E colors

Yellow 100.00% Key 91.37% HSL HSL(120deg, 100.0 %, 4.3 %) Hue 120° Saturation 100.00 %. Lightness 4.31 %. RYB RYB(233, 255, 244) Red 233 (91.4%) Yellow 255 (100.0%) Blue 244 (95.5%) HSV/HSB Hue 120° Saturation 100.00 %. Brightness / Value 8.63 %. HWB H: 120°W: 0.00 % B: 91.37 % XYZ X : 0.29 Y : 0.57 Z : 0.1 YXY Y1 : 0.57 X : 0.3 Y2 : 0.6 CMY C : 100.00% M : 91.37%Y : 100.00% LRV ~ 0.6 % Munsell Color System 8.5GY 0.5/3.6 CIE-Lab L : 5.18 A : -10.59 B : 7.57 CIE-Lch L : 5.18 C : 13.02 H : 144.44 CIE-Luv L : 5.18 U : -4.91 V : 6.35 Hunter-Lab L : 7.58 A : -6.5 B : 4.55 Similar Colors and Paints Named colors similar to Black Green Here are the colors similar to Black Green . Delta E (ΔE) is the measure of the difference between two colors. Delta E is measured on a scale from 0 to 100, where 0 means exact match, and 100 is the highest difference. Similar colors from Pantone, RAL, and other color matching system British Standard 4800 Black Green color similar/equivalent colors from British Standard 4800. Conversion of Black Green to British Standard 4800 Paint similar to Black Green Here are the best recommended paint colors similar to Black Green . Delta E (ΔE) is the measure of the difference between two colors. Delta E is measured on a scale from 0 to 100, where 0 means exact match, and 100 is the highest difference. Valspar Black Green color similar/equivalent paint from Valspar. Conversion of Black Green to Valspar Sherwin Williams Black Green color similar/equivalent paint from Sherwin Williams. Conversion of Black Green to Sherwin Williams Benjamin Moore Black Green color similar/equivalent paint

Also unable to render the deep red region 22 c. The controller 12 therefore replaces the black region 22 e with a renderable color 22 e′ such as purple or violet, and replaces the deep red region 22 c with another renderable color such as pink or orange. Assuming the shape and position of the regions 22 c, 22 e is not adapted and only the colors are changed, the replaced region is made spatially coincident with the respective replaced region (not just happening to partially overlap). I.e. the replaced regions are existing parts of the source image, just with the color adapted. The user can then select any desired region from the modified image 20′ (e.g. by clicking or touching the desired region), and the lighting system will render this color from the modified image through the lighting system 4, 10. Alternatively or additionally, the controller 12 may superimpose artificially generated regions 24 a, 24 b, 24 c′, 24 d, 24 e′ showing the renderable colors 22 a, 22 b, 22 c′, 22 d, 22 e′ respectively in the modified image 20′, but in different locations than the regions having those respective colors 22 a, 22 b, 22 c, 22 d, 22 e in the original image 20. E.g. the right-hand side of the modified image 20′ in FIG. 2 shows a selection of colors from the image that are specifically suitable for this type of lighting. These act as control regions that the user can select (e.g. click or touch) to choose the color for the lighting. It will be appreciated that the above embodiments have been described only by way of example. For instance, there are other ways the image could be modified to remove or replace unrenderable colors. In one such example, the image is cropped

The desired region), and the lighting system will render this color from the modified image through the lighting system 4 , 10 . the controller 12 may superimpose artificially generated regions 24 a , 24 b , 24 c ′, 24 d , 24 e ′ showing the renderable colors 22 a , 22 b , 22 c ′, 22 d , 22 e ′ respectively in the modified image 20 ′, but in different locations than the regions having those respective colors 22 a , 22 b , 22 c , 22 d , 22 e in the original image 20 . the right-hand side of the modified image 20 ′ in FIG. 2 shows a selection of colors from the image that are specifically suitable for this type of lighting. These act as control regions that the user can select (e.g. click or touch) to choose the color for the lighting. the image could be modified to remove or replace unrenderable colors. the image is cropped such that only an area of the image comprising colors that are renderable is displayed. the image is automatically converted to a color palette of colors that can be rendered well by the light source, and the user can select from those colors. areas of the picture that have colors that can be rendered well are highlighted to the user, e.g. by outlining them, or placing color picker icons over them. the other, unrenderable areas are faded and/or blurred (but optionally if the user moves a picker curser to this area, this effect shall be removed). the image may be converted to grey-scale or sepia to reflect the characteristics of that lighting system. colors as referred to herein most broadly means different sets of color space values (or different ranges of such)

