The topic is 'Classification of Chromatography'. Powerpoint application has been used for making the infographic. It briefly explains what is chromatography and its various types.

The illustration contains explaination of all classifcation of the chromatographic methods. And this illustration also contains the informations about different types of chromatogrpahy with the explaination of mobile and stationary phases. I have made this illustration using 'Microsoft Power Point Presentations'.And I have added the refernces sources and name at the bottom of the page.   

This infograph gives you the detailed information on classification of chromatographic methods. Chromatographic methods had 3 main types that is based on stationary, stationary phase format & mobile phase.

I have made my illustraions using 'Power Poin Presentation'. It includes the information about all three types of classifications of chromatographic method with examples. It also contains some explaination about different types of chromatographies. Ihave also added the name, refernces and sources at the bottom.

This infograph gives you the detailed information on classification of chromatographic methods. Chromatographic methods had 3 main types that is based on stationary, stationary phase format & mobile phase.

After introducing the properties of parallelograms to students, this activity is a good introductory piece (with a little creativity). Encourage students to engage with the story and add their own details, as well as highlight the relationships between the special parallelograms. Remixed from: Classifying Special Parallelograms by Mitch Curtis

This is a template for an inquiry project in a senior level early childhood course.  

Useful directions for online lessons.Use these guides to maintain the order in your online lessons.

An earlier state or proof of number 1844-6, this impression is printed on silk and lacks the "Hoboken Clay Club" overprinting. (The scrolls are left blank.)|Entered . . . 1844 . . . Southern District of New-York, by R. Hemming, 31 Maiden Lane, N. Y.|This proof was deposited for copyright on June 3, 1844.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1844-7.

Print shows a Whig campaign banner composed of a pattern of alternating red and white stripes reminiscent of the American flag. On each of the four white stripes appears the name of a Whig candidate for the 1844 election. These include Henry Clay, vice-presidential hopeful Theodore Frelinghuysen, and the names "Markle," and "Stewart."|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1844-10.

The artist lionizes Kentucky senator Henry Clay, author of the Compromise of 1850, and slams his political foes and critics of the compromise, particularly those in the Taylor administration. A text in the lower margin reads: "A Fable--In the Reign of Zackery 1st the Goddess of Liberty Designed a Statue. a Model of a Man which she exhibited before the King, his Ministers, & the People. the Beauty of the Statue Elicited such shouts of Approbation from the People that the King's Ministers fired with Jealousy determined to Destroy it, but after many Ineffectual attempts were obliged to Desist amidst the Laughter of the Court & the People." The King is clearly President Taylor, who sits on a throne at the far left, in uniform and holding a sword instead of a scepter. A spittoon is on the floor before him, and a black court jester crouches beside the throne holding a copy of the newspaper the "Republic." A larger-than-life statue of Henry Clay, in armor and holding a shield inscribed "Compromise" and a sword, stands in the center of the scene. Clay's sword bears the words, "I fight for my Country! Traitors Beware." The statue towers over the figures that surround it, which include Taylor cabinet members Reverdy Johnson, George W. Crawford, and Thomas Ewing (on the right) and Secretary of State John M. Clayton (on the left). Crawford and Ewing regard the broken ax and saw which they hold in their hands. Crawford (to Johnson): "Look here Just see what a great Big Piece Ive Broke of my Gulpin Ax. I'll send in a Gulpin Claim for this. Valuable Ax this." The allusion is to Crawford's lucrative and questionable role as counsel for the Galphin family's successful suit against the federal government, an arrangement which provoked heated criticism in the press. The controversy over this Taylor administration scandal reached its peak in April, May and June of 1850. Johnson: "The Ax, was Broke before you used it, however, you Lie & I'll Swear to it, & we'll Pockett the Plunder between us." Ewing: "Why Ive Broke nearly all the teeth of my Chickensaw against this Infernall Statue. I'le send in a Big Claim for this." Clayton gestures entreatingly to Taylor: "Why the Devil dont your Imperial Majesty assist us, I can assure your Majesty, it's much Easier discharging a Bullitt, from a Republic, than it is injuring this Statue." Journalist Alexander C. Bullitt was a Taylor advisor and, beginning in 1849, editor of the administration organ the Washington "Republic." Bullitt appears here as the black court fool. Taylor hugs to his chest the tiny figure of New York senator William H. Seward, who sits on his lap. Seward was an insider in the short-lived Taylor administration, and a vigorous opponent of the Compromise of 1850. Taylor says, "Consider the weight of my Crown, Dear Clayton. besides my sick Baby, little Billey, requires, all my Care. moreove as the People like the Statue, I'de rather not Compromise myself, in the matter. assume the Responsibility Yourself, you'r used to it." Just to the right of the throne stand (left to right) senators Thomas Hart Benton, Daniel Webster, and Henry S. Foote. Benton: "Why its a Miserable Statue. a wretched abortion, the inscriptions on the Sword & Shield are in very Bad Taste, very Bad Taste indeed." Benton was an adamant critic of the Compromise. Foote (to Webster): "I think its a Splendid Statue. Which Party do you go for." Webster: "The Party thats likely to win. Of Course, I shall Keep one eye on the Statue, & the other on the Chair, & act according to circumstances." Senator Lewis Cass stands to the right of Foote, in the background, saying, "I rather like the Inscription on the Shield." Clay does, however, have some friends here. On the far right is a crowd of people led by the figure of Liberty, a young maiden in a classical gown holding a staff and liberty cap. She addresses Johnson and the others, "Gentlemen! I made this Statue as a Model of a Man. now though it is only of Clay & I wafted it here in a Breath, still with all your efforts, you can neither move it from its Base, or inflict the slightest Injury upon it. its innate strenght [sic] will defy all your Puny attempts." Liberty's followers enjoin, "Why I think it's a Beautifull Statue," and "So do I! Hurrah! for the Clay Statue." "The Clay Statue," though tentatively dated 1849 by Weitenkampf, must have appeared in 1850, certainly after Henry Clay's presentation of the compromise in January and probably as late as the spring, at the height of the Galphin controversy.|Drawn by John L. Magee.|Pubd. by John L. Magee 34 Mott St. N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 98.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1850-9.

