Sentences with phrase «yellow text on»

That six - year - old website with yellow text on faux - granite wallpaper is doing more harm than good, unless you are trying to brand your firm (and yourself) as out of touch and technologically illiterate.

Some color combinations are very unimpressive such as yellow text on a blue background.

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.

Not exact matches

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.

The Blu - Ray transfer is second to none, and this time around we get yellow subtitles, which is appreciated (though the usual problems with white subtitles don't seem to be an issue on HD, especially if the text has a drop - shadow).

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.

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.

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».

Here's a reboot, much better design, but just doesn't quite work (no focus, split between the title text, too much attention on the author name via the bright yellow...) The title font also looks amateurish to me.

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).

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.

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.

Read Pages 40 - 41 of «The Power of Myth» With Bill Moyers (1991) incorporate text on bands of yellow ribbon familiar from carnival sideshow banners.

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.

The yellow text is the subject of an annotation, which you can see by double clicking on the text.