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 Six experts share their
tips and tricks
PRO
PAINT LIKE A
by CLAY KEMP, MARK D. JONES, BOB DOWNIE, DAVE THIBODEAU, KEN HAMILTON, and DONN YOST
Illustrations by KEN HAMILTON Special thanks to AARON SKINNER
If there is one “evergreen” topic for our readers,
it’s painting: how to lay down paint more smoothly and get
that jaw-dropping, show-stopping, ultrarealistic finish.
We enlsited the help of six car modelers who are known for
pro-quality finishes on their models. Here’s their advice on
how you, too, can learn how to paint like a pro.
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What were your early finishing
efforts like?
Clay Kemp Horrible. I struggled to
find a painting method and product that
worked, for years. It wasn’t until I
started getting into using lacquers and
clear coats that my paint work finally
improved.
I never had much luck with enamel in
spray cans. Some people get great results
with them; I just never could.
Mark D. Jones I thought they were
very good at the time (please realize, I
was six when I started airbrushing), but
as I got older I learned that just because
I had improved did not mean that I had
achieved true quality.
Looking at other modelers’ work and
comparing to my own early on made me
realize that improvement is subjective
and needs to be tempered with a dose of
reality, at least now and then.
I also fell prey to thinking that a good
airbrushing job would hide some minor
building issues. That is never going to be
true. After I recognized the importance
of prep work, my finishes improved 100
percent – without changing my painting
style at all.
Donn Yost My first finishes were
actually pretty decent. I was born into a
gearhead family, grew up in a gearhead
neighborhood, and had a first-rate
education that was taught by some
patient and talented individuals. The
very first paint job was a disaster,
however !
At the ripe old age of 5, I sneaked
down into the basement and began
painting my model, unsupervised, which
was a big no-no.
Things were going well until the can
stopped spraying. I turned it toward me
and inadvertently bumped the nozzle,
putting a perfect silver halo around my
left eye.
Now, mind you, this is 1962. Back
then, paint stuck with a vengeance to
whatever surface it was applied to – in
this case, my face!
To this day, I can’t figure out which
was worse: the scrubbing of the
turpentine rag on my face, or the shock
of hearing my mom using the words
Dad learned in the Marine Corps.
My budding painting career was put
on hold until my mother recovered her
sense of humor, being that it reached an
all-time low that day!
Ken Hamilton In my case, “early”
means the late 1950s and early 1960s,
when every kid built models.
I would describe my early efforts as
“marginal at best.”
Most of my early models were brush-
painted, using little square jars of
Pactra enamel. I tried to paint cars from
front to back, hoping the brush strokes
wouldn’t be as noticeable (they were).
Somewhere around that time, I
discovered spray cans, but never knew
when to stop on that first coat,
which always ended up too
heavy.
Dave Thibodeau Putting down
Inconsistent. The best a good paint job
I could muster, since I
used spray cans for the
over a bad base
most part. My finishes won’t work.
were full of orange – Clay Kemp
peel, and many times the
paint did not cover the
edges of the doors well,
because I did not prime my
subjects prior to color coats.
Bob Downie Typical for the time:
sloppy, brush-painted enamels.
Do you recall the first time you
achieved a finish you were really syndrome was always in vogue with this
proud of?
CK I can remember getting an Aztek
airbrush, and I learned how to thin
paint and airbrush it. I was amazed. No
more orange-peel or runs. I finally had
something that was smooth!
MJ My first time out. It was an
airplane, (a Brewster Buffalo in gray
and yellow, with red wing stripes, all
glossy). I know my memory of how nice
it was far exceeds the actuality of it. I
probably did not have the best prep
work on that one.
By the time I was in my teens, I was
painting at a level that was considered
to be very good – good enough for box
art and catalog buildups.
I still have some of those car models;
they don’t look too bad, but they are
certainly not up to today’s preferred
standards.
DY The first finish that I was
proud of was an AMT 1955
Nomad, shot with a spray
can of Pactra Bright Red
enamel. Painted in Dad’s
garage on a cold winter
day during Christmas
vacation, it came out as
smooth as glass, albeit a
bit dull.
