TANKART 4 German Armour | WWII Late War Michael Rinaldi
Rinaldi Studio Press Editor Info
TANKART 4 GERMAN ARMOR (2ND ED) ISBN 978-0-9883363-4-6 PRE-ORDER ONLY LIMITED TO 500 COPIES WORLDWIDE ESTIMATED RELEASE AUGUST 2020
TIBER II Henschel Production Turret | Panzerkampfwagen Tiger Ausf. B Sd.Kfz. 182
TANKART 4 German Armor is the second TANKART book covering this very popular subject, WWII German Late Armor.
This 2nd Edition printing expands by 64-pages using the existing material to provide greater coverage over the previous edition.
Each chapter inside TANKART 4 is given more pages, to expand on the processes involved, adding more images of the various steps, ideas, and thoughts behind each project or technique used.
8.5″ x 9.5″, expanded content from 224 to 288-pages
Mistakes are inevitable. A Professional is simply an amateur who knows how to gracefully recover from their mistakes. Learn and practice with purpose, become proficient.
Anything worth doing is is worth doing badly at first, then grow from there. Seek out experienced modellers who will help you.
Use a test piece of styrene sheet to test techniques or practice before applying to your build.
Different types of plastic cement (cool, medium, hot, extreme) are tools, each performing a specific type of bonding.
Tightly capped bottles can last for years.
Depending on the brand, clear or black coloured cement is available.
Cyanoacrylate (CA) also known as SuperGlue has a limited shelf life of about 24 months from the date of manufacture.
All CA glues have the same Cyanoacrylate base, proprietary ingredients for anti-shear strength vary by manufacturer.
The partially used bottle will eventually become a brick or tacky syrup within months of opening and there is nothing to prevent it. The chemical properties of Cyanoacrylate determine lifespan.
Purchase fresh CA from new stock and look for a manufacturing date stamp or ask the hobby shop how old the inventory is.
Date bottles of CA to know where they are in the product lifecycle.
Get around people who are better modellers than yourself.
Compare yourself to yesterday’s you, not someone else’s today.
Understand the brand of paint you want to use.
We know what we know, know what we don’t, don’t know what we don’t know.
Professional Airbrushing Techniques Using Thinners
The Benefits of Proprietary Paint Thinners / Reducers
Why use TAMIYA THINNERS such as X-20A and Lacquer Thinner when as we have all seen DIY Videos on YouTube of scale modellers making up their own 200L or 50 Gal Drums of “thinner” for the same price of a 250ml bottle of thinner from the hobby store.
Yep, a little bit of this and a little of that, bought by the gallon or 4L jugs works wonders…right‽
Now you are ready to paint that expensive model, with expensive paint with home brewed moonshine thinner. Wait a minute, did you just hear that needle drag across the record in your mind like I did?…my brain telling me…there is something wrong with this picture?
Wait a minute, let’s think this through. Our kit cost us maybe $100 or more for a good one to hundreds or more for larger scale. Next we add after market Photo Etch, some Resin Figures, various accessories, Metal Barrels and Metal Tracks, now we have spent another $100 or more depending on the desired enhanced outcome.
Next we purchase TAMIYA PAINTS because we all know they are high quality, one of the finest. Skilled advanced modellers know how to formulate the correct desired colours drop by drop giving them an endless array of colour combinations for accurate representation of all fighting forces, land, sea and air. What about scale effect, yes that too!
Drops, what do you mean drops you ask? Yes when using an airbrush most paint jobs are completed using a matter of drops, not bottles, or spray cans full, but drops. How many drops make up 1ml? We will answer that in a bit.
In modelling, tools are everything and one of the most essential is an airbrush. To a beginner an airbrush is expensive, yes for a good one like IWATA, Harder & Steenbeck, or Badger, it is. Experienced modellers will tell you quality is everything. The efficiency of paint application and minimal use of thinners and cleaners means an airbrush will pay for itself time and time again over a lifetime of use if properly maintained.
Getting back to thinners, a little knowledge is dangerous and all of a sudden we can be chemists without understanding the science behind the paints.
Are we actually going to mess around with our premium paint chemistry using home made moonshine thinner to save a few dollars? I don’t know about you, after expending much excitement and energy in the satisfying and rewarding build along with the financial commitment, I am not about to hack my paint job with a back room, even use it as mouth wash, super cheap do anything paint thinner.
Like everyone else, I like a bargain and it feels good to be frugal, but this is not the time to cheap out.
Purchase and use the recommended manufacturer paint thinners because there is science behind it.
The Science of Thinner with Paint
What Makes A Good Paint?
Pigment
Pigment is what gives paint it’s colour, the opacity to cover the substrate.
Vehicle and Binder
Vehicle is the liquid that stick to the surface of the object being painted while the binder keeps it mixed up together for consistency such as acrylic resin.
Carrier
The carrier is the delivery boy of paint, the solvent liquid and dispersant creating a flowing action onto the surface, otherwise the paint would resemble tooth paste.
Additives
Additives are the secret sauce that make the paint great after extensive research and development. Good quality paint doesn’t happen by accident, it’s painstakingly created. Proprietary additives is what makes paint different from one manufacturer to another.
In our next article we will talk about the paint and what makes it ‘paint’.
What Thinner To Use?
Both TAMIYA Thinners X-20A and “plastic friendly” Lacquer Thinner are excellent for TAMIYA Acrylic Paints, each for it’s own application technique.
For a matt finish use X-20A for a beautiful airbrush application. Using Lacquer Thinner creates more bite, meaning bonding more to the plastic styrene surface. Both have excellent adhesion properties and lasting durability.
Advanced and expert modellers will use the thinners to achieve different results.
Thinners also help reduce tip dry, the dried accumulation of pigment on the airbrush needle tip. TAMIYA Paint Retarder is an excellent drying modifier significantly reducing airbrush tip dry and is ideally used for figure painting when using a brush.
In the past few years, as I produce more and more modelling articles, I came to realize there was always one step that I felt I was never fully explaining correctly, or to its fullest extent, and this was hampering my efforts to completely extrapolate the entire techniques used on each of my models.
When I thought about the singular element to my work that truly makes it mine (that signature process), I have to say it is the use of oil paints in my paint jobs. However, I had been trying to describe my use of oils within the confines of current terminology, specifically “oil paint fading” and “the oil dot method”, neither of which explain my process correctly—nor was it a simple combination of both. So by this notion, I had to become responsible for my actions and define this step as a clear and concise technique that I could then refine further into a teachable method.
What’s In A Name?
I have a formal background in art and design, and the same idea and thought process is used in what is called a rendering. In simplistic terms, a rendering is a piece of illustration or artwork created by its author specifically with the intention to portray the subject matter at its best with a lot of clarity and information over each area.
When this idea is applied to scale modeling, and specifically to my use of oil paints, I realized that I was indeed “rendering” the paint so it could be its absolute best. It was this basic concept that led me to name the technique oil paint rendering (OPR) since it fully encompasses all that I am trying to achieve with this critical stage of the painting process.
By definition this is not a new style, but truly an application technique used as part of the larger step-by-step process of painting and weathering. It can replace and/or augment nearly any other existing method used, and the oils can be applied to any subject, any model, and over any type of paint.
What Is The Goal Of Oil Paint Rendering?
To keep to the rendering concept, I use oil paint to “micro-manage” the colors within each section of a model’s surface to extract the maximum visual effects that I can from each area, with each effect telling a bit of the story about the life of the vehicle. The goal is to show the viewer a level of detail within a paint job in as strong, or as subtle, of a way that the author of the model intends, thus maximizing the level of information about the model within its paint job. For example, on the side of a tank there may be tool brackets, shell impacts, dust and mud, stowed gear, you name it…and after the basic paint colors have been applied, you can go back over each area and greatly enhance its visual information by adding specific oil colors that can darken, lighten, fade, tint, streak, diffuse–nearly any effect you can think of–the underlying basecoat to create what you need to clearly illustrate the area.
In the most simplistic definition of OPR, the modeler will apply small amounts of oil paint to the painted model’s surface and then simply blend it out to create certain effects. Each color can be layered over one another to add depth to the finish until the process is completed, which is at the discretion of the modeler.
Why Oil Paint?
