Page 31

Info EDUARD

{"cz":"Info EDUARD"}

{"cz":"Měsíčník o historii a plastikovém modelářství.","en":"Monthly magazine about history and scale plastic modeling."}
05/2014
- Page 1
  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
- Page 2
  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.
- Page 3
  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
- Page 4
  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
  4
  INFO Eduard - May 2014
- Page 5
  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
  5
  INFO Eduard - May 2014
- Page 6
  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
  6
  INFO Eduard - May 2014
- Page 7
  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
  eduard
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  INFO Eduard - May 2014
- Page 8
  KITS
  EXTRA
  sprue T
  sprue K + N
  sprue J
  eduard
  8
  INFO Eduard - May 2014
- Page 9
  KITS
  EXTRA
  sprue H
  sprue I
  eduard
  9
  INFO Eduard - May 2014
- Page 10
  KITS
  painting mask
  color photo-etched set
  decals
  eduard
  10
  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
  11
  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
  12
  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
  30
  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
  31
  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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  INFO Eduard - May 2014
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  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/)
  eduard
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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
  eduard
  35
  INFO Eduard - May 2014
- Page 36
  BUILT
  Bf 109G-6
  speedbuild
  built by Martin Nademlejnský
  eduard
  36
  INFO Eduard - May 2014
- Page 37
  BUILT
  eduard
  37
  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
  eduard
  39
  INFO Eduard - May 2014
- Page 40
  eduard
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{"cz":"Info EDUARD"}

05/2014

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Rok 2021

Rok 2020

Rok 2019

Rok 2018

Rok 2017

Rok 2016

Rok 2015

Rok 2014

Rok 2013

Rok 2012

Rok 2011

Rok 2010

Rok 2022

Pracovní manuály

Work manual

Year 2022

Year 2021

Year 2020

Year 2019

Year 2018

Year 2017

Year 2016

Year 2015

Year 2014

Year 2012

Year 2013

Year 2011

Year 2010

EMD

WORKSHOP

SEARCH

STORE

NEWS

COMPANY

SUPPORT

BFC CLUB

EMD

WORKSHOP