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Our column for beginners helps you learn the basics of car modeling

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2 Scale Auto • THE BEST OF FUNDAMENTALS

JUNE 2009

That mess is a place!

Welcome to our little corner of Scale Auto, where we’re going to look at the basics of car modeling

– all sorts of things that will help the average builder, or someone just getting started in the hobby, or someone who’s coming back after an absence.

See how the word “fun” is highlighted in the title? That’s intentional, because we’re going to keep the tone of this column light, and fun, as I believe any hobby should be.

We’ll cover tools, workshops, lessons learned in building, and simple, inexpensive ways to make your time at the bench more productive and enjoyable.

One of the best ways to have fun building is to have a good place to work – and that’s where we’ll start off.

locAtioN, locAtioN Where can you find a spot to build? Can you stay there permanently? (Let’s hope so.)

I’ve built models on TV trays, in dorm rooms, and one-bedroom

apartments; none was exactly ideal. But I’ve been pretty lucky in that the last two houses we’ve purchased have had good places for me to set up shop.

In Indiana, the previous homeowner built furniture as a hobby, so he built a detached workshop roughly the size of a two-car garage to house all the lathes and other tools he needed. When he moved out, he left behind all that floor space, plus built-in workbenches, overhead lighting, and a heater.

Now that was a little slice of heaven. I added a room air-conditioner, cable

TV, a couch, and a refrigerator. I could build any time, day or night, without worrying about making noise or smelling up the house with paint fumes. (It was also suggested that if I added plumbing, I might never have to come back into the house.)

When I came to Kalmbach in 2002, I had to leave paradise behind – but I am still in pretty good shape with the basement workshop that you see in the lead photo.

The foundation of all this is an old drafting table that I’ve had since the early 1980s. I got it from an employer

that was modernizing its drafting department, and it’s a nice size – about 4x6 feet. The tabletop height and angle are adjustable, so I can set them for comfort while building. I prefer to have the top at a slight angle, so I have to make sure things don’t roll off.

lEt thErE bE light, ANd plENty of it, plEASE I can’t overstate the importance of working under good lighting – especially for those of you who are 40+ years of age.

My work area, based on an old drafting table, is pretty typical: clutter everywhere. A place for nothing, and nothing in its place! This how it looked during construction of a Porsche review model, which is barely visible in the middle of the bench.

An old drafting light really helps tired eyes see things better and avoid frustrating errors.

THE BEST OF FUNDAMENTALS • www.ScaleAutoMag.com 3

As we age, our eyes harden, which can make bifocals necessary and affects our visual acuity in other ways. Getting lots of light on your work can really help – especially if you build at night and your eyes are already tired after a full day’s work.

You can’t see it in the lead photo, but there’s a four-foot fluorescent light fixture (two tubes) mounted in the ceiling. That was fine when I was younger, but in recent years I’ve needed more light – especially for detail work. My eyes don’t focus as well now, so I clamped a drafting lamp to the left side of the table. I’m right-handed, and this keeps the swing arm out of the way.

The lamp’s adjustability has another important benefit:

It’s nice that I have carpet in my shop, but it’s Berber, which has all sorts of colors in it, as well as texture. Drop a small part on the floor, where it can perform all sorts of gravity-defying feats on the way down anyway, and good luck coming up with it on your own.

However, I can pivot the drafting light down the side of the bench so that it throws the carpet into “relief” a little bit, giving me a fighting chance to see what I’m looking for as I frantically run my hand back and forth.

As an aside: when you do drop a part, try to resist the urge to bolt out of your seat looking for it. You might step on it, kick it across the room, or worse yet, run over it with your chair.

If you don’t see the part right away, check your shoes, socks, and pants cuffs. Parts can stick to any of these places on the way down to the floor. I once dropped a one-off part in plain sight, and went crazy looking for it, to no avail. I found it in another part of the basement weeks later, where it had fallen off my shoelace!

HAnd toolS The hand tools shown are some of the most-basic, yet most-

used, tools around. And they’re sitting on a self-healing cutting mat, which is a good default work surface.

I try to keep more than one hobby knife within arm’s reach, for convenience’s sake. And usually one of the knives has a new or almost-new blade in it, in case there’s foil to be trimmed or some other delicate operation.

I mentioned the need to keep tools from rolling off my inclined bench. Notice that the knives have molded triangular “thingies” (technical term; we won’t use too many of them in this column), available at drugstores and other places that carry school/office supplies, slipped onto the ends of them.

Even if you build on a flat surface, this inexpensive fix keeps the knives where you lay them down, and can save you some grief. I’ve had rolling knives go off the table and into my bare foot (not a really smart thing, anyway) and into my thigh, and trust me, you don’t want that to happen too many times.

Sanding sticks of various grits can be found in the cosmetics departments of drug and department stores. If you can get the three- or four-way files (multiple grits), they’re most convenient.

A pin vise lets you drill tiny holes on hard-to-reach places.

The handy sprue cutter (top of photo) is a really cool, versatile tool. Mine was about $12 at a local hobby shop, and it’s easy to grip, with really sharp blades that give a good, clean cut.

power toolS Well, motor tools, anyway. And as long as you don’t get gung-ho with them, and crank up the speed too high (thus melting the plastic) they can really help knock big drilling/grinding/cutting jobs down to size.

