Finescale Modeler Damaged Winter 2018_downmagaz.com.pdf

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Winter 2018

modeling is fun

Sure, there is a serious side to the subject matter — especially the history of the combat aircraft and armor that dominate the hobby — but we all enjoy the process of building. Sometimes the subject matter can be fun, fantastic, and even zany. That is what’s great about the magazine you hold in your hands. With bright layouts and big pictures, Damaged celebrates the “rest of modeling.” While you’ll find popular genres like sci-fi in the mix, many of the subjects are things you might find categorized as “miscellaneous” or “other” at model contests. This issue includes civil aircraft, construction equipment, a steampunk train, and, believe it or not, a whimsical Chernobyl diorama. Uniting all of these disparate ideas, whether it’s a kit built straight from the box or a scratchbuilt masterpiece, are the first-rate finishes done by some of Europe’s top modelers. You may not know who they are now, but I guarantee you’ll want to see more of their work after reading Damaged. That’s why FineScale Modeler is excited to partner with Spanish manufacturer AK-Interactive to expose a wider North American audience to Damaged. This is not a one-off either; as I write this, we are working on at least three more issues that you can expect to see on newsstands, in hobby shops, and at KalmbachHobbyStore.com. Plus, look for expanded digital content from Damaged and AK-Interactive at www.FineScale.com. Now sit back and prepare to be surprised, delighted, and inspired. And have fun!

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Toyota Geneo 20

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T-47 Snowspeeder

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Playing Cards

Aoshima’s 1/32 scale forklift takes a beating by Rubén González Cool finish for Bandai’s 1/48 scale Star Wars rebel ship by Juan Manuel Villegas Small-scale café diorama brims wth details

Seaplane: Northway Aviation Painting and a clever base put Modelcraft’s 1/48 scale Norseman at a Canadian dock by Daniel Zamarbide Suárez

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The Imperial Express

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Chernobyl Attraction

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Mad Max

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It Came From Outer Space

It’s scratchbuilt and it’s steampunk — need we say more? by Gabriele Leni Photographers explore an abandoned amusement park in 1/35 scale by Tomek Rojek Patrol the wasteland in the last of the V-8s with Aoshima’s 1/24 scale Interceptor by Andrés Montiel Kit-bash a crashed space probe in 1/43 scale by Marcel du Long

Dark Justice Building Moebius’ 1/25 scale big-screen Batmobile in layers by Aaron Skinner

Aaron Skinner

for 502 abteilung Original Idea & Concept Enrique Royo Fernando Vallejo Ignacio Fernández Chief Editor Fernando Vallejo Editor Management Enrique Royo English texts Pete Hamann

for kalmbach media co. Graphic & Layout BMS Designs AK Interactive Article Assistant Maciej Goralczyk Kristof Pulinckx Rubén González www.abteilung502.com www.ak-interactive.com

Collaborators Ruben Gonzalez Javi Diesel Andres Montiel Daniel Zamarbide Juan M Villegas Marijn Van Gils Gabriele Leni Tomek Rojek Marcel du Long George Mefsout

Damaged (ISBN 978-1-62700-627-9, 978-1-62700-628-6) is produced by FineScale Modeler and published by Kalmbach Media Co., 21027 Crossroads Circle, P.O. Box 1612, Waukesha, WI 53187. All rights reserved. Reproduction in whole or part in any language without written permission of Kalmbach Media is prohibited. Single-copy price $9.99 in U.S.A.; $10.99 in Canada and other countries. Canadian price includes GST. BN 12271 3209 RT. Canadian and international orders payable in U.S. funds. Address all correspondence to Damaged, P.O. Box 1612, Waukesha WI 53187. Printed in the U.S.A.

Editor Aaron Skinner [email protected] Art Drew Halverson Copy Editor Timothy E. Kidwell Advertising Michael Wieloch 262-798-6630 [email protected] Published & distributed by

Retail, Trade Orders, and Inquiries Phone: 800-558-1544 Outside U.S. & Canada: 262-796-8776, 818 Fax: 262-798-6592 E-mail: [email protected] Website: www.Retailers.Kalmbach.com Customer Sales and Service Phone: 877-246-4847 Outside U.S. & Canada: 903-636-1125 Customer Service: [email protected]

1 The 1/32 scale Aoshima Toyota Geneo electric lift truck is one of those models that a modeler looks forward to building from the first time they set eyes on it, whether in the hobby shop or in photos on the internet. Luckily, I was able to get my hands on this gem of a kit. With its high quality and amazing realism, it is a welcome break from typical builds and is a great opportunity to practice all kinds of painting and weathering techniques. I used AK-Interactive products unless otherwise noted.

The model’s subassemblies don’t present any problems during construction and allow for easy painting. After removing mold marks and checking fit, I was ready to begin painting.

2 Painting starts with a good layer of gray enamel primer (AK758) applied directly from the bottle. It’s easy to spray and produces exceptional results. AK-Interactive cleaner removes residue from the airbrush and leaves it spotless.

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Modeler : Rubén G onzález Brand: A oshima Scale: 1/ 32 Tools: Airbrush, tweezers , cutter, m Paint pro asking ta duc ts: pe Acrylics Enamels Pigments Oils

3 To paint the mast, back rest, drive train and rear axle, engine, and chassis bottom, I used satin black (AK719) diluted with acrylic thinner (AK712).

4 I painted the lift chain with a mixture of satin black (AK719) and dark rust (AK170). The hydraulic cylinders, muffler, and exhaust were finished with a mix of aluminum (AK139) and burnished metal (AK798).

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5 For the lift truck body, I began with base coats of gray, applying a lighter shade to the rear and a darker shade to the main body. Masking tape protected the previously finished work; MXpression Panzer Putty (MXA001) or liquid mask also works well for this.

