View allAll Photos Tagged Refinement
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
Isn't this just a picture of refinement and elegance?
What isn't pictured though is the gigantic "Farmer's breakfast" I'd just tucked away in preparation for my journey over the Alps to Venice.
Class and elegance is all very well, but a hungry traveller also needs bacon, eggs, onions, bread and fried potatoes.
The all-new Jaguar XF brings an unrivalled blend of design, luxury, technology and efficiency to lead the business car segment, underpinned by class-leading driving dynamics and refinement.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
Últimos retoques a Vader, y lo dejo reposar.
Rogue One sketch. Farther refinements are still needed, before inking.
Fine Gifting Refinements
Choclattes are fine chocolate assortments from the house of Matcos of an over 12 year old heritage of supplying quality and customized gifting products to major corporate, retailers and quality conscious customers.
Whatever our size and strengths we have a small-company service philosophy: to be approachable, cooperative, flexible and accessible to all of our customers. In our history, we have never lost the core values that make us an attractive choice of all our customers.
Connoisseurs appreciate Choclattes as high quality chocolate- shiny brown, breaks cleanly and is smooth, not containing any lumps, bubbles or white specs. Choclattes melt on the tongue like butter and taste of pure chocolate rather than cocoa powder.
Choclattes are fine chocolates proudly consumed at home and excellent for gifting.
Choclattes – Regular box (assorted box of 24 chocolates / 250 gms. in 4 flavors)
Choclattes - Large box (assorted box of 48/500 gms. chocolates in 8 flavors)
Choclattes – Regular theme box - (250 gms. Of theme chocolates)
Choclattes – Large theme box - (500 gms. Of theme chocolates)
Choclattes – customized box – customized solutions are provided where box size, contents and packaging are tailored to your requirements.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
Original early Series 2.
Series 2, 2A and 3 have a devoted following all over the world as anyone who has ever used one will confirm.
Legendary capabilities off road and superior refinements all round compared to Series 1. Perfectly engineered longer and wider relative to S1. Iconic period styling by David Bache.
Owned and operated by Border Rovers.
Border Rovers can be contacted on:
07515899390
Series II 88-inch utilities (1958-1961)
The Series II Land Rover was introduced in April 1958, exactly 10 years after the original was shown in Amsterdam. Both “Regular” and “Long” models had the same wheelbases as the Series Is they replaced, but there were many important differences. Most obvious was the styling (by Rover’s David Bache), which was impressive enough to survive with only minor changes into the 21st century. It provided barrel-sides to cover axles with wider tracks, plus a sill panel to conceal the underpinnings, and a particularly neat truck cab option. Mechanical changes focussed on a new and much more powerful petrol engine, this time an OHV four-cylinder of 2286cc. However, the 88-inch models retained the old 2-litre engine until summer 1958. The existing 2052cc diesel, a close cousin of the new petrol engine, remained available. The usual range of body styles was on offer – soft top, truck cab, and Station Wagon (see below). Overseas buyers could also have a Window Hardtop model. Bronze Green was still the most popular colour, but there were six others: Beige, Dark Grey, Light Green, Light Grey, Marine Blue and Poppy Red, the latter for fire engines. There were 60,456 88-inch Series II models, of which just 9,539 were diesel-powered. The last five 1500-series chassis (from 1960) appear to have had Perkins diesel engines from new.
