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copyright © 2008 sean dreilinger
view everybody holding hands on the walk - _MG_9324 on a black background.
Valiant-Hearts-The-Great-War-112754
Valiant-Hearts-The-Great-War-112754 Wallpaper.
www.cartoonography.com/5222-valiant-hearts-the-great-war-...
A futuristic looking desktop background, not my idea, saw a someone else do it first, but still looks awesome :D
Serfs Up ! (Flag photo courtesy of From Sovereign to Serf "Serfs Up" Author Roger Sayles and the Serfs Up Blog.) Roger Sayles' book, "From Sovereign to Serf" is available at www.serfs-up.net.
From Sovereign to Serf - Serfs Up ! - Roger Sayles - (serfs-up.net)
Wetfelted background with needlefelted detail.
Merino wool,wenseleydale, silk and mixed fibers.
'Seagull in flight' over Scarborough stormy seas
Windmill Background graphic available for download at dryicons.com/free-graphics/preview/windmill-background/ in EPS (vector) format.
View similar vector graphics at DryIcons Graphics.
Nhanh chóng hoàn thành bài thuyết trình với bộ Background Powerpoint đẹp này. Bạn có thể tải về miễn phí tại Slidemall.com
Relief, or relievo rilievo, is a sculptural technique. The term relief is from the Latin verb relevo, to raise. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane. What is actually performed when a relief is cut in from a flat surface of stone (relief sculpture) or wood (relief carving) is a lowering of the field, leaving the unsculpted parts seemingly raised. The technique involves considerable chiselling away of the background, which is a time-consuming exercise. On the other hand, a relief saves forming the rear of a subject, and is less fragile and more securely fixed than a sculpture in the round, especially one of a standing figure where the ankles are a potential weak point, especially in stone. In other materials such as metal, clay, plaster stucco, ceramics or papier-mache the form can be just added to or raised up from the background, and monumental bronze reliefs are made by casting. There are different degrees of relief depending on the degree of projection of the sculpted form from the field, for which the Italian appellations are still sometimes used. The full range includes high relief (alto-rilievo), where more than 50% of the depth is shown and there may be undercut areas, mid-relief (mezzo-rilievo), low-relief (basso-rilievo, or French: bas-relief /ˌbɑːrɪˈliːf/), and shallow-relief or rilievo schiacciato, where the plane is scarcely more than scratched in order to remove background material. There is also sunk relief, which was mainly restricted to Ancient Egypt. However the distinction between high relief and low relief is the clearest and most important, and these two are generally the only terms used to discuss most work. The definition of these terms is somewhat variable, and many works combine areas in more than one of them, sometimes sliding between them in a single figure; accordingly some writers prefer to avoid all distinctions. The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo, where the form is cut into the field or background rather than rising from it; this is very rare in monumental sculpture.
Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round". Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art, and may be of any subject.
Rock reliefs are those carved into solid rock in the open air (if inside caves, whether natural or man-made, they are more likely to be called "rock-cut"). This type is found in many cultures, in particular those of the Ancient Near East and Buddhist countries. A stela is a single standing stone; many of these carry reliefs.
TYPES
The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work. In particular, most later "high reliefs" contain sections in low relief, usually in the background. From the Parthenon Frieze onwards, many single figures have heads in high relief, but their lower legs are in low relief; the slightly projecting figures created in this way work well in reliefs that are seen from below (see Moissac portal in gallery). As unfinished examples from various periods show, raised reliefs, whether high or low, were normally "blocked out" by marking the outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery). Hyphens may or may not be used in all these terms, though they are rarely seen in "sunk relief" and are usual in "bas-relief" and "counter-relief". Works in the technique are described as "in relief", and, especially in monumental sculpture, the work itself is "a relief".
BAS RELIEF OR LOW RELIEF
A bas-relief ("low relief", from the Italian basso rilievo) or low relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. In the lowest reliefs the relative depth of the elements shown is completely distorted, and if seen from the side the image makes no sense, but from the front the small variations in depth register as a three-dimensional image. Other versions distort depth much less. It is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. In the art of Ancient Egypt and other ancient Near Eastern and Asian cultures, and also Meso-America, a very low relief was commonly used for the whole composition. These images would all be painted after carving, which helped to define the forms; today the paint has worn off in the great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means.
