Color in Scientific Figures
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Color Theory for Painting Video: Color Perception
Color Theory For Painting Video: Color Perception • http://www.ted.com/talks/lang/eng/beau_lotto_optical_illusions_show_how_we_see.html • Experiment • http://www.youtube.com/watch?v=y8U0YPHxiFQ Intro to color theory • http://www.youtube.com/watch?v=059-0wrJpAU&feature=relmfu Color Theory Principles • The Color Wheel • Color context • Color Schemes • Color Applications and Effects The Color Wheel The Color Wheel • A circular diagram displaying the spectrum of visible colors. The Color Wheel: Primary Colors • Primary Colors: Red, yellow and blue • In traditional color theory, primary colors can not be mixed or formed by any combination of other colors. • All other colors are derived from these 3 hues. The Color Wheel: Secondary Colors • Secondary Colors: Green, orange and purple • These are the colors formed by mixing the primary colors. The Color Wheel: Tertiary Colors • Tertiary Colors: Yellow- orange, red-orange, red-purple, blue-purple, blue-green & yellow-green • • These are the colors formed by mixing a primary and a secondary color. • Often have a two-word name, such as blue-green, red-violet, and yellow-orange. Color Context • How color behaves in relation to other colors and shapes is a complex area of color theory. Compare the contrast effects of different color backgrounds for the same red square. Color Context • Does your impression od the center square change based on the surround? Color Context Additive colors • Additive: Mixing colored Light Subtractive Colors • Subtractive Colors: Mixing colored pigments Color Schemes Color Schemes • Formulas for creating visual unity [often called color harmony] using colors on the color wheel Basic Schemes • Analogous • Complementary • Triadic • Split complement Analogous Color formula used to create color harmony through the selection of three related colors which are next to one another on the color wheel. -
HP Indigo 7K Digital Press Press Digital 7K Indigo HP The
Add premium HP Indigo printing and watch your business grow. business your watch and printing Indigo HP premium Add ONE PRESS, ENDLESS OPPORTUNITIES. ENDLESS PRESS, ONE truly robust press. robust truly volumes day in, day out with this this with out day in, day volumes offset-matching quality and high high and quality offset-matching automated tools while printing printing while tools automated Simplify production with smart, smart, with production Simplify and over 20 specialty inks. inks. specialty 20 over and the widest range of media media of range widest the and customer satisfaction—with satisfaction—with customer and enables endless applications— endless enables The HP Indigo 7K Digital Press Press Digital 7K Indigo HP The HP Indigo 7K Digital Press Technical specifications Printing speed 120 four-color 8.5 x 11 (A4) pages per minute - two-up 160 color 8.5 x 11 (A4) pages per minute in EPM - two-up 240 two-color or monochrome 8.5 x 11 (A4) pages per minute - two-up Image resolution 812 dpi at 8 bit; addressability: 2438 x 2438 dpi HDI (High Definition Imaging) Line screens 144, 160, 175, 180, 180m, 210, HMF200 lpi Sheet size 13 x 19 in (330 x 482 mm) maximum Image size 12.48 x 18.26 in (317 x 464 mm) maximum Paper weight and thickness* Coated: 55 lb text to 130 lb cover (80 to 350 gsm); Uncoated: 40 lb text to 130 lb cover (60 to 350 gsm); Thickness 3 to 16 pt. (70 to 400 microns) Feeder Four drawers: Three drawers with 6 in (150 mm) each, 1500 sheets of 80 lb text (120 gsm) each One special jobs drawer: 2.5 in (70mm), 700 sheets of 80 lb text, (700 sheets of 120 gsm) A total of 5200 sheets of 80 lb text (120 gsm). -
Power Area Density in Inverse Spectra
Power Area Density in Inverse Spectra Matthias Rang1 and Johannes Grebe-Ellis2 1Forschungsinstitut am Goetheanum, Dornach 2Bergische Universität Wuppertal Abstract In recent years, inverse spectra were investigated with imaging optics and a quanti- tative description with radiometric units was suggested (Rang 2015). It could be shown that inverse spectra complement each other additively to a constant intensity level. Since optical intensity in radiometric units is a power area density, it can be expected that energy densities of inverse spectra also fulfill an inversion equation and complement each other. In this contribution we report findings on a measure- ment of the power area density of inverse spectra for the near ultraviolet, visible and the infrared spectral range. They show the existence of corresponding spectral re- gions ultra-yellow (UY) and infra-cyan (IC) in the inverted spectrum and thereby present additional experimental evidence for equivalence of inverse spectra beyond the visible range. Introduction In his theory of colour, Goethe described the observation that inverse optical contrasts, viewed through a prism, lead to complementary spectral phenomena (Goethe 1970, Müller 2015).1 This observation has been variously addressed and linked to the questions of whether the inverted spectrum can be physically applied (Kirschmann 1917, 1924) and whether the complementarity of spectral phenomena can be generalized experimentally (Bjerke 1961). Particular attention has been given to the problem of inverting Newton's Experimentum crucis, designed to demonstrate the purity of selected spectral re- gions (Holtsmark 1970, Sällström 2010). The philosophical discussion on Goethes theory of colour has been rekindled since Olaf Müller published his comprehensive work on Goethe, Newton and the controversy about colour theory (Müller 2015). -
