Color Theory

ST Nandasara/ADMTC

Contents
Color

Theory 2D Bitmap Image Theory 2D Bitmap Image Processing 2D Vector Image Theory

Color Theory
How to manipulate color digitally?

What is color?

Color = Mixture of various frequency of light

Perceptive colors for human eyes = around 400nm ~ 700nm (wavelength) But human eyes cannot distinguish every color

The number of colors in real world = Infinite

A color =

400

500

600

700

Visible spectrum

Progressive Rainbow

The visible spectrum of light

Continuous optical spectrum (designed for monitors with gamma 1.5).

"visible" light can be broken down into a spectrum that ranges from blue to red in a progressive rainbow

Wheel of Color Visible spectrum

Progressive Rainbow

Beam of sunlight

The visible spectrum of light

A Prism separates the beam of light Infra red Ultra violet

Red

Orange

Yellow

Green

Blue

Indigo

Violet

Visible spectrum

Progressive Rainbow

nm is the most common unit to describe the wavelength of light, with visible light falling in the region of 400700 nm. The data in compact discs is stored as indentations (known as pits) that are approximately 100 nm deep by 500 nm wide. Reading an optical disk requires a laser with a wavelength 4 times the pit depth -- a CD requires a 780 nm wavelength (near infrared) laser, while the shallower pits of a DVD requires a shorter 650 nm wavelength (red) laser, and the even shallower pits of a Blu-ray Disc require a shorter 405 nm wavelength (blue) laser.

Color in the eye

Progressive Rainbow

The ability of the human eye to distinguish colors is based upon the varying sensitivity of different cells in the retina to light of different wavelengths. The retina contains three types of color receptor cells, or cones. One type, relatively distinct from the other two, is most responsive to light that we perceive as violet, with wavelengths around 420 nm. (Cones of this type are sometimes called short-wavelength cones, S cones, blue cones.) The other two types are closely related genetically and chemically. One of them (sometimes called long-wavelength cones, L cones, red cones) is most sensitive to light we perceive as yellowish-green, with wavelengths around 564 nm; the other type (sometimes called middle-wavelength cones, M cones, green cones) is most sensitive to light perceived as green, with wavelengths around 534 nm.

Visible spectrum

This image contains 1 million pixels, each of a different color. The human eye can distinguish about 10 million different colors.

Color Model
Math model for color information RGB

10

Red, Green, Blue Cyan, Magenta, Yellow, blacK (or Key) Hue , Saturation , Lightness (Brightness/Value) Luminance + 2 Chrominance (Color differences)

CMY / CMYK

HSL / HSB / HSV / HVC

YUV / YCbCr (YCC)

Other color models

Wheel of Color

11

The Color Wheel

A color wheel usually include 12 distinct colors. The color wheel is essentially the linear progression of color as seen in the color spectrum, connecting the two ends together.

Wheel of Color (RGB Color Model)

12

The Primary Colors (Additive colors)

Most of us now use color display, for which the primary colors will be Red, Green and Blue.

Wheel of Color (RGB Color Model)

13

The Primary Colors (Additive colors)

Red

Y W Green C

Blue

Most of us now use color display, for which the primary colors will be Red, Green and Blue.

RGB Color Model

14

Red

Blue

Green

Cubic coordinate based on primary additive colors

Start from Black (darkness) Sum of all = White (light)

Widely used in PC hardware

CRT, LCD / Image Scanner Easy to implement

Additive Color (= mixing light) B

Not efficient/intuitive for processing

White
Black

Difficult to achieve / adjust to desired color for human

G R

Wheel of Color (CMY Color Model)

15

The Secondary Colors (Subtractive Colors)

Secondary color wheel: the three colors that are obtained by combining any two adjacent primary colors. These will be the secondary colors: cyan, magenta, and yellow.

Wheel of Color (CMY Color Model)

16

The Secondary Colors (Subtractive Colors)

Magenta R B Yellow G Cyan B

Secondary color wheel: the three colors that are obtained by combining any two adjacent primary colors. These will be the secondary colors: cyan, magenta, and yellow.

CMY / CMYK Color Model

17

Subtractive version of RGB

Start from White (paper) Sum of all = Black (ink)

Cyan

Yellow

Widely used in Publishing Industry

Magenta Subtractive Color (= mixing ink)

Printer / Color publishing uses 4 inks (CMYK)

M

C
White
Black

Why K (Black) ?

