1/18 scale Flettner Fl-282 V21 Kolibri scratchbuild model

N

Nick_Karatzides

Guest
Shortly thereafter, the 3D printing proceeding outcome pleased me while watching the Mbytes, magically converting into actual physical objects. Yeah, that’s what I call “cool gadgets” on a scale modeler’s service. As soon as 3D printing process completed, the produced parts were cleaned & checked for broken parts or imperfections by Shapeways 3D printing lab specialized personnel. Later, everything carefully packed and shipped to my home address using UPS 24hrs delivery service. Next day, I got home to find a Shapeways box on my doorstep. After a long eye roll from my wife, I quickly grabbed a knife and opened it like all kids open their presents on Christmas morning. Nothing out of the ordinary, I decided to take a few photos to illustrate the experience of receiving my own custom designed & 3D printed model kits package and get in my hands the result of my very own custom-made kit, designed with laptop mouse clicks only and built from zero by converting a CAD binary file into an actual physical object, under my preferable 1/18 scale. Cool stuff, isn’t it?


IMAGE_0134_zpsstp6hdxw.jpg


IMAGE_0135_zpspr9vbdb6.jpg


IMAGE_0136_zpsch2yzw7z.jpg


IMAGE_0137_zpsf7oetaei.jpg


IMAGE_0138_zpsj29scexk.jpg


 
Last edited:
N

Nick_Karatzides

Guest
Each one of the two complete custom-made kits consists of 60 different 3D printed parts, some quite big and some others so tiny that could be easily become victims of the carpet monster. The only difference between these two Kriegsmarine’s V6 and Luftwaffe’s V21 custom-made complete kits, is that the single seat V6 version kit contains an extra cover for the observer’s rearwards facing “office” just behind the rotor shafts. On the other hand, the two-seater V21 version kit extra contains the two cylindrical 25 lt fuel tanks placed on either side of the cockpit, which are absent on V6 naval kit.


IMAGE_0139_zpsxbl7y9bt.jpg


IMAGE_0140_zps7atmzye1.jpg


IMAGE_0141_zpsfcmaqb1p.jpg


IMAGE_0142_zpsvjgemdlp.jpg


IMAGE_0143_zpspzpszzap.jpg


IMAGE_0144_zpsqsd1me2b.jpg


 
Last edited:
N

Nick_Karatzides

Guest
Each complete kit contains the basic frame sections, the elevator & rudder fins, the landing gear wheels, the 7-cylinders radial engine, the upper rotor transmission & gearbox, the rotor heads & rotor blades, the two cylindrical 25 litres fuel tanks (V21 kit only), the cockpit compartment with front & side instrument panel, the control stick with thrust & collective levers & the rudder pedals, both crew seat frames (2nd seat for V21 kit only), a couple of cowling & opened for maintenance hatches and plenty of additional minor details such as supporting rods, control bars, knuckle joints, pulleys, hinges, D-rings etc, etc, etc. Some cable wires & rigging will be later added manually. As said before, any extra diorama accessories visible on some pictures (eg. engine's stand, fuel drums, fire extinguisher, jerrycans, wheel chokes, wooden ladder etc) are not included into kit but is possible to get 3D printed and be purchased separately.


IMAGE_0145_zps3wd4cu6m.jpg


IMAGE_0146_zpse6zr1l5h.jpg


IMAGE_0147_zpsgom7xpkd.jpg


IMAGE_0148_zps7xsvnqeq.jpg


IMAGE_0149_zpsldwobc6l.jpg


IMAGE_0150_zpsqqmrdt2f.jpg


IMAGE_0151_zpshe499nbb.jpg


 
Last edited:

flyjoe180

Joe
SMF Supporter
Joined
Jan 18, 2012
Messages
12,419
Points
113
Location
Earth
First Name
Joe
Amazing work and a great thread Nick. Very interesting to see this process and the use of modern CAD/3D in action. Look forward to more of this build soon. You are very lucky to have such an enthusiastic assistant!
 
T

treyzx10r

Guest
Wow Nick this is very inspiring and at the same time very depressing for us mere mortals ! Ca'nt wait to see the next update !
 
