View allAll Photos Tagged Marking
Northern BC has a new Stop of Interest. Recently unveiled at the Camp Creek pullout (northbound) on Highway 5 near Valemount, this plaque tells the story of the Canoe River Tragedy. A part of our BC History.
Detail of the markings on an adult female giraffe. Taken at the Greater Vancouver Zoo. (see the baby giraffe in my photostream).
Monitoring the rare damselfly Megalagrion xanthomelas on Oahu. They play dead when held by the wing, so they can be easily marked to avoid double-counting and released unharmed.
Painting and markings:
Much more thought was put into the model’s looks. What camouflage should such an aircraft carry? And I had to invent roundels/markings for a Catalonian air force aircraft, too.
Since the Catalonian L-159s were multi-purpose aircraft, yet primarily tasked with air space defense, I opted for an subdued air superiority scheme instead of a tactical low-level camouflage. Furthermore, the camouflage was supposed to be suited for a mountainous landscape (Pyrenees), relatively flat and dry land and also to open sea. This was a good opportunity to give a model the Greek “Ghost” scheme: a three-tone wraparound scheme consisting of FS 36307 (Light Sea Grey), 36251 (Aggressor Grey) and 35237 (Medium Grey, but actually a rather greyish blue). The pattern was adapted from Hellenic F-16s. I think it’s a good compromise, and it suits the ALCA well.
The national markings caused more headaches. I was looking for something that would not look like the Spanish roundel, but still reflect the Catalonian indpendence flag and – most important – I wanted to be able to create it from stock material (not printing them at home), with the option to replicate it on potential future builds.
In the end and after long safaris through my spare decal repository, I came up with a round marking. It consists of an Ukrainian roundel with a relatively thin outer yellow ring (from a Begemot MiG-29 sheet), placed on top of a Hinomaru, so that a thin, red outer ring was added. Onto the central, blue disc a white star (from a TL Modellbau sheet with US Army markings) was added. I think that this looks original enough?
There was a problem, though… In my first attempt to apply this construction, the roundels turned out to be VERY large overall. While the design itself looked O.K. (despite reminding of Captain America somehow), this looked ridiculous, esp. on an aircraft with a wraparound low-viz paint scheme. I was not satisfied, so I heavy-heartedly ripped the decals off again (using adhesive tape, works like a charm) and tried it again, in a smaller version.
Hinomaru became the basis once more, even though smaller, and then die-punched discs in yellow and blue (from generic decal sheet) were added, and finally small white stars again, one size smaller than during the first attempt. While this is still colorful and stands out from the grey background, the second attempt looked much more balanced now, and I stuck with it.
In order to add more flavor, I added Catalonian fin flashes and squadron emblems on the nose, depicting the “burro”, the Catalonian donkey which has become a kind of unofficial regional symbol as a kind of anti-mascot to the Spanish bull. These markings/decals were printed at home on white sheet.
The tactical codes were based on the Spanish system. The Spanish Air Force has its own alphanumeric system for identifying aircraft: This forms a prefix to the airframe serial number, usually marked on the tail. C means cazabombardero (fighter bomber); A, ataque (attack); P, patrulla (patrol); T, transporte (transport); E, enseñanza (training); D, search and rescue; H, helicopter; K, tanker; V, Vertical Take Off and Landing (VTOL); and U, utility. An example would be that the F-18 with "C.15-08" on the tail is the fifteenth type of fighter that arrived in the Spanish Air Force (the Eurofighter is the C.16) and is the eighth example of this type to enter the SAF. On the nose or fuselage, the aircraft has a numeral specific to the unit in which it is based.
Variants of planes in service, for example two-seater versions or tanker versions of transports planes, add another letter to differentiate their function, and have their own sequence of serial numbers separate from the primary versions. Example: "CE.15-02" will be the second F-18 two-seater (Fighter Trainer) delivered to the SAF. In addition, the aircraft used by the Spanish Air Force usually carry a code consisting of one or two digits followed by a dash and two numbers, painted on the nose or fuselage. The first number corresponds to the unit to which they belong, and the second the order in which they entered service. Example: the fourth F-18 arriving at Ala 12 will have on the nose the code "12-04". Those codes do change when the aircraft is re-allocated to a different unit. Quite complicated…
This led to the tactical code “2-03”, for the 3rd aircraft allocated to the 2nd fighter squadron, and “C.1-03” as individual registration as the 3rd aircraft of the 1st fighter type in Catalonian service. All codes were puzzled together with single black letters and numbers from TL Modellbau in 3 and 5mm size.
