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SovereignHobbies

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  1. We have one. As Giorgio says though it wouldn't be hard to make at home.
  2. It's stated on the front cover, but Volume One should come with 3 separate colour cards, and Volume Two should come with 2 separate colour cards. They're not stuck in to the books so if shopping online for second hand copies, I'd suggest making sure the descriptions/listings explicitly state that the colour cards are all present and correct before buying.
  3. Certainly Titles are: Luftwaffe Camouflage and Markings 1933-1945 Volume One Luftwaffe Camouflage and Markings 1933-1945 Volume Two Authors: K.A. Merrick with Jürgen Kiroff Label: ClassicColours Publisher: Ian Allan Publishing First published: 2004 (Vol. 1) 2005 (Vol. 2) ISBN: 1 903223 38 5 (Vol. 1) 1 903223 39 3 (Vol. 2) Hope this helps?
  4. That thread was the one with input from Jerry Crandall Stu? He interviewed a factory who had a 1942 dated formula with yellow in it. Interesting from an academic point of view but RLM65 was pretty much defunct by 1942 anyway and most modellers wanting to use it are concerned about the Battle of Britain which, I believe, was 7121.65 lacquer type and that made by Kiroff and presented on the 1941 card. The Germans are a bit unimaginative and their language is based upon stringing together adjectives to create a noun. They didn't name things, they described them coldly, accurately and functionally. If Hellblau (light blue) was torquise, it would have been called Hellblau-grün (light blue green). That leads me to wonder why so many modellers (and some model paint manufacturers) think RLM71 Dunkelgrün (dark green) was light green.
  5. A further thought: It's often claimed that the original and reformulated RLM65 was a point at which it changed from blue to torquise. As noted by Nick Millman on a previous thread, the pigments are just blue and white in both versions. The only yellow content which could possibly shift it to green is the binder, which is not strongly tinting like the pigments themselves. The change in formulation was a change in paint type only, not intended shade. It changed from a paint to be applied atop a primer to a lacquer system applied on to bare metal. Kiroff recreated both formulations and they are included in the two volumes of Merrick and Kiroff. In my photograph above you can see the 1941 heading. This is the lacquer system. The card entitled 1938 has the then-current RLM shades including RLM65 Hellblau and side by side they would be the same colour in anyone's opinion.
  6. I don't think it's correct to claim it's totally wrong in factory finish paint. What you have is a mental image of a tired Fortress and that's what you're trying to replicate. There's nothing wrong with that, but most B17s didn't last very long, whereas every single one was fresh from the factory at the beginning of its service life.
  7. I think with many of these things people will perform all sorts of mental gymnastics to explain at best an old relic which looks different to new paint (understandably) or at worst a preconception.
  8. I can't take any credit for the RLM colours - they were originally matched to Eagle Editions but were rematched to Merrick & Kiroff before my Stewardship. We acquired Merrick & Kiroff Vol.2 for £30 at Flying Legends airshow in 2015 quite coincidentally then sourced Vol.1 when we got back. I've stuck with that because I concur with Merlin and Barry who used to work at White Ensign Models that the pigments don't lie and that Jurgen Kiroff's work is very robust and hard to argue against with any real objectivity. The fact that modellers are used to greeny RLM65s and high contrast splinter schemes is their issue to get over and not a shortcoming with Merrick & Kiroff's chips.
  9. I think you may be modelling one of my grandfather's Spit XVIIIs there. Is it a blue or red spinner it's getting? My grandfather maintained those with red spinners.
  10. I agree with Dennis. The ratios of paint to thinner sound good for Xtracolor, but the photo of the model looks like you maybe went too heavy too quickly with one coat? I do exactly as Dennis describes, but the very first coat I apply is a very light dusting which starts to flash off quite quickly and gives the subsequent (thin) coats something to grip. Just like Dennis, I work in good light with thin paint and just keep moving round the model. When I've finished, I go back to where I began. The key for me is that thick paint doesn't cover much better than thin paint. It will in areas but it's always patchy. Thick paint has a lot of oil to cure through though whereas the thinners in thin paint dries fast. In summary, although it can seem counter intuitive you'll get a good even coverage quicker in the long run by going thin, applying lightly and just keep moving. I'll often blow air at satin or gloss colours in a faux coat without paint flow if I want to accelerate it tacking so I can apply more; a dual action airbrush is necessary for the last bit though. Keep at it. Xtracolor is good stuff and it'll turn out fine in the end
  11. It's a parkerised gunmetal colour you want
  12. Indeed! Just leave that one a day if you would and see what it's like after it's cured.
  13. That rings alarm bells to me because repainting the upperworks a darker shade (as Richard above mentioned) must have happened in late 1943, half a year after MS2 was superceded. The time window is known because DOY was well photographed in late 1943 still with the light coloured upperworks.
  14. I can maybe offer a little insight here. The big manufacturers haven't painted lids for many years. They don't for the same reasons that small companies do - it's the most economic solution for the scale of production. We do paint lids because I happen agree with Merlin that the printed sticky labels would not flatter our product and the alternative requires a large capital investment and much higher sales than we have for the coated coloured lids (and still don't represent the contents perfectly). Painting for us ticks off coloured lids and a vital part of our quality control because I personally see, handle and use a sample of every single batch by virtue of painting the lids. The lid painting stage is where I/we catch quality concerns with the paint on the few occasions it has occurred. It's labour intensive though and whilst it's a good fit for relatively small volumes of production it would be completely impractical for a company like Humbrol making and selling the volumes they do, which I know because I have a view on the sort of level of sales and production at which we would probably have to change to another system.