P

phikoleoputra

Guest
That 3D machine is truly awesome, making kits like magic. Guess we don't need to stash up out kits anymore :D . Thanks for sharing your awesome work Nick
 
N

Nick_Karatzides

Guest
\ said:
Wow Nick this is very inspiring and at the same time very depressing for us mere mortals !
I am just a moderate level scale modeler with same skills as many other person here. In fact, I'm sure there are much better and more talented scale modelers in this forum, than me. If I was able to create this file with no special CAD studies, anybody can do it! If I managed to learn how to 3D design, improve, reconstruct & print my own models, in only few months period, anybody can also do it - possibly much better than me.
\ said:
That 3D machine is truly awesome, making kits like magic. Guess we don't need to stash up out kits anymore
We are in front of a new era for scale modeling. Anyone can have access to this CAD designing & 3D printing tool. But as you know, each tool may become "useful" or "useless", "necessary" or "nonessential", depending on the hand that operates it. What really concerns me, is not so much the introduction of 3D printers as a usefull application into scale modeling, but the possibility that some of the things we take for granted, might never be the same again. For example, it is very likely that the model kits you buy from your local hobby shop, will not continue exist in their present form any more. Have you ever thought, that future shopping will not include visiting your local hobby shop to pick your favorite model kit from the shelves? Have you ever thought, that it is likely to buy the 3D file online and later print it on our home 3D printer, wearing your 3D printed slippers & drinking your coffe into a 3D printed mug same time? Freaky huh?
\ said:
Amazing work and a great thread Nick. Very interesting to see this process and the use of modern CAD/3D in action.
Feel free to follow my previously uploaded WIP articles here. You'll find that I always try to present a full "package", to offer a info about the real aircraft / helicopter and modeling tips & techniques as well. Have a look on following pictures for some projects already presented here in LargeScalePlanes forum.

IMAGE_0347_zpswfkoaoaj.jpg


IMAGE_0194_zps82rbw0fv.jpg


IMAGE_0036_zpsd0v7cggb.jpg


IMAGE_0205_zpsbdehhdhh.jpg


IMAGE_0076_zpsakvppz2t.jpg


IMAGE_0354_zpstk7uooq7.jpg


This Flettner Fl-282 V21 Kolibri helicopter (available in "cutaway" version too) and a Bleriot XI-2 WWI monoplane model, both designed & produced in huge 1/18 scale, are available for sale as full 3D printed kits, produced on high-precision 3D printers by using best available polymer plastic material to ensure the best printing results & highest possible quality on kit parts. Interested collectors, scale modelers & hobbyists could follow the building process and have a look on Work-In-Progress detailed pictures.

Click on Anyuta 3D printed scale models online catalog to have a look.

IMAGE_0031_zps8xnzrwys.jpg


CAD%20Bleriot%20XI-2%200003_zpsb0yrzvgs.jpg


CAD%20Bleriot%20XI-2%200006_zpsyvjplpkf.jpg


CAD%20Bleriot%20XI-2%200007_zpsqh6rmozt.jpg
 
Last edited:
N

Nick_Karatzides

Guest
It’s been a long time, more than one year as far as I can remember, since my last update into this forum - not unreasonably as you’ll find out by reading the following lines. You see, 2015 almost as a whole year, was for me and my family - or at least what is left of it - a very bad year. Life is full of surprises and reminds us daily that we are only human beings, absolutely vulnerable to almost anything. Life prooves by most cruel way that we can become nothing more than dust and faded memories, at any moment, in just a blink of an eye. The following text and attached photos are about two years old and were supposed to be published on scale model related forums & magazines in late 2014 or early 2015. Unfortunately, we may make our plans but God has the last word and decided to take my angel for a while until we’ll meet again on the other side. I'm not worried - I know she is patiently waiting for me to join her some day and I pray for this day to come soon.


Although the above lines are not directly related to a hobby forum, sharing my thoughts with fellow scale modelers, relieves pain and makes grief a little softer. However, I would greatly appreciate if public comments & responses will be exclusively focused on scale modeling matters.

