251 Half-Track: David Doyle Afrikakorps 1941-43: Gordon Williamson & Ron Volstad (Opsrey Elite) Afrikakorps Soldier 1941-43: Paolo Battistelli & Raffaele Ruggeri (Osprey Warrior) Armor Battles on the Eastern Front (1): The German High Tide 1941-1942: Robert Michulec Armor Battles on the Eastern Front (2): Downfall of the Reich 1943-1945: Robert Michulec Armored Warfare in Northwest Europe 1944-1945: Anthony Tucker -Jones (Images of War) Army Uniforms of WWII: Andres Molle/Malcolm McGregor (Blandford Color Series) Barbarossa 1941: German Infantryman versus Soviet Rifleman: David Campbell (Osprey Combat Series) Blitzkrieg: Armor Camouflage & Markings 1939-1940: Steven J . Zaloga Camouflage Colors: Wehrmacht Heer 1939-1945: Thomas Chory Field Rocket Equipment of the German Army 1939-1945: T.J . Gander German 20mm Flak in World War II 1935-1945: Werner Muller German Combat Equipment 1939-1945 Gordon Rottman and Ronald Volstad (Osprey Man at Arms) German Half Tracks at War 1939-1945: Paul Thomas (Images of War) German Halftracks of World War Two: Frank V. DeSisto German Pionier 1939-1945: Combat Engineer of the Wehrmacht: Gor-don Rottman & Carlos Chagas (Osprey Warrior) German Soldiers of World War Two: Jean de Lagarde Germany’s Panther Tank: The Quest for Combat Superiority: Thomas L. Jentz, Scale Drawings by Hilary Louis Doyle Handbook on German Military Forces: US War Depar tment Hermann Goring Division: Gordon Williamson and Stephen Andrew (Osprey Man At Arms) In Deadly Combat: A German Soldier’s Memoir of the Eastern Front: Gottlieb Herbert Bidermann (translated/edited by Derek S. Zumbo) Mittlerer Schutzen-Panzerwagen: Sd-Kfz 251: Waldemar Trojca Panther & Its Variants: Walter J . Spielberger Panther Medium Tank 1942-45: Stephen Har t & J im Laur ier (Osprey New Vanguard) Panzer Colours 1-III: Bruce Culver , Bill Murphy, & Don Greer The Panzer Divisions: Martin Windrow & Richard Hook (Osprey Man At Arms) Panzer Divisions: The Eastern Front 1941-43: Pier Paolo Battistelli (Osprey Battle Orders)

Panzer Divisions 1944-45: Pier Paolo Battistelli (Osprey Battle Orders) Panzer Grenadier Aces: Franz Kurowski Panzergrenadier vs US Armored Infantryman: Steven J . Zaloga (Osprey Combat) Panzer Tactics: German Small Unit Armor Tactics in World War II: Wolfgang Schneider Panzer Tracts 11-1: Panzerbeobactungswagen (Armored Observation Vehicles): Thomas L. Jentz & Hilary Louis Doyle Panzer Tracts 14: Gepanzerte Pionier-Fahrzeuge (Armored Combat Engineer Vehicles): Thomas L. Jentz & Hilary Louis Doyle Panzer Tracts 15-2: Mittliere Scheutzenpanzerwagen (Sd.Kfz 251): Thomas L. Jentz & Hilary Louis Doyle Panzer Tracts 15-3Mittliere Scheutzenpanzerwagen (Sd.Kfz 251 Ausf. C & D): Thomas L. Jentz & Hilary Louis Doyle Panzer Tracts 15-4: Final Developments of the Schutzenpaner Sd.Kfz 251 to Volketten M.S.P. Katzchen: Hilary Louis Doyel, Lukas Fr iedli, & Thomas L. Jentz Panzer Wrecks 1-3: German Armor 1944-45: Lee Archer and William Auerbach Panzerfaust: And Other German Infantry Anti-Tank Weapons: Wolf-gang Fleischer Rommel’s Afrika Korps: Tobruk to El Alamein: Pier Paolo Battistelli (Osprey Battle Orders) Schutzenpanzerwagen: Workhorse of the Panzer Grenadiers: Horst Schelbert SdKfz 251 Ausf D: Hans-Heiri Stapfer (Squadron “Walk Around” Series) Sd.Kfz. 251 Half-Track 1939-1945: Bruce Culver/J im Laur ier (Osprey New Vanguard) Sd.Kfz 251 in Action: Chalres Kilmet (Squadron Signal Armor Ser ies No. 21) Tank Power Vol. VI #215: SdKfz 251: Janusz Ledwoch Tank Power Vol. X: SdKfz 251 Vol. II: Janusz Ledwoch Tanks and Other Armored Fighting Vehicles 1942-45: B.T. White (Macmillan Color Series) Tech Intel: WWII US Army Technical Intelligence Reports and Sum-maries: Compiled by Jeffrey D. McKaughan The Fall of Berlin 1945: Antony Beevor The Red Army of the Great Patriotic War 1941-5: Steven J . Zaloga/Ron Volstad (Osprey Man At Arms) The US Army 1941-45: Philip Katcher /Chris Collingwood (Osprey Man At Arms) The Waffen SS: Mar tin Windrow/Jeffrey Burn (Osprey Man at Arms) VW at War—Kubelwagen and Schwimmwagen: Dr Bernd Wiersch Winter Warfare on the Russian Front: Bob Car ruthers editor (Pen and Sword Books: Eastern Front from Primary Sources series) World War II AFV Plans: German Early War Armored Fighting Vehi-cles: George Bradford World War II AFV Plans: German Late War Armored Fighting Vehi-cles: George Bradford

