View allAll Photos Tagged Marking
photos take at Lion Country Safari ..
Lion Country Safari is a drive-through safari park located in Loxahatchee (near Wellington), in Palm Beach County, Florida. Founded in 1967, it claims to be the first 'cageless zoo' in the United States.
The original park in Florida consists of over 1,000 animals, kept in large fenced areas with approximately 5 miles of paved roadway running throughout.
Visitors who purchase a ticket enter the park in their own vehicle, driving slowly at their own pace, and view the animals while listening to a recorded narration on audiotape or CD. Some animals, such as giraffe, rhinoceros, and zebra are allowed to roam freely, even crossing the road in front of vehicles. Others, such as lions or chimpanzees, are segregated behind fences or water barriers.
Visitors are warned to drive slowly and carefully, to avoid stopping too close to animals, and not to open their car doors or windows.
Painting and markings:
Originally, when the Seeschwalbe was still conceived as a fighter, the model was to receive a daylight scheme in typical German naval aircraft colors (RLM 72/73/65). But this plan changed when the aircraft’s role became a ‘special purpose’ transporter for covert operations.
Nocturnal operations appeared plausible, so that the scheme became much more murky: from above, a splinter scheme with RLM 73 and RLM 74 (naval dark green and dark, greenish grey, both from the ModelMaster Authentic enamel paint range) was applied as a basis, and the undersides became black – as if standard daylight colors had been overpainted, a frequent practice.
Since this black paint was made from soot, it easily wore away and many Luftwaffe machines with improvised black undersides quickly gained a rather shaggy look. I wanted to re-create this look, and built up the lower paint accordingly: In an initial step, RLM76 (I used Humbrol 87, which is a tad darker than the RLM tone, for less contrast with the black) was painted on the lower wing surfaces, the fuselage with a medium waterline and the fin. Once dry, the national marking decals were added. Then a coat of thinned Revell Acrylics 6 Tar Black was applied on top of the lower surfaces, including the lower decals, and later wet-sanded in order to reveal some of the grey underneath for a worn look.
In order to break up the aircraft’s outlines, esp. at low altitude, a disruptive meander pattern in light grey (RLM 76) was painted on top of the upper surfaces. For this task, I thinned Humbrol’s 247 enamel and used a simple brush, painting the curls free-handedly. The finish looks pretty convincing, and it mimics well the technique with which those improvised patterns were applied in the field in real life: quickly, with anything at hand. The way the finish turned out, the pattern could have been applied with a broad brush – the use of a spray gun was rather uncommon, and IMHO the use of an airbrush on a model to recreate such a zigzag pattern rarely leads to convincing results?
This pattern was painted tightly around all the upper markings, and the markings themselves were kept at a minimum. For instance, the tactical code only comprises the aircraft’s individual letter “Blue O” behind the fuselage cross, which indicates an air staff machine. This would, following the official German squadron code system, be confirmed by an “A”, following as a fourth digit. The squadron’s code (“P7”, which is fictional, just like the aircraft’s sea reconnaissance squadron itself) was omitted, too. Such minimal markings became a frequent practice towards the final war stages, though, and it fits the aircraft’s special duty role well. The only individual marking is a squadron badge under the cockpit – lent from an Italian night fighter and placed on a dark blue disc. Another, subtle indicator for the aircraft’s operator are the blue air intake center bodies, repeating the staff flight’s blue color code.
Only some light weathering was done, with dry-brushed light grey on the leading edges, and finally the kit was sealed with matt acrylic varnish (Italeri). In a final step, some very light dry-brushing with aluminum was done on some of the fuselage edges, esp. the spray dams, and the position lights were painted with translucent paint over a silver base.
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
Tyburn Thames, 2002 by Paul Mason; slate tablet marking the site of the confluence of the Rivers Tyburn and Thames, by Paul Mason, Riverside Walk adjacent to Grosvenor Road, Pimlico, City of Westminster, London.
