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AFV Painting & Weathering
Answers to questions about the right paint scheme or tips for the right effect.
FEATURE
Colour Modulation
Henk
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England - South West, United Kingdom
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Posted: Friday, February 29, 2008 - 05:10 PM UTC
Adam Wilder shares with us part of an article to be published in AFV Modeller no. 40. Adam explains in detail how he creates ''depth'' in his paint finish. Thanks Adam.

Link to Item

If you have comments or questions please post them here.

Thanks!
jimbrae
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Provincia de Lugo, Spain / España
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Posted: Friday, February 29, 2008 - 10:16 PM UTC
Tremendous work on the part of Adam with this feature. Also, as an advance 'Plug' this new technique will feature very strongly in the next DVD from Mig Productions...
slodder
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Posted: Friday, February 29, 2008 - 11:44 PM UTC
One thing this article really shows well is the patience and creativity within this technique. When you study the images you realize the variety of colors and shapes used and also how subtle they are in the end yet how effective the colors are in making a very unique easy to look at subject.

Thanks to everyone who shared this worked on this and got it to us- very nice material.
Pedro
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Wojewodztwo Pomorskie, Poland
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Posted: Saturday, March 01, 2008 - 12:10 AM UTC
Great feature and a real eye opener! I just can't wait to try this on my next model Thanks!

Cheers
Greg
WingTzun
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Posted: Saturday, March 01, 2008 - 02:20 AM UTC
Ok, now I have to get issue 40 of AFV Modeller. I hope that there is more on the Panther F as well as the Color Modulation Style. Great Feature!
pzcreations
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Posted: Saturday, March 01, 2008 - 02:29 AM UTC
Im impressed, and thankful. Ive felt for a while that my painting skills have come to a standstill, and just couldnt find away to take them further. Reading this certainly gets the imagination going. I too cant wait to read the rest in the AFV mag.. what a teaser ending huh.. almost like one of those great show season endings "to be continued" "until next season" Henk..it was worth the wait ..and thanks Adam!
thedoog
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Posted: Saturday, March 01, 2008 - 05:16 AM UTC
A great article--I'm surprised to learn that I've actually been employing several of these methods for a while in my own finishes, like pre-shading and post-fading with the airbrush, as well as the tinting of the base coat with selected oil washes and tinctures.

This seems to me that this is like a combination of the "Oil Dot Method" to some extent, and also selective pin-washes and spot-washes. If anything, it really shows the value of something which I've become a firm advocate of--PATIENCE (!), and layers-of-weathering.

The only thing I'm not convinced of yet is the accuracy of some of the excessive tinting of some of the parts--like the really "yellow" tints of some of the parts, and the lighter "whites" of the various pieces on the turret, but it is an interesting and exciting new possibility!

There's a guy who posts here in "Braille Scale"--"mdesigns" or something like that--who also does tremendous work with the whole light-play thing.

An excellent feature!!!!
sgtreef
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Posted: Sunday, March 02, 2008 - 02:10 AM UTC
Outstanding article really a kick in the pants to get ones juices flowing.
Especially as I just stared to try this technique.
Great guidance.
Thanks for sharing.
So why are these not in a PDF file form ?
Chas78_wa
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Posted: Sunday, March 02, 2008 - 10:46 AM UTC
This should help out a lot of modelers and is more or less, what I was trying to get across with my short paragraph. Thanks Adam!
Grumpyoldman
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Posted: Sunday, March 02, 2008 - 10:51 AM UTC
Very nice article Adam, thanks for sharing your "style".
f1matt
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Posted: Monday, March 03, 2008 - 10:34 AM UTC
Some great stuff here to consider on my next project. I think painting has become my new favorite part of building a model. Thanks for sharing.

-Matt
whittman181
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Posted: Monday, March 03, 2008 - 11:08 AM UTC
This is certainly going to help add a new dimension to my painting! Thank you I'll definitely have to get the magazine
Circuitrider
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Posted: Monday, March 03, 2008 - 01:17 PM UTC
Great stuff, as usual, from one of the masters; two if you count the intro!

