Extreme Reality PDF

extreme Reality
ANDREW ARGENT * KRISTOF PULINCKX * EDOUARD NOUAILLIER * JOHN SIMMONS * GERT MERTENS * DOOZY
AN INCREDIBLE APPROACH FROM SCALE MODELLING TO TRUE LIFE
Realism is usually the goal we, modellers always want achieve. It becomes very difficult as we www.ak-interactive.com
AK307
have to bear in mind many details, but these small details are the ones that give our model its Phone: (+34) 941 44 52 28
realistic appearance. Extreme Reality shows how this realism can be achieved in scale modelling. info@ak-interactive.com
Follow the talented artists through a journey from models to real life. Divided in step-by step
articles showing you from well known techniques to some of them rare or even just made for its
specific model. They will show you how a bulldozer can be as extracted from the scrap yard or a
bicycle abandoned to its luck somewhere in the countryside. Extreme Reality is book of master-
pieces and it is mean for all of us who enjoy and love this great hobby.
I have been a keen modeller most of my life enjoying making minia-
ture scenes and models of all types. I have also studied Art at college
and worked as a semi professional artist for many years. with the
articles in this book i have combined the two interests into one and
portray scale model making as an expressive piece of art that would
feel at home in any art gallery. With some of the world attended
model shows like Euro Militaire and Scale model challenge & the
competitions that take place in them i think the work on display in
these type of shows should be rewarded with a wider audience. The
work is pure 3D art that many 1D artists would be extremely proud
to produce. It is far from the plastic airfix planes most of the world
would think we build. I have found myself straying away from the
traditional dioramas of late like WWII subjects and instead produc-
ing some random but very rewarding to make scenes in miniature.
Ones to represent Extreme reality. Its an art form now that is start-
ing to grab the interest of other modellers and a lot more everyday
subjects are being produced now from Oil drums to Tractors to run
down buildings. The military automotive,naval and aviation sub-
jects have company in the way of reality and fantasy now. I thank
AK Interactive for the opertunity in showing my work amongst
other top modellers from around the globe in this publication. I
hope all the readers enjoy the articles and spread the word and
help to promote this ever growing art-form of scale model making.
Modelling has rewarded me with lots of new friends worldwide

which without this hobby i would never had the pleasure to know.
One such friend is John Simmons who i met at Euro militaire. I in-
stantly got on with John and his infectous personality. He is an
extremely talented guy . He introduced me to another very talented
guy at that same show in the name of Kristof Pulinckx who i have
over the past year had the pleasure of working with in another
publication Tanker Magazine again by AK.
I was in talks with john about my work and it inspired him to make
a diorama of his Dads classic and rare tractor. John made an abso-
lutely beautiful job of the model and it is very hard to distiguish
model from real tractor and its surroundings. John recently invited
a small group of friends and model makers to stay for the weekend
at his caravan park in Mersea Essex England. While i was there John
showed me the barn with the tractor in it. When i had my picture
taken with John in the barn it felt like i had been scaled down and
was standing in Johns diorama. Thankyou John for the exsperience
and you friendship. Enjoy.
Andy Argent.
Concept and Original idea:
Fernando Vallejo
AK Interactive
Special Thanks to:

Shige
Art Direction:
AK Interactive
Englisht Texts:
Andy Argent
Graphics and Design:

BMS Designs
AK Interactive
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LR-1086-2015
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4 ARGENT
Cycle of life
28 PULINCKX
Bulldozer
42 NOUAILLIER
Walls of decay
58 ARGENT
Oil drum
74 SIMMONS
Major Refurb
96 GERT MERTENS
Devastator
110 DOOZY
Shore's Cafe & Bar
Bakery in N.Y. / Beach House Bar / Gee Bee Cafe
4 / extreme reality
Cycle of Life
I have been making models on and off all my life and over the past few making nature in miniature in the last project i really wanted to excel in
years have combined my interests in art and modelling together to create that field in this project. It is both really fun and rewarding to create .I find
a whole new direction on my offerings. myself constantly looking at nature in all its offerings at all times of the
As I enjoyed making another model of mine called Rustic in 1/6 scale con- year Autumn, spring, summer and deepest winter. I am fascinated with its
taining an old oil drum and a slice of nature i was very excited when Fernan- offerings and love to try and create it in miniature. The most important
do Vallejo asked if i could build another similar project and document the part of my modelling is observation. How things grow ,where they grow
progress using the amazing AK range obviously. Well I couldn’t wait to get and why is all factors that i take into account. Secondly composition plays
started on another in this scale and in this style. This subject this time being an important part also as i want to display the piece as if it would feel at
an old WWII bicycle. Like the oil drum scene I did I wanted this subject to be home in an art gallery and not just a model show or on a shelf in my hobby
in amongst nature’s undergrowth as if the bike is being gradually swallowed room . I get a lot of fun out of photographing my models in the field and
up by mother nature and try to fool people that the model is real. It helps me strive for the most
to have been there realistic effects that i can create. Every build i try to improve on the last or
for decades. at least try a new subject or location i havnt done before. It is a lot harder
As i en- to create reality in this bigger scale as everything is magnified so much
joyed bigger therefore the viewer can see any inaccuracies a lot easier. A stinging
nettle for example. The leaves are not just a shape in this scale ,you also
have to produce the texture of the leaves also . Magnification changes
how you paint all the subjects also to the desired scale. Since doing
the oildrum i have found my work being received very
well with a world wide audience and not just the
modelling world but the art world also. The oil-
drum and this cycle of life have fared very well
receiving Golds at prestigious shows such as
Euro militaire and Scale Modelworld along
with Best Diorama for 2013 and for
that i thank all the people that like
this rather new aspect of model-
ling that i find myself creating
these days.
So on with the build.
To start with i disassem-
bled the front forks and
wheels from the ready-
made action figures
bike that i found
collecting dust in
my garage.
extreme reality / 5
1
I painted the frame
a dark red and the wheels silver as well
as the handlebars. Saddle handlebar
grips and pedal rubbers were picked out 2 Hairspray was used in preparation for the coat
in panzer black/ grey. of Dunkelgelb paint.
3
Dunklelgelb base from AK,s
modulation set was used first
over the entire frame.
4-5
Dunkelgelb light was then sprayed on areas of highlight.
6 / extreme reality
6 7
8
6-15. When dry the paint was scrubbed of with a

stiff brush and water and also a hobby knife used for
scratches.
This was done to quite a severe degree as i wanted
the paintwork very worn and chipped to give the
illusion of it being neglected for tens of years.
9 10
extreme reality / 7
11
14
13
12
15
8 / extreme reality
16 17
18 19
16-19. AK,s Track wash was used neat next to give some of the metal
area,s the first stage of rusting. This was great for the old steel parts of
the bike like the pedals and chain etc.
20 Track wash was also used to weather the wheels. Adding in layers to 21 The saddle was sanded with a
give the weathering different degrees of wear and grime. sanding stick to give it a well worn
look. Simple but very effective.
extreme reality / 9
22
The parts at the beginning of the next stages of weathering.
23 24
23-27. Delux materials

scenic rust set was used
for the rusting effects
on the bike. I find this
material suits this scale
perfectly as i think the
powder may look a bit
over scale for 35 scale.
25 26 27
10 / extreme reality
28 29 30
31
28-34. Scenic rust treatment was then

used on the cycle. First you mix up some
of the scenic rust powder in equal parts
with the binder solution. Then add it to
areas that you think it would most likely
be rusty. Less is more with this and don’t
over do the process or it will fail in it
realistic appearance.
When this is dry you use the scenic
rust developer which is painted over
the previous stage. Left for a day or so
and you end up with a realistic looking
rust that just needs some pigments and
washes to finalise the look.
32 33
34
extreme reality / 11
35-41. AK interactive pigments North Africa Dust was used to put the final touches on
the bike. Along with some very weak streaking with AK light rust. The pigment was used
on the tyres and the pedals along with the pump and a very dilute filter in locations on
the frame. I also added the worn material band that covers the spokes on the rim of the
wheel. This was made to look very old with further AK pigments. This all added to an
35 incredibly realistic look to the old bike.
36 37
38
39
40
41
42-44. Next step i thought i would have a go at making some
corrugated galvanised iron sheets that you often see in old scrap yards
and builders yards. I have made these in 35 scale before but it will be a
lot more challenging in this larger size as the detail in the metal finish
is that much more magnified. Oh well i like a challenge so to start with
i used some corrugated cardboard and cut it to the size of a roofing
sheet that you see on old hut roofs and in fence lines. I then creased
the cardboard to represent dents. I painted it in a grey primer first then
42 added a wash of Vallejo silver.
43 44
45 45-46. I then added some Mig concrete pigment in a very weak wash
then a more concentrated mix was used and flicked on to the surface.
This produced the look to the galvanised steel that i was after. Greys and
silver in various patterns gave it a convincing look of a new sheet but i
wanted an old one.
46
46-49. The scenic rust treatment was used in the same fashion as it was
on the bike at this stage.
47 48
49
50 The sheet in its roar cardboard state and at

the scenic rust stage described.
50-53. AK interactive light rust wash was used to

further enhance the rusty look to the metal sheets.
I was very happy with this little experiment and will
definitely use it again in the future.
51 53
52
The AK light rust was then used
on parts of the bike again.
54-55. The composition of the diorama was laid out using polystyrene
sheets for the build up in the base. Composition is one of the most
important aspects to an appealing scene. I like to have things at an
angle on the board with some height to the rear and the main aspect
in front of the backdrop so the eyes immediately catch in this case the
bike before gazing around at details in the scene.
54 55
56 57
56-60. The backdrop in this case was a

stone built pillar. I started with the initial
shape in polystyrene and i covered this in
pollyfiller after i sealed the polystyrene
with foam armour from Deluxe materials.
This works both as a sealer and adhesive
for the pollyfiller to adhere too. When
the filler was dry i scribed the stone brick
shapes into it. I build these in real life so am
familiar with how they look and how they
are built which helps.
58 59 60
61 With the pillar painted in a stone colour
and with washes used to pick out the old
pointing and pigments used to age it the
pillar had the look i was after.
I covered the base with the polly filler and
when dry i used the foam armour to stick
some brick and stone dust to that.
62
Some green dyed paintbrush hairs were 63

used for some long grass leading up to
the piller fixed with super glue. Part of
a buddleia bush was then made to stick
out the top. Buddleia bushes will grow
anywhere including on buildings and are
often seen in wasteland.
64 The bike and one sheet of iron was added 65

to the scene for positioning of other
materials. House bricks were cut from full
size bricks and then broken and cement
added to some for the look of old used
bricks. Leaf scatter was then added from
crushed dried leaves.
65-68
I made the plant Cow Parsley from dried
stems of a thin weed plant and added the
fan legs at the top and then added tiny
dried and coloured cut up flower petals to
finish the look. Once again its all down to
observation in the wild.
66 67 68
69
i took the progress out to the garden and photographed it to see if it was realistic up against a real background. I love this part when the model blends
into reality. Happy with how this was looking i went on to
70 71
72 73
70-76. Another very common weed that you find

almost everywhere and grows at a high rate of
knots is Bind weed. It will grow around anything
it can often strangling other plants. It has white
flowers in the summer. Very thin wire was used
for the stems of the plant which was painted in
an olive green . Then a mixture of dried leaves
painted green and paper leaves painted in the
same colour for two different types of the weed
to be used. I made paper leaves for dandelion
weeds at the same time. I super glued the leaves
to the wire which was woven around other
homemade weed plants . I also added the second
piece of corrugated sheeting to the scene to
see if the composition was correct. Its all about
composition on a scene like this. It can make or
break the piece of work.
74 75 76
77 Small grass was made from a paintbrush

