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- One of only 274 early “H-Series” homologation examples built during the inaugural year of 911 Turbo production, 1975
- Comprehensive service conducted by Sportwagen & Mobiler Rennsportservice in recent years, exceeding €23.000 invested from 2020-2025
- Matching-numbers 3.0-liter, air-cooled flat-six engine rated at 260 PS
- Desirable German-delivery example
- Finished as delivered in iconic Grand Prix White over Black leather with MacLachlan tartan seat inserts
- Equipped with a factory electric sunroof
Broad Arrow’s Zoute Concours Auction
Approach Golf - Het Zoute
Estimated : € 250.000 - 300.000
Not sold
Zoute Grand Prix Car Week 2025
Knokke - Zoute
België - Belgium
October 2025
Known for its lack of restrictions on engine power and aerodynamics, the Cam-Am racing series provided an ideal venue for Porsche to experiment with turbocharging. Partnered with Penske Racing, Porsche definitively conquered the Can-Am championship in 1972 with George Follmer behind the wheel, and again in 1973 with Mark Donohue driving turbocharged variants of the 917 racer. When Can-Am's organizers effectively banned the all-dominant 917/30 for 1974 by imposing a fuel limit on turbocharged cars, Porsche looked for a different application for its turbocharging technology.
The path forward lay with the FIA's Group 4 category, which required Porsche to homologate its 934 contender for the inaugural 1976 season. Introduced at the 1974 Paris Motor Show, the 911 Turbo (Type 930) would serve as the 934's homologated counterpart, featuring a 3.0-liter flat-six engine fitted with a single turbocharger, flared wheel arches to accommodate wider wheels and tires, upgraded suspension, and a “whale tail” rear spoiler. Zero to 100 km/h occurred in 5.7 seconds on the way to a 250-km/h top speed—figures few other cars of the period could match.
One of just a mere 274 built in the first year of production to meet the homologation requirements of FIA Group 4—which mandated 400 units within the first 24 months of manufacture—this “H-series” 930 epitomizes the raw, purpose-first character of the earliest Turbos. These pioneering cars are readily identified by 1975-only features like body-colored flag mirrors and cabins that—by Porsche's typically luxurious standards—are deliberately spartan, featuring provisions for roll-cage mounting points and, on RoW examples, omit both the double-stitched door panels and center console. The result is a lighter, more responsive driving experience, standing apart from later, more luxuriously trimmed 930 variants. Completed in April of 1975, this example was finished as it presents today in iconic Grand Prix White over Black leather upholstery, accented by bold MacLachlan tartan seat and door inserts. Factory equipment included staggered 7 by 15-inch front and 8 by 15-inch rear Fuchs alloy wheels with low-profile 50-series Pirelli P7 Cinturato tires and an electric sunroof, and it was distributed new via MAHAG in Munich, Germany.
The car is believed to have resided in Germany during its early life and later found its way to Italy. There, it was purchased by the current owner after it had undergone a comprehensive restoration which saw the odometer reset to zero. The current owner brought the car back to Germany in 2020 and has since traveled only some 7,000 kilometers as indicated by the odometer.
In recent years, the 122nd Turbo ever built has been expertly maintained by Sportwagen & Mobiler Rennsportservice in Langenfeld, where the car was comprehensively recommissioned in 2020 with an engine-out service including a new clutch and flywheel, rebuilt CIS fuel distributor and warm-up regulator, comprehensive electrical work, and new sunroof seals, followed by new front brake discs and pads. In 2021, the transaxle was overhauled with fresh synchros and shift components, 2022 brought routine service with oil/brake-fluid changes and renewed oil lines, and in 2023 both fuel pumps and the V-belt were replaced. In 2024, the Turbo received fresh Pirelli P6000 tires, while in 2025 the turbo hardware was replaced to original-type specification—including the factory rear silencer and turbo/wastegate carrier—as well as a new battery and radio antenna. The total investment between 2020-2025 has exceeded €23.000, documented in invoices on file.
Presented in lovely, largely original condition and wearing its era-evoking livery, this early 911 Turbo crucially retains its matching-numbers engine, with the number corresponding to a copy of the factory data card on file. Well-maintained, the car has benefitted from recent mechanical work and is fitted with the original exhaust system, a rare feature indeed. A compelling, first-series Turbo with the desirable early features, this H-series 930 offers a rare opportunity to acquire an extremely early homologation model (the 122nd built) of the iconic 911 Turbo, which had reached a staggering 87,520 examples by 2019.
It is funny how we forget things we have done.
Below, I state that this was my first visit to the cathedral as a churchcrawler.
When I began to post shots, I looked for the album to put the shots in, only to find there wasn't one.
A search of my photostream showed two visits to the cathedral, complete with interior shots from 2013 and the previous years.
I had no memories of these visits.
What else have I forgotten?
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Norwich is a fine city. Or so the signs say on every road into it. But, and there can be no denying it, it is a jewel in the Norfolk countryside.
For me it is “just” Norwich Where used to go for our important shopping, for football and later for concerts. We, and I, would take for granted its cobbled streets, Norman cathedral and medieval churches by the dozen. Also it’s a pub for every day, the ramshackle market, and the Norman castle keep looking down on the city sprawled around.
Just Norwich.
Later, it also became where I bought new records from Backs in Swan Lane, and searched for punk classics in the Record and Tape Exchange.
Norwich is lucky that the industrial revolution passed by the city leaving few changes, the character and history intact. World War II did damage, some churches were abandoned, some rebuilt, but many survived.
And Norwich is a friendly city. It sees warm and colourful, and on a hot summer’s day when the locals were in shorts and t-shirts, much white flesh was on display. I also take the football club for granted. I have supported it from nearly 49 years, and being away from the city means I get my news and views largely second hand, but I also forget how central the club is to the people.
Sadly, Norwich isn't really on the way to anywhere, well except Great Yarmouth and Cromer, so people don't come here by accident. So it remains something of a secret to most but locals.
Other cities would have children dressed in any one of a dozen Premier League club’s replica shirts. In Norwich yellow and green was the dominant colour, even after a chastening season that saw us finish rock bottom of the league. The local sports “superstore” has a Norwich Fan’s fanzone, and a third of the window is given to the home city club.
I knew the city like the back of my hand, so knew the route I wanted to take to provide me with views that would refresh those in my mind. I didn’t dally, pressed on to my two targets, the Anglican Cathedral and St Peter Mancroft.
This wasn’t the original plan; that was to meet two friends I used to go to the football with, Ian and Ali, but they both caught a bug in Manchester watching the women’s Euros, so couldn’t meet with me. But I had an alternative plan, maybe with a pub stop or two.
The trip happened as I got a mail offering a tempting 20% off the trip that had been selling poorly, I checked with Ian and Alison, they said they were free, but had yet to fall ill. So seats were booked, as Jools liked the sound of an afternoon in Norwich and meeting my friends.
Up at quarter to five so we could catch the first High Speed service out of Dover, so to be in London in time to catch the railtour to Norwich.
Sun had yet to light up Dover Priory when we arrived, but a few people milling around, including two still at the end of their night out.
Folkestone was light by the warm light of the rising sun, and well worth a shot as we passed over Foord Viaduct.
Later, I was hoping the calm morning meant the Medway would be a mirror, but a breeze disturbed the surface ruining the reflections I had hoped for.
Finally, emerging into Essex, the line climbs as the go over the Dartford Crossing, just enough time to grab a shot.
It was already hot in London, so we stayed in the shade of the undercroft at St Pancras, had a coffee and a pasty from Greggs before walking over to Kings Cross to see if our tour was already at the buffers.
We walked across the road to King's Cross, and find the station packed with milling passengers, all eyes trained on the departure boards waiting for platform confirmations.
Ours was due to be platform 3, and the rake of carriages was indeed there, top and tailed by class 66 freight locomotives.
We get on the train and find we had been allocated a pair of seats nearest the vestibule. This meant that they were a few inches less wide than others, meaning Jools and I were jammed in.
Almost straight away, Jools's back and Achilles began to ache, and the thought of four hours of this in the morning and another four in the evening was too much, and so she decided to get off at the first stop at Potters Bar.
In the end, a wise choice I think.
The guy in the seat opposite to us talked the whole journey. I mean filling any silence with anything: how much he paid for the components of his lunch, his cameras and then his job. In great detail. He also collected train numbers. I didn't know that was really a thin in the days of EMUs, but I helped out from time to time telling him units he had missed.
We had a twenty minute break at Peterborough because of pathing issues, so we all got out to stretch our legs and do some extra trainspotting.
An Azuma left from the next platform, and another came in on the fast line. I snapped them both.
From Peterborough, the train reversed, and after the 20 minute wait, we went out of the station southwards, taking the line towards Ely.
Now that we had done our last stop, the train could open up and we cruised across the Fens at 70mph, the flat landscape botted with wind turbines and church towers slipped by.
Instead of going into Ely station, we took the rarely used (for passenger trains) freight avoiding line, now a single track. Emerging crossing the main line, taking the line eastwards towards Thetford.
