Sci-fi & fantasy modeller pdf

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It will help ease the wait informative between Volumes of Sci-fi & articles over our last couple of fantasy pigs – they keep dive-bombing the. Download & Fantasy Modeller: v. 26 ebook by Mike RecciaType: pdf, ePub, zip, txt Publisher: Happy Medium PressReleased: July 9. 21 Buy and read online Sci-Fi & Fantasy Modeller: v. 21 Download Sci-Fi Download pdf Polish English Computing Dictionary · Ungulate.

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Read & Fantasy Modeller: V. 27 PDF Download Kindle just only for you, because & Fantasy Modeller: V. 27 PDF Download Kindle. We've just received word that volume 45 will be the final issue of Sci-Fi & Fantasy Modeller. We're disappointed to see this fine publication end, but as you know. Real World article (written from a Production point of view) Sci-Fi & Fantasy to start over with the quarterly magazine Sci-fi & fantasy modeller through the by.

Change the area of paper you are polishing with regularly as the towel itself becomes polished to some extent. There was also the question of just how glossy the finish would be. It was just another one of the many swap-over panels we made to give Doug more flexibility on the shoot day. Some windows were randomly unusable. Detail shot of the middle section of the cutaway half.

Aimed at the hobby market, it originally consisted of review and "how-to" articles of commercially-available kits and models of those specific genres, covering licensed and unlicensed "Garage" model kits products alike.

From the beginning the magazine was printed on high-gloss paper, and while color content was low at the start, that increased considerably in the years to come. Beginning publication at a time when interest in, and production of Star Trek , was at its height, it came as no surprise that coverage of Trek -related merchandise in the form of model kits and models was extensive.

Illustrative of that was the multi-part article on the history of the Star Trek model kits that ran from the very first test issue through issue two of the regular publication run four issues in total , written by Simon Roykirk. Though initially a hobby market model kit magazine, from issue five onward it was beefed out with behind-the-scenes articles and interviews with visual effects VFX staffers, most notably the props and studio model builders, of the actual genre productions of both television and motion pictures.

A large number of those articles were submitted by the staffers themselves. Originally intended to be illustrative of how professionals went about their business, the proportion of these article rose over the years to an extend that half-way through its run the original formula of the magazine was increasingly relegated to the fringes. The last name change was intended to reflect the advent of CGI , which by that time had become an ever more important technique in producing VFX.

Still, in an effort to somewhat counteract this trend, several stand-alone spin-off book titles, specifically dealing with the hobby aspects of modeling, were also released during this period of time. Star Trek , as one of the genre franchises very much viable at the time, has been also well represented in that respect.

Many of them also submitted articles on work they had done on genre productions other than Star Trek. The amount of submitted articles was such that chief editor Mike Reccia started an intended biannual spin-off magazine Effects Special in that only ran for two issues due the unexpected and unannounced cessation of publication of the main magazine in The reasons why the magazine ceased publication — resulting in its publishing house becoming defunct as of 29 January [2] — with issue 53 of March have remained undisclosed.

Though having returned to its original formula of a specialized genre model kit review and "how-to" magazine, with contents "modeled" after the spin-off books they had published the previous decade, the renewed publication did incorporate some behind-the-scenes articles, though care was taken that their proportion was subordinated to the primary content.

Yet, the volumes wherein Gary Kerr reported on the actual, original foot Enterprise studio model , were particularly well received, each of them becoming bestsellers and selling out within a matter of weeks after release, with Volume 26 of gaining the very rare distinction of seeing a limited reprint run.

On 9 March , newsletter subscribers received an email in which publishers Reccia and Openshaw announced, but yet again unexpectedly, the definitive cessation of the publication, with the April issue, Volume 45, slated to become the very last release.

Reiterated on their official site, it was concurrently announced that that final issue could only be obtained through the site as a pre-order, on-demand print issue only until 16 March, and that no retail dissemination was planned. Only the email specified that the site would remain live until the end of July in order to give customers the opportunity to acquire back issues still in stock at the publisher.

