DML Pzkpfw III Ausf G Afrika Korp Blog COMPLETE 01-11-2010

Ok, so I guess we can say this one's been "Plunked"!

I made a few adjustments to the pigment treatment applied yesterday and installed the missing radio antenna. I also fine tuned the tracks for the sag and it was off to the photo booth for the final shots.

the doog

could we just call what you do "Plunking"? lol!

Now that's funny.....there is an accepted convention......beyond LOL to LMAO

Rounds Complete!!

Bill.

My first thought--god, I'm tired! lol!

It's late here, so I'm going to be brief--could we just call what you do "Plunking"? lol!

Anyway, I guess there's no need to debate it further. Have a good night!

Thanks Edmund! Desert schemes offer a nice little change of pace from the usual three-tone or panzer gray for sure!

Looking great Bill!  I really like this camo scheme!

Thanks DM, always glad to see the smilies approval!

Yes Marc, I agree.

This is where the end result

definitely justifies the MEANS.

END Equals JUSTIFICATION

wing_nut

And here is another definition.

 

 

Bill's pan-zer III (n, tank)

Kick butt plastic model of a German PzKfw III

Hummmm...defination not needed.....that is already an accepted convention

Rounds Complete!!

I like your dictionary Marc!

And here is another definition.

Bill's pan-zer III (n, tank)

Kick butt plastic model of a German PzKfw III

I submit the following definations for confusion

mod·u·lat·ed, mod·u·lat·ing, mod·u·lates

v.tr.

1. To adjust or adapt to a certain proportion; regulate or temper.

2. To change or vary the pitch, intensity, or tone of (one's voice or a musical instrument, for example).

3. Electronics

a. To vary the frequency, amplitude, phase, or other characteristic of (electromagnetic waves).

b. To vary (electron velocity) in an electron beam.

fil·ter  (f l t r)

n.

1.

a. A porous material through which a liquid or gas is passed in order to separate the fluid from suspended particulate matter.

b. A device containing such a material, especially one used to extract impurities from air or water.

2.

a. Any of various electric, electronic, acoustic, or optical devices used to reject signals, vibrations, or radiations of certain frequencies while allowing others to pass.

b. A colored glass or other transparent material used to select the wavelengths of light allowed to reach a photosensitive material.

wash  (w sh, wôsh)

v. washed, wash·ing, wash·es

v.tr.

1.

a. To cleanse, using water or other liquid, usually with soap, detergent, or bleach, by immersing, dipping, rubbing, or scrubbing: wash one's hands; wash windows.

b. To soak, rinse out, and remove (dirt or stain) with or as if with water: wash grease out of overalls.

2. To make moist or wet; drench: Tears washed the child's cheeks.

3. To flow over, against, or past: waves that washed the sandy shores.

4. To carry, erode, remove, or destroy by the action of moving water: Heavy rains washed the topsoil away.

5. To rid of corruption or guilt; cleanse or purify: wash sins away.

6. To cover or coat with a watery layer of paint or other coloring substance.

With this in mind.....When you compleatly cover a model....even in dots and move with a solvent.....is that a WASH which becomes a FILTER to MODULATE the color....

We are getting deeeeep into terms.....interesting but without a source to hold an accepted convention.....I will go out to the driveway and drive over to the parkway..

Rounds Complete!!

I don't imagine you're alone in this one Karl in terms of how wording/terminology is used or applied. I draw my conclusions on what color modulation is based on what Rick Lawler and Adam Wilder have presented and described as to why/how they use that technique that they apply that label to. I don't consider that pre-shading or post-shading as those focus on higlighting specific areas/panels and creating a layered affect that way...whereas Color Modulation applies lighter/darker colors of the same shades to the different high/low points (high for example the side of a the turret, low for example as the areas under the fenders or sponsons) as a way to create overall depth in terms of the lighting of the subject vs. only color. The terms aren't so neatly defined and encapsulated though and there's definitely some overlap in the naming conventions vs. the effects achieved I'll grant you that.

