Other items should be included in the list of finishing requisites; one is a matting agent (such as is made by Humbrol) which should be used most sparingly for over use will result in the paint not only assuming a streaky washed out appearance but sometimes being so insecure as to flake off by almost blowing upon it. The matting agent is very useful if used sparingly. It should only be used when a really matt surface is required and this is rather seldom. Instructions for mixing are given on the tube and may vary from maker to maker. Matt varnish is a very useful material and can also be purchased from art shops. The major model paint makers (eg, Humbrol, Airfix) also make it. It can tone down too glossy surfaces (wait until the surface is absolutely dry before applying the varnish ) and can fix decals or dry print transfers firmly in place. The American firm of restor makes matt varnish (and gloss) in aerosol form, as do some other firms. While fine for Model AFVs and the like, it can be risky using this on model aircraft. A realistic surface can be realised by buffing with a clean soft piece of rag. This is ideal for 1914-1918 aircraft where the aim should be not too matt nor too much gloss. If the paint is applied so that it dries velvety it can be lightly buffed and a slight delicate sheen arises. The buffing should be carried out both spanwise and chordwise on the wings and tail surfaces and it helps to highlight the rib lines in a very subtle way.

There is an 'art' in finishing a model. This is not a pun; it is meant literally, for there is a technique well-known to professional modelmakers, scene painters and others whose work is to a certain extent concerned with the gentle craft of illusion. To put it into simple terms, if a modeller were to build a 1:48 scale aircraft and by chance he was given a sample of the paint used on the original full-size aeroplane he might imagine that it would be . authentic. Indeed there are many who will swear by their colour chips and charts and nothing will convince them otherwise. The harsh fact is that the hypothetical model mentioned above would be incorrect. The reason for this is subtle, and may seem strange, but it is nevertheless true, for not only must the model be scaled down in size but the colour must also be scaled down.

To give a simple example: if a modeller paints part of his creation pure white and other parts pure black because the original used these colours (speaking non-scientifically, for white and black are not colours) these extremes will shine out and upset the balance of the remainder of the model. In art, pure white is never used nor is pure black; it is always off white and very dark grey. Anyone who has seen a portrait painted by a poor amateur may have been struck by the unnatural eyebrows or eyelashes because the artist has used pure black instead of dark grey, similarly the teeth will look unnatural for the same reason; indeed, toothpaste advertisers use this false coloration on posters to attract attention to the teeth.

When it comes to colours a similar subtlety should be employed; a brilliant red should be toned down as should a bright yellow. When one looks at a 1:48 scale model and the eyes are only 12 inches away this is the equivalent of looking at the full-size machine at a distance of 48 feet. For colours become more subdued at a distance. If the modeller finds this confusing all he needs to know is that a little subtlety is a good thing when painting. This is apart from all the other things which affect aircraft finishes such as wear and weathering, etc. The other extremes, gloss and matt should also be treated in the same way for the same reasons.