DOCSLIB.ORG

23350 Indian Yellow, Imitated (Nickel-Azo Complex)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
23350 Indian Yellow, Imitated (Nickel-Azo Complex) 23350 Indian yellow, imitated (nickel-azo complex) The hue of the different types of Indian yellow can vary. However, it is in the dark yellow or golden yellow range. Some Indian yellow types are coloristically identical to the corresponding cadmium yellow types. Three fundamentally different types of Indian yellow are now known. 1. indian yellow genuine (purree) - not available. Via Persia, the production of Indian yellow was introduced to India in the 15th century, where it was mainly used as a bright yellow color. In European painting, the natural dye became known only in the middle of the 18th century. Indian yellow was obtained from the urine of Indian cows that had previously been fed mango leaves and which were then left to thirst for a long time. The evaporation of the urine produced a yellowish-brown, insoluble residue. This was collected, washed and sold as a pressed spherical bale. For animal welfare reasons, the production of genuine Indian yellow was banned at the beginning of the 20th century. This pigment, which was said to have legendary durability properties and a color beauty that could not be imitated, has disappeared from the market since the beginning of this century. Chemically, this Indian yellow is a natural organic dye, being the magnesium salt of euxanthic acid (chemical composition: C19H16O11Mg-5H2O). To date, it has not been possible to produce this product in industrial quantities. The production is too expensive. Purrée or Piruri is the raw product obtained from urine. Indian yellow is quite lightfast, only slightly soluble in water and not at all soluble in alcohol. It dissolves well in acids and alkalis. 2. imitation Indian yellow. With the development of dye chemistry, more and more lightfast pigments from the family of azo dyes (azo from French "azote" = nitrogen) with approximately or even comparable glaze and resistance properties came onto the market. Today, these pronounced glaze pigments are processed by the artists' color industry into Indian yellow substitutes. Pigments available under the name Indian Yellow also belong to the azo group. Unfortunately, however, the artists' color producers add extenders to these pigments, also for reasons of easier processing. The same applies to the technical processing guidelines for these Indian yellow substitute types as is listed under "Permanent yellow". 3. imitation indian yellow (nickel-azo complex), PG 150. our product no. 23350. By incorporating a nickel atom into the azo dye, the industry has succeeded in producing an extremely lightfast complex dye. This Indian yellow has very high color intensity and excellent glazing properties. The pigment is extremely fine, thus requiring a very high binder and is not easy to rub on. When applied thickly, the shade appears dark golden yellow, almost brownish, the thinner the glaze, the more the shade tends towards light yellow. When mixed with white, shades more reminiscent of the various shades of Naples yellow are achieved. The pigment is suitable for all techniques, but is best used as a pure glaze. In very acidic or basic systems, the nickel atom can be dissolved out, which can lead to a color change and reduced light fastness. In aqueous media, it is somewhat easier to wet than other tar dyes due to its metal content and somewhat higher specific gravity. The large grain fineness, however, requires very thorough incorporation. After wetting with isopropyl alcohol, it must be worked through very carefully. Only when the pigment has "broken down" should binders be added. When working into emulsion paints (acrylic), it may happen that the dispersion already functions as a wetting agent. Page 1 of 2 Kremer Pigmente GmbH & Co. KG · Hauptstr. 41-47 · DE-88317 Aichstetten ·Tel. 0049 7565 914480 · [email protected] · www.kremer-pigmente.com We do not assume any warranty for the guidance shown above. In any case, we recommend production and evaluation of samples. For small amounts, and they are usually sufficient because of the high intensity, a very thorough spackling with linseed or walnut oil is sufficient when making oil paint, and an addition of 1:2 dammar solution can further increase the brilliance. However, best results are obtained by first rubbing the pigment with isopropyl alcohol using the glass runner. After the alcohol has evaporated, take a spatula and scrape the pigment together. Only then do you add oil. It is amazing to observe how the color paste becomes more and more solid the longer you work oil into it. Oil should be added drop by drop until a normal, smooth tube consistency is achieved. It is unclear how the correspondence of Indian yellow and Aureolin (cobalt yellow) mentioned by Kittel came about. Page 2 of 2 Kremer Pigmente GmbH & Co. KG · Hauptstr. 41-47 · DE-88317 Aichstetten ·Tel. 0049 7565 914480 · [email protected] · www.kremer-pigmente.com We do not assume any warranty for the guidance shown above. In any case, we recommend production and evaluation of samples. .
