Info - Filter & Wash

The new True Earth’s FILTER & WASH inherit the already excellent quality of the previous Transparent Filters, in a new even more workable formulation.

MAIN FEATURES

  • True Earth’s FILTER & WASH are real filters. While all other filters or washes on the market are formulated with a milled pigment dissolved in a binder, the "coloring" agent of True Earth’s FILTER & WASH is a very thin resin, formulated specifically to let the light shine through, gradually altering the colors without suffocating them.
  • Versatility. As filters, as washes, for leaks and streaks. By brush or airbrush. And for  light & shadow effects, enhancing model's shape with a method of post-shading, convenient and fast, especially on camouflaged vehicles or painted in various colors.
  • Pleasant to use, a long workability time thanks to True Earth’s exclusive  SDW technology.
  • No solvents, odourless, a just-water formulation.
  • Purity. No residue thanks to the all resin formulation, Use them to the last drop.
  • They are not aggressive, and they can be spread on any sort of paint without a protective clear varnish.
  • Extremely flowy into airbrush, without ever clogging the nozzle.
  • Extremely fast cleaning of airbrush and brush, with water only.
  • Long life of the fresh product in the palette, even for hours depending on the amount. If thickened they can be restored with a bit of  water.
  • Adjustable drying time, which allows easy retouches and softer feathering.
  • Easily removable within hours from application just with soapy water.

Painted Surfaces

You can spread True Earth's Filter & Wash directly on paints, without any clear protective coating. They are not aggressive at all.

Matte surfaces are best for filters both with brush or airbrush. Slightly satin surfaces are best for sharp selective wash/pinwash - use CRYSTAL LOCK. But if you have already spreaded an overall filter over the surface, this step is not necessary.

Thinning

post_shading

True Earth's Filter & Wash True Earth are really easy and versatile !

For brush uses - filters, washes - 1 part of filter and 1-2 or more parts of simple water, nothing more is needed !

For airbrush too, just water ! And for thin lines, panels, pre or post shading, you can also use water+normal alcohol, water+isopropanol, and they are also compatible with many acrylic thinners on the market. Or with water+ GLOSS ADDITIVE into the SDW Shading Colors range.

Filter + Wash method

Whenever you want the same FILTER & WASH tone both for an overall filter than for pinwashes.

Spread a True Earth's FILTER & WASH  at your taste, and remove excess from all those relieved, plain and undetailed parts. Let it dry in a dust-free place.

Nothing more is needed, and in an only step you achieve a clean and sharp effect, without any solvent and totally odourless.

Overall Filter

It 's called "overall filter" a thin film of filter, more or less uniform of the model, which adds depth to the colors, blends them together, favors the scale effect and realism.

Thanks to their characteristics of purity, and the absence of classical pigments in the formulation, True Earth's FILTER & WASHes  can be used as if they were real "photographic filters". Genty and progressively altering the underlying colors and color combinations at your taste, not overwhelming them, but enriching the chromaticity.

Spread on the model a thin layer of filter, pure or slightly diluted in water. Alternatively, the airbrush. See the airbrushing topic.

Use as Washes

A wash is suited for on intricated areas, filled with details.

If you like, you can dampen the part to be treated with water, to facilitate the flow of the wash in the interstices, and then distemper the filter. Clean away excess from flat and undetailed parts. Let it dry in a dust free place.

 

The result is perfectly clean and sharp, you do not need to clean stains with solvents as for other products on the market !

 

SELECTIVE wash - PINWASH

Washes only made around raised details, riveting, into corners and recesses, to let them stand out.

It 'a particularly useful technique whenever for example we have used a given tone of FILTER & WASH as a global filter, and we want to use a darker one only for the definition of details. Or whenever we want the maximum cleanliness, for example to emphasize the shape of a new machine, without wear.

 Add a minimal amount of filter , only around the details, touch rivets, fill recessed panel lines and turn around raised panels.

The result will be a clean and sharp enhance of details.

Use by Airbrush

True Earth’s  FILTER & WASHes are  extremely thin and easy, and are simply fantastic over those models like aircrafts, where we need the maximum finesse and delicacy .

Proportionally fit the air pressure in function of the density of the filter. (Less dilution = higher pressure).

 

LOCALIZED AIRBRUSHING

For airbrushing Filter & Wash over little areas, or very thin lines, fit a higher  pressure, ab. 22 to 27 psi - 1,5 to 1,8 atm. Airbrush nozzles ranging from 0,15 to 0,2mm. If you have it, keep the trigger regulator on the tail of the airbrush almost closed. For this task you can use them unthinned, or thinned with simple acohol+water o isopropanol+water. And unless being not acrylics, they can also be thinned with many acrylic paint thinners.

The best way to avoid any excess, is to work slightly in backlight, to see the wet reflection sprayed on the model, instead of expecting an immediate color change, as it would be for a paint.

Remind that they are not paints. They work in transparency and are not designed to cover. Then you spray only minimal amounts on the area. Let it dry, check result and if needed add a next layer, working in progressive steps.

 

AIRBRUSH CLEANING

Aibrush cleaning is unequalled ! Just some drops of water are enough for a clean tool, because the all- resin formulation flows away without adhering to the airbrush.

PostShading

True Earth's FILTER & WASH, thanks to their transparence, can be applied in a sequence to achieve realistic post-shading effects.

Adding lights and shadows to enhance a three-dimensional effect made thorough True Earth's FILTER & WASHes is particularly useful on camouflages, since we will not need to highlight and shade each color separately. Lighter and darker filter tones will act gently on all colors, adding to harmony and scale-down effect.

 

Drying time

Drying times of the new FILTER & WASH True Earth are slower than previous Transparent Filters, to the benefit of the workability and the possibility of correction. Anyway faster than any enamel or oil product.

The dilution with water or water+SDW Gloss Additive -additive just for airbrush uses -proportionally speeds up  the drying time.

A few drops of filter in a palette will be usable for a long time, even for hours, in proportion to the quantity and temperature. If it thickens, you can refresh it with a minimum of water.

No solvents, odorless.

Like all other True Earth's products, FILTER & WASH are absolutely free of solvents, hazardous or flammable substances, and are completely odorless.

Removable

True earth’s FILTER & WASH are removable simply with soap and water within some hours.

Choice of suitable Filters

Given the features of progressiveness and transparency of True Earth’ FILTER & WASH, any filter can be used on any color, depending on what we want to do.

They are formulated to suit the colors and even the most complex camouflage schemes, favoring the overall realism of the model.

The method to choose a filter is extremely simple: just make a comparison between the colors of the model and the filter tone, to see what we can get from its application. Also look at description and sample pictures of every filter into the shop page.

For example Light & Fading 1, with its light and warm tone, if used as a global filter on this camouflage has minimum impact on the sand yellow  base, because the two colors are very similar. He lightens the brownish red, and warms up the green, which is a cool tone, lightening it. Then we get a greater overall harmony of the colors, which increases in proportion to the number of filter layers that we spread .

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