MVHA Historic Color Guidelines
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Inspirations from Europe's Leading Architects
SHADES OF WHITE Inspirations from Europe’s leading architects. DEAR BAUMIT FRIENDS AND PARTNERS, It has been almost 10 years since However, white on a facade not only has an aesthetic reason, We were inspired Baumit created Europe’s largest but also a very tangible one: climate change. Temperatures facade colour system, Baumit Life, are rising, our cities are getting hotter and hotter. The albedo by the idea with 888 unique colour shades. effect or the reflective power of the colour white can effectively Even though the trend-barometer counteract overheating in certain regions. We want to make has taken a turn in a more purist more use of this effect. of richness and variety direction, there remain a multitu- de of possibilities. In this book, renowned architects from our 25 Baumit countries of one colour tone answer questions such as “Why do architects wear black and In this book, and with our latest build white?” Their surprising answers and many insights into Baumit colour-coup, we take a the international world of architecture can be found on the when we created look at the colour that is the sum following pages. of all colours of the rainbow: the colour white. The Inuit tribe uses the Baumit colour series a variety of different names for white, depending on the colour Enjoy browsing and perusing! and texture. We were inspired by this idea of richness and variety “12 Shades of White”. of one colour tone when we created the Baumit colour series Sincerely, “Shades of White”. It is dedicated above all to our design specia- lists, the architects, for whom white has always been a popular colour choice. -
Pigmentology
PIGMENTOLOGY The Coloressense Concept THE 3 in 1 COLORESSENSE CONCEPT Coloressense Coloressense Coloressense PURE + EASY FLOW + SKIN TOP for large scaled for very delicate and for pigmentations that pigmentations and precise drawings require a fast handpiece shadings guidance and for pigment masks Coloressense EASY FLOW SKIN TOP Pigments Color Activator Calming Liquid Because of the highest possible Coloressense concentrate Mixed with Skin Top, the color- pigment density, Coloressense mixed with Easy Flow leads to a essense concentrate turns to an Pigments are destined for every hydrophilic color pigment, which oily pigment – perfectly fitting kind of pigmentation, you can suits perfect for exact hair dra- for all pigmentations with a fast use them pure or thinned. wings and precise contouring. handpiece guidance ( Powdery) Being concentrated "pure" they The coloressence concentrate or glossy pigmentations ( Star- are used for large scaled pig- becomes very fluent without loo- dust Gloss ). mentations, as shadings and full sing its opacity. Through the large enrichment drawings. of witch hazel extract, Skin Top appears haemostatic and regu- Usage category : Usage category : lates the lymph drainage, which pigmentation color : pure As a pigmentation color : smoothens the whole treatment 7-10 drops of the pigment for session. 1-2 drops Easy Flow Usage category : As pigmentation color: 10 drops pigment for 2-4 drops Skin Top As a pigment mask : 10 drops pigment for 4-5 drops Skin Top 2 Goldeneye Coloressense Colours 9.11 BB 8.25 HC 8.23 EQ -
The Devil's Colors
Open Research Online The Open University’s repository of research publications and other research outputs The Devil’s Colors: A Comparative Study of French and Nigerian Folktales Journal Item How to cite: Ugochukwu, Francoise (2007). The Devil’s Colors: A Comparative Study of French and Nigerian Folktales. Oral Tradition, 21(2) pp. 250–268. For guidance on citations see FAQs. c 2007 Center for Studies in Oral Tradition Version: Accepted Manuscript Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.1353/ort.2007.0005 http://journal.oraltradition.org/issues/21ii Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Oral Tradition, 21/2 (2006): 250-268 The Devil’s Colors: A Comparative Study of French and Nigerian Folktales Françoise Ugochukwu Introduction In the concluding chapter of her book on race in African oral literature, Veronika Görög-Karady (1976:245) remarks that “the main difficulty is to find the precise meaning of color oppositions, valorization or depreciation in African cultures.” This study, mainly based on five separate published collections by Joisten (1965, 1971, 1977, 1996) and the author (1992), will compare French and Nigerian folktales, focusing on French Dauphiné and Nigerian Igboland,1 in order to consider the role color plays in encounters with supernatural characters, revealing a complex network of correspondences that serve as a tool to communicate color-coded values. -