Load more

Recommended publications
  • Watercolor Basics with Susan Donohoe
    Watercolor Basics with Susan Donohoe BASICS SUPPLY LIST FOR - TECHNIQUES - Day 1 The lists are long, beginners should bring what they have. They SHOULD NOT go out and buy supplies just to have them. I will bring supplies that they can use to fill in the blanks. Better for them to learn in the workshop what is best for them to buy instead of wasting their money. Personal Needs for each day: Please bring any of these items that you will require. A cushion for your chair, the day can get long for your backside. Your lunch each day. There is a microwave and a small refrigerator for your use. Keep it simple. Hydration-bring plenty of liquid to stay hydrated. A sweater or work shirt to stay comfortable as the room temperature may fluctuate throughout the day. Brushes: Preferred brands: Escoda, Holbein, Cheap Joe’s, Loew-Cornell, Da Vinci, Halcyon One of each if you have them: Round: #6, #10, #14, #18+ (the biggest round brush you own - no need to buy one.) Flat: 1/2”, 1”, 2”, Hake (if you have one) Scrubber brushes: assorted sizes. (These brushes can be purchased at Michael’s or JoAnn’s. They are stiff brushes similar to oil painting brushes. They are sometimes called fabric brushes.) Paper: Arches #140 - Cold Press - 1 full sheet. If you know how and wish to do so prior to class, you can tear the full sheet into 4 equal 1/4 sheet pieces. Paint: Artist Grade Paint only!!!! Preferred Brands: Holbein, Daniel Smith, Mission, Aquarelle Sennelier, M.
    [Show full text]
  • Ice Cream Flavor Sorbet Flavor
    Ice Cream Flavor Sorbet Flavor Banana Milk Tea Acai Sorbet Butter Pecan Mocha Chip Bloody Orange Sorbet Cherry Vanilla Orange Creamy Limon Cello Sorbet Chocolate Pistachio Mango Sorbet Chocolate Chip Cookie Dough Pumpkin (Seasonal) Pink Grapefruit Sorbet Chocolate Fudge Swirl Red Bean Watermelon Sorbet Chocolate Peanut Butter Rocky Road Coconut Sesame Cookie –N- Cream Strawberry Dulce de Leche Strawberry Cheesecake Cotton Candy Taro Green Tea Vanilla Chocolate Nutella Wild Berry Mint Chip Dry Topping Wet Topping Fresh Fruit Topping Almond Slice Marshmallow Black Cherry Banana Coconut Flake M & M Caramel Sauce Blueberry Chocolate Chip Mochi Chocolate Sauce Mango Chocolate Crunch Mini Peanut Butter Cup Peanut Butter Sauce Pineapple Chocolate Sprinkle Oreo Cookie Hot Fudge Strawberry Cookie Dough Peanut Marshmallow Sauce Dry Walnut Pecan Nutella Sauce Fruity Pebbles Rainbow Sprinkle Strawberry Sauce Graham