The object primer 3rd edition pdf free download

Knight 0. George Odian 0. John Kenkel 0. Trott 0. Carl S. Warren 2. Warren 0. Abraham Silberschatz 1. Frederick S. Hillier 1. William Stallings 1. Morris Mano 1. David Irwin 0. Morris Mano 0. Michael F. Ashby 0. William Thomson 0. Gene Mathers 0. Jack C. McCormac 1. William T. Segui 0. Richard T. Evans 0. Bill W. Tillery 0. Giorgio Rizzoni 0. Khurmi 1. Balagurusamy — 3rd Edition. Table of Contents 1. Fourth, we may assume that L or line is the default way of moving to the next point, and it need not be specifed.

These observations are illustrated as follows. The path will also be unclosed — that is, the two endpoints will not be connected unless we specify that they should be. If we wish a path to be closed, we modify it with the z flag at the end of the path as follows:.

Since paths are, by default, filled with black, it is natural to wonder what happens when the path crosses itself. By default, the union of the regions traversed by the path is filled, unless we specify otherwise. Here we show the default fill technique as well as the "even-odd" fill rule on a shape which intersects itself on more than one occasion.

The points are labeled just to make it easier to read what might seem a long list of six coordinate pairs. That is, a path may have multiple components by having more than one pen-down operation. Note in the figure below that the two path segments are indeed treated as one since the orange fill is applied to the entire figure rather than to the two separate triangular components.

The interior of the figure is also transparent, as illustrated by the rotated and reduced version of the image appearing partly inside and partly outside the foreground figure. I did not know what sort of crazy-fast mathematics would be able to solve all those equations so quickly. A good treatment of the subject may be found at Wikipedia 8.

We define an initial point say , with a pen-down. From there, we set a course heading toward the next point. Instead of going to the next point, we just aim that direction. So, for example, while "M L " actually arrives at the point ",", "M Q … " merely heads that way. In the illustration we see that. Simply replacing the "L" with a "Q" to draw. While there is an infinite family of curves tangent both to the line "M L " at , and to "M L " at , , there is only one quadratic that shares these properties, even if we allow for rotations in the sense of parametric equations of the quadratic.

That is, the curve is uniquely defined by those three points in the plane. Revisiting the earlier example in which the fill-rule was modified to produce an empty space in the middle of the curve, we may draw the same curve with quadratic splines instead of lines to see the effect.

We can imagine raising the degree of the polynomial to allow the satisfaction of increasingly more constraints on a curve. In the above figure, we see the effect of allowing the two control points to move symmetrically along the edges of the triangle in the direction of the vertex at , Each curve as we move down from the red curve to the sharp red angle has control points which are along the lines, but progressively closer to the vertex.

A sort of limiting case can be seen in the following diagram in which the two control points converge to either the end points of the curve or to the vertex.

Effectively then the kurtosis, or peakedness, of the curve can be adjusted anywhere between the ranges shown. While the above examples adjust the two control points symmetrically, we may adjust the skewness or asymmetry of the curve by adjusting the two control points asymmetrically. Additionally, they may be stitched together piecewise and smoothly so as to make cubic splines that can approximate any 2D curve with what is usually acceptable accuracy.

The following illustrates a collection of curves each tangent to the same pair of lines at the same pair of endpoints:. For this to happen, it is necessary that the slopes of the lines at either side of a segment's endpoint be the same. Observe that the two paths "brown" and "blue" share beginning and end points, initial and final control points, as well as midpoints , They differ only in terms of the control points surrounding the midpoint. The blue path aims toward , and then changes direction toward , passing through the midpoint on its way and there tangent to the line as shown.

Because the three relevant points , , , and , are collinear, the slopes of both segments are the same at the point where they meet, implying that the curve is smooth continuously differentiable at that point. That is the elliptical arc.

It might seem that an arc would be a very simple topic, but when we realize that given any two points in the plane and two elliptical radii, there often are two ellipses that traverse those points with specified radii and those points specify two different arcs for each ellipse.

The arc begins at the current point determined by the last coordinate specified, e. The ellipse will have radii of rx and ry, with the x-axis of the ellipse being rotated by XAR degrees. The particular ellipse of the two possible is specified by the large-arc-flag 0 or 1 and the particular segment of the ellipse is specified by the sweep-flag.

The following illustration shows two different ellipses passing through , and , each with different choices for its sweep-flag. The yellow arc is identical to the red one, and the blue to the green, except for the sweep-flag. Both ellipses have had zero rotation applied. Ordinarily all of our drawn objects are completely opaque.

