Tips & Tricks

How To Win At GSL

10 Secrets for winning at GSL

by Jairus Watson
From the July 2007 issue of Model Cars Magazine

The GSL International Scale Vehicle Championship is indeed one of the most prestigious gatherings of automotive modelers on Earth. Builders from all over the world travel to or send their creations to Salt Lake City, Utah in order to compete with the best builders on the planet. Winning an award or simply placing in a class is a big deal and a worthy aspiration for all readers of Model Cars Magazine. But… what does it take to win an award or even take home a class win? A gentleman who accompanied me on the drive home after the 2003 show asked me this, and the question has nagged me enough to put this information together. You see, I have won a few class awards a couple of master’s awards at GSL including Best of Show in 1986. But even more important than that, I have also had the huge honor of being present while the judging takes place and overheard a tiny bit of the conversation that goes on during judging at every show since 1999. So I believe I just might have a unique viewpoint in order to suggest ways to make your models more competitive in 2009!

“Build a better mousetrap”
”…and they will come,” or so the saying goes. What this means to you is that if the model is cool, different, or unusual, then by word of mouth everyone in the contest hall will know about it. There are two reasons any car gets an award and the first is because it’s built cleanly, painted sharply, and detailed realistically. You might think that this is a no brainer but a lot of builders think that this is all that is needed. On the other hand, just because you took an award in a regional show does not mean your going to get anything at GSL. The guys who compete at GSL are the “best of the best” for a darned good reason! The second reason a car might receive an award is not so obvious, and that is because it is looked at by the judges and the people at the show. The judge’s eyes do not examine every car on the table! There is just not enough time to do that, and this is the sorry truth. However, by word of mouth your model will get looked at, judged and rated against the other cars on the table if it catches people’s eyes FIRST! Every time I have attended GSL, more than one person has approached me asking if I saw this car or that truck! If word has spread about a particular car, then you can be sure that the judges have heard about it as well. For example in 2001 Roger Yu entered a fantastic multimedia diorama that featured a Future Formula 1 Pit garage. From the very moment that Roger set it down on the table, word spread around the contest room and the expectation was that this was definitely in the running for Best of Show. You can be sure that the judges gave that one a good looking over.

“Pick your class”
Best of Show winners in the past have come out of a wide range of classes registered at GSL, so there is really no “Sweet Spot” class where Best of Show is chosen. However the Street Rod class has been the host of seven Best of Show winners, and that is not something to be taken lightly! The Street Rod class is also one of the most hotly contested classes and the most populated of all classes at GSL contests since ‘79. This is also true to a lesser degree of the Custom class, generally because of the artistic license allowed in these classes. Free form creativity is the norm here and many of the very best model builders participate in Street Rod and Custom classes, so be warned if you plan to enter onto those hallowed grounds in ‘09! On the other hand, if you are looking for a relatively easy class win, then look to enter in something a little less populated like Motorcycle, Light Commercial or Replica Class. Other awards generally not concentrated on by other competitors are the Klingon Cruiser Award, the Ed Roth/Ricky Couch Memorial Award, or one of the group/common kit classes. Generally those awards are not so competitive and easier to attain if a builder puts his/her mind to it. Something to note is that the Light Commercial and Heavy Commercial classes have yet to host a Best of Show win. This seems strange to me due to the essentially higher level of details, possibility for scratch building and weathering possible on trucks found in these two classes. Maybe this will change in 2009?

“Paint it red”
Well, not actually…but it should be sharp and brightly colored in order to be noticed, and getting noticed is half the battle, as I mentioned before. Only three Best of Show winners were painted red, by the way. A dark green Corvette with no graphics or a Lowrider in white pearl on the other hand, just might be overlooked by everyone in the room unless there is something there to grab the viewer. Remember you are competing against the other cars on the table so create something that looks “electric!” As far as paint quality goes, there are quite a few awards given for those builders who can paint well, and they are the Masters Award for Best Paint and the Model Cars Magazine award for Best Use of Color. There is also the Box Plus class where paint is about the only variable (other than clean building style) available to the builder, and Best in Class almost ALWAYS features a glass smooth paint job.

