Ageing a model: why and how to do it best

There is no single correct answer to this question, as every model-maker has their own taste; personally, I really love aged models because I always try to reproduce reality.

Before discussing the techniques, however, I’d like to make a point: you need to have a clear idea of the project you’re working on. For example, do you want to create a simple weathered look from everyday use (dust, rain, snow, salt, mud) or to recreate a heavily weathered vehicle where the elements have left their mark (sun, heat, cold, rust, scratches)? Once our project is clear – and we can use photos from the web to help us with this – we can get started.

There are many techniques for ageing or weathering a model, and many of these should be combined for the best overall result.
Let’s start with those we can achieve using a brush, which are:
1. Highlighting
2. Filter
3. Washing

Highlighting
We’ll start by selecting our shades: grey for the smog-induced grime, dark yellow-ochre for the dust, dark orange-brown for the rust, and black for the engine grease.
We initially dilute the paint with 45% water relative to the amount present if using acrylics; if using other types of paint, we will use the appropriate thinner.
We will use a fine, soft-bristled brush of good quality; the paint, diluted in this way, still retains its body although it is already becoming transparent.
This consistency allows us to achieve the right balance for creating highlights.

Filters
If we dilute further to a percentage close to 90% (again relative to the original paint), the diluted paint will be completely transparent, yet still capable of retaining its tonal qualities to create a filter effect.

Washing
Of the two solutions, the intermediate 65% dilution allows us to achieve a wash. Unlike highlights, a wash tends to glide over the surface due to the high surface tension achieved.

Highlights are used to add light and emphasise volume, creating a greater sense of three-dimensionality in small-scale models or fine details.
The result is very soft and natural, unlike the dry brush technique, which can sometimes produce a very harsh and dusty effect.
The wash technique is the most widespread and is used to add depth and contrast to models. A dark colour is generally applied to recesses to enhance the shadows naturally created by light.
More natural results are achieved with the ‘tone-on-tone’ technique. The wash becomes easier to control when using oil paints.
Creating a balanced chromatic effect that deceives the eye and our perception is difficult.
Washes and highlights are to be considered inseparable, complementary to one another, and the use of one of the two techniques should always include the other as well.
Filters are useful for creating tonal variations such as fading and other effects, where the transparency of the filter must blend with the underlying tones without being overpowering or intrusive.
The use and blending of these three techniques can be applied to many projects, not just specific areas of model-making...
Here are some examples of the blending of these three techniques by model-makers from across Europe – now all you have to do is enjoy yourselves

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