More About Gekko Greens

Following on from the Irving colours article, master modeler Mark Smith has very kindly contributed these images of his superb Tamiya 1/48th kit build, finished as '02-03' - one of the aircraft featured in the Shigeo Koike paintings - and using the kit decals (click on the images for larger views). Mark comments that he painted the model with the original version of Tamiya's IJN Dark Green with the addition of some dark blue. He also opened the rearmost section of the canopy housing the oblique guns, involving some surgery to the kit parts but nothing radical. Way back when he was a teenager he thought the Irving looked cool with all those canopies opened, so it had to be done! The results are stunning.

Dan Salamone has also been experimenting with paint mixes to replicate that "bright green" Gekko recorded at Atsugi by James P Gallagher and has very kindly shared them for the delectation of any readers wishing to add a model of this exotic bird to their collection. All paints are GSI Mr. Color lacquers thinned 50/50 with Mr. Color thinner to the paint ratios shown below.

14115

30 drops #66 Bright Green

3 drops #7 Brown

11 drops #65 Bright Blue

24 drops #1 White

5 drops #4 Yellow

(This color is slightly deeper and less grey than the chip)

14110

30 drops #66 Bright Green

3 drops #7 Brown

9 drops #65 Bright Blue

14 drops #1 White

5 drops #4 Yellow

(This color is slightly deeper and less yellow than the chip)

24108

30 drops #319 Light Green

4 drops #7 Brown

6 drops #4 Yellow

7 drops #65 Bright Blue

8 drops #1 White

(This color is a near perfect match for the chip)

Dan further comments that 24108, even though a much "safer" choice when compared side by side with more standard IJN dark greens, looks very unique. 14110 is a very deep green, near what he would call a kelly green but with less yellow. 14115 is the closest to the dollar bill seal color that he has - and he thinks that a mix falling between this color and 24108 is where he would find the perfect color.

Gentlemen thank you both for adding such value to the subject.

Image credit: Model photographs ©2009 Mark Smith

Useful Colours ~ Army Interiors Part Two

After running the first part of this series a couple of beautifully made big scale Ki-44 models have appeared built as on-line and magazine reviews where the primary source evidence from the 'Rikugun kokuki tosou kitei' is disregarded in favour of opinion and/or the ubiquitous internet research. This resulted in the cockpits being painted in a beautiful metallic blue ersatz 'aotake' in one case and a home-brewed bright apple green in another (based on a verbal description of colour from the memory of someone about a different type of aircraft). Lovely to look at these colours and again no problem whatsoever with the personal choice. But big problems with the fact that they were being promoted as any kind of informed choice - other than that of the "nobody really knows" type.

The requirement to paint cockpits dark blue-grey lasted until mid-1943 whilst the Type 2 was being manufactured (in all forms, including prototype) from August 1940 to January 1945. There is a clue therefore that a goodly proportion of the type up to and including mid-production were probably finished to comply with the requirements. This takes the possibility of a dark blue-grey interior into the realms of the coded serials batch 1271-1309 manufactured during June 1943.

The revised 'Rikugun kokuki tosou kitei' (Army aircraft painting regulations) of 14th June 1944 ordered the use of JAAF paint standard colour # 7 Ohryoku nana go shoku (黄緑七号色 - yellow green no.7 colour) for the painting of the upper surfaces of all Army aircraft including the cockpit interior and drop tanks. It also discontinued the requirement for the dark blue-grey and 'aotake' primer on other internal parts of the airframe in the interests of expediency. These instructions were not implemented immediately and factory painting of most types did not begin until August or September 1944, and even October for the Hayate production lines.

'Ohryoku nana go shoku' is perhaps one of the least understood and potentially most confusing of the JAAF paint colour standards, even causing a long puzzled Shigeru Nohara to state his preference for describing it as "dark khaki brown" - and ignoring the official designation - in his recent monograph on the Ki-44. In the past it has also been referred to as "late war brown", "deep brown green" and "Homeland defence khaki" - all intended to be one and the same colour - or perhaps more accurately the same colour standard. These descriptions tend to conceal the strong olive green chroma that was prevalent in the colour standard, although the procured and applied paint varied as we may see. In practice the permitted range of this colour imitated US Olive Drab but is perhaps best described as an olive brown, extending from a deep brownish olive green to a drab khaki brown. In colour terms the range is from Munsell 2.5 Y 3/2 to 7.5 Y 3/3. The closest FS 595b equivalent to both these values is conveniently 33070, @ 4.69 for the "brown" 2.5 Y 3/2 and 2.37 for 7.5 Y 3/3 (the slightly different readings above relate to the difference calculation between the respective pure sRGB values). Therefore this FS value is biased towards the greenish end of the range and 33070 is not quite brown enough for the brown end of the range. The bright orange and reddish browns that appear on some models (and profiles) intended to replicate this "late war brown" are largely flights of fantasy.

