11 €

Nº 50

Nº 50 11 €

Allied Forces Special

Armour Modelling Magazine

• DEFEAT IN 35MM
• SHERMAN IC HYBRID
• PANIC IN THE ODERBRUCH
• PAINTING WITH
PANZER ACES

COMPLEMENTARY COLORS
• ACRYLIC PAINT
MELTING TECHNIQUE

www.euromodelismo.com

PortadaPA50.indd 2 24/11/15 13:07

InteriorPortada.indd 1 24/11/15 13:11
 PANZER ACES Nº 50 2015

2 DEFEAT IN 35MM 1/35 SCALE

A remarkable diorama by Javier Redondo portraying the efficiency of the
Blitzkrieg in the early stages of WWII, combining in an excellent way three
small sized, but highly attractive vehicles.

24 SHERMAN IC HYBRID “FIREFLY” 1/35 SCALE

A classic Sherman with a number of transformations destined to accommodate
a 17 pound gun. Luis Mercadal has chosen one of the rarest and most interes-
ting vehicles, and he shows us his version executed with extraordinary results.

36 MODELLING LESSONS:
PAINTING WITH COMPLEMENTARY COLORS 1/35 SCALE
José Luis López has taken a classic painting technique and has modified it for
painting vehicles in general and AFV’s in particular. This technique is quite daring
and advanced, and because of his skill, he has obtained some remarkable results,
which will surely create a tendency with followers and all.

42 PANIC IN THE ODERBRUCH 1/35 SCALE

Frank Bazin has recreated the desperate German defense along the
Oder River, which was the final front line before the allied forces
reached Berlin. His knowledge of the laws of composition and his
impeccable modeling techniques has produced an extraordinary
scene full of drama.

56 MODELLING LESSONS: ACRYLIC PAINT MELTING TECHNIQUE

The Model Wash and Model Color acrylic paint ranges can be used in a tech-
nique where colors are “melted” and blended while still wet, pretty much like
oil paint. Rodrigo Hernández shows us this technique, which can be used to
obtain fast realistic results.

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

1indice.indd 1 18/11/15 18:39

 DEFEAT IN 3
By Javier Redondo

SCRATCH 1/35

On May 10th 1940, operation Fall Gelb -the attack against France-, began.
Armored German divisions backed up by their air forces, conquered both Holland
and Belgium, causing the English and French armies to concentrate around this
area. Simultaneously the XIX Panzer Corps led by General Guderian crossed the
Ardennes and the Meuse with his armored vehicles, leaving the French army
behind them. On May the 18th, German units Arrived to the English Channel
thus completing the siege’s setup. The Allied armies were trapped in the
Dunkirk area as a result.

2-17_Derrota en 35mm.indd 2 17/11/15 18:49

N 35 MM

2-17_Derrota en 35mm.indd 3 17/11/15 18:50

 O
nce most of the people under king France by the rear. In spite of the fact Pétain, the eighty eight year old Maréchal;
siege were evacuated as a result that France was a defeated country, Italy a hero of WWI which was currently hol-
of the denominated Operation was only able to penetrate a few miles ding the post as French Ambassador in
Dynamo, on June the 5th the Germans on French soil, establishing the role that Fascist Spain when he returned to Paris to
attacked again, executing the second part this country was going to play for the axis become the Vice-president of the cabinet
of their plans under codename Fall Rot. during the entire war; an untrustworthy of the Reynaud government.
France had already lost many of its choi- ally to the Germans. The new French Government of the
cest divisions and much armament, and The French Government abandons Maréchal quickly signed the armistice
their armored forces were severely reduced. Paris declaring it an “open city” in order to offered by Hitler on June the 22nd near
The French were struggling to contain the avoid its destruction and escapes first to Compiègne, in the same train wagon were
Germans in the Somme-Aisne line, but in Tours and then to Bordeaux. The Germans on November 1918 Germany signed its
two days the Germans sunk this front line enter Paris on June the 14th causing the own surrender during WWI. This was the
and on the 9th they crossed the Seine. A resignation of First Minister Paul Reynaud. first of the many humiliations that France
day later a highly opportunistic Mussolini In despair, French President Albert Lebrun was going to suffer under the German
declared war to France and the U.K. attac- offers then a new government to Philippe yoke.

THE IDEA
The world witnessed the stunning umns with their belongings and many This disaster was recorded by the well
French defeat, recorded for posterity in abandoned animals, innumerable victims known PK (Propaganda Kompanie) who
numerous photographs and films that killed and left in the ditches to rot by the answered directly to propaganda minister
keep bearing witness to this military and Nazi air forces, long lines of abandoned Goebbels; a sinister and cunning character
human tragedy. Interminable refugee col- military material… that turned propaganda into a weapon of war.

VEHICLES
Renault UE
The Renault UE is a Tamiya product and there’s no need to say anything else.
Everything fits to perfection, the details are excellent and its assembly is clear
and simple. This vehicle was to appear in the dio as an abandoned vehicle, so I
purchased an Azimut kit to provide the interior details for the vehicle.
We’ll begin by using the above mentioned resin kit which fits into
the Tamiya vehicle seamlessly provided that we follow the kit’s
instructions.

We apply now the white priming, and then

proceed to use acrylic paint in specific colors to
paint the surfaces, closely following the research
materials available. Once we’re done we proceed
to weather these surfaces in the usual way, and
conclude the work here by assembling the upper
piece which by the way fits perfectly.

/4

2-17_Derrota en 35mm.indd 4 17/11/15 18:50

 The UE and its trailer is now ready to begin the painting process. The tracks are painted with Tamiya’s XF-52 Flat Earth
before putting these in place, making further work in this area easier.

5/

2-17_Derrota en 35mm.indd 5 17/11/15 18:50

 The ”Vert Olive” color is reproduced by Highly diluted XF-60 Dark Yellowis now
mixing Tamiya acrylics XF-5 Flat green employed to do some highlights on the central
and XF-51 Khaki Drab airbrushed in surfaces of the central panels in order to
multiple and successive thin coats. accentuate the volumes of the kit.

Weathering is further enhanced by doing a few

highly diluted Humbrol enamel paint filters and
applying a few readymade Sin Industries filters.

We begin the oil paint work armed with a varied color palette
of 501 Abteilung oil paints.

Again, employing a mixture of highly diluted (using Humbrol’s

thinner) oil paints, we do some detail profiling, enhancement
of rivets and other sunken surfaces.

/6

2-17_Derrota en 35mm.indd 6 17/11/15 18:51

 With Andrea acrylic paint
Nº 5 (Russian Khaki) and a
brand new thin paintbrush
we recreate the superficial
paint chips. Deeper paint
chips are done in the same
way but using Vallejo’s 302
Dark Rust.

