These days, we take for granted that our computer screens—and even our phones—will show us images in vibrant full color. Digital color is a fundamental part of how we use our devices, but we never give a thought to how it is produced or how it came about. Chromatic Algorithms reveals the fascinating history behind digital color, tracing it from the work of a few brilliant computer scientists and experimentally minded artists in the late 1960s and early ‘70s through to its appearance in commercial software in the early 1990s. Mixing philosophy of technology, aesthetics, and media analysis, Carolyn Kane shows how revolutionary the earliest computer-generated colors were—built with the massive postwar number-crunching machines, these first examples of “computer art” were so fantastic that artists and computer scientists regarded them as psychedelic, even revolutionary, harbingers of a better future for humans and machines. But, Kane shows, the explosive growth of personal computing and its accompanying need for off-the-shelf software led to standardization and the gradual closing of the experimental field in which computer artists had thrived. Even so, the gap between the bright, bold presence of color onscreen and the increasing abstraction of its underlying code continues to lure artists and designers from a wide range of fields, and Kane draws on their work to pose fascinating questions about the relationships among art, code, science, and media in the twenty-first century.

Color Theory and Modeling for Computer Graphics, Visualization, and Multimedia Applications deals with color vision and visual computing. This book provides an overview of the human visual system with an emphasis on color vision and perception. The book then goes on to discuss how human color vision and perception are applied in several applications using computer-generated displays, such as computer graphics and information and data visualization. Color Theory and Modeling for Computer Graphics, Visualization, and Multimedia Applications is suitable as a secondary text for a graduate-level course on computer graphics, computer imaging, or multimedia computing and as a reference for researchers and practitioners developing computer graphics and multimedia applications.

In a very broad sense the historical development of computer graphics can be considered in three phases, each a giant step down the road towards "realistic" computer generated images. The first, during the late 1960's and early 1970's, can perhaps be characterized as the "wire frame" era. Basically pictures were composed of lines. Considerable em phasis was placed on "real time" interactive manipulation of the model. As models became more complex and as raster technology developed, eliminating the hidden lines or hidden surfaces from the image became critical for visual understanding. This requirement resulted in the second phase of computer graphics, the "hidden surface" era, that developed during the 1970's and early 1980's. The names associated with hidden surface algorithms read like a who's who of computer graphics. The cul mination of the hidden surface era and the beginning of the current and third era in computer graphics, the "rendering" era, was Turner Whitted's incorporation of a global illumination model into the ray trac ing algorithm. Now the goal was not just to generate an image, but to generate a realistic appearing image.

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From products we use to clothes we wear, and spaces we inhabit, we rely on colour to provide visual appeal, data codes and meaning. Color and Design addresses how we understand and experience colour, and through specific examples explores how colour is used in a spectrum of design-based disciplines including apparel design, graphic design, interior design, and product design. Through highly engaging contributions from a wide range of international scholars and practitioners, the book explores colour as an individual and cultural phenomenon, as a pragmatic device for communication, and as a valuable marketing tool. Color and Design provides a comprehensive overview for scholars and an accessible text for students on a range of courses within design, fashion, cultural studies, anthropology, sociology and visual and material culture. Its exploration of colour in marketing as well as design makes this book an invaluable resource for professional designers. It will also allow practitioners to understand how and why colour is so extensively varied and offers such enormous potential to communicate.

This interactive e-book is named ‘True Colors’, because it describes what we aim for when we try to produce an image without randomly changing its colours in print or on the internet. It centres on how to make the workflow of shooting> processing> manipulation> reproduction to be as predictable and optimal as possible. The human factor is central to the book. Most mistakes in the colour workflow are made through bad or lacking communication, and there’s a chapter on Communicating Color – not only about human-speak, but on how colour translates and communicates digitally to analogue output. It covers print, ink, paper, light, viewing and the many factors within Colour Management that are non-digital.

This text offers students on the dynamic and diverse field of computer science. [In the text, the authors] provide [an] overview of the many aspects of the discipline from a generic view point. Separate program language chapters are available as bundle items for those instructors who would like to explore a particular programming language with their students. The many layers of computing are thoroughly explained beginning with the information layer, working through the hardware, programming, operating systems, application, and communication layers, and ending with a discussion on the limitations of computing. [It is] for introductory computing and computer science courses. [It is also for] computer science majors with a solid foundation for further study, and offers non majors a comprehensive and complete introduction to computing.

This is the go-to guide for designers as it outlines and details the essential color design skills needed to create successful, meaningful, and aesthetically compelling designs. Along with hands-on projects, it offers unique insights into strategy and business when working in the real world with real clients.Color Worksstarts with basic information on color practices and fundamentals, and then delves more deeply into theory and application on a project-by-project basis. Illustrated with real-world projects and case studies, this book offers a behind-the-scenes take on the design process and the necessary steps to go from concept to final outcome, including the challenges encountered along the way.

"Color is a subject that has fascinated humans incessantly. We want to explain color, to explore it, use it, enjoy it, be radical with it. Perhaps our fascination with color lies in the fact that it's elusive. We can't really explain it. What's more, the subjective, social, and cultural implications of color are so detailed that color remains confusing, complex, and therefore constantly interesting." "Color for Websites came about to fill a gap existing in contemporary Web design books - and to celebrate the profound nature of color. While there's plenty of information about Color Theory, Web graphics, digital color for the Web, and color in a cultural context, there are no books to my knowledge that combine these topics in one place specifically for the Web designer, empowering that designer to make learned choices and execute them with skill, yet still maintain that original fascination."--Jacket.