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About this blog

A record of weathering work, intended to show both good and bad results, including explanations of what is used and how.

Entries in this blog

CSP/Agenoria Hawthorn Leslie 0-6-2T No. 757 'Earl of Mount Edgecumbe'

CSP/Agenoria Hawthorn Leslie 0-6-2T No. 757 'Earl of Mount Edgecumbe'

A beautifully built and finished ex-PD&SWJR 0-6-2T rather foolishly given to me to completely ruin. I don't care! It was fun to do. . . . . . . . .    The only materials used were a smoke coloured pigment and a very dark brown wash. The wash came first, from an airbrush very thinly applied and then brushed carefully downwards on boiler and tanks with a 1/2" flat shader. The pigment was applied to the cab roof and smokebox area with a filbert brush. The underframe was left with the

Mick Bonwick

Mick Bonwick

Oxford Diecast Fowler Ploughing Engine. Photograph Only.

Oxford Diecast Fowler Ploughing Engine. Photograph Only.

Another little test for those of you who wonder what this weathering lark is all about. This Oxford Diecast Fowler Ploughing Engine was chosen as a weathering subject after I was inspired by seeing the real thing at the Bloxham Steam Rally last month.   What was used to create the weathering effects?
Oxford Diecast JCB C3X 1980s - Step 6. Finishing Off.

Oxford Diecast JCB C3X 1980s - Step 6. Finishing Off.

The final tasks for this project are to sort out the cab windows and finish off the dirt and mud effects.   The muck on the windows is removed by dipping a cotton bud into white spirit and gently rubbing the glazing until the underlying Dullcote softens and comes off. I have deliberately not got right into all the corners to leave a film of dirt there.. The glazing can be polished with a dry clean cotton bud to finish off with.   Final touches to the dirt and mud involve abra
Oxford Diecast JCB C3X 1980s - Step 5. The Darkest Pigment.

Oxford Diecast JCB C3X 1980s - Step 5. The Darkest Pigment.

The application of the darkest of the three pigments is performed in a slightly different way. The work area was cleared of anything that might attract pigment and thus become discoloured.   Contrary to general advice and practice, Filbert the brush was dipped into the Burnt Umber pot to collect the pigment. This was because the larger pigment particles were deliberately being targetted for use in this step. The brush was then held in one hand, close to the area to be discoloured, and
Oxford Diecast JCB C3X 1980s - Step 4. A Not So Light Coloured Pigment.

Oxford Diecast JCB C3X 1980s - Step 4. A Not So Light Coloured Pigment.

The next stage of dirtification was to add another layer of pigment, using the slightly darker shade of Dark Earth. This was added to the existing layer by simply using the pot lid technique and plonking the pigment on top of the Europe Earth layer. I needed to put a layer of Dullcote onto the Europe Earth first, though, or the new layer would have just fallen off. If you try this, don't get the aerosol nozzle too close to the model or the blast will remove your carefully crafted earlier attempt
Oxford Diecast JCB C3X 1980s - Step 3. A Light Coloured Pigment.

Oxford Diecast JCB C3X 1980s - Step 3. A Light Coloured Pigment.

The application of Europe Earth pigment is intended to represent a dusty coating of dirt picked up while operating in a relatively clean, but damp, area. The pigment was applied using a filbert brush that had taken powder from the lid of the pot. The vehicle was laid on its side and the brush held above each wheel in turn, and the brush tapped gently to dislodge the pigment so that it fell into the still wet wash from step 2.This conglomeration was then left to dry. The inevitable additional dep
Oxford Diecast JCB C3X 1980s - Step 2. A Wash.

Oxford Diecast JCB C3X 1980s - Step 2. A Wash.

Before making a start on any discolouration, the model is given a good seeing-to with Testor's Dullcote. This immediately removes the high gloss finish that is found on diecast models. The windows will be rectified much later on - at the end.   The rigger brush is dipped in clean white spirit and then into the wash (it's an enamel wash) , and the tip used to apply the thinned wash to various areas of the model - wheel centres, engine bay,  rear bucket and a couple of areas where detail
GWR 70' Post Office Sorting Van - Step 7. Summary.

GWR 70' Post Office Sorting Van - Step 7. Summary.

