11 €

Nº 53

Nº 53 • 11€

SPECIAL BALKENKREUZ
72 PAGES
Armour Modelling Magazine
PANZER ACES

www.euromodelismo.com

PortadaPA53.indd 2 28/12/16 19:21

 LANDSCAPES
LANDS 101
Snow /Nieve

16€ LANDS004
Pine stump
Tocón Pino
LANDS 102
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-High quality resin bases and trunks to obtain a perfect
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LANDS003 LANDS002 LANDS005

Base with tree stump
Beech /Haya Base con tocón Linden / Tilo

40€ 28€ 19€

www.landscapesindetail.com • www.euromodelismo.com
Anuncio_Productos_Landcapes.indd 1 16/8/16 20:32
 PANZER ACES Nº 53 2017

2 PANTHER AUSF. D • 11. SS PZ ABTEILUNG “HERMANN VON SALZA”

A last generation kit in the hands of Domingo Hernández can be nothing but a
success. Here you can see his magnificent Panther D executed with a few
improvements and painted with the usual author’s mastery.

14 JAGDPANZER PZ IV SD.KFZ 162 AUSF.F

It wouldn’t be possible to ignore AFV hunter vehicles when dealing with German
machines. Michel Pérez improves and adds detail to this veteran Dragon kit using
mostly homemade solutions. He paints his vehicle with a colorful camouflage
pattern that enhances the sharp lines of this hunter from the end of WWII.

28 STURMMPANZER IV BRUMMBAR SDKFZ. 166

It is rare to be able to see such elaborate, well documented, detailed and ingen-
iously executed projects as Angel Iñigo’s. Again we’re proud to showcase among
our pages this incredible assembly and painting work accompanied with his incred-
ible illustrations and color charts. A special “black cross” section wouldn’t have
been the same without his work.

48 PANZERKAMPFWAGEN II AUSF. J
A rare bird which is not that rare. This small reconnaissance AFV had a very short
production run and in spite of that several brands have produced it over the years
and its presence is also common on several contests. There’s surely a reason for
that, no doubt. The beauty of this vehicle is well represented in our newest collab-
orator Ivan Drond’s work. He accomplishes this by developing a painting process
based on color modulation obtaining the best out of this particular piece.

58 UNTERNEHMEN, MERKUR, 1941

What if we painted a figure as if it was a military vehicle?
Creta was full of dust during Merkur operation. We have worked on this german paratrooper at Creta
how to create mud and dust on a figurine.

68 MODELLING LESSONS: APPLYING DIRT

As usual we will show you the beginning of the road giving you a good road plan destined to guide you in the world of dirt and
its application.

www.euromodelismo.com www.facebook.com/PanzerAces.Magazine

1_indice_53.indd 1 28/12/16 20:53

 Panther Ausf. D

By Domingo Hernández

TAMIYA 1/35

In 1943, Hitler ordered the creation of a Division of the SS whose officers were
foreign volunteers. Consequently, the SS Panzer Grenadier Regiment Nordland,
comprised of Scandinavian volunteers, was moved from the front line to be used as a
basis for the new Division. Although most of the volunteers were from Division Nordland
Scandinavia, this division was composed of a wide range of nationalities. At the end of
the war, Nordland consisted of Danish, Hungarian, Dutch, Norwegian, Estonian, Finnish,
French, Romanian, Spanish, Swedish, Swiss and British, either as members or staff attached
to it.

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 11. SS Pz Abteilung
“Hermann von Salza”

After the tra- Nordland Panzer Abteilung (SS-Panzer

ining in Germany, it Abteilung 11) won the honorific title
was assigned to Division “Hermann von Salza” in honor of the
III Panzer Corps SS-Obergrup- fourth Great Lord of the Teutonic Order
penführer Felix Steiner and moved to (1179-1239).
Croatia for training and to complete their Among the various tanks that
training. In late November 1943, the belonged to this group, there are very
Regiment Danmark participated in heavy few photographs of Panther D, including
fighting against a force of 5,000 parti- a very famous one where you can see a
sans near Glina. During this period, the Panther reloading near Narwa in 1944.

2-13_Panther D_.indd 3 5/1/17 15:11

 ASSEMBLY

Opening the box you can see that the Japanese brand has improved over the
years, new molds, ejection marks where covered after assembly, good quality
plastic, much improved links and some items that can be purchased separately
such as vents and link by link tracks.

1 2

1. I began with the hull, after checking out the

measurements to verify possible imperfections and I
decided to add the weld lines at the rear and front areas
making these with Magic Sculp and a small tool.

2-3. As I just wanted one box on the rear, I decided to use

the Aber one for the Panther. The level of detail is very
good but I would give it a more realistic touch with some
extra dents.

4. Internal vent parts were painted gray and then I applied

5 several washes with black acrylic Vallejo paint.

5. Appearance of the interior parts in place but before the

Aber grille was put in place.

MATERIALS EMPLOYED
Kit: Panther D 35345
Rear box and details: Aber 35211
Gun Barrel: Aber 35L004
Tracks: Friumodel ATL-33
Spare track links: Modelkasten SK-13

/4

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 6. Before gluing the two
halves of the hull, I wanted
to check the fitting of the
chains that came with the
kit and they incidentally
are of a very good quality
but I had already built the
Friulmodel ones.

7-9 I decided to replace

the links on the sides with
Modelkasten links, which
are highly detailed.

8.Other details such as the auxiliary wire around the

wooden block or the chain employed to secure the
barrel were also replaced with more detailed pieces.

10. The Aber gun is another added piece from my

spares box as the machine gun was too. I had to do
some surgery to adjust the two but the result was
worthwhile as you can see.

10
9

11

11. Other elements to consider are the periscopes

that were painted black before gluing the two
pieces of the hull together, making also the
welding lines on the front of it.

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 /6

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 PAINT
12. I knew I wanted a model with a
certain style, trying not to overdo the
weathering and yet that seems worn,
stained and with a winter camo. To do
this I started with a base other than
those that I normally use, I began
by applying a mixture of XF-78 and
XF-60 with a 80:20 ratio, increasing
the amount of XF-60 for creating
highlights and adding some drops of
XF-2 for the extreme lights. The
result is a warmer than usual color
that I liked a lot as my base color.

12

13 14 15

13 a 15. The process which took

me longer was the chipping,
and it was divided into three
processes, beginning with the
sponge technique using Vallejo’s
German Camo Black. Photo Paint.
The second step is to tweak the
previous one using a paintbrush
and the same color. Photo Paint.
The last step is to dilute the
color, apply some splashes with
a toothpick, making the marks
almost imperceptible.
16

16. Some variations in the chipping I

made with colors like Iraqi Sand and
Light and Dark Rust from Pancer Aces,
which gives a little variety of color.
Then I sealed the chipping with a coat
of gloss varnish.
17. The next phase after leaving the
varnish dry up, was to employ the
laquer technique using Humbrol white
and Worm Effects by Ammo. The
secret is not to cover the entire model
and work on it by areas, insisting most
17 on the areas subject to friction.
7/

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 19. Specific decals for this model were received by Star Decals’
excellent service. With a little care and the Micro products I got
the numbers perfectly adapted to the model’s troublesome surface.

19

18

18. Before continuing with the painting process, I

decided to paint the red priming surface left bare
by the scratch marks left on the rear of the Panther
by the rear box. I did not do this at first, but then
I masked carefully the surface and used XF-7 Hull
Red and some XF-7 Tamiya, applied in several thin
coats to avoid saturating the area.

21

20

20. The tools was one of the processes that 21. Another area in which I used the same paints were the
entertained me for quite some time as the sides exhausts, and these were topped with a bit of black pigment (Mig
of the Panther are loaded with tools that are very Productions).
visible. For this I resorted to the Ammo set.

22

22. The spare links set was

entirely painted with Life
Color’s rust and dust set, the
matte finish provided by these
paints is exceptional for these
details.
/8

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 23. The second part of the white
23
camouflage was made with Humbrol’s
white paint via mapping and drained
while I employed Vallejo paint for
redoing some white spots creating a
3D effect in some of them.

24-25 In order to break the monotony

of the kit, enhance its volumes and
highlight detail I made a dark wash.
Droplets were applied for enhancing
crevices and after a few minutes the
product was retired with a special
swab to clean the enamel.
26. The result of the progress made so
far can be seen in this photo; the top
portion is done.

24 25

26

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 27. I started to paint the rubber
bands on all wheels using a
mixture of Black and a few drops
of Flat flesh both by Vallejo.
28. The second step was to paint
the metal areas of some of the
wheels, for this I used Humbrol’s
Metal Cote, applying some paint
and scrubbing with a sponge, the
result is bright and polished.
27 28

29

30

32

32. I also applied some pigment on top of the hull,

especially in areas where dirt accumulates and topped it
with some splashes or deposits of the previously employed
wash.

33

31

29. To the bottom of the hull got a mix of dark green

synthetic grass, plaster and pigments from Vallejo; mainly
dark colors.
30. The application process is simple; with an old brush
pigments are deposited in the recesses. 33. In the rear of the hull and around the tower ring
31. With a thin pipette I placed a few small drops of I applied a dry mixture of Wilder pigments -barely
Tamiya X-20 to fix the pigment in place and finally noticeable- being rather a “filter” like pigment application.
dropped the brush over the wet mixture.
/ 10

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 FIGURES
Inside of most modeler’s drawers there are
products waiting to be used on special occasions.
This is my case, I had a Warriors’ reference called
“brothers in arms” and their time had come with
this Panther. The figures are really nicely sculpted
and did not have much to clean, just use the two
embraced figures and they seemed to be the most
appropriate ones.
After applying first a good coat of primer,
I airbrushed the figures with Vallejo airbrush
colors. The first lights and shadows are made with
the same Vallejo colors adding varying amounts
of light and dark colors. I finished the figures by
applying oil paint to do some color profiling on
their clothes while I used for the heads and faces
the Lifecolor set.

