HYUNDAI Color Information
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COMMERCIAL PRINTING GUIDE a Guide to Color Reproduction and Print Quality for The
COMMERCIAL PRINTING GUIDE A guide to color reproduction and print quality for the GENERAL INFORMATION The Jackson Hole News&Guide strongly suggests that a high-end page layout program be used for file creation. These include, but are not limited to, Quark XPress and Adobe InDesign. These programs allow vector & raster elements to be used, and each to be recognized, by the systems used, including RIPS and preflight software. Creating files completely in raster applications such as Photoshop, may result in vector elements being downsampled by one of the processes used. The Jackson Hole News&Guide, as is customarily the case with newspapers, does not have true bleed pages (Double Truck pages do use ‘gutter’ space, so an exception to this rule). The dimensions given will always be for the ‘live’ area. PDFs are the preferred file format. The preferred job option setting Press Quality. DOT GAIN/LOSS DOT GAIN The Jackson Hole News&Guide is in line with the industry standards regarding dot gain for offset printing. This is not a linear increase and may vary from 20% to 30% depending on tonal range. The important items to remember are: 1) Images will generally print darker than what you see on the monitor. 2) B/W gain will be limited to Black, while process color images gain on all 4 colors. 3) Shadow detail will generally be lost. 4) Dot gain from ‘unwanted’ colors will change the hue of a color. Unwanted colors are those colors not used to create the primary color wanted; for example, cyan is the unwanted color in red, magenta is the unwanted color in yellow, etc. -
RAL COLOR CHART ***** This Chart Is to Be Used As a Guide Only. Colors May Appear Slightly Different ***** Green Beige Purple V
RAL COLOR CHART ***** This Chart is to be used as a guide only. Colors May Appear Slightly Different ***** RAL 1000 Green Beige RAL 4007 Purple Violet RAL 7008 Khaki Grey RAL 4008 RAL 7009 RAL 1001 Beige Signal Violet Green Grey Tarpaulin RAL 1002 Sand Yellow RAL 4009 Pastel Violet RAL 7010 Grey RAL 1003 Signal Yellow RAL 5000 Violet Blue RAL 7011 Iron Grey RAL 1004 Golden Yellow RAL 5001 Green Blue RAL 7012 Basalt Grey Ultramarine RAL 1005 Honey Yellow RAL 5002 RAL 7013 Brown Grey Blue RAL 1006 Maize Yellow RAL 5003 Saphire Blue RAL 7015 Slate Grey Anthracite RAL 1007 Chrome Yellow RAL 5004 Black Blue RAL 7016 Grey RAL 1011 Brown Beige RAL 5005 Signal Blue RAL 7021 Black Grey RAL 1012 Lemon Yellow RAL 5007 Brillant Blue RAL 7022 Umbra Grey Concrete RAL 1013 Oyster White RAL 5008 Grey Blue RAL 7023 Grey Graphite RAL 1014 Ivory RAL 5009 Azure Blue RAL 7024 Grey Granite RAL 1015 Light Ivory RAL 5010 Gentian Blue RAL 7026 Grey RAL 1016 Sulfer Yellow RAL 5011 Steel Blue RAL 7030 Stone Grey RAL 1017 Saffron Yellow RAL 5012 Light Blue RAL 7031 Blue Grey RAL 1018 Zinc Yellow RAL 5013 Cobolt Blue RAL 7032 Pebble Grey Cement RAL 1019 Grey Beige RAL 5014 Pigieon Blue RAL 7033 Grey RAL 1020 Olive Yellow RAL 5015 Sky Blue RAL 7034 Yellow Grey RAL 1021 Rape Yellow RAL 5017 Traffic Blue RAL 7035 Light Grey Platinum RAL 1023 Traffic Yellow RAL 5018 Turquiose Blue RAL 7036 Grey RAL 1024 Ochre Yellow RAL 5019 Capri Blue RAL 7037 Dusty Grey RAL 1027 Curry RAL 5020 Ocean Blue RAL 7038 Agate Grey RAL 1028 Melon Yellow RAL 5021 Water Blue RAL 7039 Quartz Grey -
Green, Grey Or Green-Grey? Decoding Infrastructure Integration and Implementation for Residential Street Retrofits
Lincoln University Digital Thesis Copyright Statement The digital copy of this thesis is protected by the Copyright Act 1994 (New Zealand). This thesis may be consulted by you, provided you comply with the provisions of the Act and the following conditions of use: you will use the copy only for the purposes of research or private study you will recognise the author's right to be identified as the author of the thesis and due acknowledgement will be made to the author where appropriate you will obtain the author's permission before publishing any material from the thesis. Green, Grey or Green-Grey? Decoding infrastructure integration and implementation for residential street retrofits. A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Landscape