This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
Since red is the color of blood, it has historically been associated with sacrifice, danger, and courage. Modern surveys in Europe and the United States show red is also the color most commonly associated with heat, activity, passion, sexuality, anger, love, and joy. In China, India, and many other Asian countries it is the color symbolizing happiness and good fortune.[4]: 39–63
Varieties of the color red may differ in hue, chroma (also called saturation, intensity, or colorfulness), or lightness (or value, tone, or brightness), or in two or three of these qualities. Variations in value are also called tints and shades, a tint being a red or other hue mixed with white, a shade being mixed with black. Four examples are shown below.
The cardinal takes its name from the color worn by Catholic cardinals.
Pink is a pale shade of red. Cherry blossoms in the Tsutsujigaoka Park, Sendai, Miyagi, Japan.
Vermilion is similar to scarlet, but slightly more orange. This is sindoor, a red cosmetic powder used in India; some Hindu women put a stripe of sindoor along their hair parting to show they are married.[5][6]
Ruby is the color of a cut and polished ruby gemstone.
Bulls, like dogs and many other animals, have dichromacy, which means they cannot distinguish the color red. They charge the matador's cape because of its motion, not its color.
The human eye sees red when it looks at light with a wavelength between approximately 625 and 740 nanometers.[1] It is a primary color in the RGB color model and the light just past this range is called infrared, or below red, and cannot be seen by human eyes, although it can be sensed as heat.[7] In the language of optics, red is the color evoked by light that stimulates neither the S or the M (short and medium wavelength) cone cells of the retina, combined with a fading stimulation of the L (long-wavelength) cone cells.[8]
Primates can distinguish the full range of the colors of the spectrum visible to humans, but many kinds of mammals, such as dogs and cattle, have dichromacy, which means they can see blues and yellows, but cannot distinguish red and green (both are seen as gray). Bulls, for instance, cannot see the red color of the cape of a bullfighter, but they are agitated by its movement.[9] (See color vision).
One theory for why primates developed sensitivity to red is that it allowed ripe fruit to be distinguished from unripe fruit and inedible vegetation.[10] This may have driven further adaptations by species taking advantage of this new ability, such as the emergence of red faces.[11]
Red light is used to help adapt night vision in low-light or night time, as the rod cells in the human eye are not sensitive to red.[12][13]
In the RYB color model, which is the basis of traditional color theory, red is one of the three primary colors, along with blue and yellow. Painters in the Renaissance mixed red and blue to make violet: Cennino Cennini, in his 15th-century manual on painting, wrote, "If you want to make a lovely violet colour, take fine lac (red lake), ultramarine blue (the same amount of the one as of the other) with a binder"; he noted that it could also be made by mixing blue indigo and red hematite.[14]
In the CMY and CMYK color models, red is a secondary color subtractively mixed from magenta and yellow.[citation needed]
In the RGB color model, red, green and blue are additive primary colors. Red, green and blue light combined makes white light, and these three colors, combined in different mixtures, can produce nearly any other color. This principle is used to generate colors on such as computer monitors and televisions. For example, magenta on a computer screen is made by a similar formula to that used by Cennino Cennini in the Renaissance to make violet, but using additive colors and light instead of pigment: it is created by combining red and blue light at equal intensity on a black screen. Violet is made on a computer screen in a similar way, but with a greater amount of blue light and less red light.[15]
In a traditional color wheel from 1708, red, yellow and blue are primary colors. Red and yellow make orange; red and blue make violet.
In modern color theory, red, green and blue are the additive primary colors, and together they make white. A combination of red, green and blue light in varying proportions makes all the colors on your computer screen and television screen.
Tiny Red, green and blue sub-pixels (enlarged on left side of image) create the colors you see on your computer screen and TV.
Sunsets and sunrises are often red because of an optical effect called Rayleigh scattering.
As a ray of white sunlight travels through the atmosphere to the eye, some of the colors are scattered out of the beam by air molecules and airborne particles due to Rayleigh scattering, changing the final color of the beam that is seen. Colors with a shorter wavelength, such as blue and green, scatter more strongly, and are removed from the light that finally reaches the eye.[16] At sunrise and sunset, when the path of the sunlight through the atmosphere to the eye is longest, the blue and green components are removed almost completely, leaving the longer wavelength orange and red light. The remaining reddened sunlight can also be scattered by cloud droplets and other relatively large particles, which give the sky above the horizon its red glow.[17]
Lasers emitting in the red region of the spectrum have been available since the invention of the ruby laser in 1960. In 1962 the red helium–neon laser was invented,[18] and these two types of lasers were widely used in many scientific applications including holography, and in education. Red helium–neon lasers were used commercially in LaserDisc players. The use of red laser diodes became widespread with the commercial success of modern DVD players, which use a 660 nm laser diode technology. Today, red and red-orange laser diodes are widely available to the public in the form of extremely inexpensive laser pointers. Portable, high-powered versions are also available for various applications.[19] More recently, 671 nm diode-pumped solid state (DPSS) lasers have been introduced to the market for all-DPSS laser display systems, particle image velocimetry, Raman spectroscopy, and holography.[20]
Red's wavelength has been an important factor in laser technologies; red lasers, used in early compact disc technologies, are being replaced by blue lasers, as red's longer wavelength causes the laser's recordings to take up more space on the disc than would blue-laser recordings.[21]
Red giants are stars that have exhausted the supply of hydrogen in their cores and switched to thermonuclear fusion of hydrogen in a shell that surrounds its core. They have radii tens to hundreds of times larger than that of the Sun. However, their outer envelope is much lower in temperature, giving them an orange hue. Despite the lower energy density of their envelope, red giants are many times more luminous than the Sun due to their large size.
Red supergiants like Betelgeuse, Antares, Mu Cephei, VV Cephei, and VY Canis Majoris one of the biggest stars in the Universe, are the biggest variety of red giants. They are huge in size, with radii 200 to 1700 times greater than the Sun, but relatively cool in temperature (3000–4500 K), causing their distinct red tint. Because they are shrinking rapidly in size, they are surrounded by an envelope or skin much bigger than the star itself. The envelope of Betelgeuse is 250 times bigger than the star inside.
A red dwarf is a small and relatively coolstar, which has a mass of less than half that of the Sun and a surface temperature of less than 4,000 K. Red dwarfs are by far the most common type of star in the Galaxy, but due to their low luminosity, from Earth, none are visible to the naked eye.[24]
Red ochre cliffs near Roussillon in France. Red ochre is composed of clay tinted with hematite. Ochre was the first pigment used by man in prehistoric cave paintings.
Vermilion pigment, made from cinnabar. This was the pigment used in the murals of Pompeii and to color Chinese lacquerware beginning in the Song dynasty.
