text:
HSL and HSV

HSL and HSV are the two most common cylindrical-coordinate representations of points in an RGB color model. The two representations rearrange the geometry of RGB in an attempt to be more intuitive and perceptually relevant than the cartesian (cube) representation. Developed in the 1970s for computer graphics applications, HSL and HSV are used today in color pickers, in image editing software, and less commonly in image analysis and computer vision.

HSL stands for hue, saturation, and lightness, and is often also called HLS. HSV stands for hue, saturation, and value, and is also often called HSB (B for brightness). A third model, common in computer vision applications, is HSI, for hue, saturation, and intensity. However, while typically consistent, these definitions are not standardized, and any of these abbreviations might be used for any of these three or several other related cylindrical models. (For technical definitions of these terms, see below.)

In each cylinder, the angle around the central vertical axis corresponds to "hue", the distance from the axis corresponds to "saturation", and the distance along the axis corresponds to "lightness", "value" or "brightness". Note that while "hue" in HSL and HSV refers to the same attribute, their definitions of "saturation" differ dramatically. Because HSL and HSV are simple transformations of device-dependent RGB models, the physical colors they define depend on the colors of the red, green, and blue primaries of the device or of the particular RGB space, and on the gamma correction used to represent the amounts of those primaries. Each unique RGB device therefore has unique HSL and HSV spaces to accompany it, and numerical HSL or HSV values describe a different color for each basis RGB space.

Both of these representations are used widely in computer graphics, and one or the other of them is often more convenient than RGB, but both are also criticized for not adequately separating color-making attributes, or for their lack of perceptual uniformity. Other more computationally intensive models, such as CIELAB or CIECAM02 are said to better achieve these goals.

Basic principle
HSL and HSV are both cylindrical geometries (fig. 2), with hue, their angular dimension, starting at the red primary at 0°, passing through the green primary at 120° and the blue primary at 240°, and then wrapping back to red at 360°. In each geometry, the central vertical axis comprises the neutral, achromatic, or gray colors ranging, from top to bottom, white at lightness 1 (value 1) to black at lightness 0 (value 0).

In both geometries, the additive primary and secondary colors – red, yellow, green, cyan, blue and magenta – and linear mixtures between adjacent pairs of them, sometimes called pure colors, are arranged around the outside edge of the cylinder with saturation 1. These saturated colors have lightness 0.5 in HSL, while in HSV they have value 1. Mixing these pure colors with black – producing so-called shades – leaves saturation unchanged. In HSL, saturation is also unchanged by tinting with white, and only mixtures with both black and white – called tones – have saturation less than 1. In HSV, tinting alone reduces saturation.

Because these definitions of saturation – in which very dark (in both models) or very light (in HSL) near-neutral colors are considered fully saturated (for instance, from the bottom right in the sliced HSL cylinder or  from the top right) – conflict with the intuitive notion of color purity, often a conic or biconic solid is drawn instead (fig. 3), with what this article calls chroma as its radial dimension (equal to the range of the RGB values), instead of saturation (where the saturation is equal to the chroma over the maximum chroma in that slice of the (bi)cone). Confusingly, such diagrams usually label this radial dimension "saturation", blurring or erasing the distinction between saturation and chroma. As described below, computing chroma is a helpful step in the derivation of each model. Because such an intermediate model – with dimensions hue, chroma, and HSV value or HSL lightness – takes the shape of a cone or bicone, HSV is often called the "hexcone model" while HSL is often called the "bi-hexcone model" (fig. 8).

Motivation
Most televisions, computer displays, and projectors produce colors by combining red, green, and blue light in varying intensities – the so-called RGB additive primary colors. The resulting mixtures in RGB color space can reproduce a wide variety of colors (called a gamut); however, the relationship between the constituent amounts of red, green, and blue light and the resulting color is unintuitive, especially for inexperienced users, and for users familiar with subtractive color mixing of paints or traditional artists' models based on tints and shades (fig. 4). Furthermore, neither additive nor subtractive color models define color relationships the same way the human eye does.

For example, imagine we have an RGB display whose color is controlled by three sliders ranging from 0–255, one controlling the intensity of each of the red, green, and blue primaries. If we begin with a relatively colorful orange, with sRGB values R = 217, G = 118, B = 33, and want to reduce its colorfulness by half to a less saturated orange , we would need to drag the sliders to decrease R by 31, increase G by 24, and increase B by 59, as pictured below.

Beginning in the 1950s, color television broadcasts used a compatible color system whereby "luminance" and "chrominance" signals were encoded separately, so that existing unmodified black-and-white televisions could still receive color broadcasts and show a monochrome image.

In an attempt to accommodate more traditional and intuitive color mixing models, computer graphics pioneers at PARC and NYIT introduced the HSV model for computer display technology in the mid-1970s, formally described by Alvy Ray Smith in the August 1978 issue of Computer Graphics. In the same issue, Joblove and Greenberg described the HSL model – whose dimensions they labeled hue, relative chroma, and intensity – and compared it to HSV (fig. 1). Their model was based more upon how colors are organized and conceptualized in human vision in terms of other color-making attributes, such as hue, lightness, and chroma; as well as upon traditional color mixing methods – e.g., in painting – that involve mixing brightly colored pigments with black or white to achieve lighter, darker, or less colorful colors.

The following year, 1979, at SIGGRAPH, Tektronix introduced graphics terminals using HSL for color designation, and the Computer Graphics Standards Committee recommended it in their annual status report (fig. 7). These models were useful not only because they were more intuitive than raw RGB values, but also because the conversions to and from RGB were extremely fast to compute: they could run in real time on the hardware of the 1970s. Consequently, these models and similar ones have become ubiquitous throughout image editing and graphics software since then. Some of their uses are described below.

Formal derivation

Color-making attributes
The dimensions of the HSL and HSV geometries – simple transformations of the not-perceptually-based RGB model – are not directly related to the photometric color-making attributes of the same names, as defined by scientists such as the CIE or ASTM. Nonetheless, it is worth reviewing those definitions before leaping into the derivation of our models. For the definitions of color-making attributes which follow, see:

 * Hue: The "attribute of a visual sensation according to which an area appears to be similar to one of the perceived colors: red, yellow, green, and blue, or to a combination of two of them".
 * Radiance (Le,Ω): The radiant power of light passing through a particular surface per unit solid angle per unit projected area, measured in SI units in watt per steradian per square metre.
 * Luminance (Y or Lv,Ω): The radiance weighted by the effect of each wavelength on a typical human observer, measured in SI units in candela per square meter . Often the term luminance is used for the relative luminance, Y/Yn, where Yn is the luminance of the reference white point.
 * Luma (): The weighted sum of gamma-corrected, , and values, and used in YCbCr, for JPEG compression and video transmission.
 * Brightness (or value): The "attribute of a visual sensation according to which an area appears to emit more or less light".
 * Lightness: The "brightness relative to the brightness of a similarly illuminated white".
 * Colorfulness: The "attribute of a visual sensation according to which the perceived color of an area appears to be more or less chromatic".
 * Chroma: The "colorfulness relative to the brightness of a similarly illuminated white".
 * Saturation: The "colorfulness of a stimulus relative to its own brightness".

Brightness and colorfulness are absolute measures, which usually describe the spectral distribution of light entering the eye, while lightness and chroma are measured relative to some white point, and are thus often used for descriptions of surface colors, remaining roughly constant even as brightness and colorfulness change with different illumination. Saturation can be defined as either the ratio of colorfulness to brightness, or that of chroma to lightness.

General approach
HSL, HSV, and related models can be derived via geometric strategies, or can be thought of as specific instances of a "generalized LHS model". The HSL and HSV model-builders took an RGB cube – with constituent amounts of red, green, and blue light in a color denoted R, G, B ∈ [0, 1] – and tilted it on its corner, so that black rested at the origin with white directly above it along the vertical axis, then measured the hue of the colors in the cube by their angle around that axis, starting with red at 0°. Then they came up with a characterization of brightness/value/lightness, and defined saturation to range from 0 along the axis to 1 at the most colorful point for each pair of other parameters.

Hue and chroma

In each of our models, we calculate both hue and what this article will call chroma, after Joblove and Greenberg (1978), in the same way – that is, the hue of a color has the same numerical values in all of these models, as does its chroma. If we take our tilted RGB cube, and project it onto the "chromaticity plane" perpendicular to the neutral axis, our projection takes the shape of a hexagon, with red, yellow, green, cyan, blue, and magenta at its corners (fig. 9). Hue is roughly the angle of the vector to a point in the projection, with red at 0°, while chroma is roughly the distance of the point from the origin.

More precisely, both hue and chroma in this model are defined with respect to the hexagonal shape of the projection. The chroma is the proportion of the distance from the origin to the edge of the hexagon. In the lower part of the adjacent diagram, this is the ratio of lengths OP/, or alternatively the ratio of the radii of the two hexagons. This ratio is the difference between the largest and smallest values among R, G, or B in a color. To make our definitions easier to write, we'll define these maximum, minimum, and chroma component values as M, m, and C, respectively.
 * $$M = \max(R, G, B)$$
 * $$m = \min(R, G, B)$$
 * $$C = \operatorname{range}(R, G, B) = M - m$$

To understand why chroma can be written as M − m, notice that any neutral color, with R = G = B, projects onto the origin and so has 0 chroma. Thus if we add or subtract the same amount from all three of R, G, and B, we move vertically within our tilted cube, and do not change the projection. Therefore, any two colors of (R, G, B) and (R − m, G − m, B − m) project on the same point, and have the same chroma. The chroma of a color with one of its components equal to zero (m = 0) is simply the maximum of the other two components. This chroma is M in the particular case of a color with a zero component, and M − m in general.

The hue is the proportion of the distance around the edge of the hexagon which passes through the projected point, originally measured on the range [0, 1] but now typically measured in degrees [0°, 360°). For points which project onto the origin in the chromaticity plane (i.e., grays), hue is undefined. Mathematically, this definition of hue is written piecewise:
 * $$H' = \begin{cases}

\mathrm{undefined},   &\text{if } C = 0 \\ \frac{G - B}{C} \bmod 6, &\text{if } M = R \\ \frac{B - R}{C} + 2,   &\text{if } M = G \\ \frac{R - G}{C} + 4,   &\text{if } M = B  \end{cases}$$
 * $$H = 60^\circ \times H'$$

Sometimes, neutral colors (i.e. with C = 0) are assigned a hue of 0° for convenience of representation.

