Certified Digital Designer Professional Certification Examination Review
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Exploring the .BMP File Format
Exploring the .BMP File Format Don Lancaster Synergetics, Box 809, Thatcher, AZ 85552 copyright c2003 as GuruGram #14 http://www.tinaja.com [email protected] (928) 428-4073 The .BMP image standard is used by Windows and elsewhere to represent graphics images in any of several different display and compression options. The .BMP advantages are that each pixel is usually independently available for any alteration or modification. And that repeated use does not normally degrade the image. Because lossy compression is not used. Its main disadvantage is that file sizes are usually horrendous compared to JPEG, fractal, GIF, or other lossy compression schemes. A comparison of popular image standards can be found here. I’ve long been using the .BMP format for my eBay and my other phototography, scanning, and post processing. I firmly believe that… All photography, scanning, and all image post-processing should always be done using .BMP or a similar non-lossy format. Only after all post-processing is complete should JPEG or another compressed distribution format be chosen. Some current examples of my .BMP work now do include the IMAGIMAG.PDF post-processing tutorial, the Bitmap Typewriterthat generates fully anti-aliased small fonts, the Aerial Photo Combiner, and similar utilities and tutorials found on our Fonts & Images, PostScript, and on our Acrobat library pages. A few projects of current interest involving .BMP files include true view camera swings and tilts for a digital camera, distortion correction, dodging & burning, preventing white punchthrough on knockouts, and emphasis vignetting. Mainly applied to uncompressed RGBX 24-bit color .BMP files. -
Current Trends in Vector-Based Internet Mapping: a Technical Review
Chapter 3 Current Trends in Vector-Based Internet Mapping: A Technical Review Christophe Lienert, Bernhard Jenny, Olaf Schnabel, and Lorenz Hurni Abstract Possibilities and limitations of Internet cartography software largely depend on the pace set by the software industry. The variety of commercial and non-commercial software caters for the needs of a continuously growing mapping community, including both professional and amateur cartographers. This chapter provides an overview of state-of-the-art technologies for vector-based Web- mapping as of the beginning of 2011. Both proprietary and open format technologies are discussed for vector data rendering in browsers, highlighting their advantages and disadvantages. The discussed technologies are Adobe Flash, Microsoft Silverlight, Scalable Vector Graphics (SVG), JavaFX, Canvas, and WebGL. The chapter also discusses client and server side frameworks which provide Application Programming Interfaces (APIs) for creating custom interactive maps, mainly by overlaying raster images with vector data. 3.1 Introduction Internet maps are the major form of spatial information delivery, as the Internet is today the primary medium for the transmission and dissemination of maps (Peterson 2008). For map authors, the maze of available techniques for creating and distributing Web maps is overwhelming, while authoring tools for Web-maps meeting the demands of high-quality cartography are difficult to find. Map authors may choose between GIS and graphics software products to create maps for the Internet, but these off-the-shelve maps oftentimes fall short of effectively convey- ing information. There are three main reasons for this shortcoming: (a) the design of these maps sometimes does not take into account the specific limitations of digital displays (Jenny et al., 2008); (b) the maps are often restricted in using standard C. -
Rich Internet Applications
Rich Internet Applications (RIAs) A Comparison Between Adobe Flex, JavaFX and Microsoft Silverlight Master of Science Thesis in the Programme Software Engineering and Technology CARL-DAVID GRANBÄCK Department of Computer Science and Engineering CHALMERS UNIVERSITY OF TECHNOLOGY UNIVERSITY OF GOTHENBURG Göteborg, Sweden, October 2009 The Author grants to Chalmers University of Technology and University of Gothenburg the non-exclusive right to publish the Work electronically and in a non-commercial purpose make it accessible on the Internet. The Author warrants that he/she is the author to the Work, and warrants that the Work does not contain text, pictures or other material that violates copyright law. The Author shall, when transferring the rights of the Work to a third party (for example a publisher or a company), acknowledge the third party about this agreement. If the Author has signed a copyright agreement with a third party regarding the Work, the Author warrants hereby that he/she has obtained any necessary permission from this third party to let Chalmers University of Technology and University of Gothenburg store the Work electronically and make it accessible on the Internet. Rich Internet Applications (RIAs) A Comparison Between Adobe Flex, JavaFX and Microsoft Silverlight CARL-DAVID GRANBÄCK © CARL-DAVID GRANBÄCK, October 2009. Examiner: BJÖRN VON SYDOW Department of Computer Science and Engineering Chalmers University of Technology SE-412 96 Göteborg Sweden Telephone + 46 (0)31-772 1000 Department of Computer Science and Engineering Göteborg, Sweden, October 2009 Abstract This Master's thesis report describes and compares the three Rich Internet Application !RIA" frameworks Adobe Flex, JavaFX and Microsoft Silverlight. -