Color Combinations and Contrasts
COLOR COMBINATIONS AND CONTRASTS Full Value Color Combinations Above are 18 color combinations tested for visibility, using primary and secondary colors, of full hue and value. Visibility is ranked in the sequence shown, with 1 being the most visible and 18 being the least visible. Readability It is essential that outdoor designs are easy to read. Choose colors with high contrast in both hue and value. Contrasting colors are viewed well from great distances, while colors with low contrast will blend together and obscure a message. In fact, research demonstrates that high color contrast can improve outdoor advertising recall by 38 percent. A standard color wheel clearly illustrates the importance of contrast, hue and value. Opposite colors on the wheel are complementary. An example is red and green (as shown above). They respresent a good contrast in hue, but their values are similar. It is difficult for the human eye to process the wavelength variations associated with complementary colors. Therefore, a quivering or optical distortion is sometimes detected when two complemen- tary colors are used in tandem. Adjacent colors, such as blue and green, make especially poor combinations since their contrast is similar in both hue and value. As a result, adjacent colors create contrast that is hard to discern. Alternating colors, such as blue and yellow, produce the best combinations since they have good contrast in both hue and value. Black contrasts well with any color of light value and white is a good contrast with colors of dark value. For example, yellow and black are dissimilar in the contrast of both hue and value. -
Shades of Blue
Episode # 101 Script # 101 SHADES OF BLUE “Pilot” Written by Adi Hasak Directed by Barry Levinson First Network Draft January 20th, 2015 © 20____ Universal Television LLC ALL RIGHTS RESERVED. NOT TO BE DUPLICATED WITHOUT PERMISSION. This material is the property of Universal Television LLC and is intended solely for use by its personnel. The sale, copying, reproduction or exploitation of this material, in any form is prohibited. Distribution or disclosure of this material to unauthorized persons is also prohibited. PRG-17UT 1 of 1 1-14-15 TEASER FADE IN: INT. MORTUARY PREP ROOM - DAY CLOSE ON the Latino face of RAUL (44), both mortician and local gang leader, as he speaks to someone offscreen: RAUL Our choices define us. It's that simple. A hint of a tattoo pokes out from Raul's collar. His latex- gloved hand holding a needle cycles through frame. RAUL Her parents chose to name her Lucia, the light. At seven, Lucia used to climb out on her fire escape to look at the stars. By ten, Lucia could name every constellation in the Northern Hemisphere. (then) Yesterday, Lucia chose to shoot heroin. And here she lies today. Reveal that Raul is suturing the mouth of a dead YOUNG WOMAN lying supine on a funeral home prep table. As he works - RAUL Not surprising to find such a senseless loss at my doorstep. What is surprising is that Lucia picked up the hot dose from a freelancer in an area I vacated so you could protect parks and schools from the drug trade. I trusted your assurance that no one else would push into that territory. -
OSHER Color 2021
OSHER Color 2021 Presentation 1 Mysteries of Color Color Foundation Q: Why is color? A: Color is a perception that arises from the responses of our visual systems to light in the environment. We probably have evolved with color vision to help us in finding good food and healthy mates. One of the fundamental truths about color that's important to understand is that color is something we humans impose on the world. The world isn't colored; we just see it that way. A reasonable working definition of color is that it's our human response to different wavelengths of light. The color isn't really in the light: We create the color as a response to that light Remember: The different wavelengths of light aren't really colored; they're simply waves of electromagnetic energy with a known length and a known amount of energy. OSHER Color 2021 It's our perceptual system that gives them the attribute of color. Our eyes contain two types of sensors -- rods and cones -- that are sensitive to light. The rods are essentially monochromatic, they contribute to peripheral vision and allow us to see in relatively dark conditions, but they don't contribute to color vision. (You've probably noticed that on a dark night, even though you can see shapes and movement, you see very little color.) The sensation of color comes from the second set of photoreceptors in our eyes -- the cones. We have 3 different types of cones cones are sensitive to light of long wavelength, medium wavelength, and short wavelength. -