Red lead, also known as minium, has been used since the time of the ancient Greeks. Chemically it is known as lead tetroxide. The Romans prepared it by the roasting of lead white pigment. It was commonly used in the Middle Ages for the headings and decoration of illuminated manuscripts.
The roots of the Rubia tinctorum, or madder plant, produced the most common red dye used from ancient times until the 19th century.
Alizarin was the first synthetic red dye, created by German chemists in 1868. It duplicated the colorant in the madder plant, but was cheaper and longer lasting. After its introduction, the production of natural dyes from the madder plant virtually ceased.
The most common synthetic food coloring today is Allura Red AC, a red azo dye that goes by several names including: Allura Red, Food Red 17, C.I. 16035, FD&C Red 40,[25][26] It was originally manufactured from coal tar, but now is mostly made from petroleum.[27]
In Europe, Allura Red AC is not recommended for consumption by children. It is banned in Denmark, Belgium, France and Switzerland, and was also banned in Sweden until the country joined the European Union in 1994.[26] The European Union approves Allura Red AC as a food colorant, but EU countries' local laws banning food colorants are preserved.[28]
Because of public concerns about possible health risks associated with synthetic dyes, many companies have switched to using natural pigments such as carmine, made from crushing the tiny female cochineal insect. This insect, originating in Mexico and Central America, was used to make the brilliant scarlet dyes of the European Renaissance.[citation needed]
Green is the color between cyan and yellow on the visible spectrum. It is evoked by light which has a dominant wavelength of roughly 495–570 nm. In subtractive color systems, used in painting and color printing, it is created by a combination of yellow and cyan; in the RGB color model, used on television and computer screens, it is one of the additive primary colors, along with red and blue, which are mixed in different combinations to create all other colors. By far the largest contributor to green in nature is chlorophyll, the chemical by which plants photosynthesize and convert sunlight into chemical energy. Many creatures have adapted to their green environments by taking on a green hue themselves as camouflage. Several minerals have a green color, including the emerald, which is colored green by its chromium content.
During post-classical and early modern Europe, green was the color commonly associated with wealth, merchants, bankers, and the gentry, while red was reserved for the nobility. For this reason, the costume of the Mona Lisa by Leonardo da Vinci and the benches in the British House of Commons are green while those in the House of Lords are red.[1] It also has a long historical tradition as the color of Ireland and of Gaelic culture. It is the historic color of Islam, representing the lush vegetation of Paradise. It was the color of the banner of Muhammad, and is found in the flags of nearly all Islamic countries.[2]
In surveys made in American, European, and Islamic countries, green is the color most commonly associated with nature, life, health, youth, spring, hope, and envy.[3] In the European Union and the United States, green is also sometimes associated with toxicity and poor health,[4] but in China and most of Asia, its associations are very positive, as the symbol of fertility and happiness.[3] Because of its association with nature, it is the color of the environmental movement. Political groups advocating environmental protection and social justice describe themselves as part of the Green movement, some naming themselves Green parties. This has led to similar campaigns in advertising, as companies have sold green, or environmentally friendly, products. Green is also the traditional color of safety and permission; a green light means go ahead, a green card permits permanent residence in the United States.
Latin with viridis also has a genuine and widely used term for "green". Related to virere "to grow" and ver "spring", it gave rise to words in several Romance languages, French vert, Italian verde (and English vert, verdure etc.).[8] Likewise the Slavic languages with zelenъ. Ancient Greek also had a term for yellowish, pale green – χλωρός, chloros (cf. the color of chlorine), cognate with χλοερός "verdant" and χλόη "chloe, the green of new growth".
Thus, the languages mentioned above (Germanic, Romance, Slavic, Greek) have old terms for "green" which are derived from words for fresh, sprouting vegetation.
However, comparative linguistics makes clear that these terms were coined independently, over the past few millennia, and there is no identifiable single Proto-Indo-European or word for "green". For example, the Slavic zelenъ is cognate with Sanskritharithah "yellow, ochre, golden".[9]
The Turkic languages also have jašɨl "green" or "yellowish green", compared to a Mongolian word for "meadow".[10]
Languages where green and blue are one color[edit]
The notion of "green" in modern European languages corresponds to about 520–570 nm, but many historical and non-European languages make other choices, e.g. using a term for the range of ca. 450–530 nm ("blue/green") and another for ca. 530–590 nm ("green/yellow").
In some languages, including old Chinese, Thai, old Japanese, and Vietnamese, the same word can mean either blue or green.[11] The Chinese character青 (pronounced qīng in Mandarin, ao in Japanese, and thanh in Sino-Vietnamese) has a meaning that covers both blue and green; blue and green are traditionally considered shades of "青". In more contemporary terms, they are 藍 (lán, in Mandarin) and 綠 (lǜ, in Mandarin) respectively. Japanese also has two terms that refer specifically to the color green, 緑 (midori, which is derived from the classical Japanese descriptive verb midoru "to be in leaf, to flourish" in reference to trees) and グリーン (guriin, which is derived from the English word "green"). However, in Japan, although the traffic lights have the same colors as other countries have, the green light is described using the same word as for blue, aoi, because green is considered a shade of aoi; similarly, green variants of certain fruits and vegetables such as green apples, green shiso (as opposed to red apples and red shiso) will be described with the word aoi. Vietnamese uses a single word for both blue and green, xanh, with variants such as xanh da trời (azure, lit. "sky blue"), lam (blue), and lục (green; also xanh lá cây, lit. "leaf green").
"Green" in modern European languages corresponds to about 520–570 nm, but many historical and non-European languages make other choices, e.g. using a term for the range of ca. 450–530 nm ("blue/green") and another for ca. 530–590 nm ("green/yellow").[citation needed] In the comparative study of color terms in the world's languages, green is only found as a separate category in languages with the fully developed range of six colors (white, black, red, green, yellow, and blue), or more rarely in systems with five colors (white, red, yellow, green, and black/blue).[12][13] These languages have introduced supplementary vocabulary to denote "green", but these terms are recognizable as recent adoptions that are not in origin color terms (much like the English adjective orange being in origin not a color term but the name of a fruit). Thus, the Thai word เขียว kheīyw, besides meaning "green", also means "rank" and "smelly" and holds other unpleasant associations.[14]
The Celtic languages had a term for "blue/green/grey", Proto-Celtic*glasto-, which gave rise to Old Irishglas "green, grey" and to Welshglas "blue". This word is cognate with the Ancient Greek γλαυκός "bluish green", contrasting with χλωρός "yellowish green" discussed above.
A dark green rectangle
In modern Japanese, the term for green is 緑, while the old term for "blue/green", blue (青, Ao) now means "blue". But in certain contexts, green is still conventionally referred to as 青, as in blue traffic light (青信号, ao shingō) and blue leaves (青葉, aoba), reflecting the absence of blue-green distinction in old Japanese (more accurately, the traditional Japanese color terminology grouped some shades of green with blue, and others with yellow tones).