REFERENCES

HISTORICAL REFERENCES:

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MODELING /ART BOOKS AND MAGAZINES:

ARTICLES (all found on web unless indicated otherwise)

1944 Gruppe: Er ic Tobey: Revised by Jonathan Bocek A Question of Scale Color: Ian Huntley (found in Scale Aircraft Model-ing Magazine, Vol 5, nr 10) Desert Warfare: German Experiences in WWII: Major General Alfred Toppe Feurgefahrlich—Rauchen Verboten! German Army Fuel Transport in the Second World War: Dan Mouritzsen German Armor Camouflage: Chr istian Ankerstjerne German Instructions in Case of Capture: U.S. War Depar tment Intelli-gence Bulletin, August 1944 German Tank Maintenance in World War II: Depar tment of the Army Pamphlet 20-202 / June 1954 Introduction to German WWII Patterns: Michael Fanwor th (this deals with uniform items, not vehicle camouflage) Interview with a German Combat Engineer: Jess Johannes Panzer Colours: David Byrden Panther G Camouflage: Author not listed. English translation from a Spanish website “Panther, el Mito”. Excellent information on late war Pan-ther G camouflage. Panzergrenadier Tactics: Mitch Williamson SdKfz Ausf C. Interior Details: Bruce Culver (found on Track48) Snoopers, Snipers, Peeping Toms & Tom Cats: Clive Elliot (Information about early night vision) Tactical Philosophies of the Squad: Er ic Tobey: Revised by Jonathan Bocek The Heat is On: Holzgasantrieb: Dan Mour itzen

WWII Battlefield Communications: Gordon Rottman and Peter Den-nis (Osprey Elite) WWII Desert Tactics: Paddy Griffith and Adam Hook (Osprey Elite)

WWII Infantry Assault Tactics: Gordon Rottman and Peter Dennis (Osprey Elite) WWII Infantry Tactics: Squad and Platoon: Stephen Bull, Mike Chappell, & Brian Delf (Osprey Elite) World War Two Military Vehicles—Transport and Halftracks: G.N. Georgano WWII Street Fighting Tactics: Stephen Bull & Peter Dennis (Osprey Elite) WWII Tactical Camouflage Techniques: Gordon Rottman and Peter Dennis (Osprey Elite)

WEBSITES:

www.armorama.com www.allworldwars.com www.blueprints.com www.bild.bundesarchiv.de/ www.dererstezug.com www.finescale.com www.forum.axishistory.com www.google.com

