Sentences with phrase «marked fill line»

For best results, be sure to fill the bowl all the way to the marked fill line.

Not exact matches

I have been struggling with ratios and following the manual and filling it up to the proper water line marked on my rice cooker and could not for the life of me produce good rice.

Take care to fill only till the level marked by the line.

Left tackle is a question mark with Cole's departure, and it's likely the most vital hole Michigan has to fill on its line.

Well, I saved the bottle because it has markings on it: fill to this line with soap, fill to this line with water.

Features, handy measurement marks, a see through window, max fill line for no mess closing and a place to label name.

They are measurement markings for reference, not max fill lines.

The county executive also said he did not agree with PBA President Pat Lynch's call for NYPD officers to fill out a form asking de Blasio and NYC Council Speaker Melissa Mark - Viverito not to attend their funerals should they be killed in the line of duty.

These remarkable items, currently numbering more than five hundred, fill the bookcases lining the walls of the Mark Twain Room at the Central Library.

It's easy to assemble, and then it is filled to the marked line with clay clumping litter.

This line marks a deep ocean channel that remained water - filled even during past ice ages, when sea levels saw channels between other islands in the region dry out.

«Happy Christmas» also features Mark Webber and — naturally — Lena Dunham, filling out a cast of rather famous faces, much more in line with «Drinking Buddies» than the director's earlier, lower - profile films.

Now, finally, to mark the twentieth anniversary of the film and a new line from Walt Disney Records called «The Legacy Collection», a luxurious double - CD set with the 74 - minute first disc concentrating on the score and songs heard in the film plus a second disc filled with demos, a couple of additional songs and the Elton John performances of three of them.

2A - 5 marks (7 %) 3C - 10 marks (15 %) 3B - 12 marks (18 %) 3A - 20 marks (30 %) 4C - 28 marks (42 %) 4B - 36 marks (54 %) 4A - 42 marks (63 %) 5C - 48 marks (72 %) 5B - 54 marks (81 %) 5A - 60 marks (90 %) 6C - 64 marks (96 %) PLEASE NOTE: This test is an on - line document which the pupils fill in using Word, which can be either printed or sent to you electronically for marking but if you would prefer the pupils use a traditional paper - based test then please see our other set of resources from https://www.tes.com/teaching-resource/computing-year-7-baseline-assessment-paper-based-test-11355751

2A - 5 marks (7 %) 3C - 10 marks (15 %) 3B - 12 marks (18 %) 3A - 20 marks (30 %) 4C - 28 marks (42 %) 4B - 36 marks (54 %) 4A - 42 marks (63 %) 5C - 48 marks (72 %) 5B - 54 marks (81 %) 5A - 60 marks (90 %) 6C - 64 marks (96 %) PLEASE NOTE: This test is a paper - based test, if you would prefer the pupils to fill in an on - line document which can be either printed or sent to you electronically then please see our other set of resources from https://www.tes.com/teaching-resource/computing-year-7-baseline-assessment-on-line-version-11355832

The resource includes: - starter activity - acting out the specified lines; - comprehension to demonstrate knowledge / understanding of the scene; - assessment objectives and a breakdown of how to achieve them; - question and how to approach answering it; - PEA grids filled out with some quotations (editable to suit your needs / differentiation); - how to write up an extract question response; - opportunities for getting to grips with the AO's through peer marking; - exam tips and hints; - model paragraph.

If this amount is negative you must enter the amount on Schedule ADJ, line 8a and fill in the box marked «LOSS».

The broad walkway is riven by a neat, slithering line where timber planks and paving meet, this border marked by flower - beds filled with palm - trees and exotic shrubs.

The rest of the canvas is densely filled with bold, instinctual marks like the harsh black lines of German Expressionist woodcuts in the first decades of the twentieth century.

It is filled with bold colors, confident marks, and hard edged lines mixed with sinewy organic ones that compel us to fully engage the work.

In her pulsating new large - scale canvases, Gilfilen pits clashing colors against one another in snaking layers and agitated line, filling once pristine areas with murky, mark - cancelling clots of paint.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

Influenced by my love of geometry, marking and measuring with ruler and compass, the design begins with a line or a circle, evolving, repeating, filling the surface.

Those of us who try to ride bikes in the winter often wonder why cars get their own big right - of - way, transit riders get expensive underground subways, pedestrians get an elaborate network of underground walkways, and we, if lucky, get a white line on pavement marking a so - called bike lane filled with snow or cars.