via Playground Markings UK bit.ly/1GI46QD
"Drug interactions in placenta may increase risk of birth defects or stunting fetal growth"
Indiara Nunes Mesquira Ferreira (Biologist and economist) and Guilherme Murilo Oliveira (agronomist) marking the trees which will harvested, measured and weighted with authorization of the reserve. The use of these equations is widespread in forestry as it is crucial in assessment of forest volume, biomass and carbon stocks
Photo credit must be given: ©FAO/Anne Branthomme. Editorial use only. Copyright ©FAO
MARKINGS:
VMA-214 (Marine Attack Squdron), Kaneohe Bay, Hawai'i, 1962
SPECIFICATIONS
Wingspan: 27 ft 6 in
Length: 39 ft 5 in
Height: 15 ft
Weight: 20,000 lbs (loaded)
Max. Speed: 664 mph
Service Ceiling: 20,100 ft
Range: 1,160 miles
Engines: 1 Wright J65-W-20 turbojet, 8,400 lbs thrust
Crew: 1
IMG_1240
via Playground Markings UK bit.ly/1O5bJqi
"Vanderbilt study reveals benefits of theatre-based program in children with autism"
via Playground Markings UK bit.ly/1KVfXeU
"Minor infections, inadequate vaccinations increase stroke risk in children"
While kayaking we found this huge pike 1.23 m and 24lb in 2 feet of water..sad to see a beautiful creature dead ..Sometime fish die after spawning and this one was truly a monster pike..
Painting and markings:
This was quite challenging, and I have the impression that the original RAF KM 272 and its livery are just as elusive and speculative as Indian Air Force C992, a MiG-21FL that carried a spectacular tiger stripe livery – often offered as a painting option in kits or depicted in artwork, but these are only based on blurry b/w pictures that do not reveal the aircraft’s actual colors and do not show details like the underside. The ‘Dooleybird’ seems to be a similar affair, and the more you try to find out about the aircraft, the more controversial the details become – esp. under the light that the aircraft apparently operated only for a couple of months in this livery in peacetime, so there cannot have been many variations.
For instance: what’s the color of the anti-glare panel? US-style olive drab or black? Or was it even dark blue? And how would this translate onto a later Spitfire? The cheatline under the anti-glare panel is controversial, too: Matchbox and some others depict it as dark blue (reflecting the white-and-blue spinner and the checkered collar behind it, No. 19 Squadron’s unit colors), while Airfix offers deep yellow with its recent 1:48 kit. Well, I do not believe in the latter, because a b/w picture of KM 272 at Airfix’ website that is used as reference for the model(!) shows the cheatlines in a relatively dark color, while the yellow wing leading edges are much lighter. Even when you consider different angles and light reflections of the respective areaa, I do not buy the yellow trim on the fuselage – so I stuck with the blue, which IMHO also looks better and more plausible. I coupled this with a black anti-glare panel; typical post-war Spitfires did not feature such a panel at all and were all-silver, but to replicate KM 272’s looks on the different airframe I kept it. As s side benefit, the dark panel stretches the Spitfire LF.16’s elegant lines with its low rear section even further.
Another dubious detail: the color of the codes. The Matchbox kit shows them in black, but roundel blue could have been an option, too. And even the ‘Dooleybird’ tag in red is not 100% certain: I have found an aftermarket decal sheet that shows it in blue! The more you look, the more confused you get… :-/
Painting started with an overall coat with a tone called “White Aluminum” from the rattle can, which yields a nice metallic shine. The cockpit was, typical for late WWII RAF aircraft, painted in a very dark grey (Revell 09 Anthracite), with dry-brushed details in a slightly lighter grey – but the cockpit is so tight that hardly anything can be discerned. The interior of the landing gear wells and of the radiators was painted with Humbrol 56 (Aluminum Dope), a more greyish silver tone.
On the way back from Oxfordshire, I thought about stopping off somewhere to take some church shots.
I'm sure Oxfordshire, Buckinghamshire, Surrey and Sussex have fine churches just off the motorway, but one had stuck in my head, back in Kent, and that Hever.
What I didn't realise is how hard it was to get too.
I followed the sat nav, taking me off the motorway whilst still in Sussex, then along narrow and twisting main roads along the edge of the north downs, through some very fine villages, but were in Sussex.
Would I see the sign marking my return to the Garden of England?
Yes, yes I would.
Edenbridge seemed quite an unexpectedly urban place, despite its name, so I didn't stop to search for an older centre, just pressing un until I was able to turn down Hever Road.
It had taken half an hour to get here.