The Ishtar Gate of Babylon, now in Berlin, has low reliefs of large animals formed from moulded bricks, glazed in colour. Plaster was sometimes used in Egypt and Rome, and probably elsewhere, but needs very good conditions to survive – Roman decorative plasterwork is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius. Low relief was relatively rare in Western medieval art, but may be found, for example in wooden figures or scenes on the insides of the folding wings of multi-panel altarpieces.
Low relief is probably the most common type of relief found in Hindu-Buddhist arts of India and Southeast Asia. The low reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th to 10th-century Ellora Caves in India are noted for they were carved out from rock-cut hill. They are probably the most exquisite examples of Buddhist, Hindu, and Jain arts in India. Most of these low reliefs are used in narrating sacred scriptures, such as those founds in 9th century Borobudur temple in Central Java, Indonesia, that narrating The birth of Buddha (Lalitavistara). Borobudur itself possess 1,460 panels of narrating low reliefs. Another example is low reliefs narrating Ramayana Hindu epic in Prambanan temple, also in Java. In Cambodia, the temples of Angkor are also remarkable for their collection of low reliefs. The Samudra manthan or "Churning of Ocean of Milk" of 12th-century Angkor Wat is an example of Khmer art. Another examples are low reliefs of Apsaras adorned the walls and pillars of Angkorian temples. The low reliefs of Bayon temple in Angkor Thom also remarkable on capturing the daily life of Khmer Empire.
The revival of low relief, which was seen as a classical style, begins early in the Renaissance; the Tempio Malatestiano in Rimini, a pioneering classicist building, designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls. Since the Renaissance plaster has been very widely used for indoor ornamental work such as cornices and ceilings, but in the 16th century it was used for large figures (many also using high relief) at the Chateau of Fontainebleau, which were imitated more crudely elsewhere, for example in the Elizabethan Hardwick Hall.
In later Western art, until a 20th-century revival, low relief was used mostly for smaller works or combined with higher relief to convey a sense of distance, or to give depth to the composition, especially for scenes with many figures and a landscape or architectural background, in the same way that lighter colours are used for the same purpose in painting. Thus figures in the foreground are sculpted in high-relief, those in the background in low-relief. Low relief may use any medium or technique of sculpture, stone carving and metal casting being most common. Large architectural compositions all in low relief saw a revival in the 20th century, being popular on buildings in Art Deco and related styles, which borrowed from the ancient low reliefs now available in museums. Some sculptors, including Eric Gill, have adopted the "squashed" depth of low relief in works that are actually free-standing.
Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead. The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field. The depth of the elements shown is normally somewhat distorted. Shallow-relief or rilievo stiacciato, used for the background areas of compositions with the main elements in low-relief, was perfected by the Italian Renaissance sculptor Donatello. It is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs.
HIGH RELIEF
High relief (or altorilievo, from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field. The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where the elements seen are "squashed" flatter. High-relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture.
Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high-relief, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth. The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief.
Hellenistic and Roman sarcophagus reliefs were cut with a drill rather than chisels, enabling and encouraging compositions extremely crowded with figures, like the Ludovisi Battle sarcophagus (250–260 CE). These are also seen in the enormous strips of reliefs that wound round Roman triumphal columns. The sarcophagi in particular exerted a huge influence on later Western sculpture. The European Middle Ages tended to use high relief for all purposes in stone, though like Ancient Roman sculpture their reliefs were typically not as high as in Ancient Greece. Very high relief reemerged in the Renaissance, and was especially used in wall-mounted funerary art and later on Neo-classical pediments and public monuments.
