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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

Bachmann VAA (Maroon) 200119. Step 2 - Dirtying.

Now it's the turn of the MIG Dark Wash, used in the airbrush without any thinners, but at 25psi. Once again, a thin coat, and then worked downwards immediately with a dry 1/2" flat shader brush. This will leave an accumulation of 'dirt' just above all of the horizontal ridges and tone down the previously applied ComArt Light Dust. If necessary, the downward movement can be applied several times to achieve the required result.     No attempt was made to mask underframe or roo
Mick Bonwick

Mick Bonwick

0

Bachmann VAA (Maroon) 200119. Step 1 - Fading.

The ComArt paint is advertised as airbrush ready, but I've still thinned it down a little with a few drops of acrylic thinner from Ultimate. This product is usable with all acrylic paints including Tamiya. Applied from an Iwata Eclipse CS airbrush set to 20 psi, putting 3 very fine coats on and not bothering to wait between coats because it dries so fast. If you look closely at the finish, it's very grainy, but that will not be a problem because there is much more work to be done, which will dis
Mick Bonwick

Mick Bonwick

3

Bachmann VAA (Maroon) 200119. Introduction.

Similar vehicle in that it is a van. Otherwise it has a different body, different chassis, different livery and different payload!   This time the fading will be done first, using ComArt Light Dust, and then the dirtying will start.     The only work done on the model from the box is the removal of the couplings.
Mick Bonwick

Mick Bonwick

0

Bachmann COV AB / VDA van. A Change of Plan.

Having been shown the error of my ways by not fading the van before starting, I shall be embarking on another project where I do fade first. This project was completed as an exercise in using the MIG Dark Wash in all sorts of ways to represent a grimy COV AB.     The roof has been airbrushed with slightly thinned wash, applied as four thin coats and left to dry between each coat. This resulted in a very soft texture that was easily but not completely removed, leaving a sligh
Mick Bonwick

Mick Bonwick

7

Bachmann COV AB / VDA van. Step 1. A Thin Wash.

The previously illustrated MIG Dark Wash has been applied from an airbrush as three VERY thin coats. This was achieved by thinning the already thin wash with white spirit and spraying from about 20cm away. The discolouration achieved each time was barely visible, but you should be able to see from this photograph that the wash has collected on the edges of moulded detail in much the same way as dirt would fall on the real thing.  
Mick Bonwick

Mick Bonwick

2

Bachmann COV AB / VDA van. Preparation.

The plan is to use a dark wash and a couple of pigments to replicate as much of the dirt as possible that can be seen in the photograph. There may need to be some additions as I progress, but they will be identified as and when appropriate.      
Mick Bonwick

Mick Bonwick

5

Bachmann COV AB / VDA van. Introduction.

The subject has been chosen and a colour photograph found to work from. Bachmann produced several livery versions of the 29 ton sliding door box van (COV AB, later VDA )and this one (38-141) is in Railfreight livery, numbered 200077. Paul Bartlett has many photographs of these on his website, and has given his permission for this photograph to be used in this blog.     The challenges are: Fade the reddish shade of brown to show age and wear Highlight areas of
Mick Bonwick

Mick Bonwick

6

A Land Rover Series 1 of indeterminate length. Step 9. Summary.

That's all I plan to do with this subject, remembering that it was an exercise in weathering for as little cost as possible/practical.   I have attempted to clear an area of windscreen where the wiper would have cleaned, but on reflection (!) that was not such a good idea. The wheels were only made muddy on one side.     Just for comparison, the topic started here:   http://www.rmweb.co.uk/community/index.php?/blog/2349/entry-21469-a-land-rover-seri
Mick Bonwick

Mick Bonwick

5

A Land Rover Series 1 of indeterminate length. Step 8. Wheels again.

