Elena Rossi
Painting scale models is an art, and artists have their artistic license to do what they want with their models. While there are various techniques to paint scale models, one of the most popular techniques is the underpainting method. This involves spraying the model with a black primer and then spraying it with a single blast of white paint from one direction, adding directional highlights. Another technique is dry brushing, where you load a brush with paint, wipe off most of it, and then drag it across the model's grain. To paint the panel lines of an aircraft model, you can use a thin wash of artist oil paints mixed with Varsol, which will flow into the panel lines, joints, and corners. You can also use an ordinary graphite pencil to highlight panel lines and create a worn-out look.
| Characteristics | Values |
|---|---|
| Techniques | Underpainting, drybrushing |
| Tools | Brushes, black primer, white spray paint, inks, washes, varnish, graphite pencil |
| Steps | Spray model with black primer, spray with white paint from a single direction, use inks and washes to paint coloured areas, use drybrushing for hair, blend in decals with a graphite pencil |
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What You'll Learn
Using inks and washes
Painting scale models is an art, and artists are advised to build models for themselves and not just for contests. There are different ways to paint scale models, and one of them is using inks and washes.
Firstly, it is important to ensure that the paint is acrylic-based to avoid issues with the wash and inks beading in later steps. Once the primer is dry, use black ink to liberally wash the model from head to toe, ensuring an even coat. Avoid recovering any area more than once, as it may become too dark in some spots. If the ink does not reach the recesses of the model, mix it with a small amount of matte varnish or artist's acrylic flow extender to help it sit in the creases.
For large areas of a single colour, cover the area in one movement, always working in the same direction. This can be achieved by dividing the model into sections, such as the chest, back, back of legs, and arms. Washes are thin, and layering them will darken the area, so it is important to be consistent. This technique will create a natural highlight and shadow pattern in the creases and details of the model.
For flesh-coloured areas, dilute flesh-tone paint with water and apply a couple of coats. Once dry, use a brown or sepia wash to add depth to these areas. For the final step, mix a small amount of white with the flesh colour and dry brush the face without adding water, as this will bring your model to life.
As you become more experienced with washes, you will develop a feel for which panel lines will require pre-scribing. To test this, apply some wash to the bare plastic and observe how well the panel lines hold the wash. If they do not hold the wash, they will likely have problems after paint and clear coats.
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Underpainting
There are different ways to approach underpainting. One method is to spray the model with a black primer. Once the primer coat is dry, spray the model from a single direction with a quick blast of white, adding directional highlights. However, this technique may not be suitable for those who are clumsy with spray cans or do not have access to an airbrush.
An alternative approach is to prime the model with a coat of white primer, ensuring it is acrylic-based to avoid issues with beading in later steps. Once the primer is completely dry, apply a black ink. You can also experiment with different colours for the underpainting, such as blue for a cold colour value, orange or brown for a warm tone, or even red, yellow, or black.
Another technique for underpainting is to use shades of grey or a neutral greyish colour, ranging from mid-grey to light grey to white. This method can be effective for creating a monochromatic model or learning about colour value. Additionally, you can apply a thin wash of burnt sienna or burnt umber on white to preshade the model and help you pick out the differences between textures.
When underpainting, it is important to consider the value of the underpainting colour and match it with the overpaint colours to create the desired effect. Blending is a technique that involves a seamless transition between colours on the scale to achieve a smooth finish.
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Painting hair
Prepare the Model
Before starting to paint, ensure that the model is clean and free of any mould lines or flash. This step is crucial for achieving a smooth and even paint application.
Choose the Right Paint and Brushes
For painting hair, it is recommended to use inks and washes and paints specifically designed for miniature painting. The paint colours you choose will depend on the desired hair colour. For example, use a chestnut wash for brown hair and a burnt orange shade for red hair. If you're painting blonde hair, skip the wash step entirely.
Additionally, invest in a good set of brushes specifically for dry brushing. This technique requires a dedicated brush as it can ruin standard brushes.
Understand the Hair Direction
Observe the direction of the hair flow on your model. Typically, hair flows from front to back, so you'll work your brush accordingly. In this case, you would brush from right to left, following the hair's natural direction.
