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Painting Panzers

Part One

by James Blackwell

Five More Images in Text

"Painting Panzers" is an occasional series which will explore various techniques for painting and weathering AFV models.

Part One of "Painting Panzers" describes a seven step method used by James Blackwell. This method is based on airbrushing and the use of pastel chalks to achieve realistic results.

The hobby of military modelling has undergone amazing developments in all areas over the last 10 years or so. A wealth of both mainstream and after-market product releases, not to mention vast amounts of reference material, have flooded the market in this period. The resources available today would not have been dreamed of in the 1980s.

This incredible profusion of products and information has permitted modellers so inclined to elevate the hobby from a once casual pastime to a fairly serious pursuit.

The increased level of accuracy and attention to detail in kits, accessories, and other related items - plus so much readily available reference information - has also led to a new desire to refine the traditional methods of painting and finishing. New methods are also being introduced. The objective of these new techniques is to create a more realistic scale replica.

The two extremes when finishing a model are "artistic" and "realistic". In common with any visual medium, beauty is in the eye of the beholder, and what pleases one may do nothing for others. So as could be expected, there are staunch supporters in both camps plus a range in between.

Some favour the bright, heavily washed and highlighted 3-D model that leaps off its display base. I personally prefer a more subtle and, to my mind, "lifelike" approach that closely captures the look of the 1:1 scale counterpart (acknowledging that this will be at the expense of some "visual impact").

I'm not saying that this position is right or wrong. I simply prefer the latter.

This topic can be incredibly subjective and controversial. It has been known to polarise camps and create heated arguments. I want to emphasise that my aim here is not to inflame any passions or start debate, only to present a possible alternative that I have used over the last few years on some of my models. This has been unashamedly developed by "stealing", adapting, and combining all those techniques that I personally like (which I've picked up from others) with a few of my own.

This approach minimises the use of washes and drybrushing. These methods can be effective but are difficult to control and, in my opinion, tend to over-emphasise certain aspects of a model at the expense of reality. If our aim is to create a scaled-down replica, more subtle procedures such as airbrushing and pastels may be more suitable. The only pre-requisites for this system are good references of the real thing, an eye for detail, plus a willingness to experiment with new methods that will match the original in scale.

As with many aspects of the hobby, these are only guidelines and not rules. Practice, plus finding what works for you, is the key.

We explore these techniques step-by-step using a Dragon Henschel Jagdtiger as illustration.

A good airbrush is absolutely essential.

The minimum requirement is one that will produce very fine feathered lines with no spatter. I personally favour the Aztec/Testors Model Master A470 double action gun, almost always using the tan-coloured, fine line tip. I run air pressure fairly high at around 30 psi. My preferred paints are Tamiya and Gunze acrylic - heavily thinned with isopropyl alcohol at a ratio of approximately 70% thinner to 30% paint. It is simply a matter of closing down the needle to achieve a fine, even spray.

I spray my models after the kit is totally assembled. This includes wheels and tracks in place! This may frighten some modellers. Major assemblies like turrets and interiors are usually painted separately. Fine details may be brush painted during the painting process.

The model illustrated in this article is finished in a slightly unusual dusty four-colour camouflage. However, the basic principles can be applied/adapted to a wide range of subjects sporting other colour schemes.

The seven steps I follow to obtain a realistic finish are as follows:

Step 1

The model is fully constructed including wheels, tracks and on-vehicle equipment.

Step 1 - the basic camouflage colours applied (don't panic yet - there's still hope!)

The base coat is then sprayed over the entire model with the airbrush - in this case a slightly lightened mix of Tamiya XF-59 Desert Yellow. Next the disruptive Red-Brown colour (Tamiya XF-64) followed by XF-61 Dark Green are applied. Based on reference shots of this particular vehicle, a 4th colour of very dark green in angular hard-edge sections is added by mixing some black into the green.

As you can see, at this stage it looks appalling! But there is still hope!!

