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Juices Beverages Sweets Breakfast Toasts
BREAKFAST SERVES UP TO 10 PEOPLE VG CHIA CHARGE $100 Gluten-Free Overnight Oats, Chia Seeds, CATERING MENU Old Chatham Sheep’s Milk Yogurt, HB Raw Wildflower Honey, Blueberry Compote, Banana, HB Granola VG EGG SANDWICH $100 ON 8 GRAIN BREAD Two Over Easy Omega 3 Eggs, HB Honey “Sriracha,” Arugula, 8 Grain Ciabatta CHOOSE ONE: Plainville Farms Turkey Bacon or Mashed Avocado VG QUINOA RANCHERO $110 BEVERAGES POWER BOWL SERVES UP TO 10 PEOPLE Two 8 Minute Omega 3 Eggs, Black Beans, Tri-Color Quinoa, Himalayan Ruby Rice, Roasted Corn, Mango, Jicama Salad, LA COLOMBE COFFEE $30 Seeded Corn Tortilla Crisp V SEASONAL FRUIT SALAD $100 ASSORTED TEAS $30 VG ASSORTED GLUTEN FREE $80 STILL OR SPARKLING WATER $25 BREAKFAST PASTRIES Vegan Options Available FRUIT-INFUSED ICED TEAS $45 Ginger Mango Peach or Pear Green VG MULTI-GRAIN CHIA SEED $50 CROISSANTS GREEN TEA REFRESH $45 Matcha, Peppermint Lime Tea, Cucumber email: [email protected] TOASTS BELGIAN HOT CHOCOLATE $40 @honeybrainslife SERVES UP TO 10 PEOPLE 80% Dark Belgian Chocolate, Raw Wildflower Honey, Choice of Milk V AVOCADO TOAST $110 Crushed Avocado, Lemon, Chia Hemp Flax Seed Medley, Maldon Salt, Infused JUICES Olive Oil, Seeded Sourdough SERVES UP TO 10 PEOPLE SMOKED SALMON TOAST $130 FRESHLY SQUEEZED $25 Atlantic Salmon, Labneh Spread, ORANGE JUICE Cucumber, Fresh Dill, Extra Virgin Olive Oil, Lemon Zest, Sourdough ASSORTED HB $90 COLD PRESSED JUICES VG DARK CHOCOLATE $110 GANACHE PRALINE TOAST ASSORTED HB JUICE SHOTS $35 Toasted Pecan Pralines in Molasses, Banana, HB Raw Wildflower -
The RAL Colour Standard for Plastics the RAL Colour Standard for Plastics
NEW RAL P2 WITH 200 COLOURS The RAL colour standard for plastics The RAL colour standard for plastics Creative colour design RAL P2: 200 new colours for plastics for innovative products The world of RAL standards for plastics has just for products in the cosmetics industry and the A yellow that says ‘warm’ and ‘fresh’ at the same The RAL DESIGN System colour circle become more colourful: RAL P2 PLASTICS is intro con struction sector, and for household goods time? Colours that radiate peace and security? ducing new design options for precise colour and packaging. New colour combinations for For sophisticated colour design, RAL P2 provides communication in the plastics sector. 200 addi games, sports and leisure time. RAL P2 contains different levels of saturation for each colour and tional RAL DESIGN colours – including cool teals, 160 opaque and 40 special, transparent colours. also enables an analysis of the optimal effect by juicy leaf greens, earthy ochres, brilliant berry Together with the 100 most popular, classic colours including a variety of surfaces. We have hand hues and delicate lilacs – have added a range of from RAL P1, the entire RAL PLASTICS colour palette picked the 200 new RAL P2 colours from the inter new colour statement options to the plastics palette. provides 300 precise colour samples for plastics. nationally renowned RAL DESIGN System used For plastics manufacturers and plastics processors, Each colour is also available as a single plate. by architects, designers and product designers. Colour designers in the world of plastics will be able to implement their colour concepts with a wider range of options using RAL P2. -
Colour Chart
posca.com COLOUR CHART THE 55 COLOURS OF CREATION Metallic colours Metallic Gold Gold Gold Gold Gold Gold Gold Silver Silver Silver Silver Silver Silver Silver Bronze Bronze Bronze Metallic blue Metallic blue Metallic blue Metallic violet Metallic violet Metallic pink Metallic pink Metallic pink Metallic red Metallic red Metallic red Metallic green Metallic green Metallic green Fluoro colours Fluoro Fluo pink Fluo pink Red fluo Red fluo Fluo orange Fluo orange Fluo light orange Yellow fluo Yellow fluo Green fluo Glitter colours Glitter Blue Light blue Violet Pink Red Orange Yellow Green Classic colours Classic Black Black Black Black Black Black Black Black White White White White White White White White Grey Grey Grey Grey Grey Dark brown Brown Brown Brown