North American

P-51B MustangMusta n g
u t t
Kra

- Two brasilians in the

Luftwaffe.
- F-16 F.A.V. Simulator.
- Solomaquetas.com
Special article.
-Review Airfix’s McDonnell
Douglas F-4 Fg.1.

09

Pz Kpfw III Ausf. L Sixth IPMS - Caracas Vene- Polish TKS 20mm Tanket-
zuela Show- 2019 te
1
Download them all.... Follow us in Instagram and Facebook... Get
them all!!!!!!

@worldmodellingmagazine

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2
 Sixth IPMS Venezuela Show 2019
IPMS Venezuela Board
of Directors
Page 5
Javier Aguilar - Presidente
North American P-51 Mustang Nestor Yanez - Secretario

Page 11 José Luis Reinoso - Tesorero

Editors
F-4 FG.1 Phantom II Kit Review
Javier Aguilar Delgado

Page 24 Antonio Ces

José Luis Reinoso

1:72 Pz Kpfw III Ausf.L
Angelo Palladino

Page 27 Collaborators

Two Brazilians in the Luftwaffe Manuel Gil

Page 35 Antonio Ces

Willy Puchades

Joe Odoardi
Polish TKS 20mm Tankette
Daniel Zamarbide

Page 40 Jose Luis Reinoso

F-16 F.A.V. Cockpit Simmulator

Página 48 Sponsored by

Chilean Choppers Solomaquetas.com

3
Página 56
EDITORIAL
Welcome all to our seventh World Modelling Magazine, our second in English, a maga-
zine made by modelers, with a lot of illusion, effort and dedication.

Modelism, a very intimate hobby by nature, as most human activities, transcend the pure
personal reality and becomes a social event. Here is where Model shows born. They are
not just model contests, they become enjoyable moments once you start sharing with
colleagues. They are the moments when we can enjoy our comrade’s Works and also
show our own models, sharing experiences, anecdotes, and technics and have fun.

That’s why in World Modelling Magazine wanted to start this seventh edition sharing
with you, our readers, a little photo reportage of the recent Sixth IPMS Venezuela’s Na-
tional Show that took place this late July in Hatillo Town, in the outskirts of Caracas.

However, what we do in our magazine is show great works made by our fellow mode-
lers. That’s why, in this seventh edition we’re proud to have back in our pages a marve-
lous work from Master Modeler (and friend) Daniel Zamarbide who brought us a rare
North American P-51B Mustang with a Little twist, a captured one.

You will also enjoy the second part (and final) of a Big scratch work in a little tank; Anto-
nio Ces brought us his Polish TKS 20mm Tankette. Moreover, our friend and collaborator
Joe Odoardi show his last scratch work, and F-16 Fighting Falcon cockpit simulator to
represent the same one Venezuelan Air Force (FAV) haves. Finally our friend and well
known modeler, Manuel Gil, give us a look into his beautiful Panzer III in 1/72 SCALE!!!!!!!

Another face of modelism, very appreciate by our magazine, is History. That’s why we
brought you an interesting work from our resident historian Clemente Valladares, the
story of two Brazilian who fought in the WWII skies…. IN THE LUFTWAFFE!!!!

To end, José Luis Reinoso show us the new Airfix’s MacDonnell Douglas F-4 K Phantom
II in 1/72 scale. He remarks its characteristics and compares it with the old molds from
Fujimi, the only model available British Phantom in this scale…

Enjoy!!!!!

4
 6th. National IPMS
Venezuela Show Caracas, 2019
José Luis Reinoso

Between the 27th and 28th of July, in the facilities of

Centro Social y Cultural Don Manuel Henrique Eraso in
Hatillo town, the sixth National IPMS Venezuela Show
was held. This is the sixth IPMS Venezuela show but
the first to be organized entirely by the IPMS Venezue-
la board of directors. For this occasion, it counted with
the sponsorship of valorous organizations like Centro
Cultural, Only Tickets, Club de Modelismo Ávila, Ho-
bby Scale, Drycleaning Popeye, who collaborate with
us in order to produce such event. We also counted
with the support of fellow modelers who donate no
less than 17 scale models to be raffle between all the
present children in order to motivate the newer ge-
nerations in the hobby. At last but by any means less
important, we have to mention the invaluable support
from model clubs from abroad like IPMS Spain and Mo-
del 34 both from Spain.

Glad to say that the participations of modelers sur-

passed the initial expectative, counting more than 45
participants and a grand total of 274 models in the
exposition tables. This kind of shows demonstrate
that against all odds, plastic modelling is still alive in
our country, showing a great level in all its exhibits….
THANK YOU MODELERS!!!!!

5
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7
8
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10
 North American
P-51B Mustang
R E D
Daniel Zamarbide

P T U Tamiya1/48

CA

Model: North American P-51B Mustang

Brand: Tamiya
Scale: 1/48
11
 A “SPECIAL” MUSTANG

“Zircus Rosarius” was the name of the Luf-

twaffe squadron that had allied airplanes
captured from force landings or overtaken
airfields. Most of them were repaired by the
Germans and prepared to fly again studying
their unique flight characteristics. Among
the models used with the squadron were
P-47 Thunderbolts, P-38 Lightnings, Hawker
Typhoons, Mosquitos and, of course, the ob-
ject of this article, the notorious North Ame-
rican P-51B Mustang.

For this article I’m going to use the exce-

llent Tamiya model in 1/48 scale which de-
tail and quality is already demonstrated to
be superb over the years. I center the article
mostly in the painting and weathering of
the cockpit parts, props, wheels and fusela-
ge of the Mustang, using tones of pictures
and articles that can be found all over the
internet. I hope you enjoy the article.

12
 1 Before commencing the model’s construction,
and supported by good documentation in the
right scale, I retouch all the rivets with the use
of riveting tools. I choose to improve the exte-
rior using a new resin spinner and exhaust tubes
from Ultracast Canadian Brand (1).

