Info EDUARD

Monthly magazine about history and scale plastic modeling.

05/2014

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    INFO
    EDUARD
    Vol 13, May 2014
    ISSUE 47
    BUILT
    HISTORY
    Bf 109G-6 engine
    Bf 109G-6 speedbuild
    COLORED BANDS AND WHITE TAILS,
    OR ‘BLAME IT ON GOERING’
    eduard
    1/4 8
    EXTRA 12 PAGES
    price US $ 0.00

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    INFO
    EDUARD
    ISSUE 47
    © Eduard - Model Accessories, 2014
    FREE FOR DOWNLOAD, FREE FOR DISTRIBUTION!
    This material may only be used for personal use. No part of the text
    or graphic presentations can be used in another publication in any other
    media form or otherwise distributed without the prior written permission
    of Eduard - Model Accessorie and authors involved.
    Editorial and Graphics - Marketing department, Eduard - Model Accessories, Ltd.

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    May 2014
    eduard
    CONTENTS
    4
    20
    24
    8
    6
    30
    31
    32
    35
    38
    EDITORIAL
    KITS
    Bf 109G-6 - EXTRA
    BRASSIN
    BIG ED
    PHOTO-ETCHED SETS
    HISTORY
    BUILT
    ON APPROACH
    RELEASES
    (MiG-21MF 1/48, Bf 109G-6 1/48)
    (contents, recommended accessories, interviews)
    May 2014
    Bf 109G-6 engine 1/48
    Bf 109G-6 speedbuild 1/48
    June 2014
    Colored Bands and White Tails, or ‘Blame it on Goering’
    Issued by Eduard-Model Accessories, spol. s.r.o.
    Mírová 170, Obrnice 435 21
    support@eduard.com www.eduard.com

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    EDITORIAL
    May...thoughts turn to love, but that has very
    little to do with our May activities, revolving
    around the Bf 109G-6 kit and its associated
    accessories. But, fortunately, love blooms at
    all times of the year, for better or for worse.
    The evolutionary climax of the Bf 109 it-
    self evokes, in many, thoughts of the darkest
    chapter in human history and is one of the
    undying symbols of power of Nazi Germa-
    ny. The role of the Bf 109 within the annals
    of the world and its objective assessment is
    yet to be made, but technology, of course,
    has no ability to determine its own utility wi-
    thin the purposes of good or evil. The same
    can be said for the people who are in a po-
    sition to use said technology, at least it can
    be said to some extent. An example can be
    taken in Ludwig Franzisket, who’s elegantly
    painted aircraft is a marking option in the
    current kit. A successful warrior, holder of
    the Knight’s Cross and other high awards,
    Geschwaderkommodore of JG 26, who
    after the war began a career as a doc-
    tor of philosophy at the Munster university,
    and became the curator and professor of
    the Westfal Museum of Natural History. His
    story is not unique, and falls into the mo-
    saic that is made up of millions of people
    who had the task of developing the modern
    world. Although that modern world has
    a long list of faults, and taken out of context,
    these can seem very dramatic. Despite that,
    humanity has never had it better than now.
    Something similar can be said of our model.
    It’s development was plagued with teething
    troubles. The Bf 109 is not exactly blessed
    with simple shapes. While developing these,
    we spent a lot of sweat, and we dealt with
    a lot of anomalies and discrepancies and
    made a lot of repeated trips to museums to
    conrm or deny what we were doing. Some
    of the anomalies weren’t apparent until they
    were brought to our attention by modelers,
    and for this we extend our gratitude for the
    advice and recommendations that allowed
    us to produce a better end product. We did
    not accept all that came our way, such as in
    matters that concerned truly minor details
    that would hardly be noticed by anyone ex-
    cept diehard hard-core badasses, or in ma-
    tters that concerned discrepancies in refe-
    rences, and there were more than a few of
    those encountered along the way. In some
    other cases, it wasn’t really a question of
    a mistake. I admit that in other cases, such
    as the one concerning the not completely
    accurate riveting of the rear fuselage, we
    thought long and hard about corrections.
    Fixing such issues was neither simple nor
    cheap, and in my opinion not signicant to
    the nal outcome, but we went ahead with
    the corrections anyway, since there was al-
    ways that certain characteristic element to
    contend with. Rivets are ty-
    pically hinted at rather than
    fully represented on our
    models, so such things are
    likely to be noticed only by
    those who know the pattern,
    and all others will accept
    the rivets represented as a
    standard feature of Eduard
    kits. Our hope is that this
    detail will be accepted and
    appreciated as the nal
    step that elevates this kit
    over the top. Despite wha-
    tever errors and limitations
    the kit may posses that are
    yet to be found, the box
    certainly does contain a kit
    of amazing quality, clean
    moldings, and a multitude of breathtaking
    and ne details. This is what I consider the
    main advantage of our new Messerschmitt.
    Should you develop any doubts whatsoever
    after reading any negative press about this
    kit, glue it together for yourself and when
    done and in all its glory, make the determi-
    nation for yourself. I can promise you mode-
    ling pleasure.
    The most common question we have encoun-
    tered on releasing this kit, is ‘what’s next’?
    This is a question that has always had the
    tendency to irritate me to no end, but I think
    I have gotten used to it, and so I will divulge
    information about other incarnations of the
    Bf 109G kit to come. As you are probably
    well aware, the plan is to produce the enti-
    re family of the Bf 109G and F. The F will
    be here by the fall. The spring and summer
    are being dedicated to the G versions. We
    have completed preparations on the G-2,
    G-4, G-6 and G-14. These versions will
    be concentrated in the popular Royal Class
    boxing. This edition will contain parts for
    two complete kits, will include fabric seat-
    belts, some Brassin accessories, specically
    wheels, underwing cannon gondolas and
    WGr.21 rocket pods. Also included in the
    kit will, again, be a beer glass, and part
    of the marketing program surrounding this
    kit will be the introduction of a beer, the
    ‘Black Gustav’, which, however, will not
    be included. In all likelihood, the most at-
    tractive bonus piece in this kit will be a pie-
    ce of Bf 109G-14, Black ‘4‘, W.Nr.781308
    from 10.?JG 4, shot down on November 9,
    1944 in the Battle over the Ore Mountains.
    The piece of this Bf 109 hails from the same
    battle and general location as the piece of
    the Fw 190A-8 from that Royal Class kit re-
    leased seven years ago. Markings of this
    aircraft will total sixteen. The selection pro-
    cess has been a difcult one for us. There is
    zero shortage of interesting Bf 109Gs, and
    the problem wasn’t which to pick, but rather
    which to leave out. We ended up having
    to leave out subjects with reckless abandon,
    until we were left with sixteen choices that
    we are certain are colorful and irresistible.
    It includes some of Germany’s top aces,
    Hartman, Barkhorn, Bar, Trautloft, and is
    rounded out with other German and foreign
    aircraft, including Finnish, Romanian, Italian,
    and our Slovak brothers will be pleased
    with the inclusion of an aircraft own by
    Jan Reznak. And we will also be doing the
    beer coaster thing again! The Royal Class
    Bf 109G will be released in July, and will
    be available for the rst time at Kit Salon in
    Nymburk on June 28, 2014.
    And since we jumped into July a bit, some-
    thing should probably be disclosed about
    June. It might seem that with the introduc-
    tion of the Gustav in May will make that
    month pretty tough to surpass, but June’s
    plans will have something to add to that no-
    tion! As with the choice of new photoetched
    items, in which the Bf 109 will again gure
    prominently in the form of the Bf 109G-10
    in 1/32nd scale, Brassins, masks and kits
    will be worthy of closer inspection at the
    very least. There will be a record nine new
    Brassin sets on offer along with one new
    BIGSIN that will include some brand new
    pieces. At the forefront of this are two new
    machine guns in 1/35 scale and these will
    open the doors for a lot of accessories for
    AFVs that we want to develop as a line in
    conjunction with our activities surrounding kit
    releases, about which I will make a few co-
    mments in a bit. It’s a similar situation with
    set 672034 German Submarine 8.8cm gun
    in 1/72. This is designed for the Type IXC
    Sub from Revell. We’d also really like to
    intensify the production of Brassin sets for
    naval subjects. Also not missing from the line
    will be a set for the Bf 109G, in this case
    eduard
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    INFO Eduard - May 2014

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    EDITORIAL
    a set of 48th scale exhausts. June’s mask list
    will also be at a record level.
    Turning our attention to June’s new model
    kits, there will be a total of ve. Among
    them will be the inaugural release of AFV
    kits in 1/35. The basis of these Propack
    kits will be built around plastic supplied by
    other manufacturers. In the case of June’s
    Pz.Kpfw.VI Ausf B Tiger II, the plastic will
    hail from Academy. In the fall, other similar
    kits will follow, specically the M4A1 Sher-
    man (ex-Tasca) and the LT-35 (again, from
    Academy).
    Further to June’s releases, there will be two
    Limited Edition kits, both in 1/48. ‘Bicen-
    tennial Phantoms’ will mirror in its content
    the ‘Good Morning Da Nang!’ kit. The dif-
    ference will come in the decal options that
    will offer four F-4B/N commemorating the
    200th anniversary of the Declaration of
    Independence. The other Limited Edition
    kit will be the tried and true Spitre Mk.IX
    in invasion stripe camouage schemes. It is
    being released to commemorate the 70th
    anniversary of the Normandy invasion. This
    is not to be confused with the Weekend Edi-
    tion offering of the Spitre Mk.IXe. The list
    will then be rounded out by the second edi-
    tion of the popular Fw 190A-5.
    In June, we should also be receiving a re-
    supply from Gunze, including the new Acri-
    lison paints. At the moment, this line has
    a limited list of shades available, but in the
    future, they are to replace the H line. These
    too will be rst introduced at Nymburk.
    That’s all still pretty far away, so let’s get
    back to May! As has become customary
    for us, we will also be releasing a bunch
    of details to go with the Bf 109G-6 for
    those of you who can never get enough of
    such things. The Brassin line will offer up
    ve new sets, including the cockpit and en-
    gine. Among photoetched items, there will
    be a set of fabric seatbelts. All of these
    are available from our website, along with
    other new items. Even the things that are not
    connected to May’s centrepiece are not in
    short supply. If any should have attention
    drawn to them, it would have to probably
    be the photoetched brass set for the D9R
    Doobi bulldozer in 1/35. For ship modelers,
    we have the continuation for the 1/200 sca-
    le USS Arizona, part of which includes a set
    of US Navy gures, and the BigEd set for
    the Type IXC Sub. The largest selection is
    traditionally reserved for aircraft modelers,
    and I would like to draw attention to sets
    for the F-4C, Me 410 and the L-29 Deln,
    all in 1/48 scale. So, May will not be just
    about the Bf 109G-6. There will also be
    another release of the Weekend kit of the
    MiG-21MF, which was the main topic of dis-
    cussion three years ago. It is interesting to
    note that in terms of mistakes made, that
    fueled criticisms back then on the MiG, and
    what we are releasing today in the form of
    the Bf 109G-6, illustrates just how intense
    the development of the hobby has been not
    only around the world, but within our own
    company as well. It is clear that the goals
    and expectations are still growing. We will
    attempt to satisfy.
    I also would like to say a few words about
    organization. There will be a live chat on 6
    May at 20.00 (8 PM) o’clock that will by no
    means be limited to the Bf 109G-6. I will
    answer any and all hobby related questi-
    ons, and I will do so clearly.
    I would like to apologize for the delay in
    the initiation of the tree exchange for Kit
    2113 ‘Czechoslovak Fifteens’. It was caused
    by a delay in the modication of software
    on our e-shop, which is supposed to actu-
    ally streamline the exchange of the parts.
    The middle of May will also see the move
    of our retail and distributor departments to
    a new space in Most. Over the course of
    said move, it can expected that there will
    be some slowdown in our service, which will
    be inevitable but temporary.
    And with that, my friends, I wish you an en-
    joyable read of this issue of our newsletter,
    and a enthusiastic look at our new Bf 109G-
    6! I would recommend a glass of cognac
    during the internet discussion to promote
    a tranquil atmosphere and should you feel
    a shot of adrenaline permeating your veins,
    just think back at the MiG-21 and Gabor’s
    nose!
    Happy Modeling!
    Vladimir Sulc
    eduard
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    INFO Eduard - May 2014