.Hairs dyed and cut then some dipped into
superglue then dipped into a very fine sand
to give the illusion of seed heads.
78
a small weed from the garden was picked ,immersed in a solution of glycerine and water then
dried and lightly sprayed green in places to act as the undergrowth part for brambles to be
added later under the bike frame. I did this to give the bramble layer more bulk and details were
not important, i just wanted some dense plant to the area.
79
Dried leaves from a bush in the garden were used as leave matter. These are tiny leaves and
ideal for this scale to add interest to the floor of the scene. White glue was used to fix into place.
80 81 82
80-83 83
Ferns were made from wire for the stems then paper leaves with fine scatter added to the surface
for the texture of the fronds. This was painted olive green for the live ferns with old dried dead fern
added for the old ferns under the new growth. Buddleia bush was made from dried weed stems for
the stems and plastic leaves from a miniature artificial houseplant. This was painted different shades
of green. The flowers were made from old seed heads dropped from the pine tree in our garden.
The perfect size and shape.
84-85
Balsa wood was
used for an old
plank on the ground
painted in AK wood
ageing effects
85-89. With the other piece of corrugated

sheeting painted in the same way as the
previously described way i fix the bike
to the scene and start to add the all
important brambles to give the scene that
really overgrown look i was after. I used
some dried weed stem for the stem of
the brambles. Some were painted green
and some a rose red as in reality. Some
tiny thorns were added in places from
pieces of cut hairs. Paper leaves and
dried leaves were used for the bramble
leaves once again painted in various
shades of green. Blackberries were made
from bluetac painted in various green,
red and black gloss paints. When dry a
pin was used to make impressions in the
85 berries to give the illusion of separate
segments. I can easily get lost in a project
such as this and it seems the more you
do to the model the more i want to keep
going. Its quite infectious to me when
you see reality being created before your
eyes. Random and untidy is the way to
go. Mother nature doesn’t much care
for keeping things neat and once again
observation of the real plants is essential.
Bind weed was added to the scene again
weaving through the wheel and around
the brambles.
86 87 88
89
90-91 Vallejo blue violet was used to paint the flower heads on the buddleia bush.
A nice addition of bright colour to the scene.
92-102
Stinging nettles were next on my list. I have added
these to models on a much smaller scale but never
in this scale before. With everything being magnified
to such a big scale it is a lot harder to recreate reality
as the viewer can see so much more detail. For the
nettle i used a dried weed for the stem and then used
embossed type paper for the leaves cutting out different
sizes. Larger leaves to the bottom gradually getting
smaller to the top. Painted a dark sap green. To finish
these of i used some tiny seeds for the seed balls of
the nettles. These turned out great but were very time
consuming to make, great fun though.The scene now
was done apart from adding cobwebs to the saddle area
and inside the lamp on the bike and under one of the
corrugated sheets. All places where spiders would lurk.
92 93
94 95
96 97
98 99
100 101
102
Since completing the model we had a family and friends get together and one person i had not
seen for a long time asked if i am still doing artwork and if so what am i doing nowadays. To this i
showed the person a picture on my tablet of the bike against the real background. Well sorry Andy
was the reply, i think that is rubbish. I was a bit surprised but thought ok you can’t please everyone.
The said person then said I don’t call getting an old bike and throwing it in some brambles and
taking a picture of it art, Don’t like modern art Andy. I then said this is a model and showed them
the model in the display cabinet. Can’t say the exact words they said but it was in the vein of, Get
away i thought it was real. That was the higest compliment I could get for the work.
The finished model has won the highest of awards at both Euro militaire and Scale model world but
my highest award was it along with the oil drum being wanted for inclusion in the Roberto Aguilera
collection in Mexico Thank you Roberto.
Thanks to Fernando Vallejo for commissioning the build for this book. I am already working on the
next piece in this series.
The story of this model is one of several years. It was built years ago, back the rear end of a drill bit. Next all the joints were detailed with round and
than only the engine was painted to serve as the box art for the AK-Inter- hexagonal nuts made with a punch and die. Finally the seat... To make a
active Engines and metal weathering set AK-087. But we from AK waste no convincing worn seat is not so easy so I opted for a different approach,
model, so we decided to revisit the model and have another go. Completely leave the seat off!
rebuilding it by adding lots of missing detail, the model was previously build This left me with the support for the seat including rails to make and that
straight from the box with the exception of the engine which was detailed was it, much simpler .
up with some wiring.
PAINTING
DETAILS The complete model was base coated with mixture of Old Rust and Red
Lots of details, in the form of bolts and weld seams are missing from the kit. from AK. Next several rust tones were applied with a sponge to get some
But before we started detailing I opted to apply a coat of primer to make variation in tone.
possible flaws in the construction more visible. Next the model was dry When dry the model was sealed with Matt Varnish and the Worn effect
fitted to confirm the fit of the parts. and Heavy chipping acrylic fluid was applied by airbrush.
The yellow base coat was applied next in several thin layers and then the
To strengthen the effect of a rusted abandoned vehicle some rust holes fun could begin.
were made with a burr mounted in a motor tool. But don’t overdo this; use With the use of a toothpick, cotton bud and an old short haired brush I
it more as an extra detail. started removing the paint. The best way to do is by wetting the surface
The floor of the driver’s station was also sanded down, replacing the mould- first with tap water to let it dissolve the chipping fluids for a few minutes.
ed on anti-slip with some photo-etch plates from an Aber sheet. The dials This took several hours to complete the process a section at a time. After
of the dashboard were also drilled out. this the model was cleaned to get rid of residue. To stop the chipping fluids
The blade of this bulldozer needed the most attention. First all the missing from working and to seal the finish another coat of varnish was applied and
weld seams were applied with Magic Sculp and brought into shape with the model was set to dry overnight.
Bull
dozer
WEATHERING
The airbrush was loaded again with rusty tones and light shadows
were applied in corners and edges. This was done very lightly to
show some deterioration in the yellow paint. Next some further
chipping was carried out with the sponges again especially on the
larger flaked paint chips.
To create depth the model was outlined with Track wash and Rust
streaks from AK mixed together in various proportions to enhance the
look of a rusty vehicle. Streaks were painted on with the same colors,
but also with light rust oil paint from AK. The floor or the drivers station is
treated with Crusted rust deposits ‘ Light rust’ to obtain a dry rusty surface.
The tracks were first sponge chipped and when dried followed first by a light rusty
wash, then when the wash is still wet another wash was applied with heavily thinned
European earth pigments thinned with pigment fixer. This way the washes mix and
result in a light dusty and rusty color. The front of the blade was sprayed with several rusty
colors in a cloud pattern to obtain some depth. The next day the front of the blade received
a light rust wash. Not much more you can do on this big rusty surface to keep some realism.
FINISHING OFF
The hydraulic lines were added and painted in a dark grey color. To finish off, some oil stains
were painted on but very sparingly. Some dried up oil stains were added and for this AK082
Engine grime is perfectly suited. Then all the subassemblies were assembled and the size of this
model becomes clear, it’s huge at almost 32 cm long!
1
1 The model is primed to check the construction for flaws

and before the detailing, flaws can be rectified without
2 damaging the details.
2 After the test fitting it became clear some work was needed
to obtain a perfect fit.
3 To show some extra wear and tear a few holes

are ground with a burr placed in a motor tool,
this creates the effect that rust has eaten
through the metal.
4 Don’t overdo this effect, just use

it as an extra detail.
5 The drivers station before

detailing.
6 7
The same brought bang up to date be replacing the 6

floor with photo-etch parts, bolts added and the dials of
the dashboard are drilled out to enhance the look of an
abandoned vehicle.
The beam at the rear is detailed up with bolts made with 7

the punch and die. These details will also play an important
role during the weathering as these can be painted and
weathered differently resulting in a nice contrast.
The back of the blade needs the most attention, many weld 8
seams are added and details such as missing bolts. The joints
are also detailed up with bolts. 8
The seat from the kit and the support for the 9
‘missing’ seat made from plasticard. The seat from
the kit look too much like a toy and further more a
worn seat isn’t the easiest task to tackle so we opted
for a simple way out.
The hydraulic lines are made from elastic hollow wire 10

and connected by pins, these will be left out till after the
painting stages.
9
10
11
12
13 14
The complete model was base coated in a 11

reddish brown rust color mixed from AK’s
old rust and red acrylic paints.
To create some difference in tone the 12

model was sponge chipped completely
with several rust tones to obtain as much
variation in tone as possible. 15
Next a coat of Matt Varnish the models was 13

airbrushed with either Worn Effect or Heavy
Chipping fluids depending on the parts. We
treat some parts differently depending on
the level of deterioration in mind.
Using my trusty Harder&Steinbeck Infinty 14

airbrush the model was base coated in
yellow. Such light colors are best build up
in several thin layers for the best results.
The chipping begins: first we wet the 15

surface with tap water so the chipping
fluids can dissolve, then a toothpick,
cotton bud and a short haired brush were
used to remove the yellow paint in desired
places.
16 17
18 19
After the treatment with the 16

chipping fluids is over the
model is sealed with Matt
varnish and set aside to dry
overnight before the next
weathering phases can start.
Very subtle some shadows 17

were airbrushed on to create
some depth and shadows in the 20
model. A mixture of rust colors
is used.
Again we used the sponge 18
chipping technique to enhance
the larger chippings created
earlier so everything blends in
together.
The drive sprocket was painted 19

