Brochure Colour Chart New Masters Classic Acrylics
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Ask a Master Gardener
ASK A MASTER GARDENER COLORFUL WINTER STEMS By Trish Grenfell, Placer County Master Gardener Q Each winter my bloodtwig dogwood has produced a spectacular show with its bright red stems, but this year the branches are a dull grey. What happened? Can you suggest another shrub/small tree with bright winter stems to replace it? A If your bloodtwig dogwood Cornus sanguinea is healthy, there is a simple method to restore its glory next winter: prune it! Late winter or early spring (February-March), before the leaves begin to appear on the stems, is the best time to prune. This allows the maximum time to enjoy the colorful stems, while encouraging vigorous new shoots and foliage for the coming season. For dogwoods with intense bark colors, the branches you want to remove are those older than three years old. Those that need pruning are identified by their lack of desired color. Usually this does not include all the stems, but if you have never pruned, it may mean they all must be pruned this spring. Cut as close as possible to the base (crown) of the plant without cutting that base. If you would like to add additional dogwoods to brighten your winter garden, consider adding a redtwig dogwood - Cornus sericea sometimes called C. stolonifera (red stems), yellowtwig dogwood – C. Flaviramea (yellow-green stems), or Tatarian dogwood – C. alba (blood red stems). Follow the same pruning rules for continued winter color as described for the bloodtwig dogwood. Many willows also provide brilliant winter interest with their colorful, curving bare branches. -
MSDS for #00686 - HEAVY BODY ACRYLIC Page 1 of 10
MSDS for #00686 - HEAVY BODY ACRYLIC Page 1 of 10 MATERIAL SAFETY DATA SHEET SECTION 1 – COMPANY AND PRODUCT IDENTIFICATION Golden Artist Colors, Inc. Date Revised: 4/5/2013 188 Bell Road Phone: (607)847-6154 New Berlin, NY 13411 Prepared by: Ben Gavett HAZARDOUS COMPONENTS (See Sec. 3) COLOR LINES GOLDEN Airbrush Colors 1,29 GOLDEN Acrylics 1,29 GOLDEN Fluid Acrylics 1,29 GOLDEN High Flow Acrylics 1,29 GOLDEN High Load Acrylics 1,5,20,29 GOLDEN Glazes 1,5,29 GOLDEN Matte Acrylics 1,5,20,29 GOLDEN Matte Fluid Acrylics 1,5,20,29 GOLDEN OPEN Acrylics 1,29 Individual Colors Alizarin Crimson Hue - Anthraquinone Blue - Anthraquinone Red - Aurolein Yellow Hue 24 Azurite Hue 19,34 Bismuth Vanadate Yellow 8.5 Bone Black 13 Bright Orange - Bright Red Orange - Bright Yellow-Green - Burnt Sienna 20,24 Burnt Sienna Hue - Burnt Umber & Burnt Umber Light 20,24,25 Cadmium Red Medium Hue - Cadmium Yellow Medium Hue 6,28 Carbon Black 13 Cerulean Blue, Chromium 14,18 Cerulean Blue Deep 14,18 Cerulean Blue Hue 3,5,19,33 Chrome Oxide Green (all) 14 C.P. Cadmium Orange 7,9,10 C.P. Cadmium Red (all) 7,9,10 C.P. Cadmium Yellow (Dark, Lt., Med.) 7,9,35 C.P. Cadmium Yellow Primrose 7,9,35 Coarse Alumina 4,33 Cobalt Blue 18 Item Numbers: 00686-2129 Page 1 of 101 MSDS for #00686 - HEAVY BODY ACRYLIC Page 2 of 10 Cobalt Blue Hue 19,33 Cobalt Green 14,18 Cobalt Teal 18 Cobalt Titanate Green 6,18,28 Cobalt Turquoise 14,18 Cobalt Violet Hue 34 Deep Violet - Diarylide Yellow - Dioxazine Purple - Fluorescent (all colors) 22 Graphite Gray 23 Green Gold 8,28 Hansa Yellow (Lt., Med. -
Ochre Art Supplies 101 White 134 Crimson 169 Caput Mortuum 223 Deep Red 102 Cream 135 Red Violet 170 May Gree