Conducting an online search for yellow-green colour (黄緑色) in Japanese language clarifies Nohara-san's confusion, because it will bring up many images of what can be described as a pea green colour - a strongly yellowish green. These are similar to the sickly yellow greens of JAAF # 29 yellow green colour (also 黄緑色 but often romanised as ki midori iro). This potential confusion may explain the qualifier No.7 (七号) always used to differentiate the olive brown colour.

Extant artifacts and paint surface colour measurements confirm that # 7 was applied inside cockpits on several types (such as the Ki-45 and Ki-67). However, whether there was some confusion in the understanding and implementation of this order or in its intention, another JAAF  # 29 yellow green is also found inside the cockpits of Nakajima Ki-43, Ki-44 and possibly other aircraft, particularly during the mid-war period (so the practice might have preceeded the June 1944 instruction). The measurement of one example of yellow green from the interior of Hayabusa 5227 matches this colour almost exactly. The closest Munsell equivalent is 10 Y 4/4 and the closest FS 595b match to that is 34151 @ 2.15 (but not quite yellow or chromatically strong enough). Curiously the latter FS value has also been cited in respect of Mitsubishi-built Zero cockpit interiors. This interior colour has been described variously (primarily in Hayabusa cockpits) as a "Nile green", "sickly green","yellowish olive green" and "bilious green". A dull and weathered version may be the basis for the "khaki green" suggested by Hasegawa for its 1/32nd Shoki model but there is no way of knowing if this suggestion is for a variation of # 7 (and I have not checked out the hobby paint colour cited). Early 1960's representations of a distinctive "oily green" finish on the cockpit, wheel wells and the inner faces of the undercarriage doors on Shoki may be attempts to depict variants of # 29.

A recent theory supposedly emerging from Japan, that during the early period of the war Army cockpits may have reverted to an aotake finish  (青竹色 - literally blue green bamboo colour - or sometimes written as 淡青色透明 - literally thin, translucent, light blue colour), seems to be based upon the evidence of paint colour in the restoration of surviving Hayabusa s/n 750. The available documentation about the restoration (excerpted below) is somewhat ambiguous and, bearing in mind the official instructions and previous comments about how degraded examples of # 3 can appear to the eye and not taking single examples as proof of a standard methodology, this theory seems a little tenuous.

"A full surface corrosion removal (of Hayabusa s/n 750) was undertaken. Fortunately corrosion had not got a good hold on this aircraft and most was buffed off using Scotchbrite buffing wheels. The wash also brought the internal corrosion proof paint up beautifully. The colours inside now were brilliant green with some blue panels, and where it had not been exposed to ultra violet light, had proven itself to be extremely effective in its performance. The interior skins were remarkably well preserved. We were able to duplicate the colours fairly accurately and decided that a deoxidene and alodeine wash would be appropriate before any new paint application to ensure future preservation of the original skins. Later in the year areas which did show surface corrosion were buffed to remove corrosion and the above washes were applied before the final paint." 


"Inside the flap bays, the corrosion inhibitor again had served the Oscar well, the translucent green protecting against deterioration and this required no rework at all apart from cleaning. It is of interest to note that internal skins inspected were hand numbered 750, from time of manufacture as were the fuel tank bays. "


Gakken 52 on the Hayabusa states that whilst the prototype and pre-production versions of the Ki-43 had the cockpit interior finished in ash indigo colour, (hai ran shoku or hai ai iro 灰藍色) the production aircraft had the whole interior, including the cockpits and wheel wells, finished in aotake.

Majoring on the Ki-44 for the time being, which seems to be the flavour of the month, we do have some interior photographs to consider. The cockpit photographs of s/n 2143, captured at Clark (and manufactured during October 1944), are fairly well known, but a new Japanese photograph, of the port side of the cockpit of another Ki-44 with the pilot's gloved hand on the throttle, appears on page 33 of Scale Aviation # 70 (Nov 2009). Now, I am not about to attempt that dark and fallacious art of interpreting colour from monochrome photographs, but at least the paint surface may be seen to be darkish in tone and opaque in character with the usual chips and scratches suggestive of a conventional paint finish subjected to the trials and tribulations of service use. There is not the barest hint of the brightly reflective, translucent, metallic-looking surface finish suggested by the restorations of Hayabusa s/n 750 or the NASM J1N1-S Irving.