The front wheel and wheel arch have been further treated to show the effects of recently collected mud. In the case of the wheel hub, a dry brush was used to pick off some of the white spirit-infused pigment before the mixture had dried. This excess was wiped off on a paper towel, and the remaining trace of pigment on the brush tip just gently touched onto the wing surface, leaving a trace of discolouration thereon. The rubbed appearance on the tyre sidewall was done by rubbing the thin layer of
Mick Bonwick

Mick Bonwick

2

A Land Rover Series 1 of indeterminate length. Step 6. Muddy wheels.

In 7mm scale and larger, it is quite reasonable to use pigments to add texture without the look achieved being overdone. In the case of our Land Rover, pigment can be used to replicate accumulated mud on the wheels. A generous (for a change) amount of pigment is collected from the pot and deposited on the wheel hub, having supported the model on its side (hence the strange viewing angle).     When happy with the general arrangement of the pigment pile, a drop of white spirit
Mick Bonwick

Mick Bonwick

0

A Land Rover Series 1 of indeterminate length. Step 5. Pigment.

The key to successful appearance when using pigments is to apply small quantities at a time. This approach allows the gradual build-up of colour and texture, so that the subject is not overwhelmed. My technique involves the following steps: Make sure that the lid of the container is properly screwed on Give the container a brief shake Tap the container firmly on the work surface Open the container and inspect the inside of the lid/cap, where you should see a thin fil
Mick Bonwick

Mick Bonwick

0

A Land Rover Series 1 of indeterminate length. Step 4. Dullcote.

Once all the wash areas have been tidied up, the Dullcote can be applied. My preference is to use the aerosol can, but there is another method, which is to use it from the bottle. Whether it is applied by bristle brush or airbrush it will need thinning, which requires cellulose thinners. I am not a fan of cellulose for anything to do with weathering, because I consider it unnecessary in that context. The effect of the toluene in aerosol Dullcote can be minimised by applying it outside in the fre
Mick Bonwick

Mick Bonwick

0

A Land Rover Series 1 of indeterminate length. Step 3. Tidy Up.

Once the model has been left to dry for a short while (15 to 20 minutes) the cleaning up can begin. For models to 4mm and below scales I normally use the rigger brush slightly dampened with thinners for this operation, but with models as large as this, with larger areas to clean up, I use a very tightly bound cotton bud (intended for make-up rather than babies) without thinners. If I need to get into tight corners (such as the small panels on the cab roof on this model) then I will use the rigge
Mick Bonwick

Mick Bonwick

0

A Land Rover Series 1 of indeterminate length. Step 2. Wash.

The first thing done with high gloss diecast models is to add the wash, if dirty areas are to be depicted. It's done at this stage because enamel washes work very well on a high gloss surface. Using the rigger brush and my trusty Mig Productions Dark Wash (because I can't find the one I bought to do the original Land Rover!) I've added fluid to all the corners, edges, lumps and bumps to highlight detail and prepare for dirty areas. Note that there are many blobs and runs that look a right mess.
Mick Bonwick

Mick Bonwick

5

A Land Rover Series 1 of indeterminate length. Step 1.

Diecast models have a high gloss finish when new, which is absolutely no use when you need to apply pigments (weathering powders). The solution is to apply a layer of something to present a matt finish for the pigment to 'stick' to. Why is the word 'stick' in quotation marks? Because the fine particles of powder fall into the valleys in the surface of the matt finish rather than stick to it. A gloss finish is smooth and reflects light, which is why it appears shiny, whereas a matt finish is roug
Mick Bonwick

Mick Bonwick

2

A Land Rover Series 1 of indeterminate length. Bonus Photograph.

Subsequent to the decision to weather a Land Rover, it occurred to me that it could be incorporated into a diorama. The vehicle operator states that Massey Ferguson tractors are sold and serviced, so a situation that incorporated a Land Rover and a Massey Ferguson tractor was envisaged.   The weathering process for the tractor was no different to that for the Land Rover, except for a little bit of glossy stuff here and there.  
Mick Bonwick

Mick Bonwick

0

Set 732. Summary.

