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N 52 11
SPECIAL BLITZKRIEG
72 PAGES
Armour Modelling Magazine
www.euromodelismo.com
16 RENAULT FT17
One of the consequences of the Blitzkrieg was the capture of a considerable amount of enemy
war material. Abilio gives us an example of this with his German FT-17. This kit has a subtle
paintjob, especially with the dirt work on this vehicle.
26 SD.KFZ 232
We cant talk about the Blitzkrieg without mentioning the scout vehicles. The
work which traditionally was entrusted to Germanys cavalry was given to these
armored vehicles on wheels that were present throughout the conflict in varied
forms. Ivan deploys a wide range of techniques on his 232 including the new
Black and White painting technique to recreate the vehicles Panzer Gray. We
will also like to mention his elaborate dirt application work.
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TRISTAR 1/35
This command AFV -quite common on the opening years of WWII- is just a simple variant of
the many that were made using the PzKpfW 38(t) as a base. Many variants using this AFV
were made: AFV-hunters, self-propelled howitzers, anti-aircraft retrieval vehicles In this
case the only difference between this AFV and the base vehicle is just the FU 8 radio system
which this vehicle had instead of the frontal machine gun and the large antenna on top of the
engine compartment. Supposedly, each Panzer Division had about ten units of this type of
vehicle, and a grand total of 300 units were manufactured.
This Czech AFV is considered to be the best lightweight AFV of this opening war period,
because of its outstanding technical features. In fact this vehicle was used by other countries
such as Bulgaria, Slovakia, Hungary, Iran, Peru, Romania, Sweden and Switzerland.
3/
In addition to the metal tracks I also purchased the RB Models two meter antenna, a bottle
of wine and the folded tarp which is scratch made. I also dented the fenders here and there,
I bent a box cover and I also added some texture to an exhaust and also scaled it down by
trimming excess plastic.
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vehicles throughout WWII. When doing paint chips
parenthesis; the acrylic mapping. The idea behind
I take particular care in choosing the spots for these
applying this technique is to do additional but more
trying to arrange everything in a logical and believable
opaque and well defined stains, which cannot be made
way. The edges of the armored planks are a logical and
with oil paint. Thats why I used extremely diluted
recurrent spot for paint chips as we can see in real life
acrylic paint. The secret is to unload your paintbrush on
and period pictures those that are close enough, of
an absorbent surface before you make the stains. The
course-.
colors employed were: German Gray 995 and Chocolate
4
Brown 872 (Both Model Color AV) and Dark Rubber 306
With the idea in mind to recreate worn or dirty paint and Light Rubber 305 from AV but from the Panzer Aces
on a used vehicle I usually turn to oil paints. This is a series.
process based on superimposing different colors starting
3 4 5
7/
The colors employed in this oil painting I was determined from the start to make Then I put a few drops of
process will gradually be getting darker. the dirt work on my 38(t) a priority. enamel thinner on the areas
After working with Raw Sienna. I used Burnt Thats why all the painting process is with pigments. We have
Umber and Sepia. If you look carefully you headed towards enhancing this effect. to let the thinner cover
will notice that the darker the color used There is no doubt that the ideal means everything by capillarity,
the more diluted it was used. This altered to get this right was to employ color without moving the
the surface where it was applied but did not pigments. I began by depositing small pigments. This is enough to
cover it. These two colors were also used to amounts of pigment (an ad hoc color fix the pigments in place.
do further dirt stains in a darker and more mixture of my own) with a paintbrush. I
opaque way. always begin with less visible areas such
as the interior of the wheels.
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I tried to make
the decals look
as dirty and
On the right side of the engine I recreated a few fuel spills.
worn as the rest
Some were drier, some were wetter and therefore more
of the vehicle.
recent. Both were made with Titans asphalt oil paint. The
This is something
wetter ones are made by applying paint straight from the
necessary to deal
tube. The drier ones are made by diluting paint with White
with if we want to
Spirit.
obtain a believable
appearance for our
vehicle.
9/
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On the turrets roof I tried to get a satin finish on the areas prone to be
rubbed frequently by crewmen, as we can see on real metal surfaces
in real life. In order to accomplish this, other than the techniques
mentioned earlier, I tried to polish the paintjob. First I rubbed these
surfaces with a soft paintbrush while some places were rubbed with my
fingers. The most prominent areas (those that are more prone to this
kind of wear) such as the edges of the hatch, also received some graphite
pencil lead- to recreate the polished metal surface.
