Funaka`s Weathering Tutorial

My Scopedog got a heaping helping of both home-made and off-the-shelf weathering techniques.
Weathering is an art form and there are MANY weathering techniques and products out there. I don’t know if
an all-encompassing weathering guide exists, but if it does, it must be hundreds of pages long.
In this guide I’m going for basic to moderately advanced techniques. Weathering has become a huge industry in
the world of tank and aircraft modelers in the last ten years or so. Before that, weathering products were almost
entirely homemade and kind of arcane. You had to buy artists pastels and grind them down to make your own
pigments and make your own washes from enamel paints and lighter fluid.
Those older techniques are still available but a guy named Miguel “MIG” Jimenez kind of revolutionized the
tank model building world with his weathering techniques and by helping create off-the-shelf products to help
people produce some pretty amazing weathering effects for their models.
Mig Jimenez is kind of a controversial figure and has been in and out of relationships with several companies
like Vallejo, MIG, AK Interactive (whose products were labeled “Powered by MIG Jimenez”), and AMMO of
MIG. I don’t bring this up to go all TMZ, I haven’t bothered to keep track of the stories, but as you can see, his
name appears in several places and it makes keeping up with the more popular weathering brands kind of
confusing.
I used all of the techniques I’m going to describe in this tutorial on either the Hi Mock I recently built for my
Hand-Painting Tutorial, my Scopedog or my Core Fighter.
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Weathering is an artform and some attempts go better than others but I feel like I nailed it with this one.
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My Core Fighter was a little more subdued with a lot of airbushed fading effects. But I still dirtied it up with oil
paints and lots of Tamiya Weathering Master streaks.
For most of this guide I’ll be following along with the weathering work I did on my HG Hi Mock. The
weathering I’m going to describe in this guide would be applied to a completed “clean” model. If you want to
know how to build that model, see my other tutorials. In my How to Build Gunpla tutorial I covered weathering
via airbrush shading and weathering with a heavy/dirty/sludgy panel line wash. Those effects work well with
the effects below.
Weathering should be applied after decals have been applied and in almost all cases except for a tight panel line
wash they are best applied over a flat-coated model. This is because the pigments in the various products would
be swept right off of a smooth glossy surface, but the microscopic bumps in a flat finish will catch the pigments
somewhat so that it takes a bit of work to remove them, which is what you want since most weathering effects
are applied heavily and then either washed, buffed, or scrubbed off most of the way.
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Start here, with a clean model.
The first effect of weathering a clean model is a filter wash. A filter wash is meant to slightly distort the color of
the paint on a model. The effect you’re going for is uneven paint fading, staining, or just “visual interest” to
make a monochromatic finish look more detailed. As mentioned, you can buy off-the-shelf washes to do this.
For this Hi Mock I used two separate filters, an AK Blue Filter for German Gray and AK Dust Effect for
Landing Gear. Note that these two products are essentially very thinned paint, and that only one of them is
actually labeled a “Filter”. Any enamel paint, if thinned enough, can be a filter.
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I used these two liquid products as filters. Only one of them is actually called a filter. What matters is that you
get some faint variations in the color of your model so it doesn’t look perfect and new.
On the Hi Mock I started with the blue filter. Applying a filter is not a rigorous technical process. I proved this
by screwing up and totally spilling my filter all over my model and workbench. One bad thing about these AK
products is that they’re in tall, lightweight plastic bottles that tip very easily. This is the second time I’ve done
something like this.
I am SO smooth….
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The good thing about these filters is that they are very easy to work with. While the spilled wash was still wet I
used my soft brush to dab off excess and put it in other places on the model. Once I got off all the wash that I
could that way, I went in with the odorless thinner and spread it around, loading up the brush with a heavy
mixture and spreading that somewhere else on the model that had less, or just blotting it off onto a paper towel.
Oh no! It’s ruined! I spilled filter all over it!!!! Nah, it’s far from the best way to put a filter on your model but
it’s OK, I just need to spread it around.
The general idea is to spread the filter around thinly and kind of unevenly. For what it’s worth it’s also good to
brush in either the direction of gravity (for slow-moving vehicles) or wind flow (for fast-moving vehicles) so
that any streakiness left looks like dirt or stains being pulled along the surface of the model by natural forces.