A simple example is the preceding illustration of arc segments in which each of the four arc segments is given an opacity of 0. I am not quite sure why a vector graphics language came to have methods for inserting bitmaps.

It makes sense, though, since most vector drawing packages give ready access to bitmaps. It certainly expands our graphics repertoire. Additionally, numerous interesting filters exist within SVG which give us considerable power at manipulating bitmapped as well as vector graphics. We specify the upper left corner of the rectangle x,y we specify its width and height, and we specify the file or URL from which the material will be loaded.

It is also important to note that as of this writing, Firefox does not appear to support. It is also worth noting that if and when the other browsers do offer support for. Putting text on a page is a natural thing to do. Future versions of SVG are likely to offer more possibilities than we have at the moment and browser support for text seems to be poised for improvement. Right now one should be aware that there are some problems associated with the appearance of text across browsers.

Nevertheless a few simpler things may be done reliably, simply and consistently. Here's a sort of simplest case:. The dimensions of the text obtained by using the method getBBox , discussed in later chapters varies a bit between browsers as shown in table 2 below.

Similar results would be observed for HTML since a fundamental premise of the web has been that font support and layout is a choice left to the browser software. The W3C SVG specification reveals that SVG fonts should be equivalent to those of CSS-2, but it may be important to specify generic font families specifically serif, sans-serif, cursive, fantasy or monospace to increase the probability that your visitors' browsers can see them.

Even so, as the following illustrates, current browser support for font-families is lagging behind the specifications. The specification also provides dozens of other ways of controlling the appearance of text, some of which have been implemented in existing browsers. Below is a sampling of some effects that are possible in at least some browsers already:. Various flags exist which adjust the positioning of the text along the path, many of which seem not yet to be supported by browsers.

The rate at which browser improvement is bringing new features forward would render quite out-of-date any attempt to state a list of currently supported features, but suffice it to say, there are major browser differences here at the current time.

Thus far we have had the opportunity to see much similarity between SVG and HTML: two markup languages with tags and attributes that modify the way those tags look.

Where SVG starts to look less like a markup language and more like a programming environment is in its ability to reuse and modify its own content within its own system. That is, elements can be contained in other elements in such a way that containers modify the appearance of the elements inside them. Specifically we can group and reuse elements in ways that simplify maintenance of code and which shorten the overall length of our documents.

And while those tags can be exemplified with examples drawing just on the "simple objects" discussed earlier in this chapter, their utility becomes, perhaps more pronounced once we have the abilities to transform objects using the isometric planar primitive operations of translation, rotation including reflection , and scaling. The three easiet ways to move things around in SVG are rotation, scaling and translation. All are considered to be special cases of the transform attribute of a tag.

Suppose we have an object, like a complex path, which we have drawn either by typing coordinates, or with a graphical editor and once we bring it into our SVG document, we discover, that while we like the shape, it needs to be moved around a bit. The syntax looks like this:. Here's a simple example in which a complex path is drawn near a simple ellipse, before and after the application of a translation pixels leftward and pixels up:.

Following is an example of a figure before and after rotation of degrees. The operation is performed via:. The point Again this point is determined through a JavaScript calculation involving getBBox , a method that will be discussed later. Scaling or resizing an object is a wee bit tricky. The syntax of the command is straightforward but since the scaling operation multiplies all x,y coordinates by scaling coefficients, objects will typically appear to move away from or toward the origin as they expand or shrink.

In order to keep an object more or less "in place" as it is rescaled, we must combine the scale operation with a translation. Another side effect of scaling is that when negative numbers are multiplied by all the coordinates, the object will appear to flip or reflect about one or both axes.

The illustration below shows an ellipse centered at ,50 as well as an accompanying text label , before and after a rescale by a factor of 2. Note that the ellipse's center like all the points on the ellipse has each of its coordinates rescaled by the same factor. If we wish to expand a figure differently in one direction than the other, we simply add a second parameter to the transform as shown in the following in which we rescale by a factor of three horizontally, but only x 1.

Note here that the hash marks associated with the dasharray remain no longer perpendicular to the path. Below is an example in which we scale differentially in the x and y directions, preserving the height by multiplying it by 1. To see how we might scale something while keeping it centered about the same point, we use multiple transformations: a scale and a translation, as demonstrated in the next section. The operations are performed in the order right to left, so in the above case, the scale is applied first, moving all points 1.

