RGB(77, 93, 83) Have a Look What the Booklet for RGB(77, 93, 83) Contains
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. -
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. -
Light and Color
Chapter 9 LIGHT AND COLOR What Is Color? Color is a human phenomenon. To the physicist, the only difference be- tween light with a wavelength of 400 nanometers and that of 700 nm is Different wavelengths wavelength and amount of energy. However a normal human eye will see cause the eye to see another very significant difference: The shorter wavelength light will different colors. cause the eye to see blue-violet and the longer, deep red. Thus color is the response of the normal eye to certain wavelengths of light. It is nec- essary to include the qualifier “normal” because some eyes have abnor- malities which makes it impossible for them to distinguish between certain colors, red and green, for example. Note that “color” is something that happens in the human seeing ap- Only light itself paratus—when the eye perceives certain wavelengths of light. There is causes sensations of no mention of paint, pigment, ink, colored cloth or anything except light color. itself. Clear understanding of this point is vital to the forthcoming discus- sion. Colorants by themselves cannot produce sensations of color. If the proper light waves are not present, colorants are helpless to produce a sensation of color. Thus color resides in the eye, actually in the retina- optic-nerve-brain combination which teams up to provide our color sen- Color vision is sations. How this system works has been a matter of study for many years complex and not and recent investigations, many of them based on the availability of new completely brain scanning machines, have made important discoveries. -
Farnworth Colours German Army War WW2 100525
Hints and Tips - Colour Guide – German Infantry By Michael Farnworth March 2008, Revised May 2010 German Infantry Germans in Greatcoats Late War Germans Crusader figures painted by Mick Farnworth Artizan and Crusader figures are fully compatible and can be mixed in the same unit. Crusader figures represent early war uniforms and Artizan represent later uniforms and weapons. Figures may be selected from both ranges can be used for the major campaigns. The main thing is to take care of the weapons. The MG42 was introduced in 1942 and the StGw 44 was introduced in 1944. Item Colour Vallejo Model Colour Helmet Dark Grey German Dk Grey 70.995, Uniform Field Grey German Field Grey WW2 70.830 Uniform (variant early war) Reed Green German Uniform 70.920 Greatcoat Field Grey German Field Grey WW2 70.830 Webbing Black Black 70.950 Bread Bag, Shovel Cover Khaki Green Russian Uniform 70.924 Gasmask Tin, Canteen Dark Green German Dark Green 70.896 Canteen (late war) Khaki Yellow Desert Yellow 70.977 Water bottle Cover Brown German Camo Red Brown 70.826, Flat Brown 70.984 Water bottle Lid & strap Black Black 70.950 Anklets / Gaiters Dark Green German Dark Green 70.896 Boots Black Black 70.950 Hints & Tips – Painting German WW2 1 Copyright Mick Farnworth - [email protected] May 2010 Introduction This guide will help you to quickly paint units of soldiers to look good on a war games table. Uniform notes, paint references and painting tips are included. Historical Notes Uniform Uniforms were produced in field grey (Feldgrau) but the colour changed during the war years. -
Goethe's Theory of Colors Between the Ancient Philosophy, Middle Ages
CULTURE, MEDIA & FILM | RESEARCH ARTICLE Goethe’s theory of colors between the ancient philosophy, middle ages occultism and modern science Victor Barsan and Andrei Merticariu Cogent Arts & Humanities (2016), 3: 1145569 Page 1 of 29 Barsan & Merticariu, Cogent Arts & Humanities (2016), 3: 1145569 http://dx.doi.org/10.1080/23311983.2016.1145569 CULTURE, MEDIA & FILM | RESEARCH ARTICLE Goethe’s theory of colors between the ancient philosophy, middle ages occultism and modern science 1 2 Received: 18 February 2015 Victor Barsan * and Andrei Merticariu Accepted: 20 January 2016 Published: 18 February 2016 Abstract: Goethe’s rejection of Newton’s theory of colors is an interesting example *Corresponding author: Victor Barsan, of the vulnerability of the human mind—however brilliant it might be—to fanati- Department of Theoretical Physics, cism. After an analysis of Goethe’s persistent fascination with magic and occultism, Horia Hulubei Institute of Physics and Nuclear Engineering, Aleea Reactorului of his education, existential experiences, influences, and idiosyncrasies, the authors nr. 30, Magurele, Bucharest, Romania E-mail: [email protected] propose an original interpretation of his anti-Newtonian position. The relevance of Goethe’s Farbenlehre to physics and physiology, from the perspective of modern sci- Reviewing editor: Peter Stanley Fosl, Transylvania ence, is discussed in detail. University, USA Subjects: Aristotle; Biophysics; Experimental Physics; Fine Art; Medical Physics; Ophthal- Additional information is available at the end of the article mology; Philosophy of Art; Philosophy of Science; Presocratics Keywords: ancient philosophy; Greek–Roman classicism; middle ages science; Newtonian science; occultism; pantheism; optics; theory of colors; primordial phenomenon (urphaeno men) 1. Introduction Light is one of the most interesting components of the physical universe. -
