~NETIC

Model Kits

The first purpose-built two-seat jet trainer aircraft in lhe world, lhe French Fouga
Magister first took to lhe air on July 23rd, 1952. Nearly 1,000 Magisters were
produced and being exported to many nations.

The distinctive V-tail of lhe CM.170 Magister originated

on lhe CM.8 glider Fouga was using to
experiment with jet engines.

Belgian CM.170 Fouga Magister, MT 15 No 272 Fouga CM.170 Magister {Packs of 2 Kits) K4sos1 ~
SCALE

. ~/'
~-·
Markings:

... ...........
French Air Force/ Belgian Air Force
Patrouille de France, CM.170 Fouga Magister VP 585. lsraeli Air Force/ Patrouille de France

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Armée de l'Air, CM.170 Fouga Magister No. 529 (312-AX).

Decai printed by
® Decai design by

,P-
lsrallccal

..../.,.
Sl'Il[)lO

CM.170 Fouga Magister, No.216, lsraeli AF, 147Squadron,1967-Six DayWar . Photo Etched partis included Length : 21 Omm Wingspan : 253mm Parts : 150+

..1111\-.)- .
CM.170 Fouga Magister, No. 158, lsraeli AF Flight School,1976.
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AK-lnteractive launches a
new line of publications
amongst which a
magazine ded icated
exclusively to aviation
modelling in all its
genres emerges. 'Aces
High' is and will continue
to be a magazine with a
thematic content, covering
everything related to
fighting units, or battles in
which the aircraft has been
the main proponent of the
action. Our first issue is devoted
to the formidab le German night
fighters of the Second World
War, with a wide variety of subject
character which was typical of the
German aircraft industry at this time,
including the legendary Messerschmitt
Bf 109 with a completely black scheme, and
one Focke-Wulf Fw 190 with its characteristic
antenna arrangement which resembles a
"hedgehog". Aircraft such as the spectacular
Messerschmitt Me 262 jet fighter, or the impressive
Heinkel He 177 'Greif' heavy bomber (although nota
fighter, the camouflage scheme, equipment and night
operations, give it a foothold in this genre), and last
but not least, the Messerschmitt Bf 110 and Heinkel
He 219 that swelled most Luftwaffe Nachtjãger units.
Other types such as the legendary Ju 88 will be subject ~ 1

1 hope our approach is to your liking. We have puta lot

to future issues of the magazine, dueto the number of
of enthusiasm and commitment into this publication
variants, camouflage schemes and theaters of operation.
and we will continue to improve with each and
An essential addition to this publication would have to
every issue we publish, giving the best of ourselves
be the inclusion of a military veh icle and a pilot figure in ... and the all modelers who work with us, on this
... ...
-
order to create a different approach than that employed
and future issues .
by other publications.
... Daniel Zamarbide Suárez
 10

nodi I . ReicbsorbeitsOienft
 ..

inbex .
•
E t n ft I! 1 1 u n g
Heinkel He 219 A- O UHU' 1 pag. 6
Einítellungs-
The most advanced night fighter of WW2 . The He 219 Uhu, in 1/32, from the Japanese manufacturer
unterfucflung Zoukei-Mura, built by Aitor Azkue, in a stunning diorama .
om ·····--·-········· ···· ··· ··--····· ···· ··('.ta.g,· ·miõii.ãi; ·~fà~r)· ·· ··· ····· ··· ····· ····· ·-·· ······· ······
'

~r3tlidles
Focke-\'/ulf Fw 190 A-6/Rll pag. 22
One of the legendary fighters of the Luftwaffe, the eternal Fw 190 with its characteristic antennae in a
Urteil 'hedgehog' arrangement. Built from the Hasegawa's 1/32 kit with Owl 's conversion set, by Dani Zamarbide .

Einftellungs- Heinkel He 177 A-5 'Greir pag. 32

Andrés Montiel shows us the huge 1/48 Heinkel He 177 'Greif' from MPM, with a comp lex camouflage
tag and an array of deadly weapons including a Frit z X guided bomb .

Einge~ellt
Messerschmill Me 262 B-la/Ul pag. 44
Deadly with its impressive speed, manoeuvrability and weapons, the Me 262 . Jose L. Etxaide has captured
béi this with an interesting camouflage scheme in a variety of colors, building the Dragon 1/48 model.
............... ·············-·····················..····················---····-·······.....................
(truppenteU,
' Stonbort)
..

18 Uien~3eit Messerschmill Bf 110 G-4 pag. 54

lf there was one true defender of the German night sky, the Bf 11 O G-4 was it. Manuel Gil builds a
rechnet ab superb example of the Eduard 1172 model .

Dereibigt Messerschmill Bf 109 E- 4 pag. 66

The best known of al i German fighters of WWll was the Bf 109 in its E-4 variant, which Tomás de la Fuente
om builds for us, includ ing an exhaustive process of painting in an always hard-to-work black scheme .

fiicht einge~ellt auf Grunil iler Ein~ellungsunterfuchung

Jn marfch Mind The Gap The ground seclion pag.
ln this section, Roberto Ramirez shows us how to masterfully paint a Luftwaffe pilot, with a lea,ther
75

geíet)t , jacket anda jaunty pose .

nadi I ~ •• •• • •••• • •••·-• ••• ••• • • •••• •• • • • • • ••• ••••· •• ·• • • •• • ~• ••••••••••••••••• • •••••••••••••••••••••• • ••••••••••
(~o~nftt)
- ..

Mind The Gap The ground seclion pag. 79

om To round off this section, Francisco J. Martínez teaches us how to paint a Luftwaffe Kfz.385
Tankwagen, to help spice up our diorama.