“Dare to be different”
Build something different and make it unique. A 1969 Camaro is going to get lost on the table when it is in a sea of other Camaros and muscle cars, regardless of the detailing and work that went into building it. I’m not saying that you shouldn’t build basic Camaros, Mustangs or whatever, but make it different somehow. Maybe you can do so by creating a long-lost variety, a show car, or a specialty vehicle not available in kit form. The Box Plus class is for “out of the box” models, so why build a nice car out of the box and only add just a few details like plug wires? All you are doing is moving your car into a more competitive class that will be populated by entries with waaaaayyyy more detailing. Thus the term “your outta your class, baby”!

“Location, location, location”
One way to get your car noticed is so obvious that many guys forget to do this, and that is to put your car on the edge of the table. YES, really! Not so close that it is in peril of falling off, of course, but close enough for everyone to see it, including those in wheel chairs. If the car is in the middle of the table, the viewer cannot get close enough to see all the little details you worked two winters to accomplish. Also a part of location is entering in multiple classes! Don’t limit yourself to just one class, as you may end up only competing against yourself. My suggestion is to spread it around and leave the lesser cars at home as they are only going to end up watering the class down and making it harder for the judges to see your best work! There are NO awards given for the most entries in one class by one builder! Also, connected with location, is the use of a display stand. A stand can contribute greatly to the wow factor, but it can also make it look gaudy or too flashy if done wrong. Rotating stands are nice, but there again the effect can be lost if the stand detracts from the model. Rule of thumb is a simple: stand it with a slight backdrop, and that will aid the realism and focus factor for the viewers’ eyes. Too big a stand and you’ll be moved to diorama. So fa,r no diorama has EVER won Best in Show, although Ken Hamilton’s “Home Sweet Home” came very close in ‘05!

“The inner workings”
This arena was popularized by the late Dave Shuklis and starting with GSL – V (1984), became a master award for working scale features. Including, but not exclusive to: electric lights, opening doors/hood/trunk, roll down windows, working throttle linkage, door/hood/trunk latches, folding tops, etc. Mr. Shuklis was a fan of working features, and many builders have accomplished better and more realistically features since then, but Dave was the first and a true pioneer. Working features, if well done, can give your car a “class win” faster than a speeding bullet! Quite often I have heard the judges mention how fun it was playing with the door latches or watching how the hood popped open when the release was actuated. The Shuklis award itself is another one of those masters awards that is not usually sought after for some reason, and generally given to the vehicle with the most working features, regardless of the quality of everything else so keep it in mind. BUT, one should probably keep in mind correctly folding hinges, a way to keep the door/hood/panel closed, and the correct underpinnings once the panel is opened. In the case of car doors, the door jamb is generally uniquely shaped to the particular car you are replicating so get it right or don’t do it at all! You can also make the mistake that just because the convertible top folds down, that you’re going to win your class, but if the fabric doesn’t fold correctly or looks out of scale when down, then you have not improved the model and in some cases might have made it worse… My suggestion, if you have never done this before, is to start with something simple like a set of hood hinges. Nothing is more frustrating for a judge than to turn over a nicely built model in order to look at the underside only to have the hood FALL OFF because the builder failed to hinge it! Hinging a hood is the bare minimum any builder should consider before entering it in GSL competition! Opening doors on a small coupe can really add to the viewer’s pleasure by being able to see the hard work accomplished on a well-detailed interior, however, this is something that’s probably not necessary with a convertible, and can sometimes make such a car flimsy and delicate as well.

Way back in 1986 we were instructed to only provide information on 3” x 5” cards unless it was entered in Factory Stock class. However, I have seen many entries of late complete with spiral notebooks documenting every tiny modification. And, amazingly the judges actually read through all that crap! I am not suggesting such overdone reference materials accompany every car, but a small place card suggesting where the judges should look and what changes or details you added to the model be the very minimum of documentation provided. Never assume that the judge(s) in this or any contest know intimately the base model kit you started with. If you built a Revell Big T kit, added valve cover gaskets, and made the shift linkage work, then you had better well tell them! Chances are the judges have not built that particular car, and may assume that these details were present in the first place.

“Scratch the surface”
One thing nearly all the Best of Show winning cars during the last 28 years have in common is scratchbuilding. In most of the cases large amounts of parts, pieces and bits were created or formed from raw materials such as aluminum, wood, plastic, steel, and brass. Some of the cars featured cast metal parts, such as those built by Augie Hiscano or carved aluminum, like the engine in John MacGowan’s ’37 Woody. What began back in the ‘80s by replacing plastic rods with steel, and carving bodies built up from sheet plastic, or built up from wood has grown in scope and measure to 2005 when two of the top models built by Tom Kirn and Dave Cummings were completely constructed from scratch! They contained no kit pieces at all! A more reasonable approach to this craziness is demonstrated by the current Best of Show winner of Mark D. Jones where he simply replaced many of the kit pieces with beautifully carved, bent, and turned aluminum bits which vastly improved an already nicely detailed kit into one of the most extremely realistic model cars this author has ever seen! Of course, the fact that these three aforementioned models were larger scale should not go unnoticed.

