July 2003 125
EVERY ONCE IN awhile a particular
technique has to be revisited. For those of
you who want to build as light as possible
yet maintain structural integrity, this review
is for you. Fulton Hungerford, of spokewheel
fame, is one of the most clever people
I have ever met. He turned the AMA
fraternity upside down one year when he
competed with a Rubber Scale model in the
Power event and won! Nothing in the rule
book stated that it couldn’t be done.
At another Nationals (Nats) I attended,
Fulton entered an F4U Corsair that had a
balsa formed fuselage, and the model flew
35 seconds indoors. In the 1970s this was
not the type of model to enter. At that time
35 seconds was a pretty long flight.
Fulton was on the West Coast for
business when the Flightmasters had a speed
event for Scale racing airplanes. He entered
a Loening amphibian biplane. It went
straight as a die. Making a Scale model fly
straight for 80 feet is quite difficult. Fulton
won the event, but quite a few people were
perturbed since the Loening was not a
racing airplane.
I mention all of this not to show that
Fulton was a troublemaker, but that he could
do things that no one else at the time could
do. There still isn’t the type of wire wheel
available that Fulton used to make. A friend
of mine went to visit him years ago, when
he and his wife were in Florida. My friend
was amazed to see the way that Fulton made
those wonderful spoke wheels. He had a
Fernando Ramos, 19361 Mesa Dr., Villa Park CA 92861; E-mail: [email protected]
FREE FLIGHT SCALE
Photos on this page are of Fulton Hungerford’s amazing Ford Tri-motor. The text
contains details about this aircraft. Hungerford photos.
Rube Goldberg system that would produce
the spokes.
At one of the Nats at Glenview Naval
Air Station in Illinois in the 1970s, Fulton
left me speechless when I saw his 1⁄4-inchto-
the-foot-scale Ford Tri-motor Indoor
model. All three propellers were powered
with rubber motors, using the leading edge
of the wings to hold the rubber for each
engine nacelle. The third motor was encased
in the fuselage, running the center motor.
Most anyone else, if they even considered
such a project, would have powered the
motor down the center of the fuselage.
On top of all that, the model had
corrugations on the skins, the windows, the
airline logos on the fuselage, etc. The Trimotor
weighed little considering all of the
detail, and, not surprisingly, it flew
realistically. I don’t remember the times it
got, but the effort was incredible! Fulton
didn’t just build one of those creations; he
built 12. You have to be some kind of
masochist to do something like this.
The reason Fulton was able to tackle
more than one of these models is the subject
of this review. However, before I get into
that I want to share with you how he did the
corrugations.
He determined the size the corrugations
had to be for the size of the model he was
making. He turned a mandrel on a lathe with
the correct-size corrugations. He rolled this
mandrel over aluminum foil, leaving the
scale imprint on it. Don’t get ahead of me;
the model wasn’t covered with light
aluminum foil!
Fulton sprayed clear dope on the
aluminum foil. When it dried, he blanked
out where the windows would go, then he
painted the logos—in reverse—for the
airline depicted! He followed that with a
coat of silver dope. When the dope dried, he
removed the paint film from the aluminum
foil, leaving him with the corrugations,
windows, and logos. He carefully attached
these films, applying thinner to the various
structures. The results were unbelievable!
I haven’t even mentioned the method he
used for transferring the rubber power from
the leading edge of the wing to the engine
nacelles. I will do that another time.
Figure 1 shows a typical truss rib used
on full-scale aircraft. I left out the plywood
gussets that would cover each joint and
126 MODEL AVIATION
would be on both sides of the rib. Fulton
would make a rib assembly from balsa that
would be 3 inches wide and would have all
of the vertical and diagonal bracing
sandwiched between the top and bottom
sheeting.
Look at Figure 2. When this assembly
had dried, Fulton devised a method for
slicing this trussed assembly similar to the
way bologna is sliced. You end up with a
handful of ribs that are identical and have
virtually no weight.
Looking at a set of photos that Fulton
sent me in 1972, he would had to have
made one of these assemblies for each rib
for a half of the wing. The wing is not only
tapered on the plan view, but it is thick at
the center, tapering considerably at the tip.
Wow! He didn’t want to waste all the time
it took to make each of the different
assemblies, so he built 12 of these
remarkable models!
Let’s see how we can modify this
concept a bit to make it less work. Look at
Figure 3. From a 3-inch-wide piece of
hardwood (not oak or maple; redwood or an
equivalent is perfect)—one that is a tad
longer than the longest rib—draw the top
shape of the rib on the side of the block.
