Author: Kris Sieber

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My First Book – Super Detailing the F-14 Tomcat

How to order

NEWS

My first book!
Super Detailing the F-14 Tomcat

I’m ecstatic to announce my first book, ‘Super Detailing the F-14 Tomcat’, published by Dai Nippon Kaiga out of Japan.

The catalyst for this publication is an article I produced for Scale Aviation magazine No. 145, in which I provided my approach to super-detailing high-value areas of Tamiya’s 1/48 F-14D Tomcat. It was later proposed that I finish the kit, and carry the theme forward into a book. And, well, here it is.

Important to note, while the focus of this book is the Tomcat, most of techniques and approaches used are equally well-suited to most aircraft from WWII onwards.

Read a review by The Modelling News

‘Super Detailing the F-14 Tomcat’ is a full-colour, 128-page, A4-softcover book chronicling my efforts to enhance many of the detail-rich areas available on Tamiya’s F-14D Tomcat, including the cockpit tub, ejection seats, main and nose landing gear legs, main and nose gear wells, intakes, exhaust nozzles, and various airframe details. Also featured is a new technique I developed for achieving a realistic base patina for modern US Navy aircraft, and a brief look at some complementary weathering techniques (a deep dive into weathering would likely need it’s own book!)

In addition to hundreds of work-in-progress photos, the book lists many of the tools and techniques I employed, information about Tomcat kits and products, along with 4 mini-profiles of other kits I’ve made in the past few years.

Content is presented in both English and Japanese, with all English written either by an English-speaking editor or by myself (as opposed to machine-generated translation), and the book is bound in conventional western format.

Release date is August 2, 2023.

How to Order

At a Glance

  • 128 pages
  • Full colour
  • A4 softcover format
  • English/Japanese captioned throughout
  • Western (left-side) binding
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Layered Ink Patina Technique

TECHNIQUE

Layered Ink Patina Technique

The Layered Ink Patina technique was an approach I developed in search of a pre-paint mottling technique that I could control over the expanse of an aircraft, or even panel to panel, but in its actual application was as organic as possible. After some growing pains over several projects, it finally showed its quality on my Tamiya F-14D (in 1/48 scale) built for my Super Detailing the F-14 Tomcat, and later on my Fine Molds 1/72 F-15J Eagle published in Scale Aviation Vol. 155.

The goal of the following tutorial is to cover the basic Layered Ink Patina process as a starting point, then in subsequent posts, explore some variables and answer some questions that I’ve had over the past several months. 

This tutorial best-viewed on tablet/laptop/desktop.

Introduction

The Layered Ink Patina process is based on adding media to a wetted surface, thus allowing it to flow and dry organically. Initially, I had experimented  with Tamiya acrylics applied over isopropyl alcohol (IPA), and while they worked to a point, their pigment was too coarse and required excessive sanding to be effective. Acrylic inks, on the other with their superfine pigment size and excellent suspension were superbly effective, drying to a resilient, super-thin finish. 

The second key to success was the realization that the process was considerably more effective when layered with applications of the camouflage colour, creating better depth and variation in the final effect. I’ve so far used 4 layers for the grey aircraft I’ve done so far, however, in theory any number of layers and ink colours can be used.

The result is an effect that completely surpasses anything I’d been able to achieve with my previous method of pre-painting — airbrush mottling by hand, not with mottle masks. In addition, the time required to complete an airframe to the point of decaling and weathering is a fraction of time I was spending before, so all around it’s been a huge success for me.

Materials

Inks — I have had great success with Liquitex Professional Acrylic Inks, available world-wide, though any acrylic ink should work in principle.

Wetting Agent — So far, I find Tamiya X-20A to be the superior wetting agent as it spreads well and is very effective in breaking surface tension. I have also had varying success with varying grades of IPA (up to about 70-80%), though they do not apply as smoothly as X-20A.

Brushes — There are 3 main brushes I rely on for the technique. First, is a basic flat for applying my wetting agent; second is an old #2 or #3 round brush for applying and  modulating the ink (or a flat for larger areas), and most important, an artist’s brush called a Deerfoot Stippler. With a flat-faced profile, it’s perfect for creating a stippled pattern in the ink while covering larger areas. For small panels, I may also grab a ratty old round brush, or even small pieces of sponge/poly foam (though I find this can disintegrate quickly, leaving detritus in your ink.

Paints — While X-20A is Tamiya’s acrylic thinner, it is still pretty hot. As such, the process as described here will require the use of lacquer primer and paints, such as Gunze Mr. Surfacer 1500 primer and Mr. Color lacquers.

