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97 NOV/DEC 2017 • £6.50 UK $15.99
Meng AFV Modeller
November / December 2017
A N DY G U L D E N ’ S
PA N Z E R I V AU S F. J
THE END IS NEAR
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In The Devil’s Hands Pete Usher’s dramatic Eastern Front scene.
The End is Near Andy Gulden returns with another stunning 1:16 scene.
Buffalo Soldier Manuel Reiner creates a unique 1:35 StuG III.
Panzerkampfwagen IV Part 15 The Editor continues detailing Trumpeter’s 1:16 kit.
Señor Patton Sean M. Lynch adds a Spanish twist to Takom’s new M47.
Keeping Track New releases.
Syrian Shilka We see how Hong Model’s Shilka shapes up.
Meng AFV Modeller is published Bimonthly by AFV Modeller ltd Old Stables East Moor Stannington Northumberland NE61 6ES Tel: 01670 823648 Fax: 01670 820274 Editor and Designer: David Parker email: [email protected]
Deputy Editor: Mark Neville email: [email protected]
Sales Director: Keith Smith email: [email protected]
Proof Reading: Jim Chandler ISSN 2059-4305
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AFV Modeller welcomes contributions from interested parties, but cannot accept any responsibility for unsolicited material. The contents of this publication including all articles, drawings and photographs originated by AFV Modeller ltd become the publishers copyright under copyright law. Reproduction in any form requires the written consent of the publisher. Whilst every care is taken to avoid mistakes AFV Modeller ltd. cannot be liable in any way for errors or ommissions.
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P E T E U S H E R ’ S D R A M AT I C AW A R D - W I N N I N G V I G N E T T E
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Beast Killer ISU-152 was a Russian fixed turret fully enclosed assault gun also capable of serving as a tank-destroyer. The Russian army used the JSU until the 1970s. Reading the reference I had, I found out this vehicle received an interesting nickname ‘’The Beast Killer’ this was earned for its ability to knock out the heaviest of German tanks, many of which were named after animals, such as elephant, rhinoceros (Nashorn) Panther and of course Tiger! With this new tank causing massive
losses to German armour frustration grew around the JSU and they were seen as a real prize to knock out and the Germans could only dream of capturing the crew of one of these mighty beasts. I wanted to depict a scene of high emotion in a relatively small environment. The composition of the diorama was going to be critical to give a clear story and portray the feelings of the troops involved. The idea soon solidified in my mind of
German SS forces pulling frightened Russians out of a disabled JSU. The crew were clearly in a perilous situation. Using out the box figures was clearly out of the question, so I knew some converting and sculpting was going to be needed. I bought two Tamiya JSU-152 kits, one would be a dummy kit so the figures could be sculpted to fit perfectly.
C o m p o s e Yo u rs e lve s During the sculpting phase, I knew there would be a lot of manhandling of the kit plus putty and talcum powder used. These are all not great materials to have left around for a flawless airbrushed finish! The ‘disposable’ JSU was only basically assembled; if it didn’t interact with the figures or the level of the vehicle, I didn’t attach it.
The key to any diorama is composition. All the figures must interact, and a natural symmetry between them is essential to building a story. The figures in the diorama were based on those from Evolution and Dragon. The base figures received different degrees of conversion ranging from just newly sculpted arms to others needing almost completely new uniforms. All the new limbs were made from wire armatures covered in two layers of Magic Sculp. All figures were given new heads from the Hornet range. Some bald heads were needed for the right expression on the faces, so magic sculp was also used to create the disheveled hair of the tank crew. Once undercoated all the figures were painted with Vallejo acrylics. 4
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After first using ‘the hairspray technique’ to achieve the basis of the worn whitewash I continued to add depth to the worn finish. Each panel was first lightly dampened with enamel thinner, then random spots of white Humbrol No 34 were applied.