' ···· ········· ······ ······················(-iãii: ·IDiõitãi; -~â~r) ····· ············· ········· ········· ···
In The Nexl Issue: pag. 82
Uber- World War 1 Centenary Special

miefen
an - · · -·· · ··---·-··· · ,··-··· · -··· - · · · - ··· - ·· · ··---··· · ~-·- · ····· · ··--··-········ · ··· · · · ··· · -·· · ··-··-· - ······ ·
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•

parts are included, having the interior of the cabin, with its instruments, seats, radios, etc. a 1
he rest of the fuselage. Engines are amazingly detailed. ln the front of the plane, the FuG 220
aerials are finely represent ough 1 replaced the originais with metal ones from Master Model, who dedicate much time
to the actual study of the ~ "eh is reflected in their quality. Highly recommended.
UHU ASSEMBLY
Partially assembled office . Detail is superb,
but 1added the seat straps from photo
etch .

We use Model Air paints for the base layer

and hightlights .

With pasteis we emphasize panei centres

giving volume to the parts .

All interior elements were painted,

following the magnificent He 219 book
from Kagero . 1concentrated in creating a
dirty looking cockpit floor

Radio detail. Aber photo etch has been

added to simulate dials, etc.

Both engines assembled. They could be

separate projects . Even the interior pistons
are recreated.

With Black and Médium Metal colours, we

give the engines a metallic base layer.

With pigments, we give a dirty and dusty

appearance and add nuances .

By painting with the appropriate ena mel

colors, the different elements of the engine
block are brought to life

The rib structure of the wing has an area

where ammunition is stored. 1advise
painting this before joining the wing halves
together.

With green Gunze RLM 02, the interior,

upward firing guns, radio and navigation
equipment, etc. are painted .

We again emphasize volume with pasteis,

by creating different shades .

Interior parts are now painted.

The interior fuselage fuel tanks are painted

in the sarne Gunze RLM 02 colour. ' Using tin wire, cables are added to represent
various landing gear hydraulics lines etc.

A comparison
of the antennas.
The black parts
are from the kit,
whilst the metallic
UHU PREPAINT

The doors to access the engine are opened.

As not much is seen, we open one that
Det ai l of th e pain ted ca bin with th e glass not yet was mou lded as cl osed in th e kit , as t o
Overview of the assembled kit, l• fitted. We see one of the kit options, giving the better see the engine. The cover's built with
rea dy to pai nt. trames, without glass. evergreen plastic.

This view of the Master metal antennae,

now installed, shows how refined they are.

The folding hinge of the rear access doar is

made with evergreen .

cannon and
weathered fuel tank, creating
a well-used appearance .
Being a promotional model kit,
1did not want to add too much

Here we see
ali access to
the engine and
the new ac;Gess
pa~·els

Rear view of the cabin, with

ali its elements painted.

~··---:.

At the rear of the fuselage we The exhausts were detailed with a

add the backwards pointing little Evergreen plasticard to create the
antenna. straps that were missing in the kit.
 UHU PAINT

We prepare the model for the

painting phase . Masking tape is used
to blank off painted areas and secure
loose parts.

To create a base calor, Gunze RLM 76

was airbrushed over the entire model .
Personally, 1prefer this brand for the base
colors due to their excellent covering
qualities.
For the top half, 1used RLM 75 . Paint
dilution was done with the manufacturer's
own specific thinner, Mr. Thinner.

• The squiggles are painted with RLM 76

anda little white, soas to stand out on the
RLM 76 of the fuselage . This is the sarne
as shown in profile, but the weathering
steps will reduce the effect 1advise gloss
varnish from Model Air, then adding the
decais, with matt varnish applied before
any weathering .

' 1 We proceed to give "volume" by

highlighting ali surface detail with pasteis
and pigments

Things are now looking a little dirty

dueto surface pastel and pigment
application, but still allowing the
previous detail to show.

With AK082 Engine Grime ena mel, we

create a little random dirt, diluted with AK
 We continue with pigments on the sides
of the plane . Simply puta dry brush into
the pigment, and apply directly. The excess
is removed by rubbing with another dry
brush.
Another view of the sarne process .

1usually paint rivets one by one with a

freehand brush. However, there are toais
on the market, which will make this task
far easier to carry out. 1advise you do rivet,
as without, the models looks "flat" .

' ' Sides are now riveted . l've used an

intermediate gray ena mel for these. lf you
see real He 219 photos, you will clearly see
these rivets .
To paint and "highlight" the tail, follow
these steps: First, highlight ali panei lines
with pigments When removing excess
pigment it should remain on the base paint
calor, modifying it slightly.

': To highlight a panei line, we use Tamiya

tape, leaving a small gap between strips,
and depositing pigment between them.

'. Remove the tape .

Use more tape to serve as a guide when

marking the rivet lines.
Final appearance. We have given more life
appearance of the painting
Sarne process with one of the main wings .
We see an attractive matte, but lifeless
finish (1 prefer matte models)

We highlight panei lines with pigments,

although you can use your own
technique, or those well-known ones
already described in many other
modelling articles.
The highlighting of panei lines with
pigments is now complete.
Freehand riveting using a small brush.
Final look of the wing
We highlight a panei with the adhesive
tape.
Remove it .
Rubbing removes the excess pigment, and
this is the end result.
, 1 Overview of "paneling" and riveting
We have use d the test shot cano pies to
temporarily cover the cockpit.
 The riveted appearance, and the antennae
installation can be appreciated in this view.
The front wheel is turned soas to give
it more dynamicism in its final pose.
Doing this requires modifying the part.

No final quality canop1es

\ were gíven by the
manufacturer, as thís is a
test shot model kit, but it
g ives a n idea of the
\ "separate-frame" approach
that is an option in this release.
•' Top view of the cockpiL

From the rear, the View from behind the left wing
ca mouflage creat es a
special look, fulfilling its
role and distorting the
surface of the plane .
Where dirt and grime is more
apparent, 1used various items
from AK's weathering
products range . Wheels are soiled
w ith pigments for the perfect look .

