Build Review Pt.IV: 48th scale USMC A-4 Skyhawk from Magic Factory - Paint.

What's black & white & red all over? Gary Wickham's build of the 48th-scale A-4M kit from Magic Factory, as he gets into the main painting stage. See how he makes & uses masks & great painting skills to prepare for decals & weathering in Pt. V.

Build Review Pt. IV: USMC A-4 Skyhawk light attack aircraft
From Magic Factory
1/48th scale
Kit No. #2007
Plastic injection model kit
Two marking choices in the box
Price: $102 USD from Hobbylink Japan
Magic Factory Website & Facebook Page

Today in Part Four, I will continue the build of Magic Factory's 48th scale A-4M Skyhawk that has been steadily making progress from Pt. I , Pt. II, & Pt. III of this build. Let's see how the kit looks under paint!

After all the construction, masking and prep work completed, it's now time to load up the airbrush and bring the model to life with colors, weathering and final detailing. Now the fun part begins 😁.

I had more or less made up my mind about the paint scheme the moment I got my hands on the box. With only two options provided by Magic Factory, the decision was straightforward—and true to form, I chose the road less travelled. 

I’d already seen quite a few builds finished in the Diamondbacks’ grey livery, so naturally, I went in the opposite direction. At first glance, a black-and-white two-tone scheme doesn’t seem particularly demanding, but as I soon discovered, working with two such contrasting colors leaves little room for error.

As with any build, research and reference material beyond the kit instructions proved invaluable. Fortunately, I was able to find a number of high-quality photos of the actual aircraft online, taken from various angles—which made a big difference. I found myself returning to these images repeatedly throughout the masking and painting process, double- and triple-checking details to ensure the finish was as realistic as possible.

To start things off, I applied a base coat of Mr Finishing Surfacer 1500 Black as a primer. This was the first time I’d actually seen the results of all the surface work, particularly the removal of the recessed rivets, under a layer of paint.

On closer inspection of the rivet removal work, I was relieved to see that the surface was clean and smooth, with no need for any final touch-ups or repairs.

The first color applied was Gaia Color 021 Semi-Gloss White, sprayed directly over the black primer. I built up the opacity gradually and somewhat irregularly across the relevant sections of the airframe. The semi-gloss finish was a deliberate choice, as reference photos showed the real aircraft had a noticeable sheen, and I’ve found that semi-gloss paints and clear coats replicate this well at scale. I used Gaia Color for both the white and black, as it's one of the few ranges where “semi-gloss” hits the mark—neither too flat nor overly glossy.

This paint scheme relies heavily on precise masking. It requires long, straight, consistently sharp lines, with only a few tight-radius curves—mostly around the nose. For those tighter curves, I opted for vinyl tape, as its flexibility allows it to stretch smoothly and maintain a clean, even arc. The smaller the tape, the tighter the curve that can be easily achieved and for this reason I went with Vallejo Flexible 1mm Vinyl tape (T07007).

For the long, straight sections, I switched to traditional Tamiya tape, using the 3mm width. I prefer this size as it holds its shape well over extended runs while still being thin enough to conform smoothly to surface variations along the way.

Small sections of Tamiya 10mm and 6mm tape were used to fill in the gaps behind the edging tape, providing protection against overspray. Although this process is very time-consuming, it’s crucial to do it correctly—correcting even a minor overspray issue requires significant time and effort.

After completing and verifying the masking, a coat of Gaia Color 022 Semi-Gloss Black was applied. When thinned with Mr. Color Leveling Thinners, the Gaia Color lacquers atomize exceptionally well, producing a smooth, uniform finish with a refined semi-gloss sheen.

A uniform, monotone finish is something I consistently aim to avoid in my aircraft models, particularly with challenging colors like black and white, which are inherently difficult to modulate convincingly. In this instance, reference photos clearly indicate that the Air Test Centre aircraft was well-maintained and relatively clean. Taking that into account, I chose to selectively mask several access panels within the black-painted areas and sprayed them with Tamiya LP-65 Rubber Black. This subtle variation was intended to introduce visual interest and tonal depth, helping to break up the uniformity of the overall black finish.

