They gotta be nuts!
How would you like to buy a Fokker D.VII ,one of only three in the world? Well the good folks at the Knowlton Historical Society here in Quebec,in their great wisdom, may just have a deal for you.Seems like they would like to great rid of this priceless gem in order to make room for some nice local folk art.
First it was the Avro Arrow and now the Fokker D.VII .Have Canadians no pride in their aviation history? Guys if it has to go at least lets keep it in the G.W.N.!!!
Maybe the German people would like to have it returned to them if we just can't find the room!!
__________________
It has been said that the difference between a "pilot" and an "aviator" is that a pilot is a technician,and an aviator is an artist in love with flight.
JohnReid (Aviator)

Bob and Doug McKenzie say; "Hey hosiers! Protect our natural resources and our museum aritfacts!"

Fokker update:

Another point to consider is that this is just not any old airplane but an airplane of a design that was unique at the time in the evolution from biplane to monoplane.Some will argue whether Fokker was the first to think of this but there is no doubt that the "thick wing" was a very important step in aviation history.Given its original condition and its historical significance this aircraft is certainly a gem that most museums would be extremely proud to have in their possession.Where is the Canada Aviation Museum in all of this? come on guys lets get our act together before another piece of Canadian history goes down the tubes!Another point to consider is that this is just not any old airplane but an airplane of a design that was unique at the time in the evolution from biplane to monoplane.Some will argue whether Fokker was the first to think of this but there is no doubt that the "thick wing" was a very important step in aviation history.Given its original condition and its historical significance this aircraft is certainly a gem that most museums would be extremely proud to have in their possession.Where is the Canada Aviation Museum in all of this? come on guys lets get our act together before another piece of Canadian history goes down the tubes!

Thanks a million for sharing your talents with us mere mortals (well I guess I better speek for myself... ) It is simply mindboggling and extremely inspiring!

Just a quick question, what exactly is gesso? I'm unfamiliar with the term, is it a namebrand or something like that?

Thanks again!

Hi! Gesso is an artists material used as an undercoat(primer) for painting with oils or acrylics.It sticks to anything and anything sticks to it.It is available in any art store.
Thanks Brian for your kind comments.
Cheers! John.

Do you mean the type of gesso used to prime masonite and wood that an artist would use to get ready for a painting? Wow, never thought I would see that medium used in modelmaking. Isn't that rather thick for scale use? It is thin for artist work, but I thought it might hide detail, etc. For what types of things would you consider using gesso, ie simple structures (like the wood stove), figures, etc.? Would you use it for say priming an aircraft or an automobile? Wow, a very intriguing thought indeed!

Thanks again!

You know it is a good thing that I deleted the idea of 2 engines in the engine shop.With one engine and the stove space is already a concern.The 2nd Ox5 will probably look better out on the floor of the main hangar anyway.There is so much interesting detail on that little engine that I want it to be readily seen by the viewer but not be too distracting from the main subject matter.Another option would be to show it on the truck loading dock being crated for shipment or uncrated for use.Any suggestions?
I will take some 35mm pics of this new addition when I am a little further on in the process and it is a little more interesting.

Brian,I use it on everything I paint except when I use washes where I want it to be transparent.I usually water mine down about 50/50 with distilled water and it works fine even in the airbrush.

Well thank you guys for your birthday wishes.I guess that I am rapidly reaching old fart status now.I in turn would like to thank all you guys for making my later years so much fun.It is very rewarding for me to think that my modeling friends out there take the time to read my sometimes rambling monologues.I am still blessed with a steady hand and keen eye and for this I am very thankful.

Speaking of which,I am now in the middle of the somewhat boring but essential job of weathering the interior of the engine shop.Starting with the floor and simulating the nailing pattern.I know that I have mentioned this before but I will review my technique here again.
The popsicle stik floorboards have already been prepared with washes of nimbus grey with a touch of raw umber.They are then glued to the underlay, which in this case is plywood ,with carpenters glue in a random or a pattern that follows what in 1:1 scale would be the floor joists.After it is thoughly dry,I take a sharp pin and simulate a nail pattern of my liking by punching small holes in the wood.I then take a sharp grahite pencil and twist it into the pinholes leaving a mark simulating a nail head.I then take a very thin wash of raw umber and brush or spray over the whole thing which will swell the pinholes level again but leave behind a permanent nailhead mark.Your floor should now look greyish in color with the underlying wood pattern showing through.You can now continue weathering as need be with a toothbrush spray and pastels.

This is the floor after the initial pinhole punching and pencil coloring routine.I have yet to brush or spray on the thin wash of raw umber.Some of the larger openings in the boards I sometimes take a small brush a with a watery raw umber and color them before starting with the pastels.I will post a pic of the finished floor later.

Fokker update!

the above is after one thin wash of raw umber followed by the toothbrush flicking treatment.Pastels will be applied when I figure out where to put the human wear and tear.

Looks awesome John!!

Now its on to the walls!

Originally posted by greatwarpilot over on theaerodrome.com
I'm under the impression that the trend to restore all aircraft to "Factory new" condition has been diminishing in recent years as museums become more aware of the value to be had in retaining as much of the original artifact (aircraft) as possible even if being restored (not rebuilt) lightly.