For pure black / black letter

Wheel of Color

18

The Tertiary Colors

Tertiary colors are the same for both the additive and subtractive worlds.

Wheel of Color

19

Analogous Colors

Analogous colors directly beside a given color. If you start with Orange and you want its two analogous colors, select Red and Yellow.

Wheel of Color

20

The Complementary Colors

Complementary colors are directly opposite each other on the color wheel. Selecting contrasting colors is useful when you want to make the colors stand out more vibrantly.

Wheel of Color

21

Split Complementary Colors

Split complementary colors can be made up of two or three colors. You select a color, find its complementary color or colors on the either side of the color wheel.

Wheel of Color

22

Warm Colors

Warm colors are made up of the Red hues, such as Red, Orange and Yellow. They lend a sense of warmth, comfort, and energy to the color selection. They also produce visual result.

Wheel of Color

23

Cool Colors

Cool colors come from the Blue hues, such as Blue, Cyan, and Green. These colors will stabilize and cool the color scheme. These are good to use for page background.

Dimension of Color (HSL/HSV/HVC)

24

Hue = Color name (red, blue, green, etc.)

Saturation = Density (purity) of the color

Value = Lightness & Darkness

HSL / HSV / HVC Color Model

25

Cylindrical coordinates based on logical aspect of color

Hue = Color name (red, blue, green, etc.) Saturation = Density (purity) of the color Lightness

Used in image editing software

White

Very easy to achieve / adjust to desired color for human

Black

Color Matching

26

Color Gamut

The range of color that can be reproduced on any imaging device

Eye

CRT

Scanner

Printer

Offset

Color Matching

Adjustment / Compensation of the difference of color gamut among multiple image devices

Color Depth

27

How many colors are needed?

Black & White

= 1 bit

Color Depth
How

28

many colors are needed?

Gray Scale
= 8 bit (256 shadows)

Palette and Dithering

Indexed

29

Color (Palette)
00 01 02 03 04 FE FF

03 F1 C3 4A 01 83 9B FC 45 1D 3E 47 20 1D 80 56 5B 40 FA E4 5A 33 0F D0 7A 00 12 E2 C4 79 ED 1C 03 F1 C3 4A 01 83 9B 2C 45 1D 3E 47 20 1D 80 53 79 40 FA E4 5A 33 0F D8 5A 00 12 E2 C4 79 ED 32

Image Data

Palette

Picture

256-color image

Color Depth
How

30

many colors are needed?

Full Color
= 8 bits for each R, G and B = 24 bits (16.7 million colors)
Red

Green

Blue

Color Depth

31

How many colors are needed?

Black & White

= 1 bit

Gray Scale
= 8 bit (256 shadows)

Indexed Color
= 8 bit (217~256 color pallet)

Full Color
= 8 bit each for RGB = 24 bit (16.7 million colors)

Medical / Professional photography

= 30~48 bit (10~16 bit/RGB) (Preserve detail / accuracy in editing)

Color Depth

32

Graphic/Image Data Structure Pixels: picture elements in digital images Image resolution: number of pixels in a digital image Bit-map: a representation of the graphic/image data in the same manner as they are stored in video memory

Color Depth

33

Graphic/Image Data Structure Black & White

= 1 bit
Mono-chrome image Each pixel is stored as a single bit (0 or 1) A 640 X 480 monochrome image requires 37.5 Kbytes

Gray Scale
= 8 bit (256 shadows)
Gray-scale image Each pixel is usually stored as a byte (0 to 255 levels) A 640 X 480 gray-scale image requires over 300 Kbytes

Color Depth

34

Graphic/Image Data Structure Indexed Color

= 8 bit (217~256 color pallet)
One byte for each pixel Support 256 colors A 640 X 480 8-bit color image requires 307.2 KBytes

Full Color
= 8 bit each for RGB = 24 bit (16.7 million colors)
Three byte for each pixel Support 256X256X256 colors A 640 X 480 24-bit color image requires 921.6 KBytes

Video Systems

35

Transmitter

Goals:

1. Efficient use of bandwidth 2. High viewer perception of quality

Receiver

Camera Operation
S-Video

36

Zoom Lens

Color Filters
R

Camera Tubes

YC

Beam Splitter

R G B

Note: 1. Camera has 1, 2, or 3 tubes for sampling 2. More tubes (CCDs) and better lens produce better pictures

RGB Composite

Component

Encoder

Y R-Y B-Y

Color Perception

37

Color is perceived lightwave

400nm to 700nm received at retina

Retina (on the back wall of the eye) composed of approximately 125 million rods and 7 million cones
Cones respond to different frequencies (three types, RGB) Rods measure brightness at low light levels (i.e., night vision)

Color Perception (Cont)

38

Spectral-response functions of each of the three types of cones on the human retina G > R >> B Humans more sensitive to brightness than color The processing and perception of the image takes place in the brain. Need to understand that there are also physiological and psychological aspects to the perception of color. Colors are often associated with various emotions, such as "feeling blue."

