Modelling German World War I Aircraft E-Book

Dave Hooper

• Herausgeber: The Crowood Press
• Kategorie: Lebensstil
• Sprache: Englisch

Seitenzahl: 259

Veröffentlichungsjahr: 2021

Beschreibung

Suitable for both those starting out in this hobby and more experienced modellers alike, this book is a one-stop guide to the creation of realistic models of German military aircraft of World War I. Examples of injection-moulded plastic, resin, vac-form, multi-media and limited-run plastic kits are included, as well as scratch-built enhancements. With over 300 colour photographs, this book includes: useful historical background to provide context and achieve realistic effects; how to choose the right kit; a list of essential workshop tools and materials and there are step-by-step instructions for the creation of a Fokker Eindecker in 1/48, an Albatros D-type in 1/32, a Rumpler C-type in 1/32 and a Gotha G-type in 1/72. There is a chapter on how to achieve accurate colours and markings, including lozenge types, with paint, airbrushing and decals. Finally, special focus on fine details, such as rigging, engines, interiors and ordinance is given.

Leseprobe

MODELLING

GERMAN WORLDWAR I AIRCRAFT

MODELLING

GERMAN WORLDWAR I AIRCRAFT

Dave Hooper

First published in 2021 byThe Crowood Press LtdRamsbury, MarlboroughWiltshire SN8 2HR

[email protected]

www.crowood.com

This e-book first published in 2021

© Dave Hooper 2021

All rights reserved. This e-book is copyright material and must not be copied, reproduced, transferred, distributed, leased, licensed or publicly performed or used in any way except as specifically permitted in writing by the publishers, as allowed under the terms and conditions under which it was purchased or as strictly permitted by applicable copyright law. Any unauthorised distribution or use of this text may be a direct infringement of the author’s and publisher’s rights, and those responsible may be liable in law accordingly.

British Library Cataloguing-in-Publication DataA catalogue record for this book is available from the British Library.

ISBN 978 1 78500 885 6

AcknowledgementsThanks to Richard Andrews for help and encouragement in writing this book. Thanks also to Jack Herris and Alf Small for allowing me to use photos. Many thanks to my wife and family for putting up with long periods of absence while writing this book and to the IPMS Great War SIG without whom this book would never have been written.

Cover design by Blue Sunflower Creative

Contents

1The Basics

2A First Build – The Fokker Eindecker

3Interiors and Engines

4Building an Albatros – a Simple Biplane Configuration

5Wings and Rigging

6Building a Rumpler Two-Seater

7Colours and Markings

8Building a Gotha

9Odds and Ends

Appendix: German World War I Aircraft in Kit Form

Index

Chapter One

The Basics

INTRODUCTION

When I was a young boy my father built a collection of aircraft models for me, which was displayed on a shelf in my bedroom. Along with the obligatory Spitfire, there were at least two World War I aircraft that I can remember: a Roland C.II and Fokker triplane. These aircraft caught my imagination and sparked a lifetime interest in early aircraft. Thirty years later, I began to show an interest in modelling again after a break that had begun in my teenage years. Unsure of what subject I should choose, I decided to begin with the earliest aircraft I could find and work my way through in order of time period. What I didn’t realize when I purchased my first few Airfix models, was where they would ultimately take me.

The Fokker triplane has always been one of the most popular World War I subjects.

The Roland C.II was one of the subjects that influenced a lifelong interest in World War I modelling.

I have now built over 150 models and have not moved very much beyond 1919 with my choice of subjects. There is something very compelling about these early machines made from wood, wire and fabric, and judging by the amount of interest that World War I displays generate at shows, I am not in a minority. However, World War I has always been considered to be a niche modelling genre, which I believe is mainly because of a reluctance to tackle these subjects with their fragile struts and intricate rigging patterns.

When displaying at shows, my colleagues and I are always kept busy answering queries around how certain aspects of the models are achieved. One comment I often hear goes something like, ‘I’d like to be able to build these but…’.

And there is always a reason!

The truth is that modelling World War I aircraft is no more challenging than any other subject. Almost every genre of modelling has aspects that newcomers find daunting. It is just a simple case of learning new skills.

