The Weathering WA18

How many times has your wife told you that the belt has to match the
Chief Editor
shoes? Or that she has to buy a new dress that matches the earrings?
Javier López de Anca
Similar principles apply to accessories and modelling. You may wear
Original Idea and Art director green slippers with checked socks without any issue, but you would
Mig Jiménez
not put a cell phone or a Roman helmet on a Napoleonic figure. Dont
for a moment would you think that airplanes escape from the limitless
Editorial Management possibilities provided by accessories.
Carlos Cuesta Most ensembles begin with the primary basic component. First, we buy
a Kettenkrad and then we think about where it can be placed and the
Editorial Coordination
many appropriate accessories to be placed in its environment. Some crazy modelers prefer to plan things
Iñaki Cantalapiedra
years in advance, carefully considering every object required whether it is pine leaves or old newspapers,
a tree or half a house. Many go as far as to buy each peace. However, there are exceptions and some get
Cover
completed, but most will end up switching to a completely different project, requiring more planning and
Jorge Porto
sourcing more accessories. At the end of the day, we modelers aren’t so strange, are we?
Layout
Jorge Porto At TWA we have set out to give you the psychological support you need once you have finished the whole
aircraft accurately with its dirt and wear... and you realize that you have completely forgotten about the
Article Assistant accessories. Without being aware of it, you still have to finish the wheels, the ladder, the support vehicles...
Iain Hamilton Don’t fall apart champion, you can handle this complexity and much more.
Some of these small accessories are going to take us to unknown territories, places where the aviator has
Special thanks
never been before. Like the world of “things that have wheels and move on the ground”. For those who
Elizabeth Wiese
have sworn off the idea that they would ever modelling anything that doesn’t fly, perhaps it is time to
Collaborators consider and start planning a small diorama or complete a base with some support vehicles such as a cart
Karim Bibi or a tanker. This is another way to personalize your models and make each piece truly unique. Finished
Allen Vallejo
aircraft should be presented in authentic context, this practice offers you exciting new challenges and the
possibility of doing new things. At the end of the day, this is modelling. We don’t insert screws on an as-
Aurelio Gimeno
sembly line, we create and innovate!
Ricardo Batista
Ricardo Rivas
By Javier López de Anca
Translation
Marta Ramírez Gómez
The Weathering Aircraft por

AMMO of Mig Jiménez
www.theweatheringaircraft.com
info@migjimenez.com
twa@migjimenez.com
Magazine Quarterly Magazine
DL NA 251-2016
ISSN 2445-1177
December 2020
INDEX
WWII SEAT AND BELTS LADDER TANKER TRUCK U.7114-T

pag. 10 pag. 16 pag. 18
WHEELS, WHEELS BAYS

SUPPORT TROLLEY AND RIGGINGS AND LANDING GEAR SPOKE WHEELS
pag. 34 pag. 38 pag. 47
4 / THE WEATHERING AIRCRAFT / ACCESSORIES

BARRELS, MAINTENANCE
AND POWER SUPPLY
WICKER SEAT ACCESSORIES WHEELS AND LANDING GEAR
pag. 25 pag. 26 pag. 31
SEATS ARRESTING HOOK PROPELLER

pag. 50 pag. 52 pag. 54
F.O.D. Y REMOVE BEFORE FLIGHT PILOT HELMET MD-3 NAVY TRACTOR

pag. 56 pag. 58 pag. 60
THE WEATHERING AIRCRAFT / ACCESSORIES / 5

ACCESSORIES
The accessories and small complements to be worked It is common to see finished pieces on display, at competitions,
separately are as important as the rest of the airplane in magazines, and on social media that are exceptional and
including seats, landing gear, wheels, and propellers. There is clearly took countless hours of work, yet are left under served
no escaping these critical elements. Always keep in mind that for a lack of detail. When a modeller takes the time to paint a
the finish must be coherent and logically match the rest of the 5 toned lozenge camouflage, yet only “colours” the propeller
model, these details must be painted and weathered with the and details without applying any nuance, weathering, or
same attention to detail. blending these elements into the finish.

In this issue, we will discover the tricks used to paint these
accessories and small detail pieces so that they are naturally
integrated with the aircraft and base. The critical elements
in and around aircraft serve you as tools to tell the story of
your aircraft including the ability to establish the time frame,
the mission at hand, the weather conditions, and the nation
being served through these small details. The most daring
among us have even based stunning dioramas based around
an aircraft or two.
Some details are themselves independent and highly detailed

models, this allows us as modellers to expand our horizons
into techniques and mediums utilized in other genres. You
are free to improve your skill level and improve the finish of
all future projects, the tools are in your hands.
In this issue we will fuel you with true inspiration, all of

the realistic modells created for this issue were done so with
reference photos of real accessories and detail items at use
in the field, this is fundamental to all aspects of modelling.

WWII Seat and Belts
Aurelio Gimeno
Eduard/Aires 1:32
Bf 109
1 In this article, several options are shown for making seats and seatbelts
for a World War II airplane.
2 Beginning with the seats, if you compare the stock plastic with the resin version
shown on the left, you will often find it necessary to improve the kit version.
3 Based on the profile of the resin conversion, the edges of the plastic 4 The next step was to add padding which was a personal element
seat were rounded and refined. of each pilot, this was done using a piece of Evergreen cut to size.

5 6 7
5/6 With blades, burs, files and sandpapers, the wrinkles of the padding were
created.
7 This detail can also be made with two-component putty which is easily moulded
and sculpted when moistened with water.
The piece can be prepared for paint with a coat of Mr. Surfacer 500. 8
8
Pre-painted photo-engraving
9 Here we will explore three ways to depict the

belts. These colour photo-engraved options
are from an Eduard’s set which I find the
most comfortable and easy to use.
10 These excellent and accurate details need

only be removed from the sprue with a blade
or cutters and glued in place.
9 10
Scratch
11 Another option is to use

Waldron buckles and scratch
build belts with 0.2 mm thick
tin foil.
12 I cut the sheet to size with a

knife while working on a hard
surface.

13 14
13 Afterwards, the edges were refined by wet sanding.
Each buckle was located and fixed in place to the belt.

14
The malleability of the pieces makes working with them as
simple as is possible.
15 Copper sheet was used to finish the lower belts. This

material is less maluable.
Painting
16 For the painting phase I do not glue Eduard’s colour

photo-engraved details until the end. These belts fit
perfectly and can easily be bent to fall naturally onto
the surface below.
17 For this example, the early war interior colour for German planes 18 For shading, the Shader colour Starship Filth A.MIG-0855 was used.
RLM 02 Grau A.MIG-0217 was used. This product was applied with an airbrush and has the advantage of
being easily removeable with water and a brush if a mistake is made.