These definitions amount to a geometric warping of hexagons into circles: each side of the hexagon is mapped linearly onto a 60° arc of the circle (fig. 10). After such a transformation, hue is precisely the angle around the origin and chroma the distance from the origin: the angle and magnitude of the vector pointing to a color.

Sometimes for image analysis applications, this hexagon-to-circle transformation is skipped, and hue and chroma (we'll denote these H2 and C2) are defined by the usual cartesian-to-polar coordinate transformations (fig. 11). The easiest way to derive those is via a pair of cartesian chromaticity coordinates which we'll call α and β:
 * $$\alpha = R - G \cdot \cos(60^{\circ}) - B \cdot \cos(60^{\circ}) = \tfrac{1}{2}(2R - G - B)$$
 * $$\beta = G \cdot \sin(60^{\circ}) - B \cdot \sin(60^{\circ}) = \tfrac{\sqrt{3}}{2}(G - B)$$
 * $$H_2 = \operatorname{atan2}(\beta, \alpha)$$
 * $$C_2 = \operatorname{gmean}(\alpha, \beta) = \sqrt{\alpha^2 + \beta^2}$$

(The atan2 function, a "two-argument arctangent", computes the angle from a cartesian coordinate pair.)

Notice that these two definitions of hue (H and H2) nearly coincide, with a maximum difference between them for any color of about 1.12° – which occurs at twelve particular hues, for instance H = 13.38°, H2 = 12.26° – and with H = H2 for every multiple of 30°. The two definitions of chroma (C and C2) differ more substantially: they are equal at the corners of our hexagon, but at points halfway between two corners, such as H = H2 = 30°, we have $C = 1$, but $C_2 = \sqrt{\frac{3}{4}} \approx 0.866,$  a difference of about 13.4%.

Lightness

While the definition of hue is relatively uncontroversial – it roughly satisfies the criterion that colors of the same perceived hue should have the same numerical hue – the definition of a lightness or value dimension is less obvious: there are several possibilities depending on the purpose and goals of the representation. Here are four of the most common (fig. 12; three of these are also shown in fig. 8):

 * The simplest definition is just the arithmetic mean, i.e. average, of the three components, in the HSI model called intensity (fig. 12a). This is simply the projection of a point onto the neutral axis – the vertical height of a point in our tilted cube. The advantage is that, together with Euclidean-distance calculations of hue and chroma, this representation preserves distances and angles from the geometry of the RGB cube.
 * $$I = \operatorname{avg}(R, G, B) = \tfrac{1}{3}(R + G + B)$$
 * In the HSV "hexcone" model, value is defined as the largest component of a color, our M above (fig. 12b). This places all three primaries, and also all of the "secondary colors" – cyan, yellow, and magenta – into a plane with white, forming a hexagonal pyramid out of the RGB cube.
 * $$V = \max(R, G, B) = M$$
 * In the HSL "bi-hexcone" model, lightness is defined as the average of the largest and smallest color components (fig. 12c), i.e. the mid-range of the RGB components. This definition also puts the primary and secondary colors into a plane, but a plane passing halfway between white and black. The resulting color solid is a double-cone similar to Ostwald's, shown above.
 * $$L = \operatorname{mid}(R, G, B) = \tfrac{1}{2}(M + m)$$
 * A more perceptually relevant alternative is to use luma,, as a lightness dimension (fig. 12d). Luma is the weighted average of gamma-corrected R, G, and B, based on their contribution to perceived lightness, long used as the monochromatic dimension in color television broadcast. For sRGB, the Rec. 709 primaries yield 709, digital NTSC uses 601 according to Rec. 601 and some other primaries are also in use which result in different coefficients.
 * $$Y'_\text{601} = 0.299\cdot R + 0.587\cdot G + 0.114\cdot B$$ (SDTV)
 * $$Y'_\text{240} = 0.212\cdot R + 0.701\cdot G + 0.087\cdot B$$ (Adobe)
 * $$Y'_\text{709} = 0.2126\cdot R + 0.7152\cdot G + 0.0722\cdot B$$ (HDTV)
 * $$Y'_\text{2020} = 0.2627\cdot R + 0.6780\cdot G + 0.0593\cdot B$$ (UHDTV, HDR)

All four of these leave the neutral axis alone. That is, for colors with R = G = B, any of the four formulations yields a lightness equal to the value of R, G, or B.

For a graphical comparison, see fig. 13 below.

Saturation

When encoding colors in a hue/lightness/chroma or hue/value/chroma model (using the definitions from the previous two sections), not all combinations of lightness (or value) and chroma are meaningful: that is, half of the colors denotable using H ∈ [0°, 360°), C ∈ [0, 1], and V ∈ [0, 1] fall outside the RGB gamut (the gray parts of the slices in figure 14). The creators of these models considered this a problem for some uses. For example, in a color selection interface with two of the dimensions in a rectangle and the third on a slider, half of that rectangle is made of unused space. Now imagine we have a slider for lightness: the user's intent when adjusting this slider is potentially ambiguous: how should the software deal with out-of-gamut colors? Or conversely, If the user has selected as colorful as possible a dark purple, and then shifts the lightness slider upward, what should be done: would the user prefer to see a lighter purple still as colorful as possible for the given hue and lightness , or a lighter purple of exactly the same chroma as the original color ?

To solve problems such as these, the HSL and HSV models scale the chroma so that it always fits into the range [0, 1] for every combination of hue and lightness or value, calling the new attribute saturation in both cases (fig. 14). To calculate either, simply divide the chroma by the maximum chroma for that value or lightness.
 * $$S_V = \begin{cases}

0,     &\text{if } V = 0 \\ \frac{C}{V}, &\text{otherwise} \end{cases}$$
 * $$S_L = \begin{cases}

0,      &\text{if } L = 1 \text{ or } L = 0 \\ \frac{C}{1 - |2L - 1|}, &\text{otherwise} \end{cases}$$

The HSI model commonly used for computer vision, which takes H2 as a hue dimension and the component average I ("intensity") as a lightness dimension, does not attempt to "fill" a cylinder by its definition of saturation. Instead of presenting color choice or modification interfaces to end users, the goal of HSI is to facilitate separation of shapes in an image. Saturation is therefore defined in line with the psychometric definition: chroma relative to lightness (fig. 15). See the Use in image analysis section of this article.
 * $$S_I = \begin{cases}

0, &\text{if } I = 0 \\ 1 - \frac{m}{I}, &\text{otherwise} \end{cases}$$

Using the same name for these three different definitions of saturation leads to some confusion, as the three attributes describe substantially different color relationships; in HSV and HSI, the term roughly matches the psychometric definition, of a chroma of a color relative to its own lightness, but in HSL it does not come close. Even worse, the word saturation is also often used for one of the measurements we call chroma above (C or C2).

Examples
All parameter values shown below are given as values in the interval [0, 1], except those for H and H2, which are in the interval [0°, 360°).

Use in end-user software
[[File:hsl-hsv-colorpickers.svg|thumb|right|300px|Fig 16a–g. By the 1990s, HSL and HSV color selection tools were ubiquitous. The screenshots above are taken from: 1. SGI IRIX 5, c. 1995;

2. Adobe Photoshop, c. 1990;

3. IBM OS/2 Warp 3, c. 1994;

4. Apple Macintosh System 7, c. 1996;

5. Fractal Design Painter, c. 1993;

6. Microsoft Windows 3.1, c. 1992;

7. NeXTSTEP, c. 1995. These are undoubtedly based on earlier examples, stretching back to PARC and NYIT in the mid-1970s.]]

The original purpose of HSL and HSV and similar models, and their most common current application, is in color selection tools. At their simplest, some such color pickers provide three sliders, one for each attribute. Most, however, show a two-dimensional slice through the model, along with a slider controlling which particular slice is shown. The latter type of GUI exhibits great variety, because of the choice of cylinders, hexagonal prisms, or cones/bicones that the models suggest (see the diagram near the top of the page). Several color choosers from the 1990s are shown to the right, most of which have remained nearly unchanged in the intervening time: today, nearly every computer color chooser uses HSL or HSV, at least as an option. Some more sophisticated variants are designed for choosing whole sets of colors, basing their suggestions of compatible colors on the HSL or HSV relationships between them.

Most web applications needing color selection also base their tools on HSL or HSV, and pre-packaged open source color choosers exist for most major web front-end frameworks. The CSS 3 specification allows web authors to specify colors for their pages directly with HSL coordinates.

HSL and HSV are sometimes used to define gradients for data visualization, as in maps or medical images. For example, the popular GIS program ArcGIS historically applied customizable HSV-based gradients to numerical geographical data.

Image editing software also commonly includes tools for adjusting colors with reference to HSL or HSV coordinates, or to coordinates in a model based on the "intensity" or luma defined above. In particular, tools with a pair of "hue" and "saturation" sliders are commonplace, dating to at least the late-1980s, but various more complicated color tools have also been implemented. For instance, the Unix image viewer and color editor xv allowed six user-definable hue (H) ranges to be rotated and resized, included a dial-like control for saturation (SHSV), and a curves-like interface for controlling value (V) – see fig. 17. The image editor Picture Window Pro includes a "color correction" tool which affords complex remapping of points in a hue/saturation plane relative to either HSL or HSV space.

Video editors also use these models. For example, both Avid and Final Cut Pro include color tools based on HSL or a similar geometry for use adjusting the color in video. With the Avid tool, users pick a vector by clicking a point within the hue/saturation circle to shift all the colors at some lightness level (shadows, mid-tones, highlights) by that vector.

Since version 4.0, Adobe Photoshop's "Luminosity", "Hue", "Saturation", and "Color" blend modes composite layers using a luma/chroma/hue color geometry. These have been copied widely, but several imitators use the HSL (e.g. PhotoImpact, Paint Shop Pro) or HSV geometries instead.