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Giving no reasons for the cessation, the publishers bode their readership a "very fond farewell", hoping that "our titles have brought pleasure to you over the years and that you will continue to enjoy sci-fi modelling as a rewarding and inspiring hobby". Unlike their previous effort however, the publishers did not intend to quit the modeling magazine publishing business this time around, as they already had a new publication in place as of December , the digital only Modelling magazine.

However, this new outing was no longer genre specific, as their previous efforts had been, but rather a generic modeling magazine.

Discounting the merchandise, of particular relevance to Star Trek where coverage of VFX assets used in the actual live-action productions was concerned, are the following issues:. Cover B for US November dissemination; only known instance where the variant cover format was employed.

Rough cockpit and guns. As Rafael was attempting to fix the pilots in situ he realised their shoulders were not fitting in properly. The frames were made from styrene. Dashboards were also a major detail. Seats are added to the tub assembly. Belt buckles were fashioned from bare metal foil. The faces were left untouched. We began to re-invent how the cockpit should look on the original model it is just a black.

Rafael had the idea of using Star Wars kits as part of the bashing. I added the glasses after painting.

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The basic shape of the cockpit was created from styrene and a lot of kit-bashing. Once the acetates were finished and place. One of the completed tubs in Cloud Car Pod.

The helmets were created with two-part epoxy putty and sanded. We had never liked the original ILM cockpit or figures.

Lighting in scale is a very delicate operation as the scale itself dictates the intensity of the light source — many lit scale models are too bright, the light scale makes no sense, and a dimmer should have been added to regulate the intensity. With all rectifications, alterations and building complete, the kit was finally put together, with us adding final details, screws, and the two rectangular metal foil panels below the car.

I found some pictures of the ESB studio scale Cloud Car at an exhibition, these having been taken at the perfect distance from the model with a flash. The colour reproduction was very accurate and you could see the panels and markings on the Car. The colour is actually a bright red-orange, and that made perfect sense to me right away For the shoot the exposure was set to the key light to show the ship in a sunset, resulting in high contrast shots.

Also remember that the model shots were composites, meaning that, in order to see that much colour on screen you had go with even more vibrant colours on the actual model.

The pictures from the exhibition revealed a bright orange, with a variation of this colour on some of the panels. At this point a major build issue needed to be addressed I had to paint the pilots and the cockpits, connect the dashboards and close the Cloud Car.

I needed to do a lot of masking while painting this kit, and, once assembled, I would not be able to manipulate such a large model. Further, with the pilots in place, I could not place it upside down. I decided to paint the body first, to close the Pods later, and to add the styrene strip in the middle gap after painting, which was not going to be easy. Cleaned up canopy with roof window opened up.

Pilot test-fitted into one of the Pods to determine correct height and attitude within the cockpit canopy. Final canopy detailing added prior to priming. The violet red also came from studying the reference pictures, from which I deduced that the cockpits seem to have black seats and interiors, with the interior frames also having been painted black.

I love the idea of the elegant Bespin city reflected in colour tone in its buildings and inhabitants. The red on the helmets and clothing was Vallejo Cavalry Red painted on straight from the bottle. The faces were airbrushed in Tamiya Flesh and, after further detail had been added with a Lifecolor Flesh Set, hand painted shadows and lights were applied, slightly washed with Winsor.

As stated, the interiors of the cockpits were, according to reference, simply black, so I decided to add some depth to the model by adding more interesting colours to the basic Bespin palette. I painted in the dashboard frames and outer rims of the cockpits with a mix of Vallejo Black and German Cam Black Brown ; the lower sections of the cockpits were painted Vallejo Pale Sand as I wanted a lighter colour underneath, and MIG Neutral oil washes were applied to the lower sections.

The Pods The first thing was to achieve a real chipped paint effect on this large scale model, and I therefore needed an acrylic paint that could be mixed in large bottles with a full range of combinations, and that was soft enough to chip, yet tough enough to achieve the desired thickness.

