This is in my neighborhood. The household includes a little boy who's about five and a little girl less than two, so I suppose a small snowman is appropriate. He has the strangest face I've ever seen on a snowman, where are his eyes?

#SmallCapStocks are different then the stocks being offered by large players operating in the market. Several factors make it a good #investment opportunity. Let us discuss some of the basic elements that collectively, are considered as the trademark of these kinds of #stocks. goo.gl/rq6xYH

[Two more panoramas from the incredible Bryce Canyon]

A hoodoo (also called a tent rock, fairy chimney, and earth pyramid) is a tall, thin spire of rock that protrudes from the bottom of an arid drainage basin or badland. Hoodoos consist of relatively soft rock topped by harder, less easily eroded stone that protects each column from the elements.

Hoodoos form typically in areas where a thick layer of a relatively soft rock, such as mudstone, poorly cemented sandstone or tuff (consolidated volcanic ash), is covered by a thin layer of hard rock, such as well-cemented sandstone, limestone or basalt.

Over time, cracks in the resistant layer allow the much softer rock beneath to be eroded and washed away. Hoodoos are formed where a small cap of the resistant layer remains, and protects a cone of the underlying softer layer from erosion. Further erosion of the soft layer causes the cap to be be undercut, eventually falling off, and the remaining cone is then quickly eroded.

[from wikipedia]

Barbie® bears incredible likeness to the flappers of the 1920s dance scene. Her dress is beaded on orange material with chartreuse, green, gold, and clear beads, and features a skirt made up of separate beaded panels. She wears a bubble-shaped coat of beaded leopard print lined in bright purple satin and trimmed in long brown fur, and dons a small cap covered with chartreuse, green, and gold beads with two blond curls peeking out. Her thigh-high stockings and shoes are painted onto her legs. Jewelry accents include a long chartreuse green beaded necklace and multicolored beaded bracelets. Porcelain body was specially sculpted to achieve "Charleston" posing.

Barbie® bears incredible likeness to the flappers of the 1920s dance scene. Her dress is beaded on orange material with chartreuse, green, gold, and clear beads, and features a skirt made up of separate beaded panels. She wears a bubble-shaped coat of beaded leopard print lined in bright purple satin and trimmed in long brown fur, and dons a small cap covered with chartreuse, green, and gold beads with two blond curls peeking out. Her thigh-high stockings and shoes are painted onto her legs. Jewelry accents include a long chartreuse green beaded necklace and multicolored beaded bracelets. Porcelain body was specially sculpted to achieve "Charleston" posing.

As we know, small businesses with #small #market capitalization are the entities working behind these stocks. Therefore, a business with less liquidity always operates with higher risks and a lower level of sustainability. As an investor, you should always keep in mind the involvement of additional risks in #smallcapstocks and should also keep a rescue plan prepared. goo.gl/rq6xYH

Hoodoo (geology)

A hoodoo (also called a tent rock, fairy chimney, and earth pyramid) is a tall, thin spire of rock that protrudes from the bottom of an arid drainage basin or badland. Hoodoos, which can range from 5-150 feet tall (1.5-45 meters), typically consist of relatively soft rock topped by harder, less easily eroded stone that protects each column from the elements. They generally form within sedimentary rock and volcanic rock formations.[citation needed]

Hoodoos are found mainly in the desert in dry, hot areas. In common usage, the difference between hoodoos and pinnacles or spires is that hoodoos have a variable thickness often described as having a "totem pole-shaped body." A spire, on the other hand, has a smoother profile or uniform thickness that tapers from the ground upward. An example of a single spire, as an earth pyramid, is found at Aultderg Burn, near Fochabers, Scotland.

Hoodoos range in size from that of an average human to heights exceeding a 10-story building. Hoodoo shapes are affected by the erosional patterns of alternating hard and softer rock layers. Minerals deposited within different rock types cause hoodoos to have different colors throughout their height.

Occurrence [edit]

Hoodoos are commonly found in the High Plateaus region of the Colorado Plateau and in the Badlands regions of the Northern Great Plains (both in North America). While hoodoos are scattered throughout these areas, nowhere in the world are they as abundant as in the northern section of Bryce Canyon National Park, located in the U.S. state of Utah (see geology of the Bryce Canyon area).

Hoodoos are a tourist attraction in the Cappadocia region of Turkey where houses have been carved from these formations. These rock formations were depicted on the reverse of the Turkish 50 new lira banknote of 2005–2009.[1][2][3]

In French, they are called demoiselles coiffées ("ladies with hairdos") and a number of them are found in the Alpes-de-Haute-Provence; one of the best-known examples is the formation called Demoiselles Coiffées de Pontis.[4][5]

Đavolja Varoš (Devil's Town) hoodoos in Serbia feature 202 exotic formations described as earth pyramids or "towers", as the locals refer to them. Since 1959, Đavolja Varoš has been protected by the state, and it is also a nominee in the New Seven Wonders of Nature campaign.[6]

The hoodoo stones on the northern coast of Taiwan are unusual for their coastal setting. The stones formed as the seabed rose rapidly out of the ocean during the Miocene epoch.[7] Efforts have been made to slow the erosion in the case of iconic specimens in Wanli.

The hoodoos found in the Drumheller area of Alberta, Canada's badlands are a distinctive feature which continue to attract thousands of visitors each year. These hoodoos in particular formed between 70 and 75 million years ago during the Cretaceous Period as clay and sand sediments from the Horseshoe Canyon Formation were deposited. These hoodoos are able to maintain a unique mushroom-like appearance as the underlying base erodes at a faster rate compared to the capstones, a rate of nearly one centimeter per year, faster than most geologic structures. [8]

Formation [edit]

Hoodoos form typically form in areas where a thick layer of a relatively soft rock, such as mudstone, poorly cemented sandstone or tuff (consolidated volcanic ash), is covered by a thin layer of hard rock, such as well-cemented sandstone, limestone or basalt. In glaciated mountainous valleys the soft eroded material may be glacial till with the protective capstones being large boulders in the till. Over time, cracks in the resistant layer allow the much softer rock beneath to be eroded and washed away. Hoodoos are formed where a small cap of the resistant layer remains, and protects a cone of the underlying softer layer from erosion. Further erosion of the soft layer causes the cap to be undercut, eventually falling off, and the remaining cone is then quickly eroded.[9][10]

Typically, most hoodoos are formed by two weathering processes that continuously work together in eroding the edges of a rock formation. The primary weathering force at Bryce Canyon (as one example) is frost wedging. The hoodoos at Bryce Canyon experience over 200 freeze/thaw cycles each year. In the winter, melting snow, in the form of water, seeps into the cracks and then freezes at night. When water freezes it expands by almost 10%, pries open the cracks bit by bit, making them even wider, much like the way in which a pothole forms in a paved road.

In addition to frost wedging, rain also sculpts these hoodoos. In most places today, the rainwater is slightly acidic which allows the weak carbonic acid to slowly dissolve limestone grain by grain. It is this process that rounds the edges of hoodoos and gives them their lumpy and bulging profiles. Where internal mudstone and siltstone layers interrupt the limestone, you can expect the rock to be more resistant to the chemical weathering because of the comparative lack of limestone. Many of the more durable hoodoos are capped with a special kind of magnesium-rich limestone called dolomite. Dolomite, being fortified by the mineral magnesium, dissolves at a much slower rate, and consequently protects the weaker limestone underneath it. Rain is also the chief source of erosion (the actual removal of the debris). In the summer, monsoon type rainstorms travel through the Bryce Canyon region bringing short duration high intensity rain.[11]

Can’t remember anymore how often we had to explain the user interface of InDesign to our customers. It’s our top 1-support question. Yes, all the magic of OpenType fonts is very well hidden in a sub-submenu of a palette. Every time we explained the menu, their reaction is the same: ‘WTF, that little thing?’. No wonder that the majority of the font users is not aware of the possibilities of OpenType fonts. Even worse, they often think the small caps are missing because they can’t find them. It’s about time that Adobe (but also other developers) improves the OpenType user interface within their applications. Maybe it helps if every Adobe employee is obliged to wear the “triangle plus stripes”-t-shirt until that is fixed?

