I've been experimenting and have done quite a few cars with the craft acrylic paint you can by at WalMart. This is quite rough on brushes, so don’t use your best for this – it tends to work better with old brushes. Let’s look at a prototype car to illustrate the points to be pursued. Most route cards appear to have been white or manila in color, but there are photos which clearly show pink, yellow, blue and green, so occasional cars having route cards of those colors would be realistic. Figure Models . (Photo from the Bruce Petty collection) That’s an. That’s because accumulations often result in a little ring of pigment when it dries, if not corrected. These different open-top cars give some idea of the kinds of approaches which may be useful for your own fleet. Your generosity and willingness to share your expertise are very much appreciated! We will never be able to replicate all those years of intense exposure to the elements, we can only simulate it through the use of different tools and techniques to artificially make the model look aged. One way to bring this out is the use of artist’s color pencils. When I moved to Pittsburgh in 1977, the Montour was shutting down and a lot of equipment was on the scrap line. For rust colors such as gondola interiors, I would use Raw Sienna (the color of yellow rust) and Burnt Sienna (brick red). As you experiment, you will learn what I mean. Most fabrics, however, absorb the pigment, and thus are a different story, so I do try to keep from weathering my clothing. Shipping worldwide Both models are the Accurail double-sheathed USRA car, with the one on the right unweathered. Since the creation of this talk and its handout, I have been thinking about the description problem off and on, and am going to try and present in words, with a few photos, what my method is, and a few cautions and recommendations during the process. Note also the “compressed gas” warning placard on the placard board, and the scuffing to the right of the door where the paint has been scraped. Here I am wicking up that water. Insides are often different in wear patterns, degree of rust, debris, and other factors. Notice also that the entire tank is streaked vertically, as rain has washed dirt downward. The way to represent rust, as I’ve said before, is to use Raw Sienna (yellow rust) and Burnt Sienna (red rust), along with Burnt Umber (older, brown rust), again in the form of the usual washes. Sometimes the effect turns out too mild for what you had intended. This photo shows me blowing through the grab irons on that same car seen above. I happened to travel Tuesday to the California State Railroad Museum in Sacramento to do some research on a couple of topics. The weathering process begins by squeezing out a small amount (maybe as much as a small grape) of the black, gray and umber, onto the palette, and then mixing as seems good at the time. Again, the brush is an effective tool to wick up these undesirable accumulations. Likewise with open-top cars like gondolas and hoppers, I would do the outside in one session, the inside in another. These four cases are not extensive, but I think they illustrate the general results of my weathering method. There are several brands of these, and both my and Richard Hendrickson’s experience is the the Prismacolor brand works well. A car type which took particularly hard use, in fact comparable to hopper cars in some ways, was the General Service or GS gondola in the West. I simply blow gently to break that film and push the water + pigment away. I weathered the body with washes, the deck and facings with paint. Three things to note in this view: first, the pigment is collecting at the bottom of the sides, just from gravity as the wet material flows downward; second, the trucks have a generous dose of pigment too; and third, a small dry area is already evident at the very top of the sides. You can click on the image to enlarge it. Cars with wood sheathing, wood running boards, or wood roofs, typically weathered a little unevenly, as the individual boards held paint a little differently. Although we could not think of a way to make a very meaningful handout for this talk, we did create a summary, including a few basic facts about the materials we used. I had been using alcohol to break the surface tension and it is unpredictable. With experience you will quickly learn about how much to use, for lighter or heavier weathering. I airbrushed mine using Tamiya acrylics. The weathering looks uneven in the bright light used for the photo, but under layout lighting this effect is not visible. Weathering a pristine model can be intimidating, but it is not impossible. Following are some photos from that clinic. Suggestion: once your weathering work on house cars seems to go all right. That layer not only protects the acrylic pigments from scratching, but will also kill any shine, which sometimes can happen with this method. Here is another comparison; you can click on the image to enlarge it. Tamiya acrylic modelling paint is designed to be brushed straight from the container or used in a model airbrush when thinned out with water at a ratio of 2 parts paint to 1 part thinner usually. This video explains why I'm always using oil paints, not acrylics, for the weathering process. I usually just cut a square of corrugated cardboard for a palette, for example from a box flap of a cardboard carton. 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