Advanced Terrain Modeling: Richard Windrow (Osprey Masterclass) Basic and Advanced Tips and Techniques for Styrene Modeling: Ever-green Scale Models Dynamic Wrinkles and Drapery: by Burne Hogar th F.A.Q.: Frequently Asked Questions of the AFV Painting Techniques: Mig Jimenez Fine Scale Modeler Magazine How to Build Dioramas: Shep Paine Military Miniatures in Review Magazine Military Modelcraft International Magazine Model Military International Magazine Modelling the SdKfz 251 Halftrack: Rober t Oehler (Osprey Modelling) Painting and Finishing Techniques: Gary Edmundson (Osprey Modelling) Panzer Modelling: Tony Greenland (Osprey Masterclass) Terrain Modeling: Richard Windrow (Osprey Masterclass)

www.missing-lynx.com www.panzerworld.com www.perthmilitarymodelling.com www.pietvanhess.nl/251/ www.tanks-encyclopedia.com www.track48.com www.wardrawings.be www.wehrmacht-history.com www.wikipedia.com www.youtube.com (and dozens of others I failed to record)

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OTHER REFERENCES:

Bruce Culver provided drawings, photos (many unpublished), personal expertise, and valuable suggestions and feedback. Bruce’s “Panzer Col-ors” books were my modeling bibles back in the 70s, and several of his books were references for this project—included the old “Panzer Colors” series. Bruce also provided the Panther G used in the 251/20 diorama, the Bandai 251 Ausf B kit, and two AFV Club 251/1 Ausf C kits. Fellow Modelers on the Track48 Web Forum provided feedback and ideas. Kit Instructions from 1/35th Scale Dragon, AFV Club, Tamiya kits, and conversion kits from various manufacturers: (These were used as detail-ing/scratch-building guides) The works of other modelers seen at shows or in books, magazines, and on websites

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GLOSSARY of MODELING TERMS/TECHNIQUES

The glossary is provided simply to avoid confusion. As I am not primarily an armor modeler, I may use somewhat terminolo-gy. And, of course, a novice to the hobby may not understand many of terms I take for granted. Note that these are the terms I use—they may or may not have the same meaning as those by someone else.

ACCELERATOR: Also refer red to by brand name (such as “Zip Kicker”, this is a fluid applied by brush or spray bottle that causes superglues to set instantly. ACRYLIC PAINT: Acrylic paints are water -soluble “plastic” paints with excellent adhesive qualities. They are very stable and will not yellow over time. Acrylic paints dry quickly, allowing the application of many layers of paint in a short amount of time. This allows the painter to effectively use glazes and layering techniques. The downside to fast drying is that there is little time to manipulate the paint once it is applied to the surface. Natural and synthetic brushes can be used with acrylics, These paints, being alkaline in nature, can be hard on natural brushes. If the paint dries in a brush, is can be very hard to get out without us-ing strong solvents that could damage the brush. The good news is that brushes can be quickly and easily cleaned with water. When finished painting, clean brushes well with warm water and mild soap. Acrylics, while they are my preference, are not the only type which can be used. Each medium requires its own methods and techniques, and those used in this book may not be appropriate. Many artists use a variety of paints, depending on task, and prefer-ence. Be aware not all paints are compatible and will not mix with one another. Some paint may also attack the plastic model. AFTERMARKET: Par ts, accessor ies, and conversion sets made by various manufacturers for use with other models. AIRBRUSH: A miniature spray gun used for painting where the flow of paint and air is adjustable. Requires a compressed air source such as an air tank, can of air, or air compressor. BASE COAT: This is the “baseline” color Shadows/highlights darken or lighten this. BLENDING: See feather ing. BLENDING WASH: A blending wash is a very thin wash of the base coat color applied after all other shading/highlighting is done. It’s more like tinted water than thinned paint. It’s used to tone down shading/highlighting that is too stark or has too much contrast. It “unifies”, or ties together, the color. CLEAN UP: This can apply to washing your hands/brushes at the end of a session, but it normally refers to the process of prepar-ing pieces of a kit for assembly and painting by removing mold seam lines, ejector pin marks, mold “plugs” or “pours” removing flash and cleaning off any mold release agent residue or oils.