Use in image analysis
HSL, HSV, HSI, or related models are often used in computer vision and image analysis for feature detection or image segmentation. The applications of such tools include object detection, for instance in robot vision; object recognition, for instance of faces, text, or license plates; content-based image retrieval; and analysis of medical images.

For the most part, computer vision algorithms used on color images are straightforward extensions to algorithms designed for grayscale images, for instance k-means or fuzzy clustering of pixel colors, or canny edge detection. At the simplest, each color component is separately passed through the same algorithm. It is important, therefore, that the features of interest can be distinguished in the color dimensions used. Because the R, G, and B components of an object's color in a digital image are all correlated with the amount of light hitting the object, and therefore with each other, image descriptions in terms of those components make object discrimination difficult. Descriptions in terms of hue/lightness/chroma or hue/lightness/saturation are often more relevant.

Starting in the late 1970s, transformations like HSV or HSI were used as a compromise between effectiveness for segmentation and computational complexity. They can be thought of as similar in approach and intent to the neural processing used by human color vision, without agreeing in particulars: if the goal is object detection, roughly separating hue, lightness, and chroma or saturation is effective, but there is no particular reason to strictly mimic human color response. John Kender's 1976 master's thesis proposed the HSI model. Ohta et al. (1980) instead used a model made up of dimensions similar to those we have called I, α, and β. In recent years, such models have continued to see wide use, as their performance compares favorably with more complex models, and their computational simplicity remains compelling.

Disadvantages
While HSL, HSV, and related spaces serve well enough to, for instance, choose a single color, they ignore much of the complexity of color appearance. Essentially, they trade off perceptual relevance for computation speed, from a time in computing history (high-end 1970s graphics workstations, or mid-1990s consumer desktops) when more sophisticated models would have been too computationally expensive.

HSL and HSV are simple transformations of RGB which preserve symmetries in the RGB cube unrelated to human perception, such that its R, G, and B corners are equidistant from the neutral axis, and equally spaced around it. If we plot the RGB gamut in a more perceptually-uniform space, such as CIELAB (see below), it becomes immediately clear that the red, green, and blue primaries do not have the same lightness or chroma, or evenly spaced hues. Furthermore, different RGB displays use different primaries, and so have different gamuts. Because HSL and HSV are defined purely with reference to some RGB space, they are not absolute color spaces: to specify a color precisely requires reporting not only HSL or HSV values, but also the characteristics of the RGB space they are based on, including the gamma correction in use.

If we take an image and extract the hue, saturation, and lightness or value components, and then compare these to the components of the same name as defined by color scientists, we can quickly see the difference, perceptually. For example, examine the following images of a fire breather (fig. 13). The original is in the sRGB colorspace. CIELAB L* is a CIE-defined achromatic lightness quantity (dependent solely on the perceptually achromatic luminance Y, but not the mixed-chromatic components X or Z, of the CIEXYZ colorspace from which the sRGB colorspace itself is derived), and it is plain that this appears similar in perceptual lightness to the original color image. Luma is roughly similar, but differs somewhat at high chroma, where it deviates most from depending solely on the true achromatic luminance (Y, or equivalently L*) and is influenced by the colorimetric chromaticity (x,y, or equivalently, a*,b* of CIELAB). HSL L and HSV V, by contrast, diverge substantially from perceptual lightness.

Though none of the dimensions in these spaces match their perceptual analogs, the value of HSV and the saturation of HSL are particular offenders. In HSV, the blue primary and white  are held to have the same value, even though perceptually the blue primary has somewhere around 10% of the luminance of white (the exact fraction depends on the particular RGB primaries in use). In HSL, a mix of 100% red, 100% green, 90% blue – that is, a very light yellow – is held to have the same saturation as the green primary, even though the former color has almost no chroma or saturation by the conventional psychometric definitions. Such perversities led Cynthia Brewer, expert in color scheme choices for maps and information displays, to tell the American Statistical Association:

"Computer science offers a few poorer cousins to these perceptual spaces that may also turn up in your software interface, such as HSV and HLS. They are easy mathematical transformations of RGB, and they seem to be perceptual systems because they make use of the hue–lightness/value–saturation terminology. But take a close look; don't be fooled. Perceptual color dimensions are poorly scaled by the color specifications that are provided in these and some other systems. For example, saturation and lightness are confounded, so a saturation scale may also contain a wide range of lightnesses (for example, it may progress from white to green which is a combination of both lightness and saturation). Likewise, hue and lightness are confounded so, for example, a saturated yellow and saturated blue may be designated as the same 'lightness' but have wide differences in perceived lightness. These flaws make the systems difficult to use to control the look of a color scheme in a systematic manner. If much tweaking is required to achieve the desired effect, the system offers little benefit over grappling with raw specifications in RGB or CMY."

If these problems make HSL and HSV problematic for choosing colors or color schemes, they make them much worse for image adjustment. HSL and HSV, as Brewer mentioned, confound perceptual color-making attributes, so that changing any dimension results in non-uniform changes to all three perceptual dimensions, and distorts all of the color relationships in the image. For instance, rotating the hue of a pure dark blue toward green  will also reduce its perceived chroma, and increase its perceived lightness (the latter is grayer and lighter), but the same hue rotation will have the opposite impact on lightness and chroma of a lighter bluish-green –  to  (the latter is more colorful and slightly darker). In the example below (fig. 21), the image (a) is the original photograph of a green turtle. In the image (b), we have rotated the hue (H) of each color by −30°, while keeping HSV value and saturation or HSL lightness and saturation constant. In the image right (c), we make the same rotation to the HSL/HSV hue of each color, but then we force the CIELAB lightness (L*, a decent approximation of perceived lightness) to remain constant. Notice how the hue-shifted middle version without such a correction dramatically changes the perceived lightness relationships between colors in the image. In particular, the turtle's shell is much darker and has less contrast, and the background water is much lighter. Image (d) uses CIELAB to hue shift; the difference from (c) demonstrates the errors in hue and saturation.

Because hue is a circular quantity, represented numerically with a discontinuity at 360°, it is difficult to use in statistical computations or quantitative comparisons: analysis requires the use of circular statistics. Furthermore, hue is defined piecewise, in 60° chunks, where the relationship of lightness, value, and chroma to R, G, and B depends on the hue chunk in question. This definition introduces discontinuities, corners which can plainly be seen in horizontal slices of HSL or HSV.

Charles Poynton, digital video expert, lists the above problems with HSL and HSV in his Color FAQ, and concludes that:

"HSB and HLS were developed to specify numerical Hue, Saturation and Brightness (or Hue, Lightness and Saturation) in an age when users had to specify colors numerically. The usual formulations of HSB and HLS are flawed with respect to the properties of color vision. Now that users can choose colors visually, or choose colors related to other media (such as PANTONE), or use perceptually-based systems like L*u*v* and L*a*b*, HSB and HLS should be abandoned."

Other cylindrical-coordinate color models
The creators of HSL and HSV were far from the first to imagine colors fitting into conic or spherical shapes, with neutrals running from black to white in a central axis, and hues corresponding to angles around that axis. Similar arrangements date back to the 18th century, and continue to be developed in the most modern and scientific models.

Color conversion formulae
To convert from HSL or HSV to RGB, we essentially invert the steps listed above (as before, $R, G, B ∈ [0, 1]$). First, we compute chroma, by multiplying saturation by the maximum chroma for a given lightness or value. Next, we find the point on one of the bottom three faces of the RGB cube which has the same hue and chroma as our color (and therefore projects onto the same point in the chromaticity plane). Finally, we add equal amounts of R, G, and B to reach the proper lightness or value.

HSL to RGB
Given a color with hue $H ∈ [0°, 360°)$, saturation $S_{L} ∈ [0, 1]$, and lightness $L ∈ [0, 1]$, we first find chroma:
 * $$C = (1 - \left\vert 2 L - 1 \right\vert) \times S_L$$

Then we can find a point $(R_{1}, G_{1}, B_{1})$ along the bottom three faces of the RGB cube, with the same hue and chroma as our color (using the intermediate value X for the second largest component of this color):
 * $$H^\prime = \frac{H}{60^\circ}$$
 * $$X = C \times (1 - |H^\prime \;\bmod 2 - 1|)$$

In the above equation, the notation $$H^\prime \;\bmod 2$$ refers to the remainder of the Euclidean division of $$H^\prime$$ by 2. $$H^\prime$$ is not necessarily an integer.
 * $$(R_1, G_1, B_1) = \begin{cases}

(C, X, 0) &\text{if } 0 \leq H^\prime < 1 \\ (X, C, 0) &\text{if } 1 \leq H^\prime < 2 \\ (0, C, X) &\text{if } 2 \leq H^\prime < 3 \\ (0, X, C) &\text{if } 3 \leq H^\prime < 4 \\ (X, 0, C) &\text{if } 4 \leq H^\prime < 5 \\ (C, 0, X) &\text{if } 5 \leq H^\prime < 6 \end{cases}$$

When $$H^\prime$$ is an integer, the "neighbouring" formula would yield the same result, as $$X = 0$$ or $$X = C$$, as appropriate.

Finally, we can find R, G, and B by adding the same amount to each component, to match lightness:

 * $$m = L-\frac{C}{2}$$
 * $$(R,G,B) = (R_{1}+m,G_{1}+m,B_{1}+m)$$

HSL to RGB alternative
The polygonal piecewise functions can be somewhat simplified by clever use of minimum and maximum values as well as the remainder operation.

Given a color with hue $$H \in [0^\circ,360^\circ]$$, saturation $$S=S_L \in [0,1]$$, and lightness $$L \in [0,1]$$, we first define the function:
 * $$f(n) = L - a \max(-1, \min(k-3,9-k,1))$$

where $$k,n \in \mathbb R_{\geq 0}$$ and:

 * $$k = (n+\frac{H}{30^\circ}) \bmod 12$$
 * $$a = S_L \min(L,1-L)$$

And output R,G,B values (from $$[0,1]^3$$) are:

 * $$(R,G,B) = (f(0), f(8), f(4))$$

The above alternative formulas allow for shorter implementations. In the above formulas the $$a\bmod b$$ operation also returns the fractional part of the module e.g. $$ 7.4 \bmod 6 = 1.4$$, and $$k \in [0,12)$$.

