DOCSLIB.ORG

Red Book & Coffee Cup Snowscape Window Fantasy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Red Book & Coffee Cup Snowscape Window Fantasy How to paint in Acrylic by The Art Sherpa Red Book & Coffee Cup Snowscape Window Fantasy Steps 10 | Difficulty: Intermediate (2 Hoots) PAINT COLOR & MIXING LEGEND: MATERIALS: • Fluid White Paint = FWP The Art Sherpa = TAS • Cad Red Medium = CRM • # 8 TAS Bright • Quinacridone Magenta = QM • #10 TAS Bright • Cadmium Yellow Medium = CYM • #4 TAS Round • Naples Yellow Light = NYL • Dritz Tailor Chalk Tool and/or Chalk Pencil • Phthalo Blue = PB • 16 x 20 Canvas • Ultramarine Blue = UB • T Square Ruler • Phthalo Green = PG • TAS #4 & #6 Hog Fan Brush • Burnt Sienna = BS • Mars Black = MB • Titanium White = TW TECHNIQUES YOU WILL USE IN THIS PAINTING ARE: • Gridding • Creating a good atmospheric perspective. • How to block in. • Use the paint legend above to understand the • Being painterly and loose. symbols that I use to give you important painting • Achieving good value. information. Sherpa’s Notes: are an artist, not a copy machine. YES, elements of painting that are fun and unexpected. You you are an artist. A key to success is not Remember that the steps in this booklet match the to rush. Follow the steps, breath and be relaxed with steps in the video. These are set up to go together yourself. I will demonstrate a concept in a step and so you can quickly refer to the video demonstration you should duplicate that concept before moving and the book together. It Is my deep belief that the to the step. At the end of all of the steps, we will marriage of these two teaching methods will result in a both have beautiful paintings, though they will not higher enjoyment rate for you, my community student. be identical. I truly believe that everyone can learn to paint but that some art skills take time to master. Included with this step by step illustration are technique Be kind to yourself and give yourself time to be a references at the end so that if you do not understand beginner. Your time of being “new” is shorter than a technique I am referencing, you can refer to it. You you think, so enjoy the discovery process. Don’t waste can also always go back and review the recorded time beating yourself up over mistakes. Be present tutorial in the video library on my website. and mindful of your successes. Pay attention to the just right. When The Goldilocks Zone applying strokes In painting, every technique or process has to the canvas, you what I call a “Goldilocks Zone”. As an artist, may find that you you will be constantly seeking this space to have too much achieve maximum results from any project you’re brush pressure, doing. Much like Goldilocks, you will go into too little brush each technique and try to find a space that pressure, or that is just right for you. When you’re loading your your brush pressure brush, sometimes you will have too much water, is just right. The sometimes you will have too little water, and Goldilocks zone sometimes you will find the amount of water is changes for Copyright: The Art Sherpa LLC - All Rights Reserved every technique and every process. You will know you have found it when something that seemed difficult suddenly becomes much easier. A little goal I’d like to set for you is to notice when you have found yourself in the Goldilocks Zone so that you can locate it again easier the next time you come across a particular technique. COLOR MIX EXTRA INFO: The Reds in the painting are a mix of Cadmium Red and Mars Black. To deepen, you would add more Mars Black; to brighten, you add more Cadmium Red to the mix. When you get to an almost pure cadmium level, then you can begin to add just a little bit of Cadmium Yellow Medium to create the brightest highlights. You don’t want to add the Cadmium Yellow to a mix where the Mars Black is strong in the color as this will take you into a golden brown more than a bright light red. THE SKY GRAYS AND REFLECTIONS The sky, distant mountains, and reflections are based in an Ultramarine Blue and Burnt Sienna mix. These two colors, mixed together, make a beautiful neutral Gray. you can get a lot of variety by balancing out the blue to the brown. If you want to move more into the sky values, a little more blue and a lot of Titanium White. This is also true for the reflection on the