Planting with a Limited Color Palette It’S Easier to Create Winning Combinations with Simplified Schemes
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Juices Beverages Sweets Breakfast Toasts
BREAKFAST SERVES UP TO 10 PEOPLE VG CHIA CHARGE $100 Gluten-Free Overnight Oats, Chia Seeds, CATERING MENU Old Chatham Sheep’s Milk Yogurt, HB Raw Wildflower Honey, Blueberry Compote, Banana, HB Granola VG EGG SANDWICH $100 ON 8 GRAIN BREAD Two Over Easy Omega 3 Eggs, HB Honey “Sriracha,” Arugula, 8 Grain Ciabatta CHOOSE ONE: Plainville Farms Turkey Bacon or Mashed Avocado VG QUINOA RANCHERO $110 BEVERAGES POWER BOWL SERVES UP TO 10 PEOPLE Two 8 Minute Omega 3 Eggs, Black Beans, Tri-Color Quinoa, Himalayan Ruby Rice, Roasted Corn, Mango, Jicama Salad, LA COLOMBE COFFEE $30 Seeded Corn Tortilla Crisp V SEASONAL FRUIT SALAD $100 ASSORTED TEAS $30 VG ASSORTED GLUTEN FREE $80 STILL OR SPARKLING WATER $25 BREAKFAST PASTRIES Vegan Options Available FRUIT-INFUSED ICED TEAS $45 Ginger Mango Peach or Pear Green VG MULTI-GRAIN CHIA SEED $50 CROISSANTS GREEN TEA REFRESH $45 Matcha, Peppermint Lime Tea, Cucumber email: [email protected] TOASTS BELGIAN HOT CHOCOLATE $40 @honeybrainslife SERVES UP TO 10 PEOPLE 80% Dark Belgian Chocolate, Raw Wildflower Honey, Choice of Milk V AVOCADO TOAST $110 Crushed Avocado, Lemon, Chia Hemp Flax Seed Medley, Maldon Salt, Infused JUICES Olive Oil, Seeded Sourdough SERVES UP TO 10 PEOPLE SMOKED SALMON TOAST $130 FRESHLY SQUEEZED $25 Atlantic Salmon, Labneh Spread, ORANGE JUICE Cucumber, Fresh Dill, Extra Virgin Olive Oil, Lemon Zest, Sourdough ASSORTED HB $90 COLD PRESSED JUICES VG DARK CHOCOLATE $110 GANACHE PRALINE TOAST ASSORTED HB JUICE SHOTS $35 Toasted Pecan Pralines in Molasses, Banana, HB Raw Wildflower -
Painting Part 3 1
.T 720 (07) | 157 ) v.10 • pt. 3 I n I I I 6 International Correspondence Schools, Scranton, Pa. Painting By DURWARD E. NICHOLSON Technical Writer, International Correspondence Schools and DAVID T. JONES, B.Arch. Director, School of Architecture and the Building Trades International Correspondence Schools 6227C Part 3 Edition 1 International Correspondence Schools, Scranton, Pennsylvania International Correspondence Schools, Canadian, Ltd., Montreal, Canadc Painting \A jo Pa3RT 3 “I find in life lliat most affairs tliat require serious handling are distasteful. For this reason, I have always believed that the successful man has the hardest battle with himself rather than with the other fellow'. By To bring one’s self to a frame of mind and to the proper energy to accomplish things that require plain DURWARD E. NICHOLSON hard work continuously is the one big battle that Technical Writer everyone has. When this battle is won for all time, then everything is easy.” \ International Correspondence Schools —Thomas A. Buckner and DAVID T. JONES, B. Arch. 33 Director, School of Architecture and the Building Trades International Correspondence Schools B Member, American Institute of Architects Member, Construction Specifications Institute Serial 6227C © 1981 by INTERNATIONAL TEXTBOOK COMPANY Printed in the United States of America All rights reserved International Correspondence Schools > Scranton, Pennsylvania\/ International Correspondence Schools Canadian, Ltd. ICS Montreal, Canada ▼ O (7M V\) v-V*- / / *r? 1 \/> IO What This Text Covers . /’ v- 3 Painting Part 3 1. PlGX OLORS ___________________ ________ Pages 1 to 14 The color of paint depends on the colors of the pigments that are mixed with the vehicle. -
Youthbuild Shades of Green
SHADES OF GREEN Table of Contents 1 Design, Layout and Infrastructure 2 Lot Selection 3 Low-Impact Lot Development 4 Foundations and Moisture Management 5 Insulation 6 Floor Framing and Subfloor 7 Exterior Wall Systems 8 Roofing 9 Interior Walls and Trim 10 Exterior Finishes 11 Plumbing, Electrical, and Mechanical 12 Porches, Stairs, Ramps 13 Finishing the Home Interior 14 Concrete Flatwork 15 Sustainable Landscaping 16 Deconstruction TABLE OF CONTENTS i SHADES OF GREEN CHAPTER 1 Design, Layout and Infrastructure Green Design Teams and the Integrated Design Process Integrated design is also known as whole building design or integrated project delivery, and emphasizes good interaction and coordination between building disciplines and building elements. The process aims to