Then the figure is moved upward to the left. In the following, we see how rescaling followed by a translation produces the desired effect of expanding an ellipse but keeping it centered about the same location. The original ellipse is centered at , When we simply rescale it, by a factor of 1. This sort of arithmetic is easily automated, if need be, through the use of JavaScript.

Once we start taking the things we have built and moving them around on the screen, it is natural to want some of them to move together as a unit.

The four statements turn into 12 statements, 8 of which have simple editing applied to effect the change. If the object being replicated were a complex path, the amount of arithmetic we would have to do might become annoying. We end up with a few more characters, but considerably less cognitive effort and time will be expended. The group tag may also be used to define other attributes of elements within the group, such as the color used to fill some or all objects. If an object has an attribute defined as.

In the following illustration, code is reused more effectively than manually editing each of the six rectangles, by letting the rectangles inherit their fill color from their groups. This allows us to define an object, give it an identifier an "id" attribute and then to reuse that object later on, without having to copy all of its code.

Working again with the example used earlier, we will show one more way to not only reuse code, but to simplify it and reduce the overall number of characters. Above we have built the three rectangles and the oval, with the fill color of the rectangles left undefined: that is, to be inherited from their group. In the meantime, we must still assign a color to the rectangles of the first instance, so I've wrapped the group "G" in yet another container and given that container its own fill color black.

This means we will now have a whole flower consisting of six ellipses each with different rotations: 0,30,60,90, and degrees. Step 3. Having grouped the six ellipses together into the object "g3", we will now reuse that object three more times, each with a different color and position.

To do this we let the stroke property move up to a new top level that contains the first flower, allowing the inner object "g3" to have its own stroke undefined.

Given an SVG document, saved with a. It is a sort of simplest case, in that fewer keystrokes in the SVG file will probably not do anything in at least one of the browsers.

There are several issues associated with this question. We might prefer a technique which adjusts to the graphic more automatically. The following accomplishes this by establishing a "viewBox": a relativized coordinate system within the SVG. More on the viewBox attribute will be discussed in the section on zooming and panning in a later chapter.

The above solution scales nicely, in the sense that if we define the size of the embed as a percentage of the browser window then the SVG will expand or contract in a more customized way. If we wish to use JavaScript to interact with the SVG document though these topics are the subject of much to come in later chapters , then we may wish to know the size of the SVG object if it is specified in absolute terms.

To determine its width and height we might use. Since users of Internet Explorer and some older browsers will need the Adobe SVG Viewer plugin, it makes good sense to include the following attribute in one's embed tag:. This allows the user to find out what they need in order to actually see the SVG should the browser not be SVG capable. If one is interested in compliance even with very old browsers e.

As a graphics language, SVG is not limited to just a set of graphic primitives albeit ones with a rich set of attributes. There are other ways of filling, cropping and distorting objects that greatly enhance our arsenal of tools. The term "gradient" refers to a gradual change of colors, blending from one into the next, generally with the small local changes in color values being imperceptible.

It is fairly easy to define a gradient in SVG. First we build a gradient object, then we use it as the fill or stroke of another object or set of objects. The gradient object consists of a series of colors called stop-colors and the ways those colors will be faded into one another. There are two primary types of gradient: radial, in which the colors surround some central point in concentric bands, and linear in which the transitions all take place perpendicular to some basic line or direction.

Note that in the linear gradient above, two "stops" have been built. This means the gradient has two colors applied to it, one for each stop. Those colors are determined by the stop-color attribute. That is, white is applied at the leftmost part of the triangle, while black is applied to the rightmost part. For the radial gradient, the midpoint of the bounding rectangle around the path is chosen as the center. From there we apply our first stop-color zero percent of the way out toward the corners of the bounding box.

Black will be applied to the four corners of the bounding rectangle, with shades of grey gradually lightening as we move toward the center. The number of stops in a gradient need not be limited to two. The rectangles below are pixels wide. That means the linear gradient is white at 0 pixels and pixels from the left, and black at 50 and pixels. Next, we observe that we can change the angle that a linear gradient traverses its fill, or the center point from which the waves of the radial gradient ripple outward.

We may thus make gradients act like differential masks, gradually allowing an image underneath to fade in to view. Stop-opacity like regular opacity of drawn objects takes on values between 0 transparent and 1. Here are some examples in which stop-opacity has been used with gradients to allow differing amounts of what is underneath to be visible along a partly transparent gradient.

