Meng AIR Modeller - Issue 103 - August-September 2022

70 Pages·2022·14 MB·English

103
AUGUST/SEPT 2022 • £6.95 UK $16.99
www.afvmodeller.com
PUT OUT TO PASTURE
UGUR KENEL’S FORGOTTEN F-100C
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CONTENTS
2 Put out to Pasture
Ugur Kendel creates a miniature abandoned Turkish F-100 from his own photographs.

12 Defender
Tamiya’s 1:32 Spitfire gets a different look by Lorenzo Borgesa.

22 Tornado
Rene Van Der Hart goes large with the Italeri G4.

32 Fallen Eagle
Filippo Chessa converts his Bf 109 to an abandoned G14As.

40 Born to be Wild
Jamie Haggo is impressed with the new 1:72 Arma Hobby kit.

52 B-25D
Jean-Baptiste Saillant details the Airfix 1:72 kit.

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2
P U T O U T
T O PA S T U R E
The North American "F-100 Super Sabre", more generally known as the "Hun", began life in late 1940s as
a re-design of the F-86 Sabre for supersonic performance, including more powerful engine and a wing
with a 45 degree sweep (Sabre 45). The first F-100A was given to USAF on September 1953, then also
accepted by Tactical Air Command (TAC) nearly a year later in 1954, the Air Force’s First Supersonic Jet
setting a new speed record of 755 miles per hour. The Tactical Air Command request for a new F-100
fighter-bomber was addressed with the F-100C which entered service in 1955.

The C-model featured lengthened wings to help improve rolling. The new wings were also strengthened
to allow for the carrying of air to ground weapons with six pylons available.
Additionally, C models were the first fighter featuring in-flight refueling via a probe extending outwards
from under the starboard wing component. Operators included Denmark, France, Turkey and Taiwan.
The Turkish Air Force began to use F-100's in 1958 and received over 200s F-100C's, D's and F's. The last
Turkish F-100's flew until the 1980s but some remain in their abandoned state. This F-100C with serial
number 54-1759 rests at Bursa Yenisehir airport. I saw her during landing for an airline operation to Bursa
and just had to get close to take some photographs, instant inspiration to create a miniature replica.

UGUR KENEL’S ABANDONED TURKISH F-100C 3
Trumpeter’s F-100C Super Sabre 1:48 kit was
chosen for this heavy weathered and abandoned
project. I also supported the Trumpeter kit with This is the contents of the Aires Detail Set box. Lots Mid fuselage there are details for the landing gear
Aires detail Sets and metal pitot tube from Master of resin blocks to be carefully removed. bay. These must be removed to make space for the
Models. resin parts.
Lower fuselage is now totally prepared for resin Although the Trumpeter kit’s surface detail is Careful sanding, polishing and rescribing of details
upgrades. generally good, I found some mould marks to be is the only option.
removed on each side.
These panel lines marked with red are not Panel lines were deleted by filling and sanding. Correct panel lines are rescribed at the correct
correct. They’re too far forward. They must be New correct lines are marked here. position and then removed for some damaged
deleted and rescribed. open panels for this abandoned bird according to
my reference photos. Next work is some scratch
building inside the open panels.
Some plastic card bulkheads are cut to size as Top view of the main scratch built assembly shows Mr Cement S (styrene) type is the strongest way I
a main base of inner details. that these parts must be very precise for the know to attach white styrene plastic.
coming steps with plenty dry-fits and adjustments.
Working to my reference closely, the
internal details were constructed
from plastic stock, spare parts and
lead wire. After the base colours
received a clear gloss coat AK’s
landing gear wash helped bring out
the volume of detail with further
wear and weathering done in
acrylics.

