A

ccessories! Accessories! - We all love all kinds of accessories for our models and diorama construc-
tion and the aftermarket serves as an endless supply of options. Have you ever wondered where
it started? Early on we began to see a few details for the construction of dioramas released by
companies such as Italeri and Tamiya, until one man appeared who revolutionized the market of modelling
accessories, that man was Francois Verlinden, a Belgian modeler who created a world of accurate acces-
sories in 1978 founding Verlinden Productions. Initially the company was wildly popular with modellers
and was the only company producing quality accessories in resin. Verlinden's products, unlike traditional
plastic injection mouldings, were made of epoxy resin in silicone moulds, providing accessories with un-
Chief Editor matched sharpness and a lack of seems lines common to classic polystyrene kits. The offerings from the
Sergiusz Pęczek Belgian master included photo-etched elements, plaster buildings, printed accessories, fine figures and
Original idea Art director
busts, and accessories from practically all nations to be used in the construction of dioramas and model
Mig Jiménez detailing. The company ceased production after 37 years, stepping aside to the breath of young manufac-
turers. However the Verlinden name will forever remain a cornerstone of scale modelling history. I recall
Editorial Management
Carlos Cuesta 30 year old childhood memories of my introduction to the product line, I chose a Panther ammunition set,
Sara Pagola which at the time cost as much as the Tamiya kit. I was very surprised to find that this strange hard plastic
Cover
could not be assembled using polystyrene glue. It was only later that I found out that it was resin which
Antonio Alonso requires CA glue for assembly. It sure looked cool but it was completely incorrect, ahh the good old days!
Today’s modeler can easily source any accessory imaginable, the quality of which has reached a previously
Layout
Antonio Alonso inconceivable levels. In this issue of TWM we will show you how to maximize the potential of the modern
accessories market guided by the excellent global team of AMMO modellers. The Weathering Magazine
Content Editor
Iain Hamilton will show you the best tricks and techniques used to bring lifelike detail to the accessories for your models
and dioramas!
Special Thanks
Sergiusz Pęczek
Elizabeth Wiese

Collaborators
Kreangkrai Paojinda
Łukasz Kapelski
Sergiusz Pęczek
Artur Miniszewski
Paulo Carrelo
Mig Jiménez
Chema Martínez

Translation
César Oliva

THE WEATHERING MAGAZINE

by AMMO of Mig Jimenez
Copyright 2020

www.theweatheringmagazine.com
[email protected]
Quarterly magazine

DL NA 2273-2014
ISSN 2340-275X
December 2020
INDEX

TANK
AMMUNITION
SANDBAGS & AND AMMO
GERMAN JERRY CANS - SET WW2 STOWAGE CRATES
pag. 6 pag. 14 pag. 20

HOW TO PAINT
A MANTLET
COVER

THE DEVIL IS IN THE DETAILS PAINTING WEAPONS

pag. 32 pag. 40 pag. 46

G.I. GREEN PAINTING FURNITURE

pag. 54 pag. 60

THE WEATHERING MAGAZINE / ACCESSORIES / 5

 GERMAN
JERRY CANS
SET WW2
The accessories for AFV subjects seem like a small consideration but
effective painting and weathering of tools can make the model.
With this subject I was able to use German Jerry cans which
are an important feature common to all Panzer tanks, these
examples are from a Miniart kit. I focused on this feature
to create 4 different types of weathering effects including
heavily worn with rusty chipping, standard chip-
ping and weathering effects, bare metal scratch-
es effect, and winter white
wash jerry cans. All 4 au-
thentically realistic effects
are highly useful for every
subject type imaginable
including dioramas and vi-
gnettes.

Kreangkrai
Paojinda 

THE HEAVY WORN USED WITH RUSTY CHIPPING

The model kit from Miniart 35588 German Jerry Cans Set WW2 con- I began by priming the heavily worn jerry cans and allowing them
1 2
tains 24 jerry cans in 4 different types, fine details with Photo-Etched to dry. The base colours were applied using A.MIG-0034 Rust
parts and decals for markings allow them to be built straight from the Tracks and A.MIG-0040 Medium Rust to create the different base
box. rust tones.

6 / THE WEATHERING MAGAZINE / ACCESSORIES

 The textures of rust were then recreated on the surface by splashing The salt technique was used to add the heavily worn appearance,
3 4
the same rust colours base mix with Dark Brown and Dark Yellow add- the surface was dampened with water and then salt sprinkled
ed to create new tones. onto the Jerry Can.

THE WEATHERING MAGAZINE / ACCESSORIES / 7

 6

5
Once the water was fully dry, the jerry can was airbrushed with
5 various acrylic colours from AMMO of Mig Jimenez.

Once the pants had dried, I removed the excess salt using a stiff
6
brush moistened in water. Here you can see the rust exposed by
the heavily chipped effect on the surface created by this easy to
use salt technique.

The standard decal markings were applied to all the jerry cans
7 after a layer of A.MIG-2052 Satin Lucky Varnish. The decals
were then positioned and fixed with A.MIG-2030 ULTRA DECAL
FIX which allows the decal to conform perfectly and adapt to
the surface.

8 9
With the heavily worn jerry cans, I began painting the chipping effect At this stage the weathering turned to working with enamels. First a
on the decals using the sponge chipping technique, a fine brush was Dark Brown pin washes was applied, then the rust shade A.MIG-1004
also used to paint chips at this stage. Light Rust Wash worked perfectly when combined with enamel texture
A.MIG-1751 Dry Steppe to create textured rust, the mixture was ap-
plied with a small paint brush using the splashes technique.

10
The heavily worn
German jerry can examples
can be used for AFV models
or diorama accessories
including those with
wrecked vehicles,
Abandoned subjects,
or burned AFVs.

8 / THE WEATHERING MAGAZINE / ACCESSORIES

 STANDARD LOOK OF CHIPPING AND WEATHERING EFFECTS

For the second method used to paint the jerry cans, I began with Mr.Surface
11
1000 Mahogany and Oxide Red primers. I occasionally prime a model with
lacquer paint because they dry very quickly and are easy to use.

The lacquer base was followed by a top layer of A.MIG-2011 Heavy Chipping
12
Effects.

Once fully dry I painting the various German base colours and camouflage
13
using AMMO by Mig Jimenez acrylic colours.

I then moisten the surface area with water using

14
a paintbrush.

The surface was then gently scrubbed to create

15
some chipping and scratches effects with a piece
of scotch brite, the effect is highly realistic and
easy to apply.

16 Typically for weathering my German base coloured vehicles, I

use a yellow brown tone found in Neutral Wash A.MIG-1010
and Brown Wash A.MIG-1000 for German Dark Yellow. These
colours are universal and in fact used for all my model weather-
ing, they serve as a perfect dark brown shade that can be used
direct from the jar or can be mixed into shades specific to the
requirements of each project.

