Art Anderson

Those who have known me for a long time, know that I have used Devcon 5-minute epoxy for making lenses and surface details off and on for years. I extended this to the grille badge for the Moebius Hudson Hornet yesterday. Simply put, a drop of Devcon, appied by toothpick over the decal emblem that Moebius supplies, and pulled around to the edges of the raised shape of the badge, that's all it took. Here's the result, see what you think of it (the same thing would work over any 50's Chevy crest BTW, even though you would have to hand paint in the colors):

I have scans of Joe Henning's how to article in Rod & Custom. I won't post them here, so as not to embroil MCM in any copyright issues, but a PM or email to me will work, if anyone wants them, Bear in mind though, Henning concieved this model project in 1965 or 1966, 48 years ago, built around the then-newly released MPC 1928 Lincoln Sport Phaeton kit, which he used for the frame, with modifications, so the dimensions may not be all that correct, but the models I have seen built from this are certainly stunning nonetheless. The article contains two pages of drawings, one giving overall dimensions, showing the car in 4 views (top, side, front, rear) and the second page showing the body parts, cut out, with all fold lines dotted in (this is a body shell that gets made up by rolling and folding Strathmore Board, which was a very commonly used artist's card stock back then, but perfectly translatable to either thin sheet styrene, or even brass for the less faint-of-heart. All you need do is ask! Art

Yes, the Marmon Wasp is a very large car, but then, every car in that first 500 was a large car (Henry Ford had one of his engineers, Frank Kulik, work up a race car from a 1910 Model T Ford, dubbed "999-II" for that first race, only to be denied entry as it was too small and too light to meet the rulebook!). Carl Fisher and James Allison (Fisher was the owner of Prest-O-Lite, the acetylene headlight manufacturer and ultimately Union Carbide, Allison the owner of Allison Engineering which became Allison Division of GM, now owned by Rolls Royce--still in business in Indianapolis) had a vision of the Speedway being a "proving ground" and a place of competition between automakers; so the cars in that first race were essentially modified stock production automobiles, and most of those back then were large cars. What does strike people, particularly when the Wasp is displayed on the floor of the Museum (for most of the life of the Hall of Fame Museum facility, it's been shown on the raised, "Brickyard" platform as the first car one would see upon entering the museum proper) is how low-slung it really is, certainly in comparison with race cars from the 1912 and 1913 500 Mile Races. This is due to the single seat configuration--all the other cars in 1911 were two-man cars (driver and riding mechanic) whose seating was necessarily on top of the frame rails, while the driver's seat that Ray Harroun used is actually down between the frame rails, so the bodywork could be lower. Then there is the matter of that long, "scorpion-like" tail fairing--no other car had anything like that in '11, all the other entries having fuel tanks mounted transversely, with at least one spare tire out back, making for a race car whose overall length was little more than the dimension between the front of the front tires and the rear of the rear tires. It would not be until the 1919 Indianapolis 500 before the race would see cars with long tail fairings again. Art

A few things to think about here: #1 Unless you are going to be painting with a full-sized production spray gun, the amount of "fumes" you might generate will be rather small really. Still, that's not something I would want to possibly "back-flow" into a clothes dryer, even in minute amounts--not worth the risks. #2 Vapors from the paints we use won't soften or dissolve a plastic dryer vent hose--the vapors or "fumes" are no longer liquid--by the time your paint overspray is a foot from your airbrush (even rattle can) the liquid solvents have evaporated, and in any event, any liquid solvents will be trapped by the filter in your spray booth. So you should be able to use either a plastic dryer vent hose (which I did for more than 10yrs with no problems) or the more readily available metal foil hoses. #3 A plug for a window is very easily made. I have done this a couple of times, being a committed apartment dweller. For a sash window, simply cut a piece of particle board or plywood (in fact I used a tempered particle board utility shelf I bought at Menard's for less than $10). Cut the material to the width of the window channel so that when you set it in the open window it goes all the way to the framing on both sides, then when the sash is pulled down on top of it, it's very secure. The proper size hole cutter will make for a perfect fit for your dryer vent. For a casement window, if that window cranks outward, the same sort of plug works just fine. For a basement window, IF you own the house, simply remove one of the panes of glass, replace that with a piece of marine or exterior plywood (seal the wood first!) then cut the hole for your dryer vent, and install it. #4, It's not a good idea to vent paint fumes into an attic or crawl space; if for no other reason than doing so will put the smell right back into your house, Not a good idea if domestic tranquility is your goal! Of course, there would also be the very slight possibility of a fire hazard. All this said, I think it's wise to bear in mind that the amounts of paint we are likely to use, particularly with an airbrush, is really quite small--I know that when I set up my airbrush for painting, I seldom ever use more than about 1/2 fluid ounce of paint and thinner at any one sitting. However, even that small amount of thinned paint, especially since I use lacquer thinner even with enamel paints can create quite a smell--lacquer thinner fumes spread quickly, and are very noticeable. However, with my Pace Peacemaker, nobody in adjacent apartments never hear the thing run, and they never have mentioned even smelling paint--and I have a very persnickety older lady living downstairs, right below my model room. It DOES "keep the peace" here for sure! Art

