they feature color and large stones. for example, the one that you see here has a huge emerald of over 3 hundred carrots. others draw from original sources such as a we have the b bud had a >> one of the pieces was owned by ben webb son which you see here pictured foisted by richard. others soot i can't see were evenly crust with precious giving me gemstones. it was during those years the so-called bully eye. an oval pie. this was he successfully he adapted their covered with the bully eyes all over. you find the most active featured on rings, restorations and bracelets. and it continues to be interpreted in different ways nowadays. interestingly most is a was are convertible and worn as a broach as you see here. others can be divided and the different sections were worn separately. sometimes a shorter necklace or as bracelets. now during the 70s many are whim u whimsical. at times they were independent to concepts namely that of evaluating common jewels and here you find playing cards that become precious jewels and a h

el mundo pueda ver ♪ ♪ colores, tantos colores, colores alrededor ♪ ♪ colores, millones de colores coloreando todo lo que ves ♪ ♪ todo el mundo es mundo de color ♪ ♪ amarillo, rojo, azul rosa, verde y naranja también ♪ ♪ son todos para ti ♪ todos los colores usarás con libertad ♪ ♪ puedes crear un arco iris que el mundo pueda ver ♪ ♪ el mundo espera un toque especial ♪ ♪ un mágico pincel color está ♪ ♪ un brillo aquí, una luz allá ♪ ♪ mezcla una sonrisa y quedará genial ♪ ♪ colores, tantos colores colores alrededor ♪ ♪ colores, millones de colores coloreando todo lo que ves ♪ ♪ todo el mundo es mundo de color ♪ ♪ colores que brillarán completo el mundo ♪ ♪ es mundo de color que todo hace brillar ♪ ♪ ya todos los colores usarás con libertad ♪ ♪ puedes creas un arco iris que el mundo pueda ver ♪ ♪ colores, tantos colores colores alrededor ♪ ♪ colores, millones de colores coloreando todo lo que ves ♪ [algarabia] [♪] >>estÁs viendo "raggs" en mi telemundo. creo que cae un poco a la izquierda. uh-uh, a la derecha.

and i loved color. color of the skin. tattoo on the skin, which is a kind of color. some blue colors that you add. and i wanted to show that. when i started, i remember that there were some beautiful girls. they're beautiful. but i felt like, ok, but there is also beauty. i have a girlfriend which was modeling for me that i met very early when i started that was from a french colony. she was beautiful and black and very inspiring, very nice. i say, yes, why not. for me, a difference was beautiful. they looked to me, and i wanted to show it. another kind of different was the fact that when i saw farida, i said, my god, she is incredible. i was very impressed by her beauty. very frightened even by her beauty. she was kind of a very arrogant imperial. and african and beauty with a special expression. not arrogant. but beautiful. i said, i want to show this girl which is different. does not know how to walk as a model. they have their own personality. i remember this year i was asking a professional model to walk to see if there were walking too much as a professional mo

i prepared colors on a color board i don't know if anyone has time to look at it. i remember what i did then and when i went out there i conforms what i did in 1982. this is paul's idea of a color scheme which is down the sires a little bit. it's a darker looking look and this is a gayer look in the sense of the old term back in the 60s and 70s and it meant smell. it uplifted and bright. those are in the peach i didn't attains. the people i never heard one complaint. the place is falling apart and needs a paint job balanced. i'll only hope you'll approve any former colors >> thank you. >> thank you. any other member of the public? >> seeing none, public comment is closed and back to commission. >> commissioner pearlman. >> i wanted to thank mr. scott for taking on just like i forgot his name jeff something. those are going to be lost if you don't step forward so thank you. i want to encourage the misconduct 0 open the stair and if that was put there recently there's no reason to keep it. and then with the paint i said encourage that mr. buck take care; right? desig