Red%20rose_zpsi3jluwww.jpg

 
N

Nick_Karatzides

Guest
When I first got this 3D printed kit in my hands, I noticed that most of the kit parts had slight traces of oil on their surface, so each time I touched the parts, my fingertips become oily. What really happened? Obviously, after the 3D printing process was finished and the kit parts been removed from the printer tray to be washed into an ultrasonic oil bath and later an ultrasonic water bath, some oil traces escaped the clean inspection and dry by hand procedure. When I later examined all parts by touching one by one with bare hands, I accidentally transferred the oil traces to every single part. When I realized it, it was already late. Well, it was not exactly a doomsday, but the kit parts should be cleaned thoroughly, because even the slightest trace of oil on the surface of model, could potentially be a problem in the painting process. Simplicity makes things flow without effort and oil traces could easily be completely removed by sinking everything into a 2 litres plastic bowl filled with White Spirit and leave it there for few minutes to wash oil traces. Shortly after all kit parts enjoyed their bath into a White Spirit filled bowl, they were washed with liquid soap and warm water and placed on soft paper towels and allowed to dry.


IMAGE_0152_zpspmwvaxq6.jpg



IMAGE_0153_zpsa5pjd07i.jpg



IMAGE_0154_zpssytkvaff.jpg



IMAGE_0155_zpsdmw6mmql.jpg



After all kit parts washed in White Spirit & water to clean the oil traces, every section of the model has been repeatedly dry fit tested to ensure that all individual parts could be later combined together as an overall built model. When looked OK to me, each part sprayed over with Ammo Mig Jimenez AMIG2004 “White waterborne polymer primer” to spot mistakes and prepare for paintjob. The next day, I did a visual inspection and shot some pictures. It looks that overall white primer, really helped to visually pop-up the printed detail and proved that use of best available 3D printing material resulted smooth and glossy surfaces on kit parts. As always, the final check held by my sweetheart wife who conducted a strict quality control and 3D printing result evaluation. With persistence on detail, she examined each one of the kit parts and compared them with the CAD design on computer screen. In fact, she spotted an almost undetectable tiny crack on a frame rib inside the helicopter fuselage, which had escaped my visual inspection earlier. Once the process complete, she smiled & proudly signaled green light for further building.


IMAGE_0156_zpskfzpxzrv.jpg



IMAGE_0157_zpsv8swcnnw.jpg
 
Last edited:
N

Nick_Karatzides

Guest
CHAPTER III - Individual kit parts assembling process




As soon as the parts were already cleaned & dry fit tested, it was about time to start assembling everything as one model. I usually follow two simple rules while attempting to assemble kit parts and later paint a model:

  • Paint the individual parts first and assemble the scale model later or
  • Assemble all individual parts first and paint the overall built model later.


First option seems as more appropriate - it would surely make my life easier to paint individual parts first and assemble all together later.


As already wrote into previous paragraphs, the model was 3D designed in such a way so as to avoid creating gaps between the parts to be later assembled. Notice that, no filler putty used and no sanding done throughout the whole process! Most of the kit parts, such as the tail rudder & horizontal stabilizer fins, the pilot’s & observer’s seats, the main & nose landing gear wheels, the cylindrical fuel tanks, the upper gearbox and of course the rotor blades will separately paint, weathered and later be attached on model’s overall structure using CA superglue, which does bonds in only few seconds, reaches extremely strength at room temperature and it is suitable for materials such as wood, rubber, plastic, metal, ceramics, leather, marble, polyethylene, polypropylene, teflon etc. On the other hand, there were few tiny parts such as some hinges & D-rings on main fuselage and gearbox complex that had to be assembled before painting process start.
 
