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Katherine Johnson’s mathematical calculations helped guide some of America’s most important early space missions while she confronted the racial and gender barriers faced by Black women in twentieth-century America.
MORE →Reflects the personal views, recollections, and perspective of the author, Mike Davis.
This is a personal recollection on the Move fire on May 13, 1985
| Role | Moment, Interval |
| Description | Party, place, thing |
UML color standards are a set of four colors associated with Unified Modeling Language (UML) diagrams. The coloring system indicates which of several archetypes apply to the UML object. UML typically identifies a stereotype with a bracketed comment for each object identifying whether it is a class, interface, etc.
These colors were first suggested by Peter Coad, Eric Lefebvre, and Jeff De Luca in a series of articles in The Coad Letter,[1][2] and later published in their book Java Modeling In Color With UML.[3]
Over hundreds of domain models, it became clear that four major "types" of classes appeared again and again, though they had different names in different domains. After much discussion, these were termed archetypes, which is meant to convey that the classes of a given archetype follow more or less the same form. That is, attributes, methods, associations, and interfaces are fairly similar among classes of a given archetype.
When attempting to classify a given domain class, one typically asks about the color standards in this order:
Although the actual colors vary, most systems tend to use lighter color palettes so that black text can also be easily read on a colored background. Coad, et al., used the 4-color pastel Post-it notes,[4] and later had UML modeling tools support the color scheme by associating a color to one or more class stereotypes.
Many people feel colored objects appeal to the pattern recognition section of the brain. Others advocate that you can begin a modeling process with a stack of four-color note cards or colored sticky notes.
The value of color modeling was especially obvious when standing back from a model drawn or projected on a wall. That extra dimension allowed modelers to see important aspects of the models (the pink classes, for instance), and to spot areas that may need reviewing (unusual combinations of color classes linked together).
The technique also made it easy to help determine aspects of the domain model – especially for newcomers to modeling. For example, by simply looking first for "pinks" in the domain, it was easy to begin to get some important classes identified for a given domain. It was also easy to review the standard types of attributes, methods, and so on, for applicability to the current domain effort.
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Source: Wikipedia. Article content is retrieved live through the MediaWiki API.
UML color standards are a set of four colors associated with Unified Modeling Language (UML) diagrams. The coloring system indicates which of several archetypes apply to the UML object. UML typically identifies a stereotype with a bracketed comment for each object identifying whether it is a class, interface, etc. These colors were first suggested by Peter Coad, Eric Lefebvre, and Jeff De Luca in a series of articles in The Coad Letter,[1][2] and later published in their book Java Modeling In Color With UML.[3] Over hundreds of domain models, it became clear that four major "types" of classes appeared again and again, though they had different names in different domains. After much discussion, these were termed archetypes, which is meant to convey that the classes of a given archetype follow more or less the same form. That is, attributes, methods, associations, and interfaces are fairly similar among classes of a given archetype. When attempting to classify a given domain class, one typically asks about the color standards in this order: pink moment-interval — Does it represent a moment or interval of time that we need to remember and work with for legal or business reasons? Examples in business systems generally model activities involving people, places and things such as a sale, an order, a rental, an employment, making a journey, etc. yellow roles — Is it a way of participating in an activity (by either a person, place, or thing)? A person playing the role of an employee in an employment, a thing playing the role of a product in a sale, a location playing the role of a classroom for a training course, are examples of roles. blue description — Is it simply a catalog-entry-like description which classifies or 'labels' an object? For example, the make and model of a car categorises or describes a number of physical vehicles. The relationship between the blue description and green party, place or thing is a type-instance relationship based on differences in the values of data items held in the 'type' object. green party, place, or thing — Something tangible, uniquely identifiable. Typically the role-players in a system. People are green. Organizations are green. The physical objects involved in a rental such as the physical DVDs are green things. Normally, if you get through the above three questions and end up here, your class is a "green." Although the actual colors vary, most systems tend to use lighter color palettes so that black text can also be easily read on a colored background. Coad, et al., used the 4-color pastel Post-it notes,[4] and later had UML modeling tools support the color scheme by associating a color to one or more class stereotypes. Many people feel colored objects appeal to the pattern recognition section of the brain. Others advocate that you can begin a modeling process with a stack of four-color note cards or colored sticky notes. The value of color modeling was especially obvious when standing back from a model drawn or projected on a wall. That extra dimension allowed modelers to see important aspects of the models (the pink classes, for instance), and to spot areas that may need reviewing (unusual combinations of color classes linked together). The technique also made it easy to help determine aspects of the domain model – especially for newcomers to modeling. For example, by simply looking first for "pinks" in the domain, it was easy to begin to get some important classes identified for a given domain. It was also easy to review the standard types of attributes, methods, and so on, for applicability to the current domain effort.