Implementation of LSB Steganography and Its Evaluation for Various File Formats (LSB, JSTEG)
International Journal of Engineering Research & Technology (IJERT) ISSN: 2278-0181 Vol. 2 Issue 6, June - 2013 Implementation of LSB Steganography and its Evaluation for Various File Formats (LSB, JSTEG) Vivek Kumar, Sandesh Kumar, Lavalee Singh, Prateek Yadav MANGALAYATAN UNIVERSITY1, 2,3,4 ALIGARH Keywords: Steganography, Least ABSTRACT: Significant Bit (LSB), GIF, PNG, BMP. Steganography is derived from the Greek word steganos which literally means 1. INTRODUCTION “Covered” and graphy means “Writing”, In the current trends of the world, the i.e. covered writing. Steganography refers technologies have advanced so much that to the science of “invisible” Most of the individuals prefer using the communication. For hiding secret internet as the primary medium to transfer information in various file formats, there data from one end to another across the exists a large variety of steganographic IJERTIJERTworld. There are many possible ways to techniques some are more complex than transmit data using the internet: via e-mails, others and all of them have respective chats, etc. The data transition is made very strong and weak points. The Least simple, fast and accurate using the internet. Significant Bit (LSB) embedding However, one of the main problems with technique suggests that data can be sending data over the internet is the security hidden in the least significant bits of the threat it poses i.e. the personal or cover image and the human eye would be confidential data can be stolen or hacked in unable to notice the hidden image in the many ways. Therefore it becomes very cover file. This technique can be used for important to take data security into hiding images in 24-Bit, 8- Bit, Gray scale consideration, as it is one of the most format. -
The Effects of Learning Rate Schedules on Color Quantization
THE EFFECTS OF LEARNING RATE SCHEDULES ON COLOR QUANTIZATION by Garrett Brown A thesis presented to the Department of Computer Science and the Graduate School of the University of Central Arkansas in partial fulfillment of the requirements for the degree of Master of Science in Computer Science Conway, Arkansas May 2020 ProQuest Number:27834147 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent on the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. ProQuest 27834147 Published by ProQuest LLC (2020). Copyright of the Dissertation is held by the Author. All Rights Reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 TO THE OFFICE OF GRADUATE STUDIES: The members of the Committee approve the thesis of Garrett Brown presented on March 31, 2020. M. Emre Celebi, Ph.D., Committee Chairperson Ahmad Patooghy, Ph.D. Mahmut Karakaya, Ph.D. PERMISSION Title The Effects of Learning Rate Schedules on Color Quantization Department Computer Science Degree Master of Science In presenting this thesis/dissertation in partial fulfillment of the requirements for a graduate degree from the University of Central Arkansas, I agree that the Library of this University shall make it freely available for inspections. I further agree that permission for extensive copying for scholarly purposes may be granted by the professor who supervised my thesis/dissertation work, or, in the professor’s absence, by the Chair of the Department or the Dean of the Graduate School. -
Hardware and Software for Panoramic Photography
ROVANIEMI UNIVERSITY OF APPLIED SCIENCES SCHOOL OF TECHNOLOGY Degree Programme in Information Technology Thesis HARDWARE AND SOFTWARE FOR PANORAMIC PHOTOGRAPHY Julia Benzar 2012 Supervisor: Veikko Keränen Approved _______2012__________ The thesis can be borrowed. School of Technology Abstract of Thesis Degree Programme in Information Technology _____________________________________________________________ Author Julia Benzar Year 2012 Subject of thesis Hardware and Software for Panoramic Photography Number of pages 48 In this thesis, panoramic photography was chosen as the topic of study. The primary goal of the investigation was to understand the phenomenon of pa- noramic photography and the secondary goal was to establish guidelines for its workflow. The aim was to reveal what hardware and what software is re- quired for panoramic photographs. The methodology was to explore the existing material on the topics of hard- ware and software that is implemented for producing panoramic images. La- ter, the best available hardware and different software was chosen to take the images and to test the process of stitching the images together. The ex- periment material was the result of the practical work, such the overall pro- cess and experience, gained from the process, the practical usage of hard- ware and software, as well as the images taken for stitching panorama. The main research material was the final result of stitching panoramas. The main results of the practical project work were conclusion statements of what is the best hardware and software among the options tested. The re- sults of the work can also suggest a workflow for creating panoramic images using the described hardware and software. The choice of hardware and software was limited, so there is place for further experiments. -
