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RGB is an additive spectrum... you ADD colors to get white. Dkuntz is correct stating that RGB is light-based. It is. It uses the visible light spectrum to display colors. CMYK is a subtractive spectrum... you REMOVE color to get white. DKuntz's use of the term "color-based theory" is really nonsensical. Since RGB is also a color spectrum. A more ...


13

I can't really claim to know much of anything about mixing house paint.... It's my understanding though that the mixing system is more akin to a Pantone mix than a CMYK mix. On screen, it would be just a black. It would equate to 0R0G0B so.. black. ---> RGB -- > On press.. it'll get rejected by most prepress departments or at least get changed. The ...


12

Not to detract from Marc's excellent and comprehensive answer, there are some points that are worth a bit more explanation. It's a big subject. This gets geeky before it gets better, so bear with me and follow closely. :) CMYK and RGB are "color models," not color profiles. A color model is a way to represent colors using numbers. There are other models, ...


12

There is no mention of CMYK in the GIF specification, and it only supports color triplets. Take a peek at the syntax for color tables given by the spec: 7 6 5 4 3 2 1 0 Field Name Type +===============+ 0 | | Red 0 Byte +- -+ 1 | | ...


12

The short answer is no, a GIF can't support a CMYK profile. A CMYK profile is a series off curves that map the percentage value of each separation to a target. GIF images are saved as INDEXED COLOUR, which then references an RGB value for each colour. While CMYK values could be derived from the RGB values (the RGB gamut is wider than the CMYK gamut so some ...


11

To understand why printers do not use red, green, and blue ink to reproduce color from the light spectrum, you need to research CMYK printing. I'll avoid all the additive/subtractive explanation. Around 1900 a printing company first incorporated cyan, magenta, yellow, and black inks into a printing press to reproduce color. Through that company's research ...


11

Actually, there already exist printing systems which let you choose your colors. In screen or offset printing you can use any existing color to print something. Now lets say we'd choose red, green and blue as printing colors. We'd still have a subtractive color system (If there's more ink on the paper, there will be less light reflected. So the color gets ...


10

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 ...


10

It's actually far simpler than it may first appear. The bottom line is that it's best to convert to the most native format as early as possible. Full colour printing typically uses four inks to create a photorealistic image. In theory, cyan, magenta and yellow should be enough to print a high quality image, but adding black aids the printing process, giving ...


10

What probably happens: The screenshot is a 16-bit png, but illustrator reads it as an 8-bit png, using only the 8 lower (!) bits. Explanation For the following explanation we assume that the screenshot is an 16-bit grayscale image, that is every pixel is a number between black = 0 = 0x0000 = 0b 0000 0000 0000 0000 and (16-bit) white = 2^16-1 = 65535 = ...


10

Introduction To understand this we need to look at the entire system. The system consists of at least 3 parts: the observers brain, light transfer to the eye and the technical system from where it came. Central to part to how light works is in the eye transfer. If we cut corners a bit, so that we can have a discussion at a reasonable length, one can say ...


9

The web is all sRGB all the way. If you upload an image created in ProPhoto or Adobe RGB, it will show on the web as if it were sRGB. The result is a large or small color change, depending on the image. This is guaranteed to happen if your image doesn't have an embedded color profile; there are few circumstances in which a color profile will be acknowledged. ...


9

It's caused by anti-aliasing, used by Illustrator to display graphics without pixelated edges. However, anti-aliasing causes display artefacts when two colours butt up against each other. The problem doesn't only affect Illustrator, but also other similar vector image editors. You can eliminate the problem by selecting the text box, open the Appearance ...


8

The developers are aware of the issue but aren't willing to fix it, they consider it a 'feature'. When we export an image, we interpret our color values in the sRGB colorspace. We also save the color space in the metadata, unless you have ‘Save for Web’ checked in the export panel. Regardless of that setting though, the intent has been to save with sRGB, ...