In optics, the perception of green is evoked by light having a spectrum dominated by energy with a wavelength of roughly 495–570 nm. The sensitivity of the dark-adapted human eye is greatest at about 507 nm, a blue-green color, while the light-adapted eye is most sensitive about 555 nm, a yellow-green; these are the peak locations of the rod and cone (scotopic and photopic, respectively) luminosity functions.[15]
The perception of greenness (in opposition to redness forming one of the opponent mechanisms in human color vision) is evoked by light which triggers the medium-wavelength Mcone cells in the eye more than the long-wavelength L cones. Light which triggers this greenness response more than the yellowness or blueness of the other color opponent mechanism is called green. A green light source typically has a spectral power distribution dominated by energy with a wavelength of roughly 487–570 nm.[b]
Green, blue and red are additive colors. All the colors seen are made by mixing them in different intensities.
Human eyes have color receptors known as cone cells, of which there are three types. In some cases, one is missing or faulty, which can cause color blindness, including the common inability to distinguish red and yellow from green, known as deuteranopia or red-green color blindness.[17]
Green is restful to the eye. Studies show that a green environment can reduce fatigue.[18]
In the subtractive color system, used in painting and color printing, green is created by a combination of yellow and blue, or yellow and cyan; in the RGB color model, used on television and computer screens, it is one of the additive primary colors, along with red and blue, which are mixed in different combinations to create all other colors. On the HSV color wheel, also known as the RGB color wheel, the complement of green is magenta; that is, a color corresponding to an equal mixture of red and blue light (one of the purples). On a traditional color wheel, based on subtractive color, the complementary color to green is considered to be red.[19]
In additive color devices such as computer displays and televisions, one of the primary light sources is typically a narrow-spectrum yellowish-green of dominant wavelength ~550 nm; this "green" primary is combined with an orangish-red "red" primary and a purplish-blue "blue" primary to produce any color in between – the RGB color model. A unique green (green appearing neither yellowish nor bluish) is produced on such a device by mixing light from the green primary with some light from the blue primary.
Three green lasers being fired at a single spot in the sky from the Starfire Optical Range
Lasers emitting in the green part of the spectrum are widely available to the general public in a wide range of output powers. Green laser pointers outputting at 532 nm (563.5 THz) are relatively inexpensive compared to other wavelengths of the same power, and are very popular due to their good beam quality and very high apparent brightness. The most common green lasers use diode pumped solid state (DPSS) technology to create the green light.[20]
An infrared laser diode at 808 nm is used to pump a crystal of neodymium-doped yttrium vanadium oxide (Nd:YVO4) or neodymium-doped yttrium aluminium garnet (Nd:YAG) and induces it to emit 281.76 THz (1064 nm). This deeper infrared light is then passed through another crystal containing potassium, titanium and phosphorus (KTP), whose non-linear properties generate light at a frequency that is twice that of the incident beam (563.5 THz); in this case corresponding to the wavelength of 532 nm ("green").[21]
Other green wavelengths are also available using DPSS technology ranging from 501 nm to 543 nm.[22]
Green wavelengths are also available from gas lasers, including the helium–neon laser (543 nm), the Argon-ion laser (514 nm) and the Krypton-ion laser (521 nm and 531 nm), as well as liquid dye lasers. Green lasers have a wide variety of applications, including pointing, illumination, surgery, laser light shows, spectroscopy, interferometry, fluorescence, holography, machine vision, non-lethal weapons, and bird control.[23]
As of mid-2011, direct green laser diodes at 510 nm and 500 nm have become generally available,[24]
although the price remains relatively prohibitive for widespread public use. The efficiency of these lasers (peak 3%)[citation needed] compared to that of DPSS green lasers (peak 35%)[citation needed][25]
may also be limiting adoption of the diodes to niche uses.
Many minerals provide pigments which have been used in green paints and dyes over the centuries. Pigments, in this case, are minerals which reflect the color green, rather that emitting it through luminescent or phosphorescent qualities. The large number of green pigments makes it impossible to mention them all. Among the more notable green minerals, however is the emerald, which is colored green by trace amounts of chromium and sometimes vanadium.[26]
Chromium(III) oxide (Cr2O3), is called chrome green, also called viridian or institutional green when used as a pigment.[27] For many years, the source of amazonite's color was a mystery. Widely thought to have been due to copper because copper compounds often have blue and green colors, the blue-green color is likely to be derived from small quantities of lead and water in the feldspar.[28]
Copper is the source of the green color in malachite pigments, chemically known as basic copper(II) carbonate.[29]
Verdigris is made by placing a plate or blade of copper, brass or bronze, slightly warmed, into a vat of fermenting wine, leaving it there for several weeks, and then scraping off and drying the green powder that forms on the metal. The process of making verdigris was described in ancient times by Pliny. It was used by the Romans in the murals of Pompeii, and in Celtic medieval manuscripts as early as the 5th century AD. It produced a blue-green which no other pigment could imitate, but it had drawbacks: it was unstable, it could not resist dampness, it did not mix well with other colors, it could ruin other colors with which it came into contact, and it was toxic. Leonardo da Vinci, in his treatise on painting, warned artists not to use it. It was widely used in miniature paintings in Europe and Persia in the 16th and 17th centuries. Its use largely ended in the late 19th century, when it was replaced by the safer and more stable chrome green.[30] Viridian, as described above, was patented in 1859. It became popular with painters, since, unlike other synthetic greens, it was stable and not toxic. Vincent van Gogh used it, along with Prussian blue, to create a dark blue sky with a greenish tint in his painting Café Terrace at Night.[27]
Green earth is a natural pigment used since the time of the Roman Empire. It is composed of clay colored by iron oxide, magnesium, aluminum silicate, or potassium. Large deposits were found in the South of France near Nice, and in Italy around Verona, on Cyprus, and in Bohemia. The clay was crushed, washed to remove impurities, then powdered. It was sometimes called Green of Verona.[31]
Mixtures of oxidized cobalt and zinc were also used to create green paints as early as the 18th century.[32]
Cobalt green, sometimes known as Rinman's green or zinc green, is a translucent green pigment made by heating a mixture of cobalt (II) oxide and zinc oxide. Sven Rinman, a Swedish chemist, discovered this compound in 1780.[33]
Green chrome oxide was a new synthetic green created by a chemist named Pannetier in Paris in about 1835. Emerald green was a synthetic deep green made in the 1
Blue has been an important colour in art and decoration since ancient times. The semi-precious stone lapis lazuli was used in ancient Egypt for jewellery and ornament and later, in the Renaissance, to make the pigment ultramarine, the most expensive of all pigments.[3] In the eighth century Chinese artists used cobalt blue to colour fine blue and white porcelain. In the Middle Ages, European artists used it in the windows of cathedrals. Europeans wore clothing coloured with the vegetable dye woad until it was replaced by the finer indigo from America. In the 19th century, synthetic blue dyes and pigments gradually replaced organic dyes and mineral pigments. Dark blue became a common colour for military uniforms and later, in the late 20th century, for business suits. Because blue has commonly been associated with harmony, it was chosen as the colour of the flags of the United Nations and the European Union.[4]
In the United States and Europe, blue is the colour that both men and women are most likely to choose as their favourite, with at least one recent survey showing the same across several other countries, including China, Malaysia, and Indonesia.[5][6] Past surveys in the US and Europe have found that blue is the colour most commonly associated with harmony, confidence, masculinity, knowledge, intelligence, calmness, distance, infinity, the imagination, cold, and sadness.[7]
In Russian, Spanish,[10]Mongolian, Irish, and some other languages, there is no single word for blue, but rather different words for light blue (голубой, goluboj; Celeste) and dark blue (синий, sinij; Azul) (see Colour term).