19 For the highlights, the same RLM 02 used previously was lightened by 20 The next step was to outline the belts and the small pieces in other
20-30% with Matt White A.MIG-0050 reduced with Transparator colours with Matt Black (A.MIG-0046).
A.MIG-2016 for a translucent effect.
21 22
23
21 The padding was painted in various tones to imitate leather
beginning with the darkest colour Chipping A.MIG-0044 which was
progressively lightened with Red Primer Light Base A.MIG-0921,
Red Leather A.MIG-0133, and Medium Rust A.MIG-0040.
22 The canvas of the belts was painted with Dust A.MIG-0072 and the
highlights applied with FS 36440 A.MIG-0241, leaving the outline
and buckles painted black in the previous phase. In addition, the edge
of the seat were highlighted with RLM 02 lightened with white.
24
23 After varnishing in gloss, the panels were defined with the PLW
Deep Brown A.MIG-1618.
24 The final finish was achieved with a coat of Matt Lucky Varnish
A.MIG-2055.

25 26
25 With the other seat, Eduard’s belts were glued in place with
cyanoacrylate applied into the small holes with 0.2 mm copper
wire.
26 The belts were integrated into the finish with PLW Deep Brown
A.MIG-1618 used to blend and age the canvas belts.
27 In this picture you can see the results of these two options. The
pre-painted version on the left has more detail. However, the
version made from scratch shown on the right has a more natural
appearance and lay on the seat convincingly.
Photoetched
28 Aires offer photo-etched version that require painting. Although

they appear slightly large for the scale, they offer the most detail.
29 In the case of the Aires belts, the first step was to prepare them
for painting with Sand coloured One Shot Primer A.MIG-2027.

30 31
32
33
30 A coat of FS 36440 A.MIG-0241 was then applied

for the base colour.
31 Shading was applied with the Navy Grey coloured

Shader A.MIG-0857 in and around the buckle
area.
32/33
To finish the area, the buckles were painted with
Silver A.MIG-0195 after applying various tones
and shades on the belts. This style of seat harness
was the most used by the Luftwaffe during World
War II.

Ladder
F-15J
Plusmodel 1:48
Allen Vallejo
1 Begin by painting the ends with a thin layer of Flat Yellow (XF-3)
with only a drop of Flat Red (XF-7) to avoid creating orange.
2 Once dry, a thin strip of Masking Tape A.MIG-8038 was cut and used to mask
the bottom. Its adherence is perfect for modelling, with no risk of lifting
the paint once the process is finished.
3 Then a layer of Olive Drab (XF-62) was airbrushed

over the whole piece.

4 5
4 The masks were removed leaving the typical yellow safety stripes
of aviation ladders visible.
5/6 The weathering process began with the chipped paint applied
using USAAF Olive Drab A.MIG-0237 applied by brush on the
yellow.
7 Finally, the deepest chipping was accurately

replicated using a piece of sponge and the
colour Steel A.MIG-0191. This only needs to
be done in the areas of greatest wear such
as the steps.

Tanker truck
U-7114-t Lalo Zenely
Airfix 1:72
1 The painting process began with a layer of One-Shot Primer
Grey A.MIG-2024.
2 The accurate base colour was applied

with USAAF Olive Drab A.MIG-0237.
3 Several drops of White A.MIG-0047 were added

and used to add highlights to the entire model.
4 The amount of white was

increased for a second layer
to slightly exaggerate the
areas of maximum highlight.

5 The contrast of the previous work was
softened by adding 80% Transparator
A.MIG-2016 to the base colour and cov-
ering the model with very thin layers until
the ideal amount of contrast remains.
6/7 The engine, the springs, and several

components were painted with Matt
Black A.MIG-046. 6 7
8 The acrylic colour Matt Aluminum

A.MIG-0194 was used as a base colour
for the exhaust pipe and engine block.
9 With a combination of the Oilbrusher colours Starship Bay

Sludge A.MIG-3532 and Starship Filth A.MIG-3513, a filter
was applied to the metal surfaces for an aged appearence.
Once the previous step was dry, a wash was applied with
10
enamel effect Dark Wash A.MIG-1008.
9 11 The metallic shades were varied for contrast with Oilbrusher

Gun Metal A.MIG-3553.
10
11
12
12 Pigments such as Metal Slag A.MIG-3020 can be used and

applied over the Oilbrusher colours to create rust or corrosion
effects.

13 The previous pigment, together with Medium Rust A.MIG-3005 will 14 A brush was used to paint the wooden plank over the fuel tank
give a more reddish appearance to the lower areas of these parts. with Warm Sand Yellow A.MIG-061.
15/16 To draw the woodgrain, Oilbrusher Dark Brown A.MIG-3512 was used to make irregular brush strokes on the surface. This technique
can be repeated to create an older or dirty look in some areas.
17 All decals were placed using the specific products Ultra Decal Set A.MIG-2029 and
Ultra Decal Fix A.MIG-2030 to ensure that the markings conform to the surface.
18 All work up to this point was

protected with Satin Lucky
Varnish A.MIG-2056 applied in
successive thin layers.

19 The next step was to work with the Oilbrusher colour Ochre 20 Using a flat brush dipped in Enamel Odourless Thinner
A.MIG-3515, Weed Green A.MIG-3530, and Dark Brown A.MIG-2019, the small dots were blended by moving the
A.MIG-3512, which were deposited on the surface in small brush from top to bottom.
quantities.
21 Here you can see the result after working

all the surfaces. As is common to aircraft
subjects, the marking s must be blended into
the finish and appear as if they were painted.
22
22/23 Details were emphasized by applying Dark Wash

A.MIG-1008 which adds depth to every aspect of the
vehicle.
24 Using a mixture of USAAF Olive Drab A.MIG-0237 lightened with

a few drops of Yellow A.MIG-0048, small chips and scratches were
applied to logical areas while keeping the effect in scale.
25 Using the acrylic colour appropriately named Chipping

A.MIG-0044, fine scratches and chips were placed in the
lightest flakes to create depth and a rusty feel.

26 The same processes applied to the cab must also
be applied to the trailer.
27/28 Using Tracks Wash A.MIG-1002 and Light Rust Wash A.MIG-1004, you can easily
simulate areas that have suffered a more intense and contrasting level from of rust.
29 The two enamel effects were blended with Enamel Odourless Thinner A.MIG-2019.
27 28 29
30 31
30 Very fine drainage staining was applied with Streaking Brusher

Green-Grey Grime A.MIG-1256.
31 Using the same thinner, the previous work was blended to

adapt it to the scale.
32 After mixing the pigment colour Light Dust A.MIG-3002 with

Odourless Enamel Thinner to create a slurry, an old brush
and a toothpick were used to splash the effect under and
around the undersides of the truck and trailer.