Ochre Art Supplies www.fluffymilk.com 101 White 134 Crimson 169 Caput Mortuum 223 Deep Red 102 Cream 135 Red Violet 170 May Green 225 Dark Red 103 Ivory 136 Purple Violet 171 Light Green 226 Alizarin Crimson 104 Light Yellow Glaze 137 Blue Violet 172 Earth Green 230 Cold Grey 105 Light Cad Yellow 138 Violet 173 Olive Green Yellowish 231 Cold Grey 106 Light Chrome Yellow 140 Light Ultramarine 174 Chrome Green Opaque 232 Cold Grey 107 Cad Yellow 141 Delft Blue 175 Dark Sepia 233 Cold Grey 1V 108 Dark Cad Yellow 142 Madder 176 VanDyck Brown 234 Cold Grey V 109 Dark Chrome Yellow 143 Cobalt Blue 177 Walnut Brown 235 Cold Grey V 110 Phthalo Blue 144 Cobalt Blue Greenish 178 Nougat 246 Prussian Blue 111 Cadmium Orange 145 Light Phthalo Blue 179 Bistre 247 Indanthrene Blue 112 Leaf Green 146 Sky Blue 180 Raw Umber 249 Mauve 113 Orange Glaze 149 Bluish Turquoise 181 Paynes Grey 250 Gold 115 Dark Cad Orange 151 Helio Blue-Reddish 182 Brown Ochre 251 Silver 117 Light Cad Red 152 Mid Phthalo Blue 183 Light Yellow Ochre 252 Copper 118 Scarlet Red 153 Cobalt Turquoise 184 Dark Naples Ochre 263 Caput Mortuum Violet 119 Light Magenta 154 Light Cobalt Turquoise 185 Naples Yellow 264 Dark Phthalo Green 120 Ultramarine 155 Helio Turquoise 186 Terracotta 266 Perm Green 121 Pale Geranium Lake 156 Cobalt Green 187 Burnt Ochre 267 Pine Green 123 Fuchsia 157 Dark Indigo 188 Sanguine 268 Green Gold 124 Rose Carmine 158 Deep Cobalt Green 189 Cinnamon 270 Warm Grey 125 Mid Purple Pink 159 Hookers Green 190 Venetian Red 271 Warm Grey 126 Perm Carmine 160 Manganese -
Tucson Art Academy Online Skip Whitcomb
TUCSON ART ACADEMY ONLINE SKIP WHITCOMB PAINTS WHITE Any good to professional quality Titanium or Titanium/Zinc White in large tubes(150-200ML) size. Jack Richeson Co., Gamblin, Vasari, Utrecht, Winsor & Newton are all good brands, as are several other European manufacturers. I strongly recommend staying away from student grade paints, they do not mix or handle the same as higher/professional grade paints. YELLOWS Cadmium Yellow Lemon Cadmium Yellow Lt. (warm) Cad. Yellow Medium or Deep Indian Yellow ORANGES Cadmium Yellow Orange (optional) Cadmium Orange REDS Cadmium Red Light/ Pale/ Scarlet (warm) Cadmium Red Deep Permanent Alizarin Crimson Permanent Rose (Quinacridone) BLUES Ultramarine Blue Deep or Dark Cobalt Blue Prussian Blue or Phthalo Blue GREENS Viridian Viridian Hue (Phthalo Green) Chrome Oxide Green Olive Green Sap Green Yellow Green VIOLETS Mauve Blue Shade (Winsor&Newton) Dioxazine Violet or Purple EARTH COLORS Yellow Ochre Raw Sienna Raw Umber Burnt Sienna Terra Rosa Indian Red Venetian Red Burnt Umber Van Dyke Brown BLACKS Ivory Black Mars Black Chromatic Black Blue Black MARS COLORS Mars Yellow Mars Orange Mars Red Mars Violet IMPORTANT TO NOTE!! Please don’t be intimidated by this list! You will not be required to have all these colors on hand for our class. This is intended to be a recommendation for the studio. Specific colors on this list will come in handy for mixing in certain color plans. I will be happy to make suggestions along the way A good working palette for the studio would be: Cad. Yellow Lemon, Cad. Yellow Pale(warm), and/or Cad. -
Manufacturer of the World's Finest Artists' Paints
Manufacturer of the World’s Finest Artists’ Paints MADE IN THE USA SINCE 1976 Meet the Owner of DANIEL SMITH John Cogley John Cogley, the owner of DANIEL SMITH Artists’ Materials, joined the company in the Information Technology Department in 1988. With almost three decades of leading the company as President, CEO and Owner, John has been the driving force behind making DANIEL SMITH Watercolors and other products recognized as the world’s best. Because of John’s commitment to innovation and in manufacturing the highest quality paints and other products, artists worldwide can rely on the performance and continuity of DANIEL SMITH products year after year. DANIEL SMITH is the Innovative Sticks, artist-quality Water Soluble Oils Manufacturer of Beautiful Watercolors and inspiring Hand Poured Half Pan sets and Oils for Artists Worldwide. DANIEL SMITH has been the leader in From being the first manufacturer developing creative tools for Artists. to make the high-performance Making beautiful, innovative, and high Quinacridone pigments into artists’ quality artists paints, which perform paints, to the development of the exciting consistently from tube to tube, year after PrimaTek and Luminescent Watercolors year, makes DANIEL SMITH products the and Oils, Watercolor Grounds, Watercolor choice for artists worldwide. Stay connected with DANIEL SMITH online! INSTAGRAM FACEBOOK @danielsmithartistsmaterials @DanielSmithArtSupplies REGIONAL ACCOUNTS REGIONAL ACCOUNTS ASIA ASIA @danielsmithasia @Danielsmithartsupplies_asia EUROPE EUROPE @danielsmitheurope -
