Old crosses and mysterious standing stones are dotted around the North York Moors, often to be found beside ancient moorland tracks which criss-cross over the high, exposed ridges. This one indicates a track to Pickering and Malton. Underneath, a hand is inscribed pointing the way.

via Playground Markings UK bit.ly/1N4VxGY

Playground Surfacing daily is out! bit.ly/1iOvGWE #playflooring Stories via @apiplay @Rubber_Flooring @PlaygroundFloor

via Playground Markings UK bit.ly/1NpviFO

Playground Games in Buckinghamshire | Recreational Area Markings #Playground #Markings #Games #Buckinghamshire bit.ly/1PuFTnN

Survey marking

ESA astronaut Andreas Mogensen, Soyuz spacecraft commander Gennady Padalka and Kazakh cosmonaut Aidyn Aimbetov landed 12 September 2015 at 00:51 GMT (02:51 CEST) in the steppe of Kazakhstan, marking the end of their missions to the International Space Station.

 

Andreas became Denmark’s first astronaut when he left our planet on 2 September on his 10-day iriss mission. The trio undocked from the orbiting complex on 11 September at 21:29 GMT (23:29 CEST) in an older Soyuz spacecraft, leaving the new vessel they arrived in for the Station crew.

 

ESA used the mission to test new technologies and conduct a series of scientific experiments.

 

Credit: ESA–Stephane Corvaja, 2015

Copyright © 2018 Elizabeth Root Blackmer. All rights reserved.

Marking the basket !

Markings of natural history #1

 

Some of you might know of my small obsession with dragonflies... this is the first in a series of tattoos and images that I've been planning for quite a while.

  

Skin by Tres Blah

Hair by Skinthesis

Texture by Playingwithbrushes

 

Nene Park

 

This is how REAL MEN stake their claim on land!!

Marking the wrap up London campaign where people can donate their unwanted coats to the homeless

XX285(CK) Hawk T1A 100SQ 100 Years Markings

Mandy was rubbing her face on the dining room chair--marking it as her own or maybe just scratching her face....but she looked adorable as always. Hope you have a wonderful Monday!

Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).

 

Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions

 

"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".

 

The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.

 

The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.

 

Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.

 

Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:

 

Wet with cool dew drops

fragrant with perfume from the flowers

came the gentle breeze

jasmine and water lily

dance in the spring sunshine

side-long glances

of the golden-hued ladies

stab into my thoughts

heaven itself cannot take my mind

as it has been captivated by one lass

among the five hundred I have seen here.

 

Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.

 

Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.

 

There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.

 

Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.

 

The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.

 

In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:

 

During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".

 

Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.

 

While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’

 

Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.

 

An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.

 

Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983

 

Commercialization and entrance into mainstream pop culture

Main article: Commercial graffiti

With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.

 

In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".

 

Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.

 

Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.

 

Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.

 

Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.

 

There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.

 

The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.

 

Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.

 

Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis

 

Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.

 

Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.

 

Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"

 

Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal

 

In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.

 

Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.

 

Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.

 

Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.

 

With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.

 

Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.

 

Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.

 

Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.

 

Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.

 

Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.

 

Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.

 

Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.

 

The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.

 

I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.

 

The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.

 

Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.

 

Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.

 

In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".

 

There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.

 

Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.

 

A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.

By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.

 

Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.

 

In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.

 

A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.

 

From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.

 

In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.

 

Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.

 

Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.

 

Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.

  

In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.

 

Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.

 

In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.

 

In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."

 

In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.

 

In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.

 

In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.

 

In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.

 

In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.

 

The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.

 

To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."

 

In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.

 

In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.

 

Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".

 

Graffiti Tunnel, University of Sydney at Camperdown (2009)

In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.

 

Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.

 

Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.

 

In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.

 

Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.

 

Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.

 

To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.

 

When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.

The news was that Jools' cough was little better. She got a mail back from the surgery on Friday saying her (non-urgent) appointment with the doctor was on December 14th. But as we were going to Tesco, she would have a chat with the pharmasist and see about some of the behind the counter stuff.

 

Winter has arrived, though no snow as yet, but the wind is set in the east, its cloudy and feels raw outside.

 

I would spend part of the day churchcrawling.

 

After shopping.

 

We go to Tesco, Jools really only coming so she could get something for her cough.

 

With a few bottles of tripel and cider we managed to spend £140. A bag of rice, not white easy cook rice I'll admit, but that's £4.50 now.

 

Wow.

 

Back home with the shopping and a bottle of serious cough syrup, we put the shopping away and have breakfast.

 

No surprise then that Jools wasn't coming out with me, she wanted to get the cough under control, would only take the new syrup when needed as it can make you drowsy.

 

I had a list of churches, and first up was our local one, St Margaret.

 

They were having a craft day. I thought it might be a fayre, but was a kid's craft day. Anyway, the church would be open and I could take shots of the memorials and windows.

 

There were pagan heads at the top of each column, and as corbel stones. The more I looked, the more pagan heads, even at the top of two of the columns, but not all.

 

No real ancient glass, but good quality Victorian.

 

The church itself is the triumph, being an early Norman and well preserved.

 

Although, sadly, the tower is in poor repair and needs reroofing, which is why it is currently encased in scaffolding.

 

I am sure when we called in at Barham last week, a sign said there was a craft fayre on, so would be open. I would go back, and get some shots, I thought.

 

Its a half hour drive, if that out of Dover down the A2 and off at the Wingham turning, down the valley and parking outside the church, its spire pointing to heaven.

 

Inside the church there was no fayre again, just a warden showing a lady round. We all said "hello", and I went about getting shots.

 

I have been here at least three times, but now take the big lens to get details of the windows and memorials high up, so there are always new details to reveal.

 

Star item is the window of St George and the dragon, though is hidden in the north-west corner, and best viewed from the stairs to the belltower.

 

After 20 minutes, the visitor left and the warden turned off the lights, forgetting I was there, but I had my shots.

 

From Barham its a short drive to Bridge, then along the Nailbourne to Patrixbourne, where I see the door was open, but I had another target: Bekesbourne, the next village along, crossing the dry bed of the bourne, stopping on the lane outside the church. I look left to the Old Palace, but there were no cars parked there, so no point of even knocking, I drove on.

 

Instead of turning left back to Bridge, I turn right towards Littlebourne, no real idea where I was going.

 

Littlebourne could wait for another time, I only went back there in 2020, I went to Wingham, driving on towards Sandwich.

 

I thought, it's a long time since I was at Woodnesborough, I could cut through Ash and go there.

 

Which is what I did.

 

I could have stopped at Ash too, that's usually open, but there'll be other times. I have been there twice and got good shots last time for sure.

 

From Ash, the road climbs, leading to Woodnesborough, Woden's Hill, where there was a hill fort in antiquity. The church is on the highest point, overlooking the marshes of the old Wantsum Channel, and on to Sandwich which when the Channel was still flooded, was on a spit of land.

 

The church is a marker for miles around due to its cupola, something is shares with Ringwould near to home.

 

Inside it was so dark, I thought I would need to find the lights, but I could not find them. So, I hoped the camera would cope without.

 

It did.

 

But again, I was here really to record the windows, which were rich in detail. I took 215 shots here, 560 in a morning at three churches.

 

Not bad.

 

But I was done, what light there was, was fading, even though it was only just after one. I would go home.

 

Once home I got busy.

