Work in progress:

ready modification of 'Taiga' face mold, but I still need to smooth all the surface.

Рабочий процесс: модификация модели лица "Тайга" готова, но ещё нужно сгладить всю поверхность.

'Dea Vivente' website

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Miercoles' Souta

® Eyemech Modification by Sheryl Designs

Latest modifications to my Harman Titan clone. I added a magnetically mounted viewfinder made from an old vegetable juice can and a beaded chain to keep the magnetic cap safe (I don't want to loose this one)

Operator: Rajavartiolaitos - Finnish Border Guard

Aircraft: Agusta-Bell AB 412EP

Registration: OH-HVK

C/n: 36242

Time & Location: 26.06.2023, EFTP, Finland

Remarks: Arriving from a test flight after modifications done by Patria Helicopters.

Lamborghini Aventador Roadster with lots of mods!

This is NOT today... Think gray and dreary and wet... Do what you can...

A modification of a Spectra Polaroid camera. It now takes 3.25 X 4.25 sheet film.

Marcus los his tooth piece ;)

I made it of apoxie for him and painted it. The thing looks like some creepy monster on its own :P

Designer: Paul Jackson

66794 from Europe @ DONCASTER ROBERTS ROAD awaiting modIfications for UK Spec. Sat. 20th Feb 2021

taken on the 21 dec 2012 in wiltshire uk...... Im not sure what these lines in the sky are but as you can see from the pictures they seemed to be pulling the spray left by the aircraft across the sky (see next 2 pics in my photostream). As much as i dont like to believe it, i think weather modification is real and poses a great threat to all of us and life on earth in general as we all have to breathe the same air !.. The reason i post these pictures is to try and raise awareness as i feel that the more people that know about this, the more chance there is of putting an end to this complete madness !!! For those of you who have not heard of this before please research geo engineering, chemtrails, solar radiation management... Anyway thanks for looking at my pictures and thanks to all you guys who continue to post great pictures here on flickr.....

So...what did I do to this EAH body?

Long story short:

After I shortened the neck and upper arms, I put the bits that were cut off in an acetone resistent lidded jar and added pure acetone ( don't smell the stuff! Work in a well ventilated area!). Once the plastic had melted to the right consistency, I used it to thicken the neck, glue back together the upper arms and to elongate the knees, then once the plastic was solid again I used sandpaper to make everything smooth.

I also cut a little bit of lenght from the bottom of her forearms, and slimmed down the calves ( her forearms and lower legs are made from different types of plastic and won't melt with acetone)

Short story long:

Like people who repaint dolls know well, acetone won't damage a doll's vinyl head, but it will melt its plastic body. In the past I used this fact to my advantage to remove the kind of copyright information that's molded ( insted of printed ) on some dolls and to glue back some doll torsos that I had cracked open and limbs that I had shortened.

When I had to modify this EAH body to fit my custom mini unoa head, I first thought about thickening the neck with epoxy putty, but then I would have had to use paint to cover the mods, and paint chips and it's difficult to match anyway. That's when I remembered the plastic melting properties of acetone, and after a quick internet search which returned a lot of results about car repairs... AND this tutorial www.flickr.com/photos/6_6tina/albums/72157646135456221 I was finally able to obtain my ideal closest equivalent to a 1/6 scale Unoa body... that's not a resin fluorite Unoa light *cries*

By the way:

Almost a year ago, when I posted the first pictures of this body, I included a brief "how to" underneath a pic of the naked body, hybridized with the head of Barbie's little sister Chelsea. That photo gained thousands of views in a suspiciously very short time.

Now... I'm not bothered -AT ALL- by doll nudity, but somehow, the fact that what was basically a child's head on a fairly realistically sculpted naked body was gaininig so many views so fast made me a bit uneasy, lol :| so I deleted the picture... totally forgetting about the tutorial underneath it, so here it is again :P

Scarification

Hey there Harry Potter fans! You must have seen Harry’s scar on his forehead. That is something different from what we are talking about here. If you wish, you could also have a similar scar like Harry on your body (wherever you like). You just need to opt for scarification and i...

top6.com/most-bizarre-body-modifications/

This model is a modification of the famous 10224 Town Hall modular building. I have adapted the building to match the official Ninjago City sets 70620 Ninjago City, 70657 Ninjago City Docks and 71741 Ninjago City Gardens. Instructions available through rebrickable.com

only few more parts added to the original:

-moving hip, knees, wrists

Ça faisait longtemps que je voulais retailler son nez - Voilà c'est fait !

Since a long time, i want to modified her nose - well, it's done !

Direction le make up maintenant

Body modification is not unpopular at FSE, as evidenced by this fella's enhanced nipples. Folsom Street East 2019.

To check out my other pictures from gay/fetish/leather events, click here.

So, here's another modification of the Green Grocer (#10185).

Actually the plan was to dismantle the Green Grocer to make some space for other MOCs, but instead I ended up rebuilding it for the second time.

Now I really like it, I guess.

Added another floor, rebuilt the roof and stairs again and added some more furnishings.

Credits for the kitchen and the sunbed: Sarah Beyer

Back to album

As per request, I ran the Auto Correct first to see if the image was first worth restoring. I see too much in the way of blown out highlights but it does improve things overall. Still somewhat hazy looking.

Well I will let you in on a secret, ok it is not but anyway, when my wife comes across Lego sets on sale for about 50% off she lets me know and I thought on this one it might be worth the parts but then I decided to try an alternate build so here it is. Except for one part, a 2x4 white tile on the trunk, it would be considered an alternate.

Sienna Evans' original Alex body on the right (unmodified), and modified Tonner Antoinette body on the left.

I filed and sanded the Antoinette body neck to match the contour of the Alex body's neck. There was plenty of material in the Antoinette neck to do this without the neck becoming too thin. I also had to make the neck peg gap smaller to secure the Sienna head, and I did this by taping around the neck peg and squirting polyurethane resin onto the underside, essentially casting a space-filling washer in place. I used Smooth-On Smooth Cast 300Q.

Kreissieg exhaust. That's all i know about this particular Gallardo.

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E92 BMW M3 on HRE Performance Wheels. Out for who in Carlsbad CA

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Douchanbé (Asie Centrale - Tadjikistan)

Website : www.fluidr.com/photos/pat21

www.flickriver.com/photos/pat21/sets/

"Copyright © – Patrick Bouchenard

The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."

+++ DISCLAIMER +++

Nothing you see here is real, even though the model, the conversion or the presented background story might be based on historical facts. BEWARE!

Some background:

Tyne was the second of the five River-class light cruisers in the Royal Navy, which were introduced during the interwar period and played, after modifications, an active role in World War II, especially in the Mediterranean theatre of operations.

From 1940 on the ships were to be replaced by the much more modern and better-equipped new Dido-class cruisers, but a shortage of guns for them, due to difficulties in manufacturing them, delayed their introduction so that the River-class cruisers had to soldier on. Two ships, “Tyne” and “Thames”, were lost, and the three post-war survivors “Trent”, “Severn” and “Mersey”, were immediately put into reserve after the end of hostilities in Europe and quickly broken up.

