En este tutorial vamos a pintar el clásico esquema alemán de principios de la guerra: el Dunkelgrau (gris oscuro), con la opción de añadir manchas de camuflaje marrón. Este patrón fue muy común durante los primeros años del conflicto, aunque el tono marrón suele pasar casi desapercibido en las fotografías en blanco y negro de la época.
Seguiremos un enfoque híbrido, combinando acrílicos, esmaltes y óleos. El proceso incluye luces controladas con aerógrafo, refinado mediante pincel seco y un envejecido sencillo pero efectivo para conseguir un acabado por encima del nivel habitual de juego. Esta guía es modular, así que puedes seguir el tutorial paso a paso o simplemente incorporar las técnicas que te resulten más útiles.
Este artículo fue publicado originalmente en la web de Battlefront , aquí.
Esta es una carta de colores para pintar tanques alemanes de comienzos de guerra (1939-1942):
Paso 1 Preparación e imprimación
We begin by carefully cleaning all parts, removing mould lines and imperfections before assembling the model using plastic cement. Optionally, we can add stowage to introduce variation and personalize each vehicle within the platoon. In this case, I used 3D printed accessories, except for the jerry cans included in the kit. We can also create antennas using 0.2 mm nickel rods, fixed with cyanoacrylate glue. Once the model is fully assembled, we apply a black primer over the entire vehicle using an airbrush or a spray can. This step improves paint adhesion and durability.
Paso 2 Dunkelgrau sombra
We establish the first tone using a dark base made by mixing Dunkelgrau IONIC-1006 with 50% Black IONIC-0172. This darker tone acts as our shadow and is applied evenly across the entire vehicle using an airbrush, thinning the paint with around 40% acrylic thinner. It is preferable to apply two thin layers rather than one thick coat to preserve surface detail and achieve a smooth, even finish.
Paso 3 Dunkelgrau base
Next, we apply pure Dunkelgrau IONIC-1006 as the base color. Using the airbrush with the same dilution, we begin to define volumes by leaving the previous darker tone visible in the recesses and lower areas. It is not about applying a general highlight from above, but about selectively picking certain panels, such as the frontal part of the turret or the hull. To create sharp contrast between panels, we can simply incline the tank while spraying, allowing us to control precisely where the light falls without affecting adjacent surfaces.
Paso 4 Dunkelgrau luz
To build contrast, we use a lighter bluish grey, such as Neutral Grey IONIC-0169, thinned with 40% acrylic thinner. We continue applying the highlights following the same logic as in the previous step, but reducing the coverage to progressively concentrate the light on smaller areas. The goal is to create a simple yet effective volume definition. It does not need to be perfect.
Paso 5 Luz a pincel seco
We reinforce the highlights using a drybrush technique with the same light grey tone. When applied with a brush, the effect is more intense than with the airbrush, working as an additional highlight. We use a large, soft brush, similar to those used for makeup. After removing most of the paint from the brush, we gently work across the surfaces to pick out textures and edges. This step is fast but slightly rough, which we will refine later in the process.
Paso 6 Perfilado de detalles
Using a fine brush, we now refine the highlights by painting hatches, rivets, and small details with the same light grey tone that the drybrush did not reach. This step restores definition lost during the drybrush stage and enhances the readability of the miniature at gaming distance.
Paso 7 Otros detalles
Using acrylic paints and a fine brush, we paint the remaining elements of the tank. This includes tools, tracks, exhausts, and any additional stowage. For the tracks, we can use a mix such as Graveyard Earth IONIC-0148 and Black Brown IONIC-0160, followed by a light drybrush with Burnished Metal IONIC-0819. We use the same metallic tone to paint the tools and guns. Rubber parts are painted with Black IONIC-0172, while wooden elements can be based with Burnt Umber IONIC-0161. For the exhausts, we use Dark Red IONIC-0058 to simulate rust. For the blankets, we can use any brown or khaki tone, while some jerry cans can be marked with a white cross to indicate they carry water. The goal is to add visual interest while maintaining harmony across the model.
Paso 8 Manchas de camuflaje marrones
Alternatively, instead of a plane dark grey color, we can apply the camouflage using an airbrush with Schokobraun RAL 8017 IONIC-0004. The paint should be thinned enough to allow a smooth, semi-transparent application, roughly 50 to 60%, which is more diluted than in the previous steps. We create irregular shapes, avoiding uniform dots, and instead aiming for organic patterns that break the silhouette of the tank and enhance its visual interest. For example, we can paint “X” or “Y” shapes.
Paso 9 Barniz brillante y calcomanías
Before weathering, we apply a thin layer of gloss varnish to protect the paint and prepare the surface for decals. After placing the decals (as we have seen before), we seal them with another thin layer of gloss varnish to integrate them into the surface.
