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Paint by Benjamin Moore: 1) Walls: HC79 Greenbrier Beige Eggshell 2) Ceiling: HC 79 Greenbrier Beige Eggshell
Master Bath All Stone by Walker Zanger Spa Tub Area: 1) Deck: Winter Cloud marble tiles, with Cote d’or Crème rail mld honed 2) 18” wall splash: SI Lagos Gold pol mosaics, with L&M #262 ¾ x ¾ ridge liner for trim 3) Facing of spa: SI Lagos Gold pol mosaics Steps: Alhambra limestone slab, with step risers of SI Lagos Gold pol mosaics Shower: 1) Walls to ceiling: Cote d’or Crème antique planking, with Via Forte Fiesole molding and with L&M #262 ¾ x ¾ ridge liner to trim the shower 2) Shower window frame: Via Forte Ghirlanda liner, trimmed with Cote d’or Crème rail mld honed 3) Bench: Winter Cloud marble slab 4) Niches (two): SI Lagos Gold pol niche back wall trimmed with Cote d’or Crème rail mld honed and Cote d’or Crème antique planking 5) Floor: Alhambra limestone tiles same as main floor but smaller tiles Floor and Toilet Floor: Alhambra limestone tiles 16 x 16 x 3/8, with 2 rows of SI Lagos Gold pol mosaics between and border of Alhambra limestone tiles Vanities by Crystal Cabinets; Hardware by Rocky Mountain: 1) Door Style: Grandview, Inset OC Edge 2) Wood: Walnut 3) Stain: Wheaton 4) Niche vanity: entire wall with camber top and have a border of wood to match vanity 5) 2nd vanity: wood (to match vanity) framed mirror attached to wall – (wall sconces and switch in the mirror) 6) Tops: Walker Zanger Winter Cloud marble slab, with Winter Cloud marble slab 6” splash Paint by Benjamin Moore: 1) Walls: HC79 Greenbrier Beige eggshell 2) Ceiling: HC 79 Greenbrier Beige eggshell Wood Moulding: !1 1) Type C 2) Crown moldings painted 25% HC79 -
Colors of the Rainbow 105
©2011 by Connie Bergstein Dow. Published by Redleaf Press, www.redleafpress.org. Unauthorized reproduction or distribution of these pages is strictly prohibited. Colors of the Rainbow 105 This activity is an extended movement study based on the theme of color. It will take about an hour to an hour and a half, including the time it takes to help the children make ribbon bangles. If you expand it into a presentation, plan to add about an extra half hour to hang the large sheet of paper on which you write the children’s suggestions in the opening section of the lesson, hang the paper plate rainbows, place the bangle props, get your music set up, and have the children in their spots ready to begin the dance. What You Need ` a large space ` “Catsup” instrumental (disc 1, track 17), “Goldie Rock” instrumental (disc 2, track 23), “Care of the Earth” instrumental (disc 1, track 16), and “Shine & Brighten” instrumental (disc 2, track 37) ` a large roll of paper; red, yellow, and blue markers; the book Color Dance by Ann Jonas; pipe cleaners and precut ten-inch strips of ribbon in many different colors; crayons of many colors; paper plates What You Do Begin with the children seated in a circle. These places will be their home spots as you introduce each new color. Say to the children: Today we are going to dance about all the colors! What is your favor- ite color? Why is it your favorite color? How does thinking about that color make you feel? First let’s talk about red. -
How the Rainbow Was Made
How the Rainbow Was Made A Creation Tale from the Ojibwe Nation retold by S. E. Schlosser One day when the earth was new, Nanabozho looked out the window of his house beside the wide waterfall and realized that all of the flowers in his meadow were exactly the same offwhite color. How boring! He decided to make a change, so he gathered up his paints and his paintbrushes and went out to the meadow. Nanabozho sat down in the tall grass and arranged his red and orange and yellow and green and blue and violet paint pots next to him. Then he began to paint the flowers in his meadow in many different colors. He painted the violets dark blue and the tiger lilies orange with brown dots. He made the roses red and pink and purple. He painted the pansies in every color combination he could think of. Then he painted every single daffodil bright yellow. Nanabozho hummed happily to himself as he worked in the brilliant daylight provided by Brother Sun. Overhead, two little bluebirds were playing games with each other. The first little bluebird would chase his friend across the meadow one way. Then they would turn around and the second bluebird would chase him back the other way. Zippityzip went the first bluebird as he raced across the sky. Zappityzing went the second bluebird as he chased him in the brilliant sunshine. Occasionally, Nanabozho would shade his eyes and look up…up into the endless blue sky to watch the two little birds playing. -
