On Saturday, YES North East Fife organised a march across the Tay Bridge from Fife to Dundee followed by a rally in the City Square. It was well-attended for a local event – by hundreds, according to the precision journalism of the Courier. The weather was fine, and many motorists seemed to approve of the display, judging by the proportion of them sounding supportive horns – though in the interests of balanced reporting, I must admit that there was one car that went by shouting something incoherent and waving the Vs.
Once arrived in Dundee there were a few stalls, including one selling books by the speakers that had them to sell, a Scottish Green Party stall (with Maggie Chapman in attendance), and a stall for English Scots for Yes. English Scots for Yes seemed to emerge quite late in the last independence campaign, but I think what they’re doing is important. Although many English-born residents of Scotland voted Yes – and there are plenty English people in the SNP – they are out-numbered by their compatriots who voted No. I don’t think English Scots have anything to fear – if I did, I would be siding with them – but it’s clear that as supporters of independence we haven’t done a good enough job of convincing them that there is no beef between us. English Scots for Yes may help to change that impression.
Change of that sort is sorely needed when there’s nonsense going on like the news story that finally made it to the top of the BBC's Scotland page today of suspect chemical packages being sent to at least three Scottish locations. It’s been an emerging story since Tuesday, but has taken two days to get any profile. Stuff like this is happening because of people whipping up resentment against independence supporters – unionists so “obsessed” with their fear of a democratically driven readjustment at a national level that it’s all they can talk about in their council election leaflets, and a poisonous press. No-one could claim that independence supporters are all saints, but I honestly don’t think they’re the dangerous side in this.
There were talks from a variety of speakers, not all of which I was able to stay and attend, but I caught and enjoyed listening to Robin McAlpine, Billy Kay, Paul Kavanagh (The Wee Ginger Dug) and Lesley Riddoch. Three of the talks can be watched below, and if you’ve got the time I recommend doing that. I was a bit disappointed Maggie Chapman wasn’t among those speaking, since she was present, but I presume she had her reasons.
Looks like the import from LiveJournal to Dreamwidth completed earlier today. There are plainly things that are bust (mainly things like embedded videos and tweets) so I’ll have to trawl back through 13 years of entries and fix as much as I can – but not today! Also, I notice that images hosted on LiveJournal have remained there, and I’ll have to figure out what’s best to do about hosting for new images. In the meantime, here’s an externally-linked image…
This post is also just to check that posting with Open Live Writer works. If you’re a Windows user and haven’t used it for writing your blog posts I recommend giving it a try – subject to this post being made successfully, of course…
This evening I’ve become a reluctant mover to Dreamwidth. I’ve been with LiveJournal since 2004, have had a permanent account for most of that time, and have not previously set up an account with Dreamwidth; but the effect of the recent LiveJournal licence changes on LGBT users is not something I can support. I’m still in the process of configuring stuff, and my LJ entries haven’t even been imported into DW yet, so I’m not sure precisely how things are going to work out and whether my LiveJournal will stay and be cross-posted to. The logic of “taking a stand” suggests that it should go, but I’ll have to wait and see what the practicalities are before making a final decision. This post itself is a bit of a test to see how things work.
I don’t seem to be alone in taking this decision now.
My new account is at http://ggreig.dreamwidth.org/. In the short term I intend that content will be cross-posted to LiveJournal, but that may end at some point.
Two and a half years ago, almost to the day, I stopped blogging on political matters as the argument I cared about was over for the time. My last post on the subject started “Oh Scotland. I think you’ve made a big mistake.”
You may not be surprised to hear that I still think that (especially if you follow me on Twitter).
The events of today mean that it’s time to be prepared to use whatever small platform I have again, reluctant though I may be to do so.
Since September 19th 2014, the promises made by “No” campaigners to win the Scottish independence referendum have mostly been watered down or abandoned altogether – a bit like the promise of more money for the NHS that was going around on an infamous bus last summer.
One of the reasons I thought Scotland had made a mistake was that I saw the EU referendum result coming – although like everyone else, I was surprised by how quickly it came, and the degree of incompetence involved. It was inevitable though – given twenty years during which pro-EU politicians didn’t dare to stand up for it against the poison of the newspapers, a referendum had to happen at some point, and the result was not surprising. I just thought it would take longer.
