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Public Swimming Pools List of Director Approved Colors
Public Swimming Pools List of Director approved colors In accordance with the Ohio Administrative Code (OAC) rules 3701-31-02(G)(2) and (3) and 5.1(C)(1)(b) "the interior surfaces of pools and spas shall be painted white, unless the color is approved by the director." This requirement became effective Jan. 1, 1999 and was revised effective April 1, 2011; and applies to new pools and spas as well as existing pools/spas that will be repainted or will receive a new finish. The colors listed below were submitted to the Ohio Department of Health (ODH) and have been approved. This list does not apply to primer colors. This list also applies to other colored finishes such as tile and pool/spa liners. This list may be periodically revised to add or delete colors. If you have any questions, please call the Public Swimming Pool Program at 614-644-7438. This is not a comprehensive list: any color may be submitted by the manufacturer and be evaluated on a case by case basis. Black or dark lane markers and target marks are exempted from this requirement provided that they meet the standards of the appropriate governing body. Submittals may be sent to: Ohio Department of Health Bureau of Environmental Health and Radiation Protection 246 North High Street Columbus, OH 43215 Attn: Public Swimming Pool Program Any logos or other unique artwork proposed for the pool/spa bottom must be submitted to and approved by ODH. Contact the Public Swimming Pool Program for additional information about logo submissions. -
A New Evaluation of the Colors of the Sky for Artists and Designers
Sky Blue, But What Blue? A New Evaluation of the Colors of the Sky for Artists and Designers Ken Smith* Faculty of Art and Design, Monash University, Melbourne, Victoria, Australia Received 28 April 2006; accepted 21 June 2006 Abstract: This study describes a process of relating the solid that is capable of representing most of the colors of perceptual analysis of the colors of the terrestrial atmos- the sky using four of these pigments is proposed. phere to currently available pigments used in artists’ painting systems. This process sought to discover how the colors of the sky could be defined and simulated by these AN EMPIRICAL METHOD FOR ANALYZING pigments. The author also describes how confusion over SKY COLOR the bewildering choice of suitable pigments on offer in the market place can be clarified. Ó 2006 Wiley Periodicals, Science can explain why the earth’s atmosphere appears Inc. Col Res Appl, 32, 249 – 255, 2007; Published online in Wiley Inter- blue, the preferential scattering by air molecules of short 2 Science (www.interscience.wiley.com). DOI 10.1002/col.20291 wavelength light photons emitted from the sun. For artists the consequential questions are often more likely to Key words: art; design; sky color; perceived color; envi- be not why, but rather what; what are the blue colors that ronment; pigments; painting systems are perceived in the sky? These were the fundamental questions that lead to a reappraisal of how the colors of the sky can be represented by the pigments used in con- INTRODUCTION temporary painting systems. Before attempting to answer this question, a number of parameters had to be created. -
RAL COLOR CHART ***** This Chart Is to Be Used As a Guide Only. Colors May Appear Slightly Different ***** Green Beige Purple V
RAL COLOR CHART ***** This Chart is to be used as a guide only. Colors May Appear Slightly Different ***** RAL 1000 Green Beige RAL 4007 Purple Violet RAL 7008 Khaki Grey RAL 4008 RAL 7009 RAL 1001 Beige Signal Violet Green Grey Tarpaulin RAL 1002 Sand Yellow RAL 4009 Pastel Violet RAL 7010 Grey RAL 1003 Signal Yellow RAL 5000 Violet Blue RAL 7011 Iron Grey RAL 1004 Golden Yellow RAL 5001 Green Blue RAL 7012 Basalt Grey Ultramarine RAL 1005 Honey Yellow RAL 5002 RAL 7013 Brown Grey Blue RAL 1006 Maize Yellow RAL 5003 Saphire Blue RAL 7015 Slate Grey Anthracite RAL 1007 Chrome Yellow RAL 5004 Black Blue RAL 7016 Grey RAL 1011 Brown Beige RAL 5005 Signal Blue RAL 7021 Black Grey RAL 1012 Lemon Yellow RAL 5007 Brillant Blue RAL 7022 Umbra Grey Concrete RAL 1013 Oyster White RAL 5008 Grey Blue RAL 7023 Grey Graphite RAL 1014 Ivory RAL 5009 Azure Blue RAL 7024 Grey Granite RAL 1015 Light Ivory RAL 5010 Gentian Blue RAL 7026 Grey RAL 1016 Sulfer Yellow RAL 5011 Steel Blue RAL 7030 Stone Grey RAL 1017 Saffron Yellow RAL 5012 Light Blue RAL 7031 Blue Grey RAL 1018 Zinc Yellow RAL 5013 Cobolt Blue RAL 7032 Pebble Grey Cement RAL 1019 Grey Beige RAL 5014 Pigieon Blue RAL 7033 Grey RAL 1020 Olive Yellow RAL 5015 Sky Blue RAL 7034 Yellow Grey RAL 1021 Rape Yellow RAL 5017 Traffic Blue RAL 7035 Light Grey Platinum RAL 1023 Traffic Yellow RAL 5018 Turquiose Blue RAL 7036 Grey RAL 1024 Ochre Yellow RAL 5019 Capri Blue RAL 7037 Dusty Grey RAL 1027 Curry RAL 5020 Ocean Blue RAL 7038 Agate Grey RAL 1028 Melon Yellow RAL 5021 Water Blue RAL 7039 Quartz Grey -
