View allAll Photos Tagged replicator
In replicating this fifth-gen stealth fighter, I was aiming for:
– Smooth: nearly studless in form.
– Integrated: packing in a host of features.
– Fresh: incorporating new pieces and techniques.
and of course, purist! (at least, for now; I may experiment with designing some Marine Corps liveries on waterslide decals for mere aesthetic decoration that denotes the squadron affiliation…)
The 1:40 scale replica includes:
– Opening cockpit that holds pilot, control panel, and joystick
– Hidden weapon bays in fuselage for stealth missions
– Optional exterior loadout for air-to-ground attacks
– Retracting landing gear that supports the model
– Opening flaps, rotating fan blades, and tilting vector nozzle for VTOL
– Stable Technic display stand and brick-built name plaque.
This is the first MOC I’ve finished in about five years (during which I completed my university degree, got my full-time career job, moved out, got married, and a few other things), after working on it off-and-on for at least three years. [The real-life aircraft has suffered from its own extensive delays in design / production, so I guess it could be worse where my LEGO one is concerned. XD]
A big thank-you to everyone who has inspired me along the way, including special acknowledgements to AFOL friends like the Chiles family and Eli Willsea for helping rekindle my joy in the hobby; Brickmania, for showing me a few new hinge techniques that I incorporated during these last few months of the design process; and especially my lovely wife Natalie who, bless her heart, has allowed the dining room of our tiny apartment to serve as my building studio and encouraged me to use it more often as such!
Let me know what you guys think!
Ink and acrylic marker on paper 6.75" x 9.75" 7.2025. www.saatchiart.com/art/Drawing-Self-replicating-Surface-P...
Burt Reynolds' Iconic Centerfold replicated by Daniel DiCriscio in buff as tribute Report By: Nina Rai Los Angeles, May 9, 2012 The star-stuck fans of the 70’s may recall the scandalous picture of legendary Hollywood Star Burt Reynolds lying naked across a golden brown bearskin rug posing for Cosmopolitan Magazine's April 1972 Centerfold.This photograph of more than 40 years is arguably one of the sexiest images to be found in pop culture history. The eponymous centerfold has since then gone on to become one of the cultural object d'arts of the sexual revolution, which began somewhere in the 70’s.Now to mark the 40th anniversary of that famed centerfold, Daniel DiCriscio ‘Bruno’ - celebrity hairstylist, recording artist, and television personality; has the same recreated by photographer Dusti Cunningham, as a form of tribute to Reynolds’ now iconic Bearskin rug, languid pose.The long blonde haired, tanned, and toned DiCriscio for the first time in his career has disrobed completely, wearing only his smile. In the beginning DiCriscio, says he was nervous about baring-all before the camera keeping in view the high barometers of current Hollywood plastic surgery and drug enhanced super-bodies.But then taking courage in hand the all-natural DiCriscio just dived in, declaring boldly "It was either now, or never!” By posing in the buff, the young DiCriscio claims he is paying homage to Burt Reynolds. "I admire Burt for being a risk taker and opening the door allowing men to be seen as sexy, all while doing it on a bearskin rug!", gushes DiCriscio.The celebrity hairstylist is possibly best known for his involvement during the Clinton-Sex Scandal doing the stunning make-over of President Clinton’s accuser Paula Jones, for which he was dubbed as the ‘The Messiah of Makeover’ as also for his by now infamous Bruno interview with The Dictator star Sacha Baron Cohen.As an image consultant, DiCriscio has created the looks of celebrities such as Paula Jones, Pamela Anderson, Anna Nicole Smith, and a host of high profile clients, informs Wikipedia.
One step closer to Wil's Futuremug! www.cafepress.com/wilwheaton.417431376
Squee! wilwheaton.typepad.com/wwdnbackup/2010/02/makerbot-it-so....
Replicating the efforts of Stratford Depot, the GreaterAnglia 90 has been decorated with Union Flag, SIlver Roof and named 'Diamond Jubilee'.
The very strange Villaggio Mall, replicating the canals of Venice and piazzas of Lucca - amongst others - in a very Doha-typical artificial-but-fascinating (can't help but look) manner.
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Villaggio Mall is a shopping mall located in the Aspire Zone in the west end of Doha, the capital city of Qatar. It is located on Al Waab street between the Hyatt Plaza and Sports City and has over 200 stores, including many famous brands in the U.S., U.K., Italian and German markets.[2][3][4]
Inside, the interiors are Italianate-themed both as an Italian hill town, but also with a 150-meter long indoor canal with gondolas.[5]
The Mall was partially re-opened on September 20, 2012, after meeting strict safety standards following the May fire that resulted in 19 lost lives. Portions of the mall remain closed as a result however, the food court, ice rink, movie theater, Carrefour hypermarket, and many stores are open for business with more opening as they are able to restock their shelves.
“Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws as well as contract laws.”
“The Eye Moment photos by Nolan H. Rhodes”
nrhodesphotos@yahoo.com
. . . just messing, trying to replicate a Thai movie scene in grainy black and white. Taken with my D300, so it was fun to take a very good quality 12mp colour picture and deteriorate it to get this look.
A typical Bangkok scene, with traffic clogged up and not moving, backed up almost 700 meters.