The first thing I did was fix the tank to the base through a screw in the middle, in order to avoid possible accidents and
also adapt the suspension of the tank and adapt it to the terrain. Finally, I added the figures and glued these with cyano in
the same footprints I had made when the base was still fresh. Some touches of mud on the shoes of the figures and some
more tweaking and finally the scene were finished.

COLOR CHART
TAMIYA ACRYLICS VALLEJO Pigments HUMBROL
XF-78 Wooden Deck Tan Model Color 73.102 Light Yellow Ochre White
XF-60 Dark Yellow 70.822 German Cam. Black 73.104 Light Sienna Metal Cote
XF-2 White Brown 73.114 Dark Slate Grey MIG PRODUCTIONS
XF-9 Hull Red 70.301 Light Rust (Panzer Aces) AMMO MIG P023 Black Smoke
XF-7 Red 70.302 Dark Rust (Panzer Aces) Set Tools Colors WILDER
XF-10 Flat Brown 70.819 Iraqui Sand AMIG 1000 Brown Wash for GP04 Dry Russian Earth
X-18 Semi gloss Black 70.950 Black German Dark Yellow GP06 Brown Russian Earth
XF-72 Brown (JGSDF) 70.951 White LIFE COLORS
70.955 Flat Flesh Set Rust & Dust

11 /

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 To view the terrain process and final photos,
scan the upper code

/ 12

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 13 /

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 Jagdpanz
Sd.Kfz 162 Ausf.F

/ 14

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nzer Pz IV

Por Michel Pérez Blasco

DRAGON 1/35

From the outset of WWII, the Germans developed a range of diverse anti-tank self-
propelled vehicles. And they did it with every conceivable frame at their disposal using
both their own war material and captured war material. Most of these self-propelled
vehicles didn’t have enough armoring or power or were vehicles which were way too tall.
Only the evolution of the “Stugs” to anti-tank hunters brought a fully satisfactory solution
to the problems but within the limits of the use of the Pz III frame

15 /

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 In order to overcome these limits the vehicle or the increased armoring from 60 giving it 221 kW at 3000 rpm. The gear
use of the frame of the Panzer IV was to 80mm thick for the frontal area and from shift box was a ZF SSG 76 with six for-
the next logical step and the model used 30 to 40mm for the sides of the vehicle ward gears and a reverse one. The vehicle
was model “F”. The Vomag AG anti-tank which took place in May of that year. The reached a maximum speed of 40km/h and
armed with a 7.5cm Pak 39 L/48 gun pro- vehicles were factory equipped with a the vehicle weighed about 24 tons.
posal was accepted, and after two initial Zimmerit covering until September 1944 The Jagdpanzer IV’s were destined to
run vehicles –the well-known series “0”- and the final units had three return pins anti-tank units “panzerjäger abteilung” for
the standard production began on January instead of four. The vehicle was manned the regular army and also the SS. Even the
1944 and the final two units left the fac- with four crewmen except for some com- Falschirmpanzer Hermann Göring had 18
tory on November 1944. Throughout the mand units which had an additional FuG units of this vehicle. The vehicles fought
production of this vehicle some modifica- 8 radio that required a fifth crewman. It in Italy, France, Poland, Hungary and of
tions were made such as the removal of was powered by a Mayback HL 120 TRM course fought to defend Germany.
the MG, the relocation of the spare track twelve lined up cylinder engine, cooled
links from the frontal to the rear area of the with water with a capacity of 11867cc.

THE KIT
This is Dragon product ref. 91145 from and those that are there are
the series “Super Value Pack”. It is a rather pretty easy to get rid of. The
simple kit, pretty much within the means worst part of the kit are the
and abilities of most modelers. You should “DS” tracks and that’s not
simply follow the instruction sheet in order much of an issue, because
to get a pretty accurate Jagdpanzer IV L/48 there are plenty aftermarket
model with the “small” inconvenient of products to remedy this.
not having the Zimmerit paste texture. I The good thing about this
discovered this after doing some improve- kit is the four bonus figures
ment work which was utterly useless. The found on the box. The decal MATERIALS EMPLOYED
piece arrangement is quite simple and sheet allows us to choose
- Jagdpanzer IV/L48 - Dragon 9145
logical. The quality of the details is gener- among four different cam-
- Panzer IV 40 cm Track Late version 1943-1945 – Kaizen
ally pretty good. The pieces do not have ouflage patterns belonging Kz-Pz-400L
excessive flash. Additionally we don’t to four different units. - 2 m. Aerial – Rb Models 35A02
have conspicuous mold extruder marks

ASSEMBLY
1-5. Before I discovered that I had to
1 2
recreate the Zimmerit covered surface
I did a few improvements such as
marking the lines on the edges of the
planks, do some forgotten welding
lines, or texturize the planks with
liquid glue and a small paintbrush .
Unfortunately all this was useless
because it was fully covered with
Zimmerit paste.

3 4 5

/ 16

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 6 7

6-7. I did not use any specific P.E. set but I did a few
8
homemade improvements. I built for instance the
Schurzen with aluminum sheet.
8. The additional armored planks protecting the
engine on the sides are built with scrap Plasticard
pieces. I did this because the pieces included with
the kit were way too thick.
9. On the rear of the vehicle you have to pierce the
piece for holding the slings or towing system. This
is a silly thing that the manufacturer has obviously
forgotten to do. Luckily it can be very easily fixed.
10. I got rid of the entire right frontal fender/
mudguard section, so in the place where the piece
for holding the fender was screwed I had to make the
holes for the nuts.
11. On the left fender I removed the moveable piece
and rebuilt it with aluminum, although I ended up
not using this piece.

9 10 11

12 13

12. The handles for the hatches were replaced

with ones made with electric wire sections.
13. The engine cover was detailed with homemade
plastic pieces, the clasps for some tools and the spare
antennas. I also used a generic P.E. set for the shovel
and hatchet metal handles, etc. I like to make them
functional and be able to paint it without problems;
the tools are put in place when I’m done.

17 /

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 14 15

14. I also detailed the wooden block

for the jack by texturizing its plastic
surface with a knife and adding P.E.
remains.
15. I rebuilt with very thin copper
wire the springs on the bottom of the
16 rear fenders. This is something rather
easy to do and the piece becomes far
more realistic.
16. I recreated the Zimmerit covered
surface with a Cavalier product that
a friend of mine lent me. With it I did
molds using a rather useful Japanese
product. It is some sort of very
hard rubber which turns soft when
heated. I applied on these molds a
thin coat of thick putty Mr Surfacer
500. Afterwards I cut portions of it
and placed it on the AFV as needed.
The advantage of these putty copies
is that we can glue them using regular
17 18 glue and it can also be used to conceal
union lines or make some edges
smoother.
17 to19. I employed the Kaizen tracks
for the first time in order to replace
the awful ones from the kit and I
have to say that I like them a lot. The
details are well defined, fit perfectly
in the tractor wheels, are pretty
resistant, fully articulated and of
course are pretty easy to assemble. I
really did like that the wire for joining
each track link is straight, making
assembly a whole lot easier.

19

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 19 /

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 PINTURA

20
Obviously our surroundings determine
our modeling vision. If you look closely
to the work of the modelers in Northern
Europe we can see a predominance of cold
hues, dirt is usually pretty dark and dust
rarely appears on their vehicles. On the
other hand, we the southern modelers –I
guess also influenced by our weather and
everything we’re surrounded with- tend
to use warmer colors and tend to recreate
more often dirt clusters and light colored
mud. What I intended to do this time was
to try and get a “northern” finish. No dust
and dark dirt all over the vehicle. I began
to paint my vehicle trying to follow this
simple premise.

20. Once again, the wide range of

materials employed made it advisable
to unify the color that was going to
be applied on top of the Dunkelgelb
coat. So I primed the vehicle with
Mr. Surfacer 1200 and once dry
21 I airbrushed the base color. This
time I created a base color mixture
containing Dunkelgleb 71.025 and
Light 230 (Both Vallejo’s Model Air).
For the higher surfaces of the vehicle
the lighter hue is present in a larger
proportion on the mixture airbrushed.
21. The first camouflage color used
was applied in irregular German
Cammo spots. Model Color’s AV Bright
Green 70833 is the liveliest green
hued employed towards the end of
the conflict. In addition to diluting it
conveniently I added also a few drops
of AV’s Flow Improver 71.462. This
product helps paint flow much easier.
22. For the reddish brown hue I
employed AV Model Air’s Rotbraun
041. This color was also diluted with
the specific Vallejo thinner and used
along with the Flow Improver product.

