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Back2Basics
PART 14 – Weathering
Section 2: Practical Application
By Dan Spalding
Welcome back!! In Section 1 I explained some key concepts to process of weathering and also all highlighted some useful materials and tools that should help in the quest for realistic models. In Section 2 the emphasis shifts to the fun part and applying paint etc to our models. Before we commence it’s worth briefly re-iterating a point from Section 1. The techniques covered in this piece may be familiar but if not then they may be quite daunting as first glance. To help with this the suggestion is to work as a comfortable pace and practice on a scrap body shell or sheet of plasticard before moving onto a prized model.
Layering
The key idea to remember in applying weathering to your model that you are (in most cases) going to need to apply multiple layers of differing effects in order to get the ‘total’ look. In this way it is mimicking the natural accumulation of dirt, grime and rust that the chosen prototype will go through in real life. It also provides a check and balance to access how much extra to want to go with a particular model – it’s easier to add a little more rather than having to remove an effect when it’s been overdone.
The starting point in all of this will be your base layer. In many instances the main elements of the base layer will be provided for you curtesy of the model manufacturer in the form of the loco / stock paint scheme and markings. In this case to get a suitable starting point it is advisable to the model a clean-up with warm water and a neutral soap to remove any grease / oils. Once the model has air dried then a coat of satin or matt vanish should be applied in order to protect the underlying paintwork and marking. Also think about the various mediums you are using and their compatibility e.g. if you are going to weather with oils or enamels then chose an acrylic clear coat that won’t get reactivated by mineral thinners,
Where the base model starts undecorated then the modeller has addition scope to introduce techniques like pre-shading and modulation of the base colours to create shadows and break up blocks of colour. While this article may touch on some of these skills, they will not be covered in depth due to the likelihood of working with pre- decorated models.
So what order should our effects be applied? The below schedule is a good way of working, remembering after each layer to protect your work with a coat of clear coat (matt or semi matt):
1. Filters
2. Oils
3. Washes
4. Chipping
5. Streaking
6. Dust
Although mentioned in Section 1 it’s worth highlighting again about the use of Black and White for weathering. In the majority of situations, it is best to avoid using a pure version of either of these colours on they own as they give too harsh an effect as compared to real life. Taking black as a more obvious example, oil deposits or exhaust soot are not a pure black but have a subtle brown (oil) or grey (exhaust soot) tinge. Thus, in a weathering situation a more realistic result will be achieved with a slightly ‘off’ shade such as Vallejo’s NATO Black, or more obvious weathering related shades such as Burnt Black, Dirty Black or Rubber Black as mentioned in Section 1. For white try mixing with a spot of a very light tan or light grey depending on what application e.g. scale deposits on steam loco boilers / fireboxes.
Fades / Filters
A filter is a translucent layer of paint that can be used for a number of different effects:
• Applied in specific areas to create highlights or shadows
• Applied across a whole model to tone down and bring together
differing adjacent base colours
• Altering the shade of factory applied base colours where they
look ‘wrong’ to your eye (Check your reference pictures!!)
• Replicating sun / elements fading of fresh factory paint – think
BNSF patched ex-ATSF Warbonnet Dash 9’s.
The aim here is not to cover the underlying colour but enhance it so the paint mix should be v thin e.g. approx. 10% Paint, 90% Thinner applied in thin coats. If using acrylics, it’s worth using your chosen brands ‘Extender’ or ‘Retarder’ to help break down the surface tension in the water carrier. Alternatively, ready mixes versions are available as mentioned in Section 1.
Filters can be applied with a brush or airbrush; application with a flat brush will give a more uneven application as opposed to the more uniform effect you will get from an airbrush depending on the desired look. Again, always check your references as to how the prototype weathered down.
For fading the base colour, the suggested method is to give the model a base application of matt vanish / clear to give the paint something to grip to. Next the fade mix should be prepared using white / off white as a base and then adding a v small amount of the base colour; the reason for this is to avoid getting a ‘frosted’ look to the model which in the majority of cases is not how real railroad liveries.
With the mix prepared it can be applied with either a wide flat brush or an airbrush with the same caveats as noted previously. Observation from previous projects and their prototypes is that, in most cases, the uneven look via brush application matched the uneven fade patterns especially across large flat surfaces like diesel hoods. However, for small areas it can be quite even thus lending itself to using an airbrush
Fig 1. A very light fade on UP 5516 applied with an airbrush
Once the paint is dry enough to handle then if required the excess fade paint can be removed from lettering etc via wooden cocktail sticks moistened it water. If the effect you have is sufficient then seal with a clear coat otherwise allow to dry thoroughly and repeat the process.