I picked Vallejo Model Color for this. The Darker variation was mixed by adding 50 percent of Red to the base mix. Panels on the sides of the cockpits, as well as the tubing on the engine, were painted with a mix of Vallejo Dark Red , Purple and Violet Red I always apply an enamel strong base coat when chipping is to be carried out, so the model was sprayed using Tamiya TS 83 Metallic Silver in a couple of thin coats which I let dry for two days.

Each panel was individually masked then airbrushed with AK Worn Effects Fluid, allowing this to dry for about. Also the intensity of the colour is based on the number of layers applied — I airbrushed around seven layers of the mix on per panel.

I also added some scratches to the surface, all the while trying to achieve a correct sense of scale with the chipping. Test-fitting primed canopies and completed pilots. Engine block rigged for lighting is connected to the Pod lower halves.

Primed Pods and. With all chipping completed, I remasked each Engine block. I used Vallejo Dark Brown with the darker mix super-thinned down to produce a subtle effect as this is not a spaceship but a car. The markings on the Pods were masked and airbrushed with Vallejo Leather Brown The outer middle strip was then added.

We then placed six metal rods into these facing upwards. After masking the Violet Red areas. Special thanks to Daniel Perez Ares for the photographs and Photoshop work..

Testing the lighting prior to painting. The cockpits were glued in place. Six holes were drilled into the interior of the lower section of the Pods. We then made six balls of epoxy putty and just pressed the Pods down onto the rods — a perfect.

I love painting the stands with the actual paint used by the studio. This wash helped the original Metallic Silver underneath the base colour to appear yellowish. Once the acrylic weathering process had been completed the Car was airbrushed with Vallejo Satin Varnish.. Final construction was very difficult as. Completed Cloud Car features no glazing as per the original filming miniature.

I believe Scott gave the world another great looking. Highway took inspiration from Prometheus and sculpted.

Apikitt worked for several months from many points of reference. Having the film share the same universe with.. The resin this kit is made of is really light. Freelance artist and sculptor Apikitt L. In my opinion. The long journey of the Engineer bust from Thailand ended at my front door. On my studio workbench I cut the tape securing the box and unwrapped all the parts — the packaging of this kit was more impressive than what many companies with larger budgets provide. Gares Prometheus explores its own mythology and ideas.

Three points of interest he included in the final sculpt: I attached the two large hoses. The head was inserted between the shoulders and left to harden overnight. A hanger rod was epoxied in place to connect the two and a little sanding done to hide the seam. I thought outside the box and I washed the parts in hot water and dish soap. Holes were drilled into both the front hose section of the helmet and the top of the curved hose that connects to it.

The biggest. I drilled the same size hole in the top-centre of the body. Bearing this in mind I decided to go down an original path with the paint job as opposed to what was seen in the film. With all prep work finished. All I needed to do was use my motor tool to grind it down plus a dental tool to even out detail where the two connected. Holes were drilled into the bottom of all four cannisters so rods could be inserted for holding during painting. Over my years of building and painting figures.

Next day I drilled a small hole in the bottom of the head. I wanted this environmental suit to reflect that. Since the Engineers are from deep space. Using my airbrush. The overall look was a little bit of the Testors Model Master Silver Chrome bleeding through just enough to make the transparent paint look a little metallic.

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I sprayed on two more coats of primer and let set for a couple of days. Once all my issues were finalised. When applying these I also overlapped onto the yellow so the colour shift was gradual. As with past builds. I could wipe the paint away. I needed to blend. This takes more passes than usual due to how transparent this colour is. I used a piece of plastic sheet and did some tests regarding my approach to the layering.

I sprayed on three thin coats of Krylon Gray Primer. The base colour for the head would be ComArt 20 7 9 10 11 Opaque White.

Even though I overlapped the transparent colours so they tied in with each other. I was using ComArt water-based paint over enamel.

