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Dynamically Tunable Plasmonic Structural Color
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2018 Dynamically Tunable Plasmonic Structural Color Daniel Franklin University of Central Florida Part of the Physics Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Doctoral Dissertation (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Franklin, Daniel, "Dynamically Tunable Plasmonic Structural Color" (2018). Electronic Theses and Dissertations, 2004-2019. 5880. https://stars.library.ucf.edu/etd/5880 DYNAMICALLY TUNABLE PLASMONIC STRUCTURAL COLOR by DANIEL FRANKLIN B.S. Missouri University of Science and Technology, 2011 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Physics in the College of Sciences at the University of Central Florida Orlando, Florida Spring Term 2018 Major Professor: Debashis Chanda © 2018 Daniel Franklin ii ABSTRACT Functional surfaces which can control light across the electromagnetic spectrum are highly desirable. With the aid of advanced modeling and fabrication techniques, researchers have demonstrated surfaces with near arbitrary tailoring of reflected/transmitted amplitude, phase and polarization - the applications for which are diverse as light itself. These systems often comprise of structured metals and dielectrics that, when combined, manifest resonances dependent on structural dimensions. This attribute provides a convenient and direct path to arbitrarily engineer the surface’s optical characteristics across many electromagnetic regimes. -
Comparative Visualization for Two-Dimensional Gas Chromatography
COMPARATIVE VISUALIZATION FOR TWO-DIMENSIONAL GAS CHROMATOGRAPHY by Ben Hollingsworth A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Science Major: Computer Science Under the Supervision of Professor Stephen E. Reichenbach Lincoln, Nebraska December, 2004 COMPARATIVE VISUALIZATION FOR TWO-DIMENSIONAL GAS CHROMATOGRAPHY Ben Hollingsworth, M.S. University of Nebraska, 2004 Advisor: Stephen E. Reichenbach This work investigates methods for comparing two datasets from comprehensive two-dimensional gas chromatography (GC×GC). Because GC×GC introduces incon- sistencies in feature locations and pixel magnitudes from one dataset to the next, several techniques have been developed for registering two datasets to each other and normalizing their pixel values prior to the comparison process. Several new methods of image comparison improve upon pre-existing generic methods by taking advantage of the image characteristics specific to GC×GC data. A newly developed colorization scheme for difference images increases the amount of information that can be pre- sented in the image, and a new “fuzzy difference” algorithm highlights the interesting differences between two scalar rasters while compensating for slight misalignment between features common to both images. In addition to comparison methods based on two-dimensional images, an inter- active three-dimensional viewing environment allows analysts to visualize data using multiple comparison methods simultaneously. Also, high-level features extracted from the images may be compared in a tabular format, side by side with graphical repre- sentations overlaid on the image-based comparison methods. These image processing techniques and high-level features significantly improve an analyst’s ability to detect similarities and differences between two datasets. -
Cohills Earth Tonechemical Stains
TECHNICAL BULLETIN CPSET1013 COHILLS® EARTH TONE CHEMICAL STAINS Cohills® Earth Tone Chemical Stains create a unique look giving concrete visual character which cannot be achieved by using a conventional polymer or pigment type stain. When placed on a cementitious surface, the single component coloring solution of acidic metallic ion particles (acid stain), chemically react with the particles in the cement (free alkali) to form oxides. Typical paint or coating stains cover up the concrete, while chemical stains infuse the color into the surface to become a permanent part of the substrate which will not crack, chip, fade or peel. The resulting effect creates a translucent, varie- gated