22

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 23 24

23. Once the camouflage dried I applied the

decals. The vehicle only has the typical black
crosses and the ID numeral for the vehicle. I
applied gloss varnish on the decal surfaces prior
25
to applying decals; this is the “secret” to avoid
unwanted decal gloss. I also employed the
Micro Set and Micro Sol product and the decals
were perfectly adapted to the Zimmerit covered
surfaces. Once dry I mat varnished not just the
decal areas but also all the Zimmerit surfaces.
24. With the intention of harmonizing all
colors I applied a light brown orange hued paint
filter. I employed for this the Tan for 3 Tone
Camo A. Mig-1510. I was careful not to create
puddles in the area because I wanted to avoid
accumulations on the Zimmerit.
25. With the intention of harmonizing all color
hues I applied an orange light brown color filter.
The color employed for this was Vallejo’s Model
Color AV 926 and 908. With this I tried to 26
make my vehicle look like those in the vintage
pictures or matching the surviving vehicles.
The weathering process that will follow will
however darken the surfaces further.
26. Paint chips on Zimmerit surfaces show the
gray hue of the Zimmerit paste underneath. I
did these on my Jagdpanzer using Model Color
AV 70.989. I did way too many paint chips,
so I had to get rid of some. I did it using a cut
paintbrush quite soaked in thinner.
27. I applied a pretty general color wash but
I insisted particularly on the lower areas of
the vehicle. This time I used Wilder’s Gray
Shadow Wash. Precisely because I was doing
a wash, I let the product soak into all the nooks
and crannies in order to convey a feeling of 27
depth.

21 /

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 28 29

30 31

32

28. During my painting handiwork I usually accompany washes with light

drybrush touches applied on the edges that I need to enhance. Using these
two techniques simultaneously helps you create a rather convincing feeling of
volume. As usual it is always advisable to avoid overdoing any particular effect.
Model Color AV’s Beige 917 works just fine for this effect.
29. Then I began doing paint chips and scratches in a very light color hue
using 917 again. I also did other chips with a mixture of this color and German
Cammo. Bright Green 70833 on the green camouflage spots. On the brown ones
I used a mixture of 917 and Rotbraun 041 (Model Air AV.)
30. Then I did the deepest paint chips, mainly on the edges using colors 71040
and Dunkelbrown 71042 both from AV’s Model Air series.
31. The final step in the painting process is to weather the vehicle. The
33 whole process is pretty hard to explain because intuition is the main factor at
work here. Basically what we have to do is to recreate dirt and diverse stains
throughout. I try to make all these as logical as possible. I imagine where and
how can stains be created and then I determine the intensity and shape. The
main tools for me here were oil paints SOMBRA TOSTADA and SEPIA. I also
employed some available washes specifically 76.521, 76.513 and Gray 76.516 all
Vallejo acrylics.
32. Both oil and acrylic washes are used in different ways, but I mainly make
small splashes and superimpose several very transparent coats. This means that
we have to work with highly diluted paint and a brush carrying very little paint.
33. The areas where the paint chips on the Zimmerit surface have received a
“double dirt ration” this was done to tone down the contrast between the red
paint used for priming the vehicle and the toned down colors of the camouflage
pattern. Here we can see clearly the perfect adaptation of the decals to the
bumpy surface of the anti-magnetic paste.

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 34 35

34. I followed a similar paint process with the Schurzen,

but I put more emphasis on the dirt splashes and
especially on the mud found on the lower areas.
35. The additional pieces of equipment always bring an
extra touch to our kits. An ammunition box, a helmet,
a jerrycan, a hammer jammed between the spare track
links… The light satin finish of the wooden handles
creates a contrast between the dirty and matt look of the
engine cover

36 37

36. Another way to create additional

38 39
points of interest on the kit is to
play with asymmetry. In this picture
we can see it perfectly way with
the absence of the right fender, the
Zimmerit chips, the sling, the hook,
etc.
37. The gun is painted gray which
replicates the anti-fire paint the
vehicles received. This was dirtied
with Vallejo acrylics’ wash 76516
Gray and Titan’s sepia oil paint. The
area where the mouthpiece is screwed
38. The flat area supporting the 39. The slings are painted with
on I did some polished metal effects
Schurzen was painted with different rather dark brown and gray hues
and rust.
rust colored hues form LifeColor’s Rust avoiding the rust hues which are
and Dust set. usually employed on these items.

23 /

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 40 41

42

40. The trunk is a small natural branch with different

acrylic and oil paint washes in order to make this piece
match with the rest of the paintwork.
41. Making some splashes in the direction of the Schurzen
also creates a very realistic feeling to the kit.
42. Mud on the lower areas of the kit has been recreated
using A. MIG’s 1705 Wet Mud product. The difference
between the satin and the gloss finish on the lower areas
and the perfectly matt finish of the surfaces covered with
Zimmerit makes the kit all that much more attractive.
The polished metal appearance on both the tractor teeth
and the tracks was made with A. MIG’s 192 Polished
Metal product.

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 COLOR CHART
VALLEJO ACRYLICS:
Model Air:
Base Dunkelgelb 71.025
Light 230
Rotbraun 71.041
Burnt Umber 71.040
Dunkelbrown 71.042
Model Color
German Cammo. Bright Green 70.833
Red 70.926
Carmine Red 70.908
Sky Grey 70.989
Beige 70.917
Model Wash
Oiled Earth 76.521
Brown 76.513
Grey 76.516
Flow Improver 71.462
Airbrush Thinner 71.361
TITÁN
Burnt Umber
Sepia
AMMO MIG
Tan for 3 Tone Camo A.Mig-1510
Wet Mud A.Mig-1705
Polished Metal A.Mig-192
WILDER
Grey Shadow Wash NL04
LIFECOLOR
Set Rust and Dust

25 /

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 Access extra content by
scanning this code

/ 26

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 27 /

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 / 28

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 Sturmmpanzer IV
Brummbar
Sdkfz. 166
Por Ángel Iñigo Hernández

DRAGON-TAMIYA 1/35

This series of vehicles were born after the German experiences during the battle
of Stalingrad where it became evident that they needed a new specialized vehicle
suitable for urban combat. They needed a vehicle with a massive armoring,
necessary for short range fighting. The new vehicle also had to have a gun
for specific infantry backup uses, capable of attacking strong defensive
positions or buildings used as forts.

The Sturmminfanteriegeschutz 33B was first designed, but Alkett emplo-

ying the frame of the Pz IV designed during the second half of 1943 the
Brummbar Sdkfz. 166. The first versions of this vehicle using the frame of the
Pz IV Ausf E, the driver’s collimator was similar to the one on the Tiger I with
additional armoring on the frontal area and the sides of the frame. The inter-
mediate versions using the G and H frames, the driver’s collimator is traded for
a periscope and the gun has a new protection sleeve. In these versions we also
have a fastening piece for an MG 34 right by the front ammunition loader’s
hatch, which would eventually disappear for a better protected piece in this
final version.

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 THE KIT
A few years ago several manufacturers In the first place the general dimen- dimension mistakes of the Dragon kit in
launched a “Brummbar offensive” and sions of the vehicle are mistaken; it has addition to having much sharper details.
within a relatively short period of time a surplus length of 3.5mm which is a The extra investment made acquiring the
they released four initial run model kits considerable difference for a scale kit. Tamiya kit isn’t excessive because the left-
and two intermediate ones. Everything The width and height are also off, but are over pieces can certainly be used for other
pointed out to an impending release of a acceptable (less than 1mm). This can be projects. In my case I employed a fair
final run model kit version but it wasn’t corrected with some care and lots of hard number of pieces for modifying a Berge-
meant to be and modelers had to make work but bearing in mind the minor modi- panzer IV Ausf J and turn it into a Berge-
do with the Dragon product from the mid fications the vehicle will have to undergo panzer IV Ausf G-H and we still would
90’s. The kit is acceptable, but quite far in order to be able to use the Lion Roar have a leftover turret for other projects.
from perfect and has all the defects associ- P.E. set it would be worthwhile to consider
ated with the Panzer IV kits launched by replacing the frame for the Tamiya one (35
this manufacturer during that period. 181) which corrects at once most of the

ASSEMBLY

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 I began by solving the casemate issue of the roof. Notice also how the armoring It is rather common among many
which is 3.5mm longer that it should be. on the driver’s area is poorly recreated by modelers to follow the rule of purchasing
I had to “disassemble” the sides of the the manufacturer. I had to rebuild and a good P.E. set, an aluminum barrel and
frontal part and get rid of the frontal part redraw the union lines between the dif- metal tracks (the kind you assemble link
of the roof. Once the sides have been ferent armored planks. The fastenings in by link) and be content that the model will
removed and trimmed, we put the frontal the front and rear of Tamiya’s frame had end up looking perfect -and although this
par in place. In my case and thanks to the to be removed (bear in mind that we’re is acceptable- there are still many details
application of Zimmerit the union lines doing a final run vehicle) and rebuilt using manufacturers choose to skip altogether.
were quite effectively concealed. Plasticard. The early or intermediate ver- This is the moment in which we should
Once this was done, it was easy to sions do not need this. pay attention to the illustration sheets.
build with Plasticard the frontal section

THE ZIMMERIT:
The perfect time to recreate Zimmerit
covered surfaces is when we’re starting
to assemble our kit, because we will be
able to manipulate all pieces without dis-
turbing anything. It will be done plank by
plank and before the pieces are assem-
bled, and bearing in mind that whether we
choose to use the Quick Type or DURO
putty we will need to let it settle for a few
hours; for example if we do on the case-
mate the right side first we run the risk
of harming it when doing the left side if
putty isn’t properly cured. My advice here
is that once we’re done with the right side
of the casemate we move to the right side
of the frame and go to the back from there
and so on. The time employed in doing
the whole Zimmerit surface (excluding

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 the drying periods) is under the two hour Although I applied the Zimmerit
mark so it is quite worthwhile. This is par- directly on the kit, the areas hardly acces-
ticularly true considering the fact that we sible with the rolling pin and for the P.E.
won’t be able to find any available com- pieces I made some extra Zimmerit on top
mercial release. The roller pin employed is of an old credit card and once it hardened
by the way AFV’s. Although I think that I removed it with a shaving knife. This way
this is a poorly designed piece because it I cut small portions of it and was able to
has “peaks” that are way too wide and glue it on the areas where the rolling pin
“valleys” that are too narrow I chose to couldn’t get to. I glued the Zimmerit paste
modify these with a small file. on the P.E. pieces with the two compo-
nents Araldit glue product.