[slide from our “It’s so technical, so let’s tell it with a comic story”-presentation at Kerning Conference earlier this year in Italy]

Barbie® bears incredible likeness to the flappers of the 1920s dance scene. Her dress is beaded on orange material with chartreuse, green, gold, and clear beads, and features a skirt made up of separate beaded panels. She wears a bubble-shaped coat of beaded leopard print lined in bright purple satin and trimmed in long brown fur, and dons a small cap covered with chartreuse, green, and gold beads with two blond curls peeking out. Her thigh-high stockings and shoes are painted onto her legs. Jewelry accents include a long chartreuse green beaded necklace and multicolored beaded bracelets. Porcelain body was specially sculpted to achieve "Charleston" posing.

Leucoagaricus sp. Small, cap 2 cm. Cheepi Ck., Cairns.

I need to go through and check voltages at all the test points before I fire it up, but it's done. By tonight (assuming it works) I'll know if the design changes I've made were good or tragic.

See that board? It’s made of Garolite G10. It’s really good stuff and it’s a descendant of Bakelite. Bakelite brings up all kinds of memories for me (and most old guys). Phones used to be made of it. In the house where I lived as a kid we had rotary light switches made of it. Garolite is a whole ‘nother critter, though. It comes in a number of colors, but its natural color is a semi-transparent green that seems to catch the light and almost glow. Cutting a piece of Garolite and then turning it into a board for an amp is just plain cool. And its impressive physical qualities make it amazingly well-suited for this use.

Here’s the thing, though. I like using this stuff and it’s really nice, but Fender used paper tagboards for decades and a lot of those old amps are still running just fine. With tagboard there is a chance that heat and age will cause the board to deform a bit and sometimes it will result in broken solder joints. Still, I have a Bassman that I got for my 16th birthday and it’s still behaving like brand-new 30 years later. I mean, it should need new caps, but I haven’t heard anything change very noticeably in the way it sounds yet. If I built you a new amp today using tagboard the board material would outlast the components I soldered to it. Just like this board will. About ten years from now the capacitors will be passing a significant milestone and failure will start to be something you’re gambling on (like me with my old Bassman).

My point is, I didn't build this amp the way I did because Garolite is superior to tagboard or a PCB. I did it because it’s just so freakin’ cool. You can get similar tones using a variety of construction methods, but this is what I choose to build. Not because a hand-wired amp on turret boards is superior to an amp built using a PCB or tagboard or terminal strips, but because I really like amps that are built this way.

By the way, I've been asked why I've got a vintage carbon comp resistor in the bias circuit. The truth is that I was out of the 68K resistors I'd normally use for that and I have a few dozen of those old carbon comps sitting around so I used one. That's actually not a particularly good place for that resistor, but it will do the job. If you look closely you'll notice kind of an odd assortment of 1-watt, 2-watt, 3-watt and 5-watt resistors in this particular amp and that's mostly a case of what I had sitting around. The big 5-watters are overkill. They aren't a bad thing, but they're unnecessary. I was more concerned with the values used here than I was with any kind of OCD symmetry. I think of the Bassman/JTM45 as the greatest rock amp of all time, but not without a few reservations and I'm working on addressing those with some simple changes. Of course, what I think of as "improvements" others may well consider to be "damage." So much of this stuff is subjective.

Here's a common one. The Bassman and the JTM45 used high values for the cathode bypass capacitor. The common values are 330 uF and 250 uF, but a lot of people thought the JTM45 had too much bass and sounded "farty" because the low-frequency range of Marshall cabs was prone to breaking up in kind of an unpleasant way if they saw too much bass. So later Marshall switched to a .68 uF cathode bypass capacitor which attenuates pretty much everything below 1 KHz, which makes the harmonics on later Marshall amps louder than the fundamental (which I don't like at all). I more or less agree that some low bass can go on a guitar amp you intend to run distorted, although guys who like it clean go even higher. Jerry Garcia ran his Twins with a 1500 uF cap. I've settled on a 2 uF cap. It rolls off some lows, but doesn't gut the meaty mids the way a smaller cap does. All very subjective, though. There are probably a lot of people who'd think my choice is a bad choice.

The Boulevard Turtleneck Sweater Dress in Gray is an excellent basic for your closet. A large cowl neck has slight gatherings at the scooped seam. Small cap sleeves give you options for layering. A long luxurious bodice allow you to wear it as a short sweater dress or a long top. Size small is 28" down the center of the back. Sleeves measure 9" long. 60% Rayon, 15% Cotton, 5%, 20% Nylon. Imported.

Get it while it's available at www.lulus.com/!

Barbie® bears incredible likeness to the flappers of the 1920s dance scene. Her dress is beaded on orange material with chartreuse, green, gold, and clear beads, and features a skirt made up of separate beaded panels. She wears a bubble-shaped coat of beaded leopard print lined in bright purple satin and trimmed in long brown fur, and dons a small cap covered with chartreuse, green, and gold beads with two blond curls peeking out. Her thigh-high stockings and shoes are painted onto her legs. Jewelry accents include a long chartreuse green beaded necklace and multicolored beaded bracelets. Porcelain body was specially sculpted to achieve "Charleston" posing.

Another one for tonight (once that hand was loose it kind of only started being fun)

Had a go at Aaron’s recipe of yesterday. Seemed so impossible at first but was actually fun and kinda nice. I like the "E".

TypeCooker «pro» recipe:

width: extended

weight: extra light

construction: cap + small cap

stroke endings: a serif

ascender: shorter than normal

descender: no descender

contrast type: expansion (pointed nib)

contrast amount: inverted contrast

stems: slightly concave

intended application: signage

intended size: display

special: rough contours

Priror to 1901, the Inverness Burgh Police force wore helmets, and it would appear that only the four Sergeants (and probably the Inspector) wore the large brass Maltese Cross with Victorian crown on top, and with a silver circular centre-piece depicting the Burgh coat of arms with the force title on a circlet.

Constables it would seem only wore the centrepiece as their hat device. As now, expenditure would be a primary consideration back then, and the chances of a Sergeant losing his helmet in an affray were much less likely than one of the Constables.

Upon the death of Queen Victoria, the need to remove the Victorian crown from hat insignia was the catalyst for a sea-change in police headgear. An opportunity was available to completely change (and get rid of the expensive helmets). The shako (pill-box) cap was popular as being sued by the military, so this was introduced by many forces, including Inverness Burgh. A smaller hat meant smaller insignia - and it would appear that the force commissioned a local jeweller/silversmith to produce a run of small cap badges based on the Burgh coat of arms, These badges, very detailed, are unusual in that they have a brooch fastening rather than pin-loops, which suggests a maker more au fait with jewellery than with hat badges.

The 1901 cap badge is clearly based on a carving of the Burgh coat of arms on the side of Inverness Town Hall, directly opposite where the police office then was. The only problem was that such design appears not have been approved by the Lord Lyon King of Arms, because the supporters (dromedary & elephant) have all four feet on the ground, instead of rampant.

Hence in 1911, the design (a thinner pressing rather than a moulding) was changed to conform - but sadly the quality of badge was much less, and the top banner liable to break off.

That second cap badge, which was also worn by some other Burgh employees, albeit in different metal, continued in use until 1930 when the Scottish National crest ("Semper Vigilo") was adopted.

