11

N 52

N 52 11
SPECIAL BLITZKRIEG
72 PAGES
Armour Modelling Magazine

PZ.BFWG 38 (T) AUSF B

RENAULT FT17
STUG III AUSF.B
SD.KFZ 232
PANZER ACES

WAITING FOR THE TOWING VEHICLE

MODELLING LESSONS: MUD

www.euromodelismo.com

PortadaPA52.indd 2 31/8/16 12:03

InteriorPortada_Pub_AMMO.indd 1 31/8/16 12:04
 PANZER ACES N 52 2016

2 PANZERBEFEHLSWAGEN PZ.BFWG 38 (T) AUSF B

This small Czech AFV which eventually became rather useful for the German Army,
was one of the great stars of the Blitzkrieg. We are showing a seldom seen version;
the command version identifiable by its large radio antenna found on the rear of the
vehicle. This is an excellent Tristar kit with an excellent contrast work between
the dirt and the dry mud and its dark Panzer Gray livery.

16 RENAULT FT17
One of the consequences of the Blitzkrieg was the capture of a considerable amount of enemy
war material. Abilio gives us an example of this with his German FT-17. This kit has a subtle
paintjob, especially with the dirt work on this vehicle.

48 STUG III AUSF.B

Another feature of the lightning war was the common use of self-propelled
artillery for infantry backup, a job that was entrusted to the specially designed
Stugs that played an important part towards the beginning of operation Barba-
rossa, when very large expanses of land were conquered in a very short time.
Carlos Stug with its peculiar brown spot camouflage on the roof of its casemate is
a perfect example. This kit also features outstanding dirt and dry mud work.

26 SD.KFZ 232
We cant talk about the Blitzkrieg without mentioning the scout vehicles. The
work which traditionally was entrusted to Germanys cavalry was given to these
armored vehicles on wheels that were present throughout the conflict in varied
forms. Ivan deploys a wide range of techniques on his 232 including the new
Black and White painting technique to recreate the vehicles Panzer Gray. We
will also like to mention his elaborate dirt application work.

38 WAITING FOR THE TOWING VEHICLE, FRANCE 1940

Not everything was gray during the Blitzkrieg. Color was provided by the French AFVs
and their flashy schemes. Jorge shows us in a very instructive way how to use these
camouflage patterns, integrating the vehicle in a natural environment, putting the
vehicle in context and hiding it at the same time. A very interesting article of a vignette
which is full of light, color, plant life, minutiae, human elements, animals, etc. with an
impeccable presentation and some wonderful pictures.

68 MODELLING LESSONS: MUD

This time weve been doing some tests for recreating easily mud and doing mud splashes. We also show what are the market
choices and the different products available in order to create a springboard for your own work.

www.euromodelismo.com www.facebook.com/PanzerAces.Magazine

1_indice_52.indd 1 31/8/16 12:21

 PANZERBEFEH

/2

2-13_38tobi.indd 2 31/8/16 12:12

EHL
EHLSWAGEN

PZ.BFWG 38 (T) AUSF B

By Jorge Porto del Corral

TRISTAR 1/35

This command AFV -quite common on the opening years of WWII- is just a simple variant of
the many that were made using the PzKpfW 38(t) as a base. Many variants using this AFV
were made: AFV-hunters, self-propelled howitzers, anti-aircraft retrieval vehicles In this
case the only difference between this AFV and the base vehicle is just the FU 8 radio system
which this vehicle had instead of the frontal machine gun and the large antenna on top of the
engine compartment. Supposedly, each Panzer Division had about ten units of this type of
vehicle, and a grand total of 300 units were manufactured.
This Czech AFV is considered to be the best lightweight AFV of this opening war period,
because of its outstanding technical features. In fact this vehicle was used by other countries
such as Bulgaria, Slovakia, Hungary, Iran, Peru, Romania, Sweden and Switzerland.

3/

2-13_38tobi.indd 3 31/8/16 12:12

 THE KIT

I built my 38(t) using Tristars product

ref. 039, which is the version that
includes the interior details, although
I employed the pieces for the inside of
the turret only. This is an excellent kit
and its pieces are well molded, with
fine detailing. The pieces fit together
in an exacting way and hardly have
any flash. The piece array is also quite The track links are individual pieces, but are articulated. I employed metallic
well thought and we have the option ones.
of leaving open hatches revealing the
interiors on the turret, the hull and
the engine. The vehicles suspension
is fully functional, so if we want to,
we can adapt the vehicle to an uneven
base. The track links are individual
pieces but are not articulated. I
replaced these for metallic ones. The
kit also includes a P.E. sheet with
some pieces such as the grille and
some belts. The decal sheet offers us
motifs for four different versions.

In addition to the metal tracks I also purchased the RB Models two meter antenna, a bottle
of wine and the folded tarp which is scratch made. I also dented the fenders here and there,
I bent a box cover and I also added some texture to an exhaust and also scaled it down by
trimming excess plastic.

/4

2-13_38tobi.indd 4 31/8/16 12:13

 The large antenna was only glued down when the kit
was finished, because its frail nature meant that it could
easily break. In fact, once I glued it in place it fell off
several times. The tools were also glued after I was
done with the weathering processes.

5/

2-13_38tobi.indd 5 31/8/16 12:14

 I applied a coat of primer in order
to get a good grip for paint. I used
Mr. Surfacer 1200 diluted with its
specific thinner in a 50% proportion.
I airbrushed several thin coats of it
with an air pressure of 1.5 bars. These
coats were dried up by blowing some
air with my airbrush.

I created the Panzer Gray base color

using Tamiyas XF-24 Dark Gray and
XF-63 Panzer Gray. I used the first
color to cover the flat surfaces and
the second one for the vertical areas.
Actually both colors are quite similar
but the XF-24 is somewhat lighter and
thats why I applied it on the areas
prone to get sunlight weathering. I
definitely was determined not to have
an unrealistic Smurf bluish gray.

1 I usually start the weathering and

dirt application processes with a
few washes. The goal here is to
create a dark shade along the
base of whatever feature the
kit has. The best example
here is the screws. By doing
this and also thanks to the
backing technique employed
later drybrushing- I strengthen
and help stand out the features of
the kit. This shading also represents
the accumulation of dirt typical of
these areas. In this occasion I resorted
to using oil paints. I specifically employed
a mixture of black and Burnt Umber. I made
a diluted mixture of these two oil paint colors
and White Spirit. The mixture was applied
on the go. This way I also get to create a few
stains and dirt trails.

1 2

/6

2-13_38tobi.indd 6 31/8/16 12:14

 Once this gray base was dry, I covered the kit with a coat of gloss varnish to create a perfect base for the decals. This
coat of gloss varnish will hopefully help us avoid the feared decal gloss effect. Then I applied the emblems and numerals
employing the Micro Set and Micro Sol product.

2 The wash effect is backed up by the dry brush technique

which I use to highlight the most prominent and
pronounced areas on the kits pieces. I use this technique
in a very subtle way and I never use it on flat surfaces.
I do it with Vallejo Acrylics because these paints are
optimal for this technique. The specific color employed
was Panzer Aces 305 Rubber.
with white and finishing with Sepia or Raw Umber. You
have to play with your oil paints along the surface; be it
with filters, washes, streaks or simply doing stains sort
of like mapping. It merely depends on the ideas I get and
the area I happen to be working on. The secret is never
to fully cover your previous work with each new color.
Here you can see the work I did with white oil paint: a

3 The color used for drybrushing was also employed for

the light paint chips. Some of these were filled with
307 Red Tail Light (also a Panzer Aces color). This paint
streak on the right side, a paint filter on the central area,
some mapping on the left side and some washes on some
screws.
looks exactly like the red priming Germans used on their
Within this oil paint process there was a brief

5
vehicles throughout WWII. When doing paint chips
parenthesis; the acrylic mapping. The idea behind
I take particular care in choosing the spots for these
applying this technique is to do additional but more
trying to arrange everything in a logical and believable
opaque and well defined stains, which cannot be made
way. The edges of the armored planks are a logical and
with oil paint. Thats why I used extremely diluted
recurrent spot for paint chips as we can see in real life
acrylic paint. The secret is to unload your paintbrush on
and period pictures those that are close enough, of
an absorbent surface before you make the stains. The
course-.
colors employed were: German Gray 995 and Chocolate

4
With the idea in mind to recreate worn or dirty paint
on a used vehicle I usually turn to oil paints. This is a
process based on superimposing different colors starting
Brown 872 (Both Model Color AV) and Dark Rubber 306
and Light Rubber 305 from AV but from the Panzer Aces
series.

3 4 5

7/

2-13_38tobi.indd 7 31/8/16 12:15

 Continuing with the oil paint work after finishing with
the white paint I began working with Naples Yellow.
With it I worked on the areas where I wanted dirt and
dirt clusters. During this painting phase I get a color base
which was later on corrected with other colors.
The next color employed for the application of
dirt was Raw Sienna. As you can see, this color is
applied on an area previously soaked with White
Spirit. Some areas are covered with the previous
colors, but this is not the case everywhere. What
we need to create here is a little variety.

