Olive Grey II

In comments to the first part of this ramble, Jim Lansdale raised some very valid points about why the colour of the Zero seems to hold such special interest and why the fidelity of the artifact colours attracts such debate. Well, it is an iconic aircraft, made equally famous in the West by the exploits of its pilots in the first year of war, personified by Saburo Sakai. It is a popular, even perennial, modelling subject, blessed by the appearance of remarkable models like the Tamiya 1/32nd scale kit and the ultimate Fine Molds 1/72nd limited edition. In a way the same mythology that attended its first encounters with Allied pilots has endured into current study of the aircraft.

Also the widely held assumption, belief in and depiction of the pale whiteish grey colouring persisted for almost 50 years (and still does in some quarters - try googling "Zero fighter"), as typified by the Keith Ferris painting for the cover of the classic Bantam book 'Samurai' in 1978. Little wonder then that a relatively recent colour revision of such significance should attract disbelief, controversy, discussion and debate. And that situation is of course stimulated by so many unanswered questions and so many explanations for what we are seeing now.  

The most frequent FS 595b colour values cited for the current appearance of artifacts are 16350 and 34201. These are not exact equivalents because the colours have been measured to Munsell fractional notations (discussed elsewhere on this blog) but are convenient in conveying an impression of the colours. The FS values are more commonly accessible than the Munsell values and indeed the FS values are often quoted or depicted in articles and profiles as being the colours, to the extent that they have led directly to at least one hobby paint and are regularly displayed as the colour value by a leading profile artist.

Although various descriptions have been attributed to these colours in the past the one that seems to represent the "consensus' now is olive grey. Convenient, because the closest RAL equivalent to both values is 7002 Olivegrau (Olive Grey) @ 1.50 and 2.95 respectively. The closest standard Munsell to both values is 5 Y 5/2 @ 3.67 and 0.13 respectively.

These colours have also been variously attributed to the extant colour paint chips in the Imperial Japanese Navy colour standards document popularly known as 'Kariki 117' (Kaigunkôkûkiyô Toryô Shikibetsu Hyôjun, Kariki 117 Bessatsu - 'Paint Identification Standard for Naval Aircraft, Supplement to Provisional Regulation 117'). The problem with Kariki 117 is that no-one knows exactly what its status was, how it was meant to be used or, perhaps more importantly, why each defined colour series comprised several variations - some significantly different in appearance.

Kariki 117 throws up immediate problems for the researcher in that the series colour descriptions of those colours that appear most closely to reflect the artifacts are not consistent with the contemporaneous evidence. The only know 'official' descriptions of the paint used are "grey rat colour" (in the maintenance manual) and "J3 grey slightly towards candy colour" (in the so-called Kugihô 0266 report*). The designer of the Zero, Jiro Hirokoshi, described the prototype as being painted a "dimly shining ash green" colour. 

The relevant Kariki 117 colour series are 'J' Hai iro (Ash colour), 'M' Hairyokushoku (Grey green colour) and 'L' Nezumi iro (Rat colour). Unfortunately none of these chips appears to immediately match the artifact colours. The 'I' series Tsuchi iro (Earth or clay colour) has been matched to the artifacts, but before leaping to conclusions about that we might consider the following:- 

1. The Kariki 117 colour chips have been visually (subjectively) matched by at least two Japanese researchers to the equivalent JPMA (Japan Paint Manufacturers Association) chips which are aligned to Munsell notations. These matches have not been verified and there are inconsistencies in the values cited (which will be explored later). Without measuring the chips (which themselves may have deteriorated) using proper equipment no definitive consideration can be attached to a visual, subjective assessment or match.  

2. In considering the Kariki 117 colours for Arawasi magazine Japanese researcher Ryôichi Watanabe made the following somewhat ambiguous comment about the 'I' series colours:- "I3 was used as a second coat on the Zero fighters and other aircraft, but there are several people who wrongly believe that I3 is ame-iro (a light brown or amber colour)". He also examples some anomalies in respect of specific 'D' and 'J' series colours and comments "Seeing these colours, grave doubts remain as the differences are so great, even taking into account colour shift and fading".