English is of course the same language that has you drive on parkways and park on driveways so I guess we'll always have room for interpretation and meanings to be applied by the different readers/speakers! If naming conventions followed pure logic we wouldn't use the term "wash" at all since you are certainly not cleaning the surface when you apply it. Filters evolved from washes and use essentially the same method...thinned paint applied to create an effect. "Dot" filters if you will do the same thing but without relying on pre-thinned paint to do the job. In that sense I think my label of "dot filter" applies more logically to what I do than any other term currently in wide usage so I'll stick with it. Otherwise I'd have start calling it something like "dot-based base color shifting filters" or something equally arcane.

BBill,

Glad to hear that you're up for the discussion--although I had to laugh--we definitely have a different lexicon of what we each individually call which technique! lol!

When you talked about "color modulation" as ",,,the establishment of varying light/dark contrasts in order to present the natural "shadows" of the actual vehicle in terms of the finish tones", I would counter and say that THAT is "Pre-shading" or "Post-shading"! LOL! In fact, IMHO, I would say that you definitely have the "CM" term confused with that. What I understand as "CM" is the application of complimentary tones of filters in order to slightly vary the orientation of the base color.

The reason I think that your preferred technique is closer to true "CM" rather than "Dot Filtering" is in the actual chromatic result. Forget, if you will, the appellation of the term "Dot"--unfortunately, that word seems to describe the technique when it really isn't the best descriptor. Whereas the result of your technique is to subtly shift---or "modulate" id you will--the base colors,, the "Dot" technique employing the actual Primary Colors results in a far different appearance. I guess what I mean is that it's rather somewhat like the difference between "Washes" and "Filters"--both use the same essential technique, yet one is definitely more drastic in terms of the intensity and effect of the technique vs the other.

I have to go rehearse for about 6 hours now, so if you reply, I won't be able to get back for a while here. Looking forward to your thoughts!

Patrick, thanks for the kind words and glad the SBS is helpful!

Mike, thanks as well, getting this close to the finish line is always sooooo tempting but I have to remind myself not to rush just to get it done.

Karl,

No worries my friend, always appreciate a discussion about terminology and semantics. Especially in our world, terminology can often be inexact at best and downright confusing at worst.

Like you, when I first read and saw "dot filtering" being used, the dots in question were always primary colors. I think that works well when you are working with three-tone or multi-color schemes and I employ primary colors on those types of schemes still as the case warrants. Other schemes however I take a different approach and my use of this technique has evolved over time and, like all good techniques, has undergone my own trial and error process to arrive at the way I use it today.

I don't think the use of the name is dependent on a rigid adherence to primary colors only and my interpretation of the intent of the technique is to impart subtle variations and hues to the finish that otherwise wouldn't be present. Whether that's done with primary colors, secondary colors, or complimentary colors is not something that I, personally, view as essential to the name of "dot filter" being accurate as a descriptor. I think the name "dot filter" is indicative instead of the way the technique is applied, namely in the form of dots of paint blended into the finish with repeated strokes until the dots virtually disappear...but still apply a "filter" and alter the underlying base colors in the process. My use of the technique achieves that in the manner described so I don't think I'm mis-characterizing things when I use the term "dot filter". I'm always careful to say which colors I'm using and never state that these are the "must use" colors to go with the technique. While I may not follow the "original" formula of colors used, I view that more as an adaptive/evolutionary step in the use of the technique for my purposes vs. a true departure into something else entirely.

In terms of the direction of the strokes, I think you misunderstand how I actually do this. I do it exactly as you describe, repeated (often downward) strokes in a single direction. I don't draw it across the entire model as a dilute wash although I do work on the whole surface in sections at a time. How much of the paint is left behind is a matter of taste and style I think and the surfaces being worked in question.

