BNSF GP40M 3018, Page 12
| WEATHERING |
Weathering can be a difficult process to write about or explain. It is best learned by just experimenting. Every
time I read an article on weathering it leaves me wanting to know more about how the author achieved the
results. Pictures do not help much because it is the application and manipulation of the media used that needs
to be learned. Another difficult part about trying to photograph weathering techniques is that many times the
application and results are so subtle that you cannot really see them. I will try to explain in detail with both
pictures and text how I achieved what you see here.
After the application of decals and the final clear coat, it is time to start the weathering process. I start with the
gloss clear coat because it is a surface that paint does not easily stick to. This is good when you want to just
outline panels, doors or raised surfaces. Capillary action works good on a gloss coat because it will not "SOAK"
into the paint and spread like it does on a flat finish. I changed the technique for my purposes. Instead of just
applying the paint to an edge, I apply it offer the entire surface. I want to use it to fog the surface a little.
Change the tone or shade such as turning black into a grayish color. Then I can wipe off any excess I do not
want and leave a splotchy effect or a cleaned surface with age old weathering that has settled along the
panels, doors or recesses.
I will be starting with the trucks, fuel tank/frame. I use artist oils extensively for my weathering as well as Mig
Production pigments. Artist oils have properties that are far more versatile than acrylics for weathering.
Although, sometimes I do use acrylic washes. I'll use an acrylic wash after application of a flat finish. Artist oils
though allow much more time to manipulate and blend them.
Before I begin, I would like to suggest two publications. They do not pertain to railroad modeling, but they are
fantastic guides for weathering techniques to try. The first is entitled "F.A.Q." It is my Mig Jemenez of Mig
Productions. The next is "Advanced Techniques, painting and weathering military vehicles" Volume 1 published
by Auriga Publishing International. Both of these books will answer a lot of how to questions.
time I read an article on weathering it leaves me wanting to know more about how the author achieved the
results. Pictures do not help much because it is the application and manipulation of the media used that needs
to be learned. Another difficult part about trying to photograph weathering techniques is that many times the
application and results are so subtle that you cannot really see them. I will try to explain in detail with both
pictures and text how I achieved what you see here.
After the application of decals and the final clear coat, it is time to start the weathering process. I start with the
gloss clear coat because it is a surface that paint does not easily stick to. This is good when you want to just
outline panels, doors or raised surfaces. Capillary action works good on a gloss coat because it will not "SOAK"
into the paint and spread like it does on a flat finish. I changed the technique for my purposes. Instead of just
applying the paint to an edge, I apply it offer the entire surface. I want to use it to fog the surface a little.
Change the tone or shade such as turning black into a grayish color. Then I can wipe off any excess I do not
want and leave a splotchy effect or a cleaned surface with age old weathering that has settled along the
panels, doors or recesses.
I will be starting with the trucks, fuel tank/frame. I use artist oils extensively for my weathering as well as Mig
Production pigments. Artist oils have properties that are far more versatile than acrylics for weathering.
Although, sometimes I do use acrylic washes. I'll use an acrylic wash after application of a flat finish. Artist oils
though allow much more time to manipulate and blend them.
Before I begin, I would like to suggest two publications. They do not pertain to railroad modeling, but they are
fantastic guides for weathering techniques to try. The first is entitled "F.A.Q." It is my Mig Jemenez of Mig
Productions. The next is "Advanced Techniques, painting and weathering military vehicles" Volume 1 published
by Auriga Publishing International. Both of these books will answer a lot of how to questions.
I have already mentioned that the model is still in its gloss coat. I have mixed a wash of white with odorless
turpenoid. The mixture is about 95% thinner to 5% paint. I just want to color the thinner. As you can see in the
photo above I have liberally applied this wash to the side frames. I use a broad soft brush. After the application,
I let it sit for about 1/2 hour. Then using the same brush, I soak up the excess wash and leave just a film of
wetness on the side frame. No puddles. I do the same thing to the fuel tank/frame. I let it all dry over night.
turpenoid. The mixture is about 95% thinner to 5% paint. I just want to color the thinner. As you can see in the
photo above I have liberally applied this wash to the side frames. I use a broad soft brush. After the application,
I let it sit for about 1/2 hour. Then using the same brush, I soak up the excess wash and leave just a film of
wetness on the side frame. No puddles. I do the same thing to the fuel tank/frame. I let it all dry over night.