Antenna cables from stretched plastic.

Another view of the side. Here you can also

appreciate the various elements normally
hidden away within the fuselage, such as the
ducts, etc. Of course, releasing this hidden
detail means we have had to paint it.

A curious view of the aircraft, giving it a futuristic and

strange appearance, far from the typical airframe Normally
1like building"operational" models, so 1don't skimp on dirt,
but as this was a promotional model, 1refrained
 1added panei restrictors from
lengths of stretched sprue.

Another rear aerial view, this

time from the right wing

Here, we can see the

central fuel tanks pipes
and cable detail that is
, integrally moulded as a
single piece.

Left front view.

Leaving outone engine, 1had to detail the

gondola with cables and different thicknesses
of tin plate. Detail can also be appreciated in
the belly weapons pack.
1always try to subtly chip plate Aerial view of the plane,
edges with a brush, soas to give which gives usa perfect view
the appearance of general wear of its silhouette .
and tear.

For this photo 1

placed a pilot in
arder to give an idea
of the scale of the
Side view of plane. Later they
the plane. will be together in a
diorama.
;~ Photo shot with a wide angle where the engine is
dismantled and placed under its gondola.

More views of the

engine painted and
weathered to look dirty
with usage.
 I

• • Workbench with toais

and cables, which will
be integrated into the
diorama.

A number of cables
provided by the
manufacturer had to
be supplemented
with a few other tin
w ires of d iffe re nt
thicknesses .
 View of "Owl's Nest" with
severa! pilot figures.

There's nothing like creating a

diorama, to fully appreciate the
realistic finish of your model.
 With different
colors, blue trousers,
black jacket and brown leather
boots, gloves and hat, we paint the
figure completely by brush.

The engine
when fitted
to the aircraft,
with the
propeller fan, is
barely seen,
but it's the
aspect of
it, when
completed,
with the
addition of the
BMWemblem.

of the flame arresters over

the engine exhausts.
Minar problems were
Fully
experienced when
enclosed
fitting the
fuselage and a
wings to the
perfect fit with the
fuselage.
engine and the
cowling .
We mask with low adhesion tape,
Underneath the wings, we mask
everything that is not painted in
off the wheel wells with both
the plane's camouflage colors. We then
tape and Humbrol Maskol.
seal with Humbrol Maskol.

We apply the lighter

top gray, in this case,
the RLM 75.

We start the
painting phase,
always using the lighter
calor first ln this case,
RLM 76 Light Blue.

On the undersides, one of the
wings is painted in RLM 22 Black,
whilst the rest is RLM 76.
With a series of
homemade masks, we
add the black band edged in
white in the area of the engine exhaust .
then apply the RLM 74 Dark Grey.
 We always apply the
lightest calor first ln
this case, white. Then
With vinyl
we apply the
masks from Polish
masks that will
brand Montex, we are
caver the white crosses, so
ready to paint the national
we can airbrush the black.
markings.

Final result
after removal of
ali masks.

Now, to create volume, white is mixed with

RLM 75, and each panei centre is tinted in
arder to highlight it .

Next, we perform the sarne

operation, this time with the
darkest calor, the RLM 74 .
...we end the base calor painting phase
process by performing the sarne effect for
the lightest of ali the calors, the RLM 76.

We remove the
masks carefully,
so as not to raise the
white paint of the
dashed lines.
We apply a layer
of gloss varnish, place
the decais, and after a new layer of
gloss varnish, apply a dark brown wash
for panei tines and rivets .
With oils added,
to gray shades and into
shadows, we add severa! dirt
effects to the plane, including the
areas near the engine exhausts and
around the gun ports.
View of the model
after removing the excess
wash with a clean wash cloth,
and always in the direction of
airflow
With earthy-toned
oil paints, we wash the paneis
next to the exhausts in order to
create the effect of "burning" in
those areas.
After removing ali masks, we
check and rectify any small
defects of the paint layer.
 Parts
ofthe
canopy,
cockpit, and
interior
parts
finished
with common Cutting the gun
techniques . tubes from their supports .

1choose a hypodermic needle that fits the

scale of the guns .

'l,/
//
A short needle The completely
of the proper length is finished part, ready to be
inserted into the barrei holder, placed along with the rest
using a previously placed a of the guns on the plane .
rod to ensure a proper fit and
alignment of parts .

Fully finished
fuel tank after the
Propeller hub and fan
process of applying
set completely finished
oils and filters

Undercarriage,
lmproved landing gear completely finished
brake wiring made from thin with the addition of
electrical wire . metallic paint on the
hydraulic dampers.
 {;

We perforrn
the sarne ..
procedure on
The outside, of
the inner gear
each gear door is
doors as we did
painted to rnatch
within the rnain
the u nderside
wheel wells.
colours of the
wings, we use the
sarne techniques
as on the outside
of the aircraft.

Landing gear pieces cornpletely finished Landing gear assernbled and ready to insta li on
the plane once it is finished .

'1
The airfrarne, and fully finished
cornpleted exterior parts, ready
for final assernbly of the rnodel.
The chosen color scheme corresponds to that
proposed by the instructions, plus 1sourced reference
for myself in the form of various pictures obtained
from the internet, and Warpaint series book # 33.
Once in place, check its
position and fix with
cya noacrylate.
 The interior of the fuselage
needs plasticard strips that guide With careful alignment,
us, as the model does not the fuselage halves are joined, using
have locating pins. the classic Revell polystyrene cement.

1apply Mr. Surfacer 500 to caulk seam

areas, and then sand back to check the
perfect union of parts. This stage is very
tedious but important, because if not dane
correctly, errors will be seen in the final
paintwork.

Full instrument panei

with cables that are
highly visible .