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I applied a generous coat of Worn Effects (AK088) with an airbrush. This serves as a release agent to produce believable wear and scratches.

After masking areas to remain dark gray, I airbrushed the body with a mix of red (AK740), orange (AK3032), and Tamiya clear (X-22).

8 When the paint is dry, it’s time to scratch the paint. You can obtain a wide variety of wear effects using just a few simple tools, including pins, toothpicks, and stiff-bristled brushes. Before you start scratching though, soften the paint by brushing on a little water, which activates the Worn Effects fluid applied earlier.

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Tools for proper application of decals, including a knife, tweezers, a brush, and setting solutions.

I used self-adhesive Bare-Metal Foil for the mirrors.

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of Last touchmetal with d e h s li po nd pigments a . e it h p gra

ons of rust Accumulatiels. with enam

ons of dust Accumulatients. with pigm

. Final result

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selective application of the oils To add wear and grime to the horizontal and lower surfaces that typically receive more dirt, I used 502 Abteilung oil paints — dark mud (ABT130), cream brown (ABT240), dust (ABT003), and snow white (ABT001). Combining these produced brown and greyish tones that work nicely for a wellused lift truck.

I selectively applied oils to the areas I thought needed treatment ...

Depending on the area and the effect desired, I applied different colors from my palette. Notice the colors only blend at the edges between them and not throughout the piece, which would result in a boring appearance overall.

... and then blended them with mineral spirits.

ready for the finishing steps To add a fine layer of dirt to lower areas and horizontal surfaces, I airbrushed a thin mixture of Tamiya dark sea gray (XF-54), flat earth (XF-52), and buff (XF-57) at 10 psi.

Once applied, the result is very subtle, and will serve as a base for the later treatments.

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wheel painting process

Drybrush the tread. Add wear and tear with oils.

Coat of dust with airbrush and acrylics.

Grease stains and wet effects with oils.

Blend the oils with mineral spirits.

Dust accumulations with pigments.

The application of pigments to the floor around the pedals reinforce the impression of constant use. In addition to dirt, pigments allowed me to easily create greasy stains, as well as all kinds of other fluids, enhancing what I’ve already done with oils and enamels. To achieve the brushed and satin look on the seat, I dry-brushed the edges of the seat and back with oils.

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back rest and mast painting process

Dust and dirt accumulations with pigments.

Stains produced with Abteilung 502 engine grease (ABT160).

Rods and polished metal with graphite.

This is the most complex part of the kit, and requires applying a multitude of effects and combined treatments to achieve a realistic appearance.

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To complete the treatment of the sides, I applied various spots and fuel streaks with oils and enamels. Depending upon the effect, I used either a brush directly or flicked the paint from a brush to get spatter.

The rear of the lift truck shows signs of rust and damage from use. I brushed light rust colors over the chips and dings I made earlier.

Then, and without covering the light rust, I applied darker tones.

I finished the process with an application of a mixture of oil and enamel.

Pigments and some paint spatters help integrate this part with the rest of the vehicle.

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I want to thank Juan M. Villegas for helping with the assembly and with a complete photo report of this lift truck, which served as a great reference.

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n Manuel Ville Modeler: Jua ai Brand: Band Scale: 1/48

Bandai’s Snowspeeder is one in the magnificent kits from its extensive series dedicated to the Star Wars saga. Like all other kits in the series, it is designed to be assembled without glue.

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tape Tools: rills, masking d r, e tt u c , rs eze Airbrush, twe cts: Paint produ Acrylics Lacquers Enamels Pigments Graphite

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It includes a set of waterslide decals as well as a second set of self-adhesive markings for inexperienced builders. Being a model “for all audiences” is not at odds with the level of detail, which is very good. The kit does not include landing gear, so the model must be represented in flight. For this, the kit supplies a base and posable support. As for painting, I wanted my Snowspeeder to represent one that appears in The Empire Strikes Back. But I pushed the finish a little to create an operational ship that has seen several battles against the Empire and has not been maintained well by the rebels as they continuously move from one provisional base to another.

1 I enhanced the kit’s fine rivet detail by deepening them with a fine needle in a pin vise.

2 I shaved off part of the molded mounts for the crew, preferring to glue them in place. The pilot and gunner figures are quite static. I modified both, replacing their arms with parts from other 1/48 scale pilots. For one of them, I repositioned the head so it looks in direction of the turn that the ship will make when I set up the display stand. I also added harness details with fine wire and lead foil.

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I added rivets, small knobs, and switches to the forward console ... ... and the gun.

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Often ignoring the order of the instructions, I built parallel subassemblies together. This helped me add similar detail to similar parts. An open airbrake is one of the options that the kit offers, showing the wealth of detail inside.

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I added a strip of styrene to help close the gap left when the lower airbrake is posed in the neutral position.

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The canopy frames are well defined so the process of masking both the inner and outer surfaces was easy. I painted the interior black and used gray to highlight the quilted padding detail on the ceiling.

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Next, I applied Tamiya medium gray (XF-20) in thin layers so as to not completely cover the shading effect.

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12 To make interior details pop, I followed these steps: White primer (AK759) airbrushed from above added strong preshading to the cockpit components. Then, I added shadows by airbrushing the parts with black primer (AK757) from below.

15 I picked out panel lights and buttons with white, red, and green acrylics. Attention to these details can bring a model to life.

16 To enhance details, I used a mixture of burnt umber and black oil paint applied as a wash to the cockpit parts.

17 The washes darkened some areas, so I applied highlights to the gray areas with artist’s oils. To avoid the highlights mixing with the wash, I let the gray dry, then blended it with a makeup sponge or a clean brush.

WINTER 2018

18 See the transformation of the crew with respect to the original on the previous page. They fit well and the colors will stand out against the rest of the cabin.