St Peter stands by the gate to the famous castle, a place we have yet to visit, and even on a showery Saturday in March, there was a constant stream of visitors arriving.
I asked a nice young man who was directing traffic, where I could park to visit the church. He directed me to the staff car park, meaning I was able to get this shot before going in.
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Near the grounds of Hever Castle, medieval home of the Bullen family. Sandstone construction with a nice west tower and spire. There is a prominent chimney to the north chapel, although this is not the usual Victorian addition, but a Tudor feature, whose little fireplace may be seen inside! The church contains much of interest including a nineteenth-century painting of Christ before Caiphas by Reuben Sayers and another from the school of Tintoretto. The stained glass is all nineteenth and twentieth century and includes a wonderfully evocative east window (1898) by Burlisson and Grylls with quite the most theatrical sheep! The south chancel window of St Peter is by Hardman and dated 1877. In the north chapel is a fine tomb chest which displays the memorial brass of Sir Thomas Bullen (d. 1538), father of Queen Anne Boleyn. Just around the corner is a typical, though rather insubstantial, seventeenth-century pulpit with sounding board.
www.kentchurches.info/church.asp?p=Hever
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HEVER.
SOUTH-EASTWARD from Eatonbridge lies Hever, called in the Textus Roffensis, and some antient records, Heure, and in others, Evere.
This parish lies below the sand hill, and is consequently in that district of this county called The Weald.
There is a small part of it, called the Borough of Linckbill, comprehending a part of this parish, Chidingstone, and Hever, which is within the hundred of Ruxley, and being part of the manor of Great Orpington, the manerial rights of it belong to Sir John Dixon Dyke, bart. the owner of that manor.
THE PARISH of Hever is long, and narrow from north to south. It lies wholly below the sand hills, and consequently in the district of the Weald; the soil and face of the country is the same as that of Eatonbridge, last described, the oak trees in it being in great plently, and in general growing to a very large size. The river Eden directs its course across it, towards Penshurst and the Medway, flowing near the walls of Hever castle, about a quarter of a mile southward from which is the village of Hever and the parsonage; near the northern side of the river is the seat of Polebrooke, late Douglass's, now Mrs. Susannah Payne's; and a little farther, the hamlets of Howgreen and Bowbeach; part of Linckhill borough, which is in the hundred of Ruxley, extends into this parish. There is a strange odd saying here, very frequent among the common people, which is this:
Jesus Christ never was but once at Hever.
And then he fell into the river.
Which can only be accounted for, by supposing that it alluded to a priest, who was carrying the bost to a sick person, and passing in his way over a bridge, sell with it into the river.
Hever was once the capital seat and manor of a family of the same name, whose still more antient possessions lay at Hever, near Northfleet, in this county, who bore for their arms, Gules, a cross argent. These arms, with a lable of three points azure, still remained in the late Mote-house, in Maidstone, and are quartered in this manner by the earl of Thanet, one of whose ancestors, Nicholas Tuston, esq. of Northiam, married Margaret, daughter and heir of John Hever of this county. (fn. 1)
William de Heure. possessed a moiety of this place in the reign of king Edward I. in the 2d of which he was was sheriff of this county, and in the 9th of it obtained a grant of free warren within his demesne lands in Heure, Chidingstone, and Lingefield.
Sir Ralph de Heure seems at this time to have possessed the other moiety of this parish, between whose son and heir, Ralph, and Nicholas, abbot of St. Augustine's, there had been, as appears by the register of that abbey, several disputes concerning lands in Hever, which was settled in the 4th year of king Edward I. by the abbot's granting to him and his heirs for ever, the land which he held of him in Hever, to hold by the service of the fourth part of a knight's fee.
William de Hever, in the reign of king Edward III. became possessed of the whole of this manor, and new built the mansion here, and had licence to embattle it; soon after which he died, leaving two daughters his coheirs; one of whom, Joane, carried one moiety of this estate in marriage to Reginald Cobham, a younger son of the Cobhams of Cobham, in this county; (fn. 2) whence this part of Hever, to distinguish it from the other, acquired the name of Hever Cobham.
His son, Reginald lord Cobham, in the 14th year of that reign, obtained a charter for free warren within his demesne lands in Hever. (fn. 3) He was succeeded in this manor by his son, Reginald lord Cobham, who was of Sterborough castle, in Surry, whence this branch was stiled Cobhams of Sterborough.
The other moiety of Hever, by Margaret, the other daughter and coheir, went in marriage to Sir Oliver Brocas, and thence gained the name of Hever Brocas. One of his descendants alienated it to Reginald lord Cobham, of Sterborough, last mentioned, who died possessed of both these manors in the 6th year of king Henry IV.
