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Ochre Art Supplies 101 White 134 Crimson 169 Caput Mortuum 223 Deep Red 102 Cream 135 Red Violet 170 May Gree
Ochre Art Supplies www.fluffymilk.com 101 White 134 Crimson 169 Caput Mortuum 223 Deep Red 102 Cream 135 Red Violet 170 May Green 225 Dark Red 103 Ivory 136 Purple Violet 171 Light Green 226 Alizarin Crimson 104 Light Yellow Glaze 137 Blue Violet 172 Earth Green 230 Cold Grey 105 Light Cad Yellow 138 Violet 173 Olive Green Yellowish 231 Cold Grey 106 Light Chrome Yellow 140 Light Ultramarine 174 Chrome Green Opaque 232 Cold Grey 107 Cad Yellow 141 Delft Blue 175 Dark Sepia 233 Cold Grey 1V 108 Dark Cad Yellow 142 Madder 176 VanDyck Brown 234 Cold Grey V 109 Dark Chrome Yellow 143 Cobalt Blue 177 Walnut Brown 235 Cold Grey V 110 Phthalo Blue 144 Cobalt Blue Greenish 178 Nougat 246 Prussian Blue 111 Cadmium Orange 145 Light Phthalo Blue 179 Bistre 247 Indanthrene Blue 112 Leaf Green 146 Sky Blue 180 Raw Umber 249 Mauve 113 Orange Glaze 149 Bluish Turquoise 181 Paynes Grey 250 Gold 115 Dark Cad Orange 151 Helio Blue-Reddish 182 Brown Ochre 251 Silver 117 Light Cad Red 152 Mid Phthalo Blue 183 Light Yellow Ochre 252 Copper 118 Scarlet Red 153 Cobalt Turquoise 184 Dark Naples Ochre 263 Caput Mortuum Violet 119 Light Magenta 154 Light Cobalt Turquoise 185 Naples Yellow 264 Dark Phthalo Green 120 Ultramarine 155 Helio Turquoise 186 Terracotta 266 Perm Green 121 Pale Geranium Lake 156 Cobalt Green 187 Burnt Ochre 267 Pine Green 123 Fuchsia 157 Dark Indigo 188 Sanguine 268 Green Gold 124 Rose Carmine 158 Deep Cobalt Green 189 Cinnamon 270 Warm Grey 125 Mid Purple Pink 159 Hookers Green 190 Venetian Red 271 Warm Grey 126 Perm Carmine 160 Manganese -
Clothing of Kansas Women, 1854-1870
CLOTHING OF KANSAS WOMEN 1854 - 1870 by BARBARA M. FARGO B. A., Washburn University, 1956 A MASTER'S THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF SCIENCE Department of Clothing, Textiles and Interior Design KANSAS STATE UNIVERSITY Manhattan, Kansas 1969 )ved by Major Professor ACKNOWLEDGMENTS The author wishes to express sincere appreciation to her adviser, Dr. Jessie A. Warden, for her assistance and guidance during the writing of this thesis. Grateful acknowledgment also is expressed to Dr. Dorothy Harrison and Mrs. Helen Brockman, members of the thesis committee. The author is indebted to the staff of the Kansas State Historical Society for their assistance. TABLE OP CONTENTS PAGE ACKNOWLEDGMENT ii INTRODUCTION AND PROCEDURE 1 REVIEW OF LITERATURE 3 CLOTHING OF KANSAS WOMEN 1854 - 1870 12 Wardrobe planning 17 Fabric used and produced in the pioneer homes 18 Style and fashion 21 Full petticoats 22 Bonnets 25 Innovations in acquisition of clothing 31 Laundry procedures 35 Overcoming obstacles to fashion 40 Fashions from 1856 44 Clothing for special occasions 59 Bridal clothes 66 SUMMARY AND CONCLUSIONS 72 REFERENCES 74 LIST OF PLATES PLATE PAGE 1. Bloomer dress 15 2. Pioneer woman and child's dress 24 3. Slat bonnet 30 4. Interior of a sod house 33 5. Children's clothing 37 6. A fashionable dress of 1858 42 7. Typical dress of the 1860's 47 8. Black silk dress 50 9. Cape and bonnet worn during the 1860's 53 10. Shawls 55 11. Interior of a home of the late 1860's 58 12. -
“Al-Tally” Ascension Journey from an Egyptian Folk Art to International Fashion Trend
