View allAll Photos Tagged Versatile
I created this jacket for all armpits whose plight is a sweaty existence when faced with adverse conditions (such as workouts!). I drafted a pattern and went to the sewing machine to create this sporty little jacket. The arms are removable and the garment becomes a zip-up vest.
My amazing model is very flexible as seen here. Photography by Thimblescratch (as usual).
If you like what you see, check out my profile or website.
Expired Kodak Max Versatility 400 35mm film shot in a Canon 1000fn SLR camera with an EF 50mm f1.8 lens
Overlooking the train tracks on Dewsbury Road, Beeston, Leeds (UK)
Electric Drive
The versatility of the Clipper project is illustrated by the Ducati version. In this “vanette” version, Clipper features doors of a different design and a slightly different C-pillar compared to the original outfit.
This variant is dedicated to Ducati, one of the most prestigious Italian brands, famous around the world, which together with Audi, Lamborghini and Italdesign Giugiaro, makes up the Audi Group.
The livery thus sports the official Ducati colours and graphics in a tribute to the imminent world championship season.
The Italdesign Giugiaro style centre has also designed an original towing trailer for the Ducati Panigale 1199 S which complements the style and performance of all models to leave the Borgo Panigale plant: a good omen for a year of even better results.
84th Geneva International Motor Show
Internationaler Auto-Salon Genf
Suisse - Schweiz - Switzerland
March 2014
***UPDATE*** Polly nabbed this McCobb stool for her new work space, . Thanks!
You would be hard pressed to NOT be able to find a spot for this American classic.
Art numérique abstrait 30 x 45 cm disponible sur mon site officiel - Abstract digital art 45 x 30 cm avalaible on my official website : emart-emmanuellebaudry.e-monsite.com/album-photos/2019-08...
Ana’s versatile arsenal allows her to affect heroes all over the battlefield. Her Biotic Rifle rounds and Biotic Grenades heal allies and damage or impair enemies; her sidearm tranquilizes key targets, and Nano Boost gives one of her comrades a considerable increase in power.
Ana’s rifle shoots ...
Versatile and fast, it excels at driving circles around its enemies. However, their commanders are often ordered to just charge the enemy and they are effective in swarms.
Janie Fricke was one of the most popular female country singers of the '80s, racking up an enviable string of hits and proving herself a versatile vocalist with a particular flair for ballads. Fricke was born in South Whitney, IN, in 1952 and learned piano and guitar as a child; her first vocal influences were folkies like Joan Baez and Judy Collins, but she fell in love with country music as well. During college, she sang commercial jingles for a Memphis radio station and moved to Nashville in 1975, where she quickly became an in-demand session vocalist. She got her first major exposure in 1976, when producer Billy Sherrill teamed her with Johnny Duncan for a set of duets that included "Joe and the Cowboy," "Stranger," and "Thinkin' of a Rendezvous," the latter of which went to number one on the country charts. Sherrill signed Fricke as a solo act, and produced her 1977 debut single, "What're You Doing Tonight," which just missed the Top 20. Collaborations with Charlie Rich (the number one hit "On My Knees") and Duncan again (the Top Five "Come a Little Bit Closer") kept Fricke going strong through 1978, but her solo singles over the next couple of years had a hard time taking off. Sherrill advised her to establish an identity by focusing on one style, and Fricke began to record a generous selection of ballads.
As a result, Fricke had a breakout year in 1981, when she landed two Top Five hits with "Down to My Last Broken Heart" and "I'll Need Someone to Hold Me (When I Cry)." That only set the stage for her smashing success over 1982-1984, when she scored an amazing six number one hits -- "Don't Worry 'Bout Me Baby," "It Ain't Easy Bein' Easy," "Tell Me a Lie," "He's a Heartache (Looking for a Place to Happen)," "Let's Stop Talkin' About It," and "Your Heart's Not in It." Plus, the three singles she released during that time period that didn't top the charts all made the Top Ten. By this time, she'd broadened her style to include more up-tempo tracks as well. Fricke landed five more Top Ten hits from 1985-1986, including another number one in "Always Have, Always Will" and a number two in "She's Single Again." However, her commercial momentum slowed abruptly afterward, and following 1989's Labor of Love album, she and CBS Records parted ways. She recorded two albums for the small Branson label in 1992 and 1993, and issued the gospel record Hymns of Faith on Intersound in 1996. In 2000, she mounted a comeback tour behind the album Bouncin' Back, and two years later issued the concert set Live at Billy Bob's Texas, which featured many of her old hits. 10/9/15
kamikaze DADA knit
freeform crochet fusion
glossy (lana grossa) art yarn
combined with
ultra chunky qualities
asymmetric design with MM yo-yo front fastening
might be used as a coat
lagenlook style
versatile fun garment
for all seasons
but only for the creative
& the brave soals
The 'Most Versatile' challenge is set by the Compositionally Challenged Group. Many thanks to Sharon for setting the themes.
In this month's challenge, 10 members entered 87 photos, and 6 members completed all 10 themes. These were, in order of play, Robin, Sharon, Cheryl, Pat, Dave and Sandi.
This montage features at least one photo per person, and one photo per theme. To view the complete challenge and entries, click Here.
progressive Dada-knitting
pattern crochet fusion
asymmetric
multi versatile
tunic
top
poncho
dress
lagenlook designer
wearable art
haute-couture knitwear
for self-expressing divas
and, who knows,
for brave divos as well
Some background:
The VF-1 was developed by Stonewell/Bellcom/Shinnakasu for the U.N. Spacy by using alien Overtechnology obtained from the SDF-1 Macross alien spaceship. Its production was preceded by an aerodynamic proving version of its airframe, the VF-X. Unlike all later VF vehicles, the VF-X was strictly a jet aircraft, built to demonstrate that a jet fighter with the features necessary to convert to Battroid mode was aerodynamically feasible. After the VF-X's testing was finished, an advanced concept atmospheric-only prototype, the VF-0 Phoenix, was flight-tested from 2005 to 2007 and briefly served as an active-duty fighter from 2007 to the VF-1's rollout in late 2008, while the bugs were being worked out of the full-up VF-1 prototype (VF-X-1).
The space-capable VF-1's combat debut was on February 7, 2009, during the Battle of South Ataria Island - the first battle of Space War I - and remained the mainstay fighter of the U.N. Spacy for the entire conflict. Introduced in 2008, the VF-1 would be out of frontline service just five years later, though.
The VF-1 proved to be an extremely capable craft, successfully combating a variety of Zentraedi mecha even in most sorties, which saw UN Spacy forces significantly outnumbered. The versatility of the Valkyrie design enabled the variable fighter to act as both large-scale infantry and as air/space superiority fighter. The signature skills of U.N. Spacy ace pilot Maximilian Jenius exemplified the effectiveness of the variable systems as he near-constantly transformed the Valkyrie in battle to seize advantages of each mode as combat conditions changed from moment to moment.
The basic VF-1 was deployed in four minor variants (designated A, D, J, and S) and its success was increased by continued development of various enhancements including the GBP-1S "Armored" Valkyrie, FAST Pack "Super" Valkyrie and the additional RÖ-X2 heavy cannon pack weapon system for the VF-1S for additional firepower.
