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No 10 Naval Squadron was formed in February Among the aircrew of Naval 10 at Furnes was the newly promoted 'B' Flight Commander, Canadian Raymond Collishaw, who picked four other Canadians to join him in the flight. The three Flig! S each selected a colounO'be applied to the forward fuselage, cowling and wheel covers of each of their aircraft. Having selected their respective colours, Collishaw then directed the pilots of his flight to pick names for each of their aircraft that began with the word 'Black'.

These names were painted in white beneath the cockpit. This 'Black Flight' as it became known, soon became a familiar sight in the skies above Flanders, destroying 87 enemy aircraft during the months of June and July Although not a part of the soon to be famous Black flight, two other Canadians from Alberta became aces while with Naval 10 and deserve mention here. The first was FIt Lt J. Manuel DSC from Edmonton, Alberta, who scored ten air to air victories before being killed in a mid-air collision on 10 June Ten of the twenty-seven leading aces in the RAF were from Canada with Collishaw ending the war with 68 confirmed kills.

Nine days after the end of the First World War, No. The forming of all-Canadian squadrons had been suggested by the British in but no authorisation was formally given until 5 August On 25 November , No.

The Canadian government of the day subsequently decided not to maintain a peacetime air force and all were disbanded on 9 August For the second time in history, the Canadian Air Force was gone, but in their short period of life, both 1 and 2 9 squadrons managed to adorn the fuselage and tails of their aircraft with the distinctive maple leaf. United States of America The American aviation volunteers of the First World War and their insignia still remain a misunderstood subject to this day.

Early in , American volunteers for British air service were turned away because of their US citizenship. As the US was neutral at that time, many Americans claimed Canadian birthright but this also failed.

The American volunteers were advised to join the French Foreign Legion, where an oath of allegiance was sworn to the Legion and not to France. The French later transferred these volunteers to temporary duty in the French Air Service although several were killed while serving as infantry before the transfer could take effect.

American volunteers who served in the Air Service were collectively called the 'Lafayette Flying Corps' by the French government. Sixty-five of the volunteers were killed during World War One. In April , Escadrille N. They were first named 'Escadrille Americaine' but, because of protests by the German government and remembering that America was still officially a neutral, the name was changed to 'Escadrille du Voluntairs' and finally to 'Escadrille Lafayette'.

The first emblem adopted by the unit was a painting of the head of a Seminole Indian, a tribe from Florida. This head was painted on the fuselage of the Nieuport aircraft and remained the unit emblem until April In all, ten volunteers were killed while serving in Escadrille Lafayette, nine in combat and one as the result of injuries sustained when falling off a horse.

At The first American national marking was adapted from the French roundel but with the colours in the order of the old imperial Russian markings, ie red outer, blue, and white centre. Post-war this was later superseded by a blue disc with a white star which in turn bore a red central disc. Note his pilot's badge above his rank insignia on his cuff 5 Below: An early version of a 'sharkmouth' or should it be skullmouth?

Shown as it appeared on 1mbros in the Aegean in summer , the machine was known familiarly as the Goo-Goo or the Bogeyman 1M. Leslie collection 10 6: Even the humble Corps reconnaissance aircraft of the Royal Flying Corps sometimes received nose art.

This is a 90 hp RAF-engined B. Curiously, the presentation name appears to have been modified from 'Tasmania' to 'Tasman' on the original print. Note the machine gun on a flexible mounting for the observer in the front cockpit and the manufacturers decal on the extreme nose 7: The Royal Navy was not as restrained as the RFC when it came to marking their aircraft. Here Sopwith Camels of Naval 10 display their nose markings.

Alexander 8: This unidentified crew displayed a sense ofhumour in their choice of markings for their reconnaissance Farman F A similar figure to that painted on the port side of the nacelle was also applied on the starboard side. The aircraft carries the Seminole Indian head insigne ofthe unit and is still wearing French camouflage I 12 A lineup ofsurrendered German aircraft from IG3 late in wearing brightly coloured stripes and allwhite tails.

The nearest machine is an Albatros D. Va with an unusually broad cross on the tail. The remaining aircraft are all Fokker D. VIIs, the nearest pair apparently being G. While it is clearly impossible to determine the precise date when the first example of RAF nose art appeared in World War II, it probably occurred with Squadron in December By December three of these aircraft at least carried individual nose art and names.

A third was 'Old Faithful'. The Battle was soon found to be no match for the modern German fighters but still contributed heroic 12 Above: A Lockheed Hudson prior to ferrying across the Atlantic from Gander in Canada direct to the RAp, most likely late in The picture shows 'Pappy' Ryan, a civilian delivery pilot, receiving the aircraft paperwork shortly before departure.