bring together all people with a stake in the building—such as financiers, designers, future occupants, developers, and sub-contractors. The group should work to design a building in which all components blend to provide space that is comfortable, functional, efficient and beautiful – a difficult task without a thoughtful team! YouthBuild programs should make sure to include YouthBuild students, neighbors, community representatives, and the electric and gas utility in your community in your home design team. Integrated design is also known as whole building design or integrated project delivery, and emphasizes good interaction and coordination between building disciplines and building elements. The process aims to bring together all people with a stake in the building—such as financiers, designers, future occupants, developers, and sub-contractors. The group should work to design a building in which all components blend to provide space that is comfortable, functional, efficient and beautiful – a difficult task without a thoughtful team! YouthBuild programs should make sure to include YouthBuild students, neighbors, community representatives, and the electric and gas utility in your community in your home design team. -
Colour Chart
posca.com COLOUR CHART THE 55 COLOURS OF CREATION Metallic colours Metallic Gold Gold Gold Gold Gold Gold Gold Silver Silver Silver Silver Silver Silver Silver Bronze Bronze Bronze Metallic blue Metallic blue Metallic blue Metallic violet Metallic violet Metallic pink Metallic pink Metallic pink Metallic red Metallic red Metallic red Metallic green Metallic green Metallic green Fluoro colours Fluoro Fluo pink Fluo pink Red fluo Red fluo Fluo orange Fluo orange Fluo light orange Yellow fluo Yellow fluo Green fluo Glitter colours Glitter Blue Light blue Violet Pink Red Orange Yellow Green Classic colours Classic Black Black Black Black Black Black Black Black White White White White White White White White Grey Grey Grey Grey Grey Dark brown Brown Brown Brown Brown Brown Ivory Ivory Ivory Ivory Beige Beige Beige Beige Navy blue Dark blue Dark blue Dark blue Dark blue Dark blue Dark blue Dark blue Dark blue Light blue Light blue Light blue Light blue Light blue Light blue Light blue Light blue Turquoise Sky blue Sky blue Slate grey Slate grey Slate grey Slate grey Lilac Lilac Violet Violet Violet Violet Violet Violet Fuchsia Pink Pink Pink Pink Pink Pink Pink Pink Corail pink Light pink Light pink Light pink Red Red Red Red Red Red Red Red Dark red Red wine Red wine Red wine Red wine Orange Orange Orange Orange Orange Orange Bright yellow Bright yellow Bright yellow Bright yellow Light orange Light orange Light orange Light orange Light orange Yellow Yellow Yellow Yellow Yellow Yellow Yellow Yellow Straw yellow Straw yellow Straw yellow Apple green Apple green Light green Light green Light green Light green Light green Aqua green Green Green Green Green Green Green Green Green Emerald green Emerald green Khaki green PCF - 350 PC - 1MR PC - 1MC PC - 3M PC - 5M PC - 7M PC - 8K PC - 17K 1-10 mm 0,7 mm 0,7-1 mm 1,8-2,5 mm 4,5-5,5 mm 8 mm 15 mm PC - 3ML Bold Extra bold Brush Ultra fine Extra fine 0,9-1,3 mm Medium Bold Fine. -
Our Approach CICERO Shades of Green Company Assessments
CICERO Shades of Green Company Assessments CICERO Shades of Green presents a novel method- ology for climate risk assessment of companies. We WE NEED TO KNOW WHICH COMPANIES ARE explicitly link environmental and financial by assigning POSITIONED FOR THE FUTURE. BY USING a Shade of Green to a company’s revenues and invest- SHADES OF GREEN, IT HAS MADE IT EASIER FOR ments. US TO COMPARE COMPANIES AND UNDERSTAND TRANSITION AND RISK. WITH THE NEW COMPA- The approach includes an assessment of corporate NY ASSESSMENTS, WE GET WHAT WE NEED AS governance and an analysis of likely alignment with the AN INVESTOR IN ORDER TO FINANCE THE EU Taxonomy. The CICERO Shades of Green Compa- TRANSITION. ny Assessments enable the financial sector to include climate risk assessment into investment decisions and METTE CECILIE SKAUG, PORTFOLIO MANAGER, OSLO PENSJONSFORSIKRING track companies’ transition efforts. Shades of Green - our approach The Shades of Green methodology is rooted in CICERO Center for International Climate Research’s climate science and is used to assess climate risk in the financial market. This method is focused on avoiding lock-in of greenhouse gas emissions over the assets’ lifetime and on promoting transparency in resiliency-planning and strategy. CICERO Shades of Green allocates a shade of green, yellow or red (see figure below) to revenues and investments depending on how well they are aligned with a low-carbon, climate resilient future. The Shades of Green assessment also provides investors and lenders with analysis on the likely alignment to the EU Taxonomy, including a review of the do no significant harm (DNSH) criteria and a high-level review of minimum safeguards. -