My penchant for believing in the viability of early references, in preference to some of the revisionist and opinionated twaddle aired on the 'net these days, is well known - and well scorned. But the fact remains that in the thirty years period after the war there were very many more people around who had actually lived and worked up close with the equipment we now ponder. They were not grizzled ancients either, but men and women in their prime, and they were more accessible then than now, still being of working age and to be found in establishments and institutions throughout society, and able and mostly very willing to answer questions - if and when asked. I'm not suggesting that all references in this time period should be viewed without question or accepted unchallenged without the confirmation of other evidence, but I do believe it is equally wrong to treat them all as somehow primitive and unreliable. That being offered in Maru's 1978 painting of the Shoki interior depicts an opaque green of somewhat indeterminate character, a true 'aotake' in the early understanding of that colour as a "fresh bamboo green" opaque paint. The colour is not quite yellow or bilious enough for # 29, or olive and brown enough for # 7, but I would have no hesitation in using it as the basis for painting a Shoki cockpit. In fact my own pecking order, included for interest rather than mandated in any way, would be as follows:-

1. Dark blue-grey, # 3, for early and mid-production examples

2. Yellowish olive green, # 29 for mid-production to late-production examples

3. Olive drab, # 7, for late production examples

4. Translucent yellow-green aotake as a possibility on some mid-war examples.

5. Blue aotake.

The last part of this series will explore the colours specific to Kawasaki manufactured aircraft.

Image Credit: Rendered colour chips ©2009 'Straggler'

Army Air-to-Air Rocket Projectiles

Army Navy Collaboration

Air-to-Air rocket projectiles in use by the IJN have been known and documented for some time, but much less is known about the Army's testing and use of such weapons. A degree of cooperation is suggested by the fact that the Army and Navy had a rocket exchange plan in effect from 1943 although it was not until March 1944 that there was any actual collaboration. Each service pursued a slightly different approach with the Army specialising in spin stabilisation and the Navy in fin stabilisation. An agreement was reached that whichever technique was perfected first would be adopted as the standard methodology by both services.

The Navy fin-stabilised rocket achieved the earliest success but the Army objected that the design depended on the use of specialist Navy arsenal equipment and Army arsenals could not be adapted to its manufacture. As a result the Army continued with development of their own spin stabilised projectile. Ground deployment of the Army rocket reached the operational stage when the rockets were used during the defence of the Phillipines. Aerial deployment was pursued as described below with eventual limited operational testing of the projectiles but was eventually discontinued in favour of conventional gunnery and specialist aerial bombing techniques using Ta-dan ordinance (which will be explored in a future article).

The Army Aerial Rocket Projectile Programme

The Army research into rocket projectiles, to be launched from rails under the wings of fighter aircraft and intended to attack large aircraft or surface vessels, began in 1943. Three types of rocket were to be developed:-

Ro-San Dan (Ro-3 ordinance): weighing about 5 kg (for attacking aircraft)

Ro-Go Dan (Ro-5 ordinance) : weighing about 30 kg (for attacking aircraft)

Ro-Shichi Dan (Ro-7 ordinance): weighing about 300 kg (for attacking ships)

The testing of Ro-San Dan and Ro-Go Dan were completed in April 1944 and October 1944 respectively. Both types of rocket were manufactured by the Osaka Rikugun Zoheisho (Osaka Army Arsenal) and the Tokyo Dai-2 Rikugun Zoheisho (Tokyo 2nd Army Arsenal). The launching rails were manufactured by Tachikawa Heiki (Tachikawa Weapon). The initial velocity of Ro-San Dan was about 200 m/sec, and its effectiveness was assessed to be equal to that of the Type 88 Anti-Aircraft Gun (八八式七糎半野戦高射砲 Hachi-hachi-shiki nana-senti-han Yasen Koshahō) which fired a 75mm projectile of just over 6 kg in weight (a variant of this gun was installed in the Ki-109 converted Hiryu bomber interceptor). Ro-Go Dan had a larger explosive charge. Ro-Shichi Dan was also manufactured by both arsenals, but the launching rails were manufactured by Nakajima. It had an explosive charge of about 50 kg.

