WINTER WONDERLAND
Part One
MR.JOECOOL
A winter camouflage can add a very dynamic appearance to your
armour model. If your imagination is strong enough, adding a winter
camouflage will bring you to a cooler climate on that hot summer
day, or maybe help bring in the holiday spirit on that early November
morning. Although it makes for an exciting finish helping to separate
your model from other dark-green, yellow, and German-grey models
in your curio, a realistic winter camouflage can be time consuming
to apply.
There are numerous articles in various publication that will help give
beautiful winter camouflages to your models when followed closely.
With this article I am going to try and sacrifice some of that beauty
for realism. You will probably find this method to be more tedious
and time consuming then some of the other methods previously
documented.
What we are going to do…
I will start by quickly showing you with the aid of photos how to
basically correct the DML JS-1 kit (which is simply their JS-2 kit with
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❄
Photographs Adam Wilder & Miguel Jimenez MIG
By Adam
Wilder
an extra sprue added containing JS-1 parts) to get a closer
representation of the actual vehicle. After covering the construction, I
will go through each painting step. I will then explain how I applied
the seven-step winter camouflage. I will then finish this article by
showing how I used different weathering processes in a random way
to help break up the model giving it a three-dimensional appearance.
Lets quickly look at the construction of the DML JS-1.
The DML JS-1
Upon viewing the Russian publication Armada No. 6 “The IS Tanks by
M.S. Svirin”, I found a couple of views of a production JS-1. I felt that the
subject in those photos would be a good subject for this winter
camouflage article. The JS-1 is very similar to its famous predecessor.
The DML JS-1 kit needs some small modifications to make it a more
accurate production of a JS-1. Along with those modifications, lets not
forget the typical corrections we have all encountered when constructing
one of the DML JS tanks or its variants. One example is the sponsons
under the hull that need to be constructed. I fabricated mine using
Evergreen plastic. Lets quickly discuss some of the other smaller details.
 1 Weld Seams 3 Hull Rear
The locations of the weld seams attaching the front casting to the rest The picture of the hull rear below shows the relocation of the lifting
of the hull on the DML kit are different from the drawings I have eye in the upper right corner. A bolt has been added approximately
viewed in publications by accredited authors. To correct this problem where the lifting eye was originally located. This needs to be done on
I made my own weld seams from stretched sprue. I glued the sprue each side of the hull rear. The bolts were made from Evergreen using
in place with Testors liquid plastic cement. After applying the cement I a hexagonal punch-and-die set. Notice that rings made from
waited five minutes to let the sprue soften. I then took my exacto- soldering wire were added to the two-rear transmission hatch covers.
knife with a new blade and carefully textured the weld seams giving
them a rough surface. After texturing, I applied some more liquid
cement over the welds and let them dry. All weld seams on this
model were done using the same technique. The photo below shows
the correct location of the weld seam fastening the front casting to
the rest of the hull.

2 Te x t u r e d H u l l , Tu r r e t C a s t i n g , a n d M o r e
Weld Seams
Although the DML kit has a fairly realistic texture representing the
castings, I thought that these surfaces were still too uniform. I went
over the rest of the cast surfaces with a mixture of Testers liquid
cement and Tamiya modelling putty as shown above. I applied the
putty/liquid cement mixture with an old brush. The weld seam joining
4 Other Added Goodies
the upper and lower castings of the turret was also redone. Weld The picture above shows the brass fender supports manufactured by
seams were also added around the turret lifting hooks. The Show Modelling. The turned aluminium gun and resin mantlet
manufactured by CMK item no. HB021, can also be easily seen. The
mantle was about 1/32” narrow on one side.
This gap was easily filled with a piece of Evergreen that was glued
into place then sanded to size. The seam was then filled with putty
and textured to match the rest of the mantle.

I was not happy with the detail on the ends of the toolbox so I
sanded them smooth and added my own handles from copper wire.
The toolbox hold-downs were made from copper sheet. The spacers
and bolts are punched pieces of Evergreen. Please note that the
directions in the DML kit instruct you to glue one rectangular toolbox
on each side of the hull. I think DML incorrectly assumed the smaller
toolbox on the left side of the prototype to be another standard
rectangular toolbox. The smaller toolbox is not present in the few
photos I have viewed of the production JS-1s.