Mean Green Interpreting the Emotion of Color (Art + Language)
Mean Green Interpreting the Emotion of Color (art + language) Is there such a thing as an all-black painting, all- green or all-red painting? Yes, there is! American artists around the 1950s turned from abstract expressionism to a movement labeling them colorists. Colorists painted with a monochromatic color palette using variations of one color. Their process was made easier with the introduction of acrylics and acrylic mediums in 1953. Painters like Barnett Newman, Morris Louis, Frank Stella and Ad Reinhardt created paintings in all black. They believed art was art and should be created without rules. This break in approach to art was not popular with art critics. The critics found that a closer look at the monochromatic paintings exhibited details and required more thought. Artists added texture and surface variations to enhance the monochromatic paintings. American colorists changed the artists image from Materials that of realistic human behavior to the use Blick Canvas Panels 11" x 14" (07008-1114), need of color for feelings. They worked to make one per student color and color changes the total emphasis Blickrylic Student Acrylics, need one basic set of of their art. six pints (00711-1049) and one pint each This lesson is great fun, combining one Fluorescent Green (00711-7266) and Magenta color and fun words to describe emotions (00711-3046), share across classroom and meanings to that color. These titles could be wonderful white, riot red or cool Round 10-Well Trays (03041-1010), share one tray blue. Students” paintings turn from between two students monochromatic paintings to 3D collage Dynasty® Fine Ruby Synthetic Brushes, canister paintings when textures and found objects set of 72 assorted (05198-0729), share across are added. -
Edible Seeds and Grains of California Tribes
National Plant Data Team August 2012 Edible Seeds and Grains of California Tribes and the Klamath Tribe of Oregon in the Phoebe Apperson Hearst Museum of Anthropology Collections, University of California, Berkeley August 2012 Cover photos: Left: Maidu woman harvesting tarweed seeds. Courtesy, The Field Museum, CSA1835 Right: Thick patch of elegant madia (Madia elegans) in a blue oak woodland in the Sierra foothills The U.S. Department of Agriculture (USDA) prohibits discrimination in all its pro- grams and activities on the basis of race, color, national origin, age, disability, and where applicable, sex, marital status, familial status, parental status, religion, sex- ual orientation, genetic information, political beliefs, reprisal, or because all or a part of an individual’s income is derived from any public assistance program. (Not all prohibited bases apply to all programs.) Persons with disabilities who require alternative means for communication of program information (Braille, large print, audiotape, etc.) should contact USDA’s TARGET Center at (202) 720-2600 (voice and TDD). To file a complaint of discrimination, write to USDA, Director, Office of Civil Rights, 1400 Independence Avenue, SW., Washington, DC 20250–9410, or call (800) 795-3272 (voice) or (202) 720-6382 (TDD). USDA is an equal opportunity provider and employer. Acknowledgments This report was authored by M. Kat Anderson, ethnoecologist, U.S. Department of Agriculture, Natural Resources Conservation Service (NRCS) and Jim Effenberger, Don Joley, and Deborah J. Lionakis Meyer, senior seed bota- nists, California Department of Food and Agriculture Plant Pest Diagnostics Center. Special thanks to the Phoebe Apperson Hearst Museum staff, especially Joan Knudsen, Natasha Johnson, Ira Jacknis, and Thusa Chu for approving the project, helping to locate catalogue cards, and lending us seed samples from their collections. -
