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Management is one basic piece of the business. With better and viable management, a business can get wanted development and benefit in less time. On account of digitization, Management Software is being utilized in each sort of business. Same goes for restaurant or bar business. To get a specific development, restaurant and bar business people counsel Restaurant and Bar Management Software Development Services to build up a management software for them.
Source: maxanderson.postach.io/post/what-benefits-can-be-get-by-r...
Giving further credence to the status of Punjab as a favoured destination for investors, ITC Limited today announced to double its investment in Punjab from the earlier Rs 700 crore to Rs 1400 crore. Disclosing this during my interaction with the top corporate honchos here, the President of FMCG Businesses, ITC Limited Mr. Sanjiv Puri said his company had succeeded in making Kinnow juice and it would be in the market within the current financial year.
The Managing Director of Godrej Agrovet Limited - Mr. Balram Yadav said his company would evaluate setting up a green house and food park over 100 acres. I told him that the government was ready to create the entire infrastructure for the green house at Ladhowal.
Molson Coors president Ravi Kaza announced his company was upgrading its plant by investing Rs 50 crore. Representatives of Marks and Spencer, Cannon, Shaktibhog Atta, Walmart and Dabur also held one to one meetings with me and all sounded very upbeat about investing in Punjab. Walmart representatives said there was scope of opening a dozen more Walmart stores in Punjab as the company's stores in Punjab had the best sales.
Looking forward to a really Progressive Punjab!!!
I had a successful molding run yesterday, and as a result there are now two different versions of the BrightScreen: the original microprism style on the left and a new one with a diagonal split image spot inside a microprism collar, shown on the right. This was I think the fourth molding run since the spring of 2018, and we seem to learn something on each run. We're actually getting pretty good at this now......
Makes for a long day, though, as the molding shop is a bit of a drive from home. I left the house at 7:30 yesterday morning and got back home at 9:30 last night. But I have enough screens on hand now that I won't have to do it again for a while.
It's black background and large innit?
So here we are at the Barbican development in the heart of London – I have a love/hate relationship with the Barbican since I love the architecture and the cohesive design across a vaste area, but I dislike it for the high position it holds in the architectural ranking (it’s Grade II listed)… it seems unreasonable that it the same genre of Brutalism should be condemned elsewhere for no reason other than “it’s not the Barbican”.
Baynard House is one example of the same genre as the Barbican but was described by George Ferguson of the Royal Institute of British Architects as "more akin to a car park than an office building" – he disliked it so much that he wanted it included in the so-called "Grade X" listing of buildings which should be demolished. At the same time George is campaigning to preserve the Barbican against the proposed development on the site of St Alphage House…. clearly a man inclined to level-headed thinking and avoiding extremes he’s quoted as saying “Canary Wharf is there to take these bloody great buildings out of the City of London, much as La Défense does for Paris”.
So three cheers for saving St Alphage House and the surrounds, but yah boo sucks for disliking Baynard House.
Anyway… the picture is from one of the walkways which curve up to the high-level piazza at the north of the site towards the Golden Lane Estate, which was kind of a pilot-phase for the whole thing – it’s rather pleasing to see curves of this type in the Barbican as the patterns on the brick floor are quite a treat. I should note that while taking this I was approached by a security guard who told me to bugger off – when I asked what the problem was his conclusion, after some discussion, was that I could have been a terrorist gathering information… his opinion is that compact cameras aren’t used by nasty people, so tourists are OK. Crumpled logic.
The Barbican estate was built between 1965 and 1976 on what was a huge 35 acre bomb site – old pictures show a wasteland of nothingness. It was designed by Chamberlin, Powell and Bon who had already built the Golden Lane Estate mentioned above and is now a site of special architectural interest for its scale, its cohesion and the ambition… and it is truly awesome in scale and is one of the few places you can see a theme carried out to completion.
The 1950’s saw developments focus on precincts – people areas with shops around the edges, but these inevitably required service roads which invariably ended up being grotty, dingy hideaways for n’er do wells. The Barbican is and example of the change in thinking to vertical development – cars at the bottom, along with carparks and service areas, then the people space for walking around and finally the housing/offices. While it’s nice that people are placed above cars it did lead to somewhat barren pedestrian areas which in many cases turned into grotty, dingy hideaways for n’er do wells again, particularly on the walkways.
