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In Finland, a woman's place is out hunting game or spinning thread, and everywhere in between.
At least that's the message I get from this statuary.
The figure on the left could be an Amazon, but if so this Amazon has taken time out from waging war to harpoon a whale, because that's what the tools in her hand suggest she's doing.
As for the woman on the right, if one were in an allegorical frame of mind, why then she'd be one of the fates holding the thread of a human's life in her hands.
However, a loom is one of the props in that story, since Fate weaves the tapestry of our lives until she's bored and decides to snip the silk thread, with fatal results for the human involved.
Hence, I see this as a straight forward statement about women's freedom of occupational choice.
Helsinki, Finland.
•Beetle for the Disturbed event
march 8th.
•Taxi: Disturbed event
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Roly Poly
• Comes with Five to Eight different colors
• For Lelutka M & F and Andore x LEX
Two versions to build, two builds complete.
The "before" and the "after". The gloriously curvy inter-war era passenger railcar above and the ugly duckling it became in its role as a maintenance train following the end of the war.
The 1920s Berlin Project - Weimar Republic role play sim, 1920s Berlin Project (220, 221, 1929) - Moderate
Visit this location at The 1920s Berlin Project - Weimar Republic role play sim in Second Life
My yard juncos are very well fed.
Male Dark-eyed Junco (Junco hyemalis)
Garland, Texas
My photos can also be found at kapturedbykala.com
Black/white/red images are Terra thermal band image captured October 10, 2017.
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As wildfires burn across California, NASA satellites help gather data about where the fires are and how smoke travels across the state.
The smoke from the fires is even visible a million miles away from Earth, captured by NASA's Earth Polychromatic Imaging Camera (EPIC) onboard NOAA's Deep Space Climate Observatory (DSCOVR). The Terra spacecraft can see fires in both daylight and at night, helping aid firefighters in tracking and stopping the blazes. NASA's unique vantage point in space helps better understand our home planet.
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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This is one the the cheetahs at Africat in Namibia. This cheetah is an enclosure as not suitable for release, due to past experiences in its life. However it does live in a beautiful natural large enclosure. We had just cut the grass in a small part of the enclosure, as the grass was very tall after an extremely rainy rainy season, and this one came over to inspect the work. Taken on my little old canon IXUS.
Railway station
Time seems to play no role here. Only slowly awakens the north from his decades of exhaustion.
The train station of Jaffna was in 2013 still in ruins, was destroyed during the long civil war, mined the tracks. In 1990, the railways north of Vavuniya was discontinued.
The reconstruction was completed in 2014. The tracks were renewed.
Italian postcard by Bromofoto, Milano, no. 227. Mistake alert. This is NOT American actress Joan Leslie as indicated on the card but British actress Hazel Court!
Flame-haired English actress Hazel Court (1926 – 2008) was a Horror Queen of the Hammer films of the 1950s and Roger Corman’s Edgar Allan Poe adaptations of the early 1960s. Alfred Hitchcock called her 'the best screamer in the business'.
Hazel Court was born in Sutton Coldfield, Great Britain in 1926. She attended Boldmere School and Highclare College. Her father was G.W. Court, a professional cricketer. At the age of fourteen, Hazel studied drama at the Birmingham Repertory Theatre and the Alexandra Theatre, also in Birmingham. Two years later, she met director Anthony Asquith in London, which won her a bit part in the musical film Champagne Charlie (Alberto Cavalcanti, 1944), made by Ealing Studios. Her only line of dialogue was "I never drank champagne before". The film was based on a play that depicted the real-life rivalry between 19th-century English music hall performer George Leybourne (Tommy Trinder), who first performed the song 'Champagne Charlie', and his colleague Alfred Vance (Stanley Holloway). She got a contract with the Rank Organisation and trained at the studio’s ‘charm school’. Court won a British Critics Award for her supporting role as a crippled girl in Carnival (Stanley Haynes, 1946) about a ballet dancer of the Edwardian era, starring Sally Gray. Years later, Tom Vallance wrote in his obituary of Court in The Independent: “Pert and pretty, Hazel Court was a versatile actress who for several years was the epitome of the deceptively demure, often spunky, but very English heroine in British films of the Forties.” She appeared in supporting parts in the comedy Holiday Camp (Ken Annakin, 1947) with Flora Robson, My Sister and I (Harold Huth, 1948) with Sally Ann Howes, and the drama Bond Street (Gordon Parry, 1948), starring Jean Kent. About the latter Hal Erickson writes at AllMovie: “This multistoried drama purports to detail the events occurring in a single 24-hour period on Bond Street, a "typical" British thoroughfare. The Grand Hotel-like construction of the film allows for several colourful character vignettes.”
