0890242879 How to Use an Airbrush

8/8/2019 0890242879 How to Use an Airbrush

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A b o u t t h e A u t h o r

Bob Downie is an experienced modeler with more than 20 years of

experience in airbrushing. With his show-stopping paint finishes, he has

won numerous Best Paint awards in many competitions, including a Best

Paint/Finish award at the 1997 GSL International Model Car

Championship. A frequent contributor to Scale Auto Enthusiastmagazine,

he is a professional industrial designer, with his own design and illustration

firm in Atlanta, Georgia-


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H o w t o

U s e a n A i r b r u s hO B E R T D O W N I E


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2001 Robert Down ie. All rights reserved. This book may not be repro-

duced in part or in whole with out w ri tt en permission of the publisher, except

in the case of brief quotations used in reviews. Published by Kalmbach

Publishing Co., 21027 Crossroads Circle, Waukesha, WI 53187.

Printed in the United Slates of America

01 02 03 04 05 06 07 08 09 1 0 9 8 7 6 5 4 3 2 1

Visit our website at http://kLi lmhachbooks.com

Secure online ordering av ai la bl e

Publisher's Cataloging-in-Publication

Provided by QuLility Books, Inc.

Downie. Robert, 1960-

How to use an airbrush /

Robert Downie. 1 st ed.

p. cm.

ISBN: 0-89024-287-9

I. Models and mo del mak ing .

2. Airbrush art. 3. Spray painting.

I. Title.

TT154-D69 2001 745.59'28

QBIOl-200133

Art director: Kristi Ludwig

Book design: Sabine Beaupr

All photos by Robert Downie except where noted


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C o n t e n t sIntroduction

Using an Airbrush

The "Relic"

The Hummer

'63 Chevrolet Impala

Star Wars X-Wing

'62 Pontiac Interior

Trans Am Camaro

Toyota Celica

Guzzi VIO Centauro

'68 Dodge Charger

"Metal Finish" MiG

Camouflaged MiG

Photo Gallery

Suppliers

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5

18

25

29

33

38

43

48

56

63

73

82

87

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I n t r o d u c t i o n

ne of the greatest challenges a modeler faces is creating

a great finish on a model. An airbrush is a tool that can

help immensely. But while some modelers have mas-

tered the use of this tool, others simply lack the experi-

enceor confidenceto achieve the desired results. In fact, too

many of you already own an airbrush, but are afraid of it. You

find it easier to leave it in the box. and instead continue to use

"spray bombs"paint from aerosol eans.

The airbrush unjustly intimidates loo many people. This book

wi ll help you learn to use this wonderfully versatile tool. Wit h a

l i t t l e practice and experimentation, you too can quickly master

its use.

There are hooks and magazines th at deal with airbrushing, but

most cater to artists who paint flat, two-dimensional surfaces:

T-shirts, posters, and canvas. This book is written specifically

for modelers. You want detailed instruction on how to use your

airbrush to paint three-dimensional surfaces, repli cating a vari-

ety of realistic finishes on your favorite models. The book, will

teach you lo achieve many surface finishes with an airbrush.

And I'll give you information about the mechanics of layeringthe airbrushed finish with other technique s.

This book will help you in three ways: (1) It will give you

background on the equipmentthe types of airbrushes you can

use for various purposes. (2) It wi ll introduce you to methods of

applying appropriate paints. (3) It will provide a wealth of addi-

tio nal tip s, techniqu es, and detailed step-by-step instruc tions to

help you achieve a dazzling array of finishes.

Each chapter will cover a project. Each will teach you how to

achieve various finishes on particular types of models, showing

you the materials and tools you will need. Also, I'll show you

some of the problems and specific effects associated with theimproper use ot materials.

As in many areas of modeling, the more practice you gel, th

belter model builder you will become. Most of the technique

shown in this book I've used successfully for many years

However, a few of the leehniques I tried out myself for the firs

lime, jus t to demonstrate some additional options for these projects

I suggest you use the same combination: practice to maste

common skills, and experiment lo learn new ones. With th

proper tools and experience, and a little trial and error, anyon

can learn to use his or her airbrush with a minimum of sircs

a n d e f f o r t .

Believe me. once you achieve that first truly great finish, yo

w i l l understand the immense f e e l i n g of accomplishment. Yo

will be well on your way lo mastering a tool that has revolu

tionized how paint finishes are applied to models. Succes

breeds confidence. Soon, you will be confident enough to tackl

any paint f in is h you desire on your models.

I would like to thank all who helped guide me along (he pa t

lowards completion of this book. First, 1 want to thank Pa

Covert, whose friendship and encouragement means a lot to me

He was also the one who put me in louch wilh Kalmbach Bookand the opportunity to write this book. Also, many thanks go t

a college professor of mine. Joe Ferrer, a great teacher of pro

fessional modelmaking and painting. From him I learned mos

of the skills lhat I use both professionally and in my hobby

Finally, I want lo lhank my good friend Bob Iloll'els, an accom

plished modelmaker skil led in the construction of many types o

models. He generously allowed me to borrow a number of hi

models to study and photograph in preparing this book, and h

answered my myriad questions on applying various new fin

ishes. You wil l see a number of his models as examples through

out this book. 1 am forever indebted to him for the help he iianot only given lo me but shared with you as well.


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Getting Started: Equipment,Materials , and Basic Techniques

his chapter will introduce you to the basic tools,

materials, and techniques needed to use an air-

brush properly. I will show you various types of air-

brushes, some of the effects you can achieve with them,

and some options in choosing air-propellant systems.Why use an airbrush? What makes it so superior to a

spray can? For one thing, an airbrush gives far greater

control over the volume and pressure of the air flow. It

also gives you greater control of the consistency (and the

color) of the paint that is being sprayed.

In contrast, a spray ean gives you lots of paint delivered

under lots of pressure. The volume of paint and the air

pressure are fixed; you can't adjust it. Too much paint flows

out at once, obliterating detail. It ;dso causes paint to run

or creates thin spots on sharp edges or raised details.Or the spray-can paint flows out under too little pres-

sure, causing a thiek, grainy, "orange-peel" ef fect.

While it is not impossible to achieve a good finish with

spray cans, it is far easier to achieve a great finish with

an airbrush.

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F i g . 1 - 1 , T h e m o s t b a s i c T e s t o r s a i r b r u s h s e t u p , a v a i l a b l e i n d i s c o u n t s t o r e s f o r

u n d e r $ 3 0 . I t i n c l u d e s a l m o s t e v e r y t h i n g y o u w i l l n e e d t o s p r a y , e x c e p t f o r p a i n t

a n d t b i n n e r .

How does an airbrush work? The compressed-air source

forces air over a paint nozzle (inside the airbrush). This creates

a vacuum that pulls paint up into the airflow from a paint con-tainer-an attached jar or cup. When the paint hits the air

stream, it is broken up into a mist of small panicles that are shot

out of the working end of the tool.

T h e b a s i c s e t u pThe basic equipment needed for an airbrush outfit includes an

airbrush, an air source, paint, thinner, plenty of mixing jars,

paper towels and rags, stirring sticks, and a safe, well-lit place to

paint. You need not spend a lot of money to purchase an expen-

sive airbrush or extra equipment. You can pick up a basic Testors

single-action, external-mix setup wit h propellant (see fig. 1 - l )for under $30 in discount stores or by mail order. Even with this

simplest setup, with a little practice you can achieve finishes far

superior to any using a spray can. This inexpensive tool offers a

good chance to teach yourself some techniques and finish sev-

eral models before making a commitment to move up to a more

expensive airbrush and compressor.

Basically, this airbrush works like a lot like a spray can: when

you press the trigger, paint flows onto the model (see fig. 1-3,

upper half). However, you control the paint flow in two ways:

by mixing the paint to the proper consistency and by controlling

the amount of air forced through the airbrush. And you cancustom-mix your paint and thinner to any color you desire.

A step up from the basic airbrush is the single-action, internal-

mix airbrush. This type of airbrush delivers a finer spray pattern

than the basic external-mix airbrush and is available with a vari-

ety of nozzles ranging from fine to high-flow. However, the

amount of paint delivered is fixed.

F i g . 1 - 2 . H e r e a r e t h r e e c o m m o n i n t e r n a l - m i x a i r b r u s h e s : a T e s t o r s / A z t e k M o d

M a s t e r b r u s h , a P a a s c l i e V L , a n d a B a d g e r C r e s c e n d o . A l l t h r e e p r o v i d e g o o d

p e r f o r m a n c e a n d c o n t r o l , a n d p a r t s a r e r e a d i l y o b t a i n a b l e .

F i g . 1 -3

T h e d u a l -a c t i o n a i r b r u s hThe besl all-around airbrush for many modelers is what

known as a dual-action airbrush (see fig. l-.l, lower half)- Th

button you push with your finger controls both pressure an

paint How at the same time. Pushing down on the trigger co

trols the airflow. Push down a little, and a small volume of air

precisely delivered. Push down a lot, and more air is delivere

Pull back on the trigger slowly, and the paint flow gradual


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F i g . 1 - 4 . T h e b a s i c p a r t s o f a B a d g e r C r e s c e n d o a i r b r u s h . T h i s t o o l i s s im i la r in

p a r t s a n d d e s i g n t o o t h e r i n t e r n a l - m i x a i r b r u s h e s .

changes from a fine mist to a heavy flow. With a bit of prac-

ticeand the proper consistency of paintyou will be able to

control the paint and airflow wit h precision to achieve anything

f rom a s l ight pebble-gra ined or s t ipp led f in ish to a s m oo t h ,

heavy, glossy finish.

Most dual-action airbrushes have optional nozzles and nee-

dles, used to create different effects. Generally, fine, medium,

and high-flow nozzles arc available for most airbrushes.

