Building Materials for Use in the Design of Low-Cost
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Baby Lock Color Conversion Chart
Tacony_quickguide_37-コピー 05.7.6 9:01 AM ページ 37 Baby Lock Color Conversion Chart R.A. R.A. Isacord Madeira Madeira Sulky Sulky Güetermann No. Color Name Polyester Rayon Polyester Polyneon Rayon Polyester Rayon Dekor Country Embr. 1 Pink 5523 2223 *0180 1921 1121 1224 1108 *4830 155 085 2 Dusty Rose 5675 2155 1816 1108 3 Petal Pink 7701 2255 1015 4 Light Pink 9030 1860 5 Light Coral 9078 1915 1148 6 Ginger Jar 9080 2170 1115 7 Heather Mist 9070 1755 8 Champagne 9063 2051 9 Dark Mauve 9015 2153 1119 10 Heather 9164 2152 11 Neon Pink 5711 1948 12 Comfort Pink 9077 1119 5435 13 Mountain Rose 5795 2373 1315 14 Cherry Pink 5544 2244 15 Carnation 5537 2509 1188 16 Salmon 9073 2553 1840 1018 17 Shrimp 5546 1154 18 Dark Coral 9065 2246 19 Bitteroot 7709 2277 20 Burgundy 5549 2249 2022 1182 1169 21 Warm Wine 5796 2622 1782 1309 22 Russet 5552 2123 1781 23 Plum 9055 2498 1389 24 Maroon 5676 2115 1919 25 Royal Crest 9162 5400 26 Hot Pink 5560 5385 27 Ruby 5797 1183 28 Dark Fuchsia 5804 2504 *2300 1984 1383 1533 1533 *4810 126 107 29 Carmine 5561 *2419 2300 1986 *1081 1511 *1511 5315 158 807 30 Dark Pink 9161 1994 4810 31 Deep Rose 9168 *2508 2520 1721 *1117 1154 1307 *4941 024 086 32 Begonia 5528 1117 33 Azalea 7712 2220 34 Rubine Red 9012 1186 4740 35 Strawberry 5732 2320 1910 36 Devil Red 7706 2507 1906 1986 37 Candy Apple Red 5807 1805 1081 38 Hollyhock Red 9006 2267 1912 1311 39 Toasty Red 9002 2418 1902 1181 40 Wild Fire 5567 4700 41 Red 5678 2505 2101 1637 *1037 1037 *1037 *4740 149 800 42 Jockey Red 5581 1747 43 Radiant Red 5566 2219 561 4731 -
79 Dark Red Fruits, Floral Rose Notes 9 38 Dry
6 oz. per pour bottle AMELIA Cremant Rosé, Bordeaux, FR 14 61 Dry pale pink soft tiny bubbles hints of strawberries and smokiness JACQUES BARDELOT Brut Rosé NV – Champagne, FR - 79 Dark red fruits, floral rose notes YES WAY ROSÉ French Blend – FR 9 38 Dry and easy-drinking with a fresh bouquet of strawberry, citrus and white peach AME DU VIN Cinsault, Grenache- Provence, FR 14 56 Cherry, raspberry, strawberry and a zesty citrus finish CHAMPS DE PROVENCE Grenache, Cinsault, Syrah – Provence, FR 11 46 Classic dry rosé with vibrant notes of red berries, citrus and orange blossom CHAPOUTIER ‘BELLERUCHE’ Grenache, Cinsault, Syrah – Rhone, FR 11 46 A clean palate brings fruity flavors of green apple, juicy peach and ripe lemon, framed by hints of minerality WHISPERING ANGEL Grenache, Cinsault, Rolle - Cotes De Provence, FR 15 58 Delicate with minerally undertone white cherry, peach, raspberry and rose hip undertones STOLPMAN Grenache- Santa Barbara, CA 13 55 Strawberry, cranberry, orange peel, white flowers and lychee, bright acidity and minerality cocktails – all $14 MAI TAI ONO LYCHEE MARTINI SKINNY-RITA Hawaii’s Most Popular Drink! White Rum + New Amsterdam Grapefruit Vodka +Lychee + Camarena Silver Tequila + Lime Sour + Dark Rum + Our “Secret” Mai Tai Mix Grapefruit Juice + Lime Juice Ruby Red Grapefruit + Coconut Water SEA HOUSE SPRITZ GARDEN OF EDEN LING HUI MUI PALOMA La Marca Prosecco + Select Aperitivo + Prairie Organic Gin + Cucumber + Kapena Ling Hing Mui Tequila + San Pellegrino Lilikoi Puree Fiorente Elderflower Liqueur + Lime -
Derivan Matisse Flow to Americana Acrylics Color Conversion Chart