In order to improve accuracy, some basics, I use

the Aires Cockpit set, which have a good fitting
although there is always room for improvement,
mainly the cockpit’s floor with the sidewalls. Ano-
ther issue would be the upper end of the main
wheel bay (2).

Cabin is painted in Olive green (Tamiya XF-58)

that I apply making shadows with “Brown Oil” oil
2 colors and accentuate the edges mixing the oli-
ve Green with yellow or green yellow detailing
the rest with AK-Interactive acrylics applied with
brushes (3).

The two halves are together, after some minor ad-

justments on the fittings, and the Aires cockpit rest
perfectly in place. Once the fuselage is in one piece,
the wings assembly it’s a simple procedure.

13
The last detail before putting in place the crystal ca- 4
bin, is the aiming device. In order to simulate it I use a
thin little piece of acetate glued with carpenter’s whi-
te glue that once dry it becomes completely clear (4).

For the wheel bay paint I use the same technic done
in the cockpit, mi idea is to show the ventral doors
closed and therefor I let the original factory level of
detail (5).

The aircraft completely assembled with a perfect

fit in all its parts, including the four part transpa-
rent pieces of the cockpit. The model offers two
possibilities, crystals opened or closed. I put some
more extras, in this case a couple of high quality
Barracuda Studios resin wheels (6).

After masking the crystals with eduard pre-cut

masks and cover with Humbrol’s Maskol the model
is prepare to be painted (7).
6

I apply the first cockpit, interior olive green in the

outer part of the crystals in order to be able to see
the color from inside of the cockpit as on the real
aircraft.

14
 Before begin the painting process,
the model’s Surface has to be clea-
ned up, later a thin layer of Xtreme
Metal black coat is applied. Let it
dry approximately half an hour.

8 10

I apply a good layer of Aluminum Xtre- Next I apply yellow from AK-Interactive
me Metal on the entirely aircraft (8). in the bottom of the aircraft (10).
9 11

I mask the bottom fuselage in order to

airbrush the yellow in the rest of the air-
craft including the tail and be careful in
the radiator area because there it makes
an “S”. I do it using a thin length of mas-
king tape in order to easily bend it (9).
At this point I remove with great care the tape in order not
15 to spoild the Paint job (11).
12 Now I start the fine painting details, like the red band in the nose,
that I painted masking the area and airbrushing matt red from
AK-Interactive (12).

The anti-reflective paint in the nose is painted in olive drab; special

care must be applied in the joint between the windshield and the
fuselage (13).

Final aspect after all the painting process done so far (14).
13 14

NOSE WEATHERING

A.- I start the first part of the

weathering; to do that I start
chipping the Wheel doors,
joints and bolts in the Green
area using a silver watercolor.
A
B.- Afterwards, with a yellowish
green I simulate little scratches
on the paint, not chipping as I
did in the previous step.

C.- In order to show some wear

in the red stripes of the nose I
use a reddish orange waterco-
lor pencil, without getting to
the aluminum plate.

B C 16
In order to assure the integrity of the work done so far, I airbrush a glossy var-
nish layer all over the model.

15

Once the varnish is dry, I proceed to mask some part of

the airplane, which are made of other kind of alloys of
aluminum and therefore goes in different colors (15).

To achieve this contrast between different parts I use

a second color, in this case Xtreme Metal Dark Alumi-
num (16).

With two different tones of aluminum is enough if I use

16 more tones it could be too exaggerated and it would
not look realistic (17).
17

17
The model has no decals for this version. All the swastikas, letterings and numerals and other
marks has being painted with an adhesive Koster’s template.
18 19

20
After spraying a new layer
of glossy varnish, once dry,
I apply a brown wash in all
rivets and panels of the fu-
selage (18).

I redo the same procedure

in the bottom area, the ye-
llow part (19).

After ten minutes, and

using a clean cloth, I remo-
ve the excess of the Brown
wash leaving a nice and
clear trace of all the rivets
and panels (20).

18
 21 22

In order to achieve “volume”, I apply Brown oil

color in the lower right corners of each fuselage
panels (21).
23
After a few minutes, I proceed to dilute the oil
color creating a shadow effect that gives a lot of
volume to the rather plain natural metal; this also
simulates a nice dirty effect in the surface. If you
don’t like the effect, you can always apply Whi-
te Spirit removing all the oil color and start again
(22).

24

The sprayed varnish is from GAUZY, this gives a

good resistance to the Xtreme Metal from masking
tape and weathering process; with a very short dr-
ying time. It is also very easy to clean using acrylic
thinner from AK-Interactive (23).

Aspect of the model after all the procedures

applied and so far. Again, all the process is pro-
tected with a new layer of GAUZY glossy varnish
(24).

19
25 To do some wear on 26
the yellow paint, I
apply orange oil paint
and I blur it to crea-
te volume in this area
(25).

I keep using the same

oil color technique in
other parts of the mo-
del, in anti-reflective
paint zone I use Brown
yellow which I’ll blur
later (26).

I seal the whole oil treatment with a

new layer of GAUZY gloss varnish and
this es the general result so far.

27

Finally, and taking advantage of the glossy fi-

nish of the GAUZY varnish that does not redu-
ce the metallic shine of Xtreme Metal paints, I
mask again the anti-reflective green surface. I
finish the process spraying ultra matt varnish
(27).

I remove the mask and glue the rest of the

pieces finalizing the model, wheels, doors,
landing gear struts, propeller and the anten-
nas. You can see the contrast between the
ultra matt anti-reflective green and the shiny
GAUZY metallic fuselage. 20
21
22
 McDonnell Douglas
F-4 Phantom FG.1
Airfix 1:72
Jose Luis Reinoso

Enough has been said about the F-4 Phantom II in any of its designa-
tions so I’ll not bore you speaking about it. I rather prefer to talk about
the latest launch of Airfix’s last Phantom in (my favorite) 1:72 scale.