Most of the airbrush work I do is with this type of airbrush.

A couple of the most common dual-action, internal-mix air-

brushes are the Paasche VL and Badger 175 Crescendo. Having

used both of these airbrushes extensive ly.] feel either will work

well for most modelers. I like them both. The Crescendo worksespecially well lor high-How, gloss paint jobs on model car

exter ior f in i shes .

Testors Model Master and Aztec lines are also good airbrushes.

They are especially easy to clean and maintain, and parts and

accessories arc commonly available at most hobby shops,

You can see some of these airbrushes in fig. 1-2: the Model

Master airbrush on top, the Paasche VL in the middle, and the

Badger 175 Crescendo on the bottom. Before yon purchase one.

I suggest that you check with local retailers on the avai labi li ty of

common repair parts such as replacement tips and needles.

Since you can get great results with different brands, why notconsider buying one for which you can easily get replacement

parts locally?

Also, ask friends who already own airbrushes to recommend

their favorite choice. If you are lucky, they may let you try out

their airbrush for a test run.

If you already own an airbrush, don't worry. With practice.

you should be able to achieve professional results. And if you

follow good care and maintenance, you shouldn't need replace-

F i g . 1 - 5 . T h e R i c h M o d e l A B 2 0 0 a i r b r u s h i s a n e x c e l l e n t c h o i c e i f y o u w a n t t o

a c h i e v e s u p e r b f i n e - l i n e d e t a i l s . M a n y s e a s o n e d m o d e l e r s o w n s e v e r a l a i r -

brushes to achieve different results.

mem parts too often. With any airbrush, keep all manuals that

come with it for parts reference and assembly instructions.

Often, replacement parls and accessories are available directly

from the manufacturer.

Figure 1-4 shows the basic components of the Badger

Crescendo airbrush, partially disassembled. This type of assem-

bly is common to both the Badger and Paasche. These are the

parts you will typically deal with when cleaning your airbrush.

At left, you see the basic nozzle, and next to the nozzle is the air-

brush head. Next is the "seat," the conical piece (trapped

between the head and the airbrush body) that controls the paint

flow over the needle. Next to the seat is the airbrush itself.

Above it is the rear cover, which slides on and off the rear of theairbrush to access the air control and needle-locking mecha-

nisms. Underneath the airbrush is the needle.

The basic assembly is easy to memorize. Read your owner's

manual careful ly for assembly and cleaning instruct ions for your

specific brand. Onee fami liar with it , you can quickly clean your

airbrush or install different needles, nozzles, or replacement

components,

S p e c i a l t y a i r b r u s h e sSpecially airbrushes are available to help you achieve even finer,

more detailed results. A fine-line airbrush can be used for intri-cate camouflage and other detailing techniques that even the

"fine" nozzles on a general-purpose airbrush cannot achieve.

Figure 1-5 shows a Rich Model AB 200 airbrush made specifi-

cally for fine-line detail. This airbrush is used in several projects

later in this book. This type of nozzle allows you to use your air-

brush as a writing or drawing instrument, and delivers the paint

preciselydown to a fine line.

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F i g . 1 - 6 . C a r b o n d i o x i d e ( C 0 2 ) t a n k s l i k e t h i s o n e p r o v i d e a q u i e t s o u r c e o f

p r e s s u r e b u t m u s t b e r e f i l l e d p e r i o d i c a l l y . K a l m b a c h p h o t o

F i x e d - s u p p l y a i r s o u r c e sTo propel the paint through your airbrush, you need an air

source. Testors makes cans of compressed air called Propel,

which work well. If you only occasionally use an airbrush, this

may be an economical so lut ion. You can also purchase a special

tank at a hardware or automotive store which holds compressed

air that you can use as a propellant. The downside to these

approaches is that you may run out of pressure midway through

a project. You must stop your work to go out and buy a refill.

Another propellant source is a tank of CO2carbon dioxide(see fig. 1-6). These tanks can he purchased through welding

supply houses, and they will give you a quiet, moisture-free

source of compressed propellant for your paint. Beware of the

inherent dangers of compressed air tanks. The tanks are heavy,

and once empty, must be refilled. But 1 have heard of modelers

who used this type of propellant and were quite satisfied with

the setup.

E l e c t ri c c o m p r e s s o r sThe most favored source of compressed air for modelers is an

electric compressor. Numerous types and models are available,many made specifically for modelers. As long as the compres-

sor is an oil-less style, it should be suitable for model use. Many

larger shop-style compressors have air tanks; the compressor

runs for a while to fill the tank, then while you are operating

your airbrush it is quiet. The downside to large compressors (and

many small ones) is the noise they generate. They can be quite

loud. If you are considering purchasing one, make sure that its

use does not create too much of a racket for your family or

neighbors to endure!

Most modelers can use a common, small compressor (see fig.

1 -7). This type of hobby compressor generates plenty of airflow

for an airbrush, and can be used with or without a pressure rcg-

F i g . 1 - 7 . T h i s S e a r s c o m p r e s s o r i s a n e x a m p l e o f m a n y t h a t a r e a v a i l a b l e o n t h e

m a r k e t f r o m v a r i e d s o u r c e s . L i k e a l l b o b b y c o m p r e s s o r s , i t i s a n o i l - l e s s d e s i g n ,

p r o v i d i n g a s t r e a m o f c l e a n a i r t o p r o p e l t b e p a i n t .

ulator or moisture trap. I have found that the airflow from this

type of compressor works well most of the time.

The most common problem you may encounter is a buildup

of moisture after extended use; this results in moisture being

sprayed onto the model while you are painting. You can usually

hear the moisture whistling through the air hose just before i

travels through the airbrush. If not, you will see and hear it spi

onto the surface you are painting. At this point, you should se

the model aside to dry thoroughly, then check the finish to see if

it must be sanded and recoated with paint. Often, the grainy pattern caused by the moisture evaporates, and the surface finish is

only mildly affected. A quick scuffing with a polishing cloth or

line-grit sandpaper will correct the problem.

If this moisture spraying occurs, disconnect the air hose from

the airbrush and allow the compressor to run for a few minutes

This will dry out the hose.

To avoid the problem of moisture damaging the f inish of you

model in the first place, you can use an inline moisture trap o

one attached directly to the compressor (see fig, 1-8). This fille

can generally be purchased where airbrush supplies are sold, o

Fig. 1-8 . A d d i n g a mo isture t r a p l i ke t h i s to y o u r ai r lire will k e e p w a t e r from

r u i n i n g y o u r p a i n t j o b . K a l m b a c h p h o t o

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F i g s . 1 - 9 a n d 1 - 1 0 . T h e A u t o M i s t c o m p r e s s o r i s a g r e a t n e w c o m p r e s s o r ,

d e s i g n e d fo r h o b b y i s t s a n d m e d i c a l U S E S . I t is relatively l o w i n c o s t a n d

p r o v i d e s q u i e t o p e r a t i o n w i t h a l m o s t n o m o i s t u r e b u i l d u p i n t b e a i r h o s e s .

at a larger hardware retailer that deals with large, professional-

grade air compressors.

L o w - n o i s e c o m p r e s s o r sBecause both noise and moisture buildup had been a nuisance

with my previous airbrushing outfit, I purchased a compressor

made specifically for low-noise output and with an internal rnois-

lure trap. Several manufacturers make compressors with these

features for airbrush artists, but their cost can be high. You can

compare the price tags of such units at larger art supply stores.

Alternatively, you tan look for a compressor made by Auto

Mist (see tigs, 1-9 and 1-10) that was actually developed for the

medical industry. It even meets PDA requi reme nts ! It proved

also lo be a greal compressor for hobbyists, and it is now mar-

keted to them as wel l. The cost is competitive with other hobby

compressors.

So if noise is a big concern, you may want to find one of these.

It is extremely quiet, and unless you use it for hours at a time,

moisture bui ldu p is not a problem. It is currently available with

an optional pressure regulator, and future models may feature an

interna l regulator as standard equipment. The compressor is

light and portable, and it can be operated flat on a horizontal sur-

f a c e , u p r i g h t , o r m o u n t e d t o a w a l l .

P a i n t t h i n n e r sWhatever type of paint you will be spraying through your air-

brush, you w i l l need the proper thinner lo thin the paint and to

clean the airbrush after each use, You need to have the proper

type of thinner for the paint you are using (see fig. 1-11). Most

brands of paint have their own thinners/reducers, specifically

formulated for their particular paint. This is the thinner you

should start and practice with. Once you have become f a m i l i a r

with a paint-thinner combinalion. you may want to experiment

F i g . 1 - 1 1 . A s e l e c t i o n o f c o m m o n p a i n t t h i n n e r s f o r p a i n t s u s e d b y m o d e l e r s .

with some techniques that use alternative thinners (discussed

later in this book).

In general, most hobby enamels can be thinned either with

their "house" brand thinner, or wi th general-purpose lacquer

thinners. which are available in most discount stores. These

general-use th in ner s work well to mix with hobby enamels and

to clean the airbrush after use. However, they do not mix well

with automotive lacquers, which require their own brand-

specific thinner/reducers for proper th in ni ng .

Many hobby acrylic paints can be thinned with common

reducers such as distilled water, denatured alcohol, rubbing

alcohol, or even window cleaner. Once you have tried a manu-

facturer's brand-name acrylic thinner, you may want to experi-

ment with other "household" Ihinners to see if one works with

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F i g . 1 - 1 2 . H a z a r d o u s f u m e s a r e a d a n g e r w i th p a i n t a n d t h i n n e r s , s o s t o r e t h e m

i n a f i r e p r o o f , e n c l o s e d s t o r a g e a r e a . A s i d e b e n e f i t i s t h a t a c a b i n e t l i k e t h i s

c a n b e l o c k e d t o k e e p t h e m a t e r i a l s a w a y f r o m s m a l l c h i l d r e n .

