Shades Of Grey
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Variations of gray or grey include achromatic grayscale shades, which lie exactly between white and black, and nearby colors with low colorfulness. A selection of a number of these various colors is shown below.
The colors white and black are not usually thought of as shades of gray, but they can be thought of as shades of achromatic gray, as both contain equal amounts of red, blue and green. White is at the extreme upper end of the achromatic value scale and black is at the extreme lower end of the achromatic value scale, with all the colors normally considered tones of achromatic gray colors in between. Since achromatic colors have no hue, the hue code (h code) is left blank for achromatic colors (usually marked as a dash).
Poet George Sterling once wrote a poem calling San Francisco the \"cool grey city of love\"[22] The phrase cool grey as applied to San Francisco refers to the frequent fogs from the Pacific Ocean that envelop the city.
Warm grays are colors that are noticeably brownish, pinkish grays, or reddish purple grays. The color brown is itself a dark shade of orange. Brown colors also include dark shades of rose, red, and amber. Pink colors include light tones of rose, red, and orange. These tones of pink become warm grays when they are mixed with gray.
The color displayed at right matches the color sample called taupe referenced below in the 1930 book A Dictionary of Color, the world standard for color terms before the invention of computers. However, the word taupe may often be used to refer to lighter shades of taupe today, and therefore another name for this color is dark taupe.
Lavender and gray are two colors that look great together, and Lavender Gray is a lovely, gentle mixture of the two. Its complementary color is the soft, pearl-like Pastel Gray. These two colors look especially nice together, and Lavender Gray also works well alongside ivory and other shades of off-white.
Rustic shades of neutrals can add a certain charm to a whole range of projects. And Rustic Gray is no exception. This shade looks a lot like weathered wood that has been whitewashed. It has a bit of a silvery glow about it. Try combining it with deep navy blue or black for an understated yet elegant look.
This dignified, pewter-like gray has a hint of a green undertone. It looks good with brownish shades of gray, as its complementary color is Taupe Gray. Like many similar shades, Echo also works well beside quiet yet saturated cool colors like navy and hunter green.
Window Gray is a somewhat strange name for a gray shade. After all, most people think of clear glass when they picture windows. It can be found on the Classic list curated by RAL, a European color-matching system that is a lot like Pantone. Window Gray is a pleasant, medium gray that works beautifully in patterns with various shades of blue.
Silver Pink is essentially the cool counterpart to rose gold and similar shades. It looks a little like Dusty Rose. Silver Pink is a popular interior design color, and it is included in the Plochere system of colors.
Agreeable Gray is a pleasant, rosy gray shade that has some warmth to it. Its reddish undertones give it a little more energy than most cooler gray shades. Its classic, slightly dusty appearance looks good with ivory and other warm-leaning off-white shades.
Warm Gray is a unique color that sits somewhere between rose gray and taupe. It creates a dynamic all-neutral palette when paired with gray shades that contain a lot of blue. Alternatively, you also may find that you like diluted versions of Warm Gray. These paler colors have a pinkish hue.
This cool, dignified gray is one of the more popular gray paint shades offered by Benjamin Moore. It has a peaceful, almost oceanic blue-green undertone. As a wall color, it offers a welcome departure from your more typical shades of flat, average gray. It does well with baseboards that are painted a cool shade of white. Alternatively, Templeton Gray will be right at home alongside cool, seaglass-like blues and greens.
This rich, medium-dark gray is an ideal choice if your project requires a gray shade with considerable presence. And though this color is a fairly well-balanced one, it is slightly cooler than it is warm. Because of its cool nature, Chameleon Gray looks good mixed with various shades of blue and blue-gray. But since it does have a decent amount of yellow, this color also has enough warmth to be comfortable among an assortment of warmer shades.
Iron is probably one of the best-known gray metals, and this particular shade is a highly versatile one. It has a decent amount of influence from both warm and cool undertones. But on average, Iron is just a bit more warm than it is cool. It has a medium-to-high K value, so it sits pleasantly between light grays and darker shades.
Most of us probably think of bone as being white. But truthfully, most bones are off-white in color. This particular shade is really more gray than it is white. And because it has significant red and yellow undertones, it has an orangey glow that sets it apart from other gray shades. Thanks to its aged look, Bone makes a great background color for signage and stationery.