His grandson, Sir Thomas Cobham, sold these manors to Sir Geoffry Bulleyn, a wealthy mercer of London, who had been lord mayor in the 37th year of king Henry VI. He died possessed of both Hever Cobham and Hever Brocas, in the 3d year of king Edward IV. leaving by Anne, his wife, eldest sister of Thomas, lord Hoo and Hastings, Sir William Bulleyn, of Blickling, in Norfolk, who married Margaret, daughter and coheir of Thomas Boteler, earl of Ormond, by whom he had a son and heir, Thomas, who became a man of eminent note in the reign of king Henry VIII. and by reason of the king's great affection to the lady Anne Bulleyn, his daughter, was in the 17th year of that reign, created viscount Rochford; and in the 21st year of it, being then a knight of the Garter, to that of earl of Wiltshire and Ormond; viz. Wiltshire to his heirs male, and Ormond to his heirs general.
He resided here, and added greatly to those buildings, which his grandfather, Sir Geoffry Bulleyn, began in his life time, all which he completely finished, and from this time this seat seems to have been constantly called HEVER-CASTLE.
He died in the 30th of the same reign, possessed of this castle, with the two manors of Hever Cobham and Brocas, having had by Elizabeth his wife, daughter of Thomas Howard, duke of Norfolk, one sonGeorge, executed in his life time; and two daughters, Anne, wife to king Henry VIII. and Mary, wife of William Carey, esquire of the body, and ancestor of the lords Hunsdon and the earls of Dover and Monmouth.
On the death of the earl of Wiltshire, without issue male, who lies buried in this church, under an altar tomb of black marble, on which is his figure, as large as the life, in brass, dressed in the robes of the Garter, the king seised on this castle and these manors, in right of his late wife, the unfortunate Anne Bulleyn, the earl's daughter, who resided at Hever-castle whilst the king courted her, there being letters of both extant, written by them from and to this place, and her chamber in it is still called by her name; and they remained in his hands till the 32d year of his reign, when he granted to the lady Anne of Cleves, his repudiated wife, his manors of Hever, Seale, and Kemsing, among others, and his park of Hever, with its rights, members, and appurtenances, then in the king's hands; and all other estates in Hever, Seale, and Kemsing, lately purchased by him of Sir William Bulleyn and William Bulleyn, clerk, to hold to her during life, so long as she should stay within the realm, and not depart out of it without his licence, at the yearly rent of 931. 13s. 3½d. payable at the court of augmention. She died possessed of the castle, manors, and estates of Hever, in the 4th and 5th year of king Philip and queen Mary, when they reverted again to the crown, where they continued but a short time, for they were sold that year, by commissioners authorised for this purpose, to Sir Edward Waldegrave and dame Frances his wife; soon after which the park seems to have have been disparked.
This family of Waldegrave, antiently written Walgrave, is so named from a place, called Walgrave, in the county of Northampton, at which one of them was resident in the reign of king John, whose descendants afterwards settled in Essex, and bore for their arms, Per pale argent and gules. Warine de Walgrave is the first of them mentioned, whose son, John de Walgrave, was sheriff of London, in the 7th year of king John's reign, whose direct descendant was Sir Edward Waldegrave, who purchased this estate, as before mentioned. (fn. 5) He had been a principal officer of the household to the princess Mary; at the latter end of the reign of king Edward VI. he incurred the king's displeasure much by his attachment to her interest, and was closely imprisoned in the Tower; but the king's death happening soon afterwards, queen Mary amply recompensed his sufferings by the continued marks of her favour and bounty, which she conferred on him; and in the 4th and 5th years of that reign, he obtained, as above mentioned, on very easy terms, the castle and manors of Hever Cobham and Brocas; and besides being employed by the queen continually in commissions of trust and importance, had many grants of lands and other favours bestowed on him. But on the death of queen Mary, in 1558, he was divested of all his employments, and committed prisoner to the Tower, (fn. 6) where he died in the 3d year of queen Elizabeth. He left two sons, Charles, his heir; and Nicholas, ancestor to those of Boreley, in Essex; and several daughters.
Charles Waldegrave succeeded his father in his estates in this parish; whose son Edward received the honour of knighthood at Greenwich, in 1607, and though upwards of seventy years of age, at the breaking out of the civil wars, yet he nobly took arms in the king's defence, and having the command of a regiment of horse, behaved so bravely, that he had conferred on him the dignity of a baronet, in 1643; after which he continued to act with great courage in the several attacks against the parliamentary forces, in which time he lost two of his sons, and suffered in his estate to the value of fifty thousand pounds.