As I said at the beginning of this page, it is difficult to show the effects of weathering because it can be subtle.
After a night of drying, the next day I add another wash of white. This time I DO NOT puddle it up. I do apply it
liberally and the color does collect in the recesses and around the raised surfaces. I let that dry for about 4 or
5 hours. After that time, the thinner has evaporated and it leaves the white nestled in the nooks and crannies.
My brush is dry now as well. I use it and blend the color so it is not so stark and contrasty. You can see just a
little of the white under the right journal and if you look very close, you can see it in other places as well. Also,
the black has now taken on a slight splotchy faded look. Again, I did the same thing to the fuel tank/frame.
After a night of drying, the next day I add another wash of white. This time I DO NOT puddle it up. I do apply it
liberally and the color does collect in the recesses and around the raised surfaces. I let that dry for about 4 or
5 hours. After that time, the thinner has evaporated and it leaves the white nestled in the nooks and crannies.
My brush is dry now as well. I use it and blend the color so it is not so stark and contrasty. You can see just a
little of the white under the right journal and if you look very close, you can see it in other places as well. Also,
the black has now taken on a slight splotchy faded look. Again, I did the same thing to the fuel tank/frame.
On the fuel tank, I only used downward strokes. Also, if you apply the wash liberally and then set the fuel tank
as you see, the wash will naturally flow down the side of the tank and leave streaks. I wanted a more splotchy
effect on the tank and air reservoirs, so after the first application of wash the night before and soaking up the
excess wash, I let it all sit for a few hours. I then came back to it with an artist gray pliable eraser and dabbed at
the sides of the tank to remove some of the wash film. This created uneven light and dark areas. The next day I
applied another light wash and just let it dry without any manipulation. You can see the streaking effect int he
photo above.
as you see, the wash will naturally flow down the side of the tank and leave streaks. I wanted a more splotchy
effect on the tank and air reservoirs, so after the first application of wash the night before and soaking up the
excess wash, I let it all sit for a few hours. I then came back to it with an artist gray pliable eraser and dabbed at
the sides of the tank to remove some of the wash film. This created uneven light and dark areas. The next day I
applied another light wash and just let it dry without any manipulation. You can see the streaking effect int he
photo above.
Here you can get a good idea of how the white wash has fogged the surface, left streaks down the side of the
tank and collected in the crevices and joints.
Now it is time to apply the flat finish. I will be using Testors Dullcote mixed 50% with lacquer thinner. I have found
by using just straight Dullcote without any thinner, I get a dusty pastel finish that is very gritty.
I'll finish the trucks, fuel tank/frame and then move up to the sill and then the hood. Before I move on though, I
want to reiterate how useful weathering can be over a gloss coat. There are certain effects you can create that
cannot be done on a flat finish because you CAN manipulate the paint much easier over a gloss finish.
tank and collected in the crevices and joints.
Now it is time to apply the flat finish. I will be using Testors Dullcote mixed 50% with lacquer thinner. I have found
by using just straight Dullcote without any thinner, I get a dusty pastel finish that is very gritty.
I'll finish the trucks, fuel tank/frame and then move up to the sill and then the hood. Before I move on though, I
want to reiterate how useful weathering can be over a gloss coat. There are certain effects you can create that
cannot be done on a flat finish because you CAN manipulate the paint much easier over a gloss finish.
Now that I have put a wash and then a flat clear coat on the frame/ fuel tank and side frames, I will turn my
attention the wheels. It is time to get the trucks back together. The very first thing I do after I completely
disassemble the model is get the wheels painted. I do this before any other work on the model is done because
it takes a while for the base artist oil to dry. I first paint the wheels primer gray. Any primer will work fine. After
that dries, I add artist oil Raw Sienna. It gives a good light tan base that I can darken or change with other
colors to blend and mix in.
attention the wheels. It is time to get the trucks back together. The very first thing I do after I completely
disassemble the model is get the wheels painted. I do this before any other work on the model is done because
it takes a while for the base artist oil to dry. I first paint the wheels primer gray. Any primer will work fine. After
that dries, I add artist oil Raw Sienna. It gives a good light tan base that I can darken or change with other
colors to blend and mix in.
