The Weathering Aircraft Issue 14

8 432074 052142
Distributed by:
As I considered this issue dedicated to night aviation, it was impossible

Chief Editor
for me not to think about the number of nights that modelers dedicate
Javier López de Anca
to our hobby. Basically, those hours at the end of the day are our “happy
Original idea and Art director hour”. The working day is over, the youngest are in bed, the rest of the
Mig Jiménez family is watching TV... and the boss is at home without a mobile phone
in hand. Come on, when the city (or town) sleeps is when the modeler
Editorial Management takes out his treasures and lights up the night, either in his own work-
Carlos Cuesta shop, at the living room table, and for some the kitchen doubles as the
modelling desk. The solitude of the night is our friend.
Editorial Coordination
Iñaki Cantalapiedra And that led me to think of Game of Thrones and the Night Guard. A series whose final episode was viewed
by as many people as inhabit all of Holland. What if in the end we are like them, even though we don’t all
Cover wear black? If we compare ourselves with fans of major sports like football or basketball, many of us are
Antonio Alonso not. Until we get a decent team, we have to manage with the tools and products that fall into our hands.
Layout Although we may meanwhile look with envy at “valyrio” steel airbrushes. Many people don’t understand
Jorge Porto our hobby, but we fight to the death to defend it. Come on, I already see us with a Lord Commander at
the front defending the Wall…or in our case, the plastic. As such, we need to have our own oath. The
Article Assistant evening modeler’s oath (with GRR Martin’s permission).
Iain Hamilton
The night is coming. Now my guard begins. It won’t end until the day when I ﬁnally manage to ﬁnish this
Akatsiya Photographer model. I won’t buy another one, I won’t start another one, I won’t think of another one. I won’t get med-
José Irún als; I won’t get glory. I am the modeler of darkness. I am the watchman of the plastic. I am the putty that
covers the seam. The paint that cloaks the plastic. The solvent that awakens the dead. The modeler of the
Special thanks
Elizabeth Wiese kingdoms of men. I surrender my time and my sight to modelling... of countless nights past, during this
Styling Assistant very night, and all nights soon to arrive.
Mila Gómez
Akatsiya
Bárbara A.
By Javier López de Anca
Collaborators
Alex Hernandez
Marcelo Durán
Matt_McDougall
Ralph Riese
Fernando del Pino
Ricardo “Chicho” Abad
Aurelio Gimeno
Translation
Marta Ramírez Gómez
The Weathering Aircraft by

AMMO of Mig Jiménez
www.theweatheringaircraft.com
info@migjimenez.com
twa@migjimenez.com
Quarterly Magazine
DL NA 251-2016
ISSN 2445-1185
September 2019
INDEX
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Foto: Allen Vallejo
The Second World War was the breeding ground for the develo- basically to paint them in dark colours, particularly black. As time
pment of innovative designs and strategic weapons. The conflict passed, specific elements and systems were added to meet the
was also an incubator for night fighters, although the concept was needs of night warfare such as radar systems and unique bomb
already considered during the Great War, it was during the early sighting equipment.
1940’s that engineers began to design specific versions for use The advances in aviation technology during the Cold War would not
in hunting missions and night bombing. Although Great Britain only affect this type of aircraft, but also witnessed the design of new
and Germany showed the greatest interest, other countries joined aircraft with unique capabilities such as helicopters. These innova-
the chase with their own night aircraft. At first the fundamental tive additions to the arsenals of the world’s superpowers were not
difference between standard and night versions of aircraft was only capable of carrying out attack missions, but could also insert
Foto: Allen Vallejo
6 / THE WEATHERING AIRCRAFT / NIGHT COLORS

infantry units behind enemy lines and perform medical evacuation How do we translate these concepts into the world of modelling?
and resupply missions. Such was the success rate of night flights that Logically, the part that most interests us is painting since the out-
specially designed aircraft began to emerge, the F-117 Night Hawk is ward appearance is the biggest difference between night fighters
perhaps the best known thanks to extensive television coverage of and standard designs. To convey this, we have to be aware that it is
the First Gulf War in 1991. This design is characterized by the unique essential to know how to work with black so that it is not flat while
ability to perform the same missions, with the same precision, both also recreating the same accurate effects applied to all aircraft.
during the day and under cover of the night. The first rule regarding this colour is to avoid pure black as a base
colour. You must always begin with ranges of greys and learn to
handle the techniques of shading. It is also important to explore
the idea that you can use colours such as blue, red, or orange to
increase the chromatic richness of a colour as complicated as black.
On the other hand, special attention must be paid to the specific
modifications these airframes feature which are not always well
represented in models. For example, it was common in the Second
World War to cover leaks that were typically ignored in order to
prevent the glossy reflection they produced from being seen from
the ground or from other aircraft, revealing the position of the pla-
ne. Another example is found on modern airplanes, which often
feature external target acquisition systems capable of detecting
targets in the dark.
It’s time to light up the night and your imagination with this gor-
geous range of camouflaged birds, it’s time to hit the bench with
your favourite aircraft in this ambitious and highly rewarding ran-
Foto: Allen Vallejo
ge of night camouflage finishes.
THE WEATHERING AIRCRAFT / NIGHT COLORS / 7

AH-6J
L I T TLE
BIRD
The MH-6 Little Bird is a single-engine helicopter used by the United

States Army. Based on the McDonnell Douglas MD369 (Hughes), the
MH-6 Little Bird, and its attack version AH-6J, was originally designed
as an escort helicopter. Since the early 1980s, however, it has been used
almost exclusively by Special Forces, both for extraction and incursion
missions and to provide air support to ground units.
The AH-6Js were best known from Operation Gothic Serpent in

Mogadishu, playing a secondary role in both the book and the ilm
Black Hawk Down. The AH-6J artillery provided cover ire to the Rangers
and Delta Force resisting in defensive positions around the site of the
Super 61 incident, under constant ire from warlord Mohamed Farrah
Aidid’s militia. Much of these operations took place overnight. One of
the “Little Birds” on station was chosen for this article.

