Epic Scale Sci-Fi Modelling

Epic Cover_Steampunk Cover - Dolman Scott 14/08/2012 17:10 Page 1
GARY R. WELSH
M A S T E R M O D E L L E R L I B R A R Y M A S T E R M O D E L L E R L I B R A R Y
EPIC SCALE
SCI.FI MODELLING
EPIC SCALE SCI.FI MODELLING
14.99
ISBN: 978-0-9569053-6-9
FROM BASICS TO COMPLETION

ADVANCED PROJECTS MADE EASY
9 780956 905369 G A R Y R . W E L S H
www.scififantasymodeller.co.uk
info@scififantasymodeller.co.uk
00_titles-contents_pp1-3_Layout 1 15/08/2012 10:27 Page 1
M A S T E R M O D E L L E R L I B R A R Y
EPIC SCALE
SCI.FI MODELLING
G A R Y R . W E L S H
To Mum; who always knew I could.

Kathleen Anne Welsh: 1939 2005.
And also my Father Patrick Michael PADDY Welsh: 1938 2014.
Whose love and inspiration taught me the simple pleasure to be had from making things...
Acknowledgements ADH publications) whose initial desperation for a

When undertaking a project such as writing a book, descent sci-fi modeller meant I got a fair crack at the
there are always people without whom one would not whip; all round top bloke Nik J. Wigman; Patrick
have reached the end of the journey. Watson (for advice on photography); Martin Bower and
First of all my grateful thanks go to Mike and Dave Mat Irvine; all at Norwich Scale Model Group (the best
who had the initial faith to commission me to write this bunch of modellers in the Eastern counties) plus Alan
volume in the first place. Their help and guidance kept You Madman Bottoms and fellow Sci.fi & fantasy
me on the straight and narrow during a very long and modeller Roger Brown at Harrow IPMS.
arduous couple of years. My fellow Happy Medium A very special thank you also goes to Duane Rollo,
regulars Andy and Barry also deserve a special mention. without whom the Nebulon A frigate would never have
Of the many company representatives who helped, happened; Brian and Brenda Read for their
those deserving special note are: Dale Luckhurst of encouragement, especially Brian for his logical solutions
Hornby Hobbies Ltd.; Robbie, Sam and Gary at to almost impossible problems; all the guys at Resin
Langleys Toymaster, Norwich and Malcolm Rollings of Illuminati; Vince Stanley and Shaun Hudson for
Kingkit, whose patience while I disrupted his operation specialist project management; my father, Patrick
deserves very special thanks. Also worthy of mention is (Paddy) Michael Welsh for starting me off on this crazy
everyone at E.M.A. Model Supplies for their excellent hobby in the first place and finally... my wife Andrea
service and technical support; Byte computers; R.E. who gave me the strength and support to carry on when
Thorns ironmongers and all the team at Graphicair. I thought I couldnt, whose faith in me never faltered and
Of individuals, I want to thank Richard A. Franks (of whose love is my inspiration.
The moral right of the author has been asserted.
Editor-in-Chief: Mike Reccia

Specials Editor: Andy Pearson
Series Production: David Openshaw
Published by: Happy Medium Press ( www.scififantasymodeller.co.uk )

Copyright Happy Medium Press 2012
ISBN: 978-0-9569053-6-9
Printed and bound in the United Kingdom by Dolman Scott
All rights reserved. This book may not be reproduced in whole or in part without written permission from the Publishers, except
by a reviewer who may quote brief passages in a review; nor may any part of this book be reproduced, stored in a retrieval
system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or other, without written
permission from the Publishers. All copyrights are acknowledged. The Author and Publishers take no responsibility for any
harm or injury to the reader as a result of using the techniques described in this publication. Safety and common sense should
always be foremost when using these techniques and materials. Read all instructions and warnings on tools, paint, glues, and
all chemicals. Hobby knives are very sharp and serious injury can result from improper use. Your work area should be well
ventilated at all times. Children should be supervised at all times by an adult familiar with hobby safety. Please note that all
hints, tips and procedures in this publication are given in good faith and based on actual experience. However, neither the
Author or Publishers can be responsible if something goes wrong during construction.
2
00_titles-contents_pp1-3_Layout 1 15/08/2012 10:28 Page 3
CONTENTS
4: Tools and Materials
13: Basic Techniques in Design and Kit Bashing
24: By Your Command!
34: Nebulon A Frigate
94: Proto Nebulon Cruiser
107: The Rebel Fleet
121: Photography and Compositing: a brief description
125: Glossary of kits used
127: Suppliers, bibliography, useful websites
128: About the author

3
01-ch1_pp4-12_Layout 1 11/08/2012 12:25 Page 4
Chapter 1
Tools and Materials
You cant build anything without tools. However, you dont need a fully kitted
out workshop with all the latest and (price prohibitive) kit to hand. The models
that were built for this book werent created within a workshop full of such 1
tools. One fellow modeller (who shall remain anonymous to spare his
embarrassment), spends an absolute fortune on all the latest tools and gadgets,
but uses only a fraction of these, whilst most just sit in his wonderful tool box
never to see the light of day.
Do you really want to end up as the guy with All the gear... no idea?
In terms of basics, every tool box should have at least one of the following:
something to cut with, something to hold parts with, something to measure
2
with, and something to finish with. Is it that simple? Well, not exactly, but we
should discuss these categories in detail.
Something to cut with...

The most obvious tool needed to cut material with is a knife or blade of some
kind. In traditional plastic kit modelling you will usually not need anything
more than a simple craft knife, of which there are many on the market. Once
you enter the dizzy world of scratchbuilding you will find that you need to arm
3
yourself with something a little more sophisticated. My tool box contains a
Swann Morton No.3 and No.4 handle with a straight edged blade. These are
used for scoring and snapping kit parts, cutting plastic card, trimming kit parts
and general light duties. For heavier cutting on thicker materials I use a
standard Stanley type knife with heavy duty blades. There is also a multitude
of specialist cutting tools that can be used and, again, I use a small selection of
these. I find an Ofla circle cutter to be invaluable, as you cant cut a perfect
circle freehand, no matter how clever you are.
4
A multi-angle cutting saw is also invaluable for cutting tubing and extruded
shape materials although, if you cant justify the expense, a good quality
hacksaw (which I also have) and a steady hand are just as good. Side cutters
are also a very useful tool as they are a quick way of removing unwanted extras
from kit parts and cutting parts from sprues I have three types to choose
from, depending on the job at hand. I have a specialist sprue cutter for
01: Scalpels (3 and 4 sized handles) and a standard Stanley knife fitted with a retractable blade for heavy
5
duty cutting. 02: A selection of cutting tools, the red handled ones being every day DIY varieties. The green
handled items are standard modelling cutters, the yellow a more heavy duty type, and the orange handled
are Xuron sprue shears for removing parts cleanly from the trees. 03: A classic automotive tool, the
nibbler can cut through plastic up to 3.2mm thick cleanly, as well as cutting sheet metals up to 1.2mm in
thickness. 04: My collection of measuring tools. The thicker wooden and metal rulers are 1m in length.
05: Three types of tweezers, plus a pin vice (second from top) that can hold a variety of drill bits from 0.0-
4.0mm in diameter. At the top of the photograph is my bare metal scriber for not surprisingly scribing
panel lines. 06: Every serious scratchbuilders standby. Davids P38 (marketed as Bondo in the USA).
6
4
01-ch1_pp4-12_Layout 1 11/08/2012 12:25 Page 5
TOOLS AND MATERIAL
removing parts from trees cleanly without lots of excess to clean up. I have a
couple of heavier duty modelling types that I use for trimming off excess, and
a standard DIY type for cutting metal and prizing large kit parts apart to get
to the detail section I want.
Finally I have a nibbler. This is an automotive tool I have found invaluable
7 over the years. They are available as either a standard or V cut and are
excellent for the cutting of heavy materials such as thick ABS or metal sheeting.
They cut cleanly and quickly, leaving little to clean up.
Something to hold parts with...

There are only really three types of holding tools: tweezers, pliers and vices.
Tweezers come in a variety of subtypes in a variety of shapes and can be very
useful, especially when working with small or photo-etched parts.
8
Pliers are used for holding parts while being painted or being worked with a
motor tool and every toolbox should contain at least one pair of blunt and long
nosed examples.
I couldnt work without a vice excellent for clamping models or parts into
place to be worked on. Again, several types are available; again I own two: a
standard bench type and a bench-mounted swivel version.
Something to measure with...

9
Once you start scratchbuilding, it soon becomes obvious that you will need
measuring instruments from time to time. I have a variety, from my old sign-
writing one metre rule to a selection of metal types ranging from six inches to
one metre in length and covering both metric and imperial measurements. I
also have a 140mm vernier calliper. This is really useful for accurately
measuring holes than need filling with detail, especially so when matching kit
parts or off-cuts to areas that need to be covered. In fact, the more I use it, the
more I realise that I would be lost without it. As well as these implements I also
10
have a good old fashioned Stanley tape measure.
07: Standard and junior hacksaws for cutting extruded tubes and shapes. I also have a compound saw for
angled work. 08: My Dremel. This is an older model, but still as good as the day I bought it. It is the only
motor tool that I have but has excellent torque. It can, however, only be used for periods of no longer than
twenty minutes at a time. 09: Revells Classic Omega Compressor. This type will set you back around 150-
11
250 depending on retailer. 10: The AB airbrush used for painting the elements in this book. The top AB-
206 is used exclusively for varnishing. The lower AB-200 was used for the star field element and painting
the minor fleet ships built from kits. Both are available for 60 the pair! 11: The Paasche airbrushes used
for the main models. From the bottom up: the F1 single action, HS (with screw fittings) single action, and
Talon gravity fed. All three are excellent brushes, although the Talon is a relative luxury as the F & H can
do the job equally well. 12: A selection of my brushes for hand finishing. Some of these are approaching
thirty years old and still going strong. Always buy the best you can afford and remember that looking after
them well really does pay dividends.
12
5
01-ch1_pp4-12_Layout 1 11/08/2012 12:25 Page 6
Motor tools...
Over the last few years there has been a move towards motor tools for
modellers. To be honest, unless these are 3 phase or air driven, most DIY tools
will burn out with prolonged usage. Motor tools are more of a luxury than a
necessity. I have a Dremel Multi that I have had for many years and, as long as
I dont over-run it or put too much torque loading on it while Im using it for 13
cutting or sanding, it will last me a lifetime. I also have a stand for this which
allows it to be converted into a pillar drill. It can also function as a hand drill
which saves the fingers when using pin-vices its all I really need for now. A
general-purpose DIY power driver comes in very useful for drilling large holes
and screwing sections together for stands.
Specialist tools...
14
As well as the above you can arm yourself with a variety of clamps and similar
holders and all sorts of other really clever bits of kit. Of the vast range of extras
available I have three:
Panel scribers although you can use the back of a scalpel blade, a panel
scriber will do the job more evenly and quickly. I have a Squadron Bare Metal
scriber that I have owned for the past twenty years and which is still going
strong. This is currently available as the Experts Choice Panel Scriber from a
variety of retail and mail order companies.
15
Files I own a variety of basic DIY files and a rasp for shaping large parts,
as well as a small selection of needle files used to enlarge smaller holes.
Pin-vice this simple tool holds drill bits so that they can be turned by hand
for precise work.
Something to finish with...

Painting a model is my favourite part of the whole job and can be
accomplished in a variety of ways. Hand painting (with a brush), spray cans or
16
airbrush, and I use a mixture of all of these techniques.
Spray cans are a useful and quick way of achieving a good finish. They are
easy to use and get hold of but can end up being expensive, especially on larger
projects.
Always check that the spray can paint you are going to use is compatible
with the material you are painting. Some modern acrylic paints will not adhere
well to plastics or metals without an etching primer of some sort and cellulose
paints (where still available) will, in the worst cases, melt some plastics
17
completely.
Hand brushing used to be the only way of finishing a model, but now is
mostly restricted to detail painting and small areas where masking a section for
13: Looking after brushes part one. Excess paint is dabbed off the brush onto the pallet. 14 and 15: Excess
paint is then wiped off into paper towel, being very careful not to pull at the bristles. 16: The brush is then
washed in thinner/water depending on type of paint used. 17: Excess thinner is then wiped off, again
being careful not to pull at the bristles. 18: Remaining thinner/paint is washed out using soap and water.
18
6
01-ch1_pp4-12_Layout 1 11/08/2012 12:25 Page 7
TOOLS AND MATERIAL
spray can or airbrush application is impractical. The following wisdom is often

quoted, but it is good advice and so I will repeat it here... Never skimp on
brushes; always buy the best you can afford.
Looking after brushes is simplicity itself. Wash them thoroughly in water,
white spirit or other thinner depending on the paint medium you are using.
19 Wash and rinse them out with soap and water and then gently dry them in
paper towel to get rid of any residual moisture. Tease them back into shape
with a spot of Vaseline jelly and put them, bristle end up, into a pot or jar of
some kind. When you need to use them again, rinse out the Vaseline with white
spirit, spin out the excess and youre ready to go again. I have brushes that are
over twenty years old and are still in tip-top condition. It always pays to look
after them properly.
Airbrushes are brilliant, but you dont need the most expensive and flashiest
20
around. Many modellers can tell you horror stories regarding airbrushes and
these are usually due to over enthusiastic salesmen giving the wrong advice and
the modeller being left with the wrong product for what he or she needs.
Elements in this book were painted with a variety of airbrushes, from simple
single actions, to sophisticated double action models with all the latest mod-cons.
Buying an airbrush set can be expensive and I would always advise getting a
cheap set first (there are many on the market) which can be bought for as little
as 60 with compressor and then, only when you have familiarised yourself
21
with airbrush techniques, move up a gear in terms of specification.
As already stated you dont always need the latest and best specifications. I
know many modellers who only ever have a simple, single-action model and
get superb results time after time. Only an idiot would spend over 150 on an
airbrush and 300 on a compressor without ever trying one out first.
The airbrushes used for this book were:
Paasche F1 this is a very simple external mix siphon feed single action brush,
perfect for the beginner. I use this for basic, simple colour application and,
22
occasionally, small detail work.
Paasche H single action, siphon feed, external mix. I actually use an HS set,
that has a threaded nut to attach the colour cups very useful. However, other
than this, the H set is identical. This airbrush is the Fs bigger brother and
comes with three sizes of tip and three sizes of colour cup. I use this brush for
spraying large areas, laying down primer or single colours, and also for
19: Once properly rinsed, the bristles are gently teased back into shape using the fingers. 20: The brush is
23
dipped into petroleum jelly. 21: The brush is again pulled back into shape. 22: With the petroleum jelly set
the brush is stored away (bristles up). Before use the brush is rinsed in white spirit which removes the
petroleum jelly and leaves the brush ready for use. 23: The variety of the paints I use. Back row: Liquitex
Varnish and Alclad Black Primer and Micro filler. Middle row: Vallejo Air (ready for spraying from the
bottle), Liquitex Acrylic softbody medium and Vallejo Model Colour. Nearest the camera: good old
Humbrol enamel paints in the iconic tinlet. 24: Airbrush cleaners Revell (will clean enamel and acrylic)
and Vallejo (acrylic only). The small bottle between them is lubricant. It is wise to lubricate the moving
parts on an airbrush at the end of any busy session.
24
7
01-ch1_pp4-12_Layout 1 11/08/2012 12:25 Page 8
painting murals such as a sky background, and it is equally at home spraying

fine detail. If you are thinking single action brushes just remember that the
ILM model shop (now Kerner Optical) still uses this exact brush today.
Paasche Talon this is Paasches top of the range gravity fed, double action,
internal mix brush and is a superb tool that can spray the finest of lines at
minimum pressures. I use this brush for detail and weathering work. In reality 25
its a luxury product and I could easily have made all of the models in this book
with the single action brushes already mentioned.
AB-206 this is a Chinese (Fengda) single action, internal mix, gravity
airbrush costing around 30. This brush is a good, all round, single action that
gives excellent spray patterns at low pressures. I use it exclusively for
varnishing models where I need to keep overspray to a minimum.
AB-200 this is a Chinese copy of a top-of-the-range Iwata airbrush (Fengda
26
again). Double action, internal mix, with M.A.C. valve for the finest of
air/paint mixing, giving virtually no grain in the finish. It costs around 45.
The M.A.C. valve allows it to produce an excellent spatter pattern which I used
to great effect in creating the star field background for all the final composite
images.
Compressors
Although you can happily run an airbrush on a tin of propellant, in the end a
27
compressor will be needed if you want to spend more than a couple of minutes
airbrushing at each session and simple diaphragm compressors are available
from as little as 40. These can only really be used for small-scale painting,
however, as running them for anything over a maximum of twenty minutes at
a time will damage them and they are expensive to run.
Large scale garage tank compressors will do the job perfectly and you can
use them in conjunction with spray guns. They range from as little as 110 but
are heavy and noisy in operation. Unless you have a workshop away from the
28
house and neighbours (and own a good pair of ear defenders) they are not very
practical.
Piston Hobby types are just right for our hobby. They come in a range of
styles and prices, usually have moisture traps fitted and have the ability to
regulate the air pressure (a very handy option). Prices start from around 60,
but can rise to as much as 1000! I have two compressors (a throwback from
when I ran Hectors House of Models & Miniatures). One is a professional
artists compressor with all mod-cons costing around 700 but the one I chose
29
25: Proprietary thinner for spraying enamel paints alongside a Humbrol tinlet. 26: Liquitex Flowaid. This
will retard any type of acrylic paint allowing for better spraying and less tip clogging. 27: The Vallejo
Model Colour swatch chart. At 10 this is an easy way of determining colours against photographic
reference. Here it is being used to match colours on Joe Johnstons sketch for the Nebulon A Cruiser.
28: Masking tapes of differing sizes and types. 29: Miscellaneous tools: a selection of files, a set square
and an Olfa compass cutter for cutting circles in plastic card. 30: Glues: from left to right, Vital medium
viscosity superglue, EMAs superb Plasticweld and Devcon two-part 5 minute epoxy.
30
8
01-ch1_pp4-12_Layout 1 11/08/2012 12:26 Page 9
TOOLS AND MATERIAL
for the modelling featured in this book was a Revell Omega. This really is a
cracking machine that is robust and easy to use. I have run it for prolonged
periods of up to 40 minutes at a time with no problems. It lists at 300, but is
often to be found on special deals for as little as 150. If you are planning a
large scale project then this type of compressor is a must. If, however, you are
31 just building small to medium scale models a small piston type will do just fine.
Materials
There are a number of materials that models can be built from and these are
the ones I used for the projects in this book:
ABS (Acrylontrile Butadiene Styrene). This really is a wonder product, more
flexible that styrene and as strong as Perspex. It can be worked without the
need for expensive motor equipment such as bench saws and disc sanders. It
32
wont shatter, takes gentle heating for bending and is perfect for crash or vac
forming shapes. It is, however, only available in a small range of thicknesses.
The larger part of the range of EMA shaped products and tubing is formed
from ABS.
Hi-Impact Polystyrene (Styrene). This is the standard material for making
injection moulded kits and is available in sheet form as plastic card. It is offered
in a greater range of thicknesses than ABS but lacks the rigidity to be suitable
for large model shape construction, although it is excellent for detail work on
33
such projects.
Polyester. This is available in sheet form (as clear co-polyester) but is more
widely recognised in paste form as automotive two-part fillers, the most
commonly used of which are Upol and Davids Isopon P38. This is another
wonderful material that I first came across during my apprenticeship. Although
perfect for filling dents in metal it can also be used to create compound curves
and blend together shapes quickly and very easily. It is incredibly strong and
will bond well to plastic, wood and metal. I prefer Davids as it is easier to use
34
and (I feel) gives a better finish. If you are working to a budget Upol is a viable
alternative.
Metal tubing and rod