In 1949 Hazel Court married Irish actor Dermot Walsh. They co-starred together in the fantasy film Ghost Ship (1952, Vernon Sewell) as a young couple that acquires a yacht. The ship is haunted by the ghosts of a crew that had disappeared off the ship years before. A cult classic became the science fiction film Devil Girl from Mars (David MacDonald, 1954). Patricia Laffan starred as Nyah, an uptight, leather-clad female alien, armed with a ray gun and accompanied by a menacing robot. She arrives at a Scottish inn to collect men as breeding stock, while Court played a disillusioned fashion model who hides for a man who is following her. In 1957 Court played the naive cousin-fiancee of Baron Victor Frankenstein (Peter Cushing) in The Curse of Frankenstein (Terence Fisher, 1957). It was the first colour horror production by Hammer Film and the first of the studio’s Frankenstein series. Its worldwide success led to several sequels, and Hammer's new versions of Dracula (1958) and The Mummy (1959). Court's red hair and green eyes were seen in colour for the first time and her role plus her buxom gained her the status of a ‘scream queen’. However, she wanted to act in comedy films, and in the 1957-1958 television season, she appeared in Dick and the Duchess, a CBS sitcom filmed in England. She played the role of Jane Starrett, a patrician Englishwoman married to an American insurance claims investigator living in London (Patrick O'Neal). Court travelled back and forth between Hollywood and England, appearing in four episodes of the TV series Alfred Hitchcock Presents (1958-1961). One of them showed her being transformed by her jealous husband (Laurence Harvey) into chicken feed. In England, she played in Hammer horror films like The Man Who Could Cheat Death (Terence Fisher, 1959) with Anton Diffring and Christopher Lee, and Doctor Blood's Coffin (Sidney J. Furie, 1961) with Kieron Moore. In the first, Diffring played a sculptor who had found a way of stopping the ageing process so that he was around 70 years older than he looked. While posing for him, Court bared her breasts, a scene cut from the British and American releases and only used for the foreign film market.
By the early 1960s, Hazel Court had permanently moved to the United States. In Hollywood, she continued to appear in horror films, now for American International Pictures. She knew how to project a smouldering sensuality in her roles, and it propelled her to a cult siren. Court was featured in three of AIP’s Edgar Allan Poe adaptations. At the climax of the first one, The Premature Burial (Roger Corman, 1962), Ray Milland shovels dirt on her as she lies in a grave. In the black comedy The Raven (Roger Corman, 1963), she co-starred with Vincent Price, Peter Lorre, and Boris Karloff as a trio of rival sorcerers. The third and best was the exotic The Masque of the Red Death (Roger Corman, 1964), with Vincent Price. The blog Cult Sirens notes: “The Masque of the Red Death in 1964 is probably her most well-known role and surely her best performance. As Juliana, the bride of Prince Prospero (Vincent Price), her sex appeal is at its peak and her tragic death (a bit on the bloody side) is one of the film's highlights.” Court's roles often relied on her cleavage and her ability to shriek in fear and die horrible deaths. It brought her fan mail, even in her later years. Court had divorced Dermot Walsh in 1963. They had a daughter, Sally Walsh, who at the age of four had appeared with her mother in The Curse of Frankenstein (1957). While shooting an episode of Alfred Hitchcock Presents, Court met American actor-director Don Taylor. They married in 1964, and Court retired from the film business to concentrate on being a wife and mother. They had a son, Jonathan, and a daughter, Courtney. Through the years, she guest starred in episodes of many classic TV series such as The Third Man (1959), The Invisible Man (1959), Bonanza (1960), Danger Man (1960-1961), Rawhide (1964), The Twilight Zone (1964), and Twelve O’Clock High (1964-1965). She continued to do so and could be seen in Dr Kildare (1965), Gidget (1966), The Wild Wild West (1966), Mission: Impossible (1967), Mannix (1968) and McMillan & Wife (1972). Finally, she appeared briefly in the third Omen film, The Final Conflict (Graham Baker, 1981), starring Sam Neill and Rossano Brazzi. Like in her first film, she was uncredited in this Horror thriller and played a champagne-drinking guest at a party. In addition to acting, she was also a painter and sculptress and studied sculpting in Italy. Following her husband Don Taylor's death in 1998, she appeared on the cult movie conventions circuit. In 2008 Hazel Court died of a heart attack at her home near Lake Tahoe, California, aged 82. A week later, her autobiography 'Hazel Court - Horror Queen' was published by Tomahawk Press. One of Court's biggest fans is writer Stephen King who mentions her in various of his novels.