In Hindu-Buddhist art of India and Southeast Asia high relief can also be found, although it is not as common as low reliefs. Most of Hindu-Buddhist sculptures however also can be considered as a high relief, since these sculptures usually connected to a stella as the background to support the statue as well as provides additional elements such as aura or halo in the back of sculpture's head, or floral decoration. The examples of Indian high reliefs can be found in Khajuraho temple, that displaying voluptuous twisting figures that often describes the erotic Kamasutra positions. In 9th-century Prambanan temple, Central Java, the examples are the high reliefs of Lokapala devatas, the guardian of directions deities.
SUNK RELIEF
Sunk or sunken relief is largely restricted to the art of Ancient Egypt where it is very common, becoming after the Amarna period of Ahkenaten the dominant type used, as opposed to low relief. It had been used earlier, but mainly for large reliefs on external walls, and for hieroglyphs and cartouches. The image is made by cutting the relief sculpture itself into a flat surface. In a simpler form the images are usually mostly linear in nature, like hieroglyphs, but in most cases the figure itself is in low relief, but set within a sunken area shaped round the image, so that the relief never rises beyond the original flat surface. In some cases the figures and other elements are in a very low relief that does not rise to the original surface, but others are modeled more fully, with some areas rising to the original surface. This method minimizes the work removing the background, while allowing normal relief modelling.
The technique is most successful with strong sunlight to emphasise the outlines and forms by shadow, as no attempt was made to soften the edge of the sunk area, leaving a face at a right-angle to the surface all around it. Some reliefs, especially funerary monuments with heads or busts from ancient Rome and later Western art, leave a "frame" at the original level around the edge of the relief, or place a head in a hemispherical recess in the block (see Roman example in gallery). Though essentially very similar to Egyptian sunk relief, but with a background space at the lower level around the figure, the term would not normally be used of such works.
COUNTER RELIEF
Sunk relief technique is not to be confused with "counter-relief" or intaglio as seen on engraved gem seals - where an image is fully modeled in a "negative" manner. The image goes into the surface, so that when impressed on wax it gives an impression in normal relief. However many engraved gems were carved in cameo or normal relief.
A few very late Hellenistic monumental carvings in Egypt use full "negative" modelling as though on a gem seal, perhaps as sculptors trained in the Greek tradition attempted to use traditional Egyptian conventions.
SMALL OBJECTS
Small-scale reliefs have been carved in various materials, notably ivory, wood, and wax. Reliefs are often found in decorative arts such as ceramics and metalwork; these are less often described as "reliefs" than as "in relief". Small bronze reliefs are often in the form of "plaques" or plaquettes, which may be set in furniture or framed, or just kept as they are, a popular form for European collectors, especially in the Renaissance.
Various modelling techniques are used, such repoussé ("pushed-back") in metalwork, where a thin metal plate is shaped from behind using various metal or wood punches, producing a relief image. Casting has also been widely used in bronze and other metals. Casting and repoussé are often used in concert in to speed up production and add greater detail to the final relief. In stone, as well as engraved gems, larger hardstone carvings in semi-precious stones have been highly prestigious since ancient times in many Eurasian cultures. Reliefs in wax were produced at least from the Renaissance.
Carved ivory reliefs have been used since ancient times, and because the material, though expensive, cannot usually be reused, they have a relatively high survival rate, and for example consular diptychs represent a large proportion of the survivals of portable secular art from Late Antiquity. In the Gothic period the carving of ivory reliefs became a considerable luxury industry in Paris and other centres. As well as small diptychs and triptychs with densely packed religious scenes, usually from the New Testament, secular objects, usually in a lower relief, were also produced.
These were often round mirror-cases, combs, handles, and other small items, but included a few larger caskets like the Casket with Scenes of Romances (Walters 71264) in Baltimore, Maryland, in the United States. Originally there were very often painted in bright colours. Reliefs can be impressed by stamps onto clay, or the clay pressed into a mould bearing the design, as was usual with the mass-produced terra sigillata of Ancient Roman pottery. Decorative reliefs in plaster or stucco may be much larger; this form of architectural decoration is found in many styles of interiors in the post-Renaissance West, and in Islamic architecture.