Metal tubing is excellent for making antennae masts and really intricate stand-
alone detail that is tough and will not sag over time. I always like to have a
selection of brass and aluminium tubing and rod to hand. Metal can be
soldered but, with care, can also be glued together and comes in a variety of
35
shapes from round to hexagonal. Just clean it thoroughly and degrease, scuff-
up the surface with medium wet and dry paper and you can tack metals
together with superglue then bond permanently with Epoxy.
31: Metal tubing and strip in a variety of thicknesses. 32: A selection of EMAs ABS extruded products,
tubing and hemispheres. 33: Scratchbuilt Jedi Courier that uses EMA extruded ABS products in its
construction. 34: Tubing and hemispheres are cut to patterns to make engines. 35: The completed engines
in position. 36: Close-up showing the completed engines and detailed area around them.
36
9
01-ch1_pp4-12_Layout 1 11/08/2012 12:26 Page 10
Glues
Where do you start? There is a blistering array of glues on the market today
and we all have our preferences. These are mine:
EMA Plastic Weld (Liquid Solvent Cement Dichloromethane). This is an
astonishing product that glues just about every type of plastic there is on the
market, strongly and in double quick time. Water-like in consistency, it has to 37
be applied with a brush and, when joining differing types of material, it is

advisable to soften the harder material edge beforehand. Load-bearing joints
should always be backed up with epoxy or superglue.
It can also be used as a thinner for some model fillers (such as Revells
Plasto), smoothing out filled areas to cut down on sanding time and speeding
up the curing time of the filler.
There are other types of plastic glues on the market but they are effectively
38
the same as EMA Plastic Weld yet more expensive.
Superglue (Cyanoacrylate). Superglue was originally designed as a battlefield
dressing to seal open wounds (hence its so good at sticking your fingers
together). Today it is more likely to be seen in any hobby or DIY store.
Superglue really does stick almost anything to anything but is only really strong
where joins will be subjected to tensile rather than shear stresses.
There seems to be a superglue for almost every type of application with
prices to match. My brand of choice is Vital, which is available in thin, medium
39
and thick viscosities. I use Vital activator to instantly set parts where necessary
but I also have a de-bonder handy for little accidents. Vital is cheap and good
for what I need. Dont be tempted by industrial types as these can be expensive
and somewhat problematic in use as they are usually specific to certain
materials.
Epoxy (Epoxy Resin and Polymercaptan Amines). These two-part glues are
superb for making super strong joints, and can be used with confidence on
structural load bearing points. There are many on the market, Araldite being
40
the most commonly available and it does the job perfectly well.
I use Devcon 5 Minute Epoxy and 2-Ton Crystal Clear Epoxy. This is a
superb glue that sets relatively quickly and gains full strength within a couple
of hours (against Araldite, which usually takes twenty-four hours to properly
cure). It is easy to use and is very fluid, so can be applied in tiny amounts to
strengthen metal joins without the use of solder.
37: This shot of the model shows rear section of the engines cut down. Hemispheres are used here.
41
38: The nose of the Jedi Courier is a 1/350th King George V ship hull. P38 is used to back up the inside of
the hull. Its perfect for this kind of work, being quick to set but not generating enough heat to distort the
plastic hull shape. 39: The hull is shaped with a Dremel to form the nose and the P38 can be seen showing
through where holes would have appeared. 40: Everyday objects useful in any workshop. Cat food trays,
plastic shot glasses, cotton buds, cocktail sticks and Blu-Tack. 41: Small glass jars can be used to mix
paints for spraying and can be sealed at the end of a session and stored, only requiring a quick remix
before being used again. I get mine from a local cafe in town which would otherwise just throw them
away. 42: Wet and dry paper and sanding block.
42
10
01-ch1_pp4-12_Layout 1 11/08/2012 12:26 Page 11
TOOLS AND MATERIAL
Paints
Paint can be broken down into two types: water and solvent based. Solvent
based paints such as cellulose, enamel or 2-part acrylic are not really suitable
for the hobbyist without suitable protective breathing apparatus but hobby
based enamel paints are fine to use for brush painting and spraying if care is
43 taken. Water based acrylics are really a modellers best friend, being simple
to use and easy to wash out of brushes afterwards. I have used the following:
Black Primer and Micro filler (Alclad 2 Lacquers). This is a primer that has
to be sprayed through an airbrush and is a generic adaptation of professional
automotive lacquer. As such it is potentially carcinogenic but is a superb
alternative to spray cans and is very, very cost effective. Applied at 15 psi (to
keep down overspray) it is highly flammable. Always work in a well
ventilated area (or better still, outdoors) and invest in a good quality
44
respirator with carbon filters and change them regularly.
Alclad can be cleaned out with their own cleaner or cellulose thinners.
Humbrol Enamel Paints. Highly regarded and recognisable in any hobby
store world-wide, these solvent based paints are the best in the business.
They can be used in an airbrush where they give excellent coverage, usually
in one pass (again take proper precautions), or applied with a brush, which
is my preferred method for detail painting.
Wash out brushes in white spirit, cellulose or Humbrols preparatory
45
thinner.
Model Color (AV Vallejo). Water based acrylic paint that is superb for both
brush and airbrush. These can be thinned with tap water (although distilled
or de-ionised works best). They are fast drying, very adhesive and available
world-wide. Equipment can be cleaned with water or Vallejos own airbrush
cleaner.
Liquitex. These are professional acrylic mediums that are superb for
airbrushing.
46
Concentrated Artists Colour. This is a medium viscosity acrylic medium
that has to be thinned for airbrush use (again distilled or de-ionised water
works best). This is unlike model paints in that it is pure colour, not toned
for scale effect, which means that it is perfect for mixing big batches of paint
for large projects and can easily be used for matching specific colours. Best
of all it will not degrade. I have specific colours that I have mixed up and
thinned for airbrush use that are years old and still spray perfectly even after
all that time in storage.
47
43: Post-it notes make excellent masks for use with an airbrush. Here is a selection used for the models
in this book. 44: An ageing space liner ready to be towed away to the scrap yard. The extensive panel
detail has all been produced using Post-it note masks. 45: Close-up of the liner showing the differing
shape and colours of Post-it note quick masking. 46: The nose of the liner shows this off again to great
effect. 47: Close-up of the top of the model. Some shading has been added using the whole edge of the
Post-it note or its corner. 48: Permanent markers (of various tip thicknesses) and a propelling pencil. These
can be used for producing small details and panel lines to great effect.
48
11
01-ch1_pp4-12_Layout 1 11/08/2012 12:26 Page 12
Matte Varnish. An acrylic polymer emulsion that is probably the best acrylic varnish on the market
today. It can be suitably thinned for airbrushing and gives a dead-flat durable finish that will not
yellow and will protect colour from UV rays.
Accessories and sundries

AV Vallejo Model Color Colour Chart. A very handy collection of actual swatches of paint covering the
entire AV Acrylic paint range. This is a luxury item but for those of us who want to match colours from
real life objects it saves all the time and effort of trying to mix paints and at 10 is I feel quite
reasonable.
Airbrush Cleaners. There are many on the market but I use only Revell Airbrush Clean. A quick back
blast and this lubricates as well as cleans and I use it as a final rinse before packing the airbrush away.
Liquitex Flow Aid. I have used Flow Aid since I first started using acrylic paints. It is a retarding agent
that improves the flow and penetration of acrylic mediums which is very helpful when airbrushing, as
it helps stop tip-clogging where paint particles have built up on the airbrush tip, stopping paint flow. It
is expensive but one bottle goes a long way. Usually only a couple of drops need be added to thinned
paint and, best of all, it works with all acrylic mediums not just Liquitex.
Wet and dry. A generic term for abrasive paper that can be used for sanding. Available in grades from
P40 P1200 (the greater the number the finer the abrasive), it can be used wet without disintegrating
and, if you use hand soap applied to the surface, it will produce a perfectly smooth finish on finer grades
of P400 or above. Wet and dry is available everywhere and is inexpensive to buy. You can also get
sanding sticks of various sizes and types: I have one, but only ever use it to hone airbrush needles.
Masking tape. Again there is a wide selection of tapes available for the modeller. I use a combination
of standard automotive tapes and Kabuki tape. Standard automotive tapes are available in 1/2 inch to
3 inch thicknesses, are relatively cheap and great for general masking.
Kabuki tapes are available from a variety of manufactures and give a sharp, clean edge without bleed.
They can also be used to easily create very detailed and complex masking. I use Tamiya (only because
it is readily available) in 6mm, 10mm and 40mm rolls, but only where I need a clean line; automotive
tape is used for everything else.
Every day items

Finally, there are a number of every day products that have unlimited modelling potential.
Blu-Tack. This wonder product has a variety of uses and is a putty-like material that will hold fast
but easily lift off a surface without leaving greasy or sticky residues. It can hold parts in alignment while
they dry, can be a helping hand when painting small details, and may be used as a masking medium for
creating a variety of effects. No model tool kit should be without it.
Cocktail sticks. These handy, cheap wooden sticks are excellent for applying glues such as epoxy or
superglue or mounting small parts for painting.
Post-it notes. Low tack paper sheets that have an adhesive strip on one edge. We will be seeing exactly
how useful these are later on.
So, there you have it. Not a prohibitively expensive set of tools, but more than enough to create the
type of models that will be covered in the following pages.
12
02-ch2_pp13-23_Layout 1 14/08/2012 10:23 Page 13
BASIC TECHNIQUES IN DESIGN AND KIT BASHING
Chapter 2
Basic Techniques in Design and Kit Bashing
I take a yoghurt pot; I glue it onto a pat pot, topped with

a plastic shot glass. I add some plastic card fins/detail and a
few kit parts from the spares box. Spray it silver, add some
detail painting, a bit of weathering and tah-da! One
spaceship.
Sounds too simple to be true but if you think about it every
decision taken while building this model was a deliberate
influence on its overall design. So why do some spaceships
1 look great and others look, well, abominable? Design is
probably the single most difficult part of any model. If the design is a failure then the model is a failure,
no matter who the genius is that builds it.
I would always rather have a sketch book full of great designs I havent quite got the ability to build,
than a shelf full of badly designed models, as a notable professional movie and TV model builder once
01: Where it all began... Airfixs classic Girder Bridge in early 1970s boxing. This brilliant kit is still available today in a slightly less than
flattering bag from Dapol.
02: A TGA (Trans Galactic Authority) space tug built from scraps and plastic card, showing good design to fit the function.
03: The underside of the tug. Note the vertical engine nozzles blackened through use.
04: The rear of the tug showing the main four engines and a good view of the crane assembly.
05: The crane power plant sits forward of the crane assembly.
2 3
4 5
13
02-ch2_pp13-23_Layout 1 14/08/2012 10:23 Page 14
6 7
8 9
10
06: This three quarter view close up of the rear port side shows that the detailing is not symmetrical.
07: Details, details! The small details give the model a sense of great scale.
08: Another close up of the rear engines. Note the tugs serial number on the starboard rear:
an homage to Alien, the number being Ridley Scotts birthday.
09: This shot shows that the crane assembly is designed to traverse through 200.
10: Starboard side beauty shot of the tug.
11: Close-up shot of the starboard side and rear of the crane power plant. Lots of Girder Bridge parts
were used in building the crane.
12: Port side of the tug.
noted but these observations shouldnt discourage you. As with all art, appreciation is subjective at
best. If you like it there are bound to be others who like it too and those who shout loudest about it
not being very good probably lack the ability to do any better. So dont be put off.
11 12
14
02-ch2_pp13-23_Layout 1 14/08/2012 10:23 Page 15
The best designs are actually the ones that keep to simple shapes. Doug
Chiang once said that if it cant be drawn with a handful of lines, its
probably not that good.
OK, so this is a pretty broad generalisation but it has a degree of truth to
it. You dont have to be a great artist or be capable of drawing up precise
13
plans from all angles to be able to make anything from your imagination and
those people who tell you otherwise are being snobbish about the hobby and,
generally, darn right silly.
As with everything new, always start small and just see what you can do.
Diving head first into a 10-foot model with working parts and blazing lights
is probably not the best way to get going. Making up a shuttle from a couple
of kits and a bit of plastic card and filler, though, wont break the bank and
will give you a feel for what you are getting yourself into. If you are reading
14
this then its most likely that you have a certain degree of modelling skill (i.e.
you can put a plastic kit together and paint it). So in reality you are already
half way there. Im sure that you also have a few kits lying around that you
can break into and play with.
For this you dont even need to draw a sketch; just start offering parts up
to each other and see what looks good. Remember, you dont have to use the
whole part. You can cut it, turn it upside down, join the halves in a different
way and this can produce interesting and aesthetically pleasing shapes
without too much effort. What you will need, though, is a clear indication
of what the finished model will be. What are you building? Is it a shuttle? Is
it a land vehicle? Is it a freighter? Is it a battleship or fighter? Once you know
what you are building design considerations become clearer.
A battleship or freighter is bigger than a shuttle, so a sense of massive scale
becomes all the more important. Is this ship for military or civilian use? If its
civilian it is obviously going to have colour, as military ships and vehicles are,
for the most part, greys and greens and browns.
15
Rescue vehicles are always presented in high visibility colours. Battleships
are usually big, brutish and ugly, whereas civilian liners have an elegance and
sophistication about them. So, again, military ships will have a utilitarian
appearance with a lot of sharp angles for ease of construction, whereas a
civilian vessel will have a bit more aesthetic appeal with curves.
And dont stray too far from reality. If you cant really tell what your
creation is in a couple of seconds it doesnt really work as a design. Someone
might say What is this? when they are viewing it, but when you explain that
13: EMA tubing and kit bits used to build engines for the Gozanti cruiser.
14: Following the application of P38, careful rubbing down with wet and dry wrapped around a sanding
block creates barrel nacelles.
15: A Rebel Corvette kit bashed model.
16: The rear of the Corvette showing the classic souped-up guts on the outside engines. Airfix Saturn
V third stages are detailed with model 1/25th muscle car engine parts (mostly 1969 Camero). Note the
Airfix 1/72nd Lunar Module dish supported by an Airfix 1/144th SR.N4 Hovercraft propeller pylon.
16
15
02-ch2_pp13-23_Layout 1 14/08/2012 10:24 Page 16
it is a shuttle/battleship/freighter, they will be happy. They know its a

spaceship or some kind of ship, but just not what type.
Lets take a simple model and discuss its merits from a design point. Years
ago I built a tug from a few bits and pieces I had left over. No drawings were
produced to make this model; I just rummaged through my box of bits and
found a SR.N4 top hull section. Next I considered the models function. Its
a tug, used to pull and manoeuvre larger ships into dock. Pulling large ships
requires a lot of power, so I added two massive intakes with four engines
made simply from plastic card. Now I had the power ...what next? Well, any
tug will need a winch of some kind, so I added a large crane type section on
the back of the tug that would swivel 180. This would also require
independent power (the engines are needed for manoeuvring) so I added a
large power section forward of the crane. The crane was cobbled together
17
from bits of Dapol Travelling Crane and Girder Bridge kits with plastic card
and the cowlings of two 1/25th AMT General Hauler truck kits providing
the basic housing. A bridge and crew section was added to the front of the
model to give a definite orientation. Any ship operating in a busy port needs
to be easy to spot so the colour scheme was, logically, mainly yellow and red.
The black lines and chequer patterns were added to the model as modern
cranes and vehicles in container ports or large scale mining and building
operations are painted in such a way. Finally a few signage details were 18
added: TGA being the company that owns the ship, C being its port
identification code, a separate code appearing on the crane to match it to this
particular ship, plus a general registration code, in this case film director
Ridley Scotts birthday (that also just happens to be the Nostromos registry
number from the movie Alien).
All the extra detailing was added using parts taken from a variety of kits
and kit bashing is a very useful technique that we should discuss in greater
detail.
19
Kit bashed detail

Kit bashed detail used to be a sort of closed shop, with many industry
modellers unwilling to share either the techniques involved or details of the
specific kits they pilfered parts from. Today, however, this is not the case due
in the most part to the growth in CGI and the staggering advances in
miniature building technologies over the past decade. Although kit bashed
20
17: The underside is similarly detailed with a selection of car parts and Tamiya 88mm gun bits.
18: The nose section is a Tamiya Hanomag chassis turned upside down. The gun turret, side escape
pods and bridge add realism.
19: Close-up of the engines. Added kit bashed details give a sense of power. This ship is lightly armed
and armoured but fast!
20: My stock room, er, loft. Kits collected over a lifetime.
21: This pile of kits is being checked for use on the Nebulon A Frigate build. Not all seen here were used
on the final model.
21
16
02-ch2_pp13-23_Layout 1 14/08/2012 10:24 Page 17
detailing is still occasionally used, laser cutting and computer controlled 3D

prototyping has rendered this technique all but redundant in the film and
television industry. Until laser cutters and prototyping equipment become
more affordable for the home market, using parts from off the shelf model
kits for repeatable detailing is still the most cost effective way to get a lot of
22
detail fast.
It all started with a young effects artist called Derek Meddings working on
a small television puppet series in the late 1950s called Fireball XL5. Dereks
budget was not large and in a flash of inspiration he realised that his guest
craft and landscape miniatures made from found objects could be enhanced
with the application of parts taken from conventional hobby kits. In fact,
entire ships could be quickly produced on a weekly basis at a fraction of the
cost (or time) that his model subcontractors could offer. Over the course of
23
a few years Derek and his effects team perfected this technique with one of
his protges taking it with him and using it to amazing effect while working
on the seminal sci-fi movie, 2001: A Space Odyssey. As time went on kit
bashing became more and more sophisticated, providing convincing detail
wherever it was used in genre series such as Dr Who, UFO and Space: 1999.
And then came Star Wars...
Using model kits for detailing on TV and film miniatures really reached its
24
peak in the 1980s and early 1990s. I clearly remember a visit to Dapols
factory during this period when they were located in Llangothllen, Wales,
UK and the premises were home to the then Dr Who exhibition. We were
given a guided visit (by the then proprietor) of the injection moulding shop
and, during a question and answer session, I asked David, What are those
boxes full of different coloured sprues for? Are they rejects?
Oh, no! David exclaimed. They are boxes being readied to be shipped
off to Pinewood Studios for the model shop for an upcoming sci-fi TV series
(Gerry Andersons Space Precinct).
25
So, how is this technique mastered, what do you use, where do you use it
and isnt it all just a bit too expensive?
The Internet is full of useful sites where you can study in detail how and
where certain kits are used. This is great if you are, for example, a studio
22: Chosen kits for detailing the Nebulon Frigate, although even some of these went back into the stock
room without being used.
23: The boys from Langleys tempt the author with a cracking new Revell 1/32nd Eurofighter kit. Go on,
26
you know you want one... or two, maybe three?
24: A typical 1/35th military kit from the Tamiya stable full of useful parts. This particular kit was used
extensively by ILM on all Star Wars feature films.
25: Not all kits are expensive. These 1/100th Tamiya jets offer excellent small and large parts for an
extremely reasonable price.
26: Hasegawas excellent 1/72nd Leopold Railway Gun is packed full of bits a classic! (Marketed in
the U.S as Anzio Annie.)
27: Hasegawas Morser Karl is even more impressive a must have for any serious detail-merchant.
27
17
02-ch2_pp13-23_Layout 1 14/08/2012 10:24 Page 18
28 29
30 31
32 33
34 35
18
02-ch2_pp13-23_Layout 1 14/08/2012 10:24 Page 19
scale modeller building copies of your favourite screen models like for like.
But it will also allow you to get a feel for which kits are best for doing any
job, as most of these sites also have a Kit-Scan section where images of
individual kits and their trees (trees are the technical term for the connecting
runner to which all the parts are attached; sprues are the attachment points
36
to the parts from the runner) are laid out for you to look at. Once you
become familiar with the pieces used, you can begin to buy the relevant kits.
Today there are several ways to obtain model kits: new from your local
model shop; via the second-hand market at model shows or from specialist
dealers; auctions, or eBay. This is where joining your local model club can
really pay dividends and I would urge any modeller to join one of these
organisations for reasons that will become clear later.
Your local model shop has to be your first stop if you are still lucky enough
to have one. I am blessed in that I have five, all within a half hours travel
time from my home, my absolute favourite being Langleys Toymaster in
Norwich, UK. You can buy cheaper for sure but you cant beat the specialist
knowledge and personal service you get in a shop. Sale items, special deals,
upcoming release news and specialist orders can all be gleaned from your
local establishment. You can also browse at leisure, inspect box contents
before you buy (which is invaluable) and, best of all, local model club
members usually get a discount.
37
28: The final of the classic three from Hasegawa, all of which I have been using for years and parts of
which feature on all the models in this book.
29: A personnel favourite from Tamiya. I used three of these for the Nebulon A Frigate.
30: One of the cheaper Tamiya 1/35th military kits and another favourite.
31: The author spots a classic in Kingkits vast warehouse of second-hand kits.
32: Two boxes same kit inside. I bought these second hand for a Federation Pursuit Ship from
Blakes 7: one cost 10 from a collector whilst the other (guess which one OK, its the one with the
38
awful artwork) cost 3. It pays to do some homework when buying second hand.
33: Two good value kits from Malcolm Rolling of Kingkit.
34: Old standards from Airfix. Although newer kits can be expensive these older box second hand
versions were half current store prices.
35 & 36: Tamiyas original boxing Tiger 1 and King Tiger 1/35th kits. Good kits that most modern kit
builders are happy to trade for very reasonable prices or to stock up on newer examples.
37: Current new toolings of Tamiyas Tiger and King Tiger. These actually break down better than their
predecessors, albeit at an increase in price.
39
38: Roco Minitanks are now sold under the Herpa name. This M2 Alligator was bought specifically for
the Nebulon A for authenticitys sake, but at 24 for a 1/87th scale pre-built model Im not sure that I
would buy another unless I had too.
39: Belonging to a model club has its advantages. Instead of throwing away this tree full of parts from
a 1/32nd Trumpeter F8 Crusader the builder gave them to me and very useful they will be, too.
40: A first boxing of Hasegawas ageing 1/32nd Me262. With current prices in the high 40 mark for
this useful kit, a damaged box and a bit of light hearted haggling with the under-the-table seller at a
model show got me this kit for a mere 7.
40
19
02-ch2_pp13-23_Layout 1 14/08/2012 10:24 Page 20
41 42
43 44
45 46
47 48
20
02-ch2_pp13-23_Layout 1 14/08/2012 10:24 Page 21
41: Every now and again an unexpected gem comes along in a very bland box.
42: Inside the bland box lie trees full of excellent parts at a great retail price. Thank you Langleys for the heads up.
43: Two kits used for this book, both with differing stories.
44: An empty box. Tamiyas kit is a high yield model with very little that cannot be used. Off to the retailer to get some more!
45: The Brabham is just as useful but has some parts that just cannot be used.
46: Happily there are many modellers who would like your cast-offs. Some parts from the BT-50 and a set of decals from another kit landed
me with this box of goodies. A 1/72nd Sea Flanker and F-15 Eagle.
47: More parts for trading, this time old style Airfix stands...
48: ...traded for 1/24th Harrier engine parts and assorted bits and pieces.
49: Disassociate yourself from the kit. The easiest way to do this is to pile everything into one box. This one contains parts from the
Hasegawa 1/72nd Leopold and Karl kits.
50: Carefully chosen kit parts can be used to enhance detail on standard kits as seen here on this Revell Republic Cruiser.
51: The completed kit bashed detail looks far better than the supplied parts.
The second-hand market is, however, is a completely different

