DOCSLIB.ORG

Download PDF of Colours, Stitch Counts and Dimensions

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download PDF of Colours, Stitch Counts and Dimensions Tutorial 7 Page 1 of 3 1. Off White (Sul-R:1071) 1. Off White (Sul-R:1071) 2. Lt. Putty (Sul-R:1229) 2. Lt. Putty (Sul-R:1229) 3. Putty (Sul-R:1508) 3. Pale Yellow (Sul-R:1061) 4. Med. Orchid (Sul-R:1031) 4. Off White (Sul-R:1071) 5. Silver (Sul-R:1085) 5. Silver (Sul-R:1085) 6. Ecru (Sul-R:1082) 6. Putty (Sul-R:1508) 7. Ecru (Sul-R:1082) 7. Med. Orchid (Sul-R:1031) 8. Ecru (Sul-R:1082) 8. Ecru (Sul-R:1082) 9. Ecru (Sul-R:1082) 10.Ecru (Sul-R:1082) Gfe-Pjy-Qb-3-1.vp3 Gfe-Pjy-Qb-3-2.vp3 10.21x10.22 inches; 52,289 stitches 10.22x10.22 inches; 55,633 stitches 8 thread changes; 6 colors 10 thread changes; 7 colors 1. Off White (Sul-R:1071) 1. Off White (Sul-R:1071) 2. Lt. Putty (Sul-R:1229) 2. Lt. Putty (Sul-R:1229) 3. Pale Yellow (Sul-R:1061) 3. Putty (Sul-R:1508) 4. Silver (Sul-R:1085) 4. Med. Orchid (Sul-R:1031) 5. Putty (Sul-R:1508) 5. Silver (Sul-R:1085) 6. Med. Orchid (Sul-R:1031) 6. Ecru (Sul-R:1082) 7. Ecru (Sul-R:1082) 7. Ecru (Sul-R:1082) 8. Ecru (Sul-R:1082) 8. Ecru (Sul-R:1082) 9. Ecru (Sul-R:1082) 9. Ecru (Sul-R:1082) Gfe-Pjy-Qb-3-3.vp3 Gfe-Pjy-Qb-3-4.vp3 10.23x10.22 inches; 42,203 stitches 10.21x10.21 inches; 41,563 stitches 9 thread changes; 7 colors 9 thread changes; 6 colors 1. Off White (Sul-R:1071) 1. Ecru (Sul-R:1082) 2. Silver (Sul-R:1085) Embroidery 2. Ecru (Sul-R:1082) 3. Lt. Putty (Sul-R:1229) 3. Putty (Sul-R:1508) 4. Putty (Sul-R:1508) 4. Burgundy (Sul-R:1034) 5. Med. Orchid (Sul-R:1031) 5. Dk. Mauve (Sul-R:1119) 6. Ecru (Sul-R:1082) 6. Tawny Tan (Sul-R:1055) 7. Ecru (Sul-R:1082) 7. Gold (Sul-R:1070) 8. Gold (Sul-R:1070) Gfe-Pjy-Qb-3-5.vp3 Gfe-Ttr-7-1.vp3 10.21x10.21 inches; 17,663 stitches 7.87x7.87 inches; 45,986 stitches 7 thread changes; 6 colors 8 thread changes; 6 colors 1. Tawny Tan (Sul-R:1055) 1. Tawny Tan (Sul-R:1055) Graceful2. Tawny Tan (Sul-R:1055) 2. Tawny Tan (Sul-R:1055) Gfe-Ttr-7-10.vp3 Gfe-Ttr-7-11.vp3 2.50x4.95 inches; 824 stitches 2.50x9.68 inches; 1,629 stitches 2 thread changes; 1 colors 2 thread changes; 1 colors Tutorial 7 Page 2 of 3 1. Tawny Tan (Sul-R:1055) 1. Tawny Tan (Sul-R:1055) 