“The Illusionist”
Many builders think that every wire, nut, and bolt needs to be added to win awards, but if you actually put everything possible in a scale representation of your actual 1:1 ride then more than half the wires and such would be missed by the eye. Think of it this way, a detail clearly visiable at one foot may totally disappear if seen at 25 feet. A modeler only needs to give the illusion that everything is present. Take an alternator for instance. Most alternators have two wires running into the wiring loom. If the accessory is highly visible by being mounted high in the engine compartment, then the wiring should be added. But if the alternator is located low, maybe even under the air-conditioning compressor, then the builder can most likely leave it out. Only once have I heard of two cars being sooooo close in detailing and build quality that the judges gave one the nod just because firing order of the sparkplugs was correct. That is super rare and the fact that the judges knew the correct firing order I figure is a 1 in 1000 chance. Most likely, a modeler who makes the spark plug wires simply LOOK like they are in the right order is enough.

“A realistic goal”
Does it look real or cartoon like? Realism is, of course, in the eye of the beholder. What looks real to you is based on your point of reference and may not be so to someone else, but since we are trying to build a winner at GSL, then your subject has got to be realistic enough to the judges eye to be believable. Of course the realism ranges widely depending upon which class the model is entered, so keeping the subject within the real world is always a good idea. Fantasy models are cool, but generally do better at IPMS contests. If you are building a custom, then keep it in the general parameters of the custom world or else you might end up with the Klingon Cruiser Award (not such a bad thing after all). If you are building a street rod then try not mixing your “metaphors,” which is a metaphor for don’t put nostalgic wire wheels on a car that features an engine capable of generating 500 hp! If you are building a race car then be sure that it contains all the safety equipment required for the period the car was raced. You can be sure that if you don’t, all things being equal with the car next to it, the judges will call in a racing expert. So be warned.

In conclusion, reading this article will not guarantee your car a win, nor will implementing many or all of these suggestions. Ultimately it comes down to building quality more than your choice of subject matter. Plus, making sure that your model gets noticed definitely cannot hurt. You can’t win if it’s not on the table and you won’t win if someone better shows up, because as the adage goes: “There is always a bigger fish!”

Good luck!



For more information on the 2013 GSL Championship, click here:


Windshield Tool

Windshield Tool, by Scott Colmer

This time we’re going to show you how to scratchbuild a tool that will come in very handy, and turn one of the more frustrating modeling moments into a “Hey! That was pretty easy!” moment instead. How many times have we all done the windshield installation contortion act? Glue, windshield, sitting while the glue sets, fingerprints… and “Arrgh!” You’re doing a pirate impersonation! Here is an easy to make tool that Gregg found posted on Scalemodel Restoration’s Facebook page.
What!? Useful information on Facebook? It can happen.


Door Hinges

How To Make Working Hinges & Latches, by Jairus Watson

From the December 2009 issue of Model Cars Magazine


Although there are many ways to accomplish hinging and latching the examples shown here are what I have found to be the simplest options and present the greatest “in-scale” appearance possible. Hinges: The first step should be construction of the hinges assuming that the doors are already cut open. Begin by cutting strips of brass from a sheet .010” in thickness and bending them over a piece of steel piano wire .020” (see illustration A & B). The pieces are then clamped in a small hobby vise (illustration C) and the pin is pushed over slightly to one side. The reason for this will become clear later. To make a solid hinge, the brass should then be soldered together before filing to shape. Do not worry if some solder flows in to the pin area. This can be cleaned out using a .020” drill bit! The next step is shaping them into matching pieces. One should be cut as the inside piece and the other the outside. Using a flat file with a cutting edge, shape them like the illustration shows, testing fitting from time to time for free movement. One important feature of these type of hinges, besides their in-scale appearance, is that the pins may be easily removed fairly in order to remove the door during construction. Illustration G shows a very important step so watch carefully! The hinges are bent at right angles and glued to the door and the door frame so that the pin is actually on the outside of the car. This will require filing a small slot for the hinge to poke through the door. Also note that the hinges should be installed using a long piece of music wire as a temporary hinge pin which runs through both hinges at the same time. This guarantees perfect alignment during the gluing process. Due to slight rounding of the lower edge of the door in most ‘30s and ‘40s automobiles, the bottom hinge will generally protrude further than the upper hinge. I would do some research prior to actually installing the hinges. Some cars, like the 1941 Fords for example, featured an exposed lower hinge while the upper was concealed. With the hinges solidly attached using epoxy. The door jambs are created using Evergreen plastic which is added and filed to shape. The shape and type of jambs are usually unique to each make and model of car so we will not cover that in depth here.



