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Today Eduard have published an interview with Katerina Borecka – the artist responsible for boxtop painting of their new 1:48 Bf 109G-6:

How long have you been painting for Eduard?
It's been just over two years. The first painting was a MiG-15 for a limited edition kit of the “Czechoslovak Fifteens”. We had a fairly short time to deal with a situation where our boxart artist, Petr Štěpánek, was unable to work for Eduard, due to a car accident . For the Bf 109G-6 release, the task was to repaint the original and quite old picture created by Martin Novotny. The aircraft should generally use different camouflage. This was going to be a test for me. No one knew how I should deal with the artwork, or how it would unfold. This was to be my very first experience of producing an artwork. I had never even drawn an aircraft before. Over time, I learned to use the technologies which I normally use for my other role at Eduard. For me personally, it was not easy to step into Petr’s shoes. I always admired his paintings, so I tried to come close to his style and approach. I now very much enjoy working on boxart, and I am so pleased to have had this opportunity.

How did you get into painting?
Since I was 10 years old, I attended a folk art school, and I took part in several art competitions. Perhaps my biggest success was achieving first place in the ‘Holocaust Through Czech Children's Eyes’ competition. My painting was presented in the Holocaust Museum in Los Angeles, and other places. Today it is in the Park East Synagogue in New York. I was sixteen. I also dealt with art education, especially in connection with computers, during my college studies. (School of Education)

Which technique do you use?
I use digital tools. I have a tablet with a pen, and the pictures are created in Photoshop. But this is not about editing 3D renders with textures, as you sometimes see in aviation art. That style does not appeal to me. As a base, I normally use 2D pictures of our kits, and also photographs and models which I have assembled. I try to create the images by hand, and then inject some character. Sometimes, I feel frustrated that I don´t have further time to “play” with them more. I have to remember I am creating a functional artwork. For me, it’s the small details which really make aircraft artwork very appealing. By this, I mean the various reflections, rivets, patina and of course the overall atmosphere.

How many boxarts have you painted for Eduard so far, and which ones, for example?
By now, it’s certainly a good number. I suppose around 40+. Mainly, there have been a lot of Bf 110s, MiG-15s and 21s, and Spitfires. I do also remember a big challenge that I had right at the beginning, which was the Ju 52. The need to portray a corrugated skin with markings and codes on it, gave me a really hard time.

Which of these paintings is closest to your heart?
It would probably be the recent Spitfire Mk.IXe (Picture 1 at right) for the June weekend edition kit. Although this is an image that will be used with no background, its actually easier for me to create the painting of an aircraft connected to some surrounding. So I created a background anyway. This is of a Czechoslovak pilot who is finally home after the war. It is September 1946, and he is returning from a peacefull flight, to Prague Kbely airbase. My boss says that this freedom breathes out from this picture, and the poor pilot doesn’t yet know the problems that will be waiting for him in his free country two years later. But there are also other images, such as the Hellcat in the clouds, which has an interesting atmosphere. As I mentioned, the atmosphere is, along with the story, something which is very important for me.

You are a woman. Women are usually very unfamiliar when it comes to aircraft. How is it in your case? What aircraft do you like best?
Slowly, I am beginning to understand this subject type. Amongst my friends, who are untouched by the world of modeling and aviation, I’m a star. However, I spent many hours exploring the photographs and drawings ... where all those rivets, “ buttons", ”little covers” and all kind of different "levers" which you, modelers, call the elevator, rudder and landing flaps, actually are.
My vocabulary has definitely grown, with a lot of new, technical terms.
I especially like WWII aircraft. Personally, I love the sound when the aircraft engine starts. I do like Spitfires but this was one I was familiar with before we started to produce our kit. I am pleased that I had the opportunity to paint them for this too. I really enjoy going to different air shows, where these aircraft can be seen and heard. I also like the American P-51 Mustang, but it may take a long time until I’m given the chance to paint this aircraft for Eduard.

While visiting modeling events - has it ever happened to you that men were admiring you, not because you’re a pretty blonde, but because of the artworks that you produce for Eduard?
My face was not visible anywhere for some time. I´ve also heard it said that Eduard are presenting their boxarts as being made by a woman, just so as to make the company look more interesting. Recently I noticed that people are starting to recognise me, be it by my face or the name tag that I wear. At modeling events, these people come up to me and express their enthusiasm for my work, and to compliment me. This makes me much happier than if they were just admiring me for my looks. It was a really pleasant surprise to see a queue of visitors at Novemberfest, who wanted my signature.

