Scale Modeling Quarterly

RIGGING USS CONSTITUTION • EXPLORING DRAGON'S 1/72 SATURN V • AND MORE! Spring 2015

·

for scale modelers by scale modelers

PAINT BY

Tips & Tricks Found in This Issue: • Recreating raised panel lines • Easy masking for complex camo • Choosing the right airbrush needle

Numbers Realistic Finishes Using Factory-Matched Colors

WAR WEARY

USD $7.99 // CND $8.99

Chipping, Pigments & Weathering

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Scale Modeling Quarterly Spring 2015 // SMQmag.com

FROM THE EDITOR //

per • fec • tion I am, like I suspect many of my fellow modelers are, somewhat concerned with perfection. The perfect alignment, a perfect paint job, perfectly scaled profiles, and the elusive perfect fit.

S

ometimes that pesky perfection can hide itself as correctness. A concern for the correct color, for example. Even the imperfect can disguise the pursuit of perfection, as anyone trying to achieve realistic weathering can attest. In no small way, modeling is the pursuit of perfection, as we try to recreate an object that actually exists in miniature form.

Still, one of my favorite sayings offers a caution: perfection is the enemy of great. To be clear, I won’t chastise any modeler for striving for perfection, but it’s important to ask yourself what your personal pursuit of perfection may be costing you. For me, I’ve put off building automotive models for many years because of my perceived need for perfect paint. I tackle this head on in this issue, and although I’m very happy with my final product, the results are far from perfect. The photos may look fantastic, but always remember that behind every photo of a model in a magazine there is a hard-working graphic designer, just like SMQ’s Marketing and Creative Director Stephanie who makes sure everyone looks their very best, especially her husband.

Under the guise of correctness, perfection can prevent you from starting your project. Looking for just the right reference photo or book can consume hours. Debating over the right paint mix for a 70-year-old German color could delay a project for months. Waiting for the right manufacturer to kit the right subject with no mistakes could take a lifetime. At some point, diving in with both feet is the best way to get your build off the ground.

During a project, you have a fine line to walk between developing new skills and the pursuit of perfection. I encouraged everyone to practice new techniques in the last issue. Just be sure that you don’t force yourself into unproductive situations; very little learning will happen when you’re so frustrated you’ll abandon a build in its final stages. You’ll reach a point where you are proud and happy with your own build, and that’s the time to stop.

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: the state or condition of being perfect; freedom from fault or defect

As the weathering adage goes: when you think it needs just a little bit more, stop.

Certainly, there are standards that models built for competition need to meet, but don’t feel that you have to follow any particular method or technique to create an acceptable model for yourself. I brush painted models throughout high school, and I’m still as proud of my streaky Monogram F-14 as I am of my latest, greatest airbrushed build. Remember it’s a hobby, and make sure you’re pursuing some fun along with your own version of perfection!

EDITOR // editor@SMQmag.com

State of the Stash Results from SMQ's 2014 IPMS/USA Nationals Survey We asked about 300 modelers questions regarding their stash. Here are the enlightening and highly unscientific results:

The average stash had 625 kits.

37% of respondents had 500 or more kits.

43% had 100 or more kits, but fewer than 500.

20% of respondents had fewer than 100 kits.

Only 18% had 1,000 kits or more, and a scant 3% broke the 5,000+ mark.

Our respondents built, on average, 10 models a year. If the surveyed modelers pooled their stashes and continued building at their typical rates, it would take those builders just over 60 years to build all the kits!

However, the average modeler buys 19 kits per year; nine more than he would build. Over 50 years, our average modeler would complete 500 kits and would have a stash of 450 left to build.

Finally, our average modeler buys 66% of his kits new. In fact, only 12% of respondents buy exclusively new kits. Therefore, when acquiring his 19 kits each year, our average modeler is buying a brand new kit every month and a pre-owned kit every other month.

While it's fun to compare ourselves to the average modeler, he doesn't actually exist. Enjoying the hobby on Scale Modeling Quarterly your own terms at yourSMQmag.com own pace makes it truly // Spring 2015rewarding.

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PUBLISHER HobbyScale Press

Contributors in this issue

EDITOR Matthew Cottrell ASSOCIATE EDITOR Anna Howland MARKETING & CREATIVE DIRECTOR Stephanie Cottrell EDITORIAL CONTRIBUTOR Anne Marranca

Matthew Cottrell Nissan 350z Saturn V

Joe Marranca P-38J Lightning Kitty Hawk Models

Tony Rivera Bronco Bishop

Letters to the Editor, Submissions, and Press Releases for publication consideration in SMQ should be e-mailed to editor@SMQmag.com.

For Advertising Inquiries, e-mail marketing@SMQmag.com.

Subscription Rates (4 issues): US, $24.99/year; Canada, $32.99/year; International, $48.99/year.

Scale Modeling Quarterly (ISSN 2334-4989 (print), ISSN 2334-4997 (online)), is published quarterly by HobbyScale Press.

Sherman Cooper USS Constitution

Bryant Dunbar Airbrush Needles

Mike Kendel Motor City Kids

Š2015 HobbyScale Press. All rights reserved. This publication cannot be reproduced without written permission from the publisher. Every effort is made to ensure accuracy.

ORDER YOUR SUBSCRIPTION ONLINE AT SMQmag.com Scale Modeling Quarterly is a

Jacob Mills Frisket Film Camo

Harry Wilson Wings of Freedom

Ryan Koschatzky 3D Printing PUBLICATION

Scale Modeling Quarterly is first and foremost a publication for and by scale model builders. This means we need your help to create the content that makes SMQ shine. Modelers can contribute feature or short-subject articles, as well as our recurring Modeling Tech, Trip Report, & One for the Kids, and Scale Modeling Profile sections.

SEND SUBMISSIONS & STORY IDEAS TO EDITOR@SMQmag.com

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Scale Modeling Quarterly Spring 2015 // SMQmag.com

HobbyScale Press publishes material related to the hobby of scale modeling. We are currently accepting manuscripts for books, booklets, guides, or reference material of interest to the scale modeling community.

HobbyScale Press publisher@hobbyscalepress.com 118 Barnard St #9387 Savannah, GA 31412-9998

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3D PRINTING

PICK A NEEDLE

New technology changing modeling and aftermarket part manufacturing.

Which airbrush needle is the right one for the job?

30 SETTING SAIL

08 TAKING FLIGHT

Building Revell's 1/196 USS Constitution.

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Wings of Freedom Tour showcases three fully restored WWII aircraft.

HOLD THE LINE

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48

KIT CREATOR

EASY CAMO

Glen Coleman of Kitty Hawk Models.

Using Frisket Film to create camouflage.

Easily restore raised panel lines after sanding.

42 WE HAVE LIFTOFF Tackling Dragon's mighty 5-foot-tall Saturn V.

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ON THE COVER

FACTORY FINISHED

Tamiya's Nissan 350Z is painted in Interlagos Fire, a factory-matched, special-edition color.

Want to make your model look like the real thing?

Learn how factorymatched paint colors can increase the showstopping realism of your favorite ride.

20

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MAKE IT REAL

MOTOR CITY KIDS

Creating realistic models through chipping, weathering, and pigments.

This IPMS Junior Chapter is building the next generation of modelers.

ADVERTISERS page 49

Scale Modeling Quarterly SMQmag.com // Spring 2015

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// 3D PRINTING & SCALE MODELING

3D Printing

EMERGING TECHNOLOGY IN SCALE MODELING

by Ryan Koschatzky

HERE TODAY Although the development of 3D printing continues at a rapid pace, it's already a viable technology.

Photo courtesy of Shapeways.com

Joseph Osborn of Fireball Modelworks has been producing decals and resin products for 10 years. As a longtime, satisfied Fireball Modelworks customer, I was pleased to sit down with Joseph and discuss his recent expansion into three-dimensionally (3D) printed items and his views on its impact for scale modeling and aftermarket manufacturers.

Ryan: Aftermerket manufacturers have primarily worked in resin.

What are some of the advantages that 3D printing offers over resin?

Joseph: For the most part, any 3D-printed material is inferior to a good-quality polyurethane resin.

One huge advantage a 3D-printed part has over a cast-resin part is complexity—there are shapes and assemblies that can be made on a 3D printer that can’t be cast in a silicone mold.

Beyond 3D printing’s lower fidelity, are there other disadvantages when compared with resin?

Right now it takes a lot of effort to manually finish a 3D-printed part for use on most scale models.

Because of this and the higher cost of 3D, it still makes more economic sense to use the 3D-printed piece as a master for resin casting.

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Joseph is currently selling a line of products through his website (fireballmodels.info) and through the Shapeways.com Marketplace.

Shapeways.com is the leading 3D printing marketplace, allowing anyone to print and sell their own 3D object designs. There is a significant learning curve, but Shapeways does offer free tutorials online for those interested in designing 3D objects to be printed.

Even if you’re not interested in creating your own objects, the Shapeways Marketplace is a great tool for modelers to explore. Simply searching for a popular scale will reveal a wealth of objects available that are useful for modeling, or you can browse their miniatures section (shapeways.com/miniatures/scalemodels).

Ryan: What advice would you give to modelers who are interested in Shapeways products?

Joseph: There are many scale model pieces available on Shapeways for a decent price, but Shapeways will not always deliver the exact same part.

This is because Shapeways has to maximize their printer usage, and that usually means they shoehorn a bunch of different models into the print run at odd angles. That can mean the surface quality of the prints will vary from order to order.

You sell on your website and at Shapeways. Which do you prefer?

I use my Shapeways shop in a very limited capacity—it’s basically there to leverage some pieces that I’ve designed but I don’t necessarily want to go to the trouble of molding and casting. I make them available just because they are somewhat unique.

I’d rather sell directly to customers and have that contact with them; Shapeways doesn’t really offer that connection.

From the business side, what are the pluses and minuses to having your Shapeways storefront?

To me, the biggest downside to using

3D PRINTING & SCALE MODELING //

a Shapeways store to sell 3D-printed models is that they get a piece of the action. That’s not entirely a bad thing, but it’s another cost. They handle the production and shipping, so really the shop owner comes out ahead in the end. I already have those structures in place, so it really isn’t a huge draw for me. That’s why I use them in a very limited way right now. If they were to start offering some different, higher quality printing methods, I would reconsider how I use them to manufacture and distribute my products.

Currently, it seems that armor modelers are the only ones 3D printing; it hasn’t caught on as much with aircraft builders. Is there a reason for this?

I think that the aircraft guys need (or expect) a higher level of surface smoothness than a typical tank modeler. I know guys who do wargaming have really embraced 3D-printed pieces. For example, there are a lot of really nice smallscale aircraft models available on Shapeways. Figure modelers are the most advanced 3D users among the different hobby genres. There are stunning figure kits that have been produced from Zbrush digital sculpts for a few years now. The quality is amazing.

Where do you see technology going?