27
34
33 The same process was repeated after switching to the

pigment colour Europe Earth A.MIG-3004.
35
34 In this photo you can see how the lower areas are
finished to appear well travelled.
35 Note the subtle splashes on the sides of the vehicle, this

was focused around the wheels where the effect would
36 naturally occur.
36
37/38/39/40/41
Weathering the wheels to match the previous steps began by again
using Ligth Dust A.MIG-3002 pigment and Dark Earth A.MIG-3007.
Using a brush dipped in thinner, some of the pigments were removed
from the sidewalls, while a make-up applicator was used to remove
the excess from the tread face.
37 38 39
40 41

42 To imitate grease stains, the colour Black
pigment A.MIG-3001 was mixed with
Engine Grime A.MIG-1407, which was
then applied in and around the area of the
trailer hitch with a fine brush.
43 Once completed, the vehicle was

protected with a very thin layer of Matt
Lucky Varnish A.MIG-2056.

Wicker
seat
1
Barracuda 1:32
2
Karim Bibi
4 1 For this example, the magnificent Barracuda

resin seat was used.
2 The acrylic colour Dark Wood (MRP-262) was

airbrushed in the interior area, where the shade
will be more intense. This must be applied from
the bottom as it allows the colour to accumulate
in the lower part of the reliefs.
5
3 The next step was to prepare a mixture that
imitates the colour of wicker. A combination
of Desert Yellow (XF-59), Flat Yellow (XF-3), Flat
Flesh (XF-15) and Orange (X-6) worked perfectly.
4 The wooden support that shapes the seat was

painted with Flat Earth (XF-52).
5 All the details were highlighted with a wash of

Streaking Rust Effects A.MIG-1204 mixed
6 with Yellow Ochre oil.
6 Individual wicker strands can be illuminated with

Buff (XF-57). To give the seat a more aged look,
some areas were shaded with Streaking Rust
Effects A.MIG-1204.
THE
THEWEATHERING
WEATHERINGAIRCRAFT ACCESORIOS / 25
AIRCRAFT // ACCESSORIES
Barrels, maintenance
and power supply
accessories Ricardo Rivas
BARRELS ICM/Tamiya 1:48

1/2 After assembling the barrels and making sure they have no defects, each was
primed with One Shot Primer White A.MIG-2022 and allowed to dry for 12
hours.
Because the primer is white, a light coat of Matt White A.MIG-0050 is ideal.
This base coat was allowed to dry for 6 hours before masking with Masking
1 Tape 6mm A.MIG-8039.
3 After the application of Scratches Effects A.MIG-2010

was allowed to dry to the touch, the colour Blood
Red A.MIG-0121 was airbrushed over top.
4 To make superficial chips and scratches, the base

colour was lightened with RAL 9001 Cremeweiss
A.MIG-0017 and applied with a sponge.
5 The piece was wetted to activate the 6 A different style of wear was applied 7 The spilled fuel was imitated using
Scratches Effects bellow to create using the sponge technique and the two different effects: Engine Gri-
chipping. For the finest scratches, the colour Chipping A.MIG-0044. Once me A.MIG-1407 and Fuel Stains
universally useful Brass Toothpicks dry, a wash with PLW Dark Green A.MIG-1409.
A.MIG-8026 were used. Grey A.MIG-1608 was applied into
the surface details.

8 In this photograph you can see the evolution of the drum
until its final result, from the base paint to the authentic
effects such as chipping, washes, dust, and fuel spills.
9 The following steps will

depend on the terrain
where the accessories
will be placed. The dust
accumulations in the desert
do not appear the same as
they typically do in Europe.
For this example, the second
option is demonstrated
using the pigment Europe
Earth A.MIG-3004.
You can also represent the most

10
recent stains by drawing streaked
staining coming from the fuel pump
with the authentic Fresh Engine Oil
A.MIG-1408.
11
12
11 A 1mm tin wire was used to make the hose, which was
then painted with Rubber & Tires A.MIG-0033. This
material is very malleable and allows you to create the
correct shape.
12 A hose and pump were scratch built with Evergreen rod.

Maintenance accessories
and repair
Compressed air bottle 13
14
13 The needs of the war meant that fire extinguishers were
14 used as bottles of compressed air for spray painting, like
this one from a BWI kit. The base colour was applied in
Red A.MIG-0049, while the metal cart was painted with
Matt Black A.MIG-0046. The hose was made of 1mm
tin wire.
15
16
15 For the chipped and flaking paint, a sponge was
used to apply the Scratches Effects A.MIG-2010
which was allowed to dry for several hours.
16 A layer of RAL 7021 Dunkelgrau A.MIG-0008

was airbrushed over top and allowed to dry
before moistening it with water to activate the
Scratches Effects below to create wear and
chipping. For the finest and deepest scratches,
the fine tip of Brass Toothpicks A.MIG-8026
works perfectly.
17 18 17 The next step was to use the enamel Earth effect

A.MIG-1403 to simulate dust. The effect can be applied
little by little and any excess removed using Enamel
Odourless Thinner A.MIG-2018.
18 Once the above application had dried, the effect was

intensified with Light Dust A.MIG-1401.
Staircase
20 Weathering began with a
wash of PLW Dark Green
19 After a primer coat of
Gray A.MIG-1608, which
One Shot Primer White
was allowed to dry properly.
A.MIG-2022, the frame
The dust and dirt accumulated
work was airbrushed with
in the steps was recreated
Gold Yellow A.MIG-0125
with Earth A.MIG-1403 and
and the steps with Red
the addition of Light Dust
A.MIG-0049.
pigment A.MIG-1401.

21 A touch of authenticity was added with some stains or grease spills on the edges
of the steps applied with Fresh Engine Oil A.MIG-1408. The paint gun was
simply painted using Aluminium A.MIG-0194, Satin Black A.MIG-0032, and
Old Brass A.MIG-0190.
Tool Boxes
22 One of the boxes will be shown painted with Gold Yellow A.MIG-0125
and the other with RLM 70 A.MIG-0232.
23 Wih both examples, the sponge was used to represent the wear and
chipping with acrylic colour Chipping A.MIG-0044 added in layers until
the desired result is achieved.
23
24 The tool boxes received a wash with Dark

Wash A.MIG-1008 and subtly dirtied with
Light Dust A.MIG-1401.
German Aircraft Power Supply Unit

(APU)
25 The first step was to airbrush the power unit with
RAL 8020 Gelbbraun A.MIG-0016 and the engine
details with Matt Black A.MIG-0046, Aluminium
A.MIG-0194, Red A.MIG-0049, and Old Brass
A.MIG-0190. For the wheels, the colour Rubber &
Tires A.MIG-0033 accurately depicts this critical detail.

26 The details were emphasised with a
wash placed in recesses and around
27 details using enamel PLW Shadow for
desert Brown A.MIG-1621, the Dust
was imitated with North Africa Dust
A.MIG-1401 blended into the surface.
28 Once the previous products had dried

properly, the whole set was varnished
with Matt Lucky Varnish A.MIG-2051.
29 To finish this simple process, chipping was

applied using the sponge technique with
acrylic colour Chipping A.MIG-0044, once
dry engine fuel spills were added using
enamel effect Fuel Stains A.MIG-1409.
30 The grease effect on the trailer coupling is

a combination of Golan Earth pigment
A.MIG-3026 and Fresh Engine Oil A.MIG-1408,
while for general dusting a different tone was
used in the pigment North Africa Dust
A.MIG-3003.
31 After a black base coat on the fire extinguisher,

the base red colour was applied before adding
32 chipping and wear with the sponge technique
and the same colour used for the trailer. For the
metallic details, contrast was added by using
Silver A.MIG-0195 and Old Brass A.MIG-0190.