Heather is one of the color names that is frequently used to describe various shades of gray fabrics. Most heather grays are made up of a mix of dark gray and light gray, so this particular shade strikes a nice medium between them.
Though more blue than natural flint, Flint is nonetheless an intriguing color. Against yellow, it creates a high-energy contrast. But because it sits between blue and gray shades, Flint also works beautifully in gradient palettes going from gray to blue.
In the run-up to the vote and in the weeks after, newspapers and magazines published articles about recent industry controversies, empty grandstands, and an anachronistic pastime. But few articles asked the questions that to me seemed most pertinent: If 97% of greyhounds bred annually in America were racing greyhounds, what would happen to the breed if the sport were to end How is dog racing different from the many other forms of casual animal exploitation our society sanctions, like horse racing, a sport we not only condone but celebrate with minty cocktails and flowery hats Most importantly, what could the racing ban tell us about our evolving-but-ambivalent relationship with dogs With all domestic animals
At the end of their time on the farm, the dogs reside in a kennel-like building that simulates what their lives will be like at the track. The greyhounds in this area are astoundingly athletic, with comically large thighs and butts.
When I meet Kathi Lacasse, she is wrangling a dozen greyhounds into the paddock at the Sanford Orlando Kennel Club and wearing a shirt that says, The Universe is made up of protons, neutrons, electrons, and morons. Having recently injured her knee in a horse-riding accident, she is walking with a subtle limp. Her dogs are nearly uncontrollable with excitement.
For a long time medical LCDs only supported 8 bits or 256 shades of gray per pixel. With the introduction of medical displays optimized for mammography,1 the available number of gray scales increased to 1,024.
Figure 2 shows the luminance (in candelas per square meter) in function of the JND index as defined by Barten. It follows from this figure that in the luminance range of 0 to 4,000 cd/m2, there are approximately 1,000 JND. This means that a human observer is able to perceive around 1,000 different shades of gray over this entire luminance range and in optimal conditions. Figure 2 also indicates that the human eye is relatively less sensitive in dark compared to bright environment. Indeed, over the luminance range 0.1 to 10 cd/m2 (two orders of magnitude) there are around 200 JND while over the range 10 to 1000 cd/m2 (also two orders of magnitude) there are around 600 JND available. When luminance exceeds 10 cd/m2, the human eye follows an almost purely logarithmic behavior.
Nowadays, typical medical displays have luminance ranges between 0.8 and 600 cd/m2. As can be seen from Figure 4, it is possible for a human observer to perceive around 720 different shades of gray on such display. Prototype displays have been demonstrated with luminance range between 0.5 and 2,000 cd/m2. According to the above formulas, 0.5 cd/m2 corresponds to JND index 47 and 2,000 cd/m2 corresponds to JND index 917. Therefore, in optimal conditions it is possible for a human observer to perceive around 870 different shades of gray on such prototype display system. Because 9 bits correspond to 512 levels of gray and 10 bits to 1,024 levels of gray, it is clear that a display system capable of simultaneously showing 10 bits of gray already exceeds the capabilities of the human visual system.
The next step is to determine what the inherent bit depth of the display panel should be so that there are sufficient gray levels available for accurate calibration. In other words, what is the maximal quantization error that can be tolerated To answer this question simulations have been performed based on a medical LCD panel that renders 256 simultaneous shades of gray and has inherent panel depth of 10, 11, and 12 bits. For both configurations the panel has been calibrated to DICOM GSDF and the remaining deviation has been calculated. The results of these simulations are visible in Figure 8, where the difference in JNDs between each of the 256 gray levels (also called just noticeable differences per step) is shown. If the display were perfectly calibrated then this plot would show a constant value, meaning that the visible difference between each of the consecutive gray values is perfectly equal.
However, there is one major caveat. To be able to render these 900 visible gray levels, the display system needs to be calibrated to DICOM GSDF. Consider a display system capable of displaying 1,024 simultaneous shades of gray. In that case the calibration process will need to select 1,024 levels from a palette of available gray shades by means of a calibration lookup table so that all 1,024 shades of gray are at the same distance in JND space and therefore the display is perceptually linearized. Accurate calibration requires that the display panel has a higher inherent number of grayscales available to choose from. The simulation results of Figure 8 demonstrate that 11 bits (2,048 shades of gray) inherent display grayscale resolution is sufficient. Increasing the inherent panel bit depth to 12 bits only brings a limited incremental improvement. 59ce067264
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