Anyone who knows Bangkok knows of the preponderance of the ubiquitous7eleven stores almost everywhere, often with several being on the same block. Here you can see 3 all within an area of a hundred square meters, and 2 directly opposite each other.
Today's other post, Phom Phet Fort, is here.
Technology is copied, then varied and the fittest is selected to survive. That is, it replicates like DNA. And it’s evolving very much faster than DNA ever has. And we change our behaviour, manipulated with incredible ease.
LUGNuts' founder Lino Martins has graciously given me permission to replicate his series of automotive illustrations based on various mixed alcoholic drinks.
The fourth in this series is a Lego -model replication of 'Boo-Berry' - Chevrolet 1963 Impala Low-rider.
In Lino's own words.
"For the first installment of a holy trinity of cars I went with a 1963 Chevy Impala customized as a lowrider. Starting in Los Angeles in the 1940’s, lowriders are an important part of Mexican-American culture and often include flamboyant paint jobs and religious iconography. I figured Boo Berry would best serve as “The Holy Ghost” in my Holy Trinity of cars. Thin whitewalls, small 100-spoke gold rims and minor gold details completes the look nicely. This one features subtle luminescent orbs that some believe to be spirits, especially when appearing in photographs. Let me know what you think and stay tuned for more soon. Thanks for stopping by. Procreate and Apple Pencil."
We launched this 3D-printed rocket at NASA Ames on Saturday with the LUNAR group. She flew straight as an arrow on an Aerotech E15 motor.
This was the first flight. I wanted to make sure the more powerful AP motors would not overheat the Makerbot PLA material around the motor. I was also curious about the strength of the materials.
The going up part was perfect, but it pretty much shattered on the return. Build notes and post-mortem below.
Looking forward, I am excited about the integrated fin can possibilities for clusters. It removes a ton of labor for fin alignment and motor tube integration. With rod guide, motor tubes, shock cord attach point, and fins printed in one step, about 90% of the rocket build effort would shift to a single print. I estimate that this fin can cost $1.82 in material and energy, so the idea of a single-use fin can assembly might not be so crazy. It would just have to be strong enough for the up part, and with perfect fin alignment, there may be little fin flutter at subsonic speeds (I’ll try to fly a strap-on camera next time to watch the fins).
3D printing is also good for decorative items. For example, I plan to print a bulbous nosecone fairing to make a kit-bash of three SpaceX Falcon9’s look like a Falcon Heavy.
But the strength to weight ratio makes the least sense for body tubes.
Does anyone have experience lathering the exterior of Replicator 2 prints with epoxy to strengthen?
A group photograph of some of the 'Southrepps Boy' taken in November 1914 and now hanging in the parish church of St. James, Southrepps, Norfolk.
Southrepps sent 64 men away to fight in the First World War, 31 did not return home.
Top row - left to right:
Albert Hurn:
Albert was born in 1895 at Southrepps, the son of Leonard and Ann Hurn of Lower Street, Southrepps. By the time of the 1911 census Albert is working as an estate labourer, the same occupation as his father.
After enlisting Albert served as Private 16235 in the Norfolk Regiment. It is thought he died in Norwich between July and September 1967.
Cyril Gotts (Triddler);
Cyril was born in 1898 to Matthew and Mary E. Gotts of Lower Street, Southrepps. The 1911 census records Cyril working as a farm labourer.
After enlisting Cyril was initially Private 16236 of the Norfolk Regiment before going on to join the Tank Corps. It is thought he died in the Ealing District of London between January and March 1969.
Earnest Bain (Gupper):
The baptism of an Ernest took place on the 26th. March 1893 at St. James. Southrepps, his parents were William and Mary.
Earnest, Albert Hurn, Cyril Gotts, Sam Burton-Pye and Herbert Butler who would go on to be Private 27819 in the Royal Dublin Fusiliers were a group of Southrepps men who all enlisted together. Joining the Norfolk Regiment as Private 16234 Earnest later served with the Machine Gun Corps as Private 3532.
Charles Hewitt (Jockey):
On the 1901 census there is a 20 year old Charles Hewitt, born in Southrepps, who was recorded as a Private in an Infantry Battalion at Colchester Barracks.
On the 1911 census there is a 30 year old Charles, born Southrepps, who is employed as a farm labourer. He is recorded as a boarder at a household in Southrepps living there with his wife Ellen, aged 19 and from Southrepps, and their daughter, Ruby, born at Southrepps on 20th. February 1911 and aged under 2 months.
Charles was was probably recalled to the Army on the outbreak of war.
Robert C. Gotts:
Robert was born on 23rd. June 1892 in Southrepps and the 1911 census records him as a 18 year old living with his grandparents and 'working on farm'.
Upon enlisting Robert served as Private 16233 of the Norfolk Regiment. It is thought he died in the North Walsham district between July and September 1981.
William John Hewitt:
The name on the photograph is William John Hewitt who served the Royal Navy and would have been only 13 or 14 when the photograph was taken. The person in the photograph is wearing an Army uniform which points to him being Wilfred Henry Hewitt.
William John Hewitt was born 16th. March 1901 in Norwich, the son of John Henry and Anne E. Hewitt of Chapple Road, Upper Street, Southrepps.
William joined the Great Eastern Railway Company in 1915/15 and was employed as a parcel van lad at Cromer.
