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33

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 ...


24

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 ...


17

Quick & dirty method Use readily available custom shape, which has been included in the installation since probably CS 1 — maybe even before that. I didn't realize its powers at first, mainly because the small thumbnail is distorted with a heavy moiré pattern (here highlighted): Just draw that shape behind the object you want to "emit rays". ...


14

Here's my way... Prepare an empty layer. Draw a rectangular marquee across the half of the layer. (like on the image above). Fill that selection with your desired ray color. Select Filter > Distort > Wave. Select the Square type and adjust the wavelength to increase/decrease bars (max and min the same value). Apply. Select Filter > Distort > ...


14

Noise and dither usually yield quite good results. There's a couple of things that may make “banding” more apparent: “start” and “stop” colors gradient size (banding becomes more apparent when “start” and “stop” points are getting farther from each other—gradient have to be “projected” on more samples with the constant number of available brightness ...


11

That image can go either way, but I would say it is upside down to understand the context of the name. Essentially, "chrome" in its classic context really doesn't have a color—it's a mirrored finish on metal parts—and it can only reflect the environment it is in. Think desert horizon on an antique car fender, like a '57 Chevy, and there's your "metallic ...


11

I suspect that the curve on that shadow might be an optical illusion of sorts. As @lawndartcatcher explains in his answer, the curved look can be achieved by making the intensity (or opacity) of the shadow fall off towards either end. Here is a step-by-step look at that process. Here is my top layer: Below that I add a basic soft shadow (I used a ...


10

Don't confuse "match" with "harmonise". There's a big difference. These colours don't match (they aren't the same). They do harmonise. To understand the difference, and my answer (which I promise I will get to!), we have to take a slight detour into what colour is. One of the most unfortunate things about describing colour is that key terms with ...


9

When it comes to gradients I know there are several opinions on this, but in my opinion gradients are best used when they provide depth. A gradient should never take away from a design or distract from the message of the design. In most instances they are being used to mimic a light source in either radial or linear format. Radial provides the best look for ...


9

I think you're trying to apply a mezzotint effect. Filter > Pixelate > Mezzotint From this: To this:


8

Yes, it's possible to create high quality gradients. There's lots of factors to take into consideration though. Photoshop doesn't and can't dither on the alpha channel. You're better using solid colours, if possible. Also, try to avoid layer opacity. Create the gradient using the exact colours you need. There can be some cumulative rounding errors if your ...


8

I think a very subtle gradient will definitely improve the aesthetics of the buttons. Since the Windows 8 "Metro" style is a large proponent of this style, I'll use that as an example: At first glance the "tiles" look like they are a flat color, but if you look closely there is a very slight gradient going left to right. It is more noticeable on some than ...


8

For Photoshop: Starting with the source image in greyscale: Source: http://everysinglepixel.com Add a layer with a gradient fill on top of it, adjust the blending mode for the layer to something that looks nice. I chose Soft Light and tweaked the opacity.


8

You can easily do this with a Gradient (without a gradient appearance). Don't let the term "Gradient" throw you. It's just the name of the tool, it doesn't have to mean a smooth transition between colors. Just make certain the Location for both gradient stops is set the same. You can even make this dynamic while keeping text live. So, it moves with the ...


7

It looks like an extremely stretched circle with a 2 or 3px feather to me... not a gradient or true drop shadow at all. layer 1 layer2 (circle marquee with 2px feather and anti-alias on filled w/ black. Layer opacity set to 25%) Both layers combined. My example only took 3 minutes to build. You could def elaborate by using a large 10% opacity eraser ...


7

Create the radial gradient on its own layer, whether directly or through the use of a gradient effect, then convert the layer to a Smart Object using Filter > Convert for Smart Filters or Convert to Smart Object from the Layers Panel flyout. You now have a gradient that you can resize and transform using the Edit > Free Transform as needed. Because it ...