17
Once the enamel
wash was dry,
the model was
coated with
A.MIG-0089
Matt Varnish.

THE WEATHERING MAGAZINE / ACCESSORIES / 9

 THE BARE METAL SCRATCHES EFFECT

The third method demonstrated in-

18 19 18
volves bare metal revealed by scratch-
es effects. I first primed the jerry cans
with Mr.surface 1000, then painted the
surface with A.MIG-0194 Aluminum
and A.MIG-0192 Polished Metal for the
colour base.

Again a top layer of A.MIG-2011 Heavy

19 Chipping Effects was applied and once
dry, the standard German camouflage
colours were airbrushed in place.
20 21
The surface was wetted with water fol-
20
lowed by the same gentle scratching
and scrubbing used previously to create
realistic chipping and scratching that
reveals the authentic and striking bare
metal finish below.

Once the decal markings had been ap-

21 plied and thoroughly dried, an appli-
cation of sponge chipping and brush
painted scratches were applied using
A.MIG-0192 Polished Metal acrylic co-
lour.

Here you can see the final result of the

22 bare metal scratches and chipping once
the surface details have been empha-
sized with both Neutral Brown Wash &
Dark Brown Wash enamel effects.

10 / THE WEATHERING MAGAZINE / ACCESSORIES

WINTER WHITE WASH JERRY CANS EFFECTS

23 24

25 In this example the much loved effect of a well-worn Winter

23 white wash effect on the German jerry cans is shown. With the
pieces painted in their base colours, I applied A.MIG-024 Wash-
able White Camo which is an acrylic paint that is easy to apply
with airbrush or paintbrush.

Once the acrylic paint was dry, I simply wet the surface to create
24 scratches effects with a moisten old paintbrush and toothpick.

Enamel washes were applied by brush and used to apply con-

25 sistently coloured and authentically random staining with the
splashes technique. The result is highly realistic and created using
a simply method.

THE WEATHERING MAGAZINE / ACCESSORIES / 11

 GERMAN JERRY CANS
SET WW2

12 / THE WEATHERING MAGAZINE / ACCESSORIES

 SANDBAGS &
STOWAGE
One of my favourite subjects to model are the Allied
vehicles from World War II and the epic fighting that
took place in Europe. Looking at the photos from this
era, you can see that the crew of each different ve-
hicle carried a unique array of stowage. Military lo-
gistics did not always keep up with the dynamically
changing front, so the crews of tanks, self-propelled
Łukasz guns, and other various equipment were forced to
Kapelski
carry everything they needed during the fight and
beyond. It was also a common practice for the crews
to make additional armour from sandbags and scrap
material with many different resin and plastic kits
available for specific vehicles. The leading producers
of these accessories are Legend, Panzer Art, and Black
Dog among many others. While working on an allied
vehicle as usual, I put one of these stowage sets to
use. In my opinion these realistic details radically in-
crease the attractiveness of the model, it is critically
important to carefully paint this type of added detail.

SANDBAGS

1 After applying the base colours of winter camouflage, painting the 2 The first step was to apply the base colour A.MIG-0132 Real IDF
sandbags could begin. Sand Gray using a brush. You can use other sand tones, beige,
or olive green. You can also apply the colours using an airbrush.

14 / THE WEATHERING MAGAZINE / ACCESSORIES

3 The sand bags were painted in random order with various shades 4 It is important to vary the tones and add slight colour variation.
of brown and green. In this case, I used A.MIG-0113 Kahki Green,
A.MIG-0056 Green Khaki, and A.MIG-0068 IDF Green.

THE WEATHERING MAGAZINE / ACCESSORIES / 15

5 6

7 5 The next step was to add highlights on all raised surfaces of the
folds, this step requires patience. In practice, the technique is the
same used for painting figures. I lightened the base colours slightly
with A.MIG-0036 Light Wood and applied several transparent lay-
ers. The paint must be well diluted but should not flow. Each brush
stroke ends in the place that is to remain the brightest most convex
area.

The next step was to apply the initial highlights, emphasizing the
6
contours of the bags, seams, and darkening the depressions. For
this purpose, I brushed AMMOs new Shader range of translucent
shades with the following colours A.MIG-0852 Earth, A.MIG-0854
Grime and A.MIG-0865 Military Green. A good brush is of great
importance, in this case I used the AMMO Premium series Marta
Kolinsky # 1 - A.MIG-8602.

8 7
In the next stage, highlights were again applied to the most convex
surfaces of the bags. This time however, I used the A.MIG-0036
Light Wood colour brightened with white applied in a few transpar-
ent layers. Be careful not to obliterate the previously applied effects,
to do so the paint must be properly diluted but not too thin. Small
amounts were applied at first to observe the effects and make ad-
justments if needed. Remember to end each brush stroke at the
point that is to be the brightest.

The Shader range was once again used to emphasize the shadows
8
where it is necessary, if needed the paint can be slightly thinned
with water. Small amounts were applied to the desired places with a
thin brush. A subtle filter was placed on random bags to emphasize
contrasts and differentiate colours.

9
You may find it necessary to repeat any
of the steps shown above to improve the
overall appearance including emphasizing
highlights or adding depth to shadows
while always keeping in mind that
sometimes "less is more".

16 / THE WEATHERING MAGAZINE / ACCESSORIES

 1 2
STOWAGE

The appropriate composition of the stowage on the model is of 3

1
great importance for the overall appearance. The manufacturers
suggest the layout of individual parts on the box-art, but you can
arrange them in a completely different way if you want.

For this example, I began painting the stowage after applying the
2
camouflage to the model but before the weathering stage.

The base colours were applied with a brush using various shades
3
of beige, brown and green. In this case I used IDF Sand Gray
A.MIG-0132, Khaki Green A.MIG-0113, Green Khaki A.MIG-0056
and Earth A.MIG-0073.

The details on the rear of the vehicle were painted using mostly
4
the same tones.
4
5 After applying the base colours, the process of applying highlights
began. This stage emphasizes any raised folds and recesses on
tarpaulins, bedrolls and backpacks. First, a few transparent lay-
ers were applied with a brush. Base colours were lightened with
light grey tones including Stone Gray A.MIG-0075 or Old Wood
A.MIG-0036. For the best results, use different highlighting tones
for different sandbags which will emphasize the contrast between
each.

THE WEATHERING MAGAZINE / ACCESSORIES / 17

6 7

8 6 During highlighting the paint must have the correct consistency, it

cannot spread on the surface but must leave only a slight trace.
The brush stroke should always end at the point of the brightest
highlight. This is quite a difficult and laborious stage that requires
patience, only after a few layers will the effects be visible.

To emphasize the shadows, the following transparent AMMO Shader

7
colours were used: Earth A.MIG-0852, Military Green A.MIG-0865,
Starship Filth A.MIG-0855, and Grime A.MIG-0854.

The paint was applied in several transparent layers into all recessed
8
details, seems, and corners. Using the correct brush is essential, a
Marta Kolinsky series in size 1 from AMMO was used.

At this stage, all straps and tie downs used to secure the stowage
9
was painted using the colours Burnt Brown Red A.MIG-0134 which
9 was then lighten with A.MIG-0040 Medium Rust.

