PDF Download the German Army in World War 2
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Wehrmacht Uniforms
Wehrmacht uniforms This article discusses the uniforms of the World uniforms, not included here, began to break away in 1935 War II Wehrmacht (Army, Air Force, and with minor design differences. Navy). For the Schutzstaffel, see Uniforms and Terms such as M40 and M43 were never designated by the insignia of the Schutzstaffel. Wehrmacht, but are names given to the different versions of the Modell 1936 field tunic by modern collectors, to discern between variations, as the M36 was steadily sim- plified and tweaked due to production time problems and combat experience. The corresponding German term for tunic is Feldbluse and literally translates “field blouse”. 1 Heer 1.1 Insignia Main article: Ranks and insignia of the Heer (1935– 1945) For medals see List of military decorations of the Third Reich Uniforms of the Heer as the ground forces of the Wehrmacht were distinguished from other branches by two devices: the army form of the Wehrmachtsadler or German general Alfred Jodl wearing black leather trenchcoat Hoheitszeichen (national emblem) worn above the right breast pocket, and – with certain exceptions – collar tabs bearing a pair of Litzen (Doppellitze “double braid”), a device inherited from the old Prussian Guard which re- sembled a Roman numeral II on its side. Both eagle and Litzen were machine-embroidered or woven in white or grey (hand-embroidered in silk, silver or aluminium for officers). Rank was worn on shoulder-straps except for junior enlisted (Mannschaften), who wore plain shoulder- straps and their rank insignia, if any, on the left upper sleeve. NCO’s wore a 9mm silver or grey braid around the collar edge. -
How to Map a Spot Color to Specialty Dry Ink on the Top Layer
How to Map a Spot Color to Specialty Dry Ink GX Print Server for Iridesse Production Press Version 1.0 Overview This exercise will show the ability to output a spot color using specialty dry ink. This demonstration will use a function of the GX Print Server to map specified spot colors to specialty dry ink, positioning the ink on either the bottom/top layer of the paper. Objective By the end of this exercise users will be able to: • Find the location of the setting on the GX Print Server • Specify a spot color that will be mapped to specialty dry ink BEFORE AFTER Spot color “PANTONE 145 C” Map to Gold Map to Silver Map specified spot color Job including spot color to specialty dry ink 1 Configuration of the Job Properties Please note, this How To document is part of a set. If you cannot complete some of the following steps please refer to the other reference documents. i.e “Open the Job Properties” is further explained in the “How to import a job.pdf”. Go to: http://m1-onlinesupport.fujixerox.com/driver_downloads/OTS/OTS_gxprintserver_iridesse_EN.html 1. Open the Job Properties and select [Advanced Settings] > [Specialty Dry Ink]. Then, enable [Use Specialty Dry Ink] and click [OK]. 2. Select [Top Layer] from the side panel and enable [Map to Spot Color(s)]. Then, click [Edit]. 2 3. Click [Select] in the Edit Spot Color window. 4. Select [Pantone+ Solid Coated-V3] as [Select Categories], and select [PANTONE 145 C]. Then click [OK]. 5. Select [Add], the selected spot color is added into the list. -
Psychophysical Determination of the Relevant Colours That Describe the Colour Palette of Paintings
Journal of Imaging Article Psychophysical Determination of the Relevant Colours That Describe the Colour Palette of Paintings Juan Luis Nieves * , Juan Ojeda, Luis Gómez-Robledo and Javier Romero Department of Optics, Faculty of Science, University of Granada, 18071 Granada, Spain; [email protected] (J.O.); [email protected] (L.G.-R.); [email protected] (J.R.) * Correspondence: [email protected] Abstract: In an early study, the so-called “relevant colour” in a painting was heuristically introduced as a term to describe the number of colours that would stand out for an observer when just glancing at a painting. The purpose of this study is to analyse how observers determine the relevant colours by describing observers’ subjective impressions of the most representative colours in paintings and to provide a psychophysical backing for a related computational model we proposed in a previous work. This subjective impression is elicited by an efficient and optimal processing of the most representative colour instances in painting images. Our results suggest an average number of 21 subjective colours. This number is in close agreement with the computational number of relevant colours previously obtained and allows a reliable segmentation of colour images using a small number of colours without introducing any colour categorization. In addition, our results are in good agreement with the directions of colour preferences derived from an independent component analysis. We show Citation: Nieves, J.L.; Ojeda, J.; that independent component analysis of the painting images yields directions of colour preference Gómez-Robledo, L.; Romero, J. aligned with the relevant colours of these images. Following on from this analysis, the results suggest Psychophysical Determination of the that hue colour components are efficiently distributed throughout a discrete number of directions Relevant Colours That Describe the and could be relevant instances to a priori describe the most representative colours that make up the Colour Palette of Paintings. -