 

I have a taste for beans. Not baked beans, but Boston Beans. I had a recipe, and we got the ingredients that morning, so went about making a huge panful. Three tins of haricot beans, tomatoes, stock, spices, bacon, pork belly, mustard, and black treacle.

 

Cooked on the hob for an hour, then cooked long and low in the oven for four hours.

 

What came out looked and tasted like fine Boston Beans. We will be eating these for weeks.

 

At the same time I make fritters.

 

The plan was to be all cooked and eaten before the football began at three.

 

I did it with half an hour to spare, the leftover wine drunk too, meaning I would struggle to stay awake for Holland v USA game. Netherlands win pretty comfortably.

 

And in the evening, with a soundtrack of funk and soul thanks to Craig, I watch Argentine v Australia, which was a stunning game.

 

Even better, I sat on the sofa to watch, Cleo eyed me as if to say how dare you take my chosen sleeping place. But she came over, paced around, then lay between the arm of the sofa and my leg. Scully lay on the other side. I had 50% of the household cats.

 

Happier than I have been for ages.

 

Best of all was that the syrup worked, stopped the coughing, and Jools fell asleep right off.

 

------------------------------------------------

 

A morning out, revisiting some familiar fairly local churches.

 

Final visit was to Woodnesborough, aka Woden's Hill, near to Sandwich.

 

It was open, but no light switch that could be found meant that the church was dark, but the camera coped well.

 

Woodnesborough sits on the highest point near to the coast, its cupola marking the spot, and visible for miles in all directions.

 

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The tower makes this church one of the easiest in Kent to identify. It is capped by a little cupola and wooden balustrade of eighteenth-century date that replaced a medieval spire. During the Middle Ages the church was owned by Leeds Priory which invested heavily in the structure, and was no doubt responsible for the excellent sedilia built in about 1350. The canopy is supported by a quadripartite vault in turn supported by angry little heads. Above the sedilia is the cut-off end of a prickett beam. The east window, of Decorated style stonework, has a thirteenth-century hangover in the form of a shafted rere-arch. There are two excellent modern stained glass windows designed by F.W Cole, which show the Creation (1980) and St Francis (1992). The good altar rails are of Queen Anne's reign, as are the splendid Royal Arms.

 

www.kentchurches.info/church.asp?p=Woodnesborough

 

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WOODNESBOROUGH,

¶OR Winsborough, as it is usually called, lies the next parish northward from Eastry, being written in the survey of Domesday, Wanesberge. It took its name according to Verstegan, from the Saxon idol Woden, (and it is spelt by some Wodensborough) whose place of worship was in it; however that may be, the termination of the word berge, or borough, shews it to be of high antiquity.

 

art of this parish, over which the manor of Boxley claims, is within the jurisdiction of the justices of the town and port of Sandwich, and liberty of the cinque ports; and the residue is in the hundred of Eastry, and jurisdiction of the county of Kent.

 

There are three boroughs in this parish, viz. Cold Friday, Hamwold, and Marshborough; the borsholders of which are chosen at the petty sessions of the justices, acting at Wingham, for the east division of the lath of St. Augustine.

 

THIS PARISH is large, being two miles and an half one way, and upwards of a mile and an half the other. The church stands nearly in the centre of it, on high ground. At a small distance from the church is Woodnesborough hill, both of which are sea marks. This hill is a very high mount, seemingly thrown up by art, and consisting of a sandy earth, it has been thought by some to have been the place on which the idol Woden from whom this place is supposed to have taken its name) was worshipped in the time of the Saxons; by others to be the burial place of Vortimer, the Saxon king, who died in 457, whilst others suppose this mount was raised over those who fell in the battle fought between Ceoldred, king of Mercia, and Ina, king of the West Saxons, in the year 715, at Woodnesbeorb, according to the Saxon chronicle, which name Dr. Plot supposes to be Woodnesborough. Vortimer, as our historians tell us, at his death, desired to be buried near the place where the Saxons used to land, being persuaded that his bones would deter them from any attempt in future. Though authors differ much on the place of his burial, yet this mount at Woodnesborough is as probable, or more so, perhaps, than any other, for it was near to, and was cast up so high as to be plainly seen from the Portus Rutupinus, which at that time was the general landing place of the Saxon fleets. Some years ago there were found upon the top of it sundry sepulchral remains, viz. a glass vessel (engraved by the Rev. Mr. Douglas, in his Nænia;) a fibula, (engraved by Mr. Eoys, in his collections for Sandwich;) the head of a spear, and some fragments of Roman vessels. Much of the earth of sand has been lately removed round the sides of it, but nothing further has been found.

 

At a small distance northward from hence, at the bottom of a short steep hill, lies the village called Woodnesborough-street, and sometimes Cold Fridaystreet, containing thirty four houses. The vicaragehouse is situated in the middle of it, being a new handsome building; almost contiguous to it is a handsome sashed house, belonging to the Jull family, now made use of as a poor-house; through this street the road leads to Sandwich. West ward of the street stands the parsonage-house, late the seat of Oliver Stephens, esq. deceased, and now of his window, as will be further noticed hereafter. Besides the manors and estates in this parish, particularly described, in the western parts of it there are several hamlets, as Somerfield, Barnsole, Coombe, with New-street, Great and Little Flemings, Ringlemere, and the farm of Christians Court.

 

In the north east part of the parish, the road from Eastry, by the parsonage of Woodnesborough northwestward, divides; one road, which in antient deeds is called Lovekys-street, going towards Ash-street; the other through the hamlet of Marshborough, formerly called Marshborough, alias Stipins, to Each End and Sandwich, the two windmills close to the entrance of which are with in the bounds of this parish. Each, Upper Each, called antiently Upriche, and Each End, antiently called Netheriche, were both formerly accounted manors, and are mentioned as such in the marriage settlement of Henry Whyte, esq. in the beginning of queen Elizabeth's reign. After the Whytes, these manors passed in like manner as Grove, in this parish, to the James's. Upper Each, or Upriche, has for many years belonged to the family of Abbot, of Ramsgate, and is now the property of John Abbot, esq. of Canterbury. Each End, or Netheriche, belongs, one moiety to the heirs or devisees of the late earl of Strafford, and the other moiety to John Matson, esq. of Sandwich.

 

¶It cannot but occur to the reader how much this parish abounds with Saxon names, besides the name of Wodens borough, the street of Cold Friday, mentioned before, is certainly derived from the Saxon words, Cola, and Friga, which latter was the name of a goddess, worshipped by the Saxons, and her day Frige-deag, from whence our day of Friday is derived; other places in this parish, mentioned before likewise, claim, surely, their original from the same language.

 

This parish contains about 3000 acres, the whole rents of it being about 3373l. yearly value. It is very bare of coppice wood; the Old Wood, so called, in Ringleton, being the only one in it. The soil of this parish is very rich and fertile, equal to those the most so in this neighbourhood, particularly as to the plantations of hops, which have much increased within these few years past. The middle of the parish is high ground, and is in general a flat open country of arable common fields. West and south-westward the lands are more inclosed with hedges. North and north-westward of the parsonage, towards Sandwich, they are low and wet, consisting of a large level of marsh land, the nearness of which makes the other parts of this parish rather unhealthy, which is not otherwise very pleasant in any part of it. There was a fair held here yearly, on Holy Thursday, but it has been for some time disused.

