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~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.

Fouga CM.170 Magister {Packs of 2 Kits)

Belgian CM.170 Fouga Magister, MT 15 No 272

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French Air Force/ Belgian Air Force lsraeli Air Force/ Patrouille de France

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

CM.170 Fouga Magister, No.216, lsraeli AF, 147Squadron,1967-Six DayWar .

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CM.170 Fouga Magister, No. 158, lsraeli AF Flight School,1976.

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byVISA

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Decai printed by

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Decai design by

,Plsrallccal Sl'Il[)lO Photo Etched partis included

Length : 21 Omm

Wingspan : 253mm

Parts : 150+

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Huge Se/ections of Asian Models Luckymodel.com is offering a wide range of lhe finest scale models and accessories worldwide. We are located in Hong Kong - lhe hub of Asia Pacific, where lhe finest models come from. Get your models direct from the source. Free lnternational Shipping Offer You can enjoy free airmail shipping service for many popular accessories brands, such as Aires, Eduard (PE), FighterTown Decais, lsraDecal, J's Work, Legend, QuickBoost, Scale Aircraft Conversion, Sky's Decais, True Details, Two Bobs Decais, Voyager Model and Wolfpack Design at Luckymodel.com.

www.facebook.com/kineticmodel

V'ÉRIFIED

SCALE

Markings:

Patrouille de France, CM.170 Fouga Magister VP 585.

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K4sos1

PayPar

Order online: www.luckymodel.com

[email protected]

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 to future issues of the magazine, dueto the number of variants, camouflage schemes and theaters of operation. An essential addition to this publication would have to be the inclusion of a military veh icle and a pilot figure in order to create a different approach than that employed by other publications.

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

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of enthusiasm and commitment into this publication and we will continue to improve with each and every issue we publish, giving the best of ourselves and the all modelers who work with us, on this and future issues .

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Daniel Zamarbide Suárez

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nodi I . ReicbsorbeitsOienft

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inbex E Einítellungsunterfucflung om

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Heinkel He 219 A- O UHU' 1

pag.

6

The most advanced night fighter of WW2 . The He 219 Uhu, in 1/32, from the Japanese manufacturer Zoukei-Mura, built by Aitor Azkue, in a stunning diorama .

·····--·-········· ···· ··· ··--····· ···· ··('.ta.g,· ·miõii.ãi; ·~fà~r)· ·· ··· ····· ··· ····· ····· ·-·· ······· ······

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~r3tlidles

Urteil

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 'hedgehog' arrangement. Built from the Hasegawa's 1/32 kit with Owl 's conversion set, by Dani Zamarbide .

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

béi '

(truppenteU, Stonbort)

Messerschmill Me 262 B-la/Ul

pag. 44

Deadly with its impressive speed, manoeuvrability and weapons, the Me 262 . Jose L. Etxaide has captured this with an interesting camouflage scheme in a variety of colors, building the Dragon 1/48 model.

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18

Uien~3eit

rechnet ab Dereibigt om

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 superb example of the Eduard 1172 model .

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 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 The Gap The ground seclion pag. Jn marfch Mind ln this section, Roberto Ramirez shows us how to masterfully paint a Luftwaffe pilot, with a lea,ther geíet)t , jacket anda jaunty pose . -

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I ~ •• •• • •••• • •••·-• ••• ••• • • •••• •• • • • • • ••• ••••· •• ·• • • •• • ~• ••••••••••••••••• • •••••••••••••••••••••• • ••••••••••

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Mind The Gap

om

The ground seclion

pag. 79

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) ····· ············· ········· ········· ···

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Ubermiefen an

In The Nexl Issue:

pag. 82

World War 1 Centenary Special

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aerials are finely represent to the actual study of the ~

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 ough 1 replaced the originais with metal ones from Master Model, who dedicate much time "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.

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

' Using tin wire, cables are added to represent various landing gear hydraulics lines etc.

UHU PREPAINT

Overview of the assembled kit, rea dy to pai nt.

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Det ai l of th e pain ted ca bin with th e glass not yet fitted. We see one of the kit options, giving the trames, without glass.