Again, the regulator was opened, and we rattled along. Even so, the journey was entering its fourth hour, and with my travelling colleague and without Jools, time was dragging.
We were now back in Norfolk, passing the STANTA training area, all warning signs on the fences telling the trainee soldiers that that was where the area ended. I saw no soldiers or tanks. My only thought was of the rare flowers that would be growing there, unseen.
And so for the final run into Norwich, familiar countryside now.
Under the southern bypass and the main line from London, slowing down where the two lines merged at Trowse before crossing the River Wensum, before the final bend into Norwich Thorpe.
At last I could get off the train and stretch my legs.
Many others were also getting off to board coaches to take them to Wroxham for a cruise on the Broads, or a ride on the Bure Valley Railway, while the rest would head to Yarmouth for four hours at the seaside.
I got off the train and walked through the station, out into the forecourt and over the main road, so I could walk down Riverside Road to the Bishop’s Bridge, then from there into the Cathedral Close.
The hustle and bustle of the station and roadworks were soon left behind, as the only noise was from a family messing about in a rowing boat in front of Pulls Ferry and a swan chasing an Egyptian Goose, so the occasional splash of water.
I reached the bridge and passed by the first pub, with already many folks sitting out in the beer garden, sipping wines and/or summer beers. I was already hot and would loved to have joined them, but I was on a mission.
In the meantime, Jools had texted me and said if I fancied getting a regular service back home, then I should. And a seed grew in my brain. Because, on the way back, departing at just gone five, the tour had to have a 50 minute layover in a goods siding at Peterborough, and would not get back to Kings Cross until half nine, and then I had to get back to Dover.
I could go to the cathedral the church, walk back to the station. Or get a taxi, and get a train back to London at four and still be home by eight.
Yes.
I walked past the Great Hospital, then into the Close via the swing gate, round to the entrance where there was no charge for entry and now no charge for photography. But I would make a donation, I said. And I did, a tenner.
I have been to the cathedral a few times, but not as a churchcrawler. So, I made my way round, taking shots, drinking in the details. But the walk up had got me hot and bothered, I always run with a hot engine, but in summer it can be pretty damp. I struggled to keep my glasses on my nose, and as I went round I knew I was in no mood to go round again with the wide angle, that could wait for another visit.
The church is pretty much as built by the Normans, roof excepted which has been replaced at least twice, but is poetry in stone. And for a cathedral, not many people around also enjoying the building and its history.
At one, bells chimed, and I think The Lord’s Prayer was read out, we were asked to be quiet. I always am when snapping.
In half an hour I was done, so walked out through the west door, through the gate and into Tombland. I was heading for the Market and St Peter which site on the opposite side to the Guildhall.
I powered on, ignoring how warm I felt, in fact not that warm at all. The heat and sweats would come when I stopped, I found out.
I walk up the side of the market and into the church, and into the middle of an organ recital.
Should I turn round and do something else, or should I stop and listen. I stopped and listened.
Everyone should hear an organ recital in a large church. There is nothing quite like it. The organ can make the most beautiful sounds, but at the same time, the bass pipes making noises so deep you can only feel it in your bones.
Tony Pinel knew his way round the organ, and via a video link we could see his hands and feet making the noises we could hear. It was wonderful, but quite how someone can play one tune with their feet and another with their hands, and pulling and pushing knobs and stoppers, is beyond me. But glad some people can.
It finished at quarter to two, and I photograph the font canopy and the 15th century glass in the south chapel. Font canopies are rare, there is only four in England, and one of the others is in Trunch 20 miles to the north. Much is a restoration, but it is an impressive sight when paired with the seven-sacrament font under it.
The glass is no-less spectacular, panels three feet by two, five wide and stretching to the vaulted roof. I can’t photograph them all, but I do over 50%.
I go to the market for a lunch of chips, for old times sake. I mean that was the treat whenever we went either to Norwich or Yarmouth; chips on the market. I was told they no longer did battered sausage, so had an un-battered one, and a can of pop. I stood and ate in the alleyway between stalls, people passing by and people buying chips and mushy peas of their own.
Once done, I had thought of getting a taxi back to the station, but the rank that has always been rammed with black cabs was empty, and two couples were shouting at each other as to who should have the one that was there. So I walked to the station, across Gentleman’s Walk, along to Back of the Inns, then up London Street to the top of Prince of Wales Road and then an easy time to the station across the bridge.
I got my ticket and saw a train to Liverpool Street was due to depart at 14:32. In three minutes.
I went through the barrier and got on the train, it was almost empty in the new, swish electric inter-city unit. I was sweating buckets, and needed a drink, but there appeared to be no buffet, instead just electric efficiency and silence as the train slid out of the station and went round past the football ground to the river, then taking the main line south.
In front of me, two oriental ladies talked for the whole journey. I listened to them, no idea what they talked about to fill 105 minutes.
I thought it would be nearly five when the train got in, but helped by only stopping at Diss, Ipswich, Manningtree and Colchester we got in, on time, at quarter past four.
I walked to the main concourse and down into the Circle Line platforms, getting a train in a couple of minutes the four stops to St Pancras. I knew there was a train soon leaving, and after checking the board and my watch I saw I had five minutes to get along the length of the station and up to the Southeastern platforms.
I tried. I did, but I reached the steps up to the platforms and I saw I had 45 seconds, no time to go up as they would have locked the doors. So, instead I went to the nearby pub and had a large, ice-cold bottle of Weiss beer.
That was better.
I was all hot and bothered again, but would have an hour to cool down, and the beer helped.
At ten past five, I went up and found the Dover train already in, I went through the barriers and took a seat in a carriage I thought would stop near the exit at Dover Priory. I called Jools to let her know I would be back at quarter to seven, and she confirmed she would pick me up.
She was there, people got off all out on a night on the town, dressed in shiny random pieces of fabric covering boobs and bottoms. I was young once, I thought.
Jools was there, she started the car and drove us home via Jubilee Way. Across the Channel France was a clear as anything, and four ferries were plying between the two shores. Take us home.
Once home, Jools had prepared Caprese. I sliced some bread and poured wine. On the wireless, Craig spun funk and soul. We ate.
Tired.
It was going to be a hot night, but I was tired enough to sleep through it. Or so I thought.
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Norwich has everything. Thus, the normally dry and undemonstrative Nikolaus Pevsner began his survey of the capital of Norfolk in his 1962 volume Buildings of England: Norwich and north-east Norfolk. And there is no doubt that this is one of the best cities of its size in northern Europe. Living in Ipswich as I do, I hear plenty of grumbles about Norwich; but really, although the two places have roughly the same population, Ipswich cannot even begin to compare with regard to its townscape. The only features which the capital of Suffolk can claim to hold above its beautiful northern neighbour are a large central park (Norwich's Chapelfield gardens is not a patch on Ipswich's Christchurch Park) and a large body of water in the heart of the town, perhaps Ipswich's most endearing feature and greatest saving grace.
But Norwich has everything else - to continue Pevsner's eulogy, a cathedral, a castle on a mound right in the middle, walls and towers, a medieval centre with winding streets and alleys, thirty-five medieval parish churches and a river with steamships. It even has hills...
I think it would be possible to visit Norwich and not even know this cathedral was there. The centre of the city is dominated by the castle, and the most familiar feature to visitors is the great market square widened by the clearances of the 1930s, and the fine City Hall built at that time which towers above it. In comparison, Norwich Cathedral sits down in a dip beside the river, walled in by its close, and is visible best from outside the city walls, especially from the east on the riverside, and to the north from Mousehold Heath. If you arrive by road from the south or west, you may not even catch a glimpse of it. The great spire is hidden by those winding streets and alleys, and many of the city's churches are more visible, especially St Giles, St Peter Mancroft in the Market Place, and the vast Catholic Cathedral of St John the Baptist, on Grapes Hill. It is said that the nave floor of St John the Baptist is at the same height above sea level as the top of the crossing of the Anglican cathedral.
With the possible exception of Lincoln Cathedral, I think that Norwich Cathedral is my favourite cathedral in all England. Call this East of England chauvinism if you like, But Norwich Cathedral has everything you could possible want from a great medieval building. But there is more to it than that. It is also one of the most welcoming cathedrals in England. There is no charge for admission, and they positively encourage you to wander around through the daily business of the cathedral, in the continental manner. No boards saying Silence Please - Service in Progress here. Because of this, the Cathedral becomes an act of witness in itself, and you step into what feels like it probably really is the house of God on Earth. They even used to say the Lord's Prayer over the PA system once an hour, and invite you to stop and join in - I wish they'd go back to doing that. The three pounds you pay for a photography permit must be one of the bargains of the century so far.
