Jump to content
 

Mick Bonwick

RMweb Gold
 View Profile  See their activity

  • Posts

    3,364

  • Joined

  • Last visited

  • Days Won

    1

 Content Type 

Blog Entries posted by Mick Bonwick

  1. Mick Bonwick
    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 roof, allowing the overspray to impart a little discolouration to what was already there.
  2. Mick Bonwick
    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 disguise the graininess. Honest, guv!
     
    BEFORE:
     

     
    AFTER:
     

     
    I have made no attempt to mask any part of the vehicle while doing the sides and ends, because the very thin layer of paint will help to hold subsequent applications of pigments in place.
  3. Mick Bonwick
    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.
  4. Mick Bonwick
    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 slight brownish discolouration to the original factory grey paint.
     
    The first coat of wash on the sides and ends was removed with white spirit and then a fading coat of ComArt Transparent Light Dust was airbrushed all over. This was left to dry and then another couple of thin coats of Dark Wash were applied, as before.
     
    Immediately after application of the wash, a 1/2" flat shader was used to drag the wash downwards from the top to the bottom of all sides and ends. This created a build-up of grime on the top edge of all horizontal surfaces.
     
    A rigger brush was then used to apply the aforementioned wash to all of the rivetted areas and left to capillary action to spread randomly about. Drying was accelerated with the airflow from an airbrush and the whole thing left to dry for several days.
     
    All of the processes mentioned herein will be repeated one step at a time for another vehicle, coming to your screens soon.
  5. Mick Bonwick
    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.
     

  7. Mick Bonwick
    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 accumulated dirt Represent dark stains where lubrication has been a little too enthusiastic Add discolouration where chalk marks have been rubbed out Reproduce the various brown shades on the underframe
  8. Mick Bonwick
    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-series-1-109-introduction/
  9. Mick Bonwick
    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 wet pigment that was there with a damp cotton swab of the Tamiya type.
     
     
     

  10. Mick Bonwick
    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 is added to the hub. The pigment immediately absorbs the drop and a right mess ensues:
     

  11. Mick Bonwick
    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 film of pigment Pick up some of this thin film on the tip of your filbert brush Tap the brush on the edge of the lid or pot Gently apply the remaining pigment to the model, moving the brush in a downward motion in the manner that rain would carry the dirt.  

    The process will allow the representation of a dirt build-up that occurs over time:
     
     
     

  12. Mick Bonwick
    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 fresh air, and the far smaller quantity expelled by an thinned airbrush solution can be handled by a good spraybooth extractor. If all of this puts you off, then a good matt varnish will do just as well.
     
    A good even coat is applied and left to dry. It is touch dry in about 15 minutes and, for my purposes with this model, the pigments can be applied straight afterwards.
     

  13. Mick Bonwick
    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 rigger brush.
     
    These shots show the work in progress:
     

     

  14. Mick Bonwick
    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. This will be rectified very soon.
     
     
     

     

  15. Mick Bonwick
    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 rough and thus does not reflect light so well.
     
    Any matt finish will provide a key for the pigments, but my favoured substance is Testor's Dullcote. The aerosol version is the easier to obtain in this country, so that is what I use. An aerosol is not the most controllable way of applying a substance to a surface in the quantities we use as modellers. The flow is either on or off - nothing in between - and directional control is very basic, too. The method I use to ensure a light coat is applied to something like our Land Rover is to start the spraying off the model and then move the can along the length of it, maintaining the same distance from it, and cease spraying off the other end. This ensures a constant application along the whole length of the model. The volume that falls onto the model will be dictated by the speed at which you move the can along the length of it. The intention is to spray enough to cover the model but not so much that it creates runs and a buildup of fluid at the bottom edges. Much easier to demonstrate than describe!
     
    You are quite likely to end up with air bubbles in the surface, but I have found that the majority of them will disappear in the drying process. Any that persist into the almost dry state (when the shine of the Dullcote starts to disappear) can be dealt with by the judicial use of a pin.
     
    In the case of subjects with glazed areas I don't bother with masking of any sort, preferring to clean up once the process is completed.
  16. Mick Bonwick
    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.
     

  17. Mick Bonwick

    Set 732. Summary.

    By Mick Bonwick,

    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.
     

  18. Mick Bonwick

    Set 732. Step 6.

    By Mick Bonwick,

    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 being done. Masking tape could be used, but I find that a piece of card does the job just as well when weathering. It's a different matter if you're airbrushing the main colour in the first place.
     

     
    It's a pity I didn't put the roof back on properly before taking the photograph . . . . . .
  19. Mick Bonwick

    Set 732. Step 5.

    By Mick Bonwick,

    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 these two coaches the roofs are a good interference fit into the sides, so this removal is easy.
     

  20. Mick Bonwick

    Set 732. Step 4

    By Mick Bonwick,

    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.
     

  21. Mick Bonwick

    Set 732. Step 3.

    By Mick Bonwick,

    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 appropriate areas, leaving just the panel edges discoloured with dirt.
     


     
    With each portion treated the removed paint is immediately removed from the brush by touching the tip to a paper towel.
     

  22. Mick Bonwick

    Set 732. Step 2.

    By Mick Bonwick,

    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.
     

  23. Mick Bonwick

    Set 732. Step 1.

    By Mick Bonwick,

    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 shut line, window, panel, etc. Capillary action will take the fluid from the brush and run it into corners and along edges as if by magic.
     


  24. Mick Bonwick
    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 Productions Dark Wash, the underparts will be coloured using Railmatch Sleeper Grime mixed with their matt black, as will the roof but in different proportions.
     
    Before starting, everything will be well mixed in jar by my trusty Badger battery powered stirrer. The wash will be applied using a rigger brush, and I'll let you imagine what the chopstick rest will be used for.
     
    The coaches are by North Star and were, I believe, painted by Larry Goddard. The challenge is to make them dirty without ruining an excellent paint finish. Is that possible?
     

×
×
  • Create New...