Helga On The Couch
I’m not crying, you’re crying!
this episode was deep man
The best. ☺️
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Name: Rajol
Type: Shuttlecraft
Affiliation: Romulan Star Empire/Starfleet Security
Year: 2270
Background: Romulan shuttlecraft obtained by Starfleet for a deep penetration mission inside Romulan Space. Commander Scott working with Mission Commander Craig and a Starfleet Security team were inserted into Romulan Space and made it to the Atnox Depot, where the beleaguered U.S.S. Confederate was being dissected. They had the correct recognition codes to be allowed in and then stormed the complex, making a beeline for the starship and leaving the shuttle behind.
Appeared in Star Trek: Unlimited #4, Marvel Comics
From @elevageduroyaumedefrancecats: “My Baby Lion ❤️ grrr” #catsofinstagram [source: http://ift.tt/2jgya1V ]
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From @now-they-call-me-blondie, meet Drele !
“My little cupcake Drele😄”
Submit your best cat pictures here for a chance to be featured !
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Paste up sheets and select ads for Star Trek II: The Wrath of Khan. These were distributed to theatres to allow them to advertise showtimes in their local newspapers in the days before desktop publishing. I could go into more detail, but there’s a quite good Wikipedia article that covers it:
A professional known variously as a paste-up artist, layout artist, mechanical artist, production artist, or compositor would cut the type into sections and arrange it carefully across multiple columns. For example, a 15 inch strip could be cut into 3 5-inch sections. Headlines and other typographic elements were often created and supplied separately by the typesetter, leaving it to the paste up artist to determine their final position on the page.
Adhesive was then applied to the back side of these strips, either by applying rubber cement with a brush or passing them through a machine that would apply a wax adhesive. The adhesives were intentionally made semi-permanent, allowing the strips to be removed and moved around the layout if it needed to be changed. The strips would be adhered to a board, usually a stiff white paper on which the artist would draw the publication’s margins and columns, either lightly in pencil or in non-photographic blue ink, a light cyan color that would be ignored by the orthochromatic film used to make printing plates in offset lithography. For magazines, newspapers, and other recurring projects, often the boards would be pre-printed in this color.
Other camera-ready materials like photostats and line art would also be prepared with adhesive and attached to the boards. Continuous-tone photographs would need halftoning, which would require black paper or red film (which photo-imaged the same as black) to be trimmed and placed on the board in place of the image; in the process of creating the negative film for the printing plates, the solid black area would create a clear spot on the negative, called a window. The photographs would be converted to halftone film separately and then positioned in this window to complete the page (although this process was typically performed by a different worker, known as a negative “stripper”).
Images scanned from the originals.
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