Tradition (and policemen) can be stubborn however, and at least one photo taken in the 1920s does exist where the officer (by then a Sergeant) is still wearing the "old" cap badge, which presumably he had "saved".

In recent times, the newly formed City of Inverness Pipe Band adopted the post-1911 badge as their glengarry badge but in gilt effect, and also had the 1901 version embroidered on their pipe bag covers.

The coat of arms of the Royal Burgh of Inverness comprised an elephant and a dromedary supporting shield(s) with Christ on ther Cross.Atop the shield was a cornucopia (horn of plenty) surmounted by a banner bearing the motto "Concordia et Fideiitas" : Concord and Fidelity, or Harmony and Honesty. Intriguingly at soem time in the past that motto has been reversed - in the 17th Century the then new bridge across the River Ness had the motto Fidlitas et Concordia (but otherwise similar coat of arms) on its date plate.

Such an event puts a positive impact on values of the #stocks of involved companies and consequently share owner who receives benefits. Moreover, the fruitfulness of a successful merger or acquisition is something that elevates the market value of #stocks as well

#SmallCapStocks

A fairy chimney is a conical rock formation, typically found in the Cappadocia region of Turkey. It consists of a cap of hard rock resting on a cone-shaped pinnacle of softer rock. In Cappadocia, houses have been carved from these formations, and they make a popular tourist destination.

The geology of areas where fairy chimneys form typically comprises a thick layer of tuff (consolidated volcanic ash), covered by a thin layer of basalt or other volcanic rocks that are more resistant to erosion than the underlying tuff. Over time, cracks in the basalt allow the much softer tuff to be eroded and washed away. Fairy chimneys are formed where a small cap or boulder of the original basalt remains, and protects a cone of tuff beneath it from erosion. Eventually, the tuff will be undercut to the extent that the cap falls off, and the remaining cone is then quickly eroded.

Above you can see Mount Erciyes, Mt. Argaeus in ancient times, a massive stratovolcano located 25 km south of Kayseri, Turkey, home to the Erciyes Ski Resort, between fairy chimneys near Urgup. The volcano is heavily eroded, but may have erupted as recently as 253 BC, as may be depicted on Roman era coins. Strabo wrote that in his time the summit was never free from snow and that those few who ascended it could see both the Black Sea and the Mediterranean.

See more about Cappadocia at voyageanatolia.blogspot.com

Read more about Ancient Cappadocia.

C.E. Weber Schriftgießerei

7 Stuttgart Postfach 340

ABC der Trump-Schriften* und bewährte Schriften unseres Gußprogramms

* Originalschriften nach Entwürfen von Prof. Georg Trump München

L Schadow-Antiqua mager

M Schadow-Antiqua Werk

N Schadow-Antiqua kursiv

O Schadow-Antiqua halbfett

P Schadow-Antiqua fett

Q Schadow-Antiqua schmalfett

R Forum I

S Forum II

T Palomba

U Amati

V Codex

W Signum

X Time-Script mager

Y Time-Script halbfett

Z Time-Script fett

There is no ‘J’ in this alphabet. All in all, Trump published 32 to 34 typeface designs, depending on how you count. The missing ones are City fett, City halbfett, Trump-Deutsch and Trump-Deutsch mager (for H. Berthold AG) and the three styles of Mauritius that were released by Weber in 1968. № 33 would be the light cut of City, added in 1937, seven years after the initial two styles. It is not listed in Vita activa as a design by Trump. № 34 is Trump-Mediäval Kapitälchen – the small caps have their own entry in that list.

New font by Ale Paul for www.sudtipos.com

--

Get the font MyFonts with a 35% introductory price > www.myfonts.com/fonts/sudtipos/auberge-script/

ABOUT AUBERGE SCRIPT

It took me a long time, but I think I now understand why people of my generation and older feel the need to frame current events in an historical context or precedents, while most of the young couldn't care less about what happened ten years ago, let alone centuries back. After living for a few decades, you get to a point when time seems to be moving quite fast, and it’s humbling to see that your entire existence so far can be summed up in a paragraph or two which may or may not be useful to whoever ends up reading the stuff anyhow. I suppose one way to cope with the serenity of aging is trying to convince yourself that your life and work are really an extension of millenia of a species striving to accept, adapt to, and improve the human condition through advancing the many facets of civilization -- basically making things more understandable and comfortable for ourselves and each other while we go about doing whatever it is we are trying to do. And when you do finally convince yourself of that, history becomes a source of much solace and even a little premonition, so you end up spending more time there.

Going far back into the history of what I do, one can easily see that for the most part it was ruled by the quill. Western civilization’s writing was done with quill pens for more than thirteen centuries and with newer instruments for about two. By the mid-18th century, the height of the quill experience, various calligraphy techniques could be discerned and writing styles were arranged in distinct categories. There are many old books that showcase the history of it all. I recommend looking at some whenever the urge comes calling and you have to get away from backlit worlds.

Multiple sources usually help me get a better perspective on the range of a specific script genre, so many books served as reference to this quill font of mine. Late 17th century French and Spanish professional calligraphy guides were great aides in understanding the ornamental scope of what the scribes were doing back then. The French books, with their showings of the Ronde, Bâtarde and Coulée alphabets, were the ones I referenced the most. So I decided to name the font Auberge, a French word for hotel or inn, because I really felt like a guest in different French locales (and times) when I going through all that stuff.

Because it is multi-sourced, Auberge does not strictly fit in a distinct quill pen category. Instead, it shows strong hints of both Bâtarde and Coulée alphabets. And like most of my fonts, it is an exercise in going overboard with alternates, swashes, and ornamental devices. Having worked with it for a while, I find it most suitable for display calligraphic setting in general, but it works especially well for things like wine labels and event invitations. It also shines in the original quill pen application purpose, which of course was stationery. Also, as it just occurred to me, if you find yourself in a situation where you have to describe your entire life in 50 words or less, you may as well make it look good and swashy, so Auberge would probably be a good fit there as well.

This is one quill script that no large bird had to die for.

A few technical notes

The Auberge Script Pro version includes 1800 glyphs, everything is included there. Also latin language support. We recommend you to use the latest design application to have full access to alternates, swashes, small caps, ornaments, etc. The images from the gallery uses this version. For better results use the fonts with “liga” feature on.

Awards

During 2014 the early develop of Auberge Script was chosen to be part of Tipos Latinos, the most important type exhibition in South America.

Take a look of the complet project at on.be.net/15Yq5XY

Tubbs' No. 2080. An example of a wood type which contains small-caps, as well as lower-case.

Russula sp. Small, cap 4cm. Redden Island.

Mosquitoes were horrific, luckily I had an adequate supply of repellent.

Yellow oyster (yellow and white), pom pom (egg shaped), beach (small cap), royal trumpet (large stem), maitake (dark brown on plastic wrapped growing log, and oyster (light gray) mushrooms on display at the U.S. Department of Agriculture (USDA) farmers markets and Harvest Festival at the USDA Whitten Building east parking lot in Washington, DC, on Friday, November 22, 2013. USDA photo by Lance Cheung.

A virtual panorama of shitake mushrooms growing on sawdust and cereal log, yellow oyster (yellow and white), pom pom (egg shaped), beach (small cap), royal trumpet (large stem), maitake (dark brown on plastic wrapped growing log, and oyster (light gray) mushrooms Yellow oyster (yellow and white), pom pom (egg shaped), beach (small cap), royal trumpet (large stem), maitake (dark brown on plastic wrapped growing log, and oyster (light gray) mushrooms on display at the U.S. Department of Agriculture (USDA) farmers markets and Harvest Festival at the USDA Whitten Building east parking lot in Washington, DC, on Friday, November 22, 2013. USDA photo by Lance Cheung.

