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SEVIRI HRV Fog RGB Quick Guide
SEVIRI HRV Fog RGB Quick Guide Aim: Distinguishing of fog/low clouds from snow-covered land in high resolution. Area and time period of its main application: Mid-latitude region, daytime during winter. Application and guidelines: The identification of foggy and low cloud-covered areas is important for traffic and aviation security. Winter fog/stratus frequently forms over snowy cloud-free surfaces in high pressure conditions. Fog/water clouds have good colour contrast against snow and snow-free land. This is a daytime RGB as it uses shortwave channels. SEVIRI HRV Fog RGB for 7 March 2014, 08:40 UTC Background The table shows which channels are used in the HRV Fog RGB and lists some of the land and cloud features which typically make a low or high contribution to the colour beams in this RGB. Snow's reflectivity is much higher in the HRV than in the NIR1.6. As water clouds reflect much of the radiation in both channels they can be used in combination to distinguish snow and water clouds. Smaller contribution to Larger contribution to Colour Channel [µm] Physically relates to the signal of the signal of Cloud phase Ice cloud Red NIR1.6 Water clouds Snow reflectivity Snow covered land Cloud optical thickness Thick clouds Green HRV Thin clouds Snow reflectivity Snow covered land Cloud optical thickness Thick clouds Blue HRV Thin clouds Snow refllectivity Snow covered land Notation: HRV: High Resolution Visible channel, NIR: near-infrared, number: central wavelength of the channel in micrometer. HRV is used in two colour beams so the high resolution is not lost. -
Inspirations from Europe's Leading Architects
SHADES OF WHITE Inspirations from Europe’s leading architects. DEAR BAUMIT FRIENDS AND PARTNERS, It has been almost 10 years since However, white on a facade not only has an aesthetic reason, We were inspired Baumit created Europe’s largest but also a very tangible one: climate change. Temperatures facade colour system, Baumit Life, are rising, our cities are getting hotter and hotter. The albedo by the idea with 888 unique colour shades. effect or the reflective power of the colour white can effectively Even though the trend-barometer counteract overheating in certain regions. We want to make has taken a turn in a more purist more use of this effect. of richness and variety direction, there remain a multitu- de of possibilities. In this book, renowned architects from our 25 Baumit countries of one colour tone answer questions such as “Why do architects wear black and In this book, and with our latest build white?” Their surprising answers and many insights into Baumit colour-coup, we take a the international world of architecture can be found on the when we created look at the colour that is the sum following pages. of all colours of the rainbow: the colour white. The Inuit tribe uses the Baumit colour series a variety of different names for white, depending on the colour Enjoy browsing and perusing! and texture. We were inspired by this idea of richness and variety “12 Shades of White”. of one colour tone when we created the Baumit colour series Sincerely, “Shades of White”. It is dedicated above all to our design specia- lists, the architects, for whom white has always been a popular colour choice. -
Social and Cultural Transformations in the Context of Modern Globalism”
The European Proceedings of Social & Behavioural Sciences EpSBS Future Academy ISSN: 2357-1330 https://dx.doi.org/10.15405/epsbs.2019.03.02.235 SCTCMG 2018 International Scientific Conference “Social and Cultural Transformations in the Context of Modern Globalism” СOLOUR NAMING IN OSSETIAN LANGUAGE: LINGUOCULTURAL ASPECT Rita Tsopanova (a), Larisa Gatsalova (b)*, Angela Kudzoeva (с), Aza Gazdarova (d), Ida Khozieva (е) *Corresponding author (a) North Ossetian State University, 44-46 Vatutina Str., Vladikavkaz, Russia, (b) North Ossetian State University named after K. L. Khetagurov, Vladikavkaz Scientific Center RAS, 10 Mira, Ave., Vladikavkaz, Russia, (c) North Ossetian State University, 44-46 Vatutina Str., Vladikavkaz, Russia, (d) North Ossetian State University, 44-46 Vatutina Str., Vladikavkaz, Russia, (e) North Ossetian State University, 44-46 Vatutina Str., Vladikavkaz, Russia, Abstract The paper explores core and peripheral color lexicon and shades in Ossetian language. Derived, complex words and analytical structures transmit shades of colors. Four colors have the highest use frequency in Ossetian language: black, white, red and blue. Black and white colors have the greatest semantic and stylistic meaning in the speech of Ossetian linguistic culture. These colors are precisely the part of mental language formations. An important role in color features of objective world is played by yellow and gold that is close to it. Blue, green and gray are named by one color. Color words have connotative meanings, express the peculiarities in people mentality and participate in symbol formation and stereotypes. Individual author’s development of color vocabulary enriches visual and expressive possibilities in Ossetian language. This study gives an idea of color picture of the world in the minds of the Ossetians. -