. >>> she has been painting up colorful dancers. we're proud to have elizabeth, a local artist with a local exhibition. and is is one of your beautifuand colorful pieces of art. tell us about this. how long it took you, and wt e message behindt is. >> this is one of my paintings of aztec dancers. d i take forecasts of them in the bay area when they're dancing an the i paint on a canvas with o point. and i bui up a texture. this o took me about ree weeks was working on it, and i ve been changing a few things. i have been on this workor about four years. i have about 20 paintin in this ste. >> is this something you do on e side or ishis full time? >> i consider mysel a professional artist, so io work almost wha you conside full-time hours, almost hours a week on tngs that are art related. and other parts of it are the buness aects of being a professional artist. >> how difcult or easy is that business aspect? cause if that is what you're doing, that's your livelood here. >> it s been a challenge. i did attend clege and i have a bhelor

go for the bright color not boring black, brown or gray. go for bright color. land's end does a petite version. >> wendy: good. how much is this coat? >> $150. >> wendy: and pea coats are timeless. i like how you styled these gir tere is next. come on out. >> beautiful. love it. >> wendy: wow. first of all, i am blown away that when you talk about, you know, a woman with a little bit more meat on her bones that you went for a puffer coat. >> i went for a puffer coat. i like 20 call this a nonfat puffer. here is the secret about a voluminous coat, a down coat. make sure you're looking for one that has a belt. >> wendy: oh, it's not the real thick either. it has the look of puff. >> is very enderizing, very slimming. we like the longer length. we found it in victoria's secret. >> wendy: really? >> $ 50. it's slimming because you're adding a belt. >> wendy: and it has a hood. you look excellent. thank you, teresa. i like that coat. our last model is susannah and she is tall and slender and wants a coat that's going to give her some curves. so let's see what you've

so everybody talked about color and matisse. if you're modern, you use color. well, first of all, color is expensive. but then on the other hand, i don't really know whether i like those very colorful blues and yellows and oranges. i knew an older artist who once lived in paris. one day i said to him, "can you tell me something about color?" he says, "there's one thing i can tell you -- nobody understands color." i said, "fine, that's just the way it is with me." and that was the end of that problem. around 1958, '59, somewhere around there, i started a painting. it was 18 feet by about 9 or 10 feet, and i'd never done a painting that big. and then i realized i didn't have the space to come back to see my painting. it was too close, and i couldn't seem to get far enough away to see what i'm doing. then my feeling about how i see a painting changed. i realized every time i do something, if i have to run back to take a look at it, it's impossible. i can't paint that way. ah! ah! instead of looking, i had to feel it. ah! in order to feel it, to work with it, i had

they feature color and large stones. for example, the one that you see here has a huge emerald of over 3 hundred carrots. others draw from original sources such as a we have the b bud had a >> one of the pieces was owned by ben webb son which you see here pictured foisted by richard. others soot i can't see were evenly crust with precious giving me gemstones. it was during those years the so-called bully eye. an oval pie. this was he successfully he adapted their covered with the bully eyes all over. you find the most active featured on rings, restorations and bracelets. and it continues to be interpreted in different ways nowadays. interestingly most

they feature color and large stones. for example, the one that you see here has a huge emerald of over 3 hundred carrots. others draw from original sources such as a we have the b bud had a >> one of the pieces was owned by ben webb son which you see here pictured foisted by richard. others soot i can't see were evenly crust with precious giving me gemstones. it was during those years the

they feature color and large stones. for example, the one that you see here has a huge emerald of over 3 hundred carrots. others draw from original sources such as a we have the b bud had a >> one of the pieces was owned by ben webb son which you see here pictured foisted by richard. others soot i can't see were evenly crust with precious giving me gemstones. it was during those years the so-called bully eye. an

they feature color and large stones. for example, the one that you see here has a huge emerald of over 3 hundred carrots. others draw from original sources such as a we have the b bud had a >> one of the pieces was owned by ben webb son which you see here pictured foisted by richard. others soot i can't see were evenly crust with precious giving me gemstones. it was during those years the so-called bully eye. an oval pie. this was he successfully he adapted their covered with the bully eyes all over. you find the most active featured on rings, restorations and bracelets. and it continues to be interpreted in different ways nowadays. interestingly most is a was are convertible and worn as a broach as you see here. others can be divided and the different sections were worn separately. sometimes a shorter

