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62 AfrikaKorpsING_62 ES Suscrip.qxd 21/04/13 18:22 Página 62

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New monographic dedicated to the Afrika Korps. 88 pages in which you can find the latest
techniques employed by the authors showed step by step. A perfect reference to learn how to paint
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ING NDICE_ESP.NDICE 17/06/13 16:18 Página 3

Pz.Kpfw. IV Ausf. J
2 This work about the classic model highlights the revolutionary construction
technique and a super realistic result that elevates the author to the category of
Master. An extensive illustrated report of the specimen kept at the Saumur
museum is included at the end..

Tiger I Ausf. E
An interesting version of the famous german tank with of initial
and final model parts which makes this model a truly rare
52
specimen. The work includes a couple of colour profiles with
different camouflage patterns.

38 Defending the Republic

This small vignette recreates Barcelona in 1936, when the coup staged by part of the Army forced
the people of the city to raise in arms to defend freedom. Photographs of period uniforms
complete the article.

M60A3
A 1/72 scale Egyptian battle tank with great realism and a very attractive
camouflage pattern. Other painting options are considered in a series of six
46
colour profiles included in the article.

MODELING LESSONS: Metallic handles

60 Fine metal rods and thick copper thread are versatile materials with many applications. In this case we’ll learn how to make of
handles for vehicles.
ING Panzer IV_PzI.F 17/06/13 16:35 Página 2

By: Philip Stutcinskas

Photographs by the author and Basilio Tante Díaz

Tamiya 1/35

What is it that makes us decide on

one modelling theme or another?
I am sure a multitude of answers
and reasons would be put forward
if this question were put to each
of us.
ING Panzer IV_PzI.F 17/06/13 16:35 Página 3
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The rims, for

deflecting any
projectiles, located
around the driver and
radio operator/machine
gunner’s hatch has weld
seams made with epoxy
putty.

am fortunate because I know

many militar y historians and
specialists who have interesting
stories to relate. By far the best of them
is Mirko Bayerl and the following model
is a direct result of the stories written
by Mirko and posted on the Internet.
My idea was to represent a battle-
damaged Panzer IV during the fighting
in Hungary in the final throes of the
Second World War. I am taken aback
by the images and stories emanating
from this theatre of operations. I was
especially drawn to the idea of repre-
senting a white vehicle but with the
paint partially washed off. So, with this
goal in mind, I began my quest for a

Apart from installing new exhaust

pipes, several rivets and nuts were
added on the rear.

Mud was
applied by
‘picking’ on
the surface
with the tip
of an old
stiff-haired
brush.

Excess mud was removed using a

scalpel in those areas where the road
wheels made contact with the tracks.
4
ING Panzer IV_PzI.F 17/06/13 16:35 Página 5

Holes for the slides were made in the

track links with a 0.5mm drill.

The armoured shield

around the turret was made
from several photo-etched parts
project that would fit the idea. It soldered together.
was at this point that my friend Mirko
once again became my guide, as he is
an authority on all aspects of the bat-
tles that took place in, and around
Hungary.
The result is a model of a tank man-
ufactured in September 1944 and was
assigned to the famous, or infamous SS
‘Wiking’ Division.

THE KIT
As the idea was centred on an Ausf. J
version of the tank, the selected kit had
to be from either Tamiya or Dragon. I
opted for the Tamiya version because it
is the best in terms of detail and preci-
sion. In addition, the amount of photo-
etch references and replacement track
sets for this particular kit gave me the

KITS USED
Model: - Fenders for Pz.Kpfw. IV, Aber ref. Accessories:
- German Panzerkampfwagen IV Ausf. 35A09. - Petrol can, Tamiya ref. 35186.
J, Tamiya ref. 30181, 1/35 scale.
Gun Barrel: Figures:
Photo-etch: - German 75 mm barrel for PaK 40, - Tristar refs. 004 and 005.
- Pz.Kpfw. IV Ausf. J, Aber ref. 35013. Aber ref. 35 L-25. - Dragon refs. 6016, 6059, 6093,
- Turret skirts for Pz.Kpfw. IV (H. J), 6115 and 6123.
Aber ref. 35A06. Tracks: - Hornet heads refs. HGH01, HGH04
- Side skirts for Pz.Kpfw. IV (H. J), - Pz.Kpfw. IV late tracks, Modelkasten and HGH05.
Aber ref. 35A07. ref. SK-17.
5
ING Panzer IV_PzI.F 17/06/13 16:35 Página 6

Tools required for

making rivets from
lead sheet.

It’s a quick way of

obtaining large quantities
of rivets.

The metal
sheet was
placed on a
piece of hard
silicon and
stamped with
the flat of a
drill.

opportunity to easily provide the model

with a high degree of detail.
Before starting, I gathered together a
good pile of bibliographic references. If
you ever want to build a late war Panzer The model is completely covered with a dark colour made with a mixture of
IV, I recommend the excellent Achtung matt black and hull red enamels.
Panzer book about the Mark IV and the
reasonably priced Kagero No. 16 about have to make a few modifications to con- one (easy to scratch built from Plasti-
the Panzer IV J. This last book is really vert it into a September 1944 version. card).
good, with excellent photographs of Below is a summary of the necessary - Instead of the usual Schürzen, the
specimens in museums, along with scale modifications: new mesh Thoma skirts were installed,
drawings and decal sheets. - The exhaust pipe muf-
My Panzer IV was supposed to be a fler was removed and the
September 1944 production model. How- pipes repositioned vertically.
ever, the Tamiya kit represents one that - Applying Zimmerit was
left the factory a few months before, forbidden at the beginning of September.
around June. This meant that, apart from - The armoured cover for the turret
adding the usual photo-etch, I would roof ventilators was replaced with a larger

With the zenithal lighting concept in mind, the classic Dunkelgelb is projected
from above over the base colour.
ING Panzer IV_PzI.F 17/06/13 16:35 Página 7

even though some models still had the

earlier skirts if they were available (as
with my Panzer IV).
Apart from these modifications, to
complete the model I had to add some
further accessories. I replaced the
tracks with a set from Modelkasten.
These have excellent detailing,
although they do require a degree of
patience when working with them. As
I also wanted to portray a tank covered
with spare tracks, I was forced to pur-
chase an extra set. I also changed the
gun barrel for another from the Aber assembly phase, the easier and effec- The final highlights cover a
range. The muzzle brake on this is tive the painting process will be. smaller area. For this, a cream
worth the money all by itself. In regard Updating a model with basic colour was used.
to the photo-etch, the final versions of photo-etch is quite easy. How-
the Panzer IV requires quite a bit of ever, the real problems arise
them: toolboxes, clamps, mudguards, when working with the
and the hull and turret Schürzen. I wish
I could say that I like working with pho-
to-etch, but I cannot. I confess that
playing around with tiny parts and
super glue does not excite me one bit.
However, it’s just one of those things
that must be done and as I consider
that the more detailing and the more
parts that can be added during the
ING Panzer IV_PzI.F 17/06/13 16:35 Página 8

The figures were built from different plastic COLOUR CHART

commercial parts and two-component
putty. The heads are by Hornet. HUMBROL (enamels) WINSOR & NEWTON (oils)
29 matt dark earth 4004 Alizarin crimson
31 matt slate grey 4074 burnt sienna
33 matt black 4076 burnt umber
34 matt white 4118 pale cadmium yellow
61 matt flesh 4319 Indian yellow
63 matt sand 4322 indigo
92 matt iron grey 4422 Naples yellow
103 matt cream 4465 Payne’s grey
113 matt rust 4554 raw umber
4644 titanium white
TAMIYA (enamels) 4676 Van Dyke brown
XF-9 hull red 4744 yellow ochre
XF-52 matt earth
XF-60 dark yellow MIG PRODUCTIONS
XF-65 field grey (pigments)
XF-68 NATO brown P024 light rust
XF-69 NATO black P025 standard rust
XF-72 JGSDF brown P028 Europe dust
P029 brick dust
TAMIYA (acrylics)
XF-2 flat white DALER ROWNEY (varnishes)
Matt varnish
Gloss varnish

Schürzen, especially around the turret roof. These required a drill of the cor-
area. Superglue is not strong enough to rect diameter to make the shallow
hold the panels together so they must holes. These holes were then filled with
be soldered. Before taking on this pro- epoxy putty and pressure applied with
ject, I hadn’t a clue about soldering so I the flat side of the drill to make sure
had to turn to my friends, Nick and Bri. the screw remained just below the sur-
In retrospect, I must confess that the face of the turret. Any excess putty
process is an easy, effective way of join- can later be removed with a scalpel
ing metal parts and I will certainly use when it’s dry. Before the putty was
this technique in the future. The rigidity completely dr y, the screw head
of the soldered joints is a great help slots were marked.
when you are struggling to form the The Tamiya
turret angles. I would also recommend kit is also miss-
a superglue ‘kicker’ activator spray as it ing many of the
essential for fixing the structure to the weld seams. To
model. simulate these, I
The Tamiya kit is outstanding and used two different
gets even better once the extras are techniques. For a fine
added. I added a row of rivets in the seam, for example
engine compartment as well as bolts I around small details, I
stamped out of a lead sheet (see pho- used the tip of a scalpel.
tos). On the track return roller axles, I The line can then be
added small head plugs from Grandt softened with a bit of
Line to simulate grease nipples. I mixed Mr. Surfacer or dilute
standard parts with late ones on the putty. The second
suspension, easy to recognize as they technique requires the
lack holes and don’t have the two nuts use epoxy putty (Magic
on the upper part. Several countersunk Sculpt or Apoxie Sculpt) to
8 screws had to be added on the turret simulate the weld seems that
ING Panzer IV_PzI.F 17/06/13 16:35 Página 9

After protecting the model with

a coat of gloss varnish and an
application of hair lacquer, the
winter camouflage was applied
in irregular patterns using flat
white acrylic paint.