7/

2-17_Derrota en 35mm.indd 7 17/11/15 18:51

 VEHICLES
Hotchkiss h38
Bronco’s kit allows us to faithfully
reproduce this emblematic French armored
vehicle, but it will be necessary to do
some extra work in order to correct a few
mistakes and improve a few details. This
we shall do with the help of an Eduard P.E.
set for the kit and other materials taken
from different sources as we can see in the
adjoining pictures.

The interiors can be detailed with the

pieces included in the kit –the specific
ones on the P.E. sheet- Evergreen
products and copper wire. Later on
we can proceed to paint and weather
it all.

We now glue the upper piece of the hull and continue For the hull we begin by painting the sand colored hue
to assemble the vehicle by closely following the kit’s created with a mixture of Tamiya acrylics and applied with
instruction sheet. We create some texture on the hull our airbrush kit. Vallejo acrylics are once more used to
using Tamiya’s putty diluted in acetone to reproduce the paint the green areas as per our reference materials.
texture of the smelting, add some nuts and bolts omitted
on this kit and finish the detailing chores by adding the
tools and its P.E. attachments.
/8

2-17_Derrota en 35mm.indd 8 17/11/15 18:52

 The painting scheme chosen corresponds to a unit from the 2eme
Compagnie, 1ere section of the 14eme BCC exactly as pictured on
issue 77 of the “Histoire de Guerre, Blindés & Matériel” magazine.
The turret has a rather appealing camouflage pattern different from
the one on the body of the AFV. This has been recreated using hand
painted Vallejo acrylics and closely following the reference material.

We finish the work Tactic symbols are taken from a specific Minitrack decal
here by doing some sheet for French AFV’s. The national French flag –an
detail profiling identity sign for this specific unit- is recreated with
with black paint to adhesive stencils and airbrushed Tamiya acrylics.
mark the separation
between the
different colors.
9/

2-17_Derrota en 35mm.indd 9 17/11/15 18:53

 The weathering process
which followed is similar
to what has been done to
Renault UE.

/ 10

2-17_Derrota en 35mm.indd 10 23/11/15 12:13

 OPEL OLYMPIA CABRIOLET

VEHICLES
This versatile vehicle is also a Bronco product assembled straight from the box OPEL OLYMPIA CABRIOLET
without too much complication. We’ve only added the license plates taken from
the leftovers of a P.E. set employed on a previous project and modeling the vehi-
cle’s top with Magic Sculp putty.

Assembled and ready to paint model kit. The wheels have not been glued in order to be able to paint these more comfortably.

After having washed with soap and water the kit we proceed to German Gray is recreated with a Tamiya acrylic
apply Vallejo’s Gray Primer which will give us an excellent base paint mixture and then airbrushed on the
for the painting processes to come. surface.

The interior upholstery is also

painted with acrylics of this
brand, marking the parts that
should be painted with the
help of adhesive masking.
11 /

2-17_Derrota en 35mm.indd 11 17/11/15 18:54

 Highlights are now applied to enhance the different
volumes. Tamiya acrylic XF-53 Neutral Gray is
employed for this purpose.

General weathering and paint weathering is now Once the top has been sculpted we put
recreated with Sin Industries’ P240 Blue filter. it in its definitive position pressing the
material in order to adapt it to the shapes
of the vehicle. The license plate decals are
now fixed in place. Transfer lettering is
now used to add the PK unit indicator. The
Kriegsberichter poster has been printed to
scale.

With the usual oil paint palette we “melt” some oil

paints in order to convey the degradation of the base
color, with a special emphasis in the use of the sand
colored hues for the lower section of the vehicle.

Dirt on the glass surfaces is quite convincingly

recreated with airbrushed matt varnish.

/ 12

2-17_Derrota en 35mm.indd 12 17/11/15 18:55

 All the vehicles in this diorama have
been simultaneously treated with color
pigments matching the color hue of the
dirt in the diorama base.

BIBLIOGRAPHY
- Focus nº 1, Renault UE, Editions du
Barbotin
- Focus nº5, Hotchkiss H-39, Editions du
Barbotin
- Histoire de Guerre. Blindés & Matériel
nº 77. Histoire & Collections
- Histoire de Guerre. Blindés & Matériel
nº 78. Histoire & Collections
- Wydawnictwo Militaria nº 75, Fall Gelb
1940
- Wydawnictwo Militaria nº 107, Fall Rot
1940
- Militaria Magazine Hors Serie nº 4
Guderian perce a Sedan. Histoire &
Collections
- Militaria Magazine Hors Serie nº
8, Blitzkrieg a l´ouest. Histoire &
Collections
- Militaria Magazine Hors Serie nº 21,
La Bataille d´Abbeville. Histoire &
Collections
- Militaria Magazine Hors Serie nº 64, Les
derniers combats de 1940. De la Seine a
la Loire. Histoire & Collections

MATERIALS EMPLOYED
- Tamiya 35284, French Armored Carrier UE
- Voyager Model 35227, French Armored Carrier UE
- Azimut 35373, Update Set Renault UE
- Azimut 35375, Update Set 25 mm. Ammo Set
- Bronco CB35019, French Hotchkiss Light Tank
H-38/39
- Eduart 35921, Hotchkiss H-39 (H)
- Friul ATL-68, Hotchkiss Tracks
- Bronco CB35047, German Light Staff Car model
1937 “Cabriolet”
- Ultracast AC35007, French Helmets WW II
- Royal Model 172, Leutnant Art. Reg. 6
- Andrea S5F03, German Officer

13 /

2-17_Derrota en 35mm.indd 13 17/11/15 18:56

 THE DIORAMA

The main shapes of the building were

recreated with 5mm thick extruded PVC
“Forex” brand sheets. This material is rather
easy to cut, can be sanded adequately to
create the needed volumes and it is fairly
resistant. Details are then created with
Evergreen products, a few pieces taken from
my spares box and stamped plastic sheets
manufactured by both Willys and Promodel.

2-17_Derrota en 35mm.indd 14 17/11/15 18:56

 The base measures 33cms x 21cms. In the area
where the paved road is planned to be, we glue
thin grit sandpaper which actually looks a lot
like a paved road. Later on this material will
be convincingly treated with acrylics and color
pigments. The ground on both sides of the road
was sculpted using Das Pronto paste, creating the
surface texture and fixing some sand and pebbles
before the paste dried up. The areas with plant
life have been made using Silflor products.

