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AD Enviro 200 SK15 HBD was new to Compass Bus of Worthing in April 2015 and is seen here in the centre of Redhill on 19th February 2022 having arrived in the town on a Service 32 journey from Dorking and Reigate.
Photograph taken by John Robertson.
Which way is south? The side that still has the leaves. Only useful until all the leaves fall off. :-)
Canon 30D. Not as sharp as you would like. Pixelization in the sky.
There is a enthusiastic photographer in this photo, look carefully for him .
Sun shone late into the evening 16/5/17, many photographers had arrived and positioned themselves to get their shots of Edda Ferd arriving into Aberdeen Harbour, as we all waited this photographers enthusiasm drew my attention, climbing over the fence on to Abercrombie Jetty he prepared to take his shots, would love to see the shots he took , anyways thought this was worth posting as it reflects the enthusiasm we all have when these magnificent vessels are available for photographers .
Edda Ferd, PSV – Hybrid Platform Supply Vessel
The Edda Ferd is a platform supply vessel used to support oil rig operations in the North Sea.
A new build, the Østensjø Edda Ferd has been designed with a focus on quality, safety and efficiency. This is the first integration of a Corvus Energy ESS and Siemens’ BlueDrive PlusC propulsion system.
Name: Edda Ferd
Type: 92.6 m Platform Supply Vessel (PSV)
Duty: North Sea Offshore Drilling Platform Service & Support
Pack: 40 x 6.5kWh
Capacity: 260kWh
Bus Voltage : 888VDC
Partners: Østensjø Rederi, Siemens, Corvus Energy
Edda Ferd, PSV is based in Haugesund, Norway operating in the North Sea.
General
Operator:Østensjø Rederi AS
Built:2013
Builder:Astilleros Gondan. Spain
Yard no.:444
Call sign:LAZO7
Flag:NIS
Port of Registry:Haugesund
IMO no.:9625504
MMSI No.:259161000
Classification:DnV +1A1, SF, E0, OFFSHORE SERVICE VESSEL+, SUPPLY, DK(+), DYNPOS-AUTR, HL(2.8), LFL*, CLEAN DESIGN, NAUT-OSV(A), COMF-V3-C2, OIL REC, DEICE
Safety regulations:NMA, Trade Worldwide within GMDSS A3, Solas 1974/1978, International Convention on Load Lines, Pollution Prevention - MARPOL 1973/1978, INLS Certificate
Dimensions
Length o.a.:92,6 m
Length b.p.:82,2 m
Breadth mld.:20,6 m
Depth mld.:9,0 m
Draft max.:7,2 m
Air draft:32,46m
Tonnage - Deadweight
Deadweight:5122 t
Gross tonnage:4870 GT
Net tonnage:1462 NT
Deck loading capacities
Cargo deck:1038 m2
Deck equipment
Anchor chain:2 x 11 shacles.
Anchor Windlass / Mooring Winch:15,5 tons.
Mooring winch:Forward: 2 x 16 tons Aft: 2 x 10 tons
Deck cranes:Port: 1 x MacGregor SWL1,5 t@ 8m / Starboard: 1 x MacGregor SWL 3,0 t @ 10m
Tugger winches:2 x 15 tons.
Propulsion
General:Battery Hybrid Power Station and 2 x VSP each 2700 kW. 2 x AC asynchronous water-cooled motors each 2700 kW.
Main engines:2 x MAK 6M25C a` 2000kW - 2 x MAK 9M25C a`3000 kW
Fuel type:MDO /MGO
Auxiliaries / Electrical power
Generators:2 x Simens generator 2222 kW / 2 x Simens generator 3333 kW
Emergency generator:Caterpillar Emergency generator 158 kW
Speed / Consumption
Max speed / Consumption:abt. 16,0 knots
Main propellers
Maker:Voith Schneider propellers
Type:2 x 2700 KW
Thrusters
Bow thrusters:2 x 1400 kW FP , electric driven low noise tunnel thrusters. Plus 1 x 800 kW RIM tunnel thruster
Bridge / Manoeuvering
Bridge controls:5 control stands. (forward, 2 x aft, starboard, port)
Loading / Discharging:Simens IAS. Remote monitoring of all tanks including loading/discharging operations and start/stop of all pumps.