His great grandson, Sir Henry Waldegrave, in 1686, in the 1st year of king James II. was created a peer, by the title of baron Waldegrave of Chewton, in Somersetshire, and had several offices of trust conferred on him; but on the Revolution he retired into France, and died at Paris, in 1689. (fn. 7) He married Henrietta, natural daughter of king James II. by Arabella Churchill, sister of John duke of Marlborough, by whom he had James, created earl of Waldegrave in the 3d year of king George II. who, in the year 1715, conveyed the castle and these manors to Sir William Humfreys, bart. who that year was lord mayor of the city of London. He was of Barking, in Essex, and had been created a baronet in 1714. He was descended from Nathaniel Humfreys, citizen of London, the second son of William ap Humfrey, of Montgomery, in North Wales, and bore for his arms two coats, Quarterly, 1st and 4th, sable, two nags heads erased argent; 2d and 3d, per pale or and gules, two lions rampant endorsed, counterchanged.
He died in 1735, leaving by his first wife, Margaret, daughter of William Wintour, of Gloucestershire, an only son and heir, Sir Orlando Humfreys, bart. who died in 1737, having had by Ellen, his wife, only child of colonel Robert Lancashire, three sons and two daughters; two of the sons died young; Robert, the second and only surviving son, had the castle and manors of Hever Cobham and Brocas, and died before his father possessed of them, as appears by his epitaph, in 1736, ætat. 28.
On Sir Orlando's death his two daughters became his, as well as their brother's, coheirs, of whom Mary, the eldest, had three husbands; first, William Ball Waring, of Dunston, in Berkshire, who died in 1746, without issue; secondly, John Honywood, esq. second brother of Richard, of Mark's-hall, who likewife died without issue, in 1748; and lastly, Thomas Gore, esq. uncle to Charles Gore, esq. M.P. for Hertfordshire; which latter had married, in 1741, Ellen Wintour, the only daughter of Sir Orlando Humfreys, above mentioned.
They, with their husbands, in 1745, joined in the sale of Hever-castle and the manors of Hever Cobham and Hever Brocas, to Timothy Waldo. He was descended from Thomas Waldo, of Lyons, in France, one of the first who publicly opposed the doctrines of the church of Rome, of whom there is a full account in the Atlas Geograph. vol. ii. and in Moreland's History of the Evangelical Churches of Piedmont. One of his descendants, in the reign of queen Elizabeth, to escape the persecution of the duke D'Alva, came over to England, where he and his descendants afterwards settled, who bore for their arms, Argent a bend azure, between three leopards heads of the second; of whom, in king Charles II.'s reign, there were three brothers, the eldest of whom, Edward, was knighted, and died without male issue, leaving two daughters his coheirs; the eldest of whom, Grace, married first Sir Nicholas Wolstenholme, bart. and secondly, William lord Hunsdon, but died without issue by either of them, in 1729. The second brother was of Harrow, in Middlesex; and Timothy, the third, was an eminent merchant of London, whose grandsons were Edward, who was of South Lambeth, esq. and died in 1783, leaving only one daughter; and Timothy, of Clapham, esquire, the purchaser of this estate, as above mentioned, who was afterwards knighted, and died possessed of it, with near thirteen hundred acres of land round it, in 1786; he married, in 1736, Miss Catherine Wakefield, by whom he left an only daughter and heir, married to George Medley, esq. of Sussex, lady Waldo surviving him is at this time intitled to it.
The castle is entire, and in good condition; it has a moat round it, formed by the river Eden, over which there is a draw bridge, leading to the grand entrance, in the gate of which there is yet a port cullis, within is a quadrangle, round which are the offices, and a great hall; at the upper end of which, above a step, is a large oak table, as usual in former times. The great stair case leads up to several chambers and to the long gallery, the cieling of which is much ornamented with soliage in stucco; the rooms are all wainscotted with small oaken pannels, unpainted. On one side of the gallery is a recess, with an ascent of two steps, and one seat in it, with two returns, capable of holding ten or twelve persons, which, by tradition, was used as a throne, when king Henry VIII. visited the castle. At the upper end of the gallery, on one side of a large window, there is in the floor a kind of trap door, which, when opened, discovers a narrow and dark deep descent, which is said to reach as far as the moat, and at this day is still called the dungeon. In a closet, in one of the towers, the window of which is now stopped up, there is an adjoining chamber, in which queen Anne Bulleyn is said to have been consined after her dis grace. The entrance to this closet, from the chamber, is now by a small door, which at that time was a secret sliding pannel, and is yet called Anne Bulleyn's pannel.
