Free Butterfly Pictures To Colour
Heike Fallago
Normally i do shoot nearly about 50 pictures or more for just a particular scene and i end up deleting 40 plus of those pictures haha. Yeah selecting the very best and letting the rest off my device so they don't consume so much of my useful space.
This gentle butterfly came around to suck off nutrients and admire the beautiful pale flower, you won't see the actual colour because I edited with a monochrome effect and splashes of colours to make it look fabulous.
I enjoy using the splash effects on pictures that have different sharp colours like a combination of R B G or other secondary colours, this will make it easier to detect one colour out from the other and that brings about the splash effects in the photography.
Woo this one was so cool right fom the original scene when i pictured it. The wings of yhis butterfly had some orange and red spots and i merged the colour by splashing red with some amount of brown that is how it resulted to that picture.
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Green coloration in the animal kingdom, as seen in birds' feathers and reptile integument, is often an additive mixture of structurally effected blue and pigmentary yellow1. Here we investigate the origin of the bright green coloration of the wing scales of the Indonesian male Papilio palinurus butterfly, the microstructure of which generates an extraordinary combination of both yellow and blue iridescence. The dual colour arises from a modulation imposed on the multilayer, producing the blue component as a result of a previously undiscovered retro-reflection process.
a, Transmission electron microscope image showing a cross-section through one concavity on a P. palinurus iridescent scale. Inset; a scanning electron microscope image of the surface of an iridescent scale. Scale bar, 1 μm (inset, 7 μm). b, Real-colour image showing the dual-colour nature of the reflectivity from the surface of the P. palinurus iridescent scale, taken using unpolarized light in an optical microscope. Top inset, image of the same region taken with crossed polarizers. Bottom inset, illustration of the mechanism by which polarization is converted through double reflection from orthogonal sides of a concavity. Scale bar, 12 μm (inset, 6 μm).
The variation in colour across each concave surface modulation is evident from optical microscopy. In reflection, for normally incident light, the flat regions between and in each concavity appear yellow, and the inclined sides of each concavity appear blue (Fig. 1b). It is the juxtaposition of these yellow and blue regions that synthesizes the green coloration perceived by the human eye, as they are too small to be resolved individually. Such spatial-averaging colour-stimulus synthesis2 has been reported in beetles3, and it also forms the basis of colour-television pictures and pointillistic painting.
The blue component cannot be back-reflected from a single multilayer system inclined at 45 to the incident direction. The effect is in fact caused by a pair of orthogonal multilayer surfaces that lie on opposite sides of each concavity. Light incident along the scale perpendicular, reflected from one surface inclined at 45, is directed across the concavity to the opposite, orthogonal surface, where it is returned back along the incident direction. These pairs of inclined surfaces with almost identical multilayering have matched spectral reflectivity characteristics; this causes intense blue reflectivity through this double reflection.
Support for this retro-reflection mechanism comes from evidence of polarization conversion in the reflection from these scales. When we cross an input linear polarizer with an exit analyser while viewing the sample under normally incident light, all yellow reflected light is extinguished, but a substantial amount of blue reflected light remains, indicating that the blue reflected light has undergone polarization conversion. This effect occurs after double reflection from a pair of orthogonal surfaces when the wavevector of the incident light is at 45 to the reflecting surface and the polarization vector is at 45 to the plane of incidence.
Under diffuse white light, humans see the wing's green coloration in a limited solid angle about the wing normal. Outside this perspective, the wing colour changes predictably, becoming bluer as observation approaches grazing incidence4. The retro-reflection from pairs of opposite sides of each concavity is then less effective because their angle-dependent spectral reflectivity characteristics become mismatched. However, increasingly non-normal incidence observation is facilitated through large-angle reflections from the bottom and single sides of each concavity.