book. Copyright: The Art Sherpa LLC - All Rights Reserved Step 1 - The Background COLORS AND MATERIALS FOR STEP: MB TW • Paint your canvas a slate gray made from a mixture of MB & TW with a large brush and allow to dry; repeat if necessary. It must be dry and completely cool before proceeding. TRANSFER THE IMAGE MATERIALS & COLORS FOR STEP: T SQUARE CRETACOLOR PASTEL WHITE PENCIL, DRITZ CHALK TOOL, OR CHALK • For this project, because of the size, I chose the gridding method and marked the canvas with 2” horizontal and vertical squares, numbered by 2’s. • Both the gridding method and the transfer method are discussed in more detail in the Technique Reference section of this booklet. SKETCH IN THE IMAGE • Use your favorite method to sketch out chalk lines of the contours of your subject. You can use freehand, the tracing method, the gridding method or projection. How you personally choose to put your subject matter on the canvas is up to you. There is no right or wrong here only process. Choose a method that you’re comfortable with and gives you a result that you’re happy with. • It’s important that your mountains not be pyramids; they are formed by wind and geology, so they are really rounded rocks. Copyright: The Art Sherpa LLC - All Rights Reserved Step 2 - Roughing In Base Values COLORS AND MATERIALS FOR STEP: QM, PB, UB, BS, TW #10 TAS BRIGHT section that peeks in under the cup holder ring. Aqua turquoise with PB & TW for the snow. • You may want to change out your water before Step 3. • The winter-blue-gray sky is put in with a #10 Bright and a mix of UB & BW + TW. Ok to allow some of the background gray to peek through. Come back with white for highlights. • Add a little PG to the sky mix and fill in the furthest mountain; deepen a little for the middle mountains. Mountains should be lighter at the top and darken as they come closer to earth. This creates Atmospheric Perspective - the way objects work in the real world to tell us how close or far objects are from us. My brush strokes are directional, but very loose, working in the sky color creates a sense or organic being. As you paint in the background, know that we will have some trees peeking through. • Snow is UB & TW and I can always add a bit of QM into it if it is too blue. Don’t forget the Step 3 - Blocking in Window, Table Top, and Teachable Moments COLORS AND MATERIALS FOR STEP: CRM, QM, CYM, BS, MB, TW #10 TAS BRIGHT • The window sill is a loose mix of RS + QM + TW with a touch of CYM. The reason for the red is to capture the reflected light from all of the red influences. BS, MB & TW for the table top, add a little CYM. • This step was a real teachable moment when I had to move the lower window sill up and adjust the table top, and go back into the mountainscape and adjusted the mountains. These moments happen to us all, it’s not just you. Happy little mistakes that are fully correctable because acrylic is so forgiving. Copyright: The Art Sherpa LLC - All Rights Reserved Step 4 - Blocking In The Reds COLORS AND MATERIALS FOR STEP: CRM CYM NYL BS • Scarf is MB + CRM; darkest in the folds of the fabric, MB lighter as it moves away from the fold or is in the light. TW Add a little TW where the fabric is in direct light. #10 TAS BRIGHT • TW + NYL on the inside rim of the cup. • BS + CYM + NYL and rough in the side book pages; darken mix with BS and paint the bottom book pages, which are darker. Add a little TW to mix for highlights. CRM & MB for the leather book cover. I put CRM on the top of the book nearer the window to reflect light coming onto the book from outside. More TW to the color where the book is in fuller light. • CRM + MB for the bottom of the cup holder and the bottom of the cup by the book (it’s the shadow of the cup on the book). Less MB as it moves up the side of the cup, but again, it’s still in shadow. CRM around the tip of the cup rim in back and at the top of the cup handle. Step 5 - The Window’s View COLORS AND MATERIALS FOR STEP: FWP CRM WM CYM NYL UB PG BS MB TW #10 TAS BRIGHT #4 TAS ROUND TAS #4 HOG FAN BRUSH #6 HOG FAN BRUSH Copyright: The Art Sherpa LLC - All Rights Reserved Step 5 - continued • This will be your longest step, so take a breath or • Dry. a break if you need to. Or, you can just be like me Try to remind yourself of John’s speech on why and say, “OH NO, my cup is cool! JOHN...?” you don’t use high heat.
