Escolar Documentos
Profissional Documentos
Cultura Documentos
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0 .171!
Verlinden Publications
- VERLINDEN PUBLICATIONS
COPYRIGHT © 1999 By
Verlinden Productions, Inc.
811 Lone Star Drive
O'Fallon. MO 63366
USA
A
lthough considered to be obsolete during the day, the Messerschmitt Bf 11 0 proved to be a lethal predator by night. Guided
to its airborne prey by the newly developed FuG 220 SN-2d radar equipment, this nightfighter would sneakup on its target
in the darkness with the aid of flame dampers concealing the hot exhaust spitting from its two powerful 12-cylinder DB 603
inline engines. When in range, the pilot would announce his presence by opening up with his choice of twin 30mm Mk 1 08 can
nons or 20mm MG151, or he would play a nasty trick by maneuvering underneath his victim and raking its belly with the upward
firing MG-FF 20mm "Schrage Muzik" cannons mounted in the rear of the radar operator's station. The British night bomber crews
who flew missions into Germany were understandably terrified of such attacks, as hundreds of kills were scored against them by the
nightfighters before the end of the war.
3
This photo clearly shows the necessary modifications to
the kit wings needed to accept the VP update parts.
4
Nose gun bay and port engine parts from VP #1252 Multiple canopy parts shown after careful masking with
enhanced with fine solder wiring for added realism. Bare Metal Foil.
5
This view of the bottom clearly
shows the difference between a
weathered section (right) and an
unweathered section.
Now the wings and tailplane were attached, and the nose-can
non tray was installed. Next we had to mask the canopy, which
.. was done using Bare Metal Foil, and then tacked it onto the air
frame using white glue, which was also used for the cannon
cover and engine cover. The landing light was painted silver and
6
In this view it is easy to see the angle at which the two
rudders were positioned. Although not visible in this
photo, the tailwheel was positioned to match that of the
rudders.
Before painting , the whole model was lightly rubbed down with
a piece of worn Scotch-brite to help the paint "grab" the plastic.
The first color to be airbrushed was the cockpit color, RLM 66
"Schwarzgrau," which was sprayed onto the canopy section.
Then RLM 04 "Gelb" was applied around the rear fuselage. After
the Yellow cured overnight, it was masked off with low-tack
masking tape where the fuselage band is located, and the entire
model was given a coat of RLM 7 6 "Lichtblau," as were the land
ing gear doors and drop-tanks. Next, the upper fuselage and rud
ders were airbrushed with RLM 74 "Graugrun" and RLM 75
"Grauviolet" in a wave mirror pattern. The propellers and spin
ners were airbrushed with RLM 70 "Schwarzgrun." All of this
was allowed to cure overnight, and after removing the mask from
the fuselage band, the decals were applied. The markings were
from Aeromaster, and the stencilling was from the Pro Modeller
decal sheet. After 24 hours, a clear matt varnish was airbrushed
over everything and allowed to harden for 48 hours.
7
The model was weathered using an oil
wash of various mixtures of Raw Umber,
Black, and Burnt Sienna. After the wash
hardened overnight, the airframe was
metalized by lightly "chipping" the paint
with darkened silver printers ink and a
very fine point brush. Then the wheel
wells and landing gear were carefully
brushed with RLM 02 "Grau" and allowed
to cure before applying a dark wash mix
ture of Raw Umber and Black. After all
weathering was completed, the masking
was removed from the canopies and
lights, and all of the various airframe
details were painted and attached to the
model, with the radar antennae being the
last, because they are so fragile and prone
to breakage during handling.
8
Finished model ready for the diora
ma. See how the weathering perfect
ly blends into the paint and decals.
9
Some of the diorama accessories. The items are all from
VP, except the Pro Modeler bomb jack and utility cart,
and the scrathbuilt ladder, which was made from styrene
strip and Grandt Line nuts and bolts.
10
One clever trick when making the
groundwork is to press accessories
into the soft ground work in numer
ous places. After the base is fin
ished, the modeler has more options
when deciding placement of items,
and can even use other aircraft.
Don't worry about leaving empty
impressions in the ground. It just
looks like something heavy has been
moved from that spot. Just lay a few
bricks out in your back yard for a
few days and then remove them to
get the idea.
11
A close-up of the crated engine and empty boxes from
an earlier maintenance operation. Note the tools scat
tered on the lid of the large crate.
