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halftone images and their corresponding originals. The histograms provide the distribution before and after halftoning and make it possible to approximate the continuous-tone value for a specific distribution in the halftone image. For this approach, the halftoning strategy has to be known in advance for choosing a proper lookup table. Additionally, the table needs to be recomputed for every new halftoning pattern. Generating the descreened image is fast compared to iterative methods because it requires a lookup per pixel.
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pattern. The same applies to more complex tools like retouching. Many other image processing techniques are designed to operate on continuous-tone images. For example, image compression algorithms are more efficient for those images. Another reason is the visual aspect since halftoning degrades the quality of an image. Sudden tone changes of the original image are removed due to the limited tone variations in halftoned images. It can also introduce distortions and visual effects like
673:. This type of network can artificially generate content and recover lost details. However, these methods are limited by the quality and completeness of the used training data. Unseen halftoning patterns which were not represented in the training data are rather hard to remove. Additionally, the learning process can take some time. By contrast, computing the inverse halftoning image is fast compared to other iterative methods because it requires only a single computational step.
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each cell, the high-frequency attribute is a centered variable-sized halftone dot composed of ink or toner. The ratio of the inked area to the non-inked area of the output cell corresponds to the luminance or graylevel of the input cell. From a suitable distance, the human eye averages both the high-frequency apparent gray level approximated by the ratio within the cell and the low-frequency apparent changes in gray level between adjacent equally spaced cells and centered dots.
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of the photographic halftone method. Clustered multi-pixel dots cannot "grow" incrementally but in jumps of one whole pixel. In addition, the placement of that pixel is slightly off-center. To minimize this compromise, the digital halftone monochrome pixels must be quite small, numbering from 600 to 2,540, or more, pixels per inch. However, digital image processing has also enabled more sophisticated
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260:), which was then combined with a second exposure with the same screen orientated at another angle. Another method was to expose through a screen-plate with crossing lines etched into the surface. Later, either photographic contact screens were used, or sometimes no screen at all, exposing directly on a lithographic (extremely high
622:, and optimization-based methods. It is important to choose a proper descreening strategy since they generate different patterns and most of the inverse halftoning algorithms are designed for a particular type of pattern. Time is another selection criteria because many algorithms are iterative and therefore rather slow.
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most common mechanical printing processes can only print areas of ink or leave blank areas on the paper and not a photographic range of tones; only black (or coloured) ink, or nothing. The half-tone process overcame these limitations and became the staple of the book, newspaper and other periodical industry.
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In this case there is an additional problem that can occur. In the simple case, one could create a halftone using the same techniques used for printing shades of grey, but in this case the different printing colors have to remain physically close to each other to fool the eye into thinking they are a
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may be on or off, ink or no ink. Consequently, to emulate the photographic halftone cell, the digital halftone cell must contain groups of monochrome pixels within the same-sized cell area. The fixed location and size of these monochrome pixels compromises the high-frequency/low-frequency dichotomy
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All halftoning uses a high-frequency/low-frequency dichotomy. In photographic halftoning, the low-frequency attribute is a local area of the output image designated a halftone cell. Each equal-sized cell relates to a corresponding area (size and location) of the continuous-tone input image. Within
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Prior to digitised images, special photographic techniques were developed to break grayscale images down into discrete points. The earliest of these was "screening" where a coarse-woven fabric screen was suspended before the camera plate to be exposed, breaking the incoming light into a pattern of
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Inverse halftoning or descreening is the process of reconstructing high-quality continuous-tone images from the halftone version. Inverse halftoning is an ill-posed problem because different source images can produce the same halftone image. Consequently, one halftone image has multiple plausible
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Three examples of modern color halftoning with CMYK separations. From left to right: The cyan separation, the magenta separation, the yellow separation, the black separation, the combined halftone pattern, and finally how the human eye would observe the combined halftone pattern from a sufficient
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Previously most newspaper pictures were woodcuts or wood-engravings made from hand-carved blocks of wood that, while they were often copied from photographs, resembled hand drawn sketches. Commercial printers wanted a practical way to realistically reproduce photographs onto the printed page, but
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method does not involve any filtering. It works by computing a distribution of the neighborhood for every pixel in the halftone image. The lookup table provides a continuous-tone value for a given pixel and its distribution. The corresponding lookup table is obtained before using histograms of
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There are many situations where reconstruction is desired. For artists, it is a challenging task to edit halftone images. Even simple modifications like altering the brightness usually work by changing the color tones. In halftone images, this additionally requires preservation of the regular
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allows to pick information from different frequency bands. Edges are usually consisting of highpass energy. By using the extracted highpass information, it is possible to treat areas around edges differently to emphasize them while keeping lowpass information among smooth regions.