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    KITS
    (no mask, no photo-etched set)
    1/48, Cat. No. 84126
    MiG-21MF
    MiG-21MF, Slovak Air Force, 4th Flight,
    Sliac AB, Slovakia, ca.1999
    RECOMMENDED ACCESSORIES:
    D48010 MiG-21MF stencils Czech (stencils)
    EX337 MiG-21MF Weekend (mask)
    FE571 MiG-21MF late interior S. A. (PE-set)
    FE569 MiG-21MF early interior S. A. (PE-set)
    48702 MiG-21MF exterior (PE-set)
    48703 MiG-21MF accessories (PE-set)
    648027 MiG-21MF/ SMT exhaust nozzle (Brassin)
    648035 MiG-21MF interior early (Brassin)
    648036 MiG-21MF interior late (Brassin)
    648026 MiG-21 wheels (Brassin)
    648049 MiG-21 wheel wells (Brassin)
    648047 IAB-500 for MiG-21 (Brassin)
    648064 MiG-21 air brakes late (Brassin)
    648080 MiG-21 undercarriage legs BRONZE (Brassin)
    648027
    648036
    648026
    648080
    648064
    648049
    BUY MiG-21MF 1/48
    eduard
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    INFO Eduard - May 2014

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    KITS
    BUY Bf 109G-6 1/48
    5 markings
    Cartograf decals
    color photo-etched set
    painting mask
    Flown by Maj. Ludwig Franzisket, CO of I./JG 27, Early 1944
    Flown by Oblt. Alfred Grislawski, CO of 1./JGr.50,
    Wiesbaden – Erbenheim Air Base, September, 1943
    W.Nr. 18807, Flown by Ofw. Alfred Surau, 9./JG 3,
    Bad Wörishofen, September, 1943
    W.Nr. 440141, Flown by Oblt. Wilhelm Schilling, CO of 9./JG 54,
    Ludwigslust Air Base, February, 1944
    W.Nr. 27169, Flown by Fw. Heinrich Bartels, 11./JG 27,
    Kalamaki Aireld, November, 1943
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    INFO Eduard - May 2014

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    KITS
    EXTRA
    sprue T
    sprue K + N
    sprue J
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    INFO Eduard - May 2014

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    KITS
    EXTRA
    sprue H
    sprue I
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    INFO Eduard - May 2014

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    KITS
    painting mask
    color photo-etched set
    decals
    eduard
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    INFO Eduard - May 2014

  • Page 11

    KITS
    RECOMMENDED ACCESSORIES
    648140
    Bf 109G cockpit
    1/48 Eduard
    648147
    WGr.21 for Bf 109G
    1/48 Eduard
    648149
    Bf 109G-6 wheels
    1/48 Eduard
    648148
    Bf 109G cannon pods
    1/48 Eduard
    648141
    Bf 109G-6 engine and guns
    1/48 Eduard
    eduard
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    INFO Eduard - May 2014

  • Page 12

    KITS
    Standa Archman
    n
    Standa, do you follow any discussion on
    the Bf 109G-6, on Facebook and discussion
    forums?
    I only tend to read entries that my colleagues
    point out to me. I will follow them more once the
    model has been released.
    It’s already getting hot. Have you noticed
    the debate about the faulty riveting on the
    rear part of the fuselage?
    I have not, but I know about it. We discussed
    this and put it right.
    Why was it faulty?
    Unfortunately, I received my information too
    late and I did not remember the same thing
    affecting the Bf 109E. The corrections were
    quite complex. I am surprised the boss allowed
    it. I pushed for the repair, so hopefully I correc-
    ted my mistake and I hope that the strengths
    of this model kit will prevail, and this faux pas
    will prove to be insignicant. For that matter,
    if you put the correct and faulty fuselage next
    to each other, you will have difculty telling the
    difference.
    So, historical facts have been taken into
    consideration. How important is the accu-
    racy of the model and its details for you
    personally?
    Of course, I try to achieve perfection. But I have
    to consider many other, mostly technological
    issues, and I have to say that some details are
    perhaps less important than they are for mo-
    dellers, for example. Moreover, we get some
    bits of information too late. We need to adjust
    the process of project management. Hopefully
    the managers will forgive me this time.
    I suppose the question is why running
    around the actual plane with a camera did-
    n’t give you the detail shots you needed.
    Let me be honest. If I nish the G-4 rst, and my
    preparations show what details have changed
    on the G-6, compared to the G-4, I will focus on
    them. And if the details are things like a bump
    on the transition between the fuselage and the
    wing that was not pointed out when the project
    was being prepared, I will not notice them. And
    most of the time I will not even shoot it.
    So what do you study on
    the real plane while you
    were preparing your data?
    Mainly the shape and lines of
    the plane, and the details and
    dimensions. We often study
    things that cause problems in
    design, either because we lack
    data or the detail is not clear
    from the pictures.
    Do you measure the whole
    plane, including all dimen-
    sions? Do you produce your own drawings?
    We measure cuts, angles and partial dimensions
    that we connect with various drawings that are
    available. With recent experience, we are even
    forced to double check the overall dimensions.
    And how is that working?
    I am condent about the parts that I have me-
    asured. I think they’ve worked out great. There
    are some problems with parts that I did not pay
    attention to on the real plane. These are wei-
    ghed against photos or drawing.
    Why do you pay no attention to some parts
    when studying the real machine? Is it be-
    cause you are familiar with them or is it that
    when you are standing by the plane, you
    don’t realize they could cause problems?
    There are several reasons. For example, a gi-
    ven part could be transferred from a previous
    model, or so it seems, but that can change du-
    ring design. When we start working, we often
    don’t know which part will turn out to be more
    complicated than it looks in the photos or dra-
    wings, which can often be confusing. Suddenly,
    we nd out the model parts can’t be connected,
    and the surfaces start collapsing. The part then
    starts to wind and curl in a funny way. That’s the
    moment when you need to go and take a look
    at the real plane. The drawings that are publicly
    available are mostly confusing, and may make
    us spend hours studying the original to nd the
    right solution. This isn’t generally appreciated
    by the modeller, and those used to the traditi-
    onal appearance of something, can get angry
    nontheless.
    Can you give an example?
    One of those is the funny „rump“ under the rud-
    der of the MiG-15, which I spent several hours
    measuring, I couldn’t gure out how the surface
    of this transformed into the surface of the fu-
    selage. During its design, it was more complex
    than the rest of the fuselage, and then somebo-
    dy wrote that it looked strange and is probably
    wrong anyway. The fuselage of the Me 262 is
    another example. There was seemingly no issue,
    but the reality was different. I went through hell
    with this. Both me and my colleague Venca Po-
    spíšil, measured the fuselage millimetre by milli-
    metre, reconstructed all the cuts and were very
    surprised.
    The Bf 109G is full of parts and details that
    are being thoroughly discussed. For instan-
    ce, the propeller spinner, or the characteris-
    tic cowl bumps above the fuselage machine
    guns that are not correct on any model so
    far. Or so they say. Is this one of those parts
    that you personally measured?
    The propeller spinner is a simple rotating body.
    To get the outline right, it’s enough to have one
    good shot from a distance. This is a simple sha-
    pe, and I am sure I got it right. The bumps above
    the fuselage machine guns are a different story,
    as they really are problematic. I have about 30
    minutes of footage of them. At 30fps, that is
    54 thousand shots. So, yes, the bumps are one
    of the parts I paid close attention to.
    You studied these bumps in the Wiener Ne-
    ustadt Museum. Did you touch them? Supp-
    osedly, the bumps change shape, based on
    whether the engine is housing is in an open
    or closed position. Is that true?
    Yes, the bump changes shape dependant on
    whether the housing is open or closed. If it is
    closed, the bump is bigger. I almost made the
    cut according to the open housing. Fortunately,
    I noticed the change and got the bump right.
    And how do you study the real plane before
    starting work?
    We always study the plane before starting
    a project from the materials and publications
    that are available. If the questions concerns the
    study of a real machine in a museum, then yes,
    we do that sometimes. If we can see the real
    plane before starting work, that has certain
    advantages, but often, this is not enough be-
    cause problematic parts are revealed only once
    the design has started, as I already mentioned.
    If it’s possible, we visit the museum several times
    before starting a project, as well as during the
    design stage. I can’t count the number of visits
    I made to Kbely because of the MiG-15, it mi-
    interviewed by Jan Zdiarský
    The Bf 109F/G project in 1/48 scale is challenging and full of surprises right till the last days before the re-
    lease of the Bf 109G-6. This extensive project involved most of more than one hundred Eduard employees,
    and also a number of external co-workers. We have prepared a series of interviews, introducing the key
    gures of this project. These people had the biggest impact on the nal image of this kit.
    eduard
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    INFO Eduard - May 2014

