In 2009, software designed to check pornographic and violent images on PCs blocked images of a movie poster for cartoon cat Garfield, dishes of flesh-colour cooked pork and on one search engine a close-up of film star Johnny Depp's face.
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Nose: Nose leather large, protruding over the underjaw. Dark flesh colour, merging gradually into gray towards the rear.
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The colour of the legs and feet can vary from an olive–brown, brownish–grey, or a brownish–flesh colour which also turn red as it matures.
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The species is thin, elastic and tough when moist, hard and brittle when dry. No distinctive odour or taste. No change in flesh colour when cut. It is inedible.
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The size of the shell varies between 20 mm and 53 mm. (Original description) The subulate shell has a pale flesh colour. It is polished and shining. It contains 15 whorls.
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Robinson HC, Chasen FN. (1936). The Birds of the Malay Peninsula, Vol. 3. HF and G Witherby, London. The legs are a dull red-flesh colour, with the tarsi measuring 188 – 225mm.
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Inbreeding of Golden Clouds have resulted in "Blonde" Clouds, light yellow specimens similar in colour to blonde guppies and "Pink Clouds", flesh colour specimens which lacks further pigmentation still, except for the red on the fins.
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A color used for orange in armorials should be, at first, rich and deep enough to clearly distinguish itself from both metals, Argent (white) and Or (yellow), but also from Gules (red), Tenné (light brown) and carnation (flesh-colour).
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The length of the shell attains 14 mm, its diameter 4.5 mm. The shell is white, pale flesh-colour, or tinged with brown, the ribs themselves usually being white. The shell has a very elegant fusiform contour. It contains 9 whorls.
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Gives a good crop of medium-sized yellow skinned fruits, sometimes with red flush. Flesh colour is also yellowish. Very good flavor for fresh eating. 'Pristine' is harvested at early season and is considered of very good flavor for an early harvest apple.
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The shell contains 13 convex whorls that are set back at the top. The aperture has a flesh colour. It is ovate at the top and ends in a mediocre elongated and recurved siphonal canal. It measures about 3/7 of the total length.
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Flesh Color (French: Couleur Chair) is a 35 mm film by François Weyergans (Prix Goncourt 2005). Weyergans is one of the forty members known as immortals of the French Academy (L'Académie française). It features a band called Flesh Colour formed in 1976 in Brussels-Capital.
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The moth flies in one generation from mid-May to late-July. . Larva dull flesh colour; the lines pale greyish ochreous; head and thoracic plate pale brown. The larvae feed in the stems of various grasses, such as tufted hair-grass and Festuca ovina.
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The height of the shell attains 6 mm, its diameter 10 mm. The pretty bright shell has a depressedly conical shape. It contains six whorls of rufous-flesh colour. They are uniformly very closely striate with threads with a pattern of banded filleting of white and fawn colour.
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L. pallidus gills L. pallidus has a cap of across. In shape, it is initially a flattened convex, developing a funnel-shaped depression with age. It is pale buff in colour, sometimes dull but often with rosy tint. It can also be a pale brown or pale flesh colour.
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Albino variants of the gold barbs have been produced by Dennis Wilcox in the 1970s in the US. Gold barbs with no black markings have been observed by Stanislav Frank in Europe also around that time. Flesh colour (pink) specimens appeared by the 1990s. Tri-colour, i.e., black, orange and pink specimens appeared recently.
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The potato has typically a roughly oval form with shallow eyes which makes it particularly suitable for mechanical peeling. Its yield per plant is relatively high, but a good water supply is vital. When cooked, the tuber suffers from only very minor discolouring. The variety has a bright yellow skin colour and a medium yellow flesh colour.
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By their second winter, birds are essentially feathered like adults, save for the patterned feathers remaining on the wing coverts. However, their bill tips are black, their eyes still dark, and the legs are a light yellow flesh colour. The call is a loud laugh which is deeper and more nasal than the call of the herring gull.
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Siopis tinted the flesh colour in different ways, creating tones ranging from the cotton candy sugary sweetness signifying childhood to tones that act as metaphors for violation. Siopis applied thick layers of oil paint onto canvases using only a palette knife, building up areas of relief and texture – pocking and cutting its surface to the desired effect.
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Often used in cooking, like thon au naturel: canned tuna without any spices or oil. Also in heraldry, meaning "in natural colours", especially flesh colour, which is not one of the "standard" colours of heraldry. ; auteur: A film director, specifically one who controls most aspects of a film, or other controller of an artistic situation. The English connotation derives from French film theory.