12
Coral Sea Turn-Around, May 8, 1942
By Noel Lawson
J
u st build i ng the Matchbox 1:32 SBD-5 Dauntless straight from the box can cause a great deal of frustration and hards h i p for even the most experi
enced modelers, but Noel Lawson took it several steps further by converting it to the SBD-3. The basic outline of the kit is very good, but all inter
nal and external detail ing is grossly innaccurate. In order to bring about an accurate conversion, as well as to correct all of the inaccuracies, Noel uti
lized various aftermarket parts, and of course a great deal of good old fa shioned scratchbuilding. Virtually everyt hing in this kit was e ither discarded or
rebuilt, leaving just the basic empty shell of the a i r frame as a basis for this project All of the raised panel l ines were sanded away and carefully res cribed
. - .
13
Starting with the cockpit, everything was stripped
from the kit, with the exception of the rollover
bar and the instrument panel. The instruments
were drilled out of the instrument panel and
replaced wit h Waldron insrtuments, followed by a
coat of Future floor wax.
14
The 500-lb. bomb came from True Details, with
the addition of the fuse wire, while the centerline
rack was scratchbuilt from thin aluminum tubing.
The tail-wheel was scra tchbui lt while the hubs
,
15
DOWNED FORTRESS
N
o one who has ever built Monogram's 1 :48 B-17G can forget the insert on building dioramas by reknowned modeler Shep
Paine, included with the Kit. Upon opening the box for this project, we found a fresh copy of that same insert. It was like a
step back in time. The model was first produced back in the early '70s, and it shows. The (yuck) raised panellines, poor fit of
parts; it's not a very sought-after kit these days. But if you want to build a big 1 :48 B-17G, then this is what you have to work with.
The handsome insert will quickly inspire you to take on this old kit once again. When you consider that the insert was originally
p ri nted in 1975, you can only be amazed at the skills and creativity that Shep Paine wielded in those primordial days of modelling
in order to crank-out that beautiful diorama , which can sti ll hold its own even in today's high-qua l ity market.
16
Back to basics! After the pleasureful experience of thumbing through the insert, you get the sickening premonition of cleaning-up
a lot of flash , filling yawning gaps, scouring through reference materials, etc., and for good reason! This model requires more work
than we are accustomed to these days. It is a rough kit to build , but it is a rewarding experience nonetheless. After all, we are mod
elers , aren't we? Maybe we all need to go back every once in a while and turn an oldie into a goodie.
After decidi ng to emulate Shep with another crashed B-17 diorama, the first thing to do was to tape the fuselage and wings togeth
er, and decide how we wanted to crash this baby. Armed with a 30mm Mk108 magic marker, we swooped in and fired a long burst
across the starboard wing and set off an explosion in the No.3 engine. We didn't release the firing button until we had cleared the
forward crew cabin area, shattering glass and equipment in the process. The resulting engine fire would have likely burned off the
fabric from the rear horizontal stabilizer directly behind the engine, so we carefully traced around this area . We wanted to show
some major damage here, so to increase the drama, we decided to tear off the outer main wing assembly and marked it off as well.
This helped to breakdown the mammoth size of the airplane. This was quite a lot of damage for an airplane to sustain, and it was
all in one local area. To bring a little variety into the mix, as well as to balance the battle-damage, we splashed the rudder with a
flakburst. This, we decided, should be enough. After all , we did still plan to have something left to build!
All of the internal subassemblies installed prior to painting. Unfortunately, most of the detailing is invisible after
the model is completed.
17
After drawing out the rough areas of battle damage, we ground
away the plastic from the inside with a Dremel tool until the plas
tic was paper thin. It is important to work slowly and carefully,
so as not to melt the plastic, or cut away areas that will be need
ed. O nce we had it the way we wanted it, a sharp scalpel blade
was carefully used to slice out the holes It is very important to
.
Metal foil, and then cut it with a sha rp scalpel to look like burned
and tattered fabric. The rest of the flaps and control surfaces
were then cut away and cleaned up and set aside for later.
The area where the wing was sheared off upon crash
landing required careful attention to internal structural
details while at the same time remembering the nature
of the damage done to the wing, in this case torn and
twisted metal.
As can be seen here, the detailing that is required is This is the side of the rudder where the flak burst exit
mainly structural spars and ribs, and this only around ed. This was achieved by pushing the thinned plastic out
the openings of the holes where it will be visible upon from within. This is important to remember when
completion. adding battle damage to aircraft: entry holes, exit holes.
