The body paints it so that the small body is outstanding so that color development improves. 　I paint the German air force body-colored (Mr color No, 119RLM sand yellow) groundwork and I repeat a drybrush in dark yellow and do the basic painting of the whole body.

The writing brush for drybrushs uses the thing which cut a little the flat paint brush of the judo tortoise. 　Because the tips decrease when I make one or two cars and are not usable, it is a commercial cheap thing, but prepares for thing several kinds such as the basic painting use or camouflage use different of the width.　　　

　　Because a color felt like becoming too bright when it was completed with the dark green for three-color camouflage of the German armed forces to always use, I used field gray 2 (the color of the uniform of the German soldier) at this time.

　I describe camouflage in field gray 2 and compound color of the dark yellow and gradually increase ratios of field gray 2. Green becomes severe, and the reason why I mix dark yellow is that I prevent it from loosening.

If an image is possible for atmosphere serious consideration to the last, I picture the pattern of the camouflage freehand. There is considerably a writing brush irregularity at this point in time, but can go ahead through the work without minding it because I can revise it later.

　I dry it well on 1st and delete a writing brush irregularity of 　field gray 2 by a writing brush for thin drybrushs. 　With a color (white + dark yellow) that I painted the body in last, write a drybrush in the border of the camouflage and revise an outline afterwards

　When I deleted too much a green part by a drybrush of the dark yellow, I do a drybrush with field gray 2 from the inside of the outline again and revise it again.

I revise it till I become the form that I liked while a drybrush does the body color and camouflage color in turn, but attention is necessary because paintwork becomes fluffy when I am persistent too much and put a hand in the same place.

　In addition, I dry it on 1st and do a drybrush with the body color in the whole body lightly and let camouflage color be familiar.

If camouflage color disappears too much, I am light and can knock a color flat by a drybrush with field gray 2 again, and even this stage revives a camouflage part.

　　Because camouflage was completed, I can hit a small part at this point in time. When this part hung in the border of the camouflage, I blend it and warn you so that a camouflage border and the sense of incongruity of the body do not appear.

It takes the trouble when I will attach a part later, but because I do not come to feel heavy at an edge, I am finished by the painting sharply, and an effect is great with the small model.

　　I give the bald chola painting while using tire black, two colors of the red brown properly and reproduce inking over and raindrops by black and brown of the enamel and do a drybrush to an edge to silver last. I perform it in soft touch by a wide writing brush.　

↓　The photos of the painting part