Several languages, including Japanese and Lakota Sioux, use the same word to describe blue and green. For example, in Vietnamese, the colour of both tree leaves and the sky is xanh. In Japanese, the word for blue (青, ao) is often used for colours that English speakers would refer to as green, such as the colour of a traffic signal meaning "go". In Lakota, the word tȟó is used for both blue and green, the two colours not being distinguished in older Lakota (for more on this subject, see Blue–green distinction in language).
Linguistic research indicates that languages do not begin by having a word for the colour blue.[11] Colour names often developed individually in natural languages, typically beginning with black and white (or dark and light), and then adding red, and only much later – usually as the last main category of colour accepted in a language – adding the colour blue, probably when blue pigments could be manufactured reliably in the culture using that language.[11]
The term blue generally describes colours perceived by humans observing light with a dominant wavelength between approximately 450 and 495 nanometres.[12] Blues with a higher frequency and thus a shorter wavelength gradually look more violet, while those with a lower frequency and a longer wavelength gradually appear more green. Purer blues are in the middle of this range, e.g., around 470 nanometres.
Isaac Newton included blue as one of the seven colours in his first description of the visible spectrum.[13] He chose seven colours because that was the number of notes in the musical scale, which he believed was related to the optical spectrum. He included indigo, the hue between blue and violet, as one of the separate colours, though today it is usually considered a hue of blue.[14]
In painting and traditional colour theory, blue is one of the three primary colours of pigments (red, yellow, blue), which can be mixed to form a wide gamut of colours. Red and blue mixed together form violet, blue and yellow together form green. Mixing all three primary colours together produces a dark brown. From the Renaissance onward, painters used this system to create their colours (see RYB colour model).
The RYB model was used for colour printing by Jacob Christoph Le Blon as early as 1725. Later, printers discovered that more accurate colours could be created by using combinations of cyan, magenta, yellow, and black ink, put onto separate inked plates and then overlaid one at a time onto paper. This method could produce almost all the colours in the spectrum with reasonable accuracy.
Additive colour mixing. The combination of primary colours produces secondary colours where two overlap; the combination red, green, and blue each in full intensity makes white.
On the HSV colour wheel, the complement of blue is yellow; that is, a colour corresponding to an equal mixture of red and green light. On a colour wheel based on traditional colour theory (RYB) where blue was considered a primary colour, its complementary colour is considered to be orange (based on the Munsell colour wheel).[15]
Lasers emitting in the blue region of the spectrum became widely available to the public in 2010 with the release of inexpensive high-powered 445–447 nm laser diode technology.[23] Previously the blue wavelengths were accessible only through DPSS which are comparatively expensive and inefficient, but still widely used by scientists for applications including optogenetics, Raman spectroscopy, and particle image velocimetry, due to their superior beam quality.[24] Blue gas lasers are also still commonly used for holography, DNA sequencing, optical pumping, among other scientific and medical applications.
Blue is the colour of light between violet and cyan on the visible spectrum. Hues of blue include indigo and ultramarine, closer to violet; pure blue, without any mixture of other colours; Azure, which is a lighter shade of blue, similar to the colour of the sky; Cyan, which is midway in the spectrum between blue and green, and the other blue-greens such as turquoise, teal, and aquamarine.
Blue also varies in shade or tint; darker shades of blue contain black or grey, while lighter tints contain white. Darker shades of blue include ultramarine, cobalt blue, navy blue, and Prussian blue; while lighter tints include sky blue, azure, and Egyptian blue (for a more complete list see the List of colours).
In nature, many blue phenomena arise from structural colouration, the result of interference between reflections from two or more surfaces of thin films, combined with refraction as light enters and exits such films. The geometry then determines that at certain angles, the light reflected from both surfaces interferes constructively, while at other angles, the light interferes destructively. Diverse colours therefore appear despite the absence of colourants.[25]
Egyptian blue, the first artificial pigment, was produced in the third millennium BC in Ancient Egypt. It is produced by heating pulverized sand, copper, and natron. It was used in tomb paintings and funereal objects to protect the dead in their afterlife. Prior to the 1700s, blue colourants for artwork were mainly based on lapis lazuli and the related mineral ultramarine. A breakthrough occurred in 1709 when German druggist and pigment maker Johann Jacob Diesbach discovered Prussian blue. The new blue arose from experiments involving heating dried blood with iron sulphides and was initially called Berliner Blau. By 1710 it was being used by the French painter Antoine Watteau, and later his successor Nicolas Lancret. It became immensely popular for the manufacture of wallpaper, and in the 19th century was widely used by French impressionist painters.[26] Beginning in the 1820s, Prussian blue was imported into Japan through the port of Nagasaki. It was called bero-ai, or Berlin blue, and it became popular because it did not fade like traditional Japanese blue pigment, ai-gami, made from the dayflower. Prussian blue was used by both Hokusai, in his wave paintings, and Hiroshige.[27]
In 1799 a French chemist, Louis Jacques Thénard, made a synthetic cobalt blue pigment which became immensely popular with painters.
In 1824 the Societé pour l'Encouragement d'Industrie in France offered a prize for the invention of an artificial ultramarine which could rival the natural colour made from lapis lazuli. The prize was won in 1826 by a chemist named Jean Baptiste Guimet, but he refused to reveal the formula of his colour. In 1828, another scientist, Christian Gmelin then a professor of chemistry in Tübingen, found the process and published his formula. This was the beginning of new industry to manufacture artificial ultramarine, which eventually almost completely replaced the natural product.[28]
In 1878 German chemists synthesized indigo. This product rapidly replaced natural indigo, wiping out vast farms growing indigo. It is now the blue of blue jeans. As the pace of organic chemistry accelerated, a succession of synthetic blue dyes were discovered including Indanthrone blue, which had even greater resistance to fading during washing or in the sun, and copper phthalocyanine.