  • Page 13

    KITS
    ght have been better to open an ofce for me
    there!
    So you visit museums quite often. Do you
    enjoy this?
    We do visit them often. And do I enjoy it? De-
    nitely. It gives me new experiences and it’s
    also great diversication from my work. I don’t
    mean that design work itself bores me. Genera-
    lly, I believe I’ve found myself in this job.
    I heard that you got frostbitten once while
    studying in a museum.
    That’s right. I was climbing a Schwalbe in my
    socks so I wouldn’t scratch it. It was freezing
    outside. After about an hour, it seemed I had
    a stone in my shoe or something, but I wasn’t
    wearing any ... I got frostbite on two toes and
    I have problems with them even today. But that
    doesn’t dilute my travelling enthusiasm!
    Where did you like going the most?
    I really enjoyed Canada. Washington wasn’t
    bad, either. I was there with Petra, which was
    nice, only the big boss was with us, too.
    What did you do in Washington?
    I did some sightseeing, ate chicken wings, en-
    tertained Petra and constructed the MiG-15.
    We were supposed to measure a plane, or two
    planes, but that didn’t happen because the Ame-
    ricans ran out of money. I can’t tell you what we
    were supposed to study, though, as that’s top
    secret. My boss would kill me!
    Let’s go back to the Bf 109G. Why did you
    separate the wing tips from the main wing?
    It enabled me to keep the trailing edge thin,
    and because it is separate, I could get that ne,
    scale appearance along the whole rear edge.
    If the wingtip was a part of the wing, the trai-
    ling edge, glued from two halves, would look
    different than the trailing edge on the aileron
    and the ap parts.
    Were you scared the wingtip would not t
    seamlessly to the rest of the wing?
    I wasn’t. We already knew how to t it so that it
    would be perfect, and so that the joint was not
    visible. It worked out ne. I personally supervi-
    sed the toolmakers so that they wouldn’t inter-
    fere somehow, and wouldn’t abrade the landing
    edges or the loop, as we call the wingtip. I war-
    ned them that if they touched it, and it didn‘t t,
    I would break their arms!
    Even the separate vertical n ts perfectly,
    as well as all of the moving surfaces. My colle-
    agues – the toolers and tuners, did a great job.
    I think modellers will like it. Generally, I think
    that as a whole it ts together, which is of more
    value than the fuselage rivets that are being
    criticised.
    I expect the next discussions will concern
    surface details and moving surfaces. I really
    like these. What about you? How did it feel
    working on the rib tape stitching?
    The result is great. I was watching the produc-
    tion tensely and was hoping for a good result.
    I think it’s better than we had hoped for. And
    working on the rib tape stitching? For me that
    was the worst battle between man and machi-
    ne that I have fought! The shapes of the fabric
    strips are so complicated to calculate that I was
    losing hope we could nish our work on time.
    For the future, I have a simplication for the
    design in this area, so hopefully it will be less
    sweat for me, the computer and even the pro-
    grammers. Honza Kališko, who programmed
    the rib tapes, was swearing a lot. He worked on
    them for three weeks.
    I like the double ap behind the radiator.
    I was surprised it was possible to glue it
    when closed and for it to still t perfectly.
    Did you plan this?
    Yes, it was designed so it could be either open
    or closed. The closed position is the default one,
    as this is how the real aircraft would have been
    when stationary. This part was checked by my
    colleague Venca Pospíšil and I think he man-
    aged it really well. The whole wing assembly, as
    well as our tail surface solution, should be good
    for the modeller. It looks very accurate in the
    nished models.
    There has also been a heated discussion
    about the bumps on the wing. The rst pu-
    blished photographs showed they were
    wrong.
    Yes, unfortunately, the wrong pictures were pu-
    blished, the design work was not yet nished
    at that point. The bump on the nal model is
    precise and the shape has changed from those
    photos, and looks very different in new pictures.
    I really played with this, and I don’t think it can
    look better than I nally got it. From the outside
    or from the inside. I am truly happy with the
    shape even though I slightly doubt whether the
    well liner cloth went around it internally, as well
    as we have depicted it. But still, it ts perfect-
    ly even though we didn’t separate the parts in
    a traditional way. But it works, and it’s hard to
    say where the connection is between the two
    parts of the material.
    I heard there was a bet with Šulc about
    tting the parts.
    It was about the unusual separation of the gun
    trough for the fuselage machine guns on the
    F-2 to G-4 versions. They are separate from
    the fuselage, which is different way to how
    it was employed on the G-6, where they are
    part of the engine cowl. This though, cannot
    be achieved on the F-2 to G-4, as the joint in
    the kit design wasn’t off any real sheet me-
    tal division, and I didn’t want to risk having
    to glue in such a complicated part. That’s why
    I decided on this solution, where the troughs
    are separate in this area where they were
    riveted to the engine cowl, even on the real
    plane. Frankly, we don’t experience any dif-
    culties with this kind of part separation these
    days. Look at the G-6 mentioned earlier. My
    boss thought it was risky, and he wanted to do
    it another way, which was quite strange. We
    argued for a while and then we made a bet
    that if the canals didn‘t t perfectly, I would
    sweep the yard for a month. It’s a safe bet,
    I can’t lose this! I just have to keep an eye on
    Zdeněk Sviták so that he doesn‘t alter the con-
    struction of his plane with a le! I would have
    to hit him with that broom!
    Good luck! That yard is quite big. However,
    if things go as you say, you won’t have to
    touch the broom. Congratulations on a gre-
    at model. I assembles it yesterday, and I’m
    really excited abut this release! What are
    you working on now?
    I am scaling down the MiG-15 family into
    1/144, and I’m also supervising the techno-
    logical preparation of the Siemens-Schuckert
    D.III, and coordinating cooperation on this
    project with our subcontractors. That’s another
    interesting experience connected with innova-
    tive processes within our company. I am going
    to travel to Japan and Korea for that.
    We look forward to another unconventional
    solution! Thank you for the interview and
    we wish you a lot of success, and no yard
    sweeping!
    eduard
    13
    INFO Eduard - May 2014

  • Page 14

    KITS
    Karel Misak
    n
    Karel, the design process for the Brassin
    DB605 engine for our new Bf 109G-6,
    which we are now going to discuss, was
    quite long and interesting. How long have
    you actually been connected with the world
    of plastic modeling?
    If we are talking about model building itself
    ,this goes back to 1965. At that time, I was
    building whatever was available to buy. Main-
    ly airliner kits from Plasticart. I then tried to
    cast some things which were not available here.
    At the time, I worked at LOM Prague (repair
    works), where I was occasionally given a little
    Lucopren from my co-workers. I tried to make
    my own molds, using the „try-fault“ method.
    My friends loaned models to me which were
    not readily available, and I attempted to cast
    copies of these in resin. I experimented with di-
    ferent separation materials, but the results were
    always poor. One day, Jirka Moravec came to
    me and said: „Hey, you‘re always just copying
    things, so why don‘t you try to make something
    yourself, from scratch? There are plenty of pla-
    nes that nobody produces as kits“. At rst, we
    used masters, prepared by one of our collea-
    gues. Later I started to produce them myself.
    In Czechoslovakia, there was no one willing to
    pay for this work at that time, so our whole
    „production“ headed abroad; to Great Britain
    and the USA, where we exchanged our stuff for
    other plastic kits and literature. Production was
    still limited though. The total number of sets
    which we were able to produce using the Luco-
    pren molds, was no more than around 30pcs.
    This started in 1975 and I continued „ playing“
    with this method until the 1990s.
    Tell me about Směr?
    In the meantime, I left LOM Prague and began
    working for Směr. It was purely by coincidence
    that I stepped into their design ofces, which
    were located in our street in the Žižkov district
    of Prague. They asked me what type of school
    I attended, and when I said that I studied at
    the Engineering School, they offered me a job.
    I started to work there as a designer. I drew
    plans for toys, but at that time Směr had al-
    ready started repacking plastic kits from other
    manufacturers, and buying old molds from
    Merit, Artiplast and some Russian companies.
    Along with toy design work, I also began acti-
    vities related to plastic kit production. We de-
    signed our own instruction sheets, decals, boxes
    etc, but we were also repairing injection mold
    tools, which required a lot of skill. We then
    started to cooperate with Heller. The cooperati-
    on worked in two ways; either we bought their
    molds and produced the plastic parts for both
    parties, or we bought the actual plastic parts
    from them. Both companies operated within two
    different markets, so there was not a problem
    with market competition.
    Finally, there was the decision that we would
    produce our own kit. The rst nished kit was
    the Avia BH-11, whose design and preparation
    had already been going on at Směr for quite
    a long time. IGRA produced these molds for
    Směr. Then we released a MiG-17 in quarter
    scale. Another of my tasks was to master the
    single seat version of the Il-2 in 1/72, but by
    that time, Směr had started to orientate its bu-
    siness on pressing conventional customer plastic
    products, such as plastic dishes, lights, etc. The
    tool making was scaled down, and eventually
    ceased completely. I ended up as an output
    quality controler. Then Vlaďa Šulc “threw me
    a rope”. I started to produce model designs
    for Eduard in a freelance capacity, but around
    2003, I moved to Eduard as a permanenet em-
    ployee. I made the patterns for the 1/72 So-
    pwith 1 ½ Strutter , 1/72 DH.2 , 1/72 and
    1/ 48 Spad XIII, 1/48 Bristol Fighter, 1/144
    Ju 52 in all three versions, and the Junkers J.I
    in 1/72. These kits are all my own handiwork.
    I became a specialist in manufacturing corruga-
    ted skin! I was aslo working on a Caproni Ca.3
    in 1/48, but this project was stopped before its
    completion.
    As time went by, digital technologies were de-
    veloping quickly, so I was re-trained on Auto-
    cad. I started drawing blueprints for my collea-
    gues in our 3D model construction department.
    I prepared, for example, the Oeffag 153/253,
    a whole range of Messerschmitt Bf 109 types,
    from the Bf 109E to the Bf 109G-14. I prepa-
    red blueprints for the Spitre Mk.V and Mk.IX,
    and also a conversion set to build the Spit-
    re Mk.VIII from a Spitre Mk.IX. Rhino and
    Brassin designs then followed.
    It‘s amazing just how you can adapt your-
    self to new technologies. You own skills
    went through a number of transformations.
    Yes, but it‘s not obvious to others, just how ner-
    vous this makes me each time I try something
    new!
    How long did you work on the quarter scale
    engine for the Bf 109G-6?
    About a month and a half exclusively, on this
    project alone. A great help to me was that, as
    a starting point, I could use a number of ele-
    ments of the DB605 engine, which we had al-
    ready designed for the 1/32 Revell kit. Even
    so, there were many changes that needed to be
    made for our new kit. The engine had to be re-
    duced in size, of course, and technically modi-
    ed to t within our plastic kit design. However,
    the nished result certainly doesn’t miss any
    detail in comparison to the 1/32 engine. For
    the design, I cooperated with my colleagues,
    especially Luďek Matoušek, who designed the
    engine cowls, and Renda Kratochvil, who then
    nished the pre-production technological issues.
    After we published the renders of the en-
    gine, some modellers complained that you
    hadn’t paid attention to the detail on the
    underside of the engine, above the oil coo-
    ler.
    We try to construct Brassin sets so they can be
    relatively easy to incorporate into the model,
    without much cutting or grinding of the plastic
    parts. The design of the engine covers on the
    Bf 109 doesn’t allow us to do what we could
    afford to do with the Spitre. The lower part
    of the cowl must remain closed as it basically
    carries the entire engine asembly. If you cut off
    the entire plastic nose, it is very difcult to t
    the heavy resin engine into the model. The engi-
    ne bearers themselves wont allow the engine to
    be secured properly. The result is a compromise.
    On one hand, we can now uncover substantial
    parts of the engine, whilst at the same time
    allowing the modeler to t all of these parts
    with comparitive ease.
    The renders also show some stretched wire.
    Does this mean that you don’t include those
    either within the resin or etched parts count?
    That’s correct. The engine has a lot of hoses
    and cables that are too distant from the engine
    body itself, so we are not able to mould these
    as a part of the engine block. The technologies
    we use, still has some limitations. The instruction
    sheet will advise the modeller of the wire dia-
    meter, and the exact positions where they should
    be placed. It‘s an easier and better looking so-
    lution.
    What would you like to point out regarding
    this set?
    Brassin engine designer.
    interviewed by Jan Zdiarský
    eduard
    14
    INFO Eduard - May 2014