Color Models in Video

39

YIQ color model: used in NTSC color TV Y is luminance containing brightness and the detail (monochrome TV) To create the Y signal, the red, green and blue inputs to the Y signal must be balanced to compensate for the color perception misbalance of the eye.

Y = 0.3R + 0.59G + 0.11B I = 0.6R 0.28G - 0.32B (cyan-orange axis) Q = 0.21R 0.52G + 0.31B (purple-green axis)

Chrominance

Human eyes are most sensitive to Y, next to I, next to Q.

In a channel (6 MHz) of NTSC TV, 4 MHz is allocated to Y, 1.5 MHz to I, and 0.5 MHz to Q.

Color Models in Video (Cont)

40

YUV color model: for PAL TV and CCIR 601 standard for digital video Same definition for Y as in YIQ model Chrominance is defined by U and V the color differences

U=BY V=RY

YCbCr color model: used in JPEG and MPEG Closely related to YUV: scaled and shifted YUV

Y U V

Cb = ((B Y)/2) + 0.5 Cr = ((R Y)/1.6) + 0.5

Chrominance value in YCbCr are always in the range of 0 to 1

R B

Color Models in Video (Cont)

41

Color models based on linear transformation from RGB color space G

Y U V

Types of Color Video Signals

42

Component video -- each primary is sent as a separate video signal.

The primaries can either be RGB or a luminance-chrominance transformation of them (e.g., YIQ, YUV). Best color reproduction Requires more bandwidth and good synchronization of the three components

Composite video -- color (chrominance) and luminance signals are mixed into a single carrier wave. Some interference between the two signals is inevitable. S-Video (Separated video, e.g., in S-VHS) -- a compromise between component analog video and the composite video. It uses two lines, one for luminance and another for composite chrominance signal.

Analog Video

43

NTSC Video: 525 scan lines per frame, 30 frames per second (or be exact, 29.97 fps, 33.37 msec/frame) Interlaced, each frame is divided into 2 fields, 262.5 lines/field 20 lines reserved for control information at the beginning of each field

So a maximum of 485 lines of visible data Laserdisc and S-VHS have actual resolution of ~420 lines Ordinary TV -- ~320 lines

Each line takes 63.5 microseconds to scan. Horizontal retrace takes 10 microseconds (with 5 microseconds horizontal synch pulse embedded), so the active line time is 53.5 microseconds.

Scanning Video

44

Chroma subsampling: human visual system

is more sensitive to luminance than chrominance

We can sub-sample chrominance

4:4:4 4:2:2 4:1:1 4:2:0

No subsampling horizontally subsample horizontally subsample horizontally and vertically

Scanning Video

45

4:4:4 No subsampling
Y CR CB Y CR CB Y CR CB

Line 1

Line 2

Line 3

Line 4

Scanning Video

46

4:2:2 horizontally subsample

Y CR CB Y CR CB Y Only Y CR CB Y Only Y CR CB Y Only Y CR CB Y Only

Line 1

Line 2

Line 3

Line 4

Scanning Video

47

4:1:1 horizontally subsample

Y CR CB Y CR CB Y Only Y Only Y Only Y CR CB Y Only Y Only Y Only

Line 1

Line 2

Line 3

Line 4

Scanning Video

48

4:2:0 horizontally and vertically

Y CR CB Y CR Y CB Line 1 Y Only Y Only Y CR Y CB Y Only Y Only Y CR Y CB Y Only Y Only Y CR Y CB Y Only Y Only

Line 2

Line 3

Line 4

Color space compression

49

Typical data assignment to YUV

Y:U:V = 4:2:2 (TV) Y:U:V = 4:1:1 (JPEG) Y:U:V = 4:2:0 (JPEG)

Y
Y

U
U

V
V

JPEG (1:50)