Accurately Reproducing Pantone Colors on Digital Presses
Accurately Reproducing Pantone Colors on Digital Presses By Anne Howard Graphic Communication Department College of Liberal Arts California Polytechnic State University June 2012 Abstract Anne Howard Graphic Communication Department, June 2012 Advisor: Dr. Xiaoying Rong The purpose of this study was to find out how accurately digital presses reproduce Pantone spot colors. The Pantone Matching System is a printing industry standard for spot colors. Because digital printing is becoming more popular, this study was intended to help designers decide on whether they should print Pantone colors on digital presses and expect to see similar colors on paper as they do on a computer monitor. This study investigated how a Xerox DocuColor 2060, Ricoh Pro C900s, and a Konica Minolta bizhub Press C8000 with default settings could print 45 Pantone colors from the Uncoated Solid color book with only the use of cyan, magenta, yellow and black toner. After creating a profile with a GRACoL target sheet, the 45 colors were printed again, measured and compared to the original Pantone Swatch book. Results from this study showed that the profile helped correct the DocuColor color output, however, the Konica Minolta and Ricoh color outputs generally produced the same as they did without the profile. The Konica Minolta and Ricoh have much newer versions of the EFI Fiery RIPs than the DocuColor so they are more likely to interpret Pantone colors the same way as when a profile is used. If printers are using newer presses, they should expect to see consistent color output of Pantone colors with or without profiles when using default settings. -
Sensory and Instrument-Measured Ground Chicken Meat Color
Sensory and Instrument-Measured Ground Chicken Meat Color C. L. SANDUSKY1 and J. L. HEATH2 Department of Animal and Avian Sciences, University of Maryland, College Park, Maryland 20742 ABSTRACT Instrument values were compared to scores were compared using each of the backgrounds. sensory perception of ground breast and thigh meat The sensory panel did not detect differences in yellow- color. Different patty thicknesses (0.5, 1.5, and 2.0) and ness found by the instrument when samples on white background colors (white, pink, green, and gray), and pink backgrounds were compared to samples on previously found to cause differences in instrument- green and gray backgrounds. A majority of panelists (84 measured color, were used. Sensory descriptive analysis of 85) preferred samples on white or pink backgrounds. scores for lightness, hue, and chroma were compared to Red color of breast patties was associated with fresh- instrument-measured L* values, hue, and chroma. ness. Sensory ordinal rank scores for lightness, redness, and Reflective lighting was compared to transmission yellowness were compared to instrument-generated L*, lighting using patties of different thicknesses. Sensory a*, and b* values. Sensory descriptive analysis scores evaluation detected no differences in lightness due to and instrument values agreed in two of six comparisons breast patty thickness when reflective lighting was used. using breast and thigh patties. They agreed when thigh Increased thickness caused the patties to appear darker hue and chroma were measured. Sensory ordinal rank when transmission lighting was used. Decreased trans- scores were different from instrument color values in the mission lighting penetrating the sample made the patties ability to detect color changes caused by white, pink, appear more red. -
Men at Arms Books
Osprey Men-at-Arms PUBLISHING German Army Elite Units 1939-45 Gordon Williamson * Illustrated by Ramiro Bujeiro CONTENTS INTRODUCTION ‘GROSSDEUTSCHLAND’ ‘FELDHERRNHALLE* GORDON WILLIAMSON was INFANTERIE-REGIMENTER 119 & 9 ‘LIST’ born in 1951 and currently works for the Scottish Land Register. He spent seven years with the Military Police PANZERGRENADIER-DIVISION TA end has published a ‘BRANDENBURG* number of books and articles on the decorations of the Third Reich and their winners. KAVALLERI E-REGIMENT 5 He is author of a number of World War II titles for Osprey. ‘FELDMARSCHALL VON MACKENSEN’ 44. REICHSGRENADIER-DIVISION ‘HOCH UND DEUTSCHMEISTER’ 116. PANZER-DIVISION {‘Windhund’) 21. PANZER-DIVISION 24. PANZER-DIVISION (130.) PANZER-LEHR-DIVISION RAMIRO BUJEIRO has illustrated many Osprey titles including Warrior 23; US 3. GEBIRGS-DIVISION Afanne in Vietnam and Men- at-Arms 357: Allied Women's 5. GEBIRGS-DIVISION Service. He is an experienced commercial artist who lives and works in his native city THE TIGER TANK BATTALIONS of Buenos Aires, Argentina. His main interests are the political and military history THE PLATES of Europe in the first half of the 20th century. INDEX first published In Great Britain In 2002 by Osprey Publishing. Artist’s Note Qms Court. Chapel Way. BotJay, Oxford 0X2 9LB United Kingdom GERMAN ARMY ELITE UNITS Email] info® osprey publishing, com Readers may care to note that the original paintings from which the colour plates in this book were prepared are available for private © 2002 Osprey Publishing Ltd. sale. All reproduction copyright whatsoever is retained by the 1939-45 Publishers, All enquiries should be addressed to: All rights reserved- Apart From any fair dealing for the purpose of private study, research, criticism or review, as permitted under the Copyright, Designs end Ramiro Sujeiro, GC 28, 1602 Florida, Argentina Patents Act, 1983. -