The last tool I rely on is a 0.15mm needle marketed as either an acupuncture needle or as a 3D printer nozzle cleaning needle. Occasionally a fibre will find its way into the ink, and with it sharp poinr and pliable shaft, it can push or even flick fibres off the surface. A surplus airbrush needle is also effective for guiding fibres to an edge where they can be plucked with fine-nosed tweezers.

Step 1

Once assembled and all seams addressed, the wing is sprayed Gunze Mr. Surfacer Grey (a medium-grey custom mix I use), and buffed slightly with a 4000 grit sanding sponge.

Step 2

I pour out a small amount of X-20A wetting agent into the cap, and using the flat brush, open the surface by applying a thin application. At no point should the surface be so wet that the meeting agent runs or pools. 

Step 3

Using the old #2/#3 round brush are a flat flat for larger areas such as this, Titanium White ink is brushed onto the surface working a section at a time, ie. within a large panel or group of panels.

In this example, the control surfaces have been done, and now I’m focused on the rest of the wing. 

Step 4

While the surface is wet, lightly moisten the  Deerfoot Stipplers with wetting agent, and  start manipulating the ink using a *very light* stippling motion. Too much pressure and the bristles will splay out, creating a streaky rosette pattern in the ink. I hold the brush light enough in my fingers that it breaks my grip with any significant pressure on the bristles.

Continue stippling the ink until the thinner begins to dry off, it’s at this point that the mottling pattern will be set, so if a complex effect is desired, continue to work the ink until just about dry. For a smoother visual effect, allow the inks to naturally settle and even out more.

If needed, the drying process can also be accelerated with a hair dryer on low heat.

Step 5

Once the ink is fully dry, the first layer of camouflage colour can be applied. On the wing, the Tomcat’s TPS scheme calls for C337 thinned 3:1 Mr. Levelling Thinner to paint, and sprayed until an opacity of 60-65% is achieved. Any heavier and there’s a risk the effect of the white ink will be obscured.

Step 6

To provide some protection for the next step, a coat of Gunze Semi-Matte is applied (50:50 mix of GX gloss and flat), and once dried, lightly sanded with 6000 or 8000 grit sanding sponge.

The point is not to polish the surface to an even finish, rather to level out the highest points (on a micro scale). This creates areas that will both resist and collect the ink used in the next layer.

Step 7

Steps 2-4 are repeated with a dark grey ink (2:1 Carbon Black to Titanium White).

Step 8

Using a quality swab or lint-free cloth lightly wetted with IPA (max 80%) or X-20A — I typically start at 50% IPA, then work my way up through the stronger solvents to X-20A, as necessary — begin to gently wipe the surface to remove excess ink. This will lift the dried grey ink, leaving small pockets of it dotting the surface. For streaking effects, try to swab in the direction of airflow whenever possible.

Exercise caution as too much thinner or pressure on the swab can cause the underlying layers to lift, even with lacquers. This is the reason for the extra coat of varnish in Step 6.

Vary the intensity of the effects on different panels by controlling how much ink you remove, or by how much camouflage colour you apply in Step 9.

Comparison of wings before and after removal of excess ink. 

Step 9

Once fully wiped down, the second application of camouflage colour can be applied, if necessary. This time the Gunze C308 is thinned 4:1 with Mr. Levelling Thinner, and is applied to put 20-30% opacity, essentially just enough to shift the colour back to the appropriate hue. Even with a thin application of the camouflage colour, the grubby browns of the ink still show through nicely, giving the effect of accumulated grime.

Also of note, a secondary benefit of the grey ink layer is the way in which it has already addressed all the panel joins with a nice subtle effect.

Image above contrasts the finished effect next to an unfinished wing. 

Next Steps

At this point, the wing is done and ready for decaling. Of note is how the dark grey ink has already addressed the panel joins, filling them with a nice subtle grey. All that remains would be to touch up any panel joins overlaid by a decal with a panel line wash.

While the grey of the TPS scheme doesn’t really call for anything further than simple black and white, the wide range of Liquitex inks would work equally well with with virtually any camouflage scheme. Buy a few, experiment, and see what works for you!

Like what you see?

If you’ve found this effect and tutorial helpful, and you’d like to support my time and effort to share this and future tutorials, send a donation through Buy Me a Coffee. Safe, simple and secure, it’s a great way to say thanks!

