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About Aidrian

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  1. Aidrian


    Bit slow again I need to drop in more often It is possibly moot for cossak52's model but for anyone else coming to the IBG or the Thunder models kits: - Engine was painted "Gardner grey" - when fresh it's not that far off Medium Sea Grey to my eye, especially once given a light oily wash, but got darker with age. It seems that at least some wartime engines may have been repainted in what ever the current exterior was at the time the engine was repaired or overhauled Post war rebuilt engines were painted BS381c:101 Sky Blue (as were all rebuilt/overhauled engines during this period) Gearbox and PTO appear to have been gloss Brunswick green (similar to Humbrol3) when new, with filler and drain plugs in their natural brass finish. This may have varied depending on production date, but the two I have seen had this colour as the first layer of many Bellhousings, possibly in Brunswick green or gloss black - this may be due to different production dates
  2. Aidrian

    Walrus MkI vs MkII

    Sorry to be slow answering - haven't dropped in for a while... There is a subtle difference in the shape of the bow forward and around the bow position. The Caruana drawings in Warpaint 39 show this; even when you see them side by side in profile its not a major difference but it it more visible when seen in 3/4 view. Best to compare photos of the preserved RAAF (MkII) and FAA (MkI) examples - the curve of the Upper surface of the hull around the gun ring in the MkII seems to make the bow position a little more prominent than it is on the MkI where the upper deck is flatter. In quarter inch scale the old CA kit has plastic thick enough to file in the curved surfaces, but I am not sure about how much meat there is in this area on the Airfix version.
  3. Thank you Nick The information I had access to is obviously dated and I've edited the previous post to reflect this.
  4. Maybe things didn't come across quite as I meant them to. Because the brown/blue mix uses both warm and cool colours to produce a middle ground you can play with the balance to produce warmer and cooler variations as you prefer. In the case of "smooth night" the balance should be towards the blue end - special night a neutral mix, and add some neat black. For "special night" you have a couple of extra things going on - it was made of pure carbon* black (no Ultramarine) in rather coarser grind than used for other paints. The finish was dead matt when fresh and new, but also quite soft so that contact with rags or boots or overall sleeves woudl mark it very easily. On a brand new machine, it resulted an amazingly featureless look, but once a few flights had been made panels and hatches had been lifted it had quiet a lot going on, with variations of both colour and texture. Whichever mix you prefer, I suspect that provided it looks sufficiently black, the actual colour is going to be less of a factor than effectively simulating that dead matt finish and the way in which it wears. Assuming a gloss finish before transfers followed by a matt varnish to represent "smooth" finishes, we need to emphasise the dead flat look of special night especially as the roundels and other markings were applied in smooth colours and the contrast in finish is quite noticeable. We need an extra matt finish which gets applied over the whole machine, but not over the markings. Tape's not going to work for masking as it will just lift the transfers but low tack materials such Post-it notes are usually transfer friendly. I think I'd be inclined to just mask codes and roundels - serials and stencils will have to be left to the imagination. For the final matt, Testor's Dullcote sprayed with a very light touch is hard to beat - the trick is to have it land on the surface very nearly dry. Other folks may prefer their own mix of flat bases and floor polish - the key thing is that the final coat is rather more dull than the one used to seal the transfers. Since we now have have a soft finish similar to the real thing, a little bit of polishing with soft cloths and cotton buds in strategic areas will take some of the edge off that dead matt finish - handle the model with gloves as any oils from you skin will tend to mark the surface. * Please see post from Nick Millman below - not carbon black
  5. There are several different ways of getting a black that isn't quite so black that light just falls into it. Adding warmer colours to neat black takes the edge off, but black does weather in various ways depending on what its applied to and what it is exposed to. "Night" has quite a strong blue component, so warmer colours may not be appropriate. When painting things that need to look black but where you still need to be able to get some contrast for shadows, try mixing a very dark brown shade such as bunt umber with with a very dark blue. You end up with a very dark grey shade that has a bit more interest to it than just mixing white and black - on a scale model it has the happy knack of looking like slightly weathered black paint without being black so those who like washes and filters have a canvas to work with. You can get quite a range of near blacks by varying the proportions of the mix, by using lighter shades of blue or adding a bit of neat black to darken it and make the paint look newer. Sadly since I mix my stuff by eye I can't give an exact mix other than about 50% Umber/50% Blue to start with then play with it until you are happy.
  6. One of the rigging questions that come up regularly is the size of standing and running rigging - most modeller friendly books on the topic are often concerned with wooden ships and hemp rigging which isn't much help if you are modelling a later ship which used wire rope in the standing rigging. Harold Underhill's Masting & Rigging The Clipper Ship & Ocean Carrier gives a lot of useful information relating to iron and steel ships and is still in print. For those who don't have a copy this document may be useful < rules.dnvgl.com/docs/pdf/gl/maritimerules2016Jan/gl_i-4-1_e.pdf >. While it's a modern document (1997) the sizes given are generally consistent with earlier practice; for iron ships it may pay to add 20-25% to the values shown for steel wire rope. Note that the doc quotes the diameter and not circumference as was common with ropes made from natural fibres.
  7. Aidrian