Wheels and
Landing Gear Eduard 1:32
Messerschmitt 109E
Aurelio Gimeno
1 When comparing the differences in detail between resin

wheels and those included in the kit, you will often find
more refined details on quality aftermarket versions.
2 As with most kits landing gear, the wiring had to be added. For this 3 Here you can see the landing gear assembly already prepared for
example, I used 0.3mm copper wire and the cable sheath. the painting phase.
4 This example features two sets of wheels: one completely in RLM 5 The rest of the gear and inner surfaces of the covers was
02 and the other with satin black on its external side. In the first airbrushed with RLM 02.
example RLM 02 A.MIG-0217 was used and for the second version,
the Gloss Black Base Primer A.MIG-8210 was applied directly.

6/7 The new Shader colours were used to add shadow to the struts and the wheels using the colour Starship Filth A.MIG-0855 on the RLM
02 and Navy Grey A.MIG-0857 on the black of the rim.
8/9 In the case of the highlights, the RLM 02 was lightened with Matt White A.MIG-0050, mixed with Transparator A.MIG-2016.
10 11
10 At this stage the details were painted by brush including 11 Highlights were added to all the details with RLM 02 lightened
profiling with Matt Black A.MIG-0046. The metal clamps were 12 with white, this lightened version was also used to paint scratches.
painted with Polished Metal A.MIG-0192 while the brake
cable was painted Red Leather A.MIG-0133. 13 For the black rim the raised areas were highlighted with RLM
66 A.MIG-0218.
12 13
32 / THE WEATHERING AIRCRAFT / ACCESORIOS

ACCESSORIES
14
14 Small details like the stencils on the landing
15 gear ae critical to the appearance. They can
be found on some decal sheets or from the
leftover box.
15 After varnishing in matt, the shock absorber

was painted with Silver A.MIG-0195. The
black colour can be used to imitate fluid leaks.
16 Because I wanted to paint the tires with an

airbrush, masks were made with Masking
Sheets A.MIG-8043 and a cutting compass.
16
17 The base colour applied was Rubber &
17
Tires A.MIG-0033.
18 In this picture you can see two different

finishes. The top wheels have a dust effect
applied with Earth A.MIG-0073, while
the bottom example was weathered with
Earth Brown A.MIG-0064 to get a tone
more like clay.
This photo includes a third finish on the

19
wheels of a B-17 shown on the right,
18 where a subtle dusting effect was made
with German Grey Beige A.MIG-0028 to
19 accurately imitate operating from concrete
airstrips.
Another technique used to imitate dust in a

20
more controllable and realistic manner is to
use pigments. When choosing the colours,
you must take into account that when fixed
with Thinner or fixer, the colour will fade
slightly.
20

Support
trolley and
riggings
Wingnut Wings 1:32
Karim Bibi
1 For this project, the stencil product Trinity Splatter was used
to create natural discolouration, staining, and some chipping
on the wheels and struts. For this task the colour Exhaust Soot
(MRP-180) and Hotmetal Sepia (ALC-4160) were used before
shading the wheels with Dark Grey (MRP-47).
2 To blend all previous steps, a very 3 The tires were painted with
thin layer of RLM02 (MRP-50) NATO Black (MRP-077),
was airbrushed in place. which is actually a very dark
grey.
4 The details were highlighted using Dark Brown Wash for Dark Green
Vehicles A.MIG-1005 which was carefully placed around the details to
avoid staining the surrounding surfaces.
5 The volume of some details was

then enhanced and intensified
with a mixture of RLM Grey (XF-
22) and Flat White (XF-2).
6 For scratches I preferred to

simply use pencils for this
project.

7 The most superficial scratches such as those on the tires,
were simulated using a yellowish colour, much lighter than
the previous ones, implying that the paint has only been
slightly lifted.
8 The area of the axle that fits the wheel has been worked with Engine Grime
A.MIG-1407 to represent accumulations of grease and dirt.
9 Some of the chips were painted with a brush in

a variety of oxide shades, such as Medium Rust
AMIG-040, Dark Rust AMIG-041, Old Rust AMIG-
042 and Chipping AMIG-044.
10 The rust surrounding these can be enhanced by using the specific

products including Light Rust Wash A.MIG-1004, Streaking
Rust Effects A.MIG-1204 and Tracks Wash A.MIG-1002. Keep
in mind that these aircraft were typically stored outdoors and
exposed to the elements.
11 In this photo you can see

the trolly once assembled,
before simulating dust.
12 For the accurate placement of dust, I chose to use Light Dust A.MIG-1401,
focusing specifically on the letters marked on the tire. This pigment can also be
used to enhance scratches in the rubber applied using a grey pencil.

13 Finally, the pigments Sand AMIG-3012 and Airfield
Dust A.MIG-3011 were used to finish staining
with dust and unify the work. If you feel it is
necessary, you can fix the pigments
in place with Pigment Fixer
A.MIG-3000.
RIGGING
14 This example was used to demonstrate how to make

braces, which will be very useful for the wings of you
plane. The materials used are Bob’s Buckles, EZ Line and
copper wire, plus tweezers and scissors.
16
15
15/16 To make the anchors, the copper wire was braided around a
metal rod.
17
18
17/18 The tensioners were

made by cutting with
a new hollow brass
blade from Albion
Alloys.
19 After making a small hole in the

place where you want to place
the anchor, fix it in place with
cyanoacrylate.
20 Continuing with the EZ Line yarn, which was carefully passed

through the interior of the Albion rods.

21/22 Then, one of the sides was passed through the support previously made and run back through the tube in the opposite direction.
23/24 All that remains is to tighten the clamps and fix the work with a small drop of cyanoacrylate before removing any remaining thread
using accurate scissors.

A-6E Intruder
Wheels, Wheels bays
and landing gear
Kinetic/Eduard
1/48
Wheels Ricardo Batista
1 After cleaning the pieces with water and soap, all

received a coat of One Shot Primer Grey A.MIG-2024.
2 The base colour was obtained mixing the two acrylics

Satin Black A.MIG-0032 and Rubber & Tires
A.MIG-0033 at 50%.
3 Rubber & Tires A.MIG-0033 colour was diluted in by 80% and used to paint
the tread and the outside of the tire.
4 The resin wheel set also comes with masks which were carefully placed using
tweezers to mask the tire and paint the rim.
5
Then Satin White A.MIG-0047
was slightly diluted with
Cleaner and airbrushed in
smooth even passes to avoid
flooding the surface.