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Opposite, you will notice a close up of the work needed to backdate
the fenders, as well as detail the shackle holders, horn, and light.
The brass fender supports, shackle holders, and buckles are from
The Show Modelling set. The light and horn brackets along with the
front of the fenders were all fabricated from sheet copper. The
brackets holding the front of the fender in place were fabricated from
sheet plastic. The lead foil gussets where not included in The Show
Modelling set. The boss where the light and horn wires protrude is
Evergreen rod and stretched sprue. The wire was manufactured by
Detail Master item, no. DM1102.

5 R e a r H u l l -To p
The detail on the rear hull-top was minimal. On the picture at the
bottom of the page, you can see the brass exhaust directors.
The Evergreen plastic strips on the side of the louvers are simply
hiding some sinkholes. I cut and sanded off the molded bolts,
applied the Evergreen strips, then new bolts where added.

6 E x t e r i o r F u e l Ta n k s
The Show Modelling etched brass set included the exterior fuel tank
straps but I could not get them firmly glued to the tanks. Instead I
constructed my own straps and mounts from Evergreen plastic strip.
The Show Modelling etched-brass set included the tightening bolts
which where used. I added the weld seams and Show Modelling
brass handles on the fuel tanks.(Right)

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 7 The Assembled Model 2 Post Shading
As you can see the construction of the JS-1 was fairly basic. I like to
Post-shading is a way of adding an artificial shadow to your model,
keep my running gear separate from the model until after painting for
helping to give it a scaled appearance. The secret to post-shading is
ease of weathering. Now with an understanding of the minor
not making it look obvious. Using my air tank and Tamiya airbrush, I
corrections needed to assemble the DML JS-1 lets jump into the fun
post-shaded the JS-1 with a mixture of five parts Tamiya Dark Green,
part of painting this mama!
one part Tamiya Sand, and a few drops of clear. I carefully sprayed
the flat areas of the JS-1 focusing primarily on the top horizontal

PAINTING
surfaces. (see below.) Notice that I did not shade the gun.

JOECOOL
1 Applying the Base Coat
In the top right you have a view of the completed JS-1. Below the
picture is the running gear. Leaving the running gear attached to the
sprues allows you to easily airbrush and weather them. I have an air
tank and a Tamiya Super Fine airbrush to help me with the complex
detailing, but when applying the base coat, I simply use my old trusty
Brown air compressor and a double-acting Badger airbrush. I used
Tamiya Dark Green acrylic paint for the base coat. I mixed a ratio
approximately 60% paint and 40% Tamiya thinner with four to five
drops of Tamiya clear.

When spraying the base, I apply four to five very light coats of paint.
Five light coats of extremely thinned paint provide you with a
smoother finish displaying the detail better then two thick coats.

The photos in the top right show the JS-1 with only the base coat.
After applying the base coat, my compressor and Badger airbrush
were no longer used on this model.

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3
Te s t P i e c e s
I cannot emphasise this enough!!!!! Test pieces allow you to
experiment and make errors without harming the model while trying
new paints and techniques. I always have three 3” pieces made from
Evergreen sheet plastic on my desk. I sprayed them with the same
base coat as the JS-1. The piece on the right was used to test the
shade of my post-shading colour.
castings. This was to insure that I did NOT obtain an unrealistic dry-
brushed appearance. After I finished brushing the oil paints onto the
model, I placed it in my curio away from any dust, and let it sit for
two days.
The picture to the bottom left shows the oils being applied to the
model. Notice the smooth, glossy, pleasing, but unrealistic finish.
The glossy appearance will be reduced in the upcoming weathering
steps to take on a more realistic appearance of painted steel. Note
how the seams and details are now more apparent.

5 Where Are We?

4
Adding Oils
Carefully brushing light, transparent coats of oils can highlight seams
and details and add depth to your model. You can use this technique
as an alternative to washes. Oil paints dry very slowly giving you
more then enough time to work and blend them. You need to be alert
when brushing on artist’s oils because you could break off small
brass parts if not careful.
By this point I have now assembled and painted the JS-1. I will
continue this article with applying the winter camouflage. Winter
camouflages used during the Second World War were usually made
from a lime whitewash applied with various mops, rags, and brushes.
Using a lime wash was convenient because it simply washed away
when the spring rains began. Because the lime did not adhere to the
tank like paint, the winter camouflage was easily scratched and
chipped away by the crew, stowage and terrain. Consequently, the
tank was left with a very rough, scratched, and muddied appearance
that is now difficult for us modellers to simulate. In the next part of
this article I will explain how I simulated that appearance.