Powder Denim Sky Teal Midnight Cerulean Navy Turquoise Cornflower Periwinkle Royal Opal Cmg 08458 Cmg 1 26 27 3 4 6 29 30 31 2 32 33
MARCH 2010 House Beautiful sp ring ALL COLO | A BOUT issue BLUE POWDER DENIM SKY TEAL MIDNIGHT CERULEAN NAVY TURQUOISE CORNFLOWER PERIWINKLE ROYAL OPAL CMG 08458 1 26 27 3 4 6 29 30 31 2 32 33 5 28 34 7 8 36 10 11 9 50 BLUE FABRICS 35 14 12 13 15 37 38 41 40 19 39 47 17 43 44 45 18 46 16 20 42 23 24 25 49 21 48 22 50 1 CLOQUE DE COTON 6 ARIPEKA 10 STRIATE IN AQUA. KaTE 14 CHRISSY IN DENIM. ViCTOria 18 FORMIA 22 DJEBEL 26 GASTAAD PLAID IN CaPri. 31 LA GAROUPE 35 LUCE 39 JUPON BOUQUET 43 OcELOT IN AZUL. KaT BURKI 47 KHAN CASHMERE IN COLOR 8. DOMINIQUE KIEffER IN HYdraNGEA. ROGERS GabriEL THROUGH STUdiO HaGAN HOME COLLECTION: IN RUSCELLO. DECORTEX IN GaLET. LELIEVRE THROUGH EriC COHLER FOR LEE JOfa: IN INdiGO. RALPH LaUREN IN NaVY. MadELINE WEINrib IN AZURE BLUE COLLECTION FOR IN BLUE MIX. HOLLAND BY RUBELLI THROUGH & GOffiGON: 203-532-8068. FOUR NYC: 212-475-4414. 212-888-3241. THROUGH BRUNSCHWIG STarK fabriC: 212-355-7186. 800-453-3563. HOME : 888-743-7470. ATELIER: 212-473-3000, X780. AND WarM WHITE. FORTUNY: STarK fabriC: 212-355-7186. & SHErrY: 212-355-6241. BERGAMO: 914-665-0800. & FILS: 914-684-5800. 212-753-7153. 7 MYRSINI 11 SIERRA MADRE 15 TANZANIA IN BLUE. CHarLES 23 CHEVRON BAR 27 VIOLETTA N IN MOONLIGHT. 32 WOOL SATEEN 36 AlTAI IN BLUETTE. 44 HINSON SUEDE 48 BARODA II IN INdiGO ON 2 FIORI IN ATLANTIC ON SEA MIST. -
Best Plants for Problem Clay Soils: Perennials
Visit us on the Web: www.gardeninghelp.org Best Plants for Problem Clay Soils: Perennials Perennials Amsonia tabernaemontana — Bluestar This Missouri native features uptight clusters of light blue star-like flowers in late spring. Its narrow willow-like leaves turn yellow to peach-colored in fall. Bluestar may require staking if grown in shade and may be pruned after flowering to maintain a compact shape. It is most attractive when grown massed, in native plant gardens, shade gardens, open woodland areas, and borders. Asclepias incarnata — Swamp milkweed Despite its common name and native habitat, swamp milkweed may be grown in the average garden. Its fragrant white, pink or mauve flowers attract butterflies and mature into slender pods with silky-haired seeds. Swamp milkweed is a good choice for sunny, low or moist areas such as stream or pond banks, borders, and butterfly gardens. Baptisia australis — Blue false indigo Blue false indigo has beautiful purplish blue lupine-like flowers borne in erect spikes above the trifoliate leaves. The flowers mature into black seed pods that rattle in the breeze and are an interesting addition to dried flower arrangements. This herbaceous perennial does best in full sun as plants grown in part shade may grow taller and need support. Due to an extensive root system, blue false indigo will tolerate drought, but it should not be disturbed once it is established. Attractive in almost any situation including borders, prairies, cottage gardens, and native plant gardens, this plant is best used as a single specimen plant or in small groups. Baptisia australis var. -
Indigo: Sources, Processes and Possibilities for Bioregional Blue
Indigo: Sources, processes and possibilities for bioregional blue Nicholas Wenner and Matthew Forkin June 2017 Photo by Kalie Cassel-Feiss by Kalie Photo Table of Contents Introduction . .3 Indigo . .4 The Indigo Process . 11 Conclusions . 15 Photo by Paige Green Green by Paige Photo Indigo Overview 2 Introduction his report was completed with funding generously provided by the Jena and Michael King TFoundation as part of Fibershed’s True Blue project . It is one project of many that support Fibershed’s larger mission: “Fibershed develops regional and regenerative fiber systems on behalf of independent working producers, by expanding opportunities to implement carbon farming, forming catalytic foundations to rebuild regional manufacturing, and through connecting end-users to farms and ranches through public education.” In this report we present the various sources of blue dye and of indigo, and motivate the use of plant-based indigo in particular . We also identify the limitations of natural dyes like indigo and the need for