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+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
The Fiat Macchi C.170 Brezza ("Gust of wind") was a single-seat biplane fighter which served primarily in Italy's Regia Aeronautica before and in the early stages of World War II. The aircraft was produced by the Varese firm, and entered service, in smaller numbers, with the air forces of Italy, Austria and Hungary.
In spite of the biplane configuration, the C.170 was a modern, 'sleek-looking' design based around a strong steel and alloy frame incorporating a NACA cowling housing the radial engine, with fairings for the fixed main landing gear. The C.170's upper wing was slightly larger than its lower wing, carried only by six struts and a few bracing wires. Only the upper wing featured ailerons while the lower wing carried large flaps. Although it looked slightly outdated, the aircraft proved exceptionally agile thanks to its very low wing loading and a powerful, responsive engine.
Power was provided by a 650 kW (870 hp) Fiat A.74 14 cylinder radial engine, which also drove the contemporary Fiat CR.32 fighter. With the "direttiva" (Air Ministry Specific) of 1932, Italian industrial leaders had been instructed to concentrate solely on radial engines for fighters, due to their better reliability. The A.74 was actually a re-design of the American Pratt & Whitney R-1830 SC-4 Twin Wasp made by engineers Tranquillo Zerbi and Antonio Fessia, and in the C.170 it was geared to drive a metal three-blade Fiat-Hamilton Standard 3D.41-1 propeller of 2.9 m (9.5 ft) diameter. This allowed an impressive top speed of 441 km/h (272 mph) at 6.500 m (20.000 ft), and 342 km/h (213 mph) at ground level.
The first C.170 prototype flew on 24 December 1934 in Lonate Pozzolo, Varese, with Macchi Chief Test Pilot Giuseppe Burei at the controls. It was followed by the second prototype early the next year, which flew with an armored headrest and fairing in place (the C.170 lacked any further armor!) and other minor changes that were incorporated for serial production.
Despite Macchi’s proposal for a closed cockpit canopy the cockpit remained open – Italian pilots were rather conservative. Additional protection was introduced through armored side panels, though, which would protect the pilot’s shoulders. Radio equipment was also not included, as in many other Italian fighter aircraft.
During evaluation in early 1935 the C.170 was tested against the Fiat CR.42 and the Caproni Ca.165 biplane fighters, and was judged to be on par with the CR.42, although the Ca.165 was a more modern design which boasted a higher speed at the cost of maneuverability. An initial order of 99 C.170 for Italy's Regia Aeronautica was placed to Macchi factory in summer 1935, followed by foreign interest and order options from Austria, Belgium and Spain.
Anyway, what looked like a prosperous design was soon rendered obsolete: Following the end of Italy's campaigns in East Africa, a program was started to completely re-equip the Regia Aeronautica with a new interceptor aircraft of modern design. The 10 February 1936 specifications called for an aircraft powered by a single radial engine, with a top speed of 500 km/h, climb rate at 6,000 meters of 5 minutes, with a flight endurance of two hours, and armed with a single (later increased to two) 12.7 mm (0.5 in) machine gun. That was more or less the premature end for the C.170, as Macchi and other manufacturers quickly turned to more modern monoplane designs.
Therefore, orders and production of the Macchi Brezza remained limited. Beyond the original 99 aircraft for the Regia Aeronautica only 24 further C.170s were delivered. These aircraft went in spring 1936 to Austria to equip Jagdgeschwader II at Wiener Neustadt. Immediately after their delivery the Brezza fighters were retro-fitted with radio equipment, recognizable through the antenna installation on the headrest fairing. The potential orders from Belgium and Spain were soon cancelled, due to political tensions.
As a side note, the Austrian C.170s fighters were the first aircraft to sport the new national emblem, which had been the result of a competition and won by flight engineer Rosner from the Graz-Thalerhof base. The white, equilateral triangle with the point facing downwards in a red disc was a completely new design and had (other than the flag or coats of arms) no prior basis.
The C.170s' career in Austrian service was short, though: in March 1938 the Austrian units were absorbed into the Luftwaffe, and after a brief period the aircraft were handed over to Hungary where they were used for training purposes.
Although an obsolete design, it proved to be robust, durable and effective especially in severe conditions. In spring 1943, surviving C.170s were rounded up from training schools and delivered to night ground attack units operating on the Eastern Front. The C.170 was used to conduct night harassment sorties on the Eastern Front until September 1944, when the units were disbanded, due to a lack of serviceable airframes and spare parts.
General characteristics
Crew: 1
Length: 8.25 m (27 ft 1 in)
Wingspan: 32 ft 3 in (9.83 m)
Height: 11 ft 9 in (3.58 m)
Wing area: 323 ft² (30.0 m²)
Empty weight: 3,217 lb (1,462 kg)
Loaded weight: 4,594 lb (2,088 kg)
Powerplant
1× Fiat A.74 R.C.38 14-cylinder air-cooled radial engine, 650 kW (870 hp) at 2,520 rpm for take-off
Performance
Maximum speed: 441 km/h (238 kn, 274 mph) at 20,000 ft
Cruise speed: 338 km/h (187 kn, 210 mph)
Range: 780 km (420 nmi, 485 mi)
Service ceiling: 10,210 m (33,500 ft)
Rate of climb: 11.8 m/s (2,340 ft/min)
Climb to 10,000 ft (3,050 m): 4.75 min
Wing loading: 69,6 kg/m² (15,3 lb/ft²)
Power/mass: 311 W/kg (0.19 hp/lb)
Armament
2× 12.7 mm (0.5 in) Breda-SAFAT synchronized machine guns above the engine, 370 rpg
Some aircraft were field-modified to carry up to 8× 15 kg (33 lb) or 2× 50 or 100 kg (110/220 lb) bombs under the wings
The kit and its assembly
Inspiration for this little, whiffy biplane came when I posted a pic of an Austrian Ju 86 bomber as a reply/ suggestion to a fellow modeler's (NARSES2) search at whatifmodelers.com for “something” to make from a Gloster Gladiator.
When I looked at the paint scheme a second time I remembered that I still had some Austrian roundels in stock, as well some very old biplane spare parts... hmmm.
Biplanes are tricky to build, even OOB, and kitbashing this kind of whif would not make things easier. Anyway, I love such challenges, and the potential outcome would surely look nice, if not exotic, so I decided to tackle the project.
Basically, the following donation ingredients went into it:
● Fuselage, engine, cockpit/pilot and tail from a Revell Macchi C.200 "Saetta"
● Upper wing from a Matchbox Gloster "Gladiator"
● Lower wings from a Matchbox SBC "Helldiver"
● Wheels from a Matchbox Hs 126 (shortened)
Pretty straightforward, but even though it would be a small aircraft model, it would come with two big challenges: mounting the lower wings and shaping the resulting, gaping belly, and the custom-made struts and wirings for the upper wing.
Work started with the Macchi C.200’s fuselage, which was built OOB - just without the wing, which is a single part, different pilot (the included one is a pygmy!) and with a free spinning metal axis for the propeller.
The wing installation started with the lower wings. I glued the Helldiver wings onto the C.200 fuselage, so that the wings' trailing edge would match the C.200's wing root ends. From that, a floor plate was fitted under the fuselage and any excessive material removed, the gaps filled with lumps of 2C putty. That moved the lower wing's roots backwards, creating space at the lower forward fuselage for the new landing gear.
The latter was taken from a vintage Matchbox Hs 126 reconnaissance aircraft - probably 25, if 30 years old... Size was O.K., but the struts had to shortened by about 5mm, as thge HS 126 is a much bigger/longer aircraft than the C.200. A cut was made just above the wheel spats, material taken out, and the separate parts were glued back together again.
With the lower wings in place I started building strut supports for the upper wing from styrene strips - tricky and needs patience, but effective. I started with the outer supports, carving something SBC-style from styrene. These were glued into place, slightly canted outwards, and their length/height adapted to the upper wing’s position.
When this was settled, the upper Gladiator wing was glued into place. After a thorough drying period the short fuselage supports in front of the cockpit – again, styrene strips – were inserted into the gap. This allowed an individual lengthening, and was easier than expected, with a stable result.
After having the upper wing glued in place I added some wiring, made from heated and pulled-out styrene sprues. This not only enhances the kit's look, it also (just like in real life) improves rigidity of the model. Also a tedious task, but IMHO worth the effort. I tried thin wire, nylon strings and sewing yarn for this job, but finally the styrene solution is what worked best for me.
The exhaust installation had also to be modified: the new Hs 126 struts with spats would have been where the original C.200’s hot exhaust gases would have gone, so I added new exhaust pipes that would go between the new legs.
Other small added details included, among others, a pitot on a wing strut, a visor in front of the cockpit, a radio antenna, a ladder made from wire.
Painting and markings:
I would not call the Austrian 3+1-tone pre-WWII-scheme spectacular, but the colors are unique. My scheme is based on an Austrian Ju 86 bomber from 1938, so it fits into the intended time frame.
The colors were puzzled together from various sources and are subjective guesstimates:
● A pale, yellow-ish beige (Humbrol 74, ‘Linen’, out of production)
● A rather brownish green (Testors 1711, ‘Olive Drab’, FS 34087)
● A dark green with a yellow-ish hue (Humbrol 116, ‘US Dark Green’ FS 34079)
● Light blue for the undersides (Humbrol 65, ‘Aircraft Blue’, RLM 65)
In order to add some details I painted the area behind the engine cowling in aluminum. The respective part under the fuselage, where the exhaust gases would pass, was painted in Steel – both Testors Metallizers.
The interior surfaces were painted in a neutral Grey – but with the engine and the pilot in place you cannot see anything of that at all.
Markings are minimal: the Austrian roundels come from a TL Decals aftermarket sheet, the flag on the rudder was laid out with red paint (a mix of Humbrol 19 and 60), the white bar is a decal. The tactical code is fictional, puzzled together from single digits in various sizes (also from TL Modellbau sheets). The original documents how purely black fuselage codes, but I found these hard to read. So I chose digits with a white rim (actually, these belong to modern German Luftwaffe tactical codes in 1:32), which improve contrast a little.
The kit received a thin black ink wash and some shading/dry-painting with lighter basic tones (Humbrol 103, 155, Model Master 2138,‘Israeli Armor Sand Grey’, and Humbrol 122). After decal application, another turn with overall Hemp and Light Grey was done in order to fade contrast and to emphasize the surface structure. The wires were also painted, but only with thinned black ink and a VERY soft brush.
Finally, everything was sealed under a spray coat of matt acrylic varnish.
Voilà, and done in just about a week!
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
The Fiat Macchi C.170 Brezza ("Gust of wind") was a single-seat biplane fighter which served primarily in Italy's Regia Aeronautica before and in the early stages of World War II. The aircraft was produced by the Varese firm, and entered service, in smaller numbers, with the air forces of Italy, Austria and Hungary.
In spite of the biplane configuration, the C.170 was a modern, 'sleek-looking' design based around a strong steel and alloy frame incorporating a NACA cowling housing the radial engine, with fairings for the fixed main landing gear. The C.170's upper wing was slightly larger than its lower wing, carried only by six struts and a few bracing wires. Only the upper wing featured ailerons while the lower wing carried large flaps. Although it looked slightly outdated, the aircraft proved exceptionally agile thanks to its very low wing loading and a powerful, responsive engine.
Power was provided by a 650 kW (870 hp) Fiat A.74 14 cylinder radial engine, which also drove the contemporary Fiat CR.32 fighter. With the "direttiva" (Air Ministry Specific) of 1932, Italian industrial leaders had been instructed to concentrate solely on radial engines for fighters, due to their better reliability. The A.74 was actually a re-design of the American Pratt & Whitney R-1830 SC-4 Twin Wasp made by engineers Tranquillo Zerbi and Antonio Fessia, and in the C.170 it was geared to drive a metal three-blade Fiat-Hamilton Standard 3D.41-1 propeller of 2.9 m (9.5 ft) diameter. This allowed an impressive top speed of 441 km/h (272 mph) at 6.500 m (20.000 ft), and 342 km/h (213 mph) at ground level.
The first C.170 prototype flew on 24 December 1934 in Lonate Pozzolo, Varese, with Macchi Chief Test Pilot Giuseppe Burei at the controls. It was followed by the second prototype early the next year, which flew with an armored headrest and fairing in place (the C.170 lacked any further armor!) and other minor changes that were incorporated for serial production.
Despite Macchi’s proposal for a closed cockpit canopy the cockpit remained open – Italian pilots were rather conservative. Additional protection was introduced through armored side panels, though, which would protect the pilot’s shoulders. Radio equipment was also not included, as in many other Italian fighter aircraft.
During evaluation in early 1935 the C.170 was tested against the Fiat CR.42 and the Caproni Ca.165 biplane fighters, and was judged to be on par with the CR.42, although the Ca.165 was a more modern design which boasted a higher speed at the cost of maneuverability. An initial order of 99 C.170 for Italy's Regia Aeronautica was placed to Macchi factory in summer 1935, followed by foreign interest and order options from Austria, Belgium and Spain.
Anyway, what looked like a prosperous design was soon rendered obsolete: Following the end of Italy's campaigns in East Africa, a program was started to completely re-equip the Regia Aeronautica with a new interceptor aircraft of modern design. The 10 February 1936 specifications called for an aircraft powered by a single radial engine, with a top speed of 500 km/h, climb rate at 6,000 meters of 5 minutes, with a flight endurance of two hours, and armed with a single (later increased to two) 12.7 mm (0.5 in) machine gun. That was more or less the premature end for the C.170, as Macchi and other manufacturers quickly turned to more modern monoplane designs.
Therefore, orders and production of the Macchi Brezza remained limited. Beyond the original 99 aircraft for the Regia Aeronautica only 24 further C.170s were delivered. These aircraft went in spring 1936 to Austria to equip Jagdgeschwader II at Wiener Neustadt. Immediately after their delivery the Brezza fighters were retro-fitted with radio equipment, recognizable through the antenna installation on the headrest fairing. The potential orders from Belgium and Spain were soon cancelled, due to political tensions.
As a side note, the Austrian C.170s fighters were the first aircraft to sport the new national emblem, which had been the result of a competition and won by flight engineer Rosner from the Graz-Thalerhof base. The white, equilateral triangle with the point facing downwards in a red disc was a completely new design and had (other than the flag or coats of arms) no prior basis.
The C.170s' career in Austrian service was short, though: in March 1938 the Austrian units were absorbed into the Luftwaffe, and after a brief period the aircraft were handed over to Hungary where they were used for training purposes.
Although an obsolete design, it proved to be robust, durable and effective especially in severe conditions. In spring 1943, surviving C.170s were rounded up from training schools and delivered to night ground attack units operating on the Eastern Front. The C.170 was used to conduct night harassment sorties on the Eastern Front until September 1944, when the units were disbanded, due to a lack of serviceable airframes and spare parts.
General characteristics
Crew: 1
Length: 8.25 m (27 ft 1 in)
Wingspan: 32 ft 3 in (9.83 m)
Height: 11 ft 9 in (3.58 m)
Wing area: 323 ft² (30.0 m²)
Empty weight: 3,217 lb (1,462 kg)
Loaded weight: 4,594 lb (2,088 kg)
Powerplant
1× Fiat A.74 R.C.38 14-cylinder air-cooled radial engine, 650 kW (870 hp) at 2,520 rpm for take-off
Performance
Maximum speed: 441 km/h (238 kn, 274 mph) at 20,000 ft
Cruise speed: 338 km/h (187 kn, 210 mph)
Range: 780 km (420 nmi, 485 mi)
Service ceiling: 10,210 m (33,500 ft)
Rate of climb: 11.8 m/s (2,340 ft/min)
Climb to 10,000 ft (3,050 m): 4.75 min
Wing loading: 69,6 kg/m² (15,3 lb/ft²)
Power/mass: 311 W/kg (0.19 hp/lb)
Armament
2× 12.7 mm (0.5 in) Breda-SAFAT synchronized machine guns above the engine, 370 rpg
Some aircraft were field-modified to carry up to 8× 15 kg (33 lb) or 2× 50 or 100 kg (110/220 lb) bombs under the wings
The kit and its assembly
Inspiration for this little, whiffy biplane came when I posted a pic of an Austrian Ju 86 bomber as a reply/ suggestion to a fellow modeler's (NARSES2) search at whatifmodelers.com for “something” to make from a Gloster Gladiator.
When I looked at the paint scheme a second time I remembered that I still had some Austrian roundels in stock, as well some very old biplane spare parts... hmmm.
Biplanes are tricky to build, even OOB, and kitbashing this kind of whif would not make things easier. Anyway, I love such challenges, and the potential outcome would surely look nice, if not exotic, so I decided to tackle the project.
Basically, the following donation ingredients went into it:
● Fuselage, engine, cockpit/pilot and tail from a Revell Macchi C.200 "Saetta"
● Upper wing from a Matchbox Gloster "Gladiator"
● Lower wings from a Matchbox SBC "Helldiver"
● Wheels from a Matchbox Hs 126 (shortened)
Pretty straightforward, but even though it would be a small aircraft model, it would come with two big challenges: mounting the lower wings and shaping the resulting, gaping belly, and the custom-made struts and wirings for the upper wing.
Work started with the Macchi C.200’s fuselage, which was built OOB - just without the wing, which is a single part, different pilot (the included one is a pygmy!) and with a free spinning metal axis for the propeller.