The Blue Boy (1770), featuring lapis lazuli, indigo, and cobalt colourants,[29]
Chemical structure of indigo dye, a widely produced blue dye. Blue jeans consist of 1–3% by weight of this organic compound.Chemical structure of C.I. Acid Blue 9, a dye commonly used in candies.
Blue dyes are organic compounds, both synthetic and natural.[30]Woad and true indigo were once used but since the early 1900s, all indigo is synthetic. Produced on an industrial scale, indigo is the blue of blue jeans.
For food, the triarylmethane dye Brilliant blue FCF is used for candies. The search continues for stable, natural blue dyes suitable for the food industry.[30]
Blue pigments were once produced from minerals, especially lapis lazuli and its close relative ultramarine. These minerals were crushed, ground into powder, and then mixed with a quick-drying binding agent, such as egg yolk (tempera painting); or with a slow-drying oil, such as linseed oil, for oil painting. Two inorganic but synthetic blue pigments are cerulean blue (primarily cobalt(II) stanate: Co2SnO4) and Prussian blue (milori blue: primarily Fe7(CN)18). The chromophore in blue glass and glazes is cobalt(II). Diverse cobalt(II) salts such as cobalt carbonate or cobalt(II) aluminate are mixed with the silica prior to firing. The cobalt occupies sites otherwise filled with silicon.
Because it was widely available, yellow ochre pigment was one of the first colors used in art; the Lascaux cave in France has a painting of a yellow horse 17,000 years old. Ochre and orpiment pigments were used to represent gold and skin color in Egyptian tombs, then in the murals in Roman villas.[4] In the early Christian church, yellow was the color associated with the Pope and the golden keys of the Kingdom, but it was also associated with Judas Iscariot and used to mark heretics. In the 20th century, Jews in Nazi-occupied Europe were forced to wear a yellow star. In China, bright yellow was the color of the Middle Kingdom, and could be worn only by the emperor and his household; special guests were welcomed on a yellow carpet.[5]
According to surveys in Europe, Canada, the United States and elsewhere, yellow is the color people most often associate with amusement, gentleness, humor, happiness, and spontaneity; however it can also be associated with duplicity, envy, jealousy, greed, justice, and, in the U.S., cowardice.[6]In Iran it has connotations of pallor/sickness,[7] but also wisdom and connection.[8] In China and many Asian countries, it is seen as the color of happiness, glory, harmony and wisdom.[9]
The word yellow is from the Old Englishgeolu, geolwe (oblique case), meaning "yellow, and yellowish", derived from the Proto-Germanic word gelwaz "yellow". It has the same Indo-European base, gel-, as the words gold and yell; gʰel- means both bright and gleaming, and to cry out.[10]
Color printing typically uses ink of four colors: cyan, magenta, yellow, and key(black). When CMY "primaries" are combined at full strength, the resulting "secondary" mixtures are red, green, and blue.
Mixing all three theoretically results in black, but imperfect ink formulations do not give true black, which is why an additional K component is needed.
An example of color printing from 1902. Combining images in yellow, magenta and cyan creates a full-color picture. This is called the CMYK color model.
On a computer display, yellow is created by combining green and red light at the right intensity on a black screen.
Yellow is found between green and red on the spectrum of visible light. It is the color the human eye sees when it looks at light with a dominant wavelength between 570 and 590 nanometers.
In color printing, yellow is one of the three subtractive primary colors of ink along with magenta and cyan. Together with black, they can be overlaid in the right combination to print any full color image. (See the CMYK color model). A particular yellow is used, called Process yellow (also known as "pigment yellow", "printer's yellow", and "canary yellow"). Process yellow is not an RGB color, and there is no fixed conversion from CMYK primaries to RGB. Different formulations are used for printer's ink, so there can be variations in the printed color that is pure yellow ink.
The yellow on a color television or computer screen is created in a completely different way; by combining green and red light at the right level of intensity. (See RGB color model).
Complements of yellow have a dominant wavelength in the range 380 to 480 nm. The green lines show several possible pairs of complementary colors with respect to different blackbody color temperature neutrals, illustrated by the "Planckian locus".
Traditionally, the complementary color of yellow is purple; the two colors are opposite each other on the color wheel long used by painters.[13]Vincent van Gogh, an avid student of color theory, used combinations of yellow and purple in several of his paintings for the maximum contrast and harmony.[14]
Hunt defines that "two colors are complementary when it is possible to reproduce the tristimulus values of a specified achromatic stimulus by an additive mixture of these two stimuli."[15] That is, when two colored lights can be mixed to match a specified white (achromatic, non-colored) light, the colors of those two lights are complementary. This definition, however, does not constrain what version of white will be specified. In the nineteenth century, the scientists Grassmann and Helmholtz did experiments in which they concluded that finding a good complement for spectral yellow was difficult, but that the result was indigo, that is, a wavelength that today's color scientists would call violet or purple. Helmholtz says "Yellow and indigo blue" are complements.[16] Grassmann reconstructs Newton's category boundaries in terms of wavelengths and says "This indigo therefore falls within the limits of color between which, according to Helmholtz, the complementary colors of yellow lie."[17]
Newton's own color circle has yellow directly opposite the boundary between indigo and violet. These results, that the complement of yellow is a wavelength shorter than 450 nm, are derivable from the modern CIE 1931 system of colorimetry if it is assumed that the yellow is about 580 nm or shorter wavelength, and the specified white is the color of a blackbody radiator of temperature 2800 K or lower (that is, the white of an ordinary incandescent light bulb). More typically, with a daylight-colored or around 5000 to 6000 K white, the complement of yellow will be in the blue wavelength range, which is the standard modern answer for the complement of yellow.
Because of the characteristics of paint pigments and use of different color wheels, painters traditionally regard the complement of yellow as the color indigo or blue-violet.