in a dark brown rusty color
which served as a base for
further treatment.
The radiator was 20

painted in flat silver.
21 22
23 24
25
21 The drive sprocket was also sponge chipped with lighter rust
tones for more effects.
22 The radiator received a dark brown wash. It will be barely visible

but it needs to be done.
23 Our Bulldozer was completely outlined with dark

brown rust tones. First we applied the mixture of Track
Wash and Rust streaks in all corners and edges.
24 When it has set for several minutes a brush

moistened with White Spirit was used to blend
the paint in and create shadows and depth.
25 Streaks were painted one by one by

hand, use several different colors.
But also get some variation in the
shape and size of the streaks for
more realism.
The engine you may know from the box art of the AK Engine 26
and metal weathering set. It’s nicely weathered but out of
place if we leave it this way.
So it’s also chipped with rust tones and treated with rusty 27
washes, streaks were painted on to make it fit with the rest of
the model.
This filler cap was painted in aluminium to 28

make it stand out from the rest of the model
and it would provide a nice contrast.
With light rust deposits 29

the floor was given a wash
which results, once dry, in a
nice overall rusty and dusty
finish.
Light rust oil paint was dotted 30

on straight from the tube.
26
27 28
29 30
31 And with a dry flat brush the oil paint
is blended out creating a subtle rusty
sheen.
32 The driver’s station and engine were

fitted, make sure everything fits
perfect and is perfectly aligned.
33 Because if something is out of place the bonnet will not fit perfectly
and will ruin the model. It was a tight fit and there a lot of test fitting
and adjusting needed in earlier stages.
The tracks were 34

chipped with light
rust colors to break
up the monotone
base coat.
A wash of light 35
rust deposits
was applied
over both the
tracks.
36 And before the wash was dry another 37 The front of the blade was airbrushed 38 When dry it was
wash this time mixed from European in rust tones in a cloud pattern to followed by a
Earth pigments and pigment fixer was create some depth. light rust wash.
applied allowing both washes to mix
and dry into a nice light dusty and
rusty color.
The tracks are on, no need here to 39

create some sag as the tracks are
well supported.
40 The piston rods are rusty but for

more realism, as they are normaly
quite shiny, they were chipped
with silver paint applied with a
sponge.
41 Finally on the grease nipples and

in and around joints some oil
stains, and dry oil stains were
painted on.
Since a long time now, I devoted myself to reproduce parts of
french streets, blind alleys, workshops or simple façades from
Walls
the 40’s to the 60’s with their derelict look, faded letterings,
chipping paints... I constently try to express my feelings through
utmost three dimensional scenes to capture the atmosphere
of a bygone age. Among all the elements which
”make” this urban landscape, one is typical : the de-
cayed walls, the dilapidated façades.
This is a “generic” topic which could
be useful for various types of min-
iature buildings and in any scales.
of
With the help of polyurethan
decay
foam and filler, I will show in
this following step-by-step photo
sequence how to obtain a realistic
façade of this kind. Of course, our
main interest will be in the different
methods for degrading and ageing the
structure which allow us to obtain a con-
vincing decayed appearence in scale...
Setting the scene...

To describe this technique, I have taken as an example the
creation of a simple façade which takes part of a new serie in
larger scale intitled “urban agonies”. This topic will deal with
the different steps in the design and construction, as well as
how I brought some details from Addonparts to the structure,
or the way I hand - made others.. Let’s see how to proceed...
The first step is of course to 1
gather together the main material
to start the building. For instance I
will need polyurethan foamboard
of 5 mm of thickness ( I insist :
polyurethan foam, from Canson
), some Evergreen strips ( such
as # 249 & # 137 ), water based
filler and some very fine items
from AddonParts such as wooden
shutters and doors, metallic
anchors moulded in resin.
2 A sheet of foamboard is cut

to the dimensions required for
the façade I previously drew on
graduaded paper. After the top
layer card is carefully peeled back
from the surface to be impressed,
I then firstly cut out the openings
always using a new blade for a
neat and clean cut.
3 To imitate the bricks, emboss them in
the foam (on areas where the stucco
is missing), I’ve made a tool which
will allow me to impress the shape of
them into the material. For instance
here, this “master” was hand-made
in an old fine paint brush : the end of
the handle was carefully hollowed out,
then the tool itself is pressed in using
fine pliers and smoothed with a small
flat file. At last, I obtain a tool which is
easy to grip and work with.
After I’ve determined the areas 4

where the stucco has flaked
off, crumbled away, I emboss
the bricks into the foam with or
without the help of a metallic rule
as a guide. Thanks to the porosity
of this material, the brickwork
thus created also have a certain
surface texture which is very
interesting in scale. Take care not
to apply so much force that you
pearce the foam.
5 Once the bricks are simulated,

you can go farther for a fine
realistic effect by reproducing the
state of decay. For instance you
can easily go over the impressed
bricks in places and cut away
more savagely to imitate damaged
pointing. Here, I judiciously imitate
some missing parts of bricks or
modified ones to bring variations.
I lightly hollow out the foam by
using the point of a needle held in
a pin vice.
On random places I accentuate the 6

rendering of the joints between
the bricks by simulating some
“rolls” of cement pouring off.
Here I employ the water based
filler (the same as for stucco)
carefully added with a fine bruh.
At this stage, you can also bring
more effects by imitating parts
of cement used to fill shallower
holes : in this case you can leave
the spots of filler ups alone or
some can be polished with a chisel
blade or a small spatula...
7 Once it’s done, some architectural
items are scratch-built using foam,
plastic card and the Evergreen strips :
this will be particularly the case with
the windows stays, cornice, exposed
wooden lintel and beam, cut to fit in
the openings or the wall.
Then it’s time to apply the filler 8

on the foam by using a spatula
or a small chisel blade. Ths first
thing is to apply a thin coat under
1mm of thickness. The second
point is to split up the work by
areas, taking care to always start
by the openings. Once the filler
is applied, I let it dry 15 mm or so
then I smooth the surface with a
lightly moistened finger to give a
certain uniformity to the “stucco”.
9 After a two days wait, the filler

is hardened and ready to be
patiently sanded with abrasive #
400 grade paper. The aim is to
obtain a very regular, flat surface.
When doing this, the dust powder
is regularly cleaned off from the
surface wit a small brush and
above all at last removed from the
joints of the bricks. Old stucco
has always cracks, and these must
be imitated in a realistic way. For
my part, I systematically draw
them by advance with a fine black
pencil, following more or less real
examples...
The drawn cracks are then 10

“physically” repeated with the
needle previously used and
worked over with a small diamond
file. Here I go
really softly when making it :
take care not to make crevasses
! However, if the groove is too
deep, you can always rectify by
applying more filler with a small
paintbrush to mask the over-
emphasized fissure.
On random places where the 11
stucco has flaked off, I re-work
the drelict effect by using the
chisel blade to give the edges a
natural crumble looking...
Then I continue farther with 12

the ageing effects by using an
engraving point - this time – to
give a decayed appearence to the
cornice, edges of openings and
so on. I always work on various
places, without any plans to bring
many physical “chips” of all sizes.
The façade ready, some little items 13

are then added such as metallic
gardrails on the 1st floor window.
The overall surface is painted with
two coats of enamel paint 28
Humbrol much diluted with 30%
of mineral spirit. Here I simply use
a large # 10 paintbrush to apply
them.
14 While the paint is drying, I take
advantage of this to re-work,
improve one of the shutters
from Addonparts and give it an
advanced decayed appearence so
that to fit with the derelict façade.
After I’ve taken off a metallic
reinforcement, I then break teh
glowing aspect and bring some
“decades” to the wood, first by
performing some incisions, and in
a second time by deeply engraving
some joints between the planks.
The second shutter as well as the
door are left the way they are, but
will later receive a heavy ageing.
15 Focus on the façade as it looks

with its “primer” coats and its
details.
16
Now we can start the colouring
steps with enamel paints to give a
first “basic” shade to the surface.
So that to reproduce a “generic”
decayed stucco, I always use the
same shades : light grey, white,
medium grey and beige ( Humbrol
28/34/64/110). For these first
coats, I’ll principally need sheets
of sponge as well as # 2 and # 4
large paintbrushes.
17
Now that this preparatory work is
ended, the serious business begins
using these enamel shades. Afer
I’ve put small dabs of each colour
in a palette, I soaked pieces of
synthetic sponge alternately in teh
different colours which are pat on
the façade. I work progressively
in small areas of about three/
four centimeter square. The aim
is to blend the colours - without
any extra precisons at this
stage – Once it’s done, I re work
the overall surface from top to
bottom, employing the colours
brushed on almost dry with the #
4 paintbrush...
18
... then to bring more contrasts, I
roughly underline the surrounds
of the crackles and the edges with
matt white. You don’t need to be
in precise work once again there,
it’s simply to add more variations
to this underneath coat..
19
A first wash of matt black (40% of
paint + 60% of water) is brushed
from top to bottom on the overall
surface. This one will thicken the
different shades, as well as lightly
underline the crackles and bring a
first interesting dull aspect to the
façade. Now let it completely dry
one day or so...
20
Now it’s time to imitate the
definitive derelict stucco with the
heavy chipping fluid and acrylic
paints. I will mainly use Vallejo
paints matt white, ivory, medium
and dark grey as well as some
shades from AK ( 720, 734 & 792).
21
The first step is to apply a basic
coat of fluid on to the surface, let
it dry 15-20 minutes, then to apply
a second coat from top to bottom.
Here I employ a large AK # 8 flat
brush...
22
After ten minutes, I start to
“paint” the surface the same
way I did with the enamel, but
this time with # 4 old large
paintbrushes to dab the shades on
the façade and mix them together
onto the surface. The recesses
under the cornice are coloured
much more in a dark shade using
mainly the dark grey paint to
emphasize the shadows.
23
Then, it’s the long time work
of chipping employing first the
old paintbrush previously used
to imitate large areas of chips,
then using a small wooden stick
to reproduce much more precise
and smaller one, mainly on the
edges of the crackles. At last, you
can obtain a realistic aspect of
weather beaten stucco with its
subbtle contrasts and variations.
However, work slow and take
your time!
24
25 27
24 To mark more precisely the cracks (already visibles with the black wash),
I then make a pin-wash using the dark grey AK 720 much diluted with
water. At this moment, the façade is starting to reveal a different aspect...
25 ... which I continue to work with a second effect of peeling, this time to
reproduce “relics” of an old yellow paint. Once again, I use the AK heavy
chipping, but on random places only, then I work the same way as I did
before to mimic the yellow chips.
26 So that to bring much more contrasts to the façade, I initialy undertook