1finish the assembly of the

~~~~~~~~~_::======:::::==========:::::::~
wings and reinforce the
........s~eamswithC.A.glue .-~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
.
Products used for seam filling
and leveling plastic.
 1apply a final
priming caat to
ensure the work is
free from possible
imperfections .
The AK primer has
a drying time of
around 48 hours.

For the top calor, 1applied Gunze lacquer RLM 76.

Mixing a little With the airbrush

wh ite to the base in perfect working
calor, panei centres are candition, 1began
highlighted, breaking to spray RLM 75 to
up any uniformity mimic the familiar
in the basecaat. camouflage
blotches.

í
lt takes patience to
achieve a regular pattern
with equidistant spots,
and you may need to
tweak the base calor. This
job will run into multiple
sessions .
Based on available
documentation, RLM 22 black
calor is applied . The lineation
between the black and the
camouflage is not hard-edged,
and applying several passes
with the nozzle almost closed,
and not masking, will soften
this edge.

Gloss varnish the plane, and begin to apply the

decais for your chosen version, paying particular
attention to the small stencils. Thanks to their
excellent quality, the decais went down without
any problems .
ln this image, the results are seen after
applying matt varnish and acrylic paint
for the small details .

The wheels on this model are very large and visible . Pay special
attention to their alignment and paint finish The rims are in black satin,
whilst the details are highlighted with a brown wash. The black matte
tyres are enhanced with light gray paint to create volume .
 The
propeller
prepared with a
metallic base calor
before adding
chipping
effects . ... and sprayed with RLM 70. Then the entire
A combined layer of both surface is wetted with water and with a
products is airbrushed .. brush, the paintcan be removed.

This detail adds

refinement to the
model .

leakage effects
are carefully
brush painted on
the upper filler

ln this phase, the model is thoroughly '

retouched with small amounts of paint in
arder to correct any masking defects, prior
to a final varnish in satin.

The Fritz X bomb comes as its own

kit, with photoetch fins anda ventral
support that we will adapt to fit the
plane. lt is painted with RLM 65 and
slightly weathered with dark wash.
The Messerschmitt Me 262 B-1a/U1 was a provisional night fighter aircraft
developed from the two-seater training Me 262 B-1a. Only a handful of these
were rebuilt from Me 262 A-1a & A-2a aircraft in the Deutsche Lufthansa
workshops at Berlin-Staaken in late January or early February 1945. Each of
them was equipped with a FuG 218 Neptun V airborne interception radar, and
the day fighter version ofthe Me 262 under dose ground
'Hirschgeweih' (stag antlér) type aerials. The radar device had a range of between
guidance by the Luftwaffe's fighter-c~.ntrol system.
120 to 5,000 meters, and a sea.rch angle of 120 degrees. The modifications were
non-standarized, hence the particular Me 262 B-1a/U1 night fighters had various The plane we represent, 'Red 8' with manufacturing
armament configurations, induding at least one example fitted with 'Schriige number (W.Nr.) 110305, was the machine piloted by Kurt
Musik' - two additional upward-firing MG 151/20 cannons. Even without this, the Welter, and was surrendered to the British at Schleswig,
Me 262 B-1a/U1 was a dreaded and deadly night hunter. along with "Red 10" and "Red 12". On May 18, 1945 it
was sent by rail to Gilze-Rijen, and then to the RAF
The new night fighters were allocated to the 10. Staffel (10th Squadron) of the
airfield at Farnborough, UK, for evaluation. When it
Nachtjagdgeschwader 11 (11th Night Fighter Wing), known as Kommando Welter,
completed the tests, it was shipped to South Africa on
based on the outskirts of Berlin, and more precisely, in Magdeburg. As is usually
February 23, 1947, arriving at Cape Town on March 17.
cited, three Mosquitos were shot down by the Me 262 B-1a/U1 crews of 10./NJG
11. The pilot with most victories daimed in the Me 262 was Oberleutnant Kurt Here it was stored until its restoration in 1971, then
Welter, with 2 Mosquito kills achieved in daylight and 23 kills at night, induding 21 being exhibited at the National Museum of Military
Mosquitos and 2 Lancasters. Worth noting is that O bit. Welter was usually flying History in Johannesburg, South Africa, from 1972.
______. .. d
 Thin plasticard was used to disguise the wing root joint,
instead of using putty.

Interior parts were attached to lengths

of plastic rod, making them easy to hold
To fill gaps, 1 whilst painting
use stretched
plastic which
1 soften by
dipping in liquid
Engine nacelles sanded
glue . When
and re-scribed.
dry, remove the
excess with a
curved biade
and sandpaper.

Copper wire and adhesive foil was added to the

undercarriage to create hydraulic lines.

1used plastic card to fill the gap between

Gun muzzles are
the horizontal tailplanes.
hollowed out with a
knife point.
Set of parts prepared for painting phase .

With an airbrush, 1applied an AK704

Dunkelgrau basecoat.

Highlights are added

with 8 parts of AK704 Dunkelgrau
and 2 parts of Model Air 71008 Light Blue.
 1 brush apply highlights

using 7 parts of AK704 Dunkelgrau

and 3 parts of Model Air 71008 Light Blue.

1 add the
pre-painted
photoetch.
AK735 Black was used to 1 apply highlights with gray,

paint various details within the cockpit. mixed from AK735 Black and AK738 White.

With black, white, yellow, blue, red Klear is applied to the dia Is
and light green/gray paints, smaller the lower side of the cockpit with of the instrument panei in
interior and photoetch parts are detailed . AK042 European Earth pigment, applied dry. order to reproduce
the glass.
 1apply highlights with a
brush using the sarne mixture as
í for the airbrush .
1apply highlights, 1wash with AK045
mixing equal parts Dark Brown enamel.
of base calor with
AK738 White.
Landing gear legs.

A little detail painting

Once dry, the lower

engine nacelles are
added, along with the
The engine nacelle radiator shrouds.
is fitted, adjusted and glued
to upper wing panei joint _J

The fuselage halves are closed, using thin

glue and capillary action.

The upper and lower

seam lines are now
scribed onto the
fuselage .
 1 opened up the ends of the flash All canopy parts are masked
hider tubes, using successively using the excellent self-adhesive
larger drill bits. masks supplied with the kit

For the externai fuel tanks, 1

carrect the mounting struts and
add the fuel lines .

• 1 Yellow markings
' 1start by applying Tamiya XF-2
are painted with a mix of
White paint, as the base for the
The kit is ready for the painting phase. Tamiya XF-3 anda little XF-7 Red.
yellow calor.

First, 1 apply
the lightest calor,
RLM 76, camposed of 6
parts of XF-23, 2 parts of 1 lighten panei
XF-19, and 2 of XF-2. centres with