Derivan Matisse Flow to Americana Acrylics Color Conversion Chart Derivan Americana Derivan Americana Matisse Flow Acrylics Matisse Flow Acrylics Alpine Green 2 - DAO82 Evergreen Brilliant Alizarine 2 - DA179 Alizarin Crimson 1 - DA144 Yellow Light 1 - DA159 Cherry Red Antique Blue 1 - DAO38 Wedgewood Blue Burgundy 1 - DA140 Red Violet 1 - DA166 Deep Midnight Blue 1 - DA165 Napa Red 1 - DA172 Black Plum Antique Gold 1 - DA146 Antique Gold Deep Burnt Sienna DA223 Traditional Burnt Sienna ato - DAO67 Lamp (Ebony) Black Antique Green 2 - DA105 Blue Grey Mist Burnt Umber 2 - DA221 Traditional Burnt Umber 1 - DAO84 Midnite Green 1 - DA160 Antique Maroon Antique White 2 - DA239 Warm White Cadmium Orange 8 - DA228 Bright Orange 1 - DAO3 Buttermilk 1 - DAO10 Cadmium Yellow Aqua Green Light 2 - DAO1 Snow (Titanium) White Cadmium Red Medium DAO15 Cadmium Red 1 - DAO47 Bluegrass Green Ash Pink 4 - DA164 Light Buttermilk Cadmium Yellow Light DA144 Yellow Light 3 - DA189 Summer Lilac 2 - DA186 French Mauve Aureolin Yellow 4 - DA144 Yellow Light Cadmium Yellow Medium DA227 Bright Yellow 1 - DA146 Antique Gold Deep 1 - DAO10 Cadmium Yellow Australian Olive Green 10 - DA113 Plantation Pine Carbon Black DAO67 Lamp (Ebony) Black 1 - DAO67 Lamp (Ebony) Black Australian Red Violet DA140 Red Violet Cerulean Blue DAO36 True Blue Australian Sap Green 2 - DA113 Plantation Pine Chromium Green Oxide 2 - DAO51 Leaf Green 1 - DA144 Yellow Light 1 - DAO53 Mistletoe Australian Sienna 1 - DA223 Traditional Burnt Sienna Cobalt Blue 2 - DA141 Blue Violet 1 - DA194 Marigold -
Vermilion Category: Alchemy Therasia Von Tux, Barony 1000 Eyes Specific Art Form: Pigment This Is the Sept 2001 Revised Edition (One Small “Oops” Corrected)
Vermilion Category: Alchemy Therasia von Tux, Barony 1000 Eyes specific art form: pigment this is the Sept 2001 revised edition (one small “oops” corrected) Entry contents: 1 vial vermilion/cinnabar (POISON!!! PLEASE DON"T OPEN THE BOTTLE) 1 piece cinnabar 1 copy of Artists' Pigments, for the Gettens et al. article (a copy of Cennini can be found with my "St. George" shield, in the Fine Arts category; copies of Pliny and Theophilus can be found with my silver entry, in the Alchemy category) A piece of cinnabar collected by a friend and on display at the McLaughlin Mine, Napa Co., CA (It's a lot prettier than most of my samples) The first known mention of mercuric sulfide as a mineral is in Theophratus's Lapidary. Theophrastus called it cinnabar, which is the name still in use today. The Romans called it minium, and it was so valuable as a red pigment that the Roman government made it a nationalized monopoly and regulated the price.1 It does need to be said that the Romans used the name minium for any high-quality mineral red, regardless of whether it was cinnabar or hematite.2 Minium was being adultrated with "red lead" as early as Imperial Rome, though it is difficult to determine whether Pliny meant red litharge or lead carbonate. Adulteration continued until the name shifted, and came to mean just red lead by Early Gothic. 3, 4 1 Pliny, Book XXXIII: sections XXXVI-XLI, using the Loeb numbering system. 2 Ibid. 3 Ibid. 4 Though historians would quibble about this, I tend to prefer to the art history divisions of history rather than the academic history divisions. -
