The Official Monogram Painting Guide to German Aircraft 1935-1945

146 Pages·1980·115.19 MB·English

by  Kenneth A. Merrick

Copyright © 1980 AGENCYCREDITS
by
Monogram Aviation Publications BUNDESARCHIV: 88B, 26T; CANADIAN
WAR MUSEUM: 48; DORNIER AG: 42B:
IMPERIALWAR MUSEUM: lOT,50T, 60B,
62M, 90M, 93T, 112B, 123B, 132B;
Othertitles: MESSERSCHMITT-BOLKOW-BLOHM:
MonogramClose-Upseries 29T; NATIONAL ARCHIVES: 113B;
SMITHSONIAN INSTITUTION: 62B, 65,
1. JUNKERS287 88M, 100M, 114M, 128, 135M; TEKNISKA
2. JUNKERS288 MUSEET: 142T; UNITED STATES ARMY:
3. JUNKERS290 lOR, 58T, 114T, 134T, 144; UNITED
4. BUZZBOMB /" STATES AIR FORCE: lOB, 34M, 36B,
5. TAIFUN 38B, 40T, 41, 43TL, 50B, 53, 56B, 58T,
6. GUSTAV-PI. 1 58B, 66, 68M, 70B, 71M, 83, 96M, 104M,
109B, 113T, 125T, 127B, 129, 131, 132T,
7. GUSTAV-Pt. 2
133, 1418, 142B and the WEHRBER
8. FOCKE-WULF190F'
EICHSKOMMANDQ for their invaluable
9. JUNKERS388' assistance with original documentation.
10. AMERIKA BOMBER' For the above credits, T = top, M = mid
11. VOLKSJAGER' dle and B = bottom. All color drawings
12. JUNKERS252/352' are byThomas H. Hitchcock.
13. AICHI M6A1SEIRAN
14. JAPANESECOCKPITS-Pt. 1
15. JAPANESECOCKPITS-PI.2
16. Bfl09K
17. MESSERSCHMITI262-PI. l'
18. MESSERSCHMITI262-PI.2'
19. KIKKA
20. FOCKE-WULF 190D'
21. DORNIER335'
22. FOCKE-WULFTa154'
23. ARADO234'
24. FOCKE-WULFTa 152'
JETPLANES oftheTHIRDREICH'
GERMANY'SLUFTWAFFEIN SWEDEN'
GERMAN AIRCRAFTINTERIORS'
LIGHTPLANESoftheTHIRD REICH*
tlNat yet published
Published by Monogram Aviation Publications, 625 Edgebrook Drive,
.Boylston, Massachusetts, 01505
All rights reserved
ISBN 0-914144-29-4
Library of Congress Catalog Card Number80-80846
Printed in the United States of America
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PUBLISHER'S PREFACE
At the risk of "gilding the lilly," it is our contention Nevertheless, using multiple observations under ideal
that this pUblication brings to the modeler and histo light conditions, the authors have beeQ remarkably
rian alike, the mostauthoritative and complete record successful. All of the paint chips contained in this
of paint samples and related material yet published. It book were matched to actual aircraft, aircraft parts or
was our intention from the beginning to allow the au components, original German color card samples
thors considerable latitude in the presentation of and independent comparisons.
material. By so doing, we might present you with a For the modeler who is building areplica of a particu
reference source par excellence. To this end the lar aircraft in a scale below the original machine, we
process of collecting, collating and evaluating data have included an essay on the scale effect of color.
has not been instantaneous nor easy. The road was This section speaks for itself. Our only observation
paved with obstacles, and more than once the au rests with the order in which aircraft camouflage
thors felt hopelessly bogged down in very conflicting paints were applied. Unlike the rules of classical
material. Reconstructing what was done, often in painting, where one is taught to begin light and work
haste, more than forty years ago or even thirty-five gradually toward darker colors, the application of
years-ago was aformidable task. camouflage paint was the reverse. Hence, we see that
the light blue of the underside would have been
As will be noted, in several instances we have pub applied last and, in the German national insignia,
lished the conflicting material exactly as we have it black would preceed white. Translated into the scale
without dogmatism in our approach to color identifi model, this procedure can have a profound effect on
cation. The reader is, therefore, free to make his own the final result, particularly in the application of mot
associations, and draw his own conclusions. In the tling. Of course, there are limits to this principal. In
last analysis this allows for as complete an under the case of the spotted camouflage of the Heinkel
standing as is possible. Although this approach may 219, (see page 10) it would be illogical to assume that
be dismissed by some as incomplete research or hundreds of gray-violet spots preceeded the light
lacking in objectivity, we feel that it is exceedingly blue background.