The design that took Emile Dewoitine's parasol fighter formula to the apex of its development was the D 27, which was evolved to meet the requirements of the STAe 1926 C1 leger programme for lightweight fighters. Adhering closely to the structural concept of preceding fighters, but embodying much aerodynamic refinement and a split-axle (with independently articulated wheels) rather than cross-axle undercarriage, the D 27 was powered by the 500hp Hispano-Suiza 12Mb (HS 57) 12-cylinder Vee engine and had an armament of two synchronised 7.7mm guns. The liquidation of the Construction Aeronautique E Dewoitine in January 1927 resulted in the transfer of development of the D 27 to the EKW in Switzerland, where a prototype flew on 3 June 1928. By the end of the year, three had been ordered by Romania, one by Argentina and three by Yugoslavia (of which two were to be delivered as assemblies for completion by Zmaj at Zemun), and the prototype was undergoing evaluation by the Swiss Fliegertruppe in competition with Alfred Comte's AC-1. In the autumn of 1928, the EKW initiated a pre-series of 12 D 27 fighters, these adopting a redesigned tail and a revised wing of 0.45m2 less area, modifications first tested in the Laboratoire Eiffel wind tunnel. Meanwhile, in March 1928, Emile Dewoitine had reestablished himself in France, forming the Societe Aeronautique Francaise-Avions Dewoitine. The second and third pre-series D 27s were delivered to France in April 1929, the former being re-engined with the 400hp HS 12Jb as the D 272 for aerobatic demonstrations, and the latter undergoing STAe evaluation at Villacoublay from 28 May equipped with two 7.7mm Darne guns. On 29 November 1929, a contract was issued by France's DGT (Direction Generale Technique) of the Ministere de l'Air for the second and third pre-series aircraft plus three (later increased to four) additional fighters to be assembled by Liore-et-Olivier. The D 27 was offered to the Forces Aeriennes Terrestres as the D 271 with the 500hp HS 12Hb engine and as the D 273 with a Gnome-Rhone Jupiter VII with a compressor enabling 425hp to be delivered at 4000m, but neither model was adopted. At the end of 1929, however, the decision was taken in principle to re-equip the fighter element of the Swiss Fliegertruppe with the D 27, a pre-series of five being ordered from the EKW as D 27 Ills, with deliveries commencing in 1931. A pre-production batch of 15 followed, additional contracts being placed for 45 D 27 Ills to bring deliveries to the Fliegertruppe to 66 (including the prototype). These remained first-line fighter equipment until 1940, when they were relegated to tuitional tasks, being finally scrapped in 1944.
Alex had a unique approach to the production of his design folio work. Alex was constantly drawing. He spent most of his classtime just drawing, even when he was supposed to be doing something else. He needed to draw to think. So what you see here isn't necessarily pretty but this folio is stuffed with ideas. Alex's approach demonstrates precisely and accurately the method of idea generation and refinement promoted by the department. Note the large number of drawings on eachpage. this allows the student to easily cross reference and tag from one idea to the next. Extensive annotation also helps to reveal design thinking and comments should always be relevant and refer back to the specification. It is clear that Alex has a thorough understanding of the more technical aspects of the course and he repeatedly suggests ways in which his concepts might be made.
Alex went on to do very well at Higher Product Design. Some of his work also features on this site. He's now studying maths at Warwick University.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
First steps with clustered shading! Initial clustered light assignment working, but still needs refinement step outlined in Emil Persson/Avalanche paper to tighten the cluster groups around the sphere.
Definitely looking like this is a promising alternative to tiled deferred and forward+ light culling methods. I'm liking that it can be done CPU side (not requiring compute shaders or OpenCL) which both frees up GPU time and maintains compatibility with older APIs.
Other great bonus is that the culling doesn't require any information about your scene (such as a depth buffer), no depth prepass needed, and transparency pass can use the same light indices! Plus, it's fast ;)
Paper this implementation is based on can be found here:
Alex had a unique approach to the production of his design folio work. Alex was constantly drawing. He spent most of his classtime just drawing, even when he was supposed to be doing something else. He needed to draw to think. So what you see here isn't necessarily pretty but this folio is stuffed with ideas. Alex's approach demonstrates precisely and accurately the method of idea generation and refinement promoted by the department. Note the large number of drawings on eachpage. this allows the student to easily cross reference and tag from one idea to the next. Extensive annotation also helps to reveal design thinking and comments should always be relevant and refer back to the specification. It is clear that Alex has a thorough understanding of the more technical aspects of the course and he repeatedly suggests ways in which his concepts might be made.
Alex went on to do very well at Higher Product Design. Some of his work also features on this site. He's now studying maths at Warwick University.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The process continues in this most recent image of the Imperial Navy Slicer, some additional refinements done last night and I'm really liking the results. Although I think it can be even better.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The Lavochkin La-5 (Лавочкин Ла-5) was a Soviet fighter aircraft of World War II. It was a development and refinement of the LaGG-3 and was one of the Soviet Air Force's most capable types of warplane.