I used two soft high quality brushes. I used the big brush for the flat
surfaces and the larger components of the model while hitting the
small details with the smaller brush. On a piece of scrap Evergreen I
mixed a green-brown colour using toothpicks. I then added a little
gloss. I carefully dipped my brush into the oil paint then wiped off as
much as I could from the brush onto the Evergreen. (see above.)

When applying oils to your model for the first time in this manner, I
would recommend practicing on one of your test pieces.

When brushing on the oils to the JS-1, I really needed to take my

time and work them into the concave areas of the turret and hull

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STARTING THAT WINTER
CAMOUFLAGE
Adding a realistic winter camouflage to your model can be time
consuming, but very fun to apply. I did this winter wash in seven
steps. For the first step I went over the entire model randomly
adding Humbrol Maskal using a cheap brush as shown in the
picture (top left).
I added the mask to all of the bolts, weld seams, and other extrusions
such as the perimeter of the fenders and driver’s hatch. I went over
all of the cast surfaces placing small dabs of mask on all of the large
bumps. I then placed small oddly shaped dabs of mask randomly
over the entire model. Closely view the photos of the turret and hull
for a better understanding - the purpose of this will be apparent in
the next steps.
It is important to keep cleaning your brush during this step or the
mask will build up in the bristles making it useless. Have a jar of
clean tap water on hand. A damp brush will also improve the
spreading capabilities of the mask.
1 A White Base
After the mask was applied I studied the photo of the winter JS-1,
then spent some time looking at my model. I tried to conclude
where the winter camouflage was apparent in large amounts and
where the camouflage had been loosely applied and/or worn away. If
you are not using a specific example you should try to visualise your
finished model in your head and use your mental picture as your
guide.
In the second step, which was adding the base of the camouflage, I
decided to use a matt white colour called Skull White manufactured
by Games Workshop (see over page), A product geared for war
gaming figures and fantasy AFVs. I thinned the paint to a ratio of
about 40% paint and 60% tap water. Using my Tamiya Super-Fine
Airbrush, I carefully sprayed the areas on the model where I wanted
to have the winter wash very evident. I then carefully sprayed lighter
areas where the winter wash appeared faded in the photograph. I
kept the regulator of my air tank set between 10 and 20 pounds per
square inch (PSI).
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Thinning the paint as much as I did allowed me to spray the base on chip the base coat when removing the mask it can be fixed later by
very lightly. Spraying the paint lightly allowed me to easily regulate adding more white or metallic coloured paint.
the amount of white I deposited in each area. You want to have a
If you look at the pictures of the turret and hull with the mask
feathered edge with no spattering during this step. If you are not
removed, you might think that some of the areas of green appear to
careful, certain acrylic paints can dry very quickly on the needle of
be too clean against the white. That is how we want it to look for now.
your airbrush resulting in spattering. To avoid this I simply kept
Step three will make these areas appear more realistic.
cleaning the needle of my airbrush with a soft brush and tap water as
shown in the picture (top right). Please practice on your test pieces
before spraying your model.

While spraying the winter base, I kept the book on my lap opened to
the page showing the JS-1 I was duplicating. I had to use my best
judgment on my model for the sides of the tank not visible in the
photograph. After spraying the base white, I let the model dry for a day.

2 Carefully Removing the Mask

After letting the white base dry, I then carefully started step three, which
was removing the mask. To do this tedious task I used a set of small
pointy tweezers that I purchased in a jeweller supply store. I find these
tweezers useful to get under the mask and lift it from the model.

I removed the mask in one imaginary section of the model at a time.

The mask was often hard to see so I brushed some straight Humbrol
thinner over small areas. The thinner will react with the mask making
it more visible and easy to get at with the tweezers. I recommend that
you only brush on Humbrol thinner after you have removed as much
of the mask from the tank as possible. The thinner will make the
mask more apparent but less elastic and easier to break, therefore
harder to remove. After I had removed all of the mask, I brushed the
entire model with straight Humbrol thinner removing any loose chips
of white paint left over from removing the mask. If you accidentally

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 3 A d d i n g t h e To p L a y e r o f W h i t e After approximately ten minutes, I took a small round no. 8/0 brush.
Using the thinner from the second jar, I carefully further blended the
Step three was my favourite part of this project, this is where the edges of the already blended Humbrol white. Again you will need to
model started to come to life. I carefully poured some Humbrol matt
white into an empty glass paint jar. I then added just a drop of
Humbrol matt black and mixed the colours with a toothpick.

use your best judgment to decide when blending is complete.