  • Page 15

    KITS
    Katerina Borecka
    n
    It is really easy to assemble, and you can build
    it into the model without any problem. At the
    same time though, it has a lot of detail. The gun
    section contains alternative parts for versions
    with either a 20mm or 30 mm cannon. I can’t
    neglect to mention that even the area between
    the engine and the fuselage bulkhead includes
    all of the ancillary hardware, so even this area
    hasn’t been snubbed! The top engine cowl ts
    really well, and so on… The set also includes
    decals with numbers for the engine block sides.
    Where can modellers see your previous de-
    signs?
    Lately, I have designed cockpits for the 1/72
    MiG-15s. More complex design work can be
    seen in the Merlin engine for our quarter scale
    Spitre Mk. IX. I have also designed a wide
    range of weapons which we have released wi-
    thin our Brassin range, such as the Browning
    M2, and German machine guns, etc.
    But the Merlin was not the only thing that
    you designed for our 2013 bestseller; the
    quarter scale Spitre.
    No, it‘s not. As I mentioned earlier, I had drawn
    the complete blueprint documentation for the
    Spitre Mk.IX and Mk.V in 1/1 scale using
    Autocad. This was during my rst attempts in
    designing Brassin, using Rhino.
    What project are you working on at the mo-
    ment?
    For quite a long time now, I have been wor-
    king on the cockpit set for the 1/32 F4U.
    It should be available for purchase, probably in
    July or August 2014.
    Author of the artwork.
    How long have you been painting for Edu-
    ard?
    It‘s been just over two years. The rst painting
    was a MiG-15 for a limited edition kit of the
    “Czechoslovak Fifteens”. We had a fairly short
    time to deal with a situation where our boxart
    artist, Petr Štěpánek, was unable to work for
    Eduard, due to a car accident. For the Bf 109G-
    6 release, the task was to repaint the original
    and quite old picture created by Martin Novot-
    ny. The aircraft should generally use different
    camouage. This was going to be a test for me.
    No one knew how I should deal with the ar-
    twork, or how it would unfold. This was to be my
    very rst experience of producing an artwork.
    I had never even drawn an aircraft before. Over
    time, I learned to use the technologies which
    I normally use for my other role at Eduard. For
    me personally, it was not easy to step into Petr’s
    shoes. I always admired his paintings, so I tried
    to come close to his style and approach. I now
    very much enjoy working on boxart, and I am
    so pleased to have had this opportunity.
    How did you get into painting?
    Since I was 10 years old, I attended a folk art
    school, and I took part in several art competiti-
    ons. Perhaps my biggest success was achieving
    rst place in the ‘Holocaust Through Czech Chi-
    ldren‘s Eyes’ competition. My painting was pre-
    sented in the Holocaust Museum in Los Angeles,
    and other places. Today it is in the Park East
    Synagogue in New York. I was sixteen. I also
    dealt with art education, especially in connec-
    tion with computers, during my college studies.
    (School of Education)
    Which technique do you use?
    I use digital tools. I have a tablet with a pen,
    and the pictures are created in Photoshop. But
    this is not about editing 3D renders with textu-
    res, as you sometimes see in aviation art. That
    style does not appeal to me. As a base, I nor-
    mally use 2D pictures of our kits, and also pho-
    tographs and models which I have assembled.
    I try to create the images by hand, and then
    inject some character. Sometimes, I feel frustra-
    ted that I don´t have further time to “play” with
    them more. I have to remember I am creating
    a functional artwork. For me, it’s the small de-
    tails which really make aircraft artwork very
    appealing. By this, I mean the various reec-
    tions, rivets, patina and of course the overall
    atmosphere.
    How many boxarts have you painted for
    Eduard so far, and which ones, for examle?
    By now, it’s certainly a good number. I suppose
    around 40+. Mainly, there have been a lot of
    Bf 110s, MiG-15s and 21s, and Spitres. I do
    also remember a big challenge that I had right
    at the beginning, which was the Ju 52. The need
    to portray a corrugated skin with markings and
    codes on it, gave me a really hard time.
    Which of these paintings is closest to your
    heart?
    It would probably be the recent Spitre Mk.IXe
    for the June weekend edition kit. Although this is
    an image that will be used with no background,
    its actually easier for me to create the painting
    of an aircraft connected to some surrounding.
    So I created a background anyway. This is of a
    Czechoslovak pilot who is nally home after the
    war. It is September 1946, and he is returning
    from a peacefull ight, to Prague Kbely air-
    base. My boss says that this freedom breathes
    out from this picture, and the poor pilot doesn’t
    yet know the problems that will be waiting for
    him in his free country two years later. But there
    are also other images, such as the Hellcat in the
    clouds, which has an interesting atmosphere. As
    I mentioned, the atmosphere is, along with the
    story, something which is very important for me.
    You are a woman. Women are usually very
    unfamiliar when it comes to aircraft.
    How is it in your case? What aircraft do you
    like best?
    Slowly, I am beginning to understand this subject
    type. Amongst my friends, who are untouched
    by the world of modeling and aviation, I’m a
    interviewed by Libor Havránek
    eduard
    15
    INFO Eduard - May 2014

  • Page 16

    KITS
    star. However, I spent many hours exploring the
    photographs and drawings ... where all those
    rivets, “ buttons“, ”little covers” and all kind of
    different „levers“ which you, modelers, call the
    elevator, rudder and landing aps, actually are.
    My vocabulary has denitely grown, with a lot
    of new, technical terms.
    I especially like WWII aircraft. Personally,
    I love the sound when the aircraft engine starts.
    I do like Spitres but this was one I was familiar
    with before we started to produce our kit. I am
    pleased that I had the opportunity to paint them
    for this too. I really enjoy going to different
    air shows, where these aircraft can be seen and
    heard. I also like the American P-51 Mustang,
    but it may take a long time until I’m given the
    chance to paint this aircraft for Eduard.
    While visiting modeling events - has it ever
    happened to you that men were admiring
    you, not because you’re a pretty blonde, but
    because of the artworks that you produce
    for Eduard?
    My face was not visible anywhere for some
    time. I´ve also heard it said that Eduard are
    presenting their boxarts as being made by
    a woman, just so as to make the company look
    more interesting. Recently I noticed that people
    are starting to recognise me, be it by my face
    or the name tag that I wear. At modeling events,
    these people come up to me and express their
    enthusiasm for my work, and to compliment me.
    This makes me much happier than if they were
    just admiring me for my looks. It was a really
    pleasant surprise to see a queue of visitors at
    Novemberfest, who wanted my signature.
    Are these images available somewhere
    else, or can they be found on Eduard box
    covers only? Do you plan to release some
    large prints, posters or perhaps hold an ex-
    hibition etc.?
    They’re exclusively available on Eduard boxes.
    One poster with my artwork has been released
    with the „Naši se vracejí“ campaign. I would
    personally prefer a calendar or a large print of
    my previously mentioned favorite, the Weekend
    Edition artwork for the Czechoslovak Spitre.
    What about the Bf 109G? How does it
    appeal to you, and if so, how?
    It appeals ercely to me. I like it. It’s not just a
    tube with wings!
    The development of the
    Bf 109G-6 artwork was
    kind of unusual. How?
    The whole task was quite
    unusual. I had to re-draw the
    main subject of the image -
    the Bf 109G-6 itself, so it
    would supercially resemble
    the original picture, pain-
    ted by Martin Novotny. This
    image was shelved for about
    10 years and was used only
    for marketing purposes. It
    appeared on the cover of
    the scale kits catalog 2014,
    and on our CD catalog. It was also published in
    Info Eduard, etc. Given the diversity of opinions
    regarding the perspective that Martin chose to
    use, which causes an unusual optical deformati-
    on of the aircraft, it was decided to repaint the
    picture. So I retouched Martin’s Messerschmitt
    and created a new background which was more
    suitable for the format we use. Then I created
    a new 109, whilst trying to stick to Martin’s style
    as much as possible. Within our new Bf109G-6
    campain, we allowed a comparison of the two
    drawings. I received complaints that the dra-
    wing by Martin Novotny had prettier colors.
    Yes, it is quite varied, greenish even. I do think
    that the RLM colors that were used on my ar-
    twork, are closer to the true colors.
    And what about the environment? The Bar-
    tels Drawing is set in the Mediterranean.
    How does it affect you? It is important that
    you have a relationship to the place you
    are painting?
    The Mediterranean is ne. Heat, sea ... I like it.
    As well as other countries nearby. Egypt, which
    is quite close by, is a place I love. In that regard,
    I like Petr Stepanek´s painting of MiG-21MF
    over the pyramids in Giza. But is it important?
    Certainly it´s easier to paint what one likes, but
    it doesn’t make much of a difference to me.
    Although I don’t particularly like Afghanistan,
    painting it was not an unpleasant experience
    for me at all.
    I noticed that the pilot in your drawing looks
    quite weird. Why?
    Well, I know what you mean . I think that com-
    paring him to other pictures I had in my folder,
    this one looks quite normal.:-) Before I could
    paint the pilot, there was a series of photos
    taken. The life-model for this image was the
    head of our own marketing department – Jan
    Zdiarsky. . There were far more emotive and
    interesting photos created during this sesion,
    than the one you can actually see on the boxart.
    But the highest authority, at least when it comes
    to Eduard, Mr. Sulc, chose this quite sober and
    ‘boxart applicable’ option.
    Other colleagues have also had the chance
    to experience this feeling. Thanks to the gre-
    at opportunity of working with a cooperative
    museum, we have been able to borrow authen-
    tic wartime items , such as RAF, Luftwaffe and
    American ying helmets, sunglasses, jackets,
    respiratory systems etc. The guys are then sat
    on a chair with all this equipment on and are
    asked to act like a ghter pilot, or to look really
    angry. The result is, I have to say, pretty much
    the same every time – they look like their under-
    wear is strangling them!
    You may already notice our IT guy, Láďa Eštok,
    in the cockpit of several of our Spitres, or Petr
    Porazil, who creates our kit instruction sheets.
    Martin Nademlejnský, the technical chief of our
    photoetch section, who among other activities
    also builds some of our presentation kits, is still
    waiting for his plane. And maybe one day, my
    superiors will agree to put me into a cockpit
    as well.
    This picture will also be on a t-shirt produ-
    ced by Rezavá Vrtule. Will this t-shirt be
    available through Eduard as well?
    Yes, there will be a Limited Edition of the Pro-
    PACK kit, including this t-shirt. 150pcs will be
    available.
    Is there a theme you would like to paint
    just for yourself, besides the things you
    are asked to paint here at Eduard? I mean,
    if you were to have some spare time?
    There is, but I dont really get that time. If I did,
    it would be something where I can play with
    light, reection and shadow. It would be a fan-
    tasy scene, and there would denately be no
    aircraft.
    But your work is not only on the boxarts,
    is it?
    Yes, that is true. I normally work as a desinger
    in Eduard‘s marketing department. I edit all of
    our printed adverts, and also our own web-ma-
    gazine, Info Eduard.
    What will you be doing next, and what
    painting are you working on at the mo-
    ment?
    I am working on a Spitre for a Limited Edition
    kit which will be related to the Normandy in-
    vasion – D day. It will be called „ The Longest
    Day“ and will be released in June. This picture
    will aslo be without an environment, but I will
    surely make one up for myself again.
    eduard
    16
    INFO Eduard - May 2014

