View allAll Photos Tagged Reactive
Now you might be thinking that ‘Moonbase Cupid’ sounds like the title of a saucy 70’s film set in space and, weirdly, you’re not far off the truth. In 1983 NASA set up a secret moonbase in order to study the effect of human reproduction in space. After a little time the somewhat inevitable result was Andromeda here. Which proved an important point in itself.
What wasn’t foreseen was that the somewhat precocious young girl would go on to develop rainbow coloured skin and display certain ‘skills’ that would remain largely inexplicable. For now at least. She is currently the only permanent resident on the moon but who knows what the future holds for Andromeda…
Moonbase Cupid is created using the magic of spray paint, acrylics, paint pen, stencils and imagination on A2 paper. She even features some UV reactive stars and a glow in the dark moon. Drop us a line or head to our shop if you need Andromeda on your wall.
Cheers
id-iom
Just finished making my FIRST PAIR of Glow-in-the Dark and Blacklight-Reactive Eye Chips for Blythe!!!! SO EXCITED! I think they came out great! ♥ See profile for details.
Once more, new pics from a old kit (from ~2009), from which I originally had only taken three shots.
This is another, fictional major conversion of an Aoshima (ex Gunze Sangyo) stock PA-36 kit. This one has no OAV paradigm (much like the former "Guntos" conversion), it is rather the interpretation of an idea on the basis of a Dorvack Powered Armor.
This time, the idea or theme was “Russian battle tank”, with both modern and historic elements. Another, separate idea was to apply a brown color scheme to a PA – and finally, both came together in this model.
The inspiration for a Russian version came originally when I saw MiG Production’s KV-X2 resin kit (anyone remember?) of a fictional 4-legged tank which carries a modified KV-2 tank turret on top. This thing looked steampunk, but blunt and IMHO totally unbalanced, and until today I wonder where a driver would be located? "Ground pressure” or “ballistic windows” obviously had also not been anything the designer(s) had ever heard of. But… what if a Dorvack PA would accompany it?
Additionally, I was reading a very interesting book about modern battle tanks, 'Kampfpanzer - heute und morgen', written by Rolf Hilmes in 2007, highly recommended if you are into tank technology. It offered lots of state-of-the art picture material and also technical information, as well as insights into design philosophies of modern military combat vehicles around the world.
The final inspirational spark lured finally in my bathroom! One morning, while pondering about these ideas, I used my deo, and... saw the lines and forms of the can’s spray head! *BINGO*! This form would be a perfect addition to a basic PA-36 kit, changing its helmet lines into a much bulkier design. Consequently, the 'PA-36S' (the 'S' suffix was inspired by the famous Russian WWII shtormovik ground attack planes) project was born. And its name would also fit: “Nove горбун”, or “gorbach”, which means “hunchback” in Russian language – also a reminiscence, to the Ilyushin Il-20 ground attack aircraft prototype.
Work started quickly. The spray head from the can was surprisingly easy to transplant, even though major putty work was necessary to make the lines flush. The spray head's plastic was also a bit waxy (I suppose it is PVC), but with super glue and the help of Tamiya putty, everything held together. Surprisingly, the parts fitted well, and the result looks really COOL and pretty different from the round standard PA design – but still consistent.
From there, I incorporated many Russian tank design elements. Since Russian battle tanks are primarily designed for assault/charge attacks, I decided that the front would need extra protection. The new bulky head already suggests this, but as an additional measure I applied reactive armour plating on the upper body and the front areas, wherever possible/plausible and where it would not hamper mobility – keeping the look in line with the Russian KONTAKT system.
The necessary explosive plates were cut from 1mm polystyrol plates, glued onto the hull, sanded with a brass brush on a mini drill in order to achieve a softer and irregular look, and finally the bolts were manually added with small tips of casein glue.
Further modifications include custom knee caps/protectors. These are parts from a plundered Gundam Endless Waltz “Serpent Custom” kit in 1:144 scale, adapted to their new position and embedded with putty. From the same kit also come the shoulder shields – also modified, dented and put on extenders on the upper arms, so that there is room between them and the arm. The idea behind them is to offer additional protection from hollow explosive charges for the hull, esp. the shoulder and air intake area. These new shields actually had to be added, because the original horizontal shoulder shields in front of the jet pack’s air intakes could not be fitted anymore – the air intakes were replaced by scrap parts from an Airfix Kamov Ka-25 helicopter in 1:72. This helicopter kit also donated two searchlights, which were added on the PA’s front hull.
Furthermore, many small details were changed or added. First of all, a new visor unit with 3 lenses was implanted in the front with a protective frame. These parts come from a PAM-74AM’s hand weapon, and they give the PA-36S quite a grunty retro look. On the PA’s top, the typical hump on the left side was replaced by a bigger/longer piece (a 1:48 scale WWII bomb half). On the back, a heat exchanger (for those cold Russian nights…) was placed and surrounded by reactive armour plates. If I remember correctly, this part comes from the horrible 1:72 'Aliens' Dropship kit from Halcyon and was modified. The PA-36's typical pipelines on the right shoulder were replaced with more rustic, self-made pieces. These hoses are actually made from Christmas tree decoration: fine metal coils, which were fitted onto a steel thread and then cut and bent into shape.
The feet also received some tuning, making them broader in order to improve the PA’s weight distribution in the field and offer improved hold. These parts come from an ESCI 1:72 Jagdpanzer IV kit (track and side skirt parts).
For active defensive measures, I added an IR decoy device on a pole on the PA's back. This thing looks similar to the current Russian ARENA radar defence system's sensor boom. Additionally, on the PA’s helmet sides and on the back, small laser detectors were added, inspired by the similar real Russian SCHTORA (russ. Штора, “curtain”) system. In case of enemy detection and laser designation, the system will trigger IR smoke dischargers (on the PA, four smoke mortars are placed on the left shoulder – parts from an Arii 1:100 Super Valkyrie) for emergency defence.
For armament, I settled for the standard R6 gun which comes with the stock kit, but also modified it for a beefier look. While the basis was kept, a short barrel extension was added and a nozzle brake (from a PAM-74C “Dunc” kit) put in the front. The idea was to create a gun with a smaller calibre, which would not only fire “slow” HE ammunition (which I suppose the R6 cannon uses – it looks like a mortar or howitzer), but faster AP shells. The impressive nozzle break is supposed to catch the stronger recoil of this different weapon concept, and it looks good ;)
On the blank (an ugly!) back of the gun, some technical parts were added which “simulate” recoil and gas pressure compensators. The huge, basically empty box on top of the gun (A visor unit? A camera? A bread basket?) received 3 lenses which double the PA’s new 3-lobed visor unit. Finally, a set of flexible, fabric-covered cables connects the gun with an adapter box on the PA’s breast (the original PA-36 has a small flap under its visor for this purpose). This gun then received my personal designation R6M, “M” for modified , an authentic Russian suffix.
From the beginning, this PA conversion was to be painted in a single colour. Since all-green PA’s frequently appear in the TV series (see e. g. episode 14 & 16) and will definitively show up in my collection, I settled on brown. Another factor was the background picture (see above), which had much influence on the kit's finish. And finally, since I have seen several pictures of all-brown/dark sand Russian WWII tanks, the single brown colour seemed to be plausible. Mmm… brown. Or better: коричневый цвет!
