Sentences with phrase «in yellow text»

Not exact matches

And sprinkled into the text and reflected in the illustrations were a few nonsense words: An inverted, orange and yellow slingshot that mixed things, called a tannin, and a metal wheel used like a rolling pin, called a sprock.

The paper - thin, credit card - size sensors on meat packaging may display text such as, «Eat in X days,» or have a simple color readout: green (safe), yellow (eat soon) or red (time for the trash).

This bulky device smashed electrons into a phosphorescent screen that displayed your text in exciting white - on - black, green - on - black, or the supersnazzy yellow - on - black.

Also, not entirely related, but I am having a lot of trouble reading the text in the yellow fonts like your links.

In a yellow, red, and white intarsia knit, this pullover stars the iconic lamp from A Christmas Story, a banner of fragile text, and broken glasses — just what «yule» need to spread cheer this year!

A terribly annoying malfunction of the SE: At last, Sony has left a film's burned - in subtitles intact, but it was all for naught as the DVD automatically superimposes yellow Spanish text over the English translations of The Replacement Killers» few, brief Cantonese exchanges.

(troubles in both texts)- GCSE sample assessments Differentiation: purple = lower ability blue = middle ability yellow - higher ability

Differentiation by colour: purple = lower ability blue = middle ability yellow = higher ability All texts for study are included as are: - sample exam questions - sample responses - medium term plans Lessons allow students to develop skills in: - selecting and retrieving - synthesis - language analysis - comparison - writing view points and perspectives

2 fully differentiated (by colour) lessons to support the teaching of synthesis (writing a summary of differences) Differentiation: purple = lower blue = middle yellow = higher Resources use modern and 19th century non fiction texts on prisons and tattoos to guide students in responding to the synthesis task on the new specification language paper.

Differentiation by colour: purple = low ability blue = middle ability yellow = high ability These resource re ideal for KS3 or KS4 in preparation for tackling non-fiction texts at GCSE.

Differentiation: purple = lower blue = middle yellow = higher Texts - Why we shouldn't wrap our children in cotton wool and The watercress girl The supermarket's dark stores and 19th century markets for the poor Students will compare the ideas and perspectives of the writers.

Extracts taken from the following texts: - Jane Eyre - Mill on the floss - Nicholas Nickleby - Wuthering Heights Differentiation: purple = lower ability blue - middle ability yellow = higher ability Resources provide opportunities to: - explore Victorian context including schools and social classes - analyse structure - analyse language - explore Victorian school experiences - write imaginatively - explore connotations of language With a large focus on 19th century texts in the new 9 - 1 specifications for both language and literature - exploration in KS3 is vital and these resources enable students to access appropriate extracts taken from complex literature on themes that they will be able to relate to.

Differentiation: purple = lower ability blue = middle ability yellow = higher ability Resources prepare students for answering Q1 and Q2 and cover the following: - introduction to paper 2 - expectations and timings - identifying key information in 19th century and modern texts - identifying the point of view of a writer - inferring - exploring how language creates tone - complete true or false tasks (as per the exam) for the texts read - explore the term synthesis - synthesise information from 2 texts - work in pairs and groups - explore model answers - investigate these of connectives to synthesise - self and peer assess - develop vocabulary and analyse vocabulary in texts using inference - explore audience and purpose Regular assessments are included to assess students ability in true or false and synthesis tasks.

Differentiation: purple = lower ability blue = middle ability yellow = higher ability Resources prepare students for answering Q3 (language) and Q4 (comparison) and cover the following: - analysis of vocabulary - analysis of sentence forms - analysis of language techniques - explore audience and purpose - study of model answers - exploring the effect of language - improving exam responses using mark schemes - explore perspective - understand the difference between synthesis and comparison - form comparisons between texts - practice timed responses Regular assessments are included to assess students ability in true or false and synthesis tasks.

Differentiation: purple = lower ability blue = middle ability yellow = higher ability Resources prepare students for answering Q1 and Q2 and cover the following: - structure strip to help form better responses to question 2 (synthesis)- introduction to paper 2 - expectations and timings - identifying key information in 19th century and modern texts - identifying the point of view of a writer - inferring - exploring how language creates tone - complete true or false tasks (as per the exam) for the texts read - explore the term synthesis - synthesise information from 2 texts - work in pairs and groups - explore model answers - investigate these of connectives to synthesise - self and peer assess - develop vocabulary and analyse vocabulary in texts using inference - explore audience and purpose Regular assessments are included to assess students ability in true or false and synthesis tasks.