The doors to access the engine are opened. As not much is seen, we open one that was mou lded as cl osed in th e kit , as t o better see the engine. The cover's built with evergreen plastic.

This view of the Master metal antennae, now installed, shows how refined they are.

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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 add the backwards pointing antenna.

The exhausts were detailed with a little Evergreen plasticard to create the 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. •

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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 . 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.

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highlight a panei line, we use Tamiya tape, leaving a small gap between strips, and depositing pigment between them.

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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.

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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.

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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 ca mouflage creat es a special look, fulfilling its role and distorting the surface of the plane .

View from behind the left wing

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

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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 edges with a brush, soas to give the appearance of general wear and tear.

Side view of the plane.

For this photo 1 placed a pilot in arder to give an idea of the scale of the plane. Later they will be together in a diorama.

Aerial view of the plane, which gives usa perfect view of its silhouette .

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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.

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• • 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.

Fully enclosed fuselage and a perfect fit with the engine and the cowling .

of the flame arresters over the engine exhausts. Minar problems were experienced when fitting the wings to the fuselage.

We mask with low adhesion tape, everything that is not painted in the plane's camouflage colors. We then seal with Humbrol Maskol.

Underneath the wings, we mask off the wheel wells with both tape and 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.

With vinyl masks from Polish brand Montex, we are ready to paint the national markings.

We always apply the lightest calor first ln this case, white.

Then we apply the masks that will caver the white crosses, so we can airbrush the black.

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 .

...we end the base calor painting phase process by performing the sarne effect for the lightest of ali the calors, the RLM 76.

Next, we perform the sarne operation, this time with the darkest calor, the RLM 74 .

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 techniques .

Cutting the gun tubes from their supports .

1choose a hypodermic needle that fits the scale of the guns .

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A short needle of the proper length is inserted into the barrei holder, using a previously placed a rod to ensure a proper fit and alignment of parts .

Propeller hub and fan set completely finished

lmproved landing gear brake wiring made from thin electrical wire .

The completely finished part, ready to be placed along with the rest of the guns on the plane .

Fully finished fuel tank after the process of applying oils and filters

Undercarriage, completely finished with the addition of metallic paint on the hydraulic dampers.

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We perforrn the sarne procedure on the inner gear doors as we did within the rnain wheel wells.

Landing gear pieces cornpletely finished

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The airfrarne, and fully finished cornpleted exterior parts, ready for final assernbly of the rnodel.

.. The outside, of each gear door is painted to rnatch the u nderside colours of the wings, we use the sarne techniques as on the outside of the aircraft.

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

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 us, as the model does not have locating pins.

With careful alignment, the fuselage halves are joined, using 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 .-~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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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.

With the airbrush in perfect working candition, 1began to spray RLM 75 to mimic the familiar camouflage blotches.

Mixing a little wh ite to the base calor, panei centres are highlighted, breaking up any uniformity in the basecaat.

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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 .

A combined layer of both products is airbrushed ..

... and sprayed with RLM 70. Then the entire surface is wetted with water and with a 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.

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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 'Hirschgeweih' (stag antlér) type aerials. The radar device had a range of between 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 armament configurations, induding at least one example fitted with 'Schriige Musik' - two additional upward-firing MG 151/20 cannons. Even without this, the Me 262 B-1a/U1 was a dreaded and deadly night hunter. The new night fighters were allocated to the 10. Staffel (10th Squadron) of the Nachtjagdgeschwader 11 (11th Night Fighter Wing), known as Kommando Welter, based on the outskirts of Berlin, and more precisely, in Magdeburg. As is usually 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 Welter, with 2 Mosquito kills achieved in daylight and 23 kills at night, induding 21 Mosquitos and 2 Lancasters. Worth noting is that O bit. Welter was usually flying

the day fighter version ofthe Me 262 under dose ground guidance by the Luftwaffe's fighter-c~.ntrol system. The plane we represent, 'Red 8' with manufacturing number (W.Nr.) 110305, was the machine piloted by Kurt Welter, and was surrendered to the British at Schleswig, along with "Red 10" and "Red 12". On May 18, 1945 it was sent by rail to Gilze-Rijen, and then to the RAF airfield at Farnborough, UK, for evaluation. When it completed the tests, it was shipped to South Africa on February 23, 1947, arriving at Cape Town on March 17. Here it was stored until its restoration in 1971, then being exhibited at the National Museum of Military History in Johannesburg, South Africa, from 1972.