Three Shades of Blue: Air Force Culture and Leadership
Three Shades of Blue: Air Force Culture and Leadership Bernadette Pothan Submitted in fulfilment of the requirement of the degree of Master of Philosophy University College, the University of New South Wales 2013 Three Shades of Blue: Air Force Culture and Leadership ABSTRACT The study explores unconstructive ideas of power in the military. In the thesis doctrine is seen to promote ideas of power over others under cover of the language of leadership. The study explains how Australian Defence Doctrine Publication 00.6: Leadership in the Australian Defence Force confuses ideas of command and leadership, and asserts that in doctrine unconstructive ideas of power have engulfed ideas of leadership. More than published text, doctrine is understood to describe ideas which have pervasive cultural meaning and impact. The thesis explores how acculturated myths of power are causally relevant to air accidents, decayed maintenance standards, and the prejudice borne by women in the Service. The so- called ‘warrior culture’ is interrogated as the rationalisation of unconstructive power and the aggregated risk which follows on its heels. The focus of the study is narrowed to the Royal New Zealand Air Force, and explicit attention is devoted to the ‘characters’ which give life to unhelpful elements of the ‘warrior culture’. The thesis unpacks the ‘characters’ (‘Aircrew’, ‘Maintenance Crew’, and ‘Support Crew’) and explores how unconstructive ideas of power are discernable in Air Force culture. ‘Aircrew’ are seen to infuse and dominate every aspect of Air Force life. ‘Maintenance Crew’ is a symbol for the Air Force maintenance culture, revealing the controlling influence and the practical repercussions of the ‘Aircrew’ myth. -
Color Matters
Color Matters Color plays a vitally important role in the world in which we live. Color can sway thinking, change actions, and cause reactions. It can irritate or soothe your eyes, raise your blood pressure or suppress your appetite. When used in the right ways, color can even save on energy consumption. As a powerful form of communication, color is irreplaceable. Red means "stop" and green means "go." Traffic lights send this universal message. Likewise, the colors used for a product, web site, business card, or logo cause powerful reactions. Color Matters! Basic Color Theory Color theory encompasses a multitude of definitions, concepts and design applications. There are enough to fill several encyclopedias. However, there are basic categories of color theory. They are the color wheel and the color harmony. Color theories create a logical structure for color. For example, if we have an assortment of fruits and vegetables, we can organize them by color and place them on a circle that shows the colors in relation to each other. The Color Wheel A color wheel is traditional in the field of art. Sir Isaac Newton developed the first color wheel in 1666. Since then, scientists and artists have studied a number of variations of this concept. Different opinions of one format of color wheel over another sparks debate. In reality, any color wheel which is logically arranged has merit. 1 The definitions of colors are based on the color wheel. There are primary colors, secondary colors, and tertiary colors. Primary Colors: Red, yellow and blue o In traditional color theory, primary colors are the 3 colors that cannot be mixed or formed by any combination of other colors. -
Comparing Levels of Crosstalk with Red/Cyan, Blue/Yellow, and Green
A. J. Woods, C. R. Harris, “Comparing levels of crosstalk with red/cyan, blue/yellow, and green/magenta anaglyph 3D glasses” in Proceedings of SPIE Stereoscopic Displays and Applications XXI, vol. 7253, pp. 0Q1-0Q12, January 2010. Online: www.cmst.curtin.edu.au Comparing levels of crosstalk with red/cyan, blue/yellow, and green/magenta anaglyph 3D glasses Andrew J. Woods*, Chris R. Harris Centre for Marine Science and Technology, Curtin University of Technology, GPO Box U1987, Perth WA 6845, Australia ABSTRACT The Anaglyph 3D method of stereoscopic visualization is both cost effective and compatible with all full-color displays, however this method often suffers from poor 3D image quality due to poor color quality and ghosting (whereby each eye sees a small portion of the perspective image intended for the other eye). Ghosting, also known as crosstalk, limits the ability of the brain to successfully fuse the images perceived by each eye and thus reduces the perceived quality of the 3D image. This paper describes a research project which has simulated the spectral performance of a wide selection of anaglyph 3D glasses on CRT, LCD and plasma displays in order to predict ghosting levels. This analysis has included for the first time a comparison of crosstalk between different color-primary types of anaglyph glasses - green/magenta and blue/yellow as well as the more traditional red/cyan. Sixteen pairs of anaglyph 3D glasses were simulated (6 pairs of red/cyan glasses, 6 pairs of blue/yellow glasses and 4 pairs of green/magenta glasses). The spectral emission results for 13 LCDs, 15 plasma displays and one CRT Monitor were used for the analysis. -
