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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

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
Mick Bonwick

Mick Bonwick

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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
Mick Bonwick

Mick Bonwick

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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
Mick Bonwick

Mick Bonwick

6

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
Mick Bonwick

Mick Bonwick

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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
Mick Bonwick

Mick Bonwick

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Oxford Diecast JCB C3X - Photograph Only

Yesterday (Sunday 28th April) I had the good fortune to visit the RMweb South West Area Group's Members' Day in Taunton. What a blast!   During my early walkabout (I had a late one as well) I visited Lord & Butler's stand and found a JCB, all bright, shiny and yellow. I decided to use it as an example of what could be done with a few materials - Testor's Dullcote, MIG Productions Industrial City Dirt, MIG Productions Dark Mud and Railmatch Sleeper Grime. By the end of the day and a
Mick Bonwick

Mick Bonwick

1

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?
Mick Bonwick

Mick Bonwick

19
Weathering

Oxford Diecast 1/76th Land Rover Series 1. Step 5 - Finishing Off.

A dampened cotton swab is used to gently rub away the Dullcote from the glazing. The dampening is not achieved by dipping the swab into the white spirit, but by adding a drop from a brush or pipette to the end of the swab. If you're not careful, though, you'll take the Dullcote off the surrounds, as well!       I've achieved my aim with this model at this point, but I did go on to add another colour of pigment before adding a photograph to my flickr photostream.  
Mick Bonwick

Mick Bonwick in Weathering

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Weathering

Oxford Diecast 1/76th Land Rover Series 1. Step 4 - Pigment Application 2.

The remainder of the vehicle is now treated to a complete cover layer of pigment. The bodywork receives just a thin layer, but the underparts have two layers and the wheel hubs even more. If the matt finish won't accept any more pigment then I apply another layer of Dullcote and repeat the exercise. Areas to receive more varnish can be easily masked with a couple of strategically placed pieces of card.              
Mick Bonwick

Mick Bonwick in Weathering

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Weathering

Oxford Diecast 1/76th Land Rover Series 1. Step 3 - Pigment Application 1.

Now for the pigment application. Gloss paint and shiny plastic will not take pigment, it just slides off. My approach is to apply a layer of something that will give a matt surface for the pigment to 'grip'. My preference is Testor's Dullcote, and that is because it works, it is consistent in its form and application, and I have plenty of it. There are many matt varnishes that will do the job, though, so if you have a favourite there is no reason not to use it.   The Land Rover has had
Mick Bonwick

Mick Bonwick in Weathering

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Weathering

Oxford Diecast 1/76th Land Rover Series 1. Step 2 - Dark Wash Removal

A wash as used in this example is a very thin enamel paint and thus has a lower concentration of pigment versus carrier. This results in a less dense coverage and means that manipulation is easy. I use this to advantage by wiping off what I consider to be excess or just moving it around the surface at various stages during its drying out. In this case I have waited a couple of hours for the carrier to evaporate and it has left a very soft pigment layer on the shiny paint finish. A soft coton swa
Mick Bonwick

Mick Bonwick in Weathering

4
Weathering

Oxford Diecast 1/76th Land Rover Series 1. Step 1 - Dark Wash

Diecast models in 1/76th scale do not have very finely detailed surfaces, mainly because of the depth of paint on them. This means that capillary action does not work as well as it does on plastic models or larger scale diecast ones. The purpose of the wash in this case is to highlight what detail is visible and also to introduce some false shadows to give a little apparent depth to panels.   Using a rigger brush to apply the wash, even though capillary action is not going to work all
Weathering

Oxford Diecast 1/76th Land Rover Series 1 - Introduction

Another Land Rover.   This time it's one that will ultimately appear somewhere in the scenery of Easton, Isle of Portland. The idea of this entry is to show what methods can be used to produce a facsimile of a working vehicle without covering up all the detail yet still make it look rather grubby. In keeping with previous examples there will not be very much used of any of the materials utilised.   Preparation consists of checking that the tyres are on the wheels concentricly
Mick Bonwick

Mick Bonwick in Weathering

3
Weathering

It's Another Peckett

Just can't resist them. Can you?   This one started off with a layer or three of water mixable oil paint (black) that was left to dry for three weeks. Not because it needed that long, but because I was doing other things. Each of the three layers was disrupted slightly by rubbing gently to remove that area of paint between edges of panels.     The next step was to use an airbrush to apply a layer of AMMO by MIG Rust Wash, thinned with white spirit, across the upper
Mick Bonwick

Mick Bonwick in Weathering

9

Hornby Peckett 0-6-0ST NCB Ryhope Colliery

While waiting for the Great Electric Train Show to open on Sunday morning, I visited Tony's Trains stand and relieved him of a Hornby Peckett. I went back 20 minutes later and complained about the condition of the box contents . . . . . . .    
Mick Bonwick

Mick Bonwick

4

Hornby Peckett 0-6-0ST 'Westminster'. Step 9 - Upper Surfaces.