The base shape $$T(k) = t(n,H) = \max(\min(k-3,9-k,1), -1)$$ is constructed as follows: $$t_1 = \min(k-3,9-k)$$ is a "triangle" for which values greater or equal to −1 start from k=2 and end at k=10, and the highest point is at k=6. Then by $$t_2 = \min(t_1,1) = \min(k-3,9-k,1)$$ we change values bigger than 1 to equal 1. Then by $$t = \max(t_2,-1)$$  we change values less than −1 to equal −1. At this point, we get something similar to the red shape from fig. 24 after a vertical flip (where the maximum is 1 and the minimum is −1). The R,G,B functions of $$H$$ use this shape transformed in the following way: modulo-shifted on $$X$$ (by $$n$$) (differently for R,G,B) scaled on $$Y$$ (by $$-a$$) and shifted on $$Y$$ (by $$L$$).

We observe the following shape properties (Fig. 24 can help to get an intuition about them):

 * $$t(n,H) = -t(n+6,H)$$
 * $$\min\ (t(n,H), t(n+4,H), t(n+8,H)) = -1$$
 * $$\max\ (t(n,H), t(n+4,H), t(n+8,H)) = +1$$

HSV to RGB
Given an HSV color with hue $H ∈ [0°, 360°)$, saturation $S_{V} ∈ [0, 1]$, and value $V ∈ [0, 1]$, we can use the same strategy. First, we find chroma:
 * $$C = V \times S_V$$

Then we can, again, find a point $(R_{1}, G_{1}, B_{1})$ along the bottom three faces of the RGB cube, with the same hue and chroma as our color (using the intermediate value X for the second largest component of this color):

 * $$H^\prime = \frac{H}{60^\circ}$$
 * $$X = C \times (1 - |H^\prime \bmod 2 - 1|)$$
 * $$ (R_1, G_1, B_1) = \begin{cases}

(C, X, 0) &\text{if } 0 \leq H^\prime < 1 \\ (X, C, 0) &\text{if } 1 \leq H^\prime < 2 \\ (0, C, X) &\text{if } 2 \leq H^\prime < 3 \\ (0, X, C) &\text{if } 3 \leq H^\prime < 4 \\ (X, 0, C) &\text{if } 4 \leq H^\prime < 5 \\ (C, 0, X) &\text{if } 5 \leq H^\prime < 6 \end{cases}$$

As before, when $$H^\prime$$ is an integer, "neighbouring" formulas would yield the same result.

Finally, we can find R, G, and B by adding the same amount to each component, to match value:
 * $$m = V - C$$
 * $$(R, G, B) = (R_1 + m, G_1 + m, B_1 + m)$$

HSV to RGB alternative
Given a color with hue $$H \in [0^\circ,360^\circ]$$, saturation $$S=S_V \in [0,1]$$, and value $$V \in [0,1]$$, first we define function :
 * $$f(n) = V - VS \max(0, \min(k, 4-k, 1))$$

where $$k,n \in \mathbb R_{\geq 0}$$ and:
 * $$k = (n+\frac{H}{60^\circ}) \bmod 6$$

And output R,G,B values (from $$[0,1]^3$$) are:
 * $$(R,G,B) = (f(5), f(3), f(1))$$

Above alternative equivalent formulas allow shorter implementation. In above formulas the $$a\bmod b$$ returns also fractional part of module e.g. the formula $$ 7.4 \bmod 6 = 1.4$$. The values of $$k \in \mathbb R \land k \in [0,6)$$. The base shape
 * $$t(n,H) = T(k) = \max(0, \min(k, 4-k, 1))$$

is constructed as follows: $$t_1 = \min(k,4-k)$$ is "triangle" for which non-negative values starts from k=0, highest point at k=2 and "ends" at k=4, then we change values bigger than one to one by $$t_2 = \min(t_1,1) = \min(k,4-k,1)$$, then change negative values to zero by $$t = \max(t2,0)$$ – and we get (for $$n=0$$) something similar to green shape from Fig. 24 (which max value is 1 and min value is 0). The R,G,B functions of $$H$$ use this shape transformed in following way: modulo-shifted on $$X$$ (by $$n$$) (differently for R,G,B) scaled on $$Y$$ (by $$-VS$$) and shifted on $$Y$$ (by $$V$$). We observe following shape properties(Fig. 24 can help to get intuition about this):
 * $$t(n,H) = 1-t(n+3,H)$$
 * $$\min(t(n,H), t(n+2,H), t(n+4,H)) = 0$$
 * $$\max(t(n,H), t(n+2,H), t(n+4,H)) = 1$$

HSI to RGB
Given an HSI color with hue $H ∈ [0°, 360°)$, saturation $S_{I} ∈ [0, 1]$, and intensity $I ∈ [0, 1]$, we can use the same strategy, in a slightly different order:
 * $$H^\prime = \frac{H}{60^\circ}$$
 * $$Z = 1 - |H^\prime \;\bmod 2 - 1|$$
 * $$C = \frac{3 \cdot I \cdot S_I}{1 + Z}$$
 * $$X = C \cdot Z$$

Where $$C$$ is the chroma.

Then we can, again, find a point $(R_{1}, G_{1}, B_{1})$ along the bottom three faces of the RGB cube, with the same hue and chroma as our color (using the intermediate value X for the second largest component of this color):
 * $$(R_1, G_1, B_1) = \begin{cases}

(0, 0, 0) &\text{if } H \text{ is undefined} \\ (C, X, 0) &\text{if } 0 \leq H^\prime \leq 1 \\ (X, C, 0) &\text{if } 1 \leq H^\prime \leq 2 \\ (0, C, X) &\text{if } 2 \leq H^\prime \leq 3 \\ (0, X, C) &\text{if } 3 \leq H^\prime \leq 4 \\ (X, 0, C) &\text{if } 4 \leq H^\prime \leq 5 \\ (C, 0, X) &\text{if } 5 \leq H^\prime < 6 \end{cases}$$

Overlap (when $$H^\prime$$ is an integer) occurs because two ways to calculate the value are equivalent: $$X = 0$$ or $$X = C$$, as appropriate.

Finally, we can find R, G, and B by adding the same amount to each component, to match lightness:
 * $$m = I \cdot (1 - S_I)$$
 * $$(R, G, B) = (R_1 + m, G_1 + m, B_1 + m)$$

Luma, chroma and hue to RGB
Given a color with hue $H ∈ [0°, 360°)$, chroma $C ∈ [0, 1]$, and luma $Y'_{601} ∈ [0, 1]$, we can again use the same strategy. Since we already have H and C, we can straightaway find our point $(R_{1}, G_{1}, B_{1})$ along the bottom three faces of the RGB cube:
 * $$\begin{align}

H^\prime &= \frac{H}{60^\circ} \\ X   &= C \times (1 - |H^\prime \bmod 2 - 1|) \end{align}$$
 * $$(R_1, G_1, B_1) = \begin{cases}

(0, 0, 0) &\text{if } H \text{ is undefined} \\ (C, X, 0) &\text{if } 0 \leq H^\prime \leq 1 \\ (X, C, 0) &\text{if } 1 \leq H^\prime \leq 2 \\ (0, C, X) &\text{if } 2 \leq H^\prime \leq 3 \\ (0, X, C) &\text{if } 3 \leq H^\prime \leq 4 \\ (X, 0, C) &\text{if } 4 \leq H^\prime \leq 5 \\ (C, 0, X) &\text{if } 5 \leq H^\prime < 6 \end{cases}$$

Overlap (when $$H^\prime$$ is an integer) occurs because two ways to calculate the value are equivalent: $$X = 0$$ or $$X = C$$, as appropriate.

Then we can find R, G, and B by adding the same amount to each component, to match luma:
 * $$m = Y^\prime_{601} - (0.30R_1 + 0.59G_1 + 0.11B_1)$$
 * $$(R, G, B) = (R_1 + m, G_1 + m, B_1 + m)$$

HSV to HSL
Given a color with hue $$H_V \in [0^\circ,360^\circ)$$, saturation $$S_V \in [0,1]$$, and value $$V \in [0,1]$$,

 * $$H_L = H_V$$
 * $$S_L = \begin{cases}

0 & \text{if } L=0 \text{ or } L=1 \\ \frac{V-L}{\min(L,1-L)} & \text{otherwise} \\ \end{cases}$$
 * $$L = V\left(1 - \frac{S_V}{2}\right)$$

HSL to HSV
Given a color with hue $$H_L \in [0^\circ,360^\circ)$$, saturation $$S_L \in [0,1]$$, and luminance $$L \in [0,1]$$,

 * $$H_V = H_L$$
 * $$S_V = \begin{cases}

0 & \text{if } V=0 \\ 2\left(1-\frac{L}{V}\right) & \text{otherwise} \\ \end{cases}$$
 * $$V = L+S_L\min(L,1-L)$$

From RGB
This is a reiteration of the previous conversion.

Value must be in range $$R, G, B \in [0,1]$$.

