Yolanthe Nguyen November 15, 2019 Fruit
Orange is softer and simpler in comparison to red. It represents happiness, sociability, an extrovert nature as well as joy with the excitement of red and the energy of yellow. It is ideal in overcoming tiredness. It radiates warmth, increases appetite and helps you wake up early in the mornings. Its energy can be lower when saturation is low. It is ideal for use in the rooms of introverted children with problems in socializing. Orange physically represents self confidence, independence and to a certain extent competition. If there is a separate recreation room in your house and your child spends time there with his/her friends you can easily use shades of orange in this room.
Blue, in all respects is the total opposite of red. While blue is transparent and wet in appearance red is opaque and dry. Psychologically the cold and comforting nature of blue is the polar opposite of the warmth and excitement of red. In contrast to red, blue reduces body temperature, blood pressure and pulse rate. Blue evokes feelings of contentment, spaciousness and comfort due to being the color of the sky and ocean as well. As the shade of blue approaches black with the addition of black it may become depressive and melancholic. Blue is a color that is widely recommended for use in children’s rooms. Especially in nurseries, the use of blue helps the baby’s easy and peaceful transition into sleep. It can also be comfortably used with active and vibrant children due to its calming effect. As is the case with all other colors, you can accessorize your room in red and yellow when you choose to paint your walls in blue.
Bio luminescence is the production of light, such as by the photosensor of marine animals, and the tails of glow-worms and fireflies. Bio luminescence, like other forms of metabolism, releases energy derived from the chemical energy of food. A pigment, luciferin is catalysed by the enzyme luciferase to react with oxygen, releasing light. Comb jellies such as Euphemisms are bio luminescent, creating blue and green light, especially when stressed; when disturbed, they secrete an ink which luminescence in the same colors. Since comb jellies are not very sensitive to light, their bio luminescence is unlikely to be used to signal to other members of the same species (e.g. to attract mates or repel rivals); more likely, the light helps to distract predators or parasites. Some species of squid have light-producing organs (photophores) scattered all over their undersides that create a sparkling glow. This provides counter-illumination camouflage, preventing the animal from appearing as a dark shape when seen from below. Some anglerfish of the deep sea, where it is too dark to hunt by sight, contain symbiotic bacteria in the ’bait’ on their ’fishing rods’. These emit light to attract prey.
Edward Bagnall Poulton’s strongly Darwinian 1890 book The Colours of Animals, their meaning and use, especially considered in the case of insects argued the case for three aspects of animal coloration that are broadly accepted today but were controversial or wholly new at the time. It strongly supported Darwin’s theory of sexual selection, arguing that the obvious differences between male and female birds such as the Argus pheasant were selected by the females, pointing out that bright male plumage was found only in species ”which court by day” The book introduced the concept of frequency-dependent selection, as when edible mimics are less frequent than the distasteful models whose colors and patterns they copy. In the book, Poulton also coined the term antisemitism for warning coloration, which he identified in widely differing animal groups including mammals (such as the skunk), bees and wasps, beetles, and butterflies.
The main mechanisms to create the resemblances described by Poulton – whether in nature or in military applications – are crypts, blending into the background so as to become hard to see (this covers both special and general resemblance); disruptive patterning, using color and pattern to break up the animal’s outline, which relates mainly to general resemblance; mime sis, resembling other objects of no special interest to the observer, which relates to special resemblance; counter shading, using graded color to create the illusion of flatness, which relates mainly to general resemblance; and counter illumination, producing light to match the background, notably in some species of squid.
While many animals are unable to synthesize carotene pigments to create red and yellow surfaces, the green and blue colors of bird feathers and insect carapaces are usually not produced by pigments at all, but by structural coloration. Structural coloration means the production of color by microscopically-structured surfaces fine enough to interfere with visible light, sometimes in combination with pigments: for example, peacock tail feathers are pigmented brown, but their structure makes them appear blue, turquoise and green. Structural coloration can produce the most brilliant colors, often iridescent. For example, the blue green gloss on the plumage of birds such as ducks, and the purple blue green red colors of many beetles and butterflies are created by structural coloration. Animals use several methods to produce structural color, as described in the table.
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