animal and one that can be a blessing or a curse. In my time I
have been well served and ripped off in equal measure. It really
is a case of buyer beware!
I would advise finding and sticking with a good, reliable
company such as Kingkit run by Malcolm Rolling at Shifnal just
outside Telford in Staffordshire, UK. I have used this company for
many years and have never been let down. Kingkit started almost
49
by accident as Malcolm started buying and selling OH-HO figures
to military gamers. As the business grew he was offered kits to sell and from there things snowballed.
As Malcolm explained: Most second hand buyers will not pay top prices for older kits, but there are
exceptions. Its a fickle market where sometimes a kits worth can double over the course of a few
months, while the value of others decreases or stays relatively flat.
Commenting on customers he elaborated, Theres no such thing as a typical customer. Some are
collectors, some are looking for an out of production kit to build and then, of course, there are people
such as yourself.
Each kit that comes through the door is catalogued and a picture taken of its contents before it is
parcelled up for delivery, a sure-fire guarantee that the box and its contents are fit for sale.
Reasons for buying second-hand are two fold. Firstly you can sometimes buy a lot cheaper than
normal retail and, secondly, its a great way of obtaining rare items no longer in production, although
50 51
21
02-ch2_pp13-23_Layout 1 14/08/2012 10:24 Page 22
in reality this is only relevant to the studio scale community.

Auctions can yield terrific results, although good buys are few and far between. Inspecting the goods
on viewing days is always recommended, as is setting the price you want to pay and sticking to it!
Putting a bid on the books is a good way of not getting carried away and paying too much. Online
auctions are even more tricky, as you cant inspect the goods before you buy. There are an awful lot of
reputable dealers in the digital realm and unfortunately an equal amount of rip-off merchants. At
present time it seems to be a 50/50 split. For every well served buyer, there
is another disappointed customer. So, as far as you can, always check the
sellers reputation.
Your local modelling community is a real blessing. At club meeting nights
there are usually people selling unwanted kits for a fraction of retail or even
second hand dealer prices. Club raffles are also a real boon. For a small stake
(and if your luck is in) you can sometimes come away with an extraordinary
bargain. Club members are also great source of, if not whole kits, then spare
parts. At my club everyone knows Im the slightly odd guy who buys kits but
doesnt build them. Consequently I always end up being offered spare kit bits
from members, in exchange for decal sheets or parts that simply cannot be
used by me such as rubber tyres from motor vehicles or spare figures from
military kits. Attending model shows with your club is also an excellent way
of buying cheap kits, as many other clubs will trade models under their
display tables at very reasonable prices.
I will always look for parts, instruction sheets or decals missing, and even
parts already made up when buying kits from the second-hand market. This
is not necessarily a problem depending on what I want the kit for but it can
be used as a negotiating tactic when agreeing a price. The condition of the
box is also something to consider. Crumpled or torn packaging and un-
boxed models should always command a discount.
Sometimes you will, by default, end up as a trader yourself, selling 52
unwanted kits youve bought, as a job lot in an auction when you only 53
required certain kits from that lot, for example. Remember, be fair... know
the market by all means but a useless kit to you could be a want for the non-
genre modeller and he may have something that you want, that he is eager
to part-exchange. Its easy to price yourself out of the market, and, in a small
community, a reputation for being expensive wont gain you any friends and,
more importantly, will result in hardly any sales!
54 55
22
02-ch2_pp13-23_Layout 1 14/08/2012 10:24 Page 23
Now you have some kits, stop thinking of them as kits. They are material, in the same way as a sheet
of plastic card or a tube of ABS is material. If you keep thinking of them as kits you will fall at the first
hurdle when trying to kit bash detail, because you will be more worried about the kit than the ways in
which it can be used.
A good way of getting out of this is a kit mode is to open up all the boxes and throw the trees into
a large box. By doing this the kit connection is lost and you will start to look at the shapes on the trees
rather than their connection to the final shape when they are all pieced together.
If we go back to our tug model and study the detail that was added, we can see that certain parts have
been used for certain areas. The underside has thrusters for vertical lift capabilities and these have been
taken from parts that have a specific look to them. For example, they have raised holes that can be
blackened to create a sense of heat. The cranes actuating rams are little more than large scale aircraft
landing gear. Rear engine bells are adapted tank wheels with idler rollers used in the centres of them.
The bridge is a raised deck section from a ship model with a B-29 nose canopy added to it. Choosing
parts with care and considering how they blend into their environment will add greater dimension and
realism to your model as opposed to simply gluing on parts because you like the look of them.
Now that we have discussed the whys and wherefores, maybe we should get on with a build...
52: Kit bashed detail in action. Detailing the forward section of the Nebulon A Cruiser.
53: Tamiyas classic 1/35th 88mm gun. At 40 years old this kit is still in production, at a very reasonable price.
54: The side detail of the Gozanti Cruiser, the majority of which comes from Tamiyas 88mm gun kit.
55: A modeller happy in his work. Adding kit bashed detail to the Nebulon A. 56 59: Fujimis F-14 Tomcat used extensively for the models
in this book. This typical type of kit breakdown yields a huge quantity of very useable parts.
56 57
58 59
23
03-ch3_pp24-33_Layout 1 14/08/2012 10:25 Page 24
Chapter 3
By Your Command!
A few years ago I was lucky enough to meet former BBC Effects Designer Mat Irvine while I was
displaying models at a show. Mat was very helpful in explaining his work on the classic BBC TV series
Blakes 7. I had built a Federation Pursuit Ship from only a couple of screen grabs and Mat had been
pretty complimentary about it.
Mat also had much to say about season two of the show in terms of the budget allocated to him for
visual effects work. This budget actually stayed at the same level it had for season one. No one,
however, told the directors of the episodes who were demanding more and more shots per episode,
leaving Mat and his team in a tight spot every week trying to conjure up something from nothing.
01: Airfixs Saturn V kit, not currently available in this format. The new release has updated parts to correct dimensional faults. Either this
or the newer kit can be used to build this model with two kits required. 02: The wing template. Gauged from photographs of the original
Pursuit ship model and screen captures from the episode Hostage. Four of these were cut from 80 thou plastic card.
03: The original dorsal fin template against the black plastic command shape. The difference is noticeable. 04: The dorsal fin is split to
accommodate the bisecting square tubing (the centre section is discarded). 05: Strip spacers are added to the starboard wing to reinforce
the plastic card. 06: Brass pins are epoxied into the wing and fins. Note the wing and ventral fin where the pins pass all the way through
so the blasters can be attached. 07: The component parts of the dorsal fin, prior to being closed up. 08: An in action shot, of the EMA
being cut using a compound saw with a 19tpi (teeth per inch) blade like a knife through butter! These types of saw are really useful when
cutting repeatable sizes of tubing or extruded shaped ABS and can be set at a multitude of angles to produce (if carefully planned) very
complex shapes. 09: The EMA cut, ready for assembly. Note the sharper angle on the rectangular section and the inverted 30 angle on
the half round channel. All the sawn ends were cleaned up with a blade and coarse 60 grit wet and dry. 10: The side sections were clamped
into place until set and I used EMA saddles for spacers and strength. The gaps will later be capped with plastic card. 11: The completed
main body side sections, port and starboard.
24
03-ch3_pp24-33_Layout 1 14/08/2012 10:25 Page 25
BY YOUR COMMAND!
2 3
4 5
6 7 8
9 10 11
Following our meeting, Mat was very kind in sending me some photographs of the surviving hero
F.P.S. and some additional background information on the command miniature. One Polaroid of the
original miniature (a comparison shot with the standard F.P.S.) survives but unfortunately Mat hadnt
found this before I built this model so I had to be content with screen grabs from the episode Hostage
and Mats photos of the surviving F.P.S. From this I was able to extract a reasonable approximation of
the basic shape, order the EMA tubing needed (this is extruded ABS material) and off we jolly well go...
I started by making some more cardboard templates for the wings. Mat assured me that the
command version was sleeker in shape than the standard versions (as it was supposedly Servelans
25
03-ch3_pp24-33_Layout 1 14/08/2012 10:25 Page 26
12 13
16
14
15 17 18
19 20 21
personal ship) and that the dorsal and ventral fins were essentially the same shape, albeit not as big as
the original F.P.S. fins. Once I was happy I cut the EMA tubing for the model, angling the half tube at
45 degrees.
Construction proper started with the wings and dorsal and ventral fins. These were made in the same
manner as the last model (see photographs) although this time no recess panel was cut into them. The
side pods were constructed using rectangular tubing (cut at a sharper angle than the original F.P.S.
model) and I used EMA saddles to mount these onto the half tube. The nose and time-distort engine
sections were built up using Airfix 1/144th Saturn V parts (parts were required from two kits) and these
26
03-ch3_pp24-33_Layout 1 14/08/2012 10:26 Page 27
BY YOUR COMMAND!
12: The main body with side sections attached. 13: Placed on the bench, the main body is checked for fit and alignment.14 and 15: Close-
ups showing all four wings/fins in place. 16: This top view allows me to check the top and bottom fins from head on. 17: The parts for the
nose cone laid out ready for construction. Note the EMA ring. 18: The nose section together. The parts in the newer release of the Saturn
V kit make this easier as you dont need to add the stand part behind the nose tip. 19: The time distort section parts laid out ready for
construction. Two Saturn V first/second stage skirt parts, a second stage engine mount and another EMA ring. 20: Saturn V and Patton
(Sgt York) parts being assembled for the wing tip blasters. Note the top row where the command module part has been modified to take
the Patton drive wheel half. Any 1/35th M36/Patton/Sgt York kit will do the job. Resin castings of the modified Command Module part
would cut down on cost. 21: One of the nearly completed wingtip blasters. All that needs to be added is the Patton wheel end cap and the
SN.R4 detail part.
were taken from an older issue of this kit than is currently available. Without the updated parts,
however, the new parts can also be used without compromising the overall shape. I also added a suitably
sized EMA ring on the nose section in between the second stage and the remainder of the nose with a
redundant stand part and Apollo Command Module used on the very end, as this version does not have
the standard arrow cone of the other Pursuit Ships.
Another difference between the standard and command versions is the addition of a ventral blaster
unit augmenting those on the wingtips. These are different to the F.P.S. versions in that they do not
require any half channel and are shorter. They do, however, have tip detail. I made mine up from an
Apollo Command Module and a tank drive wheel half. I used a 1/35th Tamiya Sgt York or M36
Patton (the actual part is from Tamiyas Leopard, but I didnt have one in stock), that was topped off
with a Saturn V J2 engine. I made up three, capping them at each end with a wheel from the Tamiya
Sgt York / M36 Kit, although to be fair any 1/35th M36/Patton/Sgt York kit would suffice. Lastly the
antenna array was constructed (see photo). The subassemblies were checked for fit and then the main
body parts were all epoxied into place, finishing off the basic shapes and allowing me to settle down to
detailing.
After much discussion with Mat (via e-mail), I decided that the command version should be detailed
as an amalgam of both versions. The original command miniature had been built with parts to hand
in the BBCs studio workshop, keeping her close to the original miniatures in terms of overall size. Mats
team shot a substantial amount of stock footage for season two with this miniature, virtually all of
which ended up on the cutting room floor (if time was running tight in the editing suite, visual effects
ended up being cut, not more expensive live shots). Not having any good quality shots of the original
command miniature meant that I couldnt determine the exact colour or amount of detail painting and
this made me decide that I should detail my version reasonably close to Mats remaining hero
Federation Pursuit Ship.
I started by blocking out the dorsal and ventral fin panel detail using 20 thou plastic card and the
basic shapes were cut out using my cardboard template. I then cut these up so they could be laminated
onto their respective surfaces. Detail was then applied with strip, selected Saturn V kit bits and brass
rod (for the dorsal fin). I also raided my old aircraft spares box, recovering some bomb halves that, I
think, came from 1/72nd Airfix Gnat or Esci F-104 kits.
The wing detail was done in exactly the same way only this time 60 thou plastic card was used and
I also raised the U shape rear section on 60 thou spacers. The part-recessed detail came exclusively
from Airfixs Saturn V (see photographs) topped off with an EMA dished head. The remaining body
detail also came from Airfixs Saturn V and a 1/72nd Scammel tank transporter kit. The two weapon
pylon halves were sourced from Airfixs 1/24th Harrier. Other parts were obtained from the Airfix
1/144th SN.R4 Hovercraft; another wheel and return rollers from Tamiyas Sgt York/M36, plus 10
27
03-ch3_pp24-33_Layout 1 14/08/2012 10:26 Page 28
22: The completed wingtip blasters being test fitted. 23: Antennae section mostly brass rod and EMA parts prior to detailing. 24: The
nose being detailed. The thick strip will be rubbed down to contour flush with the cone edge. The dark grey parts are EMA KW-12s.
25: The dorsal and ventral wing patterns are transferred onto thin plastic card. 26: The shapes are then cut up into panels to be added to
the wings. 27: Close-up showing the panels added to the port side of the dorsal fin. 28: This photograph shows the panels for the ventral
fin in place. 29: The base of an Airfix Saturn V first stage, before and after being cut into sections. Cutting up parts can create even better
detail parts and, more importantly, help disguise the origins of the part. 30: Close-up of the wing detail showing the Saturn V parts in place,
topped off with an EMA dished head sitting on top of the cut down base part. The rear parts are cut from J2 engine halves. The forward
part is the fuel pump cut from an F1 engine half. 31: Shot of the wing recess detail. 32: Forward shot of the completed model prior to
painting. 33: Forward shot showing the underside complete and ready for paint.
and 20 thou plastic card, Evergreen strip and U channel.