The FAST Pack system was designed to enhance the VF-1 Valkyrie variable fighter, and the initial V1.0 came in the form of conformal pallets that could be attached to the fighter’s leg flanks for additional fuel – primarily for Long Range Interdiction tasks in atmospheric environment. Later FAST Packs were designed for space operations.
After the end of Space War I, the VF-1 continued to be manufactured both in the Sol system and throughout the UNG space colonies. Although the VF-1 would be replaced in 2020 as the primary Variable Fighter of the U.N. Spacy by the more capable, but also much bigger, VF-4 Lightning III, a long service record and continued production after the war proved the lasting worth of the design.
The versatile aircraft also underwent constant upgrade programs, leading to improved versions like the VF-1N and P. For instance, about a third of all VF-1 Valkyries were upgraded with Infrared Search and Track (IRST) systems from 2016 onwards, placed in a streamlined fairing on the upper side of the nose, just in front of the cockpit. This system allowed for long-range search and track modes, freeing the pilot from the need to give away his position with active radar emissions, and it could also be used for target illumination and guiding precision weapons.
Many Valkyries also received improved radar warning systems, with receivers, depending on the systems, mounted on the wing-tips, on the fins and/or on the LERXs. Improved ECM measures were also mounted on some machines, typically in conformal fairings on the flanks of the legs/engine pods.
A limited number of machines was also, when the type was replaced in the fighter units by the VF-4, handed over to U.N.S.A.F. units and modified into fighter bombers for the exclusive use within Earth's atmosphere, intended as a supplement to the dedicated VFA-1 ground attack Valkyrie variant. The machine’s prime task would be to attack and neutralize potential invaders’ landing vehicles, plus general close air support for ground troops and battlefield interdiction missions.
This conversion included structural reinforcements and additional weapon hardpoints under the air intakes, improved avionics as well as active and passive sensor systems from the VF-1P in a modified head unit with two laser cannon. These revamped aircraft received an "a" suffix (Alpha for attack, the Greek letter was chosen in order to avoid confusion with the widespread standard VF-1A variant and VF-1JA updates) to their original designation. Roundabout 120 VF-1s, mostly VF-1As, -Ns and a few -Js were converted to the a-standard between 2017 and 2019 and served at air bases in Africa, Northern America and Australia until 2032.
The VF-1 was without doubt the most recognizable variable fighter of Space War I and was seen as a vibrant symbol of the U.N. Spacy even into the first year of the New Era 0001 in 2013. At the end of 2015 the final rollout of the VF-1 was celebrated at a special ceremony, commemorating this most famous of variable fighters. The VF-1 Valkryie was built from 2006 to 2013 with a total production of 5,459 VF-1 variable fighters in several variants.
However, the fighter remained active in many second line units and continued to show its worthiness years later, e. g. through Milia Jenius who would use her old VF-1 fighter in defense of the colonization fleet - 35 years after the type's service introduction!
General characteristics:
All-environment variable fighter and tactical combat Battroid,
used by U.N. Spacy, U.N. Navy, U.N. Space Air Force and U.N.Spacy Marines
Accommodation:
Single pilot in Marty & Beck Mk-7 zero/zero ejection seat
Dimensions:
Fighter Mode:
Length 14.23 meters
Wingspan 14.78 meters (at 20° minimum sweep)
Height 3.84 meters
Battroid Mode:
Height 12.68 meters
Width 7.3 meters
Length 4.0 meters
Empty weight: 13.25 metric tons;
Standard T-O mass: 18.5 metric tons;
MTOW: 37.0 metric tons
Power Plant:
2x Shinnakasu Heavy Industry/P&W/Roice FF-2001 thermonuclear reaction turbine engines, output 650 MW each, rated at 11,500 kg in standard or in overboost (225.63 kN x 2)
4x Shinnakasu Heavy Industry NBS-1 high-thrust vernier thrusters (1x counter reverse vernier thruster nozzle mounted on the side of each leg nacelle/air intake, 1x wing thruster roll control system on each wingtip);
18x P&W LHP04 low-thrust vernier thrusters beneath multipurpose hook/handles
Performance:
Battroid Mode: maximum walking speed 160 km/h
Fighter Mode: at 10,000 m Mach 2.71; at 30,000+ m Mach 3.87
g limit: in space +7
Thrust-to-weight ratio: empty 3.47; standard T-O 2.49; maximum T-O 1.24
Design Features:
3-mode variable transformation; variable geometry wing; vertical take-off and landing; control-configurable vehicle; single-axis thrust vectoring; three "magic hand" manipulators for maintenance use; retractable canopy shield for Battroid mode and atmospheric reentry; option of GBP-1S system, atmospheric-escape booster, or FAST Pack system
Transformation:
Standard time from Fighter to Battroid (automated): under 5 sec.
Min. time from Fighter to Battroid (manual): 0.9 sec.
Armament:
2x internal Mauler RÖV-20 anti-aircraft laser cannon, firing 6,000 pulses per minute
1x Howard GU-11 55 mm three-barrel Gatling gun pod with 200 RPG, fired at 1,200 rds/min
4x underwing and 2x underfuselage hard points for a wide variety of ordnance, including:
- 12x AMM-1 hybrid guided multipurpose missiles (3/point), or
- 12x MK-82 LDGB conventional bombs (3/point), or
- 6x RMS-1 large anti-ship reaction missiles (2/outboard point, 1/inboard point), or
- 4x UUM-7 micro-missile pods (1/point) each carrying 15 x Bifors HMM-01 micro-missiles,
- or a combination of above load-outs
The kit and its assembly:
Another build of one of these vintage ARII kits, primarily for the (fictional) livery. This one was inspired by a profile found in a source book (the "VF-1 Master File" from Softbank Publishing), where I found a profile of a late VF-1P from 2024 in a pale, three-tone desert paint scheme, similar to an IDF aircraft, with some white trim on the wings and a white radome. While this machine basically looked attractive, I was a little confused by its supposed operation theatre: Australia. There, over a typical outback landscape, the paint scheme would IMHO hardly work, the tones being much too light and just "wrong". From this, the idea was born to create a "Valkyroo"!
Since the model would rather center around the paint scheme, the VF-1, an “S” variant kit, remained basically OOB. Nevertheless, it received some standard mods and some extras. The basic updates include some additional blade antennae (leaving out the dorsal antennae for a Block 13/14 aircraft), a pilot figure and a modified dashboard. This time the VF-1 would have its landing gear extended, but the ventral gun pod was nevertheless modified to accept one of my home-made VF-1 standard display stands for in-flight beauty pics over the Australian desert.
Since the machine would, in its wraparound paint scheme, rather look like a low-level fighter bomber and mud mover, the ordnance was changed from a dozen AMM-1 air-to-air missiles to something grittier. I gave the kit a pair of GBUs on the inner wing stations, which are Paveway bombs from an 1:72 Hasegawa ordnance set, but modified into optically-guided weapons since the original laser sensor with its ring-shaped stabilizer would be quite large at 1:100.
On the outer pylons the VF-1 received four streamlined pods with unguided missiles, left over from KP MiG-21s which are pretty small and slender for their 1:72 scale. Under the 1:100 VF-1 they work well.