With the help of a fine brush, once again all the highlights on the
10
most protruding elements of the load were emphasized.

10

18 / THE WEATHERING MAGAZINE / ACCESSORIES

11 12

11 The shadow areas were reemphasized using colours from the

13
Shader range. Filters were used to alter the finish of random ele-
ments for a more realistic appearance.

12 The edges of the straps and tie downs were outlined with the dark
Starship Filth Shader at the point of contact with the material.

As the acrylics and shaders leave a satin finish, it is necessary to

13
seal with a matt varnish once painting was complete, here a few
layers of A.MIG-0089 Matt Varnish were applied using an air-
brush.

THE WEATHERING MAGAZINE / ACCESSORIES / 19

 Tank ammunition

Sergiusz
Pęczek

SOVIET AMMO
BOXES WITH SHELLS
MINI ART 35261
1/35

AMMUNITION
1 After cutting the cartridge from the
sprue, the seams from the mould must
be removed which begins by scraping
them off with a Games Workshop scrap-
er, a scalpel blade can also be used while
taking care not to cut the plastic.

2 Then the element must be sanded with

a narrow file, taking care not to damage
the rings on the projectile and the shell
flanges.

3 After rough removal of the injection

mould joint with a 600/800 file, use a
1 2 3
1000-1500 abrasive sponge and smooth
away the traces of the file with circular
movements.

20 / THE WEATHERING MAGAZINE / ACCESSORIES

n and ammo crates
Tank ammunition and ammo boxes of various types are one of the most popular and more effective accessories to
be used on models or dioramas. Cartridges, shell casings, boxes, and all kinds of containers for transporting am-
munition serve as an indispensable element of the battlefield, giving the modeller a wide range of accessories to
enrich any subject. There are many options and products on the market, the best of which are turned brass shells
and bullets made of aluminium and precisely cast resin ammunition boxes. The disadvantage of these kits can be
price and often the lack of a specific type of ammunition. The MiniArt company offers a very wide range of this type
of accessories made by injection moulded plastic just like kits. For a relatively reasonable price, one can become the
owner of an arsenals worth of ammunition along with a high-quality decal containing the appropriate markings
for cartridges and ammunition boxes. The disadvantage typical of cast polystyrene models is slight sacrifice of crisp
detail when compared to turned metal examples. They also require removal of mould seems from shells and bullets
which can be laborious but also critical to a realistic result. In this article, I will show you how to get the most out
of such a set!

For construction, you will need good quality plastic nippers, sharp This article demonstrates the necessary steps using the exam-
tweezers, a scraper or a scalpel to remove the seams from the ple of the Soviet 100 and 85mm ammunition along with both
mould, a file of various grades, thin glue, a modelling saw for painted and unpainted wooden crates.
re-scribing the seams, and a drill bit of the appropriate diameter
to deepen the holes in the shells.

4 The painting technique used requires a

very smooth surface, for this purpose a
4-step A.MIG-8563 file was used which
allows you to buff the plastic to its orig-
inal flawless high gloss state.

5 The places where the joining of the

mould runs through small details of the
guide rings should be treated with a
fine saw scriber for marking the divid-
ing lines. I used an excellent tool from
Hasegawa - Modelling Saw Scriber TP-4.

6 Finally, the surface was made smooth

4 5 6
using AMMO thin glue.

THE WEATHERING MAGAZINE / ACCESSORIES / 21

 7 8 9

11

10

7 Don't forget to drill the shells using a bit of the appropriate diameter, the
holes moulded into the surface are definitely too shallow.

8 For painting, Alclad II Metal paints were used which require a very smooth
surface as prepared for in step 4 and A.MIG-8210 Gloss Black Base Primer
applied with an airbrush.

9 As you can see, the effect is perfect - it was worth taking the time to
properly prepare the surface before painting.

10 The next step was to apply the basic colour of the brass shells using
A.MIG-8206 Polished Brass applied in thin layers at a pressure of about
12
15psi.

11 Finished effect - note that the bullets have been masked to preserve the
black base for the next colours to be applied.

After masking the shell to the edge of the 100mm

projectile, the colour A.MIG-8217 Stainless Steel
was applied.

The copper rings are visually striking and are

highly realistic. For the best results, I used
masking tape and Aclad II paints, in this case
Copper A.MIG-8207.

13

14 14 The effect after applying the appropriate

colours to the 100mm ammunition, which
we will return to later in the article.

22 / THE WEATHERING MAGAZINE / ACCESSORIES

15 16

17 18

19 20

21 22

15 In the next example, the very visually interesting 85mm ammunition 19 The masking tape was gently removed, if the paint is slightly
for the T-34 tank was used and it requires much more work, but frayed at the masking point which can be seen under high mag-
the final effect was well worth the enjoyable additional time spent. nification, do not panic - just press it down gently with a cotton
I began by masking the shells to the edges and applying the colour swab to smooth the edge of the masking.
C36 Gray Green Mr. Color.
20 Another masking task- this time to paint the copper guide rings.
16 Using a thin 1mm masking tape, the shell of the projectile and the
edge of the shell were masked, then protect the top of the shell and 21 Here you can see the final effect achieved by following the proper
the rest of the shell protected from over spraying by using elastic steps and painting with Alclad II paints and masking tape. There
Tamiya tape on the shell and ordinary AMMO tape on the shell were still fuses to be painted, this detail was painted by brush be-
before applying the A.MIG-8201 Aluminium colour. cause this area would be quite difficult to mask, and easy to paint
with a brush using the acrylic colour A.MIG-194 Aluminium.
17 The tape was then removed and the effect is perfect, but a little
more effort until the end! 22 Finally, it was time to finish the projectiles by adding the correct
colour and a wash that will emphasize the details and correct
18 Using the same set of tapes as before, the narrow metallic ring on minor imperfections in masking on these small elements.
the projectile shell was masked and the aluminium colour reapplied.

THE WEATHERING MAGAZINE / ACCESSORIES / 23

23 On the 100mm steel shell, I used the acrylic Shader colour Ash Black A.MIG-0858
with excellent results. It is an excellent product that can also be applied with a
brush, by using it as a filter and a wash.

24

I used Shader colour Light Clay A.MIG-0869 on

the copper ring and casing flange.

25 The photo shows two 100mm cartridges with filters 26 At this stage, the 100mm ammunition was ready to receive a round of au-
and washes applied using the Shader. thentic effects.

27 There was still the application of the appropriate decal to address,

but on the smooth surface there was no need to use any decal flu-
ids and the decal film itself is so thin that it becomes undetectable
once dry

24 / THE WEATHERING MAGAZINE / ACCESSORIES

 RAW WOOD EFFECT

1 2

3 4

1 Work began by applying a light grey foundation from the TTH102

rattle can which speeds up the process and allows you to obtain
a durable primer layer.

2 Using an airbrush, the wood base colour was applied to the outer
and inner faces of the crates.

3 To diversify the final effect, several shades of light wood tones

were used from the AMMO range.

