The weathering magazine pdf download

Overall views of the finished engine bay which show just how little of the engine is visible. Each side of the engine are the twin radiators and fan units. The fans are powered by drive shafts running off the sides of the engine and the each side of the radiators are pairs of shutter boxes with adjustable louvres to control the airflow to the radiators.

A cable connection allows the crew to regulate this from a handle mounted on the firewall. Here is the entire hull with the fully fitted interior. Among these specialized machines is the subject of this article; the Paver — or Asphalt Finisher.

A machine whose purpose is to receive a dump truck loads of a hot, sticky, black, petroleum based product into one side of the machine and distribute it evenly out the other side in order to create the roadways for our Sunday drives.

In this article I will show some of the products and techniques that can be used to create the severe staining and discoloration caused by the extreme conditions found on road construction sites. Specifically the paving machine, whose constant contact with asphalt, grease and grime make it the perfect choice for weathering.

One must be very careful when doing this procedure as the alcohol is very aggressive toward the paint finish. A second brush loaded with tap water is useful to control or stop the stripping process. Notice that grey colors are also used in order to enhance the depth and visual interest of the dark colors. This is followed by a light application of Dark Brown Wash along panel lines and surface details in order enhance definition.

I can use the different sheens of the two effects; the glossy nature of the Engine Oil and the Matte finish of the Engine Grime, to replicate older stains and more recent stains. Maybe this is true because a figure painter is only focused upon with capturing the all-important proper lighting scheme, or, maybe the artist is just fearful of ruining their work by adding elements of dust, dirt, mud or grease and to their piece.

As a result, figure painters tend to keep a very restrained weathering approach to their work. In regard to this, oil and grease is probably the easiest of all these effects to apply on a figure. Of course you must also account for their shape and size of the stain to make it both logical and pleasant to the eye; this is especially true about grease stains on the skin areas. The dust and other weathering have been already applied. Later on, after we have finished painting the grease and oil stains, we can revisit the other weathering steps including the highlights and shadows.

Although the steps here are shown here in a linear way for presentation and learning purposes, it is normal to go back and forth until reaching the desired results. You must tinker with them along the way as some of the effects can be lost with each subsequent step. Nothing beats the real thing! A very dark brown is mixed from black and a reddish brown. You can use a couple of shades, one lighter and other darker for variety, or just keep the black and brown separated and keep mixing them all the way.

Try to paint them randomly and in irregular shapes, but also concentrate them in logical places, e. The beauty about using oils is you can just wipe away or rectify a mistake with a little white spirit. Too much thinner on the brush will create a wash, completely wiping away the stain.

These are so volatile that would dry almost immediately. We are using very gentle passes to build up the effect instead of the usual scrubbing of AFV techniques. Again try to paint random patterns in logical places. Some stains larger, some smaller.

These details make a difference between a regular work and a good work. These days we can find a lot of products that imitate these effects, but they require skills of painting and practice. Fuel, oil and grease generate streaks, splashes, stains, etc. The matter is how to do them in a veritable way.

The most important thing is to get a well diluted paint, without lumps. As in previous step, we can remove the excess with thinner. Several effect s both of oil an d fuel of splash with several sh es and spills ades in the inta kes of this Sher ingredients ar man.

The e pigments, oi l paints and va rnish. I used AK Wet Effec ts around the towe r mixed with brown oil paint and without pigments, while in the exte rior I used a base of pigments. I used AK0 out pigments, mixed with brown oil paint and with of pigments. Thankfully most models of jet aircraft, especially military aircraft all that will be visible on the completed model will be the tailpipe section. Here we will show how to get a realistic metallic finish for these parts. John Murphy 1 The engine jet-pipes we are painting are cast in resin, so it is best to prime the parts prior to painting with the metallic colours.

Remember that we want some of the Gun Metal to show through the Chrome to act as a shadow. As can be seen here, the wash takes the shine out of the Alclad paints.

This will be rectified shortly. This is added by airbrushing an off-white colour into these pipes. The pigment is now buffed with an old brush that is only every used for metallic paints and buffing graphite pigments. The finished F eagle jet pipe and final stage compressor blade assembly. Owing to the vast numbers, many aircraft were left to rot, sometimes for years, until it was their turn for the chop. In this article I will detail the weathering processes for an engine in one such unfortunate aircraft.

The model is of a v fighter with an Allison engine, which has been left out in the open for many years at the Rukuhia aircraft dump and as such it has deteriorated quite a bit.

This was the fate for many New Zealand aircraft after the war. It comes in one piece and is highly detailed although some scratch building will be necessary for the engine bearers and some wiring. Allison engines tended to have grey rocker covers, which help to add a splash of colour. We use it here as a filter and a wash to highlight the raised detail and also to impart an oily, well used feel.

In order to bring out the fine detail and impart a metallic sheen, the part was dry brushed with Vallejo Model Air steel. However, the braided hose is left out of this step for authenticity. When we are happy, it can be fixed in place using white spirit. Taking a small amount of AK Interactive Engine Oil on a brush, it is flicked on with a cocktail stick to simulate a splattered effect. Leaving machinery out in the open will let moss and lichen grow, especially around organic matter such as oil.

