Doug Dropeskey
Workbench
My home office, equipped with an old drafting table, doubles as the robotech factory (workbench for the mecha impaired). The front half of the table stays clear, while the back half holds a paint caddy and current projects. When I want to model, I pull what I need forward. When finished, I push it back. The models and supplies sometimes threaten to take over the room, like some creeping monster, but occasional cleaning binges keep everything in order.
Until recently, I did all my airbrushing on the back patio. I built a "spray booth" out of a cardboard box and aluminum foil, which actually does yoeman's service. Carting everything outside to airbrush tends to kill the rush, so I started painting right in my office with the window open, a fan going, and a two-stage gas mask.
When I returned to plastic modeling in 2006, I learned to airbrush with an Aztek A470 and Testors compressor, getting very mixed results. In early 2008 I switched to a side loading Iwata Eclipse (thanks, Dale) with a .035 head and started doing some damage. I subsequently learned why the Aztek behaved so erratically, but it broke shortly thereafter. Damn gremlins.
I usually use Model Master enamals for painting (hand and airbrush) and Model Master acrylics for clear coats, but constantly experiment with new products. I keep trying to work with acrylics, but hate the way they behave. Until recently, I cleaned my airbrushes and thinned my paints with Model Master airbrush thinner. I used water, Windex, Testors Dried Paint Solvent, or Gunze Mr. Thinner with my acrylic paints. Since the acrylics always seem to leave a residue, I dedicated my Iwata to spraying enamels and my Aztek to spraying acrylics. That all changed in March of 2008 when I discovered lacqor thinner. It stinks like hell but cleans and thins everything. It also endows wonky paint with good to excellent flow qualities.
I also paint figures. Until recently, I could never quite master the art of blending. In April of 2008 I discovered oil paints for washes and complex coloring.
I use Testors liquid cement for plastic on plastic work. It creates a strong bond, flows easily, and also thins Mr. Surfaces. What a deal! For metal and resin parts I use various forms of super-glue, from ultra-think to ultra-thin. For card models I use Aileen's Tacky Glue and 3M spray adhesive. For bonding paper to plastic I use The Ultimate, a water based super-glue that looks like white glue and behaves like chalk. On occasion I use silicone cement, especially to bond metal to wood. For really tough jobs requiring great strength I use two part epoxy.
I regularly experiment with new fillers. For weld beads and seam filling on plastic models I use Squadron White Putty or shaved plastic rod and MEK. I occasionally fill with super-glue or super-glue and granulated matter. For seams on card models I use Aileen's tacky glue or Woodland Scenics white glue. For larger filling and sculpting jobs I use Milliput, Super Sculpy, or Tamiya Polyester Putty.
My favorite tool is probably a plain old X-acto knife with a #11 blade. It can cut, it can chop, it can grind, it can carve, it can bore, it can scribe, and on occasion it can even draw blood! However, my heart goes to my double action airbrush. Learning to airbrush is like learning a musical instrument--no matter how good you are, you can always discover new techniques and apply them in fantastic ways.
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