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Airfix Model World

Yug

By Yug
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Yug Enthusiast

Yug

Posted
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Hi, I regularly buy this mag and find it fascinating The only problem I have is the paints they use on the features. Why don't they use Humbrol for an airfix magazine. All my piants and sprays are Humbrol so these other numbers they quote are meaningless to me. 

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Steven-434888 Contributor

Steven-434888

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Hi Yug:

I don't use Humbrol enamels or acrylics, other than the former for detail painting and some weathering uses, preferring Gunze and Tamiya for airbrushing, coupled to cellulose, as the combo gives delightful results that etch the surface, thus grip well and dry with a hard, durable finish.

I've been offered other products to trial but take the view that when you're engaged to review and finish a kit in a defined timescale, predictable and ultra reliable performance of tools and materials is paramount. 

I understand the problems of finding paint conversion colours sometimes and regret you've had some experience of this but hope, following the advice above that you've since resolved things.

Wish you well with your modelling!

 

Best regards

 

Steve

 

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Kenneth ONeill Mentor

Kenneth ONeill

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Hi Yug:

I don't use Humbrol enamels or acrylics, other than the former for detail painting and some weathering uses, preferring Gunze and Tamiya for airbrushing, coupled to cellulose, as the combo gives delightful results that etch the surface, thus grip well and dry with a hard, durable finish.

I've been offered other products to trial but take the view that when you're engaged to review and finish a kit in a defined timescale, predictable and ultra reliable performance of tools and materials is paramount. 

I understand the problems of finding paint conversion colours sometimes and regret you've had some experience of this but hope, following the advice above that you've since resolved things.

Wish you well with your modelling!

 

Best regards

 

Steve

 

Well, it's not as if, unless you happen to have the specific item used as the prototype for a specific scheme, you can actually say that, say, the upper fuselage was Tamiya XF-this or Humbrol that or Vallejo-the_other even if they all have the same FS595a value anyway.

I recall being told of someone who asked a crew chief "what colour is 'chromate yellow'?" The crew chief's reply was to lead them to a maintenance hanger and show them an F-111 with all its maintenance hatches on one side open, revealing a similar number of different shades of chromate yellow!

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Steven-434888 Contributor

Steven-434888

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Hi Yug:

I don't use Humbrol enamels or acrylics, other than the former for detail painting and some weathering uses, preferring Gunze and Tamiya for airbrushing, coupled to cellulose, as the combo gives delightful results that etch the surface, thus grip well and dry with a hard, durable finish.

I've been offered other products to trial but take the view that when you're engaged to review and finish a kit in a defined timescale, predictable and ultra reliable performance of tools and materials is paramount. 

I understand the problems of finding paint conversion colours sometimes and regret you've had some experience of this but hope, following the advice above that you've since resolved things.

Wish you well with your modelling!

 

Best regards

 

Steve

 

Well, it's not as if, unless you happen to have the specific item used as the prototype for a specific scheme, you can actually say that, say, the upper fuselage was Tamiya XF-this or Humbrol that or Vallejo-the_other even if they all have the same FS595a value anyway.

I recall being told of someone who asked a crew chief "what colour is 'chromate yellow'?" The crew chief's reply was to lead them to a maintenance hanger and show them an F-111 with all its maintenance hatches on one side open, revealing a similar number of different shades of chromate yellow!

Hi P:

I don't involve myself in colour debates as a rule and I'm aware of the issues that populate that nest of vipers certainly, so at the end of the day, I choose what I believe suits a given project, from my preferred paint stocks and report the same in AMW. 

In the final analysis, all models are representations of the original, not replications...

 

TTFN

Steve

 

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Kenneth ONeill Mentor

Kenneth ONeill

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Posted

Hi Yug:

I don't use Humbrol enamels or acrylics, other than the former for detail painting and some weathering uses, preferring Gunze and Tamiya for airbrushing, coupled to cellulose, as the combo gives delightful results that etch the surface, thus grip well and dry with a hard, durable finish.

I've been offered other products to trial but take the view that when you're engaged to review and finish a kit in a defined timescale, predictable and ultra reliable performance of tools and materials is paramount. 

I understand the problems of finding paint conversion colours sometimes and regret you've had some experience of this but hope, following the advice above that you've since resolved things.

Wish you well with your modelling!

 

Best regards

 

Steve

 

Well, it's not as if, unless you happen to have the specific item used as the prototype for a specific scheme, you can actually say that, say, the upper fuselage was Tamiya XF-this or Humbrol that or Vallejo-the_other even if they all have the same FS595a value anyway.