a mixture
camposed of 6
parts of RLM 76
and 4 of XF-2.
 The areas of RLM The RLM 75
76 are masked off is added,
around the fuselage made of 5
and nacelles, using parts of XF-24
Play-Doh . and 1 of XF-50.

'.
Our result,
after repeati ng
1mask the outline. the painting
process and
adding RLM 75
to the wings
and horizontal
tailplane .

Using Tamiya tape, 1

careful ly applied
home-made masks
for the Balkenkreuz.
/
/

1perform the sarne

process over the RLM 75,
mixing Vallejo's 71052
German Gray with 71046
Pale Gray Blue, and
applying highlights and
wear around the wing root
and filler ports .
'.
.~
By airbrushing 71046 Pale Gray Blue from Vallejo Model Air, mixed
with AK738 White, 1changed the tone of panei centres, and applied Decais were applied using
highlights . 1created 'wear' effects in the direction of air flow over the Micro Set and Sol, before
RLM 76, repeating with AK739 Yellow on the yellow markings. sealing them under a
brush coat of Klear. The
decais are from Tamiya.
 y

brown, 1 paint fia me tubes, ending

1 remove the excess wash with a piece of paper towel ora dry flat brush, wiping from front to back with the lightest calor on the edges.
---~~~~~~..---

After painting the wheels in XF-1 Black from

1paint the exhausts streaks with an airbrush, mixing Tamiya, gloss varnish and AK045 Dark Brown
identigi l quantities of XF-1 Black and XF-64 Red Brown, Wash are added before applying XF-24 Dark
very diluted in 96º alcohol, akin to dirty water. Gray on the tread .

Matt varnish is combined with a mixture of 1

.'
part of Model Air 71059 matt varnish and 3 With AK039 black pigment,
1 add staining to the weapon ports .
of Tamiya X-20A thinner.

1 add the undercarriage, fuel tanks, etc.

Washing with 73200 Sepia and 73201 Black
from Vallejo, 1 cover the new joints, and
make the cyanoacrylate gloss disappear.

Canopies are fitted using

Micro Kristal Klear as a glue,
and stains are added to the
fuel filler ports with AK025
Fuel Stains. The antenna cables
are made from 0.08 mm Neptun antenna,
fishing line. scratch built.
 . ,}

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www.robotines.net
pedídos@robotines.com
 O P·SlD/K
1/32 ASSEMBLY KIT

MustangJV 1/32 MUSTANG IV/P-510/K

RETAIL PRICE 9.1 5 ooJ(+lee)

Plastic model kit (including 2-color molded paris, clear and grey) /Total parts, 292

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SWS kit, you can see the differences of the fighters' performances which the pilots felt, and imagine the scene of the battlefield.

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 Rlrssrcsrllmí tt
Bf 109 f -4

24 . r ·r

urt a;.~ts

..., l.'rR . av. R

DERF
? d
1 know by now 1 can not bring anything new to the history of this
legendary aircraft, as rivers of ink have been written about it already.
lnstead, 1'11 just explain the peculiarities of the night-fighter variant,
which were evaluated v July and August 1941 in Kõln-Ostheim
(Cologne). Specifically, Bf 109 E-4 variants were used, painted entirely
black, to which an antenna was added, to aid navigation. This was the
PeilG IV, consisting of a solenoid to detect the intersection of two radio
beams directed from earth. This solenoid was mounted on the lower
fuselage, protected by a teardrop-shaped fairing of plexiglass. To
compensate for the extra weight and change in the centre of gravity,
dueto the radar installation, the tails of these aircraft were modified
by adding a fin and a pair of counterweights to the rudder.

lt is known that aircraft equipped as such, were assigned to 10./

NJG 1. This Staffel was previously equipped with old C and D variant
109's, which carne from IV.(N)/JG 2. lt is also known that this was
nota successful Staffel in combat, and later in October 1941 it was
transferred to the Netherlands, where it began to be equipped with
the Bf 110.

To meet the challenge of reproducing this plane, 1 used the Eduard 1/48
model (ref. 8263) in the ProfiPACK edition, which not only includes the
model, but also photo-etch, and masks for the canopy. However, to
ake the night version, 1 needed to get myself the conversion kit from
OWL (ref. OWLR48017), which supplies the resin, with the antenna and
tail, vacuform plexiglass fairing, and a set of full decais which include
Balkenkreuz, swastikas, the emblem of NJG 1 and fuselage codes for
two machines, namely the G9+JV and G9+GV. 1 have to say that there is
some controversy about the color of these codes. Some say they were
red, and others say that they were RLM 77. lhe latter is the color that
OWL has chosen, and 1 have respected this.

With regard to the Eduard model kit, 1 have to say that from my
point of view, it is not an easy model to make, and has a much higher
number of parts than the sarne aircraft made by other manufacturers.
including the engine and the armament, if we were to leave the cowls
off. lhe problems 1 encountered were with parts fit, especially within
the cockpit. lhe engine also needs special care and adjustment in
order to dose the fuselage without any difficulty. Generally though,
the detail is very fine, as is the paneling and riveting. lhe moving
surfaces are perfectly detailed, and despite the cockpit and engine
difficulties, the rest of the assembly was very sim pie, requiring
putty in only a few areas, such as the bottom of the radiator, under
the engine. An additional advantage of this model is that it has tive
different versions/schemes; something which is common with the
Eduard brand.
 1 do a dry assembly to ensure how the cockpit fits and

that it closes we ll .

-
The parts count of the Eduard kit is
very extensive, and this image includes
most that 1 have used for assembly. 1
prefer to prepare ali neccessary parts
from the beginning.
Once painted with RLM 02 (Gunze H70),
highlights are added, and details within
the cockpit are painted with Vallejo
acrylics. Gloss varnish is applied, and
then 1 proceed to add shadows using AK
lnteractive's AK045 Dark Brown Wash,
which runs smoothly into every nook and
cranny, and boosts volume.
Besides the effect of accumulated dirt Th e radiator grilles of the wing 1 f irst paint with The assemb ly of the rest of the plane is very
applied in the lower areas (Tamiya XF- Tamiya XF-1 Black, and then touch them up with simple and requires almost no filler 1 paint
52), 1 finish by varnishing everything in a graphite pencil to highlight the matte black with RLM 02 (Gunze H70), the area of the
matte, with acrylic polyurethane varnish background 1 then fit to the radiators underneath wing where the slats are deployed. 1 also
from Vallejo. the wings airbrush the canopy frame lines too, as these
The other side of the cockpit will be seen from within the cockpit.
gets the sarne treatment.
The sarne applies to the cockpit
e
tub, to which we add seat belts
The resin tail is notas
from a photo etch set. 1 weather
detailed as the Eduard part so
