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Filters Lighting Filter Comparator
UK_Comparator_AW 2:UK_Comparator_AW 16/5/08 12:01 Page 1 LEE Filters Lighting Filter Comparator ROSCOLUX / ROSCO LEE FILTERS ROSCOLUX / ROSCO LEE FILTERS ROSCO CINEGEL (CONT) LEE FILTERS GAMCOLOR (CONT) LEE FILTERS GAMCOLOR CINEFILTER LEE FILTERS (CONT) SUPERGEL SUPERGEL (CONT) BEST CLOSE BEST CLOSE BEST CLOSE BEST CLOSE BEST CLOSE MATCH MATCH MATCH MATCH MATCH MATCH MATCH MATCH MATCH MATCH 00 Clear 130 371 Theatre Booster 1 201 3812 Featherflex S/G 272 68 Light Gam Silk 228 1543 Full CTO 204 01 Light Bastard Amber 176 372 Theatre Booster 2 202 3813 Thin Mirror-S 271 103 Blue Rose 341 1546 3/4 CTO 285 02 Bastard Amber 162 373 Theatre Booster 3 203 3814 Thin Mirror-G 274 104 Broadway Rose 794 10-10 Ten-Ten Diffusion 258 03 Dark Bastard Amber 108 374 Sea Green 115 3830 Spun Silver 273 105 Antique Rose 039 10-20 Ten-Twenty Diffusion 452 04 Medium Bastard Amber 004 375 Cerulean Blue 354 3840 Cinebounce White-Black 280 105X 3/4 Antique Rose 247 10-30 Ten-Thirty Diffusion 257 05 Rose Tint 154 376 Burmuda Blue 143 3840 Cinebounce White-Black 460 106 1/2 Antique Rose 248 10-40 Ten-Forty Diffusion 252 06 No Color Straw 212 377 Iris Purple 142 4215 15 Blue 708 107 1/4 Antique Rose 248 10-50 Ten-Fifty Diffusion 251 07 Pale Yellow 007 378 Alice Blue 200 4230 30 Blue 709 108 1/8 Antique Rose 279 10-55 Ten-Fifty-Five Diffusion 255 08 Pale Gold 103 382 Congo Blue 181 4260 60 Blue 199 109 Naked Pink 279 10-60 Ten-Sixty Diffusion 250 09 Pale Amber Gold 009 383 Sapphire Blue 120 4290 90 Blue 142 110 Dark Rose 328 10-70 Ten-Seventy Diffusion 416 10 Medium -
Gel List
GELS / HUE COLOR MODE GEL LIST - Numerical Active if Green / Magenta < 3 DMX VALUE GEL DMX VALUE GEL DMX VALUE GEL DMX VALUE GEL 4 KF Candle Flame 62 Fire 120 Leaf Green 178 Pale Violet 6 KF Flo Warm White 64 Sunset Red 122 Fern Green 180 Just Blue 8 KF Flo Cool White 66 Pale Gold 124 Primary Green 182 Violet 10 KF LP Sodium Vpr 68 English Rose 126 Moss Green 184 Dark Blue 12 KF Mercury Vpr 70 Bastard Amber 128 Dark Y Green 186 Surprise Pink 14 KF 20K Blue Sky 72 Surprise Peach 130 Dark Green 188 Deeper Blue 16 KF Green Screen 74 Deep Gld Amber 132 Marine Blue 190 Special M Blue 18 KF Blue Screen 76 Dark Amber 134 Peacock Blue 192 Zenith Blue 20 Smokey Pink 78 Apricot 136 Med Blue-Green 194 Light Lavender 22 Dark Magenta 80 Gold Amber 138 Sp Steel Blue 196 Palace Blue 24 Bright Rose 82 Cosmetic Peach 140 Lagoon Blue 198 Lilac Tint 26 Pale Salmon 84 Deep Orange 142 Steel Blue 200 Deep Blue 28 Light Rose 86 Chocolate 144 Lighter Blue 202 Lavender Tint 30 Light Salmon 88 Orange 146 Summer Blue 204 Pale Lavender 32 Magenta 90 White Flame 148 Light Blue 206 Dark Lavender 34 Pink 92 Medium Amber 150 Moonlight Blue 208 Lavender 36 Rosy Amber 94 Pale Amber Gold 152 Pale Blue 210 Deep Lavender 38 Pale Red 96 Chrome Orange 154 Pale Navy Blue 212 Congo Blue 40 Scarlet 98 Straw Tint 156 Mist Blue 214 Rose Purple 42 Loving Amber 100 Straw 158 Bright Blue 216 Mauve 44 Pale Rose 102 Deep Straw 160 True Blue 218 Rose Pink 46 Medium Red 104 Deep Amber 162 Dark Steel Blue 220 Follies Pink 48 Gold Tint 106 Light Amber 164 Daylight Blue 222 Bright Pink 50 -
NEPTUNE COLORS Super Rare Rare Common By: Blackcatlegion
NEPTUNE COLORS Super Rare Rare Common By: BlackCatLegion Aggressive Azure Alice Blue Cadet Blue Powder Blue Royal Blue Absolute Zero Air Superiority Blue Azure Mist Cosmic Cobalt Azure Bondi Blue Bleu De France Celestial Blue Cerulean Frost Egyptian Blue Bright Cerulean EARTH COLORS Super Rare Rare Common By: BlackCatLegion Honeydew Rosy Brown Antique Brass Brown Sugar Champagne Papi Cinereous Copper Penny Coyote Brown Dark Lava Deep Taupe Field Drab Sienna Taupe WILD COLORS Super Rare Rare Common By: BlackCatLegion Gainsboro Chartreuse Sir Aquamarine AO Feldgrau Cal Poly Pomona Caribbean Green Dark Moss Dartmouth Green Space