One of the most intense debates among aircraft enthusiasts is how far

Chief Editor
to go when it comes to depicting dirt, scratches, chipping and other
Javier López de Anca
effects on our models. Endless discussions have and will take place at
Original Idea and Art director contests and across social networks with a lack of informed opinions
Mig Jiménez on both sides of the debate with each turning to the Internet to show
images that prove a point. Because, obviously, both proponents and
Editorial Management detractors have photographs of real aircraft in which we can all see
Diego Quijano from some recently delivered by the manufacturer to others that have
been in service for months or even years.
Financial Management
We at The Weathering Aircraft have chosen the latter option to show
Carlos Cuesta
you everything you will need to reproduce these effects with maximum realism. In this issue you’ll find
Cover out how to apply effects ranging from pre-shading to the last layer of pigment you use.
Jorge Porto Our contributors have managed to get the most out of the airbrush starting with primers, base coats,
Layout highlights and shadows and other techniques to simulate exhaust stains and gun barrel soot.
Jorge Porto Of course, the processes with the brush are many and this issue is here to familiarize you with the easiest
and most effective techniques used by the pros. The contributors of this issue work with Oilbrusher colours
Article Assistant
both blended dry or with thinner, as well as with other more specific products such as Streakingbrusher
Iain Hamilton
colours, PLW, washes, and more. Some examples propose both the option of using enamel or acrylic and
Colaborators we comment on the advantages and disadvantages of each.
Ricardo Batista Many of the doubts that arise for modelers have to do with the order in which they should apply the
Philippe Roger different techniques used for weathering. In this issue our staff explains when to use each product and
Marek Novacek how to correctly imitate reality so that it is as close as possible to the photographs that should always
Alex Hernández be used as reference material throughout the entire process. Keep in mind that each aircraft is different,
Yang Yu Pei both for its own design and for the conditions of combat, maintenance, and theatre of operations both
current and past.
Translation
In short, the degree of wear that each one wants is a personal choice, but the most important thing is to
Marta Ramírez Gómez
enjoy what you are doing. We provide you with the guidance, tools and references, the rest of modelling
is for you to enjoy!
By Javier López de Anca

The Weathering Aircraft por

AMMO of Mig Jiménez

www.theweatheringaircraft.com
info@migjimenez.com
javier.lopezdeanca@ammo.es
Magazine trimestral

DL NA 2484-2016
ISSN 2445-1185
January 2023
 INDEX

HENSCHEL HS 129 F-4U CORSAIR RAZOR CREST

pag. 8 pag. 18 pag. 30

4 / THE WEATHERING AIRCRAFT / WORN WARRIORS

MESSERSCHMITT BF 109G-6 A-6E TRAM INTRUDER
pag. 40 pag. 46

THE WEATHERING AIRCRAFT / WORN WARRIORS / 5

 Wor n War r i or s

6 / THE WEATHERING AIRCRAFT / WORN WARRIORS

THE WEATHERING AIRCRAFT / WORN WARRIORS / 7
H enschel
H S 12 9

During World War II, the Henschel HS 129 ground attack aircraft proved to be a highly effective
weapon when used against Soviet tanks. This mission required that the aircraft operate under
the harshest conditions. Due to the aircrafts weight and the need to operate from runways that
were often muddy or dusty, the HS 129 was known to accumulate a large amount of dirt on its
lower surfaces. This effect was highly visible when they were on the ground for repair between
missions, operating in harsh weather conditions such as the Eastern Front guaranteed heavily
weathered aircraft.

8 / THE WEATHERING AIRCRAFT / WORN WARRIORS

 Hasegawa 1:48

Yang Yu Pei

THE WEATHERING AIRCRAFT / WORN WARRIORS / 9

 1
Paint work began with an
application of Matt White
(A.MIG-0050) on the
entire fuselage and wings.

2 3 The colour RLM 04 Gelb

(A.MIG-0125) was airbrushed in
place for the identification bands and
masked once dry.

4 Because this is an aircraft that was punished by nature, the

chipping on this subject was heavy. The first step was to paint
the upper surface with the base metal colour using Tamiya
Gloss Aluminium spray.

5 Over the previous coat, a layer of Heavy Chipping

Effects (A.MIG-2011) was applied.

10 / THE WEATHERING AIRCRAFT / WORN WARRIORS

 6 The lower surfaces were then airbrushed in RLM 65
Hellblau (A.MIG-0231). For the shadows, a few
7 drops of Marine Blue (A.MIG-0123) were added to
RLM 65.

8 9 10
As for the highlights, white was added to the
base colour and applied selectively using a
piece of paper as a mask. Random freehand
staining and discolouration was also applied
while always following the air flow.

11 For the top colour a mix of Pale Green (A.MIG-0060) and a touch
of Yellow (A.MIG-0048) was used to repeat the previous process.

12 The first shade of green was created by adding pale green and
yellow to RLM71 Dunkelgrün (A.MIG-0233).

THE WEATHERING AIRCRAFT / WORN WARRIORS / 11

 13 14

15 16

13 A piece of cardboard was used to mark of the ribbing which was

highlighted using Pale Green.

This tone was also applied to rear of the engines where the exhaust
14 15
pipe staining effects the paint.

This same colour was also used to create staining applied through
16
a stencil.

The sun-bleached effect was emphasized with Pale Green and a

17
few drops of Matt White.

18 19
So far, the first colour of the upper
camouflage has been applied.

12 / THE WEATHERING AIRCRAFT / WORN WARRIORS

 20 21

22
Before continuing, the paint was picked at and rubbed to create
20
chipping using an old brush dipped in water.

The areas of RLM 71 were masked off and another coat of

21 Heavy Chipping applied.

The base of the second colour applied was RLM 70

22 Schwartzgrün (A.MIG-0232).

The colour was lightened as with the previous shade by adding a

23
little RLM65 Hellblau (A.MIG-0231). This colour was also used
to apply subtle discolouration.