Alex Hernández
Kitty Hawk 1/35

1 The interior of this small helicopter is also nocturnal by
design, so it will be painted completely black. I attempted
to differentiate the interior colour by applying metallic
pigments on the metal edges of the seats, cargo supports,
ammunition boxes, and fuel cells.
2 After protecting the interior and inishing

the assembly of the fuselage, a thin layer
of primer was applied with a mixture of
One Shot Black (A.MIG-2023) and Grey
(A.MIG-2024) to create a dark base
without using absolute black.
3 With a very diluted mixture of yellow and ochre tones, a basic mottling
effect was applied to all surfaces to provide a foundation of background
contrast for the following layers of colour.
4 In order to achieve the distinctive tone of these aircraft a mixture of NATO

Black (XF-69), Olive Drab (JGSDF) (XF-74) and Rubber Black (XF-85) was
mixed. The aim was to create a dark grey-green tone to be applied in
several thin coats.
5 With a very diluted light grey tone the inish was enhanced with the
effect of highlighted panels. It is possible that in the next steps the
contrast will need to be reinforced and emphasized.

6 With the same base colour diluted by approximately 90%, a ilter was applied with the airbrush over all
surfaces, insisting more on the lower areas to unify the colour while leaving the upper surfaces with a higher
level of contrast.
7 To protect the work and prepare the surface for the decals,
I used Aqua Gloss (A.MIG-8212). Once dry, the decals were
applied and the surfaces sealed once again.
8 To achieve a subtle textural discolouration which provides a more pronounced

effect of use and realism, a mixture of acrylic colours (grey, green, brown) was
mixed and applied with a sponge previously discharged on absorbent paper to
gently dot several areas of the fuselage.
9 To start unifying shades, a brown

ilter was applied with Brown for
Dark Green (A.MIG 1506).
10 Always avoid looding the surface, simply wet it with the ilter
and a thick No. 3 or 4 brush.

11 After a few minutes the solvent will evaporate
and you will see some surfaces appear heavily
discoloured. Having varnished in gloss you can
solve it without problem by gently rubbing the
surface with a dry and clean brush.
12 Here you can see the result after the ilter was applied.
Here you begin to see how the surface is taking shape
and the layers with various contrasts can be seen at
irst glance.
13 A new and very thin layer of Aqua Gloss varnish was applied to
protect and seal the effects. With this application, I was able to
continue with other effects and avoid losing the progress by using
thinner for the following steps.
14 To work the effects of the accumulation of dust

and sand in the lower areas of the fuselage, Buff
(XF-57) was used very diluted and applied with
an airbrush.
15 This was followed by a mixture of PLW Orange Brown

(A.MIG-1616) and Light Grey (A.MIG-1600).

16 A few minutes later the product has slightly dried
and the excess removed with the help of a makeup
applicator, leaving only the effect inside the rivets.
17/18 For the rivet detail on the upper surfaces, only

PLW Light Grey was used. was used. The process
used for the previous step was again used, only
the colour was altered for a different appearance. 18
19 Although this nocturnal scheme is based on a black base colour,

you can clearly see how a wide variety of realistic contrasts has
been created.
20 Looking at reference photos, you will recognise various effects from oil and
luids accumulated on speciic panels and details. To reproduce these effects
realistically, use a brush to apply a 90% diluted mixture of brown and black
around these areas using very low pressure.
21 This effect was emphasized on the seams surrounding the engine

covers and select rows of rivets that are also affected by oil
accumulations.

22 On the lower surfaces, several dots of the
Oilbrusher colour Ochre (A.MIG-3515) were
applied and blended with Enamel Odourless
Thinner (A.MIG-2019). This step added nuance to
the earthy tones of accumulated dust, sand, as well
as mechanical luids.
23 For the inal steps it was necessary to irst seal all previous work
with Matt Lucky Varnish (A.MIG-2051). You can use thin layers
if your subject requires that you leave some areas a little more
satin in order to play with the effect of areas more battered
and worn than others by the deterioration of their inish.
24 With a mixture of Fresh Engine Oil (A.MIG-1408) and

Dark Brown Wash for Green Vehicles (A.MIG-1005),
the subtle effect of the build-up of mechanical luidson
engine access doors, fuel tank caps, and select panels
was applied.
25 I also took this opportunity to apply Fresh

Engine Oil on select rivet lines near the
engine area.
26 In this photograph you can see the

effect produced by these products when
applied onto such a dark colour, and
characteristic of most night camoulaged
aircraft.

27 With Gun Metal pigment (A.MIG-3009) and a cotton
swab, the edges of the skids and crew access areas were
rubbed to show subtle cumulative wear authentically
exposing the metal below.
28 The last step was to simulate more recent sand and

dust accumulations. For this affect, a mixture of
Airfield Dust (A.MIG-3011) and North Africa Dust
(A.MIG-3003) pigments were used.
29 As references indicate, you should focus the

effect within the lower zones and remove
the excess by using vertical brush movements
which add authenticity by mimicking the long
term effects of the rotor wash’s down draft on
abrasion and discolouring environmental and
mechanical factors.

Grumman
c a t
F6F H e l l
Grumman was already working on this new ighter before the Japanese attack on Pearl Harbour. However, a
fortuitous event led to changes in the original design: U.S. troops discovered an almost intact Mitsubishi Zero on
Akutan Island. It was necessary to improve the capabilities of the then called XF6F-1 if they wanted to take control
of the Paciic skies. From the time they entered service in 1943, the new Hellcats would be present in virtually
every encounter with Japanese aviation, including famous battles such as The Great Marianas Turkey Shoot. Some
squadrons were equipped with radar to be more eficient in night operations and in the defence of aircraft carriers,
a then unusual feature for a single-engine carrier-based ighter.

Ralph Riese
Eduard 1/48

1 Once again, riveting will be very useful when representing
various effects on the fuselage, especially with this night
camoulage in a single colour.
2 Before I started painting, I preferred to inish the engine and

paint the front of the fairing, which in this case is yellow.
3 For priming I decided to use the following mixture of three

parts Flat White (XF-2), two parts RLM Grey (XF-22) and four
parts Buff (XF-57).
4 With many North American ighters, it was common to see the colour of the primer
revealed by wear on the front of the fuselage and the wing root. To recreate this
effect, I painted the lines of rivets and panels in these areas with Yellow Green Matt
(XF-4).
5 Due to the large size of the stars, it is best to paint

them with a white colour stained with light grey. I
took advantage of this colour to apply discolouration
to random areas that will provide the inal chromatic
variety when airbrushing the blue.