UNDERCARRIAGE :

We’ve observed units with a full set of and the sustentation roller pins can be of as well. A final comment regarding the
steel wheels, and some units with just the four different kinds (except for those with tracks for this version: you can use the
forward half and yet others with rubber the rubber band) I used the steel rollers ones for frozen surfaces (both the empty
bands on the back like the ones we have included with the Tristar kit (014) but I or hollow claw versions) or the light ones
it right here. Although the tensor wheels could have actually used the Dragon ones for the final version.

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 REAR:
The rear area is quite interesting on unglued in order to be able to paint these
all Panzer IV’s and has many things that separately.
can make our kit quite interesting to look In final run units such as this it
at. As you can see in the pictures I made becomes necessary to make a new
the exhausts with Evergreen rods, but I towing system and this was made using
finally chose to make these with leftover 0.75mm Plasticard (2mm diameter), alu-
P.E. pieces from another kit. It is advis- minum and Aber’s P.E. small chains.
able to leave delicate items like these

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 FRONT FENDERS:
On top of the left one there are two headlight was replaced for the Tamiya one ting rid of its surface details and creating a
items; the headlight and the tool for and I also did some additional detail work new texture with thick grit sandpaper. The
assembling tracks. These items were no on it. The tool is a Lion Roar P.E. piece. sling support was made out of aluminum
trouble at all because both need to be inte- The right fender carries the wooden because Lion Roar apparently forgot to
grated with the rest of the kit. So I simply block and the upper support with the include this piece in their P.E. set.
assembled and glued them straight. The slings. I used Tamiya’s wooden block get-

REAR FENDERS:

On top of the right one we can find the headlight. The supports were made as Tamiya piece with the supports that this
towing sling support, the jack and the rear mentioned above and the jack is a “late” time Lion Roar does include.

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 On the left side we have the tool closet P.E. set but bearing in mind that the back leave this piece open, there is a P.E. set for
that can be fairly well recreated with the side needs to be rebuilt. If we want to the Elephant which includes it.

The rear headlight was made with P.E. parent styrene. The piece was painted was protected with masking tape until I
parts and a section of heat stretched trans- with Tamiya’s X23 (translucent paint) and finished the paintjob.

LOWER FRONTAL AREA OF THE FRAME:

In order to do this version we have to
change the initial run towing moorings
included in the Tamiya or Dragon kits for
the simpler final run ones. I made these
out of 0.75mm Plasticard sheet following
the illustration below.

UPPER FRONTAL AREA OF THE FRAME:

I used the P.E. sheet included with the
Dragon kit making sure that pieces MA6,
MA7 and MA8 were perfectly assem-
bled in order to be able to fit it into the
spare seven track link strip. You should be
careful with the angled slide protecting
the union with the casemate; do notice
the shape of the casemate’s armoring
and how this is joined with the protec-
tive piece that we need to make, because
Lion Roar simply forgot about it. When
changing the design of the driver’s case-
mate the Lion D15 pieces are replaced for
custom made Plasticard pieces.

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 FRONTAL AREA OF THE
CASEMATE:
There are three main items here; the driv-
er’s armoring, the gun and the MG post.
The last one is quite convincing and it rep-
resents to perfection the spherical armoring
and the armoring screwed to the union of
the two frontal armored planks. The driver’s
armoring is less slanted in its upper portion
so we really need to replace this part. The
driver’s periscope was rebuilt in order to show
a clean and well defined glass piece. This was
done by painting black a piece of transparent
acetate on the back while the other side was
masked with Tamiya’s masking tape and then
I cut the piece to measure.
The gun is quite remarkable and Lion Roar
is to be commended for it. Its pieces are made
in three different materials; aluminum, tin and
resin. In order to be able to paint it easier I
made sure that the barrel could be moved ver-
tically and I did this by making a notch on the
resin base and a Plasticard wedge for the A2
piece. Before you glue piece A1 in place it is
advisable to put the small wire and P.E. rings
in place (LR A35).

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 THE CASEMATE’S ROOF:
On the frontal section we have the
anti-slide patch for the gunner’s periscope,
two smoke extractors, a crane hook and
a line of nuts. The nuts were made with
0.40mm thick Plasticard sheet and an hex-
agonal hole puncher. The crane hook can
be done by trimming the original piece or
using 0.6mm copper wire smashed with a
pair of pliers on one end and sanded on
the other end. On the flattened surface I
put two circular 0.5mm Plasticard rivets
made with a circular hole puncher
The extractors, both are identical
and were made with two 7mm diameter
0.75mm thick plastic slices and in the
intermediate surface I used a 5mm diam-
eter slice for the center and six smaller
ones measuring 0.60mm and all of them
0.75mm thick. Finally I crowned it with
a 7mm diameter slice but 0.30mm thick
with 6 0.5mm drill holes. We finish the
work here with Lion Roar’s excellent anti
–slide piece that I improved with Plasti-
card strips.
On the rear we have two small hatches,
the commander’s cupola and a crane
hook (identical to the previous one) and
several nuts identical also to what we’ve
done before. I decided to leave one of the
small hatches open because I had research
material telling me how the interiors
looked like. It was however quite diffi-
cult to pierce the thick plastic surface and
get rid in a convincing way of the hatch
which was going to be left closed. I had
to build both (the open and the closed
one) in order to make them identical. It
was also quite difficult to extract the roof
hinges without damaging the roof or the
hinges in order to be able to make these
functional.
One of the key pieces is also one of
the hardest ones to assemble in this kit.
I’m talking about the commander’s cupola
(also found on the Stug III G’s) and not
just because the many P.E. pieces that it
has but also because I had to combine the
assembly and the painting chores simulta-
neously. First, and before gluing the pieces
I had to paint black the seven A4 pieces also glue pieces F19 and A34 in place. I until we apply the final paint coat. After-
while I glued a tinfoil rectangle on the painted the whole thing in a sand colored wards I was finally able to assemble the
central rectangular area. Once I did this I hue and removed all the masking on the remaining pieces.
could go ahead and bend the pieces and acetate surfaces glued on piece A4. New I also had to make the padding on the
glue a transparent acetate rectangle (previ- acetate pieces are now cut and then glued interior of the hatch with two circlets:
ously masked). Then I was able to glue to the inside of pieces F19 and we proceed the thick one (0.5mm) and the thin one
the finished periscopes on piece D10 and to mask the pieces on their external sides (0.25mm). The first one measuring 7.5mm

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 diameter and the second
one measuring 8.5mm.
Both were glued together
and the thin one is the
base and the thicker one
is the padding. Although
Lion Roar includes the
support circlet for the
anti-airplane MG it omits
the arm that holds the
weapon in place. I made
this piece out of Plasti-
card and a small tube.

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 THE SIDES OF THE
CASEMATE:
We have on one hand the
hooks which are identical to
those on the roof and two
defense plugs on each side
that will have to be moved
backwards having in mind the
new dimensions of the case-
mate.

REAR AREA OF THE CASEMATE:

Again we have another crane hook,
the base for the antenna, and lastly the
large access doors that I was adamant
about leaving open. The collimator
plug is noteworthy and although I
made it with a hole puncher, there is
also an excellent Voyager kit which
includes a turned tin plug and P.E.
pieces.

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 ENGINE ROOF:
Although this part of the Tamiya kit is
far from perfect, it is quite acceptable. It
however has some minor mistakes, notori-
ously the lack of embedded nuts which I
recreated with drill bits and semi punched
holes. I made the openings for the engine
access with an old Todo Modelismo P.E.
set because Lion Roar did also forget
about it. Piece D37 from the Tamiya kit is
absolutely necessary but D40 isn’t. I also
replaced the handles for 0.4mm thick wire
ones.

SCHURZEN:
Lion Roar has made some excellent
Schurzen and its supports. As I did not
master the P.E. welding techniques when
I was doing this kit I took the decision
to make this out of a single piece of alu-
minum because it is easier to glue a 2mm
union line than a 50mm one on slanted
sections. When doing these pieces you
should have a large P.E. bending tool (at
least 16cm long) in order to be able to
bend these properly.
This is a view of the inner side of the
Schurzen panels.

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 SLINGS:
Instead of placing these in their standard locations I chose instead to have these on
the sides and fastened on the front area, which was something rather common as seen
on period pictures. These were built with trussed copper wire. I filed the cable protectors
from the Tamiya heads until clean and then glued the whole ensemble as you can see
in the pictures.

ACCESSORIES:
It’s important to study which accesso-
ries to include during the assembly pro-
cess and where to place these. I do this
as a rule: during the necessary pauses
undertaken during the detailing process
and when I’m tired of the building pro-
cess I stop to think about this. For my
Brummbar I chose two Tamiya jerrycans,
a sack from an old campaign kitchen (I did
the sowing line on it) and a patch with
aluminum foil, a bucket made from scratch
with aluminum, three helmets a Verlinden
box, several Friiulmodel track links and a
protective stopper for the gun (just like
the ones employed on the Hummel) that
where built with aluminum sheet and a
slice of Plasticard sheet.