The thinner in the first jar will have paint mixed with it because of the
first part of the blending process. The second jar of thinner will be
clear to do the finishing touches in the second part of the blending
process. The picture at the bottom left is the turret with the finished
blended Humbrol white.

When adding the Humbrol white to the turret and hull sides, I tapped
the paint in place, let it dry for 10 minutes, then blended it. After
Again you will want to waiting another 10 to 20 minutes I then took a fine brush and further
break your model into blended the Humbrol paint using vertical strokes to simulate washing
imaginary sections. During from the rain. As I got better at this step, I was able to move from
this step I first did the top of section to section blending the paint on one part of the model while
the turret then each of the the other parts dried. As you do this step you will encounter small
turret sides and rear. After pieces of mask. Just keep your tweezers handy so you can remove
completing the turret I them as you blend. When you have finished let the paint dry for a
slowly worked onto the hull, day.
one part at a time.

First I tapped some small amounts of the Humbrol white paint mixture
over the base white paint on the top of the turret with a no. 1 round
brush as shown above. I brushed over the green areas left over from
the mask as though they did not exist. After carefully covering the
white base, I let the Humbrol paint dry for 10 to 20 minutes. While
waiting for the Humbrol to begin drying, I opened up the window for
ventilation. I then filled two empty paint jars about 1/4 full with straight
Humbrol thinner.

Using the same round brush, I dipped it into the first jar of thinner
and wrung out the excess thinner on the opening. With the damp
brush, I carefully started
blending the semi dried
Humbrol white. Too much
thinner will simply turn the
Humbrol paint into a heavy
wash giving you an
undesirable result. You will
need to use your judgment
to decide when you have
blended the Humbrol paint
enough. Again I blended onto the green areas left from the mask as
though they were not present. After blending, I let the paint dry again
for another 10 minutes.