Load more

Recommended publications
  • 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]
  • Metal Color Chart.Pdf
    Quality Metals San Antonio Dallas McAllen Houston (210) 227-7276 (972) 331-6800 (956) 627-2826 (713) 944-4480 www.saqualitymetals.com • [email protected] Standard Colors Regal White Almond Sandstone Surrey Beige Sierra Tan SR=.72 E=.82 SR=.65 E=.84 SR=.60 E=.85 SR=.49 E=.85 SR=.46 E=.85 Ash Gray Slate Gray Musket Gray Charcoal Gray Patina Green SR=.51 E=.77 SR=.38 E=.85 SR=.32 E=.84 SR=.32 E=.88 SR=.42 E=.75 Slate Blue Evergreen Terra Cotta Colonial Red Seal Brown SR=.30 E=.83 SR=.25 E=.79 SR=.42 E=.82 SR=.29 E=.86 SR=.30 E=.86 Buckskin Medium Bronze Aged Bronze Copper Brown Dark Bronze SR=.37 E=.82 SR=.29 E=.84 SR=.30 E=.85 SR=.26 E=.82 SR=.26 E=.81 Premium Colors Matte Black Felt Green Hartford Green Brite Red Burgundy Regal Blue SR=.27 E=.84 SR=.25 E=.77 SR=.29 E=.83 SR=.40 E=.85 SR=.26 E=.84 SR=.22 E=.80 Metallic Colors Galvalume Silver Metallic Champagne Weathered Galvalume Copper Metallic SR=.57 E=.62 SR=.42 E=.79 SR=.44 E=.63 SR=.49 E=.88 Low Gloss - Low Sheen Colors Slate Gray Copper Brown Aged Bronze Dark Bronze Medium Bronze SR=.34 E=.84 SR=.25 E=.85 SR=.26 E=.84 SR=.29 E=.85 SR=.27 E=.86 *35 Year Limited Warranty on Dura Coat Durapon 70™ Painted Material. *Custom Color Matches are available. All Colors shown are within the limits of color chip reproduction.
    [Show full text]
  • Pac-Clad® Color Chart
    pa c - c l a d ® c O l O R c H a RT Cardinal Red Colonial Red Burgundy Terra Cotta Sierra Tan Mansard Brown Stone White Granite Sandstone Almond Medium Bronze Dark Bronze Slate Gray Bone White Musket Gray Charcoal Midnight Bronze Matte Black Cityscape Interstate Blue Hemlock Green Arcadia Green Patina Green Hunter Green Military Blue Award Blue Teal Hartford Green Forest Green Evergreen Denotes PAC-CLAD Metallic Colors Denotes Energy Star® Colors Denotes PAC-CLAD Cool Colors Kynar 500® or Hylar 5000® pre-finished galvanized steel and aluminum for roofing, curtainwall and storefront applications. Berkshire Blue Slate Blue PAC-CLAD Metallic Colors Zinc Silver Copper Penny Aged Copper Champagne Weathered Zinc PETERSEN ALUMINUM CORPORATION HQ: 1005 Tonne Road 9060 Junction Drive 10551 PAC Road 350 73rd Ave., NE, Ste 1 102 Northpoint Pkwy Ext, Bldg 1, Ste 100 Elk Grove Village, IL 60007 Annapolis Junction, MD 20701 Tyler, TX 75707 Fridley, MN 55432 Acworth, GA 30102 P: 800-PAC-CLAD P: 800-344-1400 P: 800-441-8661 P: 877-571-2025 P: 800-272-4482 F: 800-722-7150 F: 301-953-7627 F: 903-581-8592 F: 866-901-2935 F: 770-420-2533 pa c - c l a d ® c O l O R aVa I l a BI l ITY PAC-CLAD 3 year STeeL ALuMiNuM eNeRGy STANDARD RefLectiviTy EmissiviTy SRi 24ga. 22ga. .032 .040 .050 .063 ® COLORS exposuRe STAR Almond 0.56 0.83 0.27 64 √ √ √ √ √ • Arcadia Green 0.33 0.84 0.32 33 √ √ • Bone White 0.71 0.85 0.71 86 √ √ √ √ √ √ • Cardinal Red 0.42 0.84 0.41 45 √ √ √ • Charcoal 0.28 0.84 0.28 27 √ √ √ • Cityscape 0.37 0.85 0.34 39 √ √ √ √ • Colonial Red 0.34
    [Show full text]
  • Color Mixing…
    JUST PAINTPublished by Golden Artist Colors, Inc. / Issue 26 From Mark Golden Twenty-six issues of this technical newsletter and I am delighted to share we are still continuing the dialogue on color! After the success of Sarah Sands’ article on the ‘Subtleties of Color’ (JP 21), we recognized the value of continuing to provide more color resources for artists. The Tint & Glaze Poster was the first significant new tool for artists to come from this research. Following up on this work to create a printed color chart trying to represent real paint colors, Chris Farrell, our Creative Director and person in charge of putting together this chart, is our principle advocate that printing, no matter how carefully it’s done, cannot be a substitute Color for paint. In this issue, Chris shares the significant differences in ranges possible with commercial printing processes and Mixing… real paint. Our Director of the GOLDEN Certified You can’t get it unless you do it! Working Artist Program and author, Patti Brady, shares her painterly insights into a By Patti Brady promote them. However, each of new Modern Theory Color Mixing Set for I had been given what to me seemed these concepts, whether historical, artists, which takes just the opposite tact like the daunting task of writing contemporary or genre specific, create from Chris, in working with a limited set an article on color mixing and to a starting point that is extremely of colors to produce an enormous range of introduce the new Modern Theory helpful for the artist beginning to mixing colors.