Well, OK, regrettable as the outcome is, that’s democracy. But what’s not OK is that the promise of staying in the EU was a major part of the Unionist case in the Independence Referendum. What’s not OK is that leaving the EU has major effects on all sorts of things that affect Scotland. What’s not OK is that, without even consultation never mind approval, Westminster is now talking about taking back responsibility for devolved areas like agriculture and fisheries. What’s not OK is that Scotland voted to stay in the EU by a far larger margin than that by which the UK voted to leave (62% Remain as opposed to 52% Leave).
What’s not OK, outside Scotland, is the effect on Northern Ireland and Gibraltar.
What’s not OK is that the UK government hasn’t even responded to compromise proposals put forward by the Scottish Government, despite having promised to reach an agreed position before Article 50 was invoked.
And what matters most of all is that a party with one MP out of 59 in Scotland, and at a high point for them, the votes of 22% of the population, think that they can say “no” to a Holyrood majority for a new Independence Referendum, arrived at in a proportional system, based on a manifesto commitment to deliver exactly that under exactly these circumstances, because it’s a time that doesn’t suit them. There is no higher test of the will of a people – except for the referendum that’s being sought!
And as for “now is not the time”, well, the proposed time period for the referendum (between Autumn 2018 and Spring 2019) is exactly the period during which other EU governments will get their say on the final deal that’s due to be agreed by September 2018. Why is it inappropriate for the Scottish people to have their say during that same period?
(One caveat: that Holyrood majority won’t actually materialise until the debate next week, but the chances of it not occurring are somewhere between extremely low and non-existent).
Meanwhile, the same party playing these games’ one Scottish MP is under police investigation for possible election fraud, along with others in his party. They lied that they cooperated fully with the Electoral Commission in that investigation when the Electoral Commission had to take them to court to get their cooperation. Today they introduced the so-called “rape clause”, which will require tax credit claimants to prove they were raped in order to receive assistance for a third child. Their main Brexit negotiator when questioned in committee had to admit that he knew almost nothing about what was going to occur. That’s only in the last couple of days! How dare these paragons lecture us?
Imagine if the EU had said the UK couldn’t run their referendum, or when they must run it? That’s the direct analogue of what is happening here. If you are a democrat, you can’t support that. Conservatives, and Labour and the Lib Dems who support them should be ashamed of themselves.
On the first of October, it was 20 years since I started work at Insights, and today I got my fourth block signifying a period of 5 years service.
When I started at Insights, I was the first developer through the door (I was joined by a colleague the next day) and the total number of direct employees of the business was smaller than the number of people in the department I’m in now. Now we’re a medium-sized international business, working with some very large businesses indeed, and all still heavily reliant on the software I’m involved in building.
Not counting founders (one of whom currently sits across the desk from me) there are a couple of people who’ve been with the business longer than me. In one case, 26 years! Still, 20 years seems like a long-ish time.
Yesterday I had lunch with other members of my team, and I have a couple of lunches with more senior people coming up in the next couple of months. I also have to decide what form I want to receive a gift in. (Thinks: I have a handy list of 28mm models I’d like…)
Whatever happens, what with having spent a relatively long time in further education, that’s more than half my working life spent at Insights – if I stay here until I retire, I’ll only earn another 3 blocks.
Today is World Porridge Day, which is being promoted by Mary’s Meals. Mary’s Meals provide a daily meal of maize porridge (likuni phala) to some of the world’s poorest children. It makes a bigger difference than you might think – for many children it’s the meal that allows them to attend school.
Insights, where I work, supports Mary’s Meals, and today there are some themed activities and people were encouraged to wear tartan. You may remember Mary’s Meals was the charity supported by Martha Payne, who blogged about school dinners in Argyll a few years ago as NeverSeconds.
Not sure I’ll actually be indulging in any porridge as I hate the stuff, but I’ll be seeing what else I can do.
Here’s a really interesting video from the World of Tanks people. Yes, it’s a YouTube video, but you can drag your viewpoint around to see the video from different angles. This is particularly interesting when they’re inside the tank, as you can pause the video and have a good look around. Contains a mixture of exterior and interior footage of real and replica tanks, and game animation.
It’s been a while since I wrote, you know, actual words here – nearly six months, which is my longest gap ever – so I thought I’d make a cursory effort and record the weekend.
It started on Friday, with a day off work and a trip on a whim to Kirriemuir where my Dad grew up and where we visited my grandparents for many years. As with anywhere you haven’t visited in a while, there were changes. The Star Rock shop (established 1833) was still there, but across the road was a railway modelling shop that I hadn’t visited before, and I came out with my wallet figuratively lighter.