The colors employed in this oil painting
process will gradually be getting darker.
After working with Raw Sienna. I used Burnt
Umber and Sepia. If you look carefully you
will notice that the darker the color used
the more diluted it was used. This altered
the surface where it was applied but did not
cover it. These two colors were also used to
do further dirt stains in a darker and more
opaque way.
I was determined from the start to make
the dirt work on my 38(t) a priority.
Thats why all the painting process is
headed towards enhancing this effect.
There is no doubt that the ideal means
to get this right was to employ color
pigments. I began by depositing small
amounts of pigment (an ad hoc color
mixture of my own) with a paintbrush. I
always begin with less visible areas such
as the interior of the wheels.
Then I put a few drops of
enamel thinner on the areas
with pigments. We have
to let the thinner cover
everything by capillarity,
without moving the
pigments. This is enough to
fix the pigments in place.

I let the pigments dry for some time and

then I rub the pigment covered areas with
a soft paintbrush. I always try to move
the paintbrush in a way that the pigments By gently rubbing with your fingers the areas that stick out, you obtain
get swept to the deepest recesses and also by contrast the natural looks of accumulated dirt. So thats what I did on
proceeded to remove these from the areas all rounded rivets and on the edges of the armored planks. The results can
which stick out more prominently, like for be judged in this picture.
instance the lines along the fenders or the
screws on the hull.

/8

2-13_38tobi.indd 8 31/8/16 12:15

 I attempted to recreate the looks of heavily chipped boxes created by so much banging around, allowing you to see the red
priming paint underneath or rusted metal. This effect is achieved by using a mussed up paintbrush perpendicularly. The lighter
shade of gray was Dark Rubber 306 PA. The red employed is Red Tail Light 307 PA and rust was made with Dark Rust 302 PA.

The leather straps holding the crank in place are painted

with Leather Belt 312 PA and profiled with black oil paint.
The tool handles are painted with Red Primer Brown A-MIG
The wooden antenna supports, 923, except the shears which had Bakelite handles and are
for instance are painted with Old painted with Bakelite A-MIG 913.
Wood 310 PA, then covered with
chipping fluid and chipped with a
paintbrush and water once the gray
paint covering it dried up.

I tried to make
the decals look
as dirty and
On the right side of the engine I recreated a few fuel spills.
worn as the rest
Some were drier, some were wetter and therefore more
of the vehicle.
recent. Both were made with Titans asphalt oil paint. The
This is something
wetter ones are made by applying paint straight from the
necessary to deal
tube. The drier ones are made by diluting paint with White
with if we want to
Spirit.
obtain a believable
appearance for our
vehicle.

On the fenders we can see how the drybrushing and washes

For instance, the large numerals on the side of the turret
were scratched with gray, stained with oil paint both
on the red and the white surfaces. I also did real paint
scratches over the dirtied surface using a toothpick.
Thats why we have different color intensities on both
colors.
complement each other. With the washes we create dirt
clusters on corners and recesses and with the drybrushing
we enhance the volume of the prominent features, such as
the lines on the fenders, the edges of the armored planks or
the screws and rivets. The wooden block was painted with
two Panzer Aces colors; Old Wood 310, New Wood 311 and
a pigment wash using the mixture employed previously on
the vehicle.

9/

2-13_38tobi.indd 9 31/8/16 12:15

 Pigments were more intensely used on the wheels.
This effect was created by successive pigment
mixture accumulations fixed with White Spirit. The
dark paint chips were painted by hand using Dark
Rust 302 PA. The scratch on the dirt on the wheel
was done exactly like that; scratching the surface
with a toothpick. The oil remains on the hub were
also made with asphalt colored oil paint mixed
with a little Sepia. As usual, the varying amount
of thinner is what determines the dryness of such
stains.
/ 10
2-13_38tobi.indd 10
I also painted the exhaust with Panzer Aces acrylics, Light
Rust 301, Yellowish Rust 303 and Dark Rust 302. I worked on
its surface with a trimmed paintbrush, creating micro dots. I
began with the lightest color and went to the darker one and
vice versa. I was always careful not to cover the previous work.
I finished the work with a discreet dirt application on its upper
surface. This was made with a subtle White Spirit pigment
wash.
31/8/16 12:16
 Sand accumulated on the corners of the
frontal part of the vehicle were made with
two different pigment mixtures that were
fixed in place by simply using two drops of
enamel thinner. Along the edge of the glacis
there are many tiny paint chips revealing
both the red priming and the rust underneath.
These are made with a trimmed paintbrush
using colors Red Tail Light 307 PA and Dark
Rust 302 PA. The screws reappeared after
some drybrushing with German Gray 995 AV
MC. The contrast created by the surrounding
dirt enhances their shape. In this picture we
can clearly see the different dirt and sand
hues in contrast with the rivets and other
stand-out features, created by the different
oil paint treatments described earlier.

On the turrets roof I tried to get a satin finish on the areas prone to be
rubbed frequently by crewmen, as we can see on real metal surfaces
in real life. In order to accomplish this, other than the techniques
mentioned earlier, I tried to polish the paintjob. First I rubbed these
surfaces with a soft paintbrush while some places were rubbed with my
fingers. The most prominent areas (those that are more prone to this
kind of wear) such as the edges of the hatch, also received some graphite
pencil lead- to recreate the polished metal surface.
11 /

2-13_38tobi.indd 11 31/8/16 12:16

 / 12

2-13_38tobi.indd 12 31/8/16 12:16

 13 /

2-13_38tobi.indd 13 31/8/16 12:16

 RENAULT

By Abilio Pieiro

MENG 1/35

The Renault FT was a small lightweight A.F.V. from WWI armed with a small 37mm
Puteaux SA 18, but other versions with a light 8mm Hotchkiss machine gun instead of this
gun were also manufactured. Although its hull was minimally armored it was up to the
periods standards. Its 35 HP Renault water cooled steam engine, was located in the rear.

/ 14

14-23_FT-17_.indd 14 31/8/16 12:12

 FT-17

During the invasion of France in

1940, all caretaker status materials
including the 575 FTs were mobilized
as defensive aid, although it was soon
made clear that the ineffectiveness
of these vehicles for modern war-
fare was manifest. The Wehrmacht
captured 1.707 Renault FT units of
which approximately 100 units were
employed for policing and patrol
chores on airfields and 650 units were
used to control occupied France.

14-23_FT-17_.indd 15 31/8/16 12:12


The Light Cast Turret is wonderfully
executed and includes all lines, markings
and foundry numerals, giving you also
the possibility of leaving its rear hatches
in either an open or closed position. But
watch out, because there is a line around
the turret on top of the upper bolt line
which looks like leftover burr but its
actually a feature of the FTs with this
type of turret. The inside features of the
gun are also included along with several
ammunition storage items.
/ 16
14-23_FT-17_.indd 16
THE KIT
Here we have an overview of the
piece array and the sub-assemblies
made. As you can see I usually
apply a light coat of Squadrons
green putty diluted with Tamiyas
liquid glue to seal parting lines.
This is just a personal fixation
of mine. The springs meant to
recreate the shock absorbers have
been replaced for thicker ones,
because those from the box are a
little bit out of scale as we can see
in the reference pictures of the
real FTs. Another detail which
should be taken into account is
the possibility to paint and age
separately both the undercarriage
as well as the rear device
employed for overcoming ditches
and trenches.
The interiors of the small FT are
perfectly well recreated in this kit,
including both the interior panels
as well as the drivers post, rear
fireproof bulkhead, transmission
and an outstanding engine. For
those modelers fond of complex
and exacting work there are already
several aftermarket products to help
bring a maximum of detail to both the
inside and the outside of this vehicle.
The Meng kit has been well received on
the market because it represents a signifi-
cant leap in terms of quality when com-
pared to the previous existing versions of
this kit hitherto available. A first version of
this kit with full interiors and a Light Cast
Turret was first launched, and this is the
version employed in this article. Later on,
Meng issued a more economical version
without interiors and a flat riveted turret.
This product (TS-008) contains:
- 350 sand colored molded pieces.
- 68 plastic track links
- 1 small P.E. sheet
- 2 metal suspension bars
- 2 small metal pins.
- 2 long springs
- 2 short springs
- A decal sheet
A 21 page instruction sheet with color
diagrams.
31/8/16 12:12
 The kits assembly should be under-
taken deciding first whether to use the
interior detailing pieces or not. At first I
chose to go the complex way and include
all the interior pieces included in the box
and as you can see in the pictures I even
got as far as building those. After some
careful thinking I decided to build a closed
version with no visible interior pieces. I
must say that if you choose either of these
two options you should consequently
plan your assembly and create assembly
subgroups which will make painting
easier. This is not possible with many
kits, but the design of this kit in particular
allows you to work this way.
In this case in particular, were dealing
with a hull made up of multiple panels:
inferior, lateral, higher, rear and frontal
ones which are furnished separately and
need careful alignment in order to obtain
a correct assembly. The fact that some of
these pieces are fastened to the styrene
runners beveled does not help our work
a great deal, but we can fix this by using
a brand new X-Acto, some sandpaper and
putty.
The rest of the assembly process is
quite simple as you can see in the pictures
and texts that accompany this article.

