2017 Chardonnay 2017 Chardonnay 2017 Chardonnay 2017 Chardonnay 2017 Chardonnay 2017 Chardonnay

Total Page：16

File Type：pdf, Size：1020Kb

2017 Chardonnay 2017 Chardonnay 2017 Chardonnay 2017 Chardonnay 2017 Chardonnay 2017 Chardonnay

Fold on dotted line for hanging Fold on dotted line for hanging Fold on dotted line for hanging 2017 Chardonnay 2017 Chardonnay 2017 Chardonnay Columbia Valley Columbia Valley Columbia Valley 89 89 89 POINTS POINTS POINTS NOV. 2018 NOV. 2018 NOV. 2018 “Light straw-yellow color. Fresh scents of “Light straw-yellow color. Fresh scents of “Light straw-yellow color. Fresh scents of peach, soft citrus fruits, lemon oil and spices. At once peach, soft citrus fruits, lemon oil and spices. At once peach, soft citrus fruits, lemon oil and spices. At once lightly glyceral and lively, conveying an enticing, savory lightly glyceral and lively, conveying an enticing, savory lightly glyceral and lively, conveying an enticing, savory umami quality to its smooth stone fruit and spice umami quality to its smooth stone fruit and spice umami quality to its smooth stone fruit and spice flavors. Finishes tactile and persistent, with a faint flavors. Finishes tactile and persistent, with a faint flavors. Finishes tactile and persistent, with a faint sweetness countered by salinity. I’d opt to enjoy sweetness countered by salinity. I’d opt to enjoy sweetness countered by salinity. I’d opt to enjoy this wine in its youth.” – Stephen Tanzer this wine in its youth.” – Stephen Tanzer this wine in its youth.” – Stephen Tanzer LECOLE.COM LECOLE.COM LECOLE.COM Fold on dotted line for hanging Fold on dotted line for hanging Fold on dotted line for hanging 2017 Chardonnay 2017 Chardonnay 2017 Chardonnay Columbia Valley Columbia Valley Columbia Valley 89 89 89 POINTS POINTS POINTS NOV. 2018 NOV. 2018 NOV. 2018 “Light straw-yellow color. Fresh scents of “Light straw-yellow color. Fresh scents of “Light straw-yellow color. Fresh scents of peach, soft citrus fruits, lemon oil and spices. At once peach, soft citrus fruits, lemon oil and spices. At once peach, soft citrus fruits, lemon oil and spices. At once lightly glyceral and lively, conveying an enticing, savory lightly glyceral and lively, conveying an enticing, savory lightly glyceral and lively, conveying an enticing, savory umami quality to its smooth stone fruit and spice umami quality to its smooth stone fruit and spice umami quality to its smooth stone fruit and spice flavors. Finishes tactile and persistent, with a faint flavors. Finishes tactile and persistent, with a faint flavors. Finishes tactile and persistent, with a faint sweetness countered by salinity. I’d opt to enjoy sweetness countered by salinity. I’d opt to enjoy sweetness countered by salinity. I’d opt to enjoy this wine in its youth.” – Stephen Tanzer this wine in its youth.” – Stephen Tanzer this wine in its youth.” – Stephen Tanzer LECOLE.COM LECOLE.COM LECOLE.COM.