A few drops of white were then added and the resulting tone
24 used to apply the most extreme effects with the stencil.

This time the chipping was made by slightly wetting the paint
25
and gently scratching the surface with the tip of a Brass
Toothpick (A.MIG-8026).
23

24 25

The next step was to emphasize the panel lines of the entire lower area with colour PLW
26 27
Blue Gray (A.MIG-1613) including the control surfaces.

THE WEATHERING AIRCRAFT / WORN WARRIORS / 13

 28 29 Subtle build up of dirt was added using the
Oilbrusher colour Dust (A.MIG-3516) on
the rear of the landing gear bays and struts.

30 31 32

Returning to the top, the dynamic and fun to apply effect

30
of the exhaust stains were added next. The layered effect
began by airbrushing Warm Sand Yellow (A.MIG-0061)
mixed with a touch of Matt White (A.MIG-0050).

The next layer of the exhaust staining was applied using

31 Matt Black (A.MIG-0046) and a few drops of Transparator
(A.MIG-2017), applied without covering the previous layer
completely.

Around the black, NATO Brown (A.MIG-0085) was applied

33
32
to soften the contrast.

34
The effect was lightened slightly by using the Warm Sand
33 Yellow colour with a touch of white added and used to
illuminate the centre of select panels.

On the panel lines within the light green (RLM 71) areas, the
34
panel lines were emphasised using PLW colour Deep Gray
(A.MIG-1602).

14 / THE WEATHERING AIRCRAFT / WORN WARRIORS

 For the darker panels in RLM70, a mixture of Streaking Brusher colour
35
Streaking Dust (A.MIG-1258) and Oilbrusher colour Dust (A.MIG-3516)
provided the perfect contrast.

36
A realistic touch of mechanical fluids was applied using Oilbrusher colour
Starship Filth (A.MIG-3513) and Black (A.MIG-3500) on fuel caps and
maintenance covers.

37 38
In addition, the acrylic Shader colour Military Green (A.MIG-0865) was
lightly airbrushed on the wing root and some caps and hinges to emphasize
the oil stains.

39 40
The soot stains caused by firing the armament must be translucent, this effect
is easy to accurately apply with the Grime coloured Shader (A.MIG-0854).

36

37 38

39 40

The dust and dirt effect on the wing root

41
was applied using North Africa Dust
(A.MIG-1404), subtly contrasting Kursk
Soil (A.MIG-1400) and North Africa Dust
pigment (A.MIG-3003).

THE WEATHERING AIRCRAFT / WORN WARRIORS / 15

 42

43
44

45

ting from
In order to imitate the look of an aircraft opera
42 a lot of dust and dirt, the ename ls effects
runways with
Dust (A.MI G-140 4) and Kursk Soil
North Africa
0) were airbrushed on the rear of the fusela ge,
(A.MIG-140 46
towar ds the trailing edge of the wing.
insisting more

reworked
Afterwards, part of the effect was blended and
43 8) to create
using Enamel Odourless Thinner (A.MIG-201
engine fluid staining.

with acrylic
Engine oil stains and leaks were also depicted
44 Ochre Wash
Dark Brown Wash (A.MIG-0705) and
(A.MIG-0712) used to achieve sharp contra st.
45
G-0713)
Using the Acrylic Wash colour Dust Wash (A.MI
46 the effect of accumulations of dust and dirt was placed
reference shows tended
around the landing gear struts which
strips.
to accumulate when operating from primitive air

Fuel Stains
The final step was to add a layer of enamel
47 fresh stains produced by the 47
(A.MIG-1409) to simulate
st. The same produ ct works
48 fuel spit out with the exhau
stainin g on the propeller.
extremely well for applying

48

16 / THE WEATHERING AIRCRAFT / WORN WARRIORS

 t
lpha Je
60 - S u-25 - A
.2
m II - SF /Texan
k - Phanto Harvard
Jaguar
- F-16 - Mi 1 - M irage III - Skyhaw pitfire Mk.IX - T-6
G-29 - Tornado -
Typhoon - Viggen - Hornet - C-130 - Mirage F.1 - Harrier II - M
iG-3 Lancer - S
A400M A agle - B-1B
tlas - Su-35S
Flanker E - EA-6B Prowler 104 Starfighter - F-15E Strike E
- Transall - Su-22 Fitter - Agusta A109 - F-
F-4 U
Cor sair

The aircraft based in the Pacific theater uniquely suffered the wear and tear caused by the weather and
the harshness of combat. The abrasive sea salt, torrential rains, or the dust of improvised sandy tropical
island runways left their mark. The most revered of all was no exception, the silhouette of the Corsair
is undoubtedly the most well known WWII aircraft. Having been painted in various blues, these effects
stand out particularly well as the bare metal below exposed by chipping and wear creates uniquely
striking contrast.

18 / THE WEATHERING AIRCRAFT / WORN WARRIORS

 Tamiya 1:32

0DUHN1RYiþHN

THE WEATHERING AIRCRAFT / WORN WARRIORS / 19

 1 The model was ready to go, any assembly errors having
been corrected.

2 As usual, the painting process always

begins with the primer.

3 The authentic chipping begins by first applying the bare

aluminium layer exposed by chipping.

4 Select rivet and panel lines where airbrushed in Zinc

Chromate primer as it will show through the chipped
5
base colours.

6 The entire area was then covered with a few thin coats of Scratches Effects

7 After allowing a few minutes for the product to evaporate, the first colour of the
camouflage was airbrushed in thin layers on the upper surfaces.

20 / THE WEATHERING AIRCRAFT / WORN WARRIORS

 8 Painting the camouflage continued with the darkest
blue, imitating some spots which overlap the previously
applied colour.
9
The same application process was repeated on the
undersides.

10 The panels of the aircraft not made of metal were

masked and painted with a mixture of blue-grey
11
and white.