to simulate some letterings painted onto the gable to advertise a joinery
business. The basis for receiving this typography is coloured after applying
a layer of worn effect fluid AK. Here the background is painted using
two tones of green, buffered / mixed together on the surface with small
pieces of sponge to obtain different random shades. At last, the white line
delimiting this part is hand-painted with matt white.
27 As I did for the derelict stucco effect, I then employ the heavy chipping
26 effect to reproduce large or smaller chips, this to fit in the overall aspect
of derelict I already give to the façade, not less not more...
28 29
30 31
Tooking inspiration from original situations I saw in photos of the 40’s / 50’s 28
gables, I then apply various dry transfers using light pressure with a soft pencil.
Here I previuosly drew the example on graph paper so that to mimic rendering
of palimpsest ( superimposition of old inscriptions) and worn / faded letterings.
The first step with teh ageing process is to lightly sand the surface with very fine 29
grade abrasive always from top to bottom. This will not only more or less simulate a
second weathered effect to the overall painted surface, but also trim the letterings
at the same time. After this, you can more precisely improve the effect with a fine
metallic point until you get a visually satisfying result, according to the “amount” of
decay required. The residue are then removed softly with a large flat paintbrush.
So that to blend the basics of the sign with teh rest of the façade, I work a piece of 30
sponge alternately in ivory and medium grey from vallejo to bring more subtle effects.
I continue with a long work of micro-painting (or micro- weathering should I say 31
) by re-working all the edges of the cracks with a mixture of matt white and ivory
( 50% + 50% ) applied judiciously in various small touches with a # 0 retouching
brush. The façade at this moment really begins to have a sympathetic appearence...
However, working on very precise ageing effects, I take advantage of this opportunity 32
to add much more small chips using the acrylic dark grey shade. This is done on 32
random places using alternately a sponge or the fine # 0 brush for more variations.
33 34
35 36 37
33 To mimic streaks from the cornice (as can sometimes be seen on this
kind of antique building), I will make use of “Old grease” & “Tire grey”
pigments from Wilder products... Sure this is an unusual use, but it
perfectly works. After I mixed them together, I dry brush the powder
from top to bottom with fine paintbrushes guided by a metallic rule.
Once again I vary the size of the drips to give an overall realistic aspect.
34 The next step is to colour the bricks. Here I use an invariable method
summarized in 3 points :
A/ The bricks are coloured with mixtures of acrylics from Liquitex
(Burnt sienna + Cadmium grey + Ivory black). You can obtain a wide
range of subbtle colours to reproduce the numerous tones which can
be observed in real bricks.
B/ Once the paint is dry, white or light grey pigments are stamped
onto the surface with an old brush. After the excess is removed, the
pigments that remain are worked into the joints using a moistened
finger or a soft cloth dampened with clear water.
C/ Each brick is fianly dry-brushed - or not – with the mixtures
38 previously made , or with cadmium red + medium grey and so on to
bring once again much more variations.
35 Now it’s time to colour the wooden parts. As for the bricks, I use a
generic “primer” coat to mimitate old wood. For instance, I employ
enamel paints 28/64/98/110 to give the items an overall look of “wishy-
washy” door and shutters immediately... The paints much diluted with
mineral spirit are applied in no particular order first with a # 2 large
brush from top to bottom (and blended to obtain interwoven shades),
then in second with a fine brush to bring much more precise contrasts.
36 When the paint has completely dried, a wash of matt black acrylic
is applied to the surface. At the first, it will appear to negate
the previous painting step, but as soon as this wash is dry it will
emphasize the joints and the “grain”.
37 To be logical with the green already applied on the façade, the
shutters and the door receive the same colours, here applied with a
large paintbrush #2. To bring a little more variations and break the
uniformity, I added two extra shades : a green –blue and a yellow-
39 brown which will be “chipped” in a usual manner after applying the
worn effects fluid once again...
38 Then, I re-work the effect of wear with the help of acrylics “Light grey”
and “Light grey-brown” available in teh set “ Old weathered wood # 2”
from AK.
I mainly work in a micro-painting manner with tiny touches tio emphasize
the very small areas where the paints has completely worn away.
39 Finally, the shutters and door are glued and some details where the metal
is exposed are underlined. This is particulary the case of the gardrails,
chipped the usual way and then rubbed with a stump soaked with AK
dark steel pigments.
40 At last, you can add a bunch of other details to give more life to your
façade : masonry anchors, electrical cables or even like this enamel
tin plates...You will of course take care in advance to reproduce small
40 rust flakes, or the ever more pronounced corosion at the edges...
41
Here’s the façade after these main
ageing steps are ended. Of course
you can go further and further...
For my part it is self-even to tell a
story, or symbolize an era...
Rustic
1:6 scale
oil drum
diorama
This diorama came about completely by
luck. It all started when I was requested
to do a how to article on how to use De-
lux materials rust treatment. Well i was
off work at the time recovering from
an operation when i decided to start
the article little did i know then that
this was just the start of good things to
come. The small article was done but
after it was complete the drum turned
into a major works diorama that was
probably my best work to date and
something completely different.
To start i initially had the thought of do-
ing the article with an armour subject
in 35 scale but feeling lazy at the time i
wanted to look for something with min-
imal building. Not fancying anything in
the cabinet already made i went in the
garage for a browse. There sat on the
back of my 1/6 scale Tiger 1 tank was a
German fuel drum made out of alumini-
um. Perfect, no building to do just some
distress work and i am ready to go.
And so on with the build.........
1 I started with the aluminium oil drum
in 1/6 scale and sanded and drilled out
some of the can to represent rusting
through. I also dented the can to give it
a worn and beaten look.
2 The can then received a coat of

Halfords grey primer to seal it in prep
for the painting stage.
3-4 Vallejo air panzer medium brown was

then airbrushed on for the rust base coat.
5 Vallejo orange was then sprayed on in

light bursts to give the base coat some
variation in tones and colour.
6 A coat of Johnsons clear was then

sprayed on to seal the paint coats in
preparation for the next stages.
7 8 10
A coat of hairspray was then sprayed Vallejo German yellow was then lightly sprayed Then after it has dried the paint is gently
over the entire drum and left a few over leaving some variation of thickness to scrubbed off using an old stiff brush and
minutes to dry. leave some of the base colour to show through. plain water. The hairspray is softened and the
This all adds to the variations in tones to the paint will lift of revealing the sealed basecoat
finished model. underneath and giving the can the old
chipped paint look. Be careful on this stage
and don’t scrub to hard. Practice on an old
model or plastic card first if you are new to the
technique.
Result of the previous step, looking at
real images is the best way to get the I then lightened some of the yellow colour and painted some very fine highlights to some of the
most realistic result. chips just for further added interest to the look.
11 12-13
14-15 16
When this had dried overnight the next stage was to start the rusting. For this i used the Delux materials This was then painted to area,s of
scenic rusting set. First up i mixed the scenic rust powder with some of the binder in equal parts mixing it highest rusting on the drum. I didn’t
in the tub provided until it was a thin sludgy paste. just paint it all over as that would not
look realistic. It needed to have areas of
thick rust and areas where you can see
the chipped paint. This Scenic rust set i
have found is more suited to this scale
as it is more in scale on larger scales
When the solution has dried which didn’t take long in the summer heat outside (15 minutes) It was time than on 1/35 scale but i have achieved a
to paint on the scenic rust developer. This reacts with the small metal fibres and creates real rust. It takes a satisfactory look in the smaller scale.
while to really show up and is best left for a day to see how the result has come out. If after that time you
want a heavier look then just repeat the procedure in the required area,s
17-18-19
20
AK streaking grime was then added to areas
where leaking would be present on the drum.
Then AK rust effect colours wre thinned and used
in various area,s for more variation to the tones of
rust and also for some very thin streaking using
AK,s size 3 brush.
21
Here we can see the very realistic look to the drum
when all the previous procedures have been used. It
really does look like it has been around for decades.
22
Here we can see the scale of the drum
against a 1/35 scale figure.
The
Diorama
That was the drum finished and i was very happy with the result.
While i was sat in the garden with a cup of tea admiring my ef-
forts on the drum i had the idea of setting this model in a small
setting. Something like an old builders yard or disused piece of
land somewhere. With the result on the drum being so convincing
in photos as to looking like the real thing i wanted to extend the
realistic look to the small scene and wanted it to be convincing in
pictures as to being the real thing. The most important thing on
doing a scene like this is observation. Look at real locations as to
how real plants grow and what a disused or neglected piece of
land looks like and what you would find in such a location.
I started by cutting a piece of plywood to the required size and
covered it with a layer of polyfiller and when dry i coated the
area with PVA glue and sprinkled a mixture of sand and brick and
cement dust on to the glue. Being in the building trade i collect
a lot of builders dust from the back of my truck. It comes in very
handy on projects such as this.
23
To start with i built part of a wooden pallet seen in a lot of area’s of neglect in builders yards. This was made from balsa wood and put together with
tiny nails to represent the real thing completely. This was then aged with washes of greys from Vallejo paint. A shiny bucket was then bought from
Hobby craft in the same scale as the drum. It was very shiny tin and looked to perfect. So i set about making it look like a galvanised builders bucket by
spraying various shades of silver and grey paint on it. Again have something to represent the real thing is essential. Grey/silver was then flicked onto the
surface of the bucked leaving a very convincing galvanised look to it. The hairspray technique was then used along with a gloss white paint to achieve
the chipped painted look. The bucket was then crushed and weathered. Real cement was mixed up and used in the bucket and then scraped out
leaving a very convincing old builders bucket.
24
Paintbrush hairs were dyed green and used for tall grass along with various photo etched plants for weeds. Dried pieces of real plants
were also used as weeds along with dried leaves cut into small pieces for old leaf scatter.
25-26-27
Dandelion weeds were made from
paper for the leaves, wire for the seed
ball stem and Halloween cobweb was
used to make the seed ball head.
28-29
Brambles were made from dried twigs
and thorns put onto them.
30
Weeds also made from wire.
31-32-33-34
Leaves from a fern were dried ,pressed
and painted in both underside and
upper parts of leaves. Lighter for the
underneath and darker for the top.
These were used for the bramble
leaves amongst others on the scene.
35
The scene is really beginning
to take shape now.
36
The beginning of
the Buddleia bush
with dried leaves for
ground scatter
37-38-39
A butterfly was made out of paper with bluetac for the body and hairs for the antennae. This was
then painted from reference pictures to represent a red admiral butterfly. Seed heads from a pine tree
were painted to represent the heads of the buddleia bush which attract such butterflies.
40
pictured against a real
background this is looking
quite convincing.
Gunzee sanyo clear was mixed with white spirits and blown through the
airbrush to create cobwebs. This i saw in a modelling book called advanced
techniques. With a bit of practice you can produce quite convincing webs.
Perfect for my little scene.
41
42-43-44
A spider was made from two tiny
polystyrene ballsfor the body and
paint brush bristles for the legs. Then
trimmed and painted black/brown
with Vallejo acrylics.
45-46-47
A tiny ladybird was made from green
stuff and added to one of the leaves
on the brambles.
48-49-50
Green stuff was also used to make
apples and segments for wasps bodies.
The apples were then broken into and
scraped out to look like a half eaten
apple. This was then painted in oils.
51-52-53
The parts of the wasps bodies were put together
with superglue. A real wasp was used for
reference as to how they should look.
54-55-56-57
Tiny wings were cut to scale from dead
flies wings and added. The wasps were
positioned on the apple with one actually
inside the apple. This was a great touch to
the scene and was fun to do.
58-59
A dragon fly’s body was
made from Green stuff
next and painted silver.
When dry a wash of blue
was added to give it that
metallic blue look. Flying
ant wings were used for
the wings. Perfect timing
for flying ants to hatch
out in the garden. For me
anyway, not the ants.
60-61-62
Well this is starting to turn
into tiny slice of nature
now. What next. Snails. So
off i went and collected
some snails and using one
as reference i made a few
using the green stuff once
more. I painted them in
acrylics once more from
the Vallejo range. I glued
these to the side of the
wooden pallet just as you
would see in real life.
63-64
To finish this project i wanted
to add some slimey looking
snail trails. How can i achieve
this i thought? I discussed this
with my wife and she came up
with the perfect solution. The
raw whites of an egg will give
the same type look. Excellent i
thought and when tried turned
out a treat. I tweezered on two
lines of slimy egg whites and it
looked perfect.
When pictured against a real background this proved to be very