COLOR MODULATION: An armor modeling term that simp-ly means shading and highlighting – painting darker colors in shad-ow areas and lighter colors on highlighted surfaces. COMPOSITION: Composition refers to the ar r angement of elements (figures, models, groundwork, etc.) on your base. It is the “story” that is told by the way the elements are posed, placed, and interact. CONVERSION: This is a type of modification where a kit or a part is changed into something different. CYANOACRYLATE: A fancy name for super glue. Can be used to glue just about anything. Useful for photo-etched metal parts. DEBONDER: A liquid or gel used to debond super glue. DECAL: Water -slide decals are decals printed on a carrier film on a piece of paper. Water releases the carrier film from the paper and the decal can be slid into position on the model. Dry-transfer decals do not need water. The decal is placed on the applicable area and the carrier is rubbed, transferring the decal to the surface. DETAILING: A type of modification where you are not con-verting the kit, but are adding details not included in the kit. DIORAMA: Any grouping of multiple figures and perhaps other elements that go together and have a common theme. DOT FILTER: Dot of oil paint applied to the model and then blended, feathered, and streaked to depict dust, rain marks, fading, dirt, or other color variations. DREMEL MOTOR TOOL: A very useful power tool designed to hold cutting/sanding/shaping/drilling/etc. bits in a chuck or collet. DRY-BRUSHING: Dry-brushing is a technique used to pick out only the high points of an object. Generally, a flat brush is used. With the tip of the brush, pick up only a bitOF paint. Wipe the brush on a piece of paper towel to remove most of the paint. Then lightly drag the brush across the surface of your work, just touching the high points, depositing a small amount of paint. You may have to do this several times to build up enough color. This technique is useful to highlight large areas, bring out details in groundwork, and/or to weather items. DRY-FIT: Par ts are fitted together without glue. It is used to determine where extra work is required to ensure proper fit of parts. EPOXY GLUE: Usually a two-part glue (resin and hardener) that are mixed in roughly equal portions. Can be used to glue just about anything and provides a very strong bond. EPOXY PUTTY: A two-part putty that is mixed to create a clay-like material. Can be used to fill gaps or sculpt various items and figures. EJECTOR PIN MARKS: Small, circular indentations on par ts where the ejector pins pushed the plastic out of the mold. Often, these are placed on rear surfaces of parts, but if they will be visible on the finished model they must be removed. Do this by sanding or filling. FEATHERING: This technique is used to eliminate hard edges that can occur between shadow, base, and highlight colors when building up multiple layers of acrylic paints. As you apply glazes, do not allow a hard edge to form between colors. Blend (or feather) away this edge, using a moistened brush if necessary so that there is

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a smooth, gradual edge between the two colors. FILLING: Filling generally refers to eliminating any unwanted gaps between parts in the construction process. It can be done with gap-filling superglue, model filler putty, or two-part epoxy putty. FILTER: A very layer of paint, often oil paint, applied over another color to subtly alter the tint.

FLASH: Excess plastic on par ts left over from the molding pro-cess. FUTURE: A water -thin acrylic floor polish by Pledge. Provides a high gloss surface. Is very useful as a base for, and for sealing, decals. GIZMOLOGY: The process of replicating the appearance of something rather than recreating the item exactly by using various and pieces of just about anything. GLAZE: A glaze is an application of thin paint, but not near ly so thin as a wash. It is thin enough for the underlying color to show through. It is used primarily to add highlights and shadows to a base coat of paint. Glazes are usually two to four times thinner than your base coat, or about one part paint to one or two parts water. Glazes are built up, one on top of another, to slowly build up colors. GROUNDWORK: Groundwork is the “scene” your figure is set in. It can consist of modeled ground, road, water, building, ruin, etc. KITBASH: Combining two or more kits to create a model. METAL FOIL: Various thickness of sheet lead, pewter , copper or other materials (I used the foil that covers the caps on alcohol bottles). Useful for making belts and straps. MICROSET AND MICROSOL: These are setting solutions that help decals conform to surfaces. Microset is normally applied to the surface and the decal floated onto it. Microsol is a stronger solvent normally applied after the decal is added to help it conform to surface details and irregularities. Similar products from other manufacturers (such as Solvaset) work in a similar fashion. MITER BOX: A “box” that aligns the saw blade and part so that a pre-determined constant angle can be cut. MIXING: Combining two or more colors to produce a different color, or value of color. For example, mix blue and yellow to make green.

