greater or lesser degree almost
everywhere, and care needs to be
taken to remove it from such fragile
pieces as the fuselage frames and
controls. My survey also revealed
that several holes needed to be
opened up in the fuselage halves,
to allow control lines to pass
through or be attached, as well as
those for the engine air intakes.
Inside there is a nice
representation of the wooden
fairings, which call for the usual
wood-and-oil technique to
achieve a nice authentic look, asdoes the cockpit floor. Above and
below these fairings the fuselage
was fabric covered, and despite
whatever bright colours might be
applied to the exterior, the original
lozenge print would have been
visible inside. Likewise the lozenge
would also appear on the rear
bulkhead behind the pilot’s seat.
The detail on the cockpit
components is very soft, but
with careful clean up and equally
careful painting, one can arrive at
a reasonable representation of the
”office”. I used instrument dials
from the Airscale World War One set
(AS32WW1) for the few instruments,
as they were far superior to
those supplied with the kit.
The top decking can be prepared
and painted separately, and
fits very well. That being the
case, I closed up, sanded and
masked the fuselage, without
attaching the decking in
place. This had two benefits:
it saved masking this section,
and allowed access to the insides
after all the painting and decaling
was complete, thus simplifying
the addition of control wires, etc.BRIGHT, BRIGHT COLOURS
Once all was smooth, I primed
the fuselage, tailplane, fin, and
rudder with my usual Tamiya
Fine Surface Grey. Since the top
coat was yellow, I followed the
primer with a coat of Tamiya White
Primer, smoothing it down in
between. Pre-shading was next,“ONE SCHEME STOOD OUT FROM THE
REST; THAT OF GOTTHARD SASCHENBERG’S
BLACK AND YELLOW CHECKED AIRCRAFT”
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