661:. These learning-based approaches can find the descreening technique that gets as close as possible to the perfect one. The idea is to use different strategies depending on the actual halftone image. Even for different content within the same image, the strategy should be varied.
86:: when the halftone dots are small, the human eye interprets the patterned areas as if they were smooth tones. At a microscopic level, developed black-and-white photographic film also consists of only two colors, and not an infinite range of continuous tones. For details, see
605:. Especially when printed on newspaper, the halftone pattern becomes more visible due to the paper properties. By scanning and reprinting these images moiré patterns are emphasized. Thus, reconstructing them before reprinting is important to provide a reasonable quality.
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film and paper recorders that had been developed from earlier "laser typesetters". Unlike pure scanners or pure typesetters, imagesetters could generate all the elements in a page including type, photographs, and other graphic objects. Early examples were the widely used
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Though round dots are the most commonly used, many dot types are available, each having its own characteristics. They can be used simultaneously to avoid the moiré effect. Generally, the preferred dot shape is also dependent on the printing method or the printing plate.
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The main steps of the procedure are the removal of halftone patterns and reconstruction of tone changes. In the end, it may be necessary to recover details to improve image quality. There are many halftoning algorithms which can be mostly classified into the categories
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allows halftone dots of different colors to create another optical effect: full-color imagery. Since the location of the individual dots cannot be determined exactly, the dots partially overlap leading to a combination of additive and subtractive color mixing called
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to decide which pixels to turn black or white, some of which yield better results than digital halftoning. Digital halftoning based on some modern image processing tools such as nonlinear diffusion and stochastic flipping has also been proposed recently.
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reconstructions. Additionally, information like tones and details are discarded during halftoning and thus irrecoverably lost. Due to the variety of different halftone patterns, it is not always obvious which algorithm to use for the best quality.
633:. It discards the high-frequency information which blurs the image and simultaneously reduces the halftone pattern. This is similar to the blurring effect of our eyes when viewing a halftone image. In any case, it is important to pick a proper
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is another common measurement used in printing, measured in degrees clockwise from a line running to the left (9 o'clock is zero degrees). These angles are optimized to avoid patterns and reduce overlap, which can cause colors to look dimmer.
330:(lpi). This is the number of lines of dots in one inch, measured parallel with the screen's angle. Known as the screen ruling, the resolution of a screen is written either with the suffix lpi or a hash mark; for example, "150 lpi" or "150#".
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focused on methods allowing artists to manipulate the tones of hand-worked printing stones. By the 1880s, Hoen was working on halftone methods that could be used in conjunction with either hand-worked or photolithographic stones.
637:. A too-limited bandwidth blurs edges out, while a high bandwidth produces a noisy image because it does not remove the pattern completely. Due to this trade-off, it is not able to reconstruct reasonable edge information.
214:. His invention was based on the previous ideas of Berchtold and Swan. He used single lined screens which were turned during exposure to produce cross-lined effects. He was the first to achieve any commercial success with
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Digital halftoning has been replacing photographic halftoning since the 1970s when "electronic dot generators" were developed for the film recorder units linked to color drum scanners made by companies such as
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imagery through the use of dots, varying either in size or in spacing, thus generating a gradient-like effect. "Halftone" can also be used to refer specifically to the image that is produced by this process.
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The higher the pixel resolution of a source file, the greater the detail that can be reproduced. However, such increase also requires a corresponding increase in screen ruling or the output will suffer from
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from the late 1970s onward could also generate halftones but their original 300 dpi resolution limited the screen ruling to about 65 lpi. This was improved as higher resolutions of 600 dpi and above, and
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Halftoning is also commonly used for printing color pictures. The general idea is the same, by varying the density of the four secondary printing colors, cyan, magenta, yellow, and black (abbreviation
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Square dots: best for detailed images, not recommended for skin tones. The corners meet at a tonal value of 50%. The transition between the square dots can sometimes be visible to the human eye.
