View allAll Photos Tagged precise
The Gnawa (or Gnaoua, Ghanawa, Ghanawi, Gnawi) people originated from North and West Africa; to be precise the ancient Ghanaian Empire of Ouagadougou (present day Mauritania, Senegal, Gambia, Burkino Faso and 85% of Mali (pre Gnawi/Mali Wars)).
This name Gnawa is taken from one of the indigenous languages of the Sahara Desert called Tamazight. The phonology of this term according to the grammatical principles of Tamazight is as follows: Gnawi (singular), Gnawa (collective) and Gnawn (plural rarely used).
The Gnawa are an ethnic group whom, with the passing of time became a part of the Sufi order in Maghreb.
*NEWS FLASH*
right..something bugged me this week..some news to be precise. I never read it, i never watch it..i live ignorantly to the worlds woes only because i have strong emotions and i cant bear seeing bad things happen when theres people out there trying to make the world right and they dont get a look in..its all pretty much negative stuff plastered around us..
I went on a web site and i naively clicked on a link..it was a video from a phone of the Iranian girl who got shot and bled to death, my heart immediately sank, my head stuck in a depressive state for the rest of the day..i went out,took pictures, my chest still aching so much from the sadness of watching something so mortifying, undignified and disrespectful that lasted all but a few seconds.
This is what happens to me, i cant shrug these things off, i cant switch it off, so how can i watch/read these awful things when i deeply think about them-its not that simple, i CANT because i know i am helpless.CALLING ALL transformers, superman,Supergirl, batman, he-man, she-ra,..where the hell are you??
oh and to top it off..*Jon turns telly on*...king of pop..noooooo you cant die!
I wanted to see you at the O2 :(:( R.I.P
Luca Giordano (1634-1705), active in Naples
Visitation of Mary, c. 1696
Giordano was famous for the speed with which he carried out his assignments. In his later Spanish work, however, he shows particular care in the classifying, balanced composition and the precise drawing as well as in the subtle, painterly-fluid elaborateness of the figures. The composition of the painting is based on an engraving after Rubens' Visitation on the side wing of the altar with the Descent from the Cross in the Antwerp chapel.
Luca Giordano (1634-1705), tätig in Neapel
Heimsuchung Mariae, um 1696
Giordano war für die Schnelligkeit berühmt, mit der er seine Aufträge ausführte. Gerade in seinem spanischen Spätwerk zeigt er jedoch besondere Sorgfalt in der klassizierenden, ausgewogenen Komposition und der präzisen Zeichnung ebenso wie in der subtilen, malerisch-flüssigen Durchgestaltung der Figuren. Die Komposition des Bildes geht auf einen Stich nach Rubens' Heimsuchung auf dem Seitenflügel des Altares mit der Kreuzabnahme in der Antwerpener Kapelle zurück.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
It was 11 months ago, 26th September 2012 to be precise, that I visited the Ashram in Taloja, a couple of hours drive from Mumbai, where 70-75 old men and women were living, left abandoned by families for no reason except that they (the family members) felt these old people were a burden. A very large proportion of them were from upper middle class families with all the modern day comforts and considered amongst the rich even by urban Indian standards, yet these elderly were not supported by families - sometimes because they were ill and their medical expenses were considered a burden but often for no reason except that they were 'expendable' and brought no economic benefit to the families that left them to their fates.
Amongst that lot, there were a few highly educated old men and women who spoke flawless English and were obviously educated in the best of institutions almost half a century ago which meant they were from the creme de la creme of the societies they came from. They as well as some others were the victims of children who first managed to get their parents and grand parents to sign away their properties pleading all kind of dire necessities. The parents (and grand parents) out of sheer love for their progeny and with absolutely no doubt that these children would see them comfortably to their graves or funeral pyres, signed away their own futures and were then abandoned in homes like this one.
Some of those I saw last year were not there this time - snatched away by death. Others who I remembered looked clearly much worse off than before which wasn't great to start with and, of course, there were new ones. Interestingly, most of the new ones were in better health and many of them wore cleaner, newer and better clothes. Probably still wearing the clothes of better times.
Among these new comers was this stunningly attractive old lady. One look from the corridor into the room which she shared with six others and I realised this was a person of some standing in society. Her entire bearing screamed class. She must have been a very very attractive young lady once but even in her old age, 70's I'd guess, she exuded a dignity, charm and grace which was so becoming and completely out of place in her terrible shabby new surroundings.
I went into the room and started talking to her. She was delighted but it soon became apparent that she was a disturbed person inspite of the exuberance, warmth and sunny smiles that radiated from her. My heart went out to her. She was not old enough to be my mother but it is my mother I thought of the moment I started talking to her and experiencing her zest of for life.
I have seen so many mothers (and fathers) devoting their entire lives to the care of children with various physical disabilities and challenges. I have seen grown up men in their thirties, completely unable to manage their bodily functions and hardly able to communicate in a manner you and I would be able to comprehend - I have seen these men being looked after mothers, themselves not very old, who do not even show the slightest sign of being inconvenienced, forget anything stronger, by this life long service in love. Where then do these sons and daughters come from, which wombs to they emanate from, who are able to leave mothers and fathers to fate you and I will not leave a pet with a disease to.
Shame on you - wherever you are and whosoever you may be !!!!
Panasonic ES8109 S Vortex Wet/Dry Shaving System
Product Description
Nano Technology delivers the sharpest blades for precise and accurate shaving, now with Nano Technology. While conventional shavers offer a range of 45 degree to 90 degree blades, this Vortex shaver comes with the sharpest blade angle at 30 degrees - great for precision cutting. Nano Technology was also used to polish the industry's sharpest 30 degree blades to achieve even better cutting performance. Pivot Action for a more comfortable shave. The pivoting head rocks up and down, and back and forth, to follow the contours of your face. You can even adjust the amount of pivot based on your preference with the Pivot Action Selector. Now you can get the maximum comfort and support that you need for a clean, close shave. Linear Motor offers a frictionless, clean shave. At 13,000 RPMs, it's one of the fastest razors on the market and powers effortlessly through even the thickest beards for less pulling and irritation while shaving. Shave Wet or Dry - Panasonic technology allows your shaver to be fully immersible in water for a great shave in or out of the shower. You can shave wet with lather or dry for a quick trim. When you're done shaving, simply rinse clean under water, click the Vortex into the HydraClean(TM) dock, and your razor will be ready the next morning. HydraClean(TM) Hygienic Cleaning System - There's nothing worse than a messy razor. The powerful and intelligent HydraClean Hygienic Cleaning System includes automatic charge, clean and dry functions, while refreshing the shaver for its next use. All these functions can be used together or independently. Included in the drying feature is a heating element for an extra dry shaving head, leaving no wetness or moisture behind. The cleaning base will heat dry the entire shaver head and then fan dry any leftover moisture. This system uses a water/ detergent-infused cleansing process instead of alcohol for safe effective cleaning of the razor that will remove any and all debris.
Best Price Panasonic ES8109 S Vortex Wet/Dry Shaving System
Best Price Philips Norelco Speedxl Men's Shave Model #8240xl
Best Price Panasonic ES-LV61-A Men's 5-Blade
Best Price Braun Series 7- 790cc Pulsonic Shaver
Best Price Braun Shaver Series 5 570cc
Best Price Panasonic ES8228S Men's Linear Vortex Nano Arc Foil Shaving System
Best Price Wahl 7367-500 Custom Shave System Multi-Head Shaver
Best Price Braun Series 5-550cc Shaver System and Silver
Best Price Braun Series 3 370 Men's Shaver
Best Price Philips Norelco AT810 PowerTouch Rechargeable Cordless Razor
Best Price Braun 3Series 340S-4 Wet & Dry Shaver
Best Price Panasonic ES-LT41-K Men's 3-Blade
Best Price Panasonic ES-LT71-S Men's 3-Blade
Best Price Philips Norelco 1160XCC SensoTouch 2d Electric Shaver
Best Price Braun Series 7 Series 7-720S Pulsonic Shaver
Best Price Panasonic ES-LV81-K Arc 5 Multi Flex Wet/Dry Nanotech Rechargeable Shaver
Best Price Philips Norelco AT830 PowerTouch Rechargeable Cordless Razor
Best Price Braun Cruzer 6 Body Cruzer, 6 Body Shaver
Best Price Philips Norelco Speed XL Shaver 8245XLD SPECIAL VALUE Includes Extra Shaving Head Pack
Best Price Braun 3Series 380S-4 Wet & Dry Shaver
Best Price Braun Series 1 - 190 Men's Shaver
Best Price Braun Cruzer 6 Face Cruzer, 6 Face Shaver
Best Price Remington MS2-390 Microscreen Rechargeable/Corded Men's Shaver
Best Price Panasonic ES8249S Men's 4-Blade
Best Price Philips Norelco PT730 PowerTouch Rechargeable Cordless Razor/Silver
Best Price Braun 3Series 350CC-4 Shaver
Best Price Braun Series 7-760cc Pulsonic Shaver System and Silver
The wheel saw attachment cuts through asphalt, concrete, frozen ground and wire mesh. It is ideal for precise cuts on road repairs and utility installations.