The reason I utilize oil paint is for three very basic and fundamental reasons. One, oils are infinitely translucent. Their opacity range is from 0-100% and this is an extraordinarily powerful thing, thus maximizing the range of values and hues that can be created with them. Two, they are very easy to blend, which bodes well for all skill levels and allows for maximum creativity. And three, they are slow drying and this allows the modeller ample time to control the process to its fullest extent, unlike acrylic or enamel that has much shorter drying and blending times. In all three cases, I have found oils to be superior to any other medium for this specific purpose and as such they have become forever linked with my models.
Additionally, the results are consistent and repeatable across any skill level, and from there it boils down to the practice of the technique that will fully allow the modeller to realize the maximum from this idea. One of the strengths of oil paint rendering is that it can be applied as little, or as much as you require, to any style of paint job imaginable. Nothing is written in stone, there are no restrictions with its use (outside of the basic application technique that works best), the costs are easily controlled because the amounts used are small and the tubes of oil last a very long time, plus there are plenty of product options available from a wide variety of sources.
Prepping The Oil Paint Palette
The best thing to do is to keep it simple and try not to overthink what is right in front of you. The painted model will already dictate to you what colors you will need for this step. But because each model is unique and different I will just give a basic outline of colors to use in this introduction article. In the future, I will write specific articles that pertain to very specific subjects and paint jobs.
So first off, you need to prepare a palette, which is very cheap and easy to make. I cut up small squares of brown cardboard–nothing fancy, an old shipping box is perfect. The reason for the cardboard is that oil paint has a product in it called “linseed oil” and is there for the regular artists that paint on canvas, however, for our modeling purposes we actually want it absorbed out of the oil. Why? Because when the linseed oil is absorbed out the paint will be easier to blend, it dries much faster, and (most importantly) dries quickly to a matte finish.
With the palette cut I add a tiny ¼” piece of double-side tape on the back, which will help to keep it in place on the bench (the cardboard is so light, the brush will easily move it around). I then take my oils out and using the flat end of a small artist spatula (I use the Tamiya Paint Stirrer), place a small pea-size amount of each oil color on the cardboard that I want to use on the model. I tend to be fairly organized with this and place similar colors next to each other, which also makes it more efficient to grab each oil color, or mix them together, for each step of the process. When completed, my palette will have anywhere from 10-20 colors on it, but that is dependant on the model itself.
Here is a basic breakdown of the colors I typically use on my palette, and what they are used for. In each color’s case they can be used from 0-100% opacity depending on need:
White And Light Tans/Buff: used for general fading, adding dust, whitewashes, and lightening (when mixing) other colors to create additional shades.
Yellows (from pale yellow to orangish-red): used for tinting greens and Dunkelgelb paint jobs, plus add light rust tones or warm tones in general.
Dark Browns (from rust tones to very dark almost black-brown): used for shadows, heavy rust, grease, dirt and mud that can be caused by any factor or elements, great for stains too.
Greens: used to enhance any green or yellow camo, from OD to pale green, also good for green moss and similar plant life, overall limited uses, but very powerful for military models.
Reds: used to fade/enhance red primer, red/brown camo, and red markings or add any strong red tone.
Blues: used to fade/enhance Panzergrau, anything with blue camo and markings, etc. Can also be used to tint green paint schemes, such as OD or forest green, for a more bluish tint.
Black: rarely used, and usually just for the darkest shadows, or darkest oil stains and exhausts, and to enhance exposed metallic edges, also used to darken other colors.
Grays: used to deaden a color (to make it more neutral), imparts a cool color tone that is good for winter finishes, can also be used to lighten some darker tones, and for fading Panzergrau tones.
Light Browns: used a lot for middle earth tones and summer finishes, often mixed with other colors to create special earth tones.
Brushes And Thinner
Next up are the brushes. For the application brushes my primary brush preference is for a nice quality #2 Round (such as Loew Cornell’s 7020 #2 Ultra Round). I find the #2 Round maintains the best sharp tip over time, and has enough bristle length to hold plenty of material so it doesn’t dry out too fast.
For the blending brushes, I use a couple of different styles. One is a “¼ Filb Rake”, and the other “¼ Angular”. Both of these can be turned on end for fine streaking and the two brush ends gives a lot of variety in how to blend the oil into the surface, which can vary from vertical to horizontal in nature. I also keep a clean #2 Round handy for more precise blending as well.