convincing.
This model was taken to two
major model shows and was
well received getting a Gold
award at Euro militaire as
well as Scale model world
and also received the Best
Diorama of the show 2013.
But most importantly it was
both fun and very addictive
to create.
THE IDEA I trawled the internet trying to find a suitable
This build started off with a model of the Fordson Super Major and noth-
conversation on the phone ing in my preferred scale of 1/35 turned up, a
with my good friend Andrew few resin tractor kits but nothing that would do
Argent, we were discussing for our Major. But further investigation lead to
projects and I mentioned one of a 1/16 Die cast 50 year edition Ernest Doe col-
my Fathers old tractors and how lectable. This was perfect, a large scale but not
I would like to make it for him as a over the top and it was the exact same model as
Christmas present. After seeing and dis- s aw a my Fathers 1962 treasure. It came complete with
cussing Andrews work with him in per- wonderful di- a ‘muddy’ field base, certificate of authenticity
son at shows it filled me with great inspira- orama in the works com- and an acrylic display case, very nice indeed! But
tion looking at his projects, it made me think of plete with oil, grease, dust and dried mud to be it wasn’t long before the extras were omitted
what we see in person in our everyday lives. We all created in miniature! The engine starts but it and the lovely pristine factory fresh Major was
are literally spoilt by the plethora of model kits hasn’t been driven for a long time, this meant stripped of parts and suitably damaged. I must
currently on the market but sometimes it’s more that the wheels had dried crusty thick mud in admit that this felt a little wrong destroying such
fun and challenging to just build something you the treads and the bonnet and raised areas were a fine collectable but this had to be done to rep-
would walk past without noting or paying at- full of dust. A recent head gasket repair and a licate our old one. First to go was the tyres and
tention too, in my case it was my Fathers tractor. rather sloppy oil change meant there was oil ga- then the smaller partssuch as the radiator grills,
It has been sitting at the back of our barn for as lore over the engine (and barn floor!). The tyres headlights, seat and cushions, bonnet handles,
long as I can remember but I have never looked on the left side are also flat and all this presents number plate, signs and decals, exhaust and
at it in an artistic view. In its own right it is a a wonderful ‘barn find’ look, just the thing us wheel weights. Now I had a relatively blank can-
collectable classic but I wasn’t really interested modellers want to replicate. vas to start spraying over the glossy paint work.
in its rarity or how collectable it has become, I The Build
Major
Refurb
was covered in black thick oil and dirt.
To create this I made a mix of AK Black
Pigment and Vallejo Gloss Varnish, this
was used tosand down the tread.Then to repre-
sent the flat tyres I sawed off the bottom of the
tyre and replaced it with a putty ‘flat tyre’. This
was then lavishly applied with an old was very simple and was shown to me by Profes-
brush around the engine. A touch of sional Modeller and good friend Daniel Brooker.
AK Engine Oil was again used here I made a sausage shape out of Aves Epoxy Putty
to give an even oilier representation. and pressed it in to the tyre and slightly modified
Once I was happy with the engine the creases with a cocktail stick. The same pro-
I moved onto the rusty seat. This cess was used on the front tyre also. Once happy
has seen better days and was a real I sprayed the tyres with AK 720 Tyres and then
treat to recreate. Starting off with highlighted with Vallejo Mode Air light grey. To
a base coat of Life Color’s UA907 I represent the wear and ‘smooth’ look of the side
painted the seat by hand. Then using wall of the tyres I used AK’s new ‘Paint Stripper’
the sponge technique I then proceeded product, this was applied with a cotton bud and
to randomly dab the seat with a light- rubbed around the side of the tyre removing the
er rust colour UA702, again with the acrylic paint that I had previously sprayed on.
sponge I finished with the lightest tone This left me with the bare black colour that was
UA703. Now I had my rusty seat it was time on the original plastic/rubber part of the tyre.
for the white but before then I had to dab The same process was applied to the raised tyre
some HumbrolMaskol on with a sponge to cre- lugs, a quick dusting with the Tamiya Buff again
ate the chipping effect. Once the Maskol had and I had well-worn dusty base on my tyres. To
dried I sprayed on some Tamiya Medium Grey further enhance the dried muddy look I chose
and Flat White then with my finger I rubbed off some pigments again from the AK range, usually
the Maskol and created a realistic chipped effect. I apply and fix pigments with enamel thinner, but
A matt coat was applied and then time for the this time I chose a slightly different method. I
washes from AK mainly DAK Wash and Interior made a mix of European Earth pigment, Vallejo
Wash, an AK Filter for brown wood was then Acrylic Matt Varnish and some fine fibres to act
used for the rusty sections. This filter although as grass. This paste was generously spread onto
THE PAINT JOB meant for wood works perfectly for orange rust. the inside of the raised tyre lugs (any excess that
After a rub down with scotch-brite to kill the I moved onto the body of the tractor next and spilled onto the top off the lugs is wiped away
gloss and give a base for the paint to adhere gave the panel lines and recesses a Wash with AK with the neat Varnish and a cotton bud) this was
to I sprayed the tractor with Vallejo Dark Pru- Brown for yellow vehicles. Next came some more then quickly blasted with the hair dryer on a low
sia Blue thinned down with Vallejo’s own new micro chipping on the body work with a brush setting. This is somewhat unorthodox as the hair
formula thinner through the Badger Patriot Air by hand, concentrating on the reference photos dryer usually blows away the pigment dust but
Brush. I then highlighted some areas to give a and not going over the top which is very easy at in this case the varnish is very thick and holds
light colour modulation with Pastel Blue Model this stage. All the areas of steel (not that there is the pigment in place to the model. The heat of
color, again thinned and shot through the air- many) were painted with AK’s new range of wax the hairdryer makes the varnish and pigment dry
brush in light coats. Up next came the engine based metal paints. The mechanical areas at the very quickly and start to crack, just like real mud
and surrounding areas, this was picked out with back, PTO shaft and tow hitch etc are very rusty does when it dries in the sun on a hot summer’s
a red brown colour to work as a base for the in the reference photos so careful speckling was day. The tyres need to be put back on the wheels
grimy weathering to come. The engine need- used here. A mix of European Earth and Light now and this was the most challenging part of
ed some chipping and small rusting in areas, Rust was sprinkled over this whole area then us- the build, with a lot of blue language and puff-
a fine tipped brush was used for this by hand ing a stiff brush AK Rust Streaks was flicked over ing noises the tyres finally slid onto the rims. The
and again with different shades of brown and the pigment layer, this absorbed in the pigment tractor is nearing completion now and the only
blue from the Vallejo range. Once the engine and gave a nice appearance of age old textured things left to do are add the number plates and
had the desired amount of chipping and rust rust. Once I was happy with the look of the trac- little bits and pieces. I want to thank my buddy
I started with the washes. Track Wash and En- tor I re-attached the Fordson badges and gave Scott Girvan for supplying me with the custom
gine Oil from AK were generously applied all the whole tractor a light dusting of a heavily set of decals for the number plates, after emailing
around the detailed areas which gave a rather thinned Tamiya Buffthrough the airbrush. The him some pictures of the plates he then edited
satisfying amount of grime. Where the recent oil tyres needed a good going over and to begin the them on the PC and printed them out at the cor-
change had taken place the side of the engine worn appearance a large coarse sanding stick- rect size on decal paper for me.
the tractor
1-2
Here we can see the original 50th anniversary
Ernest Doe & Sons Die Cast model that had to be stripped of
parts to represent the old tractor in the barn. The glossy paint work
was rubbed down with Scotch-Brite and then matted down with
varnish to allow the new paint job to adhere.
Vallejo Model Color paints where heavily thinned down with the brands
own thinner and sprayed on in thin layers to slowly build up the new
aged paint job. Working from dark to light a subtle colour modulation
effect was achieved.
3-4
5
The engine bay was
masked out carefully with
Tamiya Masking tape
and then sprayed a light
brown tone through the
airbrush to act as a rusty
base for the further heavy
weathering to come.
6 Now the weathering has begun, chipping effects have been created with the use
of a sponge and some dark brown paint. A fine brush and a steady hand also
created the chips along with the rust. Note the change in blue colours, these were
the same Vallejo Paints used on the body work.
7 A pin wash with AK Interactive Track Wash brings the details out
8 Here we can see a generous amount of AK Interactive Engine Oil
and helps refine the interesting shapes found around the engine
and Track Wash being used, I wasn’t afraid of putting the wash on
compartment. This was applied generously with a number two brush
heavy here as further layers of weathering to come would even this
and when dry the excess was removed with a cotton bud damp with
all out and blend it together nicely.
enamel thinners.
9 10 11
Life Color’s rust paints are excellent for creating a thick Once dry I applied some The maskol has now been removed
age old rust appearance and worked perfectly here HumbrolMaskol again with the and has left the seat with a chipped
as a base for the seat. The darkest tone was applied sponge, this dry’s within minutes appearance, Washes and Filters
by hand with a brush and the two lighter tones were and is ready for a coat of white from the AK Interactive range bring
applied with a sponge create a chipped appearance. paint to be put on over the top. this seat to life.
12 To achieve the thick mucky grease found on the side of the tractor I had to create this from a mix
of AK Interactive Black Pigment and Vallejo Acrylic Varnish. Using a small pot I mixed a paste like
consistency of the Pigment and Varnish and applied it generously around the areas thick with oil and
grease. If it was a little thick in places I would water down some Varnish and apply it on the areas with a
big round brush. The pigment would absorb the Varnish and leave a life like appearance.
13
The body work of the
Tractor received a Dark
Brown Wash in all the
panel lines and nooks
and crannies. This
brought out the detail
and left a dusty, muddy
look to the old body
work.
14
15 16 17
14-17 The tractorhas seen a lot of hard work through theyears and this inevitably has left some dings, scrapes and general damage to the body
work. This had to be replicated carefully as over doing the chipping by hand can easily be done, so extra care was taken with a fine brush and
Life Color paints to recreate the micro chipping.
18
There wasn’t many steel
parts to recreate on the
tractor but what parts
there was on show
was easily achieved by
using AK Interactive
new AK457 Steel paint.
Simply brush on and in
this case some slight
buffing with my finger
brought out the shine.
19
19. The rear of the tractor needed some serious rusting,

