dust effects were then further enhanced with similarly coloured pigments working them into all the crevices and onto all the horizontal surfaces.

The key to finishing the Maybach is observation and if you have an old car just lift the bonnet and see how it looks. Dust and debris settles onto all the horizontal surfaces. In the case of the Maybach it is crammed into a very narrow engine bay with minimal space around it. Unless it is removed from the vehicle the only area that is accessable is the top.

The same coloured oil wash was also used to tone down the other fittings on the engine like the cooling system pipes and their rubber connector sleeves. And Coming soon a book about it. An oil paint wash of a mid brown shade was applied over all the engine parts. I kept these effects quite restrained as the engine bay was a very hot space! The starter motor is unpainted and was given an aluminium finish using Mr Metal Color Aluminium.

Dust and grime sitting on the horizontal surfaces is the key to bringing the big motor to life. Overall views of the finished engine bay which show just how little of the engine is visible.

Each side of the engine are the twin radiators and fan units. The fans are powered by drive shafts running off the sides of the engine and the each side of the radiators are pairs of shutter boxes with adjustable louvres to control the airflow to the radiators. A cable connection allows the crew to regulate this from a handle mounted on the firewall.

Here is the entire hull with the fully fitted interior. Among these specialized machines is the subject of this article; the Paver — or Asphalt Finisher.

A machine whose purpose is to receive a dump truck loads of a hot, sticky, black, petroleum based product into one side of the machine and distribute it evenly out the other side in order to create the roadways for our Sunday drives. In this article I will show some of the products and techniques that can be used to create the severe staining and discoloration caused by the extreme conditions found on road construction sites.

Specifically the paving machine, whose constant contact with asphalt, grease and grime make it the perfect choice for weathering. One must be very careful when doing this procedure as the alcohol is very aggressive toward the paint finish.

A second brush loaded with tap water is useful to control or stop the stripping process. Notice that grey colors are also used in order to enhance the depth and visual interest of the dark colors. This is followed by a light application of Dark Brown Wash along panel lines and surface details in order enhance definition. I can use the different sheens of the two effects; the glossy nature of the Engine Oil and the Matte finish of the Engine Grime, to replicate older stains and more recent stains.

Maybe this is true because a figure painter is only focused upon with capturing the all-important proper lighting scheme, or, maybe the artist is just fearful of ruining their work by adding elements of dust, dirt, mud or grease and to their piece.

As a result, figure painters tend to keep a very restrained weathering approach to their work. In regard to this, oil and grease is probably the easiest of all these effects to apply on a figure. Of course you must also account for their shape and size of the stain to make it both logical and pleasant to the eye; this is especially true about grease stains on the skin areas.

The dust and other weathering have been already applied. Later on, after we have finished painting the grease and oil stains, we can revisit the other weathering steps including the highlights and shadows. Although the steps here are shown here in a linear way for presentation and learning purposes, it is normal to go back and forth until reaching the desired results.

You must tinker with them along the way as some of the effects can be lost with each subsequent step. Nothing beats the real thing! A very dark brown is mixed from black and a reddish brown. You can use a couple of shades, one lighter and other darker for variety, or just keep the black and brown separated and keep mixing them all the way. Try to paint them randomly and in irregular shapes, but also concentrate them in logical places, e.

The beauty about using oils is you can just wipe away or rectify a mistake with a little white spirit. Too much thinner on the brush will create a wash, completely wiping away the stain. These are so volatile that would dry almost immediately. We are using very gentle passes to build up the effect instead of the usual scrubbing of AFV techniques.

Again try to paint random patterns in logical places. Some stains larger, some smaller. These details make a difference between a regular work and a good work. These days we can find a lot of products that imitate these effects, but they require skills of painting and practice.

Fuel, oil and grease generate streaks, splashes, stains, etc. The matter is how to do them in a veritable way. The most important thing is to get a well diluted paint, without lumps. As in previous step, we can remove the excess with thinner. Several effect s both of oil an d fuel of splash with several sh es and spills ades in the inta kes of this Sher ingredients ar man.

