Sherwin Williams Prism Paints
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Crystal Color Chart
CRYSTAL COLOR GUIDE IV (hotfix & no hotfix) SWAROVSKI ELEMENTS flat back colors Merchants Overseas Updated 03.02.2011 Crystal Dark Siam Turquoise Sunflower White Opal Burgundy Pacific Opal Jonquil Chalkwhite Light Amethyst Mint Alabaster Silk Provence Caribbean Blue White Albaster Light Peach Lavender Opal Light Colorado Vintage Rose Tanzanite Blue Zircon Topaz Light Rose Cyclamen Opal Chrysolite Topaz Rose Amethyst Chrysolite Opal Smoked Topaz New! Indian Pink Purple Velvet Peridot Mocca Fuchsia Dark Indigo Fern Green Sand Opal Ruby Cobalt Blue Erinite Light Grey Opal Medium Padparadscha Greige Dark Sapphire Emerald Sun Montana Emerald Black Diamond Palace Green Fireopal Capri Blue Opal Jet Hyacinth Sapphire Olivine www.MerchantsOverseas.com [email protected] Light Siam Light Sapphire Khaki RI - t 800.333.4144 • f 401.331.5676 NY - t 800.714.7714 • f 212.714.0027 Indian Siam Air Blue Opal Citrine Light Your #1 Source for All Things Crystal! Siam Aquamarine Topaz Colors shown are a best approximation of actual stone colors. CRYSTAL COLOR GUIDE V SWAROVSKI ELEMENTS Flat Back Effects (no hotfix) Merchants Overseas Updated 03.02.2011 Crystal Peridot Crystal Bermuda Crystal Dorado Aurore Boreale “AB” Aurore Boreale Blue Jonquil Crystal Crystal Meridian Jet Nut Aurore Boreale Moonlight Blue Topaz Crystal Silver Crystal Metallic Crystal Silver Aurore Boreale Shade Blue Night Light Rose Crystal Golden Crystal Sahara Jet Hematite Aurore Boreale Shadow Rose Crystal Copper Crystal Sage Crystal Cosmojet Aurore Boreale Light Siam Crystal -
The Alcohol Textbook 4Th Edition
TTHEHE AALCOHOLLCOHOL TEXTBOOKEXTBOOK T TH 44TH EEDITIONDITION A reference for the beverage, fuel and industrial alcohol industries Edited by KA Jacques, TP Lyons and DR Kelsall Foreword iii The Alcohol Textbook 4th Edition A reference for the beverage, fuel and industrial alcohol industries K.A. Jacques, PhD T.P. Lyons, PhD D.R. Kelsall iv T.P. Lyons Nottingham University Press Manor Farm, Main Street, Thrumpton Nottingham, NG11 0AX, United Kingdom NOTTINGHAM Published by Nottingham University Press (2nd Edition) 1995 Third edition published 1999 Fourth edition published 2003 © Alltech Inc 2003 All rights reserved. No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988. Applications for the copyright holder’s written permission to reproduce any part of this publication should be addressed to the publishers. ISBN 1-897676-13-1 Page layout and design by Nottingham University Press, Nottingham Printed and bound by Bath Press, Bath, England Foreword v Contents Foreword ix T. Pearse Lyons Presient, Alltech Inc., Nicholasville, Kentucky, USA Ethanol industry today 1 Ethanol around the world: rapid growth in policies, technology and production 1 T. Pearse Lyons Alltech Inc., Nicholasville, Kentucky, USA Raw material handling and processing 2 Grain dry milling and cooking procedures: extracting sugars in preparation for fermentation 9 Dave R. Kelsall and T. Pearse Lyons Alltech Inc., Nicholasville, Kentucky, USA 3 Enzymatic conversion of starch to fermentable sugars 23 Ronan F. -
Rouen Velvets, New for Aw19
For further information, images or productROUEN requests, please contact: VELVETS Style Library Press Office T: +44(0)1895 221005 E: [email protected] PRESS RELEASE A/W 2019 INSPIRED BY THE COLOUR INFUSED CATHEDRAL INTERIORS OF WILLIAM MORRIS’S EARLY TRAVELS TO FRANCE, MORRIS & CO. INTRODUCE ROUEN VELVETS, NEW FOR AW19. “Less than forty years ago, about thirty, I first saw the city of Rouen, then still in its outward aspect a piece of the Middle Ages: no words can tell you how its mingled beauty, history and romance took hold of me; I can only say that, looking back on my past life, I find it was the greatest pleasure I have ever had.” William Morris ‘The Aims of Art’ (1887) The beauty of northern France’s gothic cathedrals left a powerful imprint on William Morris’s imagination. It is well documented that Morris’s deep-rooted passion for the preservation of ancient buildings and the celebration of medieval art played a significant role throughout his life, profoundly influencing the direction of his company, Morris & Co. Like Ruskin before him, Morris found a special beauty at Rouen Cathedral, where glorious stained-glass windows shone a colourful light on its hand-crafted interiors. Morris’s early trips to France were formative on his designs for woven and printed textiles and his lifelong commitment to promoting craftmanship of the highest order, the founding principle of Morris & Co. and the Arts and Crafts movement. Inspired by the colour-infused cathedral interiors of Morris’s travels to France, Morris & Co. introduce Rouen Velvets, a stunning collection of six luxurious velvets, new for AW19. -
Historic Costuming Presented by Jill Harrison