Through no fault of my own, I have three motor tools on my bench, each with a different use. I have always had

good luck with the Dremel brand, but others are available too.

The oldest variable-speed corded tool is in the center of the photo. It’s about 25 years old, and creaks along. It’s a plain-bearing version that has seen a lot of heavy use, and I “save” it only for the toughest cutting jobs.

I got an updated corded version (right) as a Christmas present a few years ago. It has ball bearings, runs more smoothly, and is much quieter than the original.

But perhaps my favorite of the three is the cordless version at left. It was only about $30 when I bought it, and it’s worth every penny. If I was starting a shop from scratch today, this would be one of the first tools I’d buy.

It has only two speeds, compared to the variable speeds of the corded versions, but there’s also less torque, which is really to our advantage when dealing with styrene (remember, you don’t want it to melt, just cut the plastic).

And with no cord to watch out for, you won’t be risking snagging the cord on other parts, or an open bottle of paint or glue (how did I know that?). You can drill holes in hard-to-get-at places, make cuts with the handy cutoff wheel, or grind away material with any of a number of bits.

It only takes a couple of hours to charge, and holds its charge for a long time. You can get lots of building done on one charge.

QUESTIONS FOR JIM?

Send your questions to Scale auto, Fundamentals

21027 Crossroads Circle, Box 1612 Waukesha WI 53187-1612

E-mail: [email protected]

The same light can be adjusted to shine near floor level, so I can rummage around for the tiny part I just dropped.

Bottom to top: sanding sticks; hobby knives with no-roll triangles added; pin vise, for drilling small holes by hand; and a sprue cutter.

The old motor tool (center) is for rough work; the newer one (right) is for general-purpose use; and the cordless version (left) is super-handy for all kinds of jobs.


AUGUST 2009

Cool tools and other useful stuff

Last time we looked at getting a place to build, setting up a workbench, and some things to help

you build better models. We didn’t cover everything, though, so let’s check out a few more ways to make building more enjoyable.

BAR NONE At Kalmbach we have a diverse group of how-to titles, involving models, beading, jewelrymaking, and other subjects. It’s nice to see how other staffs make their magazines, and there’s also some overlap in terms of tools and equipment – and that’s where this tip comes in.

It’s so simple, and so cool, that it’s one of those “how come I never thought of that before?” forehead-slappers.

Naomi Fujimoto is Senior Editor at BeadStyle, and being hands-on with various projects is part of her job. I walked by her office one day, and saw

the supercool way she stores various hand tools at her desk (see photo).

It’s actually a towel bar, of the type you might see in your bathroom. Turn it over, and there are built-in “feet” to keep it in place, and the pliers, sprue cutters, and other small tools are kept handy, but away from the main work area – where they can’t be dropped (bad for the points) or pile up where you need to work.

I couldn’t find a bar just like Naomi’s, but got something similar at a home-improvement center (see photo). Because my old drafting table is set at a slope, I probably should shim the lower “foot” a little bit to level the bar, so the tools don’t slide toward the low end.

PVC pipe and some fittings could also be used to make an inexpensive alternative.

DOllAR-STORE DEAl Okay, I confess: I enjoy checking out the local everything’s-a-dollar stores for bargain- priced stuff to build models.

One of these stores was across the parking lot from a 30-minute oil-change

place, so I’d go in there at lunch and snoop while my car was being serviced. I found plenty of useful things there, which can save a buck or two and serve our purposes. We’ll spotlight one or two of these “finds” from time to time.

This time it’s an old standby: toothbrushes.

We often read, “use an old toothbrush to help remove paint” or similar suggestions.

This cool tool rack is actually a towel bar, used by BeadStyle Senior Editor Naomi Fujimoto to keep pliers and other hand tools organized.

As you build more models, you’ll find it easier to have several adhesives handy to perform specific building jobs. Here are a few examples from my workbench (see text).


But I really don’t use up toothbrushes that often, and when I do, they’re pretty well done for. So why not just buy a few new ones for a buck?

After all, we’re not doing dental hygiene, we’re removing paint; so one-and-done brushes are a bargain – and because they’re not already worn out, they take off paint better anyway.

You might check to see that they aren’t super-stiff before you buy them, to cut the risk of scratching the parts you’re stripping; but otherwise, there should be no problem.

91 percent iSopropyl It’s not a buck – gasp! It’s almost $2 a bottle! – but 91 percent isopropyl alcohol is still a good deal. You can see the bottle I purchased recently from a drugstore, in the same image with the toothbrushes described earlier.

As you might expect from the name, 91 percent is a bit stronger than the usual (and cheaper) 70 percent stuff – and that’s good news when you’re trying to remove some stubborn paint with the toothbrushes we just discussed.

glueS you cAn uSe To really do a good building job, you should have several types of glues on hand; today’s multimedia models make the old tube glue just one of the adhesives you need in your arsenal.

Let’s look at a few examples of adhesive types I have at my bench. They reflect personal preference, and you’ll need to find your own “comfort zone” with various brands.