I'm intrigued by the Tamiya acrylic/lacquer talk. I never realized that Tamiya made a lacquer thinner. So, I looked it up on their website. In the description, Tamiya says that their product is, "A diluted lacquer thinner that is 'plastic friendly', causing minimal damage to plastic models."

Those last 6 words give me pause. If I use the lacquer thinner, do I run the risk of damaging the styrene? Has anyone tried this yet?
tommaso66
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Posted: Monday, March 03, 2008 - 09:46 PM UTC
Very interesting article!!
But nobody said something about Mig's intro...
I agree with his words: "painting techniques have become globalized".
So wellcome to those who try to innovate or create new styles.
tom
ANPW
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Posted: Thursday, March 06, 2008 - 09:04 PM UTC
Hello all of you

I am very sorry for the late response. It is very, very impolite of me. I have not been able to log onto Amorama at home so now I responding quickly on company time.

Thanks for taking the time to read this article. Please keep me informed as to what you all try on your next projects. It will be great to see what you all do.

For some reason the resolution in the images appears to be less then those I submitted. I do not know if this is a problem with my monitor or not.

Thanks to the Armorama team once again for all of there interest and support.

David, I have had no problems with the lacquer thinner attacking the plastic. Actually, you want the paint to bite the plastic just a bit for better adhesion.

Thanks again and sorry for the short response.

Sincerely
ANPW
FAUST
#130
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Posted: Thursday, March 06, 2008 - 09:24 PM UTC
Ola Adam

I'm really happy that I get the chance to see and learn the technique live from the Master himself in Eindhoven coming weekend. Really looking forward to that. It is indeed a great technique which creates a lot more depth in the model. Nice article.

See you sunday.

With friendly greetz

Robert Blokker
Bratushka
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Posted: Sunday, July 06, 2008 - 11:08 PM UTC
i would really like to see a photo series of the same type of vehicle displayed side by side each finished with one of the different finishing methods. the goal of military model finishing is to achieve a degree of realism. i am curious on how much more realistic the results of one method is compared to another. perhaps this is like achieving personal enlightenment: many paths; same destination.

over the course of my life i have seen many paint styles and trends for cars and motorcycles change, as well as stylistic changes. some age well, others become almost embarrassingly dated looking rather quickly. think giant metal flake and the pop art graphics of the late 60s early 70s.

i do like the subtle color changes this method produced, but i also really like the way the method where tiny dots of color were painted all over the model's surface and then washed out looked. maybe I am missing the point of this in that it is a new TECHNIQUE to master to get the desired result rather than a substantially different degree of realism.
motorbreath23
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Posted: Saturday, January 10, 2009 - 10:21 PM UTC
Since I have somewhat of an objective opinion, being new to this site and the myriad of information found here relating to military modeling, I feel like I should say something regarding the idea of "realism" as it applies to the many different posters here who like to weigh in on what is realistic and what is not.

Firstly, the idea of "realism" is a concept when it is applied to the arts, meaning that realism is a technique, rather than the goal of the art form. Art can never escape subjectivity, nor can things which are representations of actual objects, ever be 100% accurately represented.

Filmmakers struggled with this idea early on in the history of film, mainly because they began to realize that after they were done shooting the film, so too was the moment gone, and even though the moment they had filmed was fresh and vivid in their minds, the audience almost always had a totally different perspective and therefore interpreted the scene "incorrectly". It wasn't until someone decided to piece together scenes from different perspectives, showing only what was necessary for the filmmakers to "speak" their message to the audience that the audience began to "get it". Shortly after that, in the 30's, Salvatore Dali and Louis Bunuel blew the world away by exploring the new medium of film and opening people's eyes to vast possibilities of expression within.

Whole 'nother story, still realism eventually found its way into filmmaking and spawned some great movies and moviemakers a/la Citizen Kane and Casablanca. Still it is only one way to make a movie and most great movies employ several different concepts or techniques and not a one is wrong. It is the true artisan who can take what the past has given in technique and elaborate in their own way that creates something unique and personal.

I realize that military modeling is about faithfully reproducing warcraft in battle or otherwise, but after reading some of the threads here, especially regarding painting and weathering techniques, I have to totally agree with those folks unwilling to subscribe to the aforementioned "status quo" and applaud them for not allowing their own subbjectivity to dissuade them from trying new things.