GOC Hertfordshire's walk on 11 November 2017, an 8-mile point-to-point walk from Pimlico to Notting Hill Gate via Millbank, Belgravia, Knightsbridge, Hyde Park and Kensington Gardens. John T led the walk, which was attended by 15 people. You can view my other photos of this event, read the original event report, find out more about the Gay Outdoor Club or see my collections.
Detail of the markings on an adult female giraffe. Taken at the Greater Vancouver Zoo. (see the baby giraffe in my photostream).
On 2 September 1945 the Japanese Instrument of Surrender, the written agreement that formalized the surrender of the Empire of Japan, marking the end of World War II was signed. It was signed by representatives from the Empire of Japan, the United States of America, the Republic of China, the United Kingdom of Great Britain and Northern Ireland, the Union of Soviet Socialist Republics, the Commonwealth of Australia, the Dominion of Canada, the Provisional Government of the French Republic, the Kingdom of the Netherlands, and the Dominion of New Zealand. The signing took place on the deck of USS Missouri in Tokyo Bay on September 2, 1945.
Pictured here is Leonard Monk Isitt, signing the instrument of surrender. Isitt was a New Zealand military aviator and senior air force commander. In 1943 he became the first New Zealander to serve as the Chief of Air Staff of the Royal New Zealand Air Force, a post he held until 1946. After the war he worked as chairman of Tasman Empire Airways.
Archives New Zealand Reference: ADQA 17263 AIR118 72/64 part 36
For more information email Research.Archives@dia.govt.nz
For updates on our On This Day series and news from Archives New Zealand, follow us on Twitter
Material supplied by Archives New Zealand
via Playground Markings UK bit.ly/1hzQiAS
"Lithium can be safe, effective for children suffering from bipolar disorder"
Although “Do Not Enter” and “Wrong Way” signs already are in place along freeway off-ramps, new and larger versions of such signs are being installed and studied along the exit ramps at six freeway interchanges. In addition, signs will be placed lower on their posts to test if that could help in alerting confused or impaired wrong-way drivers.
CF-UUU- North American (Canadian Car & Foundry) AT-6 Harvard 4 - Canadian Warplane Heritage Museum
without the usual military markings
at Hamilton International Airport (YHM)
c/n CCF4-4 - built in 1951
140112-N-OH262-254-- A Civil Mine Reduction Group member places markers at the location of a simulated Improvised Explosive Device during the Explosive Hazard Reduction Course in Pul-E Alam district, Logar province, Jan. 12, 2014. The EHRC trains host nations personnel to conduct operations in an environment that poses a high threat of IED attack. (U.S. Navy Photograph by Chief Mass Communication Specialist Bill Mesta/ Released)
This mornings Weather conditions not great rain and low clouds and low light too , Also no reg or other marking can be seen
Pima Air and Space Museum
MANUFACTURER: CONVAIR
MARKINGS: 95th Bomb Wing, Biggs AFB, El Paso, Texas
DESIGNATION: B-36J
SERIAL NUMBER: 52-2827
CONVAIR B-36J PEACEMAKER
The B-36 is the largest bomber and the last piston engine powered bomber produced by the United States. First designed to meet a World War II requirement for a plane capable of hitting targets in Germany from bases in the United States the prototype did not fly until August 8, 1946. The development of the atomic bomb led the Air Force to conclude that it still needed a very long-range bomber capable of delivering the bombs over intercontinental ranges and production of the B-36 was continued despite the end of the war a year earlier. A total of 383 Peacemakers were built between 1947 and 1954. The era of piston engine powered bombers was coming to a quick end with the introduction of the all jet B-47 and B-52. The B-36 was the symbol of American air power in the first years of the Cold War, but even the addition of four jet engines could not bring the B-36 up to the performance standards of the newer aircraft and all of the B-36s were out of service by the first months of 1959.