6 The paint was protected with a coat of 7 I deposited a small quantity of PLW 8 The dry brush technique was used with
Aqua Gloss Clear A.MIG-8212 creating Black Night A.MIG-1611 in a pallet Oilbrusher White A.MIG-3501 on the
a resistant surface to the weathering well and added definition to the profile details of the rim and Medium Grey
processes. the tire and the rim. When the thinner A.MIG-3509 for the lettering.
has evaporated, the excess was removed
with a clean and dry soft brush.
9/10 Work with the Oilbrushers continued by adding highlights using Medium Grey 11 The shadows were enhanced using
A.MIG-3509 applied with a fine brush, then blended with a flat clean brush. the same blending technique with the
colours Black A.MIG-3500 and Dark
Blue A.MIG-3504.
12 13
12 The rim received a realistic and in scale
amount of dirt with Starship Filth
A.MIG-3513.
13 To protect the finish, the surfaces

were sealed with Matt Lucky Varnish
A.MIG-2055.
1st STEP 2sd STEP 3sd STEP 4th STEP

base colour, gloss varnish base color, gloss varnish, base color, gloss varnish, base color, gloss varnish,
and profiling washes. profiling washes and dry profiling washes, dry brush profiling washes, dry brush,
brush. and applied oils. applied oils and matte
varnish.

Wheel bays
Principal Bay
1/2 The Intruder’s wheel wells are somewhat complex so I decide to improve
them and paint them by painting them separately.
3 4 5 6
3 The fist step was to apply a coat of One Shot Primer Grey A.MIG-2024 to unify the materials and 7
ensure proper adhesion of the base colours.
4 Although the colour of the wells is white, I decided to use Light Grey A.MIG-0209 as a base.
5 All recessed details were shaded with the Starship Filth Shaders A.MIG-0855 for the deepest areas
and the colour Dirt A.MIG-0853 without covering the previous effects.
6 The areas exposed to direct light and the centre of panels In the centre of the panels received highlights
applied with Satin White A.MIG-0047 diluted to 70% with
7 The base colour was protected by airbrushing a coat of Aqua Gloss Clear A.MIG-8212.

8 9 10 11
8/9/10/11
The details were emphasised with Dark Wash A.MIG-1008. After a few minutes, the excess was
removed with Enamel Odourless Thinner A.MIG-2019. The effect can be blurred and blended in
some areas with a soft brush, creating an realistically subtle dirt effect.
12
To make sure that the products used for the weathering steps do not affect the previous layers, a layer
of Aqua Gloss Clear A.MIG-8212 was added.
13 14 15 16
13 Oilbrushes are a uniquely versatile tool for creating dirt and fluid 15 Using a clean dry brush of soft hair, the different shades were blended.
effects. First, Black A.MIG-3500 was added to the deeper areas. Then
Starship Filth A.MIG-3513 was used to expand the area covered by 16 Humidity can cause the appearance of oxides on ship-based aircraft.
black. The colour Dark Mud A.MIG-3508 was added in areas more Using the colour Rust A.MIG-3510 subtle rust streaking was carefully
visible and prone to the accumulation of dirt. drawn in scale. The White tone A.MIG-3501 will serve to highlight
edges and details when applied with a dry brush.
14 A clean brush was used to blend the effects.
17 Four different colours of Streakingbrusher were

used for the vertical surfaces of the wells, I worked
with: Starship Grime A.MIG-1259, Warm Dirty
Gray A.MIG-1257, Grime A.MIG-1253, and Rust
A.MIG-1254.

18/19 The lines were extended and blurred with a 8 Synthetic Saw Brush A.MIG-8585.
20 The process was repeated with varying intensities, always allowing

each application to dry for a few hours between each. These steps
were repeated until satisfied with the overall appearance.
21 Using several colours of acrylics, the details were carefully painted

and some highlights and shadows refined.
22 This work was sealed by applying two fine coats of Matt Lucky
Varnish A.MIG-2055.
21
22

Covers and front wheel bay
23/24 Photoetch details and wiring was added and the parts cleaned with warm
slightly soapy water.
25 As always, I applied a coat of One Shot Primer Grey

A.MIG-2024.
26 As with the main wells, Light Gray was applied in thin coats
as a base.
27 With the help of the Shaders, dirt was easily and authenti-
cally replicated in the most prone areas using Light Grey
and Dirt. If a mistake is made, it can be easily removed with
water and a brush.
28 The highlight colour was obtain with Satin White thinned

70% with Thinner
25
26
27
28
29
29 The perimeter of the covers was carefully painted with

Red A.MIG-F527 and a fine brush.
30
30 The paint was protected and a glossy base provided for
the subsequent processes with Aqua Gloss Clear.
31 The raised and recessed details were emphasised with a

Dark Wash.
31

33
32 With Oilbrusher White and a flat brush, edges were
framed and the areas that have become dark from
the dry brush were lighten.
Using several acrylic colours and a brush, I paint the

33
details and wiring. Starting with the darkest colours
and then the most outstanding parts with a lighter
tone to create volume.
34 To create dirt effects, the same range of Oilbrusher

colours was used for consistency.
35 Two fine coats of Matt Lucky Varnish were 34

airbrushed to seal the previous steps.
35

Landing gear
36 After tuning and assembling the pieces

that make up the landing gear strut,
I add the photoetch and the wiring
made with copper and tin wires of
different thicknesses.
37 Holes were drilled in the upper

part of the strut and the
copper rods were inserted and
held in place with Slow Dry
Cyanoacrylate A.MIG-8013.
One Shot Primer Grey
A.MIG-2024 was applied to
improve the grip of the base
colour on multimedia.
38 The base was airbrushed with

Light Gray A.MIG-0209.
39 The top of the strut was shaded by mixing the
base colour with Neutral Gray A.MIG-0239
in a 70/30 proportion and diluted to 80% with
Acrylic Thinner A.MIG-2000.
40 For the highlights Satin White A.MIG-0047 was

diluted with Acrylic Thinner by 70%, but this time
applied to the lower part of the strut. Using the colour
undiluted and a fine brush, the details of the legs such
as rings, nuts, and pins, where painted. 41 The base colour was
sealed with Aqua Gloss
Clear A.MIG-8212.

42 43 44
42 A wash with Dark Wash A.MIG-1008 was added to all the raised 43 Once the thinner evaporates, I removed the excess with a brush
and recessed details of the piece using a brush 2 Synthetic Round dampened with Enamel Odourless Thinner A.MIG-2019.
Brush A.MIG-8614.
44 Here you can see how the wash defines all details.
45 A total of four colours were used to paint all the details of the landing
gear strut. The hydraulic bar was first painted with Outlining Black
AMMO.F-502 followed by Silver A.MIG-0195 which creates a
vivid appearance to the chrome. The springs were painted in Red
Leather A.MIG-0133, the thicker wires were painted in black and the
thinner ones were lightened by adding a drop of White for Figures
AMMO.F-501.
46 To increase the appearance of wear and tear,

drainage and staining was added with Streak-
ing Brusher Starship Grime A.MIG-1259
and Grime A.MIG-1253. This effect was
created by first drawing fine lines that were
allowed to dry before dragging the staining
downward with a brush moistened in thinner.
47 To avoid sheen or lustre and

finish the work, a couple of
thin layers of Matt Lucky
Varnish A.MIG-2055 were
applied.