    [Show full text]
  • Gull ID Manual
    The Morlan Method Dichotomous Keys for Western North American Gull Identification Dichotomous keys copyright 1980 by Joseph Morlan. Reprinted by permission. Developed for birding classes at San Francisco City College. See <http://fog.ccsf.cc.ca.us/~jmorlan/> for course schedules and further information. The following dichotomous keys are designed to aid beginning and intermediate gull watchers. They will not resolve the identification of all gulls found on the West Coast. They are geared toward identification of our regularly occurring gull species from September through March and may not match features shown in spring and summer. Hybrid gulls, which are readily seen in some areas, are not addressed. Successful use of these keys first requires determination of the age of the bird. Some useful points to focus in aging gulls are given at the beginning of each key. Distinctive species, such as Bonaparte’s, Heermann’s and Sabine’s gulls and Black-legged Kittiwake are not included. Molt Sequence in Gulls winter, which corresponds to the second winter plumage of the larger gulls. In these birds, the juvenal plumage is Most gulls undergo a complete molt of feathers in late sum- retained only through early October. Their first winter mer. During August and September, most gulls will be in plumage is acquired rapidly by wear and a partial molt dur- molt and, thus, will show transitional plumages. However, ing September and October. After this partial molt, a stable the sequence is different for first year birds. A juvenal first winter plumage is worn until the first complete molt, plumage (the first full set of real feathers) is acquired during which often starts as early as February.
    [Show full text]
  • 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
    [Show full text]
  • COLOR CHART STANDARD COLORS PREMIUM COLOR1 DURA TECH™ 5000 - Premium 70% Fluoropolymer (PVDF) Coating (Subject to Upcharge)
    Architectural Metal Roofing and Siding COLOR CHART STANDARD COLORS PREMIUM COLOR1 DURA TECH™ 5000 - Premium 70% Fluoropolymer (PVDF) Coating (Subject to upcharge) ZINCALUME® Plus* Cool REGAL WHITE Cool PARCHMENT VINTAGE®1 SRI: 64 • LRV: 67 • GA: 24, 22, & 20 SRI: 88 • LRV: 75 • GA: 24 & 22 SRI: 58 • LRV: 40 • GA: 24 & 22 SRI: 22 • LRV: 20 • GA: 24 Vintage coated metal is an innovative coating process over a TruZinc® G90 metallic coated steel surface producing a beautiful, durable, aged-metallic finish. METALLIC COLORS1 Cool SIERRA TAN Cool PEBBLE Cool WALNUT DURA TECH™ mx - Premium Fluoropolymer (PVDF) SRI: 55 • LRV: 34 • GA: 24 & 22 SRI: 48 • LRV: 27 • GA: 24 & 22 SRI: 38 • LRV: 18 • GA: 24 & 22 Pearlescent Coating (Subject to upcharge) Cool WEATHERED COPPER Cool DARK BRONZE Cool TERRA-COTTA Cool METALLIC SILVER1 SRI: 34 • LRV: 11 • GA: 24 & 22 SRI: 32 • LRV: 8 • GA: 24 & 22 SRI: 41 • LRV: 15 • GA: 24 & 22 SRI: 65 • LRV: 50 • GA: 24 & 22 Cool COLONIAL RED Cool OLD TOWN GRAY Cool ZINC GRAY Cool SILVERSMITH1 SRI: 35 • LRV: 9 • GA: 24 & 22 SRI: 43 • LRV: 27 • GA: 24 & 22 SRI: 39 • LRV: 20 • GA: 24 & 22 SRI: 58 • LRV: 54 • GA: 24 & 22 Cool SLATE GRAY Cool MIDNIGHT BRONZE Cool MATTE BLACK Cool ZACtique® II1 SRI: 33 • LRV: 12 • GA: 24 & 22 SRI: 27 • LRV: 7 • GA: 24 & 22 SRI: 29 • LRV: 5 • GA: 24 & 22 SRI: 39 • LRV: 22 • GA: 24 & 22 Cool TAHOE BLUE Cool REGAL BLUE Cool SAGE GREEN Cool METALLIC CHAMPAGNE1 SRI: 33 • LRV: 14 • GA: 24 & 22 SRI: 29 • LRV: 10 • GA: 24 & 22 SRI: 41 • LRV: 21 • GA: 24 & 22 SRI: 54 • LRV: 33 • GA: 24 & 22 1 Please note that these colors are batch sensitive (may have color variation) and are directional in nature.
