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by, Bob Oehler
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Introduction
Recently, due to the advent of the internet, it has become common for modelers to build their models for photography as well as static display. If your intent is to display your work through photography, it is a good idea to consider a slightly highlighted paint scheme for your models so they will look better when photographed.
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Often times, modelers will photograph their nicely painted models and cannot understand why they look flat in their photos. While part of the problem is the camera work itself (a subject not discussed here), much of the problem is how the model “presents itself” to the lens under photographic lighting conditions. If you think about it, the idea behind vehicular camouflage is to paint the subject in such a way that the paint hides the facets of the vehicle when viewed at a distance, thereby blending it into its intended background. Conversely, when one wants to show all of their modeling efforts through photography, it is necessary to paint in accents or highlights in order to exhibit all of the facets of the scale subject. In essence, I am suggesting that you are painting in depth, because photographic lighting tends to “flatten” the subject.
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The following subject is finished using a paint scheme that is intentionally “over-highlighted” in order to provide depth under photographic lighting conditions.
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Finishes
To begin the process, I usually break the construction steps into sub-assemblies.
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In this way, I am able to achieve a smooth consistent finish across the entire model.
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I begin by painting the entire model with Tamiya XF-64 Red Brown. This color is used first because it is the closest color in the Tamiya line to the red oxide primer used by the Germans.
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Next, a highlight coat of Tamiya XF-60, dark yellow, was applied by carefully laying in the dark yellow to the inner portions of each panel. This process is generally referred to as “panel highlighting.” When every panel is highlighted, it appears to have lighter yellow interior and a darker yellow/red-brown outline. The entire vehicle was completed in this fashion. Once this is completed I will generally look over the model under the same lighting conditions I intend to use for photography. If I feel that some areas are “lost” to my eye, I will darken the panel or join lines of the subject with a very thin mixture of XF-2 Black and XF-10 Brown (mixed with thinner to a paint to thinner ratio of approximately 70:30) until I feel that there is a consistent look about the model. The next stage is to apply the camouflage cross-hatch pattern.
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Since I was interested in a plain desert vehicle with a heavy cross-hatch scheme, I needed a dark look with a great deal of contrasting highlights. With this in mind, I Chose to paint the cross hatch camouflage with Tamiya Olive green XF-58. I applied pencil thin (.5mm) Olive green lines with the airbrush positioned approximately one centimeter from the surface of the model.
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The initial diagonal lines were applied starting at the front of the vehicle with very thin (70:30 paint to thinner) at a low pressure (about 12-15 psi). Each line was painted parallel to the previous until I reached the rear of the vehicle. Once satisfied with the application, I painted the crossing parallel lines in the same manner previously described.
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Once satisfied with the overall pattern, the next step was to apply the divisional and unit markings.Each individual marking was applied with stencils from the popular photoetched Stencil-it set. While many modelers would consider using painting stencils to be tedious, I believe the end result is worth the effort.
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The 10th panzer divisional marking (the buffalo) was positioned using double sided tape. I then cautiously sprayed an even extra-thin mixture of white at approximately 12 psi onto the outer edge of the photetched buffalo. When the paint was dry, the stencil was lifted, cleaned and applied in the same manner until all of the buffalo markings were completed. The Afrika Corps palms were positioned and the outside of the stencil was masked. Then, the interior of the symbol was misted with the previously described white mixture.
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With the stencils applied, I then applied what I have come to refer to as the “dry wash.” It is recommended that you use Windsor and Newton (Permanence AAA) oil paint because of the minute pigment grain and the way it adheres to the Tamiya Acrylics. To begin, mix two parts black with one part Van Dyke Brown heavily thinned with Turpenoid (Four parts thinner to one part paint). Then using a 000 liner-brush and dip it into the mixture.
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Next, touch the tip of the brush to the base of all of the raised surface detail and all recessed panel lines (similar to how I am demonstrating in the photo against the wheel lug nuts). Capillary action forces the paint to flow into and around each detail. Once the Turpenoid has evaporated a small bit of paint remains accenting each detail. Because of the focused application, the oils adhere to the detail. As a result, the overall model stays dry-hence the name.
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Dry brushing further emphasizes the raised details of the model. It is important that each color is highlighted with a lightened version of itself. Therefore, the yellow areas of the model were dry brushed using Windsor and Newton Yellow Ochre and a dash of white. Then the red brown areas were dry brushed with a mixture of Windsor and Newton Burnt Umber and white and finally the green with a mixture of Windsor and Newton Olive and white. After drying overnight, the model was sprayed with Testors Dull-Cote. The Dull-Cote is an extremely important part of this painting style because it works to “flatten” all of the different layers of paint into one layer creating the sensation of depth.
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Wheels and Tires
The wheels were painted with the dark yellow over brown with a dry wash as described above. The rubber tires were painted a Neutral Grey/Brown/Black mixture and lightly dusted at the tread with buff to simulate road dust.
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Weathering
During the final stage, I usually spray the entire model with Testor’s Dull-Cote from an airbrush. This step ensures that the model has a consistent overall matt/semi-gloss finish. Also during this final stage, it is recommended that pastels be used to further accentuate the nut and bolt detail/seams/join lines with black pastel. Pastel adheres well to the areas previously washed with Oils and tends to give a gritty look to the model. Its subtle accents also tend to show up well even under the harsh lighting conditions used during photography. As a final note, the paint chips and worn areas on this particular model were added with Steel and warm Grey Prisma-Color pencils.
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The Finished Product
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In the views of the finished product, all of the previous steps in the overall scheme comes together. Figures and gear are added for additional interest.
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It is important to note that the techniques described above will also apply to other vehicular paint schemes and can also be applied (more subtley, of course) to aircraft models. Also, the Steyer Type 1500A/01 (kit number 35225) is the perfect kit to experiment with this technique because of its curves, flat sides and limited surface detail. So go on, give it a try!
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