15 /

2-17_Derrota en 35mm.indd 15 17/11/15 18:57

 / 16

2-17_Derrota en 35mm.indd 16 17/11/15 18:57

2-17_Derrota en 35mm.indd 17 17/11/15 18:57
 Sherma

By Juan Luis Mercadal Pons

ITALERI - SCRATCH BUILT 1/35

During most of WWII, and particularly because of

the poor level of its armament, British AFV’s were
in inferior conditions to those of the enemy.
The new 17 pound gun was the solution to
this problem, but this couldn’t be immediately
installed in any of the available tanks. The low
speed in the development of the future Comet left
temporarily a void for an AFV which could fight
in equal terms with the German AFVs.

/ 18

18-31_FireFly_Mercadal.indd 18 17/11/15 18:50

man IC Hybrid
I (M4 composite hull 17pdr. Gun Firefly)
8th Princess Louise’s (New Brunswick) Hussars,
(5th Armoured Regiment), 5th Canadian Armoured Brigade,
5th Canadian Armoured Division,
Holland, Spring 1945

19 /

18-31_FireFly_Mercadal.indd 19 17/11/15 18:50

 T
he experiments with the American the base for the Firefly. Its composite hull artillery. In order to make the identifica-
Sherman as a recipient for the 17 incorporated the foundry frontal surface tion of these AFV’s more difficult, many
pound gun proved that it was of the M4A1. crews painted half of the gun barrel with
preferable to the Challenger A30 which The debut of the new “High Bustle” turrets, either white or light green paint.
was being tested a t the time and also which had a second factory made hatch for When I was looking for research mate-
had some serious development delays. For the gun loader, made it unnecessary to install rials for painting my kit, I was quite sur-
a number of reasons, only the Sermans I the rectangular hatch which the British had prised to see a Canadian unit protected
and V were apt for this conversion and included on all Fireflies up until then. with track links from a Churchill, which
when towards the end of 1944 these vehi- Not long after first entering combat, the also had a gun barrel which was not only
cles were becoming scarce, the Sherman AFV’s equipped with the 17 pound gun camouflaged but had a make believe gun
I Hybrid entered the scene and became became a priority target for the enemy muzzle halfway down its length.

ASSEMBLY (OR SHERMAN MODEL KITS IN THE HOBBY’S PREHISTORY PERIOD)

Today the main model kit manufac-
turers have several Sherman versions in
their catalogs and many of these do have
some pretty high standards, so we can do
almost any version of this vehicle almost
straight from the box.
But this hasn’t always been this way.
Many years ago, non-German AFV’s,
including of course the Sherman, were
quite abandoned by the styrene industry.
There were only two models available to
the average hobbyist: the M4A3(75) by
Tamiya and the M4A1(76)w by Italeri.
When you wanted to do a different ver-
sion you typically combined things from
these two kits, adapting the Italeri turret
to the Tamiya hull and vice versa. The
most daring modelers combined pieces
from both kits with a few scratch made
ones, along with the use of some of the
few commercial sets that had just hit the
market like François Verlinden’s sets. I used Plasticard sheets to modify the Italeri hull in order to create a
“composite hull” with Dragon tracks and wheels.

I employed a
75mm “High
Bustle” Italeri
turret.

/ 20

18-31_FireFly_Mercadal.indd 20 17/11/15 18:50

 MATERIALS EMPLOYED
- Hull from M4A1 (76) Italeri (modified)
- M4 turret (75) Italeri (modified)
- Dragon wheels and tracks
- Track extenders for Sherman AFV Club
- 17 pound gun for Firefly, Jordi Rubio
TG-31
- M3 Grand air filters (Tamiya)
- Verlinden Sherman Update Kit
- British aerial bases, RB 35A07
- Churchill tracks T-144 Double Pin
Manganese Track, AFV Club 35156 The welding strips were done with heat stretched styrene, and the extra
- M4A1 Stowage Set, Legend LF 1176 armoring was created with Plasticard sheet of the proper thickness.
- British Fire extinguishers Accurate
Armour
- Eduard P.E. set 35369
- Tow cables, Karaya TCRO4
- Pieces and materials from different
sources

I had to increase the thickness of the armoring in turret’s right side. I did this
with Plasticard strips and putty.

I attached a radio box I made myself

to the turret and a Verlinden spares
box.

In this picture we can see the

transfromations realized in the turret.
TRANSFORMING
THE MANTELET

The mantelet on the Firefly was transformed

from a 75mm piece, eliminating the lateral
protections and adding a plastic ring. Later I
drilled the holes to put the screws. I also made
the right side larger. The screws were made by
putting molten plastic on the tip of a rod and
once it hardened I marked it with the blade of
a knife.Once the screws were glued in place
and introduced as deeply as necessary, I cut the
leftover length of these.

21 /

18-31_FireFly_Mercadal.indd 21 17/11/15 18:51

 The 11 track links of the Churchill (type T-144 Double pin Manganese Track) are
here prepared to be glued on the kit. There is a total 71 track links. The links on
the ends had to be drilled with a 0.6mm drill bit.

The small welding lines were done

with putty.

The antennas are heat stretched styrene pieces and these The tools come from different places.
measure 33 and 16mm respectively.

/ 22

18-31_FireFly_Mercadal.indd 22 17/11/15 18:51

 The real life vehicle had a
make believe gun muzzle
halfway down the gun barrel
and seemingly it was made
with a piece of cloth. This has
been recreated with putty and
sewing thread.

The different packs are held in place with a piece of rope in a realistic manner.
23 /

18-31_FireFly_Mercadal.indd 23 17/11/15 18:51

 / 24

18-31_FireFly_Mercadal.indd 24 17/11/15 18:52

 25 /

18-31_FireFly_Mercadal.indd 25 17/11/15 18:52

 PAINTING

The process is made simpler by

painting several parts before gluing
them.

The coat of primer gives us a good

base for the following painting
processes and it also helps us detect
any possible flaws.

The gun was painted with the help of

a very simple masking.

Possible flaws are later on corrected

using a paintbrush.

After applying the base coat, I did

some highlights by lighting up the
base color mixture. You should not
forget that the successive paint
treatments that will follow shall
darken the kit slightly.

/ 26

18-31_FireFly_Mercadal.indd 26 17/11/15 18:53

 The different details are
hand painted with Vallejo
acrylics.

Decals are applied on top

of a coat of gloss varnish.
These are later on protected
with several coats of matt
varnish and then we can
apply the first filters. The
golden Maple leaf on a
brown square is the division
insignia, and the white “52”
on a red square is the unit
code. The name and numeral
for this AFV, its serial
number and the squadron
marking were omitted
because all of these go
underneath the protective
track links.

Now I recreate
dirt and dust with
pin washes, using enamels
diluted with petrol essence,
and some enamel is used
with thicker and less
diluted paint. When
paint begins
to dry up, I
remove paint
pigment
from the
features
that
stick out
by using a
brush soaked
with thinner.
The streaking on
the vertical surfaces is
done by dragging paint down,
and giving it its definitive appearance
once paint begins to dry.