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The interior sides were finished the same way, painting every detail its proper color and taking into account highlights and shadows for each.

I used watercolor pencils for final details: brown to provide a little dirt near the bottom, a light gray to simulate scratches, and graphite to give a metallic sheen in some areas. Then I clear-coated the parts.

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22 To enhance the radar screen, I added gloss and depth using transparent green. In this sequence, you can see the rear radiator painted with burnt metal (AK484) over a gloss black base (AK471) from the Xtreme Metal range. I added shading along the bottom of the fins with a thin blend of sepia ink and Tamiya black (XF-1).

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I pre-shaded and pre-highlighted the body to give slight tonal difference to the finished model under thin layers of the base color. I started by masking various panels and areas and spraying several shades of brown, white, and black. It is laborious but I think the result is worth it.

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Then, I hand-brushed white acrylic to highpoints to add extreme highlights.

31 Using thinner than normal paint, I airbrushed the upper final color. This allowed me to keep the paint a little translucent and not completely cover the pre-shading.

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30 The tonal steps are exaggerated, but remember that later they will be integrated into the overall scheme once I apply the final color.

32 The Snowspeeder’s red ID bands were heavily worn. I painted a layer of flat red over AK-Interactive Worn Effects, then removed some of that color with a brush and a little water. I added a slightly different shade of red over more Worn Effects and repeated he process for a deeper, more realistic finish. This approach goes a long way to simulating the effects of moving mechanical parts.

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34 I added some chipping to the red bands with deck tan (AK3067) on a fine brush and a chunk of sponge.

The basic color for panel lines and dirt is a mixture of burnt umber and black oil paints. I add other colors as I go, mixing and blending them while they are still wet on the model.

35 Oils can be feathered around the edges with a soft sponge.

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I added dirt streaks flowing aft from the panels using AK-Interactive streaking grime over the dried oils.

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39 I wanted the back area to be very dirty — a result of continuous low-altitude flying in the turbulence caused by a not particularly aerodynamic airframe. The idea came to mind simply by seeing pictures of the back of a car after a long trip in rainy weather. After applying oils, I used pigments to create dirt with a little more of volume. I picked out the edges of the radiator fins first with dark steel pigment and then with a graphite pencil.

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Using earth-tone pigments, I added dirt to access areas on the upper surfaces and in areas prone to accumulation on the lower ones. In order to create burned areas on the nose from the heat of the laser cannons, I first applied burnt rust red pigment (AK144), then smoke (AK2038), a perfect combination for that effect. I also placed some earth tones under the smoke to add depth. Due to the conditions in which these ships operate, I couldn’t leave the canopy clean and bright. I applied AK-Interactive rainmarks (AK074) to all of the clear areas, then removed it with clean thinner. Scratches completed the effect.

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playing cards

next match The smells and sensations of an old café are difficult to capture in a vignette, but as we see here, it’s not impossible. Reference photographs helped to re-create a corner with all the charm and old-fashioned flavor of a small coffee shop. Various elements were used to make this scene: resin, wood, plastic, and even a straw for the chimney on the old stove. It’s definitely an inspiration.

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From the cold waters of Canadian lakes, I present this floatplane, a subject that often lurks on the must-build-someday list of aircraft modelers. Building the model was a simple and enjoyable experience. The interior features were pretty basic, so improvements were in order. They included custom-built details, such as anchors, cushions, and harnesses in the seats, and a few photo-etched parts and surplus resin pieces from other models.

Modeler : Daniel Z amarbide Brand: M Suárez odelcraft U C 64 Norse Scale: 1/ man 48 Tools: Airbrush, tweezers , cutter, m Paint pro asking ta duc ts: pe Acrylics a nd enam els Pigments Watercolo r pencils

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1 2 All components were painted separately with various vivid and eye-catching colors.

The instrument panel was completely scratchbuilt based on photos of a full-size UC-64 Norseman.

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4 The engine of the model is basic, so I improved it with solder and copper wire.

I used a dark brown wash to highlight the details.

5 I applied a basecoat of AK-Interactive Xtreme Metal dark aluminum (AK480).

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7 Once the fuselage was closed and the airframe assembled, I made some improvements, such as the addition of a styrene tube exhaust pipe.

8 Other areas of the model that needed improvement were the cowl vents and the windshield frame, which I enhanced with thin styrene strips. Then I masked the windows and prepped for painting. When starting to paint, and even more so when colors overlap, I always start with the lightest color — in this case, Tamiya flat white (XF-2) on top of the fuselage.

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When the white was dry, I masked it to apply the second color.

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I painted the rest of the fuselage and the wings with Tamiya yellow (XF-3).

12 After masking, I applied flat black for the anti-glare panel on the nose and painted the floats aluminum. Then I removed all the masks.

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I used a mechanical pencil to mark the panel lines, door outlines, and similar details. It’s simple and produces good results. The fine point is easy to use on flat paint. I sealed everything with clear gloss.

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I used a black technical marker to highlight super-fine details, such as the rivets on the engine cowl.

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I sealed all of the work with a layer of Intermediate Gauzy Agent Shine Enhancer (AK894). It helped bring a consistent sheen to the model and added a bright, vivid quality to the colors.

I masked and painted warning stripes that show the area where the propeller spins.

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Dark brown wash (AK045) enhanced the joints

18 and recessed details of the float attachments.

Norseman tails were rigged, so I drilled holes in the vertical and horizontal stabilzers.

19 Oils are perfect for shading effects and color transitions.

In this case, I used sepia to add some shading around the float attachments.

I passed fine copper wire through the holes and, after tensioning it, anchored the ends with a little glue. Note the dynamic appearance created by turning the rudder slightly.

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The finished floatplane received a coat of satin varnish to give it a realistic shine.