important to guide the reader through the maze with
out undue prejudice. For the sake of better understanding the complex na
ture of German wartime camouflage and markings,
On the other hand, both authors recognized the need the authors have directed your attention to relevant
to be controversial where data warranted. They also passages in two' previously published works:
felt a sense of obligation to bring as much new in LUFTWAFFE COLORS Volumes 1, 2, and 3, and
sight into focus as possible. There can be no doubt GERMAN AIRCRAFT MARKINGS, hereafter respec
that much remains to be deciphered, or at the very tively identified as LC/1, 2 or 3 and GAM. Kenneth A.
least clarified. Merrick has written Volume 1, of LUFTWAFFE COL
ORS (Area, 1973) and GERMAN AIRCRAFT MARK
The cornerstone to this book is the color fidelity of INGS (Ian Allen and Sky Books Press 1977). The
our paint samples. It must be appreciated that every former series was published in Australia under the
effort was made to ensure that our samples were fitle LUFTWAFFE CAMOUFLAGE AND MARKINGS
thoroughly matched with originals. Our paint chips by Kookaburra Technical Publications. Subsequently,
were professionally matched using both the latest Volumes 2 and 3 of LUFTWAFFE COLORS were pUb
technology and human perception. This has guaran lished in the U.S.A. by Monogram Aviation Publica
teed perfect matches to the originals in both color tions.
and finish.
We wish to acknowledge the invaluable service per
Given the fact that there are more than 6,000 shades formed by MessersJ. Richard Smith and John D. Gal
of color distinguishable by the human eye, nearly half laspy, coauthors of LC/2 and LC/3 for their immense
of them in blues and browns, it becomes even more contributions. The thoroughness of their research
apparent that direct observations can often vary. The has stood the test of time, and in addition, has proven
British Color Council has cataloged an astonishing invaluable in the preparation of this work.
1,400 shades of blue, 1,375 browns, 1,000 reds, 820
greens, 550 oranges, 500 grays, 360 violets and 12 Finally, in order to better understand and appreciate
whites. With these statistics in mind there can be little the prot>lems of aircraft restoration, color photo
doubt that deviations due to human error do occur. graphs of ten outstanding restorations have been in
When we compound the process of color identifica cluded in this work. Some restorations have been
tion by adding the effects of weathering, paint appli more successful than others, but we applaud and
cation and field expedience, we begin to see why so offer encouragement to the many dedicated restora
many variations exist for so-called standard colors. tion teams around the world.
FORWARD
Publication of this work is, for the authors, the reali tions to prepare paints carefully so that all pigmenta
zation of a dream that first crept into the conscious tion is activated. Clearly, variation due to human error
about nine years ago..In the intervening years a great was anticipated; and clearly it inevitably occurred. In
deal of material has been published specifically on addition, it is well known that weathering took its toll
the subject of German aircraft camouflage and mark on colors.
ings employed during the war years. A good deal of
this material has been exceedingly helpful to the Since the RLM apparently failed to publish a color
serious model builder. Publishers, model manufac atlas for colors beyond number 80 before the war's
turers and world-wide enthusiasts' organizations end, we are left with samples taken from aircraft. In
have been instrumental in generating considerable retrospect perhaps this will prove the more valuable
pUblic interest in this fascinating sUbject. of the two alternatives. The many samples we have
included for late war colors are authentic German
In 1973 Monogram Aviation Publications brought to applied. Postwar restoration color samples are not
its readers MESSERSCHMITT 'O-NINE' GALLERY included. We have listed a number of colors for
which included an authentic set of camouflage color which no known identifying RLM designator or man
chips augmented by a concise text. The success of ufacturer's number can be found. Additionally, we
this title underscored the need to create a broader have included samples of the so-called sky green
spectrum. In 1973 a new series of three volumes was color often cited in official reports and observed in
launched by Kookaburra Technical Publications color photographs from the late war era. The com
which, for the English speaking world, was the first ment has been made that these sky colors are in fact
serious venture into this complex area. Following only deviations of Light Blue 76. Indeed, some critics
publication of the second volume of LUFTWAFFE have dismissed these colors as the result of oxidation
COLORS, ideas were formulated and work was be or of thinly applied paint.
gun, nowculminating in this work.
