IDF M-50 Super Sherman
Dragon (3528)
1:35

Browsing my website, you'll quickly see that my primary focus is aircraft modeling. However, every so often, I feel the urge to step outside my comfort zone, challenging myself to learn new techniques and refine my skills. Participating in group builds—whether in person or online—provides a great way to explore these creative paths with added motivation and camaraderie.

This Dragon M-50 Super Sherman build was one such opportunity. Joining a close group of friends on this project allowed me not only to work towards a shared goal but also to deepen my skills in base construction and figure painting.

The Sherman M-50, often referred to abroad as the Super Sherman, was a modified version of the American M4 Sherman tank that served with the Israel Defense Forces from the mid-1950s to early 1980s. The M-51 was also referred to as the Isherman (i.e. Israeli Sherman). However, the nicknames "Super Sherman" and "Isherman" were never officially used by the Israeli Defense Forces.

In 1953, an Israeli military delegation visited France to examine the then-new AMX-13/75 light tank, which was armed with the high-velocity CN 75-50 75 mm tank gun. While the tank's main gun was considered satisfactory, its armor was deemed to be too light. Eventually, Israel did purchase the AMX-13, but, in a similar parallel development, it was decided that the 75mm main guns of the AMX-13s Israel bought would be grafted to the more-familiar and the better-armored hull of the American M4 Sherman medium tank, which was the standard tank of the IDF's armored units (a large quantity of post-WWII Sherman tanks ended up in Israeli military service from 1948 onwards) during the period of the early 1950s.

This project started in 1954 and in 1955, a prototype turret was sent from France to Israel. In March 1956, Israeli Ordnance Corps military facilities began to convert (up-gun) their Sherman tanks with 75mm tank guns of AMX-13s bought and received from France. The 75mm tank gun was known in Israel as the M-50 and, as a result, the up-gunned Sherman was designated as the Sherman M-50. The M-50 was similar to the WWII-era British Sherman Firefly tank in that it possessed the original smaller type of Sherman tank turret (as used by US Shermans which carry the original 75mm M3 tank gun) which was fitted with a large counterweight at the turret's rear end to balance the weight of a longer and heavier tank gun.

As I had a few in-progress photos (to share with the group build participants) I figured I might as well include them here to show how an aircraft modeller approaches an armour build. The first thing I decided to "upgrade" was the kit tracks. Most people recommended metal tracks, which have to be assembled link by link, and at first I was hesitant as that sounded like a lot of effort but in fact it was nowhere near as bad as I imagined. I'm sure there are several brand of metal tracks suitable for an M4 Sherman but the ones I found available to order locally were R Model (35171G) 1/35 US Sherman M51/M40 Super Sherman Metal Tracks w/Pins

The metal starts out shiny and whilst you could paint it I decided to try out some VMS Black Track Pro 2.0 liquid which chemically reacts with the white metal parts and "blackens" them.

Whilst researching metal tracks I found mention of the benefits of giving some real weight to your plastic armour model. Adding weight can help the sit of the model look more realistic as it stops the tracks and wheels from "floating" on the base. I had a think about how best to add some lead fishing sinkers inside the body and in the end I settled on some metal tea candle holders filled with lead sinkers and then held in place with clear epoxy resin. This worked very well and gave the tank some very real weight that when added to the weight of the metal tracks should make a noticeable difference.

Whilst browsing around looking for information on the Israeli Shermans, I stumbled on some Super Sherman 3D Print Files for one-piece jerrycans, holders and smoke dispensers. These were free and certainly looked like a better alternative to the Dragon parts which required fiddly gluing and cleanup.

The M50 Sherman was fitted with HVSS (Horizontal Volute Spring Suspension) and this meant a total of 24 road wheels. The Dragon kit molding suffered from some pretty severe sink holes on the outer rim of the road wheels and this took much time to fill, sand and prepare for painting. The major parts of the hull and turret were assembled as per the instructions and as I wanted to add some figures, the commanders hatch would be left off for now.

One thing I had seen in most period photos of IDF Shermans was how much they were loaded up with stowage, both soft and hard. This appealed to my eye so I tracked down a stowage set, Legend Productions (LF1266) 1/35 IDF M51 Super Sherman Stowage Set for the Tamiya kit. Thankfully most of the resin parts were able to be used on the Dragon kit and it certainly made the model look much busier.

Assembly in general was very straight forward and within a short while I had all the main parts together. Another 3D printed addition I used was a super detailed M2 Browning Cal.50 Gun which I purchased on cults3d.com and printed at home on my Elegoo Saturn 2 printer. I added a metal tow cable and a roll of barbed wire to round out the construction.