27
6 7
the wing root with the

6 Work continued by painting of
a very dark grey tone of
anti-slip surface, for which I used
Rubber Black ( XF-85 ).
paint with a hard bristle
7 Before it dries, I slightly lifted the
er.
brush to reveal the colour of the prim
8-9 The kit decals were used as a guide to make the masks. I have
to insist on the need to use them due to their enormous size.
For nocturnal schemes it is especially important that they are
well integrated with the surrounding surface inishes.
10 To continue adding variety to the panels,

I worked some of them with light blue
using two parts Flat White XF-2 and one-
part Light Blue XF-23 and Medium Blue
(XF-18).
11 The base colour for the camoulage is a mixture of one-part Flat

White (XF-2), four parts Flat Blue (XF-8) and six parts Sea Blue (XF-
17). The colour was thinned so that thin layers could be applied to
build up the colour without eliminating the previous work.

12 Just because it is a night plane being painted, doesn’t
mean that a wide variety of nuance can’t be applied.
If necessary, you can always make adjustments and
retouch with any of the colours used previously.
13-14 Then carefully remove the masks and repair any

damage.
15 Before the paint dries completely,

I rubbed a hard bristle brush over
the panel lines and rivets. This step
is possible thanks to the crisp detail
created with the riveting machine.
16 Be sure to remember the areas where the primer colour has been
applied. For this we can always refer to the photographs taken
during the process.

17 In addition to the brush, a ine sandpaper (Micromesh 8000) can 18 As you can see, the wear and chipping has to be in accordance with
also be used to lift the last layer of blue. the scale. If you go too far or to large, the work will not be realistic.
19 20
21 22
19 When painting this type of subject, you must keep in mind that this plane, 21 The problem with night schemes is that we always have to work on
besides being a night ighter, was also serving on board an aircraft carrier. very dark colours, so you will ind Oilbrusher Black (A.MIG-3500) and
The unique wear typical of Naval aircraft was applied with Oilbrusher col- Starship Filth (A.MIG-3513) to be very useful for creating areas of
ours using different shades of blue such as Medium Blue (A.MIG-3527), maximum shade or dirt.
Sky Blue (A.MIG-3528) and Raptor Shuttle Turquoise (A.MIG-3533).
22 The above tones will also serve to imitate traces of oil or hydraulic
20 Once applied on the surface, the tones were blended with Enamel luids spewed from the engine. Dark colours have an advantage: they
Odourless Thinner (A.MIG-2019). are easy to see and correct when errors occur.

23-24 In these photographs you can
appreciate the areas worked
with the Oilbrusher tones.
25
26
25 Undoubtedly one of the most complicated steps when working

with night schemes is to paint the exhausts because on examples
like this Hellcat, very light tones must be used to create contrast.
The process began by drawing the stain with three parts of Flat
White (XF-2) and one part of Deck Tan (XF-55) using the airbrush.
26 On top of the above, I begin to make some vertical strokes with

the following mixture: two parts of Sky Grey (XF-19) and three
parts of Royal Light Grey (XF-80).
27
27 I also prepared another mix of equal parts NATO Brown (XF-68)
and NATO Black (XF-69) to mark and deine the edge of the stain.
28 You must not forget to do the same for the exhaust pipes lo-
cated at the bottom of the cowling.

29 30
31
29 I accentuated the areas of maximum shade, such as individual
panel lines with various mixtures of dark brown, black, and khaki
acrylic paints.
30 Using the same mixtures listed above, I applied small splashes to

the exhaust stain. It is advisable to carry out some tests before
committing to the model to achieve the desired effect.
31 With the dark mixture of Tamiya that I used for the exhaust
staining, I also shaded the moving parts. Since this is a night
camoulage and I was working with very diluted paint, I traced
over the line several times until the necessary intensity was
applied.
31
32 In this picture you can see the result of the work on the engine
exhaust.
33 The next step was to protect

all processes and progress
made with gloss varnish.
34 With the assistance of decal solutions, the remaining

markings and stencils were placed. Be careful when applying
markings onto a very dark surface as the transparent outline
can easily be seen.

35 With this nocturnal scheme you are able to appreciate the contrast
of the dark blue with the stars and the stencils in white. It is
absolutely critical for them to be perfectly integrated and blended
into the overall inish.
36 You can see that the exhausts are still in process and are not
inished. With a mixture of Oilbrusher Dust (A.MIG-3516) and
Black (A.MIG-3500), I re-frame the panel lines and rivets to further
accentuate the dirt that accumulates in and around them.
37 The colours were left to dry for a few minutes and then blended
instead of removing them. In this way I add dirt and lightly shade the
35 grey colour, which was previously too light.
36 37
38 With PLW Dark Sea Blue (A.MIG-1603),

I worked on all the lines below the white
stars.

(A.MIG-1617).
39 For the rest of the fuselage I used PLW Blue Black
ct consta ntly so that it covers
It is important to shake the produ
evenly.
mixing the above

40 Diversity can be achieved when panelling by
a little Oilbrusher
products with each other or even by adding
Raptor Shuttle Turquoise (A.MIG 3533).
(A.MIG-1609) for
41 I then randomly added PLW Storm Grey
Synth etic Liner Brush 3.0
greater contrast. I recommend the
its long bristle s, it carries more
(A.MIG-8590) because, thanks to
faster with greate r precision.
product and will enable you to work
39
40 41
42 The overall inish was achieved with highly

diluted matte varnish applied in extremely
thin layers.
43 Do not overlook or forget some effects that occur on all

aircraft including nocturnal versions such as dust, especially
accumulated in the wing joint and wing root. I used
Oilbrusher Dust, and blended it dry with using a lat brush
for a highly realistic and in scale dirt effect.

AVRO
LANCASTER
B.1
The Avro Lancaster, which was undoubtedly the best bomber lown by the
R.A.F. during World War II, carried the decisive weight of the
night bombing offensive against Germany. Such was the
quality of the basic variant, that only a small number of
specialized versions were built.
The distinguished 4 engine heavy bomber entered active service in 1942,
and along with the Handley Page Halifax, would be one of the main
heavy bombers of the RAF, the Royal Canadian Air Force, and several
squadrons from other European and Commonwealth countries that
served with the Bomber Command. The Lanc, as she was affectionately
known, dropped more than 600,000 tons of bombs in 156,000 raids over
enemy territory.
The excellent model produced by Airix is as of today, the best small-scale option
to make an accurate depiction of this wonderful aircraft. The kit is highly detailed, both
inside and out, it can easily be made out of a box and its quality would still be very high. I have decided
to add some additional detailing by adding some Eduard photo-etch and panelling and riveting the
whole aircraft. Of course, all aviation lovers of the Second World War should have their favourite version
of this iconic model aircraft in their showcases.

