[Faded-Red Conflict Torrent
Addison Mauldin
I'm excited to get my first Arduino project running (I just used the stepper motor mounted in a wooden box to rotate a plant, using a remote control). I've been testing combining elements from my kit (the Elegoo UNO R3 board with a bunch of little sensors and motors) and ran into a mysterious problem.
I am trying to combine some remote control functionality with the RGB light. However, as soon as I add the line of code 'EnableIRIn' function in setup() (I removed lines of code until the problem went away, and this one seems to create it), the PWM #3 seems to lose delay functionality. Looking on stack overflow, I've read about different pin sets having different timers, and suspect that there is a conflict in the remote library and the delay function for this pin.
Specifically, the problem is that the RGB light is supposed to fade smoothly between R, G, and B, in that order. (When I use only the RGB light fading code, it works like a dream.) When I add the Remote code, especially the aforementioned function, the blue light on pin 3 does not fade in, but only briefly flashes on at the end of the sequence before the red flashes on in full force and begins the fading loop over. Notably, red fades perfectly to green, the problem is only with blue. Removing the IR function above solves the problem.
PWM outputs are based on timers. The Uno has 3 timers with timer 0 being used for timing (delay, millis...). Each timer has 2 PWM outputs, consult the pin mapping which timer controls which output OCx. Using the timer0 PWM outputs OC0A/B is safe, for more outputs find a timer not used by your library functions.
Thank you! Very straightforward. I will try this. Does the timer issue exist with most boards? I am hoping, in addition to the RGB and remote to use a stepper motor on the other PWM pins, so may have reached the capacity for the UNO.
I am busy with a number of builds (My Malta/N Africa Phase) I want to achieve a "In service" look and I am mindful that these aircraft would have had a bit of a bleached look. I bet there are a number of products and as many ways to achieve a good end result. I am mindful that I need to consider the decals, as well. have used AK interactive products for the cockpit and these have worked a charm. I was thinking of adding a bit if white to the colours, but I am not sure if that is the best way to go. ALL SUGGESTIONS WELCOME.
Not just bleaching but changing. Dark Green will go towards a chocolate brown. Roundel Blue fades to a much lighter shade - as can be seen in temperate climes too. This tends to be mainly on the uppersurface of the wing rather than the side of the fuselage. Dark Earth can be seen in a very dark shade, as an intermediate colour more usual in the UK, and fading towards Light Earth. I've no information of fading of Middle Stone, other than to go for a reduced intensity?
I've yet to see any ideal comments about fading the Roundel Red. Just adding white will tend to make it pink. The "scale colour" solution can be found on the colour wheel principle - adding a little of whatever colour is opposite (I don't have one handy) will reduce the intensity of the red, but that may not exactly be what is required.
One thing I would point out is that, unless you have a specific picture that shows otherwise, I urge you to avoid the currently-popular fad of using dark-ish soft lines around all of the panel lines. It may be popular but in the vast majority of photographs, such an effect is not present at all. As you mentioned, there are different ways to go about more extreme forms of weathering. Personally, I lighten up the darker colors by about 10% from the beginning; I think "scale effect" comes into play so for example, a black airplane model should not be painted straight black to begin, but a dark gray. It will look like faded black at the end, and you can use straight black for running washes into the major panel lines- control surfaces, engine panels, etc.
In this case, I would start with my base coats of color, add a clear gloss (if that is your method) for decals, add the decals, and then use an extra thin coat of a light tan to weather the whole paint job. You can make this a khaki shade (grayish-tan) as well, but the trick is to thin it much more than regular paint, and apply it over the upper surfaces only in one pass, from front to back. It will take multiple passes over the wings if you are using a modern airbrush, but that's OK. You may get a slight difference in the thickness of the overcoat, and if so, you've just applied some random streaking to this weathering layer. That's a good thing and with practice this can be done deliberately. You can always apply another coat if it doesn't lighten the colors enough, but in my experience if you get enough coverage to slightly lighten the colors it is time to stop. One good rule of thumb for all the weathering techniques is to apply a little of it at a time; if you think it could use just a little more, stop. Chances are you'll go too far and then you really cannot take it off without an awful lot of work. Unless you are showing a derelict plane left in place for months, a bit under weathered is much better than too much, in my opinion.