The time distort and nose sections were detailed with EMA KW-12 parts and Evergreen thick strip
was used around the nose and was sanded to give the chunkier look of the command miniature. The
time distort section had 1/72nd Gnat/F-104 parts, a 1/72nd Airfix Hunter fuel tank half and Saturn V
parts added to it. The inside of the engine was detailed by building a Saturn V F1 engine, inserting it
into the end of the engine section and capping it with an M36 wheel.
Once all the main body sections detail had been added, I detailed the antennae using small parts from
Airfixs Saturn V and a spring (from Hasegawas 1/72nd Thor/Karl Morser). I had such a plethora of
small Saturn V bits (mostly thrusters, fins and such like) lying around that I then went back over the
entire model adding bits here and there. Finally I blocked off the laminated edges of the wings with
plastic card, saving me the time and effort involved in filling and sanding these obviously laminated
edges flush.
An all over coat of grey primer let me look at the model and check that the detailing looked good. If
this was not the case the offending parts would have been removed and replaced, or the area made good
with filler. Following this, any minor gaps were filled and sanded and then the model was given a solid
coat of matt black.
I then sprayed the antennae with a coat of Halfords Volvo Silver (over a base coat of matt black) and
put this to one side to harden. Before I continued, I masked up the coach lines on the model using
Tamiya Kabuki tape for a nice, sharp edge in readiness for the top coat of matt white.
Impacting any sort of scale on white models is tricky and a multi grey shaded look usually does the
trick. It really helps, though, if the white base colour is right in the first place allow me to explain...
If you look at white objects from a distance e.g. a car, lorry or pretty girl in a white dress you will
notice that it actually looks grey in tone but, as you get closer to it, the white comes to the fore. You
have to remember that white is actually not a colour its a tone and tones react differently to light than
colours do.
The matt black base coat on the model helps give the white a natural grey distance tone when viewed
close-up. It also stops the white appearing too white, avoiding the toy-like appearance that most white
models tend to have and therefore giving it what we might call scale mass.
This technique really works well on clean subjects such as a 1/288th, 1/144th or 1/96th Saturn V
rockets, or an airliner, where you cant have extensive ageing or multi grey shading because everyone
knows exactly what the real object looks like and your eye will tell you its fake, no matter how good
the finish.
So, Gary, this sounds great but there must be a catch? Well, OK, there is. You have to be really careful
how you apply the white, and on this model I misted the colour on over quite a long period of time
until I got the correct density of white pigment. On the fourth coat I had it but knowing when to stop
28
03-ch3_pp24-33_Layout 1 14/08/2012 10:26 Page 29
BY YOUR COMMAND!
22 23 24
25 26 27
28 29 30
31 32 33
takes practice and a lot of walking around the model looking at it from every angle.
Once the white had hardened sufficiently, I started on shading the model with an airbrush. A single
action Paasche F1 airbrush was used for this purpose. I used Vallejo acrylics in various shades of grey,
mainly 992 Neutral Grey, 870 Medium Sea Grey, 990 Light Grey and 989 Sky Grey. All these were
either thinned for airbrushing with de-ionised water with a touch of Liquitex Flowaid added or hand
brushed undiluted. Airbrushing was done either freehand or by using pre-cut masks. The latter were cut
freehand from large Post-it notes and quickly add detail and interest as well as breaking up large areas,
thus giving a sense of scale.
29
03-ch3_pp24-33_Layout 1 14/08/2012 10:26 Page 30
35
37
34
36
38
39
34: This side shot shows the extent of plastic card detailing added to the model. 35: Rear shot of the completed model prior to painting.
36 & 37: Overhead shot of the completed model ready for painting. 38: Shot of the underside with detail complete. 39: Close-up of the port
wing. The side has been capped and extensive detail added with layers of carefully cut plastic card and selected kit bits. Note the Saturn
V escape tower half cut down and added (top left hand side of the image). 40: The underside of the port wing. Parts from 1/72nd Scammel
Tank Transporter and 1/24th Harrier have been used, along with an EMA dished head. Note the SN.R4 part added to the rear of the blaster
(in white). 41: Port side dorsal fin detail, mainly plastic card with small traces of cut Saturn V parts and a bit of Evergreen U channel. The
top has been detailed with brass rod and fuel tank/bomb halves from a 1/72nd scale aircraft kit (most probably Gnat or F-104). 42: Close-
up of the port side ventral fin detail all plastic card with the exception of the blaster detail.
30
03-ch3_pp24-33_Layout 1 14/08/2012 10:26 Page 31
BY YOUR COMMAND!
40 41 42
43 44 45
46 47 48
49 50 51
43: This close-up shot shows the antennae being test fitted. Note that this is the only part yet to receive additional detailing.
44: Close-up of the rear. Note the side section ends capped with SN.R4 parts shaped to the contours of the channel and main body.
45: The main body following a coat of matt white. 46: The remaining main parts coated in white. Note the slightly grey tone.
47: The completed antennae ready for weathering. Note the extensive added detail using tiny bits from the Saturn V kits. 48: Adding the
panel detail using a pre-cut mask made from a Post-it note: simple shapes have been cut into the sticky edge. Creating complex detail
simply from paint. Note also the nose band that has been masked and hand painted. 49: The completed nose, time distort and antennae
sections ready for final assembly. 50: Close-up of the top of the port wing showing the extensive shading pattern, achieved with an airbrush.
51: The shading pattern on the underside of the starboard wing.
31
03-ch3_pp24-33_Layout 1 14/08/2012 10:26 Page 32
52 53
54 55
56
52: Side view of the main body prior to final construction. Silver has
been added to the grey bands on the leading edge of the blaster
tubes. 53: Adding the Federation logo stage one: A disk of orange
is sprayed onto the wing, through a stencil. 54: Adding the
Federation logo stage two: another mask is laid over the top and
hand painted with Humbrol Polished Aluminium. 55: Adding the
Federation logo stage three: when dry the mask is removed. The
arrow will now be outlined using a Faber-Castell artists fine-tipped
pen. 56: Final details are added using a dark wash and pre-cut free
mask. Note: another stencil of this type was used to add panel
detail earlier.
Once I was happy with the shaded pattern, I made up a wash mix of black with a touch of green and
brown added and then began to airbrush this mix to create weathering streaks, running the streaks front
to back in the direction of travel. I also used this mix to deepen the recessed areas, giving them a sense
of scale.
I removed the masking tape for the coach lines before adding detail with Humbrol Polished Aluminium
using a small brush with a steady hand. I also used this colour to pick out raised details here and there.
I then added the Federation logos on the wings by first spraying an orange circle then hand painting the
silver arrow. Once dry this was outlined with a fine artists pen. Adding this was pure artistic license as
the original miniature did not have them but she just looked so bare without something.
32
03-ch3_pp24-33_Layout 1 14/08/2012 10:26 Page 33
BY YOUR COMMAND!
The main sub-assemblies were now epoxied together and, once this was cured, I went around the
model with a final wash mix (this time black and a touch of 862 Black Grey) which was added very
sparingly here and there to sharpen up the detail, followed by a coat of matt varnish finishing off the
model.
This was a
relatively simple
model to start off with
but one that covers
most of the basic
techniques of
scratchbuilding.
Basic shapes have
been augmented
with simple detail to
create believability
and scale. We can
now take what we
have learnt here
and move onto
something a bit
more adventurous.
33
04-ch4_pp34-93-C_Layout 1 11/08/2012 13:14 Page 34
Chapter 4
Nebulon A Frigate
I have loved The Empire Strikes Back since the first time I saw the movie at the cinema back in 1980.
One of the things that really impressed me was the Rebel Cruiser seen at the end of the movie where
Luke receives his new hand. It was such an incredible shape and, at the time, seemed impossible to make
in three dimensions. Thirty years later and finally Im going to produce my own version of this classic
craft. Not, however, as I originally intended it to be, a like for like copy (the original miniature was
significantly redressed for the third Star Wars movie Return of the Jedi as well as using many now
collectable and therefore price-prohibitive model kits) but a slightly smaller version based on
production sketches by Joe Johnston and Nilo Rodis.
I had spent my years researching this project (with the intention of building a perfect studio scale
copy) and was very lucky to be given a selection of 300+ images of the original ILM miniature, as it
was following the completion of Return of the Jedi, for which I shall be forever grateful. I was also
helped along the way by several people on various website forums who shared their own research with
me.
The original ILM miniature was around two and a half metres in length. My versions size will be
dictated by the forward cluster of shapes used on the bow. These, like the original, would be produced
not from hand crafted shapes, but from relatively close shapes cobbled together from various ship hulls
and aircraft fuselages from standard production kits.
Once the specific kit parts for the forward cluster had been chosen and laid out I could take
measurements. One side view coloured sketch taken from the book From Star Wars to Indiana Jones:
The best of the Lucasfilm archive was used as the master for creating the front section of the model and
all basic forward section measurements were taken from this sketch. To get the correct factor by which
to multiply these measurements I needed to apply the following formulae: Full size kit part
measurement divided by Sketch measurement...
e.g: B29 Fuselage part = 50 mm
Sketch measurement of same part = 9.5 mm
50 / 9.5 = 5.2632 (rounded up to 4 decimal places)
34
NEBULON A FRIGATE
Now every measurement taken from the sketch could be multiplied by 5.2632 knowing that it would
be correct in proportion to that sketch.
From this I could gauge the basic shapes and bulkheads needed to construct the forward section. This
was done by tracing the image outline from the blown-up sketch image from the book and then drawing
out bulkheads and the basic shape. The measurements gauged from this were multiplied up by 5.2632
giving the full size required. Width was gauged by studying images of the original ILM miniature Rebel
Frigate and using this, along with the thickness of the parts I had chosen for the forward section.
The engine section was best judged using a combination of original miniature images and some
storyboard images I had from The Empire Strikes Back. The engine layout was reduced from 7 to 5 so
as not to have to buy more Saturn V rocket kits. The original has a pinched-in engine section where it
transforms from 4 to 3 engine nozzles. Mine remains straight as the angle is more acute. I did, however,
choose the top section width to correspond with the top deck of Tamiyas 1/35th Pz IV Mobelwagon
kit, just as the original.
My model was to be supported by a stand that bolted directly into the main forward section.
Producing an armature that would support the model from all angles would have made the project
prohibitively expensive and the original miniature was only supported from a single point anyway. This
way the model would be sturdy enough on its stand yet accessible from many angles for final
photography.
With a selection of kits for the kit bashed detailing gathered together from stock, the EMA, ABS
tubing and sheet was ordered, wood and ironmongery bought, and, finally, I could start on a once-in-
a-lifetime project that I had been planning for the better part of four years and buying kits to
contribute to for nearly eight!
The following photographic essay is a blow-by-blow account of this build which took six months.
Although that sounds a lot, the actual build hours are only around 250 in total, this due in no small
part to the immense amount of planning done before I even put knife to plastic.
35
1 2
4 5
7 8
10 11
36
NEBULON A FRIGATE
01: Joe Johnstons colour sketch produced for the model shop
to aid final painting of the original Rebel Cruiser, as seen in
The Empire Strikes Back. This sketch became the bible for
building my version, christened Nebulon A Frigate.
02: The kit parts to be used for the forward section are laid out
against a copy of Joes sketch to gauge suitability. The
Bismarck hull and Sunderland fuselage stand in for the bottom
of the main hulls nose. A selection of ship hulls and aircraft
3 fuselages are mixed and matched to get the best look. A length
6 of ABS is used to break up the model parts so I can just
concentrate on the forward shapes.
03: The only plans drawn up for this project are used to mark
out the first bulkheads to be cut from 3.2mm ABS sheet.
04: Once the bulkheads have been cut, a hole for the central
spine must be cut out. Each of the bulkheads is securely
clamped into a bench vice. These could be cut with a hole
cutter placed into a hand drill but I didnt have that tool and
needed to make sure that the fit on the tube was tight and so
used the following method:
05: A basic DIY drill is used to cut holes inside the marked out
area on the bulkhead.
06: A heavy duty blade is used to score between the holes in
all directions.
07: The waste is then prized out with a pair of needle point
pliers.
08: A round of careful scoring and side cutter work opens up
the hole further.
09: Finally, a motor tool fitted with sanding drum enlarges the
hole to the correct size. The hole is test fitted with the tube
until the tube can just squeeze through without damaging the
bulkhead.
10: The main bulkheads for the forward section are fitted. A
9
rule is used to make sure that the distance between them is
12
correct and that they are level in relation to each other.
11: The bulkhead for the engine section is measured out ready
for cutting. The Airfix Saturn V part is used as a guide for the
engine layout.
12: With both bulkheads cut the Saturn V parts are laid out and
marked off for the engine arrangement.
37
13: With the bulkhead temporarily mounted onto the ABS

tubing, Tamiyas Mobelwagon top deck is offered up and
marked off. The bulkhead is then removed and cut down, before
being used as a template to cut down the second bulkhead.
14: The top deck is marked out for cutting. The ABS tubing and
Saturn V part are put in place, along with a major part of the
top deck detail (to gauge whether it looks good) before cutting.
15: The bottom section being gauged up. The ABS tubing
represents the static discharge vane housing. 13
16
16: Holes for the engines are cut out and the engines test
fitted. The blue domes were originally going to be the engine
bells themselves. This was changed later in the build as they
made the completed engine section look wrong.
17: With the Saturn V parts in place, a section of ABS is
carefully contoured by hand to match the angle of the engine
section and fit around the housing. This was only done as a
guide as any imperfections would be dealt with using filler
further down the construction line.
18: To match the housing a motor tool with a sanding wheel
was used to very carefully enlarge the hole without damaging
the curve.
19: The engine section basic shape is now complete.

20: Another shot of the engine section showing the engine cut-
outs along the side. The gap on the top is for an access panel
should I want to fit lights to the engines further down the line.
21: The basic shapes are now done and a single length of ABS
tubing slides over the front and engine sections allowing them
to be separated for ease of transportation. Note the Shuttle
fuel tank half and the Skipjack hull used for reference of how
the final model will look. At this point the mounting pipe C-
bolts are added. Note also the wood used to produce the
stand.
19
22: Work can now start on the forward section proper and the
22
front section is built up using 1.6 mm ABS sheet. The top fin
gives the front section the correct profile as I work.
23: This side view shows the profile of the front section. The
bulkheads have now been permanently attached and the main
load bearing ones doubled up to 6.4 mm and laminated
together with Epoxy.
24: The C-bolts are positioned and capped off to hide them.
Note the bulkhead has been doubled up as this will be load
bearing.
38
14 15
17 18
20 21
23 24
39
25 26
28 29
31 32
34 35
40
NEBULON A FRIGATE
25: The completed basic front section. All parts have been
bolted, screwed and epoxied together. EMA rings have been
used to bond the forward bulkhead permanently and
ironmongery was used to strengthen load bearing bulkheads.
Hero has been marked on one side so that I know how the
side sections will have to be marked out.
26: Finally the mounting pipe is securely bolted together.
27: This side view shows how secure this was made as it holds
27 the entire weight of the finished model.
30
28: To get maximum strength, the pipe is run through the side
and any excess cut off to the correct profile.
29: The forward section top bulkhead is refined in shape. This
is done by careful sanding with coarse wet and dry. At this
stage the nose is actually longer than it needs to be. This was
done to keep the front section straight when refining the
shape.
30: The front is shaped using a sanding drum on a motor tool.
31: A secondary bulkhead made from 0.40 plastic card is

drawn out by hand and cut.
32: ABS scraps are used to fill the area out ready for polyester
paste.
33: First application of polyester paste (Davids P38 Easy Sand).
34: ABS bulkheads are cut out and secured into place to aid
getting the final shape true.
35: More layers of P38 are built up at 20-minute intervals. The
polyester paste heats up when curing and too heavy a layer
might potentially warp the plastic underneath.
36: The final layer is added. Once this has cured (approximately
the time it takes to make and drink a cup of coffee or tea)
shaping can begin.
33
36
41
37: Initial sanding highlights areas that have to be done again.

A sanding block keeps things even. At this stage rough P80 wet
and dry is used to quickly cut through the polyester and shape
with the minimum of effort.
38: This close-up shows how the further applications of P38
will be required. Note the scratching from the rough wet and
dry.
39: Second application of P38. As this is a thin coat it will be
ready to work within minutes. This time a slightly less coarse 37
grade of wet and dry is used: P120. 40
40: The edge is trimmed off by scoring against the edge and
snapping it off. We now have a straight edge to work with so
that the nose contours look right.
41: More P38 applications as the nose shape is refined again.
By now we are working with a P180 grade of wet and dry.
42: Now the top section of the nose is done and the underside
is attended to. An Airfix 1/72nd E-boat hull is used for this. The
bottom of the hull is cut to length. The remaining hull parts are
then glued in place. Once this is dry the front section of the hull
is discarded.
43: The side sections are cut from Revells 1/110th U-99 sub
hull. A simple job for a nibbler.
44: The U-99 hull parts are gently bent by hand to flatten them
out.
45: The parts are attached to the underside of the nose section.
Flattening the U-99 parts allowed them to reach the bottom of
the bulkhead and not protrude past the side edge.
46: The sub hulls are trimmed back and an ABS bulkhead
added. The lower section is then built up using P38.
47: Further layers of P38 are added and cut back with wet and
dry.
48: Building up the front section so that the nose blends
43
effortlessly into the surrounding kit parts.
46
42
38 39
41 42
44 45
47 48
43
49 50
52 53
55 56
58 59
44
NEBULON A FRIGATE
49: More layers are added to the area ensuring no gaps or

obvious visual differences on either side.
50: Final shaping and sanding takes place with P240 wet and
dry. A simple gauge ensures that all is true.
51: As well as the nose, the conning tower section from the
sketch must be fabricated. A Revell Skipjack submarine half is
flanked by ABS sheet and capped with cut-down Saturn V LEM
shrouds.
51
54 52: A spacer is added underneath to give the correct bottom
profile. This is where the strength and flexibility of ABS
material is at its most noticeable.
53: The basic shape is layered and profiled as per the nose
section. A Skipjack conning tower adds the final touch and is
carefully blended into the surrounding shape.
54: Starting construction of the forward lower sail section. A
Revell/Monogram 1/48th B-29 fuselage is cut down and the
glazing added. The nose section of a Heller 1/125th Ariane V
completes the basic shape.
55: The next module down is made from a Revell 1/542th

Midway carrier and U.S.S. Boston hull sections. Here the
rudder of the Midway carrier hull is removed (in front of the
unmodified part for comparison).
56: The Midway carrier hull is cut down and is attached to the
Boston hull. When dry the Boston hull is cut to match.
57/58: Following a simple Hasegawa Leopold/Anzio Annie gun
barrel, the next module is made from an Airfix 1/600th Graf
Spee hull. The hull is cut down to the designated length and
marked against its opposite side, then the halves glued
together and the over-run cut off.
59: The top deck is added and left to cure.

60: Finally the deck is separated from the hull utilising the
score and snap method used on the nose.
57
60
45
61: The first four components are test fitted against the
bulkhead.
62: The remaining modules are made and all are test fitted.
Airfix 1/600th Bismarck and Iron Duke hulls used for module
five. Module six is two Revell U.S.S. Currituck rear hull sections
joined, followed by two Revell 1/400th Glasgow tanker hulls
and, finally, a Tamiya 1/700th Hornet hull with a
Revell/Monogram A-10 rear fuselage.
63: The top rear section of the front needs to be covered and a 61
Hasegawa 1/450th Yamato hull does the job nicely. The 64

unfinished conning tower is added just for placement at this
stage.
64: The Yamato hull will cover the strengthening screws for the
neck with ease.
65: Now that the position of the hull is established, it is marked
out so that it fits over the rear bulkhead.
66: A nibbler makes short work of the cutting required.
67: The hull test fitted. Note that only one side of the hull has
been cut at this time. This allows for the part to be set straight
before marking and cutting the other side.
68: The conning tower is finished off with the sail from a
Revell 1/200th Skipjack.
69: The rear of Revells 1/32nd F-4 Phantom fuselage is cut up,
the rear section being used for the rear of the forward sail. As
the plastic is quite soft this is a simple score and snap process.
70: 1/600th Airfix Forestall carrier hulls are also cut into the
components needed. This part of the model copies the original
ILM miniature, giving my miniature a sense of continuity in the
Star Wars universe.
71: Another rear component is assembled. U.S.S. Currituck and
Midway carrier bow sections are trimmed further to fit. In this
way the entire hull of each model has been utilised.
67
72: Rear sail component layout. From the top: F-4 fuselage,
70
Forestall, then Currituck & Midway parts.
46
62 63
65 66
68 69
71 72
47
73 74
76 77
79 80
82 83
48
NEBULON A FRIGATE
73: Revell Nautilus sub is separated from its centre section

74: The rear sail parts are all laid out to check fit. The
A-10 nose has been grafted onto the Iron Duke rear hull. The
lower three components are the F-4 rear fuselage, Nautilus
bow and Yamato forward hull part cut off from the main hull so
it fits into its designed space (again this was done with the
nibbler).
75: The main sail parts shown in their correct positions. As yet
75 they have not been glued in place.
78
76: The nearly completed forward section with the front sail
components epoxied into position. The Yamato hull is also
permanently mounted and the mounting pylon boxed in.
77: A quick check that all is well with the rear hull also added.
Now the model is really beginning to take shape.
78: 3.2mm ABS bulkheads are cut to break up the rear of the
forward section and add depth to the detail to follow. These
are first cut using a heavy-duty knife.
79: The rear section bulkheads are chamfered so that they sit
correctly on the pipe they will be glued onto.
80: The first bulkhead is glued into position. This clearly shows
the Yamato hull in place along with the conning tower, the
boxed-in mounting pole and the first extra section of detail in
the form of Airfixs 1/600th Ark Royal rear hull (left over from a
previous project).
81: Spacers are cut so the second gallery bulkhead can be
added.
82: The nose section from Revells 1/32nd F-4 is modified to fit.
83: The rear section with second level gallery bulkheads added
as well as F-4 nose sections that help to disguise the Ark Royal
hull.
84: The rear engine section has some galleries added so that it
can be detailed in line with the original miniature. Now a
81
section on the rear of the neck (permanently attached to the
84
forward section) must be constructed so that it slides over the
pipe and disguises the fact that the model will separate out
once finished.
49
85: Brackets are cut to support the engine section once

attached to the forward section.
86: The main brackets are carefully measured and marked so
that the gap is just large enough to achieve the job but not so
that it gives the illusion away. Paint thickness is a huge
consideration when judging this. These are then glued to the
front section rear neck.
87: A supporting bracket is checked and adjusted to make sure
that it is true before being added to the engine section. 85
88
88: The bracket is set into position, the set square making sure
all is well.
89: Finally the main bracket is carefully slid into position. Final
adjustments can still be done at this point before the bracket is
permanently set in place.
90: This close-up shot shows just how close a tolerance there
is around this area.
91: The remaining hull section of the Midway carrier is

separated from its upper detail.
92: The ends of this part are then sanded level. Note the tape
used as a sanding guide.
93: Airfix 1/600th Bismark rear hull is mated to the rear section
discarded from the Skipjack hull used for the conning tower on
the forward section.
94: With the forward section slid into place, the Midway hull
and Skipjack forward hulls are glued into position, being
careful not to glue them to the engine section.
95: The Bismark/Skipjack section is added so that the bottom
just rests on the lower engine section gallery bulkhead.
96: The Skipjack hulls to be added to the top of the bulkhead
are modified so that they will slide under the gallery and look
like part of the engine section hull.
91
94
50
86 87
89 90
92 93
95 96
51
97 98
100 101
103 104
106 107
52
NEBULON A FRIGATE
97: Revell 1/400th U.S.S. Dallas submarine hulls are cut up to

be used on the top section of the bracket. 98: The Skipjack hulls
are added on top of the main bracket. 99: Finally a rear hull
section from another U.S.S. Boston is added and the Dallas
hulls bridge the gap between this and the Skipjack parts. A cut
down 1/32nd F-4 drop tank finishes this off.
100. A pencil is used to draw around the built-up area where
the neck joins to the rear hull. This is used as a guide so detail
99 can be built up against this, blending the neck in with the
102 surrounding area but not encroaching into the area so that it
doesnt interfere with the join. 101: The last of the gallery
bulkheads are being added to the engine section face. Two
supporting 3.2mm ABS brackets are added so that the main
bracket slides into place without twisting and breaking
surrounding detail once located. 102: A bulkhead is added for
the lower main engine. A hole is cut into the bulkhead to allow
the Saturn V part to slide into place. Once glued into position
the excess bulkhead overhang is scored and snapped away.
Galleries are then added to the rear face.
103: All five main engines are now in place, along with the
majority of the galleries. The Easter egg containers that were
to be used for engines bells were discarded at this point as
they are placed for final guidance only. It was here that I
decided that they threw the whole engine section out of
balance. 104: The rear engine section with the main engines
glued into place. 105: With the majority of the big bulky work
done, I could now look to cut out the main slab detail panels.
The width of each panel around the forward section was easily
marked out using the bulkhead as a guide. The basic shapes
were then roughed out with pencil and judged against the ILM
sketch so that they matched. Excellent reference of the original
ILM miniature allowed me to produce a reasonable
interpretation of the side panels not drawn in the sketch.
106: The bulkheads for the forward section all laid out and
marked up ready for detailing. At this point some were fine
105
tuned to better match the sketch and photographic reference.
108
107: The lower sail panels are also roughed out with pencil
before cutting. 108: With the hero side panel cut, it is drawn
around and used as a guide for the other side so that they do
not exactly match but will not leave holes that show non-
detailed areas. The additions and subtractions are marked out
in heavy pencil. Note that all hero panels were marked at this
stage so as to not end up super detailing the wrong side!
53
109: The first layer of detail is added to the top panel. A