Sparkle MOON COLORS Super Rare Rare Common By: BlackCatLegion Slate Gray Stronghold Ivory Arctic Snow Ghost White White Smoke Anti-Flash White Antique White Battle Horse Gray Midnight Black Alabaster Black Chocolate Shadow Fighter FIERY COLORS Super Rare Rare Common By: BlackCatLegion Peach Puff Coral Wave Firebrick Alizarin Crimson Atomic Tangerine Big Dip O’Ruby Bittersweet Colombo Spice Burnt Umber Shimmer Crimson Tide English Vermillion Fuzzy Wuzzy Burnt Sienna Cinnabar Fire Opal CLASSIC COLORS Super Rare Rare Common By: BlackCatLegion Cornsilk Golden Rod Burlywood Arylide Yellow Banana Mania Buff Gold Café Au Lait Chrome Yellow Cosmic Latte Desert Sand Fawn Flex Hairy Canary MYSTICAL COLORS Super Rare Rare Common By: BlackCatLegion Papaya Whip Misty Rose Pale Violet Mystic Maroon Oval Orchid Thistle Amethyst Baker-Miller Pink Byzantine Byzantium China Pink China Rose Cinnamon Satin Cotton Candy Cyclamen Dark Byzantium Destiny Electric Violet Eminence Fandango Fiery Rose Suave Mauve. -
Ygb(I)V: Horizontal Color in the New York Subway
Robert R. Stenson Intro to Archaeology Joanna S. Smith 25 October 2007 R(o)ygb(i)v: Horizontal Color in the New York Subway The subway arrives in color. In our minds, our stations, and our maps, the New York City subway system arrives in colors: red, blue, orange, green, purple, etc. Whether you are holding a map, navigating the station, or standing on the platform, deciphering this subway means using color as a tool of instantaneous and conscious differentiation. That is, when we trace a line with our finger, spot a sign, or peer into the tunnel, we are consciously looking for a specific color, and can know instantaneously whether or not a train is “ours.” But the nature of this scheme is to operate in a “vertical” orientation. As we ride toward our destination, we ride with a color; as we glide north and south beneath the grey city, moving against the horizontal grid of cross-streets, the A train remains blue and the 1 remains red—no matter what station, either West 4th or 200th. But little-known in the New York subway complex is a limited, enigmatic system of “horizontal” color, bands of colored tile on station walls—a system which, theoretically, gives us the sense not of moving with a color, but through changing colors: green at West 4th, red at 200th etc. As a result of poor documentation and limited use, however, what we know of the colors is preserved primarily on the subway station walls; a once-modern scheme has silently become archaic, found only in an archaeological context. -
RGB Color Nº Color Name RGB HEX # Sample 1 Snow 255,250,250
RGB Color Nº Color Name RGB HEX # Sample 1 Snow 255,250,250 fffafa 2 Snow 2 238,233,233 eee9e9 3 Snow 3 205,201,201 cdc9c9 4 Snow 4 139,137,137 8b8989 5 Ghost White 248,248,255 f8f8ff 6 White Smoke 245,245,245 f5f5f5 7 Gainesboro 220,220,220 dccdc 8 Floral White 255,250,240 fffaf0 9 Old Lace 253,245,230 fdf5e6 10 Linen 240,240,230 faf0e6 11 Antique White 250,235,215 faebd7 12 Antique White 2 238,223,204 eedfcc 13 Antique White 3 205,192,176 cdc0b0 14 Antique White 4 139,131,120 8b8378 15 Papaya Whip 255,239,213 ffefd5 16 Blanched Almond 255,235,205 ffebcd 17 Bisque 255,228,196 ffe4c4 18 Bisque 2 238,213,183 eed5b7 19 Bisque 3 205,183,158 cdb79e 20 Bisque 4 139,125,107 8b7d6b 21 Peach Puff 255,218,185 ffdab9 22 Peach Puff 2 238,203,173 eecbad 23 Peach Puff 3 205,175,149 cdaf95 24 Peach Puff 4 139,119,101 8b7765 25 Navajo White 255,222,173 ffdead 26 Moccasin 255,228,181 ffe4b5 27 Corn silk 255,248,220 fff8dc 28 Corn silk 2 238,232,205 eee8dc 29 Cornsilk 3 205,200,177 cdc8b1 30 Corn silk 4 139,136,120 8b8878 31 Ivory 255,255,240 fffff0 32 Ivory 2 238,238,224 eeeee0 33 Ivory 3 205,205,193 cdcdc1 34 Ivory 4 139,139,131 8b8b83 35 Lemon Chiffon 255,250,205 fffacd 36 Seashell 255,245,238 fff5ee 37 Seashell 2 238,229,222 eee5de 38 Seashell 3 205,197,191 cdc5bf 39 Seashell 4 139,134,130 8b8682 40 Honeydew 240,255,240 f0fff0 41 Honeydew 2 244,238,224 e0eee0 42 Honeydew 3 193,205,193 c1cdc1 43 Honeydew 4 131,139,131 838b83 44 Mint Cream 245,255,250 f5fffa 45 Azure 240,255,255 f0ffff 46 Alice Blue 240,248,255 f0f8ff 47 Lavender 230,230,250 e6e6fa -
