11 October 2017

Millennium Falcon [Factory Stock] Part 3: Ship Build


To find out more about my methodology and why I'm building this particular model in this particular way, please read PART ONE.

To see the early stages of this project where I scrape, file, and sand off most of the kit's beautiful details, please read PART TWO.

Rear end with grill.

Now, that grill didn't appear onscreen until the 1997 Special Edition of Star Wars, whereas, before, the model had a simple rectangular piece of translucent white plastic (below) to represent the massive power of the engines and the ship wasn't seen from behind when the engines weren't active.

I'm not sure, but this may have been about the time the model kits started including the grill because the original MPC kit or the later AMT/ERTL kit only had transparent plastic (to allow for lighting to be installed) for the engine area.

Original studio model: internal lighting, but no grill.

I'm not going to be including the grill partly because it's a 20-years-late addition to the "lore" of the model, but also because it seems like it would get in the way of, or get melted by, the thrust (not that Star Wars physics has to or does conform to Earth physics). The "nozzles" included in the kit make practical sense (moreso than a flat piece of plastic), so I'll be using those.

Even if I accept that the engine grills come standard on a YT-1300 freighter, it seems to me like something Lando or Han would have removed for greater speed, which would mean I should leave them on...or does it mean they're not standard and one of the guys added the grills? Either way, no grills for me.

Grill removal.

On either side of the engine area are the added strips of styrene I built up which came out pretty much to the outer circumference of the grill, and now (minus the grill) they make the engine nozzles look even more recessed –and I like that.

Like all the other Falcon kit parts that don't get used for my final model, these grill sections will go into my kitbashing parts collection for eventual use on other projects.

Rear end without grill.

I'll probably paint the nozzles some dark-ish gunmetal or something (many folks have been painting them copper, so we'll see...) and the recesses will be black to suggest greater depth. Since this model will not be in flight but landed in (a showroom), I won't be lighting the engines.

Port side outside.

The most notable feature of this "factory stock" version of the Millennium Falcon compared to the one in the Star Wars films is its relative smoothness and severe reduction of greeblies. My sidewalls here are perfectly smooth, but I'll be adding a few vertical lines with a scribing tool and a few photo-etched bits and pieces here and there so they don't remain completely blank.

Port side styrene additions.

After filing off the greeblies and sanding the sidewalls smooth I felt they were recessed a little too much between the top and bottom hulls, so I applied strips of sheet styrene five layers thick to build out the walls to an outer circumference that worked for me.


Starboard styrene additions.

Limits.

This is a slightly better angle to see the limits of my sidewall deepening; if I went further than the plating on the left, filling in the space seen between the overhanging plates in the middle, it would protrude too far. Same goes for the short bit between the docking ring and the cockpit corridor on the right: I could bring the sidewalls closer to the overhang, but it would protrude beyond the inner wall on the left.

Primed (with new greeblies).

As much as I wanted the Falcon's surface to be pretty smooth, my additions were a little too smooth, so I added some photo etched parts in strategic spots...maybe I should have just scribed a line or two on the back parts instead...

Mandible cover greeblies.

I would have preferred something circular, but the PE parts from my Russian tank (Trumpeter's T-64AV Mod 1984) donor kit only had two really good circular parts with mesh (rather than four), so I sliced off four identical rectangles from two other bits.

Maintenance cover greeblies.

These planes were too plain as well, so I added the straight bits from the tank kit and the three-pringed bits come from the Green Strawberry PE set I got for the Falcon (but they go inside the gun turrets, which I won't be using –I think I'll just black out the windows).

Port side greeblies.

More tank kit PE parts to add some interest to (and cover some gaps in) the smooth, flat styrene I added.

Starboard side greeblies.

Sometimes symmetry is better than asymmetry, sometimes vice versa. It all depends on the circumstance.

Actuators.

That's a lot of greeblies, to be sure, but the functionality of these "actuators" was too good to leave out. After all, I kept various details I felt were linked to the task of cargo handling/grappling, so this was an easy call (but I almost got used to how good the smooth engine flaps areas looked...).

Re-puttied.