4 The wood grain and shading the surface of the boxes was next,
for this purpose a mix of acrylic Shaders colours were mixed with
a bit of acrylic paint A.MIG-036 Old Wood. Thanks to this addi-
5 tion, the transparency of the Shader tones was subtly changed.

5 Using the sable brush A.MIG-8602 successive shades of beige and

brown were applied while differentiating individual boards while
working in thin layers to control the effect. The internet proved to
be a valuable resource for excellent reference photos.

6 Then using the pure Shader colours, various-coloured filters were

applied to change the shade of the wood and for pre-shading the
gaps between the boards.

6
THE WEATHERING MAGAZINE / ACCESSORIES / 25
7 8

10

7 The boards needed more contrast and the grain of the wood re-
quired to be further enhanced. MiniArt boxes have a very interest-
ing texture that facilitates this task, black and dark brown colours
from the Figures rage of acrylic colours was first diluted with water
to the consistency of a wash.

8 Small details such as nails hammered into the boards were painted
with black paint and the authentic discoloration around each nail
head was made using Shader colour Grime A. MIG-0854.
11
9 The visible inner surfaces of the boxes are quite troublesome as
they do not have any texture that would facilitate painting wood
grain. Therefore, the effect was hand-painted with the previously
used acrylic paints and shaded again using the Shader range.

10 The soft shadow around the protruding strips was applied with the
enamel Afrika Korps Wash A.MIG-1001 and the effect blended
using a brush moistened with a thinner.

11 Finally, the texture of the wood was emphasized using the dry
brush technique, the Oilbrusher colour Buff was used and the satin
surface slightly muted with a thin layer of matt varnish applied by
airbrush.

12 12 All wooden surfaces have been painted at this stage. I focused the
most on the box, which will remain in the colour of natural wood.
The others only have painted interiors.

26 / THE WEATHERING MAGAZINE / ACCESSORIES

 13
A photo of all the colours
and products used to achieve
this highly realistic
wood effect.

14 15
First the metal fittings were painted with F-502 black acrylic paint and then Following the decal application manual found on the box from the set, the
rubbed with a soft pencil to give it a metallic effect. appropriate markings were cut and placed on the boxes.

16 17 18

Using the AMMO of Mig Jimenez Decal Then A.MIG-2030 Decal Fix was placed over Finally, a quick layer of matte varnish
Set and Decal Fix solutions, the markings the decal and a cotton bud used to gently was applied to seal the decal and elim-
were simply placed in the appropriate lo- press the marking so that it conforms per- inate any trace of the carrier film.
cations. First, A.MIG-2029 Set was used fectly to the uneven surface of the imitation
to slightly wet the area where the decal wood grain.
would be placed.

THE WEATHERING MAGAZINE / ACCESSORIES / 27

 PAINTED CRATES

1 2
In the case of ammunition crates with painted exterior surfaces Internal safety strips are like interiors of the crates casted with-
- with the Soviet colour 4BO in this case , it is not necessary to out any texture. Using a thin A.MIG-8602 sable brush and a few
dedicate as much focus to perfecting the wood effects. A quick shades of highly diluted acrylics, simply paint thin lines imitating
acrylic wash will build the ideal wood grain effect to sit below the the wood grain.
effects to follow.

3 4
Then the outer sides of the boxes were covered with a few thin After allowing the base green to set for 20 minutes, the surface
layers of A.MIG-2010 Scratches Effects, followed by the base co- was wetted with water which activates the chipping fluid and al-
lour A.MIG-019 4BO Green. lowing me to apply chipping and scratches using various brushes,
and sharp tweezers to chip the green paint, revealing the colour
of the wood below.

When applying the smallest scratches, the 5

metal A.MIG-8026 Brass Toothpick shown
mounted in the scalpel handle offers the
precision required for fine detail.

6 Here you can see the effect after

chipping and scratches have been
applied to the green paint.

28 / THE WEATHERING MAGAZINE / ACCESSORIES

7 To differentiate and green surfaces, I used 3 different tones of
green Shaders. Working with the wet in wet technique, I made
shadows and various areas of discolouration on the surface of the
green elements.

8 As with the previous natural wood crates, the decals used to accu-
rately represent stencilling were applied using Decal Set to apply
the marking.

9 Then Decal Fix was applied to soften the decal, making it conform
to the wood grained surface texture.

10 In order to blend the stenciling into the finish, the new Dry Brush
product colour Olive Green A.MIG-0608. Once dry, the surfaces
were sealed with matt varnish.

11 To simulate the dust that naturally accumulated around the slats

on the box, the Oilbrusher colour Dust A.MIG-3516 was applied.

12 The effect was then blended with a clean brush dampened with
Odourless Enamel Thinner.

THE WEATHERING MAGAZINE / ACCESSORIES / 29

13
The edges of the crates were rubbed with Oilbrusher
A.MIG -3517 Buff using a dry brush to accurately imi-
tate worn edges.

14
Here you can see the accurate result accomplished with a fun and enjoyable painting process
used to consistently produce authentic painted wooden boxes in combination with examples
made of natural wood and visible wooden strips securing the ammunition.

30 / THE WEATHERING MAGAZINE / ACCESSORIES

1
SPAIN
YEAR4 ISSUES
EUROPE REST OF
THE WORLD
34€ 38€ 42€
World wide shipping cost included

THE WEATHERING MAGAZINE

SUBSCRIPTION
Contact [email protected]
The Devil is in
Dioramas of every type and subject are my passion, as a result I have
been looking at what MiniArt has to offer with more and more curiosi-
ty. Their line of accessories is constantly expanding with new products,
but for this article my attention was turned on a surprising subject
matter. Out of curiosity, I reached for two sets containing universal
items to be used on dioramas or in conjunction with vehicles or single
figures. Both sets contain decals, which greatly increases their attrac-
tiveness. It should also be mentioned that there are simply a lot of
Artur accessories in the box, so one set will be enough to be used for many
Miniszewski
projects. And how did they work in practice? Let’s see!

KITS:
MINIART – 35595 1/35 OIL & PETROL CANS 1930-40S
MINIART - 35574 1/35 BEER BOTTLES & WOODEN CRATES

OIL & PETROL CANS

1 2 3
After assembly, the containers were placed on First One Shot Primer Black A. MIG-2023 was applied. Then using Matt White A.MIG-0050
toothpicks before adding the black and white paint, simple highlights were added
pre-shading using an airbrush. to the containers.

The top and bottom

of the containers
were then painted
with Steel
A. MIG-0191.
4 5
Each container was painted in the appropriate colour using acrylic paints diluted with the A.MIG-2042
Transparator, which facilitates the application of transparent layers so that the translucent black and white
colours give the effect of highlights and shading.

32 / THE WEATHERING MAGAZINE / ACCESSORIES

n the details

7 All containers were then varnished with Glossy Lucky Varnish

A.MIG-2053, which will facilitate the application of decals.

The surface was 8

moistened in prepartion
of the decal application
with Ultra Decal-Set
9
A.MIG-2029 liquid. Each marking was carefully
placed and aligned. 10
The decal was then moistened with
Ultra Decal Fix A.MIG-2030 which
enables the marking to adapt to the
surface details of all containers.