And that is what this book is essentially about. Starting from basics, by selecting and building an inexpensive kit, the intention is to provide a solid basis from which the modeller can confidently build almost any World War I subject. This book will concentrate on the construction of German aircraft and, as such, will contain techniques and historical information aimed at helping the reader build such subjects. However, much of the book’s content will be equally suitable for building aircraft from any belligerent nation during the World War I period.

While this book is aimed at modellers with some experience, early chapters will concentrate on the raw basics, making the assumption that the reader is completely new to the hobby. It is my sincerest hope that this publication will encourage modellers of all ages and levels of experience to have a go and, most importantly, have fun building World War I subjects.

A Brief History of World War I Modelling

Some of the earliest commercial World War I model kits were produced and sold in the 1930s when a British firm called Skybirds produced a range of 1/72-scale kits that were predominantly made from wood.

The first plastic-injection moulded kits were produced during the post-war boom of the fifties. In America, a company called Aurora produced 1/48-scale kits of a number of World War I subjects. Many of these kits were copied by other manufacturers, most notably by a British company called Merit.

Airfix began producing plastic models in the early fifties and released its first World War I subject in 1956. Between 1956 and 1974, Airfix produced a total of eleven World War I kits in 1/72-scale, many of which are still systematically reissued.

In 1957, an American company called Revell produced a large-scale Fokker Dr.1 kit in 1/28-scale. In the following decade, the company began to release a steady stream of World War I subjects in 1/72-scale, which for many years would be considered to be some of the best small-scale World War I model aircraft kits available. Some of these subjects were copied by a Japanese company called Eldon. Eventually, these moulds were acquired by ESCI and are still in circulation, most recently used as part of Italeri’s World War I centenary range.

A selection of Revell and Airfix boxes from various eras.

By the early seventies, plastic modelling had evolved into an enthusiasts’ hobby. As the modelling community demanded more esoteric subjects, small cottage industries sprang up to fill the void. By the mid-1970s, vacuum-formed kits began to surface. These were essentially sheets of plastic that were heated and formed around masters. The vacuum-forming process was perfect for the production of World War I subjects and provided the serious modeller with access to a huge choice of subjects.

The Xtravac 1/72-scale Albatros C.IX was one of a large number of vacuum-formed kits produced by the cottage industry.

In 1985, the first issue of a magazine dedicated to World War I modelling was published. Windsock was crude to begin with, but the magazine and Datafiles that followed would provide information and inspiration that helped to fuel a boom in kits.

The eighties would also see the arrival of some of the first short-run, plastic-moulded kits. These were typically very basic but provided the modeller with traditionally plastic-moulded kits of subjects that the large commercial companies would not touch. In the United Kingdom, a company called Merlin produced a series of World War I subjects of varying quality. By the late-1980s, Merlin had evolved into a company called Pegasus, who began releasing an extensive programme of good-quality, limited-run, World War I plastic kits in 1/72-scale. The company also began to scale up some of their products to 1/48-scale under the brand name Blue Max.

The fall of the Iron Curtain in 1991 sparked the beginning of a new golden era of World War I aircraft kits, as products from Eastern Europe began to make an impact. One such company was Eduard, who began exporting short-run, quality kits with photo-etch details in 1993. In the late-nineties, the company invested in new moulding equipment enabling them to compete with the mainstream model companies, after which Eduard continued to release a steady programme of World War I subjects.

Another company that benefited from the breakup of the Soviet Union was a Ukrainian manufacturer called Toko. From the mid- to late-1990s, Toko released a large number of high-quality 1/72-scale World War I plastic kits. In 1999, the company suddenly stopped producing models; reportedly to concentrate on manufacturing toiletry products. Those responsible for the modelling side of the business set up a new company called Roden that continued to produce new World War I kits, initially in 1/72-scale, but later in larger scales. Roden was one of the first companies to release a large number of subjects in 1/32-scale.

Toko and Roden produced high-quality World War I kits from the mid-1990s onwards.

The Eastern Europeans were also instrumental in bringing resin products to mainstream modelling. Resin is a two-part polyurethane that, when mixed and poured into a silicone rubber mould, cures to produce a kit part. The process of making these kits is expensive because the moulds have a short lifespan and require replacing regularly. While Western companies had dabbled with resin for a number of years, the Eastern Europeans turned the medium into an art-form. The explosion of these kits on to the market signalled an end to the era of the vacuum-formed kit.