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. -
Fuzzy Set Theoretical Approach to the Tone Triangular System
JOURNAL OF COMPUTERS, VOL. 6, NO. 11, NOVEMBER 2011 2345 Fuzzy Set Theoretical Approach to the Tone Triangular System Naotoshi Sugano Tamagawa University, Tokyo, Japan [email protected] Abstract—The present study considers a fuzzy color system gravity of the attribute information of vague colors. This in which three input fuzzy sets are constructed on the tone fuzzy set theoretical approach is useful for vague color triangle. This system can process a fuzzy input to a tone information processing, color identification, and similar triangular system and output to a color on the RGB applications. triangular system. Three input fuzzy sets (not black, white, and light) are applied to the tone triangle relationship. By treating three attributes of chromaticness, whiteness, and II. METHODS blackness on the tone triangle, a target color can be easily A. Color Triangle and Additive Color Mixture obtained as the center of gravity of the output fuzzy set. In Additive color mixing occurs when two or three beams the present paper, the differences between fuzzy inputs and inference outputs are described, and the relationship of differently colored light combine. It has been found between inference outputs for crisp inputs and for fuzzy that mixing just three additive primary colors, red, green, inputs on the RGB triangular system are shown by the and blue, can produce the majority of colors. In general, a input-output characteristics between chromaticness, color vector can be described by certain quantities as a whiteness, and blackness as the inputs and redness (as one scalar and a direction. These quantities are referred to as of the outputs). -
A Correlated Color Temperature for Illuminants
. (R P 365) A CORRELATED COLOR TEMPERATURE FOR ILLUMINANTS By Raymond Davis ABSTRACT As has long been known, most of the artificial and natural illuminants do not match exactly any one of the Planckian colors. Therefore, strictly speaking, they can not be assigned a color temperature. A color of this type may, however, be correlated with a representative Planckian color. The method of determining correlated color temperature described in this paper consists in comparing the relative luminosities of each of the three primary red, green, and blue components of the source with similar values for the Planckian series. With such a comparison three component temperatures are obtained; that is, the red component of the source corresponds with that of the Planckian radiator at one temperature, its green component with that of the Planckian radiator at a second temperature, and its blue component with that of the Planckian radiator at a third temperature. The average of these three component temperatures is designated as the correlated color temperature of the source. The mean devia- tion of the component temperatures from the average temperature is used as a basis for specifying the color (chromaticity) departure of the source from that of the Planckian radiator at the correlated color temperature. The conjunctive wave length indicates the kind of color departure. CONTENTS Page I. Introduction 659 II. The proposed method 662 III. Procedure 665 1. The Planckian radiator evaluated in terms of relative lumi- nosity of the primary components 665 2. Computation of the correlated color temperature 670 3. Calculation of color departure in terms of sensation steps 672 4. -
Raphics & Visualization
