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Wallpaper: i.imgur.com/ztJCpBi.jpg
Clock/Date: Elegance - www.deviantart.com/download/244373054/rainmeter___eleganc...
Sidebars/Taskbar Items: Enigma - github.com/downloads/Kaelri/Enigma/Enigma4Patch1.rmskin
List: Mediterranean Defense - www.mediafire.com/download/jpmgml84diyg1jf/Animus-BlackRo...
Do I Need A Jacket?: DINAJ - www.deviantart.com/download/264544648/do_i_need_a_jacket_...
Hide Taskbar: MagicTaskbar - rocketdock.com/addon/misc/3425
Game Launcher: Launcher - dl.dropboxusercontent.com/u/11502656/Rainmeter/gamelaunch...
When it comes to the Game Launcher, you'll need to edit to suit your games/images.
Here's some code from the skin for example - i.imgur.com/rxQ9r0p.jpg
Front View - Wings Closed
Predator mode: OFF
...so I though instead of thinking of it as wings, let treat it as something functional. ...maybe some shields!
I love to hide SW references in my MOCs. This of course is a tiny reference to Vader's advanced Tie Fighter.
There one thing extremely important on running camp, and that is functional underware. We came home now, I'm so tired. After two days of running, workout, stretching and nordic walking, I'm exhausted, but happy :) I know I promised to catch up with you today, but I'm too tired. Tomorrow, really!!
L is for Lady Launching no time for Laziness
Marilyn Monroe (born Norma Jeane Mortenson; June 1, 1926 – August 4, 1962) was an American actress, model and singer. Known for playing comic "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s, as well as an emblem of the era's sexual revolution. She was a top-billed actress for a decade, and her films grossed $200 million (equivalent to $2 billion in 2022) by the time of her death in 1962. Long after her death, Monroe remains a pop culture icon. In 1999, the American Film Institute ranked her as the sixth-greatest female screen legend from the Golden Age of Hollywood.
Born and raised in Los Angeles, Monroe spent most of her childhood in a total of 12 foster homes and an orphanage[5] before marrying James Dougherty at age sixteen. She was working in a factory during World War II when she met a photographer from the First Motion Picture Unit and began a successful pin-up modeling career, which led to short-lived film contracts with 20th Century Fox and Columbia Pictures. After a series of minor film roles, she signed a new contract with Fox in late 1950. Over the next two years, she became a popular actress with roles in several comedies, including As Young as You Feel and Monkey Business, and in the dramas Clash by Night and Don't Bother to Knock. Monroe faced a scandal when it was revealed that she had posed for nude photographs prior to becoming a star, but the story did not damage her career and instead resulted in increased interest in her films.
By 1953, Monroe was one of the most marketable Hollywood stars. She had leading roles in the film noir Niagara, which overtly relied on her sex appeal, and the comedies Gentlemen Prefer Blondes and How to Marry a Millionaire, which established her star image as a "dumb blonde". The same year, her nude images were used as the centerfold and cover of the first issue of Playboy magazine. Monroe played a significant role in the creation and management of her public image throughout her career, but felt disappointed when typecast and underpaid by the studio. She was briefly suspended in early 1954 for refusing a film project but returned to star in The Seven Year Itch (1955), one of the biggest box office successes of her career.
When the studio was still reluctant to change Monroe's contract, she founded her own film production company in 1954. She dedicated 1955 to building the company and began studying method acting under Lee Strasberg at the Actors Studio. Later that year, Fox awarded her a new contract, which gave her more control and a larger salary. Her subsequent roles included a critically acclaimed performance in Bus Stop (1956) and her first independent production in The Prince and the Showgirl (1957). She won a Golden Globe for Best Actress for her role in Some Like It Hot (1959), a critical and commercial success. Her last completed film was the drama The Misfits (1961).
Monroe's troubled private life received much attention as she struggled with addiction and mood disorders. Her marriages to retired baseball star Joe DiMaggio and to playwright Arthur Miller were highly publicized; both ended in divorce. On August 4, 1962, she died at age 36 from an overdose of barbiturates at her Los Angeles home. Her death was ruled a probable suicide.
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
The Park-Monument of the Bulgarian-Soviet Friendship was built between 1974 and 1978 on a hill in Varna overlooking the Black Sea. The trees in the park that surrounds the monument were planted to celebrate the bravery of Soviet soldiers. It was designed by architect Kamen Goranov and sculptors Evgeni Barǎmov and Alyosha Kafedzhiyski.
Like other monuments in Bulgaria that loudly and proudly celebrate communism it has been left to fall into rack and ruin, but because it celebrates friendship with Russia, a country with which Bulgaria still has close historical ties, even if the Bulgarian authorities really wanted to demolish it completely, they couldn't without upsetting the Russians.
This is one of Bulgaria's monuments that is much more than that word might lead you to believe. It was a fully functional building that housed an information point, a Soviet propaganda centre and bookshop. And in the hill beneath is an abandoned nuclear bunker.
Although the old main entrance has been bricked over by the authorities, someone had already knocked a hole through said bricks, and a saw the the metal grill that had been placed over said hole!
Inside there are some amazing spaces, and the view from the roof terrace is quite spectacular.
Esglesia Sant Marti, Nagol, Sant Julia parroquia, Gran Valira, Andorra - (c) Lutz Meyer
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those are peices of ceiling flying everywhere, the bar was closed down and everyone was cleared out shortly afterwards.
here's why as told by the FB's drummer Brian Costello
Mutiny shmutiny.
After already having 4 bands on the bill last night, they added a (no joke) SHITTY euro-trash band taking part in some horsecrap "reality" show on MTV Europe where 2 bands travel across America without (in the words of one of the Eurotrash bandmembers telling me) "any money except what they give us at first...no cel phones [oh! the agony!]...and no gas...and no women (ha ha)..."
In the middle of all this, we had our friends KK Ramage play a 10 minute set on equipment already set up. This made Ed nervous (will the Eurotrash band get to play? will the Mutiny be shown on MTV Europe?). Technically (technically) this made 6 bands, but not really.
As we were about to play, Ed gave us an ultimatum: either the Eurotrash band plays right now, or the show is over.
This is after years of supporting this dumpy ass bar, both as a patron and as a member of the Functional Blackouts, and never getting paid cash money while the bar makes a KILLING.
I always knew Ed was more of a "business man" about the whole thing, but even that was idiotic, when 40 people walk out in the middle of the Eurotrash band's set because they sound like 8 kajillion other commercial bands and go home instead of spending their money and being entertained by what they paid no admission to see.
This move clearly shows the Mutiny doesn't give a damn when all's said and done about local music, and they can't distinguish between decent local bands and lame commercial shit from Holland.