In the summer of 1943, a brand-new La-5 made a forced landing on a German airfield providing the Luftwaffe with an opportunity to test-fly the newest Soviet fighter. Test pilot Hans-Werner Lerche wrote a detailed report of his experience.[1] He particularly noted that the La-5FN excelled at altitudes below 3,000 m (9,843 ft) but suffered from short range and flight time of only 40 minutes at cruise engine power. All of the engine controls (throttle, mixture, propeller pitch, radiator and cowl flaps, and supercharger gearbox) had separate levers which served to distract the pilot during combat to make constant adjustments or risk suboptimal performance. For example, rapid acceleration required moving no less than six levers. In contrast, contemporary German aircraft, especially the BMW 801 radial-engined variants of the Focke-Wulf Fw 190 front line fighter, had largely automatic engine controls with the pilot operating a single lever and electromechanical devices, like the Kommandogerät pioneering engine computer on the radial-engined Fw 190s, making the appropriate adjustments. Due to airflow limitations, the engine boost system (Forsazh) could not be used above 2,000 m (6,562 ft). Stability in all axes was generally good. The authority of the ailerons was deemed exceptional but the rudder was insufficiently powerful at lower speeds. At speeds in excess of 600 km/h (370 mph), the forces on control surfaces became excessive. Horizontal turn time at 1,000 m (3,281 ft) and maximum engine power was 25 seconds.
In comparison with Luftwaffe fighters, the La-5FN was found to have a comparable top speed and acceleration at low altitude. It possessed a higher roll rate and a smaller turn radius than the Bf 109 and a better climb rate than the Fw 190A-8. The Bf 109 utilizing MW 50 had superior performance at all altitudes, and the Fw 190A-8 had better dive performance. Lerche's recommendations were to attempt to draw the La-5FN to higher altitudes, to escape attacks in a dive followed by a high-speed shallow climb, and to avoid prolonged turning engagements.
The La-5 had its defects. Perhaps the most serious being the thermal isolation of the engine, lack of ventilation in the cockpit, and a canopy that was impossible to open at speeds over 350 km/h. To make things worse, exhaust gas often entered in the cockpit due to poor insulation of the engine compartment. Consequently, pilots ignored orders and frequently flew with their canopies open.[2]
In general, Soviet pilots appreciated the La-5 as an effective fighter. "That was an excellent fighter with two cannons and a powerful air-cooled engine", recalled pilot Viktor M. Sinaisky. "The first La-5s from the Tbilisi factory were slightly inferior, while the last ones from the Gorki plant, which came to us from Ivanovo, were perfect. At first we received regular La-5s, but then we got new ones containing the ASh-82FN engine with direct injection of fuel into the cylinders. It was perfect. Everyone was in love with the La-5. it was easy to maintain too."[3] Nevertheless La-5 losses were high, the highest of all fighters in service in USSR, not considering those of the Yak-1. In 1941-45, VVS KA lost 2,591 La-5s, 73 in 1942, 1,460 in 1943, 825 the following year and 233 in 1945.[4]
Alex had a unique approach to the production of his design folio work. Alex was constantly drawing. He spent most of his classtime just drawing, even when he was supposed to be doing something else. He needed to draw to think. So what you see here isn't necessarily pretty but this folio is stuffed with ideas. Alex's approach demonstrates precisely and accurately the method of idea generation and refinement promoted by the department. Note the large number of drawings on eachpage. this allows the student to easily cross reference and tag from one idea to the next. Extensive annotation also helps to reveal design thinking and comments should always be relevant and refer back to the specification. It is clear that Alex has a thorough understanding of the more technical aspects of the course and he repeatedly suggests ways in which his concepts might be made.
Alex went on to do very well at Higher Product Design. Some of his work also features on this site. He's now studying maths at Warwick University.
A touch of refinement goes a long way. This Lincoln Navigator is the quintessential gentleman’s truck, rolling on these 22x10 Forgeline one piece forged monoblock VX1-Truck wheels finished in Transparent Smoke with the optional Tall Center Cap! See more at: forgeline.com/customer-gallery/forgeline-customer-113/
#forgeline #forgedwheels #customwheels #forgedmonoblock #VX1Truck #notjustanotherprettywheel #doyourhomework #madeinUSA #lincoln #navigator #6Lug
Supra Boats @SupraBoats unveils 2012 luxury performance wakeboard and water ski boat line with a “beyond better” online presence.
The 2012 Supra Boats web site brings a new level of refinement to the cyber side of water sports boating with clean design, intuitive function and multi-platform operation. Supra drew on the sleek stylish design they build into their boats when creating this site. Also like the boats, high performance is built into the home page with quick 1-click access to all of Supra’s online destinations. Supra versatility shines with this new web presence. Multi-platform programming makes the site usable on everything from an iPhone or iPad to a desktop PC. Visit SupraBoats.com and experience performance wake and ski boating digitally refined. Supra Boats way beyond better, even online.