11
Once dry, the decals were sealed with a thin
layer of Glossy Lucky Varnish.

THE WEATHERING MAGAZINE / ACCESSORIES / 33

12 / 13 / 14
To keep items looking dirty and worn, I applied a wash using Panel Line Wash A. MIG-1614 Neutral Brown and repeated the step until the desired
effect was achieved.

15 / 16 17
A thin brush was used to apply Dark Brown Wash A.MIG-1005 to the recess- To protect the effects and slightly speed up the drying process,
es to emphasize the curves and edges. the containers were sealed with a coat of Satin Lucky Varnish
A.MIG-2052 using an airbrush.

18 19 20
A thin brush was used to paint scratches With a black fineliner, I drew precise dots This method produces chipping that looks
and paint chips using the base colours with and lines in the place of previously painted much more realistic and varied.
a drop of white added so that the subtly scratches.
lighter scratches contrast the camouflage.

34 / THE WEATHERING MAGAZINE / ACCESSORIES

 21 / 22 / 23 /24
The procedure was repeated for each
container, changing only the colours, and
then varnishing again with a thin layer of
Satin Lucky Varnish.

25 / 26
As these are containers for oil,
there should be traces of staining
on the surface. The A.MIG-1409
Fuel Stains enamel turns out to be
the perfect product, various layers
were applied and allowed to dry in
between each.

27 / 28
Here you can see the final result of these simple
steps used to produce realistic containers.

27

28

THE WEATHERING MAGAZINE / ACCESSORIES / 35

 BEER CRATES

1
The glued boxes
were mounted on
2
toothpicks which
The primer base was applied using
allowed them to be
One Shot Primer Black A. MIG-2023.
held comfortably
and safely while
painting.
3
Using an airbrush and white acrylic paint, the ini-
tial highlighting was created by spraying the paint
from above imitating the light source.

4
The Dark Brown Oilbrusher 5/6
A.MIG-3512 oil paint was
With a dry and wide brush, the excess
applied to the surface of the
paint was removed and the process re-
crate.
peated until the appropriate colour of the
wood is obtained.

8/9
7 The procedure was repeated with Oilbrusher
in the colour Dust A.MIG-3516. When the paints
The horizontal lines were painted with a thin brush using are wet the lines blend together for a realistic wood grain
Oilbrusher Dark Mud A.MIG-3508. effect. By using both dark and light colours, I can also control
the distribution of light and shade.

36 / THE WEATHERING MAGAZINE / ACCESSORIES

 10 11 12

The crate was sealed with Glossy The Ultra Decal Set fluid was applied to the area To weather the decal, chips and
Lucky Varnish; the smooth surface is where the decal will be applied, the marking was scratches were painted with Oilbrusher
ideal for decal adhesion. placed, and then the surface of the decal softened colour Dust.
with the Ultra Decal Fix fluid causing it to conform
perfectly to the surface.

13 Once finished the whole

model was sealed in Matt
Lucky Varnish.

14 The metal handles were

painted with Gun Metal
A.MIG-045 acrylic paint.

15 16 17

18 15 The second box after the black-and-white pre-shading was painted with a thin layer
of the base colour obtained by mixing acrylic paints Blue A.MIG-086 and Signal Green
A.MIG-054 in a ratio of 4 – 1.

16 A small piece of the sponge was dipped into the base paint slightly lightened with
white so that the shade differs subtly from the base colour.

17 I then "stamped" the edges of the box with a sponge to obtain the effect of paint
chips.

18 The scratches were painted using the same colour and a thin brush.

THE WEATHERING MAGAZINE / ACCESSORIES / 37

19 20 21
The Oilbrusher colour Dark Mud was The same operation was repeated A sealing layer of Lucky Varnish Gloss was airbrushed to pro-
used to spot scratches and chipping with Oilbrusher Dust, trying to pre- tect and prepare the surface for the decal. Similar to the pre-
with the light blue paint fringing cisely place lines in places painted vious example, I moisten the surface with the Ultra Decal Set
them which adds a more 3D appear- with brown to obtain a realistic ef- liquid, apply the decal and soften it with the Ultra Decal Fix liq-
ance to the effect. fect of wood from which coloured uid. Once complete, Satin Varnish was used to seal the effect.
paint has chipped away.

22 23

22 / 23 24
In order for the inscription on the crate to look worn, the decal must be weathered to I used acrylic paint Dust A.MIG-0072 to place
match the finish. The surface was covered with Panel Line Neutral Brown enamel. Be- pinpoint scratches on the text so that it does not
cause the Decal Set forced the marking into the wood grain texture, the enamel settles differ from the rest of the surface.
into the depressions.

25 26
26 Scratches and chipping were applied to the handles
with a black 0.03mm fine liner.

25
A Dark Brown Wash A. MIG-1005 wash
was used to place shadow into all recess-
es and the whole model sealed with Matt
Lucky Varnish.

27

27 / 28
The crates are now ready
to be placed on a diorama
or vehicle.

28
38 / THE WEATHERING MAGAZINE / ACCESSORIES
Painting
Weapons
Paulo Carrelo

The following article will illustrate different

ways to simulate wood furniture and metal
components of various types including rifles,
assault rifles and submachine guns.
This article features weapons in both 1/35 and
1/16, with differing technique used for each
to represent metal and wood – so you can
choose the colour finish you like most or the
technique or medium you feel more comfort-
able working with.
For simplicity, each weapon is broken down
into 2 parts: metal and wood. The process al-
ways begins with the gun metal parts because
of metallic particles in metallic paints can spoil
the effect of the wood. I use types of Kolinsky
Brushes nº2 and 00 for acrylics, and synthetic
brushes for oils.

40 / THE WEATHERING MAGAZINE / ACCESSORIES

 WOODEN BUTTSTOCK

In this example the focus was on the

wood, the metal parts can be painted
like all the others, although I used F-502
Outlining Black with a touch of F-525 1
Medium Blue acrylics as base for rubbing Kar 98K 1/16 from VERLINDEN primed in black using
A.MIG-3021 Polished Metal pigment. One Shot Primer

2 3
The wood began with Light Brown F-531 using brush
strokes moving in the same direction as the wood grain.
The colour was applied in 3 thin layers to create an opaque
finish.

5
Using a 00 Kolinsky brush
4 and F-510 paint, the light-co-
loured wood grain was painted
The colour F-510 Uniform Sand Yellow was then following a reference picture of
mixed with the base colour F-531 for highlighting the original rifle.
the upper part of the buttstock. The paint should be
well diluted and applied in thin layers.

6 7
The dark wood grain has been painted with F-508 Brown Base heavily A filter was applied with F-538 diluted with 60% water to give depth
diluted with water to glaze consistency, and applied with less dilution and unify the work.
where the wood grain was to be darker and more defined.
THE WEATHERING MAGAZINE / ACCESSORIES / 41
 8

8 A second layer was applied to the lower part of the butt to

darken it more - the more layers added, the darker the wood
becomes.