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Enamel filters can be thinned with Odorless Thinners. This one is made by AK Interactive but you can also get
big bottles at art supply and craft stores. They are also referred to as odorless mineral spirits. Make sure to
pour it into a smaller container for use since you will be dipping a dirty brush into it.
After spreading it out more evenly with a thinner-soaked brush it looks like this. This is still too heavy and
brush-streaky. After cleaning the excess filter off the brush and putting more fresh thinner on it, I run the brush
through it again to remove more of the filter.
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Here’s about where I’m happy with it. Just some faint traces of blue to break up the solid green. Weathering is
an artform so it’s up to you to decide when you’re happy with it.
I used the dust effects wash as my next filter. I managed to do this one normally without dumping the paint so
this will be a better example of more typical use. As you can see I just kind of spread it around the model. It’s
way heavier than I want it to end up, but next I’m going to come in with a soft brush that’s damp with thinner
and wipe the model down so that 80-90% of it is carried away, leaving behind faint patches and streaks of color.
This is more like how you’d normally apply a filter wash. I probably could have used less, but after the spill this
felt pretty light.
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As you work the brush will become loaded with the pigment and leave more and more behind on the model,
Regulate how much you leave behind by wiping or blotting the brush on a paper towel, and dipping the brush in
more thinner. The more thinner on the brush, the more pigment will be carried away, the dryer the brush is, the
more pigment will be left behind on the model.
Sometimes spreading the wash around isn’t enough and you have to wipe excess off onto a paper towel.
After a few rounds of washes the various paper towels on my bench looked like this.
A good thing about most of these pigment-based products is that you can work with them as you go. What I
mean is if you leave too much on, you can wipe more off (as I proved, you can literally get away with dumping
the bottle out onto your model…). If you wipe too much off, you can put a little back on and try again. The
other cool thing about weathering is that it’s somewhat random so little mistakes and inconsistencies can
actually enhance the model.
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Here’s a part after the two filter washes. It has some nice irregularity (called color modulation) which helps on
a model like this that was hand-painted and doesn’t have shading. Also note that the blue wash shows best on
the blue-gray and the dust shows best on the dark purple. This is one reason multi-color washes are best so that
all parts of the model get some contrasting wash on them.
Note that I applied these filters as two separate washes and did not put a clear coat between them. This means
that as I worked with the tan dust color, it would mix in a bit with the blue that was left from the previous wash
and I wiped away some of the blue from the last wash. This didn’t particularly bother me but it’s something to
keep in mind. If I had been super-aggressive in wiping off the tan or had to redo it over and over there probably
wouldn’t be any blue left.
Another (and maybe better) approach would be to do the two simultaneously. Blot on some blue, blot on some
tan, maybe throw in another color or two and then go at them all at once with the thinner. This is similar to the
dot filter approach that I still use.
The dot filter works by dotting on enamel paints in various colors all over the model. Then you come in with the
thinner and thin and blend the dots together, then you draw them out so that you leave uneven streaky patches
of color on the model. So you can go either way. Do a dot filter and use thinner to thin out and spread around
the dots, or use pre-mixed washes/filters and brush them around.
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Here’s a similar technique done by applying dots of enamel paint all over the model. Whether you use dots of
paint or streaks of pre-mixed wash, it works out about the same.
Once it’s mixed around, you can see that the monotone green of this model gets broken up nicely.
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Here’s the “before” picture. I had done some highlighting with airbrush shading, but it’s clearly more
interesting after the wash.
Here’s the finished model after a flat coat. The filter wash breathes life into the monotone green finish.
Another wash that I find useful is “Track Wash”. It’s a general mechanical grime that is meant for dirtying up
tank treads. I used it on the internals of my Scopedog to give them a distinct look from the exterior of the
model.
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That’s the Track Wash on the right. The other two washes are more like a panel line wash, but in different
colors.
These were painted gray, slathered with Track Wash and then rubbed down a little bit with a paper towel
slightly damp with odorless thinner.
There is a down side to rubbing enamel thinners all over your model… If it gets into a place where it makes
contact with unpainted plastic (which is likely because it’s going to get everywhere), it’s likely to make the
plastic brittle. I’ve had several pieces randomly crack on me after sloshing lighter fluid or odorless thinner all
over the model. But I still weather my models because fixing the occasional broken piece is a price I’ll pay for
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an interesting well-weathered model. One way to prevent this from happening it to take the extra time when
priming or clear coating the model to make sure you completely coat all the plastic in paint.