27 /

18-31_FireFly_Mercadal.indd 27 17/11/15 18:54

 For recreating accumulated dirt on the
lower areas of the hull I use deteriorated
paint, because it gives me quite a
convincing texture. In order to compensate
the loss of binder in the paint, I mix this
kind of paint with a little matt varnish.
With these kinds of mixtures I do some
mud splashes on the lower areas of the
vehicle.
Finally I went over the edges of the hatches
with pencil lead and with bitumen I
recreated some fuel and oil spills.

/ 28

18-31_FireFly_Mercadal.indd 28 17/11/15 18:54

 FIGURES

I truly think that figures are a most necessary accessory

for the kit. I selected a few Ultracast products; 35008
for the vehicle’s driver and commander and 35037 for
the ammunition loader. I had to modify the legs and
arms of the last two figures and some hands. I did this to
adapt the figures to the poses I wanted them to adopt.
I scraped off with a knife the emblem on the caps of all
three figures, replacing these for emblems that I made to
look more like the regimental emblems that these figures
ought to be wearing.
The figures were painted with vinyl acrylic paint
following the well established highlight and shadows
technique.

COLOR CHART
Clothes
Base: 977 Desert Yellow + 819 Iraqui Sand
Highlights: Base + 819 and 950 white for the final highlights.
Shadows: created by adding 921English Uniform
Belts, neck piece and interior of hood:
Base: 924 Russian Uniform WWII.
Highlights: Base color + 977 Desert Yellow

29 /

18-31_FireFly_Mercadal.indd 29 17/11/15 18:54

 COLOR CHART
AFV: Details:
Priming: Vallejo Gray Primer + 25% water + (Vallejo & Panzer Aces Acrylics)
25% isopropyl alcohol Padding inside inner surface of hatches
Base paint: 75% XF62 Olive Drab + 25% and leather straps:
XF60 Flat Dark Yellow (Tamiya) Base: 875 Beige Brown.
Shadows: XF62 Olive Drab Highlights: 981 Orange Brown.
First highlights: XF62 Olive Drab and XF60 Ammunition boxes and fire extinguishers:
Flat Dark Yellow both 50%. 975 Military Green and 875 Beige Brown.
Last highlights: XF62 Olive Drab, XF60 Flat Tracks and metal part of tools:
Dark Yellow and XF21 Khaki both 50%. Base: 863 Gunmetal Grey,
Paint filters upper surfaces: XF57 Matt Highlights: 997 Silver.
Buff, 93 Desert Yellow, 29 Dark Earth and 98 Wooden items and ropes:
Chocolate (Enamel Tamiya and Humbrol) Base: 977 Silver.
Dirt and weathering: Paint washes and paint Washes: Burnt sienna (oil paint)
drag done on entire kit surface with enamels. Tarps: 866 Grey Green, 988 Khaki, 917 Beige
Retouches on base coat and paint chips: and 880 Khaki Grey.
Vallejo Acrylics, several colors. Rubber area on wheels: 306 Dark Rubber
Churchill track links:
Base: 997 Silver
Drybrushing: 304 Track Primer and 302 Dark
Rust
Washes: Red Brown 70, Matt buff XF57,
Leather 62 (the last three are enamels)

/ 30

18-31_FireFly_Mercadal.indd 30 17/11/15 18:54

 BIBLIOGRAPHY
- Ground Power Magazine nº117,
GALILEO Publishing Co.,Ltd.
- Sherman in action. Squadron signal
publications
- Walk Around M4 Sherman. Squadron
signal publications. Jim Mesko

31 /

18-31_FireFly_Mercadal.indd 31 17/11/15 18:55

 By José Luis López Ruíz

Paint with complementary color

As you may already know, just some years
ago I created the B&W Technique as a response 1
to achieve nice zenithal and modulation effects
just using just a few colors: black, white and a
base color. This new way of painting is a little bit
more complex than B&W as you should learn a
little bit the theory of color with the help of a
color wheel. In a simplified way, I use the com-
plementary color for the shadows instead using
black as usually with the B&W Technique. The
base color of the Panther is dark yellow, actually
a mix of orange and yellow, so, for the shadows
I´ll use the complementary color, a purple /
violet color. For the complex camo, I´ll use the
classical modulation system of mixing different
colors to darken and highlight the basic color. In
all this process I´ll use just primary colors. Of
course, it´s a tricky and crazy way to achieve
realistic RAL colors, but as this is an experiment, 2
let´s do it as complete and difficult as possible!
Let´s learn!

1. This kit is just an awesome and

incredibly well designed kit, a true
delight. But, if you want to build this
kit with all the details you need the PE
Parts for the engine´s grills, metal gun
barrel and workable tracks

2. Use primer as an homogeneous base

color and never forget to apply metal 3
primer to the metal gun barrel and other
metallic parts in order to avoid the paint
to peel off during weathering.

3. Maximum shadow
Just apply pure black in all the recessed
areas of the kit, inner part of the
wheels, gun barrel interior and under
the engine grills. Once finished, apply a
light gray over the exposed surfaces of
the kit, so the black color will remain in
the hidden areas and even once the kit
has been completely finished.

/ 32

32-39_Aula_Panzer.indd 32 17/11/15 19:01

 5

4. Use your color wheel and locate

the complementary color of your
basic color.

5, 6, 7 . Make your C&W base as

you´ll do a B&W, just adding some 7
white to the basic complementary
color. Make the base as contrasted
as you dare. Remember, it´s more
easy to darken a kit than highlight
it in the later stages. Do not be
shy! Just put your kit under a
vertical zenithal light and locate
the more illuminated areas of your
kit.

8. And now, as you did when using

the B&W Technique, apply the
base color over it. The paint must
be highly diluted (80% of thinner)
and you should get the base color
little by little, with several thin
coats over the C&W Base. You 8
will find that the base color reacts
in a more efficient way over the
complementary color than over
the dark grey color you used for
the maximum shadow. And the
final base color seems really vivid
over this C&W Base!. I think this
is a real big improvement of this
new technique.

33 /

32-39_Aula_Panzer.indd 33 17/11/15 19:02

 9 9, 10. It´s the first time I paint a
so complex camo and, at the same
time, use this new technique.
So, I decided to paint all the
kit with the dark yellow color
and hide part of it under the
camouflage (something I find
usually not useful, wasting time
and material). For the camo I
created my own green and red
brown mixing again just basic
colors, which was easy just adding
black to a light orange and green
color. Depending on the quantity
of black color, I got a nice range of
green and red brown shades which
10 allowed me to make a little bit of
modulation with the camo.
Anyway, it´s a nice exercise but
I strongly recommend you to use
authentic RAL colors from your
favorite brand! I spent too much
time and paint to get a satisfactory
result! But it´s a real advantage
when you want to light or darken
a color as you´ll know exactly
which color you should add for
this task.