I'm sober by the way, and slept on this before posting this, and I'm still amazed at how ridiculous it is, and, in the big picture, how totally corny and uptight 99% of Chicago's "music venues" are in the face of so much diverse and exciting music happening right now. Why is the Empty Bottle the only club consistently supporting EVERYTHING happening in this city?
So...I have no intention of going to the Mutiny ever again, and I would ask all bands to find other places to play. I know it's tough, believe me, but find a place that pays you in more than beer. I used to be one of the Mutiny's biggest supporters, but not anymore.
A fully functional Launch Abort System (LAS) with a test version of Orion attached, launches on NASA’s Ascent Abort-2 (AA-2) atop a Northrop Grumman provided booster on July 2, 2019, at 7 a.m. EDT, from Launch Pad 46 at Cape Canaveral Air Force Station in Florida. During AA-2, the booster will send the LAS and Orion to an altitude of 31,000 feet, traveling at Mach 1.15 (more than 1,000 mph). The LAS’ three motors will work together to pull the crew module away from the booster and prepare it for splashdown in the Atlantic Ocean. The flight test will prove that the abort system can pull crew to safety in the unlikely event of an emergency during ascent. Photo credit: NASA/Tony Gray and Kevin O’Connell
This is from mid summer (I finished the car 2 days before I left for college). It gives you an idea of what can be done in 1.5 months when you're really committed to something.
Some background:
The VF-1 was developed by Stonewell/Bellcom/Shinnakasu for the U.N. Spacy by using alien Overtechnology obtained from the SDF-1 Macross alien spaceship. Its production was preceded by an aerodynamic proving version of its airframe, the VF-X. Unlike all later VF vehicles, the VF-X was strictly a jet aircraft, built to demonstrate that a jet fighter with the features necessary to convert to Battroid mode was aerodynamically feasible. After the VF-X's testing was finished, an advanced concept atmospheric-only prototype, the VF-0 Phoenix, was flight-tested from 2005 to 2007 and briefly served as an active-duty fighter from 2007 to the VF-1's rollout in late 2008, while the bugs were being worked out of the fully functional VF-1 prototype (the VF-X-1).
Introduced in 2008, the VF-1 would be produced en masse within a short period of time, a total of 5,459 airframes were delivered until 2013. The space-capable VF-1's combat debut was on February 7, 2009, during the Battle of South Ataria Island - the first battle of Space War I - and remained the mainstay fighter of the U.N. Spacy for the entire conflict. From the start the VF-1 proved to be an extremely capable and versatile craft, successfully combating a variety of Zentraedi mecha even in most sorties which saw UN Spacy forces significantly outnumbered. The versatility of the Valkyrie design enabled the variable fighter to act as both large-scale infantry and as air/space superiority fighter. The signature skills of U.N. Spacy ace pilot Maximilian Jenius exemplified the effectiveness of the variable systems as he near-constantly transformed the Valkyrie in battle to seize advantages of each mode as combat conditions changed from moment to moment.
The basic VF-1 was deployed in four sub-variants (designated A, D, J, and S) and its success was increased by continued development of various enhancements and upgrades, including the GBP-1S "Armored" Valkyrie, FAST Pack "Super" Valkyrie and the additional RÖ-X2 heavy cannon pack weapon system for the VF-1S with additional firepower. The FAST Pack system was designed to enhance the VF-1 Valkyrie variable fighter, and the initial V1.0 came in the form of conformal pallets that could be attached to the fighter’s leg flanks for additional fuel – primarily for Long Range Interdiction tasks in atmospheric environment. Later FAST Packs were designed for space operations.
After the end of Space War I, production on Earth was stopped but the VF-1 continued to be manufactured both in the Sol system and throughout the UNG space colonies. Although the VF-1 would be replaced in 2020 as the primary Variable Fighter of the U.N. Spacy by the more capable, but also much bigger, VF-4 Lightning III, a long service record and its persistent production after the war in many space sectors proved the lasting worth of the design.
The versatile aircraft underwent constant upgrade programs. For instance, about a third of all VF-1 Valkyries were upgraded with Infrared Search and Track (IRST) systems, placed in a small, streamlined fairing in front of the cockpit. This system allowed passive long-range search and track modes, freeing the pilot from the need to give away his/her position through active radar emissions. The sensor could also be used for target illumination and precision weapons guidance.
Many Valkyries also received improved radar warning systems, with sensor arrays mounted on the wingtips, the fins and/or on the LERXs. Improved ECR measures and other defensive measure like flare/chaff dispensers were also added to some machines, typically in conformal fairings on the flanks of the legs/engine pods.
In early 2011, VF-1 production on Earth had already reached the 2.500th aircraft, a VF-1J which received a striking white-and-blue commemorative paint scheme upon roll-out, decorated with the logos of all major manufacturers and system suppliers. After a brief PR tour the machine (Bu. No. 2110406/1) was handed over to SVF-1, the famous Skull Squadron, as an attrition replacement for Major Yingluck 'Joker' Maneethapo's aircraft, leader of the unit’s 5th Flight and a Thai pilot ace from the first stages of the Zentraedi attacks in 2009.
With the opportunity to add more personal style to his new mount, Maneethapo's chose the non-standard modex ML 555 for his fighter - a play of words, because the five is pronounced 'ha' in Thai language and '555' a frequent abbreviation for 'laughing'. Bu. No. 2110406/1 retained its bright PR livery, because its primary colors matched well with SVF-1 ‘Lazulite’ flight’s ID color. The aircraft just lost the sponsor logos and instead received full military markings and tactical codes, including the unit’s renowned skull icon and the characteristic “ML” letter code on the foldable fins. The nose art for the 2.500th production VF-1 jubilee was retained, though.
In SVF-1 service, Bu. No. 2110406/1 was soon upgraded with an IRST and retrofitted with FAST Packs and avionics for various zero-G weapons for operations in space, since the unit was supposed to become based on SDF-1 and go into space with the large carrier ship. However, only SVF-1's Flight #1, 2 and 3 were taken on board of the SDF-1 when the ship left Earth, the remaining unit parts remained at the home base on Ataria Island, tasked with homeland defense duties.
In 2012, at the end of the war, SVF-1’s Lazulite’ flight was re-located on board of ARMD-02 (Armaments Rigged-up Moving Deck Space Carrier vessel), which was and rebuilt and attached to the refitted SDF-1 Macross as originally intended. There, Bu. No. 2110406/1 served into the first year of the New Era 0001 in 2013, when it was replaced as a Flight Leader’s mount by a VF-4 and handed over to SVF-42 back on Earth, where it was repainted in standard U.N. Spacy fighter colors (even though it still retained its commemorative nose art) and served until 2017. Bu. No. 2110406/1 was then retired and unceremoniously scrapped, having already exceeded its expected service life.
