Masking film for the cockpit of the first production version of the Spitfire in a large scale. It comes in two layers, together with two stencils for the concentric circles and printed extras.
Responsibility details are not available.
The oldest Spitfires were given a seat pressed from resin-impregnated fabric. It had a reddish-brown cast that differed markedly from the gray-green cockpit, and above it crossed the broad straps of the shoulder harness. Through the sliding section of the canopy that pair of colors is very clearly visible, and clean work therefore pays off on it.
The inner mask helps with that by an apparent detour. When the frames are painted in the right shade from the cockpit, the eye is given a sense of scale and the interior looks deeper; a single-color frame, by contrast, merges with its surroundings and the seat below it looks like a flat patch. Films for the two faces of the glazing are therefore not two of the same thing.
The film for the early glazing is supplied in two layers, one applied to the outside of the acrylic and the other to its opposite face. They are complemented by two stencils for the concentric circles, with which the insignia is sprayed straight onto the surface, and printed extras for serial numbers. The dimensions of the parts follow the plastic model in the large scale.
Machines of the first batch still took off with a two-blade wooden propeller and their camouflage had hard-edged blotches with no sprayed transitions. The crisp edge of a mask suits this style better than the soft airbrush transition of later years.
Anyone leaving the cockpit open should mask the sliding part separately and off the fuselage. Refitting it will then take only two drops of glue and the acrylic stays free of fingerprints. The guide rail in the fuselage is painted in the same shade as the frame, otherwise the transition catches the eye.
Naši poradci a znalci sortimentu jsou připraveni odpovídat na Vaše dotazy (Po–Pá, 8–18 hod).
Zeptejte se na co potřebujete, odpovíme co nejdříve.
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