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dark surround. Similarly, television images, typically viewed in a dim surround, are reproduced using a power function with an exponent of about 1.25 (roughly the gamma for the complete television system). More details regarding the history and importance of surround compensation in image reproduction can be found in Hunt (1995) and Fairchild (1995a). Bartleson and Breneman (1967) published equations that predict their experimental results quite well. Bartleson (1975), in a paper on optimum image tone reproduction, published a simpli ed set of equations that are of more practical value. Figure 6.12 illustrates predictions of perceived lightness as a function of relative luminance for various surround conditions according to results of the type described by Bartleson and Breneman. This plot is virtually identical to the results of Stevens and Stevens given in Figure 6.10 on logarithmic axes. The straight lines of various slopes on logarithmic axes transform into power functions with various exponents on linear axes such as those in Figure 6.12. Color appearance models such as Hunt s, RLAB, and the CIE models include predictions of the surround effects on perceived contrast of images. Often, when working at a computer workstation, users turn off the room lights in order to make the CRT display appear of higher contrast. This produces a darker surround that should perceptually lower the contrast of the display. The predictions of Bartleson and Breneman are counter to everyday experience in this situation. The reason for this is that the room lights are usually introducing a signi cant amount of re ection off the face of the monitor and thus reducing the physical contrast of the displayed images. If the surround of the display can be illuminated without introducing re ection off

average hourly compensation for production workers in the plastics industry (SIC 308) in the United States during 1998 was US$15.39. The same rate in U.S. dollars for some selected countries follows:

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3

Avoiding duplication and mistakes can be achieved with a process of user acceptancc testing, checking that users of the

Figure 23-39: The four curves are the basis for creating an edge surface. 3. Freeze the Const layer. 4. Enter edgesurf on the command line or in the Dynamic Input interface. At the prompts, select 1, 2, 3, and 4 in Figure 23-39.

Figure 24-3: The Dynamic Link palette after it is activated. You are now ready to connect to an online database to begin binding content to your placeholders.

Figure 16-11: A complex region. The original objects are deleted. If your objects aren t perfectly end-to-end, the prompt merely states:

(Continued )

0 1 . . . 0

Here s a breakdown of the routine in Step 1: Line 1 creates a function and declares two variables, mysset and counter. Line 2 sets the mysset variable equal to the selection set that the user provides using SSGET. Line 3 sets the counter variable to 0, because selection sets work on a zero-based index (the first item is 0). Line 4 starts a WHILE loop. Working from the innermost set of parentheses, you first obtain the number of objects in the mysset selection set, using SSLENGTH. Then you specify that the WHILE loop will continue as long as the counter is less than the number of objects in the mysset selection set. In other words, when the routine has cycled through all of the objects in the selection set, it stops.

11

If you have multiple jobs that you want to run at the same time, or if you just prefer, you can use at interactively. Suppose that you have several jobs that you want to run at 2 p.m. Give the command

have a Port Signal Station that shows a series of traf c lights controlling your progress. Ensure you know what these lights mean. The Paper Plan to Use in the Cockpit There are a number of methods of writing your notes. What is essential is that pilotage is done from the cockpit. This is not the time when you want to be at the chart table. Your notes need to be simple, concise and clear.

TABLE 4.4 Dual-Frequency Performance of the Antenna in Figure 4.10 [11]a Subtending Angle (deg) 80 84 90 96 100

If you create a toolbar button that executes a customized set of actions (as I explain in 29), right-click and choose the top option of the shortcut menu to repeat the action of the toolbar button. You cannot press Enter to get this effect.

0 0 0

When the grid is selected, handles appear on the right, bottom, and lower right corner. 2. Move your mouse over the appropriate handle until the mouse becomes an arrowhead, and then drag the handle until you achieve the desired size. You have the following options: To widen the layout grid, move your mouse over the right handle. To lengthen the layout grid, move your mouse over the bottom handle. To widen and lengthen at the same time, move your mouse over the handle in the bottom-right corner. As you drag, a dotted line shows you the new size, while the original outline and handles remain in place (see Figure 7-5). After you release the mouse button, the grid takes on its new size. 3. Save the page.

2

2. At the Select objects to revolve: prompt, select one or more objects. 3. At the Specify axis start point or define axis by [Object/X/Y/Z] <Object>: prompt, you can pick two points to create an axis of revolution. You can also select an object as an axis. Use the X, Y, or Z options to revolve the object around the respective axis. 4. At the Specify angle of revolution or [STart angle] <360>: prompt, press Enter to revolve the object 360 degrees or type an angle, either positive or negative. You can use the STart angle option to specify a start and end angle; for example, you can start at 45 degrees and end at 90 degrees.

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