General characteristics:

Displacement: 5,100 long tons (5,200 t) (standard)

Length: 500 ft (152.4 m)

Beam: 47 ft (14.2 m)

Draft: 16 ft (4.8 m)

Draught: 12 ft 6 in (3.8 m) (deep)

Armor: Belt: 64 mm (3 in), Deck: 29 mm (1 in)

Complement: 450

Propulsion:

12× Admiralty boilers with 4× geared steam turbines, developing 90,000 shp (67,000 kW)

and driving four shafts

Performance:

Top speed: 36 knots (67 km/h; 41 mph)

Range: 5,000 nmi (9,300 km; 5,800 mi) at 14 kn (26 km/h; 16 mph)

Armament (after conversion):

12× 5.25 guns (133 mm) 50 caliber guns in six twin turrets

4× twin QF 2-pounder (40 mm) "pom-pom" AA guns in powered mounts

2× triple 21-inch (533 mm) torpedo tubes

2× throwers and 2× racks astern with 48 depth charges

The kit and its assembly:

The Royal Navy’s River-class light cruisers never existed. These fictional interwar ships were based on the Dido-class cruisers’ concept, just placed in an earlier generation and realized on the basis of an old/outdated ship. Inspiration came with an aftermarket set of six 1:700 white metal turrets that I came across recently, and I wanted to use it to build something like the American Atlanta-class light cruisers with a specialized AA armament.

However, this armament called for a suitable and bigger hull than my former destroyer builds, and I was eventually able to hunt down a cheap Tamiya kit of a Japanese Kuma-class light cruiser as starting point. It was perfect in size (almost exactly as big as a Dido-class cruiser!), shape and time frame, even though I I basically only used the kit’s single-piece hull as starting point. I had to modify the superstructures thoroughly to adapt the Japanese ship to the new role and also to a more Western layout and silhouette.

For instance, the typically Japanese tall “pagoda” bridge/command section of that era had to disappear, and I changed the superstructures almost completely, because the new twin turrets needed much more space than the small single guns of the Kuma cruiser. I also wanted to place them at different levels, and this called for suitable staggered platforms, too.

Initially there was the plan to mount the six turrets in groups of three at both bow and stern, but it was soon clear that this would not work – this arrangement would have been too long and too high, too, so that I went with two staggered pairs. I also wanted to give the ship – unlike the American Atlanta-class ships – a catapult for an on-board aircraft, and this required some free space on deck.

With this framework I scratched new/additional superstructures, using leftover pieces from the two recently built Matchbox K-class destroyers and from a Revell H.M.S. Ark Royal carrier. Everything evolved through trial-and error, in an attempt to find a plausible layout for all the deck equipment. The lowered hull section for the Kuma-class’ front torpedo tubes was filled with a cabin and re-purposed for lifeboats. Then the initially continuous superstructure was split to make room for the steam catapult amidships at deck level. The rear turrets eventually found their final places on a separate superstructure that would also carry the secondary mast and the crane for the floatplane, and I mounted the last two turrets in lateral positions (again somewhat inspired by the Atlanta-class arrangement with similar positions), above the Kuma-class’ openings for the rear torpedo launch tubes. These did not make sense at this position anymore, so that the OOB openings were closed/filled and moved further forward, under the new “flight deck”. Some PSR had to be done, too, in order to blend some disparate donor parts and fill the worst gaps. Therefore, the finish is certainly not as crisp as an OOB model – but I think that these flaws remained on an acceptable level.

Once the general deck layout had been settled, detail work began. This included a re-arrangement of bridge, masts and funnels, and the main deck had to offer enough space for the re-located catapult, together with the turrets in the side positions, lifeboats and AA stations, which found their place at deck level and in two twin alcoves in higher positions. Fiddly stuff, and I must admit that “creating” such a battleship is conceptually not easy.

The aircraft on board is actually the OOB Kawanishi E7K floatplane from the Kuma-class cruiser kit – but it looks similar enough to a Swordfish that this illusion could be easily supported with a suitable paint scheme.

Painting and markings:

I used the opportunity to apply another typical Royal Navy paint scheme, a so-called “Alexandria-style” pattern. This was a high-contrast scheme, sometimes described as consisting of black and white, but it was typically made up from 507a (Dark Grey) and 507c (Light Grey). It had been christened after the dockyard where it had been initially applied, and it was actually not a defined pattern (like the Admiralty schemes, which had been designed at offices by people who frequently had no practical naval experience!), but rather a common but individual application of standard paints that had been in ample supply at most dockyards! The ships had to be painted with what was at hand, and so the disruptive scheme caught on and was applied, like Mountbatten Pink, to a considerable number of British ships operating in the MTO. This two-tone scheme was not intended to conceal the ships, but rather to confuse the observer concerning speed, direction and what the ship actually was.

The pattern I applied to the model was loosely based on what the cruiser H.M.S. Devonshire carried in 1941, a kind of zebra pattern with wide, well-defined block stripes. As a visual gimmick these stripes were kind of “mirrored” along a line on the hull, as if reflected by the water and therefore making assessing size or distance even more difficult.

The paints are Humbrol 147 (Light Grey, FS 36495) and 27 (Sea Grey). The deck was painted as if the wooden areas had not been overpainted yet and allowed to weather, so that the once-holystoned, yellow-ish light wood had become dull and rather grey-ish. I used Humbrol 168 (RAF Hemp) and Revell 87 (Beige) as basis, and some light shading with thinned sepia ink was done to enhance the wooden look – and it’s nice contrast to the rather cold, grey camouflage. Metal decks, turret tops and the bow area were painted with Revell 47, simulating 507b (Medium Grey). Areas around the bridge were painted with Humbrol 62 (Leather) to simulate Corticene coating.

I originally wanted to paint the model in separate elements before final assembly, but this was not possible due to the many adjustments. The model was slightly weathered with a highly thinned black ink wash. Some Sienna Brown water paint was used for rust stains here and there. Portholes along the hull and on the superstructures were created with a thin black felt tip pen. The same tool was used to paint the muzzles of the guns. The crisp black boot topping was easy to create through the kit’s separate waterline bottom – OOB it comes in red, and it just had to be re-painted.

The kit’s segments were sealed with a coat of acrylic matt varnish before final assembly. Finally, rigging with heated and extended dark grey sprue material was done and paper flags were added.

It is not obvious, but the fictional H.M.S. “Tyne” took more scratchwork and mods than one would expect – it was/is almost a scratch build on the basis of a stock cruiser hull. More or less, the whole superstructure was re-arranged and the whole armament is new, but I think that the outcome looks quite plausible. The camouflage – even though only consisting of two shades of grey - looks interesting, too, and I think that the confusing effect becomes obvious in some of the beauty pics.

Chronodex Mods by Folks at Fountain Pen Network

Here's an update of the Chronodex Weekly Planner for 2012.

I'm very happy to find like minded people who love the Chronodex idea. Although it was first designed for the Midori Traveler's Notebook format, folks at Fountain Pen Network really took it to the next level.

Coronado took the time to modify it into a more popular portrait format and in half letter size for his Levenger Circa. He also changed the grid background into dots so it is less intrusive. You can download Coronado's version of the Chronodex here.

Coronado also made a Levenger Circa version of the bookmark I portrayed. Like minded.

jsButterfly, who has just started a new blog called Paper Spaces, made Chronodex her 2012 diary too, also following Coronado's bookmark hack.

If you are into radial thinking for heightened creativity, or simply want to have a little change of your scheduling method, please do try Chronodex and share with us fans here on Scription or the Chronodex Flickr group.

Lastly, Boris from Russia, how do you find using Chronodex? I'm yet to receive any comments from people from Hong Kong and Japan. どのようにスケジューリングのChronodex方法が好きですか？

More on Scription blog: scription.typepad.com/blog/2011/12/chronodex-mods-by-folk...

Colosseum

Following, a text, in english, from the Wikipedia the Free Encyclopedia:

The Colosseum, or the Coliseum, originally the Flavian Amphitheatre (Latin: Amphitheatrum Flavium, Italian Anfiteatro Flavio or Colosseo), is an elliptical amphitheatre in the centre of the city of Rome, Italy, the largest ever built in the Roman Empire. It is considered one of the greatest works of Roman architecture and Roman engineering.