SPECIFICATIONS
Wingspan: 230 ft
Length: 162 ft 1 in
Height: 46 ft 9 in
Weight: 410,000 lbs (loaded)
Max. Speed: 435 mph
Service Ceiling: 45,700 ft
Range: 10,000 miles
Engines: 6 Pratt & Whitney R4360 with 3,800 horsepower each
Crew: 13
www.pimaair.org/aircraft-by-name/item/convair-b-36j-peace...
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.
Markings:425th Fighter Squadron (425 FS) is part of the 56th Fighter Wing at Luke Air Force Base, Arizona
SN:96-5035
Specifications (F-16D Block 30)
General characteristics
Crew: 2
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
via Playground Markings UK bit.ly/1PRPWDO
"Oxytocin treatment improves social, emotional and behavioral problems among young kids with autism"
via Playground Markings UK bit.ly/1k75xn8
"Environmental and lifestyle factors contribute to development of celiac disease"
This is the usual colour form we have in Kent, although the markings on the lip of this has faded giving it a semi-var. alba look to it.
I think it looks rather nice.
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We woke at quarter to six in Swindon.
Outside it was warm and cloudy. But with the promise of sunshine later.
We had a shower, dressed and was down fr breakfast for half six, with all bar the cooked food ready.
So, we filled our boots with fruit and coffee before the fry up was brought. Aroud us, young red-eyed familes ate in a daze, and men in work clothes got ready for their last working day of the week.
We had a 90 minute drive, so we turned out of the car park at seven, across the huge roundabout ond onto the M4 heading due west for Bath, Bristol and Wales.
We put the radio on, and as the cruised through the Wiltshire countryside, the clouds above thinned and the sun broke through.
It was going to be a perfect day for orchiding.
We crossed over the new bridge ito Wales, traffic was heavier, but it flowed well, and all around the weather improved.
Past Newport and Cardiff beofre trning off to the coast, lead by the sat nav into which I had programmed the postcode. Although that wasn't enough, as the post coast was a gated farm track.
We tried to drive into the nearest town, and there was no reserve, but on the way out I saw a brown sign with a waterfowl, the symbol for a reserve.
Getting close now.
We arrived, and already the car park was half full, because sadly most people use reserves as dog exercise areas, and we were to be harassed and harried all our visit but aggressive small and larger dog and owners who don't give a toss.
I was here to see a rarer colour variation of the Early Marsh, but Kenfig is also home to the only western colony of Fen Orchids. I had seen these in Norfolk a few years back, but as were here, and someone on Twitter supplied me with a grid reference and good directions, as the orchids are tiny.
So, we went via a maze of tracks, heading mostly west, through coppices and dunes, until there was a large open area of grass.
And orchids.
And there were the magenta coloured EMO.
I filled my boots.
Then, to find the Fens.
-------------------------------------------
The Early Marsh-orchid is one of our most beautiful and enigmatic wild orchids. The flowers occur in four colours, and they are sufficiently different from one another to have all been given subspecies status: a pale salmon pink, Dactylorhiza incarnata subsp. incarnata; brick red, Dactylorhiza incarnata subsp. coccinea; purple, Dactylorhiza incarnata subsp. pulchella; and cream Dactylorhiza incarnata subsp. ochroleuca. The latter is confined to the East Anglian fens. In favoured habitats Dactylorhiza incarnata can carpet the ground in early spring, and in most good sites it is easy to find two or more of the subspecies growing in close proximity. In addition to the above there is also another subspecies. Sometimes called the Flecked Marsh-orchid or Leopard Orchid, Dactylorhiza incarnata subsp. cruenta is known only from part of western Ireland and a few sites in Scotland; it is classified as Endangered in the UK, while in Ireland, where it mainly occurs in The Burren, it is also under threat from habitat degradation. Early Marsh-orchid in all its variations flowers between mid May and late June. The subspecies which occur in England, Scotland and Wales are localised but can be abundant in good years. With the exception of Dactylorhiza incarnata subsp. pulchella (which is tolerant of more acid conditions and occurs in bogs and on heathland), these orchids favour alkaline substrates and can be found in fens, wet alkaline meadows and sand-dune slacks. On the European mainland, Dactylorhiza incarnata is recorded from Scandinavia in the north to Italy and Spain in the south.