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The stipe is usually between , and thick. With a stipe which is nearly smooth and a pale white-tinged flesh colour, L. cristata also has a transient ring, which is membranous and deciduous. The flesh is thin and white. The dorsal spur on the spores of Lepiota cristata gives them a triangular or wedge shape; they measure 7–8.5 by 3–4 µm.
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Here he worked until 1840 when he retired with an annual pension of 1200 florins. He died, aged 76, in Munich. He was the father of many children, of whom the most prominent was the historical painter Julius Frank. Among his friends were the physicist Fraunhofer and the Viennese glass-painter Molin, who praised Frank's colouring, especially his reds and his flesh colour.
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The feathers are black, with white tips, except for the outermost feathers, which are white. The tail has a white tip and three white bands created by the ends of shorter tail feathers. The beak of the species is black, while the feet and legs are whitish-pink or a light flesh colour. The iris is brown or dark brown.
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The nests of gibberbirds have also been observed to contain flower portions and anomalies such as horse hair or wool. The average clutch size is between 2 and 4 eggs, measuring . Eggs are a pale pink to light flesh colour with reddish spots clustered around the larger end of the egg. The gibberbird chicks are altricial, blind and naked upon hatching.
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When fully extended, Diadumene leucolena has a long and slender column, being up to tall and wide. Both column and tentacles are a translucent pale pink or flesh- colour, the column sometimes having a faint green tinge near the top. The column appears to be smooth but close inspection shows irregularly arranged darker swellings. The tentacles closest to either end of the mouth have yellow bases.
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A sliced golden kiwifruit Actinidia chinensis (golden kiwifruit) has a smooth, bronze skin, with a beak shape at the stem attachment. Flesh colour varies from bright green to a clear, intense yellow. This species is sweeter and more aromatic in flavour compared to A. deliciosa, similar to some subtropical fruits. One of the most attractive varieties has a red 'iris' around the centre of the fruit and yellow flesh outside.
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1, Die Großschmetterlinge des palaearktischen Faunengebietes, Die palaearktischen eulenartigen Nachtfalter, 1914 The wingspan is 28–45 mm. The length of the forewings is 14–21 mm. The moth flies in one generation from early July to November. . Larva reddish flesh colour; dorsal line deeper; sides more yellowish, the lateral line above the feet dotted with black; tubercles and spiracles black; thoracic and anal plates yellowish; head shining red brown.
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The fish is highly variable in colour, depending on the time of year and the environmental conditions of the lake where it lives. Individual fish can weigh or more with record-sized fish having been taken by anglers in northern Canada, where it is known as ' or ' in Inuktitut. Generally, whole market-sized fish are between . The flesh colour can range from a bright red to a pale pink.
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The moth flies in two generations from mid-May to August. . Larva purple brown or brownish green, with 4 deep yellow stripes of uniform width; the head, feet, and venter flesh colour. The larvae feed on various shrubs, deciduous trees and herbaceous plants, such as heather (Calluna sp.), broom (Cytisus scoparius), bracken (Pteridium aquilinum), bramble (Rubus sp.), Sea-buckthorn (Hippophae sp.), willow (Salix sp.) and the European larch (Larix decidua).
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The wingspan is about 20 mm. The forewings are pale fawn ochreous, tinged with flesh colour, with a sprinkling of greyish fuscous scales, grouped in a reduplicated curved series commencing at the middle of the costa and terminating in a somewhat darker group on the dorsum before the tornus. A single small fuscous spot lies on the cell at one-third from the base. The hindwings are whitish ochreous.
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The columellar margin contains a callus. The colour of the shell is a pale carnation or flesh-colour in hue. Inside the aperture there is a deeper shade of the same colour, painted with fillets spirally or ochre-brown beaded with white.J.C. Melvill, Descriptions of Thirty-four Species of Marine Mollusca from the Arabian Sea, Persian Gulf and Gulf of Oman; Memoirs and Proceedings of the Manchester Literary and Philosophical Society v.
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A sliced golden kiwifruit Inner pulp of the fruit, edible Actinidia chinensis has a smooth, bronze skin, with a beak shape at the stem attachment. Flesh colour varies from bright green to a clear, intense yellow. This species is sweeter and more aromatic in flavour compared to A. deliciosa, similar to some subtropical fruits. One of the most attractive varieties has a red 'iris' around the centre of the fruit and yellow flesh outside.