The square now features a statue of Peter Pan – apparently it’s a replacement for the one that used to stand in the Glengate, but which got damaged – and the Town House which I remember housing Kidd’s the chemist is now the Gateway to the Glens museum.
Inside the museum, there’s a model of Kirriemuir in the 1600s, which I enjoyed seeing, and the silver casket and illuminated scroll given to J.M. Barrie when was granted the freedom of the town. I hadn’t realised he was buried in Kirriemuir as well as being born there – I’d always just assumed he’d been laid to rest elsewhere.
Kirrie’s other, more recent, famous son has also been honoured with a statue since last time I visited. I had seen the flagstone to his memory in Cumberland Close, but now he stands in effigy opposite the Gairie Mill.
Perhaps not as rock and roll as Bon Scott, but just as cool in her own way, on Saturday I was on my way home from spending the afternoon with friends in the Whey Pat when I spotted on Twitter that Sydney Padua was in town for a conference of mathematical biographers, and had gone to the Whey Pat shortly after we left. I hopped off the bus again and was able to shake her hand and tell her how much I liked her book (Buy it!). A very pleasant surprise.
I’ve just spent a week and a half off work on holiday (back to work tomorrow). I didn’t get as much figure-painting or modelling done as I’d usually like to over such a period. My house is a bit tidier though!
I did complete one model that I was looking forward to assembling – an imaginative street-vending tea machine, by Infamy Miniatures. Unfortunately, I can’t direct you to a product page, as their store is temporarily closed while they move to a new location.
As Infamy make 32mm figures, it’s a little bit oversize for 28mm, but frankly, not so much you’d really care. It’s a very crisp and detailed moulding, in a number of parts, all of which fit together nicely. As all of Infamy’s Models seem to be, it’s a bit on the pricy side, but… STEAMPUNK TEA MACHINE!
I still need to stick some posters in that advertising space.
Sadly this is a bit out of focus but, moving clockwise around the tea machine, it gives you a look at how it’s powered, and you see some counter-top detail that’s only visible from this angle.
Moving round clockwise again, a look at the boilers and some of the internal workings (because it’s not steampunk without sticking some gears on it).
There’s a stack each of cups and saucers at this end; the pictures I took to give a good look at them were too poor to use, but you can catch a glimpse of them here and in the previous picture.
The pigeon perching on the chimney is an integral part of the model, and I enjoyed painting it. Animals are fun to paint, and there’s a huge amount of excellent reference material only a Google away.
The chap in a pith helmet enjoying his cup of tea, and the other models appearing in these shots, are ones that I’ve had for a long time and not related to the tea machine.
When I first started blogging, I used LiveJournal’s own facilities to edit my posts, but for many years now, I’ve used Windows Live Writer instead – a program created by Microsoft as part of their Live Essentials suite that just makes editing blog posts much easier, and allows me to save drafts offline before posting, as I tend to be a slow, careful writer. The single most useful thing it does is make posting pictures easy, but there are quite a number of things it just makes easier in greater or lesser ways.
However, it hasn’t been updated since 2012, when Microsoft indicated they weren’t going to develop it any further. That’s kind of OK – as a free app, it wasn’t directly making Microsoft any money so it’s difficult to complain if they decide it’s no longer worth it.
It was really disappointing, though, to think that some day I might not be able to use such a useful program because it just got left behind.
I wasn’t alone in thinking that, and people both inside and outside Microsoft campaigned to have it open-sourced, so that its development and maintenance could be picked up by enthusiasts.
Today Scott Hanselman announced that Live Writer has been open sourced, and you can download Open Live Writer immediately. It’s currently a little less capable than the old version, mainly because of third-party licensing reasons, but I expect replacement functionality will be on its way (some is definitely already planned), and that in time Open Live Writer will be an even better solution than Windows Live Writer has already been.
If you’re a blogger on Windows and don’t use it already, I’d recommend checking it out. If you’re already a Windows Live Writer user, it’s good to know there’s a new future for the application.
Postscript: of course, having said that the single most useful thing it does is make posting pictures easy, Open Live Writer failed to do so for this post. Still, the original Windows Live Writer still works, I’ve filed a bug, and I’m sure it’ll get sorted out in due course.
