Primary Color Correction for Video - Tonal Range and Color Correction
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Pale Intrusions Into Blue: the Development of a Color Hannah Rose Mendoza
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2004 Pale Intrusions into Blue: The Development of a Color Hannah Rose Mendoza Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE PALE INTRUSIONS INTO BLUE: THE DEVELOPMENT OF A COLOR By HANNAH ROSE MENDOZA A Thesis submitted to the Department of Interior Design in partial fulfillment of the requirements for the degree of Master of Fine Arts Degree Awarded: Fall Semester, 2004 The members of the Committee approve the thesis of Hannah Rose Mendoza defended on October 21, 2004. _________________________ Lisa Waxman Professor Directing Thesis _________________________ Peter Munton Committee Member _________________________ Ricardo Navarro Committee Member Approved: ______________________________________ Eric Wiedegreen, Chair, Department of Interior Design ______________________________________ Sally Mcrorie, Dean, School of Visual Arts & Dance The Office of Graduate Studies has verified and approved the above named committee members. ii To Pepe, te amo y gracias. iii ACKNOWLEDGMENTS I want to express my gratitude to Lisa Waxman for her unflagging enthusiasm and sharp attention to detail. I also wish to thank the other members of my committee, Peter Munton and Rick Navarro for taking the time to read my thesis and offer a very helpful critique. I want to acknowledge the support received from my Mom and Dad, whose faith in me helped me get through this. Finally, I want to thank my son Jack, who despite being born as my thesis was nearing completion, saw fit to spit up on the manuscript only once. -
ALL ABOUT COLOR March 2020 USA Version CONTENTS CHAPTER 1
ALL ABOUT COLOR March 2020 USA Version CONTENTS CHAPTER 1 WHO IS GOLDWELL CHAPTER 1 | WHO IS GOLDWELL | 4 WHO IS GOLDWELL 1948 1956 1970 1971 1976 FOUNDED BY SPRÜHGOLD OXYCUR TOP MODEL AIR FOAMED HANS ERICH DOTTER HAIRSPRAY PLATIN BLEACHING TOPCHIC PERMANENT PERM POWDER HAIR COLOR Focusing on hairdressers as business partners, Dotter launched the first Goldwell product: Goldwell Ideal, the innovative cold perm, which was to be followed by a never-ending flow of innovations. CHAPTER 1 | WHO IS GOLDWELL | 5 1978 1986 2001 2008 2009 2010 TOPCHIC COLORANCE ELUMEN DUALSENSES SILKLIFT STYLESIGN PERMANENT HAIR COLOR DEMI-PERMANENT NON-OXIDATIVE INSTANT SOLUTIONS HIGH PERFORMANCE FROM STYLISTS DEPOT SYSTEM HAIR COLOR HAIR COLOR HAIR CARE LIGHTENER FOR STYLISTS CHAPTER 1 | WHO IS GOLDWELL | 6 2012 2013 2015 2016 2018 NECTAYA KERASILK SILKLIFT CONTROL KERASILK COLOR SYSTEM AMMONIA-FREE KERATIN LIFT AND TONE LUXURY WITH @PURE PIGMENTS PERMANENT TREATMENT CONTROL HAIR CARE ELUMENATED COLOR HAIR COLOR ADDITIVES CHAPTER 2 WE THINK STYLIST CHAPTER 2 | WE THINK STYLIST | 8 WE THINK STYLIST BRAND STATEMENT We embrace your passion for beautiful hair. We believe that only together we can reach new heights by achieving creative excellence, outstanding client satisfaction and salon success. We do more than just understand you. We think like you. WE THINK STYLIST. CHAPTER 2 | WE THINK STYLIST | 9 GOLDWELL HAIR COLOR THE MOST INTELLIGENT AND COLOR CARING SYSTEM FOR CREATING AND MAINTAINING VIBRANT HEALTHY HAIR » Every day, we look at the salon experience through the eyes of a stylist – developing tools, color technology and innovations that fuel the creativity, streamline the work, and keep the clients looking and feeling fantastic. -
Computational RYB Color Model and Its Applications
