1.
CMYK (EP)
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CMYK is the second solo extended play by London-based indie producer James Blake. It was released in both the United Kingdom and the United States on R&S Records on 28 May 2010 and it samples many tracks, mostly from 1990s R&B. The EP received positive reviews from critics, the title track samples Kelis Caught out There and Aaliyahs Are You That Somebody. Pitchfork Media described the track as modern homage to old ideas as Blake two R&B archetypes. and imagines them in a back and forth, on the track, Blake sings normally and also occasionally uses a vocoder to process his voice. The track is influenced by 1990s rave pop and also contains synthesizers, the following song, Footnotes also has Blake using the vocoder, but the song is hymnal and contains gospel chords. It is a track, it uses slight noises to create an atmospheric sound. The next song Ill Stay samples Aaliyahs Try Again and has described as the warmest, most accessible track of. It is also hymnal, but it contains a call and response with repeated, high-pitched synthesizers, the final track, Postpone has been likened to a lumbering requiem before transforming into lumbering exultation. It features electronic beats, hip hop choruses, and triumphant horns, the EP received generally positive reviews from music critics. Mike Powell of Pitchfork Media complimented how Blake used the samples in his music, FACT magazine named Postpone as the highlight of CMYK, and called the EP the most anthemic thing Blake’s done to date. In the review, the EP received 4 out of 5 records, sam Louis of Resident Advisor gave CMYK4 out of 5 stars and stated that Blake underpins nearly everything here with those comfortable blankets, wrapping you up while he makes you consider dancing. He also wrote clearly also knows that a bit of subtlety can go a long way. Pitchfork Media later named CMYK the eighth best album of the year, along with The Bells Sketch EP and Klavierwerke EP, all tracks written by James Blake. The following people were involved in the making of CMYK, James Blake – instruments, production Matt Colton – mastering
2.
MYB (gene)
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Myb proto-oncogene protein also known as transcriptional activator Myb is a protein that in humans is encoded by the MYB gene. Myb proto-oncogene protein is a member of the MYB family of transcription factors, the protein contains three domains, an N-terminal DNA-binding domain, a central transcriptional activation domain and a C-terminal domain involved in transcriptional repression. This protein plays an role in the regulation of hematopoiesis and may play a role in tumorigenesis. MYB factors represent a family of proteins include the conserved MYB DNA-binding domain. Plants contain a MYB-protein subfamily that is characterised by the R2R3-type MYB domain, the maize P gene encodes a Myb homolog that recognizes the sequence CCT/AACC, in sharp contrast with the C/TAACGG bound by vertebrate Myb proteins. Ruby is a MYB transcriptional activator of genes that produce anthocyanin in citrus fruits, in most citrus varieties Ruby is non-functional, but in blood oranges it upregulates anthocyanin production to produce the characteristic red color of the fruit
3.
Microscope
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A microscope is an instrument used to see objects that are too small for the naked eye. The science of investigating small objects using such an instrument is called microscopy, microscopic means invisible to the eye unless aided by a microscope. There are many types of microscopes, the most common is the optical microscope, which uses light to image the sample. Other major types of microscopes are the microscope, the ultramicroscope. The earliest microscopes were single lens magnifying glasses with limited magnification which date at least as far back as the wide use of lenses in eyeglasses in the 13th century. Compound microscopes, which combine an objective lens with an eyepiece to view a real image, the actual inventor of the compound microscope is unknown although many claims have been made over the years. These include what may be a claim by the son of Zacharias Janssen that his father invented the microscope and telescope as early as 1590. Historians note the compound microscope did not appear in the Netherlands until the 1620s, giovanni Faber coined the name microscope for the compound microscope Galileo submitted to the Accademia dei Lincei in 1625. The first detailed account of the construction of living tissue based on the use of a microscope did not appear until 1644, in Giambattista Odiernas Locchio della mosca. It was not until the 1660s and 1670s that the microscope was used extensively for research in Italy, marcello Malpighi in Italy began the analysis of biological structures, beginning with the lungs. Robert Hookes Micrographia had an impact, largely because of its impressive illustrations. A significant contribution came from Antonie van Leeuwenhoek who achieved up to 300 times magnification using a single lens microscope. He sandwiched a very small glass ball lens between the holes in two metal plates riveted together, and with a needle attached to mount the specimen. Then, Van Leeuwenhoek re-discovered red blood cells and spermatozoa, on 9 October 1676, he reported the discovery of micro-organisms. The performance of light microscopy depends as much on how the sample is illuminated as on how it is observed, early instruments were limited until this principle was fully appreciated and developed, and until electric lamps were available as light sources. In 1893 August Köhler developed a key principle of sample illumination, Köhler illumination and this method of sample illumination produces even lighting and overcomes the limited contrast and resolution imposed by early techniques of sample illumination. In the early 20th century a significant alternative to light microscopy was developed, ernst Ruska started development of the first electron microscope in 1931 which was the transmission electron microscope. The transmission electron microscope works on the principle as an optical microscope but uses electrons in the place of light
4.