Sources: Tom Vallance (The Independent), Ronald Bergan (The Guardian), Hal Erickson (AllMovie), Tom Weaver (IMDb), Horror Stars, Cult Sirens, Wikipedia, and IMDb.
Jhoselyn Sardinas in “The Dolls”
The Dolls talk.
They speak of your sins to the innocent, then they tell of what should be done to make the world pure.
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Model:
Jhoselyn Sardinas
@jhoselynsardinas
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Disclaimers:
** Warning ** These are shots used for giving starting actors and models a look to get roles in many genres.
** Disclaimer ** No Children ( Or Parents ) were harmed in this photoshoot, all prop use, Outfits, and poses was done with strict parental supervision.
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#kids #demo #reel #acting
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Drivers Photography
Our focus is actors.
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Tools which show character. Characters that land roles.
Directors and filmmakers are NOT looking to cast “industry standard” headshots.
They are looking for characters! Characters that fit the ones in their scripts.
This is Simple and Easy.
The book “Think and Grow Rich”; says the route to success is to find a need and fill it.
Casting and filmmakers are looking for and NEED “Characters”.
Let’s give them what they are looking for.
In things related to kids casting Actor Demo Reels or Acting Reels will give your actor an advantage in auditions.
These will allow casting people and filmmaker to see and hear the performance of your actor.
Many Casting Directors and film makers to not even look at actors who lack Actor Demo Reels.
They want to work with professionals, not people who are deciding if this is something they want to do.
Would you use a plumber to fix something in your house if they looked at plumbing as a interesting hobby?
OF course not! You would want a Pro!
So, Child actors with talent need ways to showcase their skill.
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For most young actors do not have demo reels.
Contact us for booking and consultation:
Email: info@driversphotography.com
www.birkenheuerphotography.com/
third time is the charm! collaborating once again with doug, my good friend, and a great photographer!! ...our only agenda, to have fun!
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The TIE/LN starfighter, or TIE/line starfighter, simply known as the TIE Fighter or T/F, was the standard Imperial starfighter seen in massive numbers throughout most of the Galactic Civil War and onward.
The TIE Fighter was manufactured by Sienar Fleet Systems and led to several upgraded TIE models such as TIE/sa bomber, TIE/IN interceptor, TIE/D Defender, TIE/D automated starfighter, and many more.
The original TIEs were designed to attack in large numbers, overwhelming the enemy craft. The Imperials used so many that they came to be considered symbols of the Empire and its might. They were also very cheap to produce, reflecting the Imperial philosophy of quantity over quality.
However, a disadvantage of the fighter was its lack of deflector shields. In combat, pilots had to rely on the TIE/LN's maneuverability to avoid damage. The cockpit did incorporate crash webbing, a repulsorlift antigravity field, and a high-g shock seat to help protect the pilot, however these did next to nothing to help protect against enemy blaster fire.
Due to the lack of life-support systems, each TIE pilot had a fully sealed flight suit superior to their Rebel counterparts. The absence of a hyperdrive also rendered the light fighter totally dependent on carrier ships when deployed in enemy systems. TIE/LNs also lacked landing gear, another mass-reducing measure. While the ships were structurally capable of "sitting" on their wings, they were not designed to land or disembark their pilots without special support. On Imperial ships, TIEs were launched from racks in the hangar bays.
The high success rate of more advanced Rebel starfighters against standard Imperial TIE Fighters resulted in a mounting cost of replacing destroyed fighters and their pilots. That, combined with the realization that the inclusion of a hyperdrive would allow the fleet to be more flexible, caused the Imperial Navy to rethink its doctrine of using swarms of cheap craft instead of fewer high-quality ones, leading to the introduction of the TIE Advanced x1 and its successor, the TIE Avenger. The following TIE/D Defender as well as the heavy TIE Escort Fighter (or TIE/E) were touted as the next "logical advance" of the TIE Series—representing a shift in starfighter design from previous, expendable TIE models towards fast, well armed and protected designs, capable of hyperspace travel and long-term crew teams which gained experience and capabilities over time.