Copy Link

Recommended publications

Color Chart ® ® ® ® Closest Pantone® Equivalent Shown
™ ™ II ® Color Chart ® ® ® ® Closest Pantone® equivalent shown. Due to printing limitations, colors shown 5807 Reflective ® ® ™ ® ® and Pantone numbers ® ™ suggested may vary from ac- ECONOPRINT GORILLA GRIP Fashion-REFLECT Reflective Thermo-FILM Thermo-FLOCK Thermo-GRIP ® ® ® ® ® ® ® tual colors. For the truest color ® representation, request Scotchlite our material swatches. ™ CAD-CUT 3M CAD-CUT CAD-CUT CAD-CUT CAD-CUT CAD-CUT CAD-CUT Felt Perma-TWILL Poly-TWILL Thermo-FILM Thermo-FLOCK Thermo-GRIP Vinyl Pressure Sensitive Poly-TWILL Sensitive Pressure CAD-CUT White White White White White White White White White* White White White White White Black Black Black Black Black Black Black Black Black* Black Black Black Black Black Gold 1235C 136C 137C 137C 123U 715C 1375C* 715C 137C 137C 116U Red 200C 200C 703C 186C 186C 201C 201C 201C* 201C 186C 186C 186C 200C Royal 295M 294M 7686C 2747C 7686C 280C 294C 294C* 294C 7686C 2758C 7686C 654C Navy 296C 2965C 7546C 5395M 5255C 5395M 276C 532C 532C* 532C 5395M 5255C 5395M 5395C Cool Gray Warm Gray Gray 7U 7539C 7539C 415U 7538C 7538C* 7538C 7539C 7539C 2C Kelly 3415C 341C 340C 349C 7733C 7733C 7733C* 7733C 349C 3415C Orange 179C 1595U 172C 172C 7597C 7597C 7597C* 7597C 172C 172C 173C Maroon 7645C 7645C 7645C Black 5C 7645C 7645C* 7645C 7645C 7645C 7449C Purple 2766C 7671C 7671C 669C 7680C 7680C* 7680C 7671C 7671C 2758U Dark Green 553C 553C 553C 447C 567C 567C* 567C 553C 553C 553C Cardinal 201C 188C 195C 195C* 195C 201C Emerald 348 7727C Vegas Gold 616C 7502U 872C 4515C 4515C 4515C 7553U Columbia 7682C 7682C 7459U 7462U 7462U* 7462U 7682C Brown Black 4C 4675C 412C 412C Black 4C 412U Pink 203C 5025C 5025C 5025C 203C Mid Blue 2747U 2945U Old Gold 1395C 7511C 7557C 7557C 1395C 126C Bright Yellow P 4-8C Maize 109C 130C 115U 7408C 7406C* 7406C 115U 137C Canyon Gold 7569C Tan 465U Texas Orange 7586C 7586C 7586C Tenn.
[Show full text]
SPRING - SUMMER 20 Dolce Vita
SPRING - SUMMER 20 Dolce vita SPRING - SUMMER 20 • «12h00 : Ton ombre danse et divague au rythme des rayons du soleil. Je t’aperçois, te baladant sous le soleil brulant...» www.vanpalma.com Nous sommes très heureuses de poursuivre l’aventure Van Palma, que nous espérons partager avec vous en vous présentant notre nouvelle collection. Soucieuse d’une confection éthique et minutieuse, nos panamas sont tressés main en Equateur par une association de femmes, nos chapeaux de feutre dans une des dernières chapelleries artisanales françaises et nos broderies sont réalisées dans le sud de la France, dans notre atelier à Marseille… We are delighted to share with you our new collection to carry on the exciting and free spirited story of Van Palma. Mindful of having ethical and detailed products, our panamas are woven by hand in Ecuador by a local women association, our wool hats all made in France, and all our embroideries are made in the south of France, in our studio in Marseille... À bientôt, Victoria- SERENA Hat LEA Hat GABBIE Top ARIANE Hat OCEANE Hat LEA Hat MELISSE Hat AURORA Hat SELHIA Hat ANDREA Dress GAIA Hat CLAIRE Dress NAÏS Skirt DAKOTA Hat JADE Hat EMMA Dress ARIANE Hat ANNA Hat CLAIRE Dress LUCIA Hat SELHIA Hat SUZY Pant EMMA Dress PATRICIA Hat OV E R V I E W ANNA 100% Wool felt hat / Gold plated jewelry - Light grey - - Terracotta - - Black - - Blue - - Off white - - Sand - LOU 100% Wool felt hat / « Vue mer » embroidery / Gold plated jewelry - Beige - - Light grey - LUCIA 100% Wool felt hat / Swallow embroidery / Gold plated jewelry
[Show full text]
And Raman Spectroscopy for Non-Invasive Characterization Of