Fernando del Pino
AirFix 1/72

1 The base of the upper camoulage
was applied using the Dark Earth (H72)
colour from Hobby Color. A couple of
thin layers were applied by airbrush.
2 With the base colour darkened by adding a couple

of drops of black, some riveting lines were randomly
shaded. This creates areas of shadow while leaving other
areas lighter creating realistic and attractive contrast.
3 I continue to create more variation to the

base colour, in this case using Dark Earth
(MRP-108) which is slightly darker than the
previous tone.
4 The next step was to apply highlights using

a mixture of the base colour with a little
white, then picking out panels without any
established pattern.

6
5-6 In the photo you can see the result of

the work with the irst colour.
7 The camoulage was applied by hand beginning with the Dark Green
colour (MRP-110). The air pressure was lowered and the airbrush brought
quite close to the surface in order to make the edge as hard as possible.
8 With the reference Dark Green (H73) from Hobby Color, I accented
random points. Then I darkened the panel lines and some riveting
with this same colour darkened with a few drops of black.
10
9-10 Little by little you can see

how the camoulage is taking
shape and nuances within the
pattern so far.

11 The next step is very important because
in order to create the night camoulage,
a large amount of surface area must
be painted black. To do this, I used a
low-adhesiveness Tesa masking tape to 11
delineate the lower surfaces.
12 It may be surprising that I began by

working with Neutral Grey (H53) for an
area that will appear black, but in the
following steps you’ll see the outstanding
results.
The panel lines were shaded by creating

13
a grid which also adds contrasts. Don’t
rush this step, just paint little by little
until you get to the desired effect. You
can always make corrections if the effect
is too heavy.
12
14 Following the steps described for top

camoulage, I used various shades of
grey and black to obtain highlights
and shadows. You must avoid the
temptation to paint this area with
pure black. The subsequent steps used
to add wear will also create even more
chromatic variety.

15 16
15 The contrast can be pushed even further by

using very diluted white applied at very low
pressure to lighten some areas. If necessary,
individual panels or entire areas can be cor-
rected and adjusted with black ilters.
16 As can be seen in the photo, the combina-

tion of previously applied effects reproduces
the appearance of worn paint in a random
way. In a later step, the engine nacelles and
surrounding areas will also be weathered to
accentuate the overall appearance.
17 Once the airbrush phase was completed,

the model was sealed with Alclad’s
Aquagloss, leaving the surface ready for
the following steps.
For an aircraft camoulaged for the night it is even more important to

18
integrate the decals to avoid possible silvering. For the best results, use Decal
Set (A.MIG-2029) to ix the markings and Decal Fix (A.MIG-2030) to adapt
them to the raised and recessed surface features for an excellent result.
19 To protect the decals and integrate them with the rest of the
plane’s inish, simply reapply a new coat of gloss varnish.

20 21
20 When the model has few panel lines, it is usually 22

enough to apply the PLW to deine them. In this
case, the wash Neutral Brown (A.MIG-1614)
was deposited onto the whole surface instead of
individual panel seems to avoid a long process.
21 In this image you can see that after about 5 minutes,

the surface has become matt. This is the right time to
remove the product, although you can wait as long
as 30 minutes.
22 Removing it is very easy, just rub it with a tissue or

a makeup removing towelette that does not release
lint. Repeat the process until the colour of the
camoulage is no longer stained but the panel lines
remain darkened.
23 With the process completed, I moved on to the lower surfaces using PLW Stone Grey
for Black (A.MIG-1615), also included in the Early RAF Fighters and Bombers set
(A.MIG-7416). Now this surface has really come to life!
24 The night planes had special exhaust pipes

to hide their brightness from being highly
visible in the dark. The perfect shade to
paint our Lancaster’s was Jet Exhaust
Burnt Iron (A.MIG-0187), which mimics
the patina of metal exposed to high
temperatures.

25 Occasionally you will ind yourself with a night camoulaged air-
craft whose interiors stand out over the dark colours. In this case
it is especially important to make a conscious effort to integrate
them. The enamel effect Engine Grime (A.MIG-1407) was used
for the inside surfaces of the control surfaces and gear bays.
26 Weathering continued with a chipping effect applied to most

surfaces. For this I used the silver-coloured watercolour pencil
from Prismacolor. For the best possible result the surface
should be matt so it is necessary to varnish beforehand.
27 I emphasised and focused on the surfaces subject to increased

wear such as removable panels and surfaces traversed by
crews and maintenance personnel.
26 27
28 29
28 In period reference photos you can see how these airplanes 30

were usually ilthy with oil and dirt stains. The irst step to
represent this effect accurately was to moisten the area with
White Spirit.
29 A comfortable and easy to use product is the Oilbrusher.

Before the thinner dries, simply deposit some small drops on
the surface and let them diffuse. The irst shade used was
Dark Brown (A.MIG-3512).
30 With a brush slightly dampened in thinner, the product was

blended while “directing” it towards the desired areas. This
process can be repeated with different shades of ochre or
brown.

31 32
31 For piston-powered aircraft, exhaust staining

is a critical detail. This effect was particularly
heavy and noticeable on the Lancaster. The
process began by applying Tire Black (H77) very
diluted and at very low pressure, extending the
stain little by little and accentuating it in select
places.
33
34
32 The previously applied dark area was illed with grey tones, lightening
the exhaust stain from the inside out.
33 As mentioned before, the engine nacelles must also be weathered accurate-

ly to match the inish. In this area burnt metal and colourful patinas occurred
from exposure to intense heat. Both brown and light grey pigments were
applied with a brush on the matt surface to replicate the effect.
34 References commonly reveal oil and luid leaking from these engines.
With the help of a ine brush, ine deposits of Engine Grime (A.MIG-1407)
and Fuel Stains (A.MIG-1409) were drawn. This effect should typically be
glossy so that they contrast with the matt surface of the aircraft and
accurately depict the wet appearance of the mechanical luids.

35
36
35 A characteristic of night bombers is

the abundant presence of antennas.
36 At this scale this detail had to be
scratch built using ine needles and
stretched plastic.