The TIE/E Escort, was a high-performance TIE Series starfighter developed for the Imperial Navy by Sienar Fleet Systems and it was introduced into service shortly before the Battle of Endor. It was a much heavier counterpart to the agile and TIE/D fighter, and more of an attack ship or even a light bomber than a true dogfighter. Its role were independent long range operations, and in order to reduce the work load and boost morale a crew of two was introduced (a pilot and a dedicated weapon systems officer/WSO). The primary duty profile included attack and escort task, but also reconnoiter missions. The TIE/E shared the general layout with the contemporary TIE/D fighter, but the cockpit section as well as the central power unit were much bigger, and the ship was considerably heavier.
The crew enjoyed – compared with previous TIE fighter designs – a spacious and now fully pressurized cockpit, so that no pressurized suits had to be worn anymore. The crew members sat in tandem under a large, clear canopy. The pilot in front had a very good field of view, while the WSO sat behind him, in a higher, staggered position with only a limited field of view. Both work stations had separate entries, though, and places could not be switched in flight: the pilot mounted the cockpit through a hatch on port side, while the WSO entered the rear compartment through a roof hatch.
In a departure from the design of previous TIE models, instead of two parallel wings to either side of the pilot module, the TIE Escort had three quadanium steel solar array wings mounted symmetrically around an aft section, which contained an I-s4d solar ionization reactor to store and convert solar energy collected from the wing panels. The inclusion of a third wing provided additional solar power to increase the ship's range and the ship's energy management system was designed to allow weapons and shields to be charged with minimum loss of power to the propulsion system.
Although it was based on the standard twin ion engine design, the TIE/E’s propulsion system was upgraded to the entirely new, powerful P-sz9.8 triple ion engine. This allowed the TIE/E a maximum acceleration of 4,220 G or 21 MGLT/s and a top speed of 144 MGLT, or 1,680 km/h in an atmosphere — almost 40 percent faster than a former standard TIE Fighter. With tractor beam recharge power (see below) redirected to the engines, the top speed could be increased to 180 MGLT in a dash.
In addition to the main thrusters located in the aft section, the TIE Escort's triple wing design allowed for three arrays of maneuvering jets and it featured an advanced F-s5x flight avionics system to process the pilot's instructions. Production models received a class 2, ND9 hyperdrive motivator, modified from the version developed for the TIE Avenger. The TIE/E also carried a Sienar N-s6 Navcon navigation computer with a ten-jump memory.
Special equipment included a small tractor beam projector, originally developed for the TIE Avenger, which could be easily fitted to the voluminous TIE Escort. Models produced by Ysanne Isard's production facility regularly carried such tractor beams and the technology found other uses, such as towing other damaged starfighters until they could achieve the required velocity to enter hyperspace. The tractor beam had limited range and could only be used for a short time before stopping to recharge, but it added new tactics, too. For instance, the beam allowed the TIE/E crews to temporarily inhibit the mobility of enemy fighters, making it easier to target them with the ship's other weapon systems, or prevent enemies from clear shots.
The TIE Escort’s weapons systems were primarily designed to engage bigger ships and armored or shielded targets, like armed freighters frequently used by the Alliance. Thanks to its complex weapon and sensor suite, it could also engage multiple enemy fighters at once. The sensors also allowed an effective attack of ground targets, so that atmospheric bombing was a potential mission for the TIE/E, too.
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The TIE Escort Fighter carried a formidable array of weaponry in two modular weapon bays that were mounted alongside the lower cabin. In standard configuration, the TIE/E had two L-s9.3 laser cannons and two NK-3 ion cannons. The laser and ion cannons could be set to fire separately or, if concentrated power was required, to fire-linked in either pairs or as a quartet.
The ship also featured two M-g-2 general-purpose warhead launchers, each of which could be equipped with a standard load of three proton torpedoes or four concussion missiles. Depending on the mission profile, the ship could be fitted with alternative warheads such as proton rockets, proton bombs, or magnetic pulse warheads.
Additionally, external stores could be carried under the fuselage, which included a conformal sensor pallet for reconnaissance missions or a cargo bay with a capacity for 500 kg (1.100 lb).
