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Colors and Fillstyle
GraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphicsGraphics andandandandandandandandandandandandandandandandandandandandandandandandandandandandandand TTTTTTTTTTTTTTTTTTETETETETETXETXETXETXETXETXETXETXEXEXEXEXEXEXEXEXEXEXEXEXEXEXEXEXEXEXXXXX Ordinary colors More colors Colorful Fill—in style Custom colors From one color to another Tricks Online L Part II – Graphics AT EX Tutorial PSTricks c 2002, 2003, The Indian T This document is generated by hyperref, pstricks, pdftricks and pdfscreen packages on an intel and is released under EX Users Group The Indian T pc pdf running Floor lppl T Trivandrum 695014, EX with iii, sjp http://www.tug.org.in gnu/linux Buildings,EX Users Cotton HillsGroup india 1/19 Ordinary colors More colors Fill—in style Custom colors From one color to another 2. Colorful Tricks Seeing the (ps)tricks so far, at least some of you may be wishing for a bit of color in the graphics. Here’s good news for such people: you can have your wish! PSTricks comes with a set of macros that provide a basic set of colors Online LAT X Tutorial and lets you define your own colors. However, it has some incompatibility with E the LATEX package color. However, David Carlisle has written a package pstcol Part II – Graphics which modifies the PSTricks color interface to work with LATEX colors. All of our examples in this chapter assumes that this package is loaded, using the PSTricks command \usepackage{pstcol} in the preamble. Note that this loads the pstricks package also, so that it need not be separately loaded. c 2002, 2003, The Indian TEX Users Group This document is generated by pdfTEX with hyperref, pstricks, pdftricks and pdfscreen packages on an intel pc running gnu/linux and is released under lppl The Indian TEX Users Group Floor iii, sjp Buildings, Cotton Hills Trivandrum 695014, india http://www.tug.org.in 2/19 Colorful Tricks 2.1. -
Painting Part 3 1
.T 720 (07) | 157 ) v.10 • pt. 3 I n I I I 6 International Correspondence Schools, Scranton, Pa. Painting By DURWARD E. NICHOLSON Technical Writer, International Correspondence Schools and DAVID T. JONES, B.Arch. Director, School of Architecture and the Building Trades International Correspondence Schools 6227C Part 3 Edition 1 International Correspondence Schools, Scranton, Pennsylvania International Correspondence Schools, Canadian, Ltd., Montreal, Canadc Painting \A jo Pa3RT 3 “I find in life lliat most affairs tliat require serious handling are distasteful. For this reason, I have always believed that the successful man has the hardest battle with himself rather than with the other fellow'. By To bring one’s self to a frame of mind and to the proper energy to accomplish things that require plain DURWARD E. NICHOLSON hard work continuously is the one big battle that Technical Writer everyone has. When this battle is won for all time, then everything is easy.” \ International Correspondence Schools —Thomas A. Buckner and DAVID T. JONES, B. Arch. 33 Director, School of Architecture and the Building Trades International Correspondence Schools B Member, American Institute of Architects Member, Construction Specifications Institute Serial 6227C © 1981 by INTERNATIONAL TEXTBOOK COMPANY Printed in the United States of America All rights reserved International Correspondence Schools > Scranton, Pennsylvania\/ International Correspondence Schools Canadian, Ltd. ICS Montreal, Canada ▼ O (7M V\) v-V*- / / *r? 1 \/> IO What This Text Covers . /’ v- 3 Painting Part 3 1. PlGX OLORS ___________________ ________ Pages 1 to 14 The color of paint depends on the colors of the pigments that are mixed with the vehicle. -
Review of Measures for Light-Source Color Rendition and Considerations for a Two-Measure System for Characterizing Color Rendition
Review of measures for light-source color rendition and considerations for a two-measure system for characterizing color rendition Kevin W. Houser,1,* Minchen Wei,1 Aurélien David,2 Michael R. Krames,2 and Xiangyou Sharon Shen3 1Department of Architectural Engineering, The Pennsylvania State University, University Park, PA, 16802, USA 2Soraa, Inc., Fremont, CA 94555, USA 3Inno-Solution Research LLC, 913 Ringneck Road, State College, PA 16801, USA *[email protected] Abstract: Twenty-two measures of color rendition have been reviewed and summarized. Each measure was computed for 401 illuminants comprising incandescent, light-emitting diode (LED) -phosphor, LED-mixed, fluorescent, high-intensity discharge (HID), and theoretical illuminants. A multidimensional scaling analysis (Matrix Stress = 0.0731, R2 = 0.976) illustrates that the 22 measures cluster into three neighborhoods in a two- dimensional space, where the dimensions relate to color discrimination and color preference. When just two measures are used to characterize overall color rendition, the most information can be conveyed if one is a reference- based measure that is consistent with the concept of color fidelity or quality (e.g., Qa) and the other is a measure of relative gamut (e.g., Qg). ©2013 Optical Society of America OCIS codes: (330.1690) Color; (330.1715) Color, rendering and metamerism; (230.3670) Light-emitting diodes. References and links 1. CIE, “Methods of measuring and specifying colour rendering properties of light sources,” in CIE 13 (CIE, Vienna, Austria, 1965). 2. W. Walter, “How meaningful is the CIE color rendering index?” Light Design Appl. 11(2), 13–15 (1981). 3. T. Seim, “In search of an improved method for assessing the colour rendering properties of light sources,” Lighting Res. -