However the Barbican escaped this fate, probably because it’s maintained so well and houses wealthy people – the flats change hands for megabucks and I would imagine the service-charge runs into several thousand a year… which is why they can afford to polish and stroke the brick floors so nicely; leading us back to the subject of the photograph above.
Taken early shmurly, hence the blue light visible on the flats on the right.
Enjoy.
Agriculture women worker
Solomon Islands
©ILO/Peter Blumel
This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License. To view a copy of this license, visit creativecommons.org/licenses/by-nc-nd/3.0/igo/deed.en_US.
Ingic has hard core skills inAndroid Mobile App Development. We not only create apps also promote and get most out of it.
"There's always money in the banana stand."
Not Balboa Island, Orange County. Rather, Marina Del Rey which is about 50 miles north of Balboa. The patio of this landmark snack shack used for the filming of Arrested Development (top) is in the Fisherman's Village that is located about 10 minutes South of LAX, for you travelers.
Modern new houses mushrooming near the ancient village of Kokana (in the background)Lalitpur, Nepal.
For centuries, the former royal abbey of Saint-Denis illuminated the artistic, political and spiritual history of the Frankish world.
The abbey-church was designated a "basilica" in Merovingian times. In the 12th century the abbot of Saint-Denis, Suger, still qualified it in his works as a "basilica". This qualifier was applied from the 4th century to churches whose floor plans were the same as those of Roman civic buildings with three naves, used for trade and the administration of justice. They were often erected outside towns and over the tomb of a saint. They were the site of a major pilgrimage and often the cause for the development of a neighbourhood or borough, like the town of Saint-Denis, which developed around the abbey and its economic potential.
Basilica is also an honorary title given to all kinds of churches, of all eras, that were the seat of a major pilgrimage. Only a cathedral is of superior rank. In 1966, the basilica was elevated to cathedral status, a name derived from "cathedra", meaning the seat of the bishop, the head of the diocese located there. A copy of the throne of Dagobert, the original of which is in the Cabinet des Médailles of the Bibliothèque Nationale, is currently used by the bishop as an episcopal see.
The first building rises from the tomb of Saint Denis, a missionary bishop who died under the yoke of Roman rule in the second part of the 3rd century. The body of the saint attracted many princely burials around him from the late 4th century. Besides a partly Carolingian crypt, the remains of the building consecrated in the presence of Charlemagne in 775, the basilica preserves the testimony of buildings that were decisive for the evolution of religious architecture: the façade (1135-1140) and the apse (1140 -1144), the work of abbot Suger, which constitute a hymn to light, a manifesto of new early Gothic art; other parts of the present church built in the time of Saint Louis from 1230 to 1280 are a testimony of the heyday of Gothic art, known as "Rayonnant", such as the exceptionally vast transept accommodating the royal tombs.
A place of remembrance from the early Middle Ages, the Dionysian monastery was able to link its fate to that of the monarchy, gradually asserting itself as the privileged tomb of the royal dynasties, taking advantage of the cult of Saint Denis. Forty-two kings, thirty-two queens, sixty-three princes and princesses and ten men of the kingdom rest in peace there. With over seventy recumbent effigies and monumental tombs, the royal necropolis of the basilica is today the most significant group of funerary sculptures from the 12th to the 16th century in Europe.
But the basilica of Saint-Denis was not the "graveyard of the kings" from the beginning of the Frankish kingdom as qualified by a chronicler of the 13th century. Until the 10th century, the abbey was in fierce competition with many other cemeteries, especially with Saint-Germain-des-Prés. At the accession of the Capetians in 987, its role as a royal necropolis gradually became confirmed and most sovereigns were buried there until the 19th century; although, for political, religious or personal reasons, some kings, like Philip I in 1108, Louis VII in 1180, Louis XI in 1483, Charles X in 1836 and Louis-Philippe in 1850, would be buried in other places. Louis XVIII, who died in 1824, was the last king to be buried in the basilica.