The ship's defenses were provided by a pair of forward and rear projecting Novaldex deflector shield generators—another advantage over former standard TIE models. The shields were designed to recharge more rapidly than in previous Imperial fighters and were nearly as powerful as those found on capital ships, so that the TIE/E could engage other ships head-on with a very high survivability. The fighters were not equipped with particle shields, though, relying on the reinforced titanium hull to absorb impacts from matter. Its hull and wings were among the strongest of any TIE series Starfighter yet.
The advanced starfighter attracted the attention of several other factions, and the Empire struggled to prevent the spread of the technology. The ship's high cost, together with political factors, kept it from achieving widespread use in the Empire, though, and units were assigned only to the most elite crews.
The TIE/E played a central role in the Empire's campaign against rogue Grand Admiral Demetrius Zaarin, and mixed Defender and Escort units participated in several other battles, including the Battle of Endor. The TIE Escort continued to see limited use by the Imperial Remnant up to at least 44 ABY, and was involved in numerous conflicts, including the Yuuzhan Vong War..
The kit and its assembly:
Another group build contribution, this time to the Science Fiction GB at whatifmodelers.com during summer 2017. Originally, this one started as an attempt to build a vintage MPC TIE Interceptor kit which I had bought and half-heartedly started to build probably 20 years ago. But I did not have the right mojo (probably, The Force was not strong enough…?), so the kit ended up in a dark corner and some parts were donated to other projects.
The sun collectors were still intact, though, and in the meantime I had the idea of reviving the kit’s remains, and convert it into (what I thought was) a fictional TIE Fighter variant with three solar panels. For this plan I got myself another TIE Interceptor kit, and stashed it away, too. Mojo was still missing, though.
Well, then came the SF GB and I took it as an occasion to finally tackle the build. But when I prepared for the build I found out that my intended design (over the years) more or less actually existed in the Star Wars universe: the TIE/D Defender! I could have built it with the parts and hand and some improvisation, but the design similarity bugged me. Well, instead of a poor copy of something that was more or less clearly defined, I rather decided to create something more individual, yet plausible, from the parts at hand.
The model was to stay a TIE design, though, in order to use as much donor material from the MPC kits as possible. Doing some legwork, I settled for a heavy fighter – bigger than the TIE Interceptor and the TIE/D fighter, a two-seater.
Working out the basic concept and layout took some time and evolved gradually. The creative spark for the TIE/E eventually came through a Revell “Obi Wan’s Jedi Starfighter” snap fit kit in my pile – actually a prize from a former GB participation at phoxim.de (Thanks a lot, Wolfgang!), and rather a toy than a true model kit.
The Jedi Fighter was in so far handy as it carries some TIE Fighter design traits, like the pilot capsule and the characteristic spider web windscreen. Anyway, it’s 1:32, much bigger than the TIE Interceptor’s roundabout 1:50 scale – but knowing that I’d never build the Jedi Starfighter OOB I used it as a donor bank, and from this starting point things started to evolve gradually.
Work started with the cockpit section, taken from the Jedi Starfighter kit. The two TIE Interceptor cockpit tubs were then mounted inside, staggered, and the gaps to the walls filled with putty. A pretty messy task, and once the shapes had been carved out some triangular tiles were added to the surfaces – a detail I found depicted in SW screenshots and some TIE Fighter models.
Another issue became the crew – even though I had two MPC TIE Interceptors and, theorectically, two pilot figures, only one of them could be found and the second crewman had to be improvised. I normally do not build 1:48 scale things, but I was lucky (and happy) to find an SF driver figure, left over from a small Dougram hoovercraft kit (from Takara, as a Revell “Robotech” reboxing). This driver is a tad bigger than the 1:50 TIE pilot, but I went with it because I did not want to invest money and time in alternatives. In order to justify the size difference I decided to paint the Dougram driver as a Chiss, based on the expanded SW universe (with blue skin and hair, and glowing red eyes). Not certain if this makes sense during the Battle of Endor timeframe, but it adds some color to the project – and the cockpit would not be visible in much detail since it would be finished fully closed.
Reason behind the closed canopy is basically the poor fit of the clear part. OOB, this is intended as an action toy – but also the canopy’s considerable size in 1:50 would prevent its original opening mechanism.