Baby Powder (talcum powder) is what some modelers use to set uo Super Glue (CA glue). The stuff works fine for simple filling of sink marks, etc. Art

With all due respect to Harry P, it would be FAR easier to do this car in 1/25, if one is going to kitbash/modify a kit, simply because there is so much more available. Art

Ordinary Naptha works just fine for degreasing polyurethane resin (also known as charcoal lighter fluid). Naptha works in mere minutes, dissolves waxes, greases, and mold releases (dang, I's a poet and don't know it, but my feet show it, they're Longfellows!) in mere minutes. I used to use Naptha regularly when cleaning parts meant to be sent off to a "chrome" plater, just dumped them in Naptha, stirred them around a bit, then took them out of the Naptha, spread them out on clean paper toweling to dry. Never a problem! Art

As an addendum here: In November 1995, on the occasion of the 50th Anniversary of Anton Hulman Jr's purchase of IMS, the management of the Speedway Museum opened the facility one evening, for 4 hours, exclusively for model car clubs to tour to our heart's content. Docents were on hand to open hoods, aid us in photographing cockpits and engine bays. Somewhere in perhaps 200 envelopes of developed color pics, I have prolly a dozen detail shots of the Marmon Wasp, including the engine, and detail shots of the cockpit, including the monopost steering setup, which was done by a set of 3 or 4 spur gears, for reduction. Hmmmm! Art

I'm afraid there would be a TON of scratchbuilding if starting with that kit: For starters, the Marmon was a much larger car than the Stutz (and yes, the very first Stutz was entered in the 1911 Indianapolis 500 mile race--becoming the prototype for the Stutz Bearcat -- it's high finish earning it the slogan "The Car That Made Good In A Day!"). Stutz was a 4-cylinder car, where the Marmon Wasp had a very large 6-cylinder engine, although in basic planform, the two engines are VERY similar: Aluminum crankcase, cylinders cast in pairs (note: in 1911, Ford was still just about the only car whose engine had a detachable cylinder head, large engines such as Stutz, Marmon, Packard and the like were built with "blind-bore" cylinders, the "head" cast enbloc with the cylinder and waterjacket). Both engines were T-head in design, exhaust valves and pushrods on the left side of the blocks (valve stems and valve springs exposed) and "atmospheric" intake vavles on the right side (atmospheric valves used the suction of the intake stroke to open, were closed by fairly soft springs). Intake and carburetion were both very similar, simple log manifold, cast in aluminum, with a single Shebler updraft carburetor (Shebler Carburetors were quite popular, and like both Marmon and Stutz, were produced in Indianapolis). A major difference is in the clutch and driveline! Marmon used an open, cone-shaped clutch, as did Stutz (these were lined with oil impregnated leather, very common back then; but there is where the similarity ends. Marmon had a 3-speed transmission mounted in the chassis, behind the clutch, with a torque tube going back to a HUGE rear axle (by huge, I mean a rear axle larger than any 1.5/2-ton truck built as late as the early 50's. This rear axle was suspended by full elliptic rear springs (this is two leaf springs, one above, one below, joined by dovetailing the eyelet ends into each other around a common bolt at each end (or double that of a semi-elliptic leaf spring we all know about). Stutz used semi-elliptic rear springs, but the driveline was totally unique to Stutz: Harry C Stutz apparently knew nothing about low "unsprung weight", as Stutz automobiles for several years had their transmissions bolted to the FRONT SIDE OF THE DIFFERENTIAL, which I understand made for some interesting handling characteristics. Frankly, if you want to build this car in 1/16 scale, I would still start with a Stutz, but I'd seriously consider starting with one of the rather rare Aurora 1/16 scale 1913 Stutz Bearcat kits, simply for the fact that it's a lot better kit than anything Lindberg ever did, but be prepared for some serious mods, even some kitbashing. Art