F ig . 1 - 1 4 . T h is i s a l o w - c o s t p a i n t b o o t h , c o n s t r u c t e d f r o m a l a rg e c a r d b o a r d

b o x , u s i n g a f i l t e r t o p u l l t h e p a i n t a i d f u m e s o u t o f t h e b o o t h ,

your brand of acrylic. (Sometimes these thinners do not mix

well with the paint but offer an economical way to clean the air-

brush afterwards.)

Experimentation will yield a variety of results. Once you

ach ieve good result s, remember the process for further use! Take

notes for your personal reference. However, in general, the mostreliable results occur with thinners made by paint m anufacturers

for their specific brands and types of paint. It is always wise to

have the recommended thinne r on hand before you experiment

with alternat ive thinners.

S t o r a g eYou want to carefully store your paints and thinners in an

enclosed area. Many can emit harmful fumes, and they can be

fire hazards. A secure metal enclosure is the best protection from

fire and vapor hazards (see fig . 1-12) . Keep it locked, so the con-

tents are inaccessible to small inqu isi tiv e children. Also, alwayshave a fire extinguisher handy in your work area.

F i g . 1- 15 . H e r e is a h o m e m a d e s p r a y b o o t h , d e s i g n e d t o p r o v i d e a l a rg e , b r ig h

a r e a i n w h i c h t o p a i n t . F e a t u r e s i n c l u d e g o o d l i g h t i n g a n d a f l a m e p r o o f f a n

a s s e m b l y t o p u l l f i l t e r e d a i r a n d f u m e s o u t o f t h e b o o t h .

Light ing a nd v ent i lat ionIf you paint in an enclosed area, you will need to make or pu

chase a spray booth suitable for your models. Several manufa

turers make such booths. Standard features should include a bu il

in fan. filters, and a hose to remove the fumes (see fig. 1-13).

You can make your own low-cost enclosure from a large boand use standard furnace/air conditioning filters available

hardware stores (see fig. 1 -14). You wi l l want to paint wi th go

lig hting. A small fluorescent light fix ture mounted to the top

the spray booth is a good solution.

To remove the paint vapors and overspray, a flameproof fan

necessary. These fans can be ordered from standard home an

indu stri al sup ply houses and use a flexible metal hose to remo

the vapors. An example of ihis type of homemade spray boo

is seen in fig. 1-15. This setup is at a comfortable height f

painting, is bright and well lit, and a fan and hose in the ba

effi cien tly exhaust filtered fumes from the work area.

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O r g a n i c ( c a r b o n - b a s e d ) s o l v e n t s f o u n d i n p a i n t s a n d t h i n n e r s c a n d o s e r i o u s h a r m i f y o u i n h a l e t h e m o r a b s o r b t h e m t h r o u g h t h e s k i n . H e r e ' s a

p a r t i a l l i s t o f t h e s o l v e n t s f o u n d i n s o m e m o d e l p a i n t s a n d t h i n n e r s :

Product Solvents included

A c c u - p a i n t t h in n e r a c e t o n e , m e t h y l e t h y l k e t o n e

F l o q u i l D i o - S o l , a i r b r u s h t h i n n e r n a p h t h a , t o l u e n e , x y l e n e

S c a l e c o a t a n d S c a l e c o a t I I t h in n e r n a p h t h a , x y l e n e

C l e a r c o a t s a n d o t h e r l a c q u e r s a c e t o n e , t o l u e n e , x y l e n e

C o m m o n l a c q u e r t h in n e r m e t h y l e t h y l k e t o n e , m e t h y l i s o b u t y l k e t o n e , t o l u e n e

S h o r t - t e r m e f f e c t s o f h i g h - l e v e l e x p o s u r e t o t h e s e s o l v e n t s i n c l u d e b r e a t h i n g d i f f i c u l t y , d i z z i n e s s , f a t i g u e , n a u s e a , a n d h e a d a c h e s . S e v e r e c a s e s

c a n r e s u l t i n l o s s o f c o n s c i o u s n e s s a n d r e s p i r a t o r y f a i l u r e . O b v i o u s l y , i f y o u e x p e r i e n c e a n y o f t h e i n i t i a l s y m p t o m s , g e t i n t o f r e s h a i r i m m e d i a t e l y

a n d t a k e s t e p s t o s e e t h a t t h e e x p o s u r e i s n ' t r e p e a t e d . S e e k m e d i c a l a t t e n t i o n p r o m p t l y i f a n y s y m p t o m s p e r s i s t .

L o n g - t e rm e f f e c t s o f c o n t a c t w i t h d a n g e r o u s l e v e l s o f t h e s o l v e n t s c a n i n c lu d e d e t e r i o r a t i o n o f b o n e m a r r o w , W o o d d i s o r d e r s , a n d n e r v o u s s y s -

t em d a m a g e ,

T h e s e p r o d u c t s c a n b e u s e d s a f e l y . B y p r o v i d i n g a d e q u a t e v e n t i l a t i o n ( a s p r a y b o o t h ] a n d w e a r i n g a n a p p r o v e d r e s p i r a t o r , s u c h a s t h e o n e i n

f i g . 1 - 1 6 , y o u c a n k e e p e x p o s u r e t o t h e s e c h e m i c a l s w e l l w i t h i n s a f e l e v e l s , L o o k f o r a c h e m i c a l - c a r t r i d g e r e s p i r a t o r t h a t f i t s y o u r f a c e p r o p e r l y

a n d d o e s n ' t a l l o w a n y a i r i n e x c e p t t h r o u g h t h e f i l t e r s . T h e m a s k s a r e a v a i l a b l e i n s e v e r a l s t y l e s a n d s i z e s . F o l l o w t h e m a n u f a c t u r e r ' s d i r e c t i o n

r e g a r d i n g p r o p e r f i t t i n g a n d m a i n t e n a n c e .

Safety labels of paints and thinners usually list the type of chem ical cartridge needed to p rotect you from that product's ingredients. For most

o f t h e s o l v e n t s l i s t e d a b o v e , a T C - 2 3 C c a r t r i d g e f o r e q u i v a l e n t ) a p p r o v e d b y N I O S H a n d M S H A i s r e c o m m e n d e d . T h i s n u m b e r c a n b e f o u n d o n t h e

c a r t r i d g e i t s e l f a s w e l l a s o n t h e p a c k a g i n g f o r t h e m a s k a n d c a r t r i d g e .

E y e p r o t e c t i o n i s a l s o a m u s t w h e n w o r k i n g w i t h s o l v e n t s , A s t r a y s p l a s h o r s p r a y o f s o l v e n t c a n e a s i l y i n j u r e y o u r e y e s , s o a p a i r o f s a f e t y

g o g g l e s s h o u l d b e s t a n d a r d e q u i p m e n t .

T h i s i n f o r m a t i o n i s n ' t d e s i g n e d t o s c a r e y o u a w a y f r o m t h e s o l v e n t - b a s e d p a i n t s . H o w e v e r , i t ' s i m p o r t a n t t o u n d e r s t a n d t h e n e e d f o r s a f e t y a n d

t h e m e t h o d s y o u s h o u l d t a k e t o p r o t e c t y o u r s e l f a n d y o u r f a m i l y .

S o l v e n t d is p o s a lN e v e r d i s p o s e o f y o u r o l d t h i n n e r o r p a i n t b y p o u r i n g i t d o w n a d r a i n . A l s o r e f r a i n f r o m s n e a k i n g o u t t o t h e b a c k y a r d a n d d u m p i n g i t b e h i n d t h e

g a r a g e .

U s e a n o l d s o l v e n t c a n ( n e v e r a g l a s s c o n t a i n e r ] t o c o l l e c t o l d p a i n t a n d s o l v e n t s . M a n y l o c a l m u n i c i p a l i t i e s h a v e s p e c i a l c o l l e c t i o n d a t e s f o rh a z a r d o u s m a t e r i a l s o n c e o r t w i c e a y e a r . O t h e r r e q u i r e t h e s e m a t e r i a l s t o b e d r o p p e d o f f a t a c e n t r a l l o c a t i o n .

- f r om P a i n t i n g a n d W e a t h e r i n g R a i l r o a d M o d e l s , b y J e f f W i l s o n ( K a l m b a c h B o o k s )

i g , 1 - 1 6 . T h i s i s a c o m m o n p a i n t e r ' s r e s p i r a t o r , w h i c h y o u ' l l n e e d w h e n e v e r

a i n t i n g w i t h a n y t o x i c s p r a y p a i n t s o r t h i n n e r s , W h e n p r o p e r l y w o r n , y o u s h o u l d

o t b e a b l e t o s m e l l a n y p a i n t v a p o r s .

RespiratorsFigure 1-16 shows a common type of paint respirator. You

should wear one of these whenever spraying any lacquer,

enamel, or acrylic pai nts not labeled as nontoxic by their manu-

facturers. If there is any doubtunless the pain t and thinner you

are using are both specifically labeled as nontoxicwear the

respirator, It can be purchased at automotive paint and body-

shop supply stores and is well worth the investment. You shouldnot smell any pai nt or th in ne r odors while wearing the mask if

it's properly fit.

If you love to bui ld and pain t models, and want to con tin ue to

do so for years to come, wear one of these respirators to prevent

damage to your lungs from breath ing harmful vapors.

If you are sensitive to paint vapors or wish not to wear a res-

pirator, there are several brands of acrylic paints that are non-

toxic. These paints may not spray as smoothly as enamel or

lacquer-based paints, but th eir relati ve lack of odor and toxic ity

is definitely a plus for people, especially those sensitive or


14/99

F i g . 1 - 1 7 . H a n d y i t e m s f o r m i x i n g a n d t r a n s f e r r i n g p a i n t a n d t h i n n e r , a n d t o

c l e a n u p j a r s a n d l i d s .