11 11. I used my acrylic paints for

this task from the Weapons and
Tires and Tracks set from Ammo.
I painted the rubber tires, tracks
and all the tools on board. Tedious
step but very necessary to achieve
a realistic “not a toy” finish for our
kits. Please, take your time with
them!. For the tracks, I masked the
wheels, hull and fenders and used
my airbrush. Never forget to use
several shades of basic track color
adding some earth and light dust
colors.

12. Using acrylic paints and a fine brush, I just

highlighted in the classical way all the details of
the kit: rivets, handles and prominent details.
Making these new colors using acrylic paints
was easy as I used the same primary colors than
I use for airbrushing and the same mixes, just a
little bit highlighted.
12

/ 34

32-39_Aula_Panzer.indd 34 17/11/15 19:02

 CHIPPING

13

A deadly but decisive step. I made two kind of

14
chippings: superficial just using the highlighted
colors I used in the previous step and deeper ones
using A-Mig 044, my favorite over any other color
and brand. Use your common sense and different
tools to make them: a fine brush for scratches and
little impacts, a sponge for areas with deteriorated
paint or heavily battered areas and finally, a sponge
for polished areas or with abrasion. If you have a
problem with chipping, follow this advice: imagine
that you can just make 50 chippings over your kit.
Think carefully where to put them and the reason
15 why you apply a scratch in a particular area. Please,
take note that some chipping should be applied over
the decals as this little effect really integrate the
decals with the vehicle.
Once finish, apply a generous layer (or two) of satin
varnish. You´ll find that this varnish will reduce the
contrast of the different colors of the camouflage,
protect the camouflage from aggressive products as
turpentine and oils and, finally, make washes run
easily over the different surfaces.

OILS
For a nice fading effect all over the camouflage, I used the 16
classic but extremely effective oil dots technique. It´s
easy and results are impressive. Apply oils dots over the
damped surface using different colors as you can see in the
picture (white, blue, yellow, orange, green, raw umber,
asphalt, Naples Yellow, so on). I always use the lighter
colors in the upper areas and the darker in the lower in a
kind of zenithal effect. Let the oils dry for 10 or 15 minutes
and then, using a flat brush slightly damped with thinner,
melt the oils with descendent movements with the brush.
You can repeat this process several times until you get the
desired result but always be careful as you can spoil the 17
previous applied oils when applying a new layer of oils.
You can seal each layer with varnish too. You can also
make a general wash too during this step. I used D.A.K set
from Ammo for this task and for the deeper details.

35 /

32-39_Aula_Panzer.indd 35 17/11/15 19:03

 PIGMENTS AND DIRT

18 For the dusted surfaces I used a mix of different

pigments from Ammo and I applied them very
carefully just in selected and very studied areas.
In my opinion, camouflaged vehicles are the most
difficult for weathering when the real vehicle
was deployed during summer or other hot and dry
months in autumn or spring, as the normal dust
color is dangerously similar to our lighted dark
yellow. So, if you add dust over a dark yellow
color, you must be very careful to do it in a very
controlled way or you´ll get a disaster as these
colors will tend to blend in a not attractive way!
As I´m a professional liar and visual scammer, I
19 just concentrated the dust over the areas with the
green or the red brown colors, where the dust was
a really disruptive color over the tank. In this way, I
deliberately misleading the viewer making his brain
also see dust in the yellow areas by mental logic
although there´s no dust there!. A dusted kit is not
a kit full of dust! Just with dust in the logical places
where it´s supposed to be!
Once applied, I add some weathering effects
like spots and grease over the pigments using
weathering products from Ammo. This products
work particularly well over pigments. And never
forget to clean the nearby surfaces from pigments
20 using a cotton swab, as pigments tend to fly to
undesired areas when you´re applying it!

TRACKS
As plastic tracks are much more
21 22
fragile than Friul tracks, I just
added some pigments in a random
pattern over the tracks and some
punctual washes here and there
to achieved an attractive looking.
Do not forget once again to clean
the pigment and let the polished
surfaces of the tracks shine with
their metallic effects (previously
painted with several shades of
gun metal and silver). This is an
important tip as this effect will
add a lot of realism to your kit.

/ 36

32-39_Aula_Panzer.indd 36 17/11/15 19:03

 37 /

32-39_Aula_Panzer.indd 37 17/11/15 19:03

 / 38

32-39_Aula_Panzer.indd 38 17/11/15 19:04

 39 /

32-39_Aula_Panzer.indd 39 17/11/15 19:04

 Panic in t

By Frank Bazin

DRAGON - TAMIYA 1/35

The Oderbruch marks the Küstrin

bridge head and it extends to the feet
of the Seelow heights which is the
final obstacle before Berlin some 70km
away from it. This area is level with
the Oder river which could inundate
large expanses of land and is the
first defensive area and is called the
“Principal battle line”
(HKL: Hauptkampflinie).

/ 40

40-57_Panico.indd 40 17/11/15 19:18

n the Oderbruch

40-57_Panico.indd 41 17/11/15 19:18

 T
his defensive system had three first defensive line in the front, centering of the ninth parachute division they are
successive defense lines, with their efforts on the Seelow hills. This is the forced to retreat to the second line of
large mine fields, antitank ditches, way the battle began; with the German defense.
draining ditches and railroad lines like the defenses slowing the Soviet advance In this diorama we’ve tried to recreate the
one portrayed in this diorama. causing many casualties and many mate- anguish and panic of the German soldiers
On April the 16th 1945 the Russian army rial losses, especially AFVs. In spite of the trying to defend this first line of defense.
launched a large artillery attack over the defensive success of the German troops

AN OLD MAN RETURNS TO THE FRONT LINE

The destroyed JS2 is an old Dragon product which is still a good base to work with.

The main inconvenient with this kit is that the proportions of the This modification forces us to change the rear
lower part of the hull are incorrect and the fenders are much too hull plank for a Plasticard replacement. Based on
close to the tracks. our reference pictures, we’ll create a tarp that
Therefore it becomes necessary to raise the structure at least 2mm. will protect the engine’s access hatches from
This was done with Plasticard sheet and doing this will liberate the the elements. The tarp was made out of Magic
necessary space for the tracks and the JS will look more like the Sculp putty and was painted with Vallejo acrylics
reference pictures of the real vehicle. employing the techniques used for painting
figures.