Historic Southern Indiana Interpretation Workshop, March 2-4, 1998 Historic Costuming Presented By Jill Harrison IMPRESSIONS Each of us makes an impression before ever saying a word. We size up visitors all the time, anticipating behavior from their age, clothing, and demeanor. What do they think of interpreters, disguised as we are in the threads of another time? While stressing the importance of historically accurate costuming (outfits) and accoutrements for first- person interpreters, there are many reasons compromises are made - perhaps a tight budget or lack of skilled construction personnel. Items such as shoes and eyeglasses are usually a sticking point when assembling a truly accurate outfit. It has been suggested that when visitors spot inaccurate details, interpreter credibility is downgraded and visitors launch into a frame of mind to find other inaccuracies. This may be true of visitors who are historical reenactors, buffs, or other interpreters. Most visitors, though, lack the heightened awareness to recognize the difference between authentic period detailing and the less-than-perfect substitutions. But everyone will notice a wristwatch, sunglasses, or tennis shoes. We have a responsibility to the public not to misrepresent the past; otherwise we are not preserving history but instead creating our own fiction and calling it the truth. Realistically, the appearance of the interpreter, our information base, our techniques, and our environment all affect the first-person experience. Historically accurate costuming perfection is laudable and reinforces academic credence. The minute details can be a springboard to important educational concepts; but the outfit is not the linchpin on which successful interpretation hangs. -
Colours in Nature Colours
Nature's Wonderful Colours Magdalena KonečnáMagdalena Sedláčková • Jana • Štěpánka Sekaninová Nature is teeming with incredible colours. But have you ever wondered how the colours green, yellow, pink or blue might taste or smell? What could they sound like? Or what would they feel like if you touched them? Nature’s colours are so wonderful ColoursIN NATURE and diverse they inspired people to use the names of plants, animals and minerals when labelling all the nuances. Join us on Magdalena Konečná • Jana Sedláčková • Štěpánka Sekaninová a journey to discover the twelve most well-known colours and their shades. You will learn that the colours and elements you find in nature are often closely connected. Will you be able to find all the links in each chapter? Last but not least, if you are an aspiring artist, take our course at the end of the book and you’ll be able to paint as exquisitely as nature itself does! COLOURS IN NATURE COLOURS albatrosmedia.eu b4u publishing Prelude Who painted the trees green? Well, Nature can do this and other magic. Nature abounds in colours of all shades. Long, long ago people began to name colours for plants, animals and minerals they saw them in, so as better to tell them apart. But as time passed, ever more plants, animals and minerals were discovered that reminded us of colours already named. So we started to use the names for shades we already knew to name these new natural elements. What are these names? Join us as we look at beautiful colour shades one by one – from snow white, through canary yellow, ruby red, forget-me-not blue and moss green to the blackest black, dark as the night sky. -
Anthocyanins from Mulberry (Morus Rubra) Fruits As Potential Natural Colour Additives in Yoghurt
Vol. 8(12), pp. 182-190, December, 2014 DOI: 10.5897/AJPAC2014.0594 Article Number: 124600249302 African Journal of Pure and Applied ISSN 1996 - 0840 Copyright © 2014 Chemistry Author(s) retain the copyright of this article http://www.academicjournals.org/AJPAC Full Length Research Paper Anthocyanins from mulberry (Morus rubra) fruits as potential natural colour additives in yoghurt Robert Byamukama1*, Moses Andima1,2, Angella Mbabazi1 and Bernard T. Kiremire1 1Department of Chemistry, Makerere University, P. O. Box 7062, Kampala, Uganda. 2Department of Chemistry, Busitema University, P. O. Box 236, Tororo, Uganda. Received 27 September, 2014; Accepted 16 December, 2014 Colouring potential of anthocyanins from whole fruit juice of mulberry (Morus rubra) was studied in yoghurt. Whole fruit juice from M. rubra rich in non-acylated anthocyanins was incorporated into plain yoghurt (100 g) at increasing concentration levels of the juice; 10, 20, 25, 30, 40 and 50 mg cyanidin-3- glucopyranoside equivalents (cy-3-glu eqv) and stored under refrigerated condition (< 8°C) for two weeks. Colour properties, pigment and colour stability and degradation kinetics were studied using a UV-Vis spectrophotometer (UV-1700 CE Shimadzu, Japan).Yoghurt coloured with mulberry anthocyanins between 25 to 40 mg cy-3-glu eqv concentration levels of anthocyanins produced a colour which was very much comparable to commercial brand strawberry yoghurt coloured with 20 mg FD & C red No. 3 in 100 g of yoghurt. Pigment and colour stabilities of the anthocyanins increased with increasing concentration of anthocyanins added to yoghurt. The tendency to polymerise decreased with increasing concentration of the pigments added to yoghurt. -