An example of a high-quality resin kit from the early millennium period. Companies such as Choroszy Modelbud were extremely prolific at this time.

In 2009, the modelling world had something new to talk about. A company from New Zealand called Wingnut Wings, bankrolled by the film director Sir Peter Jackson, released their first four kits to almost universal critical acclaim. Not only were these kits well researched and finely moulded, but the presentation of the product itself was of a quality that had not been seen before in any modelling genre. Wingnut Wings’ kits almost instantly changed the way that World War I modelling was viewed and many modellers who had never built biplanes before were enticed to buy these beautiful products.

The Fokker D.VII was one of Wingnut Wings’ most popular releases.

Today, the modeller has a vast choice of scales, subjects, products and media to choose from. Enough new products are released and reissued each year to satisfy the market in all scales, while smaller cottage industries have benefited from the popularity of Wingnut Wings. The accessibility of 3D-printing has made it easier for modelling companies to create high-quality masters, and this has had a positive effect on all aspects of the hobby.

GERMAN AIRCRAFT DESIGNATIONS

When Germany entered the war at the beginning of August 1914, its Air Service consisted of around 200 aircraft. The purpose of these aircraft was to provide reconnaissance information to the army. The military worth of the aeroplane was yet to be proved and was not taken seriously by traditionalists, who still viewed the cavalry as being the eyes of the army. As the war developed into stalemate, the aircraft became increasingly important on both sides of the conflict. The Germans initially designated their inventory into two distinct types of aircraft. Class A or A-type aircraft related to monoplanes, which during this period were mainly Taubes produced under licence by a number of manufacturers. Class B or B-type aircraft related to biplanes. During this period all aircraft were essentially unarmed and, as such, B-class aircraft came to be defined as unarmed two-seaters.

Having proved itself as a military asset, the aircraft itself became a serious threat to the opposition and the war in the air began. Aircraft on both sides of No Man’s Land developed into fighting machines. In April 1915, the German Idflieg introduced a C-type designation, which was given to armed two-seat biplanes. These aircraft would essentially be the workhorses of the German Air Service during the war years.

As aircraft and roles developed, the Idflieg continued to add further designations throughout the war including:

E (Eindecker) – single-seat, monoplane fighters.

D (Doppeldecker) – single-seat, biplane fighters.

G (Großflugzeug) – twin-engined bombers.

R (Riesenflugzeug) – large, multi-engined bombers, with engines that could be accessed during flight.

Dr (Dreidecker) – single-seat, triplane fighters.

CL – lightweight, armed two-seaters.

J – armoured, ground-attack aircraft.

N – two-seat, night bombers.

In addition, naval aircraft were often designated as W-types.

WHERE TO BEGIN

Any new project begins with a spark of inspiration. This might be as simple as browsing the shelves of a model shop and finding a product that grabs your attention or seeing photographs of a built-up model. Inspiration may also be the result of a book that you are reading or even a movie that you have seen.

A selection of models for sale at a local model shop or show may provide the inspiration for your next project.

It is advisable to begin with a fairly basic subject that may have some aspects that are likely to provide a challenge. This may be a single-bay biplane or even a monoplane fighter. If the process of rigging is perceived to be daunting, then choose a model that has enough wires to provide a challenge without being too overbearing. The process of building a biplane itself might be a frightening idea, in which case a subject with upper wings that are fitted directly to the fuselage or a sesquiplane subject with V-shaped interplane struts may suit. Sesquiplane refers to a one-and-half wing configuration, such as used on Nieuports and a number of German aircraft of the period.

Aircraft featuring a sesquiplane design with V-shaped interplane struts are often good subjects to choose as a first biplane project.

A QUESTIONOF SCALE

World War I model kits have been produced in a variety of scales ranging from 1/144 up to 1/28 and beyond. Scale indicates the size of the model in relation to the full-sized original. For example, a 1/72-scale kit means that the completed model should be seventy-two times smaller than the full-sized subject.

The Fokker Eindecker in the three most common aircraft-modelling scales, from left to right: 1/72, 1/32 and 1/48.

1/144 is typically a wargaming scale, although some modellers do specialize in this size. The scale is probably more suitable for those who are interested in building a large number of models of the same subject in different markings. With a typical wingspan size of 5 to 6 centimetres for World War I fighter planes, there is very little scope for detail.