In respect to authenticity I'd like to add that, even if you're standing in front of the tank, the guy next to you is not necessarily seeing the same thing you are.

This essay was created after a long night of enamel brushing.
Bratushka
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Posted: Sunday, January 11, 2009 - 09:58 AM UTC

Quoted Text

Since I have somewhat of an objective opinion, being new to this site and the myriad of information found here relating to military modeling, I feel like I should say something regarding the idea of "realism" as it applies to the many different posters here who like to weigh in on what is realistic and what is not.

Firstly, the idea of "realism" is a concept when it is applied to the arts, meaning that realism is a technique, rather than the goal of the art form. Art can never escape subjectivity, nor can things which are representations of actual objects, ever be 100% accurately represented.

Filmmakers struggled with this idea early on in the history of film, mainly because they began to realize that after they were done shooting the film, so too was the moment gone, and even though the moment they had filmed was fresh and vivid in their minds, the audience almost always had a totally different perspective and therefore interpreted the scene "incorrectly". It wasn't until someone decided to piece together scenes from different perspectives, showing only what was necessary for the filmmakers to "speak" their message to the audience that the audience began to "get it". Shortly after that, in the 30's, Salvatore Dali and Louis Bunuel blew the world away by exploring the new medium of film and opening people's eyes to vast possibilities of expression within.

Whole 'nother story, still realism eventually found its way into filmmaking and spawned some great movies and moviemakers a/la Citizen Kane and Casablanca. Still it is only one way to make a movie and most great movies employ several different concepts or techniques and not a one is wrong. It is the true artisan who can take what the past has given in technique and elaborate in their own way that creates something unique and personal.

I realize that military modeling is about faithfully reproducing warcraft in battle or otherwise, but after reading some of the threads here, especially regarding painting and weathering techniques, I have to totally agree with those folks unwilling to subscribe to the aforementioned "status quo" and applaud them for not allowing their own subbjectivity to dissuade them from trying new things.

In respect to authenticity I'd like to add that, even if you're standing in front of the tank, the guy next to you is not necessarily seeing the same thing you are.

This essay was created after a long night of enamel brushing.



i have seen many models that if placed in a carefully constructed background and carefully photographed would pass for the real thing. they truly transcend. other models look like what they really are: carefully constructed and finished replicas of real vehicles, but they'd be hard pressed to be mistaken for one if imaged in the same way as the first. others are canvases that display rust, battle damage, and other environmental effects with the vehicle itself becoming almost secondary. others look like built models that are assembled and that's it. i am not critiquing any of these methods; it's just how i view "realism" when it comes to this hobby. obviously, finishing techniques like this are directed towards the first two and sometimes overused by the third "category". in pursuit of the first couple i think that sometimes -not necessarily here with this technique- it can become a case where an individual of some renown in the hobby has such a following and reputation that anything they say or do becomes the current trend regardless of whether it is truly new or revolutionary. it may be unintentional or it may be an extension of the college professor adage: "Publish or perish.". a famous artist may put a 1/2" red dot in the center of a huge otherwise blank white canvas, assign an eclectic name to it, and it will add to his reputation as a genius. the painting would make the rounds of art museums where it would be endlessly discussed with adjective and metaphor laden intellectual discussions. perhaps it would end up in a private collection having sold for much money. somebody like me could do the same thing and i'd be lucky to get anybody to pay it any attention much less display or sell it. i'm nobody so i don't have the reputation to be brilliant enough to summarize and represent the mysteries of the universe or represent the soul of the human spirit as that 1/2" red dot centered in a vast expanse of white. it may also be that we truly are blessed with the modelling equivalent of Miles Davis and that individual (or those individuals) may truly have the ability to revolutionize the hobby over and again as Miles did with jazz.

