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44 оттенка Olive Drab


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19 минут назад, Tali сказал:

А можно тезисно суть изложить, а то читать леньки? )

Грят, что в ВС США ни разу не завернули краску, потому что она была "не того оттенка" а использовали несколько дюжин разных красок, оттенок которых различался и на только что окрашенных самолетах, и менялся по-разному в процессе выгорания. В 1946, используя определенную систему с умным, но скучным названием, описали аж 68 оттенков Олив Драб. 

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29 минут назад, Tali сказал:

А можно тезисно суть изложить, а то читать леньки? )

Тебе читать леньки, а мне писать леньки) Смотри картинки)) Ну, или вот я вытащил текст, кинь в гугл-транслейт)

 

When I started modeling at age 11, a tin of Humbrol paint was quite right for the job, and I was happy. represented by a color space. Łe fact that more than one color space is in use today further underlines the difficulty of assessing colors.

While doing research, I happened upon a 1946 article “Color Stability of Olive Drab Infrared-Reflecting Camouflage Finishes” by E. E. Jukkola and Roy Cohen, believe that any modeler with that attitude is sane but, as I grew older, I became insanely invested in color accuracy.

While we take color for granted, how we see it involves light, materials, and that unreliable machine that is the human brain. Łere are also anomalies: 10% of the popu- lation — and possibly 10% of modelers — are colorblind.

We often use standards, such as RLM, Federal Standard 595b, and British Standard to determine shades, but the problem with relying on a standard is that it tells you how a color must look, not how the color will look in practice.

Łat means it can be useful to refer to a color atlas and a theoretical model, usually If you are reading this, you already prob- ably know many things about olive drab, thanks to the work of enthusiasts, particu- larly the writings of Dana Bell.

We know that the primary shade used during World War II was Dark Olive Drab No.41. Although it was officially super- seded by olive drab ANA 613 in September 1943, evidence suggests No. 41 continued to be applied throughout the war.

With that standard, common color, we know that several dozen diRerent paints were accepted for use by the USAAF, no paint was ever rejected for being a diRerent shade than specified, so olive drab could look diRerent when new and diRered even more as it aged.

of the Materiel Command at Wright Field, Dayton, Ohio. It included a color descrip- tion for 68 olive drab dopes, lacquers, and enamels, both as new and after six months exposure to the Miami sun. Each was described using a Munsell Value, a system originated in the 1930s and still in use today. Munsell is a color space that mea- sures hue (10 values, for example, R-red, Y-yellow, GY-green yellow), value (light- ness from 0 for pure black to 10 for pure white), and chroma (saturation starting at 0 for neutral colors and increasing without end, but a vivid color might measure 20). So, any color is precisely defined by three numbers.

For olive drab, the hues are Y, GY, and a single occurrence of YR. Values range from 3.5 for fresh paint to 5 or 6 after sun expo- sure. As a drab camouflage color most olive drab chromas measure about 2 even after weathering.

Łe official Munsell measure for No. 41 Olive Drab was 5Y 3.2/2. Only one of the 68 colors reviewed in the article, Dope No. 9, matched those values. Since most of the aircraft serving in WWII were metal- skinned, I stuck with the 22 enamels.

Ironically, of those, not one matched when new, but enamel 21 did after six months of sun exposure! After extended harsh exposure, many of the enamels changed, some to 7.5Y 4.7/1.5 — consider- ably lighter — or changed color, switching to GY or, in one case, 10YR 4.5/4.

Taking the information from a table in the report, I prepared the table below, which illustrates the diRerences between

 

the olive drabs both new and after six months of wear. Łe first part shows the Munsell values, and the second visualizes those using RGB values developed with the excellent program “Color Mixing Tools” by Professor M. Kovacs-Vajna of the Department of Information Engineering, University of Brescia. RGB has many limi- tations, as printing colors in a magazine has, but I think it is useful to give a quick idea of how olive drab could look.

Online at FineScale.com is a table showing the formulas used to mix the orig- inal shades, including pigment to carrier ratios and fillers. If you ever feel the need, you can reconstruct all forty-four shades of olive drab enamels. As Dana Bell antici- pated, all the formulas were diRerent; the pigment most used is chrome yellow, fol- lowed by antimony sulfide and red iron oxide.

It is the same situation with the known formulas for World War II German RLM colors, and it simply means that you can arrive at the (almost) same destination fol- lowing many diRerent paths.

I told you that color is extremely com- plicated.

But having the original formulas means that using alkyd resins you can re-create the original color.

To have a correct idea of how a histori- cal color looked, you can use contemporary measures, you can measure contemporary standards, measure wartime relics, and re- create a color using historical pigments.

If all these things agree, you have a very good possibility that you are near the truth. And between variances in manufacture and the trials of weather and wear, most varia- tions of olive drab can be considered correct.

 

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1 час назад, Tali сказал:

Единый олив дроп мог бы быть только в цеху. 

А после выкати самолета оттудова и начала эксплуатации.... разброд и шатание, да

 

Узбагойся!) Его даже в цеху, судя по-всему, не было)

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2 часа назад, Лекарь сказал:

все это очень напоминает возню вокруг да около про 4бо ....

Я так понимаю, возня вокруг 4БО более характерна для наших местностей, а на счет OD - для заморских, но этиология и патогенез идентичны)))

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