Cracker Reese’s pieces Vanilla Syrup Gummy Bear Toasted Coconut Wet Walnut Gronala Whipping Cream Homemade Chocolate Mousse Macaron Tiramisu Cup Strawberry Shortcake Apricot Vanilla Matcha Lemon Tart Mango Cup Rose Cotton Candy Oreo Taro Coconut Pistachio Pecan Tart 4” Cheesecake Oreo Tiramisu Nutella Red Velvet Cake Wild Berry Raspberry Passion Fruit Strawberry Cheesecake Milk Tea Fruit Tea Oolong Tea Original - Black Tea with Milk / Green Tea with Milk *Apple Lychee Oolong Tea *Almond Nutella *Blueberry *Mango Oolong Milk Tea Banana Papaya Grape *Passion Fruit Brown Sugar Oolong Milk Tea *Coconut Red Bean Grape Fruit *Peach Honey Oolong
    [Show full text]
  • Museum of Economic Botany, Kew. Specimens Distributed 1901 - 1990
    Museum of Economic Botany, Kew. Specimens distributed 1901 - 1990 Page 1 - https://biodiversitylibrary.org/page/57407494 15 July 1901 Dr T Johnson FLS, Science and Art Museum, Dublin Two cases containing the following:- Ackd 20.7.01 1. Wood of Chloroxylon swietenia, Godaveri (2 pieces) Paris Exibition 1900 2. Wood of Chloroxylon swietenia, Godaveri (2 pieces) Paris Exibition 1900 3. Wood of Melia indica, Anantapur, Paris Exhibition 1900 4. Wood of Anogeissus acuminata, Ganjam, Paris Exhibition 1900 5. Wood of Xylia dolabriformis, Godaveri, Paris Exhibition 1900 6. Wood of Pterocarpus Marsupium, Kistna, Paris Exhibition 1900 7. Wood of Lagerstremia parviflora, Godaveri, Paris Exhibition 1900 8. Wood of Anogeissus latifolia , Godaveri, Paris Exhibition 1900 9. Wood of Gyrocarpus jacquini, Kistna, Paris Exhibition 1900 10. Wood of Acrocarpus fraxinifolium, Nilgiris, Paris Exhibition 1900 11. Wood of Ulmus integrifolia, Nilgiris, Paris Exhibition 1900 12. Wood of Phyllanthus emblica, Assam, Paris Exhibition 1900 13. Wood of Adina cordifolia, Godaveri, Paris Exhibition 1900 14. Wood of Melia indica, Anantapur, Paris Exhibition 1900 15. Wood of Cedrela toona, Nilgiris, Paris Exhibition 1900 16. Wood of Premna bengalensis, Assam, Paris Exhibition 1900 17. Wood of Artocarpus chaplasha, Assam, Paris Exhibition 1900 18. Wood of Artocarpus integrifolia, Nilgiris, Paris Exhibition 1900 19. Wood of Ulmus wallichiana, N. India, Paris Exhibition 1900 20. Wood of Diospyros kurzii , India, Paris Exhibition 1900 21. Wood of Hardwickia binata, Kistna, Paris Exhibition 1900 22. Flowers of Heterotheca inuloides, Mexico, Paris Exhibition 1900 23. Leaves of Datura Stramonium, Paris Exhibition 1900 24. Plant of Mentha viridis, Paris Exhibition 1900 25. Plant of Monsonia ovata, S.
