Tracy,
Just checked your site. I've bookmarked your site and its a great
resource. (Could never figure out why Combined Fleet - with the help
of old pal Jon Parshall - got such a splendid site and the USN
didn't. And the USN, unless I missed something, won the war.)
Actually the information provided could be very valuable for trying
to reverse engineering those colors. I knew that Snyder/Short were
hooked up with WEM paints so I guess that makes my strategy of using
their colors as samples more or less sound. The color samples would
be nice too, but nothing beats applying paint to white styrene to
anticipate what the color will actually be.
Which means that using WEM paints would be the best solution if
one cares about accuracy for USN WWII ships. But what if enamels are
not your cup of tea. There's LifeColor. Or you could make your own.
That would be a long row to hoe but sounds like great fun. As
I've nagged before grays will drive you bats and just to make things
sweet the documents provided show that the USN was thinking of their
ships as being gray. (That's very clear when checking WEM Navy and
Deck Blue.) The Munsell system is incredibly clever and it remains
popular with many paint junkies. I was lucky enough to find a student
edition (with maybe half the paint chips included) on Amazon last
year for a song - and it was of tremendous value in trying to track
down the perfect early war Zero color. Anyone interested in the
system can download either the original (about 1914) by Munsell from
Project Guttenberg http://www.gutenberg.org/ebooks/26054 or a shorter
summary by a student named Cleland:
http://munsell.com/about-munsell-color/published-work/munsell-notation-cleland/.
When you start getting the hang of it the idea of making a blue-gray
out of purple makes sense.(If you make your living getting colors to
match and want a proper Munsell standards book, get ready to pay
$1000.)
In a perfect world what we'd need to know is what the Munsell
designation for the "purple/blue" was under the old system.
(I doubt the system is so much different today as more complex.) We'd
also need to know what the white was. A “white” could be
essentially a mixing paint that would lighten the color only at
pretty high density. (In other words it's close to “transparent”
on the scale used by many companies.) Zinc White is a very good
example of this. White can also be a very powerful color: Titanium
White is the best example of this – in the bottle it looks the same
as Zinc, but in practice it is much closer to opaque. The difference
is night/day (no pun intended.)
I'm going to be looking at a much earlier USN gray, but I think
I'll start with a chromatic black with a bit of blue. There are a lot
of ways to get there but I'd start with a recipe passed on by the
makers of Golden Acrylics who make some of the best paints on the
planet. (They also have a lot of information on their wonderful site.
The general one dealing with color mixing is
http://www.goldenpaints.com/artist/mixguide.php
.)
This is one recipe for chromatic black that I'd guess wasn't so
far off from the brew used by the USN. Note that the “deepest
blue” possible is followed by some yellow.
Mixing to
achieve black and gray using Phthalo Blue G/S, Quinacridone Magenta
and Hansa Yellow Medium
Step 1: Mix 1 part of Phthalo Blue (Green
Shade) with 2 parts Quinacridone Magenta. The mixture will be correct
when you perceive it to be the deepest blue without being described
as purple. This is an approximate primary blue.
Step 2: Mix 2 parts primary blue with 1 part
Hansa Yellow Medium.
Step 3: Tint a small portion of the
resulting color with Titanium White.
Color mixing is an exercise in frustration unless you liked to
finger paint. (Extremely important to follow the light to dark and
mix well sequence.) It's also pointless for some colors – but not
many. It's a real exercise in humility to compare several companies
versions of the basic Luftwaffe colors (RLM) Of course many of those
are grays.
Eric