The Donald Duck artwork would have been applied by a Disney artist at the Lockheed works at Burbank, California, the inscription being added at Gander. Note the blanking plate over the dorsal turret position BR efforts to stop the German advance through France. Many of these early medium bombers carried Walt Disney or 'Popeye the Sailor' cartoon characters from the strip published in the Daily Mirror.

Such was the popularity of these cartoons that the Wellington even received its nickname, 'Wimpy', from the character J. Wellington Wimpy in the Popeye strip. Canadians were already serving in RAF units at the outbreak of war. By the time of the Battle of Britain, 'maple leaf' or 'Canada' markings were officially permitted on aircraft. From these modest examples, 'personalisation' of aircraft became more and more common as the usefulness of the practice in contributing to enhanced morale gained greater, if unofficial, recognition.

As the fortunes of war ebbed and flowed, the quantity and quality of the artwork applied to RAF and RCAF aircraft reflected these changes. During times of pressure, much of the artwork was small and constrained, but as the cer- 13 tainty of ultimate victory grew, the artwork became larger and more exuberant. Certainly, as the numbers of Commonwealth crew members serving in the RAF grew, their less-restrained attitudes tended to influence the style of artwork.

The sources of inspiration for these were many and varied and can be seen in the pictures throughout this book. Some themes and topics-and artists-had, however, much greater influence than others and are examined in greater detail here. Walt Disney Walt Disney was born on 5 December in Chicago, Illinois but the family was soon to move to a farm near Marcelin, Missouri, where Walt spent his early childhood.

In , the family moved again; this time to Kansas City, Missouri. It was here that Walt and his brothers became delivery boys for their father's customer paper round.

In August came the outbreak of the First World War. Each morning, as Walt began work at 4 am, he would always read about the situation in France in the papers delivered to his father. On 8 June , he read that General Pershing had landed with his staff at Liverpool, England, enroute to France in preparation for the organising of the American Expeditionary Force. Now Walt saw young Americans were joining up to fight in France.

During the summer of , the Disney family returned to Chicago where Walt enrolled into the Academy of Fine Arts and in the evenings, took up a correspondence course on cartooning. He had many ideas, but his one desire was to join the AEF and head to France.

At 15 years of age he was too young to enlist but learnt in that he could join the American Red Cross and work in France. On November 18, , just seven days after the Armistice, Walt arrived in France. For the next nine months he drove every vehicle from a small ambulance right up to a five ton truck.

It will always be open to speculation as to what effect the artwork carried on French wagons had on him. It must have had some effect because it is known that he painted his own cartoon art on one of the ambulances which he drove.

On returning to the United States, he was employed as a commercial artist in Kansas City, and then, during the period from to. It was during this period that his films and artistic expertise reached a peak which many believed he never bettered. It is believed the aircraft is K, which was lost over Luxembourg on 10 May 14 Left: Battles from Squadron at Rheims, the nearest carrying a peculiar emblem and the name 'Madam Harpy'.

This presumably indicates that the machine is coded 'MQ-H'. Aircraft 'K' in the background is thought to be K 14 tion to wide-ranging acclaim, in he was awarded a special Oscar, presented to him by film star Shirley Temple, for his classic, full length animated film, Snow White and the Se en Dwar es.

When he opened his new studios at Burbank, California it was bounded by the Griffith park Airport, Grand Central Air Terminal which operated as a primary aviation training school for the U. Army Air Corps, and by Lockheed airport and air-testing terminal. Thus, surrounded by u. Navy to spur on the creation of Disney artwork for W. II combat insignia. Stanley had written to suggest that, as the Navy lacked any imaginative insignia similar to that used in the Army Air Corps in W.

Thinking back to his ambulance days in France, Disney at once realized what the young cadet was asking. Deciding to give it a try, he handed the job over to artist Henry Porter, better known as 'Hank', who immediately gave the job his full attention. The result of his work was a belligerent wasp, standing in an aggressive stance and wearing four boxing gloves. It did not take long for the new design to be adopted and it was soon decorating everything from flight jackets to the letterhead on writing paper.

As word of this design began to spread, a second request was sent to Disney in early Lt Earl S. Photos of these new ships with their new artwork began to appear in Popular Mechanics, Life and Mechanix Illustrated. What had started out as an individual suggestion now turned into a flood of requests to the Disney studio. Undismayed, Walt told Hank Porter to create as many designs as he could and organise his own department within the studio.