The RAL Colour Standard for Plastics the RAL Colour Standard for Plastics
NEW RAL P2 WITH 200 COLOURS The RAL colour standard for plastics The RAL colour standard for plastics Creative colour design RAL P2: 200 new colours for plastics for innovative products The world of RAL standards for plastics has just for products in the cosmetics industry and the A yellow that says ‘warm’ and ‘fresh’ at the same The RAL DESIGN System colour circle become more colourful: RAL P2 PLASTICS is intro con struction sector, and for household goods time? Colours that radiate peace and security? ducing new design options for precise colour and packaging. New colour combinations for For sophisticated colour design, RAL P2 provides communication in the plastics sector. 200 addi games, sports and leisure time. RAL P2 contains different levels of saturation for each colour and tional RAL DESIGN colours – including cool teals, 160 opaque and 40 special, transparent colours. also enables an analysis of the optimal effect by juicy leaf greens, earthy ochres, brilliant berry Together with the 100 most popular, classic colours including a variety of surfaces. We have hand hues and delicate lilacs – have added a range of from RAL P1, the entire RAL PLASTICS colour palette picked the 200 new RAL P2 colours from the inter new colour statement options to the plastics palette. provides 300 precise colour samples for plastics. nationally renowned RAL DESIGN System used For plastics manufacturers and plastics processors, Each colour is also available as a single plate. by architects, designers and product designers. Colour designers in the world of plastics will be able to implement their colour concepts with a wider range of options using RAL P2. -
Guide to the University of Chicago School Color History Collection 1894-1911
University of Chicago Library Guide to the University of Chicago School Color History Collection 1894-1911 © 2012 University of Chicago Library Table of Contents Descriptive Summary 3 Information on Use 3 Access 3 Citation 3 Historical Note 3 Scope Note 4 Related Resources 4 Subject Headings 4 INVENTORY 4 Descriptive Summary Identifier ICU.SPCL.SCHOOLCOLOR Title University of Chicago. School Color History. Collection Date 1894-1911 Size 1.5 linear feet (1 box) Repository Special Collections Research Center University of Chicago Library 1100 East 57th Street Chicago, Illinois 60637 U.S.A. Abstract This collection contains the maroon ribbon used by administrative and student committees when voting for the new university color and a memorandum connected to the maroon ribbon. It also contains documents relating to the selection of the maroon as the school color. Information on Use Access This collection is open for research. Citation When quoting material from this collection, the preferred citation is: University of Chicago. School Color History. Collection, [Box #, Folder #], Special Collections Research Center, University of Chicago Library. Historical Note For the first years of the University of Chicago, there was considerable ambiguity as to its colors. In 1892, a committee of trustees recommended orange and grey as the university's colors, but only the color orange was officially adopted. However, this decision was far from final. Not only did the use of orange upset Syracuse University, it clashed with University of Chicago students' tradition of using gold as the university color. Complicating this was the use of many different shades of orange and gold in different combination at student events. -
Foreword Shades of Yellow
Carol Kapuscinsky Foreword Shades of Yellow It is fitting that Carol Kapuscinsky is presenting us with a body of works entitled, Shades of Yellow. I cannot imagine a more suitable colour for Carol considering the words that best describe her personality would undoubtedly include bright, sunny, cheery and warm. All words embodied by yellow. Yet, the significances of this pigment are far more reaching in her life. Having spent her early childhood in Peru and then most of her developing years in Winnipeg, yellow has played a pivotal role in her life. Whether it was the majesty of the sunflower or the dominance of a prairie field, the presence of this colour was a constant force in her life. Further of course, as a painter, colour is crucial to Carol's work. It is through her honed observational skills, her wealth of experience and her spiritual relationship with the land, that she is able to offer such beautiful and emotionally powerful paintings. Within these skills, her ability to see and create compelling and living colours is critical. Carol's process begins with first-hand experience of the landscape and documenting it. Then she labours over a composition for each canvas. But it is the next steps, those that include the layering of paint and the creating of rich, deep tones that mark the magic and singularity of Carol's paintings. Beginning almost in abstraction, Carol lays forms of colours, one upon another, until the details emerge. In Shades of Yellow, the focus then becomes the unavoidable yellow, which may depict a canola field, or a patch of flowers or may simply be how the light turns the scene golden. -