2. Tawny Tan (Sul-R:1055) Gfe-Ttr-7-12.vp3 Gfe-Ttr-7-13.vp3 5.37x9.69 inches; 3,261 stitches 5.80x5.82 inches; 1,690 stitches 2 thread changes; 1 colors 1 thread changes; 1 colors 1. Ecru (Sul-R:1082) 1. Ecru (Sul-R:1082) 2. Ecru (Sul-R:1082) 2. Ecru (Sul-R:1082) 3. Gold (Sul-R:1070) 3. Putty (Sul-R:1508) 4. Putty (Sul-R:1508) 4. Burgundy (Sul-R:1034) 5. Burgundy (Sul-R:1034) 5. Dk. Mauve (Sul-R:1119) 6. Dk. Mauve (Sul-R:1119) 6. Tawny Tan (Sul-R:1055) 7. Tawny Tan (Sul-R:1055) 7. Gold (Sul-R:1070) 8. Gold (Sul-R:1070) 8. Ecru (Sul-R:1082) Gfe-Ttr-7-2.vp3 Gfe-Ttr-7-3.vp3 7.87x7.87 inches; 48,145 stitches 7.87x7.87 inches; 34,355 stitches 8 thread changes; 6 colors 8 thread changes; 6 colors 1. Ecru (Sul-R:1082) Embroidery1. Ecru (Sul-R:1082) 2. Ecru (Sul-R:1082) 2. Ecru (Sul-R:1082) 3. Putty (Sul-R:1508) 3. Putty (Sul-R:1508) 4. Burgundy (Sul-R:1034) 4. Burgundy (Sul-R:1034) 5. Dk. Mauve (Sul-R:1119) 5. Dk. Mauve (Sul-R:1119) 6. Tawny Tan (Sul-R:1055) 6. Tawny Tan (Sul-R:1055) 7. Gold (Sul-R:1070) 7. Gold (Sul-R:1070) Gfe-Ttr-7-4.vp3 Gfe-Ttr-7-5.vp3 5.90x5.90 inches; 22,737 stitches 5.90x5.90 inches; 21,324 stitches 7 thread changes; 6 colors 7 thread changes; 6 colors 1. Ecru (Sul-R:1082) 1. Ecru (Sul-R:1082) 2. Ecru (Sul-R:1082) 2. Ecru (Sul-R:1082) Graceful3. Putty (Sul-R:1508) 3. Putty (Sul-R:1508) 4. Burgundy (Sul-R:1034) 4. Burgundy (Sul-R:1034) 5. Dk. Mauve (Sul-R:1119) 5. Dk. Mauve (Sul-R:1119) 6. Tawny Tan (Sul-R:1055) 6. Tawny Tan (Sul-R:1055) 7. Gold (Sul-R:1070) 7. Gold (Sul-R:1070) Gfe-Ttr-7-6.vp3 Gfe-Ttr-7-7.vp3 5.90x5.90 inches; 20,475 stitches 4.97x4.97 inches; 19,863 stitches 7 thread changes; 6 colors 7 thread changes; 6 colors Tutorial 7 Page 3 of 3 1. Ecru (Sul-R:1082) 1. Ecru (Sul-R:1082) 2. Ecru (Sul-R:1082) 2. Ecru (Sul-R:1082) 3. Putty (Sul-R:1508) 3. Putty (Sul-R:1508) 4. Burgundy (Sul-R:1034) 4. Burgundy (Sul-R:1034) 5. Dk. Mauve (Sul-R:1119) 5. Dk. Mauve (Sul-R:1119) 6. Tawny Tan (Sul-R:1055) 6. Tawny Tan (Sul-R:1055) 7. Gold (Sul-R:1070) 7. Gold (Sul-R:1070) Gfe-Ttr-7-8.vp3 Gfe-Ttr-7-9.vp3 4.97x4.97 inches; 18,794 stitches 4.97x4.97 inches; 17,870 stitches 7 thread changes; 6 colors 7 thread changes; 6 colors © Graceful Embroidery February 2018 Embroidery Graceful .