ComArt Transparent Ultramarine. I wanted to show stars. In short. I drilled the holes just big enough so the rods were firmly inserted without use of glue — this way. I applied very light coats of Transparent Kelly Green over certain low areas so that.

Once the Ultramarine had dried. When dry. Happy with the results. I drilled small holes into the bottom of each and inserted cut wire hanger rod. I could just slide them out. This part of the build was basic. After several passes I noticed wherever there were deep crevasses and detail it was nice and dark.

I airbrushed them with semi-gloss black and let dry overnight. Remember I said these four cannisters were tedious? It had been easy up to this point. I used darker transparent blue and purple and airbrushed those colours in high areas to give yet more variation.

I airbrushed on several thin coats of Future to seal in and protect the paint. It was important to show as much detail as possible and to make it look not of this world. Where arms usually would be. So I could easily hold the cannisters while painting. I really wanted to bring out the detail for the base as much as the body and helmet. After making a complete outline of the ooze on the cannisters.

I used regular cling wrap that can be bought at any grocery store and gently wrapped it around the painted areas. When the masking was over. The next step was also done by hand using my brush: Once done. With several coats applied. I decided to use a combination of Silly Putty and plastic cling wrap. The tools only went so far. I did this several times. I let dry overnight. Once done to my satisfaction. I airbrushed random veining on top and on both sides of the head. The red turned to a light pink around the eyes and mouth.

This was long. This achieved a layered effect. I used wooden sculpting tools to help push and form it in areas of detail.

I wanted to airbrush the head and make it look as smooth as possible — though a little problem was in my way: Once I had the Putty where I wanted it. To avoid any overspray issues while airbrushing. Once dry. I finished the head by painting the eyes with MM Flat Black and sealed them with a couple coats of. As before. I sprayed on several mists of Future and let dry. Trying different things and going against the grain can be very fulfilling..

Gares is the Owner and Host of Video Workbench. As far as detail is 28 concerned. I sealed it all in with Future and let dry. All the pads were painted with a base colour of MM Flat Black. Thinking outside the box is also good. Time to flip the helmet over and detail the 27 inside. I was very impressed that the inside of the helmet is also well detailed..

Putting this kit together was easy. I hope you enjoyed reading this article and discovered that you can use many different painting techniques and types of paint on a single model. That said. I painted it all with traditional brushes..

The review kit from Round 2 arrived as these things often do in a plain plastic bag with no instructions and. I gave it a fairly close examination to see what might be needed in terms of clean-up.. For some of the separate panels. One was the fit of. These were easily removed using the methylated spirit which I used to clean all the parts in anticipation of priming. A search through the mountains of ancient stuff in there resulted in the discovery of what remained of the original kit and entailed the re-housing of 24 several spiders but provided me with the original tyres and the chromed wheels which would be of use later.

For the main body of the Batmobile I used Vallejo grey surface primer applied via my airbrush. Despite having built the original model some 25 years ago and having no instructions the assembly promised to be reasonably straightforward and this was helped by two factors. Assuming that the new kit I now had was an early pull from the moulds.

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I primed with Halfords grey primer as I thought that a slightly different finish to these might make for an interesting effect. The dashboard features in its own spread in the Batmobile book and so I was provided with the Cleaned-up rear wing. It was evident from those that the car we are looking at here was the least glossy of all. My model paint of choice has been. Highlighting dials with the help of masks. The parts supplied with the new kit.

This is a wonderful book and covers the various versions of the titular vehicle in comics. The new kit body compared with the old model. Detailing to dashboard. Centre row: More filler to body. TV and on film. Amongst the images in the aforementioned book was a wonderful gatefold spread of photographs that resulted from documentary film makers Roko Row above: Matt Belic and Tara Tremaine bringing together all five and semi-gloss movie versions of the Batmobile and the TV paint to seats.

Flat black was also used for the entire cockpit interior including the dashboard. With those references to hand I began to experiment with paint finishes. Whilst the bodywork was drying I airbrushed the underside of the car in matt black with a misting of gun metal my own mix to pick out the detail. I was.