3. If the author of Kugihô 0266 knew enough about the Kariki 117 designations to refer to "J3" and the Zero paint was a standard colour why did he not simply describe the colour of the Zero as "Tsuchi iro"?

We might legitimately ask how much the difference between 16350 and 34201 represents contemporaneous (batch type) variation and how much is the result of ageing or other unknown factors? If the latter then which one most closely represents the original paint?

Incidentally, the reason for the two variations of 16350 and 34201 shown here accommodates the fact that the RGB values for these colours as displayed at www.colorserver.net are different to those in use elsewhere. The Colorserver version appears decidely more greenish. In both cases the DE2000 difference calculations to the brushed out and measured colour of XF-76 are included where a value of 2.0 or less may be considered a close match.

At Colorserver 16350 is described as a "gloss brown tinted grey" and 34201 as a "flat olive green". In fact the latter is adjacent on the gradiated page to 34088 which is often cited as an equivalent colour to the Japanese Army's olive drab (ohryoku nana go shoku - 'yellow green No.7 colour'). The hue is identical only the brightness (lightness/darkness) is different. As the olive drabs typically fade towards the lightness of 34201 it becomes difficult to determine which was the original colour. So, does the extant undersurface leading edge of a 1944 Kawasaki Ki-48 represent a similar olive grey to an early 1942 Zero or merely the faded olive green of an uppersurface colour "wrapped around" the leading edge of the wing or painted overall? More on this later. 

In the FS 595b coded system FS 16350 is considered to be predominately 'gray' (6) whilst FS 34201 is considered to be predominately 'green' (4). The last three digits form a code that provide a general indication of reflectivity. By a stretch and using the RAL example FS 34201 might be considered to be an 'olive grey' but it is not a pale colour.

The validity of RGB displays is often the subject of criticism when it comes to the perception and understanding of colour. My late friend Bill Leyh never trusted visual matches commenting that he preferred "working in the digital world. Computers rarely have an agenda to pursue. And they're not color blind. It's all numbers to them - and all numbers are equal." However, the difference in RGB representation of the same FS values highlights the difficulties even of working in the digital medium.

On the subject of colour fidelity, Bill wrote:- "I think it would be a serious mistake to take a 60 year old artifact and get anything close to a precise color analysis from it without a lot of destructive testing (buffing the paint down as deeply as possible - and that still won't do a thing to mitigate chemical decomposition of the paint). A RAMAN spectroscopic analysis might determine the exact elements present which might make it possible to determine what pigments were used, in what proportions, and recreate what the paint looked like (when new). The presence of chemical compounds not typical of paint pigments, but affecting the appearance of the artifacts, could be discarded so that the original appearance could be reproduced." Not so straightforward I'm afraid as additives may be original to the paint and not confined to pigments. Even knowing the pigments does not immediately convey the exact appearance as there are many degrees of purity to consider in respect of some pigment compositions - all of which can affect the appearance of the colour.

More recently a respected Japanese researcher commented in respect of Kariki 117, in English:- "The color samples are left in the world now is too old. All color samples are discoloured. You don't believe that they are original colors. Colors we can see now. But they were painting about 60-70 years ago. The color is an old man. We must not forget it." 

To be continued.

* Kugihô 0266, Reishikikansen Meisai ni kan suru Kenkyû - Air Technical Report 0266, Research into Type Zero Carrier-based Fighter Camouflage'.

Image credits: Rendered colour chips © 2009 Straggler; Painting 'Wounded Samurai' © 2004 Keith Ferris Art

 

Olive Grey

The Zero colour saga rumbles on - with an understandable confusion on the part of some modellers faced with apparently two conflicting determinations, separated it seems by the Pacific Ocean, of just what the elusive "olive grey" looked like.