Color realism is a fine art style where accurately portrayed colors create a sense of space and form. It employs a flattening of objects into areas of color, where the modulations occur more as a result of an object interacting with the color and light of its environment than the sculptural modeling of form or presentation of textural detail. The actual color of an object, or 'local color', is held secondary to how that color interacts with surrounding light sources that may alter the look of the original color. Warm light of the sun, cool light from the sky, and warm reflected light bouncing off other objects are all examples of how a local color may be affected by its location in space. Earliest proponents of this style include the Dutch Master Johannes Vermeer and Hendrick Terbrugghen. Recent artists working with this style include the Boston School of painters, such as Edmund Tarbell and William McGregor Paxton. These artists combined vibrant Impressionist pastel colors with a more traditional palette, to create color-realist works that have a full range of dark to light values.
Color (or colour in Commonwealth English) is the visual perception produced by the activation of the different types of cone cells in the eye caused by light. Though color is not an inherent property of matter, color perception is related to an object's light absorption, emission, reflection and transmission. For most humans, visible wavelengths of light are the ones perceived in the visible light spectrum, with three types of cone cells (trichromacy). Other animals may have a different number of cone cell types or have eyes sensitive to different wavelengths, such as bees that can distinguish ultraviolet, and thus have a different color sensitivity range. Animal perception of color originates from different light wavelength or spectral sensitivity in cone cell types, which is then processed by the brain. Colors have perceived properties such as hue, colorfulness, and lightness. Colors can also be additively mixed (mixing light) or subtractively mixed (mixing pigments). If one color is mixed in the right proportions, because of metamerism, they may look the same as another stimulus with a different reflection or emission spectrum. For convenience, colors can be organized in a color space, which when being abstracted as a mathematical color model can assign each region of color with a corresponding set of numbers. Thus, color spaces are an essential tool for color reproduction in print, photography, computer monitors, and television. Some of the most well-known color models and color spaces are RGB, CMYK, HSL/HSV, CIE Lab, and YCbCr/YUV. Because the perception of color is an important aspect of human life, different colors have been associated with emotions, activity, and nationality. Names of color regions in different cultures can have different, sometimes overlapping areas. In visual arts, color theory is used to govern the use of colors in an aesthetically pleasing and harmonious way. The theory of color includes the color complements; color balance; and classification of primary colors, secondary colors, and tertiary colors. The study of colors in general is called color science.
In photography and image processing, color balance is the global adjustment of the intensities of the colors (typically red, green, and blue primary colors). An important goal of this adjustment is to render specific colors – particularly neutral colors like white or grey – correctly. Hence, the general method is sometimes called gray balance, neutral balance, or white balance. Color balance changes the overall mixture of colors in an image and is used for color correction. Generalized versions of color balance are used to correct colors other than neutrals or to deliberately change them for effect. White balance is one of the most common kinds of balancing, and is when colors are adjusted to make a white object (such as a piece of paper or a wall) appear white and not a shade of any other colour. Image data acquired by sensors – either film or electronic image sensors – must be transformed from the acquired values to new values that are appropriate for color reproduction or display. Several aspects of the acquisition and display process make such color correction essential – including that the acquisition sensors do not match the sensors in the human eye, that the properties of the display medium must be accounted for, and that the ambient viewing conditions of the acquisition differ from the display viewing conditions. The color balance operations in popular image editing applications usually operate directly on the red, green, and blue channel pixel values, without respect to any color sensing or reproduction model. In film photography, color balance is typically achieved by using color correction filters over the lights or on the camera lens.
Before the 1921 destruction of Tulsa’s Greenwood District, Black residents had created a remarkable center of business and community life. The district included stores, professional offices, entertainment venues and homes owned by Black citizens. Understanding Greenwood means learning what was built—not only what was burned.
MORE →Joe Louis.