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Made a tiny color lib: nutelch 🌰 It sits between OKLCh and OkHSL. You dial chroma as a fraction of the way to the gamut cusp (so "saturation" means the same thing at every L & H, never out of gamut), but the result is still a plain oklch()... show more

David Aerne

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18,418 просмотров • 2 месяцев назад •via X (Twitter)

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The lost art of color quantization. Reducing 256 colors to a palette of 16 using Simulated Annealing. The solution represents a compromise between covering the color gamut and reducing noise caused by dithering.

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What if we could edit our gradients right inside the color space? The dashed line is the intended path, and the solid line is how it's mapped to the sRGB gamut. In LCH/OKLCH gradients it's easy to fall out of sRGB, even if starting points are valid colors.

What if we could edit our gradients right inside the color space? The dashed line is the intended path, and the solid line is how it's mapped to the sRGB gamut. In LCH/OKLCH gradients it's easy to fall out of sRGB, even if starting points are valid colors.

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Eric Rohmer on the use of Colour in "La Collectionneuse" (1967) and "Claire's Knee" (1970): "I didn't use color as a dramatic element, as some filmmakers have done. For me it's something inherent in the film as a whole. I think that in 'La Collectionneuse' (1967) color above all heightens the sense of reality and increases the immediacy of the settings. In this film color acts in an indirect way; it's not direct and there aren't any color effects, as there are for example in Bergman's most recent film, his second one in color, where the color is very deliberately worked out and he gets his effects mainly by the way he uses red. I've never tried for dramatic effects of this kind, but. for example, the sense of time-evening, morning, and so on-can be rendered in a much more precise way through color. Color can also give a stronger sense of warmth, of heat, for when the film is in black-and-white you get less of a feeling of the different moments of the day, and there is less of what you might call a tactile impression about it. In 'Claire's Knee' (1970), I think it works in the same way: the presence of the lake and the mountains is stronger in color than in black-and-white. It's a film I couldn't imagine in black-and-white. The color green seems to me essential in that film, I couldn't imagine it without the green in it. And the blue too-the cold color as a whole. This film mould have no value for me in black-and-white. It's a very difficult thing to explain. It's more a feeling I have that can't be reasoned out logically." (Eric Rohmer's interview with Graham Petrie, Film Quarterly, 1971)

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🇳🇱 AMSTERDAM SCIENTISTS CREATE “CHAMELEON SKIN” THAT CHANGES COLOR WITHOUT PIGMENT Scientists at the University of Amsterdam have developed a new nanomaterial that changes color like a chameleon, using no pigment, no paint, and no electricity. It is made from an extremely thin layer of silicon, about one thousandth the width of a human hair. The surface is cut with patterns so small they are invisible to the eye, inspired by the Japanese art of kirigami, which uses cuts and folds to make flexible designs. When the material stretches, those tiny shapes twist and tilt, changing how light bounces off the surface. The color shift comes from light interference, not chemical dyes. As the spacing between the nanostructures changes, different wavelengths of light cancel or reinforce each other, creating visible color shifts. The same natural physics explains why soap bubbles shimmer with rainbow patterns or why butterfly wings flash blue and green. Lead researcher Davide Ruzzene explained, “By nanopatterning the thin silicon membrane, we made it act as both a mechanical metamaterial and an optical metasurface, letting structure, not pigment, control color.” In simpler terms, the material physically moves and optically transforms at the same time. Because it does not rely on power or fading dyes, it could be used in military camouflage that changes color in motion, medical bandages that show strain or swelling, or flexible displays that never need charging. This is not science fiction but real nanoscience, turning light and motion into a living display. Source: Eugene, PhysOrg

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The HERA team shared the story behind the lip gloss name — 'Sunkissed’ inspired by #FELIX and his viral cut: “It's a vibrant Roseberry color inspired by the warm sunlightih Sydney, Australia, made especially for Yongbok. Once you try it on,everyone will truly understand why. The way we developed this color was actually inspired by a famous Felix cut that went viral. We were inspired by seeing that distinctive lip in the cut.” #FELIXXHERA #필릭스 #StrayKids

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Changing the color of a texture is pretty lame, so I've been experimenting with different techniques and have stumbled upon a really interesting way to tint the color while preserving perceived brightness.

Changing the color of a texture is pretty lame, so I've been experimenting with different techniques and have stumbled upon a really interesting way to tint the color while preserving perceived brightness.

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