is this color modulation truly something that arrives at a different ending? does it say something different in the end or is it a case of who created it? again, no slight offered or intended. that was why i commented in my post above that i'd like to see identical vehicles finished out in the various techniques and photographed side by side to see if one technique truly was any different than another at the end. if there is no discernable difference, then my premise that this was simply another technique to the same end was correct. if the difference is manifold, then this will be a great boon to those striving for a particular realistic threshold. it remains an unanswered challenge. in the time that has passed since this article originally appeared i have heard little else about it and in looking at many completed projects here at Armorama i have not seen this finishing technique cited. i haven't seen any other comments relating to anyone's attempt at using it. it's a shame really if it is truly revolutionary.
ZombieKraut
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Posted: Sunday, January 11, 2009 - 10:20 AM UTC
I for one welcome the new "technique", it puts a whole new spin on what can be done with an airbrush and some paint. However I don't think it's something totally revolutionary that will become the norm for future generations of modelers. I tend to think of modeling as a form of art, some might not but I beg to differ. The color modulation style - at least for me is an even more artistic approach to modeling than other methods and I'm glad that MIG released a DVD covering the essentials behind it. I bought it a few weeks ago and I'm going to try and apply this to my Ferdinand that I'm currently working on. I'm nowhere near as experienced as others out here but I find it an interesting way to finish a model and therefore I'm willing to give it a try. If the result is not satisfactory to me I'll try a different method and leave this one behind me, simple as that, I might also return to it in some time just to see if the experience I'll have gained by then will influence the result.

So keep your fingers crossed for me, painting on the Ferdinand starts end of January.

Keep modeling, no matter how you do it!

-Mike-
motorbreath23
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Posted: Sunday, January 11, 2009 - 10:47 AM UTC
I think everything you said is correct Jim, especially since you stated before hand that it is your own idea of what realism "is" as it pertains to military modeling. With the internet allowing all the folks here to develop and share their own ideas, its no big surprise that a "status quo" of techniques was born. Those modelers in the upper echelon, award winners and such, will always be followed for the quality of their work. People who are less skilled will always say "I want my model to look like that, how did you do it"?

I think the important thing at this point is to encourage modelers of all skill levels to experiment and dive in to the unknown rather than following a diagram of how it "should" be done. While I am brand new to this site, it is not hard to see the division between those who think for themselves and those comfortable with conformity.

As far as color modulation goes, I have seen it used on several of Bill Plunk's models, to some seriously subtle, but almost fascinating effect. To me the subtle blues and greens of natural fading in a Panzer Grey/German Grey painted vehicle are best represented this way. I'm sure there are other means of achieving it, however color modulation has been an artist's tool for a long long time and I'm sure you can imagine how it began.

Paint a picture. Seal it. Not happy with some shading, too uniform. Put a dab of color on. Thin Brush. Smear it in. Very effective. Easily manipulated.

It sounds like you really have to answer the question yourself. Since there is no side-by-side review, why don't you arrange for one? I'll help. I have never done any kind of weathering before except for dry brushing, so I'll be learning the techniques as we go. Right now I have a really bad, old, Tamiya kit of a Panzer II that I have just put the primer coat on.

Bratushka
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Posted: Sunday, January 11, 2009 - 10:32 PM UTC

Quoted Text

I for one welcome the new "technique", it puts a whole new spin on what can be done with an airbrush and some paint. However I don't think it's something totally revolutionary that will become the norm for future generations of modelers. I tend to think of modeling as a form of art, some might not but I beg to differ. The color modulation style - at least for me is an even more artistic approach to modeling than other methods and I'm glad that MIG released a DVD covering the essentials behind it. I bought it a few weeks ago and I'm going to try and apply this to my Ferdinand that I'm currently working on. I'm nowhere near as experienced as others out here but I find it an interesting way to finish a model and therefore I'm willing to give it a try. If the result is not satisfactory to me I'll try a different method and leave this one behind me, simple as that, I might also return to it in some time just to see if the experience I'll have gained by then will influence the result.

So keep your fingers crossed for me, painting on the Ferdinand starts end of January.

Keep modeling, no matter how you do it!