The War and Fashion
F a s h i o n , S o c i e t y , a n d t h e First World War i ii Fashion, Society, and the First World War International Perspectives E d i t e d b y M a u d e B a s s - K r u e g e r , H a y l e y E d w a r d s - D u j a r d i n , a n d S o p h i e K u r k d j i a n iii BLOOMSBURY VISUAL ARTS Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA 29 Earlsfort Terrace, Dublin 2, Ireland BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2021 Selection, editorial matter, Introduction © Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian, 2021 Individual chapters © their Authors, 2021 Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identifi ed as Editors of this work. For legal purposes the Acknowledgments on p. xiii constitute an extension of this copyright page. Cover design by Adriana Brioso Cover image: Two women wearing a Poiret military coat, c.1915. Postcard from authors’ personal collection. This work is published subject to a Creative Commons Attribution Non-commercial No Derivatives Licence. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third- party websites referred to or in this book. -
The Devil's Colors
Open Research Online The Open University’s repository of research publications and other research outputs The Devil’s Colors: A Comparative Study of French and Nigerian Folktales Journal Item How to cite: Ugochukwu, Francoise (2007). The Devil’s Colors: A Comparative Study of French and Nigerian Folktales. Oral Tradition, 21(2) pp. 250–268. For guidance on citations see FAQs. c 2007 Center for Studies in Oral Tradition Version: Accepted Manuscript Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.1353/ort.2007.0005 http://journal.oraltradition.org/issues/21ii Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Oral Tradition, 21/2 (2006): 250-268 The Devil’s Colors: A Comparative Study of French and Nigerian Folktales Françoise Ugochukwu Introduction In the concluding chapter of her book on race in African oral literature, Veronika Görög-Karady (1976:245) remarks that “the main difficulty is to find the precise meaning of color oppositions, valorization or depreciation in African cultures.” This study, mainly based on five separate published collections by Joisten (1965, 1971, 1977, 1996) and the author (1992), will compare French and Nigerian folktales, focusing on French Dauphiné and Nigerian Igboland,1 in order to consider the role color plays in encounters with supernatural characters, revealing a complex network of correspondences that serve as a tool to communicate color-coded values. -
City of Orange Historic Context Statement
City of Orange Historic Context Statement Prepared by Chattel Architecture, Planning & Preservation, Inc. Prepared for P&D Consultants for the City of Orange General Plan Update Revised November 2006 City of Orange Historic Context Statement Introduction and Methodology This historic context statement for the City of Orange (hereinafter “city” or “Orange”) is a synthesis of existing documentation and new research. The city currently contains two historic districts listed on the National Register of Historic Places (National Register) – The Plaza Historic District (Plaza District, listed in 1982) and the Old Towne Orange Historic District (Old Towne National Register District, listed in 1997). The City also contains a locally designated Old Towne district (Old Towne Local District or Old Towne, established in 1981 and described in the current City Historic Preservation Element). Each of these three districts has different boundaries and histories, or historic context statements. The following updated historic context statement for Old Towne and selected areas outside of Old Towne combines these histories, in addition to other histories compiled by the City and the Orange Public Library, as well as original historic research performed by Chattel Architecture, Planning & Preservation, Inc. (Chattel Architecture) and its archaeological sub-consultant, PAR Environmental Services, Inc. (PAR). Chattel Architecture conducted research at the Orange Public Library, the Orange County Archives, the UCLA Air Photo Archives, the Fairchild Aerial Photo Collection at Whittier College, and the Los Angeles Public Library. Additional general historical information comes from Phil Brigandi’s Orange: The City ‘Round the Plaza, and information on the Cypress Street Barrio comes from the Shades of Orange event held in Orange on June 4, 2005 and interviews with members of the Orange Barrio Historical Society. -