مجمة العمارة والفنون العدد العاشر “Al-tally” ascension journey from an Egyptian folk art to international fashion trend Dr. Noha Fawzy Abdel Wahab Lecturer at fashion department -The Higher Institute of Applied Arts Introduction: Tally is a netting fabric embroidered with metal. The embroidery is done by threading wide needles with flat strips of metal about 1/8” wide. The metal may be nickel silver, copper or brass. The netting is made of cotton or linen. The fabric is also called tulle-bi-telli. The patterns formed by this metal embroidery include geometric figures as well as plants, birds, people and camels. Tally has been made in the Asyut region of Upper Egypt since the late 19th century, although the concept of metal embroidery dates to ancient Egypt, as well as other areas of the Middle East, Asia, India and Europe. A very sheer fabric is shown in Ancient Egyptian tomb paintings. The fabric was first imported to the U.S. for the 1893 Chicago. The geometric motifs were well suited to the Art Deco style of the time. Tally is generally black, white or ecru. It is found most often in the form of a shawl, but also seen in small squares, large pieces used as bed canopies and even traditional Egyptian dresses. Tally shawls were made into garments by purchasers, particularly during the 1920s. ملخص البحث: التمي ىو نوع من انواع االتطريز عمى اقمشة منسوجة ويتم ىذا النوع من التطريز عن طريق لضم ابر عريضة بخيوط معدنية مسطحة بسمك 1/8" تصنع ىذه الخيوط من النيكل او الفضة او النحاس.واﻻقمشة المستخدمة في صناعة التمي تكون مصنوعة اما من القطن او الكتان. -
HP750 Product Bulletin
® Avery Dennison HP750 High Performance Cut Vinyl Film Series Opaque Permanent Revision: 3 Dated: 01/06/20 Uses: ® 3.0 mil (76 microns) high gloss Avery Dennison HP750 High Performance films are Face: premium quality, flexible, opaque solid color high gloss high performance film vinyl films designed for use in a wide range of sign making applications. This construction provides excellent Adhesive: Patented Advanced Acrylic Adhesive Technology (PAAAT) cutting, weeding and transferring characteristics for signage applications. This product is ideal for a variety Liner: 78# Bleached Kraft of intermediate term outdoor projects. Application Flat, Simple Curves Surfaces: Features: ● Patented Advanced Acrylic Adhesive Technology (PAAAT) enhances shelf life and results in best-in-class weeding ● Broadest color palette in the industry for color confidence ● Efficient and precise conversion on commercial and craft plotters ● Outstanding durability and color fastness ● High-gloss finish ● Excellent UV, temperature, humidity and salt spray performance ● Pantone® color reference makes design easy Conversion: ● Thermal Die-Cutting ● Thermal Transfer ● Steel Rule Die-Cut ● Drum Roller Sign-Cut Common Applications: ● Trucks ● Cars & Vans ● Buses ● Trailers ● Trains & Light Rail ● OEM Durable Decals ● Architectural Signage Product Data Sheet Page 1 of 6 ® Avery Dennison HP750 High Performance Cut Vinyl Film Series Opaque Permanent Revision: 3 Dated: 01/06/20 HP750-440-O Red 6 HP750-445-O Fire Red 6 HP750-450-O Dark Red 6 HP750-460-O -
Paint Colors for the Hummer-Series Lightweight Models This Is a Work in Progress – Version April 15, 2011
Paint Colors for the Hummer-series Lightweight Models This is a work in progress – Version April 15, 2011 What colors were the Harley Hummer and related lightweight models painted? One would think this was an easy question to answer. The Club had previously used Harley-Davidson’s General Engineering Standard 30143 as the authority for colors available on these models. H-D provided us a copy of the 1950-1969 sections of this document way back in 1983. Recent examination showed a considerable number of errors in that document. We embarked on an effort to compare all other available factory documentation to produce a consolidated and authoritative list. We compared GES with two other primary documents: The Legend Begins (99403-93), and 1958-1966 Lightweights Parts / Service Colors and Accessories (99444-93), both of which are still available from Harley- Davidson. We also used a number of secondary Harley-Davidson documents. General Engineering Standard 30143 (“GES”) provides a comprehensive list of the “standard” and “special” paint colors used by the Motor Company for each year and model. The format of GES presents some problems - some colors were standard on big twins, but optional on Hummers, and the format does not allow for this distinction. GES is resplendent with typographical errors and other inaccuracies. Notably, it shows the Hummer “B” model in 1953 and 1954, but the B model was not produced until 1955. The Legend Begins (TLB) was a tremendous effort to document the early years of the Motor Company. TLB documents through text descriptions, and Season Order Blanks (SOB) (through 1957), the standard production of each year and model. -