Addressing the Needs of Students with Color Vision Deficiencies in the Elementary School Library
Old Dominion University ODU Digital Commons Teaching & Learning Theses & Dissertations Teaching & Learning Summer 2013 Addressing the Needs of Students With Color Vision Deficiencies in the Elementary School Library Karla Bame Collins Old Dominion University Follow this and additional works at: https://digitalcommons.odu.edu/teachinglearning_etds Part of the Educational Assessment, Evaluation, and Research Commons, Elementary Education Commons, and the Library and Information Science Commons Recommended Citation Collins, Karla B.. "Addressing the Needs of Students With Color Vision Deficiencies in the Elementary School Library" (2013). Doctor of Philosophy (PhD), Dissertation, Teaching & Learning, Old Dominion University, DOI: 10.25777/ye1d-ps55 https://digitalcommons.odu.edu/teachinglearning_etds/46 This Dissertation is brought to you for free and open access by the Teaching & Learning at ODU Digital Commons. It has been accepted for inclusion in Teaching & Learning Theses & Dissertations by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. ADDRESSING THE NEEDS OF STUDENTS WITH COLOR VISION DEFICIENCIES IN THE ELEMENTARY SCHOOL LIBRARY by Karla Bame Collins B.S. May 1991, James Madison University M.A.Ed. May 2003, College of William and Mary A Dissertation Submitted to the Faculty of Old Dominion University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY EDUCATION OLD DOMINION UNIVERSITY August 2013 Approved by: Carol A. Doll (Committee Chair) -
Air Force Blue (Raf) {\Color{Airforceblueraf}\#5D8aa8
Air Force Blue (Raf) {\color{airforceblueraf}\#5d8aa8} #5d8aa8 Air Force Blue (Usaf) {\color{airforceblueusaf}\#00308f} #00308f Air Superiority Blue {\color{airsuperiorityblue}\#72a0c1} #72a0c1 Alabama Crimson {\color{alabamacrimson}\#a32638} #a32638 Alice Blue {\color{aliceblue}\#f0f8ff} #f0f8ff Alizarin Crimson {\color{alizarincrimson}\#e32636} #e32636 Alloy Orange {\color{alloyorange}\#c46210} #c46210 Almond {\color{almond}\#efdecd} #efdecd Amaranth {\color{amaranth}\#e52b50} #e52b50 Amber {\color{amber}\#ffbf00} #ffbf00 Amber (Sae/Ece) {\color{ambersaeece}\#ff7e00} #ff7e00 American Rose {\color{americanrose}\#ff033e} #ff033e Amethyst {\color{amethyst}\#9966cc} #9966cc Android Green {\color{androidgreen}\#a4c639} #a4c639 Anti-Flash White {\color{antiflashwhite}\#f2f3f4} #f2f3f4 Antique Brass {\color{antiquebrass}\#cd9575} #cd9575 Antique Fuchsia {\color{antiquefuchsia}\#915c83} #915c83 Antique Ruby {\color{antiqueruby}\#841b2d} #841b2d Antique White {\color{antiquewhite}\#faebd7} #faebd7 Ao (English) {\color{aoenglish}\#008000} #008000 Apple Green {\color{applegreen}\#8db600} #8db600 Apricot {\color{apricot}\#fbceb1} #fbceb1 Aqua {\color{aqua}\#00ffff} #00ffff Aquamarine {\color{aquamarine}\#7fffd4} #7fffd4 Army Green {\color{armygreen}\#4b5320} #4b5320 Arsenic {\color{arsenic}\#3b444b} #3b444b Arylide Yellow {\color{arylideyellow}\#e9d66b} #e9d66b Ash Grey {\color{ashgrey}\#b2beb5} #b2beb5 Asparagus {\color{asparagus}\#87a96b} #87a96b Atomic Tangerine {\color{atomictangerine}\#ff9966} #ff9966 Auburn {\color{auburn}\#a52a2a} #a52a2a Aureolin -
Points of View: Color Coding