A Thesis Presented to Faculty of Alfred University PHOTOCHROMISM in RARE-EARTH OXIDE GLASSES by Charles H. Bellows in Partial Fu
A Thesis Presented to Faculty of Alfred University PHOTOCHROMISM IN RARE-EARTH OXIDE GLASSES by Charles H. Bellows In Partial Fulfillment of the Requirements for The Alfred University Honors Program May 2016 Under the Supervision of: Chair: Alexis G. Clare, Ph.D. Committee Members: Danielle D. Gagne, Ph.D. Matthew M. Hall, Ph.D. SUMMARY The following thesis was performed, in part, to provide glass artists with a succinct listing of colors that may be achieved by lighting rare-earth oxide glasses in a variety of sources. While examined through scientific experimentation, the hope is that the information enclosed will allow artists new opportunities for creative experimentation. Introduction Oxides of transition and rare-earth metals can produce a multitude of colors in glass through a process called doping. When doping, the powdered oxides are mixed with premade pieces of glass called frit, or with glass-forming raw materials. When melted together, ions from the oxides insert themselves into the glass, imparting a variety of properties including color. The color is produced when the electrons within the ions move between energy levels, releasing energy. The amount of energy released equates to a specific wavelength, which in turn determines the color emitted. Because the arrangement of electron energy levels is different for rare-earth ions compared to transition metal ions, some interesting color effects can arise. Some glasses doped with rare-earth oxides fluoresce under a UV “black light”, while others can express photochromic properties. Photochromism, simply put, is the apparent color change of an object as a function of light; similar to transition sunglasses. -
The War and Fashion
F a s h i o n , S o c i e t y , a n d t h e First World War i ii Fashion, Society, and the First World War International Perspectives E d i t e d b y M a u d e B a s s - K r u e g e r , H a y l e y E d w a r d s - D u j a r d i n , a n d S o p h i e K u r k d j i a n iii BLOOMSBURY VISUAL ARTS Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA 29 Earlsfort Terrace, Dublin 2, Ireland BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2021 Selection, editorial matter, Introduction © Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian, 2021 Individual chapters © their Authors, 2021 Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identifi ed as Editors of this work. For legal purposes the Acknowledgments on p. xiii constitute an extension of this copyright page. Cover design by Adriana Brioso Cover image: Two women wearing a Poiret military coat, c.1915. Postcard from authors’ personal collection. This work is published subject to a Creative Commons Attribution Non-commercial No Derivatives Licence. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third- party websites referred to or in this book. -
Book of Abstracts of the International Colour Association (AIC) Conference 2020
NATURAL COLOURS - DIGITAL COLOURS Book of Abstracts of the International Colour Association (AIC) Conference 2020 Avignon, France 20, 26-28th november 2020 Sponsored by le Centre Français de la Couleur (CFC) Published by International Colour Association (AIC) This publication includes abstracts of the keynote, oral and poster papers presented in the International Colour Association (AIC) Conference 2020. The theme of the conference was Natural Colours - Digital Colours. The conference, organised by the Centre Français de la Couleur (CFC), was held in Avignon, France on 20, 26-28th November 2020. That conference, for the first time, was managed online and onsite due to the sanitary conditions provided by the COVID-19 pandemic. More information in: www.aic2020.org. © 2020 International Colour Association (AIC) International Colour Association Incorporated PO Box 764 Newtown NSW 2042 Australia www.aic-colour.org All rights reserved. DISCLAIMER Matters of copyright for all images and text associated with the papers within the Proceedings of the International Colour Association (AIC) 2020 and Book of Abstracts are the responsibility of the authors. The AIC does not accept responsibility for any liabilities arising from the publication of any of the submissions. COPYRIGHT Reproduction of this document or parts thereof by any means whatsoever is prohibited without the written permission of the International Colour Association (AIC). All copies of the individual articles remain the intellectual property of the individual authors and/or their -
Measuring the Color of a Paint on Canvas