Last edited:
N

Nick_Karatzides

Guest
CHAPTER IV - Applying paint, wash & weather effects




Before dealing with this project, I had the (false) impression that Kolibri helicopters were all same - at least identical. After all, only 24 were produced. Once again I was wrong. Study & research on available printed material, 3view diagrams, photographs and videos actually reveals that there were plenty of differences between them - obvious differences or just small details identified after careful observation. In some cases, the exact same helicopter (for example the V12 with registration CJ-SF) was appeared once to be painted with Kriegsmarine’s medium grey camo (click HERE) and later with Luftwaffe’s dark green colours (click HERE) or even once having the flat plexiglass panels around the cockpit installed and latter simply missing them. On the other hand, the two-seater Fl-282 V21 helicopter registered as CI-TU, maybe the most famous of the Kolibris, was quite unique. In following picture, dressed up with Luftwaffe’s TransportStaffel TS40 colours, as appeared at Ainring AB at Mühldorf, Bavaria, in it’s operational role as artillery spotter, back in 1944 to 1945 days.


IMAGE_0158_zpsgi4hn1rg.jpg
 
Last edited:
N

Nick_Karatzides

Guest
To recreate the Fl-282’s Luftwaffe camo paint, I did use the Life Color’s “Gerrman WWII Luftwaffe set #1” 6-pack set, of 22 ml bottles.

  • Life Color UA501 RLM 70 Schwarzgrün / Black Grey acrylic paint,
  • Life Color UA502 RLM 71 Dunkelgrün / Dark Green acrylic paint,
  • Life Color UA503 RLM 65 Hellblau / Light Blue acrylic paint,
  • Life Color UA504 RLM 02 Grau / Grey acrylic paint,
  • Life Color UA505 RLM 79 Sandgelb II / Sand Gold II acrylic paint and
  • Life Color UA506 RLM 80 Olivgrün / Olive Green acrylic paint.


IMAGE_0159_zpswelqqmzf.jpg



IMAGE_0160_zpsk6qo3tk4.jpg



To be more specific, the basic colours applied on model according WWII Luftwaffe ReichsLuftfahrtMinisterium designations are the RLM 71 Dunkelgrün FS 34079 & RLM 65 Hellblau FS 26329 paints.


IMAGE_0161_zpsjtxm3o9z.jpg
 
Last edited:
N

Nick_Karatzides

Guest
Pre-shading by airbrushing dark coloured lines on model before the basic paint is a method followed by many modelers the last few years. To be honest, I never liked it, never really understood the reason to do something like that and yes, I admit that I never had some decent results whenever I tried it. IMHO adding pre-shading lines before painting is a time wasting & useless procedure with no artistic results on model. After all, what’s the reason to try this, if (one way or another) additional paint layers will be applied on model later, to enlight or darken the basic paint? Anyway, I mostly prefer to:

  • Directly apply the basic paint (without pre-shading and other time wasting nonsense) and later add some colour shades by enlightening or darkening on specific areas or
  • Follow the Francois Verlinden’s old-fashioned way by airbrushing a very dark colour (usually some black & dark brown mixture) all around the model until fully cover it and later gradually light-up the model’s surfaces by repeatedly applying very thin layers of basic paint.


The abovementioned Francois Verlinden’s way possibly practiced by other painters & hobbyists decades before, was first introduced as a painting technique for scale modelling by Francois Verlinden, more than 25 years before. Back in the late 1980ies days, when the internet was not known yet and modeler’s only available reference was the (usually expensive) books from local hobby shop, a Belgian artist named Francois Verlinden managed to create 3D-alike light effects on flat surfaces. He did that by repeatedly airbrushing very thin layers of basic paint on a black (or dark brown) undercoat and then gradually lighten the dark surfaces to replicate the way that sunlight hits on large objects. Since then, some new painting tricks appeared and many modelers improved some older (and forgotten) techniques and re-introduced them as their own “new” inventions. During the last few years, the Francois Verlinden’s old-fashioned way was re-introduced and become popular around the scale modelling community (especially among armour painters), by its new name: “Modulation”! IMHO this modulation fashion looks nice on models but the results are not so “strictly realistic” comparing to the real world objects. As scale modelers, we always have to balance between realism factor and artistic expression. Yes, I admit that modulation effect does not accurately replicate the reality, but it looks so artistically attractive and becomes easily accepted by our visual subconscious.