With maximum component (i. e. value)

 * $$X_\text{max} := \max(R, G, B) =: V$$

and minimum component

 * $$X_\text{min} := \min(R, G, B) = V-C$$,

range (i. e. chroma)

 * $$C := X_\text{max} - X_\text{min} = 2(V-L) $$

and mid-range (i. e. lightness)

 * $$L := \operatorname{mid}(R, G, B) = \frac{X_\text{max} + X_\text{min}}{2} = V-\frac{C}{2}$$,

we get common hue:

 * $$H := \begin{cases}

0, & \text{if } C = 0 \\ 60^\circ \cdot \left( \frac {G - B} {C} \mod 6 \right), & \text{if } V = R \\ 60^\circ \cdot \left( \frac {B - R} {C} + 2 \right), & \text{if } V = G \\ 60^\circ \cdot \left( \frac {R - G} {C} + 4 \right), & \text{if } V = B \end{cases}$$

and distinct saturations:

 * $$S_V := \begin{cases}

0, &\text{if } V=0\\ \frac{C}{V}, &{\text{otherwise}} \end{cases}$$
 * $$S_L := \begin{cases}

0, &\text{if }L=0\text{ or }L=1\\ \frac {C}{1-\left\vert 2V-C-1\right\vert} =\frac{2(V-L)}{ 1-\left\vert 2L-1\right\vert} =\frac{V-L}{\min(L,1-L)}, & \text{otherwise} \end{cases}$$

Swatches
Mouse over the swatches below to see the R, G, and B values for each swatch in a tooltip.

title: HSL and HSV


text:
User:Ike9898

I dig learning the history of my adopted neighborhood. I've contributed to all these articles (which are mostly stubby) which are somehow related to the history of my neighborhood:

Abington Art Center • Abington School District v. Schempp • Abington Senior High School • Abington Township, Montgomery County, Pennsylvania • Ambler, Pennsylvania • Ancillae Assumpta Academy • Arcadia University • Ardsley (SEPTA station) • Ardsley, Pennsylvania • Benjamin Netanyahu • Beth Sholom Synagogue • Bok Tower Gardens • Cheltenham High School • Cheltenham Square Mall • Cheltenham Township, Pennsylvania • Cheltenham, Pennsylvania • Chestnut Hill College • Chestnut Hill, Pennsylvania • Chestnut Hill, Philadelphia • Chestnut Hill, Philadelphia, Pennsylvania • Country Gentleman • Curtis Arboretum • Curtis Hall Arboretum • Curtis Organ • Curtis Publishing Co. v. Butts • Curtis Publishing Company • Cyrus Hermann Kotzschmar Curtis • Edward W. Bok • Efrem Zimbalist • Elkins Estate •Elkins Park, Pennsylvania • Ezra Pound  • Fort Washington, Pennsylvania • George D. Widener, Jr. • George Dunton Widener • George Horace Lorimer • Glenside (SEPTA station) • Glenside, Pennsylvania • Gratz College • Great Train Wreck of 1856 • Grey Towers Castle • Harry Elkins Widener • Huntingdon Valley (SEPTA station) • Huntingdon Valley, Pennsylvania • Jack and Jill (magazine) • Jenkintown, Pennsylvania • Jenkintown-Wyncote (SEPTA station) • John Charles Martin • John Wanamaker • Keasbey and Mattison Company • La Mott, Pennsylvania • Ladies' Home Journal • Laverock, Pennsylvania • Lorimer • Lorimer Park • Louisa Knapp Curtis • Lucretia Mott  • Lynnewood Hall • Manor College • Mary Louise Curtis Bok Zimbalist • Melrose Park, Pennsylvania • Michael Brecker • Morris Arboretum • Ogontz, Philadelphia, Pennsylvania • Pennsylvania Route 152 • Pennsylvania Route 309 • Pennsylvania Route 611 • Pennsylvania Route 73 • Peter Arrell Brown Widener • Plymouth Meeting Mall • Public Ledger (Philadelphia) • Reconstructionist Rabbinical College • Reggie Jackson  • Roslyn, Pennsylvania • Rydal (SEPTA station) • Rydal, Pennsylvania • Saint Basil Academy (Jenkintown, Pennsylvania) • The American Home • The Saturday Evening Post • Tyler School of Art • Upper Moreland Township, Pennsylvania • Wall House (Elkins Park, Pennsylvania) • Wallace Triplett • West Oak Lane, Philadelphia, Pennsylvania • Whitemarsh Hall • Willow Grove Park • Willow Grove, Pennsylvania • Wissahickon Creek • Wyncote, Pennsylvania • Wyndmoor, Pennsylvania

 Swag

I agree to multi-license all my contributions, with the exception of my user pages, as described below:

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User:Ike9898


text:
Hollis

Hollis may refer to:

People

 * Hollis (name), a list of people with either the surname or given name
 * Hollis (singer), American singer-songwriter Hollis Wong-Wear (fl. 2013–present)

United States

 * Hollis, Alaska, a census-designated place
 * Hollis, Arkansas, an unincorporated community
 * Hollis, Kansas, an unincorporated community
 * Hollis, Maine, a town
 * Hollis, Mississippi, an unincorporated community
 * Hollis, Missouri, an unincorporated community
 * Hollis, New Hampshire, a town
 * Hollis, Oklahoma, a city and county seat
 * Hollis, Queens, a New York City neighborhood
 * Hollis station, a Long Island Railroad station
 * Hollis Garden, a public botanical garden in Lakeland, Florida
 * Hollis Speedway, a racetrack in Heflin, Alabama

Elsewhere

 * Hollis Reservoir, Trinidad

Other uses

 * USS Hollis, a US Navy destroyer escort
 * Hollis Chair of Mathematicks and Natural Philosophy, an endowed professorship at Harvard University
 * Hollis Professor of Divinity, an endowed chair at Harvard University
 * HOLLIS, acronym for Harvard Library's online catalog

title: Hollis


text:
Holly (disambiguation)

Holly is a genus of about 400 species of flowering plants in the family Aquifoliaceae.

Holly may also refer to:

Name

 * Holly (name), including a list of people with the name

Places in the United States

 * Holly, Colorado, a Statutory Town
 * Holly, Michigan, a village
 * Holly, Texas, an unincorporated community
 * Holly, Washington, an unincorporated community
 * Holly, West Virginia, an unincorporated community
 * Holly Lake, Grand Teton National Park, Wyoming
 * Holly River, Virginia
 * Holly Township (disambiguation), several places

Fictional characters

 * Holly (Red Dwarf), the talking computer on the British TV series Red Dwarf
 * Holly Gibney, recurring character in Stephen King's novels
 * Holly Golightly (character), lead character in Truman Capote's novella Breakfast at Tiffany's and its various adaptations
 * Holly Flax, Human Resources representative and Michael Scott's love interest in American TV series The Office
 * Holly Shumpert, Dog walker of Doug and Carrie Heffernan in American sitcom The King of Queens
 * Holly Maddox, June Osborne's mother introduced in season 2 of the series The Handmaid's Tale

Music

 * Holly (DJ), Portuguese musician
 * Holly (album), an album by Justin Nozuka
 * "Holly" (song), a 1967 song performed by Andy Williams
 * Sirius XM Holly, a Christmas music channel on North American satellite radio which replaces various channels during the Christmas season including Sirius XM Love

Other uses in arts, entertainment, and media

 * Holly (2006 film), a drama film directed by Guy Moshe
 * Holly (2023 film), a drama film directed by Fien Troch
 * "Holly" (The Handmaid's Tale), a television episode
 * Holly (novel), 2023 novel by Stephen King

Brands and enterprises

 * Holly (automobile company), a defunct American automobile manufacturer (1911–1913)
 * Holly Corporation, an oil company headquartered in Dallas, Texa, now known as HollyFrontier
 * Holly Theatre (disambiguation), several places

Education

 * Holly Academy, Holly, Michigan, a charter school
 * Holly High School, Holly, Michigan

Other uses

 * Tropical Storm Holly, various named tropical cyclones
 * USS Holly, two US Navy vessels

title: Holly (disambiguation)


text:
Howell

Howell may refer to:

In the United States

 * Howell, Georgia, an unincorporated community
 * Howell, Evansville, a neighborhood in Indiana
 * Howell, Michigan, a city in Livingston County
 * Howell County, Missouri
 * Howell, Missouri, an unincorporated community
 * Howell, Utah, a town
 * Howell Mountains, California
 * Howell Island, Missouri - see Howell Island Conservation Area
 * Howell Township (disambiguation), several places

Elsewhere

 * Howell, Lincolnshire, England, a hamlet
 * Mount Howell, Ellsworth Land, Antarctica
 * Howell Peak, Oates Land, Antarctica

Businesses

 * Howell, Soskin, a defunct American publisher acquired by Crown Books
 * John Howell & Son, British building and engineering company
 * Howell Works, a 19th century pig iron producing facility in New Jersey, United States

Other uses

 * Howell (name), a surname and given name, including lists of people and fictional characters
 * Howell automatic rifle, a semi-automatic conversion of the Lee–Enfield rifle
 * Howell torpedo, an early type of U.S. Navy torpedo
 * 88P/Howell, a periodic comet
 * Howell High School (disambiguation)
 * Howell Trophy, an annual award recognizing the best men's college basketball player in the state of Mississippi
 * Howell, a table movement system used in duplicate bridge (see Duplicate bridge)
 * Hugh Howell Road, Georgia

title: Howell


text:
HLS

HLS may refer to:

Organisations

 * Harlington Locomotive Society, London, England
 * HealthSouth, a former American hospital operator
 * Huntingdon Life Sciences, a British contract research organisation
 * HLS Ost (Horchleitstelle Ost; Intercept Control Station East), German WWII cryptanalysis station

Education

 * Harvard Law School, Cambridge, Massachusetts, US
 * Helen Lowry Higher Secondary School, Mizoram, India
 * Highlands Latin School, Louisville, Kentucky, US

Technology

 * HTTP Live Streaming, a media streaming communications protocol
 * HLS color space, a representation of points in an RGB color model
 * High-level synthesis, an automated design process

Transportation

 * Human Landing System, a NASA program to choose a Moon landing system for the 2020s
 * Starship HLS, a modified version of the SpaceX Starship
 * Heavy Logistics System, a USAF program to develop the Lockheed C-5 Galaxy
 * Lockheed C-5 Galaxy, the winner of the USAF HLS project
 * Haiti Air Freight (ICAO airline code ); see List of defunct airlines of Haiti
 * St Helens Airport (IATA airport code ), Tasmania, Australia
 * Hilsea railway station (station code ), England, UK

Other uses

 * Historical Dictionary of Switzerland (German: Historisches Lexikon der Schweiz)
 * Holy See; also UNDP country code for Vatican City
 * Himalayan Languages Symposium, an annual academic conference on Trans-Himalayan languages

title: HLS


text:
Eugeen Van Mieghem

Eugeen Van Mieghem (October 1, 1875 – March 24, 1930) was an artist born in the port city of Antwerp, Belgium. As a boy Van Mieghem was confronted with the harsh reality of life at the waterfront.

