Using Household ItemsIntroductionThis article will give a list of ordinary items that are found around the home, often discarded, that can prove useful to the scale modeller.BackgroundScale modelling was once a very cheap hobby generally pursued by young people who funded it with pocket money. Those times are long gone and the average modeller these days is mature and demands high quality. This has greatly pushed up the cost of scale models.It is still possible to buy models that are relatively inexpensive, but that generally means keeping to simple small scale kits. Good quality kits generally cost anywhere between 40 to 400 and that is before adding any after-market accessories. Add to that the expensive equipment and tools like airbrushes and compressors, plus materials and paints and you can end up with an expensive hobby. It is just as well that many modellers take several months to complete each kit.However, it is not all doom and gloom. There are a surprising number of cheap or free household objects that can be used for modelling that can help keep cost down and give a feel good feeling for using stuff that might otherwise be thrown away.Useful Stuff 1 MaterialsJohnsons Future/KlearThis has to be the find of the century and is used by almost all modellers sooner or later. It is an acrylic floor varnish and as such provides a very hard wearing and durable gloss surface. It is sold in the US as Future in Europe as Klear and I believe goes under other names in different countries.It is very useful as a general gloss varnish to protect models. Of course most models do not require a gloss finish, but even so it is often used to provide a protective layer after applying base coats before weathering a model. It is also used to turn a matt/flat surface to a gloss surface before applying waterslide decals and is used to coat aircraft cockpit canopies to impart a realistic high gloss shine.It is cheap and you get a big bottle that will last for years. In fact the varnish will almost certainly become unusable before you get to the bottom of the bottle. The only word of caution is that when dry it is very difficult to remove (requireing amonia) so make sure you clean brushes and airbrush thoroughly immediately after use.

Kitchen Towel/Paper TowelSo many uses, you should always have some to hand. It is advisable to use a better quality towel that will not shed lots fibres.Household FillerAlthough not suitable for most modelling purposes, ordinary decorators filler can come in useful from time to time and you can get a big bag for not much money. The obvious use is for making groundwork on display bases and dioramas, but it can also be used for adding weight to the inside of models. Filler intended for very fine cracks can also be used in place of modelling filler for general gap filling.

Kitchen Foil/Tin FoilSome modellers use this for making scale tarpaulin and flags, although there are probably better materials e.g. lead foil. However, kitchen aluminium foil is great for lining paint palettes. When you have finished painting, simply throw it away and you do not have to bother cleaning the palette.

Useful Stuff 2 Objects and Tools Rubber bands / Clothes pegsThese are all useful for holding parts in place whilst drying.

DVDs/CDsIf you have any old DVDs or CDs that you do not want or have become unplayable then dont throw them away. They are great for mixing epoxy glue on, or they can be used as a small paint palette. They also make a handy portable cutting mat.

Jar Lids / Bottle topsNever throw these away. Larger lids are great for collecting small parts together on the work surface, or putting down paint stirrers. A jar lid with a blob of Blu Tak is also great as a small stand to hold parts of models when airbrushing. Smaller lids and bottle tops are useful for mixing paint or small amounts of filler.

Plastic resealable zip lock bags

It is worth keeping an eye out for these. They are often used to hold small parts inside the boxes of new electrical goods and other household items. They come in a variety of shapes and sizes and are useful for keeping small items together when building a model. They are also great for organising the dreaded spares box.

Cotton BudsThese are really handy for controlling and mopping up small amounts of liquid from awkward places. When applying washes they mop any excess. Look out for the type that are shaped into a point.

Cocktail SticksThis is another common household product with many uses. Paint stirrers, holding small objects when airbrushing (drill a small hole in the bottom of the object), plus mixing and applying small amounts of glue (particularly epoxy).

Painting SequenceIntroductionThis article will provide general advice about the order to apply the various layers of paint and other finishing layers that are commonly used. It applies to models that have a realistic non-gloss finish including military vehicles, aircraft, ships and some science fiction subjects. The painting of a glossy finish such as used on automotive models follows a quite different path.BackgroundGone are the days when applying a single layer of monotone paint was considered a good finish in the modelling world. Covering a model with paint in colours that match the original subject may produce a finish that is technically accurate, but it will not produce a realistic looking finish. Furthermore, it will result in a model that is dull, lifeless and probably toy like.Over the decades, the modelling community has developed a wide range of painting and finishing techniques that have made the best models works of art with a real wow factor. It has been discovered that the best results are achieved by applying many translucent layers of paint and other mediums which build up into a finish that has depth and interest.Part of this process is attempting to mimic how light and shadows fall on the original subject and part of it is adding the wear, tear and weathering that any real life object receives from day to day. A final element is pure art adding colour, shading and texture which looks great and emphasises the characteristics of the subject being modelled.These developments can be confusing, especially to the beginner. Not only are there many different techniques to learn, but which ones should be applied on any particular model and in what order. This article attempts to answer the last question.Sequence of PaintingThe following is a suggested sequence to achieve a good result on most models. Not every step is needed in every case in fact it would be rare to carry our every step on a model. Furthermore, depending on the results, it may sometimes be necessary to go back and repeat some steps.It is worth noting that relatively recently a new form of painting known as colour modulation has been developed. Essentially, this consists of deciding where the main light source (the sun) is in relation to the model and shading the model accordingly. Since the sun is generally high up in the sky the upper surfaces of the model would be painted with a lighter shade than the sides which in turn would be a lighter shade than the under surfaces. In fact, the colour on the sides may be gently graduated from light to dark to add interest.The colour modulation technique can produce spectacular results and bring to life a model painted in a monotone colour such as olive drab. When using this technique some of the stages below such as pre-shading and post-shading would not apply.

1. Wash all partsGetting a good dust and grease-free surface is essential, particularly when using acrylics.2. PrimerThe reasons for a primer are covered inAll About Primersand it would be rare not to prime a model. Then check the surface for defects, seam lines etc.and correct them before proceeding.3. Pre-ShadingThis is optional, but most models will benefit from pre-shading. The primer coat may make this step unnecessary if it is the right colour.4. Base ColourApply with airbrush if at all possible. Several thin layers are best, but take care not to totally obscure any pre-shading.5. Highlight Base Colour and/or Post ShadingLightly airbrush a lighter shade of the base colour in the centre of panels and upper surfaces. With camouflage paint schemes, spray the base colour and highlighting for each colour before moving to the next.Alternatively, airbrush a darker shade of paint into recesses and along panel lines to simulate shadows. Post-shading is very easily overdone, so use very thin paint very sparingly and built it up in layers. Too little is much better than too much. You will need a good airbrush and some skill to post shade successfully.6. Protection layerOptional, but many modellers find this a good time to apply a thin layer of varnish (often Johnsons Future/Klear). It protects the work so far from the next stages and allows you to come back to this stage if something subsequently does not work well.