F i g . 1 - 1 8 . S o m e b a s i c s u p p l i e s t o c l e a n y o u r a i r b r u s h .

F i g . 1 -1 9 . A p ip e c l e a n e r w o r k s t o c l e a n i n s id e t h e p a i n t n o zz le . K a l m b a c h p h o t o

a l l e r g i c to The odors. Also, sometimes you may wish to p a i n t

your models in a setting where odors may be a nuisance to oth-

ers, such as in an apartment complex with many other people

living nearby. Use common sense and care when choosing both

your paints and breathing apparatus.

M i x i n g p a i n tTo mix your pain t, a number of simple items (see fig. 1 -17) wi ll

make the job easier. Plastic pipettes are handy for measuring

precise amounts of paint and thinners into common airbrush

jars. They allow you to transfer the liquid without spilling and

make it much easier to add a few drops of thinner, especial ly if

you are usin g a large container of lacque r thinner . Testors sells

these pipettes individually, and they are also available pre-

packaged along with 1/2-ounce paint mix ing jars.

Small, flat wooden sticks are great for stir ring pai nt, either in

t h e o r i g i n a l j a r o r i n th e a i rb ru sh j a r a f t e r a d d i n g th e th i n n e r .

These sticks can be found in art supply or craft stores. Cotton

swabs made with wooden sticks will also come in handy to

clean the airbrush and paint jar lids. They also make great painl

stirrers. if you break off one end of the swab. These swabs are

available at most grocery stores.

C l e a n i n gYou need basic supplies on hand to clean your airbrush and pa

jars (sec fig. 1-18). Common pipe cleaners work well to clean

airbrush itself and the inlet hoses. Soak the pipe cleaner in a s

v e n t s u c h a s l a c q u e r t h i n n e r o r r u b b i n g a l c o h o l, d e p e n d i n g o n

type of paint you used, and guide it through the parts to clean

the paint residue (sec fig. 1-19). Then run a dry pipe clea

through the parts. To fin ish the job, run some clear thi nner throu

the a i rb rush to make sure i t i s thorough ly c lean ( f ig . 1-2(1) .

Cotton swabs are handy to clean the airbrush body and he

assemblies, and to get into tight areas (fig. 1-21). These sw

are available in different sizes; most are available in groc

stores. The longer ones can be found in electronics hardw

stores, where they are used to clean electronic equipment.

Don't forget to keep a roll of paper towels handy, to clean

any accidental spil ls and the airbrush body and paint jars. A

empty paint jars are useful to clean airbrush heads; just fill

jar with thinner and drop the heads in to soak (fig. 1-22).

T e s t i n g s p r a y p a t t e r n sOnce you have assembled your airbrush, air source, paint a

cleaning supp lies, and respirator, and created a suitable plac

1 2

F i g . 1 - 2 0 . F l u s h i n g y o u r a i r b r u s h w i t h f r e s h t h i n n e r a f t e r e v e r y p a i n t i n g s e s s i

w i l l m a k e i t e a s i e r t o t e a r i t d o w n a n d c l e a n i t . K a l m b a c h p h o t o


15/99

g , 1 - 2 1 . U s i n g a c o t t o n s w a b d i p p e d i n t h i n n e r i s a g o o d w a y t o c l e a n t h e

side of the paint tip. Kalmbach photo

F l y . 1 - 2 2 . R e m o v e a n y r u b b e r s e a l s b e f o r e s o a k i n g a i r b r u s h p a r t s i n t h i n n e r o r

other cleaning solvents. Kalmbach photo

F i g s . 1 - 2 3 t o 1 - 27 . T y p i c a l p a i n t e f f e c t s , l i n e

w e i g h t s , a n d s p r a y p a t t e r n s t o r v a r i o u s a i r b r u s h e s

a n d t h e i r t i p s a n d n e e d l e s ,

paint, you are ready to teach yourself how all these elements

work together. Start with scrap model bodies or sheets ofplastic

or cardboard. Practice mixin g pain ts and thinne rs and test spray-

ing them through the airbrush. If you have mul ti pl e nozzles, try

each one to become familiar with the paint flow and the finish

you tun achieve with each particular nozzle. Use some of the

actual pai nt s you wi ll be spraying onto your models.

Before using you r airb ru sh on a model, test the spray patternson some scrap material. Each airbrush has its own particular

spraying characteristics, depending upon the paint you are

using, the source of compressed air, and the distance you hold

the airbrush from the surface.

You can see the differences in spray patterns from three dif-

ferent airbrushes (using the same type of paint). Each test was

set to spray the finest patient, the airbrush held close to the card,

ending with a progressively heavier application at the bottom.

As you can see in figs. 1-23 to 1-27. a wide variety of spray

widths and precision were the result. Making your own refer-ence chart like thisusing your own airbrushesis a good idea.

It will help you choose the right tool for the right job.

1 3


16/99

F ig , 1 - 2 8 , A n e x a m p l e o f p a in t w i th a n " o r a n g e - p e e l " s u r f a c e . T h is i s c a u s e d b y

n o t m i x i n g e n o u g h t h i n n e r w i th t h e p a i n t , o r b y u s in g a n i n a d e q u a t e a i r f lo w t o

p r o p e l t h e p a i n t t h r o u g h t h e a i r b r u s h .

C l e a n i n g y o u r a i r b r u s hTo clean the airbrush after painting, disassemble the unit and

clean all of the parts that paint has been in contact with. This

may seem complicated at first, but after going through the dis-

assembly-cleaning-reassembly sequence a lew limes, you will

easily memorize the sequence, which does not lake long to

accomplish. Refer back to fig. 1 -4 to see how simple most basic

airbrush assemblies are.

Be diligent and keep your airbrush clean. Most problems

occur from improper or incomplete cleaning and maintenance of

the airbrush's components. Even tiny amounts of dried paint left

inside the airbrush will disrupt the flow and pattern of the deliv-

ered air and paint mixture . Clean the parts thorough ly after eaeh

use for smooth, reliable operation.

If you have cleaned your airbrush and your paint mixture is

correct, but the paint or thinner does not flow through it, or it

sprays erratically, thoroughly clean the parts again. Keep a sup-

ply of paper towels, old rags, cotton swabs, and pipe cleaners

handythese are inexpensive, valuable tools to keep your air-

brush clean and functioning well.

T r o u b l e s h o o t i n gWhen painting your models, you may encounter various prob-

lems with paint finishes, whether you're using an airbrush or a

spray can. Plan ahead, and you can minimize these potential

problems. Some of the commonest problems are easily solved.

Too often, modelers will give up after experiencing just one

small glitch, or end up stripping the paint to start over when that

is not necessary.

" O r a n g e - p e e l " f in i s h e sOne common problem appears as a thick, grainy paint surface,

sometimes looking like sandpaper or "orange peel" (see fig.

I -28). This is caused primarily either by an improper paint mix-

ture or by a lack of adequate air pressure. First, make sure your

paint is thinned properly. For most applications, the proper con-

sistency of paint to thi nner is similar to the consistency of milk.

When you mix your paint with the thinner and stir it, the result

should generally have this milky consistency.

If the paint is settling onto the surface of your model with a

thick and grainy appearance, your paint may be too thick. Add

more thinner to your mixture and try it again.

Also, experiment with the distance you hold the airbrush from

the surface of the model. The closer you hold it, the wetter and

heavier the paint w il l be. However, most beginners are a bit

timid with an ai rbrush and hold it too far away from the surface

being painted. This also can contribute to a rough finish.

If you want to avoid problems, practice! Try out both good

techniques and poor techniques. You wi l l gain the knowledge of

what can happenand how to avoid it and improve your own

paint finishes and tech niques.

" F i s h e y e s "Another common problem you may encounter is the appearance

of small, sometimes circular voids of paint which the paint will

not cover. These are commonly known as "fisheyes" (see figs.

1-24 and 1-30). Once they appear, they are dif fi cult if not impos-

sible to correct without stripping the paint and starting over.

This condition happens when the model surface has not been

cleaned properly. Even small amounts of silicone, oil, grease,

1 4


17/99

g s , 1 - 2 9 a n d 1 - 3 0 . F i s h e y e s ( l a c k o f p a i n t a d h e s i o n ) a r e c a u s e d b y c l e a n i n g

e s u r f a c e o f y o u r m o d e l i n c o m p l e t e l y b e f o r e p a i n t in g .

F i g . 1 - 3 0 . I f y o u e x p e c t a d h e s i o n p r o b l e m s o r a r e c o v e r i n g a n o t h e r c o a t t h a t

h a d f i s h e y e p r o b l e m s , y o u c a n m i x a p r o d u c t l i k e S m o o t h i e f i s h e y e p r e v e n t a t i v e

i n t o y o u r p a i n t s .

g . 1 -3 1 . H e r e ' s a c l a s s i c v i e w o f a p a i n t r u n - w h i c h y o u ' r e s u r e t o s e e i f y o u

o n ' t k e e p y o u r a i r b r u s h m o v i n g s m o o t h l y b a c k a n d f o r t h . K a l m b a c h p h o t o

ingerprints, or other din on the surface will cause this type of

aint defect. If this happens, let the pa int on your model dry,

lean it thoroughly, and if the flaw is minor, sand the affected

urface and try again. If this does not work and the problem

ecurs, you will need to strip the body and start over.

Some enamels and lacquers can be mixed with a fisheye pre-

ventative (see fig. 1-30). This type of product helps to avoidome problems in covering silicone or grease residue.

But the best course of action is to clean and dry your model

horoughly before you begin to p ai nt it. Use warm, soapy water.

Rinse it thoroughly with water, and dry it thoroughly. You can

ven use rubbing alcohol wiped over the plastic as an extra pre-

ventive measure, to remove any fingerprints you may have

added to the surface as you prepared it to paint. Some window

cleaners also work well to clean the model surface.