Every now and then I feel a dire urge to tackle one of the Dorvack PA kits from the pile, and in early 2021 it was about time to build the next one. This one is canonical, and close to the OOB offering, even though it is not an original kit but rather a re-release (2008) from Aoshima’s PAC-48 twin combo kit. The PAC-48C “Doldian” is a bit obscure, though, because I have never seen this type (or better: its armament) in the OAV. It’s probably the usual alternative to the canonical model variants from the series.

Even though the Dorvack PAs are rather simple kits, they need some skill because the parts do not fit THAT well. However, you have to keep in mind that the molds were created in the early 80ies, as a quick merchandising shot for a new "Real Robot" TV series that were all the rage in Japan at that time, even though the series eventually flopped. The designs are also older than Yokoyama Kow's Ma.K./ZbV3000/Maschinenkrieger stuff, which they actually inspired!

The kit and its assembly:

Since I lacked an “authentic” PAC-48G in my collection, I decided to build the kit only with little modifications/improvements and stick to the OOB livery. As such, the only physical mods include slightly twisted legs (feet canted outwards for a more natural stance) and left arm, and I added some jet nozzles inside of the jump jet exhausts on the back. Fine plastic mesh was added to the gun and to the air intake on the back, in an attempt to hide the lack of depth in the orifices behind it.

To my surprise, the body parts of the kit were molded in an almost translucent, deep purple styrene with added mica pigments!? Weird. The kit went together quite well, but I have enough experience with these PAs to avoid the biggest troubles. For instance, I expanded the joints were plastic hits plastic, and the lower leg construction of the PAC-48, with its integral stabilizer jets on the heels, just does not fit properly.

Painting and markings:

The paint scheme is OOB, and I was lucky to have an original Gunze Sangyo PAC-48G kit and its instructions at hand, because they are better illustrated than the Aoshima documentation. For instance, the Aoshima painting instructions lack a rear view and respective details. The old document also shows better the different shades of metallic grey in which the model is to be painted, and lacks the fact that the helmet, the gun and a small cap/bulge on top of the air intake are in a slightly darker tone than the overall hull of this PA.

The basic overall tone became Humbrol 53 (Gun Metal; OOB this is a mix of silver and steel), a simple but suitable solution, after considering some other tones at hand, including car paints. The previously mentioned, darker sections on the gun and the hull were painted with a 3:1 mix of Humbrol 53 and 22 (Gloss Black), for a subtle difference.

Other hull sections like the upper legs and right arm were painted with Revell 09 (Anthracite), a very dark grey. The original instructions suggest something close to German WWII Panzergrau. The helmet’s front half was painted with Humbrol 19 (Gloss Red), the jump jet nozzle fairing became orange (Humbrol 18, originally it is supposed to be fluorescent orange, but found that rather cheesy) and the smaller veneer jet nozzles were painted with Revell 310 (Lufthansa Yellow). The “chest box” became bright white, a good contrast to the dull rest of this PA.

Deviating slightly from the original, I painted the ball joints on the arms and knees in Revell 91 (Iron Metallic), which is slightly brighter than Humbrol 53. Originally they are supposed to be painted matt dark grey, too, but IMHO this does not make them look like joints at all?

Another personal change is the visor slit’s design; the original PAC-48G features an opaque black surface with a silver/steel frame on the red helmet background, but I changed this into a black frame with a chrome PET foil inlay, with an OOB decal on top. The foil insert was also a cheap trick to hide the recessed seam of the hull halves that runs right down the visor slit, making it hard to sand it away or use putty.

As per usual, the kit received a black ink wash for weathering and some dry-brushing for light effects and panel shading. I also gave the metallic surfaces a treatment with grinded graphite, enhancing the metallic shine and giving the model a noticeably worn look that adds some seriousness to the colorful PA - after all, it is a piece of military equipment, fighting an alien invasion! Once the kit had been prepared this far, decals were added. All stencils and markings come from the PAC-48G's OOB sheet, which is quite exhaustive for such a small model.

After some more detail painting work the PA was sealed with matt acrylic varnish, and I gave the model a dusting with grey-brown mineral artist pigments, simulating dust in general and mud crusts around the feet in specific.

Another member for the growing Dorvack PA family, there are already more than 20 of them in the collection! The PAC-48G was still missing, and it was a quick build, but while the kit itself went together with relatively few problems, but I did not change much and could concentrate on the inherent flaws. It did not end up 100% authentic, and - in hindsight - the Gun Metal as basic color unfortunately turned out to be a little too dark and dull for the model, the Doldian does not look too spectacular in this rather greyish livery.

Barbie® bears incredible likeness to the flappers of the 1920s dance scene. Her dress is beaded on orange material with chartreuse, green, gold, and clear beads, and features a skirt made up of separate beaded panels. She wears a bubble-shaped coat of beaded leopard print lined in bright purple satin and trimmed in long brown fur, and dons a small cap covered with chartreuse, green, and gold beads with two blond curls peeking out. Her thigh-high stockings and shoes are painted onto her legs. Jewelry accents include a long chartreuse green beaded necklace and multicolored beaded bracelets. Porcelain body was specially sculpted to achieve "Charleston" posing.

Every now and then I feel a dire urge to tackle one of the Dorvack PA kits from the pile, and in early 2021 it was about time to build the next one. This one is canonical, and close to the OOB offering, even though it is not an original kit but rather a re-release (2008) from Aoshima’s PAC-48 twin combo kit. The PAC-48C “Doldian” is a bit obscure, though, because I have never seen this type (or better: its armament) in the OAV. It’s probably the usual alternative to the canonical model variants from the series.

Even though the Dorvack PAs are rather simple kits, they need some skill because the parts do not fit THAT well. However, you have to keep in mind that the molds were created in the early 80ies, as a quick merchandising shot for a new "Real Robot" TV series that were all the rage in Japan at that time, even though the series eventually flopped. The designs are also older than Yokoyama Kow's Ma.K./ZbV3000/Maschinenkrieger stuff, which they actually inspired!

The kit and its assembly:

Since I lacked an “authentic” PAC-48G in my collection, I decided to build the kit only with little modifications/improvements and stick to the OOB livery. As such, the only physical mods include slightly twisted legs (feet canted outwards for a more natural stance) and left arm, and I added some jet nozzles inside of the jump jet exhausts on the back. Fine plastic mesh was added to the gun and to the air intake on the back, in an attempt to hide the lack of depth in the orifices behind it.

To my surprise, the body parts of the kit were molded in an almost translucent, deep purple styrene with added mica pigments!? Weird. The kit went together quite well, but I have enough experience with these PAs to avoid the biggest troubles. For instance, I expanded the joints were plastic hits plastic, and the lower leg construction of the PAC-48, with its integral stabilizer jets on the heels, just does not fit properly.

Painting and markings:

The paint scheme is OOB, and I was lucky to have an original Gunze Sangyo PAC-48G kit and its instructions at hand, because they are better illustrated than the Aoshima documentation. For instance, the Aoshima painting instructions lack a rear view and respective details. The old document also shows better the different shades of metallic grey in which the model is to be painted, and lacks the fact that the helmet, the gun and a small cap/bulge on top of the air intake are in a slightly darker tone than the overall hull of this PA.

The basic overall tone became Humbrol 53 (Gun Metal; OOB this is a mix of silver and steel), a simple but suitable solution, after considering some other tones at hand, including car paints. The previously mentioned, darker sections on the gun and the hull were painted with a 3:1 mix of Humbrol 53 and 22 (Gloss Black), for a subtle difference.