just general washes over a brown base coat wouldn’t do
here, so some layers of AK Pigments were used and a
careful speckling with Rust Streaks gave me the look I was
after. Any over spray from the speckling on the body work
was simply wiped away with enamel thinners.
20. Rust tones from Life Color came to the rescue again here and like the seat the
darkest brown was painted on by hand then the following lighter shades were
applied with a sponge.
21. HumbrolMaskol was sparingly applied with

a sponge, then the liquid mask was allowed to
air dry before the coat of white went on.
22. Tamiya XF-2 Flat White mixed with

Tamiya’s own thinner was sprayed on the
exhaust through the airbrush in light coats.
23. Once the Tamiya Flat White had

fully cured it was time to remove the
HumbrolMaskol, this was simply done by
rubbing my finger along the exhaust, as the
Liquid Mask is removed it pulls away from
the paint revealing the dark rust base and
giving the appearance of lovely chipped
paint.
24. To finish this off a thinned down wash of

AK Interactive Track Wash was applied, tiny
amount of Black Pigment again from AK was
dabbed on the tip of the exhaust to represent
the soot of the diesel fumes.
20 21
22 23 24
25
The Barn where the Tractor is parked
is extremely dusty and has no door so
it is somewhat open to the elements. Although frustrating at
times for my Father and I it gives me a great opportunity to get
this dusty! Tamiya XF-57 Buff lightly sprayed in thin coats through
the Badger Velocity Airbrush gave me the dusty results I was after.
Spraying from above and pointing the Airbrush downwards gave the
natural fall of the dust on the tractor.
26 27
28 29
26. The tyres needed a good sanding down with a coarse sanding stick,
removing the hard edges of the tyre lugs gave a realistic look. Knicks
and cuts were also taken out of the sidewalls of the lugs and tyres with a
hobby knife to replicate the hardworking tyres on the real tractor.
27. The tyres are flat on the tractor and this needed to be replicated on
the miniature, sawing off the bottom of the rear and front tyres with a
razor saw gave me a good start for the putty.
28. Two part Aves epoxy sculpting putty was rolled into a sausage shape
and pushed into the bottom of the tyres, using a cocktail stick the flat
lines of the folded tyres were then created.
29. The tyres are now sprayed a dark grey colour with AK 720 for the
base colour and then highlighted with Vallejo Model Air FS36300 Light
Grey. This gives a much more realistic look than shiny gloss black!
30 30. To finalise the paint work on the tyres AK Interactive Dust Effects
thinned down with enamel thinners was liberally sprayed on through the
airbrush.
31 Here we can see the flat rear tyre in all its deflated glory!
32 AkInteractives new Paint Stripper product came into use here for 33 The tractor is nearing completion now and can be seen resting on
removing some of the paint from the side walls of the tyres. Simply its two flat tyres. A side by side comparison shows that the tractor is
dip a cotton bud into the bottle and gently wipe away at the tyre. looking like the real one though more work is needed to bring it to
a completely life like appearance.
34-35
The tyres although are dusty are not yet complete and need the dry mud added. For this I used AK European Earth Pigment and to fix it to the
tyre Vallejo Matt Varnish was used.
36-37
To finalise the mud on the tyre some more Pigments from AK Interactive were used, these were mixed in a pot with some fibres to represent grass and
then fixed to the tyre again with Vallejo Matt Varnish. To speed the drying time up a hairdryer was used on a low setting, this did blow some of the
loose pigments off but the Varnish held the majority on, this then dried and cracked like real mud.
the barn
I wanted to represent all the clutter around the tractor in our barn and nearly all 1/16 scale I was working on, after collecting a lot of different size cardboard
of this had to be scratch built. But first I needed to decide on how big I wanted boxes I finally found a suitable sized piece that would work. This was measured
all this, in reality the back corner of our barn where the tractor is parked feels and cut into sections with a hobby knife, once I had the desired amount I glued
tight and claustrophobic. I needed this to be portrayed accurately in the diora- them together with white glue and left them to dryovernight. I needed to make
ma, so rather than make a large base with empty space all around I reeled myself the RSJ sections of the barn for the sheets to attach too, for this I simply used
in and went for a smaller area to work on. I started off with a cheap pine corner Evergreen Strip Styrene and Tamiya Extra Thin Cement to glue it all together.
shelf that I purchased from my local DIY shop. This was cut to size and the edges Once the sheets had dried overnight I gave them a coat of Vallejo Primers,
were rounded off, I could have opted for a very fancy varnished base complete working from dark to light this give some depth to the otherwise boring shade
with chamfered edges etc, but I didn’t think that would be appropriate with of grey. These had to have some serious weathering added to them to bring
the look I was trying to achieve. Now I had my rough barn floor and working them to life, so some sponge chipping using London Grey and White Vallejo
area I needed to create the asbestos corrugated sheets for the walls. Again after model color paints was applied all over and a heavy amount of Green Streaking
a lengthy conversion with Mr. Argent he advised me to use some corrugated from the AK range was also added. My modified cheap shelf base from the DIY
cardboard (this would be the first of many ideas that I have stolen borrowed shop was given a coat of black and then the concrete floor was epoxied onto it.
from him in this build), this is found anywhere from boxes, paper coffee cups The concrete floor was simply made from High Density Foam Board Insulation,
and food packaging. I just needed to find the right one that would suite the this was cut to size with a normal wood saw and this was advantageous as
the saw marks replicated the screeded barn floor. This was painted black then all the precious ‘junk’ had been made and placed to the base carefully with CA
highlighted with AK 122 OIF & OEF US Vehicles base colour paint and suitably glue I moved onto the rear to create the lush green and wild grass that grows
weathered with AK Pigments. The walls were attached to the RSJ frame work at the back of our barn. I wanted to replicate the ivy that grew up the walls too
with epoxy glue and then attached firmly to the base again with epoxy, I was and for this I used a number of different things, Armour Farm Thicket was a
able to push the RSJ’s into the foam board to create asturdy base. The finish handy product as at 1/16 scale can look like the roots of plants. I proceeded to
line was in sight now and it was time to create all the little bits and pieces that push the stem of the plant into the foam board (with a little help from some CA
covered the barn floor. These consisted of things like boat fenders, ores, chain, too to fix it in place) and added some ivy leaves to it from Treemendous. This
spare tyres, wooden sign boards and a wheel clamp. The ores were created by was repeated in many places but sometimes I would use real roots from plants
whittling down some balsa wood dowels with my hobby knife, this was a fun found in the garden and ironically from the side of the real barn at home, and
process that didn’t take long. AK Interactives Streaking grime brought out the even just gluing the ivy leaves straight onto the walls themselves. Greenline grass
varnish on them and some Grey Wash forKriegsmarine ships represented the tufts in many colours were added and also weeds and grass from Armourfarm
grey mud we have here on the coast of Essex. The sign board was simply made were placed along the sides of the barn floor. I built this up until I had a rough
from coffee stirrer sticks and some rectangle balsa wood, this was then chipped representation of what it looked like in reality, even adding some thin shoots
with AK Worn Effects Chipping fluid and dirtied up with the usual suspects of through the cracks in the barn walls, and making the leaves go brown at the
Dark Brown wash and light brown toned Filters again from the AK range. Once end to represent dying shoots.
1 A cheap wooden corner
shelf from my local DIY
shop was used as base for
the Diorama, nothing fancy
but strong and sturdy and
easy to work with.
A cheap wooden corner 2

shelf from my local DIY
shop was used as base for
the Diorama, nothing fancy
but strong and sturdy and
easy to work with.
3 The asbestos corrugated

sheets that make up the
barns walls were replicated
by using cardboard. These
were from a cardboard box
and the paper front has
been removed to reveal the
round corrugated sections
needed for the walls. After
measuring the panels and
working out the size in 1/16
scale a hobby knife was then
used to cut them to size.
PVA White glue was used 4

to attach the corrugated
sheets together and once
left to dry overnight they
were very strong in the
morning and was able to
hold together nicely and
stand up on its own weight.
5 The RSJ section of the barn

needed to be made now
and for this my life was
made easy by purchasing
some corner and L shape
sections of Evergreen
styrene strip. This was all
glued together by using
Tamiya Extra Thin Cement.
Time for paint now and 6

these cardboard walls
needed some Primer,
Vallejo Black, Light Ghost
Grey and White were used
here working dark to light.
7 Some sponge chipping

was used to create the
weathered look found
on the barn walls, Vallejo
Model Colors London Grey
and White made this start
to come to life.
Now the paint work is 8

complete on the sheets it’s
time to really bring them
to life and Ak Interactive
streaking grime certainly
did the trick here. Applying
liberally with a number two
brush and then streaking it
off in a downward motion
with a flat brush damp
with thinners gave me the
grime I was after.
9 The wooden base is
sprayed black with Vallejo
Matt Black Model Color
Paint thinned down and
sprayed through the
airbrush.
The concrete floor was 10

made from High Density
Foam Board cut down to
shape with a general wood
saw, using a saw gave me
the screed lines found on
the concrete. A coat of
Vallejo Matt Black then a
highlight of Ak AK 122 OIF
& OEF US Vehicles produced
the dust appearance of the
barn floor.
11 Epoxy two part glue was 12

used to stick the concrete
floor to the wooden base
and the front and back
of the corrugated sheets
together.
13 One of the panels on the

rear of the barn has a red/
brown tone to it, it isn’t
rust but looks just the
same. To represent this I
masked off the area and
then applied some AK
Track Wash.
AK Filter for Brown Wood 14

was then lightly applied
with a number two brush
over the top of the AK
Track Wash.
15 Finally some AK Dark 16

