Click on Image for FULL RES

Tests III-V: SEALED-SURFACE, FLEXIBLE BEADS
What the prior tests revealed was a need for some combination of bead- and masking (tape) materials, which would bond less tightly, for easier bead extraction. Three new tests were thus conducted, side-by-side:


Click on Image to Enlarge
--------------FULL RESTo seal the (thoroughly dried) surface of latex maskoid, an overcoat of Testors Flat Lacquer (#1960), at left, was applied - and this of course also allowed to dry thoroughly - before masking tape was overlaid (right). Likewise, identical treatment alongside the latex was given to two other bead materials: rubber cement and canopy glue, which was also known to cure reasonably flexible. The burnishing technique (right) was also refined slightly: to eliminate almost all pressure directly on the beads (which only bonds the tape tighter on them), and instead - after the initial startup (top) - restricting burnishing only to areas between the beads (bottom).

The three different bead materials yielded three very different results:


Click on Image to Enlarge
--FULL RES-----FULL RES--Like latex, Canopy Glue (left) formed a nice, thick and tough bead (top) - easy to see through burnished tape, and providing an excellent pad on which to cut tape for extraction, without scratching underlying surface - until actual removal that is, when the glue was found to be not just stuck but bonded to the underlying paint - which the resulting extraction struggle extensively scratched- and pulled up (bottom left). While much of the damage was covered by the subsequent overspray (bottom right), major abraded patches (white) still remained, plus - again due to abuse of the tape during extraction - features were wider than desired.

Rubber cement (right) proved even more problematic - but for almost opposite reasons: it painted on (top right) essentially clear, so was harder to see/evaluate while working, and the bead quickly settled/spread - as it also shrank while (rapidly) drying - to produce a very flat, wide bead which was harder to trace under the burnished tape, and during extraction easily penetrated by the knife, to gouge the underlying surface (bottom). Finally, while it released easily from the painted surface, it lacked internal tenacity sufficient to pull free from the tape, without breaking to leave large blobs behind - including still trapped against paint, below - so that further work on this test was aborted.

Far, far better were results of sealed-finish latex test:


Click on Image to Enlarge
FULL RES
Latex, like canopy glue, goes on opaque off-white (top-left), facilitating evaluation/estimation of the final appearance while working, and - although it shrinks to about half the size of the latter - still forms a nice, thick bead - easily-defined through the burnished tape, from which it separated much better this time, due to the lacquer sealant (top-right). Extraction thus produced a much finer and more uniform mask (bottom-left), accordingly resulting in finer/thinner sprayed features (bottom right), having much improved feathering - about 60-80% of the perimeter, now. This was judged a successful result - quite adequate for the desired 1:72 aircraft camouflage application.

Notwithstanding the above success, I realized the sealed-latex bead method could probably be improved yet further, if not perfected:

TEST VI: DOUBLED LATEX BEAD
Since more complete/reliable feathering should follow from a larger (height) gap between the tape and surface, I reasoned improvement might be achieved by increasing height of the latex bead - by over-painting it in a heavy, second coat, as part of the following, 9-step method:

1) Paint desired pattern, in liquid latex maskoid.

2) Before first-applied latex completely skins-over (along center at top), drop in a second generous application along spine/centroid of the established bead(s).

3) Allow to dry/cure overnight (or until completely clear and firm).

4) Overspray liberally with Testors (clear) Flat Lacquer (#1960) - or other clear coat (gloss or semi-gloss, etc.) in the desired finish - and allow (at least a couple hours) to dry.

5) Lay masking tape, in largest-contiguous sheet(s) possible, over the complete area and, with a smooth, rounded-tipped dowel, working from center outwards, burnish all areas between the bead pattern(s), up to the pattern edges.

6) Using a sharp-as-possible, narrow knife point, cut through tape over central 1/3 of each feature, parallel with its borders, careful to remain always above the depth of contact with the underlying surface/paint.

7) Starting at the far end of the furthest bead-feature, grip latex firmly with foreceps through the central cutout and pull it up, maintaining steady tension, while assisting separation as necessary with a fine but rounded pick, removing all latex smoothly and without further disturbing the tape edges left behind. Work from furthest away on the model, careful not to crush/flatten any of the tape edges already prepared, as you progress in, towards yourself.

8) In several, light sprays, mist the desired color perpendicular onto the masking/surface, repeating until the coverage of paint droplets appears to be about 80-90% density.