/ 42

40-57_Panico.indd 42 17/11/15 19:18

 Once we’ve separated the mantelet, we have to
build from scratch the breech, create the shapes
that allow the mantelet to fit into the turret and
change all handles for copper wire replacements,
because these can be deformed at will.
Once we’re finished with the assembly stage, we
apply with a paintbrush a coat of Tamiya putty
thinned down with acetone in order to obtain the
typical texture of the vehicle’s armoring.
The tracks are the ones which come with the kit.
These are the ones that need to be assembled link
by link, so this means that we have to fill and sand
all mold ejector marks present on each track link.

The violence of the internal explosion

has separated the mantelet from the
turret. This has been noted on many
abandoned IS2’s.

In order to replicate the winter camouflage on the

vehicle, we’ve employed the hairspray technique.
After we’ve applied a Humbrol green base coat we
apply several coats of hairspray which once dry
will be covered with yet another airbrushed coat of
Tamiya’s XF-2 Flat White.
This white coat will later on be partially removed
with a stiff haired paintbrush soaked with lukewarm
water.

After a number of oil paint washes using lighter gas

fluid as thinner to enhance the details of the kit, we
recreate some dirt with “Dust Effects” and “Africa
Dust” both diluted with White Spirit.

43 /

40-57_Panico.indd 43 17/11/15 19:19

 In order to recreate the burnt effect on some areas, Vallejo colors 981 Orange Later on we apply different oil paint
Brown, 845 Sunny Skin Tone and 941 Burnt Umber were used. and pigment washes. Pigments
employed are both pastel chalk
shavings and Mig Prods.

We also put some sand colored Fresh mud and sand effects are Before we continue we apply a
pigments on the fenders and other accentuated by applying “Raw generous coat of MIG’s “Wet Effects”
interstices of the vehicle. We proceed Umber” oil paint more or less diluted in order to make a more convincing
with the weathering process by as needed. damp look for this area of the vehicle.
applying some oil paint washes and
using a specific products which will
help us get some color variation and
enliven the surfaces of our AFV.

The tracks have been painted in

different shades of brown, applying
the same oil paint washes we’ve used
so far. Additionally, in order to get a
correct mud texture we’ve employed
a mixture of sand, white glue and
Raw Umber color pigment to achieve
this. Finally we apply on a few
specific areas MIG’s “Dark Steel” with
a cotton swab.

/ 44

40-57_Panico.indd 44 17/11/15 19:20

 We finish the paintwork on our IS-2
by retouching certain areas with
Vallejo’s 70.951 White and 70.894
Cam. Olive Green paint improving
on the contrast and volume of the
vehicle.

By gluing these accessories (The

lateral stowage box is made from
scratch out of aluminum sheet for
a greater finesse), earth lumps and
small branches we are done with the
work here.
The numerals on the turret are made
with stencils made out of Tamiya
masking tape.

40-57_Panico.indd 45 17/11/15 19:21

 THE FLAK 37 GUN

The entire gun should be reworked, so if you’re

a fan of this model you better acquire the new
Dragon kit which has been significantly improved.

The base color is a

mixture of XF-60 Dark
Yellow + XF-2 White +
X22 Gloss Clear. Once dry
camouflage spots have
been painted using XF-71
U.N. Cockpit Green.

The gun was painted

black and Humbrol’s Gun
MetalCote.

/ 46

40-57_Panico.indd 46 17/11/15 19:21

 As a matter of fact, time hasn’t been
that kind with this kit; the details
are quite simple and it requires a lot
of detailing work in order to create a
satisfactory representation of a real
Flak.
This Flak 37 has been carefully
detailed with Plasticard, aluminum
and pieces of electric wire.

A first brown oil paint wash (thinned with lighter

fluid) is now applied; with it we will do some
profiling, enhancing the gun’s shapes creating a
first coat of dirt. Metal surfaces have been made
more realistic by rubbing HB pencil lead smearing
it conveniently.

Dirt effects are recreated with “Dust

Effects” and “Africa Dust” sets
diluted with turpentine.
With it this piece is ready to join the
battlefield…

47 /

40-57_Panico.indd 47 17/11/15 19:22

 A DIORAMA WITH ACTION IN SEVERAL LEVELS

Before we begin this kind of project,

we should search first for the adequate
composition; a composition which tells
us most of what we mean to narrate.
In our case, the composition
is articulated by depth, with a
foreground were we can see the Flak
being damaged by the preventive
bombing. Afterwards our
attention is driven to the
background where we can find
the destroyed IS2. Between
these two focal points we
can see the remains of the
railroad tracks, being the
only “wavy” item in this
scene. The four figures
present in the dio, animate
the scene and connect all
three focal points telling
us also about the fanatic
resistance of some
combatants and the
emotions of others…

Once we’ve got a very clear idea about how we’re going Making railroad tracks consistent with the German rules and
to articulate our composition, we can make the relief then destroy it, has proven to be quite a difficult undertaking.
with Styrofoam. The sides of the diorama are going to The first challenge; the reproduction of the tracks was rapidly
be covered with balsa wood. Everything has been glued solved thanks to a Trumpeter kit (“German railway tracks”
with white glue. ref. 00213). After doing some internet research, we decided to
Bear in mind the particular shapes of the dio, developed replace the sleepers for rectangular balsa wood replacements
to guide the viewer’s attention to the main items via its cut to the right measurements. Each
figures.

/ 48

40-57_Panico.indd 48 17/11/15 19:23

 The tracks were fixed to the sleepers
with pieces made out of plastic,
fashioned after our research pictures.

The tracks and sleepers were painted with

Vallejo acrylics 981 Orange Brown and 985 Hull
Red. Then we make a few oil paint washes
with Burnt Umber and Black. The upper part of
the tracks is painted with Humbrol’s Gun Metal
Metalcote.

Each sleeper is patiently painted with different Vallejo acrylics. Again, our research pictures are going to guide us in this work.

49 /

40-57_Panico.indd 49 17/11/15 19:24

 The ballast is made with a layer of
gravel for fish tanks glued to the base
with white glue.

The gravel is painted in a light gray hue, while the color for the sleepers and tracks is a brownish orange hue.

In order to break the uniform look (in terms of volume This new layer of gravel was painted in two
and shape) of the gravel I smashed a brick with a distinct gray hues: Vallejo’s 995 German Grey and
hammer and used the chips, shards and powder and 990 Light Grey.
glued it also using white glue.

/ 50

40-57_Panico.indd 50 17/11/15 19:25

 Later we did a few different oil paint
washes to increase the realistic feel
of it.

In order to increase the chromatic richness here, we use pastel chalks apply some dry brushing and we retouch the surface
with different ochre and gray hues.

The surface is now covered with Before the paste is dry, we should put the
modeling paste. The good thing tracks, figures and other accessories in place
about this material is that it is and mark as many prints as needed.
quite cheap; it dries in contact with
air and can be worked well with a
wet paintbrush.
51 /

40-57_Panico.indd 51 17/11/15 19:25

 Once dry. The ground surface is created with a mixture of Sand+White
Glue+Burnt Umber pigments. We should be careful not to fill too much
the area where the vehicle will we placed.