In the windows of Hever-castle are these arms; Argent, three buckles gules, within the garter; a shield of four coasts, Howard, Brotherton, Warren, and Mowbray, argent three buckles gules; a shield of eight coats, viz. Bulleyn, Hoo, St. Omer, Malmains, Wickingham, St. Leger, Wallop, and Ormond; and one, per pale argent and gules, for Waldegrave. (fn. 8)
It is reported, that when Henry VIII. with his attendants, came to the top of the hill, within sight of the castle, he used to wind his bugle horn, to give notice of his approach.
There was a court baron constantly held for each of the above manors till within these forty years, but at present there is only one, both manors being now esteemed but as one, the circuit of which, over the neighbouring parishes, is very extensive.
SEYLIARDS is an estate here which extends itself into the parishes of Brasted and Eatonbridge, but the mansion of it is in this parish, and was the antient seat of the Seyliards, who afterwards branched out from hence into Brasted, Eatonbridge, Chidingstone, and Boxley, in this county.
The first of this name, who is recorded to have possessed this place, was Ralph de Seyliard, who resided here in the reign of king Stephen.
Almerick de Eureux, earl of Gloucester, who lived in the reign of king Henry III. demised lands to Martin at Seyliard, and other lands, called Hedinden, to Richard Seyliard, both of whom were sons of Ralph at Seyliard, and the latter of them was ancestor to those seated here and at Delaware, in Brasted. (fn. 9)
This place continued in his descendants till Sir Tho. Seyliard of Delaware, passed it away to John Petley, esq. who alienated it to Sir Multon Lambarde, of Sevenoke, and he died possessed of it in 1758; and it is now the property of his grandson, Multon Lambarde, of Sevenoke, esq.
Charities.
A PERSON gave, but who or when is unknown, but which has time out of mind been distributed among the poor of this parish, the sum of 10s. yearly, to be paid out of land vested in the churchwardens, and now of that annual produce.
The Rev. JOHN PETER gave by will, about 1661, the sum of 10s. yearly, to be paid for the benefit of poor farmers only, out of land vested in the rector, the heirs of Wm. Douglass, and the heirs of Francis Bowty, and now of that annual produce.
The Rev. GEORGE BORRASTON, rector, and several of the parishioners, as appears by a writing dated in 1693, purchased, with money arising from several bequests, the names of the donors unknown, except that of WILLIAM FALKNER, to which the parishioners added 15l. a piece of land, the rent to be distributed yearly among the poor of the parish, vested in the rector and churchwardens, and of the annual produce of 3l. 12s.
Rev. THOMAS LANCASTER, rector, gave by will in 1714, for buying good books for the poor, and in case books are not wanting for the schooling of poor children at the discretion of the mimister, part of a policy on lives, which was exchanged for a sum of money paid by his executor, being 20l. vested in the minister and churchwardens.
SIR TIMOTHY WALDO gave by will in 1786, 500l. consolidated 3 per cent. Bank Annuities, one moiety of the interest of which to be applied for the placing of some poor boy of the parish apprentice to a farmer, or some handicraft trade, or to the sea service, or in cloathing such poor boy during his apprenticeship, and in case no such poor boy can be found, this moiety to be distributed among such of the industrious poor who do not receive alms. The other moiety to be laid out in buying and distributing flannel waistcoats, or strong shoes, or warm stockings, among such of the industrious or aged poor persons inhabiting within this parish, as do not receive alms, vested in the Salters Company.
HEVER is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester, and being a peculiar of the archbishop, is as such within the deanry of Shoreham. The church, which stands at the east end of the village, is a small, but neat building, consisting of one isle and two chancels, having a handsome spire at the west end of it. It is dedicated to St. Peter.