IIEEJ Transactions on Image Electronics and Visual Computing Vol.5 No.2 (2017) -- Special Issue on Application-Based Image Processing Technologies -- Computational RYB Color Model and its Applications Junichi SUGITA† (Member), Tokiichiro TAKAHASHI†† (Member) †Tokyo Healthcare University, ††Tokyo Denki University/UEI Research <Summary> The red-yellow-blue (RYB) color model is a subtractive model based on pigment color mixing and is widely used in art education. In the RYB color model, red, yellow, and blue are defined as the primary colors. In this study, we apply this model to computers by formulating a conversion between the red-green-blue (RGB) and RYB color spaces. In addition, we present a class of compositing methods in the RYB color space. Moreover, we prescribe the appropriate uses of these compo- siting methods in different situations. By using RYB color compositing, paint-like compositing can be easily achieved. We also verified the effectiveness of our proposed method by using several experiments and demonstrated its application on the basis of RYB color compositing. Keywords: RYB, RGB, CMY(K), color model, color space, color compositing man perception system and computer displays, most com- 1. Introduction puter applications use the red-green-blue (RGB) color mod- Most people have had the experience of creating an arbi- el3); however, this model is not comprehensible for many trary color by mixing different color pigments on a palette or people who not trained in the RGB color model because of a canvas. The red-yellow-blue (RYB) color model proposed its use of additive color mixing. As shown in Fig. -
Effect of Ph and Oxidation Reduction Potential on Dyeing of Modal Knitted Fabric with Natural and Synthetic Indigo
International Research Journal of Engineering and Technology (IRJET) e-ISSN: 2395-0056 Volume: 07 Issue: 02 | Feb 2020 www.irjet.net p-ISSN: 2395-0072 Effect of pH and Oxidation Reduction Potential on Dyeing of Modal Knitted Fabric with Natural and Synthetic Indigo Md. Ershad Khan1, Chowdhury Jony Moin2 1,2Department of Textile Engineering, Ahsanullah University of Science and Technology, Dhaka, Bangladesh ---------------------------------------------------------------------***--------------------------------------------------------------------- Abstract - Application of natural indigo dye can be increasing day by day due to shrinkage of cotton observed from the ancient time. After the invention of cultivation land as well as considering the sustainability synthetic indigo, this dye is being used widely in producing issue [17]. So, the consumers as well as suppliers are blue jeans from the early twentieth century. In the recent developing textiles with regenerated cellulosic fibers. In time, the use of natural dyed textiles are appreciated the current study, one the popular regenerated cellulosic globally considering its Eco- friendliness. In this current fiber, modal is dyed with both natural and synthetic indigo study, dyeing performance of both natural and synthetic dye to investigate its dyeing quality and to establish its indigo dye on modal fibre had been studied in terms of dye relation with the influential parameters e.g. pH and uptake (K/S value), color fastness to rubbing and color Oxidation Reduction Potential (ORP) with the dyeing fastness to wash. It had been found that natural dye showed performance. comparatively lower dye absorbency than synthetic dye at 2. MATERIALS AND METHODS the same dyeing parameters but the color fastness to wash and rubbing is found comparatively better in natural indigo dyed modal than the synthetic indigo dyed modal. -
Switchable Primaries Using Shiftable Layers of Color Filter Arrays
Switchable Primaries Using Shiftable Layers of Color Filter Arrays Behzad Sajadi ∗ Kazuhiro Hiwadaz Atsuto Makix Ramesh Raskar{ Aditi Majumdery Toshiba Corporation Toshiba Research Europe Camera Culture Group University of California, Irvine Cambridge Laboratory MIT Media Lab RGB Camera Our Camera Ground Truth Our Camera CMY Camera RGB Camera 8.14 15.87 Dark Scene sRGB Image 17.57 21.49 ∆E Difference ∆E Bright Scene CMY Camera Our Camera (2.36, 9.26, 1.96) (8.12, 29.30, 4.93) (7.51, 22.78, 4.39) Figure 1: Left: The CMY mode of our camera provides a superior SNR over a RGB camera when capturing a dark scene (top) and the RGB mode provides superior SNR over CMY camera when capturing a lighted scene. To demonstrate this, each image is marked with its quantitative SNR on the top left. Right: The RGBCY mode of our camera provides better color fidelity than a RGB or CMY camera for colorful scene (top). The DE deviation in CIELAB space of each of these images from a ground truth (captured using SOC-730 hyperspectral camera) is encoded as grayscale images with error statistics (mean, maximum and standard deviation) provided at the bottom of each image. Note the close match between the image captured with our camera and the ground truth. Abstract ment of the primaries in the CFA) to provide an optimal solution. We present a camera with switchable primaries using shiftable lay- We investigate practical design options for shiftable layering of the ers of color filter arrays (CFAs). By layering a pair of CMY CFAs in CFAs. -