WIKIPEDIA
pixabay.com pixabay.com/en/background-paper-christmas-340749/
(Retrieved 11/18/2016)
by kerstkaarten
CC0 Public Domain
Free for commercial use
No attribution required
background, paper, christmas, christmas card, lines
Kinson is one of the old settlements that existed in and around the Stour Valley long before Bournemouth was officially founded in 1810.
This stretch of Wimborne Rd lies at what would have been the heart of Kinson but most of the 'old Kinson' has long since disappeared although some older properties still stand including St Andrews Church, Pelhams and Gullivers Tavern, plus the odd old gate post or two, in the centre of Kinson.
Others such as the Dower House and the former St Andrews Vicarage, now the Toby Carvery, in what was the neighbouring village of Ensbury, which is now known as Northbourne, and thatched cottages in East Howe Lane, including the former Thatched House pub plus a few other bits and bobs also still survive in the vicinity.
Years ago Kinson used to cover a wider area than we may think of as Kinson today and covered land that is part of neighbouring Poole which is why the Kinson Pottery Industrial Estate out on Ringwood Rd in Poole is so named because the large Kinson Pottery works stood here into the 1960s
Kinson as we know it became part of Bournemouth in 1931, including East Howe, West Howe and on up to what is now the town boundary at Wallisdown Rd. Even at this time there was still a fairly rural aspect to the area as it would have been before the construction of large areas of council properties and other residential homes in the 50s and 60s.
The site of The Hub, which is the subject of this small series of images has most notably been occupied by a Victorian school until the 1950s, then a prefab library in the 1960s, and finally a more permanent library building from 1970 until 2008, when work to construct The Hub began.
The Hub incorporates a library and various other community outreach services and was officially opened by the television wildlife personality Chris Packham in 2010.
www.bournemouthecho.co.uk/news/8337021.Bournemouth_counci...
Further reading.
Old Kinson by SJ Lands - a Bournemouth Local Studies Publication. 1980 ISBN 0 906406 08 0
Tile grid background. Suitable for website backgrounds, scrapbook and papercraft projects, retro designs and more.
Lots more free resources on my website!
Larger versions of this resource and more color variations available here:
creativemarket.com/rosebfischer/1482361-Colorful-Grid-Dig...
Background painting for Paulette's class. Used stencil for decorative swirl pattern. Again used the "koosh" ball for the "chicken scratching".
Vintage Backgrounds Wallpaper Cool Desktop
Vintage Backgrounds Wallpaper Cool Desktop, 1200 x 933, 348.09 KB,
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The roots of the GDR's air forces laid in the time even before the founding of the National People's Army. The aim was to provide a structural basis and a basis for building the expertise needed to deploy and operate air forces. For this purpose, in 1951, initially under the lead of the Ministry of the Interior and under the influence of Soviet advisors, the so-called Kasernierte Volkspolizei (People's Police (Air) Quartered in Barracks (= on constant duty), KVP) with staff from the People's Police Air (VP-Luft) was set up in Berlin-Johannisthal. It was not a true air force, but rather a training unit that prepared the foundation of a true military power.
However, the KVP led to the GDR's 1st Air Division with three regiments. Training was carried out from 1953 onwards on various Soviet types, including the An-2, MiG-15, La-9 (only for training on the ground), Yak-18 and Yak-11 aircraft. All equipment was provided by the Soviet Union. However, from the beginning of 1952, the training of the future ground crew and the pilots in the so-called X course began secretly, and at the same time the GDR tried to build and test aeronautic engineering competences.
For this purpose, a military unit was established at the VEB Flugzeugwerke Dresden (FWD), an institution which was also the workplace of Brunolf Baade, the designer of the Baade 152 airliner which was built and tested between 1956 and 1961. The GDR's newly formed Air Division was keen on an ingenious fighter aircraft, despite the modern MiG-15 having become available from the USSR. The primary subject was a re-build of the WWII Messerschmitt Me 262, but the lack of plans and especially of suitable engines soon led to an end of this project, even though contacts with Avia in Czechoslovakia were made where a small number of Me 262 had been produced as S-92 fighters and trainers.