Throughout history the Frankish kings were always in search of legitimacy, which partly explains their will to be buried with the relics of Saint Denis, Rusticus and Eleutherius (all three having been martyred together). By way of their powers, the kings thought they had acquired power and protection during their life, particularly for their battles, and for going directly to Paradise.
The rallying cry of the knights on the battlefield in the 12th and 13th centuries, "Montjoie Saint Denis!", inscribed on the scarlet banner, interspersed with the golden flames of the famous oriflamme of Saint-Denis, became the motto of the kingdom of France, which was thus placed under the protection of the titular saint of the kingdom, Saint Denis. This standard is a beautiful image of the personal union between the abbey, the patron saint and the king. This ensign was always raised in time of war by the rulers who came to collect it from the hands of the abbot on the altar of the holy martyrs. It is one of the major objects of the mediaeval epic around which a first national sentiment formed. A 1913 copy, little conform to the original, remains in the basilica.
The Hundred Years' War, the Wars of Religion and political unrest contributed to the decline of the royal abbey of Saint-Denis long before the Revolution precipitated matters. In 1793, revolutionaries attacked the symbols of the monarchy, but the basilica escaped total destruction. In 1806, Napoleon Bonaparte ordered the restoration of the building. Then Louis XVIII restored the role of necropolis to the abbey. The restoration work continued throughout the 19th century and was conducted, in particular, by architects François Debret and Eugène Viollet-le-Duc from 1846.
2 - A royal monument
Burials before the 13th century
The rich and influential Parisian noblewoman, Saint Geneviève, showed special devotion to Saint Denis. She undoubtedly had the tomb of Saint Denis expanded or had a building built around it in 475. The development of a vast necropolis, which extended well beyond the church, in the 6th and 7th centuries, led to expanding the church.
Many high-ranking figures, mostly women, were then buried "ad sanctos" as close to the saint as possible. The discovery in 1959 of the sarcophagus of Queen Arnegunde, daughter-in-law of Clovis, who died around 580, shows the power of attraction of the sanctuary in this early period. The jewellery associated with her burial is kept in the Musée d'archéologie nationale du Domaine de Saint-Germain-en-Laye.
Fifty years later, in 639, King Dagobert was the first Frankish king to be buried in the basilica of Saint-Denis. Some Merovingians and Carolingians were buried there, such as Charles Martel, Pepin the Short and Emperor Charles the Bald.
Dagobert distinguished himself by making generous donations to the abbey and legend has it that he created the Saint-Denis fair that was held each October and was a great source of wealth for the monastery.
Charles Martel died in 741. Even though he was only the Mayor of the Palace he was given a prestigious burial, opposite the great King Dagobert. He thus enabled his family, the Pippinids, future Carolingians, to rise to the ranks of the greatest noblemen. His recumbent effigy, created in the 13th century, shows him crowned as the Capetians considered him as the ancestor of the great Carolingian dynasty.
Pepin the Short, the son of Charles Martel, was anointed by Pope Stephen II at Saint-Denis in July 754, thus sealing the alliance between the Frankish kings and the papacy. He was the first Frankish sovereign to be crowned as the image of God on earth in the image of king David. On this occasion he had the church rebuilt along the lines of the Roman buildings known as basilicas. Featuring a wooden ceiling, dozens of marble columns and decorated with thousands of oil lamps, for the first time it was combined with a crypt that housed the relics of Saint Denis until the 12th century. A few remains of this Roman-style martyrium, decorated with paintwork imitating marble, can still be seen.
Recumbent effigies said to be commissioned by Saint Louis
Louis IX (Saint Louis), who was canonised in 1297, was called a "superman" by the pope. A man of great faith, this king was particularly attached to Saint-Denis. He continuously strengthened the basilica’s role as a royal necropolis. The series of 16 recumbent effigies, said to be commissioned by Saint Louis in around 1265, is the largest funerary sculpture series of the European Middle Ages. Today 14 of the original sculptures remain. They are placed in both arms of the transept, virtually in their old locations evidenced by 18th-century engravings.