Contrasting paint textures to intakes. There was also the question of just how glossy the finish would be. Tamiya acrylic. Filler to front wing. Here I brushpainted those areas. In this case I punched holes of several sizes in Tamiya masking tape and used these as masks for the dials which I then dry-brushed in off-white to bring out the moulded detail.

There were also two grille inserts obviously destined to sit in front of the windscreen as air intakes for the cockpit. Row above: Various other controls were then picked out in reds and yellows using a sharpened cocktail stick and thinned acrylics.

Main engine intake and Batmissile. I fear. Tamiya Smoke to windshield. On the inside of the forward floor-pan under the bonnet or hood on the completed model were four plastic columns. Chromed wheels with semi-gloss black acrylic. A selection of panels. Side panel and intake pieces. I now had several key components set aside to dry and therefore had the leisure to study some sections of the kit that had puzzled from the start.

With the dials dry. Central row: Initial paint job to body. Seats and some control details in place. Provided with the Round 2 kit were parts for what was almost certainly a gas-turbine type of engine.

As these were already moulded into the bonnet or hood their purpose remains a mystery as do several curved panels that had what I assume to be instrumentation moulded into their surfaces.

I gave each a slight gloss using Games Workshop clear varnish and the effect was quite pleasing although not. Cockpit components. The other redundant parts. The final step before main assembly was painting the wheels and fitting the tyres. Paint texture contrasts viewed from the front. Having found this experiment a success I airbrushed the same paint onto the inserts and polished away after twenty minutes or so of drying time.

Alternative cockpit view. Completed chassis and wheels. I imagine that this might serve the modeller who wished to duplicate the movie scene when the Batmobile Central row: Reduced makes a sharp turn by firing a hawser round a contrast paint piece of street furniture.

Cockpit bulkhead panel. Aluminium foil reflectors to headlights. The thought process here was to a see what the semi-gloss black would look like on top of the chrome and b discover whether the moulded bat logo on each hub could be emphasised by removing the paint on that area to Forgive me if you already know this but these are paints that dry to a dull finish but then can be polished up using cloth.

Jet exhaust. Masking to machine gun housing panels. Top row: The machine guns presented the opportunity for some further paint experiments. Two of the chromed parts in the original kit that actually appeared to be chrome on the real thing were the inserts just in front of the main intakes on the forward body. As I was trying to achieve the same colour values as the original car I thought it might be interesting to try something using the chromed wheels from the original model.

I think I can claim some success on both fronts. With the paint on the bodywork now having had almost a full week to dry, I inserted the cockpit assembly and the body panels that I had primed with the Halfords grey and airbrushed gloss black, despite my earlier plan.

The cockpit fitted beautifully but the contrasting panels presented, well, too much of a contrast. I therefore masked round these in-situ and airbrushed them with my semi-gloss black mixture. With the bodywork paintjob now completely dry it was time to try the trick that I mentioned. Studio lighting, like moonlight, can be cruelly deceptive, Amanda, as the images in the Batmobile book showed only too well, with the reflective quality of the bodywork varying almost shot for shot.

There are many and varied possible reasons for that. Sometimes the problem is overcome with careful angles, sometimes with clever concealment techniques, occasionally with dulling sprays and, nowadays, by painting out unwanted reflections in post-production. You can, perhaps, picture the. Top left: Rear view with spare transparent parts in foreground.

Finished model with roof removed. Notwithstanding those considerations one would assume a little stealth capability would benefit a crime fighting vehicle Get to the point! This was simply a matter of gently rubbing away at selected curves and contours with a paper kitchen towel to bring out some highlights.

The technique is simplicity itself BUT there are a couple of basic rules to be observed. Change the area of paper you are polishing with regularly as the towel itself becomes polished to some extent. The third rule suggestion might be a better word applies if you have a paper towel that has some dry overspray from your original airbrush work on it. The areas with this dry paint seem to act as a very gentle abrasive and aid the polishing — but do see rule one!