Black brown LS09 oil paints from Wilder were heavily thinned and fed into the recesses to isolate the panel in a pin wash fashion. These paints are really nice to use and dry with a very matt finish.
I wanted the ‘beast killer’ to look like it had seen many months in the field, so an extremely worn look was planned. I have always had good results from Tamiya Acrylics so used them for the initial painting stages. I knew most of the original Russian green would be obscured and covered with the following techniques, but I still used a mild modulation effect to highlight areas towards the upper surfaces and picked out some raised points with a lighter green mixture. As I had two sets of decals from the two kits I could make the number 33, these were hand painted over the top and some artistic license was used to alter the shapes slightly to make them look more
The white spots were then gently dragged and blended into the panel; this gives a nice uneven white dimension.
After the washes were applied I was able to return with the white and add more intensity in selected areas, here the white still needs blending with thinner.
Dark Green LS15 with a little LS 16 faded green from the same range was added in small amounts around the edge of the panel this was then blended inward towards the centre of the panel. LS18 basic earth added to the centre of the panel gives a nice muted effect.
hand painted on by the crew. Once this stage was complete; several layers of cheap hairspray was applied to the entire kit. Tamiya white mixed with Tamiya Earth were sprayed in a patchy manner over the main body of the kit. On the sides of the tank, the whitewash was removed with a damp brush in the opposite direction to which the tank would have been travelling. To further erode the winter paint I used the edge of some fine point tweezers to make scratches in the thin paint while it was still soft. Flat surfaces were gently scrubbed to represent crew movement, most of the flat surfaces were almost taken back to the
original green in most parts. From here on in I changed my approach, I would normally work each weathering stage across the entire vehicle. Instead, I almost completed each panel individually before moving onto the next. After only a few panels I found I really enjoyed the panel by panel system. I also found that as I worked around the tank my techniques slightly changed and improved, I’m sure we get better with each kit we make. This technique almost made each panel like an individual model yet relating to the panel before and after it.
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Streaking Grime from the Mig range was used to age the scratches and the bullet strikes on the hull.
To create scuffs and scratches through to the original green factory finish, Vallejo black-green was used both with a fine brush and a small piece of torn sponge using a ‘dabbing’ action.
Base washes of brown tones and an oily black around the outlet formed the basis of the exhausts.
More pigments came into play with a heavy build up of earth around the lower hull. Various tones give the dry and wet effects.
Heavier applications of pigments give a realistic ‘sooty’ finish.
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With the presence of round strikes on the front of the tank, I thought it might be a good idea to have the front lamp looking worse for wear with a smashed front glass cover. I needed a reflective mirror that sits in the back of the lamp. This is how I made it. Domestic tin foil shiny side down was pressed over the end of a rounded paint brush. Run a modelling knife a few millimeters down and around the top of the brush, then lift off the small foil dish shape. The foil dish is placed into the light housing and the light bulb and wires fitted can then be added. The hanging out bulb and wires were from my spares box.
As the focal point of the scene is the figures groundwork was kept minimal. After forming a raised edging to contain the earth mixture I assembled the basic materials. Sculpt-a-mold, fine earth and sand, fine plant roots.
A base layer of sculpt-a-mold mixed with water and a little white glue can then be spread out over a styrene base.
The second layer of sculpt-a-mold was mixed with dark brown and black acrylics. Large tubes of paint can be bought from large hobby shops. This is a better option than using the smaller Model paints. The sculpt-a-mold can absorb a fair amount of paint before it reaches a nice ‘muddy’ consistency. This can be spread out over the white layer below.
Once the base was dry (48 hours) a layer of To create the correct ‘sit’ of the vehicle, I wrapped the kit in cling film and pushed it into the soft base material. The kit can thinned PVA glue was brushed over. Then dry plant pot earth was sprinkled over the area. then be removed after a few hours when the sculpt-a-mold has started to harden but by no means cured.
The kit tracks were used to recreate the track marks in the ground where the tank had been before grinding to a halt.
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