Norwich Cathedral is unusual, in that this is the original building. It has been augmented over the centuries of course, but this is still essentially the very first cathedral on this site. This is because the see was only moved to Norwich after the Norman invasion. The Normans saw the wisdom of drawing together ecclesiastical and civil power, and one way in which this might be achieved was by siting the cathedrals in the hearts of important towns. At the time of the conquest, Bishop Herfast had his seat at Thetford, and it was decided to move the see to Bury St Edmunds in Suffolk. It had moved several times during the previous four centuries, from Walton in Suffolk to North Elmham in Norfolk before Thetford, where the first proper but simple stone building had been raised. But as well as an eye for efficient administration, the Normans brought the idea that Cathedrals should be glorified; already, vast edifices were being raised in Durham, London and Ely. and Bury St Edmunds, with its famous Abbey, was the obvious place for the Diocese of East Anglia to sit.
However, such a move would have removed the Abbey's independent direct line with Rome, and placed it under the jurisdiction of the Province of Canterbury. The Abbey community was determined that this would not happen, and Abbot Baldwin sent representations to the Pope that ensured the survival of St Edmundsbury Abbey's independence. Bishop Herfast would not be allowed to glorify his position in East Anglia in the way his colleagues were doing elsewhere. But his successor, Herbert de Losinga, was more determined - and, perhaps, steeled by his conscience. A Norman, he had bought the Bishopric from the King in 1091, an act of simony that required penance. Building a great cathedral could be seen as that act of penance. But where? Bury was a lost cause; instead, he chose to move the see to a thriving market town in the north-east of his Diocese; a smaller, more remote place than Bury, to be sure, but proximity to the Abbey of St Edmund was perhaps not such a good thing anyway. It tended to cast a rather heavy shadow. And so it was that the great medieval cathedral of the East Anglian bishops came to be built, instead, at Norwich.
Work began in 1094, and seems to have been complete by 1145. It is one of the great Romanesque buildings of northern Europe, its special character a result of responses to fires and collapses over the course of the next few centuries. At the Reformation in the sixteenth century, it became a protestant cathedral of the new Church of England, losing its role as a setting for ancient sacraments and devotions, but being maintained as the administrative seat of a Diocese which covered all of Norfolk and Suffolk, and the ceremonial church of its great city. In the 19th Century, the western part of the Norwich Diocese was transferred into that of Ely, and at the start of the 20th Century the southern parishes became part of the new Diocese of St Edmundsbury and Ipswich. Today, the Diocese of Norwich consists of north, south and east Norfolk, and the north-eastern tip of Suffolk.
The absence of this great church from the Norfolk Churches site has long been the elephant in the room, so to speak. And having it here at last is, I feel, a mark of how things have changed. When I first started the Norfolk and Suffolk sites back in 1999, I did not have a decent camera, and the earliest entries did not have any photographs at all. How the wheel has turned. Now, the photographs have become the sites, and with no apologies I don't intend to make this a wordy entry.
The perfection of Norwich is of distant views, the cloisters, and the interior. The exterior is hemmed in, and the most familiar part of the building, the west front, is a poor thing, the victim of barbarous restorations in the 18th and 19th centuries. It is almost a surprise to step through its mundanity into the soaring glory of the nave. Above, the famous vaulting is home to one of the largest collections of medieval bosses in the world. There are more in the beautiful cloisters.
The view to the east is of the great organ, looking very 17th Century but actually the work of Stephen Dykes Bower in the 1950s. Beyond is the intimacy of the quire and ambulatory with its radial chapels, the best of which is St Luke's chapel, containing the Despenser retable. Bishop Despenser is one of history's villains, putting down the Peasants Revolt in East Anglia with some enthusiasm. It is likely that this retable was made for the cathedral's high altar, possibly even to give thanks for the end of the Revolt. It was discovered upside down in use as a table in the 1840s. This chapel is, unusually, also a parish church; the parish of St Mary in the Marsh, the church of which was demolished at the Reformation, moved into the cathedral. They brought their seven sacrament font with them, and here it remains.
In the ambulatory there are many traces of medieval paint, almost certainly from the original building of the Cathedral. Two curiosities: at the back of the apse is the original Bishop's chair, and rising across the north side of the ambulatory like a bridge is a relic screen.
There is a good range of glass dating from the 14th to the 21st centuries. Highlights include the medieval panels in the north side of the ambulatory, Edward Burne-Jones's bold figures in the north transept, Moira Forsyth's spectacular Benedictine window of 1964 in a south chapel, and the millennium glass high in the north transept, which I think will in time become one of the defining features of the Cathedral. The figure of the Blessed Virgin with the Christ Child seated on her lap is the work of Norfolk-based artist John Hayward, who died recently, but the glass above is Hayward's reworking of Keith New's 1960s glass for St Stephen Walbrook in London, removed from there in the 1980s, and now reset here. Towards the west end of the nave are two sets of Stuart royal arms in glass, a rare survival.
I grew up in a city some sixty miles away from Norwich, but I didn't come here until I was in my mid-teens. I remember wandering around this building and being blown away by it, and I still get that feeling today. There is always something new to find here. My favourite time here is first thing in the morning on a winter Saturday. Often, I can be the only visitor, which only increases the awe. Another time I like to be here in winter is on a Saturday afternoon for choral evensong. Perhaps best of all, though, is to wander and wonder in the cloisters on a bright sunny day, gazing at fabulous bosses almost within arm's reach.
Several English cathedrals have good closes, but Norwich's is the only one in a major city, I think. It creates the sense of an ecclesiastical village at the heart of the city; and then, beyond, the lanes and alleys spread out, still hanging on despite German bombing and asinine redevelopment. And now I think perhaps it is part of the beauty of this building that it is tucked away by the river, a place to seek out and explore. Norwich has everything, says Pevsner. But really, I think this is the very best thing of all.
www.norfolkchurches.co.uk/norwichcathedral/norwichcathedr...
"This diagrammatic drawing should be carefully studied and used for reference with the descriptive matter in this book."
From the Cycling magazines handbook.
Artist A.J. Fooks
More info about these bad boys on my blog:
cyclingwmd.blogspot.com/2009/02/introducing-vallie-compon...
28/03/2026, Kersey Mill, Suffolk, England.
First registered on 15/02/1952
A super rare, Allard P1; a five-seat, two-door sports saloon, produced between 1949 and 1952.
Allard cars were manufactured in a low volume at Clapham, London.
Production of the P1s ran between 1949 and 1951 amounting to only 155 automobiles.
Fitted with an American Ford V8 3.6-litre engine.
An Allard P1 famously won the Monte Carlo Rally in 1952, driven by the company founder/owner, Sydney Allard himself, making him the only manufacturer to ever win that rally in a car bearing his own name.
The P1 was the choice of professionals who wanted something different and was quite popular with doctors and solicitors in its day. Some 559 were produced during the model's run. Today it is believed fewer than 45 remain worldwide.
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More data:
The Allard Motor Company in London, England, built the P1. Production of the P1s ran between 1949 and 1951 amounting to only 155 automobiles. At the same time, strategic materials such as steel and aluminum were very difficult to obtain from the British Government and it was mandatory to justify export business. The Ford components made maintenance easy on the P1 in America and a great number of P1s were exported to the United States. The original sales price of the car was 1,277 British Pounds (approximately $2,000).
These rare and homely British brutes appear odd with their cumbersome styling, but Allard cars enjoyed racing success and engineering sophistication uncommon in the products of such a small firm.
Take, for instance, the ingenious and oft-copied, though then relatively new, idea of stuffing big American V8s into relatively small and lithe European chassis. Allard excelled at the practice of shoehorning these substantial engines into its trim creations, endowing its cars for both street and track with the reliable, effortless power of a hefty Detroit mill. The suspension on Allards, too, demonstrated the company's engineering capability. A carefully-designed, independent front suspension and de Dion rear axle ensured competent handling and surefooted traction. The high quality of engineering found in Allard's cars enabled a healthy racing career for the company, with the likes of John Fitch and Carroll Shelby competing successfully in the offbeat Brits.
With a 3.5-liter standard V8 engine, the top speed was 85 mph. The P1s were successful on the racing circuit and one P1, won the Monte Carlo Rally in 1949.
A two-door saloon, the Allard P1 was larger and more practical than cars like the race-ready J2 for which the brand was better known. With familiar V8 power, though, the P1 offered plenty of thrust despite its considerable size. And even though the P1 looked nothing like a racing car, it too enjoyed considerable racing success when a Ford-powered example won the 1952 Monte Carlo Rally, with company owner and founder Sydney Allard driving.
The Allard P1 may never be as highly respected as the more essential Allard racers, but its combination of reliable power, thoughtful engineering, and clumsy yet endearing style make it an accurate representative of the Allard brand.
Sources : conceptcarz.com; ‘Allard History.' Allard Register n. pag. Web. 10 Jul 2011.; 'Allard P1.' Motorbase n. pag. Web. 10 Jul 2011.
Pour son exposition au Centre d’art contemporain de la Matmut – Daniel Havis, Maia Flore fait se rencontrer deux composantes essentielles à la vie : le rire et le rêve. Ses photographies, créées à partir de souvenirs et d’impressions, nous emmènent dans l’imaginaire de l’artiste. Un imaginaire foisonnant remplit de malice et de poésie.