Materiallist Cuong Nguyen Pastel Workshop
MATERIALLIST CUONG NGUYEN PASTEL WORKSHOP 1. Paper • 2x Sennelier La Carte Pastel Card 19”x25” (Recommended color: Dark Gray) • or Clairefontaine Pastelmat Card (Recommended color: Dark Gray or Light Gray) • or Art Spectrum Colourfix Coated Pastel Paper (Recommended color: Rose Gray) 2. Stabilo CarbOthello Pastel Pencils (Required colors) • Recommended to buy the whole set of Stabilo CarbOthello Pastel Pencil (60 colors.) • Or you can also buy the list below: Titanium White (100) Caput Mortuum Violet (640) Ivory (105) Caput Mortuum Violet Light (642) Carmine Red (310) Caput Mortuum Red (645) Magenta (335) Burnt Sienna (670) Violet Deep (385) Dark Flesh Tint (680) Ultramarine Blue Middle (430) Flesh Tint Light (681) Leaf Green Middle (570) Sienna (685) Leaf Green (575) Gray 1 (700) Olive Green (585) Gray 3 (704) Leaf Green Deep (595) Gray 4 (706) Raw Umber (610) Gray 5 (708) Dark Ochre (615) Cold Gray 1 (720) Burnt Ochre (620) Cold Gray 4 (726) Burnt Umber (625) Neutral Black (750) Bister (635) Lamp Black (760) 3. Additional pastels of your choosing: • Some Nupastels and/or soft pastels that you may use for clothing and backgrounds 4. Accessories: • Drawing board (23”x26”) • Artist tape to hold drawing paper in place • Paper towels • Mahl stick (optional) 5. For sharpening pencils: • Utility knife • Or Afmat Pencil Sharpener (electric or manual, designed for 6-8.2mm sketching and drawing pencil) BENJAMIN ECK PROJECTS | M ÜLLERSTRAßE 46A | 80469 MÜNCHEN PLEASE NOTICE: Unfortunately we haven’t got space to store your wet paintings in the gallery. Please bring a transport solution by yourself so you can carry the paintings safely. -
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 -
Opaque Colors
When glazing, it helps to know which colors are transparent and which are opaque. Whether a particular color is transparent or opaque has to do simply with its inherent chemical makeup. An opaque color will offer more coverage than a transparent one; that much is obvious. But it is important to remember that opacity and transparency have nothing to do with color saturation/intensity or color permanence. Both groups contain fugitive colors as well as powerful ones (red can fade quickly in UV light; blue used in even small quantities will turn the mixture strongly blue). This list is provided to help you determine which colors are best used for underpainting, which are best for glazing right out of the tube, and which may require the use of a glazing medium. Opaque Oil Colors Transparent Oil Colors Whites Whites lead white zinc white titanium white transparent white Yellows Yellows cadmium yellow (all tones) aureolin (cobalt yellow) Naples yellow Indian yellow yellow ochre transparent gold ochre jaune brilliant transparent oxide yellow nickel titanate yellow stil de grain jaune Reds and Oranges Reds and Oranges cadmium red (light and dark) alizarin crimson cadmium orange rose madder (light and dark) English red ultramarine red Mars red quinacridone red Venetian red quinacridone burnt orange terra rosa transparent red oxide vermillion naphthol scarlet anthraquinoid red perinone orange Greens Greens chromium green oxide viridian permanent green phthalo green cadmium green phthalo turquoise green gold terre verte Browns Browns burnt umber burnt sienna raw umber raw sienna Pozzuoli earth brown madder alizarin transparent brown stil de grain brun Blues Blues cerulean blue ultramarine blue cobalt blue phthalo blue manganese blue indanthrone blue indigo Violets Violets cadmium purple cobalt violet Mars violet manganese violet caput mortuum violet carbazole violet quinacridone violet rose dore’ dioxazine purple Blacks and Neutrals Blacks and Neutrals lamp black ivory black peach black Davy’s gray Mars black Paynes gray . -