F-4D
P ha n t o m
II
The earliest laser-guided bombing missions, carried out during the
Vietnam War, were rather slapdash affairs. Before laser designators
were miniaturized enough to be carried by strike aircraft, targets
were marked by a specially-outitted C-130 and F-4Ds vectored in
to act as delivery trucks for their GBU-10 Paveway Is. These early
smart bombing missions marked the beginning of an era, and the
end of another - the black-bottomed Night Owls
were among the last to sport camoulage
speciically intended for nighttime
operations.
Matt McDougall

Zoukei Mura 1/48

1 Where possible, I like to get tricky painting
situations out of the way early. For example,
the characteristic chipping on the F-4’s
intakes. These were primed in Mr Surfacer
1500 black, then given a metallic layer and a
coat of decanted hairspray.
2 Layers of Mr Paint MRP-101 SEA Dark Green (FS 34079) and

Mr Hobby H310 SEA Tan (FS 30219) were sprayed and then
chipped back with small amounts of water and a ratty old
brush.
3 Another area that’s tough to access later is the internal framing

for the auxiliary air doors. References showed these as red, but
also frequently chipped back to a greenish primer shade.
4 After laying down some interior green, I used some tight black
foam to sponge some red onto the aux air door frames.
3 4
5 To replicate the heat shielding around the

F-4’s exhaust and stabilizers, I used a variety
of Kcolors metallics. I love not only the look
of these, but also their durability to masking
with the addition of a light coat of Kcolors
X100 gloss.
6 The underside started with black primer - a

combination of Gunze Mr Surfacer 1500 and
Badger Stynylrez.

7 The F-4Ds involved in the early laser bombardment missions were fairly new, so the later
heavy fading wasn’t quite appropriate. Still, I wanted to introduce a lot of subtle tonal
variation. After mapping out the camo patterns, I came in with a variety of greens and
browns to break things up.
8 For the characteristic radome wear, I striped

MRP-20 AMT-12 Dark Gray and MRP-79
NATO Brown across the top, moving the
airbrush horizontally in quick motions.
9 MRP Sand Gray and Chocolate were added to the mix to increase
contrast of the radome wear.
10 Getting an interesting black surface isn’t the easiest

task in the world. I approached it with several
“not quite” blacks - particularly MRP’s Night
Camolage Black and NATO Black. On
top of this, I followed with a blend
coat of 50/50 MRP Black and
Night Camo Black.
11 Once the camo was in place, I went back to do some leading edge 12 After chipping, a perusal of references revealed that I’d gone too far,
chipping on the wings. I applied silver, hairspray, and a coat black. so I used some masking luid applied with a sponged to cover the
Black avoids the contrast battle of covering up the silver, while still silver and make the effect more restrained.
chipping easily. With a ratty old brush and a small amount of water,
I chipped away the leading edges of the slats.

13 Once the decals were in place, I broke out the
AMMO Panel Line Washes and went to town. The
various wash shades help keep the effect subtle.
14 Removing the excess panel line wash is as easy as

swiping them with a square of paper towel.
15 To add some more visual interest to the heat shielding, I lightly sprayed the
panels with MRP Steel and Exhaust Soot in short, up-and-down passes.
16 Oil work on the aircraft itself began with some grimy areas due to foot
trafic, luids and so on, such as on top of the intakes. Again, Oilbrushers
were applied and worked in with a variety of brushes. A stippling method
works great here for putting the oils into a nice, grungy pattern.
17 After, I moved on to the pylons. Photos show that while the underside of these
F-4s was black, the pylons were often left in camoulage gray. These were
enhanced with some PLW Medium Gray (A.MIG-1601), along with the missiles.
18 On the underside, Starship Filth (A.MIG-3513) brought some grime to the gear
bays.

19 20
21 22
19 Further work with oils was done around various wing panel lines
23
that often show signs of luid staining and seepage.
20 Once the darker, more precisely placed oils had a while to set up, I
moved on to the lighter shades in a dot ilter approach.
21 The lighter oils were spread out for more diffusion, then slowly
blended in.
22 As the lighter tones were blended in, darker tones were added to
balance them out. Working in layers like this - dark, light, dark -
creates a greater sense of depth to the weathering.
23 Hydraulic leaks along the control surfaces were done using an

Aqualon Wisp brush, swiped from front to back.
24 After the oil work, everything was sealed up with a combination of

Kcolors XW10 Military Matt and XW1 Ultra Matt.

ARMAMENT
25-26 Thanks to one low-res reference photo, I had

an excuse to load up the Phantom with four
GBU-10 Paveway Is, in this case from Eduard’s
Brassin line. After priming them with Modo
MK-12, I gave them a rough basecoat of MRP-
138 Olive Drab.
27 To add some harder-edged nastiness to the bombs,

I sponged them with Dark Tracks (A.MIG-0035) and
Chipping (A.MIG-0044).
28 Additional tones were added to the GBU-10s with

MRP-251 PC-8 and MRP-299 Dark Dull Green.
29 The GBUs were inished off with two

different MRP Olive Drabs and MRP-212
Sand Gray

30 31
To add even more visual distinction between the different bomb bodies, I used a whole slew
30-31-32-33
of AMMO Oilbrushers to deposit small amounts of color. These were then worked in with a
variety of brushes and some tight black packing foam.
32
33

Gotham City has become a dark and dangerous place, full of criminals and thugs like the Joker. Faced with this
threat, the Dark Knight, Batman, has an arsenal of “toys” used to face his enemies. “Where does he get those
wonderful toys?!” Among the most impressive is the Batwing.
This is the irst time I’ve made a model from the world of comics, as the theme that generally calls me is military
aviation. But in this case iction became the inspiration and director of the work and spark of inspiration. The
main challenge was to give life and expression to a black lying vehicle, and at the same time give it a worn and
weathered appearance without losing its distinct darkness. In retrospect, this was a highly valuable learning
experience and more importantly it was a blast to paint!
Comics and iction invite and enable certain freedoms and licenses to deine the look of the model. The main
premise was that the ship would be presented in a fully operational state and in light, showing signs of
considerable use wear behind it, before falling mortally wounded by the accurate shot from the Joker’s revolver
which tips the Batwing in Tim Burton’s iconic ilm (1989).