Transcending Colors for Fall Diverse and Adventurous Colors for Fall 2014 from Pantone
Transcending ALLIMAGES COURTESY THE AUTHOR Colors for Fall Diverse and Adventurous Colors for Fall 2014 from Pantone By Jennifer Foy his year’s fall color palette seems to relate to an obsession with the past combined with the “spirit of the present.” In the Spring 2014 Pantone T Palette, the majority of the hues reflected and held light, such as bright shades like Celosia Orange, Freesia Yellow and Hemlock Green. The Fall 2014 Pantone guide offers colors that can refresh your product offerings including wearables, décor, promotional items and gifts. “This is a season of untypical colors—more reflective of the imagination and ingenuity, which makes for an artful collection of colors and combinations not bound by the usual hues for fall,” noted Leatrice Eiseman, executive director of the Pantone Color Institute. “There is a feminine mystique that is reflected throughout the palette, inspired by the increasing need for women everywhere to create an individual imprint.” The Pantone Fall 2014 Palette consists of: PANTONE 18-3224 Radiant Orchid PANTONE 19-3955 Royal Blue PANTONE 16-1107 Aluminum PANTONE 18-1550 Aurora Red PANTONE 14-0837 Misted Yellow PANTONE 19-2047 Sangria PANTONE 15-3207 Mauve Mist PANTONE 18-1421 Cognac PANTONE 19-4037 Bright Cobalt PANTONE 18-0322 Cypress Radiant Orchid: The Color of the Year, Radiant Orchid, is a flexible shade of purple. A positive color for 2014! Cognac: Dark shades of brown with a luxurious shine to it comes to mind for this color name. A fitting hue for fall and a great alternative from the usual dark colors for a background of a product design. -
New Varieties
NEW2021 VARIETIES AUTUMN INFERNO® COTONEASTER Cotoneaster ‘Bronfire’ PP30,493 USDA Hardiness Zone: 5 AHS Heat Zone: 7 Height: 5-6’ Spread: 4-5’ Exposure: Full Sun to Part Shade Shape: Upright- Arching Discovered at Bron & Sons Nursery in British Columbia, this new Cotoneaster is a natural cross between C. lucidus and C. apiculatus. It has many of the attributes of C. lucidus that we so love for a hedge - great form, easily pruned, great foliage all season long plus great fall color. But what we really love about Autumn Inferno® is the small red berries formed along the stems in fall. The berries stay on the plant until the birds come and take them, no mess involved. Perfect as a pruned formal hedge or let it go natural. Just enough height to block off your annoying neighbors. FIRSTEDITIONSPLANTS.COM Plant patent has been applied for and trademark has been declared. Propagation and/or use of trademark without license is prohibited. GALACTIC PINK® CHASTETREE Vitex agnus-castus ‘Bailtextwo’ PP30,852 USDA Hardiness Zone: 6 AHS Heat Zone: 9 Height: 6-8’ Spread: 6-8’ Exposure: Full Sun Shape: Upright - Rounded Galactic Pink® has flowers that are a beautiful shade of pink and intermediate in size. The fragrant flowers, born in longGalactic panicles, Pink® bloomhas flowers from Junethat areto Octobera beautiful and shade attract of pollinatorspink and intermediate by the dozens. in size. The The darkfragrant green flowers, foliage is cleanborn and in the long branching panicles, bloomis dense from and June full. toMaturing October atand a slightly attract pollinatorssmaller size by than the dozens.Delta Blues™. -
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. -
Shades of Brown 1
aSandoval Shades of Brown 1 Shades of Brown: Thoughts of A YoungMexicanAmericanChicano by Angel eFe Sandoval alternaCtive publicaCtions http://alternativepublications.ucmerced.edu aSandoval Shades of Brown 2 Dedication to all the beautiful real\\\ fake fallen angels, to the seven-sinned haters, to the minority who struggles and stays positive amid the maddening negativity, and to the machos y machas who laugh like Mechistas— porque cuando ya no se puede… SÍ, SE PUEDE! SÍ, SE PUEDE! to the innocent: Raza who had to live these imperfect lines, to the youngsters just tryin’, waiting for the metaphorical midnight… it’s here. it’s here! alternaCtive publicaCtions http://alternativepublications.ucmerced.edu aSandoval Shades of Brown 3 A Quick Quihúbole Truth is, I wrote this for the Chicanao Mestizaje del Valle Imperial, for the shades of brown. And so, even though I know this might not shade everyone in The Desert, I hope the Shades stretch and reach that certain someone…or two or 70-something-percent. See, I’m not coming to you with a black\and\or\white perspective here; I’m talking about the shades of brown: and that’s the truth, you know. I want you to see the truth, to see your shades. Cuz, la neta-la neta, the truth comes in shades of brown—just look around. And when truth is written down, truth is poetry. And this is my poetry : these are my Shades of Brown. Puro Chicanao Love. Angel eFe Sandoval el Part-Time poeta CalifAztlán 2012 year of the new movement c/s alternaCtive publicaCtions http://alternativepublications.ucmerced.edu aSandoval -