He enlisted in October 1918, his service record states he was 5ft. 3in. with a 33in. chest, brown hair, blue eyes and a fresh complexion. Profession was listed as railway porter. His rank was Boy 2nd. Class and his service number was J/93486, he served aboard HMS Powerful, a Boys Training Ship stationed at Devonport, Devon.
William died of ingluenza and broncho pneumonia on 16th. November 1918, aged 17. The CWGC incorrectly records the date as 16th. November 1916. He is buried in the south-west corner of the new burial ground of St. James church, Southrepps and is commemorated on the Great Eastern Railway Company War Memorial at Liverpool Street Station, London.
Wilfred Henry Hewitt was born in 1893 at Southrepps the son of Henry and Margaret Hewitt, later of High Street, Stalham.
Wilfred enlisted into the 7th. Battalion, Norfolk Regiment and served as Private 15146. He died on 31st July 1917, aged 24 and is buried in grave .I. E. 37. of Monchy British Cemetery, Monchy-le-Preux, France.
Middle row - left to right:
John Hewitt;
The 1911 census records:
John Hewitt, aged 53, born Southrepps. A married farmer recorded at Trimingham Road, Sidestrand. Living with his wife Gertrrude Mary and their two children. Too old to serve.
John Hewitt, aged 20, born Southrepps, resident Lower Street, Southrepps. Farm labourer. Living with his aunt and uncle, Arthur and Ellen Hewitt.
John Herbert Hewitt, aged 30, born Southrepps, resident Overstrand. He was soldier 53038 of the Royal Fusiliers (City of London Regiment) and is commemorated on the Cromer War Memorial.
John Hewitt, aged 14, born Southrepps, resident Southrepps, Farm labourer, son of Walter and Florance.
It is thought the photograph shows the 20 year old.
John was born in Southrepps in 1891. He enlisted at Cromer and was posted as Private 40223 to the 9th. Battalion, Norfolk Regiment. He was killed in action in France & Flanders on 18th. October 1916 and is buried in grave VII. B. 8 at Bancourt British Cemetery, Pas de Calais, France.
The John Hewitt on the photograph is not listed as killed. It would seem unlikely that there was a third John Hewitt from the village who served and survived but not impossible.
Sam Burton-Pye:
Difficult to find records, the family goes by Burton, Pye, Burton Pye and Burton-Pye.
The death of a Samuel Walter Burton-Pye, born 29th. March 1894, was recorded in the North Walsham district between April and June 1971.
Sydney Richard Hewitt:
Sydney was born in Southrepps and baptised on 26th. August 1888, the son of Charles and Elizabeth Hewitt. The 1911 census records Sydney as single, a labourer and still living at home in Lower Street.
It would appear that Sydney entered the war as a Corporal in 1914 and was promoted Serjeant 3/10693 in the 8th. Battalion, Norfolk Regiment. He went on to become Company Serjeant Major 617536 in the 8th. Battalion, London Regiment.
Between January and March 1958 the death of a Sidney R Hewitt, aged 69, was recorded in the North Walsham district.
William Burton-Pye (Rusty):
On the 1911 census there is a William Burton-Pye Senior and Junior in the village. The person in the photograph is William Junior. At the time of the census he is living at home in Lower Street, aged 18 and a farm labourer.
William was a Lance Corporal at the outbreak of the war suggesting that he had joined the Army pre-war or at the very outbreak.
Mr. Pearson (Village postman):
On the 1911 census there is a William Pearson recorded at Southrepps. Aged 33 and married, he gives his occupation as Civil Service Postman and his employer as the General Post Office. He was originally from the St. Pauls district of Norwich. He lived in Southrepps with his wife of 4 years, Sarah, aged 30 and from Ipswich, Suffolk and their 4 children:-
William……………aged 3………………..born Norwich
Alice………………..aged 4………………..born Norwich
Rose……………….aged 1………………..born Southrepps
Grace……………..aged 3 months……born Southrepps
There is a record of a William Pearson who served with the Norfolk Regiment as Acting Corporal 3/10848 but it is not certain that was this person.
Benjamin 'Jack' Whitwood:
It would appear he referred to himself as Jack rather than Ben or Benjamin, possibly a reference to his twin brother John.
Benjamin was born 11th. December 1893 and baptised at the church of All Saints, West Beckham, Norfolk on the 12th December 1893. This is described as a Union Workhouse Baptism and the mother, Ruth Whitwood, is stated to be a single woman of Lower Street, Southrepps. It would appear Benjamin was a twin for the same details and dates are replicated in the next entry, that for a John Whitwood.
He enlisted in Norwich and whilst training with the 10th. Battalion, Norfolk Regiment, service number 16218, he was drafted as Private 21193 to the 11th. Battalion, Border Regiment while he was still in the UK.
Jack died of wounds in France and Flounders on 28th. March 1917, aged 24, and is buried in grave I.D.27 at Cerisy-Gailly Military Cemetery, Somme, France.
William Rodgers:
Two men from the village with that name died in action but there is no reference to William Rogers being killed on the photograph.
Of the two, one died in March 1918, aged 41, serving with the 9th. Battalion, East Surrey Regiment. His unit had been fighting since the German Spring Offensive had crashed through the British lines and finally on the 26th. March they were surrounded and annihilated after what the units diarist depicts as an epic last stand.