IMAGE_0162_zpsdmvjqbkk.jpg



IMAGE_0163_zps4g4zqsuy.jpg



Process started, by airbrushing an overall undercoat mixture of 80% Life Color LC02 Matt Black and 20% Life Color LC37 Matt Burnt Umber acrylic, to prepare the flat surfaces for the basic paint which about to follow. Asking a blonde to “paint it black” could be confusing for a moment and result some priceless answers.


IMAGE_0164_zpsg8k5487n.jpg



IMAGE_0165_zpslfn34kro.jpg



IMAGE_0166_zpsrbdxagmp.jpg



IMAGE_0167_zpsh3lds7lx.jpg



IMAGE_0168_zpscuszd1es.jpg



IMAGE_0169_zpstolvcika.jpg
 
N

Nick_Karatzides

Guest
Having succeeded (in her first airbrushing attempt) to spray black paint onto my clean & tidy hobby bench, I realized that it was time to urgently have a new spray booth for her, considering that my old one broke down after almost 15+ years of use. My initial thought to buy a brand new one, quickly dismissed when I found that the cheapest China-made spraybooth was quite small for my big-sized scale models and the purchase price could start from €100 and rise up to €500 or more. Additionaly, due to limited space on my hobby bench and the fact that I usually build big (close to huge) scale models, the spraybooth should be large enough to fit models inside, portable to keep clear the working bench when not in use and should be easily (and fast too) disassembled and stored under the bench.


Well, as a good friend once said, “everything starts with a wish” and “inspiration can be found everywhere”. I found the following item named “Sortera” which supposed to be a recycling bin with lid or something, at my local IKEA store. Looking exactly like what I’ve been searching for and considering the low €15 price, I bought this 60 litres plastic box (IKEA product code is 702.558.99) and turned it into a paint chamber. Later, I also visited my local Leroy Merlin home depot (located right next to the aforementioned IKEA) store, trying to find the right parts for the project, such as bathroom ventilating fans, outflow plastic tubes and electric wiring. I found two 125 mm diameter bathroom ventilator fans rated at 32 W, 10 dB, 150 m3/h each for only €11 each.


The purchase cost for buying materials to build the DIY spraybooth was:

  • 2 x ventilators rated at 32 W, 10 dB, 150 m3/h each: 2 x €11 = €22,
  • 1 x paint chamber (“Sortera” recycling bin with lid from IKEA): €15,
  • 2 x PVC 125 mm Ø plastic tube 90° fittings & bezel parts: €3,
  • 1 x PVC 125 mm Ø plastic tube 50 cm long: €1,
  • 1 x common kitchen extractor hood filter: €1,
  • 1 x electric wiring 2 m long & switch: €2.


The total ammount with all the hardware was €44 (approx $48).


IMAGE_0170_zpshznumtbc.jpg



As soon as returned back home, I spent nearly one hour to assemble parts and make the scratchbuilt spraybooth fully functional. The first ventilator slided through the tubular wall opening (already existed for the previous broken spraybooth outflowing), secured in place and got wired to 220 V with a switch. The exterior wall opening is covered with louvers that automatically close when the ventilator fans are turned off, to prevent ingress of cold air in the room during the winter. Furthermore, when spraybooth is not in use, the inner wall opening is manually sealed with a proper cap.


IMAGE_0171_zpsleuxyr9e.jpg



IMAGE_0172_zpsoc3hubzl.jpg



IMAGE_0173_zpstfh0clnd.jpg



Later, the second ventilator mounted on a 125 mm wide drilled hole on plastic paint chamber side and connected to 220 V with seperate wire & switch. Between the two in-line-mounted ventilators (one located at the beginning and the other at the end of suction flow), a portable S-shaped 125 mm diameter tubing of total length 75 cm is inserted. At last, a common kitchen extractor hood filter installed, to prevent paint particulates entering into the airflow circuit.