PAINTING

Ive recently finished some model

kits with French camouflage schemes
such as the hard edged pattern of
the Schneider and as a consequence
I decided against similar patterns.
After reading about and seeing the
vast amount of vehicles that were
repainted by the German troops using
Dunkelgra paint I decided that it
would be interesting to recreate an
airfield surveillance vehicle. This
FT-17s were versions with both a
main gun and a Hotchkiss machine
gun and were used for routine tasks,
had a good maintenance and rarely
saw any real action. These vehicles
were slightly dusty but were not
I was determined to test some painting techniques and other brands, so I excessively punished. With this idea
decided to use for this project a set of Lifecolor acrylics that have been sitting in mind I began painting my kit fol-
around here for several years practically unused. This brand has a strong lowing the processes described in the
covering capability and paints are odorless. Paint was diluted with the brands picture captions.
own thinner and was allowed to dry for 12 hours before I began with the
weathering phase. RAL 7021 is a rather appropriate dark gray for using it as a
base color and doing some previous shading work. After applying grey priming
on the entire kit I let it seat for a full day and then used soft sponge sandpaper The base color was now ready to
(3M) to smoothen some surfaces. Later on I airbrushed the dark gray paint varnish and begin the weathering
covering gradually the kit with several coats. This is a rather pleasant slightly work. Towards the end, when I
bluish hue and a mat finish. was closing the hull, I had five
separate sub units that could be
handled quite comfortably.

17 /

14-23_FT-17_.indd 17 31/8/16 12:12

 Employing the same base color and some white, I lighted up the areas which needed highlighting and created some
modulation. As you can see, it has a slightly bluish hue which is quite light. I prefer to work with a far lighter base coat
than needed, because all kinds of weathering processes undertaken, regardless of how light these may be, will tend to
darken our kit and I can guarantee you that lighting this up later is an almost impossible task.

Using Vallejos black and white paint I painted

and went over each and every screw, hinge and
detail on the kit. You really can overdo this
without worrying because if theres something
that we dont like we can always darken the
area later with color filters or just the regular
weathering processes. This phase, although quite
tedious is quite necessary because it will provide
added volume to the kit.

In this case I chose to apply Mig Productions

transfers which are quite realistic, avoiding the
risk of decal application and the possibility of
getting some unwanted silvering. Transfers can
be applied easily and fast and we can move on to
the next phase almost immediately. Once applied
I rubbed the transfers further with a rubber
tipped brush (these are used for sculpting) in
order to secure the transfers better.
/ 18

14-23_FT-17_.indd 18 31/8/16 12:12

 In order to enhance the personality of my FT I decided to apply some dirt throughout. By using Tamiyas XF-57 buff,
XF-52 mat and white sand diluted with Lacquer Thinner I created a light dirt layer that would ultimately constitute
the base and guide for the weathering processes to follow. It is crucial to apply it highly diluted trying to apply a mere
transparency in order not to fully cover all previous work and enhance all previous effects. I applied first the darker sand
hue; later on I moved to the buff and mixed this with a little white for the final touches.

I usually put my kits

on top of a provisional
stand in order to be able
to manipulate the kit
easily. With a small piece
of featherweight board
and some blu-tack we
can perform wonders.
The first step in the
weathering process
was to apply a soft
ochre filter employing
Mig Productions
Earth Wash quite
diluted with thinner. I
worked on some areas
more intensely with
this product (using it
undiluted) creating
rain marks for the
vertical panels creating
horizontal clouds.

The tools and the exhaust were painted with acrylics following the usual techniques and doing some zenithal light source
effects. I like to paint these items at this intermediate stage because that way we can integrate these with the remaining
painting processes and also see how these contribute to the final looks of the whole ensemble. The exhaust and its rusty
hue is fresco- mapping work in various hues, starting with the lightest hues and ending up with a rust colored pigment
wash diluted with pigment fixer providing some necessary texture.
19 /

14-23_FT-17_.indd 19 31/8/16 12:13


I usually also do some small
paint chips and scratches during
this intermediate stage again to
integrate these with the rest of the
painting processes and see how
these contribute to the final looks
of the whole ensemble. I employed
chocolate brown acrylic paint trying
to make these as small as possible.
A larger paint chip is the result of
a number of smaller paint chips
occurring together. I did not want
to abuse this effect because as I
mentioned earlier were dealing with
units that hardly saw any action and
were well maintained.
I finished the work by using some light sand colored pigments to enhance some dirt clusters. The specific product used
was Mig Productions European Dust P028 thinned out with natural sienna oil paint and some thinner to fix it in place.
/ 20
14-23_FT-17_.indd 20
With the intention of creating a little
more tonal and chromatic variety
I applied to the undercarriage and
the upper portion of the turret small
amounts of white oil paint mixed
with natural sienna and some Naples
yellow while melting oil paint with
thinner.
I applied some fuel and grease stains
on top of the engines cover mixing
bitumen, asphalt and burnt sienna
colored oil paints. A bit of satin
varnish gives it enough gloss. For the
hinges and the greased up areas of the
vehicle I also employed the same oil
After seeing the results of my work paint mixture.
thus far I decided that it was time to
apply a pin wash along the panel lines
using a dark brown/black mixture.
I employed Mig Productions Dark
Wash because of its nice consistency
and depth. This is a very important
phase because we can get a lot of
volume on our vehicle and it helps us
to tell apart the different elements
which our kit contains.
31/8/16 12:13
 TRACKS
The track links provided are excellent and are articulated but
these have a small external mold ejector mark which requires
some knife work. With a small click and 5 minutes work I had
assembled both tracks. 32 track links on each side will give
you a perfect fit in and tension.
Different grit sandpaper sheets were used to fully get rid of
the mold ejector mark on the tracks. This is rather tedious
work, but very necessary in order to fully get rid of the
mold marks.

The tracks are painted with

several successive coats of
black and brown Tamiya
colors. First we start with the
darkest hue and then we work
through the lightest one. I did
this in several coats without
actually covering any previous
coat in full. I did this to obtain
a variation between the
different hues. A little double
sided adhesive tape was used
to secure the tracks because
I didnt want these to blow
away with the pressurized air
from my airbrush.
After letting this sit for a
day, I applied several ochre
and sand colored pigment
hues; European Dust, Dark
Mud and a smaller amount
of Light Dust, securing these
with pigment fixer applied
by following the capillarity
principle. We can use either
our airbrush or a hair dryer
to accelerate the process.
The results are immediate.
I finished the work on the
tracks and the FT by applying
a coat of graphite rubbed with
my fingertip hard enough to
fix it in place.
21 /

14-23_FT-17_.indd 21 31/8/16 12:14

 / 22

14-23_FT-17_.indd 22 31/8/16 12:14

 23 /

14-23_FT-17_.indd 23 31/8/16 12:15

 S

/ 24

24-31_STUG_III.indd 24 31/8/16 12:08

 STUG III
AUSF.B
By Carlos Alba Lpez Picture credits Joaqun Garca Gzquez

DRAGON 1/35

The Stug III was the German assault gun created initially for
infantry backup. Just like all German vehicles during WWII, this
vehicle suffered numerous modifications. In this case we will deal
with the Ausf. B model with the typical Panzer Gray scheme, but
with a curious camouflage pattern with brown spots on the roof
of its casemate.

25 /

24-31_STUG_III.indd 25 31/8/16 12:09

 ASSEMBLY
This Dragon kit has a
decent piece arrangement
and general detailing,
for a kit that has been
around for a few years.
It doesnt require special
modifications and can be
easily built by following
the instruction sheet.
The kit can be definitely
improved with the Eduard
P.E. set which contains
improved mudguards,
engine grilles or tool
clasps.

MATERIALS
EMPLOYED
- Kit: Dragon ref. 6008
- Accessories: Eduard P.E.
sheet ref. 35125

Additionally if we engage
in additional work like
making a few missing
welding lines with Tamiya
putty, doing detailing in
some handles and taking
care of the missing electric
wiring (employing copper
wire in different girths)
the kits appearance will
definitely improve.

/ 26

24-31_STUG_III.indd 26 31/8/16 12:09

 PAINTING
I chose the painting scheme of a Stug
from the 226 Stug. abt. This is a vehicle
painted in Panzer gray with brown spots
on the roof of the casemate, which is a
seldom seen pattern, because camou-
flage was usually always employed on the
whole surface of the vehicle.
Once were finished with the assembly
work it is quite recommendable to
wash your kit with water and soap
to get rid of the dirt remains and dust
which may have gotten there during
the assembly stage. The surface will
now be clean and ready to receive
paint. Before applying the base coat I
apply Vallejos Panzer Gray priming.
It isnt necessary to fully cover the kit
thoroughly. Right now we just need to
apply a few thin coats to change the
color a little bit and create a support for
the paint that will come later on. The
base color was made with a mixture
of Tamiya acrylics. Panzer Gray can be
obtained with a mixture of 60% XF-63
German Gray + 25% XF-50 Field Blue +
15% XF-18 Medium Blue and should be
airbrushed in several soft passes.

The kit is highlighted by adding XF-19

Sky Gray applying two highlights
following the zenithal light source
technique. For the final highlight we
can add a little XF-2 White, but we
just highlight with it the upper area of
the casemate and the hatches. Shading
incorporates highly diluted XF-1 Black
and is only applied on the areas with
less light exposure and other crevices.

