34

Adam Wilder demonstrates the

techniques behind his STZ T-34/76
Part Two - Painting

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In the first part of this article
I discussed the assembly of
the STZ T-34. I explained
with the aid of photos how I
backdated the DML T-34/85
mod. 1944 kit, to represent a
variant manufactured at the
Stalingrad Tractor Works in
1942. I then explained how I
constructed the base and
adapted the models
suspension to its uneven
bricks.
With the model and base completed we
can now move on to the fun and most
important part of this project - painting and
weathering. In my opinion, a complex and
the most extremely detailed model is only
half complete if it lacks a carefully
researched, planned, and executed finish.
Let’s start by viewing some reference
pieces I obtained at a local vocational
school.
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Looking at some references right is much rustier, probably as a result of
different storage facilities.
photos 1 through 4
The reference pieces of steel in photos one
Steel forms a gray finish when
through four show just how different the
manufactured. This thin coat responsible
color of steel plates can be. Steel color
for this color is called mill scale, which is a
variation can be a result of thickness,
result of impurities in the metal boiling to
storage, manufacturing processes, and
the surface when the metal is hot.
transportation to the factory. Notice the
Depending on how steel is manufactured,
different faint blues, whites, and rust
colors of the mill scale can vary greatly.
slightly visible on the mill scale.
Photos 1 and 2 display each side of the
As modellers, these color variations give
first reference piece. Note the difference in
us a unique opportunity. These color
gray tones on each side as well as the
differences will allow us to paint all of the
chips in the mill scale in photo one.
model’s steel plates (or ingots), castings,
Different oxide rust colors and chips in the
and components with different shades of
mill scale can also be seen.
grays and oxides highlighting each detail
resulting in an extremely dynamic
Photo 3 gives a clear view of a flame cut
appearing finish. Other references used for
edge and heat-affected zone, which
the tank’s castings will be shown as the
results from the heat of the cutting
article progresses. Let’s start painting.
process. This photo will be important.
Photo 4 shows some pieces of sheet metal
weldments. Note how the weldment on the
1 2

3 4

5 6

7 8

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 9 10

11 12

13 14

15 16

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Photos 5 through 7
The model’s gray base coat was first
painted using acrylics thinned with tap
water. After spraying the base coat,
different shades of gray were then sprayed
on each part of the model to represent the
different shades of mill scale. Filters using
enamels were also used to further break
up the models different plates.
Photos 8 through 9
In the next step, I used oils to add the
different blues, grays, whites, and oxide
colors I pointed out in photos one through
four and fused them with brush cleaner.
You only want to fuse the colors and not
completely blend them as shown in photo
nine. Use different amounts of the oil
colors on each ingot of steel on the tank.
Remember, each plate will differ in color.
Give the oils a day to dry.
Photos 10 through 11
Next I rubbed graphite from an artist pencil
over the model. It is important to first rub
some of the excess graphite off your finger
onto a dinner napkin or you will apply too
much hiding the oils applied in the
previous step. You only want to give your
model a metallic sheen with the different
oil colors still visible. I used an artist color
sharpener to get the graphite into those
difficult-to-reach places.
Photos 12 through 17
All of the cast components of the tank
were painted a mild oily steel color using
acrylics. The lighter sheet metal
components were painted black. After
letting the acrylics dry, different shades of
black and oxide colored enamels were
spotted onto the castings. After drying for
about five minutes the enamels were fused
using a brush dampened with thinner. If
your brush is soaked you will get a wash
resulting in a less convincing result. Oxide
filters were bushed onto the lighter sheet
metal components.
Photos 18 through 20
The gun was masked and airbrushed. Note
the different shades of steel on each
17 18
19 20
component of the turret before the
graphite was added. This is what makes
this models finish so unique. Notice that I
used more of a red oxide colored oils on
the turret to further distinguish it from the
hull.
Photo 21
After the enamels dried, graphite was also
lightly rubbed over all the castings.
Photos 22 through 23
All of the model’s bolts, fasteners, and
hinges were painted with acrylics and
rubbed with graphite.
Photos 24 through 31
Steel is not covered by a consistent
metallic gloss. Areas will oxidize from the
elements and rust or get covered with soot
in the manufacturing process. To simulate
these areas, random sections of thinned
oils were again added around the model.
Different blues were added to the grays.
Large areas of rust were added to further
break up the different larger ingots, and
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 21 22

23 24

smaller areas of rust were also placed.

Note the different shades of rust added to
the turret. Picture 31 shows all of the steel
ingots and castings of the model.

Photos 32 through 34

Because of reasons regarding storage,

straight lines of rust sometimes appear on
steel plates. While masking and
airbrushing the lines of rust, other areas of
the model such as the turret were lightly
airbrushed. After airbrushing the lines
different oxide enamels were painted over
the rust lines and blended like on the
castings in photo 16.

Photos 35 through 39

The next step is the most tedious and time

consuming. As I discussed in photo 3, heat
affected zones appear around the cut
edges where the steel was heated during
the flame cutting process. Four steps were
needed to simulate this process.