11 /
By Abilio Pieiro
MENG 1/35
The Renault FT was a small lightweight A.F.V. from WWI armed with a small 37mm
Puteaux SA 18, but other versions with a light 8mm Hotchkiss machine gun instead of this
gun were also manufactured. Although its hull was minimally armored it was up to the
periods standards. Its 35 HP Renault water cooled steam engine, was located in the rear.
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PAINTING
17 /
The tools and the exhaust were painted with acrylics following the usual techniques and doing some zenithal light source
effects. I like to paint these items at this intermediate stage because that way we can integrate these with the remaining
painting processes and also see how these contribute to the final looks of the whole ensemble. The exhaust and its rusty
hue is fresco- mapping work in various hues, starting with the lightest hues and ending up with a rust colored pigment
wash diluted with pigment fixer providing some necessary texture.
19 /
I finished the work by using some light sand colored pigments to enhance some dirt clusters. The specific product used
was Mig Productions European Dust P028 thinned out with natural sienna oil paint and some thinner to fix it in place.
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DRAGON 1/35
The Stug III was the German assault gun created initially for
infantry backup. Just like all German vehicles during WWII, this
vehicle suffered numerous modifications. In this case we will deal
with the Ausf. B model with the typical Panzer Gray scheme, but
with a curious camouflage pattern with brown spots on the roof
of its casemate.
25 /
MATERIALS
EMPLOYED
- Kit: Dragon ref. 6008
- Accessories: Eduard P.E.
sheet ref. 35125
Additionally if we engage
in additional work like
making a few missing
welding lines with Tamiya
putty, doing detailing in
some handles and taking
care of the missing electric
wiring (employing copper
wire in different girths)
the kits appearance will
definitely improve.
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The camouflage spots are hand painted doing several highly diluted coats of Vallejo acrylic 872
Chocolate Brown.
27 /
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Mud splashes on the undercarriage are made with a mixture of plaster and sand colored enamels, which are splattered on
the kit by using a toothpick on the tip of the loaded paintbrush. When doing this effect I usually employ different sand
colored hues in order to get a greater color range in the mud itself.
29 /
Exhausts are treated with rust colored pigments, which are fixed in place
using Humbrol thinner. The mouthpiece of the exhaust is airbrushed in several
airbrush passes using highly diluted XF-1 black paint.
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31 /
The Panzersphwagen was large and of this vehicle were based on 6x4 trucks special vehicle reference Sd.Kfz (short
heavy, but fast, and thats why it was with added armoring, but during 1937 for Sonderkraftfahrzeug) but after the
incorporated to the mobile units during these were replaced by the eight wheel name they had a 6-rad or 8-rad clarifi-
the outbreak of WWII. The first versions versions. These vehicles kept the same cation.
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PAINTING
I started the job by using the brand
new Black and White technique. I love
this technique because the final results
obtained are for me much more realistic
looking than the results you get when
using the modulation technique. At any
rate I like the two techniques a lot and I
usually employ both. I used white gray
and black priming. Black priming was used
for the areas hidden from sunlight and
gray for the rest of the vehicle. Finally I
airbrushed the white priming along the
edges and other prominent features which
get the most light. A simple table lamp
will be a useful tool for determining which
areas need highlighting.
Afterwards I did some previous wash work, which is usually done after
applying the base coat, but in my case I do this before as well. This effect will
be visible after covering the kit with the base paint and the corresponding
camouflage pattern. I employed for this AVs Black Wash. This could also be
done with enamel washes, but we would have to apply first a coat of gloss
varnish in order to do a better work with the washes.
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35 /
WHEELS
I didnt glue the wheels in order to be able to paint them easily. After applying the base colors; black for the rubber
area and medium blue for the tires, I then applied European Earth pigment soaked with enamel thinner. Once this
thinner evaporates, the wheels look like as if they were thrown into a puddle full of mud. By dry rubbing a paintbrush
against the wheels we can remove excess pigment.
I did again some paint chips where I had applied the base color
earlier. I also did some paint scratches, in both cases using a very
light shade of gray and a fairly new paintbrush, although I also used
the sponge. As you can see I wanted to do different kinds, just like it
happens in real life.
