WWI Digest 1086 Topics covered in this issue include: 1) Re: Out of the Shadows by nieuport@juno.com (scott scarborough) 2) Re: Another new guy by Mick Fauchon 3) Re: Baby names, was Re: scale wasRe: Marcos' Miniatures; Anyone tried them? by "S.M.Sundberg" 4) Re:I'm back...I think by "Mike Muth" 5) Re: Re:I'm back...I think by "Mike Muth" 6) Re: Price quote: Airfix Bloody Paralyser (HP 0/400) and Novo Vimy by mgoodwin@ricochet.net 7) Re: SMER - AVRO 504 by mgoodwin@ricochet.net 8) Re: Names by Ernest Thomas 9) Re: Names by Ernest Thomas 10) Re: Baby names, was Re: scale wasRe: Marcos' Miniatures; Anyone tried them? by Ernest Thomas 11) Re: Eduard Albatros C.III photos by Nigel Rayner 12) Re: Another new guy by KarrArt@aol.com 13) Re: Another new guy by KarrArt@aol.com 14) Re: I'm back...I think by KarrArt@aol.com 15) Re: Out of the Shadows by KarrArt@aol.com 16) Re: Out of the Shadows by Ernest Thomas 17) Re: Eduard Albatros C.III photos by "David R.L. Laws" 18) Re: SMER - AVRO 504 by "David R.L. Laws" 19) Re: Eduard Albatros C.III photos by Bob Pearson 20) Re: SMER - AVRO 504 by Bob Pearson 21) Re: Sikorsky S-XVI by hans.juergen.glueck@gis-online.de 22) RE: miscellaneous (was RE: sworl sadness) by Joey Valenciano 23) NAM website (was RE: miscellaneous (was RE: sworl sadness)) by Bob Pearson 24) Re: SMER - AVRO 504 by "Graham Nash" 25) Re: Baby names, was Re: scale wasRe: Marcos' Miniatures; Anyone tried them? by fedders 26) Re: Baby names by "Sandy Adam" 27) Re: Baby names (again) by "Sandy Adam" 28) Huntley on Scale colour 2 by "Tom Werner Hansen" ---------------------------------------------------------------------- Date: Tue, 23 Jun 1998 20:28:41 EDT From: nieuport@juno.com (scott scarborough) To: wwi Subject: Re: Out of the Shadows Message-ID: <19980313.134821.6990.0.nieuport@juno.com> On Tue, 23 Jun 1998 08:33:19 -0400 "Jay Humphreys" writes: >Hello: > >I'm the shadowy figure that has been lurking in the back of the hangar >for >the past couple of weeks....listening to everything you guys say and >(God >help me) I've found every utterance to be simply fascinating! I've >been >addicted to WW 1 aviation since I read the book "Knights of the Air" >when I >was about 10 years old (I'm not required to reveal my current age am >I?) >Anyway...just wanted to wipe the grease off and shake hands with each >of >you. > >Gee, I feel much better now. > >BTW, if I had a beard it would be red...but it's much too hot (and >smokey) >here at the moment for any extra facial hair. > >Cheers! > >Jay Humphreys >St. Augustine, Florida > (home of Jack Hunter, author of "The Blue Max" the greatest novel in >the >English language) And do not forget "The Blood Order" the life of Stachel continued. Welcome to the list! > > _____________________________________________________________________ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com Or call Juno at (800) 654-JUNO [654-5866] ------------------------------ Date: Wed, 24 Jun 1998 10:55:45 +1000 (EST) From: Mick Fauchon To: wwi Cc: Multiple recipients of list Subject: Re: Another new guy Message-ID: Matt, > You obviously have me confused with someone else...;-) Sorry! I'll just quietly slink off to me room now........ before THE DAD cracks down on me too. After all, he's pretty close in geographic terms 80) Mick. [Running like buggery for his room.......] -- -- Mick Fauchon | Internet: ulmjf@dewey.newcastle.edu.au Reference Section, Auchmuty Library | Ph (intl+61+49) 215861 University of Newcastle, AUSTRALIA | Fax (intl+61+49) 215833 MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM M M M Tasmanian Devil: "#@%!&^*%%...!#@!&**%^@@#$#-+*+*&##@...!!" M M M M Yosemite Sam : "Cut out that Army talk!..Yer in the Navy now!" M M M MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM ------------------------------ Date: Tue, 23 Jun 1998 20:08:21 -0600 From: "S.M.Sundberg" To: wwi Subject: Re: Baby names, was Re: scale wasRe: Marcos' Miniatures; Anyone tried them? Message-ID: <35905F94.5219@netins.net> BTW, can anyone help me build a good argument to convince my wife to let me give my soon to arrive son,(50/50 chance) the middle name 'Sopwith'. It has to be something a woman could understand. So if there's any lawyers on the list who are skilled at this kind of thing, contact me off-list and I promise I won't tell anybody who you are, or what you do./%} Offer Rumpler, settle for Sopwith. Steve S. ------------------------------ Date: Tue, 23 Jun 1998 22:28:17 -0400 From: "Mike Muth" To: Subject: Re:I'm back...I think Message-ID: <000801bd9f17$bfd4cb20$2b06bacc@bucky> Greetings everyone. I've been off for about a month. My ex-wife took the old computer before I could sign off. So, after the new one