effect, showcasing the character of the substrate. Depending upon the cement content, age, po- rosity and manner in which hydration took place, the chemical stain will react differently every time. These variables cause broad drifts in color and mottled surface effects which are not considered defects, they are the reason for it’s inherent beauty. Walkways, driveways, patios, pool decks and more, can benefit by the use of Cohills® Earth Tone Chemical Stains whether it is a new or existing substrate. Product Availability & Coverage Typical Uses continued ● Cohills® Earth Tone Chemical Stains is avail- ● Artistic and graphic effects are limitless with Co- able in 1 gallon containers hills® Earth Tone Chemical Stains and de- pending on your application technique, multiple ● Available in 10 colors: colors can be used for more interesting effects. Application of the stain in a more intense or sub- Ebony Sage dued color offers new areas of profit and value. -
Zoning Ordinance: Chapter 23. US Hwy 36 Overlay Zoning District
AVON ZONING ORDINANCE CHAPTER 23. REVISION HISTORY CHAPTER 23. US 36 OVERLAY ZONING DISTRICT Plan Commission Town Council Ordinance # Description Approval Date Adoption Date Chapter 23: Adoption of Chapter 23 US 36 Overlay 2008-01 12-17-07 02-14-08 Zoning District Prohibited Uses and Special Exceptions consolidated into 2010-20 09-27-10 10-14-10 Chapter 27: Permitted Use Table. 2011-10 05-23-11 06-09-11 Section 18(4)(A): Waiver Process & Standards 2013-24 11-18-13 12-05-13 Section 23-3: Applicability to Existing Development Town of Avon, Indiana 1. Town Ordinance 2002-14 AVON ZONING ORDINANCE CHAPTER 23. US HWY 36 OVERLAY ZONING DISTRICT Section 23-1. Purpose Section 23-2. Boundaries Section 23-3. Applicability to Existing Development Section 23-4. Green Design Section 23-5. Uses SEE Chapter 27: Permitted Use Table Section 23-6. Accessory Buildings and Uses Section 23-7. Properties with Agricultural Zoning Section 23-8. Minimum Lot Size Section 23-9. Setbacks Section 23-10. Building Height Section 23-11. Utility Lines Section 23-12. Parking and Loading Section 23-13. Drive-Throughs Section 23-14. Access to Individual Tracts Section 23-15. Landscaping Section 23-16. Signs Section 23-17. Exterior Lighting Section 23-18. Architectural Design Requirements Section 23-19. Trash and Recycling Section 23-1. Purpose The purpose of the US Highway 36 Overlay Zoning District is to promote and protect the public health, safety, comfort, convenience, morals and general welfare by providing consistent and coordinated standards for properties adjacent to or near the US Highway 36 Corridor in Avon, Indiana. -
Color Chart.Pdf
® Finishing Products Division of RPM Wood Finishes Group Inc. Color Chart The Original Touch Up Company™ Made in the USA Color Chart ® Finishing Products Division of RPM Wood Finishes Group, Inc. Index Aerosols 1-5 Ultra® Classic Toner & Tone Finish Toner 1-3 Colored Lacquer Enamel 3-5 Shadow Toner 5 Touch-Up Markers/Pencils 5-15 Ultra® Mark Markers 5-9 3 in 1 Repair Stick 9 Pro-Mark® Markers 9-10 Quik-Tip™ Markers 10-11 Background Marker Touch-Up & Background Marker Glaze Hang-Up 11-13 Artisan Glaze Markers 13 Vinyl Marker Glaze Hang-Up 14 Brush Tip Graining Markers 14 Accent Pencils 15 Blend-Its 15 Fillers 15-29 Quick Fill® Burn-In Sticks 15-16 Edging/Low Heat Sticks 16 E-Z Flow™ Burn-In Sticks 16-17 PlaneStick® Burn-In Sticks 17-18 Fil-Stik® Putty Sticks 18-25 Hard Fill & Hard Fill Plus 25-27 PermaFill™ 27 Epoxy Putty Sticks 27-28 Patchal® Puttys 28-29 Knot Filler 29 Fil-O-Wood™ Wood Putty Tubes 29 Color Replacement 30-31 Blendal® Sticks 30 Sand Thru Sticks 30-31 Blendal® Powder Stains 31 Bronzing Powders 31 Dye Stains 32 Ultra® Penetrating & Architectural Ultra® Penetrating Stain 32 Dye Concentrate 32 Pigmented Stains 32-34 Wiping Wood™, Architectural Wiping Stain & Wiping Wood™ Stain Aerosols 32-33 Designer Series Stain, Designer Series Radiant Stain 33-34 Glazes 34 Finisher’s Glaze™ Glazing Stain & Aerosols 34 Break-A-Way™ Glaze & Aerosols 34 Leather Repair 35-37 E-Z Flow™ Leather Markers 35 Leather/Vinyl Markers 35 Leather/Vinyl Fil Sticks 35-36 Leather Repair Basecoat Aerosols 36 Leather Repair Toner Aerosols 36 Leather Repair Color Adjuster Aerosols 37 Touch Up Pigment 37 Leather Refinishing 37 Base Coat 37 NOTE: COLORS ARE APPROXIMATE REPRESENTATIONS OF ACTUAL COLORS USING MODERN PROCESS TECHNIQUES. -