The mediaeval effigies, said to be commissioned by Saint Louis, are designed on the model of the statue-columns that decorate church portals. In the 13th century, they were among the first funerary sculptures made for the abbey of Saint-Denis. Previously, only the engraved stone slabs arranged on the floor near the altar marked the location of the royal tombs. The reorganisation of the necropolis, launched by the Capetian rulers, led to the discovery and transfer of the remains of the 16 sovereigns, buried between the 7th and 12th centuries. Their bones were then placed in boxes above which 16 recumbent figures with idealised faces were installed, a majestic expression of the royal function. The mode of representation of these sculptures is relatively uniform. The sovereigns wear a crown and carry a sceptre. These recumbent effigies, which were originally painted in bright colours, are dressed in the fashion of the 13th century. They are not represented dead; they have their eyes open to the eternal light. They assert belief in the Resurrection. They are turned towards the east, towards the sunrise, the image of Christ whose return they await.
But the layout desired by the Capetian rulers was also political. Through this grandiose setting, Louis IX developed the myth of monarchical continuity between the Merovingians, Carolingians and Capetians and aimed to link his family to Charlemagne, the most impressive figure in mediaeval monarchical ideology.
The inscriptions on the new tombs identify the kings and queens and clarify the genealogies. In the Middle Ages, in the centre of the transept, the gilded silver tombs of Louis VIII and Philip Augustus, the grandfather of Saint Louis, victor of the Battle of Bouvines in 1214, had the places of honour. The central tomb of the series is that of Louis VIII, the father of Louis IX. Indeed, according to the Dominican Vincent of Beauvais, an intimate of Saint Louis, the mixed blood of the Carolingians and Capetians flowed in the veins of Louis VIII as his mother, Isabella of Hainaut, was of Carolingian ancestry. It thus symbolises, in the Capetian family, "the return to the throne of the race of Charlemagne". Indeed, in the 11th century, Saint Valery had prophesied that the Capetian kingdom could only be maintained up to the seventh king, which was precisely Philip Augustus, father of Louis VIII.
This series was completed in around 1280 by erecting a magnificent tomb of goldsmithery in honour of Saint Louis, "the most beautiful tomb in the world" according to his chronicler Guillaume de Nangis. It was destroyed, as well as the other goldsmithery tombs, during the Hundred Years' War.
Thus the accomplishment of this sculpted series ensured the title of royal necropolis to Saint Denis, to which its abbots had long aspired, and offered the Capetian dynasty a legitimacy and prestige that it had hitherto been lacking.
Using my trusty Mac Performa 200 to check development times on Fuji Acros. I tend to get the Christmas Eve jitters on nights I know I'll get to develop. It's a pretty nice present to check your work and see what you've got. I develop four 120 rolls at a time so sometimes I wait a week or two just to have four rolls I can throw in two tanks.
So I have been working on this for a week. I have now figure out how to add the rig, make the animation, add the mesh modifier upload the mesh, and script it to work. There is a crazy limitation on distance, and I developed a hack to get more distance on the animations. I'm sure I know someone thinking, "how is he getting the distance so far"
My workspace right now. Pretty much my ideal combination of glass-and-steel cleanliness, device integration and wireless freedom.
1 April 2015 -Grace Perez- Navarro, Deputy Director, OECD Centre for Tax Policy and Administration, during
2015 Global Forum on Development, Post-2015 Financing for Sustainable Development
Opening session
OECD Headquarters, Paris, France
Photo: OECD/ Andrew Wheeler
USAID hosted a Signature Event —Shared Progress: Modernizing Development Finance on September 22, 2016 in New York City, NY. Running concurrently to the United Nations General Asembly, the event highlighted the challenges and opportunities for financing current and future development goals.
During the event, UAID Administrator Gayle Smith and Managing Director of the International Monetary Fund (IMF), Christine Lagarde, discussed how to foster an enabling environment for private investment and increasing domestic resource mobilization. A panel of speakers also offered recommendations on how to make better use of the three streams of finance in order to improve development outcomes.
