As promised I have taken some pictures while I used my method for painting wood grain on my latest Albatros D III. This one will eventually represent the mount of Werner Voss of Jasta Boelcke. The build will primarily be out of the box. I will post additional picks when I'm finished.

My method is a freehand application of the wood grain patterns with oil based enamel paints. The paints are mixed to different hues of the base color. The variation in the colors should be subtle and not dramatically lighter or darker than the base color to be successful. I alternate the pattern on each panel to show that multiple pieces were used.

I use Humbrol #63 which is a warm honey brown as the base coat for the fuselage. For the lighter hues I mix Humbrol #74 which is a yellowish ivory color, with the base color. For the darker hues I mix #73 which is a reddish leather color, with the base color as well. I do all of this mixing on large format post-it notes, but you can use any type of material as the palette of your choice. The base color is applied with a #1 Round paintbrush. I use a #0 Round for blocking in the patterns of the wood grain. Finally, I use a #00 Liner brush for the high-light and low-light details. Use good brushes to get the best results.

I apply the base coat with a #1 Round paintbrush and let that dry for at least 24 hours to let it cure. I use solvents/thinners to mix the different colors so a properly cured base coat will resist mixing when later coats are applied.





I start the wood grain process by producing the light variations first. Using my #0 Round paintbrush and a post-it, I mix the base and the lighter color to a ratio of 85/15 and block in the initial wood grain patterns. This ratio can vary according to results. I apply this mixture to the bottom panels to test the effect of the lighter wood grain patterns. Experiment on this part of the model first so you can adjust your mixture as necessary. See how it looks wet and then when its dry and adjust your mixture accordingly.









Next I pull out the #00 Liner and mix an even lighter ratio of about 70/30, base color to the lighter color on a new palette and apply it along contour lines and inside the lighter patterns. This is your high-light variation. I tested this hue against the colors on the first palette which had dried over night. Work on the underside again so you can adjust your mixture.







Still using the #00 Liner I mix more of the base color into the lightest variation. I try to mix this color to fall in between the 85/15 and the 70/30 variations and apply this inside the dark and light patterns.







To finish the wood grain, still using the #00 Liner, I mix the base Humbrol #63 with Humbrol #73 at a ratio of 95/5 base to darker color. I then apply this sparingly to contour lines and inside the dark and light patterns.











The Final step is to paint in the panel seams. I try to keep this variation subtle as well. Again, using the #00 Liner, I mix the #63 with the #73 at a ratio of 90/10 and apply that to the seams and along the edges where metal and wood meet.







There you have it. I have quite a bit of work left to finish this kit. I will do most of the touch up work on the fuselage and coat it with some future polish to protect the finish. Decals and another thin coat of future. Feel free to experiment with this and make it your own in any way that works for you.

Model ... I mean, paint on!
Dwayne

Great to see you Dwayne ! Very well done on the steps by steps for your method . Wood grain, many modelers struggle with this painting method . I haven't tried it this way before . I will give it a go in the future .

For my top coating I mix tamiya clear yellow 40/60 and add a few drops of smoke until I like the shade . This gets sprayed on the fuselage 5 to 7 times and I get a nice warm honey shade . Brush painting works well but needs more thinning. Been using this one for some time and I still play with the mixing ratio's , getting different result's .

Thanks for sharing

thanks a lot for this very interesting technique

Very unique method. I look forward to its completion. Model On Dwayne!

Thanks for the input everyone.

Well all I can say is that this method is in a constant state of evolution. As I was getting ready to touch up the metal fittings and the cowling
pieces, something didn't look quite right. I was thinking that there was too much contrast with the lighter shades of the wood gain and the base color.

I decided to add another coat of thinned base color over the wood grain to tone down the contrast. This is similar to a method used by artists called glazing. Glazing is done by layering thin, translucent coats of paint over a base color to "tint" the color underneath without having to mix the color itself. Using different colors over different parts of the base will give you a variety without the mixing process.