3D

print

The hardware will only get better, but the output quality of a $200 printer may never reach what a scale modeler needs. There are $4000 printers on the market now that could satisfy a scale modeler, though. Think of decal printing: the technology to print stunning, high resolution waterslide decals has been around for decades, but the average modeler has never had access to that kind of quality.

Yes, we had the heyday of printing our own decals with Alps printers, but those printers could never fully

do what screen printing is capable of doing. Common inkjet and laser printers can make decent decals, but can’t make Cartograf-quality decals.

Same with 3D printers. An expensive hobbyist level printer will do a fine job, but a professional level printer will do it better.

Could 3D printing replace resin or traditional kits today or in the future?

There are lots of discussions about this on the internet modeling forums. Some guys imagine a time in the near future when they simply download a set of files and print their own copy of a kit at their scale of choice. That’s a neat idea but file security would have to be addressed or no manufacturer in their right mind would allow their printable files to get “out in the wild.” One of the main draws of 3D modeling and printing is that it allows the modeler to do a subject that no manufacturer has or would ever kit; that capability has driven my interest in 3D. Like scratchbuilding, 3D modeling is a skill to be developed and the research requirements are the same whether you’re 3D modeling or doing traditional scratchbuilding. A lot of people think that simply 3D scanning a subject will let them print a scale model; it can, but there is a whole set of skills needed to make that scan into a 3D model that can be printed.

Any other parting thoughts for us on 3D printing?

I think 3D printing

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on a mass scale will be the biggest thing since the industrial revolution.

Ironically, it’s sort of like the industrial revolution in reverse— we’re able to decentralize the manufacturing process. For scale modelers, 3D design and printing at the manufacturer level has already brought more detailed, better fitting, and accurate kits. We are still in the toddler stage of applying the technology to scale modeling, and the next step should be really exciting.

I hope this small introduction to 3D printing will help modelers better understand the uses and limitations of this emerging technology.

ADDITIONAL RESOURCES: fireballmodels.info pixologic.com shapeways.com

©iStock.com/emyerson

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by Harry Wilson

The Collings Foundation, an educational non-profit group based in Stow, Massachusetts, has been providing “living history” experiences related to transportation for many years. The Wings of Freedom Tour showcases fully restored WWII aircraft, allowing visitors to get an up-close look at these magnificent machines.

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n a sunny afternoon in Savannah, Georgia, I had the privilege of visiting the Collings Foundation’s Wings of Freedom Tour as it passed through the Savannah/Hilton Head International Airport.

Upon arriving, my group paid our entrance fees ($12/adult, $6/child 12 & under, free for WWII Veterans) and we were escorted onto the tarmac. The tour also provided the opportunity, for a fee, to take a ride in one of the three magnificent machines that visited Savannah: P-51C Betty Jane, B-17G Nine-ONine, or B-24J Witchcraft.

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P-51C Mustang Betty Jane, which had been converted to a two-seater, was taxiing out to take off for a 30-minute flight as we walked out.

This gave me the chance to walk around the B-17G, Nine-O-Nine, and admire her closely. The quality of the restoration on these three airworthy aircraft is remarkable.

Things only got better as we climbed aboard, entering the Flying Fortress from underneath the bombardier’s station. The tour of the B-17 headed aft, allowing me to view the cockpit, pass through the bomb bay and the radio/navigation compartment, walk past the waistgunner stations, and finally exit through the crew door in the side

of rear fuselage. Despite being such a large aircraft, I was surprised to find that conditions were definitely cramped.

Exiting Nine-O-Nine, the B-24J Liberator, painted in the colors of a WWII B-24H named Witchcraft, waited patiently on the flight line.

Entering from the aft crew door, the interior tour passed through the bomb bay and allowed me to view the cockpit. A surprising find inside the

FLYING HIGH (above) P-51C Betty Jane, a unique twin-seat, twin-control conversion, earns her keep offering flight training. (top right) The Collings Foundation aircraft are living pieces of history, complete with well-oiled engines. (top left)Witchcraft, Nine-O-Nine, and Betty Jane travel the country as part of the Wings of Freedom Tour.

Photo courtesy of the Collings Foundation

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// TRIP REPORT

The beautifully restored veterans are in a constant state of repair. Operating costs can run over $4,000 an hour. The Collings Foundation needs your help to keep 'em flying.

Visit www.collingsfoundation.org to donate

The access offered to the aircraft was amazing. Each of the meticulous restorations offer modelers the chance to obtain a wealth of photos for their personal reference files.

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fuselage was the retracted ball turret, not visible from outside of the parked B-24. That thing was small! Again, the quality restoration of this aircraft is remarkable. The tour exited in a novel fashion, as we stepped out through the forward bomb bay onto stairs placed on the tarmac.

While awaiting the return of Betty Jane, I took the opportunity to complete my walk-around of both beautiful bombers. Soon enough, a flash of silver streaking down the runway announced the Mustang’s return. After taxiing into position next to the B-17, Betty Jane had her wing tanks topped off, and we were allowed to inspect the aircraft. This P-51C was converted into a unique twin-control, two-seater TP-51C configuration when restored in the early 2000s and now offers flight instruction and joyrides for an additional fee.

During my visit, the aircraft were being constantly worked on, a reminder that they are not just static displays; they are living pieces of history supported by a volunteer workforce who are keeping the spirit and sacrifice of those who served during WWII alive for all to witness. It was obvious that the Collings Foundation takes a great deal of pride in both their aircraft and their mission, and I’d encourage every modeler to support the Collings Foundation’s mission by visiting a Wings of Freedom Tour stop near you.

TRIP REPORT //

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A REAL

SHOW STOPPER

Creating Realistic Scale Automobiles

with Factory Color-Matched Paints

by Matthew Cottrell

Like many aircraft modelers, I have an impressive array of paints in a rainbow of colors—so long as you count various shades of gray as different colors. At contests, though, I’m always drawn to the colorful schemes on US Navy prewar planes, the various adversary and aggressor aircraft, and of course, I never miss my chance to admire the eye-catching, vibrant hues across the contest room on the automotive tables.

T

o any modeler that buys flat clear in bulk, the glossy metallics and solid, yet miles-deep, boomerera colors seem like an unattainable goal if you’re not among the elite that have access to auto-grade urethane clears and can deftly wield sandpaper without fear!

I’ve long harbored a real-life love of automobiles, yet I’ve let my reservations about glossy paint jobs keep me from tying both my hobbies together—until now. I felt the call to try my hand at a couple of projects depicting real-world cars, which

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meant I needed to find the right paint colors and learn how to apply them. I settled on a Tamiya 1/24 scale Nissan 350Z as the perfect test subject. Tamiya’s Z is a curbside kit, meaning it has no engine, basic chassis detail, and no opening parts, but it does have a very nice interior. This basic kit would allow me to focus my energy on practicing with the paint.

As with aircraft grays, paint shades in the automotive world can be similar, but with subtle differences. For example, no two manufacturers use exactly the same

PRETTY IN PURPLE Scalefinishes.com offers airbrush-ready paints in a wide variety of factory-matched colors, including Interlagos Fire, a colorshifting metalic paint found on the 2006 Nissan 350Z.

shade of silver. However, even when choosing from the many hobby paint lines, you’ll only find a handful of variations on the typical automotive colors. Helpfully, the need to repair and repaint cars means that actual factory paint colors, and their corresponding codes, are extensively documented.

Armed with a factory color code, there are many sources for obtaining a matching bottle of airbrush-ready paint. Although some modelers will source paint from auto body shops, the experience and knowledge needed makes it challenging for beginners. Searching online will reveal several sources for factorymatched paints packaged specifically for model cars. Based on several recommendations, I decided to try paint from Scalefinishes.

com. They had an extensive array of paints available, covering primarily American brands with a nice selection of import colors, all pre-thinned and airbrush ready.

Although Tamiya’s kit most accurately depicts a 2003–2005, I chose my favorite color worn by the Z, the 2006-only Interlagos Fire (paint code L40). Interlagos Fire is a color-shifting metallic, varying from a dark purple to a bronzy orange based on the viewing angle and light. The color shift occurs thanks to the special metallic flakes in the paint that act like a prism, reflecting certain colors at specific angles. The paint is a solvent-based acrylic base coat, and will actually dry to a matte

finish, thus requiring a clear coat to give it a glossy finish. Although this two-step process sounds like more work, I found that it actually made the application far easier.

The instructions called for the build to start with the chassis, which is primarily painted in the body color.

This gave me a chance to wade into the paintwork slowly. Beyond the paint, the chassis presents its own challenges. All of the various underbody features are molded onto the one-piece chassis. This clearly simplifies the build and reduces the part count, but can make for some tricky masking to highlight the various plastic shrouds, aluminum suspension components, and steel exhaust. As with many aspects of

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1/24 // TAMIYA NISSAN 350Z

CHILD'S PLAY Molded chassis details can be tricky to mask. Silly Putty is an ideal solution as it easily fills voids and can be put into tight spaces. It won't lift dried paint, so it's easy to paint, add additional masking, and spray the next color.

this build, I turned to the Internet to research the look of the underside, not relying on the somewhat basic Tamiya painting guide. For military modelers, researching a car is an amazing experience! You’ll find large photos available of nearly every corner and component, in both stock and custom forms! In my case, I was rewarded with a huge photo of the complete Z underbody.

PREP & PAINT With the irregular features molded on the chassis, masking with tape alone would be nearly impossible.

Instead, once I had painted the body color, I used Silly Putty to mask. Silly Putty is easy to work with; it can be manipulated into small areas with a toothpick and it removes easily, sticking to larger clumps of itself. It’s particularly adept at masking recesses and odd shapes. The first step was covering all the areas to remain body color.

My extra effort focused on masking the tiny areas between the suspension components really made the finished chassis pop. With the first stage of masking complete, I sprayed everything Tamiya Semi Gloss Black (X-18). Once dry, rather than peeling the existing Silly Putty mask off, I simply added more to cover the areas to remain black. I also used a few pieces of tape to ensure that I had crisp

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lines between the fuel tank and heat shield. With the black masked, I finished the suspension and exhaust with Alclad II Aluminum and Stainless Steel, along with Copper for added heat discoloration tones. The Alclad dried almost immediately, and once the Silly Putty was peeled off, the chassis looked fantastic.

Creating a great looking, glossy paint job starts with good body work. At first blush, the body looked clean and smooth, but the molds created a few seam lines that don’t exist on the real Z. These raised features around the nose, rear hatch, and rear bumper needed to be sanded smooth.

This was a slightly difficult process, as the lines never disappeared from view—they left color distortions in the plastic below that looked like lines. Eliminating them was a matter of sanding and then feeling the results with my finger. I found that any remnants were easily visible, and fixed, once the body was primed.

I’m a fan of the Tamiya Fine Surface Primer, a lacquer spray paint available in gray, or as I used in this build, white. It did require me to abandon the spray booth and paint outdoors, but the results, as usual, were fantastically smooth. In fact, wet sanding with 2000 grit sandpaper will give the primer a beautiful, almost glossy white or gray finish. Don’t forget to prime body-colored components,

TAMIYA NISSAN 350Z // 1/24

like side-view mirror housings, at the same time, and remember to fix any errant mold seams before moving on.