Primary Color | 23
BRAND Style GuiDe PriMary Color | 23 PRIMARY COLOR The primary color for Brandeis IBS is Brandeis IBS Blue, which is also the color of Brandeis University. Brandeis IBS Blue is BrandeiS iBS BLUE to be used as the prominent color in all communications. The PANTONE 294 C primary color is ideal for use in: CMYK 100 | 86 | 14 | 24 • Headlines • Large areas of text RGB 0 | 46 | 108 • Large background shapes HEX #002E6C Always use the designated color values for physical and digital Brandeis IBS communications. WEB HEX for use with white backgrounds #002E6C DO NOT use a tint of the primary color. Always use the primary color at 100% saturation. PANTONE color is used in physical applications whenever possible to reinforce the visual brand identity. CMYK designation is used for physical applications as an alternative to PANTONE (with the exception of any Microsoft Office documents, which use RGB). RGB values are used for any digital communications (excluding websites and e-communications), and all Microsoft Office documents (physical or digital). HEX values are used for any digital communications (excluding websites and e-communications). The value is an exact match to RGB. WEB HEX values are designated so websites and e-communica- tions can meet accessibility requirements. This compliance will ensure that people with disabilities can use Brandeis IBS online communications. For more about accessibility, visit http://www.brandeis.edu/acserv/disabilities/index.html. For examples of how the primary color should be applied across communications, please see pages 30-44. BRAND Style GuiDe SeCondary Color | 24 SeCondary Color The secondary color for Brandeis IBS is Brandeis IBS Teal, which is to be used strongly throughout Brandeis IBS com- BrandeiS iBS teal munications. -
Visualizing the Novel Clinton Mullins Connecticut College, [email protected]
Connecticut College Digital Commons @ Connecticut College Computer Science Honors Papers Computer Science Department 2013 Visualizing the Novel Clinton Mullins Connecticut College, [email protected] Follow this and additional works at: http://digitalcommons.conncoll.edu/comscihp Part of the Computer Sciences Commons Recommended Citation Mullins, Clinton, "Visualizing the Novel" (2013). Computer Science Honors Papers. 4. http://digitalcommons.conncoll.edu/comscihp/4 This Honors Paper is brought to you for free and open access by the Computer Science Department at Digital Commons @ Connecticut College. It has been accepted for inclusion in Computer Science Honors Papers by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. Visualizing Novelthe kiss me please Thesis and code written by Clint Mullins with Professor Bridget Baird as the project's faculty advisor. 1. Data Visualization Discussion of data visualization. 2. Visualizing the Novel Introduction to our problem and execution overview. 3. Related Works Technologies and libraries used for the project. .1 Semantic Meaning .2 Parsing Text .3 Topic Modeling .4 Other Visualizations 4. Methods Specific algorithms and execution details. .1 Gunning FOG Index .2 Character Extraction .3 Character Shaping .4 Gender Detection .5 Related Word Extraction .6 Moments / Emotion Spectrum / DISCO 5. The Visual Our visual model from conception to completion. .1 Concept Process .2 Current Visual Model .3 Java2D .4 Generalizing the Visual Model 6. Results Judging output on known texts. .1 Text One – Eternally .2 Text Two – Love is Better the Second Time Around .3 How Successful is This? 7. -
PRIMARY-CONSISTENT SOFT-DECISION COLOR DEMOSAIC for DIGITAL CAMERAS (Patent Pending)