In their first year of operation, Hank and his new team produced over individual designs for the Army, Navy, Marines and various other government bodies. Walt made it very clear, however, that no commercial use could be made from the family of Disney cartoon characters. He also made sure that no government department could advertise Mickey, Minnie, Pluto or Donald Duck. Soon requests began to arrive from British Commonwealth forces and French, Polish and other European troops exiled to England and many of these were given Disney characters who appeared in fighting uniform for the first time.

It seems that they were dissatisfied with lay-offs, working conditions and communication problems between themselves and Disney and the management. What effect the strike and loss of top artists had on Disney films is impossible to say, but Walt did turn to Canada for his first war contract.

For some obscure reason, these four, made for Canada films, were not declassified until when they were shown in a week-long film festival called 'Forsaken Films' in Taormina, Italy on 31 July They are now part of the War Museum collection in Ottawa.

On 8 December , Disney was offered a film contract by the American government to make twenty training films for US troops. By the end of the war, Disney artists had created over 1, military insignia, many of which were supplied to Canada's armed forces. The first priority for new aircraft was given to Eastern Command due to the threat from UBoats to shipping in the eastern Atlantic and eastern coastal regions of Canada.

The majority of those squadrons that served exclusively in Canada received no official unit badge but took a title or nickname. It won the unofficial title of 'North Atlantic Squadron' with a record of twenty-two attacks on U-boats and three sinkings.

Their unofficial badge and unit insignia of 'Dumbo' came from Disney, as did their nickname. The baby elephant, 'Dumbo', was the first of the Disney family of cartoon characters allowed to appear on wartime insignia. He was not a permanent Disney figure like Donald Duck or Pluto, and had just been released in in a short animated film. As the squadron insignia requests becan to flow into the studio, Dumbo quickly became a favourite, ranking seventh in the top requested Disney characters for aircraft insignia.

Again, Disney created a Dumbo insignia for the squadron. The emblem was superseded by a squadron-originated design featuring a half-wolf, half-fish, after July when the unit was redesignated as a Bomber Reconnaissance squadron. Although most of this art was applied to the rear fuselage side, much of it was also applied as nose art.

II is believed to have been twenty-eight, but many more were simply just copied and used by other Canadian squadrons. In reality, hundreds of RCAF aircraft adopted unofficial Disney type artwork, inspired by the movies and cartoons which Disney created during the war years. The following is a list of Canadian home and overseas based squadrons that used a Disney designed insignia at some stage during the war.

Butch the Falcon design. Monkey design. Dragon design. Seven Dwarves in 'V' formation design. Donald Duck design.

Pluto design. Knightmares design featuring a knight riding a part horse, part plane. Black tomcat with sword design, the 'Flying Lancers'.

Wolf design. Bulldog design. Lion with wings design; 'Fury with Balance'. Sea-wolf design. Thumper the rabbit design. N for the Nut Brothers The s saw a variety of unique and diverse comic artists create several humourous features in both single panel and strip form. He also created a topper strip for the panel called 'The Squirrel Cage. Each week saw the little old man attempting to hitch-hike to the city of Swolz but, despite his best efforts, always ended up back where he had started from.

He became known simply as the 'little old man' who spoke no English, however, all of the other strip characters did, two of whom were Ches and Wal, the Nut brothers. By , this strip had become more popular than the main 'Room and Board' feature. Ches and Wal Back Again. Early on, his first and last names were shortened and he became known to all as Al Cappo At the age of 12, he lost his left leg in a streetcar accident, but this did not deter him from going on and fulfilling his dreams of becoming a cartoon illustrator.

He studied at the Academy of Fine Arts in Boston and by had become an assistant on the Joe Palooka cartoon strip. In , at the age of 24, he had a new idea and launched a strip called 'Li'l Abner' featuring hillbilly dialect and the social satire in similar fashion to that of Mark Twain. Capp had the ability to create an extraordinary collection of characters, and named each in accordance with their social habits and attitudes. When the US entered the war, the characters of this famous cartoon strip became instant hits as nose art subjects along with other of Capp's creations such as 'Kickapoo Joy Juice', 'Skonk Works' and the famous 'Dogpatch' institution of 'Sadie Hawkins Day'.

The female characters that he created were courageous and supremely endowed, boasting names such as 'Moonbeam McSwine', 'Stupefyin' Jones' and 'Appasionata von Climax. Captain A. British newspaper strips are virtually synonymous with The Daily Mirror and even during the dark days of World War II, the paper printed a full page and a half of comic strips.