Occupying a site just east of the Roman Forum, its construction started between 70 and 72 AD[1] under the emperor Vespasian and was completed in 80 AD under Titus,[2] with further modifications being made during Domitian's reign (81–96).[3] The name "Amphitheatrum Flavium" derives from both Vespasian's and Titus's family name (Flavius, from the gens Flavia).

Capable of seating 50,000 spectators,[1][4][5] the Colosseum was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, quarters for a religious order, a fortress, a quarry, and a Christian shrine.

Although in the 21st century it stays partially ruined because of damage caused by devastating earthquakes and stone-robbers, the Colosseum is an iconic symbol of Imperial Rome. It is one of Rome's most popular tourist attractions and still has close connections with the Roman Catholic Church, as each Good Friday the Pope leads a torchlit "Way of the Cross" procession that starts in the area around the Colosseum.[6]

The Colosseum is also depicted on the Italian version of the five-cent euro coin.

The Colosseum's original Latin name was Amphitheatrum Flavium, often anglicized as Flavian Amphitheater. The building was constructed by emperors of the Flavian dynasty, hence its original name, after the reign of Emperor Nero.[7] This name is still used in modern English, but generally the structure is better known as the Colosseum. In antiquity, Romans may have referred to the Colosseum by the unofficial name Amphitheatrum Caesareum; this name could have been strictly poetic.[8][9] This name was not exclusive to the Colosseum; Vespasian and Titus, builders of the Colosseum, also constructed an amphitheater of the same name in Puteoli (modern Pozzuoli).[10]

The name Colosseum has long been believed to be derived from a colossal statue of Nero nearby.[3] (the statue of Nero itself being named after one of the original ancient wonders, the Colossus of Rhodes[citation needed]. This statue was later remodeled by Nero's successors into the likeness of Helios (Sol) or Apollo, the sun god, by adding the appropriate solar crown. Nero's head was also replaced several times with the heads of succeeding emperors. Despite its pagan links, the statue remained standing well into the medieval era and was credited with magical powers. It came to be seen as an iconic symbol of the permanence of Rome.

In the 8th century, a famous epigram attributed to the Venerable Bede celebrated the symbolic significance of the statue in a prophecy that is variously quoted: Quamdiu stat Colisæus, stat et Roma; quando cadet colisæus, cadet et Roma; quando cadet Roma, cadet et mundus ("as long as the Colossus stands, so shall Rome; when the Colossus falls, Rome shall fall; when Rome falls, so falls the world").[11] This is often mistranslated to refer to the Colosseum rather than the Colossus (as in, for instance, Byron's poem Childe Harold's Pilgrimage). However, at the time that the Pseudo-Bede wrote, the masculine noun coliseus was applied to the statue rather than to what was still known as the Flavian amphitheatre.

The Colossus did eventually fall, possibly being pulled down to reuse its bronze. By the year 1000 the name "Colosseum" had been coined to refer to the amphitheatre. The statue itself was largely forgotten and only its base survives, situated between the Colosseum and the nearby Temple of Venus and Roma.[12]

The name further evolved to Coliseum during the Middle Ages. In Italy, the amphitheatre is still known as il Colosseo, and other Romance languages have come to use similar forms such as le Colisée (French), el Coliseo (Spanish) and o Coliseu (Portuguese).

Construction of the Colosseum began under the rule of the Emperor Vespasian[3] in around 70–72AD. The site chosen was a flat area on the floor of a low valley between the Caelian, Esquiline and Palatine Hills, through which a canalised stream ran. By the 2nd century BC the area was densely inhabited. It was devastated by the Great Fire of Rome in AD 64, following which Nero seized much of the area to add to his personal domain. He built the grandiose Domus Aurea on the site, in front of which he created an artificial lake surrounded by pavilions, gardens and porticoes. The existing Aqua Claudia aqueduct was extended to supply water to the area and the gigantic bronze Colossus of Nero was set up nearby at the entrance to the Domus Aurea.[12]

Although the Colossus was preserved, much of the Domus Aurea was torn down. The lake was filled in and the land reused as the location for the new Flavian Amphitheatre. Gladiatorial schools and other support buildings were constructed nearby within the former grounds of the Domus Aurea. According to a reconstructed inscription found on the site, "the emperor Vespasian ordered this new amphitheatre to be erected from his general's share of the booty." This is thought to refer to the vast quantity of treasure seized by the Romans following their victory in the Great Jewish Revolt in 70AD. The Colosseum can be thus interpreted as a great triumphal monument built in the Roman tradition of celebrating great victories[12], placating the Roman people instead of returning soldiers. Vespasian's decision to build the Colosseum on the site of Nero's lake can also be seen as a populist gesture of returning to the people an area of the city which Nero had appropriated for his own use. In contrast to many other amphitheatres, which were located on the outskirts of a city, the Colosseum was constructed in the city centre; in effect, placing it both literally and symbolically at the heart of Rome.

The Colosseum had been completed up to the third story by the time of Vespasian's death in 79. The top level was finished and the building inaugurated by his son, Titus, in 80.[3] Dio Cassius recounts that over 9,000 wild animals were killed during the inaugural games of the amphitheatre. The building was remodelled further under Vespasian's younger son, the newly designated Emperor Domitian, who constructed the hypogeum, a series of underground tunnels used to house animals and slaves. He also added a gallery to the top of the Colosseum to increase its seating capacity.

In 217, the Colosseum was badly damaged by a major fire (caused by lightning, according to Dio Cassius[13]) which destroyed the wooden upper levels of the amphitheatre's interior. It was not fully repaired until about 240 and underwent further repairs in 250 or 252 and again in 320. An inscription records the restoration of various parts of the Colosseum under Theodosius II and Valentinian III (reigned 425–455), possibly to repair damage caused by a major earthquake in 443; more work followed in 484[14] and 508. The arena continued to be used for contests well into the 6th century, with gladiatorial fights last mentioned around 435. Animal hunts continued until at least 523, when Anicius Maximus celebrated his consulship with some venationes, criticised by King Theodoric the Great for their high cost.

The Colosseum underwent several radical changes of use during the medieval period. By the late 6th century a small church had been built into the structure of the amphitheatre, though this apparently did not confer any particular religious significance on the building as a whole. The arena was converted into a cemetery. The numerous vaulted spaces in the arcades under the seating were converted into housing and workshops, and are recorded as still being rented out as late as the 12th century. Around 1200 the Frangipani family took over the Colosseum and fortified it, apparently using it as a castle.

Severe damage was inflicted on the Colosseum by the great earthquake in 1349, causing the outer south side, lying on a less stable alluvional terrain, to collapse. Much of the tumbled stone was reused to build palaces, churches, hospitals and other buildings elsewhere in Rome. A religious order moved into the northern third of the Colosseum in the mid-14th century and continued to inhabit it until as late as the early 19th century. The interior of the amphitheatre was extensively stripped of stone, which was reused elsewhere, or (in the case of the marble façade) was burned to make quicklime.[12] The bronze clamps which held the stonework together were pried or hacked out of the walls, leaving numerous pockmarks which still scar the building today.

During the 16th and 17th century, Church officials sought a productive role for the vast derelict hulk of the Colosseum. Pope Sixtus V (1585–1590) planned to turn the building into a wool factory to provide employment for Rome's prostitutes, though this proposal fell through with his premature death.[15] In 1671 Cardinal Altieri authorized its use for bullfights; a public outcry caused the idea to be hastily abandoned.