    [Show full text]
  • Personal Enrichment Courses SUPPLY LIST
    Personal Enrichment Courses SUPPLY LIST Beginning Acrylics Intermediate Acrylics Instructor: Patti Overholt Instructor: Patti Overholt Niceville Campus Niceville Campus Please try to purchase Galeria Acrylic Paints Supply List (Windsor Newton) for best color mixing results. 1. CANVAS: One 8x10 Canvas Panel Supply List One 9 x 12 Canvas Panel 1. CANVAS: One 8x10 Gallery Wrapped Canvas Three 8x10 Canvas Panels 2. BRUSHES: 2. BRUSHES: #1 inch and a #0.5 inch Flat Brush #1 inch and a #0.5 inch Flat Brush #4 inch and a #8 Filbert #4 inch and a #8 Filbert #8 inch Round Brush #8 inch Round Brush A fan Brush A fan Brush A one inch craft brush A one inch craft brush 3 Palettes Knives, Small, Med. and Large 3. ACRYLIC PAINT: 3. ACRYLIC PAINT: (Starter Sets are available online and at local craft stores. Hobby (Starter Sets are available online and at local craft stores. Hobby Lobby has the best coupon offers. PLEASE avoid cheap paints as Lobby has the best coupon offers. PLEASE avoid cheap paints as colors are off and the pigments are thin.) colors are off and the pigments are thin.) • Ultramarine Blue • Ultramarine Blue • Cerulean Blue • Cerulean Blue • Alizarin Crimson • Alizarin Crimson • Rose Pink • Rose Pink • Cadmium Red Medium • Cadmium Red Medium • Cadmium Yellow Medium • Cadmium Yellow Medium • Yellow Ochre • Yellow Ochre • Indian Yellow • Indian Yellow • Titanium White • Titanium White • Unbleached Titanium (Buff • Unbleached Titanium (Buff White) White) • Burnt Umber • Burnt Umber • Acrylic Extender • Acrylic Extender MISCELLANEOUS: MISCELLANEOUS: Brush Holder for water Plastic Palette Plastic Bottle with water Styrofoam Trays Paper Towels Small jar Golden Moulding Paste Package of Handy or Baby Wipes Brush Holder for water Plastic Bottle with water Paper Towels Package of Handy or Baby Wipes Saran Wrap Personal Enrichment Courses SUPPLY LIST Acrylic Painting Have Fun Drawing Instructor: Marvin Tweedy Instructor: Patti Overholt DeFuniak Springs Campus Niceville Campus Supply List Supply List 1.
    [Show full text]
  • The ISCC-NBS Method of Designating Colors and a Dictionary of Color Names
    Uc 8 , .Department of Commerce Na Canal Bureau of Standards Circular UNITED STATES DEPARTMENT OF COMMERCE • Sinclair Weeks, Secretary NATIONAL BUREAU OF STANDARDS • A. V. Astin, Director The ISCC-NBS Method of Designating Colors and a Dictionary of Color Names National Bureau of Standards Circular 553 Issued November 1, 1955 For sale by the Superintendent of Documents, U. S. Government Printing Office, Washington 25, D. C. Price 32 7 1 National Bureau of Standards NOV 1 1955 8 (0*118 QC 00 U555 Cop. 1 Preface I^Ever since the language of man began to develop, words or expressions have been used first to indicate and then to describe colors. Some of these have per- sisted throughout the centuries and are those which refer to the simple colors or ranges such as red or yellow. As the language developed, more and more color names were invented to describe the colors used by art and industry and in late years in the rapidly expanding field of sales promotion. Some of these refer to the pigment or dye used, as Ochre Red or Cochineal, or a geographical location of its source such as Naples Yellow or Byzantium. Later when it became clear that most colors are bought by or for women, many color names indicative of the beauties and wiles of the fan- sex were introduced, as French Nude, Heart’s Desire, Intimate Mood, or Vamp. Fanciful color names came into vogue such as Dream Fluff, Happy Day, Pearly Gates, and Wafted Feather. Do not suppose that these names are without economic importance for a dark reddish gray hat for Milady might be a best seller ; if advertised as Mauve Wine whereas it probably would not if the color were called Paris Mud.
    [Show full text]
  • Watercolours: What´S Different in the New Assortment?
