Evaluation
Model nr: 1
Class: Military Ground Vehicles / Equipment
Skill: Advanced
Optional Criteria: Decals / Markings
Weathering
Type: Injection Moulded
Manufacturer: Gecko Models
Scale: 1/16
Description: The model is inspired by the Panzer II Ausf. F belonging to the Panzer-Abteilung 190 in the 90. Leichte Division in North Africa. It was captured during the spring of 1943 by the US 1st Ranger Battalion at El Guettar, Tunisia. The German-American mixed insignia are well visible over the 1-tone dark yellow base colour.
The Pz. Kpfw. II Ausf. F produced by Gecko Models in 1/16 scale has been substantially built out-of-the-box with some minor addition of small details.

The construction of the model began with the hull. The bottom and walls are supplied as individual pieces that need to be cleaned and assembled with great care. The fenders were fully assembled during this phase and the details that do not risk creating problems during the initial painting phases were also fixed in place. All the other accessories (lights, tools, boxes, …) will be assembled after being partially painted. The level of surface detail is very good, and the assembly is easy thanks to the precision of the pieces.

The upper part of the hull has been assembled and kept separate from the lower part. Before joining them together permanently, it will be necessary to paint the entire interior black to avoid the lack of interior being too obvious.

Similarly to what was done for the hull, the turret was not fixed in place. The internal parts will need painting before the final closing. It was chosen to represent two of the side visors slightly open.

The suspensions will be kept separate from their axles during the early stages of painting. When the final assembly is required, their positioning will need to be checked to ensure that the entire running gear fits perfectly onto the base on which the model will be placed.

The wheels and the tracks will be kept separate until almost the end of painting. After their assembly, the finishing touches will be made to chromatically harmonize the result.

All the accessories (tools, lights, antenna, …) will be mounted during the various stages of painting and, on a case-by-case basis, it will be necessary to evaluate when the best time is to permanently fix them.

The application of the primer is intended to prepare the surface of the model to receive subsequent applications of the base color. In particular, the role of this phase is fundamental when the model has been built using different types of materials (plastic, photoetched parts, wood, resin, …) because it allows the surfaces to be made homogeneous. Furthermore, when the background color is dark, the conditions are created to begin reproducing shadow effects in the recesses during the application of the base color. The primer is the XF-1 Flat Black diluted with the Tamiya Lacquer Thinner and applied by airbrush with a dilution of about 60% and preferably in several thin layers. After the application, it is necessary to wait for the color to dry completely before proceeding to the next phase.

The base color represents the predominant color pattern of the model. In this specific case, the background color is the result of the application of two main colors. The German gray represents the original color of the vehicle, while the dark yellow was used to create the typical coloring adopted in the WW II North African theater. The overlapping of the two colors was done in a realistic way, avoiding completely covering the gray that must be visible in the areas subject to abrasion, chipping and scratches.
To create the first base color, a mix of XF-63 German Grey (12 parts) lightened with XF-23 Light Blue (2 parts), XF-20 Medium Grey (2 parts) and XF-2 Flat White (2 parts) was used.

At this point in the process, it is necessary to create the modulation of the grey to begin to emphasize the volumes and to prepare the base on which the sand yellow will be applied. Very little of the work done during this phase will remain, but the size of the model recommends starting from the early stages to create hints of chromatic variations. The panzer grey modulation involves the application of airbrush filters to lighten the most exposed areas of the model with a color obtained by mixing XF-63 German Grey (9 parts) lightened with XF-23 Light Blue (3 parts), XF-20 Medium Grey (3 parts) and XF-2 Flat White (3 parts).

The second base color involves the airbrush application of a mix of XF-60 Dark Yellow (12 parts), XF-3 Flat Yellow (3 parts) and XF-2 Flat White (3 parts).

It is necessary to create the modulation of the dark yellow to complete the emphasis of the volumes and to chromatically differentiate the surface elements of the model. The dark yellow modulation involves the application of airbrush filters to lighten the most exposed areas of the model with a color obtained by mixing XF-60 (6 parts), XF-3 (4 parts) and XF-2 (4 parts).

The dark yellow discoloration has been simulated by applying the same dark yellow modulation colors mix but with the use of a photoetched stencil for reproducing random effects.

The identification of the highlights serves to further mark the chromatic difference of the various surface details. This time, it is necessary to concentrate on much more localized interventions to highlight the elements that are very exposed to light. During this phase, the Kimera White and Oxide Yellow have been used.