Additional Links
Supra Boats took a different approach to graphic site design with a new 2012 web presence. The look is clean and simple with an uncluttered elegance. The new design presents visitors with the navigation options they need in a format that is not overwhelming. Even though social media is a cornerstone of Supra’s online public relations, they have tucked the dynamic content below the fold. Also outside the first window of view on the home page is most copy. Supra clearly wants to allow visitors’ to focus on the boating lifestyle first. The large background image updates on reload to offer a slight variance to the refined performance look on each visit.
While the look is important, it is the navigation that can make or break a web site experience. Supra made almost every destination within their site 1-click form the home page. Even their external sites like their blog, Facebook, Twitter and YouTube channels are one click away. The main navigation of the site is repeated along the top and bottom of each page. This includes links to each model page for quick easy access to your favorite Supra boat. Major Supra happenings are highlighted with graphical buttons on the homepage and the highest priority content is featured in a special banner.
Looking for more content? Just scroll. Supra Boats copy as well as an enewsletter sign-up field, dealer locator, Supra news reel and dynamic social media widgets are all just a scroll bar away. You can get a glimpse of the latest photos on the Supra Flickr channel or check out Supra’s Facebook Fan Page. You can even read the latest Supra Blog post. Everything Supra Boats is at SupraBoats.com. Visit early and often!
And whether your accessing from an Apple device, a Droid or a PC this web site will function and look the same. SupraBoats.com has embraced the diverse technologies visitors use to access the Internet and built their new site accordingly. The look, navigation and programming has been refined to offer Supra wakeboard and water ski boat enthusiasts an experience online that is as far beyond better as Supra boats.
The Lavochkin La-5 (Лавочкин Ла-5) was a Soviet fighter aircraft of World War II. It was a development and refinement of the LaGG-3 and was one of the Soviet Air Force's most capable types of warplane.
In the summer of 1943, a brand-new La-5 made a forced landing on a German airfield providing the Luftwaffe with an opportunity to test-fly the newest Soviet fighter. Test pilot Hans-Werner Lerche wrote a detailed report of his experience.[1] He particularly noted that the La-5FN excelled at altitudes below 3,000 m (9,843 ft) but suffered from short range and flight time of only 40 minutes at cruise engine power. All of the engine controls (throttle, mixture, propeller pitch, radiator and cowl flaps, and supercharger gearbox) had separate levers which served to distract the pilot during combat to make constant adjustments or risk suboptimal performance. For example, rapid acceleration required moving no less than six levers. In contrast, contemporary German aircraft, especially the BMW 801 radial-engined variants of the Focke-Wulf Fw 190 front line fighter, had largely automatic engine controls with the pilot operating a single lever and electromechanical devices, like the Kommandogerät pioneering engine computer on the radial-engined Fw 190s, making the appropriate adjustments. Due to airflow limitations, the engine boost system (Forsazh) could not be used above 2,000 m (6,562 ft). Stability in all axes was generally good. The authority of the ailerons was deemed exceptional but the rudder was insufficiently powerful at lower speeds. At speeds in excess of 600 km/h (370 mph), the forces on control surfaces became excessive. Horizontal turn time at 1,000 m (3,281 ft) and maximum engine power was 25 seconds.
In comparison with Luftwaffe fighters, the La-5FN was found to have a comparable top speed and acceleration at low altitude. It possessed a higher roll rate and a smaller turn radius than the Bf 109 and a better climb rate than the Fw 190A-8. The Bf 109 utilizing MW 50 had superior performance at all altitudes, and the Fw 190A-8 had better dive performance. Lerche's recommendations were to attempt to draw the La-5FN to higher altitudes, to escape attacks in a dive followed by a high-speed shallow climb, and to avoid prolonged turning engagements.
The La-5 had its defects. Perhaps the most serious being the thermal isolation of the engine, lack of ventilation in the cockpit, and a canopy that was impossible to open at speeds over 350 km/h. To make things worse, exhaust gas often entered in the cockpit due to poor insulation of the engine compartment. Consequently, pilots ignored orders and frequently flew with their canopies open.[2]
In general, Soviet pilots appreciated the La-5 as an effective fighter. "That was an excellent fighter with two cannons and a powerful air-cooled engine", recalled pilot Viktor M. Sinaisky. "The first La-5s from the Tbilisi factory were slightly inferior, while the last ones from the Gorki plant, which came to us from Ivanovo, were perfect. At first we received regular La-5s, but then we got new ones containing the ASh-82FN engine with direct injection of fuel into the cylinders. It was perfect. Everyone was in love with the La-5. it was easy to maintain too."[3] Nevertheless La-5 losses were high, the highest of all fighters in service in USSR, not considering those of the Yak-1. In 1941-45, VVS KA lost 2,591 La-5s, 73 in 1942, 1,460 in 1943, 825 the following year and 233 in 1945.[4]
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
via WordPress biophytopharm.com/best-carrier-oils-aromatherapy/
Ideal Carrier Oils for Aromatherapy
White porcelain bowls with carrier oils in them
In aromatherapy, we are constantly referring to diluting essential natural oils in a carrier. Nevertheless, what is a carrier, and which should you choose? Here we’re going to cover the organic carrier oils that are most commonly used for topical recipes and massage.