Dynamic positioning system
Type:Kongsberg K-Pos.
Approval / Class:DNV DYNPOS-AUTR. IMO Class 2
Reference systems:DPS 112, DPS 132, CyScan, Mini-Radascan
Sensors:3 x Gyro, 3 x Motion Reference Unit, 2 x Wind sensor
ERN number:99,99,99,99
Liquid tank capacities
Marine Gas Oil:1100 m3 included 2 chemical and 4 special prod. tanks connected to fuel system.
POT water:1000 m3
Drill Water/Ballast:2280 m3
Mud:Mud/Brine system 513 m3. Special product system 370 m3. Total 883 m3.
Brine:Brine/mud system 513 m3. Special product system 702 m3. Total 1215 m3
Base oil:Total 702 m3. When using combined tanks.
Methanol:Total 440 m3. When using combined tanks.
Special products LFL/LFL*:720 m3
Drill Cuttings:720 m3
Liquid discharge
Fuel Oil pumps:2 x 150 m3/h- 9 bar
Brine pumps:2 x 100 m3/h – 22.5 bar.
Liquid Mud pumps:2 x 100 m3/h – 24 bar.
Specal products pumps:2 x 100 m3/h – 9 bar.
Drill water pumps:1 x 250 m3/h – 9 bar.
Drill cutting pumps:4 x 40 m3/h – 9 bar.
Fresh water pumps:1 x 250 m3/h – 9 bar.
Methanol pumps:2 x 75 m3/h – 9 bar .
Slop system:1 x 20 m3/h
Tank washing system:1 x 30 m3/h
Discharge piping:5"
Bulk tank capasities
Bulk Cement Tanks:4 tanks. Total capacity: 260 m3
Bulk Discharge:2 x 100 t/hr
Navigation equipment
Radar:1 x Furuno FCR-2827 S /ARPA - 1 x Furuno FAR-2837 S / ARPA
Electronic Chart System:2 x TECDIS
Compass:3 x Simrad Gyro GC 80
Autopilot:Simrad AP-70
Echo Sounder:Furuno FE-700
Navtex:Furuno NX-700A
DGPS:Furuno GP-150
AIS:Furuno FA-150
Voyage data recorder:Furuno VR-3000
LRIT:Sailor 6130 LRIT
Log:Furuno DS-80
Communication equipment
General:GMDSS installation in accordance with IMO regulations for vessels operating within Sea Area A3
GMDSS Radio MF/HF Transceivers & DSC:1 x Furuno FS-1575
VHF:2 x GMDSS Furuno FM-8900 / 3 x GMDSS Jotron TR-20 portable / 3 x Sailor 6248
GMDSS EPIRB:1 x Jotron 40 S Mk2 - 1 x Jotron 45 S Mk2
GMDSS SART:2 x Kannad SARTII
UHF:6 x Motorola GM-360 - 6 x Motorola GP-340 ATEX
Sattelite system:1 x Inmarsat / 1 x Iridium
Accommodation
Total no. berths:38 x Beds
Total no. of cabins:27 x Cabins
Single cabins:16 x Single cabins
Double cabins:11 x Double cabins
Office:2 x Offices
Hospital:1 x Hospital
Ventilation/A-C for accommodation:High pressure single-pipe fully redundant ventilation system. Full heating/AC throughout the accommodation
Other:Messroom, Dayrooms, Conferenceroom, Gymnasium,Galley,Dry Provitions,Freezing room, Wardrobes.