While it is not possible to refute or substantiate each
The authors have chosen quite deliberately, to pre and every report, we can categorically state these
sent their material in distinctive categories and time colors are not in any way directly associated with
periods which serve as a concise yardstick of histori Light Blue 76. The samples we present on pages 41
cal development. As model builders themselves, the and 69 are typical. Our samples were obtained from
authors planned this approach both as an overall actual aircraft parts preserved since the war.
perspective and to satisfy the need for easy access to
an exceedingly complex subject. The authors are eternally gratefUl to the following
persons for their respective contributions: Robert
Since the publication 01 LUFTWAFFE COLORS and Aiello, Robert Andonian, Nils Arne-Neilson, Bernd Di
GERMAN AIRCRAFT MARKINGS, new information eter Barbas, R. M. Bascom, Dana Bell, Greg Bell, Ro
has made revision necessary to certain sections deal land R. Belling, F. Birch, Peter M. Bowers, Robert
ing with the early and mid years of the war. However, Bracken, David Carpenter, Christian Cichorius, Des
it is in that enigmatic period between mid 1944 and Cormack, Eddie Creek, James V. Crow, Nigel Daw,
May 1945 that the most significant finds of new in Martin Deskau, Patrick Donahue, Jeffery L. Ethell,
formation occur. The color chip samples we present John D. Gallaspy, Frank Hartman, Rainer Haufschild,
represent the latest finds, the most comprehensive William Hesz, Anthony R. Hnilica, Stuart Howe,
and inclusive listings yet undertaken. For comparison Ferenc Kovacs, Marian Krzyian, Ralph Leonardo,
purposes, we have even provided paint samples of Robert D. Migliardi, Robert C. Mikesh, Leo C. Moon,
Italian and American colors where appropriate. The Heinz J. Nowarra, Hans Obert, Geoffery G. Pentland,
German colors chosen have been carefully selected Peter Petrick, Varge C. Pfuehler, Ian Primer, Gunter
from a wide variety of sources. Official air ministry Sengfelder, Steve Shellin, Frank Smith, J. Richard
color cards were, of course, used wherever possible. Smith, Erich K. Sommer, Jay P. Spenser, William
Variation colors have been fUlly authenticated and Swisher. Harold Thiele, John Vasco, David J. Vincent,
identified as such. The reader is cautioned, however, Hank Volker, Harold E. Watson, Bo Widfeldt, Elmar
that even within the German paint industry, and from Wilczek and Franz Zimmermann. Finally a very spe
one official color card to another, first-hand observa cial word of thanks must surely go to William Berge,
tions reveal variations. Austin Brown and Ralph W. "Jack" Woolner for their
confidence and significant contributions. Our wives,
To be sure, the variations are often subtle and slight. Rae and Sally, deserve special recognition for their
but the fact remains that they are testimony to the in patience, enthusiasm and everlasting support.
consistancies one encounters. As applied to aircraft,
the reasons for this are not as complex as might be Kenneth A. Merrick Thomas H. Hitchcock
imagined. Contained within the official painting di Highbury Boylston
rectives and procedural guides are repeated exhorta- Australia USA
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CONTENTS
SCALE EFFECT 6
MARKINGCOLORS 8
INTERIORS 12
DAY FIGHTERS1935-1937 14
DAY FIGHTERS1937-1940 18
DAY FIGHTERS1940-1944 24
DAY FIGHTERS1944-1945 32
ROCKET INTERCEPTORS 48
NIGHT FIGHTERS 54
CLOSE-SUPPORT 66
PREWAR BOMBERS 72
EXPORT COLORS 80
BOMBERS1938-1945 82
MARITIME AIRCRAFT 94
NORTH AFRICAN THEATER 110
TRANSPORTS 112
RECONNAISSANCE AIRCRAFT 120
FOREIGN AIRCRAFT 130
SPECIAL PURPOSE 132
HELICOPTERS 133
TRAINERS 134
LIAISON 136
LIGHT PLANES 139
RESEARCH & DEVELOPMENT 141
MISSILES 142
PROTECTIVE PAINTS 143
SCALE EFFECT
The superb model of the Mes from far away are not sharp and Basically, what this means is that
serschmitt Me 263, shown above, clear. As applied to aircraft, the most camouflage colors are already
built by master modeler Gunter smaller the scale, the further away on the gray end of the scale, some
Sengfelder, is ample evidence of the aircraft appears. The smaller the on the very bottom. Therefore, add
what can be achieved. An area often scale, such as 1/44th, the more at ing gray is not the answer to dein
overlooked concerns the application mospheric perspective would con tensification. The full scale color is
of paint to scale. Color expert Pat tribute to the deintensification of alreadyheavilygrayed.