I furthermore gave it another pair of hardpoints under the air intakes, holding an ECM and a FLIR pod (both from a Dragon 1:144 RAF Tornado GR.1, the FLIR is a reversed chaff dispenser w/o fins). That’s not canonical, but this one here is fictional, anyway.
On the legs, small chaff/flare dispensers made from styrene strips were added, and small radar warning fairings adorn the nose and the tail. Thin styrene profile strips were added on the legs and the fins, for a little more external structure, and a small laser range finder fairing was mounted under the VF-1’s nose (also from the 1:144 Tonka).
In order to emphasize this Valkyrie's updated and modified status, I modified the horribly misshaped “S” head unit, lowering and narrowing the cranium’s rear part and reducing the number of lasers from four to just two. For the in-flight pictures a pilot figure was added to the cockpit, which also had the dashboard extended downwards to the console between the pilot’s feet.
Painting and markings:
The goal was to apply an effective (and potentially) attractive paint scheme that would be appropriate for the Australian desert/outback landscape, with its distinct red sand, low, pale shrubs and occasional dark rocks and trees. I checked both RAAF schemes as well as landscape pictures, and eventually created a four-tone wraparound scheme, somewhat inspired by unique RAAF DHC-4s and Pilatus Porter transporter liveries, as well as the SAC bomber scheme that was/is used on RAAF C-130. The US Army MERCD scheme also has some influence. However, the result is not a copy of an existing scheme, the scheme rather evolved gradually – even though, once it was done, it somewhat reminds of the famous Swedish “Fields & Meadows” pattern, just with lighter colors, even though this was not intended!
Due to the model’s small size and the potentially bright Australian theatre of operation, I did not want the disruptive scheme to become too dark. Consequently, the wraparound scheme consists of four tones: splotches of Brown Yellow (Humbrol 94) and IJN Grey Green (Tamiya XF-76), two tones with similar brightness, are the basis. Next came a medium red brown (Leather, Humbrol 62) and finally some Bronze Green (Humbrol 75), the latter intended to break up the aircraft's silhouette through a strong color contrast.
For a subtle counter-shading effect against the sky, relatively more of the Sand and IJN Grey Green was used on the undersides and the dark green was not applied underneath at all. The radome, in order to set it slightly apart from the rest of the airframe, as well as some other dielectric fairings, were painted with Hemp (Humbrol 168).
The cockpit became standard medium grey (Humbrol 140) with a brown seat. The landing gear was painted in classic white, while the air intakes and some other openings were painted in dark grey (Revell 77).
In an attempt to further subdue the aircraft's overall visual profile, I avoided any flashy trim and rather went for monochrome markings in black. The low-viz U.N. Spacy “kite” roundels were created and printed at home. The eagle emblems on the fins belong, in real life, to an F-15E prototype (Italeri kit), the tactical codes were puzzled together from A-10 and T-4 decal sheets. Most characteristic VF-1 stencils come from the OOB sheet, some lines were created with generic decal material.
Due to the model’s small size, only some light, overall dry-brushing with hemp and light grey was done, and then the kit was finally sealed with matt acrylic varnish (Italeri).
A camouflaged VF-1 surely looks odd, esp. in desert colors, but there actually are several canonical aircraft painted in such a fashion, to be found in various official Macross publications - in fact, this model is the attempt to create a more plausible livery than one that I found in such a sourcebook. IMHO, the home-brew disruptive four-tone scheme for this "Valkyroo" VF-1 looks quite attractive, and thanks to the selected tones it also makes the subtle Australia connection. Those small Valkyrie kits never get boring, at least to me! :D
The versatile switch-hitter played left field today. NOTE: As of the 2022 season, Garcia had the longest tenure with the Sox, dating back to 2013.
Stobist / CLS Info:
Pop-Up: Commander @ "__"
Group A: SB600 @ Manual 1/128th power, Snooted, Behind Clip
Some background:
The VF-1 was developed by Stonewell/Bellcom/Shinnakasu for the U.N. Spacy by using alien Overtechnology obtained from the SDF-1 Macross alien spaceship. Its production was preceded by an aerodynamic proving version of its airframe, the VF-X. Unlike all later VF vehicles, the VF-X was strictly a jet aircraft, built to demonstrate that a jet fighter with the features necessary to convert to Battroid mode was aerodynamically feasible. After the VF-X's testing was finished, an advanced concept atmospheric-only prototype, the VF-0 Phoenix, was flight-tested from 2005 to 2007 and briefly served as an active-duty fighter from 2007 to the VF-1's rollout in late 2008, while the bugs were being worked out of the fully functional VF-1 prototype (the VF-X-1).
Introduced in 2008, the VF-1 would be produced en masse within a short period of time, a total of 5,459 airframes were delivered until 2013. The space-capable VF-1's combat debut was on February 7, 2009, during the Battle of South Ataria Island - the first battle of Space War I - and remained the mainstay fighter of the U.N. Spacy for the entire conflict. From the start the VF-1 proved to be an extremely capable and versatile craft, successfully combating a variety of Zentraedi mecha even in most sorties which saw UN Spacy forces significantly outnumbered. The versatility of the Valkyrie design enabled the variable fighter to act as both large-scale infantry and as air/space superiority fighter. The signature skills of U.N. Spacy ace pilot Maximilian Jenius exemplified the effectiveness of the variable systems as he near-constantly transformed the Valkyrie in battle to seize advantages of each mode as combat conditions changed from moment to moment.
The basic VF-1 was deployed in four sub-variants (designated A, D, J, and S) and its success was increased by continued development of various enhancements and upgrades, including the GBP-1S "Armored" Valkyrie, FAST Pack "Super" Valkyrie and the additional RÖ-X2 heavy cannon pack weapon system for the VF-1S with additional firepower. The FAST Pack system was designed to enhance the VF-1 Valkyrie variable fighter, and the initial V1.0 came in the form of conformal pallets that could be attached to the fighter’s leg flanks for additional fuel – primarily for Long Range Interdiction tasks in atmospheric environment. Later FAST Packs were designed for space operations.
After the end of Space War I, production on Earth was stopped but the VF-1 continued to be manufactured both in the Sol system and throughout the UNG space colonies. Although the VF-1 would be replaced in 2020 as the primary Variable Fighter of the U.N. Spacy by the more capable, but also much bigger, VF-4 Lightning III, a long service record and its persistent production after the war in many space sectors proved the lasting worth of the design.
The versatile aircraft underwent constant upgrade programs. For instance, about a third of all VF-1 Valkyries were upgraded with Infrared Search and Track (IRST) systems, placed in a small, streamlined fairing in front of the cockpit. This system allowed passive long-range search and track modes, freeing the pilot from the need to give away his/her position through active radar emissions. The sensor could also be used for target illumination and precision weapons guidance.
Many Valkyries also received improved radar warning systems, with sensor arrays mounted on the wingtips, the fins and/or on the LERXs. Improved ECR measures and other defensive measure like flare/chaff dispensers were also added to some machines, typically in conformal fairings on the flanks of the legs/engine pods.