The camouflage spots are hand painted doing several highly diluted coats of Vallejo acrylic 872
Chocolate Brown.
27 /

24-31_STUG_III.indd 27 31/8/16 12:10

 In order to protect the base
coat we now seal the whole
vehicle with a coat of gloss
varnish. This is also quite
necessary when it comes to
putting the decals in place
and avoiding unwanted
decal gloss. Decals are
set in place with the help
of the specific product
for it, allowing it to dry
for a couple of days. First
we soak the area where
the decal goes with the
Microset product. Once the
decal is exactly in place we
apply the Microsol liquid.
This makes the decal softer
and helps it adapt to the
contours of the kit, which
is quite advantageous when
there is riveting underneath
for instance.

Once the decals are in

place, the kit will be ready
for the different dirt and
weathering treatments to
follow. Before we begin
with that, we apply a coat
of slightly satin varnish to
seal the decals and we let it
dry thoroughly.

DIRT AND WEATHERING

I usually divide this process in two stages:
- Weathering and base paint deterioration
- Dirt effects
Weathering begins by applying oil paints.
The method employed is the micro dotting
technique: We do many small color dots along
the working surface and immediately afterwards
we melt these using Humbrol thinner. The
colors employed are white, gray, blue, yellow,
different hues of brown and black. I recommend
soaking the working surface with thinner before
we do the paint dotting. The final results of this
procedure can be fully appreciated in this lateral
view of the casemate.

/ 28

24-31_STUG_III.indd 28 31/8/16 12:10

 In order to convey the effects of dirt on the kit we use sand colored oil paints
(ranging from light sand hues to ochre to dark browns) which are placed on the
kit and then melted with Humbrol thinner. Its important to perform this job
on the kit in different ways depending on how prone to get dirty the surface of
the kit were working on actually is.

Detail profiling on model kits is quite

important, because we enhance the
different volumes and create a depth
effect on our kits. The procedure is
as follows: create a highly diluted
mixture of black and Raw Umber
oil paints that will be applied on
every crevice of the kit, and remove
excess paint with thinner. The effect
obtained becomes rather obvious in
the welding strips for instance.

Mud splashes on the undercarriage are made with a mixture of plaster and sand colored enamels, which are splattered on
the kit by using a toothpick on the tip of the loaded paintbrush. When doing this effect I usually employ different sand
colored hues in order to get a greater color range in the mud itself.
29 /

24-31_STUG_III.indd 29 31/8/16 12:10

 On some areas we
strengthen the dirt and sand
effects by applying sand
colors and pigments.

I would like to finish by than-

king my comrades from Almera
Modelismo for their great help
and support.

Oil and fuel

remains on the
engine hatches
are conveyed
using Bitumen oil
Paint diluted with
enamel thinner.

Exhausts are treated with rust colored pigments, which are fixed in place
using Humbrol thinner. The mouthpiece of the exhaust is airbrushed in several
airbrush passes using highly diluted XF-1 black paint.

/ 30

24-31_STUG_III.indd 30 31/8/16 12:11

 COLOR CHART
Tamiya Weathering base coat Burnt Sienna (titan)
XF-63 German Grey (All from the Titan Brand) Raw Sienna (titan)
XF-50 Field Blue Titan Grey Raw Umber (titan)
XF-18 Medium Blue Raw Sienna Light mud (mig productions)
XF-19 Sky Grey White Titanium Oil and fuel spills effect
XF-2 White Titan Blue Enamel
XF- 1 Black Lamp Black Earth effects
Acrlicos Vallejo Dirts and sand oil paints Africa dust effects
Chocolate Brown 70.872 Yellow Ochre Light (titan) Fresh mud
Oil Paint references Dark mud

Once the tracks are on the kit, we do some detail

retouching to integrate everything together.

31 /

24-31_STUG_III.indd 31 31/8/16 12:11

 By Ivan Momcilovic Momcha

AFV CLUB 1/35

The term Schwerer Panzersphwagen means

heavy armored reconnaissance vehicle.
Under this name, all German armored
vehicles with six and eight wheels used in
WWII are included. These vehicles were
used by the German army of the period for
reconnaissance missions that up to that
point had been the traditional responsibility
of the German cavalry. These vehicles were
used to explore enemy flanks and advanced
enemy AFV units in order to evaluate the
strength, intentions and location of enemy
forces. Their priority was to observe and
evaluate the situation before engaging
in combat, but these vehicles could also
confront enemy reconnaissance forces and
even try to capture enemy patrols.

The Panzersphwagen was large and of this vehicle were based on 6x4 trucks special vehicle reference Sd.Kfz (short
heavy, but fast, and thats why it was with added armoring, but during 1937 for Sonderkraftfahrzeug) but after the
incorporated to the mobile units during these were replaced by the eight wheel name they had a 6-rad or 8-rad clarifi-
the outbreak of WWII. The first versions versions. These vehicles kept the same cation.

/ 32

32-43_232.indd 32 31/8/16 12:08


These vehicles had their baptism of
fire in Poland, and then they fought in
France, the Soviet Union and Northern
Africa. The extreme weather conditions
32-43_232.indd 33
in these last two fronts proved to be too
rough for these vehicles. When the first
heavy rains took place in the USSR, 150
Sd.Kfz 232 were immobilized. At any
SD.KFZ 232
rate, the speed of these 8 wheelers made
it the best long distance exploration
vehicle for Rommel in the desert.
33 /
31/8/16 12:08
 KIT
I built this model using AFV Clubs
initial version Sd.Kfz 232. If we
carefully observe the pictures we
can see the differences between the
initial and the late versions. AFVs
kits are anything but simple, the many
pieces contained, many of which are
quite small. This requires some extra
attention when cutting and gluing
these in place. This kit includes some
very basic interior detailing pieces,
and thats why I chose to leave the
hatches closed in order to avoid
assembling and painting its interiors.

PAINTING
I started the job by using the brand
new Black and White technique. I love
this technique because the final results
obtained are for me much more realistic
looking than the results you get when
using the modulation technique. At any
rate I like the two techniques a lot and I
usually employ both. I used white gray
and black priming. Black priming was used
for the areas hidden from sunlight and
gray for the rest of the vehicle. Finally I
airbrushed the white priming along the
edges and other prominent features which
get the most light. A simple table lamp
will be a useful tool for determining which
areas need highlighting.

Afterwards I did some previous wash work, which is usually done after
applying the base coat, but in my case I do this before as well. This effect will
be visible after covering the kit with the base paint and the corresponding
camouflage pattern. I employed for this AVs Black Wash. This could also be
done with enamel washes, but we would have to apply first a coat of gloss
varnish in order to do a better work with the washes.
/ 34

32-43_232.indd 34 31/8/16 12:08

 Once I had accentuated the details Now its the time for
with the washes, I proceeded with applying the base coat.
the paint chip technique, trying to During the opening stages of
make the paint chips in the most the war, German vehicles were
reasonable spots, where paint usually painted dark gray with the so
chips off. White paint was employed called Panzer gray color. When using
for this purpose. the Black and White painting technique
you cant simply use your Panzer gray just
like that, because it is dark enough to cover and render useless your previous
work. Thats why I used Tamiyas XF-18 Blue and applied it like a paint filter.
After applying the decals I applied This means that you should dilute this color at least 50%. This way you can
a very subtle enamel paint filter, apply real thin and transparent coats which reveal underneath the previous
applied with a flat tipped paintbrush. paintwork.

When working with enamels you have to wait a

pretty long time between each paint effect coat in
order to allow each to dry. Once the bluish filter was
dry, I did again a few dark paint washes to enhance
details like hatches, screws, indentations, etc. This
time I used the Wash Blue for Panzer Grey product.
After a brief pause I melted the brushstrokes from
the wash and got rid of excess wash product using a
flat tipped brush and enamel thinner. I was however
careful not to remove it completely, always leaving
paint in the deeper recesses. I like to put it this way:
the vehicle resuscitated. Once again, all details
became more evident.

35 /

32-43_232.indd 35 31/8/16 12:09

 Now it was
time to paint
the tools and
other items
having a
different base
color.

WHEELS

I didnt glue the wheels in order to be able to paint them easily. After applying the base colors; black for the rubber
area and medium blue for the tires, I then applied European Earth pigment soaked with enamel thinner. Once this
thinner evaporates, the wheels look like as if they were thrown into a puddle full of mud. By dry rubbing a paintbrush
against the wheels we can remove excess pigment.

For instance, the gun is painted with Gun Metal.

I did again some paint chips where I had applied the base color
earlier. I also did some paint scratches, in both cases using a very
light shade of gray and a fairly new paintbrush, although I also used
the sponge. As you can see I wanted to do different kinds, just like it
happens in real life.
/ 36

32-43_232.indd 36 31/8/16 12:09

 After the gray ones I also did a few paint chips with Hull Red in order to
recreate the red ones corresponding to the red priming paint underneath
applied in real life.

One of the most visible weathering effects are the dirt, mud and rust
streaks. I recreated these I employed Panzer Aces Streaking Grime
and a thin paintbrush. I did some random
sized lines and a few minutes later I melted
these using a flat tipped paintbrush soaked
with enamel thinner.