Yeah… Lots of thinner can do weird things to plastic. But I think the occasional repair job is worth it for a
realistic and unique model.
Here are some pictures below of the model after the filter. Note that the filter was caught in the same recesses
and panel lines as the panel line wash. There are two ways to look at this. One is, “Oh no, the filter wash ruined
my neat panel line wash!” The other is, “Cool, that filter wash put what looks like dirt and stains in some of my
panel lines!” Either way of looking at it is legitimate, depending on to what extent you view the panel line wash
as either shadows (ruined by the filter) or grime and dirt trapped in the nooks and crannies (enhanced by the
filter). Many model builders apply or re-apply their panel line wash after the filter wash and other weathering.
It’s up to you. One thing to keep in mind is that applying a panel line wash at the end will be over a flat coat and
will not wipe away as cleanly. Some modelers view this as a bonus since it may look like grime in AND
AROUND a recess or crevice.
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The filter looked best on these green pieces. You can see how the tan got trapped in the recesses. You can looka
t that as dirt wedged in to recesses, but if you want nice dark panel lines, you can do the panel line wash after
the filter wash. I’ve done it both ways.
Again, weathering is an art form and subject to opinion and interpretation. People might say you did it badly,
but it’s hard to say you did it wrong.
After a filter wash, it’s time for paint chipping. In my How to Build Gunpla tutorial I explained how to do paint
chipping with colored pencils. Here, I’ll show you how to do paint chipping with paint.
Paint chipping is supposed to represent where the mobile suit, or tank, or whatever ran into something and
knocked or scraped paint off of it, exposing the primer or metal underneath the paint. One way to do this is to
paint the model in a metal or rust color, coat it with hairspray, and maybe some salt chunks, then paint it with
acrylics so that you can later scrape or scrub the salt and acrylic paint off and expose the metal/rust paint
underneath. You can Google this (“hairspray technique” or “salt technique”). I’ve never personally tried it. I’ve
seen it come out fantastic. I’ve also seen it come out lame where it looks like the model was scoured by a
toothbrush… because it was scoured by a toothbrush. Often the secret to successful weathering is patience and
restraint.
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Here’s a good example of what you can do with salt and hairspray. Michael “Fichtenfoo” Fichtenmayer used
hairspray and salt to add multiple tones to the rust and to mask/remove the tan on top of it to let the rust show
through. http://fichtenfoo.net/blog/in-progress-%C2%BB-desert-use-scopedog/
I am going to share a simpler technique that produces good results. Choose a paint that will represent the metal
or primer underneath the model’s paint. My go-to paints for this are Vallejo German Camo Black Brown and
Natural Steel.
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I use the Black Brown to represent steel. You may be thinking, “Uhhh… why not just use the Natural Steel?” or
“But steel should be silvery and metallic.” But it isn’t. Next time you go by a construction site, look at the
tractors. Where the paint has been scraped away down to the metal, the color underneath is a dark slightly rusty
brown. On the other hand, I use the Natural Steel colored paint to represent chipping on aircraft that are made of
aluminum, magnesium or titanium, since those will have a silvery look to them.
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Heavy machinery paint chips? Not silver and shiny.
This WWII Spitfire is chipped all around the cockpit door. Aircraft metals usually are more silvery, though they
tend to be kind of dull, which is why I use the natural steel, not silver. I also apply paint chips before the last
flat coat to dull them down more.
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Since Gunpla isn’t real, you can use either rusty brown or metallic silvery chips. For dramatic effect, I usually
go with whatever one I think will look better and contrast more with the paint. For my earthy, super-realistic
Scopedog, I went with the Black Brown. For my Hi Mock and its mostly dark-purple finish I went with the
Steel. I’ve also seen people use gray or rust colors to represent the primer underneath the paint instead of actual
metal. Or you can use both. I’ve seen people use metallic paint chips on the dark parts of Gunpla and steel
brown on the light parts.
