Mavas 1MAvASThe Magazine of the Manchester Aviation Art Society

Issue 69 June 2011

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The "Silk Route" was my firstattempt at producing an aviationpainting, other than a portrait,which didn't include an aircraft. Ihad been threatening to do it foryears and finally decided that apattern of vapour trails would givea slightly abstract feel, although ittook me some time to work out asuitable composition. The vapourtrails alone didn't really producethe impact needed so I added theRAF pilot, who was no doubtrelieved to see his canopy open.It also gave a nice opportunity tohave a parachute coming directlyat, and directly involving theviewer instead of the usual profile.With no horizon shown I also feltI needed to somehow locate theviewer and give an indication ofwhere he was looking - obviouslyupwards. We tend to automaticallythink of a horizontal view unlessshown otherwise.

Cover Image.

“Silk Route”

by Keith Woodcock.

An original view and a veryapt title. Keith says :-

Change, change, change. Oh not more I hear youcry. Yes indeed I reply.

It was only after taking over the editing of themagazine that I realised how things had changedsince last I sat in this hallowed chair. We nowhave in effect 2 different editions of the mag theprint version and the pdf all colour job.

As I threw myself into the pdf version of theMarch issue, after completing the print version,I realised that the web version still lay ahead.

Many mugs of tea later and after consulting withP.G.N. it was decided to utilise a reorganisedwebsite, containing society information andgallery only, to host a download button whichwould allow the surfing public to download thepdf version of the magazine.

This would mean I wouldn’t have to replicatethe magazine yet again and could thereforeconcentrate on the pdf version which givesgreater visual freedom.

I hope you will bear with the changes andcontinue to contribute articles – even shortsnippets - are welcome.

Dave

Editorial

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ContentsPoints to Ponder - Keith Woodcock looks to the future 4

Dave Bates shows how his computer helps his paintings 7

The Digital Way Forward , Peter Nield rattles his keyboard 8

Gallery - Editor’s choice of paintings from the slightly differentto the way out 10

In the Spotlight - Peter Grove 14

A Grand Day Out, with Ron Leigh 16

Meeting Report - The Annual General Meeting 18

Peter Nield takes another Irreverent Look at Perspective 20

Meeting Report - Rob Knotts on Cartooning in Aviation 22

Book Review - “The Lives of Ken Wallis - Engineeer andAviator Extraordinaire” 24

Meeting Report - Aviation in Modern Art by Peter Grove 26

Diary Dates - keep up to Date 27

Rear Cover Image - “Lockheed P38 Lightning” by SamMarkland 28

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Firstly I am delighted that Tate Britain has finally acceptedaviation art as a true art form with a recent exhibition by FionaBanner in the Duveen Galleries section. Whatever yourpersonal opinion of the usual “artb****cks” in the Sundaysupplements, this is a highly significant breakthrough, andbefore anyone accuses me of introducing unwelcomelanguage, I should point out that “artb****cks” was the officialheading given to a regular feature in the Art Review magazine.Meanwhile, Fiona’s completely original and innovative view ofaviation art using actual full size Sea Harrier and Jaguaraircraft is to be congratulated. Could this lead to our chosensubject being acknowledged by the “Fine Art Establishment”?Or should we be lampooning it because it has not beenproduced/made by the artist? After all, isn’t it merely aconcept? If we look back at the past masters we find that theyused apprentices, so great swathes of their finished paintingswere not necessarily done by their own hand, but were,though, conceived by them. So the concept itself can beperceived as the real art and its method of productionirrelevant. Much of today’s art is not actually produced by theartist but by a team of technicians – Damien Hirst is anexample of this system which certainly appears to be veryprofitable indeed. Similarly, bronze sculptures are notproduced by the artist but by skilled foundry artisans. Only themaster model is produced by the sculptor’s hand, although thesculptor will often be involved in its patina, yet it seems to be

PointsTo

ponder

Keith Woodcock’s

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acceptable for a bronze to be exhibited as an original. However,original prints such as etchings are currently banned from majoraviation art exhibitions, so what is the difference between a bronzeand an etching? Both are divorced from the original artist’s workand each can be made in any quantity, as can digital prints, so arenot therefore unique.