The other died probably aged 18 while serving with the 7th. Battalion Norfolk Regiment. He is thought to have died while part of a working party assisting another unit.
Bottom row - left to right:
Ernest Charles Smith:
Ernest was born in Southrepps, the son of Charles Smith of Lower Street, Southrepps.
He enlisted in Norwich and served as Private 16237 with 'A' Company, 2nd. Battalion, Norfolk Regiment.
Earnest died of wounds in The Balkans on 8th. December 1915, aged 21, and is commemorated on the Doiran Memorial, Greece.
Ernest Robert Burton-Pye (Major):
Ernest was born on 20th. February 1897 in Southrepps, the son of Francis and Edith Burton-Pye. In the 1911 census he is a farm worker and is living with his uncle and aunt at Gillingham.
He enlisted in Norwich and served with 9th. Battalion, Norfolk Regiment as Private 15019. He died in action in France and Flounders on 15th. September 1916 and is commemorated on pier and face 1C and 1D of the Thiepval Memorial, Somme, France.
William Moy:
Killed in action. No reference to this man is in village records or on the village war memorial.
Herbert Pitchers:
Herbert was born in Corpusty, the son of James and Rebecca Pitchers of The Warren, Southrepps. James would later die and Rebecca married William Bell of Lower Street, Southrepps.
Herbert enlisted in Cromer and served as Private 7985 in the 8th. Battalion, Suffolk Regiment and died of wounds in France and Flounders on 16th. October 1916, aged 25. Herbert is buried in grave II.I.3 of Bouzincourt Communal Cemetery Extension, Somme, France.
Italien / Südtirol - Südtiroler Archäologiemuseum
Ötzi-Replicate
Ötzi-Replik
South Tyrol Museum of Archaeology (German: Südtiroler Archäologiemuseum; Italian: Museo archeologico dell'Alto Adige) is an archaeological museum in the city of Bolzano, South Tyrol, Italy. It is the home of the preserved body of Ötzi the Iceman.
The museum was specifically established in 1998 to house "Ötzi", a well-preserved natural mummy of a man from about 3300 BC (53 centuries ago). This is the world's oldest natural human mummy, a wet mummy, as opposed to mummies preserved by dry conditions in a desert environment. It has offered an unprecedented view of Chalcolithic (Copper Age) European culture. The world's oldest complete copper age axe was found among his extensive equipment which also comprised a rather complex fire lighting kit and a quiver loaded with twelve arrows, only two of which were finished, clothing and a flint knife complete with its sheath.
The body is held in a climate controlled chamber within the museum at a temperature of -6 Celsius and 98% humidity, replicating glacier conditions in which it was found. Along with original finds there are models, reconstructions and multimedia presentations showing Ötzi in the context of the early history of the southern Alpine region.
Converted from a 19th-century bank building, the museum covers the history and archaeology of the southern Alpine region from the Palaeolithic and Mesolithic (15,000 B.C.) up to 800 A.D. In 2006, the museum hosted an exhibition on the mummies of the Chachapoyas culture.
(Wikipedia)
Das Südtiroler Archäologiemuseum ist ein archäologisches Museum in Bozen (Südtirol). Das Museum ist der Ausstellungsort des „Mannes vom Tisenjoch“, besser bekannt als „Ötzi“. Es zieht zu allen Jahreszeiten zahlreiche Besucher an und gehört zu den führenden archäologischen Museen Italiens.
Neben der Gletschermumie „Ötzi“ nebst dessen Beifunden präsentiert das Museum bedeutende Funde aus dem Südtiroler Raum. Die ältesten Exponate stammen aus der Altsteinzeit, die jüngsten aus der Karolingerzeit. Modelle, Rekonstruktionen, Raumbilder, Videos und interaktive Multimediastationen geben einen Einblick in die frühe Vergangenheit des südlichen Alpenraumes. Die Ausstellungsräume sind diachronisch angeordnet. So befindet sich Ötzi und seine Zeit im ersten Stock, während sich die Fundstücke aus der römischen Antike und der Völkerwanderungszeit im dritten Stock befinden.
Von 12. August bis 15. November 2006 fand in dem Museum die Sonderausstellung Wolkenmenschen mit Mumien der Chachapoya statt. 2009 zeigte das Museum in der Sonderschau Mumien. Der Traum vom ewigen Leben konservierte Körper aus der ganzen Welt, darunter einbalsamierte ägyptische Mumien und Moorleichen. Anlässlich des 20-Jahr-Jubiläums des Ötzi-Fundes befasste sich die Sonderausstellung Ötzi20 vom 1. März 2011 bis 13. Januar 2013 mit der wissenschaftlichen Erforschung und dem Kultcharakter des Mannes aus dem Eis.
Das Gebäude in der Museumstraße, gegenüber dem Bozner Stadtmuseum gelegen, war als Sitz der Österreichischen (k.k.) Nationalbank kurz vor dem Ersten Weltkrieg errichtet worden. Von 1919 bis in die 1990er beherbergte es die Bozner Niederlassung der italienischen Nationalbank (Banca d’Italia). Das Museum wurde nach umfangreichen Sanierungsarbeiten 1998 eröffnet. Die Bozner Museumstraße, in der sich das Archäologiemuseum befindet, wurde nach dem 1905 eröffneten Bozner Stadtmuseum benannt, in dem sich vor der Eröffnung des Archäologiemuseums ein Teil der Ausstellungsstücke zur Urgeschichte befand. Die restlichen Ausstellungsstücke wurden aus ganz Südtirol zusammengetragen.