7

I'd guess that the problem is your starting point for the document. Choose "Web" for the document type rather than Basic RGB, or be very sure the color space is sRGB and not the wider Adobe RGB. Going that route, I see no difference in the output of Export or Save for Web, and wouldn't expect to. When you Save for Web, you don't see a problem because AI ...


7

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, ...


7

It's common to refer to these elements as "registration marks" but that's not completely accurate. There are multiple components: Registration marks: thin lines/circles on multiple axes to detect misalignment between color plates. This is what the "Registration" swatch is commonly used for. Color bars: solid and screen value blocks of color (sometimes ...


7

Your question makes sense but there's no answer. These are all arbitrary names created by man to help classify spectrums. Green doesn't magically end at point X and start point Y. There's simply put too many factors and human interpretation. For example, a BBC Documentary came out a while back discussing the Himba Tribe which has far more names for colors ...


7

No, you can't expect RGB colors to translate exactly to CMYK for printing. Monitors make colors with light. Light can be any intensity. Ink is made of solid physical colors from things like rocks, which are ground up and put in a medium like oil or latex. You spread ink on paper and it's never going to be as bright as a color on a monitor. Offset ...


6

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 ...


6

The premise of the question is flawed for a few reasons. A print proof is meant to mimic the final product. The idea is that you view the proof with the expectation that the final product will look exactly like that. That concept doesn't exist on the web. For a number of reasons: There is no defined canvas size. Unlike a piece a paper, a web browser can ...


6

Create swatches (in whatever App you start in) then export swatches as an .ase file. In every other app you can load the .ase file into swatches. . . .ase files can be loaded into any Adobe app which uses swatches. Web sites such as Adobe's Kuler.com will also allow you to save themes in an .ase format.


6

Your Inkjet printer has to support CYMK. Thus double check before you proceed. Otherwise colours are always converted to RGB. Also make sure that the latest printer drivers are installed. You can export your Illustrator/photoshop file to a PDF file. This way you can open your document in Acrobat which offers advanced print settings like preview color ...


6

The new versions of Sketch have an easy feature to make sure the colors when exporting are the same as the ones you see on your screen. Navigate to Preferences › General › Color Profile, and then change the color setting to Display P3. This will change your color profile to the one Macs use. Then, do the same thing again, but this time select sRGB. Now, you ...


5

My (sometimes controversial) opinion: People who recommend using sRGB for user interface and web design are crazy. Here's why. For colour management to work for screen design, there's three important things that must happen. The image must be created using the correct workflow. The image must be saved with the correct ICC colour profile. The image must be ...


5

Any monitor worth the buying price will have a basic ICC color profile which should be downloadable from the manufacturer's website. (True of any device that produces visual output, including printers.) Usually the profile comes on a CD, which seldom escapes from its sleeve, so that the profile never makes it onto the computer. Worse, an ICC profile for the ...


5

It can be said to be an (old) alternative to vector. I have used it for some very old logos and drawings, but more recently in signatures. It is not vectorized, and not anti-aliased, so it needs to have very high resolution in order to not appear pixelated. It can only have one color. If you place a bitmap colored file in InDesign, you can actually change ...


5

This is kind of a history thing, I'm sure the mode is being used in creative ways differently that how I describe, but --- In traditional PostScript-based offset (big printing press) printing the imaging is done in one of two ways (to simplify things) -- As a half-tone where a raster image is broken down into dots and those dots are in a grid with ...


4

It sounds like your document is in CMYK mode. To change it to RGB, choose File → Document Color Mode → RGB Color. Are you doing print work? Or designing for the web? If you're designing for the web, you'll want to have Illustrator and Photoshop set up for web and UI design work — The correct way to set up Illustrator and Photoshop for web and UI design is ...


4

I'm wary of purely mathematical approaches to color harmony; numbers have no aesthetic sensibilities. That said, since the Hue wheel is divided into 360 degrees, one can build a complementary color scheme by adding 180 to the hue for any given color, a triadic by adding and subtracting 120, and so on. The triadics below were done using simple arithmetic in ...


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