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15

Your observation is correct. The lightness (the human perception of brightness) of green is larger than the lightness of red. In your example, when you shift the sRGB value 214,73,55 to 55,214,73 (i.e. you rotate the hue from 7° to 127°), the brightness remains constant at 84 % but the lightness is increased. The original sRGB value 214,73,55 corresponds to ...


11

Live Trace doesn't do gradients, so can only work with discrete colors (hence the banding). The engineering involved in working with arbitrary numbers of colors would be horrendously complex, involving from-the-ground-up rewriting of Illustrator (there are limits on the number of individual vectors in one document). To convert this image you would bring it ...


11

No, you aren't missing something. There is no point at all in converting images to CMYK, and several good reasons NOT to. Converting images to flattened CMYK tiff is an old QuarkXpress workflow that is a complete waste of time today, especially with InDesign. What is a good idea is to size images in Photoshop before final output, to reduce file size and for ...


11

Converting to CMYK won't help you unless you find CMYK specific paint, which I'm not sure exists. Commerical paint manufacturers use a variety of non-standardized ways of expressing colour - so try this web based converter: http://www.easyrgb.com This will convert your RGB to a paint colour. That's the free option. If you want to be really picky, you'll ...


9

Strength = Saturation + Brightness When you say "strength" I assume you mean saturation or the purity of the hue. On a mathematical level, you can simply match the brightness and saturation values in HSB color mode. Not so fast But equal luminosity doesn't necessarily result in equal strength or dominance. Color theorists Johannes Itten and Josef Albers ...


8

Short answer: you can't. Technical answer: RGB is additive. The more color (made of light) you add, the closer you get to white. CMYK is subtractive. The more color (made of ink, which is reflective, which subtracts light) you add, the closer you get to black (or actually a muddy brown). CMYK has a smaller range, or gamut, of colors it can reproduce than ...


8

It seems like you're looking for the analogue of complementary colours, but in the lightness space rather than hue. As far I can tell, no such general mapping can exist. Suppose you could compensate for the effect by assuming a linear correlation between the background and the foreground, so that as the background darkens the foreground text lightens by the ...


8

Yes and no. Yes: It offers a smaller range of colors assuming that integers are required for each value. Photoshop, for example, requires HSB values to be integer and will yell at you if you try otherwise: However, your math seems to be off. You're on the right track with RGB: each value can be an integer from 0-255, so the RGB gamut consists of 256³ or ...


7

A couple of points adding to Lauren's and e100's excellent answers: 1) A desktop printer is an RGB device, not CMYK. Although the inks most such printers use are the standard four, sometimes with additional inks (my Canon proofing printer adds a "photo cyan" "photo magenta" red and green for a total of eight), both the printer and the software that drives ...


7

RGB is a color space that can only exist with projected light. It's physically impossible to replicate it on paper, which is a reflected light color space. So no, no printing press can 'print RGB'. At best, prepress RIP software can convert from RGB to CMYK. In fact, this is what most prepress software workflows do. How they convert to CMYK can vary ...


7

The browser doesn't really care which format the color is in, performance is negligible. As such, I'll focus on the decision's effects on the developer(s) and the use cases. A lot of developers find HEX values easier to read than RGB or HSL. As such, I tend to use HEX so that the next developer working on the project may have an easier job, even slightly ...


7

I don't know if it's still needed, but I made this little CSS3/AngularJS tool for a project to generate Material Colors palettes. It's far from finished, but you can however enter your 500 hex color and use an external tool like colorzilla to get the color values from there. Also the lighter ones are exactly the ones google used, but the darker ones are off ...


6

I had exactly the same problem you have, with almost the same colours: two blues. My solution was very similar to what Scott suggested in his answer but, (instead of overprinting one gradient on the other one) I ended up, by the suggestion of the printer, overprinting a gradient of 0 to 100% of the darker blue over an area of 100% of the lighter blue. This ...


6

Generally speaking, once you have "lost color accuracy" by converting to a smaller gamut, there really isn't any good way to do the reverse and increase your color accuracy by converting to a larger gamut. This is generally why I'm part of the camp that advocates working in the largest gamut you can (even if your screen can't display all the colors), as you ...