Li et al. Herit Sci (2020) 8:22 https://doi.org/10.1186/s40494-020-00366-3 RESEARCH ARTICLE Open Access Applying micro‑computed tomography (micro‑CT) and Raman spectroscopy for non‑invasive characterization of coating and coating pigments on ancient Chinese papers Tao Li1* , Chuang Liu2,3* and Dongmei Wang4 Abstract The coating technique, supposedly invented by Chinese papermakers no later than the 3rd century AD, greatly improved paper sheets’ qualities of color, texture, writability, and printability. Alongside the dispersal of papermak- ing and surface-treatment techniques beyond China, coated papers were manufactured and used in many other regions of the world. Understanding the manufacture of coated papers, therefore, is crucial for perceiving how surface treatments were developed to meet the need for paper with enhanced properties. However, the characterization of coating and coating pigments on ancient Chinese papers has long remained an unsolved issue, and previous stud- ies on this topic have often produced inconclusive results. To explore a non-invasive methodology that can more reliably characterize coated papers and the coating pigment on them, this article presents the results of a pilot study that applied micro-computed tomography (micro-CT) and Raman spectroscopy to samples of three Qing Dynasty (1644–1911 AD) papers and two handmade papers manufactured in China in the 1990s. Micro-CT revealed the coat- ing layer(s) on Lajian (waxed coated paper) and Lengjinjian (gold-dusted paper) of the Qing Dynasty and character- ized the modern raw xuan and bamboo papers as uncoated. Raman spectroscopy, together with handheld X-ray fuorescence analysis, identifed the mineral-based pigment in the coating layer, suggesting the use of lead white or kaolin as the coating pigment.
[Show full text]
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
[Show full text]
Ward Jene Stroud Workshop Supply List
Ward Jene Stroud Workshop Supply List Paper I like 140lb Arches Cold Press but I highly encourage experimentation with all papers including super texture 300 lb rough or even crazy fun Yupo. It's really fun to try different surfaces to see what kind of results you can achive. For more consistent results stick with and learn all the characteristics of one particular kind of paper. Paints Iridescent Paint. Iridescent Paints are amazing. There are several on the market and you can buy the "sparkle" and add to your existing paints. Brusho or Crystal Paint An assortment of set is usually a great bargain and most companies offer them. Be sure to get black and grey as they will serve you well. I like Brusho and have several Youtubes on what to buy and how to use it. Tube paint I love American Journey Paints available from Cheap Joe's but I do tend to mix and match and encourage you to do the same. This is the palette that I use I highly recommend that you use whatever your most comfortable with and have an established relationship. Having said that I hope that you experiment with new colors and exchange likes and dislikes with other artists and friends from time to time to keep your work fresh and exciting. o Yellow ochre o Quin. Gold o Burnt Sienna o Ultra Marine Blue o Burnt umber o Naples yellow o Cerulean blue o Andrew's Turquoise o Cobalt Blue o Phthalo Blue o Janet's Violet Rose o Permanent Alizarin Crimson o Rose Madder Genuine o Cadmium Red o Aureolin Yellow Brushes These are the brushes I use: I love a small, medium and a large mop or round brush or Chinese lettering brushes for the bulk of my painting.
[Show full text]
Matisse Structure & Flow Formula
MATISSE STRUCTURE & FLOW FORMULA STRUCTURE FORMULA: ALL COLOURS AVAILABLE IN 75ML & 150ML TUBES and 250ML & 500ML JARS C dolour Car WHERE APPEARS, COLOUR ALSO AVAILABLE IN 1LTR OR 4LT TUBS. FLOW FORMULA: ALL COLOURS AVAILABLE IN 75ML & 500ML JARS WHERE APPEARS, COLOUR ALSO AVAILABLE IN 1LTR TUBS. Titanium White ● Iridescent White ● Antique White ● ASTM 1 S1 NT S4 ASTM 1 S1 Pure Brilliance.Pure Quality Australian Ghost Gum ● Unbleached Titanium ● Naples Yellow Light ● ASTM 1 S1 ASTM 1 S1 ASTM 1 S1 Nickel Titanate ● Yellow Light Hansa Bismuth Yellow ● Cadmium Yellow Light ● Primary Yellow ● Yellow Mid Azo ● Cadmium Yellow Medium ● ASTM 1 S4 ASTM 2 S2 ASTM 1 S5 ASTM 1 S4 ASTM 2 S2 ASTM 1 S2 ASTM 1 S4 Aureolin Yellow Yellow Deep ● Iso Yellow ● Australian Salmon Gum ● Cadmium Orange ● Matisse Orange DPP ● Permanent Orange ● BWS 8 S7 ASTM 1 S2 ASTM 1 S6 ASTM 1 S2 ASTM 1 S4 BWS 8 S7 ASTM 1 S3 Vermillion (Azo) ● Cadmium Orange Deep ● Naphthol Scarlet ● Matisse Red Light ● Matisse Scarlet DPP ● Primary Red ● Cadmium Red Medium ● ASTM 1 S3 ASTM 1 S4 ASTM 2 S3 ASTM 1 S4 ASTM 1 S7 ASTM 1 S4 ASTM 1 S4 Quinacridone Red Naphthol Crimson ● Brilliant Alizarin (Crimson) ● Australian Red Violet ● Matisse Rose Madder ● Magenta Quin Violet Magenta Light ● ASTM 1 S4 ASTM 2 S3 ASTM 2 S3 ASTM 1 S6 ASTM 1 S7 ASTM 1 S3 BWS 8 S2 Ash Pink ● Venetian Red ● Transparent Venetian Red Permanent Maroon ● Deep Rose Madder (Perm) Burgundy ● Dioxazine Purple ASTM 1 S2 ASTM 1 S2 ASTM 1 S3 ASTM 1 S6 ASTM 1 S4 ASTM 2 S2 ASTM 2 S3 Permanent Light Violet ● Australian Sky Blue