What a nice little puzzle this is. Genest's color-line cutting is very precise. I decided to do it without reference to the image, so it was pretty slow going for a while. Took me 10:25. I have a larger one from Genest that I'll do soon, and I figured I should get some practice working without a picture to refer to.
Precise use of the caves under the limestone outcrop are not known, but two theories predominate. One being the mummification of the dead - there is a consistent temperature and air flow and the second, sacrifice. Which ever is true, the rock has been carved and smooth out to form a lying out area.
EXHIBITION
100 Best Posters 14
GERMANY, AUSTRIA, SWITZERLAND
MI, MO 11/11/2015, 03/28/2016
MAK Art Print Hall
Already for the tenth time, the MAK in the exhibition 100 Best Posters 14. Germany Austria Switzerland shows the hundred most compelling design concepts in the probably hottest medium of visual everyday culture: the poster. The current winning projects of the popular graphic design competition are characterized by an enigmatic pictural humor, explosive colors as well as precise designs and demonstrate impressively that a poster can be more than just an banal advertising space. Many of the award-winning works furthermore also rely on a subtle play with typography. Innovative ideas can also be found in the manufacturing process: This year's competition shows that you can readily knit posters in high-tech process or use a thermo-insulating space blanket as carrier material for screen printing.
Hardly any medium is such clocked on the consumption and nevertheless sets trends at the cutting edge. "[...] The poster designer challenges himself repeatedly and enjoys himself at gained symbols." Says Götz Gramlich, President of the association 100 Best Posters eV, and he postulats. "A good poster unfolds in the mind of the beholder."
From over 1 800 submitted individual posters, composed of contract work, self-initiated posters/self-promotion as well as student project orders from Germany, Austria and Switzerland, awarded the international jury, consisting of Richard van der Laken (Amsterdam, Chairman), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) and Ariane Spanier (Berlin), the 100 winning posters of the year 2014.
In the competition participated 575 submitters (men and women), of which 48 are from Austria, 128 from Switzerland and 399 from Germany. The leader among the winning 100 best is Switzerland with 51 winning projects, followed by 44 German and 5 Austrian contributions.
The by sensomatic design (Christine Zmölnig and Florian Koch, Vienna) designed catalog offers in addition to the illustrations of all the winning posters and the contacts with the designers also this year a captivating essay by Thomas Friedrich: On the dialectics of image and text in the poster today. In a concise way, he looks at the contextuality of posters and explains the theme facetiously and pictorially based on a poster for a bullfight. Read more in the catalog!
For the corporate design of this year's competition and the new Web Visuals also sensomatic design, Vienna, is responsible. Since June 2014, the new online archive on the homepage of the 100 Best Posters Registered Association offers a comprehensive overview of all award-winning works from the years 2001-2014.
The exhibition takes place in cooperation with 100 Best Posters e. V.
100-beste-plakate.de
Curator Peter Klinger, Deputy Head of the MAK Library and Works on Paper Collection
AUSSTELLUNG
100 Beste Plakate 14
DEUTSCHLAND ÖSTERREICH SCHWEIZ
MI, 11.11.2015–MO, 28.03.2016
MAK-KUNSTBLÄTTERSAAL
Bereits zum zehnten Mal zeigt das MAK in der Ausstellung 100 BESTE PLAKATE 14. Deutschland Österreich Schweiz die einhundert überzeugendsten Gestaltungskonzepte im wohl heißesten Medium der visuellen Alltagskultur: dem Plakat. Die aktuellen Siegerprojekte des beliebten Grafikdesignwettbewerbs bestechen mit hintergründigem Bildwitz, explosiver Farbgebung sowie exakten Ausführungen und demonstrieren eindrücklich, dass ein Plakat mehr als nur banale Werbefläche sein kann. Viele der prämierten Arbeiten setzen außerdem auf ein subtiles Spiel mit Typografie. Innovative Ideen finden sich auch im Herstellungsprozess: Der diesjährige Wettbewerb zeigt, dass man Plakate ohne Weiteres im Hightech-Verfahren stricken oder eine thermo-isolierende Rettungsdecke als Trägermaterial für einen Siebdruck verwenden kann.
Kaum ein Medium ist derart auf den Verbrauch hin getaktet und setzt dennoch Trends am Puls der Zeit. „[…] der Plakatgestalter fordert sich immer wieder selbst heraus und erfreut sich an gewonnenen Sinnbildern.“ so Götz Gramlich, Präsident des Vereins 100 Beste Plakate e. V., und er postuliert: „Ein gutes Plakat entfaltet sich im Kopf des Betrachters.“
Aus über 1 800 eingereichten Einzelplakaten, zusammengesetzt aus Auftragsarbeiten, selbst initiierten Plakaten/Eigenwerbungen sowie studentischen Projektaufträgen aus Deutschland, Österreich und der Schweiz, prämierte die international besetzte Fachjury, bestehend aus Richard van der Laken (Amsterdam, Vorsitz), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) und Ariane Spanier (Berlin), die 100 Siegerplakate des Jahres 2014.
Am Wettbewerb hatten sich 575 EinreicherInnen beteiligt, davon 48 aus Österreich, 128 aus der Schweiz und 399 aus Deutschland. Spitzenreiter unter den prämierten 100 Besten ist die Schweiz mit 51 Siegerprojekten, gefolgt von 44 deutschen und 5 österreichischen Beiträgen.
Der von sensomatic design (Christine Zmölnig und Florian Koch, Wien) gestaltete Katalog bietet neben den Abbildungen aller Siegerplakate und den Kontakten zu den GestalterInnen auch dieses Jahr einen bestechenden Aufsatz von Thomas Friedrich: Zur Dialektik von Bild und Text im Plakat heute. In pointierter Form geht er auf die Kontextualität von Plakaten ein und erklärt das Thema witzig und bildhaft anhand eines Plakats für einen Stierkampf. Mehr dazu im Katalog!
Für das Corporate Design des diesjährigen Wettbewerbs und die neuen Web-Visuals zeichnet ebenfalls sensomatic design, Wien, verantwortlich. Seit Juni 2014 bietet das neue Online-Archiv auf der Homepage der 100 Beste Plakate e. V. einen umfassenden Überblick aller prämierten Arbeiten aus den Jahren 2001 bis 2014.
Die Ausstellung findet in Kooperation mit 100 Beste Plakate e. V. statt.
100-beste-plakate.de
Kurator: Peter Klinger, Stellvertretende Leitung MAK-Bibliothek und Kunstblättersammlung
Timing must be precise. Taken at about 20 min after sunset.
The Light Rail Transit (LRT) (Simplified Chinese: 轻轨列车系统; Malay: Sistem Rel Ringan; Tamil: fill in), frequently also expanded as Light Rapid Transit, is the light rail component of Singapore's rail network, consisting of localised rail systems acting as feeder services to the Mass Rapid Transit network. The first LRT line was opened in 1999 and the system has since expanded to three lines, each serving a public housing estate. It is an automated system without a driver.
Running Ubuntu Precise Pangolin 12.04 (beta), with XBMC Media Center and plugin Spotimc for Spotify access. Spotimc is still in Alpha-version (0.1-alpha5), but so far, no bugs appeared.
Oh, Sperms... Such tiny little creatures in chains with a "zombie behavior" and a precise objective, probably the most feared living thing on this planet. They are responsible for moments of great happiness, or anxiety depending on the circonstances.
Unexpected pregnancy is an issue that's becoming more and more common as days pass by, almost crossing the "banality" line. So I thought that maybe it was the right time to start seeing it as a special celebration date.
This is my contribution for you that must give important news for someone you care about, a "greetings card". No more tension or postponing it, this card is as easy to use as the one you received on your birthday or last christmas. Just print it, write your personal message on the back and send it (or deliver it by person if you can't resist to see the reaction). Its a special occasion and you should celebrate it!
More on www.luisfelipebueno.com
Precise Next Generation Design and Stout Construction
The Swell Surf System utilizes high-speed rams to adjust 5/16-inch stainless steel blades laser cut and bent to control water turbulence off the rear of the boat's running surface. The specially designed trailing edge of these blades, or flaps as these types of elements are referred to in a fluid dynamics, create a vortex-effect behind the boat resulting in specific wave shapes. Different angels of deployment of the blades create custom effects in the water turbulence to swell-up Skim and Barrel waves. Swell blades benefit from a shot peen finish, a strengthening process commonly utilized in aeronautical construction, to increase the fatigue life of the piece. The Swell System is mounted and held together by a series of stainless steel through-bolts and stainless brackets for an extremely stable platform for wave making. The Swell Surf System is available on 2014 Supra SA and SC wake boat models only.