The e pigments, oi l paints and va rnish. I used AK Wet Effec ts around the towe r mixed with brown oil paint and without pigments, while in the exte rior I used a base of pigments. I used AK0 out pigments, mixed with brown oil paint and with of pigments. Thankfully most models of jet aircraft, especially military aircraft all that will be visible on the completed model will be the tailpipe section. Here we will show how to get a realistic metallic finish for these parts.

John Murphy 1 The engine jet-pipes we are painting are cast in resin, so it is best to prime the parts prior to painting with the metallic colours. Remember that we want some of the Gun Metal to show through the Chrome to act as a shadow.

As can be seen here, the wash takes the shine out of the Alclad paints. This will be rectified shortly. This is added by airbrushing an off-white colour into these pipes. The pigment is now buffed with an old brush that is only every used for metallic paints and buffing graphite pigments. The finished F eagle jet pipe and final stage compressor blade assembly.

Owing to the vast numbers, many aircraft were left to rot, sometimes for years, until it was their turn for the chop. In this article I will detail the weathering processes for an engine in one such unfortunate aircraft.

The model is of a v fighter with an Allison engine, which has been left out in the open for many years at the Rukuhia aircraft dump and as such it has deteriorated quite a bit.

This was the fate for many New Zealand aircraft after the war. It comes in one piece and is highly detailed although some scratch building will be necessary for the engine bearers and some wiring.

Allison engines tended to have grey rocker covers, which help to add a splash of colour. We use it here as a filter and a wash to highlight the raised detail and also to impart an oily, well used feel. In order to bring out the fine detail and impart a metallic sheen, the part was dry brushed with Vallejo Model Air steel.

However, the braided hose is left out of this step for authenticity. When we are happy, it can be fixed in place using white spirit. Taking a small amount of AK Interactive Engine Oil on a brush, it is flicked on with a cocktail stick to simulate a splattered effect.

Leaving machinery out in the open will let moss and lichen grow, especially around organic matter such as oil. We apply a small amount of Warpigs Olive Green pigment very sparingly in places to simulate this. Careful masking will ensure none of this painting and weathering will be spoiled whilst painting the rest of the P If you are interested in the chipping effects on the rest of the aircraft then issue 3 of the Weathering Magazine will guide you through this process.

Oil and grease stains are unique among weathering effects as they display a high degree of chromatic richness; from transparent to opaque, glossy to matte. Therefore, no matter what type of modelling subject that we choose to build it is very important that we take time to study the subject using colour photographs and real world examples. I took some of those pictures to make the fuel and grease stains.

It is very useful to learn where and how to paint them in your model. One of the most important aspects to bear in mind is that the spilled fuel and grease soaks the dirt and dust that is around and sometimes this gives them a reddish or orange colour.

Sometimes we think that this is rust, but in the desert, these reddish stains are dust mixed with those products. Remember, for best results, this step must follow the general dusting stage we performed in earlier steps. This mixture makes it easy to quickly achieve consistent, realistic results. We can thin AK with White Spirit to achieve transparencies. We can replicate this effect by applying narrow, vertical lines. This irregularity will give us more realism.

Compare different intensities and sizes. John Murphy We show a couple of different methods for creating realistic metal effects for rocket engine nozzles using a range of Alclad-2 metallic lacquer finishes. These finishes will be perfect for all manner of spacecraft engines, whether they are real or Sci-Fi 1 Even though the Space Shuttle nozzles are cast in light grey resin, they will still need priming before applying the metallic effects.

Wu Bayin 1 This is the engine from the Zvezda LR, we have cut the exhaust pipe down, for easier handling. The engine is first primed with Mr. Surfacer Next, airbrush several thin coats of rust tones using Tamiya XF-3 and XF, notice that the dark grey base colour is still visible.

Once the Lifecolor Rust paints have dried, we now apply a layer of hairspray. Here we can see the streaking effect as the White Spirit evaporates. As we can see, the heavier streaks remain along the bottom of the boxcar. The vertical frames have been masked off and a piece of sponge carrying a small amount of paint can be carefully dabbed onto these frames. Here masking tape has been applied to create horizontal areas of rust. Compared to some reference photos this rust damage is quite restrained!