And speaking of the old standby ...

tube glue It’s how many of us started building with it, and it’s still useful. It’s thick stuff compared to liquid cement or super glue, and it takes

a while to dry, but you can use that to advantage in some parts of your builds.

liquid ceMent This is the primary glue of choice for many builders. It’s really a brushed-on solvent, so it works by dissolving the edges of the parts it’s applied to. That’s also why disassembly is difficult, because the parts are fused.

Super glue Many modelers use super glues as their primary adhesive, because of their strength, gap-filling ability, and short bonding time. Several viscosities are available, so you can select a cure time and thickness to suit the type of joint desired.

Medium-viscosity super glue and accelerator (also known as “kicker,” which speeds up cure time to nearly instantaneous) can also be used to fill large gaps.

The technique is to apply super glue in the gap, immediately spray it with kicker, and begin sanding right away, before the glue cures completely. Properly done, this yields a strong, smooth surface that is not subject to the glue-shrinking problems that can occur with other adhesives.

I’ve used most of the name-brand super glues, and many of them are fine; but my favorite for all-around building is Satellite City’s medium-viscosity Super T. It’s available from Tower Hobbies, and possibly elsewhere.

I’ve used Super T for more than 30 years, and it’s nice to have that comfort zone. It’s familiar, works well, and I’m happy with it. Another brand may work equally well for you.

Five-Minute epoxy I recently asked one of our reviewers how his latest buildup went. He replied, “lots of rubber bands and five-minute epoxy.”

That gives you an idea about how this adhesive is often used – a little like sending in the cavalry.

It’s used for tough jobs – when nothing else seems like to have enough “staying power” to hold parts together – and some modelers like to use it to hold glass parts in place or for metal-to-plastic joints. It’s more difficult to apply smoothly and evenly, but it’s often used in situations where that’s not an issue.

Some epoxies are now sold in packaging that is a twin-plunger setup, so the desired 50/50 hardener-to-glue mixing ratio is easier to obtain than resorting to “eyeball” measuring, which can affect joint strength and/or cure time if that ratio is off a bit.

elMer’S glue This is one of a family of similar “white” glues that are useful for attaching clear parts. You can thin it with water as desired, and apply it with a fine-point brush.

but wAit! there’S More These are just a few of the types and brands of glue available to modelers; they’re literally what I had on my workbench when it was time to write this article. As you build more, you’ll find brands and types that work best for you.

For a more-comprehensive look at adhesives, check out Matthew Usher’s “Adhesives from A to Z” in the February 2009 Scale Auto.

QUESTIONS FOR JIM?


21027 Crossroads Circle, Box 1612 Waukesha, WI 53187-1612

E-mail:[email protected]

I couldn’t find a towel bar as cool as Naomi’s, but this “cheapie” version from a home-improvement center works just fine.

91 percent isopropyl alcohol (left) makes stripping paint easier; a pack of toothbrushes from a dollar store (right) helps too.

1 2


DECEMBER 2009

Sprues you can use

One of the real bedrock items to learn about building any type of styrene model is how to properly

remove parts from the “parts trees” (also called “sprues”) to which they are molded.

When I was a kid, I thought the way to do it was just to twist and rip the parts from the trees (Photo 1). The result was a lot of stubby-looking parts with blemishes in them (Photo 2). And it made for some pretty ugly-looking models.

Sprue cutter? What’s that? (Remember, this was the 1960s.)

So how do you get clean-looking parts? Here are a couple of ways:

HoBBy knifE Sometimes parts are molded quite close together, or are especially fragile; that’s when you can enlist the aid of a hobby knife to remove the parts.

It’s important to have a brand-new blade, and work slowly with it (Photo 3). Don’t force the blade to do a massive cut. In fact, it’s often better (and easier) to cut a slight distance from the attachment point (Photo 4), then sand away the resulting stub of material (Photo 5).

SpRuE CuttER The best tool for most parts-removal jobs is the purpose-designed sprue cutter. Several good brands are available, priced at $12 apiece or so. The blades are thin and sharp, and make quick work of most attachment points.

Still, there’s a right way to use these cutters, and several wrong ways.

Slide the open jaws of the cutter between the part and the sprue (Photo 6), keeping the blades parallel to the edge of the part. With only light pressure on the handles, the part should cut cleanly (Photo 7).

From here, only a little touchup with a sanding stick should be all that’s necessary to achieve a nice, smooth edge. If the blades aren’t aligned properly, you’ll leave behind more material than necessary – or, in extreme cases, take away too much material. In either case, you’ll open the door for much more work to get the parts ready to assemble.

Many attachment points are small and thin, but some, such as the seat

QUESTIONS FOR JIM?




Clean removal of parts from sprues or “trees” is an important part of building. We’ll show you how to get good results, using tools such as those pictured here.

When I was a kid, I used the old “twist-and-rip” method of removing parts.

Naturally, I had a lot of gnarled, ugly-looking parts (and glue joints) as a result.

shown in Photo 8, are a bit more stout.Keeping the same principles in mind,

align the blade with the edge of the part (Photo 9), cut carefully, and the resulting edge needs only minor sanding (Photo 10).

plAtED pARtS A whole other set of issues arises when you have to deal with chrome- or gold-plated parts (Photo 11).

In almost all cases, the attachment points for these parts are in areas that will be visible after final assembly – and because the parts are plated, you’ll be cutting through the plating to the “bare” plastic underneath.