The VF-1 was without doubt the most recognizable variable fighter of Space War I and was seen as a vibrant symbol of the U.N. Spacy. At the end of 2015 the final rollout of the VF-1 was celebrated at a special ceremony, commemorating this most famous of variable fighters. The VF-1 Valkryie was built from 2006 to 2013 with several major variants (VF-1A = 5,093, VF-1D = 85, VF-1J = 49, VF-1S = 30), sub-variants (VF-1G = 12, VE-1 = 122, VT-1 = 68) and upgrades of existing airframes (like the VF-1P).
Despite its relatively short and intense production run the fighter remained active in many second line units and continued to show its worthiness even years later, e. g. through Milia Jenius who would use her old VF-1 fighter in defense of the colonization fleet - 35 years after the type's service introduction!
General characteristics:
All-environment variable fighter and tactical combat Battroid,
used by U.N. Spacy, U.N. Navy, U.N. Space Air Force and U.N.S. Marine Corps
Accommodation:
Pilot only in Marty & Beck Mk-7 zero/zero ejection seat
Dimensions:
Fighter Mode:
Length 14.23 meters
Wingspan 14.78 meters (at 20° minimum sweep)
Height 3.84 meters
Battroid Mode:
Height 12.68 meters
Width 7.3 meters
Length 4.0 meters
Empty weight: 13.25 metric tons
Standard T-O mass: 18.5 metric tons
MTOW: 37.0 metric tons
Power Plant:
2x Shinnakasu Heavy Industry/P&W/Roice FF-2001 thermonuclear reaction turbine engines, output 650 MW each, rated at 11,500 kg in standard or 225.63 kN in overboost
4x Shinnakasu Heavy Industry NBS-1 high-thrust vernier thrusters (1 x counter reverse vernier thruster nozzle mounted on the side of each leg nacelle/air intake, 1 x wing thruster roll control system on each wingtip)
18x P&W LHP04 low-thrust vernier thrusters beneath multipurpose hook/handles
Performance:
Battroid Mode: maximum walking speed 160 km/h
Fighter Mode: at 10,000 m Mach 2.71; at 30,000+ m Mach 3.87
g limit: in space +7
Thrust-to-weight ratio: empty 3.47; standard T-O 2.49; maximum T-O 1.24
Design Features:
3-mode variable transformation; variable geometry wing; vertical take-off and landing; control-configurable vehicle; single-axis thrust vectoring; three "magic hand" manipulators for maintenance use; retractable canopy shield for Battroid mode and atmospheric reentry; option of GBP-1S system, atmospheric-escape booster, or FAST Pack system
Transformation:
Standard time from Fighter to Battroid (automated): under 5 sec.
Min. time from Fighter to Battroid (manual): 0.9 sec.
Armament:
2x Mauler RÖV-20 anti-aircraft laser cannon, firing 6,000 ppm
1x Howard GU-11 55 mm three-barrel Gatling gun pod with 200 RPG, fired at 1,200 rpm
4x underwing hard points for a wide variety of ordnance, including…
12x AMM-1 hybrid guided multipurpose missiles (3/point), or
12x MK-82 LDGB conventional bombs (3/point), or
6x RMS-1 large anti-ship reaction missiles (2/outboard point, 1/inboard point), or
4x UUM-7 micro-missile pods (1/point) each carrying 15 x Bifors HMM-01 micro-missiles,
or a combination of above load-outs
The kit and its assembly:
Another small and vintage 1:100 VF-1 Fighter. This time it’s a non-canonical aircraft, based on a limited edition decal sheet that was published with the Japanese Model Graphix magazine in April 2001 (check this here for reference: www.starshipmodeler.com/mecha/jl_clrvalk.htm) with Hasegawa’s first release of their 1:72 Valkyrie Fighter kit. The give-away sheet featured several VF-1s, including an anniversary paint scheme for the 2.500th production Valkyrie. This is AFAIK neither ‘official’ nor canonical – but the pretty blue-and-white livery caught my attention, and I had for a long time the plan to re-create this livery on one of my favored 1:100 models. This would not work 100%, though, so I had to improvise – see below.
The kit was built OOB, with the landing gear down and (after taking the flight scenic pictures) with an open canopy, mounted on a small lift arm. Some typical small blade antennae the 1:100 simple kit lacks were added around the hull as a standard measure to improve the look. In the cockpit I added side consoles and a pilot figure for the in-flight shots.
The only non-standard additions are the IRST sensor fairing in front of the cockpit – the model of the anniversary VF-1 in the Model Graphix magazine carries this canonical upgrade, too, it was created from clear sprue material. Another tiny addition were the RHAWS antenna fairings at the top of the fins, scratched from small styrene profile bits.
The Valkyrie’s ordnance is standard and was taken OOB, featuring twelve AMM-1 missiles under the wings plus the standard GU-11 gatling gun pod; the latter was modified to hold a scratched wire display for in-flight pictures at its rear end. The Model Graphix VF-1 is insofar confusing as it seems to carry something that looks like a white ACMI pod on a non-standard pylon, rather attached to the legs than to the wings? That's odd and I could not make up a useful function, so I rejected this detail. The magazine Valkyrie's belly drop tank was - even though canonical, AFAIK - also not taken over to my later in-service status.
Painting and markings:
The more challenging part of the build, in two ways. First, re-creating the original commemorative livery would have called for home-made decals printed in opaque white for the manufacturers’ logos, something I was not able to do at home. So, I had to interpret the livery in a different way and decided to spin the aircraft’s story further: what would become of this VF-1 after its roll-out and PR event? In a war situation it would certainly be delivered quickly to a frontline unit, and since I had some proper markings left over, I decided to attach this colorful bird to the famous Skull Squadron, SVF-1, yet to a less glorious Flight. Since flight leaders and aces in the Macross universe would frequently fly VF-1s in individual non-standard liveries, sometimes even very bright ones, the 2,500th VF-1 could have well retained its catchy paint scheme.
The second part of the challenge: the actual paint job. Again, no suitable decals were at hand, so I had to re-create everything from scratch. The VF-1J kit I used thankfully came molded in white styrene, so that the front half of the aircraft could be easily painted in white, with no darker/colored plastic shining through. I painted the white (Revell 301, a very pure white) with a brush first. For the blue rear half, I settled upon an intense and deep cobalt blue tone (ModelMaster 2012). For the zigzag border between the colors, I used Tamiya masking tape, trimmed with a tailor’s zigzag scissors and applied in a slightly overlapping pattern for an irregular edge.
The landing gear became standard all-white (Revell 301, too), with bright red edges (Humbrol 174) on the covers. Antenna fairings were painted with radome tan (Humbrol 7) as small color highlights.