What is a Carrier Oil?
Carrier oils are oils that are commonly pressed from the seed products, nuts, kernels, or fruits of a botanical. That they range in color and scent with regards to the plant and refinement process. Liquidy natural oils (like olive and almond) contain more unsaturated body fat, and oils higher in saturated fats (like coconut oil) will be sound at room temperature.
4 oz. bottle of lovely almond oil with a glass bottle of oil on stray
Know Your Herbal Oils (Carrier Oils)
Before making a purchasing decision, there are certain things that you will want to know about your carrier oils. Here is a quick set of what to look for:
Common name: Is usually it the oil that you want?
Latin name: Is it being pressed from the botanical you are looking for? An oil sold under the same common name can be made from different species and sometimes different plants!
Plant part: What part of the plant is the oil made from?
Removal method: Oils can be made from cold-pressing (no heat), expeller-pressing (minimal heat), or solvent extraction.
Processing techniques: Is the oil raw, physically refined (no solvents used), or chemically refined? Is it winterized to remove waxes that can separate at cold temperatures?
At Mountain Rose Herbs we offer a full brand of carrier oils (organic whenever possible) that are cold-pressed or expeller-pressed. We will never offer anything that uses solvents for extraction or refinement or that are chemically refined.
While many of our oils are unrefined and only go through a filtering process for clarity, we do have some available that are physically refined to remove color, strong aromas or, in some instances, fats, therefore, the oil won’t separate in the cold. All this information can be found in the detailed descriptions for each and every offering in our online store.
Right here are some of our favorite carrier oils:
4 oz. bottles of sweet cashew oil and jojoba essential oil lying on the counter with oils and lotion and handmade detergent
ORGANIC JOJOBA OIL
Latin Name & Plant Part: Simmondsia Chinensis seed
Extraction: Cold-pressed
Refinement: Unrefined
Color: Bright golden-yellow
Aroma: Faint, if any
Suggested use: Cosmetic only
Jojoba oil is actually a liquid wax, giving it a stable shelf life. Conceptually it resembles sebum, the oil that our pores and skin naturally produce. Because of this, we love it for moisturizing massage and body oils. It can be used as just one ingredient base and does not need to be blended with other oils. Jojoba will not affect the fragrance of the finished blend.
ORGANIC AND NATURAL SWEET ALMOND OIL
Asian Name & Plant Part: Prunus dulcis nuts
Removal: Expeller-pressed
Refinement: Unrefined
Color: Light yellow
Aroma: Softly nutty, not too strong
Suggested use: Food and cosmetic
Almond or lovely almond oil is a classic base for body oils, creams, lotions, and soap. We love it for its emollient and moisturizing properties. It can be used as a stand-alone base, and it will not overpower the scent of a finished blend. Nevertheless, you might be able to smell a number of its nutty.
4 oz. bottle of rosehip seed oil on a counter with rosehips and other carrier oils for use
ORGANIC SUNFLOWER OIL
Latin Name & Plant Component: Helianthus annuus seeds
Extraction: Expeller-pressed
Refinement: Refined
Color: Light yellowish
Aroma: Practically odorless
Suggested use: Food and cosmetic
Our Non-GMO Project verified sunflower oil is light in efluvio and absorbs well into the skin. 2 weeks. wonderful single ingredient base for body oils and massage oils. This high-oleic oil will not overpower the scent of a blend.
ORGANIC EXTRA VIRGIN OLIVE OIL
Latin Brand & Plant Part: Olea europaea fruit
Extraction: Cold-pressed
Refinement: Unrefined
Color: Light yellowish-green
Aroma: Fatty and rich with an attribute olive fragrance
Suggested use: Food and cosmetic
This classic oil is most often used in massage oils and as a medium for herbal oil infusions. It can feel slightly junk to the touch, but it provides emollient properties to a blend and long-lasting float to massage oils. Extra virgin olive oil does have a strong aroma and can affect your finished product, but don’t let that stop you from using this wonderful carrier option.
