AFV Modeller - Issue 08 - 5 - Naked Desperation Part 2

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Part Two - Painting

Adam Wilder demonstrates thetechniques behind his STZ T-34/76

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In the first part of this articleI discussed the assembly ofthe STZ T-34. I explainedwith the aid of photos how Ibackdated the DML T-34/85mod. 1944 kit, to represent avariant manufactured at theStalingrad Tractor Works in1942. I then explained how Iconstructed the base andadapted the modelssuspension to its unevenbricks.

With the model and base completed we

can now move on to the fun and most

important part of this project - painting and

weathering. In my opinion, a complex and

the most extremely detailed model is only

half complete if it lacks a carefully

researched, planned, and executed finish.

Let’s start by viewing some reference

pieces I obtained at a local vocational

school.

Looking at some references

photos 1 through 4

Steel forms a gray finish when

manufactured. This thin coat responsible

for this color is called mill scale, which is a

result of impurities in the metal boiling to

the surface when the metal is hot.

Depending on how steel is manufactured,

colors of the mill scale can vary greatly.

Photos 1 and 2 display each side of the

first reference piece. Note the difference in

gray tones on each side as well as the

chips in the mill scale in photo one.

Different oxide rust colors and chips in the

mill scale can also be seen.

Photo 3 gives a clear view of a flame cut

edge and heat-affected zone, which

results from the heat of the cutting

process. This photo will be important.

Photo 4 shows some pieces of sheet metal

weldments. Note how the weldment on the

right is much rustier, probably as a result of

different storage facilities.

The reference pieces of steel in photos one

through four show just how different the

color of steel plates can be. Steel color

variation can be a result of thickness,

storage, manufacturing processes, and

transportation to the factory. Notice the

different faint blues, whites, and rust

slightly visible on the mill scale.

As modellers, these color variations give

us a unique opportunity. These color

differences will allow us to paint all of the

model’s steel plates (or ingots), castings,

and components with different shades of

grays and oxides highlighting each detail

resulting in an extremely dynamic

appearing finish. Other references used for

the tank’s castings will be shown as the

article progresses. Let’s start painting.

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1 2

3 4

5 6

7 8

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9 10

11 12

13 14

15 16

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17 18

19 20

Photos 5 through 7

The model’s gray base coat was first

painted using acrylics thinned with tap

water. After spraying the base coat,

different shades of gray were then sprayed

on each part of the model to represent the

different shades of mill scale. Filters using

enamels were also used to further break

up the models different plates.

Photos 8 through 9

In the next step, I used oils to add the

different blues, grays, whites, and oxide

colors I pointed out in photos one through

four and fused them with brush cleaner.

You only want to fuse the colors and not

completely blend them as shown in photo

nine. Use different amounts of the oil

colors on each ingot of steel on the tank.

Remember, each plate will differ in color.

Give the oils a day to dry.

Photos 10 through 11

Next I rubbed graphite from an artist pencil

over the model. It is important to first rub

some of the excess graphite off your finger

onto a dinner napkin or you will apply too

much hiding the oils applied in the

previous step. You only want to give your

model a metallic sheen with the different

oil colors still visible. I used an artist color

sharpener to get the graphite into those

difficult-to-reach places.


All of the cast components of the tank

were painted a mild oily steel color using

acrylics. The lighter sheet metal

components were painted black. After

letting the acrylics dry, different shades of

black and oxide colored enamels were

spotted onto the castings. After drying for

about five minutes the enamels were fused

using a brush dampened with thinner. If

your brush is soaked you will get a wash

resulting in a less convincing result. Oxide

filters were bushed onto the lighter sheet

metal components.


The gun was masked and airbrushed. Note

the different shades of steel on each

component of the turret before the

graphite was added. This is what makes

this models finish so unique. Notice that I

used more of a red oxide colored oils on

the turret to further distinguish it from the

hull.

Photo 21

After the enamels dried, graphite was also

lightly rubbed over all the castings.


All of the model’s bolts, fasteners, and

hinges were painted with acrylics and

rubbed with graphite.


Steel is not covered by a consistent

metallic gloss. Areas will oxidize from the

elements and rust or get covered with soot

in the manufacturing process. To simulate

these areas, random sections of thinned

oils were again added around the model.

Different blues were added to the grays.

Large areas of rust were added to further

break up the different larger ingots, and

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smaller areas of rust were also placed.

Note the different shades of rust added to

the turret. Picture 31 shows all of the steel

ingots and castings of the model.


Because of reasons regarding storage,

straight lines of rust sometimes appear on

steel plates. While masking and

airbrushing the lines of rust, other areas of

the model such as the turret were lightly

airbrushed. After airbrushing the lines

different oxide enamels were painted over

the rust lines and blended like on the

castings in photo 16.


The next step is the most tedious and time

consuming. As I discussed in photo 3, heat

affected zones appear around the cut

edges where the steel was heated during

the flame cutting process. Four steps were

needed to simulate this process.

First, a light metallic gray line was painted

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27 28

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35 36

37 38

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around all of the flame cut edges. The size

of this line will be wider on the thicker

pieces. In step 2, a mixture of Humbrol

color no. 15 and black oil paint were

painted over the metallic gray line then

blended using a brush and straight thinner.