In the mid 's, the home-grown british material began to replace the syndicated American imports like 'Mutt and Jeff', 'Blondie' and 'Popeye. The strip became a hit with Jake saying 'dood' instead of 'did' and he became something of a cult during the war when artist Bernard Graddon switched the focus from hero Jake to the cigarchomping villain, 'Captain A. In his 'Terry and The Pirates' comic strip, artist Milton Caniff would often introduce real-life characters, based upon servicemen he had met while touring various bases.

Well-known personalities were also included such as Claire Chennault and Joseph Stillwell. Cochrane who had served as a fighter pilot in both Africa and the Far East. From this meeting on, 'Tote' Bonney remained in the strip until 10 January , appearing as one of the regular characters in over fifty strips. Jerry Bricker was a well-established publisher running his own business when war broke out in Shortly afterwards he joined the RCAF where his publishing background was to greatly benefit Canadian servicemen.

He became the first Canadian to apply for and introduce the free features of the American Camp Newspaper Service to Canadian forces publications. As Canada had been involved in the war since the beginning, Jerry Bricker decided that it was time for a Canadian to join the American newspaper war. He wrote to Caniff about this with the result that, over the next two months, the artist and the publisher collaborated to produce a Canadian fighter pilot to join in the fight against the Japanese.

Gremlins Gremlins are one of those clans of 'little people' found in fables, legends and fairy stories. They can, however, become a huge problem for pilots' and air forces all over the world. Seldom taller than twelve inches, they can only be seen by aircrew and can look like Brownies, Elves, Goblins or Pixies.

For some unknown reason, Gremlins love aircraft and airfields. There is no doubt that they have been around, unseen, since man first flew but it was not until at Kelly Field, Texas that the first recorded sighting took place. Then in , they began to become visible to pilots of the RAF, often being seen sitting on the compass, the tailor the wings. Gremlins always seem to appear in greater numbers during time of war and will infiltrate their way into air forces of all nations, on every fighting front.

They always seem to choose new pilots and will flatten tyres, steal or hide maps, hole or block fuel lines and poke tree branches through fabric covered wings.

Then, not satisfied with that, they will often cause the compass to point the wrong way, move airfields from where the pilot thought they were and, especially when a senior officer or instructor is watching, cause a landing aircraft to bounce up and down in a strange manner. Unfortunately, Gremlins are only visible to pilots and not to people on the ground In early , the RAF was be infested with another, much smaller branch of the Gremlin family known as Widgets and the groundcrews with yet another: ground dwelling members of the family which became known as Whistling Wiffenpoofs.

American aviation too received the attentions of other Gremlin family members. This one was usually found above heights of 35,OOOft and loved the ice and cold. They particularly liked the new B bomber and were known to drink large quantities of oil, play with the radios and antennae and warm their fingers on the spark plugs and cause engines to fail.

With the establishment of the British Commonwealth Air Training Plan, the Gremlin families found many new homes in Canada, and soon the RCAF was full of these mischeavous folk who were often found ready, willing and able to add to the trials of new pilots under training there. Not all members of the Gremlin family were bad, however, all pilots agree that the bad far outnumber the good and it is therefore not suprising that, when a pilot or crew of an aircraft found Gremlins on board, they had good reason to become nervous.

Disney acquired the rights to the story and produced a feature film based on Dahls' Gremlin story. Walt Disney became so caught up with the Gremlin film that he illustrated a special, one-page article which appeared in the RAF Journal. Unfortunately, due to costs and problems with producing an acceptable Gremlin image, the film was abandoned in Steven Spielberg was eventually the first to produce a film Gremlin which appeared in his three-part, post-war film The Twilight Zone in which a Gremlin is seen creating damage to a jet airliner in flight.

As far as is known, this was the only film to come close to the earlier Disney idea. Although not placed on film during World War II, the Disney art team created at least 28 insignia that featured a Gremlin for good luck. Initially frowned upon, a programme to use women to ferry American military aircraft was finally established 25 Left: Gremlin art pr. During a cold spell Schwab claimed to have seen the same pixy again, this time wearing a beaver cap, fur coat and ear muffs 20 in the US in late This was only brought about, however, after American aviatrix Jacqueline Cochran and twenty-five of her contemporaries had gone to England, at the invitation of the British authorities, to help form the Air Transport Auxiliary there, which had no qualms about female ferry pilots.

One of the early trainees for this programme, a former Disney artist, had been killed in a flying accident and for this lady and the whole WASP programme, the Disney team created a special insignia featuring a little lady Gremlin coming in for a landing.