Of 3 Printed 8/12/2020
H:\1BIG TIME BACK-UP\1All uploading\1Stitch Emporium\SEE232 Flower Animals\for uploading\SEE232_ART Page 1 of 3 Printed 8/12/2020 1. White (Def:13) 14. Dark Silver (Mar:1319) 1. White (Def:13) 14. Dark Silver (Mar:1319) 2. Dark Silver (Mar:1319) 15. Black (Def:14) 2. Dark Silver (Mar:1319) 15. Black (Def:14) 3. Charcoal (Mar:1178) 16. White (Def:13) 3. Charcoal (Mar:1178) 16. White (Def:13) 4. Black (Def:14) 17. Light Navy (Mar:1448) 4. Black (Def:14) 17. Light Navy (Mar:1448) 5. White (Def:13) 18. Mauve (Mar:1076) 5. White (Def:13) 18. Mauve (Mar:1076) 6. Dark Silver (Mar:1319) 19. Maroon (Mar:1155) 6. Dark Silver (Mar:1319) 19. Maroon (Mar:1155) 7. Charcoal (Mar:1178) 20. Black (Def:14) 7. Charcoal (Mar:1178) 20. Black (Def:14) 8. Toast (Mar:1130) 21. Light Navy (Mar:1448) 8. Toast (Mar:1130) 21. Light Navy (Mar:1448) 9. Tan (Mar:1141) 22. Maroon (Mar:1155) 9. Tan (Mar:1141) 22. Maroon (Mar:1155) 10. White (Def:13) 23. Mauve (Mar:1076) 10. White (Def:13) 23. Mauve (Mar:1076) 11. Black (Def:14) 24. Maroon (Mar:1155) 11. Black (Def:14) 24. Maroon (Mar:1155) 12. Mauve (Mar:1076) 25. Black (Def:14) 12. Mauve (Mar:1076) 25. Black (Def:14) 13. Light Navy (Mar:1448) 13. Light Navy (Mar:1448) See232_flower_animals_01.art50 See232_flower_animals_01_4x4.art50 4.99x6.71 inches; 39,563 stitches 2.90x3.91 inches; 20,257 stitches 25 thread changes; 9 colors 25 thread changes; 9 colors 1. -
Technical Bulletin 2 – Flood Damage-Resistant Materials Requirements
Flood Damage-Resistant Materials Requirements for Buildings Located in Special Flood Hazard Areas in accordance with the National Flood Insurance Program Technical Bulletin 2 / August 2008 Table of Contents Introduction ...................................................................................................................................1 NFIP Regulations ...........................................................................................................................2 Required Use of Flood Damage-Resistant Materials ....................................................................2 Flood Damage-Resistant Material .....................................................................................2 How Flood Damage-Resistant Materials Affect Flood Insurance Rates ..........................3 Classification of Flood Damage-Resistant Materials ....................................................................3 Notes Regarding Classification of Materials .....................................................................5 Fasteners and Connectors ...........................................................................................................12 Construction Examples ...............................................................................................................13 Buildings in Zones A, AE, A1-A30, AR, AO, and AH .....................................................13 Buildings in Zones V, VE, and V1-V30 ............................................................................14 Additional -
You Can Also Download a PDF Copy Here
Interior Design in a Tin Selecting the Perfect Finish Honestly Colourful “I have been an interior designer Paints We are authentic, ethical and transparent in everything we do. for over 30 years, combining colour Our wall paint is best applied by roller and because there is no plastic in our paint it won’t create and tonality in my designs. I used to an orange peel effect. It is easy to apply, durable and wipeable. Plastic Free Ingredients mix my own colours using traditional There is no fossil fuel derived plastic in We declare ALL our ingredients as we our wall paint. Most modern paint is made think you should know exactly what you materials because I could never find Coverage No. VOC Breathability Sheen Surface Finish Description Spray the right colour and I saw just how (m2 /l) Coats (gm/l) (Sd value) (%) from plastic and will contain microbeads. are putting on your walls. superior these paints were to dull, Walls Emulsion Soft & Matt 12 2 <0.1 (0.07%) <0.1 Yes 2 modern equivalents. Breathability Kind To Nature Off White, Our paint is 20 times more breathable Based on gentle, plant based chemistry Ceiling Emulsion Matt 12 2 <0.1 (0.07%) <0.1 Yes 2 So I offer you what I want for my own than most modern paint – perfect for lime we know that our natural paint is the plaster and old walls and more durable safest, healthiest and most beautiful projects – beautiful colour and proven Wood & Water Based Durable, 13 2 <0.1 (0.08%) <0.3 Yes 30 Metal Eggshell* Satin than clay paint. -
Broadleigh, 1982