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Telphusa sarcochroma is a moth of the family Gelechiidae. It is found in Yemen (Socotra), Algeria, Libya, Tunisia, JordanAfro Moths and Palestine.Telphusa at funet The wingspan is about 16 mm. The forewings are whitish flesh-colour, with slight fuscous shading and with four fuscous costal spots, the first at the base, the second at about one-sixth, the third at about the middle and the fourth at the commencement of the costal cilia.
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The whiteface (or white clown) holds the highest status in the clown hierarchy and is the oldest of the clown archetypes. In modern times, when whitefaces perform with other clowns, they usually function as the straight man, "top banana" or the leader of the group. Whiteface clowns use "clown white" makeup to cover their entire face and neck, with none of the underlying flesh colour showing. Features are then usually painted on in either red or black.
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Adults are a sericeous (silky) pale brownish-flesh colour (brownish mixed with the idealized colour of the skin of British people in 1892), sparsely irrorated (sprinkled) with small blackish dots. The forewings are crossed by two very indistinct oblique darker lines and there is a submarginal series of rosy spots on the veins. The hindwings have two whitish stigmata on the discocellulars.Proceedings of the Zoological Society of London 1892 (1): 125 The larvae feed on Uncaria species.
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The wingspan is 40–44 mm.Forewing greyish ochreous, flushed with brownish or rufous, and with dark irroration; lines pale with dark edging, approximating on inner margin; upper stigmata large with pale outlines: a submarginal row of dark spots between the veins; hindwing greyish ochreous, paler towards base: palpi pink, abdomen ochraceous.The form found in Siberia , eremicola Stgr , is paler, but covered with black striations. Larva dull flesh colour, dusted with black: dorsal line dull ochreous; head and thoracic plate brown.Warren.
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Part of pigments used by Velázquez in this painting have changed their colours so the canvas lost its original color balance. The wreath of Apollo was originally painted green by mixing (blue) azurite, yellow lake and yellow ochre. The lake pigment is not very stable and so the present color of the wreath is almost blue. The color of the loin cloths changed to flat dark brown while the flesh colour mainly containing yellow ochre, vermilion and azurite remained unchanged.
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Spawning channels preserve the natural selection of natural streams, as there is no benefit, as in hatcheries, to use prophylactic chemicals to control diseases. Farm-raised salmon are fed the carotenoids astaxanthin and canthaxanthin to match their flesh colour to wild salmon to improve their marketability. Wild salmon get these carotenoids, primarily astaxanthin, from eating shellfish and krill. One proposed alternative to the use of wild-caught fish as feed for the salmon, is the use of soy-based products.
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The wingspan is about 20 mm. The forewings are pale greyish ochreous, slightly sprinkled grey, streaked posteriorly between the veins with dull flesh colour and with a dark grey dot on the base of the costa, as well as a few dots of blackish scales on some veins on the costal half. The discal stigmata are blackish and there is a marginal series of dark grey dots around the apical part of the costa and termen. The hindwings are pale greyish.
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They swell out a little towards the > base, which is bright pea green, the rest of the cylinder being of a > brilliant brick-red colour. Its mouth is nearly circular, the border > surrounding it being finely formed of thin plates about a sixth of an inch > apart, and about the same in height, and both of a flesh colour; the > handsome lid is of a circular shape. The dried specimen forwarded to Dr. > Hooker only measured eighteen inches. The plant is epiphytal, growing on > casuarinas (species nova).
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The wingspan is about 21 mm. The forewings are pale flesh colour, more rosy towards the costa, tinged with purplish fuscous on the dorsal two-fifths and with a straight dark brown streak from one-fourth of the costa to three-fourths of the dorsum. There is a flattened-triangular dark brown spot on the costa somewhat beyond the middle. Two dark brown dots are transversely placed on the end of the cell and there is a faint brownish curved transverse line at five-sixths.
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Gogana carnosa is a moth in the family Drepanidae first described by Swinhoe in 1895. It is found in the Khasi Hills of India. Adults are ochreous-flesh colour (ochreous mixed with the idealized colour of the skin of British people in 1895), suffused with grey on the wings, both wings crossed by many sinuous, very fine and indistinct brown lines and with scattered black points. The outermost line is most distinct and black marked and there is a black cell- spot on the hindwings.
