In 1954, France took the decision to become an independent nuclear power, both to try to regain some lost international prestige following WWII, but also to challenge the French industrial base after the ruin of WWII. They succeeded in testing their first bomb, codename Gerboise Bleue in 1960, becoming the fourth nuclear power after the US, USSR, and the UK.

This catchily-subtitled tome by the noted authority on French nuclear programmes, Philippe Wodka-Gallien, is a 94-page soft-bound book containing 108 colour & 58 b/w photos, 20 colour profiles, and 3 colour & 1 b/w maps; It is the latest in Helion’s Europe@War series that examines conflict in Europe from the early twentieth century up to the present day beyond the scope of the two world wars, often lesser-known subjects that deserve a wider audience than hitherto given.

Brief History

From Wikipedia, the free encyclopedia

The Junkers Ju 88 is a German World War II Luftwaffe twin-engine multirole combat aircraft. Junkers Aircraft and Motor Works (JFM) designed the plane in the mid-1930s as a so-called Schnellbomber ("fast bomber") that would be too fast for fighters of its era to intercept. It suffered from technical problems during its development and early operational periods but became one of the most versatile combat aircraft of the war. Like a number of other Luftwaffe bombers, it served as a bomber, dive bomber, night fighter, torpedo bomber, reconnaissance aircraft, heavy fighter and at the end of the war, as a flying bomb.

Green Stuff World’s Liquid Pigments are described as weathering filters with a powdered finish, no fixer required. The liquid pigments come in .57 fluid ounce bottles with a dripper cap. This rust set of colors included

• 2286 orange rust
• 2287 light rust
• 2288 medium rust
• 2289 dark rust
• 2290 verdigris
• 2291 turquoise oxide

My usual method for working with dry pigments is to apply the pigment by dropping onto the surface or applying with a dry brush. The excess pigment is then blown off, and the remainder worked in with a dry brush. The dry pigment is then left as is, or a liquid pigment fixture is applied in more exposed areas. I will also mix dry pigments with water into a thin, certain slurry that is applied by brush. When dry, the pigments can still be worked in with a dry brush, or a wet brush in more extreme cases.