Brown Brown Ivory Ivory Ivory Ivory Beige Beige Beige Beige Navy blue Dark blue Dark blue Dark blue Dark blue Dark blue Dark blue Dark blue Dark blue Light blue Light blue Light blue Light blue Light blue Light blue Light blue Light blue Turquoise Sky blue Sky blue Slate grey Slate grey Slate grey Slate grey Lilac Lilac Violet Violet Violet Violet Violet Violet Fuchsia Pink Pink Pink Pink Pink Pink Pink Pink Corail pink Light pink Light pink Light pink Red Red Red Red Red Red Red Red Dark red Red wine Red wine Red wine Red wine Orange Orange Orange Orange Orange Orange Bright yellow Bright yellow Bright yellow Bright yellow Light orange Light orange Light orange Light orange Light orange Yellow Yellow Yellow Yellow Yellow Yellow Yellow Yellow Straw yellow Straw yellow Straw yellow Apple green Apple green Light green Light green Light green Light green Light green Aqua green Green Green Green Green Green Green Green Green Emerald green Emerald green Khaki green PCF - 350 PC - 1MR PC - 1MC PC - 3M PC - 5M PC - 7M PC - 8K PC - 17K 1-10 mm 0,7 mm 0,7-1 mm 1,8-2,5 mm 4,5-5,5 mm 8 mm 15 mm PC - 3ML Bold Extra bold Brush Ultra fine Extra fine 0,9-1,3 mm Medium Bold Fine. -
Guide to the University of Chicago School Color History Collection 1894-1911
University of Chicago Library Guide to the University of Chicago School Color History Collection 1894-1911 © 2012 University of Chicago Library Table of Contents Descriptive Summary 3 Information on Use 3 Access 3 Citation 3 Historical Note 3 Scope Note 4 Related Resources 4 Subject Headings 4 INVENTORY 4 Descriptive Summary Identifier ICU.SPCL.SCHOOLCOLOR Title University of Chicago. School Color History. Collection Date 1894-1911 Size 1.5 linear feet (1 box) Repository Special Collections Research Center University of Chicago Library 1100 East 57th Street Chicago, Illinois 60637 U.S.A. Abstract This collection contains the maroon ribbon used by administrative and student committees when voting for the new university color and a memorandum connected to the maroon ribbon. It also contains documents relating to the selection of the maroon as the school color. Information on Use Access This collection is open for research. Citation When quoting material from this collection, the preferred citation is: University of Chicago. School Color History. Collection, [Box #, Folder #], Special Collections Research Center, University of Chicago Library. Historical Note For the first years of the University of Chicago, there was considerable ambiguity as to its colors. In 1892, a committee of trustees recommended orange and grey as the university's colors, but only the color orange was officially adopted. However, this decision was far from final. Not only did the use of orange upset Syracuse University, it clashed with University of Chicago students' tradition of using gold as the university color. Complicating this was the use of many different shades of orange and gold in different combination at student events. -
Edible Seeds and Grains of California Tribes
National Plant Data Team August 2012 Edible Seeds and Grains of California Tribes and the Klamath Tribe of Oregon in the Phoebe Apperson Hearst Museum of Anthropology Collections, University of California, Berkeley August 2012 Cover photos: Left: Maidu woman harvesting tarweed seeds. Courtesy, The Field Museum, CSA1835 Right: Thick patch of elegant madia (Madia elegans) in a blue oak woodland in the Sierra foothills The U.S. Department of Agriculture (USDA) prohibits discrimination in all its pro- grams and activities on the basis of race, color, national origin, age, disability, and where applicable, sex, marital status, familial status, parental status, religion, sex- ual orientation, genetic information, political beliefs, reprisal, or because all or a part of an individual’s income is derived from any public assistance program. (Not all prohibited bases apply to all programs.) Persons with disabilities who require alternative means for communication of program information (Braille, large print, audiotape, etc.) should contact USDA’s TARGET Center at (202) 720-2600 (voice and TDD). To file a complaint of discrimination, write