In early 2011, VF-1 production on Earth had already reached the 2.500th aircraft, a VF-1J which received a striking white-and-blue commemorative paint scheme upon roll-out, decorated with the logos of all major manufacturers and system suppliers. After a brief PR tour the machine (Bu. No. 2110406/1) was handed over to SVF-1, the famous Skull Squadron, as an attrition replacement for Major Yingluck 'Joker' Maneethapo's aircraft, leader of the unit’s 5th Flight and a Thai pilot ace from the first stages of the Zentraedi attacks in 2009.
With the opportunity to add more personal style to his new mount, Maneethapo's chose the non-standard modex ML 555 for his fighter - a play of words, because the five is pronounced 'ha' in Thai language and '555' a frequent abbreviation for 'laughing'. Bu. No. 2110406/1 retained its bright PR livery, because its primary colors matched well with SVF-1 ‘Lazulite’ flight’s ID color. The aircraft just lost the sponsor logos and instead received full military markings and tactical codes, including the unit’s renowned skull icon and the characteristic “ML” letter code on the foldable fins. The nose art for the 2.500th production VF-1 jubilee was retained, though.
In SVF-1 service, Bu. No. 2110406/1 was soon upgraded with an IRST and retrofitted with FAST Packs and avionics for various zero-G weapons for operations in space, since the unit was supposed to become based on SDF-1 and go into space with the large carrier ship. However, only SVF-1's Flight #1, 2 and 3 were taken on board of the SDF-1 when the ship left Earth, the remaining unit parts remained at the home base on Ataria Island, tasked with homeland defense duties.
In 2012, at the end of the war, SVF-1’s Lazulite’ flight was re-located on board of ARMD-02 (Armaments Rigged-up Moving Deck Space Carrier vessel), which was and rebuilt and attached to the refitted SDF-1 Macross as originally intended. There, Bu. No. 2110406/1 served into the first year of the New Era 0001 in 2013, when it was replaced as a Flight Leader’s mount by a VF-4 and handed over to SVF-42 back on Earth, where it was repainted in standard U.N. Spacy fighter colors (even though it still retained its commemorative nose art) and served until 2017. Bu. No. 2110406/1 was then retired and unceremoniously scrapped, having already exceeded its expected service life.
The VF-1 was without doubt the most recognizable variable fighter of Space War I and was seen as a vibrant symbol of the U.N. Spacy. At the end of 2015 the final rollout of the VF-1 was celebrated at a special ceremony, commemorating this most famous of variable fighters. The VF-1 Valkryie was built from 2006 to 2013 with several major variants (VF-1A = 5,093, VF-1D = 85, VF-1J = 49, VF-1S = 30), sub-variants (VF-1G = 12, VE-1 = 122, VT-1 = 68) and upgrades of existing airframes (like the VF-1P).
Despite its relatively short and intense production run the fighter remained active in many second line units and continued to show its worthiness even years later, e. g. through Milia Jenius who would use her old VF-1 fighter in defense of the colonization fleet - 35 years after the type's service introduction!
General characteristics:
All-environment variable fighter and tactical combat Battroid,
used by U.N. Spacy, U.N. Navy, U.N. Space Air Force and U.N.S. Marine Corps
Accommodation:
Pilot only in Marty & Beck Mk-7 zero/zero ejection seat
Dimensions:
Fighter Mode:
Length 14.23 meters
Wingspan 14.78 meters (at 20° minimum sweep)
Height 3.84 meters
Battroid Mode:
Height 12.68 meters
Width 7.3 meters
Length 4.0 meters
Empty weight: 13.25 metric tons
Standard T-O mass: 18.5 metric tons
MTOW: 37.0 metric tons
Power Plant:
2x Shinnakasu Heavy Industry/P&W/Roice FF-2001 thermonuclear reaction turbine engines, output 650 MW each, rated at 11,500 kg in standard or 225.63 kN in overboost
4x Shinnakasu Heavy Industry NBS-1 high-thrust vernier thrusters (1 x counter reverse vernier thruster nozzle mounted on the side of each leg nacelle/air intake, 1 x wing thruster roll control system on each wingtip)
18x P&W LHP04 low-thrust vernier thrusters beneath multipurpose hook/handles
Performance:
Battroid Mode: maximum walking speed 160 km/h
Fighter Mode: at 10,000 m Mach 2.71; at 30,000+ m Mach 3.87
g limit: in space +7
Thrust-to-weight ratio: empty 3.47; standard T-O 2.49; maximum T-O 1.24
Design Features:
3-mode variable transformation; variable geometry wing; vertical take-off and landing; control-configurable vehicle; single-axis thrust vectoring; three "magic hand" manipulators for maintenance use; retractable canopy shield for Battroid mode and atmospheric reentry; option of GBP-1S system, atmospheric-escape booster, or FAST Pack system
Transformation:
Standard time from Fighter to Battroid (automated): under 5 sec.
Min. time from Fighter to Battroid (manual): 0.9 sec.
Armament:
2x Mauler RÖV-20 anti-aircraft laser cannon, firing 6,000 ppm
1x Howard GU-11 55 mm three-barrel Gatling gun pod with 200 RPG, fired at 1,200 rpm
4x underwing hard points for a wide variety of ordnance, including…
12x AMM-1 hybrid guided multipurpose missiles (3/point), or
12x MK-82 LDGB conventional bombs (3/point), or
6x RMS-1 large anti-ship reaction missiles (2/outboard point, 1/inboard point), or
4x UUM-7 micro-missile pods (1/point) each carrying 15 x Bifors HMM-01 micro-missiles,
or a combination of above load-outs
The kit and its assembly:
Another small and vintage 1:100 VF-1 Fighter. This time it’s a non-canonical aircraft, based on a limited edition decal sheet that was published with the Japanese Model Graphix magazine in April 2001 (check this here for reference: www.starshipmodeler.com/mecha/jl_clrvalk.htm) with Hasegawa’s first release of their 1:72 Valkyrie Fighter kit. The give-away sheet featured several VF-1s, including an anniversary paint scheme for the 2.500th production Valkyrie. This is AFAIK neither ‘official’ nor canonical – but the pretty blue-and-white livery caught my attention, and I had for a long time the plan to re-create this livery on one of my favored 1:100 models. This would not work 100%, though, so I had to improvise – see below.
The kit was built OOB, with the landing gear down and (after taking the flight scenic pictures) with an open canopy, mounted on a small lift arm. Some typical small blade antennae the 1:100 simple kit lacks were added around the hull as a standard measure to improve the look. In the cockpit I added side consoles and a pilot figure for the in-flight shots.
The only non-standard additions are the IRST sensor fairing in front of the cockpit – the model of the anniversary VF-1 in the Model Graphix magazine carries this canonical upgrade, too, it was created from clear sprue material. Another tiny addition were the RHAWS antenna fairings at the top of the fins, scratched from small styrene profile bits.
The Valkyrie’s ordnance is standard and was taken OOB, featuring twelve AMM-1 missiles under the wings plus the standard GU-11 gatling gun pod; the latter was modified to hold a scratched wire display for in-flight pictures at its rear end. The Model Graphix VF-1 is insofar confusing as it seems to carry something that looks like a white ACMI pod on a non-standard pylon, rather attached to the legs than to the wings? That's odd and I could not make up a useful function, so I rejected this detail. The magazine Valkyrie's belly drop tank was - even though canonical, AFAIK - also not taken over to my later in-service status.