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Detail of Amor and Psyche, after Simon Vouet, engraving inked à la poupée, with additional hand-colouring (the flesh colour, pink in the robe and Amor's yellow hair), Teyler workshop, 1688–98.The whole print. There is also a light black or grey wash, seen on Psyche's hair. As with a monochrome print in an intaglio technique (such as engraving, etching, mezzotint and aquatint), the ink was spread on the plate (normally copper) and then wiped off the surface, leaving ink only in the lines or other areas below the main level of the plate.
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The lowest part of the belly was made of undecorated impure silver. The thighs had skin or flesh colour and the legs below the knees were made of wood. Rauðúlfr interpreted the dream vision as the successive reigns of kings of Norway down from the reign of Olav, who represented the golden head and the glory of Heaven, to about 1155 when the reign had been divided (the legs). By a series of ingenious puns Rauðúlfr linked the character of each of King Olav's successors (or their reign) with the material or decoration of the corresponding part of the crucifix.
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E.' The flesh tones are coloured by reddish tints over a pale ground, with the facial features accentuated using a bluish- grey tone. During the period circa 1780–1795, Engleheart developed his very distinctive style, with his draughtsmanship and use of colour becoming consistent and high quality. He still sometimes paints small sized miniatures, but he more frequently paints on ivories of around 2½ inches in height. His works are easily recognisable: he often portrays his sitters with deep eyes under strong eyebrows, together with a slightly lengthened nose, and the flesh colour of the face is painted using a brownish yellow tone.
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Male and female Cotigao NP, Goa, India Khao Yai National Park - Thailand The Asian fairy bluebird measures in length. The iris is crimson and eyelids pinkish; the bill, legs and claws are black, and mouth a flesh- colour. Marked sexual dimorphism is evident. The male is a shining ultramarine-blue with lilac reflections on its upper plumage, lesser wing coverts, and under tail coverts, while the sides of its head and the whole lower plumage are deep black; greater wing-coverts, quills, and tail black, and some of the coverts tipped with blue, and the middle tail-feathers glossed with blue.
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Its forewings are purplish fuscous, becoming paler, and more brownish, towards the termen, and sometimes at the extreme base; the lines black, fine; the inner oblique, thrice waved; the outer excurved above middle, incurved below; subterminal line pale, preceded by a darker shade; fringe white with a dark patch below middle; an abbreviated white band from costa to vein 3 beyond cell, sometimes tinged with tannish peach; hindwing with a white median band of varying width; in ab. angustifascia ab. nov. this band is greatly restricted and sometimes interrupted; the examples in which the white costal blotch of forewing is tinged with flesh colour constitute the ab. ochracea Tutt.
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A combination of vertical lines with diagonal lines running from dexter chief to sinister base represents brown; blood red is represented by vertical lines combined with diagonal lines running from sinister chief to dexter base; earth-colour by horizontal and vertical lines combined with diagonal lines running from dexter chief to sinister base; iron-grey by diagonal lines running in each direction (the same as sanguine in Petra Sancta's system); water-colour by broken horizontal lines; flesh-colour by broken vertical lines; ashen-grey by a combination of broken horizontal and broken diagonal lines; orange by broken vertical lines interspersed with dots; and the colour of nature by zig-zag lines running from dexter chief to sinister base.
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Arrangement in Flesh Colour and Brown: Portrait of Arthur J. Eddy (1894), James McNeill Whistler Arthur Jerome Eddy (November 5, 1859 in Flint, Michigan- July 21, 1920 in New York City, New York) was an American lawyer, author, art collector, and art critic. Arthur Jerome Eddy (also referred to as Arthur J. Eddy) was a prominent member of the first generation of American Modern art collectors. His book Cubists and Post-Impressionism was the first American book promoting these new art movements and the work of Wassily Kandinsky. "Arthur Jerome Eddy" Dictionary of Art Historians As opposed to the other early American collectors of modernist works, who were interested in French modernism almost exclusively, Eddy also collected the work of the German expressionists and Wassily Kandinsky.