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Shortly afterwards, Ives, this time in collaboration with Louis and Max Levy, improved the process further with the invention and commercial production of quality cross-lined screens.
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would later publish "the first reproduction of a photograph with a full tonal range in a newspaper" on March 4, 1880 (entitled "A Scene in
Shantytown") with a crude halftone screen.
338:. Therefore, file resolution is matched to the output resolution. The dots cannot easily be seen by the naked eye, but can be discerned through a microscope or a magnifying glass.
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Elliptical dots: appropriate for images with many objects. Elliptical dots meet at the tonal values 40% (pointed ends) and 60% (long side), so there is a risk of a pattern.
2014:
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which allows a category based descreening. Additionally, they can do edge detection to enhance the details around edge areas. The results can be further improved by
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is credited with the idea of halftone printing. In an 1852 patent he suggested using "photographic screens or veils" in connection with a photographic
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single color. To do this the industry has standardized on a set of known angles, which result in the dots forming into small circles or rosettes.
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halftone process proved almost immediately to be a success. The use of halftone blocks in popular journals became regular during the early 1890s.
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When different screens are combined, a number of distracting visual effects can occur, including the edges being overly emphasized, as well as a
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Shen, Jackie (Jianhong) (2009). "Least-square halftoning via human vision system and Markov gradient descent (LS-MGD): Algorithm and analysis".
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1124:(1994). "Error-diffused image compression using a binary-to-gray-scale decoder and predictive pruned tree-structured vector quantization".
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in 1881. Although he found a way of breaking up the image into dots of varying sizes, he did not make use of a screen. In 1882, the German
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862:
Twyman, Michael. Printing 1770–1970: an illustrated history of its development and uses in
England. Eyre & Spottiswoode, London 1970.
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This close-up of a halftone print shows that magenta on top of yellow appears as orange/red, and cyan on top of yellow appears as green.
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While there were earlier mechanical printing processes that could imitate the tone and subtle details of a photograph, most notably the
74:, the halftone process reduces visual reproductions to an image that is printed with only one color of ink, in dots of differing size (
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Kim, Tae-Hoon; Park, Sang Il (July 30, 2018). "Deep context-aware descreening and rescreening of halftone images".
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effects. The photographic plate could then be developed using photo-etching techniques to create a printing plate.
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Round dots: most common, suitable for light images, especially for skin tones. They meet at a tonal value of 70%.
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Several different kinds of screens were proposed during the following decades. One of the first attempts was by
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1220:, Lecture Notes in Computer Science, vol. 9908, Springer International Publishing, pp. 154–169,
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Left: Halftone dots. Right: Example of how the human eye would see the dots from a sufficient distance.
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Further improvements can be achieved with edge enhancement. Decomposing the halftone image into its
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Li, Yijun; Huang, Jia-Bin; Ahuja, Narendra; Yang, Ming-Hsuan (2016), "Deep Joint Image
Filtering",
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1001:"Use of halftone line screens for printing digital images on press". (last checked on 2009-04-20)
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530:. Both modulation methods are named by analogy with the use of the terms in telecommunications.
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and film layers, color printing is made possible by repeating the halftone process for each
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Zixiang Xiong; Orchard, M.T.; Ramchandran, K. (1996). "Inverse halftoning using wavelets".
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522:, produces a regular grid of dots that vary in size. The other method of creating screens,
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394:. This problem can be reduced by rotating the screens in relation to each other. This
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The most straightforward way to remove the halftone patterns is the application of a
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The first printed photo using a halftone in a
Canadian periodical, October 30, 1869
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Image
Halftoning Toolbox for MATLAB by V. Monga, N. Damera-Venkata and B. L. Evans
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1323:"The Rasterbator": Software that allows creation of large halftone type posters
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This article is about the graphic technique. For the musical interval, see
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Proceedings of 3rd IEEE International
Conference on Image Processing
1295:. The Institute of Electrical and Electronics Engineers, Inc-IEEE.