1/400th I-506 submarine hull, 1/35th Tamiya Tiger, 88 mm gun
and 1/72nd Leopold/Anzio Annie parts are used here. Any
further detail will be added during the finishing stages of the
model. 110: Layers of detail are added to all the panels.
Differing thicknesses of plastic card, plastic strip and small kit
parts are used. Here the pencil points to Leopold/Annie hand
rails that are raided for their stanchions. 111: Once plastic card,
strip and kit part detailing is done panel lines are scribed onto 109
the surrounding areas. Care should be taken not to start off too 112
fast. Speed will come once you get started. Going at it gung-
ho will only mean lots of mistakes to rectify later.
112: The finished hero and non-hero side panels. Larger kit
parts are used here and there giving the appearance of armour
plate and modifications to the ship throughout its lifetime. The
Roco M8 Alligator parts (in green) were used on the original
miniature and are used here for continuity, remembering this
ship was constructed in the same yards that built the ship seen
in The Empire Strikes Back. 113: Scribing is carried out on
the edge of the hero sail panel: again, slowly does it. 114:
Both panels together. The main detail has been blocked out at
this stage on both.
115: The completed panels. The non-hero is not quite as

detailed as the hero side. 116: All the panels are Blu-Tacked
into position to check that they fit. 117: Before the side panels
can be added, the rear and neck of the forward section must be
detailed. This is added from kit parts and is the first real
section of kit bashed detail to be applied. The following
sequences show how the detail is built in layers. Usually once
a section is finished it is sprayed with a neutral primer colour
to ensure that everything looks good and not too unrealistic.
The detailing from here on is left unpainted so that the use of
individual kit parts can be more clearly followed by the reader.
115
First off the rear, cut from U.S.S. Nautilus, is glued onto the
118
large gallery bulkhead.
118: A detail section of Tamiya 1/35th M40 Semovente SPG is

fitted between the F-4 Min fuselage and the top gallery
bulkhead. 119: A radiator panel from Tamiyas 1/20th BT-50 is
added to the M40 part. 120: 1/35th Tamiya King Tiger side skirt
is next to be positioned.
54
110 111
113 114
116 117
119 120
55
121 122
124 125
127 128
130 131
56
NEBULON A FRIGATE
121: A whole hull half from Airfix 1/600th Belfast is placed on

top of a custom bulkhead tying in the Yamato hull to the side
panel when fitted.
122: The neck section is now attended to starting with a
combination of F-4, Tiger and King Tiger parts.
123: The F-4 part is contoured to the Yamato hull.
124: A deck section from U.S.S. Currituck is placed as a second

123 layer.
126 125: Parts from Nautilus and Boston are added for another
layer.
126: A final part from the Boston kit finishes off this section.
127: With this part finished, a length of plastic tubing is slid

underneath to move the detail along the neck and tie it in with
whats to come.
128: The rear neck section is now given its basic detail. I-beam
lengths, more tubing and large kit parts from 1/24th Harrier,
Ark Royal, 1/35th Tamiya Churchill Crocodile and Field Kitchen
are used here.
129: The hero side of the neck. The circular airlock is made
from a Tamiya 1/35th Sdkfz 223 wheel rim and an M3 idler
wheel. The I-beam has been chamfered and several parts from
a 1/12th Tamiya P34 have been added. Note the black tubing
(EMA plastic coated metal rod) has been bent to shape.
130: More detail is added to the forward neck section. Lots of

the parts here are matched to the original ILM miniature. This
is the first layer more detail will be applied later.
131: The side panels are epoxied to the model. The lower
sensor unit has also been added. This is simply EMA tubing and
rings spaced evenly along its length, matching the ILM sketch.
With the rear sail parts epoxied into place, the forward section
can now be mounted to ease further detail work.
132: The section where the main hull joins to the sail needed a
129
substantial section to fill it out.
132
57
133: A 1/72nd Airfix Sunderland fuselage part is marked to be

cut.
134: Once in place, however, it is far too narrow to effectively
cover the space and is therefore discarded.
135: A Saturn V third stage half is seen as a replacement.
136: With an LEM shroud half in place it still doesnt seem

quite right when compared to the surrounding detail. At this
stage a 1/48th Fujimi F-14 part, 1/35th Daimler Scout Car and 133
Italieri 1/48th F-4 parts have also been added. 136

137: Finally a 1/24th Harrier Pegasus engine half was chosen.
Extra detail is provided by 1/32 and 1/48th F-4 kits, plus further
parts from the Airfix Harrier and Fujimi F-14.
138: The side panel is offered up to check that no gaps remain.
139: The gap along the Glasgow tanker hulls is filled with a cut
plastic card fillet and enhanced with thin strip.
140: Extra detail is peppered over the model. 1/35th Tamiya
25lb and Tractor as well as Matilda parts are being used with
remaining detail being supplied from kits already broken into.
141: The non-hero side has only the filling parts added. No
extra detail is required as this side is all but invisible to the
camera.
142: The rear section of the sail is now detailed. Another

matching part from the original ILM miniature is this silver
engine part taken from a 1/32nd Revell Mirage kit. This also
shows the detail affixed to the flat surfaces. Differing heights
of raised detail all contribute to the final effect.
143: This overall shot shows the detail progressing.
144: The rear bulkhead section is detailed further. This is
standing off from the bulkhead itself so the copious amount of
epoxy used to attach the rear sail modules is hidden from view.
139
142
58
134 135
137 138
140 141
143 144
59
145 146
148 149
151 152
154 155
60
NEBULON A FRIGATE
145: The rear top module gap is filled with parts from 1/48th F-
4. Harrier, Nautilus and B-29 parts also feature.
146: This close-up shows just how much epoxy was required to
secure the modules to the bulkhead.
147: Large kit detail is added as I progress down the rear of the
sail.
148: This rear shot shows how the rear bulkhead detail is
147 symmetrical. Morser Karl and P34 parts predominate.
150 149: Finer detail is added in the form of antennae made from
masts taken from the ship kits used already in the build and
1/35th Flakvierling cannon barrels.
150: Finer details are added to the lower part of the rear sail.
151: An overall shot shows that detailing is complete, only

paint to add. As with everything in life and kit bashing detail
is no exception less is more.
152: Detail shot that shows the last layers of finer detail added
to the upper rear sail section.
153: The completed layers of kit part detail on the forward sail
section.
154: From the rear looking forward with effective detailing

completed.
155: Lastly the end plate on the boxed-in mount area is loosely
finished off with kit parts.
156: Another close-up shot. No new model kits have been
broken into to achieve this level of detail.
153
156
61
157: The conning tower area is detailed with antennae and

such like closing off all gaps with kit parts.
158: Modification to the conning tower shows the rear
antennae behind the sail replaced with more robust parts.
159: The last section on the bottom of the sail is made up.
Aluminium tubing is epoxied into a BT-50 cockpit with P-34
parts being applied once this is set.
160: Completed, the final part is ready to be added to the 157
bottom of the sail. 160

161: Blocking out the main detail areas on the top of the engine
section. A full Skipjack lower hull replaces the Shuttle fuel tank
half, a cut-down Italieri 1/35th Puma chassis and 1/32nd F-4
tank. The large part on the left-hand side is a modified Airfix
1/72nd MTB hull. The rear part of this has been cut down; this
area will be filled with kit parts.
162: The engine section control tower built entirely from kit
parts. A 1/35th Tamiya M-41 turret (the original ILM miniatures
is most probably a Nitto M60), which sits on an
F-4 tailplane. The detailing comes from a combination of M-41,
1/24th Harrier, F-4 and a smattering of B-29, 1/700th Hornet,
1/32nd F-86 and 1/35th Hanomag parts.
163/164: Further views of the finished control tower.

165: The control tower fixed in place. At this time the
surrounding detail has been added.
166: The top section is now finished. Although large areas

remain un-detailed care must be taken that the area doesnt
end up looking far too cluttered.
167: This close-up shot of the starboard side of the top section
shows in detail the work that has been done. The Italieri Puma
chassis has been cut down so that it sits flush; the prominent
F-4 fuel tank and Skipjack hull with Churchill Crocodile trailer
half are also very recognisable. The majority of the remaining
163
detail is from 1/600th Bismark and Mobelwagon kits, with
166
parts from Tyrrell P-34, Marder II, M3 and 1/48th Harrier
supplying other bits of detail. Two Midway carrier stand parts
flank the Italieri Puma.
168: The top section is now complete and work can start on the
rear. Galleries are created in preparation for the next layer of
detail. Adding these in a very asymmetric way gives a better
sense of scale and reality to the finished model.
62
158 159
161 162
164 165
167 168
63
169 170
172 173
175 176
178 179
64
NEBULON A FRIGATE
169: The port side of the model has a hatch to give access to
the internal areas should engine lights eventually be fitted. The
cut down Mobelwagon top hull used to gauge the overall
shape of the engine section has now been permanently fitted.
A length of black plastic card has been glued to the rear of the
top section and Mobelwagon side shields have been added to
the front. The Airfix MTB hull is very noticeable, as is the
Daimler Scout Car chassis. No further detailing will be applied
171 as this side is barely visible when the model is displayed and
174 therefore doesnt need disguising as much. 170: On the
starboard side the Saturn V second stage parts that form the
mid engines dont quite fit correctly. This has to be dealt with.
171: A blanking plate is cut from plastic card that matches
perfectly, as well as hiding the bottom gap. This has been
shaped so that it matches the detail around it and looks like
part of the finished design.
172: Using the score and snap method, the M41 top hull is
broken down to separate the rear engine deck. This is cleaned
up along its edges and used as a detail part. 173: The engine
section is laid on its side to check that all detail is good. Detail
is used sparingly and further detail will be introduced once the
remaining areas of the engine section have been completed.
174: The M41 rear engine deck is affixed to the starboard side.
Now that all the engines and galleries are in place detailing
work can shift to both side panels.
175: Cutting up the lower wing section from an Airfix 1/24th

Hurricane. This will be used for the port side slab detail. 176:
The upper wing section is also cut into sections for use on the
starboard side slab detail. 177: Starboard side forward lower
section completed. Aircraft wing and tail parts as well as
shaped slabs of plastic card and ABS of differing thicknesses
are intermingled with kit parts for further detail effect.
177
178: The rear section of this side shows the same use of Airfoil
180
parts and large flat kit bits. A large slab of ABS is disguised by
the addition of a Sunderland tail plane (note the fixing tab still
in place) and a cut section of Hurricane wing. 179: The
completed starboard lower side. Smaller panels were used as
I went down the hull side. Again kit parts have been used
sparingly. 180: The top of the starboard side. Large areas have
been left empty to which detail will be added when finishing.
Evergreen Strip is used to break up the area further.
65
181: This overall shot of the starboard side shows that any
further detail would confuse the issue.
182: Close-up shot of the lower rear; the differing heights of
detail make this look very convincing without masses of kit
parts being added.
183: The front galleries can now be detailed. Matilda side
skirts and splashguards are used and are cut to fit. The detail
is symmetrical on both sides. Tyrrell P34 engine parts are also
used. I wanted this area of the model to closely match the ILM 181
miniature. 184
184: Further detail is applied to the lower galleries. Revell

Midway carrier parts are most useful here, as is the Leopold
Guard Van plate matched from the ILM miniature.
185: About half way through the detailing. The main parts have
been blocked out with detail now needed to busy up the blank
areas, all the while referring to images of the ILM miniature so
as not to stray away from an authentic look.
186: The starboard side is finished off. Although similar in
style, the port side detail has not been copied. Note the pencil
lines showing where not to glue detail that would impede the
neck when the engine section is fitted.
187: Final detailing of the port side front section. A long box
part breaks up the symmetry of the Matilda skirt. A Marder II
side shield and a Tiger mudguard disguise breaks and gaps.
188: The port section has now been detailed but a bit more
loosely that the hero side.
189: The access panel detailed ready for fitting. Overlaying
detail will hide the join lines.
190: The access panel in position. The break line on the

Mobelwagon upper hull is unseen on the finished model as the
panel sits below the hull deck.
191: Port forward section detail. Care was taken as much of
187
this is seen on the completed model. Note the looseness of the
190
detail in comparison to the starboard side.
192: The rear of the port side is sparsely detailed for effect
only.
66
182 183
185 186
188 189
191 192
67
193 194
196 197
199 200
202 203
68
NEBULON A FRIGATE
193: With the exception of the 1/24th Hurricane bulkhead with

tank, the kit detail on this side is, for the most part, shapes with
very little relief detail.
194: The rear lower port side shows just how little detail has
been applied, although the parts have been carefully chosen so
their shapes add interest.
195: Finally the underside is detailed. Mobelwagon wheels, a
1/76th Panther underside plate, a single 8-rad and Boston part
195 are dominated by an EMA hemisphere.
198
196: The undersides of the galleries are as important as the
tops and are detailed accordingly.
197: This shot shows the completed port lower side. Note the
detail is tighter towards the front of this section than to the
rear.
198: Final detailing of the front galleries. Careful choice of
parts gives a busy look without using hundreds of bits.
199: EMA tubing is cut to size. Dished heads are cemented to

the ends and drilled to accept the brass tubing onto which the
static vanes are fitted. The brass tubing is a very tight fit. The
cross section is less so when inserted into the engine section
and will have to be filled accordingly
200: The cross section is test fitted.
201: This close-up shows the cross section fitted and
temporarily secured. Extra care was taken to ensure that the
cross section was level. If not the static vanes would make the
model look very odd.
202: Applying detail to the rear galleries. These are set back
quite far and therefore require less intensive kit bashing,
although the detail is quite symmetrical in comparison to the
rest of the model.
203: Final detailing of the rear top section which consists of
Bismark, Leopold and Tamiya Barricade kit parts. This finishes
201
off all detailing on the engine section.
204
204: The completed engine section is test fitted onto the
forward and neck section. A tail plane from a 1/48th A-10 has
been positioned to simulate the fin featured on the ILM
miniature.
69
205: 20 thou plastic card is cut into strips. This is added to fill
out the gaps around the cross section.
206: Pulling the strips under a metal ruler gives the plastic card
a natural bend making it easier to glue around the EMA tubing
without leaving a gap.
207: Following several passes, the plastic card takes on a very
natural curve.
208: The strips are glued onto the cross section leaving an 205
overrun that can easily be trimmed off when the glue has set. 208
209: Six identical triangles are cut for the static vanes (3 per
vane).
210: The centre triangle has been shaped, as the remaining
two will be to match it.
211: The raised pattern is sketched onto a blank with pencil.

212: Once cut out, the pattern is transferred onto the back
blank by lightly scoring with a scalpel blade.
213: All three sections of a single vane are now complete and
now need to be laminated together.
214: One vane completed, with the seconds parts laid out
ready for assembly.
215: The edges are cleaned up on the vanes and they are then
epoxied to the brass tube lengths that go over the cross section
tube. Detail has also been applied to the brass.
216: This close-up shot shows detail created from
88 mm and Matilda parts as well as Evergreen strip.
211
214
70
206 207
209 210
212 213
215 216
71
217 218
220 221
223 224
226 227
72
NEBULON A FRIGATE
217: The completed vanes are test fitted to the cross section
which has also been secured into place. The tightness of the
brass tubing allows for the vanes to be set and removed for
transportation.
218: A hole is drilled through the base plate of the forward
section side panel. Holes have been left to accommodate the
antennae array and a length of aluminium tube is epoxied into
place.
219 219: Matilda top deck is cut into two so the engine deck can be
222 used to back up the bottom section hole and stop any see-
through effect.
220: A little trimming is required around the bottom so that the

lower antennae will fit without interference.
221: The Matilda engine deck is fitted into place.
222: The rear of the upper array. All is constructed around the
telescoping centre tube. Aluminium tube of various thicknesses
(all telescoping), brass rod, Evergreen I-beam and kit parts are
all used.
223: Front of the upper array ready for test fitting.

224: Test fitting the upper array. Some modification was
needed along the way.
225: This close-up shot shows the level of detail. The kit parts
are carefully chosen for interest.
226: The finished upper array in place.

227: The bottom array was as detailed as the upper, although
a bit shorter in overall length.
228: The rear of the lower array showing the amount of epoxy
used to keep everything together. This area is almost invisible
so the detail is not so exact.
225
228
73
229: Close-up of the lower array showing that the majority of

its kit parts are mainly missile and artillery pieces.
230: The lower array is test fitted. Again, small adjustments
are needed.
231: Close-up of the lower array showing how the bottom
slides under the lower lip of the opening in the side panel.
232: A single part from a Hasegawa Karl Morser hides a

multitude of sins. 229
233: from the rear it can be seen how the model is attached to 232
the stand on the non-hero side.
234: With the sail panels test fitted and the upper and lower
arrays in place the addition of further detail can now be best
judged.
235: Final details are added to the non-hero side of the model.
The access panel for this side has yet to be attached.
236: The nose is comparatively bare and needs some additional
detail to blend it into the main body shape.
237/238: Final detailing of the front section.
239: Completed engine section ready for paint.

240: Final detailing to starboard lower sail section.
235
238
74
230 231
233 234
236 237
239 240
75
241 242
244 245
247 248
250 251
76
NEBULON A FRIGATE
241: All finished parts test assembled ready for paint.

242: Alclad 2s black primer and Micro filler is used in
preference to spray cans as this is cheaper, with only three tins
needed to prime the entire model.
243: A Paasche H airbrush is used to prime, at a low pressure.
Several passes were needed to achieve a solid coat. This took
four hours.
243 244: About half way through the first coat, the neck has just
246 been started.
245: The engine section following its final coat of primer. The
brass tubing on the cross section has been masked off as paint
thickness would stop the vanes from fitting.
246: Arrays and vanes in place, test fitted.
247: Primed model hero side.