[Show full text]
PAINTING YOUR HISTORIC HOUSE PART I: COLONIAL and FEDERAL 1640-1840 Colonial Period (1640-1780)
Ipswich Historical Commission PAINTING YOUR HISTORIC HOUSE A GUIDE TO COLORS AND COLOR SCHEMES PART I: COLONIAL AND FEDERAL 1640-1840 Paint was used to delineate the three main visual elements of Colonial and Federal houses: Body: the walls – usually clapboarded or shingled, sometimes boarded. Trim: the decorative woodwork that framed the large wall surfaces and often the smaller elements such as windows and doors. Sash: The movable elements – doors, windows, shutters. First Period houses rarely painted trim and sash in different colors and so were generally of two colors only; later styles often had three. Colonial Period (1640-1780) First Period or Post-Medieval (1640s–1720s) Architecture: asymmetry, verticality. 17th -century colors were derived from earth, stone or other natural pigments. Interiors: Earthy reds, indigos, ochre, burnt umber. Body: clapboards, originally not painted or stained but weathered to dark brown. Chocolate paint appropriate today. Trim: Unpainted or painted Indian red/Spanish brown to contrast with unpainted body. Second Period or Georgian (1725-1780) Architecture: symmetry, horizontality, classical proportions Georgian houses favored stronger colors from naturally derived pigments. Colors imitating stone construction were popular exteriors, interiors were bolder and brighter than once thought. Modest and rural houses often not painted. Strongly contrasted color schemes favored. Body: dark stone colors, chocolates, orange, ochers, greys and reds. Trim: Almost always white, but a softer, yellower white than today’s white. Cornices, window and door casings, cornerboards and molded details often simulated stone – pale grey, yellowish-white, very pale blue, sometimes with sand blown into the wet paint. Doors: always dark color – chocolate, red, green or blue.
[Show full text]
Colour Chart.Indd
The Paints, Past and Present Details and Descriptions of Colours This section gives assessments for certain determinable characteristics of all the colours presently in my range, as well as a few informal remarks on their qualities and idiosynchrasies when used. Following the pattern already laid out on all my tube and can labels, and on my more recent colour charts, I give: (1) The Colour Index Number: This is an international system for classifying and identifying pigments solely by their (often very complex) chemical formulae( e.g P(igment) R(ed) 106, Mercuric Sulphide known as Genuine Vermilion). The use of vague traditional or invented colour names is thus clariﬁ ed, and so, in theory at least, is the vexed matter of what pigments manufacturers actually put into their paints. If a colourman is honest, each constituent pigment in a paint can be speciﬁ ed precisely, and the practice of secretly adulterating or even completely substituting cheaper alternatives is made impossible. Assuming, that is, the colourman is honest…I can certainly state that there are no secret additions to any of the paints in my range. What you read as the C.I number on the label is what you get. (2) Estimated Relative Drying Speed: Bearing in mind that all drying speeds will be affected by temperature, humidity and light levels, these give a broad calibration of comparative speeds, from the Very Fast, such as the Umbers, many of which, if used neat, will be touch dry within a hot summer day, to the Very Slow, which in unmixed state, might take up to a week.