The following texts are explored and included in this bundle: - Martin Luther King I have a dream speech - Rudolf Holsse - concentration camp German perspective - Anne Frank's diary - Teenage lottery winner article Differentiation by colour: purple = low ability blue = middle ability yellow = high ability Resources provide opportunities to: - analyse language and perspective - compare non fiction texts - synthesise information - create non fiction texts - plan effective speeches using the 6 part structure - debate - speaking and listening

2011 Audi S4 Premium Plus Finished In Glossy Brilliant Black With Black & Brown Leather Interior Navigation Audi Drive Select Back Up Camera Bang & Olufsen Sound System Heated Seats Sunroof Bluetooth Rare 6 Speed Manual Transmission V6 Supercharged 3.0 Liter All - wheel Drive Xenon high - intensity - discharge headlights with LED daytime running lights 18» Graphite Grey Wheels With Bridgestone Tires: 245 / 40 R / 18 iPod integration Upgraded Yellow Stuff Brake Pads Books & Keys Please Feel Free To Call / Text / E-Mail - Any & All Questions or Offers Clean CarFax & Clean Auto Check - No Accidents!

It features St Luke's Blue body colour on the rear haunches, doors and boot lid; British Racing Green lower body, Fuchsia pink - coloured radiator shell, black exterior brightware and a black hood, each seat trimmed in a different hide colour (Cumbrian Green, Imperial Blue, Newmarket Tan and Hotspur), steering wheel with a Hotspur outer rim, Newmarket Tan inner rim and Cumbrian Green centre, Imperial Blue stitching; pink leather gear lever, centre console, dashboard and interior door panels veneered in Piano Black; Sir Peter's signature at fascia panel and embroidered on all four seat headrests, unique storage cases with Piano Black veneer outer lining and Continental Yellow and St James Red internal linings, treadplate with text «No. 1 of 1».

One of the year's biggest book trends was one of the most striking: hand lettered text in dramatic red, yellow, and blue with a contrasting background color.

So, while I would pull the text down from the top a bit, and make it wider and bolder, what I'd really want to do is zoom in on that rose and maze, maybe make it take up most of or all of the cover (then I could put bands of orange yellow across for the text).

Also, remember that in case your device gets stuck at the yellow triangle then you shouldn't unplug it, instead leave it plugged it and make sure that the Windows drivers display the «kindle» text.

However, I will say that the devs should patch in a way to make the text on the yellow gem diaries scroll faster — they're very long and I almost didn't want to keep reading them because they took so long to scroll.

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

In some the newsprint is obscured by the black paint, while in others the yellowed newspaper, and sometimes some of the text, is visiblIn some the newsprint is obscured by the black paint, while in others the yellowed newspaper, and sometimes some of the text, is visiblin others the yellowed newspaper, and sometimes some of the text, is visible.

In Laments: I am a man..., yellow text scrolls up an LED sign that is oriented vertically.

Works by Antony Gormley (left three), Tracey Emin (yellow two) and Gabriel Orozco are featured in «Hieroglyphics,» an exhibition exploring the relationship between «gesture and text,» at the Linda Pace Foundation.

His breakthrough painting, Look Mickey, 1961, is as light as it gets and its themes run through the painter's career: it conflates high and low culture, it contains text, it's a joke about seeing and not - seeing and it is, of course, painted entirely in red, yellow and blue.

The text - in yellow boxes or oval speech bubbles — serves to pin things together.

Works by Antony Gormley (left three), Tracey Emin (yellow two) and Gabriel Orozco are featured in «Hieroglyphics,» an exhibition exploring the relationship between «gesture and text,» at the Linda Pace

Fine lines of cadmium yellow text on white ground in another group of paintings were made almost invisible by their intensity, as though the viewer had moved from the darkness of the void to the brightness of the sun.

THE STUDIO MUSEUM in Harlem recently explored the intersection of food and art in an exhibition featuring, «Untitled (Dinners)» by Carris Adams, a text painting that transitions from bold black lettering to a muted pink and yellow palette spelling out «Chitterlings & Oxtails Dinners.»

«Yellow Movies» 2008, 80 p., with various coloured illustrations, Owrps., 25 x 19 cm, Edition 1200 Text by Diedrich Diederichsen in German and English Euro 28, -

Alongside an introductory note by Tony Conrad that served as a press release for the two gallery exhibitions, the book contains a new text by Diedrich Diederichsen and a comprehensive documentation of all the «Yellow Movies» still in existence.

Those exploring the exhibition encountered text on the perils of excessive sitting placed next to a giant red ball, a «Happy Birthday» banner hung above un-inflated balloons seemingly frozen in time and space, a wall covered in overlapping yellow Post-It notes reading «Don't Cry,» and a swarm of copper - colored computer mice huddled on the floor.

In this splashy yellow and pink rug work, Lost in Space, Weiner's playful line and text juxtaposition reads «lost in space,» a cheeky nod to the object's intended purposIn this splashy yellow and pink rug work, Lost in Space, Weiner's playful line and text juxtaposition reads «lost in space,» a cheeky nod to the object's intended purposin Space, Weiner's playful line and text juxtaposition reads «lost in space,» a cheeky nod to the object's intended purposin space,» a cheeky nod to the object's intended purpose.

Comparison of MBH98 reconstruction (blue) from AD 1400 - 1980 (thick black curve is 40 year smoothed version) with a reconstruction over AD 1400 - 1600 (yellow) based on the «censored» network described in the text, arising from the censoring of the entire North American ITRDB data set and the «St. Anne» Northern Treeline series from the predictor network prior to AD 1600.