  • Page 17

    KITS
    interviewed by Jan Zdiarský
    Lukas Zajic
    Martin Ferkl
    Photo-etched details designer.
    You’ve been working here for quite some
    time, so you’re obviously a skilled designer.
    Were the details for Bf 109G-6 somewhat
    different from your previous projects?
    You’re right that I’ve designed many details
    sets since I began working for Eduard. In this
    sense, the details for Bf 109G-6 were nothing
    exceptional for me. It is worth mentioning that
    parts I’ve made for this kit, needed to t our
    standard size PE fret (the small one). I’m glad
    I’ve managed to t in all the details without any
    major issues.
    Usually, you work with nal plastic parts,
    which you can hold in your hands. Working
    on the Bf 109G-6 you didn’t have this opti-
    on. Was it harder for you?
    It is true that I’m used to working with the nal
    plastic parts of scale kits for other manufactu-
    rers, or even our own kits. In this case, I mainly
    worked with 3D models from our scale kit de-
    sign department, so I was taking measurements
    directly from 3D models of the aircraft.
    Well, that must surely have made it easier
    for you. Was this the case?
    Not really. Counting all my previous projects,
    I’m really used to taking measurements direct-
    ly from the plastic parts, so in this regard, the
    job wasn’t easier than projects I normally work
    upon. In the end, I still needed to wait for the
    nal sprues, to test the parts physically – to see
    whether they t properly or not. And they did
    t. Perfectly!
    I’d like to mention the radiator relief here. I’ve
    designed this part using a 3D drawing, and had
    to revise it in the end, because it didn’t t accor-
    ding to my expectations.
    What details will be included within the set?
    What can modelers look forward to?
    In my opinion, the plastic parts are very well
    done in terms of detail, so the photo-etched set
    covers the parts which have become Eduard’s
    standard; parts which modellers already expect
    to see. On the fret, you’ll be able to nd the co-
    lour instrument panel and details for the cockpit
    sides. Also printed in colour are the seat belts,
    pedals and other small details. Included in this
    set are exterior details, like the aforementioned
    radiator meshes and antennae.
    Is there anything on this detail set that was
    really fun for you to work on? Something
    you really enjoyed?
    For me, generally speaking, anything that has
    propellers is fun to work on. I like WWII sub-
    jects, mainly German aircraft. In this respect,
    I enjoyed designing the photo-etched detail set
    for this Bf 109G-6 from the start to the nal
    touch ups. I also believe that modelers will enjoy
    the build, and my photo-etched detail parts too.
    Final touches.
    Amongst many other things, it was your
    task to pick the marking options that will
    appear on the decal sheet of the new
    Bf 109G-6 1/48 ProPACK. What were the
    main criteria for choosing the nal ones?
    Modelers generally like to build colorful sca-
    le kits, and aircraft that were own by ghter
    aces. So each time, I try to pick interesting ma-
    chines; be it because of the fate of the pilot
    or the history of the machine itself, and any
    notable markings. The marking scheme opti-
    ons should also appeal to modelers who don’t
    yet have any 109s in their display cabinets, as
    well as as those experienced builders, who have
    been modeling for many years. That’s why our
    selection consists of very famous and also sli-
    ghtly neglected marking options.
    Was there any intersting marking option
    that you wanted to include on the decal she-
    et, but had to be left out in the end?
    Yes, there was. This happens with each scale
    kit we produce, as we make our selection from
    a wide range of machines, known here as the
    ‚long-list‘. Speaking of this specic ProPACK
    release, the machine own by Kurt Gabler from
    JG 300 didn’t make it into the nal selection.
    Will this machine appear in some future re-
    leases of this Bf 109G kit?
    Denitely. A huge opportunity is also presented
    to us by the way of the upcoming Royal Class
    edition. We are also considering several thema-
    tic Limited Editions.
    How does the Bf 109G appeal to you perso-
    nally? You are known to have passion for
    mostly Japanese machines. Professionaly
    speaking, it probably doesn’t make a lot of
    difference to you, but it is a denite change
    for your normal interest. When you compare
    your work while selecting markings for the
    interviewed by Libor Havránek
    eduard
    17
    INFO Eduard - May 2014

  • Page 18

    KITS
    interviewed by Jan Zdiarský
    Bf 109G and Spitre Mk. IX releases, did the
    Bf 109 present you with other possibilities?
    The Zero, Spitre, and Bf 109; these were all
    built in huge numbers, so the range of markings
    to pick from is quite wide. With that, I don’t see
    any difference from that perspective. Bf 109s
    were, however, the most colourful of all of these
    types, so I can create a set of markings for in-
    dividual scale kit editions much more easily. On
    the other hand, they are also the most intricate
    in terms of the actual schemes themselves.
    Try to briey outline your experiences with
    aviation history and journalism from before
    your time at Eduard.
    Even though I published my rst articles in „Le-
    tectví a kosmonautika“ (Aeronautics and Cos-
    monautics), the biggest opportunity was given
    to me by REVI. Most of my articles were re-
    leased in this magazine. Under the banner of
    this publisher, I was also able to publish three
    monographies about Japanese aircraft. I also
    managed the scale kits section of the magazi-
    ne, so this whole experience was very valuable
    for me, and I’m grateful to Petr Stachura, the
    owner of REVI, for letting me be a part of it.
    Unfortunately, I currently don’t have much time
    for writing articles anymore.
    On what are you working at the moment?
    Currently, we’re compiling marking option ma-
    terials for the Bf 109G Royal Class; sixteen
    machines in total. The kit will include versions
    G-2, G-4, G-6 and G-14. As well as this kit,
    we’re also working on other projects, which are
    planned for the upcoming months. I’m currently
    spending a lot of time with Czechoslovak MiG-
    -21s, versions PF/PFM/R, as we’re getting clo-
    ser to the release date of this kit as a Limited
    Editon with an included photo publication. It is
    worth mentioning, that we have external associ-
    ates, who help us prepare our kits. These people
    dedicate lot of their time to a specic aircraft,
    so in many cases, we rely on their knowledge.
    Can you tell us some curiosities regarding
    the Bf 109G Royal Class edition?
    We’re trying to base our selection of markings
    around famous gther aces - Hartmann, Bark-
    horn, Trautloft, Bär. Gustav fans will also enjoy
    a scheme with desert camo. We also haven’t
    forgotten the Bf 109G in service in Finland,
    Hungary, Switzerland and Romania, and also
    pilots of the Slovak state in their ght again-
    st the Soviet Union. Royal Class also allows us
    space for some lesser known aircraft, like those
    of KG 55. The nal mix of markings should sa-
    tisfy every fan of the Messerschmitt, or WWII
    ghters generally.
    Which upcoming Eduard project are you lo-
    oking forward to the most?
    In Autumn, we’ll begin the design of ano-
    ther aircraft kit. With this project, we’ll have
    a chance to create not only the plastic parts
    themselves from the very beginning, but also
    a range of accessory sets, which will give mo-
    delers the opportunity to shift the nal look
    of their kit by one or more levels. That will be
    a real challenge. Another favourite project is
    the 1/48 SSW D.III, which in my opinion is one
    of the most beautiful WWI aircraft. And then,
    there are also 72nd scale kits, scaled down
    from our quarter-scale versions. As a modeler,
    I’m very much looking forward to those, as my
    display cabinet is quite small.
    Martin Lebl
    Brassin cockpit designer.
    Martin, can you tell me how you started
    working for Edaurd?
    Probably as with many people here at Eduard,
    it all started with scale kit modeling. As a little
    boy, I began to build airliner kits from Plas-
    ticard. I remember my rst kit was a Tu-154.
    It really got me very excited, and later I began
    to draw aircraft on literally every piece of pa-
    per I could nd.
    In 1998 I began to draw for magazines. These
    were classic drawings, and color side prole
    views. My „home base“ was the REVI magazi-
    ne, but I’ve also done some work for L+K, 4+,
    Air Magazine and others. And right there, the
    very basis of my future work in 3D was born.
    Originally I created drawings in 2D only, but
    because these were quite extensive and labo-
    rious, I simplied my work through 3D. I proved
    to myself that it’s much easier to create detailed
    and accurate 3D models, and then create the
    needed views from that, than to draw the views
    individually. You can then see all the lines from
    the correct angle.
    Eventually, I made a living from 3D modeling.
    It wasn’t just through drawings alone though.
    I found it necessary to offer much more. Di-
    versifying was extremely challenging too. Of
    course, this boosted my skills with 3D modeling
    to a more solid level. Some time around 2010,
    I tried contacting Eduard, and the result was
    my employment within the Brassin department,
    which was being estabilished during that time.
    Here, I began to work as a 3D designer.
    Where can our customers see your designs?
    For example, the cockpit of the Limited Editi-
    on 1/48 P-38. Our Brassin accessories added
    a signicant value to the Academy sprues, plus
    also the cockpits for our own 1/48 Bf 109E
    and Spitre kits. Also the 1/32 DB601 engi-
    ne for our Bf 109E and MG 17 mount for the
    same kit, were designed by me, to name a few.
    Amongst the latest ones is, with the aid of ex-
    ternal co-workers, the cockpit for the new quar-
    ter scale Bf 109G-6.
    3D designing within our Brassin department
    isn’t the only thing on your daily schedule.
    It isn’t. I also have the duty of supervision, so-
    metimes called mentoring here, over external
    co-workers, who create 3D designs for us as
    well. I check their projects in terms of design
    and construction, and I’m trying to pass on
    the experience that I’ve aquired with previous
    trial and error. It’s often necessary to lead the
    designers to a reasonable compromise, so that
    the nal product is accurate and usable, whilst
    meeting the demands of modelers. It also needs
    to be produced of course, and applicable for
    said purpose. A classic example can be a seat,
    which can have precisely scaled down dimensi-
    ons according to the original size, but it won’t
    t the plastic cockpit, into which it should go.
    The job is interesting and it’s also a combination
    of two of my hobbies; scale kit modeling and
    design drawing.
    eduard
    18
    INFO Eduard - May 2014