The wing installation started with the lower wings. I glued the Helldiver wings onto the C.200 fuselage, so that the wings' trailing edge would match the C.200's wing root ends. From that, a floor plate was fitted under the fuselage and any excessive material removed, the gaps filled with lumps of 2C putty. That moved the lower wing's roots backwards, creating space at the lower forward fuselage for the new landing gear.
The latter was taken from a vintage Matchbox Hs 126 reconnaissance aircraft - probably 25, if 30 years old... Size was O.K., but the struts had to shortened by about 5mm, as thge HS 126 is a much bigger/longer aircraft than the C.200. A cut was made just above the wheel spats, material taken out, and the separate parts were glued back together again.
With the lower wings in place I started building strut supports for the upper wing from styrene strips - tricky and needs patience, but effective. I started with the outer supports, carving something SBC-style from styrene. These were glued into place, slightly canted outwards, and their length/height adapted to the upper wing’s position.
When this was settled, the upper Gladiator wing was glued into place. After a thorough drying period the short fuselage supports in front of the cockpit – again, styrene strips – were inserted into the gap. This allowed an individual lengthening, and was easier than expected, with a stable result.
After having the upper wing glued in place I added some wiring, made from heated and pulled-out styrene sprues. This not only enhances the kit's look, it also (just like in real life) improves rigidity of the model. Also a tedious task, but IMHO worth the effort. I tried thin wire, nylon strings and sewing yarn for this job, but finally the styrene solution is what worked best for me.
The exhaust installation had also to be modified: the new Hs 126 struts with spats would have been where the original C.200’s hot exhaust gases would have gone, so I added new exhaust pipes that would go between the new legs.
Other small added details included, among others, a pitot on a wing strut, a visor in front of the cockpit, a radio antenna, a ladder made from wire.
Painting and markings:
I would not call the Austrian 3+1-tone pre-WWII-scheme spectacular, but the colors are unique. My scheme is based on an Austrian Ju 86 bomber from 1938, so it fits into the intended time frame.
The colors were puzzled together from various sources and are subjective guesstimates:
● A pale, yellow-ish beige (Humbrol 74, ‘Linen’, out of production)
● A rather brownish green (Testors 1711, ‘Olive Drab’, FS 34087)
● A dark green with a yellow-ish hue (Humbrol 116, ‘US Dark Green’ FS 34079)
● Light blue for the undersides (Humbrol 65, ‘Aircraft Blue’, RLM 65)
In order to add some details I painted the area behind the engine cowling in aluminum. The respective part under the fuselage, where the exhaust gases would pass, was painted in Steel – both Testors Metallizers.
The interior surfaces were painted in a neutral Grey – but with the engine and the pilot in place you cannot see anything of that at all.
Markings are minimal: the Austrian roundels come from a TL Decals aftermarket sheet, the flag on the rudder was laid out with red paint (a mix of Humbrol 19 and 60), the white bar is a decal. The tactical code is fictional, puzzled together from single digits in various sizes (also from TL Modellbau sheets). The original documents how purely black fuselage codes, but I found these hard to read. So I chose digits with a white rim (actually, these belong to modern German Luftwaffe tactical codes in 1:32), which improve contrast a little.
The kit received a thin black ink wash and some shading/dry-painting with lighter basic tones (Humbrol 103, 155, Model Master 2138,‘Israeli Armor Sand Grey’, and Humbrol 122). After decal application, another turn with overall Hemp and Light Grey was done in order to fade contrast and to emphasize the surface structure. The wires were also painted, but only with thinned black ink and a VERY soft brush.
Finally, everything was sealed under a spray coat of matt acrylic varnish.
Voilà, and done in just about a week!
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
The Fiat Macchi C.170 Brezza ("Gust of wind") was a single-seat biplane fighter which served primarily in Italy's Regia Aeronautica before and in the early stages of World War II. The aircraft was produced by the Varese firm, and entered service, in smaller numbers, with the air forces of Italy, Austria and Hungary.
In spite of the biplane configuration, the C.170 was a modern, 'sleek-looking' design based around a strong steel and alloy frame incorporating a NACA cowling housing the radial engine, with fairings for the fixed main landing gear. The C.170's upper wing was slightly larger than its lower wing, carried only by six struts and a few bracing wires. Only the upper wing featured ailerons while the lower wing carried large flaps. Although it looked slightly outdated, the aircraft proved exceptionally agile thanks to its very low wing loading and a powerful, responsive engine.
Power was provided by a 650 kW (870 hp) Fiat A.74 14 cylinder radial engine, which also drove the contemporary Fiat CR.32 fighter. With the "direttiva" (Air Ministry Specific) of 1932, Italian industrial leaders had been instructed to concentrate solely on radial engines for fighters, due to their better reliability. The A.74 was actually a re-design of the American Pratt & Whitney R-1830 SC-4 Twin Wasp made by engineers Tranquillo Zerbi and Antonio Fessia, and in the C.170 it was geared to drive a metal three-blade Fiat-Hamilton Standard 3D.41-1 propeller of 2.9 m (9.5 ft) diameter. This allowed an impressive top speed of 441 km/h (272 mph) at 6.500 m (20.000 ft), and 342 km/h (213 mph) at ground level.
The first C.170 prototype flew on 24 December 1934 in Lonate Pozzolo, Varese, with Macchi Chief Test Pilot Giuseppe Burei at the controls. It was followed by the second prototype early the next year, which flew with an armored headrest and fairing in place (the C.170 lacked any further armor!) and other minor changes that were incorporated for serial production.
Despite Macchi’s proposal for a closed cockpit canopy the cockpit remained open – Italian pilots were rather conservative. Additional protection was introduced through armored side panels, though, which would protect the pilot’s shoulders. Radio equipment was also not included, as in many other Italian fighter aircraft.
During evaluation in early 1935 the C.170 was tested against the Fiat CR.42 and the Caproni Ca.165 biplane fighters, and was judged to be on par with the CR.42, although the Ca.165 was a more modern design which boasted a higher speed at the cost of maneuverability. An initial order of 99 C.170 for Italy's Regia Aeronautica was placed to Macchi factory in summer 1935, followed by foreign interest and order options from Austria, Belgium and Spain.
Anyway, what looked like a prosperous design was soon rendered obsolete: Following the end of Italy's campaigns in East Africa, a program was started to completely re-equip the Regia Aeronautica with a new interceptor aircraft of modern design. The 10 February 1936 specifications called for an aircraft powered by a single radial engine, with a top speed of 500 km/h, climb rate at 6,000 meters of 5 minutes, with a flight endurance of two hours, and armed with a single (later increased to two) 12.7 mm (0.5 in) machine gun. That was more or less the premature end for the C.170, as Macchi and other manufacturers quickly turned to more modern monoplane designs.
Therefore, orders and production of the Macchi Brezza remained limited. Beyond the original 99 aircraft for the Regia Aeronautica only 24 further C.170s were delivered. These aircraft went in spring 1936 to Austria to equip Jagdgeschwader II at Wiener Neustadt. Immediately after their delivery the Brezza fighters were retro-fitted with radio equipment, recognizable through the antenna installation on the headrest fairing. The potential orders from Belgium and Spain were soon cancelled, due to political tensions.
As a side note, the Austrian C.170s fighters were the first aircraft to sport the new national emblem, which had been the result of a competition and won by flight engineer Rosner from the Graz-Thalerhof base. The white, equilateral triangle with the point facing downwards in a red disc was a completely new design and had (other than the flag or coats of arms) no prior basis.
The C.170s' career in Austrian service was short, though: in March 1938 the Austrian units were absorbed into the Luftwaffe, and after a brief period the aircraft were handed over to Hungary where they were used for training purposes.
Although an obsolete design, it proved to be robust, durable and effective especially in severe conditions. In spring 1943, surviving C.170s were rounded up from training schools and delivered to night ground attack units operating on the Eastern Front. The C.170 was used to conduct night harassment sorties on the Eastern Front until September 1944, when the units were disbanded, due to a lack of serviceable airframes and spare parts.
General characteristics
Crew: 1
Length: 8.25 m (27 ft 1 in)
Wingspan: 32 ft 3 in (9.83 m)
Height: 11 ft 9 in (3.58 m)
Wing area: 323 ft² (30.0 m²)
Empty weight: 3,217 lb (1,462 kg)
Loaded weight: 4,594 lb (2,088 kg)
Powerplant
1× Fiat A.74 R.C.38 14-cylinder air-cooled radial engine, 650 kW (870 hp) at 2,520 rpm for take-off
Performance
Maximum speed: 441 km/h (238 kn, 274 mph) at 20,000 ft
Cruise speed: 338 km/h (187 kn, 210 mph)
Range: 780 km (420 nmi, 485 mi)
Service ceiling: 10,210 m (33,500 ft)
Rate of climb: 11.8 m/s (2,340 ft/min)
Climb to 10,000 ft (3,050 m): 4.75 min
Wing loading: 69,6 kg/m² (15,3 lb/ft²)
Power/mass: 311 W/kg (0.19 hp/lb)
Armament
2× 12.7 mm (0.5 in) Breda-SAFAT synchronized machine guns above the engine, 370 rpg
Some aircraft were field-modified to carry up to 8× 15 kg (33 lb) or 2× 50 or 100 kg (110/220 lb) bombs under the wings
The kit and its assembly
Inspiration for this little, whiffy biplane came when I posted a pic of an Austrian Ju 86 bomber as a reply/ suggestion to a fellow modeler's (NARSES2) search at whatifmodelers.com for “something” to make from a Gloster Gladiator.
When I looked at the paint scheme a second time I remembered that I still had some Austrian roundels in stock, as well some very old biplane spare parts... hmmm.
Biplanes are tricky to build, even OOB, and kitbashing this kind of whif would not make things easier. Anyway, I love such challenges, and the potential outcome would surely look nice, if not exotic, so I decided to tackle the project.
Basically, the following donation ingredients went into it:
● Fuselage, engine, cockpit/pilot and tail from a Revell Macchi C.200 "Saetta"
● Upper wing from a Matchbox Gloster "Gladiator"
● Lower wings from a Matchbox SBC "Helldiver"
● Wheels from a Matchbox Hs 126 (shortened)
Pretty straightforward, but even though it would be a small aircraft model, it would come with two big challenges: mounting the lower wings and shaping the resulting, gaping belly, and the custom-made struts and wirings for the upper wing.
Work started with the Macchi C.200’s fuselage, which was built OOB - just without the wing, which is a single part, different pilot (the included one is a pygmy!) and with a free spinning metal axis for the propeller.
The wing installation started with the lower wings. I glued the Helldiver wings onto the C.200 fuselage, so that the wings' trailing edge would match the C.200's wing root ends. From that, a floor plate was fitted under the fuselage and any excessive material removed, the gaps filled with lumps of 2C putty. That moved the lower wing's roots backwards, creating space at the lower forward fuselage for the new landing gear.
The latter was taken from a vintage Matchbox Hs 126 reconnaissance aircraft - probably 25, if 30 years old... Size was O.K., but the struts had to shortened by about 5mm, as thge HS 126 is a much bigger/longer aircraft than the C.200. A cut was made just above the wheel spats, material taken out, and the separate parts were glued back together again.
With the lower wings in place I started building strut supports for the upper wing from styrene strips - tricky and needs patience, but effective. I started with the outer supports, carving something SBC-style from styrene. These were glued into place, slightly canted outwards, and their length/height adapted to the upper wing’s position.
When this was settled, the upper Gladiator wing was glued into place. After a thorough drying period the short fuselage supports in front of the cockpit – again, styrene strips – were inserted into the gap. This allowed an individual lengthening, and was easier than expected, with a stable result.
After having the upper wing glued in place I added some wiring, made from heated and pulled-out styrene sprues. This not only enhances the kit's look, it also (just like in real life) improves rigidity of the model. Also a tedious task, but IMHO worth the effort. I tried thin wire, nylon strings and sewing yarn for this job, but finally the styrene solution is what worked best for me.
The exhaust installation had also to be modified: the new Hs 126 struts with spats would have been where the original C.200’s hot exhaust gases would have gone, so I added new exhaust pipes that would go between the new legs.
Other small added details included, among others, a pitot on a wing strut, a visor in front of the cockpit, a radio antenna, a ladder made from wire.
Painting and markings:
I would not call the Austrian 3+1-tone pre-WWII-scheme spectacular, but the colors are unique. My scheme is based on an Austrian Ju 86 bomber from 1938, so it fits into the intended time frame.
The colors were puzzled together from various sources and are subjective guesstimates:
● A pale, yellow-ish beige (Humbrol 74, ‘Linen’, out of production)
● A rather brownish green (Testors 1711, ‘Olive Drab’, FS 34087)
● A dark green with a yellow-ish hue (Humbrol 116, ‘US Dark Green’ FS 34079)
● Light blue for the undersides (Humbrol 65, ‘Aircraft Blue’, RLM 65)
In order to add some details I painted the area behind the engine cowling in aluminum. The respective part under the fuselage, where the exhaust gases would pass, was painted in Steel – both Testors Metallizers.
The interior surfaces were painted in a neutral Grey – but with the engine and the pilot in place you cannot see anything of that at all.
Markings are minimal: the Austrian roundels come from a TL Decals aftermarket sheet, the flag on the rudder was laid out with red paint (a mix of Humbrol 19 and 60), the white bar is a decal. The tactical code is fictional, puzzled together from single digits in various sizes (also from TL Modellbau sheets). The original documents how purely black fuselage codes, but I found these hard to read. So I chose digits with a white rim (actually, these belong to modern German Luftwaffe tactical codes in 1:32), which improve contrast a little.
The kit received a thin black ink wash and some shading/dry-painting with lighter basic tones (Humbrol 103, 155, Model Master 2138,‘Israeli Armor Sand Grey’, and Humbrol 122). After decal application, another turn with overall Hemp and Light Grey was done in order to fade contrast and to emphasize the surface structure. The wires were also painted, but only with thinned black ink and a VERY soft brush.
Finally, everything was sealed under a spray coat of matt acrylic varnish.
Voilà, and done in just about a week!
Honolulu Fire Department ~ Fire Rescue Air 1
N52000 "AIR 1" over Portlock Point. "AIR 2" is on the tailfin, but the callsign is "AIR 1". The original "AIR-1" (an MD500D) crashed during a rescue mission killing 1 HFD and 2 HPD personnel several years ago.
NTSB Identification: LAX95GA264
HISTORY OF FLIGHT
On July 21, 1995, about 1227 hours Hawaiian standard time, a McDonnell Douglas 369D, N1090S, operating under call sign Air 1 by the Honolulu Fire Department (HFD) as a public use aircraft, was destroyed while maneuvering near Hauula, on the island of Oahu, Hawaii. Changing meteorological conditions existed during this time. The pilot and two passengers, who were suspended beneath the helicopter in a rescue net, received fatal injuries. The flight originated on the day of the accident as an on-going search for a lost hiker in the Koolau Mountains near Sacred Falls.
The pilot had made two prior insertions of search and rescue (SAR) personnel into the general area of the search. They repelled out of the helicopter to the ground. On each of the two insertions an observer was onboard to retrieve the rope.
The first two inserted SAR personnel were subsequently relocated separately by the pilot with an observer onboard to a campsite with the use of a Billy Pugh helicopter rescue net. According to an HFD report to the Safety Board, after returning to the staging area, a decision was made to insert two Honolulu Police Department (HPD) officers into the search area at one time using the Billy Pugh net. The report stated that the decision was made by the pilot to fly without an observer.
According to an HFD pilot, when operating without an observer the pilot must lean outside of the helicopter to maintain visual contact with the net.
According to resident search personnel, changing trade winds and cloud cover are a common phenomena in the area and had been affecting the search for 5 days. After the pilot departed the staging area with the two HPD searchers in the net, a previously placed searcher radioed the pilot of Air 1 three times. He advised the pilot, "Pete, it's just too soupy up here, your gonna have to take em back down. I cant even see the other side of the river." A review of the recorded voice communications revealed that there was no verbal acknowledgment from the pilot. Shortly thereafter, a searcher heard a crash or impact sound followed briefly by a sound of the helicopter engine noise spooling up then down and then silence.
Two people were hiking together in the Sacred Falls area at the time of the accident. They were both interviewed by telephone. Both hikers observed the helicopter in-flight with the net attached; however, they could not positively identify what was in the net. The time frame of between 1225 and 1230 was established by their need to start hiking back out of the canyon by a certain time.
The first hiker to be interviewed stated that she observed the helicopter turning slowly and descending with the net swinging back and forth like a pendulum. She estimated the amount of swing to be about 20 to 30 degrees. She also noted that the helicopter was close to the mountainous terrain and the weather was cloudy with intermittent light rain.
The second hiker also observed the helicopter turning slowly, but noted that the helicopter was partially in the clouds which were boiling around the helicopter. He stated that the net was in the clear, but swinging back and forth an estimated 45 to 50 degrees like a pendulum. He also noted that the helicopter appeared to be close to the mountainous terrain.
PILOT INFORMATION
The pilot was employed by the HFD on March 1, 1991, as a fire fighter. On October 13, 1994, the pilot met all the qualifications for flying as a relief pilot. The pilot was selected for relief pilot training on January 13, 1994. The HFD does not have a relief pilot position. Once the firefighter is qualified to be a relief pilot, he continues in his regular position as a firefighter and is temporarily assigned to a pilot's position in the event of an absence of the regular pilot.