By pairing the capabilities of X-ray analysis and extremely precise microscopy, scientists at Argonne have developed a way to simultaneously determine the physical structure and chemical makeup of materials at close to the atomic level.
Above: Postdoctoral researchers Marvin Cummings (at right) and Nozomi Shirato adjust the microscope before an experiment.
When planning the precise and delicate procedure to remove a brain tumor, a neurosurgeon needs to know the exact location and dimensions of the invasive growth and the surrounding tissue. Because of the brain’s intricate network of neural pathways, altering one spot can adversely affect a patient’s speech, vision, mobility and cognition.
Nagarajan's lab specializes in detailed, high-fidelity brain imaging using magnetoencephalography (MEG), a quick, noninvasive procedure that measures the brain’s electromagnetic signals to visualize how things work inside.
Read the story at ctsi.ucsf.edu/news/about-ctsi/mapping-brain-predict-surge...
Learn more about Nagarajan's research at UCSF Profiles profiles.ucsf.edu/ProfileDetails.aspx?From=SE&Person=...
Field Trip - Roughdown Common - 13/06/17
I had an eventful trip to Roughdown Common whereby we planned to run as many traps as possible, conditions were absolutely perfect, warm and humid with some cloud cover.
We started the evening setting the first trap up in the field where there were three Cattle, Belted Galloways to be precise.
They greeted us and then seemed to leave us alone for a bit after cleaning the cars with their tongues and having a good old itch on Steve's rear bumper.
We left the field to set up a few more traps and then returned back to the car for more equipment, to our agony the trap had been thoroughly inspected by the cattle and there was slobber all over the trap and they did a mighty fine job of smashing the bulb but it could have been A LOT worse as the fragile plastic collar (the second most important part of the trap after the bulb) was still intact! How on earth it escaped being trodden on I do not know.
Luckily Ian said he would nip back home and grab his spare bulb and we moved the trap through the gate and shut the gate....but they had done their 'investigating' and moved off for the rest of the night down the bottom of the field.
After setting all the traps were set up, the battery operated one was low on juice..another minor set-back as we would only get possibly 2 hours life out of the tracer lithium ion battery.
Things come in three's and of course nothing could be worse than a generator stopping, yep that's what happened...trying to get it started again flooded the spark plug and luckily I could use the spare that I had brought with me.
Onto the moths and boy were we in for a night! The species just kept coming and coming and at one stage I couldn't keep typing the list.
There are a few to check but best species so far were singles of Obscure Wainscot, Anania perlucidalis, Anarsia innoxiella and two good plume species (one to be checked) Merrifieldia leucodactyla/baliodactylus and Gillmeria pallidactyla.
Thanks to Roger, Steve and Ian for helping out until the small hours, another successful trip with at least 160 species seen!
Catch Report - 13/06/17 - Roughdown Common - West Herts - 7 traps in total - 2x 125w MV Robinson Trap 1x 160w MBT Robinson Trap 1x 40w Actinic + 15w LED Trap 1x 80w Actinic Trap 2x 20w Wemlite Actinic Trap 1x 15w Actinic Portable Heath Trap
85 Macros & 75 Micros
160 species
Numbers approximate
Macro Moths
Alder Moth 2
Beautiful Hook-tip 6
Blue bordered Carpet 1
Brimstone 4
Broken-barred Carpet 2
Brown Rustic 5
Brown Scallop 2
Buff Ermine 1
Buff-tip 1
Cinnabar 1
Clay 1
Clouded Border 4
Clouded Brindle 1
Clouded Silver 8
Common Carpet 2
Common Marbled Carpet 4
Common Pug 1
Common Swift 3
Common White Wave 2
Coronet 12
Dark Arches 4
Double Square-spot 2
Double-striped Pug 1
Elephant Hawk-moth 2
Fern 3
Figure of Eighty 2
Flame 3
Flame Shoulder 2
Freyer's Pug 1
Garden Carpet 1
Ghost Moth 1
Green Carpet 5
Green Pug 5
Green Silver-lines 1
Grey Pug 5
Haworth's Pug 1
Heart & Club 1
Heart & Dart 10+
Ingrailed Clay 10
July Highflyer 1
Knot Grass 1
Large Nutmeg 4
Large Yellow Underwing 2
Lesser Yellow Underwing 1
Light Arches 1
Light Emerald 5
Lime-speck Pug 2
Maiden's Blush 1
Maple Prominent 2
Marbled White-spot 3
Middle-barred Minor 3
Miller 1
Mottled Beauty 5
Mottled Pug 1
Mottled Rustic 5
Obscure Wainscot 1
Orange Footman 1
Pale Prominent 1
Peppered Moth 2
Poplar Grey 1
Privet Hawk-moth 1
Purple Bar 2
Riband Wave 2
Rustic Shoulder-knot 2
Scorched Wing 2
Setaceous Hebrew Character 2
Shoulder-striped Wainscot 1
Shuttle-shaped Dart 2
Silver-ground Carpet 2
Small Angle Shades 1
Small Dusty Wave 1
Small Elephant Hawk-moth 1
Small Fan-foot 2
small Square-spot 1
Small Yellow Wave 1
Snout 2
Straw Dot 10
Swallow Prominent 1
Sycamore 2
Tawny Marbled Minor 2
Treble Lines 3
Turnip Moth 1
Uncertain 3
White Pinion-spotted 1
Wormwood Pug 1
Micro Moths
Agapeta hamana 4
Agapeta zoegana 10
Agonopterix arenella 2
Agonopterix purpurea 1
Aleimma loeflingiana 10
Anania hortulata 3
Anania perlucidalis 1
Anarsia innoxiella 1
Anthophila fabriciana 1
Aphomia sociella 1
Archips podana 2
Archips xylosteana 3
Argyresthia conjugella 2
Argyresthia curvella 2
Blastobasis lacticolella 3
Blastodacna hellerella 1
Bryotropha terrella 5
Caloptilia populetorum 1
Caloptilia robustella alchimiella 2
Caloptilia syringella 1
Celypha lacunana 15
Celypha striana 5
Chrysoteuchia culmella 5
Clepsis consimilana 5
Cnephasia sp 10
Cochylimorpha straminea 5
Cochylis dubitana 2
Cochylis molliculana 1
Crambus lathoniellus 5
Cydia fagiglandana 2
Dichrorampha sp 4
Ditula angustiorana 2
Emmetia marginea 1
Endothenia gentianaeana marginea 2
Epinotia bilunana 2
Epiphyas postvittana 1
Eucosma cana 10
Eudonia lacustrata 5
Eudonia pallida 3
Eulamprotes unicolorella 5
Eupoecilia angustana 15
Gillmeria pallidactyla 1
Grapholita funebrana 1
Gypsonoma sociana 1
Hedya nubiferana 5
Hedya pruniana 5
Homoeosoma sinuella 2
Merrifieldia leucodactyla or baliodactylus 1
Metzneria metzneriella 10+
Mompha ochraceella 1
Mompha subbistrigella 3
Nemophora degeerella 1
Nephopterix angustana 2
Notocelia trimaculana 15+
Notocelia uddmanniana 2
Pammene albuginana 1
Pandemis cerasana 10+
Pandemis cinnamomeana 1
Pandemis heparana 5
Paraswammerdamia albicapitella 1
Parornix sp 1
Phycita roborella 1
Prays fraxinella 2
Pseudargyrotoza conwagana 10+
Pseudoswammerdamia combinella 1
Scoparia ambigualis 5
Scoparia pyralella 10+
Scythropia crataegella 1
Stigmella sp 1
Strophedra weirana 1
Teleiodes luculella 5
Thiotricha subocellea 3
Tinea semifulvella 1
Tortrix viridana 10+
Udea olivalis 3
If you like modern, you will love this garden. Clean lines of climbing hydrangea usher a visitor to the front garden where unique, shade loving plants in crisp containers put on their show. The side garden is a lovely wooded understory featuring ferns, cimicifuga and lady’s mantle which curve along the side beautifully. The back yard is perfect with a terrace laid in a precise design with a cut out in the middle for a fantastic and everchanging show of perennials and unique annuals. A curve of variegated liriope punctuates the edge of the terrace and leads to the tranquil fountain which bubbles continuously for the spring, summer and fall. On the balcony, containers of canna lilies and aromatic jasmine create a tropical oasis. This garden manages to be cool and calm, modern and serene, and wonderfully welcoming all at the same time. More at www.WestoverLD.com
The kit and its assembly:
This is a what-if model, but, as usual, it is rooted in reality – to be precise in the German late-war plans to mate the Ta 152(H) with the mighty Jumo 222 engine. I do not know what the official service designation would have been, but this combo would have resulted in a powerful fighter – AFAIK, German engineers’ calculations indicated a performance that would have been comparable with the post-WWII F4U-5!