Painting and markings:
The more challenging part of the build, in two ways. First, re-creating the original commemorative livery would have called for home-made decals printed in opaque white for the manufacturers’ logos, something I was not able to do at home. So, I had to interpret the livery in a different way and decided to spin the aircraft’s story further: what would become of this VF-1 after its roll-out and PR event? In a war situation it would certainly be delivered quickly to a frontline unit, and since I had some proper markings left over, I decided to attach this colorful bird to the famous Skull Squadron, SVF-1, yet to a less glorious Flight. Since flight leaders and aces in the Macross universe would frequently fly VF-1s in individual non-standard liveries, sometimes even very bright ones, the 2,500th VF-1 could have well retained its catchy paint scheme.
The second part of the challenge: the actual paint job. Again, no suitable decals were at hand, so I had to re-create everything from scratch. The VF-1J kit I used thankfully came molded in white styrene, so that the front half of the aircraft could be easily painted in white, with no darker/colored plastic shining through. I painted the white (Revell 301, a very pure white) with a brush first. For the blue rear half, I settled upon an intense and deep cobalt blue tone (ModelMaster 2012). For the zigzag border between the colors, I used Tamiya masking tape, trimmed with a tailor’s zigzag scissors and applied in a slightly overlapping pattern for an irregular edge.
The landing gear became standard all-white (Revell 301, too), with bright red edges (Humbrol 174) on the covers. Antenna fairings were painted with radome tan (Humbrol 7) as small color highlights.
The cockpit interior became standard medium grey (Revell 47) with a black ejection seat with brown cushions (Humbrol 119 and Revell 84), and brown “black boxes” behind the headrest. The air intakes as well as the interior of the VG wings were painted dark grey (Revell 77). The jet nozzles/feet were internally painted with Humbrol 27003 (Steel Metallizer) and with Revell 91 on the outside, and they were later thoroughly treated with graphite to give them a burnt/worn look.
The GU-11 pod became standard bare metal (Revell 91, Iron metallic), the AMM-1s were painted in light grey (Humbrol 127) with many additional painted details in five additional colors, quite a tedious task when repeated twelve times...
After basic painting was one the model received a careful overall washing with black ink to emphasize the engraved panel lines, and light post-shading was done to the blue areas to emphasize single panels.
The full-color ’kite’ roundels came from an 1:100 VF-1A sheet, the skull emblems were left over from my Kotobukiya 1:72 VF-4 build some years ago, which OOB carries SVF-1 markings, too. The 2.500th aircraft nose art decoration was printed on clear decal film with an ink jet printer at home, even though it’s so small that no details can be discerned on the model. SVF-1’s “ML” tail code was created with single white decal letters (RAF WWII font), the red “555” modex came from an PrintScale A-26 Invader sheet, it's part of a USAF serial number from an all-black Korean War era aircraft.
The wings' leading edges were finished in medium grey, done with decal sheet material. The Model Graphix Valkyrie does not sport this detail, but I think that the VF-1 looks better with them and more realistic. Red warning stripes around the legs - also not seen on the model in the magazine - were made from similar material.
The confetti along the jagged edge between the white and the blue areas was created with decal material, too – every bit was cut out and put into place one for one… To match the cobalt blue tone, the respective enamel paint was applied on clear decal sheet material and cut into small bits. For the white and red confetti, generic decal sheet material was used. All in all, this was another tedious process, but, at the small 1:100 scale, masks or tape would have been much more complex and less successful with the brushes I use for painting. For this home-made approach the result looks quite good!
Finally, after some typical details and position lights had been added with clear paints over a silver base, the small VF-1 was sealed with a coat of semi-matt acrylic varnish, giving it a slightly shiny finish.
A pretty VF-1 – even though I’d call it purely fictional, despite being based on material that was published in a Japanese magazine more than 20 years ago. The simple yet striking livery was a bit tricky to create, but the result, with the additional SVF-1 unit markings, looks good and makes me wonder how this machine would look with FAST pack elements for use in space or as a transformed Battroid?
even a comfortable seat, by Joysline Pratt
she told me the story of the Andesite, an extrusive rock intermediate in composition between rhyolite and basalt. Andesite lava is of moderate viscosity and forms thick lava flows and domes. The word andesite is derived from the Andes Mountains in South America, where andesite is common. Andesite is the volcanic equivalent of diorite.
7mm TTA LPG tank. Shapeways versatile plastic chassis with PLA printed tank ends and plastic pipe for tank barrel. Resin printed hatch cover and homemade transfer. Dapol couplings and Accurascale Oleo buffers.
This versatile vehicle is an epitome of recycling of scrapped materials. The front wheel, frame, handlebar, lights, dynamo, self starter, battery & luggage box are from motorcycles. The seat & rear wheels from a scooter. The pedals from a car. The gear shift from a lathe machine. The rear shock absorbers are partly from a car & partly a hammer press. All the blue frames are welded from window grilles. The wooden bed out of packing crates. The engine is a combo out of drive mechanisms from different shallow water pumps widely used in villages.
This versatile vehicle is used for transporting anything under the sun. Commonly seen loads comprise stacks of hay, earthen pots, goats, a bunch of villagers, gunny bags of vegetables, fruit baskets, milk cans ... you name it. Near No. 2 Bazaar, Kalyani, Nadia, WB, 13.3.11
Ainsworths Caterpillars were employed by Wimpennys in 1978 to level the site at Spa fields, Slaithwaite, Huddersfield for the creation of the industrial estate that is there now. I could see these Cats working from our yard and I used to go down ther and watch them, I was just learning the nuts and bolts of photography with a borrowed Agfa super silette camera with all manual settings, I shot a roll of film from a distance, which I still have, I must have then taken the plunge and spent over £200 on Canon AE1, because these photos were taken with it. I still have the AE1 (a few actually but bought for a lot less). The scrapers used to roll over and be pushed back upright by the dozer. Ainsworths were from Birstall at the side of the A62, a yard full of these rare old girls, I used to gawp at them whenever we drove past. Most of the drivers seemed to be Irish lads. I did once get to drive a D6 and we used to run a Cat 955 Traxcavator loading shovel, The Case 1150's that we ran didn't have the cache of Cat but the choice of steering options made them a versatile machine to drive.
Willow is a Soulkid Fafner hybrid on a Mnf Body. She was my first doll and I did her faceup myself. I love her to bits...
Well almost done. We are still a little vulnerable on the stream side of the campsite mainly because the border is an old crumbling stone wall overgrown with trees and shrubs. Not enough to keep the cows out but enough to make life hard for amateur fencers like us. We resorted to weaving a way through with old wooden pallets. They'll look OK once they've been painted.
British postcard by Heroes Publishing ltd., London, no. SPC 2767. Photo: publicity still for What's Eating Gilbert Grape (Lasse Hallström, 1993).