PIGMENTS Pigments Can Be Used for Colouring and Tinting Paints, Glazes, Clays and Plasters
PIGMENTS Pigments can be used for colouring and tinting paints, glazes, clays and plasters. About Pigments About Earthborn Pigments Get creative with Earthborn Pigments. These natural earth and mineral powders provide a source of concentrated colour for paint blending and special effects. With 48 pigments to choose from, they can be blended into any Earthborn interior or exterior paint to create your own unique shade of eco friendly paint. Mixed with Earthborn Wall Glaze, the pigments are perfect for decorative effects such as colour washes, dragging, sponging and stencilling. Some even contain naturally occurring metallic flakes to add extra dazzle to your design. Earthborn Pigments are fade resistant and can be mixed with Earthborn Claypaint and Casein Paint. Many can also be mixed with lime washes, mortars and our Ecopro Silicate Masonry Paint. We have created this booklet to show pigments in their true form. Colour may vary dependant on the medium it is mixed with. Standard sizes 75g, 500g Special sizes 50g and 400g (Mica Gold, Mangan Purple, Salmon Red and Rhine Gold only) Ingredients Earth pigments, mineral pigments, metal pigments, trisodium citrate. How to use Earthborn Pigments The pigments must be made into a paste before use as follows: For Silicate paint soak pigment in a small amount of Silicate primer and use straightaway. For Earthborn Wall Glaze, Casein or Claypaint soak pigment in enough water to cover the powder, preferably overnight, and stir to create a free-flowing liquid paste. When mixing pigments into any medium, always make a note of the amounts used. Avoid contact with clothing as pigments may permanently stain fabrics. -
Gamblin Provides Is the Desire to Help Painters Choose the Materials That Best Support Their Own Artistic Intentions
AUGUST 2008 Mineral and Modern Pigments: Painters' Access to Color At the heart of all of the technical information that Gamblin provides is the desire to help painters choose the materials that best support their own artistic intentions. After all, when a painting is complete, all of the intention, thought, and feeling that went into creating the work exist solely in the materials. This issue of Studio Notes looks at Gamblin's organization of their color palette and the division of mineral and modern colors. This visual division of mineral and modern colors is unique in the art material industry, and it gives painters an insight into the makeup of pigments from which these colors are derived, as well as some practical information to help painters create their own personal color palettes. So, without further ado, let's take a look at the Gamblin Artists Grade Color Chart: The Mineral side of the color chart includes those colors made from inorganic pigments from earth and metals. These include earth colors such as Burnt Sienna and Yellow Ochre, as well as those metal-based colors such as Cadmium Yellows and Reds and Cobalt Blue, Green, and Violet. The Modern side of the color chart is comprised of colors made from modern "organic" pigments, which have a molecular structure based on carbon. These include the "tongue- twisting" color names like Quinacridone, Phthalocyanine, and Dioxazine. These two groups of colors have unique mixing characteristics, so this organization helps painters choose an appropriate palette for their artistic intentions. Eras of Pigment History This organization of the Gamblin chart can be broken down a bit further by giving it some historical perspective based on the three main eras of pigment history – Classical, Impressionist, and Modern. -