7. FiltersOptional, but becoming increasingly popular, particularly now that ready made filters are available. A filter is a very thin tranparent paint layer that subtely alters the colour of the base layer and helps to blend in the colours on camouflage schemes.8. Detail PaintingThis may the best time to brush paint tools on vehicles and similiar tiny items. Some items may be left to the decal stage depending on whether you want them to be affected by the washes or not.9. WashesThese may be wide area or limited area (pin) washes. It is easy to overdo this and darken a model.10. Gloss / protective layerDecals must be applied to a gloss or semi-gloss surface so another protective layer may need to be added now. Some modellers only gloss the areas where decals are to be added and others prefer to put a gloss coat over the whole model and this will depend in part whether a protective layer has already been added to the base coat.11. Decals / MarkingsAs well as applying decals and painting unit markings, this might also be a good time to paint details by brush if it has been done earlier.12. Dry BrushingIf you plan to do any dry brushing this is probably the best time. Advice on dry-brushing is given in the articleDry Brushing.13. Protective LayerYes, another protective layer. This has two possible purposes. One is to seal in the decals before any serious weathering is done, so you may wish to restrict this to a thin layer over the decals. Secondly, this is a good time to change the surface shine to its final effect, so you may wish to apply a layer of matt/flat or semi-gloss over the whole model.Weathering StagesAt this point your model will look like it has just come out of the factory and if that is what you want then you have finished. However, almost all models benefit from some wear and tear to give additional realism. This is often what makes a model stand out and many modellers find this is the most enjoyable part of the hobby like Geppetto bringing Pinnochio to life.14. ChipsPaint chips, rust chips, scratches etc applied with a very tiny brush or even a cocktail stick. This is a stage that can fit in several places and you may wish to add further chipping and scratching later. Remember it is easy to add scratches later, but very difficult to remove them so dont overdo it.15. Light Dust With AirbrushThe lower parts of vehicles and underside and undercarraige of aircraft may receive averylight dust layer with very thin paint. This layer should be very transparent.16. Heavy Dirt and DustThis stage mainly applies to vehicles. Pigments and/or ground pastels applied with a brush and medium such as turps. If you want to slap it on really thick mix with resin or varnish.17. Light Dirt and DustApply dry pigments or ground pastels in addition to the previous stage or instead of it depending on the degree of weathering and muck you are replicating.18. Detail Wear and TearThis includes oil and fuel stains, rain streaks, boot marks and any other signs of usage that the vehicle would have recently suffered and should appear on top of all other weathering.19. Final Dusting?You may wish to consider giving the model another very light dust layer with thinned paint from an airbrush to tie everything together. This must beverylight at this stage to avoid soaking or removing any of the dry pigments.20. Final Protective Layer???Your model is complete and looking great. The temptation is to give it a coat of matt, gloss or semi-gloss varnish to protect it. Unfortunately, doing this is likely to impair the look of the model. If you have dry pigments on the model then any varnish will blend them together and may make them completely invisible. Furthermore, part of the interest in the model is the different sheens on different parts of the model which will all become uniform under a coat of varnish.If you really do feel the need to protect your model, then keep it to a minimum. Areas that are matt/flatt, or where dry pigments have been added should only receive a very light misting of a varnish that drys to a very matt/flatt surface (matt varnishes vary in just how matt they are) and make sure you mix matt varnish very well indeed. Consider using varnishes with different sheens to add interest to the model. For example, an aircraft model may be mostly an eggshell/semi-gloss finish, but consider making the leading edges of wings and tail a bit more glossy as these are areas that would catch the light.

General Info about Drybrushing Part 1IntroductionThis is the first of two articles about the technique of dry-brushing which is one of the oldest and simplest methods used by scale modellers to give models a realistic finish and improved visual appearance. This article gives background information whilst the second articlecontains a step-by step guide.Dry-brushing has two purposes. Where the surface of the model is textured, dry-brushing can emphasise this texture. It is particularly good at showing up the casting textures on armoured vehicles or the tread pattern that is often put on horizontal surfaces to improve grip. Dry-brushing is also useful for highlighting the edges of models. On full sized vehicles it is noticable how the edges often look lighter because they reflect the light.The History of Dry-BrushingIn the 1960s when the introduction of injection molded plastic kits made scale modelling popular, it was by no means certain that models would be painted at all. Manufacturers generally gave painting instructions and model paints were available, but at the same time the colour of plastic used would often be chosen so that painting was not absolutely essential and many modellers took advantage of this.As standards improved over the years, painting models became almost universal. At first, most models were brush painted, but the introduction of the airbrush allowed modellers to acheive much better results and gradually took over until we reached the position we are at today when amost all serious modellers use an airbrush and painting a model is often given more care and attention than the building of it.However, no matter how good the paint job is, a model can still appear lifeless, unrealistic and toy like. Quite simply, light and shadows look different on scale models compared to full size objects, so simply painting a model the same colour as the original will not make it look realistic.As the decades have passed, modellers have sought techniques to add life, interest and realism to models so that today there are a plethora of different methods and each modeller has his or her favorites. Colour modulation, pre-shading, post-shading and pin-washes are but a few of these methods. One of the first to be developed was dry-brushing.Dry-brushing involves passing a paint brush that has almost no paint over the surface of the model. Only the edges and surface details of the model pick up the paint, so the technique highlights surface texture and makes edges stand out. It is relatively easy to master and being one of the first techniques developed it became almost universally employed. Dry-brushing a model became a standard technique used by almost every modeller on almost every model.

The technique is best employed when it is used with subtlety. Regrettably, it was often used where it did not benefit the model and was often overdone, making some models appear garish. For this reason, when other techniques became available, dry-brushing fell out of favour and became deeply unfashionable. At one time, no modeller would have shown a model in public unless it had been thoroughly dry-brushed, but now almost the opposite is true and some modellers feel they have to apologise and explain themselves if they have used dry-brushing on a model.This is a shame because dry-brushing is a very useful technique when used in the right place with moderation. The answer is to treat dry-brushing as one of many painting techniques in the modellers tool box and like any tool it should only be used where appropriate.I feel that most models still benefit from dry brushing, but often only in selected places and always with care. Dry-brushing should enhance a model without being noticable.A Explanation Of The TechniqueTypes of paint

