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Matt

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Everything posted by Matt

  1. From the last BoB Gb. Flight of Spitfires, 610 Sqn Tamiya 1/48th Mk Is and a mix bag of decals from the spares box. Cheers, Matt
  2. I'm in, found some old AeroMaster decals at the bottom of my decal bin whilst looking for some other markings. Spitfire Mk II P7531 / L.Z I / 421 Flight Using Tamiya 1/48th Mk I as a base. Cheers, Matt
  3. Something to keep in mind, but gloss black will show up every minor imperfection and flaw in the bodywork worse than any other colour. I had a friend that used to do these sorts of restores for a living, and gloss black was one colour he hated. The only time that he would use it was if a customer specifically came and asked for it. He never used it on any rebuild he was looking to sell on himself. As this is your own project that you plan on keeping, then this might not be an issue for you, but i thought I'd throw it out there. There's a reason why these showcars get 100's if not 1000's of hours of bodywork and prep before getting a super glossy paint job. Personally, I love black vehicles, and I've always wanted to do one in gloss black with a really subtle satin/flat flame job. Something so subtle that you have to look 2 or 3 times in just the right light before you even see it. One thought, being a modeler, why not try and find a kit of a similar type of pickup and try a few different paint jobs on that before you do the full sized one ? Cheers, Matt
  4. I use an old #11 blade to wedge the gap open a little more to make it easier to apply liquid cements and get them to capilliary down the join rather than deviate across the surface. Also I switched from using a touch and flow to a suitable brush, as it makes it easier to control the amount and placement of the glue. Hope this helps, Matt
  5. Perhaps not quite the answer you are looking for, but, Absolutely you can mix metallic acrylics to get where you need to be and achieve a certain shade. I do this all the time with Tamiya and Citadels. You don't even need to stick to just metallics. Need something that has a slightly bronze sheen ? Add a little brown to an aluminium or metallic grey. Need a slightly metallic black ? Add a little aluminium to flat black. There is no correct mixture or ratio, you just have to experiment a little until you get what you are looking for. If necessary, use a clunker kit or scrap styrene to test on. Also, you can vary the overall affect with a wash and drybrush to pick out the details, or with additional post-shade of very very thin translucent colours (like blues and oranges to replicate heat discoloration). Cheers, Matt
  6. Agreed. I had pretty much made the same assumption, and if Edger says it, then far be it from me to argue. Sometimes these broad blanket statements get made and passed around and end up becoming gospel. I was just illustrating an example where I have had the use of a headrest on a late model Spitfire questioned, when the photographic evidence showed it to be there. Cheers, Matt
  7. It is interesting. Especially with Spitfires as you can never say anything is 100%. PL775, a PRXI with a clear headrest, and very much post Mk V. Was this a pilot preference ?, a unit preference ?, a PR vs F mod ?, a post war mod ? , I have no idea. But I had a few comments on including the headrest when I built a model of this aircraft. (and this new Tamiya kit is so crying out for a PRXI conversion so I can build another.....) This rule of thumb is probably correct in the majority of cases, but as always, if you have references for a specific aircraft, check them. Cheers, Matt
  8. Matt