9 A mixture of F-502 Outlining Black + F508 Brown Base diluted

with at least 50% water was used on the lower parts only, under
the rifle stock and around the metal components.
10
Using the same colours thinned to be more so opaque, final out-
10
lining was added and the metal parts retouched to give more
definition to each component.

The final step was an acrylic filter applied A.MIG-0097 Crystal

11
Orange to provide a touch of tinted satin varnish on the butt-
stock. Only one layer is all that is needed, additional layers will
create an unrealistic plastic appearance.

11

42 / THE WEATHERING MAGAZINE / ACCESSORIES

PPSH41 1/16 1 The process began with PPSH 41 from Verlinden
Productions in 1/16 scale, primed with ONE SHOT
A.MIG-2023 black primer.
Part I – METAL

2 3
The base colour was applied using a blueish dark metal colour The enamel Filter Blue For
mixed of 70% A.MIG-032 Satin Black, 25% A.MIG-045 Gun Dark Grey A.MIG-1509
Metal and 5% of A.MIG-103 Medium Blue – and applied only was applied to create some
1 layer without painting the inside of the barrel. contrast with a tone dif-
fering from the rest of the
metal.

4 5
The “Dry Brush” technique was used to finish representing the polished Here you can see the metal components after just 4 easy
metal using an old brush cut down to be shorter in order to provide more steps, simple and effective.
control, the new Dry Brush Paint A.MIG-0621 Light Metal is the ideal
product for this technique.

Part II – WOOD
For the wooden buttstock, the base colours were
6
applied with acrylics and finished with oils. Using
the colour Medium Rust A.MIG-040 straight from
the bottle to draw sinuous lines on the buttstock to
imitate wood grain. All effects are deliberately not
uniform and have natural variation.

7 With some patience several washes of A.MIG-040

Medium Rust diluted with 60% water were ap-
plied and allowed to dry between each application
6 7 resulting in a very irregular brownish tone.

Here you can see the result after 5 applications, the

8
surface is already beginning to look like authentic
wood grain.

The effect was reinforced by drawing lighter wood

9
grain with a mix of A.MIG-040 + A.MIG-050 White
in 1:1 ratio only on the upper surfaces to create the
required strong contrast, don´t be shy here.

This marks the end of working with acrylics – from

8 9 10
this stage forward oils will be used to blend the
colours and decrease the contrast.

10

THE WEATHERING MAGAZINE / ACCESSORIES / 43

Part III – OILS

11 12
I began with an orange wash resulting from the mix of Yellow For mixing oil paints, a palette was made of a piece of baking paper,
A.MIG-3502 and Red A.MIG-3503 Oilbrushers thinned with odourless where I can mix and dilute paints wet. A dark reddish-brown colour
thinner A.MIG-2018 and allowed it to dry for 10-15 minutes. was mixed using A.MIG-3510 Rust and A.MIG-3500 Black for dark
wood grain.

13 14
Then used this mixture to draw fine lines resembling the wood grain. Using a separate brush that is dry and clean, the lines were gently
blended, some more and some less – the grip zone is usually darker
because of the constant handling.

15 16
The piece could be finished at this point, however I felt that the maga- The effect looked too “plastic” for me, so I decided to add a touch of
zine was lacking and required improvement. Black A.MIG-3500 directly from the bottle with the Oilbrusher applica-
tor and the colour placed directly onto the magazine. Just a touch was
added to add depth and a more realistically solid look.

17
The effect was blended with a dry and clean brush. Blending can
be done using very little thinner at all.

18
Here you can see the final realistic metal and
authentic wood furniture created with these
easy to use methods and colours.

44 / THE WEATHERING MAGAZINE / ACCESSORIES

STG44 1/35

Part I – METAL

In this example the metal parts have been simulated without using metallic co-
lours, the AMMO paints used for “non-metallic metal” technique work very well
1
in small scales, particularly the new range specially formulated for figure paint- STG44 in 1/35 scale from the 2nd
ing, identifiable by the reference beginning with F for Figure. Generation Dragon kits, primed with
A.MIG-2023 ONE SHOT Black primer.

2 3 4
First a dark cold colour base composed of Then, general highlights were applied with a Using a pointed brush, small shiny dots and
F-522 Slate Grey + F518 Marine Blue in 1:1 slightly thinned F-516 Light Grey. patches were painted to represent points of re-
ratio is applied. flecting light, or to simulate polished metal us-
ing less diluted F-516 acrylic. This stage should
build strong contrast to create the effect.

Plastic gun parts were painted using

5
F-521 Grey Light Brown.

To finish metal parts, a black wash

6
made of F-502 Outlining Black colour
diluted with 80% water was applied
into recesses. The final touch was a blue
filter made of highly diluted A.MIG-095
5 6 Crystal Smoke.

Part II – BUTTSTOCK

7 For the wooden buttstock, two lay-

ers of F-517 have been applied while
always moving with the same brush
stroke direction, this helps to simulate
the wood grain which doesn't have to
be very precise at this stage.

7 8 Then the first dark wood grain patterns

8
were painted using F-508 Brown Base.

9 A Darker tone consisting of F-502 +

F-508 was used to apply the darkest
wood grain.

The last step was to add a heavy wash

10
of orange A.MIG-0129 to blend all and
integrate the colours – this step can
9 10 be repeated as many times as you like
once each layer has dried, in this case
3 layers were applied. The more layers
added, the darker the overall appear-
ance will become.

THE WEATHERING MAGAZINE / ACCESSORIES / 45

 Painting a tank’s gun barrel mantlet is not always easy. We modelers already know very well how to
make a wash and how to paint chipping in the vehicle’s metal surfaces. But when faced with compo-
nents of materials different from the metal of the tank, many do not know how to paint and weather
these critical details accurately. There are very small mantelets that are hardly worth worrying about,
but in some cases the mantlet takes up almost the entire front of the turret as a primary feature and
can become a big problem. For me it is one of the most fun parts to paint if done using a brush and a
few little tricks that will help you to paint highly realistic fabric mantlets attractive as this one. Each
step must be done with a brush, this adds realism by imparting a texture that is different from the
Mig Jiménez
rest of the vehicle.

46 / THE WEATHERING MAGAZINE / ACCESSORIES

 3/4/5/6
Only the base color is airbrushed
to save time. An ochre colour and
the dark olive green base colour of
the tank were used to create
highlights and shadows.
The lower area was painted darker
and the upper surfaces lighter. 3
This step establishes volume with the
first steps that will guide
highlights and shadows throughout
the process.

4 5 6

7/8
There are many AMMO sets
with specific brushes cho-
sen for each specific type
of project. I'm going to use
this number 1 flat brush
A.MIG-8619 to get started.

9 / 10
Both base colours and a
lighter sand colour were
mixed in a pallet and used to
add highlights of the correct
tone.

THE WEATHERING MAGAZINE / ACCESSORIES / 47

 11 / 12
The small flat brush is useful for applying high-
lights on the raised folds and parts of the mantlet
cover directly exposed to light.