  • Page 19

    KITS
    The philosophy of construction-design of
    your department, and related resin and
    photo-etched parts has a solid pillar. Is that
    so?
    One of our main goals is to make the use of
    Brassin accessories an easy job for a modeler.
    Modelers are often afraid to work with resin
    parts. In our case, that fear has no basis. We
    design our accessories so that neither their as-
    sembly, nor preparation of the parts, need any
    special skill. And yet, they bring a whole new
    level of ne detail, which will improve the look
    of an already nice looking kit.
    We’re trying to make our resin parts much more
    realistic than injection moulding technology
    affords us, and I don’t mean to vilify the plas-
    tic itself. Injection moulding has its limits, and
    everyone who has even held resin in their hands
    knows that resin parts will always feel and look
    better than plastic parts.
    Our Brassin portfolio consists of sets for speci-
    c kits, and mostly our own kit releases, but we
    also produce a large number of generic sets.
    These are mainly various types of gun, machine
    guns, cannons, rockets etc...
    What can we expect from the Brassin coc-
    kpit for the quarter scale Bf 109G-6?
    The main reason that we made this cockpit has
    already been discussed here. It will provide be-
    tter detail in comparison to the plastic parts, al-
    though the plastic parts of this kit are also ne
    in terms of detail.
    Our approach is similar as with the Spitre
    cockpit. There’s a unit consisting the base coc-
    kpit tub (in this case also including the sloping
    bulkhead), side walls and front bulkhead. Whe-
    re necessary, we add photo-etched details, in
    color if possible, such as the instrument panel,
    oxygen apparatus, side wall detail etc.
    What I like with this specic cockpit are the side
    walls. The Bf 109G cockpit was very narrow,
    so there were no side panels, as there was in
    the Fw 190. Instead, various accessories were
    mounted directly on the inner walls of the fuse-
    lage. There was quite a diverse set of devices,
    such as pipes, cables, chains and rods that make
    the walls of our Brassin cockpit richly-dressed
    and good looking. I also like the control stick
    area, the footrest and the weapon covers,
    supplied in two versions (MG 151/20 and MK
    108). This is what makes the cockpit look bu-
    sier, in comparison to the BF 109E. The entire
    assembly has 21 parts, and on the top of that,
    of course, a fret of colored etched parts.
    Apart from design work, you sometimes
    face completely different tasks. I suppo-
    se, from a marketing point of view, these
    would also be worth mentioning.
    Oh, I see you mean the Bunny Racer? Yes I crea-
    ted the render for the boxart using your color
    scheme, which was then forwarded to Katheri-
    na Borecká, to nish the panel lines, shadows
    and reections. Into the cockpit, she also pasted
    a very realisticly looking 3D image of our bun-
    ny, supplied by Honza Bobek. So this boxart
    was the result of a pleasant cooperation be-
    tween 4 people. I was able to capitalize on my
    previously acquired skills too. I really enjoy this
    type of work, but unfortunately dont have much
    spare time for it.
    Well then, tell me about the P-38?
    You‘re right. I also drew some “serious” boxarts
    for our P-38 limited edition kits, for which I also
    designed the brassin cockpit . Another of my
    drawings was the F-16, for the Top Falcons and
    NATO Falcons limited edition kits. Included was
    the Italian F-16 with Diana on the vertical tail.
    It always has to be a combination of render and
    subsequent painting work in order to breathe
    life into the picture. The render of a 3D model
    has a great feature that solves perspective, re-
    ection and shadows, but it is necessary to con-
    tinue working with colors, panel lines and other
    details to make the nal result look good.
    And a common question. What are you cu-
    rrently working on?
    I just nished mentoring for the radio com-
    partment on our 1/48 Bf 109G-6, wheels for
    the Bf 109G-10 in 1/48 and 1/32 scales, plus
    Mk.44 torpedoes in 1/72. At the moment I am
    working on a seat for the Tomcat, which will
    also be released within our limited edition range
    of kits. This should be released in August 2014,
    and I’m also mentoring our external co-workers
    who are preparing the wheels and exhaust no-
    zzles.
    eduard
    19
    INFO Eduard - May 2014

  • Page 20

    648134
    Ju 88 wheels late
    1/48 Dragon
    648140
    Bf 109G cockpit
    1/48 Eduard
    BUY Bf 109G cockpit 1/48
    - main undercarriage wheels
    (late type) 2 pieces,
    - tail wheel + mud dasher.
    Photo-etched details included.
    Detailed cockpit for Eduard Bf 109G-6
    1/48.
    - two variants of the fuselage cannon
    cover – 20mm and 30mm cannon.
    - resin parts
    - PE parts
    - decals
    BUY Ju 88 wheels late 1/48
    eduard
    20
    INFO Eduard - May 2014

  • Page 21

    BRASSIN
    648135
    MG 81Z gun
    1/48
    648147
    WGr.21 for Bf 109G
    1/48 Eduard
    BUY MG 81Z gun 1/48
    Spřažený kulomet MG 81Z používaný
    na vícemotorových letadlech Luftwaffe.
    Součástí sady jsou fotoleptané díly.
    German WWII rocket mortar with
    air-to-air unguided rockets. (2 pieces
    of each)
    - resin parts
    - PE parts
    648149
    Bf 109G-6 wheels
    1/48 Eduard
    Main landing gear wheels
    for Eduard 1/48 Bf 109G-6.
    BUY WGr.21 for Bf 109G 1/48
    BUY Bf 109G-6 wheels 1/48
    eduard
    21
    INFO Eduard - May 2014

  • Page 22

    BRASSIN
    648148
    Bf 109G cannon pods
    1/48 Eduard
    BUY Bf 109G cannon pods 1/48
    Bf 109G underwing cannon pods (2 pieces),
    including detailed cannons.
    - resin parts
    - PE parts
    648141
    Bf 109G-6 engine and guns
    1/48 Eduard
    Highly detailed resin set of the
    engine and fuselage guns mounting
    for Bf 109G-6 ghter plane by
    Eduard.
    - engine bearings and engine /
    guns cowlings included.
    - resin parts
    - PE parts
    - decals
    BUY Bf 109G-6 engine and guns 1/48
    eduard
    22
    INFO Eduard - May 2014

  • Page 23

    BRASSIN
    Collection of 6 individual sets for Trumpeter 1/48
    MiG-23M and MiG-23MF.
    - wheels
    - exhaust nozzle
    - main wheel bay
    - missiles R-23T / AA-7 Apex
    - missiles R-23R / AA-7 Apex
    - F.O.D (photo-etched)
    All sets included in this BIG ED are available
    separately, but with every BIG SIN set you save
    up to 30%.
    SIN64811
    MiG-23 M/MF
    1/48 Trumpeter
    BUY MiG-23 M/MF 1/48
    eduard
    23
    INFO Eduard - May 2014

  • Page 24

    143 mm
    69 mm
    SELECTED
    PHOTO-ETCHEDPHOTO-ETCHED
    SETSSETS
    D9R Doobi
    1/35 Meng
    D9R Doobi exterior 1/35 Meng (36265)
    D9R Doobi exterior 1/35 Meng (36265)
    D9R Doobi interior 1/35 Meng (36268)
    eduard
    24
    INFO Eduard - May 2014

  • Page 25

    PE-SETS
    F-104G exterior 1/32 Italeri (32348)
    D9R Doobi cooling slats 1/35 Meng (36270)
    eduard
    25
    INFO Eduard - May 2014

  • Page 26

    PE-SETS
    MiG-25PD/PDS Foxbat exterior 1/48 Kitty Hawk (48797)
    Su-2 exterior 1/48 Zvezda (48805)
    eduard
    26
    INFO Eduard - May 2014

  • Page 27

    PE-SETS
    Su-2 landing aps 1/48 Zvezda (48806)
    Su-2 interior S.A. 1/48 Zvezda (49678)
    MiG-25PD/PDS Foxbat interior S.A. 1/48 Kitty Hawk (49669)
    eduard
    27
    INFO Eduard - May 2014

  • Page 28

    PE-SETS
    MiG-25 Foxbat air intakes & F.O.D. 1/48 Kitty Hawk Trumpeter (48808)
    USS Arizona part 5 - railings 1/200 Trumpeter (53111)
    eduard
    28
    INFO Eduard - May 2014

  • Page 29

    PE-SETS
    USS Arizona part 4 - main top 1/200 Trumpeter (53110)
    USS Arizona part 6 - superstructure 1/200 Trumpeter (53112)
    eduard
    29
    INFO Eduard - May 2014

  • Page 30

    BIG5321 U-BOAT IXC 1/72 REVELL
    BIG49100 F-4C 1/48 ACADEMY
    BIG49101 Me 410A-1 1/48 MENG
    BIG49102 L-29 DELFIN 1/48 AMK
    All sets included in this BIG ED are available separately,
    but with every BIG ED set you save up to 30%.
    53108 U-boat IXC part 3 (BIG5321)
    49672 F-4C interior S.A. (BIG49100)
    49668 Me 410A-1 S.A. (BIG49101)
    BIG5321 U-BOAT IXC 1/72 REVELL
    BIG49100 F-4C 1/48 ACADEMY
    53106 U-boat IXC
    48800 F-4C exterior
    49673 F-4C seatbelts
    EX414 F-4C
    49009 Remove Before Flight
    48802 F-4C air brakes
    53107 U-boat IXC part 2
    53108 U-boat IXC part 3
    BIG49101 Me 410A-1 1/48 MENG
    BIG49102 L-29 DELFIN 1/48 AMK
    49668 Me 410A-1 S.A.
    EX412 Me 410A-1
    48801 L-29 Deln exterior
    EX415 L-29 Deln
    49676 L-29 Deln interior S.A.
    48567 Bf 110 workshop ladder
    48798 Me 410A-1 engine
    eduard
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    INFO Eduard - May 2014