 

In Ringleton field, in this parish, there was found about the year 1514, a fine gold coin, weighing about twelve shillings, with a loop of the same metal to hang it by; on one side was the figure of a young man in armour, a helmet on his head, and a spear over his right shoulder; on the reverse, the figure of Victory, with a sword in her hand, the point downwards.

 

The church, which is dedicated to St. Mary, consists of a nave, and two isles, having a square tower steeple at the west end, with a modern wooden turret and vane at the top of it, in which are five bells, made in 1676. It had a high spire on the tower, which was taken down some years ago. At the east end of the chancel is a marble tablet for John Cason, esq. of this place, justice of the peace, obt. 1718; John Cason, esq. his son, obt. 1755; arms,Argent, a chevron, sable, between three wolves heads, erased, gules, on an escutcheon of pretence, sable, a chevron, between three fleurs de lis, of the field; another for Thomas Blechenden, of the antient family of that name, of Aldington, in Kent, obt. 1661; arms, Azure, a fess nebulee, argent, between three lions heads erased, or, attired, gules, impalingBoys. On the south side, an antient altar monument with gothic pillars and arches, having had shields and arms, now obliterated. Against the wall, under the canopy, two brass plates, which have been removed to this place, from two grave-stones in the chancel; the first for Sir John Parcar, late vicar of this church, who died the v.day of May, a°o dni m° v° xiij° on the second are Latin verses to the memory of Nichs Spencer, esq. obt. 1593. In the middle of the chancel, a gravestone for William Docksey, esq. of Snellston, in Derbyshire, a justice of the peace, obt. 1760; Sarah his wife, youngest daughter of John Cason, esq. obt. 1774; arms,Or, a lion rampant, azure, surmounted of a bend, argent. On a gravestone on the north side of the chancel, on a brass plate, On a chevron, three quatersoils, between three annulets, quartering other coats, now obliterated, for Master Myghell Heyre, sumtyme vicar of this churche, who dyed the xxii day of July, m° v° xxviii. In the north isle are several memorials for the family of Gillow, arms, A lion rampant, in chief, three fleurs de lis. At the entrance into the chancel, on a grave-stone, on a brass plate, John Hill, gent. of the parish of Nassall, in Staffordshire, obt. 1605. A mural monument for William Gibbs, of this parish, obt. 1777; arms,Argent, three battle axes, in fess, sable. In the church-yard are altar tombs to the memory of the Julls, and for Sladden; one for John Verall, gent. sometime mayor of Sandwich, obt. 1610; and another for John Benchkin, of Pouton, obt. 1639.

 

There were formerly painted in the windows of this church,Or, a chief indented, azure, for John de Sandwich. Several coats of arms, among which were those of Valence and St. Leger,Argent, three leaves in sinster bend, their points downward, proper.— On a canton, azure, three crescents, or, for Grove.— Argent, three escallops in chief, or, in base a crescent, gules, for Helpestone, usually called Hilpurton, bailiff of Sandwich, in 1299. A shield, being Helpeston's badge, another On a fess engrailed, three cinquefoils, between three garbs, for John Hill, of Nasall, in Staffordshire, who lies buried in this church. —A fess engrailed, three lions rampant, in chief, on the fess, a crescent for difference, for Spencer, customer, of Sandwich. — Quarterly, four coats; first, On a chevron, three quaterfoils; second, Per pale, ermine and argent; third, A cross, between four pomegranates, slipped; sourth,Three bars, wavy, for Michael Heyre, vicar here in 1520.

 

The church of Woodnesborough was given, in the reign of king Henry I. by a religious woman, one Ascelina de Wodensberg, to the priory of Ledes, soon after the foundation of it; to which deed was witness Robert de Crevequer, founder of the priory, Elias his son, and others; which gift was confirmed by the said Robert, who by his charter, released to the priory all his right and title to it. It was likewise confirmed by archbishop Theobald, and several of his successors, and by king Henry III. by his charter of inspeximus in his 41st year.

 

Archbishop William Corboil, who came to the see of Canterbury, three years after the foundation of Ledes priory, at the instance and petition of Ascelina above mentioned, who resigned this church into his hands for this purpose, appropriated it to the prior and convent, for the finding of necessary cloaths, for the canons there; and a vicarage was accordingly endowed in it.

 

There was a controversy between the prior and convent, and Adam, vicar of this church, in 1627, anno 14 Henry II. concerning the great tithes arising from the crofts and curtilages within this parish, which was referred to the prior of Rochester, who was the pope's delegate for this purpose, who determined that the prior and convent of Ledes, as rectors of this church, should receive, without any exception, all the great tithes of wheat, barley, oats, beans, peas, and of every fort of corn arising, or to arise from all lands, crofts, curtilages, or other places whatever, situated within the bounds, of this parish; and that the prior and convent should yearly pay to the said vicar, and his successors, half a seam of barley, and half a seam of beans, at the nativity of our Lord. (fn. 10)

 

¶After which, this parsonage appropriate,(which appears to have been esteemed as a manor) together with the advowson of the vicarage, remained with the prior and convent of Ledes, till its dissolution in the 31st year of king Henry VIII. when it was, with all its lands and possessions, surrendered into the king's hands, who by his dotation charter, in his 33d year, settled both parsonage and advowson on his new-founded dean and chapter of Rochester, with whom they remain at this time. On the dissolution of deans and chapters, after the death of king Charles I. this parsonage was surveyed in 1649, when is appeared that the manor or parsonage of Woodnesborough, with the scite thereof, and all manner of tithes belonging to it, with a garden and orchard of one acre, was valued all together at 300l. that the lessee was to repair the premises, and the chancel of the church; that the vicarage was worth fifty pounds per annum. The then incumbent was under sequestration, and there was none to serve the cure; and that the church was then quite ruinated, and in great decay. (fn. 11)

 

www.british-history.ac.uk/survey-kent/vol10/pp121-144

  

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A long and light church, best viewed from the south. Like nearby Ickham it is cruciform in plan, with a west rather than central, tower. Sometimes this is the result of a later tower being added, but here it is an early feature indeed, at least the same age (if not earlier) than the body of the church. Lord Kitchener lived in the parish, so his name appears on the War Memorial. At the west end of the south aisle, tucked out of the way, is the memorial to Sir Basil Dixwell (d 1750). There are two twentieth century windows by Martin Travers. The 1925 east window shows Our Lady and Child beneath the typical Travers Baroque Canopy. Under the tower, affixed to the wall, are some Flemish tiles, purchased under the will of John Digge who died in 1375. His memorial brass survives in the Vestry.

 

www.kentchurches.info/church.asp?p=Barham

 

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Many churches in Kent are well known for their yew trees but St. John the Baptist at Barham is noteworthy for its magnificent beech trees.

 

The Church guide suggests that there has been a Church here since the 9th Century but the present structure was probably started in the 12th Century although Syms, in his book about Kent Country Churches, states that there is a hint of possible Norman construction at the base of the present tower. The bulk of the Church covers the Early English, Decorated and Perpendicular periods of building. Many of the huge roof beams, ties and posts are original 14th Century as are the three arches leading into the aisle..

