How Ornamental Fishes Get Their Color1 F
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Painting Part 3 1
.T 720 (07) | 157 ) v.10 • pt. 3 I n I I I 6 International Correspondence Schools, Scranton, Pa. Painting By DURWARD E. NICHOLSON Technical Writer, International Correspondence Schools and DAVID T. JONES, B.Arch. Director, School of Architecture and the Building Trades International Correspondence Schools 6227C Part 3 Edition 1 International Correspondence Schools, Scranton, Pennsylvania International Correspondence Schools, Canadian, Ltd., Montreal, Canadc Painting \A jo Pa3RT 3 “I find in life lliat most affairs tliat require serious handling are distasteful. For this reason, I have always believed that the successful man has the hardest battle with himself rather than with the other fellow'. By To bring one’s self to a frame of mind and to the proper energy to accomplish things that require plain DURWARD E. NICHOLSON hard work continuously is the one big battle that Technical Writer everyone has. When this battle is won for all time, then everything is easy.” \ International Correspondence Schools —Thomas A. Buckner and DAVID T. JONES, B. Arch. 33 Director, School of Architecture and the Building Trades International Correspondence Schools B Member, American Institute of Architects Member, Construction Specifications Institute Serial 6227C © 1981 by INTERNATIONAL TEXTBOOK COMPANY Printed in the United States of America All rights reserved International Correspondence Schools > Scranton, Pennsylvania\/ International Correspondence Schools Canadian, Ltd. ICS Montreal, Canada ▼ O (7M V\) v-V*- / / *r? 1 \/> IO What This Text Covers . /’ v- 3 Painting Part 3 1. PlGX OLORS ___________________ ________ Pages 1 to 14 The color of paint depends on the colors of the pigments that are mixed with the vehicle. -
Color Basics for Landscapes
Landscapae Nov. 2006 L-18 Color Basics for Landscapes Melvin Wong, Department of Tropical Plant and Soil Sciences he topic of color can become very complicated. This Twelve hues of the color wheel Tpublication introduces some basic concepts of color theory and some ideas about our reactions to color that Primary colors may be applicable to choices we make when choosing Yellow plants for landscapes. Red We see only a small portion of the total electromag Blue netic spectrum. We cannot see ultraviolet or infrared light, X-rays, gamma rays, microwaves, radar, or waves Secondary colors from television or FM, AM, or short-wave radio. What Orange (yellow-red) we perceive as “visible” is light waves of a limited range Purple (red-blue) of wavelengths. We “see” these light waves when they Green (blue-yellow) are reflected from objects to the retinas at the back of our eyes. We see black when nothing is reflected, and Tertiary colors white when all visible-wavelength light is reflected. We Yellow-orange (saffron or amber) see red when all light is absorbed except red, blue when Orange-red (vermillion or terra-cotta) all light is absorbed except blue, and yellow when all Red-purple (magenta or fuchsia) light is absorbed except yellow. Purple-blue (navy or royal blue) Twelve basic colors form the color wheel, which was Blue-green (teal) invented by color theorists to help us think about color. Green-yellow (chartreuse) The twelve colors are called hues. Three colors (yellow, red, and blue) are called primary colors because you cannot mix other colors to make them. -
Module 3 Imitative and Decorative Arts
TRADE OF PAINTING & DECORATING PHASE 2 Module 3 Imitative and Decorative Arts UNIT: 1 Colour Module 3 – Unit 1 Colour Table of Contents Introduction .............................................................................................................. 1 Learning Outcomes .................................................................................................. 2 1.0 Pigmental, primary, secondary & tertiary colours ...................................... 3 1.1 The colour circle ......................................................................................... 3 1.2 Primary, secondary and tertiary colours .................................................. 5 2.0 Monochromatic, Analogous & Complementary Colour Harmony ............... 6 2.1 Monochromatic, analogous and complementary colour harmony ...... 6 2.2 Colour in decoration................................................................................... 7 3.0 Produce Secondary and Tertiary Colours By Colour Mixing .......................... 8 3.1 Mixing primary colours to produce secondary ....................................... 8 3.2 Mixing secondary colours to produce tertiary colours .......................... 8 4.0 Tints and Shades ............................................................................................. 9 4.1 Define the terms tints and shades ............................................................ 9 4 2 Mixing tints and shades of various colours ............................................. 9 4.3 Colour terminology .................................................................................. -
Developmental Effects of Environmental Light on Male Nuptial Coloration in Lake Victoria Cichlid Fish