    [Show full text]
  • Product Catalog Product Catalog Product
    KREMER /// PRODUCT CATALOG www.kremerpigments.com PRODUCT CATALOG Table of Contents Pigments 01 TABLE OF Dyes & Vegetable Color CONTENTS Paints 02 Fillers & Building Materials 03 Mediums, Binders & Glues 04 Solvents, Chemicals & Additives 05 Ready-made Colors & Gilding Materials 3 01 Pigments 06 31 02 Dyes & Vegetable Color Paints Linen, Paper 35 03 Fillers & Building Materials & Foils 41 04 Mediums, Binders & Glues 53 05 Solvents, Chemicals & Additives 07 56 06 Ready-made Colors & Gilding Brushes Materials 66 07 Linen, Paper & Foils 08 69 08 Brushes Tools, Packaging & 74 09 Tools, Packaging & Supplies Supplies 10 82 Books & Color Charts 09 85 11 General Information Books & Color Charts 10 General Information 11 For further information and prices please visit us at www.kremerpigments.com 1 Icon-Legend ICON-LEGEND The following Icons are used in the brochure: Hazardous Item Read the Material Safety Data sheet carefully – you can find all Disclaimer product sheets under www.kremerpigments.com and consult our safe handling procedures – see Chapter 11. Not for home use! To buy this product you have to be over 21 years old. Please send us a copy of your identity card . These products require a Hazardous Item Disclaimer. Please fill out the form on page 116 or at www. kremerpigments. com and submit with your order. Cautionary Products may contain hazardous substances. Label Read the ACMI cautionary label carefully and consult our safe handling procedures – see Chapter 11. For further product-specific information please visit us at www.kremerpigments.com. Approved Products bearing the AP Product Seal of ACMI are certified in a Product program of toxicological evaluation By a medical expert to con- tain no materials in suMcient quantities to be toxic or injurious to humans or cause acute or chronic health problems.
    [Show full text]
  • Swatch Name HLS RGB HEX Absolute Zero 217° 36% 100% 0 72
    Swatch Name HLS RGB HEX Absolute Zero 217° 36% 100% 0 72 186 #0048BA Acid green 65° 43% 76% 176 191 26 #B0BF1A Aero 206° 70% 70% 124 185 232 #7CB9E8 Aero blue 151° 89% 100% 201 255 229 #C9FFE5 African violet 288° 63% 31% 178 132 190 #B284BE Air superiority blue 205° 60% 39% 114 160 193 #72A0C1 Alabaster 46° 90% 27% 237 234 224 #EDEAE0 Alice blue 208° 97% 100% 240 248 255 #F0F8FF Alloy orange 27° 42% 85% 196 98 16 #C46210 Almond 30° 87% 52% 239 222 205 #EFDECD Amaranth 348° 53% 78% 229 43 80 #E52B50 Amaranth (M&P) 328° 40% 57% 159 43 104 #9F2B68 Amaranth pink 338° 78% 75% 241 156 187 #F19CBB Amaranth purple 342° 41% 63% 171 39 79 #AB274F Amaranth red 356° 48% 73% 211 33 45 #D3212D Amazon 147° 35% 35% 59 122 87 #3B7A57 Amber 45° 50% 100% 255 191 0 #FFBF00 Amber (SAE/ECE) 30° 50% 100% 255 126 0 #FF7E00 Amethyst 270° 60% 50% 153 102 204 #9966CC Android green 74° 50% 55% 164 198 57 #A4C639 Antique brass 22° 63% 47% 205 149 117 #CD9575 Antique bronze 52° 26% 55% 102 93 30 #665D1E Antique fuchsia 316° 46% 22% 145 92 131 #915C83 Antique ruby 350° 31% 66% 132 27 45 #841B2D Antique white 34° 91% 78% 250 235 215 #FAEBD7 Ao (English) 120° 25% 100% 0 128 0 #008000 Apple green 74° 36% 100% 141 182 0 #8DB600 Apricot 24° 84% 90% 251 206 177 #FBCEB1 Aqua 180° 50% 100% 0 255 255 #00FFFF Aquamarine 160° 75% 100% 127 255 212 #7FFFD4 Swatch Name HLS RGB HEX Arctic lime 72° 54% 100% 208 255 20 #D0FF14 Army green 69° 23% 44% 75 83 32 #4B5320 Artichoke 76° 53% 13% 143 151 121 #8F9779 Arylide yellow 51° 67% 74% 233 214 107 #E9D66B Ash gray 135° 72% 8% 178 190