Crosses are painted with the aid of a

stencil.
The figures are wearing a
heterogeneous mix of uniform
were then textured with flat wire rods items to convey the desperate
and rounded corners. If I required a final phase
straight strip, as was the case in many of the war.
instances with this model, I masked the
plastic with two strips of adhesive tape
thus leaving a free area where the putty
could be applied.

The jerry can positioned

on the left mudguard was
painted in Feldgrau.
9
ING Panzer IV_PzI.F 17/06/13 16:35 Página 10
ING Panzer IV_PzI.F 17/06/13 16:35 Página 11
ING Panzer IV_PzI.F 17/06/13 16:35 Página 12

The effect can be more or

less emphasized, thus
achieving greater realism.
A new coat of varnish was
applied to protect the
lacquer and white paint
coat.

THE MUD
The white paint While I am no fan of models cov-
was partially ered in mud, in this case I had to add
removed in some as history reveals that mud was
some areas one of the deciding factors of the bat-
with a tles that took place in Hungary, par-
paintbrush
ticularly during Operation Konrad.
dipped in
The constant snowfalls, followed by
lukewarm
water. the thaw created veritable moun-
tains of mud. There are even
stories of tanks buried
up to the turret in
mud.

The canvas
placed
between the side
of the turret and the
Schürzen is made from a
sheet of Kleenex tissue
paper impregnated with PVA
white glue.
12
ING Panzer IV_PzI.F 17/06/13 16:35 Página 13

Different oil colour mixtures

were applied to the surface of
the model.

After blending the oils with white

spirit, the subtle shades become
apparent, thereby adding chromatic
richness.

So, with this in mind, I began to rep- The profiling was done with a
resent the mud and its effects. The mixture of Alizarin crimson,
application of mud is usually made after indigo blue and Van Dyke
the first painting phase has been done. brown.
However, I preferred to apply it before
any painting. My reason was to be able
to control the appearance of the mud areas would be filled with mud and
much more effectively. I wanted to which would remain relatively clean
paint, texture and apply shadows to the (the teeth of the traction wheels, the
mud so, for me, it made more sense to upper part of the road wheels and the
add texture before starting to paint. tracks’ contact surfaces. Once the mix-
The mud was made from a mixture ture was dry, I removed any excess with
of plaster, PVA glue, and fine sand and a scalpel.
synthetic grass. I have had a lot of prac-
tice probing each application of this
F I G U R E S
type of dirtiness to each part of the
vehicle. Even so, having made many I think the reason I feel more and
mistakes in the past, it pays to be care- more attracted to figure modelling is
ful. Applying the mud is quite simple. because I am becoming more interested
It’s all about ‘nibbling’ in the fresh in the personal stories behind the men Oils are blended with a clean
mixture using an old brush and their machines. brush dampened with white
and trying to imagine how The f igures were an extremely spirit. Dirt runs are also added
the mud would have col- important element for this model, so I with strokes of the brush.
lected on the selected wanted to work with them immediate-
area. I knew which ly. As the figures had to be tested to

Once the profiling was complete, the model was given a coat of matt varnish.
13
ING Panzer IV_PzI.F 17/06/13 16:36 Página 14

The chips are made with enamels

and the tip of a fine paintbrush.

With a mixture of oils similar to

Dunkelgelb, but a bit darker than the
base colour, worn areas are painted
on the surfaces, especially along the
edges.

see if they fitted onto the small area of together. The plastic parts allowed me The different peels are
the engine cover, I made, to my mind, to get just so far, but failed to attain highlighted, more noticeable on
the correct decision of modelling and exactly what I had in mind. Hence, I the upper edge of the white
converting them before painting the had to use epoxy putty in some areas. stains.
tank. This, for me, was a new experience
I knew the effect I was looking for. and one that I found enjoyable.
The soldiers had to look bunched up, The plastic f igures can also be TA N K
so I checked through several boxes of improved with a little judicious
Dragon and Tristar figures, selected the retouching. A small No. 15 Swann
PA I N T WO R K
most interesting ones and combined Morton blade is an ideal tool. I worked Base Colour and Highlights
different torsos and limbs to obtain the with ever y small par t tuning and I am very interested in the study of
desired poses. Once I was satisfied redefining their details. I took the deci- light and shadow. My pictorial philoso-
with the basic pose, I defined the exact sion to use Hornet heads because I phy is oriented more toward figure
position by cutting and gluing all the believe they are the best on the market, painting than that of modellers of mili-
elements. The principal bloc consists they are easy to work with. I whole- tary vehicles. For my mind, there is no
of four figures that were modelled heartedly recommend them. difference between painting a tank, fig-

Rusty areas are simulated with

PAINTING THE EXTRA powdered pigments applied with a
TRACK LINKS paintbrush.

Dark tones are added with an

The extra track links positioned over airbrush, mixing dark earth, black
the armour plating received an and iron grey.
enamel coat using a mixture of rust,
iron grey, dark earth and white
paints.

The appearance of polished metal on

some edges was made with graphite.
To finish, earth coloured pigments
are applied.
ING Panzer IV_PzI.F 17/06/13 16:36 Página 15

ure, terrain or a piece of equipment. Before starting

The most important concept is to posi- with the wheels,
tion the different elements in a cohe- the mudguards
must first be
sive way and use the shadows in a gen-
masked off.
erally and effectively. I paint shadows
everywhere, from the smallest accesso-
ry to the armoured vehicle itself, and to
the same standard.
With this idea in mind, allied to the
fact that I wanted to impart very sharp
shadows to highlight the climate
impregnating the scene, I airbrushed
the model using a very dark, almost
black, base colour by mixing matt black
and hull red enamels. I made sure that
even the most hidden and inaccessible
areas were painted. This was impor-
tant, as these areas would remain dark
when the job was finished.
Next, I used a darker mixture of the
Dunkelgelb tone (dark yellow with a lit-
tle matt black) to airbrush directly

After airbrushing different earth-

toned enamels, similar tones of
powdered pigments are applied with
a paintbrush.

This product adds a metallic finish to

the tracks.

In those areas without Schürzen, the original dark colour was left untouched.
The wheel’s axles were painted Dunkelgelb.

It is easily applied with a

paintbrush in those areas were Highlights are applied to the wheel
the constant friction causes a axles.
polishing effect.

The rubber part making contact

with the tracks must appear
clean, so give it a coat of dark
brownish grey. 15
ING Panzer IV_PzI.F 17/06/13 16:36 Página 16

Skirts are decorated

with a dark base using
a mixture of red hull
and matt black
enamels, over which
dark yellow colour
has been projected,
but without
completely
The upper half is highlighted with a mixture of
covering the
dark yellow and cream enamels.
previous coat.

above the model to imitate zenithal shadow and low relief, making a pleas- remain in the darker areas. On the verti-
sunlight. By airbrushing the Dunkelgelb ant contrast between the colours. I cal surfaces, I used the colour sparingly,
from above, it eliminated the dark then painted a much lighter coat of while on the horizontal ones, the
colour as much as possible from the Dunkelgelb (dark yellow mixed with colour was applied more generously.
upper part; obviously not all of the matt cream), but this time cover- The next step was to impar t more
colour can be covered, some will ing less of the surface to intense highlights using matt cream,
remain in the areas of maximum allow the dark colours to which at the same time added interest-
ing shapes and textures to the model’s
surface. I then applied the number
decals to the turret from an Echelon
decal sheet, and painted the Balkan
crosses with the help of a stencil. I
completed this phase by airbrush the
model with a coat of gloss varnish to
protect the finish and assist me in the
next aging process. For this, I used a
ING Panzer IV_PzI.F 17/06/13 16:36 Página 17

After applying a coat of gloss varnish and hair lacquer, flat

white acrylic was projected.

Now some dark strokes are added,

simulating dirt runs from the upper Water has
part to the bottom where they dissolved the
concentrate. lacquer and the
white paint has
been removed
in a way that
looks natural.

After a new
coat of gloss
varnish, the
Schürzen is
dirtied with
oil paint
The white was partially removed filters.
with a paintbrush dipped in
lukewarm water.

Some paint retouching may be necessary when fixing the

skirts in the tank.

The excess oil paint is

removed with white
spirit.

After another airbrush coat, this time of matt varnish, stains

and peels are added. The upper edge of the white-coloured
patches is painted with a strong highlight using matt white
enamel and a very fine tipped paintbrush.

17
ING Panzer IV_PzI.F 17/06/13 16:36 Página 18

After priming the figure with Highlights of

NATO black enamel, a coat of matt white
dark earth is projected from enamel mare
above. added. Note
the highlights
concentrating
on the upper
part but
covering a
smaller area.