they feature color and large stones. for example, the one that you see here has a huge emerald of over 3 hundred carrots. others draw from original sources such as a we have the b bud had a >> one of the pieces was owned by ben webb son which you see here pictured foisted by richard. others soot i can't see were evenly crust with precious giving me gemstones. it was during those years the so-called bully eye. an oval pie. this was he successfully he adapted their covered with the bully eyes all over. you find the most active featured on rings, restorations and bracelets. and it continues to be interpreted in different ways nowadays. interestingly most is a was are convertible and worn as a broach as you see here. others can be divided and the different sections were worn separately. sometimes a shorter necklace or as bracelets. now during the 70s many are whim u whimsical. at times they were independent to concepts namely that of evaluating common jewels

diamonds and not combined with other colored give me stones. emerald were mounted that diamonds and rubbing i didn't see were mounted with diamond and so forth. there are some rather hints of a future trend and if one looks carefully for example, at this sapphire and a diamond necklace one can see it's mounted are gemstones the sapphires are polished and this is a sense of roundness and this will be a characteristic of bully jewels. likewise, the bracelets one of which was made in 1955 and the other in 959 are formed with the elements. and once again this roundness becomes a feature in the jewels that we're going to see in coming in the following slides. now among the most distinctions still in the vein of passively run it was the were the broaches that were set with faminescy diamonds and they were greatly falsified by bully client tell. they were worn as broaches or in the hair as you can see here england rid bergman and the former here's us of iran. now the peculiar all right. of the jewels is their mounted in springs to allow them to quiver

you look at the color of your shirt. and you look at the color, "son of a gun. "hey, the shirt got the same color in the mirror. "wow. the ceiling got the same color. every one thing, everything in-- the same." what's that mean? it means there's no change in frequency, yehey. so if you got a blue shirt and you're standing in front of a mirror, gang, what's the image color? blue. begin with a bl. what if you got a red shirt, what would the image color be? red. yehey. so we see that, okay? it turns out going through a material to. the frequency stays the same, so the color stays the same. even though the wavelength gets squashed up a little bit, yeah? so that's refraction. show you an example of that, root beer. root beer is syrup in thick, thick mugs, why? why thick mugs? because they can give you less root beer for the same money, right? [laughs] let me test this to make sure it's really root beer. [laughs] it tastes like pepsi to me. [laughs] by golly, it is pepsi, all right? now, you guys be seeing something. the root beer goes right out to the edge, make it l

in terms of the color line. on the whole was i try to do in the book is talk about the point of exclusion along the color line is never fixed. here we see a player like to draw who could play for a while because the talent was so good in the organized baseball. it was a bit too dark to get the shot to play in the major leagues. however, raffaella armada in 1911 would make it their view in july 4. in order to justify the minds of those who are watching on. might've been unsettled ids ballplayers are olive toned ballplayers. the cincinnati inquirer used to present them as the purest bars. there's not a lot to a spot on my sketching. so they wanted to make crystal clear that these gentlemen were not of african descent. and it did so by referring to something that in the minds of readers with signify purest bars. some of you have traveled through spain are cracking yourself a bar, but no, that's actually black. here we have a very statement that tries to infer whiteness. but because that is the home of procter & gam

they feature color and large stones. for example, the one that you see here has a huge emerald of over 3 hundred carrots. others draw from original sources such as a we have the b bud had a >> one of the pieces was owned by ben webb son which you see here pictured foisted by richard. others soot i can't see were evenly crust with precious giving me gemstones. it was during those years the so-called bully eye. an oval pie. this was he successfully he adapted their covered with the bully eyes all over. you find the most active featured on rings, restorations and bracelets. and it continues to be interpreted in different ways nowadays. interestingly most is a was are convertible and worn as a broach as you see here. others can be divided and the different sections were worn separately. sometimes a shorter necklace or as bracelets. now during the 70s many are