Color Measurement1 Agr1c Ü8 ,
I A^w /\PK4 1946 USDA COLOR MEASUREMENT1 AGR1C ü8 , ,. 2001 DEC-1 f=> 7=50 AndA ItsT ApplicationA rL '"NT SERIAL Í to the Grading of Agricultural Products A HANDBOOK ON THE METHOD OF DISK COLORIMETRY ui By S3 DOROTHY NICKERSON, Color Technologist, Producdon and Marketing Administration 50! es tt^iSi as U. S. DEPARTMENT OF AGRICULTURE Miscellaneous Publication 580 March 1946 CONTENTS Page Introduction 1 Color-grading problems 1 Color charts in grading work 2 Transparent-color standards in grading work 3 Standards need measuring 4 Several methods of expressing results of color measurement 5 I.C.I, method of color notation 6 Homogeneous-heterogeneous method of color notation 6 Munsell method of color notation 7 Relation between methods 9 Disk colorimetry 10 Early method 22 Present method 22 Instruments 23 Choice of disks 25 Conversion to Munsell notation 37 Application of disk colorimetry to grading problems 38 Sample preparation 38 Preparation of conversion data 40 Applications of Munsell notations in related problems 45 The Kelly mask method for color matching 47 Standard names for colors 48 A.S.A. standard for the specification and description of color 50 Color-tolerance specifications 52 Artificial daylighting for grading work 53 Color-vision testing 59 Literature cited 61 666177—46- COLOR MEASUREMENT And Its Application to the Grading of Agricultural Products By DOROTHY NICKERSON, color technologist Production and Marketing Administration INTRODUCTION cotton, hay, butter, cheese, eggs, fruits and vegetables (fresh, canned, frozen, and dried), honey, tobacco, In the 16 years since publication of the disk method 3 1 cereal grains, meats, and rosin. -
Mean Green Interpreting the Emotion of Color (Art + Language)
Mean Green Interpreting the Emotion of Color (art + language) Is there such a thing as an all-black painting, all- green or all-red painting? Yes, there is! American artists around the 1950s turned from abstract expressionism to a movement labeling them colorists. Colorists painted with a monochromatic color palette using variations of one color. Their process was made easier with the introduction of acrylics and acrylic mediums in 1953. Painters like Barnett Newman, Morris Louis, Frank Stella and Ad Reinhardt created paintings in all black. They believed art was art and should be created without rules. This break in approach to art was not popular with art critics. The critics found that a closer look at the monochromatic paintings exhibited details and required more thought. Artists added texture and surface variations to enhance the monochromatic paintings. American colorists changed the artists image from Materials that of realistic human behavior to the use Blick Canvas Panels 11" x 14" (07008-1114), need of color for feelings. They worked to make one per student color and color changes the total emphasis Blickrylic Student Acrylics, need one basic set of of their art. six pints (00711-1049) and one pint each This lesson is great fun, combining one Fluorescent Green (00711-7266) and Magenta color and fun words to describe emotions (00711-3046), share across classroom and meanings to that color. These titles could be wonderful white, riot red or cool Round 10-Well Trays (03041-1010), share one tray blue. Students” paintings turn from between two students monochromatic paintings to 3D collage Dynasty® Fine Ruby Synthetic Brushes, canister paintings when textures and found objects set of 72 assorted (05198-0729), share across are added. -
Relationship of Solid Ink Density and Dot Gain in Digital Printing