Other hull sections like the upper legs and right arm were painted with Revell 09 (Anthracite), a very dark grey. The original instructions suggest something close to German WWII Panzergrau. The helmet’s front half was painted with Humbrol 19 (Gloss Red), the jump jet nozzle fairing became orange (Humbrol 18, originally it is supposed to be fluorescent orange, but found that rather cheesy) and the smaller veneer jet nozzles were painted with Revell 310 (Lufthansa Yellow). The “chest box” became bright white, a good contrast to the dull rest of this PA.

Deviating slightly from the original, I painted the ball joints on the arms and knees in Revell 91 (Iron Metallic), which is slightly brighter than Humbrol 53. Originally they are supposed to be painted matt dark grey, too, but IMHO this does not make them look like joints at all?

Another personal change is the visor slit’s design; the original PAC-48G features an opaque black surface with a silver/steel frame on the red helmet background, but I changed this into a black frame with a chrome PET foil inlay, with an OOB decal on top. The foil insert was also a cheap trick to hide the recessed seam of the hull halves that runs right down the visor slit, making it hard to sand it away or use putty.

As per usual, the kit received a black ink wash for weathering and some dry-brushing for light effects and panel shading. I also gave the metallic surfaces a treatment with grinded graphite, enhancing the metallic shine and giving the model a noticeably worn look that adds some seriousness to the colorful PA - after all, it is a piece of military equipment, fighting an alien invasion! Once the kit had been prepared this far, decals were added. All stencils and markings come from the PAC-48G's OOB sheet, which is quite exhaustive for such a small model.

After some more detail painting work the PA was sealed with matt acrylic varnish, and I gave the model a dusting with grey-brown mineral artist pigments, simulating dust in general and mud crusts around the feet in specific.

Another member for the growing Dorvack PA family, there are already more than 20 of them in the collection! The PAC-48G was still missing, and it was a quick build, but while the kit itself went together with relatively few problems, but I did not change much and could concentrate on the inherent flaws. It did not end up 100% authentic, and - in hindsight - the Gun Metal as basic color unfortunately turned out to be a little too dark and dull for the model, the Doldian does not look too spectacular in this rather greyish livery.

Every now and then I feel a dire urge to tackle one of the Dorvack PA kits from the pile, and in early 2021 it was about time to build the next one. This one is canonical, and close to the OOB offering, even though it is not an original kit but rather a re-release (2008) from Aoshima’s PAC-48 twin combo kit. The PAC-48C “Doldian” is a bit obscure, though, because I have never seen this type (or better: its armament) in the OAV. It’s probably the usual alternative to the canonical model variants from the series.

Even though the Dorvack PAs are rather simple kits, they need some skill because the parts do not fit THAT well. However, you have to keep in mind that the molds were created in the early 80ies, as a quick merchandising shot for a new "Real Robot" TV series that were all the rage in Japan at that time, even though the series eventually flopped. The designs are also older than Yokoyama Kow's Ma.K./ZbV3000/Maschinenkrieger stuff, which they actually inspired!

The kit and its assembly:

Since I lacked an “authentic” PAC-48G in my collection, I decided to build the kit only with little modifications/improvements and stick to the OOB livery. As such, the only physical mods include slightly twisted legs (feet canted outwards for a more natural stance) and left arm, and I added some jet nozzles inside of the jump jet exhausts on the back. Fine plastic mesh was added to the gun and to the air intake on the back, in an attempt to hide the lack of depth in the orifices behind it.

To my surprise, the body parts of the kit were molded in an almost translucent, deep purple styrene with added mica pigments!? Weird. The kit went together quite well, but I have enough experience with these PAs to avoid the biggest troubles. For instance, I expanded the joints were plastic hits plastic, and the lower leg construction of the PAC-48, with its integral stabilizer jets on the heels, just does not fit properly.

Painting and markings:

The paint scheme is OOB, and I was lucky to have an original Gunze Sangyo PAC-48G kit and its instructions at hand, because they are better illustrated than the Aoshima documentation. For instance, the Aoshima painting instructions lack a rear view and respective details. The old document also shows better the different shades of metallic grey in which the model is to be painted, and lacks the fact that the helmet, the gun and a small cap/bulge on top of the air intake are in a slightly darker tone than the overall hull of this PA.

The basic overall tone became Humbrol 53 (Gun Metal; OOB this is a mix of silver and steel), a simple but suitable solution, after considering some other tones at hand, including car paints. The previously mentioned, darker sections on the gun and the hull were painted with a 3:1 mix of Humbrol 53 and 22 (Gloss Black), for a subtle difference.

Other hull sections like the upper legs and right arm were painted with Revell 09 (Anthracite), a very dark grey. The original instructions suggest something close to German WWII Panzergrau. The helmet’s front half was painted with Humbrol 19 (Gloss Red), the jump jet nozzle fairing became orange (Humbrol 18, originally it is supposed to be fluorescent orange, but found that rather cheesy) and the smaller veneer jet nozzles were painted with Revell 310 (Lufthansa Yellow). The “chest box” became bright white, a good contrast to the dull rest of this PA.

Deviating slightly from the original, I painted the ball joints on the arms and knees in Revell 91 (Iron Metallic), which is slightly brighter than Humbrol 53. Originally they are supposed to be painted matt dark grey, too, but IMHO this does not make them look like joints at all?

Another personal change is the visor slit’s design; the original PAC-48G features an opaque black surface with a silver/steel frame on the red helmet background, but I changed this into a black frame with a chrome PET foil inlay, with an OOB decal on top. The foil insert was also a cheap trick to hide the recessed seam of the hull halves that runs right down the visor slit, making it hard to sand it away or use putty.

As per usual, the kit received a black ink wash for weathering and some dry-brushing for light effects and panel shading. I also gave the metallic surfaces a treatment with grinded graphite, enhancing the metallic shine and giving the model a noticeably worn look that adds some seriousness to the colorful PA - after all, it is a piece of military equipment, fighting an alien invasion! Once the kit had been prepared this far, decals were added. All stencils and markings come from the PAC-48G's OOB sheet, which is quite exhaustive for such a small model.

After some more detail painting work the PA was sealed with matt acrylic varnish, and I gave the model a dusting with grey-brown mineral artist pigments, simulating dust in general and mud crusts around the feet in specific.

Another member for the growing Dorvack PA family, there are already more than 20 of them in the collection! The PAC-48G was still missing, and it was a quick build, but while the kit itself went together with relatively few problems, but I did not change much and could concentrate on the inherent flaws. It did not end up 100% authentic, and - in hindsight - the Gun Metal as basic color unfortunately turned out to be a little too dark and dull for the model, the Doldian does not look too spectacular in this rather greyish livery.

We are proud to announce the release of a new Koziupa & Paul font.

Coche is a different kind of work from Koziupa and Paul. It is a connected script with a strong corporate feeling that aims to fill a gap in modern product branding. Coche means automobile, and one can easily envision a car's logo set with this font. Coche comes loaded with alternates and a complete set of small caps that nicely complement the caps and lowercase.

This is the font for the modern designer-as-jockey who loves mix-and-play typography. Coche covers all Latin-based languages.

More fonts > Visit Sudtipos

A warbler of willow thickets in the West and across Canada, the Wilson's Warbler is easily identified by its yellow underparts and black cap.

F/11, 1/640th, ISO 640, 1D M3, 300mm f/2.8 + Kenko 2x ext and natural early morning light.

cross section: Larrea

magnification: 100x

common name: Creosote

Berkshire Community College Bioscience Image Library

The leaves of Larrea show numerous structural adaptations that extend their tolerance to drought and desiccation.

The epidermis consists of a single layer of small compact and heavily cutinized cells. Most epidermal cells contain dark staining deposits of waterproofing resins. Long epidermal hairs and stomata are present over the entire leaf surface. Stomata are roofed by epidermal cells with ledge like extension of cutin and overlay large substomatal chambers.