Post-postscript: as a result of my bug report, it's already been found and fixed in development in a little over an hour, so shouldn't be too long before it's fixed in an actual release.
For anyone who missed it, the trailer for the forthcoming Dad’s Army movie was released a couple of weeks ago. It's due in cinemas in February.
I'm a bit cautious about the prospect of a movie, because the one with the original cast back in the 1970s was an absolute turkey. Why did so many perfectly good sitcoms of the period wind up as terrible, terrible movies? However, on the admittedly dubious grounds of a trailer it looks like this might be quite good.
I’ve taken a bit of an interest in Dad’s Army ever since I ran a short-lived roleplaying game in the 1990s in which the player characters were members of the Home Guard, dealing with mysterious happenings which turned out to be due to a burrow of Wombles rather than fifth-columnists – although one of the Wombles was blessed with the name Berlin…
This evening I went to the Byre Theatre to watch the St Andrews Play Club present their rendition of Dad’s Army. This was the opening night, and if you’re one of the local readers of this blog and fancy catching it, it’s on until Saturday. It has a running time of two hours, including the interval.
The St Andrews Play Club have put on a previous production of Dad’s Army in 2011, but I was unaware of it at the time. That consisted of a couple of TV episodes, “Mum’s Army” and “The Deadly Detachment”. The second episode there is the one you probably expect, with the U-boat crew as prisoners of war, and the oft-repeated line referring to Private Pike which I won’t spoil here just in case there’s anyone in the universe who hasn’t heard it.
So it sounds like this evening’s production was more ambitious, stretching to two TV episodes (“The Godiva Affair” and “The Deadly Attachment” again), an “episode” which was only ever performed on stage by the original cast (“The Floral Dance”) and an original piece to close by one of the society members, called “All Together Now”.
The main characters were all recognisable, despite the rather odd experience of watching an unmistakably Scottish Sergeant Wilson. They were probably spoilt for choice for people to play Fraser! Captain Mainwaring and Lance Corporal Jones are probably the most demanding roles to play, as they involve not just acting but a lot of comic timing, and I’m pleased to say they carried it off admirably. Alan Tricker as Captain Mainwaring wasn’t a new Arthur Lowe, but that would be a tall order (for a short man); he didn’t have quite the level of frustrated self-importance of the original but nevertheless did a good job in the role. David Lee as Lance Corporal Jones did a great job – it was almost like watching Clive Dunn in action.
There’s a warm comfort to be had from watching something so familiar yet slightly new. The TV episodes were very familiar, of course – so much so that I was completely unfazed when rather endearingly in a moment of meta-character “”Pike” fluffed the punch line to “The Godiva Affair”, naming Mrs Fox instead of Mrs Mainwaring. For anyone previously unfamiliar with the story, I think the business probably sold what was actually meant to have been said. “The Deadly Detachment” strayed somewhat from the original in having an all-female U-boat crew, but that was cool (and played completely straight). Apart from that line, it’s not actually a favourite of mine, but I enjoyed seeing it on stage.
The two sections I was unfamiliar with both had a musical bent. “The Floral Dance” saw the platoon and other residents of Walmington-on-Sea, engaged in choir practice before an event in aid of wounded soldiers, and building up to a performance of the song named. Despite having a slightly different pedigree, it felt right. If you’re not able to see it in St. Andrews, and want an idea of what it was like, YouTube comes to the rescue – here’s audio of the original cast performing it on stage:
The final section, “All Together Now”, was a celebration of the end of the war (probably VE-day, but that wasn’t quite clear and I didn’t recognise the clip of Churchill on the radio announcement). Featuring a selection of songs culminating in White Cliffs of Dover and a tableau in which the cast were starkly lit and sprinkled with poppies. I didn’t feel it quite gelled as the scripts by Jimmy Perry and David Croft did, but again that’s a tall order, and apparently it was written at quite short notice, so good on the script writer all the same. It was more sentimental than amusing, but that’s OK – one of the strengths of Dad’s Army was that it would occasionally make it clear that, for all their ridiculousness, the characters were utterly sincere and serious about being prepared to lay down their lives to make the smallest of differences.
Worth checking out, if you can.