Now its time for applying some

dirt on the vehicle. I did this
airbrushing the surfaces without
a specific pattern with A. Migs
North Africa Dust Effects. After
letting it dry for a few minutes I
began to remove it partially using
a paintbrush soaked with thinner.
In order to get realistic results
you should use real life vehicle
pictures as reference.
37 /

32-43_232.indd 37 31/8/16 12:09

 It was a rather common occurrence
during this war to see how crews
gathered a motley range of objects
that were deemed useful; such
as tarps, bags, containers of all
sorts, blankets, wood beams
some of these objects were used
as additional armoring. I usually
recreate these with the generic
sets created by Value Gear Details,
where we can find highly detailed
items that can be used to dress any
vehicle from any country. Some
items are scratch made such as the
barrier wooden beams.

I recreated some dry dirt

by airbrushing A.Migs
Earth acrylic paint.

With all these weathering processes

some details end up becoming
unnoticeable. I did some Vallejo
acrylic washes to enhance these back.
/ 38

32-43_232.indd 38 31/8/16 12:10

 I did some orange Vallejo washes
on the exhausts, which had
previously been painted with a
brown colored base.

Then I repeated the process

employed for the wheels. I put
some European Earth pigment
agglutinated with enamel thinner
along the base of the turret and
along the lower areas of the
vehicle. Once the thinner had
dried, I removed excess pigment
by rubbing the surface with a flat
tipped brush.

In order to recreate recent oil

spills I resorted to using Engine Oil
paint. The best way to recreate
this effect is to employ a thin
paintbrush, make a few small
stains and then locate these
in the most logical and
reasonable spots.

Picture of the finished vehicle.

39 /

32-43_232.indd 39 31/8/16 12:10

 DIORAMA

I created the base with foam and modelling paste to create

the texture of the ground. When the paste was still fresh
I did some track prints. The texture of the ground was
created by mixing Brown Earth Vallejo acrylic. I painted
it with gray, sand and black priming and several Vallejo
acrylic washes. I added further color variety by painting
some cobblestones in different hues.

32-43_232.indd 40 31/8/16 12:10

 Once the vehicle was finished I put on
it an AFV figure with a Hornet head
which I painted with oils.

I glued some Nock grass on the higher ground and painted it with Tamiyas XF-67 NATO Green to darken it up a little. I
also did a few brown color washes on the cobblestones and added a Miniart telegraph pole.

32-43_232.indd 41 31/8/16 12:11

 COLOR CHART
Tamiya
Medium Blue XF-18
Acrlicos Vallejo
Wash Brown 76513 MATERIALS EMPLOYED
Wash Dark Brown 76514
Wash Europe Earth 76523 AFV CLUB Sd.Kfz 232 Early type
Wash light Rust 76505 ref. 35232
Wash Rust 76506 Value Gear Details, generic sets
Brown Earth 26219 Miniart Telegraph Poles 35541
Hull Red 70985 Armor35 35104, 35105
Ammo Mig Bravo 6 B6-35107
Filter Blue for Dark Grey 1509
Blue Wash for Panzer Grey 1006
New Wood 037
Gun Metal 045
Pigment Europe Earth 3004
Pale Grey 063
Streaking Grime for panzer Grey 1202
Streaking Grime 1203
North Africa Dust 1404
Earth 073
Fresh Engine Oil 1408

/ 42

32-43_232.indd 42 31/8/16 12:11

 43 /

32-43_232.indd 43 31/8/16 12:11

 WAITING FOR THE T

/ 44

44-61_Vieta_SOMUA.indd 44 31/8/16 12:07

E TOWING VEHICLE

FRANCE
1940

By Jorge Porto del Corral

TAMIYA 1/35

By May 1940, French forces were engaging in a defensive retreat because of the unstoppable
advance of the German Panzer Divisions. The 13e Dragons made it to the Furnes Canal, the High
Command gave the order to go pass this area leaving all vehicles behind. This unit disobeyed this
command and made it to the vicinity of La Panne in Belgium. The lack of fuel, supplies and the
impossibility to effectuate any repairs, ultimately forced them to abandon their AFVs and begin
the long journey to the last free port: Dunkirk.

45 /

44-61_Vieta_SOMUA.indd 45 31/8/16 12:07


I wanted to offer one of my vignettes to
my great friend Ricardo Merino for quite a
while now, and having the opportunity to
create one for a presentation, I told him to
THE IDEA
give me some ideas about the subjects he
enjoyed. Ricardo has always been known
for the intense way he researches every
one of his projects, and in this case it was
no different. During the whole process he
overwhelmed me with research materials,
information and opinions on how this
vignette had to conform to his initial idea.

THE SOMUA
ASSEMBLY

1 Frankly, there are way too many
model kit brands but Tamiya is on
a class of its own. When this kit hit
the market I bought it right away. As
I had the opportunity to find out,
Tamiya is still the best. The kit has
nothing but the necessary pieces
and these have a beautiful fit. I sup-
pose that it can always be improved
upon, in fact there are several after-
market products to improve it, but
in my case, I simply followed a few
indications made by Steve Zaloga in
his review of this kit.

1, 3 & 4. I added the screws to the upper part of the cupola fastening
the viewfinder system on the inside and the lifting hooks. I also did
some screws for the ring to this piece and had to put some detail to
the upper machine gun viewfinder.
On the hull the most important improvement was made to the
drivers right side viewfinder. The original piece is rather wanting
in terms of detail and you need to
make an L shaped hollow spot
in order to be able to add the
2 3 missing screws.

2. The tracks are simply

wonderful. You only have
to extract these from the
box and in 20 minutes you
can assemble these with
a simple click. The only
inconvenient is the small
mark on the center of the
cushion, which needs some
sanding.
/ 46

44-61_Vieta_SOMUA.indd 46 31/8/16 12:08

 PAINTING

Happy coincidence amongst happy coincidences, AMMO

5
of Mig Jimnez had recently put out a paint set for French
AFVs of the 1916 to 1940 period (A.MIG-7110).

5. As usual I always start by cleaning the kit with soap

and water in order to get rid of possible grease or other
oily liquid remains left there during the production
process.

6-7. The kit is now primed with several thin

coats of a 30% mixture of gray primer and
70% AMMO thinner. Although this process is
longer than others, Im sure afterwards that the
successive paint coats will be totally flat and
paint will be distributed evenly.

6 7

8 8. The base color for my

Somua has been made
with a 50% mixture of
A.Migs 065 Forest Green
and A.Migs 060 Pale
Green. By adding small
amounts of the second
color I create a few
highlights to enhance the
volumes of my AFV.

47 /

44-61_Vieta_SOMUA.indd 47 31/8/16 12:08

 9. Silly Putty is now used for masking the areas where I
9
will apply the blue camouflage. This camouflage is made
with a mixture of A.Migs 062 French Blue and A.Migs
063 Pale Gray. Just like I did with the green color I add
additional amounts of A.Migs 063 Pale Gray to create
some highlights.
I repeat the process to paint the brown camouflage. I mix
A.Migs 064 Earth Brown with A.Migs 061 Warm Sand-
Yellow in this case using a 60/40 proportion and add some
more A.Mig 061 Warm Sand-Yellow to create highlights.
10. After having profiled the edges of the colors in the
turret by hand with A.Migs 0046 Matt Black, I airbrushed
a generous coat of Tamiyas X-22 Clear in thin layers that
will help us apply the decals and protect the paintjob from
the weathering processes that will come later. Once dry
I apply all decals with the Microsol and Microset decal
fixing product, and once these are in turn dry I cover again
the surface with another coat of Clear X-22 to protect the
decals.
11. I do some detail profiling on all details and features
10 of the kit with A. Migs 1005 Dark Brown Wash for
Green Vehicles. We have to avoid overdoing it, but if this
happens, the way too dirty areas can be corrected and
cleansed with a paintbrush soaked with thinner.
12. The deeper paint chips were done with A.Migs 044
Chipping, using both a thin paintbrush and the sponge
technique. Afterwards I did the superficial paint chips
using the same color mixtures employed for painting the
camouflage, but lighter.
13. The tools were painted with A.Migs set 7112 Tool
Colors. The straps and other supports are made with pieces
from my box of spares and Tamiya tape and were painted
with the strap colors mentioned in the figures color chart.

12

11

13

/ 48

44-61_Vieta_SOMUA.indd 48 31/8/16 12:08

 14

14. The exhausts were first painted with A.Migs

042 Old Rust. Before paint dried I pecked the
surface with A.Migs 040 Medium Rust and
A.Migs 041 Dark Rust. Once it all dried up I
applied in a random way color pigments A.Mig-
3005 Medium Rust, a.Mig-3008 Truck Rust and
A.Mig-3006 Light Rust. I use small amounts of
thinner to fix the pigments in place and create
some texture.
The same procedure is used for the towing chain.
15
15. The tarp was airbrushed with a mixture of A.Migs 074 Green
Moss and A.Migs 021 7k Russian Tan (60/40%) as a base color. By
adding to this base color some A.Mig-030 San Yellow I created some
highlights. Small amounts of A.Migs 046 Matt Black are applied to
the base color mixture for shading.

16. Oil paints are now used to create

nuances and increase the chromatic 16
richness of the ensemble. My
recommendation is to do this by separate
areas. The process I usually follow is
this: I soak a flat tipped paintbrush
with A.Migs 2019 Thinner
the working area, and then
with a thinner brush I peck
the surface with different
colored oil paints. A few
minutes later I mix this. I
use the lightest colors for
the upper areas and the
darker ones for the lower ones.

