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Two Trophies, One Kill, Zero Nazis - Artwork

In the Battle of Britain, the Allies wanted nothing more than to shoot down planes, capture pilots, and prove that all Germans were Nazis. When Uffz. Hans-Georg Schulte was forced to crash-land after the Spitfires of No. 41 and No. 222 RAF squadrons overpowered his Messerschmitt Bf 109E-4, the Allies only got two out of three.

The plane they grounded did not bear the insignia of its group, nor, more importantly, a swastika on its tail. The story behind it was a battle of principle.

Jagdgeschwader 53 was the official name of Uffz. Schulte’s flying wing, but it was better known by its nickname and logo, the "Ace of Spades”. When Hermann Göring was informed that the leader of Jagdgeschwader 53, Hans-Jürgen von Cramon-Taubadel, was married to a Jewish woman, he ordered their insignia removed, and that a red band be painted around the nose of each plane as punishment. The entire squadron responded by removing the swastika from their tails in protest.

The shot down Messerschmitt was put on display in Sheffield as a symbol of Allied success against Nazi tyranny, and to raise money to build more Spitfires, but it should have also been an icon of hope—that love of one’s country does not equal love of its ideology.

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Two Trophies, One Kill, Zero Nazis - Artwork
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Research and Concept

Every image created is based on a real-life historic event. To ensure accuracy, extensive research is carried out to piece together every last detail. In-house concept artists, then, work up several visual ideas – using different views, settings, and perspectives – before a final design is settled upon.

3D Modelling and 3D scanning

Once the concept is established, a 3D model is created using computer-generated imagery. Studying every piece of reference material available, Automobilists’ artists, then, digitally rebuild the vehicle from scratch, slowly constructing layer upon layer with painstaking detail – even down to the last coat of paint.

Photoshoot

With pre-production complete, it’s time to go on-location and start shooting photographs. This stage can last for several days and involves crews of up to 70 people, depending on the concept. The highest grade of professional equipment is used to ensure the highest quality and resolution images, and extensively detailed sets are also built when required.

Composition

The last step in the production process involves consolidating the digital assets to form the final artwork. In this phase, the 3D elements are rendered with the photoshoot imagery, and to this composite, additional elements – such as light, smoke, shadows, dirt, flames, and weather – are added, to bring the piece to life. Only with these details included it is time to print and frame.

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We only use the very best Epson fine art printers, and premium Hahnemühle paper due to its fine texture, which guarantees long lasting color and saturation.

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