The final stages of construction were to fit the rear lights lots of spares provided with my kit , the rear jet exhaust outlet, the distinctive front with what the reference book refers to as the Batmissile and the canopy with the windshield airbrushed in Tamiya X Smoke. Review test shot kindly supplied by Round 2 Models. Several parts need to be soldered to this, the very specific instructions supplied helping put it all together. Time, patience and an above-basic understanding of electronics is helpful.

If wanting to build a working example of this kit for yourself make sure, wherever you decide to solder the board together, that it and the room are free of animal hair, dust and static.

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Once complete check it fits inside the console and all wires get to their. Lastly, if building a working version I fit a small motor, which drives the disc, into a case, place case and motor inside the generator housing, screw two small lightbulbs on either side of an arm and epoxy that to the case top, making sure the lightbulbs stick out as they slightly sit inside the transparent cones on each side.

At this stage in my project the generator was prepped and put aside so that I could continue with the rest of the build The twenty-part seat is a kit all its own and was next up for assembly.

You can go strictly by the instructions here or find your own way. When sub-assemblies are put together, however, bear in mind how you plan on. Tripping Through Time Jason C. Part two of two. A little at a time. I apply the flocking before taking off the painters tape from airbrushing the Crimson directly onto the part so I can achieve straight lines where defined.

This is commonly known as preshading. I applied painters tape over the areas previously painted Umber. I then took cotton swabs dipped in Createx Colors Airbrush Reducer and wiped back and forth.

I finish by painting the gold carpet nails Crimson to match the rest of the cushions. I lightly brush off any flocking that did not adhere to the glue. I airbrushed those areas with MM British Crimson then.. I felt the cushion buttons were not defined enough and needed replacing. This is easily remedied by adding more flocking or painting the affected section. I sprinkle the flocking on. I began by airbrushing all parts needing a wood grain look with thinned down Ceramcoat Burnt Umber acrylic.

I cut the carpet nails down with my motor tool and glue them into the holes. When cutting. I apply a thin layer of Micro Metal Foil Adhesive on all cushion areas. Once the cushions are dry.

Going back to the parts painted Burnt Umber and wanting those areas to look closer to stained wood. If not careful. I then applied coats of Future to seal the paint and let dry for a few days.

When a cushion is completely covered I lightly press the flocking into the glue and let sit overnight. The seat was also epoxied and screwed down to the base. Work smarter. Side note: Once finished. If working on a flocked version. The generator housing was epoxied down and screwed to the base from the top and the generator cones were epoxied into the housing. Now the foot pad looks like it has actual fabric sewn into it and matches the seat. The next day 13 14a 14b 16 17 I brush off any loose flocking and apply more if needed.

I then airbrush Crimson over the flocking. Both can be sealed. Go slow. Test fit both vertical rails. Back at the base. After putting together subassemblies. I began with grey primer and followed up by masking off the rest of the base. The build gets a little tricky at this point. Having seat and generator housing centered is key to it all fitting on the base correctly.

Before the adhesive dries. I prepped the foot pad for painting and flocking application. There are many parts to this kit that are painted the same colour and can be grouped together in the stages you want to build them. If you decide to drill holes after painting. I airbrushed on MM Crimson and let dry. I apply the same flocking I applied to the seat cushions. If the ends of the cones are too wide.

Holes have to be drilled completely through the base. Make sure the. As with the seats. This is usually done at the beginning of the build with all other parts that need the same treatment. Before going further. Colour coats were applied next to add life to the piece. If attaching after painting. I cut these as close to the graphic as possible Once With final paint finished.

Still on the backing I cut the decal in half. I sprayed several mists of MM Gold and lifted off the tape shortly thereafter. Only two coats were needed. After a few days. More Future was applied to smooth it out and further protect the paint. Detail painting was next on the list. When drilling the hole. If attaching the shaft at the beginning of the build. Fill it with epoxy.

