In England in the late '50s and '60s pastel colors were very popular. I am refurbishing a '55 Hetchins which was pastel blue with off-white contrasts and red lug lining. Although this is not my 1st choice, I am maintaining the original color scheme. The only thing I pray for is that lilac does not come back!! I can tolerate pink or even salmon pink, but not lilac. One of our club hot-shots had a lilac Hetchins. Ugh!
Tony Taylor Manchester NH
________________________________ From: "FujiFish1@aol.com" <FujiFish1@aol.com> To: classicrendezvous@bikelist.org Cc: chasds@mindspring.com Sent: Sat, June 12, 2010 2:33:59 PM Subject: Re: [CR] paint colors for old frames (was re: Argos)
But what to do if authenticity means using a signature color like Bianchi celeste, or Torpado "true" celeste (as in "sky" blue)? There are many others that are lighter like this. But maybe you are referring to old English bikes only, and my experience is lacking there.
Ciao, Mark Agree Southfield, Michigan, USA ~ ~ ~
Date: Sat, 12 Jun 2010 08:11:34 -0700 From: "Charles Andrews" <chasds@mindspring.com> Subject: [CR] paint colors for old frames (was re: Argos) To: _classicrendezvous@bikelist.org_ (mailto:classicrendezvous@bikelist.org)
This thread about Argos, for some reason, reminded me of a conversation I had some years ago at a Cirque, with Alexander von Tutschek..it was quite enlightening. We were discussing issues with repainting frames, while on a ride, and Alexander opined as how in his experience, old frames look much better in dark colors when they're repainted. That the plausible authenticity of any repaint is enhanced somehow by using dark colors rather than lighter ones.
This would be especially true if, for instance, you were repainting a UK bike in that lovely soft black that you see on, say, the occasional Mercian or Bob Jackson. If this particular paint color/style is done right, it'd be genuinely difficult to tell if the finish was original or a repaint--although not impossible, of course.
The general idea is valid for most any style of frame, from any source.
I've since followed Alexander's advice on three or four frames, with excellent results. The frames give off a plausible authenticity that they probably would not if they were painted in a lighter color. Oddly, even when it's fairly obvious that the paint is new, the darker color, somehow, projects a more authentic look. I expect this is what Alexander was referring to. I think it's also the case that darker colors are less revealing of the differences between original paint and new paint...
At any rate, worth considering the next time you're repainting something, if authenticity is a criterion for satisfaction.
Charles Andrews
Los Angeles