At the time of the request, he reported a total of 1,990 fixed wing hours and 321 helicopter hours, for a combined total flight time of 2,311 hours. Examination of all available records disclosed differences in the pilot's flight experience as entered in the various documents.
The pilot reported a total flight time of 3,400 hours with 200 in the last 6 months on his last class two flight physical, dated June 8, 1995.
According to helicopter flight school records, the pilot started helicopter flight training on September 11, 1992, at Burbank, California. The operator provided a Bell 47-D1, with a flight instructor.
According to the operator and flight instructor records, the pilot flew from September 11, 1992, through October 9, 1992, during which time he received his private, commercial, and CFI add-on ratings. The instructor stated that he flew 34.8 hours of dual flight instruction with the pilot. The instructor also stated that the pilot flew an additional 17 hours of solo while preparing for his add-on ratings. The pilot's last add-on rating was for flight instructor rotorcraft helicopter on October 9, 1992. At that time, he reported 57 total helicopter flight hours, with 22 hours of dual instruction and 38 hours of solo flight. The pilot's log book documents 22.8 hours of dual and 39.4 hours of solo flight in the Bell 47-D1 helicopter.
According to the pilot's log book, on February 13, 1993, the pilot took his first dual flight instruction in an HFD helicopter. According to HFD records, at the time of the accident the pilot had accumulated a total of 222.2 hours in the HFD helicopter; 50.3 of these hours were dual instruction. The last documented dual instruction was October 13, 1994, and consisted of his relief pilot checkout flight and a biennial flight review.
According to a pilot history form provided by the pilot to HFD, as of June 20, 1995, the pilot reported 3,011 total flight hours. Of that, 511 hours were helicopter flight hours with about 200 hours in a MD369D. In the last 90 days he listed 3 hours of MD369D helicopter flight time. A review of the pilot's actual flight logs revealed that they were sporadically dated with incomplete entries and no page totals.
An interview was conducted with the HFD chief pilot. The chief pilot stated that their were no written training records, written examinations, or dual flight instruction formats given the accident pilot.
An examination of the mission log book revealed that the accident pilot responded to about 33 alarms as a solo pilot. During the 33 alarms, the pilot performed about 10 rescues, with about nine water or net operations, and three repellings.
The chief pilot was asked if their was any evidence of an emergency briefing of the HPD net passengers prior to the last flight. He stated that there was no briefing. He was then asked if there would have routinely been a briefing of passengers prior to flight. He stated no because they routinely work with their own personnel who are trained by the HFD.
HELICOPTER INFORMATION
The accident helicopter was operating as Air 1. To differentiate between the two helicopters on the ground for maintenance purposes or general reference, the accident helicopter was actually known as Air 2. Whichever helicopter was airborne, for communication purposes, the helicopter was called Air 1. If the second helicopter was called out at the same time, it was called Air 2.
The McDonnell Douglas 369D helicopter was manufactured as a 1980 model. According to the maintenance records, at the time of the accident the helicopter had accumulated 6,592.6 hours of operation. The helicopter was maintained under a maintenance program provided by the manufacturer, McDonnell Douglas, as a 100, 200, and 300-hour inspection program. A review of the records revealed no outstanding maintenance items.
During conversations with the accident pilot's wife, she stated that her husband had told her that both helicopters had vibrations. She stated that Air 2 had an overtemp problem some time around July 1, 1995. She stated that her husband said several attempts were made to fix the problem, but he finally fixed it himself.
A review of the discrepancy sheet revealed that on July 13,1995, the engine was reported to be running hot. The engine was subsequently replaced along with a turbine outlet temperature gauge, and a gasket was installed to seal up the heater plate in the scavenge air system.
The HFD personnel were questioned regarding high or over temperature problems relating to the accident pilot. They reported that the pilot had overtemped (operational exceedence) both helicopters. On February 26, 1995, the pilot had a start temperature exceedence (hot start) in helicopter N58388. On March 9, 1995, the pilot experienced an operational temperature exceedence in the accident helicopter. The engines were inspected in accordance with the Allison 250-C20 series operations and maintenance manual table III-8, special inspections.
The helicopter rescue net is manufactured under an FAA supplemental type certificate (STC) and is designed for two 180-pound persons. There are no operating limitations provided with the STC. According to the manufacturer, the net was designed for rescue recovery; however, it can also be used for personnel transfer. The net is carried by one 9/16-inch by 50-foot 8-strand plimoor Columbian rope. The maximum yield strength is 9,000 pounds. The rope hooks to the helicopter from the center of the belly by two solenoid operated hooks/latches. The single rope is hooked to each hook by a separate Carabineer. Except for a water bucket operation, power to the hooks is disconnected by pulling the circuit breakers and disarming the switch to prevent inadvertent release of the load.
WRECKAGE AND IMPACT INFORMATION
The accident site was located in the Koolau mountain range at an elevation of about 2,000 feet msl. The terrain slope was estimated to be about 60 to 70 degrees. The wreckage was co-mingled with a dense foliage growth averaging about 6 feet deep.
Postaccident examination of the wreckage started during the helicopter sling load retrieval process. The left skid was inadvertently dropped into a canyon during the sling load operation and not recovered.
The Billy Pugh helicopter rescue net that had been occupied by the two HPD officers was found about 150 feet upslope from the main wreckage. The lift rope attach points for the net were missing. The rectangular tube frame was bent down in the front about 9 inches. The lead weight drogue chute ring was found bent over 180 degrees and still attached to the rescue net by it's rope.
The net rope was found wrapped around the rotor mast at the rubber boot. Examination of the rope revealed paint transfers of different colors similar to the coded pitch change and rotor blade component colors. The rope was removed and measured. The recovered rope was measured to be 44-feet 8-inches in length. According to an HFD pilot, the rope being used was 50 feet in length.
The red coded main rotor blade separated from the main rotor system and had approximately a 140-degree downward bend, about 28 inches outboard of the blade root end. The abrasion strip evidenced a material transfer of fiberglass from an unknown source. The upper and lower trailing edges of the blade were spread open from the blade tip inboard approximately 89 inches, and had rope marks on the blade bottom and inside of the upper trailing edge. The blade had negligible leading edge damage and the tip weight was intact.
The green coded main rotor blade separated from the main rotor system and had approximately a 30-degree bend rearward at midspan with no leading edge damage. The pitch case remained attached to the blade and had a fracture of the top side. The forward leading edge lead/lag pin was found missing. Impact damage was found near the pins normal position. The blade exhibited substantial damage, but was intact for the full length. The blade tip weight was intact.
The yellow main rotor blade separated from the main rotor hub assembly. The outboard 54 inches had an overload fracture and separation in the form of downward bending. There was no leading edge damage on the outboard 54-inch section of the blade. The blade tip weight was intact.
The blue coded main rotor blade separated from the main rotor system and had approximately a 4-foot inboard-to-outboard tear in the top side blade skin, with corresponding airframe yellow paint transfer for the entire length of the tear. The blue blade also had an approximate 64-degree downward bend of the outboard 2 feet. The blade had leading edge indentations on the outboard 3 feet of the blade. The pitch case and blade root were separated from the blade and not recovered.
The white coded main rotor blade pitch case and approximately 1 foot of the blade root end remained attached to the main rotor hub. An approximate 50-inch section of the inboard white main rotor blade leading edge spar was wrapped around the main rotor mast. The main rotor strap assembly had buckling and stretching, but no complete fracture of the laminates. The blade exhibited leading edge damage on the outboard section of the blade, as well as black paint transfer on the top side of the leading edge abrasion strip. Orange color material similar to the net nylon rope support structure was present in the leading edge indentations.
From the main wreckage northward about 250 feet and separated by a ravine, the majority of the tail boom assembly was found with all components still attached. The tail rotor blades were damaged.
Examination of the longitudinal and the lateral trim actuators revealed that both had been destroyed by impact forces. The trim switch was destroyed by the postcrash fire damage.
Examination of the engine revealed: severe foreign object damage (fod) of the first stage blades and inlet guide vanes; minor fod was found on stage two and three blades; metal particles were found in the combustion area; aluminum deposits were present on the nozzle shield of the first stage; the No. 1 and No. 2 shafts were found intact; the combustion liner was intact; moderate carboning of the fuel nozzles were noted; and there was no distress noted in the gears and the bearings of the gear box.
METEOROLOGICAL INFORMATION
The closest official weather reporting facility is located about 20 miles away.
A HPD helicopter pilot arrived in the area about 45 minutes after the accident. He reported: the ceiling was 3,500-foot overcast; visibility into the valley above 2,000 feet msl was less than 2/5 of a mile in instrument meteorological conditions; winds at 1,840 feet msl were 20 to 25 knots over an arc of 030 to 060 degrees; and the clouds were drifting in and out of the valley with approximately 10 to 15 minute intervals. While flying over the crash site searching for survivors, he experienced swirling winds in and above a waterfall, with up and down drafts coming over the ridges and fingers of the immediate area. The witness pilot reported that while trying to hover over the crash site, he had experienced conditions conducive to settling with power on several occasions.
There was an advisory to airmen (airmet) in effect for moderate turbulence below 6,000 feet msl.
MEDICAL AND PATHOLOGICAL INFORMATION
On July 23, 1995, the Honolulu County Medical Examiner performed an autopsy on the pilot. The cause of death was attributed to multiple blunt force trauma. During the course of the autopsy, no preexisting medical conditions were noted that would have affected the pilot's ability to pilot an aircraft.
During the autopsy, samples were obtained for toxicological analysis by the FAA Civil Aeromedical Institute in Oklahoma City, Oklahoma. The results of the analysis was negative for drugs and ethanol.
TESTING AND RESEARCH INFORMATION
On July 23, 1995, a postaccident examination of the recovered helicopter structure, systems, components, and engine was started. The total control continuity was not established due to the fire damage.
The green coded main rotor blade attaching pin was not recovered. A service difficulty (SDR) report search was conducted. There were seven SDR reports of attaching pin bushing, cracking, or safety latch problems, but there were no reported pin losses during flight operation. According to McDonnell Douglas, based on the rotor rpm and the resulting centrifugal loading, the pin should remain in position even without the safety latch. There was impact damage noted in the area of the pin's location.
A section of the red coded main rotor blade was removed for lab analysis by the HPD crime lab to identify a paint-type of material transfer. The material was identified as a fiberglass type of material from an unknown source.
ADDITIONAL INFORMATION
The HFD operates as a public use operator as defined in public law PL 103-411.
According to the HFD senior pilot, the HFD flight department/aircraft station has a limited written standard operation procedures (SOP) manual which is included within the fire departments manual, but no other procedural guidelines specific to the operation of the helicopters. The HFD flight department has no formal flight training/recurrency manual. They reported that: "Recurrence training conducted by the senior pilot is based upon the provisions of FAR/AIM 94".
The HFD does have a general fire department SOP manual which addresses helicopter operations in limited detail. The following are excerpts from the manual:
Par. 251.01 Specifies a 56-hour workweek for the pilots who stay at an HFD facility during that time.
Par. 251.02 Minimum crew for the helicopter shall be one certified HFD pilot. If possible, a Fire Fighter 2 (rescue) of permanent rank shall serve as a crew member.
Par. 251.03 The helicopter pilot is in command of the aircraft and is responsible for providing safe and competent services. He shall determine whether the operation desired is safe. With his concurrence, chief officers on duty shall be authorized to deviate from normal procedures when deemed necessary.
Par. 253.01 Relief pilot proficiency training. To maintain proficiency in flying skills, all relief pilots shall participate in helicopter proficiency training once every three-shift cycles. Relief pilots may forego training if some flying takes place during the period due to temporary assignment or reallocation. Regular helicopter pilots shall coordinate training dates and times with relief pilots company commanders.
The chief pilot stated that he had attempted to make some changes to the HFD department manual regarding helicopter operations. He said the proposed changes were apparently put aside, with no acknowledgment or disposition for over a year. He did provide a copy of his proposed changes.
An interview was conducted of former and present pilots of the HFD regarding procedures, leadership, and morale in general. The interviews were consistent among them with regard to upper management's directives or expectations of the helicopter pilots.
Although Par. 251.03 provides that the pilot is in command of the aircraft and is responsible for providing safe and competent services, the interviews revealed that criticism from upper management (chief officer) was common for noncompletion of an mission due to a pilot decision. This then required the pilot to complete a written report to the fire chief, as well as the chief fire officer involved.
These pilots also stated that management did not understand the limitations of the helicopter and of the pilots with regard to adverse weather conditions, night operations, and the pilot's experience level.
According to the HFD management, the matter of noncompletetion of a mission due to a pilot's decision regarding safety and the lack of understanding by chief officers involved regarding the reasoning behind it, had been discussed in an HFD staff meeting on May 17, 1995.
Just prior to the accident, the fire chief made the decision to recall the badges and insignia's of the helicopter pilots citing lack of experience to qualify them as a fire captain. At that time, there was no mention of a replacement badge or shield, though the senior pilot had been requested to come up with an alternate badge or insignia appropriate for the pilots to wear. The senior pilot did not respond or inform the pilots of the department's intention for 3 weeks. New badges were ordered by the department in the meantime.
A recent department-wide pay increase, excluding the helicopter pilots, was also noted as a morale problem. The department wide pay increase was a state/city repricing action of firefighting classes which took place on July 1, 1993, and excluded certain fireboat and aviation positions.
The accident pilot was an FAA licensed airframe and powerplant technician with inspection authorization. According to HFD personnel, he was not authorized to work on the HFD helicopters.
Industry trade manuals/books were reviewed with regard to this type of helicopter operation. They cite the pilot's proficiency, experience, and caution as a key factor in a safe operation. They also report that in the case of external loads, it is possible to experience oscillating loads, causing the pilot to run out of control travel.
According to 14 CFR part 27.1523 of the Federal Air Regulations, the minimum flight crew must be established so that it is sufficient for safe operation, considering: (a) The workload on individual crewmembers; (b) The accessibility and ease of operation of necessary controls by the appropriate crewmember; and (c) The kinds of operation authorized under 27.1525.
On August 2, 1995, the wreckage was released to the insurance company representative.
The following additional parties to the investigation were not listed on page 5:
Anthony J. Lopez, Jr. Honolulu Fire Department Honolulu, HI 96814
Robert D. Aton Honolulu Police Department Honolulu, Hi 96814
[Yaaayy] Finally I can share a total overview of Root End! The magical home of the Ginger Root Gnomes & Woodling Trolls **Beautifully made by Murjani Kusumobroto 🌱💛
Hand made magnetic djahé pods, miniature furniture, lights, curtains & djahé (ginger root) hats, cocoons and outfits by Fairy Fragilities' Murjani.
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#charlescreaturecabinet #ccc #cccbjd #root_end #nana_home #handmade #dollhouse #miniature #furniture #fairyfragilities #murjanikusumobroto #charlesgrimbergstephan #issaMoriko #childoftheforest #risu #nippy #45mm #microbjd #sprout #cabinetofwonders #gingerrootsprout #balljointeddoll #designertoy #dollsondisplay #forDRV2019
'SO, don't tell me you ate all the honey again' 🐝💛@charlescreaturecabinet CCC [NANA] dae djahé, [PIN-DA SO] blossom faerie & [BEE WITHME] licorice ~tiny micro bjd ~hand micro knits Catherine Janakiraman
| US
Last in stock available here:
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#charlescreaturecabinet #cccbjd #balljointeddoll #cccbeewithme #bee_withme #fireflyfaerie #gogglesandwings #nanadaedjahé #nanadjahé #cccnana #gingerrootgnome #tinybjd #lilpotbellie #PinDa_SO_peanut #botanicalblossomfaerie #microbjd #creaturebjd #anthropomorphic #ccc #charlesgrimbergstephan #bjdartist #rotterdam #glowinthedark #legitbjd #artistbjd #cabinetofwonders #sharingsmiles #CCCLover #🍀 #💞
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CCC NANA Dae Djahé | 6.5cm Tiny BJD | ginger root gnome | Ball-Jointed Doll ~Gingerroot Yellow GID
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CCC PIN-DA SO | 45 mm Micro BJD | Peanut Faerie | Ball-Jointed Doll | ~Cabinet of Wonders
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CCC BEE WITHME | 9cm Tiny BJD | bee firefly faerie | Ball-Jointed Doll ~Licorice
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Hand micro knits flower hat, bumble bee @catherinejanakiraman
Handmade root end furniture, nana outfit @murjanikusumobroto
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Photo: @charlescreaturecabinet | NL
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BJD Sculpt ™️ Copyright ©️ 2008 | Charles Grimberg-Stephan | Charles' Creature Cabinet | All Rights Reserved
[Yaaayy] Finally I can share a total overview of Root End! The magical home of the Ginger Root Gnomes & Woodling Trolls **Beautifully made by Murjani Kusumobroto 🌱💛
Hand made magnetic djahé pods, miniature furniture, lights, curtains & djahé (ginger root) hats, cocoons and outfits by Fairy Fragilities' Murjani.