Das Museum ist eine eigenständige Institution innerhalb der Südtiroler Landesmuseen; zuvor war es mit dem Naturmuseum Südtirol zusammengeschlossen. Direktorin des Museums ist Angelika Fleckinger.
(Wikipedia)
After successfully replicating a LUT that I liked from another image processing program, I realized it might work well on some photos I took last May around the Perigord Noir region of France.
From a message shared with a friend here on Flickr -
RawTherapee is free - rawtherapee.com/
You'll need to add Pat David's HaldCLUT film emulation collection - rawpedia.rawtherapee.com/Film_Simulation
Relatedly, if you already use the Gimp (see: www.gimp.org/ ) their most recent versions include 32bit floating-point color-space precision settings. I've been waiting 18 years for this (which is why I went with RawTherapee some years back as it was built to have a large color space to work in).
To get film emulation and some other interesting LUTs into the Gimp, check out G'Mic - patdavid.net/2013/08/film-emulation-presets-in-gmic-gimp/
G'Mic site - gmic.eu/
LUGNuts' founder Lino Martins has graciously given me permission to replicate his series of automotive illustrations based on various mixed alcoholic drinks.
The fourth in this series is a Lego -model replication of 'Boo-Berry' - Chevrolet 1963 Impala Low-rider.
In Lino's own words.
"For the first installment of a holy trinity of cars I went with a 1963 Chevy Impala customized as a lowrider. Starting in Los Angeles in the 1940’s, lowriders are an important part of Mexican-American culture and often include flamboyant paint jobs and religious iconography. I figured Boo Berry would best serve as “The Holy Ghost” in my Holy Trinity of cars. Thin whitewalls, small 100-spoke gold rims and minor gold details completes the look nicely. This one features subtle luminescent orbs that some believe to be spirits, especially when appearing in photographs. Let me know what you think and stay tuned for more soon. Thanks for stopping by. Procreate and Apple Pencil."
Works no: 11340.
This C type wagon first started life as a brewery dray for the Rock Brewery in Brighton. During the restoration of the vehicle a bus body was fitted in order to replicate a steam bus built by Foden.
For this model I have sought to replicate the Lego Creator Classic Pickup as is - rather than morph it into a particular vehicle brand. For the basis of the pickup, I used my early 1950s Ford F1 model as a basis.
The Ford F1 was the first in a long line of best-sellers in the segment for Ford Motor Company, having replaced the pre-War truck models with a much more sophisticated and comfortable vehicle.
When I first designed the Base Ford F1 vehicle, more than a decade ago, I was broadly unfamiliar with the vehicle proportions (you don't see many driving around these days). For this significant update of the model, I have included a much taller cabin and windshield, along with more sculpting of the front fenders and hood. The Lego model also featured squarer rear fenders as well.
This scale does not permit the usage of the (rather clever) lift in/out wooden tray extenders, bu t I have sought to achieve a similar (but slimmer) effect with 3mm circular rods and some of the new end connectors.
I am also quite pleased with the outcome of the design of the front grille at the smaller scale, particularly as the official set executes this (generic) part of the truck very effectively.
Painting and markings:
As mentioned above, the livery is based on an official profile which I deem authentic and canonical. My aircraft depicts a different machine from VFT-127, though, since I could not (and did not really want to) 100% replicate the profile's machine from the Macross PLUS source book, "13 Red". Especially the squadron’s emblem on the fin would create massive problems.
For the two-tone wrap-around scheme I used Humbrol 72 (Khaki Drill) and 98 (Chocolate Brown), based on the printed colors in the source book where I found the scheme. The pattern is kept close to the benchmark profile, and, lacking an underside view, I just mirrored the upper scheme. The starboard side pattern was guesstimated.
As a second-line aggressor aircraft, I weathered the VF-4 with a black ink wash, some post-shading with various lighter tones (including Humbrol 160, 168, 170 and 187) and did some wet-sanding treatment for an uneven and worn look.
Interior surfaces were painted according to visual references from various sources: the landing gear and the air intakes became white, while the cockpit was painted in RAF Dark Sea Grey.
In order to add some color to the overall brown aircraft I decided to paint the missiles all around the hull in white with tan tips – in the profile, the appear to be integrated into the camouflage, what I found dubious.
Most stencils come from the OOB sheet, but I added some more from the scrap box. The grey "kite" roundels come from an 1:72 Hasegawa Macross F-14 Tomcat kit sheet, which I acquired separately for a reasonable price. Even though it took four weeks to be delivered from Asia, the investment was worthwhile, since the sheet also provided some useful low-viz stencils.
The VAT-127 “Zentraedi Busters” unique tail insignia was more complicated, because these had to be printed at home. As a side note, concerning the fin marking, I recently found a translation of the benchmark profile's text on mahq.net, which is interesting: "The Regult within the targeting reticle on the tail met with disapproval from micronized Zentraedi pilots, and so was only used for a short time." The comment also reveals that the original aircraft's modex is "713", not just "13" as depicted, so I tried to reflect these details on my build, too.