Among other monuments and inscriptions in it are the following:—In the isle is a grave-stone, on which is the figure of a woman, and inscription in black letter in brass, for Margaret, wife of William Cheyne, obt. 1419, arms, a fess wavy between three crescents.—In the chancel, a memorial for Robert Humfreys, esq. lord of the manor of Heaver, only son and heir of Sir Orlando Humfreys, bart. of Jenkins, in Effex, obt. 1736. Against the wall is a brass plate, with the figure of a man kneeling at a desk, and inscription in black letter for William Todde, schoolmaster to Charles Waldegrave, esq. obt. 1585.—In the north chancel, an altar tomb, with the figure on it at large in brass, of Sir Thomas Bullen, knight of the garter, earl of Wilcher and earl of Ormunde, obt. 1538. A small slab with a brass plate, for ........ Bullayen, the son of Sir Thomas Bullayen.—In the belsry, a stone with a brass plate, and inscription in black letter in French, for John de Cobham, esquire, obt. 1399, and dame Johane, dame de Leukenore his wife, and Renaud their son; near the above is an antient altar tomb for another of that name, on which is a shield of arms in brass, or, on a chevron, three eagles displayed, a star in the dexter point. These were the arms of this branch of the Cobhams, of Sterborough-castle. (fn. 10)
This church is a rectory, the advowson of which belonged to the priory of Combwell, in Goudhurst, and came to the crown with the rest of its possessions at the time of the surrendry of it, in the 7th year of king Henry VIII. in consequence of the act passed that year for the surrendry of all religious houses, under the clear yearly revenue of two hundred pounds. Soon after which this advowson was granted, with the scite of the priory, to Thomas Colepeper, but he did not long possess it; and it appears, by the Escheat Rolls, to have come again into the hands of the crown, and was granted by the king, in his 34th year, to Sir John Gage, to hold in capite by knights service; who exchanged it again with Tho. Colepeper, to confirm which an act passed the year after. (fn. 11) His son and heir, Alexander Colepeper, had possession granted of sundry premises, among which was the advowson of Hever, held in capite by knights service, in the 3d and 4th years of king Philip and queen Mary; the year after which it was, among other premises, granted to Sir Edward Waldegrave, to hold by the like tenure.
Charles Waldegrave, esq. in the 12th year of queen Elizabeth, alienated this advowson to John Lennard, esq. of Chevening, and being entailed to his heirs male, by the last will of Sampson Lennard, esq. his eldest son, under the word hereditament possessed it, and it being an advowson in gross, was never disentailed by Henry, Richard, or Francis, lords Dacre, his descendants, so that it came to Thomas lord Dacre, son of the last mentioned Francis, lord Dacre, afterwards earl of Sussex, in 1673, and at length sole heir male of the descendants of John Lennard, esq. of Chevening, above mentioned; and the same trial was had for the claim of a moiety of it, at the Queen's-bench bar, as for the rest of the earl's estates, and a verdict then obtained in his favour, as has been already fully mentioned before, under Chevening.
The earl of Sussex died possessed of it in 1715, (fn. 12) whose two daughters, his coheirs, on their father's death became entitled to this advowson, and a few years afterwards alienated the same.
It then became the property of the Rev. Mr. Geo. Lewis, as it has since of the Rev. Mr. Hamlin, whose daughter marrying the Rev. Mr. Nott, of Little Horsted, in Sussex, he is now intitled to it.
In the 15th year of king Edward I. this church of Heure was valued at fifteen marcs.
By virtue of a commission of enquiry, taken by order of the state, in 1650, issuing out of chancery, it was returned, that Hever was a parsonage, with a house, and twelve acres of glebe land, which, with the tithes, were worth seventy-seven pounds per annum, master John Petter being then incumbent, and receiving the profits, and that Francis lord Dacre was donor of it. (fn. 13)
This rectory was valued, in 1747, at 1831. per annum, as appears by the particulars then made for the sale of it.
It is valued, in the king's books, at 15l. 17s. 3½d. and the yearly tenths at 1l. 10s. 8¾d. It is now of the yearly value of about 200l.
¶The priory of Combwell, in Goudhurst, was endowed by Robert de Thurnham, the founder of that house, in the reign of king Henry II. with his tithe of Lincheshele and sundry premises in this parish, for which the religious received from the rector of this church the annual sum of 43s. 4d.
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.
Alex Jimenez © 2009
Contact me for using this image:
AlexJimenezFotografo@Gmail.com
Photographer: Alex Jimenez
Model: Ruben Hernando, Pilar V. Arnau
Assistant: Christian
Madrid, Spain.
- Marking style -
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Fotógrafo: Alex Jiménez
Modelo: Ruben Hernando, Pilar V. Arnau
Ayudante: Christian
Madrid, España.
- Marcando Estilo -
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A road marking in Spain.
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Another shot of Fugro's geotechnical drilling vessel, MARKAB as she enters Shoreham Harbour yesterday.
To find out about her current location and more details go to:
www.marinetraffic.com/ais/details/ships/353598000
or
via Playground Markings UK bit.ly/1Lq6ayE
"New zebrafish study provides insights into causes of congenital heart defects"
Marking the 150th Anniversary of the American Civil War. At Madison's Bauer Park, this marked the Final Event of the "Connecticut Commemorates the Civil War" program.
See other scenes from this event at flic.kr/s/aHskhC2sgE.
