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18 REASONS WHY WE ALL LOVE COX
Seniors
Club legend Greg Barras sat nervously in his house at Albury as word quickly spread that his club record of 18 goals was in jeopardy. Lee Cox under the beautiful Autumn sun treated the fans to a marking and goal scoring frenzy. Cox had a near perfect game, equalling the club record, and even found time to give off four more goals to team mates in better positions.
For the first time this season Hepburn was able to score the first goal of the match, usually slow starters, the Burras showed no signs of being lethargic and had eight goals on the board by quarter time. At the main break 20 goals had been amassed with Cox kicking half of them. Cox’s sidekick, Andy McKay unusually flew under the radar, (as was Cox’s dominance) but “ Hollywood” was still close to best on ground honours with his 7 goals , superb high marking and pin point passing to Cox on the lead.
Creswick had a day they would rather forget, but to their credit, they never gave up and had some young players who had very good games. As usually is with an uneven scoreline, most of the play was forward of the centre square, in saying that Hepburn’s backline had to concentrate harder, but when the opportunity arose, Trevor Johnson, Allan Ware and coompany mopped up and created opportunities for their team mates. Daniel Smith’s big frame also posed problems for the opposition. Smith played a very versatile game, using his body to great affect so his fleet footed allies in Baker, Rees, and the James boys could get their hands on the ball.
Brian O’ Halloran, the former star rover of the 1970’s is a proud man. His oldest son Tim is doing well in his first coaching gig at Reserves level. Next in line Dan becoming a seasoned performer, but the youngest of the clan, Liam, has settled in nicely into Shane Robertson’s structure, bobbing up linking play, and showing maturity well above his years.
Next week Hepburn takes on the big improver Gordon at the Laurie Sullivan Reserve which should be a match worth watching.
Final Scores: HEPBURN 36-12-228 defeated CRESWICK 3-4-22
Goals: L. Cox 18, A. McKay 7, D. O’Halloran 3, J. James 3, J. King 2, R. Gundry, T. Johnson, D. James
Best: L. Cox, A. McKay, D. Smith, D. Rees, A. Baker, D. O’ Halloran
UNDER 18’s
For two and a half quarters Hepburn matched Creswick, but were blown away in the end by one of the premiership favorites. The highlight reel was pretty small, but Joe Malone would have featured prominently having a blinder of a game in the middle. His strong work in tight and then classy skills to finish something his younger team mates can learn from.
Tom Conroy battled hard in the ruck, certainly holding his own and Lucas Bossinger put in his best game to date. The small brigade of under 15 players who fill in each week again performed well, with Jackson Carrick and Billy Johns being rewarded kicking goals. Next week is a big game as the boys should aim to have their second win for the season.
Final Scores: HEPBURN 5-3-33 lost to CRESWICK 20-14-134
Goals: J. Malone 2, K. Frost, J. Carrick, B. Johns
Best: J. Malone, J. Liversidge, K. Frost, M. Allison, L. Bossinger, T. Conroy
Marking in foundation stonework of residence, Pembroke Street, Oxford. For more explanation, go here:
* Rolleiflex 3,5F Planar *
* Fuji Velvia 100 *
* Lab Developed *
* Photoshop CS3 *
* Scanned with Epson V500 *
Hot on the heels of the latest crime figures that show GMP has the lowest level of crime for a decade, senior officers and staff got together over the last two days to identify how to provide an even better service for people in Greater Manchester.
The event was held at Lancashire County Cricket Club ground and brought together examples of the good work that is taking place. Chief Constable Peter Fahy spoke about how the current changes can mean a new era in policing.
Amongst the speakers was Inspector Damian O’Reilly of Gorton Neighbourhood Policing Team who spoke of his passion about making the area he grew up in a safer place. He also spoke of his pride in following in the footsteps of his grandfather who held the rank of inspector in Manchester City Police in the 1930s.
Chief Constable Peter Fahy said, “These two days have been an investment in the officers and staff who can really make things happen and make a difference in our communities. In an organisation as big and complex as GMP working round the clock it is crucial that staff can get together to be updated on current developments and have a clear plan for the future. Ensuring they understand their responsibility and sharing good practice is crucial to keeping our streets safe.”