The upper surfaces of a steam locomotive receive copious amounts of grot from the exhaust and, sometimes, the surrounding environment. This locomotive is intended for use in a quarry, so there will be some dust added to represent that. Later!   To begin with, the soot from the chimney will be represented by a predominantly black mix of Railmatch Frame Dirt and Weathered Black. Application is from my trusty Iwata Eclipse SBS, with successive light coats aimed roughly at the top of the s
Mick Bonwick

Mick Bonwick

3

Hornby Peckett 0-6-0ST 'Westminster'. Step 8 - Wash Part 2.

Continuing to use the MIG Productions Dark Wash, a deliberately random application to the pipework and other equipment 'twixt saddle tank and running plate will result in a depiction of grime build-up and general dirtiness. A 'stain' has been left on the top surface of the running plate to add to the end result.      
Mick Bonwick

Mick Bonwick

0

Hornby Peckett 0-6-0ST 'Westminster'. Step 7 - Wash Part 1.

Many areas of the locomotive accumulate dirt (says he, stating the obvious), and one way of representing this is to make use of a suitably coloured wash that will be attracted to corners and edges by capillary action. There is a vast quantity of washes available from many manufacturers, but I have been using MIG Productions Dark Wash for several years, still the same bottle as when I first started this weathering lark. I apply it by wetting the brush (a rigger) with white spirit and then dipping
Mick Bonwick

Mick Bonwick

0

Hornby Peckett 0-6-0ST 'Westminster'. Step 5 - Buffer Beams.

The ends of the chassis are tackled next, repeating the application of light coats to start the discolouration process. The locomotive is left in the pretty blue cradle and a piece of card positioned to mask off the area above the running plate.     This process will have left the top of the buffer beam without paint, so off comes the cradle and the piece of card is repositioned to protect the bodywork again.     The same process is utilised to do the ot
Mick Bonwick

Mick Bonwick

0

Hornby Peckett 0-6-0ST 'Westminster'. Step 4 - Chassis 2.

There is more than one way to weather wheels!   For this project I have chosen to show how to use a 9 volt battery to turn the wheels a quarter of a revolution at a time to avoid paint-less shadows behind the connecting rods and motion assembly.   The sequence of photographs should demonstrate how successive light coats of paint can be applied after each quarter revolution to cover up these areas.             Yo
Mick Bonwick

Mick Bonwick

5

Hornby Peckett 0-6-0ST 'Westminster'. Step 3 - Chassis 1.

Before starting work on the chassis, some protection is needed for the fragile whistle on the cab roof. I learned the hard way from working on the Peckett 0-4-0STs that these break off with only the slightest touch. The locomotive will be inverted in a foam cradle for chassis painting, so a large lump of BluTack is used to prevent the whistle from touching the cradle.     To help with the application of paint to the coupling rods and motion I usually position the wheels so t
Mick Bonwick

Mick Bonwick

6

Hornby Peckett 0-6-0ST 'Westminster'. Step 2 - Dullcote..

There will be some weathering powders (pigments) applied to 'Westminster'  at a later stage, so some preparation is being done to ensure that the particles stay put once applied. My preferred medium is Testor's Dullcote, so off we go. . . . . .    I'm protecting the underframe in this particular instance, mainly because the detail there will be highlighted using an airbrush and enamel paint, to which pigments 'stick' well enough without help. I've shown the components inside the spray
Mick Bonwick

Mick Bonwick

6

Hornby Peckett 0-6-0ST 'Westminster'. Step 12 - Final.

To finish off the dusty look I have continued to use the MIG Productions Industrial City Dirt. Small amounts have been taken from the inside of the lid of the pot and placed in areas where dust.would have built up in normal use. Where is that? Reference to photographs will provide the answer and I have been using Gordon Edgar's photographic books about industrial railways to help me in this task.   Study the photograph below and see where the differences are between the original model
Mick Bonwick

Mick Bonwick

7

Hornby Peckett 0-6-0ST 'Westminster'. Step 11 - Pigments.

The cab roof has now had some MIG Productions Black Smoke pigment brushed on to represent the build-up of grot ejected by the chimney/funnel, and random applications of the same pigment and Industrial City Dirt have been made to parts of the running plate. This locomotive is to be portrayed in a quarry environment, so a layer of dust is needed to reflect that. The Industrial City Dirt is also applied to areas of the wheels, steps and areas where crew's boots would take the stone dust.  
Mick Bonwick

Mick Bonwick

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