I don't think what I do falls under the "color modulation" category at all...at least not as I understand what that term means. Color Modulation is the establishment of varying light/dark contrasts in order to present the natural "shadows" of the actual vehicle in terms of the finish tones. That's not what I'm after here at all, so as long as we are discussing semantics I think referring to this as a "color modulation" technique would be a mis-characterization!

At the end of the day, I would agree with you that the types of colors that I apply have migrated away from the original technique's roots but I will continue to refer to this as applying a "dot filter" as I think that's the best descriptor available, at least at the time being, for what I'm essentially doing. That is, applying a filter over the base coat using several different "dots" of colors and blending those dotes into the base coat via repeated downward (or streak direction for horizontal surfaces) strokes using a thinner dampened square tip brush. That's my definition of what a "dot filter" is, others may view that differently but I'm always clear in my description of what I mean by the term.

Thanks for taking the time to put your thoughts down on paper...and rest assured that no offense has been taken, it's all good!  

Bill,

Spectacular finish on this model, as per your usual high standard, no doubt!

I hope you don't mind if I weigh in on something however. This may be just a matter of Semantics to some, but I think that although it is small, it might be an important distinction?

I've seen you use what you call the "Dot Filter" process on several of your latest builds, but I think that the way you apply it is a mischaracterization of what I understand the method to be? When I learned it--which was pretty near to when it was making its breakthrough in the "Spanish Armor School" (In "Armor" magazine) so to speak , it had a very definite purpose--to use what you would normally never consider to be "Armor weathering colors" in a widely-distributed application of "dots" in order to apply nearly imperceptible hues of mostly Primary Colors to a model in order to impart a rich patina of subtle tonal variations.

Adam Wilder explained to me that this came about because Spain is such a bright, warm country ( as opposed to the :Norwegian School which uses more neutral Blacks and Whites to impart contrast, as per the longer nights/shorter days and general grayness of season) and because this was the intention of the originators--to add that warmth to their models.

However, from how I've seen you doing YOUR technique, it seems to be more of a "color modulation" in form of altering the general base color in lights and dark hues which are always more related to the model's base color? Like how on the Pz38(t) you used appropriately-related colors of  Flat Sea Blue, Flat White, and Panzer Dunkelgelb. No real "contrasting" colors if you think of the Dunklegelb as imparting a "dust" hue. In contrast, the "Dot Filter" technique generally recommended to actually stay AWAY from "complimentary" hues and what you would consider "actual weathering" colors, as a matter of actual process.

Also--and this may be a small detail, but--the process was usually drawn down in stokes, and in somewhat heavier concentration more so than merely being diluted, or drawn across the model as you did on that Tiger (P) Prototype. For instance, look at the distribution, colors, and process of how I was doing it on the Hetzer;

As such, I think that what you do is more aptly within the nature of what has come to be called "Color Modulation"--albeit you DO use "dots" to effect that result.

I hope this post doesn't come across as arrogant or petty --genuinely, neither is the intent; I think you know that! I just think that the difference in results of what I've seen between the application of the "Dot Filter" technique as it originally started and from where it gained popularity and what you achieve ( and NOT, BY ANY MEANS (!) judging that to be any less valid, or inferior) is noteworthy enough as to warrant the distinction? Your method of subtly modulating the base color is much more subtle and in a way, "User Friendly", where as the way that "Dot Filters" was employed in "Armor" magazine where it got its real "push" was much more extreme and contrasting in its results.

Thoughts? Is it just a matter of Semantics? Or do you see the point that I'm trying to get across?

Bill

You always look good crossing the finish line. I like the color on this one....it's almost appealing to my OD senses

As always, very nice work

Rounds Complete!!

Bill,

Really appreciate you taking the time for your detailed finishing sbs. I’ll mark this for  reference for coming work of my own in hopes some of your knowledge and maybe talent will rub off. 

You have a splendid finish and it’s a joy to see. Marvelous top drawer work.  