To find out more about Policing in Greater Manchester please visit our website.
I wanted the step down to the flange to have a nice curve/angle. To mark the distance I made a small marking tool (which I used to mark the total width with as well). The steel wire is bent 180 degrees and then pushed into the hole in the wood. That way it doesn't rip the foam but creates a nice dent instead.
via Playground Markings UK bit.ly/1kihLZt
"IQWiG finds certain benefit for pulse oximetry screening in newborns with congenital heart defects"
Poor little male black with white markings pit bull terrier mix. If he were labeled a "lab mix", or "boxer mix" then he'd be available for adoption.
Owners have three business days to reclaim their dogs or they will be euthanized due to breed, as this Houston city facility does not adopt out pit bulls or pit bull mixes.
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
Ah, but to be Norwegian, particularly on Norway's National Day, which took place the Sunday before these photos were taken.
The event, marking the day in 1814 when Norway adopted its new Constitution, is celebrated across the nation.
In Norway's capital city, the children's parade is the main attraction, with all 111 city schools represented.
I was one of the few fortunate enough to obtain special seats in front of the Royal Palace to watch as parade participants marched up Oslo's main street, Karl Johans gate, to the Royal Palace, where they were received by the Royal Family standing on the front balcony, waving to the crowd.
The weather forecast had not been good, but the day turned out to be a beautiful one, with lots of sunshine and brilliant blue skies.
The Constitution of Norway was signed at Eidsvoll on May 17 in the year 1814. The constitution declared Norway to be an independent nation.
The celebration of this day began spontaneously among students and others from early on. However, Norway was at that time under Swedish rule (following the Convention of Moss in August 1814) and for some years the King of Sweden was reluctant to allow the celebrations.
For a couple of years in the 1820s, king Carl Johan actually forbade it, as he thought the celebrations a kind of protest and disregard—even revolt—against Swedish sovereignty. The king's attitude changed slightly after the Battle of the Square in 1829, an incident which resulted in such a commotion that the King had to allow it. It was, however, not until 1833, that anyone ventured to hold a public address on behalf of the day. That year, official celebration was initiated by the monument of the late politician Christian Krogh, known to have stopped the King from gaining too much personal power. The address was held by Henrik Wergeland, thoroughly witnessed and accounted for by a Swedish spy, sent by the King himself.
After 1864, the day became more established, and the first children's promenade was launched in Christiania, in a parade consisting only of boys. This initiative was taken by Bjørnstjerne Bjørnson, although Wergeland made the first known children's promenade at Eidsvoll around 1820. It was only in 1899 that girls were allowed to join in the parade for the first time.
By historical coincidence, the Second World War ended in Norway just nine days before that year's Constitution Day, on May 8, 1945, when the occupying German forces surrendered. Even if The Liberation Day is an official flag day in Norway, the day is not an official holiday and is not broadly celebrated. Instead a new and broader meaning has been added to the celebration of Norwegian Constitution Day on May 17.
The day focused originally on the Norwegian constitution, but after 1905, the focus has been directed also towards the royal family.
A noteworthy aspect of the Norwegian Constitution Day is its very non-military nature. All over Norway, children's parades with an abundance of flags form the central elements of the celebration. Each elementary school district arranges its own parade with marching bands between schools.
The parade takes the children through the community, often making stops at homes of senior citizens, war memorials, etc. The longest parade is in Oslo, where some 100,000 people travel to the city center to participate in the main festivities. This is broadcast on TV every year, with comments on costumes, banners etc, together with local reports from celebrations around the country.
The massive Oslo parade includes some 100 schools, marching bands, and passes the royal palace where the royal family greet the people from the main balcony.
Typically a school’s children parade will consist of some senior school children carrying the school’s official banner, followed by a handful of other older children carrying full size Norwegian flags, and the school’s marching band. After the band the rest of the school children follow with hand sized flags, often with the junior forms first, and often behind self made banners for each form or even individual class.