The final highlights are painted on the shoulders and

the upper part of the forearms. The lower half of the
figure has been masked to prevent over painting.

the rear face of the Schürzen or the removed. Also, fact that this technique
areas behind, also lacked white paint. I doesn’t damage the model in any way
wanted to give it a coat of damaged allowed me to remove paint from the
and partially defaced white paint, and smaller parts without a problem. Once I
this was somewhat of a challenge. was satisfied with the result, I just had
There are many different ways of repre- to give the model another coat of gloss
senting a white layer, many of which varnish.
cellulose-based spray, as it was evident have been described in other articles.
that the damaging and aging process After considering them all, the results Washes and Filters
was going to be tough. worried me, as the design of the Panzer The next step was to add a variety
IV was complicated and intricate, apart of colours to provide blends and shad-
Winter Camouflage from the fact that I had added a great ows, using oil paints for this purpose.
The next step was to apply an all- deal of photo-etched parts. I was wor-
over coat of white. Once again, history ried the model could be ruined if I prac-
tells us that whitewashing was not the ticed techniques that appeared too
rule in Hungary. In fact, in the areas aggressive and rough. I definitely need-
where it was applied, the colour varied ed a fresh approach. After experiment-
from one tank to another. I wanted to ing on other test pieces, I discovered a
portray a partially covered vehicle with technique that I thought would work.
areas void of white paint, like on the First, I applied coats of hair lacquer. It is
rear panel of the hull. Other areas, like often best to apply different mediums,
one on top of the other, to prevent the
risk of one coat reacting against anoth-
er. In this case, the components of the
lacquer, water and alcohol, did not
affect the totally waterproof varnish
coat with its cellulose base. I sprayed
two coats of lacquer and dried them
with a hairdryer.
Next, I airbrushed a coat of Tamiya
flat white, which has a short drying
time. White paint can be easily removed
using a paintbrush soaked in lukewarm
water, removing any excess water with a
rag. The brush must be softly passed
over the surface of the model and, as
the water dissolves the layer of hair lac-
quer, the white paint begins to lift off.
This effect can be as subtle or exaggerat-
The skin is painted with matt flesh
ed as you want. The more water and
18 colour. rubbing, the more white paint will be
ING Panzer IV_PzI.F 17/06/13 16:36 Página 19

The colour chart is of no importance After adding highlights to the face

for this as the amount of colour that and hands, the figure is protected
with a coat of gloss varnish.
remains on the surface is miniscule, so
little in fact that even the brightest
colours end up in a subtle blend over
the chromatic base. The paint is
removed using a brush damped in
white spirit, simply trying to sweep
the oil colours over the model’s sur-
face.
Here is where I started with the pro-
filing phase, once again using oil
colours diluted with white spirit. The
colours used depend on the modeller’s
taste. At the present time I am very
interested in the use of and the sci-
ence of colour. It’s my belief that this
very important aspect of modelling
make the other colours look muddy
seldom receives the attention and time
and lacking sharpness. So I made a
it truly deserves. I wanted to paint a
mixture of the three
dark colour to highlight the shadows
primary colours to
fur ther while, at the same time, General shadows are applied
attempting to keep the other colours with an oil paint wash,
clean and the shade rich. I also wanted removing it from the raised
to refrain from using black, as this can areas with a rag dampened
with white spirit.

The SS-Pz.Div. ‘Wiking’ insignia was

hand-painted on the front left
mudguard.

19
ING Panzer IV_PzI.F 17/06/13 16:36 Página 20

obtain a very dark brown. It is worth quite delicate, and the white spirit treat- While doing it I try to visualise soldiers
noting the fact that this mixture can ments that can be very corrosive. For with filthy and oily hands, dirty uni-
also be obtained using Alizarin crim- the next aging phases, it is better to forms, hob-nailed jackboots and heavy
son, indigo blue and Van Dyke brown. work on a matt surface, so a matt var- equipment.
When mixed, a deep colour with extra- nish coat, a soluble one by Daler I prepared a mixture of coloured oils
ordinary vibrancy is obtained. I used Rowney, must be applied to the model. similar to the Dunkelgelb but a bit dark-
the mix generously, applying it both to er, made using yellow ochre, pale yel-
the tank and the figures. The profiling Wear and Dirt low cadmium, Naples yellow and burnt
is an easy task. First, the lightly diluted Being a ‘veteran’ tank, I wanted to umber, first staining the general sur-
paint is spread around the details and use a paintbrush to add wear and dirt. faces and following this with the edges
shadowed areas, and then the surface and rims of the details. I carefully
of the model is blended with a clean spread the colour with the tip of the
brush damped in White Spirit. I also paintbrush over those areas where the
made dirt runs using this method. soldiers would most likely place their
Up to this stage, all the aging effects dirty hands and, obviously, over and
were done on a glossy surface; it was around the hatches.
done this way because it’s easier to I added other tones, including
control the washes and Indian red, burnt sienna and Payne’s
paint blends on this grey, to create interesting aging effects,
type of surface. like uncovering the red anti-rust primer
Gloss acts as a bar- or the rusty steel. Working with the
rier between the air- pain brush you soon get a clear idea of
brush application, the areas where the wear concentrates.
ING Panzer IV_PzI.F 17/06/13 16:36 Página 21

The positioning of the figures

must create a harmonious
composition and add credibility
to the overall scene.

Highlights were done with enamels,

adding very fine coats.

Think of the brush tip as a greasy rag, a removed the accumulated dirt, leaving
dirty hand or a filthy boot. This way the yellow base colour, I used sand.
the model begins to realistically imitate With the help of hull red colour, I imi-
reality. tated the red anti-rust primer coat. The
appearance of the surface starts to look
Paint Chips interesting and to evolve when using
With that idea of wear still in different colours. It is a phase that can’t
my head, the moment arrived be neglected, one must think of the
to add paint chips. The paintbrush as if it was a dirty boot.
colours that had been After finishing, I started with the high-
applied earlier guided me I lights.
finding the most suitable places
to add the chips and also Highlights and Peels
helped me to blend The next phase was the illumina-
and soften its aspect. I tion, the paint peels and the rest of
used several Humbrol the effects, like edges of defaced areas
enamels with a Win- or the winter whitewash. I used sever-
sor & Newton No.7 al Humbrol enamels, including matt
marten bristle paint- white, with utmost care on the upper
brush. For this job, edge of the white patches and the
choosing the correct edges of the chips: quite useful when
paintbrush is more you want to represent the different lay-
important than selecting the ers.
type of paint. For the deeper chips
that leave exposed metal, I used a grey- Tracks and Spare Links
ish brown tone obtained with a mixture The spare track links represented a
of iron grey and dark earth. For those small but interesting challenge: I want-
superficial ones that would have only ed to use them to add more interest to 21
ING Panzer IV_PzI.F 17/06/13 16:36 Página 22

the story. On the Eastern Front, espe-

cially with crews of Panzer IV’s in
Hungary, it was a common practice to
reinforce the armour by adding spare
track links of different origins.
I used Humbrol enamels to apply a
base colour to the tracks. I then made
white washes and painted it on the
lengths of track that were on the vehi-
cle when the white camouflage was
applied. For the remainder of the
tracks, I used a mixture of dark earth
and rust to give the appearance that
they had been purloined from another
operational vehicle. Those tracks that
had been taken from disabled vehicles
were painted using more rusted tone
and, finally, I painted others in a
brownish grey tone obtained by mix-
ing iron grey and dark earth. The binoculars lenses were
Before applying aging effects to the simulated with gloss varnish.
tracks, first ensure that the colours are
completely dry including, of course,
the airbrush and pigment treatments. I painted these colours before fixing the
wasn’t worried about going ‘over the Schürzen. Also, I painted the lower
Except for the metal parts of the top’ when applying pigments to the areas of the tracks and mudguards
equipment, the figures were given a with dark colours to highlight the
tracks and links on the hull, as it was
coat of matt varnish. shadows. Once the airbrushing was
The steel helmets were weathered consistent with the gener al dir ty
effect. However, for the track links done, I spread Mig Productions pig-
with standard rust and brick dust
attached to the turret the effect had to ments of Europe dust and brick dust
pigments.
be kept to the minimum. For that rea- on the wheels and tracks. Then, to
son, I protected the areas adjacent to add a certain degree of vivacity to the
those particular links with masking mud, I applying washes of light oil
tape. Then I prepared a mixture of dark paint.
earth, black and iron grey and added The teeth of the tracks were then
shadows using the airbrush, trying to metallised using Zebrite Grate Polish.
accentuate the shapes and surround- This is a hard to find product that
ings. gives a dark metallic shine similar
I continued applying the r ust to, but better the one
coloured dry pigments with the help obtained by pencil lead.
of a paintbrush and then afterwards On the rubber tyre area
spreading graphite dust on the upper of the wheel where it
part with another dry paintbrush to came into direct contact
give the links a metallic look. To com- with the tracks, I spread a
plete the aging effects, I spread earth dark brownish grey, and dry
coloured pigments onto the tracks. To br ushed f lat black on the
fix the pigments, I used distilled water edges. This last process was
on the surface of the tracks. done to give an extremely
marked contrast with the
Wheels dirtiness of the wheels
After placing crude masking along side face.
the mudguards for protection, I pro- I now added the
jected lots of earth-coloured tones final touches to the
using the airbrush; I admit that I used wheels with some washes
the whole range of Tamiya brown and a dr y brush with light
paints on their colour char t! My tones on the Dunkelgelb-paint-
thinking behind this was to move ed wheel hubs. Some snow was
Colour harmony was always the away as much as possible from the then added, the dirty areas on the
22 priority. boring sludge colour. In addition, I front and rear of the hull was air-
ING Panzer IV_PzI.F 17/06/13 16:36 Página 23

br ushed to reduce the contr ast all the figures, I will only explain the years. I feel that using the airbrush for
between those areas and the wheels. paint job on the commander. I first this job gives you a head start, so to
To complete the painting of the applied the primer colour with the air- speak, and lets you get on with the
vehicle, I painted the mudguards. On brush, a method that has actual painting of the figures quickly
the horizontal surfaces, where the dust gained more and more and simply. Also, I think that if paler
and dirt had to be obvious, I used suppor ters over the colours are successively applied from
Europe dust and brick dust to simulate
this. In fact, I used pigments on all of
the horizontal surfaces of the tank,
although less so on the mudguards.
Applying pigments is very simple: pick
them up dry with a paintbrush and just
sprinkle on the desired surface and
vaporizing water to fix them.

PA I N T I N G
THE FIGURES
Taking into consideration that the
painting process was the same for

A tow cable was

placed over the right
mudguard. This was
made using the ends
supplied with the kit and
some brass wire.

23
ING Panzer IV_PzI.F 17/06/13 16:36 Página 24

the top, the zenithal illumination can part of the forearms. This first applica- acquire basic highlights and shadows.
be achieved in a much simpler way. tion was very thorough and after it I progressively highlighted until flat
Also, by using this method, the wrin- was finished the darker colour only white was applied on the upper part of
kles and pleats stand out much more remained in a few areas; being a tunic the shoulders and forearms.
than if the base colour is flat, matt and it must only be present in the dark For those figures wearing different
monotonous. When using the airbrush areas. coloured items of clothing, to prevent
to apply a base colour and highlights, I Continuing with this principle, I damage to already painted areas, those
always work from dark to light. then projected some white mixed with areas had to be first masked off.
The figures were primed with NATO dark earth, this time covering a smaller This same procedure was followed
black. Next, I applied dark earth from area. In this way, the figure began to for each part of the figure, working
above trying to imitate the way sun- from a very dark base colour and grad-
light would strike the figure. In this ually highlighting it with the airbrush
way, the NATO black stays in the that, in affect, represents the light
most hidden and dark spaces, source.
under the armpits and the lower The shadows and highlights that
can be achieved when working with a

On the mudguards there have been

imitated remains of soil and dry mud
using pigments.