In 1749, Pope Benedict XIV endorsed as official Church policy the view that the Colosseum was a sacred site where early Christians had been martyred. He forbade the use of the Colosseum as a quarry and consecrated the building to the Passion of Christ and installed Stations of the Cross, declaring it sanctified by the blood of the Christian martyrs who perished there (see Christians and the Colosseum). However there is no historical evidence to support Benedict's claim, nor is there even any evidence that anyone prior to the 16th century suggested this might be the case; the Catholic Encyclopedia concludes that there are no historical grounds for the supposition. Later popes initiated various stabilization and restoration projects, removing the extensive vegetation which had overgrown the structure and threatened to damage it further. The façade was reinforced with triangular brick wedges in 1807 and 1827, and the interior was repaired in 1831, 1846 and in the 1930s. The arena substructure was partly excavated in 1810–1814 and 1874 and was fully exposed under Benito Mussolini in the 1930s.

The Colosseum is today one of Rome's most popular tourist attractions, receiving millions of visitors annually. The effects of pollution and general deterioration over time prompted a major restoration programme carried out between 1993 and 2000, at a cost of 40 billion Italian lire ($19.3m / €20.6m at 2000 prices). In recent years it has become a symbol of the international campaign against capital punishment, which was abolished in Italy in 1948. Several anti–death penalty demonstrations took place in front of the Colosseum in 2000. Since that time, as a gesture against the death penalty, the local authorities of Rome change the color of the Colosseum's night time illumination from white to gold whenever a person condemned to the death penalty anywhere in the world gets their sentence commuted or is released,[16] or if a jurisdiction abolishes the death penalty. Most recently, the Colosseum was illuminated in gold when capital punishment was abolished in the American state of New Mexico in April 2009.

Because of the ruined state of the interior, it is impractical to use the Colosseum to host large events; only a few hundred spectators can be accommodated in temporary seating. However, much larger concerts have been held just outside, using the Colosseum as a backdrop. Performers who have played at the Colosseum in recent years have included Ray Charles (May 2002),[18] Paul McCartney (May 2003),[19] Elton John (September 2005),[20] and Billy Joel (July 2006).

Exterior

Unlike earlier Greek theatres that were built into hillsides, the Colosseum is an entirely free-standing structure. It derives its basic exterior and interior architecture from that of two Roman theatres back to back. It is elliptical in plan and is 189 meters (615 ft / 640 Roman feet) long, and 156 meters (510 ft / 528 Roman feet) wide, with a base area of 6 acres (24,000 m2). The height of the outer wall is 48 meters (157 ft / 165 Roman feet). The perimeter originally measured 545 meters (1,788 ft / 1,835 Roman feet). The central arena is an oval 87 m (287 ft) long and 55 m (180 ft) wide, surrounded by a wall 5 m (15 ft) high, above which rose tiers of seating.

The outer wall is estimated to have required over 100,000 cubic meters (131,000 cu yd) of travertine stone which were set without mortar held together by 300 tons of iron clamps.[12] However, it has suffered extensive damage over the centuries, with large segments having collapsed following earthquakes. The north side of the perimeter wall is still standing; the distinctive triangular brick wedges at each end are modern additions, having been constructed in the early 19th century to shore up the wall. The remainder of the present-day exterior of the Colosseum is in fact the original interior wall.

The surviving part of the outer wall's monumental façade comprises three stories of superimposed arcades surmounted by a podium on which stands a tall attic, both of which are pierced by windows interspersed at regular intervals. The arcades are framed by half-columns of the Tuscan, Ionic, and Corinthian orders, while the attic is decorated with Corinthian pilasters.[21] Each of the arches in the second- and third-floor arcades framed statues, probably honoring divinities and other figures from Classical mythology.

Two hundred and forty mast corbels were positioned around the top of the attic. They originally supported a retractable awning, known as the velarium, that kept the sun and rain off spectators. This consisted of a canvas-covered, net-like structure made of ropes, with a hole in the center.[3] It covered two-thirds of the arena, and sloped down towards the center to catch the wind and provide a breeze for the audience. Sailors, specially enlisted from the Roman naval headquarters at Misenum and housed in the nearby Castra Misenatium, were used to work the velarium.[22]

The Colosseum's huge crowd capacity made it essential that the venue could be filled or evacuated quickly. Its architects adopted solutions very similar to those used in modern stadiums to deal with the same problem. The amphitheatre was ringed by eighty entrances at ground level, 76 of which were used by ordinary spectators.[3] Each entrance and exit was numbered, as was each staircase. The northern main entrance was reserved for the Roman Emperor and his aides, whilst the other three axial entrances were most likely used by the elite. All four axial entrances were richly decorated with painted stucco reliefs, of which fragments survive. Many of the original outer entrances have disappeared with the collapse of the perimeter wall, but entrances XXIII (23) to LIV (54) still survive.[12]

Spectators were given tickets in the form of numbered pottery shards, which directed them to the appropriate section and row. They accessed their seats via vomitoria (singular vomitorium), passageways that opened into a tier of seats from below or behind. These quickly dispersed people into their seats and, upon conclusion of the event or in an emergency evacuation, could permit their exit within only a few minutes. The name vomitoria derived from the Latin word for a rapid discharge, from which English derives the word vomit.

Interior

According to the Codex-Calendar of 354, the Colosseum could accommodate 87,000 people, although modern estimates put the figure at around 50,000. They were seated in a tiered arrangement that reflected the rigidly stratified nature of Roman society. Special boxes were provided at the north and south ends respectively for the Emperor and the Vestal Virgins, providing the best views of the arena. Flanking them at the same level was a broad platform or podium for the senatorial class, who were allowed to bring their own chairs. The names of some 5th century senators can still be seen carved into the stonework, presumably reserving areas for their use.

The tier above the senators, known as the maenianum primum, was occupied by the non-senatorial noble class or knights (equites). The next level up, the maenianum secundum, was originally reserved for ordinary Roman citizens (plebians) and was divided into two sections. The lower part (the immum) was for wealthy citizens, while the upper part (the summum) was for poor citizens. Specific sectors were provided for other social groups: for instance, boys with their tutors, soldiers on leave, foreign dignitaries, scribes, heralds, priests and so on. Stone (and later marble) seating was provided for the citizens and nobles, who presumably would have brought their own cushions with them. Inscriptions identified the areas reserved for specific groups.

Another level, the maenianum secundum in legneis, was added at the very top of the building during the reign of Domitian. This comprised a gallery for the common poor, slaves and women. It would have been either standing room only, or would have had very steep wooden benches. Some groups were banned altogether from the Colosseum, notably gravediggers, actors and former gladiators.

Each tier was divided into sections (maeniana) by curved passages and low walls (praecinctiones or baltei), and were subdivided into cunei, or wedges, by the steps and aisles from the vomitoria. Each row (gradus) of seats was numbered, permitting each individual seat to be exactly designated by its gradus, cuneus, and number.