Maia Flore utilise la photographie comme principal médium, qu’elle souligne par la pratique du dessin et du collage. Comme une conteuse visuelle, l’artiste transforme la réalité et magnifie les choses simples qui nous entourent. Un coucher de soleil, un arbre en fleur ou encore un ciel un soir de pleine lune : découvrir le travail de Maia Flore c’est s’autoriser à rêver…et à rire d’un petit rien ! La photographe s’inspire de ce qui l’entoure pour créer ses compositions, parfois numériquement. Un brin surréaliste, elles sont souvent teintées d’humour. Maia Flore s’empare de situations du quotidien pour en faire des mises en scène cocasses dont elle est la principale actrice. La place du corps est au cœur de ses images : il est toujours en mouvement, en lévitation, gracieux, parfois même en fusion avec son environnement. Toutefois, l’artiste nous cache son visage pour que le spectateur s’identifie mieux au personnage de ses photographies. Le parcours de l’exposition met en avant le travail métaphorique de Maia Flore, qui navigue habilement entre le monde réel et le monde imaginaire laissant place à une intimité visuelle qui unit le corps humain et le paysage. En explorant les galeries du centre d’art, les visiteurs sont transportés dans un rêve onirique captivant et amusant.
La photographe française Maia Flore née en 1988 oscille entre la France et les États-Unis. Juste sortie de l’école des Gobelins, elle devient membre de l’agence Vu en 2010 et reçoit le Prix pour la photographie HSBC en 2015. Les différentes résidences auxquelles elle a participé et les expositions internationales l’on amenées à voyager de Rio à Rome, ou de Moscou à Buenos Aires. Elle a exposé à la galerie Themes+Projects à San Francisco et à la galerie Fremin à New York. Les thèmes du voyage, des paysages, du mouvement et du corps lui sont chers.
For her exhibition at the Matmut – Daniel Havis Contemporary Art Centre, Maia Flore brings together two essential components of life: laughter and dreams. Her photographs, created from memories and impressions, take us into the artist’s imagination. A teeming imagination filled with mischief and poetry. Maia Flore uses photography as her main medium, which she highlights through the practice of drawing and collage. Like a visual storyteller, the artist transforms reality and magnifies the simple things that surround us. A sunset, a tree in bloom or even a sky on a full moon night: discovering Maia Flore’s work is allowing yourself to dream…and laugh at a little nothing! The photographer draws inspiration from what surrounds her to create her compositions, sometimes digitally. A bit surreal, they are often tinged with humor. Maia Flore takes everyday situations and turns them into comical stagings in which she is the main actress. The place of the body is at the heart of her images: it is always in motion, levitating, graceful, sometimes even merging with its environment. However, the artist hides her face so that the viewer can better identify with the character in her photographs. The exhibition itinerary highlights Maia Flore's metaphorical work, which skillfully navigates between the real world and the imaginary world, leaving room for a visual intimacy that unites the human body and the landscape. By exploring the galleries of the art center, visitors are transported into a captivating and amusing dreamlike dream.
French photographer Maia Flore, born in 1988, oscillates between France and the United States. Fresh out of the Gobelins school, she became a member of the Vu agency in 2010 and received the HSBC Photography Prize in 2015. The various residencies in which she participated and international exhibitions have led her to travel from Rio to Rome, or from Moscow to Buenos Aires. She has exhibited at the Themes+Projects gallery in San Francisco and at the Fremin gallery in New York. The themes of travel, landscapes, movement and the body are dear to her.
Featuring: Accessories, Animations/Poses, Avatar Components, Avatar Enhancements, Clothing, Cosmetics/Nails, Home and Garden, Shapes, Skins, Tattoos
Event Opening Date: April 20, 2024
Event Closing Date: May 10, 2024
Teleport To Harajuku Event
MIA: Chaos, Psyche
This event is in one location
www.seraphimsl.com/2024/04/20/its-a-happy-springtime-at-h...
RIAT 2022 Sunday Display 17-07-2022
Belgian Air Component
General Dynamics F-16AM Fighting Falcon FA-136
This is an early prototype of Stackduino.
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This is a focus stacking controller for the macro setup: www.flickr.com/photos/reallysmall/5649044078/in/photostream.
It uses an arduino, an easydriver and some optocouplers to move a camera a designated distance, take a photo and then repeat the process a chosen number of times until enough image slices have been taken to compile into a stack.
The design is a combination of:
- The Arduino Uno based Stackduino wiring diagram: www.flickr.com/photos/reallysmall/8270022807/
- The Hackduino guide:
www.instructables.com/id/Perfboard-Hackduino-Arduino-comp...
The project uses this perfboard:
www.ebay.co.uk/itm/200703298675
The 5v and ground rails threaded throughout the board help keep wiring reasonably tidy.
Components of the descent module of the ExoMars 2020 mission.
The rear jacket, technological front shield, solar panels, the remaining ground support equipment, as well as other material to complete the assembly of the descent module and test program, arrived at Thales Alenia Space, Turin, Italy, from NPO Lavochkin JSC (part of the Roscosmos State Corporation) this week.
Credits: Roscosmos
This waterproof tablet is serious about entertainment. Hear every beat thanks to Hi-res audio, noise canceling technology and front stereo speakers. See every shade on the 8” (20.3 cm) screen bursting with Sony’s display technology. With an impressive rating, you won't ever have to worry about water or dust getting in the way of performance. This super-light, super-slim tablet is a true feat of engineering - crafted from the highest-quality materials with clean lines and a rounded aluminum frame.
Launched: 2014 November
Chipset: Qualcomm Snapdragon 801 (Quad-core 2,5 GHz)
Memory: 3 GB RAM, 16 GB internal storage, micro SDXC slot
Screen: 8-inch TFT LCD, 1200x1920, 283 dpi
Dimensions: 213.4 x 123.6 x 6.4 mm
Weight: 270 g
Photo: Thomas Ohlsson Photography
www.thomasohlsson.com | 500px | Facebook | Flickr | Instagram
// Lightweight chainring – Made in Germany //
more info: 8bar-bikes.com/shop/cranksets/8bar-x-kappstein-chainring/
Photo: Stefan Haehnel / www.recentlie.com/
שָׁנָה טוֹבָה וּמְתוּקָה Have A Good And Sweet Year
Main Components
Macintosh and other varietal Apples, cored. Other varieties like Gala and Granny Smith stay firmer longer.
Sweet Potato
Acorn Squash
Or Butternut Squash
Stuffing Ingredients:
Apple chopped
Jumbo Raisins - Any raisins are fine...
Honey
Maple Syrup
Brown Sugar
Cinnamon
Allspice
Nutmeg
Whole Cloves (some people prefer ground cloves)
Vanilla Extract
Amounts
Amounts of all ingredients are to your family's taste.
Keep Records
Just keep records as ina Garten does to see what works best for you....
No, this recipe is not Ina's. It is mine. And, I am sure I learned from my Mother and both Grandmas..
Sorry, I left it in the oven too long. The Macintosh apples turned to an extremely delicious apple sauce. I used to make the apples in a separate pan and take them out sooner.
My Menu Plans
I'm beginning to plan my dishes for the holidays. I don't need to test the recipes because I make them for most holidays. However, my memory is slipping, so it probably would be a good idea to do some test baking. I really do need to check baking times.
I first posted this photo in 2011, and I have baked these foods in this oven each year since.
This year I will remember to bake the apples separately, to check them frequently, and to take the remaining ones out when they are done. It's good to bake a bunch of each item in their pan so you can take out one at a time to taste. Also, You can keep the remaining ones in the fridge and reheat as needed. They keep well.
This year I must remember to take note of the best baking times for the apples, the acorn squash, and the yams!!
Asher, at the 5th Street Deli, makes marvelous Moroccan Baked Salmon. I think I will order a platter of that too. It's always delicious!
100_9114 - Version 4
PHILIPPINE SEA (June 14, 2022) Aviation Boatswain’s Mate (Equipment) Airman Donald Wilder, from San Antonio, prepares to signal the launch of an F/A-18F Super Hornet, assigned to the "Black Aces" of Strike Fighter Squadron (VFA) 41, from the flight deck of Nimitz-class aircraft carrier USS Abraham Lincoln (CVN 72) in support of a joint maritime strike rehearsal to demonstrate service components’ fires and effects capabilities in the maritime environment during exercise Valiant Shield 22 (VS 22). Exercises such as Valiant Shield allow the Indo-Pacific Command Joint Task Force the opportunity to integrate force from all branches of service to conduct long-range, precise, lethal, and overwhelming multi-axis, multi-domain effects that demonstrate the strength and versatility of the Joint Task Force and our commitment to a free and open Indo-Pacific. (U.S. Navy photo by Mass Communication Specialist 3rd Class Javier Reyes)
The system includes two alternate plywood components with very sharp spikes instead of the rubberized gasketing material. This is very similar to the spikes that are used on the Aigner X-Guide component.
Size comparison. The middle tube is an 807, and the right one a 12AT7. The splash of blue in the middle of the 803 tube is the reflection of a book on my desk.
The combat-proven F-16 has proven itself as the world’s most capable 4th Generation multi-role fighter, serving as the workhorse of the fighter fleet for 28 customers around the world.