    Postshading

    Purely Post shading can be tricky. However, at the end of the day, both techniques are kind of the same, using various shades of paint with various levels of translucency to obtain an end result. With pre-shading, you have to work on an assumption that you can lay down a coat of colour over a shading pattern that will be thin enough to allow the shading effect to show through, but thick enough to leave a consistent finish. Whilst you can keep adding thin layers until you obtain the level of shading you desire, if you go too far, then you are stuck because you can never take a layer away. In addition, with pre-shading, you have to consider how you are going to handle situations where you have to lay down 2 or 3 different colours in a camo. Do you lay down the lightest colour all over the shading ? if so, how will the shading work when you lay down the remaining colours. ? With post shading, you start with a nice consistent solid base colour and then build up the colours from there, slowly adding the lighter and darker shades as you see fit. If you go too far and the effect looks too contrasty (the darks are too dark and the lights are too light) then no problem. Take a very thin mix of the base colour and lay it down slowly to even out the effect. Almost like using the post shade as a pre-shade. Once you have that first base colour done to the way you want it, then you can mask for a second colour and start over. Although this sounds like a lot of work, in reality it isn't. Generally, with Acrylics, you can do this in one sitting for each colour. Mix up the base colour in a separate pot, thin to spraying consistency and lay down your base coat as a nice smooth consistent solid coat.. Whilst that drys (not fully cured, but just not 'wet'), take a small amount of the left over base into a new pot and mix it up as a darker shade. Thin it more than usual. With lower pressure, start to lay in the darker shades. With thin coats, you can build up the shading in layers as needed. Go a little too far than not far enough. Whilst that drys, take a small amount of the base colour, lighten it up and thin it out more as well. Still at the lower pressure, build up the lighter areas of your desired shading. MidStone Base, plus lighter and darker shading, very over done. Finally, take that pot of base colour, thin it right out, and just mist it over the work until you get the final effect you want. If you have some areas that are still too dark or too light, then concentrate additional passes of the base colour in those areas. After another few passes with the MidStone base to even the effect out again. Should you go too far with this last step, go back to those post of light and dark and keep touching up until you get what you want. Let it dry, mask, and repeat for the next colour. After adding a Dark Earth camo pattern the same way. There is nothing in the rules that says you have to follow just one path or another. Airbrushing takes endless hours of practice, and you may find your taste in the end results change over time. So don't feel like you have to follow one rigid method to get where you want to go. Figure out a way that works for the skill level that you have today and refine it from there. The technique above was one I developed over time because I couldn't make pre-shading work. I always either went too far or not far enough and I had problems with getting consistent colour and working with Camo, but then I didn't (and still don't) have the skills to just shade over the top of a paint job and get it right first time, so I found I was always going back and forth, adjusting the results until I was where I wanted to be. Hope this helps. Cheers, Matt
  9. Don't get hung up on 'pre shading'. Its just one particular method of obtaining variations in colour and tone across a surface, one that tends to be easier done with an airbrush, and happens to require fine control over the density of the covering coat of paint, which may be harder to do with a brush. Consider a technique where you apply these colour variations after the initial base coat is applied (so, a post shade). That might be easier accomplished with the brush. As far as getting that 'blended' look you see from the airbrushed examples, look into brush techniques used by figure painters. There are various blending and dry brushing type techniques that will provide a feathered or blended edge for the brush painter. Cheers, Matt
  10. Agreed. Although, it may be more noticeable with certain colours. As I do mostly WWII and Armour, I haven't really noticed this effect, but recently I did apply Future to a carefully shaded F-15 in Xtracrylics Gunship grey and I observed what you are describing. Either I've achieved much more subtle shading than in the past, or Gunship grey is particularly prone to this effect. To some extent the darkening is expected, but I was surprised at the way the shading just blended right in on this build. Cheers, Matt
  11. I use it now and again. Mostly when working with their acrylic paints when working with figures. Occasionally for very specific pin washing and sometimes on Alu landing gear. I'm not sure I would ever want to try and use it as an all over wash. Cheers, Matt
  12. I do this all the time with armour. Get it built 95%, paint it flat black, then lay down the base colours in light passes, as a sort of crazy preshade. Before After Details, tools etc are then picked out with a brush. I usually keep the roadwheels and turret off and painted separately. Cheers, Matt
  13. Not specifically the new Airfix IX A few years ago we had a lively debate over 'accuracy' of various Spitfire kits. As part of that I had pulled out multiple 1/48th kits (ICM, Tamiya, Revell, Airfix Vb) to photograph and compare the various wings. During that time I looked at how easy/hard to cross kit the various wing/fuselages. The engineering of the ICM is very similar to the Tamiya, but even there, its not a simple 'bolt on'. In all cases, the match at the wing root was problematic, both in terms of chord, the gull wing area and the shape of the separation between the upper wing and the rendition of the fillet panels on the Fuselage. At the end of the day, its just styrene, so with a enough cutting, scratch building , glue and putty you can join pretty much anything to anything. Cheers, Matt
  14. I find Tenax and Ambroid to be 'hotter' than Tamiya thin. So they work really well when you are able to get the parts together or close together before applying them. The Tamiya will give you a little longer working time (may 5 secs or so) to get it applied and the parts brought together and aligned. As a result, the Tamiya will need a little longer to set up before it will take a strain. Tamiya thin also comes with a great applicator brush built in, and the bottles are pretty spill proof. I keep my old ones and transfer the Ambroid into them. Cheers, Matt
  15. Matt

    CAMOTINT paint?