Painted Wood: History and Conservation
PART FOUR Investigations and Treatment 278 Monochromy, Polychromy, and Authenticity The Cloisters’ Standing Bishop Attributed to Tilman Riemenschneider Michele D. Marincola and Jack Soultanian 1975, Standing Bishop was acquired for The Cloisters collection, the Metropolitan Museum of IArt, New York. This piece—considered at purchase to be a mature work of Tilman Riemenschneider (ca. 1460–1531), a leading German mas- ter of Late Gothic sculpture—was intended to complement early works by the artist already in the collection. The sculpture (Fig. 1) is indisputably in the style of Riemenschneider; furthermore, its provenance (established to before 1907) includes the renowned Munich collection of Julius Böhler.1 The Standing Bishop was accepted as an autograph work by the great Riemenschneider scholar Justus Bier (1956), who was reversing his earlier opinion. It has been compared stylistically to a number of works by Riemenschneider from about 1505–10. In the 1970s, a research project was begun by art historians and conservators in Germany to establish the chronology and authorship of a group of sculptures thought to be early works of Riemenschneider. The Cloisters’ sculptures, including the Standing Bishop, were examined as part of the project, and cross sections were sent to Munich for analysis by Hermann Kühn. This research project resulted in an exhibition of the early work of Riemenschneider in Würzburg in 1981; The Cloisters sent two sculptures from its collection, but the loan of the Standing Bishop was not requested. Certain stylistic anomalies of the figure, as well as several Figure 1 technical peculiarities discussed below, contributed to the increasing suspi- Standing Bishop, attributed to Tilman cion that it was not of the period. -
Compositional Effects of Color
Open Palettes vs. Limited Palettes • Hue schemes can be generally divided into Open palettes and Limited palettes. Open Palettes vs. Limited Palettes • Open palettes allow any hue to be present — whether naturalistic color or randomly selected hues or expressive- intuitively selected hues are used. • Limited Palettes confine the hues used to some pre- planned strategy. Structured hue schemes (e.g. analogous, complementary, triadic, etc.) are limited-hue-plans that confine colors to only a few hues based upon a structure that selects hues by their relative positions on a hue wheel. Open Palette- vs.- Limited Palette vs. Structured Palette • Limited Palette concept simply acknowledges that only a small selection of colors are used. Typically, but not always, involving a structured palette. • Structured Palette concept refers to the usual “color schemes” — that is, a “structure” of monochromatic, or of Complementary, or split complementary hue selections. The hues that are used in the palette are selected according to some scheme, plan or structure. • Open Palette is an un-structured palette. Hues may be selected from any region of the color wheel. No structure is intentionally planned or imposed. Colors are most often applied intuitively, rather than analytically. Open Palette • (p. 53) A color scheme that uses hues from all over the color wheel. • The risk: Potentially chaotic and disunified. • The potential: often rich & visually dynamic. • A strategy: When an open palette is daringly used, some other characteristics of the design must provide unity – to hold it all together. Often a simple value pattern is used. [see Matisse and the Fauves] Variety, Chaos, & Fragmentation – dissolving unity • Some designers choose to let go of any planned or structured color scheme. -
Color Theory