7

This was probably drawn in Illustrator. My guess with this one is the text FBTO is a clipping mask making everything outside of it transparent. In a layer underneath it looks like they have made a layer with a gradient mesh. They've manipulated the mesh to create a rainbow effect and, as part of this effect, its become distorted a bit to created that ...


7

As you mentioned, when designing flat buttons you need to keep an eye on a couple of things. The first one being, I'd say: Does it look like a button? This is not necessarily something that depends only on the button, but on the rest of the elements of your UI. If you are using flat buttons, I'd suggest you avoid similar shapes/styles everywhere else. You ...


7

It's easiest to complete this isometric maze in Adobe Illustrator. I've tried for the first time, creating a screencast that most accurately shows the necessary steps to complete this and adds some commentary on the use of accurate gradients. Still improving at screencasts, but hopefully it gets the points across. Part 1: How to make an Isometric top - ...


6

Simply use the color picker in an app like Photoshop. Set the dialog to use the H or Hue option and find a starting color. Then to get color of similar value, move the slider up and down the color bar. This will keep saturation and brightness the same, and only change the Hue value. Don't move the circle in the large color pane. There are also other ...


6

I think the question is really one of your particular site and the client's need for the visual effect of a gradient. I think the current trend is (using HSV as a visual construct) to pick just one hue, and use saturation or value to shift it across the spectrum. In most cases, the scale of the gradient is also pretty large; small enough for you to see it ...


6

Sounds like in the first instance that you saved the file as a gif or some 256 color format. This throws away a lot of colors and dithers the rest. (see: Floyd–Steinberg dithering). Alternatively, you may have inadvertantly changed your desktop color depth to something low (unlikely) In the second instance, you may just be seing the gradient rendered on a ...


6

One good, quick, highly flexible and non-obvious way of getting effects like the first one would be to create a gradient-like blend object from a few thick-stroke lines (see below), make a new pattern brush from it using the brushes panel, curve a path or paths into the right shape, and apply the brush to the paths. Here's an example: The original ...


6

As DA01 mentioned the gradient options in Inkscape are somehow limited. If you don't mind using two objects instead of one here's a guide: Create a rectangle with a gradient, transform it to a path and drag two nodes to create a triangle. Hit F2 and drag the Linear gradient end node to the tip of the triangle. Now create a rectangle, cover the upper half ...


6

I say: Don't start with a greyscale image! Use the layer effect "Gradient Overlay" with the blend mode "Color". That way you can keep the color information and add some depth by using only i.e. 50% opacity of the effect.


6

For optimum viewing, and given that you can't control what's below them, those buttons should really have a set, high contrast, background color/gradient. This would ensure that the text is always readable. You can also do away with the drop shadow on the type to provide a more upper-scale, fluid, appearance. Another alternative, if you want the photo ...


6

Create a new layer, and execute the following code as a script. It will create a new layer style with 0% fill and the new gradient as an overlay. The for-loop towards the bottom creates a 21-stop gradient in the foreground color. Every other stop alternates between opaque and transparent. You can then save the gradient as a preset within the Layer Styles ...


6

Here's how I do it (steps correspond to pictures). Starting shape to shade. Create copy of shape with color of the shade (or highlight) you want to "speckle" and make sure the layer is above the original shape Create a mask on this layer (3rd button from the left in layers palette) Ensure that the mask is still selected and fill this mask with 50% gray ...


5

The fade is best done using masking. (The example you gave actually has some poor cloning in it, but that's irrelevant) Basically: 1) Create a new layer mask 2) Select the gradient tool (G) 3) Drag out your gradient, make sure it's the "black to transparent" gradient. Here's an image: As for the line, I recommend just using the pen tool. If you want ...


5

Gradients, along with adding depth and light realism elements, add an element of directional control. If in a radial gradient situation, where the color goes from white on the perimeter to black in the center, your eye is guided most heavily to the center or to the most contrasting color. As much as gradients can contribute to directional control, they can ...



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