Since many senior pilots in GDR service had experience with the WWII Bf 109, and there had been a considerable number of more or less finished airframes after the Soviet occupation of Eastern Germany, FWD proposed a modernization program for the still existing material, much like the Avia S-199 program in Czechoslovakia.
The project received the code number "53" (for the year of its initiation) and structural basis for the not-so-new fighter for the GDR's nascent air force were primarily late Bf 109G and some Bf 109K airframes, reflected by an "A" and "B" suffix. Unlike the Czechoslovakian Avia S-199, which was re-engined with a rather sluggish Junkers Jumo 211 F, the FWD-53 fighter from Dresden was to be powered by a supercharged Mikulin AM-35 engine. This was a considerable reduction in output, since the late Bf 109 engines produced up to 2.000 hp, while the AM-35 just provided 1.400 hp. With some tuning and local modifications, however, the engine for the service aircraft was pushed to yield 1.100 kW (1,500 hp), and the fact that it was smaller and lighter than the original engine somewhat compensated for the lack of power.
Another feature that differed from the S-199 was the radiator system: the original Bf 109 underwing coolers were retained, even though the internal systems were replaced with new and more efficient heat exchangers and a new plumbing.
In order to save weight, the FWD-53's armament was relatively light. It consisted of a pair of heavy 12.7 mm Berezin UBS machine guns and a single 23 mm Nudelman-Suranov NS-23 cannon. These three weapons were mounted above the engine, synchronized to fire through the propeller disc. This standard armament could be augmented with a further pair of NS-23 cannon, carried in pods under the outer wings (instead of a pair of bombs of up to 250 kg caliber). Alternatively, a ventral hardpoint allowed the carriage of a single 500 kg (1.100 lb) bomb or a 300l drop tank.
In the course of 1952 and 1953, a total of 39 Bf 109 airframes from GDR and also Czech and Polish origin were converted or re-built from existing components at Dresden. At the end of November 1953, the KVP's reorganization was carried out as a staff of the administration of the units initially called Aero clubs in Cottbus and the change of subordination by the MoI directly under the Deputy Minister and head of the Kasernierten People's Police. The air regiments were restructured into Aeroklubs 1 (Cottbus), 2 (Drewitz) and 3 (Bautzen), which in turn were divided into two sections. From 1954 onwards, the FWD-53 fleet joined these training units and were primarily tasked with advanced weapons training and dissimilar aerial combat.
On March 1, 1956, the GDR's air forces were officially formed as part of the Nationale Volksarmee (NVA, National People's Army). First of all the management of the aeroclubs, according to the Soviet model, gave rise to the Administrations Air Force (LSK) in Cottbus and Air Defense (LV) in Strausberg (Eggersdorf). The initial plans were to found three Jagdfliegerdivisionen (fighter squadrons), a Schlachtfliegerdivision (attack squadron) and a Flak (AA gunnery) division, but only the 1st and 3rd Air Division and the 1st Flak Division were eventually set up. On June 1, 1957, a merger of both administrations in Strausberg (Eggersdorf) resulted in another renaming, and the Air Force/Air Defense Command (detachment LSK/LV) was born.
From this point on, almost all operational front line units were equipped with the Soviet MiG-15. The FWD-53s were quickly, together with other piston engine types, relegated to second line units and used in training and liaison roles. The last FWD-53 was retired in 1959.