to USDA, Director, Office of Civil Rights, 1400 Independence Avenue, SW., Washington, DC 20250–9410, or call (800) 795-3272 (voice) or (202) 720-6382 (TDD). USDA is an equal opportunity provider and employer. Acknowledgments This report was authored by M. Kat Anderson, ethnoecologist, U.S. Department of Agriculture, Natural Resources Conservation Service (NRCS) and Jim Effenberger, Don Joley, and Deborah J. Lionakis Meyer, senior seed bota- nists, California Department of Food and Agriculture Plant Pest Diagnostics Center. Special thanks to the Phoebe Apperson Hearst Museum staff, especially Joan Knudsen, Natasha Johnson, Ira Jacknis, and Thusa Chu for approving the project, helping to locate catalogue cards, and lending us seed samples from their collections. -
Chalet Nursery Apricot Queen New Zealand Flax
Apricot Queen New Zealand Flax Phormium tenax 'Apricot Queen' Height: 4 feet Spread: 5 feet Spacing: 4 feet Sunlight: Hardiness Zone: (annual) Description: A stunning perennial that has large sword-like leaves that emerge apricot and mature to light yellow with a green margin; beautiful and eye catching as an accent in the garden or massed along borders; also a great center for a Apricot Queen New Zealand Flax mixed container foliage Photo courtesy of NetPS Plant Finder Ornamental Features Apricot Queen New Zealand Flax's attractive large sword-like leaves emerge peach in spring, turning buttery yellow in color with distinctive green edges the rest of the year. Neither the flowers nor the fruit are ornamentally significant. Landscape Attributes Apricot Queen New Zealand Flax is an open herbaceous annual with a more or less rounded form. Its relatively coarse texture can be used to stand it apart from other garden plants with finer foliage. This is a relatively low maintenance plant, and is best Apricot Queen New Zealand Flax cleaned up in early spring before it resumes active growth Photo courtesy of NetPS Plant Finder for the season. Deer don't particularly care for this plant and will usually leave it alone in favor of tastier treats. It has no significant negative characteristics. Apricot Queen New Zealand Flax is recommended for the following landscape applications; - Accent - Mass Planting - General Garden Use - Container Planting 3132 LAKE AVENUE W ILM ETTE, ILLINOIS 60091 847.256.0561 W W W.CHALETNURSERY.COM Planting & Growing Apricot Queen New Zealand Flax will grow to be about 4 feet tall at maturity, with a spread of 5 feet. -
70 SOLID COLORS for All Rubber Tile and Tread Profiles (Excluding Smooth and Hammered R24); Rubber and Vinyl Wall Base; and Rubber Accessories)
70 SOLID COLORS For all rubber tile and tread profiles (excluding Smooth and Hammered R24); rubber and vinyl wall base; and rubber accessories) Q 100 177 Q 150 Q 193 Q 123 Q 114 Q 129 Q 178 black steel blue dark gray black brown charcoal lunar dust dolphin pewter Q 194 148 Q 175 Q 174 197 Q 110 burnt umber steel gray slate smoke iceberg brown Q 147 Q 182 Q 623 Q 624 Q 140 Q 191 Q 125 171 light brown toffee nutmeg chameleon fawn camel fig sandstone Q 130 Q 198 Q 632 Q 184 Q 170 Q 131 127 Q 631 buckskin ivory flax almond white bisque harvest yellow sahara Q 639 640 Q 122 Q 195 663 648 647 646 beigewood creekbed natural light gray aged fern pear green spring dill gecko 160 649 169 662 118 187 139 627 forest green sweet basil hunter green envy peacock blue deep navy mariner 618 665 664 656 654 638 637 655 aubergine horizon blue jay bluebell lagoon cadet night mist peaceful blue 657 658 621 659 186 137 188 617 sorbet berry ice merlin grape red cinnabar brick terracotta 660 661 643 644 642 645 Q 641 Q 161 citrus marmalade mimosa sunbeam jonquil blonde moonrise snow MARBLEIZED COLORS For all rubber tile and tread profiles (excluding Hammered R24). M100 M177 M150 M193 M123 M114 M129 M178 black steel blue dark gray black brown charcoal lunar dust dolphin pewter M194 M148 M175 M174 M197 M110 burnt umber steel gray slate smoke iceberg brown M147 M182 M623 M624 M140 M191 M125 M171 light brown toffee nutmeg chameleon fawn camel fig sandstone M130 M198 M632 M184 M170 M131 M127 M631 buckskin ivory flax almond white bisque harvest yellow sahara M639 M640 -
