晨起見藍天，漫步之林野，喜逢

 

雙鶴展翼翱翔而飛。隨口吟著鮑照之

  舞鶴賦

散 幽經以驗物，偉胎化之仙禽。鍾浮曠之藻質，抱清迥之明心。指蓬壺而翻翰，望昆閬而揚音。澘日域以回騖，窮天步而高尋。踐神區其既遠，積靈祀而方多。精含丹 而星曜，頂凝紫而煙華。引員吭之纖婉，頓修趾之洪姱。疊霜毛而弄影，振玉羽而臨霞。朝戲於芝田，夕飲乎瑤池。厭江海而游澤，掩雲羅而見羈。去帝鄉之岑寂， 歸人寰之喧卑。歲崢嶸而愁暮，心惆悵而哀離。

於是窮陰殺節，急景凋年。骫沙振野，箕風動天。嚴嚴苦霧，皎皎悲泉。冰塞長河，雪滿群山。既而氛昏夜歇，景物澄廓。星翻漢回 ，曉月將落。感寒雞之早晨，憐霜雁之違漠。臨驚風之蕭條，對流光之照灼。唳清響於丹墀，舞飛容於金閣。始連軒以鳳蹌，終宛轉而龍躍。躑躅徘徊，振迅騰摧。 驚身蓬集，矯翅雪飛。離綱別赴，合緒相依。將興中止，若往而歸。颯沓矜顧，遷延遲暮。逸翮後塵 ，翱翥先路。指會規翔，臨岐矩步。態有遺妍，貌無停趣。奔機逗節，角睞分形。長揚緩騖，並翼連聲。輕跡凌亂，浮影交橫。眾變繁姿，參差洊密。煙交霧凝，若 無毛質。風去雨還，不可談悉。既散魂而蕩目，迷不知其所之。忽星離而雲罷，整神容而自持。仰天居之崇絕，更惆悵以驚思。

當是時也，燕姬色沮，巴童心恥。巾拂兩停，丸劍雙止。雖邯鄲其敢倫，豈陽阿之能擬。入衛國而乘軒，出吳都而傾市。守馴養於千齡，結長悲於萬里。

信步而走，不覺漸入深林，幾聲鶴鳴，方回過神來。怎到了古澤邊兒了。此間雖然聽聞絕美，四處流沙陷土極度危險。既來之，則安之。何不趁此刻細細瞧瞧，只要小 心謹慎就好。此景只原夢裡有，盎然生趣是仙鄉。一時薄霧轉濃，雖然狐疑，終究不是久待之地。出林後，看那日頭，分明已過了晌午，得敢緊尋路兒歸。

………摘自《M♪o 之學習筆記本《卯》基件︰【䷜】水洊維心》

 

人文覺醒若『柳絮』，『撒鹽』空中胡可擬

謝太傅寒雪日內集，與兒女講論文義。

俄而雪驟,公欣然曰：“白雪紛紛何所似？”兄子胡兒曰：“撒鹽空中差可擬。”兄女曰：“未若柳絮因風起。”公大笑樂。即公大兄無奕女，左將軍王凝之妻也。

 

『美育』或好『柳絮』因風起

秋夕‧杜牧

銀燭秋光冷畫屏，輕羅小扇撲流螢。
天階夜色涼如水，臥看牽牛織女星。

 

，科學格物似『習坎』！！？？

『組元』 tuple 數理如何算？？！！

印刷四分色模式

印刷四分色模式是彩色印刷時採用的一種套色模式，利用色料的三原色混色原理，加上黑色油墨，共計四種顏色混合疊加，形成所謂「全彩印刷」。四種標準顏色是：

• C：Cyan ＝ 青色，常被誤稱為『天藍色』或『湛藍』
• M：Magenta ＝ 洋紅色，又稱為『品紅色』
• Y：Yellow ＝ 黃色
• K：blacK ＝ 黑色，雖然有文獻解釋說這裡的K應該是Key Color（定位套版色）^[1][2][3]，但其實是和製版時所用的定位套版觀念混淆而有此一說。此處縮寫使用最後一個字母K而非開頭的B，是因為在整體色彩學中已經將B給了RGB的Blue藍色。