Selecting Young Adult Texts: an Annotated Bibliography 2012
English Language Arts Grades 7-9 Selecting Young Adult Texts: An Annotated Bibliography 2012 ACKNOWLEDGEMENTS Acknowledgements The Department of Education gratefully acknowledges the contribution of the following individuals to the development of this curriculum support document: Timothy Beresford, Assistant Principal, Exploits Valley Intermediate, Grand Falls-Windsor Jewel Cousens, Alternate Formats Librarian, Department of Education Alison Edwards, Teacher, Librarian Prince of Wales Collegiate, St. John’s Amanda Gibson, Teacher, Amos Comenius, Hopedale Jill Howlett, Program Development Specialist, Department of Education Debbie Howse, Teacher, Holy Heart High School, St. John’s Ryan Kelley, Teacher, Valmont Academy, King’s Point Regina North, Program Development Specialist, Department of Education Shelly Whiteway, Teacher, Lewisporte Intermediate, Lewisporte 2012: SELECTING YOUNG ADULT TEXTS, GRADES 7 –9 I ACKNOWLEDGEMENTS II 2012: SELECTING YOUNG ADULT TEXTS, GRADES 7–9 TABLE OF CONTENTS Table of Contents Introduction Purpose ....................................................................................... 1 Literature in the Grades 7-9 Curriculum .....................................1 Expectations for Reading in the Grades 7-9 Curriculum ............. 2 Novels ......................................................................................... 4 Criteria for Selecting Young Adult Literature ...............................4 Grade Levels ................................................................................5 Alternate -
Sourcebook in Forensic Serology, Immunology, and Biochemistry: Unit
U. S. Department of Justice National Institute of Justice Sourcebook in Forensic Serology, Immunology, and Biochemistry Unit M:Banslations of Selected Contributions to the Original Literature of Medicolegal Examinations of Blood and Body Fluids - a publication of the National Institute of Justice About the National Institute of Justice The National lnstitute of Justice is a research branch of the U.S. Department of Justice. The Institute's mission is to develop knowledge about crime. its causes and control. Priority is given to policy-relevant research that can yield approaches and information State and local agencies can use in preventing and reducing crime. Established in 1979 by the Justice System Improvement Act. NIJ builds upon the foundation laid by the former National lnstitute of Law Enforcement and Criminal Justice. the first major Federal research program on crime and justice. Carrying out the mandate assigned by Congress. the National lnstitute of Justice: Sponsors research and development to improve and strengthen the criminal justice system and related civil justice aspects, with a balanced program of basic and applied research. Evaluates the effectiveness of federally funded justice improvement programs and identifies programs that promise to be successful if continued or repeated. Tests and demonstrates new and improved approaches to strengthen the justice system, and recommends actions that can be taken by Federal. State. and local governments and private organbations and individuals to achieve this goal. Disseminates information from research. demonstrations, evaluations. and special prograrris to Federal. State. and local governments: and serves as an international clearinghouse of justice information. Trains criminal justice practitioners in research and evaluation findings. -