also, they were very specific about the color. in reality, they asked me because the color is a little like in the spirit. it is something in common. i was flattered to do that, but it is beautiful to see how much they are -- our work, our demand is to make a beautiful movie. i should not be able to do anything. i never thought about it, but when people ask me, you have to be so clever. >> tom ford made a movie, so why not you? >> because my brain is not that sure. you have to think about so many things. truly, it is a big work. you have to be strong. you have to take care also of the physiology of the actor which is, like, oh, my god. you can be depressed. also, you see the depression of everybody. i do not want it. i have enough of my own. >> i hope you will be sharp enough to answer the questions the audience has for you. rather like the academy awards. [applause] these questions have come through on various means. can we have the first question? >> the first question -- i am going to compile a group -- a lot of people are aski

to be all different colors. and so that's why we provide those dolls, so they become more aware of that, but it is tricky. and sometimes you do want to mention it also to the parents so the parents can realize, possibly, what this child is thinking, and maybe they picked up something wrong on something on tv or something. you try to get to the bottom of it and then be very aware of that. i had a little boy in my program who sort of used a derogatory word, and what i did was, i said, "we don't use those words here, "but every time you use a positive word, what we'll do is, we'll talk about that word." and he started--one day, he didn't say the word. the next day, he didn't say the word, and he started to build on his own vocabulary. so i think when you give a child specific praise and give them specific things to do, it helps them a lot. ♪ falling down ♪ london bridge... hendrick: there may not be much we can do about the racism, bigotry, and prejudice in the rest of the world, but in our own classrooms, ther

por quÉ queremos un color claro? escÚchame una cosa, por quÉ a usted le gusta un color claro, madre? dÍgalo honestamente >> porque yo creo que los colores fuertes la harÍan verse mÁs morena. >> toda la gente cree lo mismo,y es una mentira. >> la realidad es que cuando te pones un color muy claro, te ves mÁs oscuro, pero otra cosa que es mÁs importante, a quiÉn le importa el color de la piel,si el bonito,hay que fomentar quiÉn somos, si eres de piel oscura, quÉ viva la piel oscura, hay que fomentar quien tÚ eres, creo que su piel se va haber mÁs bonita con un color vivo. no sÉ cuÁl es la canciÓn de las quinceaÑeras. ♪ este es el momento en el que uno se enamora del vestido. muchas gracias. muchas gracias por donar todo esto. princesa, feliz de haberte hecho esta sorpresa, ahora quiero antes de que termine el segmento, de darle un fuerte abrazo a tu padre, porque realmente Él fue quien hizo todo esto,no nosotros. >> thank you, daddy. es el mejor cumpleaÑos que voy a pasar, aunque no estÁs conmigo,

the person who did the colors for that building has colors. he's here. we don't think we need to have a scientist come in and scratch the paint we're simply president to reconstitute the colors that were there. the only comment i would make is with respect to the continual use language i want to be assured that that's not something that is the finding this commission will be making. so thank you for your time >> thank you, commissioners any questions or staff or sponsor and a commissioners. >> i'm just going to get the clarification of the stucco and brick wall. right now it's brick and i want to option of doing either? >> we put the two options in the plans a product you have our conversations with staff but your preference is to return it to misconduct 0. other than when this other gentleman 5 years ago put brick there >> does planning have an opinion. >> on the overhead there are historic photos. this is a historic photo from 57 while there's been modifications over time this brick wall has been this partial stair where the brick has been exposed some

the fauves used their wild way with color-- it was actually much less wild than it seems. they knew exactly how to use a blue against a green, an orange or red against a yellow-- they used their way with color to ravish the eye. they produced versions not only of a golden age, bu also what one might call a tourist's world, a world where the sun is always out. in the early years of this century, modernism came in a tremendous variety of forms in many different places. but one city was viewed as the center of modernism and acted as a magnet to a motley army of artists who came from everywhere-- russians, rumanians, germans, british, americans-- all drawn by what became a sort of bohemian finishing school for modern artists. despite the reputation of schiele, klimt, and matisse, one artist working in this city during those years and through to the middle of the century is still for us the modern artist. he is picasso. the city--paris. of all the artists who worked in paris, it's picasso who's been elevated by critics and historians to the status of the modern artist as hero.