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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 whilst painting

To fill gaps, 1 use stretched plastic which 1 soften by dipping in liquid glue . When dry, remove the excess with a curved biade and sandpaper.

Engine nacelles sanded and re-scribed.

Copper wire and adhesive foil was added to the undercarriage to create hydraulic lines.

Gun muzzles are hollowed out with a knife point.

1used plastic card to fill the gap between the horizontal tailplanes. 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 paint various details within the cockpit.

With black, white, yellow, blue, red and light green/gray paints, smaller interior and photoetch parts are detailed .

1 apply highlights with gray, mixed from AK735 Black and AK738 White.

the lower side of the cockpit with AK042 European Earth pigment, applied dry.

Klear is applied to the dia Is of the instrument panei in order to reproduce the glass.

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1apply highlights, mixing equal parts of base calor with AK738 White.

1wash with AK045 Dark Brown enamel.

1apply highlights with a brush using the sarne mixture as for the airbrush .

Landing gear legs.

A little detail painting

The engine nacelle is fitted, adjusted and glued to upper wing panei joint

Once dry, the lower engine nacelles are added, along with the radiator shrouds. _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 hider tubes, using successively larger drill bits.

All canopy parts are masked using the excellent self-adhesive masks supplied with the kit

For the externai fuel tanks, 1 carrect the mounting struts and add the fuel lines .

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The kit is ready for the painting phase.

start by applying Tamiya XF-2 White paint, as the base for the yellow calor. 1

First, 1 apply the lightest calor, RLM 76, camposed of 6 parts of XF-23, 2 parts of XF-19, and 2 of XF-2.

1 lighten panei centres with a mixture camposed of 6 parts of RLM 76 and 4 of XF-2.

• 1 Yellow markings are painted with a mix of Tamiya XF-3 anda little XF-7 Red.

The areas of RLM 76 are masked off around the fuselage and nacelles, using Play-Doh .

The RLM 75 is added, made of 5 parts of XF-24 and 1 of XF-50.

'. 1mask the outline.

Our result, after repeati ng 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.

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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 highlights . 1created 'wear' effects in the direction of air flow over the RLM 76, repeating with AK739 Yellow on the yellow markings.

Decais were applied using Micro Set and Sol, before sealing them under a brush coat of Klear. The decais are from Tamiya.

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remove the excess wash with a piece of paper towel ora dry flat brush, wiping from front to back

paint the exhausts streaks with an airbrush, mixing identigi l quantities of XF-1 Black and XF-64 Red Brown, very diluted in 96º alcohol, akin to dirty water. 1

brown, 1 paint fia me tubes, ending with the lightest calor on the edges. ---~~~~~~..---

After painting the wheels in XF-1 Black from Tamiya, gloss varnish and AK045 Dark Brown Wash are added before applying XF-24 Dark Gray on the tread .

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Matt varnish is combined with a mixture of 1 part of Model Air 71059 matt varnish and 3 of Tamiya X-20A thinner.

With AK039 black pigment, 1 add staining to the weapon ports . 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 fishing line.

Neptun antenna, scratch built.

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BigCat~ODELISMO WWW. b1gcat.pt

-- Distibui:::n -

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ex~lusiva Portugal: ~ 1nteract1ve -

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ACADEMY HOBBY MODEL KITS

TRUMPETER / EDUARD / HOBBYBOSS / KITTYHAWK / MENG / ZVEZDA TAMIYA / ITALERI / AIRFIX / LIFECOLOR / más de 100 marcas disponibles! bigcatmodelismo@gmail com Rua de S Pedro, 2407. 3885-771 MACEDA. PORTUGAL