To begin the painting, an overall coat of Mr Finishing Surfacer 1500 Black was applied, thinned with Mr.Color Leveling Thinner which incorporates a mild retarder and helps the primer to dry silky smooth.

The primary color AK Real Color - IDF Early Sand Yellow (RC880) was applied over the black primer in thin, random coats to maintain some variation across the chassis and turret. I have grown to like the AK Real Color lacquer range of paints as they airbrush extremely well, even when heavily thinned, and are very tough when dry.

The decal sheet in my 28-year-old kit (a 1996 release) had become heavily yellowed and unreliable, so I decided to create some simple masks instead. Ever since I got my Silhouette Portrait cutter, I’ve made it a habit to scan the decal sheet for every new kit I work on as a backup in case of any issues. Fortunately, the IDF Shermans featured minimal markings, making the masks quick and easy to produce.

With the turret markings complete I was ready to proceed with detail hand painting of smaller parts such as the canvas mantlet cover. For brush painting I turn to acrylic water based paints such as Vallejo and AK Interactive Gen3.

Stowage painting was next and given how much I had added this was perhaps the most time consuming part of the build. A mixture of canvas and khaki colors were used for the various soft stowage including tents, tarps and backpacks. Lead foil was used to make straps for the backpacks hanging from the rear of the turret and I even managed to find some cardboard 1/35 Israel Combat Rations Boxes (167) from Plus Model.

The wooden crates were painted using an unconventional but effective approach, starting with a base of several flesh tones (which may sound odd, but works surprisingly well to mimic natural wood hues). This was followed by a carefully applied wood grain wash, which brought out the fine details of the texture and seamlessly tied the individual planks together, giving them a cohesive and realistic appearance. This combination of techniques resulted in crates that convincingly capture the organic character of real wood. To add depth and enhance the dimensionality, I next applied a dark brown pin wash in and around the recesses and details of the chassis and stowage, helping to emphasize shadows and create a more weathered, aged look.

To enhance the tank's realism, additional layers of weathering were now applied, including streaking effects, paint chipping, oil and mud splatters, as well as accumulated dirt and gravel for a rugged, battle-worn appearance. As a novice in weathering armour, I relied heavily on inspiration and techniques from expert video tutorials, particularly those by NighShift on YouTube, which provided invaluable guidance throughout the process

The final assembly of the tank was completed with attention to the small details, incorporating delicate features like the finely-crafted radio antennae made from 8-thou brass wire and a precisely designed 3D-printed .50 caliber machine gun mounted on the turret.

With the tank itself complete, I shifted my focus to creating an engaging base and groundwork. Inspired by the idea of positioning the vehicle on the crest of a hill with its barrel dramatically extending outward, I began crafting the foundation. Using 30mm High Density Foam, I shaped the terrain with precision on my Hot Wire Foam Cutter Table, ensuring the base complemented the tank's dynamic stance while adding depth and realism to the overall composition.

The foundation ground soil was crafted using VMS Smart Mud XL 2.0, a versatile diorama paste that is easy to shape and offers ample working time before it sets. Once dry, it hardens to a ceramic-like finish while remaining flexible due to the reinforcing fibers in the mix. The small rocks and rubble are made from kitty litter, which works perfectly as scale stones and debris. Everything was secured in place with thinned white glue (PVA), including the tufts of grass.

Painting all the elements of the groundwork was a multi-step process requiring four main stages. To provide a clearer understanding of how the scene came together, I’ve broken down the photos and explanations into the individual layers and techniques used. Each layer served a specific purpose in building up the depth and texture of the terrain. By stacking these layers and allowing each one to dry properly before moving to the next, I was aiming to create a realistic, textured environment that feelt both grounded and dynamic, ultimately intended to complement the tank and figures.

Step 1: The process begins with preparing the base elements by first coating them with a layer of Mr Finishing Surfacer 1500 Black primer. This step is crucial as it provides a solid, uniform surface that helps the subsequent layers adhere properly. Once the primer has dried, I applied Mr. Mahogany Surfacer 1000 as the next step. The rich, reddish-brown tone of this surfacer not only enhances the final finish but also serves as a perfect base for the final colors. It acts as a primer that subtly influences the warmth of the colors applied on top, creating a more natural and cohesive look. This combination of black primer followed by the mahogany surfacer ensures a smooth, durable foundation that allows the paint layers to bond seamlessly, ultimately bringing out the best in the final colors and textures.

Step 2: Painting the vegetation. Given my goal of creating an arid, desert-like environment, I carefully selected a palette of browns and dark, muted greens from the Tamiya Acrylic range to paint the various plant life. These earthy tones were chosen to reflect the harsh, dry conditions of the terrain, adding a touch of realism to the scene. I started by applying the base colors to the larger patches of grass and scrub, being mindful of creating subtle variations in color to capture the natural randomness of the environment.