A sponge was chosen, as it would not cover the silver completely in the same way as if a brush had been used.

The sponge also adds a little texture to the effect. The drying time of the wash can be reduced by using a hairdryer on a low heat setting. This is added mainly to the bolted panel joints and the recessed channels on each panel. This was washed into the recesses of the end panels. It was also added as a pin wash to details on the lower sections of the sides.

If we loose patience and start to rush this part, the chips and scratches will look too large and spoil the effect. Heavily effected by corrosion, ships will very quickly show heavy signs of rust stains and streaking rust.

Here we will explore some techniques used to paint the unique rusting that occurs on ships. These colours can be used individually or mixed to create varied tones. These are then blended to create a natural effect. We can see the difference between the blended rust at the top compared with the unblended still being applied.

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

These are also softened and blended using a brush dampened with White Spirit. Also of interest is the patchy worn paint on the grey and red areas of the hull. Scratchmod I n this guide we will explain how to create textured rust using pigments, acrylic paints and stiff brushes. This technique is perfect for creating heavily rusted vehicles, but instead of using the new chipping fluids, or hairspray and salt, which are used in combination with water to remove the top layer of paint to create chips and scratches in the surface, this effect relies on the paint being scrubbed off of the unstable pigment underneath the top layer For this feature we will be using an old turret from a U.

M26 Pershing tank with a faded green as the camouflage colour. This technique is obviously not limited to just green and will in fact give even better results on a German dark yellow or Gulf War desert sand coloured vehicle for example. This is then painted onto the surface of the model using a large brush.

Different shades of rust pigment can be used during this process to vary the effect. Instead of using water to remove the paint to create chipping and exposed rusty metal, we just use various stiff brushes, including worn out wire brushes and even a cocktail stick to make individual scratches. For even thicker rust, more wash can be painted on followed by more pigment.

Remember do not use too much water, as the pigment will become very soft and could easily be ruined. Each style brush or stick helps to create a different damage and wear effect that has occurred over a number of years. This method offers greater control than the more random effect produced by scratching with wire brushes. This time the pigments have been stippled onto a base coat of oil paint instead of an enamel wash..

John Murphy 2 This can be sprayed or brush painted onto the part depending on how large the area is that requires painting. This will give the metal an aged and weathered look. Rust washes can now be added to the wooden parts surrounding rust to simulate where it soaked into the wood. Here we show just how simple this is to do. Acetone is perfect for this task as it is especially formulated for degreasing or paint removal.

This is mixed in a ratio of with water into a glass dish or bowl. When they have dried it is clear to see just how excelent the tracks look. Here we show a simple technique that can be used for many different scales and subjects such as military vehicles, railways, ships, buildings, and civilian cars. The type of brush used for dry-brushing is perfect for this. Again think about the angle of these streaks.

If they defy gravity, they will look unnatural therefore they will look unrealistic on the model. Here we can see this same ame effect applied to the exhaust cover on a Tiger ger I.

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

When trying to achieve a realistic rust finish, it is an important part regardless of how extensive you want to go with your model. These will form the foundation of the general weathering and also the rust effects. Scratches are being added using a very pale cream colour. Finer scratches and smaller chips using Raw Umber acrylic are now added onto to the pale cream areas to create a three-dimensional scratch effect. It is not critical how they look at the moment, because the next ssteps teps will tone these down considerably.

In this case we use very little paint on the sponge and dap the paint on gently to create these. Be sure which parts would actually rust before applying the washes. A place where heat, sun, and wind-blown sand, have worn most of the paint away, and pitted and oxidized the metal surface 1 below to a dull sheen.

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

The top layer can then be chipped using water and a stiff bristled paintbrush. We leave the highest points in the darker tones, as these areas would have been exposed to the elements the longest. For these we use both enamel rust washes and oil paint, which are applied along the edges of panels and around details. The turpentine will cause the wash to spread much further and create very subtle tones.

This can also be done before or after the pinwashes to create variations of discolouration. During the research for this edition of the magazine, it has become a mission to find and observe many forms of rust and rust based weathering effects on many varied items that we have found on our travels. We hope this small selection will prove invaluable for your own reference library.