First, a light metallic gray line was painted

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25 26

27 28

29 30

31 32

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 33 34

35 36

37 38

39 40

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around all of the flame cut edges. The size
of this line will be wider on the thicker
pieces. In step 2, a mixture of Humbrol
color no. 15 and black oil paint were
painted over the metallic gray line then
blended using a brush and straight thinner.
The same Humbrol enamel-artist oil
mixture was painted over all of the flame-
cut ends. In step 3 different areas of rust
were spotted over the discolored edges.
Follow the reference pieces.
Photos 40 through 41
To complete the flame-cut edges I rubbed
a little more graphite over all of the heat-
affected zones. Graphite was also rubbed
over the flame cut ends using the color
shaper.
Photos 42 through 44
Like the lines and spots of rust, oxidization
will also randomly appear on the steel.
Some of the edges of the rust spots were
mapped using a lighter gray enamel and
artist oil mixture. Random spots using the
same mixture were placed around the
model representing scratches in the mill
scale.
Photo 45
When assembling structures the
fabricators and inspectors will mark the
metal with chalk to display notes and
dimensions. Most of the components are
also numbered upon arrival at the plant for
inventory reasons. I simulated these chalk
markings with a colored pencil. Make note
of these makings throughout the rest of
the photos.
Photos 46 through 47
Using a mixture of Humbrol metal coat
27001 and 27004, chips of metallic gray
were placed over all edges of the formed
41 42
43 44
sheet metal parts as a result of the
stamping process during their
manufacture. Next, all of the metallic gray
edges were mapped using a mixture of
enamel and artist oil oxide colors.
Photos 48 through 53
With all of the different steel parts of the
tank detailed, dust was added to all the
welds. After viewing the dust that results
from the welding process on the weldment
in photo 48, I mixed a dust color using
pigments manufactured by MIG
Productions. First I carefully placed the
pigments over the weld seams with
Humbrol thinner. Next using a different
brush, dry pigments were carefully brushed
over the weld seams to represent more
fine dust. As seen in photos 49 and 50,
always brush the dust upward as it
traveled resulting from the heat produced
during welding. Only a little dust is needed
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 for the small components. If you are feeling
brave, you might want to add a little weld
spatter as seen in photo 53.

Photos 54 through 58

Now for some minor but important details.

First, stains from the coolant used during
the drilling of the rear plate where
simulated using a new post-shading
product soon to be released by Mission
Models. Lay the stains on flat as the plate
was during the drilling process. Next, oxide
pigments from MIG productions were
added to represent new rust. Very light
shades of earth colored pigments were
brushed on different parts of the model to
represent dust. Note how I focused the
dust around the details to further highlight
them from the rest of the model.

Photos 59 through 62

Airbrushing on a coat of buff was the first

step I used to start weathering under the
hull. I then used a mixture of Humbrol

45 46

47 48

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49 50

51 52

53 54

55 56

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 57 58

59 60

61 62

63 64

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chocolate, burnt umber oils, brown
pigments, and plaster to add a random
darker coat of mud. The dark mud was
blended with enamel thinner then different
earth colored pigments were brushed onto
the hull after the thinner and oils dried.
With the tank weathered, I moved onto the
wheels and tracks.
65 66
Photos 63 through 66 Apply different shades of rust between
each of the gussets to break up the
I decided to mix my own color of acrylics
wheels. After the rust was simulated, areas
as a base for the wheels. Tamiya acrylics
and chips of worn steal were added using
are the easiest paints I have ever used
a mixture of enamels.
during airbrushing. After letting the base of
acrylics dry for a day, different oxide Photos 67 through 69
colored enamels where tapped on the
Oxide colored pigments were then added
wheels in spots and blended like on the
and graphite was applied to obtain the
castings discussed in photos 15 and 16.
final steel result. Photo 69 shows the
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 67 68

69 70

wheels on top of the reference I used to paint them as well as

the rest of the models castings.

Photos 70 through 72

After adding the graphite to the wheels, I applied a light random

coat of buff. Do not cover the wheels completely with the buff.
Next, scrape off the areas of the wheels and torsion bars where
the glue will be applied during assembly. Testors liquid cement is
thick and slow drying, which allowed me time to position the
wheels properly in relation with each other and the model.

Photos 73 through 79

The tracks were painted just like under the hull in photos 59
through 62. View photo 75 to observe the placing of the dark
earth on the inside of the track. Also look at photos 76 and 77 for
the placement of the graphite then the light earth pigments.

Photos 80 through 82

After the glue on the wheels had dried overnight, I started adding
earth colored pigments using Humbrol thinner. I applied dust to
all of the areas on the wheels air brushed with buff acrylics.
Adding some grease around the hubs using a mixture of oils and
enamels finished the wheels. Spilt fuel was added to the hull top
using a similar mixture at this time.

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69 70

71 72

73 74

75 76

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 Photos 83 through 84
The gun was the last part to be detailed. I
first added many different colors of rust
and steel using acrylics then finished with
different washes and filters using enamels.
For the final touch, the undersides of the
model were painted with the post shading
spray soon to be released by Mission
models.
Photo 85
The remaining photo displays the
In the next Issue - painting the base
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completed model. Note the model’s
dynamic appearance with all of the visible
different colored components. With the
model finished, I painted the base.
Conclusion
In the second part of this article we
discussed painting the unpainted
Stalingrad T-34/76 and its base. Although
readers might find it easier to perform
some of the weathering steps in a different
order than demonstrated in this article, I
stress that your base coats should always
be done using acrylics. Another point I
would like to mention once again is that
lots of dust should always be present on
vignettes and dioramas with destroyed
buildings and shell marked landscapes.
References:
Jimenez, Miguel. “Rarities” Euro
Modelismo. Copywrite: Accion Press S.A.
C/Ezequiel Solana 16 Bajo, 28017 Madrid –
Spain.