I frequently enter my paintings in Open Exhibitions nationally yetmy aviation and motoring subjects are only rarely accepted, whenthey will hang alongside etchings, serigraphs, photographs, digitalimagery and even textile wall hangings. What is the reason for thislack of acceptance of our genre by the Fine Art Cognoscenti?Perhaps it is because we display a lack of originality, merelyconcentrating on honing our skills and techniques, and replicatingan extremely limited range of subjects. Replicating? That’s a kindway of saying copying, but as realists we are only copying whatwe see in front of us, whether it is a photograph or working “enplein air”. In the case of extinct aircraft we have no alternative butto use photographs as our only source of research, but many ofthese can be easily recognised in our displayed paintings.“Interpretation”, I hear you say, and quite rightly. That’s alright butwhere is the innovation and imagination needed to break out ofour blinkered views. Is true realism and ultimate accuracy the onlyoption? There is a wider public audience out there and manygalleries will not even touch traditional aviation or motoring art.Don’t dismiss modern or abstract art without first trying tounderstand what you see. Look at composition, harmony,originality and colour as each and every one of us can learnsomething, even if it is only a small facet of the piece of artdisplayed. It might just be an unusual colour scheme which youcan incorporate into a future painting.

I recently came across news of an American survey of professionalartists which had found that over 50% use computers at somestage during the origination of their paintings. Manipulation ofphotographs and working out compositions on screen is obviouslycommon practice, yet we take a very dogmatic view against digitalart. Surely this is a little hypocritical? The computer is only a tool,

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no different to projecting a photo onto canvas to ensure accuracy, orusing a camera obscura, as artists have done for many years. We noweven have software available to translate a 3-view drawing intoperspective and I know aviation artists are using this. But are we losingsome of our traditional skills by doing this? Are we in danger of justapplying paint to a canvas in a pattern pre-determined by the computer?The incongruity here is that many professional digital artists actuallyproduce original pencil drawings from their own imagination first, whichthey then scan and work up to a finished image digitally. In other wordsthey are only working in reverse to a modern aviation artist painting inoils. So who is the more creative?

It is an inescapable fact that much of the traditional market for aviationart is being rapidly eroded by digital imagery. The “brush brigade” willneed to be aware of this and look to either new markets or a new genre.Book jackets, model kits, greetings cards, posters and magazines areall increasingly turning to digital artwork. Remember those wonderfulRoy Cross paintings on the Airfix boxes of yesteryear? Well that companyhas now decreed that all their future artwork will be digital and recentadvertisements show that they have gone for “hyper-realism” with everyrivet showing. I don’t intend to make any preferences as that is for theviewer to decide, but the time WILL come when aviation art societiesworldwide are obliged to accept digital imagery, if only to attract theyounger element. It may well be a separate category, perhaps linkedwith photography, which is also fast becoming a very collectable ARTform in its own right. Digital images have been exhibited in the pastdespite rigorous judging to eliminate them. My only proviso for displayingsuch work would be that they are clearly labelled as such, and have anedition number added to the artwork by the artist as done on all traditionalprints such as serigraphs, woodcuts, etchings, etc.

Hopefully this diatribe will give members some food for thought. Havingloaded the gun, so to speak, it is now up to you to fire the first shots inwhat I see as being a useful discussion. As for myself, I am currentlydoing some abstract stone carving, although I won’t be giving up the dayjob. Yet!

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My use of the computer at the moment isto provide the most attractive view of anaircraft when painting a ‘portrait’ of anaircraft and using multiple models to getinteraction between them in formation orcombat.

Eventually as my skills improve I hope todesign the background and add texturesand markings and produce fully digitalimages. Though I hope it will not preventme from using traditional methods aswell, computing can be compulsive.

Using TheComputer asa Tool

Dave Bates keys in a few words on

Prior to publication of this issue of the MAvAS magazine, I had theopportunity to read Keith Woodcock`s article, “Points to Ponder”, inwhich he touches upon the relentless progress being made by ComputerGenerated Imagery (CGI) at the expense of traditional art. There is nodoubt that CGI is here to stay and is ever more popular with the youngerelement who, as in so many areas of their lives, appear to enjoy a quickreturn for little effort – or so it might seem to older folks. However, Isuspect that this is far from true and competent digital art requiresconsiderable knowledge and skill. This was very much evident whenDave Bates presented his illustrated talk entitled “Digital Art” in Augustlast year.