For the thinner, I use high-quality odorless turpentine. I strongly recommend at least a quality art store brand, and better still–use the 502 Abt. “Odourless Turpentine” from Mig Productions, or the new AK Interactive “Odourless Turpentine” product. These are the best products available for our use. I do not recommend using enamel thinner for this technique because it does not provide the right consistency for blending, and is too strong of a thinner in general–plus it smells terrible for prolonged use.
💡 In lieu of Odorless Turpentine, Mineral Spirits (White Spirits) or Odourless Mineral Spirits may be substituted.
⚠️ Know your base paints. Always test to determine how thinners react with the previous layer.
Application Method
The actual procedure for the technique is quite simple. It entails taking an application brush, dabbing it in the oil needed, and then painting (or placing) that oil exactly where you want it, followed by a quick blend with one of the blending brushes. It is very important to make sure the blending brush is nearly dry with only the slightest amount of thinner on it. (I use a paper towel to unload my brush on before blending it.) In most cases, the drier the blending brush, the better. And clean it often, this is also very important. However, I do recommend practicing this first to see how it performs; only by doing this can you clearly see the quantity of thinner needed. This process is then repeated for as many times and colors, as you require. The adage “less is more” is very pertinent to this technique–a little goes a very long way.
As for surface quality, I tend to work from a matte-to-satin level of finish in my paint jobs. After the proceeding filters and pinwash steps, I might spray a light varnish coat on top, however, the results of the blending are more dependent upon the quality of the initial basecoat than anything else. It is important to create a quality paintjob at the airbrushing stage. I do not usually use gloss varnishes with my models, because the blending is more slippery and harder to control on the smoother gloss surface, which is why I prefer a more matte/satin finish for its inherent grip of the oils. I do not seal the model afterwards either, otherwise you will lose the myriad of subtle sheens created that are important to the overall final aesthetic.
Regarding the colors themselves, some are more difficult to use such as white, for example. Adding white to a darker base coat could quickly stain it and make it hard to blend out, so I recommend pre-wetting a surface if you are experiencing this particular problem.
Note: I always recommend a test run on a scrap model anytime you use a new product or technique for the first time, this will give you a lot of help to see how it is going to work for your project.
When Is It Best To Use The Oil Paint Rendering Step?
I typically use this technique after the model has been painted in base colors and camo; the markings are applied; the tools, the tires and details painted; a filter has been applied, and the first pinwash is applied. From this point on, I will use the oil paint rendering step right up to when I apply the pigments, which is typically near the very end of the weathering process. Once pigments are on and set in place, I will continue with more OPR to create as much harmony and balance on any area that it is needed. The basic principle in action is that I layer all of the methods on top of one another to create as much depth and interest to the finish as I can. However, there is no hard rule, or clearly defined limiting factor, on when to start or stop using it on a project.
The Step by Step Photos Of The Application Process
For this winter whitewashed Panther turret I am using a simple brown-based color palette, with the intent to primarily show the correct application technique. The plain sides present some unique challenges without a lot of bolted-on detail to enhance, and this is very typical for a lot of clean surfaces. Also, please note the fundamentally dry appearance of the blending brush.
In addition, stippling (the process of dabbing the brush on the surface) is a very crucial blending technique that is used to achieving certain effects like diffused colors, since not everything is always streaked downward (even on a vertical surface like this demo subject), and this will usually depend on the effect needed and its location. These photos were shot sequentially, and please note how I layer the colors on top of one another (usually from light to dark) to maximize the depth of tones possible in a given area.
Follow the tutorial step by step. Take your builds from great to exceptional.
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Final Result
Before & After
Before and After Results
In Conclusion
Hopefully this introductory article demonstrates the idea behind my new oil paint rendering technique. I have been using this process for a long while now and it has been the indelible element to my painting that truly makes my models unique. Using oil paints in scale modeling is not a new concept, but the degree to which I am using them, and the broad spectrum of results attainable has concluded that I can only provide the fullest extent of this information by establishing it as a viable and teachable technique with its own terminology so others in the hobby can also gain from its use, both by discussion and execution of it on your own work.
Additionally, this technique is not intended as a fast method, and usually takes a few periods of time at the bench to complete, especially with the first application layer. The modeler must be thoughtful in what colors are applied where. As mentioned above, it is intended to enhance every area of the model and there is no right or wrong way with its use.