I must confess that I am an enthusiast of the phantom in all its variants

and I have at least one model from each model brand. So far, Fujimi was
the only, which, in the 80’s, produce every variant of the F-4 Phantom.
It also was the only one to accurately distribute all British phantoms.
The situation was the same until this very same year Airfix launched its
brand new mold of the fg.1 Phantom.

From the moment they announce it, in November 2016, it has being
my personal challenge to get one. Always watching out for new in the
internet, expecting. Here I must thank the people of Hobby Scale Shop,
Mr Ricardo Gonzalez in particular, who brought one model to me. After
Airfix postpone in two opportunities its launch, I was somewhat ner-
vous.

Now going into the matter at hand, let me talk you about the model.

THE MODEL

From my perspective, not an expert modeler but a phantom lover, the

British ghouls are my favorites. In order to make a fair comparison, I will
compare the both fg.1 phantoms, one from Airfix and the second one
from Fujimi.

The new model has many positive features, which are its strong points.
But I will also point out the weakness of the mold that, as many models,
also have.

Let us start by the strong points. Basics, the box is nice, made of thick
cardboard, which for me is a plus because it guaranteed the integrity of
the content. Besides, it allows an easy and safe storage. You can stack
it with no fear of being squash and cause damage to the model inside
the box.

The instructions came, as usual for the latest Airfix’s launches, well pre-
sented (as a thin book) and well detailed. Decal options are the same as
the old Fujimi fg.1’s.
If you like other liveries, you have the Xtrakit’s decals option. Personally,
I’ll choose this option because I want to represent the “Colonial Navy”
Phantom. Of course that the Airfix’s decals are far superior than old Fu-
jimi’s; they are made by Cartograf.

Let us take note of the nice new features of this model:

- Three wing configurations, in flight, landed (with flaps and slats deplo-
yed) and parked in the aircraft carrier (folded).

- Airplane’s nose also in three positions, normal, folded in order to fit

the elevator’s shatf and folded with the radar equipment exposed for
maintenance.

- Tail dive surfaces in two different positions.

- Tail rudder separated in order to be positioned at will.

- Air to Air and Air to Surface armament.

- Refueling probe deployed or retracted.

It also have a nice detail in the tires, engines and intake trunks (which
let you see the engine’s fans). Of course it haves engraved panel lines
with a good detail.

Finally an engineering innovation in the loin of the airplane that helps

in the closured process of the two halves of the fuselage (and avoids the
repaneling in that area).

However, not all in this model is better:

- A Spartan cockpit, if you want to detail it you will have to use your
scratching abilities or buy a aftermarket photo-edge set.

- Poor detailing in the landing gear and wheels bays.

- Poor detailing in the air intakes.

- Missiles and bombs pieces lack of any detail.

- The Marconi’s RWR in the tail seems too thin.

- Again, armament supports and fuel depots have poor details.

- Airbrakes detail is weak.

- Outer wing fuel tanks are wrong but It can be corrected after a good
sanding session.
 CONCLUSION

It is not a bad model after all but when you compare it with more
than 30 years old Fujimi model it clearly lift your eyebrow, in my per-
sonal opinion I expected more from a computer designed model kit.

It has new and good new options but they are fail to match modern
standards of detail stablished by even them in other remolded items
like the Buccaneer or the Gnat. One positive point on new building
options but minus two for poor quality in the basic parts like arma-
ment and fuel tanks or air intakes detailing.
 PzKpfw III Ausf. L Revell AG 1:72

Manuel Gil

INTRODUCTION

Because of the A Coruña’s CIM Escala 2009 model show,

we create a couple of Special Interest Groups. I was later
interested in the Panzer III group. By that time, I was
very involved with aviation modeling, I was not attracted
to AFV modeling, and in fact, I didn’t know the differen-
ce between a Panzer III from a Panzer IV.

However, something happened spending an afternoon

with my friends in the association’s HQ. We’re showing
each other’s works when my friend Miguel Ángel Fer-
nández showed his 1/72 Panzer III M ready for paint. In
that mo-ment, I felt in love with the model. I was amazed
with the level of detail in that Revell tank. I have heard
before that Revell’s tanks were well detailed in 1/72 but
I have not seen one before that one.

Instantly I took the decision to assemble one. Miguel Án-

gel recomended me a Panzer III mark L. After a couple
of days I already have one purchased to our friend and
colleague Miguel Castro Urresti.

ASSAMBLE

I will do an Out of the Box model. With no complications

just straight building and painting using the instructions
starting with the barge. I drill a hole and attach a nut,
aligned with the turret opening. This nut will allow me
to screw a bolt in order to facilitate manipulation during
painting and weathering pro-cess. Building is fast, free of
troubles due to its good fittings, and engineering.

Modelo: PzKpfw III Ausf.L

Marco: Revell AG
Escala: 1/72
27
However, it is in this moment when you see the work
done that temptation arises and you decided to improve
some details. Once more, I change a simple project for a
more complex long-term one. Here is where I feel like a
fish in the water.

For this end, I start my research, mainly in books supplied

by Diego Barreiro, and a good number of pictures from
Pedro Ramírez and the always-trusty Google search.

28
 I resume the turret assembly. I add or improve de- 1
tails using plasticard, copper wire and plastic rods.
The machinegun barrels were made with hypoder-
mic needle filed to replicate its characteristic conic
nozzle.

Later I simulate the welding lines using fine plastic

rods and giving the correct textures with a blade
and liquid glue. I drill the front end of the main
gun, which I will glue in place later (pictures 1 and
2).

In the barge area, I start improving the vent’s grills

using wire mesh from an old gas-oil filter and rec-
tangular plastic strips for the frames. I make the
antenna’s base using two stripes of plastic glued 2
and adding it to the turret by three little supports
made of aluminum foil.

For the front of the tank, Revell supplies two short

sets of tracks with their supports for extra armor. I
file the supports and make new ones using alumi-
num strips and a couple “L” shape plastic strip. Be-
fore introducing the links, I drill al the teeth of the
tracks. Once glued in place I add a couple of bolts
for their subjection.

I make the towing cables using copper wire twis-

ting them and gluing the ends to the plastic hooks
from the plastic kit.

In the upper side of the barge, I glue three triangu-

lar plastic strips forming a perimeter surrounding
the turning ring the turret.

With aluminum stripes, I add several rings in the

back of the engine deck,
where the towing wires sit.
More detail is added using
plasticard, rubber tubing and
copper wire.

29
3 On the recommendation of my friend Tomás de la Fuen-
te, I fit all the parts corresponding to the chains and un-
dercarriage, doing fit tests on the barge and leaving the
two sets already separated to facilitate the painting work.
On the fenders, I add two small headlights and the wi-
ring made with copper wire. With plastic sheet, I detail
the headlights; I make a new cover for the right fender
drawer and build two jack clamps and five hooks on the
back of the barge.

In the rear part, I make a structure with thin strips of plas-

tic sheet as a support for various equipment and tools of
the car crew. This has included resin pieces such as metal
and wooden boxes, bales, tarpaulins, fuel cans and a buc-
4 ket to which I added the ring with copper wire. To finish
the assembly I perform the antenna with stretched plastic
(photos 3 to 7).

PAINTING

At first, the camouflage for the car was not very clear, al-
ternating between a camouflage sand in the African de-
sert or a winter white one in Russia. Discarded the first
and parked the second for another occasion with more
experience I opted for a decoration on the east front in
the summer-autumn of 1942 after verifying the existence
of this model in this period. I did not focus on any specific
5 car and I was contributing to the model several aspects
that I had seen in the cars of this model on this front.

The numbers of the turret belong to the decal sheet of the

model, to which I have reversed its order for the simple
reason of liking the odd ones more.

30
 After separating the groups of pieces for painting and masking the axles of the wheels, I print
the model with Tamiya xf-63 German gray except the chains. The mixtures for the airbrush are
made with 9 parts of solvent and 1 of paint. I apply three rises of light, which I will gradually
give in smaller and smaller areas. Insisting more on all the most exposed and upper parts of
the surfaces. 1st light in equal parts of xf-63 German gray and xf-50 field blue, 2nd light with
field blue and 3rd with eight parts of field blue and two of matt white xf-2. I mask all the me-
tal parts of the wheels, including the two spare parts, and Tamiya’s matt black xf-1 project on
chains and wheel rubber, retouching after removing the matte black masks from Model Air by
brush.

The escapes and the chains on the front of the barge are painted by brush with matte brown
by Model Color as the basis for a rust tone. Next, I make variations of the tone mixing sand
brown and apply them randomly. For orange tones, I mix yellow and matt red, varying the
proportions to achieve different tones. I spray Tamiya glossy acrylic varnish in the areas where
the decals are going to be placed. Afterwards I fix them with the help of Micro Sol and Micro
Set liquids after cutting out the transparent support to the maximum. After a few days, I apply
a wash to all the elements of the car with Titan’s black oil, very diluted with solvent for Hum-
brol enamels. After what seems like a much-exaggerated result, I airbrush very diluted mixture
of the third rise of light to mitigate the effect. I make a second wash with sienna toasted earth
oil around the logs and on the panel lines of the engine cover to simulate dirt and dust.

Using enamels of Tamiya, xf-54 dark navy gray and xf-63 German gray, mixed in equal parts,
I apply with a flat brush a light dry brush across all the edges. For the weathering of the low
and area of the chains I use pigment powder from pastel color bars, trying to get a dry and stic-
ky mud on which dust has been deposited after passing through dry roads. I mix the ground
pastel powder of toasted sienna with matt varnish from Vallejo, obtaining a paste that I depo-
sit with a brush through the lower parts of the hull, fenders and certain areas of the wheels.
When dry, I dry natural sienna and fix it with Humbrol solvent. To finish, I mix the two shades
of cake in different proportions and moistened with Humbrol solvent I apply them randomly
to vary the tonalities of the mud.

In the chains, I apply a wash with a much-diluted mixture of sand brown and matt brown
acrylics. Once dry, I apply dust with natural sienna color, fixed with solvent, the tow cables are
painted in acrylic black, I apply a wash with matt brown acrylic and simulate the bare metal
with a graphite mine. I also apply this for all the friction surfaces of the chains. With acrylic
black and a fine brush, I make micro chipping marks in all those areas susceptible of rubs, cras-
hes and bumps. I add a heavier weathering with acrylic brown ending again with some details
in graphite. I perform a more pronounced deterioration in the jack.

I present on the back the boxes, cans and bales, looking for a logical distribution so that the
heaviest elements rest against the metal structure. I glue them with cyanoacrylate in two
groups. I paint them with acrylics with brush using the same technique as the one used for
the figures. On the antenna’s base, I apply chafing and chipping with a mixture of sand brown
and white acrylics to mimic the color of the wood with which they were made. The tools and
the wooden block are, first outlined in black and then painted by brush with the colors corres-
ponding to each material.

31
I perform a general weathering with Mig P027 Light Dust
pigment on the horizontal surfaces and equipment of the
car.

With bright Model Color ‘s black 70861, very diluted and

with the help of a brush I deposit small drops on the engi-
ne cover to imitate fuel spills, adding more or less to vary
the intensity of the stains.

On the muzzle of the barrel and exhaust pipes, I apply car-

bon black pigment 73116 from Vallejo.

32
33
34
 Two Brasilians in
Clemente Valladares
the Luftwaffe
Wolfgang Ortmann.

Almost 20 years ago, when I began to investigate the

Latin American veterans of the great world conflicts I
found an email from Sergio Luis dos Santos. Between
the Portuguese and Spanish language, in 2003, we cros-
sed a few emails where he told me about two Brazilians
fighting in the Luftwaffe. First, Wolfgang Ortmann, who
was born on May 25, 1917 in Sao Bento do Sul.

Sergio acknowledges in his research that the initial fin-

ding of Ortmann is due to the British historian Francis Unit Simbol of the ZG1 “Wespen”.
Marshall. And the Brazilians completed the information
using the German archives and local records. Wolfgang
is registered, according to his birth certificate in Brazil,
as Karl Christian Wolfgan Ortmann. His father Eduard
Ortmann and Fanny Kreuz baptized him in the Evangeli-
cal Lutheran parish of Sao Bento do Sul city. His parents
and grandparents worked between 1912 and 1924 in
that region of South America.

The circumstances explaining how the young 22-year- Messerschmitt Bf-110 de W. Ortmann
old Wolfgang arrived in Germany during the Third in the ZG1 “Wespen”.
Reich are unknown. What’s true is that he is registered
in the Deutsche Dienstelle on October 6, 1939 on 4./
Fl.Ausb.Rgt 14. This was a Luftwaffe school in Klagen-
furt for military training. This suggests that he voluntee-
red for his Germanic origin, his preference for aviation
and the call made to the whole world by the Nazis.

On April 9, 1941 was already part of the 3rd unit of the

ZG76, this squad flew the double-tailed twin-engine
Messerschmitt Bf110 Zerstorer (destroyers). A few mon-
ths later, he went to the 2nd unit of ZG1 “Wespen”. This
wing was famous for painting in its nose a large wasp
cartoon on both sides of the front fuselage (where the
4 7.92mm machine guns and the two 20mm cannons
were). With the Wespen, he will fly with Lieutenant Her-
bert Kutscha, one of the great aces of the Luftwaffe and
the Bf110, who survived the war with 900 missions and
47 confirmed demolitions, half of them in the Zerstorer.

35
 The captain of the 2.ZG1 was Rudolf Kaldrack, with
275 missions and 24 aerial victories, ten of them in
the Battle of England. Rolf, as he was called, was a
28-year-old man in January 1942. Six months earlier
he had been assigned to bomb Russian positions on
the eastern front and in those missions Kaldrack flew
in Rotte formations with his Brazil-ian wingman. In
these operations, the speed of the Bf110E and its
bomb capacity made it an excellent airplane. During
that first semester of Operation Barbarosa he attac-
ked hundreds of trucks, artillery pieces and land po-
si-tions; he also achieved a dozen additional demoli-
tions.

His luck ended on February 3, 1942. By winter the

zertorers had to wear their winter white camouflage.
Rudolf Kaldrack The mis-sion was to attack the Basary airfield south of
Torpetz. Ortmann was carrying Obergefreiter Josef
Milichowsky in the back seat. While Rolf flew with Un-
teroffizier Martin Enke. Upon arriving at the airfield,
the captain of the 2.ZG1 observed a Soviet R5 obser-
vation biplane, which he set on fire with an accurate
blast on his second pass. The third in the attack for-
mation was Felwebel Tamm who makes this narra-
tion: “I was coming somewhat behind Wolfgang and
Rolf when my radio operator alerted me of fighters
back, they were Polikarpov I-18”.

“I turned to evade the enemy, but the turning angle

of the I-18 is more tight and it hit me when I told Kal-
drack about being careful with the fighters I was ge-
tting into combat too. Another I-18 was attacked by
Rolf, but when the captain was going to shoot, Ort-
mann was very close and crashed into Kaldrack’s pla-
ne, killing Martin where he was seated. Both Bf110
went down. I didn’t see any of the 4 men jump. I ma-
naged to knock down one of the en-emies, but the
others who attacked me and I made my escape to the
base. ”

These bodies were not recovered because they were

behind enemy lines, in territory not controlled by
the Ger-mans They were lost in Russian flat lands im-
mensities. Rolf was posthumously given the Knight’s
Cross but for the Brazilian, only the remembrance of
his compatriots remained.

36
 Egon Albrecth

Sergio Luis dos Santos, in the emails he sent to me in

2003, told me that the other Brazilian from Curitiba
was born on May 19, 1918. Egon Albrecth as his com-
patriot Ortmann began at age 22 to fly the twin-en-
gine Messerschmitt Bf110 with the ZG1 “Wespen”
squad. In June 1940, he was re-designated ZG76
and then SKG210 in April of the following year. In
January 1942 he was sent to the Russian front with
the sixth squadron of the ZG1 (in February of that
year his compatriot Wolfgann died in 2.ZG1, perhaps
they did not know each other, although most likely
they would talk about him).

Already by mid-year, he was the captain leader of his

unit and even received a Knight’s cross in May 1943
for having knock down two Yak-1 and a Polikarpov
I-16; he destroyed 12 airplanes on the ground, 142
vehicles, three locomotives, eight anti-aircraft, a
dozen anti-tank positions and 8 more infantry. Some
of Egon’s known radio / machine gun operators on
the eastern front were Kurt Urban and Hans Steck-
mann. There are reports stayed that sometimes retur-
ned with almost half of the plane covered with bullet
holes.

In October 1943 he reached the rank of group com-

mander 1.ZG1 and was sent to the western front on
the Atlantic coast, in occupied France, and he was
completing missions over the Bay of Biscay. At the
end of that year, he was transferred to Weis in Aus-
tria to fight in Italy against the Fifteenth United Sta- Egon Albrecth
tes Air Force.

After heavy losses in July 1944 the 2.ZG1 begins to

fly the single-engine Messerschmitt Bf109 and the
squad is re-designated as 3.JG76, later it was retur-
ned to the west of France. In Europe, Egon was able
to take down six confirmed American B24 four-engi-
nes.

On August 25 in his Bf109G14 Black 21 (W.Nr.

460593), after having accumulated 25 air victories,
he was shot down by a P51 of the RAF or a P38 USAF
- there is no clarity here - near Creil. Despite having
jumped his parachute didn’t open, something happe-
ned with his parachute or he was already injured, and
he was found dead in the field of St Claude, France.