Before the testing of Ro-San Dan had been completed, the Koku Kosho (Air Factory) was ordered to convert the Type 1 fighter (Ki-43 Hayabusa) to be equipped to launch the rockets. By March 1944 the Air Factory had converted a total of 40 Hayabusa to be able to launch the rockets. In November 1943, after the testing of Ro-San Dan was complete the Air Factory had been further ordered to also convert Ki-44 and Ki-45 Kai aircraft types to launch the weapons. With the Hayabusa the Air Factory attached the launching rails to the wing locations for the drop tank racks. The rocket used was the Ro-3 Dan, and was hastily developed. Originally an attempt was made to equip the Ki-43-II with three Ro-3 Dan launchers. However the centreline location envisaged was found to be impracticable because the rocket could not be launched to safely clear the propeller so the final configuration was for Ro-3 Dan launch rails under each wing. This launch configuration was perfected by March 1944. Subsequently launching tests were made with the prototype converted aircraft, but they were judged to be ineffective and further development was cancelled. The only known photograph of a Ro-3 Dan under the wing of a Hayabusa (top image) shows the aircraft of an Army test unit and comes from the book 'Michi no Ken' (Unknown Sword) by Yoji Watanabe. The rocket projectiles appear to be somewhat similar in appearance to British style aerial rockets. The second image is a drawing from Japanese military archives illustrating the underwing launch rails for the Ro-3 Dan on the Hayabusa.

The Singapore Connection

The 1st Yasen Hójú Hikótai based at Singapore was the Army Field Air Replacement Unit for the SE Asia theatre. It consisted of a fighter unit, light bomber unit, medium bomber unit and reconnaissance unit. Essentially a combination of operational training unit and personnel pool for the 3rd and 4th Air Armies under the administration of the 3rd Air Army, the unit was equipped with various types of aircraft and also engaged in the air defence of Singapore against the first B-29 incursions. Personnel for this unit were drawn from both advanced flying training regiments (Kyôiku Hikôrentai) and the operational flying training units (Rensei Hikôtai).

Minoru Akimoto recorded that "Ki-44 aircraft in Singapore trained in the use of rockets against the B-29." At least two personal records of well known Army pilots mention this rocket development and testing.

In his 'Japanese Army Air Force Aces 1937-45' for Osprey, Henry Sakaida mentions the involvement of Major Yasuhiko Kuroe in air-to-air rocket testing:

"In January 1944, he was recalled to Japan to become a test pilot with the Army Flight Inspection Department, his new assignment involving the evaluation of both rockets and experimental high altitude twin-engined fighters."

In the recent Revi monograph* on the Ki-44 Shoki, author Martin Ferkl mentions that Captain Ryótaró Jóbó of the 1st Yasen Hójú Hikótai "flew a Ki-44 experimentally fitted with 44mm rockets under the wing. According to his recollections, due to high velocity of the bombers, he was always able to make only one pass. He would attack from below, however only one pass was never enough to bring a huge bomber down. Moreover, the rocket launch mechanism was prone to frequent malfunction." The reference to 44mm rockets is improbable and perhaps a mistranslation relating to the type of aircraft.

(*Very interesting material in this book, some of which appears identical to information posts made by yours truly at j-aircraft.com based on my own primary research - although not credited as such.)

Although of poor quality (from a newspaper) the photograph shows Ki-44 aircraft lined up at a Singapore airfield post-surrender, bearing the distinctive tail insignia of the 1st Yasen Hójú Hikótai.

Other Clues

A further snippet of information comes from a previously classified report on Japanese-German military collaboration:-

"However, in early 1945 the Japanese Army reportedly was using an aircraft-launched 87mm rocket which is reminiscent of the Panzerschreck; two rockets were carried under each wing."

Confirmation of the operational use of the rockets by Army aircraft comes from the AAF HQ Intelligence Report 45-101 on Japanese Fighter Tactics B-29 supplement. The crew of a B-29 reported that an Oscar approached from 5 o'clock low and fired a rocket at a range of 1,000 yards out. The rocket exploded with a red and yellow flash, mixed with white smoke and emitting streamers. It burst 100 feet behind, 100 feet below and 200 yards to the right of the targetted B-29 aircraft. The illustration reproduced here is taken from this intelligence document.

Acknowledgement

This article was prepared with the kind and generous collaboration of Ryusuke Ishiguro, whose principle contribution and assistance is gratefully acknowledged. Without the diligent investigative work of Ishiguro-san the details of the Army's air-to-air rocket programme would have remained obscure.

Image credit: Ki-43 Illustration Japanese Military Archive via Ryusuke Ishigaru; Ki-43 Photograph 'Michi no Ken' by Yoji Watanabe; Ki-44 Photograph Geoff Thomas via Ian K Baker; Rocket Attack Illustration AAF HQ Intelligence Report 45-101 B-29 Supplement.

One Man's Justice by Akira Yoshimura

Wandering off topic just a little but Akira Yoshimura's novel 'One Man's Justice' may be of interest to readers. It tells the story of Takuya, a former officer in the Anti-Aircraft Command and his attempt to avoid arrest and prosecution in post-war Japan for his involvement in the execution of downed B-29 crewmen. The dichotomy of personal responsibility versus unlawful orders is explored as well as moral questions about the bombing. There are long "flashbacks" to the events of the war but essentially the novel is not revisionist or apologist.

The passages describing the B-29 offensive and the air defence of the mainland are very well researched and accurate. The overall style of the translated book is spare, thought-provoking and direct, challenging perceptions and written from the viewpoint of a man conditioned by his environment and unrepentant about his actions. Official policies towards prisoners and ambivalent orders which senior staff later distance themselves from are the focus of the book. The reviews of the book at Amazon are comprehensively written so no more elaboration is required here. Link is in the sidebar.

From a very different perspective of similar events, Raymond "Hap" Halloran's 'Hap's War' is a factual account by a B-29 crewman whose aircraft 'Rover Boys Express' was shot down over Japan in a head on attack by a Ki-45 Toryu. The story of his subsequent capture, imprisonment, treatment and eventual reconciliation make sobering but compelling reading.

Japanese Monographs also relevant to the B-29 offensive against Japan are # 23 'Air Defence of the Homeland' (1956) and # 157, 158 & 159 'Homeland Air Defence Operations Record' (1952) all of which provide a detailed account in English of the Japanese defensive strategies, systems, methodologies and units involved, and which will be explored here further in due course.

Image credit: Book cover ©2009 Canongate; Photograph 314thBW/19thBG via SCMH.

Nakajima J1N1-S "Gekko" (Irving) Colours

An interesting question at Hyperscale provided food for thought about the colours of the Imperial Japanese Navy's Nakajima J1N "Irving" in its various incarnations. It is easy to perceive the IJN colour schemes as "boring", plain dark green over grey, especially if one resorts to standard hobby paints like Tamiya IJN Green and IJN Grey. But explore a little deeper and there is a rather richer seam to be mined.

The question was primarily about the undersurface (and also the interior, of which more anon), where several references suggest light grey paint. Chris Cowx, however, made a very interesting observation based on first hand examination of wreckage, which sent me off in a perusal of the scant photographic evidence. The observation is too significant to become lost in the Hyperscale clutter so I hope that Chris won't mind me quoting it here for posterity and for the benefit of the dedicated Japanese aircraft community:-

"I have spent a bit of time doing some wreck hunting in the south pacific and have seen an early Irving from the exact unit and time frame in question. The 60+ years of weathering has of course removed most of the paint, however the undersides seem to be in NMF. There is red oxide primer remaining and it seems to have been sprayed freehand over the upper surfaces with no discernable paint below. You can see where the primer ends in a soft demarcation and there is no trace of it below that. Comparing it to other wrecks that are known to be NMF beneath shows a similar pattern of remaining paint. It would be a fair assumption that if there was no primer on the undersides then there would have been no paint."

Now it can be very difficult to determine light grey paint from oxidised natural metal in photographs, but in this case the photographs studied suggest that they were indeed unpainted natural metal. These two pieces of complementary and corroborative evidence beg the question what did the various published references use as a basis for presenting the undersurfaces as light grey?

Mr Mikesh identified the original external paint on the NASM J1N1-S Irving s/n 7337 as Thorpe's N2, equivalent to Munsell 10 G 3/2. At first this appears counter-intuitive. Surely on a nightfighting aircraft the black green of N1 would be more appropriate? Then one considers the characteristics of NIVO (Night Invisible Varnish, Orfordness), a dark grey-green, and the RAF experience to summise perhaps that the Imperial Navy were discovering for themselves that the most effective night camouflage paints were lighter.

But it is more complex than this. In his examination of Japanese aircraft colours at NASM in the Asahi Journal Vol.3 No.1, Mr Mikesh measured the surviving extant paint traces on s/n 7337 as being to a Munsell value of 1.9G 3.0/0.7, which he equated to the closest Munsell standard value of 10 G 3/2. How this conclusion was drawn is unclear because as may be seen from the analysis here the measured value is actually slightly closer to N1 and closer to the value of 2.5 G 3.0/0.5 - a green so dark and with so little green chroma that it is almost a dark grey, as the close comparison to FS 25081 reveals. Was this a dull and faded N1 or N2 with much of its green chroma robbed by time and temperature?

It is always tempting, in the absence of other evidence, to assume a continuous standard provided by a single extant example. This is not entirely foolproof, because aircraft production painting is rarely an undeviating continuum but instead usually reflects a series of modifications to answer changing logistical or operational needs. We need go no further to find a striking anomaly than Gallagher's 'Meatballs and Dead Birds', where an abandoned 'Gekko'at Atsugi, tail code 'YoD-172' is described as having been painted in a "shade of green unlike any other at Atsugi", a green compared to the colour of the seal on the front of a dollar bill. Courtesy of a valued correspondent in the USA suggested matches for the green in FS 595b are 14090, reported as slightly too intense, 14120 which has a slight grey caste and 14115, the closest although lacking yellow. Of course these can only be approximations but the colours are included to give an impression of how bright this green may have appeared. That such bright greens existed in the paint colour standards is confirmed by the extant Kariki 117 'D' series swatches shown here, including Ryôichi Watanabe's suggested FS 595b comparisons as reported in Arawasi magazine Issue 9, Apr-Jun 2008.

Early Irvings at Rabaul look very dark, almost black in photographs, and with all the usual caveats about the dangers of interpreting b/w photographs it may be that they were painted in the equivalent of N1 on the upper surfaces only, before being shipped south. The irony here is the possibility of the exact opposite of what we once believed, that in reality these aircraft undertook their first operations in a very dark, almost black green and finished up as nightfighters wearing much lighter greens.

However the authors of the modeler's eye series monograph on the Gekko draw an opposite conclusion, reporting that the earlier aircraft appeared to be a much lighter green, "believed to be the result of in-field painting of unfinished (silver) aircraft without proper priming, resulting in the lighter appearance." That conclusion is difficult to draw from the photographs studied and the description of the colour schemes is somewhat ambiguous in its reference to the "all dark green scheme". The book is mainly a vehicle for building the Tamiya 1/48th kit and the colour information is confined to a generic description "dark green" and the citing of Tamiya paint AS-1/XF-11 'Dark Green' which appears to be more like N2.

The Fujimi Irving kit instructions suggest a "Blak Green" (sic) equivalent to FS 34077, achieved by mixing 80% H59/15 (IJN Dark Green Nakajima) and 20% H12/33 (Black) but make no distinction between the colours of early and later models. This FS value is closer to N1 than N2 (3.53 to 6.52 where >2.0 = a close match), but as may be seen the Munsell value for N1 is greener and richer than the FS value suggested. The closest Munsell value to 34077 is 7.5 GY 2/2 @ 3.5o but it is only a smidgeon ahead of 10 GY 2/2 (N1) @ 3.53. The closest FS value to N1, and it is very close at 1.10, is 14056. This value is also close to Munsell 7.5 GY 2/2 @ 2.08. If you have followed thus far and not yet fallen asleep the reasonable conclusion is that Fujimi are suggesting the black-green N1 as the colour of Irving.

K Koizumi's painting of the early production J1N1-S '02-03' of the 202nd Ku in FAOW 57 depicts a green resembling N2 rather than N1, but it is a more yellowish - or cadmium - green of a similar hue to that seen on the Zero in the Atsugi colour film. The profiles show two different greens, with a lighter more viridian colour for the early production examples with unpainted/grey undersurfaces and a colour slightly more towards an olive green for the overall green painted aircraft. Both could be said to be approximations of N2 rather than N1 but the actual dark green is not referenced to Kariki 117.

In Model Art 272 translator Dr Widman Livenow describes the Irving colour scheme as"deep green-black with lower surfaces in ame-iro(sic)" suggesting N1 rather than N2.

Interior Colours

The original interior colours of the NASM example have been documented as being partly finished in the exterior colour N2 and partly in 'aotake', the blue-green translucent protective coating that results in a "metallic" appearance to the paint surface. Again, in the absence of data for earlier machines it is tempting to take this as typical and use it as a guide for all Irvings. However, the finish has all the hallmarks of late-war expediency, in the partial painting and use of external paint colour, so it may not be the most appropriate choice for earlier aircraft.

As a Nakajima aircraft it is possible that the interiors of earlier aircraft reflected paint colours similar to those found on Nakajima-built Zero aircraft.

A continuation of this article will explore detail colours and the relevant hobby paints.

'Straggler'

References

1. Hyperscale "Plane Talking" post on October 17 2009 at 9.12 p.m: "Alright, don't y'all freak out . . . "

2. 'Moonlight Interceptor - Japan's "Irving" Night Fighter', Robert C Mikesh and Osamu Tagaya, Smithsonian Institution Press, 1985

3. 'Japanese Aircraft colors at NASM', Robert C Mikesh, Asahi Journal, Vol.3 No.1

4. 'Japanese Aircraft Interiors 1940-1945', Rober C Mikesh, Monogram Aviation Publications, 2000

5. 'Imperial Japanese Naval Air Force Fighter Camouflage and Markings, Model Art 272 and translated English summary edition by Dr Widman Livenow, Aviation Usk, 1996

6. 'Navy Night Fighter "Gekko"', FAOW 57, 1996

7. 'Nakajima Night Fighter Gekko Type 11 Late Production (Irving)', modeler's eye series # 1, Dainippon Kaiga, 2001

8. 'Meatballs and Dead Birds', James P Gallagher, Stackpole Books, 2004

9. 'True Colours: Kariki 117', Watanabe Ryôichi, Arawasi Magazine Issue 9, 2008

10. 'A History of the IJN's Night-Fighter Units', Yoji Watanabe, Dainippon Kaiga, 1993

11. 'San Maru Futa 302', Koku-Fan Illustrated #96, Bunrin-do, 1997

12. 'Nihon Rikukaigun Yakan Sentôki' (Japan's Army and Navy Night Fighter Aircraft), Model Art 595, 2001

13. 'Japanese Military Aircraft Illustrated' Vol.1 Fighters, Koku-Fan Illustrated Special, Bunrindo, 1982

14. 'Heroes of the Omperial Japanese Navy Air Force in 1937-1945', Model Art 439, 1994

Image credits: Artwork ©2009 Shigeo Koike; Rendered colour chips ©2009 Straggler

Type 97 Combo Fest

Hasegawa's recent 'Nakajima Ki27 Type 97 Fighter (NATE) '1st Flight Regiment COMBO' is a somewhat expensive re-issue of the two former Mania kits of 1970 vintage in a new box with a new and generous decal sheet (all those lovely bordered stripes!).

In addition to providing the two 1st Sentai aircraft shown on the box art, a further four options and one variation are offered, which include both of the aircraft originally depicted in Hasegawa's first 1978 issue of the kit. The decal options are:-

1. Ki-27 Ko of 1st Sentai, flown by Sentai Commander Lt Col Toshio Kato, Kagamihara, June 1939*

2. Ki-27 Ko of 1st Sentai, 2nd Chutai, flown by Capt Keisuke Yamada, Kagamihara, June 1939

3. Ki-27 Otsu of 1st Sentai, 1st Chutai, flown by Capt Shigetoshi Inoue, Nomonhan, August 1939*

4. Ki-27 Otsu of 4th Sentai; with alternative blue or yellow tail markings

5. Ki-27 Otsu of 5th Sentai, 1st Chutai, Kashiwagi, 1939-1941

6. Ki-27 Otsu of 24th Sentai, 3rd Chutai, flown by Capt Toshio Sakagawa, Manchuria, January 1940

(* Markings options as included in Hasegawa's first issue kit A34 in 1978.)

This decal sheet incorporates the coloured rudders and elevators of the 1st Sentai and I believe this is the first time the unit's distinctive painted elevators have been correctly depicted in a kit. The undersurface elevator decals are also included, although there is uncertainty whether these were actually painted. The necessity of including decals for these markings may be questioned - they are easy enough to paint - but I suppose it is nice to have the colours exactly matching the rest of the sheet. The sheet also includes very nice stencil decals but # 61 has me mystified as I cannot seem to find it anywhere on the instructions!

Of personal interest to me is the inclusion of the option for a 5th Sentai example, albeit from the 1st Chutai and not the 3rd Chutai aircraft in which Lt (later Capt) Baba of Ki-100 fame intercepted and attacked a B-25 during the Doolittle raid (his aircraft depicted in Ichiro Hasegawa's lovely painting - bottom picture). Useful because markings for this unit are not available elsewhere and they are difficult to paint. One of my long term projects is a 1/72nd scale line up of every unit flying the 97 Sen so this sheet is doubly welcome.

