June 19th, 2017

"WAFFEN REVUE" Nr. 106 III. Quartal 1997

Немецкий ( ФРГ ) журнал "WAFFEN REVUE" , номер 106 , третий квартал 1997-го . ( PDF ) .
Издательства: Publizistisches Archiv für Militar und Waffenwesen , Karl R. Pawlas / Journal-Verlag Schwend GmbH
В настоящее время не выпускается.

Скан этого номера - НЕ мой .

[Содержание номера :]


3 Die Salvenmaschinenkanonen zur Flugzeugabwehr

29 Die Walther-Pistolen, Teil 5 (Modelle 3 bis 5)

57 Das NSU-Kettenkrad, Teil 3

87 Schwere Panzerhaubitze „Hummel“, Teil 4

109 Die 3,7-cm-Flak M 42 der deutschen Kriegsmarine

129 Ferngläser und Fernrohre aus aller Welt

131 Patronen- und Kartuschhülsen, Teil 4

Titelbild: Die Salvenmaschinenkanone SMK18 V1.

Foto: Heiner F. Duske

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Про мишени

In the early 1980s, an officer of the Judicial Police of Belgian city Liège, Francis Dorao, began seeking a cost-effective method for providing more realistic simulations of high-risk situations for police target training, claiming that the traditional black silhouette targets did not adequately prepare officers to face actual human opponents or to make the split-second decisions necessary when distinguishing between an armed threat and an innocent bystander. A comic book fan, Dorao began contacting artists from the fertile Belgian comics scene to solicit artwork for the new kinds of targets he imagined. Comics illustrators including François Walthéry, Arthur Piroton, Gilbert Gascard (Tibet), Herman Huppe (author of post-apocalyptic comic Jeremiah), and William Vance provided artwork for Dorao’s targets, with several of the more striking images being drawn by William Tai, also know as Malik, who is perhaps best known for Cupidon, his long-running comic about the misadventures of Cupid (he was also well-known for his erotic comics drawn under the pseudonym Phénix). The targets were an immediate success, becoming popular outside of Belgium and leading to a paradoxical circle of causality whereby police officers were trained using images created by artists who often specialized in producing spectacularized versions of the exploits of police officers for consumption through comics. Dorao—whose company, PJL Targets, still supplies “realistic” training targets—became friends with several of the artists he hired and contributed a script, 1986’s Neige Poudreuse à Liège (Powder Snow in Liège), to Franco-Belgian police comic series Jess Long, illustrated by Arthur Piroton.

Коротко , по-русски : в начале 80-х 20-го века сотруднику бельгийской полиции Францису Дорао ( inspecteur principal à la Police Judiciaire de Liège Francis Dorao ) пришла идея сделать мишени для тренировочных полицейских стрельб - более реалистичными . До этого использовались обычные , чёрные силуэты . Он обратился к нескольким бельгийским художникам - авторам комиксов . В итоге получились шикарные мишени . Сейчас ими вовсю торгуют , как произведениями искусства. Ну , и по назначению используют :

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