Colors and Materials
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Dynamically Tunable Plasmonic Structural Color
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2018 Dynamically Tunable Plasmonic Structural Color Daniel Franklin University of Central Florida Part of the Physics Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Doctoral Dissertation (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Franklin, Daniel, "Dynamically Tunable Plasmonic Structural Color" (2018). Electronic Theses and Dissertations, 2004-2019. 5880. https://stars.library.ucf.edu/etd/5880 DYNAMICALLY TUNABLE PLASMONIC STRUCTURAL COLOR by DANIEL FRANKLIN B.S. Missouri University of Science and Technology, 2011 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Physics in the College of Sciences at the University of Central Florida Orlando, Florida Spring Term 2018 Major Professor: Debashis Chanda © 2018 Daniel Franklin ii ABSTRACT Functional surfaces which can control light across the electromagnetic spectrum are highly desirable. With the aid of advanced modeling and fabrication techniques, researchers have demonstrated surfaces with near arbitrary tailoring of reflected/transmitted amplitude, phase and polarization - the applications for which are diverse as light itself. These systems often comprise of structured metals and dielectrics that, when combined, manifest resonances dependent on structural dimensions. This attribute provides a convenient and direct path to arbitrarily engineer the surface’s optical characteristics across many electromagnetic regimes. -
Comparative Visualization for Two-Dimensional Gas Chromatography
COMPARATIVE VISUALIZATION FOR TWO-DIMENSIONAL GAS CHROMATOGRAPHY by Ben Hollingsworth A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Science Major: Computer Science Under the Supervision of Professor Stephen E. Reichenbach Lincoln, Nebraska December, 2004 COMPARATIVE VISUALIZATION FOR TWO-DIMENSIONAL GAS CHROMATOGRAPHY Ben Hollingsworth, M.S. University of Nebraska, 2004 Advisor: Stephen E. Reichenbach This work investigates methods for comparing two datasets from comprehensive two-dimensional gas chromatography (GC×GC). Because GC×GC introduces incon- sistencies in feature locations and pixel magnitudes from one dataset to the next, several techniques have been developed for registering two datasets to each other and normalizing their pixel values prior to the comparison process. Several new methods of image comparison improve upon pre-existing generic methods by taking advantage of the image characteristics specific to GC×GC data. A newly developed colorization scheme for difference images increases the amount of information that can be pre- sented in the image, and a new “fuzzy difference” algorithm highlights the interesting differences between two scalar rasters while compensating for slight misalignment between features common to both images. In addition to comparison methods based on two-dimensional images, an inter- active three-dimensional viewing environment allows analysts to visualize data using multiple comparison methods simultaneously. Also, high-level features extracted from the images may be compared in a tabular format, side by side with graphical repre- sentations overlaid on the image-based comparison methods. These image processing techniques and high-level features significantly improve an analyst’s ability to detect similarities and differences between two datasets. -
The ISCC-NBS Method of Designating Colors and a Dictionary of Color Names
Uc 8 , .Department of Commerce Na Canal Bureau of Standards Circular UNITED STATES DEPARTMENT OF COMMERCE • Sinclair Weeks, Secretary NATIONAL BUREAU OF STANDARDS • A. V. Astin, Director The ISCC-NBS Method of Designating Colors and a Dictionary of Color Names National Bureau of Standards Circular 553 Issued November 1, 1955 For sale by the Superintendent of Documents, U. S. Government Printing Office, Washington 25, D. C. Price 32 7 1 National Bureau of Standards NOV 1 1955 8 (0*118 QC 00 U555 Cop. 1 Preface I^Ever since the language of man began to develop, words or expressions have been used first to indicate and then to describe colors. Some of these have per- sisted throughout the centuries and are those which refer to the simple colors or ranges such as red or yellow. As the language developed, more and more color names were invented to describe the colors used by art and industry and in late years in the rapidly expanding field of sales promotion. Some of these refer to the pigment or dye used, as Ochre Red or Cochineal, or a geographical location of its source such as Naples Yellow or Byzantium. Later when it became clear that most colors are bought by or for women, many color names indicative of the beauties and wiles of the fan- sex were introduced, as French Nude, Heart’s Desire, Intimate Mood, or Vamp. Fanciful color names came into vogue such as Dream Fluff, Happy Day, Pearly Gates, and Wafted Feather. Do not suppose that these names are without economic importance for a dark reddish gray hat for Milady might be a best seller ; if advertised as Mauve Wine whereas it probably would not if the color were called Paris Mud. -