11

12/13 Note how the ribs have been masked with thin strips of
tape.

THE WEATHERING AIRCRAFT / WORN WARRIORS / 21

 14 The Shader colours Earth (A.MIG-0852) and Starship Filth (A.MIG-0855)
were used to randomly shade around the masking.

15/16 This fun and simple step highlights the internal structural
framework perfectly.

16

17 A very light blue was used to draw areas of 15

discolouration to match some of the rivet and
panel lines.

18/19 The authentic contrast was applied

using darker blues on other areas.

20 The next step was to paint the national emblems using masks,
which works well and creates exceptional results.

21 The first colour applied was white, once dry the star was
placed.

22 / THE WEATHERING AIRCRAFT / WORN WARRIORS

 22 The blue was applied and the masking removed
to reveal the superior results of masking.

23 The areas of the wing that are black

were masked and airbrushed using a
very dark grey.

24 25 26

24/25 These areas received an application of Anti-Slip (A.MIG-2034) applied with a flat brush 26 The result created is quite subtle, yet
to create completely authentic anti-slip texture. extremely realistic.

27 28

29 30

The surface where the aluminum color and the Zinc

27 28/29/30 The surface was gently scratched were the chipping should
Chromate primer was applied previously was wetted appear.
using tap water.

THE WEATHERING AIRCRAFT / WORN WARRIORS / 23

 31/32
To shade some lines of panels and rivets,
creating traces of dirt were created using the
Shader colour Starship Filth (A.MIG-0855).

33 The exact same steps were then repeated on the lower surfaces,
intensifying the dirt effect slightly within the belly of the fuselage.

34 By studying clear reference photographs, I noted some specific

35 panels and openings from which hydraulic fluids leaked out, leaving
some very specific and interesting stains that would make excellent
contrast. The effect was easily imitated with the Shader colours.

33
33

36 The next step was to imitate the dust that tended to accumulate in the areas where
the crew moved.

36 37 Some riveted areas were then highlighted with PLW Deep Grey (A.MIG-1602)
38 applied over the light grey and Dark Sea Blue (A.MIG-1603) over the blue.

37 38

24 / THE WEATHERING AIRCRAFT / WORN WARRIORS

 39 For the darker blue colour, a Dark Wash (A.MIG-1008) was cleverly
used to bring out the contrast on darker surfaces.

40 Once the wash was

41 dry, the excess was re-
moved with a cotton
swab.

42
The most extreme dirt ef-
fects were then created with
Oilbrusher colour Dark
Brown (A.MIG-3512) by
depositing a small amount
on the chosen areas.

43

43 Using a saw brush moistened with Enamel Odourless

Thinner (A.MIG-2019), the colour was feathered out in
44
the direction of airflow.

45 On the areas closest to the engine straight Black coloured

Oilbrusher was used.
46

45 46

THE WEATHERING AIRCRAFT / WORN WARRIORS / 25

 lower area of the engine casing. Although on this occasion, it
47/48/49 The Black can be used to imitate grease stains accumulated on the
was blended by stippling the surface with a flat brush.

50 Another area where you can work with the Oilbrusher are the
register covers, depositing small amounts in the place from which
you want to simulate the source of drainage.

51 The colour is then dragged in the direction of airflow using the

edge of a flat brush for a fine streaked effect.

52 53

52/53/54/55 Alternating the same Oilbrusher Black with Earth (A.MIG-3514), random spots were drawn in the places where the crew is
most busy.

54 55

26 / THE WEATHERING AIRCRAFT / WORN WARRIORS

56 With this specific aircraft, the effects are most intensely focused on 57 Next, the inner part of the flaps were treated to the pigment Airfield
the centre of the lower fuselage below the canopy and between Dust (A.MIG-3011) that easily and accurately representing the
the wing roots. dust raised by the wheel when rolling on the runways.

58 This dust effect was reinforced

by splashing PLW Pacific Dust
(A.MIG-1604) into the area.

59 The oil and fuel stains that are to

remain bright in the lower area, were
represented with Fresh Engine Oil
58 59 (A.MIG-1408) which retains a slight
wet look.

60 On the upper fuselage a lighter colour

enamel Fuel Stains (A.MIG-1409)
was used to create the same effect.

61 Within the areas closest to the

engine, splashed fluids were imitated
60 61 with Engine Grime (A.MIG-1407)
splashed about randomly using a
toothpick while confining the effect
62 63 to the correct area.

62 To draw the exhaust staining,

the versatile and always useful
63 Oilbrusher colours came in handy.
The effect simply began with a
reddish brown colour that was then
darkened with dark grey, and finally,
black.

THE WEATHERING AIRCRAFT / WORN WARRIORS / 27

 64 After an application of black primer had
64 65 dried, brush strokes in the direction of
the propellor’s rotation were added using
a very dark grey.

65 The highly useful Uschi stencil was used

to imitate dirt on each of the paddles,
using the same tone previously used for
the dusting.

66 Once the previous work had dried, the

tips were first painted with a coat of
67 white as a foundation for the airbrushed
yellow orange colour.

68 The hub of the propellor was accurately

airbrushed in Aluminium (A.MIG-2300)
from the A-Stand range.

69 To highlight the details, the recessed

details were emphasized with a Black
Wash (A.MIG-1011).

70 The Oilbrusher colour Aluminium

(A.MIG-3537) was again used, this time
to simulate the chipping on the leading
edges of each of the blades.

71 On the yellow area, the Oilbrusher col-

66 67 our Black (A.MIG-3500) was used.

68 69 70

22

23

71

28 / THE WEATHERING AIRCRAFT / WORN

WORN
BASESWARRIORS
WARRIORS
I think all Star Wars fans who grew up with the classic trilogy will agree that Mandalorian is the series that has hooked even
the harshest critics the most of this new batch of Disney products. The unnecessary appearance of The Book of Boba Fett,
where the episode that most excited the fandom was precisely the one that linked us with the Mandalorian, made it clear
that not everything goes in favour of the most demanding fans. Fortunately, it seems that Andor has reawakened hope
in new and engaging aspects of the saga. I can’t wait for someone to bring Luthen’s ship to the market. Impressive, most
impressive!