Lifesaving / rescue
Approved lifesaving appliances for:40 persons
Liferafts:6 x 25 persons
Rescue/MOB boat:Alusafe 770 Mk2 - Twin installation.
Fire-fighting/foam:Water/Foam pump/ monitors covering cargo deck area
Mercedes Benz Vario Plaxton Beaver 2 V896 LOH is seen on the Brighton City College shuttle bus on 23rd September, 2010, during three years spent in the Compass Bus fleet. It had been new to Clarksons of South Elmsall.
Excerpt from the Origin of the Compass Rose by Bill Thoen
The compass rose has appeared on charts and maps since the 1300's when the portolan charts first made their appearance. The term "rose" comes from the figure's compass points resembling the petals of the well-known flower.
Originally, this device was used to indicate the directions of the winds (and it was then known as a wind rose), but the 32 points of the compass rose come from the directions of the eight major winds, the eight half-winds and the sixteen quarter-winds.
In the Middle Ages, the names of the winds were commonly known throughout the Mediterranean countries as tramontana (N), greco (NE), levante (E), siroco (SE), ostro (S), libeccio (SW), ponente (W) and maestro (NW). On portolan charts you can see the initials of these winds labeled around the edge as T, G, L, S, O, L, P, and M.
Compass Bus' Dennis Dart SLF 4/Alexander Enviro 200 GX62 CNN which carries the company's corporate livery, is pictured here on Old Steine, Brighton, whilst working service 47 to Brighton Station. 02/08/16
I found this compass bus at a pulse bus stop in Worthing on Thursday 19th 2019
(NO PLATE COULD BE SEEN)
PLEASE LEAVE A COMMENT and let me know what you think! This tattoo was designed and inked by Jonathan Kellogg of Crucial Tattoo in Salisbury MD.
Delta Connection Embraer ERJ-175LR N609CZ operated by Compass Airlines lands at Las Vegas McCarran International Airport with a flight from Los Angeles. I heard today that the airline is due to cease operations within the next two weeks due to the impact of the current Coronavius outbreak - the world felt a very different place when I took this shot less than two months ago...
compass rose, image found at wicked good art (site now defunct)
caveat on site-- most of them are copyright free there is no guarantee that they all are so they do not recommend using them for commercial purposes.
This is the oldest of a number of buses acquired by Compass Bus from Seaford and District earlier this year. Dennis Dart SLF Plaxton Pointer 2 SD05 SEA - originally KX05 KFE - works a service 7 from Worthing Pier on 8th October 2018. In this case, the lack of a destination display is not due to a malfunctioning camera but reflects the true turnout of the vehicle.
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint) and electronic drawing.
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[1] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
In addition to its more artistic forms, drawing is frequently used in commercial illustration, animation, architecture, engineering and technical drawing. A quick, freehand drawing, usually not intended as a finished work, is sometimes called a sketch. An artist who practices or works in technical drawing may be called a drafter, draftsman or a draughtsman.[2]
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper/other material, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Madame Palmyre with Her Dog, 1897. Henri de Toulouse-Lautrec
Galileo Galilei. Phases of the Moon. 1616.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling, free hand and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
History[edit]
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[20] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[21] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Technique[edit]
Raphael, study for what became the Alba Madonna, with other sketches
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[22]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[23] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[24]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[25]
Tone[edit]
Line drawing in sanguine by Leonardo da Vinci
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]
Pencil portrait by Ingres
Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive volumes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic volumes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive volumes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[26]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.
Two-point perspective drawing
When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[27] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
Artistry[edit]
Chiaroscuro study drawing by William-Adolphe Bouguereau
The composition of the image is an important element in producing an interesting work of artistic merit. The artist plans element placement in the art to communicate ideas and feelings with the viewer. The composition can determine the focus of the art, and result in a harmonious whole that is aesthetically appealing and stimulating.