IMAGE_0174_zpst1djbg8i.jpg



IMAGE_0175_zpsk8yhakaa.jpg



IMAGE_0176_zpshgxfn07q.jpg



As I later found out when first tested the spraybooth, the ventilators proved more powerful than expected, producing a suction flow of total 300 m3/h, meaning that (if my calculations are correct) the air inside the 60 litres paint chamber is renewed every 0.72 seconds. During the first airbrushing test, I noticed that the spray beam got warped (!!!) close to 90 degrees angle, towards ventilation fan and therefore I placed additional filters to reduce the airflow power.


IMAGE_0177_zpsoc2tkuaf.jpg



IMAGE_0178_zpspdqi6wwq.jpg



IMAGE_0179_zpsmazgq0ni.jpg



IMAGE_0180_zpspu1mnl5w.jpg



Long story short? My scratchbuilt spraybooth:

  • Cost me €44 (approx $48) to buy the hardware, plus one hour work to assemble parts & install electric wiring,
  • It has a 60 liters (measures 55x45x39 cm) paint chamber able to accommodate big-sized scale models,
  • It is almost operating silently, not exceeding 20 dB when both ventilator fans are in use,
  • It is fully portable (can be assembled or disassembled in less than 10 seconds) and
  • It sucks air like an inverted hurricane, even when filters are installed!


IMAGE_0181_zps0hzvyhc1.jpg



IMAGE_0182_zps2pj4asyc.jpg



Having now a new fully functional & custom-made spraybooth, lets return back to to the painting process: All the 60 parts of the model kit, placed onto toothpicks for better handling while airbrushed and sprayed over with an overall mixture of 80% Life Color LC02 Matt Black and 20% Life Color LC37 Matt Burnt Umber acrylic as a primer, to prepare for the later paint layers. The toothpicks pinned onto cork sheet and parts allowed to dry.


IMAGE_0183_zpspfc3yua9.jpg



Behold the spraybooth filter, after 30 minutes of continuous black paint airbrushing into paint chamber. The use of this simple kitchen extractor hood filter kept the system clean. Double (or even triple) filter layer would be a good idea to reduce the airflow power in order not to warp the airbrush spraying beam (as previously described) and could ensure that components will remain spotless clean for a long time. If there was no filter at all, dirt & paint particulates would easily enter into the airflow circuit and stick onto the ventilator fans and the plastic tube inner walls.


IMAGE_0184_zpsukh3j3et.jpg
 

eddiesolo

It's a modelling time!
SMF Supporter
Joined
Jul 2, 2013
Messages
11,070
Points
113
First Name
Si.
Attractive, clever, and likes plastic! Every modellers dream gal!


Silliness aside, superb 3D work and scratch making of your air booth. Enjoyed reading, thank you.
 
N

Nick_Karatzides

Guest
The goal of modulation technique is to artificially enhance the model so the viewer sees more than what is really there. This is nothing new to us; figure modelers and 2D illustrators have been using this idea for years. Verlinden-era dry-brushing and even current post-shading trends dance around this same idea. To break it down even further, the fundamental theory of modulation effect is based upon using a singular light source, and the level to which you take this idea is inherently flexible. One of the beauties of the technique is that you can add a little, or a lot of it to your model.


Modulations effect requires three main levels of color (light, medium and dark) to achieve proper gradations between the values, which are broken into stages as you lighten each progressive step. To do so, lot of airbrushing is required to add some just a little paint layer every time. First, I had to choose a source from which the lighter areas originate. I decide to keep it very simple and intend to have the light coming from the center upper frontal area of the helicopter and will also work well with the downward slope of the top areas. The basic processes and techniques involved are designed to enhance the 3D volumes and details of a model by playing up the balance between dark VS light, shadow VS highlights and so forth. Executing this goal is accomplished primarily with an airbrush by applying gradations of color to give the model more depth. Use of masking paint is essential, in order to focus the airbrush lighter colours spraying onto specific areas only.


IMAGE_0190_zpsellagjid.jpg



Because of the subject itself, the model is predetermined to have a base coat of dark green. Thus the first layer of color I apply is a coat of very thin Life Color UA502 Dark Green acrylic paint layer, very diluted with Life Color’s acrylic thinner in a 30% paint to 70% thinner ratio. The darkest recesses sprayed first, gradually working my way up to the lighter upper surfaces. You can already see the intentional spray pattern developing from the darker lower right to the lighter upper left areas. I will maintain this pattern throughout the entire painting process to preserve continuity with the light source.