R u n s a n d t h i n s p o t s

Sometimes you might accidentally mix your paint with toom u c h thinner. This makes it d i f f i c u l t for the paint to cover the

model. It causes the paint to run and creates thin spots on hig h,

F i g . 1 - 3 2 , A c l a s s i c c a s e o f c r a z i n g a n d w r i n k l i n g o f p a i n t . T h i s i n c o m p a t i b i l i t y

o c c u r s i f y o u s p r a y a l a c q u e r o v e r e n a m e l s - o r o v e r b a r e p l a s t i c - w i t h o u t f i r s t

p r i m i n g , t h e p l a s t i c t o a c c e p t l a c q u e r - b a s e d p a i n t s .

raised surfaces of the model. The solution is to adjust the paint

consistency back to tha t of mi lk . Carefully add paint to me mix-

ture, several drops at a time.

Avoid adding too much paint, creating the opposite effect: a

grainy surface! If your paint does run (see fig. 1-3 1) , le t it dry

thoroughly before you check to see whether il can be carefully

sanded or if the body must be stripped.

W r i n k l i n gWrinkling of a paint finish can occur when you overcoat one

layer of paint with another. For one reason or another, the sec-

ond coat is incompatible with the f i r s t . Sometimes the f irs t coat

has not dried thoroughly. Or the overcoat may be a different type

of paint-a common occurrence if you try to spray a lacquer-

based paint over enamel or bare plastic . Be sure to use the proper

types of paint whenever adding layers of paint.

Fig ure 1-32 shows the effect of spraying lacquer over enamel.

As you can see, the paint and plastic underneath has a rough,crazed texture; the surface of the body has been damaged by the

lacquer thinner. Generally, you can spray almost any type of


18/99

F i g s . 1 - 3 3 t o 1 - 3 5 . T h i s s e r i e s o f p h o t o s s h o w s t h e p r o p e r p a i n t i n g s t r o k e ,

R e m e m b e r to s t a r t an d f i n i s h b e y o n d t h e s u r f a c e o f th e m o d e l f o r t h e

s m o o t h e s t a p p l i c a t i o n o f p a i n t .

F i g . 1 - 3 4

H o w c a r y o u f i x a c a s e o f " o v e r s p r a y ' - g e t t i n g a s p l a t t e r i n g o f

p a i n t o f f t o t h e s i d e w h i l e y o u ' r e t r y i n g t o p a i n t a l i n e ?

H a v e y o u c l e a n e d t h e a i r b r u s h r e g u l a r l y ?

I s t h e t i p o f t h e n e e d l e b e n t ? T h e b e s t w a y t o t e l l i s t o r e m o v e

t h e n e e d l e f r o m t h e a i r h r u s h a n d l i g h t l y d r a g i t a c r o s s y o u r f i n -

g e r t i p . R o t a t e t h e n e e d l e a n d d o i t a g a i n . Y o u ' l l b e a b l e t o f e e l a

l i t t l e " h o o k " t o o n e s i d e o f t h e n e e d l e i f i t i s h e n t . Y o u c a n

s t r a i g h t e n i t o u t b y l i g h t l y d r a g g i n g t h e t i p o v e r f i n e s a n d p a p e r

u n t i l t h e h o o k i s g o n e .

I s t h e o p e n i n g i n t h e n o z z l e p e r f e c t l y r o u n d o r i s i t l o p s i d e d ?

D o e s i t h a v e a c r a c k ?

A r e y o u t h i n n i n g t h e p a i n t p r o p e r l y ?

I s t h i s f r e s h p a i n t ? O l d p a i n t c a n s e p a r a t e a n d c l u m p a n d c l o g

t h e a i r b r u s h .

I f y o u n e e d r e p l a c e m e n t p a r t s , c o n t a c t y o u r f a v o r i t e s u p p l i e r .

I f y o u d e t e r m i n e t h a t y o u r t i p i s b e n t ( b y g e n t l y d r a w i n g i t a c r o s s

y o u r f i n g e r ) , y o u m i g h t h e a b l e t o f i x i t b y l i g h t l y d r a w i n g t h e

b e n t s i d e a l o n g 6 0 0 - g r i t s a n d p a p e r o r a m e d i u m - g r i t s a n d i n g

F ig . 1 -37 K a l m b a c h p h o t o

s t i c k ( s e e f i g . 1 - 3 7 ) . J u s t m a k e o n e p a s s , t h e n t e s t t h e t i p a g a i n o n

y o u r f i n g e r . T e s t a n d r e p e a t u n t i l t h e t i p o f t h e n o z z l e f e e l s s m o o t h .

H o w e v e r , i f t h e t i p i s c r a c k e d o r s e v e r e l y b e n t , t h e o n l y s o l u t i o n i s t o

o r d e r a r e p l a c e m e n t n e e d l e .

16


19/99

Fig . 1 -35

enamel or acrylic paint over lacquer, but you cannot spray lac-

quers over other types of paint .

T h e p a i n t in g s t r o k eFigures 1-33 through 1-35 show the basic airbrush stroke. In fig.

1-33. you are just beginning to spray your paint. Figure 1-34

shows the midd le of the stroke. Contin ue the pa in ti ng stroke past

the end of the model surface (fig. 1-35). Cont inu ing the stroke

beyond the end of the model ensures that a smooth, even a mount

of paint gets applied to t he surfaces. Th is prevents color bui ldu p

and many paint thickness problems.

Figure 1-36 shows the airbrush he ld perpendicular to the sur-

face of the model. Unless you are trying to achieve a special

effect (discussed later in this book), always paint your modelswith the airbrush held perpendicular to the surface. This ensures

a proper bui ld up of paint onto the model.

Notice that in the ill ust rat ion I am wearing gloves and have

attached the model to a cup for spraying. While painting, you

always want to cover your hands. Disposable gloves are the

best way to protect your hands from painl and solvents. And

always create some form of paint stand to hold your models

while you are painting. This way, your hands do not contact the

parts being painted.

Once the parts are painted, you may want to use a dehydralor

(see fig. 1-38), to help speed the drying process. Food dehydra-

tors can be purchased in discount department stores, and are

efficient at speeding up the drying process. They provide a

warm, dry environment, with an upwards airflow that prevents

dust from settling on the wet surfaces. The ideal temperature to

dry the p aint is between 95 to 100) degrees Fah re nh ei t. Be sure

to check the temperatu re inside. If it gets above 1 1 5 degrees,

leave the cover off and provide plent y of venti lati on.

F i g . 1 - 3 8 , A l o w - c o s t f o o d d e h y d r a t o r i s a g r e a t c o m p a n i o n f o r a m o d e l e r . I ta l l o w s t h e p a i n t s t o d r y a n d c u r e o n y o u r m o d e l s m u c h q u i c k e r t h a n i n a m b i e n t

a i r t e m p e r a t u r e a n d h u m i d i t y .

Y o u ' r e r e a d y !At this point, you're ready to use your airbrush to paint some of

your projects. In the following chapters. I'll lead you step by

step through a number of projects, using different products and

techniques to achieve a variety of airbrushed finishes.

Be creative ! If you like a techn ique I've used on a particular

project, don't feel constrained to use that technique only on that

type of model. A technique used on a jet can be tried on a car. A

techn ique used to bring a figure to life can be used on an airpla ne

or a science fiction model. The techniques used throughout this

book are very versatile; I encourage you to try them out on dif-

ferent types of models.

The main emphasis is to have fun trying new techniques

and to enjoy the sense of accomplishment you get when you

have successfully achieved a desired finish on your model.

Let's have some fun and start painting!

1 7

F i g . 1 - 3 6 . K e e p t h e a i r b r u s h p e r p e n d i c u l a r t o t h e s u r f a c e a t a l l t i m e s , u n l e s s

y o u a r e t ry i n g t o c r e a t e a s p e c i a l e f f e c t .


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Simple Techn iques Give Amazing

Resul t s on Vinyl or Resin F igures

igure models are an ideal medium to showcase your

talent with an airbrush. In general, a figure model

allows you to be a bit "looser" with your painting

style, both with your airbrush and with other paint

details. For this project, I chose a vinyl figure, but the

basic techniques can be used with figures in other medi-

ums as well.

This figure is a Pro Modeler kit of Kathoga, the creature

featured in the movie The Relic. One challenge in painting

this model is that in the movie, you see very little color or

detail on the creature. How does that affect the project?

Well, in my opinion, it -allows for a lot more creativity. You

may paint it in any color(s) you see fit.

In most cases, though, figure models feature colorful

box art to use as a painting guide, as well as paint-color

instructions in the assembly manual. This particular

model has excellent box art to use as a guide. I kept thebox top next to my spray booth as I did the fine detailing

with the airbrush.

Besides box art or reference photos, you could use the

colors and patterns of actual reptiles or amphibians to dec-

orate your model. Use your imagination.