The arena itself was 83 meters by 48 meters (272 ft by 157 ft / 280 by 163 Roman feet).[12] It comprised a wooden floor covered by sand (the Latin word for sand is harena or arena), covering an elaborate underground structure called the hypogeum (literally meaning "underground"). Little now remains of the original arena floor, but the hypogeum is still clearly visible. It consisted of a two-level subterranean network of tunnels and cages beneath the arena where gladiators and animals were held before contests began. Eighty vertical shafts provided instant access to the arena for caged animals and scenery pieces concealed underneath; larger hinged platforms, called hegmata, provided access for elephants and the like. It was restructured on numerous occasions; at least twelve different phases of construction can be seen.[12]

The hypogeum was connected by underground tunnels to a number of points outside the Colosseum. Animals and performers were brought through the tunnel from nearby stables, with the gladiators' barracks at the Ludus Magnus to the east also being connected by tunnels. Separate tunnels were provided for the Emperor and the Vestal Virgins to permit them to enter and exit the Colosseum without needing to pass through the crowds.[12]

Substantial quantities of machinery also existed in the hypogeum. Elevators and pulleys raised and lowered scenery and props, as well as lifting caged animals to the surface for release. There is evidence for the existence of major hydraulic mechanisms[12] and according to ancient accounts, it was possible to flood the arena rapidly, presumably via a connection to a nearby aqueduct.

The Colosseum and its activities supported a substantial industry in the area. In addition to the amphitheatre itself, many other buildings nearby were linked to the games. Immediately to the east is the remains of the Ludus Magnus, a training school for gladiators. This was connected to the Colosseum by an underground passage, to allow easy access for the gladiators. The Ludus Magnus had its own miniature training arena, which was itself a popular attraction for Roman spectators. Other training schools were in the same area, including the Ludus Matutinus (Morning School), where fighters of animals were trained, plus the Dacian and Gallic Schools.

Also nearby were the Armamentarium, comprising an armory to store weapons; the Summum Choragium, where machinery was stored; the Sanitarium, which had facilities to treat wounded gladiators; and the Spoliarium, where bodies of dead gladiators were stripped of their armor and disposed of.

Around the perimeter of the Colosseum, at a distance of 18 m (59 ft) from the perimeter, was a series of tall stone posts, with five remaining on the eastern side. Various explanations have been advanced for their presence; they may have been a religious boundary, or an outer boundary for ticket checks, or an anchor for the velarium or awning.

Right next to the Colosseum is also the Arch of Constantine.

he Colosseum was used to host gladiatorial shows as well as a variety of other events. The shows, called munera, were always given by private individuals rather than the state. They had a strong religious element but were also demonstrations of power and family prestige, and were immensely popular with the population. Another popular type of show was the animal hunt, or venatio. This utilized a great variety of wild beasts, mainly imported from Africa and the Middle East, and included creatures such as rhinoceros, hippopotamuses, elephants, giraffes, aurochs, wisents, barbary lions, panthers, leopards, bears, caspian tigers, crocodiles and ostriches. Battles and hunts were often staged amid elaborate sets with movable trees and buildings. Such events were occasionally on a huge scale; Trajan is said to have celebrated his victories in Dacia in 107 with contests involving 11,000 animals and 10,000 gladiators over the course of 123 days.

During the early days of the Colosseum, ancient writers recorded that the building was used for naumachiae (more properly known as navalia proelia) or simulated sea battles. Accounts of the inaugural games held by Titus in AD 80 describe it being filled with water for a display of specially trained swimming horses and bulls. There is also an account of a re-enactment of a famous sea battle between the Corcyrean (Corfiot) Greeks and the Corinthians. This has been the subject of some debate among historians; although providing the water would not have been a problem, it is unclear how the arena could have been waterproofed, nor would there have been enough space in the arena for the warships to move around. It has been suggested that the reports either have the location wrong, or that the Colosseum originally featured a wide floodable channel down its central axis (which would later have been replaced by the hypogeum).[12]

Sylvae or recreations of natural scenes were also held in the arena. Painters, technicians and architects would construct a simulation of a forest with real trees and bushes planted in the arena's floor. Animals would be introduced to populate the scene for the delight of the crowd. Such scenes might be used simply to display a natural environment for the urban population, or could otherwise be used as the backdrop for hunts or dramas depicting episodes from mythology. They were also occasionally used for executions in which the hero of the story — played by a condemned person — was killed in one of various gruesome but mythologically authentic ways, such as being mauled by beasts or burned to death.

The Colosseum today is now a major tourist attraction in Rome with thousands of tourists each year paying to view the interior arena, though entrance for EU citizens is partially subsidised, and under-18 and over-65 EU citizens' entrances are free.[24] There is now a museum dedicated to Eros located in the upper floor of the outer wall of the building. Part of the arena floor has been re-floored. Beneath the Colosseum, a network of subterranean passageways once used to transport wild animals and gladiators to the arena opened to the public in summer 2010.[25]

The Colosseum is also the site of Roman Catholic ceremonies in the 20th and 21st centuries. For instance, Pope Benedict XVI leads the Stations of the Cross called the Scriptural Way of the Cross (which calls for more meditation) at the Colosseum[26][27] on Good Fridays.

In the Middle Ages, the Colosseum was clearly not regarded as a sacred site. Its use as a fortress and then a quarry demonstrates how little spiritual importance was attached to it, at a time when sites associated with martyrs were highly venerated. It was not included in the itineraries compiled for the use of pilgrims nor in works such as the 12th century Mirabilia Urbis Romae ("Marvels of the City of Rome"), which claims the Circus Flaminius — but not the Colosseum — as the site of martyrdoms. Part of the structure was inhabited by a Christian order, but apparently not for any particular religious reason.

It appears to have been only in the 16th and 17th centuries that the Colosseum came to be regarded as a Christian site. Pope Pius V (1566–1572) is said to have recommended that pilgrims gather sand from the arena of the Colosseum to serve as a relic, on the grounds that it was impregnated with the blood of martyrs. This seems to have been a minority view until it was popularised nearly a century later by Fioravante Martinelli, who listed the Colosseum at the head of a list of places sacred to the martyrs in his 1653 book Roma ex ethnica sacra.

Martinelli's book evidently had an effect on public opinion; in response to Cardinal Altieri's proposal some years later to turn the Colosseum into a bullring, Carlo Tomassi published a pamphlet in protest against what he regarded as an act of desecration. The ensuing controversy persuaded Pope Clement X to close the Colosseum's external arcades and declare it a sanctuary, though quarrying continued for some time.

At the instance of St. Leonard of Port Maurice, Pope Benedict XIV (1740–1758) forbade the quarrying of the Colosseum and erected Stations of the Cross around the arena, which remained until February 1874. St. Benedict Joseph Labre spent the later years of his life within the walls of the Colosseum, living on alms, prior to his death in 1783. Several 19th century popes funded repair and restoration work on the Colosseum, and it still retains a Christian connection today. Crosses stand in several points around the arena and every Good Friday the Pope leads a Via Crucis procession to the amphitheatre.

Coliseu (Colosseo)

A seguir, um texto, em português, da Wikipédia, a enciclopédia livre:

O Coliseu, também conhecido como Anfiteatro Flaviano, deve seu nome à expressão latina Colosseum (ou Coliseus, no latim tardio), devido à estátua colossal de Nero, que ficava perto a edificação. Localizado no centro de Roma, é uma excepção de entre os anfiteatros pelo seu volume e relevo arquitectónico. Originalmente capaz de albergar perto de 50 000 pessoas, e com 48 metros de altura, era usado para variados espetáculos. Foi construído a leste do fórum romano e demorou entre 8 a 10 anos a ser construído.

O Coliseu foi utilizado durante aproximadamente 500 anos, tendo sido o último registro efetuado no século VI da nossa era, bastante depois da queda de Roma em 476. O edifício deixou de ser usado para entretenimento no começo da era medieval, mas foi mais tarde usado como habitação, oficina, forte, pedreira, sede de ordens religiosas e templo cristão.

