SS vs Base Clear

JimKueneman

JimKueneman

Mopar Nut
So after cutting and buffing this SS Satellite I am starting to wonder what I should use for the A100 trucks... My opinion on base clear for pastel colors like the yellow and blue on the Valiant and Duster is that 4+4 coats of Universal Clear does not do much because the color is not that deep to start with.. SPI orange for the dark metallic turquoise on the Coronet and Dart it absolutely makes a difference. Since I am going to cut and buff it anyway since my "paint booth" is not dust (bug, dirt, wind, leaf) free I am thinking this light turquoise and white truck maybe I should do it SS... What are the major pluses and minuses for one or the other?

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My first thought is that with base-clear you can bury the color separation line with clear.
With SS it seems like there would be a hard line that you could feel.
 
I do all my painting out in the sun with a 100% air exchange natural draft paint booth also. Every time I pick up a paint gun to spray I know this is another chance for dirt and critters to attach themselves to my paint job. 3 or 4 coats of SS vs 3 or 4 coats of base plus 3 or ? more of clear. SS simply less chance to create more work.
 
Dean Jenkins said:
My first thought is that with base-clear you can bury the color separation line with clear.
With SS it seems like there would be a hard line that you could feel.
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You have a point but, if he's going to cut and buff, which I believe he said he was going to do, wouldn't that level out the different paint colors?
 
SS two tone would be a headache without molding,trim or something to help.
Even variations in coverage,millage difference, between the 2 are noticeable.
I personally wouldn't consider it but I'm wrong on a daily basis anyway.
You ever see any Enamel 2 tones back in the Day without some kind of trim,strip,etc?
 
MJM said:
Why would it not ?
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Non Pro disclaimer upfront :)

I cannot imagine trying to shoot one color to a masked line, then reverse the masking and make the second color line up perfectly.

So, the first color is shot, then the line is masked and the second color is shot on top of the first color. Now you have however many coats you shoot of mil build up creating a ridge. Buff that ridge to try and make it flat and you will burn through to the first color.

With base you will still have the ridge, but with 4-6 coats of clear over it you can buff that to a nearly imperceptible level.
 
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Take a test panel and pretend a two tone with UC for each color.
SEE how it turns out.
The thickness of the SS is the issue....
Why we bury graphics with multiple coats of clear.
Which could be done on SS but ,why?
 
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1A Rock said:
I do all my painting out in the sun with a 100% air exchange natural draft paint booth also. Every time I pick up a paint gun to spray I know this is another chance for dirt and critters to attach themselves to my paint job. 3 or 4 coats of SS vs 3 or 4 coats of base plus 3 or ? more of clear. SS simply less chance to create more work.
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Exactly my thoughts.
 
Dean Jenkins said:
Non Pro disclaimer upfront :)

I cannot imagine trying to shoot one color to a masked line, then reverse the masking and make the second color line up perfectly.

So, the first color is shot, then the line is masked and the second color is shot on top of the first color. Now you have however many coats you shoot of mil build up creating a ridge. Buff that ridge to try and make it flat and you will burn through to the first color.

With base you will still have the ridge, but with 4-6 coats of clear over it you can buff that to a nearly imperceptible level.
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Back in the day people would brag about inlayed graphics where they masked off for one color, shot, masked off for the other color and shot so it was flat. I could run some pinstriping between I guess.
 
If you use single stage for a two tone and plan to cut and buff you have to be very careful around the edge.

If you do it SS then pinstriping would be a good idea. Pinstriping has been used to cover flaws on edges for decades.

Never seen anyone shoot single stage multi colors and get is so it's flat. Impossible to do if you shoot one color mask then shoot the next, cause that area where it is masked for the 2nd color already has color on it and no way can you not leave an edge.

All that being said, having an edge isn't the end of the world and wouldn't stop me from doing a single stage two tone if that's what I wanted to do. On those A100's Jim that color scheme in SS would look very good.

If you taped/masked everything off leaving the actual edge line to tape last, then you could do your second color and right after spraying your last coat, pull the tape on the edge while it is still wet. Doing it that way lessens the edge alot and makes it much easier to get a nice sharp line versus waiting to pull when it's set up.

Still the biggest issue IMO is taking care not to damage that edge when cutting and buffing. If you do it SS then when cutting and buffing, run another tape line (fine line tape) over the edge. Pull it when you finish compounding. Then lightly compound over the edge with a foam pad. If you plan on a pinstripe then you don't have to be as careful.
 
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JimKueneman said:
If I double masked so the level of both was similar.
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IMO it would be worse doing it that way. Test it and see but by double masking I'm assuming you mean mask the body off right to the edge of your first color, then remask up to the edge of the already sprayed color? First doing it that way it's going to be very hard to follow the initial line you made with the second masking. And since you have a hard line there it makes it harder to run the 2nd taping up to that line. Much harder and you will still have a edge, and fuzziness there. Actually when I have tried that years ago it left a double line of sorts. Maybe you can do it successfully, I couldn't.
 
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