With primer complete, there was nothing left to keep me from diving into airbrushing the body. It’s a good idea to practice. The painting instructions were straightforward, so I dialed in the recommended 20 psi for my airbrush, and tried my luck at applying the two to three medium wet coats to a sheet of styrene. Often, when painting with a solvent-based paint, the advice is to ensure it goes on wet, but doesn’t run. This is a tough balance, although I’ve found that it’s harder to make the paint run than it seems. The key is a constant, smooth motion. Done correctly, the paint will look glossy for a few moments until the solvent evaporates and dries to a matte finish.

It’s also important to note that it’s a must to wear a respirator and safety glasses when working with any paints, especially these. The solvents and fine metallic particles can pose serious health risks.

With a bit of practice, it became clear that even coverage was important with the metallic paint. Missing a spot during a coat could lead to an irregular color density, even when fully covered in later coats. Thus, it was very important while painting the car that I used a methodical sequence to ensure full coverage. I would start by applying paint to the unattached body-colored items, like mirrors; then move to the body, starting with the lower and downward facing portions, the wheel arch edges, side skirts, and upper portions of the radiator and license plate housings; followed by the sides, bumpers, and wheel arches; then covering the pillars; and finally painting the hood, roof, and hatch. This pattern used more paint than my airbrush would hold, but I saw no ill effects

FACTORY FRESH The real Nissan 350Z in Interlagos Fire.

from pausing for a few moments to refill the color cup. Also, because the paint is loaded with metallic particles that quickly sunk to the bottom of the bottle, I ensured that I shook the paint before every refill, and I used a dedicated pipet to avoid costly spills and cross-contamination with other colors.

Each of the three wet coats I applied required five minutes of flash time before the next one. For beginners, it’s very important to try and control dust. Although it’s possible to sand out imperfections from the base and clear coats, it’s something that will require some practice to achieve a perfect result. Prevention then, is the first and easiest lesson to learn. I let my spray booth run for a few minutes to pull the existing dust from the air. Another trick to try is misting water around your workspace to keep particles from getting airborne in the first place.

Before spraying the next wet coat, I used the airbrush to blow away any bits of dust that had landed on the body, although it’s best to ensure you haven’t loaded it with paint, even with a double-action brush.

As the coats were applied, the paint took on a dull, uniform appearance.

Scalefinishes recommends using a drop coat (a final, light misting of paint) to help hide any irregular applications.

Photo courtesy of Nissan

This is particularly effective with metallics. After the drop coat, it’s time to add a clear coat. The paint needs to flash—allow the solvent to evaporate— for at least fifteen minutes before the clear. The simplest option for a clear coat is a lacquer-based spray. For the Z, I used a Testors One Coat Lacquer, their Wet Look Clear.

CLEAR COAT Spraying the clear represents the best chance of picking up highly visible dust. To combat this, I found a plastic bin, with a flat lid, that would comfortably hold the body on its stand after being sprayed. To prepare, I wiped the bin down with alcohol and a lint-free cloth. When it came time to close up the model, rather than set the model into the bin, it was easier to place the stand on the lid, and lower the bin over the model. The clear coat will be tacky enough to pick up dust for about twenty minutes, after which the bin will need to be removed to allow the solvents to fully evaporate.

Spraying the clear lacquer was fairly easy. Soaking the can in warm tap water for a few minutes helped it flow better, but be sure to wipe any water droplets off the nozzle. As with the paint, it’s important to get a wet coat, but not so wet that it runs.

It’s also important to briskly coat the Scale Modeling Quarterly SMQmag.com // Spring 2015

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1/700 //// SECTION 1/24 TAMIYA NISSAN TITLE 350Z

entire body. If the clear begins to dry in one area, the overspray from the next coat can haze the smooth finish. Finally, don’t forget to follow your pattern of paint application so that the undersides and roof all get cleared. The lacquer is somewhat self-leveling, so it’s not quite as hard to apply as it seems at first blush. Once the application is done, immediately cover the body with the bin. I needed to spray a second coat; the Z’s front bumper didn’t get fully coated, so I waited twenty minutes and applied another full coat over the entire body.

MASKING DETAILS The sad news is that you’ll end up with some dust in your clear coat. I know I did. It’s certainly possible to use very fine sandpaper to wet sand the spots out; sets of 3200–12000 grit sandpaper can be found online and at hobby shops. You’ll need some practice, though. When sanding near sharp edges, it’s easy to cut through the clear and paint coats, exposing primer or the plastic below. Fixing this sanding damage would require a deft hand to blend the paint with the surrounding panels. I wasn’t ready to risk my first, mostly successful paint job chasing perfection, and I hoped that when I polished the body, the specks would be less noticeable.

After 24 hours, but before my post-clear

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Tamiya provides interior masks for the windows, allowing the black surrounds to be painted from the inside. The exterior weather stripping is molded to the body; masking it requires careful cutting with a sharp blade.

polishing, I needed to paint the very fine weather stripping molded onto the body shell along the window openings. Most of the stripping had a slight gap between itself and the body. By applying Tamiya tape over the body and strip, I could carefully run a new hobby knife blade along the gap, perfectly cutting the tape into mask. The lower edges of the side windows were easily masked by simply lining up a strip of tape.

Once the edges were defined, the remainder of the body masking was added, and I sprayed Tamiya Semi Gloss Black. While the paint was loaded, I shot the interior of the masked body shell and the black trim on the windows themselves. Tamiya provided die-cut masks for the inside of the windows; simply apply, mask the outside of the glass, and spray away. The masks worked well,

allowing only a small amount of paint to bleed under. This excess paint was easily removed with alcohol on a small cotton swab. Once everything was dry, I removed the masking from the body to prevent any reaction between the clear and the adhesive.

INTERIOR MATTERS With the body coming along nicely, I set my sights on the interior.

Tamiya recommended a 10:1 blend of their Semi Gloss Black and Flat White to represent the plastic interior surfaces, and it was spot on.

A lighter blend was recommended for several areas, but photos didn’t show an appreciable difference.

Several satin-chrome parts added appeal to the plastic colored interior, while I used a Prismacolor Silver pencil to pick out the pedals, steering wheel, and door handles. I also chose to mix the suggested 50:50 blend of Orange and Flat Yellow to represent Nissan’s Burnt Orange leather; the results were

TAMIYASECTION NISSAN 350Z TITLE //// 1/24 1/700

fantastic, and added just the right amount of color. For the final touch of life, I used Ken’s Kustom Fuzzi-Fur flocking, tiny polyester fibers, to represent the carpet.

His charcoal-colored flocking has a wonderful mix of grey and black colors that are very reminiscent of modern automotive carpet. To apply, I painted very wet coats of Testors Enamel Flat Black anywhere I wanted the flocking to stick and shook the fibers onto the wet paint.

After a few moments, the fibers were firmly attached and I could dump the excess out onto a sheet of paper to be reused. It was an effective, but very messy process.

Keep it well clear of drying car bodies!

ENJOY THE RIDE Charcoal flocking and burnt orange seats elevate the interior.

POLISHED & COMPLETE With the interior finished and the body cured, I wanted to do a very basic polish of the clear coat. This would remove any minor rough spots and a few of the shallowest dust specks. I used Novus Plastic Polish No.2. This mildly abrasive paste is great for polishing out clear parts, like aircraft canopies. On the 350Z, it quickly removed some minor hazing to add shine to the clear coat.

I found that the polish did help reduce the prominence of the dust spots, especially on the hood, but did not remove them. The Novus did leave some residue in the car’s panel lines, but I was able to gently use a toothpick to scrape it out. A second product, Novus Plastic Polish No.1, was applied after the initial polishing. This far less abrasive product is ideal for cleaning fingerprints off the model.

The polished body shell was now ready to accept the many small detail parts. I installed the windows, cowling, and windshield wipers, along with the chrome reflectors for the headlights and taillights, the front grill, and the side mirrors. On the chassis, the non-steerable wheels and brake rotors were installed onto metal axles with polycaps. The exceptional tires feature detailed Michelin Pilot Sport sidewall markings and are devoid of any seams that need to be removed. The interior tub mounts firmly onto the chassis, and they both slide effortlessly into the body. With only a few details left, I snapped the clear headlight and red taillight covers over the reflectors and attached the satin-chrome door handles with small drops of superglue. Finally, I finished off the build by adding the provided metal transfer logos.

Kit Used Tamiya Nissan 350Z Scale: 1/24 Stock #: 24246

I had a great deal of fun building Tamiya’s 1/24 scale 350Z. It was an ideal test bed for my first brush with factory-matched automotive paint. I was actually quite surprised with the results and the relative ease of application, while the kit proved to be everything you’d expect from Tamiya: well-engineered and enjoyable.

Though far from perfect, the end result was a model that I’m proud to display on my model shelf, soon to be joined by next automotive project.

Scale Modeling Quarterly SMQmag.com // Spring 2015

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BREAKING THE MOLD

AN INTERVIEW W/ GLEN COLEMAN

Interview by Joe Marranca

Glen Coleman, along with his China-based partner Song Wang, are creating their own niche in the plastic-model world. In fact, Kitty Hawk Models and Panda Hobby are brands known to break the mold when it comes to introducing new subjects to the market.

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Glen Coleman and Kitty Hawk at the 2014 IPMS/USA Nationals.

W

hile I was attending the 2014 IPMS/USA Nationals in Hampton, Virginia, I had the opportunity to chat with Glen Coleman, co-owner of Kitty Hawk Models and Panda Hobby, at his booth. My relationship with Glen actually started while at graduate school in Charlottesville, Virginia. I began attending meetings of the Charlottesville Model Club, held at the Rail Tales Hobby Shop, where Glen is a regular. He would often let us in on upcoming Kitty Hawk and Panda offerings, and he

SCALE MODELING PROFILE // helpfully provided insights into the amount of effort required to bring new kits to market. I was certainly impressed with Glen’s avid support of the local hobby scene, as well as his national charitable efforts.

UNTAPPED DEMAND Glen started producing models in response to what he felt was an untapped well of demand for kits of particular subjects within the modeling community. Within his own genres of interest, he also believed he could offer better products than what he found in the market at the time.

His first project was kitting the F-94C Starfire in 1/48 scale for Kitty Hawk Modes. True to future form, Glen had followed his passion in deciding to offer a kit not yet covered by the more established companies, and in doing so, he hit a home run! Modelers wanting to build a Starfire could now skip over the older box-scale offerings in favor of a modern kit. Sticking with this ethos, Glen is happy to let the more established companies service the market with Mustangs, Bf 109s, and other popular, high volume kits, and he’s not currently interested in exploring these markets.

The other side of Glen’s modeling business is Panda Hobby. The focus of Panda Hobby is primarily on armor-related subjects, and operations are handled by Song in China. Panda has focused on producing high quality military kits of the niche subjects ignored by the mainstream companies, such as the Soviet Object 279 tank.

