A Report To The Cabal: Painting Figures and Basic Weathering, a Primer

Recently Andy Lawrence, on the SubPirates.com site, asked me about painting -specifically, the videos I produced. And that reminded me that I've been remise in not addressing at least some of the basics of painting and 'weathering' as it applies to model building in general, and r/c submarines specifically.

A couple of years ago Tim Smalley and I were commissioned to build effects
miniatures for a Discovery Science Channel episode titled, The Search for the
Alligator, a one-hour film chronicling the development and use of the US Navy's
first commissioned submarine, built and operated during the Civil War!

The work I did was to construct a fully capable r/c model of the ALLIGATOR, as it was called, to a scale of 1/12. The model was filmed at the David Taylor Model Ship Basin facility in Carterock, Maryland, just outside of Washington, DC. My miniature was outfitted with a gas type ballast system, a highly geared motor to drive the big four-bladed screw, and a means of releasing two 'floatation cylinders' which, when deployed above the hull, act to produce an increased metacentric height, making the craft so statically stable as to eliminate the need of horizontal control surfaces! (whether or not this was the inventor's intent, is still a matter of conjecture). This model also had a means of un-dogging and opening, via r/c, the

practical Diver's lockout hatch near the bottom of the bow.

Not only did the miniature have to perform the above functions, but it also had to
be painted and weathered to a high standard, as this model would also serve
double-duty during the production, it would also serve as the display item used as
an off-camera voice described its function, appearance and details. The 1/12
ALLIGATOR effects miniature not only had to operate in a credible manner on and
under the water, it also had to look like 'the real thing.'

A model display, an effective one anyway, is a coupling of good, sound research
(performed magnificently by the production researcher and historian, Jim
Christley); and competent assembly craftsmanship and painting -- those jobs
falling on Tim's and my shoulders.

Any paint job on a model has to represent the color and sheen of the prototype,
but must also convey the physical and reflective qualities of the finish presented by
the prototype as it operated in the real-world: Variations of color,
reflectance, topcoat damage, and smudging that result from miss-treatment,
accident, battle damage, and the elements (water born marine life, sun, polluted
air, foot-traffic, and the mechanical, radiant, and chemical effects of the
environment).

The experienced effects Miniatures Maker knows that his work, recorded by either
chemical or electronic camera, then projected through a TV monitor, must
posses a heightened level of the many variations of appearance one would see in
the flesh of the prototype. The hobby model maker/kit-assembler also must
develop this appreciation of what the prototype looks like and to learn the
techniques required to emulate that appearance on his display, if his work is to be
of any real worth.

The completed ALLIGATOR and Diver display. Here in a static environment, both items are subjected to a very critical look by the video camera. Errors of form or finish are evident at this point of filming, I took care to build so that neither structure nor paint job would be found wanting by the TV viewer. A marginal paint job on a filmed item may still appear adequate to a camera, but a model subjected to viewing directly by the human eye must be built and painted to the most exacting standards if the display is to read as 'real' by the viewer.

My ALLIGATOR effects miniature in its element. Notice how the reds have been blocked, even at the relatively shallow depth of twenty-feet. When building a statically displayed model submarine a good cheat is to dope all colors (and the blacks and whites) with a bit of blue. This ingrains into the viewer's mind a suggestion of submergence -- he won't know it consciously, but the 'mood' will have been established by the blue content.

We shot for half a day at this, the outdoor 'explosive test basin,' at the David Taylor facility. So, under the sun, we had the full spectrum of light for filming on and near the surface. Yet, water is, as you can see, an effective graduating filter of the 'warm' colors; as you descend the first colors to be blocked are the reds, the last colors lost to depth are those at the ultraviolet end of the spectrum.

The cement 'rocks' on the bottom (way out of scale for our purposes) act to reflect and attenuate explosive overpressure waves, preventing damage to the very thick reinforced cement basin structure during model shock testing.

Here I'm briefing the Diver/camera people prior to the first day's shoot at the big MASK indoor basin at David Taylor. An excellent team was assembled by the productions Producer/Director, David Clark, at the extreme right.

All my hard work would be for naught had the Diver's not acquired an understanding of the correct means of handling the miniature -- these freelance guy's were accustomed to fending off shark attacks with fists and bang-sticks while filming in-ocean pieces for various productions. It was vital to talk them down in their approach to 'things in the water' for this shoot. A great group of people, a delight to work with.

The effects miniature launched for a day's shooting at the MASK basin. Diver's in position, and the stage set. I operated from a battery powered punt, conned by one of the David Taylor staff.

As is my practice, my r/c models are painted with automotive refinishing products. Currently, the DuPont ChromaSystem is the paint of choice in my shop. This very durable two-part polyurethane system is mechanically tough, chemical resistant, does not fade much under prolonged ultraviolet light, and can be cut with thinner to water thin consistency. When cured under the sun or a heat source, this paint will dry to a point where it can be wet-sanded within fifteen minutes of application! Try that with your typical 'hobby' primer, paints, and clear-coat systems!