 

In the Northwest corner is a small 13th Century window containing modern glass depicting St. George slaying the dragon and dedicated to the 23rd Signal Company. The Church also contains a White Ensign which was presented to it by Viscount Broome, a local resident. The Ensign was from 'H.M.S. Raglan' which was also commanded by Viscount Broome. The ship was sunk in January, 1918 by the German light cruiser 'Breslau'.

 

The walls contain various mural tablets. Hanging high on the west wall is a helmet said to have belonged to Sir Basil Dixwell of Broome Park. The helmet probably never saw action but was carried at his funeral.

 

The floor in the north transept is uneven because some years ago three brasses were found there. According to popular medieval custom engraved metal cut-outs were sunk into indented stone slabs and secured with rivets and pitch. In order to save them from further damage the brasses were lifted and placed on the walls. The oldest dates from about 1370 is of a civilian but very mutilated. The other two are in good condition and dated about 1460. One is of a woman wearing the dress of a widow which was similar to a nun. The other is of a bare headed man in plate armour. These are believed to be of John Digges and his wife Joan.

 

At the west end of the church is a list of Rectors and Priests-in-Charge - the first being Otho Caputh in 1280. Notice should be made of Richard Hooker (1594), the author of the Laws of Ecclesiastical Polity. The tiles incorporated into the wall were originally in place in the Chancel about 1375. They were left by John Digges whose Will instructed that he was to be buried in the Chancel and "my executors are to buy Flanders tiles to pave the said Chancel".

 

The 14th century font is large enough to submerse a baby - as would have been the custom of the time. The bowl is octagonal representing the first day of the new week, the day of Christ's resurrection. The cover is Jacobean.

 

The Millennium Window in the South Transept was designed and constructed by Alexandra Le Rossignol and was dedicated in July 2001. The cost of the project (approximately £6,500) was raised locally with the first donation being made by the then Archbishop of Canterbury, Dr George Carey.

 

The porch contains two wooden plaques listing the names of men from the village who were killed in the Great Wars - among them being Field Marshall Lord Kitchener of Broome Park.

 

www.barham-kent.org.uk/landmark_church.htm

 

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ANTIENTLY written Bereham, lies the next parish eastward. There are five boroughs in it, viz. of Buxton, Outelmeston, Derrington, Breach, and Shelving. The manor of Bishopsborne claims over almost the whole of this parish, at the court of which the four latter borsholders are chosen, and the manors of Reculver and Adisham over a small part of it.

 

BARHAM is situated at the confines of that beautiful country heretofore described, the same Nailbourne valley running through it, near which, in like manner the land is very fertile, but all the rest of it is a chalky barren soil. On the rise of the hill northward from it, is the village called Barham-street, with the church, and just beyond the summit of it, on the further side Barham court, having its front towards the downs, over part of which this parish extends, and gives name to them. At the foot of the same hill, further eastward, is the mansion of Brome, with its adjoining plantatious, a conspicuous object from the downs, to which by inclosing a part of them, the grounds extend as far as the Dover road, close to Denne-hill, and a costly entrance has been erected into them there. By the corner of Brome house the road leads to the left through Denton-street, close up to which this parish extends, towards Folkestone; and to the right, towards Eleham and Hythe. One this road, within the bounds of this parish, in a chalky and stony country, of poor barren land, there is a large waste of pasture, called Breach down, on which there are a number of tumuli, or barrows. By the road side there have been found several skeletons, one of which had round its neck a string of beads, of various forms and sizes, from a pidgeon's egg to a pea, and by it a sword, dagger, and spear; the others lay in good order, without any particular thing to distinguish them. (fn. 1)

 

In the Nailbourne valley, near the stream, are the two hamlets of Derrington and South Barham; from thence the hills, on the opposite side of it to those already mentioned, rise southward pretty high, the tops of them being covered with woods, one of them being that large one called Covert wood, a manor belonging to the archbishop, and partly in this parish, being the beginning of a poor hilly country, covered with stones, and enveloped with frequent woods.

 

BARHAM, which, as appears by the survey of Domesday, formerly lay in a hundred of its own name, was given anno 809, by the estimation of seven ploughlands, by Cenulph, king of Kent, to archbishop Wlfred, free from all secular demands, except the trinoda necessitas, but this was for the use of his church; for the archbishop, anno 824, gave the monks lands in Egelhorne and Langeduna, in exchange for it. After which it came into the possession of archbishop Stigand, but, as appears by Domesday, not in right of his archbishopric, at the taking of which survey, it was become part of the possessions of Odo, bishop of Baieux, under the title of whose lands it is thus entered in it:

 

In Berham hundred, Fulbert holds of the bishop Berham. It was taxed at six sulings. The arable land is thirty two carucates. In demesne there are three carucates, and fifty two villeins, with twenty cottagers having eighteen carucates. There is a church, and one mill of twenty shillings and four pence. There are twentlyfive fisheries of thirty-five shillings all four pence. Of average, that is service, sixty shilling. Of herbage twenty six shillings, and twenty acres of meadow Of pannage sufficient for one hundred and fifty hogs. Of this manor the bishop gave one berewic to Herbert, the son of Ivo, which is called Hugham, and there be has one carucate in demesne, and twelve villeins, with nine carucates, and twenty acres of meadow. Of the same manor the bisoop gave to Osberne Paisforere one suling and two mills of fifty sbillings, and there is in demesne one carucate, and four villeins with one carucate. The whole of Barbam, in the time of king Edward the Confessor, was worth forty pounds, when be received it the like, and yet it yielded to him one hundred pounds, now Berhem of itself is worth forty pounds, and Hucham ten pounds, and this which Osberne bas six pounds, and the land of one Ralph, a knight, is worth forty shillings. This manor Stigand, the archbishop held, but it was not of the archbishopric, but was of the demesne ferm of king Edward.

 

On the bishop's disgrace four years afterwards, and his estates being confiscated to the crown, the seignory of this parish most probably returned to the see of Canterbury, with which it has ever since continued. The estate mentioned above in Domesday to have been held of the bishop by Fulbert, comprehended, in all likelihood, the several manors and other estates in this parish, now held of the manor of Bishopsborne, one of these was THE MANOR AND SEAT OF BARHAM-COURT, situated near the church, which probably was originally the court-lodge of the manor of Barham in very early times, before it became united to that of Bishopsborne, and in king Henry II.'s time was held of the archbishop by knight's service, by Sir Randal Fitzurse, who was one of the four knights belonging to the king's houshould, who murdered archbishop Becket anno 1170; after perpetrating which, Sir Randal fled into Ireland, and changed his name to Mac-Mahon, and one of his relations took possession of this estate, and assumed the name of Berham from it; and accordingly, his descendant Warin de Berham is recorded in the return made by the sheriff anno 12 and 13 king John, among others of the archbishop's tenants by knight's service, as holding lands in Berham of him, in whose posterity it continued till Thomas Barham, esq. in the very beginning of king James I.'s reign, alienated it to the Rev. Charles Fotherbye, dean of Canterbury, who died possessed of it in 1619. He was eldest son of Martin Fotherby, of Great Grimsby, in Lincolnshire, and eldest brother of Martin Fotherby, bishop of Salisbury. He had a grant of arms, Gules, a cross of lozenges flory, or, assigned to him and Martin his brother, by Camden, clarencieux, in 1605. (fn. 2) His only surviving son Sir John Fotherbye, of Barham-court, died in 1666, and was buried in that cathedral with his father. At length his grandson Charles, who died in 1720, leaving two daughters his coheirs; Mary, the eldest, inherited this manor by her father's will, and afterwards married Henry Mompesson, esq. of Wiltshire, (fn. 3) who resided at Barhamcourt, and died in 1732, s. p. and she again carried this manor in marriage to Sir Edward Dering, bart. of Surrenden, whose second wife she was. (fn. 4) He lest her surviving, and three children by her, Charles Dering, who married Elizabeth, daughter of Sir Thomas Farnaby, bart. since deceased, by whom he has an only surviving daughter, married to George Dering, esq. of Rolling, the youngest son of the late Sir Edw. Dering, bart. and her first cousin; Mary married Sir Robert Hilyard, bart. and Thomas Dering, esq. of London. Lady Dering died in 1775, and was succeeded by her eldest son Charles Dering, esq. afterwards of Barhamcourt, the present owner of it. It is at present occupied by Gen. Sir Charles Grey, bart. K. B. commanderin chief of the southern district of this kingdom.