the seat belts by creating a
using OWL as
patina, using strongly diluted
Vallejo Black (855)
e
lt's the sarne for the landing gear
wells. 1 use the sarne, standard
method of adding highlights to
centres of paneis, creating a very
realistic effect
The exhaust manifolds need
to be painted before you close
up the fuselage. 1 used Tamiya reference, 1 add
XF-64 Red Brown, and once dry, the missing detail to
1 add a Dark Brown pin wash,
The OWL conversion kit has everything needed Eduard's part.
from AK lnteractive. to build the night version.

1 continue by applying AK043 Medi um

Rust and AK044 Light Rust pigme nts

from AK lnteractive, which give a variety
of rusty brown tones.

Finally, a graphite pencil is used to touch

up the manifold welds, and then w ith
Tamiya XF-1 Flat Black, 1 airbrush t he
opening of each manifold, in turn.
Dry fitting allows me to foresee any
difficulty in closing up the fuselag e. lt's
found that 1 have to sand the sides of the
photo etch instrument panei in arder to Ali moving surfaces are painted with a coat of Tamiya 1 also do this for a number

close up the fuselage properly. XF-83. Once dry, 1 mask the ribs and then apply XF - of aircraft paneis.
77
 Some circular paneis are painted
with Tamiya XF-77, using a
Verlinden template . This creates
rich nuances and shades to
the plain surfaces .

1airbrush the model

Paneis are then highlighted
with a mixture of Gunze
individually, with a mixture of
H77 (9 parts), and Tamiya
Gunze H77 (3 parts) and Tamiya
XF-77 (4 parts). This creates
XF-83 (1 O parts).
a dark gray color. Rule number
one when you want to paint a
black aircraft, never use blackl Once
dry, 1
apply a
filter to the
entire model,
consisting of Gunze H77
(4 parts) and Tamiya XF-77
(1 O parts). This way, ali
of the various tones
beco me
unified

ln this picture you can clearly see ali of these applied

effects

1did not
want to use the
crosses from the OWL kit,
as the open style of them
means there is a risk of silvering.
1prefer to paint using
Tamiya masking tape,
which is a great
help.

•
Now it's the
turn of the oils, which

•
•-
will create a very convincing patina.
The oils 1use are : AK500 Light Gray
Highlight, AK502 Shadows
for Grey Ships, AK505 Black Smoke,
Titan 55 Blue Cyan, and Titan 74
Ground Natural Shade . 1apply the i..
,OI. ~

The resu lt is perfect. 1use d

paint onto a paper towel to
absorb excess oil. --- 74

Tamiya XF-2 Flat White for the

crosses .
 1 apply small dots with ali these colors randomly

across the surface of the aircraft, and later with a

flat brush dampened with heptane, 1 drag the oil in
the direction of air flow

Once ali of the paint,

and oils were dry, gloss varnish
was applied in arder to create a
perfect surface for the decais.

These aircraft
had very few
markings, so
the work of
placing them
is relatively simple and
quick. 1 had to leave the Micro
Sol for up to 24 hours, since the
decais were initially reluctant to
conform to the panei lines and Now it is time to enhance the paneis and rivets with oils. We can not
rivets. 1 then apply too light a shade, as this would appear exaggerated and unnatural.
re-gloss with varnish. Nor can it be a very dark tone, beca use there would be little contrast.
1 tried three different mixes before finding the one that convinced me.
1 made this from with AKSOO Light Gray Highlight and AK502 Gray
Shadows for Sh1ps, diluted w1th heptane.

The mixture is
applied with a brush.
Don't worry if you go
too much out of the
lines.

Leave to dry and remove

excess using a paper towel,
dragging in the direction of
air flow As seen in the image, the
effect is very subtle, not too much nor
too little.
 ln this
pictu re we ca n see
the overall look that is
created after washing
the panei lines.

The moving surfaces have rivets out, these For the moving surfaces, and the light areas,
can be highlighted by rubbing with a white such as numerais and crosses, 1prefer paneling
retracting pencil . with a dark calor. AK045 Dark Brown Wash is
perfect for this purpose.

Here we can see the

results of the previous
weathering treatments .

ln this picture we can see the

effect on the wing .

The final effect, here on the fuselage.

To complete the airframe, 1 varnish
with acrylic matte polyurethane
varnish, which provides a uniform
very dull tone with very few
airbrush passes .

With the wheels, 1 paint these as per the instructions, To weather them, The tires however, receive a wash
1 use pigments from AK interactive. ln particular, 1 use AK042 European with the AK015 Dust Effects, from
Earth and AK081 Dark Earth, the finish you achieve is very realistic. AK lnteractive .

As for the
propeller, the
hub receives the
sarne treatment as
the fuselage and
wings, whilst the
biades are painted
with Gunze RLM
70 (H65)

As for the antenna, 1 paint the solenoid in

Rubbing the edges with a brown and the coils in a copper calor. 1 cut
graphite pencil, creates effects the fairing and glue the grid of the antenna
ln this picture we can see the look with very faint gray tones. inside . Once done, 1 fit to the bottom
achieved after the weathering stages, of the fuselage .
described above, are complete .
 in a short space
will see how, "th a leather
ln this article w:ecorate a figu_re w1 re suitable,
.
of time, we can h
·1 olors. T ese pamts
d ces an e ff ec t
a
·1ng o1 e epro u h r
suit, us
their. satm . apthat .im parted by a ctual leat e ·
pearance r

o~ bombm.
asuites1m1 ·1 a r to
Romi.-• q
Roberto t of e1ther f1ghters of a black

do;';~, Th;;~"' º"d by

1
ld be a p1 o compose
sed here, cou . WWll H1s su1t is are some van-
The
w1dely
''9º"dd:";;:, G"m" "d'
ther use y ket and trousers
fllght Jac
;,me mot""',
o ld be the typ1cal b ue
orne cou
the
lea
at1ons on the trousers,
1
as s
d ng brown an d khak1 tones

Luftwaffe, inc u 1 mb1nat1on is ali

"l::~"'·-:i c~hese
a;~~%i3t"._1
~'f'1";~lU
This particular
black leather.
uniforms
the mid / late
were used from d of the war in
1944 until the e~ith jet bomb-
1945 . Certa1nly 262 and also
ers, like the M:s of legendary
used in ali typ the Bf 109
war plane, such as d K-4 as
10 G-14 an . ,
G-6, G- , 190 A-8 var1ants,
well as Fw D 9 Suits can
/ R2 or -
and A-8 1 d from use,
b disco ore b
easily e f t1on caused y
or by the nc t For the
! 1ntens1ve movemen d h1s nec k ,
i s aroun
n lron Cros
li th1s figure rep
resents an ace
ln th1s
I!
Germa~
aviat1on
of not try to name
the pilot, but loo k at itcase, we ~~ yp ical' of the age
as be1ng
 ...., ·~ ~_i,. .......... , ~ .. •

'MINO e ''. ' • e . :"· ' • ~- • • , ~-,:·~~ -<~»~-: ~· e • - • •• : _ . . . -.

The figure belongs to the Ultracast catalogue, sculpted with great

care by Mike Good, moulded in high quality resin. Having been
designed with few parts, which really makes the assembly an easy
process. The kit offers the option of interchangeable heads, of
which two are included in the kit; one with officer's cap and an-
