Automatic250 wrote:Very noble subject for a diorama. Even all these years later, the spectacle of a mighty US ship sinking is still jarring. How did you achieve the "scale appropriate" weathering on the USS Morris?
Thanks Automatic250! For diorama's, I like to work with compelling stories, and I feel this is one indeed. It has both the (negative) drama of the loss of the first large carrier of the USN, but the (positive/heroic) element of the success of the evacuation.
About the weathering: a book could be written about that subject!

Basically: a fine brush and a good amount of time and patience!

I am a diorama modeller at heart. Having worked many years with armour models and figures (also single figure subjects), I am putting at least as much time and attention into painting as into construction, probably even more. This basic attitude is necessary for that kind of results, as you can only get out of a paintjob what you put into it, and a high level of finesse will be time consuming...
It is also necessary to study references for the weathering effects (for example: the dust and rusty effects on the decks were spotted on colour pics of other DD's, while the paint chipping on the hull is copied from pics of Morris during and after Coral Sea), to keep it realistic and to scale.
And finally, a layered approach, which many layers of different effects, usually gives the most realistic but also visually most interesting result.
On Morris:
- vertical surfaces received:
- a filter with different colours to get some colour variation and general fading/dirty surface
- a filter with dusty colours in a vertical stripy way, to mimic salt stains (hull only)
- canvas covering railings were filterd with a tan color to make their material look a bit different.
- dirty and/or rusty streaks (more on hull than superstructure)
- paint chippings: both light (previous paint layers) and dark (down to the metal and rusted). (almost only on the hull)
- deck blue decks received:
- dusty filters. I also use them as a light-coloured pin-wash to bring out details and edges
- darkbrown drybrushing on high-traffic areas (worn surfaces with dirt and rust I guess?)
- reverse drybrushing (dark over light) with darker and more saturated deck blue on details and edges. This makes them "pop-out" from their dusty (light) surroundings
- drybrush and scuffmarks with deck blue to simulate where dirt and dust might have been worn away again
- all details and edges were shaded with dark brown (except the ones that already received a light dust-coloured pin-wash). This is like a pinwash, but I really paint it in which gives more control and more depth but takes much longer. All details and edges were next highlighted with lighter versions of the various base colors. My highlighting is not done by drybrushing, but also really painting the highlights one by one. This way, I can follow the natural direction of the light, from above), which allows more contrast and depth.
So you see: quite a list! And to do it to scale, it needs a fair amount of finesse, which takes a lot of practice and time. Unfortunately, there are no shortcuts...
I am using most techniques also on Lexington. Only the first layers/techniques have been applied, and I will try to show the following layers one by one in this tread with Lexington.
Cheers,
Marijn