 

THE MANORS OF BROME and OUTELMESTONE, alias DIGGS COURT, are situated in this parish; the latter in the valley, at the western boundary of it, was the first residence in this county of the eminent family of Digg, or, as they were asterwards called, Diggs, whence it gained its name of Diggs-court. John, son of Roger de Mildenhall, otherwise called Digg, the first-mentioned in the pedigrees of this family, lived in king Henry III.'s reign, at which time he, or one of this family of the same name, was possessed of the aldermanry of Newingate, in Canterbury, as part of their inheritance. His descendants continued to reside at Diggs-court, and bore for their arms, Gules, on a cross argent, five eagles with two heads displayed, sable, One of whom, James Diggs, of Diggs-court, died in 1535. At his death he gave the manor and seat of Outelmeston, alias Diggs-court, to his eldest son (by his first wife) John, and the manor of Brome to his youngest son, (by his second wife) Leonard, whose descendants were of Chilham castle. (fn. 5) John Diggs, esq. was of Diggs-court, whose descendant Thomas Posthumus Diggs, esq. about the middle of queen Elizabeth's reign, alienated this manor, with Diggs-place, to Capt. Halsey, of London, and he sold it to Sir Tho. Somes, alderman of London, who again parted with it to Sir B. Dixwell, bart. and he passed it away to Sir Thomas Williams, bart. whose heir Sir John Williams, bart. conveyed it, about the year 1706, to Daniel and Nathaniel Matson, and on the death of the former, the latter became wholly possessed of it, and his descendant Henry Matson, about the year 1730, gave it by will to the trustees for the repair of Dover harbour, in whom it continues at this time vested for that purpose.

 

BUT THE MANOR OF BROME, which came to Leonard Diggs, esq. by his father's will as above-mentioned, was sold by him to Basil Dixwell, esq. second son of Cha. Dixwell, esq. of Coton, in Warwickshire, then of Tevlingham, in Folkestone, who having built a handsome mansion for his residence on this manor, removed to it in 1622. In the second year of king Charles I. he served the office of sheriff with much honour and hospitality; after which he was knighted, and cveated a baronet. He died unmarried in 1641, having devised this manor and seat, with the rest of his estates, to his nephew Mark Dixwell, son of his elder brother William, of Coton above-mentioned, who afterwards resided at Brome, whose son Basil Dixwell, esq. of Brome, was anno 12 Charles II. created a baronet. He bore for his arms, Argent, a chevron, gules, between three sleurs de lis, sable. His only son Sir Basil Dixwell, bart. of Brome, died at Brome,s. p. in 1750, and devised this, among the rest of his estates, to his kinsman George Oxenden, esq. second son of Sir Geo. Oxenden, bart. of Dean, in Wingham, with an injunction for him to take the name and arms of Dixwell, for which an act passed anno 25 George II. but he died soon afterwards, unmarried, having devised this manor and seat to his father Sir George Oxenden, who settled it on his eldest and only surviving son, now Sir Henry Oxenden, bart. who is the present owner of it. He resides at Brome, which he has, as well as the grounds about it, much altered and improved for these many years successively.

 

SHELVING is a manor, situated in the borough of its own name, at the eastern boundary of this parish, which was so called from a family who were in antient times the possessors of it. John de Shelving resided here in king Edward I.'s reign, and married Helen, daughter and heir of John de Bourne, by whom he had Waretius de Shelving, whose son, J. de Shelving, of Shelvingborne, married Benedicta de Hougham, and died possessed of this manor anno 4 Edward III. After which it descended to their daughter Benedicta, who carried it in marriage to Sir Edmund de Haut, of Petham, in whose descendants, in like manner as Shelvington, alias Hautsborne, above-described, it continued down to Sir William Haut, of Hautsborne, in king Henry VIII's reign, whose eldest daughter and coheir Elizabeth carried it in marriage to Tho. Colepeper, esq. of Bedgbury, who in the beginning of king Edward VI.'s reign passed it away to Walter Mantle, whose window carried it by a second marriage to Christopher Carlell, gent. who bore for his arms, Or, a cross flory, gules; one of whose descendants sold it to Stephen Hobday, in whose name it continued till Hester, daughter of Hills Hobday, carried it in marriage to J. Lade, esq. of Boughton, and he having obtained an act for the purpose, alienated it to E. Bridges, esq. of Wootton-court, who passed away part of it to Sir George Oxenden, bart. whose son Sir Henry Oxenden, bart. of Brome, now owns it; but Mr. Bridges died possessed of the remaining part in 1780, and his eldest son the Rev. Edward Timewell Brydges, is the present possessor of it.

 

MAY DEACON, as it has been for many years past both called and written, is a seat in the southern part of this parish, adjoining to Denton-street, in which parish part of it is situated. Its original and true name was Madekin, being so called from a family who were owners of it, and continued so, as appears by the deeds of it, till king Henry VI's reign, in the beginning of which it passed from that name to Sydnor, in which it continued till king Henry VIII.'s reign, when Paul Sydnor, who upon his obtaining from the king a grant of Brenchley manor, removed thither, and alienated this seat to James Brooker, who resided here, and his sole daughter and heir carried it in marriage, in queen Elizabeth's reign, to Sir Henry Oxenden, of Dene, in Wingham, whose grandson Sir Henry Oxenden, bart. sold it in 1664, to Edward Adye, esq. the second son of John Adye, esq. of Doddington, one of whose daughters and coheirs, Rosamond, entitled her husband George Elcock, esq. afterwards of Madekin, to it, and his daughter and heir Elizabeth carried it in marriage to Capt. Charles Fotherby, whose eldest daughter and coheir Mary, entitled her two successive husbands, Henry Mompesson, esq. and Sir Edward Dering, bart. to the possession of it, and Charles Dering, esq. of Barham-court, eldest son of the latter, by her, is at this time the owner of it. The seat is now inhabited by Henry Oxenden, esq.

 

There are no parochial charities. The poor constantly maintained are about forty, casually fifteen.

 

THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanryof Bridge.