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Learn more about Super Detailing the F-14 Tomcat

Super Detailing the F-14 Tomcat goes deep on the techniques, materials and philosophies that went into my super-detailed build of Tamiya’s superlative 1/48 Tomcat, but are equally useful on any aircraft or detailing project.

About the Book
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Scale Aviation 155 Captions

F-15J Eagle

Fine Mold’s F-15J is a detail-rich canvas, particularly for 1/72. Tackling the intricate work early, when enthusiasm is high, always pays dividends for me. Conveniently, the parts breakdown of the kit enables work on the rest of the aircraft to proceed in parallel, when a break is needed.

  1. 2.5mm holes drilled in existing cable run and electronic boxes; 0.2mm lead wire cut to length and secured with CA glue.

  2. Aires resin seat base-coated with dark grey Mr. Surfacer 1500; seat cushion airbrushed with Flat Earth (XF-52), then glazed with AK3G acrylics to bring out texture; details brush painted with acrylics; subtle details dry brushed with medium grey.

  3. Instrument panel airbrushed with Mr. Color 317 (FS36231), individual panels brush-painted with dark grey-black; details picked out with acrylics; IP decals cut individually or small clusters and applied; Greenstuff World UV resin applied to glass faces and screens.

  4. Dark grey oils were used to define recesses in the cockpit and avionics bay, while Abteilung 502 Cream Brown was used on the cockpit upper surfaces. Together, the finished cockpit has a pleasing complexity for the scale, and rewards the effort spent defining the details

  5. Reskit resin main wheels were sprayed Mr. Primer Surfacer 1200, followed by Mr. Surfacer 1500 White; a dark grey/brown oils wash defined details and Carbon Black ink defined the holes; acrylics were used to the cap and bolts, and brake discs on the back.

  6. Electrical cables and cable runs were added with copper wire and 0.3mm brass micro- tubing, secured with VMS black CA, with excess cleaned with VMS CA remover; glass faces of landing lights masked with VMS liquid mask, and the housing sprayed Gunze Super Metallic Chrome Silver prior to applying primer.

  7. Details were painted with acrylics following references and placards applied following references; Anyz chrome decals applied to the hydraulic cylinders; the landing gear was given a medium grey oil wash.

Prepping for base painting includes sanding the entire surface with Godhands 6000 and 8000 grit sanding sponges, then using poster putty to clean out the delicate panel lines, followed by degreasing the surface with IPA.

  1. While Fine Molds advises against applying primer to preserve the fine surface detail, I found a very thin coat of Mr. Surfacer 1500 could be applied without obscuring the detail. Once applied it was again lightly buffed with 8000 grit.

  2. Working in sections, start the layered ink mottling by lightly wetting the surface with Tamiya X-20A, applied with a flat brush.

  3. Liquitex Titanium White was coarsely applied, staying within the prepared surface to keep the ink in suspension.

  4. Using a deerfoot stippler, slightly moistened and brushed against a clean surface to remove loose fibres, the ink is lightly stippled as it dries until the desired tonal structure is achieved.

The finished effect is pleasingly organic, featuring a mix of hard and soft-edged tonality, while the inks being incredibly thin ensure surface details are preserved.

  1. Profile views were scaled to size and printed on card stock. Using a new scalpel blade, the camouflage pattern was cut out and the pieces tacked to the surface with thin ropes of poster putty, lining up the pattern with the panel lines.

  2. The patterns were pressed gently against the surface until a gap of roughy 1mm was left; the margin of the camouflage was sprayed with Light Ghost Grey (Mr. Color C308) thinned 80:20 with Mr. Levelling Thinner, applied to an opacity of approximately 60-70% coverage.

  3. The masks were removed, and the the Dark Ghost Grey (Mr. Color C307) sprayed freehand to the same 60-70% opacity. With the first application of mottling and base colours on, the surface features a nice subtle mottling. If the final intended finish was that of a well-maintained aircraft, this would be an ideal point at which to move onto recalling and panel line washes.

  4. While the inks and base colour have all been very tin applications, in preparation for the next round of mottling, the surfaces were lightly sanded with 8000 grit sanding sponges to control any surface texture build-up.

  5. Following the same process, the surface was lightly moistened with X-20A, then a dark grey ink mix (50:50 Carbon Black and Titanium White) applied.

  6. The ink was stippled until the desired effect is reached, then wiped away with a cotton swab lightly wetted with X-20A, moving in the direction of airflow, or gravity, as appropriate.