17

17. The tractor wheel cogs are

painted with A.Migs 191 Steel to
give us the impression of friction
wear created by the contact with
the track links.

49 /

44-61_Vieta_SOMUA.indd 49 31/8/16 12:09

 18 19

18. Period pictures tell us that the undercarriage and the
armored planks protecting it, accumulated large amounts
of dirt. I recreate this dirt by making random mixtures of
A.Mig enamels 1404, 1406 and 1400. These are applied
with an old paintbrush and then with a flat tipped brush
soaked with thinner I remove in an up and down motion all
excess product, while trying to leave dirt streaks with my
brushstrokes.
19. When the enamels are not quite dry I add in a random
way pigments A.Mig-3007, A.Mig-3010 and A.Mig-3013.
Excess pigment is removed with a brush soaked with
thinner also with an up and down motion and trying not to
press too hard in order to preserve the previous work.

TRACKS

20 21 22

23 24 25

20-21. Now its the turn for the tracks; I begin the work here by airbrushing A.Migs 0035 Dark Tracks as our base
color. While paint is still fresh I add to this base some A. Migs 0041 Dark Rust in varying intensities to create some hue
variations here.
22. Mixing A.Migs 0041 Dark Rust and A.Migs 0042 Old Rust with water (60%/40%) I apply a few random washes that
will get inside the crevices of the tracks.
23. The same enamels used for dirtying the undercarriage -but more diluted- are now used for making a wash used to
enhance the volume of the tracks.
24. The following pigments are now applied dry on the tracks: A.Mig-3007 Dark Earth, A.Mig-3010 Concrete, A.Mig-3013
Rubble and A.Mig-3015 Brick Dust. This is intentionally done without following any specific order.
25. Finally A.Migs 3009 Gun Metal is now rubbed on the tracks with my finger to recreate the polished metal effect.
/ 50

44-61_Vieta_SOMUA.indd 50 31/8/16 12:10

 26. With a mixture
of A.Migs 1409 Fuel
Stains and A.Mig-1408
Engine Oil I recreate oil
and fuel spills on those
areas prone to getting
both.

26

27 to 29. During this phase I prepare the AFV, to integrate

it with the vignette Ive worked on. First I take some
of the natural materials Ive used to dress this vignette.
Then I mix these on a pestle and place the materials on
the lower areas of the Somua. I proceed to fix this in place
using A.Migs 2012 Sand & Gravel Glue which will fix it
in place permanently in spite of the varied nature of these
materials. I do this by using a glass pipette for dropping the
glue that will spread throughout by following the principle 30
of capillarity.

30. By using the previous pigment mixtures I do the same

27
thing for the horizontal areas of the vehicle. First I apply
some pigment on the specific area, I put a drop of thinner
and wait for it to expand and check the results. If I need to
accentuate the effect I simply repeat the process. If I want
to dim the effect I remove excess product on the area using
a flat tipped brush.

28

31

32

29

31-32. The same system is now used to work on different

areas and crevices of the Somua. One of these is the A.Mig
8404 leaves set that gives a great realistic touch to our AFV.

51 /

44-61_Vieta_SOMUA.indd 51 31/8/16 12:10

 Pictures of the Somua ready to
be placed in the vignette.

/ 52

44-61_Vieta_SOMUA.indd 52 31/8/16 12:11

 THE FIGURES
I am among those who think that the vignette, the selection and the quality of the figures add extra value and a more realistic feel
to the dio and the story thats being told.
In this occasion,
choosing the brands
for my figures was
going to be both
a rewarding and a
not so rewarding
experience. The
French infantryman
from Nemrod
products was a bit
of a disappointment
to me because of its
irregular and low
quality modeling.

On the other hand,

the Alpine AFV
driver is a great
product of a high
quality. At any rate I
traded both figures
heads for Hornet
replacements.

FLESH HUES
Base: Brown Sand 70.876
1st Highlight: Base + Sunny Skin Tone 70.845
2nd Highlight: 1st highlight + Ivory 70.918
1st Shading: Base + Burnt Red 70.814 + Glaze
Medium 70.596
2nd Shading: Base + Burnt Red 70.814 + Glaze
Medium 70.596 + Violet 70.960
In order to change the hues we can add Flat
Earth 70.983
COAT:
Base: 60% Green Brown 70.879 + 40% Flat
Earth 70.983
1st Highlight: Base + Green Ochre 70.914
2nd Highlight: 1st highlight + Sunny Skin Tone
70.845
1st Shading: Base + Flat Earth 70.983
2nd Shading: 1st shading + U.S.A. Olive Drab
70.889
PANTS
Base: 65% English Uniform 70.921 + 35% Flat
Earth 70.983
COLOR CHART
Highlights: base + Magenta 70.945
Shading: Base + Prussian Blue 70.965 + Black
70.950
LEG STRAPS
Base: 80% Russian Uniform WWII 70.924 +
20% Khaki Grey 70.880
1st Highlight: base + Khaki Grey 70.880 +
Sunny Skin Tone 70.845
2nd Highlight: 1st highlight + Sunny Skin Tone
70.845
1st Shading: Base + Olive Grey 70.888 + Burnt
Umber 70.941
2nd Shading: 1st Shading + Olive Grey 70.888
+ Black 70.950
DUFFLE BAG:
Base: 70% Buff 70.976 + 15% Desert Yellow
70.977 + 15% English Uniform 70.921
1st Highlight: Base + Buff 70.976
2nd Highlight: 1st Highlight + Ivory 70.918
1st Shading: Base + English Uniform 70.921 +
Prussian Blue 70.965
2ns Shading: 1st Shading +
Chocolate Brown 70.872
CANTEEN
Base: 40% Flat Earth 70.983 + 60% Black
70.950
1st Highlight: Base + Flat Earth 70.983
2nd Highlight: 1st Highlight + Orange Brown
70.981
Shading: Base + Black 70.950
STRAPS- CARTRIDGE BELT
Base: 40% Sky Blue 70.961 + 40% Orange
Brown 70.981 + 20% Bright Orange 70.851
Highlights: Base + Bright Orange 70.851 + Dark
Flesh 70.927
Shading: Base + Glossy Black 70.861
BOOTS
Base: 50% Flat Brown 70.984 + 50% Glossy
Black 70.861
1st Highlight: Base + Flat Brown 70.984
2nd Highlight: 1st Highlight + Orange Brown
Shading: Base + Glossy Black 70.861
RIFLE
AMMO A.MIG-7123 weapon set

53 /

44-61_Vieta_SOMUA.indd 53 31/8/16 12:11

 THE BICYCLE
I decided to accompany the
infantryman with the veteran Tamiya
product ref. 35240 detailed with the
Aber P.E. set (Ref: 35097) and an MV
Lenses light and some Evergreen. A
couple of Metal primer coats give
me the ideal surface for painting the
metal surfaces.
I prepared the bike for receiving paint
and then some weathering by first
applying a couple of coats of AMMOs
Grey Primer mixed with its specific
thinner (80/20%).
The first of the trees was done creating a structure
made with a thin aluminum sheet. This is then
covered with putty (two component Feroca brand
type) and while it dries with a burin and several
different metal points I give it some texture.
/ 54
44-61_Vieta_SOMUA.indd 54
ANIMALS
And finally, in order to add some
animal life to the scene I resort to
the Mantis Miniatures animal sets
that Im really fond of because of
the variety and quality of the animal
sculpts in their catalogue.
With these I made an entirely
different combat, in this case
between a hedgehog and a fox. A
couple of swimming frogs gave some
life to the brook.
Base paint is A.Migs 032 Satin Black
hand painted. The wheels are painted
with a mixture of grey and matt black
(80/20%). I took care of the detailing
of this piece using Magic Sculpt putty
to make the tarp which is tucked in the
rear of the seat, while the tin can the
coffee grinder, the cup and the machete
were obtained from the French
equipment set manufactured by ICM.
I weathered the bike using the same
enamels employed for the Somua.
THE BASE
In order to raise the height
of my base I employ repro-
ductions of two topped
willow trees. The willow tree
is quite typical in the area
where the action takes place.
The other tree is a Joefix-
Studios product. For
both trees I followed
the manufacturers
instructions and I began
by drilling holes on both
treetops with 0,3 and 0,5
drill bits in order to insert
the branches later. I finish
this stage by applying
Tamiyas spray primer to
both trees.
31/8/16 12:12
 The base was made with two expanded polystyrene boards glued
on top of each other and carved to obtain the shapes I want. The
base and edges are covered with 0,5 cm thick Evergreen sheets to
make the base more solid.
The base is then covered with DAS Pronto paste and while the
paste is still soft I create some texture with an old toothbrush
and put both the AFV and the trees to mark the position
of these items in the base. Then, using a mixture of
water and white carpenters glue I adhere to
the base a mixture of thin and thick grain
sand to create some texture.