The basic overall tone is Tamiya’s XF-64 “Red Brown”, everywhere. Some details like the inside of the visor unit were painted with Testor’s 2002 “Burnt Umber” from the figure colour series for extra contrast. The joints received a mix of Gold (Testors 1144), a bit gun metal (Humbrol 53) and Burnt Umber.
After a first turn of dry painting with Humbrol 186 and 118, decals were applied. Numbers and unit markings come from a 1:35 scale WWII Russian tank sheet from German decal specialist Peddinghaus. The many light grey Russian labels come from the vast decal sheet of Italieri/Testor’s MiG-37 “Ferret B” kit in 1:72 scale, and typical Dorvack markings come from the original PA-36 and a spare PAM-74 decal sheet. Sadly, most of them disappeared under the final coat of snow...
“Nose art” on the HD-R6M gun consists of a hand-written “плохая новость”, which simply means “Bad news”. What else to expect from this tank on legs? But this, too, unfortunately disappeared under the snow.
After a matte varnish coat the kit received a thorough black ink wash in order to point out the reactive armour plating. Then, several turns with dry paint, including hemp, gulf war sand, light grey, sand and chocolate (Humbrol 168, 187, 64, 63 and 98, respectively) were applied to point out the many surface details. Some dents and blank edges were added with dry-brushed silver, but sparsely. Also, some smoke was simulated with black and dark grey paint (Humbrol 33 and 32), and as a final step some rust and oil was simulated with water-based acrylic paint in burnt umbra and sienna.
In order to enhance the heavy duty impression (and remind of harsh conditions this piece might encounter), the PA finally received a mud treatment around its legs. Plaster, mixed with grass filament, fine sand and water-based mixing colour, was prepared in a shallow bowl and the kit’s feet simply stumped into this artificial sludge – leaving the mud and splashes wherever they might end up.
From above, the kit then received a coat or light snow, made from coloured joint mortar (white, plaster is too grayish!), rinsed through a fine mesh onto the kit which was sprayed with water.
Finally, I must say that this kit was an interesting experience. On one side, it surely was plain fun to convert such a kit into something very different, seeing a vague idea taking shape. But on the other side, this project also has the more or less serious claim to incorporate realistic defence technology – and while building the kit, I became aware how tricky it actually is to construct and protect something like a tank from various battlefield dangers, and how naïve mecha can come along.
Once more, new pics from a old kit (from ~2009), from which I originally had only taken three shots.
This is another, fictional major conversion of an Aoshima (ex Gunze Sangyo) stock PA-36 kit. This one has no OAV paradigm (much like the former "Guntos" conversion), it is rather the interpretation of an idea on the basis of a Dorvack Powered Armor.
This time, the idea or theme was “Russian battle tank”, with both modern and historic elements. Another, separate idea was to apply a brown color scheme to a PA – and finally, both came together in this model.
The inspiration for a Russian version came originally when I saw MiG Production’s KV-X2 resin kit (anyone remember?) of a fictional 4-legged tank which carries a modified KV-2 tank turret on top. This thing looked steampunk, but blunt and IMHO totally unbalanced, and until today I wonder where a driver would be located? "Ground pressure” or “ballistic windows” obviously had also not been anything the designer(s) had ever heard of. But… what if a Dorvack PA would accompany it?
Additionally, I was reading a very interesting book about modern battle tanks, 'Kampfpanzer - heute und morgen', written by Rolf Hilmes in 2007, highly recommended if you are into tank technology. It offered lots of state-of-the art picture material and also technical information, as well as insights into design philosophies of modern military combat vehicles around the world.
The final inspirational spark lured finally in my bathroom! One morning, while pondering about these ideas, I used my deo, and... saw the lines and forms of the can’s spray head! *BINGO*! This form would be a perfect addition to a basic PA-36 kit, changing its helmet lines into a much bulkier design. Consequently, the 'PA-36S' (the 'S' suffix was inspired by the famous Russian WWII shtormovik ground attack planes) project was born. And its name would also fit: “Nove горбун”, or “gorbach”, which means “hunchback” in Russian language – also a reminiscence, to the Ilyushin Il-20 ground attack aircraft prototype.
Work started quickly. The spray head from the can was surprisingly easy to transplant, even though major putty work was necessary to make the lines flush. The spray head's plastic was also a bit waxy (I suppose it is PVC), but with super glue and the help of Tamiya putty, everything held together. Surprisingly, the parts fitted well, and the result looks really COOL and pretty different from the round standard PA design – but still consistent.
From there, I incorporated many Russian tank design elements. Since Russian battle tanks are primarily designed for assault/charge attacks, I decided that the front would need extra protection. The new bulky head already suggests this, but as an additional measure I applied reactive armour plating on the upper body and the front areas, wherever possible/plausible and where it would not hamper mobility – keeping the look in line with the Russian KONTAKT system.
The necessary explosive plates were cut from 1mm polystyrol plates, glued onto the hull, sanded with a brass brush on a mini drill in order to achieve a softer and irregular look, and finally the bolts were manually added with small tips of casein glue.
Further modifications include custom knee caps/protectors. These are parts from a plundered Gundam Endless Waltz “Serpent Custom” kit in 1:144 scale, adapted to their new position and embedded with putty. From the same kit also come the shoulder shields – also modified, dented and put on extenders on the upper arms, so that there is room between them and the arm. The idea behind them is to offer additional protection from hollow explosive charges for the hull, esp. the shoulder and air intake area. These new shields actually had to be added, because the original horizontal shoulder shields in front of the jet pack’s air intakes could not be fitted anymore – the air intakes were replaced by scrap parts from an Airfix Kamov Ka-25 helicopter in 1:72. This helicopter kit also donated two searchlights, which were added on the PA’s front hull.
Furthermore, many small details were changed or added. First of all, a new visor unit with 3 lenses was implanted in the front with a protective frame. These parts come from a PAM-74AM’s hand weapon, and they give the PA-36S quite a grunty retro look. On the PA’s top, the typical hump on the left side was replaced by a bigger/longer piece (a 1:48 scale WWII bomb half). On the back, a heat exchanger (for those cold Russian nights…) was placed and surrounded by reactive armour plates. If I remember correctly, this part comes from the horrible 1:72 'Aliens' Dropship kit from Halcyon and was modified. The PA-36's typical pipelines on the right shoulder were replaced with more rustic, self-made pieces. These hoses are actually made from Christmas tree decoration: fine metal coils, which were fitted onto a steel thread and then cut and bent into shape.
The feet also received some tuning, making them broader in order to improve the PA’s weight distribution in the field and offer improved hold. These parts come from an ESCI 1:72 Jagdpanzer IV kit (track and side skirt parts).
For active defensive measures, I added an IR decoy device on a pole on the PA's back. This thing looks similar to the current Russian ARENA radar defence system's sensor boom. Additionally, on the PA’s helmet sides and on the back, small laser detectors were added, inspired by the similar real Russian SCHTORA (russ. Штора, “curtain”) system. In case of enemy detection and laser designation, the system will trigger IR smoke dischargers (on the PA, four smoke mortars are placed on the left shoulder – parts from an Arii 1:100 Super Valkyrie) for emergency defence.