Electro swing is perhaps a bit misnamed – it’s a combination of 20s or 30s-style trad jazz (rather than the slightly later and smoother swing) with more modern instruments and styles including hip hop and electronic dance music. The UK’s 2015 Eurovision entry, "Still In Love With You" by Electro Velvet was an example, though a kind of disappointing one. I was pleased it was a bit different and wanted to like it, but couldn’t convince myself and ultimately it didn’t do too well. We scored a majestic 5 points, only 360 behind the ultimate winners, Sweden.
Happily, the French do it better and msinvisfem pointed me in their direction. Caravan Palace formed about ten years ago, and have just released their third album, <I°_°I>. All three are fun and listenable, and I’d recommend checking them out. Here are their official videos, and it’s also worth skipping to the end where there’s a couple of live performance videos, including a full concert. If you like what you see, they’re currently touring and will be in the UK in December, including a date in Glasgow.
Why <I°_°I>? Watch the earlier videos to find out! But if they’re not quite your cup of tea, try <I°_°I> too, as I think the blend of old and new shifts a bit in the third album.
Caravan Palace – 2008
Panic – 2012
Rock It For Me
<I°_°I> – 2015
Full Concert: Karlstor Bahnhof Heidelberg, 2009
The BBC used a photo of mine as one of “Your pictures of Scotland” this week. It was taken from the bus stop in Dundee on my way to work on Tuesday (sometime around 08:15), and is looking over the V&A construction site and across the Tay towards Fife. Here’s my approximation of the BBC’s crop (it was easier to reproduce it than try to steal my own picture from the BBC page):
Here’s the original:
The crop gets rid of the crane on the left, which certainly makes for a better composition, but in going portrait I feel the breadth of the sunrise becomes a bit constrained.
Last time I submitted a photo to the BBC (some years ago) they just published photos “as is”, so it’s interesting to see how things have changed, and how a professional would choose to present my picture.
I generally leave my own photos untouched, unless they badly need something done or I need them for a specific purpose; they’re my memories more than art to me – and I’m not an artist, and have dodgy colour vision. Best leave well alone! However, if I were cropping it myself I would probably have gone for something like this:
The BBC version is probably still better, because it focuses on the features of interest centre stage – I think my cropping choice suffers slightly from the additional street lights to left and right. If they weren’t there, I might prefer my version, but as it is they’re a slight distraction. Losing some of the hoarding around the V&A construction site also reduces the contrast in the photo and makes it appear a bit more washed out. I could easily have kept that by changing the proportions slightly, but I preferred to keep the original aspect ratio.
The crop is the only change made between these three versions of the picture.
I’d be interested to know which others prefer. For me, it’s probably the order in which they appear in this article, but it’s a slightly reluctant choice – I’m attached to my original with its flaws!
...Space 1992: Apocalypse Suite For Orchestra & Choir, featuring the Cowdenbeath Symphony Orchestra. It's an orchestral version of the album, with the tracks renamed after a quote from each (including track 9 of course, An Epic War Is Fight). It's a decent performance, and interesting to hear that it adapts so comfortably, but frankly I prefer the electric bombast of the original.
Sadly, there are no details of the composition of "the Cowdenbeath Symphony Orchestra" in the credits and the only mention I could find online was in reference to the album, but amongst the small print there was this disclaimer of which I approve:
No unicorns were harmed in the making of this album. However, 5.448 billion humans were terminally harmed in the destruction of Earth during track 10. This was an unfortunate side-effect for which we apologise profusely. Please send any complaints to the Dark Sorcerer Zargothrax at the following address: zargothrax at gloryhammer.com
A thousand years have passed since the events of Tales From the Kingdom of Fife, when Zargothrax, Dark Sorcerer of Auchtermuchty, invaded Dundee with an army of undead unicorns before eventually being imprisoned in a frozen pool of liquid ice, encasing his immortal body in a cage of eternal frost. (“Seems legit”, as the top comment under the relevant YouTube video says.)
Now, in the far distant future year of 1992, Zargothrax is released from his prison of frost by a cult of unholy chaos wizards, and Dundee and the Galactic Empire of Fife must be defended from their evil domination by King Angus McFife XIII (descendant of the original Crown Prince Angus McFife) and the eagle-riding Knights of Crail.
Like the previous album, it romps joyously through a Fife-flavoured galaxy of cheese. It’s a worthy successor, but with more laser-powered hammers, chambers of cryogenetical fire, robots, cosmic rage (of Astral Dwarves from Aberdeen), and eagle-riding Space Knights of Crail.