Even at primary school he showed a talent for drawing. He was introduced to the work of Vincent van Gogh, Georges Seurat, Camille Pissarro, Henri de Toulouse-Lautrec and others at an exhibition organised by Flemish painter and architect Henry van de Velde at the Antwerp Academy around 1892. He attended the Antwerp Academy but was sent from school because his conservative teachers disliked his subject matter and his free, spontaneous way with it. He threw his lot in with progressive political and cultural movements, and joined an anarchist group. By the early 1900s was recognized as one of the most promising young artists of the Antwerp school. He would never renounce his idealism. He became the artist of the typical harbour folk: sack porters, sack makers, emigrants, dockers, bargees, and tramps.

Van Mieghem had his first taste of real success at La Libre Esthétique in Brussels, where his pastels and drawings hung alongside works by French impressionists such as Claude Monet, Paul Cézanne, Camille Pissarro, Jean Renoir and Édouard Vuillard.

Van Mieghem married Augustine Pautre in 1902. At the end of November 1904 his young wife fell ill. Van Mieghem depicted her in an impressive series of drawings and pastels that rate alongside similar work by artists such as Rembrandt (The Series of Saskia) and Ferdinand Hodler (Valentine Godé). Grief-stricken at the death of his wife, it was not before 1910 until Van Mieghem showed his work again.

After his first individual exhibition at Antwerp's Royal Society of Fine Arts in 1912, international interest in his work mounted and group exhibitions followed in Cologne and The Hague. In March 1919 he showed his wartime work in Antwerp. This remarkable series of mainly drawings and pastels met with the wide approval of art critics, who compared this work to that of Théophile-Alexandre Steinlen, Jean-Louis Forain, and Käthe Kollwitz. After an article by his friend and Flemish author Willem Elsschot appeared, Van Mieghem was also able to show his wartime work in a gallery in Scheveningen in The Netherlands. In 1929 he became a teacher of life drawing at the Academy in Antwerp and he participated in exhibitions every year until his death in 1930.

In European social art of the turn of the century, international art critics compare his work to that of figures like Käthe Kollwitz, de Toulouse-Lautrec, and Steinlen. Van Mieghem had no equal when it came down to drawing and painting the lives of ordinary people, living and working in an international seaport. When it comes to capturing social reality, his work has much of the power and authenticity of Jean-François Millet's. Like the precursor of social art, Van Mieghem never had to leave his own environment in search of subjects. The world was on his doorstep.

In recent years Van Mieghem's work has been rediscovered internationally. In 2000 a Steinlen retrospective at the Picasso Museum in Barcelona included seven of his works and brought international recognition for his work. In 1993, the Eugeen Van Mieghem Museum opened its doors in Antwerp, with a collection of 150 of his works. In 2017 the Hugh Lane Gallery (Dublin, Ireland) exhibited several of his works.

title: Eugeen Van Mieghem


text:
Hurricane (disambiguation)

A hurricane is a type of tropical cyclone.

Hurricane may also refer to:

Fictional characters

 * Hurricane (comics), several unrelated fictional characters
 * Hurricane, the character of Breaux Greer in American Gladiators
 * Hurricane, in TV series Black Scorpion
 * Hurricane, in Thomas & Friends: Journey Beyond Sodor

Film

 * Hurricane (1929 film), directed by Ralph Ince
 * The Hurricane (1937 film), directed by John Ford
 * Hurricane (1974 film), a made-for-TV film
 * Hurricane (1979 film), starring Mia Farrow, a remake of the 1937 film; and a soundrtrack album, and the title song by The Roots
 * The Hurricane (1999 film), starring Denzel Washington
 * Hurricane (2018 film), also known as Hurricane: 303 Squadron and Mission of Honor

Television

 * Hurricanes (TV series), a British animation
 * "Hurricane!" (American Dad!), a 2011 TV episode
 * "Hurricane!", an episode of Nova, 1989
 * "The Hurricane!", a 2011 episode of The Cleveland Show

Groups

 * Hurricane (American band), a heavy metal band
 * Hurricane (Serbian band), a girl group
 * Hurricane #1, an English rock band
 * The Hurricanes, British R&B band

Albums

 * Hurricane (Eric Benét album) (2005)
 * Hurricane (Nick Fradiani album) (2016)
 * Hurricane (Natalie Grant album) (2013)
 * Hurricane #1 (album), (1997)
 * Hurricane (Grace Jones album) (2008)
 * The Hurricane, a 1997 album by Agatha Christie

Songs

 * "Hurricane" (Bob Dylan song) (1975)
 * "Hurricane" (Bridgit Mendler song) (2012)
 * "Hurricane" (Eden Golan song) (2024), the Israeli entry in the Eurovision Song Contest 2024
 * "Hurricane" (Halsey song) (2014)
 * "Hurricane" (Kanye West song) (2021)
 * "Hurricane" (Lauren Bennett song) (2016)
 * "Hurricane" (Lead song) (2011)
 * "Hurricane" (Leon Everette song) (1981)
 * "Hurricane" (Lifehouse song) (2015)
 * "Hurricane" (Luke Combs song) (2016)
 * "Hurricane" (Natalie Grant song) (2013)
 * "Hurricane" (Ofenbach and Ella Henderson song) (2021)
 * "Hurricane" (Rebound! song) (2010)
 * "Hurricane" (The Click song) (1995)
 * "Hurricane" (Thirty Seconds to Mars song) (2011)
 * "Hurricane" (Thrice song) (2017)
 * "Hurricane (Cradle to the Grave)", by Grace Jones (1997)
 * "Hurricane", a song by Alyssa Reid from Time Bomb
 * "Hurricane", a song by Athlete from the 2007 album Beyond the Neighbourhood
 * "Hurricane", a song by B.A.P. from Badman EP
 * "Hurricane", a song by Cascada from Waterfall: The Essential Dance Remix Collection
 * "Hurricane", a song by Collective Soul from See What You Started by Continuing
 * "Hurricane", a song by Come from Near-Life Experience
 * "Hurricane", a song by Cover Drive from Bajan Style
 * "Hurricanes", a song by Dido from Still on My Mind
 * "Hurricane", a song by Faker from Addicted Romantic
 * "Hurricane", a song by the Fray from Helios
 * "Hurricane", a song by the Hush Sound from Goodbye Blues
 * "Hurricane", a song by Ilse DeLange
 * "Hurricane", a song by Infernal
 * "Hurricane", a song by Kim Carnes from Café Racers
 * "Hurricane", a song by Kyuss from ...And the Circus Leaves Town
 * "Hurricane", a song by Light from Death Note: The Musical
 * "Hurricane", a song by Martin Garrix and Sentinel
 * "Hurricane'", a 2011 song by Middle Class Rut
 * "Hurricane", a song by MS MR
 * "Hurricane", a song by Natalie Imbruglia from White Lilies Island
 * "Hurricane", a song by Needtobreathe from The Outsiders
 * "Hurricane", a song by Panic! at the Disco from Vices & Virtues
 * "Hurricanes", a song by Pull Tiger Tail from the 2007 album Paws.
 * "Hurricane", a song by Puffy AmiYumi from the 2002 album The Hit Parade
 * "Hurricane", a song by Samestate
 * "Hurricane (The Formal Weather Pattern)", a song by Something Corporate from Audioboxer
 * "Hurricane", a song by Theory of a Deadman from The Truth Is...
 * "Hurricane", a song by The Vamps from Alexander and the Terrible, Horrible, No Good, Very Bad Day
 * "Hurricane", a song by Warm Jets from Future Signs
 * "Hurricane", a song by Westend, the Austrian entry in the Eurovision Song Contest 1983
 * "Hurricane", a song from the musical Hamilton

Rides

 * Hurricane (ride), an amusement ride
 * Hurricane: Category 5, a former roller coaster at Myrtle Beach Pavilion
 * Hurricane (Fun Spot America), a roller coaster in Kissimmee, Florida

Other uses in arts and entertainment

 * Hurricane (British comics), a weekly British comic book 1964–1965
 * Hurricane (painting), by John Marin, 1944
 * Hurricane (pinball), a pinball game
 * The Hurricane (novel)by Charles Nordhoff and James Norman Hall, 1936

Australia

 * Hurricane, Queensland

United States

 * Hurricane, Alabama
 * Hurricane, Kentucky
 * Hurricane, Mississippi
 * Hurricane, Bollinger County, Missouri
 * Hurricane, Washington County, Missouri
 * Hurricane, North Carolina
 * Hurricane, Utah
 * Hurricane Cliffs
 * Hurricane Mesa, a landform
 * Hurricane, West Virginia
 * Hurricane, Wisconsin
 * Hurricane Canal, near Hurricane, Utah
 * Hurricane Lake, in Minnesota
 * Hurricane Pass, Grand Teton National Park, Wyoming
 * Hurricane Plantation, near Vicksburg, Mississippi
 * Hurricane Ridge, in Olympic National Park, Washington
 * Hurricane Hill

Canada

 * Guelph Hurricanes, now Cambridge Redhawks, an Ontario ice hockey team
 * Lethbridge Hurricanes, an Alberta ice hockey team
 * Newmarket Hurricanes, an Ontario ice hockey team
 * Toronto RCAF Hurricanes, a former Ontario rugby team
 * Waterloo Hurricanes, an Ontario ice hockey team
 * Westfort Hurricanes, a former Ontario ice hockey team

United Kingdom

 * Bristol Hurricanes, a British-Lithuanian basketball club
 * Dundee Hurricanes, a former American football team
 * Midlands Hurricanes, a semi-professional rugby league team in Coventry, England
 * Paisley Hurricanes, an amateur rugby league team in Paisley, Scotland