/ 36
One of the most visible weathering effects are the dirt, mud and rust
streaks. I recreated these I employed Panzer Aces Streaking Grime
and a thin paintbrush. I did some random
sized lines and a few minutes later I melted
these using a flat tipped paintbrush soaked
with enamel thinner.
39 /
I glued some Nock grass on the higher ground and painted it with Tamiyas XF-67 NATO Green to darken it up a little. I
also did a few brown color washes on the cobblestones and added a Miniart telegraph pole.
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FRANCE
1940
TAMIYA 1/35
By May 1940, French forces were engaging in a defensive retreat because of the unstoppable
advance of the German Panzer Divisions. The 13e Dragons made it to the Furnes Canal, the High
Command gave the order to go pass this area leaving all vehicles behind. This unit disobeyed this
command and made it to the vicinity of La Panne in Belgium. The lack of fuel, supplies and the
impossibility to effectuate any repairs, ultimately forced them to abandon their AFVs and begin
the long journey to the last free port: Dunkirk.
45 /
THE SOMUA
ASSEMBLY
1 Frankly, there are way too many and these have a beautiful fit. I sup-
model kit brands but Tamiya is on pose that it can always be improved
a class of its own. When this kit hit upon, in fact there are several after-
the market I bought it right away. As market products to improve it, but
I had the opportunity to find out, in my case, I simply followed a few
Tamiya is still the best. The kit has indications made by Steve Zaloga in
nothing but the necessary pieces his review of this kit.
1, 3 & 4. I added the screws to the upper part of the cupola fastening
the viewfinder system on the inside and the lifting hooks. I also did
some screws for the ring to this piece and had to put some detail to
the upper machine gun viewfinder.
On the hull the most important improvement was made to the
drivers right side viewfinder. The original piece is rather wanting
in terms of detail and you need to
make an L shaped hollow spot
in order to be able to add the
2 3 missing screws.
6 7
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18. Period pictures tell us that the undercarriage and the 19. When the enamels are not quite dry I add in a random
armored planks protecting it, accumulated large amounts way pigments A.Mig-3007, A.Mig-3010 and A.Mig-3013.
of dirt. I recreate this dirt by making random mixtures of Excess pigment is removed with a brush soaked with
A.Mig enamels 1404, 1406 and 1400. These are applied thinner also with an up and down motion and trying not to
with an old paintbrush and then with a flat tipped brush press too hard in order to preserve the previous work.
soaked with thinner I remove in an up and down motion all
excess product, while trying to leave dirt streaks with my
brushstrokes.
TRACKS
20 21 22
23 24 25
20-21. Now its the turn for the tracks; I begin the work here by airbrushing A.Migs 0035 Dark Tracks as our base
color. While paint is still fresh I add to this base some A. Migs 0041 Dark Rust in varying intensities to create some hue
variations here.
22. Mixing A.Migs 0041 Dark Rust and A.Migs 0042 Old Rust with water (60%/40%) I apply a few random washes that
will get inside the crevices of the tracks.
23. The same enamels used for dirtying the undercarriage -but more diluted- are now used for making a wash used to
enhance the volume of the tracks.
24. The following pigments are now applied dry on the tracks: A.Mig-3007 Dark Earth, A.Mig-3010 Concrete, A.Mig-3013
Rubble and A.Mig-3015 Brick Dust. This is intentionally done without following any specific order.