Subtractive color
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The color that a surface displays depends on which parts of the visible spectrum are not absorbed and therefore remain visible. Subtractive color systems start with light, presumably white light, colored inks, paints, or filters between the watchers and the light source or reflective surface subtract wavelengths from the light, giving it color. If the incident light is other than white, our visual mechanisms are able to compensate well, conversely, additive color systems start with darkness. Light sources of various wavelengths are added in proportions to produce a range of colors. Usually, three colors are combined to stimulate humans’ trichromatic color vision, sensed by the three types of cone cells in the eye, giving an apparently full range. RYB is the standard set of subtractive primary colors used for mixing pigments. It is used in art and art education, particularly in painting and it predated modern scientific color theory. Red, yellow, and blue are the colors of the standard color wheel. The secondary colors, violet, orange, and green make up another triad, formed by mixing equal amounts of red and blue, red and yellow, in color printing, the usual primary colors are cyan, magenta and yellow. Cyan is the complement of red, meaning that the cyan serves as a filter that absorbs red, the amount of cyan applied to a white sheet of paper controls how much of the red in white light will be reflected back from the paper. Ideally, the cyan is completely transparent to green and blue light and has no effect on those parts of the spectrum, magenta is the complement of green, and yellow the complement of blue. Combinations of different amounts of the three can produce a range of colors with good saturation. In inkjet color printing and typical mass production photomechanical printing processes, additive color Color mixing Color motion picture film Color space Color theory Primary color Berns, Roy S. Billmeyer and Saltzmans Principles of Color Technology, 3rd edition. Stroebel, Leslie, John Compton, Ira Current, and Richard Zakia, basic Photographic Materials and Processes, 2nd edition. CS1 maint, Multiple names, authors list Wyszecki, Günther & W. S. Stiles, colour Science, Concept and Methods, Quantitative Data and Formulae. Stanford University CS178 interactive Flash demo comparing additive and subtractive color mixing
5.
Color model
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A color model is an abstract mathematical model describing the way colors can be represented as tuples of numbers, typically as three or four values or color components. When this model is associated with a description of how the components are to be interpreted. This section describes ways in which human color vision can be modeled, the origin, =, corresponds to black. White has no position in this diagram, rather it is defined according to the color temperature or white balance as desired or as available from ambient lighting. The human color space is a horse-shoe-shaped cone such as here, extending from the origin to, in principle. The most saturated colors are located at the rim of the region. As far as the responses of the receptors in the eye are concerned, the latter color names refer to orange and white light respectively, with an intensity that is lower than the light from surrounding areas. The black areas have not actually become darker but appear black relative to the higher intensity white projected onto the screen around it, the human tristimulus space has the property that additive mixing of colors corresponds to the adding of vectors in this space. This makes it easy to, for example, describe the colors that can be constructed from the red, green. One of the first mathematically defined color spaces is the CIE XYZ color space and these data were measured for human observers and a 2-degree field of view. In 1964, supplemental data for a 10-degree field of view were published, note that the tabulated sensitivity curves have a certain amount of arbitrariness in them. The shapes of the individual X, Y and Z sensitivity curves can be measured with a reasonable accuracy. However, the luminosity function is subjective, since it involves asking a test person whether two light sources have the same brightness, even if they are in completely different colors. Along the same lines, the magnitudes of the X, Y. One could as well define a color space with an X sensitivity curve that has twice the amplitude. This new color space would have a different shape, the sensitivity curves in the CIE1931 and 1964 xyz color space are scaled to have equal areas under the curves. Because the CIE sensitivity curves have equal areas under the curves, the values for X, Y, and Z are obtained by integrating the product of the spectrum of a light beam and the published color-matching functions. This is called RGB color space, mixtures of light of these primary colors cover a large part of the human color space and thus produce a large part of human color experiences
6.