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4 Adding Scratches
Branches and obstacles cause scratches as they rub against the
passing tank. Carefully adding scratches to your model will greatly
enhance its realism. Before spraying on the base coat of white, I had
airbrushed three different brands of white paint on one of my trusty
test pieces. I then took a dental pick and scratched each of the dried
paints. After scratching the three different brands I found that Games
Workshop’s Skull White had the best scratching qualities. It is
important that you practice scratching the paint on your test pieces,
before scratching your model. It will give you an idea as to how much
pressure you can apply to the paint before digging through into the
plastic. After practicing on my test pieces, I carefully performed step
five by putting some random scrapes on the models sides as well as
on top of the turret and hull.
5 Adding Runs
When viewing the photo of my example (right) I noticed lots of runs
from where the winter wash was placed on in large amounts. I
simulated these runs by brushing on lightly thinned Vallejo - Air matt
white using a small brush. Vallejo paints are great for this step
because of their superb brush painting abilities.
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6 Adding Spots and More Scratches
I have noticed in photos of AFVs that random thick spots of winter
wash remain as the rest slowly washed away. In step number seven I
represented these random spots with Humbrol matte white and a
small brush as shown to your right. After I placed the spots on the
model, the winter wash was complete. I then added some final
scratches with my dental pick and some sandpaper for personal
preference. Use the sandpaper to make clusters of short scratches. I
had to do some practicing on my test pieces until I could get a result
that made me happy.
7 Where are we?
After you have finished the winter wash step back and look at your
model. You can see how the green areas on the white mask are still
noticeable but less evident and more realistic in appearance. These
areas represent where the winter wash was once chipped away and
have since been faded with new layers of lime washed down from the
rain.
I did not apply any of the winter camouflage to under chassis or
running gear. During the late winter and spring thaw, large amounts
of mud can stick under the chassis and on the running gear covering
an/or washing away the winter camouflage. With the winter
camouflage completed, I started weathering the model
19
 WEATHERING
Weathering is a topic that we have all discussed with varying
opinions. It is just as important as the model’s actual construction.
Randomness is the key to achieving a convincing weathering job.
Brushing on pastels the day before the contest is quick and easy but
makes for a plain unrealistic finish. With careful planning, weathering
could make a show stopper out of the simplest and most basic of
models.
1 Chipped paint
When simulating chipped paint on the JS-1, I started by carefully
adding chips to some of the sharp corners such as the hull and turret
sides. Sharp corners are more susceptible to having the paint worn
and/or knocked away from them. The other areas that I added chips
to were the lighter gauge metal parts such as the fenders and
external fuel tank straps. These parts are made of light gauge metal
that is flexible and often gets bent and twisted while in the field,
causing the paint to crack and break away.
Simulating chipped paint is
often very easy to overdo.
The last thing you want is
to make your model
appear as thought it has
been sitting on the
Aberdeen Proving Grounds
for the past 50+ years.
Another thing to remember is paint tends to chip in random rigid
angles. As in previous steps you will first want to carefully look over
your model and try to visualise an end result.
With a pointy brush I replicated the chips using Hombrol matte 67
paint. The Picture above shows small areas of chipped paint being
added to the edges of the fender toolbox. Items such as toolboxes
were often made from
formed sheet metal. This
toolbox was also located on
the outer perimeter of the
tank and therefore often hit
by passing objects.
These two factors made it
susceptible to paint chipping.
The picture above shows chipped areas being added to the angles
on the fenders. Riders, tools, and rubble chafed against these angles.
20
As we will discuss, I first simulated some chipped paint then added
washes to specific areas. I then carefully applied some different
shades of dust and mud on random parts of the model. When all of
the dust and mud was added to the hull, I attached the running gear
and treads. After the model was assembled, a little more mud,
chipped paint, and some other finishing touches were added. Lets
now go through each step one at a time.
It is important to remember that chipped paint is random and you do
not need to cover every inch of the vehicle. After all of the chipped
paint was added I let the model sit for a day. With the use of washes I
then started adding .rust to the bits of chipped paint.
2 Washes of rust
I represented the oxidisation using light washes of Humbrol 82, matt
160, and matt 62. I applied the washes to the chips using a pointed
brush. On the models turret and hull sides I would carefully use the
brush to tap on the wash, then finish with a small down stroke to
simulate washing from the rain. The picture below shows the small
amounts of wash needed to get a convincing shade of rust on the
chips. I mixed the
three different
Humbrol colours
listed above to get
different shades of
rust as I went over
the model. After
applying the rust I
carefully added
some washes.
Immediately after applying the rust, I mixed a dark oxide colour using
Humbrol enamels. I went over the entire model carefully placing the
wash into any seams and grooves. If you just simply touch a seam
with your wash soaked brush, the capillary action will draw the wash
into the crease. I also got the weld seams on the turret along with the
louvers on the hull rear
over the engine. I then
added a number of washes
to the engine screens
being careful not to get any
of the wash on the screen
frames as shown left.
 3 More Filters and Final Preparation before leaving some parts clean and others dusty. You can also see how the
hatches and other details are more noticeable. Remember, like the
Earth Colours winter wash and the rust, weathering is also very random in
appearance. One whole coat of dust will simply give your model a
Filters using Humbrol matt yellow were added to the cylindrical fuel
monotone flat look. Here you can see areas that are very dusty, other
tank straps and screen frames over the engine. Filters of yellow
areas that are only moderately dirty, and a few other areas that still
helped to slightly brighten the screen frames making them more
have nothing but the base and winter coat.
noticeable. The yellow filters did the same to the cylindrical fuel tank
straps as well.
5 Adding Mud
The picture (right) shows a
The next part of the weathering process was randomly adding a light
pallet with all of the
dry layer of mud under the chassis. To simulate mud I made a
Humbrol colours needed to
concoction. I first mixed one part Tamiya Buff and one part Tamiya
apply the washes and
Dark Earth. To the paint mixture I then added plaster and sifted soil
filters. Note the straight
for texture. The final ingredient was some MIG Productions light buff
acrylic thinner used to
coloured pigments. After thoroughly mixing the mud concoction, I
make and maintain the
took an old brush and carefully started applying it to the lower parts
washes and filters.
of the hull.

4 A d d i n g E a r t h To n e s
After the washes from the previous step had dried for a day, I started
adding the earth tones. I used earth coloured pigments, a soon to be
released product offered by MIG Productions. Using straight
pigments instead of pastels or paints, proved to be easier to apply
and control giving me a convincing finished result.