Load more

Recommended publications
  • WSET Diploma Systematic Approach to Tasting Wine®
    WSET Diploma Systematic Approach to Tasting Wine® EffRANGE Clarity/brightness ■ clear - hazy / bright - dull (faulty?) Intensity pale mediurfi - deep Colour wNte lemon-green - lemon - gold - amber - brown ros4 pink - salmon - orange - onion skin red purple - ruby - garnet - tawny - brown Other observations e.g. iegsAears, deposit, petillance, bubbles Condition clean i- unclean (faulty?) Intensity light - medium(-) - medium -> medium(+) - pronounced Aroma characteristics e.g. fruits, flowers, spices, vegetables, oak aromas,■ o t h e r S t S g . Development youthful - developing - fully developed - tired/past its best Sweetness dry - off-dry - medium-dry - medium-sweet - sweet - luscious Acidity low - medium(-) - medium - medium(-t) - high Tannin level low - medium(-) - medium - medium(+) - high nature e.g. ripe/soft vs unripe/green/stalky, coarse vs fine-grained Alcohol low - medium(-) - medium - medium(+) - high fortified wines: low - medium - high Body light - med[um(-) -.medium medium(+) - full Ravour intensity light - medium(-) - medium - m"edium(+) - pronounced Flavour characteristics e.g. fruits, fibwets, spices; vegetables, oak flavours, Other observations e.g. texture, balance, other sparkling wines (mousse): delicate - creamy - aggressive ,ry Rnish short - medium(-) - medium - medium(+) - long Quality level faulty - poor - acceptable - good - very good - outstanding Reasons for assessment e.g. structure, balance, concentration, complexity, lengtji, typicity« Level of readiness can drink now, drink now: not ■ for drinking/potential too young - but has potential suitable for ageing too old for ageing for ageing or further ageing Reasons for assessment e.g. structure, balance, concentration, complexity, length, typicity tiiWINE?iNfeOfiT;E» Origins/variety/ for example: location (country or region), grape variety or varieties, production methods, theme c l i m a t i c i n fl u e n c e s .
    [Show full text]
  • Katie Grace 2 Page 1 of 3
    Katie Grace 2 Page 1 of 3 1. Pastel Yellow-Green (Sul-R:1104) 2. Ecru (Sul-R:1082) 3. Tawny Tan (Sul-R:1055) 4. Dk. Ecru (Sul-R:1128) 1. Pastel Yellow-Green (Sul-R:1104) 5. Pastel Mauve (Sul-R:1113) 2. Pastel Mauve (Sul-R:1113) 6. Lt. Putty (Sul-R:1229) 3. Lt. Putty (Sul-R:1229) 4. Silver (Sul-R:1085) 7. Silver (Sul-R:1085) 5. Ecru (Sul-R:1082) 8. Ecru (Sul-R:1082) 6. Taupe (Sul-R:1213) 9. Taupe (Sul-R:1213) 7. Dk. Ecru (Sul-R:1128) 10.Dk. Ecru (Sul-R:1128) 8. Ecru (Sul-R:1082) 11.Ecru (Sul-R:1082) 9. Off White (Sul-R:1071) 12.Off White (Sul-R:1071) 10. Taupe (Sul-R:1213) 13.Taupe (Sul-R:1213) 11. Lt. Putty (Sul-R:1229) 14.Lt. Putty (Sul-R:1229) Gfe_kgr2_1.vp3 Gfe_kgr2_10.vp3 4.40x2.15 inches; 5,251 stitches 4.25x2.88 inches; 7,654 stitches 11 thread changes; 8 colors 14 thread changes; 9 colors 1. Pastel Yellow-Green (Sul-R:1104) 2. Pastel Mauve (Sul-R:1113) 3. Lt. Putty (Sul-R:1229) 1. Pastel Yellow-Green (Sul-R:1104) 2. Ecru (Sul-R:1082) 4. Primrose (Sul-R:1066) 3. Tawny Tan (Sul-R:1055) 5. Butterfly Gold (Sul-R:567) 4. Dk. Ecru (Sul-R:1128) 5. Pastel Mauve (Sul-R:1113) 6. Silver (Sul-R:1085) 6. Lt. Putty (Sul-R:1229) 7. Ecru (Sul-R:1082) 7. Silver (Sul-R:1085) 8. Taupe (Sul-R:1213) 8.