GETTING IT RIGHT So, how do Glen and his companies go about kitting a model? One key resource for Glen is his modeler’s intuition. From discussions with other hobbyists, he forms an idea of what kits might do well. He is also always open to suggestions! After a great series of F-35 variants and several European subjects, all in 1/48 scale, Glen’s intuition recently served him well when choosing Kitty Hawk’s next project: their expansion into the growing 1/32 scale market with the successful release of the T-6 Texan.

Once a subject is selected, Glen’s first step is to decide on the exact specifications of the model, such as the scale and variant of aircraft. While he starts poring over line drawings, he relies heavily on people within his network to help further refine the drawings, check for accuracy, and even compare the drawings to actual examples of surviving aircraft. After developing accurate

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line drawings, three-dimensional CAD (computer-aided design) models are developed from which the injectionmold tooling will be developed.

An advantage of having the three-dimensional CAD models made up is that the models can be virtually rendered, visualized, and tweaked through many revision rounds before any tooling is cut, thus avoiding costly and difficult changes afterwards. Once the virtual model is finalized and the tools are machined, test shots—a limited run of kits from a new mold—are produced.

MAKING IT WORK Modelers tasked to assemble test shots provide their feedback, and alterations to the molds are then made upon the comments received. Once Glen and his associates are satisfied that the final test shots are okay, the kit goes into production. At the same time, decal sheets and instructions are printed, packaging is developed, and more. The question you’re certainly asking yourself at this point is: how much does all of this cost? A reasonable figure for bringing a kit to market would be in the $50,000 to $100,000 range.

During our interview, an interesting question was posed to Glen by a customer at the booth. This modeler was curious why the Kitty Hawk F-101 Voodoo kit had a fuselage that was presented in six sections, therefore increasing the difficulty level of the kit. Glen explained that the six-section breakdown was necessary to allow additional versions of the Voodoo to be produced in the future without requiring a completely new mold to be cut.

Large portions of the molds from the F-101A/C will be reused when the later kit is produced, which ultimately makes both versions of the kit more affordable and a viable project. This certainly illustrates the fine line that a niche manufacturer like Kitty Hawk must walk between engineering the kits so that they can be marketed affordably while still satisfying the high expectations of serious modelers.

Although our chat at Nationals was brief, I was able to learn a lot from Glen Coleman about the sheer effort, perseverance, and personal resources required when bringing new kits to market. To accomplish such a task without major corporate backing is admirable. I now have a new appreciation for the effort that has gone into the plastic I use when building a scale model, and I am looking forward to the day I can find time to tackle one of the 1/48 scale Kitty Hawk F-35s. They have produced all three variants thanks to their clever engineering!

Scale Modeling Quarterly SMQmag.com // Spring 2015

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1/35 // BRONCO BISHOP

Creating Explosive Realism A Focus on Weathering Turns a Great Kit into a Work of Art. article and photos by Tony Rivera

Bronco's 1/35 scale Bishop is a complex kit with numerous parts. The tracks alone are comprised of 201 links.

However, the final product is an ideal platform for chipping and weathering.

HISTORY

I

n 1941 the British realized the need for a self-propelled gun to combat the expected German tactics in North Africa. In June of that year the government tasked one of the three makers of the Valentine tank, the Birmingham Railway Carriage and Wagon Company, to design a prototype that would fill this need. The Valentine was chosen as a base because of its ease of adaptability.

In two months the prototype was delivered,

BRONCO BISHOP // 1/35

sporting a 25-pounder field gun in a box-like turret reminiscent of the Russian KV-2. The British government ordered 100 of the Bishops, which first saw combat in North Africa. The Bishops would have a limited lifespan, ending in Sicily when they were replaced by more efficient selfpropelled guns, such as the M7 Priest. My model is based on a popular photo of Bishop S32941, which is believed to have fought in Tunisia.

BUILD

Aftermarket tracks were purchased from Friulmodel when the included tracks proved too fragile.

The gun and ammo boxes were temporarily attached and the turret was dry fitted to the hull.

Smoke image ©iStock.com/LuVo

The 1/35 scale Bishop produced by Bronco Models is a very detailed affair with quite a number of parts and subassemblies. The tracks alone are comprised of 201 links that must be removed from the sprue and cleaned. I did exactly that, cleaning all the necessary tracks before I began to click them together as per the instructions.

However, I quickly found out how fragile these tracks were when I mistakenly attached two links backwards and they broke apart when removed. At this point, I did what one does when they need accurate tracks for a model: I turned to the aftermarket. I purchased a set of tracks from Friulmodel, a company with products known for their level of accuracy and relative ease of construction. It was well worth the expenditure. I know that building the tracks first is not typically the sequence in which most models are built, but to me it’s the most tedious part of the building process. I like to get them done early and then put them out of my mind until it’s time to attach the tracks to the model, or I’ll never finish them. In fact, because I lack the motivation to assemble them, my shelves are littered with fully assembled, yet trackless, tanks.

The kit includes a partial interior: the driver’s compartment and the radiator/transmission housing in the rear of the hull. As I started building the hull, I Scale Modeling Quarterly SMQmag.com // Spring 2015

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1/35 // BRONCO BISHOP

(top left) The turret interior was affixed to a foam board to facilitate easy painting. (bottom left) The completed right side of the turret. All the ammo was painted and a neutral wash applied before chipping was created with a sponge and reinforced with a fine brush. (right) Comprised of over 60 plus parts, the 25-pounder is a model unto itself.

hadn’t decided whether or not I would be modelling the Bishop with all of its hatches open, so I went ahead and assembled the interior parts to leave my options open. It quickly became clear that Bronco went to great lengths to research and produce a well-detailed kit, as evident when I saw the completed radiator. In my research I was able to find a photo of the radiator compartment on a Valentine, and Bronco’s version is a very accurate representation.

The only issue I had with the hull assembly was getting the rear plate and transmission hatch on the lower hull to line up properly with the upper hull. This was in part due to my heavy-handed sanding of the angled joints between the parts.

Since the turret is the most prominent feature of the Bishop, it would make or break the overall look of the model. Bronco includes a complete interior, thus careful planning was needed before I moved forward with the build. I decided to build and paint the interior in several subassemblies. The 25-pounder field gun was assembled first; it was no small affair, comprising over

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Scale Modeling Quarterly Spring 2015 // SMQmag.com

60 parts, not including the miniscule photoetch bits. The gun took several late nights to complete. It was primed with AK Interactive Olive Drab Primer when finished, and I set it aside as I continued with the rest of the turret. I joined the right side of the turret with the front piece and temporarily affixed the ammo boxes to their appropriate locations. This allowed me to set the turret onto the completed hull in order to ensure a proper alignment before the painting commenced.

After separating all the temporarily assembled turret parts and attaching them to foam board, I was ready to start painting. For the interior, I chose to use Skull White primer from Citadel; this would also serve as my base coat. Setting the primed turret aside, I continued by painting the ammo, the radio, and the storage box that would be placed in the forward corner of the turret. After all of the parts were painted and permanently attached, it was time to weather the interior.

Chipping is the first step in my weathering process.

I use a sponge technique to simulate the chipping,

Chipping with Sponges

CHIPPING BEGINS (top) The completed interior with 25-pounder gun installed. (bottom) My version of desert yellow is applied to the turret exterior and chipping has commenced.

Creating a chipping effect using the sponge technique is similar to drybrushing; a small amount of paint goes a long way.

1. Cut a small portion of dense sponge or foam.

2. Lightly dip the sponge into paint and blot off the excess.

3. Gently tap the sponge against the model. This will create random patterns of small chips. reinforced by adding smaller chips with a brush. I used AK Interactive’s Dark Tracks, from their Tracks & Wheels paint set, which is an excellent color to represent chipping. Dark Tracks has two advantages: it is pre-thinned, so it brushes on very well, and it was, after all, developed to mimic the color of bare metal. With the chipping complete, I applied a neutral wash and a dusting of pigments, and I called it a wrap for the interior walls of the turret.

To complete the interior, I needed to paint and chip the 25-pdr gun. I first applied a dark wash, followed by an application of graphite shavings to accentuate the areas of high usage, like the gun breach. After a day of drying time, I used the hair-spray chipping technique when I applied the base coat to the barrel. When my chipping was completed, I permanently attached the gun.

4. Focus on edges and protrusions where chipping will naturally occur.

5. A fine-tipped paintbrush can augment the sponge effect by adding larger chips and small scratches.

PAINTING I began the painting process by priming the entire model in AK’s Olive Drab Primer. This primer would Scale Modeling Quarterly SMQmag.com // Spring 2015

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1/35 // BRONCO BISHOP

serve as a solid surface for my base color to adhere to and as my base layer for the forthcoming chipping process. When using the hair-spray technique, I like to add a layer of Citadel Purity Seal over my primer before applying the hair spray layer. Purity Seal protects the undercoat from being damaged by aggressive chipping.

My preferred chipping tool is a stippling brush made by The Army Painter. Although many modelers cut down old brushes to create a similar device, after experimenting with different brushes, I find that I get the best results with my Army Painter brush. I began the chipping on the side fenders and worked my way around the model doing small sections at a time.

The Bishop was delivered to the British in olive drab and the camouflage was applied in the field. From the photos I have found of the Bishop, the tanks were painted entirely in desert yellow, with some crews adding an irregular band on the turret. I was undecided as to what color to paint the camouflage band—it is essentially impossible to determine a color based on a black and white photo—so I inquired on the Internet as to what colors were applied to British tanks in North Africa.

I had several responses, with opinions varying between black and dark olive green.

With no definitive answer, I decided to use a dark olive green in order to add some visual interest to the finished model. Once again, I used hair spray to facilitate chipping and

Chipping with Hair Spray

Coating a model with hair spray may seem like an odd way to create chipping, but the hair spray's water-soluble nature allows it to be removed in a controlled fashion. Although the basic steps are simple, you'll need to experiment to find the right combinations of paint and hair spray for the best results.

1. Apply an initial base coat to the model. This is the color that will show through when chipping. Allow each layer to dry thoroughly before proceeding.

2. Apply a sealing coat. This will prevent damage to the base color.

Citadel Purity Seal or Future are good choices.

3. Apply a layer of hair spray. AK Interactive and others offer chipping fluids that can be used as a substitute for hair spray.

4. Apply a top coat of acrylic paint. This is the layer that will be chipped away. Acrylic paint allows the next step to easily work.

5. Applying water to the top coat will gradually loosen the hair spray below. A stippling brush will help chip the top coat away.

6. When finished, seal the model again to fix the top coat.

7. Once sealed, the process can be repeated by adding a new layer of hair spray and another top coat.

According to my references, the band around the turret was haphazardly applied in the field and partially covered the tactical marking on the turret. Therefore, the decal was applied and masked before the camouflage was painted.

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BRONCO BISHOP // 1/35

weathering, ensuring that I added a layer of hair spray between the olive drab primer and my custommixed desert yellow paint, as well as between the desert yellow and the dark olive green camouflage band.