You still have to get the parts off the trees cleanly first, though, and I find this is easier if I “rough cut” the sprues in the general area of the part (Photo 12) before I make the final parts trim (Photo 13). In Photo 14 you can see where there’s a little bit of material left; this

will require careful sanding to avoid removing a sizable section of plating.

But what to do about those ugly scars left behind after the parts are trimmed?

Aside from sending the parts to a replating service, the two most-popular ways of dealing with this problem are to cover the offending spot using a metallic silver Sharpie (if the area is small) or a piece of Bare-Metal foil (for larger areas). Neither way is perfect, but they are the best options.

3 4 5

6 7 8

9 10 11

12 13 14


Use a brand-new #11 blade, and cut slowly; let the blade do the work.

Many times, it’s better to cut just outside the part you’re trying to remove.

Carefully sand away the remaining plastic from the sprue.

Keep the cutter’s blades parallel to the edge of the part.

Only light pressure should be required to get a clean cut; these blades are quite sharp.

Use extra care when the attachment points are wider or thicker than usual.

Again, be sure to keep the blades aligned with the part’s edge, so you get a clean cut.

By keeping things in alignment, and using only light pressure, a clean cut is achieved.

Sprues with plated parts present their own set of challenges.

I find it easier to isolate plated parts before removing them from the sprues.

Now it’s easier to get a good, close cut that will require minimal touch-up.

Sand carefully, then cover the spot with silver Sharpie or a tiny piece of Bare-Metal foil.


FEBRUARY 2010

Pull the trigger

Here’s another incidence of finding something really cool for modeling use, without really trying

to do so:As mentioned a couple of times in

this magazine, a new and interesting “other” hobby of mine is repairing and restoring electric guitars. I was watching a how-to video about finishing, when the author showed one of the paint triggers shown here.

He hooked it up to a spray can, and proceeded to lay down some really nice coats. I thought about the times that I’ve either sprayed my fingertip or put a big dent in it trying to squeeze that last little bit of paint from a can, while I was working on a car body.

“Might be just the thing to have around,” I thought. “And cheap, too.”

Right on both counts.The Rust-Oleum Spray Grip was

available through my local ACE hardware store, and it was only $3.

Just slip it over the little “lip” on the can, and spray away. It’s amazing how much easier this makes spray-painting. It’s much more comfortable in my hand, and the grip gives much more control over application. When you’re done, you can just slip the grip off the can, and use it somewhere else.

More than one manufacturer makes grips such as this one, with subtle differences in design; this was the nearest product available to me.

poRtABlE woRk StAtion Need a place to build? Nick Anderson shares some thoughts:

“I have read with interest in past issues [about] the lack of workspace many modelers have, such as in apartments, etc.

“In preparation for some foot surgery, I knew I would not be going downstairs to my work area for several weeks. Being off my feet required some new thought about continuing to build models and not becoming bored.

“I assembled this ‘portable work station’ in just a few hours, for the living room – and it can easily be taken down and stored in a closet.

“I got the fold-up table at Walgreens for $25, and four clamps at Harbor Freight for $4. Using only a drill and hand saw, I took scrap wood from

leftover projects and assembled and clamped a work tool holder to the table. The cup holders are made from cardboard shipping tubes, to hold water for paint brush cleaning, or the paint brushes themselves. The cup holders on the left are to hold tubes of glue, and whatever one finds convenient.

“The unfolded table is 48 inches by 18 inches. I covered the table with old shop towels to protect the vinyl covering from glue and paint.

“The cost for this work station was $30, and one can find scrap wood really cheap at home centers, if they don’t have some laying around the garage.

“This work station would be great for apartment dwellers and those with limited work space. For the homeowner, the table later can be used as a separate work area in your workshop for a special project, or be used for putting up wallpaper or an extra serving table when family comes over for the holidays.

“A drill or good screwdriver, a hand saw, some wood screws, and maybe a few angle brackets, plus the C-clamps, and you are in business in a few hours.

“Oh, by the way, the paper towel holder is made from a paint stir stick screwed to the side of the wood on the edge of the table.”

DollAR-StoRE DEAl If you’re on a tight modeling budget – and sometimes even if you’re not – check out your

nearest dollar store for all sorts of inexpensive items that can stretch your hobby bucks just a bit. From time to time we’ll feature an item or two that I find in our local store.

One of the handiest items I’ve seen recently is the eight-grit nail file shown in the photo. It’s a four-sided, constant width block, with two grits on each side.

I like this even better than the typical one-, two-, or four-grit sanding sticks (also available in the cosmetics section) because you can just twirl the file in your hand and run through as many grits as you need to go from rough-sanding to finished.

If I have a large amount of material to remove, involving plenty of rough sanding, I’ll often use a coarse-grit two-sided stick for the heavy lifting, then bring in this file for the rest. That keeps the various grits on pace to wear out at about the same time.

(See the Big Tub review in this issue. I used this file extensively on that model, often for removing paint and plating from parts to be glued.)

And because they’re only a buck, it’s easy to keep a couple of spares around.

AvASt, YE SwAB! Cotton swabs are another handy modeling item, with all sorts of uses, that you can find while you’re at the dollar store.