Title: Indigo in the Modern Arab World Fulbright Hays Oman and Zanzibar
Title: Indigo in the Modern Arab World Fulbright Hays Oman and Zanzibar Program June-July 2016 Author: Victoria Vicente School: West Las Vegas Middle School, New Mexico Grade Level: 7-10 World History, United States History Purpose: This lesson is an overview of the geography of Oman and to find out more about the Burqa in Oman. There are examples provided, artwork examples, a photo analysis, an indigo dyeing activity, and readings from, “Language of Dress in the Middle East.” Activate knowledge of the region by asking students questions, for example: What is the color of the ocean? The sky? What does the color blue represent? Have you ever heard the word Burqa? Can you find the Indian Ocean on a Map? Oman? Are you wearing blue jeans? Time: 150 minutes for the lesson Extension Activity: Three days for the indigo dyeing process. Required Materials: Map of the Indian Ocean Region, Map of Oman, including Nizwa, Bahla, and Ibri, Internet, Elmo, Projector, Timeline of Indigo in Oman, show the video clips about dyeing indigo, have the students fill out the photo analysis sheets, and then for the extension activity, spend at least three days or 15 minutes per class for a week, dyeing the material. Resources: 1. Map of Oman and the Indian Ocean region http://geoalliance.asu.edu/maps/world http://cmes.arizona.edu 2. Video clips for background information: Http://www.youtube.com/watch?v=pG1zd3b7q34 http://www.youtube.com/watch?v=7z6B7ismg3k http://www.youtube.com/watch?v=Ay9g6ymhysA&feature=related 3. National Archives Photo Analysis Form or create your own. -
Color Schemes Are Combinations of Colors
Color is the reflection of light off of an object into our eyes. Our eyes then read the speed of the light and tell us which color that object is. There are two major categories under the heading of color, they are: 1. Neutrals 2. Colors Neutrals are (combinations of) black and white and all grays Colors consist of: Primary colors Secondary colors Intermediate colors also known as Tertiary colors Primary Colors: are the basic colors that you cannot make by mixing. They are natural colors found in nature. They are red, yellow, and blue. Secondary Colors: are made by mixing any two secondary colors. The secondary colors are orange, violet and green. Intermediate Colors: are made by mixing a primary and a secondary color. The secondary colors are, red-violet, blue-violet, blue-green, yellow-green, yellow-orange and red-orange. Color schemes are combinations of colors. There are many different types of color combinations, however, only four of the most basic are included here. They are: • Complementary colors • Analogous colors • Warm & Cool colors • Monochromatic colors Complementary Colors: are any two colors that are opposite each other on the color wheel. Analogous Colors: are any two colors that are adjacent to (or next to) each other on the color wheel. Warm & Cool Colors: warm colors are those colors that contain combinations of red and yellow. There are six. To help you remember what a warm color is, think of the sun or fire. Cool colors are those colors that contain green and blue. There are six of these too. -
R Color Cheatsheet
R Color Palettes R color cheatsheet This is for all of you who don’t know anything Finding a good color scheme for presenting data about color theory, and don’t care but want can be challenging. This color cheatsheet will help! some nice colors on your map or figure….NOW! R uses hexadecimal to represent colors TIP: When it comes to selecting a color palette, Hexadecimal is a base-16 number system used to describe DO NOT try to handpick individual colors! You will color. Red, green, and blue are each represented by two characters (#rrggbb). Each character has 16 possible waste a lot of time and the result will probably not symbols: 0,1,2,3,4,5,6,7,8,9,A,B,C,D,E,F: be all that great. R has some good packages for color palettes. Here are some of the options “00” can be interpreted as 0.0 and “FF” as 1.0 Packages: grDevices and i.e., red= #FF0000 , black=#000000, white = #FFFFFF grDevices colorRamps palettes Two additional characters (with the same scale) can be grDevices comes with the base cm.colors added to the end to describe transparency (#rrggbbaa) installation and colorRamps topo.colors terrain.colors R has 657 built in color names Example: must be installed. Each palette’s heat.colors To see a list of names: function has an argument for rainbow colors() peachpuff4 the number of colors and see P. 4 for These colors are displayed on P. 3. transparency (alpha): options R translates various color models to hex, e.g.: heat.colors(4, alpha=1) • RGB (red, green, blue): The default intensity scale in R > #FF0000FF" "#FF8000FF" "#FFFF00FF" "#FFFF80FF“ ranges from 0-1; but another commonly used scale is 0- 255.