The finished vehicle can be seen to have a very light weathering, road dirt accumulated from a short time in service (possibly since its last heavy overhaul) and nothing allowed to become totally obscured by grime. Windows are still relatively clean and only edges and corners have accumulated dirt so far. There is a slightly heavier accumulation in crooks and nannies and on the underframe but,  for the most part, it is a good advertisement for the company.   Materials and tools used we
Oxford Diecast JCB C3X 1980s - Step 1. Introduction.

Oxford Diecast JCB C3X 1980s - Step 1. Introduction.

Definitely not an exercise in minimalism, this one.   A JCB that is earning its living in a rather muddy environment, getting itself covered in all sorts of muddy substances.   The plan here is to work on one layer at a time, and leave the model at each stage in a state where it could be regarded as finished. This will serve to show (I hope) how to build up layers of dirt gradually until satisfied with the result, whatever stage that might be at.   No airbrush. This
GWR 70' Post Office Sorting Van - Step 6. Finishing Touches.

GWR 70' Post Office Sorting Van - Step 6. Finishing Touches.

The filbert brush has been used to pick up the 'dust' remaining in the pigment pot lid, and the brush is then gently wiped on a paper towel to remove the larger particles.  The brush is then gently wiped against the panel edges, at right angles, so that the very edge of the detail collects the 'dirt'. Easier to do than describe. No need for precision, this group of panels was done all at the same time by wiping from the left hand end of the coach along to the right hand end, without stopping, an
GWR 70' Post Office Sorting Van - Step 5. The Underframe.

GWR 70' Post Office Sorting Van - Step 5. The Underframe.

The panels and the rest of the sides are now completed, and it's time to attend to the underframe. The shade of black used to paint the underparts represents a fairly worn state, so the only work required is to add something to break up the evenness of colour. Once again, AK Interactive Dark Earth pigment is used for this in the main, but some small amounts of MIG Productions Russian Earth were used as well. When looking at the carriage through a camera lens the difference is barely noticeable,
GWR 70' Post Office Sorting Van - Step 4. Removing the Pigment.

GWR 70' Post Office Sorting Van - Step 4. Removing the Pigment.

Continuing the panel work, the same method as in step 3 is used to place pigment in all edges and corners, making an absolute mess of everything. Please note that I didn't do this without first testing on something that didn't matter!   Once all the pigment has been applied, work begins on modifying the appearance. Clean cotton buds were used for this, but not the type that fall apart as soon as you look at them. The ones I use are intended for use with make-up rather than with small c
GWR 70' Post Office Sorting Van - Step 3. Applying the Pigment.

GWR 70' Post Office Sorting Van - Step 3. Applying the Pigment.

Very small amounts of pigment are placed, using the tip of the brush, into the panel edges to create a strong shadow effect. At first the effect will be too strong, but later work will reduce the contrast. Because the pigment will go everywhere if given the chance, the work area is being kept as clean as I can possibly make it. When working on the panels the vehicle is laid on its side, and if there is any excess pigment lying on the paper towel, it will transfer itself to the coach side when ap
GWR 70' Post Office Sorting Van - Step 1. Introduction.

GWR 70' Post Office Sorting Van - Step 1. Introduction.

Something a little bit different, for me, at least.   This coach is to be lightly weathered, to represent a vehicle running in the 1930s. I don't envisage using large quantities of anything, but the difficulty will be to portray a very light coat of dirt without making it look blotchy.   I plan to use pigment for most of the work - AK Interactive Dark Earth. Application will be done using small brushes, probably a round no. 2 and a filbert no. 2 or 4. Being a panelled coach,
GWR 70' Post Office Sorting Van - Step 2. Materials and Tools.

GWR 70' Post Office Sorting Van - Step 2. Materials and Tools.

The main pigment to be used for this model is AK Interactive Dark Earth. This choice comes from studying photographs of lightly weathered brown and cream coaching stock from many eras, including preservation examples. The paint finish on the model is such that it will hold pigment very well, so care will need to be taken in where it goes in the first place.   Most of the application will be done using a normal round (or candle flame) brush, size 2. This gives a fairly narrow point for
Accurascale Cemflo. Step 6 - Finishing Details.

Accurascale Cemflo. Step 6 - Finishing Details.