The small bulb specialists Broadlei Gardens Barr House Bishops Hull Taunton : Somerset Tel:Taunton 86231 Further to our circular letter sent to all overseas customers last year, in which I explained that we were not exporting due to the fact that Lord Skelmers- dale is now working permanently in London and consequently we are short-staffed have found that re-organisation has taken longer than anticipated and have, therefore, decided that this year we willnot -offer our usual range of bulbs for export. Instead we give hereunder a list of some of our rarest miniature hybrid and species Narcissi,which are all that we are sending out in 1982 to those requiring phytosanitary certificates. I do hope you will find something to interest you. As previously, our terms of business are that we cannot accept orders un ,',er £15 in value, excluding postage. Pre-payment is required to cover the cost of the bulbs but the exact cost of air mail postage will be notified at time of despatch and accounts adjusted accordingly. Bulbs are always sent by air mail unless we are requested not to do so. No discounts are allowed on overseas orders as considerable time is taken in special cleaning, etc. Name Divis- Description Ht Flower- Price ion ing Time Each Andainsta- 6 Cyc-lamineus hybrid, yellow 7" Late 4.00 with orange cup Apr. atlanticus x rupicola A new self-yellow jonquil 71, Mar 2.00 7 pedu-eularis hybrid. Quite exceptional. Scented. bulbocodium cantabricus 10 A pure white hoop petticoat 5u Dec/Jan .90 bulbocodium romieuxii 10 A pale lemon-yellow bulbocodium 4" Feb .50 eystettensis (Queen 4 I=fect su17hur - ycllow 6" Early 4.00 Anne's Double) double. -
Hemicellulose Extraction from South African Eucalyptus Grandis Using Green Liquor and Its Impact on Kraft Pulping Efficiency and Paper Making Properties
PEER-REVIEWED ARTICLE bioresources.com Hemicellulose Extraction from South African Eucalyptus grandis using Green Liquor and its Impact on Kraft Pulping Efficiency and Paper Making Properties Jonas Johakimu* and Jerome Andrew The feasibility of enhancing the efficiency of the kraft pulping operations while at the same time evolving the process into a biorefinery, and thus producing hemicelluloses together with paper products, was studied. Hardwood chips (Eucalyptus grandis) were pre-treated with green liquor prior to pulp production. At optimal pre-treatment conditions, the pH of the resulting extract was 7.8, the wood weight loss was 14%, and the hemicellulose extracted was almost 40 kg/ton of woodchips. In the subsequent kraft pulping, the resulting data revealed that the woodchips from which hemicellulose had been pre-extracted could be pulped much faster than woodchips pulped without hemicellulose extraction. As a result, to maintain the target kappa number, a 20% reduction in pulping chemicals was achievable. Hemicellulose pre-extraction led to a 10% reduction in black liquor solid contents. Moreover, the strength properties of the pulps produced with and without hemicellulose extraction were comparable. Industrial acceptance of this concept, however, still requires a more accurate understanding of the effect of specific mill operating conditions on mill energy balance. Careful economic assessment of the options for handling the calcium carbonate scale problem will also be required before the technology can be considered for implementation. -
Textiles for Dress 1800-1920
Draft version only: not the publisher’s typeset P.A. Sykas: Textiles for dress 1800-1920 Textile fabrics are conceived by the manufacturer in terms of their material composition and processes of production, but perceived by the consumer firstly in terms of appearance and handle. Both are deeply involved in the economic and cultural issues behind the wearing of cloth: cost, quality, meaning. We must look from these several perspectives in order to understand the drivers behind the introduction of fabrics to the market, and the collective response to them in the form of fashion. A major preoccupation during our time frame was novelty. On the supply side, novelty gave a competitive edge, stimulated fashion change and accelerated the cycle of consumption. On the demand side, novelty provided pleasure, a way to get noticed, and new social signifiers. But novelty can act in contradictory ways: as an instrument for sustaining a fashion elite by facilitating costly style changes, and as an agent for breaking down fashion barriers by making elite modes more affordable. It can drive fashion both by promoting new looks, and later by acting to make those looks outmoded. During the long nineteenth century, the desire for novelty was supported by the widely accepted philosophical view of progress: that new also implied improved or more advanced, hence that novelty was a reflection of modernity. This chapter examines textiles for dress from 1800 to 1920, a period that completed the changeover from hand-craft to machine production, and through Europe’s imperial ambitions, saw the reversal of East/West trading patterns.