Brochure Colour Chart New Masters Classic Acrylics
New Master Classic Acryllic Colours NEW MASTERS C L S A I C S S L I C A C R Y Pigment Identification A601 TITANIUM WHITE PW6 B682 INDIGO EXTRA PB15:2 - PR177 - PBL7 B826 IRIDESCENT SILVER MICA - PBL7 - PW6 NEW MASTERS A602 ZINC WHITE PW4 B683 CYAN BLUE PW4 - PB15:2 - PB29 B827 IRIDESCENT PEWTER MICA - PBL7 - PB15:2 - PW6 C A603 TITANIUM WHITE EXTRA OPAQUE PW6 A684 OLD HOLLAND BLUE LIGHT PW6 - PB15:2 B828 IRIDESCENT BRIGHT GOLD MICA - PW6 L S A604 MIXED WHITE PW6-PW4 C685 MANGANESE BLUE EXTRA PB15 - PB35 - PG50 B829 IRIDESCENT ROYAL GOLD MICA - PW6 A C A605 OLD HOLLAND YELLOW LIGHT PW6-PY184 E686 CERULEAN BLUE PB35 B830 IRIDESCENT BRONZE MICA - PW6 S L I A606 TITANIUM BUFF LIGHT PW6-PY42 A687 OLD HOLLAND BLUE MEDIUM PW6 - PB29 - PB15:2 B831 IRIDESCENT LIGHT COPPER MICA - PW6 S Y A607 TITANIUM BUFF DEEP PW6-PY42-PBR7 B688 OLD HOLLAND BLUE-GREY PW6 - PB29 - PBL7 B832 IRIDESCENT DEEP COPPER MICA - PW6 I C C R B608 OLD HOLLAND YELLOW MEDIUM PW6-PY184 F689 CERULEAN BLUE DEEP PB36 A B609 OLD HOLLAND YELLOW DEEP PW6-PY43 B690 PHTHALO BLUE TURQUOISE PB15:6 - PG7 ‘EXTRA’ means: Traditional colour made from lightfast pigment B610 BRILLIANT YELLOW LIGHT PW6-PY53 C691 PHTHALO BLUE GREEN SHADE PB16 B611 BRILLIANT YELLOW PW6-PY53 D692 COBALT BLUE TURQUOISE PB36 Chemical Composition B612 BRILLIANT YELLOW REDDISH PW6-PY53-PR188 E693 COBALT BLUE TURQUOISE LIGHT PG50 B613 NAPLES YELLOW REDDISH EXTRA PW6-PO73-PY53 B694 PHTHALO GREEN TURQUOISE PG7 - PB15:2 PW 4 ZINC OXIDE B614 FLESH TINT PW6-PR122-PR101 B695 PHTHALO GREEN BLUE SHADE PG7 PW 6 TITANIUM DIOXIDE -
Kenyon Collegian College Archives
Digital Kenyon: Research, Scholarship, and Creative Exchange The Kenyon Collegian College Archives 5-10-1961 Kenyon Collegian - May 10, 1961 Follow this and additional works at: https://digital.kenyon.edu/collegian Recommended Citation "Kenyon Collegian - May 10, 1961" (1961). The Kenyon Collegian. 2157. https://digital.kenyon.edu/collegian/2157 This News Article is brought to you for free and open access by the College Archives at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in The Kenyon Collegian by an authorized administrator of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. rvn c Ul M Mli i i u vr 4 JOURNAL OF SYNDROMATIC ACADEMIA V- Jr I 7 f j J T- i 7nTyWv 4 f 1 K ITT if yrTTiiHSsp iar SHwi L such MAY 5 CENTS CANADA AND THE CONGO 1200 speech at Kenyon I ment I than 1UU colleges ner of a 1957 Academy Award here IN THE RENOVATOR Letters to the Editor 2 Renovator Cops Award 3 Faculty in Washington 3 HI JjllljWlWrtr The Last Laugh 4 Words of Wisdom 4 Survey Ranks Kenyon First 5 New Books 5 H U A C 6 From the Lunch Box 6 7 Kenyon Goes Co- ed 8 The Best of Hika 8 James Reston Praises Us New Library 9 Rugby Team Replaces Gentlemen Renovation 9 I wish to congratulate you for your marvelous last issue Never Published daily by the Faculty twice a year have I come across such fine re- porting in a collegiate newspaper Your staff is evidently a very smooth- running and well trained organization Letters To The Editor Throughout -
Pastels À L'écu