Dry brushing can be done with oil, enamel or acrylic paints. Most modellers prefer oils or enamels (or a combination of both) because they have a longer drying time. However, acrylics can also be made to work by either thinning them well, or by adding a retarder that slows the drying time.Acrylics are still less forgiving than the other types because when dry they are very difficult to remove whereas enamels and particularly oils can still be removed by using a solvent even if they have become dry to the touch. Therefore, when using acrylics you need to make sure that you are happy with the effect on one part of the model before moving on, because you will be unlikely to come back later to rectify any mistakes. Acrylics have the advantage of being less toxic, non-flammable and they will not stink out your room, so are particularly suitable for younger modellers. The shorter drying time of acrylics can also be an advantage since you can almost immediately move on to the next stage of the model, or you can lay several light layers of acrylics on top of each other without having to wait for each one to dry.Paint ColourWhen dry-brushing you will almost always be using a lighter colour than the underlying colours already on your model. There is a choice of either choosing a different colour paint that is a lighter shade, or lightening the same colour paint that has already been used. Both choices require care.When using a different colour paint of a lighter shade, it must be compatable. You can not use any light green over any dark green, or any light red over any dark red. Unless the colour you are using is one of the primary colours (extremely unlikely since there are millions of colours and only 3 primary colours) it will be a mixture of other colours.The diagram of a colour wheel on the right shows the relationship of colours to each other. As you can see, the colour green is more than just light green or dark green. It can lean towards yellow or blue. When choosing a lighter colour paint it is normally best to choose a colour with a similar tone e.g. if your base colour is a yellowy-green then you need to highlight with a lighter yellowy-green. This can only be done by eye.Rather than choosing a different colour to the base colour you can try to lighten the base colour. The first instinct is often to add some white paint and this can be a mistake. Take another look at the diagram of the colour wheel. Do you see white on it? White is not a colour but a mixture of all the other colours, so by adding white to your base colour you are in effect adding a little of every colour of the rainbow. Adding a little white will work to lighten the colour, but if you add much more than 10% white to any colour the tendency is to end up with a washed-out tone.To lighten a colour it is much better to add another brighter colour. To lighten a dark blue try adding a sky blue. For example, when drybrushing over Tamiya Desert Yellow, I might start with a mix of Desert Yellow and Buff with a 50/50 ratio. The effect initially will be very subtle almost unnoticable, but on subesquent passes I might add more buff and then finish off with a few drops of bright yellow or white.Paint BrushesYou will probably find a largish brush will work best. Dry-brushing is hard on brushes so it is best to use an older brush. It is important to have some spring in the bristles so do not be tempted to use a cheap brush because the results will be disappointing. Some people prefer standard round brushes and others prefer flat brushes, so try both to find out what suits you.MethodMix up your desired paint. I find that making it a little thinner consistency than would be used for normal brush painting works best. Dip the end of your brush in the paint and make sure all the bristles are well soaked at the end then try to remove as much paint as possible. Transfer the brush to a paper towel and gently wipe the brush on the towel until it leaves almost no mark. Then lightly draw the brush back and forth over the high spots of the model. You willl need to brush back and forth many times as the best effect is acheived with slow gradual build up of paint. The direction of brushing is very important and should be perpendicular to any edges or raised detail.One of the biggest mistakes is to overdo the dry-brushing and this often comes from leaving too much paint on the brush. It is a good idea to test the brush on an old model, or some other object with edges e.g. a card or plastic box before you apply it to the model.Dry-brushing works best when done in several stages. Each stage should be lighter than the previous one, the brush should be applied with a lighter touch and the area covered should be less.When you have been dry-brushing for a while you may find your paper towel has become quite damp with paint and at that stage you may no longer need to recharge the brush from the palette but simply wipe it on the paint soaked paper towel to pick up enough paint. Remember that with dry-brushing the actual amount of paint that is put on the model is minimal.It may take some time to completely dry-brush a model, so beware of paint beginning to dry on the brush. You may have to stop and wash the brush and then start again.

Step by Step Guide to Drybrushing Part 2IntroductionThis is the second article about the technique of dry-brushing. The first article gave general information whilst this second article provides a step-by-step guide.Step-By-Step GuideIn this example I am highlighting some groundwork on a display base. The paint is Tamiya Buff that has been thinned and a dab of acrylic retarder added. Make sure that the bristles of the brush are well soaked in paint then try to remove as much paint as possible by drawing the brush across the edge of the palette.Rub the paint brush repeatedly on a piece of paper towel until it appears almost no paint is left and the brush is dry.

Lightly brush the now dry paint brush over the groundwork. Only a tiny amount of paint will be deposited and only on the upper surfaces. Keep a light touch and do not be tempted to grind the paint brush. Gradually after many passes back and forth you should begin to see the difference.The direction of brushing is important. Here the brush is being drawn along the line of tank tracks in the ground so that the paint is only left on the high spots and does not get into the depressions. Depending on the subject you may have to repeat the process several times with successive lighter shades of paint.

This is a photograph of the groundwork before the drybrushing process. It looks OK but lacks depth and definition.This is a photograph of the same groundwork as on the left but after the drybrushing is complete. The individual rocks and rough surface texture of the ground are more apparent.

SummaryDry brushing is time consuming, but fortunately is relatively easy, so is a good technique for beginners to try out. Providing that it is used with care it can enhance many models and add realism. Perhaps the greatest skill is knowing when to stop.

How to paint the tracks of armoured vehicles

IntroductionThis article will deal with the tricky problem of painting the tracks on armoured vehicles. It contains a step-by-step guides on two example models. It should be noted that there is no set method that can be followed with every model. The modeller will have to adjust the method used to meet the challenges of each particular subject and the environment that the vehicle is intended to be operating in.However, by showing the method used in these two cases, it is hoped that it will be easier for other modellers to decide on the process to follow for their own projects.Background

One of the downsides of modelling armoured vehicles is the difficulty of painting the complex suspension and tracks. AFVs have many wheels that are surrounded by and in contact with the tracks. Furthermore, as if the suspension is not a big enough challenge, access to some of the wheels and tracks may be restricted by side skirts.The following is a guide to painting a set of tracks. One thing to bear in mind is that if the intention is to heavily weather the suspension and tracks, then the amount of care and detail that has to be put into the painting process for both the tracks and the rest of the suspension may be reduced since most of it may be covered up with mud, grime and dust.However, slapping on a load of mud should not be a solution to poor modelling. The weathering should be appropriate to the subject and the situation that it is intended to be portrayed in. The suspension and tracks significantly contribute to the character of the vehicle and if these are obscured by excessive mud, then part of the vehicles character will be lost.Painting On Or Off The Vehicle

The tracks can be painted separately and then added to the vehicle, or they can be painted after they have been put on the vehicle. The first step in the process is to determine which of these is preferable.Painting the tracks separate to the vehicle can be a lot easier. However, the tracks and the rest of the suspension must blend together so care needs to be taken to put the tracks and suspension through the same weathering process to make sure they look good when they are put together.If tracks are painted off the vehicle then there is a good probability that some of the paint may be damaged during the process of fitting the tracks, so be prepared for some corrective touching up. Furthermore, once the tracks and wheels are painted it is more difficult to get a good glue bond between them which is also a consideration for some models if the tracks do not naturally stay where you want them without glue.