A base of
diluted
green yellow
881 diluted
paint (with
Gaianotes
acrylic
thinner) is
now employed
for the base.
When this is
dry we apply a
650 black paint
wash insisting
specially on
the crevices
and sunken
areas. When
the wash is
still wet I do
some Stone Gray drybrushing.
After all this is dry I do again
some selective and subtle
drybrushing with a mixture of
After making some contours
884 and a little white gray 993
with the pictures Ricardo has
which will help us bring the
provided with his research
details out some more. Finally I
materials, using Photoshop
paint the base of the trunk with a
some filters and textures
little Green Sand oil paint diluted
I create the color fading
with AMMOs thinner creating a
for the sides of the base.
moss effect. For the interior of the
These are then printed on
trunk and the knots on the tree, I
high quality laser paper
apply a base of Vallejos 834. I do
and then proceed to glue
some highlights by adding to this
them with double sided
color some 976 and 837 for the final
adhesive tape. In order
highlights. For the shading I add some
to protect these from
981 to the base color while the final
further treatments
shadows are made with 941 and a little
I cover them with
black paint.
masking tape.

55 /

44-61_Vieta_SOMUA.indd 55 31/8/16 12:12

 I paint the base with Tamiyas XF-52.
Once dry, I keep adding XF-15 to
generate highlights. I then add some
XF-10 to the base color for the
shading.

I apply now the first coat of plant life

using a mixture of sea tangle, Nock
miniature train grass and clumps of
Silflor grass, glued to the base with
a mixture of white glue and water.
I begin by the grass shrubs and the
tallest bushes and go down from
there until Ive covered the remaining
spaces with the model train grass.

Now I proceed to paint this

vegetation with XF-5 matt
green. Olive green 967 or 877
(both Vallejos) are now used for
drybrushing different hues to the
different grass areas.

44-61_Vieta_SOMUA.indd 56 31/8/16 12:12

 I now select some pebbles in different sizes
and shapes that will help me break the
monotony of the large green areas. The bed
of the small brook will get the pebbles with
rounded edges for these are typical of these
areas.

As I mentioned several times earlier, part of the materials employed by me are

in fact natural and are picked in nearby forests. These materials and a few store
bought items are enough to provide an appearance of life to my base and
the necessary contrast. I proceed to select the different items and mix these
together. Then I use my fingers to make the mixture more compact and proceed
to distribute it on the areas which have been previously covered with glue and
water.

44-61_Vieta_SOMUA.indd 57 31/8/16 12:12

 In order to recreate the moss growing in these humid areas, I sand some balsa wood with thin grit sandpaper, creating
very thin balsa sawdust. With a 50% mixture of water and acrylic paint (Medium Olive and Golden Brown) I tint the
sawdust. Once this sawdust is dry I crush it with a pestle until I get the desired texture.
I then apply a mixture of glue and water on the areas I want to cover and sprinkle the moss Ive created.

At this point I proceed to integrate the tree with the

base and give it some life by creating some nuances
with oil paint mixed with thinner in a 50% proportion.
The moss is now toned down with dark oil paint and
the porosity of its material helps with this a great deal.
This darkening will be made along the edges of the areas
where it is. The capillarity principle will do the rest.

Mininaturs product ref. 200-S is now used to add some

depth to the scene, creating some hedges that along
with the trees surround the paths of the French Bocage.

While the oil paint dries up, I ready the branches for the two
trees. The branches are glued little by little with a pair of
tweezers and white glue, always trying to get the correct
volume for the treetops.

/ 58

44-61_Vieta_SOMUA.indd 58 31/8/16 12:13

 The water on the small brook was made with Andreas two component product, which is very easy to apply. First I apply
three coats of this water product, moving the base around in order to have this product get to every corner of my diorama.
It is capital to put two pieces of Plasticine on either end of the brook to prevent water from leaking out. It is also equally
important to respect the drying time. Once the AFV was in place along with a couple of Mantis frogs, I applied a fourth
coat of water product for integrating the right track which happens to be touching the brook. I soak the areas adjacent to
the track with AMMOs 091 gloss varnish applying it with a paintbrush.

Now we have to put each and every item on the base. Out of precaution and in order to avoid unwanted paint scratches
I protect the tip of my tweezers with masking tape. The ongoing combat between the hedgehog and the fox is a small
touch of humor introduced by me on the scene.

59 /

44-61_Vieta_SOMUA.indd 59 31/8/16 12:13

44-61_Vieta_SOMUA.indd 60 31/8/16 12:13
44-61_Vieta_SOMUA.indd 61 31/8/16 12:13
 GalerY Pz. I ausf. A de observacin
By Antonio Toms Aguilera Cano

62-63_Galeria.indd 16 31/8/16 12:15

62-63_Galeria.indd 17 31/8/16 12:15
 By Michel Prez Blasco

MUD
To talk about tanks is to talk about mud. This is one of the most frequently portrayed and recurrent effects in the static military
vehicles hobby. In Panzer Aces we have made a small study on how to portray mud, be it in splashes or other types of accumulations.
In both cases well show you how to do it with the special products available or using the standard painting methods (using acrylics,
enamels, pigments) with some added items such as sand.

MUD SPLASHES
Commercial Products
To illustrate mud splashes weve
painted green an old kits mudguard and
weve made splashes with products from
three different brands. Weve chosen a
light color which generates some contrast
with the green in order to be able to see
the color better, but of all three brands
examined; Ammo, Vallejo acrylics and
Wilder have a pretty wide range of colors.
In all three cases weve used the product
right out of the pot, undiluted and has
been applied by scratching the paintbrush
with a toothpick. This seems to us like the
simplest method and the one that affords
us a better control for choosing the direc-
tion of the mud splashes. But if you feel
more comfortable with it you can blow
paint with your airbrush, thats up to you.

The Wilder product has

an enamel base, it has a
medium grain and after
drying it has a totally matt
finish.

The Vallejo Acrylics is

obviously an acrylic,
it has a more watery
consistence, it has a more
rounded surface and
once dry it is slightly
glossy, making the splash
look like a recent one
which is still wet.

/ 64

64-70_Aula.indd 64 31/8/16 12:14

 The Ammo-Mig
splashes are enamel,
have a matt finish
and paint grain is
overall thinner than
Wilders.

As you can see, all of these brands are pretty easy to use, can be diluted and also be employed on scenes. Paint can in all cases be
easily removed using a specific thinner, but dont sleep over it, the sooner you remove unwanted paint all the better.

Homemade Products
As an alternate method for doing
splashes, weve used regular enamels,
acrylics, oils and pigments. In three of
these cases weve used the same tech-
nique employed for the specific products
earlier on, but oils and pigments had to
be used with a thinner to improve paint
flow and in the case of color pigments,
these needed some cohesion. Oils are
thinned with White Spirit or any other

ENAMELS
enamel thinner.

When using enamels we will obtain a

totally matt surface with hardly any
texture and the shape of the paint
drops tends to be quite rounded. The
color employed was Humbrols 72.

The acrylics gave us an equally

matt surface, but with a little
ACRYLICS
more volume and the paint
direction can be controlled a
whole lot easier. The acrylic
drops are also smaller than those
created with enamels, because
enamels dry up much slower and
therefore its drops tend to expand and
blend with other drops while paint
is still fresh. As you know, acrylics
dry almost immediately. The color
employed is Panzer Aces 315.

65 /

64-70_Aula.indd 65 31/8/16 12:16

 The oil paint employed is Titans
Burnt Umber. Obviously you can
employ the oil color or mixture
that best suits your needs. Oils
can only be splashed by first
diluting paint a little. The more
OILS

diluted it is the rounder, more

transparent and less thick the
drops will be. The finish will be
more matt as you very likely
know. In our case we were
looking for a semi-gloss finish,
similar to what youd get when
using Vallejo acrylics product.

The pigments were used to

make mud. Exactly that:
mud. We put some of AVs
73111 pigment on a pot and
we added water until we got
a watery enough paste to be
able to splash it. The results
PIGMENTS

prove that we can get much

more volume than when using
enamels, acrylics or oils. The
finish is absolutely matt and
we can obtain the drop shape
that we want. However the
appearance of this effect is
quite different when you apply
it than once it dries because it
lightens up considerably, just
like real mud! This mud is at
any rate quite fragile and does
not admit any wet work
later.

MUD CLUSTERS
Weve all seen some amazing pictures
with this effect and all modelers have at
least attempted once to create some of
these on our vehicles. However we do
not always obtain the desired results. tested just like weve done with the mud
Manufacturers usually keep their ears to splashes- the products manufactured by
the ground and create specific products Vallejo Acrylics, Ammo-Mig and also
to make this a much easier hobby. Weve Wilder, and these are the results.

/ 66

64-70_Aula.indd 66 31/8/16 12:16

 Commercial Products

With AVs 73808 Thick Mud and Russian Mud we made a mud cluster on the central area of the mudguard piece where
the mud splashes had been created earlier. The product was applied straight from the can, using an old paintbrush.
The product is handled easily and it adheres well to the surface. As usual with this brand this is an acrylic product and
therefore it dries rather quickly and can be diluted with water to create other effects or make it less thick. Water can also
be used to shape the product to our specific needs. It has a slightly gloss finish giving an impression of dampness and has a
rough and realistic texture as well. It is also a nice touch to put some plant remains in this mixture.

The Ammo Mig product employed here is called 1701 Heavy Mud Thick Soil. It is an enamel based product and you can
mess with its dilution in order to get all sorts of different results. In our test we simply used the product straight and saw
that it can be easily handled, it adhered well to the surfaces, but the drying time for this product was of course slower.
This is actually an advantage because we have a greater margin for making corrections. The final result has a matt finish
and is smoother than other products, but as you can see in the pictures it looks pretty realistic, but is only good for making
just this type of mud.