When MAvAS was born in 1983, traditional art was the name of thegame and, like most societies, we experienced a steady turn over ofmembers, all of whom had the same preferred methods – oils,watercolour, acrylic, pencil etc. Then, as time went by, the turn overbecame less and less and nowadays it is very small. New older membersare harder to come by and we continue very much with the oldermembers we have had for some time. There is certainly a dearth ofyounger traditional artists. The reason for this could be that when digitalart made its impact upon the scene a few years ago, traditional methodsceased to have the same attraction to the younger computer generation.In addition, the very notion of a society probably did not particularlyappeal to these individuals who tended to communicate electronicallyin isolation.

Having stirred the pot a little, Keith asked for comments in response tohis article, so here`s a thought. There is no doubt that we are in thethroes of a technological revolution and, therefore, if we are to increasemembership and survive, we should perhaps consider embracing thisnew art form and make an effort to encourage those who practiceaviation digital art to join our ranks.

The Digital WayForward forMAvAS? Email from Peter Nield

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The alternative is to carry on as we are, struggling to get new youngertraditional artists on board, and end up in, say, ten years time with a“last man standing” situation and the demise of MAvAS. If we did decideto pursue digital art, we would have to identify the sources of youngerdigital artists, meaning schools, art colleges etc., and approach themaccordingly with aviation in mind.

However, the first thing to decide is whether or not we want to go downthat road. Unlike myself, some members may not be comfortable seeingcomputer generated images exhibited alongside our on-goingtraditional aviation art. Well, there is no reason why that topic cannotbe debated further in the columns of the MAvAS magazine. I am sureour Editor, Dave Bates, would welcome relevant “Letters to the Editor”.My personal view is that digital art can easily be accommodated byMAvAS on the proviso that it is clearly identified as such.

P.G.N. – 23.04.11

Ronnie Olsthoorn cover painting for Midland Publishing SecretProjects series Japanese Secret Projects

http://cghub.com/forum/showthread.php?t=1552

Keith Woodcock’sview of the shuttlethe originalpainting is heavilytextured.

Peter Grove’s high impact CometRacer “Black Magic”, chosen overthe winning “Grosvenor House”. Thebackground dunes are pleasantlystylised .

Keith Woodcock,Deck Landing aPhantom thumps downon the carrier’s deck.

If digital is not for you, can youpush the boundaries a little

further?

Some of our members havevisions beyond the staid aircraft

portrait, unfortunately I couldn’tinclude all I would like to.

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Charles Thompson, nice angle andeffective colours show advantage ofpainting from life.

Keith Woodcock,Deck Landing aPhantom thumps downon the carrier’s deck.

Obviously not aircraft but could they be inspiration for aviation art?Automotive artist seem more adventurous and it seems it is accepted.

If digital is not for you, can youpush the boundaries a little

further?

Some of our members havevisions beyond the staid aircraft

portrait, unfortunately I couldn’tinclude all I would like to.

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Editor’s Choice - paintings that are in some way different

Peter Grove, inside out. Chris Stone, close up formation.

Geoff Wright, a ? In the sun.

Two from Ron Sargeant, con trails and sonic boom.

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Keith Stancombe, symbols of the eventonly, but evocative all the same.

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Charles Kadin, spatial awareness.

Ron Wong, bird or flying fish?

John Williams, how did they miss?Jean Shevelan, unusualtreatment

I am a self-taught artist whose real job was in the aircraft industry, and subsequently as a part-timeconsultant to that industry. I have been intermittently painting and drawing, principally aircraft andracing cars, for over twenty years, having been interested in both all my life

I have worked principally in oils or pencil, both of which have the capability to be reworked, rubbedout and fiddled with to get right. However, I’ve just started experimenting with watercolour which, inmany ways, I find more demanding but gives a luminous quality that I like. It also encourages meto develop a slightly looser style. I have worked to commissions on occasion, including a pre-warfemale Bugatti Grand Prix driver (with her car) and also a fairground organ (an awful lot of pipes). Ihave also sold a range of Christmas Cards to an aviation supply company, based on my paintings.