 

The church, which is dedicated to St. John Baptist, is a handsome building, consisting of a body and side isle, a cross or sept, and a high chancel, having a slim tall spire at the west end, in which are four bells. In the chancel are memorials for George Elcock, esq. of Madeacon, obt. 1703, and for his wife and children; for Charles Bean, A. M. rector, obt. 1731. A monument for William Barne, gent. son of the Rev. Miles Barne. His grandfather was Sir William Barne, of Woolwich, obt. 1706; arms, Azure, three leopards faces, argent. Several memorials for the Nethersoles, of this parish. In the south sept is a magnificent pyramid of marble for the family of Dixwell, who lie buried in a vault underneath, and inscriptions for them. In the north sept is a monument for the Fotherbys. On the pavement, on a gravestone, are the figures of an armed knight (his feet on a greyhound) and his wife; arms, A cross, quartering six lozenges, three and three. In the east window these arms, Gules, three crowns, or—Gules, three lions passant in pale, or. This chapel was dedicated to St. Giles, and some of the family of Diggs were buried in it; and there are memorials for several of the Legrands. There are three tombs of the Lades in the church-yard, the inscriptions obliterated, but the dates remaining are 1603, 1625, and 1660. There were formerly in the windows of this church these arms, Ermine, a chief, quarterly, or, and gules, and underneath, Jacobus Peccam. Another coat, Bruine and Rocheleyquartered; and another, Gules, a fess between three lions heads, erased, argent, and underneath,Orate p ais Roberti Baptford & Johe ux; which family resided at Barham, the last of whom, Sir John Baptford, lest an only daughter and heir, married to John Earde, of Denton.

 

¶The church of Barham has always been accounted as a chapel to the church of Bishopsborne, and as such is included in the valuation of it in the king's books. In 1588 here were communicants one hundred and eighty; in 1640 there were two hundred and fifty.

 

www.british-history.ac.uk/survey-kent/vol9/pp350-358

Yellow-rumped warbler showing off his wing and crown colors in our backyard.

Markings: U.S. Navy Blue Angels demonstration team, Pensacola Naval Air Station (NAS), Florida, 1968

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Wright J65-W-18 turbojet, 10,500-lbf

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www.pimaair.org/aircraft-by-name/item/grumman-f-11a-tiger

 

DSC_0081 Anx2 1200h Q90

Marking of a Czech Squadron of the RAF in WW2

 

The only marking on the CDV is the name "Peirce" imprinted on the reverse.

via Playground Markings UK bit.ly/1LQjyvC

Playground Markings in Glasgow City | Play Area Graphics #Glasgow #City bit.ly/1iOtEWV

Some background:

]The VF-4 Lightning III began development in 2005 under the initial designation of the VF-X-4. Developed as a successor craft to the VF-1 Valkyrie, the VF-4 Lightning III was designed as a variable fighter that emphasized mobility in outer space.

 

The VF-4's development began with the prototype VF-X-4 and the VF-X-3. However, when Earth was devastated in Space War I the loss of military facilities also resulted in loss of the VF-X-3. Amongst the airframes under development exist prototype No. 1 craft, VF-X-4V1 and the trial manufactured VF-4A-0 and thus the surviving VF-X-4 was developed and completed as the VF-4 Lightning III. A trial-produced variable fighter, designated the VF-4A-0, was also built using 25% VF-1 Valkyrie parts.

 

VF-X-4 underwent flight tests, including being test piloted by Space War I veteran Hikaru Ichijo. Once successful operational models were ready, the VF-4 began mass production on February 2012. Initial deployment began on the SDF-2 Megaroad-01 in VF-1 Skull and SVF-184 Iron Chiefs Squadrons on September 2012. When the SDF-2 Megaroad launched in the same month, Hikaru Ichijō flew a VF-4 alongside the new colonization vessel as the ship lifted from Earth and began exploration outside of the Sol system.

 

As a result of integrating existing Overtechnology and Zentradi-series technology, the VF-4 had a characteristic three-hulled-type airframe structure remarkably different from the conservative VF-1 Valkyrie design. The three-hulled style of the VF-4 increased fuselage volume, propellant capacity and armament load capability that all resulted in a 40% improved combat ability over the VF-1. Fully transformable, the VF-4 could shift into Battroid and Gerwalk modes like previous variable fighters.

 

However, the VF-4 did suffer minor mobility problems within an atmosphere and the new type was primarily deployed to the Space Air Corps of emigrant fleets to serve as the main fighter craft of the UN Forces in the 2020s. It was because flight performance within the atmosphere was not as good as the VF-1 that the VF-5000 Star Mirage became the main combat craft within atmosphere, while the VF-4 operated mainly in outer space.

 

Built as a space fighter, the VF-4 primary weapons became two large beam cannons, though the craft was capable of carrying a GU-11 gun pod in Gerwalk and Battroid modes. In addition to the powerful primary beam guns, the Lightning III also featured twelve semi-recessed long-range missiles, as well as underwing pylons for additional missiles and other stores.

The VF-4 was only slightly heavier than the VF-1, but featured considerably more powerful engines, making the craft ideal for operations deeper out in space. The Lightning III was also much faster in the atmosphere than the older VF-1, although the VF-4’s flight mobility performance was not as great.

 

The VF-4 was also notable as the first production variable fighter to utilize a HOTAS system (Hands On Throttle And Stick) for the cockpit HMI (Human-Machine Interface). Furthermore, the VF-4's cockpit was laid out as a single hexagonal MFD (Multi-Function Display) that proved so successful that it was retrofitted into "Block 6" VF-1 fighters, as well as providing the template for all future variable fighter cockpits.

 

By the end of 2015, mass production of the VF-1 series at last had come to an end. From 2020 onward, the VF-4 Lightning III officially replaced the VF-1 to become the main variable fighter of U.N. Forces. Production of the VF-4 continued for a decade and ceased in 2022, with a total of 8,245 Lightning III variable fighters produced.

The VF-4 variable fighter remained in active service into the late 2040's but was complemented or substituted in many branches of the UN Forces by the cheaper and more atmospherically maneuverable VF-5000 Star Mirage. The VF-4 Lightning III was eventually replaced as the main variable fighter of U.N. Spacy in the later half of the 2030s by the VF-11 Thunderbolt.

  

General characteristics:

Manufacturer: Stonewell/Bellcom

Equipment Type: Variable fighter

Government: U.N. Spacy, U.N. Space Marines

Introduction: 2012

Operational Deployment: September 2012

 

Dimensions:

Accommodation: pilot only

Fighter Mode: wingspan 12.65 meters; height 5.31 meters; length 16.8 meters

Mass: empty 13.95 metric tons

Structure: space metal frame, SWAG energy conversion armor

 

Powerplant:

2x Shinnakasu/P&W/Roice FF-2011 thermonuclear turbine engines,

rated at 14,000 kg (137.34 kN) each

2x dorsal rocket engines (mounted on top of the main thermonuclear turbine engines)

2x ramjet engines (embedded into the inner wing sections)

P&W HMM-1A high-maneuverability vernier thrusters

 

Performance:

Fighter Mode: Mach 3.02 at 10,000 m

Mach 5.15 at 30,000+ m

Thrust-to-weight ratio: (empty) 2.01 (rating for turbine engine thrust ONLY)

g limit: unknown

 

[Armament:

2 x large beam cannons in forward engine nacelles

12x semi-recessed long range missiles (mounted on engine nacelles and ventral fuselage)

8x underwing pylons for missiles, gun pods an/or drop tanks

  

The kit and its assembly:

Well, this build has been lingering for almost 25 years in the back of my mind. It just took so long that a suitable IP kit (with a reasonable price tag) would materialize!