Now I add other weathering features such as exhaust stains, gun residue (but go easy here); the typical oil stains present on all Merlin-powered aircraft, and paint chipping. A top coat of clear flat will seal it all in and things will blend into the same reflectance.
Most of all, continue to practice on spare parts or even sheet plastic before trying it on your project models. I have saved myself an ocean of grief over time by practicing a bit before picking up my latest project and just charging into something new.
Nice job! Weathering makes all the difference, especially if the A/C has been used in conflict. They certainly didn't take/have time to clean them. The only bit of the A/c that was cleaned, was the Pilots canopy and Turrets!
On the other hand, ground crew often took a personal pride in the appearance of their machines. They very often did have time to clean them, even if it wasn't a top priority. Few periods of the war saw intense operations at the level of the Battle of Britain, the peak times of the seige of Malta, or Imphal. Even these had quiet times for at least some, if not the majority, of units. It would have been advisable, if not normal, to clean away corrosive products such as powder stains, and smoothing (if not downright polishing) of aerodynamically important areas such as the leading edges of the wing. At least on the fighters. It seems unlikely that this was attempted on the high wings of the bombers, even those not slathered in anti-freeze paints. It is also a lot easier to clean away oil stains on the uppersurface of a Spitfire rather than underneath its belly where they would be more common - the model above indeed does look representative in that respect.
Visible powder stains on the leading edge is a subject that has been discussed before. There are photographs that do show such, but most do not - presumably because they were regularly cleaned as described above. Which may not have been the case at times during the battle of Malta, which the model represents.
I read an interesting matter relating to this, in it there was a description of colour fade due to the sun but more importantly the effect of sand on paintwork and how that caused fading as the top layers were stripped away
This sounds weird to my 41-year old self, but give a kid a color stick that smells like fruit candy and what do you expect? At the time, I was not thinking how this might be socializing the idea of sniffing pens or how such an action would get kids expelled from school three decades later. My thoughts were focused on seeing the world through purple grape, red cherry, or black licorice filters as the pens passed under (and I imagine at times up) my nose.
These are really noticeable when introductions are constrained to short times or word counts. We see this in networking events when professionals greet each other in a crowded room, stating markers we feel are most appropriate to the one we are speaking with.
Another great example is in Twitter descriptions. When given 140 characters to describe yourself, the result is often cramming as many identity markers as possible in such a short space. We can see some examples from what happens to be top of my feed as I write this post:
Identity markers are defined in part by the definition given by the culture and community around us. Using the pen metaphor, what one person smells as tasty red cherry may be offensive cough syrup to another.
The value conversation raises issues of potential conflict between our identity markers, also known as role conflicts most often highlighted in work-life balance issues. Not all colors go together and not all fragrances were meant to be snorted in the same sniff.
Our career-related markers can conflict with our non-work markers. A marker as a social activist may not align with that of a business owner. This disconnect is exposed when we choose to increase the value of one marker that is in conflict with another.
Choices we make to build up one marker can fade or highlight other markers. Our lives can be seen as a tapestry of colors blended together to create the ideal image of how we wish to be seen by others and ourselves.
The concept of identity markers often comes up when someone is looking at strengthening their position in the market or branching out into new directions. I encourage you to consider three responses to the concept of identity markers:
I am becoming increasingly conscious of the painting we are all creating with our markers. To the point, this blog I am writing is leaving a mark on the world. If you feel this is useful for others and it supports your own identity marker as someone who shares such things, I invite you to make your mark through commenting or passing it on through the channels below.
The provision of social welfare and the shape of the Soviet city profoundly influenced each other, especially in the post-Stalin period. This article explores the relationship between welfare and city in the USSR after 1953 by focusing on four particular urban or exurban spaces: the company town, the microdistrict, the pensions office and the city's rural hinterland. After the ideological visions of the Khrushchev era faded, welfare moved even closer to the heart of Soviet urban life. It determined some of the contours of urban form, while the resulting urban spaces contributed fundamentally to the way that people understood Soviet power and the nature of their citizenship.
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