Stylistically, it’s still HEROIC FANTASY POWER METAL (of course), but as befits a more futuristic epic, there’s a greater role for synthesisers than was previously the case.
The previous tale concluded in the ten-minute Epic Rage of Furious Thunder. This album doesn’t pull its punches either, with another 10 minute epic finale – Apocalypse 1992. I can’t express how accurately this track captures the far-off technological future of 1992 – you’ll just have to listen to it and find out for yourself.
As for me – I’m also waiting, for the physical album to arrive, so that I can find out what the disc of bonus tracks has to offer…
It suddenly occurred to me that a Cavorite Sphere – as developed by Mr. Cavor in H.G. Wells’ The First Men in the Moon – is something that I did not have, and I searched for such a thing.
I discovered that there are two on the market suitable for 28mm. One is relatively easy to find mention of, but is sold in the US and doesn’t seem particularly easy to order even there.
I first heard of it under a fortnight ago, ordered it less than a week ago and completed it today – this may be a record! And at this point I wish I’d included a 28mm figure for reference in the picture, as I had to ask the seller for the size and I’ve made it no better for anyone finding this – but you’ll just have to take Richard’s word and mine that it’s the right size. The sphere is about 9cm across, from bumper to bumper, or about 3½” in old money.
It’s a 38-piece resin kit, of which 32 are railway bumpers and one is the Moon’s surface (or a small part thereof). Visually, it’s based on the 1964 movie, which I re-watched parts of in preparation for painting this kit. (If you’re interested in this story, the 2010 Mark Gatiss TV Movie is also worth watching).
Having re-watched some key parts of the movie, the easiest thing to pick up visually was that the Cavorite itself was a yellowish substance painted on to white blinds. The yellow turned put to be metallic and reflective when the sphere was flying through space lit by the sun, so I could have gone for a very brassy look and it would probably have looked great. But the thing about Cavorite is that it counteracts gravity when it’s a) cool and b) exposed. If the blinds were deployed, and we had the brassy look, the sphere would probably not be – wherever it’s meant to be. It would be flying off into space. I thought about having one blind partially exposed, and maybe weathered so that the Cavorite covering is only partial, but ultimately I decided to keep it simple. No exposed Cavorite.
With my dodgy colour vision, I was less sure about the colours used for the rest of the sphere. However, the impression I wound up with was the ribs were a dark metallic colour, the panels surrounding the portholes were wooden, and the other panels of the sphere, where the blinds would be deployed were also dark in colour. I couldn’t decide whether it was a dark metallic colour or something else, but then I caught a hint that it was a dark red.
Now, this could be entirely my imagination, and if you watch the film you may see something else. As I’ve mentioned, my colour vision is dodgy, so if you see something else you’re probably right. But having seen it, real or not, I was caught up by the idea and decided that the majority of the panels were to be painted Burgundy. It’s not so far-fetched after all – burgundy was a popular colour of the period and not a million miles from the “Purple Lake” colour used for some railway carriages, so it fit in reasonably well with the railway theme of the bumpers.
The only “clever” bit of painting, as opposed to using flat colours, was for the wood panels, where I used a base coat of ochre and a wash of burnt umber to achieve a slightly textured varnished wood colour. I dry-brushed a little silver on the hard edges of the bumpers to give them a bit of wear.
You can attach the hatch open or closed. I chose not attach it at all, so I continue to have the choice. I also chose not to glue the top and bottom halves together, so that I have the option at some future date of scratch-building the interior. As you can see if you click through for the larger version of the picture, the interior is a bit ribbed – you can also see a bit of waviness on the exterior panels, although it’s not so marked. I think the body of the model was originally mastered in a 3D printer, with some details being modelled more traditionally before the whole was cast in resin; which is of course a faster way of producing multiple copies than 3D printing is, at least for now. It’s quite cool to see new technology being used in this way, and although there are detectable artefacts, I don’t think they harm this model, adding to the “hand-built” charm of the fictional sphere.
Finally just a brief mention for the base. Not used to getting a base in these sorts of models, it was quite nice to do so. Here it is in a photo of its own, where it doesn’t look quite so washed out in the harsh rays of the sun:
I decided that the powdery surface was pale, but under the surface – or harder bits that hadn’t weathered away – would be darker, and a combination of washes and dry-brushing in different shades of grey got me there, more or less. These highlighted most of the structure I wanted, but I did try to paint faint impact rays around the centre of the largest crater.