Patrick

I made a lot of progress with the weathering stages but didn't quite get this one across the finish line. Work started with an overall wash of enamel Raw Umber applied with a round 0 sable brush to the entire vehicle. This darkens the finish at first but provides a nice foundation for the additional steps and layers to follow.

The next step was the application of dot filters. I chose enamel Light Gray, Armor Sand, and Raw Sienna and applied small dots with a pointed brush to small sections at a time. The dots are then blended together with a square tip brush that is dampened with thinner, a condition achieved by dipping into clean thinner and then touching it several times to a paper towel to wick away the excess thinner and avoid "flooding" the surface where the dots are.

As a kind of "before and after", you can see in the pic below that the front part of the turret has received the filters while the cupola and storage bin are still in their unfiltered state. This process was applied to the entire model, working slowly one section at a time and all while wearing a breather mask due to the high concentration of thinner fumes.

Next up was the application of a pin wash of enamel Burnt Umber using a pointed detail brush. The pin wash was applied to all the raised detail and panel lines. I then went back over the same areas with the same brush and clean thinner and removed or adjusted any excess wash as needed.

At this stage I took a series of walk around photos looking for any problem areas or unblended dots from the filter stage. The camera sees things far more clearly than I can with the naked eye and a couple spots were cleared up and some adjustments made before I applied an overall coat of Testors Lusterless Flat in the spray can.

Once that had dried, I applied a wet mix of Mig Pigments Gulf War Sand using regular tap water mixed with a drop of liquid dish soap to break the surface tension. This was allowed to air dry and then the excess pigment carefully removed with stiff bristled brushes. I made further adjustments using wet and dry q-tips to get it to this point. I also used the dry q-tips that had accumulated pigment to apply a light dusting to the upper surfaces and fenders. I'm about 95% done with adjusting the pigments on the tracks and lower hull as I still see some spots where it's a little heavier than I would like...but will have to make those adjustments along with a few other small details later before I can say this one is done. Almost there!

Thank you Bill!  Knew I could count on you because I really don't know much about the tracks... I am still learning!  Placed an order for the SK-024 tracks from RMZ.com few minutes ago.  It will be for the Invasion of France so no ice sprags.  Thanks again!

Andy,

You sneaked this one in while I was posting my response to MR. RZM Imports is where I order most of my tracks from and if you order online they will discount the price a further 10% than the list price of $29.95 so that helps. It doesn't include shipping and they are the cheapest place I've found so far for MKs here in the US. One thing to be aware of though is that they have MKs on backorder right now for the most part but expect a shipment in mid-Jan (I know this because I have a few sets ordered but still pending from them) so if you need the tracks right away they may not be the best source at the moment.

As far as tracks for your StuG III B go, they did use the smaller 36cm tracks for a short while but the Tamiya kit has the wider 40cm sprocket so that set wouldn't work for that one. Instead what you need to get is the SK-24 or SK-18 set. The only differences between the two are the SK-18 has the spaces for the ice sprags to be fitted that was introduced in winter '41 so depending on which time period you want your StuG to occupy, that would drive which type of tracks you need.

MK puts out a handy little reference chart that shows all the different vehicles and years that match up with their various sets. It's not 100% accurate but it's pretty close.

wbill76

Thanks MR! Have to agree on the rarity of the "tropen" schemes and I blame that on two things. 1) The stubborn tendency of "desert yellow" introduced by Tamiya and deeply ingrained in the psyche of modelers as a result and 2) lack of appropriate colors in various paint manufacturer lines making it more difficult to apply the real scheme for those who do know about it!

Thanks MR! Have to agree on the rarity of the "tropen" schemes and I blame that on two things. 1) The stubborn tendency of "desert yellow" introduced by Tamiya and deeply ingrained in the psyche of modelers as a result and 2) lack of appropriate colors in various paint manufacturer lines making it more difficult to apply the real scheme for those who do know about it!