Alex Hernández

The model at hand is far from the quality

exterior finishes modellers are used to. At first
glance you can see that the injection mold of the
fuselage and engines is not properly polished, creating
an unpleasant rough orange peel and injection marks
everywhere. These problems for a model with a metallic
finish is the worst thing that could happen, making it necessary
to tackle the tasks of sanding, polishing and reworking the panel
lines to reduce the roughness of the mold. Despite the extra work
required, with some patience and attention to detail, the result can be
very convincing, particularly when lit up with LEDs. This is the Way!!!!

30 / THE WEATHERING AIRCRAFT / WORN WARRIORS

 Revell 1:72

THE WEATHERING AIRCRAFT / WORN WARRIORS / 31

 1/2
This model began with painting all of the
interior with the airbrush, brush, enamel
washes and pigments, leaving painting
and weathering complete. In this
case, I took the opportunity to
illuminate the cargo bay and
cockpit with LED s as well.

3
Once the fuselage was closed and the transparent pieces
masked, the model was generally polished with
a Sanding Sponge Sheet Grain 280
(A.MIG-8558) to reduce the
surface roughness from the
mold. Then, a couple of thin
coats of primer were added
using Gloss Black Base Primer
(A.MIG-2351) to prepare for a
bare metal finish.

4
The base color chosen for the fuselage is Airframe Aluminium
(A.MIG-2318). The colour was applied in thin layers taking
advantage of the black background colour to play
with some transparencies between the black
and bare metal.

5 After allowing the model to dry several hours, a coat of gloss was
applied with Aqua Gloss (A.MIG-2503) before masking select panels
to apply various metallic tones and add contrast the overall finish with
Magnesium (A.MIG-2310) and Duraluminium (A.MIG-2301).

6
For the rear diffusers with a darker finish, the colour Steel (A.MIG-2311)
was used.

32 / THE WEATHERING AIRCRAFT / WORN WARRIORS

 7
Here you can see the overall
result with the masking
removed.

8 9

8 The model includes a decal for the yellow markings on the fuselage,
however applying the colour by hand creates a much better
result. Masking tape was used to isolate areas before Ultra
Liquid Mask (A.MIG-2032) was stippled using an old brush
with open hairs.

9 With reference photos of the real model studied and with

the pattern more or less achieved, a mixture of Gold
Yellow RLM 04 (A.MIG-0125) was applied with a few
drops of Earth Brown (A.MIG-0064) added to lower
the intensity.

10 To remove the Ultra Liquid Mask, I simply used a finger

with a latex or vinyl glove to rub the surface.

11 I decide to differentiate the engine areas with various metallic 12 The metallic colours were sealed in a coat of Aqua Gloss to
tones. After priming in gloss black, Airframe Aluminium was protect the effects and prepares the surface for the wash mixture
applied. of Starship Wash (A.MIG-1009) and Dark Wash (A.MIG-1008)
used for contrast.

THE WEATHERING AIRCRAFT / WORN WARRIORS / 33

 13 / 14 After 15 minutes, I proceeded to remove the excess with a cotton swab.

15 16 17

18 19 20

15 For the inner parts of the air intake and exhaust, darker effects were
applied using the colour Jet Exhaust (A.MIG-2312).
16 Washes were applied to both parts, this time using a mix-
ture of Starship Wash (A.MIG-1009) and PLW Black Night
(A.MIG-1611).
17 After a few minutes the excess was removed with a cotton swab.
18 The rear exhaust petals of the engine nozzles received a thin
layer of Pale Burnt Metal (A.MIG-2303) which was then pol-
ished lightly with a cotton swab using Polished Metal pigment
(A.MIG-3021).
19 After varnishing the whole piece with Aqua Gloss, a general wash
was applied to the most sunken and recessed parts with a mixture
of Starship Wash (A.MIG-1009) and Dark Wash (A.MIG-1008).

20 The excess was removed after a few minutes using a cotton swab.

21
With the interior parts of the
engines already finished, I
proceeded to the assembly and
masking of the exposed parts.
Then a couple of thin coats of
Black Primer & Microfiller
(A.MIG-2355) was applied.

34 / THE WEATHERING AIRCRAFT / WORN WARRIORS

 22 For the surfaces of the engines, I choose Stainless Steel (A.MIG-2314). A more satin and cooler
tone than the fuselage will bring striking contrast and interesting variation to the final set.

23 24

23 Again the metallic colour was allowed to dry, a new

coat of Aqua Gloss varnish was applied, followed
by a wash to define details and panel lines. This time,
only Starship Wash was used.

24 Once the excess of the wash was removed, light and

subtle shading was added with a mixture of highly
diluted black and brown thinned by almost 90%.
With paint this thin, the airbrush was used at very
low pressure and from a short distance.

25 In this photo you can see the difference between

an engine without weathering effects and the other
with the two processes of washes and airbrushing
added. There was already solid foundation on which
to continue adding layers of effects.

26 27 28

26 Oilbrusher colour Black (A.MIG-3500) and Starship Bay Sludge

(A.MIG-3532) were applied with a fine brush to control the amount
of product. Both colors were then lightly dragged until they blend
together in the direction of the air flow.

Using a flat brush clean and moistened in Enamel Odourless

27 Thinner (A.MIG-2019), the streaking effect was subtly blended
using soft brush strokes to refine the very end of the streaked effect.

Using the acrylic colour Crystal Light Blue (A.MIG-0098) highly

28 diluted in Cleaner (A.MIG-2001) and several drops of Transparator
(A.MIG-2017), filters were selectively airbrushed onto areas, specific
panels, and nozzles to create authentic effects and contrast.