The illumination of the subject is also a key element in creating an artistic piece, and the interplay of light and shadow is a valuable method in the artist's toolbox. The placement of the light sources can make a considerable difference in the type of message that is being presented. Multiple light sources can wash out any wrinkles in a person's face, for instance, and give a more youthful appearance. In contrast, a single light source, such as harsh daylight, can serve to highlight any texture or interesting features.
When drawing an object or figure, the skilled artist pays attention to both the area within the silhouette and what lies outside. The exterior is termed the negative space, and can be as important in the representation as the figure. Objects placed in the background of the figure should appear properly placed wherever they can be viewed.
Drawing process in the Academic Study of a Male Torso by Jean-Auguste-Dominique Ingres (1801, National Museum, Warsaw)
A study is a draft drawing that is made in preparation for a planned final image. Studies can be used to determine the appearances of specific parts of the completed image, or for experimenting with the best approach for accomplishing the end goal. However a well-crafted study can be a piece of art in its own right, and many hours of careful work can go into completing a study.
Process[edit]
Individuals display differences in their ability to produce visually accurate drawings.[28] A visually accurate drawing is described as being "recognized as a particular object at a particular time and in a particular space, rendered with little addition of visual detail that can not be seen in the object represented or with little deletion of visual detail”.[29]
Investigative studies have aimed to explain the reasons why some individuals draw better than others. One study posited four key abilities in the drawing process: perception of objects being drawn, ability to make good representational decisions, motor skills required for mark-making and the drawer's own perception of their drawing.[29] Following this hypothesis, several studies have sought to conclude which of these processes are most significant in affecting the accuracy of drawings.
Motor function Motor function is an important physical component in the 'Production Phase' of the drawing process.[30] It has been suggested that motor function plays a role in drawing ability, though its effects are not significant.[29]
Perception It has been suggested that an individual's ability to perceive an object they are drawing is the most important stage in the drawing process.[29] This suggestion is supported by the discovery of a robust relationship between perception and drawing ability.[31]
This evidence acted as the basis of Betty Edwards' how-to drawing book, Drawing on the Right Side of the Brain.[32] Edwards aimed to teach her readers how to draw, based on the development of the reader's perceptual abilities.
Furthermore, the influential artist and art critic John Ruskin emphasised the importance of perception in the drawing process in his book The Elements of Drawing.[33] He stated that "For I am nearly convinced, that once we see keenly enough, there is very little difficult in drawing what we see".
Visual memory has also been shown to influence one's ability to create visually accurate drawings. Short-term memory plays an important part in drawing as one’s gaze shifts between the object they are drawing and the drawing itself.[34]
Along with many operators across the country, Compass Royston, Stockton-on-Tees, has added a number of PSVAR compliant former National Express Caetano Levante bodied coaches to its fleet.
Volvo B9R FJ11 MLU, seen on a baths contract in Church Road, Stockton last Thursday, 05/03/20, was new to de Courcey, Coventry in June 2011 as fleet number MD10.
Compass Bus' Dennis Dart SLF 4/Alexander Enviro 200 YY15 NHL, which carries the company's corporate livery, is pictured here on Queens Road, Brighton, whilst working service 37 to Bristol Estate. 02/08/16
It is supposed to say "Go confidently in the direction of your dreams, live life as imagined."
Trouble is it doens't all fit in. Look at the gap in the top left. Any ideas? what can I do?
Blogged at thingshandmade.blogspot.com/
Recycled map pages, sterling silver, nylon coated steel cable, magnet.
Woven, riveted.
Making this piece was like solving a puzzle game where the words given to me were: movement, compass, circle and way.
Can you see how I connected the dots?
Barton Park, 5th Dec 2012, Noted in Hants & Dorset Trims workshop,due to return to Compass Bus on the 6th Dec 2012.
Brighton & Hove Mercedes Benz 811D Wadham Stringer 359 (G59 BEL) hung around on the South Coast for another year after disposal, briefly finding a home with Compass Travel. Here, we see it in Worthing on 29th November, 2000.