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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

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 7. Windows.

The glazing is currently covered in a coat of Dullcote, so the driver and any passengers who might be present will have difficulty seeing where they are going. Not to worry, the trusty cocktail stick is close by. A wooden cocktail stick will absorb white spirit, and white spirit can be used to remove even hardened Dullcote from glazing without doing any damage. As long as the cocktail stick is gently rubbed against the glazing using the side of the tip rather than the point of the tip, a clear p
Mick Bonwick

Mick Bonwick

3

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

A Land Rover Series 1 109" (According to Oxford Diecast). Introduction.

Ever since failing my driving test for the second time, in a Land Rover in Cyprus (exotic lifestyle!), I have had a soft spot for the machines. When at Railex in 2017 I found an Oxford Diecast 1/43rd version and decided to use it for a minimum cost weathering exercise.   The idea was to spend as little as possible to weather this model, but end up with the wherewithal to continue weathering as many more models as possible with the materials purchased. My purchases were:   Tes
Mick Bonwick

Mick Bonwick

6

Peckett W4 No. 883. Step 9.

Final step. Some Mig Productions Dark Mud has been added to the firebox sides that show through the frames under the cab to represent the rusty state of that area, but it's difficult to see in photographs. The whole locomotive has been subjected to cleaning up and running tests to make sure that all pickup surfaces are clear of paint. This is achieved by wiping the surfaces with a Tamiya cotton swab dipped into isopropyl alcohol, which will remove even hardened enamel paint. Wheels were turned w
Mick Bonwick

Mick Bonwick

4

Peckett W4 No. 883. Step 8.

To represent soot and other associated grime that falls on horizontal surfaces, I have used Mig Productions Black Smoke pigment, applied with a filbert brush, where appropriate. This means cab roof, top of boiler, running plate, tool boxes, etc. The previous layer of Black Night PLW has helped this pigment to 'stick' to these surfaces.     I have also applied a small amount of Black Night to enhance the dirt buildup on the buffer beams.  
Mick Bonwick

Mick Bonwick

0

Peckett W4 No. 883. Step 7.

Areas like the chimney, cab roof, firebox door, pipes and running plate will be dirty to some degree, even on a well-maintained locomotive. For this subject I have prepared these surfaces with some brush-on AMMO by mig Panel Line Wash (PLW) Black Night. This fluid is a very thin enamel paint, basically, and has a very small content of pigment compared with carrier. I have used it here to introduce a small build-up of dirt around the chimney top and base, the cab roof, the pipework and the runnin
Mick Bonwick

Mick Bonwick

0

Quick Advertisement.

D3721 and Peckett No. 883 will be at the Hornby Magazine Great Electric Train Show this weekend, so if you plan on going, come and see how/if they differ from the photographs.       Look for a bloke doing weathering demonstrations. Point and snigger all you like, he won't mind He'll have his back to you.
Mick Bonwick

Mick Bonwick

7

Peckett W4 No. 883. Step 7.

The saddle tank on this model is a hefty lump of metal, but still well detailed. In order to emphasise the uneven surface of the tank, I have used T-Cut applied with small cotton swabs to create the shine. Yet again, only small quantities have been applied, and the result is a nicely subdued shine that has proved extremely difficult to photograph successfully.  
Mick Bonwick

Mick Bonwick

3

Peckett W4 No. 883. Step 6.

The paint finish on this model as supplied is very good, but satin. The idea with the weathering to be done is to present a well looked after locomotive, so the satin finish needs to be altered to a shiny one, but not uniformly so. The cab sides and bunker have been polished with a gentle application of isopropyl alcohol (IPA) on a Tamiya cotton swab. These swabs are very tightly bound and shaped, the ones that I normally use being pointed at the tip. This shape allows me to be quite precise wit
Mick Bonwick

Mick Bonwick

9

Peckett W4 No. 883. Step 5.