other with a flight cap, also in leather. ln order to break things up
we will use the head with the officer's cap, so as not to have too
much leather on show. The cap will be finished in Luftwaffe Blue
with the insígnia for this branch of the German military, which
gained many successes during this armed conflict

Once the parts are prepared, 1 sand and clean them with a little
soap and warm water, to get rid
of resin dust produced during
sanding, and mould release
agent We use a neutral gray
primer with both the figure
and the head, applied with
an airbrush. Continuing with
this useful tool, we apply a
layer of dark brown acrylic,
which will be the basis for
further work with our oil ÔC(?t At"IJ'),t:tlLGt

paints (photos 1 & 2)

bnll~A '"'''"'"-
E,,;<> ltvti 6 f'c Ptl<'

.1./ f36,?ú l.JVMCJ

1-"A'u !.tVlO.l.E

'MINI e ''. ' • e .
On a piece of paper, 1puta lot of calors to
that 1'11 use, so that the oil in which they are
diluted will absorbed into the paper. This
reduces the sheen which would normally
occur when you apply them.
After draining the excess oil, move it to a
plastic dish, which we will use as a paddle,
and develop all the blends for both light and
shad1ng, sl1ghtly diluting the oils with White
Spirit
We then apply a thin layer of base calor in the
middle of the Jacket and then with a small, flat
quality brush, let the paint flow in a vertical
movement, both up and down.
Shade it with pure black on the darker parts
o beneath creases to emphasize final volumes
and enhance the effect of the leather.
When we finish this step, we highlight the
'higher' parts of the figure, accarding to the
daylight scheme, using a bit of the base calor
lightened that we had previously added.
,. Applying small amounts and blending them
in the sarne way, but this time only upwards
towards the lighter areas. To intensify scuffs,
scratches, etc, apply small white streaks
and merge, but this time "picking" on the
area with the brush, so we produce a slight
textured effect in these areas.
...., ·~ ~_i,. .......... ,
:"· ' •
!.' As you can see, and read, this is a
(; simple and quick technique that can
also tweak as much as we want, since
f; the oils dry slowly over dry several days.
You can speed up the drying time by
placing the figure under a light source,
giving off some heat, but not too much
beca use we run the risk of "caoking"
the figure, and perhaps evento melting
it if left too long. While they drying, we
will decorate other areas of the figure.
ln this case, the hair, collar, Jacket,
gloves, shirt cal lar, lron Cross, and the
belt and holster. We will paint these 1n a
lighter calor with acrylic paints
.,: For the trousers, follow the sarne
Í! technique used for jacket calors. The
! most remarkable detail are the multiple
li zippers these clothes had. We will use
a gold metallic acrylic calor, mixed with
some dark brown, to create a realistic
effect
~ With the main part of the finished figure,
we will paint the head. First apply all base
calors to the parts, such as hat, hair, and
flesh, in arder to get a general idea of the
variation of calors to used to highlight
these areas of the figure.
~ .. •
~- • • , ~-,:·~~ -<~»~-: ~· e • - • •• : _ . . . -.
L• To facilitate the process of paint1ng the head
and soas to reduce the number of potential
"' mistakes, we will paint the head going from top
to bottom, ie, first paint the cap with its details,
and finally the flesh and hair. The hat, we have
painted in the regimental calor of these pilots, ie
Blue Luftwaffe. Try to weather this calor a little
by adding some "golden flesh" to the blue paint
and gradually adding highlights. This creates a
very attractive appearance to the officer's cap.
With patience and care, also paint a li logos,
lacing and the white trim of the hat
l• With the new set of paints from AK-lnteractive,
designed for painting of flesh, decarate the
face Gradually, the base calor is illuminated
1:
with the specific paint for that calor, and then
we add shadowing equally To customize our
face painting, we have decided to close the right
eye of the figure, as a wink, and play on a small
scar on his left cheek, which adds a touch of
personality to our character.
i: ln these cancluding photos, you can see that
{I using different types of paints, oils, acrylics
and metallics, that we can achieve a very
"' attractive realistic representation of the materiais
incarporated into the pilot's uniform Adding
figures can add another dimension to aircraft
models, broadening the possibilities open to us
and opening a whole new area of creativity.
The base model to be used is the old ltaleri kit (reference 6467, 1/35
scale), wh ich is still very good when adding a little detail and modification

Parts were used from the Hauler photoetch set (ref HLU35038) designed
to f it the lta leri kit. lt has previously been prepared using AK159
Photoetch Burnishing Fluid . This ai ms to darken the meta l and give it a
very natural appearance, similar to dark steel. lt is high ly recommended
for ali photoetch before use, as the process creates a roug her surface that
w ill facilitate subsequent gluing and painting processes.

A view of fu lly
assembled
vehicle . The use
of photoetched
detail parts
brings much to For the interior
the model. acrylic paints were used,
as are AK lnteractive's washes and pigments.
 With the primer layer, on one hand we achieve un
the various different materiais, and on the other, prepa from AK lnteractive. lt has excellent covering
for painting lt also allows us to observe any defects in buildmg; power, hardness and it is based on an
gluing, and sanding. original primer color.

The vehicle base coloris AK704 Dunkelgrau (RAL 7012 gray). This was A filter is applied in order to produce a variation
followed by adding AK738 White to the base colour, and highlighting in the base color. For this, 1 used AK071 Blue for
the centres of various open expanses, such as paneis etc. Panzer Grey.

A wash with AK070 Brown Blue is

added to ali recesses. After a few
moments, the excess is removed
with White Spirit

We are trying to reproduce the overall

soiled and worn-looking paint of a
vehicle. The oils used were the 502
Abteilung brand, from MIG Productions,
and the colors used were 150 Field Grey,
080 Wash Brown, 035 Buff and 015
Shadow Brown. A dot filter was applied
over the vehicle. This was blended and
blurred with a thick brush, dampened
in AK lnteractive's White Spirit.
The first paint layer was dane with 305 Light
Rubber from Panzer Aces. ln a second phase,
302 Dark Rust from Panzer Aces is used to add
chipping. For this, a fine brush is used.
A mixture of AK080 Summer Kursk Earth and AK022 Africa Dust
Effects is applied with an airbrush, and their distribution across
horizontal areas is designed to accumulate in areas more prone to dust
A brush dampened in White Sprit is used to aid this process .
~~~~~~~~~~~~~~~~~~~-