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I applied dark yellow oils to the recesses between the ribs on top of the wings and the lower fuselage to enhance the molded fabric texture.

After letting the oil paint sit for a few minutes, I blended it into the underlying yellow using a flat brush and smooth, even strokes from front to back.

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For the scene’s base, I used a picture frame, corkk board, and wooden bits from a craft store.

I disassembled the picture frame and inserted a layer of cork.

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27 To attach the cork, I used super glue.

This step is very important: Seal the joint around the perimeter of the cork and the picture frame using white glue. It adds strength to the join and provides a watertight seal.

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I made the pier from wooden coffee stirrers. Assembly went quickly using super glue.

Strips of balsa wood attached with white glue finished the pier’s deck.

I used wooden dowels and copper wire to make the pier posts.

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34 To add a little life to the lake, I made a few fish from

The fish were painted silver and then given a transparent orange coat.

epoxy putty. The fins are thin sheet styrene.

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36 I finished the lake bottom with the fish propped up on wire, epoxy-putty rocks. Painting the base with a brown gradient gave the lake bed an impression of depth.

I used AK Resin Water to simulate the lake, following the detailed mixture instructions.

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38 This resin can be dyed with green and blue acrylics to tint the water. It is important not to add too much paint and to control the color by adding it gradually.

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These small dry leaves give the scene an autumnal appearance, and locate the scene at a lake surrounded by trees.

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After applying two layers of epoxy resin to simulate the water, I simulated ripples with transparent gel daubed over the surface.

el tank. ter external fu n ce 1 -2 iG M e ard 1/48 scal k from an Edu ya ka a e 42 ad m I ene, etail for the sc As an added d

finished kayak. earance of the p ap e th is is washes, th highlights and w fe a g in d ad paint and After applying

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43 To give a the pier a richer look and provide something more to catch the eye, I stained each of the planks with a different shade of wood.

44 Then, I applied a brown wash to blend the shades and lend the pier a realistic finish.

The figure is a white-metal sailor from Hecker & Goros that I modified slightly and painted with acrylics to finish the scene.

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the imperial concept The Imperial Express is one of my latest sci-fi dioramas. It was built for the World Model Expo in Stresa,Italy, in 2014. I wanted to make a train — not an ordinary train, but a steampunk vehicle you could believe had once existed. For this reason, I preferred to build a classic locomotive and add a futuristic steampunk design. All the parts of the train are based on real-life steam locomotives; I changed elements of the design and numbers of things. For instance, I preferred five boilers to the typical single boiler and a cab placed high up similar to a plane’s cockpit.

The Express is completely scratchbuilt: All the items you see were made with styrene, glue, and, in some cases, brass. I formed some of the cylindrical parts on a small lathe, and I sculpted the figures. I built the diorama in 1/24 scale; the locomotive measures 65 centimeters long and 25 centimeters tall. I didn’t choose 1/35 scale because there are too many commercial parts available and I wanted to make a completely original model.

vehicle

I found many technical plans for steam locomotives on the internet to reference, and, after many sketches, I was ready to build my Imperial Express.

I built a structure of five boilers, arranged in two rows of two and one on the top.Their shape is unusual and each cylindrical row is different.

Before construction, I spent time studying designs and the individual mechanical parts. For easy painting, I preferred to make the locomotive in a series of subassemblies, building each component as a kit. After building each subassembly, I painted it; final assembly was done after painting.

boilers

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Using wood, I shaped the boilers on a lathe and then coated them with epoxy putty to smooth the surface. They are all the same length, but differ in diameter and shape. I made structures using wood and styrene, with five holes in each bulkhead for the boilers and another four to accommodate aluminum support rods.

chassis This was the most important part of the project. The chassis would feature attachment points for all of the other subassemblies. I started with two styrene panels. After making the housing for the

express gabriele leni

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other mechanical elements, I proceeded to create a space for the shock absorber. A shock absorber element in a steam train is composed of leaf springs suspended on a box that moves up and down. Each leaf spring was made of seven pieces of sheet styrene. Two leaf springs for each wheel, for 10 wheels, for a total of 140 pieces of styrene and 20 leaf springs. I made the aluminum housing for the wheels on my lathe, and made 12 resin copies.

lights and front view This was my favorite part of the project. I built five smoke-box doors, one for each boiler. Then I drew a part to mount them to. I included a big cylinder in the middle for the lights. I turned it out of aluminum on my lathe and then made a resin copy. I drilled eight holes for the LEDs with a milling machine.

front bogie The front bogie was made from styrene, and the wheels were turned on my lathe.

cab and gear box My idea for the cab section was different from standard trains. I wanted a circular structure, similar to an airplane fuselage, supported by the chassis. I used lightweight polystyrene for the body coated with epoxy putty for a uniform finish. After engraving panel lines, I cut the housing for the cab and made the structure and instruments with parts from old model kits and placed two red LEDs inside.

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driving wheels I made a single aluminum driving wheel on the lathe, then added a counterweight and other details. After finishing the master, I made 10 resin copies.

running gear, smokestack, and more Real steam locomotives inspired the running gear. Every part was made of sheet styrene — more than 100 different pieces in all. I made the smokestack from aluminum and added extra bits. The panel between boilers and cab incoporates many gears I rescued from an old clock.

front and rear I made the front and back ends of train with sheet styrene and resin parts. The lion and numbers are aftermarket parts, as are the brass details; I liked the fine detail they added. I made rivets with a punchand-die set.

people I’d never made my own figures before. For this diorama, I wanted to show control by the Imperial Police. I sculpted 10 figures: four policemen and their commander; a suspect; and four passengers. I formed a brass-wire armature for each figure, then overlaid it with Tamiya putty. Then I sculpted clothing with Milliput and other materials. I used commercially available heads and hands. The shotgun was made with styrene and brass.

wood base I put a control box for the LEDs and a battery container inside the wooden base. Using a darker wood, I placed two gears — one of these houses the power button — on the front panel.