As you can see in the picture below, I used three different shades of
pigments which gave me a range of different earth tones. Using tap
water as thinner, I randomly applied light dust-coloured pigments
over chosen areas of the model. The advantage to pigments is that
when applied with water, you can easily manipulate them as they dry.
This makes it very easy to get a weathered result that satisfies you. I
As with the dust coloured pigments you need to watch your mud
also applied the light earth coloured pigments to most of the seams
concoction as it dries. You want the mud to dry with a textured
and around the hatches and other details where it would collect as a
appearance and not something that resembles a thick coat of glue.
result of rain and wind.
Use an old brush with rigid bristles to keep texturing the mud as it
solidifies on the hull. Give your mixture of mud three hours to dry.
Mud and dust do not cover
After the light layer of mud was dry I added another layer of wet
the entire vehicle. Coloured
mud. I mixed another concoction using Humbrol Chocolate, some
photos of modern armour
dark brown artist oil, some plaster, some dark earth coloured
will show that mud
pigments from MIG Productions, and some gloss purchased from an
becomes attached to areas
artist supply store. I added a random coat of mud under the chassis
of a vehicle in large
as shown in the picture below. As for the hull sides, I only added the
amounts while other parts
mud to the creases such as around the torsion bars where it would
of the vehicle only become
easily collect. I then carefully added some small amounts of mud
slightly dusted or even not dirty at all. This phenomenon allows us to
randomly around the rest of the lower hull. As I brushed on the wet
apply different amounts of earth colours to the model carefully
mud I blended it with straight Humbrol thinner.
breaking it up and giving it more of a three-dimensional appearance.
The picture to your left
clearly shows how the
6 T h e Tr a c k a n d W h e e l s
model has been subtly I airbrushed my cast-metal pinned Stalin tracks from Friulmodellismo
broken up by thoughtful with Tamiya Dark earth. For those of you wanting to build an
application of the dust accurate JS-1, it is important to note that the links provided with the
coloured pigments. Note DML kit are incorrect. Friulmodellismo’s “light type” links (part no.
how I broke up the fenders ATL-54) are more accurate for this variant because they lack teeth
between the supports every other link. You can carefully cut and sand the cogs off every

21

other link if you decide to use the tracks provided with the DML kit
but you will still be lacking detail.
The inside of the tracks where they rubbed against the road wheels
was marked over with a dark graphite pencil purchased in an artist
store. The graphite was then blended with my thumb. A dark mixture
of earth coloured pigments was then added to the areas on the
inside the track not polished from the road wheels. On the outside of
the track the wet mud concoction was applied using an old brush.
After the mud had dried, I took some coarse sandpaper and sanded
the mud outside of the track until the bare metal was showing from
the Friulmodellismo tracks as seen in the pictures of the finished
model. Sanding the mud down to the track made it look as though it
had been packed between the treads by the weight of the tank.
The road and idler wheels were then cut from the sprue, cleaned,
and glued together. By sticking the wheels onto the ends of
toothpicks, I was easily able to paint the perimeters with a worn steel
colour manufactured by Extra Colour. After the wheels and tracks
were painted, I assembled them to the model.
After attaching the wheels and tracks, I added a layer of light mud
using pigments to each of the wheels and drive sprockets as seen to
your right. After letting the pigments dry for an hour I randomly
added a layer of wet mud using the same concoction that was
applied to the hull and tracks. If you view the picture above you can
see how the mud was added in large amounts to some of the road
wheels, only lightly to others, and a few wheels where simply left with
light earth pigments. Coloured photos will show this style of mud
application to be accurate. Applying mud in this way also helps to
further break up your model adding depth as the light and dark earth
colours contrast each other.
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7
Finishing With Some Spilt Fuel, More Rust, and
Dark Earth
By this point the model was just about finished. Just a few more
touches where needed. Using a mixture of Humbrol chocolate and
raw-umber artist oil paints thinned with Humbrol thinner, I added
some “spilt fuel” to the rear hull and external fuel tanks as seen
below. This mixture was also used to simulate leaking grease on the
road wheels. Even these little details should be kept random.
Again using a mixture of Humbrol chocolate and raw-umber coloured
artist oil paints, I added some more areas of rust and chipped paint
further breaking up the model. As you view the pictures of the
finished model you will see that these areas included one of the fuel
tanks, the cover over the gun mantle, and various places on the
turret side.
The last step for weathering this model was mixing a damp dust
colour using pigments and carefully adding them to all indentations,
grooves, and seams. This step helped to add depth to the coat of
dust covering the model.
Summary
Lets review what we have done. We started the article with the
construction of DML’s JS-1 and the modifications needed to correct
the kit. We then quickly discussed applying the base coat along with
post-shading then adding oils which give the model depth. The focus
of this article was the seven-step method I used to add a realistic
winter camouflage to the JS-1. We then finished the article using
straight pigments as a means for obtaining a more controlled realistic
weathering finish.
A good random weathering job will break up a model giving it depth
while highlighting its details. I hope that this article has demonstrated
that while it may take thought and talent to construct a super-detailed
model, a thoughtful carefully executed finish is just as important and
requires equal expertise.