Some tracks are easier to paint separately than others. Rubber band and Working tracks can be assembled and handled as a separate item, but Link and Length tracks generally need to be glued to the wheels and each other, so it is very difficult to paint them separately. Some modellers glue link and length tracks to each other and the tank wheels and then remove the whole track and wheel assembly together for painting.So there are pros and cons to both methods and which is best will depend on the particular model, the type of tracks and wheels and the final effect that is planned.In the first example below, the tracks are of the rubber band type and it was decided to begin painting them separate to the rest of the APC, but to put them on the model for the final weathering to ensure that they blended in with the rest of the suspension.Step-By-Step GuideThe photograph on the right shows the tracks as they start out. These are rubber band type tracks as supplied on the Tamiya M113 1/35th scale armoured personnel carrier desert version. The basic kit is quite old and these tracks are not up to modern standards, The detail on the outside of the tracks is just about passable but there is virtually no detail on the inside. However, since replacing them with separate resin or white metal alternatives would have nearly doubled the cost of the kit, it was decided to make the best of them. Fortunately, the top run of tracks is covered by track guards that hides the poor quality of the tracks to some extent.PrimerIt is a matter of choice as to whether the tracks are primed. Normally, I do not prime tracks because I have never had a problem with base coats adhering to the tracks. The tracks will often be covered by so many other coats of paint and then heavily weathered, that a primer does not seem to give any advantage.Base CoatHaving decided to dispense with a primer coat, the first stage is to airbrush the tracks with a base coat. Most tank tracks start out a dark dull metal colour. I chose Tamiya Nato Black XF-69 for the colour. Other modellers have recommended Vallejo Track Primer or Oily Steel colours. However, very little of this base colour will be visible and the Nato Black is a good match for the rubber treads on the tracks, so I prefer this colour overall.

If the tracks have not been joined they can be laid out flat for airbrushing. After the top side has dried it is flipped over to paint the other side. In this case, the tracks had been joined together into a ring. A few centimeters of track were painted, they were then rotated to present a new side to the front and then the next few centimeters were painted. The rotation continued until the whole track was painted. It is a good idea to start the painting where the tracks join, so you can tell when you get back to the starting point.By the time the second track run has been painted on the outside, the first track run will have dried enough to pick it up and it can be turned inside-out so the inner surface can be sprayed. Two thin coats of base coat were applied, flipping the tracks over between coats.Rust Wash

The next stage is to apply a wash to indicate rust. Tank tracks are inveriably made of steel and any surface that is not regularly worn will very soon be covered with rust. AFVs that have been standing unused for some time often have the entire run of tracks entirely covered in rust and even AFVs in regular use will have some rust spots on the edges and between individual tracks.A wash is a very thin coat of paint made up of around 5% paint and 95% thinner. There are plenty of ready made rust washes on the market but it is easy enough to make your own using either enamel/oil paint and turps or acrylic paint and water/thinner.The colour of rust is a debatable subject as it can appear to be any colour from bright orange to dark red. I made a wash from Tamiya acrylic Hull Red with a couple of drops of Games Workshops Blazing Orange. This was spread liberally over the tracks with a medium paintbrush and left to dry.

Layer Of Dried DustThe model is an M113A2 as it appeared on active service in Iraq in 2003. I intended to display it on a base showing it travelling along a tarmaced road. Therefore, the only weathering needed was a layer of dry sandy dust.This was simulated by using MiG pigment powders applied with turps. A old medium sized brush was dipped in turps and then in a pile of the pigment. This was then dabbed on the tracks working it well into the nooks and creases. Turps is used because it only holds the powder in place whilst it is wet. If a large build up of mud and dust was required then I would have used varnish, MIG pigment fixer, or acrylic resin as the medium for applying the powder. Applying the pigments is a messy business and it is advisable to work over a piece of scrap newspaper to collect the pigment that drops off.

The main pigment colour used was, not surprisingly Gulf War Sand, but the odd splodge of Europe Dust was put on the tracks occasionally to give a variation in colour.The tracks coated in pigments were left to dry and then most of the pigment powder was brushed off with a stiff stipple brush. This left only a residue of the powder on the surfaces and in the cracks that gives a good impression of accumulated dust.

A piece of slightly dampened paper towel was gently wiped over the rubber treads to remove the pigment powder where they would make contact with the ground. The result was a set of tracks looking reasonably like the photo in the top right of this article. This was the point at which I felt the tracks should be attached to the vehicle. The vehicle was only going to receive a very light weathering with a spray of highly thinned desert sand paint applied with an airbrush. This would cover the wheels and tracks blending them together.Finally, the guide teeth of the tracks were then lightly airbrushed with a metallic paint.Another ExampleThe example above shows how traditional rubber band tracks were painted. The photograph below shows the tracks for Dragons Panzeer IV Ausf G. These tracks are made up from individual links, but the method used was very similar. In some respects it was easier than the M113 above because these tracks do not have any rubber pads.

The tracks were left off the tank for painting and were made up into several sections.They were washed with warm water and a little washing-up liquid detergent to remove any grease and ensure the paint would adhere well.They were then airbrushed with Vallerjo track primer which is a dirty muddy colour.When thoroughly dry, a wash of Vallejo Model Air rust was applied. Model Air colours are intended for use in airbrushes and are quite thin. However, since the paint was being used as a wash and needed to be very thin it was ideal for brush painting.

Once the wash was dry I determined it was time to fit the tracks to the model which had to be done with superglue since all the plastic surfaces were now covered in paint and polystyrene cement would not work.The lower part of the model, including the tracks and suspension, was given several light coats of very thin earthy colours to give them a weathered dusty look. It was important to do this stage when the tracks were on the model to ensure that the weathering on the tracks and wheels was consistent.Finally, Vallejo oily steel paint was dry brushed on the outside of the tracks where they would contact the ground and on the guide teeth where they would rub against the wheels. As a general rule, the part of tracks that do not make contact with the ground or the wheels will become rusty whereas the parts that are subject to regular rubbing and wear will remain shiny.SummaryBecause of the variability in the types of tanks tracks available there is no set method for painting them, but in most cases the painting can be broken into the following stages: Base coat Rust wash Weathering (washes, pigments or very thin paint spraying) Metallic highlights on parts subject to frictionGenerally, the first two stages are best done off the model and the last two on the model.How to Apply Waterslide Decals

