Everyday Colour
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Gold Medal FUCHSIA SPECIALIST 2020 CATALOGUE with Cultural Instructions and Prices LOCKYER FUCHSIAS 70 HENFIELD ROAD COALPIT HEATH BRISTOL BS36 2UZ Tel
LOCKYER FUCHSIAS, 70 HENFIELD ROAD, COALPIT HEATH, BRISTOL LOCKYER FUCHSIAS, 70 HENFIELD ROAD, COALPIT HEATH, BRISTOL London2000 Blue Danube Gold Medal FUCHSIA SPECIALIST 2020 CATALOGUE with cultural instructions and prices LOCKYER FUCHSIAS 70 HENFIELD ROAD COALPIT HEATH BRISTOL BS36 2UZ Tel. (01454) 772219 www.lockyerfuchsias.co.uk LOCKYER FUCHSIAS, 70 HENFIELD ROAD, COALPIT HEATH, BRISTOL LOCKYER FUCHSIAS, 70 HENFIELD ROAD, COALPIT HEATH, BRISTOL ALL FUCHSIA GROWERS We are pleased to offer you our 2018 list that cancels all previous lists and trust that you will be able to find the fuchsias you require within. We shall be showing at the R.H.S. Shows from time to time together with other leading shows throughout the country, where we hope to meet our regular and new customers. We take this opportunity of wishing you success in your fuchsia growing and trust that we will be in a position to supply your future requirements. Yours sincerely C. S. LOCKYER INTRODUCTION TO THE LIST FOR 2020 Blands New Stripe. Single. Tube and sepals bright red. Corolla purple striped red. Vigorous upright bush H.2. £2.75 Blue Danube. 2018. (Gerald Blackwell) Double. Tube and sepals pink. Corolla blue veined pink. Early and free flowering for a larger bloom variety Highly recommended H.2. £5.00 Jennifer Ann. Double. Tube and sepals white. Corolla Orange. Small blooms borne on vigorous upright bush. Easy grower. H.2. £2.75 Kit Oxtoby. Double. Tube and sepals white/blush pink. Corolla rose pink Lax bush. H.2. £2.75 Mandarin Cream. Single. Tube and sepals cream. Corolla mandarin orange. -
The Promise of Pink by Margie Deeb February 2011
Margie’s Muse is licensed under a Creative Commons MARGIE’S MUSE Attribution-Noncommercial-No Derivative Works License. www.MargieDeeb.com http://creativecommons.org/licenses/by-nc-nd/3.0/ Permissions beyond the scope of this license The Bead Artists’ First, Only, and Complete may be available at [email protected]. Source for Color Mastery The Promise of Pink by Margie Deeb February 2011 With winter dragging on, Valen- the “red” primary of printer’s inks. tine’s day ahead, and spring on the As a primary it creates brighter, horizon, I am thinking pink. I’m more luminous oranges, purples, eager for it’s sensuality, vitality, and violets than does its red and charm. counterpart. In her lighter, brighter versions, Luscious pink jeweltones of Magenta and most pinks pose pink is such a flirt. She’s a coy, Indian saris. coquettish version of red; a siren one major problem. They are luring you to sensual pleasures. insufficiently lightfast, especially in After these last months of bundling the medium of glass beads. Many myself in sweaters against the magenta and pink glass beads will teeth-chattering temperatures, I fade from exposure to cleaning welcome her seductive warmth. agents or sunlight. Test beads for lightfastness by setting a bowl of Magenta is one of my favorite them in the sun for a few days. If versions of pink. An alluring the beads are to be worn, wear a purplish-red, more luminous strand against your skin for a few than true red, magenta exudes days. Many dyed beads will not luxury. -
Alplains 2013 Seed Catalog P.O
ALPLAINS 2013 SEED CATALOG P.O. BOX 489, KIOWA, CO 80117-0489, U.S.A. Three ways to contact us: FAX: (303) 621-2864 (24 HRS.) email: [email protected] website: www.alplains.com Dear Growing Friends: Welcome to our 23rd annual seed catalog! The summer of 2012 was long, hot and brutal, with drought afflicting most of the U.S. Most of my botanical explorations were restricted to Idaho, Wash- ington, Oregon and northern California but even there moisture was below average. In a year like this, seeps, swales, springs, vestigial snowbanks and localized rainstorms became much more important in my search for seeding plants. On the Snake River Plains of southern Idaho and the scab- lands of eastern Washington, early bloomers such as Viola beckwithii, V. trinervata, Ranunculus glaberrimus, Ranunculus andersonii, Fritillaria pudica