[Show full text]
Immersion Dyes for Dried Flowers & Foliage
Immersion Dyes for Dried Flowers & Foliage For Dyeing Dried Flowers, Foliage and Craft Materials Applications: raffia, jute, sisal, straw, broom corn, flowers, grasses, pods, berries, lichen, wood curls/chips, and excelsior. Price per pound Light Shade Heavy Shade Product Code Product Name 1-lb Jar 5-lb Jar 25-lb Pail D8505P Lemon Yellow 8505 $40.00 $19.17 $15.17 D8508P Sundrop Yellow 8508 $40.00 $25.67 $21.67 D8510P Hot Yellow 8510 $56.55 $35.55 $31.55 D8511P Summer Yellow 8511 $40.00 $24.30 $20.30 D8514P Brilliant Yellow 8514 $51.17 $40.17 $36.17 D8515P Sundrop Yellow 8515 $40.55 $29.55 $25.55 D8518P Goldenrod Yellow 8518 $40.00 $25.34 $21.34 D8522P Saffron 8522 $40.00 $20.15 $16.15 D8525P Golden Yellow 8525 $40.00 $19.11 $15.11 D8535P Butterscotch 8535 $40.00 $19.38 $15.38 D8546P Dijon 8546 $40.00 $19.21 $15.21 Subject to change without notice Colors are approximations only. Prices Effective June 1, 2021 All prices FOB, Bennett, CO 80102 Actual colors may vary. Page 1 of 8 Immersion Dyes for Dried Flowers & Foliage For Dyeing Dried Flowers, Foliage and Craft Materials Applications: raffia, jute, sisal, straw, broom corn, flowers, grasses, pods, berries, lichen, wood curls/chips, and excelsior. Price per pound Light Shade Heavy Shade Product Code Product Name 1-lb Jar 5-lb Jar 25-lb Pail D8420P Orange 8420 $40.00 $18.76 $14.76 D8423P Terra Cotta 8423 $40.00 $25.14 $21.14 D8410P Burnt Orange 8410 $40.00 $21.39 $17.39 D8429P Pumpkin Orange 8429 $40.00 $19.78 $15.78 D8435P Tangerine 8435 $40.00 $20.21 $16.21 D8460P Coral 8460 $40.00 $22.42 $18.42 D8305P Light Pink 8305 $40.00 $23.69 $19.69 D8314P Dusty Rose 8314 $40.00 $23.34 $19.34 D8326P Dark (Hot) Pink 8326 $49.71 $38.71 $34.71 D8328P Deep Red 8328 $40.00 $15.85 $11.85 D8335P Christmas Red 8335 $40.00 $28.41 $24.41 Subject to change without notice Colors are approximations only.
[Show full text]
Color Rendering Enhancers
Out of the Wood BY MIKE WOOD Color rendering enhancers THOSE OF YOU who have read this column in the past will know that I consider the current trend of using white LEDs with dichroic subtractive color mixing to be a transient anomaly. It just seems crazy to me that we don’t use the strength of LEDs as excellent additive mixing sources, but instead use them to make a mediocre white light source, then throw away most of the light by using subtractive color mixing. Yes, I know there are good reasons for this, particularly for those users to whom white light output is king, but you can’t convince me it’s a sustainable or lasting technology. We must, one day, switch over to additive mixing. However, that’s not what this column is about. What I do find interesting is that the use of powerful white LED sources has stimulated the development of a new kind of filter, a color rendering enhancement “ Figure 1 – Color rendering enhancer theory filter. Quite a number of automated light manufacturers now offer a drop-in filter don’t have, but we can adjust the ratios of (either as a separate filter or on the color those that are already present in the light wheel), which improves the color rendering. there’s no magic here. beam. Figure 1 shows the whole story from How do these filters work, and what are the a theoretical point of view. advantages and disadvantages of using them? with a broad yellow/green“ hump. Taken The four curves shown here represent “ the spectral power distributions (SPDs) of together the eye sees this as a white.