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On the base, I built a railway platform using sheet styrene and resin. I engraved a tile pattern on the floor with a scribing tool. The bench, clock, and monument were all fashioned from sheet styrene.

roof The platform roof and columns are made of styrene. The roof’s internal structure is soldered brass.

painting I’ve been a modeler since 1990. Back then I painted military models, Gundams, historical and fantasy figures and much more. When I began the Imperial Express, I already had a vision for the diorama. The painting style must not be dusty or weathered. The locomotive belongs to an omnipresent, dangerous, imperio-autocratic system. Its trains are brightly painted and are kept clean. Following this idea, I chose a bright, vivid color scheme: red, green, and black, with gold highlights. Most of the figures were painted with artist’s oils, but I used acrylics for the faces and hands. For the rest of the diorama, I applied acrylics with an airbrush and hand-painting. For the red areas on the locomotive’s undercarriage and wheels, I started with dark green for shadows and pink for highlights. Then I sprayed a thin layer of red. Next, I used purple for shadows and yellow for highlights. As fourth step, I sprayed a last thin layer of red. With this method I was able to produce a brilliant red. I got the dark green effect using the same method, but but substituting blue and pink during the first step, followed by a thin coat of yellow-green; then dark brown and Payne’s gray, followed again with yellow-green. For weathering, I used AK-Interactive products and some oils, but as I wrote earlier, I wanted a bright model, so I applied minimal weathering. On the other hand, the pavement and the train tracks were well-suited to weathering. After applying gray primer, I used a sponge with black acrylic to make a mark on every single tile. A mask restricted the effect to individual tiles one at a time. I made a variety of other marks on the tiles using different colors — blue, green, red, yellow, and white. Then I airbrushed a layer of thin sand color. Before it dried, I judiciously removed some of the paint with a microfiber cloth. This gave the pavers a nice worn appearance.

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awards As I wrote at the beginning, this diorama competed at the World Model Expo 2014 in Stresa, Italy. That was the only time I took it to a contest. The Imperial Express won a gold medal and Best Sci-Fi Fantasy Mechanical Model, an award offered from NKGC, a wonderful community of sci-fi modelers. Building this diorama was a great adventure, and I hope it will not be my last. Gabriele Leni

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26 april 1986. as the result of a failed experiment, the chernobyl nuclear power plant experienced the most destructive nuclear accident in history About 350,000 people were displaced from the area near the power plant. The single largest population, as many as 50,000 people, were residents of the city of Pripyat, Ukraine, located in the immediate vicinity of the plant. Thirty years have passed since the accident. Pripyat, abandoned by humans and gradually being repossessed by nature, has become a destination for thrill-seekers. I, too, have succumbed to the power of this modern ghost town, although I did not dare to visit. Instead I made a diorama illustrating a fragment of the “nuclear” town. Seeing amazing photos of Pripyat, my attention was drawn to those of an abandoned amusement park. The bumper cars made the deepest impression on me and became the inspiration for this diorama.

Model er: Tom ek Roje Brand: k Trumpe ter, Ree Scale: 1 doak :35 Tools: A irbrush , tweez Evergre ers, cut en and ter, ma Plastru sking ta Paint p c t m pe, cop aterials roduct per, s: Acrylics Ename l effect s Pigmen ts

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base I made the bumper car facility from sheet styrene and Plastruct and Evergreen structural shapes, mainly L- and I-beams. The fence was made with tin and copper wire. I used a template to shape the panels. The rust coating the structure was applied using LifeColor Rust & Dust paint set (CS-10). The rust colors were initially applied with an airbrush and then with a sponge. The effect of peeled paint was achieved by applying different shades of Vallejo blue with both hairspray and salt used as release agents. I used the same techniques on the fence and service kiosk. Finally, to enhance detail and blend the colors, I applied a wash and filter made of oil paints thinned with mineral spirits. Concrete slabs for the pavement surrounding the facility were made from drywall that I soaked in water before peeling off one of the paper faces. After cleaning and drying the plaster, I scribed contraction joints between the slabs. After preshading the slabs with black acrylic, I airbrushed various shades of Vallejo grey until I was happy with its appearance. After placing the bumper car arena on the base, I glued moss into the joints dividing the slabs. The moss is ground foam, a scenic material used by model railroaders; it is important to use appropriately sized foam to avoid an overscale effect. The next step was to glue on a few grass tufts from Federicus Rex. Then I set the base aside.

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bumper cars The bumper cars were my greatest challenge in building this diorama. I began by making a master using sheet styrene of varying thickness. Next, I made a silicone mold of the master from which I cast the required number of bumper cars in resin. Then I added necessary hardware — headlights, steering wheels, and indicators. Headlights were made by cutting pieces of transparent sprue. I also used it to make indicators and taillights, which I painted with Tamiya clear orange and red before attaching them. Lastly, I made the steering wheel from tin and copper wire. I painted the bumper cars with Vallejo acrylics using the hairspray and salt techniques to weather them. Once the cars were mounted on the diorama, it was time to add the vegetation.

vegetation Dry leaves are the main element of the vegetation. I made them all using a Green Stuff World leaf punch, a must-have tool for diorama builders. Using real leaves and this punch, I made natural-color leaves in scale. I made the trees from dry grass roots, which are easily transformed into branches and even trunks of small trees or shrubs. After shaping the roots and painting them dark brown, I attached leaves and mounted the trees to the base. In areas where I imagined the wind would blow through the scene, I applied a thin layer of finely ground bark, a dark brown-and-yellow ground cover blend also used model railroaders. Here it imitates a layer of crushed and decomposing organic debris. Then I added about 1,500 individual leaves. Such a large amount was necessary to obtain the impression of multiple layers of leaves that have fallen from a large number of trees surrounding the bumber car enclosure. I concentrated the leaf deposits where they would accumulate due to the wind, such as the recesses under the bumper cars and along fences. The final stage of work on the base was the application of several layers of filters on the concrete slabs around the dirt and moss.