Nearby kindergartens may also have been invited to join in. As the parade passes, bystanders often join in behind the official parade, and follow the parade back to the school. Depending on the community, the parade may make stops at particular sites along the route, such as a nursing home or war memorial. In Oslo the parade stops at the Royal Palace while Skaugum, the home of the crown prince, has been a traditional waypoint for parades in Asker.
During the parade a marching band will play and the children will sing lyrics about the celebration of the National Day. The parade concludes with the stationary singing of the national anthem "Ja, vi elsker dette landet" (typically verses 1, 7 and 8), and the royal anthem "Kongesangen".
In addition to flags, people typically wear red, white and blue ribbons. Although a long-standing tradition, it has lately become more popular for men, women, and children to wear traditional outfits, called bunad. The children also make a lot of noise shouting "Hurra!", singing, blowing whistles and shaking rattles.
In addition to children's parades, there are parades for the public, where every citizen is welcome to join in. These are led by marching bands and often local boy scouts and girl guides, local choirs, etc. This takes place in the early morning or in the afternoon, before or after the school's parade.
All parades begin or end with speeches. Both grown-ups and older children are invited to speak. After the parades, there are games for the children, and often a lot of icecream, pop, sweets and pølse (hotdogs) are consumed.
Below is a translation of Norway's National Anthem:
(Ja, vi elsker)
Yes, We Love This Land of Ours
Yes, we love this land of ours.....as with mountain domes
Storm-lash'd o'er the sea it towers with the thousand homes.
Love it dearly, ever thinking....of our fathers' strife,
And the land of Saga sinking, dreams upon our life,
And the land of Saga sinking, sinking dreams upon our life.
Norsemen, in whatever station, thank your mighty God;
He has kindly saved our nation from oppression's rod.
That for which our sires contended and our mothers wailed,
Silently the Lord defended, so our rights, our rights prevailed.
I was on a public footpath in a field when I came across these cows. I started snapping away when they started to come towards me. I was SURE they were quite friendly -- absolutely sure! But even while continuing to take photos, my feet took me backwards.
Luckily I didn't trip up over a cow pat, and reached the gate before they did.
I loved the face markings of this calf, and those of the sibling 00122 below. I looked for 00123, but no luck. Would be a nice thought that those were the parents on each side -- but they are both cows.
Marking the outbreak of the First World War, and commemorating the British and Colonial servicemen killed during its course.
The installation consisted of one ceramic poppy for each of the 888,246 serviceman. It was installed at the Tower of London with poppies added each day from 17 July, concluding 11 November.
The project was conceived by artist was Paul Cummins, with setting by Tom Piper, and was designed to appear as a sea of blood spilling out.
The title of the piece comes from a poem in the unsigned will of an unknown soldier who died in the war: "The blood swept lands and seas of red, / Where angels dare to tread"
Sorry about the "crotch shot," but I wanted to get a shot of her markings so that you can see where she's signed (in relation to the rest of the doll). It says: CR/1977 or maybe GR?
I have never seen a clothespin doll put together like this. It's such an ingenious idea that I'm surprised no-one else has thought of it!
Please let me know if you have seen a clothespin doll with jointing like this, or if you know who "C.R." is (^‿^)
AURORA representative Starr Guckert demonstrates Onondaga County's
Ballot Marking Device at AURORA's office in Syracuse.
-- Photo provided by AURORA
AURORA of Central New York, Inc. is offering voters with vision or hearing loss, and other interested voters, a chance to become familiar with Onondaga County's Ballot Marking Device (BMD). The BMD will be at AURORA until Oct. 29.
BMDs are designed to enable voters with disabilities to cast a secret ballot and do it independently. They were used for the first time in the 2008 presidential election.
Devices can be attached to the BMD to enable individuals with disabilities to navigate through the ballot and mark their selections. An Audio Tactile Interface (ATI) helps voters who have visual impairments; paddles can be used by individuals who have limited dexterity; and a "sip 'n puff" device is available for people who cannot use any other adaptation.
Voters can use the system with or without speech. A headset is provided with disposable covers for the earpieces. The font can be enlarged three times, and the contrast can be set at white text on a black background or black text on a white background, so that people with low vision can read the
print more easily.