and Primula cusickiana put on quite a show in mid-April but many populations could not set seed. In northern Idaho, Erythronium idahoense flowered extensively, whole meadows were covered with thousands of the creamy, pendant blossoms. One of my most satisfying finds in the Hells Canyon area had to be Sedum valens. The tiny glaucous rosettes, surround- ed by a ring of red leaves, are a succulent connoisseur’s dream. Higher up, the brilliant blue spikes of Synthyris missurica punctuated the canyon walls. In southern Oregon, the brilliant red spikes of Pedicularis densiflora lit up the Siskiyou forest floor. Further north in Oregon, large populations of Erythronium elegans, Erythronium oregonum ssp. leucandrum, Erythro- nium revolutum, trilliums and sedums provided wonderful picture-taking opportunities. Eriogonum species did well despite the drought, many of them true xerics. -
Organic Paint(Ing)S: from Representation to Collaboration
Journal of the International Colour Association (2021): 26, 30-40 Lotut Organic paint(ing)s: from representation to collaboration Zoriana Lotut Institute of English Studies, University of Warsaw, Poland Université Paris 1 Panthéon-Sorbonne, École des Arts de la Sorbonne, France Emails: [email protected]; [email protected] Due to the multifaceted nature of colour phenomena, it is important to specify that the artistic practice described in this paper focuses on the materiality of colour, or the notion of colour-materials, i.e., material substances capable of creating chromatic effects. This artistic project aims to present colour- material as an autonomous and self-sufficient subject of artworks. For the purpose of demonstrating this, the organic pigment anthocyanin is chosen. Anthocyanins are organic pigments that are found in the leaves, petals, and fruits of a variety of plants. Together with carotenoids and flavonoids, the anthocyanins constitute the ‘palette’ of flora, and their function is to attract pollinators, protect the plants from ultraviolet light and repel predators. Previously, anthocyanins were used as paint; they have been mentioned in numerous historic colour recipes as a source of purple dyes or inks. However, this fragile, organic colourant could not withstand the rivalry of the constantly evolving and improving dyes and pigments. Anthocyanins were ousted from the domain of arts and textile dyeing because they could not provide sufficient colour stability, which is one of the most sought-after qualities in colours. On the contrary, nowadays, due to the growing concerns about the environmental threats from the extensive use of synthetic dyes, many are looking for alternative organic and environmentally friendly colours, even if they are impermanent. -
Colormap Set and Get the Current Colormap
MATLAB Function Reference colormap Set and get the current colormap Syntax colormap(map) colormap(’default’) cmap = colormap Description A colormap is an m−by−3 matrix of real numbers between 0.0 and 1.0. Each row is an RGB vector that defines one color. Thek th row of the colormap defines the kth color, where map(k,:) = [r(k) g(k) b(k)]) specifies the intensity of red, green, and blue. colormap(map) sets the colormap to the matrix map. If any values in map are outside the interval [0 1], MATLAB returns the errorColormap must have values in [0,1]. colormap(’default’) sets the current colormap to the default colormap. cmap = colormap retrieves the current colormap. The values returned are in the interval [0 1]. Specifying Colormaps M−files in the color directory generate a number of colormaps. Each M−file accepts the colormap size as an argument. For example, colormap(hsv(128)) creates an hsv colormap with 128 colors. If you do not specify a size, MATLAB creates a colormap the same size as the current colormap. Supported Colormaps MATLAB supports a number of built−in colormaps, illustrated and described below. In addition to specifying built−in colormaps programmatically, you can use the Colormap menu in the Figure Properties pane of the Plot Tools GUI to select one interactively. The named built−in colormaps are the following: autumn varies smoothly from red, through orange, to yellow. bone is a grayscale colormap with a higher value for the blue component. This colormap is useful for adding an "electronic" look to grayscale images. -