Brown wash for green
vehicles was used.
17 18 19
17. The sign board was made from balsa strips cut to size and
glued together with CA glue.
18. With the help from AK Interactive Washes and Streaking

Grimes the sign board started to come to life, these were painted
on with a number two brush and then wiped with a flat wide
brush damp with thinners in a downward motion.
19. A couple of layers of Worn Effects was sprayed on and left

to air dry, it was necessary to spray more than one layer on as
the first coat slightly absorbed in the pourers nature of the balsa
wood. Then a thin coat of Tamiya XF-2 Flat White was applied
lightly and evenly through the airbrush.
20. Once the Tamiya Flat Whitehad dried it was time to go to

work on the chipping, using an old stiff brush wet with tap water,
I vigorously scrubbed away at the paint. The water reacted with
the Chipping fluid and lifted the Tamiya Flat White, this gave a
pleasing appearance of a well-worn chipped wooden sign.
20
21 22
23
21. The ores are simply whittled down balsa wood dowels,
nothing more than a general hobby knife was used and for
the rollick stoppers I used Tamiya masking tape cut to size and
wrapped around the ore.
22-23. Now the ores are starting to look realistic and worn, much
like the wooden sign AK products deliver a wonderful effect on
these ores. To get the varnish effect I used AK Streaking grime
and the dried grey mud was created by using AK 303 Grey Wash
for Kriegsmarine ships from their Naval range.
24 25 26
24. Placing completed objects onto the Barn base gives me the
sense of scale that I need to remember and the idea of the layout
too. Even at this early stage this is starting to look like home! Lots
more to add but I’m happy with the results so far.
25. A dark wash mixed with some black pigment was used to
represent the spilt oil on the concrete barn floor. Vallejo Black
Glossy Varnish will also only be used on the middle section, this
gives the illusion of the dusty floor absorbing the oil.
26. Olive sheet lead was used to create the canvas sheets
scattered on the floor barn, these were then sprayed with acrylics
and weathered with AK Products.
27. The boat fenders found hanging from the RSJ’s were hand
made from two part epoxy sculpt. Then suitably weathered using
AK Worn Effects and Tamiya XF-79 Linoleum Deck Brown.
27
28 29
30 28. The wheel weights were sprayed with Red Brown Acrylics and
then sponge chipped with a Red Tone. A wash of Dark Brown for
Yellow Vehicles made the small details pop and some European
Earth Pigment was later used to dust them up.
29. The wheel clamp was scratch built using styrene card and the
outer edge was made simply from a bent metal rod. The chain
was added with CA and then it was painted with acrylics. Sponge
chipping was used to replicate the chipped paint and a wash was
used to bring out the detail. Dark Earth pigment and some catkin
seeds finished off the look.
30. A lot of wood lays around our barn and to replicate this I
simply used balsa wood cut down to size. AK Interactive 263
Wash for Wood was applied generously to bring out the grain
and white wash from AK gave me the worn paint appearance.
31 32
31. Here we can see the rear of the barn, plenty of Ivy, grass, 32-36. Everything is placed in the barn and carefully glued together with CA glue.
weeds and wild flowers are needed to bring this to life. There still needs to be plenty of dusting to add loose leaves on the floor, cob webs
and general grime all over. Note the oil in the small basin, this was achieved by using
Vallejo Still Water and a mix of Glossy Black also from Vallejo. An eagle eyed viewer
may even notice the coloured swirls in the oil that can be found when water is
mixed with oil in reality.
33 34 35
36
Devastator
Ford Coupe 1949
AMT
1/25 scale
The idea
I was visiting a demolition derby race a while back when my attention was This means that I immediately could start with transforming the model. A
caught by how bad those cars actually look. Obviously their sole purpose new seat was scratch-built to replace the standard bench seat, as the real
is to be demolished! These cars are stripped of almost everything until thing had no seats! Up next was the roll cage onto which the seatbelt is
only the chassis and bodywork remains. A roll cage is added and some fixed. Some more internal parts that needed to be built were the fuel tank,
adjustments are made to make the cars safe for the race. The cars are kept a battery and new floor made of photo-etch sheet and finally some wiring.
together by numerous weld seams and bolts. After a race, when possible, Moving over to the chassis, the suspension units were modified to lower
they are rebuilt to be able to drive again, and that’s what counts, drive them the car a bit and the steering unit was altered to be able to turn the wheels
and race them until only scrap metal remains. which make the model look more dynamic. The bodywork was up next.
Various weld seams were added as the doors were no longer operable; the
The model
rear hood was rebuilt with pewter sheet. Pewter sheet was further used
The car that inspired me the most was a Ford Custom Crestliner from 1950,
to add the extra panels on the doors and roof. Various small scale metallic
called Devastator. Sadly no kit existed so I opted to use a Ford Coupe 1949
bolts were used to detail these panels and create the effect that these are
from AMT. Not quite the same but close.
roughly bolted on.
The kit however is not very promising with a lot of flash and countless sink
The engine supplied in the kit is poorly detailed and thus some extra detail-
marks... and the Chrome parts are...,well ,not good! Luckily I only need less
ing was needed with scratch-built parts and parts from the spares box. Not
than half the parts of the kit to build the ‘Devastator’.
much of the engine will be visible anyway but it had to be done.
Getting started
Painting Interior
I started by removing parts and details that were not necessary, and it
This was the most challenging part of this project. There would be a lot of
turned out be actually quite fun.
rust, and the hairspray technique would be used over and over again to
create the many different layers of paint that are actually present on the the surface is moistened with water and again we start removing the white
real thing. First some tests were carried out on spare parts to learn which paint in desired areas. The key to easily remove the Tamiya paint is to thin
technique and in which order was needed to create the effect I was after. it with tap water.
But first things first. The interior was painted black with Tamiya laquer After this time consuming process the model received another layer of
paint thinned with tap water. Over this a layer of Games Workshop Purity Purity seal to protect the layers applied earlier. The added plates of pewter
seal was applied and when dry the whole interior received several layers of sheet were painted separately in various light blue-gray tones for the panel
hairspray. After a couple of minutes the white interior colour was applied, on the roof and matt aluminium for the rear hood. Both panels received
but in a way that the black still showed through to create the effect of some light orange filters to obtain a rusty look. Around all the weld seams
worn paint. Using a brush the freshly applied white layer is moistened to and the added panels a rusty wash was applied and when dry these weld
dissolve the hairspray underneath. In selected areas the paint was removed seams were slightly metalized for a realistic finish. The panel lines were
using a fine brush moistened with tap water. When happy with the result accentuated with a brown colour and streaks were painted on, mostly on
another layer of Purity seal was applied straight from the can to protect damaged areas, with thinned oil paints.
the paint layers underneath. The details were hand painted with Lifecolor
The hood will be the center of attention and receives special treatment. First
acrylics. Some washes and pinwashes with black and Dark brown oil paint
it was painted black and next a mixture of orange and rust pigments was
give the interior a used and filthy look. The next step was to hand paint all
painted on in selected areas. This is done to create the effect of heavy rust.
the rust spots on the interior. Various rust tones from Lifecolor were used
When dry the whole bonnet was sponge chipped with rust tones, sealed with
to build up the rust effects but always starting with the darker colors. This
Purity seal and finished with a layer of hairspray. Next a coat of blue was ap-
immediately brings life and color to the interior. Local dust effects were
plied and most of it removed with the technique explained earlier. The whole
created by earth colored pigments.
process was than repeated with a light green tone and then finally black.
Exterior
Base
A dark green colour was sprayed on first in a cloud pattern so some white
A little simple base was made to present this model. Stalton plates are
of the plastic was still showing through. The rusty coloured acrylics were
rebuilt in scale with the use of ceramic plaster and Evergreen profiles. A
used again to hand paint numerous rust spots on the model in various
grey pigment was mixed into the plaster to obtain the look of concrete.
different rust tones. Now a layer of Purity seal is sprayed on followed by
Accessories and tools are taken from the sparebox to fill up an empty corner
a layer of hairspray. Tamiya flat white was thinned with tap water and
and a helmet was placed on the roof of the car to provide a human touch.
sprayed on in several thin layers until the whole models is covered. Again
1 2
On some spare pieces tests are carried out. A combination of pigments, sponge chipping and hairspray technique is the path we need to follow to
obtain a realistic finish.
The white walls on the tires are given a faded

look with the use of the hairspray technique. The engine block is painted in black metallic colors and given a
wash to create a old and used appearance.
3 4
5 6
The wiring on the engine is done in bright blue to bring some The gear lever on the gearbox is simply made with a needle.
colour to the picture.
7 8
Rust colored pigments are mixed with paint and applied on the bonnet after it received a black base coat.
9 10
The whole bonnet is sponge chipped with several tones from the rust The result of these steps is a rusty looking piece of metal including some
and dust set from Lifecolor. texture to represent heavy rust.
The whole bonnet is sponge

11 chipped with several tones
from the rust and dust
set from Lifecolor.
Flat blue from 12

Tamiya is thinned
with water and
sprayed on.
Most of the blue

paint is removed
by dissolving
the hairspray
with
water and
scrubbing
with a
brush.
13 14
15 16
This is repeated with a light green tone. Don’t forget the layers of Purity Seal and Hairspray with each step.
17 18 19
And finally we do the same

with the final coat of black.
20 21 22
The finished bonnet.

A final coat of Purity seal is applied
to protect these effects.
23 24

25 26
27
Eventually I did a second bonnet with the same techniques
but more refined. I learned from earlier experiences as I like to
test techniques to, and sometimes beyond the limits.
28
The small holes in the
bonnet are done with a
fine burr in a motor tool
and look very realistic once
painted.