Once I was satisfied with the results of all my chipping, I laid down a coat of Future floor polish over the model in preparation for the upcoming washes.

WEATHERING With the painting and chipping complete, I moved on to the fun: weathering! This is where the model begins to take on character. To start, I used AK’s OIF Wash, further thinned with white spirits. I applied the wash to the entire model, paying extra attention to details I wanted to accentuate. I used a round brush for the tops of the hull and turret and used a flat brush on the vertical surfaces. Using the flat brush on the vertical surfaces leaves a streaking effect that at first appears harsh,

but is attenuated by the filters that follow. After the washes, I continued by shading particular areas on the model with oils to add depth and contrast. For example, I shaded the areas between the louvers on the radiator hatches and used shading to delineate between particular panels along the fenders. I used the Wash Brown color from MIG Productions’ 502 Abteilung line.

Oil-paint dot filters were limited to certain areas: the top and sides of the turret as well as the side skirts that protect the road wheels. I used buff, white, and dried mud oils to not only fade the colors and pull them together, but also to simulate dust. Now the model was really taking shape and I could start to see what I visualized when I started this project. All that was needed now was to add pigments. Oil paints take a long time to dry, so the model was put aside for about a week, after which I sealed all the work that had been done so far.

The front of the hull was given a treatment of Wash Brown and North Africa Dust. The oils were added to the top of the piece and the enamels to the bottom. After sufficient drying time both colors were blended and a nice dusty grimy effect is achieved.

I applied thinned AK Interactive washes over the turret. This effect both accentuates detail and adds some streaking.

Scale Modeling Quarterly SMQmag.com // Spring 2015

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1/35 // BRONCO BISHOP

The stowage on the model was painted using two color modulation sets from AK Interactive. I utilized each set in the same way I would when painting a figure. The sets have several advantages when used to paint stowage. The paint is pre-thinned and brushes on nicely, while the colors are appropriately matched within each set. I used an Olive Drab set on the top roll, while I used a Dunkelgelb set on the tarp.

The stowage was given a treatment with pigments when dry.

PIGMENTS For the pigments, essentially weathering powders, I used MIG Productions’ Gulf War Sand. There are several ways to affix pigments to a model. You can use a thinner of your choice, such as white spirits, or MIG’s Thinner for Washes or Pigment Fixer. While these thinning agents are certainly necessary to fully take advantage of the medium, I like to use straight tap water to maintain full workability of the pigments after the thinner evaporates.

A little pigment goes along way, and using water as a fixer allows you to manipulate the pigments to your liking. I used water for the pigments on the top of the turret, which left a subtle layer of dust. In contrast, the pigments added to the rear of the hull were applied with Pigment Fixer in several layers to achieve the look

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Pigments can be utilized to achieve many effects. Here I demonstrate how to achieve a dusty look on the top of the turret utilizing water as a fixer. This method allows easier manipulation of the pigments after they dry. In contrast, the pigments on the rear of the hull (bottom left on the next page) were fixed using Pigment Fixer, achieving the look of an accumulation of dust kicked up by the tracks.

of accumulated dust and dirt kicked up by the churning tracks. The tracks themselves received a coat of AK’s Dark Tracks paint followed by a liberal application of pigments.

FINISHED With the tracks painted and weathered, I affixed them to the model, and I was done. The Bishop was a challenging, but fun, build that seemed to go by fast. In reality, it took several months to complete. This was my first build of a Bronco kit, but not my last. The level of detail and research Bronco put into the development of this kit was extraordinary, and I’d recommend the kit to anyone. I certainly felt like the kit was an excellent base to exercise my weathering techniques, and I hope you enjoy the final product as much I do.

BRONCO BISHOP // 1/35

Kit Used Bronco Models British 25pdr 'Bishop' Scale: 1/35 Stock #: CB35077

Scale Modeling Quarterly SMQmag.com // Spring 2015

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smq

// MODELING TECH

The Great Needle Debate In the End, Does Size Really Matter?

by Bryant Dunbar

I

arrive at an IPMS show and proceed to set up my table: banners up, airbrush products on display, paper mounted on my easel, and most importantly, my airbrushes loaded with paint and ready to go for anyone who wishes to give them a try. The show opens and participants start to come through the vendor area. I’m excited to meet my fellow modelers.

A gentleman approaches showing great interest in our airbrushes. A conversation ensues, and we begin to discuss the various aspects of our airbrush products. With a quick demonstration on the paper, I hand the airbrush to the gentleman and he begins spraying fine lines, general coverage, and everything in between.

I can see he’s impressed with how easy it is to use our airbrush. He may express that he’s in the market for something better than what he already has. Perhaps this modeler has never owned an airbrush but has talked frequently with fellow builders who do. His interest is piqued, and he has questions.

“What needle size are we working with?” he asks.

“A .3 mm needle,” I respond.

“Okay, so what is the smallest needle size I can get?”

Stop the presses! I understand

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Scale Modeling Quarterly Spring 2015 // SMQmag.com

where he is going, but let’s hold on.

There are those that have the strong conviction that in order to produce a fine line, it is imperative an airbrush have the smallest needle size possible.

As a Grex Airbrush representative, I can’t speak to the needle performance of other airbrush companies, but with our engineering of the needle and fluid nozzle design, it is not necessary to have the smallest needle available to do fine-line work.

The quick and short answer to the modeler’s question is that we do offer a .2 mm needle as our smallest available size. However, for model builders and hobbyists who shoot paints, it is not necessary to have a needle that small, nor is it desirable for most applications. It’s important for hobbyists to understand that most high quality airbrushes are engineered with inks and gloss pigments in mind and not for the qualities inherent to the flat paints that model builders use on a regular basis.

The issue is one of viscosity. To put some perspective on this, Grex

Airbrush generally recommends the .2 mm needle for illustrators or media artists who shoot inks rather than paints. Inks have a much lower viscosity than hobby paints, and therefore they will flow through a smaller needle and nozzle combination with ease.

Beauticians who use an airbrush to perform nail art also prefer the .2 mm needle because they are using gloss pigments (nail polish) which again, flow more easily through the airbrush than the flat military colors we generally use.

While it’s possible to utilize the .2 mm needle and nozzle combination for model building, it does have limitations that could become challenging to the novice airbrush user. To begin, most hobby paints, whether they are enamels or acrylics, require some amount of thinning to work properly in an airbrush. The range of thinning is very narrow when using a .2 mm needle. If the

MODELING TECH //

paint is under thinned, then it will tend to spatter rather than provide a smooth flow when attempting fine-line work. If the paint is thinned too much, it ceases to perform as it should. The paint could become translucent when it should be opaque, or it may not bond with the surface of the model properly, easily being buffed or chafed off.

This latter circumstance is due to the drying and curing properties being compromised when too much thinning agent separates the paint molecules too much. In these cases, masking over the paint may also cause it to lift off the model, a frustrating but preventable problem.

Acrylic paints specifically can actually suffer from even more problems. For example, tip dry is a constant problem for most water-based acrylics. The smaller needle size will likely exacerbate the problem. Furthermore, even if acrylic paint is thinned correctly, there is always the possibility of an unusually large particulate of pigment in the mixture causing clogging issues. Going from a .2 mm needle to a .3 mm needle may sound like semantics, but trust me; it does make a difference and will reduce or eliminate these problems.

So, how does the .3 mm needle still provide quality fine-line performance despite its bigger needle size? For Grex, the answer is in the taper of the needle itself. Most airbrush needles have a compound taper somewhere between the needle tip and the full diameter of the needle. That is to say, the needle tapers slightly from the shaft towards the needle, but then has a more extreme taper to the very point of the needle. Holding a needle against a white background will

easily show its profile; give it a try the next time you clean your brush.

While this typical needle engineering creates strength, it compromises needle performance when it comes to detail work. Looking at a Grex needle, the taper is almost straight, and as a result this provides a superior fine-line performance when tested against comparable needles made in the standard style.

While Grex Airbrush needles are made of stainless steel to maintain integrity, even this strong metal can be damaged. To that end, Grex ensures the pricing of our needles is affordable so performance won’t be sacrificed over longevity concerns.

Ultimately, with the design of the .3 mm needle, in conjunction with Grex’s fluid nozzle engineering, fine lines are easily obtained, even with less-than-perfect thinning of the paint. Additionally, while tip dry will always be an inherent issue with water-based paints, it too will occur at a reduced level. In the end, practice with and knowledge of the qualities of your preferred brand of paint will still be necessary; however, the likelihood of success is much greater with well-engineered equipment.

Based on all of the information I’ve shared with you, when I’m asked what size needle a modeler

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should start with, I can confidently suggest that hobbyists start off with an airbrush equipped with a .3 mm needle. It is the preferred choice over the .2 mm needle, as it will prevent a lot of unnecessary frustration. If at some point, an experienced modeler wishes to change their needle size, most airbrushes can be converted with the right parts. For example, Grex Airbrush offers the TK line of nozzle kits that fit the Grex Tritium TG and TS, along with the new Genesis XGi and XSi. The kits are available in .2, .3, or .5 mm sizes, and they include all the parts necessary to change the needle size: a needle, fluid nozzle, and nozzle cap that are matched for the best possible performance.

I look forward to my time spent representing Grex Airbrush at IPMS shows. It’s a great chance for me to help educate modelers on the design, engineering, and science behind great airbrushes. Ultimately, it’s my hope that I will help to provide each modeler with the skills—and perhaps a new Grex Airbrush—that will set them up for success and enjoyment in their model-building experience.

Bryant Dunbar is an awardwinning modeler and current employee of Grex Airbrush.

Scale Modeling Quarterly SMQmag.com // Spring 2015

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The frigate USS Constitution, a wooden-hulled, three-masted sailing ship, is the oldest commissioned naval vessel afloat in the world. Launched in 1797, Constitution is one of the original six frigates authorized along with the reestablishment of the United States Navy in 1794. The unique hull design of the Navy’s frigates, a technological advantage at the time, would contribute to Constitution’s success.

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hortly after her launch, USS Constitution helped secure victory in the First Barbary War, but is most well known for actions against Great Britain during the War of 1812. Constitution defeated five British warships, and during battle with HMS Guerriere, after a cannonball bounced off her side, Constitution would earn her nickname, Old Ironsides.

USS Constitution’s fame saved her from being scrapped, and she was designated a museum ship in 1907. Today, Constitution remains a commissioned US Navy vessel with a crew of 60 active-duty officers and sailors, and she regularly participates in ceremonies, educational programs, and special events. While Constitution is typically open to visitors, she will enter Charlestown Navy Yard in March 2015 to undergo a three-year restoration, leaving visitors just a few months to tour Old Ironsides before her return in 2018!

US Navy photo Spring

by Mass Communication Specialist 1st Class Andrew Meyers / State map illustration ©iStock.com/zak00 2015 // SMQmag.com

REVELL USS CONSTITUTION // 1/196

Set Sail with

Old Ironsides Building Revell's 1/196 Scale USS Constitution

by Sherman Cooper

Unassisted & Underway Constitution marks the 200th anniversary of her victory over the HMSGuerriere during the War of 1812 by setting sail unassisted.