24
ING Panzer IV_PzI.F 17/06/13 16:37 Página 25

Veils of red
and crimson
oil paints
were
applied to
the cheeks
and lips.

The soldier’s
parka was
painted in
matt slate
grey
enamel.

1/35scale figure are, even with the used Humbrol enamels and applied
finest airbrush, obviously limited. It’s multiple coats. This is the key for a
all about achieving a rudimentar y well-painted f igure: multiple thin
effect of lights and shadows. coats of paint. It should be noted that
Once this phase had been complet- with this process the objective was to
ed, I airbrushed the figure with a coat give the soldiers an exhausted and
of gloss varnish to protect the previ- dirty appearance, so all the colours
ous work and to assist with the appli- and paint applications were chosen
cation of the subsequent washes. First with that idea in mind. I used the
of all, I gave it a general oil wash. shadows to accentuate this fact and
When doing this it is very important the highlights were blended with dirty
to select the correct colour, it’s not tones. I avoided the use of any lumi-
about getting a black or a dirty brown, nous colours as the figures are always
but a darker version of the base a visual magnet and must be an inte-
colour. I applied this wash very care- gral part of the scene.
fully and then partially removed it There is no doubt that the most
with a rag. For this process to be important aspect, especially for me in
effective, the rag must be slightly this diorama, was the grouping. It was
dampened with white spirit. I then paramount to combine the different
painted the deeper areas of the wrin- elements in a logical interaction, each
kles and the seams, as well as the pro- one compensating the other, so as to
filing. As mentioned earlier, using oil effectively portray the harsh reality of
colours over a coat of varnish it is war.
extremely easy to blend and blur the
edges. Also, the shadows and high- ACKNOWLEDGEMENTS
lights that been airbrushed earlier I would to thank my good friend,
were used guides. Mirko Bayerl, for his invaluable assis- The maximum shadowed area in
Now it was time to do the high- tance, and my long-suffering friends, the garments wrinkles was done
lights. As I prefer to work from a matt Brian Murdoch and Nick Bradshaw, for with a mixture of Alizarin crimson,
their honest and constructive criti- indigo and Van Dyke brown oils.
surface, I first airbrushed the figure
with matt varnish. For the highlights I cism. 25
ING REP-Pzkpfw IV_Renault UE REP 17/06/13 16:42 Página 26

Photography by Rodrigo Hernández Cabos in the Musée des Blindés de Saumur, September 2000.

R E P O R T A G E

The Ausf. J that entered service in 1944 was

an evolution of the Pz.Kpfw. IV. Due to the The circular
shortage of raw materials, instead of steel aperture for brake
plates, the Schürzen were now made of ventilation can be
steel mesh, the auxiliary engine for the seen under its
electric turret drive was discarded, many protective cover.
parts were simplified, rubber was retained The Zimmerit has
only where absolutely necessary, and the been neatly
sights on both sides of the hull and turret reproduced.
were eliminated.

26
ING REP-Pzkpfw IV_Renault UE REP 17/06/13 16:42 Página 27

The armoured protector for the driver’s sight is in The machine

the ‘closed’ position. One of the transmission gun is fixed in
and brake access doors is visible in the the Kugelblend
foreground. 50 ball mount,
the aiming
aperture is
easy to
identify.

The tow cable

hook is on the
front right-
hand side of
the hull.

The mudguard
support can be
seen in the
foreground,
while the hooks
for mounting the
steel mesh side
skirts can be
The hook is screwed to the upper seen in the
right-hand corner on the left side background.
of the hull.

Upper view of the mantlet with the machinegun armoured

protector. Below is the machine gunner/radio operator’s hatch.

The folding section of the mudguard

(rebuilt) is held in place by a spring.

27
ING REP-Pzkpfw IV_Renault UE REP 17/06/13 16:42 Página 28

Armoured framework for the barrel recovery system.

Detail of the 7.92mm. MG 34.

Hole for the telescopic visor of The commander’s

the TZF 5f gun sight with a cupola has five
small rain gutter on top and the sights (closed)
viewing window in the ‘closed’ fitted with
position. bullet-proof
glass. The
drainage holes
are visible in the
upper part.

The handle placed above the

flashing can be seen in the
foreground.

Escape
hatches in
the turret’s
protection
shield. They
are 5mm
thick.

View of the stop to fix the

hatch’s leaf in the ‘open’
position.

The circular cover for the fume

extractor on the turret roof.
The mine thrower has been
sealed with a steel plate.
28
ING REP-Pzkpfw IV_Renault UE REP 17/06/13 16:42 Página 29

The two-leaf hatch on the side of the

turret. The vision slot was first sealed
and finally discarded in the late Details of the turret
production models. Schürzen anchorage.

The cupola’s base is protected by

a ring to deflect enemy rounds.
The single leaf hatch was
introduced during the
manufacture of the final Ausf. G.

The petrol engine is a 320hp Maybach HL 120 TRM. The maximum off-road speed of this overweight 25ton
tank was a mere 16 kph.
ING REP-Pzkpfw IV_Renault UE REP 17/06/13 16:42 Página 30

Each of the four bogies on each side was fitted with leaf spring suspension.

The right-hand side tension wheel

base. The lower part of the hull
extended downward on the final
Ausf. H and Ausf. J models.

Base for the rear wheel and track tensor on

the left.

Final
model
tension
wheel
and 40cm
tracks.

30
ING REP-Pzkpfw IV_Renault UE REP 17/06/13 16:42 Página 31

The Panzer IV Ausf, J carried a crew of five, a gunner seated on the left with
the loader on the right and the commander behind them. The driver was seated
on the left front side of the hull, while the radio operator / machine gunner was
seated on the right.

Both exhaust
pipes are
connected to
the horizontally
positioned
cylindrical
muffler. This
part was
discarded on the
final production
Ausf. J.

Production was simplified for

the Ausf. J. Among the
changes was the elimination of
the turret drive motor,
different exhaust pipe
mufflers, found on previous
models to the left of the large
The radiator drainage plug can be cylindrical muffler. The
observed beneath the muffler, as well mount for the links is
as a rectangular cap with a circular hole incorrect.
in the middle where the crank lever for
starting the engine manually fitted.
ING REP-Pzkpfw IV_Renault UE REP 17/06/13 16:43 Página 32

The final model track-return roller

without the rubber tyre can be
clearly seen. The fuel filler caps can
be seen in the background.

Cast markings on the bogie’s axis

structure.

Detail of the upper hook.

Hook-up
between
the skirt
and the
tube.

Detail of the rear mount of the tube to which are fixed

the mesh skirts.

The green light On the left is

is a distance the red position
indicator (see light, the
Panzer orange brake
Aces/Armor light is on the
Model No. 11). right.

32
ING REP-Pzkpfw IV_Renault UE REP 17/06/13 16:43 Página 33

View of the perfectly reproduced Thoma mesh skirts. The hubcaps are also an obvious reproduction.

Radiator filler cap.

The ventilation grills are above the engine access doors.

33
ING REP-Pzkpfw IV_Renault UE REP 17/06/13 16:43 Página 34

View of the
two types of
hook.

The skirt hooks fit in special

purpose built parts. They
The hook is fixed to the skirt by
were originally shorter to
four bolts.
prevent the skirt from
moving; they also had
collapsible extensions
The armour was 80 mm thick on attached in case it was
the hull front and turret, 30 mm necessary to fit the wider
on the sides and between 18 and Winterketten tracks.
26 on different areas of the roof.
ING REP-Pzkpfw IV_Renault UE REP 17/06/13 16:43 Página 35

Under combat conditions, this effective

device against hollow charges was
extremely fragile, and was easily
damaged.

Hook-up between the mudguard and the skirt.

The spare wheels are stored in an open box above the

left mudguard. 35
ING Barcelona 1936_SS-Grenadier 17/06/13 16:25 Página 38

By: Agustín Pacheco Fernández

Photography: Basilio Tante Díaz
Andrea Miniatures/El Viejo Dragón 1/32

In the summer of 1936, a large percentage of the Spanish

army staged a coup d état against the legally established
government. Despite controlling much of the country,
the army was unable to seize power. Meanwhile, the
government, unable to control the rebels, bought the
situation to an impasse in which the opposing political
tendencies formed two distinct blocs ready to annihilate
each other.

owever, in addition, there

was also a third, silent
majority that wished only to
live in peace. This, too, was dragged
into the resulting turmoil and its terri-
ble consequences.
The coup began on the 17th of July
in the Spanish Protectorate of Morocco
and spread like wildfire to the rest of
the territory in the following days.
In each province, city and small
town, loyalties turned to one side or
the other depending on a number of
factors. For our vignette, we will
explain the events that took place in
Barcelona during those turbulent days.

Barcelona, 19th of July.