I eventually settled for a solution that was partly inspired by the kit’s OOB fin marking and the wish for more contrast for the motif: I scanned the original Regult pod illustration from the source book and printed it on white decal sheet. This was sealed with two layers of glossy acrylic varnish (applied with a rattle can) and then cut into a white field that fills the fixed part of the fin (using the WAVE kit’s OOB fin markings as reference). Once in place and dry, two black outlines were added separately (generic decal material) which help blend the decal and the surroundings. Finally, thin strips of silver decal sheet were used for the fins’ leading edges.
This design variation, compared with the original “13 Red” illustration, led to the idea of a flight leader’s machine with slightly more prominent markings. In order to take this concept further I also gave the aircraft a white stripe around the front fuselage, placed under the kite roundel and again with black outlines for a consistent look. It’s not much different from “13 Red”, but I think that it looks conclusive and, together with the white fin markings and the missiles, livens up the VF-4’s look.
The appropriate flight leader tactical code “01 Red” was puzzled together from single digits from a Begemot Su-27 sheet, the rest of the bort numbers were taken from the OOB sheet (which incidentally feature a “01” code, too).
Concerning the OOB decal sheet, there’s much light but also some deep shadow. While the register is excellent and the carrier film flexible enough to lay down smoothly, the instructions lack information where to place the zillion of stencils (“No step” and “Beware of Blast” stuff) are to be placed! You only get references for the major markings – the rest has either to be guessed, OR you are in possession of the VF-4 source book from Softbank Publishing which was (incidentally?) released in parallel with the WAVE kit. This mecha porn offers an overview of all(!) relevant stencils on the VF-4A’s hull, and ONLY with this information the exhaustive decal sheet makes some sense…
As final steps, the VF-4 received some dry-brushing with light grey around the leading edges, some chipped paint was simulated with dry-brushed aluminum and, finally, light soot stains around the vectoring nozzles all around the hull and the weapon bays were created with graphite. Then the kit was sealed with matt acrylic varnish (Italeri).
This is my attempt at replicating the Pagani Zonda Cinque in LEGO bricks. The Zonda is one of my top 5 favorite cars, so I had to include one in my LEGO collection. This is actually my third attempt at building the Zonda (see my previous versions here and here). With this version, I think I've improved the overall shape of the car by increasing the width at the rear of the car to 17 studs (the front of the car is 16 studs wide).
As you can see, this creation was inspired by Firas Abu-Jaber's own Zonda. I tried to replicate the Zonda's shape using different methods from Firas' Zonda, but in the end some areas, such as the front simply could not be made better (Firas' version is near perfect).
Also, if anyone has a set of Ferrari FXX rims and is willing to sell, please let me know (prices on Bricklink are so high for this piece)! Those rims would look a lot better on this car than these silver ones I have.
Phew.
By request, here’s a quick guide to replicating this on Unix. The one nonstandard tool you’ll need is GDAL, which most package managers know about. You’ll also want something that works with images; imagemagick is fine. Also, we’ll be doing a lot of bulk i/o, so if one of your drives is faster, do this project on it and save several minutes of looking at progress meters. Watch out for Flickr mangling my sh, and tweet at me if you spot bugs.
Part 1: The elevation data
We’ll use CGIAR’s 5°×5° dataset, which is overkill, but that’s how we do. You can use their handy Google Earth layer to find the data cells we need, which turn out to be column 12, rows 2–4 inclusive; 13, rows 2–4; 14, rows 2–4; and 15, row 4. Copying one of the GeoTIFF download links from the KML’s popup, we find we can get them like this:
$ curl -O 'http://srtm.geog.kcl.ac.uk/portal/srtm41/srtm_data_geotiff/srtm_{12_02,12_03,12_04,13_02,13_03,13_04,14_02,14_03,14_04,15_04}.zip'
If you’re willing to give up your data’s chain of custody, you can do a web search for one of the file names and find other sources, some of them faster than KCL.
Unzip the data. You can remove the *.txt, *.hdr, and *.tfw files, so we’re left with 10 GeoTIFFs and nothing else. We merge them into a single GeoTIFF:
$ gdal_merge.py srtm*.tif -o main.tiff
Mine is 843892 kB and has a $(shasum) of 0a3b92fb5ccd60951df6c459aadd167bc397d425.
Part 2: The cutline
If you find a better way of doing this step, leave a comment, because it’s ridiculous. The version presented here is several hours faster than what I originally did, but no less kludgy.
We want the data in MVBCRB. Unfortunately, it’s not an outline (a single ordered sequence of points), it’s a series of several dozen outline segments. Geometrically, it’s a handful of curves in no particular order that happen to share endpoints. But sharing endpoints means we can join them into a single polygon if we’re willing to suffer a little.
Grab the KML version of this that André Coleman put up. It’s relatively cleaned up and saves us some preparation steps:
$ curl -O webpages.charter.net/zeeland/crws.kml
If you look in there (watch out, it’s almost a megabyte), you’ll see that the overall polygon is defined as a bunch of LineString elements, and that the coordinates of these elements happen to be the only lines that start with “-”. So we can extract them like this:
$ grep '^-' crws.kml > linestrings
Super gross but super effective. Now the linestrings file has 65 lines containing point series in the format “lat,lon,ele ”*. Take this and run it like this:
$ python linesplice.py linestrings > cutline.kml
This will join the 65 individual lines into a single line based on shared endpoints. It’s purpose-built around the perfect overlaps of this dataset, so if you use it on anything else, do some fuzzy matching or risk an infinite loop.
