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51

The Go button should be bigger and have the highest contrast of all since it's the primary one. The Clear button is okay because it's a secondary action and it should be neutral. For me the Switch button has too much presence both in size and constrast. I'd position it between the Origin-Destination dropdowns, where it make more sense "by itself". Here ...


25

This might not answer your question completely, but as part of my workflow, I use this technique sometimes. When trying to pick a colour palette (at the very beginning of the creative process), I try to recall from my memory an image or painting that fits the "mood" or "content" of the project. Then I take that image and, using Photoshop, I apply a ...


13

I would judge by the company and its existence. If the company is a well established brand, like Coke Cola, Pepsi, Red Bull then an expectation of the brand's color scheme would be expected in your design and judged with a fine tooth comb. Also, depending on the company they may have a campaign they're trying to stick with that should be defined in the ...


12

One solution is to visually separate your button by priority. You'd typically have primary button(s), secondary button(s) and sometimes tertiary button(s) and/or non-preferred action buttons. For Primary and Secondary, I usually suggest your preferred branding color (purely subjective) in two levels of contrast. High contrast for primary, slightly less ...


10

This actually sounds like a question more about creativity and getting out of a comfort-zone than about technique but I will answer the technical side. How do you determine what colors work well for what objects? (i.e. "bright red on a canary yellow is too bright for good readability", etc.) This question is a little general, but to address your ...


9

When I pick a color palette I narrow my selection to a max of 3-5 colors but I expand on those colors. For example, I usually run a script in Illustrator that will allow me to place each color in its own master palette and a variation of the color based from highlights and shadows I've used throughout the year help produce a HEX and RGB output in CSS. This ...


6

There's an art to it In visual perception a color is almost never seen as it really is — as it physically is. This fact makes color the most relative medium in art. // Josef Albers Color theory is where the physics of light and the psychology of color become much more than their scientific parts. Like choosing and setting type well, using color ...


5

Color and numerical values have no direct mapping. That is the hex value has no specific meaning as a color. You still need something called a profile (and profile intent) to tell the computer what the color actually is. To convert hex to CMYK you first need to determine the color via the RGBspaces profile, and then convert it to CMYK using the CMYK spaces ...


4

Color conversions within applications are entirely dependent upon your color preference and profiles. In other words, when you convert between RGB (HEX) and CMYK your settings determine the new numbers. Converting on my system will most likely never result in the same numbers on your system. If you want truly accurate color conversions you need to visually ...


3

I have struggled with this topic throughout my career. I really admire designers who are gifted when it comes to color. I have a dribbble bucket devoted just to color palettes that I admire. Text Contast I use the WCAG color contrast checker to check text and background color contrast. I will only use combos that pass Level AA; this will soon be required ...


3

If it is not a Branding Color Scheme, I don't think the customer should know what colors you are using. but you can present the colors you use in an applicable way, not just dummy colors block beside the desig. what I mean If you are using a yellow for example, you should present the yellow in an applicable way, yellow in background banner, yellow in ...


3

An interesting concept I first learned about on a male fashion advice page is to pick color combinations that occur in nature. For example, browns, light greens, and dark greens (forest); grays, light blues, and white (sky with clouds); etc. Obviously this isn't the be all and end all of color choice and combinations, but it might be a helpful thing to keep ...


3

I have also been met with looks of bewilderment or incomprehension in the past, and to combat this I now include a style guide which elaborates either on the use of existing color standards or new ones along with the type fonts, etc., etc. I explain that one great way to keep customers is to keep the brand consistent across all media - thus the need for the ...


3

It's important to realize that the term "32bit" can mean different things to different people. Context plays a large role. 32 bit color depth is an aspect of photography. Photographers use 16 or 32 bit color depth to store as much possible color data per channel as they can. Doing this allows photos to be adjusted and retouched with much more precision, ...


3

32 bit per channel is most likely a floating point image. Tough it could also be 32 bit integers but i have never seen such images. Both TIF, EXR and some proprietary film production formats can use 32 bit float per channel inside them. There are several reasons for using higher order bit depths. First of the image might not be a photograph. It might be ...


2

Illustrator has no direct feature to alter channel data. Any intentional mis-registration has to manually be created. There are raster plug in for raster applications to auto-move channels and create a mis-registered appearance, but for vector, you have to do it yourself.


2

What you are looking for is contrast In order to measure contrast there are a lot of ways, I personally use this website. It grades the contrast between colors, and I personally found that grade 5 and above is a pretty good contrast for type and its background


2

The only time I use higher than 8 bits per pixel color (16/32) is when I want to do a gradient and I want to eliminate banding. For smooth grades, 16bpp has a lot of values to work with so you don't get a noticeable stepping pattern. When downsampling to 8bpp, the values are dithered and the result is usually smoother than possible with 8bpp. The downside ...


2

32 bits per channel are used to store HDR image information, and it is considered a floating point number. I found the source: https://www.hdrsoft.com/resources/dri.html


2

I believe clients do not care about color unless they already have some prejudice against a particular color or color range. Due to this, showing a color break out too early doesn't spark any interest. I never refer to color breakouts until after I've shown mockups. I walk clients through a piece and specifically indicate why this color works well here ...


2

I would love to comment on here instead of answer, since I feel that my reply is more useful to anyone like me who is starting in the design field. However, I am new, so I don't have the ability to comment yet. I'm sure that as a designer, you've heard of Color Theory, and have hopefully read Color Theory books like Itten's Elements of Color, or anything ...


1

I have not seing Pagemaker in 15 years. I have no idea if you have spot colors paletes there. Doing the PDF export ot Photoshop has no sense becouse you will end with a cmyk or rgb file. A little introduction If you print in at least 2 colors, you have a multicolor print. As simple as that. A verey specific multi-color printing is using the cyan, ...


1

This is somewhat of a guess, but I believe it has something to do with this option: In the Menu: Object > Fitting > Frame Fitting Options There is a setting here to Align From. The small circles that you created may have this attribute set when they were created, and the Eye Dropper is grabbing it even though you don't want it to. I suggest selecting ...


1

Consider mixing colors like a painter would on a palette, this allows you to do different graduation and sometimes mixing colors gets you new hues you didn't think of. This is a alternate approach that combines to the way @Matt/@cockypup suggests. The benefit of this approach is, that it is a bit more organic, thus allows for random surprises that can help ...


1

Showing the color palette for a design to clients depends on what you are designing and the context surrounding it. If your design is the springboard for other collateral (like a website, store or office decor, or part of the branding) then it will matter to the clients. Then you present it as part of the branding style guide, because that context is ...


1

CMYK and HEX are two completely different color models. HEX (RGB) is additive and CMYK is subtractive. The colors will not be exactly the same. I would just go with whatever CMYK value it gives you, as long as it looks close.


1

I don't know how gimp work, but talking about the concept. The two color seems to have the same average gray so when you convert it to grayscale it doesn't make any difference. all you need to do is some color equalizing before conversion. try to work on the colored version first, by equalizing the color and raise the blue a little this will ensure raising ...


1

Process black and Rich black are both similar if not the same. The black is created with a mixture of Cyan, Magenta, Yellow, and Black. In 4 color printing it makes sure the back is saturated. Pantone black is a spot color or a specific ink. http://en.wikipedia.org/wiki/Rich_black



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