came in(computer, not wife) it took a looong time to try and figure things out. I think I've got it now. Hopefully, this will reach the group and all of you are well. If anyone sent messages over the last month to me, please re-send. Meanwhile, I'm frustrated that over the past month I couldn't build more! I screwed up the Belgian Nieuport 17 I was working on (Paul, I'll send some details after I find my old addresses) and that's about it. Oh well, now that I have all of you for inspiration again, I'm sure I'll get back on track. Later, Mike Muth (at God only knows what mailing address!) nl:Echoes nb: P-40 Tigershark nu:Fixing the damn Nieuport and then a SPAD 13 ------------------------------ Date: Tue, 23 Jun 1998 22:33:50 -0400 From: "Mike Muth" To: Subject: Re: Re:I'm back...I think Message-ID: <00b301bd9f18$85e43940$2b06bacc@bucky> -----Original Message----- From: Mike Muth To: Multiple recipients of list Date: Tuesday, June 23, 1998 10:29 PM Subject: Re:I'm back...I think >Greetings everyone. I've been off for about a month. My ex-wife took the old >computer before I could sign off. So, after the new one came in(computer, >not wife) it took a looong time to try and figure things out. I think I've >got it now. Hopefully, this will reach the group and all of you are well. If >anyone sent messages over the last month to me, please re-send. > Meanwhile, I'm frustrated that over the past month I couldn't build >more! I screwed up the Belgian Nieuport 17 I was working on (Paul, I'll send >some details after I find my old addresses) and that's about it. Oh well, >now that I have all of you for inspiration again, I'm sure I'll get back on >track. >Later, >Mike Muth (at God only knows what mailing address!) >nl:Echoes >nb: P-40 Tigershark >nu:Fixing the damn Nieuport and then a SPAD 13 > > > > ------------------------------ Date: Tue, 23 Jun 1998 19:57:46 -0700 From: mgoodwin@ricochet.net To: wwi Subject: Re: Price quote: Airfix Bloody Paralyser (HP 0/400) and Novo Vimy Message-ID: <35906B2A.17B8@ricochet.net> GRBroman@aol.com wrote: > Hi Riordan, I mailed the part off this morning ( Monday) I also enclosed a > few buck to help defray your postage costs. On examination of the Revell kit I've discovered it to be sans decals as well as guns :-( However, there're still lovely Superscale sheets available now & then... FWIW, I can offer you an Aeroskin Albatros D.V kit instead. This kit also has no decals and features ribs literally protruding from the uppersurface of the wings. The "aeroskin" was a pre-printed silkspan designed to cover the uppersurfaces of the wings; unfortunately it's just not up to it. It'll take sanding & covering with 5 thou. styrene to make 'em right again. Cheers & apologies, Riordan ------------------------------ Date: Tue, 23 Jun 1998 20:09:57 -0700 From: mgoodwin@ricochet.net To: wwi Subject: Re: SMER - AVRO 504 Message-ID: <35906E05.572A@ricochet.net> Charles Duckworth wrote: > > David, I was looking for one and still am Assuming I have any money left over, I'll keep my eyes peeled for one at the Nats here next week. Riordan ------------------------------ Date: Tue, 23 Jun 1998 22:57:22 -0500 From: Ernest Thomas To: wwi Subject: Re: Names Message-ID: <35907922.A39@bellsouth.net> GRBroman@aol.com wrote: > > In a message dated 6/23/98, 2:18:41 PM, wwi@pease1.sr.unh.edu writes: > <<<< And I don't think Henry Sopwith Thomas is bad at all.>> > > I like it! There is a sense of history and distinction. Put me down for a > "yes" vote.>> > > Yes, but Handley Page Thomas fairly sings, don't you think? That would be better for a girl. And if it's a girl, we were thinking Eleanor deHaviland Thomas. E. ------------------------------ Date: Tue, 23 Jun 1998 23:04:24 -0500 From: Ernest Thomas To: wwi Subject: Re: Names Message-ID: <35907AC8.3E56@bellsouth.net> REwing@aol.com wrote: > > << And I don't think Henry Sopwith Thomas is bad at all.>> > > I like it! There is a sense of history and distinction. Put me down for a > "yes" vote. If it were only that simple. But thanks for the support. Should I just be happy with her agreeing to my second choice, 'Falstaff' and leave it at that? E. ------------------------------ Date: Tue, 23 Jun 1998 23:13:32 -0500 From: Ernest Thomas To: wwi Subject: Re: Baby names, was Re: scale wasRe: Marcos' Miniatures; Anyone tried them? Message-ID: <35907CEC.74F7@bellsouth.net> S.M.Sundberg wrote: > Offer Rumpler, settle for Sopwith. Wouldn't I do better offering Junkers? ------------------------------ Date: Tue, 23 Jun 1998 21:55:02 -0700 From: Nigel Rayner To: wwi Subject: Re: Eduard Albatros C.III photos Message-ID: <3.0.1.32.19980623215502.0069845c@pop.mindspring.com> Me please Rob. The local hobby