USAAF in WWII WIP

[Chas McHugh]

It has been a bit quiet around here, so I thought I would share an update on my B24. A lot of travel has impeded quick progress, but in turn allows sections to dry before continuation. I am studying the effects of battle and weather on wartime photographs in order to avoid model box appearance and demonstrate some wartime reality. Sooty engines appear to be the order of the day as opposed to the white staining on RAF bombers. No idea why though I undertstand that the white was something to do with quality (or not) of the fuel at that time. The working area is quite small to avoid getting paint where it is not wanted and being right handed, I find it easier to work from left to right. (The aft fuselage was painted in isolation and is long since dry. This means that some of the problems that are popping up need to wait for solutions. I particular the common tone around the nose wheel that effectively camouflages the wheel out of sight. I am not in the least worried about this but patience is necessary.
The soot from the engines will eventually discolour the tail fin/rudders and some battle damage repairs would be nice but little photographic evidence of this particular aircraft exist; not helped by a change of identity during its wartime service.

[shadwell]

nice work so far chas , the lighting is going good particularly on the front section of the aircraft , it is superb in that area and is already bringing the aircraft to life !!

[Chas McHugh]

Steady progress continues although for more work has been done than is immediately obvious.

The detail found in the engines need to be literally carried across the board. Much background research has been done into weathering and staining of the wartime aircraft and oily engines is the order of the day.

[Chas McHugh]

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[shadwell]

nice progress chas !!! could the fuel burn stains not be such a simple answer as white deposits signifying a lean burning engine set up and black deposits simply meaning a rich burning engine set up

lean and rich burn would also be determined by the altitudes flown at by different aircraft presumably

[Chas McHugh]

Update 24 March 12
I really enjoy seeing the final elements of white canvas disappear and I hope to have completed the base aircraft colour tomorrow. There is a fair ammount of detail already but there will be much more before 'finished'.


Today I used a technique never used before: (Do we ever stop learning) in which I used a craftmaster frawing table on a slight tilt, using G clamps carefully positioned on the corner to hold the canvas in place, but here is the new bit; I placed two table top books (Robert Taylors as it happens) under the canvas which gave me a firm canvas that I could lean on without damaging the canvas. It worked a treat:


I usually use a Mabef easel that tilts to the horizontal, but for close up detail, this was a lot easier and enabled me to sit rather then stand.

[Chas McHugh]

After finishing stage one of the aircraft tomorrow, I will import this image into Coral Draw and superimpose vertical arrows from the wingtip down to the surface to confirm exactly where in the painting the aeroplane is. This is to ensure that the Steam Roller fits in with the bigger picture.

[Chas McHugh]

31 Mar 12:
Just the rear turret and "Scrapper" wording on the nose for completion of the first phase of the aircraft. Further detailing will follow late, but I am about ready to move on to other areas of the canvas now.

[Chas McHugh]

Now the real fun starts; turning a two dmensional canvas into a three dimensional image. Low light levels mean that shadow is hard come by and warm/cool colours are the way ahead.


The aeroplane is nowhere near as finished as it appears to be, and the props are going to be fun!!

[shadwell]

terrific !! i'll risk a guess we're in for a wet road scene ?? this is becomming a superb work !!

[Chas McHugh]

You know me too well

However why is important to the inexperienced visitors, so I will explain. A composition needs balance, which is best achieved with a common colour across the piste. For aviation works, this can be a challenge as good balance has common colours in both skyscape and landscape; clearly not an easy thing to do. By having a wet/damp road, I can bring the sky colour down and also reflections add interest. The downside is that there is no quick fix for a good wet road; it takes time, patience, and layers. We are already 4 months down the road from inception, and other would have painted many paintings in that same time. I cannot afford a Robert Taylor original, so I do my own and take my time. Frank Wootton used to apply a brown glaze over the entire canvas, sky included, but I am not that brave.

[shadwell]

i recently tried this theory in acrylics it is amazing how much life it breathes into a painting even by just adding a few puddles to add sky coloured reflections it makes the scene so much more vivid !!

[Chas McHugh]

Slowly plodding across the landscape having used glaze to the right of the road and raw paint to the left. The glazed bit looks far nicer on the real thing as it takes harsh edges out as would be the case with distance.


I now have to decide whether to stick to reality and simply have an open field or use some artistic licence and include airfield buildings. I also have the option in both scenarios to have aircraft on the ground but do not wish to overcomplicate the overall composition. Decisions.. Decisions..

[Greenbrier33]

Outstanding!
Love these aircraft.

Dave

[Chas McHugh]

Paint now covers almost all of the canvas and it appears finished. A long way short of the truth as the lower left corner is undercoat for me to work on when dry to get a texture and realistic grass effect.


I would like to move onto new works but the patience needed is within the scope of my own self-dicipline not to ruin it in the final straight.