But you do need to take a bit of care when you pick out a box – usually 250

Inexpensive spray-can grips, such as this one sold by ACE Hardware, give improved control.


swabs or so in each – because there can be big differences in quality, and that can affect your building.

Many swabs have cotton or paper “shafts” (for lack of a better term), but some brands use plastic. The shaft can bend pretty easily, and in some cases the hard ends can poke through the cotton and scratch what you’re working on.

The other thing to look for is how the ends are made. The cotton is very tightly wound on some swabs, but on others it’s quite loose (see photo). That can lead to a fuzzy, shedding mess when you use them to apply paint or other liquids.

Sure, they’re only a dollar, but there’s no sense having a whole pack of these that won’t do the job you want.


21027 Crossroads Circle, Box 1612 Waukesha WI 53187-1612


QUESTIONS FOR JIM?

Nick Anderson built this portable work station to allow him to continue building while he recovered from foot surgery.

The key component to Nick’s work station is a folding table he purchased from Walgreens.

Eight-grit nail file was a dollar-store purchase that works well (see the Big Tub buildup in this issue).

Here I’m using the eight-grit file to even up a seam on the chrome Big Tub axle.

Another dollar-store deal is cottom swabs, which are handy for all sorts of things – but choose them carefully.

Cotton swabs can have flexible plastic shafts (top) or have tips that are loosely wound (bottom), which can unravel or shed.


APRIL 2010

Painting tips

Much of this issue is concerned with painting and finishing techniques, so we might as well

make good use of this space to review some painting tips for the workshop.

weAR gLoveS A box of disposable latex gloves can save tons of time in cleanup; can improve your grip while you handle parts to be painted; and can really be a boon if you have sensitive skin. Your hands take a beating in modeling anyway, and the less paint you have to scrub off them, the better.

I got my box of gloves at American Science and Surplus in Milwaukee (www.sciplus.com), but they’re also available at medical-supply houses and

some paint stores. They’re less than $10 for a box of 100, and it’s certainly money well spent.

Of course, you still have to actually wear the gloves to derive benefit from them. Many is the time I have gotten so involved in a project that I forgot to put gloves on until it was too late, and lots of soap and water (and some scrubbing) was needed to get the paint off.

You’ll spend more than $7.50 in soap and water to clean your hands 50 times, so pick up a box – and use them!

SLow DowN I feel especially qualified to discuss this, because I am one of the world’s worst when it comes to being patient while building – especially when it’s time to lay down paint. But hurrying almost always has consequences, and I’ve been “bitten” far more times than

anyone should.Laying down base coats – building up

color slowly – is something that is a real patience-tester for me.

The way to do it is to start misting paint on very, very lightly. Do not worry about how the model looks; we’re not looking for paint coverage yet. It should take several – and I do mean several – of these mist coats to even get the hint of a solid color.

The coats can be applied pretty rapidly – within a few minutes of each other – until the paint starts to “fill in” a little. Then you can – what? Slow down and begin applying the paint a bit more heavily. This is where it’s easy to get all gung-ho with the spray can or airbrush, and really start slapping paint on.

Definitely a bad idea.Pound that paint on your model too

The paint booth used by three magazine staffs at Kalmbach is a great thing, but we’re not always as good as we should be about keeping it clean.





QUESTIONS FOR JIM?

Save your hands from skin damage by buying and using a box of gloves – 100 for less than $10.

Now I can spray away, knowing that my hands are protected. Looks like that spray-can nozzle needs to be cleaned, though!

This is the kind of mess that comes from failure to “clear” a spray-can nozzle during prior use. What a mess – and bad for the finish too.

fast, and you’ll probably have runs, drips, and uneven coverage, along with extended drying times for the paint. And all of that means even more time than usual must be spent “correcting” the finish to where it would have been anyway.

So unless you really like to sand and buff paint, please take your time here.

your Mother doeSn’t work here, So cleAn up After yourSelf We have a nice spray-booth setup here at Kalmbach, and the FineScale Modeler, Model Retailer, and Scale Auto staffs paint all sorts of projects in there: tanks, airliners, figures, and cars. There’s a nice exhaust fan with filter, an air supply for those who want to use airbrushes, and plenty of room.

With such a little slice of heaven right here at work, you’d think that we would be diligent about keeping things neat and clean, in keeping with the quality of the work area.

Or not.Generally there are a bunch of half-

empty spray cans sitting around, along with some painting stands, clamps, bits of tape, paint masks and respirators, and a fair amount of overspray residue.

It’s usually advisable to check the condition of the booth before you commit to using it – especially if there’s a Really Important Project to be worked on (and aren’t they all important?).

We’ve also discovered that it’s a good idea to run the exhaust fan for 30 minutes or so before beginning to paint, so that chances for anything “airborne” to land on the model are minimized.

Actually, the booth doesn’t look too bad in this photo, because Aaron Skinner of FineScale Modeler took a shot at getting the worst of the overspray mess off the floor and sides. It seems that a certain editor of another publication pretty much turned the whole booth orange after several coats

of paint on a Big Tub car model. Thanks, Aaron; I really owe you one, because I didn’t clean up after myself.

keeping SprAy cAnS cleAn Almost all modelers – even those who use airbrushes as their primary means of paint application – use spray-can paint for certain jobs.