Using a band saw, cut on this line as
carefully as possible. This will be the form
block.
Soak two sheets of 1⁄32 x 3-inch balsa the
length of the block in water for a while.
Place one sheet over the other, then place
them between the block halves and clamp
them together. Placing them in an oven at a
low temperature is recommended.
When dry, remove the sheets from the
blocks and glue the two sheets together. Replace
them between the two blocks, and
clamp. Make certain that there is no oozing
glue, or you will never be able to separate
the blocks. When the two laminated sheets
of balsa are dry, you will have the makings
of the top half of each rib.
To cut the ribs from the sheet, I use the
bottom half of the block with the formed
sheets laying on top. Using a flexible metal
ruler or straightedge and a sharp blade, you
can cut the sheeting to whatever width you
want the ribs to be. This beats sliced ribs cut
from a balsa sheet; you have little extra
weight, and they’re way stronger. You will
not be so apt to break one of these laminated
ribs. You can save a great deal of time using
this method, particularly if you have a
tapered wing.
(I was building a wing for an old-time
Rubber model that called for the outer
panels to be laminated from six pieces of 1⁄16
x 1⁄8-inch balsa sticks. This was called for
because it had a curved trailing edge along
with the tip. I never have too much luck
soaking balsa in water and having it bend
without cracking. Yes, I know about
ammonia, but the aliphatic glue I use
curdles with ammonia. Instead, I put the six
sticks in my mouth at the point where the
most severe bend was going to be. I soaked
them pretty good for a couple of minutes
then laminated them around a form, and
none of them broke!)
Recently I have been building Scale models
which require 1⁄16 square balsa for the
July 2003 127
longerons. Instead I have opted to use bass
or spruce of the same dimension. For the
little appreciable weight, the added strength
is worth it—especially after the fuselage is
covered. I hate to see the fuselage longerons
sag between uprights.
I also can’t stress enough to use diagonal
bracing on the sides, tops, and bottoms of
fuselages. If you are building a CO2, electric, or
diesel-powered model, diagonal bracing inside
the fuselage is also highly recommended. It
prevents stabilizer and rudder tilt after the
model has been covered. On a CO2 model I use
1⁄32 square basswood for the internal bracing. It
is amazing how these little sticks keep a
fuselage from twisting. I use 1⁄16 square balsa on
larger models.
More Review: Sometime back I mentioned
rolling Japanese tissue into a ball the size of
a spitwad. Some of my flying buddies
thought I was pulling their legs. The more I
do this, the better I like the results. I’ll
explain the procedure.
After, say, a wing has been coated
sufficiently with dope for attaching the
tissue, cut a piece of tissue just large enough
to cover a lower wing half. Wad up this
piece into the smallest ball you can make.
Open it up so that it is completely flat,
without any hidden folds. You will have
plenty of creases.
Spray an even coat of water over the
entire dull side of the tissue sheet. Carefully
place it on the lower half of the wing. Pull it
in all directions until it is pretty smooth.
Activate the dope with acetone or MEK
(Methyl Ethyl Ketone). When dry, repeat
this procedure for the other wing panels.
There is little warping, if any.
After each coat of dope I weight down
the wing and other parts to dry. The tissue
looks as taut as if it had been done without
the wadding, with no warps. Some
modelers are afraid to apply wet tissue to
the model, but using it gives better results.
Some of you won’t do it any other way but
dry, and you still get great results.
Whatever works!
A friend of mine is slowly converting
from Radio Control to Rubber and CO2, and
he has no experience in covering with
tissue. To prove to him the difference
between dry and wet tissue, I covered one
side of a fuselage with some curves dry and
the other side wet. The difference between
the two was night and day. I am not trying
to convert some of you ole die-hards; I just
wanted to show you that there is more than
one way to get good results.
I purchased a Hasegawa kit of the Sopwith
Camel. These long-discontinued kits are
exceptional—especially mine. I don’t have
the manual that contains the building
sequence, but the plans are there. If
someone out there would like to sell me
yours (assuming that you have already built
the model) or if I may borrow it long
enough to copy it, I would greatly
appreciate it.
As shown in the column header, I have a new
E-mail address: [email protected]. MA
Visit the AMA Education Committee
Web site at www.buildandfly.com.