Are these images available somewhere else, or can they be found on Eduard box covers only? Do you plan to release some large prints, posters or perhaps hold an exhibition etc.?
They’re exclusively available on Eduard boxes. One poster with my artwork has been released with the „Naši se vracejí“ campaign. I would personally prefer a calendar or a large print of my previously mentioned favorite, the Weekend Edition artwork for the Czechoslovak Spitfire.

What about the Bf 109G? How does it appeal to you, and if so, how?
It appeals fiercely to me. I like it. It’s not just a tube with wings!

The development of the Bf 109G-6 artwork was kind of unusual. How?
The whole task was quite unusual. I had to re-draw the main subject of the image - the Bf 109G-6 itself, so it would superficially resemble the original picture, painted by Martin Novotny. This image was shelved for about 10 years and was used only for marketing purposes. It appeared on the cover of the scale kits catalog 2014, and on our CD catalog. It was also published in Info Eduard, etc. Given the diversity of opinions regarding the perspective that Martin chose to use, which causes an unusual optical deformation of the aircraft, it was decided to repaint the picture. So I retouched Martin’s Messerschmitt and created a new background which was more suitable for the format we use. Then I created a new 109, whilst trying to stick to Martin’s style as much as possible. Within our new Bf109G-6 campain, we allowed a comparison of the two drawings. I received complaints that the drawing by Martin Novotny had prettier colors. Yes, it is quite varied, greenish even. I do think that the RLM colors that were used on my artwork, are closer to the true colors. (Picture 2 at right)

And what about the environment? The Bartels Drawing is set in the Mediterranean. How does it affect you? It is important that you have a relationship to the place you are painting?
The Mediterranean is fine. Heat, sea ... I like it. As well as other countries nearby. Egypt, which is quite close by, is a place I love. In that regard, I like Petr Stepanek´s painting of MiG-21MF over the pyramids in Giza. But is it important? Certainly it´s easier to paint what one likes, but it doesn’t make much of a difference to me. Although I don’t particularly like Afghanistan, painting it was not an unpleasant experience for me at all.

I noticed that the pilot in your drawing looks quite weird. Why ?
Well, I know what you mean. I think that comparing him to other pictures I had in my folder, this one looks quite normal. Before I could paint the pilot, there was a series of photos taken. The life-model for this image was the head of our own marketing department – Jan Zdiarsky. There were far more emotive and interesting photos created during this sesion, than the one you can actually see on the boxart. But the highest authority, at least when it comes to Eduard, Mr. Sulc, chose this quite sober and ‘boxart applicable’ option. (Picture 3 at right)

Other colleagues have also had the chance to experience this feeling. Thanks to the great opportunity of working with a cooperative museum, we have been able to borrow authentic wartime items , such as RAF, Luftwaffe and American flying helmets, sunglasses, jackets, respiratory systems etc. The guys are then sat on a chair with all this equipment on and are asked to act like a fighter pilot, or to look really angry. The result is, I have to say, pretty much the same every time – they look like their underwear is strangling them!

You may already notice our IT guy, Láďa Eštok, in the cockpit of several of our Spitfires, or Petr Porazil, who creates our kit instruction sheets. Martin Nademlejnský, the technical chief of our photoetch section, who among other activities also builds some of our presentation kits, is still waiting for his plane. And maybe one day, my superiors will agree to put me into a cockpit as well.

This picture will also be on a t-shirt produced by Rezavá Vrtule. Will this t-shirt be available through Eduard as well?
Yes, there will be a Limited Edition of the ProfiPACK kit, including this t-shirt. 150pcs will be available.

Is there a theme you would like to paint just for yourself, besides the things you are asked to paint here at Eduard? I mean, if you were to have some spare time?
There is, but I dont really get that time. If I did, it would be something where I can play with light, reflection and shadow. It would be a fantasy scene, and there would definately be no aircraft.

But your work is not only on the boxarts, is it?
Yes, that is true. I normally work as a desinger in Eduard‘s marketing department. I edit all of our printed adverts, and also our own web-magazine, Info Eduard.

What will you be doing next, and what painting are you working on at the moment?
I am working on a Spitfire for a Limited Edition kit which will be related to the Normandy invasion – D day. It will be called „The Longest Day“ and will be released in June. This picture will aslo be without an environment, but I will surely make one up for myself again.

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