This guy Fendoza had it both ways, using silver on the dark parts and rusty brown on the light parts. That’s the
fun of working on fictional subjects. http://www.gundamkitscollection.com/2014/12/custom-build-mg-1100chars-gelgoog.html
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You can apply your paint chips with a brush but I find that trying to intentionally paint the random shape of a
paint chip can be slow and painstaking. So instead of brushing them on, I prefer to “simulate” them on. I use a
toothpick because it’s a hard object. Real vehicles get paint chips when they run into something hard that does
not give. A paint brush does a bad job of recreating those shapes because its bristle have lots of give and result
in rounded blobby shapes. A toothpick will give you harder-shaped paint chips.
I prefer to put some paint on a toothpick and jab different parts of it at different angles into the model. You
could also use different objects like scrap model parts, pieces of sprue, or hobby tools to bang into your model
for different effects.
My paint chipping tool of choice. I feel that a hard object like a toothpick leaves more realistically-shaped paint
chips than something soft like a brush.
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Rub the toothpick on the model. Hit it with the side or the tip, you’ll get a feel for it.
When doing paint chips, keep some things in mind. Paint chips should NOT look like the measles (yeah, it’s an
art form, but it’s not a Picasso). A real mobile suit would not have an even distribution of paint chips all over its
body as if it had been doing jumping jacks in a cluster of small asteroids. So, since mobile suits are essentially
humanoid, think about where you get scrapes and bruises on your own body. Hands, elbows, feet, shoulders,
knees, and shins are good places to focus your chipping. Also, a mobile suit is likely a fighting vehicle so if you
think it would shield-bash or shoulder-bash a lot of things, scrape those up. Tips of pointy things like spikes and
gun barrels would likely get chipped up as well. Hard edges are most likely to run into something. Protected
places like underarms and inner thighs probably won’t get many chips. Also think about maintenance and crew
boarding. Access panels and steps or places where people would walk over the surface of a machine are prone
to paint chipping.
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When I did the chipping on my Scopedog, I concentrated on hard edges, the edges of crew entry and
maintenance hatches, and grab handles like the one below the red arrow. I only put a few chips in totally
random places.
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Here’s the steel chips on the Hi Mock. Again I focused on edges and the kneecaps since I thought they would
bang into things as it walked. I didn’t mark up the upper thighs since they’re pretty-well sheltered by the waist
and hips.
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At this point, it’s a good idea to protect the weathering you’ve done so far with a flat clear coat. You can use an
acrylic water-based clear coat like Mr. Color Topcoat, or Future with Tamiya Flat Base added. Or you can use a
lacquer-based clear coat like Mr. Color Super Clear Flat. Just don’t use an enamel clear coat since you will
continue to weather with enamel thinners that would eat through the enamel clear coat.
Whether you use spray-paint or airbrush it on, now would be a good time for a flat clear coat to protect the
work you’ve done so far.
I’d suggest this as the last clear coat you put on the model. The next steps will use powdered pigments and once
you apply these pigments, my experience is that putting a clear coat over them makes the more subtle effects
they produce almost completely disappear.
Powdered pigments are just what they sound like. Pigments give paints their color but rather than suspend them
in oil, water or organic solvents, powdered pigments are just the pigments, and usually some proprietary blend
of polymers that make them just a little sticky so that they stay on your model and don’t get blown or dusted off
easily. Pigment powders are extremely fine and leave a to-scale dust-like layer on a model.
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Several brands make powdered pigments. They come in a wide variety of colors.
The powder is extremely fine and can make to-scale dust. It’s also ever-so-slightly sticky, which helps it stick to
the model and clump to itself just a little.
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Pigments can be applied directly with a brush and we’ll get to that, but let’s start with using pigments to make
mud. Pigments can be mixed into several things (clear acrylics, Future, thinners) but for me the easiest thing is
mildly soapy water.
People mix pigment into gels like this to make mud. I’ve also seen people mix it into Pledge Future. I usually
just use slightly-soapy water.
There are also pre-mixed mud products like these below. I find them to be too thin to depict caked-on mud
without something else mixed in. They’re maybe more for depicting a thin layer of mud on top of other
weathering effects. The wet mud actually has a glossy finish, which is a nice touch.
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Here are a couple of shades of pre-mixed mud. Note that one is “fresh” mud and has a glossy sheen to make it
look wet.
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The bottles give you ideas of what you can do, although these pictures have other products going on in the
pictures, and not just what’s in the bottle.