Lasers emitting in the yellow part of the spectrum are less common and more expensive than most other colors.[18] In commercial products diode pumped solid state (DPSS) technology is employed to create the yellow light. An infrared laser diode at 808 nm is used to pump a crystal of neodymium-doped yttrium vanadium oxide (Nd:YVO4) or neodymium-doped yttrium aluminum garnet (Nd:YAG) and induces it to emit at two frequencies (281.76 THz and 223.39 THz: 1064 nm and 1342 nm wavelengths) simultaneously. This deeper infrared light is then passed through another crystal containing potassium, titanium and phosphorus (KTP), whose non-linear properties generate light at a frequency that is the sum of the two incident beams (505.15 THz); in this case corresponding to the wavelength of 593.5 nm ("yellow").[19] This wavelength is also available, though even more rarely, from a helium–neon laser. However, this not a true yellow, as it exceeds 590 nm. A variant of this same DPSS technology using slightly different starting frequencies was made available in 2010, producing a wavelength of 589 nm, which is considered a true yellow color.[20] The use of yellow lasers at 589 nm and 594 nm have recently become more widespread thanks to the field of optogenetics.[21]
Stars of spectral classes F and G have color temperatures that make them look "yellowish".[22] The first astronomer to classify stars according to their color was F. G. W. Struve in 1827. One of his classifications was flavae, or yellow, and this roughly corresponded to stars in the modern spectral range F5 to K0.[23] The Strömgren photometric system for stellar classification includes a 'y' or yellow filter that is centered at a wavelength of 550 nm and has a bandwidth of 20–30 nm.[24][25]
Supergiant stars are rarely yellow supergiants because F and G class supergiants are physically unstable; they are most often a transitional phase between blue supergiants and red supergiants. Some yellow supergiants, the Cepheid variables, pulsate with a period proportional to their absolute magnitude; hence, if their apparent magnitude is known, the distance to them can be calculated with great precision.[26] Cepheid variables were hence used to determine distances within and beyond the Milky Way galaxy. The most famous example is the current North Pole star, Polaris.
Autumn leaves, yellow flowers, bananas, oranges and other yellow fruits all contain carotenoids, yellow and red organic pigments that are found in the chloroplasts and chromoplasts of plants and some other photosynthetic organisms like algae, some bacteria and some fungi. They serve two key roles in plants and algae: they absorb light energy for use in photosynthesis, and they protect the green chlorophyll from photodamage.[3]
In late summer, as daylight hours shorten and temperatures cool, the veins that carry fluids into and out of the leaf are gradually closed off. The water and mineral intake into the leaf is reduced, slowly at first, and then more rapidly. It is during this time that the chlorophyll begins to decrease.
As the chlorophyll diminishes, the yellow and red carotenoids become more and more visible, creating the classic autumn leaf color.
Xanthophylls are the most common yellow pigments that form one of two major divisions of the carotenoid group. The name is from Greek xanthos (ξανθος, "yellow") + phyllon (φύλλον, "leaf"). Xanthophylls are most commonly found in the leaves of green plants, but they also find their way into animals through the food they eat. For example, the yellow color of chicken egg yolks, fat, and skin comes from the feed the chickens consume. Chicken farmers understand this, and often add xanthophylls, usually lutein, to make the egg yolks more yellow.
Bananas are green when they are picked because of the chlorophyll their skin contains. Once picked, they begin to ripen; hormones in the bananas convert amino acids into ethylene gas, which stimulates the production of several enzymes. These enzymes start to change the color, texture and flavor of the banana. The green chlorophyll supply is stopped and the yellow color of the carotenoids replaces it; eventually, as the enzymes continue their work, the cell walls break down and the bananas turn brown.
Yellowtail is the common name for dozens of different fish species that have yellow tails or a yellow body. Most of the time, yellowtail(fish) actually refers to Japanese amberjack, a fish that lives between Japan and Hawaii.
Yellowfin tuna (Thunnus albacares) is a species of tuna, having bright yellow anal and second dorsal fins. Found in tropical and subtropical seas and weighing up to 200 kg (440 lb), it is caught as a replacement for depleted stocks of bluefin tuna.
Smallmouth yellowfish (Labeobarbus aeneus) is a species of ray-finned fish in the genus Labeobarbus. It has become an invasive species in rivers of the Eastern Cape, South Africa, such as the Mbhashe River.
Yellowjackets are black-and-yellow wasps of the genus Vespula or Dolichovespula (though some can be black-and-white, the most notable of these being the bald-faced hornet, Dolichovespula maculata). They can be identified by their distinctive black-and-yellow color, small size (slightly larger than a bee), and entirely black antennae.
Populus tremuloides is a deciduous tree native to cooler areas of North America, one of several species referred to by the common name aspen. Populus tremuloides is the most widely distributed tree in North America, being found from Canada to central Mexico.
The yellow birch (Betula alleghaniensis) is a birch species native to eastern North America, from Nova Scotia, New Brunswick, and southern Quebec west to Minnesota, and south in the Appalachian Mountains to northern Georgia. They are medium-sized deciduous trees and can reach about 20 m (66 ft) tall, trunks up to 80 cm (31 in) in diameter. The bark is smooth and yellow-bronze,[27] and the wood is extensively used for flooring, cabinetry, and toothpicks.
The Thorny Yellowwood is an Australian rainforest tree which has deep yellow wood.
Yellow, in the form of yellow ochre pigment made from clay, was one of the first colors used in prehistoric cave art. The cave of Lascaux has an image of a horse colored with yellow estimated to be 17,300 years old.
April 21, 1966 (1966-04-21) – October 4, 1967 (1967-10-04)
Batfink & Karate is an American animated television series, consisting of five-minute shorts, that first aired in April 1966.[a] The 100-episode series was quickly created by Hal Seeger, starting in 1966, to send up the popular Batman and Green Hornet television series, which had premiered the same year.[4][5]
Batfink is a bat superhero with metal wings. With the help of his sidekick, Karate, he fights crime in his city, usually against his recurring villain, Hugo A-Go-Go, but also against others.
Many episodes place Batfink in a dangerous cliffhanger-type situation; typically, this is effected by trapping him in some sort of bondage, placing him in a position that renders his wings useless. At the moment the potentially fatal shot is fired, the action freezes, and the narrator asks dramatically if Batfink will survive. The action then continues, with Batfink escaping, via a convenient, but previously unseen deus ex machina, or through the use of his superpowers.
Batfink (voiced by Frank Buxton) is a superpowered anthropomorphic grey cyborgbat in a yellow costume with a big red "B" on the chest and red gauntlets and boots.[6] He uses his supersonic sonar radar and black metallic wings to fight crime. When not fighting crime, Batfink lives in a split-level cave, though he also has a direct video link to the Chief's office in case his help is needed.
Batfink's "supersonic sonar radar" is a super-powered version of a bat's echolocation, used to locate prey. Batfink's power takes the form of the letters of the word "BEEP" either once or twice emanating from his mouth. The radar is anthropomorphic and sentient and can fly wherever Batfink needs them to go – accompanied by a distinctive beeping noise. His catchphrase during that time is "My supersonic sonar radar will help me!" Whenever Batfink said those words, he would say it through the open sun roof of the Battilac car, while it was not in motion. The radar can see, feel fear, evade capture and report back to Batfink on what it has seen. In one episode, the radar is ambushed and beaten up. The radar also gets confused, misdirected, and lost, leaving Batfink to rely on other means to spy upon the episode's villain. Once, when the radar is sent to investigate Queenie Bee and her swarm of villainous bees, it returns with the "EEP" swollen with bee stings. When Karate asks Batfink "How come they just stung the E-E-P?", he replies "Because a bee would never harm another bee. But a bee will tell on another bee.". The literal spelled-out appearance of an onomatopœia was a running gag not limited to the supersonic sonar radar; in one episode, Hugo A-Go-Go invented a tickling stick that tickles its adversaries into submission, which sent out the words "Kitchy Koo" to do the deed on Batfink (the episode ended with Batfink slicing the K's off to create the far more irritating, but less distracting, "Itchy Oo").