248: This shot shows the model (minus lower sail panels)
illustrating clearly how it is supported.
249 254 (253 and 254 overleaf): various shots showing the
primed model.
249
252
77
255: Close-up of the primed rear showing the engine internal

sections have been masked off.
256: Close-up of the non-hero section. Although the neck

section has been detailed, it is not as detailed as the hero
side.
257: Looking back along the non-hero side. The bolt in the
foreground holds the model in place. Telescoping EMA tubing
is used. Solid wooden doweling fixed inside the internal tube 253
for strength. 256

258: The engine section with static vanes added.
259: Coach lines are masked off on the forward sail section.
260: The lower sensor unit is sprayed with Liquitex metallic
steel, before being masked off.
261: A large batch of custom grey is mixed up using a blend of
Liquitex Titanium White, Bleached Titanium and Neutral Grey.
Joe Johnstons artwork is used as the colour match. Vallejos
colour chart was used to pick the exact colour needed for each
of the sail modules, thus saving a lot of time.
262 267 (265-267 overleaf): The base colour is applied in light

coats using a Paasche H airbrush, just as the black primer coat
was. These photographs show clearly that all the detail
suddenly leaps out at the viewer. They are no longer an
amalgam of different coloured plastic parts but now have a
sense of realism about them. This highlights the fact that
building up detail and priming it as you go gives you a far better
idea of how the finished effect will look.
259
262
78
254 255
257 258
260 261
263 264
79
265 266
268 269
271 272
274 275
80
NEBULON A FRIGATE
268: Close-up shot of a section of the forward sail shows how

the areas where additional colours will be applied have been
left partially coated.
269: A better view of the forward section. The dark grey areas
show where minimal overspray has been used and the black
primer still shows through.
270: The coloured sections are now dealt with. First off the
nose area is isolated with masking tape and newspaper.
267
270 271: The brown colour is sprayed on, again in light coats but
this time applied with a Paasche Talon gravity fed airbrush.
This is to keep overspray to a minimum.
272: Moving downwards on the forward section, the next
colour is applied following the original Joe Johnston sketch,
the sections above being masked off.
273: As I move down the sail each colour is added and the
section above masked off. Here the Glasgow Tanker hull
module is in readiness for the orange skin tone colour.
274: The final colour is added. This shot shows the successive
layers of masking in preparation for the next colour.
275: This close-up shot shows that using a gravity fed airbrush
gives greater control, as no further masking in this area was
required.
276: All masking removed, the exception being the sensor array
which is metallic in colour. The ship looks like a bowl of Tootie-
Frootie sweets.
273
276
81
277: This close-up shot shows the density of the colour which
is enough to cover and take the weathering to come yet still
retain its overall colouring to match the ILM sketch.
278 & 279: The base grey colour is misted over the forward
section to de-saturate the colours. This is the first stage of
weathering.
280: Red markings are now applied to the model following the
Joe Johnston sketch. First off the nose for the top of the sail 277
section has its colour sprayed on. 280

281: The main side panel coach line is also sprayed on using
the gravity fed Talon. The colour is applied very lightly, building
up density very slowly over many passes. This keeps overspray
to a minimum. Note the very loose masking at either end of the
line.
282: The coach lines on the rear command sail are painted on
with a brush. These are misted over with the base colour to de-
saturate.
283: Colour is now added to the rear of the forward sail. This is
sprayed freehand using the colours already used on the fore
section. Loose masking is used on specific detail to the rear
which is called out on the original miniature.
284: With all the colouring now complete, second stage
weathering is introduced using neutral grey over the model and
used as a shading colour, highlighting panels and streaking
which will be further enhanced with darker tones later.
285: A shot of the forward sail section showing the shading.
This has toned down the overall saturation of the colours.
286 & 287: Close-up shots showing sections of the hero side
panels. The shading is loose but has a dramatic effect.
288: Another close-up, this time of the centre sail section. In
this the de-saturation is most prevalent.
283
286
82
278 279
281 282
284 285
287 288
83
289 290
292 293
295 296
298 299
84
NEBULON A FRIGATE
289: Here the vivid green and purple of the forward sections
have been de-saturated beautifully. Still only neutral grey has
been added at this point.
290: The engine section is also shaded. The upper left section
of panels have also had the brown nose colour applied to them
by freehand spraying.
291: The sensor array masking is removed and the model is
finely misted, again with the base grey colour.
291
294 292 & 293: The main sections with all colours applied and
ready for detail painting. Note how all the colours have begun
to blend into the overall shape by using misting coats of the
base colour.
294: An engine section ready for detail painting. Note that the
brass for the static vanes to hang on has been re-masked.
295: Patterns are cut into a large Post-it note and used as a
stencil to build up complex panel detail. The colour is a
darkened version of the original nose colouring.
296: First stage nose panelling complete. The density of colour
application has been varied across the nose to give a better
sense of realism. Very thin paint application is called for.
297: The Post-it note masks cut for the panel work. These were
also used across the model for continuity.
298: Kit parts were also used as masks for detail work. Here a
couple of parts from Hasegawas Leopold/Anzio Annie rail gun
are utilised, as they were on the original ILM miniature. This
shot shows the part under the masking tape.
299: The kit part masks from the top as used. The pattern
becomes clear.
300: Panelling complete and panel lines drawn on with pencil.
The nose is varnished with matt and black coach lines masked
off for hand painting.
297
300
85
301: Drawing panel lines onto a section of the model, with a

flexible 20 thou strip of plastic card used as a straight edge and
a 3B soft pencil used for drawing the panels. This method is
quick and easy but must be carried out on a matt surface. The
pencil must also be constantly re-sharpened to keep the line
solid. 302: Black sections on the engines are sprayed. Panel
lines and further shading with neutral grey and brown have
also been carried out. 303: The rear of the sail side panels are
detailed using freehand spraying, loose masks, shading, 301
stencils and pencil lining. Heavy shading and streaking using a 304
dark wash have also been added, completing the weathering.
This had to be done as, when these are fitted into place, these
areas will be inaccessible for further work.
304: This close-up shows the looseness of the shading and

detail. As this is all but invisible to the casual observer there is
no point spending hours of work on something which will not
be fully appreciated on the finished model. 305: The fronts of
the sail panels ready for attachment. Further enhancement of
the weathering will be carried out when they are finally in
place. 306: This close-up shot shows the detail painting
completed on one of the sail modules. Stencils have been used
along with painted coach lines and those drawn on with an
artists pen. Red and black were used, tiny details achieving the
illusion of great mass.
307: Lower parts of the forward sail with detail paint applied.
Darkened versions of the base colour were used for stencil
work. 308: The completed nose section. Light grey panels have
been applied to contrast against the brown colouring. 309: The
detail kit parts on the nose have been coach lined and this
section is now ready for weathering. Further shading has been
applied to the inner gap between the nose and the main body.
310: Weathering is applied to the forward sail section, shading

307
and streaking in a dark wash of Vallejo Black Grey with a hint
310
of brown and dark green. 311: Further up, and heavy
weathering is applied with the dark wash. Panel lines have
been highlighted using a Post-it note as a straight edge. 312:
Heavy weathering is also featured on the upper conning tower
section. Here the process has just begun. Detail painting
further enhances the scale of this section.
86
302 303
305 306
308 309
311 312
87
313 314
316 317
320
319
88
NEBULON A FRIGATE
313: The hero side of the engine section nearing completion.

Note the extensive stencil detail, panel lines and a dark brown
forward section contrasting against the remainder of the hull.
This draws the eye to the complex detailing in the centre of the
hull and the prominent A-10 tail plane loosely disguised with
drawn-on panel lines.
314: A close-up of the rear of the engine section. Extensive
streaking and heavy weathering give depth and mass to this
otherwise sparsely detailed area. More is to come.
315: Weathering and detailing on the rear section of the sail.
The side panels will now be added.
316: With the side panel fitted, contrasting panels are masked
off and sprayed in various greys, just as they were on the main
body side panels.
317: With all parts added, final streaking, misting and small
sections of extra detail are now added.
318: Looking down the completed model from the rear, the
illusion of depth and mass is very evident.
315 319: Close-up shot of the hero side of the engine section
looking towards the front of the ship. Further heavy weathering
is still to be added.
320: With the model complete only a final matt varnish needs
to be applied, the stands painted black and the project is
complete.
Overleaf: detailed shots of the completed Nebulon A, including

top left, author Gary R. Welsh (left) and Roger Brown (right)
pose with the completed model.
318
...Not that everybody is now going to dive straight into a project of this size but all of the techniques
in the preceding pages can be translated into other, smaller projects (such as the Jedi Courier seen in the
introduction). This is a once in a lifetime project.
89
90
NEBULON A FRIGATE
91
92
NEBULON A FRIGATE
93
05-ch5_pp94-106_Layout 1 14/08/2012 10:28 Page 94
Chapter 5
Proto Nebulon Cruiser
In the previous chapter we looked at building a centrepiece model; something large and impressive using
all the tools in the box to achieve the effect. Impressive it certainly turned out to be, but it had also been
an expensive project and now I had a pile of leftover parts for which there was seemingly no use...
The timely release of J.W. Rinzlers The Making of the Empire Strikes Back while I was building the
Nebulon A left me wanting to create another version of the Nebulon Frigate from Star Wars but this
time a smaller representation based on Nilo Rodiss original sketch for this design, which I christened
Proto Nebulon.
Looking at the leftover parts I had from the Nebulon A build, it became obvious that I could
potentially make the Proto version using nothing but these. This time I used no plans; I just winged it,
selecting shapes from kits that I had to hand. The first thing to do was sort out the forward section. I
made a copy of the sketch in The Making of the Empire Strikes Back and started laying out parts
01: Nilo Rodiss original sketch for the Rebel Cruiser seen at the end of The Empire Strikes Back. This was published just as I finished
the Nebulon A model and was just too much of a draw to resist.
02: With a printed image of the sketch I start laying out kit parts, marrying up left over parts from the Nebulon A build.
03: Marking out the forward bulkhead on a scrap of 3.2mm ABS. A heavy duty blade is a must here.
04: Airfix Forestall upper hull parts are cut to size in preparation for attachment to the forward bulkhead.
05: The Forestall parts (including the lower hull cut to size) along with Skipjack and E-boat leftovers.
06: The armature for Nebulon prototype. Note the strengthening 60 thou plastic card added between the main hull and lower sensor section.
94
05-ch5_pp94-106_Layout 1 14/08/2012 10:28 Page 95
PROTO NEBULON CRUISER
1 2 3
4 5
7 8 6
9 10 11
07: The forward section is now built up, with the upper sections added. An Airfix 1/72nd Sunderland fuselage is cut down and mounted at
the bottom of the forward hull. Note the epoxy used to attach the parts.
08: Closing up the forward section. A length of 1/24th Hurricane wing is the first placed.
09: A section of 1/32nd F-4 wing is added.
10: A second section of cut up F-4 wing completes the forward part side.
11: Part of the Sunderland fuselage overhangs the bottom of the model a bit too far and therefore is trimmed off using a Dremel and a
sanding disk. Sanding disks are easier to control than cutting bits for work such as this.
95
05-ch5_pp94-106_Layout 1 14/08/2012 10:28 Page 96
12 13
15 16
14
17 18 19
12: The Sunderland wings are also utilised on the forward section, here being separated from their inner sections.
13: Revell 1/32nd Mirage III fuselage has its nose removed and is used to beef up the forward neck.
14: The basic construction of the forward section is now complete. 1/24th Harrier wings, more F-4 and Hurricane parts used to great effect.
15: This top shot looking down shows the construction of the forward section more clearly. 40 thou plastic card is used as slab sides to
block in areas. Further E-boat parts and a 1/72nd Airfix MTB lower hull are also used.
16: Starting the engineering section by slicing up a 1/24th Harrier fuselage.
17: The basic engineering hull nearing completion. Along with the Harrier, Fujimi Tomcat, 1/12th Tyrrell P34, 1/20th BT-50, Hurricane and
1/32nd Hasegawa Sabre fuselage sections are used. Note the conning tower has been started and temporarily added at this stage.
18: Looking through the rear of the engineering section from the rear. A P34 cockpit tub is added to split this and give the engines firm
attachment points.
19: The Ariane engines are test fitted and do not look well... time for a rethink.
(Continuing opposite) 20: Whilst I thought about the engines, I started blocking out the port side of the forward section.
21: View looking forward into the rear of the port side forward section. Basic detailing has been added. The rear of the bottom sensor has
been capped with a 1/24th Harrier piece. The inside of the rear has been blocked out with 1/35th Matilda, Tiger and Skipjack parts. Detail
consists of Quad and 25lb gun bits with further Tamiya 1/35th military and Airfix 1/24th aircraft parts.
22: The starboard forward section all but complete and detailing underway. Tamiya 88mm gun and Hanomag chassis make up the
communications array and, as you can see, aircraft airfoils of various scales and P34 parts (in blue) are also used. A Revell Prince of Wales
96
05-ch5_pp94-106_Layout 1 14/08/2012 10:28 Page 97
20
23 21 22
24 25 26
hull is used to blend the forward section into the neck area. Just below this a Mirage V fuel tank is very evident.
23: A look down the whole starboard side from the rear with detailing almost complete. Note the engines have yet to be added and further
finer details are also missing.
24: Another look at the starboard side but from the front looking back. Finer detail on the extreme front has yet to be added.
25: The complete starboard side of the model.
26: Close-up of the completed port forward section. All the detail has now been applied. The finer parts add scale to the model and the
reality comes from the detail not being symmetrical. The gaps around the plastic card (in black) will be filled later.
against it. I roughly worked out how long the finished model would be using the equation given in
chapter four and considered how to build the armature on which the model would be based.
I then drew out the forward bulkhead to which most of the parts for the forward section would be
attached. Once this was done the main parts were cut down ready for assembly while the bulkhead was
secured and epoxied to a length of EMA ABS tubing, along with strengtheners fashioned from 60 thou
plastic card. Two 10mm nuts were epoxied together and these in turn were epoxied into a pre-drilled
hole in the armature at the centre of balance. These were then secured with further copious amounts of
epoxy to make sure that they would not break away. The nuts were threaded onto a length of 10mm
thread which would be the attachment point for the model to its stand, as the model was only ever
97
05-ch5_pp94-106_Layout 1 14/08/2012 10:28 Page 98
27 28
29 30
27: Close-up of the starboard side. The port side is somewhat less detailed due to the communication section that draws the eye. Adding
too much detail to the remaining sections of the starboard side would result in it looking muddled. 28: Close-up of the starboard lower sail
section. Evergreen rod and T-section were added to the sensor to tie in finer detail to the main sail body. 29: Close-up of the rear of the
sail complete. Adding too much detail to this area would have left it looking cluttered and taken away any sense of mass. 30: The forward
detail area on the front edge of the forward sail. The majority of this cluttered area is Tyrrell P34 engine parts along with a smattering of
E-boat, Mobelwagon, Sdkfz 223 and Hurricane/Harrier. 31: Close-up of the communications array. Tamiya 88mm gun wheel mudguards
have been accentuated with road and drive wheels from the Mobelwagon. 32: The forward nose cluster. The eye is drawn into the side
recesses, so special care was taken to close up any holes and make sure that there was no see-through effect. 33: Close-up of the top
section behind the nose and above the communication section. Evergreen strip and T-section have been added for interest and to close up
gaps. The detail in this area is a more primitive version of the Nebulon A model. 34: The forward starboard neck section. The detail is
chunkier than the Nebulon A and gives the look of streamlining stripped off for better access and upgrading. 35: Engineering section
complete. This is the starboard side. 36: Looking across the top of the rear neck towards the engineering hull and conning tower.
98
05-ch5_pp94-106_Layout 1 14/08/2012 10:28 Page 99
31 32
33 34
35 36
going to be mounted from the bottom. Until this was built I could mount the model in a vice while I
worked on it.
With the armature complete, the first parts were added to the forward section and I then began
building up the overall shape with further pieces mostly wings from aircraft kits cut up and overlaid
to give an armoured look mimicking Nilo Rodiss sketch.
With the majority of the forward section blocked out, I turned to the engine section. It became clear
early on that I would not be able to copy the rear section of the sketch perfectly for this model so I
decided to build it up as best I could in the style of. In reality this is a cross between the original Rodis
sketch and a general Star Wars look. This meant that I spent a whole lot of time (in reality, about three
days) selecting, cutting down and offering up parts to see if they fitted well without leaving gaping holes
before finally gluing them into place, sometimes tearing off whole parts and trying again. I finally got
99
05-ch5_pp94-106_Layout 1 14/08/2012 10:29 Page 100
37
39
38
40
something looking fairly good and then started to look at engine arrangements. This time the ship was
to have only four engines. Two Ariane 5 boosters were glued to the rear top section of the engineering
hull. These were originally to be used as main engines but were discarded as they didnt fit the hole well.
Instead of these I used a pair of deodorant tops which were detailed off model using railing stanchions
cut from Hasegawas Leopold/Anzio Annie kit and a couple of toilet roll dispenser inners scrounged
from work. The completed engines were secured in place later.
With the engine arrangement settled upon, I could now start detailing and began by building the
engineering hull conning tower. This was built up initially from sections of Revell 1/400th U.S.S. Dallas
on top of U.S.S. Boston deck sections fitted in turn to an Italieri 1/48th F-4 fin. The finer detail was
then built up around this section, coming mainly from ship and aircraft ordnance.
Detailing the model took more than a couple of months. As I only had a finite number of parts I had
100
05-ch5_pp94-106_Layout 1 14/08/2012 10:29 Page 101
37: Close-up of the mid neck section.

38: Looking along the port forward section.
39: A recess on the port side is detailed with small parts from a Tamiya 88mm gun along with a Hasegawa Leopold and Mobelwagon part
on the edges to blend them into the surrounding area.
40: On the rear sail lower section the detail is chunky, with smaller parts added to fill holes and give the illusion of complex engineering.
41: Detail across the top of the forward section looking forward from the port side.
42: Looking along the port side of the conning tower.
43: Engines now added and installed. This close-up shows the detail added to the deodorant tops and the toilet roll inserts glued inside
them.
44: The completed engine arrangement. The discarded forward sections of the Ariane boosters were attached to the top of the engine
section and bells added from Tyrrell P34 wheel hubs.
45/46: Another close-up of the engines. Again, note that the detail on the engines is not symmetrical.
41 42
43 44
45 46
101
05-ch5_pp94-106_Layout 1 14/08/2012 10:29 Page 102
47 48 49
50 51 52
53 54 55
56
102
05-ch5_pp94-106_Layout 1 14/08/2012 10:29 Page 103
47: The starboard neck detail.