Marcelo Durán
AMT 1/25

1 The wings and fuselage it left visible gaps, repairs were made with putty
and the surface sanded to leave it smooth. On this occasion, I chose to work
with two primers: irst the One Shot Primer Grey (A.MIG-2024) and then
Black Primer (A.MIG-2005).
2 After polishing the surface with ine grit sand paper, a uniform
layer of Satin Black (A.MIG-0032) primer was applied. Thanks to
the primers, a perfectly smooth surface was obtained.
3 The base colour was applied using greys over the black primers,
translucent layers were achieved by adding a few drops of
Transparator (A.MIG-2016) to all the paints. The irst will be the
lightest tone of Medium Gunship Gray (A.MIG-0204) used for
modulation.
4 The next colour applied was a mixture of 85% Dark Gray AMT-12
(A.MIG-0235) + 15% Dark Grey Blue (A.MIG-0229). It was applied
in a selective way on some panels, particularly on the leading edges.
This application method accurately depicts different materials and
their exposure to friction and weather.

5 The last shade applied was the darkest of all: RLM-66 Schwartzgrau (A.MIG-0218).
Once inished, the entire model was sealed with a layer of Future.
6 Once the previous steps have dried completely, the decals were
applied and a new coat of varnish applied and allowed to dry to
prepare the surface ready for weathering. This step is important
because it reduces decal silvering while blending them into the
surface, as well as facilitating the application of washes.
7
33 8
7 The wear and tear on night aircraft is just as important as any

35 other and you must trust your skills when working on a dark
colour. The irst step will be to imitate the chips starting with
Satin Black applied with a small piece of sponge.
8 The process continued with the Schwartzgrau RLM-66, which

was applied to the areas where the Bat would walk to access the
cockpit and to the panels containing the weaponry.
9 The colour of select panels was altered using different products.

Lightly diluted Starship Wash (A.MIG-1009) with Odourless
Enamel Thinner (A.MIG-2019) was used as a ilter to cover some
9 panels using a lat brush.

10 11
10 Another of the products used were the Oilbrusher range of col-

ours which are very convenient and easy to use. A good example
of a versatile colour is Starship Bay Sludge (A.MIG-3532), which
can be deposited directly with it’s own self contained brush.
11 After allowing the Oilbrusher colour to dry for a few minutes, it

was blurred with dry brush using longitudinal strokes followed
by circular movements.
12 At this point the surface colours need to be enriched,

accentuating the impression that these are metal panels.
For this task the colour Oilbrusher Raptor Shuttle Turquoise
(A.MIG-3533) was used.
13 As with the previous tone, this step was allowed to dry slightly
before blending and diffusing with a brush. and spread with a
brush to create an interesting blue patina.
12
13
14 The next step was to simulate the dirt which

has accumulated on the lower part of the ship,
partly due to use and the humidity of the bat
cave where Batman keeps his toys. For this task
Starship Streaking (A.MIG-1209) was chosen.

15 16
17 18
19 20
15 This effect was focused on the lower surfaces with a focus

on the details, seems, corners, nooks and crannies.
16 This time the brush was dampened in Odourless Enamel

Thinner (A.MIG-2019) to concentrate the largest
accumulations in the zones where the dirt would tend
to gather.
17 Next the panel lines were emphasised with Dark Wash

(A.MIG-1008) which was ideal for the dark inish. Instead of
removing the excess, it was simply blurred with a clean brush.
18 Work continued with the wing panel lines using PLW

Orange Brown (A.MIG-1616). This shade brings another
new complimentary colour variation to the night wing.
19 At this stage the details were painted by hand using

a ine tipped brush and acrylics from AMMO by MIG
Jiménez.
20 The chipping and wear were left for the end so as not to
eliminate or obscure them when manipulating the model.
A watercolor pencil was used to correct them because it is
very easy to exaggerate the effect when painting in silver
on such a dark surface.
21 To protect the completed work and create the correct inal

inish, a thin layer of Matt Lucky Varnish (A.MIG-2051) was
airbrushed in place.

Messerschmitt
Me-410
Ricardo “Chicho” Abad
Revell 1/48
Although the night ighters were already introduced during the Great War, it would be in World War II in which they
experienced a leap forward in development due to the bombing tactics used in Europe. Thus, both sides were soon aware of
the need for aircraft specially designed for this type of mission featuring not only adequate camoulage, but also radar and
other advances that made it dificult to detect.
This was the case of the Me 410 Hornisse (German for hornet), one of the iercest opponents the RAF had to face. Just when
Great Britain had become accustomed to quiet nights and thought that the worst of the war was deinitely moving to the
continent, the Luftwaffe surprised RAF with this versatile multi-role heavy ighter or light bomber. It was in the skies over
England that the Me 410 night ighters would be premiered, on the night of July 13 to 14, 1943 the unit V./KG 2 carried out a
bombing mission, losing one of its aircraft when it was knocked down by a De Havilland Mosquito of the No. 85 Squadron.

1 The irst thing that must be done is to prime with the magniicent One
Shot Grey (A.MIG-2024), which has the ideal properties to cover small
defects.
2 The irst colour of the night camoulage to be applied was RLM 75 Grauviolet
(A.MIG-0254). It is essential that all colours are always applied in thin layers
for the best result.
3 Add a few drops of White (A.MIG-0050) to the previous colour and
illuminate the centre of select individual panels.
4 With masking tape and patience, the camoulage

pattern in RLM 75 was masked off before
applying the second colour RLM 74 Graugrün
(A.MIG-0253), which was airbrush in thin layers to
build up the colour. Thin layers not only create a
better inish but also help avoid steps at the edge
of masking.
5 Again, the colour was

lightened by adding
white to the sec-
ond tone to high-
light the center of
select panels.

6 The masking was carefully
removed and corrections made
if necessary.
7 Following the previous steps, the base colour for the undercarriage was ap-
plied with Black (A.MIG-0046) which was again lightened by adding Light
Brown Gray (A.MIG-0120). This tone was also used to draw the exhaust
staining aft of the muflers, a highly visible effect on nocturnal airplanes.
8 Work continued using this same colour highly diluted, ine

strokes of staining were applied by moving across the surface
in the direction of the air low to add realistic discolouration
to the black surface.
9 In this nocturnal scheme for the Me

410 the soft and subtle mottling on the
vertical stabilizer was applied in black,
care was taken as this surface appearance
was characteristic of this aircraft.
10 Once dry all surfaces were then

protected with gloss varnish in
preparation for decals.