Color printing
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Color printing or colour printing is the reproduction of an image or text in color. The additive combination of any two colors in roughly equal proportion gives rise to the perception of a secondary color. For example, red and green yields yellow, red and blue yields magenta, yellow, cyan and magenta are merely the basic secondary colors, unequal mixtures of the primaries give rise to perception of many other colors all of which may be considered tertiary. While there are techniques for reproducing images in color, specific graphic processes. In this type of industrial or commercial printing, the used to print full-color images. Four inks are used, three colors plus black. These ink colors are cyan, magenta, yellow and key, cyan can be thought of as minus-red, magenta as minus-green, and yellow as minus-blue. These inks are semi-transparent or translucent, where two such inks overlap on the paper due to sequential printing impressions, a primary color is perceived. For example, yellow overprinted by magenta yields red, the secondary or subtractive colors cyan, magenta and yellow may be considered primary by printers and watercolorists. Two graphic techniques are required to prepare images for four-color printing, in the pre-press stage, original images are translated into forms that can be used on a printing press, through color separation, and screening or halftoning. These steps make possible the creation of printing plates that can transfer color impressions to paper on printing presses based on the principles of lithography. An emerging method of printing is six-color process printing which adds orange and green to the traditional CMYK inks for a larger and more vibrant gamut. However, such alternate color systems still rely on color separation, halftoning, color printing can also involve as few as one color ink, or multiple color inks which are not the primary colors. Using a limited number of inks, or specific color inks in addition to the primary colors, is referred to as spot color printing. Generally, spot-color inks are specific formulations that are designed to print alone, the range of available spot color inks, much like paint, is nearly unlimited, and much more varied than the colors that can be produced by four-color-process printing. Spot-color inks range from pastels to intense fluorescents to reflective metallics. Color printing involves a series of steps, or transformations, to generate a quality color reproduction, the following sections focus on the steps used when reproducing a color image in CMYK printing, along with some historical perspective. Woodblock printing on textiles preceded printing on paper in both Asia and Europe, and the use of different blocks to produce patterns in color was common
7.
Cyan
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It is evoked by light with a predominant wavelength of between 490–520 nm, between the wavelengths of blue and green. In the subtractive color system, or CMYK, which can be overlaid to produce all colors in paint and color printing, cyan is one of the colors, along with magenta, yellow. In the additive color system, or RGB color model, used to all the colors on a computer or television display, cyan is made by mixing equal amounts of green. Cyan is the complement of red, it can be made by the removal of red from white light, mixing red light and cyan light at the right intensity will make white light. The web color cyan is synonymous with aqua, other colors in the cyan color range are teal, turquoise, electric blue, aquamarine, and others described as blue-green. Its name is derived from the Ancient Greek κύανος, transliterated kyanos, meaning blue, dark blue enamel. It was formerly known as blue or cyan-blue, and its first recorded use as a color name in English was in 1879. Further origins of the name can be traced back to a dye produced from the cornflower. In most languages, cyan is not a color term. Reasons for why cyan is not linguistically acknowledged as a color term can be found in the frequent lack of distinction between blue and green in many languages. The web color cyan shown at right is a color in the RGB color model. In X11 colors, this color is called both cyan and aqua, in the HTML color list, this same color is called aqua. The web colors are more vivid than the used in the CMYK color system. To reproduce the web color cyan in inks, it is necessary to add some white ink to the printers cyan below, so when it is reproduced in printing, it is not a primary subtractive color. It is called aqua because it is a commonly associated with water. Cyan is also one of the inks used in four-color printing, along with magenta, yellow, and black. While both the secondary and the subtractive primary are called cyan, they can be substantially different from one another. Cyan printing ink can be saturated or less saturated than the RGB secondary cyan, depending on what RGB color space
8.
Magenta
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Magenta is a color that is variously defined as purplish-red, reddish-purple, or mauvish-crimson. On computer screens, it is made by mixing equal amounts of blue, on color wheels of the RGB and CMY color models, it is located midway between red and blue. It is the color of green. It is one of the four colors of ink used in printing and by an inkjet printer, along with cyan, yellow. The tone of magenta used in printing is called printers magenta, Magenta was first introduced as the color of a new aniline dye called fuchsine, patented in 1859 by the French chemist François-Emmanuel Verguin. Its name was changed the year to magenta, to celebrate a victory of the French and Sardinian army at the Battle of Magenta on June 4,1859. The web color magenta is called fuchsia. Magenta is a color, meaning that it is not found in the visible spectrum of light. Rather, it is physiologically and psychologically perceived as the mixture of red and violet/blue light, with the absence of green. In the RGB color system, used to all the colors on a television or computer display, magenta is a secondary color, made by combining equal amounts of red. In this system, magenta is the color of green. In the CMYK color model, used in printing, it is one of the three primary colors, along with cyan and yellow, used to print all the rest of the colors. If magenta, cyan, and yellow are printed on top of each other on a page, in this model, magenta is the complementary color of green, and these two colors have the highest contrast and the greatest harmony. If combined, green and magenta ink will look dark gray or black, the magenta used in color printing, sometimes called process magenta, is a darker shade than the color used on computer screens. A purple hue in terms of theory, magenta is evoked by light having less power in green wavelengths than in blue/violet. In the Munsell color system, magenta is called red–purple, if the spectrum is wrapped to form a color wheel, magenta appears midway between red and violet. Violet and red, the two components of magenta, are at opposite ends of the spectrum and have very different wavelengths. The additive secondary color magenta, as noted above, is made by combining violet and red light at equal intensity, in optics, fuchsia and magenta are essentially the same color
9.