Although the masking was largely effective, minor instances of overspray and under spray are to be expected. As such, several iterations of reverse masking were required along the black and white demarcation lines to ensure all transitions were clean and sharply defined.

The avionics hump and nose required the most cleanup effort, but the extra time spent was well worth it to achieve clean, sharp lines. Fundamental skills like precise paint masking are essential to maintain, and projects like this really highlight the value of keeping those techniques sharp.

Masking the lower surface proved to be considerably easier, thanks to its predominantly flat contours. This simplified the process compared to the more complex upper areas. For sections that did present minor challenges—such as the area around the drag chute housing on the tail—I again relied on 1mm vinyl tape and Tamiya’s 2mm masking tape. These tapes were particularly effective in conforming to tight curves and recessed details, allowing for clean, precise masking even in the trickier spots.

With the main painting complete, it was time to move on to the decals. After carefully comparing the markings provided by Magic Factory with reference photos of the real aircraft, I identified several areas that could be improved. The first issue was the red intake warning. Images of 8148 during its time at NATC clearly show that the red intake lip was quite narrow and did not extend forward to cover the splitter plate.

Magic Factory supplies only the trailing triangle portion of the intake warning markings as a decal, leaving the modeler to mask and paint the main lip section. This often results in color mismatches between the painted area and the decal and is therefore something I prefer to avoid if practical. Additionally, the transition between the painted lip and the decal’s triangle appeared too sharp compared to the more blended look seen on the actual aircraft. As a result, I decided to find a better solution.

Using a high-resolution scan of the kit decals, I imported the image into Inkscape and created a blue guideline to design a paint mask. This mask incorporated the more pronounced curve at the corner and included an extended section, allowing me to use a single mask for both the top of the intake lip and the adjacent area. When it eventually came time for decaling the small white "Danger" arrow in the center of the triangle would be cut out and applied over the top of the painted triangle as this detail is too small to be masked.

The intake was just one of several markings for which I created custom paint masks using Inkscape. While I could have used the Cartograf-printed kit decals for the BuNo and other lettering, I opted to paint them instead, as each consists of a single color and benefits from the cleaner finish masking provides. The “bird” logo on the top of the vertical tail presented an interesting issue with the Magic Factory decals. On the real aircraft, the bird’s beak faces forward on both sides of the tail, requiring two mirrored versions of the graphic to achieve proper orientation. However, Magic Factory overlooked this detail. They simply duplicated the black starboard-side bird decal and recolored it white for the port side—without mirroring it—resulting in the beak facing backward, which is incorrect.

The bird decal was also oversized, and to make it fit, you would have to move it too far down the tail—well below its correct position. Fortunately, this was an easy fix once I created my own mask; I simply scaled the vector graphic down to the appropriate size for 1/48 scale. While details like this might seem minor or not worth the trouble, it’s exactly this kind of attention to detail that I find so rewarding in the hobby. Solving these small challenges is one of the aspects I enjoy most.

With the masks cut and ready, it was time to position them on the intake. I’ve found that it’s often easier to start by laying down the part of the mask that represents the marking itself—similar to how you would apply a decal. This approach allows me to focus on getting the alignment and placement just right before committing to the actual masking portion that matters for painting. By using the marking as a visual guide, I can ensure everything is correctly oriented and symmetrical, especially on curved or angled surfaces like the intake lip. It takes a bit more time up front, but it pays off in accuracy and overall finish.

Once the main mask is applied, the inner section can be removed and discarded. Masking the interior of the intake proved to be quite challenging and time-consuming, particularly when trying to keep the tape lines parallel. As with previous masking steps, the most effective approach was to use thin strips of tape to outline the edges, then fill in the remaining areas with small squares. This method continues to be the most reliable way to handle complex masking jobs like this.