9) Let dry thoroughly, carefully remove masking, and overspray with Testors (clear) Flat Lacquer (#1960) - or other clear coat (gloss or semi-gloss, etc.) in the desired finish.

The result of exactly the above - as applied for a "Wave Mirror" camouflage pattern - was this:

Click on Image to Enlarge
FULL RESThis was judged very near- if not perfect - probably better even than could be achieved by expert airbrushing, or possibly any other method - for this tiny scale. (The radii of these curves being on the order of 0.2-inch, and less.)

Certainly, it's (more than) sufficient for the paint job desired for my Dornier 217k2 build - and I hope it will prove sufficiently useful/interesting for you too!

Cheers,

-Matty

Click on Image to EnlargeOriginally developed to paint - in 1:72 scale, with only rattle/spraycans - a "Wave Mirror" camouflage, as above, on my Do217k2 build, the method relies crucially on preparation of masking, thus:


A raised barrier, or "bead" (black), is laid onto the model (green), in the pattern desired to be feathered, and it, in turn overlaid with a membrane-type masking (red) - typically a masking tape. After burnishing down securely in the areas between the beading (see below), slitting the membrane allows the latter to be removed (right), leaving cut membrane edges curled back and raised yet further away from the surface - thus creating a mask which will produce the desired feathering, when gently spray-painted.

Several bench tests yielded insights and steady improvement, up to a completely successful procedure, and set of materials (see Part 2).


TEST I: LATEX-COATED THREAD BEAD


Click on Image to Enlarge
FULL RESAgain, seeking a "ropy" pattern, actual "ropes" - threads of cotton (top-left) and synthetic (top-right) weaves - dipped in liquid latex maskoid, were evaluated as beading. Neither, however, would (without forcing) curve as tightly as desired - the synthetic thread even less than the cotton-fiber. Aborting work with the latter, a trial did proceed using the cotton thread, which was frequently cut-through and otherwise severed during extraction - the resultant digging to remove it leaving the tape apertures too wide, as well as crushed down, so that features were both too thick and their borders poorly feathered (if at all). Worse still, extraction produced a high "scratch factor" - cut-marks in the underlying plastic (bottom) - which subsequent painting could not hide.


Test II: DIRECTLY-APPLIED LATEX BEAD
The above suggested that latex could just be applied directly, to produce a superior bead, and this was tested:


Click on Image to Enlarge
FULL RESApplying the latex in a heavy bead, from the end of a toothpick, a pattern with the desired tightness was immediately achieved, and subsequent extraction - though still difficult - greatly improved, now producing a few of the desired, fine features, with successfully-feathered edges. However, extraction being still too difficult - due to strong bonding between the latex and tape adhesive - much of the masking was still prohibitively abused, leaving the majority of features still too thick, and less than half of their borders feathered.

Clearly, the problem had been narrowed down to that of reducing the adhesion between the bead surface and tape adhesive - to be tackled (completely, by the end) in Part 2.

Cheers,

-Matty

--Originally posted September 8, 2008--

LATEX SPATTERING Paint-Chipping/Flaking Technique


Prior to successful use on the 1:72 G3M "Nell" build, above, this method was developed - prompted by two recent observations, both pointing coincidentally to the potential utility of this:


Click on Image to EnlargeLiquid latex - packaged here (in the most economical quantity) as a "mold-builder" - but vastly more useful, especially in the current application, IMHO, as a maskoid (and also, to some extent, a sealant) - as just amply proven in the earlier testing of the "Salt Trick" method.

The second impetus in this direction came from running across the following, closeup picture of an actual aircraft with heavy paint-chipping:


Click on Image to EnlargeA workhorse F4U Corsair during the Korean Conflict, with chipped paint exhibiting, contrary to the expected jagged edgedes, instead the occurence of many tiny rounded spots, sometimes merging to form irregular patches. Suggesting some type of liquid masking - applicable as droplets - might be very effective in replicating this look, which was exactly what was desired.

So I tested the MoldBuilder® over two simulated "bare-metal" undercoats - again, Pactra® RC262 Indy Silver, side-by-side with Tamiya® TS-17 Gloss Aluminum, both from rattle-spray cans - and again let them dry thoroughly, overnight. The latex, thinned to "heavy cream" consistency, as typical for most brush painting, was applied by spattering (sorry I didn't get a pic of this) from a stiff-bristle toothbrush - for which I strongly recommend prior practice on a scrap- or test area, noting the size of droplets possible, and distances from which they can be applied.

