There was a blurb on Cyclart's web site about the headaches involved w/matching Gios Blue, but I'm not sure if it's still posted on their site. I seem to remember that Jim Cunningham related he sent the color out to a lab/chemist for analysis, or something to that effect. It seems that this blurb also mentions the inability to bring in the correct blue paint in from Europe. This could certainly be plausible, as I heard that up until 5-6 years ago, Sikkens paint couldn't be brought in the U.S. due to it's chemical content.
One other thing that might be tried is to purchase a small canister of "official" Gios Blue touch-up paint from Excel Sports in Boulder, as they are the current importer of Gios. This touch-up paint is perfect, as I used a small bit on my Gios Super Record. You could perhaps use this as a sample for your painter to match.
Dave Patrick Chelsea, Michigan
-----Original Message----- From: classicrendezvous-bounces@bikelist.org [mailto:classicrendezvous-bounces@bikelist.org]On Behalf Of Mara & Steven Maasland Sent: Thursday, May 29, 2003 10:20 AM Cc: classicrendezvous@bikelist.org Subject: Re: [CR]Gios Blue
Stephen opined:
> As I understand it the unique "Gios Blue" cannot be duplicated
> today due to
> some nasty chemicals that are no longer used or allowed in paint.
> Maybethey still allow it in Italy? I'm sure others have a better
> technicalexplanation.
It would seem to me that the environmental laws in the European Union are now stricter than those in the US, so since Gios is still painting their frames the same colour blue, I rather doubt that it has anything to do with chemicals. One of the painters on the list like Brian or Joe can probably chime in, but I think that it is simply a multiple step paint process that most painter's don't have the patience to replicate. Like the Bianchi celeste and Legnano chartreuse, I was always led to believe that you needed to first apply one colour, followed by another, something that requires too much time for most people today.
Personally, I doubt that there is any colour that cannot be replicated perfectly using today's paints.
Twenty years ago, when working for a company that made reflective safety equipment, I attempted to paint a frame using a then experimental black 3M paint developed for use on road signs. It was black with a metallic gold flake during the day and highly retro- reflective gold when lights shone on it at night. It didn't apply very well to the rounded surfaces of the frame (it was designed for flat signs remember), but I have always thought it would be an interesting finish.
Steven Maasland
Morrestown, NJ