(Photo credit - Bob Gundersen www.flickr.com/photos/bobphoto51/albums)
A Blue Flower Wasp of some sort on Kunzea ambigua flowers. It had interesting yellow markings behind the eyes that set it apart from most other Blue Flower Wasps I have seen. Hoping to get an exact I.D. for it soon. [Lower Blue Mountains, NSW]
Close-up of the markings on the aft fuselage of a wrecked US Navy F2H-4 "Banshee" fighter.
On February 22, 1959, a US Navy McDonnell F2H-4 "Banshee" fighter (BuNo 127614) flown by LT James F. Wiley crashed while approaching NAS Moffett Field. LT Wiley was killed, and the aircraft was destroyed.
LT Wiley and the Banshee fighter were assigned to air wing VAW-11, which was preparing for the Banshee's last deployment at sea before the type was withdrawn from the fleet.
Due to the steep terrain at the crash site, the wreckage was left in place. However, as with all US Navy aircraft wrecks around the world, the Navy retains ownership of the wreckage.
I took these photos when I visited the site of the crash in 1994.
More about the F2H Banshee here:
www.navalaviationmuseum.org/attractions/aircraft-exhibits...
MArkings: 61st Fighter Squadron (61 FS) is part of the 56th Fighter Wing at Luke Air Force Base, Arizona
SN:83-1161
Specifications (F-16C Block 30)
General characteristics
Crew: 1
Length: 49 ft 5 in (14.8 m)
Wingspan: 32 ft 8 in (9.8 m)
Height: 16 ft (4.8 m)
Wing area: 300 ft² (27.87 m²)
Airfoil: NACA 64A204 root and tip
Empty weight: 18,900 lb (8,670 kg)
Loaded weight: 26,500 lb (12,000 kg)
Max takeoff weight: 42,300 lb (19,200 kg)
Powerplant: 1× F110-GE-100 afterburning turbofan
Dry thrust: 17,155 lbf (76.3 kN)
Thrust with afterburner: 28,600 lbf (128.9 kN)
Performance
Maximum speed:
At sea level: Mach 1.2 (915 mph, 1,470 km/h)
At altitude: Mach 2+ (1,500 mph, 2,414 km/h)
Combat radius: 340 mi (295 nm, 550 km) on a hi-lo-hi mission with six 1,000 lb (450 kg) bombs
Ferry range: 2,280 NM (2,620 mi, 4,220 km) with drop tanks
Service ceiling: 60,000+ ft (18,000+ m)
Rate of climb: 50,000 ft/min (254 m/s)
Wing loading: 88.3 lb/ft² (431 kg/m²)
Thrust/weight: 1.095
Armament
Guns: 1× 20 mm (0.787 in) M61 Vulcan gatling gun, 515 rounds
Hardpoints: 2× wing-tip Air-to-air missile launch rails, 6× under-wing & 3× under-fuselage pylon stations holding up to 20,450 lb (9,276 kg) of payload
Rockets:
4× LAU-61/LAU-68 rocket pods (each with 19× /7× Hydra 70 mm rockets, respectively) or
4× LAU-5003 rocket pods (each with 19× CRV7 70 mm rockets) or
4× LAU-10 rocket pods (each with 4× Zuni 127 mm rockets)
Missiles:
Air-to-air missiles:
2× AIM-7 Sparrow or
6× AIM-9 Sidewinder or
6× IRIS-T or
6× AIM-120 AMRAAM or
6× Python-4
Air-to-ground missiles:
6× AGM-45 Shrike or
6× AGM-65 Maverick or
4× AGM-88 HARM
Anti-ship missiles:
2× AGM-84 Harpoon or
4× AGM-119 Penguin
Bombs:
2× CBU-87 Combined Effects Munition
2× CBU-89 Gator mine
2× CBU-97 Sensor Fuzed Weapon
Wind Corrected Munitions Dispenser capable
4× GBU-10 Paveway II
6× GBU-12 Paveway II
6× Paveway-series laser-guided bombs
4× JDAM
4× Mark 84 general-purpose bombs
8× Mark 83 GP bombs
12× Mark 82 GP bombs
B61 nuclear bomb
Others:
SUU-42A/A Flares/Infrared decoys dispenser pod and chaff pod or
AN/ALQ-131 & AN/ALQ-184 ECM pods or
LANTIRN, Lockheed Martin Sniper XR & LITENING targeting pods or
up to 3× 300/330/370 US gallon Sargent Fletcher drop tanks for ferry flight or extended range/loitering time.
Avionics
AN/APG-68 radar