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flat areas of the model. Once you have worked you way around the entire model the work can be reviewed. If the effect is too harsh then use either a clean, damp brush to wick the excess away or a damp cotton bud to clean up any mishaps.
Fig 2. CN Dash 8 2406 is a lot more care-worn so a brush applied fade was used to recreate the more streaked look on the prototype
Washes
Washes are probably the most commonly used and recognisable method of weathering as they can be very simple to apply. It was certainly the first method I experimented with a long time ago using Humbrol ‘Track Colour’ and dirty thinners from my brush cleaning jar (not recommended).
A wash if applied with a bit of though and care can be very versatile giving the impression of shadows and breaking up large area and, simulating dirt and grime deposits in corners and highlighting details. The aim here is to have more coverage than our fade / filters so the mix ratio of paint to thinners would be approx. 25% paint to 75% thinners. Again, if you prefer not to mix your own commercial washes are available as detailed in Section 1. Although acrylics can be used either oil or enamel paints.
The basic wash mixture can be used in two main ways; either as an overall coating to give the model a relatively uniform film of grime or to pick out large details e.g. moulded walkways; or as what is called a pin wash, which picks out details.
Fig 3. Progression of applying a pin wash – L-R: No wash, initial wash applied, excess wash removed
Where we can get a much more nuanced effect with our layering principle general washes will be put to one side. For a pin wash the first step is to ensure that all the pigment / paint is thoroughly mixed into the thinner/carrier. As we are looking to only apply the wash to specific areas a rounded medium size brush, say a No 1 or 2 for HO. Next get your brush moist (not wet!) by dipping it in the same thinner that the wash is made of and them wiping it on some kitchen towel to remove the excess. Now pick up a little of the wash on the brush and start touching it around the raised details of the model. Capillary action should do the hard work for you as the wash settles around the detail making them more visible by creating a shadow around them. Work on a small area at a time taking care not to get wash onto the
Fig 4. A pin wash combined a with a general wash. The pin wash picks out details like the bolt heads while the general wash over a matt clear coat breaks up the grey body side.
Rust
Being able to realistically represent rust in model form is a great addition to your skills as it is so common wherever metal work has been left neglected even for a relatively short time. It is also an effect that rewards close inspection of prototype examples to ensure the various patterns and colours that rust can take are accurately recreated.
To assist with interpreting nature there a couple of rules to remember when doing rust effects:
▪ Work from light to dark ▪ Work outside to centre
Rust Spots
In real life a patch of rust may start from a small dot of light orange rust and then over time will spread outwards with the centre becoming progressively darker. To recreate on a model the process is reversed with light coloured oils / pigment applied to form the widest part of the rust spot followed by progressively darker areas.
Using artists oils for rust spots start with a light colour and place a dab of raw sienna (yellow brown) on the model. Use a small brush like a 00 round or liner. Once placed clean off the brush with thinners and, with the clean brush, flood it with more thinners and touch on and around the spot to create a little puddle and liquify the paint. If the shape of the patch or amount of paint needs adjusting clean the brush again then touch the spot again to remove material or manipulate it as required.
Fig 5. Rust spot with oils as applied to my freelance CF7. Once the oils have dried a little the base of the spot can be dragged slightly to represent the spot bleeding