Embora esteja agora em ruínas devido a terremotos e pilhagens, o Coliseu sempre foi visto como símbolo do Império Romano, sendo um dos melhores exemplos da sua arquitectura. Actualmente é uma das maiores atrações turísticas em Roma e em 7 de julho de 2007 foi eleita umas das "Sete maravilhas do mundo moderno". Além disso, o Coliseu ainda tem ligações à igreja, com o Papa a liderar a procissão da Via Sacra até ao Coliseu todas as Sextas-feiras Santas.

O coliseu era um local onde seriam exibidos toda uma série de espectáculos, inseridos nos vários tipos de jogos realizados na urbe. Os combates entre gladiadores, chamados muneras, eram sempre pagos por pessoas individuais em busca de prestígio e poder em vez do estado. A arena (87,5 m por 55 m) possuía um piso de madeira, normalmente coberto de areia para absorver o sangue dos combates (certa vez foi colocada água na representação de uma batalha naval), sob o qual existia um nível subterrâneo com celas e jaulas que tinham acessos diretos para a arena; Alguns detalhes dessa construção, como a cobertura removível que poupava os espectadores do sol, são bastante interessantes, e mostram o refinamento atingido pelos construtores romanos. Formado por cinco anéis concêntricos de arcos e abóbadas, o Coliseu representa bem o avanço introduzido pelos romanos à engenharia de estruturas. Esses arcos são de concreto (de cimento natural) revestidos por alvenaria. Na verdade, a alvenaria era construída simultaneamente e já servia de forma para a concretagem. Outro tipo de espetáculos era a caça de animais, ou venatio, onde eram utilizados animais selvagens importados de África. Os animais mais utilizados eram os grandes felinos como leões, leopardos e panteras, mas animais como rinocerontes, hipopótamos, elefantes, girafas, crocodilos e avestruzes eram também utilizados. As caçadas, tal como as representações de batalhas famosas, eram efetuadas em elaborados cenários onde constavam árvores e edifícios amovíveis.

Estas últimas eram por vezes representadas numa escala gigante; Trajano celebrou a sua vitória em Dácia no ano 107 com concursos envolvendo 11 000 animais e 10 000 gladiadores no decorrer de 123 dias.

Segundo o documentário produzido pelo canal televisivo fechado, History Channel, o Coliseu também era utilizado para a realização de naumaquias, ou batalhas navais. O coliseu era inundado por dutos subterrâneos alimentados pelos aquedutos que traziam água de longe. Passada esta fase, foi construída uma estrutura, que é a que podemos ver hoje nas ruínas do Coliseu, com altura de um prédio de dois andares, onde no passado se concentravam os gladiadores, feras e todo o pessoal que organizava os duelos que ocorreriam na arena. A arena era como um grande palco, feito de madeira, e se chama arena, que em italiano significa areia, porque era jogada areia sob a estrutura de madeira para esconder as imperfeições. Os animais podiam ser inseridos nos duelos a qualquer momento por um esquema de elevadores que surgiam em alguns pontos da arena; o filme "Gladiador" retrata muito bem esta questão dos elevadores. Os estudiosos, há pouco tempo, descobriram uma rede de dutos inundados por baixo da arena do Coliseu. Acredita-se que o Coliseu foi construído onde, outrora, foi o lago do Palácio Dourado de Nero; O imperador Vespasiano escolheu o local da construção para que o mal causado por Nero fosse esquecido por uma construção gloriosa.

Sylvae, ou recreações de cenas naturais eram também realizadas no Coliseu. Pintores, técnicos e arquitectos construiriam simulações de florestas com árvores e arbustos reais plantados no chão da arena. Animais seriam então introduzidos para dar vida à simulação. Esses cenários podiam servir só para agrado do público ou como pano de fundo para caçadas ou dramas representando episódios da mitologia romana, tão autênticos quanto possível, ao ponto de pessoas condenadas fazerem o papel de heróis onde eram mortos de maneiras horríveis mas mitologicamente autênticas, como mutilados por animais ou queimados vivos.

Embora o Coliseu tenha funcionado até ao século VI da nossa Era, foram proibidos os jogos com mortes humanas desde 404, sendo apenas massacrados animais como elefantes, panteras ou leões.

O Coliseu era sobretudo um enorme instrumento de propaganda e difusão da filosofia de toda uma civilização, e tal como era já profetizado pelo monge e historiador inglês Beda na sua obra do século VII "De temporibus liber": "Enquanto o Coliseu se mantiver de pé, Roma permanecerá; quando o Coliseu ruir, Roma ruirá e quando Roma cair, o mundo cairá".

A construção do Coliseu foi iniciada por Vespasiano, nos anos 70 da nossa era. O edifício foi inaugurado por Tito, em 80, embora apenas tivesse sido finalizado poucos anos depois. Empresa colossal, este edifício, inicialmente, poderia sustentar no seu interior cerca de 50 000 espectadores, constando de três andares. Aquando do reinado de Alexandre Severo e Gordiano III, é ampliado com um quarto andar, podendo suster agora cerca de 90 000 espectadores. A grandiosidade deste monumento testemunha verdadeiramente o poder e esplendor de Roma na época dos Flávios.

Os jogos inaugurais do Coliseu tiveram lugar ano 80, sob o mandato de Tito, para celebrar a finalização da construção. Depois do curto reinado de Tito começar com vários meses de desastres, incluindo a erupção do Monte Vesúvio, um incêndio em Roma, e um surto de peste, o mesmo imperador inaugurou o edifício com uns jogos pródigos que duraram mais de cem dias, talvez para tentar apaziguar o público romano e os deuses. Nesses jogos de cem dias terão ocorrido combates de gladiadores, venationes (lutas de animais), execuções, batalhas navais, caçadas e outros divertimentos numa escala sem precedentes.

O Coliseu, como não se encontrava inserido numa zona de encosta, enterrado, tal como normalmente sucede com a generalidade dos teatros e anfiteatros romanos, possuía um “anel” artificial de rocha à sua volta, para garantir sustentação e, ao mesmo tempo, esta substrutura serve como ornamento ao edifício e como condicionador da entrada dos espectadores. Tal como foi referido anteriormente, possuía três pisos, sendo mais tarde adicionado um outro. É construído em mármore, pedra travertina, ladrilho e tufo (pedra calcária com grandes poros). A sua planta elíptica mede dois eixos que se estendem aproximadamente de 190 m por 155 m. A fachada compõe-se de arcadas decoradas com colunas dóricas, jónicas e coríntias, de acordo com o pavimento em que se encontravam. Esta subdivisão deve-se ao facto de ser uma construção essencialmente vertical, criando assim uma diversificação do espaço.

Os assentos eram em mármore e a cavea, escadaria ou arquibancada, dividia-se em três partes, correspondentes às diferentes classes sociais: o podium, para as classes altas; as maeniana, sector destinado à classe média; e os portici, ou pórticos, construídos em madeira, para a plebe e as mulheres. O pulvinar, a tribuna imperial, encontrava-se situada no podium e era balizada pelos assentos reservados aos senadores e magistrados. Rampas no interior do edifício facilitavam o acesso às várias zonas de onde podiam visualizar o espectáculo, sendo protegidos por uma barreira e por uma série de arqueiros posicionados numa passagem de madeira, para o caso de algum acidente. Por cima dos muros ainda são visíveis as mísulas, que sustentavam o velarium, enorme cobertura de lona destinada a proteger do sol os espectadores e, nos subterrâneos, ficavam as jaulas dos animais, bem como todas as celas e galerias necessárias aos serviços do anfiteatro.

O monumento permaneceu como sede principal dos espetáculos da urbe romana até ao período do imperador Honorius, no século V. Danificado por um terremoto no começo do mesmo século, foi alvo de uma extensiva restauração na época de Valentinianus III. Em meados do século XIII, a família Frangipani transformou-o em fortaleza e, ao longo dos séculos XV e XVI, foi por diversas vezes saqueado, perdendo grande parte dos materiais nobres com os quais tinha sido construído.