MODIFICATION: Any conversion or detailing work conduct-ed on your figure. MODULATION: See “Color Modulation” MOLD LINES: Thin lines are par ts where the halves of the mold came together. Remove these when possible. They may be nearly invisible, but will show up under a layer of paint. MOLD PLUGS: Resin pieces coming from one-piece molds may have blocks of excess resin left over from the molding process that need to cut, filed, or sanded away. OIL PAINT: Paint in which the pigment is suspended in a dry-ing oil. Unlike acrylics, which dry rapidly, oils take a long time to dry. Oils are useful for filters, dot filters, and washes. OOB (OUT OF THE BOX): Building the model exactly as the

manufacturer intended with no additional detailing or modifications. OVERHEAD LIGHTING: The model is painted as if it is illu-minated by a halo of light coming from above (kind of like being outside on an overcast day). When using this method, highlights will be on “top” (facing up) of things and shadows will be on the “bottom” (facing down). PIGMENTS/PASTEL CHALKS: Powdered pigment that can be purchased or created by grinding pastel chalks into powders. Can be applied dry, mixed with paint, or mixed with another carrier such as water, mineral spirits, rubbing alcohol, etc., and applied to the model. Used primarily for weathering. PINNING: Pinning is used to attach par ts to each other and to the base. A hole is drilled in each part at the attachment point and a metal rod inserted between the pieces. This makes for a stronger. It’s not necessary with plastic parts that are attached with plastic-welding glue, but it useful for resin parts and nearly mandatory for metal ones. PHOTO-ETCHED PARTS: Thin metal detail par ts created with a combination of photographic and chemical etching processes. Parts must often be bent into the appropriate shape. PIN VISE: A small handle with a tiny chuck or collet designed to hold small drill bits. Also useful for holding parts for painting by their mounting pins. PINWASH: See “wash”. A pinwash is applied with a fine-pointed brush to a small area. Normally used to fill scribed panel lines or outline rivets/bolts and other surface details. PLASTIC MODEL CEMENT: Bonds plastic par ts by melting the material at the joint, effectively welding the parts together. Can only be used to bond plastic to plastic. PRIMING: Priming is done pr ior to painting. The figure, or part, is coated with a type of paint known as primer. It provides “tooth” (or slightly roughens up) the surface of your figure so that the paint will adhere and cover well. PUNCH AND DIE SET: A very useful tool for scratch-building and detailing. These precision sets are used to punch consistent holes in plastic or metal foil. Great for making buttons/rivets/etc. RAZOR SAW: An ultra-thin fine-toothed saw for delicate exact-ing work. RIVET COUNTER: A nick-name for a modeler who is particular obsessive about accurate details. A term or endearment or name-calling depending on your perspective. SCALE: Scale is the relative size of your figure. It can be ex-pressed as a ratio to a life-size object: 1/9th, 1/32th, or 1/72nd. It can also be expressed in figure size (normally millimeters): 200mm, 54mm, or 25mm. Different manufacturers may calculate millimeter size different-ly. Some may measure to the top of the figure’s head, while others may measure to the eyes or so on. For practical purposes this means that a 54mm figure from one manufacturer may be significantly different in size from a 54mm figure from another manufacturer. There is a rough equivalence between scale and size – for exam-ple 54mm is about 1/32nd - 1/30th scale. The comparison is not ex-act, however. Consider a 54mm John Wayne (very tall man) beside a 54mm Napoleon (very short man). Both would measure 54mm, but one would be about 1/35th scale and the other about 1/30th scale. Thus, they would look totally out of place posed together (as if they wouldn’t anyhow…). The moral of this story is not to assume that the same scale