Spoke
wheels
Karim Bibi
Wingnut 1:32
1 For this example, the photoengraving included in the Jeannin

Stahltaube Wingnut kit will be used.
2 The wheel part was prepared by making the cuts on a hard,

flat surface.
3 The photoetch was then immersed in Photoetch

Burnishing Fluid A.MIG-2021 to achieve a
burnishing effect.
4 The pieces was then carefully buffed

using a cotton swab to give them some
shine.
5 The inside of the tire was painted with Black (MRP-005) as a primer
and then airbrush using Steel (MRP-30).

6 With the specific cutting tool Shadow Hobby Circle, a mask was prepared with
which to cover the area where the radius will go.
7/8 The colour of the tires will be achieved by covering the inside with Dark Grey (MRP-
47) as a shadow. Then, with a mixture of two parts of Sky Grey (XF-19) and one
part Deck Tan (XF-55) was used to finish.
9 Following the instructions the spokes were glued to the

central hub. It is useful to use an applicator like the one
shown to avoid staining the already finished areas.
10 The valve and spokes were

painted once in place.
11 Using an acrylic glue such

as Ultra Glue A.MIG-2031,
the union of the photo-
etching radii with the plastic
piece was reinforced. If
necessary, you can dilute the
product with water.
12 All previous work was sealed with

Aqua Gloss Clear A.MIG-8212.
13 To highlight the letters on the tires, the colour Interior Wash A.MIG-1003
was used. For the rest of the details, the Dark Brown Wash for Green
Vehicles A.MIG-1005 was used for the ideal level of contrast.
14 Small accumulations of grease were replicated in the inner areas of the tire
with Engine Grime A.MIG-1407. As a guide, you place this effect on the
areas previously painted in dark grey.

15 A layer of Matt Varnish was 16 The accumulated dust was replicated by
applied to seal all the effects while randomly using two different pigments:
avoided overspray onto metal Sand A.MIG-3012 and Concrete
surfaces. A.MIG-3010, which was fixed with
Pigment Fixer A.MIG-3000.
17 To conclude the weathering of the wheels, splashes

were added with Light Dust A.MIG-1401 flicked from
a brush using a toothpick.

A-6E Intruder
Seats
Wolfpack 1/48
1 Resin seats usually have a very high level of detail

and are highly recommended for modern aircraft.
Ricardo Batista
2 To begin with, resin details must be cleaned with warm soapy

water and a brush. Then, a coat of One Shot Primer Grey
A.MIG-2024 was applied in thin layers until the surface was
completely covered.
3 The base colour of

the seat was air-
brushed Satin Black
A.MIG-0032 using air The highlights were adding by mixing drops of Gray Blue A.MIG-0210
4
pressure of 1.2 Bar. to the base colour and diluting the mixture by 50% with Acrylic
Thinner A.MIG-2000.
5 Using a light grey

colour in enamel, dry
brushing was used to
highlight edges and
details.
6 Before continuing, I added the pre-
painted photo-etching stencils to
the model, by previously sanding
them the back for the best adhesion
and fixing them with Ultra Glue
A.MIG-2031.

7 The padded were accurately painted
with four shades: Zinc Chromate Green
A.MIG-0220, Pure Green AMMO.F-528,
Field Grey Shadow AMMO.F-514 and a
mixture of Pure Green AMMO.F-528 and
White for Figures AMMO.F-501.
8 The remaining details

were painted with
acrylics and the cor-
responding highlights
and shadows applied
by lightening base All of the work applied so
9
colours. This phase is far was protected with a
a bit tedious but the coat of Aqua Gloss Clear
result is worth it. A.MIG-8212.
10 To gain depth, I used

Dark Brown Wash
For Green Vehicles
A.MIG-1005 on the
recesses of the padding
and details, PLW Blue
Black A.MIG-1617
on the harnesses, and
PLW Black Night
A.MIG-1611 on the seat
structure.
11/12 By using the Oilbrusher colour Yellow Bone A.MIG-3521

and Olive Green A.MIG-3505 I was able to accentuate the
highlights of the padded surfaces. To intensify the shadows,
Dark Green A.MIG-3507 and Dark Brown A.MIG-3512
were used to emphasize contrast. Only a small amount of
11 colour is needed, simply deposit with the self-contained
brush and blend with a clean dry brush according to the
12
needs of each specific project.
13 To finish, a couple of coats of Matt Lucky Varnish

A.MIG-2055 were applied to protect the surface.

A-6E Intruder
Arresting
Hook
Ricardo Batista
Kinetic 1/48
1 I began by applying One Shot Primer Grey A.MIG-2024.
2 Although the model includes the option of placing decals,

I prefer to paint the markings whenever possible. The ideal
foundation colour for this detail was Satin White A.MIG-0047.
3 The masks were prepared using masking tape cut to

the same size, with the help of a scale ruler and a sharp
blade. The joints were reinforced with Ultra Liquid Mask
A.MIG-2032.
4 Next, Satin Black A.MIG-0032 was slightly diluted before

airbrushing in very smooth passes so as not to create lips in
the paint.

5 6
5 Once the paint had dried, the masks were removed with the help
of tweezers and the surfaces protected with Aqua Gloss Clear A.MIG-8212.
6 Using Dark Brown Wash for Green Vehicles A.MIG-1005, all the details were carefully outlined.
7 Using real photos as reference, I applied some paint wear and flaking with acrylics using white
for the black areas and a rusty brown tone for the white areas. A sponge can also be used for 7
the areas of greatest friction and wear.
8 To give the surfaces a worn look and integrate it into the aircraft, I use three shades
of Streaking Brusher. With Cold Dirty Grey A.MIG-1251 and Warm Dirty
Grey A.MIG-1257, draining from the coupling rods was imitated leaking
towards the rotation axis. The last section was worked with Rust
A.MIG-1254 to emphasise the rusty appearance.
9 The enamel colour Dark Wash A.MIG-1008 was

mixed with some Black pigment A.MIG-3001 and
8
with a brush I make some splashes imitating those
produced on take-off and landing manoeuvres with
the effect focused on the tail end of the hook.
10
10 The process was completed

by applying a couple of thin
layers of Matt Lucky Varnish
A.MIG-2055.

Propeller
Messerschmitt 109E Aurelio Gimeno
Eduard 1:32
1 Here you can see the usual

configuration of the propeller
1 assembly found with most
kits, requiring that they be
painted separately.
2/3 Cleaning flash from the edge with a blade is one of the most important steps when
painting a propeller, as most have remains. Start by carefully scraping with a blade and
then refining the edge with a padded sandpaper.
2
4 You can replace damage with a soldering iron, this must be done carefully without
touching the surface.
5 The proper foundation of primer for metallic paint was airbrushed with Gloss Black
Base Primer A.MIG-8210.
3 4
6 7
6 Once dry, the surfaces were painted in

Aluminium A.MIG-8201.
This was allowed to dry overnight

7
before applying a layer of Scratches
Effects A.MIG-2010.