Graphics & Visualization Chapter 11 COLOR IN GRAPHICS & VISUALIZATION Graphics & Visualization: Principles & Algorithms Chapter 11 Introduction • The study of color, and the way humans perceive it, a branch of: Physics Physiology Psychology Computer Graphics Visualization • The result of graphics or visualization algorithms is a color or grayscale image to be viewed on an output device (monitor, printer) Graphics programmer should be aware of the fundamental principles behind color and its digital representation Graphics & Visualization: Principles & Algorithms Chapter 11 2 Grayscale • Intensity: achromatic light; color characteristics removed • Intensity can be represented by a real number between 0 (black) and 1 (white) Values between these two extremes are called grayscales • Assume use of d bits to represent the intensity of each pixel n=2d different intensity values per pixel • Question: which intensity values shall we represent ? • Answer: Linear scale of intensities between the minimum & maximum value, is not a good idea: Human eye perceives intensity ratios rather than absolute intensity values. Light bulb example: 20-40-60W Therefore, we opt for a logarithmic distribution of intensity values Graphics & Visualization: Principles & Algorithms Chapter 11 3 Grayscale (2) • Let Φ0 be the minimum intensity value For typical monitors: Φ0 = (1/300) * maximum value 1 (white) Such monitors have a dynamic range of 300:1 • Let λ be the ratio between successive intensity values • Then we take: Φ1 = λ* Φ0 2 Φ1 = λ* Φ1=λ *Φ0 … -
Ricoh Th Color Station File Preparation Guide Pro C7100X / C7110X / C7100SX / C7110SX
File Preparation Guide Creating and Printing the 5th Color Ricoh th Color Station Pro C7100X / C7110X / C7100SX / C7110SX Welcome to the Ricoh th Color Station File Preparation Guide Pro C7100X / C7110X / C7100SX / C7110SX Get ready to change the game with unique and captivating 5th Color Station techniques that will impress your customers, expand your range of creative capabilities, and open doors to new revenue streams. This informative and visual guide will walk you through the different steps for setting up and saving files to get the maximum impact with 5th Color elements. Guidelines, tips, and best practices for printing are also included to ensure your output matches the intended design. The file preparation steps in this guide assume a working knowledge of Adobe Creative Suite®, including Adobe Illustrator®, InDesign® and Photoshop®. Printing instructions assume operator experience with Fiery® Command WorkStation. Screen shots have been taken from both MAC and PC platforms and may differ slightly from what you see on your screen. Please note: The creative examples included on these printed pages do not include or reflect actual output when printed with 5th Color elements on specialty substrates. These examples are included for instructional reference only. To see the impact and effect of the White and Clear Toner, please refer to the printed samples included in your Ricoh 5th Color Station Kit. Table of Contents Creating the 5th Color Layer 1. Creating the 5th Color Layer – Clear, in Adobe Illustrator® Adding a vector Clear Spot over CMYK artwork on non-specific Media ................................................................9 2. Creating the 5th Color Layer – White, in Adobe InDesign® Adding a vector White Spot layer for use on Dark Colored Media .......................................................................13 3. -
Computer Vision? Color Histograms
Lecture 11 Color © UW CSE vision faculty Starting Point: What is light? Electromagnetic radiation (EMR) moving along rays in space •R(λ) is EMR, measured in units of power (watts) – λ is wavelength Perceiving light • How do we convert radiation into “color”? • What part of the spectrum do we see? Newton’s prism experiment Newton’s own drawing of his experiment showing decomposition of white light The light spectrum We “see” electromagnetic radiation in a range of wavelengths Light spectrum The appearance of light depends on its power spectrum • How much power (or energy) at each wavelength daylight tungsten bulb Our visual system converts a light spectrum into “color” • This is a rather complex transformation Recall: Image Formation Basics i(x,y) f(x,y) r(x,y) (from Gonzalez & Woods, 2008) Image Formation: Basics Image f(x,y) is characterized by 2 components 1. Illumination i(x,y) = Amount of source illumination incident on scene 2. Reflectance r(x,y) = Amount of illumination reflected by objects in the scene f(,)(,)(,) x y i= x y r x y where 0 (< ,i ) x < y ∞andr 0 < x y ( , < ) 1 r(x,y) depends on object properties r = 0 means total absorption and 1 means total reflectance The Human Eye and Retina Color perception • Light hits the retina, which contains photosensitive cells – rods and cones • Rods responsible for intensity, cones responsible for color Density of rods and cones Rods and cones are non-uniformly distributed on the retina • Fovea - Small central region (1 or 2°) containing the highest density of cones (and no rods) • Less visual acuity in the periphery—many rods wired to the same neuron Demonstration of Blind Spot With left eye shut, look at the cross on the left.