For armament, I settled for the standard R6 gun which comes with the stock kit, but also modified it for a beefier look. While the basis was kept, a short barrel extension was added and a nozzle brake (from a PAM-74C “Dunc” kit) put in the front. The idea was to create a gun with a smaller calibre, which would not only fire “slow” HE ammunition (which I suppose the R6 cannon uses – it looks like a mortar or howitzer), but faster AP shells. The impressive nozzle break is supposed to catch the stronger recoil of this different weapon concept, and it looks good ;)
On the blank (an ugly!) back of the gun, some technical parts were added which “simulate” recoil and gas pressure compensators. The huge, basically empty box on top of the gun (A visor unit? A camera? A bread basket?) received 3 lenses which double the PA’s new 3-lobed visor unit. Finally, a set of flexible, fabric-covered cables connects the gun with an adapter box on the PA’s breast (the original PA-36 has a small flap under its visor for this purpose). This gun then received my personal designation R6M, “M” for modified , an authentic Russian suffix.
From the beginning, this PA conversion was to be painted in a single colour. Since all-green PA’s frequently appear in the TV series (see e. g. episode 14 & 16) and will definitively show up in my collection, I settled on brown. Another factor was the background picture (see above), which had much influence on the kit's finish. And finally, since I have seen several pictures of all-brown/dark sand Russian WWII tanks, the single brown colour seemed to be plausible. Mmm… brown. Or better: коричневый цвет!
The basic overall tone is Tamiya’s XF-64 “Red Brown”, everywhere. Some details like the inside of the visor unit were painted with Testor’s 2002 “Burnt Umber” from the figure colour series for extra contrast. The joints received a mix of Gold (Testors 1144), a bit gun metal (Humbrol 53) and Burnt Umber.
After a first turn of dry painting with Humbrol 186 and 118, decals were applied. Numbers and unit markings come from a 1:35 scale WWII Russian tank sheet from German decal specialist Peddinghaus. The many light grey Russian labels come from the vast decal sheet of Italieri/Testor’s MiG-37 “Ferret B” kit in 1:72 scale, and typical Dorvack markings come from the original PA-36 and a spare PAM-74 decal sheet. Sadly, most of them disappeared under the final coat of snow...
“Nose art” on the HD-R6M gun consists of a hand-written “плохая новость”, which simply means “Bad news”. What else to expect from this tank on legs? But this, too, unfortunately disappeared under the snow.
After a matte varnish coat the kit received a thorough black ink wash in order to point out the reactive armour plating. Then, several turns with dry paint, including hemp, gulf war sand, light grey, sand and chocolate (Humbrol 168, 187, 64, 63 and 98, respectively) were applied to point out the many surface details. Some dents and blank edges were added with dry-brushed silver, but sparsely. Also, some smoke was simulated with black and dark grey paint (Humbrol 33 and 32), and as a final step some rust and oil was simulated with water-based acrylic paint in burnt umbra and sienna.
In order to enhance the heavy duty impression (and remind of harsh conditions this piece might encounter), the PA finally received a mud treatment around its legs. Plaster, mixed with grass filament, fine sand and water-based mixing colour, was prepared in a shallow bowl and the kit’s feet simply stumped into this artificial sludge – leaving the mud and splashes wherever they might end up.
From above, the kit then received a coat or light snow, made from coloured joint mortar (white, plaster is too grayish!), rinsed through a fine mesh onto the kit which was sprayed with water.
Finally, I must say that this kit was an interesting experience. On one side, it surely was plain fun to convert such a kit into something very different, seeing a vague idea taking shape. But on the other side, this project also has the more or less serious claim to incorporate realistic defence technology – and while building the kit, I became aware how tricky it actually is to construct and protect something like a tank from various battlefield dangers, and how naïve mecha can come along.
Reactive music piece.
An Arduino Lilypad with an accelerometer controlling an LED that modulates a Bleep Labs Thingamagoop.
Just walking past it will set it off.
Pattern: Albion by Colette Patterns - Walden
Size: XS
Fabric:
-Fused Lace Boiled Wool from B & J Fabrics
-Rayon/Silk Satin from Dharma Trading - dyed Cerulean Blue with Dharma Fiber Reactive Dye
-Weft Insertion interfacing from Fashion Sewing Supply
Notions:
-Snap hooks and D-rings from Pacific Trimmings
-Buttons from Pacific Trimmings
-Leather from an Etsy seller
-Lace from Fabric Depot - Bridal department
Modifications:
-Forward shoulder alteration
-Removed width from sleeve bicep area while widening from elbow down
-Lengthened sleeve by 3/4"
-Took in 1 1/4" at waist
-Raised armhole 1"
-Cut patch pocket as slanted pocket (more natural hand position) - eliminating the need for a flap. Also added diagonal stitching at the bottom pocket corners because I hate losing things into the deep corner of a pocket
-Changed in-seam pocket shape to more traditional kidney shape, but still long enough to catch in center facing topstitching and used lining fabric instead of fashion fabric to eliminate bulk - plus I like a slippery pocket fabric
-Hemmed lining with lace instead of tucking into fashion fabric hem line
-Metal snap-hooks and D-rings instead of toggles
-Changed position of sleeve tab to face backwards for more interest from a rear view - also cut the tab ends rounded
-Interfaced both back and front upper yoke, center front facing, armhole edges, positions of the snaps, in-seam pocket openings
-Eliminated hood tab as my thick fabric made it look just silly hanging off flapping free and I didn't think I would use it
-Added embroidered "made by" tag
-Added hanging chain
Thoughts:
This project has turned out to be satisfying sew although there were times I wanted to throw it out the window.
My fabric was very thick and required a walking foot. Though the construction was pretty straight forward it was definitely time consuming.
My biggest obstacle during the muslin alterations was getting the sleeve just right. I ended up almost redrafting the whole sleeve cap as the bicep area of the original pattern was just gigantic on me, but the forearm/cuff area was too narrow. After probably 5 different drafts I finally got a shape that worked, but boy, I was really pulling my hair out on that one.
My biggest obstacle with sewing was the lining. I hand dyed it in my bathtub and it turned out the most gorgeous shiny cerulean blue. Just fantastic! My love for the fabric stopped there. The fabric was horrible to work with. I stiffened it with starch and it was still super slippery and shifty. Cutting it out was a nightmare. I never quite got it on grain so there was some….interesting bias growth in some of the pieces. I used the sharp microtex needle and still got some pulled threads. It frayed like crazy so I finished the edges with a zigzag stitch for fear of what would happen once it was installed in the coat.
Onto hemming - As for the lining hem…some of my pieces grew and some of them were too short to hem as the pattern directions dictated. After a lot of stressed out thinking I came up with a solution to hem the coat fabric and lining fabric separately. I would use the 1" hem for the coat fabric and add a lace hem to the lining fabric to even it out. I was able to zigzag the lace to the hem in a straight line parallel to the coat fabric and then trimmed off the lining fabric close to the stitching line. I then handstitched the still-loose sides of the lining/lace to the center facing.
I used metal snap-hooks and D-rings as closures because I thought the traditional wood toggles of the duffle coat would cheapen the look and black ones would blend in too much. I also wanted to add a little edginess. So I picked out brass snap-hooks and D-rings. I attached them with black leather tabs - rounded at the ends to continue the rounded edge theme from the sleeve tabs. I left the ends of the tabs unstitched as I thought it added some dimensional interest.