In 1936, Barcelona was virtually
encircled by army barracks. Except for
the Captaincy Office, situated on the
Paseo de Colón, and the old
Atarazanas headquarters on the corner
of that street and the Ramblas, the rest
KITS USED were in the suburbs. They were situat-
ed in the neighbourhoods of Pedralbes,
Figures: Machine gun: Host afranchs, Pueblo Nuevo, San
- Assault guard, El Viejo Dragón ref. - Hotchkiss machine gun model 1903, Martín and San Andrés de Palomar,
CG92, 1/32 scale (54 mm). Sparta ref. G-9104. effectively surrounding the Catalonian
- Militiaman, Andrea Miniatures ref. SE- Accessories: capital.
016, 1/32 scale (54 mm). - Streetlamp, Verlinden Productions ref. The local government’s official
38 874. buildings were in the old part of the
ING Barcelona 1936_SS-Grenadier 17/06/13 16:25 Página 39

city. The rebels planned to send

columns from the suburbs and make The undershirt was painted
them converge on the Ramblas, a wide with a mixture of deck tan and
central avenue, with a further column ivory and a splash of black.
coming from Atarazanas. Together, Highlights were done using
with the 5000 troops in the city itself, ivory and shadows with black.
The cap badge was painted
they hoped the centre and surround-
with a mixture of flat
ing neighbourhoods would quickly fall aluminium and carmine red.
under their control. Except for the Air
Force and the Quartermaster branches,
the remainder of the Army joined the
coup attempt.
The rebellion started at four in the
morning of the 19th of July, with the
troops advancing through the seem-
ingly deserted streets, unaware of the
trap prepared for them by the Repub-
lic’s defenders. Federico Escofet, Pub-
lic Order Commissioner of the Gener-
alitat (local government), and his
assistant, Commander Guarner, had
deployed assault and police forces
along the avenues and streets to pre-
vent the advance of the army columns
through the city.
Barcelona woke to the sound of The assault guard’s blue uniform was
sirens, calling the people to arms. painted with a mixture of Prussian
blue, black, wookgrain, Napoleonic
Workers and union militants left their
blue and deck tan. The highlights
homes and union premises and gath- were done after adding more of the
ered in the streets. Many of them were last two colours to the mixture,
armed with guns and dynamite pur- while the shadows were obtained
loined from the prison boat ‘Uruguay’ after adding black to the base colour.
anchored in the port and from the
weapon caches’ that had been handed
in at the assault guard’s headquarters
and police stations.
At 5am, the assault guards, rein- COLOR CHART
forced with large groups of armed
civilians, mostly anarchist unionists, MODEL COLOR (acrylics) DECORFIN (acrylics)
828 wookgrain 411 burnt earth
851 bright orange
860 medium fleshtone GUNZE SANGYO (acrylics)
908 carmine red MC213 stainless
917 beige MC219 brass
918 ivory
950 black TAMIYA (acrylics)
955 flat flesh XF-2 flat white
960 violet XF-16 flat aluminium
986 deck tan XF-49 khaki
XF-57 buff
ANDREA COLOR (acrylics) XF-63 german grey
AC-22 Prussian blue
AC-34 Napoleonic blue
AC-38 Napoleonic green

The carnations are formed with mixtures of medium flesh tone, matt flesh,
wookgrain, carmine red and ivory. For the highlights I used carmine red and
wookgrain. 39
ING Barcelona 1936_SS-Grenadier 17/06/13 16:25 Página 40

opened fire on the advancing rebels The base colour for the coveralls was a mixture
from all sides. Some of the columns of deck tan, wookgrain, beige, ivory and black.
were stopped on the spot and failed to Highlights were painted after adding first deck
reach their objectives, having to turn and then ivory. Black was used for shadows.
back to their barracks or take cover in
nearby buildings. Despite the resis-
tance, General Álvaro Fernández Bur-
riel, at the head of the rebels, took the
telephone company building and occu-
The cheekbones
pied the España, Barcelona and Univer- and lips were
sity squares. The rebel general, who glazed with a
also controlled the Colon Hotel, in mixture of bright
Cataluña Square, and the IV Division orange and
Commander’s headquarters, mistakenly violet. The
believed he had the city under control. shadow on the
He telephoned General Manuel Goded, beard was done
who had already taken Mallorca and with black and
Prussian blue
Ibiza, and invited him to fly from Pal-
glazes.
ma to Barcelona to take command.
General Goded flew in and, by midday,
had arrived at the Division’s headquar-
ters.
However, a decisive event had taken
place during the morning that tipped
the scales in the government’s favour. reason I liberate my followers of all The leather
General Aranguren – head of the obligation towards me’. The coup has equipment was
Guardia Civil - f inally decided to failed in Barcelona. painted with a
remain loyal to the Republic and sent Some pockets of resist ance mixture of black,
one third of his troops to Cataluña remained in the barracks at Atarazanas wookgrain,
Square under the command of Colonel and San Andrés among others, but bright orange
Escobar. The guards, supported by these surrendered to the Loyalists that and beige.
same night. Highlights were
quartermaster troops, assault guards
done after adding
and thousands of armed militias, more of the last
defeated the rebels controlling the THE SCENE two colours,
square and other adjacent buildings, while the
including the telephone company 2006 marked the 70th anniversary shadows were
premises. The scene after the battle of the beginning of the Spanish Civil painted after
was one of carnage with the square War. This fact, together with my pas- adding black.
covered with dead men and horses. sion for local subjects for my model- Burnt earth was
The victorious republicans then ling, made me think about a vignette used to add
marched on the IV Division headquar- that represented an episode during the tones. Buckles
first days of the war. After an extensive were painted in
ters and took it in a coordinated
brass.
assault. General Goded was made search through photographic reference,
prisoner and forced to make a short I suddenly remembered an article that
radio speech which was heard across appeared some years ago in the
Spain: ‘Destiny has been adverse to Eurouniformes magazine that, at the
me, and I am now a prisoner; for that time, had caught my attention. I found

BIBLIOGRAPHY
- VV.AA., “La sublevación, julio 1936”, La - ARMERO, José Mario & GONZÁLEZ, - GALLEGO SANJOSÉ, José M. and
Guerra Civil Española mes a mes, Manuel, Armas y pertrechos de la Guerra RECIO CARDONA, Ricardo, “El Ejército
Biblioteca el Mundo vol. 2, Unidad Civil Española, Ediciones Popular de la República: Antecedentes”,
Editorial, Madrid, 2005. Poniente/Historia 16, Madrid 1981. Eurouniformes nº 2 (December 2000-
- FONTANA, Josep, Visiones de Guerra y - HOGG, Ian and BATCHELOR, John, The January 2001), Acción Press, Madrid,
de Retaguardia, J. J. De Olañeta Editor, Machine Gun, Phoebus Publishing/BPC pages 2-9.
40 Barcelona-Palma Mallorca, 1977. Publishing, London, 1976.
ING Barcelona 1936_SS-Grenadier 17/06/13 16:25 Página 41

it (El Ejército Popular de la República:

The spent cartridges were made
Antecedentes) and knew immediately
from heat-stretched plastic
that it was what I was looking for. sprue painted brass. Each one
There were some photos of militiamen was cut in 1.5 mm long
posing with a machinegun, and battle segments and then fixed to the
scenes of the main characters in the ground with water-diluted PVA
defence of Barcelona for the Republic glue.
clearly portrayed in their uniforms.

THE FIGURES The black streetlamp was

metallised by rubbing
Given that I cannot sculpt to save
graphite dust onto its
my life, I had a problem. I had to surface. Rusty tones were
search for suitable period figures and added with the help of
weapons. As the majority of figure bright orange and
manufacturers have shown little inter- wookgrain. The glass was
est in this particular period in history, made to look dirty using
my work was really cut out. several washes of ivory
Despite this, I did find a militia fig- and deck tan.
ure from the Spanish Soldiers series by
Andrea Miniatures that fitted exactly
what I had in mind, plus an assault At the beginning of Melilla’s
guard from El Viejo Dragón. North African campaign in 1909,
To be honest, my expectations were some problems relating to the barrel
low regarding these figures, as I had change became evident. However, once
read and heard unfavourable comments these were solved, the weapon gave
about them and thought that, on excellent results.
opening the box, I would find two Due to the impossibility of buying
white metal ‘lumps’ that were not further weapons from France due to
going to be easy to paint. the outbreak of World War I, the
However, I was pleasantly surprised machine gun underwent further modi-
to discover two well sculpted and fications and eventually started to be
crisply cast figures, especially when completely manufactured at Oviedo
considering that they were sculpted in under the nomenclature of the
almost one-piece. Hotchkiss Model 1914. The mod-
ifications included a new recov-
ery mechanism, new butt and
THE MACHINE GUN the addition of a tripod.
After being selected by the Spanish The weapon was highly pop-
government’s Artillery Study Commis- ular with the troops and it
sion as the standard issue weapon, the proved its reliability and preci-
French 8 mm Lebel, Hotchkiss mod. sion in the African cam-
1903 machine gun was ordered in paigns. At the outbreak of
quantity and subsequently took deliv- the Civil War, the weapon
ery starting in 1907. A new barrel that was still standard issue in
could accommodate the Spanish the Spanish Army, so it was
7.57mm standard ammunition was widely used on all fronts.
manufactured in Oviedo and issued to Sparta currently produces
the army. a high quality

The khaki face of the wall was highlighted with

buff. The stains were made by blending beige
and black, diluting them with water and then
stroking the wall with the brush held perpendicular.
Napoleonic green was used for the lower areas to
give the impression of damp mould.
ING Barcelona 1936_SS-Grenadier 17/06/13 16:25 Página 42

The flagstones were painted German grey, diluted with buff and darkened
with black. Light streaks were simulated along some edges using deck tan.
The tones were given subtle differences by applying washes of wookgrain,
burnt earth and Napoleonic green.

The Hotchkiss Mod. 1914 machine gun was air-

cooled, fed from 30-cartridge belts and had a rate of
fire of 600 rounds per minute. It had an effective
1/35 scale resin Hotchkiss Mod. 1903 range of 2000 m, a length of 1270 mm and a weight
machine gun, including an ammunition of 23.58 kg (52.5 kg with tripod attached). The
belt and two ammo boxes, one with ammunition box was painted with a mixture of
the lid open and the other with it buff and khaki, followed by a number of washes of
closed. Despite this and based on the burnt earth.
available photographic reference, I
made some modif ications to the
weapon to adapt it to the Spanish vari-
ant. I scratch built a new butt,
improved the elevation system and
added a small chain to the upper front
part of the tripod.