理想的印刷四分色標準

比較接近實際CMY疊色的示意圖

混色

洋紅色加黃色會形成紅色；洋紅色加青色形成藍色；青色加黃色形成綠色。理論上只用上述三種顏色相加就可以形成包含黑色在內101³共1,030,301色（0～100%模式），但實際印刷時，由於色料本身並非真正純色，三色等量相加之後只能形成一種深灰色或深褐色，而非黑色；實際偏色程度依不同廠牌色料配方而有不同差異。

理想的CMY三原色油墨/墨水/彩色碳粉其印出成品的結果應該完全等同RGB三色光的補色，但目前現實世界裡一般彩色印刷/噴墨/雷射所使用的 CMY三色色料不論何種廠牌實際上均有不同的色偏現象，一般「青色」均略帶洋紅而偏藍，「洋紅」一般同時帶青與黃而偏紫，只有「黃色」僅略帶微量洋紅而略 微偏橙；此外以三層CMY疊印產生黑色不僅不容易立即乾燥、不利於快速印刷，三色疊印也需要非常精確的套印，用於表現有許多細小線條的文字十分不利；直接 以黑色油墨替代不純的CMY三層疊印所產生的不純黑色，也可以大大節省成本。故此「黑色」雖非「原色」，卻成為彩色印刷必備的色彩之一。

以黑色代替其他顏色的量不盡相同，主要考量包括印刷技術形式、紙張和黑色油墨的品質，而採用不同的色彩轉換設定檔進行轉換。

顯示

印刷和電腦螢幕顯示，分屬兩種不同的色彩模式（電腦螢幕為發光體，遵循RGB「三原色光模式原 理」；印刷為CMY+K油墨或墨水疊印、混色，遵循的是CMY「色料的三原色原理」），加上一般油墨印刷各原色網點色階為0～100%，而電腦螢幕各原色 光色階為0～255，兩者產生的色彩數差距甚大：CMYK僅有101³+101共1,030,402色，而RGB卻有256³共16,777,216色； 加上前述印刷油墨並非理想純色，實際形成的色彩空間也小於RGB，使得不管哪一種RGB模式都超出CMYK的色域範圍；故而印刷廠一般都會強調不能以螢幕上所看到的色彩要求輸出成品的色差。

顏色模式的轉換

這種轉換實際並不總是完全一致的，例如從三原色光模式可以轉換成印刷模式，印刷品仍然可以再轉換成三原色光模式顯示。但一件印刷模式的圖片轉換成三原色光模式顯示，再轉換成印刷模式就會造成色彩的畸變，兩件印刷品的顏色會有區別。所以如果商業應用需要顏色非常精確時，不要使用轉換的方法。

印刷四分色模式向三原色光模式轉換時，需要經過一個中間三分色模式的變化，將黑色版的因素去掉。

從四分色向三原光轉換

轉換成三分色

然後再轉換成三原色光

也就是

從三原光向四分色轉換

先轉換成三分色

若 ，則

否則，再轉換成四分色

 

 

大小高低恐疑猜★

朝來夕去見如是，喜得『+』者果愛『-』？

Subtractive color

A subtractive color model explains the mixing of a limited set of dyes, inks, paint pigments or natural colorants to create a wider range of colors, each the result of partially or completely subtracting (that is, absorbing) some wavelengths of light and not others. 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, but not perfectly, often giving a flawed impression of the “true” color of the surface.

Conversely, additive color systems start with darkness. Light sources of various wavelengths are added in various proportions to produce a range of colors. Usually, three primary 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.

Subtractive color mixing

 

RYB

RYB (Red, Yellow, Blue) is the formerly standard set of subtractive primary colors used for mixing pigments. It is used in art and art education, particularly in painting. It predated modern scientific color theory.

Red, yellow, and blue are the primary colors of the standard color “wheel”. The secondary colors, violet (or purple), orange, and green (VOG) make up another triad, formed by mixing equal amounts of red and blue, red and yellow, and blue and yellow, respectively.