Architecture at L I N C O L N U N I V E R S I T Y New Zealand by K S E N I A I. A L E K S A N D R O V A Lincoln University 2016 A B S T R A C T New-world countries are often characterized by large areas of sprawling post-war suburban development. The streets of these suburbs are often criticized for being unattractive transport corridors that prioritize cars at the cost of the pedestrian environment and ecological health of their neighbourhoods. Green infrastructure (LID) street retrofits, as well as grey infrastructure-dominated traffic calming schemes have been used as partial solutions to the adverse effects of post-war street design. There is, however, a lack of implementation of these measures, along with some confusion as to what is defined as green and grey infrastructure at the street scale. -
The Color Episode
Ask Gamblin - The Color Episode Antrese: Robert and Scott, thank you so much for being on the show. Robert Gamblin: It's great to be here. Thanks for having us back, Antrese. Scott Gellatly: Great to be here. Absolutely. Antrese: I'm super excited to have you guys on to answer these questions about color. And our first one is from James, and James has heard that modern oil paints actually have too much pigment as compared to traditional historic pigments. What are your thoughts on this? Robert Gamblin: Antrese, I love this question. I'm really glad that James brought it up. It gives us a chance at the beginning of this conversation to sort of put everything into kind of a historical perspective. It's true. The formula of today's colors have more pigment in them than at any time in the history of oil painting. That's true. Now the formula for the colors of today and the colors from historical periods. Both of those reflect what is expected of them. Now 200 years ago, or more, color was made and used in very close proximity. Perhaps it was made and used in the same room. The color was made to the texture that it was going to be used at. Robert Gamblin: So there was no need to make that paint any stiffer than the, very smooth painting that was done at that time paints were paintings were generally thinner than they are today. Multiple layers, those layers with very thin. And so the paint was made exactly to how the painter was going was going to use them. -
148 Colour Chart
148 colour chart IVORY PRIMROSE BUTTERCUP SOFT LIME TULIP YELLOW LEMON YELLOW CANARY SUNFLOWER ALMOND BLUSH SAFFRON Y418 Y919 Y417 Y828 Y337 Y747 Y657 Y367 Y156 O819 O729 O739 VANILLA PASTEL YELLOW MUSTARD OATMEAL APRICOT HONEYCOMB GOLD AMBER PUMPKIN GINGER BRIGHT ORANGE MANDARIN O929 O949 O948 O628 O538 O547 O555 O567 O467 O136 O177 O277 ORANGE SPICE BURNT ORANGE SATIN DUSKY PINK PUTTY SUNKISSED PINK CORAL SOFT PEACH PEACH MANGO PASTEL PINK R866 O346 R946 Y129 O518 O618 O228 R937 O138 O148 O248 R738 COCKTAIL PINK SALMON PINK ANTIQUE PINK LIPSTICK RED RED BERRY RED RUBY POPPY CRIMSON CARDINAL RED BURGUNDY MAROON R438 R547 R346 R576 R666 R665 R455 R565 R445 R244 R424 M544 PALE PINK BABY PINK ROSE PINK CERISE HOT PINK MAGENTA CARMINE DUSKY ROSE BLOSSOM PINK CARNATION FUCHSIA PINK SLATE R519 R228 M727 M647 R365 M865 R156 R327 M428 M328 M137 V715 AMETHYST PURPLE MULBERRY PLUM AUBERGINE LAVENDER ORCHID LILAC BLUEBELL VIOLET PRUSSIAN BLUE PEARL V626 V546 V865 V735 V524 V518 V528 V327 V127 V245 V464 B528 CORNFLOWER COBALT BLUE CHINA BLUE MIDNIGHT BLUE INDIGO BLUE ROYAL BLUE TRUE BLUE AZURE SKY BLUE CYAN PASTEL BLUE POWDER BLUE B617 B637 B736 B624 V234 V264 B555 B346 B137 C847 C719 B119 ARCTIC BLUE DENIM BLUE AEGEAN FRENCH NAVY COOL AQUA DUCK EGG TURQUOISE MARINE PETROL BLUE HOLLY PINE EMERALD B138 C917 B146 B445 C429 C528 C247 C446 C824 G724 G635 G657 GREEN LUSH GREEN PASTEL GREEN SOFT GREEN MINT GREEN GRASS FOREST GREEN TEA GREEN GREY GREEN MEADOW GREEN APPLE LEAF GREEN G847 G756 G829 G817 G637 G457 G356 G619 G917 G339 G338 G258 BRIGHT GREEN -
Blick Art Materials