48: Close-up of the neck where it joins the main forward hull.
49: I made the base of the antennae array from an M3 Grant tank turret and this is far less
detailed than the Nebulon A version.
50: The underside of the antennae was just as detailed as the front.
51: The completed starboard side with antennae array tacked in place for placement.
52: Completed port side. A vice was temporarily attached to the bench so that I could work on
the model from all sides.
57
53/54: Close-up showing the antennae array in place.
55: Looking across the top of the model from the port side showing the detail visible from the
back of the antennae array.
56: Basic colours are now on and initial painting detailing is being carried out. Red identification
stripes and white coach lines have been added to the blue area on the forward section. Colouring
was, in the majority of cases, applied freehand or via loose masks. Note major contrasting panels
and shading in grey, blue and brown.
57: The port side from the rear. Note the free masks that have been used and the metallic areas.
58: Close-up of the forward section with initial painting complete. The amount of freehand
spraying across the top of the forward section is very evident.
59/60: About half way through painting and weathering. As the detail becomes more defined,
keeping a sense of scale and mass is increasingly important.
to be very, very careful with them, choosing kit bits judiciously and
working slowly across the model. I referred constantly to Nilo Rodiss
sketch to make sure that I didnt over-detail and kept everything in the
style of. The forward section was relatively easy to keep clean and
looking good. The ever-problematical engineering section took
58 significantly longer to get right, with many smaller holes to fill and
detail effectively.
I even broke my rule of only using parts from kits I had already used
for the Nebulon A build. A couple of supporting sections from an
AMT/Ertl Star Wars Stap and Droid that I had left over from another
build filled a hole I had perfectly. These also had a round detail that
matched the sketch perfectly, plus the credo of looking very Star Wars
and were a good homage. The neck section was also very difficult to get
right as it had to look detailed enough to appear convincing yet chunky
59 enough to match up well with the sketch.
The last section to be built was the communication antennae array,
60
created from an M3 Grant turret, a Panzer II turret base, left over
aluminium tubing from the Nebulon A build, aircraft bits and assorted
King Tiger/Mobelwagon parts. This was left off the model until the
main painting and initial weathering had been completed.
Some minor filling and sanding was done around the plastic card
panels and the model was ready for its finish.
Painting was undertaken as per the Nebulon A. First of all the entire
model was primed matt black and then sprayed with the same base
103
05-ch5_pp94-106_Layout 1 14/08/2012 10:29 Page 104
61 62 63
61: A free mask taken from a Hasegawa Leopold kit part is used to add porthole detail. Keep the air pressure high and paint low and
therefore keep control.
62: Recess areas are treated to a darkening wash to add the illusion of depth.
63: Looking down the starboard side of the virtually complete model.
64 73: Various shots of the completed model.
64 65
66 67
colour, a logical decision, as it is supposed to have been built by the same shipyard. The next thing to
do was to dream up a suitable colour scheme.
Being an older design I decided that she needed a more subtle look than her larger sister ship, so tan,
brown and blue were the order of the day, along with engines and rear sensor painted in a metallic grey
colour. These colours were applied loosely with very basic masking, except the metallic sections, where
I cursed myself for adding so much detail as they were difficult to mask off effectively. When complete
I started to loosely add shading, contrasting panels using the colours from other areas of the model and
coach lines where I thought they were needed.
104
05-ch5_pp94-106_Layout 1 14/08/2012 10:29 Page 105
68
69
105
05-ch5_pp94-106_Layout 1 14/08/2012 10:29 Page 106
70 71
72 73
These broke up the various kit parts, disguising the more obvious of them and helping them blend
into the overall model shape. The first round of weathering was followed by misting with the original
colour and hand-misting over the coloured areas to de-saturate them. Multiple loose masks were then
worked up and further panels of various tones were added via an airbrush. I then started drawing on
panel lines and detail with pencil and permanent marker. Second round weathering was carried out
adding streaks and deepening shadows. Once panel lines were complete some of these were masked off
and painted in differing colours to aid the weathering process. Along with this, further detail was added
via the use of an airbrush through various loose masks and the careful application of permanent
markers in differing thicknesses of black and red.
Following a final round of careful shading and weathering the antennae array was epoxied in
position. This completed the model and it was mounted on its stand.
Nilo Rodiss first creation was brought to life and I have come to think that the design is actually
more elegant than the final one that made it to the screen. Its a pity that George Lucas didnt take this
design further but I, for one, am happy to have built this version.
106
06-ch6_pp107-120_Layout 1 14/08/2012 10:30 Page 107
THE REBEL FLEET
Chapter 6
The Rebel Fleet
It became obvious that, for this book, shots of the completed models against a plain background were
not going to be sufficient. As I had purchased a copy of Photoshop, it seemed that this would be a
golden opportunity to try and assemble some fleet shots featuring the large cruisers.
To do this I needed to assemble a fleet. I had a couple of Revell Easy Kits that would do the job once
they had been suitably repainted and an old AMT/Ertl Empire Strikes Back rebel base kit that I could
modify into a more suitable version of a rebel transport or Tuna Boat. I also had several ships that I
had already built but still needed a few more.
So it was back to the pile of leftovers I had from both the Nebulon A and prototype version to rustle
up some new designs. I settled on four ships and started rummaging through the leftovers and putting
parts together. The first ship I assembled was an unmitigated disaster, looking both ungainly and a bit
daft. I broke her up and started again. At this stage I took some time to think the project through. A
fuel tanker is clearly seen in the Empire Strikes Back movie so I decided that my fleet should have a
similar auxiliary vessel.
The fleet is made up from ships cobbled together from all parts of the galaxy, modified to suit Rebel
needs and, therefore, two of the ships are based on designs from The Clone Wars. I reasoned that the
Rebels had taken these ships out of mothballs and put them back into service in a modified form, in the
107
06-ch6_pp107-120_Layout 1 14/08/2012 10:31 Page 108
1 3
4 2 5
6 7 8
9 10 11
same way that Y-wing fighters had been stripped of their streamlining and incorporated into the fleet.
So, designs settled upon, I began with the tanker ship. This was based on a minor miniature that was
built for an Empire Strikes Back fleet shot at the end of the movie. Although the original miniature was
wider and somewhat chunkier, it looks more elongated due to the wide-angle lens used to shoot it.
I started by taking one of the remaining sections of ABS tubing left over from the Nebulon As
supporting armature. This was capped with parts from the Saturn V kits and would be the main tank.
The secondary tank with the drive section was made up from two Saturn V first stage bases, joined
bottom to bottom. A second stage end cap was added to one end and a further cap was fixed to the
108
06-ch6_pp107-120_Layout 1 14/08/2012 10:31 Page 109
THE REBEL FLEET
01 & 02: Even with the completion of two large models there are still plenty of kit parts left over.
03: The basic shape of the Tanker model clearly showing the EMA tubing (in grey), Saturn V parts (in white), Mirage V parts (in silver) and
the Revell 1200th Missouri hull.
04-07: Rear shot of the Tanker. The grey/green parts come from Revells 1/32nd F-4 with the remaining ones taken from Hasegawas 1/32nd
F86 Sabre.
08: A section of left over Airfix Ark Royal hull is added to the 1/24th Mustang fuselage for what would become a Mandalorian battleship.
09: The Airfix Hood hull, Mirage III engine half and cut down 1/48th F-4 fuselage parts are added. The engine section of the Mustang
fuselage is still very evident.
10: The addition of the Fujimi 1/48th Tomcat fuselage half, 1/32nd F-104 Starfighter, Harrier and F-4 fuel tanks cover glaring gaps,
completing the basic shape.
11: This rear view close-up shows the Tomcat nose affixed to what was the front of the Mustang fuselage.
12: From the underside you can clearly see the Fujimi F-14 Tomcat fuselage half.
13: All three complete basic shapes. In terms of scale the ship based on the Invisible Hand is by far the largest, measuring out at over
two feet in length.
14: Close-up of the forward section of the cannibalised Trade Federation ship. Midway Carrier, Ark Royal, U.S.S. Dallas Sub, U.S.S. Boston,
1/48th Harrier, P34, and Revell/Italieri F-4s make up the basic shape. Detailing is applied.
15: The rear of this model shows how the use of a Sabre Wing, Saturn V third stages and aircraft parts add up to a convincing looking
engine section. The engine ducting from an Airfix 1/24th Harrier fits the Saturn V part to perfection.
12 13
14 15
109
06-ch6_pp107-120_Layout 1 14/08/2012 10:31 Page 110
front of the tank. The engine was then built up from the bottom using Hasegawa F-86, Mirage III and
more Saturn V parts. A Revell 1/1200th U.S.S. Missouri hull was used to join the main and secondary
tanks, completing the basic shape of the ship.
The second ship was based around an Airfix 1/24th Mustang fuselage tuned upside down with a
section of 1/600th Ark Royal hull added to the top, covering the tail. A hull from an Airfix Hood was
joined at the bow but not at the stern and then attached over the top of the Ark Royal with a rear
section of an Italieri F-4S fuselage added to marry up the Mustang, Ark Royal and Hood hulls. The
remaining half of a Mirage V engine used on the Nebulon A was glued over the gap in the Hood hull
and the remaining half of the Fujimi F-14 rear fuselage was also added to the bottom of the Mustang
fuselage with any gaps closed off with fuel tanks and bomb halves from the various aircraft kits used
for both the Nebulon A and prototype Nebulon.
While I decided what type of engines I would use for this model I put together the final ship and this
16: Looking across the top of the forward section. Detail is added behind the spire (an F-86 tail rudder) to where the forward section blends
into the neck.
17: Close-up of the engines from the rear. F-86 and Tomcat parts are used to blend the wing into the engines.
18: This close-up of the front shows how Tamiyas 1/48th Harrier parts make up the forward hull under the Ark Royal hull, as well as the
armour plating around the opening.
19: Trade Federation ship completed and ready for paint. The yellowish parts are all from Tamiya military kits. These are mostly tiny parts
from 1/35th Tiger, King Tiger, Matilda and Skdfz 222.
16 17
18 19
110
06-ch6_pp107-120_Layout 1 14/08/2012 10:31 Page 111
THE REBEL FLEET
time I blatantly used General Grievouss Invisible Hand from Revenge of the Sith as a guide. The
theory was that the Rebels had found a shipyard containing this type of ship in mothballs, stolen and
refitted it for use.
The main hull was cobbled together from a length of ABS tube. Saturn V third stages made the engine,
with upper wing parts from the F-86 glued together and added to the top of the engines. The forward
section was glued together from a section of Revell Midway carrier, a whole Ark Royal hull, Tamiya
1/48th Harrier, U.S.S. Dallas, U.S.S. Boston and wings from the aforementioned Harrier and Revell
1/48th F-4.
With all three basic shapes complete, detailing was now carried out. Being smaller than either of the
larger cruisers, the detail was more carefully done. First was the Tanker model: all kit parts added were
small sized pieces placed to give the model a sense of mass and not alter the already established basic
shape. I produced a wealth of complex detailing in an attempt to produce an oil refinery in space look.
20: This rear shot of the completed model shows how all the gaps and holes have been filled with model parts.
21: Close-up of the top deck of the forward section. This area was extensively detailed to give the finished model the look of something
huge.
22: Close-up of the underside of the neck area. Tamiya parts are extremely useful in mimicking mechanical structures.
23: Underside of the forward section filled out with Italieri F-4 cockpit tub (the nice bottom detail is the forward undercarriage bay). All of
the dark green parts used on this model are from Monograms 1/48th A-10.
20 21
22 23
111
06-ch6_pp107-120_Layout 1 14/08/2012 10:31 Page 112
25
26
24
27 28
29 30
112
06-ch6_pp107-120_Layout 1 14/08/2012 10:32 Page 113
THE REBEL FLEET
31 32
33 34
35 36
37 38
113
06-ch6_pp107-120_Layout 1 14/08/2012 10:32 Page 114
Previous pages:
24: The insides of the engines are detailed with compressor outlets from Revell s 1/32nd F-4. Detail inside the wing comes from Tamiya
Matilda and M3 Grant kits.
25: Mandalorian battleship with detail completed.
26: Underside of the battleship. Detail at the rear of the model is sparse with only a few kit bits used, mainly 1/12th P34 engine parts. The
Ariane V boosters have been augmented with P34 wheel hubs.
27: Close-up of the highly detailed forward sail section. Aside from the obvious Tamiya military parts, turrets from U.S.S. Boston and
Currituck have been added as laser batteries.
28: This right side close-up shot shows how effective this type of detailing can be.
29: The extensively detailed Tanker model completed. Note that large areas of the model have been left empty of detail.
30: Close-up of the front shows the level of detail added, none of which is standing too proud and ruining sense of scale and mass.
31: Even hard-to-see sections were well detailed. I wanted a complex look... a refinery in space feel to the finished model.
32: Close-up, this time of the underside. The piping came from Tamiyas 1/20th BT-50 as did all the silver detail parts used for this miniature.
33: A mass of fuel pumps and piping. Along with these, Tamiyas Quad and 25lb gun provided many of the large and finer yellow/tan parts.
34: Looking down from the rear. Although extensive, the detail doesnt interfere with the overall shape of the model.
35: The underside of the model. Tamiyas classic 88mm gun provided all the dark grey parts used here on the side pannier tank.
36: The completed models on the bench during finishing. The Tanker has been painted and shaded but the detail has yet to be added. The
Mandalorian battleship is also painted and shaded but not weathered (note that the blue has been applied freehand where the neutral grey
for the sail has been masked). The Trade Federation battle cruiser being detailed with free masks (scattered across the bench). All colours
have been de-saturated by misting with the overall light grey colour.
37: AMT/Ertls Freighter or Tuna Boat. The engines have been replaced with modified Saturn V J2 bells and a new tower built from kit parts.
38: The underside of the freighter showing the number of Tamiya kit parts added to make the model appear more convincing.
39 40
41 42
114
06-ch6_pp107-120_Layout 1 14/08/2012 10:32 Page 115
THE REBEL FLEET
Following on from this, the second ship had its engines attached, these being the other halves of the
Ariane V boosters originally slated for the Nebulon A. I then added parts to close up holes across the
model and blend everything together. Finer detailing was applied, especially around the front section
where I could locate batteries of weapons, as I had now decided this model was to be a lumbering
battleship. The weapons area benefited from the greatest amount of attention as, if I had concentrated
equally on the rest of the model it would have lost its scale. When building a small model that in reality
is supposed to be huge, adding too much detail always throws the model out of scale. If you want your
model to have the illusion of being big, less is more.
Finally the Invisible Hand-inspired ship was addressed. Again a specific area was well detailed with
a general appearance achieved by closely checking the look against reference of the Revenge of the Sith
39: When things go wrong, boy, do they go wrong! Chronicling the build of the abandoned model. First off the remaining 1/48th B-29
fuselage section is chosen.
40: Airfixs Ark Royal is added to the front so far, so good.
41: A section of Revell Skipjack hull is attached behind the Ark Royal hull.
42: A Saturn V first stage has the capping parts from the second stage attached to the end
43: and then attached to the rest of the model. Note the Mustang wing and Revell U99 submarine hull parts on the bench.
44: Will a 1/24th Hurricane fuselage really save the day?
45: Undeterred, the U99 and Mustang parts are also applied. I carried on using parts from the Midway carrier plus a few pieces from Airfixs
Sunderland before realising that the resulting model looked awful! Nothing, however, is thrown away. The parts were prised apart and
would be used again for other models.
46: The completed Tanker model.
43 44
45 46
115
06-ch6_pp107-120_Layout 1 14/08/2012 10:32 Page 116
CGI files. Then it was a case of closing up holes and adding tiny traces of detail across the whole model
without compromising its shape. I also used the West End Games Rebel Alliance source book and Star
Wars: The Essential Guide to Star Ships to make sure I didnt stray too far from the Star Wars look.
No filling or sanding was required as these ships were going to be background elements. I felt that,
as long as I couldnt see through any of them and they had the correct mass, I didnt need to spend
hours making them look just so.
Following a base coat of black, each ship was given a coat of the same overall colouring as the
prototype Nebulon and Nebulon A. The Tanker was heavily weathered and the odd panel was picked
out in grey using the free mask technique with various details added using artists pens and pencils.
The battle cruiser was shaded and a secondary colour added freehand across the top, with the
forward lower sail sprayed dark grey. Once freehand shading was done, free masks were used
extensively to give subtle tonal differences and panel lines were drawn on with pencil and further
detailing added here and there, again with artists pens of various thicknesses. Finally, I cut a small
Mandalorian crest and sprayed this in certain areas as a nod to the Old Republic web series. This model
was now a Mandalorian battle cruiser!
The Revenge of the Sith-inspired Trade Federation battle cruisers painting was a little more involved
47: Close up of the detail showing the industrial refinery look I wanted to create.
48: This rear shot shows even the inside areas have been detailed.
49: Port side shot of the completed Tanker.
50: The completed Mandalorian cruiser.
51: Rear shot of the Mandalorian cruiser.
47 48
49
116
06-ch6_pp107-120_Layout 1 14/08/2012 10:32 Page 117
THE REBEL FLEET
with several additional colours added along with Alliance red identification lines. Weathering was
carried out using shading and extensive use of free masking. I also really drove the point home by
including a partial Separatist symbol on one side. I really needed this model to look as if it had had all
of its heavy outer shell removed where it had been deemed unnecessary and replaced with up-to-date
technology or cannibalised ship parts. Panel lines and small details were also applied as with the
preceding models.
The remaining fleet was cobbled together from various commercial kits. A pocket Revell X-wing was
built with wings closed and repainted. Revells Y-wing had its turret guns shortened and the R2 unit
replaced with a kit part from Airfixs 1/72nd E-boat and was then repainted as Red Jammer.
Finally a Tuna Boat freighter from an old AMT/Ertl Rebel Base was significantly modified with kit
bits and completely repainted so it would hold up better when photographed and composited with the
fleet.
Kit bashed ships are a fun way of using up parts or models that have been dipped into. Having no
specific requirements in terms of the overall designs meant that I could really let my imagination run riot.
Continuing overleaf:
52: Port side close-up shot of the front section: note the laser batteries.
53: Another close-up of the Starboard side. The detail is not symmetrical.
54: This shot shows the saturated colour of the Hood hull blending into the forward hull. Drawn on details with pen and pencil break up
the familiar shapes. Note the Mandalorian insignia on the nose.
55: The underside of the Mandalorian cruiser showing clearly the huge chunk of F-14 Tomcat fuselage half. Detailing here is kept to a
minimum as very little will be seen in the final composites.
50
51
117
06-ch6_pp107-120_Layout 1 14/08/2012 10:32 Page 118
56: The finished Trade Federation cruiser.

57: Close-up of the front section.
58: The starboard mid-section. The darkened top deck complete with laser batteries.
59: Another close-up of the nose area. The large expanses of armoured plating are little more than aircraft flying surfaces of varying scales.
60: The large tower section made from 1/32nd F86 wing halves. The engines are made exactly like the Rebel Corvette seen in chapter two.
61: Another close-up of the tower. Extensive quick-masking gives this area massive scale.
62: Starboard mid-section looking forward. Drawn on coach lines break up the detail, disguising the use of obvious kit parts.
63: Rear shot looking forward.
64: To really ram the point home a Separatist symbol has been added to the port side of the model as homage to the ships original
inspiration.
65: Port side shot.
Continuing overleaf:
66: Revells Easy Kit pocket X-wing used for the fleet shots straight out of the box with wings unopened and a new paint job.
67: Revells Easy Kit Y-wing fighter. Looking as good as a Finemolds kit in its Red Jammer paint scheme.
68: This close-up shows the only modifications to this model. No pilot figure, a blacked out cockpit, the R2 unit replaced with a kit part
from Airfixs 1/72nd E-boat and the removal of the laser turret barrels.
69: The underside of the modified freighter. The notches so characteristic on the original miniature have been added using a quick mask in
a Post-it note. The painting matches the original miniature as closely as possible.
70: The completed Tuna Boat.
71: A rear shot showing off new engines modified from Airfixs Saturn V parts.
72: The underside of the completed model, looking busy and cluttered. The rough colouring adds a sense of depth to the interior even though
it is solid.
53
52
54
118
06-ch6_pp107-120_Layout 1 14/08/2012 10:33 Page 119
THE REBEL FLEET
55 56 57
58 59
61 62
60
63 64
65
119
06-ch6_pp107-120_Layout 1 14/08/2012 10:33 Page 120
66 67
68 69
70 71
72
120
07-ch7_pp121-124_Layout 1 11/08/2012 14:20 Page 121
PHOTOGRAPHY AND COMPOSITING
Chapter 7
Photography and Compositing: a brief description
Although shots of completed models against plain backgrounds look good I felt that, for this project,
they were not going to be able to do the models justice. I therefore decided that composited shots were
the order of the day. It sounds complex but its actually not as involved as one might imagine.
Technology has progressed so far in the last five years that it is perfectly possible to achieve excellent
results with good quality budget-priced technology.
The composites in this book were produced with the following:
Apple iBook G4 now 6 years old, the G4 is the basic entry level Apple Mac and can be picked up
second-hand for as little as 300. It has a 40 gigabyte hard drive and is a sound, bug-free computer. I
have an external Terabyte hard drive for storing the large RAW and TIFF files on so that I dont suffer
from processor slow down while working on files and this cost a further 100, whilst a Bamboo Tablet
for ease of working cost 80. Apart from these two additions, no further upgrades are required.
Fujifilm S5600 digital Camera this is a cheap 5MB digital camera with full manual functions that
01: Fujis S5600 5 megapixel camera, used to shoot all the elements for the composites. 02: Setting up the Separatist cruiser. The model
is hung by fine fishing wire against a blue card background. The photographs are taken in RAW so they can be fine tuned for background
removal later. 03: Another set-up for shooting. This time the Tanker model is suspended against blue card backings.
1 2 3
121
07-ch7_pp121-124_Layout 1 11/08/2012 14:20 Page 122
4 5 6
7 8
9 10
04: Creating the star background. Black mounting board has been sprayed and is now having stars splattered onto it using an AB-200
airbrush with the air dialled down. 05: The completed star background element as shot. 06: A test composite using the models. Its looking
pretty good so far. 07: The main hero image as shot. 08: The Y-wing element as shot. 09: The X-wing element as shot. 10: Tuna Boat element
as shot.
can shoot in RAW and Jpeg formats. Shooting in RAW is always the preferred option as it is in this
format that the image is at its highest quality. Think of it like this...
RAW, a digital negative.
TIFF, a first generation print from a negative.
Jpeg, a photocopy of a first generation print.
Compositing in RAW allows for a better quality final composite and one that can also be printed in a
larger format. Although the S5600 is only 5MB, the image sensor is very large and therefore produces
excellent images with very little noise on the image.
Adobe Photoshop Elements 6/7: At just under 90 this really is a bargain package. Dont let the
Elements put you off, as you can produce perfectly good composites with this program. Photoshop was
designed partly as a compositing tool for the graphics/visual effects industry, so is perfect for what I
want, which is taking individual elements shot against blue or green and combining them together onto
122
07-ch7_pp121-124_Layout 1 11/08/2012 14:20 Page 123
PHOTOGRAPHY AND COMPOSITING
a new background.
I also bought a copy of Photoshop Made Easy, an upgraded volume of which is printed with every
new version of Adobe Photoshop. This really helped me get to grips with Photoshop without having to
trawl through the help menu. The guys on the Resin Illuminati forum (http://resinilluminati.com/) also
made excellent sounding boards as I went along, giving superb constructive criticism and advice as I
learnt all about Photoshop.
Before I started, I sketched out all the shots that I wanted to produce for this book. These were the
blueprints of the final composites that I could work to nothing over the top, the equivalent of
spaceship stick figure painting, I suppose. With them, I had a plan that I could work to and not go off
the deep end trying to wing it together in the vain hope that I might come up with something suitable.
I started on my images by painting a suitable star background. It is possible to generate one of these
using Photoshop. In practice I find that, by the time Ive messed around doing this, I can actually paint
a background and clean up as well, so for me its a bit of a no-brainer.
I started by spraying a piece of black mounting board with a mixture of Liquitex Mars Black and
Phthalocyanine Blue in order to give the black a little depth. When dry, I then took Liquitex Titanium
White and sprayed it through an AB-200 double action airbrush on which I had dialled down the air
so I could produce a splatter pattern. This was sprayed across the board and, when dry, sealed with
Liquitex matt varnish. One star field completed. Time taken around one hour including clean up.
Now I had a background, it was time to get the spaceship elements photographed. The photography
was done with the models either hung on fine fishing line or solidly positioned against a blue
background. This was no more than a blue craft card that cost 1 per A1 sheet.
The models were shot in natural daylight and were carefully lit and filled by positioning white card
around them, this helping to minimise shadows on the blue background and accentuate detail areas.
11: Tanker element as shot. 12: My computer set up, working on the example composite. 13: Main hero element with blue background
removed using the Magic Wand tool in Photoshop Elements. 14: The supporting pylon is removed using the Eraser tool.
11 12
13 14
123
07-ch7_pp121-124_Layout 1 11/08/2012 14:21 Page 124
15 16 17
18 19 20
15: The image is positioned the star background. The remaining white areas still need to be cut away at this time. 16: With all the white
cut away the element is positioned in the corner of the shot. 17: The element is then enlarged and pulled into final position. 18: Using
exactly the same techniques, other elements are positioned in the frame. 19: Each element is corrected for brightness, colour, etc. so they
all look as if they were shot together. Varying degrees of motion blur are also added to some spaceships. 20: The completed composite is
flattened and turned into TIFF or JPEG format for printing.
Everything was then shot in RAW format, with a focal length of F8 on macro setting with long exposure
times using the inbuilt camera timer. Having produced sketches of what the proposed completed shots
should look like, setting up the camera in the right position was very easy and, over a weekend, I
managed to get everything I needed.
Once I had all the elements I needed I started to composite them by taking each image and eliminating
the blue background using the Magic Wand selection tool. This was easier as a RAW image as I could
dial up the sharpness of the image, making removing the blue a lot simpler as well as giving me a cleaner
edge around the element. Once I had done this I had a library of elements that I could call on and
arrange as I wished.
With the background situated in the elements full composite window I started to pull up each image,
invert and cut it out from its background and then position it over the background star field element.
When I had everything in place I started to adjust levels, brightness and saturation, add filters
(sometimes between each layer) and colour correct. I also dialled the sharpness of each element back
down, the better to blend the edges into the star field background. Each finished composite was then
saved in PSD format (that can be read and edited by Photoshop) and a copy then flattened and
corrected where necessary.
To explain exactly how this is done step-by-step is extremely long winded and it would probably take
the majority of this book to do it justice. Suffice to say that if an old guy like me can do it, then anyone
with a bit of patience can too.
Its hard to believe that thirty years after watching The Empire Strikes Back, I have the ability within
a small box to produce in hours what took the entire ILM facility in 1979 months.
Digital technology has really extended what you can do with your finished models. For me it has
opened up a brave new world that Ive only just dipped into and if this is indeed the future, then the
hobby is in safe hands and we have entered a time where we really can be seen as artists.
124
08-App-Biog_pp125-128_Layout 1 11/08/2012 14:23 Page 125
GLOSSARY OF KITS USED
The following is a complete list of all the kits used for the detailing or building of the models featured
in this book. These are some of my personal favourites that I have been using over the years and I
think provide a good yield of useable parts for those wanting to build and detail their own designs.
A photograph of each box top would, in certain cases, be somewhat misleading as box art sometimes
changes from release to release. Tree/sprue shots can also present the same dilemma as moulds are
sometimes adjusted or modified throughout a toolings life.
What I offer here is a list that states the model type, scale, manufacturer (including origin, which is
helpful when buying second-hand), whether it is an original or new/modified tooling and, more
importantly, how much of the model I have used. After all, what is the point of buying a 25 kit of
which you are only going to use one part? The kits in the list below still have many parts left in them
for future use.
AIRCRAFT Heller: 1/125th Ariane V (original tooling). 60%