People’s Olympiad
THE TERRAIN poster.
For the wall, I used a piece of plas-
ter panel that was cut and sanded to There is nothing worthy of
adapt it to a corner of the base. I glued mention during this
on some 0.5 mm thick Plasticard to process that hasn’t been
simulate ashlars. explained in depth in earli-
The street was made from a 5mm er editions of Panzer Aces.
thick piece of balsa wood that was The approximate paint mix-
then covered with a layer of Aquaplast. tures are indicated in the
I also used this for the pavement. After footnotes, with the manu-
drying, a punch was used to mark the facturer’s colour codes on
paving stones and cobbles. The street- the accompanying chart.
lamp is a Verlinden reference that I fur-
ther detailed with plastic, copper wire ACKNOWLEDGEMENTS
and lead sheet for the distribution box I would like to dedicate
and electric cables. the construction of this
The People’s Olympiad poster, that small vignette to Carlos de
was to take place in Barcelona from the Diego Vaquerizo to illus-
19th - 26th July as a countermeasure to trate my most sincere grati-
Nazi Germany’s Berlin Summer tude for both his sound and
Olympic Games, is a scale reproduction unselfish advice, but espe-
of an original printed in colour. cially for his valued friend-
ship.

PA I N T WO R K
To paint the terrain I used Tamiya
acrylics and an airbrush. The technique
is the same as for vehicles: I air-
brushed the base colour and then high-
lighted the horizontal surfaces and cor-
ners. I then completed the job with
Model Color and Andrea Color acrylics
and a paintbrush, highlighting specific
areas and adding areas of humidity and
rust runs.
For painting the figures, Model Color
acrylics were the basic medium, apply-
42 ing the zenithal lighting technique.
ING Barcelona 1936_SS-Grenadier 17/06/13 16:25 Página 43

This libertarian militiaman, dressed in khaki The hazelnut-coloured leather webbing and ammunition
coveralls and Army issued ‘Valencian’ sandals, wears pouches replaced the black webbing equipment in 1914.
a red and black cap, typical of the CNT-FAI union. The metal parts were made of brass, examples being the
He carries a Model 1913 bayonet-knife. belt buckle with the infantry emblem. The rifle is a 7mm
calibre Mauser Model 1893, with an overall length of
1235 cm and 3.95 kg weight.

43
ING Barcelona 1936_SS-Grenadier 17/06/13 16:25 Página 44

An example of the
different cap models
manufactured with
the anarchist
colours.

Tunic button.

Tunic collar
insignia of the
Assault Guard.

Belt buckle with the Spanish coat of

arms between the letters CS.

Cap insignia. The letters ‘CS’

stand for Security Corps
(Cuerpo de Seguridad) and
appear between the wall
crown and the republican flag.

The Assault Guard, part of the security and assault forces, was a special
uniformed police unit formed in 1931. Its primary mission was to
prevent and stop outbreaks of public order offences in urban areas.

Known as “chopo”, the Mauser model 1893 rifle was a bolt action repeater
rifle that chambered 7 mm bullets in a cartridge rack containing five units,
with an initial muzzle velocity of 680 m/s, an operational range of 2.000 m
and a maximum range of 4.000 m (depending on the type of projectile). Note
the lack of cleaning rod in the combatant’s rifle.

44
colores_PANZER-NuevoING:Publi-acrilicos 03/08/10 12:59 Página 1

Panzer aces color set

FINISHING COLOURS EXCLUSIVES

Sixteen colours for the perfect

brush finishing of all the basic
details of any AFV: tracks,
wood, periscopes, stencils or tail
lights, some of them with diffe-
rent shades for highlighting.
Basic colours to achieve the finis-
hing painting without mixing and
full mixables with other acrylic
paints if you are interested in a
variation.

SET 1 SET 2
301 light rust 309 periscopes
302 dark rust 310 weathered wood
303 yellowish rust 311 new wood
304 tracks' primer 312 leather belt
305 light rubber 313 stencil
306 dark rubber 314 canvas
307 red tail light 315 light mud
308 green tail light 316 dark mud

www.euromodelismo.com • www.acrylicosvallejo.com
ING M60 A3_PzI.F 17/06/13 16:30 Página 46

By: Ricardo Ruiz Gómez

Photography: Basilio Tante Díaz
Colour profiles: Eduardo Rodríguez Marín and Carlos de Diego Vaquerizo

Revell 1/72

My modelling tastes, as with many modelling enthusiasts, are limited to

the WWII. OK! I admit I lack originality! In truth, it does prevent me
from taking notice of some pretty good kits when I am searching for a
new model to build.

n this particular case, bore- fect way to detoxify myself of the usual glue, scissors and sand paper. No
dom was the incentive for models I make and so I star ted to headaches, just relax and use your
my interest, as there were no assemble it as soon as I got home. imagination…
novelties on the shelves of my local As I expected, this was one of those
modelling shop. However, when I models that makes you long for those
opened the box of this kit, I was pleas- far off days when all you wanted to do
A S S E M B L Y
antly surprised. It was perfect! The was glue plastic parts together…no If the concise manufacturer’s
tracks were rigid and the box ar t photo-etch, resin or airbrushes instructions are followed, there are no
showed a very attractive camouflage involved. Just the enjoyment of build- problems assembling the model in next
46 pattern. I thought it would be a per- ing a straightforward model with some to no time. The only down side was,
ING M60 A3_PzI.F 17/06/13 16:30 Página 47

Before dusting the

model, small
amounts of white,
cadmium yellow
light, raw umber,
green and yellow
ochre were applied.

both of the blotch colours I added

PA I N T WO R K small drops of base colour to make the
KITS USED The attractive camouflage I men- camouflage colours ‘blend’ with each
tioned earlier came from an Egyptian other.
Model: tank, while the identification decals In order to prevent damage to the
- M60A3, Revell ref. 3140, scale 1/72. placed the vehicle as part of the ‘Bright acr ylics when working on the next
Star’ tactical exercise, jointly held in phases, I set the model aside for 24
Accessories:
Egypt in 1999 with U.S. and other hours to dry thoroughly. Before apply-
- Tow cables, Karaya ref. TC008.
nations’ forces. The pattern consists of ing the decals, I airbrushed gloss var-
- Mesh, Eduard ref. 00101.
a base of bright sand with large nish onto the areas where the decals
splotches of medium green and reddish were to be positioned and then air-
brown, covering a third of the tank’s brushing matt varnish once they were
surface. fixed. Both varnishes are Gunze Sangyo
I used Tamiya acrylics, highly dilut- acrylics, which made the thin protec-
perhaps, the excessive thickness of ed in alcohol, and airbrushed them at a tive film virtually invisible.
some turret parts, like the tow cables, very low air pressure to prevent the for- I continued with enamel filters to
which were replaced with the 0,5 mm mation of rings around the blotches. I highlight the surfaces and add tonal
Karaya version. The same problem also can’t give you the exact mixture ratios, richness. I intensified the effect by
appeared with the rear basket, which as I had to mix different colours until I blending small amounts of oils, having
had to be scratch built using heat obtained the closest ones. This was in mind that further dust effects would
stretched plastic rods and an Eduard because of the lack of photographic diminish the contrasts. Taking advan-
photo-etched f ine mesh. I also references. However, I do remember the tage of this, I profiled the model with
changed the handles located on the base colour mixture, which was made raw umber to add volume and depth,
turret sides with others made from with buff, desert yellow, flat earth and slightly forcing the shadows. Care must
stretched sprue, a very delicate opera- white. For the green blotches, I used a be taken, as excessively ‘hard’ profiling,
tion because of the extremely small mixture of NATO green and field grey or the use of a strong colour can make
size of the parts holding each handle and for the brown ones, a mixture of the model look like a cartoon, thus
together. flat earth, red brown and hull red. For undermining its credibility. Whatever
No other major changes were made,
except for the basket contents. The
canvas, for example, was made from
two component Milliput. I stretched
and modelled this material with
the help of talcum powder
and then marked the wrin-
kles with a fine brush and
some water before it dried.

The soot produced by the exhaust

pipes positioned behind the grills,
was simulated with washes of
ivory black oil paint.
47
ING M60 A3_PzI.F 17/06/13 16:30 Página 48

COLOR CHART
GUNZE SANGYO XF-59 desert yellow 924 russian uniform WWII VAN GOGH (oil paints)
(acrylics) XF-64 red brown 941 burnt umber 105 titanium white
H-20 flat clear XF-65 field grey 950 black 208 cadmium yellow light
H-30 clear XF-67 NATO green 227 yellow ochre
HUMBROL (enamels) 408 raw umber
TAMIYA (acrylics) MODEL COLOR 62 matt leather 623 bess green
XF-2 flat white (acrylics) 70 matt brick red 701 ivory black
XF-9 hull red 817 scarlet 72 matt khaki drill
XF-52 flat earth 851 bright orange 102 matt army green
XF-57 buff 890 reflective green 103 matt cream

The terrain is a thin layer of Das Pronto onto which beach

sand and medium grained sand was added with the help of
white glue. To give the effect of weight the model was
placed on the base and pressure applied before
the putty was dry.

the case, as I’ve said before, the fol-

lowing dusting and aging
processes will unify the mod-
el’s surfaces.
The peeling and chipping
phase is, for me at least, one of
the most boring and unpleasant
jobs on a kit of this small scale, due
to the difficulty to adjust to the size. I ered, it must be remembered that that’s process to see the results. I tried to
recommend the use of a good paint exactly what happens in real life, so make random stains and blotches on
brush and not get obsessed with size, don’t worry too much. The first thing I the horizontal areas, while the vertical
as quality always comes first. Stop did was to apply a mixture of white zones were painted with an up and
from time to time to view the effect and cadmium yellow light oils, highly down motion in the form of thin
and be moderate in the application. In diluted with Humbrol thinner, over the streaks or stripes, imitating the effect
this particular case I used Model Color whole model using a thin brush, allow- of rain swept dust. When this process
burnt umber. ing it to flow around the detailing. I was complete, I reinforced the effect in
Dust effects will give the model the then used another clean brush, this some areas with powdered pastels
final operational aspect that will make time impregnated with thinner, to using tones that were similar to the
it look real. While some of the peels remove and extend the base colour oils, dry brushing them on with a short
and chips will, unfortunately, be cov- where I saw fit, controlling the drying haired brush.
I finally painted the accessories
with Model Color acrylics and dusted
them in the same manner as for the
rest of the tank.