A coat or two of Railmatch Frame Dirt mixed with Weathered Black has been airbrushed over the ends of each coach, graduating the colour from darker at the top to lighter at the bottom. No tiger stripes, just a gradual change of tone.   All but finished now, just remains to add some lighter colouring to the footboards where feet fall. I'll use MIG Productions Rubbel (sic) Dust for that - just a touch applied with a filbert brush.  
Mick Bonwick

Mick Bonwick

0

Set 732. Step 6.

The roof has been airbrushed with a mixture of Railmatch Weathered Black and Roof Dirt to represent a well-used example. Care was taken to avoid paintless shadows behind the torpedo vents by painting those areas first. Only once the vents and surrounding roof were painted did the process move on to the remainder of the roof.   If airbrushing the roof of a ready-to-run coach, when the roof is not easily removed, a card mask can be used to protect the sides from overspray while this is b
Mick Bonwick

Mick Bonwick

0

Set 732. Step 5.

When the whole underframe had been airbrushed it looked too pale, so I added some Railmatch Weathered Black to the mixture and airbrushed a thin coat of the new colour combination over the top of the previous layer. In this photograph you ought to be able to see that the left hand end of the chassis looks a bit darker than the right hand end, which has yet to be completed.   The roof has been removed for painting, something which is not usually possible with ready to run coaches. With
Mick Bonwick

Mick Bonwick

0

Set 732. Step 4

A recycled piece of protective foam strip from a worktop is used while airbrushing the underframe. This helps access to the inside underframe details on the opposite side of the coach to the one I'm painting.   The whole of the underframe will now be treated to a thin coat of Railmatch Sleeper Grime, starting with the bogies. The air flow from the airbrush is used to turn the wheels and paint is then ejected for long enough to coat the whole wheel as it turns.  
Mick Bonwick

Mick Bonwick

0

Set 732. Step 3.

The application of dark wash to panel edges has been allowed to dry for at least 15 minutes. You can see from the photographs below that the colour has lightened and the white spirit has evaporated.   To remove blobs and other unwanted paint after application surpluses, I use the rigger brush dipped in clean white spirit and gently lay the bristles as flat as I can against the areas to be treated. By moving the tip of the brush around, I can absorb the only-just-dry paint from the appr
Mick Bonwick

Mick Bonwick

0

Set 732. Step 2.

The process continues. When hardly any fluid transfers from the brush to the panel corner, it is time to replenish the brush with thinner and wash. However hard you try there will inevitably be blobs appearing in some of the panel corners. Leave them! They can be dealt with later - at least 15 minutes later. Don't worry (at this stage) about uneven application, either, it will all be sorted in a subsequent step.  
Mick Bonwick

Mick Bonwick

0

Set 732. Step 1.

A rigger brush, a thin wash and capillary action are all used to get dirt into all the edges and corners of panels, doors and windows. By dipping the brush into clean thinners (white spirit) and then into the wash (MIG Productions Dark Wash), a good volume of fluid is ready to be transferred onto the model. The inevitable large blob on the end of the brush is removed by touching the tip against the rim of the bottle and the tip is then gently touched to a corner of a panel or junction of door sh
Mick Bonwick

Mick Bonwick

0

Set 732. Introduction.

Set 732 is to be depicted as a BR(S) liveried pull-push pair fairly late in the life of its green livery. An example of similar stock was found in a Michael Welch book containing many images of the southern region at the end of steam.   The plan, such as it is, is to produce a weathered pair of coaches that shows a build-up of dirt around panel and window edges, a very dirty underframe and roof, but cleanly maintained sides.   The dirt build-up will be achieved using MIG Prod
Mick Bonwick

Mick Bonwick

2

Peckett W4 No. 883. Introduction.

A casual enquiry at Scaleforum this weekend has brought forward the idea of working on one of Hornby's Peckett W4 models. What do you think should be tackled? Looked after or neglected?  
Mick Bonwick

Mick Bonwick

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