American actor Johnny Depp is one of the most versatile actors in today's Hollywood. He made his film debut as one of Freddy Krueger's victims in A Nightmare on Elm Street (1984). With his dark, intense eyes and highly defined cheekbones, he shot to fame as a teen idol in the TV series 21 Jump Street (1987). He is now best known for his many wonderful collaborations with director Tim Burton, and for his flamboyant pirate Jack Sparrow in the Pirates of Carribean franchise. He likes to play freakishly eccentric outcasts whose oddities are misunderstood by society. Depp has been nominated for three Oscars and has won the Golden Globe and Screen Actors Guild Awards for Best Actor.
John Christopher Depp II was born in Owensboro, Kentucky, in 1963, to Betty Sue (Wells), who worked as a waitress, and John Christopher Depp, a civil engineer. Depp was raised in Florida. He dropped out of school when he was 16 (or 15 - the sources differ), after his parents divorced. The brooding teenager fronted a series of music-garage bands, including the punk rock/New Wave band The Kids, which opened for Iggy Pop, Duran Duran, and The B-52's. When he married Lori Anne Allison (Lori A. Depp), he took up the job of being a ballpoint-pen salesman to support himself and his wife during slack times in the music business. When he visited Los Angeles with his wife, he met actor Nicolas Cage, who advised him to turn to acting. This culminated in Depp's film debut in the low-budget horror film, A Nightmare on Elm Street (1984), where he played a teenager who falls prey to dream-stalking demon Freddy Krueger. He played a supporting role as a Vietnamese-speaking private in Oliver Stone's Vietnam War film Platoon (1986), starring Charlie Sheen. In 1987 he shot to stardom when he replaced Jeff Yagher as Officer Tom Hanson, who goes on an undercover operation by posing as a student in crime-ridden Los Angeles-area high schools in the TV series 21 Jump Street (1987). After numerous roles in teen-oriented films, Depp spoofed the genre as 1950s teen rebel 'Cry-Baby' Wade Walker in John Waters' tongue-in-cheek Cry-Baby (John Waters, 1990). The film received positive reviews from critics, but did not achieve high audience numbers in its initial release. It has subsequently become a cult classic and spawned a Broadway musical of the same name which was nominated for four Tony Awards. That year, Depp also started his great collaborations with director Tim Burton, playing the title role in the romantic dark fantasy Edward Scissorhands (1990) with Winona Ryder and Christopher Lee.
Following the film's success, Johnny Depp carved a niche for himself as a serious, somewhat dark, idiosyncratic performer, consistently selecting roles that surprised critics and audiences alike. He continued to gain critical acclaim and increasing popularity by appearing in such features as Lasse Hallström's What's Eating Gilbert Grape (1993). He starred alongside Leonardo DiCaprio and Juliette Lewis in this drama about a dysfunctional family. He rejoined with Burton in the lead role of Ed Wood (Tim Burton, 1994), a biographical film about one of history's most inept film directors. Then he played a newly-orphaned accountant in the surrealist Western Dead Man (Jim Jarmusch, 1995), and an undercover FBI agent in the fact-based crime drama Donnie Brasco (Mike Newell, 1997), opposite Al Pacino. Depp appeared as Hunter S. Thompson's alter ego in Terry Gilliam's trippy adaptation of Fear and Loathing in Las Vegas (1998). The same year he teamed up again with Burton in Sleepy Hollow (Tim Burton, 1999), brilliantly portraying Ichabod Crane. With Chuck E. Weiss, Depp turned the Central Nightclub in Los Angeles, into the famous Viper Room at 8852 Sunset Blvd. The building was once owned by infamous gangster Bugsy Siegel. It's also the place where River Phoenix passed away on 31 October 1993. Depp closed down the Viper Room for two weeks after Phoenix's death and he also closed it on every 31 October until 2004. That year, he ended his ownership of the Viper room when he signed it over to Amanda Fox, the daughter of his missing partner in the club, Anthony Fox. Depp also once co-owned a restaurant/club in a former cinema in Paris called Man Ray (named after the avant-garde artist), with Sean Penn, John Malkovich and British musician Mick Hucknall.
Johnny Depp has played many different and often bigger-than-life characters in his career. He played a fact-based one, Insp. Fred Abberline in From Hell (Albert Hughes, Allen Hughes, 2001). He stole the show in the finale to Robert Rodriguez's Mariachi trilogy, Once Upon a Time in Mexico (2003), opposite Antonio Banderas. In that same year he starred in the marvelous family blockbuster Pirates of the Caribbean: The Curse of the Black Pearl (Gore Verbinski, 2003), playing a character that only the likes of Depp could pull off: the charming, conniving and roguish Capt. Jack Sparrow. He based Sparrow on rock legend Keith Richards and the Looney Tunes character, Pepe Le Pew. The film's enormous success included an Oscar nomination for Depp. Depp was again nominated for the Best Actor Academy Award for his performance as kind-hearted Scottish novelist James Matthew Barrie, who penned the children's classic Peter Pan, in Finding Neverland (Marc Forster, 2004), with Kate Winslet. He appeared as the notorious second Earl of Rochester in the British film, The Libertine (Lawrence Dunmore, 2004) opposite John Malkovich. Depp collaborated again with Burton in a screen adaptation of Roald Dahl's novel, Charlie and the Chocolate Factory (Tim Burton, 2005), and the stop-motion animation Corpse Bride (Tim Burton, 2005), in which Depp voiced the character Victor Van Dort. Later followed Sweeney Todd (Tim Burton, 2007), Alice in Wonderland (Tim Burton, 2010) and Dark Shadows (Tim Burton, 2012). Depp reprised the role of Jack Sparrow in the Pirates sequels Dead Man's Chest (Gore Verbinski, 2006), At World's End (Gore Verbinski, 2007) and Pirates of the Caribbean: On Stranger Tides (Rob Marshall, 2011), which were again major box office successes.
Off-screen, Johnny Depp has dated several female celebrities, and has been engaged to Sherilyn Fenn, Jennifer Grey, Winona Ryder and Kate Moss. He was married to Lori Anne Allison in 1983, but divorced her in 1985. Depp has two children with French singer/actress Vanessa Paradis: Lily-Rose Melody (1999) and Jack (2002). He married actress/producer Amber Heard in 2015. Heard filed for divorce from Johnny Depp in May, 2016. She was granted a temporary domestic violence restraining order against Depp in relation to a physical altercation between the couple, which resulted in Heard filing for divorce in the first place. Heard was granted $7 million as part of the former couple's divorce, which was finalised in 2017. Depp has struggled with alcoholism and addiction for much of his life. Depp has stated that he began smoking at age 12 and began using alcohol and drugs shortly thereafter. In July 2018, Depp was sued for allegedly punching a crew member twice in the ribs during a foul-mouthed tirade. Court documents stated that the actor "reeked of alcohol" and took drugs on set. According to IMDb, Johnny Depp resides in France, Los Angeles, and an island he owns in the Bahamas. He divides his time in France between Meudon, a suburb of Paris and a villa in Plan-de-la-Tour, an hour outside of St Tropez in Southern France. He also purchased Bela Lugosi's Los Angeles home. Depp is intensely protective of his private life. Inside the Actors Studio (1994) is one of the few televised interviews he's granted. Hal Erickson at AllMovie: "Despite this massive success (or maybe as a result), Depp's career suffered a downswing after a string of critical and commercial flops. Films like The Tourist (opposite Angelina Jolie), Dark Shadows (a rare misstep with Tim Burton) and The Lone Ranger failed to connect with audiences and critics alike and left many to wonder when Depp's career would recover." It did. In recent years, Depp reprised the role of the Mad Hatter in Alice Through the Looking Glass (James Bobin, 2016), reprised his role as Captain Jack Sparrow in Pirates of the Caribbean: Dead Men Tell No Tales (Joachim Rønning, Espen Sandberg, 2017), and he was seen in the blockbuster Fantastic Beasts: The Crimes of Grindelwald (David Yates, 2018), written by J. K. Rowling and starring Eddie Redmayne. Depp is set to return as Gellert Grindelwald in the third Fantastic Beasts film, which is scheduled for release in November 2020.