OSHER Color 2021
OSHER Color 2021 Presentation 1 Mysteries of Color Color Foundation Q: Why is color? A: Color is a perception that arises from the responses of our visual systems to light in the environment. We probably have evolved with color vision to help us in finding good food and healthy mates. One of the fundamental truths about color that's important to understand is that color is something we humans impose on the world. The world isn't colored; we just see it that way. A reasonable working definition of color is that it's our human response to different wavelengths of light. The color isn't really in the light: We create the color as a response to that light Remember: The different wavelengths of light aren't really colored; they're simply waves of electromagnetic energy with a known length and a known amount of energy. OSHER Color 2021 It's our perceptual system that gives them the attribute of color. Our eyes contain two types of sensors -- rods and cones -- that are sensitive to light. The rods are essentially monochromatic, they contribute to peripheral vision and allow us to see in relatively dark conditions, but they don't contribute to color vision. (You've probably noticed that on a dark night, even though you can see shapes and movement, you see very little color.) The sensation of color comes from the second set of photoreceptors in our eyes -- the cones. We have 3 different types of cones cones are sensitive to light of long wavelength, medium wavelength, and short wavelength. -
Color Matters
Color Matters Color plays a vitally important role in the world in which we live. Color can sway thinking, change actions, and cause reactions. It can irritate or soothe your eyes, raise your blood pressure or suppress your appetite. When used in the right ways, color can even save on energy consumption. As a powerful form of communication, color is irreplaceable. Red means "stop" and green means "go." Traffic lights send this universal message. Likewise, the colors used for a product, web site, business card, or logo cause powerful reactions. Color Matters! Basic Color Theory Color theory encompasses a multitude of definitions, concepts and design applications. There are enough to fill several encyclopedias. However, there are basic categories of color theory. They are the color wheel and the color harmony. Color theories create a logical structure for color. For example, if we have an assortment of fruits and vegetables, we can organize them by color and place them on a circle that shows the colors in relation to each other. The Color Wheel A color wheel is traditional in the field of art. Sir Isaac Newton developed the first color wheel in 1666. Since then, scientists and artists have studied a number of variations of this concept. Different opinions of one format of color wheel over another sparks debate. In reality, any color wheel which is logically arranged has merit. 1 The definitions of colors are based on the color wheel. There are primary colors, secondary colors, and tertiary colors. Primary Colors: Red, yellow and blue o In traditional color theory, primary colors are the 3 colors that cannot be mixed or formed by any combination of other colors. -
Chalet Nursery Apricot Queen New Zealand Flax
Apricot Queen New Zealand Flax Phormium tenax 'Apricot Queen' Height: 4 feet Spread: 5 feet Spacing: 4 feet Sunlight: Hardiness Zone: (annual) Description: A stunning perennial that has large sword-like leaves that emerge apricot and mature to light yellow with a green margin; beautiful and eye catching as an accent in the garden or massed along borders; also a great center for a Apricot Queen New Zealand Flax mixed container foliage Photo courtesy of NetPS Plant Finder Ornamental Features Apricot Queen New Zealand Flax's attractive large sword-like leaves emerge peach in spring, turning buttery yellow in color with distinctive green edges the rest of the year. Neither the flowers nor the fruit are ornamentally significant. Landscape Attributes Apricot Queen New Zealand Flax is an open herbaceous annual with a more or less rounded form. Its relatively coarse texture can be used to stand it apart from other garden