To finish the dust phase, 1 applied AK080 Summer Kursk Earth anda little plaster For the fuel stains, oil, grease and other
to achieve a consistent liquid, which would create a texture when applied with a wet effects, 1 use AK079 Wet Effects,
brush. The excess can be removed with White Spirit. AK084 Engine Oil, and oil paints Abt.015
Shadow Brown, Abt.11 O Black and
Abt.160 Grease, applied as small splashes
and washes.
IN'THE NEXl
ISSUE 100
CENTENARY
-SPECIAL

/ Daniel Zamarbide

ln commemoration of the centenary of the beginning

of World War 1, our next issue will be dedicated to this

ou·
conflict, with the addition of several characteristic models
of aircraft of tha't era, in both 1/32 and 1/48 scales. We
will show you in detail, effects such as fabric and wood,
which are the main elements and sign of iden~ity of
these beautiful aircraft. Vou will also learn how to easily
reproduce the rigging, as well as the weathering effects
distinctive for the Great War aircraft. 1We will include
articles about figures and vehicles too, making this next
issue a very special edition. Tally Ho!. ONYOUR COUNTHY'S AHMY!
GOD SAVE THE KING
------•-..=-.cRcp,oduc.0 by P< ' m;uion of LONDON OPfNION
..
'.
·,

.•
~

AK 2001 Luftwaffe Camouflages

Luftwaffe Camouflages
is a set of 8 acrylic paints essential
for painting the authentic colors used by the
German Air Forces. Our new colors have been carefully
researched for accuracy and are presented in our familiar easy to use bottles.

AK 2010 RAF Camouflages RAF Camouflages is a set of 8 acrylic paints essentia/ for pain-
ting the authentic colors used by the British Air Forces. Our new
colors have been carefully researched for accuracy and are
presented in our familiar easy to use bottles.
FROM THE MAKERS IF

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