5VOLETPastel+GMmis jour011206.qxd 01/12/2006 14:40 Page 5 PASTELS À L’ÉCU TENDRES EXTRA SURFINS SOFT moderne depuis 1887 5VOLETPastel+GMmis jour011206.qxd 01/12/2006 14:39 Page 1 BLEU INTENSE VIOLET DE GARANCE INTENSE BLUE MADDER VIOLET INTENSIVBLAU KRAPPVÏOLETT AZUL INTENSO VIOLETA GRANZA BLU INTENSO VIOLLETTO DI ROBBIA 463464 465 466467 468 470 309 310 311 313 315 BLEU INDIGO VIOLET MAGENTA INDIGO MAGENTA VIOLET INDIGO MAGNETAVIOLETT INDIGO MORADO MAGENTA INDIGO VIOLA MAGENTA 133 134 135 136137 138139 140 940 941942 943 944 945 946 947 BLEU NUIT VIOLET POURPRE NIGHT BLUE PURPLE VIOLET NACHTBLAU PURPUVÏOLETT AZUL NOCHE VIOLETA PURPURA BLU NOTTE VIOLETTO PURPURA 770 771 772773 774 775 323 325 327 329 BLEU DE PRUSSE CARMIN DE GARANCE PRUSSIAN BLUE MADDER CARMINE PREUSSICHBLAU KRAPP KARMIN AZUL DE PRUSIA CARMIN DE GRANZA BLU DI PRUSSIA CARMINO DI GARANZA 287 288 289 290291 292 293 294 296 378 380 383 384 386 387 BLEU DE CERULEUM LAQUE ROSE CERULEAN BLUE PINK LAKE COLÏNBLAU ROSALACK AZUL CERULEO LACA ROSADA CERULEO LACCA ROSA 257 259 260 261 262 263 264 270 272 274 BLEU ACIER ROUGE RUBIS STELL BLUE RUBY RED STAHLBLAU RUBINROT AZUL ACERO ROJO RUBI BLU ACCIAIO ROSSO RUBINO 710 711 712 713 714 715 670 671672 674 676 BLEU DE COBALT VERMILLON DE CHINE COBALT BLUE CHINESE VERMILION KOBALTBLAU CHINESISCHES ZINNOBER AZUL COBALTO BERMELLON DE CHINA BLU DI COBALTO VERMIGLIO CINESE 353 354 355 356 357 358 359 360 790 791792 793 794 795 796 797 BLEU OUTREMER FONCÉ CARMIN ULTRAMARINE DEEP CARMINE ULTRAMARINBLAU KARMIN AZUL ULTRAMAR OSCURO CARMIN BLU OLTREMARE -
Materiallist Cuong Nguyen Pastel Workshop
MATERIALLIST CUONG NGUYEN PASTEL WORKSHOP 1. Paper • 2x Sennelier La Carte Pastel Card 19”x25” (Recommended color: Dark Gray) • or Clairefontaine Pastelmat Card (Recommended color: Dark Gray or Light Gray) • or Art Spectrum Colourfix Coated Pastel Paper (Recommended color: Rose Gray) 2. Stabilo CarbOthello Pastel Pencils (Required colors) • Recommended to buy the whole set of Stabilo CarbOthello Pastel Pencil (60 colors.) • Or you can also buy the list below: Titanium White (100) Caput Mortuum Violet (640) Ivory (105) Caput Mortuum Violet Light (642) Carmine Red (310) Caput Mortuum Red (645) Magenta (335) Burnt Sienna (670) Violet Deep (385) Dark Flesh Tint (680) Ultramarine Blue Middle (430) Flesh Tint Light (681) Leaf Green Middle (570) Sienna (685) Leaf Green (575) Gray 1 (700) Olive Green (585) Gray 3 (704) Leaf Green Deep (595) Gray 4 (706) Raw Umber (610) Gray 5 (708) Dark Ochre (615) Cold Gray 1 (720) Burnt Ochre (620) Cold Gray 4 (726) Burnt Umber (625) Neutral Black (750) Bister (635) Lamp Black (760) 3. Additional pastels of your choosing: • Some Nupastels and/or soft pastels that you may use for clothing and backgrounds 4. Accessories: • Drawing board (23”x26”) • Artist tape to hold drawing paper in place • Paper towels • Mahl stick (optional) 5. For sharpening pencils: • Utility knife • Or Afmat Pencil Sharpener (electric or manual, designed for 6-8.2mm sketching and drawing pencil) BENJAMIN ECK PROJECTS | M ÜLLERSTRAßE 46A | 80469 MÜNCHEN PLEASE NOTICE: Unfortunately we haven’t got space to store your wet paintings in the gallery. Please bring a transport solution by yourself so you can carry the paintings safely. -
MAKE YOUR OWN SCRUBBIE Create Your Netting Yarn Step 1 Lay Your
MAKE YOUR OWN SCRUBBIE Create Your Netting Yarn Step 1 Lay your yard of netting (When I was doing craft sales I bought 5 yard lengths.) out on the floor or table (I use my bed or couch and pin it down.). Fold netting to make several layers into a long rectangle, as it came off the bolt. It’s still folded. Try to line up the folded edge as straight as you can. (I put a few pins in to hold the folded piece together.) Step 2 Cut strips 3 to 4 inches in width down the length of the folded rectangle, cutting perpendicular to the end of the fabric to get the longest strips. Cut from the fold out to the opposite edge. Remember it’s folded so the width of the first strip will be double when opened. Therefore cut the first strip narrower(about 1½ inches) . Your first strip (and the last one or two) will be a little irregular when you begin to use