In the last “Fundamentals,” we showed a handy, inexpensive spray-can “trigger” that can help you lay down paint more smoothly.

But it’s amazing how many people don’t know about (or don’t use) this simple method to keep spray-can tips clean:

When you’re done with a painting session, invert the can and spray (toward the booth and exhaust) for a couple if seconds, until all you see coming out of the can is (clear) propellant. If you fail to do this consistently, you are in for a

real mess – if the can works at all. The spattering, gloppy mess that

comes out of the can will surely mess up whatever level of finish you’ve achieved to that point – and that can really ruin your day.

It’s pretty much the same thing as running thinner through your airbrush to clear out the existing paint at the end of a session, or when you want to change paint colors. Make sure all of the paint is gone, or you will have all sorts of fun disassembling and cleaning tips and nozzles.

bottle pAint One of the two modeling standbys along with tube glue, bottle paint is pretty much universally used. But there are a couple of things to watch for when you’re using it.

Be sure to mix the paint well before you use it – every time – and if you’re doing anything other than a quick touch-up, be sure to restir the paint once in a while.

And when you are through with each bottle, take a moment to wipe off the jar’s threads, to remove any paint that may have slopped over the edges when you were getting just the right amount of paint on your brush.

Get in a hurry, fail to do this, and that paint will dry up after you recap the bottle, and pretty much weld the cap in place. Next time you want to use that bottle, you might invent some new words as you struggle to remove the cap.

(And if you get in that situation, try brushing some thinner directly into the cap/bottle junction. That may loosen the paint enough to remove the cap without resorting to pliers, or rapping the lid on a countertop.)

Be sure to replace the lid correctly, too. I didn’t do so with a bottle of gloss black enamel, and carelessly put it back on the old retail display rack I use to store paint. The bottle was at an angle, so most of its contents slowly emptied out onto the spray cans below it. Nice!

but i uSe An AirbruSh. whAt About Me? First, good for you; airbrushing is a wonderful skill to have. And if you’ve used an airbrush for any length of time, you’ve learned – quite possibly the hard way – how critical cleanliness is to its effective use.

All parts have to be free from paint or thinner residue, at the beginning and at the end of a painting session. And it can be frustrating to do what seems like more time cleaning than actually painting. But there is a payoff in the quality of finish that can be achieved, so hang in there.


JUNE 2010

Choosing your first kit

How do I get started building? What’s the best kit for a beginner to build?

It’s a question that’s often asked, but there’s no universal answer. There are several ways to get started.

SUbJEct Whether you’re an expert modeler or a novice, many of the models you choose to build are the direct result of some special interest in the subject: a favorite car from childhood, or a car your favorite driver used to win a big race, or the first car you owned. And being motivated to build is a huge factor in successfully completing a project.

But there’s also a tendency for beginners to jump into the deep end of the kit-building pool – where their skills haven’t developed to the point where they can tackle building their dream car.

Skill lEvElS In an effort to help guide modelers in selecting kits that gave a better chance for successful comple-

tion, some manufacturers began assigning “skill level” designations to their kits. Level 1 kits are for entry-level modelers, with Level 2 being a sort of “typical” kit for modelers with some building experience, and so on. As you shop for kits, watch for the Skill Level number on the end flaps of kit boxes (and sometimes on the box top).

MAkE-ANd-tAkE Many model clubs sponsor events where a make-and-take session is involved – usually for kids.

Each participant gets a simple kit to build at the event site, and he/she takes the model home upon completion.

Generally there is quite a bit of adult help around, to assure success for what is often a youngster’s first exposure to plastic models. The kits have a low parts count – sometimes fewer than 25 – and require few or no tools or glue.

It’s important that assembly goes as quickly and painlessly as possible. Young kids are often not used to doing a project in one sitting, and even though these models can be assembled in less than an hour, it’s my experience that

getting the model done – and successfully completed – is important.

Call it “pride of accomplishment” or “making something that looks like a car,” but having a kit that goes together without problems is a big help.

At many shows, the make-and-take is in the same area as the rest of the show, and that means plenty of potential distractions: Cool models to see, vendors to check out, lunch to eat, etc.

Revell’s 1969 Camaro snap kit has plenty of “cool factor” to interest beginning modelers, and is quick and easy to assemble.

Matthew Usher’s Camaro Concept Car was the subject of “From Snap Kit to Showpiece” in the August 2008 issue.


If the model has some “coolness factor” and the kids can make visible progress toward having their own model, the chances of the experience being a good one – and something he/she may want to do again – are greatly increased.

into the WAbAc MAchine Revell has had a make-and-take program for some time, with several aircraft and/or car kits to choose from. The old 1977 Monte Carlo Lowrider kit is an example of that program (though now there are 1963 Corvette and Camaro Concept kits to choose from, among others).

We had a few of the Monte Carlo kits left over from a years-ago make-and-take – we often use them for testing out new paints – and I dug one out to see if it assembled as easily as I remembered.

I was pleasantly surprised that, using only a sprue cutter, I assembled a decent-looking model in roughly 30 minutes. I didn’t have to force-fit any parts, the instructions were clear, and it was obvious that nearly any beginner could complete the model in short order – just the thing for a successful program.

SnAp kitS The examples just mentioned are but a few of the “snap kits” available: kits that do not require glue for assembly.