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vehicle I included a UAZ 469, because it’s still popular in Ukraine (and elsewhere). In my opinion, Trumpeter’s 1/35 scale kit is the best on the market. The plastic parts are good, with no flash, no sink marks, and no fit issues. Pay attention to alignment when assembling the chassis, but it should not cause trouble, even for less experienced modelers. For this scene, I built the truck without the roof or windows on the rear doors. I wired the engine with fishing line, but it was otherwise built out of the box. To paint it in ever-popular Russian green, I started with a coat of Tamiya flat black (XF-1). Once it was dry, I airbrushed a top coat of Tamiya NATO green (XF-67) mixed with buff (XF-57). Next, came a wash of Vandyke brown artist’s oil, applied in small amounts before excess was wiped off with mineral spirits. Once the wash dried, it was time to chip the paint. This time, I decided to make very small chips, painting them on by hand with a fine brush and light green paint. Inside some of the light green spots, I painted a darker chip with brown and rust colors. Next, I applied Mig Productions pigments to the chassis. I followed a similar approach for the wheels, but used less pigment. A couple of drops of pigment fixer anchored the powder. The next stage of weathering was making rain marks. I applied small amounts of AK-Interactive Kursk earth (AK080) and winter streaking grime (AK014) to the body. Then, I streaked the enamel products with a brush dipped in mineral spirits, pulling them down the sides just like gravity would draw rain down a real vehicle. The interior received minor weathering, including delicate paint chips, rust, and some dirt and sand. I

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achieved this effect with AK-Interactive rust streaks (AK013), Kursk earth, dust effects (AK015), and Africa dust effects (AK022). The next step was adding dirt by airbrushing a thin layer of Tamiya buff over the lower areas of the truck. I added more dust to the rear of the vehicle because I omitted the mud flaps. Lastly, splashes of mud were added. I loaded a brush with a mixture of Mig pigments and Kursk earth, then directed air from an airbrush through the bristles. Dirt on windshield was produced by applying a small amount of heavily thinned wash with a soft brush. I mounted the wheels on the model and placed it on the diorama.

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the figu res The ma in insp

iration chose t for this he dior by Reed se figures for this sce ama were pho oak, a F ne tos re manufa ctured nch company — to show ph of abandone u , d o Reedoa w s k figure ing 3-D printin hich recently tographers at Pripyat. That’s work. T sn ap why I g outstan hey are ding, w atural poses . The prototyp peared on th m and fin e ith the e compa ade s f o c ene. Its r each e de laye ny Civilian produces bot ring typical o tails. The qua subject is scan models are lity of R f 3-D pr h civilia Photog ned giv ee in n ra in (No. 35 0103). I pher 1 (No. 3 and military fi ted objects be doak’s figures g 50068) gures in finished in is g almo and se the figu s res with Modern Civil veral scales. I t invisible. The Once th u ia a s e n Photo rtist’s o ed Mod ils and outside figures were o ern Vallejo grapher 2 n the d of the b acrylics iorama ase — . , I alway s leave there was not Work o t h his part ing else n for the made m the diorama la end. I u to do but pain sted ab e realiz sed Vall t the o e most a ejo flat mbitiou that with disc ut three mon b la ck. th ip s and e xtraord line and dete s. It was a big inary w challen rminatio ork. ge n, one c an acco for me, but it mplish even th e

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In a world of absolute chaos, only the strongest men with a penchant for violence survive. This car evokes endless, deserted roads in arid and decaying places surrounded by shattered vehicles. It’s a slice of the history from modern cult cinema. I finished the Interceptor with AK-Interactive products unless otherwise noted.

To mimic decay from multiple effects on the original vehicle, I started with a body painted glossy and bright, just like a new car, using GSI Creos Aqueous Hobby Color black (H2).

Weathering products such as washes and filters over the glossy exterior will make it look like the old car I have in mind. It helps to achieve this effect gradually, working some areas more than others and enjoy the painting process. Applying the enamel effects directly to the glossy paint mimics the extreme weathering I’m looking for very well.

Modeler : Andrés Montiel Brand: A oshima Scale: 1:2 4 Tools: Air brush, tw eezers, cu Paint pro tter, mask duc ts: ing tape Acrylics Enamel e ffects Pigments

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What really gives the model a worn appearance is the combination of pigments and fixer applied wet. In this case, I prepared a slightly reddish mix to imitate desert dust with clay components.

Once the pigments are dry, the tone of dust becomes increasingly evident and realistic.

Underneath, I weathered the chassis with red primer (AK180) and an airbrush over Vallejo black (70.950).

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The fuel tanks were worked with the same rust and dust tones to integrate them with the overall model. I added a little extra touch with some fresh fuel spills around the caps.

This car has no windows, so dust gets into all parts of the interior — it would be a mistake to leave it clean.

I painted the engine blower with Xtreme Metal white aluminum (AK478).

After masking the path of the windshield wipers, I gave the rest of the front glass a mist of ultra-matte varnish (AK183) that perfectly contrasts the two areas.

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I deposited a drop of Gauzy gloss (AK893) in the dashboard gauges to simulate glass.

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Here you can see the finished model with the product range used to make it happen.