The spreadMethod determines how the gradient will fill a shape if it happens to "run out" before the image is filled. Suppose, as in the example below left, we have a radial gradient which fills an ellipse but the stops of which are so close to the center that its effect is constrained to a small portion of the ellipse. We might choose to replicate that fill pattern replicating the color transitions multiplicative outward as shown in the example on the right.

Like a gradient, a pattern defines a fill method that may be applied to a given shape. In the case of a pattern though, we may specify some graphics that fill a given rectangle within a pattern, and then allow the pattern to replicate across the region being filled. An example should make it fairly clear. Note that these ellipses all fit inside the rectangle 0,0 to 22,15 without any of the ellipses extending past the edges. Now, we will build a pattern-space: a rectangle of size 22 by 15, in which the three ovals are placed.

We use the patternUnits attribute to make sure the coordinates of the pattern conform to the absolute viewing window rather than to fractions of the object being filled.

We then define a region in this case another ellipse and let the pattern called "Oval" be used to fill it. In the above example, note that another ellipse the blue one has been placed under the pattern just to help see how the pattern, when not completely filled, is actually transparent. The objects we place inside a pattern can be numerous and complex, as shown in the following example, where the objects are ellipses filled with reflected gradients.

While using the stop-opacity of a gradient can allow us to appear to clip or crop an underlying image down to a smaller region in the shape of either a rectangle in the case of linear gradients or ellipse in the case of radial gradients , this technique gives us no easy way to clip down to an arbitrary polygon Masks and clip-paths are a more realistic approach to cutting a shape out of an underlying picture. As such, we will introduce it first. The rendered portion of the image is limited to those pixels that are within the ellipse.

As with gradients and other SVG items containing references to things defined elsewhere in the document, the clipPath is given an id and then the thing to be clipped by it refers to that id within its clip-path attribute. If an element is complex in this way, then it must have its clip-method rather than its fill-method set to "evenodd.

A single rectangle has been placed "behind" the image, so that we may observe that the regions cropped away from the rendered image are indeed invisible. The following demonstrates a picture being clipped first to a star-shaped region "ST". The result, "I", is then reused being reflected and translated with a new clip-path applied — one that happens to coincide with a rectangle, "R", that passes beneath it and is reused to form the second clipping path, "C2". The example is an interesting one since it illustrates some of the complex ways in which SVG objects can be combined with one another.

Above, we have taken the result "I" of a clipping operation and applied another clip to that. We might accomplish a similar result, following from the above code by applying the "ST" clipPath as a clipping path to another clipPath containing the rectangle "R" as shown in the following code.

It should also be noted that the major SVG browsers show some inconsistent behavior regarding clipPaths at the current point in time. Because of the expressive power of SVG, there are often multiple ways to accomplish the same end. All but the last approach actually remove unwanted parts of the picture as is illustrated by the rectangle which appears behind the first three images, but is interrupted by the overlaid region in the fourth. As can be seen from the above illustration, the mask and the clipPath have much in common.

The fundamental difference is that while the clipPath provides an all-or-none clipping function, the mask can provide partial occlusion of the underlying object based on color values provided within the mask. In a sort of simplest case see the figure " Clipping to a shape using clipPath, mask, composite, and overlay " above , a mask, just like a clipPath, provides a region that divides the object to be clipped into two parts: the visible black or opaque part and the invisible white or transparent part.

A mask also allows, however, for this division to provide an alpha channel to an object based on color or transparency values of the mask. That is, suppose instead of merely clipping a bitmap or other graphic we wish to make parts of it invisible or partly visible, while we might see a gradual transition from invisible to visible in other parts.

To illustrate the difference between a clipPath and a Mask, consider the following example. A simple linear gradient is defined ranging from black to white as we move from left to right. The mask is then applied to a text object, the bounds of which extend well beyond the rectangle of the mask, in both horizontal directions. Since black , at the left side of the mask, is equivalent at least in the case of RGB images to "opaque," the text is hidden at that side.

As we move toward the right which in this case coincides with white and hence "transparent" the text becomes more visible since its mask is more transparent. In the next example, we look a bit closer at the mask, this time using four different transparency levels also known as alpha values within the mask, applied through four separate rectangles.

The words "unmasked values" appear without any mask applied, while the words "Masked values" have had the mask applied. The above example serves to demonstrate that masks may have discretely defined regions with discrete transparency levels. The next example is a closer look at the continuous case of gradient, or continuous, levels of change, this time, applied radially, rather than linearly. The three dashed lines are all significant here: the outermost coincides with the outer edge of the ellipse.