Upon viewing it, my
godfather took a small
piece of flannel, a dab of soft
polish, and proceeded to teach me
how to bring about a shine on it.
Naturally, he only did a small portion
of the roof, handed the flannel over, and
instructed me to finish it under his
watchful eye. The “ya ain’t gonna learn
how unless you do it yourself ”
crowd.
KH My first satisfactory finish occurred
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accidentally around 1964, when I
sprayed a 1932 Vicky with Candy Blue
over a gold base using (as I recall)
Pactra enamel spray cans.
I really took my time, patiently
sprayed a series of light coats,
and managed to hold the orange
peel to a minimum. I even
polished that one with auto wax –
which, for me, was pretty hi-tech.
It took me quite a while to duplicate
that effort on any other model.
DT I recall I had decent luck with a
particular black paint job way back in
the day. I think it was an Earnhardt
Monte Carlo. For some reason, black
Testor’s enamel, directly from the can,
always came out well!
BD It was a Chevy Blazer that I used
my first can of Pactra spray (dark green)
to paint. The finish was smooth and
glossy. From then on, I did what I could
to afford spray paints!
Beyond that, the first time I shot a
model with automotive paint and
completely wet-sanded and buffed it
out, which was a 1982 Firebird.
What’s the most important part
of a finish? Preparation?
Patience? Sanding? Or is it
something else?
CK To me, it is prep work. Putting down
a good paint job over a bad base won’t
work. The bodywork needs to be done
right, with a good primer base.
You can’t fill gaps, scratches, and so
on with your paint and hope for the
best. It will all show through.
Get in the habit of making the
bodywork and primer perfect, and it
will make the painting go much more
smoothly.
MJ Prep (first) and patience are key.
But knowing the materials you are
painting onto and the materials you are
painting with are important as well.
Possibly one of the most important
things is to know how to fix things if/
when they don’t turn out to the level
you’re willing to accept.
If you know how to fix those issues, it
diminishes the likelihood of them
happening, to a point.
DY The most important part of
achieving a quality finish is controlling
the painting environment. By not doing
so, you’ll go broke buying polishing kits,
teach the neighborhood a vocabulary
that would make a sailor blush, and
spend your children’s inheritance on
paint – before they are even out of grade
school!
This can all be avoided. Walk into
your paint room, and look up.
Open floor rafters? Cover them with a
sheet of Marlite. This way, no dirt falls
down while you’re painting.
Concrete floor? Wet it down. This
keeps the dirt where it belongs.
Carpet? Cover it! Every step or
movement gets dirt and fibers up into
the air; guess where it’s going to end up?
Do not build a paint booth out of
plastic or wood; they create a static
charge and attract dust, which is the
very thing you are trying to avoid in the
first place. Store bodies while they are
flashing out in a metal cabinet for the
same reason.
The more sterile the painting
environment, the better the overall finish
– each and every time. You can’t always
avoid Murphy’s Law, but you can keep
him from being a constant pest !
KH Whether you’re creating a shiny or
weathered finish, preparation and
patience should be at the top of the list.
Be sure to thoroughly wash all parts
with soapy water (particularly if you’re
working with aftermarket resin) just
before you begin the painting process.
Allow the parts to air-dry, and keep
handling to a minimum.
A good primer is essential, too. It
gives the top coats something
substantial to adhere to.
I usually sand between all coats of
primer and color, just to remove any
orange peel, but I don’t get the surface
so smooth that subsequent coats have
nothing to grab onto. The serious
sanding and polishing occurs after the
clearcoat goes on.
DT All of the above! These days, I
pay special attention to mold
seams, scribing panel lines
deeper, and getting rid of
injector-pin marks.
I also wet-sand primers
with 1500- to 2000-grit
sandpaper. The smoother
the primer, the better
the color and clear
coats will lay down.