shop has one, and altho' I'm a braille scale newbie working on Pegasus, I'm very tempted to go a bit bigger and try an Eduard kit. Regards, Nigel At 23:31 22/06/98 -0400, you wrote: >Hi All, > >I now have a set of 4 scans available for anyone who is interested. They're >in jpeg format. > >I'll e-mail them to anyone interested. > >Cheers, >Rob > > ------------------------------ Date: Wed, 24 Jun 1998 01:19:19 EDT From: KarrArt@aol.com To: wwi Subject: Re: Another new guy Message-ID: <8ce55b06.35908c58@aol.com> In a message dated 98-06-22 23:12:39 EDT, you write: << I have been lurking >> A belated welcome, Sir Lurker! Robert K. ------------------------------ Date: Wed, 24 Jun 1998 01:19:20 EDT From: KarrArt@aol.com To: wwi Subject: Re: Another new guy Message-ID: In a message dated 98-06-22 22:49:28 EDT, you write: << Greetings fellow string bag fetishist's, My name is Scott >> Belated greetings and welcome! Robert K. ------------------------------ Date: Wed, 24 Jun 1998 01:19:16 EDT From: KarrArt@aol.com To: wwi Subject: Re: I'm back...I think Message-ID: <265619a6.35908c56@aol.com> Welcome back...I think! Robert K. ------------------------------ Date: Wed, 24 Jun 1998 01:19:18 EDT From: KarrArt@aol.com To: wwi Subject: Re: Out of the Shadows Message-ID: <5a8519d2.35908c57@aol.com> In a message dated 98-06-23 08:31:34 EDT, you write: << I'm the shadowy figure >> Welcome, shadowy figure! Robert K. ------------------------------ Date: Wed, 24 Jun 1998 01:01:38 -0500 From: Ernest Thomas To: wwi Subject: Re: Out of the Shadows Message-ID: <35909642.77CF@bellsouth.net> Jay Humphreys wrote: > I'm the shadowy figure that has been lurking in the back of the hangar for > the past couple of weeks Welcome to the squadron, Jay, who's beard would be red. Now get back to work. I want to see those hands greasey./%} Ernest. ------------------------------ Date: Wed, 24 Jun 1998 16:27:02 +0000 From: "David R.L. Laws" To: wwi Subject: Re: Eduard Albatros C.III photos Message-ID: <359128D5.3C31@webtime.com.au> Bob Pearson wrote: > > BUT DAD ! ! ! ! ! ! ! !! > No buts, straight to your room AND television for a whole week ! DAD ------------------------------ Date: Wed, 24 Jun 1998 16:49:34 +0000 From: "David R.L. Laws" To: wwi Subject: Re: SMER - AVRO 504 Message-ID: <35912E1D.24A4@webtime.com.au> Riordan Thanks but I'm sending it to Charles from here - BTW I owe you that RNAS Book via ( Saint ) Graham Nash if you would send me your snail I'll get it to you shortly DAVID ------------------------------ Date: Tue, 23 Jun 1998 23:44:19 -0700 From: Bob Pearson To: WW1 Mailing list Subject: Re: Eduard Albatros C.III photos Message-ID: <06441925529920@KAIEN.COM> > From: "David R.L. Laws" > > Bob Pearson wrote: > > > > BUT DAD ! ! ! ! ! ! ! !! > > > No buts, straight to your room AND television for a whole week ! > > DAD $%^&*()_$%^&*^&*(&*(*() Bob ------------------------------ Date: Tue, 23 Jun 1998 23:51:01 -0700 From: Bob Pearson To: WW1 Mailing list Subject: Re: SMER - AVRO 504 Message-ID: <06510165429936@KAIEN.COM> Dad, What RNAS book? The kid in his room watching TV (Law and Order in 15 minutes . . .so Nyaa) ---------- > From: "David R.L. Laws" > To: Multiple recipients of list > Subject: Re: SMER - AVRO 504 > Date: Wed, 24 Jun 1998 02:41:49 -0400 > > Riordan > > Thanks but I'm sending it to Charles from here - > > BTW I owe you that RNAS Book via ( Saint ) Graham Nash if you would send > me your snail I'll get it to you shortly > > DAVID ------------------------------ Date: Wed, 24 Jun 1998 08:45:49 +0200 From: hans.juergen.glueck@gis-online.de To: wwi Subject: Re: Sikorsky S-XVI Message-ID: Tanks for the scans Len. I found the following website about the S-16 which inclouds a couple of fotos http://www.iconn.net/igor/s-16.html have a nice day Hans-Juergen ------------------------------ Date: Wed, 24 Jun 1998 14:35:15 +0800 From: Joey Valenciano To: wwi Subject: RE: miscellaneous (was RE: sworl sadness) Message-ID: <3.0.1.32.19980624143515.00bc9954@philonline.com.ph> >joey--forgot to mention it, but the canadian air museum has e-mail to the >staff, accessible from the museum's web page. i've sent off a hot one >requesting info on the interior of the AEG. i'll let you know if i hear >anything (the page's caveat was that request took 2-3 weeks to answer due >to staffing). Great! Me and everyone else interested in this plane will benefit. Thanks for the look up.. ********************************************************************* Joey Valenciano WW1 modeller, teacher, jazz musician, joeyval@philonline.com. sitarist Metro-Manila, Philippines "The more you know, the more you don't know." ********************************************************************* ------------------------------ Date: Wed, 24 Jun 1998 01:13:15 -0700 From: Bob Pearson To: WW1 Mailing list Subject: NAM website (was RE: miscellaneous (was RE: sworl sadness)) Message-ID: <08131540830054@KAIEN.COM> Further on this, the Discovery Channel in Canada announced that the National Aviation Museum in Ottawa will have a website devoted to Canadian aviation history. This should be up on July 1 and will be at www.exn.com/flightpath (if I am wrong I will update when I next see the ad. regards, Bob Pearson ---------- > From: Joey Valenciano > To: Multiple recipients of list > Subject: RE: miscellaneous (was RE: sworl sadness) > Date: Wed, 24 Jun 1998 03:48:11 -0400 > > > >joey--forgot to mention it, but the canadian air museum has e-mail to the > >staff, accessible from the museum's web page. i've sent off a hot one > >requesting info on the interior of the AEG. i'll let you know if i hear > >anything (the page's caveat was that request took 2-3 weeks to answer due > >to staffing). > > Great! > > Me and everyone else interested in this plane will benefit. > > Thanks for the look up.. > > > ********************************************************************* > > Joey Valenciano WW1 modeller, teacher, jazz musician, > joeyval@philonline.com. sitarist > Metro-Manila, Philippines > > "The more you know, the more you don't know." > > ********************************************************************* > ------------------------------ Date: Wed, 24 Jun 1998 01:29:18 PDT From: "Graham Nash" To: wwi Subject: Re: SMER - AVRO 504 Message-ID: <19980624082918.26408.qmail@hotmail.com> >> From: "David R.L. Laws" >> Riordan >> >> BTW I owe you that RNAS Book via ( Saint ) Graham Nash if you would send >> me your snail I'll get it to you shortly >> >> DAVID It's the Air-Britian 'Shipboard Developments' photocopy. David, could you send to Bob Pearson first, please? ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: Wed, 24 Jun 1998 09:42:06 -0500 (CDT) From: fedders To: wwi Cc: Multiple recipients of list Subject: Re: Baby names, was Re: scale wasRe: Marcos' Miniatures; Anyone tried them? Message-ID: On Tue, 23 Jun 1998, S.M.Sundberg wrote: > BTW, can anyone help me build a good argument to convince my wife to let > me give my soon to arrive son,(50/50 chance) the middle name 'Sopwith'. > It has to be something a woman could understand. > So if there's any lawyers on the list who are skilled at this kind of > thing, contact me off-list and I promise I won't tell anybody who you > are, or what you do./%} My son's middle name is Alaric (after the Gotha) My wife didn't object although my father went into orbit. With a name like Sopwith you could also give it to a girl. After all, we must be PC peter [A > > > Offer Rumpler, settle for Sopwith. > > Steve S. > ------------------------------ Date: Wed, 24 Jun 1998 15:49:56 -0700 From: "Sandy Adam" To: Subject: Re: Baby names Message-ID: <199806241449.PAA02296@beryl.sol.co.uk> What about Armstrong Whitworth Thomas - with a ready made nickname of Big Ack (or Little Ack, if he is vertically challenged). Sandy ------------------------------ Date: Wed, 24 Jun 1998 15:55:46 -0700 From: "Sandy Adam" To: Subject: Re: Baby names (again) Message-ID: <199806241455.PAA02590@beryl.sol.co.uk> Whatever you do don't consider Siemens as a middle name! Sandy (Think I told the list a while back that Siemens have an office in Staines, Middlesex, and answer the phone with: "Hello, Siemens Staines...") ------------------------------ Date: Wed, 24 Jun 1998 18:18:09 +0200 From: "Tom Werner Hansen" To: Subject: Huntley on Scale colour 2 Message-ID: <199806241618.SAA02664@d1o211.telia.com> Greetings all Here is the second part that I promised you. Robert Karr will be pleased to recognize the tip of adding a spot of yellow. Tom The Ian Huntley Column Scale Aircraft Modellng July 1983 Vol 5 Nr. 10 SCALE COLOUR EFFECTS Since the publication in Scale Aircraft Modelling Vol.4 No.11 of the article 'Scale Colour', there has been a steady stream of correspondence, to the extent that this subject has without doubt generated the largest reader response to date. This response cannot be ignored and, since October of last year, I have been trying to piece together all of the various findings, observations and comments in the hope that I could relate them to various practical experiments. The result has been that for the first time ever it is possible to present a provisional set of standards which can be applied to any model scale. Going back to the 'Scale Colour' article, mention was made of Fairey's Heston Aerodrome in 1945 when the company model maker there passed several very interesting comments. It was Stan Banks who, probably