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 PAINTING
These vehicles –depending on the time of
the year that we want to make them- have a
few generic differences. While the initial run
vehicles are usually observed with irregular
medium sized or small camouflage spots, the
later vehicles without Zimmerit usually have
larger spots with mid or hard edges. In my
case I chose to apply small airbrushed spots
with a soft or diffuse edge.
We can also see some units with fully
white numerals or just a white outline or both
white and red, but the usual thing here is not
to see any numerals at all.
The crosses are also observed on most
units and their absence is somewhat more
uncommon although some have been
observed without these. You can see units
with four crosses (both sides front and back)
or just only on the sides painted on the
Schurzen or on the casemate.
I employed Tamiya acrylic paint, drug-
store color pigments, Mir, Titan or Winton
oil paints, Holbein airbrush ink and Caran
d’ache watercolor pencils. As you can see I
don’t usually employ too many specific mod-
eler products because these are quite expen-
sive and I wouldn’t know how to use them
(additionally I don’t think that their use is at
all necessary) but of course that is everyone’s
prerogative.

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 This is a graphic and sequential description of the painting process I followed to paint this Brummbar:

1º I used Vallejo’s gray for priming and a 6º I began to apply dirt using Citadel’s 10º The crosses are airbrushed using a
simple profiling using Tamiya’s black brown ink (Agrax Earthshade) doing stencil.
XF-1 paint. some detail profiling for the lower – 11º Then I made a third more subtle paint
2º I did several light airbrush passes with damper- areas. You can also use Nuln wash using the same Raw Humber
a mixture of colors Dark Yellow XF-60 Oil by the same manufacturer. hue.
50%, White XF-2 20%, Buff XF-57 20% 7º Afterwards I applied a general wash 12º Even more subtle pinpoint washes
and Yellow XF-3 10%. using Titan’s Burnt Umber Nº78. with ivory black were now made doing
3º I painted the first camouflage color 8º Then I applied a second wash on some some detail profiling on some details
using Olive Green Xf-58 80% + Yellow features using Titan’s Burnt Umber that I wanted to enhance further.
XF-3 10% + Buff XF-57 10%. Nº78 and Raw Sienna Nº90. 13º Titan’s Nº96 is now used to apply
4º The second camouflage color I air- 9º I hand painted a few paint chips using smooth rust hues on the scratches
brushed contained Red Brown XF-64 Vallejo’s 70.872 Chocolate Brown and and elsewhere.
80% + Yellow XF-3 10% + Buff XF-57 70.917 Beige both highly diluted with 14º Dirt was applied with light cream color
10%. water. The former ones are made close pigments.
5º In order to integrate the green and to the first ones “mirroring” them a bit. 15º Citadel’s brown ink was now used to
brown colors, I repeated step 2 but in a The scratches are made with Caran do some mud splashes applied with a
more subtle manner. D’Ache watercolor pencils 999 049 flat tipped paintbrush.
smeared with a small paintbrush soaked
with water.

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 Panzerkam
By Ivan Drond

ARK MODELS 1/35

The Panzer II was Germany’s true battle horse during the opening years
of the war. Between 1936 and 1942, 2000 tanks were manufactured and
that was the key to the blitzkrieg in Poland and France. Additionally, the
Panzer II was also used in Northern Africa and this vehicle also faced all
the might and heroic deeds of the Soviet Army facing as well the foulness
of the Russian weather.

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ampfwagen

II Ausf. J
The Model J (VK 1601) had a very short production run of only 22 units made between April and December of 1942, and it was
the better armored German reconnaissance vehicle. Its armoring was 80mm thick on its frontal area, 50mm on its sides and rear, while
its roof and the lower areas had a thickness of 25mm. This vehicle was propelled by a Mayback HL 45P engine capable of moving
its 18 tons at a maximum speed of 31km per hour. Although its armoring was excellent, its weapons were inefficient against enemy
vehicles of similar characteristics. The vehicle only had a 20mm KwK 38 L/55 gun and a 7.92mm machine gun as a secondary weapon.
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 THE KIT

The kit I’ve assembled is a product of the Russian company ARK

Models. 3160
We’re dealing with an older kit and that is made clear in the lack
of detail. This however was of no consequence to me. The general
dimensions of the kit are correct and it can be assembled rather easily.
The kit has been essentially built straight from the box, except for the
gun barrel which was traded for a metal one. I redid a few welding
lines and had to apply some putty to the rear of the turret but that
was all.

COLOR CHART
- Panzer II J, ARK Models, ref. AK35007
- FlaK 38 Gun Barrel, RB-Model 35B66

PAINTING

Although I haven’t recreated any specific unit

from the 22 originally manufactured, I have however
based my efforts on period pictures found online.
Let us say that I’ve made the typical vehicle on the
Eastern Front.

1. First I applied a coat

of Ammo’s gray primer.
Then I did some lights
and shadows following
the “Black and White”
technique created by José
Luis López.

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 2. In order to apply the Panzer gray
base coat I made an acrylic paint
mixture using Dark Grey XF-24, Flat
Blue XF-8 and Gray H307. When
applying this coat, paint should
be quite diluted in order to avoid
obscuring the previous highlight and
shadow work.

3. As you can see in this picture, after

having applied the base coat, the
black and white lighting effects stand
out.

4. The camouflage was

also painted by mixing
Tamiya paint XF-2
White and Mr. Hobby’s
H27 Tan. With this
sand hue I airbrushed
the sinewy lines of the
camouflage.

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 5. In order to accentuate the volume
of the shading on all corners I
employed dark brown oil paint applied
in a highly diluted form.

COLOR CHART
AMMO MIG TAMIYA OILS MAIMERI
Streaking Grime A.MIG 1203, Chipping Dark Grey XF-24, Flat Blue XF-8, Flat 492 Burnt Umber, 490 Cassel Earth.
color A.MIg044, Medium Rust A.Mig- White XF-2, XF-52 Flat Earth. 502 ABTEILUNG
3005, Europe Earth A.MIg-3004, Rubble MR. HOBBY Abt001 Snow White. abt093 Basic Earth
A.MIg-3013, Enamel Odourless Thinner H27 Tan, Gray H307. abt100 Faded Grey, abt010 Luftwaffe
A.MIg.2018, Track Wash A.Mig-1002, Mig Productions: P024 Light Rust, P414 Yellow.
Fresh Engine Oil A.Mig-1408. Track Brown, P231 Gun Metal. ZVEZDA
32 Base Grey.

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 6. On the next step I wanted to boost the visual
interest of the paintjob, and I did this by using
the oil mapping technique. As you know the
small oil paint dots melt with the use of thinner
applied in vertical brushstrokes. The tools and
other smaller details were painted with Vallejo
acrylics.

7. I did a few paint chips both using

a sponge and the paintbrush. First
I did a few superficial paint chips
using very light gray and then I did
deeper ones with Ammo’s Chipping.
This gives it a lot of depth and visual
interest to the paint chips.

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 8. Afterwards I recreated the
dirt streaks using Ammo’s
Streaking Grime product A.
MIG 1203. Once the lines
were painted on the kit
I smeared the lines with
thinner applied in vertical
brushstrokes.

9. The rust surface on

the tracks was obtained
using three different color
pigments; P024 Light Rust
and P414 Track Brown by
Mig Productions and A. Mig’s
3005 Medium Rust. The
pigment was fixed in place
by adding a small amount of
enamel thinner.

10. The next step was centered on

recreating the dirt and mud present
on my Panzer II J. The first thing I
did –even before applying the color
pigments- was to airbrush a thin
coat of XF-52 Flat Earth for creating
a thin layer of dust.

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 11. Then I applied A. Mig’s Rubble and Europe Earth pigments, both on the hull and the tracks. When finished, I fixed
these in place using enamel thinner. It is advisable to do this with precision and sparseness in order to avoid turning your
kit into a dust ball.
12. I also employed
on the tracks Ammo’s
“Track wash” in order to
recreate dampness and
mud stains. I finished the
job by using Gun Metal
pigment to recreate the
worn to polish metal
surfaces on the areas
prone to this kind of
wear.

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 13. Fuel stains are painted with
Ammo’s “Fresh Engine Oil”.

14. Finally, in order to boost the

realistic feel of the kit I added a few
small details such as the tarp, the
helmets, or the loose leaves on top of
the mudguards.

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 Unternehmen
1941

CRETE, AERIAL SUPREMACY VS MARITIME SUPREMACY

In spite of the victory of the Third parachutists convinced Hitler that this operation was still going on, the German
Reich parachutists in Crete, the opera- would be an easy victory that would take aerial supremacy was overwhelming and
tion was so costly in human lives that no more than one week. A vast deploy- there are hardly any casualties, but the
this operation marked the end of the aero ment of military resources based upon airborne troops suffer considerable losses
transported troops en masse. the German aerial supremacy set against including Lieutenant General Sussman
The island of Crete became a key spot the maritime supremacy of the allies, and Commander General Meindl who is
for dominating the Mediterranean Sea made of Student’s parachutists the center seriously injured. There were 6616 casual-
being a strategic place for bombing the piece on the taking of three airfields; ties including 1990 deaths.
oil fields and refineries on Ploiesti. Gen- Malena, Heraklion, and Retimo and also The slow refueling process and the ter-
eral Kurt Student head of the German the capital city’s La Canea. While the rible dust clouds prove to be the major dif-
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n Merkur By: Rodrigo Hernández Chacón
Sculpted by: Eduard Pérez