A coat chain was added at the hood/body seam to aid in hanging on coat hooks. Unfortunately, I couldn't find one with a brass finish to match the hook hardware.
And finally, an embroidered tag with my name, year of completion, and fabric content was added to the upper back.
Sandia chemical engineer and volunteer LaRico Treadwell leads a class during the 36th annual Hands-On Minds-On Technologies (HMTech) summer program.
Learn more at bit.ly/3OlccYu
Photo by Tyrese Green
Once more, new pics from a old kit (from ~2009), from which I originally had only taken three shots.
This is another, fictional major conversion of an Aoshima (ex Gunze Sangyo) stock PA-36 kit. This one has no OAV paradigm (much like the former "Guntos" conversion), it is rather the interpretation of an idea on the basis of a Dorvack Powered Armor.
This time, the idea or theme was “Russian battle tank”, with both modern and historic elements. Another, separate idea was to apply a brown color scheme to a PA – and finally, both came together in this model.
The inspiration for a Russian version came originally when I saw MiG Production’s KV-X2 resin kit (anyone remember?) of a fictional 4-legged tank which carries a modified KV-2 tank turret on top. This thing looked steampunk, but blunt and IMHO totally unbalanced, and until today I wonder where a driver would be located? "Ground pressure” or “ballistic windows” obviously had also not been anything the designer(s) had ever heard of. But… what if a Dorvack PA would accompany it?
Additionally, I was reading a very interesting book about modern battle tanks, 'Kampfpanzer - heute und morgen', written by Rolf Hilmes in 2007, highly recommended if you are into tank technology. It offered lots of state-of-the art picture material and also technical information, as well as insights into design philosophies of modern military combat vehicles around the world.
The final inspirational spark lured finally in my bathroom! One morning, while pondering about these ideas, I used my deo, and... saw the lines and forms of the can’s spray head! *BINGO*! This form would be a perfect addition to a basic PA-36 kit, changing its helmet lines into a much bulkier design. Consequently, the 'PA-36S' (the 'S' suffix was inspired by the famous Russian WWII shtormovik ground attack planes) project was born. And its name would also fit: “Nove горбун”, or “gorbach”, which means “hunchback” in Russian language – also a reminiscence, to the Ilyushin Il-20 ground attack aircraft prototype.
Work started quickly. The spray head from the can was surprisingly easy to transplant, even though major putty work was necessary to make the lines flush. The spray head's plastic was also a bit waxy (I suppose it is PVC), but with super glue and the help of Tamiya putty, everything held together. Surprisingly, the parts fitted well, and the result looks really COOL and pretty different from the round standard PA design – but still consistent.
From there, I incorporated many Russian tank design elements. Since Russian battle tanks are primarily designed for assault/charge attacks, I decided that the front would need extra protection. The new bulky head already suggests this, but as an additional measure I applied reactive armour plating on the upper body and the front areas, wherever possible/plausible and where it would not hamper mobility – keeping the look in line with the Russian KONTAKT system.
The necessary explosive plates were cut from 1mm polystyrol plates, glued onto the hull, sanded with a brass brush on a mini drill in order to achieve a softer and irregular look, and finally the bolts were manually added with small tips of casein glue.
Further modifications include custom knee caps/protectors. These are parts from a plundered Gundam Endless Waltz “Serpent Custom” kit in 1:144 scale, adapted to their new position and embedded with putty. From the same kit also come the shoulder shields – also modified, dented and put on extenders on the upper arms, so that there is room between them and the arm. The idea behind them is to offer additional protection from hollow explosive charges for the hull, esp. the shoulder and air intake area. These new shields actually had to be added, because the original horizontal shoulder shields in front of the jet pack’s air intakes could not be fitted anymore – the air intakes were replaced by scrap parts from an Airfix Kamov Ka-25 helicopter in 1:72. This helicopter kit also donated two searchlights, which were added on the PA’s front hull.
Furthermore, many small details were changed or added. First of all, a new visor unit with 3 lenses was implanted in the front with a protective frame. These parts come from a PAM-74AM’s hand weapon, and they give the PA-36S quite a grunty retro look. On the PA’s top, the typical hump on the left side was replaced by a bigger/longer piece (a 1:48 scale WWII bomb half). On the back, a heat exchanger (for those cold Russian nights…) was placed and surrounded by reactive armour plates. If I remember correctly, this part comes from the horrible 1:72 'Aliens' Dropship kit from Halcyon and was modified. The PA-36's typical pipelines on the right shoulder were replaced with more rustic, self-made pieces. These hoses are actually made from Christmas tree decoration: fine metal coils, which were fitted onto a steel thread and then cut and bent into shape.
The feet also received some tuning, making them broader in order to improve the PA’s weight distribution in the field and offer improved hold. These parts come from an ESCI 1:72 Jagdpanzer IV kit (track and side skirt parts).
For active defensive measures, I added an IR decoy device on a pole on the PA's back. This thing looks similar to the current Russian ARENA radar defence system's sensor boom. Additionally, on the PA’s helmet sides and on the back, small laser detectors were added, inspired by the similar real Russian SCHTORA (russ. Штора, “curtain”) system. In case of enemy detection and laser designation, the system will trigger IR smoke dischargers (on the PA, four smoke mortars are placed on the left shoulder – parts from an Arii 1:100 Super Valkyrie) for emergency defence.
For armament, I settled for the standard R6 gun which comes with the stock kit, but also modified it for a beefier look. While the basis was kept, a short barrel extension was added and a nozzle brake (from a PAM-74C “Dunc” kit) put in the front. The idea was to create a gun with a smaller calibre, which would not only fire “slow” HE ammunition (which I suppose the R6 cannon uses – it looks like a mortar or howitzer), but faster AP shells. The impressive nozzle break is supposed to catch the stronger recoil of this different weapon concept, and it looks good ;)
On the blank (an ugly!) back of the gun, some technical parts were added which “simulate” recoil and gas pressure compensators. The huge, basically empty box on top of the gun (A visor unit? A camera? A bread basket?) received 3 lenses which double the PA’s new 3-lobed visor unit. Finally, a set of flexible, fabric-covered cables connects the gun with an adapter box on the PA’s breast (the original PA-36 has a small flap under its visor for this purpose). This gun then received my personal designation R6M, “M” for modified , an authentic Russian suffix.
From the beginning, this PA conversion was to be painted in a single colour. Since all-green PA’s frequently appear in the TV series (see e. g. episode 14 & 16) and will definitively show up in my collection, I settled on brown. Another factor was the background picture (see above), which had much influence on the kit's finish. And finally, since I have seen several pictures of all-brown/dark sand Russian WWII tanks, the single brown colour seemed to be plausible. Mmm… brown. Or better: коричневый цвет!
The basic overall tone is Tamiya’s XF-64 “Red Brown”, everywhere. Some details like the inside of the visor unit were painted with Testor’s 2002 “Burnt Umber” from the figure colour series for extra contrast. The joints received a mix of Gold (Testors 1144), a bit gun metal (Humbrol 53) and Burnt Umber.
After a first turn of dry painting with Humbrol 186 and 118, decals were applied. Numbers and unit markings come from a 1:35 scale WWII Russian tank sheet from German decal specialist Peddinghaus. The many light grey Russian labels come from the vast decal sheet of Italieri/Testor’s MiG-37 “Ferret B” kit in 1:72 scale, and typical Dorvack markings come from the original PA-36 and a spare PAM-74 decal sheet. Sadly, most of them disappeared under the final coat of snow...