Batfink's main defense are his metallic wings, which he is able to fold around himself as a protective shield against most attacks, thereby spawning the most famous catchphrase of the show: "Your bullets cannot harm me – my wings are like a shield of steel!" He claims in some episodes that his wings are stainless steel, but in other episodes he explicitly states that they are not – since he always carries a can of spot remover to keep them polished. Batfink can also use his wings as offensive weapons. In one episode, he uses one of them as a sword during a duel. His wings can also help him fly at incredible speeds. They are often used to help him escape certain death or cut through bonds when he has been captured (he can break out of regular ropes, but not rubber ones). In the episode "Ebenezer the Freezer", Batfink has automatic retrorockets built into his wings, but not in any other episode. Sometimes, his wings hinder him. When in water, he will sink because of the weight of his metal wings. Powerful magnets are also a problem for him. Plutonium, for reasons unexplained (but possibly relating to his birth in a plutonium mine), also renders the wings useless. Batfink's life and wings are explained in the final episode, "Batfink: This Is Your Life", which depicts his boyhood and how his real wings were replaced.
Batfink rides in a customized pink car resembling a Volkswagen Beetle with scalloped rear fins and bat-winged red "B" emblems on the doors and hood. Called the "Battillac" (rhymes with "Cadillac"), the car is outfitted with a sun roof and many defensive devices, and is resistant to collision damage and energy weapons. Batfink often says something like "It's a good thing the Battillac is equipped with a thermonuclearplutonium-insulated blast shield!" and Karate replies, "It's also good it was a small bomb". As soon as a crime is acknowledged, Batfink says "Karate, the Battillac!"
In the last episode of the series, titled "Batfink: This Is Your Life", it is revealed that Batfink was born in an abandoned plutonium mine, which is where he obtained his powers, and that he lost his natural wings as a child while saving his mother's life, after escaped convicts blew up their mountain-top cave (plutonium in real life is too scarce in the Earth's crust to be mined, it must be synthesized, usually from uranium). This incident is what motivated him to become a crime-fighter.
Kara "Karate" Te (voiced by Len Maxwell) is a gi-clad martial arts expert and Batfink's oafish sidekick who drives the Battillac. He is somewhat oversized and not very bright, but is strong enough to help Batfink out of any situation. He carries a wide variety of objects and gadgets in his "utility sleeve" (a parody of Batman's utility belt), but he often has trouble finding what he needs in it. Karate tends to succeed by dumb luck rather than by skill or ingenuity, and often Karate's involvement will make a bad situation worse. Karate is usually ordered to check downstairs while Batfink checks the upper floor. At the end of each episode, Karate will make a corny pun that is sometimes physical on the part of his stupidity. Karate's father was the blacksmith who made Batfink's metallic wings.
Karate is a direct send-up of Kato, the Green Hornet's companion, but his hulking size is inspired by the Bond villain Oddjob.[citation needed] Also, like in The Green Hornet, when both characters are in the car, Karate is the driver, while Batfink rides in the back seat. In early episodes, he speaks in a stereotypical Asian accent; in later episodes, he is voiced in a clipped, nasal speech pattern, inspired by Don Adams, whose Get Smart character, Maxwell Smart, was popular at the time. On occasion, Karate even utters the Maxwell Smart-inspired catchphrase, "Sorry about that, Batfink".
The Chief of Police (voiced by Len Maxwell) is Batfink's contact on the local police force and informs Batfink of all the latest crimes via a direct video link to Batfink's Split-Level Cave; Batfink answers "The hotline — Batfink here". The Chief also has a wife and children, who never appear onscreen, but are mentioned by Karate as having seen them in the episode "Tough MacDuff."
General Professor Hugo "Jerkules" A-Go-Go (voiced by Frank Buxton) is the wild-haired smocked main villain of the series.[7] He speaks English with a German accent. He is referred to as the world's maddest scientist and spends his time in his secret laboratory creating weird and wacky inventions (including a robot bride, complete with robot mother-in-law) to defeat Batfink and dominate the world. He always manages to escape jail to antagonize the hero in a later episode. Hugo A-Go-Go often breaks the fourth wall and has conversations with the narrator.
The Mean Green Midget is a short criminal who grows fruits and vegetables to help in his crimes.
Napoleon Blownapart is a criminal who uses hand grenades to blow up stuff.
Magneto the Magnificent is a criminal who wields magnetic gauntlets.
Buster the Ruster is a criminal who uses a spray gun that shoots "rust dust".
Mike the Mimic is an impersonator.
Cinderobber is a criminal cleaning lady.
Mr. Bouncey is a former bouncer who uses a special spray to turn anything into rubber.
Old King Cruel
Victor the Predictor is a criminal who uses a prediction motif.
Goldyunlocks is a female villain with an obsession of unlocking every lock she sees. Batfink finally defeats her by putting her in a cell with no lock.
Phillip "Phil", Billiam "Bill" and Sylvester "Syl" the Three Baers are the henchmen of Goldyunlocks.
Adam Blankenstein is a green-skinned criminal whose gun shoots out "blanks" that give people amnesia.
Whip Van Winkle is a criminal who uses whips in his crimes.
Tough MacDuff is Batfink's oldest enemy. After being released from prison, he gathered Hugo A-Go-Go and other villains in a plot to get Batfink to leave town.
Judy "Jujitsu" Jitsu is a martial artist, whose name is derived from jujutsu, and on whom Karate has a crush.
Father Time Bomb is a criminal who uses time bombs in his crimes.
Batfink says that he knows who has stolen a huge pearl from the museum, but he refuses to tell who did it. This leads everyone, including the thieves, to believe that he has turned crooked. The three crooks in this episode return in "Crime College".
Hugo A-Go-Go (in his first appearance) is using his short-circuit device to make trains and traffic signals go wild.
3
"Ebenezer the Freezer"
Heywood Kling
Myron Waldman
Bob Owen
20 January 1967 (1967-01-20)
Hugo A-Go-Go and Ebenezer the Freezer plan to freeze the entire city, using a missile loaded with freeze gas.
4
"The Sonic Boomer"
(No credit)
Myron Waldman
Bob Owen
20 January 1967 (1967-01-20)
Mr. Boomer, the owner of Boomer Glass Works, is using a jet plane to create window-shattering sonic booms in order to increase business.
5
"Big Ears Ernie"
Heywood Kling
Bill Ackerman
Bob Owen
20 January 1967 (1967-01-20)
Big Ears Ernie is a burglar whose super-sensitive hearing allows him to break into safes and avoid capture. The main battle takes place at a construction site.