plants with finer foliage. This is a relatively low maintenance plant, and is best Apricot Queen New Zealand Flax cleaned up in early spring before it resumes active growth Photo courtesy of NetPS Plant Finder for the season. Deer don't particularly care for this plant and will usually leave it alone in favor of tastier treats. It has no significant negative characteristics. Apricot Queen New Zealand Flax is recommended for the following landscape applications; - Accent - Mass Planting - General Garden Use - Container Planting 3132 LAKE AVENUE W ILM ETTE, ILLINOIS 60091 847.256.0561 W W W.CHALETNURSERY.COM Planting & Growing Apricot Queen New Zealand Flax will grow to be about 4 feet tall at maturity, with a spread of 5 feet. -
Preparing Monochromatic Images for Publication: Theoretical Considerations and Practical Implications
Downloaded from Preparing Monochromatic Images for Publication: Theoretical Considerations and Practical Implications https://www.cambridge.org/core Jörg Piper Clinic “Meduna”, Clara-Viebig-road 4, D-56864 Bad Bertrich, Germany [email protected] . IP address: Introduction (display, monitor) in appropriate clarity, that is, adequate In light microscopy, monochromatic images are produced luminance, contrast, and tonal values. But severe problems can using monochromatic color filters inserted into the illumi- arise when color prints have to be made from monochromatic 170.106.33.14 nating light path. When compared with true-color images, the images regardless of whether they are carried out as photo image quality can be enhanced by this sort of monochromatic prints (based on the RGB gamut) or as cyan-magenta-yellow- light filtering in special circumstances. In particular, contrast, black (CMYK)-based hardcopies, inkjet, laser, or offset prints. , on sharpness, and lateral resolution can be maximized and In particular, extraordinary difficulties can be apparent when 02 Oct 2021 at 07:44:39 potential chromatic aberration can be avoided. Of course, the high-quality monochromatic RGB images have to be converted specific properties of the specimen and the respective optical into the CMYK color space in order to be processed in a print equipment will determine whether monochromatic light workflow. In this case, it sometimes seems nearly impossible filtering can improve imaging results compared with unfiltered to achieve satisfying results; all types of prints made from the white-light illumination. respective monochromatic image can appear very poor, with Moreover, monochromatic light is intimately involved in low brightness, contrast, and clarity. -
70 SOLID COLORS for All Rubber Tile and Tread Profiles (Excluding Smooth and Hammered R24); Rubber and Vinyl Wall Base; and Rubber Accessories)
70 SOLID COLORS For all rubber tile and tread profiles (excluding Smooth and Hammered R24); rubber and vinyl wall base; and rubber accessories) Q 100 177 Q 150 Q 193 Q 123 Q 114 Q 129 Q 178 black steel blue dark gray black brown charcoal lunar dust dolphin pewter Q 194 148 Q 175 Q 174 197 Q 110 burnt umber steel gray slate smoke iceberg brown Q 147 Q 182 Q 623 Q 624 Q 140 Q 191 Q 125 171 light brown toffee nutmeg chameleon fawn camel fig sandstone Q 130 Q 198 Q 632 Q 184 Q 170 Q 131 127 Q 631 buckskin ivory flax almond white bisque harvest yellow sahara Q 639 640 Q 122 Q 195 663 648 647 646 beigewood creekbed natural light gray aged fern pear green spring dill gecko 160 649 169 662 118 187 139 627 forest green sweet basil hunter green envy peacock blue deep navy mariner 618 665 664 656 654 638 637 655 aubergine horizon blue jay bluebell lagoon cadet night mist peaceful blue 657 658 621 659 186 137 188 617 sorbet berry ice merlin grape red cinnabar brick terracotta 660 661 643 644 642 645 Q 641 Q 161 citrus marmalade mimosa sunbeam jonquil blonde moonrise snow MARBLEIZED COLORS For all rubber tile and tread profiles (excluding Hammered R24). M100 M177 M150 M193 M123 M114 M129 M178 black steel blue dark gray black brown charcoal lunar dust dolphin pewter M194 M148 M175 M174 M197 M110 burnt umber steel gray slate smoke iceberg brown M147 M182 M623 M624 M140 M191 M125 M171 light brown toffee nutmeg chameleon fawn camel fig sandstone M130 M198 M632 M184 M170 M131 M127 M631 buckskin ivory flax almond white bisque harvest yellow sahara M639 M640