In this photo of an abandoned BMP in Northern Afghanistan, we can see that the rust has taken on an even tone of brown all over. It actually looks like it has been painted brown, because the shade of rust is so uniform over the entire vehicle. On this steam locomotive boiler we can see numerous rust tones, which can be replicated by using some of the techniques described in this issue.

Displays both rust chips and scratches on the front fender as well long rust streaks from the headlight guards due to the vehicle being stored outside for a period of time.

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

It would be a real test of ones painting skills to replicate this on a model. This T at the tank graveyard in Kabul, Afghanistan has received a lot of battle damage to the turret and each of the shell and bullet marks has generated an area of rust around each impact.

This rusting will happen in only a few hours after it has happened. This sheet metal engine cover suffers from some serious surface rust, in fact there is more rust than paint remaining. Of interest are the many small rust coloured rain streaks fanning out from their point of origin. There is also rust staining around some of these patches. Everybody knows that there are many methods used to paint rust effects, this way is only one option.

This way we create a strong resistant base of the appropriate rust colour. We apply diluted with water if necessary. It is important to apply different densities for variation. After varnishing with a satin varnish AK , we apply a dark wash to all of the panels. AK Dark Brown. To produce rust effects we can use enamel-based paints, oil paints, acrylics, pigments and pastel powders. We also have the choice of mixing our own shades and also combining different products, such as mixing oils with enamels and pigments to create unique effects.

While we are discussing pigments, there has been a huge increase in recent years of the number paint and model manufacturers now producing specialist weathering pigments formulated for modelling and today we have many different brands and hundreds shades to pick from. In this section we are displaying only the tip of the iceberg of what products are available to the modeller today.

With so many products to choose from, choosing the right one can be confusing, but hopefully after reading our RUST issue we will help you in the right direction. Humbrol became the name we most associated with enamel paints and or years modellers experimented and developed techniques using these paints as a basis and it has only been since acrylics come to the forefront that we realised the smell is strong with these paints, the drying time is slow and that some enamels contained harmful toxins as do the thinners needed to dilute this paint and wash the brushes.

Easily imitate the rust streaks over any surface, using this color. This can spoil the effect we are trying to achieve 3 4 Among all available enamels, AK Interactive has developed the exception, creating an advanced product specially designed for weathering. Even though they are enamel based, they have been optimised for weathering purposes.

There are a variety of colors for rust effects, designed to work in combination with acrylic chipping. Probably the biggest single advantage with working with acrylics is the can be thinned and any brushes washed and cleaned using regular tap water. Vallejo Acrylics produce a huge range of modelling paints, dedicated to armour, aircraft, general modelling and war gaming and amongst these hundreds of colours, their range are several that would be suitable for rust tones.

In their panzer Aces line for example, they have three rust shades that can be mixed to produce many realistic effects. Another interesting product used to create natural rust is the Metal Burnishing Fluid. This product can rust any metal part, like iron or white metal. It has become very useful for the popular Friulmodel Tracks which are cast in white metal. Simply clean the tracks with acetone using a stiff brush, submerging the tracks in the liquid.

While using a stiff brush to remove the air bubbles from the tracks, we need only wait 10 - 15 minutes for realistic and permanent Fruil Tracks!

This product has two parts Paint a piece with the iron paint, then apply the blue liquid. You will see how with time, the piece will become rusted. Like most other types of paint medium they are produced by many different manufacturers and the quality can vary greatly. Artists have used pastel powders for hundreds of years and more recently specialised pigments have been developed and used by railway modelers to add weathering to locomotives and rolling stock.

The use of these pigments has grown immensely in recent years have now incredibly popular and used in the weathering all other forms of scale modelling. A good quality oil paint can be thinned with turpentine or white spirit to produce amazingly subtle washes. They can also be mixed with enamels or varnishes to create glossy effects to replicate oil or fuel stains and spills for example. The disadvantages with oil paints are generally the long drying time, which can adversely delay the speed we can progress with our weathering stages.

We can see that even the Scenic Rust has produced a number of different shades rust on this small test sample.