RAL Colour Chart
RAL COLOURS RAL 1000 Green beige RAL 1001 Beige RAL 1002 Sand yellow RAL 1003 Signal yellow RAL 1004 Golden yellow RAL 1005 Honey yellow RAL 1006 Maize yellow RAL 1007 Daffodil yellow RAL 1011 Brown beige RAL 1012 Lemon yellow RAL 1013 Oyster white RAL 1014 Dark Ivory RAL 1015 Light Ivory RAL 1016 Sulfur yellow RAL 1017 Saffron yellow RAL 1018 Zinc yellow RAL 1019 Grey beige RAL 1020 Olive yellow RAL 1021 Rape yellow RAL 1023 Traffic yellow RAL 1024 Ochre yellow RAL 1027 Curry RAL 1028 Melon yellow RAL 1032 Broom yellow RAL 1033 Dahlia yellow RAL 1034 Pastel yellow RAL 2000 Yellow orange RAL 2001 Red orange RAL 2002 Vermilion RAL 2003 Pastel orange RAL 2004 Pure orange RAL 2008 Bright red orange RAL 2009 Traffic orange RAL 2010 Signal orange RAL 2011 Deep orange RAL 2012 Salmon orange RAL 3000 Flame red RAL 3001 Signal red RAL 3002 Carmine red RAL 3003 Ruby red RAL 3004 Purple red RAL 3005 Wine red RAL 3007 Black red RAL 3009 Oxide red RAL 3011 Brown red RAL 3012 Beige red RAL 3013 Tomato red RAL 3014 Antique pink RAL 3015 Light pink RAL 3016 Coral red RAL 3017 Rose RAL 3018 Strawberry red RAL 3020 Traffic red RAL 3022 Salmon pink RAL 3027 Rasberry red RAL 3031 Orient red RAL 4001 Red lilac RAL 4002 Red violet RAL 4003 Heather violet RAL 4004 Claret violet RAL 4005 Blue lilac RAL 4006 Traffic purple RAL 4007 Purple violet RAL 4008 Signal violet RAL 4009 Pastel violet RAL 4010 Tele magenta RAL 5000 Violet blue RAL 5001 Green blue RAL 5002 Ultramarine RAL 5003 Sapphire blue RAL 5004 Black blue RAL 5005 Signal blue RAL 5007 Brilliant blue -
Color Chart Includes Those Colors Made from Inorganic Pigments, That Is, Metal Ores Dug from the Earth
GAMBLIN ARTISTS COLORS GAMBLIN ARTISTS OIL COLORS Artists Oil mineral inorganic colors modern organic colors Colors • All colors made from metals (Cadmium, Cobalt, Iron, etc.) are “inorganic” • Carbon based pigments are “organic” • 19th century colors of the Impressionists and the colors of Classical and Renaissance era painters • 20th century colors • High pigment load, low oil absorption • Most pigments available in a warm and cool version (ex. Phthalo Green, Phthalo Emerald) • Colors easily grey-down in mixtures, excellent for painting natural colors and light • Best choice for high key painting, bright tints • Mostly opaque with a few semi-transparent and transparent colors • Mostly transparent, with some semi-transparent colors Impressionist 20th Century CADMIUM CHARTREUSE CADMIUM LEMON CADMIUM YELLOW LIGHT CADMIUM YELLOW MEDIUM CADMIUM YELLOW DEEP HANSA YELLOW LIGHT HANSA YELLOW MEDIUM HANSA YELLOW DEEP INDIAN YELLOW CADMIUM ORANGE CADMIUM ORANGE DEEP CADMIUM RED LIGHT CADMIUM RED MEDIUM CADMIUM RED DEEP PERMANENT ORANGE TrANSPARENT OrANGE NAPTHOL RED NAPTHOL SCARLET PERYLENE RED white · grey · black ALIZARIN CrIMSON MANGANESE VIOLET COBALT VIOLET ULTRAMARINE VIOLET ALIZARIN PERMANENT QUINACRIDONE RED QUINACRIDONE MAGENTA QUINACRIDONE VIOLET DIOXAZINE PURPLE TITANIUM WHITE RADIANT WHITE TITANIUM ZINC WHITE QUICK DRY WHITE FLAKE WHITE REPLACEMENT ULTRAMARINE BLUE COBALT BLUE PrUSSIAN BLUE CERULEAN BLUE COBALT TEAL INDANTHRONE BLUE PHTHALO BLUE CERULEAN BLUE HUE MANGANESE BLUE HUE PHTHALO TURQUOISE FASTMATTE TITANIUM WHITE ZINC WHITE -
