The T-34 project (1/48).

Some pictures of the early composition. Still a lot of elements to add:



Everything is painted with acrylics. The grey blocks got some acrylic washes with brown and grey (Chipping color and Russian 4BO shadow from AK):

Time for some extra bricks for adding complexity to the debris. The thing begin to look better:

Q

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The Mig-21 chronicle (6).

Ok, the painting&weathering process is almost finished. Only some weathering in the green areas is needed to fade and stain them.
Now a summer break to make other things... a winter tank maybe.  :)

Q




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The "Ambushing Panther" work: Dragon 1/35.

This is a Panther  Ausf. G early production, a nice kit from Dragon. Assembled almost from the box, I only added the metallic towing wires (and the field camouflage). I applied a soft modulation on the base paint, a medium weathering and a lot of splashes. The idea was to place it in a diorama next to a wet road with other vehicles passing by. A project too huge for such a lazy modeller...
Maybe someday.

Diego Quijano.













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The Black&White Technique. Tiger I 1/48 by JOSE LUIS LOPEZ. (IV, Final)


Another daring step where faith is necessary! There´re a lot of ways for simulating mud: with plaster, with acrylic resin and pigments, with specific products so on. All methods are good ways to achieve an attractive result with the mud, depending on modellers taste or affinity with the materials involved. My favourite: Tamiya´s texture paint. Why? A big bottle can mix it with sand, pigments or acrylic paint and, most of all, fix strongly with any kind of surface:

Adding some dark brown pigment and paint to the Tamiya´s paint, I achieve approximately a nice colour to start adding the mud. Anyway, the colour is NOT important. Just the texture IS important. Must be in scale and as heterogeneous as possible:

Using a bush, I applied the mix to my taste to the wheels and the lower part of the tank. As can be seen in the pictures, the result is anything but nice! But keep the faith! This is just the beginning!:

Once the texture paint is dry (a day or more, do not be impatient), using a colour mix of paints similar to the AK´s dust used previously, I randomly applied a fine coat of dust over the wheels. Be sure that this paint don´t hide all the elements or you´ll achieve a dull and unattractive surface. As usually, do it as heterogeneous as possible:

Remember that this paint can´t be removed, so be carefully when applying the paint with your airbrush:


And, why not, let´s start with the tracks. Use ALWAYS the same colours for dust in all the parts of the vehicle. Of course you can play a little bit with the mix proportions, but do not use different colours to simulate the same effect: dust and dirt:

Now, the final steps for the mud are a mix of techniques and products that I´ll try to resume at my best:

- Using oils: Naples Yellow, Natural Umber and Black, I made 3 mixes of these colours (like I did with acrylics) and using them as a wash, I applied them randomly on the different wheels with different intensities.

- For splashes, I used acrylic paints slightly diluted projected to the wheels with the help of an old airbrush

- Just in the tracks (where the two previous steps were also applied), I added punctually some pigments (a mix of three colours from Iraqi Sand and Russian earth ) to achieve some textures here and there. Remember that if you use a lot of pigments, you´ll spoil all the previous work as the surfaces where the pigments are used, if you´re not careful, will get dull, bored and will hide all the previous work!:


And then ..... finally, at last .... miracle!!! ........... just painting the tools, towing cables ... et voilá!

Many thanks for your attention!









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GUEST GALLERY: "Norway-1943" 1/32 by AITOR AZKUE.

This is the latest piece from Aitor Azkue. If you don´t recall the name you´ll may want to check his "Never Ending History?" here, you most likely remember it.
With this work Aitor bring us a dramatic sight of the most bitter side of aviation. As usual in his latest works the central scene attracts immediately the viewer attention making us to focus in the story. From there we can begin a voyage around the surrounding background just to check the amazing level of detail and realism that enhance the emotion of the message. Aitor is a diorama artist that transcends the mere standards of technical skills in modelling and composition and search a way to touch the spectator. An artist in all the extension of the word (a not enough valued modeller in my opinion, but certainly he will be).
Just a thought about one of my favourite elements, the derelict skiff or, as I like to say, the oblivion boat. Why is it there? Is only an element for filling an empty angle? It has some significance? Well, everyone can make his guess but personally I think it is a sour metaphor about the doom of the crashed bird and maybe of the wounded crewmen as well.
It is hard to be original in the qualification of these kind of works; Aitor always makes me to improve my English vocabulary. What about delightful?
I hope this Norway bitter scene moves you as much as it moved me.

Q  


The inception:


The culmination:

 






 




An example of the interior detailing:


Here a few shots with a warmer illumination. As you can see it looks awesome as well: 




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