Developmental effects of environmental light on male nuptial coloration in Lake Victoria cichlid fish Daniel Shane Wright1, Emma Rietveld1,2 and Martine E. Maan1 1 Groningen Institute for Evolutionary Life Sciences, University of Groningen, Groningen, Netherlands 2 University of Applied Sciences van Hall Larenstein, Leeuwarden, Netherlands ABSTRACT Background. Efficient communication requires that signals are well transmitted and perceived in a given environment. Natural selection therefore drives the evolution of different signals in different environments. In addition, environmental heterogeneity at small spatial or temporal scales may favour phenotypic plasticity in signaling traits, as plasticity may allow rapid adjustment of signal expression to optimize transmission. In this study, we explore signal plasticity in the nuptial coloration of Lake Victoria cichlids, Pundamilia pundamilia and Pundamilia nyererei. These two species differ in male coloration, which mediates species-assortative mating. They occur in adjacent depth ranges with different light environments. Given the close proximity of their habitats, overlapping at some locations, plasticity in male coloration could contribute to male reproductive success but interfere with reproductive isolation. Methods. We reared P. pundamilia, P. nyererei, and their hybrids under light conditions mimicking the two depth ranges in Lake Victoria. From photographs, we quantified the nuptial coloration of males, spanning the entire visible spectrum. In experiment 1, we examined developmental colour plasticity by comparing sibling males reared in each light condition. In experiment 2, we assessed colour plasticity in adulthood, by switching adult males between conditions and tracking coloration for 100 days. Results. We found that nuptial colour in Pundamilia did respond plastically to our light manipulations, but only in a limited hue range. -
5Th Indo-Pacific Fish Conference
)tn Judo - Pacifi~ Fish Conference oun a - e II denia ( vernb ~ 3 - t 1997 A ST ACTS Organized by Under the aegis of L'Institut français Société de recherche scientifique Française pour le développement d'Ichtyologie en coopération ' FI Fish Conference Nouméa - New Caledonia November 3 - 8 th, 1997 ABSTRACTS LATE ARRIVAL ZOOLOGICAL CATALOG OF AUSTRALIAN FISHES HOESE D.F., PAXTON J. & G. ALLEN Australian Museum, Sydney, Australia Currently over 4000 species of fishes are known from Australia. An analysis ofdistribution patterns of 3800 species is presented. Over 20% of the species are endemic to Australia, with endemic species occuiring primarily in southern Australia. There is also a small component of the fauna which is found only in the southwestern Pacific (New Caledonia, Lord Howe Island, Norfolk Island and New Zealand). The majority of the other species are widely distributed in the western Pacific Ocean. AGE AND GROWTH OF TROPICAL TUNAS FROM THE WESTERN CENTRAL PACIFIC OCEAN, AS INDICATED BY DAILY GROWm INCREMENTS AND TAGGING DATA. LEROY B. South Pacific Commission, Nouméa, New Caledonia The Oceanic Fisheries Programme of the South Pacific Commission is currently pursuing a research project on age and growth of two tropical tuna species, yellowfm tuna (Thunnus albacares) and bigeye tuna (Thunnus obesus). The daily periodicity of microincrements forrned with the sagittal otoliths of these two spceies has been validated by oxytetracycline marking in previous studies. These validation studies have come from fishes within three regions of the Pacific (eastem, central and western tropical Pacific). Otolith microincrements are counted along transverse section with a light microscope. -
Experiential Training in Florida and the Florida Keys. a Pretrip Training Manual
DOCUMENT RESUME ED 341 547 SE 052 352 AUTHOR Baker, Claude D., Comp.; And Others TITLE Experiential Training in Florida and the Florida Keys. A Pretrip Training Manual. PUB DATE May 91 NOTE 82p.; For field trip guidelines, see ED 327 394. PUB TYPE Guides - Non-Classroom Use (055) -- Guides - Classroom Use - Teaching Guides (For Teacher)(052) EDRS PRICE MF01/PC04 Plus Postage. DESCRIPTORS Animals; Classification; *Ecology; Environmental Education; Estuaries; *Field Trips; Higher Educatioa; Ichthyology; *Marine Biology; Plant Identification; Plants (Botany); *Resource Materials; Science Activities; Science Education; Secondary Education IDENTIFIERS Coral Reefs; Dichotomous Keys; *Florida ABSTRACT This document is a pretrip instruction manual that can be used by secondary school and college teachers who are planning trips to visit the tropical habitats in South Florida. The material is divided into two parts:(1) several fact sheets on the various habitats in South Florida; and (2) a number of species lists for various areas. Factsheets on the classification of marine environments, the zones of the seashore, estuaries, mangroves, seagrass meadows, salt marshes, and coral reefs are included. The species lists included algae, higher plants, sponges, worms, mollusks, bryozoans, arthropods, echinoderms, vertebrates,I insects, and other invertebrates. The scientific name, common name, and a brief description are supplied for all species. Activities on the behavior and social life of fish, a dichotomous key for seashells, and a section that lists -