I mix pigments into something that looks like mud by adding water. To the water I add just a drop of
dishwasher soap. The soap breaks the water’s surface tension and allows the pigments to mix freely and the
mixture to flow over the model. So, put a blob of pigment in a tin, and add just a bit of water and mix it up.
Depending on the amount of water, you can make very thin or pretty thick mud.
Everything you need to add some dried mud to your model.
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Just add a little mildly-soapy water to the pigment and mix. A little goes a long way, so don’t waste the pigment.
Mud can be thickened even further by adding a powdered patching compound or plaster to the mix. I’ve tried a
few brands (both on my models and on my house) and this is my favorite:
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Here’s a multi-lifetime supply of “mud thickener” mix. You can also use it for household repairs, which is what
it’s made for.
Compared to plaster, it gives you more time to work with before it sets up hard, and it’s easier to sand. Not that
you’ll be sanding it on a model but if you put a bunch on the wall of your house and then you have to sand it
smooth, you’ll appreciate that.
Keep in mind that adding these white powders will lighten the color of your mud mixture some. So maybe add
in a little darker pigment to offset it, or just put it on the model and blend it in with more pigments on top of it
after it has dried.
People also add real dirt, bits of crushed leaves or spices (like oregano) and finely chopped bits of scenic grass
to simulate vegetation and make their mud more interesting.
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I went pretty heavy on the mud on the bottom of this tank so I mixed in some patching compound.
Once you have a muddy mixture, jab it onto your model with a short, stiff, flat-tipped brush. It’s also good to
drag the brush perpendicular to edges above the mud, like on the edges of feet or the bottoms of ankle armor.
You want it to leave kind of a rough texture, though how rough depends some on the scale of the model and
how muddy it is. On a 1/144 model it may not be super-realistic to depict rough-textured mud since if you
shrank mud down to 1/144 it would probably look pretty smooth.
Muddy mud is muddy. I probably should have mixed in some of that patching powder and filled in the gaps on
the bottom of the foot. But like Bandai, I figure, who’s gonna look?
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Use the side of a short stiff brush to add texture and variety to the mud marks.
I added some more in a second pass.
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After I muddied up the feet on my Hi Mock, I set them aside to dry. Then I took my mud and added more water
to make thinner “dirty water” slurry and brushed it around the ankles and lower legs of my model. I don’t put
dirt and mud too high up because I don’t think mud and serious dirt would get more than 15 or 20 feet up on a
mobile suit, but that’s up to interpretation. Something like a Dom that moves fast and kicks up a rooster tail
behind it could get pretty dirty (especially if moving in a squad behind another Dom).
Once I was done applying thick mud, I thinned it with more water and made a muddy slurry to put on the
bottom parts of the model that I thought would get dirtiest.
I put some over the “hard” mud marks on the feet to blend them some.
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And I put some on the lower legs. I’m going to do some blending so this isn’t the final effect.
Once that was all dry, I smudged the dried pigment mud with my fingers and the same stiff brush (which by
now was clean and dry). This knocks down the texture and blends the pigment in some with the surrounding
surface. You can also pick up a little pigment onto the brush directly from the bottle and apply it onto the model
where you think it needs more or where your finger didn’t reach and you have a “clean spot”.
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After rubbing off the excess, I had this.
Here’s one of the feet. Note how some of the streaking still shows. Just like with other weathering, I rubbed in
the direction of gravity. Also note the paint chips under the dirt. Layering the weathering adds to realism. Some
modelers will add a few paint chips late in weathering to simulate fresh chips.
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There are some “clean spots” in the recesses I didn’t reach with my finger. I used a brush for those.
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Here’s the other leg after I was done. There are still marks from the original brushing of the very wet mud, but
it has also been blended in as I rubbed in the dried powder, making what look like more dirty and less dirty
areas, but without a really hard boundaries between them.
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Another thing you can do with muddy pigment mixtures is load a brush up with it, and splatter it onto your
model using a blast of air from your airbrush. Just point your airbrush at your model, get the air flowing then
put the brush in the airstream. It will splatter the mud on the model. Note the splattered dots of mud on this
model. I concentrated it lower on the model and tried to blow it upwards at the model as if the Scopedog in
front of this guy was shooting up a roostertail of mud as they sped along. It’s a nice random effect, with lots of
mud spots down low and just a few dots showing up high on the model.