-Mike-



Hi Mike. truth be told i am still riding the learning curve on the whole weathering thing. anything i produce would not be the best representation of what this technique actually creates. as a control i thought the only fair way to do a comparison was applying the different techniques to the same base model all done by the same builder/finisher to minimize any disparities between finishing skill abilities and minimize any effect the various finishes would have emphasized or diminished as may happen between different models. a Tiger I finished one way and an Opel Blitz finished another way would probably not be fair to compare to each other. besides, different color plastics may also have an effect. the only multiple duplicate kits of military subjects I have are 6 1/48 Accurate Miniature P-51 Mustangs and 4 1/35 Tigers i have specific plans for. besides all that, i am incredibly SLOW at getting anything done because right now i don't have a committed work area. all my building and painting is done in my livingroom and only sporadically whenever i can get all my stuff out for a while without the silent reproach my wife is so good at shouting out.
ANPW
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Posted: Thursday, January 15, 2009 - 12:52 AM UTC
Hello

I am sorry in that I was unaware that this topic still had action. It is very obvious that a few of you have really put much thought into these very interesting postings. Again, I apologize.

I do not have two of the same models, one with and one without the CM style, to post next to each other at this time.

I came up with this style, before I even decided to call it a style, to try to add another dimension in the basecoat while giving more volume and bringing attention to certain areas on a model. Over time I further altered the tones of the basecoat between the hi-lights and the lows in an attempt to make it more apparent on the finished model. I also had to start changing the tones in the chipping and weathering as well. I wanted to “force” the lights and shadows adding more volume making the static model more dramatic. My Panther F, the focus of the article posted here, was the first model where I was able to finally get an idea of just how much I would need to alter the tones in each finishing step to obtain a look of colour variation and volume on the finished model.

As I said this style is a result of a certain finish I have been trying to obtain for a few years prior to this Panther. It is not my intention to change the hobby but simply have fun. Personally I prefer very dramatic looking models and my work has always gained me both very hard critiques along with nice complements and support. I was asked to make the Colour Modulation DVD after the success of the Panther F model.

Although I have added to this conversation I do not feel as though I have answered any major questions. I just wanted to give some more of my thoughts about how and why I can up with this style. I guess that I do not really have any at this time as only time can tell just how much of an effect, if any, this style will have on our hobby.

Sincerely
ANPW
GALILEO1
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Posted: Thursday, January 15, 2009 - 06:14 AM UTC
Hi Adam,

Nice article!

Now, I do have one 'serious' question though. I was wondering why the use of filters was not a part of this article (or a part of the modulation style as a whole). I mean, as I understand it, the purpose of such style is to allow for subtle tonal differences on the vehicle's base color to truly mimic the impact the environment may have had on them (hence the use of various shades of what basically is the same color and the oil dot method). Please forgive me if I don't get it but wasn't this [achiveing such tonal differences as it pertains to the base color] also a reason for such techniques as 'filtering'? Would filtering, in particular, be then a separate process, as a wash would be, applied after the modulation style is complete? I am really just curious about where filtering fits in all this.

Thanks,

Rob
Bratushka
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Posted: Thursday, January 15, 2009 - 09:52 AM UTC
Great question on the filter Rob. Offhand I would think it would have to be selectively applied or it may adversely affect the subtleties of the modulation.

Adam: I really appreciate your response with this. My comment about the trend setters wasn't at all directed at you. It was just a general statement. As an example of what i meant the American gentleman, William Demmings I believe, who went to Japan after WWII and guided their industry, especially the auto industry, in its resurgence with his revolutionary ideas about manufacturing processes. He was ignored and about laughed out of the US because everybody thought his ideas were crazy. After what he did in Japan grabbed the world's attention, he was a much sought after consultant and his words and ideas were were almost Biblical. Certainly nobody was laughing at him any longer. For whatever reasons he felt the need to keep talking long after he had made and proven his points. In one of his last visionary proclamations given to industrial leaders he stated that what was needed to revitalize manufacturing was for everybody, especially engineers, to throw away their computers and go back to pencils and pads. Not the most intellectually glamorous statement a man of his accomplishments could have made, and, of course, fortunately nobody listened. That was what I was inferring with my comments about a cult of personality. Again, it wasn't directed at anyone personally, but just a comment that it isn't unusual for this to happen in any organization, any field, any activity.

Personally, I'm glad people like you ARE out there striving to push the envelope.

Last thing: Mig Jimenez was mentioned in a few earlier posts. What I find so unique about his view and approach on the art of model building is that he has formal art training. That understanding of color, light, the various forms and styles as well as technique brings something to the table that is most unique.
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