Hot answers tagged black
Talk to the production house and ask them what rich black they prefer. There is no single rich black every print provider uses. Each print provider has their own formula for a rich black. And, in many cases, the print provider may want simply 100% K and they will adjust the black to match their own environment. Therefore, the best option is to ask the print ...
Here are a couple of things you could do... Stroke the black: Use an outer Glow, this may not work depending on the rest of the design: Stroke all of them, this is what I think I would do:
By "pure black," I guess you and they are referring to a completely neutral black. Of the three things you ask about, only one potentially has that quality: darkness. "Black" animal fur and natural (not dyed) human hair are actually very dark brown, as a close examination will tell you. (I don't necessarily recommend close examination of a panther, except ...
A few years ago if you had asked this question then the answer would have been a resounding yes! However we've been redefining design styles and ideas lately so it's now a little more complex. Yellow can work on a black background, but it's as much about fonts and where the colour is used that affect the overall look of the site. Make sure you're using ...
Although it was a pretty funny comment, yellow text on a black background is not a designer hate crime. Here are some sites that play with that concept. It's important to note that what you'll find throughout all these great sites is some consistent themes though. They never go full, true black background They never use yellow text as paragraph text where ...
Welcome to what is probably the Number 1 'gotcha' for people new to print design :-) and yes, people who encounter it for the first time not pre-warned almost always run into just before a deadline... RGB black is simple. It's just no light coming from the screen. CMYK black isn't simple. There's black ink (the 'K' in CMYK), but even with 100% black ink, ...
Keep it simple: use a subtle outline on each of the circular swatches. From what I can see, the colour and thickness of the horizontal white line would be great.
To be honest with you, I don't think there's an actual name for it, as it hasn't been separated into a design trend of it's own. However, looking at the photos you attached, I do notice something in particular: The futuristic design that uses white and black is usually very clean looking and give an impression of evolution. You see, we have to look at a ...
If you have the capability and the time to experiment, I would try glossy dots on a matte background.
Your document needs to be in CMYK. To validate this in Photoshop for your document, go to Image > Mode > CMYK Color Now select the piece of text and check you've got solid black (0,0,0,100) in the Select text color window, see image below:
Use a Hue/Saturation adjustment layer and turn the saturation down to zero. You can then turn the lightness down as needed to make it black. Edit: Sorry I assumed you had a transparent background. Instead, use the threshhold adjustment layer. It will turn your image pure black/white
I suspect this came about by working in RGB to start with, then converting to CMYK. This would turn your RGB(0,0,0) text into a colour composed of all four CMYK channels, rather than pure 100% K. As Marc and Scott say, body text should be 100% K. (If you did need a stronger black, you's be better of going for a double hit of the black plate rather than ...
This is more of a community wiki sort of question, but the obvious problem is that with super-fine lines (small type sizes etc), your type may at the very least become fuzzy because of the dot screens used to compose CMYK. At the worst, the plates are misaligned slightly and you get color halos. I have seen both in print.
I'm guessing you used the magic wand tool to select the white background with tolerance set at 32 and anti-aliasing on. If I do that, I get the same result. Instead, set the tolerance to 1 and turn off anti-alias: Here's a comparison of the difference: Zoomed in for better detail:
What you are running into is one of the big differences between video and still photography/design. Video's heritage is television, which has very different technical requirements and standards. In video there is no such thing as #000. In the same way, there is no #fff, no #ff000, no #00ff00, etc.. TV and video standards do not permit levels of 0 or 255 on ...
I use rich black when ever there's more than an eighth-inch of area to cover. What that means if large type with thick strokes or area of solid black call for rich black in my opinion. I never use rich black on body text or small elements. I don't believe there's a "rule" or practice for when or when not to use rich black. It's all merely designer choice. ...
Shifted plates are always a concern in smaller elements. But there really isn't any advantage to rich black in small elements anyway since you won't notice the difference (except when there's a problem). The bigger issue to be mindful of is overprint vs knockout. If you'll be using your black over photography at large sizes you have to remember that black ...
The concept of color is a somewhat muddy area of science as much of it is psychological, and there are many contradicting definitions in the words we use to describe color. For instance, sometimes people use "color" to refer to hue or chroma or colorfulness or saturation, but these are all technically distinct concepts. For this reason, you'll often hear ...
What everyone else has posted is exceptionally accurate. I can't really add much to their definitions. But it is interesting science... the eye does not see color, it sees refracted light. Red objects appear red because they don't absorb red light and bounce it back. Our eyes pick up the reflected light which is from the red spectrum of light and we ...
I won't give you the the science lesson but here you go Our brain is actually interpreting light quality because our brain functions like that. Our eyes are broken up to see light in 2 ways. Brightness and quality or as we call it color. If our preceptors for color didn't exist then we would be seeing a black and white film all day and night. We will ...
Based on comments.... Command/Ctrl-Shift-Click each layer thumbnail for the shapes (Layer 2, Layer, 3, layer 4 copy 2, etc.) This will load each layers transparency as a selection. The Shift key will add to the current selection. So, with each Command/Ctrl-Shift-Click on a layer thumbnail, you should see the current selection grow by that layer's shape. ...
Check out Image Trace in Adobe Illustrator. I like using python and PIL, however. from PIL import Image image_file = Image.open("myimage.bmp") image_file = image_file.convert('1') # convert image_file.save('result.bmp')
Yes, Black belongs to the set of 14 Pantone Basic colors from which all other PMS colors are mixed: If you're using Illustrator, you can find it as a swatch in the PMS color book swatch library Or in the Color Libraries in Photoshop: There are other "Blacks" available (Black 2, Black 3, Black 4, Black 5, Black 6, Black 7) but they are all tinted ...
I would think the results would be very dependent upon if your screen is accurately calibrated to your printer, most print companies use professional software/hardware to achieve accuracy. Typically when I print on my wide format printer, I since it is a true CMYK printer, I would print RGB 36,36,36 as CMYK, I would reduce the CMY down to 0,0,0 and print ...
Another approach would be to invert the colors (CTRL+I), then add a new layer of pure white (or the gradient @JohnnyKutnowski suggested). Reduce the white layer's opacity slightly to let the image show through. I set my white layer's opacity to 88% and this is the result:
I believe if you reduce the values of CM and Y you will get the good result you want because I see that you are using four colors above 50% of their maximum value. I also suggest that you use the same values of CM and Y, because if you use C more than M Y you will get gray, but a bluish gray and the same thing with the other colors e.g. reddish gray and ...
You can also use Blending Modes > Color Overlay on all the layers so you can make the logos any color you wish.
Yes, black counts as a color. However, you can use 100%k if you'd like. I've never called out a specific Pantone Black unless there was a reason I wanted that Pantone black. As @JohnB points out, Pantone makes a number of blacks, if you aren't looking for one of those (tinted) blacks, then using 100K is just fine.
You can try this: 1 - change the image mode to Grayscale (top menu Image > Mode > Grayscale) 2 - open Image > Adjustments > Threshold. That will allow you to adjust which parts of the grayscale will be converted to black or to white, making your image truly binary. From the Adobe help: The Threshold filter converts grayscale or color images into ...
After using Image > Mode > Grayscale to convert to a grayscale image, you’ll be able to now select Image > Mode > Bitmap, which does exactly what you’re after. Many of Photoshop’s functions aren’t available in bitmap mode, but hopefully that’s not an issue. If it is, you can run them when still in grayscale, then convert to bitmap.
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