Standards for Video

HDTV Luminance Resolution Chrominance Resolution Color Subsampling Fields/sec Aspect Ratio Interlacing

50

CCIR 601 NTSC 720 x 486

360 x 486 4:2:2 60 4:3 Yes

CCIR 601 PAL 720 x 576

360 x 576 4:2:2 50 4:3 Yes

CIF

QCIF

1920 x 1080
960 x 540 4:2:2 60 16:9 Yes

352 x 288
176 x 144 4:2:0 30 4:3 No

176 x 144
88 x 72 4:2:0 30 4:3 No

CCIR Consultative Committee for International Radio CIF Common Intermediate Format (approximately VHS quality)

Sampling

51

1 Frame is stored 720x480 pixels for NTSC 1 Frame is stored 720x576 pixels for PAL Each Pixel is processed for Y (Luminance (B&W) 4:2:2 Samples 2 of every 4 pixels for color 4:1:1 Samples 1 of every 4 pixels for color 4:2:2 has twice the color detail for 4:1:1 (shaper color edges) 4:4:4 is not necessary as humans are more sensitive to change in luminance than color

Sampling
The first number refers to the 13.5 MHz sampling rate of the luminance The other two numbers refer to the sampling rates of the color difference signals R-Y and B-Y (or,more properly in the digital domain, Cr and Cb)

52

Sampling

53

4:2:2 systems (D-1, D-5, DigiBeta, BetaSX, Digital-S,DVCPRO50) color sampled at half the rate of luminance, Y is 13.5 MHz R-Y and B-Y is each 6.75 MHz 360 color samples (in each of Cr and Cb) per scanline. 4:1:1 systems (NTSC DV & DVCAM, DVCPRO Color data are sampled half as frequently as in 4:2:2 Y is 13.5 MHz R-Y and B-Y is each 3.375 MHz . 180 color samples per scanline.

Sampling

54

4:2:2 Better for Computer Graphics Special Effects Chroma Keying Compositing Matting

Uncompressed Sizes (NTSC)

55

For the 525 line TV standard the line data is:

720(Y) + 360(Cr) + 360(Cb) = 1,440 pixels/line 487 active lines/picture there are 1,440 x 487 = 701,280 pixels/picture

(sampling at 8-bits, a picture takes 701.3 kbytes)

1 sec takes 701.3 x 30 = 21,039 kbytes, or 21 Mbytes 1 min takes 21,039 x 60 = 1,262,340 kbytes, or 1.26 gigs

Uncompressed Sizes (NTSC)

56

BOTTOM LINE
1 Gbyte will hold ~47 seconds 1 hour takes ~76 Gbytes Of Active Picture (Does not include sync Blanking etc as these can be regenerated)

Uncompressed Sizes (NTSC)

57

1 hour takes ~
Uncompressed 76 Gbytes 2:1 Compression 38 Gbytes 5:1 Compression 15 Gbytes

Palette and Dithering

Indexed

58

Color (Palette)
00 01 02 03 04 FE FF

03 F1 C3 4A 01 83 9B FC 45 1D 3E 47 20 1D 80 56 5B 40 FA E4 5A 33 0F D0 7A 00 12 E2 C4 79 ED 1C 03 F1 C3 4A 01 83 9B 2C 45 1D 3E 47 20 1D 80 53 79 40 FA E4 5A 33 0F D8 5A 00 12 E2 C4 79 ED 32

Image Data

Palette

Picture

Palette Optimization

256-color image
Optimized Palette & Dithered Banding Effect

Dithering

Better perception

Gamma Correction

59

Gamma = Non-linearity of lightness in any imaging device

output value input value
= 1 : Linear 2.0 < < 3.0 : Typical CRT

output input

Any imaging device has its gamma value

Importance of Gamma correction

It is very important to adjust gamma values if you use same image in different imaging device Especially in publishing industry

Alpha Channel
Transparency

60

information of image

Important for image editing, animation

Original Image Alpha Channel (1-bit) Photo Collage

Transparency Image (GIF) Grayscale Alpha Channel (8-bit)

Anti-aliasing

61

Aliasing problem

Jagged edge of digital image

Not a problem of image data itself Problem of PC's pixel-based display screen
Aliased image

Anti-aliasing technology

Make edge smoother

Not a simple blur Over sampling or other advanced algorithms required

Simple Blur Anti-Aliased Image

2D Bitmap Image Theory

Bitmap image

63

Pixel based

RGB = (FF,B6,98)