  7. The elements of the hinomarus were cut using a Dspiae circle cutter. The positive mask element was applied to establish proper positioning, then the surrounding mask applied. The same procedure was used when masking the red as well.

  8. Gloss white was applied first, followed by the Red Madder with a 5% of JASDF Dark Offshore Blue added to darken and desaturate the red slightly. The gloss finish was intentional as it would ensure the hinomaru wouldn’t be stained by later steps.

  9. Decals were sourced predominantly from a Platz set, with others from the Platz F-15J stencil set.

  10.  As the decals are quite thin, Microset and Microsol were used in their application; to speed the process and help them conform to surface details, a hairdryer was used frequently to soften and dry them.

Before/After
Here the dark grey ink wash had been stippled and wiped away; not only does the surface have much stronger contrast, the panel lines have already been defined without needing a panel wash; this will be followed by a light second application of the base colours to bring up their saturation

While most Japanese F-15s seem to benefit from superb care and clean airframes, my preference leans towards well-weathered aircraft, and the challenge of interpreting their application.

  1. The distinctive touch-up paint was the first task. To keep track of where paint was to be applied, I marked up a profile view in advance.

  2. Using an Iwata HP-B with a 0.2mm needle/nozzle, I airbrushed the touch-up paint freehand, following the marked-up profile and reference photos showing where additional areas had been painted.

  3. The finished touch-up paint showing the contrast against the darker tone of the layered ink mottling and base colours.

  4. Where touch-up paint has oversprayed the panel lines by the dark grey ink, thinned oil mixes (of Payne’s Grey, Shadow Brown, and Raw Umber) were used to restore them.

  5. Many of the touch-up applications show a slightly darker “bloom” around them. This was achieved by moistening the surface with X-20A, then applying small amounts of dark grey ink around the repainted area, allowing it to dissipate into the surrounding surface, while ensuring the touch-up area remains clean.

  6. Almost ll F-15Js feature a distinctive rosette pattern around the panel latches on the nose. Here, minute dots of dark brown/black oil were applied with a No.0 round brush, then blended lightly with a No.2 round brush, lightly wetted with odourless thinner.

  7. The outboard ailerons feature heavy staining. Much of this effect was imparted during the dark grey layer, shaving the ink directionally rather than stippling.

  8. The effect and build-up was further refined with dark grey oils, using the bulk of the deerfoot stippler hairs to streak, instead of stipple, in this case,
  1. The aft metallic panels were sprayed Gunze Super Fine Silver, followed by a mist coatof GX113 Clear Flat, then a mist coats of Liquitex Carbon Black inks. Small areas of bright silver were created by using X-20A to lift the ink, revealing the Super Fine Silver beneath.
  2. Panels with additional colour saturation were sprayed mist coats of Raw Umber and Burnt Umber inks.
  3. The tonal variation seen in the metallic panels was created by again using thinner on around brush to lift the ink, and this time re-distribute it in mottled patterns. These areas were then sprayed again and the mottling process repeated 2-3 times.
  4. Nozzles sprayed silver, then by NATO Black (XF-69, 90% opacity); Raw Umber ink for carbon fibre panels; varying blacks/dark grey acrylics for other details; highlight metal edges with graphite, add and paint rods; dark grey and black oils for detail wash and streaking on inside.

F-14D Tomcat

Captions for the F-14 article were provided by Scale Aviation, sourced from Super Detailing the F-14 Tomcat.

Lavochkin La-5

For this winter La-5 , I wanted to keep most of the whitewash intact. At the same time, I wanted to avoid a monochromatic finish through the chipping through to the green base camp, along with the build up of reddish dust of European earth. Also, This project used no working references, instead being a test of my weathering interpretations, with the results measured against photos only once finished.

  1. Over a loosely applied base coat of Mr. Color lacquer, chipping fluid and Tamiya acrylics were sprayed. High-wear areas were chipped with an old brush and airbrush needle, while 6000 grit abrasive was used to represent abrasion.
  2. Oils mapping was used to increase saturation of the greens, and with faded white, to blend and soften the edges of the chipping. The metal panel is Super Fine Silver, stained with Raw and Burnt Umber oils to represent heat staining.
  3. Abteilung 502 Dust, Light Mud, and Earth oils were addled in diffuse layers to represent dust accumulation along the lower fuselage. The metal was further layered with oils, pin addition to exhaust staining and speckling with grey/black oils.
  4. The same earth-tone oils were used to build up dust accumulation on the underside, concentrated through the central section were it was kicked up by the prop and wheels, followed by streaking with Raw Umber and dark grey oils.
  5. The aerial mounts were made from fine copper wire wrapped around an acupuncture needle. Another short length of wire was twisted into a small loop, the tag ends inserted through the spring, and each glued to the masts.