BD Getting a great
finish doesn’t hinge
on one element over
another; each step is
equally important. It
takes practice, time,
patience, and use of appropriate tools Some day, someone needs to explain
and materials – from the raw plastic to to me the modeler’s need to rush on this
the finished paint job. aspect of a build; I never understood
When you achieve success, try to this. Patience is a virtue ... develop it!
retain what you learned to get that
success, and repeat it enough that it KH Depends on the model. Automotive
becomes second nature. lacquers are much more forgiving and
easier to sand and polish, so I use
Lacquer or enamel? lacquer as often as possible when doing
the rare “shiny” model that occasionally
CK I prefer lacquer. I can work shows up on my workbench.
more quickly because of the Otherwise, I’m actually
faster drying time, and I getting away from solvent-
get much better results Getting a based paints and leaning
with it. I never got the toward acrylics. They’re
hang of enamels. great finish somewhat tricky to thin
doesn’t hinge on (for me, anyway) but
MJ Both. Plus one element over they’re great to work
urethane, waterborne, another. with after you get the
and acrylic too. Even hang of it.
that polycarbonate RC – Bob Downie I especially like to use
paint if I need that color. water-based paint when
doing weathered paint
DY Really? Enamel, hands down, schemes using the “hairspray”
every time, all the time! technique for producing scratches and
Coming off the line, enamel is giving rust spots. Cleanup is easier, and there
you a shine to work with. Testor’s are no nasty fumes to deal with.
bottled enamel is made for the hobby
industry, specifically meant to be used DT Both! I am an avid two-part
on plastic. Lacquer was developed for urethane clearcoat user, and it can be
the automotive industry, to be used on applied over lacquers, enamels, and
metal. acrylics successfully.
Using the Testor’s, I don’t have to However I prefer lacquers for their
worry about crazing or my model’s body fast-drying properties the most.
turning into a plastic puddle, whether I
use primer or not. BD Lacquer. Enamels are a nice
When it’s thinned with cheap lacquer stepping-stone for beginners getting
thinner, and sprayed from an airbrush, used to airbrushing, because they are
the enamel lays down smoothly and available in many colors, mix easily, and
dries tight and hard, with no loss of lay down smoothly.
detail. Flashout time is limited to one- I graduated from enamels years ago –
to-three days. mostly out of frustration with drying
Ooooops! There goes another old time and the propensity of the enamels
wives’ tale down the drain. You know, to yellow over time. That might be okay
the one that enamels take forever to dry? for colors in the warm spectrum, but it’s
Oh, yeah! And that other one: you can’t brutal on any of the colors on the cool
mix lacquer thinner with enamels? end of the spectrum.
Riiiight! I’ve found automotive and hobby
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lacquers to be UV stable. I’ve had none
of the yellowing issues since I went with MEET THE
EXPERTS
lacquers.

Spray can or airbrush?

CK Airbrush. I airbrush everything
except primer. There are a few times
when I will decant the primer and
airbrush it also. I also spray DullCote
(straight from the can) on tires.
Everything else is airbrushed, or brush-
painted from a bottle for small parts.

MJ Both, but if I could only have access

to one, airbrush – no question.
Spray cans are convenient, but not as
cost-effective; and they lack many
benefits of control that airbrushes offer.
More control with an airbrush equates
directly to more control over your end Clay Kemp Clay is from Avon, Indiana. He’s a former 1:1
finish. racer, and loves to build race cars. His models are known
I am partial to the Tamiya spray cans, for superior levels of detail, including outstanding graph-
for the way they spray and for the colors ics and realistic finishes.
offered. But I rarely use them straight
from the can without supplementing the
application to a body with the airbrush.
(I think Matthew Usher did an article
discussing that process/combination of
airbrush/spray can about 10 years ago.)
Airbrushing is also a far cleaner
medium to work with. Less overspray,
less wasted paint, less cleanup of my
painting area. A fair tradeoff for having
to clean the airbrush(es).

DY Airbrush! So much more control,

ease of use, small learning curve, etc.
Couple this with the ability to mix and
match colors to produce your own
shades, along with the kaleidoscope that
is readily available – why wouldn’t you Dave Thibodeau Dave lives near Tampa, Florida, and
own one ? despite the heat and humidity there, is one of our most-
Cost? Hmmmm ... for the cost of nine prolific authors. He often builds superdetailed racing
cans of spray paint, you now own a models, and many of his models are finished with two-
Paasche H-series kit, which includes all part urethane clear. Many of our “Building the Legends”
the accessories you need to get started. series of models are Dave’s work.
Add a pancake compressor and an inline
moisture trap, and you’re ready to paint!

KH Definitely “airbrush,” except when I

use automotive spray-can primer. I
always decant paint from spray cans for
use in my airbrush.
I greatly admire modelers who can get
a decent finish using a spray can. That
takes a lot of practice.
When I use a spray can, I can’t seem
to get away from applying coats that are
too heavy, which covers small details.
Airbrushing lays down thinner coats of
paint that even I can’t mess up – well,
most of the time!

DT Both in this case, as well. My motto Bob Downie Bob is the author of the top-selling Kalmbach
is spray can or airbrush every part on book, How to Use an Airbrush. He lives in Tucker, Georgia
(near Atlanta) and operates his own design company.
 the model to produce professional
results. Occasionally I do spray-bomb
the color coats and then cover them
with two-part urethane clear through
my airbrush.
BD Airbrush, though I often decant
paint from spray cans for airbrush use.
The control over the paint flow and
ability to mix colors are just some of the
reasons I prefer using the airbrush.
Tamiya sprays are excellent for those
times when I don’t want or need to use
an airbrush.
Do you have a go-to
airbrush? If so, is it single-
action or double-action?
CK I’ve had the best luck with an Iwata
dual-action. But when it stopped work-
ing, I went to using two separate single-
action Badger 350s: one for clear coat
with a heavy tip, and one for color paint
with a medium tip.
some airbrush options
Badger
Paasche
Grex
I also have a Badger 150 dual-action
for more-precise work.
MJ My old Paasche VL, usually with
the #5 point. For finer work, I use a
little Iwata. And I have a Badger 150 for
painting multiple colors at the same
time. All are double-action.
DY Go-to airbrush is a Paasche
H-series single-action, utilizing
the # 5 head and needle
assembly. It’s a workhorse,
is easy to maintain, and
can be cleaned and I field-strip
reassembled in minutes. my airbrush, and
It lays down a
beautiful finish, with a
clean every part
wide spray pattern for after each use.
optimum coverage . – Ken Hamilton
Don’t get me wrong: I
like a dual-action airbrush
just as well when it comes to
weathering and fades. I used a
Badger 150 for decades, when I built
model trains. If you stood still long
enough in the train room, I’d end up
weathering you, too!
For the model cars, I still prefer the
Paasche H.
KH My first airbrush was a single-
action Badger that I used for years, until
I upgraded to a Badger double-action
that definitely improved the quality of
my paint jobs.
I’ve since converted to an Iwata,
which I absolutely love. It’s dependable
and easy to handle, but most of all, it’s
easy to clean.
I field-strip my airbrush and clean
every part after each use. It’s tedious at
first, but after a few times, the airbrush
can be disassembled, cleaned, and put
back together in a matter of minutes.
A thorough cleaning ensures that no
dried paint stays behind to ruin your
next painting session.
DT I have two favorites in my arsenal. I
have a Badger 350 external-mix single-
action that I use to shoot model-car
bodies that are 1/16 scale or larger. I
also have a Badger 155 Anthem dual-
action that I use for detail work and
shooting smaller subjects from 1/24 to
1/43 scale subjects.
BD The past few years I’ve been using a
pair of Grex Tritium TG airbrushes,
which I love, though I admit they
require a bit more care than my other
airbrushes– especially when it comes to
rather fragile O-rings.
These are double-action airbrushes
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that have pistol-grip triggers and gravity
feed of paint, similar to how a
professional spray gun operates. (I
learned how to use an automotive spray
gun before I ever used an airbrush.)