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means the same size or vice versa. SCALE LIGHTING: Scale lighting is a pr inciple that refer s to the “scaling down” of light itself to match the scale of your model. This makes your models look real. It is done by adding highlights and shadows to your figure in the painting process. SCRATCH-BUILDING: Making something from “scratch” - in other words, not a kit. Normally done with sheet plastic, plastic strip, rod or other shapes, epoxy putty, metal foils, wood, etc. SINK HOLE: A defect in a kit where the plastic (or r esin/metal) did not completely fill the mold resulting in a void. Some-times this can be fixed with putty. In extreme cases, the part may be completely useless. SILVERING: This is what happens when air is trapped be-tween the model surface and the decal. It makes the decal appear white or silver—and appear to obviously be a decal and not a paint-ed-on marking. SPRUE/SPRUE TREE: This is the plastic “parts tree” that plastic parts come molded onto. It is the result of channels in the mold that feed the molten plastic to the parts cavities. SPRUE CUTTERS/NIPPERS: A very handy tool designed to snip parts from sprue trees. STIPPLE: Stippling is a process where paint is “jabbed” onto the surface using the point of the brush in a poking-type motion. It is most useful for applying such things as “five o’clock shadow” to a figure’s face or mud to clothing. STOCK: See “OOB”. SUB-ASSEMBLY: A segment of a model that will be attached to the whole after painting. SUPER DETAIL: See “Detail”. With super detailing, detailing is being taken to extreme to make the most realistic model possible. TEST FIT: See “Dry Fit” THINNING: This is the process of diluting paint from a thick to a thin mixture. It is used to create such things as glazes and washes. The paint is thinning with an appropriate thinner. Acrylic paints used in this book can be thinned with water, acrylic thinner, Windex, or rubbing alcohol. Oils are thinned with mineral spirits or turpentine. VIGNETTE: A single figure, or small grouping of figures, and other elements, smaller than a diorama, which tell a story. WASH: A wash is the application of very thin paint. The paint flows only into recesses/crevices. It is useful to apply to areas such as groundwork to make details stand out. Washes are many times thinner than your base coat – four or more parts water to one part paint. As the paint is very thin, be careful to control it or it can run all over the place. WEATHERING: Weather ing is the process of making models appear dirty, worn, aged, etc. It is a continuous process that begins in the planning stages and continues throughout figure construction and painting.

WET SANDING: Sanding using either wet sandpaper or sand-ing under running water. This carries away debris and results in a smoother finish.

WHITE GLUE: A water -based glue (such as Elmer’s) that is useful for paper, wood, and many groundwork applications.

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Modeling isn’t an inherently dangerous hobby, but we use things that can be harmful if precautions are not taken. Protect yourself and others by using common sense, using material and tools properly, and taking needed precautions with chemicals. This appendix can’t cover every contingen-cy. Carefully consider what you are doing to anticipate po-tential hazards. Your common sense is your best protection – if something seems uncertain, or hazardous, it probably is. In an emergency, call 911 or your local emergency number. General Safety Considerations: Have a comfortable work area with good ventilation and lighting. Avoid wobbly surfaces where tools can roll or paint can spill, etc. Avoid incidents with children/animals by en-suring your materials are locked or out of reach. Have easy access to a sink to flush skin and eyes in an accident. Use materials and tools properly. Be careful when using a new product or using a product in a new or unusual way. That doesn’t mean you can’t get creative, take shortcuts, or try new things, BUT be aware of the dangers and limitations of what you are working with and anticipate potential haz-ards. Think before you act! Wear protective gear as appro-priate when using chemicals or power tools and also when sanding resins (the dust can be an irritant). If you need a respirator based on a task or material, other folks shouldn’t be standing around watching without one! Modeling materials and food don’t mix. Avoid using the kitchen table as a work space. Keep your food and drinks separate from containers you use to store modeling stuff, and label them clearly. If you have to guess which can is soda and which is dirty paint water, you have a problem. Don’t force yourself to work. If you’re ill, tired, or dis-tracted, stop. Give what you are doing your full attention. Take your time – rushing causes mistakes. Young modelers should always work with adult supervision. Working With Sharp, Pointy Things: Many tools are designed to cut – and our flesh is softer than what we wish to cut. My most used tool is a hobby knife. Make sure the blade is sharp. A dull blade is more likely to slip and cut you. Be careful with razor saws. Clamp your work - if you hold the part in one hand, and the saw in the other, you run the risk of cutting yourself. If you do cut yourself, clean the wound properly and seek medical attention for serious cuts. Make sure your shots are current. Although I rarely have to use it, I keep a small first aid kit on my workbench that contains first-aid ointment, antibiotic/disinfectant, gauze pads, and Band-Aids. Working With Power Tools: While convenient, these can cause serious injury. Tiny bits can break and fly, Ceramic cutting disks can shatter. Be aware of where your hands and fingers are in relation to the bits. Always wear protective eyewear. Wear a dust mask if sanding or grinding. Wear a full face mask when grinding or cutting metal. Do not modify the tool or try to use it on ma-