“Nose art” on the HD-R6M gun consists of a hand-written “плохая новость”, which simply means “Bad news”. What else to expect from this tank on legs? But this, too, unfortunately disappeared under the snow.
After a matte varnish coat the kit received a thorough black ink wash in order to point out the reactive armour plating. Then, several turns with dry paint, including hemp, gulf war sand, light grey, sand and chocolate (Humbrol 168, 187, 64, 63 and 98, respectively) were applied to point out the many surface details. Some dents and blank edges were added with dry-brushed silver, but sparsely. Also, some smoke was simulated with black and dark grey paint (Humbrol 33 and 32), and as a final step some rust and oil was simulated with water-based acrylic paint in burnt umbra and sienna.
In order to enhance the heavy duty impression (and remind of harsh conditions this piece might encounter), the PA finally received a mud treatment around its legs. Plaster, mixed with grass filament, fine sand and water-based mixing colour, was prepared in a shallow bowl and the kit’s feet simply stumped into this artificial sludge – leaving the mud and splashes wherever they might end up.
From above, the kit then received a coat or light snow, made from coloured joint mortar (white, plaster is too grayish!), rinsed through a fine mesh onto the kit which was sprayed with water.
Finally, I must say that this kit was an interesting experience. On one side, it surely was plain fun to convert such a kit into something very different, seeing a vague idea taking shape. But on the other side, this project also has the more or less serious claim to incorporate realistic defence technology – and while building the kit, I became aware how tricky it actually is to construct and protect something like a tank from various battlefield dangers, and how naïve mecha can come along.
Exploratory Art/Tech Residency. Building a reactive physical structure for an AV live performance.
Video here: vimeo.com/116977863
More info and details about this residency at:
www.visiophone-lab.com/wp/?portfolio=bc504almadarame-expl...
BORISCHIMP504 + ALMA D'ARAME / MONTEMOR-O-NOVO / DEC.2014
"Warning: A Wearable Electronic Dress Prototype" is the result of a series of explorations in possible interactive/reactive technologies for a stage performance costume.
video: vimeo.com/95096865
Four servos were mounted in the costume's collar, and they react to proximity (through an ultrasonic sensor). When a determined proximity is detected, the servos start moving and/or changing their motion pattern, modifying the collar's shape.
The collar, inspired by both the Australian frill-necked lizard, and the fashionable Elizabethan "whisk" collar, intends to act as extension of the performer's body, and as an expressive reactive tool.
The body of the costume was painted with a series of six black stripes of conductive paint and as an interface to send MIDI signals and manipulate the music output.
Concept and prototype development: Kristen Weller and Rodrigo Carvalho;
Music: Ammon Taylor;
Performer: Emily Robertson;
Wig & Make Up; Allison Lowery;
Filming: Joao Beira, Yago de Quay.
Pattern: Albion by Colette Patterns - Walden
Size: XS
Fabric:
-Fused Lace Boiled Wool from B & J Fabrics
-Rayon/Silk Satin from Dharma Trading - dyed Cerulean Blue with Dharma Fiber Reactive Dye
-Weft Insertion interfacing from Fashion Sewing Supply
Notions:
-Snap hooks and D-rings from Pacific Trimmings
-Buttons from Pacific Trimmings
-Leather from an Etsy seller
-Lace from Fabric Depot - Bridal department
Modifications:
-Forward shoulder alteration
-Removed width from sleeve bicep area while widening from elbow down
-Lengthened sleeve by 3/4"
-Took in 1 1/4" at waist
-Raised armhole 1"
-Cut patch pocket as slanted pocket (more natural hand position) - eliminating the need for a flap. Also added diagonal stitching at the bottom pocket corners because I hate losing things into the deep corner of a pocket
-Changed in-seam pocket shape to more traditional kidney shape, but still long enough to catch in center facing topstitching and used lining fabric instead of fashion fabric to eliminate bulk - plus I like a slippery pocket fabric
-Hemmed lining with lace instead of tucking into fashion fabric hem line
-Metal snap-hooks and D-rings instead of toggles
-Changed position of sleeve tab to face backwards for more interest from a rear view - also cut the tab ends rounded
-Interfaced both back and front upper yoke, center front facing, armhole edges, positions of the snaps, in-seam pocket openings
-Eliminated hood tab as my thick fabric made it look just silly hanging off flapping free and I didn't think I would use it
-Added embroidered "made by" tag
-Added hanging chain
Thoughts:
This project has turned out to be satisfying sew although there were times I wanted to throw it out the window.
My fabric was very thick and required a walking foot. Though the construction was pretty straight forward it was definitely time consuming.
My biggest obstacle during the muslin alterations was getting the sleeve just right. I ended up almost redrafting the whole sleeve cap as the bicep area of the original pattern was just gigantic on me, but the forearm/cuff area was too narrow. After probably 5 different drafts I finally got a shape that worked, but boy, I was really pulling my hair out on that one.
My biggest obstacle with sewing was the lining. I hand dyed it in my bathtub and it turned out the most gorgeous shiny cerulean blue. Just fantastic! My love for the fabric stopped there. The fabric was horrible to work with. I stiffened it with starch and it was still super slippery and shifty. Cutting it out was a nightmare. I never quite got it on grain so there was some….interesting bias growth in some of the pieces. I used the sharp microtex needle and still got some pulled threads. It frayed like crazy so I finished the edges with a zigzag stitch for fear of what would happen once it was installed in the coat.
Onto hemming - As for the lining hem…some of my pieces grew and some of them were too short to hem as the pattern directions dictated. After a lot of stressed out thinking I came up with a solution to hem the coat fabric and lining fabric separately. I would use the 1" hem for the coat fabric and add a lace hem to the lining fabric to even it out. I was able to zigzag the lace to the hem in a straight line parallel to the coat fabric and then trimmed off the lining fabric close to the stitching line. I then handstitched the still-loose sides of the lining/lace to the center facing.
I used metal snap-hooks and D-rings as closures because I thought the traditional wood toggles of the duffle coat would cheapen the look and black ones would blend in too much. I also wanted to add a little edginess. So I picked out brass snap-hooks and D-rings. I attached them with black leather tabs - rounded at the ends to continue the rounded edge theme from the sleeve tabs. I left the ends of the tabs unstitched as I thought it added some dimensional interest.
A coat chain was added at the hood/body seam to aid in hanging on coat hooks. Unfortunately, I couldn't find one with a brass finish to match the hook hardware.
And finally, an embroidered tag with my name, year of completion, and fabric content was added to the upper back.
Necrotizing sialometaplasia is a reactive lesion of salivary gland origin. The cause is local ischemia producing infarction of salivary acini. The ensuing inflammation causes squamous metaplasia of ducts and hyperplasia of the surface stratified squamous epithelium. The vast majority of cases occur on the posterior lateral hard palate. The lesion begins acutely with swelling and pain or numbness. Eventually an ulcer forms within the enlargement. Necrotizing sialometaplasia resembles squamous cell carcinoma and/or mucoepidermoid carcinoma clinically and microscopically. Treatment is incisional biopsy. No further treatment is necessary, as the lesion resolves spontaneously in weeks to several months.