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O

1/32 ASSEMBLY KIT

1/32 MUSTANG IV/P-510/K

MustangJV

9.1 5 ooJ(+lee) PY

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

P·SlD/K

RETAIL PRICE IN JAPAN

You can feel like you are recreoting a real aircraft! Furthermore,

you can learn the aircrcft's usefulness, structures, mechanism, and even the circumstances of its development! ln this matter, SWS Mustang IV is developed aiming to return faithfully to the starting point of the scale model. The "P-51 D", "P-51 K", and "Mustang IV" are perfectly recreated with various optional parts like Aero Products propellers with no cuffs, intakes on the side surface of the nose, ond tail unit without dorsal fin . As assembling SWS kit, you can see the differences of the fighters' performances which the pilots felt, and imagine the scene of the battlefield.

IT;219A-O Fl n1

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1/3 2J7Wl SHINDEN, 7,BOOJPY

1/32 Focke-WulfTa152H-1 , 9,500JPY

1/32A-1H SKYRAIDERU.S.NAVY, 12,BOOJPY

1/3 2 P-51 DMustang , 9,500JPY

1/32 A-lJ SKYRAIDER U.S. AIR FORCE, 13,BOOJPY

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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 applied in the lower areas (Tamiya XF52), 1 finish by varnishing everything in matte, with acrylic polyurethane varnish from Vallejo.

Th e radiator grilles of the wing 1 f irst paint with Tamiya XF-1 Black, and then touch them up with a graphite pencil to highlight the matte black background 1 then fit to the radiators underneath the wings

The other side of the cockpit gets the sarne treatment.

The assemb ly of the rest of the plane is very simple and requires almost no filler 1 paint with RLM 02 (Gunze H70), the area of the wing where the slats are deployed. 1 also airbrush the canopy frame lines too, as these will be seen from within the cockpit.

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The sarne applies to the cockpit tub, to which we add seat belts from a photo etch set. 1 weather the seat belts by creating a patina, using strongly diluted Vallejo Black (855)

The resin tail is notas detailed as the Eduard part so using OWL as

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 XF-64 Red Brown, and once dry, 1 add a Dark Brown pin wash, from AK lnteractive.

reference, 1 add the missing detail to Eduard's part.

The OWL conversion kit has everything needed 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 close up the fuselage properly.

Ali moving surfaces are painted with a coat of Tamiya XF-83. Once dry, 1 mask the ribs and then apply XF -

77

1 also do this for a number of aircraft paneis.

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 with a mixture of Gunze H77 (9 parts), and Tamiya XF-77 (4 parts). This creates a dark gray color. Rule number one when you want to paint a black aircraft, never use blackl

Paneis are then highlighted individually, with a mixture of Gunze H77 (3 parts) and Tamiya XF-83 (1 O parts).

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.

The resu lt is perfect. 1use d Tamiya XF-2 Flat White for the crosses .

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 paint onto a paper towel to absorb excess oil.

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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 rivets. 1 then re-gloss with varnish.

Now it is time to enhance the paneis and rivets with oils. We can not apply too light a shade, as this would appear exaggerated and unnatural. 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 can be highlighted by rubbing with a white retracting pencil .

For the moving surfaces, and the light areas, such as numerais and crosses, 1prefer paneling 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, 1 use pigments from AK interactive. ln particular, 1 use AK042 European Earth and AK081 Dark Earth, the finish you achieve is very realistic.

The tires however, receive a wash with the AK015 Dust Effects, from 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)

ln this picture we can see the look achieved after the weathering stages, described above, are complete .

Rubbing the edges with a graphite pencil, creates effects with very faint gray tones.

As for the antenna, 1 paint the solenoid in brown and the coils in a copper calor. 1 cut the fairing and glue the grid of the antenna inside . Once done, 1 fit to the bottom of the fuselage .

in a short space will see how, "th a leather ln this article w:ecorate a figu_re w1 re suitable, we can h pamts a . of time, ·1 olors. T ese d ces an e ff ec t ·1ng o1 e epro u h r suit, us . pearance r their. satm apthat .im parted by a ctual leat e · asuites1m1 ·1 a r to

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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 another 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 ÔC(?t At"IJ'),t:tlLGt further work with our oil paints (photos 1 & 2)

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