Toyota 2003 Colour Range
Toyota 2003 Colour Range Echo Sedan 2003 Colour Code Colour Name 4R0 Almond Ice / Beige Metallic 761 Light Aqua Opal Metallic 8P4 Cascade Blue Mica Metallic 1E7 Quick Silver / Silver Metallic 6R4 Racing Green / Dark Green Metallic 1E3 Slate / Grey Metallic 068 Snow Cap White 3P1 Warrior Red / Bordeaux Corolllla 2003 Colour Code Colour Name 8P4 Cascade Blue Mica Metallic 8Q3 Blue Steel Mica Metallic 209 Ink / Black Mica Metallic 040 Glacier White 3E5 Lucifer 199 Magnetic Silver Metallic 3N8 Simpson Red 6R4 Racing Green / Dark Green Metallic Camry 2003 Colour Code Colour Name 8R0 Blue Mystique /Light Blue Metallic 583 Platinum Metallic 3N6 Tuscan Red / Dark Red Mica Met 4N5 Cashmere / Lt Beige Opal Metallic 6S8 Morning Dew / Light Green Mica 173 Magnetic Silver Metallic 061 Diamond White 6R4 Racing Green / Dark Green Mica 8N8 Pacific Blue Mica Metallic 3N8 Simpson Red L.Gerace - 1 - December 2003 Toyota 2003 Colour Range Camry Sportiivo 2003 Colour Code Colour Name 6P7 Silver Leaf / Lt Green Opal Metallic 583 Platinum Metallic 3N6 Tuscan Red / Dark Red Mica Met 8P4 Cascade Blue Mica Metallic 173 Magnetic Silver Metallic 061 Diamond White 6R4 Racing Green / Dark Green Mica 8N8 Pacific Blue Mica Metallic Priius 2003 Colour Code Colour Name 040 Glacier White 761 Light Aqua Opal Metallic 8K8 Jewell Blue 1C5 Distant Storm Metallic 6R4 Racing Green / Dark Green Mica 3P2 Bordeaux Mica Metallic Avallon 2003 Colour Code Colour Name 583 Platinum Metallic 3N4 Autumn Blaze / Dark Red Mica Met 173 Magnetic Silver Metallic 8P4 Cascade Blue Mica Metallic -
Color Chart Colorchart
Color Chart AMERICANA ACRYLICS Snow (Titanium) White White Wash Cool White Warm White Light Buttermilk Buttermilk Oyster Beige Antique White Desert Sand Bleached Sand Eggshell Pink Chiffon Baby Blush Cotton Candy Electric Pink Poodleskirt Pink Baby Pink Petal Pink Bubblegum Pink Carousel Pink Royal Fuchsia Wild Berry Peony Pink Boysenberry Pink Dragon Fruit Joyful Pink Razzle Berry Berry Cobbler French Mauve Vintage Pink Terra Coral Blush Pink Coral Scarlet Watermelon Slice Cadmium Red Red Alert Cinnamon Drop True Red Calico Red Cherry Red Tuscan Red Berry Red Santa Red Brilliant Red Primary Red Country Red Tomato Red Naphthol Red Oxblood Burgundy Wine Heritage Brick Alizarin Crimson Deep Burgundy Napa Red Rookwood Red Antique Maroon Mulberry Cranberry Wine Natural Buff Sugared Peach White Peach Warm Beige Coral Cloud Cactus Flower Melon Coral Blush Bright Salmon Peaches 'n Cream Coral Shell Tangerine Bright Orange Jack-O'-Lantern Orange Spiced Pumpkin Tangelo Orange Orange Flame Canyon Orange Warm Sunset Cadmium Orange Dried Clay Persimmon Burnt Orange Georgia Clay Banana Cream Sand Pineapple Sunny Day Lemon Yellow Summer Squash Bright Yellow Cadmium Yellow Yellow Light Golden Yellow Primary Yellow Saffron Yellow Moon Yellow Marigold Golden Straw Yellow Ochre Camel True Ochre Antique Gold Antique Gold Deep Citron Green Margarita Chartreuse Yellow Olive Green Yellow Green Matcha Green Wasabi Green Celery Shoot Antique Green Light Sage Light Lime Pistachio Mint Irish Moss Sweet Mint Sage Mint Mint Julep Green Jadeite Glass Green Tree Jade -