    Hi Dave, Thanks for the update. I wasn't disputing it, I just hadn't heard that claim before, (although I oft suspected the colours may have been very similar), and the first page I found that made that claim yesterday didn't attribute it, so it wasn't something I was prepared to offer as fact. Subsequent research does make for a stronger argument. Cheers, Matt
  16. Matt

    CAMOTINT paint?

    What specifically do you need to know ? It was a colour for high altitude PR work developed by Sidney Cotton, and initially applied to the very very early PR Spitfires (as well as other PR aircraft used by Cotton). It was a very very light green colour, possibly close to what we call Sky Type S. (I found a suggestion that it was what the RAE based their recommendation for Sky on, but that's internet hearsay and you can take it for what its worth). If you could clarify what specifically you are looking more I might be able to dig out more information when I get home. Cheers, Matt
  17. Did you see this build on HS ? http://hyperscale.com/features/2002/spitfireviicbs_1.htm looks like there may be an Aeromaster sheet in 1/48th Cheers, Matt
  18. Matt

    prime PE?

    Not generally. Depending on the specific cases, sometimes I'll put down a light grey base coat if I have a lot of PE / Resin / Putty / Styrene in one place to get a consistent colour base to make it easier to work with thin colour coats., but I don't do this for any adhesion purpose. Cheers, Matt
  19. I can do you the following. 6 (P7966/DB),20 (BL336/RST),32 (BS410/PKE),39 (MB882/EBB) and 41 (RM787/CG) It will just be the serials, squadron codes and special markings. The sheet didn't have a full set of roundels/fin flashes for every aircraft, so I've already used most of them up. You can source those from other places, like Xtradecal. I can do you B/W photocopies of the instructions and the profiles if you need them. PM me with which of that list you'de like and a mailing address and I'll get 'em in the post to you when I'm next at the Post Office. Cheers, Matt
  20. Do you have any specific subjects in mind ? I have most of that sheet still. There are a number of subjects I'll probably keep, but I'm happy to send one or two your way if you have a particular need. Cheers, Matt
  21. There are a number of cheaper alternatives for the various masking needs. For hard masking, you can head to your local DIY store and look at the various tapes in the painting/decorating department. 3M do a range of low-tack tapes (blue tape) that are good. You'll want a good sharp knife, a metal rule and a clean cutting surface in order to cut the bigger tape into more manageable strips. Hard masks can be used, even for brush painting, to separate colours. Small strips can be used to mask canopies and the like. You'll need to practice how best to bring the brushed paint up to the masking in order to get a nice clean edge without loading the paint up against the edge of the tape and getting a ridge when you remove the tape, or worse, a little bleed under. The thicker the tape, the more this can be a problem. My preference is to brush along the line of the tape and just edge the paint gently up to the tape rather than trying to draw the brush across the tape edge at an angle. If you are really stuck for cash, then look around the house for some frosted tape for gift wrapping. The frosted kind is best as its pretty low tack and doesn't leave a lot of residue. Liquid masks are as you'de expect, a liquid that you apply, which then hardens, but can be removed. Its usually best used in places where the molding on the kit can be used to make an edge (for example, a very pronounced edge around a canopy frame). Some folks will use liquid mask to fill in large areas between tape edges. This is mostly for airbrushing. For brush painting, you have more control over the paint, so you really only want the mask for the demarcation line and not overall coverage. As already mentioned, White PVA glue is a good substitute. Also known as Elmers glue or 'school glue', not correction fluid. If its a little on the tick side, you can thin it with clean water and then apply it as needed. Hope this helps.
  22. Matt