The transition between the gravel and the

sand has been made with leftover vegetation
used in previous projects. This is sprinkled
while the previous coat is still fresh to insure
adherence.

We finish this area by adding

some Joefix artificial grass.

The sand color on the foreground

has several oil paint washes:
Burnt Umber, Raw Umber and
Burnt Sienna, all diluted with
lighter fluid. These washes can be
repeated as often as necessary as
we add the different items to this
diorama.

I wanted to create a damp appearance to the groundwork in order to conform to the stories told about this battle and
succeeded in doing so by using the two components “Resine Cristal” manufactured by “Gedeo”. Once we’ve mixed
both components we can pour it on the crater and other areas of the diorama. The tank was glued to the ground at this
stage. As we’ve mentioned earlier, some areas on the foreground are impregnated with this resin compound to suggest
dampness. Later on, and if necessary we can correct the overall hue with new oil paint washes.
/ 52

40-57_Panico.indd 52 17/11/15 19:26

 THE FIGURES USED AS A
STORYTELLING DEVICE:

At this point of the Russian attack,

a broken grenadier tries to escape in
all fours while hearing the insults of
another combatant, as he is trying
to find shelter in a trench network
were we can see several of his dead
companions.

The four figures

are customizations
made from the
Dragon German
Parachutists’
set (Kirovograd
1942/43) ref. 6157
using both “Magic
Sculp” and Duro
paste.

The idea is to get the necessary

poses for the dio and also work on
the different uniform types.
Some heads and hands are replaced
by Hornet makes.
All figures were painted with
Vallejo acrylics.

53 /

40-57_Panico.indd 53 17/11/15 19:27

 We’ll start by putting in place the figure which is shooting, because we simply won’t be able to do it when we put the
other items in place. This soldier is using every bullet he has and his position suggests that he is quite close to the enemy;
it portrays a rather “intransigent” combatant, protected by quite a few of pieces of equipment readied for fighting against
a nearby AFV (grenades, magnetic mines, Panzerfaust). The shells are made out of small sections of wire and painted
with Humbrol enamel No. 54 Brass.

A lifeless soldier is
found on the ditch
in the foreground.
The second We can also see
figure is the destroyed or
scolding his abandoned pieces
comrade. of equipment,
This figure is symbolizing the
armed with a violence on the
Sturmgewehr battles that took
44 (STG44) a place towards
more “modern” the end of this
weapon used conflict.
towards the end
of the conflict.

40-57_Panico.indd 54 17/11/15 19:27

 We finally put the main character in place –the fugitive- which is in the
center of the composition. In fact he is the only one we can see unhindered.
The man abandons his weapon while searching for a viable escape route.
Fear has been represented in this figure by a screaming face; the figure’s
mouth has been drilled open with a small drill bit. The expression on the
figure’s face was sculpted with “Magic Sculp” putty and his teeth were
made with “Duro”.

In this image we can see how the crater is

used as a support for the figure.

40-57_Panico.indd 55 17/11/15 19:27

 BIBLIOGRAPHY
- «Berlin, les offensives géantes de l’Armée
Rouge, Vistule – Oder – Elbe- (12 janvier
– 9 mai 1945)», by Jean Lopez chez
Economica.
- «Soldats Allemands de la seconde guerre
mondiale», by Jean de Lagarde, de
Histoire et Collection.
- «Flak auf Sd.kfz. 7 Part I», by Georges
Parada, Mariusz Suliga, Miroslaw
Zelechwski, de Kagero.
- «Sd.kfz.7 In detail», Wings and Wheels
Publication.

In this angle we can appreciate the

importance of positioning adequately
the items involved in the overall
composition, attracting the viewer’s
attention towards the panicking
soldier.

40-57_Panico.indd 56 17/11/15 19:28

 The diorama is completed with a series of
accessories (Verlinden product ref 1671
and Plus Model product ref. 117) and
rubble (wood, sand and stones). All these
items were integrated with the base by
doing several oil paint washes using the
same colors we’ve used previously.

40-57_Panico.indd 57 17/11/15 19:28

 By Rodrigo Hernández Cabos

ACRYLIC PAINT MELTING TECHNIQUE

The acrylic paint melting technique is achieve the most realistic results, which at a very fast pace and in about two hours’
relatively unknown and not often under- will also end up being quite showy, having time, paint will be dry to the touch. The
taken and it can be used to paint any object also the advantage of a rapid execution. It idea is to use a selection of the chosen
–figures included-, but the technique can will be advisable to get the specific acrylic colors where we have the full chosen range
be better controlled when painting the ter- paint retardant in order to increase the and apply these, obtaining highlights and
rain or ground on a base. A simple passing allotted working time. Once we master the shadows by melting paint in the three basic
knowledge of this technique can help you execution of this technique we can work intensities: Dark, medium and light hues.

The goal is to make a terrain

for any season; although at
the end of this article we will
end up covering the ground
with snow.

We will employ as our base

a resin developed by Acción
Press for Diorama vegetation
ref. Lan. 001, specific for the
1/35 scale, serviceable for
any time period and subject.

/ 58

58-63_Aula_Tocon.indd 58 17/11/15 19:19

 First we apply 70.822
German C. Black Brown
on the vertical surface of
the slope, which in turn
will be lighted up along its
edges with 70.887 Brown
Violet. While paint is still
fresh we employ 70.826
German Cam. Med. Brown
and create highlights with
70.339 Highlight Ger. II.
We’ll deploy all the
necessary colors, also we
have the paint retardant.

We can still put more highlights on certain areas by

adding 70.342 Highlight Flesh.
8. The colors we’ve applied earlier are still wet, so we
can apply the new color with a flat tipped paintbrush
and melt the new color with the old ones.

We can still enhance

some areas by adding
small amounts of lively
colors such as 70.915
Deep Yellow and 70.829
Amaranth Red.

These colors once blended with the previous grayish hues will not jump out
excessively but will provide us with the necessary highlight spots.
59 /

58-63_Aula_Tocon.indd 59 17/11/15 19:20

 A detail of some
importance; all this
process can be done
in about 20 minutes in
which all colors will
remain wet and workable.
If we feel that we are
going to take longer, we
can prolong the process
by adding more retardant
to each color.

The flat ground surface is now We continue with 70.875 Beige Brown. Both colors blend well together,
covered with 70.874 Tan Earth. giving us the adequate hue for the next step.

We have to melt the color

employed on the higher
part of the ground with
the colors on the slope.
In order to do this we
resort again to 70.887
Brown Violet, blending
it gently along the edges
leaving the center section
untouched.