United States

 * Carolina Hurricanes, an ice hockey team in Raleigh, North Carolina
 * Harmarville Hurricanes, a former soccer team in Pennsylvania
 * Hartford Hurricanes, a 1940s basketball team in Connecticut
 * Holyoke Hurricanes, a former women's football team in Massachusetts
 * Honolulu Hurricanes, a former indoor football team in Hawaii
 * Houston Hurricanes (disambiguation), several teams
 * Miami Hurricanes, athletic teams of the University of Miami, Florida
 * Tulsa Golden Hurricane, athletic teams of the University of Tulsa, Oklahoma

Elsewhere

 * Hurricanes (rugby union), in New Zealand
 * Hurricanes (X-League), an American football team in Kodaira, Tokyo, Japan
 * Hurricanes Rugby League, a Jamaican rugby league team
 * Budapest Hurricanes, an American football team in Hungary
 * Hørsholm Hurricanes, a softball club in Denmark
 * Kiel Baltic Hurricanes, an American football team in Germany
 * Saarland Hurricanes, an American football team in Germany

Air

 * Hawker Hurricane, a British fighter aircraft of the 1930s–40s
 * RAE Hurricane, a light monoplane of the 1920s

Rail

 * GWR Hurricane locomotive, on the Great Western Railway, 1838–39
 * Hurricane, a GWR 3031 Class locomotive, on the Great Western Railway, 1891–1915
 * Hurricane, a Romney, Hythe and Dymchurch Railway locomotive

Road

 * Jeep Hurricane, a 2005 concept vehicle
 * Stellantis Hurricane engine, from 2021
 * Willys Hurricane engine, powering the military Jeep
 * Honda Hurricane (disambiguation), several Honda motorcycles
 * Project Hurricane, the Ford Boss engine

Military units

 * Hurricane, nickname of the 48th Armored Division (United States)

Ships

 * Hurricane (clipper), launched 1851
 * HMS Hurricane (H06), a Royal Navy destroyer
 * USS Hurricane, U.S. Navy patrol ship

Other uses

 * Hurricane (cocktail), an alcoholic drink
 * Hurricane (dog) (born 2009), a Special Operations canine of the United States Secret Service
 * Hurricane (nickname), including a list of people with the nickname
 * Hurricane Festival, a German rock music festival
 * Hurricane High School (Utah)
 * Hurricane High School (West Virginia)
 * ACA Hurricane, a civil defense siren

title: Hurricane (disambiguation)


text:
Roger Fisher (academic)

Roger D. Fisher (May 28, 1922 – August 25, 2012) was Samuel Williston Professor of Law at Harvard Law School and director of the Harvard Negotiation Project.

Background
Fisher specialized in negotiation and conflict management. He was the co-author (with William Ury) of the book Getting to Yes, about "interest-based" negotiation, as well as numerous other publications. After serving in World War II as a weather reconnaissance pilot, Fisher worked on the Marshall Plan in Paris under W. Averell Harriman. After finishing his law degree at Harvard, he worked with the Washington, DC, law firm of Covington & Burling, arguing several cases before the US Supreme Court and advising on several international disputes. He returned to Harvard Law School and became a professor there in 1958. After having lost many of his friends in the war and seeing so many costly disputes as a litigator, Fisher became intrigued with the art and science of how we manage our differences. Fisher and his students at the Harvard Negotiation Project (founded in 1979) began interviewing people who were known as skilled negotiators in order to understand what made them effective. And he started his study of conflict with the question, "What advice could I give to both parties in a dispute that would be helpful and lead to better outcomes?" This work led to the draft, "International Mediation: A Working Guide" (April 1978), and, eventually, to the international best-seller, Getting to Yes.

In the late 1960s, Fisher conceived of a court-style debate show that handled one contemporary policy issue each week. The Advocates premiered in October 1969 on WGBH-TV.

Throughout the 1980s and 1990s, Fisher and his colleagues taught courses on negotiation and conflict management at Harvard, but they also worked as advisors on real negotiations and conflicts of all types, worldwide; including peace processes, hostage crises, diplomatic negotiations, and commercial and legal negotiations and disputes. Fisher believed that keeping one foot in the real world helping people with real disputes was critical to producing theory and tools useful in the real world.

Fisher continued to teach and write until his eighties. Follow-up books expanded his thinking about dealing with relationship challenges (Getting Together with Scott Brown), preparing effectively (Getting Ready to Negotiate with Danny Ertel), tools for dealing with bad actors and challenging parties (Beyond Machiavelli with Elizabeth Kopelman and Andrea Kupfer Schneider), galvanizing a group to do effective problem-solving (Getting It Done: How to Lead When You're Not in Charge with Alan Sharp and John Richardson), and the role of emotions in working relationships (Beyond Reason with Daniel Shapiro). In addition, colleagues at the Harvard Negotiation Project expanded the tradition Fisher founded and led. William Ury published Getting to Peace (1999), Getting Past No (1993), The Third Side: Why We Fight and How We Can Stop (2000) and The Power of a Positive No (2007). Douglas Stone, Bruce Patton and Sheila Heen produced Difficult Conversations: How to Talk About What Matters Most (1999).

Fisher's 2005 work, Beyond Reason: Using Emotions as You Negotiate (with co-author Daniel Shapiro, a Harvard psychologist) identifies five "core concerns" that everyone cares about: autonomy, affiliation, appreciation, status, and role. The book shows how to use the core concerns to stimulate helpful emotions in negotiations ranging from the personal to international. In Beyond Reason, Fisher documents many of his first-hand experiences negotiating around the world, from his involvement in negotiating the Iran hostage crisis to his advisory role in helping Jamil Mahuad, President of Ecuador (1998–2000), resolve a long-standing international border dispute.

Fisher received his bachelor's degree from Harvard in 1943 and his law degree from Harvard Law School in 1948. He taught at Harvard from 1958 to 1992.

In 1984, Fisher founded the Conflict Management Group (CMG) in Cambridge, Massachusetts. CMG specialized in facilitating negotiations in conflicts worldwide. CMG merged with the Mercy Corps humanitarian group in 2004. He was a member of the Council on Foreign Relations and of the International Editorial Board of the Cambridge Review of International Affairs.

International work
Throughout his career, Fisher made significant efforts to seek peace in the Middle East. Among these efforts included his involvement in Egyptian President Anwar Sadat's trip to Jerusalem and the Camp David summit that led to an Israeli–Egyptian peace treaty. In this latter case, he helped devise a process called the one-text, where a facilitator shuttled back and forth between the parties, refining a proposed document until it could not satisfy the parties interests more effectively, at which point the parties either approve the document or agree to start from scratch. President Carter and Secretary of State Cyrus Vance created 23 drafts in 13 days before they had a proposal to which both sides could agree.

He advised both the Iranian and United States governments in negotiations for the release of the American hostages in 1981 where his work helped lead to the breakthrough that enabled the resolution.

In the 1980s, Fisher worked to bring peace to El Salvador.

Later in his career, he helped resolve the Ecuadorian–Peruvian territorial dispute. Jamil Mahuad, the president of Ecuador and a former student of Fisher's asked for Fisher's advice soon after taking power in 1998. Fisher, worried that domestic hardliners could cause either president to use the negotiations to posture, advised President Mahuad to avoid the typical photograph of the two presidents shaking hands and instead get a photograph of them sitting side-by-side working off a common document. This photograph helped signal to the public in each country that the presidents would not be taking an adversarial approach to the negotiation and helped lower rhetoric on both sides.

In South Africa, Fisher worked on the negotiations and constitutional process that led to the end of apartheid. From the 1980s to the mid 1990s, at the direction of then Archbishop Desmond Tutu and Bishop Joseph Seoka, he and his colleagues at the Conflict Management group, the African National Congress, the National Party, the Dutch Reformed Church, the Azanian People's Organization, and the Inkatha Freedom Party taught interest-based negotiation processes to the leaders of all the factions as well as advised them and their negotiators. The lead constitutional negotiators, Cyril Ramaphosa and Roelf Meyer, later stated in an interview that the cooperative interest-based negotiation process taught by Fisher and his team was the approach that they, their principals, and their constituencies used to hammer out the new constitution and democratic elections processes.

Preventing nuclear war
Fisher was known for a unique idea towards nuclear deterrence. In a March 1981 article in the Bulletin of the Atomic Scientists, while discussing the importance on reaching a "wise decision", especially in terms of nuclear arms, he suggested implanting the nuclear launch codes in a volunteer. If the President of the United States wanted to activate nuclear weapons, he would be required to kill the volunteer to retrieve the codes.

"My suggestion was quite simple: Put that needed code number in a little capsule, and then implant that capsule right next to the heart of a volunteer. The volunteer would carry with him a big, heavy butcher knife as he accompanied the President. If ever the President wanted to fire nuclear weapons, the only way he could do so would be for him first, with his own hands, to kill one human being. The President says, "George, I'm sorry but tens of millions must die." He has to look at someone and realize what death is—what an innocent death is. Blood on the White House carpet. It's reality brought home.

When I suggested this to friends in the Pentagon they said, "My God, that's terrible. Having to kill someone would distort the President's judgment. He might never push the button.""

title: Roger Fisher (academic)


text:
RGBA color model

RGBA stands for red green blue alpha. While it is sometimes described as a color space, it is actually a three-channel RGB color model supplemented with a fourth alpha channel. Alpha indicates how opaque each pixel is and allows an image to be combined over others using alpha compositing, with transparent areas and anti-aliasing of the edges of opaque regions. Each pixel is a 4D vector.

The term does not define what RGB color space is being used. It also does not state whether or not the colors are premultiplied by the alpha value, and if they are it does not state what color space that premultiplication was done in. This means more information than just "RGBA" is needed to determine how to handle an image.

In some contexts the abbreviation "RGBA" means a specific memory layout (called RGBA8888 below), with other terms such as "BGRA" used for alternatives. In other contexts "RGBA" means any layout.

Representation
In computer graphics, pixels encoding the RGBA color space information must be stored in computer memory (or in files on disk). In most cases four equal-sized pieces of adjacent memory are used, one for each channel, and a 0 in a channel indicates black color or transparent alpha, while all-1 bits indicates white or fully opaque alpha. By far the most common format is to store 8 bits (one byte) for each channel, which is 32 bits for each pixel.