The current situation has not been helped by incomplete or unequivocal derivatives, which has led to the somewhat reckless bandying about of terms like "ameiro", "tsuchi iro" and "hairyokushoku" at various websites and in various publications.  A recent "summary" in a model magazine was a dog's breakfast and would have led the uninitiated straight up the garden path before you could say . . . well, . . . "ameiro".  Osprey's guide to modelling the Mitsubishi A6M Zero is slightly confusing, managing to conflate the terms "tsuchi iro" (earth colour), "grey-green", "ameiro" (amber or candy colour) and "hairyokushoku" (ash green colour) into one generic colour and providing a printed colour chip reminiscent of RAF Dark Earth - although the actual paint mix suggestions are fine. 

All of this has led to a situation where the question is still being asked reasonably and answered imperfectly, depending on the conviction of those getting involved. As usual, it is difficult to distinguish between fact, conclusion and opinion. The colour most frequently depicted by the Japanese being the "traditional" grey-green represented in several Japanese hobby paint ranges and the darker, more olive-khaki (if not tan) shade favoured in the United States. It is a generalisation of course but it seems as though the Japanese are attempting to represent the likely appearance of the paint when new whilst the Americans are replicating the current artifact colours literally. 

Even the most advanced of modern polyurethane paints intended for critical external applications are provided with warranties that guarantee no more than a Delta-E colour shift of 5.0 over a period of 40 years. That is approximately equivalent to the colour shift difference between Thorpe's N9 Medium Grey and FS 34201, which coincidentally is the closest "match" at 5.40. In the case of the artifacts we must consider 1940's nitro-cellulose paints with organic and/or synthetic constituents, which have aged 65-70 years. One of the established factors in the ageing of paint, especially nitro-cellulose derived paints, is a "brown shift". Over time the paint looks darker and browner, even if the original colour was a warm, slightly brownish grey to begin with.

It is worth a reminder that whilst we know, or think we know, the appearance of the factory paint colour on the extant relics, there is little or no evidence for what that colour was officially called, if anything. 

It struck me, looking at the 1970's box art for Bandai's 1/50th Aichi D3A1 (ex-Imai) that the concept of the warm or olive grey may not be just a recent product of revisionism at all. Bandai's unknown artist has recreated the 'Val' with something approaching a convincing fidelity. The warm, slightly greenish grey is much more apparent on the original than in the scan here and it is nowhere near the light, bright grey - almost off-white - that we think of as so typical of 1970's representation. OK, it is not the near-tan khaki "grey" suggested by the extant artifacts but I would not be ashamed to paint a model to imitate the box art. Bandai's artist might even have seen the aircraft in real life and he certainly captures the slightly oily-looking blue-black of the cowling paint convincingly.

The earliest LS 1/75th A6M2 kit was molded in a greenish grey plastic that is almost identical to that used in Fine Molds recent masterpiece, supposedly based on the colour of the original.

A recent "buzz-phrase" seems to be to ask for a "consensus" when determining paint colours for modelling purposes, as though there is some learned committee charged with establishing what is acceptable and what isn't. Ssssh! No-one really knows for sure and the consensus is more often than not just a flavour of the month which may be as far from the reality as Osprey's memorable hybrid. Take heart - be not afraid to plough your own furrow.

Image credit: © 1970's Bandai 

IJN Tail Codes

Well known colour photograph which has appeared in various publications but worth showing again as a good, clear image for the colours of the tail codes.

'YoD-135' in yellow and 'YoD-198' in white. Note Zero behind Raiden also has yellow tail code and extreme weathering on Raiden. Unusual.

Note also Irving tail code 'YoD-198' is horizontal to ground line not airframe line.

In monochrome photographs it is difficult to determine whether codes are white or yellow. Did the colours signify anything? Hikotai?

Image credit: a-waka

J-Model Works

Omami's splendid J-Model Works (Mokei no Hanamichi) website is well worth a visit. In addition to a gallery of excellent models (predominantly IJN ships but some aircraft too) there is an index of useful links to many fascinating Japanese model sites and manufacturers - all in English too.