The cockpit interior became standard medium grey (Revell 47) with a black ejection seat with brown cushions (Humbrol 119 and Revell 84), and brown “black boxes” behind the headrest. The air intakes as well as the interior of the VG wings were painted dark grey (Revell 77). The jet nozzles/feet were internally painted with Humbrol 27003 (Steel Metallizer) and with Revell 91 on the outside, and they were later thoroughly treated with graphite to give them a burnt/worn look.
The GU-11 pod became standard bare metal (Revell 91, Iron metallic), the AMM-1s were painted in light grey (Humbrol 127) with many additional painted details in five additional colors, quite a tedious task when repeated twelve times...
After basic painting was one the model received a careful overall washing with black ink to emphasize the engraved panel lines, and light post-shading was done to the blue areas to emphasize single panels.
The full-color ’kite’ roundels came from an 1:100 VF-1A sheet, the skull emblems were left over from my Kotobukiya 1:72 VF-4 build some years ago, which OOB carries SVF-1 markings, too. The 2.500th aircraft nose art decoration was printed on clear decal film with an ink jet printer at home, even though it’s so small that no details can be discerned on the model. SVF-1’s “ML” tail code was created with single white decal letters (RAF WWII font), the red “555” modex came from an PrintScale A-26 Invader sheet, it's part of a USAF serial number from an all-black Korean War era aircraft.
The wings' leading edges were finished in medium grey, done with decal sheet material. The Model Graphix Valkyrie does not sport this detail, but I think that the VF-1 looks better with them and more realistic. Red warning stripes around the legs - also not seen on the model in the magazine - were made from similar material.
The confetti along the jagged edge between the white and the blue areas was created with decal material, too – every bit was cut out and put into place one for one… To match the cobalt blue tone, the respective enamel paint was applied on clear decal sheet material and cut into small bits. For the white and red confetti, generic decal sheet material was used. All in all, this was another tedious process, but, at the small 1:100 scale, masks or tape would have been much more complex and less successful with the brushes I use for painting. For this home-made approach the result looks quite good!
Finally, after some typical details and position lights had been added with clear paints over a silver base, the small VF-1 was sealed with a coat of semi-matt acrylic varnish, giving it a slightly shiny finish.
A pretty VF-1 – even though I’d call it purely fictional, despite being based on material that was published in a Japanese magazine more than 20 years ago. The simple yet striking livery was a bit tricky to create, but the result, with the additional SVF-1 unit markings, looks good and makes me wonder how this machine would look with FAST pack elements for use in space or as a transformed Battroid?
Tutorial on Instructables: www.instructables.com/id/Functional-LEGO-Nutcrackers/
With a simple pull of the lever, these decorative figures can open and close their jaws like authentic nutcrackers!
Both of these models were built in the recent weeks leading up to Christmas. The design was pretty straightforward, but two major issues were making the faces look good, and finally getting the hats right. In fact, the green nutcracker's crown took the longest to figure out, and was finally made with hinge plates.
As mentioned in the tutorial, although these can in fact function as real nutcrackers, they're somewhat rickety and best suited for holiday decorations.
Vase - thrown by Bruce Gholson
Bulldog Pottery, Seagrove, NC
Bruce Gholson and Samantha Henneke
Every year at the beginning of spring we celebrate the ubitiquous daffodil.
"Daffie Days" is our spring kiln opening, and our way to Celebrate the Vase.
See our website or blog for the upcoming dates for "Daffie Days" and other Bulldog Pottery events ("Cousins in Clay" and December Holiday Kiln Opening)
Knitted with the wool that doesn't felt very good so it's partly felted. It's very coarse and strong. I first hand-dyed the wool and then knitted tha bag. At the end I added the lining and crocheted 2 flowers and added them as embellishment. The closure is a button covered with red felt.
By the early nineteenth century, as ways of consuming the seaside matured and diversified, there was a growing appreciation of the joys and benefits to be gained by not just being beside the sea but venturing out onto the water itself without the disadvantages and dangers associated with boats.
The West Pier was designed and engineered by Eugenius Birch to attract visitors and survive in the hostile environment of the seashore. Built in 1866, it was a simple and functional structure built out from the sea using dozens of cast iron threaded columns screwed into the seabed and strengthened by a lattice of ties and girders that provide the necessary strength to support the promenade deck whilst allowing seas to pass harmlessly underneath.
Originally the West Pier had an open deck with only six small ornamental houses of Oriental design, two toll houses, glass screens at the pier head to protect visitors from the wind and lamps, with columns decorated with entwined serpents, placed around the perimeter and lit by gas. In 1875 a central bandstand was added and in the 1880′s weather screens the full length of the pier, steamer landing stages and a large pier head pavilion were constructed.
The final building, completed in 1916, was a graceful concert hall. The result was seaside architecture at its finest, designed to attract and entertain holiday-makers with all the pomp and frippery that is the essence of the English seaside resort.
The West Pier story closely follows the changing fortunes of the English seaside holiday. It began simply as a promenade pier where visitors could enjoy the thrill of walking on water; it was the place for the Victorian middle classes to socialise and exhibit their wealth, to see and be seen, to take in the sea air and admire the panoramic views of the land. By WW1 it had evolved into a pleasure pier with a great variety of seaside entertainment both indoors and out. Throughout the twenties it was immensely popular with attractions ranging from paddle steamer excursions, daring high divers and bathing from the pier head to military bands, recitals by the pier’s resident orchestra in the Concert Hall and an all-year-round programme of plays, pantomimes and ballets in the Theatre.
During WWII, the Pier was closed and mined for security reasons and sections were dismantled to prevent enemy landings. When the mines were removed and the pier reopened, after the repair of its war wounds, it completed its evolution into a funfair pier. The Theatre was converted into a restaurant on one floor and on the other the ‘Laughter Land’ games pavilion. The Concert Hall became a tea room, and the delights of the dodgems, helter-skelter, ghost train and miniature racing track could be enjoyed by all.
The pier was shut to the public in 1975 as it was deemed unsafe. A huge storm in December 2002 resulted in the dramatic collapse of the south east corner of the Concert Hall; in March 2003 the Pavilion was destroyed in an arson attack, and in May 2003 the Concert Hall was also burnt out deliberately. 2003 was a catastrophic year for the West Pier and by December 2003, a report concluded that despite the significant damage, given the wealth of salvaged material from the pier and the considerable photographic and video archive, repair and reconstruction of the pier was still viable. Unfortunately funding was not available.
The collapsed Concert Hall, being close to the beach, became a public hazard and in 2010 was removed. However, the skeletal ruin of the pier Pavilion has become an iconic feature of Brighton’s seafront. Its unique desolate beauty makes it much discussed, wondered about and photographed. The Pier has been too dangerous to access since the fires of 2003 and cannot be maintained. Over the coming years it will be reclaimed by nature and will inevitably degenerate and decay. The Trust has no intention of removing the remains unless overwhelming safety issues arise.