Application Note Materials Measuring the Color of a Paint on Canvas Direct measurement with an UV-Vis external diffuse reflectance accessory Authors Introduction Paolo Teragni, Color measurement systems can translate the sensations, or visual appearances, Paolo Scardina, into numbers according to various geometrical coordinates and illumination Agilent Technologies, Inc. systems. The concept of “visual colorimetry” with a standard observer using a standard device as a method of color specification dates to around 1920. The first standardized color system was defined by CIE (Commission internationelle pour l’Eclairage) around 1931. One may regard the CIE system to be at the “heart” of all color measurement systems. However, for each painter, the use of colors is dictated by their personal inclination, cultural context and available materials. These are the reasons why sophisticated and portable instrumentation is needed to understand “the fine arts” and to find the best way for their conservation. Measurements of colored materials in paintings are often difficult due to their size, shape and location. It is not possible to separate one type of paint into its individual components. Therefore, the collection of reflectance spectra and color data from a small spot of paint is needed to understand and classify the different colored materials within and to be able to remake them as similar as possible to the original. The Agilent Cary 60 UV-Vis spectrophotometer with the Principal coordinates and illuminants of remote fiber optic diffuse reflectance accessory (Figure 1) provides fast and accurate diffuse reflectance measurements Color software on sample sizes around 2 mm in diameter. The Cary 60’s – Tristimulus highly focused beam makes it ideal for fiber optic work. -
Prepress Terms
Prepress Terms Blueline Continuous-tone art and line art A diazo (UV-exposed and self-processed) Continuous-tone art is art, such as photo- photo print made to proof pagination, image graphs, that consists of shades of gray and position, and type. Bluelines have been made color gradations. It’s distinguished from line mostly obsolete by the digital revolution. art, such as a line drawing, which has no tonal variation. If you look closely at continuous- tone art, you can see that shades of gray or color blend smoothly without breaking into Camera-ready dots or other patterns. When the art is print- ed, the corresponding regions are reproduced Said of text or artwork ready to be photo- as arrays of different-sized dots printed in the graphed by a process camera. colors used on the press. DPI Dot gain An abbreviation for dots per inch. Refers Many variables—from ink to paper surface to the resolution at which a device, such and press used—affect the size of halftone as a monitor or printer, can display text dots. A certain amount of dot gain, or increase and graphics. in halftone dot size, occurs naturally when wet ink spreads as it’s absorbed by the paper. If too much dot gain occurs, images and colors print darker than specified. Dot gain is one of the characteristics taken into account when color-management sys- tems are applied. (See page 110 for more information on dot gain.) Line art Continuous-tone art Dot gain Halftone dots in Halftone dots a color proof after printing Halftone screens Ink is an all-or-nothing medium in the sense really looking at small printed black dots on that any spot on the paper is either inked a field of white paper. -
Image Processing Based Automatic Color Inspection and Detection of Colored Wires in Electric Cables
International Journal of Applied Engineering Research ISSN 0973-4562 Volume 12, Number 5 (2017) pp. 611-617 © Research India Publications. http://www.ripublication.com Image Processing based Automatic Color Inspection and Detection of Colored Wires in Electric Cables 1Rajalakshmi M, 2Ganapathy V, 3Rengaraj R and 4Rohit D 1Assistant Professor, 2Professor, Dept. of IT., SRM University, Kattankulathur-603203, Tamil Nadu, India. 3Associate Professor, Dept. of EEE, SSN College of Engg., Kalavakkam-603110, Tamil Nadu, India. 4Research Associate, Siechem Wires and Cables, Pondicherry, India. Abstract manipulation and interpretation of visual information, and it plays an increasingly important role in our daily life. Also it In this paper, an automatic visual inspection system using is applied in a variety of disciplines and fields in science and image processing techniques to check the consistency of technology. Some of the applications are television, color of the wire after insulation, and meeting the photography, robotics, remote sensing, medical diagnosis requirements of the manufacturer, is presented. Also any and industrial inspection. Probably the most powerful image color irregularities occurring across the insulation are processing system is the human brain together with the eye. displayed. The main contributions of this paper are: (i) the The system receives, enhances and stores images at self-learning system, which does not require manual enormous rates of speed. The objective of image processing intervention and (ii) a color detection algorithm that can be is to visually enhance or statistically evaluate some aspect of able to meet up with varied finishing of the wire insulation. an image not readily apparent in its original form.