rick Donahue, has made available color. In larger scales such as
his experience which surely will aid 1/24th, the reverse would be true. By adding white instead of gray, we
modelers of all levels. The question What must be understood has to do add to the gray already present to
is asked: "Should compensation be with paint intensity or chroma. Basi produce a lighter shade of gray,
made for the scale effect in model cally, intensity or chroma is the which in turn reduces the chroma of
paints?" To answer this question we amount of gray in a color. The a color. The addition of white does
must recognize that models are rep chroma of a color such as red, can not change the actual color (hue).
licas of real things. It is a matter of extend from pure red on the intense The white does reduce the value of
perspective. For example, a 1/32nd end to a redish gray on the least in the color but this is to advantage.
scale model, if viewed from 1 foot tense end. To the purist, in working We know that large areas of color in
away, would be the same size in to reduce the intensity of a given daylight tend to look lighter than
your vision as the actual aircraft 32 color, gray would be added. How small color chips of the same color
feet away. Correspondingly, a 1/48th ever, if one is working to reduce the because of the larger areas reflect
scale model and a 1/72nd scale intensity of a subtle color like Light ing light. All of these factors tend to
model when viewed one foot distant, Blue 76, the addition of gray would work to advantage in scale color.
would appearas the actual aircraft if tend to destroy the delicate balance The amount of white necessary to
viewed from 48 and 72 feet respec and possibly alter the hue. It must achieve the desired result may vary
tively. be appreciated that there exist sev from person to person. Experiments
eral kinds of gray and that anyone show that it is not unreasonable to
On any given day the light images of these would also render a differ add 25% white to a given color to
we receive are reflected back to our ing effect. The problem is best re achieve the necessary scale effect
eyes giving us a visual impression of solved by using white as a deintensi for aircraft to 1/48th scale. Since
size, distance and color. Viewing fication medium. At first glance it 25% is about 1/2the numerical value
familiar objects over large distance seems likely that by adding white of the scale, 15% reduction would
gives the impression such objects you would alter the value (lightness yield satisfactory results for 1/32nd
havesomehowchanged their colors. or darkness) and not the chroma, scale while 36% reduction would
This effect is known as aeromatic or thus not really deintensifying the provide for 1/72nd scale. Recogniz
atmosphflric perspective. American color. This is a possibility. However, ing that the above examples pertain
and English landscape painters like with camouflage colors, which have mainly to camouflage colors, we
John Constable and Winslow Homer a very low chroma, they are on the must address marking colors like
became famous for their incredible least intense (grayed out) side of the Yellow 04, Red 23 or White 21.
use ofcolor to achieve distance. scale. For example, most of the
camouflage colors employed by the White may be used directly without
Luftwaffe have a chroma of 1 or 2 change. Due to juxtaposition, light
What Turner, Homer and Constable which is on the low end ofthe scale. colors will appear somewhat darker
knew so well was the fact that the The highest found was 4. Chroma when placed next to dark colors. If
atmosphere is not wholly transpar notations extend to different inten one were to paint an entire model
ent. We see things looking through sities depending upon the color, airplane white, as an example, it
a filter, as it were. Objects viewed some mayreach as high 14. would be desirable to break up the
6
82 Dark Green 1/32 Scale Dark Green 82 1/72 Scale Dark Green 82
82 Dunkel Grun
75 Gray-Violet 1/32 Scale Gray-Violet 75 1/72 Scale Gray-Violet 75
75 Grau-violett
76 Light Blue 1/32 Scale Light Blue 76 1/72 Scale Light Blue 76
76 Licht Blau
whites with gray added here and aircraft, adding gray to the alumi The paint chips found on this page
there. Otherwise a monotone finish num will give better results than are designed to serve as a practical
will result that may be technically white. Other than these two exam guide. The modeler is advised to
correct but optically unrewarding. ples, all other colors may be safely conduct tests priorto actual applica
The same situation applies to deintensified by the addition of tion of paint.
aluminum surfaces. And like the white.
example given above for an all-white
7
MARKING COLORS
Unlike the flat finish colors used for could be removed by scraping, thus using an eight digit number al
camouflage and tactical markings, saving both time and materials when though these examples were rare.