Color Considerations
Gray Tones in Your Homes More and more home buyers are saying that grays are their preferred interior paint colors. Integrating the most popular gray hues into your selection of finish offerings can attract a wide range of buyers. Brought to you by Sherwin Williams Gray walls exude a modern simplicity with a fresh but comfortable feel. They fit in well with natural views and are great complements to a variety of furnishings. With these qualities, it’s no wonder that more home buyers are turning to gray as an interior paint color. Join the continuing “gray is the new beige” trend by offering various grays as finishing options — you’ll increase buyer satisfaction and add value to your homes. Here are the easiest ways to integrate gray tones: 1. Finding the right gray for your homes Although the color gray is commonly associated with cooler, cloudy days, there are both “cool grays” and “warm grays.” Cool grays have more blue undertones, while warm grays are grounded in yellow and brown — similar to “greige,” a combination of gray and beige. Consider the following elements when you’re deciding between a cool or warm gray for interiors: flooring, cabinetry, lighting fixtures, wood trim (painted or stained), and the colors of stone or brick in the house. The undertone of your interior elements should match the undertone of the grays you use. For example, cooler interior elements like certain stone and brushed nickel pair well with cooler grays, while brick and gold are warmer and more easily integrate with warmer undertones like beige. -
Soleil Approved Exterior Color Schemes A
Soleil Approved Exterior Color Schemes A. Woodward Architecture, Inc. New Color Schemes Scheme # Swatch Card Siding Trim Shake/ Board & Batten Shutter/Door Shutter/Door (alt.) Sherwin Williams Sherwin Williams Sherwin Williams Sherwin Williams Sherwin Williams 1 203 "Farro" SW 9103 "Double Latte" SW 9108 "Practical Beige" SW 6100 "Dark Clove" SW 9183 2 206 "Dapper Tan" SW 6144 "Antler Velvet" SW 9111 "Song Thrush" SW 9112 "Andiron" SW 6174 3 212 "Connected Gray" SW 6165 "Analytical Gray" SW 7051 "Honed Soapstone" SW 9126 "Grizzle Gray" SW 7068 4 216 "Link Gray" SW 6200 "Egret White" SW 7570 "Thunderous" SW 6201 "Thunder Gray" SW 7645 5 222 "Cadet" SW 9143 "Loggia" SW 7506 "Wall Street" SW 7665 "Black Magic" SW 6991 6 238 "Earl Gray" SW 7660 "Agreeable Gray" SW 7029 "Mindful Gray" SW 7016 "Peppercorn" SW 7674 7 244 "Dovetail" SW 7018 "Repose Gray" SW 7015 "Dorian Gray" SW 7017 "Iron Ore" SW 7069 8 282 "Summit Gray" SW 7669 "Modern Gray" SW 7632 "Pussywillow" SW 7643 "Polished Mahogany" SW 2828 9 284 "Outerbanks" SW 7534 "Panda White" SW 6147 "Sandbar" SW 7547 "Adaptive Shade" SW 7053 10 285 "Barcelona Beige" SW 7530 "Fawn Brindle" SW 7640 "Avenue Tan" SW 7543 "Attitude Gray" SW 7060 11 301 "Curio Gray" SW 0024 "Relaxed Khaki" SW 6149 "Library Pewter" SW 0038 "Urbane Bronze" SW 7048 12 301 "Pewter Tankard" SW 0023 "Natural Tan" SW 7567 "Morris Room Gray" SW 0037 "Porpoise" SW 7047 Revised Soleil Color Schemes *Denotes change from original 1 206 "Basket Beige" SW 6143 *"Panda White" SW 6147 *"Softer Tan" SW 6141 "Tricorn Black" SW 6258 2 -
Painted Wood: History and Conservation
PART FOUR Investigations and Treatment 278 Monochromy, Polychromy, and Authenticity The Cloisters’ Standing Bishop Attributed to Tilman Riemenschneider Michele D. Marincola and Jack Soultanian 1975, Standing Bishop was acquired for The Cloisters collection, the Metropolitan Museum of IArt, New York. This piece—considered at purchase to be a mature work of Tilman Riemenschneider (ca. 1460–1531), a leading German mas- ter of Late Gothic sculpture—was intended to complement early works by the artist already in the collection. The sculpture (Fig. 1) is indisputably in the style of Riemenschneider; furthermore, its provenance (established to before 1907) includes the renowned Munich collection of Julius Böhler.1 The Standing Bishop was accepted as an autograph work by the great Riemenschneider scholar Justus Bier (1956), who was reversing his earlier opinion. It has been compared stylistically to a number of works by Riemenschneider from about 1505–10. In the 1970s, a research project was begun by art historians and conservators in Germany to establish the chronology and authorship of a group of sculptures thought to be early works of Riemenschneider. The Cloisters’ sculptures, including the Standing Bishop, were examined as part of the project, and cross sections were sent to Munich for analysis by Hermann Kühn. This research project resulted in an exhibition of the early work of Riemenschneider in Würzburg in 1981; The Cloisters sent two sculptures from its collection, but the loan of the Standing Bishop was not requested. Certain stylistic anomalies of the figure, as well as several Figure 1 technical peculiarities discussed below, contributed to the increasing suspi- Standing Bishop, attributed to Tilman cion that it was not of the period. -