D. incarnata subsp. incarnata
Plant: 7 to 40cm but typically 20 to 40cm; stem pale green or yellowish, usually hollow.
Leaves: bright green; 3 to 5 broad, keeled sheathing leaves at base of stem, and 1 or 2 non sheathing leaves higher up.
Bracts: bright green, sometimes flushed pink.
Flowers: 10 to 70 flowers in a densely-packed inflorescence; pale pink, often salmon pink. Sepals and petals paler than the lip; upper sepal and petals form a tight hood over the lip. Lip pale pink, slightly lobed with lateral lobes deflected downwards, liberally covered with dark-pink dots within loops.
www.hardyorchidsociety.org.uk/hos%201012/orchidphotos/dac...
Marking the sacrifices made by Bomber Command during WWII, a flypast by some 30 light aeroplanes concluded the ceremony held high on the cliffs by the Beachy Head memorial.
I believe they were mostly members of the Tiger Club operating out of Redhill aerodrome. Whoever they were, they did a wonderful job.
For the record, the formation was led by three french-built Stampe bi-planes (the wings are more swept with the tips rounded compared to the Tiger Moth's) with a french Jodel in the 'box' flanked by two home-built Druine Turbulents and another Stampe in company with a dark red Tiger Moth and finally a lovely old Cessna 120 (I had to look that one up).
Better viewed large and on black - just press L
Painting and markings:
At first I considered an F-24I in IAF markings, or even a Japanese aircraft, but then reverted to one of nighthunter’s initial, simple ideas: an USAF aircraft in the “Hill II” paint scheme (F-16 style), made up from three shades of gray (FS 36118, 36270 and 36375) with low-viz markings and stencils. Dutch/Turkish NF-5A/Bs in the “Hill II” scheme were used as design benchmarks, too. It’s a simple livery, but on this delta wing aircraft it looks pretty interesting. I used enamels, what I had at hand: Humbrol 127 and 126, and Modelmaster's 1723.
A light black ink wash was applied, in order to em,phasize the engraved panel lines, in contrast to that, panels were manually highlighted through dry-brushed, lighter shades of gray (Humbrol 27, 166 and 167).
“Hill II” also adds to a generic, realistic touch for this whif. Doing an exotic air force thing is rather easy, but creating a convincing whif for a huge military machinery like the USAF’s takes more subtlety, I think.
The cockpit was painted in medium Gray (Dark Gull Grey, FS 36231, Humbrol 140), as well as the radome. The landing gear and the air intakes were painted white. The radome was painted with Revell 47 and dry-brushed with Humbrol 140.
Decals were puzzled together from various USAF aircraft, including sheets from an Airfix F-117, an Italeri F-15E and even an Academy OV-10D.
Painting and markings:
As an USAF/ADC interceptor, an overall Aircraft Grey (FS 36473, used ModelMaster 1731) was clear from the start – and it’s actually a fine option, as the F-105 as lookalike benchmark was basically only operated in bare metal or SEA camouflage. An ADC aircraft would be deceiving, too, and provoke third looks.
The cockpit interior was painted medium grey, the landing gear wells in interior green and the air intakes in white with red trim.
Anyway, making an ANG aircraft from this base was more tricky. At first I wanted to create an Oklahoma ANG aircraft (had some nice markings for the fin, but they turned out to me too large since they belong to a modern F-16…), but finally settled on a D.C. Air Guard aircraft since I had such fuselage markings from a F-86H at hand.
Basic tone is an overall FS 16473 ADC Grey (Testors 1731), some panels on the upper side and the flanks were highlighted with a slightly lighter grey (FS 16515). The cockpit front area received a flat black anti-glare panel, to which a black trim was added - F-106 style, and this turned out to be VERY characteristic, if not deceiving! Around the rear fuselage some heat marks – reminiscent of the F-100 – were added through metallizer (Steel and Titanium, partly mixed with Humbrol 113, Rust) and some dry-painting. The kit was then lightly weathered through a thin wash with black ink and very light dry-painting with pale grey.