Multimedia Systems DCAP303
Multimedia Systems DCAP303 MULTIMEDIA SYSTEMS Copyright © 2013 Rajneesh Agrawal All rights reserved Produced & Printed by EXCEL BOOKS PRIVATE LIMITED A-45, Naraina, Phase-I, New Delhi-110028 for Lovely Professional University Phagwara CONTENTS Unit 1: Multimedia 1 Unit 2: Text 15 Unit 3: Sound 38 Unit 4: Image 60 Unit 5: Video 102 Unit 6: Hardware 130 Unit 7: Multimedia Software Tools 165 Unit 8: Fundamental of Animations 178 Unit 9: Working with Animation 197 Unit 10: 3D Modelling and Animation Tools 213 Unit 11: Compression 233 Unit 12: Image Format 247 Unit 13: Multimedia Tools for WWW 266 Unit 14: Designing for World Wide Web 279 SYLLABUS Multimedia Systems Objectives: To impart the skills needed to develop multimedia applications. Students will learn: z how to combine different media on a web application, z various audio and video formats, z multimedia software tools that helps in developing multimedia application. Sr. No. Topics 1. Multimedia: Meaning and its usage, Stages of a Multimedia Project & Multimedia Skills required in a team 2. Text: Fonts & Faces, Using Text in Multimedia, Font Editing & Design Tools, Hypermedia & Hypertext. 3. Sound: Multimedia System Sounds, Digital Audio, MIDI Audio, Audio File Formats, MIDI vs Digital Audio, Audio CD Playback. Audio Recording. Voice Recognition & Response. 4. Images: Still Images – Bitmaps, Vector Drawing, 3D Drawing & rendering, Natural Light & Colors, Computerized Colors, Color Palletes, Image File Formats, Macintosh & Windows Formats, Cross – Platform format. 5. Animation: Principle of Animations. Animation Techniques, Animation File Formats. 6. Video: How Video Works, Broadcast Video Standards: NTSC, PAL, SECAM, ATSC DTV, Analog Video, Digital Video, Digital Video Standards – ATSC, DVB, ISDB, Video recording & Shooting Videos, Video Editing, Optimizing Video files for CD-ROM, Digital display standards. -
Flex Resources*
OpenStax-CNX module: m34542 1 Flex Resources* R.G. (Dick) Baldwin This work is produced by OpenStax-CNX and licensed under the Creative Commons Attribution License 3.0 Abstract The purpose of this document is to provide a list of links to online Flex and ActionScript resources to supplement the other lessons in the series. 1 Table of Contents • Preface (p. 1) • Resources (p. 1) • Miscellaneous (p. 3) 2 Preface This tutorial lesson is part of a series of lessons dedicated to programming using Adobe Flex. The purpose of this document is to provide a list of links to online Flex and ActionScript resources to supplement the other lessons in the series. note: The material in these lessons is based on Flex version 3 and Flex version 4. 3 Resources • Baldwin's Flex programming website 1 • Baldwin's ActionScript programming website 2 • Adobe Flex Home 3 • Download free open-source Adobe Flex 3.5 SDK 4 · Adobe Flex SDK Installation and Release Notes 5 · Application Deployment 6 • Download free open-source Adobe Flex 4 SDK 7 *Version 1.2: Jun 8, 2010 3:07 pm -0500 http://creativecommons.org/licenses/by/3.0/ 1http://www.dickbaldwin.com/tocFlex.htm 2http://www.dickbaldwin.com/tocActionScript.htm 3http://www.adobe.com/products/ex/?promoid=BPDEQ 4http://www.adobe.com/cfusion/entitlement/index.cfm?e=ex3sdk 5http://www.adobe.com/support/documentation/en/ex/3/releasenotes_ex3_sdk.html#installation 6http://livedocs.adobe.com/ex/3/html/help.html?content=Part3_deploy_1.html 7http://opensource.adobe.com/wiki/display/exsdk/Download+Flex+4 http://cnx.org/content/m34542/1.2/ -
A New Steganographic Method for Palette-Based Images
IS&T's 1999 PICS Conference A New Steganographic Method for Palette-Based Images Jiri Fridrich Center for Intelligent Systems, SUNY Binghamton, Binghamton, New York Abstract messages. The gaps in human visual and audio systems can be used for information hiding. In the case of images, the In this paper, we present a new steganographic technique human eye is relatively insensitive to high frequencies. This for embedding messages in palette-based images, such as fact has been utilized in many steganographic algorithms, GIF files. The new technique embeds one message bit into which modify the least significant bits of gray levels in one pixel (its pointer to the palette). The pixels for message digital images or digital sound tracks. Additional bits of embedding are chosen randomly using a pseudo-random information can also be inserted into coefficients of image number generator seeded with a secret key. For each pixel transforms, such as discrete cosine transform, Fourier at which one message bit is to be embedded, the palette is transform, etc. Transform techniques are typically more searched for closest colors. The closest color with the same robust with respect to common image processing operations parity as the message bit is then used instead of the original and lossy compression. color. This has the advantage that both the overall change The steganographer’s job is to make the secretly hidden due to message embedding and the maximal change in information difficult to detect given the complete colors of pixels is smaller than in methods that perturb the knowledge of the algorithm used to embed the information least significant bit of indices to a luminance-sorted palette, except the secret embedding key.* This so called such as EZ Stego.1 Indeed, numerical experiments indicate Kerckhoff’s principle is the golden rule of cryptography and that the new technique introduces approximately four times is often accepted for steganography as well. -