In 2006, planning permission was granted to the creators of the London eye to build the i360, an observation tower. It will be sited on the root-end of the pier and will open an exciting new chapter for the West Pier. This new landmark, which will be tied in with the original pier, has now commenced construction. At 175 metres high, and with an observation pod rising to 141 metres, the i360 will be Britain's highest observation tower outside London – taller even than the London Eye. The i360 follows in the spirit of the original pier, inviting visitors to "walk on air" and gain a different perspective of the city, just as they "walked on water" in the past and viewed the city from the sea. Chairman of the Brighton West Pier Trust, which owns the site of the former pier “believes that the Brighton i360 – a 'vertical pier' – is entirely in the spirit of the original pier's history and the best option to replicate its success and ethos." The i360 will restore parts of the original pier to their former glory, including the Victorian tollbooths. Parts of the cast iron supporting structure will be reused in the new visitor centre and an exhibition will enable visitors to learn about the pier's history. The cast iron structure off shore, known as the sea island, will stay but the wreckage of the derelict pier on the beach will be removed. A proportion of ticket revenues from the i360 will also go to the West Pier Trust charity, enabling it to continue promoting the pier's unique heritage.
This part of the plan really appeals to me - in the evenings, the Brighton i360 will transform into the Sky Bar – a chic, modern and accessible venue in which to relax and enjoy a glass of champagne, wine or a cocktail while taking in the stunning night-time views. The ride will be extended to 30 minutes to allow people plenty of time to enjoy their drink!!
The changing weather over a 3 day period is reflected in the photos I took of this fascinating and haunting structure – it looks quite eerie in the fog.
"The Romanesque heritage of Vall de Boí is exceptional due to the existence of a large number of churches of the same architectural style concentrated in such a small area. Until well into the last century the valley remained quite isolated, which prevented the arrival of builders, artists, architects or priests willing to make changes to the original works. Thanks to this fact, these churches have been preserved over time with only minor alterations, meaning that their original conception has hardly changed.
Vall de Boí’s Romanesque ensemble is made up of the churches of Sant Climent and Santa Maria in Taüll, Sant Joan in Boí, Santa Eulàlia in Erill la Vall, Sant Feliu in Barruera, La Nativitat in Durro, Santa Maria in Cardet, L’Assumpció in Cóll, and Sant Quirc Hermitage also in Durro.
One of the main characteristics of this ensemble is the common architectural style. The temples were all built during the 11th and 12th centuries, following a model imported from northern Italy, the Lombard Romanesque, characterised by its functional buildings, skilled stonework, thin bell-towers and the external decoration of rounded arcading and pilaster strips.
The Romanesque churches of Vall de Boí are the artistic reflection of a society which was structured around the hierarchies of feudalism and clergy, in this case personified in the Lords of Erill and the bishopric of Roda de Isábena, the promoters of these temples. In this medieval society, not only did the Church serve a religious function, but it also played an important social role as a place for people to meet and seek refuge. In the case of Vall de Boí, this social function of churches was further underlined by the use of the thin bell-towers as a means of communication and protection.
An important highlight are the murals that used to be located in the churches of Sant Climent and Santa Maria in Taüll and in Sant Joan in Boí, and which are currently kept at the National Museum of Catalan Art (MNAC) in Barcelona. Also worthy of mention are the carvings produced by the Erill’s Workshop, particularly the Descent in the church of Santa Eulàlia in Erill la Vall "
I know running shoes are not designed to be pretty, but I thing I just bought to most ugly pair available! Are your shoes even worse? Prove me, I don't believe a thing about it :)
Some background:
The VF-1 was developed by Stonewell/Bellcom/Shinnakasu for the U.N. Spacy by using alien Overtechnology obtained from the SDF-1 Macross alien spaceship. Its production was preceded by an aerodynamic proving version of its airframe, the VF-X. Unlike all later VF vehicles, the VF-X was strictly a jet aircraft, built to demonstrate that a jet fighter with the features necessary to convert to Battroid mode was aerodynamically feasible. After the VF-X's testing was finished, an advanced concept atmospheric-only prototype, the VF-0 Phoenix, was flight-tested from 2005 to 2007 and briefly served as an active-duty fighter from 2007 to the VF-1's rollout in late 2008, while the bugs were being worked out of the fully functional VF-1 prototype (the VF-X-1).
Introduced in 2008, the VF-1 would be produced en masse within a short period of time, a total of 5,459 airframes were delivered until 2013. The space-capable VF-1's combat debut was on February 7, 2009, during the Battle of South Ataria Island - the first battle of Space War I - and remained the mainstay fighter of the U.N. Spacy for the entire conflict. From the start the VF-1 proved to be an extremely capable and versatile craft, successfully combating a variety of Zentraedi mecha even in most sorties which saw UN Spacy forces significantly outnumbered. The versatility of the Valkyrie design enabled the variable fighter to act as both large-scale infantry and as air/space superiority fighter. The signature skills of U.N. Spacy ace pilot Maximilian Jenius exemplified the effectiveness of the variable systems as he near-constantly transformed the Valkyrie in battle to seize advantages of each mode as combat conditions changed from moment to moment.
The basic VF-1 was deployed in four sub-variants (designated A, D, J, and S) and its success was increased by continued development of various enhancements and upgrades, including the GBP-1S "Armored" Valkyrie, FAST Pack "Super" Valkyrie and the additional RÖ-X2 heavy cannon pack weapon system for the VF-1S with additional firepower. The FAST Pack system was designed to enhance the VF-1 Valkyrie variable fighter, and the initial V1.0 came in the form of conformal pallets that could be attached to the fighter’s leg flanks for additional fuel – primarily for Long Range Interdiction tasks in atmospheric environment. Later FAST Packs were designed for space operations.
After the end of Space War I, production on Earth was stopped but the VF-1 continued to be manufactured both in the Sol system and throughout the UNG space colonies. Although the VF-1 would be replaced in 2020 as the primary Variable Fighter of the U.N. Spacy by the more capable, but also much bigger, VF-4 Lightning III, a long service record and its persistent production after the war in many space sectors proved the lasting worth of the design.
The versatile aircraft underwent constant upgrade programs. For instance, about a third of all VF-1 Valkyries were upgraded with Infrared Search and Track (IRST) systems, placed in a small, streamlined fairing in front of the cockpit. This system allowed passive long-range search and track modes, freeing the pilot from the need to give away his/her position through active radar emissions. The sensor could also be used for target illumination and precision weapons guidance.
Many Valkyries also received improved radar warning systems, with sensor arrays mounted on the wingtips, the fins and/or on the LERXs. Improved ECR measures and other defensive measure like flare/chaff dispensers were also added to some machines, typically in conformal fairings on the flanks of the legs/engine pods.