FAHRENHEIT MINIATURE PROJECT, FER MINIATURES

What would result if we painted a figure just

like we paint an AFV?
75 mm

When a person has been away from this

hobby for almost a decade, the first thing
you’ll realize is the incredible ways in
which this hobby is able to reinvent itself.
AFV’s painted with techniques employed
for figures, planes painted as if these
were AFV’s, figures painted with mixed
airbrush, acrylic and oil techniques. The
swapping of concepts and techniques
from one category to the next is quite
surprising, very enriching and makes this
hobby that much more fun. From my point
of view, specialized modelers centering
on AFV’s have been very smart and have
learned what was being done on the other
categories and have applied this knowledge
on their AFV’s. By doing this they adopted
the zenithal light source techniques typical
of figures and have applied it on their
vehicles, they have transformed paint veils
into filters and many more things. Now
we’re going to experiment with ageing and
weathering techniques previously used on
vehicles and let’s see what happens when
we employ these techniques on a German
parachutist in Crete. Finally I would also
have to say that after all these years I
not only lost some painting abilities, my
eyesight aren’t what it was also; the proof
of it is this figure.

ficulties. The invasion took place towards against the Nayad, Carlisle and Warspite the first large scale parachuted troops
the end of May under high temperatures cruisers and the Greyhound, Glocester and operation in history without the backup of
and a blazing sun. Into this dirt covered Fidji destroyers. Later the same fate waited land troops. The Whermacht is strength-
scenario the German parachutists fell for the Kelly and Kashmir destroyers and ened by all this, but the large number of
amongst the British, Greek, Australian and the Valiant and Barham battleships. In casualties questions the “economy of
New Zealand troops. The vast amount of spite of Churchill’s insistence on inter- blood” postulated by Hitler. Crete marks
airplanes taking off from the sand created cepting the German backup troops, Admi- the end of the glory days for parachutists.
vast dirt clouds resulting in low visibility. ral’s Cunningham’s fleet sinks under the
In the meantime, on the sea, the losses aerial attacks.
of the reduced German naval resources are On May the 27th London greenlights
considerable, but the aviation retaliates the evacuation, operation Merkur becomes
59 /

58-67_Figura_Rodri.indd 59 28/12/16 20:32

 THE FIGURE, A PARACHUTIST UNDER A CLOUD OF DIRT THE FACE
The 75mm scale is becoming more and more popular because the size of If we want to have the figure under a
the figure allows you to appreciate the details adequately without forcing your radiant sun and then we’re doing a dirt,
eyesight pretty much like it happens when you’re working with 54mm figures sweat and mud “weathering” process, the
or the 1/35 scale. On the other hand, its greater dimensions don’t have for us most recommendable thing to do here is
the technical difficulties of large scales like 90mm or 120mm. A lot of brands to create a strong contrast between the
are becoming aware of this and alongside the historical subjects they are crea- lights and the shadows. Bear in mind
ting WWII figures. Among these we have the Fahrenheit series from Miniature that the “weathering” job here will tend
Project which is a part of the FeR Miniatures group offering a series of German to obscure the paintjob pretty much like
soldiers carefully sculpted by Eduard Pérez. For this Panzer Aces special dedi- it happens when we’re painting vehicles.
cated to the German army we’ve chosen a parachutist and have been adapted
for Operation Merkur that took place in the island of Crete. The resin figure is
a quality product sculpted not only with historical accuracy in mind and every
detail, making it quite easy to paint.
The main goal in mind right here when creating the paintjob for this figure
was to recreate the battlefield environment around these soldiers. The crackling
sun falling over Crete, the dusty environment and the fatigues suffered in this
very costly victory should also be present in the paintjob. Now we’re going to
explain the procedures, techniques and materials employed to achieve this.

1. Base color and first highlights

2 a 4. Finished highlight work
5 a 7. Shadows
8 a10. Finished face with paint veils. 1

2 3 4

5 6 7

/ 60

58-67_Figura_Rodri.indd 60 28/12/16 20:32

 8 9 10

UNIFORM
We start with a rather dark base color done with the face. The reason for this is receive a rather exhaustive weathering
for the uniform because we’re looking for that the character is under a strong sun work later.
a strong contrast pretty much like we’ve and additionally the uniform is going to

11 12

11. Base color after mixing German Fieldgrey WWII 70.830 12. Highlights are obtained after mixing the base color
and a little Intermediate Green 70.891. with Sunny Skin Tone 70.845.

61 /

58-67_Figura_Rodri.indd 61 28/12/16 20:32

 DIRT AND MUD ON THE UNIFORM DIRT EFECTS USING ACRYLIC PAINT

13 14 15 16

13. Sleeve with both highlights and shadows ready for the dirt effects.
14. We now mix the uniform’s base color with a little Flat Brown 70.984 and Desert Yellow 70.977. Then we apply this on
the elbow in paint veils.
15. We add more Desert Yellow 70.977 to the previous mixture and insist on the higher clothing folds where more dust is
likely to deposit.
16. We add more light brown and some Light Flesh 70.928 and we reduce the working area further to enhance the volume
of the dirty clothing folds. We will also cover the shading on the shoulder where more dirt is likely to be encountered.

DUST EFFECTS AND MUD CREATED WITH COLOR PIGMENTS

17. Pigment fixer
is applied (Pigment
Binder 26.233) with
a thin paintbrush on
the areas with dirt
and then we will use
an old paintbrush
to spread the color
pigment.
18. On the upper
areas we apply a
lighter pigment to
recreate dry mud –A
Mig’s Africa Dust
3003. On the lower
areas we employ a
darker pigment –A.
Mig’s Dark Earth
3005- to convey wet
mud.

17 18

/ 62

58-67_Figura_Rodri.indd 62 28/12/16 20:33

 COMPLEMENTS
CANTEEN

20 24 25

21

26 27

19

22 23

24. Base color for the canteen:

Matt Brown 70.984 with a little
bit of black.
25. The texture of the protective
felt covering the canteen is
obtained by patting the surface
with a sponge soaked with 70.804.
26. Final result after having
applied three highlights obtained
by increasing the amount of
70.804 and light flesh on the base
color mixture.
27. We exaggerate the volume and
the texture with a black Model
Wash insisting on the lower areas.

19. The dirt effect can also be obtained using pastel chalk.
20. It will be necessary to sharpen your pastel chalks in order to improve the
precision upon application.
21. We apply this directly on the figure on the areas where dirt accumulates.
22. A paintbrush is now used to smear pastel over the surface.
23. Finished elbow

63 /

58-67_Figura_Rodri.indd 63 28/12/16 20:33

 SUBMACHINE GUN MP 38-40 HELMET

33 34

28

29
35 36

30

37 38

31

39 40

32

41 42

28. In order to obtain the

metallized effect we’ll employ
powdered graphite obtained from
pencil lead.
29. We rub our finger on the
graphite.
43 44
30. We make sure that our finger
has enough graphite.
31. Then we rub our finger on the
gun which has previously been
primed with black paint.
32. We use the pencil lead directly
on the features that stick out
prominently of the submachine gun.

/ 64

58-67_Figura_Rodri.indd 64 28/12/16 20:34

 BASE

PAINT CHIPS The goal of making a base for the figure bathed in an unforgiving sun that cracks the
33. Base color for the helmet was to underline the dry and dusty environ- surface. We are going to recreate this with
contains 70.830 and a little ment where the figure is. The research pho- a cracking product manufactured by Color-
70.891. tographs show us heavily punished roads legno that can be found in hobby shops.
34.We apply a coat of
45. Magic Sculp putty has been
chipping and when dry we’ll 45
employed to sculpt a base texturized
apply another coat of lighter
with a real stone and a modeling tool.
green.
The ground is then primed with a dark
35. We soak the area of the brown color.
helmet that is going to get
46: On top of the dark priming we
the paint chips. A paintbrush
apply with a flat tipped paintbrush
is used for rubbing the area
a coat of component A from CREK’s
until the lighter coat begins
Colorlegno product which is actually
to come off and we can
transparent.
see the darker base green
47. Once component A has dried, we
underneath.
apply another thin coat of component
PAINT CHIPPING USING A B. This product has a slight white
SPONGE color, so we add some light sand color.
36. We can also create some 48. We accelerate the drying process
wear by using a sponge with a hairdryer.
impregnated with dark green
49. Final result. The thinner the coats
or brown.
of products A and B the finer and
METAL PAINT CHIPS USING smaller will be the cracking.
GRAPHITE
37. Using a sharp graphite
pencil lead we will draw
small scratches. 46 47
PAINT CHIPS USING
MASKOL MASKING
38. The final chipping
technique employed is done
with masking liquid. The
product is applied with a
sponge in order to increase
the randomness of the
chipping.
39. We paint with a lighter
green the entire helmet,
covering the masked area as
well.
40. With a toothpick or a pair
of tweezers we remove the
now solid masking liquid. 48 49
41. Final results after we’ve
removed the masking; we
can see here the different
color hues.
42. The insignia on the
helmet are carefully hand
painted with a paintbrush.
43. The eagle decal has also
been hand painted, but it
is too large and needs to be
trimmed later.
44. Eagle drawing adjusted to
the scale.

65 /

58-67_Figura_Rodri.indd 65 28/12/16 20:34

 50. We paint the cracks with Model Color highlights
50
(977 and beige) and Model Wash washes (76.524 and
76.523). We also apply a few hues and textures using
Vallejo’s Environment (73.819 and 73.823).
51. The grass shrubs are distributed in small islets. We
cut some fragments from the AMMO Mig. Product ref.
8351.
52. Gel type cyanoacrylate glue is used to glue these
fragments.
53. Individual greener shrubs are made with JOEFIX
Prod. Ref. 173 and are glued with gel type cyanoacrylate
using tweezers for precision.

51 52

53
54

54. Final result before we cut with a pair

of scissors the excess height of the shrubs,
especially on the frontal area where the
figure is located.