Color Book Unformatted
New & Revised - Includes Genesis Heat Set Oils 1 PREFACE There seems to be a mystique about mixing colors. The novice painter procrastinates or delgates this responsibility to a paint manufacturer bu tultimately the day arrives when the painter wants to take control of the palette colours. This can happen only when the painter takes the responsi- bility to learn to mix colour. Mixing colour is very exciting. The knowledge of how to control and create colour is the ultimate in creativity. It is not difficult to master, but it will take time, patience, practice, but most of all desire. The intent of this book is to provide a guide to mixing colour. It is my hope that it will be useful regardless of whether the preferred medium is oil, alkyd, acrylic, watercolour, pastel, pencil or coloured ink. Colour theory applies to all media. All that differs is technique. Colour is so closely interwoven with the other four basic elements of art that it would be impossible to discuss colour without examining its rela- tionship to line, form, texture and space. The importance of colour to har- mony and composition are also inseparable, as are chemistry and tem- perature. Please understand that colour reproduction of a paint mixture in printed form is almost always inaccurate. Every effort has been made to provide the highest quality of photography, colour separations and printing. How- ever, it is not possible to duplicate the myriad nuances of paint with only five colours of printer’s ink. Furthermore, oil reflects the light differently than acrylic. Pencil and watercolour have their own individual properties. -
A Designer's Dozen Newsletter Tips
A DESIGNER S N EWSLETTER TIPS TIPS TOo ENHANCEz n CLARITY Organize the content of your newsletterDD e then use the command in your software to make and into groups: administrator/staff articles the desired portion into all caps. That way, if you 1or columns, grade level/curriculum articles, decide to change it to upper and lower case later, extracurricular groups/events/sports, parent you don’t have to retype it. group/organization articles or columns, items that need action (such as forms to be filled out See how you first Reverses are very effective, and returned, workshop flyers that ask for looked at this reverse? but use only in a few small areas. They are a good choice advance registration, etc.; e careful that you don’t You might want to use a 4 have two things on back-to-back pages that need reverse for a short item for short items that you want to call to be filled out and returned to different places) you want a response to, attention to. Use a bold weight for such as a call for volun- the white type so that it doesn’t fill in and general informational items from outside- teers or a lost and found the-school sources (such as District letters reminder. Notice how when copied, and you may want to regarding bus safety, lunch information flyer both the subhead and increase the point size of the type as body of this item are well. Set up your text block to have from SoDexHo, parenting information newsletter bolder than the typefaces that the school subscribes to, etc. -
Alikes Among Tropical Reef Fishes
Who Resembles Whom? Mimetic and Coincidental Look- Alikes among Tropical Reef Fishes D. Ross Robertson* Smithsonian Tropical Research Institute, Balboa, Republic of Panama´ Abstract Studies of mimicry among tropical reef-fishes usually give little or no consideration to alternative explanations for behavioral associations between unrelated, look-alike species that benefit the supposed mimic. I propose and assess such an alternative explanation. With mimicry the mimic resembles its model, evolved to do so in response to selection by the mimicry target, and gains evolved benefits from that resemblance. In the alternative, the social-trap hypothesis, a coincidental resemblance of the model to the ‘‘mimic’’ inadvertently attracts the latter to it, and reinforcement of this social trapping by learned benefits leads to the ‘‘mimic’’ regularly associating with the model. I examine three well known cases of supposed aggressive mimicry among reef-fishes in relation to nine predictions from these hypotheses, and assess which hypothesis offers a better explanation for each. One case, involving precise and complex morphological and behavioral resemblance, is strongly consistent with mimicry, one is inconclusive, and one is more consistent with a social- trap based on coincidental, imprecise resemblance. Few cases of supposed interspecific mimicry among tropical reef fishes have been examined in depth, and many such associations may involve social traps arising from generalized, coincidental resemblance. Mimicry may be much less common among these fishes than is generally thought. Citation: Robertson DR (2013) Who Resembles Whom? Mimetic and Coincidental Look-Alikes among Tropical Reef Fishes. PLoS ONE 8(1): e54939. doi:10.1371/ journal.pone.0054939 Editor: David L. -
Satish Chandra a Passionate Floweriest Abdul Salam Khan1 Saroj Bhargava2 1,2 Department of Performing & Visual Arts, Mewar University, Gangrar, Rajasthan, (India )