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it came from outer space Over the last couple of years, I’ve become more and more interested in kitbashing projects. I like that I can do anything I want without any historical or technical restrictions. Possibly the best term for the way I approach my projects is “imaginative modeling” — It gives the modeler the freedom to build and make whatever they want to be there. You are in control of your own designs, colors, and setting. I’m very inspired by concept artists like Simon Stålenhag, Ashley Wood, and Ian McQue. When it comes to fantasy or sci-fi, I’m also inspired by movies like Oblivion, District 9, and the Star Wars series, as well as the Half-Life 2 video game. It Came from Outer Space was a project I’ve had in mind for years but never actually started until I did a commission for a Dutch computer-game studio called Ronimo. I built a small sci-fi vignette for them based on one of their main game characters named Clunk. Afterwards, I received some broken Clunk spare parts, and Clunk’s body was perfectly suited as a start for a crashed “thing” from outer space. The project was born…

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d she ema r to l ec ron anted ateria d fi em g ow scis a h. I als een th settin rials a w t e e ept n Ear t betw nd th ” mat d c n o s e co ine l ac re tra ct a The ewhe e con obje ter sp I imag e loca it e u . som size th of th om o h site for th hat is r e s a f “ a p ph sha ech al cr scene and w t r and he hi- natu of the thing s t e s h — us t ene s t is thi ,I s g r a ase body n h b ve stra k am s : “W the dents e?” r fo e Clun spare a l u i r h y s g e t m re g h les tan ith n rec site w ts from need ause doi a ar on ec ure sh ing e cra ded p punct clips b . I also a k r Wo ted th n, I ad o acu aper jects from s b r t sta ts. The artial num p ci-fi o ) part , track s E n par . I’m p alumi ying ed (P g gu scale n fl l h box smal s suit o-etc kvierli 1/35 a t and shape e pho an Fla from arts. p r in the d spa Germ heels rcraft ild p i u e w e l a s b a e e u y“ ku 5 sc driv cal of m o brea 1/3 s and 1/48 s e t on link , and be at I do o k t g th tan oin jects s. g s o a ” pr uild sw Thi week lved b one , invo g lon tely dia . So, I e m tne g im as do d star I n i t n g, ”w ,a ain n p “thing shing e wron et up i g of be m k bru os d to uction nd air n’t get nger t ust pic e t j a n d o tr o I wa r cons iming nd. D akes l oes to neede t r a d e aft ped p g by h but it an it me s. e ti , n h skip aintin shing sion t ion th sessio t s p u r ed airb ing se men ween ook o t e ; it t spilled y lov spray , not t sh be e .I s-gr a u tan plastic as ea for brush airbr t h a n lig is w ed up lean a ylic r the r but th r c c to da ve ts, plie s to co PE par p a e er t, I Firs ral lay t on th e sev e pain som

ild up u b et s &

g n ” i g t n n i i h t pa e“ h t

Model er: Mar cel du L Brand: ong scratch Scale: 1 :43 Tools: Brushe s, twee zers, cu Paint p tter roduct s : Acrylics AK ena mel eff ects Pigmen ts

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ily removed with fine sandpaper and a knife. The hemisphere-shaped hood was left in its original light gray color, but I picked out some details with medium gray. Next, I painted the exhaust and wing attachments gloss black and treated them with metalizing powder from Uschi van der Rosten polished in with a soft cloth. This combination produces a superb metal finish; I can’t recommend it highly enough. Dry transfers from Verlinden were added, before the craft, except for the metal parts, was sealed with thin Vallejo gloss varnish.

weathering Usually, I use Liquitex acrylic inks for weathering. They are a joy to use, but this technique can be time consuming. Since this was a “build in one week” project, I went with a quicker method.

blue foam to balsa foam were covered with sand held in place with white glue. Then, I covered the groundwork with a wet layer of plaster colored with light brown acrylic and covered it with very fine sand. After letting it dry for 24 hours, I applied patches of model railroad grass along the sides of the furrow.. The brown colored earth was achieved by applying various brown pigments with brushes. The pigments stuck well to the rough plaster, so I felt comfortable not sealing this layer. Finally, I added a few flowers, placed some aluminum foil shrapnel in the furrow, and used Tamiya smoke to model leaked oil.

Using Vallejo and Games Workshop colors, I applied subtle acrylic washes to panel lines and recesses. Some streaks were added as well. A black wash went over the PE parts. After everything dried, I removed excess wash with a fine sandpaper to produce a clean, tight finish as well as highlight the PE details. Oil stains and streaks on the wings were added with black thin acrylic ink and Tamiya smoke.

the crash site Now that the paint was done, it was time to start on the base. I glued balsa foam to a wooden base, covered the sides with sheet styrene sanded smooth, painted black, and finished with Games Workshop Purity Seal from the spray can. After carefully masking the base, I started to shape the furrow left by the crash. First, I carved a ditch in the soft balsa foam, then I lined the gash with chunks of blue modeling foam. The transition areas between the

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mini me The scene needed something to give the object a sense of scale — like a bird or a figure. Small-scale birds are hard to find and difficult to paint, so I chose a 1/43 scale MK35 figure. I wanted the figure to serve as a scale reference without distracting from the crashed vehicle. Originally, I intended the figure to be a farmer or a curious civilian who happened to be passing. But, during painting, one of my modeling buddies said, “Hey, that looks just like you.” So I continued to paint it as me in 1/43 scale, including my flat cap, Adidas jacket, black shoes, and khaki trousers. Such small and relatively short projects are always a joy. As I said, I usually complete several of these “build in one week” projects to break up my other, more extensive modeling projects. You can see more of this project at my website. Marcel du Long www.marceldulong.com www.marceldulong.com/plastics/it-camefrom-outer-space