AURORA was one of three advocacy organizations that made disability etiquette presentations during Onondaga County's election inspectors' mandatory annual training in 2010. "This is the third year that the Board of Elections has made a BMD available to AURORA, and the second year that we were invited to participate in the election inspectors' training," said AURORA representative Starr Guckert.
The Help America Vote Act of 2002 (HAVA) mandated that every polling site in the United States have at least one voting machine which would be accessible to and usable by people with disabilities. The act authorized funding to help every state replace outdated voting systems, such as punch cards or levers, with systems that could be used easily and effectively by everyone.
"We are grateful to Commissioner Helen Kiggins and Commissioner Ed Ryan. It was their idea to put the BMDs in the advocacy organizations, including AURORA, prior to the 2008 election," Guckert said.
AURORA of CNY, Inc. is located at 518 James St. in Syracuse. It is the only non-profit that works exclusively with people in Central New York who are deaf, blind, visually impaired or hard of hearing. AURORA is a United Way agency of Central New York and Oswego and Cayuga
counties.
Voters who want to practice on the BMD can call AURORA at 422-7263 (voice) or 422-9746 (TTY) to set up an appointment. They are encouraged to bring their assistive devices, such as magnifiers, with them to the training as well as to the polls. The training takes between 15 and 30 minutes.
__________________
Media Contact:
Adele DelSavio
AURORA of CNY, Inc.
422-7263, ext. 233
adelsavio@auroraofcny.org
Went off out, across the Solway, on a convoy of tractors, to check that the boundaries of the Royal Burgh of Annan remained intact. This is part of the tradition known as Riding the Marches. There is a huge stone out there, called The Alterstane that marks not only the boundary of the Royal Burgh but also lies on the border between Scotland and England.
Some years the stone is visble but this year it was buried beneath the shifting sands of the treacherous Solway Firth. Luckily we had the help of some local fishermen including Big Spike and George, who drove our tractor, and the location of the Alterstane was soon marked using a bit of a broken umbrella and a wee flag and the boundary was reported to be intact by Cornet Bob, his Lass and the Standard Bearer. She has a big flag.
The importance of marking the boundary cannot be underestimated as many years ago, even before Boboftheglen started the school, there was a nasty incursion into our territory. Some scallywags from a wee village across the water nipped across the sands and nicked the church bell from Dornock Kirk. I don't know if the bell was ever recovered but it just shows what young lads are capable of when they are on the electrc soup. Nowadays they just dae the raft race.
It was a lovely day and we were waving to a wee wumin who was in paddling on the English side and obviously wondering what we were all doing. We last heard her shouting, as she ran away "Tomo hide the bell -I told you they would be back for it "
Multi-space marking meters. I really hate these; the labels are hard to read, the instructions are too complicated; too many buttons; too far from most parking spaces. Breckenridge, CO.
I use a chalkoner and this curve to mark the 5/8" hem that will be cut off by the overlocker as it forms a narrow hem like the sample
Painting and markings:
This was supposed to become one of the machines that were found by Allied forces at the I.M.A.M. plant. Originally, it was built and painted according to German standards, but, as operational war bounty, its former markings were painted over, it received US markings and was quickly handed over to the co-belligerent air force. Hence, inspired by Allied aircraft like former USAAF P-39s that were operated by the ACI, the Italian roundels were simply and quickly painted over the US "Stars and Bars" markings.
Consequently, I gave the Ro.70 a conservative German splinter scheme in RLM 74/75/76 with some RLM 02 mottles added to the flanks and a black propeller spinner with a white spiral.