A pixel

Group of colored dots Photography, Painted picture

Best for real-world image

Large data size

Needs compression for transfer

Not suitable for resizing/zooming
Full Color Windows BMP / 44KB

Resolution Dependent

Bitmap image compression

64

Loss-less Compression
Can reproduce mathematically identical original image without any data loss Not high compression ratio (~2.0)

Lossy Compression

Reduce non-sensitive information to human eyes

(not mathematical, but physiological method) Cannot reproduce original image Can specify the amount of information loss

High compression ratio (~100)

Compression algorithms
Algorithm RLE
Loss-Less Lossy (Run-Length Encoding)

65

Basic Concept
Pack repetitive data Build treed dictionary Cut non-sensitive color information Transform to series of Cosine functions Transform to series of Wavelet functions

Comp. Ratio ~1.2 ~2.0

File Format BMP TIFF, GIF

LZW

(Lempel-Zif-Welsh)

Color-space compression

~2.0

JPEG, (TV) JPEG, MPEG1/2 JPEG2000, MPEG4

DCT
(Discrete Cosine Transformation)

~100
~100

Wavelet compression

Color space compression (1)

66

Uses human eye characteristics

Less sensitive to color than lightness Less sensitive to red than green Color information can be sparse

YUV color compression

Y is the most sensitive light to human eyes

We should reserve information on this component We can reduce information from these 2 components

U/V is much less sensitive

Typical ratio of data assignment to YUV component

Y:U:V = 4:4:4 / 4:2:2 / 4:1:1 / 4:2:0

Color space compression (2)

67

Typical data assignment to YUV

Y:U:V = 4:2:2 (TV) Y:U:V = 4:1:1 (JPEG) Y:U:V = 4:2:0 (JPEG)

Y
Y

U
U

V
V

JPEG (1:50)

Transformation Algorithm

68

Convert image to mathematical functions

DCT (Discrete Cosine Transformation)

Uses series of cosine functions to encode image = a0 + a1 + a2 +

Used in JPEG, MPEG, MPEG2, etc. Uses series of wavelet functions to encode image

Wavelet Transformation

= a0

+ a1

+ a2

Used in JPEG2000, MPEG4, DivX, XviD, etc.

Algorithm Comparison

69

Original Image (154KB)

Compress to 3 KB (1:50)

Fractal

DCT

Wavelet

Bitmap image file formats

70

Industry standard

TIFF - Adobe/Silicon Graphics

Platform Standard
BMP - Windows PICT - Macintosh GIF - CompuServe

International Standard
JPEG - ISO 10918 PNG - MIT/W3C JPEG2000 - ISO 15444

http://www.dcs.ed.ac.uk/home/mxr/gfx/

TIFF (Tagged Image File Format)

71

Highly flexible

Ability to handle various kinds of specialized image formats by using internal Tag

over-24bit images (32, 36, up to 64-bits) Alpha-channel (Transparency) can be stored Multiple Layers LZW, JPEG or other compression

For Professional

Used in professional imaging industry

Medical, Publishing, Digital photographers

Photoshop

GIF (Graphics Interchange Format)

72

Designed for amateur use on network

Many useful features for hobbyist

Transparency (1 bit only) Interlace (for fast perception over net) Animation (Cell Animation)

Suitable for small pictures / icons

Flexible choice of bit-per-pixel (1~8) Indexed color only (no full color support) LZW compression (*patented)

Widely used in WWW

Mostly for small animations or icons

Many

JPEG (Joint Photographic Experts Group)

73

High compression for full-color image

Based on characteristics of human eyes

Less sensitive to color than lightness (YUV) Good for photography or artistic image NG for scientific image (uneven information loss) The only international standard (up to now)

Block noise

1:10

1:100

Square noise in high compression

Widely used in consumer market, WWW

Many

PNG (Portable Network Graphics)

74

Designed to be the alternative of GIF

No patent problem by free loss-less compression algorithm (gnu zip)

Many advanced features

Up to 48bpp color depth, 16 bit Alpha channel 2 dimensional interlace (Progressive image) File corruption checking

Slowly getting popularitys

No ground-breaking features (Others can do) Limited support in Web browsers

Macromedia Fireworks

JPEG2000

75

New international standard (2001)

~20% better compression than JPEG

Less noise in high compression ratio True progressive transfer Option for Loss-less compression Support for video Codec (Motion JPEG2000) Error resistance (good for the Internet) ROI (Region of interest) support No native support in Web browsers
IrfanView32

Many advanced features

Slow acceptance

2D Bitmap Image Processing

Basic Image Processing

77

How can you enhance your photograph taken by digital cameras / image scanners?