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300 and 100 introduced in 1984, which were also the first to offer
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In the 1980s, halftoning became available in the new generation of
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appears to have followed a largely independent path. In the 1860s,
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A multicolor postcard (1899) printed from hand-made halftone plates
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Photoshop tutorials about how to create and use halftone patterns
932:. Vol. 2. Reinhard Welz Vermittler Verlag e.K. p. 436.
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image or bitmap within which each monochrome picture element or
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Other techniques used a "screen" consisting of parallel bars (a
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An Easy Method for Making Custom
Halftones in Adobe Photoshop
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either in spatial or frequency domain. A simple example is a
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The first truly successful commercial method was patented by
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Where continuous-tone imagery contains an infinite range of
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Another possibility for inverse halftoning is the usage of
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A visual guide to traditional halftones and their creation
759:
Electronic
Imaging Systems Laboratory at Purdue University
173:. The first printed halftone photograph was an image of
1333:
Halftone screens at the
Wolfram Demonstrations Project
203:
patented a halftone process in
Germany which he named
1014:. 2nd ed. Hoboken: Wiley & Sons, p. 286f. (2007).
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1010:Kay Johansson, Peter Lundberg & Robert Ryberg,
326:The resolution of a halftone screen is measured in
764:Embedded Signal Processing Laboratory at UT Austin
2015:Linguistic relativity and the color naming debate
1293:Look-up table (LUT) method for inverse halftoning
231:The development of halftone printing methods for
1358:Javascript plugin for generating halftone images
875:. Library and Archives of Canada. Archived from
596:caused by halftone resized to a lower resolution
454:An image which has undergone digital halftoning
82:) or both. This reproduction relies on a basic
1338:Creating halftone shading with Adobe Photoshop
926:Kerner, Hans K. (2007). "22244 Reichspatent".
896:
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816:Encyclopedia of nineteenth-century photography
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840:The Repertory of patent inventions |1853
8:
858:
856:
854:
852:
850:
518:The most common method of creating screens,
264:) film with a pre-exposed halftone pattern.
905:. John Wiley & Sons, Inc. p. 141.
406:), any particular shade can be reproduced.
249:dots via a combination of interruption and
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1934:
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105:– most commonly using what is called the "
167:with his leggotype while working for the
2166:International Commission on Illumination
587:
354:
345:
42:
1179:. Vol. 1. IEEE. pp. 569–572.
775:
2156:Color Association of the United States
1318:Daniel Lau's Website about halftoning
1126:IEEE Transactions on Image Processing
526:, is used in a process also known as
342:Multiple screens and color halftoning
7:
982:, U.S. Patent 227,782, May 18, 1880.
969:, U.S. Patent 227,730, May 15, 1883.
753:Significant academic research groups
1012:A Guide to Graphic Print Production
956:, U.S. Patent 27,981, Apr 24, 1860.
177:published on October 30, 1869. The
2020:Blue–green distinction in language
25:
992:Halftone Line Screens in Printing
791:. ©2000 Chronicle, San Francisco.
2396:
2387:
2386:
2177:International Colour Association
1760:
1291:Murat., Mese (October 1, 2001).
570:
556:
542:
726:Oversampled binary image sensor
671:generative adversarial networks
665:are well-suited for tasks like
609:Spatial and frequency filtering
592:Dots in the sky due to spatial
309:Offset press (newsprint paper)
244:Halftone photographic screening
109:". The semi-opaque property of
2172:International Color Consortium
2161:International Colour Authority
1096:Digital Color Imaging Handbook
1025:"Linotype History - 1973–1989"
818:, Taylor & Francis Group,
273:Resolution of halftone screens
1:
2237:List of Crayola crayon colors
954:Composition for etching stone
681:Unlike other approaches, the
663:Convolutional neural networks
489:techniques, were introduced.
280:Typical halftone resolutions
97:evolved with the addition of
1250:ACM Transactions on Graphics
1226:10.1007/978-3-319-46493-0_10
649:Optimization-based filtering
317:Offset press (coated paper)
34:. For the musical note, see
2040:Traditional colors of Japan
1817:Achromatic colors (Neutral)
1700:Multi-primary color display
1474:Spectral power distribution
1218:Computer Vision – ECCV 2016
903:A History of Graphic Design
804:. ©2007, Peachpit Berkeley.
802:Real World Print Production
2449:
1099:. CRC Press. p. 389.