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The wingspan is about 19 mm. The forewings are whitish irrorated grey with the plical and second discal stigmata represented by small pale flesh-colour spots accompanied by a few dark grey scales, a similar somewhat elongate spot in the disc midway between the plical and the base. The first discal stigma is represented by a longitudinal mark of blackish-grey irroration rather obliquely before the plical and there are two or three slight dashes of blackish-grey irroration towards the costa anteriorly, a very oblique series of short longitudinal similar marks tinged ochreous from beneath the costa before the middle to the second discal stigma, and a strongly curved subterminal series of similar marks. The hindwings are grey whitish.
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The wingspan is 20–21 mm. The forewings are pale ochreous grey with the costal edge, inner margin, and all veins obscurely lined with dull flesh colour. There is a fuscous dot beneath the costa at one-sixth and a dark fuscous dot on the fold before the middle, and a second in the disc at two-thirds, as well as three very obscure dull flesh-coloured transverse lines, the first from one-third of the costa, becoming obsolete beneath, the second from the middle of the costa to the anal angle, very strongly angulated in the middle, the third from three-fourths of the costa to the anal angle, strongly curved above the middle. There is a row of well-defined dark fuscous dots along the hindmargin and apical part of the costa.
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Whistler's approach to portraiture in his late maturity was described by one of his sitters, Arthur J. Eddy, who posed for the artist in 1894: > He worked with great rapidity and long hours, but he used his colours thin > and covered the canvas with innumerable coats of paint. The colours > increased in depth and intensity as the work progressed. At first the entire > figure was painted in greyish-brown tones, with very little flesh colour, > the whole blending perfectly with the greyish-brown of the prepared canvas; > then the entire background would be intensified a little; then the figure > made a little stronger; then the background, and so on from day to day and > week to week, and often from month to month. ... And so the portrait would > really grow, really develop as an entirety, very much as a negative under > the action of the chemicals comes out gradually—light, shadows, and all from > the very first faint indications to their full values.
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The Pinky Pinky body of work was created between 2002 and 2004. Pinky Pinky is the visualization of a South African urban legend in which a creature that is part human, part animal, part man, part woman, not white, not black, but an amalgamation of forms, preys on children in school toilets and threatens to rape girls if they wear pink underwear. It is visible to girls but invisible to boys who experience its presence through a slap or a scratch on a cheek. After hearing the story from her son's school friend, Siopis embarked on a personal exploration of Pinky Pinky, producing visual representations of this mysterious figure according to verbal accounts by school children she interviewed on the topic. Here, as in her early ‘cake’ paintings, the artist manipulates paint and form to simulate skin and flesh. The works exclusively use shades of pink, starting with the category of ‘flesh colour'.
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Forewing grey, varied with fuscous dusting and striation, and often more or less tinged with rufous; inner and outer lines, where visible, marked by dark dots on veins; submargmal line variable, sometimes obscure, at others pale, and preceded by a dark shade, which may be complete or broken up into three blotches; upper stigmata large, the reniform generally dark, both edged with pale; a strong thick median shade, sometimes bent at middle and entire, often marked only at costa and inner margin; hindwing pale or dark grey with dark cellspot and pale fringe. The markings are all clearer in the grey unsuffused forms: of these the chief are pallida Lampa from Sweden with the ground colour pale grey, finely striated with dark, and the two dotted cross lines;- coerulescens Tutt with the ground colour pale bluish grey; — subsetaceus Haw.which is dark slaty grey without reddish tinge, and subcarnea nov. [Warren] greyish flesh colour and praesubmarginal shades deep brown, the hindwing dull white with submarginal band and cellspot dark: of the darker forms contracta Esp.
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Following the house's § partial destruction in the Blitz, and the conversion in 1959 of the remains of the east wing into a youth hostel, the piers were returned to the south side. Engraving of Ladies Sarah Lennox and Susan Strangeways, with Charles James Fox by Sir Joshua Reynolds The house had a "Gilt Chamber", decorated by the Belgian artist Francis Cleyne, where "the figures over the fireplace were painted in flesh colour wherever bare; the rest was in shaded gold. The lower marbles of the fireplace were black, and the upper ones were Sienna; the capitals and bases of the columns and pilasters were gilt, and the groundwork from which all the glittering decoration rose was white." It carried decorations of the coats of arms of the Cope and Rich families, and had numerous busts, many by Joseph Nollekens, with subjects including the first Lord Holland, Prince William, Duke of Cumberland, Francis Russell, 5th Duke of Bedford, Gaspar Melchor de Jovellanos, Napoleon, the Italian poet Ludovico Ariosto, Henry IV of France, King George IV, and Charles James Fox.
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