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#charlescreaturecabinet #ccc #cccbjd #root_end #nana_home #handmade #dollhouse #miniature #furniture #fairyfragilities #murjanikusumobroto #charlesgrimbergstephan #issaMoriko #childoftheforest #risu #nippy #45mm #microbjd #sprout #cabinetofwonders #gingerrootsprout #balljointeddoll #designertoy #dollsondisplay #forDRV2019
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
The Fiat Macchi C.170 Brezza ("Gust of wind") was a single-seat biplane fighter which served primarily in Italy's Regia Aeronautica before and in the early stages of World War II. The aircraft was produced by the Varese firm, and entered service, in smaller numbers, with the air forces of Italy, Austria and Hungary.
In spite of the biplane configuration, the C.170 was a modern, 'sleek-looking' design based around a strong steel and alloy frame incorporating a NACA cowling housing the radial engine, with fairings for the fixed main landing gear. The C.170's upper wing was slightly larger than its lower wing, carried only by six struts and a few bracing wires. Only the upper wing featured ailerons while the lower wing carried large flaps. Although it looked slightly outdated, the aircraft proved exceptionally agile thanks to its very low wing loading and a powerful, responsive engine.
Power was provided by a 650 kW (870 hp) Fiat A.74 14 cylinder radial engine, which also drove the contemporary Fiat CR.32 fighter. With the "direttiva" (Air Ministry Specific) of 1932, Italian industrial leaders had been instructed to concentrate solely on radial engines for fighters, due to their better reliability. The A.74 was actually a re-design of the American Pratt & Whitney R-1830 SC-4 Twin Wasp made by engineers Tranquillo Zerbi and Antonio Fessia, and in the C.170 it was geared to drive a metal three-blade Fiat-Hamilton Standard 3D.41-1 propeller of 2.9 m (9.5 ft) diameter. This allowed an impressive top speed of 441 km/h (272 mph) at 6.500 m (20.000 ft), and 342 km/h (213 mph) at ground level.
The first C.170 prototype flew on 24 December 1934 in Lonate Pozzolo, Varese, with Macchi Chief Test Pilot Giuseppe Burei at the controls. It was followed by the second prototype early the next year, which flew with an armored headrest and fairing in place (the C.170 lacked any further armor!) and other minor changes that were incorporated for serial production.
Despite Macchi’s proposal for a closed cockpit canopy the cockpit remained open – Italian pilots were rather conservative. Additional protection was introduced through armored side panels, though, which would protect the pilot’s shoulders. Radio equipment was also not included, as in many other Italian fighter aircraft.
During evaluation in early 1935 the C.170 was tested against the Fiat CR.42 and the Caproni Ca.165 biplane fighters, and was judged to be on par with the CR.42, although the Ca.165 was a more modern design which boasted a higher speed at the cost of maneuverability. An initial order of 99 C.170 for Italy's Regia Aeronautica was placed to Macchi factory in summer 1935, followed by foreign interest and order options from Austria, Belgium and Spain.
Anyway, what looked like a prosperous design was soon rendered obsolete: Following the end of Italy's campaigns in East Africa, a program was started to completely re-equip the Regia Aeronautica with a new interceptor aircraft of modern design. The 10 February 1936 specifications called for an aircraft powered by a single radial engine, with a top speed of 500 km/h, climb rate at 6,000 meters of 5 minutes, with a flight endurance of two hours, and armed with a single (later increased to two) 12.7 mm (0.5 in) machine gun. That was more or less the premature end for the C.170, as Macchi and other manufacturers quickly turned to more modern monoplane designs.
Therefore, orders and production of the Macchi Brezza remained limited. Beyond the original 99 aircraft for the Regia Aeronautica only 24 further C.170s were delivered. These aircraft went in spring 1936 to Austria to equip Jagdgeschwader II at Wiener Neustadt. Immediately after their delivery the Brezza fighters were retro-fitted with radio equipment, recognizable through the antenna installation on the headrest fairing. The potential orders from Belgium and Spain were soon cancelled, due to political tensions.
As a side note, the Austrian C.170s fighters were the first aircraft to sport the new national emblem, which had been the result of a competition and won by flight engineer Rosner from the Graz-Thalerhof base. The white, equilateral triangle with the point facing downwards in a red disc was a completely new design and had (other than the flag or coats of arms) no prior basis.
The C.170s' career in Austrian service was short, though: in March 1938 the Austrian units were absorbed into the Luftwaffe, and after a brief period the aircraft were handed over to Hungary where they were used for training purposes.
Although an obsolete design, it proved to be robust, durable and effective especially in severe conditions. In spring 1943, surviving C.170s were rounded up from training schools and delivered to night ground attack units operating on the Eastern Front. The C.170 was used to conduct night harassment sorties on the Eastern Front until September 1944, when the units were disbanded, due to a lack of serviceable airframes and spare parts.
General characteristics
Crew: 1
Length: 8.25 m (27 ft 1 in)
Wingspan: 32 ft 3 in (9.83 m)
Height: 11 ft 9 in (3.58 m)
Wing area: 323 ft² (30.0 m²)
Empty weight: 3,217 lb (1,462 kg)
Loaded weight: 4,594 lb (2,088 kg)
Powerplant
1× Fiat A.74 R.C.38 14-cylinder air-cooled radial engine, 650 kW (870 hp) at 2,520 rpm for take-off
Performance
Maximum speed: 441 km/h (238 kn, 274 mph) at 20,000 ft
Cruise speed: 338 km/h (187 kn, 210 mph)
Range: 780 km (420 nmi, 485 mi)
Service ceiling: 10,210 m (33,500 ft)
Rate of climb: 11.8 m/s (2,340 ft/min)
Climb to 10,000 ft (3,050 m): 4.75 min
Wing loading: 69,6 kg/m² (15,3 lb/ft²)
Power/mass: 311 W/kg (0.19 hp/lb)
Armament
2× 12.7 mm (0.5 in) Breda-SAFAT synchronized machine guns above the engine, 370 rpg
Some aircraft were field-modified to carry up to 8× 15 kg (33 lb) or 2× 50 or 100 kg (110/220 lb) bombs under the wings
The kit and its assembly
Inspiration for this little, whiffy biplane came when I posted a pic of an Austrian Ju 86 bomber as a reply/ suggestion to a fellow modeler's (NARSES2) search at whatifmodelers.com for “something” to make from a Gloster Gladiator.
When I looked at the paint scheme a second time I remembered that I still had some Austrian roundels in stock, as well some very old biplane spare parts... hmmm.
Biplanes are tricky to build, even OOB, and kitbashing this kind of whif would not make things easier. Anyway, I love such challenges, and the potential outcome would surely look nice, if not exotic, so I decided to tackle the project.
Basically, the following donation ingredients went into it:
● Fuselage, engine, cockpit/pilot and tail from a Revell Macchi C.200 "Saetta"
● Upper wing from a Matchbox Gloster "Gladiator"
● Lower wings from a Matchbox SBC "Helldiver"
● Wheels from a Matchbox Hs 126 (shortened)
Pretty straightforward, but even though it would be a small aircraft model, it would come with two big challenges: mounting the lower wings and shaping the resulting, gaping belly, and the custom-made struts and wirings for the upper wing.
Work started with the Macchi C.200’s fuselage, which was built OOB - just without the wing, which is a single part, different pilot (the included one is a pygmy!) and with a free spinning metal axis for the propeller.
The wing installation started with the lower wings. I glued the Helldiver wings onto the C.200 fuselage, so that the wings' trailing edge would match the C.200's wing root ends. From that, a floor plate was fitted under the fuselage and any excessive material removed, the gaps filled with lumps of 2C putty. That moved the lower wing's roots backwards, creating space at the lower forward fuselage for the new landing gear.
The latter was taken from a vintage Matchbox Hs 126 reconnaissance aircraft - probably 25, if 30 years old... Size was O.K., but the struts had to shortened by about 5mm, as thge HS 126 is a much bigger/longer aircraft than the C.200. A cut was made just above the wheel spats, material taken out, and the separate parts were glued back together again.
With the lower wings in place I started building strut supports for the upper wing from styrene strips - tricky and needs patience, but effective. I started with the outer supports, carving something SBC-style from styrene. These were glued into place, slightly canted outwards, and their length/height adapted to the upper wing’s position.
When this was settled, the upper Gladiator wing was glued into place. After a thorough drying period the short fuselage supports in front of the cockpit – again, styrene strips – were inserted into the gap. This allowed an individual lengthening, and was easier than expected, with a stable result.
After having the upper wing glued in place I added some wiring, made from heated and pulled-out styrene sprues. This not only enhances the kit's look, it also (just like in real life) improves rigidity of the model. Also a tedious task, but IMHO worth the effort. I tried thin wire, nylon strings and sewing yarn for this job, but finally the styrene solution is what worked best for me.
The exhaust installation had also to be modified: the new Hs 126 struts with spats would have been where the original C.200’s hot exhaust gases would have gone, so I added new exhaust pipes that would go between the new legs.
Other small added details included, among others, a pitot on a wing strut, a visor in front of the cockpit, a radio antenna, a ladder made from wire.
Painting and markings:
I would not call the Austrian 3+1-tone pre-WWII-scheme spectacular, but the colors are unique. My scheme is based on an Austrian Ju 86 bomber from 1938, so it fits into the intended time frame.
The colors were puzzled together from various sources and are subjective guesstimates:
● A pale, yellow-ish beige (Humbrol 74, ‘Linen’, out of production)
● A rather brownish green (Testors 1711, ‘Olive Drab’, FS 34087)
● A dark green with a yellow-ish hue (Humbrol 116, ‘US Dark Green’ FS 34079)
● Light blue for the undersides (Humbrol 65, ‘Aircraft Blue’, RLM 65)
In order to add some details I painted the area behind the engine cowling in aluminum. The respective part under the fuselage, where the exhaust gases would pass, was painted in Steel – both Testors Metallizers.
The interior surfaces were painted in a neutral Grey – but with the engine and the pilot in place you cannot see anything of that at all.
Markings are minimal: the Austrian roundels come from a TL Decals aftermarket sheet, the flag on the rudder was laid out with red paint (a mix of Humbrol 19 and 60), the white bar is a decal. The tactical code is fictional, puzzled together from single digits in various sizes (also from TL Modellbau sheets). The original documents how purely black fuselage codes, but I found these hard to read. So I chose digits with a white rim (actually, these belong to modern German Luftwaffe tactical codes in 1:32), which improve contrast a little.
The kit received a thin black ink wash and some shading/dry-painting with lighter basic tones (Humbrol 103, 155, Model Master 2138,‘Israeli Armor Sand Grey’, and Humbrol 122). After decal application, another turn with overall Hemp and Light Grey was done in order to fade contrast and to emphasize the surface structure. The wires were also painted, but only with thinned black ink and a VERY soft brush.
Finally, everything was sealed under a spray coat of matt acrylic varnish.
Voilà, and done in just about a week!
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
The Fiat Macchi C.170 Brezza ("Gust of wind") was a single-seat biplane fighter which served primarily in Italy's Regia Aeronautica before and in the early stages of World War II. The aircraft was produced by the Varese firm, and entered service, in smaller numbers, with the air forces of Italy, Austria and Hungary.
In spite of the biplane configuration, the C.170 was a modern, 'sleek-looking' design based around a strong steel and alloy frame incorporating a NACA cowling housing the radial engine, with fairings for the fixed main landing gear. The C.170's upper wing was slightly larger than its lower wing, carried only by six struts and a few bracing wires. Only the upper wing featured ailerons while the lower wing carried large flaps. Although it looked slightly outdated, the aircraft proved exceptionally agile thanks to its very low wing loading and a powerful, responsive engine.
Power was provided by a 650 kW (870 hp) Fiat A.74 14 cylinder radial engine, which also drove the contemporary Fiat CR.32 fighter. With the "direttiva" (Air Ministry Specific) of 1932, Italian industrial leaders had been instructed to concentrate solely on radial engines for fighters, due to their better reliability. The A.74 was actually a re-design of the American Pratt & Whitney R-1830 SC-4 Twin Wasp made by engineers Tranquillo Zerbi and Antonio Fessia, and in the C.170 it was geared to drive a metal three-blade Fiat-Hamilton Standard 3D.41-1 propeller of 2.9 m (9.5 ft) diameter. This allowed an impressive top speed of 441 km/h (272 mph) at 6.500 m (20.000 ft), and 342 km/h (213 mph) at ground level.
The first C.170 prototype flew on 24 December 1934 in Lonate Pozzolo, Varese, with Macchi Chief Test Pilot Giuseppe Burei at the controls. It was followed by the second prototype early the next year, which flew with an armored headrest and fairing in place (the C.170 lacked any further armor!) and other minor changes that were incorporated for serial production.
Despite Macchi’s proposal for a closed cockpit canopy the cockpit remained open – Italian pilots were rather conservative. Additional protection was introduced through armored side panels, though, which would protect the pilot’s shoulders. Radio equipment was also not included, as in many other Italian fighter aircraft.
During evaluation in early 1935 the C.170 was tested against the Fiat CR.42 and the Caproni Ca.165 biplane fighters, and was judged to be on par with the CR.42, although the Ca.165 was a more modern design which boasted a higher speed at the cost of maneuverability. An initial order of 99 C.170 for Italy's Regia Aeronautica was placed to Macchi factory in summer 1935, followed by foreign interest and order options from Austria, Belgium and Spain.
Anyway, what looked like a prosperous design was soon rendered obsolete: Following the end of Italy's campaigns in East Africa, a program was started to completely re-equip the Regia Aeronautica with a new interceptor aircraft of modern design. The 10 February 1936 specifications called for an aircraft powered by a single radial engine, with a top speed of 500 km/h, climb rate at 6,000 meters of 5 minutes, with a flight endurance of two hours, and armed with a single (later increased to two) 12.7 mm (0.5 in) machine gun. That was more or less the premature end for the C.170, as Macchi and other manufacturers quickly turned to more modern monoplane designs.
Therefore, orders and production of the Macchi Brezza remained limited. Beyond the original 99 aircraft for the Regia Aeronautica only 24 further C.170s were delivered. These aircraft went in spring 1936 to Austria to equip Jagdgeschwader II at Wiener Neustadt. Immediately after their delivery the Brezza fighters were retro-fitted with radio equipment, recognizable through the antenna installation on the headrest fairing. The potential orders from Belgium and Spain were soon cancelled, due to political tensions.
As a side note, the Austrian C.170s fighters were the first aircraft to sport the new national emblem, which had been the result of a competition and won by flight engineer Rosner from the Graz-Thalerhof base. The white, equilateral triangle with the point facing downwards in a red disc was a completely new design and had (other than the flag or coats of arms) no prior basis.
The C.170s' career in Austrian service was short, though: in March 1938 the Austrian units were absorbed into the Luftwaffe, and after a brief period the aircraft were handed over to Hungary where they were used for training purposes.
Although an obsolete design, it proved to be robust, durable and effective especially in severe conditions. In spring 1943, surviving C.170s were rounded up from training schools and delivered to night ground attack units operating on the Eastern Front. The C.170 was used to conduct night harassment sorties on the Eastern Front until September 1944, when the units were disbanded, due to a lack of serviceable airframes and spare parts.
General characteristics
Crew: 1
Length: 8.25 m (27 ft 1 in)
Wingspan: 32 ft 3 in (9.83 m)
Height: 11 ft 9 in (3.58 m)
Wing area: 323 ft² (30.0 m²)
Empty weight: 3,217 lb (1,462 kg)
Loaded weight: 4,594 lb (2,088 kg)
Powerplant
1× Fiat A.74 R.C.38 14-cylinder air-cooled radial engine, 650 kW (870 hp) at 2,520 rpm for take-off
Performance
Maximum speed: 441 km/h (238 kn, 274 mph) at 20,000 ft
Cruise speed: 338 km/h (187 kn, 210 mph)
Range: 780 km (420 nmi, 485 mi)
Service ceiling: 10,210 m (33,500 ft)
Rate of climb: 11.8 m/s (2,340 ft/min)
Climb to 10,000 ft (3,050 m): 4.75 min
Wing loading: 69,6 kg/m² (15,3 lb/ft²)
Power/mass: 311 W/kg (0.19 hp/lb)
Armament
2× 12.7 mm (0.5 in) Breda-SAFAT synchronized machine guns above the engine, 370 rpg
Some aircraft were field-modified to carry up to 8× 15 kg (33 lb) or 2× 50 or 100 kg (110/220 lb) bombs under the wings
The kit and its assembly
Inspiration for this little, whiffy biplane came when I posted a pic of an Austrian Ju 86 bomber as a reply/ suggestion to a fellow modeler's (NARSES2) search at whatifmodelers.com for “something” to make from a Gloster Gladiator.
When I looked at the paint scheme a second time I remembered that I still had some Austrian roundels in stock, as well some very old biplane spare parts... hmmm.
Biplanes are tricky to build, even OOB, and kitbashing this kind of whif would not make things easier. Anyway, I love such challenges, and the potential outcome would surely look nice, if not exotic, so I decided to tackle the project.
Basically, the following donation ingredients went into it:
● Fuselage, engine, cockpit/pilot and tail from a Revell Macchi C.200 "Saetta"
● Upper wing from a Matchbox Gloster "Gladiator"
● Lower wings from a Matchbox SBC "Helldiver"
● Wheels from a Matchbox Hs 126 (shortened)
Pretty straightforward, but even though it would be a small aircraft model, it would come with two big challenges: mounting the lower wings and shaping the resulting, gaping belly, and the custom-made struts and wirings for the upper wing.