Allowing to dry (from its original, milky liquid appearance) until clear, an overcoat of Testors® 1910 Dark Green was again sprayed uniformly; again allowed to dry overnight:


Click on Image to EnlargeTo extend this test for a two-color overcoat, the Dark Green was then masked again (top; note underlying blobs indicating the original spatters), and a second color (of brown; again a mixture of Testors® 1955 Afrika Mustard [FS 30266] and 1954 Light Earth [FS 30140]) sprayed on uniformly. Again, after drying overnight, all maskoid was removed - actually rolled off - by gentle rubbing with soft tissue - or, even better, a soft, non-staining rubber eraser would be highly recommended.

The result (bottom) was just spectacular: a very plausible depiction of chipping - and chipping only; without embedding any rough texture(s) - of both top colors, allowing the "bare metal" base coats to show through.

Once again, the Pactra Indy Silver came off in some places - disqualifying it for good, IMHO, from any further use in this type of paint-lifting application. But, regarding the Tamiy Gloss Aluminum - or, I assume, also Testors® 1290 Chrome as well - when oversprayed with Testors paint(s), this Latex Spattering technique was expected to work extremely well.

And so it did, in its first application: my G3M Nell build. Proving the method can work particularly to depict the kind of paint chipping/flaking commonly observed on aircraft.

And can be expected to work similarly for (steel-hulled) ships and boats, as well.

Cheers,

-Matty

--Originally posted September 8, 2008--

"SALT TRICK" Paint-Flaking: Bench Tests

Searching for a method to depict chipped paint on my Type 96 Nell build - though, in the end I did not use this on that build - I was able finally to test out this long-pondered technique:


Learned right here on this Board (Thanks, Dave!), this technique employs ordinary table salt (NaCl):


Click on Image to EnlargeThe idea being to paint a desired undercoat - for aircraft, usually a simulation of a bare metal (aluminum finish) - in oil-based paint and then stick the (water-soluble) salt crystals to it, in the desired pattern of paint chipping. After the salt is dry, subsequent overpainting should then be detachable by breaking loose the salt.

My first test of the above used truly "generic" table salt, as shown; the kind with tiny, uniform (if you were to look at them closely) rhomboid crystals, and differed from the original example in that: 1) I did not use a brush to arrange/clump the grains (see below), and 2) I did not use a blow-dryer to dry the salt, but simply allowed it to dry overnight:

I tested out three types of undercoat (top); from left-to-right, respectively: Testors® 1290 Chrome, Pactra® RC262 Indy Silver and Tamiya® TS-17 Gloss Aluminum - all from rattle-spray cans:


Click on Image to EnlargeNote Testors Chrome (leftmost) goes on more "silvery" than the other two, but what the camera does not show - though very prominent to the human eye - is the Pactra Indy Silver (center) goes on by far the brightest - the most like "white metal" - of these three. After drying overnight, all three were uniformly sprayed with water and sprinkled with salt crystals, induced to clump into larger, more irregular masses by repeated spritzing and re-sprinkling; this was likewise allowed to dry overnight.

The lineup was then sprayed uniformly with Testors® 1910 Dark Green (FS 34079) - again, allowed to dry overnight - after which as much of the salt as possible was broken free. I say "as much as possible" because the first (unexpected) observation was that the salt did not want to come free; even after using the stiffest toothbrush available, vigorous buffing using a paper towel was resorted to - already inducing the Pactra Indy Silver undercoat (center) to separate - and in all three tests leaving pitted/bumpy textures embedded in the paint finish; creating an impression more of corrosion than of paint flaking. Of the three, the least "corroded" appearance was retained by the Testors Chrome example (leftmost), and by far the most exhibited by the Tamiya Gloss Aluminum (rightmost).

Suspecting my repeated wetting-and-sprinkling to get larger salt clumps as the cause of the above (undesired) results, I tried again, this time starting off with larger/irregular salt chunks:


Click on Image to EnlargeThis test limited to the Pactra Indy Silver (left at top, and bottom at left) versus the Tamiya Gloss Aluminum - again I've (unsuccessfully) tried to get the camera to show how much brighter is the Pactra - but how much glossier is the Tamiya. In any case, using a sea salt grinder (bottom right), I was able to get nice, irregular coating of salt in just one application - once again allowed to dry overnight.