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P r i m e r ( I u s e d T a m i y a B u f f a n d M e d i u m G r a y )

F l a t W h i t e p a i n t ( I u s e d T a m i y a )

D a r k Y e l l o w , D a r k G r a y , F l a t E a r t h , s e m i g l o s s b l a c k p a i n t s ( I u s e d

T a m i y a )

C l e a r G l o s s a n d t h i nn e r ( G u r z e S a n g y o r e c o m m e n d e d )

L M G P e a r l P o w d e r s ( Y e ll o w p e a rl a n d g r e e n - y e l l o w p e a r l )

B u r n t U m b e r a n d B l a c k a r t i s t ' s o i l p a i n t s

M i n e r a l s p i r i t s p a i n t t h i n n e r

S e m i g l o s s c l e a r a c ry l ic ( A e r o M a s t e r r e c o m m e n d e d )

D i s t i l l e d o r f i l t e r e d w a t e r

H i g h - f l o w a n d f i n e a i r b r u s h n o z z l e s

One important note: for a vinyl figure, you must use mostly

water-based acrylic paints. If you use enamels or lacquers on a

inyl kit. the paint will never dry. due to a chemical reaction

e t w e e n t h e v i n y l a n d t h e p a i n t s . F o r t h i s k i t w e w i l l u s e a c r y l i c

aints exclusi vely, except for a l it tl e dry brush paint detail ing.

t e p 1 : T h e p r i m e r c o a tTo get started, first assemble the model according to the kit

nstructions (see fig. 2-1 ). Note especially the put ty on th e seams

and join ts. Spend as mu ch time as you need to make these look

good. I used Squadron green putty to blend the seams and re-

reated the creature's scales, scars, and lines in the putty with

urved circular and triangular-section riffler files, scribing tools,

and sandpaper.

When the model is ready to paint, prepare your airbrush for

he primer coat. Make sure the airbrush is clean: test it by run-

ning some clear th in ne r through it. Ide ally, use a hig h- fl ow noz-

le to apply the first primer coat. You can use a nozzle that is not

high-How, but it will lake longer to build up the paint.

The primer I used here is a mixture of Tamiya Buff and

Medium Gray. This gives the model a relatively neutral.

medium tone to begin wit h. M ix your paint with enough thi nn er

o give the consistency of m i lk , and test the spray patt ern before

spraying it on the model. Be sure to mix enough of this paint for

his next step and also set some aside for later use.

Spray the model in several coats, being careful not to hold the

airbrush in one place too long, which can cause the paint to

"puddle" or run. Start with a few light coals over the entire

model. As you add more paint, and the paint begins to dry, you

can add successively heavier coats of pain t to completely cover

the model. This step takes onl y a short time in just a few min -

utes, you should have the primer coat completed (see fig. 2-2).

Put the model in a warm, dry place to dry and clean the air-

brush well. Drying time varies, but flat acrylic paints tend to

d r y r a p i d l y .

Fio,M

I

F i g . 2 - 2 . P r i m e t h e f i g u r e w i t h a m i x t u r e o f T a m i y a a c r y l i c B u f f a n d M e d i u m

G r a y a s a b a s e c o l o r f o r t h e e n t i r e m o d e l . U s e o n l y a c r y l i c p a i n t s o n v i n y l m o d e l s

o r p a r t s , o r t h e p a i n t w i l l n e v e r d r y !

S t e p 2 : T h e u n d e r s i d eNext, we'll add a lighter tone to the belly and underside of the

creature. Mix some Tamiya Flat While into the earlier primer

mixture (or mix it with Medium Gray if you've used up all the

primer). You do not need to mix a tremendous amount of

pai nt rou ghl y 1/4 ounce or less should be enough.

If you have a tine needle and tip, i nstall them at thi s point. You

may want to decrease the pressure of your air source, to allow

finer detailing and to avoid spraying too much paint onto the

model. Either use a regulator to decrease the pressure or j u s t

loosen the connection of the air hose to the air source.

Spray the belly and underside of the model carefully, trying to

keep the paint from covering areas where you don't want this

lighter shade. You don't have to be overcautious, just observant.

Hold the airbrush r elati vely close to the model; this allows finer

detai l w ith out addin g too much paint at once (see fig. 2-3).

When you are satisfied with the coverage of the lighter shade,

put the model aside to dry for a whileand don't forget to clean

the airbrush and run thinner through it to prepare for the nextcolor. If possible, save some of your paint for future touchups.

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F i g . 2 - 3 . P a i n t t h e b e l l y a l i g h t e r t o n e t h a n t h e r e s t o f t h e b o d y .

S t e p 3 : A d d i n g a w a r m c o l o rThe next step adds a bit ofwarm color to the model. We w i l l do

that by using the fine tip installed on the airbrush to applyTamiya Dark Yellow paint. As before, mix the paint to a milky

consistency, then careful ly spray the dark yellow mi xt ur e to the

sides and darker areas of the model. Test the color on scrap

paper or cardstock before adding it to the model.

Be careful to avoid covering the lighter shade on the under-

side you just fini shed. Work carefully , again decreasing the pres-

sure to make the pain t application smooth, ligh t, and steady.

If you overdo the application of this color, you can go back to

the earlier, lighter color and carefully "fog in" a touchup to the

affected area, a relatively easy fix. Afterwards, clean the air-

brush well and let the model dry. Figure 2-4 shows the model

after th is stage.

S t e p 4 : A d d i n g t h e d a r k c o l o rThe darkest colors on the creature are a mixture of Tamiya

Semigloss Bl ack , German Gray, and Flat Earth. Adjust the ratios

of these colors as you see fit. The main idea is to have a dark

color, but not as dark as black. The Flat Earth color gives the

paint a warm earth tone that complements the other eolors. This

color and mixture do not have to be exact; use your own color

sense and imagination to make it look right to you.

You wil l need to m ix about 1/4 to 1/2 oz. of paint for th is step. Be

sure to thin it to the right consistency. Test the spray pattern on

cardstock. You will be pai ntin g relati vely fine lines in thi s step;

it is fairly easy with a little practice.

Hold the ai rbr ush quite close to the model, and use as lit tle air

pressure as possible-just enough for the paint to smoothly exi t

onto the model in a very fine pattern (see fig. 2-5). Pa int the top

surfaces of the model, the spikes, and a number of narrow verti-

cal stripes on the tail and over parts of the arms and legs.

F i g . 2 - 5 . A p p l y a d a r k e r m i x t u r e w i t h a f i n e n o z z l e f o r a s t r i p e d e f f e c t , e s p e c i a l l

o n t h e t a i l . I t a l s o a d d s d e p t h a n d c o l o r t o t h e s p i n e a n d e x t r e m i t i e s w i t h o u t

o b l i t e r a t i n g t h e l a y e r e d c o l o r s u n d e r n e a t h .

You may also want to add spots to the model. If your pai nt t ip

is fine enough and your hand is steady enough, you can spray

the spots freehand. Try this technique on scrap material first. Bu

if you want more control while painting spots, simply cut a

mask: Take a piece of card stock and pu nch a couple of diffe rent

sized holes into it (see fig. 2-7). Again, test this on scrap mate

rial first.

Hold the mask close to the model, but not touching it where

the spot is to be located. Make sure there is roughly 1/16" clear

ance, as you do not want the spots too dark or hard-edged. I

doesn't take a lot of paint to make the spots; just a few ligh

passes over the hole w i l l do the trick.

Figure 2-6 shows the model after you have finished these

detailing steps. Applying the color for darker areas takes more

time than earlier steps because the detail is finer, but the tech

ni qu e is loose (and fun !) . Once you have finished, set the mode

aside to dry thoroughly, clean the airbrush, remove the fine tip

and install the high-flow tip for the next step.

20

F i g , 2 - 4 . U s i n g D a r k Y e l l o w t o h i g h l i g h t c e r t a i n a r e a s g l u e s t h e c r e a t u r e a n

added dimension of color.


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F i g , 2 - 6 , T h e c r e a t u r e l o o k s v e r y r e a l i s t i c a f t e r a f e w s t e p s , w h e n i t h a s

a c q u i r e d a v a r i e t y o f c o lo r s a n d s h a d e s . N o t i c e t h e e f f e c t o f th e a i r b r u s h e d

F i g . 2 - 7 . A p p l y s m a l l e r d o t s o f c o l o r t h a t a r e t o o s m a l l f o r f r e e h a n d a p p l i c a t i o nh r o u g h a s i m p l e m a s k m a d e f r o m a n i n d e x c a r d .

S t e p 5 : A p r o t e c t i v e c o a tWhen your model has dried, it's time to apply a heavy clear-

gloss acrylic coat. This w il l serve as a barrier coat to protect your

completed ai rb ru sh in g from the wash techniques we'll use after

this to detail the model.

I've used Gunze Sangyo clear gloss, thinned with their house

brand product, Mr. Thinner. It does not require a lot of thinner.

ust enough to help the paint flow well through your high-flow

nozzle. Liberally apply the clear acrylic, being careful not to

overdo it ( fi ll in g in detail or making the paint run) . B ut you can

s t r i p e s a n d d o t s t h a t m i m i c t h e s k i n c o l o r s a n d p a t t e r n s o n a m p h i b i a n s ,

r e p t i l e s , a n d d i n o s a u r s .

F i g , 2 - 8 . O n c e t h e a i r b r u s h e d p a t t e r n s a r e t o y o u r l i k i n g , s e a l t h e e n t i r e m o d e lw i t h a c l e a r c o a t . S e a l i n g t h e u n d e r l y i n g f i n i s h i s n e c e s s a r y i f y o u w a n t t o a d d

c o l o r w a s h e s t o t h e m o d e l f o r m o r e r e a li sm .

add a relat ively wet coat qu ic kl y. Make sure you cover the entire

model, holding the airbrush close to the model and applying

quick strokes of your arm while applying the clear.

You may need to set the model aside to dry before painting

all of the extremities, depending on how you hold the model

while painting it. The clear gloss dries quickly. When finished,

put any excess paint aside, saving it for a later coat. Clean the

airbrush by running thinner through it. Figure 2-8 shows the

clearcoated model.