Yellow
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Yellow is the color between green and orange on the spectrum of visible light. It is evoked by light with a predominant wavelength of roughly 570–590 nm, in traditional color theory, used in painting, and in the subtractive color system, used in color printing, yellow is a primary color. In the RGB color model, used to create colors on television and computer screens, yellow is made by combining red, the word yellow comes from the Old English geolu, geolwe, meaning yellow, yellowish, derived from the Proto-Germanic word gelwaz yellow. It has the same Indo-European base, gʰel-, as the gold and yell. In Iran it has connotations of pallor/sickness, but also wisdom and it plays an important role in Asian culture, particularly in China, where it is seen as the color of happiness, glory, wisdom, harmony, and culture. The word yellow comes from the Old English geolu, geolwe, meaning yellow, yellowish and it has the same Indo-European base, gʰel-, as the words gold and yell, gʰel- means both bright and gleaming, and to cry out. The English term is related to other Germanic words for yellow, namely Scots yella, East Frisian jeel, West Frisian giel, Dutch geel, German gelb, and Swedish and Norwegian gul. According to the Oxford English Dictionary, the oldest known use of word in English is from The Epinal Glossary in 700. Yellow, in the form of yellow pigment made from clay, was one of the first colors used in prehistoric cave art. The cave of Lascaux has an image of a horse colored with yellow estimated to be 17,300 years old, in Ancient Egypt, yellow was associated with gold, which was considered to be imperishable, eternal and indestructible. The skin and bones of the gods were believed to be made of gold, the Egyptians used yellow extensively in tomb paintings, they usually used either yellow ochre or the brilliant orpiment, though it was made of arsenic and was highly toxic. A small paintbox with orpiment pigment was found in the tomb of King Tutankhamun, men were always shown with brown faces, women with yellow ochre or gold faces. The ancient Romans used yellow in their paintings to represent gold and it is found frequently in the murals of Pompeii. During the Post-Classical period, yellow became firmly established as the color of Judas Iscariot, from this connection, yellow also took on associations with envy, jealousy and duplicity. The tradition started in the Renaissance of marking non-Christian outsiders, such as Jews, in 16th century Spain, those accused of heresy and who refused to renounce their views were compelled to come before the Spanish Inquisition dressed in a yellow cape. The color yellow has been associated with moneylenders and finance. The National Pawnbrokers Associations logo depicts three golden spheres hanging from a bar, referencing the three bags of gold that the saint of pawnbroking, St. Nicholas, holds in his hands. Additionally, the symbol of three golden orbs is found in the coat of arms of the House of Medici, a fifteenth century Italian dynasty of bankers and lenders
10.
Black
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Black is the darkest color resulting from the absence or complete absorption of light. Like white and grey, it is a color, literally a color without hue. It is one of the four colors in the CMYK color model, along with cyan, yellow. Black is often used to represent darkness, it is the symbolic opposite of white, Black was one of the first colors used by artists in neolithic cave paintings. In the 14th century, it began to be worn by royalty and it became the color worn by English romantic poets, businessmen and statesmen in the 19th century, and a high fashion color in the 20th century. In the Roman Empire, it became the color of mourning, according to surveys in Europe and North America, it is the color most commonly associated with mourning, the end, secrets, magic, force, violence, evil, and elegance. More distant cognates include Latin flagrare, and Ancient Greek phlegein, the Ancient Greeks sometimes used the same word to name different colors, if they had the same intensity. Kuanos could mean both dark blue and black, the Ancient Romans had two words for black, ater was a flat, dull black, while niger was a brilliant, saturated black. Ater has vanished from the vocabulary, but niger was the source of the country name Nigeria the English word Negro, old High German also had two words for black, swartz for dull black and blach for a luminous black. These are parallelled in Middle English by the terms swart for dull black, swart still survives as the word swarthy, while blaek became the modern English black. In heraldry, the used for the black color is sable, named for the black fur of the sable. Black was one of the first colors used in art, the Lascaux Cave in France contains drawings of bulls and other animals drawn by paleolithic artists between 18,000 and 17,000 years ago. They began by using charcoal, and then made more vivid black pigments by burning bones or grinding a powder of manganese oxide, for the ancient Egyptians, black had positive associations, being the color of fertility and the rich black soil flooded by the Nile. It was the color of Anubis, the god of the underworld, who took the form of a black jackal, and offered protection against evil to the dead. For the ancient Greeks, black was also the color of the underworld, separated from the world of the living by the river Acheron and those who had committed the worst sins were sent to Tartarus, the deepest and darkest level. In the center was the palace of Hades, the king of the underworld, Black was one of the most important colors used by ancient Greek artists. In the 6th century BC, they began making pottery and later red figure pottery. In black-figure pottery, the artist would paint figures with a clay slip on a red clay pot
Color vision.