While overspray is somewhat inevitable during this stage, especially when spraying over uneven surfaces or delicate elements like tufts of grass, it wasn’t a major concern. The slight overspray actually helped to integrate the vegetation more naturally with the surrounding soil and terrain. Plus, it’s something that will be easily covered when we later apply the layers of soil and other groundwork elements, blending everything together seamlessly. This process allowed me to lay a strong foundation for the next steps, ensuring that the vegetation would appear integrated into the landscape rather than sitting on top of it.

Step 3: The soil and ground cover are painted next, using a layered approach from the darkest to lightest shades to create depth and a realistic desert feel. The process begins with Tamiya XF-52 Flat Earth, which provides a rich, dark base to lay the foundation for the groundwork and ensures that the scene feels substantial.

Next, Tamiya XF-57 Buff is used to lighten areas of the soil, representing the more sun-bleached sections of the desert. The buff tone is perfect for mimicking the lighter, dustier parts of the terrain, adding subtle variation and a sense of natural erosion.

Finally, I used Tamiya XF-55 Deck Tan for the lightest highlights, which gives the soil an almost sun-drenched appearance. This step is essential for simulating the sun-baked areas of the desert floor. The gradual transition from darker to lighter tones helps to create depth and dimension in the soil, making the ground cover appear more natural and varied.

Step 4: The final tasks involve adding the finishing touches to the groundwork. First, I picked out some of the larger rocks using a variety of earthy and stone shades from the Vallejo Acrylics range. These colors, ranging from greys to ochres and browns, were carefully applied to the rocks to create natural-looking variation and texture. The goal was to replicate the irregularity of real desert stones, giving each rock its own character while maintaining harmony within the scene.

Once the rocks were painted and allowed to dry, a dark brown wash was applied over the entire base. This wash serves to deepen the shadows, emphasizing the crevices and fine details of the terrain. The wash also helps to bind the different elements together, blending the soil, vegetation, and rocks into a cohesive whole. It subtly darkens the recesses, adding a sense of realism and volume, while also making the details "pop" against the lighter background tones.

This final step is important as I feel it brings the groundwork to life, enhancing the contrast and depth, and ensuring that the base looks well-worn and weathered, as if it has been naturally shaped by time and the elements.

I almost always aim to include figures in my models to add a sense of scale and narrative, but painting them confidently is still a skill I’m actively developing. For this scene, I selected figures from the Miniart 1:35 Israeli Tank crew - Yom Kippur War (37086). set, as their poses and uniforms perfectly complemented the diorama’s theme. To enhance the level of detail and bring more character to the figures, I chose to replace the kit-supplied plastic heads with finely sculpted resin alternatives from some generic Hornet sets. The improved facial details and expressions offered by the resin heads made a significant difference, allowing for more precise painting and a greater overall impact.

I turned to several online tutorials to guide me through the figure-painting process, carefully studying techniques to enhance detail and realism. Using Vallejo Acrylics, I carefully applied thin layers, focusing on subtle highlights, shadows, and blending to bring the figures to life. Each session felt like a step forward, and I’m genuinely pleased with the progress—each figure reflects a noticeable improvement in skill and confidence compared to my earlier attempts. It's rewarding to see the learning process translate into tangible results with every project.

To bring the project to its conclusion, I combined all the elements into a cohesive scene. My goal was not to create a sprawling diorama but rather a focused vignette that captures a moment in time, inviting the viewer to appreciate the details woven throughout. By keeping the composition understated yet intentional, I aimed to strike a balance between simplicity and depth, ensuring the scene felt engaging without overwhelming. The positioning of the tank, figures, and groundwork was deliberately arranged to guide the viewer’s eye, encouraging them to pause and discover the finer touches that hopefully bring the vignette to life.

For more photos of the final model, use this link to navigate over to the Dragon 1:35 M50 Super Sherman - Gallery

This was an surprisingly rewarding build. While the Dragon kit is somewhat dated, I found that it still went together quite well, with most parts fitting cleanly. That said, there were moments where the assembly instructions could have been clearer, leaving me to improvise or reference external sources for guidance.

My primary focus for this project wasn’t so much on the technical accuracy of the tank itself, but rather on expanding my skill set, which I can apply to future aircraft builds. I used this opportunity to practice new techniques, such as creating my own bases, refining my brush painting skills with acrylics, and experimenting with various weathering methods. These were areas I hadn’t explored in depth before, and I found it both challenging and exciting to step outside my comfort zone.

By shifting my focus to skill development rather than precision, I found the build to be far more motivating and enjoyable than I initially expected. It provided a sense of growth, and now I feel more confident tackling more complex projects in the future, especially when it comes to applying these new techniques to aircraft models.