Weathering this Genesis GP-50 was a two-weekend, twelve-round cage match, complete with dodging a few near disasters.
A masterfully weathered model can be a visual game-changer for any scene. However, anybody who’s delved into it can attest to the fact that it can be a very humbling experience, no matter how long you’ve been at it. I made my first attempt five decades ago and can say with confidence I’ve botched more models than anybody reading this. Even now, most projects are still a battle that takes total focus. Rather than do a tutorial, today I thought it would be helpful to discuss overall strategy. All the tips in the world won’t help if you don’t have your eyes wide open as to the big picture.
First and foremost, the number one error is taking things too far, overdoing various effects. Go into every project repeating the mantra “light touch, light touch, light touch”. Work in layers.
There is a tipping point with any project. Be very, very clear about that before you even start. You build light layers, one on top of each other, with the goal of reaching the artistic promised land. You march step by step towards that end. However, if you go one step too far, if you go beyond the tipping point, you’re totally screwed. Backing off an effect that was too heavily applied is very difficult, usually impossible. One crucial thing I’ve acquired from decades of experience is this. As I’m applying layers, I’ve developed (through very expensive lessons) an internal alarm that goes off and says, “STOP!! You’re approaching the tipping point. Take a break. Go mow the lawn. Look at this with fresh eyes in a few hours or in the morning”.
A crucial skill in weathering, and it’s not easy to master, is one of color transitions, of feathering the edges of your lines from one color to the next. The difference between a master and a journeyman often comes down to this. You want very subtle, feathery transitions, not harshly defined lines.
A hallmark of Tom Johnson’s work is his mastery of color transitions and how he feathers his lines. (T. Johnson photo).
Be very aware of the importance of inserting contrast at your panel lines/rivet lines and doing so with ultra-thin lines. Military modelers are masters at this. (Google Tamiya Panel Line Paint and watch some of the YouTube videos). Contrast is vital but you need to be subtle about it.
For key steps in any project, always, always dial in your color mix and techniques on a sample, NOT the model itself. Ruining several three-hundred-dollar locomotives will drive this point home.
Work from photos and REALLY study them. Understand what you’re looking at and come up with a strategy before diving in.
Over years you’ll develop a critical skill, and it’s painful to learn. It’s one of becoming adept at recovering from disasters and correcting errors.
As you embark on this lifelong journey, critical skills to learn are: fading dark colors, rust streaks, paint streaks, and paint peel. Learning to use ALL color mediums (enamels, acrylics, oils, inks, pencils, and powders). Gain experience in how various chemicals react with each other, especially acrylics and enamels.
An overhead view. Brushing rubbing alcohol over a Dullcote finish creates the frosting effect. Note the contrast in the grills obtained with dilute India Ink.
In summary:
-Use a light, light touch. Be hyper-aware of not overdoing the weathering.
-Work in layers
-Be aware of the “tipping point” and the consequences ($$$) of going just one step past it.
-Be aware of the importance of panel line contrast.
-Practice subtle color transitions and getting away from harsh lines.