Hose clamps and fittings were
carefully picked-out and a final
touch of AK’s Turbine Wash
completed the aged, abandoned
look of the fuselage internals.
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Finer detailed wiring was prepared for fitting at a With the fuselage complete I started with the lengthy sanding and preparation of the
later stage. cockpit and gear bays. After I was happy with the dry-fitting base-coats were airbrushed.
The greens of the gear bays are A black wash not only helps lift the detail but helps with
made progressively lighter as can definition to complete detail painting. The contrast with the base
be seen above. coated only part can be seen here.
Back to the resin cockpit. Using the Progressive dry brushing in grey... and more controlled brushwork to Working to my references I began
same process as the gear bays, a black highlight details. to add damage to the seat pads
wash starts to lift the detail out. with a needle
With the red padding
painted and
weathered some black
pigment powder gave
the final distressed
finish to the seat
which has spent years
open to the elements.
Light brown tones were painted first for the damaged Wear and paint damage to the seat frame was
areas followed by dark greens. added with green and bare aluminium. Torn
edges of the fabric were further highlighted.
All switches are drybrushed I touched surfaces with a fine I randomly brushed the deep
Again, black
with lighter tones of grey. brush interior green to corners with brown tones as
pigment provides
Different coloured switches replicate scuffs and rust effects.
a final touch of
are painted in their correct scratches.
shadow and
colours.
grime.
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With the elements of the cockpit ready for fitting the final step was
the instrument panel. Aires don’t provide any decals so some dry-
brushing and fine painting picks out the detail well. Clear yellow
from Tamiya gives the impression of discolouration over time.
Fuselage is closed. I used CA
glue because of all of the
extras crammed inside I
needed an instant ‘grab’. After
adding some instrument wiring
the front canopy was also
attached with CA applied to
the outside joint allowing a
strong joint for some light
sanding to replicate the
photographs.
Aluminum from Vallejo was airbrushed as 3-4
thick layers as a primer and base coat.

F-100 has very unique burnt engine effect as
every modeller knows! This effect comes
from very hot running engine; first paint
evaporates and then metal surface burns
and gives green and blue tones. To make
this effect I first used various brown tones on
the panels.
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I used a dry-brushing technique to Other colours were introduced using The burnt areas were masked in First camouflage colour are mix of
very gradually build-up the effect the same method and working readiness for the first camo colours. Vallejo acrylics 71132 & 71026
using very small amounts of colour. closely to my reference images. airbrushed freehand.
After masking with ‘Blu-Tac’ type putty the The last colour is a mix of
second colour is a mix of Vallejo acrylics Vallejo 71010 & 71019.
71119, 71010 & 71012.
It was almost a shame to start destroying
the nice finish of the three-tone pattern.
Vallejo White grey is
the colour used on
the undersides,
sanded in the same
fashion.
Weathering is starting now. I
sanded the surfaces with
sponge sanding pads gradually
revealing the surface
underneath. This has to be done
gently to avoid burning through
to the plastic.
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After main weathering I masked some panels
according to reference photos for next steps. I used
main camouflage colour with Vallejo 71019 for this
step. Masked panels are drybrushed as previous
I continued some random fine work in dark green. Here we
steps slightly with this colour mix. Exposure to the
see the effect of the engine section with Vallejo 71019.
sun has played a major role in fading this abandoned
bird.
I especially darkened the middle of the Result of the darkening of the panels with
panels. Rivets line will stay more metallic Dark green drybrush technique.
as shown at the picture.
Next lightening of the panels
with Vallejo Interior green
71010 using the same dry-
brushing technique.

Last drybrush application to
the brown camouflage areas.
I used same technique with
Vallejo 71028.

Another easy but dangerous step! Weathering the lower fuselage was much I masked some panel lines and drybrushed darker tones as
Scratching the surface with a blade. I easier sponging grey tones gradually from same way.
didn’t used any chipping fluid or light to darker. the ratio between amount of The rear of the lower fuselage is much dirtier where I used
hairspray for this step. With a delicate paint and pressure on the surface is the key darker tones done with damp brush and random touch.
touch the results are effective. thing to practice.
Some final touches included heavy
staining with acrylic washes and
precise marks with watercolour
pencils including dark streaks as
shown in the reference photos.

A simple piece of groundwork was
created with commercially available
grass tufts and ground scatter in
suitable dry, sun baked colours
completing my miniature piece of
Turkish Airforce history.
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