The original inspiration struck me with a VF-4 profile in the source book "This is animation special: Macross PLUS" from 1994, which accidently fell into my hands in a local Japanese book store. Among others, a side and top view profile of an aggressor VF-4 in an all-brown, Soviet-style paint scheme was featured. At that time I found the idea and the scheme pretty cool, so much that I even built a modified 1:100 VF-1 as a ground attack aircraft in this paint scheme.

 

However, the original VF-4 profile from the source book had always been present, but for years there had been no affordable kit. There have been garage/resin kits, but prices would start at EUR 250,-, and these things were and are extraordinarily rare.

Things changed for the better when WAVE announced an 1:72 VF-4 kit in late 2016, and it eventually materialized in late 2017. I immediately pre-ordered one from Japan (in a smart move, this even saved money) and it eventually turned up here in Germany in early 2018. Patience pays out, it seems...

I had preferred a 1:100 kit, though, due to space issues and since almost any other Macross variable fighter model in my collection is in this small scale, but I am happy that a decent VF-4 kit at all appeared after so many years!

 

Concerning the WAVE kit, there’s light and shadow. First of all, you have to know that you get a VF-4A. This is mentioned nowhere on the box, but might be a vital information for hardcore modelers. The early VF-4A is a rather different aircraft than the later VF-4G, with so fundamental differences that it would warrant a completely new kit! On the other side, with a look at the kit’s parts, I could imagine that a VF-4B two-seater could be easily realized in the future, too.

 

The kit is a solid construction, a snap-fit kit molded in different colors so that it can be built without painting. This sounds toy-like, but - like many small scale Bandai Valkyrie kits - anything you ask for is actually there. When you use glue and put some effort into the kit and some donor parts, you can make a very good model from it.

 

The kit's box is pretty oversized, though (any sprue is shrink-wrapped, horrendous garbage pile and wasted space!), and the kit offers just a single decal (water-slide decals, not stickers) option for a Skull Squadron VF-4A – AFAIK it’s Hikaru Ichijoe’s machine that appears in one of the Macross Flash Back 2012 music videos, as it escorts the SDF-02 “Megaroad” colonial ship after launch from Earth towards the center of our Galaxy.

 

The parts are crisply molded, and I actually like the fact that the kit is not as uber-engineered as the Hasegawa Valkyries. You can actually call the WAVE kit simple - but in a positive sense, because the parts number is reduced to a minimum, material strength is solid and the kit's construction is straightforward. Fit is excellent – I just used some putty along the engine gondolas due to their complex shape, but almost anything else would either fit almost perfectly or just call for some sanding. Impressive!

 

Surface details etc. are rather basic, but very crisp and emphasized enough that anything remains visible after adding some paint. However, after all, this aircraft is just a fictional animation mecha, and from this perspective the kit is really O.K..

 

After building the kit I most say that it's nothing that leaves you in awe, and for a retail price of currently roundabout EUR 50-70,- (I was lucky to get it for an early bird deal at EUR 40,-, but still pricey for what I got) the kit is pretty expensive and has some weaknesses:

 

The model comes with a decent (= simple) cockpit and a very nice and large pilot figure, but with no ordnance except for the semi-recessed long-range missiles (see below). The cockpit lacks any side consoles, floor or side wall details. If you put the pilot into the cockpit as intended, this is not a big issue, since the figure blocks any sight into the cockpit’s lower regions. However, the side sticks are molded into the pilot’s hands, so that you have to scratch a lot if you want to present the cockpit open and with an empty seat.

 

The landing gear is simple, too, and the wells are very shallow (even though they feature interior details). As a special feature, you can switch with some extra parts between an extended or retracted landing gear, and there are extra parts that allow the air intakes and some vectoring nozzles to be closed/extended for orbital operations. However, detail fetishists might replace the OOB parts with the landing gear from an 1:72 F-18 for an overall better look.

 

Provisions for underwing hardpoints are actually molded into the lower fuselage part (and could be punched/drilled open - another indication that more VF-4 boxings with extra sprues might follow?), but the kit does not come with any pylons or other ordnance than the dozen fuselage-mounted AAMs. Furthermore, the semi-recessed missiles are just that: you only get the visible halves of the only provided ordnance, which are simply stuck into slits on the model’s surface. As a consequence, you have to mount them at any rate – building a VF-4 for a diorama in which the missiles are about to be loaded would require massive scratch-building efforts and modifications.

 

Another problem indirectly arises when you put some effort into the kit and want to clean and pre-paint the missiles before assembly: every missile is different and has its allocated place on the VF-4 hull. The missiles are numbered – but only on the sprue! Once you cut them out, you either have to keep them painstakingly in order, or you will spend a long evening figuring out where which missile belongs! This could be easily avoided if the part number would be engraved on the missiles’ back sides – and that’s what I actually did (with a water-proof pen, though) in order to avoid trouble.

 

The clear canopy is another issue. The two parts are crystal-clear, but, being a snap-fit kit, the canopy parts have to be clipped into the fuselage (rear part) and onto a separate canopy frame (front part). In order to fit, the clear parts have cramps molded into their bases – and due to the excellent transparency and a magnifier effect, you can see them easily from the outside – and on the inside, when you leave the cockpit open. It’s not a pretty solution, despite the perfect fit of the parts.

One option I can think of is to carefully sand the cramps and the attachment points away, but I deem this a hazardous stunt. I eventually hid the cramps behind a thin line of paint, which simulates a yellow-ish canopy seal. The extra windscreen framing is not accurate, but the simplest solution that hides this weak point.

 

The kit itself was built OOB, because it goes together so well. I also refrained from adding pylons and ordnance – even though you can easily hang anything from Hasegawa’s VF-1 weapon set under the VF-4’s wings and fuselage. A final, small addition was a scratched, ventral adapter for a 3.5 mm steel rod, as a display for the flight scene beauty pic.

  

Painting and markings:

As mentioned above, the livery is based on an official profile which I deem authentic and canonical. My aircraft depicts a different machine from VFT-127, though, since I could not (and did not really want to) 100% replicate the profile's machine from the Macross PLUS source book, "13 Red". Especially the squadron’s emblem on the fin would create massive problems.

 

For the two-tone wrap-around scheme I used Humbrol 72 (Khaki Drill) and 98 (Chocolate Brown), based on the printed colors in the source book where I found the scheme. The pattern is kept close to the benchmark profile, and, lacking an underside view, I just mirrored the upper scheme. The starboard side pattern was guesstimated.

As a second-line aggressor aircraft, I weathered the VF-4 with a black ink wash, some post-shading with various lighter tones (including Humbrol 160, 168, 170 and 187) and did some wet-sanding treatment for an uneven and worn look.

 

Interior surfaces were painted according to visual references from various sources: the landing gear and the air intakes became white, while the cockpit was painted in RAF Dark Sea Grey.

 

In order to add some color to the overall brown aircraft I decided to paint the missiles all around the hull in white with tan tips – in the profile, the appear to be integrated into the camouflage, what I found dubious.