THIS MONTH ab POINTS OF VIEW 1 2 3 4 5 6 Color picker Color coding Grayscale equivalent Lightness 1 Hue 2 Color can add dimensionality and richness to scientific com- 3 4 munications. In figures, color is typically used to differentiate 3 5 information into classes. The challenge is picking colors that are 5 4 2 discriminable. A systematic approach to choosing colors can help 1 us find a lineup effective for color coding. 6 6 Occasionally, authors use a sequence of colors, such as the ‘rainbow’ color scheme, to represent a range of values. Color, however, is not Saturation ideal for encoding quantitative data because of the inherent ambigu- ity in how the different colors should be ordered. For instance, does yellow represent a smaller value than blue? One could pattern the Figure 2 | Color has hue, saturation and brightness. (a,b) Colors can be sequence after the ordering of visible light by wavelength (remem- tuned using a color picker (a). Spiraling through hue and saturation while bered by the mnemonic ROYGBIV), but use of this color spectrum varying lightness can generate a discernible color set distinguishable even in grayscale (points labeled 1–6). is inherently problematic. The transitions from red to yellow to green and so on are uneven, breaking the correspondence between color and numerical value. Visually, certain colors in the rainbow spectrum On a computer, we can tune color attributes using the color picker seem to run on, whereas others are short lived. Even when we limit the (Fig. 2a). On a Mac or PC and in software such as Adobe Illustrator spectrum to just a few colors, the incremental change in mapped value and Photoshop, the color picker is based on the traditional color still might not translate to the magnitude of change we see. -
Resistor Color Code Guide
RESISTOR COLOR CODE GUIDE 4- Band Code 1.0 KW +- 5% 1st 4th 2nd 3rd Color 1st Band 2nd Band 3rd Band Decimal Multiplier Tolerance Black 0 0 0 1 1 Brown 1 1 1 10 10 +- 1 % Red 2 2 2 100 100 +- 2 % Orange 3 3 3 1K 1,000 Yellow 4 4 4 10K 10,000 Green 5 5 5 100K 100,000 Blue 6 6 6 1M 1,000,000 Violet 7 7 7 10M 10,000,000 Gray 8 8 8 100,000,000 White 9 9 9 1,000,000,000 Gold 0.1 +- 5 % Silver 0.01 +- 10 % None +- 20 % 3rd 2nd 4th 1st 5th 254 W +- 1 % 5- Band Code Calculation Resistor Lead Left Right 200 KW +- 10 % First Band Red 2 Second Band Black 0 Multiplier Band Yellow x10,000 The Gold or Silver band is always placed to the right. Tolerance Band Silver 10 % The resistor value is read from the left to right. If there is no tolerance band, then find the side that has Equation a band closest to a lead and make that the first band. 2 0 x 10,000 = 200,000 1,000 = 1K Resistor = 200 K with a + - 10 % Tolerance © Copyright 2006 Blue Point Engineering All Rights Reserved Page 1 Resistor Color Code 4 Band Quick Guide Resistance Notation Band 1 Band 2 Band 3 Tolerance .22 ohm R22 Red Red Silver S,G,R,B .27 ohm R27 Red Purple Silver S,G,R,B Color Value .33 ohm R33 Orange Orange Silver S,G,R,B Black 0 .39 ohm R39 Orange White Silver S,G,R,B Brown 1 .47 ohm R47 Yellow Purple Silver S,G,R,B Red 2 .56 ohm R56 Green Blue Silver S,G,R,B Orange 3 .68 ohm R68 Blue Gray Silver S,G,R,B Yellow 4 .82 ohm R82 Gray Red Silver S,G,R,B Green 5 1.0 ohm 1R0 Brown Black Gold S,G,R,B Blue 6 1.1 ohm 1R1 Brown Brown Gold S,G,R,B Violet 7 1.2 ohm 1R2 Brown Red Gold S,G,R,B -
The Color Code
The Color Code The new way to see yourself, your relationships, and life By Taylor Hartman, Ph.D. Taylor Hartman, Ph.D. Taylor Hartman, Ph.D. is a native of California and former professor at California State University, Long Beach, and has been coaching businesses and counseling individuals for over 30 years. His work revolves around the simplicity in understanding the unique complexities of personality and relationships. The Elements of Personality • Personality is Innate – Born with a unique set of personality traits • Personality is an Interpretation of Life – Determines whether you are easily depressed, casual, formal, careful, or carefree; passive or assertive • Personality is a Code of Behavior – Core of thoughts and feelings inside of you that tells you how to conduct yourself • Personality is a Rainbow The Hartman Personality Profile Color-Code Motives • Behaviors are determine by Needs and Wants • Needs and