terial it was not designed for. Bits or materials you are working on can get hot. Replace worn bits – they may not cut that white metal anymore, but are probably more than sharp enough to gouge into you. Working With Chemicals: Glues, paints, putties, and solvents are chemicals - some are harmless, some not. Some are non-toxic while some are poison-ous or have dangerous fumes. Know what you are working with - read the directions/precautions on the label. Be careful mixing them; research the results first. Some combinations are harm-less, others are harmful—some catastrophically so. For infor-mation refer to the MSDS (Material Safety Data Sheet) available from the manufacturer, on line (www.msdsonline.com), and maybe even from where you purchased them. Even the relative-ly harmless epoxy putties we work with can cause irritation to the skin and eyes. The more we use them the more prone to problems we become. It’s a good idea to wear rubber gloves and to make sure only your tools come in contact with the putty – not your bare skin. Don’t lick your tools and make sure not to get the putty – or its dust if you are sanding – into your eyes. I love Magic Sculpt—it is my favorite sculpting medium—but I have developed an allergy to it. I can still safely use it—IF I take the needed precautions. If you have special medical conditions talk to your doctor about the chemicals you use to ensure they do not aggravate your condition. Please note that this small appendix cannot cover every prod-uct and possibility. It is each modeler’s responsibility to practice the hobby in a manner that is safe to themselves and others. Children should be closely supervised. Common sense is your best defense. If it seems dangerous, it probably is. Carefully consider the possible consequences of an action before taking it. Ours is not a dangerous hobby, but we can be hurt by careless-ness. Take a close look at your methods. Have bad practices become a habit? Do you take health risks that you don’t even notice? Have fun and be creative – but be careful and be safe.

MODELING SAFETY

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ABOUT THE

AUTHOR:

Kevin Townsend r etired from the U.S. Air Force as a Senior Master Sergeant in Janu-ary 2006 after 22 ½ years of service. He cur-rently works as an Air Force civilian employee performing Physical Security, Resource Pro-tection, and Electronic Security functions. Kevin began modeling in middle school in the 1970s inspired primarily by the works of master modeler, Shep Paine. Although mostly just a figure-modeling hobbyist, Kevin has done modeling work professionally for muse-ums and model figure companies. Normally, however, he only builds and paints those sub-jects that appeal to him personally—he does not, as a general rule, do commission work. His figures—and models— have won numer-ous awards including Bronze, Silver, and Gold medals and special awards such as the “St Pe-tersburg Medal”, “Most Popular Award”, and

“Best In Show”. Kevin is a member of the National Capitol Model Soldier Society (NCMSS) and the Artist Preservation Group (APG). Kevin has been married since 1983 and has two adult children and six grandchildren He currently lives in New Jersey with his wife of 32 years, Arden, and their two incredibly spoiled little dogs, Daisy Grace and Precious. Kevin makes no claim that the methods used in this book are the only ones—or even the best ones. They are simply the ones he used to make these models. Few of the methods are his own original ideas—most were learned from others or picked up from various modeling sources. Part of the fun of modeling is learning and trying new things. This is truly a hobby where there are no rules and each person is free to go where their imagina-tion takes them. Each modeler is encouraged to experiment in order to find the materials and methods that work best for them. As of this writing (Spring of 2016), Kevin can be reached for comment or ques-tions at: kev-in_townsend1961@yahoo.com

I have always had a fondness for both the Sd.Kfz 251 SPW and 1/48th scale—a scale

offering good detail, compatibility with many forms of modeling, cost-effectiveness,

and less space requirements than the more popular 1/35th scale. Combining these

“likes” into one project resulted in this series of quarter scale Sd.Kfz 251 halftracks.

While basic versions of the vehicle exist in this scale, the many variants do not. But

there are a few conversion and detail sets on the market, and other variants can be

recreated with simple scratch-building. In this booklet, I share my methods for

building, painting, and weathering armor models and accompanying figures as well

as composing and creating dioramas. The SPW is ideally suited for this purpose—

serving throughout the war in many roles, on all fronts, in all terrain, and in all

weather conditions. This allows the modeler an almost endless choice of paint

schemes, weathering applications, and diorama settings.