29 Here you can see the stunning result of the engines with all the
easily applied effects in place.

THE WEATHERING AIRCRAFT / WORN WARRIORS / 35

 30
To start with the wear on the fuselage, a wash for all
panel lines, details, and recessed details was applied
with Starship Wash.

31
Once the excess was removed and the panel lines difined,
a highly diluted mixture of an earth brown with some black
was airbrushed in areas where greater amounts of dirt would
accumulate. You can also apply some vertical and horizontal
strokes to enhance the resulting runoff effects.

32 33
34 35

32 A very subtle effect that will provide chromatic richness to the layers
of wear is to use a toothpick to project splashes of PLW Black Night
(A.MIG-1611) over the surface.
33 The sp[lashes were allowed to sit for a few minutes before using a
dry and clean brush to blend some of the drops of PLW.
34 Select side panels were chosen for adding contrast and highlights.
Small amounts of Oilbrusher Buff (A.MIG-3517) and Streaking
Brusher Cold Dirty Gray (A.MIG-1251) were applied in areas
parallel to the panel lines.
35 With a soft and dry brush the effect was blended with circular
movements by working from the edge of the panel towards the
interior of the panel.

36 / THE WEATHERING AIRCRAFT / WORN WARRIORS

 36 37

36 With the excess, small accumulations of Oilbrusher Starship

Bay Sludge (A.MIG-3532) and Earth (A.MIG-3514) were
38
added.

37 With a soft and dry brush the effect was blended and blurred
with circular movements, leaving most of the product in the
lower area near the bottom of the access hatch.

38 With the Streaking Brusher colours Starship Grime

(A.MIG-1259), Grime (A.MIG-1253) and Cold Dirty Grey
(A.MIG-1251) streaking effects were imitated in different areas
and blended with a soft dry brush using vertical and horizontal
movements.

39 40 41

39 In order to show more light reflected on the upper panels, lighter
colors must be used to imitate the highly reflective metal. This effect
was highly controlled by masking some panels and deposited small
amounts of Oilbrusher Light Flesh (A.MIG-3519) and Dusty
Earth (A.MIG-3523).
40 As with previous steps, the product was blended without complete-
ly covering the panel, creating the effect of degrading light.
41
42 Work continued with a variety of different dirt accumulation ef-
fects. The Oilbrusher colour Starship Sludge Bay in several areas
43 and worked into the surface as shown above.

42 43

THE WEATHERING AIRCRAFT / WORN WARRIORS / 37

 44 45

46 47
44 In the front area closest to the engines the color was varied
48
45 to depict darker accumulations of oil and fluids. For this, a
mixture of Oilbrushers Black (A.MIG-3500), Starship Bay
Sludge (A.MIG-3532) and Starship Filth (A.MIG-3513)
were used and the process repeated.

46 To highlight some elements on the engines and fuselage

in relief Silver metallic acrylic paint (A.MIG-0195) was
drybrushed onto the details.

47 With the help of a round cotton swab, Gun Metal pigment

(A.MIG-3009) was applied on several edges of the engines
48 and the rear panel. This method was easy and highly effective
in creating a convincingly realistic polished metal effect.

38 / THE WEATHERING AIRCRAFT / WORN WARRIORS

THE WEATHERING AIRCRAFT / WORN WARRIORS / 39
 M esserschmitt
B f 10 9G-6
Zvezda 1:48

The G-6 version of the Bf 109 was the most numerously produced as
it is estimated that at least 12,000 units were delivered. All variants
rolled off the assembly lines between the beginning of 1943 and the end
of 1944. This new Gustav model was originally designed to solve the problems encountered with
the previous versions, particularly the outclassed armament. The markings chosen corresponds to
an aircraft found by American troops at the Henschel Flugmotorenwerke in Attenbaum, near Kassel
(Germany) in 1945. It is an original specimen as it was composed of parts from other aircraft, such as the right wing or the
engine cowling, which gave it a very interesting and uniquely coloured patchwork appearance.

40 / THE WEATHERING AIRCRAFT / WORN WARRIORS

Philippe Roger

THE WEATHERING AIRCRAFT / WORN WARRIORS / 41

1/2 The aircraft was first assembled and rivets enhanced as this will
help a great deal in the later painting process.

3 As the left wing will have a different paint job, two different
camouflage schemes had to be worked at the same time. I began with
the lower part of the fuselage and the right wing, painted with RLM
76 Pale Grey (A.MIG-0063); while the other will be in aluminium.

4 To differentiate the metallic parts from the fabric-covered surfaces, the latter receive a glaze
of the base color to which a drop of blue was added.

5 To shade the framework of

the rudders, a mask was
prepared with the
plotter and darkened
by adding a drop of
matte black to the
base.

42 / THE WEATHERING AIRCRAFT / WORN WARRIORS

6 The crosses were placed on the wings and protect with Aqua Gloss
(A.MIG-2503). After letting it dry for 24 hours, washes were applied on
the panel lines using PLW Deep Grey (A.MIG-1602) on the RLM76,
PLW Blue Black (A.MIG-1617) on the aluminium and PLW Black
Night (A.MIG-1611) for the separation of the moving control surfaces.
7 The base colour was lightened slightly by adding white to the base,
while making dirt spots by darkening the RLM76 with black. These
effects were concentrated on the central part of the fuselage.

8 To simulate the dusting around the undercarriage, Europe Earth 9 The undercarriage wells receive the same treatment with a mixture
pigment (A.MIG-3004), was applied to the surface and dragged of Europe Earth (A.MIG-3004) and Airfield Dust (A.MIG-3011)
in the direction of the air flow. pigments. Once the effects were correct, the pigments were fixed
with Enamel Odourless Thinner (A.MIG-2019).