Two or three rows of tightly packed palisade mesophyll are present below the adaxial and abaxial epidermis. Spongy mesophyll is reduced to a narrow central band that supports the vascular bundles. In some preparations resins may be seen lining the stomatal cavities and coating the outsides of palisade cells. Idioblasts containing crystals of calcium oxalate are abundantly distributed through both mesophylls.

Small, centrally located vascular bundles span the breadth of the leaf. The bundles are collateral and closed with xylem of vessels and tracheids towards the adaxial(upper) surface and phloem of sieve tubes and companion cells towards the abaxial (bottom) surface. Cambium is not present.

Each vascular bundle is wrapped by a bundle sheath and supported towards adaxial and abaxial surfaces by small caps of supportive sclerenchyma. Abaxial caps are especially well developed.

Technical Questions:bioimagesoer@gmail.com

Item Title: American fashions, 1897

Description/Notes: Two women are standing in an elegant room. The woman on the left is in a high-collared light olive green dress with small leg o'; mutton sleeves. Her dress has black floral pattern bands across the skirt in diagonals. The same black pattern forms the lapels of the bodice,and a v shaped decorations at the wrists. Lace ruffles adorn her wrists and create a ruff at the neck. Her small cap is made of rose pink flowers and green leaves. The woman on the right is in a high-collared red dress with black stripes as decoration. She wears a yellow blouse. The bodice is open at the front and edged with three graduated black bands forming v shapes. The collar is black with a round jeweled pin at the center front. Black stripes decorate the pleated oversleeves, the hems of the sleeves, and create a faux peplum at the hips. White lace ruffles edge the neck and wrists. She is wearing a black hat of many bows, with a yellow plume, and a sparkling buckle. She holds a small book in her hand, resting it on the table behind her. Both women are wearing round gold earrings and white gloves. Behind the women is a table with a green table cloth, with a gold box on top, an arm chair, a large oriental vase on a stand filled with a potted palm, and large windows with tied white half curtains.

Original Collection: Fashion Plate Collection, 19th Century

Item Number: fpc00503.tif

Permissions: For more information on copyright or permissions for this image, please contact Ella Strong Dension Library.

Click here for the original item.

See the Fashion Plate Collection, 19th Century for the original collection.

Every now and then I feel a dire urge to tackle one of the Dorvack PA kits from the pile, and in early 2021 it was about time to build the next one. This one is canonical, and close to the OOB offering, even though it is not an original kit but rather a re-release (2008) from Aoshima’s PAC-48 twin combo kit. The PAC-48C “Doldian” is a bit obscure, though, because I have never seen this type (or better: its armament) in the OAV. It’s probably the usual alternative to the canonical model variants from the series.

Even though the Dorvack PAs are rather simple kits, they need some skill because the parts do not fit THAT well. However, you have to keep in mind that the molds were created in the early 80ies, as a quick merchandising shot for a new "Real Robot" TV series that were all the rage in Japan at that time, even though the series eventually flopped. The designs are also older than Yokoyama Kow's Ma.K./ZbV3000/Maschinenkrieger stuff, which they actually inspired!

The kit and its assembly:

Since I lacked an “authentic” PAC-48G in my collection, I decided to build the kit only with little modifications/improvements and stick to the OOB livery. As such, the only physical mods include slightly twisted legs (feet canted outwards for a more natural stance) and left arm, and I added some jet nozzles inside of the jump jet exhausts on the back. Fine plastic mesh was added to the gun and to the air intake on the back, in an attempt to hide the lack of depth in the orifices behind it.

To my surprise, the body parts of the kit were molded in an almost translucent, deep purple styrene with added mica pigments!? Weird. The kit went together quite well, but I have enough experience with these PAs to avoid the biggest troubles. For instance, I expanded the joints were plastic hits plastic, and the lower leg construction of the PAC-48, with its integral stabilizer jets on the heels, just does not fit properly.

Painting and markings:

The paint scheme is OOB, and I was lucky to have an original Gunze Sangyo PAC-48G kit and its instructions at hand, because they are better illustrated than the Aoshima documentation. For instance, the Aoshima painting instructions lack a rear view and respective details. The old document also shows better the different shades of metallic grey in which the model is to be painted, and lacks the fact that the helmet, the gun and a small cap/bulge on top of the air intake are in a slightly darker tone than the overall hull of this PA.

The basic overall tone became Humbrol 53 (Gun Metal; OOB this is a mix of silver and steel), a simple but suitable solution, after considering some other tones at hand, including car paints. The previously mentioned, darker sections on the gun and the hull were painted with a 3:1 mix of Humbrol 53 and 22 (Gloss Black), for a subtle difference.

Other hull sections like the upper legs and right arm were painted with Revell 09 (Anthracite), a very dark grey. The original instructions suggest something close to German WWII Panzergrau. The helmet’s front half was painted with Humbrol 19 (Gloss Red), the jump jet nozzle fairing became orange (Humbrol 18, originally it is supposed to be fluorescent orange, but found that rather cheesy) and the smaller veneer jet nozzles were painted with Revell 310 (Lufthansa Yellow). The “chest box” became bright white, a good contrast to the dull rest of this PA.

Deviating slightly from the original, I painted the ball joints on the arms and knees in Revell 91 (Iron Metallic), which is slightly brighter than Humbrol 53. Originally they are supposed to be painted matt dark grey, too, but IMHO this does not make them look like joints at all?

Another personal change is the visor slit’s design; the original PAC-48G features an opaque black surface with a silver/steel frame on the red helmet background, but I changed this into a black frame with a chrome PET foil inlay, with an OOB decal on top. The foil insert was also a cheap trick to hide the recessed seam of the hull halves that runs right down the visor slit, making it hard to sand it away or use putty.

As per usual, the kit received a black ink wash for weathering and some dry-brushing for light effects and panel shading. I also gave the metallic surfaces a treatment with grinded graphite, enhancing the metallic shine and giving the model a noticeably worn look that adds some seriousness to the colorful PA - after all, it is a piece of military equipment, fighting an alien invasion! Once the kit had been prepared this far, decals were added. All stencils and markings come from the PAC-48G's OOB sheet, which is quite exhaustive for such a small model.

After some more detail painting work the PA was sealed with matt acrylic varnish, and I gave the model a dusting with grey-brown mineral artist pigments, simulating dust in general and mud crusts around the feet in specific.

Another member for the growing Dorvack PA family, there are already more than 20 of them in the collection! The PAC-48G was still missing, and it was a quick build, but while the kit itself went together with relatively few problems, but I did not change much and could concentrate on the inherent flaws. It did not end up 100% authentic, and - in hindsight - the Gun Metal as basic color unfortunately turned out to be a little too dark and dull for the model, the Doldian does not look too spectacular in this rather greyish livery.

Starbucks shows some concern for the environment but they put huge caps on their Cold Coffee bottles. I suggested using smaller caps or have a re-use plan where they can be turned in to a store and re-used (after sterilization). I got no reply.

cross section: Larrea

magnification: 100x

common name: Creosote

Berkshire Community College Bioscience Image Library

The leaves of Larrea show numerous structural adaptations that extend their tolerance to drought and desiccation.

The epidermis consists of a single layer of small compact and heavily cutinized cells. Most epidermal cells contain dark staining deposits of waterproofing resins. Long epidermal hairs and stomata are present over the entire leaf surface. Stomata are roofed by epidermal cells with ledge like extension of cutin and overlay large substomatal chambers.

Two or three rows of tightly packed palisade mesophyll are present below the adaxial and abaxial epidermis. Spongy mesophyll is reduced to a narrow central band that supports the vascular bundles. In some preparations resins may be seen lining the stomatal cavities and coating the outsides of palisade cells. Idioblasts containing crystals of calcium oxalate are abundantly distributed through both mesophylls.