The F-16A, a single-seat model, first flew in December 1976. The first operational F-16A was delivered in January 1979 to the 388th Tactical Fighter Wing at Hill Air Force Base, Utah.
All F-16s delivered since November 1981 have built-in structural and wiring provisions and systems architecture that permit expansion of the multirole flexibility to perform precision strike, night attack, and beyond-visual-range interception missions. This improvement program led to the F-16C and F-16D aircraft, which are the single- and two-place counterparts to the F-16A/B, and incorporate the latest cockpit control and display technology. All active units and many Air National Guard and Air Force Reserve units have converted to the F-16C/D.
U.S. Air Force F-16 multirole fighters were deployed to the Persian Gulf in 1991 in support of Operation Desert Storm; where more sorties were flown than with any other aircraft. These fighters were used to attack airfields, military production facilities, Scud missiles sites and a variety of other targets.
During Operation Allied Force, U.S. Air Force F-16 multirole fighters flew a variety of missions to include; suppression of enemy air defense, offensive counter air, defensive counter air, close air support and forward air controller missions. Mission results were outstanding as these fighters destroyed radar sites, vehicles, tanks, MiGs and buildings.
Since Sept. 11, 2001, the F-16 has been a major component of the combat forces committed to the war on terrorism flying thousands of sorties in support of operations Noble Eagle (Homeland Defense), Enduring Freedom in Afghanistan and Iraqi Freedom.
The F-16s are an integral part of the Pacific Air Forces power projection based at Osan Air Base Korea and Eielson Air Force Base, Alaska.
-- Technical Information (or Nerdy Stuff) --
‧ Camera - Nikon D7200 (handheld)
‧ Lens – Nikkor 18-300mm Zoom
‧ ISO – 1250
‧ Aperture – f/7.1
‧ Exposure – 1/200 second
‧ Focal Length – 18mm
The original RAW file was processed with Adobe Camera Raw and final adjustments were made with Photoshop CS6.
"For I know the plans I have for you,” declares the LORD, “plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/
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 (sometimes referred to as VF-X1) was strictly a conventional/non-transformable jet aircraft, even though it incorporated many structural components and several key technologies that were vital for the transformable VF-1’s successful development that ran in parallel. Therefore, the VF-X was never intended as an air superiority fighter, but rather a flight-capable analogue test bed and proof of concept for the VF-1’s basic layout and major components. In this role, however, the VF-X made vital contributions to systems’ development that were later incorporated into the VF-1’s serial production and sped the program up considerably.
VF-X production started in early 2006, with four airframes built. The flight tests began in February 2007. The first prototype (“01”) was piloted and evaluated by ace pilot Roy Fokker, in order to explore the aircraft’s flight envelope, general handling and for external stores carriage tests. The three other VF-Xs successively joined the test program, each with a different focus. “02” was primarily tasked with the flight control and pilot interface program, “03” was allocated to the engine, vectoring thrust and steering systems development, and “04” was primarily involved in structural and fatigue tests.
In November 2007, the successful VF-X tests and the flights of the VF-X-1 (the first fully transformable VF-1 prototype, which had been under construction in parallel to the VF-X program) led to formal adoption of the “Valkyrie” variable fighter by the United Nations Government.
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 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 sub-variants (designated A, D, J, and S) and its success was increased by continued development of various enhancements. These included the GBP-1S "Armored Valkyrie” external armor and infantry weapons pack, so-called FAST Packs for "Super Valkyries” for orbital use, and the additional RÖ-X2 heavy cannon pack weapon system for the VF-1S “Strike Valkyrie” with additional firepower.
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 eventually be replaced as the primary Variable Fighter of the U.N. Spacy by the more capable, but also much bigger, VF-4 Lightning III in 2020, a long service record and continued production after the war proved the lasting worth of the design.
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), and several upgrade programs were introduced.
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:
Accommodation: One pilot in a Marty & Beck Mk-7 zero/zero ejection seat
Length 14.23 meters
Wingspan 14.78 meters (at 20° minimum sweep)
Height 3.84 meters
Empty weight: 13.25 metric tons
Standard T-O mass: 18.5 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)
4 x 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);
Performance:
Top speed: Mach 2.71 at 10,000 m; Mach 3.87 at 30,000+ m
Thrust-to-weight ratio: empty 3.47; standard T-O 2.49; maximum T-O 1.24
Armament:
None installed, but the VF-X had 4x underwing hard points for a wide variety of ordnance, plus a ventral hardpoint for a Howard GU-11 55 mm three-barrel Gatling gun pod with 200 RPG, fired at 1,200 rds/min or other stores like test instruments
The model and its assembly:
Another submission to the “Prototypes” group build at whatifmodelers.com in July 2020. Being a VF-1 fan (and have built maybe twenty o these simple Arii kits), adding a VF-X was, more or less, a must – even more so because I had a suitable Valkyrie Fighter kit at hand for the conversion. As a side note, I have actually built something quite similar from a VF-1D many years ago: a fictional, non-transformable advanced trainer, without knowing about the VF-X at all.
Thanks to the “Macross - Perfect Memory” source book, the differences between the transformable VF-1 and its early testbed were easy to identify:
- Fixed legs with faired ducts from the intakes on (thighs)
- Ankle recesses disappeared
- Less and slightly different panel lines on the back and on the nose
- ventral head unit deleted and a respective fairing installed instead
- Levelled underside (shoulder fairings of the folded arms were cut down)
- Leg attachment points on the nose deleted
- No small, circular vernier thrusters all around the hull
- Some new/different venting grills (created mostly with 0.5mm black decal stripes)
Beyond the changes, the VF-1A was basically built OOB. Thankfully, the VF-X already features the later VF-1’s vectored thrust nozzles/feet, so that no changes had to be made in this respect. A pilot figure was added to the cockpit for the beauty pics, and after the flight scenes had been shot, the canopy remained open on a swing arm for static display. For the same reason, the model was built with the landing gear extended.
As a test aircraft, the underwing pylons and their AMM-1 ordnance were left away and the attachment points hidden with putty. I also omitted the ventral gun pod and left the aircraft clean. However, for the flight scene pictures, I implanted an adapter for a display holder made from wire.
In order to emphasize the test vehicle character of the VF-X, I gave the model a scratched spin recovery parachute installation between the fins, using a real world F-22 testbed as benchmark. It consists of styrene profiles, quite a delicate construction. For the same reason I gave the VF-X a long sensor boom on the nose, which changes the Valkyrie’s look, too. Finally, some small blade antennae were added to the nose and to the spine behind the cockpit.
Painting and markings:
To be honest, I have no idea if there was only a single VF-X prototype in the Macross universe, or more. Just one appears in the TV series in episode #33, and lack of suitable information and my personal lack of Japanese language proficiency prevents any deeper research. However, this would not keep me from inventing a personal interpretation of the canonical VF-X, especially because I do not really like the original livery from the TV series: an overall light grey with some simple black trim and “TEST” written on the (fixed) legs. Yamato did an 1:60 scale toy of the VF-X, but it was/is just a VF-1 with a ventral fairing; they added some shading to the basic grey – but this does not make the aircraft more attractive, IMHO.
When I looked at the original conceptual drawing of the VF-X in the “Macross - Perfect Memory” source book, however, I was immediately reminded of the F-15 prototypes from the Seventies (and this program used a total of twelve machines!). These featured originally a light grey (FS 36375?) overall base, to which bright dayglo orange markings on wings, fins and fuselage were soon added – in a very similar pattern to the VF-X. I think the VF-X livery was actually inspired by this, the time frame matches well with the production of the Macross TV series, too, and that’s what I adapted for my model.
In order to come close to the F-15 prototype livery, I gave “my” VF-X an overall basic coat of RAL 7047 “Telegrau 4”, one of German Telekom’s corporate colors and a very pale grey that can easily be mistaken for white when you do not have a contrast reference.
The cockpit received a medium grey finish, the ejection seat became black with brown cushions; the pilot figure is a 1:100 seated passenger from an architecture supplies, painted like an early VF-1 pilot in a white/blue suit. The jet nozzles/feet were painted with Revell 91 (Iron) and later treated with grinded graphite for a more metallic finish. The landing gear became classic white (I used Revell 301, which is a very pure tone, as contrast to the RAL 7047 on the hull), the air intake ducts and the internal sections of the VG wings were painted with dark grey (Revell 77).
For some diversity I took inspiration from the Yamato VF-X toy and added slightly darker (Humbrol 166, RAF Light Aircraft Grey) areas to the hull and the legs. Next, the panel lines were emphasized through a thinned black ink wash, but I did no panel post shading so that the VF-X would not look too dirty or worn.
Onto this basis I applied the orange dayglo markings. On the wings and fins, these were painted – they were applied with spray paint from a rattle can, involving lots of masking. The leading edges on wings and fins were created with grey decal sheet material, too. At this stage, some surface details and more fake panel lines were added with a soft pencil.