Photo by Ellie Van Houtte/USAID
ADL Enviro500 13.8m
2016
2016 (Very early version):
ADL F516/1
Original Size:
www.flickr.com/photos/kcr58drawings/50281493853/sizes/o/
Complete:
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Last Update:
2022-11-06
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KCR 58 (Drawings)
+++ 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 P-51H (NA-126) was the final production Mustang, embodying the experience gained in the development of the lightweight XP-51F and XP-51G aircraft. This aircraft, brought the development of the Mustang to a peak as one of the fastest production piston-engine fighters to see service in WWII.
In July of 1943, U.S. Army approved a contract with North American Aviation to design and build a lightweight P-51. Designated NA-105, 5 aircraft were to be built and tested. Edgar Schmued, chief of design at NAA, began this design early in 1943. He, in February of 1943, left the U.S. on a two-month trip to England. He was to visit the Supermarine factory and the Rolls Royce factory to work on his lightweight project.
Rolls Royce had designed a new version of the Merlin, the RM.14.SM, which was proposed to increase the manifold pressure to 120 (from 67 max) and thus improve military emergency horsepower to 2,200. Schmued was very eager to use this powerplant, since the new Merlin was not heavier than the earlier models. In order to exploit the new engine to the maximum, he visited the engineers at Rolls Royce in Great Britain. However, British fighters were by tendency lighter than their U.S. counterparts and Schmued also asked for detailed weight statements from Supermarine concerning the Spitfire. Supermarine did not have such data, so they started weighing all the parts they could get a hold of and made a report. It revealed that the British had design standards that were not as strict in some areas as the U.S, and American landing gear, angle of attack and side engine design loads were by tendency higher. When Schmued returned, he began a new design of the P-51 Mustang that used British design loads, shaving off weight on any part that could yield. The result was an empty weight reduction by 600 pounds, what would directly translate into more performance.
This design effort led to a number of lightweight Mustang prototypes, designated XP-51F, XP-51G and XP-51J. After their testing, the production version, NA-126 a.k.a. P-51H, was closest to the XP-51F. The project began in April 1944 and an initial contract for 1,000 P-51Hs was approved on June 30, 1944, which was soon expanded.
The P-51H used the V-1650-9 engine, a modified version of the new Merlin RM.14.SM that included Simmons automatic supercharger boost control with water injection, allowing War Emergency Power as high as 2,218 hp (1,500 kW) and a continuous output of up to 1,490 hp (1.070 kW).
Even though the P-51H looked superficially like a slightly modified P-51D, it was effectively a completely new design. External differences to the P-51D included lengthening and deepening the fuselage and increasing the height of the tailfin, which reduced, together with a lower fuel load in the fuselage tank, the tendency to yaw. The landing gear was simplified and lightened. The canopy resembled the P-51D bubble top style, over a raised pilot's position. The armament was retained but service access to the guns and ammunition was improved, including the introduction of ammunition cassettes that made reloading easier and quicker. With the new airframe several hundred pounds lighter, extra power, and a more streamlined radiator, the P-51H was faster than the P-51D, able to reach 472 mph (760 km/h; 410 kn) at 21,200 ft (6,500 m), making it one of the fastest piston engine aircraft in WWII.
The high-performance P-51H was designed to complement the P-47N as the primary aircraft for the invasion of Japan, with 2,000 ordered to be manufactured at NAA’s Inglewood plant. Variants of the P-51H with different versions of the Merlin engine were produced in limited numbers, too, in order to ramp up production and deliveries to frontline units. These included the P-51L, which was similar to the P-51H but utilized the V-1650-11 engine with a modified fuel system, rated at maximum 2,270 hp (1,690 kW), and the P-51M, or NA-124. The P-51M, of which a total of 1629 was ordered, was built in Dallas and utilized the V-1650-9A engine. This variant was optimized for operations at low and medium altitude and lacked water injection, producing less maximum power at height. However, it featured attachment points for up to ten unguided HVAR missiles under the outer wings as well as improved armor protection for the pilot against low-caliber weapons esp. from ground troops, which ate up some of the light structure’s weight benefit.
Most P-51H and L were issued to USAF units, while the P-51M and some Hs were delivered to allied forces in the Pacific TO, namely Australia and New Zealand. Only a few aircraft arrived in time to become operational until the end of hostilities, and even less became actually involved in military actions during the final weeks of fighting in the Pacific.