Part 3: Rendering
We’ll use gdalwarp to do three important things at once: (1) reproject the data to Oregon Lambert (EPSG 2993), a fairly conservative choice; (2) make the file smaller, because right now it’s 24000×18000 and that’s ridiculous, and (3) mask out everything outside the Columbia River Basin. (I won’t describe all the minor flags I pass the gdal tools; look them up if curious.)
$ gdalwarp -r cubicspline -multi -t_srs EPSG:2993 -ts 8000 0 -cutline cutline.kml main.tiff proj.tiff
We’re on the home stretch. Now let’s do a hillshade image (sun azumith of 200°, vertical exaggeration of 3×):
$ gdaldem hillshade -compute_edges -az 200 -z 3 proj.tiff shade.tiff
This is the first thing we’ve made that’s actually intelligible to look at, so pull it up. It should look correct but bland.
Now some hypsometric tints – Leonardo da Vinci’s most important invention. Make a text file called, say, height.txt and put something like this in it:
3000 255 255 255
1500 10 80 20
500 150 150 100
1 20 100 80
0 0 0 0
The first column is an elevation (in meters) and the next three are the R, G, and B of the color you want that elevation to be. It interpolates smoothly for you. I picked this palette to suggest general land use: floodplain-type stuff down low, then amber waves of grain, woods in the hills, and rock and snow up high. Tinkering with these colors is a lot of fun. Now we make a hypsometry layer:
$ gdaldem color-relief proj.tiff height.txt color.tiff
Now merge the files. You can do fancy stuff with overlay compositing, but a simple average looks pretty good:
$ convert -average shade.tiff color.tiff merged.tiff
Convert will kvetch about TIFF tags it doesn’t recognize, which is fine; we no longer need the georeference data. You might also want to crop the image a bit, since it still reaches the bounding box of all the topo data we downloaded:
$ convert -trim merged.tiff trimmed.tiff
You now have something that differs only in incidental ways like color choice from the above image.
The main things I would do to improve this workflow are (1) find or make a better cutline, (2) handle null data better (look at the mouth of the Columbia – ugh), and (3) cut after hillshading, so the edge of the watershed doesn’t get shading.
If you have improvements – those or others – please comment.
In replicating this fifth-gen stealth fighter, I was aiming for:
– Smooth: nearly studless in form.
– Integrated: packing in a host of features.
– Fresh: incorporating new pieces and techniques.
and of course, purist! (at least, for now; I may experiment with designing some Marine Corps liveries on waterslide decals for mere aesthetic decoration that denotes the squadron affiliation…)
The 1:40 scale replica includes:
– Opening cockpit that holds pilot, control panel, and joystick
– Hidden weapon bays in fuselage for stealth missions
– Optional exterior loadout for air-to-ground attacks
– Retracting landing gear that supports the model
– Opening flaps, rotating fan blades, and tilting vector nozzle for VTOL
– Stable Technic display stand and brick-built name plaque.
This is the first MOC I’ve finished in about five years (during which I completed my university degree, got my full-time career job, moved out, got married, and a few other things), after working on it off-and-on for at least three years. [The real-life aircraft has suffered from its own extensive delays in design / production, so I guess it could be worse where my LEGO one is concerned. XD]
A big thank-you to everyone who has inspired me along the way, including special acknowledgements to AFOL friends like the Chiles family and Eli Willsea for helping rekindle my joy in the hobby; Brickmania, for showing me a few new hinge techniques that I incorporated during these last few months of the design process; and especially my lovely wife Natalie who, bless her heart, has allowed the dining room of our tiny apartment to serve as my building studio and encouraged me to use it more often as such!
Let me know what you guys think!
via Tumblr.
Handcrafted by lithic (stone) artifact replication specialist, Jay Valente, this stone knife exemplifies stone-age craftsmanship and utility. Like all of his lithic work, this is a premium high-grade museum quality replica and there was special attention given to historical accuracy and authenticity in its creation. Jay’s work has been featured for sale in the largest Native American museum in the world and both his lithic replicas and his lithic artifact consultation services have been touted by esteemed archaeologists and historical preservation offices alike.
Modeled after Native American stone blades and spear points of the paleo and time periods (about 12,000 to 9,000 years before present), this work utilizes a random flaking pattern and lancolate fluted “clovis” style.
From conception to completion, Jay traces the footsteps and actions of the ancient people. He selected a high quality stone of novaculite and brought it home to be cooked under a wood fire for several days. Unlike other stone knives or stone arrowheads you might find on eBay or Etsy, this is not a mass produced, machine cut or drilled product. It is entirely handcrafted. The raw stone was then flintknapped and pressure flaked with a deer antler and rock hammerstone using traditional primitive techniques and methods. The stone blade was then hafted onto an azalea branch. The novaculite blade is secured to the wooden handle with elk gut cordage and a pine pitch glue recipe.