The orange cheatline under the cockpit is a personal addition; I found that some more orange had to be added to the nose for visual balance, and I eventually went for the simple, trimmed stripe (TL Modellbau material) instead of trying to apply decal sheet material around the jagged air intakes (F-15 prototype style). The black “TEST”, “VFX” and “U.N. Spacy” markings were designed at the computer and printed on clear inkjet decal paper. Even though the “real” VF-X does not feature the UNS “kite” insignia, I decided to add them to the model. These come from the OOB sheet, which also provided most (slightly yellowed) stencils.
Finally, the model was sealed with a coat of matt acrylic varnish (Italeri).
A rather different VF-1 project (and it is – to my astonishment – #28 in my 1:100 VF-1 Fighter mode collection!!!), with more changes to the basic model kit than one might expect at first sight. VF-X and VF-1 differ considerably from each other, despite identical outlines! However, I like the outcome, and I think that going a different route from the canonical grey/black livery paid out, the bright orange markings really make this VF-X stand out, and it looks IMHO more like a testbed than the “real” aircraft from the TV series.
This is the "pusher" half the the RUWI component system. It is a plywood panel approximately 1-inch thick with a handle and rubberized gasketing applied to the front edge, and an adjustable mechanism for setting the angle of the panel and securing it to the sliding table. Unlike a Fritz & Franz design, this component pivots which I consider a disadvantage.
This alternate pusher component is designed to secure to the sliding table with a lever actuated clamping post. The bumper component has the same rubberized gasketing material along one edge to help secure stock wedged between the two plywood components that make up the system. Also shown in this photo is an alternate plywood "bumper" component.
Nashville Pussy in France interview & live shoot by Back'n'roll
backnroll.com/fr/component/k2/item/123-nashville-pussy.html
True rock n' roll doesn't require definition. It's self-explanatory based on a gut feeling and the unconditional devotion to the musical genre. Nashville Pussy have celebrated their brand of genuine rock n' roll for more than a decade, in classic style at times, surprising at others, but always earthy, raw and unadulterated. Band mastermind Blaine Cartwright (vocals, guitar), his wife Ruyter Suys (guitar), Karen Cuda (bass) and Jeremy Thompson (drums) poured their heart and soul into the latest rock release, entitled From Hell To Texas, which saw the band hone their most impressive recording to date alongside the non stop touring, from Australia, Brazil, Canada, Europe, Japan, and almost a year straight with the Reverend Horton Heat, "We allowed ourselves this time to give the songs the chance to turn out as perfect as possible," Cartwright explains. "We kept playing the new tracks at our rehearsal room until they really clicked. I feel they're heavier and grittier than previous releases. The whole creative process took three long years, but the result has been worth the trouble."
Their songs are mostly about fun and good times, but occasionally – as in the case of 'Late Great USA' – they also stick the finger into an open wound. "Although Blaine's comical and satyrical themes mostly prevail on From Hell To Texas, there are two or three numbers which deal with more serious subjects. 'Late Great USA' is a political song, we simply had to vent our anger at certain grievances in this country."
Source : www.nashvillepussy.com/bio
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Merci de ne pas utiliser mes photos sans mon accord écrit.
Thank you for not using my photos without my written agreement.
PictionID:44723552 - Title:Atlas Program Component - Catalog:14_013260 - Filename:14_013260.TIF - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
Component parts for a model diorama of London Transport's Staines country bus garage that I am building for a customer.
AIRBUS A400M "ATLAS" (C/N: 116) BELGIAN AIR COMPONENT (CT-05) / AEROPUERTO DE SEVILLA (LEZL) ESPAÑA-SPAIN / VUELO DE ENTREGA
A technician with the John C. Stennis Space Center's Fluid Component Facility studies samples to determine cleanliness of valves and fittings used on pipes that transport liquid fuel and propellants. The clean room where the technicians work is similar to a hospital surgical room.
Credit: NASA
Image Number: 95-081-19
Date: 1995
Madeira Diferente -
Structural integrity is the ability of an item—either a structural component or a structure consisting of many components—to hold together under a load, including its own weight, without breaking or deforming excessively. It assures that the construction will perform its designed function during reasonable use, for as long as its intended life span. Items are constructed with structural integrity to prevent catastrophic failure, which can result in injuries, severe damage, death, and/or monetary losses.
Universal Studios Florida is a theme park located in Orlando, Florida. Opened on June 7, 1990, the park's theme is the entertainment industry, in particular movies and television. Universal Studios Florida inspires its guests to "ride the movies", and it features numerous attractions and live shows. The park is one component of the larger Universal Orlando Resort.
In 2013, the park hosted an estimated 7.06 million guests, ranking it the eighth-most visited theme park in the United States, and ranking it sixteenth worldwide.[2]
Contents [hide]
1 History 1.1 Park history
1.2 Branding
1.3 Timeline
1.4 Previous attractions
2 Park design 2.1 Production Central
2.2 New York
2.3 San Francisco
2.4 London/Diagon Alley
2.5 World Expo
2.6 Woody Woodpecker's Kidzone
2.7 Hollywood
3 Character appearances
4 Production facilities
5 Annual events 5.1 Grad Bash and Gradventure
5.2 Halloween Horror Nights
5.3 Macy's Holiday Parade
5.4 Mardi Gras
5.5 Rock the Universe
5.6 Summer Concert Series
6 Universal's Express Pass
7 Attendance
8 See also
9 References
10 External links
History[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2010)
The original entrance to the theme park.
Over the years, Universal Studios Florida has not limited itself to attractions based on its own vast film library. It has occasionally licensed popular characters from other rival studios, many of whom did not operate theme parks themselves. Some examples include Ghostbusters and Men in Black, (Sony's Columbia Pictures), The Simpsons (20th Century Fox) and Shrek (DreamWorks Animation).
Many of the park's past and present attractions were developed with the actual creators of the films they were based on, and feature the original stars as part of the experience. Steven Spielberg helped create E.T. Adventure and was a creative consultant for Back to the Future: The Ride, Twister...Ride it Out, An American Tail Theatre, Jaws, Men in Black: Alien Attack and Transformers: The Ride.
In many current rides, the original stars reprised their film roles including: Rip Torn and Will Smith in Men in Black: Alien Attack, Brendan Fraser for Revenge of the Mummy: The Ride, Bill Paxton and Helen Hunt in Twister...Ride it Out, Arnold Schwarzenegger, Edward Furlong and Linda Hamilton reprised their roles for Terminator 2: 3-D Battle Across Time, Mike Myers, Eddie Murphy, Cameron Diaz, and John Lithgow for Shrek 4D, Steve Carell, Miranda Cosgrove, Dana Gaier, and Elsie Fisher reprised their roles from Despicable Me for Despicable Me: Minion Mayhem, and Peter Cullen and Frank Welker reprised their roles as Optimus Prime and Megatron for Transformers: The Ride.
In many former rides, the many original stars were also to reprise their film roles such as: Christopher Lloyd and Thomas F. Wilson in Back to the Future: The Ride, Roy Scheider recorded a voice over for the conclusion of Jaws, Alfred Hitchcock and Anthony Perkins appeared in Alfred Hitchcock: The Art of Making Movies, additionally, various Nicktoon voice actors reprised their roles in Jimmy Neutron's Nicktoon Blast.
Park history[edit]
From its inception in 1982,[3] Universal Studios Florida was designed as a theme park and a working studio. It was also the first time that Universal Studios had constructed an amusement park "from the ground up." However, the proposed project was put on hold until 1986, when a meeting between Steven Spielberg, a co-founder for the park, and Peter N. Alexander prompted for the creation of a Back to the Future simulator ride in addition to the already planned King Kong based ride.[4]
A major component of the original park in Hollywood is its studio tour, which featured several special-effects exhibits and encounters built into the tour, such as an attack by the great white shark from the film Jaws. For its Florida park, Universal Studios took the concepts of the Hollywood tour scenes and developed them into larger, stand-alone attractions. As an example, in Hollywood, the studio tour trams travel close to a shoreline and are "attacked" by Jaws before they travel to the next part of the tour. In Florida, guests entered the "Jaws" attraction and would board a boat touring the fictitious Amity Harbor, where they encountered the shark, then exited back into the park at the conclusion of the attraction. Universal Studios Florida originally had a Studio Tour attraction that visited the production facilities, but that tour has since been discontinued.
Branding[edit]
Previous slogans for Universal Studios Florida were: See the Stars. Ride the Movies. (1990 - 1998); No one makes believe like we do! (1990 - 1998); Ride the Movies (1998 - 2008); Jump into the Action (2008–2012). The current slogan is: Experience the Movies (2012–present).
Timeline[edit]
1986: Land clearing takes place on the swamp land purchased by MCA/Universal that would hold the park.
1987: Universal Studios Florida is announced at a press conference on the Hollywood property, with a planned opening date of December 1989.