Once the primer goes on, you can really see any imperfections that might need fixing. I already knew that I gouged the hell out of the upper and lower hulls when I was chiseling the molded details off, but the primer test revealed the worst dents.

Unlikely-to-be-seen photo etch.

I got the Millennium Falcon photo etch set from Green Strawberry mostly for the fine landing gear details and decided to practice a bit with some unimportant parts (which might never be seen) because I'd never worked with PE before (apart from just attaching some to the sidewalls). It's tricky and delicate but it adds some better realism in areas where the kit parts are too thick.

Landing gear test fit.

The main reason I got this photo etch set was because the kit parts for the circular bits on the landing gear were too thick and cutting out all those holes would have been harder than dealing with PE. They didn't turn our perfectly, but I'm hoping they'll look better once painted. I may or may not use the PE parts for the gear doors...we'll see.

And speaking of which, there's a lot of painting to get to before certain sub-assemblies are finally attached to the ship (landing gear, cockpit...maybe I'll do the ramp down, maybe not...). Part Four will deal with all of that and Part Five will be the start of The Showroom itself (which is still being designed).


Read PART ONE

Read PART TWO

On to PART FOUR







03 October 2017

Homemakers

by Celia Sage and Milé Murtanovski
24" x 24", oil on canvas, 2017, private collection
[HOME: Phase Two]

When I think of “homemakers” I think of my parents, making a safe, comfortable, loving place for each other, and me, and my sister. Studying Celia’s tender painting of her and her daughters, developing ideas about how to respond for my half, I started thinking about generations –the older ones taking care of the younger ones– and I went back a generation, past my parents, to my grandmother, Lenka, digging potatoes in Macedonia, helping my granddad make a home for a very large family, giving them the opportunity to leave and have better lives, which my parents, in turn, passed on to me and my sister.

– Milé Murtanovski


Homemaker
by Celia Sage
24" x 24", oil on canvas, 2017
[HOME: Phase One]


Click the image above to see all ten Phase One
paintings from our HOME project.




02 October 2017

Home Town

by Milé Murtanovski and Celia Sage
24" x 24", oil on canvas, 2017
[HOME: Phase Two]

Milé's shrouded figure* lying on the sidewalk was an almost unanswerable challenge. I hope that with a bit of imagination –and humour– the viewer will find the way I changed it to a bag of ski equipment persuasive.  This and other clues suggest my home town.

– Celia Sage 


Always on My Mind
by Milé Murtanovski
24" x 24", oil on canvas, 2017
[HOME: Phase One]


Click the image above to see all ten Phase One
paintings from our HOME project.


*That shrouded figure was a homeless man (he was tightly wrapped in white, but his feet and head were actually exposed) sleeping on the sidewalk at Richmond and Yonge in Toronto, a chilling image I've kept not too far in the back of my mind since photographing him (that's my car's side-view mirror on the right) on my way to work in the fall of 2003.


01 October 2017

Rocket Out of Suburbia

by Celia Sage and Milé Murtanovski
24" x 24", oil on canvas, 2017
[HOME: Phase Two]

In keeping with Celia’s surrealistic image of a flying trailer whisking her to adventures away from home, my frequent escape from the suburban doldrums of Scarborough was the mighty TTC (the subway used to be called the “Red Rocket”) taking me and my friends into the excitement of the Big City (Toronto).

– Milé Murtanovski



Home Away From Home
by Celia Sage
24" x 24", oil on canvas, 2017
[HOME: Phase One]


Click the image above to see all ten Phase One
paintings from our HOME project.


30 September 2017

Home Away From Home

by Milé Murtanovski and Celia Sage
24" x 24", oil on canvas, 2017
[HOME: Phase Two]

Milé's patterned background [a suburban lot plan] immediately suggested to me the site maps used at the many campgrounds to which my husband and I have taken our trailer –our home away from home.  A new favourite is on the Maine coast, hence the mermaid.

– Celia Sage 



Born and Bred and Bored and Dead
by Milé Murtanovski
24" x 24", oil on canvas, 2017
[HOME: Phase One]


Click the image above to see all ten Phase One
paintings from our HOME project.


29 September 2017

Duelling Landscapes

by Celia Sage and Milé Murtanovski
24" x 24", oil on canvas, 2017
[HOME: Phase Two]

As a contrast to Celia’s tranquil and pastoral landscape with its surreal eyes keeping watch, I’ve painted one of the seemingly millions of ever-present wire-festooned poles that line Scarborough’s streets (here at Kennedy and Lawrence, the very heart of bland convenience) like superhuman fence posts or totem poles for communication, electricity, and boredom.

– Milé Murtanovski 



Home Made –Squall Shadowed Hills
by Celia Sage
24" x 24", oil on canvas, 2017
[HOME: Phase One]


Click the image above to see all ten Phase One
paintings from our HOME project.


28 September 2017

Yankee Go Home

by Milé Murtanovski and Celia Sage
24" x 24", oil on canvas, 2017
[HOME: Phase Two]

As an immigrant to Canada myself, it seemed logical to recast Milé's female figure as myself on the day I arrived.  Milé's Macedonian word balloon was more problematic, however, so I searched for phrases using "home" to find something that would suit my context, and I came up with the title, which seems to dovetail nicely with Milé's original idea.*  (Google Translate** helped me render it in what I hope is Macedonian, in keeping with the letter on his side of the painting, which I retained as a decorative element). I use the phrase humorously here but not without a grain of truth.

– Celia Sage 


Conform or Be Cast Out
by Milé Murtanovski
24" x 24", oil on canvas, 2017
[HOME: Phase One]


Click the image above to see all ten Phase One
paintings from our HOME project.



*In my painting, the Macedonian word written in Cyrillic is "English."

**Unfortunately, Google Translate was slightly off in its conjugation of "go," so the Mountie is actually saying "Yankee, I'm going home."


27 September 2017

Home Builders

by Celia Sage and Milé Murtanovski
24" x 24", oil on canvas, 2017
[HOME: Phase Two]

As with “Homemakers” I've pluralized Celia’s original title as my parents were also my and my sister’s “home builders” in a manner of speaking (originally, I titled this “Providers” but simply pluralizing Celia's title is more elegant). I apologize profusely to my parents for my very bad likenesses of them here.

– Milé Murtanovski


Home Builder
by Celia Sage
24" x 24", oil on canvas, 2017
[HOME: Phase One]


Click the image above to see all ten Phase One
paintings from our HOME project.



26 September 2017

Home Made

by Milé Murtanovski and Celia Sage
24" x 24", oil on canvas, 2017
[HOME: Phase Two]

I'd like to subtitle this "Apologies to Krista" because it seemed awful to paint over the loving likeness Milé had created.  However, "in the name of Art," I tried to turn her into me, with shades reflecting the County, which I have made my beloved home for over 30 years.  (The missing sunglasses arm is just me staying off of Milé's half of the painting.)

– Celia Sage


Where the Heart Is
by Milé Murtanovski
24" x 24", oil on canvas, 2017
[HOME: Phase One]


Click the image above to see all ten Phase One
paintings from our HOME project.


25 September 2017

Take the Long Way Home

by Celia Sage and Milé Murtanovski
24" x 24", oil on canvas, 2017
[HOME: Phase Two]

Celia’s place of origin is different (and much farther) from mine, but our destinations are virtually the same, as indicated by the light blue outline of the northern part of Prince Edward County still visible on Celia’s half, and, more specifically to me, the silo at Small Pond Arts, my home.

– Milé Murtanovski



Home Range
by Celia Sage
24" x 24", oil on canvas, 2017
[HOME: Phase One]


Click the image above to see all ten Phase One
paintings from our HOME project.


24 September 2017

Home Fires

by Milé Murtanovski and Celia Sage
24" x 24", oil on canvas, 2017
[HOME: Phase Two]

The female figure in the centre of Milé's painting was unavoidable, so in order to respond to the idea of Home on my half I transformed her into a younger version of myself, backed by the foothills and mountains which were the background of my early life. I turned Milé's Scarborough hydro corridor into the lines which bring the actual hydroelectric power that keeps Boise's home fires burning.

– Celia Sage 


Scarberian Rhapsody
by Milé Murtanovski
24" x 24", oil on canvas, 2017
[HOME: Phase One]



Click the image above to see all ten Phase One
paintings from our HOME project.