color theory What is color theory? Color Theory is a set of principles used to create harmonious color combinations. Color relationships can be visually represented with a color wheel — the color spectrum wrapped onto a circle. The color wheel is a visual representation of color theory: According to color theory, harmonious color combinations use any two colors opposite each other on the color wheel, any three colors equally spaced around the color wheel forming a triangle, or any four colors forming a rectangle (actually, two pairs of colors opposite each other). The harmonious color combinations are called color schemes – sometimes the term 'color harmonies' is also used. Color schemes remain harmonious regardless of the rotation angle. Monochromatic Color Scheme The monochromatic color scheme uses variations in lightness and saturation of a single color. This scheme looks clean and elegant. Monochromatic colors go well together, producing a soothing effect. The monochromatic scheme is very easy on the eyes, especially with blue or green hues. Analogous Color Scheme The analogous color scheme uses colors that are adjacent to each other on the color wheel. One color is used as a dominant color while others are used to enrich the scheme. The analogous scheme is similar to the monochromatic, but offers more nuances. Complementary Color Scheme The complementary color scheme consists of two colors that are opposite each other on the color wheel. This scheme looks best when you place a warm color against a cool color, for example, red versus green-blue. This scheme is intrinsically high-contrast. Split Complementary Color Scheme The split complementary scheme is a variation of the standard complementary scheme. -
Trademark Registration of Product Colors: Issues and Answers Lee Burgunder
Santa Clara Law Review Volume 26 Article 3 Number 3 Combined Issues No. 3-4 1-1-1986 Trademark Registration of Product Colors: Issues and Answers Lee Burgunder Follow this and additional works at: http://digitalcommons.law.scu.edu/lawreview Part of the Law Commons Recommended Citation Lee Burgunder, Trademark Registration of Product Colors: Issues and Answers, 26 Santa Clara L. Rev. 581 (1986). Available at: http://digitalcommons.law.scu.edu/lawreview/vol26/iss3/3 This Article is brought to you for free and open access by the Journals at Santa Clara Law Digital Commons. It has been accepted for inclusion in Santa Clara Law Review by an authorized administrator of Santa Clara Law Digital Commons. For more information, please contact [email protected]. TRADEMARK REGISTRATION OF PRODUCT COLORS: ISSUES AND ANSWERS Lee Burgunder* I. INTRODUCTION In October, 1985, the Federal Circuit Court of Appeals held that Owens-Corning was entitled to register the color "pink" as a trademark for its fibrous glass residential insulation.' Yet, before this date, the law was well-settled that an overall product color could not be appropriated as a trademark.' Thus, one might think that the Owens-Corning decision represented a controversial turning point in trademark theory with respect to the federal registration of colors. In reality, however, the decision merely marked one more step on the path of confusion upon which the courts recently have been treading in the field of product color trademark registration. Currently, courts focus on the "functionality" of colors in trade- 8 mark cases. In light of the demands of competition in a free-market © 1986 by Lee Burgunder * Associate Professor of Law, California Polytechnic State University. -
Unicolour 600 2K Solid Tinters
A DIVISION OF CHILMIX PTY LIMITED A.B.N 28 069 967 362 Lot 40. Charles Street, St Marys NSW 2760 P.O Box 994, St Marys, NSW 1790 Sydney, Australia Phone: +61 2 9673 2555 Fax: + 61 2 9623 1918 UNICOLOUR 600 2K SOLID TINTERS TINTER MASSTONE CHARACTERISTICS 601 • Red undertone. • Bluish tone in whites. BLACK • Redder and milkier then 610. • Suitable for making whites and pastels greyer. • Not recommended for use in bright colours containing no white. 602 • Green undertone. • In whites it is greener then 603. BLUE • Greener then 603. • Recommended for light blue to medium blue colours. • Mix with 601 to make dark blue colours. 603 • Slightly red undertone. • In whites it is redder then 602. BRIGHT BLUE • Redder and cleaner then 602. • Recommended for medium to bright clean blue colours. • Mix with 601 to make dark blue colours. 