I am speaking almost exclusively of non-flying museums since airworthiness standards require extensive rebuilding in many cases.

When it comes to casting a critical eye on the actions of museums in the past that have "restored" aircraft and thus potentially lost important original date (even if attempts were made to document it) one needs to look at the context, as in most historical issues. If these restorations were done decades ago, the prevailing wisdom of the day was to do such restorations. In other cases the aircraft may have been disassembled or in terrible condition when they received it and there was little choice but to restore it in order to make a suitable display piece.

For example the "original" DVII at the Canada Aviation Museum came to them with a Hall Scott engine and currently sits with no fabric and disassembled in their storage wing. Sure it’s an original airframe, and sure it’s a shame that it is in the condition it is, but what is the museum to do?

These questions are faced by all museums and the answer depends on many things including the prevailing museological techniques and attitudes of the day, and of course available funding.

In the case of this DVII, I agree that it has been preserved in its current state thanks to it’s rather out of the way and undisturbed location. If it must move, one would only hope it is to a place that will preserve its originality.

There are enough "restored original" DVIIs out there.

Perhaps the unrestored condition of the CAM's AEG Bomber or Junkers ground attack aircraft are indications of their current attitude towards German War Prizes and originality. This in contrast to their original Naval Camel (and other aircraft) that were extensively restored by Carl Swanson many years ago.

Sorry for the diversion from strictly discussing the fate of the Knowleton DVII, but this seemed an appropriate opportunity for a diversion into museum practice and how it has changed over time.

Sincerely

Edward

Hi Edward! I have had personal experience with this evolution of thought over the years.When my dad and I first aquired the 1929 Beech Travelair it was a bastketcase 4000 model.I wanted to re-build it as a 4000 but dad had bigger plans.I think that in the 60,s the prevailing mood was not so much preserving these aircraft for history but updating them to modern flying standards.In the end he did get his wishes and the airplane had a complete C of A with no restrictions. That seemed more important to him than its historical value.It was a beautiful airplane no doubt when it was finished but it was changed forever.It was much like the Pepsi Cola D4D's at the time ,stressed for 9G's both ways,inverted fuel and oil system,skywriting capability and a much more powerful engine.
When he went west 20 years ago I followed his wishes and donated the airplane to the Canadian Warplane Heritage as he wanted it to go to a flying museum.It really did not fit into their collection so they traded it to the Reynolds museum in Alberta.They flew it at airshows for awhile then changed it back to a 4000 model(as much as possible) and repainted it in a 1920s style.It now sits in the museum on static display awaiting engine parts .It is now niether a 4000 or D4D .Whether it will ever fly again is problematic. It is still my position that it should never have been converted in the first place.I can understand the thinking of the 60's when the idea that modern was better. A lot of those guys, because of the era they came from, viewed these old airplanes as something to be improved upon and not for the historical value.Although it could be said that it does have a unique history of its own now.
I am also an vintage car buff and have noticed the same change in thinking from only a few years ago.A lot more owners want their cars to be as original as possible even trading for old parts as opposed to reproductions.As long as I have my 1931 Ford model A, which was re-built 10 years ago with original parts, that is the way it is going to stay.I won't make the same mistake again.
Cheers! John.
__________________
It has been said that the difference between a "pilot" and an "aviator" is that a pilot is a technician,and an aviator is an artist in love with flight.
JohnReid (Aviator)
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Engine shop walls.
On some websites the pics are awfully big,I will attempt to change the settings if I can figure out how.Besides it shows all the mistakes!
Anyway this is a pic of a section of the interior wall of the engine shop.I simply laid cardboard over the foamboard and glued it on.The window trim and battens are 1/4 inch coffee stir stiks.On a rough structure such as a barn or hangar they really are all you need but the quality is somewhat poor as you can see from bent and warped shapes and the inconsistent 1/4 inch widths.
They were treated the same way as the floor with watery nimbus grey(the bottom line of vertical boards are the inside of the outside board and batten wall.)The cardboard insulation has been treated with a spray coat of laquer and allowed to soak in.Do not overspray as you do not want a shiny surface.Nail holes were done the same way as the floor.Weathering is next!

This is the exterior of the same wall done in board and batten style.The boards are tongue depressors and the battens are those some 1/4 inch stir stiks.The bottom of the boards and battens are left in an irregular pattern as I want to show a little heavier weathering where they come in close proximity to the ground.Additional weathering will be carried out the usual way except the nail heads will show a little rust.

Here I have gone over the battens with plain water to swell the nail holes as I didnt want any more of the grey color.Then I took some very watery raw umber and toothbrush flicked a bit of crud on ,after I had protected the plexiglass with paper.I then used a very small round brush and with the same raw umber emphasized where I thought the crud may build up a little heavier over the years.Try to be subtle and take your time,it will be worth it in the end.Now it is on to the pastels!

The work you see here took about an hour to do .Pastels are fun to work with if you dont overdo it.Use a very soft brush and work the pastels into the wood.Because our wood is not sealed this is very simple to do and quite permanent.
Here I have used only 2 colors so far,black and burnt sienna.The most important thing is to use your imagination and have fun with this.The final work with the pastels will be when I put the walls together and decide on the wear and tear.