    Product information Watercolours HORADAM® watercolours: What´s different in the new assortment? The following colours have got a new name: Art.-No. Old Name New Name 14 208 Aureolin modern Aureolin hue 14 209 Translucent yellow Transparent Yellow 14 211 Chrome yellow lemon Chromium yellow hue lemon 14 212 Chrome yellow light Chromium yellow hue light 14 213 Chrome yellow deep Chromium yellow hue deep 14 214 Chrome orange Chromium orange hue 14 218 Translucent orange Transparent orange 14 366 Deep red Perylene maroon 14 476 Mauve Schmincke violet 14 498 Dark blue indigo Dark blue 14 648 Sepia brown tone Sepia brown reddish 14 786 Charcoal grey Anthracite The following colours are completely omitted due to raw materials which aren’t available anymore: Art.-No. Old Name 14 652 Walnut brown This tone cannot be mixed out of other colours. 14 666 Pozzuoli earth This tone can be mixed using 14 649 English Venetian red and the slightly reddish 14 670 Madder brown. These colours are now produced using other pigments. Therefore they have got a new name and a new number: Old Art.-No. Old Name New Art.-No. New Name 14 345 Dark red 14 344 Perylene dark red 14 210 Gamboge gum modern 14 217 Quinacridone gold hue 14 478 Helio blue reddish 14 477 Phthalo sapphire blue 14 536 Green yellow 14 537 Transparent green gold - Discontinued colours The described product attributes and application examples have been tes- a warranty for product attributes and/or assume liability for damages that ted in the Schmincke laboratory.
    [Show full text]
  • Gamblin Provides Is the Desire to Help Painters Choose the Materials That Best Support Their Own Artistic Intentions
    AUGUST 2008 Mineral and Modern Pigments: Painters' Access to Color At the heart of all of the technical information that Gamblin provides is the desire to help painters choose the materials that best support their own artistic intentions. After all, when a painting is complete, all of the intention, thought, and feeling that went into creating the work exist solely in the materials. This issue of Studio Notes looks at Gamblin's organization of their color palette and the division of mineral and modern colors. This visual division of mineral and modern colors is unique in the art material industry, and it gives painters an insight into the makeup of pigments from which these colors are derived, as well as some practical information to help painters create their own personal color palettes. So, without further ado, let's take a look at the Gamblin Artists Grade Color Chart: The Mineral side of the color chart includes those colors made from inorganic pigments from earth and metals. These include earth colors such as Burnt Sienna and Yellow Ochre, as well as those metal-based colors such as Cadmium Yellows and Reds and Cobalt Blue, Green, and Violet. The Modern side of the color chart is comprised of colors made from modern "organic" pigments, which have a molecular structure based on carbon. These include the "tongue- twisting" color names like Quinacridone, Phthalocyanine, and Dioxazine. These two groups of colors have unique mixing characteristics, so this organization helps painters choose an appropriate palette for their artistic intentions. Eras of Pigment History This organization of the Gamblin chart can be broken down a bit further by giving it some historical perspective based on the three main eras of pigment history – Classical, Impressionist, and Modern.
    [Show full text]
  • MODERN WATERCOLOR III Fair FR Fair G Granulating J Semi-Opaque NA Not Yet Tested H Opaque
    ASTM LF GOLDEN LF STAIN OPACITY I Excellent EX Excellent Semi-Staining k Semi-Transparent II Very Good GD Good Staining i Transparent MODERN WATERCOLOR III Fair FR Fair G Granulating j Semi-Opaque NA Not Yet Tested h Opaque Item # Series Color Color Index Name Pigment Name ASTM Opacity Granulating Staining 1-4 Light-fastness 7000525 1 Ardoise Gray PBk19 Hydrated Aluminum Silicate I i G 7000135 1 Aureolin Modern PW6, PY150 Titanium Dioxide Rutile, Nickel Complex Azo I j 7000126 4 Benzimidazolone Yellow PY154 Benzimidazolone Yellow H3G I k 7000115 3 Bismuth Vanadate Yellow PY184 Bismuth Vanadate EX k 7000415 2 Bohemian Green Earth PBk7, PG7, PR101, PY42 Nearly Pure Amorphous Carbon, Chlorinated Copper I k G