Edition: Model Aviation - 2003/07
Page Numbers: 125,126,127
Edition: Model Aviation - 2003/07
Page Numbers: 125,126,127
July 2003 125
EVERY ONCE IN awhile a particular
technique has to be revisited. For those of
you who want to build as light as possible
yet maintain structural integrity, this review
is for you. Fulton Hungerford, of spokewheel
fame, is one of the most clever people
I have ever met. He turned the AMA
fraternity upside down one year when he
competed with a Rubber Scale model in the
Power event and won! Nothing in the rule
book stated that it couldn’t be done.
At another Nationals (Nats) I attended,
Fulton entered an F4U Corsair that had a
balsa formed fuselage, and the model flew
35 seconds indoors. In the 1970s this was
not the type of model to enter. At that time
35 seconds was a pretty long flight.
Fulton was on the West Coast for
business when the Flightmasters had a speed
event for Scale racing airplanes. He entered
a Loening amphibian biplane. It went
straight as a die. Making a Scale model fly
straight for 80 feet is quite difficult. Fulton
won the event, but quite a few people were
perturbed since the Loening was not a
racing airplane.
I mention all of this not to show that
Fulton was a troublemaker, but that he could
do things that no one else at the time could
do. There still isn’t the type of wire wheel
available that Fulton used to make. A friend
of mine went to visit him years ago, when
he and his wife were in Florida. My friend
was amazed to see the way that Fulton made
those wonderful spoke wheels. He had a
Fernando Ramos, 19361 Mesa Dr., Villa Park CA 92861; E-mail: [email protected]
FREE FLIGHT SCALE
Photos on this page are of Fulton Hungerford’s amazing Ford Tri-motor. The text
contains details about this aircraft. Hungerford photos.
Rube Goldberg system that would produce
the spokes.
At one of the Nats at Glenview Naval
Air Station in Illinois in the 1970s, Fulton
left me speechless when I saw his 1⁄4-inchto-
the-foot-scale Ford Tri-motor Indoor
model. All three propellers were powered
with rubber motors, using the leading edge
of the wings to hold the rubber for each
engine nacelle. The third motor was encased
in the fuselage, running the center motor.
Most anyone else, if they even considered
such a project, would have powered the
motor down the center of the fuselage.
On top of all that, the model had
corrugations on the skins, the windows, the
airline logos on the fuselage, etc. The Trimotor
weighed little considering all of the
detail, and, not surprisingly, it flew
realistically. I don’t remember the times it
got, but the effort was incredible! Fulton
didn’t just build one of those creations; he
built 12. You have to be some kind of
masochist to do something like this.
The reason Fulton was able to tackle
more than one of these models is the subject
of this review. However, before I get into
that I want to share with you how he did the
corrugations.
He determined the size the corrugations
had to be for the size of the model he was
making. He turned a mandrel on a lathe with
the correct-size corrugations. He rolled this
mandrel over aluminum foil, leaving the
scale imprint on it. Don’t get ahead of me;
the model wasn’t covered with light
aluminum foil!
Fulton sprayed clear dope on the
aluminum foil. When it dried, he blanked
out where the windows would go, then he
painted the logos—in reverse—for the
airline depicted! He followed that with a
coat of silver dope. When the dope dried, he
removed the paint film from the aluminum
foil, leaving him with the corrugations,
windows, and logos. He carefully attached
these films, applying thinner to the various
structures. The results were unbelievable!
I haven’t even mentioned the method he
used for transferring the rubber power from
the leading edge of the wing to the engine
nacelles. I will do that another time.
Figure 1 shows a typical truss rib used
on full-scale aircraft. I left out the plywood
gussets that would cover each joint and
126 MODEL AVIATION
would be on both sides of the rib. Fulton
would make a rib assembly from balsa that
would be 3 inches wide and would have all
of the vertical and diagonal bracing
sandwiched between the top and bottom
sheeting.
Look at Figure 2. When this assembly
had dried, Fulton devised a method for
slicing this trussed assembly similar to the
way bologna is sliced. You end up with a
handful of ribs that are identical and have
virtually no weight.
Looking at a set of photos that Fulton
sent me in 1972, he would had to have
made one of these assemblies for each rib
for a half of the wing. The wing is not only
tapered on the plan view, but it is thick at
the center, tapering considerably at the tip.
Wow! He didn’t want to waste all the time
it took to make each of the different
assemblies, so he built 12 of these
remarkable models!