Airbrushes atomize the paint
amazingly well, and by adjusting paint
flow and air pressure, they allow fine-
line painting through wet, heavy coats –
even with the same nozzle and needle.
I’ve added quick-release air-
hose fittings on all of my
airbrushes, so I can quickly
go from one to another.
I still use my gravity-
feed Iwata Eclipse on
occasion. I prefer
gravity-feed airbrushes
over siphon-feed. They
are much easier to clean
up, with much less waste
of paint and thinner.
Most airbrushes, from
bargain brands to the
professional-grade units, will give
anyone good results if they spend the
time to learn how to use and clean them
properly.
Do you have a preferred brand
of primer?
CK Dupli-color, or Tamiya lacquer
primers.
MJ Tamiya Fine White Primer and the
gray work great for just before painting.
But for basic bodywork that will be
sanded and shaped, I use Krylon Gray
and a varying selection of two-part
polyester (automotive) primers.
DY Preferred primer? None!
That’s right, I did say none. A properly
prepped body doesn’t need it if you’re
using Testor’s enamels.
If the body has heavy mold lines, I
will start at 220-grit wet/dry under a
stream of cold water, and make my way
up through 320, 400, 600, 800, 1200,
and lastly, 1500. Then I break out the
polishing cloths: 2400 on up to 12000,
once again sanding under a stream of
cold water.
Wait! I can hear the screams already:
“There’s nothing for the paint to stick
to! Wanna bet?
Just because you can’t see it, that
doesn’t mean there is nothing for the
paint to grab onto.
Remember: the smoother the surface
to be painted, the smoother the finish.
I spray standard colors directly onto
the bare plastic. If I am using metallics
or pearls, I will use Testor’s Aluminum
 MEET THE
EXPERTS

Metalizer for a base coat – utilizing its

reflective qualities to bring the metallics
and pearls’ colors to the forefront .

KH Plastikote T-235 sandable gray
automotive primer – one of the few
paints I use right from the can. It goes
on smoothly, covers nicely, and won’t
obliterate fine details unless you really
put on a heavy coat.
I’ve used other primers in a pinch, but
always come back to T-235.
Mark D. Jones Mark is a second-generation modeler from
Southern California who is perhaps best known to Scale
Auto readers for his series of magnificent Caterham Super
7 models. His models – and their finishes – are brilliantly
executed.

DT I like to use
Dupli-Color gray
filler primer, along
with their gray
sealer, right out of
the can. I also use
Gravity Colors Ken Hamilton Our long-
gray primer when I time “Tips & Tech” col-
want an airbrushed umnist is a talented
primed finish. artist and fantastic
diorama modeler. His
BD For spray-can incredibly detailed, real-
primer finishes, I like Tamiya Fine istic dioramas are show-
Surface Primer or Mr. Hobby Mr. stoppers (and often
Surfacer 1000; when I’m airbrushing, I show-winners) wherever
like using Mr. Hobby primers, such as he goes.
Mr. Surfacer 1000, 1200,
and 1500, mixed from
jars with Mr. Color
thinner.
You can’t beat Tamiya
fine white (spray can)
primer for when you
need smooth, white
primer, and Mr. Surfacer
1500 black is the most
amazing primer I’ve ever
used; it’s so smooth, and
is absolutely the best-
looking hot rod black
primer you can get. It’s quite durable,
but also can be hard to find; best to Donn Yost The “Old Man” from Pittsburgh is well known
search it out on the Internet if your local for his DVD set that shows how he finishes and details mod-
hobby shop can’t keep it in stock. els. He brings a unique perspective to this discussion
because of his relentless advocacy of enamels.
What’s your preferred method to
lay down color coats?
CK Usually a fine mist coat that covers
everything, then I go back a few minutes
later and build it up to an even coverage.
The lacquer dries fast, so doing base
coats goes rather quickly.
MJ Depends on the specific paint and
color. Some paints are only two coats;
others, up to double digits.
It is not uncommon for me to paint
on a body for a full hour (including
flash times between coats).
DY My method for laying down color
coats goes against the mainstream. I’m
sure that you find that surprising, right?