The Promise of Whiteness: Fifty Shades of Grey As White Racial Archive
Issue 8 January 2016 www.intensitiescultmedia.com The Promise of Whiteness: Fifty Shades of Grey as White Racial Archive Moon Charania Spelman College Abstract This paper looks closely at how whiteness—a key demonstrative site of power in Sam Taylor-Johnson’s egregious Fifty Shades of Grey (2015)—scripts a repertoire of behaviours on sexual, gender, racial, and class lines. Positioning Fifty Shades of Grey in the post 9/11 globalised media machine, I argue that this interna- tionally bestselling erotic phenomenon is haunted by the master narrative of white racism and heterosexual compulsion, where both are reconstituted as desirable in growing social climate of gay cosmopolitanism and anti-racist awareness. Wrought through a lexicon white superiority, Fifty Shades offers us a way of thinking about how dominant fe/male subject(s) employ whiteness as a crucial practice of producing social subordina- tion, and how a close reading of this film underscores the private and public pleasures of white subjectivity, and the inherent stability of white affluent subjectivity, despite its excesses—a position disallowed to queer and colored subjects. Analyzing various narrative moments in the film, I show how Christian Grey, despite his eroticization of violence, is nonetheless secured by distinctive individuality most closely associated with white bodies and the privileges of the white body politic. Grey’s irreducible and extradiagetic white pres- ence demand further thinking about how Fifty Shades is fundamentally about the pleasures (and promises) of whiteness. I argue that the ultimate duplicity of Fifty Shades of Grey is that it seduces viewers through a promise of explicit sex and wealth, even though the film’s true offering is much more simple: the promise of whiteness. -
Choose Paint Colors and Schemes
Choose Paint Colors and Schemes When you’re decorating your home, choosing the right paint colors is the most important decision you’ll make. As fun as choosing colors can be, this part of the planning can be overwhelming. Thousands of combinations are possible, but by having a basic understanding of color you can create a scheme you love. Basic Color Terms The Color Wheel The color wheel identifies color families and how they relate to each other. Primary Colors All colors, with the exception of white, come from primary colors.. Blue, yellow and red are the primary colors; combinations of these three colors produce secondary colors. Secondary Colors Mix equal amounts of two primary colors to create secondary colors. The results are violet (red and blue), green (blue and yellow) and orange (red and yellow). Tertiary Colors Mix one primary color with larger amounts of another primary color to create tertiary colors. For example, mix one part blue with two parts red to red-violet. Other Color Terms • The hue of a color is the basic color. For example, blue is the hue in light blue and dark blue. • Tone is the result of adding white and black (gray) to a color. Tone makes colors more pleasing to look at instead of pure pigment. • The value of a color describes the amount of white or black in the color. The value ranges from light to dark on a gray scale. • The saturation of a color refers to its strength or weakness in different light. Think about it in terms of bright or dull. -
4 Colour Words in English and Italian
