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For each spot channel you want to get rid of, you can: Ctl/Cmd-Click on the spot channel to load it as a selection Create a new layer and fill the selection with your chosen RGB color Delete the spot channel. Be sure to keep the CMYK composite channel targeted except when deleting spot channels. Transparency is unaffected, but you will have to be ...


0

I found the answer. I was searching for Color balance. Select the layer Click Tools -> Color Tools -> Color Balance A new window will be opened: Here you can modify the colors. If you need more white, uncheck the Preserve luminosity checkbox and move all the sliders to right.


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Highlight a spot channel in the Channel Panel. Choose Merge Spot Channel from the Channel Panel Menu Repeat as needed :) This is going to flatten layers. So if you want the transparency back, you should first create an alpha channel of the transparency. Then, after you merge the spot channels, you can load the alpha and apply a layer mask to reinstate the ...


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If I understand correctly, your assets are: CMYK logo Grayscale image This is what I would do Create an empty CMYK PSD file Copy your grayscale image Open the Channels palette. Windows->Channels Click on the Black channel (the last one) and paste your (previously copied) grayscale image. This pastes it ONLY in the K layer, so it will be rendered with ...


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This question is pretty diffuse. Considering it is hard to know just quite what you mean I think you've gotten a fairly good answer off the bat but there are still tricks to align colors even better. Using the trained eye to select some colors that you'd like to use in a theme, aligning these can be done by choosing a mixin color and overlaying it over the ...


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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 ...


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I think the genius/expertise in that photo is perspective, not color. The viewer's eye is intentionally drawn right to her torso. The door, the mirror, the feet, the hair, her face, the building, and the billboard all use the middle of her torso as the focal point. Every aspect of that photo makes Ms. Winestead the focal point. The color use between the ...


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Someone else will surely come with a longer background on colour theory; but I would just like to point out that our eyes trick us quite often. In the image, the yellow is really rather orange, and the red more towards a dark red. So the two colours have more in common than simply "yellow" and "red", as entities in the colour wheel. What often tricks us, is ...


0

If both the color and the topography are on a single layer in Photoshop, or a single rasterized object in Illustrator, there is no automatic way to separate them. Hopefully your client can find a file of just the topography, or you could try to find a third-party map vendor to purchase a topographical map of the area - it shouldn't be too hard to scale and ...


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I have had this problem before---check out the color mode of the document. For reasons someone else can explain better, you can switch Illustrator files between RGB and CMYK, but because the two color spaces aren't perfectly equivalent the system has to approximate colors in making the transformation. You've probably already tried this, but also take a look ...


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From http://www.colormatters.com/color-and-design/basic-color-theory 1 - A color scheme based on analogous colors Analogous colors are any three colors which are side by side on a 12 part color wheel, such as yellow-green, yellow, and yellow-orange. Usually one of the three colors predominates. 2 - A color scheme based on complementary colors ...


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Since you are asking "why are they perceived differently", here is another (very geeky) thing to consider: the perceived luminescence of an RGB colour. This is hard to apply, so take my answer almost just as trivia : ) The luminescence value of a colour of indicates how "lit up" you perceive it. If the colour would be a light bulb, a colour with low ...


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Just adding to AmeliaBR's answer (should be a comment, but I want to post an image). One way of trying "shifting" your hue but keeping the same relative distance between starting and ending colours could be using Photoshop's hue tool. Take the first image (the one with the gradient you like) and open it in Photoshop. Then open the Hue/Saturation tool ...


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The main difference between the initial example and your experiments is that the original does not cover nearly as drastic a change in hue. Going from golden-yellow to magenta/pink is about a 1/6 turn on the colour wheel. In contrast, your experiments (orange-red to blue-violet, blue-violet to yellow-green, and cyan to blue-violet) are all more than 1/4 ...


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You need to read Josef Albers' Interaction of Color The effect you see in your example has many permutations. Albers walks the reader/student through them via a precise and well-crafted set of experiments. His book (now over 50 years old) remains the quintessential guide to understanding the relative nature of color. As an introduction, Albers writes ...


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The illusion is called "mach bands" See here: Mach Bands Excerpt: The Mach bands effect is due to the spatial high-boost filtering performed by the human visual system on the luminance channel of the image captured by the retina. This filtering is largely performed in the retina itself, by lateral inhibition among its neurons. The effect is ...