The Ginger, the Pin-Up, Or the Stepchild? Redheadedness As An
THE GINGER, THE PIN-UP, OR THE STEPCHILD? REDHEADEDNESS AS AN EMBODIED TROPE By Morgan Lee Thornburg A Project Presented to The Faculty of Humboldt State University In Partial Fulfillment of the Requirements for the Degree Master of Arts in English: Applied English Studies Dr. Michael Eldridge, Advisor Dr. Janet Winston, Second Reader Dr. Janet Winston, Program Graduate Coordinator December 2020 ABSTRACT THE GINGER, THE PIN-UP, OR THE STEPCHILD? REDHEADEDNESS AS AN EMBODIED TROPE Morgan Lee Thornburg The study of redheadedness has been largely neglected in the academic community and beyond. Besides a few outdated psychology studies, pop culture books, a handful of student theses, and one dissertation, there has been little investigation regarding how the tropes associated with redheadedness—namely, weakness and unattractiveness in men and unruliness and hypersexuality in women—become embodied. This project considers the way that such tropes are internalized in a variety of “texts”: Scott P. Harris’s documentary, Being Ginger; Marion Roach’s and Jacky Colliss Harvey’s personal narratives; and Tim Minchin’s song (and performance of) “Prejudice,” together with an interview he gave for The Guardian. Using Krista Ratcliffe’s method of rhetorical listening, I reveal the ways that these texts identify and disidentify with redheadedness. Despite the authors’ awareness of redhead-related stereotypes, these texts continue to perpetuate many of those same stereotypes in subtle and complex ways. ii TABLE OF CONTENTS ABSTRACT ....................................................................................................................... -
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. -
Uplighting Setup Instructions More Color Options Special Programming
UPLIGHTING SETUP INSTRUCTIONS **Keep all packaging materials. Uplights must be returned in same box / packaging.** SELECT COLOR 1. Use the power cord provided to plug the uplight into a power outlet. 2. Press “MENU” repeatedly until “C” shows on the display. 3. Press “ENTER” 4. Use the “UP” or “DOWN” button to select one of the standard color options: C1 = Red C3 = Blue C5 = Magenta C7 = White C2 = Green C4: =Light Blue C6 = Yellow **For More Colors, See Below 5. Press “ENTER” to save the color. SETUP LIGHTS 1. Place the uplight on the floor, close to a wall or other surface. 2. Tilt light towards wall until desired effect is achieved. Adjust legs by twisting knobs on each side. 3. Link uplights together. Power cords can plug into outlet OR another uplight. Link 40 lights per outlet. MORE COLOR OPTIONS To program a custom color, find your color’s “rgb” code from the chart on the back of this page. Then follow these steps: 1. Press “MENU” repeatedly until “U” shows on the display. Press “ENTER” 2. You should see “r” with a number. Press “UP” or “DOWN” to set the “r” value for your color. Press “ENTER” 3. You should see “g” with a number. Press “UP” or “DOWN” to set your “g” value. Press “ENTER” 4. You should see “b” with a number. Press “UP” or “DOWN” to set your “b” value. Press ENTER. You’re Done! SPECIAL PROGRAMMING Sound Active Mode 1. Press the MENU button repeatedly until “P—“ shows on the display. Press ENTER. 2. -
Gaspard Dughet: Some Problems in the Connoisseurship of Chalk Drawings
ABSTRACT Title of thesis: GASPARD DUGHET: SOME PROBLEMS IN THE CONNOISSEURSHIP OF CHALK DRAWINGS Sarah Beth Cantor, Master of Arts, 2005 Thesis directed by: Professor Anthony Colantuono Department of Art History and Archaeology Little scholarship has been devoted to the graphic oeuvre of Gaspard Dughet (1615-1675), a prominent landscape painter of the seventeenth century. A number of drawings in red and black chalk have been attributed to Dughet based on their connection to documented paintings. Stylistic comparisons with other examples of Dughet’s work as a draughtsman and technical evidence including medium and watermarks, however, reveal that a group of drawings given to the artist are, in fact, copies done in the late seventeenth or early eighteenth century. Although