I have been a member of MAvAS for about six years, four as Treasurer, which has proved verybeneficial to me in meeting fellow artists with similar enthusiasms and being exposed to a widerange of different techniques and styles. It has also been useful in providing access to exhibitionspace, such as the Stockport Art Gallery, Towneley Hall, Burnley and the Manchester Air andSpace Museum. I was fortunate enough to win the Society’s Mackendrick Trophy in 2007, 2009and 2010.

PETERmavas 14

I am a self-taught artist whose real job was in the aircraft industry, and subsequently as a part-timeconsultant to that industry. I have been intermittently painting and drawing, principally aircraft andracing cars, for over twenty years, having been interested in both all my life

I have worked principally in oils or pencil, both of which have the capability to be reworked, rubbedout and fiddled with to get right. However, I’ve just started experimenting with watercolour which, inmany ways, I find more demanding but gives a luminous quality that I like. It also encourages meto develop a slightly looser style. I have worked to commissions on occasion, including a pre-warfemale Bugatti Grand Prix driver (with her car) and also a fairground organ (an awful lot of pipes). Ihave also sold a range of Christmas Cards to an aviation supply company, based on my paintings.

I have been a member of MAvAS for about six years, four as Treasurer, which has proved verybeneficial to me in meeting fellow artists with similar enthusiasms and being exposed to a widerange of different techniques and styles. It has also been useful in providing access to exhibitionspace, such as the Stockport Art Gallery, Towneley Hall, Burnley and the Manchester Air andSpace Museum. I was fortunate enough to win the Society’s Mackendrick Trophy in 2007, 2009

Tel: 0161 788 8786e-mail: peterwgrove@btinternet.comWeb Page www.picture-this-art.co.uk

Top - Waiting to GoAbove - Enemy Coast AheadBackground image -Black Magic

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Numerous types took to the air including a T6 Harvard, a Hornet Moth, a Stearmanbiplane and a few civil types including Cessna's and a Piper Tri Pacer. SeveralLuscombes took to the air and one in particular gave a memorable flying display doingeverything but a loop and a barrel roll.

There is something quite charming about grass airstrips and olderairplanes that makes me want to get out my paints and try andcapture this scene. It was nice after driving down 150 miles torelax, enjoy the aircraft flying and around suppertime enjoy a curryand a pint of local Real Ale in the clubhouse.

Ron Leigh takes us on another

Grand Day Out

I was lucky enough to  attend a Luscombe fly in at Oaksey Park Airfiield in Wiltshire, I  took our American friends Dave and Betty who were on holiday from Arizona.  Daveis a big Luscombe fanatic and owns two of the type. We arrived at the small but charmingGrass strip around 1-30pm to be greeted by a rain shower. Dave and i sheltered underthe wings of the aircraft that attended the gathering - approximately 13 aircraft from allcorners of the UK. Once the shower had passed we appreciated some warm sunshineand blue skies and thankfully a bit of flying.

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Numerous types took to the air including a T6 Harvard, a Hornet Moth, a Stearmanbiplane and a few civil types including Cessna's and a Piper Tri Pacer. SeveralLuscombes took to the air and one in particular gave a memorable flying display doing

I was lucky enough to  attend a Luscombe fly in at Oaksey Park Airfiield in Wiltshire, I  took our American friends Dave and Betty who were on holiday from Arizona.  Daveis a big Luscombe fanatic and owns two of the type. We arrived at the small but charmingGrass strip around 1-30pm to be greeted by a rain shower. Dave and i sheltered underthe wings of the aircraft that attended the gathering - approximately 13 aircraft from allcorners of the UK. Once the shower had passed we appreciated some warm sunshineand blue skies and thankfully a bit of flying.

It certainly gives me the ideato learn to fly and purchaseone of these inexpensive lightaircraft. A Luscombe can bepurchased in flying conditionfor around £17k to £18k. I sawan advertisement for one (andmany other aircraft for sale)on the webpage calledBarnstormers.

Fifteen members attended the meeting on 1st March which is a reasonableturn out for the A.G.M. As members will know, Peter Nield had givenconsiderable previous notice of his intention to stand down as Hon.Secretary at this A.G.M.. In the absence of any offers to take up the job,Hon. Treasurer Peter Grove offered to look after the Agendas and Minutesfor meetings and generally work with the Chairman in this respect. PeterNield has agreed to act as Membership Secretary and will work closelywith Peter Grove in this area. Peter Nield will also continue with other dutiesrelating to Conference Room bookings, the Display Panel exhibitions, DiarySheets, Magazine distribution and maintaining the MAvAS Archive. At theend of the A.G.M., Ron Sargeant kindly presented Peter Nield with a “WaterColour” package in appreciation of services given over the last 27 years.