Wilder calls its mud Stony Light Brown Textured Earth TE06 it is enamel based, and its use is pretty much like the
previous product. We apply it as usual: straight from the can. Out of these three, Wilders is the product with the thicker
grain. It also has a matt finish, and the results are also very realistic. Depending on the kind of mud that we seek to
recreate, we would choose among these three products and the two which are enamels can also be combined if necessary.

67 /

64-70_Aula.indd 67 31/8/16 12:17

 Homemade Products
As far as traditional methods go, the acrylic paint, enamels, oil paint and color of color pigments- we have added a little
following tests were made. We have used pigments. None of these tools will give us thin sand into the mixture.
the most common tools in this hobby; any texture when dry with the exception

When dealing with acrylic, which in this case was AVs Panzer Aces
315, we added to the mixture Mig Productions Industrial City Dirt
pigment, to darken the color a little bit and make it different from
the mud splashes weve done earlier. This however does not affect
the bonding of paint nor its texture. We also added very little water,
ACRYLIC & PIGMENT

because we needed a real dense paste that is quite easy to put in

place, handle and retouch if necessary. The result is totally matt with
a medium grain texture, quite random and realistic as well. Once dry
it is pretty consistent and would resist the
application of further paint treatments
like a dark wash or drybrushing to
accentuate the volumes.
ENAMEL & PIGMENT

The enamel used is also the same one employed in the

mud splash section: Humbrol 72. When mixing it with the
thin sand we decided not to use thinner in order to get a paste
similar to the one obtained when using acrylics. However, this
paste takes considerably longer to dry. Application is equally
simple. The final result is also matt, but when dry, the sand grains
are much more visible. Lets say that this is a different kind of mud.
Possibly, if we apply several layers we will obtain a result closer to
what weve achieved with acrylics. Once dry, of course it is fairly
resistant and it would certainly take further treatments.

/ 68

64-70_Aula.indd 68 31/8/16 12:18

 OIL & PIGMENT
Again, we work again with the same oil paint color, but unlike enamels and acrylics, we add to the mixture a little White
Spirit in order to make it more manageable. Once dry we were able to see that the sand grains become more evident,
although less so than when using Humbrol enamels. The satin hue obtained reminds us of wet mud unlike the precedent
tests. This takes the longest to dry and the consistency and sturdiness of the mixture is quite inferior. We do not believe
that it would resist further treatments, but its finish is certainly quite realistic.

PIGMENTS
We made two tests with color pigments, one with sand
on the mixture and another one without it. In both
cases White Spirit was used to bind pigments together
and attach these to the surface. The procedure does
not change; we mix evenly pigment and sand and add
thinner until we get the consistency were looking for.
The paste should not be watery; what were looking
for is sticky mud in scale. Once we have it, we apply
it with a paintbrush. As we all know, color pigments
look a whole lot darker when wet, so the real color only
appears when dry. As foreseen, it came out totally matt.
The most interesting thing is the texture obtained with
this mixture. The great setback with this technique is
the frailty of this mud; any contact can make our mud
crumble and we could only attempt a capillarity wash
if we wanted to modify its appearance. We didnt do it
this time, but we feel confident that if you use pigment
fixer you may get a sturdier result.

69 /

64-70_Aula.indd 69 31/8/16 12:18

 The other test consisted in using only color pigments and White Spirit. First we made a paste with both and applied
it in several coats doing mud splashes. That way we avoid touching the paste with our paintbrush and we create the
texture by accumulation. It is certainly a much slower procedure, but we obtained a new texture, different from the
previous tests. The result was again quite matt and frail, but quite convincing and realistic.

And now well demonstrate the

most classic method: we put the
color pigments dry and straight
from the can and then we put a
few drops of White spirit on top.
This can be repeated as much as we
want and thats how we will get
PIGMENTS

more volume and texture. Again,

the main setback with this system
is in the frailty of the results,
and its greatest virtue is the very
realistic appearance pigments give
us in terms of texture.

Knowing all this you can run your own tests; vary the proportions, adding new elements, other binders and fixers, mixing tech-
niques, media, etc. The possibilities are actually endless. The most important thing is to never lose the sense of scale, be critical
with your own work and never be quite happy with the results obtained. Good luck and enjoy your work.

/ 70

64-70_Aula.indd 70 31/8/16 12:19

 Editorial Management
Rodrigo Hernndez Cabos
J. David Hernndez Chacn
Editor in Chief
Michel Prez Blasco
Have collaborated in this issue
Armour Modelling Magazine Jorge Porto del Corral,
Carlos Alba Lpez, Abilio Pieiro,
Ivan Momcilovic Momcha and
Michel Prez Blasco
EDITORIAL Photographers
Rodrigo Hernndez Cabos
COMPLAINERS Illustrations
Today Im going to cave in and kick about those who complain. As far as I can recall Rodrigo Hernndez Cabos
there have always been those who complain in this hobby. Weve all complained at some Lay Out
point in time, -Im well aware of that- and therefore we all have to be lenient, but some KOMMAD S.L.
people are true professionals and quite frankly make it a whole lot easier for the rest of
Printed by
us to denounce this situation. I dont actually care when someone complains, really, the
Artes Grficas Dharma
problem comes when after the complaint there is some manipulation work that follows
suit and these people intend to make us share their unease. Scanning & filmsetting
This is a classic situation: people complaining in contests. You know the score; this ACCIN PRESS, S.A.
is all rigged, the same people always win, they share the medals amongst themselves I J. David Hernndez Chacn
think that this is a serious offense to all the hard working people involved who year after Computer Graphics
year the whole year long- are working for us modelers to get together and be able to see J. David Hernndez Chacn
other peoples work and showcase our work as well. certainly. Editorial and Technical Staff,
This is offensive towards the judges who are more often than not, fellow modelers Administration and Advertising
that would rather be in the competition instead of judging. These people are doing this ACCIN PRESS, S.A.
generally ungrateful duty because they are conscious that somebody has to do this work. c/Ezequiel Solana, 16
Some people are truly motivated, and this motivation usually turns into smoke the minute 28017 Madrid
they hear the classic complainer who is usually somebody who has submitted a mediocre Tel.: +34 913 675 708
project, and hear his curses directed towards the incompetent jury which has dared to +34 914 086 135
ignore their art. Fax: +34 914 085 841
This is also offensive much more so- towards their fellow hobbyists, those who have accionpress@euromodelismo.com
fared better and those who have not, but still respect the decisions of the jury. After more
Suscripciones
than twenty six wears in this hobby and having been through being considered a rookie,
Tel.: +34 913 675 708
then being recognized by fellow modelers, having been a judge and having been awarded
some prizes I can certainly say that ninety five percent of the awards are given in all fairness. Published by
We also have those funny people who complain about having contests at all but still ACCIN PRESS, S.A.
attend. No comments. ISSN: 1886-4457
Then we have those who complain about how many brands, products and models are
available Im sure that most of these people do not remember the old days when you The reproduction of the images
could almost only buy Italeri or Airfix products and was harder still to get decent research and texts is prohibited, using any
material to build a decent Pz IV. And there is worse than that; there are people who do current or future technical medium
remember this but want to go back to those times. These fellows are usually those who without written consent of the
complain about how awfully are all brands doing basically everything, how the manufac- author. ACCION PRESS, S.A.
turers have no idea about anything, how people throw away their money. Obviously these does not necessarily support its
folks are highly knowledgeable about the market and industry demands. Indeed. collaborators opinions.
Not too long ago somebody was complaining in a website about an Asian company
who had committed the unforgiveable mistake of making the rear of an AFV a few degrees
lower than it should. That individual turned this particular kit into a piece of turd. If anyone
were to see the original kit and would compare it to the real thing I bet most people
wouldnt be able to tell the difference in inclination. In both cases what you would see is
a large T-12345-X and a scale version. When you see his corrected kit with the right
inclination -which unfortunately looks like everything but a T-12345-X- what you would
actually see is something like a bumper car or an undefined lump. However this person
insists that what he does is modeling and what the other people do isnt, and that we all
should follow his lead. I dont know if Im getting my point across
Of course we have many more kinds of complainers, but I digress how hard is it to
make model kits without having to tell other people how they should do them, with whom
should they do them, or if we should or should not enter our kits in any competition, www.euromodelismo.com
showcase our work in FB or publish it in magazines? www.facebook.com/PanzerAces.
We need a little more Peace and Love and certainly more deference. Magazine?fref=ts

72_editorial_52.indd 1 31/8/16 12:14

InteriorContraPortada_Pub_Vallejo.indd 1 31/8/16 12:13
 LANDSCAPES
LANDS 101
Snow /Nieve

16 LANDS004
Pine stump
Tocn Pino
LANDS 102
Mosses/Musgos
16
10
New product line designed by
Rodrigo Hernndez Cabos for
making dioramas.

- Four different snow types for recreating the different states

of snow in nature.
- Six special mixtures to make the different hues adpoted by
moss in nature.
-High quality resin bases and trunks to obtain a perfect
reproduction of natures complex shapes.

LANDS003 LANDS002 LANDS005

Base with tree stump
Beech /Haya Base con tocn Linden / Tilo

40 28 19
www.landscapesindetail.com www.euromodelismo.com
Anuncio_Productos_Landcapes.indd 1 16/8/16 20:32