Tutorial Novice - DH-98 Mossie - WWII ID Model

[buccfan]

Another excellent build Lou, looking forward to seeing that colour scheme.Regards Paul J.

[lastvautour]

I don't know what cadmium yellow is suppose to be, but this closely matches the colour in my Mossie in Action booklet I have.

Lou

[lastvautour]

It appears that the original W4050 had short nacelles but the refurbished W4050 has the long nacelles, hence my will represent the refurbished version.

Lou

[Balsabasher]

Way to go Lou,I think the longer extended nacelles improve the looks a lot besides the aerodynamic properties.
Barry.

[lastvautour]

The canopy framing is done with narrow masking tape cut on a jig using a pane of glass and lines printed on paper. The tape is applied over the glass and that placed over the printed lines. A metal straight edge and shape blade does the cutting. I lift the tape with the tip of a hobby knife blade and apply using tweezers. Works much better on a gloss finish such as W4050. In this case Testor's enamel flat black is used as flat black acrylic does not adhere well to gloss finishes. I was planning on gloss black, but alas the roads are icy and I am all out of gloss black. I first applied a light coat over the tape to reduce bleeding and then applies a second coat. Same thing goes for the spinners. I have not decided if I will add whirling blades yet. As the photos show, a bit of touch up will be required once the paint has cured some more. A shape blade can carefully remove the excess paint and smooth out the framework.

Lou

[Balsabasher]

Lou that yellow shade is not a bad match.

Barry.

[lastvautour]

Jorrit, any news to report on your Mossie. I have two decals to add to mine. I was hoping to add you Mossie to the 2013 builds.

Lou

[Balsabasher]

Lou a bit of information that you only find here on SMM-Cadmium yellow is made from extracted cadmium,Stromeyer discovered metallic cadmium in 1817 but production of the cadmium pigments was delayed until about 1840 because of the scarcity of the metal. A natural mineral, green ochite, is known in nature but was not used for pigments. Cadmium sulfide was prepared with an acid solution of cadmium salt (either chloride or sulfate) which was heated with hydrogen sulfide gas until a powder was formed. Hues ranging from a lemon yellow to a deep orange were made in this way.

The deeper varieties of cadmium yellow and orange were the most permanent. The paler varieties were known to fade on exposure to sunlight. All of the cadmiums were brilliant and the deeper shades had the greatest tinting strength. Field claimed that the best cadmiums were those produced without an excess of sulfur and that the permanence of a carefully made cadmium was improved when mixed with lead white using only an ivory knife. They were used in both oil and watercolor but could not be mixed with copper-based pigments.

Prior to the discovery of these ingredients for making yellow another bizarre method was used,ince ancient times in the Far East, Indian yellow was introduced into India from Persia in the fifteenth century. The amateur painter, Roger Dewhurst, recorded the use of Indian yellow in 1786. He noted, in letters to friends, that it was an organic substance made from the urine of animals fed on turmeric and suggested that it should be washed to prepare it for use as a pigment. Its source remained a mystery for many years. Mérimée, in his book on painting of 1830, didn't believe it was made from urine, in spite of its odor. George Field believed it was made from camel urine.

It was not until 1886 that the Journal of the Society of Arts in London embarked on a systematic inquiry of the pigment known as purée of India. An investigator began his search at Calcutta. He was sent to Monghyr, a city in Bengal. There, he found a small group of cattle owners who fed their cows on mango leaves and water. The cows' urine was a bright yellow. They were extremely undernourished as they only received normal fodder occasionally. Other Indian dairy cattle farmers of the same caste despised these 'colormen' and limited their production. They were reportedly producing one thousand to fifteen hundred pounds of the pigment per year but the investigator doubted the production figures when he saw the small number of cows involved.

Indian yellow was used in both oil and watercolor painting. It was favored for its great body and depth of tone. It had a peculiar characteristic in watercolor for it faded in artificial light and in the dark but was fairly stable in direct sunlight. In 0il, it dried slowly, as it required one hundred percent for grinding; the addition of varnish improved its drying. It could be mixed with all other pigments but in oil its lightfastness was improved when isolated between layers of varnish.

Law prohibited the production of Indian yellow in the early years of the twentieth century. Wehlte adds that its departure may have been due to the Indians for whom the torture of sacred animals was against their religion. It also may have been due to British laws that prohibited cruelty to animal.

So now you know !

Barry.

[buccfan]

That yellow certainly glows at you Lou, it looks a good match to the picture. Regards Paul J.

[lastvautour]

W4050 is ready for roll out.

Lou

[cliff strachan]

A fantastic Mosquito, Lou.
Cliff.

[Balsabasher]

It looks truly stunning Lou,a job well done.
Barry.

[lastvautour]

I appreciate your comments.

Lou

[1.JaVA_LGorrit]

W4050 is ready for roll out.

Lou

Really a great job done here, Lou!
My Mossie will not be included as finished in 2013.
I will wait for the holidays to pass and continue with the painting in January.
Construction is complete, will keep you informed of any progress.

Jorrit

[lastvautour]

I look forward to it.

Lou