It's all been left to dry properly for 36 hours.   To represent well worn but properly maintained underparts, a layer of AK Interactive Fresh Engine Oil has been brushed onto the rods and wheels. This fluid has some strange characteristics in that it will react with not-quite-dry enamels and make them wrinkly (maybe I should not get quite so close to the bottle in future ). Once again, to keep the applied layer even and consistent, the wheels were rotated during the process with the P
Mick Bonwick

Mick Bonwick

5

Peckett W4 No. 883. Step 4.

With the model still in its foam cradle I have airbrushed some more Sleeper Grime onto the buffer beams. I left it to dry for 15-20 minutes (time for a coffee) and then started to remove the paint with a damp brush. The brush is not dampened by dipping it into thinners, but by placing a couple of drops of thinners onto the bristles with a disposable pipette. The combination of not-quite-dry paint and slightly damp brush gives a lot of control over how much paint is removed. With the use of light
Mick Bonwick

Mick Bonwick

2

Peckett W4 No. 883. Step 3.

Further paint is removed so that the wheels can be shown as relatively clean but oily. The brush was dipped in white spirit and the wheels turned by faithful PP9 battery.   At a later stage the wheels and motion will be treated with a fluid that gives a wet, oily appearance, but the white spirit needs to be given time to evaporate completely.  
Mick Bonwick

Mick Bonwick

0

Peckett W4 No. 883. Step 2.

Now to remove some of the paint applied to the motion and wheels. Remembering the intended clean state of this loco, the coupling and connecting rods will be portrayed as 'wiped clean'. The sleeper grime thus needs to be removed from the areas where that wiping would have taken place, so some clean white spirit was applied with a small brush and rubbed gently to remove some paint. I have also removed some from the slide bars and whatever else might have been kept clean or wiped clean in normal u
Mick Bonwick

Mick Bonwick

4

Peckett W4 No. 883. Step 1.

In much the same way as D3721 was started, the loco is upside down in a foam cradle and has been airbrushed with Railmatch Sleeper Grime, the enamel version. The wheels were rotated 1/4 turn after each light spray so that there were no shadow areas behind wheels or motion. This process also helps the pickup wipers to clear the wet paint from the rear of the wheels if any strays that far.   The airbrush in use this time is an Iwata HP-SB Plus, one of my two favourites, which allows me t
Mick Bonwick

Mick Bonwick

5

Peckett W4 No. 883. Preparation.

The whistle on the cab roof is very fragile and particularly vulnerable. There will be a lot of work to be done with the locomotive upside down, so some sort of protection is going to be needed. I just happened to have some blue coloured sticky stuff available, so I've used that to provide some protection.     Something that must be done before any weathering is started is to remove all excess grease and oil from the motor and drive mechanism. If this is not done then at som
Mick Bonwick

Mick Bonwick

2

Peckett W4 No. 883. More preamble.

After searching at least 10 books for usable photographs I have managed to find a few that allow me to establish which parts of a cared for locomotive are cleaner than the rest. I thought that Gordon Edgar's wonderful books would help, but subsequently realised that a lot of the photographs that might have helped were re-touched black and white ones. Note that this is not a criticism! I have found many other photographs of small industrial locomotives that have provided clues about colour and pl
Mick Bonwick

Mick Bonwick

0

Peckett W4 No. 883. Temporary Diversion.

Before starting work on this locomotive I decided to remove the rather large supplied couplings. My original intention was to simply have no couplings at all, but then I noticed that there is a coupling hook on both buffer beams, albeit grossly over scale. A delve into a box labelled 'Couplings', that hasn't been opened for years (because it contains, mainly, supplied couplings from RTR rolling stock) revealed the presence of a couple of packets of Roger Smith unassembled 3-link couplings. A qui
Mick Bonwick

Mick Bonwick

6

Peckett W4 No. 883. Research.

Before starting on any weathering task, I look for photographs of the intended subject so that I can determine what needs to be done. It's not always possible to find the right condition at the right time in the subject's life, but a combination can usually be found that gives enough information.   Three opinions have been given on how this model should look when weathered. so this being a democratic society, we will go with the majority vote and make it well used but looked after. I h
Mick Bonwick

Mick Bonwick

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