10 Small oil stains were drawn with Fresh Engine Oil (A.MIG-1408) and
dragged from front to back with a brush dipped in thinner.

11 To intensify some traces of dirt on the panels, specifically the central part
and the tail wheel, enamel effect Earth (A.MIG-1403) was applied and
subtly blended.

THE WEATHERING AIRCRAFT / WORN WARRIORS / 43

12 Over a coat of Dark Aluminium, Heavy Chipping Effects 13 After applying the base colours, the area was rubbed with a brush
(A.MIG-2011) were applied. dipped in hot water. If you want more controlled chipping and
fine scratches, a toothpick can be used.

14 The colours used for the camouflage were RLM81 (A.MIG-0206) and RLM83 (A.MIG-0925), while the right wing
was painted with RLM74 (H68) and RLM75 (H69). In the latter case masking was used to achieve a hard edge.

15 The rudder ribs were shaded with a dark transpar-

ent colour.

16 Different PLW colours were used to emphasise the air-

crafts panel lines using Green Brown (A.MIG-1612)
for RLM81, Deep Brown (A.MIG-1618) for RLM83,
Deep Grey (A.MIG-1602) for RLM75 and Blue Dirt
(A.MIG-1619) for RLM74.

17 The separation of the moving parts was accentuated with PLW Black Night (A.MIG-1611) and the rivet
lines were then reworked with Ochre for Sand Camo (A.MIG-1622).

18 The different colours that make up the camouflage were highlighted by adding a few drops of white to
each of them.

18
17

16

44 / THE WEATHERING AIRCRAFT / WORN WARRIORS

 19 20

21 22

21 On the fuselage sides, the colour Naples Yellow oil was blended
19 Natural chromatic variation was added to the left wing with
with the same thinner.
small amounts of Oilbrusher Dark Brown (A.MIG-3512), Earth
(A.MIG-3514) and Ochre (A.MIG-3515). The wing recesses received earth staining from the crew’s feet with
22
Europe Earth (A.MIG-3004) and Airfield Dust (A.MIG-3011)
20 The colours were then blended with a brush dipped in Enamel
pigments, randomly deposited.
Odourless Thinner by dragging them in the direction of air flow.

24

23

23 Exhaust staining was painted using a highly diluted black, to

which a drop of sand colour was added.

24 The undercarriage was then painted in RLM76 for the outer

face of the covers and RLM02 for the inner face and legs. The
underside was coated with Airfield Dust (A.MIG-3011) and
Farm Dark Earth pigments (A.MIG-3027) replicating earth
kicked up from the ground.

25 For the wheels, they receive a wash with Splashes Dry Earth
(A.MIG-1750) heavily diluted in Enamel Odourless Thinner.
The most superficial dust was then imitated with Airfield Dust
pigment.

THE WEATHERING AIRCRAFT / WORN WARRIORS / 45

A-6 E
TRAM INTRUDER

46 / THE WEATHERING AIRCRAFT / WORN WARRIORS

 Kinetic 1/48

Ricardo Batista

The Grumman A-6 Intruder was an aircraft in service of the United States Navy between 1963 and 1997. It underwent
multiple transformations throughout its operational history, starting from the initial A version to be rebuilt and refitted
numerous times. The version built in this article, the A6-E TRAM registered 159901, entered service in the US Navy to be
transferred a few years later to the Marine Corps. It was repainted with low visibility camouflage and returned to the US
Navy where it served until it ended up as a museum piece in California at the Naval Air Facility. That’s why when looking at
real photographs, everything from aircraft full of paint patches and dirt to completely spotless examples can be found. If
there are aircraft that suffer extreme weathering, it is those serving aboard aircraft carriers such as the Intruder. The aircraft
are subjected to inclement weather, combat operations and the harshness of humidity and corrosion at sea. It is quite a
challenge to try to represent all this on the same aircraft.

THE WEATHERING AIRCRAFT / WORN WARRIORS / 47

 1 Several thin coats of One Shot Primer Grey (A.MIG-2024)
were applied in layers until it covers without flooding the
surface.

2/3
After pre-shading with black and white, some shades of
blues and browns were also added, emphasising areas of
dirt accumulation.

4
In the lower part of the aircraft, I used a base
colour of Satin White (A.MIG-0047) diluted
with Transparator (A.MIG-2016). The colour
was airbrished little by little in soft passes without
covering the pre-shading work.

5 The upper surfaces were treated the same way

with the color Light Compass Ghost Grey By adding a little bit of Satin White to the
(A.MIG-0203), also diluted with Transparator. mixture, I was able to lighten some panels
6
to create highlights within the white.

48 / THE WEATHERING AIRCRAFT / WORN WARRIORS

7 To accentuate the shadows as well as to mark panel
lines and rivets, the Shader colour Light Grey
(A.MIG-0856) was used on the lower surfaces.

8 The Shader colours Light Clay (A.MIG-0869), Yellow

(A.MIG-0867) and Starship Filth (A.MIG-0855) on
the wings and areas with more accumulation of dirt.

9/10
With the help of a metal stencil the first mottling
effects were applied.

11 The same process was repeated on the upper surfaces using

the Shader colours Light Grey (A.MIG-0856), Navy Grey
(A.MIG-0857) and Night Blue (A.MIG-0862) for contrast.

12 The last details were painted and the decals placed with the
help of the Ultra Decal Set (A.MIG-2029) and Ultra Decal Fix
(A.MIG-2030).

THE WEATHERING AIRCRAFT / WORN WARRIORS / 49

 13/14
To begin the weathering process, a couple of thin coats of Aqua
Gloss Clear (A.MIG-8212) were applied to the entire aircraft.

15 With PLW Medium Grey (A.MIG-1601) and a brush, the panel

lines on the lower part of the plane were emphasised with
contrast insisting on registers and rivets.

16 The wash was allowed to dry before removing the excess with a
cotton swab slightly moistened in Enamel Odourless Thinner
(A.MIG-2019), always moving in the direction of air flow.