The kit's cannons require a great deal of work to remove the seam lines and sink marks.

Drilling out barrels will quickly improve the look of the many cannons.

A hobby knife blade makes for an excellent filling tool. Putty easily hides the prominent sink marks on the carriages.

Scale Modeling Quarterly SMQmag.com // Spring 2015

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1/196 // REVELL USS CONSTITUTION

The gun deck must be painted before the hull is assembled, while painting the top deck first is just easier.

A toothpick is the ideal disposable tool for spreading Testors Non-Toxic Cement along the hull's mating surfaces.

KIT CONSTRUCTION To represent USS Constitution, I used Revell’s 1/196 scale kit, although I chose to make several minor modifications during the construction process to more accurately represent some of the details.

I dived into the kit by removing the many cannons, molded as one piece with their gun carriages, from the sprues. It was obvious that each one would need some work before I could install the lot below decks. First, I wanted to add to the realism by drilling out the cannon muzzles.

Working carefully with an appropriately sized drill bit quickly brought the cannons to life.

There were sink marks on the front of some of the gun carriages that would be easily visible through the gun ports. I filled the sink marks using Testors Contour Putty as filler. I used it for all of the filling needed throughout the build. It is very easy to sand once dried and, if applied in thin enough coats, it dries quickly. I applied the putty to the gun carriages using the tip of a hobby knife, scraping most of the excess putty from the sink marks after filling them. This method leaves only a minimal amount of filler that will need to be sanded smooth. Once filled and cleaned up, I painted the carriages brown and set them aside to dry.

Beginning the main build, I started by painting the deck, applying two to three thin coats to the main deck before the assembly of the hull. I also painted the visible portions of the gun deck. When the paint was dry, I superglued the cannons into position on the gun deck and assembled the hull halves, along with the main deck, to form the main hull assembly. The hull halves

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The assembled hull is ready for painting and details.

were assembled and cemented into place using Testors Non-Toxic Cement for Plastics (the blue tube). I applied this with a toothpick onto the mating surface of one of the hull halves, let it sit for a couple of minutes, and then assembled the pieces, ensuring that the main deck was aligned with the mounting points of both halves of the hull.

While the hull was drying, I started to assemble the yards to the masts, starting with the foremost mast and working aft. To avoid accidentally mixing the yards between the masts, I assembled one mast at a time, removing the appropriate yard only when I was ready to cement it in place. Since these assemblies are delicate, I reinforced each joint with superglue after the cement dried and before proceeding with the build. While working on the masts, I assembled the bowsprit in the same manner. There were many ejector pin marks that needed to be filed away or filled before painting the mast assemblies. I filled the marks that couldn’t be sanded away with Testors putty, letting it dry, before I sanded

REVELL USS CONSTITUTION // 1/196

Careful, methodical assembly yields true yards and masts.

them smooth. I used a paint brush to apply a coat of white paint to each of the assemblies. The first coat of paint highlighted several numerals on each of the bottom yards that needed to be filed away before painting a second coat of white to the masts and yards.

Moving back to the now dry main hull, I installed the remaining cannons to the upper deck. The directions call for this step to be completed before the hull assembly, and I found that I should have heeded this warning since placing the cannons in the holes where they were meant to be installed was

difficult. For many of the cannons, I had to drill the mounting holes out before they would fit.

The assembled hull halves had a few gaps that needed to be filled with putty. There were also many locations on the hull where mold seam lines were obvious, such as along the top of the deck rails, on the stays to either side of the hull ladders, and in the forecastle area.

These lines were worked smooth using a flat file. I also filled the gap running along the perimeter of the deck with school glue applied with a paintbrush.

The paintbrush allowed me to move the glue around enough to better fill the gap.

By this time, the white base coat on the yards was dry, so I applied a coat of tan color to each yard and test fitted the masts to the hull assembly. Although there was some play in the masts, the bowsprit had to be narrowed at the

Even with a great deal of preparation and care in assembly, surprises like the numbers on the yards can slip through.

base for it to fit properly.

Rather than affix the masts and bowsprit to the hull at this point, I began to embellish the deck by attaching the various detail parts, following the kit directions to place the banisters, the ship’s wheel, and more. The pieces were installed unpainted, before receiving a coat of brown paint to complete them. Finally, I installed the rudder, the anchor mounts, and figurehead—a carved wooden depiction of President Andrew Jackson—to the hull. The kit included thread to hold the two main anchors.

This was, appropriately, threaded through the hull and tied to each anchor.

However, to ensure that the anchors, and the knots securing them, would not come loose, I applied a dab of superglue to both the anchors and knots to fix everything in place.

As the test fittings had revealed, there was a lot of play in each of the

masts. Therefore, I used superglue to fix them in place. After applying the superglue, I first ensured that the three masts were perpendicular to the deck and aligned with each other before applying accelerant to the superglue. The accelerant provided an initial instant bond so that I didn’t have to hold all three masts in place as they cured.

PAINTING With the basic hull construction and some initial painting complete, the more detailed paint application could begin.

As a sailing ship from the 1800s, USS Constitution is free of the constraints of the RLM or FS paint systems. I used a variety of paint brands and colors, mostly leftover from previous projects, to detail the ship. The only paint I bought specifically for this project was used to simulate the copper plates

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1/196 // REVELL USS CONSTITUTION

of the hull, and for this, I used craft paint. I applied the copper coat to the panels along the bottom of the hull, making sure to brush the paint along the length of the panels. I used a thin black acrylic wash to highlight details on the hull. Capillary action easily drew the paint into the details, such as the windows for the captain’s quarters at the aft of the hull and the figurehead of Old Hickory.

I further enhanced the kit’s molded-in detail with a paint layering technique. I would first apply a base color, generally an acrylic paint, over which oil paint is added to enhance the depth of the painted surface. I used a regular bristle paintbrush— the cheap kind found in multipacks at chain craft stores, nothing fancy— to apply these layers. For example, I brushed a thin layer of white oil paint over the black planks on both sides of the hull and the aft section. I allowed this oil paint to dry completely and then removed most of it, using either a paper towel for easy to reach places or a brush dipped in thinner to remove the paint from the more difficult to reach

areas. The deck received various shades of brown oils to add depth to the simulated wood, and it was further enhanced with a very thin layer of black, making sure to allow it to accumulate along the ridges of the deck planking, once the brown paints had dried.

SAILS & RIGGING Billowing sails are provided on a vacuum-formed sheet. I roughly cut out the individual sails from the sheet using a hobby knife. I then carefully trimmed the excess material from the sails with a pair of scissors. The scissor cuts left some abrupt lines around the edges of the sails, so these were softened using rolls of 400-grit sand paper.

With the rough edges finished, I first needed to poke holes into the corners of the sails before they could be installed on the yards. The kit instructions recommend making the holes with a needle. This technique resulted in some deformation of the plastic around the hole, so I once again trimmed and sanded the sail to flush the edges of each hole. Instead

of trying to attach each upper sailmounting hole to a yard with an individual piece of string, I decided to weave the provided tan thread through the holes continuously while wrapping it around the yard.

This method sped up the attachment of the sails, which I installed from fore to aft. The lower rigging for a sail full of wind, as the kit’s sails are molded, pulls taught, so I wanted to somehow create a taught line from the thread, without actually tightening it so much that the yards might bend. The solution I used was to soak a stretched piece of thread in superglue to make it rigid. It can then easily be cut to size and simulate a taught line, with no pressure on the sails or yards.

Superglue proved to be a very useful tool for many of the rigging attachments. Rather than tying the thread on, I used a bit of superglue applied to the attachment point to fix the lines. I later went back and trimmed the loose ends with a hobby knife once the glue dried. Superglue also has the side benefit of more accurately simulating an attachment

Details abound on the deck, while copper paint makes the hull shine. White oil paint is used to add depth to the black planking in the same way a dark wash will highlight detail on a lighter surface.

Thread holding the main anchors is the first of many rigging steps in the build.

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Kit Used Revell USS Constitution Scale: 1/196 Stock #: 85-5404

Superglue securely holds the masts in place, though careful alignment is needed when installing them.

The vacuum-formed sails arrive on a single sheet, and a hobby knife is used to roughly cut them out. Labeling each sail will simplify the rigging process.

The sails are trimmed to shape with scissors, then the edges are smoothed with 400-grit sandpaper. Per the instructions, a needle is used to create rigging holes.

point in this scale, where a tie would not be visible as the rope wrapped around the mast or yard.

I started rigging with the bowsprit and worked my way aft, working from the centerline outward so that I didn’t have to reach through my previously rigged portions of the ship to add new lines. Even with a methodical method, several of the ropes needed to be routed through the masts and lines installed using a pair of tweezers. I liberally used superglue to fix the ropes that were around masts and yards so they would remain in place.

The molded ratlines (the gridded rope rigging that sailors use to climb the masts) were affixed using superglue. Their fit was less than perfect, and I had to sand away some of the structure to get these plastic representations of rope to fit. I’m undecided on where I stand regarding the use of plastic parts for these lines. They do install quickly, but tend to look a little bulky. I also noticed that when compared with the instructions, some of the vertical lines are missing from the parts that are supplied with the kit.

FINAL CONSTRUCTION & FINISHING Putting together the last parts of the model was very straightforward.

The pieces of the away boats were easily painted before being assembled, and were easy to install Weaving a continuous strand of thread through the sail's holes and around the yard arm simplifies the rigging process.

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1/196 // REVELL USS CONSTITUTION

on the Constitution using superglue. The boat at the very aft of the ship was hung from its supports using the rigging rope supplied. I installed the flags by cutting them from the supplied sheet, folding them around their masts or the appropriate rigging, and adhering them with white glue. I found that the large national ensign caused the rigging to deform when installed, so I reinforced the section of rigging with superglue after attaching the flag to it.

With the build nearing a close, there were multiple places on the model that needed some minor paint touchups. Once completed, I once again highlighted most of the model’s details through a series of washes and dry brushing using various colors of acrylic paint and oils. The sails required a light wash to add some life: I applied brown and gray oils thinned almost 10:1 with thinner and brushed on with a large, flat brush. I then immediately used the same brush, loaded only with thinner, to remove most of the applied wash. After everything was dry, I applied a flat acrylic varnish to most parts of the ship, including the sails, and a shiny gloss acrylic to the copper plates on the hull.

To finish the base, I painted it a wood-brown color.

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I’m planning to eventually put this model into a dynamic water scene, but until then, the kit-supplied base will serve to display the model.

A YARE BUILD Overall, Revell’s Constitution builds up into a nice model. It’s a great kit to experiment with, and if you fancy building a wooden sailing ship one day, I’d highly recommend this kit as an initial practice step; it provides plenty of rigging experience. Although it is possible to craft this kit into a top notch model, it will require a lot of patience along with some significant effort thanks to the flash, mold seams, ejector pin marks, and more present on this perennial kit. Although I certainly could have spent more time trying to achieve a contest winning fit and finish, I enjoyed building Constitution. It was a fantastic return to modeling sailing ships, and I had the chance to practice my skills and learn a few new ones! I also took the build as an opportunity to learn more about the history associated with Old Ironsides. I think my next kit will be something moderately more complicated, and I’m excited to see if it will be as fun to build!