Seafire Mk.46

Of all the pre-painting techniques, airbrush is likely the most versatile. I can spray a range of tonal patterns from dense and complex to soft and diffuse. At the same time I can introduce a wide range of colour variation from panel to panel, for maximum variety and control of my effects.

  1. Vertical and low-to-no-traffic surfaces tend to see less tonal variety, so a soft diffuse pattern is more  appropriate here. Over Mr. Surfacer 1500 Black, I sprayed a loose, random pattern with a light grey.
  2. On horizontal surfaces, such as wings, the combination of traffic and environment can impart a complex series of effects. Here, I’ll spray almost millimetre by millimetre, varying the intensity panel by panel. Consistent highlighting of specific edges can also suggest a stressed skin effect.
  3. Camoflage colours — Extra Dark Sea Grey (C333) and Dark Slate Grey (C38 + C40 mix) — are applied highly thinned to ensure total control of coverage, and preservation of the mottling beneath.
  4. Oil mapping with a variety of greys, greens and browns from Abteilung 502 is used to highlight specific panels and add weathering effects. The left wing is well underway, and shows the difference to the untouched right wing.

Hellcat Mk.II

Rivet decals are a great solution to the challenge of presenting positive rivets in 1/72 subjects. The silver-toned decals apply easily, and once the carrier film is removed, provide a subtle and realistic effect once painted over — especially once lightly abraded — restoring a distinctive surface feature to this aircraft.

  1. Riveting set 721010 is comprises about two dozen decals designed specifically for the Eduard kit, which it fits almost perfectly, plus a few single strips for specific areas.
  2. Once the surface was pre-painted — doing so in advance avoids build-up obscuring the thin inks — each section of decal was applied, lining it up with the appropriate panel lines before decal softeners were applied to ensure good adhesion.
  3. Once completely dry, the carrier film was carefully removed. The film tends to draw down to the surface on its own, so it’s important to leave a small tab proud of the surface to facilitate it’s removal.
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How to Order Super Detailing the F-14 Tomcat

A moody "beauty shot" of the Tamiya F-14D from Super Detailing the F-14 Tomcat
A moody "beauty shot" of the Tamiya F-14D from Super Detailing the F-14 Tomcat

NEWS

How to Order

Updated May 22

Super Detailing the F-14 Tomcat is once again open for limited pre-order. A small quantity of books have been located in the publisher’s warehouse, and pre-orders can now be placed through my shop. These copies are the last of this print run.

Please note, these copies do not come with the the sash found on the earlier books.

Before pre-ordering, please be sure to read the Ordering & Shipping Details page.

Shop now!
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1/48 Arma Hobby Hurricane IIc

Build Diary

1/48 Arma Hobby
Hurricane Mk.IIc

July 31, 2023

With the Unboxing out of the way, it’s time to see what’s in store for general fit. 

All the major airframe components were snipped out of the runners, sprue gates trimmed, and everything generally cleaned up. Then out came the 6mm Tamiya tape, and halves were mated up and taped together for a first look.

The wing to fuselage fit is sublime. On the wing roots themselves, the joint created is indistinguishable from any other panel line on the kit, which is exactly what I want to see.  Whee the lower wing crosses the fuselage, the fit is clean and snug.

The wing upper and lower line up precisely with no mismatch between panel lines, and the mating surfaces are generously thick. That said, I tend to slightly pare material away from the back edge to help perfect the fit. The only area that stands out on the wings is the join created across the front fillet, as it’s quite wide. 

The fuselage halves line up equally well, though there may be a need for a quick dab of filler on the chin where the halves just aren’t quite coming together fully. The squared-off profile of the lower aft fuselage is filled by a third piece. Here, I had to go searching just a little for the ideal fit as the tapered edges had minute amounts of excess plastic — not flash per se — that needed a couple quick swipes of a scalpel to refine.

A quick sidebar as I segue into the empennage. The fit of the lower fuselage, along with some areas the tail planes is indicative of what I’ve come to appreciate about Arma Hobby. Their fit often matches the best in the business — their 1/72 Mustang required filler only on two small panels that had a seam running thorough them — however, it occasionally takes some light finessing with a scalpel and abrasives to find it. Sometimes it’s a minor an artifact of the mould creation process, other times, it’s just a slight blurp of plastic. Either way, dry-fitting and these subtle alterations can save time and spare the putty, which is always a win in my books.