997:February 22, 2012, at the
659:artificial neural networks
496:Digital halftoning uses a
29:
2382:
1900:Color realism (art style)
1758:
1558:Evolution of color vision
901:Meggs, Philip B. (1998).
279:
170:Canadian Illustrated News
58:technique that simulates
2217:List of colors (compact)
2035:Color in Chinese culture
1685:Digital image processing
1418:Electromagnetic spectrum
1185:10.1109/icip.1996.559560
929:Lexikon der Reprotechnik
386:: Angles 90°, 105°, 165°
116:autotypical color mixing
2428:Photographic techniques
2222:List of colors by shade
1262:10.1145/3197517.3201377
1093:Sharma, Gaurav (2003).
382:Purple screens used in
301:Laser printer (600dpi)
293:Laser printer (300dpi)
2227:List of color palettes
873:"The First Half-Tones"
814:Hannavy, John (2008),
789:The Designer's Lexicon
736:Raster image processor
731:Pulse-width modulation
642:wavelet representation
597:
455:
387:
375:
360:
352:
268:Traditional halftoning
179:New York Daily Graphic
139:
131:
76:pulse-width modulation
48:
2151:Color Marketing Group
1906:On Vision and Colours
1839:Tinctures in heraldry
1450:Structural coloration
591:
453:
441:Crosfield Electronics
381:
366:
358:
349:
137:
129:
46:
2423:Printing terminology
2232:List of color spaces
2124:Tint, shade and tone
2007:Cultural differences
1822:Polychromatic colors
1807:Complementary colors
1795:Monochromatic colors
980:Lithographic Process
967:Lithographic Process
787:Campbell, Alastair.
657:algorithms based on
528:stochastic screening
524:frequency modulation
520:amplitude modulation
507:dithering algorithms
367:Examples of typical
80:frequency modulation
2212:List of colors: N–Z
2207:List of colors: G–M
2202:List of colors: A–F
1138:1994ITIP....3..854T
1064:2009SIAMR..51..567S
701:Dot matrix printing
2259:List of web colors
2254:List of RAL colors
1660:Color reproduction
1625:Lüscher color test
1462:Color of chemicals
879:on August 17, 2009
598:
534:Inverse halftoning
456:
434:Digital halftoning
388:
376:
361:
353:
154:William Fox Talbot
140:
132:
49:
2410:
2409:
2350:
2349:
2132:
2131:
1924:
1923:
1914:Theory of Colours
1756:
1755:
1668:Color photography
1620:Color preferences
1563:Impossible colors
1553:Color vision test
1548:Color temperature
1526:Color calibration
1455:Animal coloration
1235:978-3-319-46492-3
1146:10.1109/83.336256
1072:10.1137/060653317
939:978-3-86656-554-8
825:978-0-203-94178-2
616:ordered dithering
324:
323:
237:A. Hoen & Co.
103:subtractive color
95:color photography
16:(Redirected from
2440:
2400:
2399:
2390:
2389:
2190:
2056:Color dimensions
2045:Human skin color
1935:
1812:Analogous colors
1778:
1764:
1690:Color management
1607:Color psychology
1573:Opponent process
1489:Color perception
1408:
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1120:Ming Yuan Ting;
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1111:
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1083:
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1038:
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1031:on April 1, 2023
1027:. Archived from
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800:McCue, Claudia.
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667:object detection
655:machine learning
577:Descreened image
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546:
285:Screen printing
277:
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194:Georg Meisenbach
107:CMYK color model
84:optical illusion
27:Printing process
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1635:Political color
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1531:Color constancy
1509:Color blindness
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620:error diffusion
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2011:
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1894:Color analysis
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1889:Color triangle
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1312:External links
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1167:
1132:(6): 854–858.
1112:
1105:
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1058:(3): 567–589.
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978:Hoen, August.
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965:Hoen, August.
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603:moiré patterns
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563:Dithered image
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549:Original image
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2139:organizations
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2080:Pastel colors
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1748:Color mapping
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1673:Color balance
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1650:Chromotherapy
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1590:Tetrachromacy
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1514:Achromatopsia
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1403:Color science
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392:moiré pattern
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373:screen angles
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336:posterization
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186:Frederic Ives
182:
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175:Prince Arthur
172:
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165:William Leggo
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19:
2433:Dot patterns
2112:Fluorescence
2075:Colorfulness
2068:Dichromatism
1912:
1904:
1874:Chromaticity
1857:Color mixing
1849:Color theory
1782:Color scheme
1645:Chromophobia
1594:
1292:
1286:
1253:
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1176:
1170:
1129:
1125:
1122:Riskin, E.A.