The colorful fin markings were designed by myself – inspired by a 2008 postal stamp from the ‘Flags of our Nation’series. My fin decoration is purely fictional, though, and incorporates the D.C. flag (two red horizontal bars on a white ground, with three red stars above) as well as some iconic cherry blossoms, as these seem to be a local identity symbol? Additionally the fin features on one side the District of Columbia Sign, on the other side the Eastern Air Defence Sector badge. The fin decoration was created on a PC with Corel Draw and printed on Experts' Choice white decal paper with an inkjet printer at 600dpi - even though the touchy decals suffered under the soaking process... A lot of cosmetic correction had to be done by hand/brush, it's far from perfect, just the result of my first large scale self-.made decal experiment. The rest of the markings were puzzled together from the scrap box.
After painting and decals, the kit received an overall coat of semi-gloss Humbrol varnish, since I wanted a slight shine but not a hi-gloss finish. The anti-glare panel was covered with matt varnish - which did not dry up properly, leaving a milky film. Nevertheless, it looks like sun-bleached black paint, so I kept it. Undesired side effect... The radome was painted with gloss varnish, so that three shades of black meet at the Thunderdart's nose.
The Old World swallowtail (Papilio machaon) is a butterfly of the family Papilionidae. The butterfly is also known as the common yellow swallowtail or simply the swallowtail (a common name applied to all members of the family, but this species is the 'original', first to go by the name). It is the type species of the genus Papilio and occurs throughout the Palearctic region in Europe and Asia; it also occurs across North America, and thus, is not restricted to the Old World, despite the common name.
The imago typically has yellow wings with black vein markings, and a wingspan of 65–86 millimetres (2.6–3.4 in).[1] The hind wings of both sexes have a pair of protruding tails which give the butterfly its common name from the resemblance to the birds of the same name. Just below each tail is a red eye spot.
It can be distinguished from Papilio hospiton, which occurs sympatrically with it on Corsica and Sardinia, by the longer "tails" on the hind wings.[2] It can be told apart from the Algerian species Papilio saharae only by counting the segments on the antennae.[2]
This butterfly is present throughout the entire Palearctic region, ranging from Russia to China and Japan, (including the Himalayas and Taiwan), and across into Alaska, Canada, and the United States.
In Asia, it is reported as far south as Saudi Arabia, Oman, the high mountains of Yemen, Lebanon, and Israel. In southern Asia, it occurs in Pakistan and Kashmir, northern India (Sikkim, to Assam and Arunachal Pradesh), Nepal, Bhutan, and northern Myanmar.[3]
This butterfly is widespread in Europe. In the United Kingdom, it is limited to a few areas in the Norfolk Broads of East Anglia.[4] It is the UK's largest resident butterfly. The Monarch Danaus plexippus is slightly larger, but is only a rare vagrant.
As P. machaon is widespread throughout Eurasia and often common, it is not threatened as a species.[3] It is listed as "Vulnerable" in the South Korean and Austrian Red Data Books, and in the Red Data Book of the former Soviet Union.[3]
In some countries, P. machaon and its subspecies are protected by law. Papilio machaon machaon is protected by law in six provinces of Austria, Czech Republic, Slovakia, Hungary, Romania, and Moldova. The species is protected in the United Kingdom, and subsp. verityi is protected in India.[3]
The butterfly has a strong and fast flight, but frequently pauses to hover over flowering herbs and sip nectar. It frequents alpine meadows and hillsides, and males are fond of 'hilltopping', congregating near summits to compete for passing females.[2] At lower elevations, it can be seen visiting gardens.