After spraying a uniform overcoat of Testors Dark Green, I then extended the test to include addition of a second topcoat color; a brown consisting of a mixture of Testors® 1955 Afrika Mustard (FS 30266) and 1954 Light Earth (FS 30140):


Click on Image to EnlargeUpon which (top) I discovered the obvious - that masking tape of course will not permit masking a hard line over the jagged salt crystals - and it occurred to me that use of latex masking fluid (2nd from top) might work. Indeed it did - and to show this new demarcation, I sprayed yet a third coat: Tamiya® TS-15 Blue.

The result (bottom and 2nd from bottom): the latex masking (of the blue stripe) was 100% successful - notwithstanding the very same "corroded" textures from the chipping - again, the salt bonded into the paints - as well as some separation of the Pactra Indy Silver base coat. At bottom, closeups of both the Pactra (left) and Tamiya (right) examples show the appearances as clearly as possible.

I concluded that neither of the above variations on the "salt-chipping" technique is acceptable for my current application - nor, indeed for 99% of all aircraft "weathering" - however it appears very promising for depicting substantial corrosion such as along waterlines (along with barnacles, etc.) on ships, or especially for depictions of wrecks.

If anyone(s) knows any other variations on this technique(s) involving salt - or what I may have done "wrong", in producing the above results - please don't hesitate to sing out!

Cheers,

-Matty

--Originally posted 2/16-17/08--

These (below) are the final three painting attempts, resulting finally in (actually better than) the desired result:




ATTEMPT V: Re-dissolving After a Week
Forgetting virtually everything I had learned about this technique I decided, after a full week had gone by, to try and re-dissolve and re-wash (off) the heavy yellow paint job. Straight mineral spirits didn't lift anything - a clear hint - which I promptly ignored, to make up the following "super-dissolving" wash:
WASH (Mix):57% mineral spirits
25% Chameleon paint remover


Click on Image to EnlargeOnly problem is, this wash did not dissolve the paint - it destroyed it; paint remover cannot be used with any paint. Ever. (Note to Self: Try not to be so stupid...) Meantime, clearly mocking me the wrinkling, lifting paint took on exactly the color and highlights I had wanted!

However now a real catastrophe intervened:


Click on Image to EnlargeAround the #2 elevator, the flight deck and elevator itself (right) quietly and massively cracked - the latter even crumbling - while simply being tooth-brushed, under ordinary warm water and soap, to remove the paint remover. Space does not permit, but all evidence points to the earlier soaking in a warm bath of dissolving white- and canopy glues as the cause.

In any case, these came off line for repairs and a second kit was pressed into service for five more tries; just to get a result which was even passable. Still, I dared not destroy that last application - just in case. So, when ready the first deck was again returned to sevice for yet another try.



ATTEMPT VI: Haste Makes Waste
UNDER-BASE (sprayed; Dried 2.5 hours):
ModelMaster Camouflage Gray (FS36622)My Testors White used up, rather than waiting to replenish it I improvised this "under-base"; using the lightest gray at hand.

BASE (sprayed [pipette]; dried overnight; Mix):42% Testors Gloss Yellow (1214; or ModelMaster Bright Yellow [2917], which looks exactly the same)
7% ModelMaster Afrika Mustard (FS30266)
50% mineral spirits
PIGMENTS (brushed [Sable]; dried 30 minutes):-ModelMaster Afrika Mustard (FS30266)
-ModelMaster Dark Tan (FS30219)


Click on Image to EnlargeAgain, this was a good amount of pigment for a rather light, yellow deck.

WASH (Mix):(unrecorded)% ModelMaster Light Earth (FS30140)
(unrecorded)% mineral spiritsMy Light Earth likewise expended, I improvised by redissolving some from deposits dried on a mixing dish (ergo the unknown mixture percentages).


Click on Image to EnlargeThe recovered Light Earth wash, instead of coating everything, clumped into brown granules, while gumming, clumping and scumming the base and underbase - in places even causing them to separate completely!

The gummed patterns (right) were fascinating - perhaps useful to depict hull fouling (if the mess would ever dry, that is) - but a catastrophic failure here. The obvious suspect: lacquer thinner (and God Knows what other) residues in the dried Light Earth deposits; sufficient to contaminate the wash.