Phthalocyanine, Synthetic Iron Oxide, Synthetic Iron Oxide 7000470 1 Burnt Sienna (Natural) Pbr7 Calcined Natural Iron Oxide I j G 7000480 1 Burnt Umber (Natural) Pbr7 Calcined Natural Iron Oxide containing Manganese I j G 7000180 4 Cadmium Orange PO20 Cadmium (Sulfo-Selenide) - (CC) I j 7000220 4 Cadmium Red Deep PR108 Cadmium (Sulfo-Selenide) - (CC) I j G 7000195 4 Cadmium Red Light PR108 Cadmium (Sulfo-Selenide) - (CC) I j G 7000215 4 Cadmium Red Medium PR108 Cadmium (Sulfo-Selenide) - (CC) I j 7000170 4 Cadmium Yellow Deep PY35 Cadmium Zinc Sulfide - (CC) I k 7000120 4 Cadmium Yellow Light PY35 Cadmium Zinc Sulfide - (CC) I k 7000130 4 Cadmium Yellow Medium PY35 Cadmium Zinc Sulfide - (CC) I k 7000105 4 Cadmium Yellow Primrose PY35 Cadmium Zinc Sulfide - (CC) I k 7000500 1 Carbon Black PBk7 Nearly Pure Amorphous Carbon I h 7000330
    [Show full text]
  • Brochure Old Holland Classic Oil Colours Drying Time & Transparency
    Old Holland Classic Oil Colours Drying time & Transparency Transparency: * = Transparent **** = Opaque Drying time: F = Fast, M = Medium, S = Slow Oil content: H = High, M = Medium, L = Low, VL = Very Low Colour name Colour index Pigment classification Trans- light- Drying Oil parency fastness time content A1 Titanium white PW6 Titanium dioxide **** 7/8 m l A2 Zinc white PW4 Zinc oxide *** 7/8 m l 3 Lead white PW1 Basic lead carbonate **** 7/8 f vl 4 Flake white no.1 PW1-PW4 Basic lead carbonate zinc oxide **** 7/8 m vl A5 Mixed white no.2 PW6-PW4 Titanium dioxide- zinc oxide **** 7/8 m l A6 Old Holland yellow PW4-PW6- Zinc oxide- Titanium dioxide- Natural ochre **** 7/8 m l light PY43 B8 Old Holland yellow PW4-PW6-PY- Zinc oxide-titanium dioxide-mono.azo-Natural ochre **** 7/8 m l deep 74-PY43 B7 Old Holland yellow PW4-PW6- Zinc oxide-titanium dioxide-monoazo-Natural ochre *** 7/8 m l medium PY74-PY43 B103 Brilliant yellow PW4-PW6- Zinc oxide- Titanium dioxide- Disazo- Diketo pyrollo *** 7/8 m l light PY83-PO73 pyrrole B106 Brilliant yellow PW4-PW6- Zinc oxide- Titanium dioxide- Nickel titanate- Diketo- **** 7/8 m l PY53-PO73 Pyrrolo- Pyrolle B109 Brilliant yellow- PW4-PW6- Zinc white- Titanium dioxide- Nickel titanate- Diketo- **** 7/8 m l reddish PY53-PO73 Pyrrolo- Pyrolle B112 Napels yellow PW4-PW6- Zinc oxide- Titanium dioxide- Nickel titanate- Disazo **** 7/8 m l reddish extra PY53-PO43 B115 Flesh tint PW4-PW6- Zinc oxide- Titanium dioxide- Zinc iron oxide- *** 7/8 m l PY119-PR2 Condensed azo B118 Indian yellow- PY95-PY129 Azo condensation-
    [Show full text]
  • Mango Information Kit (1999) Reprint
    Mango information kit Reprint – information current in 1999 REPRINT INFORMATION – PLEASE READ! For updated information please call 13 25 23 or visit the website www.dpi.qld.gov.au This publication has been reprinted as a digital book without any changes to the content published in 1999. We advise readers to take particular note of the areas most likely to be out-of-date and so requiring further research: • Chemical recommendations—check with an agronomist or Infopest www.infopest.qld.gov.au • Financial information—costs and returns listed in this publication are out of date. Please contact an adviser or industry body to assist with identifying more current figures. • Varieties—new varieties are likely to be available and some older varieties may no longer be recommended. Check with an agronomist, call the Business Information Centre on 13 25 23, visit our website www.dpi.qld. gov.au or contact the industry body. • Contacts—many of the contact details may have changed and there could be several new contacts available. The industry organisation may be able to assist you to find the information or services you require. • Organisation names—most government agencies referred to in this publication have had name changes. Contact the Business Information Centre on 13 25 23 or the industry organisation to find out the current name and contact details for these agencies. • Additional information—many other sources of information are now available for each crop. Contact an agronomist, Business Information Centre on 13 25 23 or the industry organisation for other suggested reading. Even with these limitations we believe this information kit provides important and valuable information for intending and existing growers.