I shop for my fillers, primer, paints, and overcoat products at automotive refinishing supply houses. In America I recommend, Mattos Inc. They carry the entire DuPont and Evercoat product lines. At these stores you will also have at hand many industry bulletins and 'use' publications that will instruct you as to the specifics of surface preparation and product application. Damn fine reading!

A happy crew, a good shoot, and the best possible place in the world to operate an r/c submarine model!

Take note of the weathering applied to the ALLIGATOR r/c submarine. After the basic green color went down I work in 'rust' using water-soluble acrylics applied with small brushes with a stippling action. A white, 'scum line' applied with light gray ChromaSystem paint was airbrushed where the boats waterline is, and oil based (Artist's Oil) paints were dry-brushed on to represent boot scuffing and 'bleaching' of all projecting surfaces. Some of this work was too subtle to be captured by the camera, but I always work to present the best possible look to my work, so no step was omitted or given short shrift.

The 1/12 generic figure I sculpted from Super Sculpy (a PVC based polymer 'clay' that is worked in the soft, uncured state, and then baked to harden the work). That sculpt was used as a master from which I produced a two-part RTV silicon rubber tool. The figure master is seen sitting within one-half of the rubber tool. To the left are two cast resin figures, one still attached to its vent and sprue network.

Within that tool I poured Alumilite casting resin -- this process repeated till I had three cast resin figures on hand. One went to Jim Christley who modified his to sit at a little model of an ALLIGATOR rowing station. The two castings I made for myself were used to create the Diver and the head and shoulders portion of a sailor sitting under the conning tower dome.

Care has to be taken to scrub the cast resin piece as there is still mold-release oils clinging to the surface. I degrease using lacquer thinner scrubbed over the models surface with a piece of '000' steel wool. This is followed by a good scrubbing with soap and water, a thorough rinsing, and drying. Only then is the resin piece ready for priming and/or further buildup with putty, filler, or adhesion of additional items.

I set one of the cast resin figures into the pose of a working Diver, walking on the bottom, pulling along his umbilical hose which connects him to the ALLIGATOR submarine, swinging off its anchor, just feet off the bottom. Pulling against the strain of his umbilical hose, muck under his feet, and possibly fighting a current as well -- the Diver figure had to look slightly off-balance, yet advancing with purpose.

Drama!

This was achieved by breaking all limbs and repositioning them into a form that represented a Diver walking the bottom.

The Diver figure was clothed with an automotive two-part epoxy paste. If I had it to do over again, I would have done this with the tried and true Milliput epoxy filler. lesson learned. Anyway ... I was able to work the dark gray epoxy putty over the figure and to work it with fingers and sculpting tools to represent the creases of pants and heavy shirt; representing the belt, belt-loops of the pants, cuffs, shirt collar, boots, and belt buckle.

The raw cast resin figures only have blobs of material representing clenched fists. I worked the hands of the Diver figure with Moto-Tool and insertion of small wires, thickened with CA adhesive and baking soda, to form the fingers. My figures left hand was posed to grasp the Diver's umbilical safety-line. The right hand was open, its fingers outstretched -- giving the impression of studious concentration.

The 'hat' was formed from annealed brass sheet and turned brass stock, all soldered together. The air-hose is a length of heavy gauge insulated electrical wire that was scrubbed with sandpaper to dull its appearance, married with thread to the strength element (safety-line) of the umbilical, a length of marline twine.

At this point the rather rough surface of the figure was not ready for paint or the heavy wash of black I would use to highlight (excessively, for the uncritical eye of the video camera) the creases of clothing and deep shadows of collars, cuffs, and other items. I mixed up a small batch of laminating epoxy and coated the entire model (less the hat and umbilical). The epoxy flowed into the ragged folds and creases, smoothing them out a bit, softening the course texture of the epoxy putty substrate, producing a substrate much more receptive to paint and wash.

See the very shiny cured epoxy over the Diver figure? This was buffed down with steel wool a bit to insure that the paint applied next would adhere properly. The white shirt, blue pants, brown belt and boots and other colors were applied from water-soluble acrylic paints straight from the bottles, or cut a bit with water to assist with flow. His hair was formed from Static Grass, white-glued to his scalp, then painted an appropriate color.

The creasing was highlighted with a very thin wash of black cut with water. I simply dunked the Diver figure into a cup of the wash, shook him out a bit over a big towel, then stood him up over a paper towel, where he was allowed to dry. I over-coated the entire figure (less the hat and umbilical) with a well flattened amount of Chroma-Clear automotive overcoat.

The pose, color, and weathering of the figure is overstated, as you can see here, but shows up on the TV screen as a reasonable representations of a man walking the ocean's bottom. I dry-brushed some white artist oil (Linseed oil) over the upward facing portions of hand, shoulder, and shoes to further highlight the display.