Sources: Hal Erickson (AllMovie), Wikipedia and IMDb.
The Ellaria is a modular battleship designed for versatility and adaptability, featuring a command section equipped with troop deployment ramps, a med bay, stasis pods, and forward-facing heavy weaponry; an expansive cargo hold capable of supporting fighters, vehicles, troops, or modular mission rooms; and an engineering section housing a crystal-based power system with virtually unlimited energy, a powerful ion cannon, and dual heavy thrusters. When the cargo hold is detached, the command section, airlock, and engineering combine to form a Corvette-style ship, ensuring combat effectiveness and operational flexibility.
Some background:
The VF-1 was developed by Stonewell/Bellcom/Shinnakasu for the U.N. Spacy by using alien Overtechnology obtained from the SDF-1 Macross alien spaceship. Its production was preceded by an aerodynamic proving version of its airframe, the VF-X. Unlike all later VF vehicles, the VF-X was strictly a jet aircraft, built to demonstrate that a jet fighter with the features necessary to convert to Battroid mode was aerodynamically feasible. After the VF-X's testing was finished, an advanced concept atmospheric-only prototype, the VF-0 Phoenix, was flight-tested from 2005 to 2007 and briefly served as an active-duty fighter from 2007 to the VF-1's rollout in late 2008, while the bugs were being worked out of the full-up VF-1 prototype (VF-X-1).
The space-capable VF-1's combat debut was on February 7, 2009, during the Battle of South Ataria Island - the first battle of Space War I - and remained the mainstay fighter of the U.N. Spacy for the entire conflict. Introduced in 2008, the VF-1 would be out of frontline service just five years later, though.
The VF-1 proved to be an extremely capable craft, successfully combating a variety of Zentraedi mecha even in most sorties which saw UN Spacy forces significantly outnumbered. The versatility of the Valkyrie design enabled the variable fighter to act as both large-scale infantry and as air/space superiority fighter. The signature skills of U.N. Spacy ace pilot Maximilian Jenius exemplified the effectiveness of the variable systems as he near-constantly transformed the Valkyrie in battle to seize advantages of each mode as combat conditions changed from moment to moment.
The basic VF-1 was deployed in four minor variants (designated A, D, J, and S) and its success was increased by continued development of various enhancements including the GBP-1S "Armored" Valkyrie, FAST Pack "Super" Valkyrie and the additional RÖ-X2 heavy cannon pack weapon system for the VF-1S for additional firepower.
The FAST Pack system was designed to enhance the VF-1 Valkyrie variable fighter, and the initial V1.0 came in the form of conformal pallets that could be attached to the fighter’s leg flanks for additional fuel – primarily for Long Range Interdiction tasks in atmospheric environment. Later FAST Packs were designed for space operations.
The VF-1D Valkyries were two-seater variants of the VF-1 Valkyrie and they were used for training. Each features two independent TV camera "eye" systems within their head, one for each crew member, and each visual system was linked to a RÖV-20 anti-aircraft laser cannon, which could be fired independently or as a single weapon station, operated by either crew member. Otrherwise the VF-1D had the same equipment and avionics suite as the single seat fighters, making them fully combat-capable.
The forward fuselage (コクピット・カプセル Kokupitto Kapuseru, lit. Cockpit Capsule) of a VF-1D Valkyrie functionsed as an escape system that was furnished with an independent life support system, rescue transponder, a hypo-metabolic system, and a simple emergency medical system. When a VF-1D transformed into Battroid mode, the head could open, allowing the two seats to emerge at the top, arranged vertically. The back seat emerged first and the front seat, where the pilot sat, emerged second underneath the back seat.
After the end of Space War I, the VF-1 continued to be manufactured both in the Sol system and throughout the UNG space colonies. Although the VF-1 would be replaced in 2020 as the primary Variable Fighter of the U.N. Spacy by the more capable, but also much bigger, VF-4 Lightning III, a long service record and continued production after the war proved the lasting worth of the design.
The versatile aircraft also underwent constant upgrade programs. For instance, about a third of all VF-1 Valkyries were upgraded with Infrared Search and Track (IRST) systems from 2016 onwards, placed in a streamlined fairing on the upper side of the nose, just in front of the cockpit. This system allowed for long-range search and track modes, freeing the pilot from the need to give away his position with active radar emissions, and it could also be used for target illumination and guiding precision weapons.
Many Valkyries also received improved radar warning systems, with receivers, depending on the systems, mounted on the wingtips, on the fins and/or on the LERXs. Improved ECR measures were also mounted on some machines, typically in conformal fairings on the flanks of the legs/engine pods.
The VF-1 was without doubt the most recognizable variable fighter of Space War I and was seen as a vibrant symbol of the U.N. Spacy even into the first year of the New Era 0001 in 2013. At the end of 2015 the final rollout of the VF-1 was celebrated at a special ceremony, commemorating this most famous of variable fighters. The VF-1 Valkryie was built from 2006 to 2013 with a total production of 5,459 VF-1 variable fighters with several variants (VF-1A = 5,093, VF-1D = 85, VF-1J = 49, VF-1S = 30, VF-1G = 12, VE-1 = 122, VT-1 = 68).
However, the fighter was frequently updated, leading to several “re-built” variants, and remained active in many second line units and continued to show its worthiness years later, e. g. through Milia Jenius who would use her old VF-1 fighter in defense of the colonization fleet - 35 years after the type's service introduction!
General characteristics:
All-environment variable fighter and tactical combat Battroid,
used by U.N. Spacy, U.N. Navy, U.N. Space Air Force
Accommodation:
Pilot only in Marty & Beck Mk-7 zero/zero ejection seat
Dimensions:
Fighter Mode:
Length 14.23 meters
Wingspan 14.78 meters (at 20° minimum sweep)
Height 3.84 meters
Battroid Mode:
Height 12.68 meters
Width 7.3 meters
Length 4.0 meters
Empty weight: 13.25 metric tons;
Standard T-O mass: 18.5 metric tons;
MTOW: 37.0 metric tons
Power Plant:
2x Shinnakasu Heavy Industry/P&W/Roice FF-2001 thermonuclear reaction turbine engines, output 650 MW each, rated at 11,500 kg in standard or in overboost (225.63 kN x 2)
4x Shinnakasu Heavy Industry NBS-1 high-thrust vernier thrusters (1 x counter reverse vernier thruster nozzle mounted on the side of each leg nacelle/air intake, 1 x wing thruster roll control system on each wingtip);
18x P&W LHP04 low-thrust vernier thrusters beneath multipurpose hook/handles
Performance:
Battroid Mode: maximum walking speed 160 km/h
Fighter Mode: at 10,000 m Mach 2.71; at 30,000+ m Mach 3.87
g limit: in space +7
Thrust-to-weight ratio: empty 3.47; standard T-O 2.49; maximum T-O 1.24
Design Features:
3-mode variable transformation; variable geometry wing; vertical take-off and landing; control-configurable vehicle; single-axis thrust vectoring; three "magic hand" manipulators for maintenance use; retractable canopy shield for Battroid mode and atmospheric reentry; option of GBP-1S system, atmospheric-escape booster, or FAST Pack system
Transformation:
Standard time from Fighter to Battroid (automated): under 5 sec.