    Supermarine Walrus / Seagull V series

    Several good pictures of NZ Walruses are online at the National Library site. http://natlib.govt.nz/items?i%5Bcategory%5D=Images&text=walrus You can download full versions of many pictures by clicking on the thumbnail in the results than scrolling down to click on "See original record" (may open in a new tab) then clicking on "View archived copy online" which opens a viewer window When there isa full version avialable, then at the top of the frame is a button with an arrow pointing down which will save a VERY large hi resolution JP2 file to your PC. Some of the shots taken of disused machines at Mangere suggest that on at least some Walruses there were no roundels on the lower wing under surfaces Hope this helps - but it comes with a warning about lots of good stuff to download and potential waste of valuable modelling time. Aidrian
  8. Aidrian

    1/48 Airfix Seafire XV

    Anything is correctable, it all depends on just how much time and effort you are willing to put into the correction; knowing when to call it quits is also a useful skill. There is enough meat in the Airfix XII fuselage mouldings to make it possible to sand away most of the extra depth if that bothers you, going any further would mean that you would need to fur the inside of the rear fuselage with plastic sheet or scrap. If you go all out, I haven't checked to see if there is anything else that needs tweaking at the same time; sometimes correcting one issue makes another, initially less noticeable problem, stand out rather more than it did before. I did a model years ago (don't remember what it was now) with a similar issue of a slightly too deep fuselage and found that the tailplane needed to be re-positioned afterwards - it looked fine with the almost unnoticeable too-deep fuselage but was visibly wrong with the newly corrected one ...refer earlier note about knowing when to quit...
  9. Aidrian

    TSS on Sea Hurricane

    I though I had this all under control...now I am not so sure... Colours are known; Extra Dark Sea Grey , Dark Slate Grey over Sky with pattern generally as for land schemes; A&B schemes might be found However looking at photos I am no longer sure which colour goes where. Using the area which surrounds the cockpit as a base for reference on a land machine, this was normally in Dark Green in both A and B schemes (Middle Stone on desert finishes). On the restored old Warden Sea Hurricane this is in EDSG so we can set the pattern on this machine from that. EDSG replaces Dark Green and Dark Slate Grey replaces Dark Earth. Now other photos seem to suggest that this was reversed - EDSG where there would be Dark Earth and Dark Slate Grey where there was Dark Green; allowing for the fact that many machines were conversions and in service repainting and son on might explain some oddities, but I am no longer sure which is the normal and which is the oddity or whether the system chaged according to factory mark or what have you When I look at other people's models it seems there is no wide degree of certainty; is there an official version of TSS vs land scheme equivalents?
  10. Aidrian