    [Show full text]
  • Brochure Are Not Actual Samples but Are a Lighterversion of Theabove Color, Almost - Represented As Closely As Possible Through the Printing Silver When Healed
    Flesh Tones Color Corrections When permanent makeup procedures end up with less Pinkundertones than desirable colors, it is easy to place an additional Light Bisque color over the top to "correct" the problem. Colors follow a mathematical formula: Medium Bisque - Blue + Red + Yellow= Brown DarkBisque - - Problem: Blue Eyebrow Yellowundertones Correction: Orange = Brown Brow! Light Tawny Selection: Amber. This orange color combines the red � and yellow needed to repair the blue brow. MediumTawny Dark Tawny - Problem: Purple Eyebrow (mauve or eggplant color) - Correction: Yellow = Brown Brow! Specialties Selection: Warmer. This yellow color is strong enough to repair the purplebrow. Warmer a beautifulgolden brown shade to - Problem: Red Eyebrow (pink in color) A warmup any tone. Correction: Green = Brown Brow! White C) Selection: Dark Ash Brown. This green based brow Cool Light Brown pigment will blend with the red to create a Areola - brown brow; you should also add 2 drops of green to a full wellof dark ash brown. Liquid Mousse $14.00 pigment re-liquifier Problem: Blue Lips Correction: Orange. But this creates a fairly dark lip Color Testing (leaning toward brown) that may be uneven in appearance. To test a brow color on the forehead of your client, put a Selection: Strawberry. Thislight pink color is heavyin drop on a q-tip and dot above the center of the brow. titanium dioxide (white) which blocks the Achieve the professional results you have been searching for Take the clean side of the q-tip and gently smudge the dry blue fromshowing throughthe skin. with A P� �- Our fortytwo perfectlyblended color.
    [Show full text]
  • Color Chart.Pdf
    ® Finishing Products Division of RPM Wood Finishes Group Inc. Color Chart The Original Touch Up Company™ Made in the USA Color Chart ® Finishing Products Division of RPM Wood Finishes Group, Inc. Index Aerosols 1-5 Ultra® Classic Toner & Tone Finish Toner 1-3 Colored Lacquer Enamel 3-5 Shadow Toner 5 Touch-Up Markers/Pencils 5-15 Ultra® Mark Markers 5-9 3 in 1 Repair Stick 9 Pro-Mark® Markers 9-10 Quik-Tip™ Markers 10-11 Background Marker Touch-Up & Background Marker Glaze Hang-Up 11-13 Artisan Glaze Markers 13 Vinyl Marker Glaze Hang-Up 14 Brush Tip Graining Markers 14 Accent Pencils 15 Blend-Its 15 Fillers 15-29 Quick Fill® Burn-In Sticks 15-16 Edging/Low Heat Sticks 16 E-Z Flow™ Burn-In Sticks 16-17 PlaneStick® Burn-In Sticks 17-18 Fil-Stik® Putty Sticks 18-25 Hard Fill & Hard Fill Plus 25-27 PermaFill™ 27 Epoxy Putty Sticks 27-28 Patchal® Puttys 28-29 Knot Filler 29 Fil-O-Wood™ Wood Putty Tubes 29 Color Replacement 30-31 Blendal® Sticks 30 Sand Thru Sticks 30-31 Blendal® Powder Stains 31 Bronzing Powders 31 Dye Stains 32 Ultra® Penetrating & Architectural Ultra® Penetrating Stain 32 Dye Concentrate 32 Pigmented Stains 32-34 Wiping Wood™, Architectural Wiping Stain & Wiping Wood™ Stain Aerosols 32-33 Designer Series Stain, Designer Series Radiant Stain 33-34 Glazes 34 Finisher’s Glaze™ Glazing Stain & Aerosols 34 Break-A-Way™ Glaze & Aerosols 34 Leather Repair 35-37 E-Z Flow™ Leather Markers 35 Leather/Vinyl Markers 35 Leather/Vinyl Fil Sticks 35-36 Leather Repair Basecoat Aerosols 36 Leather Repair Toner Aerosols 36 Leather Repair Color Adjuster Aerosols 37 Touch Up Pigment 37 Leather Refinishing 37 Base Coat 37 NOTE: COLORS ARE APPROXIMATE REPRESENTATIONS OF ACTUAL COLORS USING MODERN PROCESS TECHNIQUES.
    [Show full text]
  • Waterfowl of North America: WHISTLING DUCKS Tribe Dendrocygnini
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Waterfowl of North America, Revised Edition (2010) Papers in the Biological Sciences 2010 Waterfowl of North America: WHISTLING DUCKS Tribe Dendrocygnini Paul A. Johnsgard University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/biosciwaterfowlna Part of the Ornithology Commons Johnsgard, Paul A., "Waterfowl of North America: WHISTLING DUCKS Tribe Dendrocygnini" (2010). Waterfowl of North America, Revised Edition (2010). 8. https://digitalcommons.unl.edu/biosciwaterfowlna/8 This Article is brought to you for free and open access by the Papers in the Biological Sciences at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Waterfowl of North America, Revised Edition (2010) by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. WHISTLING DUCKS Tribe Dendrocygnini Whistling ducks comprise a group of nine species that are primarily of tropical and subtropical distribution. In common with the swans and true geese (which with them comprise the subfamily Anserinae), the included spe­ cies have a reticulated tarsal surface pattern, lack sexual dimorphism in plum­ age, produce vocalizations that are similar or identical in both sexes, form relatively permanent pair bonds, and lack complex pair-forming behavior pat­ terns. Unlike the geese and swans, whistling ducks have clear, often melodious whistling voices that are the basis for their group name. The alternative name, tree ducks, is far less appropriate, since few of the species regularly perch or nest in trees. All the species have relatively long legs and large feet that extend beyond the fairly short tail when the birds are in flight.