Valom has produced a number of reasonably priced World War I kits in 1/144 scale.

1/72 was championed by companies such as Airfix and Revell in the fifties and sixties and, as such, is the scale that most of us grew up with. This scale is especially suitable for those that have a small amount of display and storage space. 1/72 models have enough scope for a reasonable amount of detail, although much of this will be simplified. One of the beauties of this scale is the wealth of products that are available, although some of these are not currently in production. If you are intending to build an extensive collection based around one scale, then 1/72 is a perfect choice because some of the largest German R-type bombers will be close to the size of a medium twin-engine bomber in 1/32-scale.

Many of the huge R-type bombers would be impractical for most modellers in any scale larger than 1/72.

1/48-scale has been around since the mid-1950s, but became popular in the nineties when brands such as Eduard and Blue Max began to specialize in the scale. 1/48-scale is ideal for most World War I aircraft subjects, allowing for the inclusion of a good level of detail within a model of a manageable size. The 1/48-scale modeller has a reasonable choice of subjects to choose from, which are relatively easy to obtain.

1/32 became popular in the early millennium when Roden began releasing models in this scale. The scale’s popularity had a major boost in the second decade of the millennium thanks to Wingnut Wings. The comparably large size of the model allows for a high level of detail, although this comes at a high price tag, with models in this scale typically selling between £60 and £130. One of the downsides of this scale is that subjects will be generally limited to production aircraft.

1/28-scale is limited to a few very old kits produced by Revell. The best German subject in this scale is the Fokker Dr.1, which is easily obtainable at a very good price, although the age of the kit means that a reasonable amount of work would be required to bring it up to acceptable modern-day standards.

Choosing a First Kit

Once you have a subject and preferred scale, you should be ready to choose your first kit. It is always advisable to do some research before settling on a particular product. Magazine and internet articles can help you to refine your choice, although always remember that what you are reading is the personal opinion of the reviewer. I would avoid in-box reviews, as all these will ever hope to convey is the appearance of the kit in its unbuilt state. As a first-time builder, you are probably more likely to be interested in how the kit builds. There are also a number of dedicated World War I modelling forums and social media groups that can help steer you in the right direction. Another option is to talk to modellers at shows. There are dedicated World War I organizations, such as IPMS Great War SIG, that regularly display at events and often there will be built examples of the more popular subjects on club displays. Don’t be afraid to talk to the modeller and ask his or her opinion on how easy the model was to build.

Members of IPMS Great War SIG are always happy to answer questions about all aspects of World War I modelling.

I would recommend starting with a cheap kit, even if it is not in the scale that you ultimately want to specialize in. It is wiser to practise new skills on inexpensive kits, so that if the unthinkable happens and you run into insurmountable difficulties, it won’t matter so much financially.

References

Modellers will often spend as much time and effort acquiring and examining references as they will building the model itself. There are two main sources of reference material: printed publications and the internet. There can be pitfalls in both of these sources regarding accuracy of information; however, the internet is unregulated and there is, therefore, a greater chance of information being unreliable or misleading.

The most useful starting point when building a collection of reference material is a good set of drawings. It is not unusual to find anomalies between drawings and kit parts. This does not necessarily mean that the kit is inaccurate; it just means that the designers used a different set of drawings. For most of us, accuracy can be a minefield and the only solid advice I can offer is that if you are in any doubt concerning the accuracy of the drawings that you are working from, check them against photographs and period dimensions. Many World War I modellers use drawings from Windsock publications as a trusted source and more often than not kit designers base their products on the same drawings. However, do not fall into the trap of believing that these drawings are 100 per cent correct, as this is not always the case.

Scale drawings are an essential aid to constructing most World War I models.

Try to collect as many period photographs as possible, including at least one photograph of the actual aircraft option that you are building. World War I production aircraft often varied between batches and were also often modified, overpainted or even fitted with replacement parts in the field, making them visually unique. Windsock publications are a good starting point for your collection but there are many other useful sources, including Osprey books, Aeronaut and Cross and Cockade publications, as well as social media and the internet.

A selection of useful reference publications, a number of which were used for projects built for this book.