Getting back to the back end. The vertical and horizontal tailplanes are each two-part affairs which match up just fine. The left and right elevons are a single piece, and fitting these required some material to be removed before from the horizontal stabs before they would tuck in properly. The whole assembly then nestles into a notch in the fuselage — here again is where minor adjustments of the mating surfaces can realize great improvements in fit — before the rudder stocks into the back of the tail. Although the top-of-page photo shows a bit of a gap at the front of the tail section, that’s simply gravity pulling on the back. It settles in nicely once the weight is taken off.

When all is said and done, the fit is superb. I spent about 3 hours on dry-fitting as I tend to be slow and methodical about it. Eliminate my dallying and it could easily have been done in half the time. Aside from the two areas of note (the join at the front of the wings, and the seam along the chin), Arma continues to set the bar high in 1/48.
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Unboxed – Arma Hobby 1/48 Hurricane IIc

REVIEW

Arma Hobby
1/48 Hurricane Mk.IIc

My initial thoughts and observations as I dug through the contents of this long-awaited kit.

Boxing — If box art sells kits, this box is going to pull some serious weight. The artwork itself is lovely, full stop. Combined with Arma Hobby’s streamlined visual design, the entire package has a very premium sense about it.

The box back has 3 profiles of the supplied schemes — an all-black night fighter, a temperate land scheme and day fighter scheme. Bonus, the nice sturdy tray-style inner box.

Inside — 3 grey sprue, 1 clear snugly packed in a single resealable bag, plus instructions, errata insert, decals, and masks. Bonus, to my boxing at least, an A4-size print of the box artwork.

Decals — Techmod decals, as usual, with markings for 3 aircraft. Registration is perfect, density looks good, and film is quite thin.  

Instructions — Line-art style, with full-colour call-outs. 37 steps to the finish, plus the 3 supplied colourways, and a QR code for additional info. Compared to the Mustang instructions I’m currently using, these are much easier to navigate without worrying that you may have missed information.

Colour call-outs are provided for Hataka, AK Real Colour, Lifecolor, AMMO, Humbrol, Vallejo, and Tamiya.

Tip: To simply the information I’m reading, I to take a Sharpie to all Polish language call-outs throughout.

Errata Insert — Two notations, both relating to material to be removed. The first to improve fit for the light housings in the wings, the second for displaying with a closed cockpit.

Saving the best for last, the plastic.

Clear parts — The clear runner gets its own plastic bag and all clear parts look good with no signs of scuffing. Two canopies provided, for opened and closed display.

C-runner — With the upper and lower wings, the C-runner is the one that stands out immediately, and for good reason. Each of the two parts are adorned from end to end with delicate raised and recessed detail. I’m the last person to comment on the accuracy of it, but it looks sublime. The key challenge all this detail may present will be the need to control the quality of paint application, as there will be little room to sand out any issues.

Just a few minor sink marks that I could see, a small cluster at the back of the lower wing where it meets the fuselage, one each near the front and rear of each wing root fillet. While they are all quite subtle, those who choose to address them should have few issues with surrounding detail.

Runner B — Continuing backwards, B holds the fuselage halves along with the ventral shrouds, prop, bombs, tanks, and radiator faces — with incredibly fine perforations — amongst the parts. Like the wings, the fuselage features incredibly five raised rivets — I missed seeing most them on first blush — and subtle ribbed effect through the aft fuselage. Again, a couple instances of very slight sin marks opposite some moulded cockpit interior detail.

Runner A — Runner A is, of course everything else, densely packed and full of gorgeous detail on nearly every part. Too much really, to give over to words, so I’ll let the photos in the full gallery take on the task.

3DP Parts — 3D printed parts were also included in my box, and while labelled as being not for review, I did want to make mention that all parts arrived intact, and free of any distortion.

The wrap up — Somewhat obviously (you know, the Luftraum72 bit), I’m hardly an expert on the state of the 1/48 aircraft hobby. Still, I can’t help but feel this kit is something special. Arma Hobby’s 1/72 Mustang was a watershed kit in that scale and looking through this kit evokes similar feelings.

Of course, the build experience is everything, unless you’re simply a collector, so while there’s still much to do to see if I’m right, I have a hunch the long wait, and all the work from Arma Hobby, will be worth it.

Kit courtesy of Arma Hobby.

Visit Arma Hobby