paints used for Balkenkreuz1 and unit codes were applied. (GAM 105.) Some older four digit numbers were
Hakenkreuz2 markings had a distinc expanded by the prefix addition of
tive sheen which produced a slight The constructor's airframe serial two new digits to conform with the
highlight. Application of these mark number (Werk Nummer) was 1944 regulations. An example of the
ings at the point of manufacture was applied in varying forms and styles eight digit number was W.Nr.
usually done with stencils, a solid throughout the 1935-45 period. It 63801022 found on a Fw 190 F-8/R1
cross of black being spray painted was normally applied in small num while W.Nr. 0189, allocated to the
first, with the smaller, white outline erals on the fin, and in acontrasting 4th Ju 290 A-7, was expanded in
marking oversprayed. A straight color to the background. Prewar it 1944to become W.Nr. 110 189.
edge and brush were then used to was normally applied in small nu
trim the edges and apply the thin merals on the fin, and in a contrast Other than the gradual disappear
black outer edge. A late weir painting ing color to the background. Prewar ance of the prefix letters after 1942,
guide makes reference to a specific it was often repeated in large white the application of the number re
rivet head being colored red at the numerals on the fuselage to aid mained fairly consistent until late
primer coat stage, and later used for identification during the delivery 1944 when marked variations began
a center datum. The Hakenkreuz stage. (LC/1, 20, 21, 79, 80.) The to occur between aircraft of the
marking was applied using the same practice diminished after the out same type, e.g., duplication of the
methods. break of war, although many·aircraft number on the fin or repetition of
used for second line duties con the number on the front of the en
Prewar permanent black was used tinued the practice and retained the gine cowling ring or elsewhere on
to mark manufacturers' four-Ietter marking, often reduced to the last the airframe. In some instances the
registrations and unit codes on all two or three numerals. (LC/1, 136, number was applied to the rudder
classes of aircraft. The registration 140, LC/3 105.) instead of the fin, rather odd in view
markings applied at the point of of the replacement factor. Produc
manufacture had to be overpainted During the late 1930's and into the tion Ar 234 aircraft exhibited avaria
at unit level, with permanent color early part of the war, serial numbers tion within the number itself, the
ing to match the particular back using only three digits were by no first three numbers being half the
ground paintwork, codes were then means uncommon but the majority size of the remaining three, a rever
applied in permanent black. This of aircraft produced during the early sal of approved practice. A further
was augmented with permanent war years utilized a four or five digit variation common to late war Sf
white after the introduction of 70/71 number. In 1944 a new unifying sys 109s'was the repetition of the last
camouflage, and with permanent tem was introduced whereby a six three digits, applied roughly by
red, yellow, blue and green on the digit serial number was assigned to brush or spray on the rear of the
eve of war. (GAM 45, 46.) all new aircraft. The first two or 1. GermanNationalInsignia
three numbers usually identified the 2. Swastika
In 1942 a new type of paint, tempo assembly point for particular air Continuedonp.11
rary black, was introduced at the craft, something which was not pre Top: Splendidrestoration ofaBf109G-6in
colors74/75/76withregulation markings.
point of manufacture for all aircraft viously taken into consideration by
Fuselagemottleis,perhaps, incompletesince
intended for front line duties. This the industry. There also existed se colors02/70/74wereofficiallyspecified,not
paint, which had a slight sheen, rial numbers for front-line aircraft color75shownhere.
8
,
Topleft: Insigniaof2./JG400,aunitwhichemployedtheremarkable theyellownumber7identifiesthisaircraftasthe7thmachineofthe
rocket-propelledMe163B-1.Inscriptionreads,"Likeaflea butohl"See 11thStaffelwithinJagdgeschwader7.Individualaircraftnumbers
page49foranotherviewofthisKomer. Topright: Close-upofJG7's employedbytheMe262sinadditiontoyellow(forthe3rd,7thand11th
insignia.Thisembleminexplicablydiffersslightlyfromtheonepainted Staffeln),couldhavebeen white(forthe1st,5thand9thStaffeln),red(for
onthestarboardsideoftheMe262A-laiR,W.Nr.500491,shownbelow. the2nd,6thand10thStaffeln),andblue(forthe4th,8thand 12th
Below:Perfectrestorationsarenotimpossible.Thissuperbexample, Staffeln).AircraftoperatedbyStaffFlightsusuallyweregreen.
completed onMarch20,1979,bytheNationalAirandSpaceMuseum,is
afaithful restorationthroughout. BlueandRedtailbands,associated
withJG7,aremodifiedbyavertical barindicatingthe3rdGruppewhile
9
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