37
We don’t know much about his personal life, or how
he came to his father land to fight for Nazi Germany,
but there are records that between 14 and 18 years
old, he was in the Hitler Youth. There are some pictu-
res of him during wartime and even a very good one
with Walter Kuprinski and Adolf Galland. Besides his
last sortie is also well documented.

On the internet, it is easy to find him among the first

aces of the Luftwaffe; his tomb is well demarcated
and sometimes there are some people who remem-
ber him and leave flowers where he fell in the French
countryside.

--
Clemente Balladares Castillo
Marine Biologist, MSc.

Conservation Program Coordinator

Biologic Diversity General Management
MinEC-Venezuela-Ccs.
Phone Number
+58 416-7520658 / 212-4084801 Egon Albrecth y Walter Kuprinski

Egon Albrecth y Adolf Galland

38
 2da Parte

TK-S Tankette
Antonio Ces
20mm FK wz.38 1/35
LA PINTURA
1
The original color inside the tank is light beige. First, it is
applied Beige 917 Vallejo Model Color as a base color. Then
we make lights mixing this with White Parchment Color on
the surfaces that will be oriented towards the light sources
(thinking that they are the access gates of the tank).

Once we have done this we proceed to paint the scratches.

Using a reddish brown, always thinking about the areas of
more bumps, friction and use of the tank (1). We are constant-
ly placing the engine (barely anchored in black) to observe
the assembly as we continue adding scratches and chipping
(2).
2
We do this in all areas that will be visible from the outside
thanks to the fact that we take the forecasts to open all the
hatches of the tank (3).

General view of the process (4).

3
 Interior is ready for the next step of Weathe-
ring once the chipping is done.

I did the internal weathering with pigments of the brand K4

of my friend Richard Ordenes, the colors used are Light Mud,
Brown Mud and European Dirt. We always put the lightest
first to give the sensation of dry mud and then the darkest
ones above. In this way, we give you the feeling of accumu-
lated land and continued use. I fix the pigments with Mineral
Spirit (5-6). On the engine, we use light oxide and dark oxide
colors from K4 and Mig Productions (7).

6 7
8 9

10 MAIN ARMAMENT

The gunner had two important elements in his place, the

telescopic sight and the Nkm wz.38 FK 20mm gun. First,
I make the viewfinder/periscope at the top. On the hull I
made the plastic base (8-9) and the protective cap of the
visor with a small copper foil to give it the shape. Also
using this material I’ll be able to bump it a bit as it would
happen with the real one (10).

As for the Nkm wz.38 FK cannon, the Pancerny Cp kit

brought the body of the cannon into its leftover parts.
Starting from it as a base, the rest of the weapon was
scratched, including its assembly and the outside (11).
Using the cannon photography in its field version as a
guide, scratch using plasticard, stretched plastic and
other materials (12).
11

12
 13 14 15

16 I built the sight, the lifting mechanism, trigger,

and other gears with stretched plastic and plas-
ticard (13-14-15). The barrel itself is made with
a thicker hypodermic needle (donated by my
friend Alejandro Garrandez), excuse me, but
now I don’t remember the measure; but believe
me it was big (16).

I made the barrel nozzle with stretched plastic,

placed in the drill bit of the Dremel using it as a
lathe and sanded to its shape. Then I drilled it
and made the opening until it reached the hole
of the hypodermic. View of the set be-fore pain-
ting (17).

17
 18 19 In this image we can see the tiny
size of the TKS tank in 1/35 scale
(18-19).

20 22 23

21

As a base we use a sand color similar

to RAL 7028 mixed with Ice Yellow (20-
21).

After that I applied the green and brown

colors of Polish camouflage (22-23)
24

25

With Reddish Brown and yellow of the base color I made

scratching and chipping all over the surface of the tank
(24-25-26-27).

26 27
 F-16 F.A.V. Cockpit
Joe Odoardi
Simmulator Scratch1/72

The F-16 Fighting Falcon training cabin

is designed to train pilots and technical
personnel that work with the aircraft
systems for the Venezuelan Air Force
(F.A.V.). It also teaches how to carry out
the pertinent operations in the as-sem-
bly and disassembly of the ejection chair
used by the aircraft, familiarization of all
the functions and systems presented by
the cabin, to practice and perfect emer-
gency procedures.

This unit was acquired, by the Fighter

Air Group No. 16, with the arrival of the
airplanes in the year 1983. Since then it
has been used for this purpose, having a
great benefit for the technical staff of the
group and additionally, it is used for sta-
tic displays at air events so that the public
knows about the cabin.

For the construction of this scale model

I used materials such as: PVC sheets, Co-
pper wire, Evergreen plastic sheets, Bacci
Chocolate paper, aluminum foil, Bare Me-
tal, copper filaments and parts of an F-16
Italeri kit (fuselage section and the glass).
I eliminated the cannon in the fuselage,
cutting and adapting the canopy as the
real piece from the plastic kit.

The base of the HUD was elaborated from

acetate, cartwheels are handcrafted with
filled copper pipe, the plat-form and con-
trol box are made from strips and tubes
of Evergreen, the ejection chair is completely im-
proved.
1
The same modeler took the reference photogra-
phs between 2013 and 2014 at the facilities of
the Fighter Air Group No. 16.

Inspired by the great effort that technical person-

nel are currently making to keep airplanes in the
air.

BUILDING

There are no construction plans, as it is common

to find them in a commercial model, since this is
a referenced model by photographic supports 2
taken by the same modeler.

For the preparation of the solid wheels of the cart,

I used a copper tube with the exact diameter for
the scale (1). I cut it with a tube cutter (2), then I
sanded until it was taken to the width of the whe-
els accordingly. As you can see, it was filled with
putty to give it the desired realism (4).

For the construction of the support base of the

wheels I used copper sheets, with the correspon-
ding shape and scale. On the other hand, the ela-
boration of the platform was constructed with 3
PVC sheets and square copper tubes to give the
real outline to the structure of the platform.