Creating a model of such this paper aircraft called for some serious conversion work and ended almost in a kitbashing. The starting point became a (cheap) Mistercraft Fw 190D-9 kit, and I originally planned this model to be a Fw 190 variant, but eventually this turned into a Ta 152, since it would better match up with the late war time frame.
The Mastercraft/Mistercraft kit appears to be an indigenous mold and not a re-issue of a vintage kit. At first glance the parts look pretty crisp, but the kit has some serious fit and flash issues. Another selling point is the detailed decal set, which comes in three sheets and encompasses a lot of stencils – even though the instructions where to place them are not consistent, and there are even 1:48 scale(!) markings included. But that’s a Mastercraft/Mistercraft standard, anyway…
Well, the basis was sound and the kit would, in any event, be thoroughly modified. From the OOB kit, fuselage, wings and stabilizers were taken, as well as the landing gear and some other bits.
The wings were extended, in order to keep overall proportions with the new, much more massive engine cowling balanced (see below). Not an easy stunt, but I was lucky to have recently bought a set of resin Doppelreiter tanks from Airmodel which were just perfect to cover the cuts and seams on the upper wing surfaces. Inside of the wings, a styrene strip secured stability while the lower wing surface was sculpted with putty and the trailing edge of the outer wing panels was cut down by 1 mm, so that the wings’ outlines match again. Some further PSR work was necessary to blend the slipper tanks into the wings, forming the upper side of the modifications, but in the end the whole thing looks quite good.
The fuselage lost both its original engine and the tail. The latter is a donor part from a Frog Ta 152H (Revell re-boxing), but mating it with the Mistercraft Fw 190D was not easy because the fuselage shapes of the two kits are totally different! I also used the Mistercraft stabilizers because they were markedly bigger than the same parts from the Ta 152 kit!
The Jumo 222 front end was simulated with parts from the spares box, and it is a bit exaggerated. Actually, the Jumo 222 was hardly bigger (in both length and diameter) than the Fw 190D’s Jumo 213 V12 engine! The cowling and the radiator for my conversion came from a Frog He 219 engine nacelle (Revell re-boxing, too) which is utterly dubious. The nacelle parts were turned upside down and integrated into the slender Fw 190 front fuselage with several layers of putty.
Inside of the cowling, a radiator plate from an Italeri Fw 190D was mounted, together with a styrene tube adapter for the new propeller. The latter was scratched, using a drop tank as spinner and single propeller blades from the Mistercraft Fw 190D, plus one donor blade from the Frog Ta 152H kit, which had to be trimmed in order to match the other blades. But with some paint, no one will tell the small differences…
Once the bigger engine was integrated into the fuselage, the exhaust system had to be added. In real life, the Jumo 222 would have featured three clusters with two rows of four exhaust stubs, distributed evenly around the cowling. Using a drawing of this arrangement as benchmark, I started with square cuts for the cluster openings. From the back side, styrene sheet closed the gaps and offered a basis for the exhaust stubs. These were improvised with H0 scale roofing shingles – each of the 24 exhaust stubs was cut individually into shape and size and then glued into the respective openings on the upper flanks and under the engine. Finally, styrene sheet was used to create small spoilers and heat shields. The result is certainly not perfect, but comes close to what the real world arrangement would basically have looked like. In a final step, two air intakes for the two-stage supercharger, scratched from sprue material, were added to the flanks.
The cockpit remained OOB, simple as it is, as well as the landing gear, but the canopy was modified in order to allow a presentation in open position. This meant that the OOB canopy had to be cut in two parts and that the model’s spine had to be cut away, making place for a donor canopy (the late, bulged variant, IIRC from an Italeri Fw 190D-9). Internally the fuselage gap was filled with putty and the headrest had to be modified, too, but the conversion turned out to look better than expected.
As a small cosmetic improvement, the molded gun barrel stumps in the wing roots were replaced with hollow steel needles, and the outer guns were completely removed.
The kit and its assembly:
This is a what-if model, but, as usual, it is rooted in reality – to be precise in the German late-war plans to mate the Ta 152(H) with the mighty Jumo 222 engine. I do not know what the official service designation would have been, but this combo would have resulted in a powerful fighter – AFAIK, German engineers’ calculations indicated a performance that would have been comparable with the post-WWII F4U-5!
Creating a model of such this paper aircraft called for some serious conversion work and ended almost in a kitbashing. The starting point became a (cheap) Mistercraft Fw 190D-9 kit, and I originally planned this model to be a Fw 190 variant, but eventually this turned into a Ta 152, since it would better match up with the late war time frame.
The Mastercraft/Mistercraft kit appears to be an indigenous mold and not a re-issue of a vintage kit. At first glance the parts look pretty crisp, but the kit has some serious fit and flash issues. Another selling point is the detailed decal set, which comes in three sheets and encompasses a lot of stencils – even though the instructions where to place them are not consistent, and there are even 1:48 scale(!) markings included. But that’s a Mastercraft/Mistercraft standard, anyway…
Well, the basis was sound and the kit would, in any event, be thoroughly modified. From the OOB kit, fuselage, wings and stabilizers were taken, as well as the landing gear and some other bits.
The wings were extended, in order to keep overall proportions with the new, much more massive engine cowling balanced (see below). Not an easy stunt, but I was lucky to have recently bought a set of resin Doppelreiter tanks from Airmodel which were just perfect to cover the cuts and seams on the upper wing surfaces. Inside of the wings, a styrene strip secured stability while the lower wing surface was sculpted with putty and the trailing edge of the outer wing panels was cut down by 1 mm, so that the wings’ outlines match again. Some further PSR work was necessary to blend the slipper tanks into the wings, forming the upper side of the modifications, but in the end the whole thing looks quite good.
The fuselage lost both its original engine and the tail. The latter is a donor part from a Frog Ta 152H (Revell re-boxing), but mating it with the Mistercraft Fw 190D was not easy because the fuselage shapes of the two kits are totally different! I also used the Mistercraft stabilizers because they were markedly bigger than the same parts from the Ta 152 kit!
The Jumo 222 front end was simulated with parts from the spares box, and it is a bit exaggerated. Actually, the Jumo 222 was hardly bigger (in both length and diameter) than the Fw 190D’s Jumo 213 V12 engine! The cowling and the radiator for my conversion came from a Frog He 219 engine nacelle (Revell re-boxing, too) which is utterly dubious. The nacelle parts were turned upside down and integrated into the slender Fw 190 front fuselage with several layers of putty.
Inside of the cowling, a radiator plate from an Italeri Fw 190D was mounted, together with a styrene tube adapter for the new propeller. The latter was scratched, using a drop tank as spinner and single propeller blades from the Mistercraft Fw 190D, plus one donor blade from the Frog Ta 152H kit, which had to be trimmed in order to match the other blades. But with some paint, no one will tell the small differences…
Once the bigger engine was integrated into the fuselage, the exhaust system had to be added. In real life, the Jumo 222 would have featured three clusters with two rows of four exhaust stubs, distributed evenly around the cowling. Using a drawing of this arrangement as benchmark, I started with square cuts for the cluster openings. From the back side, styrene sheet closed the gaps and offered a basis for the exhaust stubs. These were improvised with H0 scale roofing shingles – each of the 24 exhaust stubs was cut individually into shape and size and then glued into the respective openings on the upper flanks and under the engine. Finally, styrene sheet was used to create small spoilers and heat shields. The result is certainly not perfect, but comes close to what the real world arrangement would basically have looked like. In a final step, two air intakes for the two-stage supercharger, scratched from sprue material, were added to the flanks.
The cockpit remained OOB, simple as it is, as well as the landing gear, but the canopy was modified in order to allow a presentation in open position. This meant that the OOB canopy had to be cut in two parts and that the model’s spine had to be cut away, making place for a donor canopy (the late, bulged variant, IIRC from an Italeri Fw 190D-9). Internally the fuselage gap was filled with putty and the headrest had to be modified, too, but the conversion turned out to look better than expected.
As a small cosmetic improvement, the molded gun barrel stumps in the wing roots were replaced with hollow steel needles, and the outer guns were completely removed.
The kit and its assembly:
This is a what-if model, but, as usual, it is rooted in reality – to be precise in the German late-war plans to mate the Ta 152(H) with the mighty Jumo 222 engine. I do not know what the official service designation would have been, but this combo would have resulted in a powerful fighter – AFAIK, German engineers’ calculations indicated a performance that would have been comparable with the post-WWII F4U-5!