I waited a few days for the wood grain colors to cure thoroughly. I put some base color on my paper palette and thinned it down with clear paint thinner using my #0 round paintbrush and applied it to the wood grain surface. Be careful not to rub the glazing color too hard into the top layer of paint because the thinner will start to lift it. You don't want to mix this new layer into the underlying layers.
















I think the glazing effect served its purpose. The contrast of colors in the finish are still present but have been subdued to bring them more into harmony.

Again, experiment with this technique and make it your own.
Dwayne

Can't see them Dwayne.

Silly me. Looks like I just ran off the road on a sharp bend in the internet learning curve. I set up a Photobucket account to host my images and ran afoul of file sharing protocols. I think I got it now.

Dwayne

Most impressive thank you!

Hi Dwanye
This is a great SBS but I have a question.
How do you maintain the workability of the humbrol paints.
I use them all the time and figure that the paint on the pallette would dry before I finish.
Do you add a thinning agent ?
Is there a secret you use?

Sorry if sounds like a silly question.

Chris

Chris,

Actually its a very good question and underlies one of the essential parts of how I work. Thinning agents are a very important part of my method and forgive me for not going further into their use.

Mixing the Humbrol colors requires a constant input of thinner to keep the paint flowing, especially when using the #00 Liner brush. These colors are formulated to dry fairly quickly. If you do not introduce a constant flow of thinner they begin to dry on the palette and in the brush as well. Build up of drying color on your brush is the biggest problem, the paint needs to flow easily and dried paint will inhibit that.

Take a look at the first picture of the demo. Right above the tail of the Albatros is a rather well worn looking jar. That is where I keep my thinner. I use something called Mineral Spirits which is an odorless thinner but I believe your can use most generic "paint thinners" found in local hobby shops or your local hardware store. I leave the lid of this jar off when I work using this method so a well ventilated work area is very important.

Look further at the pictures and you will see my mixing palettes. When I mix my colors initially I make a fairly large pool of color. There is a lot of thinner in that pool.

I place the paints on the palette first. This is done with a the small screwdriver that I use to open the tins and stir the paint. I then dip the screwdriver into the paint and let it drip onto the palette. Once the colors are on the palette I load up my mixing brush with thinner and start to mix the hue I want. I'm constantly dipping the brush into the thinner. Be sure not to swish the brush in the jar when you dip or you will start to tint the thinner. By using a good supply of thinner during the mixing, the paint will turn into a more fluid medium that will flow off the paint brush more smoothly. I will periodically dip the the brush into the thinner to keep the paint pool fluid. Make sure you introduce paint into the pool so that its contents don't become too thinned out.

It is important to periodically clear the brush of any drying paint which may start to build up, especially near the ferulle or base of the brush. If the paint dries at the ferulle, it will prevent the tip of the brush from being formed into a nice point. I just dip the brush into the thinner and wipe, or brush it onto the palette to clear it of drying paint.

By constantly dipping your brush throughout the process you can keep the paint fluid enough to flow and keep your brushes clear of any drying paint.

Hope this helps Chris.
Dwayne

Dwayne,

Very very subtle, very effective to catch the eye, certainly caught mine. Gonna have to remember this when I catch up to my Abbie.

Regards
Steve

Thanks Dwayne,
For taking the time out to answer my query.


Chris

Thanks Steve and no problem Chris. I have learned quite a bit from the modelers here because they were willing to share their methods and techniques. I am very grateful for their time so writing up something myself is a way of giving back. I know this technique is not for everyone but I'm just glad if I can help someone out who is looking to try something new.

Model on, Dwayne

Aeroscale Cadets,

... and so here it is, the completed, out of the box, Voss D III. I used the black spinner from
Jasta Boelcke.





The rigging is mono filament and high E electric guitar string. I peeled the
outer brass winding from a low E acoustic guitar string and used it to reinforce the axle of
the landing gear. The radiator hoses are made from stretched sprue.





Thanks for tuning in and I hope some of this opened up a door or two.

Dwayne

Nicely done Dwayne! I know I learned a bit while reading this. Model on!

It has open a new door for me on another method of doing wood grain . I will be trying this on a W.4 in the future .

Excellent job done on the D.III and the rigging is super !

Cheers