ATTEMPT VII: Seventh Time a Charm
UNDER-BASE (sprayed; Dried 2 hours):
Tamiya Pure (gloss) White (TS-26)
BASE (sprayed [pipette]; dried overnight; Mix):42% ModelMaster Bright Yellow (2917; same as Testors Gloss Yellow (1214))
7% ModelMaster Afrika Mustard (FS30266)
50% mineral spirits
PIGMENTS (brushed [Sable]; dried 30 minutes):-ModelMaster Afrika Mustard (FS30266)
-ModelMaster Dark Tan (FS30219)


Click on Image to EnlargeTake note; this time it worked (see below).

WASH (Mix):-30% (Mix equivalent of MM Light Earth);
*ModelMaster Dark Tan (FS30219)
* ModelMaster Bright Yellow (2917)
*ModelMaster Afrika Mustard
*Testors Flat Red (1250)
*Testors Flat Black (1249)
-70% mineral spiritsThis time I mixed my own exact match for Testors Light Earth.


Click on Image to Enlarge



What can I say - I simply did it exactly the way I first knew how, for once without screwing anything up. (Oiy! )

Looks nice on the bluish gray hull, eh?


Cheers,

-Matty

--Originally posted 2/16-17/08--

This method had already proven successful for simulating deck-planking on several ship builds - most recently this Arifix 1:600 Warspite:


The technique can be generally summarized as follows:

1) Spray a uniform, base color - in almost all cases to be the lightest color employed (see below) - and allow to dry substantially or completely (i.e., over hours or days) - but not to "fully cure" (taking, say, a week or more).

2) Brush on some differing, concentrated color(s) - streaked in the general direction of the wood grain, or planking - to represent variation in composition, weathering/condition, etc., within the planking/grain - and allow these to dry/set substantially (hours), but not completely (not days).

3) Brush on a (relatively) highly-dilute wash of another, suitable-overall color for the wood, dissolved in a thinner effective on (at least) the heavy, streaked/underlying color(s), repeatedly but lightly stroking along the planking direction, and continuing this stroking until underlying colors begin to lift/blend together, and draw out along these (planking/grain) lines. Continue stroking until drying of the overall mixture begins to produce dry-brushed (scumbling) streaks, then dry/fluff brush hairs to finish drawing out/dry-brushing streaks into fine, long grain- or plank-like features.

4) Allow to dry completely and spray on clear coat of the surface-sheen desired.



In the present, 1:500 Hiryu build, the flight deck presented two major challenges to the above - and so perhaps (by far) the most instructive demonstration(s) of it - to date. Firstly, the target appearance was very light toned - originally taken to be Japanese Hinoki Cypress (above) but, even after correction to darker/redder Bei Matsu ("Ancient Pine") - far lighter than any I had tried ever before. Secondly, Hiryu required painting the entire midships 2/3 of the flight deck; (at 1/500 scale) a far larger area - so again, far more demanding application - than I had ever attempted before.

In the following, notes are condensed using my terminology - Base, Pigments and Wash - of this method; if you don't understand any or all of these, first follow the above link and read there until you figure you do.

ATTEMPT I: Hinoki Cypress on Original Kit Deck
BASE (sprayed; dried overnight):-Testors Flat White


Click on Image to EnlargePer my initial desire to depict the very light, Japanese Hinoki Cypress wood, I painted the above, white base, yet had already made a mistake - in addition to going for the wrong type of wood - by masking off the area to be painted. This technique, which involves a very fluid wash - pushed all around with brush strokes, to boot - will be degraded all along any tape edges; here the mixture will pool, to drop its pigments, creating unrealistic, dark- and/or light outlines. (Good thing it didn't work out! )

PIGMENTS (brushed [Sable]; dried less than 2 hours)-ModelMaster Light Earth (FS30140)
-ModelMaster SAC Bomber Green (FS34159)


Click on Image to EnlargeThis was just about right for the very light-toned planking desired.

WASH (Mix):17% Testors Gloss Yellow (1214)
17% ModelMaster Afrika Mustard (FS30266)
17% ModelMaster Light Earth (FS30140)
50% mineral spirits


Click on Image to EnlargeHowever this was not; although the streaking was OK - the greenish tones being exactly what I wanted - the wash should have been (like 5 times) more diluted. Instead, its bright yellow way overpowered the appearance. (Though its thickness kept it from pooling along the tape edges.)

While the above was being stripped back off, I continued with three more tests, in quick succession, on a second flight deck (pilfered from an identical, backup kit), thus summarized together:

ATTEMPTS II through IV: Impatience and Stupidity - a Bad Combination


Click on Image to EnlargeThese are the pigment (Step 2) applications for Attempts II (top), -III (center) and -IV (bottom); they are a pretty good shorthand look at both the pigments and underlying bases used for these runs. Note the white bases in the first two were from before I corrected my target wood color from the very light, Hinoki Cypress to the substantially darker and richer-colored, "Ancient Pine".