Os relatos romanos referem-se a cristãos sendo martirizados em locais de Roma descritos pouco pormenorizadamente (no anfiteatro, na arena...), quando Roma tinha numerosos anfiteatros e arenas. Apesar de muito provavelmente o Coliseu não ter sido utilizado para martírios, o Papa Bento XIV consagrou-o no século XVII à Paixão de Cristo e declarou-o lugar sagrado. Os trabalhos de consolidação e restauração parcial do monumento, já há muito em ruínas, foram feitos sobretudo pelos pontífices Gregório XVI e Pio IX, no século XIX.

Began to modify the body for my new doll-character :)

Konata Reiko's Hikari

Teddy bear Eyechips 13,5mm customiced and painted by Sheryl Designs +

® Eyemech Modification by Sheryl Designs

Modification of an old set, shown in its natural environment (my back patio). Roll on, good buddy, roll on.

Donk - a strange term.

Used in Australia as a slang term for a car engine, Donk is a whole sub-culture of vehicle modification in the US focusing on overly large wheels.

The term 'Donk' refers directly back to the original donor vehicle, popularly, the Chevrolet Impala. It has been said that the leaping Impala logo looks somewhat like a donkey!

The cars are also known by the more generic term of 'Hi-riser' - somewhat more descriptive, but less colourful name.

Hi-Risers are a type of highly customized automobile, typically a traditional, full-size, body on frame, V8 powered, rear wheel drive American-built sedan modified by significantly increasing the ground clearance and adding large-diameter wheels with low-profile tires. Depending on the model and style of body, autos customized in this manner can be labeled "donk," "box," or "bubble."

Hi-risers originally grew out of the Dirty South subculture, but the trend has spread across the United States. Vehicles customized in the hi-riser style are distinguished by their oversized (even disproportionate) wheels, ranging from 20 inches to 30 inches or more in diameter (largest being 50 inch), as well as fanciful custom paint-jobs and expensive audio equipment. Suspension modifications similar to those employed on lifted pickup trucks are made to give adequate clearance for the large wheels. Often the suspension is modified so the front end sits slightly higher than the rear end, giving the car a swaggering appearance. Because of the exaggerated look gained from installing a lifted suspension and enormous wheels, donks are also known as "hi-risers" or "sky-scrapers."

The most popular vehicles for these types of modifications are late 20th century, full-size, rear wheel drive sedans and coupes manufactured by General Motors (Chevrolet, Oldsmobile, Buick, and Cadillac), namely the Impala, Caprice, Buick Roadmaster, Oldsmobile 98, and Cadillac Fleetwood/Fleetwood Brougham, as well as mid-sized models such as the Chevrolet Monte Carlo and Oldsmobile Cutlass Supreme. However, similar full-size Ford models (Crown Victoria, Lincoln Town Car, Mercury Grand Marquis) are also popular, largely due to the ability to cheaply buy former police service Crown Victorias. There are three main sub-types of hi-riser, although the distinctions are blurred and open to debate. Most hi-riser enthusiasts agree that a "donk" traditionally is a 1971 to 1976 Impala. They were given this name because the "Impala" symbol was referred to as a "donkey" by owners or "donk" for short.[citation needed] To complement the sloping rear, the suspension of donks are frequently higher in the front end than the rear, resulting in a nose-up stance. Other hi-risers are usually raised evenly, resulting in a more or less level stance. A box is another sub-type of hi-riser, usually a 1977-1990-era Impala or Caprice with a boxy or squared-off front and rear end. Other models that are frequently made into hi-risers include the G-body Buick Regal, Oldsmobile Cutlass, Chevrolet El Camino, Pontiac Grand Prix, and Pontiac Bonneville.

Other vehicles gaining in popularity as hi-risers are the Cadillac DeVille and Seville, as well as the Buick Roadmaster. Also gaining in popularity are the Ford Crown Victoria, Mercury Grand Marquis, and Lincoln Town Car sedans. These three are the last full sized, body-on-frame, RWD sedans of which the Lincoln Town Car is the only one still being sold for 2011. In fact, the Grand Marquis in particular is enjoying a slight sales surge due to the increasing popularity of buying them new and turning them into hi-risers. Several rappers have alluded to the Grand Marquis in their music, such as Dorrough's "Ice Cream Paint Job": "Grand Marquis, paint job grape jelly

[Text from Wikipedia]

en.wikipedia.org/wiki/Hi-Riser_(automobile)

A key enabler for many of these vehicles is the use of the longitudinal powertrain, driving the rear wheels, and also the use of separate chassis (body-on-frame), decoupling the chassis forces from suspension from the body structure. The BOF layout also allows simpler modification of the vehicle, adopting parts and design solutions from the similarly configured Light Truck, e.g. Ford F150 or similar.

The 1971 Chevrolet Impala Convertible used here as the base vehicle offers these features and more. Notably engines not restricted by vehicle emissions standards, which had such a detrimental effect on engine output, staring from 1972. The 1971 Impala (the first year of this 5th generation Impala platform), was fitted with engines up to 454 CID (7.4 litres) rated at 365 hp. In 1976, the last year of this 5th generation vehicle, the 454 CID output had fallen to only 225 HP.

For interest, this 1971 Impala Donk is named 'Polar Bear'. Enormous, powerful, and super-cool (especially roof-down in winter), and for the icing blue exterior colour.

This Lego miniland-scale Chevrolet 1971 Impala Convertible Donk (1971), has been created for Flickr LUGNuts' 90th Build Challenge, - "Fools Rush In!", -

to the subtheme - "BaDONKadonk!". The 90th build challenge presenting 13 different subthemes to choose to build to.

Took off SAM from the truck and added a bed in the back to hold cargo or troops.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

The Curtiss P-40 Warhawk was an American single-engined, single-seat, all-metal fighter and ground-attack aircraft that first flew in 1938. The P-40 design was a modification of the previous Curtiss P-36 Hawk which reduced development time and enabled a rapid entry into production and operational service. The Warhawk was used by most Allied powers during World War II, and remained in frontline service until the end of the war. It was the third most-produced American fighter, after the P-51 and P-47.

Additional units were formed and PAF organizational structures were enhanced in response to the equipment and air assets provided by U.S. Military Aid. In the early years of the PAF, the Command was instrumentally engaged in anti-HUK and anti-Kamlon insurgency campaigns. The PAF then had established Sulu Air Task Group (SATAG), with an initial force of P-51 “Mustangs”, PBY “Catalina” amphibian planes and L-5 “Sentinel” liaison aircraft to intensify the campaign against Hadji Kamlon, who eventually surrendered in 1955 - and at the same time the last P-40E was eventually retired from PAF service.

General characteristics:

Crew: 1

Length: 31.67 ft (9.66 m)

Wingspan: 37.33 ft (11.38 m)

Height: 12.33 ft (3.76 m)

Wing area: 235.94 ft² (21.92 m²)

Airfoil: NACA2215 / NACA2209

Empty weight: 6,070 lb (2,753 kg)

Loaded weight: 8,280 lb (3,760 kg)

Max. takeoff weight: 8,810 lb (4,000 kg)

Some background

Today's Israel Aerospace Industries was founded in 1953 as Bedek Aviation Company under the initiative of Shimon Peres, then Director general of the Ministry of Defense, in order to maintain Israel Defense Forces (IDF) aircraft'. The company originally had 70 employees and recruited American born aviation expert Al Schwimmer as the company's founder and first president.