18
Flak burst entry holes seen from inside of the airplane. The model just prior to painting, with all windows and
Minor detailing can be added here just to add a hint of hatches masked over. The removal of the outer-wing
internal structure when viewed from the outside. helped Monogram's big B-17 fit more comfortably onto
the workbench.
19
After all of t h e major battle damage work was c om pl et ed , atten
tion was focused on the interior crew cabin areas . The basic kit
was enhanced with parts fro m the VP update no. 7 18, and a lit
tle custom detailing. All of the kit-provided armament was dis
carded, and new 50 cal. machine guns were taken from t he VP
set No.1267 U.S., WWII aircraft guns in 1:48. The doors in
each bulkhead were carefully cut away and replaced with styrene
copies detailed with copper wire handles. Each of the three crew
boarding hatches was also carefully removed and replaced with
either photo-etch parts or with styrene copies. Extra oxygen
bottles were used from the VP set and from the Monogram B-
29. They really help to fill in some of the empty spaces.
Above:
Sidewall of the nose section after
painting. The wells created when
thinning the plastic for the bullet
hole exits are completely invisible
when the model is completed.
Below:
Damaged wing after initial painting.
Extra black was airbrushed in the
wake of the No.3 engine to simulate
soot and burned metal and paint.
Notice that no black was applied to
the damaged outer-wing section,
because this was torn off on the
ground upon crash-landing.
20
After all of the interior subassemblies were installed, and the fuselage was put together with gap-filling superglue, all seams were
gently sanded and polished. Then the wings and control surfaces were added and blended, and the windows were all installed and
masked over. The first color to be airbrushed onto the exterior was the red. After this was allowed to dry overnight, it was masked
over and the basic O.D. green was app lied overall, and inside of the battle damage areas. . This was accompanied by a lighter shade
-
on the outboard port wing panel , and the control surfaces. A darker shade of the same basic O.D. green was lightly airbrushed into
the wingroots and the base of the rudder, to forc e some highlighting into th e basic paint job. Dark green was carefully airbrushed in
a "crows feet" pattern along the spine and the leading and trailing edges of the main wing panels. The outer panel of the port wing
was denied this application in order to suggest that it was salvaged from a different airframe. The undersurface was painted an over
all light-gray and allowed to dry overnight.
Look how effective weathering can be! Chipped and scuffed paint, greasy oily engines, white-hot fire damage, sun
faded paint. During WWII the priority was to "keep 'em flyin" and, except for some attractive nose-art, not much
care was taken to make them pretty.
21
Right:
A close look at the port wing shows
all of the subtle elements of weath
ering an aircraft model: evenly air
brushed shades of paint, followed by
"smoking" the engines with thin
black-brown paint, a carefully
applied oil-based wash, and metaliz
ing with silver printers' ink toned
down with black.
Left:
The kit machine-guns were discard
ed and replaced by guns from the VP
set no.1267.
Below:
"Bent and battered," the inboard
prop was feathered when the engine
was shut down, but the outboard
engine helped keep the Flying
Fortress flying. When the starboard
landing gear failed to come down,
the spinning prop chewed into the
earth and bent back before finally
coming to a stop.
22
After the masking was removed from the
red areas, a black-brown "smoke" was
airbrushed back from the engines, espe
cially the battle-damaged No 3 The decals
. .
work, but it really wasn't. Much time can be saved through care
ful planning and organization. Working on this model was FUN.
It makes us remember why we started modeling in the first place,
and as can be seen here, this kit can still be made into a very
impressive and dramatic model , without too much time and
effort.
23
The first thing to do when planning
the layout of a diorama is to define
its borders. In this case, it was done
by tracing around the perimeter of
the model and following with a
loose cloud-shape to allow for vari
ous figures and equipment. It is
important to remember at this stage
to prevent the model from over
hanging the edges of the perimeter,
while at the same time not making
the perimeter extend too far out
from the edges of the model.
24
These two airmen must be counting
their blessings as they count the bul
let holes that nearly cut them to
pieces.
25
Here we get a good look at the extent of the heavy dam The flakburst that maimed this side of the aircraft could
age sustained by this B-17 during it's final mission, not easily have severed the tail had it been any closer. Here
to mention the outer wing having been sheared off by it's legacy is being inspected by the relieved aircrew.
trees upon impact. Note the amount of organic as well
as mechanical debrees trailing the crippled aircraft. The Note the number of footprints left in the soft earth, indi
shock wearing off, these two waistgunners are begin cating the paths of the dazed crew as they survey the
ning to shed their cumbersome flight-gear. damage.