Tracks were given a black base

colour onto which different
white and cadmium yellow light
oil smears were applied to add
dust. Powdered pastels were
added later.

48
ING M60 A3_PzI.F 17/06/13 16:30 Página 49

M60A3, U.S. Army 5th Infantry Division, Germany, March 1985.

M60A3, U.S. Army 197th Infantry Brigade, Saudi Arabia, September 1990.

M60A3, U.S. Air Force, Saudi Arabia, November 1990.

49
ING M60 A3_PzI.F 17/06/13 16:31 Página 50

M60A3, 3rd Armoured Brigade, 4th Egyptian Armoured Division, Kuwait, February 1991.

M60A3 TTS, R.C.L.A.C., Spanish Army, Madrid, June 1995.

50 M60A3, Greek Army, Greece, February 2001.

Now available
Model Laboratory 2
JUNKERS JU 88 A-4 7€
40 pages

Nº 2
7€
J U 8 8 A -4 , GERBINI
(SICILY) 1942
JU N K E R S

• In this second issue we face to Junkers Ju 88 A-4

• Step by step process which explains various tricks and
techniques: Assembling the fuselaje, Cleaning mold
residue, New paneling lines, Masking transparent plas-
tic pieces, Paint chips: Hairspray technique, Painting
the BalkenKreuz, Applying decaes, Oil paint work.

ACCION PRESS, S.A.

C/Ezequiel Solana, 16 bajo, 28017 MADRID - SPAIN
Tel. (+34) 913 675 708 – Fax + (34) 914 085 841
www.euromodelismo.com
e-mail: web@euromodelismo.com
ING Tiger I 506_PzI.F 17/06/13 16:49 Página 52

By: Alfonso Sierra García

Photography: Basilio Tante Díaz
Colour profiles: Carlos de Diego Vaquerizo

Tamiya 1/35

At the beginning of July of

1944, a new heavy tank
company equipped with 14
Tiger I tanks from the
Panzerersatz-und-
Ausbildungsabteilung 500
was formed at Paderborn.
Some members of the new
company were veterans of
the 2. Kp. del sch. Pz.Abt.
504 while the remainder
were conscripts.

t was known as schwere

Panzerkompanie ‘Hummel’
after its commander, Ober-
leutnant (Lieutenant) Hummel, and
was sent to the Arnhem sector in Sep-
tember under the tactical control of
the 10. SS-Pz.Div. ‘Frundsberg’. It took
part in the heavy fighting against the
Allies in the Netherlands, especially
taking part in the battle for Aachen in
November.
Hummel gained promotion to
Hauptmann (captain) before being
killed on the 20th of November near
Lindern. Leutnant (second lieutenant)
Flör then took command. In December,
the unit was absorbed into the sch.
Pz.Abt. 506, as 4. Kp, being attached
to the LXXI Armeekorps in February
1945. After retreating eastwards over
the Rhine in the Coblenz sector, it
became part of the LII Armeekorps in
April. A few weeks later it surrendered
to Allied forces.

A S S E M B L Y
Coming from a training unit, the
Panzerkompanie ‘Hummel’ Tigers
formed a highly diverse group. Some of
them were first model specimens that
had been upgraded with the latest
model wheels and tracks. Others com-
52 bined hulls and turrets from different
ING Tiger I 506_PzI.F 17/06/13 16:49 Página 53
ING Tiger I 506_PzI.F 17/06/13 16:49 Página 54

The mud adhering to the lower areas of the hull is a mixture of gloss acrylic
varnish, plaster and earth-toned powdered pigments.

The rusted areas are

made with brush
strokes of burnt
Sienna oil paint
blended with
Humbrol thinner.

The steel parts of

the tools were
painted with a
mixture of matt
black and silver
enamels. The
wooden handles
were painted with
beige brown acrylic.

models. For example, Tiger No. 411 last step was achieved by replacing the
was a ‘puzzle tank’ that had been built external rings with others of a smaller
with parts from many origins and had diameter that I made by cutting a
been the personal mount of the com- 0.10cm plastic sheet using a cutting
mander of the 1 Zug of the 4. Kp, sch. compass.
Pz.Abt. 506. This particular tank was Other special features of the tank is
destroyed on the 15th of January 1945 the absence of a right front head- Shrapnel impacts on the exhaust
during the Battle of the Bulge, near light, though not its cable, typi- pipe protection plates were
Owerwampach, some 10 kilometres cal of the final production simulated using the tip of a blade.
east of Bastogne.
To build the model of this tank, I
began with a Tamiya Tiger I kit to
which I added the wheels of a final
model specimen (also Tamiya), and
modified the tension wheels to repre-
sent a later production feature. This
ING Tiger I 506_PzI.F 17/06/13 16:49 Página 55

batches of the first model and the ini- shrapnel that were marked with the tip
tial ones of the intermediate produc- of a blade.
PA I N T WO R K
tion Tigers ; the use of two sections of Detailing the model was the usual Before explaining how I painted this
three links of track s as additional one as shown in Panzer Aces Nos. 1, tank, I will mention that I have never
armour on both sides of the driver’s 4, 6 and 12, so it is unnecessary to go had so many problems with painting
sight; the lack of into it again. That said, it should be any model as I did with this one. After
horizontal pointed out that the commander’s painting it, I decided to give it a coat of
reinforcing hatch bolt is not included in any Tiger matt varnish. However, it seems that
under the gun model, so it had to be scratch built the varnish was not in good condition
sight visor on the left side from two Evergreen 1mm thick strips. and, in consequence, the entire paint
of the gun mantlet, (easy to elimi-
nate with judicious scraping with a
blade) and, finally, the impact marks of
different types of projectile and
KITS USED

Model: Barrel:
-German Tiger I Frühe Produktion, - German 8,8 cm KwK 36, Jordi
Tamiya ref. 35216, 1/35 scale. Rubio ref. TG-08.
- German Tiger I Tank Late Version,
Tamiya ref. 35146, 1/35 scale. Tracks:
- Tiger I Late track (workable),
Photo-etching: Modelkasten ref. SK-01.
- Tiger I Early, Eduard ref. 35301. - Tiger I Early spare tracks,
- Side fenders and exhaust covers for Modelkasten ref. SK–05.
Tiger I Ausf. E, Aber ref. 35A12.
- Tiger I Early update, Royal Models Accessories:
ref. 158. - Brackets, Modelkasten ref. A-4.
55
ING Tiger I 506_PzI.F 17/06/13 16:49 Página 56

The replacement track links

have a matt leather colour
base over which different
rust powdered pigment tones
have been added, blending
them with enamel thinners.

The turret numbers were first

masked off and then painted with
flat white acrylics and a mixture of
J.N. green and yellow green.

After gluing the photo etch back

on, I began the painting process again. I
used an airbrush to give a base coat
using a mixture of dark yellow (50%),
buff (30%) and flat white (20%) dilut-
ed with thinner. Then, after adding
more white paint, I added the
highlights. Then, in order to
accentuate the difference
between the hull and the
turret as though coming
from different tanks, I
Different peels were reproduced applied a couple of
on the commander’s cupola. leather and desert yel-
low Humbrol enamel
filters to the turret.
job was ruined. There was no way I The camouflage
could fix the problem except by remov- blotches were paint-
ing all the paint and starting again. To ed with airbrush
do this, I used an oven-cleaning prod- using a mixture of
uct, spraying the surface of the model Tamiya J.N. green
and leaving it in a plastic bag for a day. (60%) with flat white
I then washed the model under a tap (40%), and flat brown (60%) with
that not only removed all the paint but flat white (40%). I airbrushed some gen-
also removed most of the photo etched eral highlights using a mixture of flat
parts as well! brown and flatblack, 90% diluted with

CUADRO DE COLORES
TAMIYA (acrylics) MODEL COLOR (acrylics) 83 matt ochre 411 burnt Sienna
X-22 clear 875 beige brown 87 matt steel grey 701 ivory black
XF-1 flat black 976 buff 92 matt iron grey
XF-2 flat white 995 german grey 93 matt desert yellow MIG PRODUCTIONS
XF-4 yellow green 98 matt chocolate (pigments)
XF-8 flat blue HUMBROL (enamels) P024 light rust
XF-10 flat brown 11 silver VAN GOGH P025 standard rust
XF-11 J.N. green 33 matt black (oils) P026 copper rust
XF-17 sea blue 62 matt leather 105 titanium white P028 european dust
XF-57 buff 63 matt sand 227 yellow ochre P033 dark mud
XF-60 dark yellow 71 satin oak 408 raw humber P034 russian earth
ING Tiger I 506_PzI.F 17/06/13 16:49 Página 57

isopropyl alcohol (rubbing alcohol).

Next I added tonal richness by applying
filters using a paintbrush with matt The vision
block’s panes
chocolate and satin oak enamels.
were painted
After leaving it for 24 hours, I pro- with sea blue
filed all the details and added depth to and flat blue
corners and grooves with a mixture of acrylics.
raw humber oil paint and matt choco-
late enamel.
After waiting for another 24 hours, I
started applying scratches and peels.
For the hard corners I used acrylics,
while for the worn out ones I
used enamels blended
The blackening
accumulating around the
exhaust pipes were
airbrushed with flat black
acrylic paint diluted
with alcohol.