If the 2011 Concours was any indicator, this should be a FABULOUS gathering again this year--I don't believe anyone who attended last year's event went away disappointed. Harry, you listening? Art

Yes. The problem is that so many pictures have been taken of the Marmon Wasp over the years, certainly in the days of film camera's, and print reproduction in magazines, etc., have not always been true to color. The actual color is a few shades darker than "Yukon Yellow" which is the time-tested USDOT "School Bus Yellow" (itself a GM Truck color dating back to 1935). Even the color film of the 1946 Indianapolis 500, produced for Firestone Tire & Rubber, which has the filmed conversation between Wilbur Shaw (Indy winner 1837, 1939-40, and President of the Speedway 1946-54) and Ray Harroun (who sat in the seat of the Wasp throughout that segment of the race film) appears to show the Wasp in a lighter shade of yellow. However that might not be poor color reproduction as much as it might have been fading of the original paint, which was a brushed-on paint job (that's how cars got painted back in 1911, folks!); but in any event, the paintwork on the Wasp the day that conversation was filmed was DEFINITELY very weathered, cracks and peeling clearly visible. Art

Obviously, you never built any Revell kits out of the 1960's! The problem spurring this thread was called "Revell Tire Disease" way back in ancient times, the 1960's. Art

And, just what was Daytona International Speedway doing, sending a Jet Dryer loaded with JP-4 out on a race track DURING a race caution with race cars out there? Guess they found a pill-mill doctor to write the prescription and a pharmacy to fill it--sheesh! ya know, Indianapolis Motor Speedway pioneered the idea of a jet engine with ductwork to dry the racing surface, but I am pretty sure THEY have never sent those out on the racetrack when there were race cars on the speedway! Art

Nope! I am totally retired from any income-producing involvement in the model car industry, period. Art

I worked in retail hobbies in one way or another from December 1963 until August 1992, in resin aftermarket from January 1989 to March 2000, and then at Playing Mantis (product development for Johnny Lightning, plus a small involvement with Polar Lights in the same offices) March 2002 through November 2004 (and an independent contractor for RC2--AMT Corp and Johnny Lightning) for another 4 months after that). More recently, I gave some assistance to Dave Metzner and Moebius Models on a couple of model car kits on a volunteer basis. Art

That looks like Hobbytown USA at Castleton Square Mall on the far NE side of Indianapolis! A fabulous store, even if the prices are MSRP. Art

Very simple! Even though those 1960's model car kits were produced in mega-quantities, the 1960's was a time when model car building was a craze, a fad not unlike electronic, video and computer games today. In short, just about every red-blooded American boy, aged about 10-16 built (or at least tried to build!) model cars back then. And, that, my friend, says it all--perhaps several million kits a year from the likes of AMT Corporation, bought up and built (or at least cobbled together) by equally millions of baby-boom boys. End of story! Art

Took this pic of the Marmon Wasp on opening day of practice at Indy, May 2011, on the occasion of the huge Concours marking the Centennial of the "500". The car was in the Museum, along with a massive display of Indy 500 winning cars:

Not even close Cranky! The car you pictured here is the 1914 Delage Indy Winner driven by Frenchman Rene Thomas (pronounced "Toe-May") which car still exists, in the collection of the Indianapolis Motor Speedway Hall of Fame Museum. In 1974, the car was driven on the track in pre-race festivities, dunno who drove it, but in the riding mechanic's seat was none other than Rene Thomas himself! (I was there for the race, saw it happen). Art