Work started with the Macchi C.200’s fuselage, which was built OOB - just without the wing, which is a single part, different pilot (the included one is a pygmy!) and with a free spinning metal axis for the propeller.
The wing installation started with the lower wings. I glued the Helldiver wings onto the C.200 fuselage, so that the wings' trailing edge would match the C.200's wing root ends. From that, a floor plate was fitted under the fuselage and any excessive material removed, the gaps filled with lumps of 2C putty. That moved the lower wing's roots backwards, creating space at the lower forward fuselage for the new landing gear.
The latter was taken from a vintage Matchbox Hs 126 reconnaissance aircraft - probably 25, if 30 years old... Size was O.K., but the struts had to shortened by about 5mm, as thge HS 126 is a much bigger/longer aircraft than the C.200. A cut was made just above the wheel spats, material taken out, and the separate parts were glued back together again.
With the lower wings in place I started building strut supports for the upper wing from styrene strips - tricky and needs patience, but effective. I started with the outer supports, carving something SBC-style from styrene. These were glued into place, slightly canted outwards, and their length/height adapted to the upper wing’s position.
When this was settled, the upper Gladiator wing was glued into place. After a thorough drying period the short fuselage supports in front of the cockpit – again, styrene strips – were inserted into the gap. This allowed an individual lengthening, and was easier than expected, with a stable result.
After having the upper wing glued in place I added some wiring, made from heated and pulled-out styrene sprues. This not only enhances the kit's look, it also (just like in real life) improves rigidity of the model. Also a tedious task, but IMHO worth the effort. I tried thin wire, nylon strings and sewing yarn for this job, but finally the styrene solution is what worked best for me.
The exhaust installation had also to be modified: the new Hs 126 struts with spats would have been where the original C.200’s hot exhaust gases would have gone, so I added new exhaust pipes that would go between the new legs.
Other small added details included, among others, a pitot on a wing strut, a visor in front of the cockpit, a radio antenna, a ladder made from wire.
Painting and markings:
I would not call the Austrian 3+1-tone pre-WWII-scheme spectacular, but the colors are unique. My scheme is based on an Austrian Ju 86 bomber from 1938, so it fits into the intended time frame.
The colors were puzzled together from various sources and are subjective guesstimates:
● A pale, yellow-ish beige (Humbrol 74, ‘Linen’, out of production)
● A rather brownish green (Testors 1711, ‘Olive Drab’, FS 34087)
● A dark green with a yellow-ish hue (Humbrol 116, ‘US Dark Green’ FS 34079)
● Light blue for the undersides (Humbrol 65, ‘Aircraft Blue’, RLM 65)
In order to add some details I painted the area behind the engine cowling in aluminum. The respective part under the fuselage, where the exhaust gases would pass, was painted in Steel – both Testors Metallizers.
The interior surfaces were painted in a neutral Grey – but with the engine and the pilot in place you cannot see anything of that at all.
Markings are minimal: the Austrian roundels come from a TL Decals aftermarket sheet, the flag on the rudder was laid out with red paint (a mix of Humbrol 19 and 60), the white bar is a decal. The tactical code is fictional, puzzled together from single digits in various sizes (also from TL Modellbau sheets). The original documents how purely black fuselage codes, but I found these hard to read. So I chose digits with a white rim (actually, these belong to modern German Luftwaffe tactical codes in 1:32), which improve contrast a little.
The kit received a thin black ink wash and some shading/dry-painting with lighter basic tones (Humbrol 103, 155, Model Master 2138,‘Israeli Armor Sand Grey’, and Humbrol 122). After decal application, another turn with overall Hemp and Light Grey was done in order to fade contrast and to emphasize the surface structure. The wires were also painted, but only with thinned black ink and a VERY soft brush.
Finally, everything was sealed under a spray coat of matt acrylic varnish.
Voilà, and done in just about a week!
@charlescreaturecabinet [FIDELIA] & [SO sad] 🐝🐝 #FireflyFriday Fidelia Tan & SO sad 👉ONE of each 1x in stock: email, pm/dm. First come, first serve👈 www.charlescreaturecabinet.net
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#charlescreaturecabinet #cccbjd #cccSO #FideliaFireflyFaerie #gogglesandwings #botanicalblossomfaerie #balljointeddoll #tinybjd #microbjd #creaturebjd #ccc #anthropomorphic #anthropomorphism #charlesgrimbergstephan #bjdartist #rotterdam #designer_sculptor #legitbjd #artistbjd #dollart #limitededition #collectibles #whisperingwoodlingwoods #fluisterwoud #handmicroknits @catherinejanakiraman
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CCC FIDELIA | 10.5cm Tiny BJD | Firefly Faerie | Ball-Jointed Doll ~Tan glow-in-the-dark ~1x in stock
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CCC SO | 4.5cm Micro BJD | botanical blossom faerie | Ball-Jointed Doll ~Sand & GID ~1x in stock
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Fidelia in handmade dress/shoes Alma Jimenez | US
Handmade bee cap @linnn_67 Lin Murasaki Design | NL
SO in in hand micro knit bee outfit Catherine Janakiraman | US
Handmade root end chairs Murjani Kusumobroto | NL
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Photo @charlescreaturecabinet | Rotterdam NL
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BJD design/sculpt ™️ Copyright ©️ 2008 | Charles Grimberg-Stephan | Charles' Creature Cabinet | All Rights Reserved.
By the early nineteenth century, as ways of consuming the seaside matured and diversified, there was a growing appreciation of the joys and benefits to be gained by not just being beside the sea but venturing out onto the water itself without the disadvantages and dangers associated with boats.
The West Pier was designed and engineered by Eugenius Birch to attract visitors and survive in the hostile environment of the seashore. Built in 1866, it was a simple and functional structure built out from the sea using dozens of cast iron threaded columns screwed into the seabed and strengthened by a lattice of ties and girders that provide the necessary strength to support the promenade deck whilst allowing seas to pass harmlessly underneath.
Originally the West Pier had an open deck with only six small ornamental houses of Oriental design, two toll houses, glass screens at the pier head to protect visitors from the wind and lamps, with columns decorated with entwined serpents, placed around the perimeter and lit by gas. In 1875 a central bandstand was added and in the 1880′s weather screens the full length of the pier, steamer landing stages and a large pier head pavilion were constructed.
The final building, completed in 1916, was a graceful concert hall. The result was seaside architecture at its finest, designed to attract and entertain holiday-makers with all the pomp and frippery that is the essence of the English seaside resort.
The West Pier story closely follows the changing fortunes of the English seaside holiday. It began simply as a promenade pier where visitors could enjoy the thrill of walking on water; it was the place for the Victorian middle classes to socialise and exhibit their wealth, to see and be seen, to take in the sea air and admire the panoramic views of the land. By WW1 it had evolved into a pleasure pier with a great variety of seaside entertainment both indoors and out. Throughout the twenties it was immensely popular with attractions ranging from paddle steamer excursions, daring high divers and bathing from the pier head to military bands, recitals by the pier’s resident orchestra in the Concert Hall and an all-year-round programme of plays, pantomimes and ballets in the Theatre.
During WWII, the Pier was closed and mined for security reasons and sections were dismantled to prevent enemy landings. When the mines were removed and the pier reopened, after the repair of its war wounds, it completed its evolution into a funfair pier. The Theatre was converted into a restaurant on one floor and on the other the ‘Laughter Land’ games pavilion. The Concert Hall became a tea room, and the delights of the dodgems, helter-skelter, ghost train and miniature racing track could be enjoyed by all.
The pier was shut to the public in 1975 as it was deemed unsafe. A huge storm in December 2002 resulted in the dramatic collapse of the south east corner of the Concert Hall; in March 2003 the Pavilion was destroyed in an arson attack, and in May 2003 the Concert Hall was also burnt out deliberately. 2003 was a catastrophic year for the West Pier and by December 2003, a report concluded that despite the significant damage, given the wealth of salvaged material from the pier and the considerable photographic and video archive, repair and reconstruction of the pier was still viable. Unfortunately funding was not available.
The collapsed Concert Hall, being close to the beach, became a public hazard and in 2010 was removed. However, the skeletal ruin of the pier Pavilion has become an iconic feature of Brighton’s seafront. Its unique desolate beauty makes it much discussed, wondered about and photographed. The Pier has been too dangerous to access since the fires of 2003 and cannot be maintained. Over the coming years it will be reclaimed by nature and will inevitably degenerate and decay. The Trust has no intention of removing the remains unless overwhelming safety issues arise.
In 2006, planning permission was granted to the creators of the London eye to build the i360, an observation tower. It will be sited on the root-end of the pier and will open an exciting new chapter for the West Pier. This new landmark, which will be tied in with the original pier, has now commenced construction. At 175 metres high, and with an observation pod rising to 141 metres, the i360 will be Britain's highest observation tower outside London – taller even than the London Eye. The i360 follows in the spirit of the original pier, inviting visitors to "walk on air" and gain a different perspective of the city, just as they "walked on water" in the past and viewed the city from the sea. Chairman of the Brighton West Pier Trust, which owns the site of the former pier “believes that the Brighton i360 – a 'vertical pier' – is entirely in the spirit of the original pier's history and the best option to replicate its success and ethos." The i360 will restore parts of the original pier to their former glory, including the Victorian tollbooths. Parts of the cast iron supporting structure will be reused in the new visitor centre and an exhibition will enable visitors to learn about the pier's history. The cast iron structure off shore, known as the sea island, will stay but the wreckage of the derelict pier on the beach will be removed. A proportion of ticket revenues from the i360 will also go to the West Pier Trust charity, enabling it to continue promoting the pier's unique heritage.
This part of the plan really appeals to be - in the evenings, the Brighton i360 will transform into the Sky Bar – a chic, modern and accessible venue in which to relax and enjoy a glass of champagne, wine or a cocktail while taking in the stunning night-time views. The ride will be extended to 30 minutes to allow people plenty of time to enjoy their drink!!
The changing weather over a 3 day period is reflected in the photos I took of this fascinating and haunting structure – it looks quite eerie in the fog.
By the early nineteenth century, as ways of consuming the seaside matured and diversified, there was a growing appreciation of the joys and benefits to be gained by not just being beside the sea but venturing out onto the water itself without the disadvantages and dangers associated with boats.
The West Pier was designed and engineered by Eugenius Birch to attract visitors and survive in the hostile environment of the seashore. Built in 1866, it was a simple and functional structure built out from the sea using dozens of cast iron threaded columns screwed into the seabed and strengthened by a lattice of ties and girders that provide the necessary strength to support the promenade deck whilst allowing seas to pass harmlessly underneath.
Originally the West Pier had an open deck with only six small ornamental houses of Oriental design, two toll houses, glass screens at the pier head to protect visitors from the wind and lamps, with columns decorated with entwined serpents, placed around the perimeter and lit by gas. In 1875 a central bandstand was added and in the 1880′s weather screens the full length of the pier, steamer landing stages and a large pier head pavilion were constructed.
The final building, completed in 1916, was a graceful concert hall. The result was seaside architecture at its finest, designed to attract and entertain holiday-makers with all the pomp and frippery that is the essence of the English seaside resort.
The West Pier story closely follows the changing fortunes of the English seaside holiday. It began simply as a promenade pier where visitors could enjoy the thrill of walking on water; it was the place for the Victorian middle classes to socialise and exhibit their wealth, to see and be seen, to take in the sea air and admire the panoramic views of the land. By WW1 it had evolved into a pleasure pier with a great variety of seaside entertainment both indoors and out. Throughout the twenties it was immensely popular with attractions ranging from paddle steamer excursions, daring high divers and bathing from the pier head to military bands, recitals by the pier’s resident orchestra in the Concert Hall and an all-year-round programme of plays, pantomimes and ballets in the Theatre.
During WWII, the Pier was closed and mined for security reasons and sections were dismantled to prevent enemy landings. When the mines were removed and the pier reopened, after the repair of its war wounds, it completed its evolution into a funfair pier. The Theatre was converted into a restaurant on one floor and on the other the ‘Laughter Land’ games pavilion. The Concert Hall became a tea room, and the delights of the dodgems, helter-skelter, ghost train and miniature racing track could be enjoyed by all.
The pier was shut to the public in 1975 as it was deemed unsafe. A huge storm in December 2002 resulted in the dramatic collapse of the south east corner of the Concert Hall; in March 2003 the Pavilion was destroyed in an arson attack, and in May 2003 the Concert Hall was also burnt out deliberately. 2003 was a catastrophic year for the West Pier and by December 2003, a report concluded that despite the significant damage, given the wealth of salvaged material from the pier and the considerable photographic and video archive, repair and reconstruction of the pier was still viable. Unfortunately funding was not available.
The collapsed Concert Hall, being close to the beach, became a public hazard and in 2010 was removed. However, the skeletal ruin of the pier Pavilion has become an iconic feature of Brighton’s seafront. Its unique desolate beauty makes it much discussed, wondered about and photographed. The Pier has been too dangerous to access since the fires of 2003 and cannot be maintained. Over the coming years it will be reclaimed by nature and will inevitably degenerate and decay. The Trust has no intention of removing the remains unless overwhelming safety issues arise.
In 2006, planning permission was granted to the creators of the London eye to build the i360, an observation tower. It will be sited on the root-end of the pier and will open an exciting new chapter for the West Pier. This new landmark, which will be tied in with the original pier, has now commenced construction. At 175 metres high, and with an observation pod rising to 141 metres, the i360 will be Britain's highest observation tower outside London – taller even than the London Eye. The i360 follows in the spirit of the original pier, inviting visitors to "walk on air" and gain a different perspective of the city, just as they "walked on water" in the past and viewed the city from the sea. Chairman of the Brighton West Pier Trust, which owns the site of the former pier “believes that the Brighton i360 – a 'vertical pier' – is entirely in the spirit of the original pier's history and the best option to replicate its success and ethos." The i360 will restore parts of the original pier to their former glory, including the Victorian tollbooths. Parts of the cast iron supporting structure will be reused in the new visitor centre and an exhibition will enable visitors to learn about the pier's history. The cast iron structure off shore, known as the sea island, will stay but the wreckage of the derelict pier on the beach will be removed. A proportion of ticket revenues from the i360 will also go to the West Pier Trust charity, enabling it to continue promoting the pier's unique heritage.
This part of the plan really appeals to be - in the evenings, the Brighton i360 will transform into the Sky Bar – a chic, modern and accessible venue in which to relax and enjoy a glass of champagne, wine or a cocktail while taking in the stunning night-time views. The ride will be extended to 30 minutes to allow people plenty of time to enjoy their drink!!
The changing weather over a 3 day period is reflected in the photos I took of this fascinating and haunting structure – it looks quite eerie in the fog.
By the early nineteenth century, as ways of consuming the seaside matured and diversified, there was a growing appreciation of the joys and benefits to be gained by not just being beside the sea but venturing out onto the water itself without the disadvantages and dangers associated with boats.
The West Pier was designed and engineered by Eugenius Birch to attract visitors and survive in the hostile environment of the seashore. Built in 1866, it was a simple and functional structure built out from the sea using dozens of cast iron threaded columns screwed into the seabed and strengthened by a lattice of ties and girders that provide the necessary strength to support the promenade deck whilst allowing seas to pass harmlessly underneath.
Originally the West Pier had an open deck with only six small ornamental houses of Oriental design, two toll houses, glass screens at the pier head to protect visitors from the wind and lamps, with columns decorated with entwined serpents, placed around the perimeter and lit by gas. In 1875 a central bandstand was added and in the 1880′s weather screens the full length of the pier, steamer landing stages and a large pier head pavilion were constructed.
The final building, completed in 1916, was a graceful concert hall. The result was seaside architecture at its finest, designed to attract and entertain holiday-makers with all the pomp and frippery that is the essence of the English seaside resort.
The West Pier story closely follows the changing fortunes of the English seaside holiday. It began simply as a promenade pier where visitors could enjoy the thrill of walking on water; it was the place for the Victorian middle classes to socialise and exhibit their wealth, to see and be seen, to take in the sea air and admire the panoramic views of the land. By WW1 it had evolved into a pleasure pier with a great variety of seaside entertainment both indoors and out. Throughout the twenties it was immensely popular with attractions ranging from paddle steamer excursions, daring high divers and bathing from the pier head to military bands, recitals by the pier’s resident orchestra in the Concert Hall and an all-year-round programme of plays, pantomimes and ballets in the Theatre.
During WWII, the Pier was closed and mined for security reasons and sections were dismantled to prevent enemy landings. When the mines were removed and the pier reopened, after the repair of its war wounds, it completed its evolution into a funfair pier. The Theatre was converted into a restaurant on one floor and on the other the ‘Laughter Land’ games pavilion. The Concert Hall became a tea room, and the delights of the dodgems, helter-skelter, ghost train and miniature racing track could be enjoyed by all.
The pier was shut to the public in 1975 as it was deemed unsafe. A huge storm in December 2002 resulted in the dramatic collapse of the south east corner of the Concert Hall; in March 2003 the Pavilion was destroyed in an arson attack, and in May 2003 the Concert Hall was also burnt out deliberately. 2003 was a catastrophic year for the West Pier and by December 2003, a report concluded that despite the significant damage, given the wealth of salvaged material from the pier and the considerable photographic and video archive, repair and reconstruction of the pier was still viable. Unfortunately funding was not available.