    [Show full text]
  • Syllabus 29002 ART 315.001 Color, S20, 5:30 – 8:10 Pm, MW, School of Art Graphic Design B121 Professor Peter Andrew, [email protected], 936-468-4804 Ext
    Syllabus 29002 ART 315.001 Color, S20, 5:30 – 8:10 pm, MW, School of Art graphic design B121 Professor Peter Andrew, [email protected], 936-468-4804 ext. 4451, office B127, advising/office hours by appointment. Students registered in this class are responsible for fulfilling the requirements in this syllabus in order to earn a passing grade. Description: ART 315 Color - 3 semester hours, 6 hours studio, 6 hours independent study per week. Practice, theory, and study of color in art, media, and design. Levels A, B. Prerequisite: ART 110. This course is the study and practice of color in design. Students research, study, and mix color in a variety of projects. Projects are color assignments and free studies aimed at enabling a person to see, control, and eventually predict or master color effect. The instructor and visiting artists will demonstrate techniques and materials. The midterm and final exam presentations require you to prepare and conduct a live color demonstration, in addition to an exhibition of your personal color studies. Intended Course Learning Outcomes • Students demonstrate proficiency in art studio practices, to apply in a major studio focus area. • Students exhibit competency applying technical and problem solving skills appropriate to their art studio focus. • Students develop visual skills and creativities. • Students compare self-progress to models of excellence in art with in and outside of class activities. • Students actively invent, produce and showcase their art skills to the public in art exhibits. Student Learning Outcomes • Students demonstrate abilities to explore creative options within clearly defined limits. • Students demonstrate abilities to follow directions and to complete projects on-time building craftsmanship.
    [Show full text]
  • Edgewater Public Elementary School Edgewater, FL
    Chapter 3.3 Edgewater Public Elementary School Edgewater, FL Volusia County MPO November 2008 Volusia County MPO School Bicycle and Pedestrian Review Study, Phase 3B School Summary Edgewater Public Elementary School is located in a residential area bordered by a cemetery, railroad tracks and Hawks Park in the City of Edgewater. Few roadways within the walk zone include sidewalks. Of the 662 students attending this school, 316 live within the walk zone area. During the 2007/2008 school year approximately 90 of these students walked or rode bicycles to school. At afternoon dismissal, most of these students walk to the YMCA located adjacent to the school. At the time of this Study, there were two crossing guards located at U.S. Hwy. 1 and Ocean Avenue. For the 2008/2009 school year, one guard will be assigned to this location. The City of Edgewater provides a volunteer traffic control officer at the intersection of Ocean Avenue and Old County Road. During the period 2005 to 2007, one bicycle crash occurred on Park Avenue at the intersection with Flagler Avenue when a student was riding along the sidewalk and rode into a vehicle turning onto Flagler Avenue. Increased bicycle and pedestrian safety education is recommended for this school. The City of Edgewater has submitted funding requests for sidewalks along both sides of U.S. Hwy. 1 from Orange Avenue to Cory Drive on the east side, and from Ocean Avenue to Louisa Drive and from Turgot Avenue to Roberts Road on the west side. Students living south of Indian River Boulevard who attend Edgewater Public Elementary School are currently provided bus transportation due to designated courtesy conditions.
    [Show full text]