13 / 14
It is not
necessary to apply
strong contrast but it is
necessary to distinguish the
brightest areas of all the
folds of the fabric while
leaving the darker tones
in shadow areas.

15 / 16
A 2/0 round fine brush
was then used to draw
the critical detail that is
the seams in the fabric.

This is the easiest and most enjoyable moment of the whole process, the stage were I can begin using the Oilbrusher colours.
17 / 18 / 19
These oil paints feature a built-in brush that allows you to paint directly onto your model. This brush can also be cleaned with
Enamel Odourless Thinner as needed. A major convenience of using the Oilbrusher range is that they allow you to change
colours quickly while avoiding cleaning and using new brushes each time.

48 / THE WEATHERING MAGAZINE / ACCESSORIES

 20 / 21
Highlighting continued by applying a light colour to the
brightest areas quickly and easily using the comfortable
and accurate brush handle.

24
Sometimes you can use the same
style of brush but a much older
and worn example to dry blend
22 23 dry oil stains without using thin-
ner for a slightly different ap-
A dark brown was then used to paint the shad- To blend the edges of the colours, use the round brush pearance. This method will save
ow areas. that you used at the beginning lightly dampened with brushes while giving others a sec-
Enamel Odourless Thinner. You don't need to be precise, ond life.
soft edges look natural where appropriate.

Gently rub the dry brush on the surface using circular movements and you will see how the
25 / 26 colours slowly blend in a controlled manner.

THE WEATHERING MAGAZINE / ACCESSORIES / 49

 27 / 28
By adding some white
to the previous colour,
a fine brush was used
to add some highlights
to the finest folds of the
mantlet cover. These
highlights were then
blended into the sur-
rounding tones as with
previous steps.

29
The details can now be painted, shown
here is the scope visors in the base colour
of the tank authentically contrasting with
the fabric mantlet cover.

Using the same 2/0 brush, the seam lines of the fabric were painted in a dark colour before repeating the process with a very light
30 / 31 / 32 colour, using this accurate detail to give the dark line contrasting brightness and volume.

33 / 34
Dirt effects have been added
onto the fabric using a filbert
brush, which is a flat brush
with a rounded top. This
helps to create droplets of
small irregular shapes due
to the curvature. Several
dark Oilbrusher colours
were mixed together for this
effect.

50 / THE WEATHERING MAGAZINE / ACCESSORIES

 35 / 36
With the brush slightly
loaded with paint, press
the tip with the tooth-
pick and project small
drops on the surface
of the fabric and allow
them dry for a few min-
utes.

37 38 39

37 / 38 / 39
Once again use an old round brush
number 1 or 2, blend, smudge and
soften the small droplets by gently
rubbing the surface. It is important to
allow the entire previous process to dry
for at least a full day before proceed-
ing with the next steps.

THE WEATHERING MAGAZINE / ACCESSORIES / 51

 40 / 41 / 42 / 43 / 44 / 45 / 46 / 47
Once this process is completed, you have only but to paint the rest of the tank. But you will have obtained a mantlet
cover full of authentic textures and nuances that will be the model’s dynamic and interesting focal point.

52 / THE WEATHERING MAGAZINE / ACCESSORIES

 49 / 50 / 51
Observe the contrast between the areas of light and shadow. In the
shadow areas, not many details or high contrasts were applied, this
gives a greater sense of volume while also attracting the viewer's
attention to the upper areas most exposed to direct light.

THE WEATHERING MAGAZINE / ACCESSORIES / 53

 Artur
G.I. Green
For both acrylic and oil painting, the base colour being affected is critically important. I always
take my time when choosing the correct shades for uniforms or equipment. That is why I
Miniszewski
reached for a set of AMMO paints dedicated to American uniforms from the Second World War.
This set includes four accurate colours for pants, jackets, and helmets. These tones can also be
mixed with one another to create the full range of green tones seen on American uniforms of
WWII.

The painting technique was demonstrated on a figure of an

1. B&W Preshading American driver from the Mantis Miniatures range in 1/35 scale.

After assembly, the figure was primed with The white matte paint was diluted and In this way a chiaroscuro effect was
a black primer using an airbrush. The primer sprayed from above to highlight the peaks created with a strong contrast of
was sprayed from below to ensure coverage of folds and upper surfaces where the light black and white.
in the deepest shadows and folds. falls.

54 / THE WEATHERING MAGAZINE / ACCESSORIES

2. Preshading uniform colors

For the base colour of the

jacket the colours F-509 and
F-511 were mixed in a 1: 1
ratio. The mixture was diluted
and applied in subtle layers to
The jacket was painted first, after masking the jacket. The previous layer
of the pants using Masking Putty. should influence the paint by
gently suggesting highlights and
shadows.

At this stage the base colours of the

figure are complete and the founda-
tion of highlights and shadows is in
place. This is where the fun begins
With the jacket complete and masked, the pants were airbrushed in the same way using with Oilbrusher used to enhance the
a base colour mixed from F-508 and F-510 in a 1: 1 ratio and diluted with Thinner. highlights and shadows.

THE WEATHERING MAGAZINE / ACCESSORIES / 55

 3) Jacket shading and highlighting

I choose the colours Starship Bay Sludge A.MIG-3532 (A), Field Green The darkest shadow was applied to the areas of deepest shade
A.MIG-3506 (B), Buff A.MIG-3517 (C), and A.MIG-3521 Yellow Bone and blended upwards to recede towards the highlights.
(D). by mixing them to create a palette ranging from dark to light green.

Then on the surfaces where the light falls, the intermediate co- The next lightest colour was blended into the top of the folds
lour was applied and blended with the edge of the shadow. and on the upper part of the uniform by blending with an inter-
mediate colour.

I also apply the lightest shade

on the upper part of the uni- Using Medium Soil
form to precise and limited A.MIG-3532, the seams and
points and on folds located contours were defined with
only in the upper surfaces while a very thin brush.
using much smaller amounts of
colour.
The colour Yellow Bone
A.MIG-3522 was applied to the
convex edges and contours and
left to dry.

56 / THE WEATHERING MAGAZINE / ACCESSORIES

 4) Pants shading and highlighting

For shading the trousers I used the colour Dark Brown A.MIG-3512, as The darker tones were blended into the dark places under the folds.
an intermediate brightening colour, I used a 1: 1 mix of colours Dark
Mud A.MIG-3508 and Sunny Flesh A.MIG-3518 and the final highlight
was applied with the colour Sunny Flesh alone.

From above as light falls, subtle indirect lighting was applied and blend- The lightest colours were applied only to the upper most places where
ed. the light falls, this is typically the smallest high point of light and the
smallest amount of colour used.

The important The effects applied

detail of seams was with Oilbrusher co-
picked out with Dark lours were allowed
Brown, then the to dry thoroughly.
convex edge was
emphasized with
Sunny Flesh.