PRIMARY-CONSISTENT SOFT-DECISION COLOR DEMOSAIC FOR DIGITAL CAMERAS (Patent Pending) Xiaolin Wu and Ning Zhang Department of Electrical and Computer Engineering McMaster University Hamilton, Ontario L8S 4M2 [email protected] ABSTRACT Another drawback of the existing color demosaic algorithms is that they interpolate missing color components at a Bayer color mosaic sampling scheme is widely used in digital pixel independently of the color interpolations at neighboring cameras. Given the resolution of CCD sensor arrays, the image pixels. The interpolation decision is made on a hypothesis on quality of digital cameras using Bayer sampling mosaic largely the local gradient direction. But these algorithms do not validate depends on the performance of the color demosaic process. A the underlying hypothesis after the color interpolation is done. common and serious weakness shared by all existing color The verification of the hypothesis is difficult if the pixels are demosaic algorithms is an inconsistency of sample treated individually. To overcome this drawback we introduce a interpolations in different primary color components, which is new notion of soft-decision color demosaic. At each pixel, the culprit for the most objectionable color artifacts. To cure the instead of forcing a decision on the gradient with insufficient problem we propose a primary-consistent color demosaic information to guide the interpolation, we make multiple algorithm. The performance of this algorithm is further hypotheses and interpolate missing color components for each enhanced by a soft-decision sample interpolation scheme. of the hypotheses. Then we examine the interpolation results Experiments demonstrate that the proposed framework of under different hypotheses in a window of the pixel in question, primary-consistent soft-decision color demosaic can and choose the one whose underlying hypothesis agrees with the significantly improve the image quality of digital cameras. -
Color and False-Color Films for Aerial Photography
Color and False-Color Films for Aerial Photography RATFE G. TARKINGTON and ALLAN L. SOREM Research Laboratories, Eastman Kodak Company Rochester, N. Y. ABSTRACT: Color reproduction by the photographic process using three primary colors is discussed, and the 11se of these photographic and optical principles for false-color reproduction is explained. The characteristics of two new aerial films-Kodak Ektachrome Aero Film (Process E-3) and a false-color type, Kodak Ektachrome Infrared Aero Film (Process E-3)-are compared with those of the older products they replace. The new films have higher speed, im proved definition, and less granularity. OPULAR processes of color photography are KODAK EKTACHROME AERO FILM (PROCESS E-3) P based upon the facts that (1) the colors perceived by the human eye can be produced BLUE SENSITIVE YELLOW POSITIVE IMAGE by mixtures of only three suitably chosen =====::::==l=====~=~=~~[M~ colors called primaries; (2) photographic GREEN SENSITIVE MAGENTA POSITIVE IMAGE emulsions can be made to respond selectively REO SENSITIVE CYAN POSITIVE IMAGE to each of these three colors; and (3) chemical reactions exist which can produce three in dividual colorants, each capable of absorbing FIG. 1. Schematic representation of a essentially only one of the chosen primary multilayer color film. colors. Although theory imposes no single unique set of three primary colors, in prac in a scene, but the results obtained with tice the colors chosen are those produced by modern color photographic materials are re light from successive thirds of the visible markably realistic representations of the spectrum: red, green, and blue. When these original scene. -
Design and Color
Resource Center for RCCTA CareerTech Advancement https://www.okcareertech.org/educators/resource-center Design and Color Copyright 2019 Oklahoma Department of Career and Technology Education Resource Center for CareerTech Advancement All rights reserved. Printed in the United States of America by the Oklahoma Department of Career and Technology Education, Stillwater, OK 74074-4364 PHOTO CREDITS: Thinkstock® and Getty Images® Permission granted to download and print this publication for non-commercial use in a classroom or training setting. https://www.okcareertech.org/educators/resource-center - 2 Design and Color Objective Sheet Specific After completing this unit, the student should be able to: Objectives 1. Match terms related to principles of design and color to their definitions. 