IntroductionThis article gives general information about waterslide decals and a step-by-step guide showing how they should be applied.BackgroundWaterslide decals are by far the most popular way of applying unit markings and other graphics to scale models. This is partly because most model kits are supplied with appropriate waterslide decals, but also because they generally work very well in most situations and it is relatively easy to get a good result.Waterslide decals can vary considerably in quality. Sometimes they are too thick and will stick out on the surface of the model and will not lie flat over surface details. At other times, they may be too thin and might disintegrate during the application process. If the printing is not sufficiently opaque the underlying colour of the model will show through. Occasionally, they may be printed out of register where the different colours are not printed over each other in the right place. However, standards have been continually increased over the years and the vast majority of decals are now very good quality.Decals that are applied well will greatly enhance a model, but when they are applied badly they will ruin a model that otherwise would have been excellent. Providing a few basic rules are followed, it is quite easy to get good results.Description of Water Slide Decals

Water slide decals or transfers consist of several layers. There is always a sheet of backing paper to which everything else is attached. On top of the paper is a layer of water soluable glue. The actual markings are printed on the glue film and on top of that is a carrier film.When placed in water for a few seconds the glue will become slippery and allow the decal to literally slide off the backing paper and on to the model. A single spot of dishwashing liquid dissolved in the water will help the decals to slide of the backing paper and on to the model. Hopefully there will still be sufficient adhesive on the back of the decal to stick to the model.Surface preparationIt is vitally important to have a gloss or semi-gloss surface to apply the decals. If the model is painted with matt/flat paints, then the surface needs to have a couple of thin coats of gloss varnish, or Klear/Future to give it some shine.Matt/flat paints leave a surface that is microscopically rough. If a decal is applied to such a surface then it will only make contact with the high points on the surface of the paint. When dry there will be thousands of microscopic air pockets under the decal which will appear as silvering and will look terrible.Some modellers will only varnish those parts of the model where decals are to be placed, but there is a danger of producing a ridge at the edge of the varnish. Most modellers will varnish the entire model because this is not only needed for decal application, but also makes it easier to apply filters and washes to the model.The model can always be returned to a matt or semi-gloss finish after decal application with another coat of appropriate varnish.Decal SolutionsAlthough waterslide decals are intended to stick well to the model, in practice they only do this in ideal circumstances, such as when there is a perfectly flat surface. If the surface undulates or has texture, of if the decals need to fit over or around surface projections, then they need a little help.Many companies produce two part decal solutions to help with the application of waterslide decals. The first part is painted on to the surface of the model. This makes it easier to slide the decal into the correct position and improves the adhesion of the decal. The second part is painted on top of the decal. This softens the decal and helps to make it conform to any irregularities in the surface. This second solution can be reapplied if the decal has not fitted well around any surface projections.Once the second solution has been applied, the decal may appear to wrinkle and may look dreadful. However,do not touch itat this stage because it will be extremely elastic and fragile. As it dries the wrinkles should disappear and the decal will shrink back on to the surface and cling fast to any surface details.These decal solutions vary in strength between different manufacturers. It is advisable to experiment a little when you use these solutions for the first time, or change brands.When To Apply DecalsThis will vary from model to model and it may be advisable to apply some decals at a different time to others. Normally, the best time to apply them is just before weathering, so that they look like they have been weathered with the rest of the vehicle.

Step By Step GuideThe following shows the application of a decal to Tamiyas 1/35th M113 armoured personnel carrier. The first stage is to prepare your work area and make sure you have everything to hand: Model Decal sheet Saucer of water + a drop of dishwashing liquid Tweezers Decal solutions Small brushes (one for each decal solution) Small scissors Paper towelThis is the M113 decal sheet. It looks complex, but the model has the option to choose one of four different colour schemes so only a quarter of these decals will be needed.Cut out the decal to be applied. It is best to leave the carrier film intact if possible, but where this will make the decal too big for the area where it is applied, or where there is an irregular surface it may be best to cut right up to the printed decal area.

Place the decal on the surface of the water and leave it for 20 or 30 seconds.The decal may float or sink and it may curl up, none of this matters.

Remove the decal from the water and place it on paper towel to remove any excess water.Paint a layer of decal solution 1 on the model where the decal is to be placed.

Slide the decal off the backing paper on to the model. Using a paint brush is a good way to do this without damaging the decal. Try to move the decal as little as possible pulling the backing sheet away from it.Use the brush to position the decal. When you are satisfied with the position press paper towel on top of the decal to absorb excess water. It is normally possible to reposition the decal by dampening it with more solution and sliding the brush underneath it. If necessary, brush a layer of setting solution 2 on to the decal thenleave it aloneto dry thoroughly.

When the decal is completely dry it is normal to seal it with a coat of varnish or Klear/Future.When applied correctly, the decals should look like they have been painted on.

Further Hints1. If the decal is thin and the paint underneath shows through (often the case with white decals) then try painting over the decals with thinned paint using them as a template.2. If the decals have to fit around surface projections, then cut them into small pieces and apply them separately.3. If there are air bubble under a decal when it has dried then prick it with a pin a few times, paint decal solution on it and press down on it with a damp paper towel.

Guide to using photo etched parts on models

IntroductionThis tutorial will explain all aspects of using photo etched (PE) metal parts on scale models including a step-by step guide for creating a complex three dimensional object.A description of how PE parts are made and their characteristics is given in the articleModel Kit Materialsso it will not be repeated here. This article will concentrate on how to actually use PE parts.PlanningSometimes model kits are provided with PE parts in theboxin which case their use will be shown in the instructions. However, if the PE parts are purchased as an aftermarket set, then you will probably have two sets of instructions one set that came with the model kit and a second set that came with the PE set.

Building amodel kitcan seem complex enough without the additional problems of replacing some kit parts with PE parts. As with many things in life, it is always wise to plan ahead if you were going to travel to Mexico, you would not go without first looking at aSpanish dictionary. So, take a good look at the kit instructions and the instructions with your PE set. Find out where PE parts replace kit parts and where they supplement kit parts.

Compare the kit parts with their PE equivalent and decide whether or not to replace the kit parts. Sometimes the kit part may be every bit as good as the proposed PE replacement, or there may be so much work making the PE parts for such a little improvement, that you may decide stick with the kit parts.Where you do decide to replace, or supplement kit parts, update the instruction sheet for your kit, so that you do not forget to use the PE parts as you construct the model.

Preparation And ToolsAs with many aspects of scale modelling, a good starting point is to clear your workspace of other models and tools and set out the tools you will need for the particular task ahead.Photo etched parts are small and sharp. Wear eye protection and beware of stepping on PE parts

The tools you may require are: Cutting surface Sharp knife or PE scissors Fine files, or wet and dry sandpaper PE folding tool Adhesives Tweezers Fine pointed pliers Masking TapeThe cutting surface should be fairly hard and an old CD or DVD is ideal since it is firm but will not unduly blunt your blade. Parts can be removed from the PE fret with either specialist scissors, or a sharp hobby knife. I find the hobby knife works best for most parts as it is sometimes difficult to position even small scissors and they can easily distort small parts when cutting. This will blunt the blade of the hobby knife fairly quickly so be prepared to change it as necessary.No matter how careful you are cutting PE parts from their sprue, you will often be left with small stub of sprue that will need to be filed away with either a very fine needle file or wet and dry paper.