Note that moving from this edge outward, the underlying rectangular image ceases to be visible since it is effectively clipped by the mask. That is it is an ellipse that coincides with the middle stop of the gradient. It is at that contour level, where the opacity of the mask is zero, meaning that it is there where the image is most visible.

The reader may benefit, also, from observing how the grid lines to which the mask has also been applied , disappear and then reappear as we move outward from the center. The mask is hiding them in exactly the same way as it hides the face. Through the application of richer masks, the effects can become more striking. The following represents two applications to underlying bitmapped images of masks that contain reflected gradients. In the first case the focal point of the gradient has been set to be determined by mouse movement, in the second, a series of underlying colored stripes interact visually with the image at the points of its transparency, as determined by the mask.

SVG has a wealthy set of options for manipulating pictures either drawn or bitmapped. None, I think have yet been implemented in Safari or Chrome. Fortunately SVG Full and SVG Tiny are consistent with one another, so it is just a matter of making sure that the features you desire reach the audience you seek to reach, which has been the same fundamental problem with cross-platform computing since it got started in the 's.

Another note that one of my reviewers recommends, is that I warn you, the reader, that you may want to skip ahead to other sections. As he puts it: "people will likely get bogged down" in this chapter.

The good news is that you don't need to know it for what comes later! SVG's filtering options are called filter primitives As primitives they are probably not semantically complete in the sense of allowing us to form all possible expressions whatever that might mean in the language of imagery.

They also lack the irreducibility that one often associates with semantic primitives: many equivalent results can be expressed in several different ways Filters can be computationally quite time consuming. The larger the region they are applied to, the slower they may take to render. This is particularly relevant when one considers animating any of the attributes of these filter effects. This treatment of SVG's filters will not be exhaustive.

Let us examine a few of the filter primitives to give a basic sense of how they work and what they do. Some filters are composite filters in the sense that they require the prior definition of other filters. Others are a bit simpler, in that they may be applied directly to graphic objects without advance buildup.

Later we'll cover the more complex ones. Now, let's get right on to some real examples. This filter blurs an image. The parameter associated with this filter is the standard deviation stdDeviation which controls the distance from which neighboring pixels will be allowed to influence a pixel and hence, the amount of blurring. The following shows the effect of increasing the value of stdDeviation on two different images on a black background.

Observe that the blurred object expands beyond its original bounds and that values outside its boundary are considered to be transparent so that any background present in this case, monochromatic black will be visible inside the edges of the image itself. To restrict the image so it does not bleed beyond its boundaries, one can either set the x, y, height and width attributes of the filter itself the easiest way , or use another filter primitive, the feOffset, discussed later in this chapter.

The statement. The feColorMatrix primitive allows the redefinition of colors within an image, based on the ability to multiply each pixel's RGB and alpha levels by numeric coefficients. In the more complex situation, users may specify an entire matrix of twenty coefficients 4 by 5 to be multiplied by the one-by-four vector representing the color value of a given pixel.

In simpler situations, predefined matrices have been associated with special flags such as "saturate", "hueRotate", or "luminanceToAlpha" meaning one may simply specify one of the flags to perform the indicated operation.

The rows of the matrix represent respectively R,G,B, and alpha, so for example, in the second image we see that the alpha channel is being positively influenced by red, blue and green, while each of those colors negatively influences itself. The result is much like a black and white negative with transparency being maximized where the original image is brightest.

The range of effects presented should allow the reader, with some experimentation of her own, to get a feel for how these matrix transformations work. The values of the matrix above do not need to be typeset as they are.

They could be specified simply as a space delimited string. The above format helps with legibility for both author and reader. This filter allows what in image processing is known as a convolution filter. It allows us to define a square matrix typically n by n for some odd number n in which the center cell of the matrix refers to the pixel itself, and the cells above, left, below and right of it within the matrix, refer to the pixels above, left, below, and to the right of that pixel in the source image.

The numeric coefficients in the matrix define the weight that each neighboring pixel will have in the calculation of the new color value of that pixel. In the simplest case, the matrix. We might expect the above to exaggerate those pixels that are very different from their neighbors, since each pixels neighboring pixels are weighted negatively. That is because a pixel is averaged with all the pixels, within radius two, that are at the same height. The pixel itself has only a bit more weight than its horizontal neighbors.

Likewise the fact that we have chosen to degrade pixels based on similarity to those some vertical distance away, means that we will tend to sharpen our horizontal edges, a bit, since those are where differences between regions are most pronounced and where pixel values will tend to be exaggerated relative to neighbors.