A Third Sex-Linked Lethal Factor in Drosophila T
A THIRD SEX-LINKED LETHAL FACTOR IN DROSOPHILA T. H. MORGAN Department of ZoBlogy, Columbia University THREE FIGURES In an experiment (reported in the Jour. Exp. Zool., page 390, November, 1911) in which three sex-linked characters were in- volved, namely, white eyes, vermilion eyes and miniature wings, certain results were obtained involving double crossing-over. The more recent results indicate that double crossing-over was excessive in this experiment.l A white miniature male had been mated to a vermilion pink (‘orange’) female. The daughters were wild type (red, long) and the sons vermilion (long). The two sex- chromosomes of these daughters contain respectively the genes for white (w), red (V), and miniature (m); and for red (W), and vermilion (v), and long (M). All later work has shown the order of the genes here involved is white, vermilion, miniature, as shown in diagram 1. On this basis, the results of the previous experiment in terms of cross-overs would be as follows: Total Per cent Non-cross-overs (vermilion and ver. pink males) 333 74.7 Single cross-overs between white and vermilion (min. and min. pink males). 81 18.2 Single cross-overs between vermilion and min. (verm. min. and ver. min. pink males). 11 2.4 Double cross-overs (wild type and pink males). 21 4.7 Instead of giving fewer double cross-overs than singles, accord- ing to expectation, the number of doubles was twice that of singles, and for numbers as large as these this difference cannot be due to 1 In the analysis on page 392 the large C in ‘sperm no X’ should be small c. -
Genetics and Cytology of <Emphasis Type="Italic">Drosophila Subobscura
GENETICS AND CYTOLOGY OF DROSOPHILA SUBOBSCURA III. TRANSPLANTATION OF EYE-BUDS BETWEEN DROSOPHILA SUBOBSGURA AND DROSOPtlILA MELANOGASTER By J. M. RENDEL, National A~imal B,reeding Research Organization% Institute of Animal Genetics; Edinburgh, AND A. C. E. SULEY, Department of Biomet'ry, University Oollege, London There are in Drosophila subobscura four bl'ight red eye-colour mutants, vermilio~ (chromo- some I, sex-linked), scarlet (chr. II), poppy (chr. IV), and cherry (chr. u An attempt is being made to homologize some of these, and certain other genes, with genes in D. melanogaster, where the phenotypically similar genes, vermilion, cinnabar, cardinal and scarlet do not behave identically in transplantation experiments. As the method depends on the work of Ephrussi & Beadle, the points in their results with D. mclanogaster relevant to this work will be briefly summarized (see Table 1). Implants from larvae of most eye-colour mutants are autonomous with respect to their colour developed in wild-type hosts. But implants from vermilion and cinnabar develop the browner colour of the wild-type host's eye. A genetically vermilion eye also develops the wild-type colour in a cinnabar host, though cinnabar in vermilion is autonomous. Ephrussi & Beadle therefore suggested that two diffusible substances essential to the development of the brown pigment were supplied by the wild-type host. The vermilion mutant lacks one, the v+ substance, which has since been shown to be kymtrenine, and cinnabar lacks the cn+ substance. The behaviour of the reciprocal transplants between the two mutants suggests that the v+ substance is the precursor of the cn + substance.