Satish Chandra a Passionate Floweriest Abdul Salam Khan1 Saroj Bhargava2 1,2 Department of Performing & Visual Arts, Mewar University, Gangrar, Rajasthan, (India ) ABSTRACT Satish Chandra was an eminent landscapist and a prolific painter based on natural motif. He was very much found of flower series. As like as great impressionist artist Cloude Monet. He was also developed a flower garden in his home at luchnow, for his day today study. Though his maximum work is oil painting but he has also mastery in water color. His understanding and pursue of excellence in field of capturing natural motifs was outstanding not only he grapes the subject physically but also he hold the essence of soul personally. That quality of work stand apart in comparing Satish Chandra contemporary painter and recognition as a Satish Chandra master of colorist and a passionate floweriest. Keywords: Eminent, Landscapist, Prolific, Impressionist, Floweriest, Motifs I. INTRODUCTION Elements of nature such as flowers served as prolific painting motifs for centuries and subverts one of the oldest forms of the still-life. The long tradition of flower paintings extended to the modern era and botanical elements found its place in almost every art genre that followed. High decorative properties but also the symbolic undertone that gave the artworks philosophical connotations. Time to time several artist like Claude Monet in the 19th century, created his celebrated water-lily painting series and Marc Queen pull the flowers out of their natural surroundings to bring the viewers’ attention to the beauty of the colorful blossom and the unique singularity possessed by every specimen. -
Tints and Shades Redux, an Exhibition of Dot Paintings, Prints and Light Sculpture Is About How Color Is Perceived in Relation to Its Presentation
PAUL KOLKER Tints and Shades Redux OPENING RECEPTION THURSDAY, SEPTEMBER 22ND 6PM - 8PM DOWNSTAIRS AT THE SALON OF STUDIO601 511 WEST 25TH STREET BETWEEN 10TH AND 11TH AVENUES September 22, 2011 Paul Kolker: Tints and Shades Redux, an exhibition of dot paintings, prints and light sculpture is about how color is perceived in relation to its presentation. In this show, Kolker explores the question of the aesthetic values of perceived color through new dot paintings made in his limited color palette, but in tints and shades painted on black, white or grayscale background elds. Kolker paints or prints dots of solitary color. His palette is minimal,consisting of red, green, blue and yellow; the physiological human vision colors. Although he adheres to the aesthetic purity of color unmixed with another color and painted in the shape of minimal geometric forms, he creates a myriad of tints and shades producing a gamut of pastel-like colors. Tints are colors mixed with white; shades, with black. Mixing with both black and white eects a grayscale. The resultant visual eect of painted dots in tints and shades is reminiscent of the eighteenth- century pastelists, who using crayons explored a faster and less expensive way than painting in oils to eect portraiture. The crayons were fabricated with colors mixed with chalk, lamp-black or combinations of black and white, also producing a grayscale of tints and shades. However, Kolker further developed his minimalist style of painting for other reasons besides his adherence to elemental colors and minimal shapes and forms. As far back as 1975, the alignment grid of his three color tube front end projector television became the root basis for his art. -
Color Terms (PDF)
Educational Material Glossary of Color Terms achromatic Having no color or hue; without identifiable hue. Most blacks, whites, grays, and browns are achromatic. advancing colors Colors that appear to come towards you (warm colors). analogous colors Closely related hues, especially those in which we can see a common hue; hues that are neighbors on the color wheel, such as blue, blue-green, and green. chroma The purity or degree of saturation of a color; relative absence of white or gray in a color. See intensity. color field painting A movement that grew out of Abstract Expressionism, in which large stained or painted areas or “fields of color” evoke aesthetic and emotional responses. color wheel A circular arrangement of contiguous spectral hues used in some color systems. Also called a color circle. complementary colors Two hues directly opposite one another on a color wheel (for example, red and green, yellow and purple) which, when mixed together in proper proportions, produce a neutral gray. These color combinations create the strongest possible contrast of color, and when placed close together, intensify the appearance of the other. The true complement of a color can be seen in its afterimage. cool colors Colors whose relative visual temperatures make them seem cool. Cool colors generally include green, blue-green, blue, blue-violet, and violet. The quality of warmness or coolness is relative to adjacent hues. See also warm colors. hue The pure state of any color or a pure pigment that has not had white or black added to it. intensity The relative purity or saturation of a hue (color), on a scale from bright (pure) to dull (mixed with another hue or a neutral.) Also called chroma.