in conversation with Woodason Aircraft Models which was also based at Heston, first put some figures to the long standing trick of putting a spot of white in any paint used on a small model. Whilst I was at Heston, Stan proved instrumental in my obtaining a copy of Woodason's 1944 book 'Scale Model Aircraft' and last October whilst thumbing through that copy a slip of paper was discovered in the pages. The pencilled message read - 'Stan uses the following mixes - 24th scale, 15 parts of colour to 1 of white, and for 72nd scale, 6 to 1. Now Stan had quoted various percentages for such mixes after pointing out that a Firefly a short distance away on the tarmac was not nearly so strong in colour as that of a similar aircraft right before our gaze. But were they accurate? How would they compare with today's figures? By October 1982 it seemed essential to find out more about this intangible subject, and the whole mechanics of Scale Colour Effects. SCALE COLOUR EFFECT OR NOT? The question as to whether or not we modellers should be wasting our time worrying about scale colour effects and weathering is one which has yet to be answered satisfactorily but the answer proposed by many readers is that scale colour is really a matter of personal pride. After all, the plastic kit manufacturer gives us the most accurate model outline possible, yet we still cut it to pieces and make skilled and subtle alterations to the shape. Our pretext is that this results in an even more accurate shape and that it places a modeller's stamp on the finished model. So, say many modellers, if it can be done to the shape it can also be done to the colouring. However, it is essential to start with model paint which is as closely matched to the full scale colour as possible. Having got such colours it is then a must to tint, shade or stain or otherwise adulterate the paint so as to make the photosphere of the model match more closely the appearance of the real thing. The result in many respects puts an even bigger personal seal on the model. Here, one only has to look at the incredible paintwork of that master craftsman Francois Verlinden to realise what can be achieved. The overall answer from modellers is that Scale Colour Effects is Modelling! It is every serious modeller's duty to produce the best possible scale effects both on the shape of the model and on its colouring. GATHERING THE FACTS It has been fairly obvious for a long while that modellers have been tinting or shading model paints in, order to achieve a more realistic finish. Some have been using just their eye while others have based their considerations on mathematical calculations. Many more have, however, been at a loss to understand exactly what a scale colour effect is. Model paint manufacturers have agreed that it is not really practical to produce scaled-down paints for each and every scale and the majority of modellers would prefer to have truly authentic paints and then attempt tinting if some common rule could be laid before them which could be readily understood. Many letters have been received asking how can anyone really attempt a mix like some well-meaning magazines publish such as this quote 'Formula for US Chromate Yellow using Floquil paint. RR31 Yellow 400 drops; RRI 1 White 200 drops, and M49 Mid Green 35 drops'. Other readers mention articles which refer to Chroma, Temperature, Value, Hue and other such terms and ask if there is no other way of putting colour over? The answer is yes but it is unfortunate that some authors who really know colour theory have thrown modellers in at the deep end of colour effects over terms and technicalities that are not really necessary. At the moment it is as well to keep this subject as simple and practical as possible, particularly when we still have a number of shortcomings. KNOWING OUR SHORTCOMINGS We cannot really get into the colour effects subject until we have sorted a few problems out. 1. The first shortcoming is in not being able to measure out uniformly small and equal amounts of model paint. A simple and standard mix such as 'one part of white to five parts of black by volume' sounds quite simple until one tries it. The survey shows that most modellers do a 'dip' method, ie 'one part' consists of dipping a paint brush into the container up to the ferrule, and then discharging as much paint as possible into a concave china artist's palette. The action is releated for the required number of parts, the brush then being rinsed and dried before the dipping is repeated for other colours. Other modellers use the 'drop' method in which an eye-dropper or similar device is used to draw up paint from the A:&, one drop being released into the palette. The