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F i g . 2 - 9 . S i m p l e p a i n t w a s h e s , u s i n g o i l - b a s e d a r t i s t ' s p a i n t s a n d t h i n n e r s , a d d

e x t r a d e p t h t o y o u r m o d e l a f t e r i t ' s b e e n a i r b r u s h e d . T h i s i s a n e a s y , f u n s t e p ,

c o n t r i b u t in g g r e a t l y t o th e d r a m a t i c f e e l i n g o f t h e o v e r a l l fi n is h ,

S t e p 6 : B r u s h - p a i n t e d d e t a i l sWhen the clear coat is dry, you can add brush-painted details,

such as a wash (see fig. 2-9). This wash is a mixture of artist'soil paints-a combination of black and burnt umber (dark

brown with a hint of red)and mineral spirits. It is applied lib-

erally to the model with a wide brush. As it dries, use an old

T-shirt to remove it from the high surfaces of the model, leaving

most of the wash down in all the little crevices. You can do as

many coats of wash as you wish.

You w i l l notice that the wash changes the overall color of the

model. This is an easy detail to add and gives the airbrushed

work a new level of "life." Similar airbrush and wash techniques

are commonly used by aircraft builders for both camouflage and

panel line details, for example. At this point, you can also dry-

brush h i g h l i g h t s and paint teeth, eyes, and claws to your l i k i n g .

S t e p 7 : A p e a r l e f fe c tThe techn iqu e I have used over the wash is well known to model

car buil ders . I have added a slight , gl imm eri ng pearl effect to the

scales, giving the model an extra level of realism. Figure 2-10

shows the materials used to mix the pearls. I used two shades of

pearl: yellow, and a yellowish green. I started with the yellow,

mixing a small amount into the previously mixed acrylic clear. I

car efu lly mis ted the pearl onto the darkest parts of the model. Be

careful not to add too much. Use the high-How nozzle, and

decrease your air pressure down if necessary. The pearl effectbuilds rapidly.

Once I had finished the pearl yellow coat, I then sprayed some

of the pearl yellow-green mix tur e onto jus t the lops of the spikes

and the scales closest to them. You can see the pearl effect in fig.

2-11. It really looks convincing. Clean the airbrush well , and let

the model dry.

F i g . 2 - 1 0 . D r y p e a r l p o w d e r s a r e a n e x c e l l e n t a d d i t i o n t o y o u r p a i n t p a l e t t e .

Y o u ' l l u s u a l l y m i x t h e s e p e a r l s w i t h c l e a r t o g e t a m y r i a d o f s h i m m e r i n g c o l o r s

a n d e f f e c t s w h e n v i e w e d u n d e r d i f f e r e n t l i g h t i n g .

F i g . 2 - 1 1 . T h e p e a r l a d d e d t o t h e c l e a r g i v e s e x t r a " l i f e " a n d r e a l i s m t o t h e f i n i s h

S t e p 7 : C l e a r a c r y l i cAfter you have added the pearl coats and have finished any othe

brush-painting details, add another heavy coat of clear acrylic t

the model and let it cure thoroughly. This seals all of the previ

ous coats in place.

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F i g . 2 - 1 2 . T h e f i n i s h e d " R e l i c . "

S t e p 8 : T o n i n g d o w n t h e g l o s sFinally, I wanted to bring down the level of gloss on the figure.

In the movie, the creature was generally wet. However, for the

model's most realistic appearance, I wanted a somewhat drier,

less "wet" appearancebut not too flat, either. I chose to use a

semigloss acrylic clear as my final coat.

I used AeroMaster Semigloss Clear to achieve th is eff ect . Mi x

the paint with a few drops of distilled water. You can also add a

couple drops of Windex to the mixture, or Polly-S thinner.

You w ;il l onl y need ahoul 1/2 oz. or less of thi s mix tur e. Spray

the semigloss paint over the model li ght ly , bu il di ng it up slowly.

You do not want thi s coat to have any tendency to crack as it

dries over the gloss surface, so take your time b ui ldi ng it up. You

may want to hold your airbrush away from the model, spraying

it with the nozzle fully open but from a distance of 6 to 10 inches

away, so that the paint settles on the model very lightly.

As you spray the model, the glossiness will become less evi-

dent. If the model still seems too glossy, you could mix some

AeroMaster flat clear in to the mixture to tone down the gloss

further. This paint dries rapidly. Once you are satisfied w i t h the

gloss level, set the model aside to dry. Clean the airbrush well.

Y o u ' r e d o n e !You are now finished with the model, unless you wish to add a

few final small paint detai ls.

This is a great way to learn how fun, easy, and loose a tech-

nique this isand you have a model that looks quite realistic. I

will give away a big secret. I was extremely pleased with the

outcome of this modeland I had never practiced this particu-

lar series of techniques before.

If I could do this so easily the very first time, so can you. I

hope you have as much fun building and painting your model as

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I had. And you will enjoy showing the results of your airbrushexperience to other modelers, just as I have.

Remember these techniques. They can just as easily be used

on an armor model, on aircraft, on a dinosaur, or on a vehicle

or creature w i t h any k i n d ofcamouflage. The techniques used

are basically the same. These great eye-catching results are

easily achieved with great help from your airbrushand your

i m a g i n a t i o n .

This type of model does not require a huge commitment of

time to achieve spectacular results. Your airbrush makes finishes

like this fu n to apply and easy to achieve.

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Use Your Ai rb ru sh to Draw Ca mo uf la ge

Pat te rns on Your Model

amouflage patterns are simple to paint with an

airbrush. You can follow a pattern seen in a pho-

tograph, or you can be creative, selecting a

scheme that suits your idea of the ideal pattern for your

particular model.

This exercise will show how easy and fun it is to apply

basic camouflage. The technique can be used to dress up

any type of model you desire. I chose the H ummer

because I wanted to make a replica of a civilian military-

style vehicle with a desert-style camouflage patterna

pattern that a "real" owner might want on his vehicle to

make it stand out and be noticed.

You can use this technique to create patterns on any

number of your aircraft or armor models.

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T a m i y a D e s e r t Y e ll o w

T a m i y a F l a t E a r t h

T a m i y a R e d B r o w n

T a m i y a B u f f

A e r o M a s t e r O l i v e g r n

A e r o M a s te r F la t C l e a r

S t e p 1 : B a s e y e l l o wStart by painting the enti re body with Tamiya Desert Yellow as

the base color. This is the lightest color used in this camouflage

pattern. Thin it appropriately for smooth flow, and apply it in

uniform coats until the color is completely saturated. Clean the

airbrush, and let the hody dry.

Figure 3-1 shows the body and wheels painted in the Desert

Yellow base color,

S t e p 2 : B r o w n a r e a s

Next, you'll paint the brown areas. First, mask off the roof anddeck panels, which will be simulated vinyl without a camou-

flage pattern. Mix roughly equal parts of Flat Earth and Red

Brown until you are satisfied with the color. Thin the mixture

appropriately and apply it with a fine-tip nozzle.

Figure 3-2 shows the application of the color panels. I started

by outlining the colored areas and then f i l l e d them in slowly and

carefully. You can do this completely freehand wi th ou t masking.

I used a magazine photo for rough reference.

Apply the paint with the airbrush held very close to the sur-

face of the model, as you are using the airbrush to draw the paint

pattern directly on the model. You can be as exacting as youwantor as loose as you want. Clean the airbrush, and you are

ready for the next step.

Figure 3-3 shows the model with the completed brown cam-

ouflage panels.

S t e p 3 : O l i v e g r nThe Olivegrn color is next. Thin it and apply it in the same way

as the previous brown color. Add these color sections carefully

and slowly. As with the previous steps in painling camouflage.

hold the airbrush close to the surface and use it like an air-pow-

ered drawing instrument. Once you are satisfied with the greenpattern, remove the roof and deck masking, clean the airbrush,

and let the body dry.

Figure 3-4 shows the basic model with the completed camou-

flage panels, along with the paints used to achieve the colors.

F i g . 3 - 1 . H e r e i s t h e H u m v e e i n a b a s i c " r a w c a n v a s " s t a t e b e f o r e c a m o u f l a

T h e b o d y a n d w h e e l s a r e p a i n t e d i n T a m i y a D e s e r t Y e l l o w a c r y l i c .

F i g . 3 - 2 . Y o u c a n a d d t h e c a m o u f l a g e p a t t e r n f r e e h a n d w i t h a f i n e - d e t a i l a i r

b r u s h . N o t i c e h o w c l o s e y o u c a n g e t t o p r e c i s e l y " d r a w " t h e c a m o u f l a g e o u t

d i r e c t l y o n t o t h e m o d e l .

S t e p 4 : L a s t d e t a i l sI wanted the vinyl top and deck covering to be a slightly ligh

shade than the previous Desert Tan. So I mixed together eq

parts of Desert Tan and Buff for the desired color. Then, I mi

the paint with rubbing alcohol as the thinner; this creates a f

ter sheen than Tamiya's thinner.

After carefully masking the body (see fig. 3-5). I applied

mixture to the top.

Figure 3-6 shows the completed paint job. including a f

other elements, such as the black trim panels, that I bru

painted as well.At this point, you may want to apply a coat of flat clear to p

tect the previous colors. This coat will also give a uniform,

appearance to the entire model.

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g, 3-3, With the addition of sections painted with a mixture of Tamiya Flat

arth and Red Brown, the camouflage pattern is halfway complete.

Fig. 34. Add AeroMaster Olivegrn as the next camouflage color. Here, the

model shows off its finished camouflage pattern, with the colors used to achieve

the effect.

g. 3-5. The vinyl top and deck covering should he a slightly lighter shade than

e previous Desert Yellow. Mask off the camouflaged areas, and spray a mix-

e of Desert Yellow and Buff to achieve the correct shade.

Fig. 3-6. The finished paint job was very easy to apply and was quick to dry. A

simple model like this is an easy way to familiarize yourself with camouflage

techniques, Once you've tried it, you can quickly move on towards more intri-

cate camouflage patterns on any subject.

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T h a t ' s i t !That's all it takes for a great camouflage finish! The camouflage

paint, with other details and assembly, took only a few short

hours to accomplish, and I was quite satisfied wilh the results.