11 To place the decals, the surface was irst
moistened with Decal Set (A.MIG-2029). It
is important to apply small quantities and
exclusively to the location where the decal
will be placed.
12 Secondly, Decal Fix (A.MIG-2030) was

applied which will make the decal conform
and settle into the surface. This product
works by softening the decal, and is
moderately aggressive. It is important to
11 12 apply it only on the decal, trying not to wet
the surrounding paint.
13 Let the decal dry for a few hours before

proceeding to use a make-up removing
pad dampened with water to clean any
product that may remain on the decal.
14 For night schemes, you must make sure

that the markings are well integrated
into the inish and do not shine. Using a
scriber, the rivets were reinforced so that
the panelling washes will settle into the
panels below the markings.
13 14 15 The versatility of Oilbrushers allow them to

be used for panelling by diluting them with
Enamel Odourless Thinner (A.MIG-2019).
For the lower surfaces, Buff (A.MIG-3517)
was used for contrast.
16 Let the thinner dry until it evaporates

completely then remove the excess with
a clean brush. If necessary, you can use
more Thinner to remove more colour.
17 Here you can see the result after the irst

treatment with Oilbrushers.
15 16 18 In order to simulate traces of dirt and give

the black colour a variety of tones, the
surface was irst moistened with thinner.
It is best to work on one section at a time.
17
18

21
19 20
22 23
hers were used. Small amounts 24

19 For the next step, the Streaking Brus
IG-1258) were deposited on the
of the colour Streaking Dust (A.M
self-contained and brush.
leading edge of the wing using the
extended and blended following

20 With a lat brush, the product was
the direction of the air low.
technique was used but with

21 For the upper surfaces a different
r Dark Brown (A.MIG-3512) was
the same products. The Oilbrushe
sponge.
applied all across the wing using a
with a make-up removing disc

22 Once dry, the surface was cleaned
Using this method, it is easy to
slightly dampened with thinner.
create subtle panelling.
trailing edge of the wing with 25

23 The same effect was applied to the
, Olive Green (A.MIG-3505) and
the Oilbrushers: White (A.MIG-3501)
Medium Grey (A.MIG-3509).
making passes with the lat brush

24 The three tones were blended by
in the direction of the air low
humid with thinner, again moving
over the wing.
25 When working on such a dark camoulage, it is

necessary to exaggerate the fuel stains using two
products: Engine Grime (A.MIG-1407) and Ochre
(A.MIG-3515), which were drag back using a lat
brush.
26 The matte inish on this aircraft is

very important. This was accurately
achieved by applying thin layers of
Matt Lucky Varnish (A.MIG-2051).

3ROLNDUSRY
/#.A/#

Originally a 1928 biplane designed for training, used for agriculture, and briefly as an ambulance and observation
platform, this outdated design was responsible for keeping the Germans on their toes between June 12, 1942 and the end
of the war. The incredible history does not end there, this aircraft flew with the 588th Night Bombing Regiment (in 1943
renamed the 46th “Taman” Regiment) which was composed entirely of women. Created by the famous Marina Raskova
and led by Major Yevdokía Bershánskaya, they recruited a hundred volunteers between the ages of 17 and 22 and trained
them in just six months. Each aircrew consisted of two women, flew more than 24,000 sorties and unloaded some 3,000
tons of bombs, mostly during night operations.
The tactic was used to harass troop positions and airfields where the Germans rested, and consisted of nightly bombardments
from the Po-2 and her crew. The peculiar noise of their engine made earned them the nicknamed “Nähmaschine” (sewing
machines) and typically when approaching the target, the pilot would leave the engine at idle to avoid detection until the
releasing the load of bombs. The Germans compared it to the sound of a flying broom and nicknamed them “Nachthexen”
(the witches of the night).
As far as their colours are concerned, we have to point out that unlike other air forces, Russian planes did not have a
specific night camouflage and the aircraft remained in the colours typically used for bombers. In the case of the Po-2, it
was the characteristics of the aircraft that really protected it on heroine night missions. This model is a tribute to those
brave women.
Aurelio Gimeno
ICM 1/48

1
1 The camouflage worn by this Po-2 is the norm for bombers, with no
variation despite its night-time operation. All the colours used are provided
in the set VVS Russian WWII Late Colours (A.MIG-7224). 3
2 Painting began with the lower surfaces using Russian Blue AMT-7
(A.MIG-0251).
3 The upper surfaces began with the lightest colour: Gray Brown AMT-1
(A.MIG-0252).
4 The Bright Green AMT-4 (A.MIG-0080)

and the Dark Grey AMT-12 (A.MIG-235) 6
camouflage were applied freehand using
the airbrush.
5 To highlight the panels of each colour,

the ribs were masked with 0.75 mm
6
strips.

7 A subtly darker shade of each of the colours was airbrushed onto
the panels.
8 The next step was to reinforce the contrast on the control surfaces
9 by airbrushing the upper sides with black and the lower ones with
dark grey.
8 9
10 The model was then sealed with Gloss varnish

using Aqua Gloss (ALC-600) to prepare the
surface for the decals.
11 Considering this was an aircraft flying into

combat in darkness, it features quite striking
markings, which were placed very carefully after
cutting away the clear edges as close as possible
to avoid silvering.
12 With Khaki Brown (A.MIG-0088) and Old Wood

(A.MIG-0036) the cabin access reinforcements
which consisted of thin wooden slats were
given a slightly worn appearance using a mini
sponge with the majority of the colour previously
unloaded on cardboard.
11 12

13 The lower surfaces were treated with cold tones of
Oilbrusher. First small quantities of white, blue, grey,
and black were deposited.
14 With Enamel Odourless Thinner (A.MIG-2018) all

the colours were blended using the specific brush
Saw brush (A.MIG-8585) with movements in the
direction of the air flow.
15 The effect was further softened with a dry flat brush.

13
14 15
16/17 The same process was used on the upper surfaces while switching to a range of warm colours.
18 The colour PLW Deep Brown

(A.MIG-1618) was applied to the panel
lines that separate the control surfaces to
create a greater sensation of depth.