Scale Modeling Quarterly SMQmag.com // Spring 2015

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with g n li a e D r o f Tips

Lines l e n a P d e is e Pesky Ra

Thos

rbet as a o s ty s ta a s r e a chef off ering flavor, Much as when w o p r e v o , g n o after a str equivalent. g n palate cleanser li e d o m e oking for th lo lf e s y m d n fi multi-engine , I le a c s 2 7 / 1 , -assemble rticle, have a is Basic, quick-to th in g in tn e P-38J Ligh th e k li , ft a r c ir a e of pace. g n a h c g in h s e been a refr ca

by Joe Marran

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Scale Modeling Quarterly Spring 2015 // SMQmag.com

Lightning Image ŠiStock.com/sdsNikon

SECTION TITLE // 1/700

A

Scratchbuilt details include installing a new instrument panel, wiring the radio compartment, installing a screen mesh on the cooler intakes, and adding wire tubing to the landing gear bays.

With detailing the fuselage complete—and any seams, steps, or gaps taken care of—it was time to paint the fuselage. The panel lines will be restored after the base coat has been applied.

s with most modelers, I can find myself growing tired of building in my typical area of interest— in my case, 1/48 scale single-engine fighters. I found the somewhat-aged 1/72 scale Hasegawa P-38J kit hiding in my stash. An adequate representation of the distinctive twin-boomed fighter, the model compares well to newer kits in terms of the amount of detail present; however, unlike the current state-of-theart kits, the panel lines are represented with raised lines on the surface of the model.

So what to do? I could have tried to find a newer kit, but then what of this particular kit? It was certainly worthy of more than a life languishing in a dusty corner of a stash, or worse, an unceremonious final flight into the trash. I knew it would prove to be a fun kit to build, and that was all the motivation I needed to get started. I was more uncertain if it would actually build into a worthy model, raised panel lines and all.

Hasegawa’s P-38J Lightning is a straightforward build when following

the instructions. I made some minor improvements to the model, such as boxing in the wheel wells and the oil cooler intakes, and added some extra details, like grills on the nacelle intakes, tubing in the landing gear bays using wire, and drilling and scraping out the fuselage ducts and vent. I also added extra details to the cockpit, including a scratchbuilt seat. I heavily modified the one-piece canopy by separating the various sections with a razor saw so that it could be posed open.

As with any kit featuring raised panel lines, there were many points in the build where an assembly joint intersected with a line. Eliminating a join by sanding inevitably destroyed the panel lines in the vicinity. It’s up to the modeler to come up with a way to restore the lost lines, and this extra work is where raised-line kits get their reputation as unwanted or unbuildable. I’ve read about other methods of reconstructing panel lines; many modelers rescribe some, or all, of the lines, and some use stretched sprue to actually rebuild the line in plastic. For me, none of these methods have produced

A new pilot’s seat made with cut aluminum from a soda can and glued together using CA. The seat was embellished with belts and a cushion made of masking tape.

Scale Modeling Quarterly SMQmag.com // Spring 2015

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1/72 // HASEGAWA P-38J LIGHTNING

an acceptable line that looked like it was inherently part of the model.

Fortunately, I’ve found a simple technique, using thickened acrylic paint, to rebuild my lines.

Before I start my panel-line restoration technique, I first paint the model. In this case, I painted the Lightning in olive drab over gray, typical of southern-Pacific US Army Air Corps schemes of the era.

Once the paint is dry, I begin work by applying a piece of Scotch Tape along the missing line, ensuring that the edge of the tape extends beyond both ends of the missing portion. I also ensure that I burnish the tape against the model so that no material will seep underneath.

With the tape in place, I’m ready to apply a thin layer of my custom filler along the missing panel line.

I create the filler by using acrylic paint, the same color applied to the area with the missing line, and mix in an equal amount, by volume, of cornstarch. More cornstarch can be

added if the consistency is too thin.

The acrylic paint that I use also has a hardening medium already mixed into it to ensure that it will adhere to styrene and be sandable.

With the color-matched filler prepared, I apply it to the edge of the tape, along the missing panel line, with a brush. I make an effort to taper off the paint as I draw it away from the panel line into the interior of the panel, creating a smooth transition.

After the paint is dry, I remove the tape and further shape the raised panel lines using a sharp hobby knife. I also use very fine sandpaper, either 1000- or 1500-grit to help feather the filler. If additional paint blending or touchups are needed, it’s as easy as respraying the base color over the repaired area. I recommend practicing this method a couple of times to get the feeling of the paint and the materials that you’re working with; however, once you’ve mastered the technique, raised panel lines will be an easy fix. Now it's time to apply the decals.

Restoration starts after painting over the missing panel line so that the colored filler will blend.

A piece of tape creates a ridge along the path of the missing line for the filler to build against.

RESTORING LINES

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Scale Modeling Quarterly Spring 2015 // SMQmag.com

WEIGHT ISSUES With the panel lines in place, I decaled the P-38 to represent Buffalo Blitz, piloted by Lt. Fred Champlin of the 341st FS/457th FG, since my hometown is right outside of Buffalo, NY. The remainder of the P-38 build seemed as if it would be uneventful and straightforward, I simply needed to attach the various exterior subassemblies, like the landing gear and props. However, things took an unexpected turn when I finally got Buffalo Blitz on her gear. I thought I had added enough weight in the nose to keep my Lightning from being a tailsitter,

The acrylic base color and cornstarch are mixed in a measuring spoon.

Acrylic is water-based, making it compatible with the cornstarch.

With the filler dry and the tape removed, the restored line can be further refined with sanding.

HASEGAWA P-38J LIGHTNING // 1/72

but dishearteningly, the twin-booms sank to ground. I had to drill a hole in one of the nacelles to add weight in the form of bird shot. I added the shot and followed it with copious amounts of superglue to get my Lightning to sit on its tricycle gear. The hole was patched up with a couple of applications of my cornstarch/paint filler, and finally, it was carefully airbrushed over with gray, forever hiding it.

To finish the build, I added some weathering using oil paints, did a final once-over, and corrected the few minor finish issues that I found. Finally, I added the delicate glass side windows and hatch. With all of the final details in place, I called this one done. These quick, basic kits are fun to build between projects, and they offer many chances to try out advanced modeling techniques on a less intense project. Much like a good sorbet, I think I’m getting hooked on them!

The restored panel line looks as if it's a part of the kit once the model is gloss coated for decal application, leaving no reason to fear raised lines.

Weathering Raised Details

Raised details mean a typical wash can't be used—there are no recesses for paint to fill. Instead, oils are applied to the surface and spread along panel lines and details.

After an hour, excess oils can be removed with low-oder mineral spirits on a paper towel. Dot filtering (streaking random oil dots) is also useful with raised panel lines.

Kit Used Hasegawa

P-38J Lightning Scale: 1/72 Stock #: SP127

Scale Modeling Quarterly SMQmag.com // Spring 2015

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1/700 // SECTION TITLE

BUILD

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SECTION TITLE // 1/700

DING A LEGEND Taking On Dragon's Impressive 5-Foot-Tall Saturn V Rocket

by Matthew Cottrell

T

he Dragon Models Saturn V in 1/72 scale is nothing short of momentous. The completed model will stand almost five feet tall! It's perhaps the tallest injection-molded kit available today. My build of this 1/72 scale Saturn V certainly promises to be an amazing undertaking and you can be the first to watch it unfold when you sign up for the SMQ e-newsletter at SMQmag.com.

In this special preview of the first installment, I'm unpacking and organizing the many sprues, inter-stage rings, and rocket halves.

This task has also put me on notice that I'll need to find a suitable display location before the end of construction.

STAGE 1: UNPACKING AND PREPARING The Saturn V rocket, workhorse of NASA’s Apollo program, was a phenomenal engineering achievement that propelled man beyond the bounds of our own world. Standing at 363 feet tall and delivering over 7.5 million pounds of thrust, the Saturn V could lift 130 tons into orbit. There is no end to the array of superlatives that can be assigned to it.

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1/72 // DRAGON SATURN V

A MASSIVE ROCKET The base of the first stage dwarfs both the 1/72 scale astronaut and a typical 12 oz soda can.

The Saturn V has been well represented in scale-model form many times, with kits first released in the Apollo era still available for purchase today. A more recent Saturn V comes from Dragon Models.

As with many of the Dragon Models 1/72 scale spacecraft, the Saturn V kit is an offshoot of their pre-finished offering. This strategy is certainly a boon for modelers, as it allows Dragon to provide kits that may not otherwise be commercially viable. However, the kit’s origin as an affordable pre-finished model means that there are many compromises on details and accuracy. Although the kit may not be as accurate or as well researched as is expected in a modern kit, the plastic parts themselves certainly

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live up to current standards. Multiple pieces are produced using state-ofthe-art slide-mold technology, and the kit looks as if it will build without any major concerns.

THE ENGINES Judging by the size of the box, I expected that the first and second stages would arrive as two large cylinders. Instead, the only parts pre-molded as full cylinders are the upper and lower portions of the stages, along with the various interstage rings. The bulk of each stage is constructed from cylinder halves.

Dragon provides nicely molded end caps for each of the stages.

However, the details represented on the parts are somewhat simplified compared with the real article. The caps represent the domed tops of

the various propellant tanks and the engine mounting platforms at the base of each stage.

The three stages of the Saturn V were equipped with a total of 11 engines to propel the Apollo missions to the Moon. At liftoff, the Saturn V produced an enormous 7.5 million pounds of thrust to overcome the Earth’s gravity. With a model this size it’s almost a requirement to provide a stand. In this case, Dragon has delivered with a nicely molded one-piece base featuring a substantial aluminum rod that inserts into the completed first stage, passing through the center F-1 engine.

Working our way up, the first stage, the S-IC, featured five of the liquid-fuel F-1 engines, each producing 1.5 million pounds of

DRAGON SATURN V // 1/72

thrust. Dragon provides each of the detailed F-1 engines on their own sprue, a mini-model unto themselves! The S-II, the second stage, was also equipped with five engines, but made do with the J-2 engine, producing just under a 250,000 pounds of thrust each. The S-IVB, the third stage of the Saturn V, used a lone J-2 engine to push itself and the Apollo payload into Earth orbit and then on to the Moon.

Dragon has produced a unique version of the J-2 for the third stage.

THE PAYLOAD Dragon has already covered the majority of the Apollo equipment in 1/72 scale. The Command/Service Module (CSM), the Lunar Module (LM), and even the Lunar Rover have all previously been released.