This knife represents a rare feat of flintknapping skill. Using quality stone and primitive, traditional flintknapping methods he crafted this novaculite stone knife with historical considerations and authenticity of process in mind.
For the discerning collector or primitive technology enthusiast, look no further for a high-grade stone-age replica knife. This historical reproduction makes for a stunning educational or decorative display, however, it is sharp and sturdy enough to be used as well; perhaps as a stone skinning knife, or a stone survival bushcraft knife.
#crafts #paleoindian #arrowheads #knives #spears #ancientknowledge #chert #novaculite #flintknapping ift.tt/2f8E8Oq
a few weeks ago I watched the whole series of neon genesis evangelion (the best anime of all time) and I found the appearance of Lilith (the second angel) crucified on a gigantic cross striking and since no one has designed it yet i thought I would attempt to. the cross is colour changed from the half formed angel.
just incase you don't know how lilith looks like then here is what i tried to replicate:
www.reiliberationparade.com.ar/temp/RLP/evangelion/person...
An artist spends time in front of a large painting to reproduce a classic piece of artwork, oblivious to the other museum visitors passing through this hall.
Olympus OM-D E-M1 with M. Zuiko 12-40 f/2.8
For Our Daily Challenge Monday 12th September 2011 ~ Attempt to replicate something that has been on ODC Explore.
This is my attempt to replicate gary's images photo posted February 1, 2011 which was Explored. I want everyone to know that somebody owes me for a good pair of reading glasses. I had to bend and twist these to try to replicate gary's shot. He must have a crooked head.
“Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws as well as contract laws.”
“The Eye Moment photos by Nolan H. Rhodes”
nrhodesphotos@yahoo.com
Replicating the scene out of the brilliant movie Love, Actually, in which a young Andrew Lincoln serenades an equally young Keira Knightley with giant cue cards. In this case I have used insults from a couple of Shakespeare's plays as the messages, although they are very unlikely to woo the fair hand of the damsel.
We're Here looks at I believe in holidays & other calendrical observances.
Not wishing to bore you all but many of you will already be aware that this year [the very end of May] we celebrate 40 years of married life.
Ten years after we married I was posted overseas to Gibraltar [just before the Falklands War broke out as it happens which is why I wasn't able to go down that way although prior to going to Gibraltar I had been drafted to HMS Antelope. You may recall that she was one of the ships that went down in the South Atlantic.....lucky for me but sadly not for some of them]. Anyway, the left hand image above was taken at the 1st mess dinner we attended and it was customary to have your photograph taken. We have both always liked this one and it does, of course, bring back some very happy memories for us. I figured that as a part of our Ruby Wedding celebrations it might be fun to try and replicate that photograph taken 30 years ago and here is the result of that on the right. Alas, we no longer have the clothes we wore back then [ except for the bow tie I'm wearing which is the same one!!] but we've had a pretty good stab at wearing something from our current wardrobes!!
How lucky we are to have such wonderful processing software available to us that allowed me to combine the new photograph with the background of the old one. We had great fun this evening getting dressed up and trying to get in the same pose that we did all those years ago and I've had great fun burning the midnight oil doing all the processing!!!! LOL I reckon I could have kept on working on it but there came a time when I had to say enough was enough.
Anyway I thought it might be nice to share the fruits of our labours with everyone and hope that you derive some pleasure from it as indeed we have.
Thanks in advance of any views, comments and/or faves, your time taken to do that is so very much appreciated. :>)
Concrete pillboxes built to replicate Nazi bunkers rest on an old cattle farm now an area of critical environmental concern managed by the BLM in southwest Oregon, Sept. 26, 2018. BLM video: Toshio Suzuki
A quiet oak savanna in southwest Oregon has a World War II story to tell.
It was the summer of 1942 when thousands of young American troops started arriving in Oregon to prepare for battle.
Only months prior, immediately after the Japanese bombing of Pearl Harbor and America’s entry into WWII, the U.S. Army broke ground on Camp White, a massively ambitious training ground for troops north of Medford.
The national war effort was ramping up, and from the rationing at home to the drill sergeants yelling at new draftees, the task at hand was unified: Get America prepared for war as fast as possible.
At Camp White, in the heart of the Rogue River Valley, it got loud very quick.
Construction crews worked 24 hours a day until the base, consisting of 1,300 structures, was complete. Barracks, mess halls, a railroad, full electrical grid and sewer system were all built in six months.
And then the troops arrived.
The newly reinstated 91st Division went on 91-mile-long hikes.
They fired bazookas, mortars and tanks.
And they attacked concrete pillboxes built to replicate Nazi bunkers.
Despite creating what was then Oregon’s second most populous city at 40,000 people, there are now only a few lasting structures proving Camp White ever existed. Sadly, there are even fewer first-hand memories.
The pillboxes are still standing, though. They simultaneously represent a mostly forgotten military legacy and since 2013, an opportunity for historic preservation.
After decades of private cattle farming, Camp White’s pillboxes now rest on public land.
Read the full story about the Camp White pillboxes that rest on the northeast side of Upper Table Rock, an area of critical environmental concern for the BLM: www.facebook.com/notes/blm-oregon-washington/the-wwii-leg...
Take a virtual tour of the pillboxes via this 360-degree video: www.youtube.com/watch?v=XgHu5y-TtAw