International Journal of Engineering and Technical Research (IJETR) ISSN: 2321-0869, Volume-2, Issue-7, July 2014 Relationship of Solid Ink Density and Dot Gain in Digital Printing Vikas Jangra, Abhishek Saini, Anil Kundu gain while meeting density requirements. As discussed Abstract— Ours is the generation which is living in the age of above Dot gain is the measurement of the increase in tone science and technology. The latest scientific inventions have value from original file to the printed sheet. given rise to various technologies in every aspect of our life. Newer technologies have entered the field of printing also. II. MATERIALS AND METHODS Digital printing is one of these latest technologies which have further revolutionized entire modern printing industry in many Densitometer is used for measuring density of ink ways. It also facilitates working on large variety of surfaces, on the paper. Densitometer can be classified according to besides these factors digital printing have grown widely and type of materials they are designed to measure i.e. opaque made a special impact in print market. The presented analysis and transparent. Density of opaque materials is measured by system is used for study of print quality in Digital Printing. reflected light with a device called reflection type densitometer. Density of transparent materials is measured Index Terms— Digital Printing, Dot Gain, Solid ink density, by transmitted light with a device called transmission type Coated Paper and Uncoated Paper. densitometer. In order to measure the print quality i.e. solid ink density (SID) and dot gain (DG) on coated and uncoated I. -
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. -
Preparing Monochromatic Images for Publication: Theoretical Considerations and Practical Implications
Downloaded from Preparing Monochromatic Images for Publication: Theoretical Considerations and Practical Implications https://www.cambridge.org/core Jörg Piper Clinic “Meduna”, Clara-Viebig-road 4, D-56864 Bad Bertrich, Germany [email protected] . IP address: Introduction (display, monitor) in appropriate clarity, that is, adequate In light microscopy, monochromatic images are produced luminance, contrast, and tonal values. But severe problems can using monochromatic color filters inserted into the illumi- arise when color prints have to be made from monochromatic 170.106.33.14 nating light path. When compared with true-color images, the images regardless of whether they are carried out as photo image quality can be enhanced by this sort of monochromatic prints (based on the RGB gamut) or as cyan-magenta-yellow- light filtering in special circumstances. In particular, contrast, black (CMYK)-based hardcopies, inkjet, laser, or offset prints. , on sharpness, and lateral resolution can be maximized and In particular, extraordinary difficulties can be apparent when 02 Oct 2021 at 07:44:39 potential chromatic aberration can be avoided. Of course, the high-quality monochromatic RGB images have to be converted specific properties of the specimen and the respective optical into the CMYK color space in order to be processed in a print equipment will determine whether monochromatic light workflow. In this case, it sometimes seems nearly impossible filtering can improve imaging results compared with unfiltered to achieve satisfying results; all types of prints made from the white-light illumination. respective monochromatic image can appear very poor, with Moreover, monochromatic light is intimately involved in low brightness, contrast, and clarity. -
Chromatic Adaptation Transform by Spectral Reconstruction Scott A
Chromatic Adaptation Transform by Spectral Reconstruction Scott A. Burns, University of Illinois at Urbana-Champaign, [email protected] February 28, 2019 Note to readers: This version of the paper is a preprint of a paper to appear in Color Research and Application in October 2019 (Citation: Burns SA. Chromatic adaptation transform by spectral reconstruction. Color Res Appl. 2019;44(5):682-693). The full text of the final version is available courtesy of Wiley Content Sharing initiative at: https://rdcu.be/bEZbD. The final published version differs substantially from the preprint shown here, as follows. The claims of negative tristimulus values being “failures” of a CAT are removed, since in some circumstances such as with “supersaturated” colors, it may be reasonable for a CAT to produce such results. The revised version simply states that in certain applications, tristimulus values outside the spectral locus or having negative values are undesirable. In these cases, the proposed method will guarantee that the destination colors will always be within the spectral locus. Abstract: A color appearance model (CAM) is an advanced colorimetric tool used to predict color appearance under a wide variety of viewing conditions. A chromatic adaptation transform (CAT) is an integral part of a CAM. Its role is to predict “corresponding colors,” that is, a pair of colors that have the same color appearance when viewed under different illuminants, after partial or full adaptation to each illuminant. Modern CATs perform well when applied to a limited range of illuminant pairs and a limited range of source (test) colors. However, they can fail if operated outside these ranges. -
ARC Laboratory Handbook. Vol. 5 Colour: Specification and Measurement