Dry Brushing Technique
Dry brushing is a critical technique for achieving natural-looking highlights in hair. Load your brush with paint, then wipe off as much paint as possible on a piece of kitchen towel. Continue wiping until only flecks of nearly dry paint remain on the brush bristles. Test the brush on your thumb to ensure it's dry enough.
Apply Paint with Varying Pressure
As you drag the brush across the grain of the model, vary the pressure according to the contours of the model. This variance in pressure will leave different amounts of paint on the raised and recessed areas, creating natural-looking highlights. Remember to work in thin layers, as washes tend to darken the area, and layering them can cause inconsistencies in the finish.
Final Touches
Once you've completed the dry brushing, step back and observe your work. You may need to go back and add more depth or highlights to certain areas. Remember, painting hair can be tricky, so take your time and don't be afraid to experiment.
By following these steps and practising, you'll be able to master the art of painting hair on 1:24 scale models, creating realistic and detailed miniatures.
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Drybrushing
Firstly, it is recommended to use a dedicated brush for drybrushing as the technique can ruin a normal brush. Load the brush with paint and then wipe off as much as possible using a paper towel or kitchen towel. Keep wiping until only flecks of nearly dry paint remain on the brush bristles. You can test this by trying it on the back of your thumb.
The colour used for drybrushing should be around 5 to 6 shades lighter than the base colour you wish to highlight. For a more dramatic look, you can go for an even higher contrast.
Next, apply the paint to the model using a back-and-forth motion and minimal brush pressure. Focus on the areas that you believe need highlighting or depth. For example, when painting hair, you would follow the direction of the hair, working against the grain of the model. This variance in pressure will leave varying amounts of paint on the raised and recessed areas, creating a natural-looking highlight effect.
When drybrushing the cockpit of an aircraft model, concentrate on areas such as the instrument panels, sidewalls, levers, buttons, and surface edges. The goal is to graze the plastic model surface with your brush so that only the raised areas catch the paint, adding depth to the dark areas and raised details of the cockpit.
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Highlighting with a pencil
Highlighting panel lines with a pencil on a 1:24 scale model is a quick and easy method to enhance the look of your models. Using an ordinary graphite pencil, you can create a grubby, worn look and add depth to your model. This technique is ideal for replicating variation across the airframe, giving it a more realistic, three-dimensional appearance.
To begin, you'll need a sharp-pointed HB graphite pencil. Softer pencils from the 'B' range can also be used if you want to deposit darker and more graphite powder. The choice of pencil grade depends on the desired effect and the amount of highlighting you want to achieve.
Once you have your pencil, simply run it along the panel lines of your model. You can vary the pressure to control the amount of graphite deposited. By using a sharp-pointed pencil, you can create precise and defined highlights. This technique is especially effective for highlighting intricate details and creating natural-looking wear and tear.
Additionally, you can combine this method with other painting techniques. For example, you can apply pencil graphite weathering to specific areas, such as around the jet pipe of an aircraft model, to create a more nuanced and realistic finish. The graphite pencil technique is a versatile and creative way to add character to your 1:24 scale models.
With practice and experimentation, you can master the art of highlighting with a pencil and take your scale models to the next level. Remember, the key is to have fun and be creative while adding your unique touch to your models.
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Frequently asked questions
There are a few techniques that can be used to paint scale model panel lines 1:24. One is to use a thin wash of oil paint mixed with Varsol, which will flow into the panel lines, joints, and corners of the model. Another technique is to use a graphite pencil to highlight the panel lines, which can create a worn look. Additionally, pre-shading and dry brushing are also techniques that can be used to create highlights and shadows on the model.
Most modelers prefer to use Raw Umber and Iron Oxide Black artist oil paints for painting panel lines. These paints can be mixed with Varsol to create a thin wash that will flow properly into the panel lines.
One way to create highlights on scale model panel lines 1:24 is to use a dry brushing technique. This involves loading a brush with paint and wiping off most of it, and then dragging the brush across the model. The variance in pressure will leave varying amounts of paint on the raised and recessed areas, creating natural-looking highlights.
One common mistake to avoid is over-weathering the model. While it may look great to you, it may not fare well in model contests. Additionally, be careful not to let the thin wash accumulate in thick puddles, as this may cover up the underlying paintwork.