The collapsed Concert Hall, being close to the beach, became a public hazard and in 2010 was removed. However, the skeletal ruin of the pier Pavilion has become an iconic feature of Brighton’s seafront. Its unique desolate beauty makes it much discussed, wondered about and photographed. The Pier has been too dangerous to access since the fires of 2003 and cannot be maintained. Over the coming years it will be reclaimed by nature and will inevitably degenerate and decay. The Trust has no intention of removing the remains unless overwhelming safety issues arise.
In 2006, planning permission was granted to the creators of the London eye to build the i360, an observation tower. It will be sited on the root-end of the pier and will open an exciting new chapter for the West Pier. This new landmark, which will be tied in with the original pier, has now commenced construction. At 175 metres high, and with an observation pod rising to 141 metres, the i360 will be Britain's highest observation tower outside London – taller even than the London Eye. The i360 follows in the spirit of the original pier, inviting visitors to "walk on air" and gain a different perspective of the city, just as they "walked on water" in the past and viewed the city from the sea. Chairman of the Brighton West Pier Trust, which owns the site of the former pier “believes that the Brighton i360 – a 'vertical pier' – is entirely in the spirit of the original pier's history and the best option to replicate its success and ethos." The i360 will restore parts of the original pier to their former glory, including the Victorian tollbooths. Parts of the cast iron supporting structure will be reused in the new visitor centre and an exhibition will enable visitors to learn about the pier's history. The cast iron structure off shore, known as the sea island, will stay but the wreckage of the derelict pier on the beach will be removed. A proportion of ticket revenues from the i360 will also go to the West Pier Trust charity, enabling it to continue promoting the pier's unique heritage.
This part of the plan really appeals to be - in the evenings, the Brighton i360 will transform into the Sky Bar – a chic, modern and accessible venue in which to relax and enjoy a glass of champagne, wine or a cocktail while taking in the stunning night-time views. The ride will be extended to 30 minutes to allow people plenty of time to enjoy their drink!!
The changing weather over a 3 day period is reflected in the photos I took of this fascinating and haunting structure – it looks quite eerie in the fog.
By the early nineteenth century, as ways of consuming the seaside matured and diversified, there was a growing appreciation of the joys and benefits to be gained by not just being beside the sea but venturing out onto the water itself without the disadvantages and dangers associated with boats.
The West Pier was designed and engineered by Eugenius Birch to attract visitors and survive in the hostile environment of the seashore. Built in 1866, it was a simple and functional structure built out from the sea using dozens of cast iron threaded columns screwed into the seabed and strengthened by a lattice of ties and girders that provide the necessary strength to support the promenade deck whilst allowing seas to pass harmlessly underneath.
Originally the West Pier had an open deck with only six small ornamental houses of Oriental design, two toll houses, glass screens at the pier head to protect visitors from the wind and lamps, with columns decorated with entwined serpents, placed around the perimeter and lit by gas. In 1875 a central bandstand was added and in the 1880′s weather screens the full length of the pier, steamer landing stages and a large pier head pavilion were constructed.
The final building, completed in 1916, was a graceful concert hall. The result was seaside architecture at its finest, designed to attract and entertain holiday-makers with all the pomp and frippery that is the essence of the English seaside resort.
The West Pier story closely follows the changing fortunes of the English seaside holiday. It began simply as a promenade pier where visitors could enjoy the thrill of walking on water; it was the place for the Victorian middle classes to socialise and exhibit their wealth, to see and be seen, to take in the sea air and admire the panoramic views of the land. By WW1 it had evolved into a pleasure pier with a great variety of seaside entertainment both indoors and out. Throughout the twenties it was immensely popular with attractions ranging from paddle steamer excursions, daring high divers and bathing from the pier head to military bands, recitals by the pier’s resident orchestra in the Concert Hall and an all-year-round programme of plays, pantomimes and ballets in the Theatre.
During WWII, the Pier was closed and mined for security reasons and sections were dismantled to prevent enemy landings. When the mines were removed and the pier reopened, after the repair of its war wounds, it completed its evolution into a funfair pier. The Theatre was converted into a restaurant on one floor and on the other the ‘Laughter Land’ games pavilion. The Concert Hall became a tea room, and the delights of the dodgems, helter-skelter, ghost train and miniature racing track could be enjoyed by all.
The pier was shut to the public in 1975 as it was deemed unsafe. A huge storm in December 2002 resulted in the dramatic collapse of the south east corner of the Concert Hall; in March 2003 the Pavilion was destroyed in an arson attack, and in May 2003 the Concert Hall was also burnt out deliberately. 2003 was a catastrophic year for the West Pier and by December 2003, a report concluded that despite the significant damage, given the wealth of salvaged material from the pier and the considerable photographic and video archive, repair and reconstruction of the pier was still viable. Unfortunately funding was not available.
The collapsed Concert Hall, being close to the beach, became a public hazard and in 2010 was removed. However, the skeletal ruin of the pier Pavilion has become an iconic feature of Brighton’s seafront. Its unique desolate beauty makes it much discussed, wondered about and photographed. The Pier has been too dangerous to access since the fires of 2003 and cannot be maintained. Over the coming years it will be reclaimed by nature and will inevitably degenerate and decay. The Trust has no intention of removing the remains unless overwhelming safety issues arise.
In 2006, planning permission was granted to the creators of the London eye to build the i360, an observation tower. It will be sited on the root-end of the pier and will open an exciting new chapter for the West Pier. This new landmark, which will be tied in with the original pier, has now commenced construction. At 175 metres high, and with an observation pod rising to 141 metres, the i360 will be Britain's highest observation tower outside London – taller even than the London Eye. The i360 follows in the spirit of the original pier, inviting visitors to "walk on air" and gain a different perspective of the city, just as they "walked on water" in the past and viewed the city from the sea. Chairman of the Brighton West Pier Trust, which owns the site of the former pier “believes that the Brighton i360 – a 'vertical pier' – is entirely in the spirit of the original pier's history and the best option to replicate its success and ethos." The i360 will restore parts of the original pier to their former glory, including the Victorian tollbooths. Parts of the cast iron supporting structure will be reused in the new visitor centre and an exhibition will enable visitors to learn about the pier's history. The cast iron structure off shore, known as the sea island, will stay but the wreckage of the derelict pier on the beach will be removed. A proportion of ticket revenues from the i360 will also go to the West Pier Trust charity, enabling it to continue promoting the pier's unique heritage.
This part of the plan really appeals to be - in the evenings, the Brighton i360 will transform into the Sky Bar – a chic, modern and accessible venue in which to relax and enjoy a glass of champagne, wine or a cocktail while taking in the stunning night-time views. The ride will be extended to 30 minutes to allow people plenty of time to enjoy their drink!!
The changing weather over a 3 day period is reflected in the photos I took of this fascinating and haunting structure – it looks quite eerie in the fog.
By the early nineteenth century, as ways of consuming the seaside matured and diversified, there was a growing appreciation of the joys and benefits to be gained by not just being beside the sea but venturing out onto the water itself without the disadvantages and dangers associated with boats.
The West Pier was designed and engineered by Eugenius Birch to attract visitors and survive in the hostile environment of the seashore. Built in 1866, it was a simple and functional structure built out from the sea using dozens of cast iron threaded columns screwed into the seabed and strengthened by a lattice of ties and girders that provide the necessary strength to support the promenade deck whilst allowing seas to pass harmlessly underneath.
Originally the West Pier had an open deck with only six small ornamental houses of Oriental design, two toll houses, glass screens at the pier head to protect visitors from the wind and lamps, with columns decorated with entwined serpents, placed around the perimeter and lit by gas. In 1875 a central bandstand was added and in the 1880′s weather screens the full length of the pier, steamer landing stages and a large pier head pavilion were constructed.
The final building, completed in 1916, was a graceful concert hall. The result was seaside architecture at its finest, designed to attract and entertain holiday-makers with all the pomp and frippery that is the essence of the English seaside resort.
The West Pier story closely follows the changing fortunes of the English seaside holiday. It began simply as a promenade pier where visitors could enjoy the thrill of walking on water; it was the place for the Victorian middle classes to socialise and exhibit their wealth, to see and be seen, to take in the sea air and admire the panoramic views of the land. By WW1 it had evolved into a pleasure pier with a great variety of seaside entertainment both indoors and out. Throughout the twenties it was immensely popular with attractions ranging from paddle steamer excursions, daring high divers and bathing from the pier head to military bands, recitals by the pier’s resident orchestra in the Concert Hall and an all-year-round programme of plays, pantomimes and ballets in the Theatre.
During WWII, the Pier was closed and mined for security reasons and sections were dismantled to prevent enemy landings. When the mines were removed and the pier reopened, after the repair of its war wounds, it completed its evolution into a funfair pier. The Theatre was converted into a restaurant on one floor and on the other the ‘Laughter Land’ games pavilion. The Concert Hall became a tea room, and the delights of the dodgems, helter-skelter, ghost train and miniature racing track could be enjoyed by all.
The pier was shut to the public in 1975 as it was deemed unsafe. A huge storm in December 2002 resulted in the dramatic collapse of the south east corner of the Concert Hall; in March 2003 the Pavilion was destroyed in an arson attack, and in May 2003 the Concert Hall was also burnt out deliberately. 2003 was a catastrophic year for the West Pier and by December 2003, a report concluded that despite the significant damage, given the wealth of salvaged material from the pier and the considerable photographic and video archive, repair and reconstruction of the pier was still viable. Unfortunately funding was not available.
The collapsed Concert Hall, being close to the beach, became a public hazard and in 2010 was removed. However, the skeletal ruin of the pier Pavilion has become an iconic feature of Brighton’s seafront. Its unique desolate beauty makes it much discussed, wondered about and photographed. The Pier has been too dangerous to access since the fires of 2003 and cannot be maintained. Over the coming years it will be reclaimed by nature and will inevitably degenerate and decay. The Trust has no intention of removing the remains unless overwhelming safety issues arise.
In 2006, planning permission was granted to the creators of the London eye to build the i360, an observation tower. It will be sited on the root-end of the pier and will open an exciting new chapter for the West Pier. This new landmark, which will be tied in with the original pier, has now commenced construction. At 175 metres high, and with an observation pod rising to 141 metres, the i360 will be Britain's highest observation tower outside London – taller even than the London Eye. The i360 follows in the spirit of the original pier, inviting visitors to "walk on air" and gain a different perspective of the city, just as they "walked on water" in the past and viewed the city from the sea. Chairman of the Brighton West Pier Trust, which owns the site of the former pier “believes that the Brighton i360 – a 'vertical pier' – is entirely in the spirit of the original pier's history and the best option to replicate its success and ethos." The i360 will restore parts of the original pier to their former glory, including the Victorian tollbooths. Parts of the cast iron supporting structure will be reused in the new visitor centre and an exhibition will enable visitors to learn about the pier's history. The cast iron structure off shore, known as the sea island, will stay but the wreckage of the derelict pier on the beach will be removed. A proportion of ticket revenues from the i360 will also go to the West Pier Trust charity, enabling it to continue promoting the pier's unique heritage.
This part of the plan really appeals to be - in the evenings, the Brighton i360 will transform into the Sky Bar – a chic, modern and accessible venue in which to relax and enjoy a glass of champagne, wine or a cocktail while taking in the stunning night-time views. The ride will be extended to 30 minutes to allow people plenty of time to enjoy their drink!!
The changing weather over a 3 day period is reflected in the photos I took of this fascinating and haunting structure – it looks quite eerie in the fog.
The kit and its assembly
Inspiration for this little, whiffy biplane came when I posted a pic of an Austrian Ju 86 bomber as a reply/ suggestion to a fellow modeler's (NARSES2) search at whatifmodelers.com for “something” to make from a Gloster Gladiator.
When I looked at the paint scheme a second time I remembered that I still had some Austrian roundels in stock, as well some very old biplane spare parts... hmmm.
Biplanes are tricky to build, even OOB, and kitbashing this kind of whif would not make things easier. Anyway, I love such challenges, and the potential outcome would surely look nice, if not exotic, so I decided to tackle the project.
Basically, the following donation ingredients went into it:
● Fuselage, engine, cockpit/pilot and tail from a Revell Macchi C.200 "Saetta"
● Upper wing from a Matchbox Gloster "Gladiator"
● Lower wings from a Matchbox SBC "Helldiver"
● Wheels from a Matchbox Hs 126 (shortened)
Pretty straightforward, but even though it would be a small aircraft model, it would come with two big challenges: mounting the lower wings and shaping the resulting, gaping belly, and the custom-made struts and wirings for the upper wing.
Work started with the Macchi C.200’s fuselage, which was built OOB - just without the wing, which is a single part, different pilot (the included one is a pygmy!) and with a free spinning metal axis for the propeller.
The wing installation started with the lower wings. I glued the Helldiver wings onto the C.200 fuselage, so that the wings' trailing edge would match the C.200's wing root ends.
From that, a floor plate was fitted under the fuselage and any excessive material removed, the gaps filled with lumps of 2C putty. That moved the lower wing's roots backwards, creating space at the lower forward fuselage for the new landing gear.
With the lower wings in place I started building strut supports for the upper wing from styrene strips - tricky and needs patience, but effective. I started with the outer supports, carving something SBC-style from styrene. These were glued into place, slightly canted outwards, and their length/height adapted to the upper wing’s position.
When this was settled, the upper Gladiator wing was glued into place. After a thorough drying period the short fuselage supports in front of the cockpit – again, styrene strips – were inserted into the gap. This allowed an individual lengthening, and was easier than expected, with a stable result.
After having the upper wing glued in place I added some wiring, made from heated and pulled-out styrene sprues. This not only enhances the kit's look, it also (just like in real life) improves rigidity of the model. Also a tedious task, but IMHO worth the effort. I tried thin wire, nylon strings and sewing yarn for this job, but finally the styrene solution is what worked best for me.
The exhaust installation had also to be modified: the new Hs 126 struts with spats would have been where the original C.200’s hot exhaust gases would have gone, so I added new exhaust pipes that would go between the new legs.
Other small added details included, among others, a pitot on a wing strut, a visor in front of the cockpit, a radio antenna, a ladder made from wire.
By the early nineteenth century, as ways of consuming the seaside matured and diversified, there was a growing appreciation of the joys and benefits to be gained by not just being beside the sea but venturing out onto the water itself without the disadvantages and dangers associated with boats.
The West Pier was designed and engineered by Eugenius Birch to attract visitors and survive in the hostile environment of the seashore. Built in 1866, it was a simple and functional structure built out from the sea using dozens of cast iron threaded columns screwed into the seabed and strengthened by a lattice of ties and girders that provide the necessary strength to support the promenade deck whilst allowing seas to pass harmlessly underneath.
Originally the West Pier had an open deck with only six small ornamental houses of Oriental design, two toll houses, glass screens at the pier head to protect visitors from the wind and lamps, with columns decorated with entwined serpents, placed around the perimeter and lit by gas. In 1875 a central bandstand was added and in the 1880′s weather screens the full length of the pier, steamer landing stages and a large pier head pavilion were constructed.
The final building, completed in 1916, was a graceful concert hall. The result was seaside architecture at its finest, designed to attract and entertain holiday-makers with all the pomp and frippery that is the essence of the English seaside resort.
The West Pier story closely follows the changing fortunes of the English seaside holiday. It began simply as a promenade pier where visitors could enjoy the thrill of walking on water; it was the place for the Victorian middle classes to socialise and exhibit their wealth, to see and be seen, to take in the sea air and admire the panoramic views of the land. By WW1 it had evolved into a pleasure pier with a great variety of seaside entertainment both indoors and out. Throughout the twenties it was immensely popular with attractions ranging from paddle steamer excursions, daring high divers and bathing from the pier head to military bands, recitals by the pier’s resident orchestra in the Concert Hall and an all-year-round programme of plays, pantomimes and ballets in the Theatre.
During WWII, the Pier was closed and mined for security reasons and sections were dismantled to prevent enemy landings. When the mines were removed and the pier reopened, after the repair of its war wounds, it completed its evolution into a funfair pier. The Theatre was converted into a restaurant on one floor and on the other the ‘Laughter Land’ games pavilion. The Concert Hall became a tea room, and the delights of the dodgems, helter-skelter, ghost train and miniature racing track could be enjoyed by all.
The pier was shut to the public in 1975 as it was deemed unsafe. A huge storm in December 2002 resulted in the dramatic collapse of the south east corner of the Concert Hall; in March 2003 the Pavilion was destroyed in an arson attack, and in May 2003 the Concert Hall was also burnt out deliberately. 2003 was a catastrophic year for the West Pier and by December 2003, a report concluded that despite the significant damage, given the wealth of salvaged material from the pier and the considerable photographic and video archive, repair and reconstruction of the pier was still viable. Unfortunately funding was not available.
The collapsed Concert Hall, being close to the beach, became a public hazard and in 2010 was removed. However, the skeletal ruin of the pier Pavilion has become an iconic feature of Brighton’s seafront. Its unique desolate beauty makes it much discussed, wondered about and photographed. The Pier has been too dangerous to access since the fires of 2003 and cannot be maintained. Over the coming years it will be reclaimed by nature and will inevitably degenerate and decay. The Trust has no intention of removing the remains unless overwhelming safety issues arise.