THE WEATHERING MAGAZINE / ACCESSORIES / 57

 5) Helmet

The shade of F-509 green paint worked well as the base colour for Oilbrusher oil paints were again used for precise shading. For the hel-
the helmet. The colour was thinned and sprayed in light layers so met I chose the colour Field Green for emphasising shadow areas and
that the shadows applied previously can be seen from under the a mix of Field Green and Yellow Bone in a 1: 1 ratio for the highlights.
paint to influence the base colour.

The shadow tone was blended into the lower parts of the The upper surfaces and the helmet edge received the highlight tone which was gently
helmet and blended with a dry and thick brush. blended.

6) varnish

Once the remaining details were

painted and allowed to dry, the en-
tire figure was varnished. Lucky Var-
nish Matt works best with oil paints,
I applied it in several light layers with
an airbrush. Once dry the figure was
ready to be placed in the vehicle.

58 / THE WEATHERING MAGAZINE / ACCESSORIES

7) Summary
The uniform set worked very well; the base shades came out the way I wanted which matched the reference materials. I was able to easily
mix any tone required using only the colours from the set. It is worth mentioning that by mixing paints in different proportions, you can create
an endless range of shades and paint many figures without duplicating one colour pattern. Using this set was much easier and saved time
otherwise spent looking for base colours and corresponding highlight and shadow tones. Figure painters who prefer to work using only acrylic
paints will appreciate the complete versatility of this set.

THE WEATHERING MAGAZINE / ACCESSORIES / 59

Painting
furniture The ever present and genre defining wooden elements of WW1 planes have always been one of
my favourite details to paint. Having a lot of experience in painting wooden surfaces and elements
of airplanes, I was asked to show some techniques and tricks used by aviation modellers to paint
a furniture set in a simple and realistic way. To finish the job, I used the products included in the
A.MIG-7801 Wood Effects set which includes all you need to achieve the results shown in this
tutorial. This set also includes 2 wood grain decals from Uschi Van Der Rosten so you know have
everything you will need!

Chema
Martínez

1
After gluing and filling
the small gaps with putty,
the miniature furniture
was ready for painting.

FURNITURE SET
MINI ART 35548
1/35

60 / THE WEATHERING MAGAZINE / ACCESSORIES

 3

2 The process began by priming all surfaces of

the furniture in white using A.MIG-2022 One
Shot Primer.

3 In the first painting step, a Yellow A.MIG-048

base colour was applied to the drawer unit.

4 5

6 7

4 For this example, Olibrushers were used, along with a piece of sponge
and acrylic crystal paint.

5 First, a lighter Ochre A.MIG-3515 Olibrusher was applied straight from

the container using the built in applicator brush.

6 The colour Dark Brown A.MIG-3512 was immediately applied.

7 The excess paint was removed with a sponge until the wood grain ef-
fect remained.

8 Here you can see the effect achieved once the excess oil has been re-
8 moved with the sponge.

THE WEATHERING MAGAZINE / ACCESSORIES / 61

 9 10
After drying, a layer of varnish was used to cover and Finally, the handles were painted using A.MIG-0190 Old
stain the furniture’s base colours, this case transparent Brass and the details emphasized with a brown Afrika
orange paint A.MIG-0097 Acrylic Crystal Orange was Corps Wash A.MIG-1001
used to excellent effect. You need to insist with a brush
at certain points to accentuate the wood grain.

11 12
Progress on the upper surfaces proceeded by applying a Light Brown For this technique, a photo etched wood grain template from RB Pro-
base of A.MIG-0088 with an airbrush. ductions was put to use. The template was placed over the furniture
and the acrylic colour Brown Soil A.MIG-0076 was applied.

13

14

13 Here you can see the excellent results produced using the template.

14 In this case, a red varnish A.MIG-0093 Crystal Red was applied to leave the fur-
niture with a cherry colour.

15 Again, the handles were painted in a bronze colour and a Deep Brown Panel Line
Wash A.MIG-1618 applied into the details and recesses. 15

62 / THE WEATHERING MAGAZINE / ACCESSORIES

 16
Here you can see
the differences
in the finishes
resulting from
each of the two
techniques.

17
For the table, decals from Uschi van der Rosten were placed directly
onto the white primed piece.

18 19
Once the decals were placed on the tabletop and on the table legs, a To finish the piece accurately, an application of Deep Brown Panel Line
yellow varnish was applied using (Tamiya X-24) with an airbrush to the Wash was applied into the recesses.
entire set to protect the decal and give it an authentic pine wood look.

THE WEATHERING MAGAZINE / ACCESSORIES / 63

AMMO by Mig Jiménez
Company commitment to Obra Social
San Juan de Dios
Without doubt 2020 has been a year that has changed the history of the
world. In the midst of this unprecedented situation, the most vulnerable
groups have been especially affected.
Today we are pleased to announce that AMMO by Mig Jimenez,
through its Project AMMO for life, has joined forces with the Obra
Social San Juan de Dios to guarantee the stability of its humanitari-
an programmes. Through the campaign "The Faces of Vulnerability",
AMMO has been awarded the distinction of: "Empresa Comprometi-
da 2020" in recognition of direct assistance to those effected most by
this global humanitarian crisis.

64 / THE WEATHERING MAGAZINE / ACCESSORIES

San Juan de Dios is a prestigious institution founded more than 500 years ago, and currently operates 400
healthcare and support centres in 55 countries to assist people in vulnerable situations. Under the name of
San Juan de Dios, the non-profit actions are based on three pillars: Social Work, Volunteering, and Interna-
tional Cooperation.

From AMMO for life, our solidarity project created by one of the founders of AMMO: Elizabeth Wiese, a friend
of Obra Social San Juan de Dios who passed on December 30th of 2019 after her courageous fight against
cancer. Her wish is that the funds from this project be used to support Obra Social San Juan de Dios’s mission,
which includes health care to persons with terminal cancer by providing dignified end-of-life care.
We are especially grateful for the trust that you have placed in AMMO since our inception, and want to share
this recognition with you. Without your support, the assistance afforded those most effected by the current
humanitarian crisis would not be possible.

THE WEATHERING MAGAZINE / ACCESSORIES / 65

 IN THE NEXT ISSUE...
By Sergiusz Pęczek

BURNED OUT
In the next issue of TWM magazine, our global staff of modelers will focus on the effects of incin-
eration, burnt out vehicles of every type and material and charred to ash presented on a range of
topics. Destroyed vehicles of all kinds including tanks, airplanes, civilian vehicles, and buildings on
the battlefield all bear the scars of war including overheated metals, burned paint, smoke, ash, and
melted plastics and rubber will all be in the sights of our modellers world class step by step tutorials!

We know that many of you are terrified of painting and weathering burned subjects and the thought
of doing so has squandered many excellent projects. Enough compromises, shortcuts, or denying
yourself the pleasure of adding burned out effects to your miniatures for fear of spoiling the final
results. The AMMO modelling team will show you the most fun and effective techniques used to cre-
ate the most authentic burned and realistic ash details possible as applied to a wide variety of your
favourite subjects!

66 / THE WEATHERING MAGAZINE / ACCESSORIES