15 16

15 To add more interest and depth, the PLW Black Night

(A.MIG-1611) was applied on the moving parts, Deep Grey
(A.MIG-1602) on the armament supports, and
Deep Brown (A.MIG-1618) on the fairing
area.

50 / THE WEATHERING AIRCRAFT / WORN WARRIORS

 16 In the upper part of the Intruder was
treated to the same techniques, but I
used PLW Blue Grey (A.MIG-1613)
and Light Grey (A.MIG-1600) for the
anti-skid and cockade areas.

17 18

19 20

17 Several different mixtures were made with Oilbrusher White (A.MIG-3501), 19 Dark tones were used to create the first effects of dragged dirt origi-
Dark Blue (A.MIG-3505), Yellow Bone (A.MIG-3521) and Medium Grey nating from the slats.
(A.MIG-3509) and used to simulate and emphasize the structure.
20 To differentiate panels on the fuselage, I use the Dark Grey for
18 Once slightly dry, a number 2 brush was used to blend the effect in the White filter (A.MIG-1502).
direction of the line. If it is too much, it can be blended further using a
make-up sponge.

THE WEATHERING AIRCRAFT / WORN WARRIORS / 51

 21 To create chromatic richness on the nose of the plane and 22 With the Synthetic Saw Brush 8 (A.MIG-8585) dipped in Enamel
discoloration effects, small amounts of Oilbrusher in white, Odourless Thinner (A.MIG-2019) the effect was blended from
yellow, ochre, brown and black tones were applied. top to bottom in vertical stripes.

23 24

25 26

23/24
On the lower part of the control surfaces, small amounts of darker
Oilbrusher were applied and blended with the brush moistened
in thinner.

25/26
Once dry, light mottling was added with PLW Medium Grey
(A.MIG-1601) and the help of a fine brush which was
used to blend the effect.

27
In this image you can appreciate the difference
between both horizontal stabilizers.

52 / THE WEATHERING AIRCRAFT / WORN WARRIORS

 28 29 30

31 28 Work continued using different Oilbrusher colours on different panels

29 and blending them with a wide brush of soft hair.

30 Highlighting was carefully added using Oilbrusher White (A.MIG-3501)

31 and Yellow Bone (A.MIG-3521), while shading was added with Dark
Blue (A.MIG-3504) and Starship Filth (A.MIG-3513).

32 In this photo you can appreciate the difference between the weathered
panels and those remaining in the base coat.

33 Work on the non-slip areas and create dirt effects

began by wetting the surface with Enamel Odourless
Thinner.

34 I distributed small cloud patterns of various PLW shades:

for traffic areas Medium Grey (A.MIG-1601) and
Light Grey (A.MIG-1600), for intermediate shades
Deep Grey (A.MIG-1602) was used, and for grease
and dirt stains Black Night (A.MIG-1613) and Orange
Brown (A.MIG-1616).

35 The shades were blended with circular movements

using a soft round brush.
36

33 34
35 36

THE WEATHERING AIRCRAFT / WORN WARRIORS / 53

 37 As the thinner dries, intensity was added
to the effect by pressing, little by little,
38
with a make-up sponge.

39 The damages sustained by the paintwork of the

airplanes could be repaired, sometimes with a 40 After applying it on the sides of select
panels, it was allowed to dry for 15
different color than the rest of the fuselage.
minutes and blending with a dry and
To imitate this common effect, a mixture of
soft brush.
Oilbrusher Dark Blue (A.MIG-3504) and
Medium Grey (A.MIG-3509) was prepared.

41

41 Here you can see the results of the simple yet

42 effective process of added repairs and touch
ups to the camouflage base colour.

54 / THE WEATHERING AIRCRAFT / WORN WARRIORS

 43 44

45 46

43 A characteristic effect seen on many Intruders was the dirt dragged

47
in through central area of the engines. To represent this detail,
small amounts of Oilbrusher Black (A.MIG-3500), Starship Filth
(A.MIG-3513), Medium Grey (A.MIG-3509) and Summer Soil
(A.MIG-3534) were applied.

44 The oils were allowed to dry for a few minutes before blending in the
direction of the air flow using a dry brush.

45 To accentuate the effect of dripping fuel, a saw brush was wetted

with Enamel Odourless Thinner and small amounts of the product
removed with using movements parallel to the fuselage axis.

48
46 The effects were allowed to dry for 24 hours before simulating the
most visible and most recent staining with brown and orange
Oilbrusher colours.

47 The same methods and colours were used for the lower surfaces of
the Intruder.

48 At this stage the work completed so far was protected with a coat of
acrylic varnish Aqua Gloss (A.MIG-2503).

49 The next step was to apply streaked dirt with the

Streaking Brusher, starting by drawing brush
strokes with Warm Dirty Grey (A.MIG-1257) in
specific areas.

THE WEATHERING AIRCRAFT / WORN WARRIORS / 55

 50 51
52
50 After 15 minutes, the lines were dragged and blended with a
cotton swab rubbing in the direction of air flow.

51 Select streaks were refined with a brush moistened in thinner.

52 The effect can be blended once it has dried using a completely

clean and dry brush.

53/54
In areas more prone to accumulating dirt, the effect was intensified with watercolor
pencils, drawing the stain and shaping it with a brush dipped in water.

55
View of the airplane with the draining and streaking process finished in the lower
surfaces.

53

54

56 / THE WEATHERING AIRCRAFT / WORN WARRIORS

 56 Another way to make this type of staining is
by using the PLW Blue Grey (A.MIG-1613)
and Blue Black (A.MIG-1617). The
streaking was drawn and after 15 minutes,
the effects was blended with a brush
moistened with thinner.