The weathering process will definitely tone down those turret numbers...looking at the reference pic I'm not entirely convinced they should have a red center but that's what DML included so that's what I used. I lean more towards them being white outline only due to the way the color inside the lines matches up with the hull color outside the lines but don't have anything to back that up beyond my own visual interpretation. Since other units in N. Africa did use the red-with-white outline, DML's design isn't that far out there in the general scheme of things. As for the complex surfaces...totally agree with you there as it stacks up to zimmerit...no way it would be possible to get those markings on without an agressive setting solution for sure and even stencils would have a very very hard time due to the uneven surfaces they have to cover.

Hi Bill,

Always looking great!  it is a must for me to visit your forum every time for an update. 

I am about to start a new kit Tamiya Stug III B and I have been looking for AM tracks to replace the rubber bands that came with the kit.  I just realized I may end up ordering the same tracks from Model Kasten that you ordered for this.  It is asking for $30.00... is it the best deal?  It's from rzm.com and the model is SK-26III.  Which vendor did you order from?  But I wanted to make sure that it will work well with Tamiya Stug III B too. 

Thanks Bill!

Wow, looking good, Bill.  Very rarely do you see the "official" Tunisian scheme modeled. Looking good.  Will look better once you get those turret numbers toned down a bit and some dust on her. Worse two things about German armor: zimmerit and turret numbers that cover hatches and viewports... 

I agree Wayne. Especially when you consider that the Tropen schemes were applied as a rule prior to the vehicles being shipped to N. Africa (or the other designated "Tropen" theaters such as southern Russia) and that those vehicles were typically painted at the factory in that scheme as well. Only the very first vehicles sent over in early 1941 would have been painted truly in the field in N. Africa. The reason being that they usually received other external modifications to equip them for a "Tropen" theater such as modified engine deck hatches as well as internal mods like special oil or air filtration systems.

Karl, thanks as always! I was able to work quickly on this one due to having a nice long vacation for the Christmas holidays...but now it's back to the "normal" schedule! We weren't able to travel anywhere this year so I made the most of the time I had with this one.

Terry, it's true that the tendency is to make every vehicle that ever served in N. Africa look like it's been thoroughly sandblasted...kind of like a very hot version of whitewash! Some vehicles did get beaten up and/or had poor paint jobs done in the field as evidenced by various photos but I prefer to keep the schemes relatively intact. The two-tone Tropen schems offer some very nice visual appeal as well IMHO. Thanks for the comments!

Steve, haven't really had any major problems with this one construction-wise...just the surgery on the fenders really. I too am looking forward to see what you do with it when you get to your Pz III. And yes, I do find it funny that the camo schemes would be designed so meticulously by theater and then those huge numbers get added...because you have to know which vehicle is which on the mobile battlefield!

  Bill I have to say this just seems to have fallen together for you. Nothing wrong with that though right? The cammo is an eye catcher. I looking forward to using this scheme on my pz III when I finally get to it.

  Don't ya just love how the Germans would put these nice cammo schemes on their vehicles and then paint those big bright numbers on the sides.

Hi, Bill I've been popping in and out for a while and must say great progress. Another great build happening, I must admit that while I'm no fan of the African campaign this and your Mk.IV make for interesting subjects, especially with your approach of not over weathering. When I was a younger chap everybody done harsh "Desert Yelloy" over "Panzer Grey" because it wasbelieved/ accepted that every vehicle was in a sandstorm.

Regards,

Terry.

WOW, Bill--sheesh, you do work quickly!

Another good looking build happening!

Thanks Mike, I can definitely understand why you'd be a bit sensitive these days about "tracks"! Still gives me shudders when I see your pic or think about it myself.

Eric,

Thanks for the comments as well. The handles are there to allow ease of well, handling, of the small parts. The pins and the guide horns would be a real nightmare if they didn't have them as they are tiny and there are lots of them. The MK design is very user friendly in this regard...but just to be safe, they do provide you with plenty of extra pins although the same isn't true generally for the guide horns. HTH!