I would also like to personally thank Mig Productions, USA and AK Interactive, USA for their continued support of my work. The products provided by them are truly of the highest quality levels for scale modeling and I highly recommend both brands. I would also like to thank Richard Williams, Tracy Hancock, Mario Eens, Staf Snyers and Adam Wilder for their advice in writing this article.
SM.02 S-65 CITY TRACTOR – LIMITED EDITION (US ISBN 978-0-9883363-5-3)
Soviet Red Army Stalinets S-65 Tractor based on the Caterpillar Sixty
Here is the second SM Series title in the new LIMITED EDITION scale modelling book series from RSP and the makers of the TANKART books. Smaller, lighter and more efficient…yet no less packed with comprehensive conversations on the How and the Why of each step of the modelling process.
The contemporary graphic design maximizes image size and allows for clean open layouts that focus the viewer on the work involved thought each page.
The all-new SM Series — Single Model Series. SM.02 S-65 City Tractor features a civilian-based project created from the excellent 1/35 Trumpeter Stalinetz S-65 Soviet Red Army tractor kit, with a finish that is designed to explore other realms of possibilities.
This model will illustrate how a city-owned operation might have utilized this one-time military tractor. The finish was heavily influenced by the many worn-out city tractors seen in the great Pacific Northwest.
6.5″ x 7.5″ SM.02 is 128-page softcover, perfect bound. Linen cover stock and the same high-quality paper stock as the TANKART books help create a cool and very unique presentation with tons of tactile feel and style. Nothing else quite like it in the hobby!
LIMTED EDITION SERIES/SINGLE PRINT RUN ONLY!
SM.02 S-65 CITY TRACTOR Soviet Stalinets S-65 Tractor | Caterpillar Sixty Book Highlights
TANKART 3 MODERN ARMOR (2ND ED) ISBN 978-0-9883363-3-9-2 TANKART 3 Modern Armor is the third TA book covering this very popular subject of Modern Armor.
This 2nd Edition expands the existing material by 64-pages to provide greater coverage. Each chapter inside TANKART 3 is given more pages, adding more images of the various steps, ideas, and thoughts behind each project or technique used.
8.5″ x 9.5″, expanded content from 224 to 288-pages.• Matte-lamented softcover with Lay-Flat binding.
Newly added Technique Proficiency chapter.• Expanded and updated Hair Spray Chipping, Oil Paint Rendering (OPR), and Pigment Application chapters.
Five model chapters showcasing
1/35 D9R Armored Dozer
1/35 T-62M1 MBT
1/35 AMX-30B MBT
1/35 FV 221 Caernarvon Prototype British Heavy Tank
1/35 T-72B MBT Soviet Main Battle Tank
Plus, special guest author chapter by Andy Taylor with his Iraqi MT-LB
TANKART 3 Modern Armor Main Battle Tanks & Armored Bulldozer Book Highlights
SM.03 SAZABI CUSTOM – LIMITED EDITION US ISBN 978-0-9883363-6-0
APRIL 2020 — EXTREMELY LIMITED STOCK ON HAND, NEARLY SOLD OUT (NO REPRINTS COMING)
SM.03 SAZABI CUSTOM features a big badass robot project from the amazing world of Gundam mecha — Bandai’s incredible 1/100 MG Sazabi Ver Ka kit built with minor custom modifications, and given a special one-of-a-kind RSP style paint job. Working with realistic painting and weathering techniques, new paint products, and fresh ideas were taken from historical modelling and applied to the Gunpla world — all built, described and illustrated by Michael Rinaldi.
6.5″ x 7.5″ SM.03 is the largest SM book to date at 136-page in length. Each one comes in a highly unique Linen softcover paper stock and perfect glue bound. SM books are created and designed to provide a more involved and unique hobby publication experience unlike anything else available today. From the tactile feel and style of physically reading them to the in-depth coverage of each model inside loaded with excellent learning content meant to teach, inspire and motivate you for your own scale modelling projects. LIMITED EDITION SM SERIES — SINGLE PRINT RUN ONLY
TANKART 2 ALLIED ARMOR (2nd Edition) Michael Rinaldi
Rinaldi Studio Press Publisher Info
ISBN 978-0-9883363-2-2 PRE-ORDER ONLY LIMITED TO 500 COPIES WORLDWIDE ESTIMATED RELEASE AUGUST/SEPT 2020
Soviet Red Army ISU-122 with Late Winter White Wash Camouflage
Within this UPDATED volume, TANKART 2 Allied Armor (2nd Edition), the author will go deeper into his thoughts about why certain steps, as it relates to Allied camouflage schemes.
