Color wheel rbg picker4/3/2024 Note the corners that can be seen for the red and blue emitters (green is at the back), and again for cyan, magenta and yellow. To illustrate, below is a representation of all the colours that can be produced by a normal sRGB computer monitor. The Y axis is scaled to the luminosity of this white, so it is always at Y=1. The bottom surface (Y=0) is all black the very peak of this shape is the source’s "white" - which you get if you have all the emitters set to 100%. Plotted in 3D CIE 1931 space, this forms a roughly polyhedral shape all colours inside this shape can be made. You can measure a light source (such as a fixture) to determine the exact colours each emitter gives off this process is called colourimetry.įrom these colours, one can determine the range of all possible colours that a light source can give this is called that source’s "gamut". This is because no matter how hot an object is heated, it will never give off saturated blue light the temperature axis ends at "infinity kelvin", which is a deep sky blue colour. This colourspace cannot produce deep blues or cyans. There is a rough correspondence between plus/minus green gels and delta-UV a one-eighth gel is about 0.004 UV, a one-quarter gel is about 0.008 UV, and so on. Using this channel allows for reds, oranges, yellows, pale greens, pinks, and purples to be achieved. The practical effect of this is that a positive delta-UV is similar to "add green", and a negative is "subtract green", similar to colour gels made for the same purpose. This measures the distance from the Plankian locus in a different CIE colourspace (CIE UV), either upwards (positive values) or downwards (negative). The delta-UV value is used to produce colours other than "whites". The colours that can be achieved this way fall along a curved line in CIE 1931 space, called the "Plankian locus". For instance, heating an object to about 6500K will cause it to glow a bright white the colour of a clouded sky. The temperature of a "white" colour is defined as what temperature an object would need to be heated to start giving off that colour. The two values are temperature (in Kelvin), and Delta-UV, (in UV units).Īs objects are heated, they begin to glow different colours. ![]() The CCT colour space uses correlated colour temperatures. One advantage of CIE 1931 is that mixing any two colours on a CIE chart will produce a colour along the straight line that joins them (unfortunately, an equal mix is not guaranteed to be in the middle). Under HSI models, they can be thought of as colours with over 100% saturation. These are "impossible" or "forbidden" colours, and they exist only theoretically. Points outside of the horseshoe shape of a CIE chart correspond to colours that could be "seen" if specific signals were given to the brain, but these signals can never be given by the human eye (under normal circumstances). Note that not all combinations of x and y are real colours perceivable by the human eye. ![]() ![]() These coordinates are independent of any device, and form a three-dimensional space of potential colours. This measures the colour of a light source using two coordinates, x and y, and the brightness with a third, Y (capital). ![]() For this reason, colour scientists use a more general model to describe colours: CIE 1931. One limitation of the above models is that they are defined based on a set of primary colours, which may vary between devices (for example, how red is the "red" in RGB?).
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The Signature Editions collection were produced as hardbacks between 2011-2012, and then re-released using almost the same cover designs a few years later but with flexibound covers instead. Yes, the books in this series are often re-released with the same internal content and a different binding – many of the titles from the Illustrated Children’s Classicscollection, for example, have the same content as the now out-of-print Rainbow Classicscollection, but have different cover design. Please don’t judge me…) Are some of the books the same just with different covers? I am a big Alice fan if you’d like to see my collection. ![]() (I made an exception for that very pretty 2018 Alice omnibus though. And although they look gorgeous, I personally am not a huge fan of the massive omnibus editions because they are really quite unwieldy to read when they get above 600 pages or so. The illustrations are often scanned from reprints, not originals, so they are not as sharp as they could be. And some of the volumes have also had really disappointing errors in the text that are often fixed up in later printings, but that’s not much use if you have an earlier edition (where I am aware of these issues, I have noted the details below). The translations used for foreign language classics are older ones that are in the public domain, and there are often newer ones available that are easier to read (if translation is important to you, I recommend the Penguin Classics, which additionally also have great notes). Internally, I’d classify them as on par with a decent book club edition – they are hybrid bound, with most having sewn signatures glued into the spine, which means they will lay flat, but the glue doesn’t last for a long time. The proof is in the bookshelf, and I have a large number of B&N collectible classics in my own shelves, holding their own against my much more expensive Folio Society and Easton Press books.īut I do have a few caveats. They are all relatively durable hardbacks except for the Flexibound Editions (and even these are way more durable than your average paperback). Most of the books have decorative head and tail bands, gilt or stained page edges, bound-in silk ribbon bookmarks, and decorative hubs on the spine. They are definitely very decorative shelf candy with their gorgeous cover designs and bright colored covers, and I personally think that anything that makes people more likely to pick up and read a classic novel is a great thing. Do they compare in quality to publishers selling fine press leatherbound editions? Of course not. The Flexibound Editions, on the other hand, are pretty much completely faux leather. So yes, most B&N book covers are comprised of about 20% real leather. Basically bonded leather is to leather what chipboard is to wood. In some cases, a second coating of polyurethane can be added and embossed to create a texture closer to real leather. This is basically a mix of both real leather (leftover scraps and fibres from processing genuine leather) and fake leather (typically a polyurethane binder), rolled together using an adhesive glue and bonded onto a paper backing. The majority of the books in the collectible classics series are covered in ‘bonded’ leather. Visit this page on the Barnes & Noble website to see everything they currently have available in the series. In 2005, they released a highly decorative edition of The Complete Works of Lewis Carrolland its popularity sparked the beginning of the ‘Collectible Classics’ as the series is better known today. The contents were mostly omnibus editions (with several titles by the same author in a single book) and the bindings were very traditional, with dark (bonded) leather covers featuring plain gold text and simple foiled borders, along with raised bands on the spine, gilt page edges, decorative endpapers, and a sewn-in ribbon bookmark. 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