  • Page 31

    RELEASES
    MAY 2014
    E-BUNNY´S SQUAT
    eduard
    KITS
    8268 Bf 109G-6 1/48 ProPACK
    84126 MiG-21MF 1/48 Weekend
    PE-SETS
    00031 Template ovals & oblong STEEL
    00032 Template ovals STEEL
    00033 Mesh 6x6 square STEEL
    00034 Mesh 4x4 square STEEL
    32348 F-104G exterior 1/32 Italeri
    32817 F-104 C2 seatbelts SUPER FABRIC 1/32
    36265 D9R Doobi exterior 1/35 Meng
    36268 D9R Doobi interior 1/35 Meng
    36270 D9R Doobi cooling slats 1/35 Meng
    48789 Jaguar GR.1 exterior 1/48 Kitty Hawk
    48793 A3D-2 exterior 1/48 Trumpeter
    48797 MiG-25PD/PDS Foxbat exterior 1/48 Kitty Hawk
    48805 Su-2 exterior 1/48 Zvezda
    48806 Su-2 landing aps 1/48 Zvezda
    48808 MiG-25 Foxbat air intakes & F.O.D. 1/48 Kitty Hawk
    49066 Bf 109F/G seatbelts FABRIC 1/48 Eduard
    49643 Jaguar GR.1 interior S.A. 1/48 Kitty Hawk
    49669 MiG-25PD/PDS Foxbat interior S.A. 1/48 Kitty Hawk
    49678 Su-2 interior S.A. 1/48 Zvezda
    49680 MiG-25 Foxbat R-40 missiles detail set 1/48 Kitty Hawk
    53109 USN sailors WWII 1/200 S.A. 1/200
    53110 USS Arizona part 4 - main top 1/200 1/200 Trumpeter
    53111 USS Arizona part 5 - railings 1/200 1/200 Trumpeter
    53112 USS Arizona part 6 - superstructure 1/200 1/200 Trumpeter
    73505 Fw 190F-8 S.A. 1/72 Airx
    73506 Vampire FB.5 S.A. 1/72 MPM/Azur
    ZOOMS
    SS506 Vampire FB.5 S.A. 1/72 MPM/Azur
    FE643 Jaguar GR.1 interior S.A. 1/48 Kitty Hawk
    FE669 MiG-25PD/PDS Foxbat interior S.A. 1/48 Kitty Hawk
    FE678 Su-2 interior S.A. 1/48 Zvezda
    MASKS
    CX383 EE F.2A Lightning 1/72 1/72 Airx
    CX386 Fw 190F-8 1/72 1/72 Airx
    CX388 Vampire Mk.3/Mk.5 1/72 1/72 MPM/Azur
    EX418 F-80 1/48 1/48 Hobby Boss
    EX419 RF-80 1/48 1/48 Hobby Boss
    EX421 P-38L 1/48 1/48 Hobby Boss
    EX423 MiG-23ML 1/48 1/48 Trumpeter
    JX165 T-6 1/32 1/32 Kitty Hawk
    BIG ED
    BIG5321 U-BOAT IXC 1/72 1/72 Revell
    BIG49100 F-4C 1/48 1/48 Academy
    BIG49101 Me 410A-1 1/48 1/48 Meng
    BIG49102 L-29 DELFIN 1/48 1/48 AMK
    BRASSIN
    648134 Ju 88 wheels late 1/48 Dragon
    648135 MG 81Z gun 1/48
    648140 Bf 109G cockpit 1/48 Eduard
    648141 Bf 109G-6 engine and guns 1/48 Eduard
    648147 WGr.21 for Bf 109G 1/48 Eduard
    648148 Bf 109G cannon pods 1/48 Eduard
    648149 Bf 109G-6 wheels 1/48 Eduard
    OVERTREES
    8275X Bf 109G-6 1/48 Eduard
    BUY / e-shop Eduard
    eduard
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    INFO Eduard - May 2014

  • Page 32

    HISTORY
    Colored Bands and White Tails,
    or ‘Blame it on Goering’
    Jan Bobek
    (www.czechyingrabbit.blogspot.cz)
    Whether you are the proud owner of the
    new Propack Bf 109 G-6 kit from Eduard
    in 1/48th scale or you are only familiar with
    it through photographs or you have seen the
    color schemes offered along with their histo-
    rical notes, one thing is clear. Eduard made
    an interesting decision in the marking selecti-
    on process. All of the marking options, except
    aircraft own by Bartels, hail from western Eu-
    rope from the end of 1943 and the beginning
    of 1944. They carry relatively colorful mar-
    kings including the fuselage bands and white
    tails. Why were these markings developed by
    the Luftwaffe? Even in highly renowned refe-
    rences, it is noted that the colorful fuselage
    bands used from 1944 in the western battle-
    elds identied units ghting within the ranks
    of the Defense of the Reich (also known as
    the Luftotte Reich). However, most things are
    not as cut and dry at rst sight as they would
    seem. But, before I get to the details, allow me
    a few words on what the Luftwaffe was facing
    in the rst half of 1943 (along with the other
    German military services).
    The war in the Mediterranean was not going
    well after the landings by the Allies in Algeria
    and the losses in Africa led to evacuations to
    Sicily and the subsequent division of Italy into
    two powers on either side of the conict. The
    Germans sent here a part of their elite JG
    2 ‘Richthofen’ unit. Units here were equipped
    primarily with the Messerschmitt Bf 109 - JG
    53, JG 77, II./JG 51 and part of the legen-
    dary JG 27 (the core of which had to be wi-
    thdrawn for overuse). The typical identifying
    marking on these aircraft was a white fuse-
    lage band and white wingtip panels.
    The war in the east was intensifying to a cul-
    mination at Kursk. The precursor to this battle
    was a massing of ground and air assets on
    both sides. At the beginning of 1943, four
    Staffeln of the elite JG 26 ‘Schlageter’ were
    transferred from the west to the Eastern Front
    with their Fw 190s. Four units of JG 54 ‘Grün-
    herz’ went the other way with their Bf 109 Gs.
    The backbone of the ghter units in the east
    were formed by, from north to south, JG 5,
    JG 54, JG 51, JG 3 and JG 52. In this area
    of operations, the quick identication mar-
    king was a yellow fuselage band and yellow
    bottom underwing panels.
    Fighters in the Mediterranean and Eastern
    Front areas were accustomed to ghting
    in pairs or foursomes in co-operation with
    ground control. In cases where the enemy com-
    mitted larger formations of medium bombers
    or ghters, the Germans were able to quickly
    co-ordinate themselves accordingly thanks to
    effective radio communications. Already from
    1940, the Luftwaffe conducted direct escort
    missions for bomber operations. This wasn’t
    typically the optimal choice of doing things,
    but thanks to German discipline, was often
    effective. But when, in the Mediterranean, the
    Germans began encountering formations of
    four engined heavy bombers, problems be-
    gan to arise. There was not the infrastructure
    in place to either guide the ghters against
    the American formations or to rescue downed
    pilots. Results were very poor, even though the
    escort mission was just being learned by the
    Americans. Instead of dealing with the situa-
    tion constructively (through, for example, the
    transfer of command elements from western
    Europe), blanket sanctions against the ‘home
    team’ were implemented. This sewed the se-
    eds of distrust towards the leadership of the
    Luftwaffe from within.
    In Western Europe, JG 26, JG 2 and JG 1
    were busy with the raids of the RAF and the
    USAAF. The allied attacks on the Continent at
    the time seldom were aimed at the heartland
    and not always against strategic targets. The
    three mentioned units were effectively able to
    deal with the task at hand at Staffel strength
    (12 to 16 aircraft) or an entire Gruppe (at
    the time a Gruppe being comprised of three
    Staffeln). Their foes were increasingly made
    up of four engined heavy bombers and the
    Germans were correspondingly focused on
    teaching themselves how to deal with these
    airborne monsters. The American formations
    were not typically large and the USAAF le-
    Gruppenkommandeur I./JG 27 at the beginning of 1944 at the controls of his
    Bf 109 G-6. The machine carries a green stripe on the fuselage which identied
    the JG 27 within the Defence of Reich. The rudder is white and it identies
    the Gruppe CO.
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  • Page 33

    HISTORY
    adership lived with the impression that the
    formations were able to defend themselves
    without ghter escort. Battles that manifested
    themselves in the second half of 1943 effecti-
    vely drove home the actual reality of the si-
    tuation.
    As I mentioned above, the focal point of com-
    bat in the rst half of 1943 was not in Wes-
    tern Europe. The initiative was already in the
    hands of the allies. Units using heavy bombers
    were typically transferred to Africa and only
    four Heavy Bomb Groups remained in Great
    Britain.
    In that rst half of 1943, III./JG 54 and I./JG
    3 with Bf 109s were moved from the Eastern
    Front to western Europe. As early as the end
    of 1942, the African I./JG 27 was building up
    its strength here. The combat zone that typi-
    ed western Europe was quite different from
    what these units were accustomed to over the
    previous several years. Combat took place
    at different altitudes, and against a different
    enemy with quality materials, technology and
    personnel. Adapting to the new conditions
    took the Germans months to accomplish, and
    their results, compared to JG 2 and JG 26,
    were not as signicant.
    The second half of 1943 spelled a signicant
    turnaround for the Luftwaffe in the skies over
    western Europe. Units of the American Heavy
    Bomber forces returned from Africa and be-
    gan to target the heartland. From May, 1943,
    the bomber formations grew in size and were
    escorted by ghters. From the German side,
    simply put, there was a needed compensation
    that saw the formation of a new ghter unit,
    JG 11, and the transfer of other Jagdgrupp-
    en with Bf 109s from the Mediterranean and
    Eastern Front, mainly elements of JG 53 and
    JG 3.
    The Germans were developing methods with
    which to best combat the bombers and their
    escorts. They experimented with 30mm ca-
    nnon, air-to-air rockets and bombs dropped
    on enemy formations. They committed twin-en-
    gined day ghters and even twin-engined ni-
    ght ghters. At the same time, they developed
    a new system of ground control intercept, the
    so-called Y-Fuhrung (Benito), utilizing commu-
    nications with the help of aircraft equipped
    with the FuG 16ZY set (for example the air-
    craft own by Alfred Surau).
    The Luftwaffe was learning how to attack
    American formations through the concent-
    ration of as many aircraft as possible. That
    required the mastering of group navigation,
    maneuvering and maintaining formations of
    one Gruppe or more. The rst requirements
    appeared and required the formation of
    large groups of elements of various Geschwa-
    der. Here, in my opinion, lies the need to in-
    stigate the use of color identiers. Units had
    their own markings, but these tended to be
    pretty inconspicuous at even short distances,
    and so they did not fulll any identifying pur-
    pose. The fuselage bands helped to identify
    the unit and, the white tail, the formation le-
    ader. This helped to organize the formations
    and reorganize them after they were sepa-
    rated upon engaging enemy bomber groups.
    Luftwaffe high command orders, that were in-
    tercepted by ULTRA on February 10, 1944,
    stipulated among other things, that:
    -Units within the Defense of the Reich are
    to utilize white ns and rudders to identify
    Gruppe and Geschwader commanders.
    -Units within the Defense of the Reich are to
    continue the use of bands to identify individu-
    al Geschwader.
    It is necessary to connect this order with the
    fact that both types of markings had alrea-
    dy been in use from 1943 (for example on
    an aircraft own by Alfred Grislawski, who
    was furthermore a Staffel CO, not a Gruppe
    one), before the formation of the Defense of
    the Reich (Luftotte Reich). The order that rst
    required the use of these markings is unknown.
    It is evident, though, that the color bands over
    western Europe were in use for some time and
    in the Defense of the Reich were used as a
    standard practice.
    But that is not the end of the band story.
    From the end of June, 1944, there are several
    orders known intercepted by ULTRA stipula-
    ting that the color bands were to be removed
    (for example, in a dispatch to II./JG 11 from
    June 25th, 1944, at that time operating over
    the ‘Invasion Front’) leaving only the use of
    tactical markings identifying the aircraft and
    the Gruppe, crosses and spirals on the spinner
    (even eliminating the yellow bottom of the en-
    gine cowl!). At that time, the Luftwaffe, as well
    as ground forces, were increasingly taking on
    a defensive posture and it appears that there
    was a need to mask their machines. A period
    order issued by Jagddivision 7 on July 14th,
    1944, clearly mentions the removal of ye-
    Transcript of a document captured on the Western front
    in early 1945 with an overview of the ghter unit fuse-
    lage color designations. It does not include, for exam-
    ple, JG 1 and JG 76 from the Western front. The JG 52
    is a unit that operated exclusively on the Eastern front
    since 1941. The use of red-white stripes by this unit, has
    not yet been documented photographically.
    Photo: www.ghostbombers.com
    llow (II./JG5?) and red (JG 300) bands, and
    refers to an order of Luftotte Reich dated
    July 5th, 1944. However, orders were seldom
    100% implemented and some units continued
    on with the status quo.
    The question of colored fuselage bands comes
    up again formally in the fall of 1944.
    Hermann Goering issued an order on October
    27th that required ghter unit commanders to
    submit their opinions regarding the marking of
    their assets. From communications that ensued,
    it was evident that the ghter squadron COs
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    INFO Eduard - May 2014