P0093-P0103.Pdf
May, 1910 NOTES ON THE NORTHWESTERN CROSSBILL, 93 these lines are a few tear shaped dots of black. In all these sets there is a resem- blance to eggs of the Orchard Oriole. In several eggs there is a faint flush of sub- dued purplish stain. The flight is swift and strong, accomplisht with quick beating of the wings, there being a peculiar, pent-up energy in their movements. They will start from a perch with an almost bullet-like swiftness. Their sociable nature is markt. They even feed together during the nesting season, there seemingly being no ill will among them. The scattered breeding colonies extend far into the wilderness. The past season I located three colonies which were nesting, and they did not vary in the time chosen nor in the selection of a nesting site; always in wild, mountain places, and the nests well hidden in the high branches of-pine trees. The nest-building began about the 10th of July and finisht about the 20th. In their late nesting they resemble the goldfinch which postpones the nesting duties until July and August. One might believe that this was simply a second nesting, but the large flocks do not break up until late in June, no young birds can be found until late in summer, there are no young birds in the summer colo- nies where they nest, and that they do not settle to work until July, has been my observation. I have worn out more than one pair of “mountain” shoes looking for February and March nests in ithis country, but have learned to stay away dur- ing that portion of the year. -
City of Orange Historic Context Statement
City of Orange Historic Context Statement Prepared by Chattel Architecture, Planning & Preservation, Inc. Prepared for P&D Consultants for the City of Orange General Plan Update Revised November 2006 City of Orange Historic Context Statement Introduction and Methodology This historic context statement for the City of Orange (hereinafter “city” or “Orange”) is a synthesis of existing documentation and new research. The city currently contains two historic districts listed on the National Register of Historic Places (National Register) – The Plaza Historic District (Plaza District, listed in 1982) and the Old Towne Orange Historic District (Old Towne National Register District, listed in 1997). The City also contains a locally designated Old Towne district (Old Towne Local District or Old Towne, established in 1981 and described in the current City Historic Preservation Element). Each of these three districts has different boundaries and histories, or historic context statements. The following updated historic context statement for Old Towne and selected areas outside of Old Towne combines these histories, in addition to other histories compiled by the City and the Orange Public Library, as well as original historic research performed by Chattel Architecture, Planning & Preservation, Inc. (Chattel Architecture) and its archaeological sub-consultant, PAR Environmental Services, Inc. (PAR). Chattel Architecture conducted research at the Orange Public Library, the Orange County Archives, the UCLA Air Photo Archives, the Fairchild Aerial Photo Collection at Whittier College, and the Los Angeles Public Library. Additional general historical information comes from Phil Brigandi’s Orange: The City ‘Round the Plaza, and information on the Cypress Street Barrio comes from the Shades of Orange event held in Orange on June 4, 2005 and interviews with members of the Orange Barrio Historical Society. -
2014 Price Guide
2014 PRICE GUIDE BEAUTY CRAFTSMANSHIP DESIGN THE CAMBRAI COLLECTION TAKES ITS NAME FROM THE ANCIENT TOWN IN FRANCE, WHICH GREW TO PROMINENCE IN THE MIDDLE AGES AS THE CENTER OF LINEN PROCESSING AND WEAVING. FLAX FROM ALL OVER THE KNOWN WORLD WAS BROUGHT TO CAMBRAI AND TURNED INTO LINEN FABRICS, WHICH WERE PRIZED FOR THEIR COMBINATION OF SOFTNESS AND STRENGTH. IT IS THIS COMBINATION OF PROPERTIES THAT LED TO THE CHOICE OF FLAX AS A BASE MATERIAL FOR THIS EXCLUSIVE NEW COLLECTION OF SHADE MATERIALS. THESE PATTERNS INTERWEAVE FLAX WITH DECORATIVE ELEMENTS OF BAMBOO, JUTE, REEDS, HEMP AND COTTON SLUB YARNS TO CREATE A STUNNING