Williamsburg Handmade Oil Colors Dry Time Chart
Williamsburg Handmade Oil Colors Dry Time Chart Fast Medium Slow Very Slow 1-2 2-7 5-14 10-21+ Bohemian Green Earth Bismuth Vanadate Yellow Persian Rose Alizarin Orange Alizarin Crimson Brown Ochre Brilliant Yellow Extra Pale Perylene Crimson Cadmium Orange Alizarin Yellow Brown Pink Brilliant Yellow Pale Provence Violet Reddish Cadmium Red Deep Carl's Crimson Brown Umber Cadmium Lemon Pyrrole Red Cadmium Red Purple Egyptian Violet Burnt Sienna Cadmium Red Light Quinacridone Goldish Brown Cadmium Red Vermilion Fanchon Red Burnt Umber Cadmium Red Medium Red Ochre Cobalt Teal Graphite Gray Cadmium Green Cadmium Yellow Deep SF Italian Terra Verte Iridescent Bronze Indanthrone Cadmium Green Light Cadmium Yellow Extra Deep SF Cerulean Blue French Iridescent Pale Gold Indian Yellow Cerulean Blue French Cadmium Yellow Light SF Cobalt Violet Light Iridescent Pewter Permanent Orange Cobalt Blue Deep Cadmium Yellow Medium SF Flake White Italian Pompeii Red Pyrrole Orange Cobalt Teal Deep Canton Rose SF French Ardoise Grey Lamp Black Zinc White Cobalt Turquoise Bluish Cerulean Blue SF Porcelain White Permanent Green Light Cobalt Turquoise Greenish Chromium Oxide SF Titanium White Permanent Yellow Deep Cobalt Yellow Cinnabar Green Light SF Ultramarine Blue Phthalo Blue Courbet Green Cobalt Blue SF Ultramarine Blue French Provence Violet Bluish Cyprus Orange Cobalt Violet Deep Sevres Blue Quinacridone Magenta Dutch Brown Cobalt Violet Light Titan Buff Quinacridone Red Earth Green Cold Black Titanium-Zinc White Quinacridone Violet French Burnt Umber -
The Use of Ochre and Painting During the Upper Paleolithic of the Swabian Jura in the Context of the Development of Ochre Use in Africa and Europe
Open Archaeology 2018; 4: 185–205 Original Study Sibylle Wolf*, Rimtautas Dapschauskas, Elizabeth Velliky, Harald Floss, Andrew W. Kandel, Nicholas J. Conard The Use of Ochre and Painting During the Upper Paleolithic of the Swabian Jura in the Context of the Development of Ochre Use in Africa and Europe https://doi.org/10.1515/opar-2018-0012 Received June 8, 2017; accepted December 13, 2017 Abstract: While the earliest evidence for ochre use is very sparse, the habitual use of ochre by hominins appeared about 140,000 years ago and accompanied them ever since. Here, we present an overview of archaeological sites in southwestern Germany, which yielded remains of ochre. We focus on the artifacts belonging exclusively to anatomically modern humans who were the inhabitants of the cave sites in the Swabian Jura during the Upper Paleolithic. The painted limestones from the Magdalenian layers of Hohle Fels Cave are a particular focus. We present these artifacts in detail and argue that they represent the beginning of a tradition of painting in Central Europe. Keywords: ochre use, Middle Stone Age, Swabian Jura, Upper Paleolithic, Magdalenian painting 1 The Earliest Use of Ochre in the Homo Lineage Modern humans have three types of cone cells in the retina of the eye. These cells are a requirement for trichromatic vision and hence, a requirement for the perception of the color red. The capacity for trichromatic vision dates back about 35 million years, within our shared evolutionary lineage in the Catarrhini subdivision of the higher primates (Jacobs, 2013, 2015). Trichromatic vision may have evolved as a result of the benefits for recognizing ripe yellow, orange, and red fruits in front of a background of green foliage (Regan et al., Article note: This article is a part of Topical Issue on From Line to Colour: Social Context and Visual Communication of Prehistoric Art edited by Liliana Janik and Simon Kaner.