it. Your creativity will dictate how to adjust. We are not concerned about perfection here. If you are a perfectionist, buy a machine made scrubbie. If you want a two colored scrubbie cut 1½ to 2 inch strips from both colors and use both strands like one strip. (See the red and white one shown in step 5.) Step 3 Tie the ends of the strips together with a simple knot to form one continuous strip. Wind the strips into a ball if you wish. (I cut the strips as I use them.) Crochet a Simple Scrubbie Step 1 Tie the free end of the strip of nylon net into a slip knot and place the loop over a medium-sized crochet hook, size J or K, and chain four. -
2017 Design Trends Every Year, Accessa Rounds up Consumer Trends in Coatings and Colors for Homes and Offices from a Range of Sources
SPECIAL EDITION 2017 Design Trends Every year, Accessa rounds up consumer trends in coatings and colors for homes and offices from a range of sources. When your customers ask for it, you’ll be ready. Bathroom in Poised Taupe, Sherwin-Williams 2017 Color of the Year (PRNewsFoto/Sherwin-Williams) COLORS OF THE YEAR INTRODUCING THE 2017 COLOR OF 2017 KEY COLOR COMBINATIONS FEATURING THE YEAR – POISED TAUPE POISED TAUPE… In addition to the “warming up” of neutrals in general, Poised Taupe creates a cozy lifestyle and brings a 2017 will see several key colors emerge in sense of sanctuary into our homes. It diffuses the combination with taupe. stresses of the world outside our doors — so much • Cornflower Hues: Faded indigo and lighter so that we feel restored and in balance when we walk cornflower hues pair with modern white and across our threshold. Poised Taupe for a charming palette, reminiscent of the French countryside. The Danes have a word to describe this feeling, hygge • Organic Re-Imagined: Vegetal green, citrus green, (pronounced hue-gah), which loosely translates as weathered bronze and mustard yellow pair with cozy, or creating a sense of coziness and warmth. Poised Taupe to create a contemporary organic The soft glow of candle-light, a toasty drink, and the palette — re-imagined for the modern world. company of family and friends is certainly hygge, but this feeling comes from creating the right atmosphere. • Vintage Pastels: Pastels take on a vintage vibe with dusty ink, amber, Poised Taupe, sage and There is a particular beauty to be admired in homes oxidized yellow. -
Textile Society of America Newsletter 27:2 — Fall 2015 Textile Society of America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Fall 2015 Textile Society of America Newsletter 27:2 — Fall 2015 Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsanews Part of the Art and Design Commons Textile Society of America, "Textile Society of America Newsletter 27:2 — Fall 2015" (2015). Textile Society of America Newsletters. 71. https://digitalcommons.unl.edu/tsanews/71 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME 27. NUMBER 2. FALL, 2015 Cover Image: Collaborative work by Pat Hickman and David Bacharach, Luminaria, 2015, steel, animal membrane, 17” x 23” x 21”, photo by George Potanovic, Jr. page 27 Fall 2015 1 Newsletter Team BOARD OF DIRECTORS Roxane Shaughnessy Editor-in-Chief: Wendy Weiss (TSA Board Member/Director of External Relations) President Designer and Editor: Tali Weinberg (Executive Director) [email protected] Member News Editor: Ellyane Hutchinson (Website Coordinator) International Report: Dominique Cardon (International Advisor to the Board) Vita Plume Vice President/President Elect Editorial Assistance: Roxane Shaughnessy (TSA President) and Vita Plume (Vice President) [email protected] Elena Phipps Our Mission Past President [email protected] The Textile Society of America is a 501(c)3 nonprofit that provides an international forum for the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, Maleyne Syracuse political, social, and technical perspectives.