In early 2011, VF-1 production on Earth had already reached the 2.500th aircraft, a VF-1J which received a striking white-and-blue commemorative paint scheme upon roll-out, decorated with the logos of all major manufacturers and system suppliers. After a brief PR tour the machine (Bu. No. 2110406/1) was handed over to SVF-1, the famous Skull Squadron, as an attrition replacement for Major Yingluck 'Joker' Maneethapo's aircraft, leader of the unit’s 5th Flight and a Thai pilot ace from the first stages of the Zentraedi attacks in 2009.
With the opportunity to add more personal style to his new mount, Maneethapo's chose the non-standard modex ML 555 for his fighter - a play of words, because the five is pronounced 'ha' in Thai language and '555' a frequent abbreviation for 'laughing'. Bu. No. 2110406/1 retained its bright PR livery, because its primary colors matched well with SVF-1 ‘Lazulite’ flight’s ID color. The aircraft just lost the sponsor logos and instead received full military markings and tactical codes, including the unit’s renowned skull icon and the characteristic “ML” letter code on the foldable fins. The nose art for the 2.500th production VF-1 jubilee was retained, though.
In SVF-1 service, Bu. No. 2110406/1 was soon upgraded with an IRST and retrofitted with FAST Packs and avionics for various zero-G weapons for operations in space, since the unit was supposed to become based on SDF-1 and go into space with the large carrier ship. However, only SVF-1's Flight #1, 2 and 3 were taken on board of the SDF-1 when the ship left Earth, the remaining unit parts remained at the home base on Ataria Island, tasked with homeland defense duties.
In 2012, at the end of the war, SVF-1’s Lazulite’ flight was re-located on board of ARMD-02 (Armaments Rigged-up Moving Deck Space Carrier vessel), which was and rebuilt and attached to the refitted SDF-1 Macross as originally intended. There, Bu. No. 2110406/1 served into the first year of the New Era 0001 in 2013, when it was replaced as a Flight Leader’s mount by a VF-4 and handed over to SVF-42 back on Earth, where it was repainted in standard U.N. Spacy fighter colors (even though it still retained its commemorative nose art) and served until 2017. Bu. No. 2110406/1 was then retired and unceremoniously scrapped, having already exceeded its expected service life.
The VF-1 was without doubt the most recognizable variable fighter of Space War I and was seen as a vibrant symbol of the U.N. Spacy. At the end of 2015 the final rollout of the VF-1 was celebrated at a special ceremony, commemorating this most famous of variable fighters. The VF-1 Valkryie was built from 2006 to 2013 with several major variants (VF-1A = 5,093, VF-1D = 85, VF-1J = 49, VF-1S = 30), sub-variants (VF-1G = 12, VE-1 = 122, VT-1 = 68) and upgrades of existing airframes (like the VF-1P).
Despite its relatively short and intense production run the fighter remained active in many second line units and continued to show its worthiness even years later, e. g. through Milia Jenius who would use her old VF-1 fighter in defense of the colonization fleet - 35 years after the type's service introduction!
General characteristics:
All-environment variable fighter and tactical combat Battroid,
used by U.N. Spacy, U.N. Navy, U.N. Space Air Force and U.N.S. Marine Corps
Accommodation:
Pilot only in Marty & Beck Mk-7 zero/zero ejection seat
Dimensions:
Fighter Mode:
Length 14.23 meters
Wingspan 14.78 meters (at 20° minimum sweep)
Height 3.84 meters
Battroid Mode:
Height 12.68 meters
Width 7.3 meters
Length 4.0 meters
Empty weight: 13.25 metric tons
Standard T-O mass: 18.5 metric tons
MTOW: 37.0 metric tons
Power Plant:
2x Shinnakasu Heavy Industry/P&W/Roice FF-2001 thermonuclear reaction turbine engines, output 650 MW each, rated at 11,500 kg in standard or 225.63 kN in overboost
4x Shinnakasu Heavy Industry NBS-1 high-thrust vernier thrusters (1 x counter reverse vernier thruster nozzle mounted on the side of each leg nacelle/air intake, 1 x wing thruster roll control system on each wingtip)
18x P&W LHP04 low-thrust vernier thrusters beneath multipurpose hook/handles
Performance:
Battroid Mode: maximum walking speed 160 km/h
Fighter Mode: at 10,000 m Mach 2.71; at 30,000+ m Mach 3.87
g limit: in space +7
Thrust-to-weight ratio: empty 3.47; standard T-O 2.49; maximum T-O 1.24
Design Features:
3-mode variable transformation; variable geometry wing; vertical take-off and landing; control-configurable vehicle; single-axis thrust vectoring; three "magic hand" manipulators for maintenance use; retractable canopy shield for Battroid mode and atmospheric reentry; option of GBP-1S system, atmospheric-escape booster, or FAST Pack system
Transformation:
Standard time from Fighter to Battroid (automated): under 5 sec.
Min. time from Fighter to Battroid (manual): 0.9 sec.
Armament:
2x Mauler RÖV-20 anti-aircraft laser cannon, firing 6,000 ppm
1x Howard GU-11 55 mm three-barrel Gatling gun pod with 200 RPG, fired at 1,200 rpm
4x underwing hard points for a wide variety of ordnance, including…
12x AMM-1 hybrid guided multipurpose missiles (3/point), or
12x MK-82 LDGB conventional bombs (3/point), or
6x RMS-1 large anti-ship reaction missiles (2/outboard point, 1/inboard point), or
4x UUM-7 micro-missile pods (1/point) each carrying 15 x Bifors HMM-01 micro-missiles,
or a combination of above load-outs
The kit and its assembly:
Another small and vintage 1:100 VF-1 Fighter. This time it’s a non-canonical aircraft, based on a limited edition decal sheet that was published with the Japanese Model Graphix magazine in April 2001 (check this here for reference: www.starshipmodeler.com/mecha/jl_clrvalk.htm) with Hasegawa’s first release of their 1:72 Valkyrie Fighter kit. The give-away sheet featured several VF-1s, including an anniversary paint scheme for the 2.500th production Valkyrie. This is AFAIK neither ‘official’ nor canonical – but the pretty blue-and-white livery caught my attention, and I had for a long time the plan to re-create this livery on one of my favored 1:100 models. This would not work 100%, though, so I had to improvise – see below.
The kit was built OOB, with the landing gear down and (after taking the flight scenic pictures) with an open canopy, mounted on a small lift arm. Some typical small blade antennae the 1:100 simple kit lacks were added around the hull as a standard measure to improve the look. In the cockpit I added side consoles and a pilot figure for the in-flight shots.