AGM

1st March, 2011

Committee for 2011-2012President Harry HolmesChairman John WilliamsVice Chairman Eric YuillTreasurer/Agendas Peter GroveMembership Secretary Peter NieldMag Editor and Webmaster David BatesSelection Panel Chairman Peter CarterRefreshments Officer Ron SargeantCommittee Members Ossie Jones

Len Sakowicz

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AGM

The A.G.M. was followed by the Ordinary Meeting, an openforum on Aviation Art that was chaired by Eric Yuill. Prior tothe start of the forum, Eric was belatedly presented with theMAvAS Trophy for winning the Open Display Panelcompetition last month with his painting of a Gladiator of 72Squadron.

“Nowwhowants tobe theHon.Sec.”

The compact eye, or rather the lens, that God had invented had sent ripplesright across the universe. The revolutionary perspective that went with it hadchanged things forever. Three months had passed since Gabriel haddiscussed the basic principles of perspective with God and, having once againoverheard the blob people talking about their fantastic eyes, he was itching tofind out about a few more things that were troubling him. With this in mind hewandered off through the clouds to visit God in his workshop. As usual, Godwas brewing up. “I knew you`d be back” he said “What is it now?”. “Well, saidGabriel. “It`s those blob people again. I heard them talking about Line of Sight,Cone of Vision, Centre of Vision, Centre of Interest and Picture Plane – what`sthat all about?” “Well” said God “I guess those things are more to do with theway my eyeball design functions rather than my magical perspective whichwas covered in the last three issues of the MAvAS magazine”. “I can see whatyou mean” said Gabriel “but how do these things help me in everyday life?”“Not a lot” said God “but someday you might join MAvAS and become anaviation artist and then this knowledge would help you a lot”. “Gee, do youthink they would let me in” said Gabriel, excitedly, “I already have the wingsso I`m half way there – so tell me all about these other things!”

OK” said God “Let`s take Line of Sight first – we`ll call it LoS for short. ThisLoS is the centre line of my basic eyeball design and it points wherever youreyeball is looking - you got that?” “Yep” said Gabriel. “What folks don`t realise”said God “is that the LoS is incredibly slender, maybe less than 1mm indiameter and that very small area is the only bit you are actually focused on”.“You`re having a laugh” said Gabriel “I find that hard to believe”. “OK smartiepants” said God “Check this out. See my Jeep parked over there?” “Yep” saidGabriel. “Well, look at one of the wheel nuts and then the one next to it” “OK,done that” said Gabriel. “Did you notice that you consciously had to move youreye?” said God. “I sure did” said Gabriel “that really is amazing – but I couldstill see all of your Jeep and quite a lot more”. “Not so” said God “Trust me,you are only truly seeing that teeny weeny little area – the rest is in your fluffyperipheral vision. However, as Master of all Things, I have arranged for thebrain to take this fluffy peripheral information and create a coherent perceivedimage all around the LoS”.

An Irreverent View ofPerspective - Part 4

“OK smartie pants” said God

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“Can we do Cone of Vision next?” said Gabriel. “Oh, alright then” saidGod “Think of it like this. The Cone of Vision is like a big imaginary conestuck on the front of your face, becoming wider and wider with distanceand the spread of this Cone of Vision represents the limit of yourperipheral vision – very roughly 18º either side of LoS. We`ll call it theCoV – that OK?” “Yep” said Gabriel “So the LoS runs smack down themiddle like a centre line – am I right?” “Sure thing” said God “And whatelse have you deduced?” “Well” said Gabriel. “Would I be right in thinkingthat the Eye Level Horizon slices straight across the middle of the Cone?”“Right again” said God, “and, of course, the very slender LoS runs outfrom the eye along the flat plane of Eye Level Horizon”