    Light Earth / Light Green versus DE /DG

    I'm sure there's as often much psychology as there is physics at work in looking at pictures of old aeroplanes Now I am not suggesting this as a serious research tool for finishing the perfect scale model but there are a number of shareware/free utilities that will let you click on a pixel and will give you the RGB value. If the values are different then it's on the image file - if the same on two areas that appear different your mind is creating the difference. Do be careful to sample multiple pixels across an area rather than a single pixel as a noisy image is likely to include a lot of pixels of quite different colours in close proximity
  11. Aidrian

    Light Earth / Light Green versus DE /DG

    Well that's interesting. You learn something very day - though I should never have assumed such a thing in the first place. If white lead was in use even in limited amounts, then the differences in tones could well be explained by nothing more than differences in the age of the paint, without the need to engage with theories regarding the use of non official colours. If one of the ingredients of your carefully prepared mix decides to stop being white and turns black instead It makes colour matching out of the tin a very difficult business indeed Aidrian
  12. Aidrian

    Light Earth / Light Green versus DE /DG

    Something I haven't seen mentioned in any of these threads is just how dirty the air was before the original 1956 Clean Air Act Now while airfields were out in the county and usually well removed from close proximity to the worst by-products of dark satanic mills, coal was the normal fuel for everyday use; railways, domestic and office heating, industrial plants all depended on coal. Coal produces soot and soot settles on everything; coal smoke also tends to contain sulphur and sulphur reacts with white lead turning it black over time. I doubt that white lead was ever widely used in aircraft finishes, but lead compounds from engine exhausts would have been exposed to the same environment 70 years after the fact it is probably very hard to comprehend how quickly any freshly painted surface change colour after a even short exposure to the sooty and corrosive atmosphere of the coal age
  13. And indeed it has been verified by extensive archival research that not one single aircraft that used this scheme was lost to or even damaged by enemy action - 100% effective in all theatres so I really don't see why it wasn't used more widely.
  14. I do rather struggle with the idea that painters never mucked up, or that orders were and occasionally misinterpreted. However I think if you are looking to make a reasonably "accurate" model, you should usually start with the normal and then vary from that only if you have a really good reason to do so. A wartime colour photo reproduced in a magazine or on a webpage is not usually an entirely reliable source of colour information except in a fairly general way - there are too many variables between what the photographer saw and the final image as seen on the printed page or monitor as we have already seen. What we come up against is the inescapable fact that a painting or photo has the light built in to the image and what you see is a simply a representation of that colour under those lighting conditions. In contrast, a scale model must live in whatever light in which it is displayed, whether that be highly corrected daylight bubs or cool white fluorescents or LEDS. Not only is the spectrum likely to be quite different but the way then light falls on the different surfaces doesn't scale down. We simply have to compromise in the way that works best for us. In my case it means that my dark earth is much lighter than that sued on full size machines, but in my modelling room full strength dark earth and dark green just seems to suck the light (and life) out of the model Taking Edgar's example a little further trying photographing the brick wall at dawn on a grey rainy day, them midday on an day with a high overcast, again at 3pm on sunny day and lastly at sunset in high summer. None of these colours will be the same - the brick may show anything from greyish brown through bright orange to almost purple. Where I feel we need to be careful is that there sometimes seems to be a small subset of folks who pop up now and again who appear to be looking for justifications for theoretical/improbable schemes, and who take umbrage when their current favourite scheme of say Extra Dark Sewage Green and Light Methylated Purple over PRU Mauve is not given serious consideration by those who have spent a lot of time looking into these things. No-one says it didn't happen *ever*, just that there's a usually simpler explanation for the way something looks than a strange colour scheme. Occam's razor is a very useful thing to have in your modelling toolkit, and it gets sharper every time you use it.
  15. Aidrian

    Hawker Demon fuselage top change

    Looks like a possibility based on those photos - there definitely a difference in the look, which suggests the top decking behind the gunner's seat might be lower. However the coaming behind the pilots seat appears a different shape on the Demon and perhaps might be a little taller even after allowing for the cutaway? I will now retreat to the study and draw squiggly red lines over every photo I can find then post the results