A pro-Whig satire, envisioning the cleansing of the "Augean Stable" of government corruption by presidential candidate Henry Clay and other Whigs. The title derives from one of the twelve mythical labors of Hercules. The hero was to clean King Augeas's stables, which had been inhabited for thirty years by three thousand oxen. The artist draws a parallel with the White House, held almost continuously since 1829 by the Democrats. The artist applauds Whig opposition to the annexation of Texas, illustrated by Virginia congressman Henry A. Wise's expulsion of "Madam Texas" at left. Wise says, "You will go about your business & lurk around these premises no longer. Your former master has forbidden all persons to harbor or trust you, & we shall not pay your debts for you." The "former master" was Mexico, who, though granting Texas its independence in 1836, still considered the Lone Star Republic a wayward province. With a pitchfork, Henry Clay tosses his Democratic counterpart James Polk out the window while incumbent President John Tyler throws George Dallas out the same window. Clay says, "It's all very well, Mr. Polk, but you can't come here." Andrew Jackson, poking his head in a nearby window exclaims, "By the eternal! We shan't know the old place, these fellows have gutted it so completely." To their left, Daniel Webster shovels out Thomas Hart Benton's gold coins, or "mint drops." Senator John C. Calhoun carries "fox" Van Buren toward the door, holding him unceremoniously upside-down by the tail. "Cleansing the Augean Stable" evidently appeared in the summer of 1844. (The Library's impression was deposited for copyright on July 10.) The appearance of Calhoun and Tyler, ostensibly on the side of the Whigs here, is puzzling. Calhoun and Tyler, both strong annexationists, had by this time lined up fairly decisively behind the Democratic candidates.|Drawn by H. Bucholzer.|Entered . . . 1844 by James Baillie.|Lithography & print coloring on reasonable terms by James Baillie No. 33 Spruce St. New York.|Title appears as it is written on the item.|Weitenkampf, p. 79.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1844-35.

In this short video, learn about actions that humans can take to mitigate climate change and adapt to its impacts. Use this resource to stimulate thinking and questions about climate change and to provide opportunities for students to design solutions and communicate information.

This video discusses how the populous areas west of the Andes are largely desert and rely on glacial meltwater as an important source of fresh water. Because the Peruvian glaciers high in the Andes are in rapid retreat, scientists are monitoring the steadily shrinking glaciers and the impact of their reduction on local populations.

If you'd visited Tuolumne Meadows in Yosemite National Park 100 years ago, you probably would have encountered the alpine chipmunk, Tamias alpinus. Today, however, park visitors will have to hike up a nearby mountain to see one of these critters. That's because this species is sensitive to temperature and over the last hundred years of global climate change, Yosemite has warmed by about 5.5 degrees Fahrenheit. As the temperature increased, the chipmunks retreated to higher and higher elevations where it was cooler. Today, they occupy a fraction of their original range. If climate change continues, they could be squeezed right off the tops of their mountains and out of existence.

This unit provides Common-Core aligned lessons based for Math 3, English 10, and Biology (NGSS Standards). The subjects are linked by a text on climate change, and they hit the standards of argumentation for English, comparing functions in Math 3, and human effects on environment in Biology.

This video focuses on the science of climate change and its impacts on wildlife on land and in the sea, and their habitats in the U.S. There are short sections on walruses, coral reefs, migrating birds and their breeding grounds, freshwater fish, bees, etc. Video concludes with some discussion about solutions, including reduce/recycle/reuse, energy conservation, backyard habitats, and citizen scientists.

This video addresses how climate change is affecting the biomes and ecosystems in the US Pacific Northwest, Alaska, Hawaii and the Caribbean Islands. It also highlights the impacts on infrastructure and defines key climate science terms.

A collaboration between TED Countdown and Fine Acts, Artists for Climate started as a global open call that sought digital illustrations targeting climate change, with a focus on hope and solutions.
The artworks you see here have been published online under a Creative Commons license and are available for anyone to use and adapt non-commercially, to help shift the global narrative of the climate crisis towards a brighter future. This hopeful collection is an invaluable resource and tool for educators and organizations from around the world, working towards climate action.