She was given the name 'Fifinella' or 'Fifi' for short and the insignia was worn as a leather badge on the coveralls and jackets until The art was unofficial when the unit disbanded on 1 Jan and was never approved 28 Below right: Anne Armstrong McClellan, an American WASp, wearing the Disney-designed 'Fifinella' badge in June 21 r Pin-ups Jane One of the most popular wartime cartoons featured the naive but voluptuous 'Jane'.

First appearing in the Daily Mirror in December , she brought a whole new meaning to the term 'comic strip'. Always accompanied by her Dachshund dog she got herself involved in various escapades which inevitably ended with her minus all her clothes.

Milton Caniff began to draw sexy girls in while cover artist for Ohio State's freshman magazine. In October , he created a popular newspaper strip called Terry and the Pirates which, by , was read by an audience of over 20 million in Canada and the US. The strip was full of action and heavy in dialogue but also featured many alluring ladies such as 'April Kane', 'Sgt Jane Allen', 'The Dragon Lady', 'Rouge' and, most importantly, 'Burma'.

Burma was drawn with an alluring and excellent figure which made her a special part of the strip. With the entry of the US into the war, training camps were constructed at all points of the country, and with them came the Army Camp Newspapers. In January , Caniff joined into the war effort by drawing a special strip called Terry which only appeared in the Army newspapers. This strip was done by him in his spare time and, since he now had a more lustful audience, he made Burma the main focus and displayed more of her charms.

The Army loved it but the newspaper syndicate feared that a mix-up would develop between the civilian newspaper and the military. As the syndicate were paying Caniff good money for his work on Terry and the Pirates, Caniff now created an entirely new strip called Male Call and the Terry and the Pirates characters were all eliminated, including Burma.

He drew a special strip that informed his readers that Burma had returned to the funny papers and, at the same time, introduced the new figure called 'Miss Lace'. He was flooded with complaints but soon, the new girl had made everybody forget about Burma.

It was probably there she acquired her 'Jane' nose art. The slogan possibly indicates that the aircraft was coded C8-U. Following an accident on 21 August she was repaired and returned nine days later. She never appeared nude as England's 'Jane' often did, but she was a true sexy pin- up figure and millions of GIs enjoyed the exposure of a kind not seen in family newspapers.

She was painted on hundreds of Allied aircraft, such as Lancaster X, KB, as copies of this pose were signed and sent to various units by Caniff himself. This in itself was not new but the style of the illustrator responsible, George Petty, was. Demand was immediately so great that Esquire became a monthly with issue number two in January The Petty girl cartoon at long last put good taste in the American pinup by giving her the style and elegance of the American upper class. This cartoon lady soon began to appear as a true pinup and became an American family enterprise.

George Petty was the master of airbrush techniques and improved on previous pinup girls by making her legs longer, her torso shorter and her head smaller. This unreal lady with her vivid female anatomy suited the fantasies of American men of all ages.

Petty's wife produced catch phrases that appeared with the pictures, while daughter Marjorie was in fact the living 'Petty Girl', spending hours holding a pose for her father to sketch. Even son George Jm appeared as the bronzed escort in two advertisements.

The Princeton University class of voted him favourite 34 Top left: Marjorie Petty at nineteen years of age as a student at Northwestern University in 35 Below left: George Petty and daughter Marjorie alighting from the train in Los Angeles in Each holds a white telephone ready to take calls from admirers of the artist and his work Reid Austin collection 36 Top right: The Petty girl, 'Bashful', from 'Esquire' magazine, March The original caption read "No, it isn't that 1 have anything else on, Mrs Van Gilder.

C:O,1l: C:A! Enter Alberto Varga In response, Esquire went on a quiet search for another artist and found Alberto Vargas, who had identical watercolour and airbrush techniques. The January issue of the magazine marked the first appearance of a 'Petty Girl' with a 'Varga Girl'. Vargas had by now dropped the final's' from his name. December was the last appearance of Petty art as the gatefold in Esquire. As the USA entered World War Two, it was the Varga girl that appeared alone for the troops, becoming the top pinup on all fronts of the war.

The Varga pinup girl was to bring its own very American approach to nose art in Britain and around the world. The numbers of American aircraft that carried some form of Varga girl, dressed or undressed, ran into thousands and by the quality of such nose art within the USAAF had reached a standard unmatched in any other air force.