The cockpit interior was painted in "Verde anticorrosione", which is a unique Italian tone and a relatively bright and intense green, I used Modelmaster's RLM83, which comes IMHO close. The landing gear interior was painted in aluminium (Humbrol 56)
As Allied ID markings for the Mediterranean TO I added yellow bands on the wings and around the fuselage (created with yellow decal sheet, except for the nose ring, which was painted with Humbrol 69). Inspired by Allied aircraft like former USAAF P-39s that were operated by the ACI, the Italian roundels received additional bars. These had the star simple painted over by the Italian roundel, sometimes the bar was overpainted, too, and I adapted this weird detail. The place where a former Regia Aeronautica tactical code or national marking had been placed was overpainted with US olive drab (Neutral Grey under the wings), and the new code letter placed on top of that. Since the aircraft would have been pressed quickly into service, I did not give it any other extra markings beyond the code letter.
Finally, some soot stains around the gun nozzles and the exhausts were created with graphite and the wings' leading edges treated with dry-brushed light grey, before the kit was sealed with matt acrylic varnish (Italeri).
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.
Painting and markings:
I kept this aspect very simple, and used the livery of a post-WW2 Ju 52/3m as benchmark: uniform silver, but apparently not in NMF – but this could also be corroded aluminum. Or is it a silver paint coat against corrosion? The only contrast were black engine covers, and the airline markings.
In order to achieve the silver paint look I tried an experiment: a basic overall coat with acrylic paint from a rattle can, a Duplicolor tone called "Weissaluminium" - which, on the reference sample, rather looks like a greyish paint than a true NMF; at first I was skeptical about the mica particles' size when the paint was still fresh, but once dry the coat looked very good and even, and more like a bare NMF than expected. On top of that, some panel shading with Polished Aluminum Metallizer was added, but only lightly.
In order to add some more "color" I decided to paint the underwater parts of the floats in black. Not a good idea – at least with the Tamiya tape I used for a clean demarcation line... Painting went fine, but when I removed the tape wide sections of the alu paint came off with them. Hmpf.
Anyway, I will try to use the damage creatively and not sand it off or overpaint the damage with silver - I'll rather use a grey primer, as if some real world damage would have been repaired. After all, it's a kind of bush aircraft.
Then the black cowling was added, and I started with the decals, which had to be improvised. For the civil registration code on the wings I used large USAF 45° characters (from a Colorado Decals sheet) – chosing those letters which do not show the typical font, rather simple forms.
For the fuselage markings I used leftover material from an 1:144 SAS Caravelle from Mistercraft. These are a little modern for the aircraft’s intended timeframe, but the characteristic blue cheatline with the dragon boat head at the nose was already present on early post-war SAS aircraft, so this detail is more or less O.K., and with the trim in place the aircraft looks very elegant.
However, the problem with these decals was, that the cheatlines featured the triangular Caravelle windows, so that I had to paint them over manually (with Humbrol 104, which is a good match, though). Some more decals, like the country emblems on the fuselage, come from an Italeri SAS Ju 52/3m.
Finally the kit was sealed with semi-matt acrylic varnish (Italeri), the windows were created with Humbrol ClearFix (instead of the OOB styrene pieces) and almost no other weathering was done. In a final step, the floats were mounted under the fuselage and a wire antenna added.
It's my least favourite time of year, marking a never ending mountain of exams and courseworks.
At least today I've finished marking all my dissertations and there's been some real surprises amongst the work submitted.
The pressure is on today more than I ever remember for students to get over 70% and gain their first class degrees... I'm just pleased that I get to see them go from really insecure nervous kids to confident, capable adults.
It's a privilege to see their journey, regardless of their marks.
Joints are fractures in rocks along which no differential displacement has occurred. This distinguishes them from faults, along which displacement has taken place.
Some joint surfaces have feathery-like features called plumose markings. They consist of an axis and small-scale, radiating-outward ridges. The divergent-direction axis points toward the direction of fracture propagation.
Host rocks: tholeiitic basalt, Clam Falls Volcanics, upper Mesoproteozoic, ~1.1 Ga
Locality: outcrops above the western banks of the St. Croix River, Interstate State Park, Taylors Falls, eastern Chisago County, eastern Minnesota, USA
14th December 2016- Ceremony marking the deposit of MAAC instrument of Ratification with OECD by Minister of State and Minister of Finance of Monaco.
left/right
Serge Telle, Minister of State , Monaco.
OECD, Paris, France
Photo:OECD/ Michael Dean