Compositional Effects of Color
Open Palettes vs. Limited Palettes • Hue schemes can be generally divided into Open palettes and Limited palettes. Open Palettes vs. Limited Palettes • Open palettes allow any hue to be present — whether naturalistic color or randomly selected hues or expressive- intuitively selected hues are used. • Limited Palettes confine the hues used to some pre- planned strategy. Structured hue schemes (e.g. analogous, complementary, triadic, etc.) are limited-hue-plans that confine colors to only a few hues based upon a structure that selects hues by their relative positions on a hue wheel. Open Palette- vs.- Limited Palette vs. Structured Palette • Limited Palette concept simply acknowledges that only a small selection of colors are used. Typically, but not always, involving a structured palette. • Structured Palette concept refers to the usual “color schemes” — that is, a “structure” of monochromatic, or of Complementary, or split complementary hue selections. The hues that are used in the palette are selected according to some scheme, plan or structure. • Open Palette is an un-structured palette. Hues may be selected from any region of the color wheel. No structure is intentionally planned or imposed. Colors are most often applied intuitively, rather than analytically. Open Palette • (p. 53) A color scheme that uses hues from all over the color wheel. • The risk: Potentially chaotic and disunified. • The potential: often rich & visually dynamic. • A strategy: When an open palette is daringly used, some other characteristics of the design must provide unity – to hold it all together. Often a simple value pattern is used. [see Matisse and the Fauves] Variety, Chaos, & Fragmentation – dissolving unity • Some designers choose to let go of any planned or structured color scheme. -
Color Theory
color theory What is color theory? Color Theory is a set of principles used to create harmonious color combinations. Color relationships can be visually represented with a color wheel — the color spectrum wrapped onto a circle. The color wheel is a visual representation of color theory: According to color theory, harmonious color combinations use any two colors opposite each other on the color wheel, any three colors equally spaced around the color wheel forming a triangle, or any four colors forming a rectangle (actually, two pairs of colors opposite each other). The harmonious color combinations are called color schemes – sometimes the term 'color harmonies' is also used. Color schemes remain harmonious regardless of the rotation angle. Monochromatic Color Scheme The monochromatic color scheme uses variations in lightness and saturation of a single color. This scheme looks clean and elegant. Monochromatic colors go well together, producing a soothing effect. The monochromatic scheme is very easy on the eyes, especially with blue or green hues. Analogous Color Scheme The analogous color scheme uses colors that are adjacent to each other on the color wheel. One color is used as a dominant color while others are used to enrich the scheme. The analogous scheme is similar to the monochromatic, but offers more nuances. Complementary Color Scheme The complementary color scheme consists of two colors that are opposite each other on the color wheel. This scheme looks best when you place a warm color against a cool color, for example, red versus green-blue. This scheme is intrinsically high-contrast. Split Complementary Color Scheme The split complementary scheme is a variation of the standard complementary scheme. -
Trademark Registration of Product Colors: Issues and Answers Lee Burgunder