ORGANIC AND NATURAL ROSEHIP SEED OIL
Which include Name & Plant Component: Rosa spp. hips
Extraction: Cold-pressed
Refinement: Winterized
Color: Reddish ruby
Aroma: Weighty and wealthy
Suggested use: Cosmetic only
Rosehip seeds oil is our favorite for mature and dried out skin, and it makes an excellent moisturizing ingredient for facial serums and lotions. This oil needs to be blended with another carrier and really should not be used as a single ingredient base. However, it might make up to 20% of your base blend. We all recommend refrigeration of this delicate oil after beginning to preserve its shelf life.
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The post Ideal Carrier Oils for Aromatherapy appeared first on BIOPHYTOPHARM.
The department has been building up a library of design related reference books over the last few years. Pupils are encouraged to make use of these books on a regular basis. The photographs here demonstrate the tremendous wealth of content contained therein.
The sequence has been shot in such a way that the cover of the book is shown first and a few sample pages are included to give the student an idea of the content the book contains. Pupils may then approach staff and request a short term loan.
Alrighty, so it doesn't look like too much progress, but I went in and refined the ear shapes and tweaked things here and there. For this sculpt I really wanted to focus on stylizing the nose shape to be sort of like a greek statue.
Also....I gotta think of a name for her sculpt!
Autora Paz Ramila
Isfahan Jameh Mosque - Mezquita del viernes - Friday mosque
The Jameh Mosque of Isfahan is a veritable museum of Islamic architecture and still a working mosque. Within a couple of hours you can see and compare 800 years of Islamic design, with each example near to the pinnacle of its age. The range is quite stunning: from the geometric elegance of the Seljuks, through to the Mongol period and on to the refinements of the more baroque Safavid style.
It is the grand, congregational mosque within Isfahan province and can be seen as a stunning illustration of the evolution of mosque architecture over twelve centuries. The mosque is the result of continual construction, reconstruction, additions and renovations on the site from around 771 to the end of the 20th century. The origins of this Mosque lie in the 8th century although it is thought to be burnt to the ground leaving only some of the south and north prayer halls intact. It was rebuilt in the 11th century and went through remodeling many times. As a result it has rooms built in different architectural styles and represents a condensed history of the Iranian Architecture. Spanning more than 20,000 square feet, it is one of the oldest mosques still standing in Iran, and it was built in the four-prayer hall architectural style, placing four gates face to face.
Responding to functional needs of the space, political ambition, religious developments, and changes in taste, further additions and modifications took place incorporating elements from the Mongols, Muzzafarids, Timurids and Safavids.
There is an elaborately carved stucco altar commissioned in 1310 by Mongol ruler Oljaytu, located in a side prayer hall built within the western arcade. Safavid intervention was largely decorative, with the addition of niche-like cells, glazed tile work, and minarets flanking the south prayer hall. The harmony of the brickwork, the tile work added later, as well as the plaster moldings, inscriptions, and other decorations in a setting of glorious simplicity, engulf the beholder in an almost spiritual aura.
The Mosque has eight entrances, each of them built in a different period and the oldest of them on its northeastern side now blocked. Its current main entrance is located on its southeastern side. All the buildings are set round a fine rectangular central courtyard leading to a prayer hall on each side of it. The main courtyard spans 60 by 70 meters which contains two pools, one of them partially covered by a platform raised on top of four columns which in the past had been used as a lectern.
Construction under the Seljuks included the addition of two brick domed chambers, for which the Mosque is renowned. Its double-shelled ribbed domes represent an architectural innovation that inspired builders throughout the region. The south dome was built in 1086–87 and was larger than any dome known at its time. Inside the dome has been adored with Mongol-era stalactite mouldings and two minerats. The north dome was constructed a year later as a direct riposte to the earlier south dome, and successfully so, claiming its place as a masterpiece in Persian architecture for its structural clarity and geometric balance. Inside it is filled with massive cursive Quranic inscriptions. Prayer halls were also added in stages under the Seljuks, giving the mosque its current four-prayer hall form, a type which subsequently became prevalent in Iran and Central Asia.
The prayer hall facing Mecca on the southern side of the mosque was vaulted with niche-like cells during the 1300s.
The mosque also contains alabaster lighting systems for prayer rooms below ground along with a wooden carved minbar. In 2012 the Jameh Mosque of Isfahan was inscribed on the UNESCO World Heritage list.