    [Show full text]
  • 48 Shades of Brown Free Download
    48 SHADES OF BROWN FREE DOWNLOAD Nick Earls | 274 pages | 07 Jun 2004 | HOUGHTON MIFFLIN | 9780618452958 | English | Boston, MA, United States The Dandiest Shades Right, Ashley Tisdale? I think Lapo really understands how boring the same old must-have "it" items have become, and that 48 Shades of Brown people want things that reflect their own personality and style and not the glory of some company with a ritzy logo. Glossy Gold. This content is created and maintained by a third party, and imported onto this page to help users provide their email addresses. Designer Lilly Bunn didn't shy away from statement walls in the Manhattan apartment of a something client. I can talk about it with Lapo and our mutual pal Wayne Maser. She empowers women and deserves all the accolades," he wrote 48 Shades of Brown Twitter. Step One: Build my profile. Sick of stale spaces? Kevin Mazur Getty Images. I 48 Shades of Brown I would feel sassier, but I 48 Shades of Brown felt more like a grown up, which was not expected. The Look. More From Color Inspiration. Today's Top Stories. Color Inspiration: Ligonier Tan. She accused Weber of always being in a mood when two were together, yet it was really her who always had an attitude. It wasn't so long ago that brown, in shades ranging from 48 Shades of Brown to copper to chestnut to chocolate, was a neutral of choice for interiors. Take Ana de Armas' auburn highlights for example. Add dimension to light brown by asking your stylist to paint a few face-framing strands with a brilliant blonde shade.
    [Show full text]
  • Historic American Indian Tribes of Ohio 1654-1843
    Historic American Indian Tribes of Ohio 1654-1843 Ohio Historical Society www.ohiohistory.org $4.00 TABLE OF CONTENTS Historical Background 03 Trails and Settlements 03 Shelters and Dwellings 04 Clothing and Dress 07 Arts and Crafts 08 Religions 09 Medicine 10 Agriculture, Hunting, and Fishing 11 The Fur Trade 12 Five Major Tribes of Ohio 13 Adapting Each Other’s Ways 16 Removal of the American Indian 18 Ohio Historical Society Indian Sites 20 Ohio Historical Marker Sites 20 Timeline 32 Glossary 36 The Ohio Historical Society 1982 Velma Avenue Columbus, OH 43211 2 Ohio Historical Society www.ohiohistory.org Historic American Indian Tribes of Ohio HISTORICAL BACKGROUND In Ohio, the last of the prehistoric Indians, the Erie and the Fort Ancient people, were destroyed or driven away by the Iroquois about 1655. Some ethnologists believe the Shawnee descended from the Fort Ancient people. The Shawnees were wanderers, who lived in many places in the south. They became associated closely with the Delaware in Ohio and Pennsylvania. Able fighters, the Shawnees stubbornly resisted white pressures until the Treaty of Greene Ville in 1795. At the time of the arrival of the European explorers on the shores of the North American continent, the American Indians were living in a network of highly developed cultures. Each group lived in similar housing, wore similar clothing, ate similar food, and enjoyed similar tribal life. In the geographical northeastern part of North America, the principal American Indian tribes were: Abittibi, Abenaki, Algonquin, Beothuk, Cayuga, Chippewa, Delaware, Eastern Cree, Erie, Forest Potawatomi, Huron, Iroquois, Illinois, Kickapoo, Mohicans, Maliseet, Massachusetts, Menominee, Miami, Micmac, Mississauga, Mohawk, Montagnais, Munsee, Muskekowug, Nanticoke, Narragansett, Naskapi, Neutral, Nipissing, Ojibwa, Oneida, Onondaga, Ottawa, Passamaquoddy, Penobscot, Peoria, Pequot, Piankashaw, Prairie Potawatomi, Sauk-Fox, Seneca, Susquehanna, Swamp-Cree, Tuscarora, Winnebago, and Wyandot.