The terrain was modelled on an

extruded polyurethane sheet and covered
in a paste made from plaster, fine sand, acrylic
resin and powdered pigments.
57
ING Tiger I 506_PzI.F 17/06/13 16:49 Página 58

BIBLIOGRAPHY
- SCHNEIDER, Wolfgang, Tigers in Panzer Aces/Armor Model nº 1 (Dec.
combat I, J.J. Fedorowicz Publishing 2003 January 2004), Acción Press,
Inc., Manitoba, Canada, 1994. Madrid, pages 2-18.
- SCHNEIDER, Wolfgang, Tigers in - SIERRA GARCÍA, Alfonso, “Tiger I
combat II, J.J. Fedorowicz Publishing E, sch. Pz.Abt. 502”, in Panzer Aces
Inc., Manitoba, Canada, 1998. /Armor Model nº 4 (June-July 2004),
- MELLEMAN, Tadeusz, “Pz.Kpfw. VI Acción Press, Madrid, pages 25-33.
Tiger vol. III”, in Tank power nº 15, - GARCÍA GÁZQUEZ, Joaquín,
AJ-Press, Gdansk, 2003. “Tiger I Ausf. E Späte Produktion”, in
- BITOH, Mitsuru, Panzer Aces/Armor Model nº 6
“Panzerkampfwagen Tiger”, in (October-November 2004), Acción
Before adding mud to the chains, Achtung Panzer nº 6, Dai Nippon Press, Madrid, pages 22-39.
they were first painted in matt brown Kaiga Co., Japan, 1999. - VV.AA, “Pz.Kpfw. VI Tiger Ausf. E”
acrylic followed by washes of ivory - REDONDO JIMÉNEZ, Javier, Panzer Aces/Armor Model nº 12
black and burnt Sienna oil paints “Kampfgruppe Fehrmann”, in (October-November 2005), Acción
mixed with rust pigments; the frames Press, Madrid, pages 1-64.
Euromodelismo nº 142 (May 2004).
were dry brushed with a mixture of
Acción Press, Madrid, pages 2-16. - VV.AA., “Tanks in Russia I”, in
silver and matt black enamels.
- DE DIEGO VAQUERIZO, Carlos, Monográfico nº 6, Acción Press,
“Tiger I E, sch. Pz.Abt. 509”, in Madrid, 2000.
with a paint brush soaked with Humbrol
thinner. I used Model Color buff and
german grey plus Humbrol ochre, sand,
iron grey and steel grey. Then I used a mixtures of black and leather enamels. I tions of yellow ochre oil paint, black
new blade to slightly scratch the paint added some rust and white, burnt Sienna and burnt raw
in the worn areas by the tank crew’s and dirt stains on humber.
boots, and retouched them with steel different parts by To complete the job, I painted the
grey enamel; to depict rust, I blended blending small por- tools with the help of the Tanks in Rus-
sia 1 book, and, finally, spread a
mixture of plaster, gloss
acr ylic varnish and
ear th-toned pow-
The foliage is grass dered pigments onto
obtained from a the lower areas.
model railway outlet
and pita fibre rope
airbrushed with
green, ochre and
yellow tones.
 ING Tiger I 506_PzI.F 17/06/13 16:49 Página 59

Pz.Kpfw. VI Tiger Ausf. E (Sd.Kfz. 181),

Kampfgruppe “Fehrmann”, near Achum, April
1945.

Pz.Kpfw. VI Tiger Ausf. E (Sd.Kfz. 181), sch.

Panzerkompanie “Hummel”, near Brunskappel, April
1945.

59
ING AULA ASAS_AULA 17/06/13 16:20 Página 60

Modeling lessons By: Carlos de Diego Vaquerizo

Metallic Handles
In spite of the top quality
of some injected plastic
kits, cleaning the thin
longitudinal flash of the
handles is certainly a hard
tedious task.

A tool by Mission Models specially

conceived to make handles of 20
diverse predetermined measurements
from 2.5 to 26.7mm.

e need to point out

that some times the
flash is not so thin and
that all plastic do not equally resist to
handling so we are forced to scratch-
build our own handles. Thick copper
wire, galvanized wire and brass sticks
are the right materials for this kind of
work.
The metal, along with its lines’ puri-
ty, shows to be much more resistant
than the plastic and allows us to create
pieces perfectly in scale.
The step by step explanations on
how to work with these materials are
given in the captions. Flat-ended pliers,
cutting pliers,
trunk-conic-ended
tools, metallic ruler
and telephone
cable.
In order to
be able to
remove the
protector it The metallic
is necessary thread can be
to cut one of extracted
the ends. with the
pliers.
ING AULA ASAS_AULA 17/06/13 16:21 Página 61

The rod is inserted between the

two plates of the tool just until
the mark of the right
measurement.

It is necessary to tighten the metal so we need to pull both ends using two
pairs of pliers.

Both ends can be fold by

pressing them with the ruler.

The adjustment screw can be The tool allows us to

adjusted in order to prevent the wire make as many handles as
moving. necessary, whose size is
the same.

The handles
can also be
built
exclusively
using the pliers
and the
metallic ruler,
in any case it is
necessary to
fold one of the
ends first.
This kind of material can be glued
with a small quantity of cyano glue.

Next, fold the other end by pushing

it with the ruler.

The surplus can be removed with the

cutting pliers.

The longest end is to be

inserted in the plastic
surface.

61
ING AULA ASAS_AULA 17/06/13 16:21 Página 62

The penetration hole has to be The hole can be opened using a drill
marked with a burin. whose diameter is the same of the
handle’s diameter.

The piece is inserted until the

shortest end, the one which marks
the total height of the handle and
rests on the hatch.

Working In order to
this way build a ring it
we can also is necessary
make some to bend a
bolts. thick copper
wire onto the
handle of a
drill bit of an
adequate
diameter.

After gluing Copper is less resistant than

The cutting other metals.
irregularities the piece, the
can be texture of the
removed using welding can be
sand paper. conveyed
applying putty.

The edges can be rounded using 400-

grained sand paper.

Close-up of the pieces

once glued in a Panther
turret.

In order to depict the flat

extremities we only need to
press the flat ends of the
pliers onto. The telephone
cable has been
used this time to
portray the
We can also rebuild the protector of a
support of a MG. beacon cable in
a Tiger II.

62
43 Colores nuevosING_IN Suscrip. pág. 49 18/06/12 15:26 Página 36

COLORS OF
All

N E W CAMOUFLAGE FOR PAINTING

THE GERMAN UNIFORMS

Vignette painted by Jose Manuel Flores

Price
32€
for subscribers

Camouflage patterns
29€
(Shipment not included)

Oak-Leaf Pattern Plane Tree Pattern Italian Pattern Pea Pattern

16colors
that match the tones used
in the uniforms of the

waffen ss
You can order at:
Acció n press, s.a.
C/ ezequiel solana, 16
28017 madrid - SPAIN
www.euromodelismo.com
ING STAFF_ESP STAFF 17/06/13 16:47 Página 64

Publishing Manager
Rodrigo Hernández Cabos
Executive Director
Ricardo Recio Cardona
Editor in Chief
Carlos de Diego Vaquerizo
Translated by
Sara Sánchez-Rivas
Gustavo Cano Muñoz
Edited by
Ian Parsons
Have collaborated in this issue:
Philip Stutcinskas
Agustín Pacheco Fernández
EDITORIAL Ricardo Ruiz Gómez
Eduardo Rodríguez Marín
Alfonso Sierra García
Photographers
There is nothing new under the sun...or is there? Rodrigo Hernández Cabos
Basilio Tante Díaz
Illustrations
If there is a single military vehicle that has been modeled more than any other, it is Carlos de Diego Vaquerizo
undoubtedly the Pz.Kpfw. IV. It is hard to do something new regarding this tank or its Lay Out
versions that can come as a surprise. Well, my experience tells me that there is always a KOMMAD S.L.
new twist or turn of the theme to be made, and that’s exactly what Philip Stutcinskas has Juanita Bagés Villaneda
Printed by
done, He is a modeler who thinks figures are as important as vehicles, a formula that is IBERGRAPHIC 2002
currently working quite well, but that has really been around for many years. There is no Scanning & Filmsetting
doubt this is the right path to follow if we want to escape from the routine. However, I am ACCIÓN PRESS, S.A.
conscious that many modelers have a hard time transforming and painting figures. In any José Ignacio Pérez Lozano
Raúl Fernández Ruiz
case, the work of Philip Stutcinskas featured in this issue, including a pictorial of a real
Computer Graphics
vehicle, will surely be awarded in every contest he assists and will be published in most José Ignacio Pérez Lozano
specialized magazines. Editorial and Technical Staff,
Administration and Advertising
ACCIÓN PRESS, S.A.
In the figure section we have a plain and original vignette set in the Spanish Civil War, c/Ezequiel Solana, 16
made by Agustín Fernández Pacheco. The 1/72 scale is represented by an M60 tank by 28017 Madrid
Ricardo Ruiz Gómez. This tank required a specific treatment during the assembly, different Tel.: 913 675 708
914 086 135
in some aspects to the one applied to World War II models. We can also see an initial Fax: 914 085 841
version Tiger tank by Alfonso Sierra García that has been transformed by adding wheels of accionpress@euromodelismo.com
a final version model. Subscriptions
North American Subscriptions:
MMD-Squadron
We are already used to replace the plastic handles that are included in the models for 1115 Crowley Drive
metal ones, a real necessity. The problem arises when we pretend to do snappily, with a Carrollton, Texas 75011-5010
USA
regular size and shape, which is more complicated than what it seems. Several tools and
In Spain:
machines have been developed to make the task much easier and obtain better results, as Andrés Fernández Reyero
we can see in an article by Carlos de Diego Vaquerizo. Tel. +34 913 675 708
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I hope the magazine is of your liking. It is my belief that all the articles have an ISSN: 1886-4457
excellent quality
The reproduction of the images
and texts is prohibited, using
any current or future technical
medium without written
Rodrigo Hernández Cabos
consent of the author. ACCION
PRESS, S.A. does not necessarily
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opinions.
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