Yeah, that’s what I thought.
I spray continuous, light mist coats
until I have achieved an overall shine
and even finish on all of the body parts,
counting coats and switching the various
parts to maintain overall color
uniformity.
The lacquer thinner allows the paint
to melt into the finish while it begins to
dry between passes with the airbrush.
When I’ve achieved the desired color
depth and gloss, I put the body in my
metal flashout cabinet and leave it there
to flash out. Remember that word
patience? Uhuh! Utilize it!
KH Because most of my paint work
involves weathered or “nonshiny”
subjects, I’ll go off in that direction on
this one.
After washing, drying, and priming
the parts, I apply a mist coat of Rust-
Oleum “American Accents” Terra Cotta
texture spray. When the texture paint is
dry, I sand most of it off, leaving just a
hint of texture on the parts.
I typically brush-paint thin washes of
color until I’m pleased with the
weathered results.
The texture serves as the basis for
subsequent color coats, which are
applied with a wide brush in a series of
thin washes.
The washes don’t run on the textured
surface, and there aren’t any visible
brush strokes.
In those instances where I don’t color
with washes, the fine textured surface
takes airbrushed coats nicely.
I must admit, though: it took a lot of
practice before I could get convincing
results with this method.
DT I prefer to use the airbrush for this,
as it has more controlling characteristics.
This is important with laying down
metallic finishes.
BD I apply a few mist coats to all
surfaces, and gradually lay down
heavier, wetter coats until the color is
uniform and the finish is as smooth as
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Aaron Skinner lays
down a mist coat.
possible.
Depending on color or the particular
model, it might get anywhere from 10 to
perhaps 20 coats of color –
remembering that airbrushed coats
generally go on much finer than those
from a spray can.
What are your views about
clearcoating car models?
(Realism, how to apply, etc.)
CK I prefer two-part automotive clear
for clearcoating bodies. Some feel it is
too thick, and not accurate, but if done
correctly and polished out, it can
replicate several different levels of gloss.
Thinning it slightly more than
recommended helps reduce the “dipped
in syrup” look that many don’t like.
Lacquer base coats and two-part clear
is my preferred method for the majority
of my projects.
MJ I use clear, but not always. Larger-
scale subjects are more forgiving to the
added thickness, but with planning and
practice, scale-looking finishes using
clear can be done on smaller-scale
vehicles.
An important aspect is what you as
the builder want the model to look like.
DY Testor’s Clear Top Coat enamel for
my street machines, street rods, and drag
cars. Thinned with the cheap lacquer
thinner, again, it lays down just like the
paint: smooth, with a beautiful, high-
gloss shine.
For a factory shine, I’ll forego the
clear and simply polish the enamel
finish. This provides me with a nice,
smooth surface with a low-level gloss,
just like the real thing .
Word of caution: Testor’s Clear Top
Coat will yellow over time when it’s laid
over white or ivory colors. didn’t need to be buffed out to a higher modeler with each build.
As long as your models are shine. Even for a matte exterior finish, I Patience and persistence rule the day!
periodically maintained with a bit of like using flat and semigloss airbrushed
wax and a quick polish-out, it will not clears over color to adjust surface finish. KH I’ll let the other gentlemen comment
do so on any of the others. on finishing vehicles, but as a diorama
What do you “bring to the table” guy, I consider “finishes” to also refer to
KH Clear coats definitely enhance and that allows you to consistently all elements of a larger scene.
protect a model’s finish. Sanding and achieve superior finishes? A superior finish means painting and/
polishing a clear coat is the best way to or weathering an object so it looks
achieve a mirror-smooth and miles-deep CK Nothing! I really lack the patience convincing. To do that, I take a lots of
paint job, but “clear” doesn’t always needed to get consistently good finishes. reference photos and basically keep my
have to mean “shiny.” Always have. It takes a lot of eyes open so I can duplicate a particular
I usually spray weathered models with determination to slow down, and do object in scale and make it look “real.”