Before doing any creative operation in Photoshop, you should do basic (but important) image adjustment

Necessary basic image adjustment

1. Color correction / White balance correction 2. Dynamic range correction 3. Gamma correction 4. Retouching

White Balance Correction

78

Especially useful for photos taken in house

Incandescent lamp Photo shifts to Red Fluorescent lamp Photo shifts to Green Shadow in sunny day Photo shifts to Blue

Use Auto Levels or Variations command

Dynamic range correction Donts

79

Brightness change

Histograms

Simple shift of lightness Simple scaling of lightness

Black White

Contrast change

Do not use them without caution

Information will be lost Better to use dynamic range correction and / or gamma correction

Black White

Black

White

Dynamic Range Correction

80

Especially useful for scanned image

Black is not truly black, White is not truly white

Use Levels or Auto Contrast Tool

Gamma Correction as a Tool

81

Useful for too under/over exposed image

Also used for detailed tone normalization Use Levels or Curves command

Only Brightness

Highlight and shadow are the same. Only middle tone changes

Dodge & Burn

82

Adjustment of dynamic range (lightness) of selected area in an image

Traditionally the most sensitive task for professional photographer in darkroom Use masking and histogram manipulation

Automatic local dynamic range correction

The latest software (like Photoshop CS) has function to automatically perform typical Dodge & Burn Surprisingly useful for photographer But it still needs manual operation for real content-based correction

Dodge & Burn (Example)

83

Original

Gamma Correction

Shadow/Highlight (Photoshop)

Manual Dodge & Burn

Photo Retouching

84

Correct the defect in photograph

Especially useful for scanned image (because it always has many dust or scratch on the image) Use Clone Stamp Tool

2D Vector Image Theory

Vector image

86

Filled polygon

Vector Based

Group of mathematical shape data

Best for Illustration / Technical Drawing

Fully editable, structured data

Small data size

~1/100 of comparable bitmap image Suitable for slow network (Internet)

Resolution Independent

Suitable for resizing/zooming/printing

Can be applied to 3D modeling

Basic elements of vector image

Line
Polygon

87

Curve

Open Path

Closed Path

Open Path

Closed Path

Fill

for closed path only

Simple

Gradient

Pattern

Z-order and Grouping

88

Z-order

Which object comes in front?

Grouping

Treed structure of objects

Group of 54 polygons 1 filled polygon Group of 97 polygons

Group of 2 objects

Total of 191 polygons Group of 2 objects

Group of 21 polygons Group of 3 objects

Group of 18 polygons

Mathematical Curves

89

B-Spline curve
Simple and fast calculation Easy to modify curve locally Used in TrueType Font, etc.

Control Point

Anchor Point 2

Anchor Point 1 Control Point 1 Anchor Point 2

Bzier curve

The most popular 2D curve standard Easy to control the shape Anchor Point 1 Widely used in almost Control all vector based graphics programs
Point 2

Vector image file format

90

Industry Standard
EPS - Adobe Artistic drawing AI - Adobe Artistic drawing DXF - Autodesk 2D/3D CAD

Platform Standard

WMF, EMF - Windows

International Standard
CGM (Computer Graphics Metafile) - ANSI/ISO SVG - (W3C recommendation)

EPS (Encapsulated Post Script)

91

PostScript based
PostScript = Bzier-curve based page definition language developed by Adobe For printing complex page layout

Highly expressive

Color separation, Layers, etc.

For Professional Artist Used in publishing / illustration industry Not used in mechanical drawing DXF

AI (Adobe Illustrator)

92

Proprietary format for Adobe Illustrator

Based primarily on PostScript Adds all special functionality of Illustrator

Somewhat industry standard

More capability than EPS Many applications support this format

Inconsistency in versions

Each new version of Adobe Illustrator has newer version of file format Incompatible

WMF & EMF

93

WMF (Windows Meta File)

Straight line-based (No curve!) Designed for Microsoft Windows 3.1 Limited feature, but widely used in office market

EMF (Enhanced Meta File)

Bzier curve-based Designed for Microsoft Windows 95 Used for exchange of vector data internally between Windows applications