In fact, Dragon released the entire upper segment of this Saturn V kit in an Apollo 10 boxing that included everything above the third stage: the Instrument Unit ring, the Spacecraft Lunar Module Adapter (SLA),the LM, the CSM, and the Launch Escape System (LES). If you’ve built any of these releases, you’ve already seen most of these parts.

The familiar CSM kit has very nice surface detail, although the construction of the Service Module requires careful gluing and filling to prevent gaps. The Lunar Module’s complex shape is fairly easy to assemble thanks to the kit’s design, but it will still be a challenging masking job when painting the LM! The textured surface of the descent stage and legs will help provide a convincing foil-covered look.

In the previous Apollo 10 boxing only a clear Spacecraft Lunar Module Adapter (SLA) was provided, while

The fully packed box is carefully unloaded to reveal the full cylinder sections (top left), main body halves (top right), stage end caps (middle left), engines (middle right), various external fittings (bottom left), and the Lunar Module sprues (bottom right). See the full kit contents at SMQmag.com/saturnv-1.

Scale Modeling Quarterly SMQmag.com // Spring 2015

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1/72 // DRAGON SATURN V

in the Saturn V kit the entire SLA and Launch Escape System (LES) sprue is molded in clear. This will allow some interesting cutaway-style painting if so desired.

Finally, the kit has a nice set of decals and a fairly basic set of instructions packaged with an addendum covering some modified assembly steps. Still, careful attention is necessary during the build, as Dragon instructions can be somewhat vague and have had mislabeled parts in the past.

ORGANIZING THE PARTS Tackling a kit as big as the Dragon 1/72 scale Saturn V can be a challenge. A bit of organization can go a long way towards making the build a more enjoyable experience.

Before any work begins, it’s best to spend a few minutes going over the instructions and making a plan of attack. As with most kits, the Saturn V is very easy to break down into stages. In this case, the literal stages. I’ll tackle each stage and each piece of Apollo hardware as a separate build. With a plan made, the kit can be prepared for its execution.

The Saturn V is presented on a large number of sprues, including some that share the same letter. This is a common trait, often seen in 1/35 scale armor kits, when a complex model features parts from previously released boxings. Adding a tape label will help you easily identify the sprue by letter and use, as well as individually identifying duplicate sprues.

The Saturn V’s large box is far too unwieldy to easily store and access parts around the workbench. The kit also has a mix of large, heavy parts and delicate details.

The best plan is to sort the many parts into various boxes of subassemblies. I left the large stage bodies and rings in the kit’s box since I’ll only pull them out one at a time when starting their construction. Large, reusable plastic boxes are perfect for organizing and protecting the smaller parts. Labeling each bag

Kit Used Dragon Apollo 11 Saturn V Scale: 1/72 Stock #: 11017

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Scale Modeling Quarterly Spring 2015 // SMQmag.com

Tape labels help you easily identify the sprue by letter and use, as well as individually identifying duplicate sprues.

The kit decals, instructions, and addendum covering some modified assembly steps.

and box will help you to quickly find the parts you’re looking for.

Keeping a supply of small plastic bags, easily found at large chain craft stores, is helpful for storing loose parts and small assemblies in the larger boxes. Although organizing and labeling a large kit will take a few minutes, it will save a great deal of time and frustration as the build progresses. Another great benefit of sorting the kit into subassemblies is that it will allow you to easily move between the various build stages. If you’re burned out on one task, simply box the parts up and pull out another piece of the puzzle.

SEE THE BUILD AT SMQMAG.COM This is just a short preview . . . my Saturn V build continues exclusively in SMQ's e-newsletter. Sign up at SMQmag.com/saturnv-1/ to be the first to receive the next installment as construction begins!

Scale Modeling Quarterly SMQmag.com // Spring 2015

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smq

// MODELING TECH

Creating Camo Masking Camouflage Patterns Using Frisket Film

by Jacob Mills

Masking complex camouflage patterns had always been difficult for me until I picked up a tip from a fellow modeler at a recent contest. While admiring one of his models that had a paint scheme with complex curves and crisp demarcations between the color patterns, I had to ask how he did it.

H

is secret was frisket film.

Although it sounded like a baking material, little did I know that it’s a masking material specifically used by airbrush artists.

To give his technique a try, I felt Eduard’s 1/48 scale MiG-21MF would be an appropriate subject. The ProfiPACK version of the kit comes with no fewer than six marking options featuring camouflage! I chose to build a German Democratic Republic (East German) aircraft from Jagdfliegergeschwader 3, based out of the Preschen Airfield, circa 1990.

The scheme is composed of a light and dark brown camouflage pattern on the top, with a blue underside.

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Scale Modeling Quarterly Spring 2015 // SMQmag.com

Before diving into the camouflage scheme, I preshaded the model by applying thinned black paint along the panel lines. I then painted the base colors, light blue on the bottom and the lighter brown on the top. It’s important to apply a camo pattern from the lightest color to darkest; the darker colors will easily cover the lighter ones, while a light color may not easily or fully cover a darker one. Once the base colors had dried, I then masked the bottom of the plane with normal masking tape. It was time to try my hand at frisket film.

I used Badger’s gloss-finish Foto|Frisket Film for my masking

experiment. The frisket film comes mounted on a paper backing. This allows the film to be easily cut to shape, and the backing simply peels off when you’re ready to apply it.

To mask the model to receive the dark brown color, I first studied the illustration provided in Eduard’s instruction set. I decided not to cut my masks exactly as shown, opting to use the general pattern instead.

Since the instruction’s illustration isn’t drawn to the same scale as the model, I used the model to get a rough size of the masks that would be required, cutting frisket into squares of roughly the correct size. I then outlined the edges of the pattern onto the roughly sized square with a pencil, and cut the actual shape out using scissors. The scissors were the right tool for the job; I wanted to create smooth, tight curves, which was almost impossible when using a hobby knife on the small patterns.

Application of a mask was simply a matter of separating the film from the backing. The frisket is clear, so it allows you to see where it is

MODELING TECH //

being placed. In this case, I positioned my masks by following the camouflage illustrations and using the panel lines as a guide. Once a mask was positioned, I pressed it in place with my finger, and then burnished the edges to the model using a rounded toothpick.

Once the entire plane was masked, I carefully airbrushed the dark brown paint onto the model,

applying multiple thin coats to achieve coverage.

I allowed the paint to dry before I removed the masks. The frisket can be removed by carefully prying an edge up with a hobby knife and then grasping the lifted corner with tweezers to gently pull the mask off. I was left with a perfectly finished camouflage pattern on my MiG.

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ADVERTISER INDEX Pocketmags.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 The camouflage pattern is roughly outlined on the frisket film using the instructions as a guide. Cutting the masks with scissors allows for smooth curves.

Models For Troops. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 MicroWorld Games, LLC. . . . . . . . . . . . . . . . . . . . . . . . 11 SMQ Subscriptions. . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 SMQ Call for Authors . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Shweiki Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Grex Airbrush. . . . . . . . . . . . . . . . . . . . . . . . . . Back Cover If you would like to see your company in SMQ, please contact ads@SMQmag.com for insertion rates.

STORE LISTINGS Rail Tales 705C Dale Avenue Charlottesville, VA 22903 www.railtalesva.com The frisket film mask is peeled from the paper backing and applied over the base color. Once the contrasting color is shot, the masks are removed revealing the pattern.

Hayes Hobby House 809 Elm Street Fayetteville, NC 28303 www.hayeshobby.com

CLASSIFIEDS If you would like to see your store listing or classified ad in SMQ, please contact ads@SMQmag.com.

Scale Modeling Quarterly SMQmag.com // Spring 2015

49

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// & ONE FOR THE KIDS

Motor City Kids Model Club

IPMS Junior Chapter Helps Young Modelers Build Their Skills

FUTURE MODELERS Young modelers receive their first kit for free when they join the club. Many members have become award-winning builders.

by Mike Kendel

FOUNDER & SON Bob Blevins started the club with his son Travis.

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Scale Modeling Quarterly Spring 2015 // SMQmag.com

On Saturday, October 11, 2014, the Motor City Kids Model Club began its seventh year of introducing children to scale modeling while encouraging them to build their skills and become young modelers who enjoy our favorite pastime.

T

he group was originally formed by IPMS Livonia Chapter member Bob Blevins and his son Travis. Both are IPMS/USA Nationals award-winning modelers, with Travis taking the Best Junior award at the convention for several years running. While Bob has been the driving force behind the

club, several other members of our IPMS chapter have also volunteered to assist over the years.

The group was originally named the Nankin Kid’s Club after the local hobby shop that has provided our meeting place since the club was formed. In addition, Nankin Hobby Shop, along with other businesses

& ONE FOR THE KIDS //

and individuals, has contributed many models and materials over the years. This business support, together with support from IPMS Livonia, has meant that there is no charge to the club members.

The group meets every Saturday morning at the Nankin Hobby Shop branch in Farmington, MI, from 10:00 a.m. to noon. The first model is provided free of charge to all new members. The current Make ’n Take model is a snap-fit Camaro that the kids seem to really enjoy.

We typically have between 10 and 25 youngsters at each meeting.

The subjects they build range from the traditional cars, tanks, and planes to more diverse subjects like dinosaurs, Pokémon figures, and even the Statue of Liberty. Many of the parents stay to help as well, and sometimes they even work on their own models! It is interesting to note that although model building has been traditionally seen as a boy’s hobby, our club has a relatively even mix of boys and girls.

In addition to the regular meetings held throughout the school year, there are two parties. One occurs before the holiday break and the second happens just before the summer vacation. At each of these parties the members bring in their favorite built models and describe them to the group. This is followed by a kit raffle, where each member is given a ticket and then gets to make a selection from the donated pile of kits when his or her number is drawn. The pizza party follows, and a good time is definitely had by all!

While almost 300 young modelers have participated in this group over the years, several members have continued to attend for many seasons and have developed their

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(top) Twice-a-year pizza parties let club members show off their favorite models. (right) Long-time members like Kyle Cote advance to more complex projects.

modeling skills to a level where they have earned wins at local contests.

Last season, the club reached a milestone when it formally organized as an IPMS Junior Chapter (one of two in the country!). Along with the new status came the current name. As with adult IPMS clubs, the charter requires five juniors to be IPMS members. While several of the club members are now dues-paying IPMS members (many through IPMS family memberships), there is still no membership charge for participating in the club.

I would hope that our club will serve as an inspiration to other modeling groups, be they IPMS, AMPS, or independent. Our kid’s club started out as a totally independent entity. We were fortunate to have a dedicated advocate in Bob Blevins and the ideal space and support provided by Nankin Hobby Shop.

The same opportunity likely exists in

your community. We recruited our members through flyers and wordof-mouth at Nankin, and we ensure that we get parent or guardian names, e-mail addresses, and phone numbers, along with explicit permission for kids to participate in the program.

A receptive hobby store and a bit of organization and record keeping can help you spread the love of a fantastic hobby to the next generation. For anyone who wants some more information or would like to join in the fun, please feel free to visit our website at ipmsmotorcitykids.com.

Scale Modeling Quarterly SMQmag.com // Spring 2015

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