action is repeated for the number of parts, the brush then rinsed and dried before the dipping is repeated for other colours. Both methods are passable, provided that 400 drops are not required! For what it is worth, the previously mentioned chromate mix could be reduced to ratios of 12, 6 and 1 to provide a very much easier close approximation. What is really needed is firstly some care in drawing up formulae. By all means, if the mix is accurate only using a vast number of drops or parts say so, but also quote a near approximation for the less experienced modeller. Secondly, we need a set of standard measures with which to transfer paint from containers. I have for some time been using what might be described as an adapted version of a small salt spoon, made from a piece of thin aluminium alloy sheet (see diagram). It will conveniently dip into any tinlet and is quickly and easily cleaned for the next colour. Slightly larger capacity versions have also been made to make it easier to mix larger quantities of colour. Of course, if you are a wealthy modeller whole tinlets can comprise the 'part'. But even then it is not all that easy to completely empty one tinlet. Emptying 400 may, however, prove quite impractical particularly if only 5 ml or so of paint is required. 2. Our other shortcoming is not being able to appreciate that one particular colour can vary from a similar colour purely by the difference in the amount of white it contains. If we could say that the difference was the addition of five per cent or 10 per cent of white or that the difference between full scale colour and that for 1:48th scale was the addition of 10 per cent of white, then we would have a very workable means at our disposal for representing colour in any scale. One way would be to have a set of colour cards in which each colour is printed in five per cent or 10 per cent intervals of increasing amounts of white. At present, only a rough approximation of the tinting of a particular colour can be made by measuring out 10 separate lots, each containing 10 portions of the colour by volume. Then, keeping the first lot as the standard colour, proceed to add one portion of white to the second lot, two portions to the third lot, and so on. Thus, the painted-out mixes would result in a colour which was shown with progressive steps of 10 per cent whitening in each case. In other words each colour is either 10 per cent lighter or darker than its neighbour. Another way would be to find out the intervals of colour in a notation such as the 'Methuen Handbook of Colour'. Here, one would start by matching the maximum value grey as given by F1 on any page, and then letting the colour down in stages of five per cent, 10 per cent, 20 per cent and 30 per cent (or other suitable intervals), and comparing the samples. As far as Methuen is concerned, the colour value from left to right across the pages appear as a progression of 25 per cent white being added each time. However, if the colours are tried ie F2, F3 etc., the same amount of white is still required but a tiny spot of brighter tint is also needed to prevent the colour from becoming too dull and grey. IS WHITE THE CORRECT TINT MEDIUM? The simple approach to tinting so far has always been to add a spot of white, but artist's colourmen point out that this practice is not necessarily accurate. For example, if a bright Ident Red (or yellow for that matter) is taken, white will only reduce a bright vermilion to a cold (bluish) pink. Had a spot of very pale yellow been used as the tinter, then the Ident Red would have been reduced correctly to a warm (orange) pink. Whilst white is almost the common constituent of any pale colour being used as a tinter, it is the little bit of colour in the white which is keeping the truly scale effect for any colour. In other words, there is a tendency for white to reduce any colour a little too much on the grey side to be really accurate. TINTER PROPORTIONS This is the proportion of white (or white plus a very pale spot of pigment) which is added to the actual colour being reduced to effect a scale colour. As has been said already, such proportions are usually given in the form of so many parts of colour to so many of white. For ease of expression, these figures are usually given as a percentage which is added to the basic quantity of colour, ie add 10 per cent white. The following table shows the proportions and percentage figures: TINTER PROPORTIONS Percentage Number of Number of to add parts of white parts of basic colour 2 1 30 5 1 20 10 1 10 15 1 7 20 1 5 25 1 4 30 2 7 35 1 3 40 2 5 45 4 9 50 1 1 Note that these figures have been rounded off to the nearest whole number. These figures