1988: Universal Studios Florida's opening date is delayed from December, 1989 to May 1, 1990. Shortly following, MCA/Universal releases a video detailing the future park, which stars Christopher Lloyd as the Universal character Doc Brown interacting with the various attractions at the Florida park.[5] Universal Studios allows guests to witness the production of television shows and motion pictures in the Florida park's soundstages in middle 1988, while the rest of the studio/park is still under construction.[6]
1989: MCA/Universal Studios claims that The Walt Disney Company and its CEO, Michael Eisner copied several concepts of the Universal Studios Florida park, and integrated them into Disney's recently opened Disney/MGM Studios park.[7]
1990: On January 31, Universal Studios Florida's opening date is again delayed from May 1, 1990 to June 7, 1990.[8] Universal Studios Florida begins soft openings for the general public in late May.[9] Many of the park's attractions are not yet open at the time, and still under testing. Universal Studios Florida is officially opened with a grand opening style ceremony on June 7.[10] The park opens with five themed areas: The Front Lot (entrance area), Production Central, New York, San Francisco/Amity, Expo Center, Hollywood as well as a Lagoon located in the center of the park. The Front Lot and Production Central areas are referred to as "In Production", the New York section is referred to as "Now Shooting", the San Francisco and Amity sections are referred to as "On Location" and the Expo Center area is referred to as "The World of CineMagic Center". Nickelodeon Studios also opened on this day where there was a grand opening ceremony hosted by Marc Summers. Due to massive technical problems with the original Kongfrontation, Earthquake: The Big One and Jaws rides, Universal begins a temporary voucher service to allow guests to re-visit the studio/park when the attractions are operating.[10] Jaws is temporarily closed by Universal on September 30 due to persistent major technical problems. During the shut-down, Universal sues the original designer of the Jaws ride,[11] Ride & Show Engineering, and hires Totally Fun Company to create a re-designed version of most of the ride.
1991: Universal adds four new attractions to the park: The Blues Brothers Show, StreetBusters, The Screen Test Home Video Adventure and How to Make a Mega Movie Deal.[12] Back to the Future: The Ride officially opens in the World Expo Center area of the park, in a grand opening ceremony.[13] The ride is considered to be a success, and receives positive reception from theme park critics.[14] Fright Nights debuts at the park. In 1992, it is renamed to Halloween Horror Nights.
1993: Jaws is re-opened, with many scenes altered. MCA/Universal announces plans to expand Universal Studios Florida into the Universal City, Florida resort complex, including a second theme park and multiple hotels.[15]
1995: Universal Studios Florida celebrates its 5th anniversary. A Day in the Park with Barney opens in the World Expo area. The Production Studio Tour is closed due to a dwindle in the studios' recent Film/TV production.
1996: Terminator 2: 3-D Battle Across Time opens in the Hollywood area.[16]
1997: Universal announces that Ghostbusters Spooktacular will be replaced by Twister...Ride it Out, with a planned opening date of Spring 1998[17] Universal Studios announces that the sole Studio park will be expanded into the Universal Studios Escape, including the Islands of Adventure park, Universal CityWalk Orlando and multiple hotels. The Islands of Adventure Preview Center opens in the New York area, replacing The Screen Test Home Video Adventure. It is meant to give guests a preview of the up-coming Islands of Adventure park, as well as expansion of the Studio park into the Universal Studios Escape resort.
1998: The expansion begins as the original open parking lot for Universal Studios Florida is demolished and replaced by CityWalk and a parking garage complex.[18] Universal delays the opening of Twister...Ride it Out from March, 1998 to May 4, 1998 out of respect for the 42 deaths caused by a recent El Nino outbreak of tornadoes in the central Florida area. Twister...Ride it Out opens in the New York area, replacing Ghostbusters Spooktacular.[19] A new area of the park, Woody Woodpecker's Kidzone, is officially opened, holding the attractions Curious George Goes to Town, StarToons and the previously opened Fievel's Playland, E.T. Adventure, Animal Actors Stage and A Day in the Park with Barney; CityWalk opens outside of the park.
1999: Woody Woodpecker's Nuthouse Coaster opens in the Woody Woodpecker's Kidzone area. Islands of Adventure opens next door to Universal Studios Florida.[20]
2000: Men in Black: Alien Attack opens in the World Expo area, on the former site of The Swamp Thing Set. Universal Studios Florida's 10th anniversary celebration.
2001: Animal Planet Live opens, replacing Animal Actors Stage.
2002: Universal Studios Escape is renamed Universal Orlando Resort. Kongfrontation closes in a closing ceremony. Halloween Horror Nights is moved to Islands of Adventure. Macy's Holiday Parade debuts at the park.
2003: Jimmy Neutron's Nicktoon Blast opens, replacing The Funtastic World of Hanna-Barbera.[21] Shrek 4-D opens with Donkey's Photo Finish, replacing Alfred Hitchcock: The Art of Making Movies and Stage 54 respectively.[22]
2004: Revenge of the Mummy: The Ride opens, replacing Kongfrontation.[23] Halloween Horror Nights takes place in both Universal Studios Florida and Islands of Adventure.
2005: Universal Express Plus is introduced, replacing Universal Express. Nickelodeon Studios closes after nearly 15 years. Fear Factor Live opens, replacing The Wild Wild Wild West Stunt Show. Universal Studios Florida celebrates its 15th anniversary.
2006: Delancey Street Preview Center opens in the New York area. Universal 360: A Cinesphere Spectacular opens, replacing Dynamite Nights Stunt Spectacular. Animal Planet Live is closed, and replaced by Animal Actors on Location. Halloween Horror Nights returns to Universal Studios Florida for its "Sweet 16".
2007: Back to the Future: The Ride closes on March 30.[24] Blue Man Group Sharp Aquos Theatre opens in CityWalk, replacing Nickelodeon Studios. Earthquake: The Big One closes in the San Francisco area on November 5.
2008: Disaster!: A Major Motion Picture Ride...Starring You! opens, replacing Earthquake: The Big One.[25] Universal announces Hollywood Rip Ride Rockit, with a planned opening of Spring 2009. The Simpsons Ride opens, replacing Back to the Future: The Ride.[26]
2009: The Universal Music Plaza Stage opens, replacing The Boneyard. Hollywood Rip Ride Rockit opens.
2010: The 20th anniversary of Universal Studios Florida in June, as well as Halloween Horror Nights in October.
2011: The 10th anniversary of Macy's Holiday Parade at the park.[27]
2012: Jaws and the surrounding Amity themed area closes, as announced on December 2, 2011.[28] Universal announces the additions of Universal’s Cinematic Spectacular: 100 Years of Movie Memories and Universal's Superstar Parade to the park, with openings on May 8, 2012.[29] Despicable Me: Minion Mayhem, opens replacing Jimmy Neutron's Nicktoon Blast; as announced on March 14, 2011 as "...one of many exciting things planned for the next couple of years".[30] Universal Orlando Resort announced Transformers: The Ride will officially open in the summer of 2013, replacing Soundstages 44 and 54, which were demolished on June 24, 2012.[31] SpongeBob StorePants,a gift shop themed after SpongeBob SquarePants opened in Woody Woodpecker's Kidzone replacing the Universal Cartoon Store
2013: The opening date for Transformers The Ride is announced for June 20, 2013. Details of The Wizarding World of Harry Potter expansion are officially announced. Details for the new Simpsons Land are announced and expected to open in the summer of 2013. Transformers: The Ride officially opens in the Production Central area replacing Soundstage 44. Simpsons Fast Food Boulevard (renamed Springfield U.S.A.) concludes its expansion as it includes one new ride: Kang and Kodos Twirl 'n' Hurl.
2014: The opening date for The Wizarding World of Harry Potter Diagon Alley is announced for July 8, 2014 amid the Diagon Alley preview red carpet premiere on June 18, 2014 with Domhnall Gleeson, Bonnie Wright, Evanna Lynch, Matthew Lewis, James and Oliver Phelps, Tom Felton, Robbie Coltrane, Warwick Davis and Helena Bonham Carter attending the premiere. King's Cross station opens on July 1, 2014 as well as the Hogwarts Express Hogsmeade station at Universal's Islands of Adventure, connecting park visitors to both theme Harry Potter theme parks via a full scale replica of the train that appears in the Harry Potter film series. Diagon Alley officially opens, replacing Jaws and the Amity section of the park.
Previous attractions[edit]
Main article: List of former Universal Studios Florida attractions
The previous icon of the Jaws ride is still a popular photo spot.
Like all theme parks, attractions are sometimes closed due to aging and replaced with more contemporary attractions. Universal has seen this happen several times. Some notable closures include Kongfrontation, Back to the Future: The Ride, The Funtastic World of Hanna-Barbera and Jaws. The closures of Kongfrontation, Back to the Future, and Jaws have been given homages by the park to honor veteran visitors who revered the former rides.
Park design[edit]
Main article: List of Universal Studios Florida attractions
Universal Studios Florida features seven themed areas all situated around a large lagoon. In 2012, this lagoon was the site of Universal’s Cinematic Spectacular: 100 Years of Movie Memories, a thematic display that showcased scenes from various Universal films, featuring lasers, projectors and fountains, and pyrotechnics.