Creating a model of such this paper aircraft called for some serious conversion work and ended almost in a kitbashing. The starting point became a (cheap) Mistercraft Fw 190D-9 kit, and I originally planned this model to be a Fw 190 variant, but eventually this turned into a Ta 152, since it would better match up with the late war time frame.
The Mastercraft/Mistercraft kit appears to be an indigenous mold and not a re-issue of a vintage kit. At first glance the parts look pretty crisp, but the kit has some serious fit and flash issues. Another selling point is the detailed decal set, which comes in three sheets and encompasses a lot of stencils – even though the instructions where to place them are not consistent, and there are even 1:48 scale(!) markings included. But that’s a Mastercraft/Mistercraft standard, anyway…
Well, the basis was sound and the kit would, in any event, be thoroughly modified. From the OOB kit, fuselage, wings and stabilizers were taken, as well as the landing gear and some other bits.
The wings were extended, in order to keep overall proportions with the new, much more massive engine cowling balanced (see below). Not an easy stunt, but I was lucky to have recently bought a set of resin Doppelreiter tanks from Airmodel which were just perfect to cover the cuts and seams on the upper wing surfaces. Inside of the wings, a styrene strip secured stability while the lower wing surface was sculpted with putty and the trailing edge of the outer wing panels was cut down by 1 mm, so that the wings’ outlines match again. Some further PSR work was necessary to blend the slipper tanks into the wings, forming the upper side of the modifications, but in the end the whole thing looks quite good.
The fuselage lost both its original engine and the tail. The latter is a donor part from a Frog Ta 152H (Revell re-boxing), but mating it with the Mistercraft Fw 190D was not easy because the fuselage shapes of the two kits are totally different! I also used the Mistercraft stabilizers because they were markedly bigger than the same parts from the Ta 152 kit!
The Jumo 222 front end was simulated with parts from the spares box, and it is a bit exaggerated. Actually, the Jumo 222 was hardly bigger (in both length and diameter) than the Fw 190D’s Jumo 213 V12 engine! The cowling and the radiator for my conversion came from a Frog He 219 engine nacelle (Revell re-boxing, too) which is utterly dubious. The nacelle parts were turned upside down and integrated into the slender Fw 190 front fuselage with several layers of putty.
Inside of the cowling, a radiator plate from an Italeri Fw 190D was mounted, together with a styrene tube adapter for the new propeller. The latter was scratched, using a drop tank as spinner and single propeller blades from the Mistercraft Fw 190D, plus one donor blade from the Frog Ta 152H kit, which had to be trimmed in order to match the other blades. But with some paint, no one will tell the small differences…
Once the bigger engine was integrated into the fuselage, the exhaust system had to be added. In real life, the Jumo 222 would have featured three clusters with two rows of four exhaust stubs, distributed evenly around the cowling. Using a drawing of this arrangement as benchmark, I started with square cuts for the cluster openings. From the back side, styrene sheet closed the gaps and offered a basis for the exhaust stubs. These were improvised with H0 scale roofing shingles – each of the 24 exhaust stubs was cut individually into shape and size and then glued into the respective openings on the upper flanks and under the engine. Finally, styrene sheet was used to create small spoilers and heat shields. The result is certainly not perfect, but comes close to what the real world arrangement would basically have looked like. In a final step, two air intakes for the two-stage supercharger, scratched from sprue material, were added to the flanks.
The cockpit remained OOB, simple as it is, as well as the landing gear, but the canopy was modified in order to allow a presentation in open position. This meant that the OOB canopy had to be cut in two parts and that the model’s spine had to be cut away, making place for a donor canopy (the late, bulged variant, IIRC from an Italeri Fw 190D-9). Internally the fuselage gap was filled with putty and the headrest had to be modified, too, but the conversion turned out to look better than expected.
As a small cosmetic improvement, the molded gun barrel stumps in the wing roots were replaced with hollow steel needles, and the outer guns were completely removed.
1. Quite a precise message., 2. Message for my friends, 3. Message #3, 4. Message #1, 5. Message, 6. squared circle with a message, 7. Message from London, 8. The Message, 9. Secret message, 10. Message, 11. Text message poster, 12. self explaining addiction, 13. your karma is leaking, 14. good advice, 15. ... and Nice Shoes. I Like You., 16. Message in a bottle?, 17. Crosswalk anti-smoking message, Singapore, 18. Secret Message, 19. Message in a Bottle 1, 20. New Twitter Message?, 21. 9.29.06: Ghost putty., 22. hearts, 23. Message from Paul Graham, 24. Promises, promises, 25. Multimedia message, 26. I miss you., 27. "I just feel to cry.", 28. "Increase The Peace", 29. message of love?, 30. RESPECT, 31. Tweeting on a glassboard, 32. Life question..., 33. Public Service Announcement, 34. flee_from_conformity, 35. Sueña más trabaja menos, 36. I don't take orders
Created with fd's Flickr Toys.
Went for some long expsoure shots at Cabarita Headland. There were lots of clouds around. This is 7 minutes exposure or to be precise 423 seconds. The full moon was shining through the clouds at my left.
f11 423 seconds ISO100
By pairing the capabilities of X-ray analysis and extremely precise microscopy, scientists at Argonne have developed a way to simultaneously determine the physical structure and chemical makeup of materials at close to the atomic level.
Above: This insulator-coated “smart tip” for synchrotron X-ray scanning tunneling microscopy confines the signal detection to a tiny region of a sample. The nanofabricated tips have been developed by an Argonne team led by nanoscientist Volker Rose to improve the sensitivity of the SXSTM technique.
Photo courtesy Volker Rose / Argonne National Laboratory
Precise Next Generation Design and Stout Construction
The Swell Surf System utilizes high-speed rams to adjust 5/16-inch stainless steel blades laser cut and bent to control water turbulence off the rear of the boat's running surface. The specially designed trailing edge of these blades, or flaps as these types of elements are referred to in a fluid dynamics, create a vortex-effect behind the boat resulting in specific wave shapes. Different angels of deployment of the blades create custom effects in the water turbulence to swell-up Skim and Barrel waves. Swell blades benefit from a shot peen finish, a strengthening process commonly utilized in aeronautical construction, to increase the fatigue life of the piece. The Swell System is mounted and held together by a series of stainless steel through-bolts and stainless brackets for an extremely stable platform for wave making. The Swell Surf System is available on 2014 Supra SA and SC wake boat models only.
Serge Nsombo follows a precise feeding schedule for his fish. The fish feed is mainly a mixture of maize meal and soya beans.
Want sharp optics, a precise German shutter and ability to take instant photos on a 3x4" film? Based on a standard Polaroid 420 Automatic Land Camera, this camera has been extensively modified to be able to shoot at professional standards.
The original f8.8 lens and automatic shutter have been replaced with a 1960's, Industar, multi-coated 110mm, f4.5 lens (based on a Zeiss Ikon design), which is mounted in a Pronto size 0 shutter. The shutter features full X-sync for flash, cable release socket, bulb mode and self timer, making it perfect for shooting in all scenarios. The mechanical nature of the shutter also means that the camera does not require batteries.
The new 110mm lens is not only faster than the original lens, but also much sharper, and delivers results on par with a Polaroid 180. It features a beautifully shallow depth of field when wide open, with lovely bokeh. Coverage is 100% full frame, with no vignetting. This makes the camera the perfect choice for anyone wanting manual control over their shots, on a totally unique camera.
Features:
- Industar, 110mm, f4.5 coated glass lens (based on a Zeiss Ikon design)
- Pronto size 0 shutter, with bulb mode, cable release and X-sync for flash, range from 1/200th to bulb mode. The shutter also features a countdown timer for timed shots.
- Aperture range from f4.5 to above f22
- Lens adapter to accept any 43mm filters
- Twin window rangefinder/viewfinder with projected framelines and automatic parallax compensation rangefinder/viewfinder
- Cold shoe mount for flash and other accessories
- Removable front cover
- Folding bellows design
- Neck strap
- Storage area at the back of the camera, for cleaning cloths etc
- Custom black accents
- Compatible with ALL Type 100 films, such as Fuji FP-100C and FP-3000B, as well as expired Polaroid brand films.
The 110mm Industar lens has been re-calibrated and mounted to focus optimally with the original 114mm rangefinder, with sharp portraits the number one priority. Infinity distance is also nice and sharp.
Lastly, the camera has had it's original light grey panels and doors replaced with some nice sleak black ones, giving the camera a stealthy look. The rear door also features a count-down timer, which counts down the seconds required for the film to develop.
Currently a classroom, there are old showers on one side. This used to be the gym.
Woodrow Wilson Hall, formerly known as the Shadow Lawn mansion, was built in 1929 at a cost of $10.5 million as the private residence of former F.W. Woolworth Co. president Hubert Templeton Parson and his wife Maysie. Philadelphia architect Horace Trumbauer and his assistant Julian Abele, the first African-American professional architect, designed the mansion in the neoclassical French tradition. The construction incorporates limestone quarried in Bedford, Indiana (also used in the Empire State Building), steel, concrete, and 50 varieties of Italian marble.