have been obtained from a number of sources. Primarily, the basic figures are those resulting from an experiment in which a test panel was set at various distances from a series of observers, who each in turn compared small size colour chips, held at arm's length, with the apparent colour of the test panel. The distances from the observer's position were in each case those approximately for a given model scale. Thus, in the case of 1:72nd scale, the distance was 60 feet. The test panel was size five feet by three feet and was sprayed with Humbrol HB5 Azure Blue. A large sheet of card was also sprayed in that colour, with further cards each being sprayed with increasing amounts of white mixed in with the blue, on the basis of 2.5 per cent intervals up to 50 per cent. Also increasing amounts of Humbrol HG13 RLM 78 (starting from a tiny spot) were added to the white to maintain the brightness of the blue on a proportional basis. Each individual colour card was then cut into sizes which matched the distant test panel at each of its scale distances when held at arm's length. Under test the panel started at 1: 12th scale position and the observer held out the largest size of the cut cards in order, until a match was found. The percentage of white of that particular card was noted. The panel was then moved out to 1:24th scale position and the approximate size of card was used until the match was found. The rest of the positions were tried out up to 1:144th scale. Another observer than started working through the series again, the whole thing being repeated for some 12 observers. The answers were then averaged out. As to the results, each observer saw the matching colours slightly differently and with variations from six to 17 per cent a band of reduced colour for each scale began to emerge. Observers with the keenest colour perception gave a narrow band of colour from eight to 10 per cent. Taking an average for 1:72nd scale, the percentage of white needed to produce a scale colour was 11 per cent. Combining the other popular scales the figures were: 1:24th scale 3.5 per cent, 1:144th scale 17.5 per cent and 1:1,200 scale some 23 per cent. However, those figures were for an absolutely fresh colour with no fade or weathering and as it was already known that aviation colours can fade 10 to 15 per cent in a fairly short while, then a fade percentage ought to be added on to the scale reduction value. Thus, for 1:72nd scale, the overall band became eight to 24 per cent giving an average reduction of 14.5 per cent. This put 1:24th scale at five per cent, 1:144th scale at 23 per cent and 1:1,200th scale at around 35 per cent. >From that point, an extrapolation of figures for other scales gave a rough curve see graph), the average of which was shown as a thick solid line. Below the line was a narrow band 'A', which gave the pure colour reduction for any given scale, and above the line was a slightly broader band 'B', which gave a further reduction in value due to fade and weathering. Various figures obtained from other modellers were also averaged out and integrated. The curve was plotted on the basis of the vertical axis being the percentage of white to be added to a given amount of colour and the horizontal axis as the scale distances. The right hand end of the distance scale was telescoped in order to keep the graph to a reasonable proportion. US TINTER, PROPORTIONS DIFFER The graph worked very well when random tint proportions from UK and European modellers were applied. The general opinion was that the graph band represented a very good average for scale colour tint proportions. However, when US averages were applied it was found that they were far higher than the graph showed. When questioned about their theory or reason for using a particular tint percentage, the majority of US modellers said they had read a suggestion that 25 per cent of white added for 1:48th scale was a reasonable average. They had tried the mixes to that proportion and found the result pleasing and had continued on that basis for no other reason. Another group of US modellers also quoted measured colours or supplied colours matched to actual airframes, which showed quite large differences from original FS.595a colour measurements. In fact, many colours showed fade percentages equal to between 15 and 20 per cent or more, white being added to the original colour. Therefore, it would appear that, in many cases and particularly where California air bases were concerned, quite large percentages of fade were a part of US paint finishes, and certainly far more fade than was found in the UK and northern Europe. It was reasonable to assume that US colours for 1:48th scale could