Paso 10 Lavado tipo esmalte
We apply a selective dark wash using an enamel product such as Dark Brown Wash for Green Vehicles A.MIG-1005. After shaking the jar thoroughly, we use a fine brush to carefully place the wash into the recesses and around the details, enhancing contrast and definition. Why use an enamel wash instead of an acrylic one? The key lies in its versatility. Enamel washes take much longer to dry and can be easily reactivated using enamel thinner such as White Spirit or turpentine. This allows us to blend, adjust, or even completely remove the paint if necessary. For the wash step, this property is essential, as we want the wash to remain only in the recesses and not stain the surrounding surfaces.
Paso 11 Eliminar exceso de lavado
After allowing the wash to dry for around 30 minutes, we remove the excess using a brush or cotton swab lightly moistened with thinner. We gently clean the surfaces while leaving the wash in the recesses, improving definition and restoring clarity to the panels.
Paso 12 Barniz brillante
We allow the enamel thinner to fully evaporate for around 10 minutes. Then, we apply a matt varnish to eliminate the glossy finish and unify the surface. This can be done using a spray can or an airbrush, the latter providing a finer and more controlled result.
Paso 13 Efectos de desconchones superficiales
We begin weathering by applying superficial chips using a light grey tone, for example mixing Neutral Grey IONIC-0169 with 25% Ivory IONIC-0002. Using a fine brush, we place small dots and scratches on edges and high wear areas. The easiest approach is to focus mainly on the edges of the panels, using the side of the brush rather than the tip. We do not need to cover the entire model with chipping. I prefer to use a brush rather than a sponge, as it provides much greater control over the effect. We do not need to cover the entire model with chipping. A few well-placed marks will be enough to create visual interest.
Paso 14 Efectos de desconchones más profundos
We add depth to the chipping by introducing a dark brown representing the bare and raw metal, such as a mix of 50% Black IONIC-0172 and 50% Burnt Umber IONIC-0161. This is applied within or adjacent to the light chips to create a layered effect that suggests exposed material. We can also add a few thin scratches here and there, always keeping them subtle and controlled. This step is critical and, for it to work effectively, we must carefully control both the size and number of chips. The smaller and fewer they are, the more convincing the final result will be!
Paso 15 Equipo y accesorios
We now polish the remaining elements of the tank using acrylic paints and a fine brush. The goal is to increase contrast and bring these small details to life, which is especially important at this scale. We begin by applying a dark wash over wooden boxes and blankets, mixing Burnt Umber IONIC-0161 with around 50% water. Once dry, we build up the highlights by mixing the original base colors with a very pale yellow such as Ice Yellow IONIC-0013, applying them in successive layers. For wooden tools, we apply edge highlights using Graveyard Earth IONIC-0148, while on boxes we use a pale khaki can simulate wood grain by painting thin lines. Finally, we reinforce definition by carefully painting the recesses with a dark brown tone.
Moreover, we can enhance the exhausts by adding additional rust effects, applying Rust IONIC-0156 irregularly over the surface to create a more natural and varied finish. At the same time, we can carefully reintroduce metallic shine on the tracks, guns and tools by applying a very light drybrush or edge highlight with Burnished Metal IONIC-0819. This is particularly useful after the wash and matt varnish stages, which tend to dull metallic tones. This final touch helps restore contrast and brings back a subtle, realistic shine.
Paso 16 Óleos
At this stage, we introduce oil paints to refine the previous work. Oils, similar to enamels, dry slowly, allowing us to blend and manipulate them with ease. This makes them ideal for adding subtle tonal variation, enhancing shadows, and correcting the slightly rough finish left by the drybrush. Given the dark color of these tanks, we can focus on dust effects, which create contrast and help tell a story. More info here.
For this, we select two or three suitable tones, such as Oilbrusher Dust A.MIG-3516, Dark Mud A.MIG-3508, and Earth A.MIG-3514. There are different ways to work with oils, but one of the simplest is to thin them with a generous amount of an organic solvent (white spirit or turpentine, the same we used for enamels) to create a very light wash. In this case, we thin the oils with approximately 50% thinner.
Paso 17 Efectos de polvo con óleos
We apply small amounts of oil paint to the lower areas of the tank and within the recesses. We can let it dry for a while or speed up the process using a hairdryer. If necessary, we can apply several layers to gradually build up the effect. Then, using a brush slightly moistened with thinner, we blend the paint to create soft transitions that simulate dust accumulation. This final step helps integrate all elements and adds realism, while maintaining a fast and efficient workflow.
Paso 18 Evaluación
We let the oils dry completely overnight, and the next day we return to reevaluate the result. If needed, we can continue working certain areas or reactivate the oils with thinner to further refine the finish. Dust effects should remain subtle. It is better to apply too little than too much. We do not limit this effect to the tracks alone, but also apply it lightly on horizontal panels and in recesses where dust would naturally accumulate.
And soon, more Early War:
