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These are decals for replicating the complex AZTEC pattern of the ERTL USS Enterprise B (1/1000 scale). Print on a letter-sized clear decal paper, cover with a clear acrylic varnish, let dry and carefully apply to the model. Some decals are sligtly oversized. Apply and the cut off the excess.
These are decals for the red details of the Revell ROTS Venator class stardestroyer. Print in a letter sized decal paper, and cover with an acrylic varnish. Let dry. Cut and carefully apply over the model
These are decals for replicating the complex AZTEC pattern of the ERTL USS Reliant (1/537) scale. Print on a letter-sized clear decal paper, let dry, cover with a clear acrylic varnish, and carefully apply at the model. Some decals are sligtly oversized. Apply and the cut off the excess.
These are decals for replicating the complex AZTEC pattern of the ERTL USS Enterprise A (1/537) scale. Print on a letter-sized clear decal paper, let dry, cover with a clear acrylic varnish, and carefully apply at the model. Some decals are sligtly oversized. Apply and the cut off the excess.
These are decals for replicating the complex AZTEC pattern of the AMT/ERTL Vuilcan Shuttle SURAK (1/????) scale. Print on a letter-sized clear decal paper, let dry, cover with a clear acrylic varnish, and carefully apply at the model. Some decals are sligtly oversized. Apply and the cut off the excess.
These are decals for replicating the complex AZTEC pattern of the ERTL Romulan Warbird (1/3000 ???) scale. Print on a letter-sized clear decal paper, let dry, cover with a clear acrylic varnish, and carefully apply at the model. Some decals are sligtly oversized. Apply and the cut off the excess.
These are decals for replicating the complex painting pattern of the ERTL USS Defiant model kit. Print on a letter-sized clear decal paper, let dry, cover with a clear acrylic varnish, and carefully apply at the model. Some decals are sligtly oversized. Apply and the cut off the excess.
These decals were designed by Matt Fletcher for the Polar Lights 1/350 USS Enterprise refit, as seen in Star Trek - The Motion Picture. They cover the engeneering, navigational deflector area, connecting dorsal "green" details and the warp pylons panels. Print in a letter sized decal paper, at 1200 dpi resolution.
These images are the result of a collaborative effort from a group of fans and modellers, willing to help amateur others to achieve a better finish at the Polar Lights model, and are offered as a free download. These images must not be sold, incorporated into any decal, template or art of any kind, published in any printed media intended for sale, or otherwise use in any commercial venture.
These are my templates for the new Polar Lights 1/350 model of the USS Enterprise, as seen in the movies. Since some people may not know how to use painting masks and templates, Ill explain it step by step.
Repeat the procedure for as much "patterns" you think are needed to make a GOOD representation of the USS Enterprise, as seen in Star Trek - The MotionPicture. Small detail, like tiny squares and rectangles, can be made using the same technique. Its not a single day project, and surely its not for beginners, but itsthe way the original model was painted, as revealed by Paul Olsen.
This decal sheet was designed by myself to complement the markings offered by current decal sheets for the ERTL USS Enterprise A model. Print on 8 x 11 inkjet decal paper. Cover with a gloss acrylic varnish. Cut and apply on the model, following the placement guide. Some decals are a little longer or larger. You must cut the excess.
These are templates to paint the "aztec" pattern on the ERTL USS Enterprise refit model (NCC-1701 A version). It would be tedious and time-consuming work, but the result will be worthwhile.After studying the Modelers Vault BW ST-TMP photos, I discovered the following facts:
So, based on that study, I've created a GENERAL GRID PATTERN, from which you can create many different "aztecs", and also the "main aztec" pattern. Simply print the templates in A4 format Frisket paper, cut with a # 11 knife, lay over the model and paint with an airbrush.
TThese are decals for replicating the complex AZTEC pattern of the ERTL USS Enterprise C (1/1400) scale. Print on a letter-sized clear decal paper, let dry, cover with a clear acrylic varnish, and carefully apply at the model. Some decals are sligtly oversized. Apply and the cut off the excess.
These are decals for replicating the complex AZTEC pattern of the ERTL USS Enterprise D (1/1400) scale. Print on a letter-sized clear decal paper, let dry, cover with a clear acrylic varnish, and carefully apply at the model. Some decals are sligtly oversized. Apply and the cut off the excess.
These are decals for replicating the complex AZTEC pattern of the ERTL USS Enterprise E (1/1400) scale. Print on a letter-sized clear decal paper, let dry, cover with a clear acrylic varnish, and carefully apply at the model. Some decals are sligtly oversized. Apply and the cut off the excess.
These decals replace the ones from the Cardassian Galor Class model kit. The Cardassian markings were resized and presented at the correct number and proportion. Some decals were provided to block light at the frontal main disruptor. First, cut and apply the black ones. Let it fully dry and coat with a clear gloss varnish (or Future). Then apply the brownish versions OVER the black ones. Let dry and coat again. Light should be visible only at the recessed lines of the clear part. Lots of small details were present. Take a look at the box top filming model for positioning. These are to be printed in clear inkjet decal paper.
If I were nine years old, I would see the monsters-versus-robots adventure "Pacific Rim" 50 times. Because I'm in my forties and have two kids and two jobs, I'll have to be content with seeing it a couple more times in theaters and re-watching it on video.
Like George Lucas' original 1977 "Star Wars", Guillermo del Toro's sci-fi actioner uses high technology to pump up disreputable subject matter to Hollywood blockbuster levels. The film's main selling point is its overscaled action sequences. In a terrified futureworld, spindly-limbed, whale-sized beasts emerge from a Hellmouth on the ocean floor and duke it out with immense robots. The robots are run by two-pilot teams whose movements suggest tai chi exercises taking place on the world's largest, weirdest elliptical machines. They work in pairs because they use their minds and bodies to guide the machines in the way that puppeteers guide puppets, and the technology is too complex for a single brain to handle.
Nitpicks aside, though, the fights are astonishing. They split the difference between classical filmmaking and the blurrier, more chaotic modern style in a way that made me appreciate the virtues of both. Some of the whirling action has a geometric beauty that's faintly Cubist, and each fight contains surprises: a tactic you haven't seen yet, a power you didn't know about, a complication you didn't see coming.
But for all its mayhem, "Pacific Rim" is a film with more more emotion than its trailers could have led you to expect. The hero, Raleigh Becket (Charlie Hunnam) is an ace pilot who gave up robot-piloting for coastal wall-building when his partner and older brother Yancy (Diego Klattenhoff) died fighting a monster. The pilots don't just share physical responsibilities, they have unfettered access to one another's memories, and must struggle not just to control their thoughts during combat, but to avoid being thrown off when their co-pilot lets a distracting or traumatic image slip through.
Raleigh thinks the bond he had with his brother can never be replicated, that his loss was irreplaceable. He learns otherwise when he's paired with a young woman named Mako Mori (Rinko Kikuchi), who lost her parents in a Tokyo monster attack many years earlier. The story of their burgeoning partnership is not just that of pilot/copilot, but brother/sister, or friend/friend (but not boyfriend/girlfriend, refreshingly). It's about learning to trust another person enough to allow their consciousness to fuse with yours.
The film contains many more examples of this sort of human dyad, including Mako and the robot fighters' commanding officer Stacker Penetcost (Idris Elba), who feels fatherly tenderness toward Mako and doesn't want her risking her life, and scientists Newton Geiszler (Charlie Day) and Gottlieb (Burn Gorman), who try to understand the kaiju's biology, and haggle over whether to use an intuitive or data-based approach. ("Numbers are as close as we come to the handwriting of God," Gottlieb says; he's right, but not as right as he thinks.)
The movie's action is physical, but it's also metaphorical. The metaphors are articulated with such storybook directness and unabashed sentiment that by the end, I found myself thinking about what it means to be in a relationship, be it comprised of siblings, coworkers, lovers, or parents and kids. These people are all just comic-book types, with ridiculous names and cliched back-stories. But their feelings are real. They feel pain. They dream.
There are many shots so striking that they could have served as the poster image: A Jaeger tumbling into an abyss, its E.T. heart pulsing; a little girl's red shoe in a grey ash-heap on a rubble-strewn street; a kaiju unfurling kite-like wings; a one-eyed kaiju-body-parts dealer named Hannibal Chau (Ron Perlman) stalking through wreckage, his steel-tipped dress shoes jangling like cowboy spurs. A simple shot of Elba's character taking off a helmet is infused with such emotion, thanks to its placement in the story and the sunlight haloing the actor's head, that it would have made John Wayne cry.
Del Toro and his cowriter Travis Beacham have thought about how daily life, indeed consciousness itself, might change if something like this happened to the planet. There's a hilarious clip of a TV talk show during the overconfident period in which humans thought they'd defeated the beasts: the host teases a giant sea-beast puppet that looks like an ugly, melted Barney the Dinosaur. The names of significant machines and locations have a fairy-tale rightness: "Shatterdome." "The Bone Slum." "Crimson Typhoon." "Trespasser." The sea walls and cityscapes seem beaten down, jury-rigged, exhausted. This world existed long before you started looking at it.
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