To see the effect of these striping convolutions, let us apply both a predominantly horizontal and a predominantly vertical striping effect to the small grained fill pattern, url Oval , developed in the last section. Lastly, are a series of other matrices performing a variety of image manipulations, to show not only some of the sorts of manipulations possible, but also to give some insights into how these convolutions work.

The National Institute of Health has for many years provided a freeware package known as NIH Image which does a variety of interesting image analytic operations including convolutions. The National Institute of Standards provides some informative reading on convolution filters and image processing in general Additionally, a goodly collection of actual convolution filters that the reader may find useful can be found at OpenGL.

It allows the adjustment of brightness and contrast through application of any of a variety of different functions to any or all channels of an image. The types of adjustment allowed include identity, table, discrete , linear , and gamma. This option maps the red values in the interval [0,1] to one of the three values as follows:. The blue channel relatively insignificant in this particular image is dampened to black removing its effect altogether.

The source image has no alpha channel i. It is a rather simple effect, having just two parameters controlling the type and magnitude of the effect. It is particularly useful for fattening or thinning an alpha channel. A few interesting filters exist which do not necessarily receive input, per se, but rather can create imagery by themselves.

They are most commonly used in conjunction with other filters but can be most handy when it comes to building imagery or in processing of other images. The difference between it and other rectangles is that it can easily be combined on-the-fly with a variety of other filters as will be demonstrated shortly. The geometry here is worth describing in some detail so that we might be able to make some sense of the relative versus absolute coordinates so often used within SVG. When the filter is applied to each of three shapes, the rectangle begins halfway from the left edge of each.

Note that the filter's rectangle is not clipped to the shape of the ellipse it is applied to. The feFlood filter primitive was one of the later ones implemented in browsers. Just as feFlood allows the introduction of a colored rectangle into a filter, feImage allows the introduction of a rectangular bitmap into a filter. If for example, we wished to let each of several rectangles overlay the same bitmapped graphic, then we might filter each of those rectangles with a filter that contains the feImage primitive.

It creates patterns of smooth visual noise that fill a rectangle with rather pleasant swirls of pastel coloration. It allows the synthesis of artificial textures like clouds or marble. It has one required parameter baseFrequency and a variety of optional parameters as well. In the simplest case the primitive is used as follows:.

By varying the values of the parameters baseFrequency, numOctaves which by default is 1. In the above examples, note that as we move across the first row from A through D, we vary the numOctaves and also the seed. As numOctaves grows from the default value of 1. The purpose of seedis to provide a different start position for the random number generator underlying the function. Note that as we move from cell A to either cell B or cell E, the transition is gradual across the cell boundary.

That is, the function is continuous across these areas of the table seeded with the same random number. As we move across the boundary from B to C, where the seed changes, the function no longer appears to be continuous, though continuity is preserved even despite the octave change across the boundary between C and D. The second row investigates changes in baseFrequency, which is sort of like a scaling variable affecting the size of the associated patterns. If we were to change baseFrequency through a SMIL animation discussed later we would see the overall pattern remain intact as it expands and moves away from the origin.

Cell F has the largest grained pattern of these shown, with a baseFrequency value less than the others. In cells K and L, we observe that we may specify different values of baseFrequency for the horizontal and vertical directions,.

This can come in quite handy in uses of feTurbulence in conjunction with other effects, in creating striation as part of our textures. There are two values of type in the SVG 1.

The other ten cells all use the default value. We will discuss the chaining together and composition of multiple filters shortly, but here are the combined effects of turbulence with saturation using feColorMatrix and sharpening using feConvolveMatrix. Here we start with turbulence and then use a linear function to exaggerate the slope of the color values for all three channels, other than alpha, which we dampen out by letting opacity become 1.

Base rectangle with black stroke is heavily perturbed. Decorative overlays of other rectangles are also used. Same as B, but with slightly different colors and secondary feTurbulence for finer-grained distortion. Numerous techniques exist within SVG for designing and controlling the placement of light sources.

Many of these effects can be simulated through the overlay of partly transparent gradients, but the effects are powerful and quite useful for those who already know something of the landscape of lighting effects.

Usually one will want to combine these effects using the various methods for combining multiple filter effects discussed later, but here is one example of the use of feSpecularLighting to create an image. Two filter primitives which neither operate on raw objects, nor produce stand-alone imagery are discussed a bit separately since they can sometime provide useful results. Warren James M. Hoskin, Maureen R. Fizzell, Donald C. Reeve Carl S. Porter, Curtis L. Mayes, Todd M.

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