COBALT BLUE
RED
YELLOW OCHRE
CADMIUM YELLOW
RAW SIENNA
BURNT SIENNA
RAW UMBER
BURNT UMBER
PAYNE'S GRAY
SOFT MIXING WHITE
MARS BLACK
Some of the colors I use to weather the wheels. I use the tooth pick to add small dots of color to be blended.
These colors were just added to the index card. An index card is a very good surface to put your artist oils on.
What you will see in a short while is that the index card will absorb the oil medium and leave you a pastier paint.
The pastier paint will be easier to blend.
These colors were just added to the index card. An index card is a very good surface to put your artist oils on.
What you will see in a short while is that the index card will absorb the oil medium and leave you a pastier paint.
The pastier paint will be easier to blend.
Here I have added dots of color. Depending on the look you are after will depend if you use light colors or more
dark colors. The reds, blues and yellows will change the hues. Also, I do not use all the same colors on every
wheel face. After applying the dots, I let it sit for a few minutes to allow the color to dry a bit more. Prior to
adding the dots, I gave the surface a wash of plain Turpenoid. This allows the colors to flow and blend better.
dark colors. The reds, blues and yellows will change the hues. Also, I do not use all the same colors on every
wheel face. After applying the dots, I let it sit for a few minutes to allow the color to dry a bit more. Prior to
adding the dots, I gave the surface a wash of plain Turpenoid. This allows the colors to flow and blend better.
Here are the wheels after blending the dots. The top is one side and the bottom is the other side. You can see
how I varied the colors and hues. I let this dry bit longer and then added some MIG Production pigments.
Again, I varied the colors to bring out a rough dirt and oil collection look. And now the wheels are done.
how I varied the colors and hues. I let this dry bit longer and then added some MIG Production pigments.
Again, I varied the colors to bring out a rough dirt and oil collection look. And now the wheels are done.
With the wheels done, I can now go back and work on the side frames. The frames on the right are ones that
just have had a clear flat applied. The ones on the left have had the next stage of weathering applied to them.
just have had a clear flat applied. The ones on the left have had the next stage of weathering applied to them.
What I have here is a side frame with the next stage of weathering applied after the clear flat finish. I mixed up
some colors to represent a medium to light brown using artist oils. Here I have used some Raw Sienna with a
little Burnt Umber. I let the index card soak up a lot of the oils and then mixed the colors. I dabbed my brush in it
and wiped most of it off on a towel. I am sort of using a dry brushing method, but with more than you would use
for dry brushing. I applied it all over the frame and into the corners and tight spaces. Let it sit for a minute or
two. Most of it will come off in the next step.
some colors to represent a medium to light brown using artist oils. Here I have used some Raw Sienna with a
little Burnt Umber. I let the index card soak up a lot of the oils and then mixed the colors. I dabbed my brush in it
and wiped most of it off on a towel. I am sort of using a dry brushing method, but with more than you would use
for dry brushing. I applied it all over the frame and into the corners and tight spaces. Let it sit for a minute or
two. Most of it will come off in the next step.
As I mentioned, most of what I just put on will come off in this step. I use a gray artist eraser. One of those kind
that is pliable. I form it to fit the tighter spaces and I simply "erase" off what I do not want and the result is some
of the color left in and around the details of the truck.
that is pliable. I form it to fit the tighter spaces and I simply "erase" off what I do not want and the result is some
of the color left in and around the details of the truck.
I then add some water drip marks with artist oils and let them dry for a day or so. I then go over the side frame
with pigments and set them with Turpenoid. Even though you set the pigments, it is not wise to handle them a
lot. The Turpenoid doe not "glue" the pigments down, rather it just sets them so they will not blow off. To much
handling will rub them off. Not completely, but some of it. Pigments are much more durable than chalks.
with pigments and set them with Turpenoid. Even though you set the pigments, it is not wise to handle them a
lot. The Turpenoid doe not "glue" the pigments down, rather it just sets them so they will not blow off. To much
handling will rub them off. Not completely, but some of it. Pigments are much more durable than chalks.
And here is a finished and assembled truck.