General characteristics:
Crew: One
Length: 9.07 m (29 ft 8 1/2 in)
Wingspan: 9.925 m (32 ft 6 in)
Height: 2.60 m (8 ft 2 in)
Wing area: 16.05 m² (173.3 ft²)
Empty weight: 2,247 kg (5,893 lb)
Loaded weight: 3,148 kg (6,940 lb)
Max. takeoff weight: 3,400 kg (7,495 lb)
Powerplant:
1× Mikulin AM-35A(D) liquid-cooled V12 engine with 1,080 kW (1,500 hp),
driving a three-bladed light-alloy propeller with 3.2m (10 ft 4 ½ in) diameter
Performance:
Maximum speed: 640 km/h (398 mph) at 6,300 m (20,669 ft)
Cruise speed: 590 km/h (365 mph) at 6,000 m (19,680 ft)
Range: 850 km (528 mi) 1,000 km (621 mi) with drop tank
Service ceiling: 12,000 m (39,370 ft)
Rate of climb: 17.0 m/s (3,345 ft/min)
Wing loading: 196 kg/m² (40 lb/ft²)
Power/mass: 344 W/kg (0.21 hp/lb)
Armament:
1× 23 mm Nudelman-Suranov NS-23 cannon with 75 rounds
2× 12.7 mm (0.5 in) Berezin UBS machine guns with 300 RPG
all mounted above the engine and synchronized to fire through the propeller arc
A total external ordnance of 500 kg (1.100 lb), including 1× 250 kg (551 lb) bomb or 1 × 300-litre (79
US gal) drop tank on a centerline hardpoint, or 2x 250 kg bombs or 2x 23 mm Nudelman-Suranov
NS-23 cannon with 60 rounds in pods under the outer wings
The kit and its assembly:
This build was actually a kind of kit recycling, since I had a Heller Bf 109K kit in my kit stash that had donated its engine section to a converted Fw 190D. Otherwise, the kit was still complete, and it took some time until I had an idea for it: I had never so far built an East German whif, and with the complicated political and economic situation after WWII I wondered how a nascent aircraft industry could build experience and an air force? A re-engined/revamped late Bf 109 could have been the answer, so I took this idea to the hardware stage.
The Heller Bf 109K is a simple and pleasant build, but it took some time to find a suitable new engine of Soviet origin. I eventually settled for a Mikulin AM-35, taken from a Revell MiG-3 kit. The transplant was rather straightforward, and the Bf 109K’s “cheek” fairings at the cowling’s rear section actually matched the round diameter of the AM-35 well – even though the Soviet engine was much smaller and very sleek.
The rhinoplasty went very well, though, there’s just a little, ventral “step” at the wings’ leading edge.
The MiG-3 propeller could not be used, though, because the diameter and the blades themselves were just too small for the Bf 109. So I scratched a completely new propeller from a Spitfire Mk. IX spinner (reduced in length, though) and single blades from the scrap box – not certain which aircraft they actually belong to. The new prop was mounted onto a metal axis and a matching plastic tube adapter was implanted into the fuselage.
The only other modification of the kit are the main wheels – Heller’s OOB parts are quite bleak, so I replaced them with visually better parts from the scrap box.
Painting and markings:
This was not easy, because LSK/LV aircraft either carried Soviet camouflage of that era (typically a uniform green/blue camouflage) or were, more often, simply left in bare metal, like the MiG-15s. However, I wanted a more interesting camouflage scheme, but nothing that would remind of the Bf 109’s WWII origins, and it was still supposed to show some Eastern Bloc heritage. After a long search I found a suitable option, in the form of a LSK/LV MiG-15UTI trainer (actually a museum piece at the military history museum Gatow, near Berlin): the machine carried a relatively light green/brown camouflage and light blue undersides. Pretty simple, but the tones were quite unique – even though there’s no guarantee that this livery is/was authentic!
However, I adapted the concept for the FWD-53. Search in the paint bank yielded Humbrol 86 (Light Olive Green) and 62 (Leather Brown) as suitable tones for the upper surfaces, while I went for a garish Humbrol 89 (Middle Blue) underneath. Quite a bright result! The spinner became red and the interior was painted in RLM02.
The markings were puzzled together from various sources, including suitable early LSK/LV roundels. Most stencils were taken from the Heller kit’s OOB sheet. After light panel shading and some soot stains with grinded graphite, the kit was sealed with a coat of matt acrylic varnish.
A very quick project, realized just in three days (plus some time for the beauty shots, though) as a distraction from a very busy time at work. However, for a model created from leftover parts the FWD-53 looks surprisingly good and sleek. The pointed MiG-3 nose section subtly changes the profile – and somehow, from certain angles, the FWD-53 even reminds of the much bigger Il-2?