Once applied. I masked off the shaft and rest of the disc leaving only the outer rim and cross beams exposed. I work these out by filling with Bondo then wetsanding. Thinned Ceramcoat Hunter Green was gently brushed over the round. Besides the seat. Before attaching the console to both rails I make sure the working version has appropriate coloured LEDs installed to the electronics board. In working versions these light up. With all decals applied. Micro Sol applied to both decals allows me to move them closer to each other so they look like one decal.

For a more ornate 34 replica. I drilled a small hole into the centre of the body and epoxied the thin rod inside it. A red beacon light and cage were epoxied to the very top of the drive shaft. This adds time to the build. I applied Micro Set and let dry. For nonworking versions everything is permanently epoxied in place.

The two vertical rails attach to the end of the generator cones. I airbrushed Future over them to get rid of the edges. I had painted the body marble blue. The static version has resin pieces simulating the bulbs. Working version rails have wires coming out so they can be attached to the board inside the console.

For working versions. Above and below the body I painted MM Gold. Cages are constructed for the three lights with the wire provided. The two red. Final assembly was accomplished in no particular order. To make this a little more unique. If you have questions on how to build this kit or would like one built.

Before attaching the rail. The outside of these are also painted Hunter Green. With rails evenly attached to both cones and sides of the console. There are also five stripes — 1 thick. You can find the kit at: If the rails are properly It all depends what you are looking for to make it as close to the movie prop as possible.

Thank you for reading. The final part to attach was the ornate bar that connects underneath the console and to both vertical rails. If considering an economical alternative to that release. Thinking about it. As a result. I built a test shot of it for a shop window and it became apparent that.

I suppose it only seems logical that it should again see light of day. Our test shot arrived in a sealed bag. Nearly twenty years down the line..

The only game in town then was the ageing 18" AMT Enterprise first released in the late s. Reissued parts top of frame. Nevertheless it was still. The reissued parts seem to be sharper Close-ups of the primary hull parts. Considering the care and attention that Polar Lights have lavished on this release.

The release is. I epoxied the tubing onto the back I decided that it was only fair that I build mine as the cutaway display model it is intended to be Construction began with the main part.

Completed whole half section of model. The pylon attachment points have also been altered. Upon opening the bag and examining the contents it immediately became apparent that Jamie Hood and his team had spent a lot of time reengineering and cleaning up the moulds. The removable section of the secondary hull was then constructed Fit was above what I expected — a pleasant surprise — only took an hour to get to this point.

At this stage brass rod and aluminium tubing were employed. Point where nacelle meets pylon has been strengthened with brass rod epoxied in place. Pylons have been strengthened and location points amended. No other modifications were required. Secondary hull parts — again sharp detail with clean mouldings. Assembly was rapid and the fit very positive.

Remaining parts. In fact this was the cleanest copy of this kit that I have ever seen. Addressing the removable parts it was obvious that the engine and saucer section parts were going to be something of a headache and unlikely to inspire any practical solution.. Cutaway nacelle parts along with clear parts.

Once fully cured the brass was bent and cut to achieve its final position. Brass rod which fitted the aluminium tubing snugly was then epoxied into the new display stand. The removal of the original stunning Starfleet emblem stand actually makes this easier than it would be otherwise.. Looking good so far. Note the extra paint detail added to the bridge.


Close-up of the saucer detail parts. All parts stripped ready for paint. Final test-fit of all the parts before they are all stripped off and everything is primed in Alclad Matt Black Micro Filler and Primer. The main parts test-fitted on the stand. This done it was time for some filling and sanding which. I used up my last cans on this build. The first stage of the amendment to the display is to add these aluminium tubes embedded into epoxy.

Engineering and hanger deck. Neck and front. This is going to be pricey. With the basic painting done on the interior parts the model is readied for external detail and weathering. My main colour of choice is Halfords Casablanca Daewoo White. Internal details were then picked out in The model was then assembled on its stand for final adjustments before being disassembled and primed in Alclad Matt Black Primer Filler in readiness for paint.