2. List functions of design. 3. List types of publication design. 4. Select the components of printed communication. 5. Arrange in order the steps in the design process. 6. Discuss factors to consider when applying principles of document design. 7. List the two basic types of art and sources for each type. 8. Match color descriptions to their definitions. 9. Select true statements concerning pointers on using color. 10. Complete statements concerning color theory. 11. Complete statements concerning color harmonies. 12. Distinguish among computer color models. 13. Select true statements concerning the basic categories of color printing. 14. Select true statements concerning the Pantone Matching System. Design and Color- 3 Design and Color Information Sheet -
Hair Color Solutions Participant Workbook This Workbook Belongs To: MISSION
Hair Color Solutions participant workbook This workbook belongs to: MISSION OUR ______________ AT AVEDA IS TO ______________ FOR THE ______________ WE LIVE IN, FROM THE ______________ WE MAKE TO THE ______________ IN WHICH WE ______________ BACK TO ______________. AT ______________, WE ______________ TO SET AN ______________ FOR___________________ LEADERSHIP AND ___________________, NOT JUST IN THE ______________ OF ______________, BUT AROUND THE ______________. 1 learning objectives • Explain how to use Aveda Hair Color systems to solve common hair color challenges • Perform the six steps to a successful hair color consultation • Formulate and apply hair color changes with success FOR EVERY FAILURE, THERE’S AN ALTERNATIVE COURSE OF ACTION. YOU JUST HAVE TO FIND IT. WHEN YOU COME TO A ROADBLOCK, TAKE A DETOUR. MARY KAY ASH 2 HAIR COLOR CHALLENGES color sudoku puzzle Solve the puzzle by coloring in the remaining squares using three simple rules: • Use all the color options in each box without repeating • Use all the color options in each row without repeating • Use all the color options in each column without repeating Color options: pink black orange green blue grey black pink black pink orange orange grey grey pink blue 3 hair color horror story Every hair colorist has one. Write down a time when a hair color service went wrong. HAIR COLOR CHALLENGES HAIR COLOR SOLUTION: The act or process of determining the answer to a problem 4 HAIR COLOR CHALLENGES HAIR COLOR the big challenge Natural Level: 6 Dark Blonde with 50% grey Desired Level: -
Prepared by Dr.P.Sumathi COLOR MODELS
UNIT V: Colour models and colour applications – properties of light – standard primaries and the chromaticity diagram – xyz colour model – CIE chromaticity diagram – RGB colour model – YIQ, CMY, HSV colour models, conversion between HSV and RGB models, HLS colour model, colour selection and applications. TEXT BOOK 1. Donald Hearn and Pauline Baker, “Computer Graphics”, Prentice Hall of India, 2001. Prepared by Dr.P.Sumathi COLOR MODELS Color Model is a method for explaining the properties or behavior of color within some particular context. No single color model can explain all aspects of color, so we make use of different models to help describe the different perceived characteristics of color. 15-1. PROPERTIES OF LIGHT Light is a narrow frequency band within the electromagnetic system. Other frequency bands within this spectrum are called radio waves, micro waves, infrared waves and x-rays. The below figure shows the frequency ranges for some of the electromagnetic bands. Each frequency value within the visible band corresponds to a distinct color. The electromagnetic spectrum is the range of frequencies (the spectrum) of electromagnetic radiation and their respective wavelengths and photon energies. Spectral colors range from the reds through orange and yellow at the low-frequency end to greens, blues and violet at the high end. Since light is an electromagnetic wave, the various colors are described in terms of either the frequency for the wave length λ of the wave. The wavelength and frequency of the monochromatic wave is inversely proportional to each other, with the proportionality constants as the speed of light C where C = λ f.