The insignia on this specific subject are both German and American. They have been painted by cutting a set of masks and by airbrushing Tamiya colors (XF-8 Flat Blue, XF-1 Flat Black, XF-3 Flat Yellow, XF-2 Flat White). This is the best way to avoid the risk of silvering and to be sure that the insignia are properly treated during the following painting steps. The ‘14’ numbers placed on the right side of the turret and on the turret basket have been painted by hand with the white oil color.

The filters are used to modify the tone of the base color. They are very transparent layers of oil color that also allow different areas of the model to differentiate chromatically in a slightly perceptible way. Their application can also be repeated provided that the previous filter is allowed to dry perfectly. The application of a filter must be done by diluting the color 90%–95% with white spirit and spreading it evenly with a flat brush. In this specific case, Norma Burnt Umber, Norma Warm Grey, Mussini Natural Burnt Umber, Abteilung Cream Brown and Abteilung Neutral Grey have been used. It is important to point out that this phase is not intended to create a wash around the surface details of the model. For this, there are dedicated steps in the process. This is the reason why any excess color must be removed using a dry brush.

After the previous phase, the surfaces of the model have uniform and unrealistic color tones. The creation of subtle base colors blends allows you to break this monotony especially in large areas that do not have surface details.
Technically, it involves applying small amounts of different oil colors to the surface, spreading and blending the colors using a flat brush dipped in white spirit and dumped onto the paper, and then blending with a flat, soft, completely dry brush. By doing this, you create chromatic variations that don’t have to be sharp. For the dark yellow base color, the Norma Warm Grey, Norma Titanium White, Norma Naples Yellow Deep, Mussini Indian Yellow and Mussini Natural Burnt Umber have been used.

At this point in the process, the surface details are anonymous and barely visible, making the model still too flat from a chromatic point of view. Furthermore, the main shapes of the model still risk not being highlighted. The reason why each surface detail deserves specific attention is that it is always possible to observe around any surface relief a profile which may be due to the shadow or to an accumulation of dirt.
Profiling is a process that can be very long. To do it properly, you must work around every single detail, possibly slightly varying the tones of the color you decide to use.
The profiling is done by depositing undiluted oil paint around the detail using a round-tipped brush. The color is then worked again with a round-tipped brush but, this time, moistened with white spirit; this allows to remove the excess color and blend it to avoid having too sharp edges. Mixes of Windsor & Newton 337 Lamp Black and Norma 624 Burnt Umber have been used for this model.

The dual layer chipping allows the simulation of well specific areas in which at least two paint layers are present due to chipping. Usually, the outer layer is a discolored area, and the inner layer is a dark grey tone. This effect could be based on the already discolored areas with the simulation of some smaller area in which the dark grey spots are present. In this phase, full control is a must (with usage of round brushes). The abrasions should be reproduced by using as a reference the areas in which the dual layer chipping has been simulated. The abrasion is aimed at making the colors transitions more blended.

On contact areas (drive wheel teeth, specific areas of the tracks, hull and turret edges, …), it is necessary to simulate the metal that becomes visible after paint removal.
To create this type of effect, it is possible to use pencil graphite and the Humbrol MET-11 and MET-53 applied with a flat brush almost entirely discharged onto the paper.

Rust simulation involves localized interventions on the areas of the model where the chippings have been made. The aim is to apply oil filters with rust tones and attenuate the chromatic effect obtained during the previous phase.
From a technical point of view, selective washing is achieved with oil rust colors diluted 70%–80% with white spirit. The color must be deposited on the damaged area with a round-tipped brush and any excess must be removed with a dry round-tipped brush. The following colors have been used: Norma 624 Burnt Umber, Abteilung 502 ABT060 Light Rust, Abteilung 502 ABT070 Dark Rust

Surfaces are often characterized by imperceptible chromatic variations of the base color. The simulation of these variations makes the model very realistic. This effect must be applied very carefully to avoid exaggerating. For this purpose, it is advisable to proceed in successive steps to always be able to evaluate the general effect and decide whether to stop or continue. The application of variations of the base color should be done by splashing small amounts of oil color (color tones like the base color, both light and dark) slightly diluted with white spirit. The use of oil colors allows corrections to be made with a brush dipped in the thinner and discharged before use.

The amount of accumulated mud depends on the operational theater and life of the subject. The dried mud must have a certain consistency and can be made by earth tone pigments and oil colors. The compound must be applied in several steps to control the effect obtained. In addition, after application and during drying, the mud must be textured to obtain a realistic and convincing effect. At this stage, it is also possible to remove any excess.

The grease applied to the suspensions and wheels is generally melted with mud. This has been the first application and, during the successive steps, the effects have been partially covered by more or less transparent layers of mud and dust. The grease drops/splatters can be reproduced by using oil colors (502 Abteilung ABT160 Engine Grease) and a round brush.