German armour camouflage is another extremely controversial subject that can get people worked up into a lather very quickly. In my opinion, don't get too pedantic about matching paint chips. From studying the few existing wartime colour shots and the enormous range of variation that exists in the tones of monochrome photos, plus the variables involved in application of paint, and its weathering in the field, especially in wartime conditions, I just don't believe there is a "right" colour, especially in scale. Once a vehicle rolls out of the plant many harsh and diverse factors affect it. Sun, snow, sand, mud, field-applied finishes, heavy combat plus general wear and tear means that almost anything goes. Under these circumstances RAL colour chips are little more than helpful guidelines.

I generally prefer a filthy finish to my vehicles to mimic the character of their full-sized cousins. To me, this is half the fun!

Step 2

Step 2 - brown-black mix "post-shading" applied

I substitute traditional washes with an operation that might be described as "post-shading". I spray a very thin mix of XF-64 Red Brown and XF-1 Flat Black (70/30 ratio brown to black) in a fine line along edges of panels and camouflage colours, and into all the areas of shadow and shade where a wash would ideally flow.

Subtle vertical streaking is also added. The tracks are sprayed with this mix too.

The key is subtlety and a fair amount of control, as well as a degree of confidence in your airbrush. Practice is vital but once you've got your airbrush set-up right the operation is very quick. This step gives a slight depth to the colours and to the vehicle in general. The benefits of this method over a wash are the soft feathered edge around all the recesses, thorough coverage of shadow, and the certainty of instantly seeing the result (instead of anxiously waiting overnight for an oil wash to dry).

An alternative is "pre-shading" the kit in black then carefully building the colours up around the dark recesses (which Brett Green will cover in Part 2). This is very effective on single colour paint jobs, but on multi-colour cam schemes I personally find that by the time the last colour is applied much of the shadowing and dark panel line effect can be lost.

Apply any decals now. I use Gunze "Mr. Mark Softer" as my decal solution. This is a fantastic potion that really gets the decals to bite down. Either that, or dry rubs or spray through photo-etch stencils give the best results.

Step 3

A lightly misted coat of straight XF-59 Desert Yellow comes next. This has the effect of toning all the colours down and tying them together. It effectively "fades" the finish. For a dusty effect spray a further coat of XF-57 Buff over the lower half and up the hull sides. Again, subtlety is the key - you have to learn when to stop! For wet and muddy terrain you could skip this step and go to the next. "Rustall" can be applied to the tracks and exhaust at this stage too if desired.

Step 4

A flat sealing coat may now be applied. I prefer Gunze-Sangyo H-20 Flat Clear thinned again with isopropyl alcohol and with a drop or two of Tamiya X-21 Flat Base, which gives an extremely dull finish. Check your references though. Some vehicles seem to have a slight sheen that you may choose to duplicate by skipping this step.

Step 5

Mud and gunk is applied to the lower half and running gear. I use a mixture of either Humbrol 5029 Acrylic Dark Earth for wet mud and/or Tamiya XF-57 Buff for lighter, dryer mud. To this is added garden dirt, and static grass and/or mint flakes, all cut with water so as not to damage the paint. The beauty of using paint as a medium to stick it to the hull is that it doesn't have to be coloured later.

Step 6

Pastel chalks are now applied to confer a degree of subtle variation in colour. I use a mixed bag depending on the result and effect I'm after. Basic pastel chalk colours range from white through various light yellows and tans plus dark brown and orange for rust. They can either be dusted on with a large soft brush or applied with a small cut down stump of a brush, either dragged or stabbed on.

Step 7

Lead pencil is applied last to represent worn and chipped metal. I use a 2B lead in a draftsman's 2mm clutch pencil. The lead may be applied to the high points of track's tread bars, as scratches around hatches, edges and high wear areas.

This completes the weathering process.

I've found this is a reliable approach for achieving a realistic finish. It also illustrates that even the most garish and toy-like initial scheme can be weathered back to reality with a bit of perseverance!

Try this technique in its entirety, or use the individual components that suit your style. Never be afraid to experiment.  At the end of the day the only person who really has to be satisfied with the result is you!

Models, Photography and Article Copyright © 1998 by James Blackwell
Page Created 11 September 1998
Last updated 18 May 2001

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