Wilson Hall
The mansion stands upon the precise site of the original Shadow Lawn, which was destroyed by fire in 1927, soon after $1 million had been spent on its refurbishing. That former colonial frame structure contained 52 rooms and was built in 1903 for John A. McCall, former president of the New York Life Insurance Co.
It was later purchased by Joseph B. Greenhut, the head of Siegel, Cooper Co., a New York department store. Greenhut loaned the mansion to President Woodrow Wilson during the campaign of 1916 as the presidential summer home. Thereafter it was known as the Summer White House.
The current mansion fell under municipal ownership in the Depression, and later served as the site of a private girls' school until the University (then known as Monmouth College) acquired the property in 1956.
The mansion underwent extensive restoration in the 1980s, beginning in 1984 as part of Monmouth's 50th anniversary. Funding for the $770,000 project came from the McMurray-Bennett Foundation, the National Endowment for the Humanities, the State of New Jersey, and private contributions.
In 1978, along with the University's Guggenheim Memorial Library, Wilson Hall was entered in the National Register of Historic Places. In 1985, the U.S. Department of the Interior designated it a National Historic Landmark.
The building encompasses some 130 rooms on three main floors, plus rooftop and lower-level rooms. In the main portion, there are 96 rooms, which include what once were 17 master suites and 19 baths. Each of the baths was decorated and furnished in a different period and had gold-plated or silver-plated fixtures.
Covering the parquet floors were 60,000 square feet of carpeting and 146 rugs specially designed and loomed in Europe and Asia. It took four years to complete the order. A rug woven in the Canary Islands and measuring 24 feet by 93 feet covered the main floor of the Great Hall, also known as Haslam Slocum Hall.
Wilson Hall has been described in newspapers throughout the world, is featured in many books on architecture and art, and has been used as backdrop for innumerable print ads and television commercials. It also served as the setting for the 1982 film version of Annie.
Woodrow Wilson Hall is the administrative center of the University, though classes are still held in the building.
Woodrow Wilson Hall, formerly known as the Shadow Lawn mansion, was built in 1929 at a cost of $10.5 million as the private residence of former F.W. Woolworth Co. president Hubert Templeton Parson and his wife Maysie. Philadelphia architect Horace Trumbauer and his assistant Julian Abele, the first African-American professional architect, designed the mansion in the neoclassical French tradition. The construction incorporates limestone quarried in Bedford, Indiana (also used in the Empire State Building), steel, concrete, and 50 varieties of Italian marble.
Wilson Hall
The mansion stands upon the precise site of the original Shadow Lawn, which was destroyed by fire in 1927, soon after $1 million had been spent on its refurbishing. That former colonial frame structure contained 52 rooms and was built in 1903 for John A. McCall, former president of the New York Life Insurance Co.
It was later purchased by Joseph B. Greenhut, the head of Siegel, Cooper Co., a New York department store. Greenhut loaned the mansion to President Woodrow Wilson during the campaign of 1916 as the presidential summer home. Thereafter it was known as the Summer White House.
The current mansion fell under municipal ownership in the Depression, and later served as the site of a private girls' school until the University (then known as Monmouth College) acquired the property in 1956.
The mansion underwent extensive restoration in the 1980s, beginning in 1984 as part of Monmouth's 50th anniversary. Funding for the $770,000 project came from the McMurray-Bennett Foundation, the National Endowment for the Humanities, the State of New Jersey, and private contributions.
In 1978, along with the University's Guggenheim Memorial Library, Wilson Hall was entered in the National Register of Historic Places. In 1985, the U.S. Department of the Interior designated it a National Historic Landmark.
The building encompasses some 130 rooms on three main floors, plus rooftop and lower-level rooms. In the main portion, there are 96 rooms, which include what once were 17 master suites and 19 baths. Each of the baths was decorated and furnished in a different period and had gold-plated or silver-plated fixtures.
Covering the parquet floors were 60,000 square feet of carpeting and 146 rugs specially designed and loomed in Europe and Asia. It took four years to complete the order. A rug woven in the Canary Islands and measuring 24 feet by 93 feet covered the main floor of the Great Hall, also known as Haslam Slocum Hall.
Wilson Hall has been described in newspapers throughout the world, is featured in many books on architecture and art, and has been used as backdrop for innumerable print ads and television commercials. It also served as the setting for the 1982 film version of Annie.
Woodrow Wilson Hall is the administrative center of the University, though classes are still held in the building.
Precise Next Generation Design and Stout Construction
The Swell Surf System utilizes high-speed rams to adjust 5/16-inch stainless steel blades laser cut and bent to control water turbulence off the rear of the boat's running surface. The specially designed trailing edge of these blades, or flaps as these types of elements are referred to in a fluid dynamics, create a vortex-effect behind the boat resulting in specific wave shapes. Different angels of deployment of the blades create custom effects in the water turbulence to swell-up Skim and Barrel waves. Swell blades benefit from a shot peen finish, a strengthening process commonly utilized in aeronautical construction, to increase the fatigue life of the piece. The Swell System is mounted and held together by a series of stainless steel through-bolts and stainless brackets for an extremely stable platform for wave making. The Swell Surf System is available on 2014 Supra SA and SC wake boat models only.
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
With issue #3 we continued with the full size format and doubled the number of pages. The covered featured Beastie Boys.
Inside featured works by Acrow, Ades, Aeros, Aezer, Aiomoa, Airow, AM7, Anok, Apel, Apok, Asa, Asia, Auph, Base, Blood, Bom 5, Bruin, Bsie, Cameo, Ceb, Ced, Cen, Cero, Ces, Chief, Cinge, Clear, Close, Codeak, Comic, Cue, Daim, Delta, Demo, Demon, Digit, Denser, Desk, Dev, Dome, Dork, Drone, Dymer, Enamel, Esac, Exist, Fanta, Furious, FX, Fyter, Gen, Ges, Givr, GK, God One, Goul, Hash, Hate, Heinz, Hero, Hiky, Hoka, Huge, Hype, Jear, Jeks, Jelous, Jes, Jest, Joe, Jose, Josh, Jury, Just, Kaput, Kasino, Kazm, Ked, Kedz, Kep, Kers, Kerze, Kev, Kib, Kim, King Size, Kirs, Knees, KRS, Krull, Lady Blue, Learn, Loomit, Luate, Pose 2, Per One, Precise, Puma, Punch, Pupher, Push, Raju, Random, Razer, Rebus, Red, Reksa, Reminisce, Rens, Rust, Toast, Twist (Barry McGee), Vendr, and many others.
Some of the articles included:
Editorial
Not Your Typical Gap Girl
Darwin Award Finalists
Phony Sweatshop Reform
Procter & Gamble Kills Animals
Banned Books in Public Schools
The top 50 Greatest MCs Ever
Fan Mail
Movie Reviews
Nice precise fit of an original old Stronglight chainring nut in the counter-bore of the new chainring.
For more info or to purchase this or another low gearing chainring, browse the website: www.redclovercomponents.com/
The first Ford Capri to bear that precise name was introduced in January 1969 at the Brussels Motor Show, with sales starting the following month. The intention was to reproduce in Europe the success Ford had had with the North American Ford Mustang; to produce a European pony car. It was mechanically based on the Cortina and built in Europe at the Dagenham and Halewood plants in the United Kingdom, the Genk plant in Belgium, and the Saarlouis and Cologne plants in Germany. The car was named Colt during development stage, but Ford were unable to use the name, as it was trademarked by Mitsubishi.
(Wikipedia)
- - -
Der Capri wurde im Januar 1969 auf dem Brüsseler Autosalon offiziell präsentiert, der Verkauf begann im Februar. Mit dem Capri wollte Ford den Erfolg, den das Unternehmen mit dem Ford Mustang in den USA erzielt hatte, in Europa wiederholen und eine Art europäisches „Pony Car“ anbieten. Das Fahrwerk wurde vom englischen Ford Cortina übernommen, die Motoren zum Teil vom deutschen Ford Taunus. Hergestellt wurde er in den britischen Werken Dagenham und Halewood, im belgischen Genk und in den deutschen Ford-Fabriken Saarlouis und Köln. Der Entwicklungsname des Capri lautete Colt; da der Name aber rechtlich von Mitsubishi geschützt war, konnte Ford ihn für sein Serienmodell nicht verwenden.
(Wikipedia)
The kit and its assembly:
This is a what-if model, but, as usual, it is rooted in reality – to be precise in the German late-war plans to mate the Ta 152(H) with the mighty Jumo 222 engine. I do not know what the official service designation would have been, but this combo would have resulted in a powerful fighter – AFAIK, German engineers’ calculations indicated a performance that would have been comparable with the post-WWII F4U-5!