ATTEMPT II
BASE (sprayed; Dried 45 minutes or less):Testors Flat WhiteImpatient - and stupid; the base must be allowed to dry at least overnight.

PIGMENTS (brushed [Sable]; Dried 15 minutes):-ModelMaster Light Earth (FS30140)
-MIX:
33% ModelMaster SAC Bomber Green (FS34159)
33% ModelMaster Light Earth (FS30140)
33% ModelMaster Olive Drab (FS34087)
WASH (Mix):14% Testors Gloss Yellow (1214)
14% ModelMaster Afrika Mustard (FS30266)
14% ModelMaster Light Earth (FS30140)
57% mineral spirits
OUTCOME: Because base insufficiently dried, everything dissolved about 90% completely, blending into a tan mess which can only be described as "mud".


ATTEMPT III
BASE (sprayed; Dried 4 hours):Tamiya Flat White (TS-27)Not quite as dumb as it looks (though this should have been tried on scrap plastic sheet instead); Tamiya white was substituted for the Testors, now used up. Tamiya paints dry far faster and are also not soluble in mineral spirits, so 4-hour drying time was adequate.

PIGMENTS (brushed [Sable]; dried 45 minutes):-ModelMaster Light Earth (FS30140)
-MIX:
33% ModelMaster SAC Bomber Green (FS34159)
33% ModelMaster Light Earth (FS30140)
33% ModelMaster Olive Drab (FS34087)
WASH (Mix):14% Testors Gloss Yellow (1214)
14% ModelMaster Afrika Mustard (FS30266)
14% ModelMaster Light Earth (FS30140)
57% mineral spirits
OUTCOME Because Tamiy base did not merge with pigments, nor absorb mineral spirits, the wash was excessive, dissolving and floating so much of the pigments that all mixed and became muddy.


ATTEMPT IV
BASE (sprayed [pipette]; dried overnight; Mix):33% Testors Gloss Yellow (1214)
33% ModelMaster Camouflage Gray (FS36622)
33% Lacquer ThinnerAgain, just stupid; purely out of habit I thinned with lacquer thinner instead of mineral spirits.

PIGMENTS (brushed [Sable]; dried 50 minutes):-ModelMaster Light Earth (FS30140)
-MIX:
50% ModelMaster Camouflage Gray (FS36622)
50% ModelMaster Light Earth (FS30140)Introducing Camouflage Gray created a pigment almost as light as the base - not good.

WASH (Mix):14% Testors Gloss Yellow (1214)
14% ModelMaster Afrika Mustard (FS30266)
14% ModelMaster Light Earth (FS30140)
57% mineral spirits
OUTCOME: Too-light pigment created muddy appearance. Experimentation with stroking using toothbrush abraded the lacquer-bearing base, causing it to wrinkle and, in some spots, even separate.


ATTEMPT V: Fewer Screwups =Half-Decent Result
UNDER-BASE (sprayed; Dried 1.5 hours):
Tamiya Flat White (TS-27)
BASE (sprayed [pipette]; dried overnight; Mix):43% Testors Gloss Yellow (1214)
14% ModelMaster Dark Tan (FS30219)
43% mineral spirits
PIGMENTS (brushed [Sable], applied light; dried 1 hour):-ModelMaster Light Earth (FS30140)
-ModelMaster Dark Tan (FS30219)Pigments allowed to dry too long. Also forgot to photograph this step.

WASH (Mix):14% Testors Gloss Yellow (1214)
14% ModelMaster Afrika Mustard (FS30266)
14% ModelMaster Dark Tan (FS30219)
7% ModelMaster Light Earth (FS30140)
64% mineral spirits


OUTCOME: Final color good (over central, planked section), but overdried pigments took excessive stroking with brush to redissolve. That, and lack of adhesion to Tamiya base allowed blend to become muddy, necessitating careful rinse w/clean mineral spirits and wipe, before resuming blend - without benefit of dissolving base; to end both darker and muddier than desired. Appearance acceptable, but far less than optimal.

And that's how not to do this paint job! Still, all these lessons are of value (at least to me - and apparently I'm the one who most needs to learn them, too… ).

Cheers,

-Matty