here is the technical answer
Saying that the color is #dd0017 is meaningless, unless it is paired with information about what color space you are using! Therefore also conversion from #dd0017 to CMYK is meaningless. With this off our agenda we can start to look what same would mean in your scenario.
When you talk about pure color like #dd0017 you are ...
There are many attributes that define how good a monitor is, but the most important ones for graphics work tend to be:
There are others (e.g. response time, refresh, etc. that tend to be relevant more for gamers).
IPS is frequently preferred by graphics professionals because it has superior colour accuracy and contrast to TN ...
This site explains the process of coloring comics during the 60's (when the Hulk started)
The possible combinations of these tints gave colorists a palette of 64 possible colors to use in the books, though most used no more than half of them. Many of the darker colors were indistinguishable in ...
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 ...
Major brands have been moving away from using Pantone colours as a method of defining their visual brand identity for quite some time.
The reason for this is that brands want (and need) absolute consistency of colour across marketing platforms, packaging formats, POS, etc. It has been shown that even small, hard to notice variations in colour reproduction ...
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 ...
Most commercial printers will provide a color proof that is ostensibly a very good representation of the final output. Probably will have an additional cost attached to it, but definitely ask about it. If they decline to offer a proof before final printing, you may want to look around elsewhere for another printer.
Also, make sure your image is in CMYK ...
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 ...
It's got nothing to do with Windows vs. Mac - walk into any office and look at the different monitors on folks' desks. Assuming you're using a standard color scheme (sRGB, etc.) the information will go out to each of those monitors the same way (i.e., white = "ffffff" which is hexidecimal for "turn the red, green, and blue values for that pixel all the way ...
Starting with the source image in greyscale:
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.
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.
The title of the article 'Tauba Auerbach’s RGB Colorspace Atlas Depicts Every Color Imaginable' is misleading.
As you already said RGB is intended for screen display and not print. It is - as far as I am aware - impossible to faithfully reproduce all RGB colors using offset printing. Even if it was possible to reproduce all RGB colors, no RGB color space ...
Matching colours between screen and print is a complex and sometimes impossible task. Due to the nature of light (Screens, RGB) versus ink (CMYK, Pantones, etc) and the fact that pretty much every monitor will display the colour slightly differently and print will look different in different lights. This kind of colour management is a job in itself.
These are the steps I took using GIMP to create a color gradient on the source image.
Choose the Blend tool to fill with a color gradient.
Create a new gradient with desired colors (Left HSV 21,83,91, Right HSV 301,52,60)
Apply the Blend tool in Mode - Overlay along a line from left to right:
Blend mode Color for a stronger effect:
Yes, You should create a brand guideline for your startup. Specify a Pantone (which will be easy to get a CMYK value from), RGB and HEX for each color swatch.
Google brand guidelines or identity guide and you will see many examples of how to get started.
You may remember me from "You'll never get that RGB color in CMYK!"
Now, you said you wanted something darker than Cyan70 +Yellow100:
You don't have much choice to darken your color and keep it bright, you need to add more Cyan! Try C75 + Y100 and keep adding your cyan until you are satisfied.
Forget about your RGB green, and work with the good old color ...
This is a color science question not a graphics design one, I've only had a brief intro for color science (one and a half semester in Uni, but thats not enough) so I am not one to ask I'll try to push you forward.
Something like this is possible to do (but not for that illusion). However, the math behind color is way more complicated than it initially ...
I know this is an old post, but it deserves some more info.
The reason Hexichrome was discontinued is multi-part, but all rooted to profit. It really didn't die. It just changed form.
Hexichrome was first used primarily for fine art prints. (I think it was originally a proprietary technology, not Pantone technology.) Then someone realized that the ...
My "professional" approach would be to vectorize the whole thing. This would not be a trivial task and would require lots of time and dedication. If you're not familiar with the process, I think this would be a good project to learn with. Since you mentioned that you're eager to learn new skills, I'd give it a shot if I were you.
You talked about the use of ...
Okay... here's your issue.
You started a new Illustrator document in CMYK mode. Then at some point later, you switched the Document Color Mode to RGB. This causes the document to still use the color settings for CMYK. In fact, when you simply switch color modes on the fly many things within Illustrator stick to the old color mode - the color profiles, the ...
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 ...
I'll try to answer with some generalities first, because the background info seems like it would help in this case.
PANTONE matching ink colors can't be converted perfectly to RGB or CMYK, but there's more than one reason why that is.
RGB as you probably know, applies only to light, and making colors from the three light primaries: Red, Green and Blue. The ...
Yes places print Gold on Black. The two main methods are Foil Stamp or Metallic Ink such as one of Pantone's coated golds. Foil Stamp gives more of the embossed look. You can find comparisons of the two methods online.
You'll want to find a printer that offers these options and discuss it with them. Costs, delivery times, and of course how they want the ...
You can't print 'bright' colors on uncoated stock on a desktop inkjet printer because the uncoated stock just soaks in the ink.
Your sample card appears to be printed offset. Possibly using opaque inks, raised ink, a varnish, or some combination of those techniques.
I'm color blind. "We" like graphics being discriminated using color just as much as "you" - it's just there are fewer colors in our world than yours. Here's a pragmatic suggestion in the spirit of the 80/20 rule.
If your first type of color sensors (proto) don't work your vision is proto-anopic. If they just misbehave a bit you're proto-anomolous. Repeat ...
From a practical standpoint, I can't think of a reason to be concerned about calibration for web work beyond setting the gamma somewhat accurately to 2.2 and your display to 6500K (sometimes labeled D65). These will allow you to display as much of the sRGB gamut, which is the web standard, as your monitor is capable of.
You can do all this without shelling ...
You could always buy them by the chips if you only need them temporary:
PANTONE PLASTIC STANDARD Chips
Pantone Chip Journal
Google Search for Pantone Chips
Another option would be to see if someone is selling them used (local sign shop/print shop). Some shops do believe that a rotation of 2 years is standard to purchase and stay up to date with Pantone ...
Open any graphics editor (or, really, any program with a good colour picker). Input the colour you have and change the picker mode to HSV. Now grab the hue control and move it to the blue range. Change to hex mode again and read the new value.
Some browsers will accept color: hsl(h, %, %) ( h= 0-360)
It's possible to do the math with a pencil, ...
I just want to add a bit of illustration to Kurt's answer, which I think is complete (+1).
When I was a kid I had a (very depressing) book about a selfish girl. She would not share her toys. In particular she cherished her crayons. One day, the boy that shared her table at art class wanted to draw a tree but had no green crayons in his pencil case. The ...