    [Show full text]
  • Circular of the Bureau of Standards No. 553: the ISCC-NBS Method Of
    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]
  • C L E a R T O M I S T Y C O L O
    CLEAR TO MISTY COLORS White Lavender 1A-2P Whisper Pink 3A-2P Pink Hibiscus 4A-2P Feminique 5A-2P Sunset Snow 6A-2P Peach Frosting 15A-2P Burgundy Dash 7A-1A Pink Frost 7A-2P Cosmetic Pink 14A-2P Lover’s Knot 14A-3P Santa Fe 14B-3D Mineral Red 14B-4D September Cream 17A-2P Invanhoe Ivory 16A-2P Peach Dust 15A-3P Pleasant Pebble 16A-3P Peach Beige 18A-2P Peach Whisper 17A-3P Abbeystone 18A-3P Candelabra 19A-3P Orange Scent 19A-2P Orange Paste 18B-1P Frothy Orange 18B-2T Orange Drop 18B-3D Apricot Liquer 18C-1P Colonial Peach 18C-2T Mango 18C-3D Lacquer Orange 18C-4D Banana Split 27A-2P Candleglow 19B-1P Orange Gem 19B-2T Tangerine 19B-3D Moon Morn 19C-1P Gobi Sands 19C-2T Squash 19C-3D Indian Corn 19C-4D Patio Brick 20A-1A Vanilla Ice 20A-2P Powder Puff 20A-3P Honey Rose 20B-1P Calfskin 20B-2T Smoked Seville 20B-3D Cattail 20B-4D Vicuna 20C-1P Italian Earth 20C-2T Copper Kettle 20C-3D Hash Brown 20C-4D Abigail 27C-1T Golden Corn 27C-2T Clarion 27C-3D These sample reproductions are an approximation of color and do not denote the actual texture or sheen and vary according to material type and specific batch. Colors also vary depending upon lighting conditions, substrate and exposure. When color matching is critical, an applied sample is required and all materials should be from the same batch. Special colors are subject to confirmation by Textured Coatings of America, Inc.
    [Show full text]
  • Report on Six Recent Sightings of the Iceland
    EO O SI ECE SIGIGS O E ICEA GU I O CAOIA WI COMMES O OEMS O IE IEIICAIO JOHN O. FUSSELL III, MICHAEL J. TOVE, and HARRY E. LeGRAND JR. Abstract.—Observations of six Iceland Gulls, seen in Carteret and Dare Counties in 1980 and 1981, are discussed. Evidence is presented to show that these gulls were not hybrids, or albinistic or leucistic individuals, or Glaucous or Thayer's Gulls. Separation of Iceland Gull and Thayer's Gull can be difficult and some individuals probably cannot be safely identified. Emphasis is placed on "building a case" for the identification of any "white-winged" gull. Reports of "white-winged" gulls [in this paper, Glaucous Gull (r hprbr and Iceland Gull (. ld] in the Carolinas are increasing. Including those in this paper, there are 78 known records-51 of Glaucous Gull, 23 of Iceland Gull, and four of unidentified species. Almost three-fourths of these records were made during the last decade. This increase is probably due in part to an increase in gull populations and in part to an increase in the number of capable observers, especially in regard to coverage along the coast in winter. Many of the recent winter records were made after periods of abnormally cold weather. With the increase in "white-winged" gull sightings, there have been some controversies in the Carolinas (see Am. Birds 31:321, Chat 42:10). This is not surprising, for this group of birds can pose identification problems in the field (and sometimes in the hand). A frequent problem is that in areas where Glaucous and Iceland Gulls are uncommon to rare, or among observers unfamiliar with these species, there has been a strong tendency to misidentify small Glaucous Gulls as Iceland Gulls.
    [Show full text]