Airfix: 1/72nd Short Sunderland (current tooling). used.
65% used.
Fujimi: 1/48th F-14 Tomcat (original tooling). RACING CARS
75% used. Tamiya: 1/20th Brabham BT-50 BMW (original
Italieri: 1/48th F-4S Phantom (Esci original tooling). 75% used.
tooling, 2 kits). 75% used. Tamiya: 1/12th Tyrell P34 Six Wheeler (new
Revell: 1/48th A-10 Thunderbolt II (current tooling with photo-etch, 2 kits). 60% used.
tooling: Monogram. Also marketed as
Revell/Monogram). 70% used. SHIPS
Revell: 1/48th B-29 Superfortress (current tooling: Tamiya: 1/700th Hornet (original tooling, 2 kits).
Monogram. Also marketed as Revell/Monogram). 65% used.
20% used. Airfix: 1/600th HMS Belfast (original tooling).
Revell: 1/48th F-4E Phantom (original 1960s 55% used.
tooling). 65% used. Airfix: 1/600th HMS Iron Duke (original tooling).
Revell: 1/32nd Mirage III (current tooling). 70% 60% used.
used. Airfix: 1/600th Bismark (original tooling, 3 kits).
Revell: 1/32nd F4-F Phantom (current tooling). 75% used.
98% used. Airfix: 1/600th Graf Spree (original tooling, 2
Hasegawa: 1/32nd F-86 Sabre (original tooling). kits). 65% used.
85% used. Airfix: 1/600th Ark Royal (original tooling, 3
Hasegawa: 1/32nd F-104 Starfighter (current kits). 60% used.
tooling). 80% used. Airfix: 1/600th Forestall (original tooling, 2 kits).
Airfix: 1/24th Mustang D (original tooling). 80% 40% used.
used. Revell: 1/700th HMS Prince of Wales (original
Airfix: 1/24th Hurricane Mk I (original tooling). tooling).
75% used. Revell: 1/542nd Midway Carrier (original tooling,
Airfix: 1/24th Harrier GR3 (original tooling, 2 2 kits). 70% used.
kits). 85% used. Revell: Guided Missile Fleet scale not given,
(original tooling combining kits of U.S.S. Nautilus
ROCKETRY (Nuclear Sub), Boston (Guided Missile Cruiser)
Airfix: 1/144th Saturn V (new tooling, 2 kits). and Currituck (Seaplane Tender), all available
75% used. separately under different ship names. 2 boxings
125
reissued 50th Anniversary specials. 75% used. tooling without metal barrel/photo-etch). 35%
Revell: 1/400th U.S.S. Dallas (original tooling). used.
85% used. Tamiya: 1/35th Armoured Car Sdkfz 223 (original
Revell: 1/400th Glasgow Tanker (original tooling tooling without photo-etch). 65% used.
reissue, 2 kits). 70% used. Tamiya: 1/35th (8-Rad) Sdkfz 232 (original
Hasegawa: 1/400th Yamato (reissued tooling tooling, reissued as Afrika Korps version with
without motors. Musashi can be used as additional parts). 25% used.
replacement, Shinano has same hull parts). 65% Tamiya: 1/35th British Scout Car Daimler Mk II
used. (original tooling). 95% used.
Mirage: 1/400th I-506 (original tooling). 85% Tamiya: 1/35th M3 Grant Tank (original tooling).
used. 35% used.
Revell: 1/200th Skipjack (original tooling, 5 kits). Tamiya: 1/35th M3 Lee Tank (original tooling).
95% used. 25% used.
Revell: 125th U-99 (original tooling). 80% used. Tamiya: 1/35th M3 A2 Half Track (original
Airfix: 1/72nd Vosper Motor Torpedo boat tooling). 30% used.
(original tooling, 2 kits). 65% used. Tamiya: 1/35th Panther Tank (original tooling).
Airfix: 1/72nd E-Boat (original tooling). 55% 65% used.
used. Tamiya: 1/35th Churchill Crocodile (original
tooling). 55% used.
MILITARY Tamiya: 1/35th M41 Walker Bulldog (original
Herpa: 1/87th M2 Alligator (original tooling, ex tooling). 75% used.
Roco Minitanks). 15% used. Tamiya: 1/35th 25lb Gun and Tractor (original
Airfix: 1/76th Panther tank (original tooling). tooling with no figures. Can be bought as separate
30% used. items: 25lb gun and crew and British quad tractor.
Hasegawa: 1/72nd Leopold Railway Gun 3 kits). 75% used.
(original tooling, also marketed as Anzio Annie Tamiya: 1/35th German Field Kitchen (new
Rail Gun. Latest edition has crew. 3 kits). 80% tooling without horses). 15% used.
used. Tamiya: 1/35th Barricade set (original tooling).
Hasegawa: 1/72nd Karl Morser Rail Version 70% used.
(original tooling, also available as larger calibre Tamiya: 1/35th Centurion Tank (original tooling
variant. 3 kits). 70% used without remote control). 35% used.
Hasegawa: 1/72nd Karl Morser with Tamiya: 1/35th Hanomag Sdkfz 251/1 (original
Munitionpanzer (original tooling, also available tooling with five Werhmacht figures). 70% used.
as larger calibre variant. 2 kits). 75% used. Tamiya: 1/35th Horch 1a with 20mm Flak 38
Italieri: 1/35th Sdkfz 234/2 Puma (original (original tooling with 20mm Flak 38. Both
tooling). 30% used. available separately. Flak 38 has differing
Tamiya: 1/35th Panzer II (original tooling with carriage). 85% used.
Africa Korps figures). 40% used. Tamiya: 1/35th British Infantry Tank Mk II
Tamiya: 1/35th Flakpanzer IV Mobelwagon Matilda (original tooling). 75% used.
(original tooling). 85% used. Tamiya: 1/35th Marder II (original tooling). 70%
Tamiya: 1/35th Sturmgeschutz IV Skdfz 163 used.
(original tooling). 50% used. Tamiya: 1/35th King Tiger Production Turret
Tamiya: 1/35th Tiger I Mid Production (new (new tooling). 55% used.
tooling). 65% used. Tamiya: 1/35th M40 Semovente Self-Propelled
Tamiya: 1/35th Armoured Car Sdkfz 222 (original Gun (original tooling with extra crew). 65% used.
126
SUPPLIER LIST, BIBLIOGRAPHY, WEBSITES
Tamiya: 1/35th 2cm Flakvierling 38 (original version without road gear and differing crew. 2
tooling with carriage, also available with vehicle kits). 70% used.
without carriage as Mobelwagon and Skdfz 7/1. Revell: 1/9th Skdfz 2 Kettenrad (Esci kit also
2 kits). 90% used. available at one time or another under the Dragon
Tamiya: 1/35th 88mm Flak 36/37 (original [with etch and figures], Tamiya and Italieri
tooling with full crew, road gear and motorcycle labels). 20% used.
despatch. Available as modified Afrika Korps
SUPPLIER LIST The Star Wars Chronicles Exercises in Imagination &

Anon / Chronicle books Scratchbuilding
E.M.A Model Supplies Andy Pearson / Happy Medium
Unit 2, Shepperton Business Park, Star Wars Chronicles The Prequels Press
Govett Avenue, Shepperton, Stephen J. Sansweet and Pablo
TW17 8BA Hidalgo / Chronicle books Scale Models in Plastic
sales@ema-models.com Roger Chesneau / Conway
From Star Wars to Indiana Jones Maritime Press Greenwich
Airfix the best of the Lucasfilm Archive
Hornby Hobbies Ltd, / Chronicle books The Complete Manual of
Westwood Industrial Estate, Airbrushing Techniques
Margate, Kent, CT9 4JX. Star Wars The Clone Wars The Peter Owen & Jane Rollason / DK
www.airfix.com / e-mail: Visual Guide books
internetsales@hornby.com Jason Fry / DK/Lucas books
The Airbrush Artists Palette
everythingairbrush.com Star Wars The Clone Wars Visual Mark Taylor / Apple Press
e-mail: Guide Ultimate Battles
sales@everythingairbrush.com Jason Fry / DK/Lucas books
Graphic Air Modelling & Graphic Star Wars The Clone Wars New USEFUL WEBSITES
Supplies Battlefronts The Visual Guide
e:info@graphicair.co.uk Jason Fry / DK/Lucas books Resin Illuminati
www.resinilluminati.com
Kingkit Revenge of the Sith Incredible
Springhill Trading Estate, Cross-sections Eagle Transporter
Aston Street, Shifnal, Salop, Curtis Saxton / DK/Lucas books www.eagletransporter.com
TF11 8DR.
www.kingkit.com / e-mail: Star Wars The Art of The Clone Models, Miniatures & Magic
sales@kingkit.co.uk Wars www.modelermagic.com
Frank Parisi, Gary Scheppke / Titan
Cammett books Star Wars The Old Republic
Unit 1 The Old Garage, www.swtor.com
Whitney-on-Wye, Herefordshire, The Making of The Empire Strikes
HR3 6ER. Back
www.cammett.co.uk / e-mail: J. W. Rinzler / Aurum Press
cammett@btinternet.com
The Star Wars Rebel Alliance
Squires Model & Craft Tools Sourcebook
100 London Road, Bognor Regis, Paul Murphy / West End Games
West Sussex, PO21 1DD.
e-mail: sales@squirestools.com Star Wars The Essencial Guide to
Vehicles and Vessels
Machine Mart Bill Smith, Doug Chiang & Troy
www.machinemart.co.uk Vigil / Boxtree
(Stores Nationwide)
A Guide to Fantasy Art Techniques
Edited by Martyn Dean / Paper
BIBLIOGRAPHY Tiger Bonus article and shots
supporting and transporting
Sculpting a Galaxy: inside the Star Model-Making Materials & the Nebulon A Cruiser
Wars Model shop Methods www.scififantasymodeller.co.uk
Lorne Peterson / Chronicle books David Neat / Crowood Books
127
ABOUT THE AUTHOR

Gary R. Welsh was born in 1965 and professes that the late
1960s and 70s were a great time to be a child. His father
was fascinated with both aircraft and the space race so it was
bound to rub off on him. His grandfather was an
aircraftman during WWII on Hurricanes and Mosquitos and
his great grandfather was a Commander and Inspector of
Works at Chatham Dockyards, as well as being a superb
model maker in his own right. Making things with your
hands would seem to run in the blood.
His childhood was a time where everyone made models; indeed, when the latest Airfix models hit the
shelves, the kits usually sold in the hundreds of thousands. Gary used to spend most of his summers
with kids in the neighbourhood building kits in a large garden shed (then blowing them up with bangers
and such like) or cycling to R.A.F. Coltishall where they would sit at the end of the runway and watch
the English Electric Lightnings come and go all day long.
Gary always loved sci-fi, especially the oft-repeated classic movies of the 1950s and, of course, grew
up watching Dr Who and Gerry Andersons series. When Star Trek was first shown in the U.K. on
Monday nights after Nationwide the spaceship building bug bit hard! The 1970s resurgence in sci-fi
art also played a contributing factor, with Space: 1999, Star Wars and Alien only confirming his affinity
with hardware design.
On leaving school (good-bye and good riddance, to quote the man himself) he served an
apprenticeship as a coach finisher and sign-writer. That taught him how to paint and spray like a
professional. Although Gary still made the odd model, by the early 1980s a combination of rocknroll
and girls tempted him away from the hobby. He came back to modelling in the early 1990s when, on
buying a house, he needed a hobby that wasnt going to break the bank.
Gary admits that he was incredibly lucky in that he could apply all he had learnt during his absence
(he still continued to paint and draw throughout this hiatus) to the models he made. His wife realised
early on that building kits was a path to nowhere and he should really build his own designs, many of
which were scattered about the house doodled on scraps of paper. Gary joined a local model club and
it was there that a fellow member mentioned that a model magazine which he wrote for was short on
sci-fi builders and gave him a number to contact. It was, says Gary, downhill all the way from there
onwards!
To quote the man himself, Many people labour under the assertion that Im a professional model
builder and this simply isnt true (I missed out on that calling by many years). I just take a different
approach to what I do from the mainstream modelling fraternity. I very rarely use, or follow, latest fad
modelling techniques when finishing my models. Instead I see them as 3-dimensional paintings that need
to look as photo-real as possible.
Its probably a clich, but it is true. If you really want to be a good modeller, take a look around
you at nature, buildings, vehicles and not just at the details but overall. Notice how light reacts with
objects from distances, how colour de-saturates, how mud splashes and rain runs. All these details will
help you be a better modeller than any new fashion finish in the mainstream modelling press.
Gary actually earns a living as a New Product Development Technologist in the food industry and
lives in the seaside town of Cromer on the beautiful North Norfolk Coast, with his wife Andrea and
cat Hector.
He continues to write exclusively for Happy Medium Press.
128
Digital version copyright 2015
Epic Cover_Steampunk Cover - Dolman Scott 14/08/2012 17:10 Page 1
M A S T E R M O D E L L E R L I B R A R Y M A S T E R M O D E L L E R L I B R A R Y
EPIC SCALE
SCI.FI MODELLING

G A R Y R . W E L S H

Epic Scale Sci-Fi Modelling

Caricato da

Informazioni sul documento

Titolo originale

Copyright

Formati disponibili

Condividi questo documento

Condividi o incorpora il documento

Opzioni di condivisione

Hai trovato utile questo documento?

Questo contenuto è inappropriato?

Copyright:

Formati disponibili

Epic Scale Sci-Fi Modelling

Caricato da

Copyright:

Formati disponibili

Epic Cover_Steampunk Cover - Dolman Scott 14/08/2012 17:10 Page 1

EPIC SCALE SCI.FI MODELLING

FROM BASICS TO COMPLETION

To Mum; who always knew I could.

Acknowledgements ADH publications) whose initial desperation for a

The moral right of the author has been asserted.

Editor-in-Chief: Mike Reccia

Published by: Happy Medium Press ( www.scififantasymodeller.co.uk )

4: Tools and Materials

13: Basic Techniques in Design and Kit Bashing

24: By Your Command!

34: Nebulon A Frigate

94: Proto Nebulon Cruiser

107: The Rebel Fleet

121: Photography and Compositing: a brief description

125: Glossary of kits used

127: Suppliers, bibliography, useful websites

128: About the author

EPIC SCALE SCI.FI MODELLING

Something to cut with...

TOOLS AND MATERIAL

Something to hold parts with...

Something to measure with...

EPIC SCALE SCI.FI MODELLING

Something to finish with...

TOOLS AND MATERIAL

spray can or airbrush application is impractical. The following wisdom is often

EPIC SCALE SCI.FI MODELLING

painting murals such as a sky background, and it is equally at home spraying

TOOLS AND MATERIAL

Metal tubing and rod

EPIC SCALE SCI.FI MODELLING

be applied with a brush and, when joining differing types of material, it is

TOOLS AND MATERIAL

EPIC SCALE SCI.FI MODELLING

Accessories and sundries

Every day items

BASIC TECHNIQUES IN DESIGN AND KIT BASHING

I take a yoghurt pot; I glue it onto a pat pot, topped with

BASIC TECHNIQUES IN DESIGN AND KIT BASHING

EPIC SCALE SCI.FI MODELLING

it is a shuttle/battleship/freighter, they will be happy. They know its a

Kit bashed detail

BASIC TECHNIQUES IN DESIGN AND KIT BASHING

detailing is still occasionally used, laser cutting and computer controlled 3D

BASIC TECHNIQUES IN DESIGN AND KIT BASHING

BASIC TECHNIQUES IN DESIGN AND KIT BASHING

The second-hand market is, however, is a completely different

EPIC SCALE SCI.FI MODELLING

in reality this is only relevant to the studio scale community.

BASIC TECHNIQUES IN DESIGN AND KIT BASHING

EPIC SCALE SCI.FI MODELLING

EPIC SCALE SCI.FI MODELLING

EPIC SCALE SCI.FI MODELLING

and 20 thou plastic card, Evergreen strip and U channel.

EPIC SCALE SCI.FI MODELLING

EPIC SCALE SCI.FI MODELLING

EPIC SCALE SCI.FI MODELLING

EPIC SCALE SCI.FI MODELLING

13: With the bulkhead temporarily mounted onto the ABS

19: The engine section basic shape is now complete.

31: A secondary bulkhead made from 0.40 plastic card is

EPIC SCALE SCI.FI MODELLING