A PE folding tool is not absolutely essential as parts can be folded with pliers, but a folding tool makes working with PE much much easier and I would heartily recommend getting one if you intend to use PE parts on a regular basis.

The most popular models are the Etch Mate from Mission Models and the Hold And Fold from The Small Shop. PE folding tools come in various sizes. If you are planning to fold large parts such as fenders that run the full length of a tank, then it will be necessary to get one of the large models. However, the vast majority of PE parts are small and one of the smaller (and cheaper) folding tools will be fine for these.

PE parts cannotbe glued with polystyrene cement. The most popular alternative used is cyano adhesives also known as superglue. These come in various thicknesses from super thin to gap filling and each thickness is useful in different situations. For very tiny parts it is possible to use glues such as Clear Fix, paper glues or even gloss varnish providing there is sufficient surface area. The bond will not be strong, but often it does not need to be. An alternative to glue in some cases is to solder metal parts together and this is covered in a the articleSoldering Metal Parts.

In order to hold the very tiny PE parts a good pair of tweezers is indispensible. In fact several pairs of different types will come in handy especially the spring loaded self-closing types. Small needle nosed pliers are useful for holding parts and bending them. Look out for the type that have a smooth rather than a serrated holding surface. It is possible to buy sets of small pliers at a low cost and this is a good investment.Small strips of masking tape will come in useful for holding parts together, or to the model while glue is applied and while it dries.

The above may seem a long list of equipment, but the vast majority of it is also used for other modelling purposes, so most experienced modellers will already have most of these items. The only exception is the folding tool that does require something of an outlay, but regrettably there is little alternative if you are serious about bending PE parts on a regular basis.

Attaching Very Small PartsOne of the biggest challenges with working with PE is that of holding and gluing very tiny parts such as buckles. These can be almost too small to hold with tweezers and if you can manage to grip them how do you apply the glue?The tiny PE buckles on these luggage straps are held in place entirely by gloss varnish.The method I use normally is to employ a small paint brush and gloss varnish. Paint a thin layer of gloss varnish on the small area where you want the part to be placed. Then while the varnish on the model is still wet, use a small paint brush soaked with a little gloss varnish to touch the PE part and pick it up. The natural stickiness of the varnish will be enough to pick up the PE part where it can be placed on the model on the area that you have varnished. Coax the part off the paintbrush and on to the model, maybe using a cocktail stick.You can then move the part into the correct position with the end of the paint brush and/or the cocktail stick. When the varnish has dried you may wish to paint another thin layer of varnish over the part to make sure that it is secure.Step-by-Step Guide

Now we will work through the process of creating a mudguard to replace those on Tamiyas 1/35th scale Panther tank.The PE set used is Abers update set number 35A24 which is often sold with set 34024 to make a complete update package for the tank. The first stage is to identify all the parts needed to build the mudguard by referring to Abers instruction sheet.

The parts are then separated from the fret with a sharp hobby knife using an old DVD as a cutting mat. Care is taken not to lose any of the tiny parts. Consider putting masking tape over the fret and cutting through it and the fret together to prevent small parts flying away.

It is a good idea to place all the pieces in a small container such as a jam jar lid so that they are easy to find and do not get lost.The next step is to examine every part and either cut, or trim, any stubs remaining from where the parts were attached to the fret.The main part of the mudguard needs some bending and shaping. The sides need to be bent 90 degrees and the front needs to be gently bent to form a curve. When it is necessary to perform multiple bends on a single part, it is very important to plan the order of the bends. Sometimes, making a bend on a PE part will prevent another type of bend. If in doubt make a copy of the part by cutting it out of paper, or thin card and try making the bends on this. Once a PE part has been bent, it is very difficult to unbend it without causing damage, so this is something that needs to be done right first time.

FOLDING A PE PART

Here we see the PE part on the folding tool.

Here the part is placed under the folding plate where the fold is to be made and the folding plate is screwed down tight.

Here the part is being bent by sliding a blade underneath it and lifting it up to a little over 90 degrees

Finally, you can see the bent part on the folding tool ready to be removed and fitted.

In this case, I decided to make the gentle curving bend first. This was done by using the round metal handle of a hobby knife as an anvil and pressing the part down on it gently bending around the handle. It was done in several stages to obtain a gradual smooth bend. The part was bent a little, moved a couple of millimetres, bent a little more and so on.Next, the two side pieces of the main mudguard were bent 90 degrees inwards using the Hold and Fold Bug tool. Bends on some of the other smaller parts were also made.Once all the parts have been prepared, they need to be fixed together and once again, it is worth spending a couple of minutes planning the order of assembly and trying a dry run. This advice applies to any model building.

It is important to make sure that the surface of the parts is clean and greasefree. At the very least, firmly rub the surface with a cloth soaked in white spirits or some other substance that will remove oil and grease. If possible rub the surface to be fixed with either fine wet and dry paper, or fine wire wool (1000 grit).

When joining metal to metal, I prefer to use solder and this process is covered in a separate articleSoldering Metal Parts.Most modellers will use superglue/cyano adhesive. Where there is a large surface area to be joined a good method is to hold the parts together and then place a drop of thin superglue on the edge which will be drawn in between the two parts by capillary action and will set almost immediately.For parts where there is little surface to join, or where there are gaps, then the thicker gap-filling superglue will need to be used. Once again, position the parts and hold them in place with clamps or masking tape, then carefully run superglue along the joint. The gap-filling superglue may take some time to set, so you may wish to apply accelorator to speed up the process.Impressing ridges into the mudguard using the tip of a ball point pen on a cutting mat.Once the parts have been fixed together, inspect them and clean up as with any other modelling sub-assembly. Clean away any excess adhesive with a knife or sanding sticks/paper and fill any gaps. Remember that fillers designed to work by bonding with plastic will not work well, so you will need to use something like epoxy putty to fill gaps e.g. Milliput, or Apoxysculpt).Finally, on this mudguard it is necessary to make some paralell raised lines on the mudguard. Aber have made the mudguards thinner where the lines need to be impressed which not only marks the position well, but also guides the tool used to make the impression.

I used a common ball point pen, which was pressed on the mudguard while it was placed on a self-healing cutting mat. The cutting mat has a rubbery surface and this is important because it would not work on a hard surface. The impression is made by gently moving the tool (pen) back and forth several times gently. Avoid trying to do it all in a single pass. There are also some bolt heads to be created and these are simply done by pressing the undersided of the mudguard with the ball point pen.