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    HISTORY
    Reichsmarschall Hermann Göring, the Great War ghter
    ace, politician, businessman, art collector, hunter and war
    criminal. During the WWII Göring astonished his staff
    by reminding the practices of the German Air Force in
    WWI. One of them was the color identication of the
    ghter units.
    Photo: Bundesarchiv via Wikimedia Commons
    Color fuselage bands were a frequent identication element of the German Air Force during World War I. The Albatros D.Va from Jasta 4 shows the spiral stripe on the fuselage,
    which was the unit´s identication and also individual marking on the tail and spinner. Legendary Ernst Udet achieved 39 out of his 62 victories by this Jasta and during 1918 he
    was also in command of it twice. The WWII Luftwaffe took over a number of customs in administration, organization and marking from the WWI German Air Force.
    Photo: SDASM
    attempted to convince Goering that the use of
    color to mark aircraft as in the years 1914-
    1918 was no longer feasible!! Goering appa-
    rently had fond memories of the Great War.
    This discussion between Goering and the co-
    mmanding ofcers of his units was referred to
    as ‘Der grosse Schlag’ (and by the allies as the
    ‘Big Blow’, not to be confused with Operation
    Bodenplatte), which was to lead to a large
    single strike by over 2,000 ghters again-
    st American bomber assets. The goal was to
    dissuade the allies from further raids against
    Germany. In an offensive of such magnitude,
    effective unit identiers on the aircraft would
    certainly have made sense.
    The application itself began to be implemen-
    ted (with some freedom exercised at unit le-
    vel), as noted by ULTRA, over the second half
    of December, 1944. Instructions were not
    distributed only to ghter units but ground
    and anti-aircraft units were informed as well.
    Evidently, some units reverted back to the co-
    lored fuselage bands they used before, others
    simply continued with their current practice,
    while others, such as JG 2 and JG 26, used
    them for the rst time.
    At the beginning of 1945, the allies were able
    to obtain an overview of the color band mar-
    king system as it pertained to German gh-
    ters. It was dated February 20th, 1945, but it
    is necessary to point out several facts:
    -the order hails from Leichte Flakabteilung
    940 (v), and carries the number 2/45, and
    on its typewritten English translation, someo-
    ne wrote, in blue ink, ‘20 Feb 1945‘. So, it is
    therefore likely, that it was issued sometime
    around early January, 1945.
    -it describes an overview directed at ghter
    units, but no mention of Defense of the Reich
    aircraft is made!
    -the directive describes markings that still till
    today have not been veried either in written
    form or photographically (case in point: red/
    white bands for JG 52).
    That the system of the identifying bands was
    to be implemented over all of Europe can be
    gleaned from the fact that it was addressed
    to, for example, submarine units in Norway
    and SS units in Hungary.
    It is probably a safe assumption that futu-
    re photographic evidence will reveal other
    fragments of information of this colorful mo-
    saic. Towards the end of the war, as ghter
    unit numbers grew, the number of bands and
    colors did not sufce. This explains the bands
    comprised of squares, which were applied to
    ghter elements converted from bomber ones.
    My conclusions of what is so far known from
    the facts is this: quick identication fuselage
    bands within some ghter units ghting over
    western Europe were implemented in 1943
    (excluding JG 2 and JG 26). At the begi-
    nning of 1944, this was extended to the newly
    formed Luftotte Reich. By the middle of the
    year, the system of color fuselage identiers
    was to be terminated, but this did not make
    its way to all Jagdgeschwader. In the fall of
    1944, the color idea saw a rebirth, and by
    the beginning of 1945, the order was to be
    implemented by all ghter units of the Luft-
    waffe (including, for example, parts of JG 5
    in Norway).
    The question remains, why was this system
    implemented in 1943? It is possible that the
    initiative was Goering’s, who was fond of the
    organization and method of combat used in
    the First World War. Each Jasta had its own
    unique markings that served in the determi-
    nation and conrmation of kills as witnessed
    by ground units. Referring to the above men-
    tioned dispatch from ULTRA dated October
    27th, 1944, it is clear that the color fuselage
    bands in connection to the Jasta style was dis-
    cussed seriously!
    This short contemplation on the subject matter
    discussed was largely inspired by the work of
    Don Caldwell, Dr. Jochen Prien (and his col-
    laborators) and the keeper of the ULTRA re-
    cords, Nick Beale.
    (http://www.ghostbombers.com/)
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    INFO Eduard - May 2014

  • Page 35

    BUILT
    Bf 109G-6
    engine
    1/48 Eduard
    Detailed cockpit for Eduard
    Bf 109G-6 1/48. Two variants
    of the fuselage cannon cover
    – 20mm and 30mm cannon.
    built by Martin Nademlejnský
    BUY Bf 109G-6 engine 1/48
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    INFO Eduard - May 2014

  • Page 36

    BUILT
    Bf 109G-6
    speedbuild
    built by Martin Nademlejnský
    eduard
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    INFO Eduard - May 2014

  • Page 37

    BUILT
    eduard
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    INFO Eduard - May 2014

  • Page 38

    eduard
    38
    INFO Eduard - May 2014
    BIG5322 USS CA-35 INDIANAPOLIS 1/350 Academy
    BIG3339 F-104G 1/32 Italery
    BIG49103 GLOSTER JAVELIN FAW.9/9R 1/48 Airx
    BIG7285 F-35B 1/72 Fujimi
    635001
    M2 Browning
    1/35
    635002
    MG 34 gun
    1/35
    632037
    US 500lb bombs
    1/32
    648143
    R-77 / AA-12 Adder
    1/48
    648151
    AGM-65 Maverick
    1/48
    1190
    Bicentennial Phantoms
    1/48 Limited edition
    8174
    Fw 190A-5
    1/48 ProPACK
    84138
    Spitre Mk.IXe
    1/48 Weekend
    ON APPROACH
    JUNE 2014
    (June)
    (June)
    (June)
    KITS
    BIG ED
    BRASSIN
    632037
    648151
    648153
    648152
    648143
    1191
    The Longest Day
    1/48 Limited edition
    648152
    Fw 190 wheels early
    1/48 Eduard
    648153
    Bf 109G exhaust stacks
    1/48 Eduard
    632038
    Spitre Mk.I/II wheels
    1/32 Revell
    672034
    German Submarine 8,8 cm gun
    1/72
    REEDITION
    635002
    635001
    672034
    672038

  • Page 39

    PE-SETS
    00025 Mesh 6x6 Rhomb type STEEL
    00030 Template Access STEEL
    00035 Mesh 4x4 Rhomb type STEEL
    32350 Spitre Mk.II landing aps 1/32 Revell
    32360 Spitre Mk.II exterior 1/32 Revell
    32814 T-6 seatbelts 1/32 Kitty Hawk
    32815 Bf 109G-10 Erla S.A. 1/32 Revell
    32818 Spitre Mk.II interior S.A. 1/32 Revell 3986
    36259 HEMTT exterior 1/35 Italeri
    36269 HEMTT interior 1/35 Italeri
    36274 M-985 HEMTT Armament 1/35 Italeri
    36275 Pz.Kpfw. VI Ausf. B Tiger II upgrade set 1/35 Eduard
    48810 F-80 landing aps 1/48 Hobby Boss
    48811 F-80 exterior 1/48 Hobby Boss
    49679 MiG-23ML Flogger G interior S.A. 1/48 Trumpeter
    49685 F-80 interior S.A. 1/48 Hobby Boss
    53115 USN deck crew WWII 1/200 S.A. 1/200
    53116 USN ofcers WWII 1/200 S.A. 1/200
    72579 Fw 200C exterior 1/72 Trumpeter
    72580 Fw 200 landing aps 1/72 Trumpeter
    73021 Remove Before Flight SUPERFABRIC 1/72
    73498 Fw 200C interior S.A. 1/72 Trumpeter
    73500 EE F.2A Lightning S.A. 1/72 Airx
    73501 Hurricane Mk.I S.A. 1/72 Airx
    73502 Tiger Moth 1/72 Airx
    ZOOMS
    33136 Bf 109G-10 Erla interior S.A. 1/32 1/32 Revell
    33138 Spitre Mk.II interior S.A. 1/32 1/32 Revell
    FE679 MiG-23ML Flogger G interior S.A. 1/48 Trumpeter
    FE685 F-80 interior S.A. 1/48 Hobby Boss
    SS498 Fw 200C interior S.A. 1/72 Trumpeter
    SS500 EE F.2A Lightning interior S.A. 1/72 Airx
    SS501 Hurricane Mk.I S.A. 1/72 Airx
    (June)
    ON APPROACH
    June 2014
    PHOTO-ETCHED SETS
    32350 Spitre Mk.II landing aps
    1/32 Revell
    36269 HEMTT interior
    1/35 Italeri
    32360 Spitre Mk.II exterior
    1/32 Revell
    48810 F-80 landing aps
    1/48 Hobby Boss
    32818 Spitre Mk.II interior S.A.
    1/32 Revell 3986
    49685 F-80 interior S.A.
    1/48 Hobby Boss
    48811
    F-80 exterior
    1/48 Hobby Boss
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    INFO Eduard - May 2014

  • Page 40

    eduard
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