According to Joe Scout the first company to use CMYK in printing was Eagle Printing Ink Company and the year was 1906. It was not until 1956 that it became a standard as a result of Pantone trying to streamline the workflow.
This however does not really answer who really invented/discovered the choice of colors, the first scientific literature to ...
As Elmo Allén correctly notes, this is neither an optical illusion not a bug in your graphics editor, but an effect caused by the monitor technology you're using.
Specifically, on a typical modern TFT-LCD computer screen, each pixel is actually composed of three separate subpixels arranged side by side, respectively colored reg, green and blue:
Each of ...
Thanks to great work
P. Green-Armytage (2010): A Colour Alphabet and the Limits of Colour Coding. // Colour: Design & Creativity (5) (2010): 10, 1-23
(and to user ohadsc who referenced it!) now I know at least 3 ready-made color sets of maximum contrast containing not less than 20 colors (but I still have explicit RBG values only for one of them):
Change the client's mind.
There is nothing that can fix the fact that red text on a blue background is an extremely poor choice for legibility because the contrast is too low, and because specifically red and blue work poorly as contrasting colours.
This website webaim.org shows that the contrast between your two colours is a pitiful 1.52:1
Contrast is ...
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".
CMYK is an improvement over CMY which itself is improvement over RYB model, which has been used for centuries (if not millennia).
It's really hard to tell where one ends and the other begins, especially as some use words "red" and "blue" in more general sense. Eg. George Field's chart from 1841 lists "red, blue, yellow" but his red in our eyes looks closer ...
I made this little CSS3/AngularJS tool for a project to generate Material Colors palettes. You can enter your 500 hex color and use an external tool like ColorZilla to get the color values from there. Also the lighter ones are exactly the ones Google used, but the darker ones are off by a little.
It is hard to make exactly what everyone sees here, because everybody has their own display to see the image. On my monitor, if I squint, I could see a very thin black line between the left red rectangle and the green middle rectangle. And in contrast, between the right red and middle, I see a very thin white line. Basically, I understand the original poster ...
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 ...
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 Pixelate-...
First you'll want to desaturate the image (CMD+SHIFT+U), this removes any color and makes it easier to achieve pure white.
With your file open, choose Image->Adjustments->Levels. You'll get this:
Now bring the two outer triangles in like this (you'll need to play around with this until you get something you like):
You should end up with this!
Any single colour can be worked into a working colour setting, even for a website. So, yes, they are right in stating that using their blue is good for brand recognition.
A good idea might be to take the original #2DCCD3 and create less bright, saturated versions of it to use next to the base colour. You can create these shades using the HSB colour model. ...
There is no single definable point when the CMYK Process Colour printing was discovered. High fidelity process colour reproduction printing has been a gradual series of technical refinements.
The persons responsible are, however, known.
Printed colour reproduction grew rapidly in popularity in the late nineteenth and early twentieth centuries to today, ...
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 ...
Edit: As of Inkscape 0.91, markers take the color of the object. Extensions and workarounds are no longer needed.
This is one of the most frequently asked questions about Inkscape, so I'll just quote from their site:
How do I change the color of markers (e.g. arrow ends)?
By default, markers are black. You can change their color to match the color of ...
Make certain you open any new document in CMYK color mode. Yes open in CMYK, don't switch to CMYK if you opened an RGB document by mistake. Many things in Illustrator are dependent upon the document color mode. The Swatches, symbols, graphic styles, brushes, are all built to match the Document Color Mode. Switching color modes mid-stream does ...
A logo should work as black and white because it might be used in non-conventional ways. In this case black and white denotes high contrast or 2 colors/textures. This means that the logo can be used in a setting where color is not available. Some examples of such things include:
Laser engraving and etching on glass
Image 1: Laser engraving on glass
I came up with a nice method for cleaning up pictures like this, and it works even when the background or lighting is uneven (that is, far worse cases than the example in this question) and it retains the colour.
My instructions are based on the Gimp, but it would be very similar in other programs like Photoshop.
EDIT: Gimp has a filter called "Difference ...
A Pantone is a Pantone when it's a "spot" color.
Make sure your Pantone swatches have the color type "spot color". Even if you color swatch says Pantone XYZ, it doesn't make it a Pantone; if it's not a spot color, it will be considered as a process color (CMYK).
Conversion during export
If you are 100% certain that your swatches are "spot" then ...
Ensure that your shape layer is selected in the layers panel
Choose the Direct Selection tool from the tool bar () or press A
Now you'll be able to access all of the properties for your shape in the command bar at the top of the screen—including the shape's fill color.
This is most likely a color profile issue.
First off, he should be working RGB and not CYMK or another color space. This is easy enough to check, simply go to Image > Mode and ensure it's set to RGB. My guess is it probably is.
The second issue is a color profile. This may be set to something else. It should be using sRGB IEC61966-2.1, which is considered ...
You have "Only Web Colors" selected. Turn that off as its essentially irrelevant on modern computers. It's trying to figure out how to best represent 50% K in a vastly reduced RGB palette known as Web Safe Colors.
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.
Take a look at this answer. How to make a given color a bit darker or lighter?
Where you simply take the separated values of each RGB component and divide the values.
But we have one problem, there is not just one way to make a color transition.
The first aproach will give you the shortest route (1) but probably that route is not what you need.
This is ...
I've been wondering that myself.
First, "500" doesn't seem to indicate how many colors there are, but the weird numbering system they use. 500 is the base, 400 is lighter than the base, 600 is darker. That's pretty similar to how font-weights are numbered (info) so maybe that has something to do with it.
I've found that some of the numbers less than 500 ...
There are a lot out there, but here are some of my favorite generators. Most listed allow you to enter in your own color like you specified.
ColorFavs - Palette from image as well as gallery of palettes & colors from other's images
Pictaculous - Palette from image (opposite is image from color)
ColorKitty - Palette from image
Cohesive Colors - New ...
The combination of "bright", "easily distinguishable" and "20 and more" is tricky. Reminds me of "Our work is fast, cheap and high-quality. Pick any two." I think you could drop "bright" out of the mix and just say "contrasted". That makes the brief simpler to achieve, and I think will get you where you want to be.
I don't know of such a set off-hand, but ...
Talk to the production house and ask them what rich black they prefer. There is no single rich black every print provider uses. Each print provider has their own formula for a rich black. And, in many cases, the print provider may want simply 100% K and they will adjust the black to match their own environment. Therefore, the best option is to ask the print ...
Use Live Color (Recolor Artwork) if you have Illustrator CS4 or newer.
Select all the objects, then choose Edit > Edit Color > Recolor Artwork.
With the Assign Tab highlighted, select 1 under the color menu at the top center of the window.
Double-click the little color box on the right and set a new color.