The only non-standard additions are the IRST sensor fairing in front of the cockpit – the model of the anniversary VF-1 in the Model Graphix magazine carries this canonical upgrade, too, it was created from clear sprue material. Another tiny addition were the RHAWS antenna fairings at the top of the fins, scratched from small styrene profile bits.
The Valkyrie’s ordnance is standard and was taken OOB, featuring twelve AMM-1 missiles under the wings plus the standard GU-11 gatling gun pod; the latter was modified to hold a scratched wire display for in-flight pictures at its rear end. The Model Graphix VF-1 is insofar confusing as it seems to carry something that looks like a white ACMI pod on a non-standard pylon, rather attached to the legs than to the wings? That's odd and I could not make up a useful function, so I rejected this detail. The magazine Valkyrie's belly drop tank was - even though canonical, AFAIK - also not taken over to my later in-service status.
Painting and markings:
The more challenging part of the build, in two ways. First, re-creating the original commemorative livery would have called for home-made decals printed in opaque white for the manufacturers’ logos, something I was not able to do at home. So, I had to interpret the livery in a different way and decided to spin the aircraft’s story further: what would become of this VF-1 after its roll-out and PR event? In a war situation it would certainly be delivered quickly to a frontline unit, and since I had some proper markings left over, I decided to attach this colorful bird to the famous Skull Squadron, SVF-1, yet to a less glorious Flight. Since flight leaders and aces in the Macross universe would frequently fly VF-1s in individual non-standard liveries, sometimes even very bright ones, the 2,500th VF-1 could have well retained its catchy paint scheme.
The second part of the challenge: the actual paint job. Again, no suitable decals were at hand, so I had to re-create everything from scratch. The VF-1J kit I used thankfully came molded in white styrene, so that the front half of the aircraft could be easily painted in white, with no darker/colored plastic shining through. I painted the white (Revell 301, a very pure white) with a brush first. For the blue rear half, I settled upon an intense and deep cobalt blue tone (ModelMaster 2012). For the zigzag border between the colors, I used Tamiya masking tape, trimmed with a tailor’s zigzag scissors and applied in a slightly overlapping pattern for an irregular edge.
The landing gear became standard all-white (Revell 301, too), with bright red edges (Humbrol 174) on the covers. Antenna fairings were painted with radome tan (Humbrol 7) as small color highlights.
The cockpit interior became standard medium grey (Revell 47) with a black ejection seat with brown cushions (Humbrol 119 and Revell 84), and brown “black boxes” behind the headrest. The air intakes as well as the interior of the VG wings were painted dark grey (Revell 77). The jet nozzles/feet were internally painted with Humbrol 27003 (Steel Metallizer) and with Revell 91 on the outside, and they were later thoroughly treated with graphite to give them a burnt/worn look.
The GU-11 pod became standard bare metal (Revell 91, Iron metallic), the AMM-1s were painted in light grey (Humbrol 127) with many additional painted details in five additional colors, quite a tedious task when repeated twelve times...
After basic painting was one the model received a careful overall washing with black ink to emphasize the engraved panel lines, and light post-shading was done to the blue areas to emphasize single panels.
The full-color ’kite’ roundels came from an 1:100 VF-1A sheet, the skull emblems were left over from my Kotobukiya 1:72 VF-4 build some years ago, which OOB carries SVF-1 markings, too. The 2.500th aircraft nose art decoration was printed on clear decal film with an ink jet printer at home, even though it’s so small that no details can be discerned on the model. SVF-1’s “ML” tail code was created with single white decal letters (RAF WWII font), the red “555” modex came from an PrintScale A-26 Invader sheet, it's part of a USAF serial number from an all-black Korean War era aircraft.
The wings' leading edges were finished in medium grey, done with decal sheet material. The Model Graphix Valkyrie does not sport this detail, but I think that the VF-1 looks better with them and more realistic. Red warning stripes around the legs - also not seen on the model in the magazine - were made from similar material.
The confetti along the jagged edge between the white and the blue areas was created with decal material, too – every bit was cut out and put into place one for one… To match the cobalt blue tone, the respective enamel paint was applied on clear decal sheet material and cut into small bits. For the white and red confetti, generic decal sheet material was used. All in all, this was another tedious process, but, at the small 1:100 scale, masks or tape would have been much more complex and less successful with the brushes I use for painting. For this home-made approach the result looks quite good!
Finally, after some typical details and position lights had been added with clear paints over a silver base, the small VF-1 was sealed with a coat of semi-matt acrylic varnish, giving it a slightly shiny finish.
A pretty VF-1 – even though I’d call it purely fictional, despite being based on material that was published in a Japanese magazine more than 20 years ago. The simple yet striking livery was a bit tricky to create, but the result, with the additional SVF-1 unit markings, looks good and makes me wonder how this machine would look with FAST pack elements for use in space or as a transformed Battroid?
a different view of the peeling, brightly colored wooden row boat resting anchored 20ft off the white sand beaches of negril, jamaica at dusk. It seems like it has been there for a while, considering all of the algae which has accumulated on the bottom.
I APPRECIATE AWARDS AND THE TIME YOU HAVE TAKEN TO VIEW MY WORK, BUT I PREFER COMMENTS - ALL GRAPHICS WILL BE DELETED.
THANKS IN ADVANCE FOR ANY COMMENTS!!!
Geneva
Really enjoy the 40mm perspective and bought the Canon Pancake 40F2.8 lens. Enjoying the AF functionality and focusing is fast enough for my style of photography. View other shots taken with this lens here. A small but growing collection.
Another 40mm favorite is the Voigtlander Nokton Classic 40mm F1.4 MC lens. It renders images in a way that is reminiscent of film. View other shots taken with this lens here.
Have used a variety of 40mm lenses, view shots taken here.
Chris & Daisy became homeless a few month back. Chris has been fighting to get disability after a work-related injury but was told he is 'too functional" to quality for Medicaid. Daisy suffers from an acquired liver disorder and is unsure if she can get the needed treatment.
Tutorial on Instructables: www.instructables.com/id/Functional-LEGO-Nutcrackers/
With a simple pull of the lever, these decorative figures can open and close their jaws like authentic nutcrackers!
Both of these models were built in the recent weeks leading up to Christmas. The design was pretty straightforward, but two major issues were making the faces look good, and finally getting the hats right. In fact, the green nutcracker's crown took the longest to figure out, and was finally made with hinge plates.
As mentioned in the tutorial, although these can in fact function as real nutcrackers, they're somewhat rickety and best suited for holiday decorations.
A fully-operational LEGO traffic signal lamp which uses powerful LED spotlights and a circuit board from a model railroad! To build your own version of this project, simply refer to my Instructables tutorial:
www.instructables.com/id/EZQ1J6LHOHYJRNS/
The output uses the same principle as my mosaic Super Mario lamps (Technic bricks + transparent plates), and uses the LEGO structure to house the delicate electronic parts.