Final touches include the wiping of the pigment brush, which still has a residue of light grey pigment on it, over horizontal and protruding surfaces. Note that this does not mean that the brush is dipped in pigment at all, we just make use of the miniscule traces that are still embedded in the bristles. A bit like dry brushing with paint.   The Blue Circle board on the tank has also been rubbed with the pigment brush, in vertical streaks, to replicate the dusty buildup of cement dust.
Accurascale Cemflo. Step 5 - Underframe (Details).

Accurascale Cemflo. Step 5 - Underframe (Details).

The holes in the underframe strengthening plates presented a small problem. How do you get an even coverage of paint on the solebars that will be seen behind the plates? I put the nozzle of the airbrush right up against the holes and sprayed through them onto the solebar. The consistency of the paint allowed it to spread far enough inside the gap to cover the whole area.   The Railmatch frame dirt was applied first, to give an overall tint to the whole area. Wheels were done by using t
Accurascale Cemflo. Step 5 - Underframe.

Accurascale Cemflo. Step 5 - Underframe.

It's the turn of the underframe. Railmatch Weathered Black and Frame Dirt are used in this case. A first layer of frame dirt is followed by a second layer of weathered black/frame dirt mixture, giving some variation of colour to random areas of the chassis.    
Accurascale Cemflo. Step 4 - Encrustation 1.

Accurascale Cemflo. Step 4 - Encrustation 1.

Preparation for the cement application. Materials to be used now are Testor's Dullcote and Lifecolor N. Europe Dust pigment. I searched through many pigments to find a suitable grey cement powder colour, and this one is the closest (to my eye) I could find.    
Accurascale Cemflo. Step 4 - Encrustation 4.

Accurascale Cemflo. Step 4 - Encrustation 4.

Cement dust builds up gradually on the tank sides, forming a crust as time and precipitation both do their work. In places the weight of this buildup is too much for the grip of the gunk on the metal of the tank, and lumps fall off. On the model this effect can be shown by using a cocktail stick, or similar precision tool, to chip away at the previously created mess. The pointed end will remove small areas at a time, or it can be used at a much shallower angle to reduce the height of the lumps m
Accurascale Cemflo. Step 4 - Encrustation 3.

Accurascale Cemflo. Step 4 - Encrustation 3.

Once the Dullcote has dried, the pigment is well and truly stuck. Working with an old filbert brush, the mess is being reduced to smaller lumps by the simple expedient of rubbing the lumps down to size. The harder you rub the smaller they become. Notice the piece of paper in a nice shade of pink. This is being used to capture the powder falling off the tank, so that it can be re-used.
Accurascale Cemflo. Step 4 - Encrustation 2.

Accurascale Cemflo. Step 4 - Encrustation 2.

The idea of using the Dullcote is to create a quick-drying sticky surface upon which the pigment can be plonked. Sorry for being technical.   No attempt has been made to be careful where the pigment goes because the Dullcote dries very fast, and the pigment needs to land on it while it's still wet. You would have been amused had you been able to see me struggling to spray Dullcote, plonk (sorry again) pigment and take a photograph all in the space of 10 seconds.    It looks a
Accurascale Cemflo. Step 2 - Oxidisation.

Accurascale Cemflo. Step 2 - Oxidisation.

The bright shiny aluminium bodies of Cemflos soon turned dull through the oxidisation of the metal surface. My original plan was to represent this by using Testor's Dullcote, but a friend mentioned that he planned to apply a coat of Lifecolor Tensocrom White Oxide to his models, so I thought I'd unashamedly copy his idea. Very little of what weathering I do is my own idea, nearly everything is copied from somewhere or somebody else.   Tensocrom acrylic paints are semi-opaque colours th
Sunbeam Talbot 90 - Rather Rusty. Step 3 - Removing the Shine.

Sunbeam Talbot 90 - Rather Rusty. Step 3 - Removing the Shine.

The application of rusty areas is now finished. Some of the more obvious blobs of wash have been either removed or significantly diminished in appearance. Simple wiping with a damp (white spirit) rigger brush, holding the bristles as flat to the surface as possible, will achieve this. The model was left to dry for an hour or so (measured in coffee consumption at the rate of one every 30 minutes) and then given a generous coat of Testor's Dullcote from an aerosol can. This part of the process ach

Mick Bonwick

Mick Bonwick

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