    [Show full text]
  • Dow's 10, 20 Year Old Tawny
    AGED TAWNY PORT For over two centuries the name of Dow’s has been closely linked with the nest Ports from the vineyards of the Upper Douro Valley. Since 1912, when Andrew James Symington became a partner in Dow’s, ve generations of Symington winemakers have lived and worked at their vineyards of Quinta do Bomm and Quinta da Senhora da Ribeira from where they have produced many memorable wines, including the only Vintage Port made in the 21st century with a perfect 100-point score. AGED TAWNY PORT In the barrel-ageing process, aged tawny Ports are subjected to a gradual transformation through contact with air and wood. This results in considerable evaporation and concentration, with approximately 25% of the original volume of a 10 year old tawny and 35% of the original volume of a 20 year old tawny disappearing before it is eventually bottled. Constant attention is needed as maturing barrels and vats of varied sizes will show marked dierences as they age. The master blender, cellar master and coopers all play their parts in nurturing the maturing wines until nally a beautifully balanced aged tawny Port emerges. Dow’s Aged Tawnies have a singular identity which strives to balance the proportion of wood character with the original ne fruit avors. To achieve this style, the Dow’s tasters have traditionally aged a proportion of their ageing tawnies in the larger well-seasoned oak vats, with capacities ranging from 5,000 to 10,000 litres. The result is that the Dow’s Aged Tawnies retain an attractive fruit character and lose less intensity over the years, with a deeper color than most.
    [Show full text]
  • Thamnophilidae - Antbirds
    Thamnophilidae - Antbirds Antbirds are in an insectivorous family that includes many forest understory species, but some are found higher up in the subcanopy while others are terrestrial. Most are well suited to living in tropical habitats, including forest interior and second growth, as well as various specialized microhabitats like gaps and vine tangles. The most unifying feature of the family is their bill shape which has a terminal hook and a pinched base. Many species are dimorphic in plumage with males being grayish to black with variably white wingbars, wing spots, tail spots, concealed intrascapular patch, or other black-and- white patterning. The females are often brownish, rufous-orange, or tawny, often similar in pattern to the male, except that blacks are replaced by brown colors contrasting with brighter orange or buffy barring. Although sexual dichromatism is common in the family, the obligate ant-followers either minimize this (i.e. Gymnopithys) or are not dichromatic (e.g. Pithys). The most common molt strategy of the family is the Complex Basic Strategy. The first preformative molt can be partial to complete and may be related to the amount of time self-sufficient young remain within their parent’s territory. Species that follow their parents for some time after fledging often retain a female-like plumage through a partial first preformative molt such that young birds can be distinguished by their distinct molt limits. However, juveniles of species that probably disperse away from their parents at an early age appear to have formative plumages similar to that of the adult plumage or have a complete first prebasic molt.
    [Show full text]
  • Suggested HPL and TFL Matches
    COLORS AVAILABLE PLEASE NOTE THAT THESE MATCHES ARE ONLY POSSIBLE SUGGESTIONS. TO ENSURE AN EXACT MATCH, FOIL CAN BE PURCHASED WITH YOUR ORDER. THE FOIL IS 50" WIDE AND CAN BE PURCHASED IN ANY LENGTH. CATEGORY 1 VINYL LAMINATE MELAMINE White Pionite SW 836 Winter White Flakeboard W100 Camp White Wilsonart 1573 Frosty White Panolam S557 International White Snow Formica 949-58 White Tafisa L175, Flakeboard W555 CATEGORY 2 VINYL LAMINATE MELAMINE Frosty White Wilsonart 1573-60 Frosty White Funder 4971 McKinley White White Woodgrain Pionite SW 811 White - Z Finish ** Flakeboard W555 w/Cathedral Grain Texture ** Antique White Wilsonart 1572-60 Antique White Panolam S463 Antique White Harmony Wilsonart 1572-60 Antique White Panolam S463 Antique White Tafisa L204 Soft Ivory Soft Ivory Tafisa L204 Soft Ivory Formica 460-58 Ivory Almond Matte Wilsonart D30-60 Natural Almond Tafisa L258 Almondine, Panolam S445 Almond ** Northern Gray Pionite SG241, Formica 927-58 Tafisa L202 Summer Drops, Panolam S548 Black Matte Formica 909-42 Black Sparkle Panolam S405 Black (Satin Finish Only) Jet Black Formica 909-42 Black Sparkle Tafisa L203, Panolam S405 Black (Satin Finish Only) CATEGORY 3 VINYL LAMINATE MELAMINE Diva N/A Flakeboard WF375 Diva Sanibel Maple Pionite PFA42 Panolam W158 Asian Cypress N/A Stevens W69 Asian Cypress American Natural Formica 756-58 Natural Maple Panolam W140 Riviera Maple Aria N/A Flakeboard WF340 Aria Hardrock Maple Pionite WM791 Hardrock Maple Panolam W290 Hardrock Maple Candle Glow Tafisa L421 Candlelight Tafisa L421 Candlelight