“So what`s Centre of Vision?” said Gabriel. “Well” said God “we refer tothe Centre of Vision, as the CV – OK? The CV is the point on a PicturePlane where it is intersected by the LoS”. “That`s straightforward enough”said Gabriel “but what the hell is a Picture Plane?”. “Language” said God“Watch your language – just remember where you are!” God`s patiencewas wearing thin but he knew Gabriel had tramped across umpteen bigcumulus clouds to get there and he had done pretty well so far. “Right”said God “A Picture Plane – which we will call a PP – is simply a surfaceon to which is projected whatever you are looking at. In my cute littledesign, the PP is the retina at the back of the eyeball (pretty cool, eh!)but if you are an artist you need to put what you see on a PP in front ofyour eye, i.e., a canvas. If you like, think of the canvas as a piece of glassthrough which you see an object along your LoS. Where your LoS passesthrough the glass is the CV and, providing the glass is square to yourLoS, the viewed object can be traced on the glass to create an accurateimage”. “Put like that” said Gabriel “I suppose it`s not too difficult tocomprehend, but what about the Centre of Interest – what`s that?” “Youreally are the pits sometimes” said God “but you`ve done pretty well todayso I`ll stretch a point. I shall say this only once so are you listening?” “Iam, I am, I am” said Gabriel, happy at last that he was getting used tothe jargon. It`s simple enough” said God “The Centre of Interest – CI forshort – is just any particular point on an object that you want toconcentrate on. All you have to do is to line it up with your LoS whichpasses through the CV on the canvas. Similarly, if you have a group ofobjects just make sure that what you might call the centre of gravity orfocal centre of the overall group sits on the CV.

“but what the hell is a Picture Plane?”

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“Hmm” said Gabriel “I guess that seems OK but if I join MAvAS andbecome an aviation artist, how would I decide on my canvas size andwhat about viewing distance and the size of the drawing. I can see someproblems there”. God could see this session going on and on so he saidgently “Look here Gabriel, old chap, we`re going to have to call it a day.We will have to tackle these other things in the September issue – OK?”“Agreed” said Gabriel, “but …….” God cut him off short. “No buts, youwere going to mention ellipses, weren`t you?” he said. “Well” said God,“don`t even go there. That subject, especially in relation to circles viewedat an angle which appear as ellipses when sketched on a flat piece ofpaper, has been beaten to death in past issues of the MAvAS Magazine.Nearly caused some members to have heart attacks. I wouldn`t dareenter the fray. Maybe a private chat in the workshop sometime but Ihesitate to go into print” “OK” said Gabriel “that`s fair enough. I`ll popback later to talk about the sizing thing” “Right” said God “I must sayyou`ve done well today but my brew`s gone stone cold so push off whilstyou are still in one piece!”

“Well” said God, “don`t even go there”.

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Member Rob Knotts presented avery interesting illustrated lectureentitled “Aviation Cartooning”.The twelve members presentwere able to enjoy seeing aroundforty examples of aviationcartoons, including many ofRob`s own excellent pieces plusother artwork by many notablecartoonists. Rob pointed out thevarious ways that cartooning canbe used to address particulartopics, ranging from slapstickhumour through to education andserious political comment. Thereis no doubt that the exaggeratedartwork of the cartoonist requiresa full understanding of thesubject in question before it canbe successfully represented and,equally, an innate sense of thebizarre is always useful. Finally,our thanks go to Chris Barnett,A.V. Technician at the Museum,for providing the electronicprojection equipment for theevening.

“Aviation Cartooning”

Keith and Ron play at being in a Phantom

Rob cannot figure out the gear

No time for a tea-break

Meeting – 5th April

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“The Lives of KenWallis - Engineeer

and Aviator

By Ian Hancock

Roger Rumbold submitted this book review of :-

In spite of it’s extravagant-sounding title, this informal biography of WingCommander Ken Wallis is a very readable and down-to-earth little volume.Most people seem to have heard of his autogyro exploits and in particularhis stunt flying in the fifth James Bond film, ‘You Only Live Twice’, andmany will have read of his wartime operations in Wellingtons, but theseare only two of his “lives”.Ken was born in 1916, into a family already steeped in motor car and motorcycle engineering. In 1910, his father, Horace, and uncle Percival had alsobuilt, and possibly flown short hops in, the Wallbro Monoplane, which wasa bit like a Bleriot.Horace built and raced motorcycles and Ken built his first motorcycle inabout 1927, at the age of eleven, using bits from his father’s workshop!When he left school at sixteen, he joined his father’s motorcycle businessat the Walbro Cycle and Motor Works in Ely and gained a lot of practicalengineering knowledge.By the age of eighteen, in 1934, he had become interested in motor boatsand built his first racing hydroplane, which he raced with considerablesuccess on the broad waterways of East Anglia. Other racing boats followed,variously powered by outboard and inboard engines and even a couple ofairscrew-driven ones.