Esoteric Theories of Color
chapter 18 Esoteric Theories of Color Joscelyn Godwin As with Divine truths so also with colours, we see them as they appear to be, not as they really are. j. stuart bogg1 Although color, like music, is both a science and an art, color theory has al- ways been at a disadvantage vis-à-vis the companion discipline of Harmonics. The latter rests on empirical and mathematical principles, exemplified by the legendary experiments of Pythagoras, which have given rise to the rich vein of musica speculativa that runs parallel to the Western esoteric tradition. Color, lacking harmony’s mathematical anchor and its link to perception (e.g., that the purest perceived interval, the octave, derives from the simplest proportion of 1:2; the perfect fifth from 2:3, and so on), is a fluctuating field, even in its major landmarks such as the primary colors. Its definitions rely not on number but on words, whose translation of the eye’s experience is at best imprecise and at worst contradictory. A second problem is the abstraction of colors from the things colored. To separate them and develop an independent color vocabulary did not come naturally to the ancients, though scholars resist the idea that they didn’t see colors as we do.2 Homer’s “wine-dark sea” and the multiple hues represented by purpureus (the murex dye) are well-known instances of the problem. When Pliny, a walking dictionary and generally so finicky in his categories, comes to write of the color of the eyes, the only one he names is caesius, a word used only of eyes and presumed to mean blue, or gray.3 The classical world, so ad- vanced in harmonics, has little to offer here. -
WHITE LIGHT and COLORED LIGHT Grades K–5
WHITE LIGHT AND COLORED LIGHT grades K–5 Objective This activity offers two simple ways to demonstrate that white light is made of different colors of light mixed together. The first uses special glasses to reveal the colors that make up white light. The second involves spinning a colorful top to blend different colors into white. Together, these activities can be thought of as taking white light apart and putting it back together again. Introduction The Sun, the stars, and a light bulb are all sources of “white” light. But what is white light? What we see as white light is actually a combination of all visible colors of light mixed together. Astronomers spread starlight into a rainbow or spectrum to study the specific colors of light it contains. The colors hidden in white starlight can reveal what the star is made of and how hot it is. The tool astronomers use to spread light into a spectrum is called a spectroscope. But many things, such as glass prisms and water droplets, can also separate white light into a rainbow of colors. After it rains, there are often lots of water droplets in the air. White sunlight passing through these droplets is spread apart into its component colors, creating a rainbow. In this activity, you will view the rainbow of colors contained in white light by using a pair of “Rainbow Glasses” that separate white light into a spectrum. ! SAFETY NOTE These glasses do NOT protect your eyes from the Sun. NEVER LOOK AT THE SUN! Background Reading for Educators Light: Its Secrets Revealed, available at http://www.amnh.org/education/resources/rfl/pdf/du_x01_light.pdf Developed with the generous support of The Charles Hayden Foundation WHITE LIGHT AND COLORED LIGHT Materials Rainbow Glasses Possible white light sources: (paper glasses containing a Incandescent light bulb diffraction grating). -
Atmospheric Optics Learning Module
Atmospheric Optics Learning Module Everything we see is the reflection of light and without light, everything would be dark. In this learning module, we will discuss the various wavelengths of light and how it is transmitted through Earth’s atmosphere to explain fascinating optical phenomena including why the sky is blue and how rainbows form! To get started, watch this video describing energy in the form of waves. A sundog and halo display in Greenland. Electromagnetic Spectrum (0 – 6:30) Source Electromagnetic Spectrum Electromagnetic (EM) radiation is light. Light you might see in a rainbow, or better yet, a double rainbow such as the one seen in Figure 1. But it is also radio waves, x-rays, and gamma rays. It is incredibly important because there are only two ways we can move energy from place to place. The first is using what is called a particle, or an object moving from place to place. The second way to move energy is through a wave. The interesting thing about EM radiation is that it is both a particle and a wave 1. Figure 1. Double rainbow Source 1 Created by Tyra Brown, Nicole Riemer, Eric Snodgrass and Anna Ortiz at the University of Illinois at Urbana- This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Champaign. 