Image credits: ©2009 Omami & J-Model Works

Aichi D3A 'Val' Interior in Detail & Colour ~ Extra

A flurry of emails has prompted this extra post in the Aichi D3A2 'Val'; Interior in Detail & Colour series to clarify the origin of the photographs. Whilst the source of the formatted images (for the Aviation of Japan blog) was Mark Smith, it was Greg Springer who actually took the majority of the photographs in 1976. Greg has very kindly given permission for the photographs to continue to be shown here.

I was puzzled when Jim Lansdale mentioned the s/n as being 3150, because the data block shown in one of the photographs is 3357. This minor mystery was also cleared up by Greg who explained that there are two D3A2 airframes at the Nimitz. The main one, shown in most of the photographs, was 3150, recovered from Gasmata together with an A6M2 of the Tainan Ku by Australian military forces. In gratitude the Nimitz allowed the Australians to keep the A6M2 which was later restored and is now in an Australian museum. An enquiry from Jim Long led Greg to discover and photograph the constructor's number in the 1980's.

The tail section and propeller are from 3357. They were recovered from Cape Mensing on the northwest coast of New Britain near Cape Gloucester. This aircraft was coded 82-248 from the 582nd Ku and was probably part of the ill-fated attack on the Cape Gloucester landings in late December, 1943.

The image of the data block shown above is from Greg's photo-shoot in 1976. The block appears to have been applied over the dark green and primer, preserving the dark green beneath it. The circular aperture is the transverse tube for hoisting the rear fuselage for maintenance.

With Special Thanks to Greg for the clarification and the additional details about these aircraft.

Image credit: © 1976 & 2009 Greg Springer   

Sweet Little Zero

It is very hard to believe looking at these pictures (and click on them to see the real deal - those canopy frames!) that this superb model of the A6M2 is only to 1/144th scale - the Sweet kit as built by Mark Smith.

Mark has also kindly sent me his review of Sweet's latest Zero version in this scale, the Model 22, A6M3.

"My buddy P F Simmons had a surprise for me when I dropped by before Christmas this year - yet another release in Sweet Aviation's burgeoning line of 1/144th scale Mitsubishi Zero kits. Hard to believe, but this is the 22nd release in their line-up of single-engine WWII fighters (the 21st was the Model 32 with clipped wingtips). This one is my favourite so far and for my money the prettiest, the Model 22 which flew some of the longest and most gruelling missions in the Solomons campaign.

This kit, like the original, eliminates the separate folding wingtips of the A6M2 releases and has the appropriate tiny details of the ailerons and trim tabs, antenna mast and propeller spinner and prop. The box art is exquisite (I wish Sweet would drop the "manga" cartoon style box art they opt for on some of their releases). Best of all are the markings options. This version sported the most variegated camouflage of all the Zero variants, as evidenced by the five variations on the decal sheet so nicely done by Cartograf. Overall grey, stippled green camo and solid green over grey are all there from the 582, 201 and 202 NAGs. The fifth option is one I've never seen, '2-163' as flown by Lt Shirou Kawai from Rabaul, New Britain. It has two diagonal leader's stripes on the fuselage and the tail codes also have stripes above and below; these being provided in both yellow and white (Sweet is apparently not sure which is correct and leaves it up to the modeller to decide). I sure would love to see the photograph(s) this scheme is based upon.

I now have five different Sweet Zero boxings, which together sport decals for 33 different airframes! Thanks to P F I also have the separately marketed Akagi Fighter Group decal sheet, which provides 21 additional choices! Good grief! When I first started collecting in this scale I always bemoaned the dearth of available decals.

Unlike the A6M2 kit which I built, this one has a pilot seat provided, much appreciated as it's a pain to make in this scale and will be visible.

Whilst I can testify that painting the canopy frames in this scale is crazy-making, think of it as the one hard thing you have to do to make a lovely little model. I have built three of Sweet's Hurricanes, two Wildcats and the Model 21 Zero, and the tool-making, accuracy and fit of these kits are outstanding.

I keep waiting for them to branch out with something a bit bigger. Think of the money Sweet could make with a B-17 in this scale! Well, we can dream - and in the meantime build lots of Zeros. - Mark Smith

Image credit: Box Art © 2009 Sweet Aviation; A6M2 model © 2009 Mark Smith