Let’s see how we can modify this
concept a bit to make it less work. Look at
Figure 3. From a 3-inch-wide piece of
hardwood (not oak or maple; redwood or an
equivalent is perfect)—one that is a tad
longer than the longest rib—draw the top
shape of the rib on the side of the block.
Using a band saw, cut on this line as
carefully as possible. This will be the form
block.
Soak two sheets of 1⁄32 x 3-inch balsa the
length of the block in water for a while.
Place one sheet over the other, then place
them between the block halves and clamp
them together. Placing them in an oven at a
low temperature is recommended.
When dry, remove the sheets from the
blocks and glue the two sheets together. Replace
them between the two blocks, and
clamp. Make certain that there is no oozing
glue, or you will never be able to separate
the blocks. When the two laminated sheets
of balsa are dry, you will have the makings
of the top half of each rib.
To cut the ribs from the sheet, I use the
bottom half of the block with the formed
sheets laying on top. Using a flexible metal
ruler or straightedge and a sharp blade, you
can cut the sheeting to whatever width you
want the ribs to be. This beats sliced ribs cut
from a balsa sheet; you have little extra
weight, and they’re way stronger. You will
not be so apt to break one of these laminated
ribs. You can save a great deal of time using
this method, particularly if you have a
tapered wing.
(I was building a wing for an old-time
Rubber model that called for the outer
panels to be laminated from six pieces of 1⁄16
x 1⁄8-inch balsa sticks. This was called for
because it had a curved trailing edge along
with the tip. I never have too much luck
soaking balsa in water and having it bend
without cracking. Yes, I know about
ammonia, but the aliphatic glue I use
curdles with ammonia. Instead, I put the six
sticks in my mouth at the point where the
most severe bend was going to be. I soaked
them pretty good for a couple of minutes
then laminated them around a form, and
none of them broke!)
Recently I have been building Scale models
which require 1⁄16 square balsa for the
July 2003 127
longerons. Instead I have opted to use bass
or spruce of the same dimension. For the
little appreciable weight, the added strength
is worth it—especially after the fuselage is
covered. I hate to see the fuselage longerons
sag between uprights.
I also can’t stress enough to use diagonal
bracing on the sides, tops, and bottoms of
fuselages. If you are building a CO2, electric, or
diesel-powered model, diagonal bracing inside
the fuselage is also highly recommended. It
prevents stabilizer and rudder tilt after the
model has been covered. On a CO2 model I use
1⁄32 square basswood for the internal bracing. It
is amazing how these little sticks keep a
fuselage from twisting. I use 1⁄16 square balsa on
larger models.
More Review: Sometime back I mentioned
rolling Japanese tissue into a ball the size of
a spitwad. Some of my flying buddies
thought I was pulling their legs. The more I
do this, the better I like the results. I’ll
explain the procedure.
After, say, a wing has been coated
sufficiently with dope for attaching the
tissue, cut a piece of tissue just large enough
to cover a lower wing half. Wad up this
piece into the smallest ball you can make.
Open it up so that it is completely flat,
without any hidden folds. You will have
plenty of creases.
Spray an even coat of water over the
entire dull side of the tissue sheet. Carefully
place it on the lower half of the wing. Pull it
in all directions until it is pretty smooth.
Activate the dope with acetone or MEK
(Methyl Ethyl Ketone). When dry, repeat
this procedure for the other wing panels.
There is little warping, if any.
After each coat of dope I weight down
the wing and other parts to dry. The tissue
looks as taut as if it had been done without
the wadding, with no warps. Some
modelers are afraid to apply wet tissue to
the model, but using it gives better results.
Some of you won’t do it any other way but
dry, and you still get great results.
Whatever works!
A friend of mine is slowly converting
from Radio Control to Rubber and CO2, and
he has no experience in covering with
tissue. To prove to him the difference
between dry and wet tissue, I covered one
side of a fuselage with some curves dry and
the other side wet. The difference between
the two was night and day. I am not trying
to convert some of you ole die-hards; I just
wanted to show you that there is more than
one way to get good results.
I purchased a Hasegawa kit of the Sopwith
Camel. These long-discontinued kits are
exceptional—especially mine. I don’t have
the manual that contains the building
sequence, but the plans are there. If
someone out there would like to sell me
yours (assuming that you have already built
the model) or if I may borrow it long
enough to copy it, I would greatly
appreciate it.
As shown in the column header, I have a new
E-mail address: [email protected]. MA
Visit the AMA Education Committee
Web site at www.buildandfly.com.
