Painting and weathering the Whippet - Chapter 1 - Base coat

Adam Wilder Martin Kováč tutorial whippet

Hello, everyone!

This is Martin „Red“ Kováč and I’d like to show you how to paint and weather this post-WW1 Irish Whippet. Now you might be thinking „well, that’s very nice of you Martin, but I don’t plan on building a post-WW1 Irish Whippet!“

I hear you, but don’t worry, all of the techniques that I’m about to show are somewhat universal and can be applied to any armor subject, although there might be some specific aspect that applies to British WW1 tanks, but I’ll point this out when the time’s right.

Also, don’t consider this article as canon that needs to be carved in stone. There are dozens of different approaches that can be taken in order to finish an armor model.

We’re going to post a new article each day and there also might be a small surprise somewhere along the way, so if your interest is peaked, keep an eye on this small weathering series and don’t miss it!

So without beating around the bush, let’s get started.

After covering the model with a fine even layer of primer I sprayed a dark gray color into the most recessed areas. This isn’t an attempt at the Black and White technique, which is much much more involved. This step simply guarantees that any hard-to-reach areas will remain shadowed without the light gray primer showing through.

The model was then airbrushed with Tamiya XF-49 Khaki that was again applied in a fine layer, resulting in some of the shadowed areas showing through.

Using a darker brown tone I started post-shading the surface, focusing the darker tones upward. The reason behind this is that if we airbrushed them towards the lower areas, most of the effect would disappear after the earth tones were applied as these follow gravity and, therefore, also accumulate on the lower parts.

The second post-shading layer consisted of lighter Khaki tone. This one was focused on the lower parts of each panel. Also, note these colors were applied in a random cloudy pattern. My reasoning is that we can often spot lots of different tones on real vehicles to the point when it’s really hard to decide which one of those small spots might be the „real“ color of the vehicle. Because of this approach, this shading can’t be really considered as Color Modulation.

For highlighting the rivets and bolts I used Vallejo Iraqui Sand acrylic paint thinned with tap water.

This step takes longer than it should and I’m not the biggest fan of it, but it helps the details to stand out. Also, I like to highlight details at this stage, as any mistake can be later covered up with oil paints, not to mention all the painting techniques will subsequently tone this contrast down to a more natural state.

After masking all of the required areas I started spraying the identification strips. First I covered the area with Heavy Chipping fluid, let it dry and then applied a thin layer of matt white.

Because the layer is thin, the paint goes down very easily.

Using a Vallejo white paint and a paintbrush, I added visible brush strokes to the finish, giving the white areas a more hand-painted look. This step is also great for correcting any unwanted chips which might occur when using the hairspray technique.

With the help of a ruler I divided the white areas into thirds.

After masking the middle section I added another coat of chipping fluid and on top of it a thin layer of matt red.

After repeating the chipping process I again used a Vallejo red paint to cover some of the unwanted and out of scale chips.

Finally, I sealed everything under a coat of gloss, followed by application of decals. It’s a good idea to protect the decals with another layer of gloss varnish in order to keep them in place and avoid any unwanted damage during the weathering process.

This sums up the initial chapter of this mini series. Tomorrow we’ll be cooking with a lot of oil!

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