The only parts of the Monte Carlo, for instance, that didn’t snap together are the body/interior and the chassis; two screws lock them in place.

Self-adhesive stickers generally take the place of waterslide decals in these kits too.

But although these kits are simplified, and are intended for beginning modelers, the word “simplified” should not be confused with “inaccurate.” Some snap kits have a level of detail that rivals many glue kits, and as such they can be the basis for eye-catching models. Tim Boyd, Matthew Usher, and others have shown what can be done with some simple detailing (see “From Snap Kit to Showpiece” in the August 2008 issue).

Polar Lights’ 2005 Ford GT snap kit has been the basis for several models that I’ve seen win or place at contests, too. Rob Holfels’ model is one example:

“I removed all tabs and other visible evidence of this being a snap kit,” he says. “That was especially difficult on the clear parts.

“I wanted to expand on the existing theme of the car: a modern supercar with retro heritage,” he noted.

So don’t overlook the possibilities for creating something special from such seemingly-simple models.

curbSide ModelS A curbside model is one that shows the car as it would look parked by a curb: You can’t see many of the details. This term has evolved to where a “curbside” generally means a kit with no engine (or only part of the engine is visible).

If you don’t like to build engines –

and many modelers don’t – curbsides offer a way to get a buildup complete without having to worry about spark plug wiring, fan belts, or headers.

Sometimes a curbside model is the only way a particular kit may be offered – at least initially. If a curbside kit sells well enough, a full-detail kit or upgrade parts may be available later.

Which Skill leVel? It’s really up to you to decide when you’re ready to go up a level in kitbuilding. And let me assure you, if you try to advance too fast, the kit will “tell” you you’re not quite ready yet.

But there’s almost bound to come a time when you get itchy to build a favorite car, and that motivation can carry you through the rough spots in a build – and most builds do have them, regardless of your skill level.

Here’s hoping that your building progression is a smooth one, with many happy hours spent at the workbench, creating models that please you when you’re done.




QUESTIONS FOR JIM?

With its low parts count, Revell’s 1977 Monte Carlo lowrider snap kit was a staple of make-and-take events.

Here’s the completed Monte Carlo, half an hour after I started it. Completing a model in one session, without problems that slow down building, is important for kids.

The Hot Wheels Corvette snap kit is another popular make-and-take car. Kids of all ages like the flames!

Rob Holfers changed the paint and wheels on Polar Lights’ Ford GT snap kit, and created a model that gets attention at contests.

Skill Level 1 kits are basic, but can still provide interesting subjects, such as this Kenworth T600A truck.

AMT’s Cobra is a Skill Level 2 kit, so you should probably have some completed models under your belt before you try it.


AUGUST 2010

The importance of mentors

F or the beginning car modeler, there are so many choices to make and skills to be learned that it’s easy to

become frustrated, if not overwhelmed, by the challenges involved in improving one’s skills.

And if you’re trying to learn all this by yourself, it can be doubly difficult – and that’s where mentoring comes in.

I was fortunate to have a father and older brother who were good modelers, and who taught me the basics at an early age: how to hold and use a hobby knife properly; what sandpaper and saws were for; how to apply glue (tube glue only, in those days); how to care for paint brushes; and so much more.

But what would have happened had I not been born into a modeling family? Would someone have helped me learn how to build?

I’m willing to bet that almost all successful modelers had help from more-accomplished builders as they developed. I decided to ask a few well-known modelers if they had a special mentor(s), and what this meant to their enjoyment of the hobby.

CLAY KEMP I’d have to say the guy who helped me the most was Chris Etzel

[formerly of Etzel’s Speed Classics]. He didn’t know me from anybody

when we met, yet he answered every one of my dumb questions, without even knowing me. He could have easily blown me off way back when.

But instead he taught me about scratchbuilding, computer art, machining, airbrushing, prep work, resin casting, you name it.

Sometimes, learning together can work wonders too:

Dave Thibodeau and I met in probably 2003, and hit it off right away. We were able to learn from each other, bounce ideas off of each other, and it allowed us to both get better. I’ve learned so much about painting and building basics from Dave that I never would have figured out on my own.

When I started getting better at what I was doing and traveled to more shows, I

was very fortunate to meet and be able to learn from great builders like Dave Morton, Mark Batson, Ricky Couch, Pat Covert, Al Mosteller, Dirk Joseph, Mike Lawrence, Bob Dudek, and even though he is gone, I’m still learning things from the master, Augie Hiscano.

I’ve been lucky to have made enough friends that if there is any area that I need help in, I’ve got guys who are masters in that area, and I can lean on them for help. I’d never have gotten to where I have without the friends mentioned above.

And as Clay mentioned, sometimes friends can mentor each other, and a little rivalry can also help both parties “raise the bar” a bit:

DAvE ThiboDEAU When I got bored building semidetailed NASCAR kits and street cars, I met Clay Kemp. Clay and I raised the detail bar very high in the NASCAR detailing arena.

To this day, he and I challenge each other and are good friends because of our ability to feed off each other on each subject we take on. Its a friendly competition, and I have him to thank for a lot of the latest skills I have gained.

He even convinced me to buy a metal lathe, and I am still not done in that department!