1115:
1095:
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1055:
1051:
1045:
1033:. Retrieved
1029:the original
1019:
1011:
1006:
987:
979:
974:
966:
961:
953:
948:
928:
921:
902:
881:. Retrieved
877:the original
867:
839:
833:
815:
809:
801:
796:
788:
696:Ben Day dots
683:lookup table
680:
677:Lookup table
652:
639:
624:
612:
599:
583:
517:
495:
491:
479:
457:
443:, Hell, and
437:
417:
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396:screen angle
395:
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332:
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247:
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223:
220:
190:Philadelphia
183:
178:
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162:
152:
148:
144:Woodburytype
141:
115:
92:
65:
56:reprographic
51:
50:
40:
2249:Color chart
2107:Iridescence
1939:Basic terms
1930:Color terms
1884:Color wheel
1879:Color solid
1743:Color space
1729:subtractive
1712:Color model
1583:Unique hues
1479:Colorimetry
1445:Chromophore
1256:(4): 1–12.
460:imagesetter
320:85–185 lpi
304:85–105 lpi
251:diffraction
233:lithography
218:halftones.
208: [
197: [
2417:Categories
2269:Shades of:
2102:Brightness
1834:Web colors
1790:Color tool
1773:philosophy
1678:Color cast
1578:Afterimage
1568:Metamerism
1541:Color code
1536:Color task
1519:Dichromacy
770:References
742:Screentone
514:Modulation
472:PostScript
468:Linotronic
414:Dot shapes
288:45–65 lpi
88:film grain
2119:Grayscale
2092:Lightness
2087:Luminance
1896:(fashion)
1596:The dress
1301:926171988
1270:0730-0301
1154:1057-7149
1035:March 19,
721:Mezzotint
635:bandwidth
487:dithering
477:in 1985.
371:halftone
351:distance.
160:process.
36:Half note
18:Halftones
2392:Category
2374:Lighting
2097:Darkness
1917:(Goethe)
1717:additive
1705:Quattron
1278:51881126
1203:35950695
1162:18296253
1052:SIAM Rev
995:Archived
706:Dot gain
690:See also
594:aliasing
465:Linotype
262:contrast
205:autotype
158:intaglio
93:Just as
52:Halftone
32:Semitone
2356:Related
2317:Magenta
2242:history
2146:Pantone
1433:Visible
1428:Rainbow
1134:Bibcode
1080:3253808
1060:Bibcode
843:. 1853.
711:Duotone
312:85 lpi
296:65 lpi
122:History
99:filters
54:is the
2369:Qualia
2364:Vision
2312:Purple
2307:Violet
2287:Yellow
2282:Orange
1977:Orange
1972:Purple
1962:Yellow
1396:topics
1299:
1276:
1268:
1232:
1201:
1191:
1160:
1152:
1103:
1078:
936:
909:
822:
747:Dither
498:raster
480:Early
226:relief
216:relief
68:colors
2402:Index
2342:Black
2332:White
2327:Brown
2292:Green
2194:Lists
2186:Names
2168:(CIE)
2137:Color
1997:Brown
1992:White
1982:Black
1952:Green
1771:Color
1467:Water
1423:Light
1394:Color
1274:S2CID
1199:S2CID
1076:S2CID
1054:. 3.
738:(RIP)
502:pixel
212:]
201:]
72:greys
2337:Gray
2322:Pink
2302:Blue
2297:Cyan
1987:Gray
1967:Pink
1947:Blue
1734:CMYK
1297:OCLC
1266:ISSN
1230:ISBN
1189:ISBN
1158:PMID
1150:ISSN
1101:ISBN
1037:2019
934:ISBN
907:ISBN
885:2007
820:ISBN
475:RIPs
404:CMYK
369:CMYK
224:The
2277:Red
2063:Hue
1957:Red
1722:RGB
1258:doi
1222:doi
1181:doi
1142:doi
1068:doi
188:of
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