Note that you don’t always have to make your pigments wet. A much simpler thing to do is just brush them on
with a stiff brush to add a layer of dust.
Here’s a before shot of the 1/144 EFSF tank without pigment.
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Here’s how it looks after pigment. I applied it heaviest to the bottom and put less on top. It’s a subtle effect but
adds to the realism of this tiny model.
Aside from the mud I put on the undersides, I brushed pigments onto the fenders and upper sides of this tank. I
dusted it pretty heavily on the tops pf the fenders around the toolboxes and other stowed items to simulate dirt
that would accumulate there. I also brushed it onto the wheels to blend in the hard-edged mud to the rest of the
tank.
So a mixture of wet and dry pigments is great for simulating mud and dust on the bottom half of your mobile
suit. What about the top? For upper surfaces, paint fading is a common weathering effect. It can be done with an
airbrush and I covered that in my How to Build Gunpla tutorial. Another effect that looks good on upper and
side surfaces is streaking caused by rain drawing dirt down the surfaces of a vehicle. It may be too fine an effect
for a 50-foot tall mobile suit that has been scaled down to 1/100 or 1/144 (it’s most commonly used by tank
modelers working in 1/35), but it looks cool and adds more interest to the finish.
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Rain streaks in a bottle.
AK Interactive makes products to simulate rain streaks that make the process pretty easy. I paint it on in streaks
with a fine, long, soft brush. Then before it has totally dried, draw it out with a soft, wider brush dampened with
thinner. Like a lot of weathering effects, you have to keep it somewhere between planned and random. My first
try on the shoulders was way too perfect and looks like a starfish footprint. So I went back and randomized it,
then it looked better.
You start by painting the streaks on, so use a fine brush.
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As small as this Hi Mock kit is, I should have used a smaller brush. When you first paint it on it looks, well,
painted on. In a minute we’re going to blend it in with thinner. Note that I do both “satlactites” and
“stalagmites” with streaks from both the top and bottom.
I used the same brush to paint the streaks on this huge 1/20 scale Scopedog gun and it looks right.
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Once painted on, I draw them down with a brush wetted with odorless thinner, creating streaks. This “starfish
footprint” pattern wasn’t random enough so I went back with a second round of MUCH more random streaks.
Th streaks on the head, chest, shoulders, and forearms are AK Rain Streaks.
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It didn’t come out quite as good on the Hi Mock… Though to be fair it’s a much smaller model. I should have
used a smaller brush on the Hi Mock and made more fine streaks.
One last product I use is Tamiya Weathering Master Pastels. These basically look like makeup. Heck, they
basically are makeup… They even come with a little makeup brush. These are really good for making streaky
exhaust, gunpowder, and fluid stains. They come as a nearly solid “nugget” of pastel so I use them by scuffing
the surface up with a toothpick to free up a little bit of the stuff and then rub it onto the model with the foam tip
of the applicator, or a Q-Tip.
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Hobby Lobby carries this. Find their 40% off coupon online and get this product for $8.
This is set B, snow, soot, and rust. It’s the one I use most. I scrape the surface with a toothpick. Otherwise you
can rub the applicator on it all day and it hardly picks up any of the stuff.
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The toothpick has loosed some of it up and now it can be picked up on the applicator or a Q-Tip and applied.
It’s great for gun barrels.
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And exhaust stains.
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The streaks in the exhaust cones was done using all three of the weathering master colors, soot, rust and snow.
A side note… The stains on the surface are artist’s oil paints (Burnt Umber if I remember correctly). I applied a
tiny bit with a toothpick and then buffed it in with a Q-Tip. The tighter streaks on the wing flaps are tiny bits of
the same oil paint applied at the leading edge of the flap and drawn back with a toothpick. It helps to put a
Post-It on the wing to help keep form accidentally pulling the stain forwards.
Now that I’ve explained what I’ve learned, I’ll share one more thing…
Want to learn more about weathering techniques or products??? There’s an app for that! Yep, AK Interactive
has an app you can keep on your phone that helps explain the purpose of their myriad products AK offers and
has in-app tutorials and downloadable PDFs on how to use them.
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Also, AMMO of MIG has recently put out a guide called “Painting Mechas” with paint and weathering tips
aimed at mecha models. So it looks like the world of mainstream weathering is starting to cater to Gunpla
builders.
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