Edition: Model Aviation - 2003/07
Page Numbers: 125,126,127
July 2003 125
EVERY ONCE IN awhile a particular
technique has to be revisited. For those of
you who want to build as light as possible
yet maintain structural integrity, this review
is for you. Fulton Hungerford, of spokewheel
fame, is one of the most clever people
I have ever met. He turned the AMA
fraternity upside down one year when he
competed with a Rubber Scale model in the
Power event and won! Nothing in the rule
book stated that it couldn’t be done.
At another Nationals (Nats) I attended,
Fulton entered an F4U Corsair that had a
balsa formed fuselage, and the model flew
35 seconds indoors. In the 1970s this was
not the type of model to enter. At that time
35 seconds was a pretty long flight.
Fulton was on the West Coast for
business when the Flightmasters had a speed
event for Scale racing airplanes. He entered
a Loening amphibian biplane. It went
straight as a die. Making a Scale model fly
straight for 80 feet is quite difficult. Fulton
won the event, but quite a few people were
perturbed since the Loening was not a
racing airplane.
I mention all of this not to show that
Fulton was a troublemaker, but that he could
do things that no one else at the time could
do. There still isn’t the type of wire wheel
available that Fulton used to make. A friend
of mine went to visit him years ago, when
he and his wife were in Florida. My friend
was amazed to see the way that Fulton made
those wonderful spoke wheels. He had a
Fernando Ramos, 19361 Mesa Dr., Villa Park CA 92861; E-mail: [email protected]
FREE FLIGHT SCALE
Photos on this page are of Fulton Hungerford’s amazing Ford Tri-motor. The text
contains details about this aircraft. Hungerford photos.
Rube Goldberg system that would produce
the spokes.
At one of the Nats at Glenview Naval
Air Station in Illinois in the 1970s, Fulton
left me speechless when I saw his 1⁄4-inchto-
the-foot-scale Ford Tri-motor Indoor
model. All three propellers were powered
with rubber motors, using the leading edge
of the wings to hold the rubber for each
engine nacelle. The third motor was encased
in the fuselage, running the center motor.
Most anyone else, if they even considered
such a project, would have powered the
motor down the center of the fuselage.
On top of all that, the model had
corrugations on the skins, the windows, the
airline logos on the fuselage, etc. The Trimotor
weighed little considering all of the
detail, and, not surprisingly, it flew
realistically. I don’t remember the times it
got, but the effort was incredible! Fulton
didn’t just build one of those creations; he
built 12. You have to be some kind of
masochist to do something like this.
The reason Fulton was able to tackle
more than one of these models is the subject
of this review. However, before I get into
that I want to share with you how he did the
corrugations.
He determined the size the corrugations
had to be for the size of the model he was
making. He turned a mandrel on a lathe with
the correct-size corrugations. He rolled this
mandrel over aluminum foil, leaving the
scale imprint on it. Don’t get ahead of me;
the model wasn’t covered with light
aluminum foil!
Fulton sprayed clear dope on the
aluminum foil. When it dried, he blanked
out where the windows would go, then he
painted the logos—in reverse—for the
airline depicted! He followed that with a
coat of silver dope. When the dope dried, he
removed the paint film from the aluminum
foil, leaving him with the corrugations,
windows, and logos. He carefully attached
these films, applying thinner to the various
structures. The results were unbelievable!
I haven’t even mentioned the method he
used for transferring the rubber power from
the leading edge of the wing to the engine
nacelles. I will do that another time.
Figure 1 shows a typical truss rib used
on full-scale aircraft. I left out the plywood
gussets that would cover each joint and
126 MODEL AVIATION
would be on both sides of the rib. Fulton
would make a rib assembly from balsa that
would be 3 inches wide and would have all
of the vertical and diagonal bracing
sandwiched between the top and bottom
sheeting.
Look at Figure 2. When this assembly
had dried, Fulton devised a method for
slicing this trussed assembly similar to the
way bologna is sliced. You end up with a
handful of ribs that are identical and have
virtually no weight.
Looking at a set of photos that Fulton
sent me in 1972, he would had to have
made one of these assemblies for each rib
for a half of the wing. The wing is not only
tapered on the plan view, but it is thick at
the center, tapering considerably at the tip.
Wow! He didn’t want to waste all the time
it took to make each of the different
assemblies, so he built 12 of these
remarkable models!