Connotative meaning in English and Italian Colour-Word Metaphors Gill Philip, Bologna ([email protected]) Abstract Colour words are loaded with attributive, connotative meanings, many of which are realised in conventional linguistic expressions such as to feel blue, to be in the pink, and to see red. The use of such phrases on an everyday basis reinforces the currency of the connotative meanings which they assume in particular cultural and linguistic settings, and the phrases themselves are often cited as evidence of the existence of colours’ connotative meanings. But how do the colour words in conventional linguistic expressions relate to the multitude of symbolic meanings that colours (in general) are said to represent? Based on data extracted from general reference corpora as well as traditional reference works, this article examines the use of colour-word metaphors in English and Italian. It pays particular attention to the ways in which colour words take on connotative meanings, how the meanings are fixed linguistically, and similarities and differences across the two languages under examination. Farbbezeichnungen enthalten viele attributive und konnotative Bedeutungen, wobei viele von ihnen in umgangssprachlichen Ausdrücken vorkommen, wie z.B. to feel blue, to be in the pink und to see red. Die Verwendung derartiger Ausdrücke im alltäglichen Umgang trägt zur weiteren Verbreitung der konnotativen Bedeutungen innerhalb eines bestimmten kulturellen und sprachlichen Umfeldes bei, und die Ausdrücke selber werden oft als Beweis für den offensichtlichen konnotativen Aspekt der Farbbegriffe angeführt. In welchem Verhältnis stehen aber die konventionellen Ausdrücke zur großen Anzahl symbolischer Bedeutungen, die doch Farben (im Allgemeinen) darstellen sollen? Ausgehend von Resultaten allgemeiner reference corpora wie auch herkömmlicher Studien wird hier der Umgang mit Farbbezeichnungsmetaphern (idiomatische Ausdrücke) im Englischen und Italienischen untersucht. -
Un Hommage À Thomas Pynchon's Rainbow
Un Hommage à Thomas Pynchon’s Rainbow Peter Bamfield Editions Eclipse, 2012 One of the great novels of the 20th century is Thomas Pynchon’s Gravity’s Rainbow. For those interested in the use of color as a code in literature it is a positive goldmine. Consequently, many erudite essays have been written about this aspect of the work. My activity in this area has involved an examination and compilation of the phrases in which these color codes appear. Using this database I have constructed a reading of the novel based on these phrases. In carrying out this process I set myself the following constraints; . Each phrase abstracted from the novel must contain at least one color term. The words in each phrase must be in the order used by Pynchon. The phrases subsequently used to construct sentences to be in the order in which they occur in the novel. The only freedom to be in the selection of appropriate punctuation. Arguably, the four parts of the novel can be divided into a total of eighty-one episodes. I have followed this convention and hence produced eighty-one sentences covering the four parts. All the words used in this Hommage are Thomas Pynchon’s. Editions Eclipse: http://english.utah.edu/eclipse Part 1 Beyond the Zero Episode 1 With blue shadows, cockades the color of lead, globular lights painted a dark green, velvet black surfaces. At each brown floor, a tartan of orange, rust and scarlet. Giant bananas cluster, radiant yellow, humid green. A short vertical white line begins to vanish in red daybreak. -
RGB to Color Name Reference
RGB to Color Name Reference grey54 138;138;138 8A8A8A DodgerBlue1 30;144;255 1E90FF blue1 0;0;255 0000FF 00f New Tan 235;199;158 EBC79E Copyright © 1996-2008 by Kevin J. Walsh grey55 140;140;140 8C8C8C DodgerBlue2 28;134;238 1C86EE blue2 0;0;238 0000EE 00e Semi-Sweet Chocolate 107;66;38 6B4226 http://web.njit.edu/~walsh grey56 143;143;143 8F8F8F DodgerBlue3 24;116;205 1874CD blue3 0;0;205 0000CD Sienna 142;107;35 8E6B23 grey57 145;145;145 919191 DodgerBlue4 16;78;139 104E8B blue4 0;0;139 00008B Tan 219;147;112 DB9370 Shades of Black and Grey grey58 148;148;148 949494 170;187;204 AABBCC abc aqua 0;255;255 00FFFF 0ff Very Dark Brown 92;64;51 5C4033 Color Name RGB Dec RGB Hex CSS Swatch grey59 150;150;150 969696 LightBlue 173;216;230 ADD8E6 cyan 0;255;255 00FFFF 0ff Shades of Green Grey 84;84;84 545454 grey60 153;153;153 999999 999 LightBlue1 191;239;255 BFEFFF cyan1 0;255;255 00FFFF 0ff Dark Green 47;79;47 2F4F2F Grey, Silver 192;192;192 C0C0C0 grey61 156;156;156 9C9C9C LightBlue2 178;223;238 B2DFEE cyan2 0;238;238 00EEEE 0ee DarkGreen 0;100;0 006400 grey 190;190;190 BEBEBE grey62 158;158;158 9E9E9E LightBlue3 154;192;205 9AC0CD cyan3 0;205;205 00CDCD dark green copper 74;118;110 4A766E LightGray 211;211;211 D3D3D3 grey63 161;161;161 A1A1A1 LightBlue4 104;131;139 68838B cyan4 0;139;139 008B8B DarkKhaki 189;183;107 BDB76B LightSlateGrey 119;136;153 778899 789 grey64 163;163;163 A3A3A3 LightCyan 224;255;255 E0FFFF navy 0;0;128 000080 DarkOliveGreen 85;107;47 556B2F SlateGray 112;128;144 708090 grey65 166;166;166 A6A6A6 LightCyan1 224;255;255