29
After we sprayed on a dark green color in a cloud patterns we hand paint the rust effects with many tones of rust.
30 31 32
Variation in rust tones is very important to obtain a realistic rust effect.
33
The lefthand
side headlight is
removed, only some
holes remain.

35
34 The chassis and bodywork With lead wire some cables
are finished and ready to are make in the engine
be put together. compartment.
34 The detail painting of the

interior is finished. A layer
of purity seal is used to
seal of the paint.
35 36
The interior finished.

37 38
The helmet is painted with care as it will be the main accessory. The slogans are hand painted, using photos of the real vehicle as reference.
39
The engine is hardly visible but
nevertheless time and effort is need to
make sure that the engine looks as real
Ceramic
as plaster
the rest of theismodel.
mixed with pigment to fill the plates Some plates are damaged and some copper wire was
and achive realistic looking concrete plates. added and covered in gloss varnish to represent water.
40 41

42
43
Accessories are always use full to fill an empty corner.
44
45

Shore's
Cafe 1/12th scale
I love American landscapes especially West coast – California, and Euro-
pean traditional streets, too. Both of them are exotic to a Japanese me.
Hasegawa’s new kit Nissan Sunny truck gave me an idea to make a scene
featuring a Japanese small truck but looks like being in my favorite western
world. Japan is the country of islands surrounded by sea. There are many
beautiful beach where we can surf. Nissan Sunny trucks were often seen
in 80’s in Japan. The decade 80’s is my ‘Good Old’ youth days. I got a
driving license on 1983. I often went to seaside by my car. My good
old days were always together with a car. I entered into my imagi-
nation world when I got the kit of the Sunny truck. A young guy
drives his sunny truck to the seaside, there
is a small café giving nice coffee,
and it will be a bar in evening.
It was a day from the good
old days, 80’s...
Nissan Sunny truck B120 series is one of the most successful truck in Japa- shows the shape of real car very well, and it must nicely fit to the diorama
nese car manufacturing history. It had been produced since 1971 until 1994. of the scene in ‘80s. It must give a lot of inspiration about diorama to many
B121 is middle production model, 1977- 1989. Hasegawa’s Sunny truck modelers. And I got a lot. I like weathered car models. But it does not mean
GB121 is longer body model which released on October 1979. Hasegawa’s ‘wrecked’ or ‘ruined’. I like the live car which using for daily jobs. Sunny
kit is a very good kit, details are correct, sharp, and easy to assemble. It truck is an utility car, very suitable for my favorite modeling style.

1 2 3
The structure was made by wooden plates This concrete wall was cut out from a wooden plate with I Painted flat black on chassis.
glued on foam board. Next I painted white, using laser cutting machine by Cobaanii manufacturing.
scratched the surface with a file (sanding This concrete wall is typical in Japan. We can see it
stick) rough Nr.180. everywhere. http://cobaanii.com/
4 5
I splayed flat white after primed with white surfacer.
I used old wooden plate for base. This 7

base plate looks like a part of café’s wall.
The frame was cut out from an acrylic board by laser. I glued form board into the frame.
8 9

10 11
I painted surfacer on the wall. I masked the base plate.
12 13
Also I masked the place where the structure will be built on. The texture of ground was made with modeling paste,
(The name of this paste is ‘Coarse pumice gel’ in Japan).
14 15
I masked the truck.
I sanded the road part

to make it flat with
sanding sponge.
16 17 I painted the body with Vallejo

color 70961 Sky blue by airbrush.

18 19
I splayed Tan over the ground. I washed lightly.
20 21
22 23
20 I glued small stones on the ground.
21 Road section before painting.
22 I designed the manhole plates by PC, and cut

out from cardboard paper by laser.
23 I glued grass powder.
24 After basic painting, I washed the ground with

black and brown. I paint some highlights with
bright tan color from Army painter.
24

25 26
27 28 29
30 31 32
25 I made a model tree with using small branches from

26 tree in garden. I glued dried flowers(we call it as
‘Holland’s flower’) at the tip of the branches.
27 I used paper leaves (White birch) from Kamizukuri.

http://www.kamizukuri.jp/
28 The tree was primed by surfacer splay before washing.
29 Washed with brown.
30 The bottom of the tree was made with epoxy putty for woods.
31 The behind side of leaves were washed with brown slightly.
32 Tree was washed dark brown and painted some

highlight with light mud color.
32 Some grass helps to fit the tree naturally on the ground. 33

34 Water in the ash bin is
Modeling water from Koeido.
http://koeido.jp.net/youto/
syouhin/water.html
35
I drawn signboards in old
American style. They were
drawn by computer and
printed on decal paper by
Alps printing machine.
36 37
I placed the
structure and
accessories before
fixing the truck.
Washing body part of truck with dark brown. I painted XF-1 flat
38 I washed these parts with dark brown. black along the rubber edges of the windows with brush. Thin silver
line in the windows are painted with acrylic chrome silver.
39
The bench chair is the item of Cobaanii. You will find

cigarette and Zippo lighter near ash bin. The letters on the window glass were sculpted on the acrylic plate by laser.
40 41

43 44
43-45
Chipping with AK pigments thinned by
acrylic thinner. My Sunny truck is working
everyday, not ruined. Too less chipping is
better than too much dirty.
42 Washing black chassis with gray color.
45 46
Applied dust on the
wheels with AK022
Africa dust effects. Radio
antenna rod is wire
needle No.0.
47
I put the brass wire into
the wheels to fix the
vehicle on the ground.
I put minimum
item, only a
wheel, in the
luggage space.
I think it is better
than nothing.
48

1/12th scale
This is my first diorama work in 1/12th scale. Fortunately, I met a Taiwanese ‘cool’ bakery in my favorite Western style. It looks like ‘Bread industrial’, just
talented art worker Ms. Kuang-Chen Kuo, and she kindly gave me very like machine factory but they produce bread not machines. Making larger
realistic model breads in 1/12th. (She gave me a lot!) Those model breads 1/12th scale caused me some strange troubles. I often made the items
were not only realistic but also looks delicious. Her kind gift encouraged me smaller than correct 1/12th size. I tried another attempt at first time in my
to make a diorama in larger scale. There are many bakeries in Japan, but all life. This is, I used one old wooden plate for the base plate and the floor of
of them are only for selling the bread, not enough special for diorama, of the scene. I hope you like it. I will make another bakery in something other
course. I wanted to make something special. I found some pictures showing style, because I still have a lot of model bread thanks to Ms. Kuo!

Beach House Bar
1/24th scale I like tiny houses. I made this ‘Beach House Bar’ as a small room, just like a comfortable furniture. I wish my model
bar on the hill near beach. What I always keep in my mind work can entertain the people anytime when they look it.
when modeling is whether if this work can nicely fit to the No matter it is first time to him or 10 years – 20 years after.

Gee Bee Cafe
1/32nd scale The shape of Gee Bee racer airplane is unique. I wanted to make
something unique diorama with using this kit, not in the airfield,
not repairing in factory. They are not my style. I imagined a café for
airplane lovers in my mind and realized it as a diorama. I wish the
people, not only modelers but also other people, enjoy this diorama
in the room, just like a painting on the wall. Perhaps, this diorama
has a small advantage than painting on the wall, because you can
put a coffee cup on the empty space in right side of this base.

extreme Reality
ANDREW ARGENT * KRISTOF PULINCKX * EDOUARD NOUAILLIER * JOHN SIMMONS * GERT MERTENS * DOOZY
AN INCREDIBLE APPROACH FROM SCALE MODELLING TO TRUE LIFE
Realism is usually the goal we, modellers always want achieve. It becomes very difficult as we www.ak-interactive.com
AK307
have to bear in mind many details, but these small details are the ones that give our model its Phone: (+34) 941 44 52 28
realistic appearance. Extreme Reality shows how this realism can be achieved in scale modelling. info@ak-interactive.com
Follow the talented artists through a journey from models to real life. Divided in step-by step
articles showing you from well known techniques to some of them rare or even just made for its
specific model. They will show you how a bulldozer can be as extracted from the scrap yard or a
bicycle abandoned to its luck somewhere in the countryside. Extreme Reality is book of master-
pieces and it is mean for all of us who enjoy and love this great hobby.

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AN INCREDIBLE APPROACH FROM SCALE MODELLING TO TRUE LIFE

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6-15. When dry the paint was scrubbed of with a

23-27. Delux materials

28-34. Scenic rust treatment was then

50 The sheet in its roar cardboard state and at

50-53. AK interactive light rust wash was used to

56-60. The backdrop in this case was a

Some green dyed paintbrush hairs were 63

64 The bike and one sheet of iron was added 65

70-76. Another very common weed that you find

77 Small grass was made from a paintbrush

85-89. With the other piece of corrugated

1 The model is primed to check the construction for flaws

3 To show some extra wear and tear a few holes

4 Don’t overdo this effect, just use

5 The drivers station before

The same brought bang up to date be replacing the 6

The beam at the rear is detailed up with bolts made with 7

The hydraulic lines are made from elastic hollow wire 10

The complete model was base coated in a 11

To create some difference in tone the 12

Next a coat of Matt Varnish the models was 13

Using my trusty Harder&Steinbeck Infinty 14

The chipping begins: first we wet the 15

After the treatment with the 16

Very subtle some shadows 17

The drive sprocket was painted 19

The radiator was 20

22 The radiator received a dark brown wash. It will be barely visible

23 Our Bulldozer was completely outlined with dark

24 When it has set for several minutes a brush

25 Streaks were painted one by one by

This filler cap was painted in aluminium to 28

With light rust deposits 29

Light rust oil paint was dotted 30

32 The driver’s station and engine were

The tracks were 34

The tracks are on, no need here to 39

40 The piston rods are rusty but for

41 Finally on the grease nipples and

Setting the scene...

2 A sheet of foamboard is cut

After I’ve determined the areas 4

5 Once the bricks are simulated,

On random places I accentuate the 6

Then it’s time to apply the filler 8

9 After a two days wait, the filler

The drawn cracks are then 10

Then I continue farther with 12

The façade ready, some little items 13

15 Focus on the façade as it looks

26 So that to bring much more contrasts to the façade, I initialy undertook

2 The can then received a coat of

3-4 Vallejo air panzer medium brown was

5 Vallejo orange was then sprayed on in

6 A coat of Johnsons clear was then

When pictured against a real background this proved to be very

19. The rear of the tractor needed some serious rusting,