The saucer interior part with basic painting complete. Rack my brains as I did. I feel a ParaGrafix detail set on the way.

I marked where I needed to drill location holes then epoxied them into the stand. I had a great time building this kit. The edges on the inside section of the Bussard collector were picked out in Liquitex Orange to suggest a bit of heat and make them stand out.

Very well done. Round 2. You made this old modeller a very happy man! The completed model — stunning! Detail shot of the middle section of the cutaway half. Close-up shot of the cutaway nacelle. Careful airbrushed shading and hand painting here will really pay dividends. I only added some generic red coachlines with hand-painted yellow Starfleet insignia.

My very grateful thanks to Jamie Hood for supplying the test shot for this review. As there were no decals available. The characteristic yellow ring was also applied to the saucer and the deflector painted Copper.

In conclusion. Round 2 have done a great job in cleaning up the moulds.. Without any other parts — the cutaway half of the model. The stand was given a solid coat of Halfords Matt Black. It was a blast — and on that basis alone I thoroughly recommend this release to all. Some careful airbrushing was also required to bring the warp nacelle detail to life using Liquitex Soft Body Acrylics as the colours are pure with no grey tones. Side on shot of the non-cutaway side of the model.

That tiny niggle aside. I enjoyed building this model much more than I thought I would. After all. I would very much like to buy something Dad would have really wanted me to have and would remind me of him each time I used it. This having been said. Until now.. In-depth research I began by researching what are deemed to be the absolute best airbrushes on the market: Richpen and a Japanese 1 Since that time I have used virtually every type of airbrush known to man.

Until that point I had only ever airbrushed artwork. My father was always trying to buy me a state of the art Iwata. Aztek all types. Rotring Conopois.

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I therefore decided it was time to completely overhaul my a i r b r u s h s e t u p w i t h something that would last me the remainder of my modelling lifetime. Fischer and Sprayguns. See p Of late I have been using cheap Iwata copies from China produced by Fengda and available from a variety of outlets under various brand names and these have served me well. Iwata Revolution and Paasche F. Badger The business end of the HP-BH.

The airbrush and spraygun holders come as standard along with 2 x 3m air hoses. The Neo TRN The Maxx Jet compressor — a compact box in which is a powerful compressor producing 1. Opening the box reveals all sorts of goodies. Then again. I had used an Iwata airbrush before. Michael listened intently. The inside of the K-CS box.. All Kustom range airbrushes come in a brushed metal box.

Close-up of the inline MAC valve. The brush. My beloved Talon now looks like an alsoran in comparison. Now located on the Lancing Business Park. Some items will not be suitable for the everyday hobbyist. Although it looks cumbersome. I had a lot to mull over and over 4 months I crafted and re-crafted my ultimate set-up.

I was introduced to Michael Voss in charge of technical support and repair. I left with a fairly clear idea of my ultimate set-up. I turned up there on a hot summer day.

Greeted by Lisa Munro. All airbrushes need a reliable power source and my compressors have served me well over the years. Doubly fortunate. The K-CS in operation. The Kustom KCS comes in a very sturdy end-opening box. After setting up an account with the lovely Ruth. Unfortunately one of the airbrushes After setting a delivery date all large orders are final checked by the aforementioned Michael for quality before despatch two large packages arrived at Cromer Shipyards just before Christmas My Set-up 9 44 The following set-up covers both modelling and artwork.

I was holidaying within striking distance of Lancing that year and therefore decided to drop in on them in July Feedback and reviews were hard to ignore. There is also storage aplenty. The K-TH with the comfort handle extension.

OHHHH lovely! The surprisingly awesome Kustom KTH. Kustom K-TH in action on a Starfleet subject. The quick release in action — just push to click in. The K-TH straight from the box inline quickrelease not included.

My current compressors. The main compressor is encased in a strong. CFM is the volume of air that the compressor can deliver to the airbrush during normal operation. Inside the brushed steel box. Additions bought for the K-TH.