I recall being told of someone who asked a crew chief "what colour is 'chromate yellow'?" The crew chief's reply was to lead them to a maintenance hanger and show them an F-111 with all its maintenance hatches on one side open, revealing a similar number of different shades of chromate yellow!

Hi P:

I don't involve myself in colour debates as a rule and I'm aware of the issues that populate that nest of vipers certainly, so at the end of the day, I choose what I believe suits a given project, from my preferred paint stocks and report the same in AMW. 

In the final analysis, all models are representations of the original, not replications...

 

TTFN

Steve

 

Yeah mate, that's exactly my argument. Building the same scheme, if you've used one manufacturer's version of, say, Gunship Ghost Grey, and I've used a different one's, then we may both be wrong, or indeed right, depending on the day we modelled the kit on.

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John Symmons Mentor

John Symmons

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Colour is a very subjective issue, we all see colours differently, ask any woman what she sees when looking at colours. Actually women generally have better colour perception than men who are often semi blind to reds and generally weak in perceiving yellow. I was lucky it didn't affect me, good British colour genes from a long line of printers.

Quite a few years back at a printing firm; who'll remain nameless; we some how employed a machine minder who was semi-colour blind, and then they started to test others on the production side, the results were quite an eye opener (excuse the pun) since then they've insisted on a colour blindness test for all new employees.

If you see a light blue and beige car in the morning and again the same car in the evening do you see the same colours? No you don't, but the brain does try to compensate. So when painting models it's often best to trust your insticts as often the scale effect can throw off the totally correct colours and all contrast is lost, a good example being the RLM 70 & 71 greens in Luftwaffe WW 2. 

I couldn't agree more with Paws4thot and Steve as even today if you buy some paint for your house and two years later you buy some for touch ups the chances are they'll be from different batch and be a different shade, so imagine what it was like in the 1915's and 40's on all sides.

Remember we do this for fun    John the Pom.

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Steven-434888 Contributor

Steven-434888

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Colour is a very subjective issue, we all see colours differently, ask any woman what she sees when looking at colours. Actually women generally have better colour perception than men who are often semi blind to reds and generally weak in perceiving yellow. I was lucky it didn't affect me, good British colour genes from a long line of printers.

Quite a few years back at a printing firm; who'll remain nameless; we some how employed a machine minder who was semi-colour blind, and then they started to test others on the production side, the results were quite an eye opener (excuse the pun) since then they've insisted on a colour blindness test for all new employees.

If you see a light blue and beige car in the morning and again the same car in the evening do you see the same colours? No you don't, but the brain does try to compensate. So when painting models it's often best to trust your insticts as often the scale effect can throw off the totally correct colours and all contrast is lost, a good example being the RLM 70 & 71 greens in Luftwaffe WW 2. 

I couldn't agree more with Paws4thot and Steve as even today if you buy some paint for your house and two years later you buy some for touch ups the chances are they'll be from different batch and be a different shade, so imagine what it was like in the 1915's and 40's on all sides.

Remember we do this for fun    John the Pom.

Hi John:

Thanks for that.

Quite some years ago, I responded to a thread on another forum in which there was much expressed support for the argument 'I have a photo that shows Zinc Chromate Yellow looked like this'...

I replied as a City & Guilds 744 professional photography holder - and gave a scenario linked to Olive Drab. It went something along the line of visualising a flight line of P-47s, in summer 1944, somewhere in Eastern England, an hour after dawn. A photographer records some images in the early light, that contained a distinct 'blue' bias, commensurate with that time of day (as opposed to the 'reddish' light of the late part of the day). The OD is recorded on the film as quite 'cold' in consequence.

The film isn't developed for a few weeks but sits in a warm photographer's bag, rather than in cool, stable environment, affecting the emulsion and turn, the post developed colour. The negative is a representation of the original colour, not a replication of it. The negative may be developed correctly or over or underdeveloped, affecting the image outcome. A print is then produced, again subject to correct, over or underexposure and again affecting the outcome. By now we have a second generation 'representation' of the original colour.

The print winds up being reproduced in a book - a third generation 'representation' of the original...and then that's scanned and used as 'proof' on the web - a fourth generation 'representation'...which is displayed as a fifth generation 'representation' on your monitor and so it goes on. Even the original camera lens can have a bearing on colour depiction and gentle over and under exposure lightens and darkens accordingly.

The essential message then, is that photographs need to be enjoyed and used in making hobby judgements with appropriate caution, bearing in mind how many times removed the image you're viewing may have travelled from that early morning P-47 flight line.

 

TTFN

 

Steve 

 

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