® BACK TO SCHOOL FREE SHIPPING up to on orders of $49 or more. % See page 55 for details. 65off new ™ ENTER OUR 2ND ANNUAL Mixed Media Contest plus — ENTER TO WIN Mixing Colors $500 IN ART SUPPLIES! as low as See inside back $ 83 cover for details. 10 half gallon See page 3. DickBlick.com 800.447.8192 w w ™ Look what's for the classroom! Try the new Mixing Colors! paints Great for Teaching Color Theory See page 18 for more Blick canvas. NEW! See page 41 for Blickrylic AS LOW AS more Gelli Arts Plates. Customer-Rated $10.83 HALF GALLON NEW! save up to save Primary Red 30% Primary Yellow 50% NEW! Primary Blue Blick® Super Value Canvas Packs Gelli Arts™ Gel Printing Plate Class Pack No one does super value like Blick! Our new canvas packs are easy on Ideal for classrooms, these revolutionary printing plates look and feel classroom budgets and come in popular sizes. They feature pure cotton like a gelatin monoprinting plate — yet they're durable, reusable, and ™ ™ duck canvas stretched on a 5/8" profile kiln-dried wood frame. Pre- store at room temperature. Flexible and easy to use, they're always ready Blickrylic Mediums Blickrylic Student Acrylics primed with three coats of acid-free acrylic gesso, they're ready to paint! for printing and clean up with soap-and-water, gel hand sanitizer, or Blickrylic Mediums are non-toxic and can be mixed Blickrylic is true acrylic paint, priced for the budget-minded. Because it's extremely NUMBER SIZE REG SALE 10/EA baby wipes. -
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 -
Preparing and Creating an Artwork Packaging File Oona Casalegno 25.9.2019
Preparing and creating an artwork packaging file Oona Casalegno 25.9.2019 @LAMKfi Artwork creation • Understanding the basics of printing methods is the basis of the packaging artwork design Source: https://pxhere.com/en/photo/127132 Structural design • Understanding the basics of materials, structures, production methods and logistics is the basis of the structural development of packaging Source: https://pxhere.com/en/photo/1449019 Printing methods • Choosing the right printing method is in relation to targeted quality, material and volume • Printing method (and prinitng house) affects on what kind of design is suitable for the packaging artwork Source: http://www.aivan.fi/portfolio/premium-packaging-range-for-fiskars/ Process colours • CMYK is a common colour system used for printing • C = Cyan • M = Magenta • Y = Yellow • K = Black (Key colour) CMYK Source: https://i.pinimg.com/originals/ed/29/45/ed294592d68d016dd9aa202cde3b4509.jpg Spot colours • Spot colours are solid colours • They are mixed according to a unique ink mixing formula • Most common spot colour system is Panthone matching system (PMS) Source: Wikipedia Same colours in different systems Black • The most important colour for printing • 200% TAC (Total Ink Coverage) is app. limit of the colour amount • If too much ink is used on poor quality paper this may cause the paper to fall apart. • Excessive amounts of ink may not have a chance to fully dry before the printed result • Use 0,0,0,100 black for texts Source: Wikipedia Photoshop black • C86 M85 Y79 K100 (default of -
For Best Results - Build Your File in Our Template
nextdayflyers.com 800-251-9948 Illustrator® For best results - build your file in our template 1. Open the template Please note the safety zone, trim edge A and bleed areas. If this box comes up click continue (fig. A) 2. Build the front side of your file Click on the “Build File Here” layer and create your B card on this layer (fig. B) B As you cover the instructions the guides will show safety zone and final trim. Artwork that is to be trimmed must go to the document edge. All placed images MUST be in CMYK and not in RGB. ALL colors MUST be PROCESS. NO spot colors as these can delay your order. 3. Delete instructions layer before saving Select the Instructions layer and then click on the C trash can icon at the bottom of the palette to delete this layer (fig. C) Please make sure the safety zone, trim edge and bleed areas are all correct. 4. Save your file per these instructions D a. Click File > Save As (fig. D) Continued on page 2 nextdayflyers.com p1 nextdayflyers.com 800-251-9948 Illustrator® b. Rename the file to a_filename.pdf (be sure to change the word “filename” to the actual name of your card) (fig. E) E c. Click Format > Adobe PDF (pdf) > Save (fig. F) F d. In the Save Adobe PDF window choose the Adobe PDF Preset Press Quality and make the following adjustments: Compatibility: Acrobat 4 (PDF 1.3) (fig. G) G Advanced: Transparency Flattener Preset; High Resolution (this will be grayed out if PDF 1.3 is not selected or your file has no transparency). -