57 The flaps were weathered in the same way

as the lower surfaces. You have to try to find
the balance when it comes to dirtying up an
aircraft and it is best to see real images to
create a realistic representation.
56 57

58 The wing folding system is one of the

areas where the most dirt accumulated. To
simulate this effect Streaking Grime for
Us Modern Vehicles (A.MIG-1207) and
Warm Dirty Grey (A.MIG-1257) were first
applied.

59 Before the product dried, a brush dipped in

Enamel Odourless Thinner (A.MIG-2019)
was used to blend the colours together.
Once dry, the contours were blended with
58 59 a brush.

60 Another noteworthy effect would be

the salt water effects and dirt caused by
the maintenance personnel. This time
small amounts of Oilbrusher White
(A.MIG-3501) and Starship Filth
(A.MIG-3513) were used.

61 The effect was blended dry and the excess

removed with a brush moistened with
60 61 thinner. The effect was blended again with
a clean soft brush.

62 On the sides of the fuselage, vertical

streaking from the salty air was imitated with
Streaking Dust (A.MIG-1258) and Yellow
Bone (A.MIG-3521). For the darker tones
Starship Filth (A.MIG-3513) and Black
(A.MIG-3500) were used.

63 First the effect was dry blended and then the

lines refined again with a brush moistened
62 63 with thinner.

THE
THEWEATHERING AIRCRAFT // WORN WARRIORS / 57
WEATHERINGAIRCRAFT
 64/65
The work done so far was protected with a thin layer of
acrylic varnish Aqua Gloss Clear (A.MIG-8212).

66 67 68

66 With aircraft serving a cruise on an aircraft car-

rier, the lower parts are usually dirty due to the
humidity of the deck. To imitate this, splashes
were made with a brush loaded with PLW Me-
dium Grey (A.MIG-1601) and a toothpick.

67 Next, the same technique was repeated

using the Oilbrusher colour White
(A.MIG-3501) thinned well with Enamel
69
Odourless Thinner.

68 After 30 minutes, the mottling and blend-

ing began using circular movements with
a clean, soft brush.

69 The entire model was sealed with a cou-

ple of thin coats of Klear Kote Satin var-
nish (A.MIG-2501).

58 / THE WEATHERING AIRCRAFT / WORN WARRIORS

THE WEATHERING AIRCRAFT / WORN WARRIORS / 59
 Introducing the next generation of scale instru-
Achieve spectacular effects All components are presented
ment panels in 3D acrylic resin, correctly col-
in just a few minutes us- in high-definition resin and
oured details with accurate textures and ing the full colour 3D acrylic accurately coloured using a
realistic glass faced gauges to completely resin panels for your aircraft. unique technology and process.
replicate cockpits. Add a truly realistic
appearance in just a few minutes with
embossed buttons and dials, digi-
tal displays, and complex fine Everyone thought that Tamiya’s outstanding model kit with its incredible detail,
details ready to be placed i n not be improved upon, but we were wrong. Red Fox has developed this
could
your model. incredible set to take the Corsair’s excellent cockpit to the next level of detail.

1
This Red Fox reference is
the easiest way to faithfully
2 detail the cockpit of a 1/32
scale F4U-1A.
The instructions are highly
intuitive, with each piece
3 In this picture you can differentiated by colours to
appreciate the ex- avoid possible confusion.
tremely high level of
detail.
3

As you can see it is not a mere coloured piece of plastic,

4
we are talking about a panel with real 3D details.

Allen Vallejo
4

5 The first step was to separate all the plastic pieces where the Red Fox upgrades will be glued.
5
6 Remove all the relief indicated in the instructions using a sharp blade.

7 With a piece of sandpaper, the surface where the Red Fox pieces will be placed were sanded smooth.

6 7

8 The painting phase of the cockpit follows. To

do so, double-sided tape was placed where
the Red Fox details will be placed. The colour
Zinc Chromate Interior Green (A.MIG-0220)
was airbrushed on in thin layers.

60 / THE WEATHERING AIRCRAFT / WORN WARRIORS

Each panel detaches easily from the The panels can be aged with any of
support and is ready to be glued with AMMO’s enamel or acrylic products for
Colle 21 Ultra Glue or Slow Dry Cy- a more realistic used appearance.
anoacrylate.

9 With the same colour dark-

ened with a drop of Matt Black
(A.MIG-0046), shading was
added around the ribs and re-
liefs of the cockpit.

9 10

10 To highlight the reliefs and edges, the dry brush

technique was applied using the Dio-Dry Brush
colour Medium Green (A.MIG-0606) applied
with the Dry Brush Technical Brush number 2
(A.MIG-8700).

11 12 13

11 Some of the cockpit panels were isolated 12 A small amount of Ultra Glue (A.MIG-2031) 13 The fit of the Red Fox piece is perfect as it is
with masking tape and airbrushed Matt was applied with a brush. This glue allows designed specifically for this model.
Black (A.MIG-0046). for the detail to be placed and the piece
adjusted before it dries.

14 To integrate the set into the cockpit simply

14 15 varnish with Aqua Gloss Clear (A.MIG-2503)
from A-Stand and allow to dry before
applying a small amount of PLW Stone Grey
for Black (A.MIG-1615) as a wash.

15 Once dry, simply remove the excess with

a brush dampened in Enamel Odourless
Thinner (A.MIG-2019).

THE WEATHERING AIRCRAFT / WORN WARRIORS / 61

IN THE NEXT ISSUE...
By Javier López de Anca

MESSERSCHMITT BF 109
You have been asking for this issue and it is time for the Bf 109 to kill in The Weathering Aircraft. If there is a mythical aircraft in
combat aviation, it is the Messerschmitt Bf 109. In our next issue of TWA we will work with the best known versions of this lethal
and iconic aircraft. With each example, you will be walked through the painting process from the base coat to the many different
types of weathering finishes. Your favourite modellers are here to inspire and ensure that you get the most out of this
lethal little fighter!

62 / THE WEATHERING AIRCRAFT / WORN WARRIORS