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Roger Rumbold submitted this book review of :- Also between 1934 and 1938, he built several motor cars and learnt tofly in DH 60 Moths. At the outbreak of war, Ken joined the RAF andflew Lysanders, amongst other types, before transferring to BomberCommand and being operational on Wellingtons for much of the warAfter the war, he became involved in armament research anddevelopment work and later trained as a Senior Specialist ArmamentOfficer, working on Canberras at Binbrook. In 1956 he was sent on atwo-year exchange posting to the Strategic Air Command USAFheadquarters in Nebraska and flew the mighty Convair B.36.Whilst still in the RAF, Ken built and flew his first autogyro, theWallis-Benson B.7M , G-APUD, which is normally resident in the Airand Space Hall at the Museum of Science and Industry (MoSI),Manchester. The moulded pilot’s seat evidently came from a Mosquito!(see photo below, courtesy of MoSI).This machine is currently away on loan to a Spanish museum.

In 1973, Ken and his cousinGeoffrey decided to create aflying replica of the WallbroMonoplane, and Ken firstflew the aircraft (G-BFIP) in1978. It is now displayed inthe Ken Wallis Hall in theNorfolk & Suffolk AviationMuseum at Flixton whereKen’s entire collection willone day be placed onpermanent public view. Kenhas been its President since1976.

A trawl of the web throws up a multitudeof sites including gyroplanepassion.comand kenwallisautgyro.com

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Peter Grove gave us an excellent illustrated talk,taking us through the evolution of modern art and itslinks to the rise in the popularity of aviation. CubistRobert Dellaunay , painted his “Homage to Bleriot”in 1914, and the Futurist movement which flourishedin Italy, from just before WW1 to just after WW2,embraced aviation as part of its delight in science andthe portrayal of movement in time and space. PaulNash’s war paintings also covered this period. Peter’stalk went on to cover the Pop art of Roy Lichensteinand on upto The installation by Fiona Banner at TateBritain. Peter’s audience were interested and madefrequent contributions, and a first occurred when bothmembers of the evenings tea detail turned up.

“Aviation in Modern Art”

Meeting – 3rd May

“Homage to Bleriot” “Dead Sea” Paul Nash “Nose Dive” Tullio Crali

“Divine Wind” T. Crali

“Battle of Britain” P. Nash

“Jaguar” Fiona Banner

“Whaam” Roy Lichenstein

VelocitàMino delle Site

Diary Datesmavas 27

Meetings are held from 7-00pm to 9-30pm in the Conference Room in theAir and Space Hall at the Museum of Science & Industry in Manchester

on the first Tuesday in the month unless otherwise stated

Sunday 3rd July, 2011

“Family Day at Barton Aerodrome”Exhibitions Officer – Peter Nield

Paintings supplied for the Society stands require hooks and string and labels.Runs approx 9-30am to 4-00pm

Deliver paintings before 9-00am – Collect at end of day

Tuesday 5th July

“Sketching in Air and Space Hall”Hosted by Len Sakowicz

Sat/Sun 23rd/24th July

“Southport Air Show”Exhibitions Officer – Steve Ridgway

Paintings supplied for the Society stands require hooks and string and labels.More details from Steve nearer the time

Tuesday 2nd August

“Aircraft in the Dark”An illustrated talk and demo by Ossie Jones

Saturday 6th August

“Workshop – An Art Forum”Conference Room 10-00am to 4-00pm

Headed by Eric Yuill

Tuesday 6th September

“Details to be Announced”Via Peter Carter – arrangements pending

Editor: Dave Bates9 Busk Road,Chadderton,Oldham. OL9 6SFTel: 0161284 3467Email: david-bates@ntlworld.com

If any member has an objection to the Society holding membership records on a computerand using the information for Society purposes deemed suitable by the Committee, eg theproduction and distribution of a membership list, please notify the Editor.

Society Website: www.mavas.co.uk