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dark

e c i t s ju

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introduction Instrumental in the Caped Crusader’s crime-fighting, the Batmobile has been around almost as long as the character and been seen in every iteration of the stories including TV and films. Those on-screen appearances range from Chuck Barris’ hot-rod inspired design for the 1966 TV series through the sleek, finned machines of Tim Burton’s movies to the military vehicle that is the Tumbler seen in the Dark Knight trilogy. They culminated in the sleek yet muscular vehicle seen briefly in 2016’s Batman v Superman — Dawn of Justice. To me the design looks like the unnatural offspring of a union between the 1989 Batmobile and the Tumbler. Or if Formula 1 decided the premise of Death Race 2000 had merit. Or … well, you get the idea. For the model that means lots of steps: Paint some parts and add them to the model, then mask and paint some more, fix a seam and touch up the spot. The first step was part prep and cleanup. The car’s exposed frames and mechanical parts comprise round elements and most required a quick scrape with a hobby knife to eliminate mold seams. Then there were ejector-pin marks small and large that mar many of the parts. I removed large protruding marks with sprue cutters, sanded smooth small ones, and filled recessed marks with putty.

Model er: Aaro n Sk inn Brand: er Moebiu s Scale: 1 /25 Tools: Airbrus h, mask ing tap Paint p e, Silly P roduct utty, tw s: Acrylics eezers, knife

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1

2

For strong bonds unimpeded by paint, I built subassemblies before airbrushing. The rear-wing brace comprised five parts with play between them. To ensure alignment, I dry-fitted the assembled brace into holes on the transaxle and bulkheads as the glue set.

First color shot was Tamiya flat black acrylic (XF-1) mixed with Tamiya thinner (X-20A). I airbrushed it at 20 psi over the front suspension arms, engine compartment floor and bulkheads, rear-wing brace, interior tub, and front wings.

3

4

For contrast, I airbrushed the seats with Tamiya NATO black (XF-69) and the wheels with Tamiya semigloss black (X-18).

The interior is molded with part of the body, so I masked it with Silly Putty. The malleable material can be pushed into corners, forms a good seal, and comes off the surface without damaging underlying paint. The front suspension attached to the lower chassis was protected with tape.

5 Rather than black, this version of the Batmobile should be flat dark gunmetal. To get there, I mixed equal parts Tamiya gunmetal (X-10) and flat black. I sprayed this on the body parts. To ensure even coverage on complex shapes like the upper body, I first airbrushed corners, recesses, and panel lines. Then I sprayed the overall part.

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6 Don’t forget the smaller parts such as the wings and gun turret. I attached the subassemblies to scrap foam board for ease of handling.

7 Prominent frames on the windshield make masking a snap. I placed Tamiya tape over a pane and aligned one edge with a line on the part. After burnishing it into place with a wooden stick, I drew a hobby knife along the molded line to separate the excess, which I carefully peeled off the part.

8

9

To match the interior, I first sprayed the windshield with flat black. Airbrushed body color finished it. I mixed a bottle full of dark gunmetal to match touch-ups exactly.

The panel featured molded bezels but there were no dials. So I added them with a set from Model Car Garage modern-style gauges printed on thin clear plastic. I brushed white paint on the backside of four that looked right for the Batmobile.

10 Using sharp scissors, I carefully cut each gauge from the plastic. After filling each bezel with Deluxe Materials Glue ’n’ Glaze, I added each gauge and carefully aligned them with the tip of a knife. More Glue ’n’ Glaze over the top provided glass faces.

11 Recesses in the vehicle’s sides reveal … well, I’m not sure what’s in there, but I’m sure it’s important stuff. After airbrushing the panels flat black, I picked out the gizmos with Tamiya chrome silver (X-11), flat aluminum (XF-16), and metallic gray (XF-56).

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12 Being all black and mysterious, the front suspension looked bleak. To break up the gloom, I painted the rubber boots on the springs NATO black.

13

14

Painting revealed pesky mold seams along the body panels, but sanding them off damaged the paint. Before touching up the panels, I masked the inner side panels to protect the details I’d slavishly painted. Tamiya tape is perfect for this and a wooden stirrer pushes it behind the body panels.

15

Continuing assembly, I carefully flowed Tamiya Extra Thin Liquid Cement into the seams with a fine brush. Clever engineering hides most of the joins between the layered body panels.

16

The exception is the edge along the air intakes. Once again, I broke out the sanding sticks to smooth the seam …

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… and the airbrush to cover the blemishes. At this point, I was glad I’d mixed as much of the body color as I did.

17 While I could still easily reach the struts for the rear wings, I hand-painted the rods chrome silver. The same shade colored the front-wheel brake discs; the calipers were painted flat black.

18 I knocked the shine off the tires with a sanding pad. I’m pretty sure Bruce Wayne doesn’t take time to Armor-All these suckers and I don’t see Alfred doing it either; Robin, maybe.

19

20

Installing the rear wings proved to be the trickiest part of the build. Each is supported by five braces. Using slow-setting cement, I added the spearate forward-most struts to the body then lowered the wing onto the three rear supports and anchored it with thin liquid cement.

While the glue was still wet, I maneuvered the front braces into the holes on the wing. Liquid cement finalized the nerve-wracking exercise.

21 Gotham’s a dark place so the Batmobile needs lights. I painted the parking lights clear yellow (X-24) over metallic gray. The small lights below—infrared maybe—were painted with Tamiya black (X-1).

22 The instructions don’t call it out, but I figured the recesses molded on the rear fenders were taillights. So I painted them clear red (X-27) over metallic gray.

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in the next issue If you are a modeler who likes to be at the forefront of the latest techniques you won’t want to miss the next issue of Damaged from FineScale Modeler. We will amaze you again with a great variety of subjects from all modeling genres. You’ll see an incredible excavator, aircraft, a ship at sea, zombies, and a multitude of other cool things. Grab the next issue of Damaged — Weathered & Worn Models Magazine on sale Feb. 12, 2019!

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