 

Most stencils come from the OOB sheet, but I added some more from the scrap box. The grey "kite" roundels come from an 1:72 Hasegawa Macross F-14 Tomcat kit sheet, which I acquired separately for a reasonable price. Even though it took four weeks to be delivered from Asia, the investment was worthwhile, since the sheet also provided some useful low-viz stencils.

 

The VAT-127 “Zentraedi Busters” unique tail insignia was more complicated, because these had to be printed at home. As a side note, concerning the fin marking, I recently found a translation of the benchmark profile's text on mahq.net, which is interesting: "The Regult within the targeting reticle on the tail met with disapproval from micronized Zentraedi pilots, and so was only used for a short time." The comment also reveals that the original aircraft's modex is "713", not just "13" as depicted, so I tried to reflect these details on my build, too.

 

I eventually settled for a solution that was partly inspired by the kit’s OOB fin marking and the wish for more contrast for the motif: I scanned the original Regult pod illustration from the source book and printed it on white decal sheet. This was sealed with two layers of glossy acrylic varnish (applied with a rattle can) and then cut into a white field that fills the fixed part of the fin (using the WAVE kit’s OOB fin markings as reference). Once in place and dry, two black outlines were added separately (generic decal material) which help blend the decal and the surroundings. Finally, thin strips of silver decal sheet were used for the fins’ leading edges.

 

This design variation, compared with the original “13 Red” illustration, led to the idea of a flight leader’s machine with slightly more prominent markings. In order to take this concept further I also gave the aircraft a white stripe around the front fuselage, placed under the kite roundel and again with black outlines for a consistent look. It’s not much different from “13 Red”, but I think that it looks conclusive and, together with the white fin markings and the missiles, livens up the VF-4’s look.

 

The appropriate flight leader tactical code “01 Red” was puzzled together from single digits from a Begemot Su-27 sheet, the rest of the bort numbers were taken from the OOB sheet (which incidentally feature a “01” code, too).

 

Concerning the OOB decal sheet, there’s much light but also some deep shadow. While the register is excellent and the carrier film flexible enough to lay down smoothly, the instructions lack information where to place the zillion of stencils (“No step” and “Beware of Blast” stuff) are to be placed! You only get references for the major markings – the rest has either to be guessed, OR you are in possession of the VF-4 source book from Softbank Publishing which was (incidentally?) released in parallel with the WAVE kit. This mecha porn offers an overview of all(!) relevant stencils on the VF-4A’s hull, and ONLY with this information the exhaustive decal sheet makes some sense…

 

As final steps, the VF-4 received some dry-brushing with light grey around the leading edges, some chipped paint was simulated with dry-brushed aluminum and, finally, light soot stains around the vectoring nozzles all around the hull and the weapon bays were created with graphite. Then the kit was sealed with matt acrylic varnish (Italeri).

  

Well, in the end, it’s not a carbon copy of the inspiring illustration, but rather another machine from the same squadron, with more creative freedom. I stayed as true to the benchmark as possible, though, and I like the result. Finally, after almost 25 years, I can tick this project off of my long ideas and inspiration list.

 

Considering the kit itself, I am really torn. I am happy that there finally is a VF-4 IP kit at all after so many years, but to me it’s a contradictive offer. I am not certain about the target group, because for a toy-like snap-fit kit it’s too detailed and expensive, but for the serious modeler it has some major flaws.

The biggest issue is the kit’s horrendous price – even if it would be more detailed or contained some fine resin or PE parts (which I would not want, just a “good” plastic kit). Sure, you can put some effort into the kit and improve it, e .g. in the cockpit or with a donor landing gear, but weak points like the “flat” missiles and the lack of proper bays for them are IMHO poor. For the relatively huge price tag I’d hoped for a “better” OOB offer. However, the kit is easy to build and a good representation of the Lightning III, and I am curious if there are kit variants in WAVE’s pipeline?

via Outdoor Surface Painting outdoorsurfacepainting.tumblr.com/post/149840699411

Just Pinned to Anti Slip Step Paint: Cycle Lane Line Markings in...

via Playground Markings UK bit.ly/1H7oikt

Playground Games in Harrapool/Harrapul | Recreational Area Markings #Playground #Markings #Games #Harrapool/Harrapul bit.ly/1Oe1C1q

Great Yorkshire Show 2018

Marking the Solstice at Castell Henllys.

 

"The Mari Lwyd is a wassailing folk custom found in South Wales. The tradition entails the use of an eponymous hobby horse which is made from a horse's skull mounted on a pole and carried by an individual hidden under a sackcloth."

 

en.wikipedia.org/wiki/Mari_Lwyd

A small clip of coyotes marking the area. They were lying down as a bobcat ran by. They both got up on alert because of the bobcat. I wish I got the bobcat too but it was only about 6 feet from me and behind a fence. The bobcat disappeared in a flash. I used the Canon R1 withe the RF 100-300mm with the 2x resting on a fence post.

 

On YouTube

 

www.youtube.com/watch?v=WhwrBQvzRGs

 

Marking the Transgender Day of Remembrance in November, the Rev. Peter Friedrichs drops stones into water as members of the congregation read the names of transgender people who died in 2015.

 

Friedrichs—minister of the UU Church of Delaware County since 2006—is “a multidimensional leader who brings a warmth and intellectual depth” to the congregation, says Patricia Infante, Regional Faith Development consultant for the Unitarian Universalist Association.

 

See "An Upward Spiral" by Tina Porter, UU World (Spring 2016), pages 8–10. Photograph © 2016 Maura B. McConnell.

  

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Thermoplastic Markings in Achahoish #Thermoplastic #Playground #Markings #Achahoish bit.ly/1FPjnEo

I visited the CAF SoCal museum this past weekend. still going through the images of what I shot. The CAF is the Commemorative Air Force museum. They have a bunch of old WWII Navy & Army Air Corp/ Air Force planes...

 

Olympus E-PM1 + Fujian 35mm f1.7

 

Shot in RAW, processed with Filterstorm & Snapseed

   

Denton, TX

via Playground Markings UK bit.ly/1R7dyCp

I liked a @YouTube video from @sports_surfaces bit.ly/1LqOBSA Sport England Play Area Renovation Cumbria

Complex road markings

marking the closure of Penallta Colliery

Spotted in caves on Kauai, HI

I discovered these markings on the wall of an underpass that had been flooded. Numerous snails were present on the concrete walls and, presumably, made the snail trails seen here.

 

Looks a bit like the back of a circuit board or tapestry.

some photos from Kells Camera Club's dog photo shoot

English Electric Canberra TT18 WK124 of 100 Squadron RAF at Alconbury in August 1982.

via Playground Markings UK bit.ly/1MWegBB

"Vaccination against type 1 diabetes may soon be available to young children"

Ancient markings.

Shame this was gone over, A classic piece of Brighton's graffiti history. This is presumably by the late Fire DFM. Shouts from over his 'Gas Leak' from circa 1991. Gary cleaned this back and wrote some neat letters in pink.

DFM helped to put an original Brighton style on the map back in the 1990's.

The late sunlight last week turned my shots a little too yellow for my liking so i went back with high hopes of trying again to record what had been revealed. It was not to be, at least not quite in the way i had planned, but i tried anyway.

a part of a thing im working on with lines that i see in my day to day.