Once more, new pics from a old kit (from ~2009), from which I originally had only taken three shots.
This is another, fictional major conversion of an Aoshima (ex Gunze Sangyo) stock PA-36 kit. This one has no OAV paradigm (much like the former "Guntos" conversion), it is rather the interpretation of an idea on the basis of a Dorvack Powered Armor.
This time, the idea or theme was “Russian battle tank”, with both modern and historic elements. Another, separate idea was to apply a brown color scheme to a PA – and finally, both came together in this model.
The inspiration for a Russian version came originally when I saw MiG Production’s KV-X2 resin kit (anyone remember?) of a fictional 4-legged tank which carries a modified KV-2 tank turret on top. This thing looked steampunk, but blunt and IMHO totally unbalanced, and until today I wonder where a driver would be located? "Ground pressure” or “ballistic windows” obviously had also not been anything the designer(s) had ever heard of. But… what if a Dorvack PA would accompany it?
Additionally, I was reading a very interesting book about modern battle tanks, 'Kampfpanzer - heute und morgen', written by Rolf Hilmes in 2007, highly recommended if you are into tank technology. It offered lots of state-of-the art picture material and also technical information, as well as insights into design philosophies of modern military combat vehicles around the world.
The final inspirational spark lured finally in my bathroom! One morning, while pondering about these ideas, I used my deo, and... saw the lines and forms of the can’s spray head! *BINGO*! This form would be a perfect addition to a basic PA-36 kit, changing its helmet lines into a much bulkier design. Consequently, the 'PA-36S' (the 'S' suffix was inspired by the famous Russian WWII shtormovik ground attack planes) project was born. And its name would also fit: “Nove горбун”, or “gorbach”, which means “hunchback” in Russian language – also a reminiscence, to the Ilyushin Il-20 ground attack aircraft prototype.
Work started quickly. The spray head from the can was surprisingly easy to transplant, even though major putty work was necessary to make the lines flush. The spray head's plastic was also a bit waxy (I suppose it is PVC), but with super glue and the help of Tamiya putty, everything held together. Surprisingly, the parts fitted well, and the result looks really COOL and pretty different from the round standard PA design – but still consistent.
From there, I incorporated many Russian tank design elements. Since Russian battle tanks are primarily designed for assault/charge attacks, I decided that the front would need extra protection. The new bulky head already suggests this, but as an additional measure I applied reactive armour plating on the upper body and the front areas, wherever possible/plausible and where it would not hamper mobility – keeping the look in line with the Russian KONTAKT system.
The necessary explosive plates were cut from 1mm polystyrol plates, glued onto the hull, sanded with a brass brush on a mini drill in order to achieve a softer and irregular look, and finally the bolts were manually added with small tips of casein glue.
Further modifications include custom knee caps/protectors. These are parts from a plundered Gundam Endless Waltz “Serpent Custom” kit in 1:144 scale, adapted to their new position and embedded with putty. From the same kit also come the shoulder shields – also modified, dented and put on extenders on the upper arms, so that there is room between them and the arm. The idea behind them is to offer additional protection from hollow explosive charges for the hull, esp. the shoulder and air intake area. These new shields actually had to be added, because the original horizontal shoulder shields in front of the jet pack’s air intakes could not be fitted anymore – the air intakes were replaced by scrap parts from an Airfix Kamov Ka-25 helicopter in 1:72. This helicopter kit also donated two searchlights, which were added on the PA’s front hull.
Furthermore, many small details were changed or added. First of all, a new visor unit with 3 lenses was implanted in the front with a protective frame. These parts come from a PAM-74AM’s hand weapon, and they give the PA-36S quite a grunty retro look. On the PA’s top, the typical hump on the left side was replaced by a bigger/longer piece (a 1:48 scale WWII bomb half). On the back, a heat exchanger (for those cold Russian nights…) was placed and surrounded by reactive armour plates. If I remember correctly, this part comes from the horrible 1:72 'Aliens' Dropship kit from Halcyon and was modified. The PA-36's typical pipelines on the right shoulder were replaced with more rustic, self-made pieces. These hoses are actually made from Christmas tree decoration: fine metal coils, which were fitted onto a steel thread and then cut and bent into shape.
The feet also received some tuning, making them broader in order to improve the PA’s weight distribution in the field and offer improved hold. These parts come from an ESCI 1:72 Jagdpanzer IV kit (track and side skirt parts).
For active defensive measures, I added an IR decoy device on a pole on the PA's back. This thing looks similar to the current Russian ARENA radar defence system's sensor boom. Additionally, on the PA’s helmet sides and on the back, small laser detectors were added, inspired by the similar real Russian SCHTORA (russ. Штора, “curtain”) system. In case of enemy detection and laser designation, the system will trigger IR smoke dischargers (on the PA, four smoke mortars are placed on the left shoulder – parts from an Arii 1:100 Super Valkyrie) for emergency defence.
For armament, I settled for the standard R6 gun which comes with the stock kit, but also modified it for a beefier look. While the basis was kept, a short barrel extension was added and a nozzle brake (from a PAM-74C “Dunc” kit) put in the front. The idea was to create a gun with a smaller calibre, which would not only fire “slow” HE ammunition (which I suppose the R6 cannon uses – it looks like a mortar or howitzer), but faster AP shells. The impressive nozzle break is supposed to catch the stronger recoil of this different weapon concept, and it looks good ;)
On the blank (an ugly!) back of the gun, some technical parts were added which “simulate” recoil and gas pressure compensators. The huge, basically empty box on top of the gun (A visor unit? A camera? A bread basket?) received 3 lenses which double the PA’s new 3-lobed visor unit. Finally, a set of flexible, fabric-covered cables connects the gun with an adapter box on the PA’s breast (the original PA-36 has a small flap under its visor for this purpose). This gun then received my personal designation R6M, “M” for modified , an authentic Russian suffix.
From the beginning, this PA conversion was to be painted in a single colour. Since all-green PA’s frequently appear in the TV series (see e. g. episode 14 & 16) and will definitively show up in my collection, I settled on brown. Another factor was the background picture (see above), which had much influence on the kit's finish. And finally, since I have seen several pictures of all-brown/dark sand Russian WWII tanks, the single brown colour seemed to be plausible. Mmm… brown. Or better: коричневый цвет!
The basic overall tone is Tamiya’s XF-64 “Red Brown”, everywhere. Some details like the inside of the visor unit were painted with Testor’s 2002 “Burnt Umber” from the figure colour series for extra contrast. The joints received a mix of Gold (Testors 1144), a bit gun metal (Humbrol 53) and Burnt Umber.
After a first turn of dry painting with Humbrol 186 and 118, decals were applied. Numbers and unit markings come from a 1:35 scale WWII Russian tank sheet from German decal specialist Peddinghaus. The many light grey Russian labels come from the vast decal sheet of Italieri/Testor’s MiG-37 “Ferret B” kit in 1:72 scale, and typical Dorvack markings come from the original PA-36 and a spare PAM-74 decal sheet. Sadly, most of them disappeared under the final coat of snow...
“Nose art” on the HD-R6M gun consists of a hand-written “плохая новость”, which simply means “Bad news”. What else to expect from this tank on legs? But this, too, unfortunately disappeared under the snow.