[Show full text]
Jump Into Watercolor!
Linn-Benton Community College Jump into Watercolor! Instructor: Vikki Nazarenus Email: [email protected] Suggested supplies: If you do not have some of these supplies at home, and it is difficult to get them you can get by with the materials you do have. Paint ● 3 tubes (colors) can get you by: Ultramarine Blue, Cadmium Red, Cadmium Yellow can mix all the other colors ● Recommended brands: Windsor Newton professional grade, Grumbacher artist quality, Dick Blick Artist Quality, Daniel Smith artist quality, M.Graham, Turner Later additions: New Gamboge, Raw Sienna, Burnt Sienna, Alizarin Crimson, Windsor Blue, Sap green, Payne’s Gray, Indigo and Sepia Brushes ● Round – size 4, 8 and 12 ● Flat - 1/2” flat brush ● Rigger or script brush ● Suggested brands: Princeton, Windsor Newton, Danube, Black Velvet NO - Master’s Touch Pencil and kneadable eraser Paper - 140lb cold press watercolor paper – D’Arches brand. Don’t get cheap paper! Individual sheets are best, Block is ok Foam board - 1//2 thick Palette – white – can be top of whip cream container, white plate, enamel pan, plastic lid, egg plate Palette knife 2 containers for water – can be plastic containers, glasses Masking Fluid (Liquid Frisket) - Incredible White Mask recommended + cheap brush Frisket Lifter ADDITIONAL SUPPLIES: (the dollar store can be your friend) ● Masking tape ● White, (not printed) paper towels or shop towels ● Sketch book (copy paper will do) ● Spray bottle ● salt shaker ● cellophane ● dish soap ● old plastic card, razor blade, drinking straw, old toothbrush, ● sea sponges – look for interesting textures ● drinking straw and/or coffee stirring stick ● white acrylic paint (inexpensive) ● small pliers or nutcracker ● magic eraser – plain, without soap ● eye dropper ● scissors ● Container(s) to keep it all in.
[Show full text]
COLONIAL GEORGIAN 1700-1776 FEDERAL 1780-1820 Base Color Trim Color Door Color Brick White Black Off-White Buff Natural Pale Ye
COLONIAL GEORGIAN 1700-1776 Base Color Trim Color Door Color Natural Same as Base Dark Brown Spanish Brown (dark, dul red) White Black/Green Prussian (Dark Blue/Green) Dark Grey Indian Red ("verging on scarlet") Dark Red Yellow Orche Green FEDERAL 1780-1820 Base Color Trim Color Door Color Brick White Black Off-White Buff Natural Pale Yellow Medium Blue Brown Ochre White Pale Yellow White Red Soft Beige Pale Green Medium Grey Medium Blue GOTHIC REVIVAL 1850-1870 TO EARLY VICTORIAN Base Color Trim Color Door Color Shades of Grey Darker than Base Unpainted Wood Drab or Fawn Darker than Base Oak Sage Lighter than Base Straw/Sand Lighter than Base Chocolate Red Buff Dark Grey Brick Pink Dark Green/Brown Mustard Straw Colored Stucco BRACKETED OR ITALIANATE 1840-1880 Base Color Trim Color Door Color Pale Beige Darker Beige Black Golden Sand Lighter Sand Natural Golden Brown Darker Brown Burgundy Olive Branch Stain Lighter Olive Light Grey Dark Grey Deep Grey Light Grey Grey Stain Lighter Stain Yellow Orche Dark Green Blue Grey Medium Brown Stone Dark Brown Old Gold Medium Red Fawn Sash (Reddish Brown) Buff Shutter Green MANSARD or SECOND EMPIRE 1855-1885 Base Color Trim Color Door Color Pale Olive Ivory Olive Rose Pale Rose Dark Green Peach Pale Peach Golden Sands Stain Ivory/Yellow Sash Olive Tan Bittersweet Straw Cream/Yellow Sash Light Yellow White/Brown Brown Brown/Bittersweet Sash & Shutters Light Brownstone Medium Brownstone QUEEN ANNE 1875-1905 MULTICOLORED PERIOD Base Color Trim Color Door Color Light Olive Dark Olive/Dark Red Accent
[Show full text]