25. Finally A.Migs 3009 Gun Metal is now rubbed on the tracks with my finger to recreate the polished metal effect.
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COLOR CHART
FLESH HUES Highlights: base + Magenta 70.945 Chocolate Brown 70.872
Base: Brown Sand 70.876 Shading: Base + Prussian Blue 70.965 + Black CANTEEN
1st Highlight: Base + Sunny Skin Tone 70.845 70.950 Base: 40% Flat Earth 70.983 + 60% Black
2nd Highlight: 1st highlight + Ivory 70.918 LEG STRAPS 70.950
1st Shading: Base + Burnt Red 70.814 + Glaze Base: 80% Russian Uniform WWII 70.924 + 1st Highlight: Base + Flat Earth 70.983
Medium 70.596 20% Khaki Grey 70.880 2nd Highlight: 1st Highlight + Orange Brown
2nd Shading: Base + Burnt Red 70.814 + Glaze 1st Highlight: base + Khaki Grey 70.880 + 70.981
Medium 70.596 + Violet 70.960 Sunny Skin Tone 70.845 Shading: Base + Black 70.950
In order to change the hues we can add Flat 2nd Highlight: 1st highlight + Sunny Skin Tone STRAPS- CARTRIDGE BELT
Earth 70.983 70.845 Base: 40% Sky Blue 70.961 + 40% Orange
COAT: 1st Shading: Base + Olive Grey 70.888 + Burnt Brown 70.981 + 20% Bright Orange 70.851
Base: 60% Green Brown 70.879 + 40% Flat Umber 70.941 Highlights: Base + Bright Orange 70.851 + Dark
Earth 70.983 2nd Shading: 1st Shading + Olive Grey 70.888 Flesh 70.927
1st Highlight: Base + Green Ochre 70.914 + Black 70.950 Shading: Base + Glossy Black 70.861
2nd Highlight: 1st highlight + Sunny Skin Tone DUFFLE BAG: BOOTS
70.845 Base: 70% Buff 70.976 + 15% Desert Yellow Base: 50% Flat Brown 70.984 + 50% Glossy
1st Shading: Base + Flat Earth 70.983 70.977 + 15% English Uniform 70.921 Black 70.861
2nd Shading: 1st shading + U.S.A. Olive Drab 1st Highlight: Base + Buff 70.976 1st Highlight: Base + Flat Brown 70.984
70.889 2nd Highlight: 1st Highlight + Ivory 70.918 2nd Highlight: 1st Highlight + Orange Brown
PANTS 1st Shading: Base + English Uniform 70.921 + Shading: Base + Glossy Black 70.861
Base: 65% English Uniform 70.921 + 35% Flat Prussian Blue 70.965 RIFLE
Earth 70.983 2ns Shading: 1st Shading + AMMO A.MIG-7123 weapon set
53 /
THE BASE
A base of
diluted
green yellow
881 diluted
paint (with
Gaianotes
acrylic
thinner) is
now employed
for the base.
When this is
dry we apply a
650 black paint
wash insisting
specially on
the crevices
and sunken
areas. When
the wash is
still wet I do
some Stone Gray drybrushing.
After all this is dry I do again
some selective and subtle
drybrushing with a mixture of
After making some contours
884 and a little white gray 993
with the pictures Ricardo has
which will help us bring the
provided with his research
details out some more. Finally I
materials, using Photoshop
paint the base of the trunk with a
some filters and textures
little Green Sand oil paint diluted
I create the color fading
with AMMOs thinner creating a
for the sides of the base.
moss effect. For the interior of the
These are then printed on
trunk and the knots on the tree, I
high quality laser paper
apply a base of Vallejos 834. I do
and then proceed to glue
some highlights by adding to this
them with double sided
color some 976 and 837 for the final
adhesive tape. In order
highlights. For the shading I add some
to protect these from
981 to the base color while the final
further treatments
shadows are made with 941 and a little
I cover them with
black paint.
masking tape.
55 /
While the oil paint dries up, I ready the branches for the two
trees. The branches are glued little by little with a pair of
tweezers and white glue, always trying to get the correct
volume for the treetops.
/ 58
Now we have to put each and every item on the base. Out of precaution and in order to avoid unwanted paint scratches
I protect the tip of my tweezers with masking tape. The ongoing combat between the hedgehog and the fox is a small
touch of humor introduced by me on the scene.
59 /
MUD
To talk about tanks is to talk about mud. This is one of the most frequently portrayed and recurrent effects in the static military
vehicles hobby. In Panzer Aces we have made a small study on how to portray mud, be it in splashes or other types of accumulations.
In both cases well show you how to do it with the special products available or using the standard painting methods (using acrylics,
enamels, pigments) with some added items such as sand.
MUD SPLASHES
Commercial Products
To illustrate mud splashes weve In all three cases weve used the product
painted green an old kits mudguard and right out of the pot, undiluted and has
weve made splashes with products from been applied by scratching the paintbrush
three different brands. Weve chosen a with a toothpick. This seems to us like the
light color which generates some contrast simplest method and the one that affords
with the green in order to be able to see us a better control for choosing the direc-
the color better, but of all three brands tion of the mud splashes. But if you feel
examined; Ammo, Vallejo acrylics and more comfortable with it you can blow
Wilder have a pretty wide range of colors. paint with your airbrush, thats up to you.