Min. time from Fighter to Battroid (manual): 0.9 sec.
Armament:
2x Mauler RÖV-20 anti-aircraft laser cannon in the "head" unit, firing 6,000 pulses per minute
1x Howard GU-11 55 mm three-barrel Gatling gun pod with 200 RPG, fired at 1,200 rds/min
4x underwing hard points for a wide variety of ordnance, including
12x AMM-1 hybrid guided multipurpose missiles (3/point), or
12x MK-82 LDGB conventional bombs (3/point), or
6x RMS-1 large anti-spaceship reaction missiles (2/outboard point, 1/inboard point), or
4x UUM-7 micro-missile pods (1/point) each carrying 15 x Bifors HMM-01 micro-missiles, or a combination of above load-outs and other guided and unguided ordnance
The kit and its assembly:
This started as a quick relief build after the submission for the 2021 "One Week " Group Build at whatifmodellers.com - but progress was so quick that I finished this VF-1 in time to make it a second submission withing the GB's effective run of nine days.
This one was a simple adaptation of one of the experimental "Heather Ferris" low-visibility paint schemes the US Navy tested during the early Eighties on some F-4S "Phantom II"s of VF-301 and 302, before the moere uniform Light Compass Grey/Light Ghost Grey was eventually adapted. However, the Heather Ferris schemes are absolutely comtemporary for the VF-1's medial appearance, and mating them on a model appeared like a suitable combo.
The basis is - as usual - the vintage and very simple ARII VF-1, in this case a double-seater. It was built OOB with the landing gear down, and with the usual improvements: some standard blade antennae, the fins’ tops were modified with RHAWS fairings. However, I neglected to modify the upper torso - The VF-1D Valkyrie has a slightly different forward fuselage in Super Dimension Fortress Macross The First, lacking the dorsal air brake of the single-seat fighters and having a "cleaner" surface with an edgier spine. But the "standard" hull is also fine/canonical, I just missed the opportunity. Maybe on another VF-1D...?
The underwing pylons were deleted (it's just a trainer and maybe used for air combat drill, so extra weight is superfluous). The gun pod was retained and modified to accept a scratched wire display in its tail to hold the Valkyrie in flight scenes. The pilot figures were just guests for the in-flight photo sessions, later the canopy was glued to a mount in open position.
Painting and markings:
As mentioned above, this kit carries an adaptation of one of the three Heather Ferris schemes, namely #2 with a light nose section and a darker tail/starboard side. Since the VF-1's structure, with VG wings at shoulderposition and a twin tail, differs from the benchmark F-4, I drew up a three-side profile view of a VF-1 and laid the paint scheme out - it made painting much easier.
The Heather Ferris warp-around scheme consists of four tones FS 36375 (Light Ghost grey), 36307 (Light Sea Grey, it was a brownish hue), 35237 (Grey bLue AMT-11) and 35164 (Intermediate Blue). The paints I used were Humbrol 127, a 3:1 mix of 64 and 140, 145 and 144, respectively. The cockpit interior became, according to the look in the TV series, medium grey (Revell 47) with black seats and brown cushions. The landing gear became white and the GU-11 gun pod iron metallic (Humbrol 53), for a toned.down look.
After basic painting, the model received an overall washing with thinned black ink to emphasize the engraved panel lines. A little post-shading was done, too, for a more graphic look, and then the decals were applied. The low-viz "kite" roundels were printed at home, the tactical markings came from an Authentic Decals F-18 sheet (which turned out to be rubbish - very thin but brittle and prone to crack like vintage ESCI decals!!!) and the stencils were taken from the VF-1 OOB sheet. For some contrast to the dull livery, and as a hommage to the "Delta November" markings of the F-4Ss that carried this unique paint scheme, I gave the VF-1D small red markings on the fins and under the cockpit - very subtle, but I think that this improves the overall look a lot. Generic decal material was used to create the grey wing leading edges and some black hull details, e.g. the bands around the nose.
Finally, after some more detail painting (antennae, position lights) , the VF-1 was sealed with a semi-gloss acrylic varnish. The jet nozzles/feet were treated with graphite for a used abnd metallic look.
A small and quick interim project, realized in just three days (plus two more for the pictures). There are certainly better VF-1 models than the vintage ARII kits, but I just love them because they are small, simple and easy to modify. Creating a benchmark profile for painting was quite a challenge, but it was IMHO worthwhile because it made adapting the F-4 scheme to the rather different VF-1 easier.
The Fiat 500L Adventurer illustrates the versatility of the new five-seater, with modifications that transform the vehicle and equip it with a tough, rugged appearance.
The exterior is enhanced with Bright White body paint, two-tone accent wheel flares and rockers painted in Satin Black. Color is added with Vibrance Bright Orange on the roof, which totes Mopar roof rails and a large roof basket. The vehicle sits on 18 x 7.5-inch custom concept wheels embellished with FIAT logo center caps.
A custom 500L graphic augments door panels, with the L painted orange to match the roof. Orange mirror caps, tinted taillights, tinted chrome exhaust tips, molded splash guards, and a chrome FIAT logo ring further enhance the exterior styling.
The interior is upgraded with black perforated suede Katzkin seats and pearl leather seatbacks. Matching orange accents are featured inside as well, with orange-painted bezels and orange accents surrounding the speaker grills and steering-wheel badge. The two-tone instrument panel is black with a white leather insert. A Mopar seatback coat hanger, all-weather mats, a pedal kit, doorsill guards and a cargo organizer are included from the Mopar catalog. A performance boost is achieved with a Mopar cold-air intake and Mopar cat-back exhaust.
Johnny Depp
Noel Cruz is one of the most versatile & distinguished repaint artists in the doll community. He is most recognized for his character & celebrity based dolls due to their uncanny resemblance to the people they portray. His dolls are derived from several models like Gene, Tyler, Sydney, etc, by various doll-makers such as Robert Tonner & Franklin Mint. His repaints as well as his portraits are done with intricate detail to the point of being naturally lifelike in essence. Highly regarded among collectors and artists alike, Noel attempts to raise the bar and bring a fresh take to the common mass produced doll with every face he paints. Noel's specialty is with one of a kind repaints. The beauty of repaints is that almost no two are exactly alike just as no two artists are alike.
Visit my web site at www.ncruz.com