/ 66

58-67_Figura_Rodri.indd 66 28/12/16 20:34

 Final picture of the base with
the figure in place. We’ve also
employed pigments North Africa
Dust A. Mig 3003 and Light Dust
3002 by AMMO Mig to give it a
final dusty appearance.

COLOR CHART

FACE UNIFORM CANTEEN

Base: Medium Fleshtone 70.860 Base: German Fieldgrey WWII 70.830 & a Base: Flat Brown 70.984 and a little black
Highlights: Sunny Skin Tone 70.845 little Intermediate Green 70.891 Felt texture: Beige Red 70.804
Final highlights: Light Flesh 70.928 Highlights: Base + Sunny Skin Tone 70.845 (applied with a sponge)
Shadows: DIRT AND MUD (Acrylics) Shadows: Black 76.518 (Model Wash)
Burnt Red 70.814 Base: Uniform Base & Flat Brown 70.984 & HELMET
Brown Sand 70.876 Desert Yellow 70.977 Base: German Fieldgrey WWII 70.830 and a
Color Hues: Highlights: Base & Desert Yellow 70.977 little Intermediate Green 70.891
Bright Orange 70.851 Final highlights: Previous mixture plus Light Paint chips:
Violet red 70.812 Brown 70.929 & a little Light Flesh 70.928 - Chipping:
BEARD AND HAIR DIRT AND MUD (Color Pigments) Chipping Medium 73.550
Base: Brown Sand 70.876 y Medium Pigment Blinder 26.233 Intermediate Green 70.891
Fleshtone 70.860 Upper Areas: - Esponge: German Fieldgrey WWII 70.830
Highlights: Flat Yellow 70.953 y Light Flesh North Africa Dust A.Mig 3003 - Metallic effects: Graphite pencil lead
70.928 Lower Areas: - Liquid masking:
BAG: Dark Earth A.Mig 3007 & A.Mig 3003 Liquid Mask 28.851(applied with a sponge)
Base: Beige 70.917 & Brown Sand 70.876 Pastel chalks Intermediate Green 70.891
Highlights: Beige & White

67 /

58-67_Figura_Rodri.indd 67 28/12/16 20:34

 By Michel Pérez Blasco

APPLYING DIRT
Applying dirt on military vehicles is ously gets into our modeling ways. In this combined with other techniques, double
one of the greatest classic effects on this study we’ll show different ways to apply the intensity of the effect, increase dete-
hobby. Particularly with Southern Euro- dirt on Schurzen using the most common rioration, apply dirt along with scratches,
pean modelers used to seeing much dirt and simplest means. It is of course under- etc. The possibilities are infinite and it is
around us. This is a logical consequence stood that this procedure can be applied up to you to tread that path. We are just
of living in an arid environment. This obvi- on any part of any vehicle and can also be marking a starting point.

DIRT APPLIED WITH AIRBRUSH AND ACRYLIC PAINT

This is the most widespread method for recreating mild

1
dirt and this is a rather old technique which actually pre-
dates many of the new materials and techniques in the
hobby. Our example has been made using acrylic paint but
it can be done with enamels as well.

1 We’ll start with a gray base color surface with a

very simple weathering job.

2 Dirt will be represented with Tamiya’s Buff

XF-57 diluted to 50% and airbrush it trying
to make the lower areas more opaque and the
higher ones more translucent.

3 The final result is this; a rather homogeneous

dirt layer. 2224

/ 68

68-71_Aula_Empolvados.indd 68 28/12/16 15:19

 4

DIRT MADE WITH OIL PAINT, DIFFE-

RENT COATS AND FADING EFFECTS

4 Oil paint is the ideal medium for creating

transparencies. We’ve chosen this camouflage
pattern in order to show the unique properties of oil
paint for recreating not homogeneous dirt layers.
5 We’ve employed only three oil paint
colors; white, Naples Yellow and
Natural Sienna. Paint has been
applied in this way: we soak 5
our paintbrush in thinner and
then we place on the surface a
small amount of oil paint and
distribute it randomly. In a
few brushstrokes we mix the
different colors and on other
ones we use colors unmixed.
Once it dries we will have quite
a transparent dirt coat. If we want
a more opaque result we will have to
wait until it dries up completely and superimpose a
new paint coat. We can repeat the process as much
as we want until we get the dirt “density” that we
are looking for.
6 As you can see in this picture, the result is a non-
homogeneous dirt layer, where the base paint can
be seen with a varying surface intensity. 6

DIRT MADE WITH OIL PAINT SPLASHES

This is a technique which yields similar We use the same oil paints employed By playing with the
results to the previous technique, but on the previous example; we load splashing distance, dilution
is easier to use for those not used to our paintbrush with highly diluted oil of oil paint, direction of
fading effects. With this technique paint and we splash it by snapping the the paint splashes, type of
you have a better control over the tip of the brush against a toothpick. paintbrush employed or the
opacity of your results. We start with It is important to rub much of the amount of times that we
a dark color base in order to create a paint off the brush in order to avoid repeat the splashing process,
greater contrast. splashing the surface with very wet we can obtain a great
and very large paint drops. variety of dirt finishes.

69 /

68-71_Aula_Empolvados.indd 69 28/12/16 15:21

 DIRT APPLIED WITH DRY PIGMENTS

7 This is a very easy technique to execute and you can obtain a

7
very convincing visual effect if correctly executed. This time
we’ll start with a green base color.
8 The procedure is as simple as taking a small amount of
powder color pigments and rub these on the surface where
we want to recreate dirt clusters. It is very important not to
leave loose pigments because this will break the realistic feel
of the effect. The main inconvenient of this technique is its
frailty; anything we do on top of this will deteriorate it and
if we try to protect the surface with a coat of varnish we will
basically nullify the original effect.
9 The result is also quite homogeneous, but in certain areas
we can leave a more transparent surface by applying less
pigment. There is however a point in which we cannot get
a more opaque result because the extra pigment will not
adhere to the pigment we’ve already rubbed on the surface.

DIRT APPLIED WITH DAMP PIGMENTS

10 11

DIRT WITH SPLASHED COLOR PIGMENTS

13 14

As you can see we can obtain a great amount of different finishes with very little; we just have to combine the different techni-
ques, play with the dilution, distance of application, etc. Make your own experiments and enjoy it as much as you want.
/ 70

68-71_Aula_Empolvados.indd 70 28/12/16 15:21

 8 9

10 This technique is similar to what we’ve done with oils.

12
This time we start with a three color base to appreciate
the result according to the background color.
11 This technique is applied, simply by soaking the
pigment on thinner until we get a consistency similar
to oil paint but perhaps a little less dense. Then we
apply these pigments at will with our paintbrush on
the desired areas. We can use up more or less amount
of the mix in order to obtain the desired intensity.
12 The result is quite interesting because we have real
small areas with different opacity and diffuse borders.
We can also mitigate the intensity and unify the
look of this by rubbing smoothly with a soft haired
paintbrush, just like we did on the right side area.

13 Just like we’ve done in the previous example,

15
pigments are used “wet” but the application is a
little different. In this case the starting point is a
dark brown camouflage color.
14 For this technique, first we soak the pigments on
thinner and search for a consistency similar to that
of acrylic paint. The paintbrush is first unloaded on a
piece of tissue and then we can splash the surface by
snapping the tip of the paintbrush with a toothpick.
15 The result is similar to the previous technique but
now the splashes have better defined edges. The
more we splash, the greater the amount of splashes
and therefore the more opaque the result will be. We
can also gently rub the surface to smear the splashes.

71 /

68-71_Aula_Empolvados.indd 71 28/12/16 15:22

 Editorial Management
Rodrigo Hernández Cabos
J. David Hernández Chacón
Editor in Chief
Michel Pérez Blasco
Have collaborated in this issue
Armour Modelling Magazine Domingo Hernández
Ángel Iñigo Hernández
Ivan Drond
Rodrigo Hernández Chacón
EDITORIAL Michel Pérez Blasco.
Photographers
The return of Angel to these pages has made us reflect upon –once more- this hobby, Rodrigo Hernández Cabos
its tendencies and its current situation. A few years ago detailing a kit like he knows how Illustrations
to do it was the most fashionable thing to do; nowadays does it make as much sense? Yes- Rodrigo Hernández Cabos
terday, manufacturers offered us “simple” kits with a poor piece arrangement, unforgivable Lay Out
mistakes (sometimes to the tenth of a millimeter!) and shoddy detailing. Basic modeling KOMMAD S.L.
skills definitely included researching your vehicle and criticizing the manufacturer. This of
course took long hours of study and longer hours of scratch building a great number of Printed by
pieces. Projects as a consequence took forever. Newer brands churned almost every other Artes Gráficas Dharma
day a new kit on the market and these kits were progressively becoming more perfect, Scanning & filmsetting
better detailed, having sounder piece arrangements and were a whole lot easier to build. ACCIÓN PRESS, S.A.
Right now it is far easier –and perfect- to build any given AFV for less money and in less J. David Hernández Chacón
time. Computer Graphics
But in spite of this, there are some modelers like myself that work with the newer kits J. David Hernández Chacón
but sometimes fall for the old fashioned buildups. And when we do we really get engaged Editorial and Technical Staff,
in this sort of project. Administration and Advertising
Now more than ever we can say that the range of tendencies in this hobby is more ACCIÓN PRESS, S.A.
varied than ever. There are still box collectors, maybe more so than in the past. There are c/Ezequiel Solana, 16
still Evergreen fanatics, although their numbers are dwindling, people who build the kits 28017 Madrid
straight from the box, P.E. nuts, resin nuts, accessory nuts, people who just assemble kits, Tel.: +34 913 675 708
people who just paint kits, etc. +34 914 086 135
But regardless of where we stand in this hobby, ultimately there is always the admira- Fax: +34 914 085 841
tion for a job well done. Although sometimes we would like to put the glue pot inside the accionpress@euromodelismo.com
box, shake it a little and get a marvelous Panzer, we still love to see people making springs
for the mudguards. Although we may not put a lot of dirt on our vehicles “because we like Suscripciones
them clean”, we like unfathomably dirty vehicles if these are well painted. Tel.: +34 913 675 708
No matter what tendency you favor, keep there or change your path as long as there Published by
are kits involved in it. We will keep showing you the very best from each tendency in this ACCIÓN PRESS, S.A.
hobby. ISSN: 1886-4457
We hope that this issue full of “black crosses” pleases you. Once again we’ve looked
for a wide range of subjects, painting trends, assembly issues, different finishes, styles, The reproduction of the images
authors, etc. with the highest quality level for each. and texts is prohibited, using any
current or future technical medium
without written consent of the
author. ACCION PRESS, S.A.
does not necessarily support its
collaborators’ opinions.