Perfect Paint

PERFECT PAINT, by Alex Kustov

How to Apply, Polish, and Wax Your Paint to Perfection

When I take the body from the box, I carefully examine it for possible problems when painting – like cavities where paint probably won’t be sprayed, high points, difficult curves, etc. This gives you an idea HOW to paint this particular body. If the body consists of several parts (hood, doors, bumpers, etc), I paint them separately. (I know most people try to paint them all as one thing to keep number of paint layers the same, but I just count the layers). If there are several parts that will be glued to the body and painted body color, like headlights bases, cooling ducts, etc, glue them before painting.

First thing I do is preparing the body. Plastic preparation is relatively simple – wash the parts, sand all the mold lines, fill all the sink marks, smooth all irregularities, correct all inaccuracies, then light sand everything with fine grit (800) sandpaper under the running water, then dry.


Now it is time to prime the body. I use Tamiya Surface primers – these are the best I found so far. First coat is ALWAYS gray primer. If everything looks good, I spray a coat of white primer and let it dry completely. If I make more corrections, I spray another coat of gray, then white. This is very critical stage, and I’m a firm believer that the body MUST be white for absolutely any color, except black and silver. These two colors will cover anything. Gray color requires gray primer. After white primer is dry, I smooth it by slightly wet sanding it with 1200-1500 sandpaper, and then brushing it with toothpaste. Make sure you don’t sand trough white. Then thoroughly wash the body several times to remove all toothpaste and other residue. Dry for 2-3 hours.


When primer is dry, actual painting starts. My favorite paints are lacquers, but a perfect finish can be achieved using any type of paints. I used enamels and acrylics, cellulose paint and nail polish, but lacquers are my preferred type of paint, especially Tamiya synthetic lacquers. It doesn’t really matter how you apply the paint – spray can or airbrush – both methods are good for large area coverage such a body of a model car (many may not agree with me, but I laid very good paintjobs using both cans and airbrush). Rattle cans could be tricky sometimes, because you can’t really control the pressure and paint flow, but I found that Tamiya cans are very easy to use, and their paint is very forgiving. I will give the guidelines for lacquer paints, but all the steps are similar for other types of paint, with only slight differences in application and drying times. In any case, to lay the foundation of the good paint job, mount the body on your favorite stand, and spray a very light coat of paint.

Do not even bother to cover most of the primer – just mist some paint, but make sure you mist it everywhere. Also, make sure that the humidity and temperature are suitable. Do not paint when it is cold or very humid, and when its very hot and dry. After about 20 minutes (more for enamels), lay down a second mist coat, this time try to cover most of the primer.

If there are still some white spots – do not worry about it. After 20 minutes, inspect the paint – if you managed to put some dust in the paint already, wait another hour (more for enamels) and then wetsand the dust and other particles in your paint with very fine (3200) paper. Wash and dry the bodyshell. Spray another (usually the last one) mist coat.

This coat must cover all white primer, and the body must be covered completely. The paint could be flat in places, but this is normal. Make sure its uniform and covering every possible surface. Dry for 2-3 hours. If the paint is not completely dry before spraying a wetcoat, solvents in the paint may dissolve the paint underneath and cause many problems, like poor coverage on the high spots, paint running, and uneven coverage.  

After all of your mist coats are dry (I usually wait about 2-3 hours with lacquers and a 24hrs with enamels) its time to spray a wetcoat. If you using your airbrush, thin your paints a little less than you would for your mist coats. This will prevent paint from easy running. If you are using spray cans, just increase the distance to the model 1 inch, but move your can little bit faster when spraying. 