Only that on the Canadian bombers of. George Petty had very little work showcased in the war years but the popularity of his , and gatefolds maintained his work as the inspiration for nose 46 Below: This is the Varga pin-up from the January edition of Esquire. It was an immediate hit with squadron painters and crews and wall paintings until Post-war the Petty girl continued to appear in her own calendar and True magazine, the most popular mens' magazine of the s.

Today male fantasies are fuelled by photos and videos but the creations of George Petty are still to be found in enthusiasts' collections. Canadian 'Whites' With the passing of the War Exchange Act on 6 December , certain 'non-essential' goods were banned from being imported into Canada.

In short, this meant that, among other things, American comic books were banned from import. Canadians could still read their own comic supplements in Canadian newspapers and many American comic heroes appeared in these, but they could never replace the originals. When Cyril and Gene Bell, two brothers who printed banner advertisements for Totonto's fleet of street cars, heard of the ban, they purchased a second printing press and began printing Canadian comic books featuring Canadian heroes.

These comics were known as 'Whites' because they lacked the colour associated with their American counterparts. The Bell brothers published the first, the most and the best wartime Canadian comics and by the end of the war had printed over 20 million. All retained a similar theme based on patriotic Canadian attitudes towards the war. They may be gone but one Bell character which had been painted as Halifax nose art remains to this day.

It was decided to give her some nose art and a suitable design was painted on to a section of fabric which was then applied to the nose of NP The art work was never named but it featured a girl drum major and the 'V for Victory'. The girl is reported as originating from one of the Bell brothers comic characters who appeared with the ficticious Canadian band leader 'Drummy Young'. Young was always shown as fighting against the forces of evil during World War II, and many of the plots featured well endowed young ladies and a scantily dressed girl drum major.

Needless to say, these young female characters were always seen at the mercy of some evil villain, and would always be rescued in the nick of time by Young. Popeye's approach to correcting injustices was to wallop them on the nose and, aided by dollops of spinach which gave him superstrength and made him indestructible, made him instantly popular with readers. He was soon accompanied by an equally wildly eccentric cast of characters such as the shiftless J.

Wellington Wimpy, whose sole interest in life was hamburgers, and who gave his name to the Wellington bomber. The antics of this manic crew and their unforgettable one-liners; "Let's you and him fight", appealed to the gallows humour of aircrews and ensured that Popeye is still popular today.

Compare this to the drawing of Popeye, Wimpy and Oscar above right who appear in a vignette from a typical episode, this one set in a submarine 28 Almost immediately the new fighter proved its worth, causing one pilot to remark that the aircraft was a real shark when compared to the Hurricane Mk Is and Gloster Gladiator Mk IIs then being used by the Desert Air Force. The P not only performed like a shark, it also looked like one, with its pointed spinner and deep radiator intake.

During September , Sqn painted a sharkmouth design around the intake opening and eyes ahead of the exhausts, whereupon the fighter really did take on a shark-like appearance. Photographs of the aircraft were soon appearing in the Illustrated London News and were reprinted in many American publications. Ironically, the inspiration for these markings had come from photos in the Luftwaffe magazine Signal which had featured Messerschmitt Bf s of ZG 76 which had carried huge sharkmouths on the nose from early in the war.

The initial group consisted of Curtiss P fighters and personnel made up of ground-crew, pilots and medical and administration staff, the aircraft being shipped to Rangoon directly from the Curtiss factory in Buffalo, NY. That December, a pilot with the group, Eriksen E. Shilling, saw a photo of one of Squadron's P fighters carrying the sharkmouth design and, recalling what he had heard of Japanese folklore stories of their fear of sharks, suggested to Chennault that they adopt the same markings.

Chennault agreed immediately and the design was applied to the AVG aircraft. However, Chennault still wanted a distinctive AVG emblem that could also be applied. Price contacted Walt Disney at his Burbank studio and passed on Chennault's request. In its original form the request asked for the inclusion of the words, 'Flying Tiger Shark' in their Chinese form, but this somehow got lost.

In all, the Disney team created nine designs, each featuring a Bengal tiger, and only one of these designs depicted one in flight. Originally the idea of artist Roy Williams, it was created in its final form by Hank Porter, becoming a flying tiger superimposed on a 'V' for victory and was soon appearing on aircraft and uniform patches where it was carried until the disbandment on 4 July With the formation of the 23rd Fighter Group, the services of Disney were again sought for a unit insignia.

This time the design was completed by Roy Williams and featured a flying tiger shooting down a golden thunderbolt. The design was also worn by the now Brigadier-General Chennault and painted on the nose of his personal C transport. Possibly hand coloured, the photo probably dates from August-September when the shark's teeth first made their appearance with Squadron. The pilot may be Peter Brunton who chose the device as his personal marking, greatly impressing the CO who then decided that all squadron aircraft should be similarly finished, much to the disgust ofBrunton!