The RAAF received only a handful P-51Hs, since Commonwealth Aircraft Corporation (CAC) had recently started license production of the P-51D (as CA-18) and the RAAF rather focused on this type. However, there were plans in early 1945 to build the P-51H locally as the CA-21, too, but this never came to fruition.
New Zealand ordered a total of 370 P-51 Mustangs of different variants to supplement its Vought F4U Corsairs in the PTO, which were primarily used as fighter-bombers. Scheduled deliveries were for an initial batch of 30 P-51Ds, followed by 137 more P-51Ds and 203 P-51Ms. The first RNZAF P-51Ms arrived in April 1945 and were allocated to 3 Squadron as well as to the Flight Leaders School in Ardmore (near Auckland in Northern New Zealand) for conversion training. The machines arrived as knocked-down kits via ship in natural metal finish, but the operational machines were, despite undisputed Allied air superiority, immediately camouflaged in field workshops to protect the airframes from the harsh and salty environment, esp. on the New Guinean islands. The RNZAF Mustangs also received quick identification markings in the form of white tail surfaces and white bands on the wings and in front of and behind the cockpit, in order to avoid any confusion with the Japanese Ki-61 “Hien” (Tony) and Ki-84 (Frank) fighters which had a similar silhouette and frequently operated in a natural metal finish.
During the final weeks of the conflict, the RNZAF only scored three air victories: two Japanese reconnaissance flying boats were downed and a single Ki-84 fighter was shot down in a dogfight over Bougainville. Most combat situations of 3 Squadron were either fighter escorts for F4U fighter bombers or close air support and attacks against Japanese strongholds or supply ships.
After the war, many USAF P-51Hs were immediately retired or handed over to reserve units. The surviving P-51Js were, due to their smaller production numbers, were mostly donated to foreign air forces in the course of the Fifties, in order to standardize the US stock. Despite its good performance, the P-51H/J/M did not take part in the Korean War. Instead, the (by the time re-designated) F-51D was selected, as it was available in much greater numbers and had a better spares supply situation. It was considered as a proven commodity and perceived to be stouter against ground fire – a misconception, because the vulnerable ventral liquid cooling system caused heavy losses from ground fire. The alternative P-47 would have been a more effective choice. The last American F-51H Mustangs were retired from ANG units in 1957, but some of its kin in foreign service soldiered on deep into the Sixties. The F-51D even lasted into the Eigthies in military service!
After the end of hostilities in the PTO, the RNZAF’s forty-two operational P-51Ms met different fates: The twenty-six survivors, which had reached frontline service in New Guinea, were directly scrapped on site, because their transfer back to New Zealand was not considered worthwhile. Those used for training in New Zealand were stored, together with the delivered P-51Ds, or, together with yet unbuilt kits, sent back to the United States.
In 1951, when New Zealand’s Territorial Air Force (TAF) was established, only the stored P-51D Mustangs were revived and entered service in the newly established 1 (Auckland), 2 (Wellington), 3 (Canterbury), and 4 (Otago) squadrons. Due to the small number, lack of spares and communality with the P-51D, the remaining mothballed RNZAF F-51Ms were eventually scrapped, too.