RANGE OF DESIGNS. THE RESULT IS A COLLECTION OF SOFT, LIGHT FABRICS, WHICH ARE ALSO TOUGH AND DURABLE ENOUGH TO WITHSTAND YEARS OF SERVICE—SOMETHING NEW AND UNIQUE IN WINDOW TREATMENTS. PLEASE READ THIS GUIDE CAREFULLY TO UNDERSTAND HOW BEST TO SPECIFY AND ORDER YOUR SHADES AND HOW TO TAKE CARE OF THEM. 2 MATERIALS REFERENCE PRICE FABRIC MAX WIDTH FABRIC STANDARD STANDARD PATTERN # PATTERN NAME GROUP COMPOSITION WIDTH w/CORD LOCK WEIGHT (g/m2) EB COLOR LINER COLOR Privacy Blackout ZH-148 ARUNDO DUSK A 90% Flax, 10% Reed 96" 60" 270 SILVER GRAY GRAY DARK LINEN ZH-152 ARUNDO ECRU A 90% Flax, 5% Reed, 5% Jute 96" 60" 210 IVORY/MARBLE NATURAL SOFT WHITE ZH-212 ARUNDO STONE A 90% Flax, 5% Reed, 5% Jute 96" 60" 300 SILVER GRAY GRAY DARK LINEN ZH-147 ARUNDO SUNSET A 90% Flax, 10% Reed 96" 60" 270 DARK TAUPE GRAY DARK LINEN ZH-199 BATISTE DARK* B 95% Flax, 5% Bamboo 96" 50" 250 DARK TAUPE GRAY DARK LINEN ZH-200 BATISTE LIGHT* -
Planting with a Limited Color Palette It’S Easier to Create Winning Combinations with Simplified Schemes
Planting with a Limited Color Palette It’s easier to create winning combinations with simplified schemes by Tracy DiSabato-Aust HE art of designing a bed or border color, with its seemingly endless choic- palette includes just two or three colors, T can be as engaging to a gardener as es. Suddenly this exciting process can such as analogous colors or one color painting is to an artist. For me, the most become overwhelming. and its complement (see sidebar, p. 44). exhilarating and creative part of garden One way to simplify the design A key advantage of both monochro- design is making dramatic plant combi- process is to reduce the number of matic and limited color schemes is that nations. An outstanding combination in variables. I’ve found that using a limit- they focus attention on the details and a garden thrills me and often sends me ed color palette, even a monochromatic subtleties of a design. Both types em- running for my camera as I yearn for scheme, is an effective and rewarding phasize the structure and rhythm of a just the right light to capture the vision. way to design combinations. planting. Plant form and the texture of But creating these elusive “works of A monochromatic color scheme, leaf, stem, flower, and fruit are more art” with living plants can be compli- which incorporates shades, tints, and easily appreciated. A design that is sim- cated. Form, texture, repetition, bal- tones of a single basic color, such as red ple and cohesive in color also can con- ance, and contrast are just a few key or blue, drastically reduces color com- vey an air of sophistication. -
E These Characteristics Make It Useful As Orange, Maroon, and Red. It
Page 12, Spring, 1986, PALMETTO The joy of Weeds-- has a stalk and can be up to 15 cm long and 3 cm wide. The leaflets are Florida's Wildflowers VIRGINIA CREEPER pointed at each end and have large by David Hall teeth on the margins toward the tip. Sometimes hairs occur on the underside of the leaflets. In the fall the foliage turns various shades of orange, maroon, and red. It can make E a gorgeous display if the vine is used .:! as a climber. ; .0 Large bunches (panicles) of small t. yellowish-green flowers occur at the :I: ~ branch tips. The five petals are no :E more than 2 to 3 mm long. The dark 0 blue or black fruits are 5 to 9 mm in u: '0 diameter and contain one to three ?;- seeds.Flowering is from Januaryuntil 'v; August in the southern counties of ~ 'c Florida, and from April to June :) northwards. Fruiting is from June to September in the northern part of the state and extends into November in the south. Neither the flowering nor ~ the fruiting is showy. The fruits are considered poisonous to humans. ct~ Virginia creeper can be used to Virginia creeper is an attractive "virgin ivy" gradually became cover walls, fences, arbors, and the native vine needing little care to Virginia Creeper, by which we now lower trunks of largetrees. It alsocan flourish. It can be a valuable know the plant. The species name be used as a ground cover, but it ornamental during the warm months quinquefolia, means five-leaved, usually isn't very dense.