1/35 Gas Mechanical Bash

[Gordon Ferguson]

Gerald,

I have done the salt technique before just using a sponge to apply the paint,  the only difference is that instead of water I applied a coat of hair spray and when still wet put the salt on then gave another light mist of hair spray to help hold it in place.

It is not nearly as fine a technique or finish as you get with an airbrush but in larger scales it will work

[TRAINS1941]

In case anyone is interested:

... definitely absolutely ... 

As I have not tried the salt technique yet I always wondered, if it would work as well whilst applying colour with a brush or sponge, as I don't have an airbrush ... 

Cheers

Same question here Mark.  Does this have to be done with an Air Brush???
An is this going to be finished this time?  or are you going to erase and try again?

Excellent rust.

Jerry

[mad gerald]

Gordon,

I have done the salt technique before just using a sponge to apply the paint,  the only difference is that instead of water I applied a coat of hair spray and when still wet put the salt on then gave another light mist of hair spray to help hold it in place.

It is not nearly as fine a technique or finish as you get with an airbrush but in larger scales it will work

... thanks for additional input, tried hairspray technique once: worked great so far, but I treated to large areas at one time, so to much colour came off ...   

Cheers

[marc_reusser]

Well, apparently Gordon has much bigger Cajones than I do, because I would say that yes, this needs to be done with an airbrush.

...and I wll get soap-boxy and preachy here for a moment.....

I think that anyone that builds model at the level of the people in this forum (other than Chuck, 'cause he's a freak of nature) you need to be painting with an air brush. IMO not doing so will diminsh a good portion of the beautiful construction and detailing that went into building the model. They are not expensive, and are really simple to use...and will make a world of difference in your finished work.

....or to put it another way....

I never did and never wanted to work with brass in any way shape or form. I avoided it like the plague...but after seeing all this really superb metal work, and soldering here in the forum, I went out and bought a small torch and started playing around and using brass for some bits and pieces...and after Marty's post on the resistance set am even mor interested.  So, if I can actually consider using metal and trying it here and there.....you guys should be equally willing/able to try an air brush 

[billmart]

So, if I can actually consider using metal and trying it here and there.....you guys should be equally willing/able to try an air brush 

We all should face our demons now and then.  For me, it's putting washes and streaks and grime on treasured models.  But, with help from folks on this site, I am starting to face that demon. 

Bill Martinsen

[lab-dad]

FWIW:
On the air brush.
I get mine at Michaels using the 40% off coupon.
I buy the best they have, which I'm sure is a POS in most folks eyes.
I treat mine very badly, dont clean it correctly and the one I use for solvent paint is now 10 years old!
Yes, I have one for acrylic and one for solvent.
I think they cost me about $40 when all is said & done.
I wont tell what I use for thinners, Marc would have an absolute conniption! or a stroke!

Speaking of, cant wait to see your first all brass model Marc!

-Mj

[marc_reusser]

Speaking of, cant wait to see your first all brass model Marc!

-Mj

Marty,

I wanted it to be something, that would be of interest to Russ, so I've got my best guy working on it.




Gaaak!! After reading your AB message, I think I am going to have to start an "Airbrush Rescue" association, for poor and abused airbrushes. 

[Chuck Doan]

Gonna need an alchemist to turn that gold into brass!

Could it be worse to be at Harbor freight trying to decide between the 4 dollar airbrush and the 12 dollar one?

C. Doan, FON  

[lab-dad]

Marc,
You could make him a brass thong! LMAO!

Chuck,
Get them both and a drum of chickenfat to thin with!

Mj
Founder of the "Airbrush Servitude Society"

[marc_reusser]

Well, since we are talking airbrushing, I thought maybe this would be of use to someone. I have of recently been taking a new approach to painting with the AB. (I am sure some others probably already do this...but for me it hit me in the head like a brick, when I thought of/realized it.)

I have found that when doing the HS/resist chipping method, that working "backwards" with the colors works better for faded and certain chipped effects.

After applying the dark rust/brown base color, a coat of clear sealer, and the resist.....

...rather than applying the dark final/basic/intended color first, and then applying lighter shades over it in panel centers, surfaces that are to look faded, etc.;....work backwards.....apply a thin coat(s) of the light faded color(s) first, over the entire model, (then add/apply a layer of HS/resist) then fill in the final/base/intended color in the areas that you don't want fading and wear....IE in corners, around the perimeter of panels etc. [obviously you should check with your reference material to see where your fading occurs, or where you want it to occur]

....buy working in this reverse manner, you will end up with a thinner, and easier to chip layer of paint in the faded areas (which is where larger areas of wear and oxidation would likely start showing through) and it would also give you the faded/oxidized effect around the perimeter of larger rust areas. Lastly, when chipping through the darker/truer color areas, you will automatically end up with random areas of light highlight edges, or fading, around those areas as well. [you can also create some very interesting overall wear and fading using the reverse approach, when you wear/chip through only the dark layer, exposing the lighter one below.)

In contrast, if you work the regular way of dark paint first, then adding progressively lighter layers of fading; you need to add many more coats of paint in the exact areas, that you may want more chipping and wear, and this make the whole process more difficult and harder to control.

...anyway, this is the approach I used on the Daihatsu, and the two recent in-progress pieces for the demo. I will also be using it on this loco.

HTH

An is this going to be finished this time?  or are you going to erase and try again?

Excellent rust.

Jerry

Thanks Jerry. Apparently, I have till the end of April to get it done, otherwise I will have a very PO'd guy in the rainy Pacific-NW giving me a call, or sending terse and sarcastic emails. 

[Andi Little]

Marc' .................

One of the most basic tenets of Fine Art theory/practice is that when applying materials one adopts a methodology where:- Opaque is applied "Dark to Light" whereas anything Transparent is applied "Light to Dark"!
This is nothing new, and has been practised in some of the best studio's over the last 1000years, I automatically adopted it as a means, and it appears you're sooner or later going to arrive at the same conclusion.
Only the fear of appearing pretentious stopped me from mentioning it, but it's a sound technique that if you weren't aware of it ... it might be something to keep in mind as you work. It does enable one to adopt a regime or pragmatic approach that gives you a diagnostic ability should the effects wander from what it is you're trying to achieve.

[TRAINS1941]

Hell with all the answers I guess I should try the AB.  I have one just have never used it.

So when we get some warmth here I'll give it a shot a let you see I progress.

I might even  myself!!!!

Jerry

[Design-HSB]

So, if I can actually consider using metal and trying it here and there.....you guys should be equally willing/able to try an air brush 

Hi Marc,

I am following with great interest your airbrush work.
In my mine locomotive I will certainly not just paint with an airbrush, but try to be realistic so that the locomotive to make if it is soldered finished.

[marc_reusser]

Marc' .................

One of the most basic tenets of Fine Art theory/practice is that when applying materials one adopts a methodology where:- Opaque is applied "Dark to Light" whereas anything Transparent is applied "Light to Dark"!
This is nothing new, and has been practised in some of the best studio's over the last 1000years, I automatically adopted it as a means, and it appears you're sooner or later going to arrive at the same conclusion.
Only the fear of appearing pretentious stopped me from mentioning it, but it's a sound technique that if you weren't aware of it ... it might be something to keep in mind as you work. It does enable one to adopt a regime or pragmatic approach that gives you a diagnostic ability should the effects wander from what it is you're trying to achieve.

This is part of that "color theory" stuff isnt it? 

Thanks. Very interesting.

[Gordon Ferguson]

Marc on the basis you are on a roll regarding finishing stuff, thought you might be interested in this

http://www.james-art.com/product.php?id=33

note: he supplies this track in two different gauges