The flat acrylics dry very qui ckly; this lets you accomplish a lot

of paint details in a short amount of time.

Trying these techniques on a simple snap-kit is a fun way to

learn how to paint a camouflage pattern. After this, you'll want

to tackle more challenging paint schemes on aircraft and armor

models with your airb rush .


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Adding Dirt and Rust to a'63 Chevy Impala

he following exercise will show you how easy it is to

add realistic weathering to models with your air-

brush. There are a number of techniques you can

use to achieve weathered finishes; some of those are well-

documented in Pat Covert's hook, The Modeler's Guide to

S c a l e Automotive Finishes (Kalmbach Publishing Co.).

While pastels and real dirt are common weathering

materials, you can apply a more permanent dirty, weath-

ered finish with your airbrush. You control the amount of

"dirt" by controlling the paint colors, mixtures, and

amounts applied to the surfaces. It is relatively easy and a

lot of fun to do.

Don't worry about precise application or color match.

Just get close, stay "loose," and have fun.

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M o d e l M a s t e r A c r y l R u s t

T a m i y a N e u t r a l G r e y

P o l l y S R u s t

T e s t o r s T r a n s p a r e n t B lu e a n d T r a n s p a r e n t G r e e n s p r a y p a i n t s

Step 1: Paint ing the modelPaint the body on this '63 Impala using a combination of flat

acrylics: a rust-colored primer overall, highlighted with a few

areas of light gray primer for touchups. First paint the chassis

with flat black, and then detail it with brush-painted engine,

transmission, and exhaust details (see fig. 4-1).

You can be as exacting as you want with the colors. But real-

ist ica lly , once the model has been "dirtied," al l the colors blend

together, so your chassis detail colors don't need to be especially

precise before you apply the weathering.

Step 2: Add the rustThe first step in weathering the chassis is to add a fine mist of

Model Master Rus t acrylic paint to the chassis. Figure 4-2 shows

a light, general application of the paint. You can use a medium

or heavy tip.

You want to mist the paint on rather "dry." so don't hold the

airbrush too close. Start at about a foot away, and adjus t the dis-

tance until you are happy with the results. This step will go

quickly, and the rust color dries rapidly as well.

You may not need to thin the paint for this detail. But if the

unthinned paint does not flow from your airbrush, thin it just

enough for it to flow out in a grainy pattern.

Step 3: Add the "dirt"The next step is to add the "dirt" color lo the chassis. Use any

acrylic flat color in the tan range. Some colors are ac tu al ly made

to resemble earth: just choose your favorite. The color shown in

fig. 4-3 is Polly S Rust, which is actually a good earth lone.

Apply this color using the same method as the rust. You may

want to direct the dirt rearward, however, giving more of the

paint buildup to the front-facing surfaces of chassis and wheel

wells, to simulate the motion and direction of dirt being sprayed

onto the chassis. Just focus on aiming you r airbrush as you apply

paint toward the rear of the car in general.

This coat covers quickly. You can apply a light coat to simu-

late a newer car, or a heavier coat as shown here to create an

older car or truck. It's easy to overdo this weathering on a

"newer" vehicle. To keep the dirty color from building up too

rapidly, you can mix up to ha lf of the color wi th ac rylic flat clear.

This will reduce the overall dirt-color saturation. With very lit-

tle practice, you will easily master this effect with your airbrush.

F i g . 4 - 1 . H e r e ' s t h e b a s i c c h a s s i s d e t a i l , p a i n t e d b e f o t e a d d i n g w e a t h e r i n g . T h e

w e a t h e r i n g w i l l c o v e r u p a l o t o f f i n e p a i n t d e t a i l s , s o y o u r c o l o r s a n d f i n i s h e s

n e e d n o t b e e x a c t o r p r e c i s e .

F i g . 1 - 2 . L i g h t l y s p r a y a f i n e m i s t o f M o d e l M a s t e r R u s t a c r y l i c p a i n t o n t o t h e

c h a s s i s a s t h e f i r s t s t e p t o w a r d a w e a t h e r e d a i r b r u s h f i n i s h .

S t e p 4 : S p r a y i n g t h e b o d ySave the remaining "dirt" mix to apply to the bodyor mi

your favorite acrylic dirt color for the body. If you haven

already, you'll want to thin the paint a bit with some flat clea

acrylic paint and test the pattern f i r s t . Generally, spray mo

he av il y on the lower side panels, more ligh tly as you go over th

top of the model.

I masked the windshield wiper paths (see fig. 4-5). Aft

applying the "dirt," I removed the mask, resulting in a ver

accurat e-looking dirty windshield with wiper marks in place.

Notice the windshield tint strip (see fig. 4-4). added with

fine-line detail airbrush. This little detail really sets a mod

apart, and is best replicated with an airbrush rather than deca

or any other means. I like to use transparent blue and gree

enamel colors from spray cans for this, spraying the paint from

the cans carefully into my airbrush jar. Then I a pply th is pa in

directly with the fine tip airbrush to the windshield. No thinnin

of the paint should be necessary, and the enamel "bites" into th

clear plastic with ease. Mold the nozzle quite close to the surfac

and gently apply the paint in a side-to-side motion as if you ar

drawing the pattern onto the top of the win dsh ie ld.

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F i g . 4 - 3 . F o l l o w u p t h e f i r s t l a y e r o f r u s t b y s p r a y i n g a l i g h t c o a t o f a n e a r t h -

t o n e " d i r t " c o l o r . A n y e a r t h - t o n e c o l o r t h a t s i m u l a t e s d i r t w i l l w o r k .

F ig . 4 - 4 . P a i n ti n g t h e d a r k t in t s t ri p a c r o s s t h e t o p o f a w i n d s h i e l d a d d s r e a l i s m

t o a n y c a r m o d e l , i t i s e a s y t o a p p l y u s i n g a n a i r h r u s h w i t h a f i n e n o z z l e .

F ig . 4 -5 . A d d a n o v e r a l l d ir t y a p p e a r a n c e b y l ig h t l y s p r a y i n g t h e e n t i r e m o d e l

w i t h s o m e o f t h e " d i r t " m i x t u r e u s e d p r e v i o u s l y o n t h e c h a s s i s . M a s k t h e w i n d -

s h i e l d f i rs t t o s im u l a t e a c c u r a t e " w i p e r p a t h s ."

The effect is very realistic. To finish the tint strip, let the

windshield dry thoroughly, and then remove any overspray

w i t h a s o f t c l o t h a n d p l a s t i c p o l i s h b y b u f f i n g t h e s u r f a c e . I p r e -

fer to use Novus no. 2 to polish the windshield. This com pletel y

cleans and shines the windshield, leaving a perfect in-scale

faded tint strip.

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F i g . 4 - 6 . A d d a d r y b r u s h e d " o i l " s t a i n a f t e r t h e a i r h r u s h e d d i r t f o r e x t r a r e a l i s m .

E v e r t h o u g h t h i s i s o n l y p a i n t o n p l a s t i c , i t s u r e h a s t h e " f e e l " o f g r i m y , g r e a s y

d i r t , t y p i c a l o f a l m o s t e v e r y o l d c a r .

F i g . 4 - 7 . T h e f i n i s h e d m o d e l s h o w s a l o t o f r e a l i s m - a c h i e v e d w i t h l i t t l e e f f o r

u s i n g a n a i r b r u s h a n d f l a t - f i n i s h a c r y l i c p a i n t s .

T h a t ' s i t !The photos above show the body and chassis after the air-

brushed weathering has been applied to both. The appearance

is quite realistic. You can stop at this point, or further detail

your model with washes, pastels, or other finishes added on top

of the paint (see figs. 4-6 and 4-7).Use your imagination. Remember, you can use the chassis

weathering shown here for all ear models. Once a car has been

driven a few months, the chassis is covered in a uniform film of

dirt and road grime.

Easily added to your models with an airbrush, this touch will

make your models far more realistic.


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Use Your Airbrush to Add Great Detailsto a S imple Snap-Together Ki t

n airbrush allows you to add details to science-

fiction models that are difficult to achieve with

other methods, such as weathering effects and

portraying a history of "hits." A myriad of panels with

slightly different colors is also easy to create.

These airbrushed details will help to make your science-

fiction model look much more realistic.

This project is a simple Star Wars X-Wing Fighter.

The model is a basic snap-kit with average detail. Even a

model as simple as this really benefits from some air-

brush weathering.

And its a good way to learn some basic techniques

before you move on to building and painting kits with

higher levels of detai ling .

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Tamiya Neutral Grey

T a m i y a D a r k G r e y

T e s t o r s G u n m e t a l B u f f in g M e t a li z e r

Tamiya Flat Vellow

Tamiya Biff

G u n z e C l e ar G l o s s

AeroMaster Flat Clear

Step 1: Getting startedBegin building the model by putting together the basic sub

assemblies as outli ned in the directio ns. Then cover the m wit h

coal offlat white paint or white primer. Flat white is alsofine

but primer will cover the plastic faster and easier. Next, add an

acrylic clear coat over the while primer When it has dried, apply

the decals. Decals can be weathered by scratching bits of damage with a fingernail (see fig. 5- 1).

F i g . 5 - 1 , H e r e i s t h e m o d e l - a s s e m b l e d , p r i m e d , s e a l e d w i t h c l e a r , w i t h c o l o r

d e c a l s a d d e d . N o t ic e t h e b a t t le d a m a g e a d d e d f o r e f fe c t .

F i g . 5 - 2 , Y o u c a n d e t a i l v a r i o u s p a n e l s b y m a k i n g t h e m a s l i g h t l y d i f f e r e n t s h a d e

than their surroundings. Create this panel effect by masking the panels and

s p r a y i n g a v e r y l i g h t a p p l i c a t i o n o f T a m i y a N e u

0890242879 How to Use an Airbrush

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