The hue, saturation and brightness; or as x-y coordinates in a gamut of the lighting system. renderable or unrenderable colors may be pre-stored in a local memory of the user terminal 6 , based on pre-determined knowledge of what colors are inherently renderable or unrenderable, and/or pre-determined knowledge of what colors the particular lighting system or a particular one or more of the luminaires 4 being controlled is/are able or not able to render. some or all of the renderable or unrenderable colors may be indicated to the controller 12 on the user terminal 6 from the lighting system via the communications interface 13 (e.g. from a central control module 10 of the lighting system or from each individual luminaire ( 4 ). the controller 12 then generates a modified version 20 ′ of the source image 20 in which the unrenderable colors are replaced with colors that the lighting system can render. the bottom image in FIG. 3 shows the converted image 20 ′, suitable for lighting systems that are capable of rendering white tones and colors. For instance, it is determined that the black region 22 e is unrenderable, and that the lighting system is also unable to render the deep red region 22 c . the controller 12 therefore replaces the black region 22 e with a renderable color 22 e ′ such as purple or violet, and replaces the deep red region 22 c with another renderable color such as pink or orange. the replaced region is made spatially coincident with the respective replaced region (not just happening to partially overlap). I.e. the replaced regions are existing parts of the source image, just with the color adapted. the user can then select any desired region from the modified image 20 ′ (e.g. by clicking or touching

With a vitality that kept him constantly seeking new things. He created various genres of Ukiyo-e, including famous place paintings, manga, ghost paintings, pornographic pictures, and original drawing. His representative works are “Fugaku Sanjurokkei” (Thirty-six Views of Mt. Fuji).Utagawa Hiroshige”Fifty-three Stations of the Tokaido”Utagawa Hiroshige”Fifty-three Stations of the Tokaido”Utagawa Hiroshige (1797-1858) was known as a rival of Katsushika Hokusai, and along with Hokusai, he was an Ukiyo-e artist famous for his series of famous place paintings. His Ukiyo-e, with their emotional and concise lines, stirred the common people’s yearning to travel, and they became a huge hit. His representative works are “Tokaido Gojusan-tsugi” (Fifty-three Stations of the Tokaido).Utagawa Kuniyoshi “The haunted old palace at Soma”Utagawa Kuniyoshi “The haunted old palace at Soma”Utagawa Kuniyoshi (1798-1861) was an Ukiyo-e artist known for his three-panel paintings of actors. He became a big seller with his samurai picture series and produced playful and eccentric Ukiyo-e, such as caricatures called “Yose-e”. His representative works is “Soma no furudairi” (The haunted old palace at Soma).What is the appeal of Ukiyo-e?Vivid colors from multicolor printingUtagawa Hiroshige”Fifty-three Stations of the Tokaido”During the Edo period, when woodblock printings were well developed, many Ukiyo-e were produced in vivid colors by talented carvers and “surishi”. Since there were no photographs, the indigo and other vivid colors of Hiroshige Utagawa’s works, known as “Hiroshige Blue”, enthralled the common people.Ukiyo-e style and artistic developmentFamous place picture series by Katsushika Hokusai and Utagawa HiroshigeAs Ukiyo-e became widely popular among the common people, each Ukiyo-e artists began to actively adopt their own styles and new techniques and to engage in friendly competition. The artistic quality of Ukiyo-e improved dramatically, and they came to be appreciated even by people of high rank, such as samurai warriors.Ukiyo-e, loved by extending across class boundaries, were also used as