Andrea Urland CONSERVATION OF ARCHITECTURAL HERITAGE, OFARCHITECTURALHERITAGE, CONSERVATION Colour Specification andmeasurement HISTORIC STRUCTURESANDMATERIALS UNESCO ICCROM WHC VOLUME ARC 5 /99 LABORATCOROY HLANODBOUOKR The ICCROM ARC Laboratory Handbook is intended to assist professionals working in the field of conserva- tion of architectural heritage and historic structures. It has been prepared mainly for architects and engineers, but may also be relevant for conservator-restorers or archaeologists. It aims to: - offer an overview of each problem area combined with laboratory practicals and case studies; - describe some of the most widely used practices and illustrate the various approaches to the analysis of materials and their deterioration; - facilitate interdisciplinary teamwork among scientists and other professionals involved in the conservation process. The Handbook has evolved from lecture and laboratory handouts that have been developed for the ICCROM training programmes. It has been devised within the framework of the current courses, principally the International Refresher Course on Conservation of Architectural Heritage and Historic Structures (ARC). The general layout of each volume is as follows: introductory information, explanations of scientific termi- nology, the most common problems met, types of analysis, laboratory tests, case studies and bibliography. The concept behind the Handbook is modular and it has been purposely structured as a series of independent volumes to allow: - authors to periodically update the -
Planting with a Limited Color Palette It’S Easier to Create Winning Combinations with Simplified Schemes
Planting with a Limited Color Palette It’s easier to create winning combinations with simplified schemes by Tracy DiSabato-Aust HE art of designing a bed or border color, with its seemingly endless choic- palette includes just two or three colors, T can be as engaging to a gardener as es. Suddenly this exciting process can such as analogous colors or one color painting is to an artist. For me, the most become overwhelming. and its complement (see sidebar, p. 44). exhilarating and creative part of garden One way to simplify the design A key advantage of both monochro- design is making dramatic plant combi- process is to reduce the number of matic and limited color schemes is that nations. An outstanding combination in variables. I’ve found that using a limit- they focus attention on the details and a garden thrills me and often sends me ed color palette, even a monochromatic subtleties of a design. Both types em- running for my camera as I yearn for scheme, is an effective and rewarding phasize the structure and rhythm of a just the right light to capture the vision. way to design combinations. planting. Plant form and the texture of But creating these elusive “works of A monochromatic color scheme, leaf, stem, flower, and fruit are more art” with living plants can be compli- which incorporates shades, tints, and easily appreciated. A design that is sim- cated. Form, texture, repetition, bal- tones of a single basic color, such as red ple and cohesive in color also can con- ance, and contrast are just a few key or blue, drastically reduces color com- vey an air of sophistication. -
Color Images, Color Spaces and Color Image Processing
color images, color spaces and color image processing Ole-Johan Skrede 08.03.2017 INF2310 - Digital Image Processing Department of Informatics The Faculty of Mathematics and Natural Sciences University of Oslo After original slides by Fritz Albregtsen today’s lecture ∙ Color, color vision and color detection ∙ Color spaces and color models ∙ Transitions between color spaces ∙ Color image display ∙ Look up tables for colors ∙ Color image printing ∙ Pseudocolors and fake colors ∙ Color image processing ∙ Sections in Gonzales & Woods: ∙ 6.1 Color Funcdamentals ∙ 6.2 Color Models ∙ 6.3 Pseudocolor Image Processing ∙ 6.4 Basics of Full-Color Image Processing ∙ 6.5.5 Histogram Processing ∙ 6.6 Smoothing and Sharpening ∙ 6.7 Image Segmentation Based on Color 1 motivation ∙ We can differentiate between thousands of colors ∙ Colors make it easy to distinguish objects ∙ Visually ∙ And digitally ∙ We need to: ∙ Know what color space to use for different tasks ∙ Transit between color spaces ∙ Store color images rationally and compactly ∙ Know techniques for color image printing 2 the color of the light from the sun spectral exitance The light from the sun can be modeled with the spectral exitance of a black surface (the radiant exitance of a surface per unit wavelength) 2πhc2 1 M(λ) = { } : λ5 hc − exp λkT 1 where ∙ h ≈ 6:626 070 04 × 10−34 m2 kg s−1 is the Planck constant. ∙ c = 299 792 458 m s−1 is the speed of light. ∙ λ [m] is the radiation wavelength. ∙ k ≈ 1:380 648 52 × 10−23 m2 kg s−2 K−1 is the Boltzmann constant. T ∙ [K] is the surface temperature of the radiating Figure 1: Spectral exitance of a black body surface for different body.