Coded S B -J, the aircraft also carried gremlin nose art and the name 'Joybelle' as well as eighteen misson markers. Painted by a talented illustrator of whom nothing is known except his name, Emmett Watson, this illustration appeared on the cover of the Toronto Star Weekly of5 July Toronto Star Thirty-two of the scores of nose artists whose work is featured in this book are listed here.

Of these, one was Czech, two American, six British and twenty-three Canadian. Nine were commissioned officers, three were Flight Sergeants, five were Sergeants, five were Corporals and ten were Leading Aircraftsmen. Wellington QO-F 'F for Fury' was based on an idea approved by the whole crew, it was very colourful when completed.

His wartime art was not confined to aircraft alone. He also painted a large wall mural in the flight room of No 4 hangar at Linton-on-Ouse. This mural depicted the mischievous antics of Canadian airmen in a location called 'Fred's Pub'. It could still be seen in and, as far as is known, may still survive if the building still stands. His work was always in great demand and he would often complete as many as ten cartoons in one day. Today his work can still be seen in his political cartoons in the Cambridge Times newspaper.

Unfortunately, he kept few records of his work but feels that he completed six or seven in addition to painting scores for missions and fighters shot down. His scrap book still contains three of his original nose art sketches but to date, no photos have been found of the artwork that he painted on the Wellingtons.

The nose art on the port side was based on the Esquire pinup for January and was given the name 'Sugar's Blues'. The name came from a very popular wartime swing tune. Additionally, each of KB's twenty-one operational flights was recorded by a little diving girl, based on another Varga figure from the August Varga calendar , and similar in appearance to the trademark of the Jantzen swimming suit company. On the starboard side he painted artwork of a white ghost dropping a bomb.

The inspiration was the Varga Esquire girl for January The diving lady mission markings were inspired by the pinup in the August issue of the magazine Thomas E. Dunn twice painted Halifax NP with nose artwork based on the biblical poem from Luke This is the second version, completed in late June-July and shows the aircraft soon after it had completed 71 missions, the last six being with Squadron where Dunn had painted the nose art.

The stork emblem and name, indicative of the youth of the crew, were painted onto the aircraft by the pilot, Kenneth Blyth. This was made difficult by the fact that the only paints available were quick-drying aircraft dopes in the standard RAF colours.

Refer to page 36 for more details of 'Vicky' and her crew 59 Left: A closeup of Bert Evan's painting on PN, seen after she had completed her last mission with Squadron.

Oddly she wears 17 mission markers although only 13 were recorded by the pilot, Ron Craven 60 Right: Thomas E. The aircraft went on to complete over50 more operations before she was shot down over Hagen on 15 March Thomas E. Dunn 34 and Yellow. At the end of her tour, NP was flown to 0. Thomas E. During his high school years he enrolled in a correspondence course on hand lettering and show card writing.

In order to gain experience, he also took up extra work on small signs, trucks and large wall advertisements. He was first posted to Brandon, Manitoba for basic training after which he was posted to the depot at St.

Thomas, Ontario to undergo training as an aircraft mechanic. After postings to Aylmer, and Rockliffe, both in Ontario, he ended up in Debert, Nova Scotia where he remained until late when he was posted to join 6 Group, Bomber Command, in England. He twice painted a very symbolic piece of nose art with a verse from Luke of the New Testament: "Every valley shall be filled and every mountain and hill shall be brought low". The new nose art consisted of a light blue cloud with three yellow lightning bolts coming from it, passing through a cross and carrying on to strike a swastika and a factory.

NP completed thirteen operations with Sqn, finishing the war Tom was now to paint the same nose art on two Halifaxes, each of a different squadron. Today, this nose art panel is part of the Canadian War Museum collection. PN completed 42 operations before being scrapped at High Ercall in May Tom Dunn recalls that the crew of PN were so impressed with the art work on NP that they wanted the same painted on their aircraft.

He would first mark out the area to be painted in chalked squares, then chalk in a sketch of the design which, when completed, would then be painted in. In photographs, both aircraft look almost identical but, they are different, each having different styles of bombs as mission markers. He was discharged from the RCAF on 24 September and returned to sign-writing in various cities in Ontario, eventually retiring to Kitchener.