26
STUKAS IN THE SAND
By Gordon STRONACH
H
asegawa's JU 87 Stuka is a good kit and an excellent platform for extra detailing. VP's 1137 JU-87 Stuka update helps add
that extra detail. The Mercedes truck is t h e old Bandai kit, repackaged under Mauve.
27
To start with, the plastic kit was cut and chop p ed up to accom a dark metallic shade using Raw Umber and silver printers ink.
modate the new parts. Some areas after cutting left a thick over And the RLM 02 areas were drybrushed with Humbrol matte
scaled edge. These edges were carved with a knife to a thinner #72. Next a wash of Raw Umber and m atte black were added for
scale thickness. Next, the major components were assembled depth and shadow. Worn and chipped paint was ap plied with a
with many of the resin parts built up into sub-assemblies. These mixture of Raw Umber and silver printers ink .
sub-assemblies helped aid in the painting process.
At this point everything was assembled , test fitted , removed,
The basic cockpit color was brush painted with Humbrol matte painted and weathered (additional we atheri ng will be done after
31 and allowed to dry overnight. Next, d ryb rush i ng with matte model is complete) and the main body of the JU 87 is prepped
31 and white was done to highli ght the detail . After that was dry for paint i ng. A worn out piece of scotchbrite rubbed over the
a wash of raw umber oils and Aeromaster matte black was plastic helps smooth out any blemishes and provides a good
applied for the shadows . A little silver printers ink and Raw foundation for paint. Canopies were m asked with Ba re Metal Foil
uUmber here and there simulated worn and chipped paint. and tacked to a holding block.
Finally detail painting of t h e knobs, buttons, wires and stenciling
was done with enamels and a fine pointed b rush . To start, Testers RLM #79 was sp rayed to the upper fuselage ,
Next, the engine and other interior parts were assembled and cowl panels and canopy. A blotch pattern of Teste rs Italian g reen
painted . The engine sta rted as basic matte black with other areas was randomly sprayed with a fine line setting on the airbrush.
being shades of gray. The engine mounts, bulkheads and insides After the paint had dried, a light scrubbing wi th a piece of worn
of panels we re brush painted with Humbrol matte # 7 2 with a out Scotchbrite made the surface ready for decals. After the
touch of Aeromaster med. green . This provides a good base decals were applied , a coat of matte varnish was ap plied to all
color for RLM 02. After drying ove r night , they were dryb rushed painted areas and allowed to dry 48 hours.
Many footprints were added by pressing figure feet into the hardening groundwork to give a sense of high traffic.
Even the impressions of moved fuel drums were added!
28
Several VP 1332 1/48 Summertime
Groundcrew figures were used out
of the box and some were converted
simply by heating an arm or a leg
and repositioning. This can be done
with a candle or more carefully with
a lighter or match.
29
Fleshtones on small figures, particu
larly 1/4 8 and l /72, can be
achieved simply by using a small
assortment of tube oilpaints: Raw
Umber and Burnt Sienna, Yellow
Ochre, Cadmium Yellow and
Titanium White.
30
VP 1123 1/48 Bombs and Crates
were used in abundance. The work
bench was fabricated by gluing sheet
styrene onto resin crates. Tarps
were made from lead foil, and vari
ous surplus parts were glued to the
table tops. The whole unit was paint
ed as one piece, with the details
painted, weathered and metalized .
31
HELLUVA HELLCAT!
A 1 :48 scale Diorama by Gordon Stronach
T
he 1/48 Hasegawa F6F-5 Hellcat (#09 1 35) is another great addition recently offered to the naval aircraft builder. Hasegawa's
Hellcat is a simple and well-designed kit of this popular carrier aircraft. The diorama is a scene of last-minute maintenance and
rearming before takeoff, as most maintenance takes place below deck.
CONSTRUCTION
The F6F-5 kit nearly falls together right out of the box. The VP update (# 1 1 81) enhances the cockpit, port side gun bay, and a por
tion of the engine cowl. Removal of the cowl section, gun bay covers, and instrument panel shroud were done with a jeweler's saw
and scalpel. The cockpit was built and painted, then sandwiched between fuselage halves, center positioned, and glued from beneath
to one half of the fuselage. The engine compartment was assembled and glued to the fuselage as well. The upper portion of the
engine compartment is part of the exterior and is filled and sanded smooth. The engine facade was assembled next, and trimmed
to fit the nacelle; this was also centered and glued from behind .