Creating a model of such this paper aircraft called for some serious conversion work and ended almost in a kitbashing. The starting point became a (cheap) Mistercraft Fw 190D-9 kit, and I originally planned this model to be a Fw 190 variant, but eventually this turned into a Ta 152, since it would better match up with the late war time frame.
The Mastercraft/Mistercraft kit appears to be an indigenous mold and not a re-issue of a vintage kit. At first glance the parts look pretty crisp, but the kit has some serious fit and flash issues. Another selling point is the detailed decal set, which comes in three sheets and encompasses a lot of stencils – even though the instructions where to place them are not consistent, and there are even 1:48 scale(!) markings included. But that’s a Mastercraft/Mistercraft standard, anyway…
Well, the basis was sound and the kit would, in any event, be thoroughly modified. From the OOB kit, fuselage, wings and stabilizers were taken, as well as the landing gear and some other bits.
The wings were extended, in order to keep overall proportions with the new, much more massive engine cowling balanced (see below). Not an easy stunt, but I was lucky to have recently bought a set of resin Doppelreiter tanks from Airmodel which were just perfect to cover the cuts and seams on the upper wing surfaces. Inside of the wings, a styrene strip secured stability while the lower wing surface was sculpted with putty and the trailing edge of the outer wing panels was cut down by 1 mm, so that the wings’ outlines match again. Some further PSR work was necessary to blend the slipper tanks into the wings, forming the upper side of the modifications, but in the end the whole thing looks quite good.
The fuselage lost both its original engine and the tail. The latter is a donor part from a Frog Ta 152H (Revell re-boxing), but mating it with the Mistercraft Fw 190D was not easy because the fuselage shapes of the two kits are totally different! I also used the Mistercraft stabilizers because they were markedly bigger than the same parts from the Ta 152 kit!
The Jumo 222 front end was simulated with parts from the spares box, and it is a bit exaggerated. Actually, the Jumo 222 was hardly bigger (in both length and diameter) than the Fw 190D’s Jumo 213 V12 engine! The cowling and the radiator for my conversion came from a Frog He 219 engine nacelle (Revell re-boxing, too) which is utterly dubious. The nacelle parts were turned upside down and integrated into the slender Fw 190 front fuselage with several layers of putty.
Inside of the cowling, a radiator plate from an Italeri Fw 190D was mounted, together with a styrene tube adapter for the new propeller. The latter was scratched, using a drop tank as spinner and single propeller blades from the Mistercraft Fw 190D, plus one donor blade from the Frog Ta 152H kit, which had to be trimmed in order to match the other blades. But with some paint, no one will tell the small differences…
Once the bigger engine was integrated into the fuselage, the exhaust system had to be added. In real life, the Jumo 222 would have featured three clusters with two rows of four exhaust stubs, distributed evenly around the cowling. Using a drawing of this arrangement as benchmark, I started with square cuts for the cluster openings. From the back side, styrene sheet closed the gaps and offered a basis for the exhaust stubs. These were improvised with H0 scale roofing shingles – each of the 24 exhaust stubs was cut individually into shape and size and then glued into the respective openings on the upper flanks and under the engine. Finally, styrene sheet was used to create small spoilers and heat shields. The result is certainly not perfect, but comes close to what the real world arrangement would basically have looked like. In a final step, two air intakes for the two-stage supercharger, scratched from sprue material, were added to the flanks.
The cockpit remained OOB, simple as it is, as well as the landing gear, but the canopy was modified in order to allow a presentation in open position. This meant that the OOB canopy had to be cut in two parts and that the model’s spine had to be cut away, making place for a donor canopy (the late, bulged variant, IIRC from an Italeri Fw 190D-9). Internally the fuselage gap was filled with putty and the headrest had to be modified, too, but the conversion turned out to look better than expected.
As a small cosmetic improvement, the molded gun barrel stumps in the wing roots were replaced with hollow steel needles, and the outer guns were completely removed.
“A Little Tale”…
He was not of this earthly plane. To be precise, he was trapped here…unable to find the portal or open it, on those occasions when it became visible to him, between this earthly plane and his home on the Other side deep down in the fiery dark hot smelly bowels of hell.
He had been trapped on this side for so long, at least 250-300 earthly years, which to him was far too long. He hungered for his dark hot smelly cesspool of a home. Each new day he didn’t think he could endure even for one more second the singing of those creatures called birds, the bright colors of the flowers, the intensity of the sun, and oh, all that horrible lush green foliage, as well as the sound of human laughter, especially the young ones.
So, to avoid all that horror, he slept during the time of the light and was awake when darkness fell and that hot bright sun set. He was a denizen of the night. A creature of darkness.
He kept completely to himself, for the most part, when it came to interacting with those “in body” beings called humans. Although he was forced on occasion to interact with these humans, he found them repulsive. Well, truth be told, not all were repulsive to him. Being a creature from the Other side, he possessed many abilities that these repulsive humans did not. Their bodies and minds limited them and they, unaware or uncaring, didn’t know or attempt to find out that they could have at least some of the same abilities he possessed if they just opened their minds. But, they were content to be thick blocks of cement going through their pathetic daily rituals as if they were something of importance.
One of his abilities, and the one that alerted him to the humans that were not repulsive to him, was that he could see inside of each and every one of them… right to their very souls. He could weed through them and find the ones with the black evil hearts. Now, those were his kind of beings for he knew when they left their clumsy earthly bodies and passed through that elusive portal, separating this world from the next, they would reside in the bowels of hell, where he belonged and should be, and be like him.
Now, with these humans, he developed a false relationship with them. Evil as he was, he wanted no relationships, attachments or the like. No, he did this because he needed them and wanted to use them or rather their souls, when their human hearts stopped beating, indicating the body had died and their souls were released, as a means to either push their souls aside and leave them stranded and earthbound and slip through the portal to reach his home or to attach himself to their black souls as they passed through the portal to hell.
For two years he tried to “tag along” on the black hearts souls’ passage from his world through the portal to hell, but each time his efforts failed. When he was with them when they died, their death being a result of his actions, he saw the portal, which appeared at each black hearted human’s death, but he could not pass through it with them. Their souls, screaming in horror and terror, passed through the portal and left this world for their new residence in hell, and he remained behind.
When he first got trapped on this side 250-300 human years ago due to a stupid mistake on his part, he spent the first 50-100 of these human earth rotation years looking for the portal to home, but to no avail. Then, he became aware of these humans and realized he could see into them and find those with black hearts. That is when the idea came to him to either tag along or push their dark souls aside after their human hearts stopped beating and pass through the portal to home, leaving them behind.
But, waiting years for them to die was excruciating on top of the fact that when they did die, he was still left behind. He had to wait for their death and then he remained here…still trapped. So, he became obsessed to find a quicker way to get back to his hell. Using all his black magic and spells, as well as any tool or instrument at hand, he began to kill black hearted humans…one after another. He would go to prisons where the crop of evil hearts was more than plentiful and kill and kill and kill, tagging along or trying to push their screaming horror filled black souls aside. But, he failed each and every time. He could not understand why.
When he saw the portal to hell, he would get a glimpse of his home… all fiery, hot, dank, and dark and he could hear the screams of those damned to live there for eternity. His hunger to get there increased even more.
He held back some black hearted souls, who were grateful not to be damned and allowed to remain on this earthly plane, as his slaves to do his bidding. He would command them to kill human after human along with him and help him try to use any way possible as a means to get through that portal, but he could not. For….The Angel of Death would not let him pass through and return home to hell. He was trapped here. Trapped.
Each day when he slept, his mind relived the day he made that stupid blunder which caused him to remain on this side. He tried to figure out how to reverse what he had done. Day after day, earth rotation after earth rotation, he thought while he slept, but nothing came to him. No idea, no discovery, no answer, no sign…nothing.
But, what did come to him was the realization that because he enjoyed, no reveled, in his damnation and loved the smelly fiery bowels of hell with all the screaming and crying black hearted souls, it was deemed that was not punishment for his evil. The punishment of damnation meant he should suffer, not enjoy his fate. So, he was tricked into making that stupid error and lost access to the portal to hell, thus preventing him from going home forever. He was now, truly damned and punished.”
~ Marsha J West, Author*
* The “A Little Tale” is my original idea and story. I am the author of that story and it is my property. Thus, it cannot be copied, reproduced, reprinted or used in any way or any medium. Also, this hutch is my original idea, creation and design. It is also my creative property. It is not to be copied, resold or reproduced.