larger cultural and systemic shifts . The ideal indigo dye production system would be a closed-loop system that moves from soil to dye to textiles and back to soil . The indigo process has three basic steps: planting, harvesting, and dye extraction . In this document, we provide an overview of each, and detailed explorations are given in two separate documents that will be available through Fibershed by late-summer 2017 . This report is based on a literature review of academic research, natural dye books, online content, and personal interviews . It benefited greatly from conversations with (and the generosity of) many skilled artisans and natural dyers, including Rowland Ricketts, Jane Palmer, and Kori Hargreaves . -
Opaque Colors
When glazing, it helps to know which colors are transparent and which are opaque. Whether a particular color is transparent or opaque has to do simply with its inherent chemical makeup. An opaque color will offer more coverage than a transparent one; that much is obvious. But it is important to remember that opacity and transparency have nothing to do with color saturation/intensity or color permanence. Both groups contain fugitive colors as well as powerful ones (red can fade quickly in UV light; blue used in even small quantities will turn the mixture strongly blue). This list is provided to help you determine which colors are best used for underpainting, which are best for glazing right out of the tube, and which may require the use of a glazing medium. Opaque Oil Colors Transparent Oil Colors Whites Whites lead white zinc white titanium white transparent white Yellows Yellows cadmium yellow (all tones) aureolin (cobalt yellow) Naples yellow Indian yellow yellow ochre transparent gold ochre jaune brilliant transparent oxide yellow nickel titanate yellow stil de grain jaune Reds and Oranges Reds and Oranges cadmium red (light and dark) alizarin crimson cadmium orange rose madder (light and dark) English red ultramarine red Mars red quinacridone red Venetian red quinacridone burnt orange terra rosa transparent red oxide vermillion naphthol scarlet anthraquinoid red perinone orange Greens Greens chromium green oxide viridian permanent green phthalo green cadmium green phthalo turquoise green gold terre verte Browns Browns burnt umber burnt sienna raw umber raw sienna Pozzuoli earth brown madder alizarin transparent brown stil de grain brun Blues Blues cerulean blue ultramarine blue cobalt blue phthalo blue manganese blue indanthrone blue indigo Violets Violets cadmium purple cobalt violet Mars violet manganese violet caput mortuum violet carbazole violet quinacridone violet rose dore’ dioxazine purple Blacks and Neutrals Blacks and Neutrals lamp black ivory black peach black Davy’s gray Mars black Paynes gray . -
Ozone: Twilit Skies, and (Exo-)Planet Transits
Astronomical Science Ozone: Twilit Skies, and (Exo-)planet Transits Robert Fosbury1 the atmosphere, can be rich and varied. This article is about the effect of ozone George Koch 2 The processes that result in this palette on the colour of the twilit sky and, in the Johannes Koch 2 are geometrically complex, but comprise same vein, its appearance as the strong- a limited number of now well-understood est telluric absorption feature in the visi- physical effects. This understanding was ble spectrum of the Earth as it would be 1 ESO not gained easily. From the time when seen by a distant observer watching it 2 Lycée Français Jean Renoir, München, early humans first consciously posed the transit in front of the Sun. We present and Germany question: “What makes the sky blue?”, to analyse spectrophotometric observations the time when the processes of scatter- of sunset and also discuss observations ing by molecules and molecular density of the eclipsed Moon reported by Pallé et Although only a trace constituent gas fluctuations were elucidated, thousands al. (2009). in the Earth’s atmosphere, ozone plays of years passed, during which increas- a critical role in protecting the Earth’s ingly intensive experiments and theories surface from receiving a damaging flux were developed and carried out (Pesic, Ozone of solar ultraviolet radiation. What is not 2005). generally appreciated, however, is that Ozone (O3 or trioxygen) is an unstable the intrinsically weak, visible Chappuis Most physicists, if asked why the sky is allotrope of oxygen that most people can absorption band becomes an important blue, would answer with little hesitation: detect by smell at concentrations as influence on the colour of the entire sky “Because of Rayleigh scattering by mole low as 0.01 parts per million (ppm). -