therefore have an average additional fade value of eight per cent added to the overall band, which then put the upper limit of colour reduction at the 25 per cent figure. HUE REDUCTIONS FOR DISTANCE AND FADE The modeller has a choice of working to within the thickness of the band at any given scale. If only new colour is being considered, then it is a question of taking exact matching colour and reducing it with one of the white percentages. If older colour is taken, (ie one diluted with fade) then by adding a greater white percentage to the original authentic colour a good approximation to the scale colour can be achieved. This means that there is no hard and fast line to be maintained, but rather a band of diluting colour from which any number of values can be taken which show a) the percentage of tinting due to distance for a given model scale, plus b) the extra percentage tinting due to fade and weathering. THE DISTANCE EFFECT IS LIMITED Colour cannot go on getting more and more pale with distance. Beyond 0.5 mile (0.8046 km) reflected light is not getting back to the eye quite so well, so the colour begins to darken (grey) and as distance increases further beyond 2 miles (3.2 km) so blue begins to come in as well. As the grey effect darkens and blue comes in so do black, blue and grey colours become neutralised. Bright colours like bright browns, tans, greens and blues will last just a little longer until only very bright reflecting colours, like polished metal, aluminium, white, yellow, orange and bright red will remain faintly visible. After that the colours begin to merge into a very deep grey-blue growing towards indigo until they finally disappear into the far distance background colour. This darkening effect will come in on the graph from about 1:250th scale reaching some five per cent at 1:900th scale and some 10 per cent at L2,400th scale. From then on, there is a rapid increase to a maximum at infinity. COLOURS PLAY TRICKS The results of other experiments show that large expanses of colour are less impressive when viewed at close range and that the same area of colour viewed at a greater distance appears much more bright and vivid, even though the colour has less strength at that distance. It also brings home that, in colour matching, equal areas of colour must be used whether close-up or at a distance. Thus, in matching a large area of colour on an airframe, a neutral mask must be used, ie a yard square of grey card with two side-byside equal-area cutouts (one inch square) for making the comparison. If doing the matching from a distance, then the sample should again be the same size and shape as the area being measured, ie the sample being held at 10 to 12 inches from the eye should match the observed area. For 1:72nd scale the distance is 60 feet. It can also be seen that to put exact match full-scale authentic colour on a small model must make the model far darker than it ought to be., PHOTOGRAPHIC COMPARISONS In talking about scale effects, a small photograph is really a scaled-down image of a full-scale subject. It is an exact replica and as the camera can take in detail at any scale, a truly scale model in truly scaled colours should look exactly like the full-scale subject. Examination of most professional black and white photographs of aircraft reveals that every effort was made to get a true tonal appreciation of the colours. The choice of film and filter shows the darker colours as darker shades of grey and the brighter colours as lighter greys or off-white. In theory, if scale colour has been correctly tinted and applied to a model, then by taking a photograph using the same type of film and lighting conditions, the truly scaled model print should look no different from the- print of the full-scale subject. For example, using a panchromatic film and taking a photograph of a model on a diorama out ' in the sunlight posed in an identical position as a full-scale subject then, if all is well, both the shape of the model and the black and white tonal renderings will be identical in both photographs. If there is any difference, then the over dark areas may need further tinting or the over light areas have had too much and need a little shading. In this way photography will serve to further aid the scale colour effect. Acknowledgements: The author wishes to thank all the numerous correspondents who have contributed so many facts and figures. Thanks are also due to the willing observers on the test programs - both full scale and model scale - and for all those who so kindly sent full scale and reduced scale colour chips in for measurement, ------------------------------ End of WWI Digest 1086 **********************