General characteristics:
Crew: 1
Length: 33’ 4” (10.173 m)
Wingspan: 37‘ (11.28 m)
Height: 13‘ 8” (4.17 m) with tail wheel on ground, vertical propeller blade
Wing area: 235 sq ft (21.83 m²)
Airfoil: NAA/NACA 45-100 / NAA/NACA 45-100
Empty weight: 7.180 lb (3,260 kg)
Gross weight: 9,650 lb (4,381 kg)
Max takeoff weight: 11,800 lb (5,357 kg)
Fuel capacity: 255 US gal (212 imp gal; 964 l)
Aspect ratio: 5.83
Powerplant:
1× Packard (Rolls Royce) V-1650-9A Merlin 12-cylinder liquid cooled engine, delivering 1,380 hp
(1,030 kW) at sea level, driving a 4-blade constant-speed Aeroproducts 11' 1" Unimatic propeller
Performance:
Maximum speed: 465 mph (750 km/h; 407 kn) at 18,000 ft (5,500 m)
Cruise speed: 362 mph (583 km/h, 315 kn)
Stall speed: 100 mph (160 km/h, 87 kn)
Range: 855 mi (1,375 km, 747 nm) with internal fuel
1,200 mi (1,930 km, 1,050 nmi) with external tanks
Service ceiling: 30,100 ft (9,200 m)
Rate of climb: 3,200 ft/min (16.3 m/s) at sea level
Wing loading: 30.5 lb/sq ft (149 kg/m²)
Power/mass: 0.19 hp/lb (315 W/kg)
Lift-to-drag ratio: 14.6
Recommended Mach limit 0.8
Armament:
6× 0.50 caliber (12.7mm) AN/M2 Browning machine guns with a total of 1,880 rounds
2× underwing hardpoints for drop tanks or bombs of 500 pounds (227 kg) caliber each,
or 6 or 10 5” (127 mm) T64 HVAR rockets
The kit and its assembly:
A relatively simple project, a whiffy color variant based on RS Model’s 1:72 P-51H kit – which I quickly turned into a P-51M, which was planned as mentioned in the background, but never produced in real life.
The model was strictly built OOB, and while this short-run kit goes together quite well, I encountered some problems along the way:
- There are massive and long ejector pin markers, sometimes in very confined locations like the radiator intake. Without a mini drill, getting rid of them is very difficult
- Somehow the instructions for the cockpit are not correct; I put the parts into place as indicated, and the pilot’s seat ended up way too far forward in the fuselage
- The canopy, while clear, is pretty thick and just a single piece, so that you have to cut the windscreen off by yourself if you want to show the otherwise very nice cockpit.
- The separated windscreen section itself includes a piece of the cowling in front of the window panes, which makes its integration into the fuselage a tricky affair. However, this IMHO not-so-perfect construction became a minor blessing because the separated windscreen turned out to be a little too narrow for the fuselage – it had to be glued forcibly to the fuselage (read: with superglue), and the section in front of the window panes offered enough hidden area to safely apply the glue on the clear piece.
- While there are some resin parts included like weighted wheels, it is beyond me why tiny bits like the underwing pitot or most delicate landing gear parts have been executed in resin, as flat parts of a resin block that makes it IMHO impossible to cut them out from.
- The tail wheel is a messy three-piece construction of resin and IP parts, with a flimsy strut that’s prone to break already upon cutting the part from the IP sprue. Furthermore, there’s no proper location inside of the fuselage to mount it. Guess and glue!
- The fit of the stabilizers is doubtful; it’s probably best to get rid of their locator pins and glue them directly onto the fuselage
- The propeller consists of a centerpiece with the blades, which is enclosed by two spinner halves (front and back). This results in a visible seam between them that is not easy to fill/PSR away
On the positive side I must say that the engraved surface details, the cockpit interior and the landing gear are very nice, and there is even the complete interior of the radiator and its tunnel included. PSR requirements are also few, even though you won’t get along well without cosmetic bodywork.
The only personal modification is a styrene tube inside of the nose for the propeller, which was mounted onto a metal axis for free rotation; OOB, the propeller is not moveable at all and is to be glued directly to the fuselage.
While the kit comes with optional ordnance (six HVARs or a pair of 500 lb bombs, both in resin), I just used the bomb pylons and left them empty, for a clean look.
Painting and markings:
Even though the model was a quick build, finding a suitable color concept took a while; I had a whiffy P-51H on my agenda for a long time (since the RS Models kit came out), and my initial plan was to create an Australian aircraft. This gradually changed to an RNZAF aircraft during the last weeks of WWII in the PTO, and evolved from an NMF finish (initial and IMHO most logical idea) through am Aussie-esque green/brown camouflage to a scheme I found for a P-40: a trainer that was based in New Zealand and (re)painted in domestic colors, namely in Foliage Green, Blue Sea Grey and Sky. This might sound like a standard RAF aircraft, but in the end the colors and markings make this Mustang look pretty exotic, just as the P-51H looks like a Mustang that is “not quite right”.