Additional braces on the rel. large window panels were created with self-adhesive tape and later painted over.
The rear fuselage section and the solar panel pylons were scratched. The reactor behind the cockpit section is actually a plastic adapter for water hoses, found in a local DIY market. It was slightly modified, attached to the cockpit “egg” and both parts blended with putty. The tail opening was closed with a hatch from the OOB TIE Interceptor – an incidental but perfect match in size and style.
The three pylons are also lucky finds: actually, these are SF wargaming/tabletop props and would normally be low walls or barriers, made from resin. For my build, they were more or less halved and trimmed. Tilted by 90°, they are attached to the hull with iron wire stabilizers, and later blended to the hull with putty, too.
Once the cockpit was done, things moved more swiftly. The surface of the hull was decorated with many small bits and pieces, including thin styrene sheet and profiles, steel and iron wire in various strengths, and there are even 1:72 tank tracks hidden somewhere, as well as protective caps from syringes (main guns and under the rear fuselage). It’s amazing how much stuff you can add to such a model – but IMHO it’s vital in order to create some structure and to emulate the (early) Star Wars look.
Painting and markings:
The less spectacular part of the project, even though still a lot of work because of the sheer size of the model’s surface. Since the whole thing is fictional, I tried to stay true to the Imperial designs from Episode IV-VI and gave the TIE/E a simple, all-light grey livery. All basic painting was done with rattle cans.
Work started with a basic coat of grey primer. On top of that, an initial coat of RAL 7036 Platingrau was added, esp. to the lower surfaces and recesses, for a rough shading effect. Then, the actual overall tone, RAL 7047, called “Telegrau 4”, one of Deutsche Telekom’s corporate tones, was added - mostly sprayed from abone and the sides onto the model. Fuselage and panels were painted separately, overall assembly was one of the final steps.
The solar panels were to stand out from the grey rest of the model, and I painted them with Revell Acrylic “Iron Metallic” (91) first, and later applied a rather rich wash with black ink , making sure the color settled well into the many small cells. The effect is pretty good, and the contrast was slightly enhanced through a dry-brushing treatment.
Only a few legible stencils were added all around the hull (most from the scrap box or from mecha sheets), the Galactic Empire Seal were inkjet-printed at home, as well as some tactical markings on the flanks, puzzled together from single digits in "Aurebash", one of the Imperial SW languages/fonts.
For some variety and color highlights, dozens of small, round and colorful markings were die-punched from silver, yellow, orange, red and blue decal sheet and were placed all over the hull - together with the large panels they blur into the the overall appearance, though. The hatches received thin red linings, also made from generic decals strips.
The cockpit interior was a bit challenging, though. Good TIE Fighter cockpit interior pictures are hard to find, but they suggest a dark grey tone. More confusingly, the MPC instructions call for a “Dark Green” cockpit? Well, I did not like the all-grey option, since the spaceship is already monochrome grey on the outside.
As a compromise I eventually used Tamiya XF-65 "Field Grey". The interior recieved a black ink in and dry-brushing treatment, and some instruments ansd screens were created with black decal material and glossy black paint; some neon paint was used for sci-fi-esque conmtraol lamps everywhere - I did not pay too much intention on the interior, since the cockpit would stay closed, and the thick clear material blurs everything inside.
Following this rationale, the crew was also painted in arather minimal fashion - both wear a dark grey uniform, only the Chiss pilot stands aout with his light blue skin and the flourescent red eyes.
After an overall black ink wash the model received a dry brusing treatment with FS 36492 and FS 36495, for a weathered and battle-worn look. After all, the "Vehement" would not survive the Ballte of Endor, but who knows what became of TIE/E "801"'s mixed crew...?
Finally, the kit was sealed with matt acrylic varnish, and some final cosmetic corrections made.
The display is a DIY creation, too, made from a 6x6" piece of wood, it's edges covered with edgebonder, a steel wire as holder, and finally the display was paited with semi-matt black acrylic paint from the rattle can.
A complex build, and the TIE/E more or less evolved along the way, with only the overall layout in mind. Work took a month, but I think it was worth the effort. This fantasy creation looks pretty plausible and blends well into the vast canonical TIE Fighter family - and I am happy that I finally could finish this mummy project, including the surplus Jedi Starfighter kit which now also find a very good use!
An epic one, and far outside my standard comfort zone. But a wothwhile build!