Dughet’s contributions are under appreciated today, his work influenced the next generation of landscape artists in Italy and abroad, including the British and many Dutch and Flemish artists who traveled to Italy. This thesis examines not only Dughet’s chalk drawings, but the graphic work of his most well-known Northern followers to determine which artist may have executed these copies. GASPARD DUGHET: SOME PROBLEMS IN THE CONNOISSEURSHIP OF CHALK DRAWINGS by Sarah Beth Cantor Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Master of Arts 2005 Advisory Committee: Professor Anthony Colantuono, Chair Professor Joanne Pillsbury Professor William Pressly Professor Ann Sutherland Harris ©Copyright by Sarah Beth Cantor 2005 DISCLAIMER The thesis document that follows has had referenced material removed in respect for the owner’s copyright. -
Fisheries and Wildlife Research 1982
Fisheries and Wildlife Research 1982 Activities in the Divisions of Research for the Fiscal Year 1982 Edited by Paul H. Eschmeyer, Fisheries Thomas G. Scott, Wildlife Published by the U.S. Fish and Wildlife Service Printed by the U.S. Government Printing Office Denver, Colorado • 1983 •• , :e. ' • Noel Snyder, field biologist for the U.S. Fish and Wildlife Service, Condor Research Center, carries a travel case containing a California condor chick from the chick's nesting site northeast of Los Angeles. The bird was captured in August, after biologists determined that the parents were not feeding the chick regularly. The chick was taken to the San Diego Wild Animal Park to begin a captive breeding program for this critically endangered species. Dr. Phil Ensley, veterinarian for the Zoological Society of San Diego, accompanied Dr. Snyder on the capture operation. Photo by H. K. Snyder. 11 Contents Foreword ...................................................... iv Tunison Laboratory of Fish Nutrition ........ 86 Fisheries and Wildlife Research .............. 1 National Reservoir Research Program . 88 Animal Damage Control ............................ 2 East Central Reservoir Investigations . 89 Denver Wildlife Research Center ............ 2 Multi-Outlet Reservoir Studies .................. 91 Southeast Reservoir Investigations .......... 93 Environmental Contaminant Evaluation 25 White River Reservoir Studies .................... 95 Columbia National Fisheries Research Seattle National Fishery Research Laboratory .............................................. -
Color Palettes
Chapter 8 All About Color Palettes In this chapter, you’ll learn about: w Color spaces w Color palettes w Color palette organization w Cross-platform color palette issues w System palettes w Platform specific palette peculiarities w Planning color palettes w Creating color palettes w Color palette effects w Tips for creating effective color palettes w Color reduction 243 244 Chapter 8 / All About Color Palettes There are many elements that influence how an arcade game looks. Of these, color selection is one of the most important. Good color selections can make a game stand out aesthetically, make it more interesting, and enhance the overall perception of the game’s quality. Conversely, bad color selection has the potential to make an otherwise good game seem unattractive, boring, and of poor quality. The purpose of this chapter is to show you how to choose and implement color in your games. In addition, it provides tips and issues to consider during this process. Color Space As mentioned previously, color is a very subjective entity and is greatly influenced by the elements of light, culture, and psychology. In order to streamline the identi- fication of color, there has to be an accurate and standardized way to specify and describe the perception of color. This is where the concept of color space comes in. A color space is a scientific model that allows us to organize colors along a set of axes so they can be easily communicated between various people, cultures, and more importantly for us, machines. Computers use what is called the RGB (red-green-blue) color space to specify col- ors on their displays. -
PERSIANS, PORTS, and PEPPER the Red Sea Trade in Late Antiquity
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