www.euromodelismo.com
www.facebook.com/PanzerAces.
Magazine?fref=ts

72_editorial_53.indd 1 2/1/17 10:58

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 32 €
16.1.1 DETALLES Y DEFINICIÓN DEL TEMA
Vamos a establecer una escena en tres niveles, en los que
uno de ellos, donde situaremos el veh culo y la figura, pre-
senta la superficie inclinada, con ello se pretende imprimir
dinamismo a la ve que real ar la planta del veh culo. 7
5
l elemento vertical lo aporta la misma estructura de la edi-
ficación, al mismo tiempo sta será la piedra angular que
nos posiciona históricamente toda la escena.
l resultado es una composición visualmente equilibrada
que integra todos los componentes sin que el actor princi-
pal el veh culo pierda protagonismo. e trata de un con-
cepto compositivo clásico de distintos niveles, estructura 4
diagonal respeto a la base y un eje central con elevación
progresiva.

3 6

168 Pages/Páginas
3
Punto de atención central
3

16.1.2 DESARROLLO Y CLAVES COMPOSITIVAS:

1. valuación de la dea riginal

de artillería en una breve parada,
La idea es representar un Stalinetz S-65 arrastrando una pieza
camino de su posición asignada en el frente
. Tamaño de la Base
fondo y una altura resultante de 18 cm.
La peana rectangular mide 23 cm. de ancho por 16 cm. de
3. imetr as y aralelismos
con los paralelismos entre el
Tratándose de una base rectangular hay que ser cuidadoso
y superior. Para ello buscamos un
camino situado en el centro de la escena y la parte inferior
que conseguimos reforzar el
posicionamiento en diagonal respecto a la base al mismo tiempo
usar diagonales huyendo siempre de
impacto visual primario. En éste tipo de bases es primordial
situar objetos paralelos a la base. 5
4. quilibrio el soldado en una
edificación
a posición ascendente del tractor respecto al elemento vertical
el equilibrio visual y nos permite una
posición adelantada y centrada contribuyen a proporcionar
aceptable composición en la cual todos los elementos se complementan
pero ninguno solapa ni 3
en una primera mirada, permitiendo
interfiere entre ellos. os distintos componentes se visualizan
Al crear distintos niveles y alturas
a continuación extender posteriormente la vista a los detalles. 16 cm 6
mejora estética. 5
conseguimos transmitir la sensación aleatoria y una importante PKW K1 “KÜBELWAGEN” TYP 82 10.3.1 MONTAJE 4
. erticalidad
respecto al ve culo. i nos El Kübelwagen fue diseñado por Ferdinand Pors- Se trata del kit de Dragon referencia 9042 DAK Kü-
os la aporta el edificio de dos plantas, cu a altura es la correcta bel agen ficers, se trata del molde de ego,
el riesgo de transmitir efecto de che, como la versión militar del mítico Escarabajo,
excedemos con el elemento vertical respecto al vehículo corremos comercializado por Dragon con el añadido de unas
fabricándose más de 50.000 Ud. durante6 2ª G.M.,
aplastamiento y dispersar el eje central de la escena.
convirtiéndose uno de los coches más apreciados y figuras t picas de la marca, una pequeña3 planc a
. entro de tención 3 de fotograbado.
al mismo tiempo nos facilita toda la conocidos de la Segunda Guerra Mundial.
El punto de atención central de la viñeta es el soldado, que de cuerpo Sin llegar al nivel del último comercializado por Ta-
Con tracción trasera, tenía una estructura central
información referente a tamaños y medidas. Punto de atención mi a, se trata de un buen it, que se monta sin difi-
monobloque sobre una barra de torsión, con sus-
7. uidar los lementos ecundarios cultad, aunque ha habido que ayudarlo con algunas
a la escena, al mismo tiempo que es pensión independiente a las 4 ruedas. Tenía un mo-
El cartel de Nitrato de Noruega es un excelente aporte estético hp. 23 cm
piezas de la plancha de Aber para el “Kübel” de Ta-
tor refrigerado por aire de 985cc de 23.5
fundamental en ella, pues por si sólo nos está ubicando miya.
Su construcción comenzó en 1940, tras ser adjudi-
cado como coche ligero de reglamento del Ejército. AMBIENTACIÓN BÁSICA 109
Sus mejores características fueron la ligereza y la 1 01Se han usado algunas piezas del kit de
108 rápida producción, también era muy manejable y fá- herramientas dedicado al Panzer IV, como el taladro y trocito de
claxon, la pala o la luz de convoy. 18/11/16 17:41 4 04 las ruedas se le añade la válvula de in ado reali ando un
cil de mantener, todo esto hizo que el Kübelwagen
alambre fino.
fuera muy apreciado y popular entre la tropa, inclu- capota, realizado con hilo
106-125_Skoda.indd 108-109
05 y 06Sobre el parabrisas se añaden los enganches de la
so por parte de los aliados, que apreciaban y usaban 5-6
metálico fino, y funda de cable telefónico.
las unidades capturadas.
7-9 07 y 08Vistas delantera, trasera y superior del vehículo.

7 8
1

2 Kubel_a02La lona de la capota se ha trabajado con masilla

de dos componentes, para conseguir un ajuste perfecto y
convincente sobre la parte trasera del vehículo.
3 Kubel_a03A la estructura de la capota, se le añaden
remaches para detallarla convenientemente. El piloto 9
trasero se fabrica con una sección de varilla de plástico
circular y una pie a de fotograbado, el pequeño cable es
hilo de cobre y el soporte es del que incluye el it.

2 3

11.6.2 PINTURA 92
88 88 _157.tif Para trabajar cómodamente y con
tiempo, es recomendable hacerlo por zonas, 92
por lo que el proceso se va repitiendo,
Toldi_f_161.tif
completando el terreno.
Lo primero es
89 _158.tifEl siguiente paso es imitar el balasto aplicar una capa
del ferrocarril, se va depositando con
de imprimación
cuidado, para que no se “derrame” por el lado
negra, esta es
se crea un pequeño encofrado de cartón.
agua, especialmente
90 _1 9.tif e fija con cola blanca diluida en recomendable
se hace en varias veces, dejando secar entre
por los guijarros
ellas, para obtener una adecuada fijación. AMBIENTACIÓN BÁSICA 49
de la vía, es
91 _160. Una vez bien seco todo, la base está
48 lista para la fase de pintura.
muy importante
cubrir bien de 18/11/16 17:49
negro todos 93
44-63_10_Kubel.indd 48-49 los pequeños
89 90
huecos
existentes, para
que no queden
partes sin
pintar, y luego
se aprecien
extraños efectos
de color.
93-94
Toldi_f_162.tif,
Toldi_f_163.tif y
Toldi_f_164.tif
Se comienza
pintando el
camino de
tierra, con las 94
mismas mezclas
utilizadas en
el terreno
del Simca,
sombreando
e iluminando,
realzando el
volumen del
modelado.
91 95
Toldi_f_165.tif
Continuando con
el aerógrafo, con
colores grises se
pinta el balasto
de la vía del tren.
95

39
38

AMBIENTACIÓN BÁSICA 87
86
18/11/16 17:47

64-95_Toldi.indd 86-87

Notad como
Con un Boys_T-34_d07.tif; Boys_T-34_d08.tif; Boys_T-34_d09.tif y Boys_T-34_d10.tif
y Boys_T-34_d04.tif 39 blanca ahora, igual que en la anterior el
38 Boys_T-34_d01.tif; Boys_T-34_d02.tif; Boys_T-34_d03.tif la blusa por contraste con el pantalón negro, parece más
marrones y sepias por las piernas, para de pintura de la pequeña figura.
cuidadoso perfilado, y unas aguadas controladas de tonos perfilado y unos suaves efectos de suciedad, rematan el trabajo
gura.
imitar suciedad en las mismas, se deja por terminada la fi

21.5 FINALES
anclándolas con los propios pernos que usó An-
Para terminar se pegan cuidosamente las figuras a la base,
tonio en el modelado, dando por finalizada la viñeta.

AMBIENTACIÓN BÁSICA 167

166
18/11/16 17:46

156-167_Boys.indd 166-167

“If you want to learn all of the secrets of expert composition and fabrication of
scale vignettes, look no further than this book by master modeler
Joaquín García Gázquez.”
www.euromodelismo.com • web@euromodelismo.com

Contraportada.indd 1 28/12/16 19:23