©2013 Julia Forsyth, Pilot Precise Rolling Ball pen on paper, 4"x4" #art #arts #drawing #sketch #sketching #texas #texasart #mockingbird #statebird #birdart #hatching
This drawing is based on Bruce Tuten's Creative Commons photo of a mockingbird: bit.ly/11g5ZA2
The kit and its assembly:
This is a what-if model, but, as usual, it is rooted in reality – to be precise in the German late-war plans to mate the Ta 152(H) with the mighty Jumo 222 engine. I do not know what the official service designation would have been, but this combo would have resulted in a powerful fighter – AFAIK, German engineers’ calculations indicated a performance that would have been comparable with the post-WWII F4U-5!
Creating a model of such this paper aircraft called for some serious conversion work and ended almost in a kitbashing. The starting point became a (cheap) Mistercraft Fw 190D-9 kit, and I originally planned this model to be a Fw 190 variant, but eventually this turned into a Ta 152, since it would better match up with the late war time frame.
The Mastercraft/Mistercraft kit appears to be an indigenous mold and not a re-issue of a vintage kit. At first glance the parts look pretty crisp, but the kit has some serious fit and flash issues. Another selling point is the detailed decal set, which comes in three sheets and encompasses a lot of stencils – even though the instructions where to place them are not consistent, and there are even 1:48 scale(!) markings included. But that’s a Mastercraft/Mistercraft standard, anyway…
Well, the basis was sound and the kit would, in any event, be thoroughly modified. From the OOB kit, fuselage, wings and stabilizers were taken, as well as the landing gear and some other bits.
The wings were extended, in order to keep overall proportions with the new, much more massive engine cowling balanced (see below). Not an easy stunt, but I was lucky to have recently bought a set of resin Doppelreiter tanks from Airmodel which were just perfect to cover the cuts and seams on the upper wing surfaces. Inside of the wings, a styrene strip secured stability while the lower wing surface was sculpted with putty and the trailing edge of the outer wing panels was cut down by 1 mm, so that the wings’ outlines match again. Some further PSR work was necessary to blend the slipper tanks into the wings, forming the upper side of the modifications, but in the end the whole thing looks quite good.
The fuselage lost both its original engine and the tail. The latter is a donor part from a Frog Ta 152H (Revell re-boxing), but mating it with the Mistercraft Fw 190D was not easy because the fuselage shapes of the two kits are totally different! I also used the Mistercraft stabilizers because they were markedly bigger than the same parts from the Ta 152 kit!
The Jumo 222 front end was simulated with parts from the spares box, and it is a bit exaggerated. Actually, the Jumo 222 was hardly bigger (in both length and diameter) than the Fw 190D’s Jumo 213 V12 engine! The cowling and the radiator for my conversion came from a Frog He 219 engine nacelle (Revell re-boxing, too) which is utterly dubious. The nacelle parts were turned upside down and integrated into the slender Fw 190 front fuselage with several layers of putty.
Inside of the cowling, a radiator plate from an Italeri Fw 190D was mounted, together with a styrene tube adapter for the new propeller. The latter was scratched, using a drop tank as spinner and single propeller blades from the Mistercraft Fw 190D, plus one donor blade from the Frog Ta 152H kit, which had to be trimmed in order to match the other blades. But with some paint, no one will tell the small differences…
Once the bigger engine was integrated into the fuselage, the exhaust system had to be added. In real life, the Jumo 222 would have featured three clusters with two rows of four exhaust stubs, distributed evenly around the cowling. Using a drawing of this arrangement as benchmark, I started with square cuts for the cluster openings. From the back side, styrene sheet closed the gaps and offered a basis for the exhaust stubs. These were improvised with H0 scale roofing shingles – each of the 24 exhaust stubs was cut individually into shape and size and then glued into the respective openings on the upper flanks and under the engine. Finally, styrene sheet was used to create small spoilers and heat shields. The result is certainly not perfect, but comes close to what the real world arrangement would basically have looked like. In a final step, two air intakes for the two-stage supercharger, scratched from sprue material, were added to the flanks.
The cockpit remained OOB, simple as it is, as well as the landing gear, but the canopy was modified in order to allow a presentation in open position. This meant that the OOB canopy had to be cut in two parts and that the model’s spine had to be cut away, making place for a donor canopy (the late, bulged variant, IIRC from an Italeri Fw 190D-9). Internally the fuselage gap was filled with putty and the headrest had to be modified, too, but the conversion turned out to look better than expected.
As a small cosmetic improvement, the molded gun barrel stumps in the wing roots were replaced with hollow steel needles, and the outer guns were completely removed.
The precise location of that first church has been lost. The present building dates from the time of Pope Sixtus III (432 - 440) and contains many ancient mosaics from this period. Its form so exactly follows the conventions of an imperial basilica it has at times been taken for one.[9] The Athenian marble columns supporting the nave are even older, and either come from the first basilica, or from another antique Roman building; thirty-six are marble and four granite, pared down, or shortened to make them identical by Ferdinando Fuga, who provided them with identical gilt-bronze capitals.[10] The 14th century campanile, or bell tower, is the highest in Rome, at 240 feet, (about 75 m.). The basilica's 16th-century coffered ceiling, to a design by Giuliano da Sangallo, is said to be gilded with Inca gold presented by Ferdinand and Isabella to the Spanish pope, initially brought by Christopher Columbus[citation needed], Alexander VI (something which factually is erroneous, since the Inca empire was conquered during the reign of Charles V). The apse mosaic, the Coronation of the Virgin, is from 1295, signed by the Franciscan friar, Jacopo Torriti. The Basilica also contains frescoes by Giovanni Baglione, in the Cappella Borghese.
The Piazza dell'Esquilino with the apse area of Santa Maria Maggiore.
The Borghese (or Pauline) Chapel
The 12th-century façade has been masked by a reconstruction, with a screening loggia, that were added by Pope Benedict XIV in 1743, to designs by Ferdinando Fuga that did not damage the mosaics of the façade. The wing of the canonica (sacristy to its left and a matching wing to the right (designed by Flaminio Ponzio) give the basilica's front the aspect of a palace facing Piazza Santa Maria Maggiore. To the right of the Basilica's façade is a memorial representing a column in the form of an up-ended cannon barrel topped with a cross: it was erected by Pope Clement VIII immediately after the St. Bartholomew's Day massacre of Protestants, though today it is reputed to celebrate the end of the French Wars of Religion [1].
The Marian column erected in 1614, to designs of Carlo Maderno is the model for numerous Marian columns erected in Catholic countries in thanksgiving for remission of the plague during the Baroque era. (An example is the Holy Trinity Column in Olomouc, the Czech Republic). The column itself is the sole remaining from Constantine's Basilica of Maxentius and Constantine in Campo Vaccino, as the Roman Forum was called until the 18th century [2]; Maderno's fountain at the base combines the armorial eagles and dragons of Paul V.
on the vintage subway ride.
84 is a pretty precise number....
For the past few Decembers the MTA has run a special "nostalgia train" 4 or 5 times each Sunday. The train consists of a variety of vintage cars built between the 1930's and 1970's- primarily R1 or R9 models built beginning in 1930. This year, it runs on the 6th Avenue line, between Queens Plaza and 2nd Avenue. www.mta.info/nyct/service/events/vintage.html
The ride is great fun. Lacking the insulated walls and suspension systems of the modern subway, these trains roar and teeter as they blast through the tunnels with their distinctive electric motor whirr. There is no climate control, and it must have been hell during the summer, with only open windows and ceiling fans to alleviate the notorious oven steambath of the subway in July or August.
I believe these trains are preserved by the New York Transit Museum, who have kept the original signage and advertising intact. Running them like this is one of the best ideas the Transit Authority has had in a long long long time.
With so much to look at, it was one of the quickest rides I can remember having. The train was full of transit nerds (like myself) and there was a bit of a party atmosphere. There were also a number of older people who rode these cars back when they were in full service. The best part, however, was to observe the shock of regular commuters who had no idea that this was going to be the train that was going to take them to work, or whereever. And, of course, it's also amazing how many were just completely indifferent to it all- having lunch, reading the paper, doing crosswords...
December 12, 2010
These trains ran on the IND lines, which were built in the 1930's as the city's third separate subway system. "IND" indicated its independence from the IRT (Interborough Rapid Transit- the original 1904 system covering Manhattan and the Bronx) and the BMT (Brooklyn-Manhattan Transit, the second system built) In 1940, the City unified the three systems into one.
Today the IND portion of the subway includes, among others, the E and F lines through Queens, Manhattan, and into Brooklyn, the Crosstown G line, and the famous "A" train.
Since the IND, there has been little new construction on the subway. It's frustrating that nearly the entire system used today was built in less time (35 years or so, and through a World War and the Great Depression...) than it will take to finally finish one lousy line- the much-need 2nd Avenue line, which began in 1972 and whose first phase (only a few stations) is slated to be completed in 2016. All while fares rise and services are cut. Obviously, there's something very wrong with the MTA.