Once this has all been done the mudguard is completed. Unfortunately that is only half the job. In this case it is necessary to cut the original plastic mudguard off the model because it is moulded as an integral part of the upper hull. A modellers work is never completed!SummaryWorking with PE parts is a challenge and requires learning new skills and using different products to those used for modelling with plastic. Remember that good quality models can be made without ever resorting to PE, so do not feel compelled to use it, particularly if it is likely to detract from your enjoyment. However, if you are up to a challenge and want to take your models to an even higher level of excellence, then follow the guidelines in this article and you will probably find success.Step by Step Guide to SolderingIntroductionLong gone are the days when making a scale model involved just plastic. Modern kits are often multimedia with resin, metal, wood and other materials in addition to traditional styrene plastic.This means that a modeller needs to know how to fix together different materials and perhaps one of the most difficult combinations is gluing metal to metal. Cyano (superglue) or epoxy resin adhesives are most commonly used, but these are far from ideal in some situations.An alternative method is to solder metal parts together. Although this is not easy it will provide a very strong bond and in a few cases is the only practical solution. This tutorial will guide you through the process.CAUTION: Soldering requires the use of an electric or gas powered soldering iron which will be extemely hot. In addition to the risk of personal injury there is a danger of causing damage to property, or starting a fire, so extreme care should be exercised and it should only be attempted by adults.

The ProblemThe most common glue used in scale modelling is polystyrene cement which comes in a variety of consistencies from thick tube glue to ultra-thin liquid cement. For gluing plastic (styrene) it is ideal. For glueing metal to itself, or other materials, poly cement is utterly useless.The adhesives most often used for metal are two-part epoxy cements, or cyano adhesives, neither of which are ideal for the following reasons:Problems with epoxy resin adhesives:

Epoxy glues have to be mixed and usually it is necessary to mix far more than you need, so it is wasteful. When mixed they have to be used within a specific time before it cures. This time can be anything between 30 seconds and 24 hours depending on the make of epoxy, so you need to choose the curing time suitable for each task. Until the epoxy cement has started to harden, it has very little holding power, so any joint has to be held firm with clamps or similar.Another problem with epoxy is that it is very messy and stringy a bit like gluing with treacle. It is difficult to get a professional looking finish and often more glue ends up on fingers and the wrong parts of the model than on the joint. Finally, when it is dry, any excess is very difficult to remove (it is best carved away before it fully hardens).

Problems with cyano adhesives:The disadvantages of epoxy mean that cyano (superglue) adhesives are more often used where one of the materials to be glued is metal. This can work well where there is a good surface area and a rigid joint. For example, when fixing a metal plate on to the side of a vehicle, a good bond can be achieved because there are two large flat surfaces that will not move. Even so, it is critical to make sure that there is no oil or grease on the metal, since any greasy surface will repel the cyano and prevent a good bond being acheived. In fact, to be on the safe side it is best to use fine wet-and-dry paper on the metal to be bonded to ensure there is a good key.Unfortunately, cyano is unlikely to work very well when there is a small surface area, or when there might be movement in the joint. One example of this might be where a flat photo-etched part is being bent to form a box. Where the edges meet there is hardly any surface area, so very little for the adhesive to grip on to. In these cases, it is necessary to use thick gap-filling superlue and to apply it where it is unlikely to be seen. When the joint might move such as when forming a metal framework, the metal parts can bend and flex as is in the nature of metal to do so. However, the gap-filling superglue will be rigid and is likely to crack and split so the joint fails.Great care is needed when using cyano as its ability to glue human skin to itself is legendary.The alternative is to use a method that provides a very strong, almost invisible joint that will not crack if the joint moves and that method is soldering. Soldering is particularly useful when making three dimensional objects out of metal such as boxes, or metal railings such as the stowage bins often seen on AFVs.Soldering Tools and MaterialsThe whole process uses exactly the same tools and materials as soldering electrical and electronic parts, so if you have done that or know somebody who does electronics as a hobby then you will have a head start. The items needed are:

Soldering Iron:This is used to melt the solder and is simply a way of applying heat to a small area. Most soldering irons use mains electric for power, but there are some that use a small butane gas canister. The tip of the iron needs to be small because you will be applying heat to small areas.An alternative to a traditional soldering iron is to use a tiny flame blowtorch sometimes sold in cooking shops for creating the crispy sugar coating on creme brulees. However, I would caution against using a naked flame when trying to apply heat to tiny modelling parts the risk of something going horribly wrong is too great.

Solder:This is a soft metal that is normally sold as rolls of wire. It will be widely available from hardware and electrical stores. The wire comes in different thicknesses and you will probably need fairly thin wire.Solder wire normally contains a proportion of lead so should be handled carefully and hands should be washed afterwards.Flux:This is a gel or paste that will normally come in a jar or tube. The flux makes the solder run along the metal join and adhere to the metal. Without flux the solder will sometimes form into little balls and simply roll off the metal, or it might attach itself to the soldering iron.

Step By Step GuideAlthough no two soldering operations are quite the same, there are some general principles to follow which are demonstrated here as a brass photo-etched mudguard is constructed. The mudguard is made from several piecies, some of which have to be bent to give them shape, but eventually there is no getting round the fact that some of the tiny parts have to be joined together.1. Assemble tools, parts and prepare work area

Before starting out make sure you have all the tools and materials you will need. Get all the parts you are going to solder together. It is possible that you may put the hot soldering iron down on the work surface or that melted solder will drip, so make sure that your work surface and indeed the floor is well protected.The tip of soldering irons can become soiled with residue from previous soldering so occassionally will need clearing of debris with a file and/or wet and dry paper.

2. Prepare the partsSoldering will only work on clean grease free metal. Wiping all the parts with a paper towel dampened with white spirits will get rid of any oil or grease and rubbing it with fine wet and dry paper or steel wool will give a good key for the solder to bind to. At this point it is a good idea to check that the metal parts have been cleaned up properly i.e. any stubs from the fret have been filed away.Electric soldering irons can take a long time to heat up properly so switch on the iron in plenty of time.

3. Clamp the parts togetherThe parts to be soldered need to be held together until the solder hardens. Also the entire assembly needs to be held steady and you will not be able to do this yourself because you will need both hands for soldering and the parts will become too hot to hold. Therefore, it is necessary to arrange some system of clamps and clips to hold the assembly firm.

4. Dry runDo a complete rehersal of how you are going to solder the parts together. Work out how you will hold the soldering iron and the solder. Which direction will you move them both? Where will any excess solder drip off? Can you move around safely without knocking anything over and are you able to return the iron to its stand when you have finished?These are all questions best answered before you start.