Dave is another for whom modeling was a family affair:

Modeling is a passion I developed when I was the ripe age of ten. Who do I have to thank for that? My brother Darren.

He is totally into armor and airplanes. He was the one who bought me my first snap-together car kit. I threw it together with no paint, and then wanted another. This time he taught me how to spray-paint and get better with each build. Occasionally he would build a car model with me, until I eventually was teaching him!

As years passed into my teens,

Mark Batson’s father, and other mentors, helped him learn to build quality models. “Each of our peers brings their own building style and technique,” he says.

Dave Thibodeau’s Impala

Clay Kemp’s Jeff Gordon Monte Carlo


modeling took a back seat to other interests: sports, girls, and eventually marriage.

When I was settled in my life, the passion to build found me again. This time I was totally into NASCAR models, since I began to love the sport itself.

That’s when I met Al Mosteller. He introduced me to automotive paints and urethane two-part clears. I have not looked back since, and I have him to thank for my skills with paint today.

TiM boyd Most of my modeling mentors were writers for the model-car magazines back in the day.

My most influential mentor was Don Emmons – not only for the modeling techniques he used, but also for his article-writing style.

Close behind were Hank Borger (who was a terrific storyteller and always picked cool themes for his models), and Jim Keeler (whose legendary Car Model Magazine series “Unraveling the Snake Pit” helped me to detail my first MPC Customizing Championship winners).

These guys, and other writers of the period, still motivate me to try to similarly inspire the new modelers of today, the way they used to inspire me.

Later on, Ohio modeler Tom Woodruff also mentored me. I still have the letters he used to send me, which inspired me to become more ambitious with the models I built back then.

MArk bATSon As early as about five years old and up, I remember my father’s model cars: the old 1950s AMT kits that came with custom parts galore.

I remember the waxed sewing thread spark plug wires he made, and lots of some type of cream- or white-colored putty that had to cure for days. He did love his custom cars and hot rods.

The things I feel I learned the most about this wonderful hobby through my Daddy were simple:

Number one, patience. “Don’t hurry. It’ll be worth it,” he would say.

Number two, “It’s all right to use stuff other than what comes in the box.” Kitbashing – Huey Batson invented it!

Another huge influence was Ricky Couch. Ricky never failed to inspire me to open my mind to possibilities in every area of car modeling:

Detailing, “unique bodywork,” and the bazillion uses of Bondo.

Moreover, Ricky taught me that it’s OK to put a TIKI, or anything for that matter, anywhere I wanted. I don’t know anyone who had more downright fun with this hobby than Ricky did.

And having fun is what it’s all about for me.

Lastly, the friendships I have developed in the car-modeling community. (I am grateful; there are too many to name.)

Each of our peers brings their own style and technique of building to shows, contests, club meetings, etc. And we share those and continually learn, and we have even more fun.

MArk Melchiori First off would be my father. He built for a long time before I was born, and it was watching and “helping” him build his Monogram Tom Daniel kits that got me interested in model cars.

The second would be Dan Janssen of Scale Coachworks. In the early 1990s, I worked with him, and we did a lot of box-art models for Revell-Monogram, as well as building for various clients. I learned a lot of good techniques during this time.

Of course, the guys in the club [Auto Modelers Group, Milwaukee] and reading Scale Auto helped a lot, too!

AAron Skinner is a member of the FineScale Modeler staff, and he is a prolific builder of all types of plastic models. Scale Auto readers will recognize Aaron’s truck reviews, as well as the Polar Lights Mystery Machine, Trabant, and others.

His modeling background is a bit unusual because he was born in America, but spent 20 years in Australia before moving back to the US. When he was overseas, he often had to deal with shortages of kits and supplies, as well as

in-person mentors. But he explains that he had good

support at home, which always helps:Both parents were supportive, but I’d

have to say that my mother – even more than my father – really helped me. She drove me to club meetings and hobby shops.

My grandmother also helped to fill my ‘wish list’ for new kits.

And there were never any complaints about the time I was spending in the basement building models. I was never made to feel that I was wasting time pursuing my hobby.

iT’S iMporTAnT Being a mentor is fun and rewarding. You’ve seen from the stories presented here that without exception, good mentors have had a lot to do with the success of these top car-model builders.

If you’re thinking about becoming a mentor – and I think all of us should –it’s important to realize the impact you can have, and take that responsibility seriously.

Younger modelers in particular want to emulate the older modelers, so any words of praise or criticism can have long-lasting effects. A careless or offhand remark about a novice’s work can hurt a youngster’s motivation, even if the words weren’t intended to do so.

Not that a little “tough love” may not be necessary occasionally, but even tough love can be administered in such a way that the lasting message is “I know you can do this.” None of us invented this hobby, though we’ve seen modelers who act as though they did. So because it’s not ours, we need to spread it around by helping others.

Need help? Don’t be afraid to ask. The vast majority of modelers – even the very best – will help all they can.

And if you’re the one who is asked for help, remember how tough it was when you were “coming up” and give a few encouraging words to those who seek you out. You’ll know a satisfaction as great as anything else in modeling.

And to my main modeling mentors – Dad, Bill, Mike, Don, and Murph – thanks for everything.




QUESTIONS FOR JIM?

Tim Boyd’s 1948 Ford

Aaron Skinner’s Mystery Machine

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