For the construction of the support base of the

wheels, I used copper sheets, with the corres-
ponding shape and scale. On the other hand, the
elaboration of the platform was built with PVC
sheets and square copper tubes to give the real
outline to the structure of the platform (5).

4 5
6 I cut the square tubbing using a Dremel with a cutting disc,
it was subsequently sanded to match the surfaces.

To give the supplement to the structure I used Evergreen

sheet and thus obtain the appropriate thickness for the
scale (6-7-8).

The ladder used by this training cabin is a short ladder in

relation to the one used in the air system. The ladder was
prepared with PVC sheets and copper filaments (9).

7 8

9 10

A section of the fuselage and the 11

ACESII seat of a kit of the Italeri
brand was used to perform the ad-
justment and re-paneling according
to the training cabin (10).

Improvements were made in the

internal part of the cabin fuselage
with putty and plastic (11).
12 The section of the barrel in the fuselage was elimina-
ted, since the training cabin does not have it, in that
section it is smooth (12-13).

To improve the finishes of the cabin seat I used Bacci

brand chocolate protective paper to make the seat
belts and chair fabric, in relation to the cabin at the
back of the seat the space was closed as in reality
takes it; a wall parallel to the chair (14).

13 14

15
The ejection seat is presented in the cabin to make
the last adjustments. All the details presented inside
the cabin are thanks to the photographic reference
of the real cabin (15-16).

The cabin is painted in the captured way: the front

panel and the side panels (17).

16 17
I prepared the cabin HUD base with plastic material from a 3 ½ TDK disc guard. This HUD does
not have glass as we used to visualize on airplanes, this training cabin 20 years ago was presen-
ted with an acrylic sheet and over time this use was eliminated (18).

Once the paint details on the inside of the cabin were finished, it was closed (19).

18 19

18

20
The elements are prepared with PVC sheets to give
the piece the real shape (20).

The glass has the shape of the training cabin, being

completely different in the back to the cabin of the
single-seater and two-seater aircraft (21).

Adjustments were made on the lower surface of the

cabin. I cut and sanded to match the exact shape of
the PVC sheets (22).

21 22
The inner part of the canopy was painted with
yellow transparent Tamiya paint; it was applied 23
in a very subtle way so as not to obscure the in-
ternal view.

I covered with Tamiya tape the glass on the

top, to proceed to paint. I used the Bluetac pro-
duct to perform the freehand camouflage sche-
me (23).

Model Master paints were used to paint the fu-

selage (24).

The sponge technique on the back of the fu-

selage was used to represent the wear of the
paint in that area (25-26).

View of the process so far (27).

24 25

26 27
To make the handles on the back of the cabin where the external controls are located, I used cus-
tom-bent aluminum wires with the special tool for folding photogravures.

They were glued with cyanoacrylate and I waited until they dry to make the final adjustments.

Painted power cable filaments were used to represent the exposed wires in the training platform and
cabin.

The red “Remove Before Flight” tape is a aftermarket photoetch.

I interested in building Chilean
models because, in one way or
another, you always have to add
details forgotten by the kit’s ma-
nufacturer or because I simply
prefer the Chilean camouflage
better.

56
 Bell UH-1H, Revell, scale 1:35 in the case of being from the UN they did not necessarily
install it, but I did. What is missing is the small Chilean
Chilean Air Force based at Los Cerrillos Aerodrome and flag that goes in the tail; instead of it, I put the Chilean
later sent to The Persian Gulf. I started building it with Republic Seal since I could not find the flag.
the cabin adding details on the dashboard and arm-
chairs, then I continued with the Fuselage and, in this Bolkov BK, scale 1:35
particular case, I added a battery, a switch and three
leds, one located on the upper outside of the helo, ano- From Carabineros de Chile based at the Tobalaba Aero-
ther one on the bottom outside and finally one on the drome. I built it starting around the cabin; I added the
inside. Then I passed on the tail, there I added copper seat belts and then I continued with the fuselage. I cut
wires to replicate the communication antennas, I left the some sectors and put grilles in the air intakes of the tur-
tail rotor free to rotate as well as the main rotor, and the bines. In the rear compartment, I cut to open the doors
blades are movable. At this moment, I decided to leave where cargo or stretcher is introduced or loaded. I later
the engine access doors opened so that part of the engi- assembled the main rotor with the movable blades. Sin-
ne is going to be exposed. The doors have a system of ce I want to transport it without major problems, I left
hinges to open and close freely. Then I add the skates or the main rotor unglued. Then came the painting pro-
skis and as I put together all the pieces, I was working cess, most of the complication here was trying to find
in the painting; at the end, I do a final pass of paint to the specific green that uses and that is based on the pho-
match all the helo and I finish adding the Machine Gun, tographs.

57
Bolkov BO 105, Revell, scale 1:35 of the height, I built it with some speed since despite ha-
ving many pieces and details it is relatively easy and fast
Chilean Navy based in Antarctica, the construction pro- to assemble
cess is similar to the previous ones but, as in UH-1H, I
also added a lighting circuit with led lights and a pair Super Puma 330, Revell, Scale 1:35
of batteries in the turbine sector and behind the cabin.
I finished adding the radar nose with putty and trying Used by the Chilean Navy, it is based on the Admiral La
to give it a weathering like the real one. Also add a ska- Torre Destroyer. Its main work is submarine warfare, ca-
ting system to skates or skis anti snow sinking (which rrying equipment such as sonar, torpedoes, and missiles.
this model occupies normally) since it works in the harsh It is also used as personal transport. I did it to be in a dio-
weather of Antarctica. rama replicating the flying deck of the destroyer and its
personnel performing a maintenance before the flight,
Alouette II, Revell, scale 1:32 ground crew loading provisions and the pilots are chec-
king the flight procedures. The personnel figures are
Property of the Chilean Army, it is based at the Ranca- from Dragon, and I had to make some changes. Fuel ba-
gua Aerodrome. One of the unique heli-copters that can rrels, oilcans, food cans, backpacks and drums are from
reach great heights (7,000 meters.) and very easy to ma- the same dragon kit.
neuver because it has little resistance to the high winds

58
59
We are a store dedicated to the sale and
promotion of static modeling in all its va-
riants, with twenty years of experience.