    Tornado

    If I'm understanding the pictures, it looks more like the entire paint finish has developed a slight sepia tone to it (comparing the fin to the fuel tank), and not just the decals. Is that the point you were trying to ask about ? At a guess, I would have to say that you might have some bad gloss or flat coat, or a bad reaction between the gloss coat and the decal solution. Other possibilities are the solution itself. The staining looks to be all over, do you really spread the decal solution all over like that, or just in spots for the decals ? If the staining is all-over and not just where the decal solution was applied, then I'de have to think it was the gloss coat. If the staining is occurring everywhere the decal solution was applied over the gloss coat, then I would have to assume its a reaction between the gloss coat the decal solution. The only other option might be a slightly dirty brush use to apply to decal solution. Given you've had the problem on 2 separate builds, then you probably want to pause and get to the bottom of it, otherwise you might well end up having it happen a third time. If you have an old cheap kit you can test with, then I would start by getting in a fresh batch of your current gloss and decal solution and test with those. If the problem still occurs, then its a reaction between the two, so look at changing to a different gloss or a different decal solutions, depending on whats available to you locally. Hope this helps. Cheers, Matt
  23. It very much depends on the colour being applied. The darker colours (especially the basic Red and Blue) lay down really nicely. As with all paint, the thinner the mix the smoother it will go on. The down side though is that thin coats are hard to get a nice consistent colour. Laying down a solid primer colour first is one way to tackle this. One of the other options with Tamiya specifically is that they pretty much do a flat version of all their basic gloss colours. Rather than try and lay down a consistent solid gloss right off, lay down one or two thin coats of the corresponding flat coat, then lay down one or two thin coats of the gloss. If you struggle to get a nice smooth flat coat, then try a 50/50 flat/gloss mix before finishing with a thin gloss only coat. This final thin coat is the one that you can concentrate on getting just the right 'wetness' in the application to get that nice gloss finish rather than worrying about perfect colour coverage. Also, for a nice glossy finish, just concentrate on getting the gloss colour coat on nice and smooth and use a clear gloss to bump up the 'shine'. For 'super shine', go talk to the car guys who'll happily get into how to sand and buff and polish your way to those super deep showroom finishes. Cheers, Matt
  24. I had a go at this a few years back. I don't claim any great expertise, but I'll share what I did in case it helps. I personally wouldn't replace airbrushing with this technique, but about 5 years ago we were selling our house, so my 'paint barn' had to be packed up. To pass the time I went back to brush painting, and this is one of the end results. Nothing special, and I apologize as its been sitting on the shelf collecting dust, but hopefully the pictures show the results. This was done with PollyScale acrylics. Because of the fast drying time, I didn't use a blending technique that you might consider with oils/enamels. Instead I pretty much repeated what I did with an airbrush, only with a paint brush. I started with a straight lay down of the base colours. Over the top I applied a slightly darker shade along the panels lines. I then tied the two together by going back over with a thin coat of the base colour, using a modified form of dry brushing technique. The brush is left a little wetter than normal, and you sort of 'scrub' the paint back on to feather the two shades together. Finally, I worked up one or two highlight colours. Slightly lighter than the base colour, again using a scrubbing/drybrush type technique. The rest is 'standard' technique. Apply the decals, add a wash, then a brushed on coat of PollyScale flat. Hope this helps. Matt
  25. It could be either, but ultimately it doesn't really matter. There are so many variables involved in airbrushing that we can never really talk in absolutes. If someone reports having a certain success at 20PSI, then all you can take away from that is a general idea. Even if you have the same model airbrush, the same paint type, the exact same thinner, the exact same paint/thinner ratio, you'de still need the exact same pressure regulator, gauge and probably even airhose and even then, you don't know how accurate that gauge is, so you could be +- a couple of PSI. And finally, even if you'de got all that identical, you'de have to handle the airbrush the exact same way. Same distance to the subject, same speed of movement, same trigger control. I don't think I've ever looked at the actual numbers on the pressure gauge when painting. Its just something that comes by feel, based on what paint I'm working with and how thin I want to work it, based on how I'm about to paint (freehand shading is very different to just laying down some base colour). There is no substitute for a 'test' spray before you start to fine tune. I start with an initial mix and pressure, have a test spray, then tune the pressure as low as I can get it and still get the right spray pattern. Occasionally I may adjust the paint mix if its too thin or too thick. I used to test on a sheet of paper, but the absorbency can be misleading, so I switched to old kits. Now I have a section of the work table that is so covered in layers of paint that it pretty much works the same as a kit surface. Cheers, Matt
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