a coat or two of clear flat finish such as things the right way. Like every other aspect of finishing, it
Testor’s DullCote. I decant DullCote I guess if there is any one skill I have takes practice and experimentation, but
and apply it with an airbrush to avoid gained over the years, it is learning how the end result is well worth the effort.
getting a coat that’s too thick. to repair or fix my mistakes because of
my impatience. DT Each car body receives five steps
DT I exclusively use two-part when I prepare to paint them:
urethane clears for all of my MJ I build a lot. Therefore, I
paint jobs. It is volatile paint a lot. And not just 1) Eliminate mold seams and deepen
stuff, so protection is a “pretty and shiny.” I also panel lines.
must; but the results are I exclusively use have worked in the 1:1 2) Sand all areas as much as possible,
worth it to me. two-part urethane car-finishing industry. usually with 800-grit paper.
There is no other Using many different 3) Wash the body with Dawn dish soap
method of clearing that clears ... the results types of paints makes (nonmoisturizing type) to eliminate
can give you the results are worth it. choosing what will mold-release agents.
of a urethane clear – Dave Thibodeau work for models (and 4) Wet-sand primer with 2000-grit
finish, in my opinion. It can work together) an paper.
can be thinned and applied easier task. Working 5) Rewash the body with Dawn dish
where it does not well up on within a single brand or line soap before color and clearcoats.
the edges of panels and hoods of paints isn’t always an option
successfully. to get the look you may want. BD Mileage. I’ve built and painted so
It is a misconception that it is too many models in so many different types
thick or looks like the body is dipped in DY It’s the Five Capital Ps, which are: of colors and paints that much of what I
syrup, as long as precautions are taken Proper paint environment; Proper tools
ahead of time. and equipment; Proper preparation;
Thinning the clear, applying with a Proper paint application; and Proper
dual-action airbrush for better control, polish-out.
and deepening panel lines will help avoid The most important factor to achieve
that “buried in clear” look that urethane here is consistency. One must develop a
finishes are criticized for by some set of steps to follow with every paint
builders. job to reach this goal. Achieving a
quality finish can be likened to building
BD Almost every body I paint is a house: build a firm foundation, first
clearcoated. If a particular color/finish and foremost.
is desired that doesn’t need the “miles Confused as to how to go about
deep” look, I adjust how I apply the developing said steps? Try buying the
clear. books or the DVDs on the subject. They
I was restoring a rare, older, built race are readily available, and generally cost
car that I was preserving the otherwise less than the price of a kit. They are
“unobtanium” decals by using clear to tools that should be in every modeler’s
seal and protect them, to even out the workshop.
finish as well as do some color repair. Modeling is a lifelong
The body was getting far too glossy as education; take
I added more and more coats of clear, advantage of the
and I had leveled the coats between opportunities that
paint sessions with Micromesh. are afforded by
Because it was looking too “wet,” educating
even when dry, for the final coat I added yourself on the
more thinner to the clear mixture and subject. This way,
shot it more like an early mist coat. The you’ll build on
scale of the resulting clear finish was that solid
infinitely better than the earlier “buried foundation and
in clear” appearance I was getting. continue to
It was smooth but not as glossy, and progress as a

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do paint/finish-wise is mostly
second nature at this point.
I learn from every success
and from every failure if at all
possible, to the point where I
am somewhat obsessed with
fixing issues along the way,
without resorting to stripping
paint and starting over.
I love learning about new
paints and techniques, and
learning from experts in those
areas.
Conversely, what’s the
most-common detriment
to quality finishes?
CK Rushing ... not giving
things the time they require. I tend to
rush too much, and usually pay for it.
From not getting the primer sanded
smooth enough and having scratches
show through, to getting sags or runs in
the clear. After all these years of
painting, I still mess up a lot. And I
have to learn how to deal with the
mistakes.
MJ I see too much paint more often
than lack of coverage. I suspect it is
usually the result of an attempt to
“paint out of an issue.” Poor prep often
rears an ugly head too late in the
process.
It can be difficult or
impossible to fix or save
the paint job when the
problem lies beneath.