Small, centrally located vascular bundles span the breadth of the leaf. The bundles are collateral and closed with xylem of vessels and tracheids towards the adaxial(upper) surface and phloem of sieve tubes and companion cells towards the abaxial (bottom) surface. Cambium is not present.

Each vascular bundle is wrapped by a bundle sheath and supported towards adaxial and abaxial surfaces by small caps of supportive sclerenchyma. Abaxial caps are especially well developed.

Technical Questions:bioimagesoer@gmail.com

(Front - rear) Beach (small cap), royal trumpet (large stem) mushrooms on display at the U.S. Department of Agriculture (USDA) farmers markets and Harvest Festival at the USDA Whitten Building east parking lot in Washington, DC, on Friday, November 22, 2013. USDA photo by Lance Cheung.

Vectora is the corporate font for SML Universe. SML picked it mostly for his love for Adrian Frutiger. Another criteria which makes Vectora special is that Frutiger designed it after realizing that there was a need for sans serif type that could be read easily at small sizes, which in many ways make it ideal for designers who love setting tiny type. Yet more of importance to SML, is that it is not a very popular font, as such the typography set by SML would not look like everyone else’s, yet its character has all the sweetness seen in other more popular Frutiger fonts such as of course the Frutiger and Avenir family. The only unfortunate thing with using a not-so-popular font is that it does not have the niceties which SML cares about, such as real small caps and figure numerals (aka x-height numerals). So SML is considering drawing his own some time soon unless of course Linotype would be so kind to consider creating Vectora Next or equivalent.

www.linotype.com/1577/Vectora-family.html

Corporate font for SML Universe: Vectora by Adrian Frutiger, Linotype / SML.20130324.SC.Linotype.Vectora

/ #SMLScreenshots #CCBY #SMLOpinions #SMLUniverse #SMLBrands

/ #Vectora #typography #identity #design #branding #Frutiger #AdrianFrutiger #Linotype #opinions #fonts #screenshots #hongkong #china #corporateidentity #brands

cross section: Larrea

magnification: 100x

common name: Creosote

Berkshire Community College Bioscience Image Library

The leaves of Larrea show numerous structural adaptations that extend their tolerance to drought and desiccation.

The epidermis consists of a single layer of small compact and heavily cutinized cells. Most epidermal cells contain dark staining deposits of waterproofing resins. Long epidermal hairs and stomata are present over the entire leaf surface. Stomata are roofed by epidermal cells with ledge like extension of cutin and overlay large substomatal chambers.

Two or three rows of tightly packed palisade mesophyll are present below the adaxial and abaxial epidermis. Spongy mesophyll is reduced to a narrow central band that supports the vascular bundles. In some preparations resins may be seen lining the stomatal cavities and coating the outsides of palisade cells. Idioblasts containing crystals of calcium oxalate are abundantly distributed through both mesophylls.

Small, centrally located vascular bundles span the breadth of the leaf. The bundles are collateral and closed with xylem of vessels and tracheids towards the adaxial(upper) surface and phloem of sieve tubes and companion cells towards the abaxial (bottom) surface. Cambium is not present.

Each vascular bundle is wrapped by a bundle sheath and supported towards adaxial and abaxial surfaces by small caps of supportive sclerenchyma. Abaxial caps are especially well developed.

Technical Questions:bioimagesoer@gmail.com

cross section: Larrea

magnification: 40x

common name: Creosote

Berkshire Community College Bioscience Image Library

The leaves of Larrea show numerous structural adaptations that extend their tolerance to drought and desiccation.

The epidermis consists of a single layer of small compact and heavily cutinized cells. Most epidermal cells contain dark staining deposits of waterproofing resins. Long epidermal hairs and stomata are present over the entire leaf surface. Stomata are roofed by epidermal cells with ledge like extension of cutin and overlay large substomatal chambers.

Two or three rows of tightly packed palisade mesophyll are present below the adaxial and abaxial epidermis. Spongy mesophyll is reduced to a narrow central band that supports the vascular bundles. In some preparations resins may be seen lining the stomatal cavities and coating the outsides of palisade cells. Idioblasts containing crystals of calcium oxalate are abundantly distributed through both mesophylls.

Small, centrally located vascular bundles span the breadth of the leaf. The bundles are collateral and closed with xylem of vessels and tracheids towards the adaxial(upper) surface and phloem of sieve tubes and companion cells towards the abaxial (bottom) surface. Cambium is not present.

Each vascular bundle is wrapped by a bundle sheath and supported towards adaxial and abaxial surfaces by small caps of supportive sclerenchyma. Abaxial caps are especially well developed.

Technical Questions:bioimagesoer@gmail.com

cross section: Larrea

magnification: 100x

common name: Creosote

Berkshire Community College Bioscience Image Library

The leaves of Larrea show numerous structural adaptations that extend their tolerance to drought and desiccation.

The epidermis consists of a single layer of small compact and heavily cutinized cells. Most epidermal cells contain dark staining deposits of waterproofing resins. Long epidermal hairs and stomata are present over the entire leaf surface. Stomata are roofed by epidermal cells with ledge like extension of cutin and overlay large substomatal chambers.

Two or three rows of tightly packed palisade mesophyll are present below the adaxial and abaxial epidermis. Spongy mesophyll is reduced to a narrow central band that supports the vascular bundles. In some preparations resins may be seen lining the stomatal cavities and coating the outsides of palisade cells. Idioblasts containing crystals of calcium oxalate are abundantly distributed through both mesophylls.

Small, centrally located vascular bundles span the breadth of the leaf. The bundles are collateral and closed with xylem of vessels and tracheids towards the adaxial(upper) surface and phloem of sieve tubes and companion cells towards the abaxial (bottom) surface. Cambium is not present.

Each vascular bundle is wrapped by a bundle sheath and supported towards adaxial and abaxial surfaces by small caps of supportive sclerenchyma. Abaxial caps are especially well developed.

Technical Questions:bioimagesoer@gmail.com

cross section: Larrea

magnification: 100x

common name: Creosote

Berkshire Community College Bioscience Image Library

The leaves of Larrea show numerous structural adaptations that extend their tolerance to drought and desiccation.

The epidermis consists of a single layer of small compact and heavily cutinized cells. Most epidermal cells contain dark staining deposits of waterproofing resins. Long epidermal hairs and stomata are present over the entire leaf surface. Stomata are roofed by epidermal cells with ledge like extension of cutin and overlay large substomatal chambers.

Two or three rows of tightly packed palisade mesophyll are present below the adaxial and abaxial epidermis. Spongy mesophyll is reduced to a narrow central band that supports the vascular bundles. In some preparations resins may be seen lining the stomatal cavities and coating the outsides of palisade cells. Idioblasts containing crystals of calcium oxalate are abundantly distributed through both mesophylls.

Small, centrally located vascular bundles span the breadth of the leaf. The bundles are collateral and closed with xylem of vessels and tracheids towards the adaxial(upper) surface and phloem of sieve tubes and companion cells towards the abaxial (bottom) surface. Cambium is not present.

Each vascular bundle is wrapped by a bundle sheath and supported towards adaxial and abaxial surfaces by small caps of supportive sclerenchyma. Abaxial caps are especially well developed.

Technical Questions:bioimagesoer@gmail.com

Every now and then I feel a dire urge to tackle one of the Dorvack PA kits from the pile, and in early 2021 it was about time to build the next one. This one is canonical, and close to the OOB offering, even though it is not an original kit but rather a re-release (2008) from Aoshima’s PAC-48 twin combo kit. The PAC-48C “Doldian” is a bit obscure, though, because I have never seen this type (or better: its armament) in the OAV. It’s probably the usual alternative to the canonical model variants from the series.