In 2006, planning permission was granted to the creators of the London eye to build the i360, an observation tower. It will be sited on the root-end of the pier and will open an exciting new chapter for the West Pier. This new landmark, which will be tied in with the original pier, has now commenced construction. At 175 metres high, and with an observation pod rising to 141 metres, the i360 will be Britain's highest observation tower outside London – taller even than the London Eye. The i360 follows in the spirit of the original pier, inviting visitors to "walk on air" and gain a different perspective of the city, just as they "walked on water" in the past and viewed the city from the sea. Chairman of the Brighton West Pier Trust, which owns the site of the former pier “believes that the Brighton i360 – a 'vertical pier' – is entirely in the spirit of the original pier's history and the best option to replicate its success and ethos." The i360 will restore parts of the original pier to their former glory, including the Victorian tollbooths. Parts of the cast iron supporting structure will be reused in the new visitor centre and an exhibition will enable visitors to learn about the pier's history. The cast iron structure off shore, known as the sea island, will stay but the wreckage of the derelict pier on the beach will be removed. A proportion of ticket revenues from the i360 will also go to the West Pier Trust charity, enabling it to continue promoting the pier's unique heritage.
This part of the plan really appeals to be - in the evenings, the Brighton i360 will transform into the Sky Bar – a chic, modern and accessible venue in which to relax and enjoy a glass of champagne, wine or a cocktail while taking in the stunning night-time views. The ride will be extended to 30 minutes to allow people plenty of time to enjoy their drink!!
The changing weather over a 3 day period is reflected in the photos I took of this fascinating and haunting structure – it looks quite eerie in the fog.
The kit and its assembly
Inspiration for this little, whiffy biplane came when I posted a pic of an Austrian Ju 86 bomber as a reply/ suggestion to a fellow modeler's (NARSES2) search at whatifmodelers.com for “something” to make from a Gloster Gladiator.
When I looked at the paint scheme a second time I remembered that I still had some Austrian roundels in stock, as well some very old biplane spare parts... hmmm.
Biplanes are tricky to build, even OOB, and kitbashing this kind of whif would not make things easier. Anyway, I love such challenges, and the potential outcome would surely look nice, if not exotic, so I decided to tackle the project.
Basically, the following donation ingredients went into it:
● Fuselage, engine, cockpit/pilot and tail from a Revell Macchi C.200 "Saetta"
● Upper wing from a Matchbox Gloster "Gladiator"
● Lower wings from a Matchbox SBC "Helldiver"
● Wheels from a Matchbox Hs 126 (shortened)
Pretty straightforward, but even though it would be a small aircraft model, it would come with two big challenges: mounting the lower wings and shaping the resulting, gaping belly, and the custom-made struts and wirings for the upper wing.
Work started with the Macchi C.200’s fuselage, which was built OOB - just without the wing, which is a single part, different pilot (the included one is a pygmy!) and with a free spinning metal axis for the propeller.
The wing installation started with the lower wings. I glued the Helldiver wings onto the C.200 fuselage, so that the wings' trailing edge would match the C.200's wing root ends.
From that, a floor plate was fitted under the fuselage and any excessive material removed, the gaps filled with lumps of 2C putty. That moved the lower wing's roots backwards, creating space at the lower forward fuselage for the new landing gear.
With the lower wings in place I started building strut supports for the upper wing from styrene strips - tricky and needs patience, but effective. I started with the outer supports, carving something SBC-style from styrene. These were glued into place, slightly canted outwards, and their length/height adapted to the upper wing’s position.
When this was settled, the upper Gladiator wing was glued into place. After a thorough drying period the short fuselage supports in front of the cockpit – again, styrene strips – were inserted into the gap. This allowed an individual lengthening, and was easier than expected, with a stable result.
After having the upper wing glued in place I added some wiring, made from heated and pulled-out styrene sprues. This not only enhances the kit's look, it also (just like in real life) improves rigidity of the model. Also a tedious task, but IMHO worth the effort. I tried thin wire, nylon strings and sewing yarn for this job, but finally the styrene solution is what worked best for me.
The exhaust installation had also to be modified: the new Hs 126 struts with spats would have been where the original C.200’s hot exhaust gases would have gone, so I added new exhaust pipes that would go between the new legs.
Other small added details included, among others, a pitot on a wing strut, a visor in front of the cockpit, a radio antenna, a ladder made from wire.
Still happily clueless about what was planned for me.
I thought the dentist would only see what he could do to my problem tooth, but I soon learned he already had a plan: Apicoectomy - a root-end resection*. That was it, then!
The operation itself was harmless and took less than 30 minutes, but I have to say that it's very painful afterwards.
*) Occasionally a root canal alone will not be enough to relieve pain and the end of the tooth, called the apex, will be removed by entering through the gingiva and surgically extracting the diseased material.
{Monday, 14 March 2011 -- 73:365}
The kit and its assembly
Inspiration for this little, whiffy biplane came when I posted a pic of an Austrian Ju 86 bomber as a reply/ suggestion to a fellow modeler's (NARSES2) search at whatifmodelers.com for “something” to make from a Gloster Gladiator.
When I looked at the paint scheme a second time I remembered that I still had some Austrian roundels in stock, as well some very old biplane spare parts... hmmm.
Biplanes are tricky to build, even OOB, and kitbashing this kind of whif would not make things easier. Anyway, I love such challenges, and the potential outcome would surely look nice, if not exotic, so I decided to tackle the project.
Basically, the following donation ingredients went into it:
● Fuselage, engine, cockpit/pilot and tail from a Revell Macchi C.200 "Saetta"
● Upper wing from a Matchbox Gloster "Gladiator"
● Lower wings from a Matchbox SBC "Helldiver"
● Wheels from a Matchbox Hs 126 (shortened)
Pretty straightforward, but even though it would be a small aircraft model, it would come with two big challenges: mounting the lower wings and shaping the resulting, gaping belly, and the custom-made struts and wirings for the upper wing.
Work started with the Macchi C.200’s fuselage, which was built OOB - just without the wing, which is a single part, different pilot (the included one is a pygmy!) and with a free spinning metal axis for the propeller.
The wing installation started with the lower wings. I glued the Helldiver wings onto the C.200 fuselage, so that the wings' trailing edge would match the C.200's wing root ends.
From that, a floor plate was fitted under the fuselage and any excessive material removed, the gaps filled with lumps of 2C putty. That moved the lower wing's roots backwards, creating space at the lower forward fuselage for the new landing gear.
With the lower wings in place I started building strut supports for the upper wing from styrene strips - tricky and needs patience, but effective. I started with the outer supports, carving something SBC-style from styrene. These were glued into place, slightly canted outwards, and their length/height adapted to the upper wing’s position.
When this was settled, the upper Gladiator wing was glued into place. After a thorough drying period the short fuselage supports in front of the cockpit – again, styrene strips – were inserted into the gap. This allowed an individual lengthening, and was easier than expected, with a stable result.
After having the upper wing glued in place I added some wiring, made from heated and pulled-out styrene sprues. This not only enhances the kit's look, it also (just like in real life) improves rigidity of the model. Also a tedious task, but IMHO worth the effort. I tried thin wire, nylon strings and sewing yarn for this job, but finally the styrene solution is what worked best for me.
The exhaust installation had also to be modified: the new Hs 126 struts with spats would have been where the original C.200’s hot exhaust gases would have gone, so I added new exhaust pipes that would go between the new legs.
Other small added details included, among others, a pitot on a wing strut, a visor in front of the cockpit, a radio antenna, a ladder made from wire.
The kit and its assembly
Inspiration for this little, whiffy biplane came when I posted a pic of an Austrian Ju 86 bomber as a reply/ suggestion to a fellow modeler's (NARSES2) search at whatifmodelers.com for “something” to make from a Gloster Gladiator.
When I looked at the paint scheme a second time I remembered that I still had some Austrian roundels in stock, as well some very old biplane spare parts... hmmm.
Biplanes are tricky to build, even OOB, and kitbashing this kind of whif would not make things easier. Anyway, I love such challenges, and the potential outcome would surely look nice, if not exotic, so I decided to tackle the project.
Basically, the following donation ingredients went into it:
● Fuselage, engine, cockpit/pilot and tail from a Revell Macchi C.200 "Saetta"
● Upper wing from a Matchbox Gloster "Gladiator"
● Lower wings from a Matchbox SBC "Helldiver"
● Wheels from a Matchbox Hs 126 (shortened)
Pretty straightforward, but even though it would be a small aircraft model, it would come with two big challenges: mounting the lower wings and shaping the resulting, gaping belly, and the custom-made struts and wirings for the upper wing.
Work started with the Macchi C.200’s fuselage, which was built OOB - just without the wing, which is a single part, different pilot (the included one is a pygmy!) and with a free spinning metal axis for the propeller.
The wing installation started with the lower wings. I glued the Helldiver wings onto the C.200 fuselage, so that the wings' trailing edge would match the C.200's wing root ends.
From that, a floor plate was fitted under the fuselage and any excessive material removed, the gaps filled with lumps of 2C putty. That moved the lower wing's roots backwards, creating space at the lower forward fuselage for the new landing gear.
With the lower wings in place I started building strut supports for the upper wing from styrene strips - tricky and needs patience, but effective. I started with the outer supports, carving something SBC-style from styrene. These were glued into place, slightly canted outwards, and their length/height adapted to the upper wing’s position.
When this was settled, the upper Gladiator wing was glued into place. After a thorough drying period the short fuselage supports in front of the cockpit – again, styrene strips – were inserted into the gap. This allowed an individual lengthening, and was easier than expected, with a stable result.
After having the upper wing glued in place I added some wiring, made from heated and pulled-out styrene sprues. This not only enhances the kit's look, it also (just like in real life) improves rigidity of the model. Also a tedious task, but IMHO worth the effort. I tried thin wire, nylon strings and sewing yarn for this job, but finally the styrene solution is what worked best for me.
The exhaust installation had also to be modified: the new Hs 126 struts with spats would have been where the original C.200’s hot exhaust gases would have gone, so I added new exhaust pipes that would go between the new legs.
Other small added details included, among others, a pitot on a wing strut, a visor in front of the cockpit, a radio antenna, a ladder made from wire.
Root end of drift log left by winter storms on Port Orford's west facing beach (in Curry County on the southern Oregon Coast).
The kit and its assembly
Inspiration for this little, whiffy biplane came when I posted a pic of an Austrian Ju 86 bomber as a reply/ suggestion to a fellow modeler's (NARSES2) search at whatifmodelers.com for “something” to make from a Gloster Gladiator.
When I looked at the paint scheme a second time I remembered that I still had some Austrian roundels in stock, as well some very old biplane spare parts... hmmm.
Biplanes are tricky to build, even OOB, and kitbashing this kind of whif would not make things easier. Anyway, I love such challenges, and the potential outcome would surely look nice, if not exotic, so I decided to tackle the project.
Basically, the following donation ingredients went into it:
● Fuselage, engine, cockpit/pilot and tail from a Revell Macchi C.200 "Saetta"
● Upper wing from a Matchbox Gloster "Gladiator"
● Lower wings from a Matchbox SBC "Helldiver"
● Wheels from a Matchbox Hs 126 (shortened)
Pretty straightforward, but even though it would be a small aircraft model, it would come with two big challenges: mounting the lower wings and shaping the resulting, gaping belly, and the custom-made struts and wirings for the upper wing.
Work started with the Macchi C.200’s fuselage, which was built OOB - just without the wing, which is a single part, different pilot (the included one is a pygmy!) and with a free spinning metal axis for the propeller.
The wing installation started with the lower wings. I glued the Helldiver wings onto the C.200 fuselage, so that the wings' trailing edge would match the C.200's wing root ends.
From that, a floor plate was fitted under the fuselage and any excessive material removed, the gaps filled with lumps of 2C putty. That moved the lower wing's roots backwards, creating space at the lower forward fuselage for the new landing gear.
With the lower wings in place I started building strut supports for the upper wing from styrene strips - tricky and needs patience, but effective. I started with the outer supports, carving something SBC-style from styrene. These were glued into place, slightly canted outwards, and their length/height adapted to the upper wing’s position.
When this was settled, the upper Gladiator wing was glued into place. After a thorough drying period the short fuselage supports in front of the cockpit – again, styrene strips – were inserted into the gap. This allowed an individual lengthening, and was easier than expected, with a stable result.
After having the upper wing glued in place I added some wiring, made from heated and pulled-out styrene sprues. This not only enhances the kit's look, it also (just like in real life) improves rigidity of the model. Also a tedious task, but IMHO worth the effort. I tried thin wire, nylon strings and sewing yarn for this job, but finally the styrene solution is what worked best for me.
The exhaust installation had also to be modified: the new Hs 126 struts with spats would have been where the original C.200’s hot exhaust gases would have gone, so I added new exhaust pipes that would go between the new legs.
Other small added details included, among others, a pitot on a wing strut, a visor in front of the cockpit, a radio antenna, a ladder made from wire.
Cauliflower Steak:
2 large heads cauliflower
1/3 cup - Classico Basil Pesto
1. Trim root end so cauliflower lays flat. Starting at one end, cut into 3/4 inch slices. Only 2 or 3 slices in the middle will remain intact; reserve remaining floret for another recipe.
2. Spread pesto over steaks. Place steaks gently into resealable plastic bag, pouring any remaining marinade into bag; let marinate for up to 48hrs.
3.Wrap steaks in heavy-duty aluminum foil; place in coals on outer edge of campfire until tender-up about 15min.
* I roasted mine in the oven at 375F at 20-30min
{edited} Thanks to NatureNM for identifying these as Conopholis alpina var. mexicana - Mexican cancer-root {end edit}
I need help identifying these. These erupt from the earth in a transitional biome with Juniper-Pinyon mixed with full Ponderosa forest between 5,000' and 6,000' elevation. I'm not sure if they are a fungi or some sort of rhizomal growth. Any help will be appreciated.
I hiked Derrick Trail to Highline Trail to Horton Spring and in on the Horton Creek Trail. Horton Creek flows south and joins Tonto Creek. Beautiful area just below the Mogollon Rim. A transitional biome with Juniper-Pinyon mixed with full Ponderosa forest. Beautiful hike and great trout fishing. Becoming too popular and crowded.
Lined drawstring bag with embroidered handcut aluminum shisha mirrors, made with my Spoonflower "Blue Tigers" fabric and various indigo cotton scraps. The other side of the bag is identical.
"ShakCu" endblown flute that I made from 1/2-inch copper plumbing pipe, just under 11 inches long. The flute is styled like a Japanese shakuhachi (including the "root end" ornament at the bottom) but is half the length and half the diameter of a true shakuhachi and of course isn't made of bamboo. Tuned to the requisite pentatonic minor scale. Lowest note is middle C. Easier to play than a true shakuhachi, with a more whistle-like sound.
What you see here is the root end of the tree that took out the crabapple tree. And, since I finally got a chance to see more closely, it also took out part of our fence.
www.kraftrecipes.com/recipes/grilled-garlic-potato-salad-...
What You Need
1-1/2 lb. small red potatoes (about 12), cut in half
1/3 cup water
4 large cloves garlic, unpeeled
1/2 cup KRAFT Zesty Italian Dressing, divided
3/4 cup KRAFT Real Mayo Mayonnaise
2 tsp. yellow mustard
2 stalks celery, chopped
Make It
HEAT grill to medium-high heat.
PLACE potatoes and water in 2-qt. microwaveable casserole; cover with lid. Microwave on HIGH 8 min., rotating dish after 4 min. Meanwhile, cut thin slice off top of each garlic clove, leaving papery skin on cloves; discard tops. (Do not cut root ends.) Place garlic on sheet of foil; drizzle with 1 Tbsp. dressing. Wrap garlic in foil.
DRAIN potatoes; thread onto skewers. Brush with some of the remaining dressing. Grill potatoes and garlic 10 to 15 min. or until potatoes are tender, turning potatoes frequently and brushing with remaining dressing. Remove potatoes and garlic from grill; cool.
REMOVE garlic pulp from skins. (See Tip.) Mix garlic with mayo and mustard in large bowl. Add potatoes and celery to mustard mixture; mix lightly. Refrigerate several hours or until chilled.
This root end of a drift log was photographed on Paradise Point Beach on Port Orford's west shore on December 15th, 2006. (Curry County, southern Oregon Coast)
"Down at the root end of things, blind growth reaches astonishing proportions." Annie Dillard in Pilgrim at Tinker Creek -- I am learning, with agonizing slowness, that if I allow that blind growth at root level to happen, the result is an explosion of celebration.
Looking NE from upper end of Six Mile Island.
Duck blind on root end of grounded tree trunk.
(I don't know how many ducks were fooled, but it's more convincing from the other side.)
Ohio River mile 597.
Louisville, Kentucky.
Dec. 1987.
File # 87l112.
.
35 mm Kodachrome.
Plustek OpticFilm 7600i and Silverfast 8.
Picture Window 6.
JPEG quality 95.
Ingredients:
12 radishes (about 1 in. wide)
1/4 cup crème fraîche or sour cream
1/2 teaspoon grated lemon peel
1/2 teaspoon lemon juice
1/4 teaspoon Salt
1 tablespoons of Caviar (red lumpfish roe)
1 tablespoons Black Truffle mix (minced black truffle, minced mushrooms, olive oil & a dash of salt)
Preparation:
1. Trim stems and root ends off radishes; rinse well, and cut in half crosswise. To make each half sit flat, trim off rounded end. If crème fraîche or sour cream is runny, use a small melon baller to scoop out centers of radishes, making depressions to hold filling; if crème fraîche is thick, leave radish halves flat.