Now to the most important part. Press down the trigger and start painting. Add paint to the surface with steady motion until the paint starts to gloss up, or the better way to explain it would be when the paint starts to look WET. This is when you have to stop, or the paint will run. Make sure you cover the entire body, not only one side. Do not spray one side till the paint glosses up and then move to another side. Do it all at the same time to assure even coverage everywhere. I rotate my bodyshell very often when painting; this is why I prefer using coat hanger as my stand. After spraying the first wetcoat, cover the body with something to avoid dust in your paint. You can remove the cover in 10-15 minutes to allow the paint to gas out. Now the paint needs to cure for much longer period than 2-3 hours. Even lacquers. I usually wait 24 hours for lacquers, and 2-3 days for enamels, acrylics are very similar to lacquers in their drying time btw.

After paint has cured, you will probably see some texture to it – even if your undercoats were glass smooth. That’s normal because paint gets textured while it dries. This is especially true for lacquers. Second wet coat will cover this. About the only thing you need to do before spraying the second wetcoat, is make sure you do not have dust and other things in your paint. Wet sand them with 3600 sandpaper, and smooth out the paint with even higher grit (or toothpaste!). Wash and dry. If your wetcoat removed some paint from the high spots and you can see white primer bleeding through – this is the time to touch up those spots. Do not put a lot of paint though – or it will be visible even after second wetcoat. Mount your body, and repeat the process. This time leave the paint to cure for at least 4-5 days for lacquers, and good 10 days for enamels.


Now when your paint is dry, we need to polish it to a high gloss shine! Its not a necessary process, but even if your paint looks awesome after second wetcoat, it will look mile deep after polishing. If you managed to put some dust in your paint while laying down a second wetcoat, wetsand it with very fine (3600) sandpaper. Be extremely cautious if you used metallic paints – metallic colors tend to get lighter in places of sanding, and you do not want this. The rule of thumb when polishing metallic paints, is to apply a coat of clear over the metallic paint, let it dry completely, and then polish the clear coat, not the paint. This adds one more step to the painting process, but believe me, its better than stripping the entire body! Lightly sand the entire body with 6000 grit, and then smooth out with higher grits (8000, and maybe even 12000, but I rarely use this one!). When sanding is done, rinse the model under the running water and let it dry.

Now about polishes and waxes. I use 3M polishing compound and The Treatment wax “the last detail”.

I had great success with Novus polishing system, and also with 3M compound and Tamiya Wax. Basically, you can use any fine polish and wax (even automotive wax on lacquer paints). The polishing process is simple enough: get a cotton cloth (old t-shirt work fine), preferably white (this will help you see how much paint you removing), several q-tips, 2-3 toothpicks, and a polishing cloth (same t-shirt). Wrap the cloth over your index finger and dip it into polish. Then start rubbing the surface with circular motion. Try not to rub over fine details and raised edges. Polish works just like fine sandpaper, only in a liquid state. It removes paint and by doing this smoothes the surface, and if you rub over raised edges, it will remove paint just like sandpaper does. When polishing the paint, rub it till all polish is absorbed by the cloth, and then take another (clean) cloth and rub over the polished area to remove remaining polish. You will immediately see if you need to polish this area some more, or if its already polished enough. Do not worry if some of the polish filled the panel lines, you will get rid of it later. Use q-tips dipped in polish to polish hard to reach areas. Work slowly, and check your work often. Repeat the process if needed, and move to another part of the car. I usually start with the hood and continue to the roof, trunk, then to the sides of the car. When you done polishing the entire body, get an old toothbrush, and wash the body under warm running water gently scrubbing panel lines with toothbrush and mild detergent to remove all the polish from the panel lines. Rinse the body and let it dry completely.

When its dry, use the same technique as with the polish to apply wax. Wax is even finer abrasive, and will bring your paint to an amazing shine, you will see your reflection in the paint!

Again, work slowly, and check your work often, because it will be really frustrating if you cut through the paint on this final stage! Of course you’ll be able to touch it up, but its better not to. On this stage try not to put a lot of wax into the panel lines, cause you wont be able to wash the body after waxing. Put very little wax on your cloth, and try not to rub over the panel lines with loaded cloth – only when there are almost no wax left on it. After you done waxing the entire body, take a toothpick and carefully remove all the wax from the panel lines. Then give a body one final rub with clean cotton cloth. Try to rub in circular motion again. After you finished, your paint should look similar to the one on the pictures below.

MsoNormalAgain, work slowly, and check your work often, because it will be really frustrating if you cut through the paint on this final stage! Of course you