Also of interest are the painting instructions citing GSI Creos Mr Color and Aqueous Hobby Color paint ranges. A choice of 127 'Cockpit Colour (Nakajima)' or 14/H54 'Navy Blue' is suggested for the interior (the latter more probable although I have not compared this hobby paint colour to the actual standard colour). The exterior paint finish is even more intriguing because, whereas the box art appears to show the standard hobby paint "Army grey-green", the painting instructions suggest a 50/50 mix of 115 'RLM 65 Light Blue' and 128 'Grey Green' resulting in, presumably, an interesting blue-grey-green colour which may turn out to be close to the colours identified by Thorpe and the range given for 'Hairyokushoku' (ash green colour) in the Army standard. The question of whether this paint colour gave a predominantly pale green, blueish-grey or neutral grey impression - or all three - remains open as it is recalled and depicted almost equally in contemporaneous documents.

More on 97 Sen colours here: Part 1, Part 2, Part 3, Part 4, Part 5, Part 6, Part 7, Part 8

Hasegawa's ex-Mania Nate has not been re-issued as many times as some other Japanese aircraft kits in the range and unfortunately no attempt has been made to improve the molding. The kit is basically sound, offering both Ko and Otsu canopy variations, together with three different wheel configurations, but suffers from a number of detail issues. The Ko rear canopy section is almost flat-topped and rectangular in section where it should be curved. The windscreen has a large slot for the optical gunsight which is a very crude molding with a solid 'tab' fixing it to the fuselage (pinch an unused one from their Ki-44 kit!). The interior is rudimentary with the seat incorporating a separate 'back' that bears no relation to the real thing and pops up out of the cockpit like a slab of armour plate. The stabilisors and elevators also need refining, being molded rather crudely in comparison to the rest of the kit. The engine is basic but is difficult to improve because of the integral horseshoe oil cooler. Having mentioned all that (and there are a few other details too) it still builds up into an attractive kit that captures the iconic appearance of the original reasonably well. And it is an enjoyable and undemanding build which rewards simple improvements.

Fortunately the RS Models Ki-79 kits can also be plundered for spares to improve the Hasegawa model, such as the seat, although some may prefer to tackle the RS Models Ki-27 kits (based I believe on the Hasegawa kit) or the more recent ICM offerings to start with.

The 97 Sen has been quite well served with aftermarket decal sheets. A small Techmod sheet was included with the Kagero Monograph # 11 providing a small joint sheet of 1/72nd and 1/48th markings for 97 Sen of the 11th Sentai, 2nd Chutai, 10th Independent Chutai commander's aircraft, 13th Sentai, 1st Chutai, 64th Sentai (x 2), Akeno Flying School and RTAF. However, in the case of the Japanese options the markings are limited to tail insignia and do not include the various stripes or the Hinomaru insignia.

Arawasi produce a very nice decal sheet for 'Fancy Nates' 72001 (also available in 1/48th scale) with markings for four very colourful machines from the 50th Sentai and three training units. The 50th Sentai marking is splendid and particularly welcome as it would be almost impossible to paint. This is also a combat aircraft in the Phillipines during 1942 - a super choice.

Rising Decals sheet 72010 'Emperor's Eagles Over China and Nomonhan' includes markings for three 97 Sen from the 11th, 24th and 64th Sentai. Their 'Japanese Aircraft of the Training Units' sheet 72025 offers markings for a Ki-27 trainer aircraft of 117 Kyoiku Hikotai in Java during 1944, and two colourful earlier 97 trainers of 101 Kyoiku Hiko Rentai in Japan.

Most recently Empire City Decals have issued a sheet 'Fighters Over China' ECD7209 (also available in 1/48th scale) with markings for a very interesting caricature adorned 97 Sen Otsu of the 11th Sentai.

Finally, markings for Royal Thai Air Force versions of the 97 Sen are available on the generic Axis Decal sheet AX72-003 (also available from Arawasi) and on Siam Scale's sheet # 72037 for the Ki-21, Ki-27 and Ki-30. Siam Scale decals are available here.

More to come on 97 Sen kits, decals and details, including a look at the 1/48th scene.

Image credits: Box art and decal sheet © 2009 Hasegawa Corporation; Art © Ichiro Hasegawa