Let’s see how we can modify this
concept a bit to make it less work. Look at
Figure 3. From a 3-inch-wide piece of
hardwood (not oak or maple; redwood or an
equivalent is perfect)—one that is a tad
longer than the longest rib—draw the top
shape of the rib on the side of the block.
Using a band saw, cut on this line as
carefully as possible. This will be the form
block.
Soak two sheets of 1⁄32 x 3-inch balsa the
length of the block in water for a while.
Place one sheet over the other, then place
them between the block halves and clamp
them together. Placing them in an oven at a
low temperature is recommended.
When dry, remove the sheets from the
blocks and glue the two sheets together. Replace
them between the two blocks, and
clamp. Make certain that there is no oozing
glue, or you will never be able to separate
the blocks. When the two laminated sheets
of balsa are dry, you will have the makings
of the top half of each rib.
To cut the ribs from the sheet, I use the
bottom half of the block with the formed
sheets laying on top. Using a flexible metal
ruler or straightedge and a sharp blade, you
can cut the sheeting to whatever width you
want the ribs to be. This beats sliced ribs cut
from a balsa sheet; you have little extra
weight, and they’re way stronger. You will
not be so apt to break one of these laminated
ribs. You can save a great deal of time using
this method, particularly if you have a
tapered wing.
(I was building a wing for an old-time
Rubber model that called for the outer
panels to be laminated from six pieces of 1⁄16
x 1⁄8-inch balsa sticks. This was called for
because it had a curved trailing edge along
with the tip. I never have too much luck
soaking balsa in water and having it bend
without cracking. Yes, I know about
ammonia, but the aliphatic glue I use
curdles with ammonia. Instead, I put the six
sticks in my mouth at the point where the
most severe bend was going to be. I soaked
them pretty good for a couple of minutes
then laminated them around a form, and
none of them broke!)
Recently I have been building Scale models
which require 1⁄16 square balsa for the
July 2003 127
longerons. Instead I have opted to use bass
or spruce of the same dimension. For the
little appreciable weight, the added strength
is worth it—especially after the fuselage is
covered. I hate to see the fuselage longerons
sag between uprights.
I also can’t stress enough to use diagonal
bracing on the sides, tops, and bottoms of
fuselages. If you are building a CO2, electric, or
diesel-powered model, diagonal bracing inside
the fuselage is also highly recommended. It
prevents stabilizer and rudder tilt after the
model has been covered. On a CO2 model I use
1⁄32 square basswood for the internal bracing. It
is amazing how these little sticks keep a
fuselage from twisting. I use 1⁄16 square balsa on
larger models.
More Review: Sometime back I mentioned
rolling Japanese tissue into a ball the size of
a spitwad. Some of my flying buddies
thought I was pulling their legs. The more I
do this, the better I like the results. I’ll
explain the procedure.
After, say, a wing has been coated
sufficiently with dope for attaching the
tissue, cut a piece of tissue just large enough
to cover a lower wing half. Wad up this
piece into the smallest ball you can make.
Open it up so that it is completely flat,
without any hidden folds. You will have
plenty of creases.
Spray an even coat of water over the
entire dull side of the tissue sheet. Carefully
place it on the lower half of the wing. Pull it
in all directions until it is pretty smooth.
Activate the dope with acetone or MEK
(Methyl Ethyl Ketone). When dry, repeat
this procedure for the other wing panels.
There is little warping, if any.
After each coat of dope I weight down
the wing and other parts to dry. The tissue
looks as taut as if it had been done without
the wadding, with no warps. Some
modelers are afraid to apply wet tissue to
the model, but using it gives better results.
Some of you won’t do it any other way but
dry, and you still get great results.
Whatever works!
A friend of mine is slowly converting
from Radio Control to Rubber and CO2, and
he has no experience in covering with
tissue. To prove to him the difference
between dry and wet tissue, I covered one
side of a fuselage with some curves dry and
the other side wet. The difference between
the two was night and day. I am not trying
to convert some of you ole die-hards; I just
wanted to show you that there is more than
one way to get good results.
I purchased a Hasegawa kit of the Sopwith
Camel. These long-discontinued kits are
exceptional—especially mine. I don’t have
the manual that contains the building
sequence, but the plans are there. If
someone out there would like to sell me
yours (assuming that you have already built
the model) or if I may borrow it long
enough to copy it, I would greatly
appreciate it.
As shown in the column header, I have a new
E-mail address: [email protected]. MA
Visit the AMA Education Committee
Web site at www.buildandfly.com.