    [Show full text]
  • Heraldic Colors and Meanings
    Heraldic Colors THE COLORS ON COATS OF ARMS Color Meaning Image Generosity Or (Gold) Argent (Silver or White) Sincerity, Peace Purpure (Purple) Justice, Sovereignty, Regal Warrior, Martyr, Military Gules (Red) Strength Azure (Blue) Strength, Loyalty Vert (Green) Hope, loyalty in love Sable (Black) Constancy, Grief Tenne or Tawny (Orange) Worthwhile Ambition Sanguine or Murray Victorious, Patient in Battle (Maroon) Red Red is the color of fire and blood, so it is associated with energy, war, danger, strength, power, determination as well as passion, desire, and love. In heraldry, red is used to indicate courage. It is the color found in many national flags. Red brings text and images to the foreground. Red is widely used to indicate danger. This color is also commonly associated with energy, Light red represents joy, passion, sensitivity, and love. Pink signifies romance, love, and friendship. It denotes feminine qualities and passiveness. Dark red is associated with vigor, willpower, rage, anger, leadership, courage, longing, malice, and wrath. Brown suggests stability and denotes masculine qualities. Reddish-brown is associated with harvest and fall. Orange Orange combines the energy of red and the happiness of yellow. It is associated with joy, sunshine, and tropics. Orange represents enthusiasm, fascination, happiness, creativity, determination, attraction, success, encouragement, and stimulation. Orange is associated with healthy food and stimulates appetite. Orange is the color of fall and harvest. In heraldry, orange is symbolic of strength and endurance. Dark orange can mean deceit and distrust. Red-orange corresponds to desire, passion, pleasure, domination, aggression, and thirst for action. Gold evokes the feeling of prestige.
    [Show full text]
  • Racism and the American Indian Bethany Berger University of Connecticut School of Law
    University of Connecticut OpenCommons@UConn Faculty Articles and Papers School of Law 2009 Red: Racism and the American Indian Bethany Berger University of Connecticut School of Law Follow this and additional works at: https://opencommons.uconn.edu/law_papers Part of the Civil Rights and Discrimination Commons, and the Law and Race Commons Recommended Citation Berger, Bethany, "Red: Racism and the American Indian" (2009). Faculty Articles and Papers. 265. https://opencommons.uconn.edu/law_papers/265 +(,121/,1( Citation: 56 UCLA L. Rev. 591 2008-2009 Content downloaded/printed from HeinOnline (http://heinonline.org) Mon Aug 15 16:42:05 2016 -- Your use of this HeinOnline PDF indicates your acceptance of HeinOnline's Terms and Conditions of the license agreement available at http://heinonline.org/HOL/License -- The search text of this PDF is generated from uncorrected OCR text. -- To obtain permission to use this article beyond the scope of your HeinOnline license, please use: https://www.copyright.com/ccc/basicSearch.do? &operation=go&searchType=0 &lastSearch=simple&all=on&titleOrStdNo=0041-5650 RED: RACISM AND THE AMERICAN INDIAN & Bethany R. Berger How does racism work in American Indian law and policy? Scholarship on the subject too often has assumed that racism works for Indians in the same way that it does for African Americans, and has therefore either emphasized the presence of hallmarks of black-white racism, such as uses of blood quantum, as evidence of racism, or has emphasized the lack of such hallmarks, such as prohibitions on interracial marriage, to argue that racism is not a significant factor. This Article surveys the different eras of Indian-white interaction to argue that racism has been important in those interactions, but has worked in a distinctive way.
    [Show full text]