If we add a little 70.850

right on the area where
70.887 blends with
70.874, we’ll get a third
highly interesting hue
which will bring forth a
greater chromatic range.
/ 60

58-63_Aula_Tocon.indd 60 17/11/15 19:21

 The tree stump and
its roots will be fully
covered now with
Panzer Aces’ 70.311
New Wood.

Now we’ll proceed with

washes or paint filters
such as Model wash 76.517
Dark Grey and 76.512 Dark
Green.
First we’ll apply Dark
Grey trying to get as much
product into the crevices
of the ground and around
the roots to enhance
these. Then we’ll proceed
to do likewise with Dark
Green. This color will also
be spread on part of the
ground and around the
stones on the slope.

Again we’ll use Model Wash refs. 76.506 Rust, 76.521 Oiled Earth
and 76.513 Brown to enhance the volumes of the tree stump and its
roots.We begin with 76.513 Brown and a few touches of 76.506 Rust.

Greasy sand with a dark brownish hue is perfect for enhancing the
ruggedness of pine tree bark.

61 /

58-63_Aula_Tocon.indd 61 17/11/15 19:22

 We allow 24 hours to pass in order
to apply the final touches to the
tree trunk, applying the detail
profiling and adding a hue created
with three Model Wash colors:
76.507 Dark Rust, 76.513 Brown
and 76.517 Dark Grey. Dark Grey is
employed to do the detail profiling
of cracks, crevices and the space
between the roots.

Dark Rust adds intense brownish hues rather adequate for a pine tree trunk.

We proceed now to put a personal touch by adding a We proceed to glue the lumber in place and add
few small pieces of lumber made with small sticks cut to some moss created with shredded foam.
measure and cemented together with cyanoacrylate glue.
/ 62

58-63_Aula_Tocon.indd 62 17/11/15 19:23

 We also make some grass and add a few leaves
painted in autumnal hues.

We now paint grass and moss with

Model Wash’s 76.512 Dark Green
leaving the ground on our base
ready to receive water, ice and
snow.

63 /

58-63_Aula_Tocon.indd 63 17/11/15 19:24

 Publishing Manager
Rodrigo Hernández Cabos
Editor in Chief
Rodrigo Hernández Cabos
Have collaborated in this issue
Javier Redondo, Juan Luis Mercadal
Armour Modelling Magazine Pons, José Luis López Ruíz and
Frank Bazin
Photographers

EDITORIAL
Rodrigo Hernández Cabos
Fernando Cañellas Planchuelo
Illustrations
Rodrigo Hernández Cabos
Better late than never, that’s the only consolation we’ve got after all the delays which
have weighed down this publication. We have been literally overcome by the workload Lay Out
undertaken by this publishing house, fortunately, the good results obtained by the books KOMMAD S.L.
“Airplanes in Scale I”, “Landscapes of War” and “The Rise of Fantasy”, or the new maga- Printed by
zine that we share with AMMO MIG “The Weathering Aircraft” allowed us to increase Artes Gráficas Dharma
our staff. That’s how Miguel Pérez Blasco “Michel” has joined our team as coordinator, Scanning & filmsetting
and because of his skills and professionalism, he has arranged the workload, allowing for ACCIÓN PRESS, S.A.
several magazines to appear simultaneously and on schedule. We’re also going to intro- J. David Hernández Chacón
duce some changes which will affect the contents but not the quality of the magazine;
Computer Graphics
you will be surprised to check out in this special dedicated to the allied forces in WWII,
J. David Hernández Chacón
the excellent articles written by a host of prestigious European authors, known by their
prestige and skills. Editorial and Technical Staff,
We’ll begin by an excellent diorama by Javier Redondo portraying the fall of the French Administration and Advertising
Army in the first stages of WWII. The newer kits featuring war material from this period ACCIÓN PRESS, S.A.
are cleverly used by this author to execute an exceptional piece of work, where not only all c/Ezequiel Solana, 16
vehicles are incredibly well made, but also other elements –such as buildings, for instance- 28017 Madrid
have been executed with the same high standards. Everything adds up to create the same Tel.: +34 913 675 708
atmosphere that period pictures transmit. +34 914 086 135
The 17 pound British Sherman gun, got close to matching the German artillery, but it Fax: +34 914 085 841
was still inferior in terms of armor, that’s why crews surrounded their Fireflies with as many accionpress@euromodelismo.com
spare track links as they could lay their hands on. The result of this is a highly attractive Suscripciones
visual piece brought to our notice by Luis Mercadal Pons who has made an outstanding Tel.: +34 913 675 708
model by combining a number of kits and accessories, presenting one of the most attrac- Published by
tive AFV’s from the allied forces’ arsenal. ACCIÓN PRESS, S.A.
In our opinion, Frank Bracin is one of the most brilliant French diorama builders, and
ISSN: 1886-4457
he certainly proves that with his “Panic in the Oderbruch” dio, where he recreates the
desperate efforts of the German troops stationed along the Oder river. Do take notice of
the careful composition, how well made are both the JS2 and the Flak 37 and how it all The reproduction of the images
blends superbly well with the blown apart rails, along with the dynamism of the figures. and texts is prohibited, using any
That makes a total of two superb dioramas for this issue. current or future technical medium
German vehicle fans may take a second row seat for this issue, but the exception which without written consent of the
will bring them back to the forefront is this Panther AFV with a revolutionary paint treat- author. ACCION PRESS, S.A.
ment –the very latest- which involves painting with complementary colors. This technique does not necessarily support its
which was invented by the renaissance masters and has been followed all the way into the collaborators’ opinions.
XXth century, might puzzle some people, but this in-depth analysis of it certainly makes
for a promising technique and as revolutionary as the author José Luis López is, he never
ceases to surprise us with his novel approaches and his personal evolution and talent.
Can we paint something without an airbrush? The excellent acrylic paints available
nowadays allow us to combine the classic paints with the Model Wash products, giving
us some remarkable results in a short period of time. In part one, we’ll explain how if we
employ the fresco painting technique we can enhance volumes, create forms and effects in
a realistic way without having to resort to oil paint and therefore reducing drastically –only
a few hours- the time employed. Part two will deal with a simple and efficient technique
employed to create realistic snow in a pretty fast way.
Rodrigo Hernández Cabos

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

64editorial.indd 1 23/11/15 12:20

InteriorContraPortada.indd 1 24/11/15 13:14
 LANDSCAPES OF WAR
VOL.II
39,5 €
200 pages

A wide range of war landscapes,

from the Tunisian deserts to the
Central European forests

www.euromodelismo.com
web@euromodelismo.com

AnuncioDioramas2_1.indd 1 1/12/15 16:44