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As you can see, all of these brands are pretty easy to use, can be diluted and also be employed on scenes. Paint can in all cases be
easily removed using a specific thinner, but dont sleep over it, the sooner you remove unwanted paint all the better.
Homemade Products
As an alternate method for doing
splashes, weve used regular enamels,
acrylics, oils and pigments. In three of
these cases weve used the same tech-
nique employed for the specific products
earlier on, but oils and pigments had to
be used with a thinner to improve paint
flow and in the case of color pigments,
these needed some cohesion. Oils are
thinned with White Spirit or any other
ENAMELS
enamel thinner.
65 /
MUD CLUSTERS
Weve all seen some amazing pictures not always obtain the desired results. tested just like weve done with the mud
with this effect and all modelers have at Manufacturers usually keep their ears to splashes- the products manufactured by
least attempted once to create some of the ground and create specific products Vallejo Acrylics, Ammo-Mig and also
these on our vehicles. However we do to make this a much easier hobby. Weve Wilder, and these are the results.
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With AVs 73808 Thick Mud and Russian Mud we made a mud cluster on the central area of the mudguard piece where
the mud splashes had been created earlier. The product was applied straight from the can, using an old paintbrush.
The product is handled easily and it adheres well to the surface. As usual with this brand this is an acrylic product and
therefore it dries rather quickly and can be diluted with water to create other effects or make it less thick. Water can also
be used to shape the product to our specific needs. It has a slightly gloss finish giving an impression of dampness and has a
rough and realistic texture as well. It is also a nice touch to put some plant remains in this mixture.
The Ammo Mig product employed here is called 1701 Heavy Mud Thick Soil. It is an enamel based product and you can
mess with its dilution in order to get all sorts of different results. In our test we simply used the product straight and saw
that it can be easily handled, it adhered well to the surfaces, but the drying time for this product was of course slower.
This is actually an advantage because we have a greater margin for making corrections. The final result has a matt finish
and is smoother than other products, but as you can see in the pictures it looks pretty realistic, but is only good for making
just this type of mud.
Wilder calls its mud Stony Light Brown Textured Earth TE06 it is enamel based, and its use is pretty much like the
previous product. We apply it as usual: straight from the can. Out of these three, Wilders is the product with the thicker
grain. It also has a matt finish, and the results are also very realistic. Depending on the kind of mud that we seek to
recreate, we would choose among these three products and the two which are enamels can also be combined if necessary.
67 /
When dealing with acrylic, which in this case was AVs Panzer Aces
315, we added to the mixture Mig Productions Industrial City Dirt
pigment, to darken the color a little bit and make it different from
the mud splashes weve done earlier. This however does not affect
the bonding of paint nor its texture. We also added very little water,
ACRYLIC & PIGMENT
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PIGMENTS
We made two tests with color pigments, one with sand
on the mixture and another one without it. In both
cases White Spirit was used to bind pigments together
and attach these to the surface. The procedure does
not change; we mix evenly pigment and sand and add
thinner until we get the consistency were looking for.
The paste should not be watery; what were looking
for is sticky mud in scale. Once we have it, we apply
it with a paintbrush. As we all know, color pigments
look a whole lot darker when wet, so the real color only
appears when dry. As foreseen, it came out totally matt.
The most interesting thing is the texture obtained with
this mixture. The great setback with this technique is
the frailty of this mud; any contact can make our mud
crumble and we could only attempt a capillarity wash
if we wanted to modify its appearance. We didnt do it
this time, but we feel confident that if you use pigment
fixer you may get a sturdier result.
69 /
Knowing all this you can run your own tests; vary the proportions, adding new elements, other binders and fixers, mixing tech-
niques, media, etc. The possibilities are actually endless. The most important thing is to never lose the sense of scale, be critical
with your own work and never be quite happy with the results obtained. Good luck and enjoy your work.
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16 LANDS004
Pine stump
Tocn Pino
LANDS 102
Mosses/Musgos
16
10
New product line designed by
Rodrigo Hernndez Cabos for
making dioramas.
40 28 19
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