To bring these ideas to life requires a spectrum of processes and techniques which are covered in great detail; including the Hair Spray Technique (HS) and the new Oil Paint Rendering (OPR) — plus Pigment Applications and Painting Olive Drab chapters that can be combined in a layered approach to telling the complete story of each model.
8.5″ x 9.5″, 288-pages
80-PAGES ADDED
NEW GRAPHICS & COVER
Matte-varnished softcover on high-quality book paper, with Lay-Flat Binding
Seven models featured – NEWLY ADDED
ISU-122 (Soviet Red Army)
CHAR B (French service)
M26 Pershing (US service)
Firefly Vc (Polish service)
Churchill Mk III (Soviet Red Army)
KV-1 Ehkranami (Soviet Red Army)
Char B1 bis (French service)
Four NEWLY UPDATED technique chapters.
UPDATED guest author chapter
Inside features over 500 colour photos reproduced in a large format.
TANKART 1 (3rd Edition Printing) 2017 ISBN 978-0-9883363-1-5 MARCH 2020 — SOLD OUT REPRINT PLANNED FOR SUMMER 2020
Techniques applied to a StuG III Sturmgeschütz with Ostketten Tracks.
The 3rd Edition of TANKART 1 German Armor book is printed in our standardized TANKART format of 8.5″ x 9.5″ at 288-pages in length.
Each book is wrapped in a matte laminated cover stock with the interior pages designed to show the models and writings at their absolute best.
Inside the Book Models
Befehls Panther G
Tiger I Initial
Sd.Kfz 251/22 Pakwagen
Hetzer Jagdpanzer (38t)
Panzer IV DAK
Sd.Kfz 251/21 Drilling by Lester Plaskitt’s, a world-class builder
New to the 3rd Edition printing are two models that provide greater expansion of the TANKART 1 conversations
10.5cm Sturmhaubitze 42 with winter camouflage
The infamous 1/35 Panzer IV with 88mm FLAK. This model was the first build of its kind after photos surfaced of this unique and rare field-modified Panzer IV.
In addition to these 2 model chapters, the Technique Chapters have been edited and updated to the latest in conversations related to using the Hair Spray Technique, Oil Paint Rendering, and newly added Technique Proficiency pages.
TankArt 1 German WWII Armor Early-Mid War Highlights
SM.01 FISH SUBMARINE – LIMTED EDITION Michael Rinaldi
Rinaldi Studio Press Editor Info
SM.01 FISH SUBMARINE – LIMITED EDITION US ISBN 978-0-9883363-0-8
FEB 2020 — LIMITED STOCK ON HAND, NEARLY SOLD OUT
The series launch book, first in a brand new LIMITED EDITION scale modelling book series from RSP and the makers of the TANKART books.
Smaller, lighter and faster…yet no less packed with comprehensive conversations on the How and the Why of each step of the modelling process.
The all-new graphic design maximizes image size and allows for clean open layouts that focus the viewer on the work involved thought each page.
The all-new SM Series — (Single Model). SM.01 Fish Submarine is an ideal starting point to illustrate this concept because the model is defined by its turn-of-the-20th Century styling, yet the author has created the paint job using a more contemporary science fiction based camo scheme that produces a wholly original result.
6.5″ x 7.5″ SM.01 is 96-page softcover, perfect bound. Linen cover stock and environment friendly 30% PCW uncoated paper stock help create a cool and very unique presentation with tons of tactile feel and style. Nothing else quite like it in the hobby!
LIMTED EDITION – SINGLE PRINT RUN ONLY!
FichtenFoo’s Fantastical Fish-shaped Submersible Steam Punk inspired fish-shaped submersible kit.
SM.01 FISH SUBMARINE – LIMTED EDITION STEAM PUNK FISH SHAPED SUBMARINE
Welcome to our all-new site! We’re fleshing it out for the best scale modelling experience.
KSM Club monthly meeting every 3rd Thursday. Time 18:00 - 21:00. 📧
Inclement Weather Cancellation Club Meeting scheduled for today, Dec 15, 2022 is cancelled due to adverse weather and travelling conditions.