Hugo A-Go-Go has stolen all the water from Niagara Falls and is selling it for five cents a glass.
7
"Manhole Manny"
Heywood Kling
James Tyer
Bob Owen
20 January 1967 (1967-01-20)
Manhole Manny, who hides out in the sewer, reaches up through manholes to steal things, such as a valuable painting and the wheels off of police cars.
8
"The Mad Movie Maker"
Dennis Marks
I. Klein
Bob Owen
20 January 1967 (1967-01-20)
Mr. M. Flick, the Mad Movie Maker, uses a projected image of a meteor to scare everyone out of the city, leaving him free to loot it.
9
"Nuts of the Round Table"
(No credit)
Myron Waldman
Bob Owen
20 January 1967 (1967-01-20)
Hugo A-Go-Go is sending out robotic knights to commit robberies for him.
10
"Skinny Minnie"
Heywood Kling
Bill Ackerman
Bob Owen
20 January 1967 (1967-01-20)
Skinny Minnie and her gang of rail-thin thugs use their ability to squeeze through tight spaces to commit robberies and hide from the police.
11
"Fatman Strikes Again"
Dennis Marks
Graham Place
Bob Owen
20 January 1967 (1967-01-20)
Someone is stealing valuables from fat men's clubs, so Batfink dons an inflatable "fat suit" to find him.
12
"The Kitchy Koo Kaper"
Heywood Kling
James Tyer
Bob Owen
20 January 1967 (1967-01-20)
Hugo A-Go-Go uses his latest invention, a tickle stick, to render people helpless with laughter.
13
"The Dirty Sinker"
Dennis Marks
Myron Waldman
Bob Owen, John Zago
20 January 1967 (1967-01-20)
Hugo A-Go-Go is using a special submarine to cut through the hulls of ships so he can rob them and then sink them.
14
"Gluey Louie"
Heywood Kling
Bill Ackerman
Bob Owen
3 March 1967 (1967-03-03)
Gluey Louie, who immobilizes people with puddles of glue, steals Benjamin Franklin's kite just as it is being donated to a university.
15
"Brother Goose"
Dennis Marks
Tom Golden, Arnie Levy
Bob Owen, Dave Ubinas
20 January 1967 (1967-01-20)
Brother Goose (whose name is a takeoff of "Mother Goose") is a crook whose crimes and traps are patterned after nursery rhymes. This criminal returns in "Crimes in Rhymes".
16
"The Chocolate-Covered Diamond"
Dennis Marks
Graham Place
Bob Owen
20 January 1967 (1967-01-20)
Two crooks have lost a stolen diamond in a candy factory, so now they are trying to find it by stealing chocolate bars all over town.
17
"Crime College"
Heywood Kling
John Gentilella
Bob Owen
1 March 1967 (1967-03-01)
Hugo A-Go-Go is teaching his students (the three crooks from "Pink Pearl of Persia") how to commit crimes and avoid capture with the help of a heavily armed school bus.
18
"Myron the Magician"
Heywood Kling
Myron Waldman
Bob Owen
20 January 1967 (1967-01-20)
Myron the Magician, who uses magic tricks to commit crimes, steals a valuable painting from a museum and hides out in his specially-gimmicked house.
19
"Brain Washday"
Heywood Kling
I. Klein
Bob Owen
6 February 1967 (1967-02-06)
Hugo A-Go-Go steals a factory's payroll with the help of an instant brainwashing solution that turns people into his willing slaves.
Hugo A-Go-Go, using his newly invented MPFTBRM (Millisecond Photo Flash Temporary Blinding Ray Monocle), has stolen a set of secret plans from a diplomatic courier.
21
"Gloves on the Go-Go"
Dennis Marks
Maury Reden
Bob Owen
3 March 1967 (1967-03-03)
Hugo A-Go-Go has invented a pair of flying gloves that steal for him. Because they look like Batfink's gloves, Batfink is now wanted by the police. Now Batfink must thwart Hugo's plot and clear his name.
22
"Sporty Morty"
Heywood Kling
Bill Ackerman, I. Klein
Bob Owen
13 March 1967 (1967-03-13)
Sporty Morty, who uses sporting equipment to steal things, wants to hunt Batfink and have his head for a trophy.
23
"Go Fly a Bat"
Dennis Marks
Myron Waldman
Bob Owen
31 January 1967 (1967-01-31)
Hugo uses a cap that shoots lightning bolts to steal a gold idol; later, he flies the unconscious Batfink like a kite during a lightning storm.
Hugo A-Go-Go invents a spotlight that projects colorful spots to temporarily blind people; he first uses it to steal a valuable dagger, later to trap Batfink. The title is a takeoff of a famous line from Macbeth.
26
"Goo-Goo A-Go-Go"
Heywood Kling
James Tyer
Bob Owen
1 March 1967 (1967-03-01)
Hugo A-Go-Go has built a grenade-throwing robotic baby to help him commit crimes.
27
"Crimes in Rhymes"
Dennis Marks
John Gentilella
Bob Owen
7 April 1967 (1967-04-07)
Brother Goose is back and committing more crimes based on nursery rhymes.
28
"Stupidman"
Heywood Kling
Graham Place, John Gentilella
Bob Owen
30 March 1967 (1967-03-30)
Stupidman, who commits crimes that no sensible person would try, has stolen a $2 million scimitar; the police are powerless to stop him because he is the Chief's brother-in-law! The crook's name is a parody of "Superman".
29
"A Living Doll"
Dennis Marks
Myron Waldman
Bob Owen
31 January 1967 (1967-01-31)
Hugo A-Go-Go has built a mechanical Batfink lookalike and Karate must determine who is who in order to save Batfink's life.
30
"Bat Patrol"
Heywood Kling
Martin Taras, Morey Reden
Bob Owen
13 March 1967 (1967-03-13)
Hugo A-Go-Go's mechanical soldiers have declared war on law and order. The title is a takeoff of The Rat Patrol.
31
"Dig That Crazy Mountain"
Dennis Marks
Graham Place
Bob Owen
20 January 1967 (1967-01-20)
Professor Vibrato has broken out of jail using his ultrasonic cello and Batfink pursues him to his mountaintop hideout.
32
"Spin the Batfink"
Dennis Marks
Myron Waldman
Bob Owen
6 February 1967 (1967-02-06)
A junk dealer is using a machine to create artificial tornadoes, which steal money and junk for him. This episode contains the first half of a hidden political message; the second half is in "Bride and Doom".
33
"Greasy Gus"
Heywood Kling
James Tyer
Bob Owen
23 March 1967 (1967-03-23)
Greasy Gus, who uses puddles of grease to trip people up, has stolen the police payroll; the police will not work without pay, so it is up to Batfink to bring Gus in.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
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