E These Characteristics Make It Useful As Orange, Maroon, and Red. It
Page 12, Spring, 1986, PALMETTO The joy of Weeds-- has a stalk and can be up to 15 cm long and 3 cm wide. The leaflets are Florida's Wildflowers VIRGINIA CREEPER pointed at each end and have large by David Hall teeth on the margins toward the tip. Sometimes hairs occur on the underside of the leaflets. In the fall the foliage turns various shades of orange, maroon, and red. It can make E a gorgeous display if the vine is used .:! as a climber. ; .0 Large bunches (panicles) of small t. yellowish-green flowers occur at the :I: ~ branch tips. The five petals are no :E more than 2 to 3 mm long. The dark 0 blue or black fruits are 5 to 9 mm in u: '0 diameter and contain one to three ?;- seeds.Flowering is from Januaryuntil 'v; August in the southern counties of ~ 'c Florida, and from April to June :) northwards. Fruiting is from June to September in the northern part of the state and extends into November in the south. Neither the flowering nor ~ the fruiting is showy. The fruits are considered poisonous to humans. ct~ Virginia creeper can be used to Virginia creeper is an attractive "virgin ivy" gradually became cover walls, fences, arbors, and the native vine needing little care to Virginia Creeper, by which we now lower trunks of largetrees. It alsocan flourish. It can be a valuable know the plant. The species name be used as a ground cover, but it ornamental during the warm months quinquefolia, means five-leaved, usually isn't very dense. -
Featured Games, Competi- Ensures That Nobody Can Make an Tions, Seminars, Workshops, Talks, a Unfair Rule All by Themselves
HOLI SPECIAL Volume 01 ISSUE 02 MAR 2011 www.iiserpunenewsletter.webs.com this issue Science Fest Organized At IISER Osmania Medical College Wins MIMAMSA 2011 Pune Sixteen undergraduates from Hy- with a gruelling trial of the intellec- Ig Nobel derabad and Pune racked their tual stamina of the participants. Scientists brains in the finals of MIMAMSA 2011 and the group from Osmania The different rounds of Medical College, Hyderabad beat MIMAMSA were rather fascinat- others in the race to win the com- ing for the teams, as this unique 3 petition. Fergusson College (Pune), quiz has just as many unique BITS Pilani (Hyderabad campus) rounds. ‟Deep Thought‟, and University of Hyderabad fin- ‟Analyzer‟, ‟Talk Round‟ stretched „SCIFEST 2011‟- a unique event At the centre of it all was a cricket I Think, ished at second, third and fourth the participants‟ intellectual prow- was organized at IISER Pune on the match with the rules tweaked by Therefore I place respectively. ess to the limits. The arguments put occasion of National Science Day. the players themselves. The forth by the participants were am It was a mega event stretching over tweaking was based on the famous three days from 26th-28th February Cake Cutting Algorithm which 4 2011. It featured games, competi- ensures that nobody can make an tions, seminars, workshops, talks, a unfair rule all by themselves. book fair, experiment demonstra- tions and much more. It was a Eco-friendly painting saw huge HOLI SPECIAL: novel concept, conceived and en- crowds with many paintings C h r o m e n tirely organized by the students of adorning the beauty of the Earth; C a n v a s.. -
Graphics Standards Guide Primary Logo
GRAPHICS STANDARDS GUIDE PRIMARY LOGO This City of Hays logo should never be re-created or re-typeset. To maintain consistency, a cohesive balance, and a strong visual identity, the City of Hays logo should only be used from existing digital files. CLEAR ZONE The City of Hays logo should always have an area of open space or “clear zone” around it. No other graphic elements should fall within this area around the logo. Where the “X” is equal to the height of the capital (H) in the word “Hays”, leave at least X amount of clearance on all sides of the logo. MINIMUM SIZES The City of Hays logo should always be used at an appropriate size to make sure it is legible. When the primary logo is used, it should be no smaller 1.0625 than 1.0625” at its widest point. COLOR PALETTE This City of Hays logo is composed of 2 colors with a tint of 25% through the abstract (h) logo. Four-color process printing is the preferred option for printing. When the logo is used on the web or on screen, the RGB format should be used. Four-color process, Pantone and RGB formulas are listed below. MAIN BRAND COLORS 4-COLOR PROCESS (CMYK) SPOT COLOR (PANTONE) RGB & HEX VALUE (WEB) C 0 PMS 7406 R 241 M 13 G 196 Y 100 B 0 25% tint 25% tint 25% tint K 1 HEX #F1C400 Yellow Yellow Yellow C 63 PMS BLACK 7 R 61 M 60 G 57 Y 64 B 53 K 65 HEX #3D3935 Black 7 Black 7 Black 7 LOGO FONT Gotham Book and Gotham Black are the two fonts for the City of Hays text of the logo.