The RYB primary colors became the foundation of 18th century theories of color vision as the fundamental sensory qualities blended in the perception of all physical colors and equally in the physical mixture of pigments or dyes. These theories were enhanced by 18th-century investigations of a variety of purely psychological color effects, in particular the contrast between “complementary” or opposing hues produced by color afterimages and in the contrasting shadows in colored light. These ideas and many personal color observations were summarized in two founding documents in color theory: the Theory of Colors (1810) by the German poet and government minister Johann Wolfgang von Goethe, and The Law of Simultaneous Color Contrast (1839) by the French industrial chemist Michel-Eugène Chevreul.

In late 19th and early to mid-20th century commercial printing, use of the traditional RYB terminology persisted even though the more versatile CMY (Cyan, Magenta, Yellow) triad had been adopted, with the cyan sometimes referred to as “process blue” and the magenta as “process red”.

CMY and CMYK printing processes

In color printing, the usual primary colors are cyan, magenta and yellow (CMY). 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 wide range of colors with good saturation.

In inkjet color printing and typical mass production photomechanical printing processes, a black ink K (Key) component is included, resulting in the CMYK color model. The black ink serves to cover unwanted tints in dark areas of the printed image, which result from the imperfect transparency of commercially practical CMY inks; to improve image sharpness, which tends to be degraded by imperfect registration of the three color elements; and to reduce or eliminate consumption of the more expensive color inks where only black or gray is required.

Purely photographic color processes almost never include a K component, because in all common processes the CMY dyes used are much more perfectly transparent, there are no registration errors to camouflage, and substituting a black dye for a saturated CMY combination, a trivial prospective cost benefit at best, is technologically impractical in non-electronic analog photography.

 

權衡古今誰人勝！忽爾天地又千年☆

RYB color model

RYB (an abbreviation of red–yellow–blue) is a historical set of colors used in subtractive color mixing and is one commonly used set of primary colors. It is primarily used in art and design education, particularly painting.

RYB predates modern scientific color theory, which has determined that cyan, magenta, and yellow are the best set of three colorants to combine, for the widest range of high-chroma colors.^[1]

Mixture of RYB primary colors

Color wheel

RYB (red–yellow–blue) make up the primary color triad in a standard artist’s color wheel. The secondary colors purple–orange–green (sometimes called violet–orange–green) make up another triad. Triads are formed by three equidistant colors on a particular color wheel. Other common color wheels represent the light model (RGB) and the print model (CMYK).

History

The first known instance of the RYB triad can be found in the work of Franciscus Aguilonius (1567–1617), although he did not arrange the colors in a wheel.^[2]

In his experiments with light, Isaac Newton recognized that colors could be created by mixing color primaries. In his Opticks, Newton published a color wheel to show the geometric relationship between these primaries. This chart was later confused and understood to apply to pigments as well,^[3] though Newton was also unaware of the differences between additive and subtractive color mixing.^[4]

The RYB model was used for printing, by Jacob Christoph Le Blon, as early as 1725.^{[citation needed]}

In the 18th century, the RYB primary colors became the foundation of theories of color vision, as the fundamental sensory qualities that are blended in the perception of all physical colors and equally in the physical mixture of pigments or dyes. These theories were enhanced by 18th-century investigations of a variety of purely psychological color effects, in particular the contrast between “complementary” or opposing hues that are produced by color afterimages and in the contrasting shadows in colored light. These ideas and many personal color observations were summarized in two founding documents in color theory: the Theory of Colors (1810) by the German poet and government minister Johann Wolfgang von Goethe, and The Law of Simultaneous Color Contrast (1839) by the French industrial chemist Michel-Eugène Chevreul.^{[citation needed]}

Painters have long used more than three RYB primary colors in their palettes, and at one point considered red, yellow, blue and green to be the four primaries.^[5] Red, yellow, blue and green are still widely considered the four psychological primary colors,^[6] though red, yellow and blue are sometimes listed as the three psychological primaries,^[7] with black and white occasionally added as a fourth and fifth.^[8]

The cyan, magenta, and yellow primary colors associated with CMYK printing are sometimes known as “process blue”, “process red”^{[citation needed]} and “process yellow”.^{[citation needed]}

 

An RYB color chart from George Field‘s 1841 Chromatography; or, A treatise on colours and pigments: and of their powers in painting showing a red close to magenta and a blue close to cyan, as is typical in printing.