The Foliage Green is Humbrol 195 (Dark Green Satin, actually RAL 6020 Chrome Oxide Green), which offers IMHO a good compromise between the tone’s rather bluish hue and yellow shades – I find it to be a better match than the frequently recommended FS 34092, because RAL 6020 is darker. The RNZAF “Blue Sea Grey”, also known as “Pacific Blue” or “Ocean Blue”, is a more obscure tone, which apparently differed a lot from batch to batch and weathered dramatically from a bluish tone (close to FS 35109 when fresh) to a medium grey. I settled for Humbrol 144 (FS 35164; USN Intermediate Blue), which is rumored to come close to the color in worn state.
The undersides were painted with Humbrol 23 (RAF Duck Egg Blue), which I found to be a suitable alternative to the more greenish RAF Sky, even though it’s a pretty light interpretation.
Tail and spinner were painted white, actually a mix of Humbrol 22 (Gloss White) and 196 (Light Grey, RAL 7035) so that there would be some contrast room left for post-shading with pure white.
The interior of cockpit and landing gear wells was painted with zinc chromate primer yellow (Humbrol 81), while the landing gear struts became Humbrol 56 (Aluminum Dope). The radiator ducts received an interior in aluminum (Revell 99).
In order to simulate wear and tear as well as the makeshift character of the camouflage I painted the wings’ leading edges and some other neuralgic areas in aluminum (Revell 99, too) first, before the basic camouflage tones were added in a somewhat uneven fashion, with the metallized areas showing through.
Once dry, the model received an overall washing with thinned black ink and a through dry-brushing treatment with lighter shades of the basic tones (including Humbrol 30, 122 and 145) for post-panel-shading and weathering, esp. on the upper surfaces.
The decals are a mix from a Rising Decals sheet for various RNZAF aircraft (which turned out to be nicely printed, but rather thin so that they lacked opacity and rigidity), and for the tactical markings I stuck to the RNZAF practice of applying just a simple number or letter code to frontline aircraft instead of full RAF-style letter codes. The latter were used only on aircraft based on home soil, since the RNZAF’s frontline units had a different organization with an aircraft pool allocated to the squadrons. Through maintenance these circulated and were AFAIK not rigidly attached to specific units, hence there was no typical two-letter squadron code applied to them, just single ID letters or numbers, and these were typically painted on the aircraft nose and/or the fin, not on the fuselage next to the roundel. The nose art under the cockpit is a mix of markings from P-40s and F4Us.
The white ID bands on fuselage and wings are simple white decal strips from TL-Modellbau. While this, together with the all-white tail, might be overdone and outdated towards mid-1945, I gave the Kiwi-Mustang some extra markings for a more exciting look – and the aircraft’s profile actually reminds a lot of the Ki-61, so that they definitely make sense.
Towards the finish line, some additional dry-brushing with grey and silver was done, soot stains were added with graphite to the exhaust areas and the machine gun ports, and the model was finally sealed with matt acrylic varnish.
After the recent, massive YA-14 kitbashing project, this Mustang was – despite some challenges of the RS Models kit itself – a simple and quick “relief” project, realized in just a couple of days. Despite being built OOB, the result looks quite exotic, both through the paint scheme with RNZAF colors, but also through the unusual roundels and the striking ID markings (for a Mustang). I was skeptical at first, but the aircraft looks good and the camouflage in RNZAF colors even proved to be effective when set into the right landscape context (beauty pics).
the statue of the kid who found the severed hand... thanks to sean for taking this picture. this is the first time he's ever let maple watch tv. mama, on the other hand, puts arrested development on for her every night. maple brings me the box of dvds and says "WATCH?"
Development taints the once majestic panorama of the city as viewed from the deck of Sentosa Island.
sometimes at the end of a roll of film I will take a few cat pics :) this roll was interesting. I went to do a stand development and forgot about it and went to bed. what was meant to be a 2 hr development turned into a 10 + hour. Most of the pics survived, some had some weird artifacts
An unofficial poster I made for the "Arrested Development Documentary Project". If you haven't seen this amazingly brilliant show already, go watch it now.
For more information on the documentary, go here:
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