Alternative Processes a Few Essentials Introduction
Alternative Processes A Few Essentials Introduction Chapter 1. Capture Techniques From Alternative Photographic Processes: Crafting Handmade Images Chapter 2. Digital Negatives for Gum From Gum Printing: A Step-by-Step Manual, Highlighting Artists and Their Creative Practice Chapter 3. Fugitive and Not-So-Fugitive Printing From Jill Enfield?s Guide to Photographic Alternative Processes: Popular Historical and Contemporary Techniques 2 Featured Books on Alternative Process Photography from Routledge | Focal Press Use discount code FLR40 to take 20% off all Routledge titles. Simply visit www.routledge.com/photography to browse and purchase books of interest. 3 Introduction A young art though it may be, photography already has a rich history. As media moves full steam ahead into the digital revolution and beyond, it is a natural instinct to look back at where we?ve come from. With more artists rediscovering photography?s historical processes, the practice of photography continually redefines and re-contextualizes itself. The creative possibilities of these historical processes are endless, spawning a growing arena of practice - alternative processes, which combines past, present and everything in between, in the creation of art. This collection is an introduction to and a sample of these processes and possibilities. With Alternative Photographic Processes, Brady Wilks demonstrates techniques for manipulating photographs, negatives and prints ? emphasizing the ?hand-made? touch. Bridging the gap between the simplest of processes to the most complex, Wilks? introduction demonstrates image-manipulation pre-capture, allowing the artist to get intimate with his or her images long before development. In the newly-released Gum Printing, leading gum expert Christina Z. -
Understanding Image Formats and When to Use Them
Understanding Image Formats And When to Use Them Are you familiar with the extensions after your images? There are so many image formats that it’s so easy to get confused! File extensions like .jpeg, .bmp, .gif, and more can be seen after an image’s file name. Most of us disregard it, thinking there is no significance regarding these image formats. These are all different and not cross‐ compatible. These image formats have their own pros and cons. They were created for specific, yet different purposes. What’s the difference, and when is each format appropriate to use? Every graphic you see online is an image file. Most everything you see printed on paper, plastic or a t‐shirt came from an image file. These files come in a variety of formats, and each is optimized for a specific use. Using the right type for the right job means your design will come out picture perfect and just how you intended. The wrong format could mean a bad print or a poor web image, a giant download or a missing graphic in an email Most image files fit into one of two general categories—raster files and vector files—and each category has its own specific uses. This breakdown isn’t perfect. For example, certain formats can actually contain elements of both types. But this is a good place to start when thinking about which format to use for your projects. Raster Images Raster images are made up of a set grid of dots called pixels where each pixel is assigned a color. -
The Screen Shows Highly Saturated Colours, Is Tinted, Or Appears Yellowish, Reddish, Or Bluish
FAQ The screen shows highly saturated colours, is tinted, or appears yellowish, reddish, or bluish 1. The screen colour always seems too bright. Screens with a higher colour saturation rate display brighter colours. This is a normal occurrence. 2. The screen colour is distorted or tinted, appearing yellowish, reddish, or bluish at all times. a. Adjust the colour temperature as follows: Open Settings, search for and access Colour temperature or Colour mode & temperature, then set a colour temperature that is comfortable for you. b. Open Settings, search for and access Eye Comfort, then set a colour temperature that is comfortable for you. Eye Comfort mode effectively reduces blue light and adjusts the screen to display warmer colours, relieving eye fatigue and protecting your eyesight. When this mode is enabled, blue light will be filtered out and the screen will take on a yellowish or reddish tint. Enable or disable Natural tone mode according to your needs. c. It is recommended that you disable Colour correction in Settings. Colour correction mode is designed to make viewing the screen easier for users with colour vision impairments. Enabling this mode will result in a strong colour cast. d. Ensure that Colour inversion is disabled by going to Settings > Smart assistance > Accessibility > Colour inversion. (This feature is only available on EMUI 9.0 and later.) e. Ensure that Simulate colour space is disabled in Settings. If you can't find Profile GPU rendering, you may have deleted app data for Settings or hidden Developer options. In this case, open Settings, search for and access Build number, and touch Build number seven times in a row until You are now a developer! is displayed.