The same Humbrol enamel-artist oil

mixture was painted over all of the flame-

cut ends. In step 3 different areas of rust

were spotted over the discolored edges.

Follow the reference pieces.


To complete the flame-cut edges I rubbed

a little more graphite over all of the heat-

affected zones. Graphite was also rubbed

over the flame cut ends using the color

shaper.


Like the lines and spots of rust, oxidization

will also randomly appear on the steel.

Some of the edges of the rust spots were

mapped using a lighter gray enamel and

artist oil mixture. Random spots using the

same mixture were placed around the

model representing scratches in the mill

scale.

Photo 45

When assembling structures the

fabricators and inspectors will mark the

metal with chalk to display notes and

dimensions. Most of the components are

also numbered upon arrival at the plant for

inventory reasons. I simulated these chalk

markings with a colored pencil. Make note

of these makings throughout the rest of

the photos.


Using a mixture of Humbrol metal coat

27001 and 27004, chips of metallic gray

were placed over all edges of the formed

sheet metal parts as a result of the

stamping process during their

manufacture. Next, all of the metallic gray

edges were mapped using a mixture of

enamel and artist oil oxide colors.


With all of the different steel parts of the

tank detailed, dust was added to all the

welds. After viewing the dust that results

from the welding process on the weldment

in photo 48, I mixed a dust color using

pigments manufactured by MIG

Productions. First I carefully placed the

pigments over the weld seams with

Humbrol thinner. Next using a different

brush, dry pigments were carefully brushed

over the weld seams to represent more

fine dust. As seen in photos 49 and 50,

always brush the dust upward as it

traveled resulting from the heat produced

during welding. Only a little dust is needed

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for the small components. If you are feeling

brave, you might want to add a little weld

spatter as seen in photo 53.


Now for some minor but important details.

First, stains from the coolant used during

the drilling of the rear plate where

simulated using a new post-shading

product soon to be released by Mission

Models. Lay the stains on flat as the plate

was during the drilling process. Next, oxide

pigments from MIG productions were

added to represent new rust. Very light

shades of earth colored pigments were

brushed on different parts of the model to

represent dust. Note how I focused the

dust around the details to further highlight

them from the rest of the model.


Airbrushing on a coat of buff was the first

step I used to start weathering under the

hull. I then used a mixture of Humbrol

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49 50

51 52

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59 60

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4646

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chocolate, burnt umber oils, brown

pigments, and plaster to add a random

darker coat of mud. The dark mud was

blended with enamel thinner then different

earth colored pigments were brushed onto

the hull after the thinner and oils dried.

With the tank weathered, I moved onto the

wheels and tracks.


I decided to mix my own color of acrylics

as a base for the wheels. Tamiya acrylics

are the easiest paints I have ever used

during airbrushing. After letting the base of

acrylics dry for a day, different oxide

colored enamels where tapped on the

wheels in spots and blended like on the

castings discussed in photos 15 and 16.

Apply different shades of rust between

each of the gussets to break up the

wheels. After the rust was simulated, areas

and chips of worn steal were added using

a mixture of enamels.


Oxide colored pigments were then added

and graphite was applied to obtain the

final steel result. Photo 69 shows the

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wheels on top of the reference I used to paint them as well as

the rest of the models castings.


After adding the graphite to the wheels, I applied a light random

coat of buff. Do not cover the wheels completely with the buff.

Next, scrape off the areas of the wheels and torsion bars where

the glue will be applied during assembly. Testors liquid cement is

thick and slow drying, which allowed me time to position the

wheels properly in relation with each other and the model.


The tracks were painted just like under the hull in photos 59

through 62. View photo 75 to observe the placing of the dark

earth on the inside of the track. Also look at photos 76 and 77 for

the placement of the graphite then the light earth pigments.


After the glue on the wheels had dried overnight, I started adding

earth colored pigments using Humbrol thinner. I applied dust to

all of the areas on the wheels air brushed with buff acrylics.

Adding some grease around the hubs using a mixture of oils and

enamels finished the wheels. Spilt fuel was added to the hull top

using a similar mixture at this time.

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The gun was the last part to be detailed. I

first added many different colors of rust

and steel using acrylics then finished with

different washes and filters using enamels.

For the final touch, the undersides of the

model were painted with the post shading

spray soon to be released by Mission

models.

Photo 85

The remaining photo displays the

completed model. Note the model’s

dynamic appearance with all of the visible

different colored components. With the

model finished, I painted the base.

Conclusion

In the second part of this article we

discussed painting the unpainted

Stalingrad T-34/76 and its base. Although

readers might find it easier to perform

some of the weathering steps in a different

order than demonstrated in this article, I

stress that your base coats should always

be done using acrylics. Another point I

would like to mention once again is that

lots of dust should always be present on

vignettes and dioramas with destroyed

buildings and shell marked landscapes.

References:

Jimenez, Miguel. “Rarities” Euro

Modelismo. Copywrite: Accion Press S.A.

C/Ezequiel Solana 16 Bajo, 28017 Madrid –

Spain.

In the next Issue - painting the base

Documents

AFV Modeller - Issue 08 - 5 - Naked Desperation Part 2