Practice,
More paint, clear, and practice, and
polishing will not fix a practice some more
bad foundation, but it’s ... it’s all about
a relatively common having fun!
response.
As soon as you can see – Donn Yost
there is problem, diagnose
it. Then you can go about
saving or stripping the finish.
DY I narrowed it down to three things:
Being cheap; the Internet; and being
oblivious to the obvious.
The first: Explain to me why you
would spend $30 on a kit, and a
multitude of hours prepping it, only to
go cheap on the paint. You spend 99
cents on Primer X, $1.19 on Brand Y
paint, and 89 cents on Brand Z clear.
See? You really saved some money
there, right?
But wait ... uh-oh!
The primer etched into the plastic
while the paint is trying to strangle the
primer, at the same time it’s bench-
pressing the clear right off the body.
Wait a minute ... oooops!
The primer just ate a hole in the roof.
Done deal: your new kit has just been
consigned to the parts bin because you
wanted to save a couple of bucks.
With the cost of kits these days,
“cheap” just isn’t an option. It always
comes back to bite you.
Ah, yes! The Internet! Wonderful
invention. However, just as there is
fabulous knowledge to be obtained,
misinformation abounds as well.
Case-in-point statement: “one should
never wet-sand pearls or metallics!” This
statement is patently false!
What are you going to do – clear over
debris, then wet-sand it? Go ahead!
Now you have a smooth, shiny
surface with your cat’s hair
enshrined in it for time
everlasting!
Try this: wet-sand the
entire body to an equal
degree, then clear it,
then polish it. Wow!
Now you have a mirror
finish with prominent
metallic color and no
debris! Now that is a
quality finish.
The Internet perpetuates the
old wive’s tales on a daily basis. Back-
check the information to be sure that
the individual actually knows what they
are talking about. Otherwise, this hobby
can get expensive and frustrating.
And now, the last: oblivious to the
obvious.
Individual running around at a
contest showing everyone his fabulous
metallic paint finish by shining a Mag
Lite on it. Why didn’t he install a
flourescent fixture above his painting
area? End result was a dull finish that
simply had no “jump” to it – unless, of
course, you shined a bright light on it.
“I shot 15 coats of clear on it!” Yep!
Shiny all right! But it has a finish on it
that a grapefruit would fall in love with.
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A Micro Mesh polishing kit
would go a long way toward
alleviating the problem.
“No! They’re too
expensive!” Ahhh, yes!
“I struggle with painting.”
Okay, how about this
Kalmbach book or this DVD?
These will teach you how.
“Nope, too expensive!”
And then they wander off
down the vendor aisle to spend
$400 on more kits.
It doesn’t take a genius to
produce a quality finish. It
takes patience, perseverance,
and a willingness to learn.
When a firm, educated
foundation is in place, all you
have to do is practice, practice, and
practice some more .
Most importantly, enjoy yourself. It’s
all about having fun!
KH Not taking your time. Whatever
type of finish you’re trying to achieve,
patience is definitely a virtue.
After all the building and filling and
sanding is done and the end of the
project is in sight, I have a tendency to
rush toward the light at the end of the
tunnel, and mess up the paint.
Remember that the finish is the first
thing you notice when a model is on the
table, and it can make or break the
“wow” factor we’re all looking for.
Before you paint, fall back, take a
break, regroup, and concentrate on each
step of the painting process to ensure
you get a great finish.
Shortcuts don’t work.
DT Poor preparation, especially
eliminating mold seams and mold-
release agents.
Mold seams under paint is a sign of
laziness, and if the release agents are still
on the plastic, it will create fisheyes or
craters in the paint that will require
stripping the body and starting over!
BD In general, it’s a combination of
inexperience and impatience.
Building models to a high-level of
finish quality isn’t something learned
overnight. Some are more gifted than
others when it comes to tackling the
learning curve, but that curve is pretty
steep for most.
Take the time to learn the basics; test
and practice; don’t be afraid to fail,
because you learn from failure as well as
success; and buy a big box or two of
white plastic spoons, and use those for
testing paints and finishes before
applying them to models.