Joe Henning wrote an article for Rod & Custom Models in 1964, entitled "Build a Paper Wasp". By that he meant building the Marmon Wasp using Strathmore Board (an artist's card-stock paper very common back then) in 1/25 scale. I knew Chris Etzel of Etsel's Speed Classics very well from his early childhood through the end of his aftermarket company, and he did have considerable connections at the Speedway Museum. However, the Marmon Wasp design, likenesses and such are registered trademarks of Indianapolis Motor Speedway Corp and the Hall of Fame Museum, and to my knowledge this car has been licensed just twice for miniature reproduction--first as one of the series of Jim Beam Bourbon Whiskey bottles, and second as a 1/43 scale casting by one of the "Mints", and nobody else. That said, This is a car whose bodywork was made entirely on rolling and bending brakes, basic sheet metal forming machinery, the hood and cowling being rolled into simple curves, the cockpit and tail cone having been formed on a bending brake (made the sheet metal look for all the world as if it had been "folded and creased into shape". Henning's model used the MPC 1927-28 Lincoln for the chassis (actually quite close in appearance), with wheels and tires from the SMP 1911 Chevrolet prototype promotional model done in 1961 for Chevy's 50th anniversary year. In any larger scale, the chassis would need to be scratchbuilt, as there are no model car kits with chassis even close in appearance. For the engine, that was a very basic inline 6 of the era, 3 two-cylinder T-head blocks on a common aluminum crankcase. Any literature on the Marmon Model 32 would show that engine, and for that matter, the chassis as well--the car is a stock-block engine, the chassis is that of a street Marmon, with simply the monoposto bodywork and steering setup, and of course, the racing bodywork. The wheells are the typical wood spoke artillery style wheels of the era, with demountable rims, but faired in with flat sheet metal discs on both sides, with notches cut into their circumference to clear the demountable rim lugs and brackets. Tires were then, as now, Firestones, a new set having been made and mounted by Coker Tire Company in 2010 (there is a video of Corky Coker, with the Wasp, at Coker Tire, explaining about the car itself and its significance, on Youtube. In any scale larger than 1/25, this is a model that would require total scratchbuilding, but what a great project it would be! Art

NO! The 1911 Marmon Wasp was NEVER painted "Orange", period! The confusion stems from a statement made by Ray Harroun in later years, about the car being "orange", but people his age, from that era, often called a darker yellow "orange", as in "orange-yellow". Further complicating the issue is the famous photo in black & white, showing a very dark car--but that was a characteristic of early B&W film. I have a color video (made from a color movie done by and for Firestone, of the 1946 Indianapolis 500 Mile Race. Ray Harroun is very prominently featured, sitting in the worn, but all original Marmon Wasp (with it's original paint, BTW) being interviewed, and in conversation with Wilbur Shaw (Indy winner 1937, 1939-40). The color of the Wasp? The same yellow it was restored with when that was done back in 1954. Time to let that "orange" canard be laid to rest--it ain't so! Art

The chemical in the particular PVC tires that is causing the styrene to melt will also do the same thing to almost every paint we modelers are likely to use (from sad personal experience!). Two things that do work however: A thin layer of epoxy will put a barrier between tire and rim, just mix and spread a very thin layer on the rim where the tire will contact it, let cure completely, mount the tire. A second method would be to use either Bare Metal Foil or Aluminum foil with a metal foil adhesive. That nasty plasticizer won't penetrate or harm even thin foil. Art

The side trim should also be an indicator that the movie car is an Impala--Biscuits had no side chrome trim whatsoever. Art

Paasche H-series airbrush "Material Control" units are clearly marked as to which one they are, with a thin machined "ring" on both parts: 1 ring #1, 3 rings #3, and 5 rings #5. I would not worry too much, just take the thing back, get them to dig out another one, exchange the extra #1 Material Control for a #5. (Now that I've said that, I have NEVER used a #5 in all my years of airbrushing with Paasche H's--I never felt the need for THAT much paint) Art

Actually, the few times I've wanted a grimy engine, I just use dirty thinner and brush it on. Art