Even though the Dorvack PAs are rather simple kits, they need some skill because the parts do not fit THAT well. However, you have to keep in mind that the molds were created in the early 80ies, as a quick merchandising shot for a new "Real Robot" TV series that were all the rage in Japan at that time, even though the series eventually flopped. The designs are also older than Yokoyama Kow's Ma.K./ZbV3000/Maschinenkrieger stuff, which they actually inspired!

The kit and its assembly:

Since I lacked an “authentic” PAC-48G in my collection, I decided to build the kit only with little modifications/improvements and stick to the OOB livery. As such, the only physical mods include slightly twisted legs (feet canted outwards for a more natural stance) and left arm, and I added some jet nozzles inside of the jump jet exhausts on the back. Fine plastic mesh was added to the gun and to the air intake on the back, in an attempt to hide the lack of depth in the orifices behind it.

To my surprise, the body parts of the kit were molded in an almost translucent, deep purple styrene with added mica pigments!? Weird. The kit went together quite well, but I have enough experience with these PAs to avoid the biggest troubles. For instance, I expanded the joints were plastic hits plastic, and the lower leg construction of the PAC-48, with its integral stabilizer jets on the heels, just does not fit properly.

Painting and markings:

The paint scheme is OOB, and I was lucky to have an original Gunze Sangyo PAC-48G kit and its instructions at hand, because they are better illustrated than the Aoshima documentation. For instance, the Aoshima painting instructions lack a rear view and respective details. The old document also shows better the different shades of metallic grey in which the model is to be painted, and lacks the fact that the helmet, the gun and a small cap/bulge on top of the air intake are in a slightly darker tone than the overall hull of this PA.

The basic overall tone became Humbrol 53 (Gun Metal; OOB this is a mix of silver and steel), a simple but suitable solution, after considering some other tones at hand, including car paints. The previously mentioned, darker sections on the gun and the hull were painted with a 3:1 mix of Humbrol 53 and 22 (Gloss Black), for a subtle difference.

Other hull sections like the upper legs and right arm were painted with Revell 09 (Anthracite), a very dark grey. The original instructions suggest something close to German WWII Panzergrau. The helmet’s front half was painted with Humbrol 19 (Gloss Red), the jump jet nozzle fairing became orange (Humbrol 18, originally it is supposed to be fluorescent orange, but found that rather cheesy) and the smaller veneer jet nozzles were painted with Revell 310 (Lufthansa Yellow). The “chest box” became bright white, a good contrast to the dull rest of this PA.

Deviating slightly from the original, I painted the ball joints on the arms and knees in Revell 91 (Iron Metallic), which is slightly brighter than Humbrol 53. Originally they are supposed to be painted matt dark grey, too, but IMHO this does not make them look like joints at all?

Another personal change is the visor slit’s design; the original PAC-48G features an opaque black surface with a silver/steel frame on the red helmet background, but I changed this into a black frame with a chrome PET foil inlay, with an OOB decal on top. The foil insert was also a cheap trick to hide the recessed seam of the hull halves that runs right down the visor slit, making it hard to sand it away or use putty.

As per usual, the kit received a black ink wash for weathering and some dry-brushing for light effects and panel shading. I also gave the metallic surfaces a treatment with grinded graphite, enhancing the metallic shine and giving the model a noticeably worn look that adds some seriousness to the colorful PA - after all, it is a piece of military equipment, fighting an alien invasion! Once the kit had been prepared this far, decals were added. All stencils and markings come from the PAC-48G's OOB sheet, which is quite exhaustive for such a small model.

After some more detail painting work the PA was sealed with matt acrylic varnish, and I gave the model a dusting with grey-brown mineral artist pigments, simulating dust in general and mud crusts around the feet in specific.

Another member for the growing Dorvack PA family, there are already more than 20 of them in the collection! The PAC-48G was still missing, and it was a quick build, but while the kit itself went together with relatively few problems, but I did not change much and could concentrate on the inherent flaws. It did not end up 100% authentic, and - in hindsight - the Gun Metal as basic color unfortunately turned out to be a little too dark and dull for the model, the Doldian does not look too spectacular in this rather greyish livery.

New font by Ale Paul for www.sudtipos.com

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Get the font MyFonts with a 35% introductory price > www.myfonts.com/fonts/sudtipos/auberge-script/

ABOUT AUBERGE SCRIPT

It took me a long time, but I think I now understand why people of my generation and older feel the need to frame current events in an historical context or precedents, while most of the young couldn't care less about what happened ten years ago, let alone centuries back. After living for a few decades, you get to a point when time seems to be moving quite fast, and it’s humbling to see that your entire existence so far can be summed up in a paragraph or two which may or may not be useful to whoever ends up reading the stuff anyhow. I suppose one way to cope with the serenity of aging is trying to convince yourself that your life and work are really an extension of millenia of a species striving to accept, adapt to, and improve the human condition through advancing the many facets of civilization -- basically making things more understandable and comfortable for ourselves and each other while we go about doing whatever it is we are trying to do. And when you do finally convince yourself of that, history becomes a source of much solace and even a little premonition, so you end up spending more time there.

Going far back into the history of what I do, one can easily see that for the most part it was ruled by the quill. Western civilization’s writing was done with quill pens for more than thirteen centuries and with newer instruments for about two. By the mid-18th century, the height of the quill experience, various calligraphy techniques could be discerned and writing styles were arranged in distinct categories. There are many old books that showcase the history of it all. I recommend looking at some whenever the urge comes calling and you have to get away from backlit worlds.

Multiple sources usually help me get a better perspective on the range of a specific script genre, so many books served as reference to this quill font of mine. Late 17th century French and Spanish professional calligraphy guides were great aides in understanding the ornamental scope of what the scribes were doing back then. The French books, with their showings of the Ronde, Bâtarde and Coulée alphabets, were the ones I referenced the most. So I decided to name the font Auberge, a French word for hotel or inn, because I really felt like a guest in different French locales (and times) when I going through all that stuff.

Because it is multi-sourced, Auberge does not strictly fit in a distinct quill pen category. Instead, it shows strong hints of both Bâtarde and Coulée alphabets. And like most of my fonts, it is an exercise in going overboard with alternates, swashes, and ornamental devices. Having worked with it for a while, I find it most suitable for display calligraphic setting in general, but it works especially well for things like wine labels and event invitations. It also shines in the original quill pen application purpose, which of course was stationery. Also, as it just occurred to me, if you find yourself in a situation where you have to describe your entire life in 50 words or less, you may as well make it look good and swashy, so Auberge would probably be a good fit there as well.

This is one quill script that no large bird had to die for.

A few technical notes

The Auberge Script Pro version includes 1800 glyphs, everything is included there. Also latin language support. We recommend you to use the latest design application to have full access to alternates, swashes, small caps, ornaments, etc. The images from the gallery uses this version. For better results use the fonts with “liga” feature on.

Awards

During 2014 the early develop of Auberge Script was chosen to be part of Tipos Latinos, the most important type exhibition in South America.

Take a look of the complet project at on.be.net/15Yq5XY

Yellow oyster (yellow and white), beach (small cap), royal trumpet (large stem), maitake (dark brown on plastic wrapped growing log, and oyster (light gray) mushrooms Yellow oyster (yellow and white), pom pom (egg shaped), beach (small cap), royal trumpet (large stem), maitake (dark brown on plastic wrapped growing log, and oyster (light gray) mushrooms on display at the U.S. Department of Agriculture (USDA) farmers markets and Harvest Festival at the USDA Whitten Building east parking lot in Washington, DC, on Friday, November 22, 2013. USDA photo by Lance Cheung.