5. Do the soldering

Start by painting a thin layer of flux over the joint that you want to be soldered using an old paint brush. Then hold the iron against the back of the joint trying to get as much of the iron in contact with the parts as possible. After a few seconds, push a the end of the solder wire on to the front of the joint. If the joint is not yet hot enough nothing will happen, but when the joint does reach the magic temperature the solder will suddenly turn to liquid and run along the joint.The temptation will be to keep pushing the solder wire into the joint and it will keep melting. You will actually need very little solder and if too much is used it will either run off or will build up excessively. This does not matter if the joint will be invisible, but should be avoided if the joint will be visible. It is almost impossible to remove excess solder without remelting it and starting all over again.If you are holding the parts together with masking tape, then it is likely that the glue on the tape will melt as it gets hot and the tape will come off. Try to arrange the tape so that there is always some tape away from the point of contact of the soldering iron.

The solder will melt and then resolidify in a couple of seconds. If you are not happy with the joint you can remelt the solder and move it around with the tip of the soldering iron, or you can add extra solder. When you are happy with the result leave it for a few minutes to cool down and fully harden.If you are attaching two flat pieces together, then a thin layer of flux should be painted on the faces to be joined. The solder will be drawn into the join by capillary action when it melts.

REMEMBER TO SWITCH OFF THE SOLDERING IRON!

6. Test and tidy upTest the joint by giving it a little wiggle. It should be strong but there is no way to know without trying it and it is better to find out before you attach it to your model. The visible part of the joint may need to be cleaned up with a file or wet and dry paper.

If the join is not perfect on the visible side then there is no reason why you cannot use a model filler or putty to improve the look of the joint. However, the same rules about using glue on metal apply to putty you will need to use a filler that does not rely on a reaction to the styrene plastic. Appropriate fillers for metal are gap-filling supperglue, or epoxy putty such as Milliput and these will both make the joint even stronger.

SummarySoldering is not easy and does require practice. However, it does provide a very strong bond in situations where conventional glue will either not work at all, or will produce a weak bond. When creating a metal stowage basket from scratch using metal wire, the last thing you want is for joints to start springing apart when it is being attached to the model. A soldered joint will give some security that it will hold in place even with relatively rough handling.However, do take care because it is so easy to burn yourself or furniture with a hot soldering iron.

Working with Resin PartsIntroductionThe vast majority of scale model kits made today are made from plastic (polystyrene). Most modellers will, sooner or later, come acoss other materials and cast polyethylene resin is one of these. Working with polyethylene resin requires different methods and products. This tutorial is a guide to dealing with this material.Background information about cast resin can be found in the articleModel Kit Materialsand so we will not repeat it here.

Preparing PartsWhether you are building a complete resin kit, or using an aftermarket kit to convert a standard plastic kit, you will find that the resin parts are likely to need more work on them than the more normal injection molded plastic parts that you may be used to.

The quality of plastic kits on the market is very good and most modellers have become used to snipping a plastic part from the sprue and, with little or no clean-up, putting it on the model. Unfortunately that will not be the case with resin.

Resin parts are cast from a liquid and may well come still attached to the casting block. If this is so, then they need to be separated. If the attachment point is thin then it might be separated with repeated passes from a sharp hobby knife. However, if the attachment point is thick it will need to be cut off with a fine saw, sometimes called a razor saw, which is designed for hobbyists. Normal saws available from hardware stores cannot be used as the teeth of the saw will be too large. The sawing process can be difficult and time-comsuming, especially if the link between the part and the casting block is large, but there is no way to avoid it. You may wish to try using a motor tool to speed up the process, but great care is needed when doing this. If too much friction is generated, the resin may melt.The greatest difficulty can be cutting away the casting block without damaging the part. Sometimes it is better to cut away the bulk of the casting block, leaving a small amount behind that can be trimmed away with a modelling knife.

Note that whenever cutting resin like this, or sanding it, there will be a fine dust produced which is very bad for the lungs. Wear a filter mask and clean up your work area afterwards.When the parts have been removed from the casting blocks, they need to be cleaned up. Any remaining lug where the part was attached to the casting block will need to be cut away with a knife or sanded/filed away. There is also likely to be a seam that will need to be removed with a sharp blade.

Examining All PartsOnce the parts have been removed from the casting blocks and cleaned up they need to be examined.

One potential fault is warping. Check whether the part has become distorted. For example, if it is the chasis of a vehicle place it on a flat surface and see if it sits right or whether it rocks back and forth. If you find a part has been warped then it is possible to sometimes undo the damage by applying gently heat, such as boiling water or even a hair dryer which softens the resin and makes it possible to reshape it. Clearly care needs to be used when applying heat in this way to avoid injury.A second fault is air bubbles. Sometimes tiny air bubbles can be trapped in the mould whilst the resin is setting and this might mar the surface detail. These tiny holes are sometimes called pin holes. This fault can be rectified with filler and sanding. Remember that fillers designed for styrene plastic will not adhere to resin. However, if the pin holes are tiny, almost any type of filler will work well.Another thing to check for is the need to drill any holes. Injection molded parts will probably have holes molded into them, but it is more difficult to create holes that go right through a part when it is cast. It may be that the resin part has an indentation to show where a hole should be, so that the modeller can drill it out completely.Gluing PartsStandard polystyrene cement which is perfect for conventional styrene models is absolutely useless for resin parts. Poly cement works by slightly dissoving the styrene plastic, but it wll not dissolve resin and so will not work at all. When gluing resin parts to each other, or to plastic, you will need to use either two-part epoxy glue or cyano (superglue) adhesive. Both of these work well, so it is down to individual preference.

Cyano is the most convenient because it does not have to be mixed and so is probably the first choice for many modellers. However, the epoxy cement will probably produce the strongest and most reliable bond.Whichever glue you use, it will only work if the surface is prepared properly. Both types of glue need a dust-free and grease-free surface, so wash the parts in warm water with detergent and dry them thoroughly. The bond will probably be stronger if the surfaces to be joined are roughened slightly with sand paper.Once you have glued the parts together, there may be a need for filler. The normal fillers intended for polystyrene such as Squadron Green Stuff and White Stuff will not adhere to resin because they are designed to melt the surface of polystyrene. This does not mean that they cannot be used in certain situations, but you should be aware that they may flake away if spread thinly. Epoxy putties such as Milliput, or other fillers that have a natural tackiness, should normally used in preference when filling resin parts.SummaryUsing resin parts does provide the modeller with additional challenges, but there are also additional rewards. You have the opportunity to make an unusual or even unique model. Using resin also gives you the opportunity to hone and develop your modelling skills. Give it a go. Try starting with a simple conversion kit to enhance or modify an injection molded kit and build up to a full resin kit.