32
The cockpit, engine, and gun bay
installed. These areas are masked off
with Bare Metal Foil to protect from
the exterior airbrushing. The entire
aircraft has been scrubbed thoroughly
with worn-out Scotchbrite.
33
Revell-Monogram's Ground Support Equipment painted, The Verlinden Productions I : 48 scale Carrier Deck
weathered, and detailed with VP accessories. Section along with the new Flight Deck Crew.
34
Lead foil was used to create the tarps beneath the tools and
equipment.
was just what I was looking for. The entire plane was given this
wash. A l ig ht drybrushing of lightened 9044 h elped show raised
details. Weathering continued by using Silver printers ink and
Raw Umber oil paint on worn areas, along with chips in traffic
area s . Local washes of Raw Umber with Black darkened deeper
35
Every detail counts - right down to
the photo-etched wrenches (included
with the crew set) .
CHROMOGRAPHY
COCKPIT:
Base color
Humbrol 1 59 Khaki Matte
Overall wash
Burnt Umber & B l ack artist oils
GUN BAY:
Machine guns Flat Bl ack
Drybrush Silver & Raw Umber
Bay compartment Humbrol 1 59
Wash Burnt Um ber & Black art i st o i l s
D rybrus h Ye l low
ENGINE:
Engine Cylinders B la ck & G re y
Gover nor Grey
Wires Copper
Wash Raw Umber
Drybrush Silver & Raw Umber
36
JETS OF THE LUFTWAFFE
When building a diorama depicting multiple aircraft, much planning is necessary to ensure that the composition is
well balanced without any distracting elements. Positionin g of each item in relation to each other as well as the
size and shape are very important guidelines when laying out a diorama .
37
The radio and gun compartments installed before painting. Note the additional lead shot nose weight added behind
the nosegear bay. This ensures that the model will not be a tailsitter when complete.
38
Both models prior to masking the landing gear bays. Note the amount of resin added to replace kit parts .
39
Both models are ready to be painted. The canopies have
been masked with Bare Metal Foil.
40
The Me-2 62A prior to weathering. The intricate camou
flage is actually the basic two-tone upper surface of
RLM 81 and RLM 8 2 . with the under surface color of
RLM 7 6 carefully squiggled overall.
41
The finished Me-262A, ready fo r the
diorama. Note how the relatively
small flashes of red combine to
break up the busy camouflage
scheme.
42
The completed Me- 2 6 2 8- l a/U l .
With its beautiful camou flage
scheme, it is a showpiece in itself.
43
The foundation of every diorama is
its base, which must complement the
models and blend everything togeth
er. One effective way to do this is to
run all major parallel and perpendic
ular lines off of the edges at an
angle. This forces continuity into the
scene, which makes it look more
pleasing to look at.
44
Another view. Dioramas can be viewed from different angles · an important point to remember.
45
The Me-2 6 2 8 - l a/U l nightfighter
appears to be nearing flight readi
ness as the groundcrew make a few
final adjustments to the Jumo 0048-
1 engine.
46
This Me-2 62A-2a is undergoing
major engine maintenance. Perhaps
it is a newly replaced Jumo 0048-1
engine prepared to be attached to
the wing. Note the various shades of
the different metals on the engine.
47
Not all Luftwaffe maintenance personnel were qualified
to service the new jets in service, so those who were had
to be assigned to specific airfields that operated the jets.
This forced many different squadrons with separate mis
sions to serve from the same airfield, as is in this case,
where we see a jet bomber being serviced beside a jet
nightfighter. This diorama idea came from actual
wartime photographs.
PAINTING GUIDE
(All paints used were Testor's Model Master enamels unless otherwise noted.)
Me-262A-2a of 5/KG5 1
Underside: Overall RLM 76
Topside . : Splinter camouflage of RLM 8 1 and RLM 82, c overed by delicate webs of RLM 76.
Decals: Aeromaster Decal sheet No. 48-337 , A/C no. 3
Clear matte varnish over decals and paint .
Overall oil wash mixtures : Burnt Sienna, Raw Umber, and Humbrol Matte Black enamel.
Chipped paint effect: silver printers ink, darkened with Humbrol Matte Black.
Interiors:
Radio compartments and wheel wells: Straight chrome silver.
Cockpits and gunbay: Humbrol Matte 66.
Clear Matte Varnish .
Oil wash mixtures of Raw umber, Burnt Sienna, and Humbrol Matte black.
Dry bru s h with darkened silver printers ink.
Chipped paint with darkened silver printers ink.
48