The purpose of this mechanism of colour generation is unclear. Structural colours can provide higher visibility5 than pigmentary colours and can, given the appropriate microstructure6, create colour-dependent polarization and angle effects. Conspecific and predator photoreceptor sensitivity must also be considered. Species whose spectral-vision sensitivity spans the two reflected structural colours may perceive a third by colour-stimulus synthesis. Polarization sensitivity associated with such photoreceptors7 would provide further detail from wing reflectivity about species type and even wing orientation.
The mechanism by which P. palinurus produces its bi-colour and polarization effects is optically rare (although similar but less pronounced polarization effects and colour-stimulus synthesis of green have been identified in the other Papilio butterflies, P. crino, P. buddha and P. blumei). Through simple modulation of an otherwise uniform multilayer system, it synthesizes a very different colour stimulus in certain visual systems. The structure shows strong local polarization conversion of only one of the colours, through the mechanism we term orthogonal-surface retro-reflection.
I always get excited when it's Sedef's turn to share a guest tutorial on Diary of a Quilter. And today is no different. Sedef, who is in Australia, is sharing some downunder sunshine with is today with this fun fabric butterfly wall art project. Doesn't it put you in the mood for summer? It feels like a ray of sunshine during these northern hemisphere winter blahs.
Hi, it's Sedef Imer here, from Down Grapevine Lane . I'm delighted to be back as a guest blogger on Amy's blog and today I will be showing you how to make this sweet three dimensional fabric butterfly wall art!
(13) 3" x 3.5" rectangles of felt (large butterflies). Note: You may have noticed that I used assorted colours of felt for the backs of my butterflies. Feel free to do the same if you happen to have lots of felt in different colours as I did. I wrote this tutorial assuming most people would use a single colour of felt for all the butterflies.
1. Find the PDF template here and print to A4. Make sure you save it to your computer and open in Adobe Acrobat to print - if you print it straight from your browser this often causes size problems.
2. Cut out the four heart pieces in the template along the outlines. Sellotape them together to make a big heart shape. Cut out the rectangles on the last three pages of the template, with a butterfly in the middle of each rectangle - DO NOT CUT ALONG THE BUTTERFLY OUTLINES.
4. Peel off the backing paper and fuse this piece onto a 3" x 3.5" felt piece. Press with iron on the fabric side not the felt side (if you are using artificial felt it may stick to your iron). Note: In the picture below I've cut my felt piece slightly bigger for clarity.
5. Take a large butterfly template and staple this (using a regular stationery stapler) into the middle of your felt/fabric piece in a few places as shown. You can use pins instead of staples, but pins distort the fabric more than staples, which makes cutting out the shape harder.
6. Using curved scissors, carefully out the butterfly along its outline. Remove and discard the template paper and staples. Repeat this process to make 13 large butterflies. Note: there are a few spare butterfly templates just in case you make mistakes and need to repeat the process.
8. Take the large square of white cotton. Fold in two, gently finger pressing a crease where the center fold is. Open and fold the other way, gently finger pressing the fold again to create a four-square grid.
Place the heart template on the table and place your white cotton square on top. Assuming your fabric is not too thick, you should be able to see the heart template through the cotton (if you can't see clearly, tape the template to a window).
Line up the finger pressed folds on the fabric with the lines on the heart template to make sure your heart is centred on the fabric. Using a removable fabric pen (I used Pilot Frixion) trace the heart outline onto the fabric, and also the small lines inside the heart which are the position marks for the butterflies.
10. Take a butterfly and position it on your background, lining up its centre with one of the marks inside the heart. Refer to the drawing on the first page of the template and note the orientation of the butterfly, i.e. whether it is facing up or down. Sew in place with a straight stitch down the centre of each butterfly, using a coordinating colour thread, securing start and end stitches well. Tip: I used invisible thread (a clear nylon thread) to sew all the butterflies in place to remove the need for changing the top thread several times.
11. Repeat for the remaining butterflies until they are all sewn in place. Remove the pen marks (I used a Pilot Frixion pen which is heat removable so I just blasted the finished artwork with a hairdryer).
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