Ken Blyth was born in Windsor, Ontario on 30 November , moving to Ottawa in at the age of seven. He received his wings at No. From the beginning, the crew disliked the call-sign J-Jig and persuaded the squadron to change it to J -Johnny. As they were probably the youngest crew on the squadron, they gave NP a very appropriate name, 'Cradle Crew', soon deciding that the application of some nose art was 35 the order of the day.

With limited art talent, Ken Blyth acquired a picture of a stork and applied a similar design, with the stork holding a bomb, to the nose of the aircraft in chalk. Before painting could commence, they were scheduled to fly on an operation.

One of the spectators for the take-off was padre McLeod who asked "what in the blazes have they drawn on the nose? Unable to locate suitable paint for the nose art, Ken completed the design by using aircraft dope, a paint which dries very rapidly, making the painting a difficult job. The correct colours for the artwork were: hat: black; tufts, belly and part of legs: white; arms wings and tail: red; beak: yellow; eyes and bottoms of legs: light blue and the bomb: brown. The name was applied in red with a white outline.

From his early years he showed creative talent in drawing and calligraphy. Following initial training he was posted to No. I mentioned this to the barber and how good she would look on our Halifax bomber and upon leaving the barber handed me the photo of the topless lady.

In the next two weeks I painted her on the port nose of our aircraft and she became 'Vicky'. The painting became a joint effort with me on a ladder and pilot Ron Craven below directing with 'bigger eyes', or 'more hair'. Even the padre got into the act suggesting 'more clothes'. We completed 21 operations, the last thirteen in 'Vicky' and then converted to Canadian-built Lancaster Mk Xs in May Saw Halifax next to 'Vicky' struck by bombs dropped from Lancaster squadron above.

Hali- His overseas posting took him to Bournemouth in England, followed by survival training in Scotland. His advanced flying school was located in Dumfries and from there he was posted successively to the OTU at Honeybourne and then to the Heavy Conversion Unit at Topcliffe. Finally he and the rest of his new crew were ready for operations and they were posted to Goose Squadron at Linton-on-Ouse in Yorkshire.

Noseart completed on 'Vicky'. Without permission he obtained two buckets of issue floor wax and the crew spent the day applying the wax with mops to 'Vicky'. They finished the job by hand-polishing the complete bomber. Craven and crew found that the airspeed of 'Vicky' had increased by 20mph. By World War II, seventy-five thousand troops were. Twin Peaks is about evil in various forms, and poses. A revised edition of the classic, myth-shattering exploration of American family life during the Cold War.

A monumental, groundbreaking work, now in paperback, that shows how technological and strategic revolutions have transformed the battlefield Combining gripping narrative history with wide-ranging analysis, War Made New focuses on four "revolutions" in military affairs and describes how inventions ranging from gunpowder to GPS-guided air strikes have remade the field.

Boneyard Nose Art by Nicholas A. Veronico,Jim Dunn,Ron Strong. The B 29 Superfortress by Robert A. Boeing B 29 Superfortress by John M.

Homeward Bound by Elaine Tyler May. Too Tough to Tame by Richard D. Besides images, there are search aids for locating former in-country Army helicopters. There is a list of 24 recommended Huey photo-books; a tabulation of AH-1 Cobra war survivors, their former units, and present location, also a database of in-country Army helicopter names. These helicopter nose art photos capture that typical and distinctive American war custom of embellishing one's assigned aircraft with personalized markings.

Marshall wrote, "History is shaped by the memories of those who witness it, and the intentions of those who record it. Here in Volume 2 one will find equally astonishing photos on par with Volume 1, together with some self-help and researched info for sure to tease and delight the aficionado or veteran to unknown degrees. Besides the images, there are search aids for locating one's former in-country Army helicopter. The Army museum in Alabama offers a listing they have compiled of two-dozen recommended Huey photo-books.

A tabulation of AH-1 Cobra war survivors, their former units, and present location. Also offered is a database of newly found in-country Army helicopter names. There's a little something for everyone. Intended for friendly rather than enemy eyes, these images—with a wide range of artistic expression—are part of the personal and unit histories of pilots and aircrews. As civilian and military attitudes and rationales for war change from one conflict to the next, changes can also be seen in the iconography of nose art.

Developed as a private venture by the manufacturer, and based on the mechanics of the ubiquitous UH-1 Huey, the Cobra proved a huge success once introduced into combat with the US Army in Built as a key weapon in the Advanced Aerial Fire Support System concept of , the AH-1 was one of the few aircraft to reach the combat zone after actual combat experience went into its design. The AH-1 helped reduce the losses being suffered by vulnerable troop transport helicopters by providing effective fire suppression during airmobile operations.

This book explores its history, technology and crew.