We apply a small amount of Warpigs Olive Green pigment very sparingly in places to simulate this. Careful masking will ensure none of this painting and weathering will be spoiled whilst painting the rest of the P If you are interested in the chipping effects on the rest of the aircraft then issue 3 of the Weathering Magazine will guide you through this process.

Oil and grease stains are unique among weathering effects as they display a high degree of chromatic richness; from transparent to opaque, glossy to matte. Therefore, no matter what type of modelling subject that we choose to build it is very important that we take time to study the subject using colour photographs and real world examples.

I took some of those pictures to make the fuel and grease stains. It is very useful to learn where and how to paint them in your model. One of the most important aspects to bear in mind is that the spilled fuel and grease soaks the dirt and dust that is around and sometimes this gives them a reddish or orange colour.

Sometimes we think that this is rust, but in the desert, these reddish stains are dust mixed with those products.

Remember, for best results, this step must follow the general dusting stage we performed in earlier steps. This mixture makes it easy to quickly achieve consistent, realistic results. We can thin AK with White Spirit to achieve transparencies. We can replicate this effect by applying narrow, vertical lines. This irregularity will give us more realism. Compare different intensities and sizes. John Murphy We show a couple of different methods for creating realistic metal effects for rocket engine nozzles using a range of Alclad-2 metallic lacquer finishes.

These finishes will be perfect for all manner of spacecraft engines, whether they are real or Sci-Fi 1 Even though the Space Shuttle nozzles are cast in light grey resin, they will still need priming before applying the metallic effects. Wu Bayin 1 This is the engine from the Zvezda LR, we have cut the exhaust pipe down, for easier handling. The engine is first primed with Mr. Surfacer Next, airbrush several thin coats of rust tones using Tamiya XF-3 and XF, notice that the dark grey base colour is still visible.

Once the Lifecolor Rust paints have dried, we now apply a layer of hairspray. Using a short stiff-bristled brush and some water we start to create the chipping effect. We can now add patches and flakes of a bright blue paint with a brush.

For small pieces, such as this pipe it is easier to hand-paint the chips, rather than trying to use the hairspray technique for example. Now we can start to blend all the elements together and bring harmony to this engine. We follow these initial pigments, by adding a further three different tones of earth and dust.

Be careful with the location and the amount of the fuel and oil runs, as too many will ruin all the previous effects. For the best results use a fine pointed brush. Although these wagons are beautifully detailed and painted they are just too clean to look real. We start by airbrushing white spirit onto the tank to soften the enamel grime paint. This is to simulate the distinctive scratches often seen on these wagons.

Note the left-hand one has been wiped over with a cloth rather than Scotchbrite. Here we have used a mix of Lifecolor Israeli Sandgrey and Wood warm light shade. We can do this with white spirit and a cotton bud Q-tip. Again this mix was thinned with Cellulose thinners. Some further oil stains were added around the axles to replicate lubricating grease. Notice how clean the wheel hub covers are.

This wagon shows perfectly all the scratches in the grime along the sides of the tank. The spilt oil on this wagon has run down the sides in thin lines instead of large stains. Aircraft engines tend to get dirty rather quickly once they enter service. Especially older styles of engine such as those in World War 1 fighter aircraft.

These early engines tended to shake, rattle and leak while they were in use. Of course any leaking oil would be wiped it off during servicing. Then add to this, the dust of a battlefield and field maintenance conditions, which causes the oil to act like a magnet for dust and dirt. In the following steps, we will show you how easy it can be to achieve a complex looking finish, such as seen on this WWI Mercedes Benz engine. Alex Uschi Van Der Rosten 1 1 After a good coat of primer we paint the entire engine in a flat black.

Metal Iron has now been applied onto the engine block, which has created a partial shine but it is still not exactly the finish we want. Q-tips help on one spots that should be highly polished. The easiest way to remedy this is to simply mask off the engine block and give the cylinders a fresh coat of flat black. We pick two earth tones and mix them individually with some white spirit. Thankfully white spirit does not affect the polished metal finish, which is a very good property.

We can speed up the drying time with an airbrush to blow the pigments dry. A little piece of cloth can be used to wipe away all excess pigments.

The pigments mixed with this black wash and collected in the corners to create a real dirty oily effect. This time we only add the pigments to the certain spots. In this photo the pigments are shown in their wet state before drying out. On this stage we do not use a cloth, but use brushes instead, making the entire process more controllable. The Weathering Magazine Issue 1 - Rust - superunitedkingdom. The Weathering - Aircraft - Issue 2 - Chippings - superunitedkingdom.

The Weathering - Aircraft - Issue 1 - Panels - superunitedkingdom. The Weathering Magazine - Greatest Hits vol 1 - superunitedkingdom. The Weathering Magazine. Special - World War 1 - superunitedkingdom. The Weathering - Aircraft - Issue - 3 - October - The Weathering - Aircraft - Issue 08 - Seaplanes.

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