It's well known that colors like red and yellow perform best when applied over an appropriate base coat. For red, I usually prefer white as the foundation—especially in cases like this, where I needed to cover a black section. Without a solid base, the red would appear uneven and washed out. You can use a dedicated primer, but in this instance, I simply used the same white paint as I applied to the rest of the airframe, which worked perfectly well.

With all the prep work complete, only a couple of light coats of MRP-002 Insignia Red were needed over the white base to achieve a smooth, vibrant finish. One of the main reasons I prefer MRP acrylic lacquers is their excellent coverage. They lay down very evenly and often provide full opacity in just one or two coats. This not only saves time but also helps minimize paint build-up, which can create an unsightly ridge or visible edge—especially problematic when masking complex markings. The fine atomization and smooth flow of MRP paints make them ideal for precision work like this, where clean lines and subtle transitions are key to a realistic finish.

Once the masking was removed, only a few minor touch-ups were needed—nothing unexpected, and easily corrected. Overall, this stage of the painting process went very smoothly. Even this small addition of red brought a welcome splash of color to the otherwise monochrome surface, adding visual interest and breaking up the uniformity. It was a subtle but satisfying transformation, and for the first time, I started to see the model truly come to life. That pop of red hinted at the character and realism I was aiming for, making all the meticulous prep work feel worthwhile.

With the challenging intake masking out of the way, I moved on to the tail markings, opting to use my custom-made masks instead of the kit decals. Since the tail surface is essentially flat, Oramask 810 vinyl was the perfect choice—its low-tack adhesive and crisp cutting properties make it ideal for producing sharp, clean edges when cut with my Silhouette Portrait 3. Accurate alignment is crucial at this stage, so I took my time and used the model’s panel lines as reference points to ensure the masks—and the resulting painted markings—were straight and properly positioned. This extra care makes a noticeable difference in the final presentation.

The modex numbers on the nose were also masked and scaled down by approximately 60% from the size of the kit decals, as reference photos revealed the supplied decals were slightly oversized. One of the great advantages of creating custom masks is the ability to fine-tune details like this for greater accuracy. Being able to adjust the size, placement, and proportions to match the real aircraft adds a level of precision that decals alone often can't provide. While it does take more time and effort, I believe the results more than justify the extra work.

To prevent overspray, I once again used sections of Tamiya tape to backfill around the edges of the mask. This method remains one of the most reliable for protecting surrounding surfaces during intricate paintwork. The most rewarding part of the process, however, is always the moment when the masks come off—revealing crisp, clean markings underneath. There’s something uniquely satisfying about seeing all the careful preparation pay off in the form of sharp lines and accurate detailing. It’s one of those moments that really makes the extra effort feel worthwhile.

This progress shot captures two key milestones in the paintwork: the completed intake warning marking and the starboard-side nose modex. The red intake lip and danger triangle have been sharply defined using custom-cut masks, resulting in clean edges and accurate proportions that better reflect the appearance of the real aircraft. The modex number "148" on the nose has also been precisely applied in white, scaled down from the kit decal size to better match reference photos. Together, these elements break up the stark black-and-white paint scheme, adding character and authenticity as the model starts to take on the unmistakable look of a real operational jet.

Basic masks were also made for the lower chaff/flare dispensers. Although these could have been applied manually, the computer and cutter made it much easier to achieve the precise rounded corners. Since I wanted to show the flaps in the down position, I painted the interior red, which is typical for US Navy aircraft.

The only painting tasks left were the interiors of the wheel wells and the upper wing walkways. Because these areas featured very simple shapes, creating masks offered no real advantage. In fact, hand masking proved to be more efficient and practical for these sections. This approach allowed for quicker application and better control over the paint edges without the added complexity of designing and cutting precise masks.

Until next time, when I finish the kit in Part V...

Gary Wickham

Check out the Magic Factory Website & Facebook Page

You can see more of Gary's model making on his website Scalespot.com