Four acrylic paints for grading olive drab. From a dark base in the shadows to a yellowish tone on the upper surfaces where the light falls.
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A model in scale gets far less dramatic shadows from the same light source than a real vehicle does. The eye reads that as flatness, and no surface finish, however good, will save it. Modulation takes a simple approach: the upper surfaces are sprayed lighter, the sides in the base tone and the undersides with the wheel arches dark, so that the difference between light and shadow is enlarged artificially until the model reads as three-dimensional even in a photograph.
The four bottles make up a ready-made scale. The darkest olive shade serves as the base for the shadowed places, the middle tone covers the largest areas, a gray shade breaks up the transition on vertical walls and a yellowish green closes the scale at the top. Mixing your own lighter tones with white is therefore not needed, which saves matching the shade again and again during touch-ups.
Work from the bottom upward and always in thin coats. The boundary between steps must not show, so run the gun quickly and then bind the transition with a light overspray of the middle tone across the whole model. Finally unify the surface with a varnish, and only then come the decals and the marks of wear, which would otherwise cover the modulation up.
The scale suits tracked and wheeled vehicles painted in olive drab, but it also serves on crates, jerrycans and other equipment that a single flat finish would collapse into one surface.
The difference between the outer steps of the scale does not have to be pushed to extremes. A restrained gap looks more convincing than a sharp jump, which in a finished photograph reads as a lighting error.
Naši poradci a znalci sortimentu jsou připraveni odpovídat na Vaše dotazy (Po–Pá, 8–18 hod).
Zeptejte se na co potřebujete, odpovíme co nejdříve.
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