19 For the same feature on the lower areas a colder and darker
shade Blue Dirt (A.MIG-1619) was used.
20 For the fuselage a different range of

products was used because the decals
are very large and need to be integrated
into the finish for a painted on appear-
ance. In this case both Dark Streaking
Grime (A.MIG-1206) and Streaking
Grime (A.MIG-1203) worked perfectly.
21 Accurate imitation of dirt was created

using the colour PLW Deep Brown
(A.MIG-1618).
22 Little by little the rest of details such as the

engine and the propeller were addressed
by using the same products used on the
fuselage to age them.
23 Like most night planes the fuselage finish

is completely matt, so I airbrush a layer of
Matt Lucky Varnish (A.MIG-2051), while
the engine and machine gun were sealed
with a mixture of gloss and matte.

27 The upper wing supports are fragile but easy to place. First, they were
24 The glass windscreen at the front of the cabin must be glued before
glued to the upper wing and then adjusted to meet the fuselage.
placing the upper wing.
With PLW Deep Brown (A.MIG-1618) any trace of adhesive was
easily hidden.
25 The effects of sprayed and leaked engine fluids was accurately depict-
ed using PLW Blue Black (A.MIG-1617). For the tail area PLW Green
28 In order to keep every aspect true, Vertigo’s jig was used to work on
Brown (A.MIG-1612) was used which perfectly imitates the remains
the wiring, bracing, and squaring the upper wing.
of grass and soil raised by the skid when dragged against the ground.
29 For the wiring running from the fuselage side to the tail structure, it is
26 The rigging for the wings was made with Rigging Fine 0.03mm
best to use Rigging Fine 0.02mm (A.MIG-8017) for the horizontal con-
(A.MIG-8018).
trol surfaces and Rigging Fine 0.03mm (A.MIG-8018) for the rudder.
24
25
27
26
28
29

,17+(1(;7,668(
By Javier López de Anca
GREASE & DIRTY

Have you ever taken a long look at the engine of your car? Have you noticed the floor of the bus or train you take every day to go to
work? What about the seats? They don’t look like they just left the factory do they? Instead they are stained, discoloured by traces
of dirt, and bleeding grease... Well, the same thing happens to almost every type of aircraft. Don’t let your hand tremble with the
thought of adding these highly realistic effects, even though you’ve been working on your current project for more than a month
to make it perfect. The use of all machinery leads to wear and tear and in our next issue of The Weathering Magazine, some of
the worlds finest modelers will teach you how to work with grease and dirt in a realistic way with quick and easy steps that are
easy to follow. Finally your opportunity to learn from the pros has arrived, soon you will be able to avoid chaotic and messy effects
resembling the remains of a barbecue or a clean and unnaturally sterile and immaculate appearance to your in service aircraft.

1SPAIN
YEAR
4 ISSUES
EUROPE REST OF
THE WORLD
34¼ 38¼ 41¼

World wide shipping cost included
THE WEATHERING AIRCRAFT

SUBSCRIPTION
Contact info@migjimenez.com

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8 432074 052142

As I considered this issue dedicated to night aviation, it was impossible

The Weathering Aircraft by

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Foto: Allen Vallejo

Foto: Allen Vallejo

6 / THE WEATHERING AIRCRAFT / NIGHT COLORS

THE WEATHERING AIRCRAFT / NIGHT COLORS / 7

The MH-6 Little Bird is a single-engine helicopter used by the United

The AH-6Js were best known from Operation Gothic Serpent in

8 / THE WEATHERING AIRCRAFT / NIGHT COLORS

Kitty Hawk 1/35

THE WEATHERING AIRCRAFT / NIGHT COLORS / 9

2 After protecting the interior and inishing

4 In order to achieve the distinctive tone of these aircraft a mixture of NATO

10 / THE WEATHERING AIRCRAFT / NIGHT COLORS

8 To achieve a subtle textural discolouration which provides a more pronounced

9 To start unifying shades, a brown

THE WEATHERING AIRCRAFT / NIGHT COLORS / 11

14 To work the effects of the accumulation of dust

15 This was followed by a mixture of PLW Orange Brown

12 / THE WEATHERING AIRCRAFT / NIGHT COLORS

17/18 For the rivet detail on the upper surfaces, only

19 Although this nocturnal scheme is based on a black base colour,

21 This effect was emphasized on the seams surrounding the engine

THE WEATHERING AIRCRAFT / NIGHT COLORS / 13

24 With a mixture of Fresh Engine Oil (A.MIG-1408) and

25 I also took this opportunity to apply Fresh

26 In this photograph you can see the

14 / THE WEATHERING AIRCRAFT / NIGHT COLORS

28 The last step was to simulate more recent sand and

29 As references indicate, you should focus the

THE WEATHERING AIRCRAFT / NIGHT COLORS / 15

16 / THE WEATHERING AIRCRAFT / NIGHT COLORS

THE WEATHERING AIRCRAFT / NIGHT COLORS / 17

2 Before I started painting, I preferred to inish the engine and

3 For priming I decided to use the following mixture of three

5 Due to the large size of the stars, it is best to paint

18 / THE WEATHERING AIRCRAFT / NIGHT COLORS

the wing root with the

10 To continue adding variety to the panels,

11 The base colour for the camoulage is a mixture of one-part Flat

THE WEATHERING AIRCRAFT / NIGHT COLORS / 19

13-14 Then carefully remove the masks and repair any

15 Before the paint dries completely,

20 / THE WEATHERING AIRCRAFT / NIGHT COLORS

THE WEATHERING AIRCRAFT / NIGHT COLORS / 21

25 Undoubtedly one of the most complicated steps when working

26 On top of the above, I begin to make some vertical strokes with

22 / THE WEATHERING AIRCRAFT / NIGHT COLORS

30 Using the same mixtures listed above, I applied small splashes to

33 The next step was to protect

34 With the assistance of decal solutions, the remaining

THE WEATHERING AIRCRAFT / NIGHT COLORS / 23

38 With PLW Dark Sea Blue (A.MIG-1603),

24 / THE WEATHERING AIRCRAFT / NIGHT COLORS

mixing the above

42 The overall inish was achieved with highly

43 Do not overlook or forget some effects that occur on all

THE WEATHERING AIRCRAFT / NIGHT COLORS / 25

26 / THE WEATHERING AIRCRAFT / NIGHT COLORS

THE WEATHERING AIRCRAFT / NIGHT COLORS / 27

2 With the base colour darkened by adding a couple

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)˨'3+$1720,, %$7:,1* 0(66(56&+0,770(˨