We are located in the center of Palma de

Mallorca, in the Els Geranis Shopping Cen-
ter.

We also conduct workshops for our part-

ners and customers so they can move
forward in this fantastic world of models.

Our address is as follows:

Image of our workshops, sharing modeling tech-
niques.
Center Modelisme S’Estel, private passa-
ge Guillem de Torrella nº 1. 07002 Palma
de Mallorca.

We have an online store www.sestelmo-

dels.com

In addition to being in almost all social ne-

tworks and You Tube.

Our marathons that are made at the door of the

store.
60
 “Asimov nos Engañó”
As an introduction, for tho-
se who still do not know us,
we are a Spanish company
dedicated to the design, pro-
duction and distribution of
accessories and tools for mo-
deling and wargames. In ad-
dition, we are fortunate to
be able to say that we love
both, which makes us want
to gather around us people
who enjoy the hobby. No-
thing better than this maga-
zine to share with you what
we like!

What we really like is the

creation of “parallel” worlds.
With the right tools, you can
create miniature realities.
That is why we are going to
create a vignette based on
the laws of robotics, where
the human being is absent,
perhaps because the machi-
nes have definitely taken
control. Give it the interpre-
tation that you like the most!

61
1
Whenever we start a project, it is very im-
portant to know what space we have to
show it, and above all, to present the di-
fferent components before facing it (1).

Well, that will be the space where we

will tell our story, which we will decora-
te with the remains of a collapsed wall,
with pieces taken from our concrete
block mold (2).

We will use our plastic tubes to give the

vignette an industrial environment, ma-
2 nufacturing a section of broken pipe (3).

Moreover, to help tell the story, an ad-

vertising poster on the wall, which we
will make with plastic strips (4).

The poster is easy to manufacture, we

should only try to give it an old and de-
teriorated appearance, forcing the an-
gles and folding the surfaces. If we want
to recreate a post-apocalyptic environ-
ment, given detail, do not forget (5).
3
We have finished the ground, slightly
raised in the back, lower in the front, so
that the viewing angle is perfect from
any position (6).

4 5

62
 6 7

It is important to work on a primer that helps

8
us in the final finish. Therefore, when the co-
lors cement, earth and sand prevail ... gray will
be perfect as a base (7).

On that basis, we will use ocher colors, earth

and sand, to decorate the different areas, ta-
king into account that the final finish will be
based on pigments (8).

While we let the ground dry, we go

with the protagonist of the scene.
A robot of the Fillbot brand, per-
fect for the 1/35 scale, to which we
will give a gloss black primer before
painting.

63
9 10

The gloss black primer is the one to use the cha-

11 meleon changing colors later. On this primer,
the effects are accentuated (9).

We have decorated the chest of the figure, with

«Cobalt Blue». The paint tends to turn from blue
to purple, as the light strikes. The iridescent
effect is really attractive (10).

Well, let the robot’s paint dry, adding color to

the stage. The chromatic richness of a scene will
make us contemplate it with more or less atten-
tion. That is why I recommend loading it with
nuances (11).

12
The wall is subjected to a wash and glaze ses-
sion in brown and green to mimic dampness.
The pipe, painted in oxid colors, will also have
an oxide blue patina (12).

The time has come for pigments, which help

us to texture the ground. Although there are
many ways to work them, I use a brush, and
then fix it to the surface with a layer of matte
varnish varnish (13).

13 14

64
 We will begin to integrate elements. The poster 15
has been painted in rust color, on which we have
added a layer of chipping medium, and then go
on to decorate it in yellows. We want you to get
attention (14).

Well, the painting of the poster is dry, now it is a

matter of moistening it with a brush, and lifting it,
revealing the oxide-colored layer below (15).

A good session of chopped with sponge. We will

finish the work with a touch of airbrush and sepia
ink, and a little bit of rust pigment (16).
17

16

So is our post-apocalyptic scenario. We have used a

transparent plastic strip to imitate the water line from
the pipe to the area that we will then flood with artifi-
cial water (17).

18

It is very important that we leave messages to the

viewer, which accompany the scene. These posters
are part of the environment we want to convey.
They are printed on photographic paper, respec-
ting the scale of the vignette (18).

19
Touch the most dangerous moment of modeling!
When you must imitate water in a vignette. We
have made the dike, directly with transparent vin-
yl tape, which you can find in any store (19).

65
 As you can see, we have decorated the bottom
20 of the flooded area, giving it color and adding
herbs. Carefully and very slowly, to avoid bub-
bles, we drop a thread of artificial water (20).

Touch wait for the water to dry. It is usually a

matter of 24 hours. I advise avoiding that at
that time, dust or impuri-ties may fall on it, so
protect it as much as possible (21).

If the water has left you a little designated, so-

mething very normal sometimes, acrylic pro-
ducts to imitate water, are very valid to smooth
21 the surface. They dry the air and are completely
transparent (22).

23

22

While the poster dries, we have masked the area 24

painted with chameleon paint, to give color to
our robot. The choice of this industrial blue will
give much prominence in the scene (23).

New drying time for our land, which we take

advantage of to give aging touches to the ro-
bot, gently, in some areas. We use rust color
and a very fine pincer. No exaggeration in this
case (24).

66
Fast drying cyanoacrylate glue and ...
our scene is almost ready !!

67
68
 in the next magazine....
Super Detailed Project
Flakpanzer IV Wirbeldwind
1:35

Will visit the Venezuelan Air

Force Museum in Maracay, Ve-
nezuela Expo Escala 2019
Model Show

¿What happened in Vietnam

after EEUU retired?

69
70