2015-2016. Supported by the National Science Foundation CAREER Grant #1254428. There are many frequencies of EM radiation that we cannot see. So if we change the frequency, we might have radio waves, which we cannot see, but they are all around us! The same goes for x-rays you might get if you break a bone. -
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. -
Color Chart Colorchart
Color Chart AMERICANA ACRYLICS Snow (Titanium) White White Wash Cool White Warm White Light Buttermilk Buttermilk Oyster Beige Antique White Desert Sand Bleached Sand Eggshell Pink Chiffon Baby Blush Cotton Candy Electric Pink Poodleskirt Pink Baby Pink Petal Pink Bubblegum Pink Carousel Pink Royal Fuchsia Wild Berry Peony Pink Boysenberry Pink Dragon Fruit Joyful Pink Razzle Berry Berry Cobbler French Mauve Vintage Pink Terra Coral Blush Pink Coral Scarlet Watermelon Slice Cadmium Red Red Alert Cinnamon Drop True Red Calico Red Cherry Red Tuscan Red Berry Red Santa Red Brilliant Red Primary Red Country Red Tomato Red Naphthol Red Oxblood Burgundy Wine Heritage Brick Alizarin Crimson Deep Burgundy Napa Red Rookwood Red Antique Maroon Mulberry Cranberry Wine Natural Buff Sugared Peach White Peach Warm Beige Coral Cloud Cactus Flower Melon Coral Blush Bright Salmon Peaches 'n Cream Coral Shell Tangerine Bright Orange Jack-O'-Lantern Orange Spiced Pumpkin Tangelo Orange Orange Flame Canyon Orange Warm Sunset Cadmium Orange Dried Clay Persimmon Burnt Orange Georgia Clay Banana Cream Sand Pineapple Sunny Day Lemon Yellow Summer Squash Bright Yellow Cadmium Yellow Yellow Light Golden Yellow Primary Yellow Saffron Yellow Moon Yellow Marigold Golden Straw Yellow Ochre Camel True Ochre Antique Gold Antique Gold Deep Citron Green Margarita Chartreuse Yellow Olive Green Yellow Green Matcha Green Wasabi Green Celery Shoot Antique Green Light Sage Light Lime Pistachio Mint Irish Moss Sweet Mint Sage Mint Mint Julep Green Jadeite Glass Green Tree Jade -
I'll Build You a Rainbow
I'll Build You A Rainbow Summary Experiments and demonstrations are used to help students understand that white visible light is composed of the colors of the spectrum. Time Frame 1 class periods of 45 minutes each Group Size Large Groups Materials For the Teacher: Shallow Baking Dish Water Small Mirror Modeling Clay White Paper 3 Flashlights Red, Green, and Blue Cellophane For the Student: Clear Plastic Cup Water Straw Pencil Penny Prism Flashlight White Paper Science Journal Background for Teachers People first thought rainbows were something of a supernatural explanation. The first person to realize that light contained color was a man in 1666 named Sir Isaac Newton. Newton discovered the colors when he bent light. We see a rainbow of colors when we use a prism or water to separate the colors of sunlight. Light is bent as it passes through the water or prism and the colors are spread apart into a spectrum. Each color becomes individually visible. Each color has a different wavelength with red being the longest and violet the shortest. When light passes through a prism or water, each color is bent at a different angle. Color is an essential part of our life. Everything we see has color. Colors are in the clothes we wear, in the plants and animals. The sky is blue. The snow is white. The asphalt is black. Can you imagine what our world would be like if there were no color? If you were asked to draw a rainbow, in which order would you put the colors? Young (and sometimes older) children may think each rainbow, like each person is unique. -
Lighting Effects Guide Desired One Color to Another