8 When dry to the touch, the propeller
was airbrushed in Gold Yellow RLM
04 part number A.MIG-0125.
9 With a soft bristle brush and a Brass

Toothpicks, chipping and scratching
was carefully added in scale.
8 9
10 11
10 The same process was repeated
for the shovels using RLM 70
A.MIG-0232.
11 The Shader colour Light Olive Drab

A.MIG-0864 was used to discolour
each blade.
12 13 14
15
12 Next, the panel lines of the propeller hub were masked

with 2mm Masking Tape A.MIG-8038.
13 Then each was subtly discoloured with Shader colour Navy Grey A.MIG-0857.
14 The area around the cannon muzzle of the propeller hub was airbrushed with Ash Black
A.MIG-0858 and Light Rust A.MIG-0851 Shader colours to accurately depict soot.
15 The model was then airbrushed with a coat of Matt Lucky Varnish A.MIG-2055 to seal the finish.

Steel Beach/Eduard
A-6E Intruder 1:48
F. O.D. and Remove

before flight Ricardo Batista
1 2
FOD
1 After improving the piece with copper wire,
the piece was cleaned with soapy water
and given a coat of primer with One Shot
Primer Grey A.MIG-2024.
2 After a pre-shadowing applied using Satin

Black A.MIG-0032, the highlights were
added with Satin White A.MIG-0047,
3 4 both diluted with Cleaner A.MIG-2001.
3 For the base colour, Red A.MIG-0049 was

mixed with Transparator A.MIG-2016
and applied in very thin layers so as not to
eliminate the previous work.
4 Once dry, the base was sealed with Aqua

Gloss Clear A.MIG-8212.
5 6 5 To give more depth and create volume,

the details were emphasized with Dark
Wash A.MIG-1008. When the thinner
had evaporated, the excess was cleaned
with the same brush dipped in Enamel
Odourless Thinner A.MIG-2019.
6 Some slight subtle scratches were added

using a Dark Grey and a brush in perfect
conditions.
7 8
7 The highlights were subtly increased on
8 the edges and the centre of the panels
using Oilbrusher colour Red A.MIG-3503
lightened with Yellow A.MIG-3502 and a
little bit of White A.MIG-3501. After a few
minutes, dry blend with a soft brush.

9 I continued with the Oilbrushes but
this time to create dirt stains by using 9 10
10
Black A.MIG-3500, Starship Filth
A.MIG-3513, and Dark Brown
A.MIG-3512 to randomly dot small
amounts on the most prone areas and
then blotting and blending them dry.
11 The surface was then varnished with

Matt Lucky Varnish A.MIG-2055 in thin
layers letting each dry before the next.
This eliminates any gloss and implies
the feeling of use and scale colour and
surface correctness. 11 12
12 The advantage of having a matt base is

that it allows for the use of watercolor
pencils to personalize the piece with some
kind of monogram. It is necessary to refine
the tip constantly in order to preserve a
fine line, corrections can be made with a
brush slightly moistened in water.
REMOVE
14
BEFORE FLIGHT 13
13 The photo-etch pieces were separated

from the fret using a cutter and a sharp
blade, pressing just on the connection
and taking care not to damage the piece.
If necessary, you can clean up any burs
with sandpaper and cover the bare metal
with a red watercolour pencil.
14 To bend the pieces and leave them with

a natural fall and lie, tweezers whose tips
15
I protect with masking tape were used.
15 Little by little, I bent and manipulated

a natural shape to the photo-etched
“fabric” tags.
16 With 0.2 mm tin thread, some rings were

fashioned to properly hang them. Once
placed, the rings were closed and sealed
with a small drop of cyanoacrylate.
16

Pilot helmet
Redoak 1:48
Ricardo Batista
1 2 3 4
5 6 7 8
1 This is a very small but no less important 3D printed detail piece. 9 10

With great care the piece was cleaned inside and outside before
applying a layer of One-Shot Primer Grey A.MIG-2024.
2 The colour began with a base of Satin White A.MIG-0047

diluted with Cleaner A.MIG-2001.
3 Very thin strips of masking tape were cut with the help of a metal
ruler and placed with the tip of a blade to mask the checked
pattern. The rest of the helmet was the masked with tape and
Ultra Liquid Mask A.MIG-2032.
4 Mixing Marine Blue A.MIG-0123 and several drops of Satin 9 To unify all aspects of the helmet, it was varnished with Satin Lucky
Black A.MIG-0032 diluted with Cleaner and at low pressure, Varnish A.MIG-2056 applied in soft passes at low pressure using the
the open squares were carefully painted. Once dry, the masks airbrush.
were removed very carefully.
10 The glass visor of the helmet has
been painted in dark brown to
5 To draw the vertical lines, a guide of flexible masking tape and a
very sharp pencil were used. If any line is unsatisfactory, it can be imply the tint and once dry,
removed with a clean eraser. two coats of Crystal Smoke
A.MIG-095 were added with
6 The work done up to this point was protected with Aqua Gloss a fine brush, letting each dry
Clear A.MIG-8212. a few minutes between the
The interior of the hull and the chin were painted with a brush application to create a highly
7
using several acrylic tones to include highlights and shadows. authentic appearence.
To finish the interior, Matt Lucky Varnish A.MIG-2055 was
airbrushed in place.
8 The next step was to emphasise details with Dark Wash

A.MIG-1008 slightly diluted with Enamel Odourless Thinner
A.MIG-2019. The excess was completely removed with a clean
brush moistened in the same thinner.

MD-3 Skunkmodels
1:48
Nav y Tractor Lalo Zenely
1 2
3 4
1 The first step was to use Masking Tape A.MIG-8041 to cover the 4 For the best results, I recommend working 1 area at a time in order
sides and the central area before adding texture. to best control the overall effect.
5
2 A brush was used to apply the Anti-Slip paste A.MIG-2034 to Using Ultra Liquid Mask A.MIG-2032, the fuel caps were masked
accurately imitate the textured surface. off from the textured effect.
6
3 The product was blended with a sponge so that the effect is even Once the Anti-Slip Paste was dry, the masking was removed.
and to scale.
5 6

7 The entire model was
airbrushed with the One-
Shot Primer Black
A.MIG.2023.
8 At this stage the

masking process was re-
peated in reverse to cover
the Anti-Slip texture from the
following steps.
9 Care was taken to mask the striped

bumper as well.
10/11 Next, the base colour of Satin White A.MIG-0047 was applied and once dry, the
masking removed.
10 11
12 The next step was to protect the model with a couple of thin layers of Satin Lucky
Varnish A.MIG-2052.
13 Once the varnish had dried completely, Ultra Decal Set