Walk-around photographs of surviving examples and replicas are easy to obtain and can be very useful; however, it is important to remember that none of these aircraft will be in their original state. Most will have had any number of restorations, re-builds or modifications during their lifetime.

BASIC TOOLS AND MATERIALS

Experienced modellers amass a large collection of tools and materials, some of which are used on a regular basis and some rarely touched. Many tools used by World War I modellers are identical to those used by builders of other modelling genres.

Cements and Fillers

Cements such as Liquid Poly and cyanoacrylate are widely used alongside the traditional tube of poly cement. It is not unusual to use different cements on different aspects of a build, using each product to its best advantage. For instance, cyanoacrylate cements are useful when a fast-curing cement is required that holds a part in position almost instantly, while poly cements are useful when cementing large areas together that require time to position.

The wood grain finish on this ex-Shuttleworth LVG is actually printed paper applied to the fuselage in a previous restoration.

A selection of different cements.

White glue, such as PVA, is also very useful for cementing clear parts like windscreens, as other glues can fog or damage the plastic. Specific formulations can also be used to create transparent window panels by filling a frame, such as a photo-etch part, with glue and allowing it to dry.

Fillers are one of the most important materials on your workbench, correct use of which will mean the difference between a good model and a competition-winning model. There are plenty of products on the market designed for this purpose, but one-part, tube-based fillers are the most popular.

One-part tube-based fillers are a popular choice when filling gaps and surface defects on models.

When filling joints, I prefer to apply filler liberally and then sand it back to the plastic once dry, although some products will level when wiped with a reagent. Any detail lost during the filling process can be repaired once the part has been cleaned up. Most tube-based fillers work well with resin, although I sometimes prefer to use a two-part, car-body filler for this purpose.

Sanding Products

Once filler has been applied, the area can be levelled using a sanding product. There are a number of products currently on the market that are specifically tailored to modellers; however, a selection of grades of wet-and-dry abrasive paper should be considered a necessity.

Selections of sanding sticks are an essential part of most modeller’s toolkits.

Sanding sticks have become very popular in recent years and it is easy to see why, as these products often have advantages over abrasive paper, especially when dealing with larger seams.

For tight or small areas, I also have a few sets of needle files, with a selection of different shapes to choose from. Circular or crescent-shaped files are often useful when cleaning up curved edges, but care needs to be taken to avoid creating an unwanted trough or dip when using these tools.

The cockpit opening of this vac-formed Albatros is being cleaned up with a crescent-shaped needle file.

Selection of a suitable grade of an abrasive product is essential. In general terms, when sanding an area that requires a lot of work, begin with a harsh grade of paper and then use finer grades to finish.

Delicate parts should always be cleaned up using a fine grade of abrasive paper. Harsher grades are more likely to catch and break the plastic.

One of the problems when tackling any sanding job is ascertaining when a surface or seam is completely smooth. One solution is to paint or prime the seam, which makes it easy to see whether it is smooth or not.

Sanding creates a large amount of airborne dust and it is advised that dust-masks are worn. This is especially important when dealing with resin, as the polyurethane dust is harmful.

Cutting Utensils

Selection of suitable cutting utensils is a matter of preference, as there are plenty of options available to the modeller. It is essential that blades are changed on a regular basis, as a blunt knife is more likely to damage delicate parts, and accidents to the model or the modeller are more likely to occur. A flat or curved blade can also be used to scrape away injection points or other unwanted details in areas that are hard to sand without damaging adjacent details.

Snipping tools are useful for removing parts cleanly from their sprues.

Scribes are also very useful tools for cutting even grooves, such as panel lines, into plastic. Scribing lines on a model is virtually impossible to achieve without a selection of straight and curved line templates and I often use old photo-etch frets for this purpose.

Tweezers

Any modeller, regardless of what genre or subject they build, would be hard put to complete a model without a selection of good-quality tweezers. It is essential that the tips of the tweezers align with each other completely, otherwise wires and rigging materials will be almost impossible to manipulate. I also find wide, square-tipped tweezers essential when fitting struts or rods into position, as they reduce the risk of the part moving as you try to position it.

Tweezers with square tips are a useful tool for manipulating struts.