604 • Red tone yellow. • Red yellow in whites, slightly dirtier then 651. BRIGHT GOLD • Transparent. • Not recommended for straight yellow colours. • Redder then 651. • Reddest undertone of all yellows. 605 • Bright red with orange tone. • Ideal for the formulation of bright red colours. BRIGHT RED • Redder then 653. • Mix with 653 to make yellower, and 625 or 622 to make bluer. 610 • Blue tone black. • Yellowish tone in whites. DEEP BLACK • Bluer then 601. • Produces a jet black finish. 613 • Brownish maroon. • Dirty blue tone red in white, bluer then 620. DEEP MAROON • Suited to the formulation of maroon and brown colours. 615 • Blue undertone. • Suited to making both light and dark shades of GREEN • Bluer then 621. -
The Use Deed Restrictions in Shaker Heights, Ohio
Protection from Undesirable Neighbors: The Use Deed Restrictions in Shaker Heights, Ohio Virginia P. Dawson This is the “accepted version” of this article published in Journal of Planning History 18 (2), May 2019. The link for the final article is: https://journals.sagepub.com/doi/10.1177/1538513218791466 Abstract: Stringent architectural and building restrictions were put in place as the Van Sweringen Company laid out Shaker Heights, Ohio, an exclusive planned community, incorporated in 1912. In 1925, as African Americans and Jews sought to purchase property there, the company devised and implemented a new restriction that, while containing no overtly discriminatory language, succeeded in achieving the company’s discriminatory objective. The company and, later, the City of Shaker Heights, would continue to enforce this restriction well beyond 1948 when the U.S. Supreme Court ruled religious and racial covenants unenforceable. Keywords: Shaker Heights, Cleveland, deed restrictions, anti-Semitism, racial discrimination, suburban planning, Van Sweringen Company, real estate, Newton D. Baker, African Americans When the Van Sweringen brothers developed Shaker Heights, Ohio, between 1905 and 1929, they did more than transform treeless farmland into an Olmsted-inspired suburb of unusual beauty. Located on a plateau 400 feet above industrial Cleveland’s soot and smoke, Shaker Heights offered clean air and congenial neighbors to those with the means to escape the city. The village, incorporated in 1912, the same year that Ohio municipalities won home rule, was named for the millennial religious sect that once owned the land. The Van Sweringen Company capitalized on this imagined association 1 with the spiritual values of the Shakers. -
R Color Cheatsheet
R Color Palettes R color cheatsheet This is for all of you who don’t know anything Finding a good color scheme for presenting data about color theory, and don’t care but want can be challenging. This color cheatsheet will help! some nice colors on your map or figure….NOW! R uses hexadecimal to represent colors TIP: When it comes to selecting a color palette, Hexadecimal is a base-16 number system used to describe DO NOT try to handpick individual colors! You will color. Red, green, and blue are each represented by two characters (#rrggbb). Each character has 16 possible waste a lot of time and the result will probably not symbols: 0,1,2,3,4,5,6,7,8,9,A,B,C,D,E,F: be all that great. R has some good packages for color palettes. Here are some of the options “00” can be interpreted as 0.0 and “FF” as 1.0 Packages: grDevices and i.e., red= #FF0000 , black=#000000, white = #FFFFFF grDevices colorRamps palettes Two additional characters (with the same scale) can be grDevices comes with the base cm.colors added to the end to describe transparency (#rrggbbaa) installation and colorRamps topo.colors terrain.colors R has 657 built in color names Example: must be installed. Each palette’s heat.colors To see a list of names: function has an argument for rainbow colors() peachpuff4 the number of colors and see P. 4 for These colors are displayed on P. 3. transparency (alpha): options R translates various color models to hex, e.g.: heat.colors(4, alpha=1) • RGB (red, green, blue): The default intensity scale in R > #FF0000FF" "#FF8000FF" "#FFFF00FF" "#FFFF80FF“ ranges from 0-1; but another commonly used scale is 0- 255.