After a matte varnish coat the kit received a thorough black ink wash in order to point out the reactive armour plating. Then, several turns with dry paint, including hemp, gulf war sand, light grey, sand and chocolate (Humbrol 168, 187, 64, 63 and 98, respectively) were applied to point out the many surface details. Some dents and blank edges were added with dry-brushed silver, but sparsely. Also, some smoke was simulated with black and dark grey paint (Humbrol 33 and 32), and as a final step some rust and oil was simulated with water-based acrylic paint in burnt umbra and sienna.
In order to enhance the heavy duty impression (and remind of harsh conditions this piece might encounter), the PA finally received a mud treatment around its legs. Plaster, mixed with grass filament, fine sand and water-based mixing colour, was prepared in a shallow bowl and the kit’s feet simply stumped into this artificial sludge – leaving the mud and splashes wherever they might end up.
From above, the kit then received a coat or light snow, made from coloured joint mortar (white, plaster is too grayish!), rinsed through a fine mesh onto the kit which was sprayed with water.
Finally, I must say that this kit was an interesting experience. On one side, it surely was plain fun to convert such a kit into something very different, seeing a vague idea taking shape. But on the other side, this project also has the more or less serious claim to incorporate realistic defence technology – and while building the kit, I became aware how tricky it actually is to construct and protect something like a tank from various battlefield dangers, and how naïve mecha can come along.
Cloral Art is a concept of creating coral made from various types of polymer clay such as ultra violet, glow in the dark and florescent. Some creations include rocks, flowers and bugs.
The finish piece is unbaked and placed in glass jars for protection.
Active and reactive at night but reputed to be docile during daylight: considered dangerous, thrill seekers please note.
I made these shorts from an old pair of Arizona Jean Co. jeans. I added some ruffles and lace to the legs, pocket decor on the back and lots of glittery, glow in the dark, and black light reactive fabric paints!! Available in my shop. View my profile for link. ^_^
Ask me anything www.formspring.me/meganyourface
GLSL generated sphere with the help of some audio data to disturb the form. The whole computing of form normals and lightning is done on the gpu. Processing as just use for audio analysis.
Pictures from Boris Chimp 504's AV live performance at Axa Building / Porto / 4 January 2014.
-
BORIS CHIMP 504 is an audiovisual real-time performance that emphasizes audio synthesis and graphical languages in a futuristic Sci-Fi aesthetics. It's a real time interactive/reactive system between the audio and the image, between the man and the machine.
www.facebook.com/borischimp504
Rodrigo Carvalho - Visuals
Miguel Neto - Sound
Pattern: Albion by Colette Patterns - Walden
Size: XS
Fabric:
-Fused Lace Boiled Wool from B & J Fabrics
-Rayon/Silk Satin from Dharma Trading - dyed Cerulean Blue with Dharma Fiber Reactive Dye
-Weft Insertion interfacing from Fashion Sewing Supply
Notions:
-Snap hooks and D-rings from Pacific Trimmings
-Buttons from Pacific Trimmings
-Leather from an Etsy seller
-Lace from Fabric Depot - Bridal department
Modifications:
-Forward shoulder alteration
-Removed width from sleeve bicep area while widening from elbow down
-Lengthened sleeve by 3/4"
-Took in 1 1/4" at waist
-Raised armhole 1"
-Cut patch pocket as slanted pocket (more natural hand position) - eliminating the need for a flap. Also added diagonal stitching at the bottom pocket corners because I hate losing things into the deep corner of a pocket
-Changed in-seam pocket shape to more traditional kidney shape, but still long enough to catch in center facing topstitching and used lining fabric instead of fashion fabric to eliminate bulk - plus I like a slippery pocket fabric
-Hemmed lining with lace instead of tucking into fashion fabric hem line
-Metal snap-hooks and D-rings instead of toggles
-Changed position of sleeve tab to face backwards for more interest from a rear view - also cut the tab ends rounded
-Interfaced both back and front upper yoke, center front facing, armhole edges, positions of the snaps, in-seam pocket openings
-Eliminated hood tab as my thick fabric made it look just silly hanging off flapping free and I didn't think I would use it
-Added embroidered "made by" tag
-Added hanging chain
Thoughts:
This project has turned out to be satisfying sew although there were times I wanted to throw it out the window.
My fabric was very thick and required a walking foot. Though the construction was pretty straight forward it was definitely time consuming.
My biggest obstacle during the muslin alterations was getting the sleeve just right. I ended up almost redrafting the whole sleeve cap as the bicep area of the original pattern was just gigantic on me, but the forearm/cuff area was too narrow. After probably 5 different drafts I finally got a shape that worked, but boy, I was really pulling my hair out on that one.
My biggest obstacle with sewing was the lining. I hand dyed it in my bathtub and it turned out the most gorgeous shiny cerulean blue. Just fantastic! My love for the fabric stopped there. The fabric was horrible to work with. I stiffened it with starch and it was still super slippery and shifty. Cutting it out was a nightmare. I never quite got it on grain so there was some….interesting bias growth in some of the pieces. I used the sharp microtex needle and still got some pulled threads. It frayed like crazy so I finished the edges with a zigzag stitch for fear of what would happen once it was installed in the coat.
Onto hemming - As for the lining hem…some of my pieces grew and some of them were too short to hem as the pattern directions dictated. After a lot of stressed out thinking I came up with a solution to hem the coat fabric and lining fabric separately. I would use the 1" hem for the coat fabric and add a lace hem to the lining fabric to even it out. I was able to zigzag the lace to the hem in a straight line parallel to the coat fabric and then trimmed off the lining fabric close to the stitching line. I then handstitched the still-loose sides of the lining/lace to the center facing.
I used metal snap-hooks and D-rings as closures because I thought the traditional wood toggles of the duffle coat would cheapen the look and black ones would blend in too much. I also wanted to add a little edginess. So I picked out brass snap-hooks and D-rings. I attached them with black leather tabs - rounded at the ends to continue the rounded edge theme from the sleeve tabs. I left the ends of the tabs unstitched as I thought it added some dimensional interest.
A coat chain was added at the hood/body seam to aid in hanging on coat hooks. Unfortunately, I couldn't find one with a brass finish to match the hook hardware.
And finally, an embroidered tag with my name, year of completion, and fabric content was added to the upper back.
Why does Santa Claus have three gardens?
So he can ho, ho, ho. And that's the best you're getting today...
Along with the modesty screen (see yesterday's post) we were given an empty gold frame and asked if we could fill it with something christmassy.
Well, given the stripy paint job we'd given one side of the modesty screen we thought we'd compliment that with something similar in a nice Christmas green. Once we'd found a bit of suitable wood and cut it to size we were good to go. You can't tell it in the pic but we hit the white areas with some UV reactive white paint so it should really pop in the club style scenario it'll be heading into. We wish her the best of Christmas luck..