6

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


6

RGB color is for light-producing situations, and is additive, which means that you are adding light of one color to light of another color, resulting in more light and a mixed color. CMYK color is for light-absorbing situations, and is subtractive, which means that you are absorbing light instead of reflecting it, and mixing two pigments results in ...


6

RGB is an additive color model using light directly from its source before it is reflected off of an object. In essence, you start in darkness and because you are directly viewing the light source, the wavelengths can be added to each other to create colors. CMYK and 'real life colors' both use a subtractive method to display color. In essence, you begin ...


6

Real color is a quite complex subject. In essence color is something that happens somewhere between your cornea and brain. Simplifying this a bit color is what you sense when some photons interact with the three color sensing structures in your eye. Other definitions exist but they fail on many levels. Photons can reach your eye trough many processes. They ...


6

The google palettes are monochromatic. Which keeps the same RGB ratio shifting the Lightness and saturation up or down. To do this you have to convert the RGB value to HSL representation (Hue, Saturation, Lightness), alter the lightness and saturation then convert back if need be. It is possible to keep it in the RGB space while calculating, but the math is ...


5

Start with your target medium I typically start where I know the most prominent/critical use will be. For a lot of clients, that's the web. For some, it's going to be outdoor, vehicle graphics, and uniforms. It's all over the place from one job to the next. You want to be sure you optimize the palette for the most important application. Print For print, ...


5

You can do these things without changing the mode just have to work with adjustment i have attached some SS to show you a Quick way to do the B&W thing..there are lots of option doing this in PS. You can just select desaturate option and see how it changes


5

I'd say AI's livetrace did a commendable job on that. That's about as good as you're going to get with any automated tool. You'll want to re-created it by hand for anything better. Looking at the original, I'd start with a donut shape with the gradient colors you want, then add translucent layers on top for the highlights. As for pixel-perfect results, ...


5

NOTE: This got way longer than I expected, and I purposely glossed over a LOT of detail. If you'd like me to elaborate, just ask. PMS Colors - Absolutely brilliant when used as designed for pre-mixed spot color offset printing. You can be assured the color you saw in your Pantone book is very closely represented in your final printed piece. The problem ...


5

Add a 'Threshold' adjustment layer on top. You'll find it in he layers palette: This will cause you to lose all anti-aliasing, though, for the layer reduces all variance and allows only white and your chosen monotone colour. edit: If you want to keep the anti-aliasing and don't mind fine-tuning settings for each image, you'd be better off with a curves ...


5

Sounds like Object → Flatten Transparency might work for you: Take a look at this simplified example: Using Flatten Transparency will turn the two shapes into 3 with the transparency, well, flattened: Unfortunately, this does not preserve the colors exactly as they are initially rendered. In the example above, the lighter pink changes from #FFABAB ...


5

Basically, you want to use a different model. Photoshop reports your red RGB(214,73,55) as HSB(7,74,84) and Lab(52,55,42). Scott's comment is probably referencing the "Hue axis" of the HSB color picker. Lab is supposed to model human perception. There are multiple versions, but for the photoshop color picker, ranges are L=0-100; a & b are -128-127 ...


4

If it's a photograph, then there are techniques that make the converted image look like a "better" black and white photograph. This page "7 Black and White Photoshop Conversion Techniques" seems to cover that particular area of the subject rather well.


4

There is no substitute for an actual Pantone swatchbook if you are a) specifying color for a project and want to know accurately how it will print, or b) if you're putting together a color board for presentation to a client. There is no on-screen rendering that will show all PMS colors 100% accurately, or even some parts of the CMYK gamut -- the color gamuts ...


4

I don't think you'll be able to accurately mimic the 16bit display without knowing more about the dithering method it uses. Some 16bit and 18bit displays animate their dither pattern, meaning they actually look better than you may expect (I believe lots of laptop displays use 18bit with an animated dither). Also, there's quite a few dithering methods ...


4

As far as choosing a corporate color goes, I would said neither RGB or CMYK. Rather, go for a Pantone color and derive the RGB/CMYK values from that. The Pantone Solid Coated color libraries are available in both Illustrator and Photoshop, but truly you should select the color from a physical swatch. A local paint store might have the color book available ...



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