RANDOM COLOR CONTROL SPEED EXAMPLE OF COLOR WASH EFFECT SWITCH# 7 8 9 In Color Wash, Speed is defined as the amount of time which External Control Speed of 20 seconds, full saturation, full brightness, in a clock- The Random Color effect produces a randomly generated set 0 No blue elapses between the initial display of the starting color in cycle wise direction (ROYGBIV) of colors at user-definable speeds. Colors step in discrete If you are using a Color Kinetics controller or DMX512 con- 1 Lightest blue I 2 A little more I one (red in ROYGBIV, or violet in VIBGYOR), and its next dis- increments from one hue to the next. troller to control your Color Kinetics lights, you need to set 3 A bit more II play which begins cycle two. There are 64 different speeds each light to external control mode, (switches 10, 11, and 12) 4 Still more I CHOOSE THE EFFECT: RANDOM COLOR 10 11 12 5 Even more II which can be set in the Color Wash effect, ranging from as COLOR Switches #10 and 11: OFF ON and then set the DMX address for each light (switches 1–9). 6 More intense II fast as .5 seconds to as long as 2 hours to complete a single 7 Most intense III Switch #12: ON OFF For details about external control, skip directly to the External cycle. Switches #1-6 control the speed options. For the fastest Control section, on the other side of this sheet. With additive color mixing, you can mix reds, greens and speed (.5 sec.), all switches between #1-6 are OFF. -
The Variability of Quality Traits of Table Eggs and Eggshell Mineral Composition Depending on Hens' Breed Andeggshell Color
animals Article The Variability of Quality Traits of Table Eggs and Eggshell Mineral Composition Depending on Hens’ Breed and Eggshell Color Kamil Drabik 1 , Małgorzata Karwowska 2 , Karolina Wengerska 1, Tomasz Próchniak 1 , Agnieszka Adamczuk 3 and Justyna Batkowska 1,* 1 Institute of Biological Basis of Animal Production, University of Life Sciences in Lublin, 13 Akademicka St., 20-950 Lublin, Poland; [email protected] (K.D.); [email protected] (K.W.); [email protected] (T.P.) 2 Department of Meat Technology and Food Quality, University of Life Sciences in Lublin, 8 Skromna St., 20-704 Lublin, Poland; [email protected] 3 Institute of Agrophysics, Polish Academy of Sciences, 4 Do´swiadczalnaSt., 20-290 Lublin, Poland; [email protected] * Correspondence: [email protected] Simple Summary: The quality of the bird’s eggshell is extremely important because it constitutes a barrier that protects the developing embryo from external conditions. The shell color is a characteristic for a specific breed and its intensity is one of the basic selection criteria, especially among ornamental breeds of hens. The presence or absence of a specific dye is genetically determined, and environmental conditions or nutrition affect it only to a negligible degree. The shell is an inorganic part of the egg. Citation: Drabik, K.; Karwowska, M.; Differences in the mineral composition are determined mainly by the feeding system and the age of Wengerska, K.; Próchniak, T.; birds, although differences are also observed between the lines or breeds, so probably also due to Adamczuk, A.; Batkowska, J. -
Alexa Hampton
ALEXA HAMPTON Colorhouse PAINT Foyer Grey: Seal Living Room Brown: Soil Living Room Greige: Living Room White: Rope Dining Room Purple: Dining Room Red: Mark Eggshell Eggshell Pebble, Eggshell Eggshell Cabernet, Eggshell Eggshell Serene and restful, this For a well-tailored Serious, serene, and This shade of white As the color purple goes, this The secret of this perfect red transformative shade of grey cocoon, pair dark chocolate sophisticated, this cool greige is the perfect neutral, as I wine-dark shade connotes – the red my father always pleases from day to night. brown walls with is a color of enhancement. discovered in my richness, abundance, and used – lies in its hints of blue crisp white woodwork. first apartment. decadence: an obvious match and yellow. for a dining room. Family Room Blue: Library Blue: Sapphire Library Green: Bog Hallway Taupe: Stone Kitchen Black: Onyx Kitchen Yellow: Butter Matting, Eggshell Eggshell Eggshell Eggshell Eggshell Eggshell Chic, cheerful, and oh-so- For an unexpected design With grey and blue The perfect backdrop for Black is much more bold than Vibrant but not too intense, French with attitude, this blue narrative, try a bolt of cool undertones that keep it pictures, this shade basic as a considered foil for a this happy yellow is always makes me smile. blue to add literary pizazz to young at heart, this seamlessly connects spaces kitchen’s white and reflective its own shade of sunshine. a traditional, masculine, dark deep green still evokes the of diverse colors. surfaces – and it enhances the brown library. necessary seriousness. colors of the food.