Wants are determined by Motives • Motives are our innermost reasons • The driving force behind our personalities “The Color Code” According to Hartman, there are 4 basic “core” personality colors: Although you will have a “secondary” color that will influence your personality also. • Red • Blue • White • Yellow Life can be puzzling. Why are some people so easy to love, work for, work with, befriend, while others require constant effort? What part do you play in making the relationships in your life work? Reds: The Power Wielders • Reds are highly committed to causes • Accomplish whatever life places before them • Reds are -
New Types of Marks
E SCT/16/2 ORIGINAL: English WIPO DATE: September 1, 2006 WORLD INTELLECTUAL PROPERTY ORGANIZATION GENEVA STANDING COMMITTEE ON THE LAW OF TRADEMARKS, INDUSTRIAL DESIGNS AND GEOGRAPHICAL INDICATIONS Sixteenth Session Geneva, November 13 to 17, 2006 NEW TYPES OF MARKS Document prepared by the Secretariat SCT/16/2 CONTENTS Page I. INTRODUCTION ..................................................................................................... 2 II. SUBJECT MATTER OF PROTECTION ................................................................. 2 (a) Visible signs..................................................................................................... 2 (i) Three-dimensional marks................................................................... 2 (ii) Color marks........................................................................................ 3 (iii) Holograms .......................................................................................... 5 (iv) Slogans ............................................................................................... 6 (v) Titles of films and books.................................................................... 6 (vi) Motion or multimedia signs ............................................................... 7 (vii) Position marks.................................................................................... 8 (viii) Gesture marks..................................................................................... 8 (b) Non-visible signs............................................................................................. -
TPT April Early
Color Addition and Subtraction Apps Frances Ruiz and Michael J. Ruiz, UNC Asheville, Asheville, NC olor addition and subtraction apps in HTML5 have The classic demonstration of color mixing by subtraction been developed for students as an online hands-on involves overlapping cyan, magenta, and yellow filters on an experience so that they can more easily master prin- overhead projector. White light must pass through one or Cciples introduced through traditional classroom demonstra- more filters. Since a filter absorbs light, it subtracts some of tions. The evolution of the additive RGB color model is traced the light from the original source. Therefore, we have color through the early IBM color adapters so that students can pro- mixing by subtraction. ceed step by step in understanding mathematical representa- Note that with addition we start with black: a dark room. tions of RGB color. Finally, color addition and subtraction are We then mix color by adding light as we overlap beam re- presented for the X11 colors from web design to illustrate yet gions. The combined light on the wall then reflects to our another real-life application of color mixing. eyes. With color subtraction we start with white light and The apps introduced here were developed1 for our liberal “subtract” from the white light as it passes through filters. arts optics course for non-science majors at UNC Asheville. Refer to Fig. 1. This course has no prerequisites, which means these apps can easily be used in high school. Readers can access the online apps and videos or download them. Note that two of the apps require a web server.