IMAGE_0191_zpspqtltdni.jpg



IMAGE_0192_zpsemyfzdva.jpg



The subsequent spraying sessions will continue to utilize very thin Life Color UA502 Dark Green acrylic paint layers as a base to varying degrees because it is the source of the dark green. I will gradually lighten the model with each successive layer as the modulation painting process continues, so the second layer of Life Color UA502 Dark Green acrylic paint as the medium layer of the base coat, is based upon a less diluted 50% paint to 50% thinner ratio. Note that the darker lower areas receive less paint as the shades are carefully blended together, as seen above. Then, I add just a few drops of Life Color UA081 Sand Yellow FS30257 acrylic paint into the mixture to lighten up this stage of paint application, being very careful to always follow the established gradation pattern. The contrast between light and dark is now starting to become more apparent here.


IMAGE_0193_zpsdckheztg.jpg



Following same painting procedures, all additional kit parts got some basic Life Color UA502 Dark Green and Life Color UA503 Light Blue acrylic paint and then gradually lighten up or became darker as required. As usual, painted parts placed onto toothpicks for better handling during airbrushing and later pinned onto cork sheet while allowed to dry overnight.


IMAGE_0194_zpsylbqw5bn.jpg
 
Last edited:
N

Nick_Karatzides

Guest
CHAPTER V - Fuselage tubular frame painting




Most of the FL-282 related WWII era pictures reveal that the fuselage truss-type welded steel tube frame on the Kriegsmarine’s early helicopters was painted light grey colour, following the general idea of the RLM 63 Light Bluegrey on fuselage fabric cover. On the other hand, the Luftwaffe’s Kolibris seem to had the fuselage steel tube frame painted in some dark colour (RLM 71 Dunkelgrün?) following the doped fabric cover designations. However, it is noticed that few Luftwaffe’s helicopters were appeared once to have the fuselage steel tube frame painted with dark green colour and later with light grey or even having a frame which individual tubes were painted in different colors. This might have happened due the fact that the Kriegsmarine’s helicopters later received by Luftwaffe kept original grey frame colour and just paint the doped fabric cover only or because the damaged helicopters were used as a source of spare parts for the remaining Kolibris.


A fellow scale modeler from UK, sent me a photograph showing the actual Flettner Fl-282 V20 helicopter frame relic as seen at Midland Air Museum on September 25th 1987, before maintenance crew attempts to restore it into normal condition. Although the helicopter’s frame looks in bad condition, it is easy to observe that it was painted with at least three or four different colours. Ofcourse, I cannot be sure if this was the actual appearance of Luftwaffe’s operational helicopters during WWII or if it is a result of poor maintenance, corrosion or even vandalism. Anyway, as long as we accept that the apparently light blue & light grey colours are WWII Luftwafe authentic and not some post-War overpainting job, the picture is a valuable reference source and offers a general view of the paint used on the fuselage & undercarriage frame.


IMAGE_0195_zps6jvygcjr.jpg




Because of the subject itself, the model is predetermined to have a base coat. Thus the first layer of color I applied was a coat of very thin Life Color UA503 Light Blue acrylic paint layer, very diluted with Life Color’s acrylic thinner in a 30% paint to 70% thinner ratio. The darkest recesses sprayed first, gradually working my way up the frame, keeping to the lighter areas on central parts of each tubular part. Same pattern maintained throughout the entire painting process to preserve continuity with the light source and subsequent spraying sessions continued to utilize very thin Life Color UA503 Light Blue acrylic paint layers as a base to varying degrees because it is the source of the light colour. The tubular frame got gradually lighten with each successive layer as the painting process continued, so the second layer of paint as the medium layer of the base coat, is based upon a less diluted 50% paint to 50% thinner ratio. Note that the darker areas receive less paint as the shades are carefully blended together. Then, I added just a few drops of Life Color LC01 Matt White FS37925 acrylic paint into the mixture to lighten up this stage of paint application, being very careful to always follow the established gradation pattern, untill contrast between light and dark started to become apparent.