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As an alternative to the already great answers, how about adding a black div with 50% opacity behind the text? This would allow the font to work on basically any image also. div { position:absolute; top:250px; left:140px; width:500px; height:50px; background-color:black; z-index:0; opacity:0.5; } EXAMPLE


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Give it a black transparent background and some padding background-color: rgba(0,0,0,0.5); padding: 0.5em; Simply play a bit around with those numbers but it should give you an usable result.


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I suggest making the font bold (just a change of weight, not the font itself) and respecifying the shadow so that it defines all the edges of the letters: font-family: Raleway; font-weight:900; text-shadow: 0px 0px 3px #000; You can even combine more than one text-shadow to create a definite outline as well as a blur: text-shadow: 0px 0px 3px #000, ...


0

There's no reason you can't use a standard process black in place of Pantone black. You're the designer, it's your call. You'll just want to be sure the overall tone of the printer's ink is what you're after. Pantone has their own special formula to achieve a certain subtle tonality.


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There are many of types of color blindness, whereas red (protanopia, from prot+an+opia) and green (deuteranopia, from deuter+an+opia) color deficiencies are the most frequent. The genes for green and red sensitivity are located in the X chromosome, this is why men are more prone to be color blind then women (women have two X chromosomes - one from mother ...


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I was also quite convinced there were three 'pure' types of color-blindness, but apparently it can range quite a lot, not only because of the type of CB, but also because of environmental conditions, light amount of light. The reason for color-blindness is 'a faulty eye cone'. There are three cone types that are used to perceive light colors, but for some ...


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also, there's Image > Mode > Duotone: setting one to your color choosen, and one to white or grey there are a multitude of ways to do what you're asking.


1

If I'm interpreting your question correctly, you are printing design drafts on the office printer in order to test them out, you have no color management in place in your workflow, and you don't possess a Pantone swatch book so you're thinking of picking Pantone colors in your application that seem to match a given printed color. It's evident that your ...


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Simple answer: add a Hue/Saturation layer and turn down the saturation slider. Select colorize and adjust the hue to choose your color.


1

There is no real standard but I did some extensive research when making a vector set for my sites and the majority used on sites were yellow. I figured if thats what the majority is using, why not go with it. The less you make a user think, the better. This may be caused by Outlook(the email program) have used it has its brand color for years, but that's ...


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You don't actually sound like you want greyscale. You want a toned image. In Photoshop.... Image > Adjustments > Desaturate Add a new layer above and fill it with #52524A Set #52524A layer Blend Mode to color Add a mask to allow the color to only cover the image area (and leave transparent areas transparent.) You can do the same exact thing by ...


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Is this what your referencing? the #52524A color as the top most of grayscale. this was achieved via image > adjustments > gradient map. and setting the black to #52524A.


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To make the entire image grayscale: image -> adjustment -> black and white First, understand that greyscale is a scale of bright-to-dark values that have nothing to do with color. Two very different colors can appear very similar or identical if you simply desaturate the image, because only the color, not the tonal ("grey") value, was providing the ...


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I've had the same problem, along with Scott's answer, changing stroke colour made the most significant difference. Changing the fill, stroke and custom colour (in 3D Extrude and Bevel Options) of the object to the same colour; will remove all shading, and make any changes to the lighting options ineffectual. Hope this helps anyone with the same problem.


1

Visually, all the colors in your screenshot appear to share a fairly similar lightness and saturation level. They're not quite the same, but they're pretty close. One reason why that's not necessarily obvious from the RGB or even the HSL / HSV representation of the colors is that even HSL / HSV is a rather perceptually non-uniform color space: colors that ...


4

I'll take a shot. There's nothing unique about the colors you displayed-- they are similar in that they all fall in a small range of both saturation and brightness, but there isn't similar tone or hue to them and they're not under any specific color harmony. (that I'm aware of at least) As a thought experiment I'm going to take the same colors you provided ...


0

This is the Hue parameter changes in HSB color system your picture with Hue adjustment


1

Double-click the little black color box (or any of the boxes) under the New column in the center of the window. This will bring up the Color Picker, from there you can click the Color Swatches button and select the swatch you want to use. Yes it would be nice if drag and drop worked, but it doesn't.


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Duplicate the image layer repeatedly until the transparency is gone, then merge the duplicate layers. Note: this will alter the soft white edge unless you mask that area before duplicating the layers. I would duplicate the image layer once, remove the soft white edge from the duplicate, then duplicate again until the internal translucency becomes opaque. ...


1

Use the quick selection tool to select the transparent areas outside the image. Inverse the selection. Adjust the selection was needed. Create a new layer. Fill the selection with a color. Move the new layer behind the original layer. Merge the layers.



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