The order of these four bytes in memory can differ, which can lead to confusion when image data is exchanged. These encodings are often denoted by the four letters in some order (e.g. RGBA, ARGB, etc.). The interpretation of these 4-letter mnemonics is not well established. There are two typical ways to understand a mnemonic such as "RGBA":

 * In the byte-order scheme, "RGBA" is understood to mean a byte R, followed by a byte G, followed by a byte B, and followed by a byte A. This scheme is commonly used for describing file formats or network protocols, which are both byte-oriented.
 * In the word-order scheme, "RGBA" is understood to represent a complete 32-bit word, where R is more significant than G, which is more significant than B, which is more significant than A.

In a big-endian system, the two schemes are equivalent. This is not the case for a little-endian system, where the two mnemonics are reverses of each other. Therefore, to be unambiguous, it is important to state which ordering is used when referring to the encoding. This article will use a scheme that has some popularity, which is to add the suffix "8888" to indicate if 4 8-bit units or "32" if one 32-bit unit are being discussed.

RGBA8888
In OpenGL and Portable Network Graphics (PNG), the RGBA byte order is used, where the colors are stored in memory such that R is at the lowest address, G after it, B after that, and A last. On a little endian architecture this is equivalent to ABGR32.

In many systems when there are more than 8 bits per channel (such as 16 bits or floating-point), the channels are stored in RGBA order, even if 8-bit channels are stored in some other order.

ARGB32
The channels are arranged in memory in such manner that a single 32-bit unsigned integer has the alpha sample in the highest 8 bits, followed by the red sample, green sample and finally the blue sample in the lowest 8 bits:

ARGB values are typically expressed using 8 hexadecimal digits, with each pair of the hexadecimal digits representing the values of the Alpha, Red, Green and Blue channel, respectively. For example,  represents 50.2% opaque (non-premultiplied) yellow. The  hex value, which is 128 in decimal, represents a 50.2% alpha value because 128 is approximately 50.2% of the maximum value of 255 (FF hex); to continue to decipher the   value, the first   represents the maximum value red can have; the second   is like the previous but for green; the final   represents the minimum value blue can have (effectively – no blue). Consequently, red + green yields yellow. In cases where the alpha is not used this can be shortened to 6 digits, this is why it was chosen to put the alpha in the top bits. Depending on the context a  or a number sign (#) is put before the hex digits.

This layout became popular when 24-bit color (and 32-bit RGBA) was introduced on personal computers. At the time it was much faster and easier for programs to manipulate one 32-bit unit than four 8-bit units.

On little-endian systems, this is equivalent to BGRA byte order. On big-endian systems, this is equivalent to ARGB byte order.

RGBA32
In some software originating on big-endian machines such as Silicon Graphics, colors were stored in 32 bits similar to ARGB32, but with the alpha in the bottom 8 bits rather than the top. For example,  would be Red and Green:50.2%, Blue:0% and Alpha:100%, a brown. This is what you would get if RGBA8888 data was read as words on these machines. It is used in Portable Arbitrary Map and in FLTK, but in general it is rare.

The bytes are stored in memory on a little-endian machine in the order ABGR.

title: RGBA color model


text:
Marble Hill

Marble Hill is the name of:

Australia

 * Marble Hill, South Australia, the vice-regal residence in the Adelaide Hills

Ireland

 * Marble Hill, County Donegal, a village in County Donegal

United Kingdom

 * Marble Hill House, a villa on the banks of the River Thames near London
 * Marble Hill Park, an English Heritage park surrounding Marble Hill House

United States

 * Marble Hill, Indiana
 * Marble Hill, Missouri
 * Marble Hill, Manhattan, a section of the borough of Manhattan in New York City
 * Marble Hill – 225th Street (IRT Broadway – Seventh Avenue Line), a subway station serving that neighborhood via the train
 * Marble Hill (Metro-North station), a Metro-North Hudson Line commuter rail station serving that neighborhood
 * Marble Hill, Tennessee, a neighborhood in Lynchburg
 * Marble Hill Nuclear Power Plant, an unfinished nuclear power plant in southern Indiana, USA

title: Marble Hill


text:
Talk:Titanic Thompson

Real name
Titanic Thompson's real nam was Alvin Clarence THOMAS!! -- 16:57, 25 June 2003 (UTC)
 * Please cite a reliable source; we cannot add information to the article without knowing whether it is verifiable. — SMcCandlish  Talk⇒ ʕ(Õلō)ˀ  Contribs. 18:42, 23 December 2011 (UTC)
 * Agreed. Ti was a famous gambler who won and blew through an estimated $500,000,000 between 1919 and 1965.  He was a golf hustler.  He could golf as well right-handed as he could left-handed.  He was an accomplished poker player, but he was also known to have cheated.  He was a champion horse-shoe player and clay pigeon shooter.  And he won most of the nine-ball billiards games that he ever entered.  His hand-to-eye coordination was off the charts. --, 02:28, 17 November 2005 (UTC)
 * Please cite a reliable source; we cannot add information to the article without knowing whether it is verifiable. — SMcCandlish  Talk⇒ ʕ(Õلō)ˀ  Contribs. 18:42, 23 December 2011 (UTC)

Thompson stories
I am a gambler of a long time. I know of a few Titanic Thompson stories.

One was when younger he hustled some money in his hometown(of the time, also been told was not his original hometown take it or leave it) during tourist or vacation season. Some say he would walk his dog by the same shallow lake alcove everyday for a year. And he would take a few stones mark with identical as he could X on them and throw them in. the dog run out thought he was retrieving the same stone but wasn't. Came the season for out of towners. He made it a point to be around the alcove all day. Was near some popular attraction or hang out. Well these vacationers/tourists had lots of excess money. Thompson would be throwing a stone in the water dog bringing him back one. The guy would bite and say " Hey kid your dog is not bringing back the same stone." And Thompson say oh yes he is...and milk it on a bit. Somehow manipulate th guy into thinking he was daft and could easily take the kid for some money. And then the bet was on. Thompson say look here I will mark an X on this stone throw it out into the alcove and my dog will bring it back. Of course Thompson won. He been throwing hundreds of marked stones in the exact same spot for the last year.

Heard a guy tell of how his father or gran pappy was a city worker and got hustled out of a good chunk of shange. On a bet about a road sign saying how far till town. Thompson found out the guy was a bad gambler and that he did all the street and sign work for this little town he was hustling in at the time. So Thompson went out dug up the sign and moved it either closer or futher away I forget. Then found the guy drinking in his usual bar and set him up. Something like this " Wow that sign saying four miles to town is a little off." You know where it goes from there. Being that the guy planted the sign himself. He was the king of the propositional gaff bet. Someone said his story make a great movie. It would if down right. With lots of help from the gambling world and the hustlers who do this sort of thing. —Preceding unsigned comment added by 24.171.51.138 (talk) 16:49, 24 July 2008 (UTC)

 * Please cite a reliable source; we cannot add information to the article without knowing whether it is verifiable. Wikipedia cannot use anecdotal stories. — SMcCandlish  Talk⇒ ʕ(Õلō)ˀ  Contribs. 18:42, 23 December 2011 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Titanic Thompson. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20060507091807/http://www.americanheritage.com/articles/magazine/ah/2005/4/2005_4_58.shtml to http://www.americanheritage.com/articles/magazine/ah/2005/4/2005_4_58.shtml

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 09:36, 2 December 2017 (UTC)

title: Talk:Titanic Thompson


text:
IBM Informix-4GL

Informix-4GL is a 4GL programming language developed by Informix during the mid-1980s. At the time of its initial release in 1986, supported platforms included Microsoft Xenix (on IBM PC AT), DEC Ultrix (running on Microvax II, VAX-11/750, VAX-11/785, VAX 8600), Altos 2086, AT&T 3B2, AT&T 3B5, AT&T 3B20 and AT&T Unix PC.

Description
It includes embedded SQL, a report writer language, a form language, and a limited set of imperative capabilities (functions, if and while statements, and supports arrays etc.). The language is particularly close to a natural language and is easy to learn and use. The Form Painter,  Screen Code Generator,  Report Code Generator (Featurizer) enabled adding custom business logic. It also had, as additional components a menu system, and a front-end GUI (graphical user interface) Generator.

The package includes two versions of compiler which either produce 1) intermediate byte code for an interpreter (known as the rapid development system), or 2) C Programming Language code for compilation with a C compiler into machine-code (which executes faster, but compiles slower, and executables are bigger). It is specifically designed to run as a client on a network, connected to an IBM Informix database engine service. It has a mechanism for calling C Programming Language functions and conversely, to be called from executing C programs. The RDS version also features an interactive debugger for Dumb terminals. A particular feature is the comprehensive error checking which is built into the final executable and the extremely helpful error messages produced by both compilers and executables. It also features embedded modal statements for changing compiler and executable behaviour (e.g. causing the compiler to include memory structures matching database schema structures and elements, or to continue executing in spite of error conditions, which can be trapped later on).

History
The Informix-4GL project was started in 1985, with Chris Maloney as chief architect. Roy Harrington was in charge of the related Informix Turbo (later renamed Online) engine, which bypassed the "cooked" file system and instead used "raw" disk access. It was based on software developed in 1983 by FourGen Software Technologies, which were based in Seattle. The bundled product was presented by Informix as ‘’’Forms’’’ and ‘’’Menu’’’ until 1996. This ‘’’Rapid Application Development’’’ product, marketed as FourGen CASE Tools, could access the user’s choice of ‘’’Informix’’’ and/or IBM’s DB2 databases. Another flavor of Informix programming-tool was produced, called "NewEra", which supported object-oriented programming and a level of code-compatibility with Informix-4GL.

Informix was acquired by IBM in April 2001. Despite its age, Informix-4GL is still widely used to develop business applications, and a sizable market exists around it due to its popularity. With accounting being an inherently text based activity, it is often chosen for its purely text-based interface to optimize data entry efficiency. These tools are available today on major flavors of UNIX and Red Hat Linux and SUSE Linux operating systems; the FOURGEN business was later acquired in 2002, by www.gillan.com.

title: IBM Informix-4GL