New York's subway system is vast, complex, functional and efficient. It can also be bewildering, fascinating, and scary to some.
The colorful lifeguard towers of Miami Beach are famous. They contribute beautifully to the overall aesthetic of the scenery
The model and its assembly:
My second attempt to create a functional H0 scale what-if locomotive – and after I “only” did a color variant with some cosmetic changes on the basis of a Märklin V160/BR 216 diesel locomotive, I wanted something more special and challenging. However, kitbashing model locomotives with a metal chassis that includes a functional motor, respective drivetrain/gearing and electronics is not as easy as gluing some plastic parts together. And finding “matching” donor parts for such a stunt is also not as easy as it may seem. But what would life be without attempts to widen its boundaries?
This time I wanted an electric locomotive. Inspiration (and occasion) somewhat struck when I stumbled upon a running/functional chassis of a Märklin E 10/BR 110 (#3039), just without light and naturally missing the whole upper hull. Due to its incompleteness, I got it for a reasonable price, though. With this basis I started to watch out for eventual (and affordable) donor parts for a new superstructure, and remembered the collectible, non-powered all-plastic locomotive models from Atlas/IXO.
The good thing about the Märklin 3039 chassis was that it was just a solid and flat piece of metal without integrated outer hull elements, headstock or side skirts, so that a new hull could (theoretically) be simply tailored to fit over this motorized platform. Finding something with the exact length would be impossible, so I settled upon an Atlas H0 scale Nederlands Spoorwegen Series 1200 locomotive model, which is markedly longer than the German BR 110, due to its six axles vs. the E 10/BR 110’s four. Another selling point: the NS 1200’s body is virtually blank in its middle section, ideal for shortening it to match the different chassis. Detail of the Atlas plastic models is also quite good, so there was the potential for something quite convincing.
Work started with the disassembly of the static Atlas NS Class 1200 model. It's all-styrene, just with a metal plate as a chassis. Against my expectations the model's hull was only held on the chassis by two tiny screws under the "noses", so that I did not have to use force to separate it. The body's walls were also relatively thin, good for the upcoming modifications. The model also featured two nice driver's stations, which could be removed easily, too. Unfortunately; they had to go to make enough room for the electronics of the Märklin 3039 all-metal chassis.
Dry-fitting the chassis under the Class 1200 hull revealed that the stunt would basically work - the chassis turned out to be only marginally too wide. I just had to grind a little of the chassis' front edges away to reduce pressure on the styrene body, and I had to bend the end sections of the chassis’ stabilizing side walls.
To make the Class 1200 hull fit over the shorter BR 110 chassis a section of about 3 cm had to be taken out of the body’s middle section. The Class 1200 lent itself to this measure because the body is rather bare and uniform along its mid-section, so that re-combining two shortened halves should not pose too many problems.
To make the hull sit properly on the chassis I added styrene profiles inside of it - easy to glue them into place, thanks to the material. At this time, the original fixed pantographs and some wiring on the roof had gone, brake hoses on the nose were removed to make space for the BR 110 couplers, and the clear windows were removed after a little fight (they were glued into their places, but thankfully each side has three separate parts instead of just one that would easily break). PSR on the seam between the hull halves followed, plus some grey primer to check the surface quality.
Even though the new body now had a proper position on the metal chassis, a solution had to be found to securely hold it in place. My solution: an adapter for a screw in the chassis’ underside, scratched. I found a small area next to the central direction switch where I could place a screw and a respective receiver that could attached to the body’s roof. A 3 mm hole was drilled into the chassis’ floor and a long Spax screw with a small diameter was mated with a hollow square styrene profile, roughly trimmed down in length to almost reach the roof internally. Then a big lump of 2C putty was put into the hull, and the styrene adapter pressed into it, so that it would held well in place. Fiddly, but it worked!
Unfortunately, the pantographs of the Atlas/IXO model were static and not flexible at all. One was displayed raised while the other one was retracted. Due to the raised pantograph’s stiffness the model might lose contact to or even damage the model railroad catenary, even when not pulling power through it – not a satisfactory condition. Since the chassis could be powered either from below or through the pantographs (the Märklin 3039 chassis offers an analogue switch underneath to change between power sources) I decided to pimp my build further and improve looks and functionality. I organized a pair of aftermarket diamond pantographs, made from metal, fully functional and held in place on the model’s roof with (very short and) small screws from the inside.
I was not certain if the screws were conductive, and I had to somehow connect them with the switch in the chassis. I eventually soldered thin wire to the pantographs’ bases, led them through additional small holes in the roof inside and soldered them to the switch input, with an insulating screw joint in-between to allow a later detachment/disassembly without damage to the body. There might have been more elegant solutions, but my limited resources and skills did not allow more. It works, though, and I am happy with it, since the cables won’t be visible from the outside. This layout allows to draw power through them, I just had to create a flexible and detachable connection internally. Some plugs, wire and soldering created a solution – rough (electronics is not my strength!), but it worked! Another investment of money, time and effort into this project, but I think that the new pantographs significantly improve the overall look and the functionality of this model.
Internally, the missing light bulbs were retrofitted with OEM parts. A late external addition were PE brass ladders for the shunting platforms and under the doors for the driver’s cabins. They were rather delicate, but the model would not see much handling or railroading action, anyway, and the improve the overall impression IMHO a lot. On the roof, some details like cooling fans and tailored conduits (from the Atlas Series 1200) were added, they partly obscure the seam all around the body.
Unfortunately, due to the necessary space for the chassis, its motor and the electronics, the driver stations’ interiors could not be re-mounted – but this is not too obvious, despite the clear windows.
It is easy to form the opinion that your printer is purely functional and doesn’t really offer many opportunities to create some fun when you are stuck inside out of the rain.
There is actually a lot you can do with your printer that will help you beat the boredom of a blank day and all it t...
www.latesthandmade.com/fun-ways-beat-rainy-day-blues-home...
Pincushion Cat Kitty-Hotep is a completely functional pincushion for sewers or can be used as a cool decorative piece. The majority of this pincushion was hand sewn. Kitty-Hotep, like all my other creations, is handcrafted and made from my own patterns.
The kitty pincushion is made of caramel colored and cream felt. The body is caramel and his outer wrapping is cream. His face consists of pins. His outer strips are wrapped around his body and then stitched on. The feet are made from brown pom poms and they too are covered with the cream colored strips. He is firmly stuffed with 100% polyester fiberfill. I also made a sand pouch from cotton fabric and sewed that inside the pincushion which gives him more stability.
He stands approximately 5.5 inches (14 cms) tall and measures approximately 11 inches (28 cms) around the belly.