Santa Clara Law Review Volume 26 Article 3 Number 3 Combined Issues No. 3-4 1-1-1986 Trademark Registration of Product Colors: Issues and Answers Lee Burgunder Follow this and additional works at: http://digitalcommons.law.scu.edu/lawreview Part of the Law Commons Recommended Citation Lee Burgunder, Trademark Registration of Product Colors: Issues and Answers, 26 Santa Clara L. Rev. 581 (1986). Available at: http://digitalcommons.law.scu.edu/lawreview/vol26/iss3/3 This Article is brought to you for free and open access by the Journals at Santa Clara Law Digital Commons. It has been accepted for inclusion in Santa Clara Law Review by an authorized administrator of Santa Clara Law Digital Commons. For more information, please contact [email protected]. TRADEMARK REGISTRATION OF PRODUCT COLORS: ISSUES AND ANSWERS Lee Burgunder* I. INTRODUCTION In October, 1985, the Federal Circuit Court of Appeals held that Owens-Corning was entitled to register the color "pink" as a trademark for its fibrous glass residential insulation.' Yet, before this date, the law was well-settled that an overall product color could not be appropriated as a trademark.' Thus, one might think that the Owens-Corning decision represented a controversial turning point in trademark theory with respect to the federal registration of colors. In reality, however, the decision merely marked one more step on the path of confusion upon which the courts recently have been treading in the field of product color trademark registration. Currently, courts focus on the "functionality" of colors in trade- 8 mark cases. In light of the demands of competition in a free-market © 1986 by Lee Burgunder * Associate Professor of Law, California Polytechnic State University. -
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. -
The Costly Process of Registering and Defending Color Trademarks
SEEING RED, SPENDING GREEN: THE COSTLY PROCESS OF REGISTERING AND DEFENDING COLOR TRADEMARKS LAUREN TRAINA* A shoe has so much more to offer than just to walk. —Christian Louboutin1 I. INTRODUCTION As demonstrated by the recent Second Circuit decision in Christian Louboutin v. Yves Saint Laurent America Holding, Inc.,2 a shoe can certainly offer a great deal of legal controversy. In September 2012, the Second Circuit upheld the validity of designer Christian Louboutin’s trademark for the color red on the soles of his shoes.3 Although Christian Louboutin and the fashion media have called the case a victory for color trademarks,4 Louboutin’s affirmation of the “aesthetic functionality” doctrine will likely make defending color trademarks harder in the future. Further, a survey of color trademark registration activity and case law reveals that the Louboutin decision is an outlier, and the overwhelming * Class of 2014, University of Southern California Gould School of Law; B.S., Business Administration, University of Southern California. I thank my parents, Joel and Vicki, and my sister, Nicole, for their unwavering support. I thank Professor Jonathan Barnett for his guidance throughout the writing process and Evan Scholm for his assistance in editing. 1. Lauren Collins, Sole Mate: Christian Louboutin and the Psychology of Shoes, NEW YORKER Mar. 28, 2011, at 83, 83, available at http://www.newyorker.com/magazine/2011/03/28/sole-mate. 2. Christian Louboutin S.A. v. Yves Saint Laurent Am. Holdings, Inc., 696 F.3d 206 (2d. Cir. 2012). 3. Id. at 212. 4. See, e.g.,Tamlin H. Bason, Both Sides Claim Victory as 2nd Cir. -
The End of the Rainbow? Color Schemes for Improved Data Graphics
Eos,Vol. 85, No. 40, 5 October 2004 receptors are shifted toward one or the other The End of the Rainbow? end of the spectrum are called anomalous trichromats.The term “color deficient”encom- passes dichromats and anomalous trichromats, Color Schemes for Improved as well as those who exhibit rarer forms of impaired color vision. Because a sex-linked Data Graphics recessive gene is implicated in the condition, color-vision deficiency is far more common in men than in women. PAGES 385, 391 one spectral color scheme, and a better alter- Algorithms based on psychophysical obser- native, may appear to color-blind readers. vations make it possible to simulate the appearance of colored images to color-defi- Modern computer displays and printers enable Color-blind individuals see some colored cient viewers [Brettel et al., 1997]. Data maps the widespread use of color in scientific com- data graphics quite differently from the general munication, but the expertise for designing population.The human visual system normally of the type shown here serve two main purposes: effective graphics has not kept pace with the perceives color through photosensitive cones detection of large-scale patterns and determi- technology for producing them. Historically, in the eye that are tuned to receive wavelengths nation of specific grid-cell or point values.The even the most prestigious publications have in the red,green,and blue portions of the visible saturated spectral scale (Figure 1a) creates a tolerated high defect rates in figures and illus- spectrum. People who lack cones sensitive to region of confusion centered on the North trations [Cleveland, 1984], and technological one of the three wavelengths are called dichromats American continent where achieving either advances that make creating and reproducing [Fortner and Meyer, 1997].