Unlike other swallowtails which specialise on Rutaceae, this species mostly feeds on plants of family Umbelliferae, females laying eggs singly. Milk parsley (also known as marsh hog's fennel) is normally the only food plant used by the caterpillars of the British subspecies.[2] The food plants of the swallowtail in Europe, Asia, and North America are more varied than in the UK. It uses a wide variety of umbellifers including wild carrot (Daucus carota), wild angelica (Angelica sylvestris), fennel (Foeniculum vulgare), and hogweeds (Heracleum). In the Maltese Islands, the caterpillar feeds on plants such as rue (Ruta chalepensis) in addition to Umbelliferae such as fennel.
In Kashmir, the common yellow swallowtail, as Papilio machaon is called there, inhabits alpine meadows in the Himalayas occurring from 2,000 feet (610 m) in Kashmir valley to 16,000 ft (4,900 m) in the Garhwal Himalayas. In India, Himachal Pradesh, it is found over 4,000 ft (1,200 m) only and in Sikkim over 8,000 ft (2,400 m) only.
At lower elevations, these butterflies fly from March to September; at higher elevations, they are limited by the short summer seasons.
The British subspecies P. m. brittanicus is less mobile than its European continental counterpart and stays within, or close by, its fenland habitat.[2]
There are usually two to three broods in a year, but in northern areas, the species may be univoltine. In some places such as the UK, some will pupate and emerge in the same year and others will overwinter as pupae before emerging the following year, a situation known as being partially bivoltine.
The caterpillar spends the first part of its life with the appearance of a bird dropping, an effective defense against predators.[2] As the caterpillar grows larger, it becomes green with black and orange markings. It has a defense against predators in the form of an osmeterium, which consists of retractable, fleshy projections behind its head that can release a foul smell if disturbed, which deters insects, but not birds.[2]
Old World swallowtails can easily be bred in captivity.
Butterflies can be lured to lay eggs in a backyard garden by keeping plenty of caterpillar food plants in it. Common rue plants are highly appropriate for this.
Once eggs or young caterpillars have been collected, they can be kept in a pot with holes on its top to allow air circulation. More than one caterpillar may be kept in a single pot since they do not attack each other (although they might sometimes get frightened by other caterpillars moving). They can be fed any of their food plants. Fennel is one of the easiest to find in the wild. Care must be taken with fennel as well as dill, though, because they will not eat hard, woody stems; they need to be fed the tender leaves. They can also be fed rue or milk parsley. Feeding them with unsuitable plants will lead to death from starvation.
Caterpillars are very fast eaters; they will spend their time eating or resting before they resume their eating again.
Once a sufficient size has been attained, they will attach themselves to any available structure with their silky threads. They will then stay still until they become pupae. This will take about a day.
Once in the pupa stage, they can be very carefully removed from the pot and placed in a warm location. The time the butterfly takes to form and come out depends on the temperature. If kept in warm summer temperatures, it will take about one or two weeks to form. On the other hand, if the temperature is lower, it might take as long as several months until it feels the weather is warm enough.
Pupae should not be kept on an impermeable surface, since when they eclose a bit of liquid will be released, this means the butterfly would stay wet and might not be able to fly. Absorbing paper such as the one used in kitchens is advisable.
Markings: 64th AGRS, as part of the 57th Adversary Tactics Group, 57th Wing
SN:87-307
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
Stamp on front and back covers of Luca da Penne, LECTURA SUPER TRIBUS LIBRIS CODICIS (Lyons, 1538); folio, bound in stamped pigskin over boards. This armorial stamp is of the Austrian nobleman Joseph Anton von der Halden (1665-1728) from Vorarlberg, who was created Baron in 1686. The letters around the border of the stamp, "I A E V D H F Z A H Z A V O", stand for "Ioseph Anton Eusebius von der Halden Freiherr zu Authenried Herr zu Anhofen und Ochsenbrunn."
This stamp is found on fourteen folio volumes that came to the Lillian Goldman Law Library as part of the Roman-Canon Law Collection of the Association of the Bar of the City of New York. They are all bound in stamped pigskin over wooden boards with rounded spines.
via Playground Markings UK bit.ly/1X2jgJT
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