IMAGE_0196_zps1lldlxml.jpg



IMAGE_0197_zpsbuvy16n4.jpg





Following same painting procedures, each part (except the parts related to the engine and the drive transmitter) of the kit got some basic Life Color UA503 Light Blue acrylic paint and then gradually lighten up or became darker as required. The kit parts that were supposed to be painted in shades of wood, also got some acrylic base paint. As usual, each part placed onto a toothpick for better handling during airbrushing and later pinned onto cork sheet while allowed to dry overnight.


IMAGE_0198_zpsaqndwfzm.jpg

 
N

Nick_Karatzides

Guest
Replicating wood is one of those feared tasks in modeling that many try to avoid at all costs. Having a couple of different methods in mind to simulate wood in scale, but knowing that the following method is much accurate and easier to re-do if something goes wrong, I found good idea to follow some tricks I learned from other builders and changing things that works for me. To simulate the look of rough wood from which was made the helicopter’s tail section frame, I split the areas to be painted in different categories and sprayed four different primary colors on each area. I used the following colors, which seemed to work OK for me. It is important to use an acrylic base colour because it is chemically impervious to the steps that follow.

  • FS31643 available by Life Color as LC21 Matt Flesh Carnicino acrylic paint,
  • FS30400 available by Life Color as UA084 German Desert Yellow acrylic paint,
  • FS30257 available by Life Color as UA081 Sand Yellow RLM79VAR acrylic paint and
  • FS30140 available by Life Color as UA085 US Brown Marrone acrylic paint.


IMAGE_0199_zpsito8stor.jpg




Because the wood composition and quality was not same everywhere, I also use the Life Color's “Weathered Wood” 6-pack set, of 22 ml bottles and repeatedly covered some areas with different shades of very very very diluted (10% paint to 90% thinner ratio) light layers over the previously applied base colours. To do so, I used the following:

  • Life Color UA717 Wood Cold light base acrylic paint,
  • Life Color UA718 Wood Cold light shade acrylic paint,
  • Life Color UA715 Wood Warm light shade acrylic paint,
  • Life Color UA716 Wood Warm light shade 2 acrylic paint,
  • Life Color UA714 Wood Warm light base acrylic paint and
  • Life Color UA713 Wood Warm dark shade acrylic paint.


IMAGE_0200_zpsexbvbsbb.jpg




I'm not really sure if it is actually vissible into following pictures, but repeatedly applied very diluted & light layers, resulted more natural look of wood shades, without even aplly any oil colours yet. The first applied base colours, are visible under the later applied layers of the “Weathered Wood” shades, setting a base for the next process. As soon as paint dried, I repeatedly sprayed a very diluted mixture of thinner, Life Color UA717 Wood Cold light base acrylic and Life Color UA716 Wood Warm light shade 2 acrylic at a ratio of 90% to 5% to 5%, over selected areas such as the leading edges and a few other points, that should look more enlightened.

IMAGE_0201_zps3dj40fge.jpg




To apply the wood grain on wide areas covered with plywood, I used wood grain colour from artists oil paints. The higher quality artists grade paints work much better because the pigments are much more finely ground. I believe that “502 Abteilung” by MIG Productions, “Van Gogh” and “Talens” are good brands. The colour of the background coat and the oils may be varied for different kinds of wood. However, be aware that selecting a good colour combination that gives that natural look is tricky. I recommend experimenting on a test piece first before committing yourself to apply the mixture on your latest wondermodel. I arrived at my blend of Burnt Sienna, Yellow Ochre and Raw Umber in a ratio of 25% to 25% to 50% after trying with Raw Sienna (too red), Yellow Ochre (too orange), and one or two mixed combinations.


IMAGE_0202_zpscdzrzr34.jpg



IMAGE_0203_zpsllalmclk.jpg



IMAGE_0204_zps9w5qj8qn.jpg


 
Top