The seven surrounding themed areas, clockwise from the entrance, are Production Central, New York, San Francisco, London/Diagon Alley, World Expo, Woody Woodpecker's Kidzone and Hollywood. Each area features a combination of rides, shows, attractions, character appearances, dining outlets and merchandise stores. A new area, based on Harry Potter's Diagon Alley was added to the park in the July of 2014.
Production Central[edit]
Ride
Year opened
Manufacturer
Despicable Me: Minion Mayhem 2012 Intamin
Shrek 4-D 2003 PDI/DreamWorks
Hollywood Rip, Ride, Rockit 2009 Maurer Söhne
Transformers: The Ride 3D 2013 Oceaneering International
The Universal Music Plaza Stage 2009
The area is also home to a variety of dining outlets and merchandise shops. Food and beverage items can be purchased from Beverly Hills Boulangerie or Universal Studios' Classic Monsters Cafe while merchandise can be bought from a variety of themed stores including Universal Studios Store, Studio Sweets, It's a Wrap!, Super Silly Stuff, Shrek's Ye Olde Souvenir Shoppe, and Transformers: Supply Vault.[32][33]
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 (sometimes referred to as VF-X1) was strictly a conventional/non-transformable jet aircraft, even though it incorporated many structural components and several key technologies that were vital for the transformable VF-1’s successful development that ran in parallel. Therefore, the VF-X was never intended as an air superiority fighter, but rather a flight-capable analogue test bed and proof of concept for the VF-1’s basic layout and major components. In this role, however, the VF-X made vital contributions to systems’ development that were later incorporated into the VF-1’s serial production and sped the program up considerably.
VF-X production started in early 2006, with four airframes built. The flight tests began in February 2007. The first prototype (“01”) was piloted and evaluated by ace pilot Roy Fokker, in order to explore the aircraft’s flight envelope, general handling and for external stores carriage tests. The three other VF-Xs successively joined the test program, each with a different focus. “02” was primarily tasked with the flight control and pilot interface program, “03” was allocated to the engine, vectoring thrust and steering systems development, and “04” was primarily involved in structural and fatigue tests.
In November 2007, the successful VF-X tests and the flights of the VF-X-1 (the first fully transformable VF-1 prototype, which had been under construction in parallel to the VF-X program) led to formal adoption of the “Valkyrie” variable fighter by the United Nations Government.
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 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 sub-variants (designated A, D, J, and S) and its success was increased by continued development of various enhancements. These included the GBP-1S "Armored Valkyrie” external armor and infantry weapons pack, so-called FAST Packs for "Super Valkyries” for orbital use, and the additional RÖ-X2 heavy cannon pack weapon system for the VF-1S “Strike Valkyrie” with additional firepower.
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 eventually be replaced as the primary Variable Fighter of the U.N. Spacy by the more capable, but also much bigger, VF-4 Lightning III in 2020, a long service record and continued production after the war proved the lasting worth of the design.
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), and several upgrade programs were introduced.
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:
Accommodation: One pilot in a Marty & Beck Mk-7 zero/zero ejection seat
Length 14.23 meters
Wingspan 14.78 meters (at 20° minimum sweep)
Height 3.84 meters
Empty weight: 13.25 metric tons
Standard T-O mass: 18.5 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)
4 x 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);
Performance:
Top speed: Mach 2.71 at 10,000 m; Mach 3.87 at 30,000+ m
Thrust-to-weight ratio: empty 3.47; standard T-O 2.49; maximum T-O 1.24
Armament:
None installed, but the VF-X had 4x underwing hard points for a wide variety of ordnance, plus a ventral hardpoint for a Howard GU-11 55 mm three-barrel Gatling gun pod with 200 RPG, fired at 1,200 rds/min or other stores like test instruments
The model and its assembly:
Another submission to the “Prototypes” group build at whatifmodelers.com in July 2020. Being a VF-1 fan (and have built maybe twenty o these simple Arii kits), adding a VF-X was, more or less, a must – even more so because I had a suitable Valkyrie Fighter kit at hand for the conversion. As a side note, I have actually built something quite similar from a VF-1D many years ago: a fictional, non-transformable advanced trainer, without knowing about the VF-X at all.
Thanks to the “Macross - Perfect Memory” source book, the differences between the transformable VF-1 and its early testbed were easy to identify:
- Fixed legs with faired ducts from the intakes on (thighs)
- Ankle recesses disappeared
- Less and slightly different panel lines on the back and on the nose
- ventral head unit deleted and a respective fairing installed instead
- Levelled underside (shoulder fairings of the folded arms were cut down)
- Leg attachment points on the nose deleted
- No small, circular vernier thrusters all around the hull
- Some new/different venting grills (created mostly with 0.5mm black decal stripes)
Beyond the changes, the VF-1A was basically built OOB. Thankfully, the VF-X already features the later VF-1’s vectored thrust nozzles/feet, so that no changes had to be made in this respect. A pilot figure was added to the cockpit for the beauty pics, and after the flight scenes had been shot, the canopy remained open on a swing arm for static display. For the same reason, the model was built with the landing gear extended.
As a test aircraft, the underwing pylons and their AMM-1 ordnance were left away and the attachment points hidden with putty. I also omitted the ventral gun pod and left the aircraft clean. However, for the flight scene pictures, I implanted an adapter for a display holder made from wire.
In order to emphasize the test vehicle character of the VF-X, I gave the model a scratched spin recovery parachute installation between the fins, using a real world F-22 testbed as benchmark. It consists of styrene profiles, quite a delicate construction. For the same reason I gave the VF-X a long sensor boom on the nose, which changes the Valkyrie’s look, too. Finally, some small blade antennae were added to the nose and to the spine behind the cockpit.
Painting and markings:
To be honest, I have no idea if there was only a single VF-X prototype in the Macross universe, or more. Just one appears in the TV series in episode #33, and lack of suitable information and my personal lack of Japanese language proficiency prevents any deeper research. However, this would not keep me from inventing a personal interpretation of the canonical VF-X, especially because I do not really like the original livery from the TV series: an overall light grey with some simple black trim and “TEST” written on the (fixed) legs. Yamato did an 1:60 scale toy of the VF-X, but it was/is just a VF-1 with a ventral fairing; they added some shading to the basic grey – but this does not make the aircraft more attractive, IMHO.
When I looked at the original conceptual drawing of the VF-X in the “Macross - Perfect Memory” source book, however, I was immediately reminded of the F-15 prototypes from the Seventies (and this program used a total of twelve machines!). These featured originally a light grey (FS 36375?) overall base, to which bright dayglo orange markings on wings, fins and fuselage were soon added – in a very similar pattern to the VF-X. I think the VF-X livery was actually inspired by this, the time frame matches well with the production of the Macross TV series, too, and that’s what I adapted for my model.
In order to come close to the F-15 prototype livery, I gave “my” VF-X an overall basic coat of RAL 7047 “Telegrau 4”, one of German Telekom’s corporate colors and a very pale grey that can easily be mistaken for white when you do not have a contrast reference.
The cockpit received a medium grey finish, the ejection seat became black with brown cushions; the pilot figure is a 1:100 seated passenger from an architecture supplies, painted like an early VF-1 pilot in a white/blue suit. The jet nozzles/feet were painted with Revell 91 (Iron) and later treated with grinded graphite for a more metallic finish. The landing gear became classic white (I used Revell 301, which is a very pure tone, as contrast to the RAL 7047 on the hull), the air intake ducts and the internal sections of the VG wings were painted with dark grey (Revell 77).
For some diversity I took inspiration from the Yamato VF-X toy and added slightly darker (Humbrol 166, RAF Light Aircraft Grey) areas to the hull and the legs. Next, the panel lines were emphasized through a thinned black ink wash, but I did no panel post shading so that the VF-X would not look too dirty or worn.
Onto this basis I applied the orange dayglo markings. On the wings and fins, these were painted – they were applied with spray paint from a rattle can, involving lots of masking. The leading edges on wings and fins were created with grey decal sheet material, too. At this stage, some surface details and more fake panel lines were added with a soft pencil.
The orange cheatline under the cockpit is a personal addition; I found that some more orange had to be added to the nose for visual balance, and I eventually went for the simple, trimmed stripe (TL Modellbau material) instead of trying to apply decal sheet material around the jagged air intakes (F-15 prototype style). The black “TEST”, “VFX” and “U.N. Spacy” markings were designed at the computer and printed on clear inkjet decal paper. Even though the “real” VF-X does not feature the UNS “kite” insignia, I decided to add them to the model. These come from the OOB sheet, which also provided most (slightly yellowed) stencils.
Finally, the model was sealed with a coat of matt acrylic varnish (Italeri).
A rather different VF-1 project (and it is – to my astonishment – #28 in my 1:100 VF-1 Fighter mode collection!!!), with more changes to the basic model kit than one might expect at first sight. VF-X and VF-1 differ considerably from each other, despite identical outlines! However, I like the outcome, and I think that going a different route from the canonical grey/black livery paid out, the bright orange markings really make this VF-X stand out, and it looks IMHO more like a testbed than the “real” aircraft from the TV series.