Consequentially, Bedek began in 1959 manufacturing its first aircraft, a V-tailed twinjet trainer of French design, the Fouga Magister, locally called Tzukit (Monticola). The first aircraft to be fully designed and built by IAI, the IAI Arava STOL (short take-off and landing) transport aircraft, first flew in 1969 after three years of development.

General characteristics:

Crew: One

Length: 34 ft 11 in (10.66 m)

Wingspan: 41 ft 0 in (12.49 m)

Height: 16 ft 1 in (4.90 m) (w. tail down)

Wing area: 302 ft² (28 m²)

Empty weight: 9,250 lb (4,195 kg)

Loaded weight: 11,400 lb (5,176 kg)

Max. takeoff weight: 13,640 lb (6,190 kg)

Powerplant:

1× P&W R-2800-32(E) 18 cylinder radial engine with a two-stage supercharger

and a maximum output of 2,500 hp (1,865 kW), driving a four-bladed Rotol propeller

Performance:

Maximum speed: 435 mph at 19,000 ft (700 km/h at 5,791 m)

Range: 740 mi (1,190 km) with internal fuel only,

1,530 mi (2,462 km) with 90 gal (409 l) drop tanks

Service ceiling: 36,500 ft (11,125 m)

Rate of climb: 4,700 ft/min (23.9 m/s)

Wing loading: 37.75 lb/ft² (184.86 kg/m²)

Power/mass: 0.21 hp/lb (0.31 kW/kg)

Armament:

4× 20 mm (.79 in) Mark V Hispano cannons, 200 rpg.

2× underwing hardpoints for 500 lb (227 kg) or 1,000 lb (454 kg) bombs

or 2× 45 gal (205 l) or 2× 90 gal (409 l) drop tanks

Alternatively up to 8× unguided 3 in (76.2 mm) RP-3 rockets

The kit and its assembly:

This converted Hawker Tempest was original inspired by a CG artwork from a flight simulation game, where someone had copied the skin from a D-Day P-47, in US olive drab/neutral grey livery with invasion stripes and some colorful cowling trim, onto a Tempest Mk. II. This looked very good and natural, but I found the overall concept to be fishy. The Tempest belongs to a later war period, and I could hardly imagine that the US forces, with potent fighters like the P-47 or the P-51 at hand, would operate the Tempest, too?

But the idea kept haunting me, and resulted in the idea of an engine switch to an R-2800 radial. Another unlikely move, at least during WWII, and so I kept searching for a post-war niche for this conversion. After ruling out some option (India, Myanmar) I eventually settled for the young state of Israel during the nascent period of its air force in the early Fifties – and about the time when Tempest airframes would become available. Still not a 100% bulletproof story, but I liked the idea.

Technically, this is just the (actually very good) Matchbox kit of the Hawker Tempest, which comes with an optional Sabre and a Centaurus nose section, with an engine transplant from an Italeri F4U-5 and some minor cosmetic changes.

The engine switch was easier than expected, both the Centaurus and the R-2800 have almost the same diameter – even though the Corsair cowling is a bit wider and more massive. But the stunt works pretty well, without major PSR work.

Another feature that changes IMHO the Tempest’s look considerably is the new, spinner-less propeller. It suits the “new” aircraft well, and makes the Tempest look much more American, and somewhat menacing?

In order to blend the engine into the fuselage lines I added a shallow air scoop under the cowling, and an additional oil cooler was, scratched with styrene sheet and putty, added to the port wing, for a more or less symmetrical arrangement.

In the cockpit, I just added a dashboard and the canopy was cut into two pieces for display. The landing gear was taken OOB.

In order to tell the fighter bomber story I added ordnance under the wings in the form of two US style 500 lb bombs (from a Smer F4U) plus a pair of scratched pylons, plus two pairs of resin RP-3 rockets and launch rails (Pavla) on the outermost positions.

Painting and markings:

This was a bit tricky. The classic brown/blue IDF livery of the Suez crisis would have been a natural choice, but I wanted something different – and eventually found a P-51 of that era (“19”) which became the inspiration for the S'erh.

The Mustang carried a relatively simple scheme in sand and green, with light blue undersides – but interpretations of the tones vary greatly. Furthermore I was only able to dig up side views of the machine, and apparently it had a symmetrical pattern on the fuselage, with large blotches instead of color bands.

I used Tamiya XF-57 “Buff” and “Olive Green” (XF-58) as basic tones for the upper surfaces and Humbrol 247 (RLM 76) for the undersides - kind of a "sand & spinach" livery. Later, the model received a black ink wash and post shading with lighter tones (Humbrol 167 "Hemp" as well as RAL 6003 and RLM 76 from Modelmaster). Cockpit and landing gear wells became Tamiya XF-67 (Field Grey), an slightly darker alternative to the classic RAF Interior Green.

The decals were puzzled together - the national markings and the Suez ID stripes came from a Heller Ouragan, the tactical code "57" came from an Italeri La-5FN (and is actually a "75"...) and the unit badge was lent from an Italeri A-4M, depicting a VMA-331 "Bumble Bees" machine.

Finally, the model received some soot stains around the exhausts and the gun ports, and it was sealed with matt acrylic varnish (Italeri).

I was a little scpetical whether the fictional Israeli origin of this what-if was sound or not, but when I look at the finished model I think it's a good story - and the Tempest with the massive R-2800 engine does actually not look that bad or unbalanced, despite the wider cowling and the lack of a propeller spinner. Esp. the latter detail males the aircraft look really different. The sleek Tempest is still there, but you immediately wonder "Well, there's something wrong with it...?".

Description: This is a reprise with modification of my previous post of M101 (or NGC 5457) to show a Type II supernova SN2023ixf which was discovered on 19 May 2023. My image, which was taken on 27 May 2023, indicates the supernova as a relatively bright dot in one of the spiral arms. Among the three objects seen in the magnification inset the supernova is the brightest one. This post corrects color imbalances in M101 in my previous image which, however, does not impact the supernova.

Date/Time/Location: 2023-05-27 / 03:25:37 to 07:30:33 UTC / Washington D.C.

Equipment:

Scope: WO Zenith Star 81mm f/6.9 with WO 6AIII Flattener/Focal Reducer x0.8

OSC Camera: ZWO ASI 2600 MC Pro at 100 Gain and 50 Offset

Mount: iOptron GEM28-EC

Guider: ZWO Off-Axis Guider

Guide Camera: ZWO ASI 174mm mini

Focuser: ZWO EAF

Light Pollution Filter: Chroma LoGlow Broadband

Processing Software: Pixinsight

Processing Steps:

Preprocessing: I preprocessed 39x300s subs (= 3.25 hours) in Pixinsight to get an integrated image using the following processes: Image Calibration > Cosmetic Correction > Subframe Selector > Debayer > Select Reference Star and Star Align > Image Integration.

Linear Postprocessing: Rotation > Dynamic Crop > Dynamic Background Extractor (both subtraction to remove light pollution gradients and division for flat field corrections) > Background Neutralization > Color Calibration > Noise Xterminator.

Nonlinear Postprocessing: Histogram Transformation > Local Histogram Equalization > Curves Transformation > SCNR Noise Reduction.

Modification of the lovely, young Mollie2k6 completed 11/27/06 in the wee hours.

Joint modifications

Edited and added a soft overlay. Atronach guantlets and respirator made by Brokefoot.

Custom gun, made with TLC parts and other custom parts.

sweater inspired from berroco's Valpuri

Old wooden staircase in Conestoga in upper left, then modifications in Mattebox using curves, and finally layering in EnlightApp. … Playing, not much more, I think …