Cheers
id-iom
Single and multilayers self-assembly array of SiO2 nanospheres etched in CHF3 Reactive Ion Etching on diamond substrate
Courtesy of Enrico Emanuele
Image Details
Instrument used: Quanta DualBeam Family
Magnification: 50,000x
Horizontal Field Width: 6,2 um
Vacuum: 10^-6 mbar
Voltage: 10kV
Spot: 3.0
Working Distance: 10
Detector: SE
Microscopic photo. H & E stain. 10X objective magnification. Jian-Hua Qiao, MD, FCAP, Los Angeles, CA, USA
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I made these shorts from an old pair of Arizona Jean Co. jeans. I added some ruffles and lace to the legs, pocket decor on the back and lots of glittery, glow in the dark, and black light reactive fabric paints!! Available in my shop. View my profile for link. ^_^
Ask me anything www.formspring.me/meganyourface
"Warning: A Wearable Electronic Dress Prototype" is the result of a series of explorations in possible interactive/reactive technologies for a stage performance costume.
video: vimeo.com/95096865
Four servos were mounted in the costume's collar, and they react to proximity (through an ultrasonic sensor). When a determined proximity is detected, the servos start moving and/or changing their motion pattern, modifying the collar's shape.
The collar, inspired by both the Australian frill-necked lizard, and the fashionable Elizabethan "whisk" collar, intends to act as extension of the performer's body, and as an expressive reactive tool.
The body of the costume was painted with a series of six black stripes of conductive paint and as an interface to send MIDI signals and manipulate the music output.
Concept and prototype development: Kristen Weller and Rodrigo Carvalho;
Music: Ammon Taylor;
Performer: Emily Robertson;
Wig & Make Up; Allison Lowery;
Filming: Joao Beira, Yago de Quay.
Dance Jockey is an interactive audiovisual dance performance where sounds and visuals are controlled by sensors on the dancer’s body. These sensors acquire data about body actions and transmit the information to a software that manipulates a broad range of parameters.
I created together with Patricia Delgado the visual part of this performance. Patricia was in charge of the visual concept and video footage and I created the system that allows the dancer to interact with the visuals.
The position of the dancer and the movements of her arms are mapped to control different parameters of the visuals, as horizontal/vertical position or opacity and to modulate and to distort the image.
Dance Jockey has been recently performed in TEDxLuanda (tedxluanda.com/). For more inforamtion check [yagodequay.com/]
Dance Jockey team :: Yago de Quay (musician), Laura Ferro (choreographer), Anaísa
Lopes (dancer), Rodrigo Guedes (visual artist), Patricia Vidal Delgado (video artist)
check video here ::
Pattern: Albion by Colette Patterns - Walden
Size: XS
Fabric:
-Fused Lace Boiled Wool from B & J Fabrics
-Rayon/Silk Satin from Dharma Trading - dyed Cerulean Blue with Dharma Fiber Reactive Dye
-Weft Insertion interfacing from Fashion Sewing Supply
Notions:
-Snap hooks and D-rings from Pacific Trimmings
-Buttons from Pacific Trimmings
-Leather from an Etsy seller
-Lace from Fabric Depot - Bridal department
Modifications:
-Forward shoulder alteration
-Removed width from sleeve bicep area while widening from elbow down
-Lengthened sleeve by 3/4"
-Took in 1 1/4" at waist
-Raised armhole 1"
-Cut patch pocket as slanted pocket (more natural hand position) - eliminating the need for a flap. Also added diagonal stitching at the bottom pocket corners because I hate losing things into the deep corner of a pocket
-Changed in-seam pocket shape to more traditional kidney shape, but still long enough to catch in center facing topstitching and used lining fabric instead of fashion fabric to eliminate bulk - plus I like a slippery pocket fabric
-Hemmed lining with lace instead of tucking into fashion fabric hem line
-Metal snap-hooks and D-rings instead of toggles
-Changed position of sleeve tab to face backwards for more interest from a rear view - also cut the tab ends rounded
-Interfaced both back and front upper yoke, center front facing, armhole edges, positions of the snaps, in-seam pocket openings
-Eliminated hood tab as my thick fabric made it look just silly hanging off flapping free and I didn't think I would use it
-Added embroidered "made by" tag
-Added hanging chain
Thoughts:
This project has turned out to be satisfying sew although there were times I wanted to throw it out the window.
My fabric was very thick and required a walking foot. Though the construction was pretty straight forward it was definitely time consuming.
My biggest obstacle during the muslin alterations was getting the sleeve just right. I ended up almost redrafting the whole sleeve cap as the bicep area of the original pattern was just gigantic on me, but the forearm/cuff area was too narrow. After probably 5 different drafts I finally got a shape that worked, but boy, I was really pulling my hair out on that one.
My biggest obstacle with sewing was the lining. I hand dyed it in my bathtub and it turned out the most gorgeous shiny cerulean blue. Just fantastic! My love for the fabric stopped there. The fabric was horrible to work with. I stiffened it with starch and it was still super slippery and shifty. Cutting it out was a nightmare. I never quite got it on grain so there was some….interesting bias growth in some of the pieces. I used the sharp microtex needle and still got some pulled threads. It frayed like crazy so I finished the edges with a zigzag stitch for fear of what would happen once it was installed in the coat.
Onto hemming - As for the lining hem…some of my pieces grew and some of them were too short to hem as the pattern directions dictated. After a lot of stressed out thinking I came up with a solution to hem the coat fabric and lining fabric separately. I would use the 1" hem for the coat fabric and add a lace hem to the lining fabric to even it out. I was able to zigzag the lace to the hem in a straight line parallel to the coat fabric and then trimmed off the lining fabric close to the stitching line. I then handstitched the still-loose sides of the lining/lace to the center facing.
I used metal snap-hooks and D-rings as closures because I thought the traditional wood toggles of the duffle coat would cheapen the look and black ones would blend in too much. I also wanted to add a little edginess. So I picked out brass snap-hooks and D-rings. I attached them with black leather tabs - rounded at the ends to continue the rounded edge theme from the sleeve tabs. I left the ends of the tabs unstitched as I thought it added some dimensional interest.
A coat chain was added at the hood/body seam to aid in hanging on coat hooks. Unfortunately, I couldn't find one with a brass finish to match the hook hardware.
And finally, an embroidered tag with my name, year of completion, and fabric content was added to the upper back.
A few documentation shots of the multi oscillator, light reactive synths I've been building for various performances as part of Sanctuary 2015. They use the amazingly hardy perennial favourite IC, the 40106 CMSOS Schmitt trigger.
There are also a couple of not synths, but percussive instruments made from jars, piezo electric contact mics and m3 nuts and a silver dollar respectively,
Generated using S.A.R.A (Synchronous Audio Reactive Algorithms) - a custom software built in c++/opengl for real-time procedural audio reactive visual generation.
Demo here: vimeo.com/accidentally/sara
Kimurawear ReActive Premium Women's Training Gear Line
View the complete line up of Premium MMA Training Gear at:
Kibbutz Sasa saves the lives of countless American troops with its advanced armor technologies. Ambassador Shapiro saw this first hand on January 30 when he visited the Plasan factory in northern Galilee. The Ambassador saw the full range of products, from reactive armor, to purpose built vehicles, to body armor. Plasan has delivered more than 8,000 armor kits to U.S units on active duty.
Israel is a world leader in armor technology and the Ambassador expressed his gratitude for the dedication to quality expressed at Plasan.
Nestled in the forested hills of northern Israel, Kibbutz Sasa does more than just forge armor, they also forge connections. Their unique theater program called Bereshit l'Shalom brings young people together from all sectors of Israeli society. Jews, Arabs, Druze, or Circassian, all use the art of theater and dance to express the importance of working across society's boundaries to interact with others based on similarities, not differences. This successful program has performed throughout Israel and Europe.