but why the color purple. coloring to a french color historian the citizens of ancient lebanon cloefrd a dloefrd a source called purple the sea snail which produced a juice that had remarkable props it turned light and green then violet and then a red which turned darker and darker. the process had to be stopped at the exactly the right time to obtain the desired color so it was derived from electronics formative anchors. the beginning of a transformer active process that can lead to an escape. domestic violence last year in san francisco over 50 crisis calls picture day and 15 thousand per year. our direct services represented by the folks here. they touched almost 20 thousand individuals and provided nearly 40 thousand hours of supportive services. and while the chief of police say to be congratulated the number of domestic violence cases reviewed by the police department remains on unanimous average of 4 thousand cases per year. any one of which can become a homicide that. while we're waiting for the mirror

¿ves el color? ahora mete la última manzana. >> muy bien. >> vamos a procesar la última. >> la última manzana. >> ponla ahí también para completar maravilloso jugo delicioso y nutritivo. y déjame decirte -- este es un brebaje realmente sano. charles, sé que lo quieres, pero siempre lo tomas, ¿cierto? así que esto es algo que quiero probar solo por un segundo. ya sabes. sólo digo. de acuerdo, charles, vas a darme una paliza. eres más fuerte que yo, así que puedes tomarlo ahora. >> dámelo. >> eso es absolutamente delicioso. lleno de nutrientes. >> tengo algo muy importante que decirles, así que escuchen bien. tienen que tener cuidado de no beber demasiado ya que el efecto dicen que durará 24 horas. >> 24 horas. >> sí. >> charles, tengo que decirte, realmente ha sido un verdadero placer haberte conocido. damas y caballeros... >> encantado de conocerte también. >> ...icharles eugster! >> narrador: obesidad, hipertensión, diabetes, cardiopatías -- son los problemas a la salud que enfre

i'm going to begin working with opaque colors now. opaque colors -- that just means you can't see through them. white is very opaque. so i'm going to take a little of that and go right in here and just begin blending...just begin blending. now that's going to pick up the yellow that's on the canvas and blend right together. but it's going to make a nice little shiny spot there like -- like that's where our light's coming from. it's exactly what i'm looking for. you play with opaque and transparent color and you can make all kinds of gorgeous effects. there. about like that. i'm going to take the least, least little touch, least little touch of the bright red. said "least" several times because bright red is a very strong color. be careful with it, it'll eat up your whole world...your whole world. but it is gorgeous. and see? the transparency of it allows that gesso to show through. so any little thing that happened there, it comes right out into your world. it's okay. it works...works well. i'm just sort of jumping around from place t

he began in 1904 to use a repertoire of colored patches and marks brilliantly synthesized from gauguin, van gogh, and signac, using them as the sumptuous pictorial vehicle for his own range of preindustrial idylls. his luxe, calme, et volupte is a spectacular example. fauve means wild beast. it was a critic's tag. and it was the seeming wildness their wild way with color-- it was actually much less wild than it seems. they knew exactly how to use a blue against a green, an orange or red against a yellow-- they used their way with color to ravish the eye. they produced versions not only of a golden age, bu also what one might call a tourist's world, a world where the sun is always out. in the early years of this century, modernism came in a tremendous variety of forms in many different places. but one city was viewed as the center of modernism and acted as a magnet to a motley army of artists who came from everywhere-- russians, rumanians, germans, british, americans-- all drawn by what became a sort of bohemian finishing school for modern artists. despite the reputation of schiele, kli