Drills and Drill Bits

Drills and drill bits are particularly relevant to World War I aircraft modelling. A good set of micro drills will usually contain a selection of bits ranging from 0.3 to 1.6mm in diameter. World War I modellers use a large number of 0.3, 0.4 and 0.5mm drills, and it is recommended that a reasonable stock of these sizes is maintained, as they are easily broken or bent.

A small, spring-activated pin vice is light and small enough to avoid over-stressing the drill bits. In some cases, I also drill holes by simply twisting the drill bit between my fingers. This technique can cause blisters but does reduce the risk of breaking very tiny drill bits. Pin vices can also be a useful tool for shaping small rods.

A pin vice and marking tool are useful aids to drilling, using small drill bits.

In conjunction with drills, I use a hand tool with a sharp needle fitted into the end in order to mark the precise position that I want to drill. Pre-marking with such a tool reduces the risk of the drill bit slipping.

Plasticard

Sheets of plastic are available in a large range of substances and are useful for a number of applications from filling gaps and repairing edges, to reskinning major parts, such as wings and fuselages. Plasticard can also be used as the basis of a scratch-build project.

Rods and Strips

A good stock of rods, strips and tubing is recommended, as they can be used in a wide variety of applications. Rods and tubes are available in plastic, brass and aluminium, and come in a variety of useful substances. The choice of plastic or metal products is a matter of preference, often based on application. Generally, if the rod needs to be bent to shape or is required to add strength to a vulnerable position, then brass is usually better than plastic.

Kits can also often be missing essential tubing or piping, especially between the engine and radiator, and these parts can be easily produced from stock items. It is also sometimes easier to replace a rod from a plastic kit than clean up the part.

Strips are generally available in plastic and have square or oblong cross-sections. Strips are often useful when creating internal or open structure detail.

Strut Stock

Strut stock is a little more difficult to discuss in contemporary terms as these products are no longer easily available. In the eighties and nineties, strut stock was fairly easy to obtain, either in plastic or brass (‘Strutz’). Essentially, strut stock is a rod with an aerofoil-shaped cross-section. It is useful as a replacement for broken or poorly sized struts. In addition, modellers of resin kits would usually replace the kits’ resin struts because they have a tendency to warp over time.

The undercarriage of this Halberstadt has been made from stock brass ‘Strutz’ and rod.

Occasionally, these products turn up at model shows and are well worth grabbing, as they can be extremely useful. Plastic strut stock can often be found packaged with vac-form kits.

Spares

Almost every kit that you ever build will generate a collection of spare parts. Probably 95 per cent of these will never be used, but the 5 per cent that you do use will often prove to be invaluable. You are likely to use spares as replacements for inferior kit parts, lost parts or even to add detail that the kit designer has omitted. While some spare parts, such as wheels, propellers, engines or machine guns, will be used as they are, sometimes you might be looking for a specific shape that can be cut or modified from an existing spare part.

ONWARDS

Once you have chosen a model and amassed a collection of basic materials and tools, you are ready to build your first World War I model, which will be covered in some depth in the next chapter.

This partially scratch-built Kondor III in fictional 1919 markings made use of a large number of spare parts from other kits including the propeller, a large proportion of the interior, the undercarriage, the elevators and the rudder.

Chapter Two

A First Build – The Fokker Eindecker

INTRODUCTION

The Fokker Eindecker could be described as the great-grandfather of the modern-day fighter. It was the first production aircraft to feature a forward-firing, fuselage-mounted machine gun, synchronized with the rotation of the propeller so that bullets would only fire when the propeller was not in the direct firing line. Anthony Fokker famously claimed that the idea for his invention was conceived, developed and tested within two days. In truth, a Swiss engineer called Franz Schneider had patented a synchronization device before the war and it is likely that Fokker and his engineering team, aware of Schneider’s work, had been working on a system for some time.

The completed Eduard Fokker E.II.

The aircraft itself was a development of the French Morane–Saulnier Type G. Fokker replaced the Morane’s wooden framework with steel tubing, while refining the flying and handling characteristics.

The introduction of the Eindecker made an almost immediate impact in the skies above the Western Front, heralding a period of dominance that became popularly known as the ‘Fokker scourge’. A new type of hero – the Fighter Ace –was born, making household names of pilots such as Max Immelmann and Oswald Boelcke.

Why the Eduard Eindecker?