2. In a bowl, mix crème fraîche and lemon peel and juice. Add salt to taste.
3. Top or fill radish cups equally with crème fraîche mixture (about 1/2 teaspoon in each), then top equally with caviar or black truffle (a scant 1/4 teaspoon on each). Arrange on a platter.
Makes 24 appetizers; about 12 servings
[Yaaayy] Finally I can share a total overview of Root End! The magical home of the Ginger Root Gnomes & Woodling Trolls **Beautifully made by Murjani Kusumobroto 🌱💛
Hand made magnetic djahé pods, miniature furniture, lights, curtains & djahé (ginger root) hats, cocoons and outfits by Fairy Fragilities' Murjani.
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#charlescreaturecabinet #ccc #cccbjd #root_end #nana_home #handmade #dollhouse #miniature #furniture #fairyfragilities #murjanikusumobroto #charlesgrimbergstephan #issaMoriko #childoftheforest #risu #nippy #45mm #microbjd #sprout #cabinetofwonders #gingerrootsprout #balljointeddoll #designertoy #dollsondisplay #forDRV2019
[Yaaayy] Finally I can share a total overview of Root End! The magical home of the Ginger Root Gnomes & Woodling Trolls **Beautifully made by Murjani Kusumobroto 🌱💛
Hand made magnetic djahé pods, miniature furniture, lights, curtains & djahé (ginger root) hats, cocoons and outfits by Fairy Fragilities' Murjani.
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#charlescreaturecabinet #ccc #cccbjd #root_end #nana_home #handmade #dollhouse #miniature #furniture #fairyfragilities #murjanikusumobroto #charlesgrimbergstephan #issaMoriko #childoftheforest #risu #nippy #45mm #microbjd #sprout #cabinetofwonders #gingerrootsprout #balljointeddoll #designertoy #dollsondisplay #forDRV2019
All of the trees used to construct the sentry shelter were still connected to the ground at the root. None of the trees had been cut or chopped with tools nor pulled out completely.
Much prettier sky today than on the other cloudy days that I tried this shot. Dazzle was again watching a person walking by on the road when I snapped this. I tried many different angles while he practiced his stay but only uploaded this one. I went out to get this particular shot (for a contest) in spite of the pain I'm in, then got back home and went back to bed. As far as the contest results, I would have been better off staying home. But I'm still glad I finally got the shot I wanted.
I added a photo of the log he was on to my stream to show that it is at ground level on the root end so that's how he got up there. The fallen tree is over a bit of a gully, so it gets pretty far off the ground. I am 5'5" and could just barely touch the underside of the log where he is standing in the photo. He's not the least bit bothered by height and at one point he was standing sideways across the log to look down at me. I liked the shot I got of him doing that, but I needed the flash and didn't realise that till I saw it larger on my computer screen.
He is as agile as a cat, but also careful about where he is putting his feet so I don't worry about him falling. And this is about the same height as the palisade wall that Malinois have to jump off of in Ringsport (after jumping to the top of the wall). (www.youtube.com/watch?v=i_Q5K48NGPc)
I scarified them in boiling water and let them steep for 24 hours. They still weren't entirely rehydrated so I used a small pocketknife to score the seed coat at the other end from the rooting end. Then I put them in very warm water for another 24 hours. I put them in a wet paper towel on a plastic plate for a while, keeping them hydrated. They still weren't doing much (although they were plumper) so I then exposed them to bottom heat. Some seeds chitted not long after I did that. I then tried to sterilize some potting soil and put them in a seedling tray with bottom heat. I'd say I had them hydrating either in full or partial water for at least 3 days before bottom heat was applied.
I got off work early so I came home and played in the kitchen (made some unnecessary but tasty caramelized onion dip to go with crunchy celery stalks).
In this kitchen corner, you can see some milk glass dishes from Duncan's grandmother, our regenerating green onions (did you know if you put the root ends in water they will grow back and you can use them all over again?), a new full jar of honey from the hives right next door, colorful but empty bottles from A, and a couple house plants I am trying my very best to keep alive.
www.foodnetwork.com/food/cda/recipe_print/0,1946,FOOD_993...
Cheesy Vidalia Onion and Tomato PieRecipe courtesy Emeril Lagasse
Prep Time:40 minInactive Prep Time:9 hr 0 minCook Time:1 hr 15 minLevel:--Serves:6 to 8 servings
Ingredients
* 1 recipe Savory Pie Crust, recipe follows
* 1 egg
* 2 pounds ripe tomatoes, peeled
* Salt and freshly ground black pepper
* 1/3 cup plain bread crumbs
* 4 tablespoons mayonnaise
* 3/4 cup thinly sliced Vidalia onions
* 1/4 teaspoon fresh thyme leaves
* 2 tablespoons chiffonade fresh basil
* 1/2 cup grated fontina cheese
* 1/2 cup grated mozzarella cheese
* 2 tablespoons extra-virgin olive oil
* 2 tablespoons grated Parmesan
DirectionsPreheat oven to 375 degrees F.
Roll out the pie crust on a lightly floured surface to fit a deep 9 or 10-inch pie pan. Place the pastry in the pie pan and crimp edges decoratively. Refrigerate at least 30 minutes, then line with aluminum foil. Fill with pie weights and bake for 12 to 15 minutes, or until lightly golden around the edges. Remove foil and pie weights, and return to the oven for 3 to 5 minutes. Remove from the oven and transfer to a cooling rack to cool. Crack the egg in a small bowl, reserving yolk for the filling, separately. Lightly beat the egg white with a fork, then brush the surface of pie crust with a light coating of egg white and allow to cool.
Slice the tomatoes, discarding the stem and root ends, into 1/4-inch slices and lightly season with the salt and pepper.
Sprinkle about 1/3 of the bread crumbs in the bottom of the pie crust. In a small bowl combine the mayonnaise with the reserved egg yolk and stir until smooth. Place a layer of tomatoes in the bottom of the piecrust over the breadcrumbs, using about half of the tomatoes, then top with half of the sliced onions. Drizzle with half of the mayonnaise mixture, half of the thyme and basil, half of the fontina and half of the mozzarella cheeses. Top with half of the remaining breadcrumbs then top with the remaining tomato slices, remaining onions, remaining fontina and mozzarella, remaining mayonnaise mixture, and remaining thyme and basil. Top with the remaining bread crumbs and drizzle with the olive oil. cover with the Parmesan cheese, place in the oven and bake until bubbly hot and golden brown, about 1 hour and 15 minutes. Remove from the oven and allow to cool for at least 30 minutes before slicing and serving. Serve warm or at room temperature.
For the Savory Pie Crust:
* 1 1/4 cups all-purpose flour
* 2 teaspoons Essence, recipe follows
* 1/2 teaspoon salt
* 4 ounces (1 stick) cold unsalted butter, cut into pieces
* 3 to 4 tablespoons ice water
In the bowl of a food processor combine flour, Essence, salt, and butter and process until mixture resembles coarse crumbs. While the motor is running, add water in increments until dough comes together to form a ball. Transfer dough to a lightly floured surface and shape into a flat disc. Refrigerate overnight or at least one hour.
Remove from refrigerator and roll out on a lightly floured surface to desired shape and thickness.
Yield: 1 pie shell
Emeril's ESSENCE Creole Seasoning (also referred to as Bayou Blast):Emeril's ESSENCE Creole Seasoning (also referred to as Bayou Blast):
* 2 1/2 tablespoons paprika
* 2 tablespoons salt
* 2 tablespoons garlic powder
* 1 tablespoon black pepper
* 1 tablespoon onion powder
* 1 tablespoon cayenne pepper
* 1 tablespoon dried oregano
* 1 tablespoon dried thyme
Combine all ingredients thoroughly.
Yield: 2/3 cup
* Recipe from "New New Orleans Cooking", by Emeril Lagasse and Jessie Tirsch
* Published by William Morrow, 1993.
we're back to the growing our own scallions thing, by saving the root end of a scallion, popping it in a glass of water for a few days, and then planting it in the scallion pot. i did this last summer, too, but in a small shady part of the garden, so i'm hopeful that this year's scallions will be more prolific.
YIP 157/365 // Garden Grub 4/120
The beautiful handmade 'Root End' gingerroot gnome house by Murjani Kusumobroto got a lot of admiring looks at Epic Doll Fair 😍💛💛
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#handmade @murjanikusumobroto #rootend #fairyfragilities #gingerrootgnome_house #home #dollshow #bjdshow #charlescreaturecabinet #cccbjd #ccc #nanadaedjahé #nana #gingerrootgnome #tinybjd #microbjd #balljointeddoll #limitededition #fantasybjd #collectibles #charlesgrimbergstephan #artist #designer #sculptor #bjdartist #cabinetofwonders #rotterdam
💛
Handmade 'Root End' House & furniture FairyFragilities | NL
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BJD Design/Sculpt TM & Copyright © 2008 | Charles Grimberg-Stephan | Charles' Creature Cabinet | All Rights Reserved.
~ Donovan
Mellow Yellow ♪
I'm just mad about Saffron
Saffron's mad about me
I'm just mad about Saffron
She's just mad about me
They call me mellow yellow
They call me mellow yellow
The phrase "mellow yellow" appears on page 719 of the first American edition of Ulysses (novel), where it is used to refer to Mrs Marion Bloom's buttocks, but it is not known if Donovan got the phrase from there.
en.wikipedia.org/wiki/Mellow_Yellow
see tags for a natural bee sting remedy...
www.foodnetwork.com/food/cda/recipe_print/0,1946,FOOD_993...
Cheesy Vidalia Onion and Tomato PieRecipe courtesy Emeril Lagasse
Prep Time:40 minInactive Prep Time:9 hr 0 minCook Time:1 hr 15 minLevel:--Serves:6 to 8 servings
Ingredients
* 1 recipe Savory Pie Crust, recipe follows
* 1 egg
* 2 pounds ripe tomatoes, peeled
* Salt and freshly ground black pepper
* 1/3 cup plain bread crumbs
* 4 tablespoons mayonnaise
* 3/4 cup thinly sliced Vidalia onions
* 1/4 teaspoon fresh thyme leaves
* 2 tablespoons chiffonade fresh basil
* 1/2 cup grated fontina cheese
* 1/2 cup grated mozzarella cheese
* 2 tablespoons extra-virgin olive oil
* 2 tablespoons grated Parmesan
DirectionsPreheat oven to 375 degrees F.
Roll out the pie crust on a lightly floured surface to fit a deep 9 or 10-inch pie pan. Place the pastry in the pie pan and crimp edges decoratively. Refrigerate at least 30 minutes, then line with aluminum foil. Fill with pie weights and bake for 12 to 15 minutes, or until lightly golden around the edges. Remove foil and pie weights, and return to the oven for 3 to 5 minutes. Remove from the oven and transfer to a cooling rack to cool. Crack the egg in a small bowl, reserving yolk for the filling, separately. Lightly beat the egg white with a fork, then brush the surface of pie crust with a light coating of egg white and allow to cool.
Slice the tomatoes, discarding the stem and root ends, into 1/4-inch slices and lightly season with the salt and pepper.
Sprinkle about 1/3 of the bread crumbs in the bottom of the pie crust. In a small bowl combine the mayonnaise with the reserved egg yolk and stir until smooth. Place a layer of tomatoes in the bottom of the piecrust over the breadcrumbs, using about half of the tomatoes, then top with half of the sliced onions. Drizzle with half of the mayonnaise mixture, half of the thyme and basil, half of the fontina and half of the mozzarella cheeses. Top with half of the remaining breadcrumbs then top with the remaining tomato slices, remaining onions, remaining fontina and mozzarella, remaining mayonnaise mixture, and remaining thyme and basil. Top with the remaining bread crumbs and drizzle with the olive oil. cover with the Parmesan cheese, place in the oven and bake until bubbly hot and golden brown, about 1 hour and 15 minutes. Remove from the oven and allow to cool for at least 30 minutes before slicing and serving. Serve warm or at room temperature.
For the Savory Pie Crust:
* 1 1/4 cups all-purpose flour
* 2 teaspoons Essence, recipe follows
* 1/2 teaspoon salt
* 4 ounces (1 stick) cold unsalted butter, cut into pieces
* 3 to 4 tablespoons ice water
In the bowl of a food processor combine flour, Essence, salt, and butter and process until mixture resembles coarse crumbs. While the motor is running, add water in increments until dough comes together to form a ball. Transfer dough to a lightly floured surface and shape into a flat disc. Refrigerate overnight or at least one hour.
Remove from refrigerator and roll out on a lightly floured surface to desired shape and thickness.
Yield: 1 pie shell
Emeril's ESSENCE Creole Seasoning (also referred to as Bayou Blast):Emeril's ESSENCE Creole Seasoning (also referred to as Bayou Blast):
* 2 1/2 tablespoons paprika
* 2 tablespoons salt
* 2 tablespoons garlic powder
* 1 tablespoon black pepper
* 1 tablespoon onion powder
* 1 tablespoon cayenne pepper
* 1 tablespoon dried oregano
* 1 tablespoon dried thyme
Combine all ingredients thoroughly.
Yield: 2/3 cup
* Recipe from "New New Orleans Cooking", by Emeril Lagasse and Jessie Tirsch
* Published by William Morrow, 1993.
www.foodnetwork.com/food/cda/recipe_print/0,1946,FOOD_993...
Cheesy Vidalia Onion and Tomato PieRecipe courtesy Emeril Lagasse
Prep Time:40 minInactive Prep Time:9 hr 0 minCook Time:1 hr 15 minLevel:--Serves:6 to 8 servings
Ingredients
* 1 recipe Savory Pie Crust, recipe follows
* 1 egg
* 2 pounds ripe tomatoes, peeled
* Salt and freshly ground black pepper
* 1/3 cup plain bread crumbs
* 4 tablespoons mayonnaise
* 3/4 cup thinly sliced Vidalia onions
* 1/4 teaspoon fresh thyme leaves
* 2 tablespoons chiffonade fresh basil
* 1/2 cup grated fontina cheese
* 1/2 cup grated mozzarella cheese
* 2 tablespoons extra-virgin olive oil
* 2 tablespoons grated Parmesan
DirectionsPreheat oven to 375 degrees F.
Roll out the pie crust on a lightly floured surface to fit a deep 9 or 10-inch pie pan. Place the pastry in the pie pan and crimp edges decoratively. Refrigerate at least 30 minutes, then line with aluminum foil. Fill with pie weights and bake for 12 to 15 minutes, or until lightly golden around the edges. Remove foil and pie weights, and return to the oven for 3 to 5 minutes. Remove from the oven and transfer to a cooling rack to cool. Crack the egg in a small bowl, reserving yolk for the filling, separately. Lightly beat the egg white with a fork, then brush the surface of pie crust with a light coating of egg white and allow to cool.
Slice the tomatoes, discarding the stem and root ends, into 1/4-inch slices and lightly season with the salt and pepper.
Sprinkle about 1/3 of the bread crumbs in the bottom of the pie crust. In a small bowl combine the mayonnaise with the reserved egg yolk and stir until smooth. Place a layer of tomatoes in the bottom of the piecrust over the breadcrumbs, using about half of the tomatoes, then top with half of the sliced onions. Drizzle with half of the mayonnaise mixture, half of the thyme and basil, half of the fontina and half of the mozzarella cheeses. Top with half of the remaining breadcrumbs then top with the remaining tomato slices, remaining onions, remaining fontina and mozzarella, remaining mayonnaise mixture, and remaining thyme and basil. Top with the remaining bread crumbs and drizzle with the olive oil. cover with the Parmesan cheese, place in the oven and bake until bubbly hot and golden brown, about 1 hour and 15 minutes. Remove from the oven and allow to cool for at least 30 minutes before slicing and serving. Serve warm or at room temperature.
For the Savory Pie Crust:
* 1 1/4 cups all-purpose flour
* 2 teaspoons Essence, recipe follows
* 1/2 teaspoon salt
* 4 ounces (1 stick) cold unsalted butter, cut into pieces
* 3 to 4 tablespoons ice water
In the bowl of a food processor combine flour, Essence, salt, and butter and process until mixture resembles coarse crumbs. While the motor is running, add water in increments until dough comes together to form a ball. Transfer dough to a lightly floured surface and shape into a flat disc. Refrigerate overnight or at least one hour.
Remove from refrigerator and roll out on a lightly floured surface to desired shape and thickness.
Yield: 1 pie shell
Emeril's ESSENCE Creole Seasoning (also referred to as Bayou Blast):Emeril's ESSENCE Creole Seasoning (also referred to as Bayou Blast):
* 2 1/2 tablespoons paprika
* 2 tablespoons salt
* 2 tablespoons garlic powder
* 1 tablespoon black pepper
* 1 tablespoon onion powder
* 1 tablespoon cayenne pepper
* 1 tablespoon dried oregano
* 1 tablespoon dried thyme
Combine all ingredients thoroughly.
Yield: 2/3 cup
* Recipe from "New New Orleans Cooking", by Emeril Lagasse and Jessie Tirsch
* Published by William Morrow, 1993.