A.MIG-2029 was applied only where the decals were to be placed.
14 After placing a decal, each was brushed with Ultra Decal Fix
A.MIG-2030 and allowed to dry untouched. It is important to
work with these products only on the decal and not to flood the
surface of the model.
15 After placing all the decals, another layer of Satin Lucky Varnish
A.MIG-2052 was applied.
13
14 15

16 Using a fine brush, the details were painted Red using
A.MIG-0049.
17 To authentically simulate some wear on the anti-slip surfaces,

select areas were gently chipped with an awl.
18 This effect can be exaggerated more or less depending on the

desired finish and references.
16 19 The areas that remained in bare plastic were patiently brush

painted white.
20 The entire model then received a filter using Brown for White
17 A.MIG-1500 from the AMMO line.
21 This product will also help to establish the effect of trapped dirt
on the non-slip area.
22 The surface was then stippled and pecked with a sponge

wetted with the acrylic colour Matt Black A.MIG-0046, this
application method also serves to blend the chipping and wear.
23 The next step was to highlight all the details such as rivets and
panels with an enamel wash using the colour Africa Korps
Wash A.MIG-1001.
18 19
20 21
36
22 23

24 The headlights were then painted in Marine Blue
A.MIG-0123.
25 Small scratches and chips were then painted on the target

with Medium Gunship Gray A.MIG-0204 in the areas
prone to the most friction.
26 For consistency, the same wash was used to increase the

amount of dirt in the underbody and to simulate an in scale
splashed and misted filth and grime.
27 Some dust was accumulated within the horizontal surfaces

using the pigment Vietnam Earth A.MIG- 3022 which
28 added a reddish tone.
27 28
29 This dynamic little accessory was finished with a

thin layer of Matt Lucky Varnish A.MIG-2051.
30 The addition of accessories such as the fire

extinguisher, a chain, or the wheel chocks
adds a convincing level of authenticity.

AMMO by Mig Jiménez
Company commitment to Obra Social
San Juan de Dios
Without doubt 2020 has been a year that has changed the history of the
world. In the midst of this unprecedented situation, the most vulnerable
groups have been especially affected.
Today we are pleased to announce that AMMO by Mig Jimenez,
through its Project AMMO for life, has joined forces with the Obra
Social San Juan de Dios to guarantee the stability of its humanitari-
an programmes. Through the campaign "The Faces of Vulnerability",
AMMO has been awarded the distinction of: "Empresa Comprometi-
da 2020" in recognition of direct assistance to those effected most by
this global humanitarian crisis.

San Juan de Dios is a prestigious institution founded more than 500 years ago, and currently operates 400
healthcare and support centres in 55 countries to assist people in vulnerable situations. Under the name of
San Juan de Dios, the non-profit actions are based on three pillars: Social Work, Volunteering, and Interna-
tional Cooperation.
From AMMO for life, our solidarity project created by one of the founders of AMMO: Elizabeth Wiese, a friend
of Obra Social San Juan de Dios who passed on December 30th of 2019 after her courageous fight against
cancer. Her wish is that the funds from this project be used to support Obra Social San Juan de Dios’s mission,
which includes health care to persons with terminal cancer by providing dignified end-of-life care.
We are especially grateful for the trust that you have placed in AMMO since our inception, and want to share
this recognition with you. Without your support, the assistance afforded those most effected by the current
humanitarian crisis would not be possible.

IN THE NEXT ISSUE...
By Javier López de Anca
MORE WOOD!
If you think wood is only good for building boats or IKEA furniture, you’re very much mistaken. Wood has been present in the
history of aviation since its inception, even if in recent decades it has been replaced by metals or modern alloys. You will see how
some of the protagonists of the next The Weathering Aircraft could float on their own.
How many times have you stopped working on a specific kit because you were unsure as to how to paint the wood? No more
excuses. We are going to teach you several easy to use techniques to accurately simulate this material. Of course, we will do so
only using paints, oilbrushers, filters, shaders, and decals. AMMO by MIG Jiménez would like to reassure you that that no tree was
unnecessarily damaged during the creation of this issue.
1SPAIN
YEAR
4 ISSUES
EUROPE REST OF
THE WORLD
34€ 38€ 41€

World wide shipping cost included
THE WEATHERING AIRCRAFT

SUBSCRIPTION
Contact info@migjimenez.com

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How many times has your wife told you that the belt has to match the

The Weathering Aircraft por

WWII SEAT AND BELTS LADDER TANKER TRUCK U.7114-T

WHEELS, WHEELS BAYS

4 / THE WEATHERING AIRCRAFT / ACCESSORIES

SEATS ARRESTING HOOK PROPELLER

F.O.D. Y REMOVE BEFORE FLIGHT PILOT HELMET MD-3 NAVY TRACTOR

THE WEATHERING AIRCRAFT / ACCESSORIES / 5

6 / THE WEATHERING AIRCRAFT / ACCESSORIES

Some details are themselves independent and highly detailed

In this issue we will fuel you with true inspiration, all of

THE WEATHERING AIRCRAFT / ACCESSORIES / 7

10 / THE WEATHERING AIRCRAFT / ACCESSORIES

9 Here we will explore three ways to depict the

10 These excellent and accurate details need

11 Another option is to use

12 I cut the sheet to size with a

THE WEATHERING AIRCRAFT / ACCESSORIES / 11

13 Afterwards, the edges were refined by wet sanding.

Each buckle was located and fixed in place to the belt.

15 Copper sheet was used to finish the lower belts. This

16 For the painting phase I do not glue Eduard’s colour

12 / THE WEATHERING AIRCRAFT / ACCESSORIES

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28 Aires offer photo-etched version that require painting. Although

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30 A coat of FS 36440 A.MIG-0241 was then applied

31 Shading was applied with the Navy Grey coloured

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3 Then a layer of Olive Drab (XF-62) was airbrushed

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7 Finally, the deepest chipping was accurately

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2 The accurate base colour was applied

3 Several drops of White A.MIG-0047 were added

4 The amount of white was

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6/7 The engine, the springs, and several

8 The acrylic colour Matt Aluminum

9 With a combination of the Oilbrusher colours Starship Bay

9 11 The metallic shades were varied for contrast with Oilbrusher

12 Pigments such as Metal Slag A.MIG-3020 can be used and

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18 All work up to this point was

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21 Here you can see the result after working

22/23 Details were emphasized by applying Dark Wash

24 Using a mixture of USAAF Olive Drab A.MIG-0237 lightened with

25 Using the acrylic colour appropriately named Chipping

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30 Very fine drainage staining was applied with Streaking Brusher

31 Using the same thinner, the previous work was blended to

32 After mixing the pigment colour Light Dust A.MIG-3002 with

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33 The same process was repeated after switching to the

35 Note the subtle splashes on the sides of the vehicle, this

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43 Once completed, the vehicle was

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4 1 For this example, the magnificent Barracuda

2 The acrylic colour Dark Wood (MRP-262) was

4 The wooden support that shapes the seat was

5 All the details were highlighted with a wash of