Please- eyedropper working for complete screen and any window/program is a must (former macromedia apps has this working). When I think what eats most of my time and clicks whens interacting with current color pickers in Photoshop, i’d suggest (first three are really serious):ġ. I really like such topics on this blog directly related to Photoshop features and future improvements – thanks for bringing such threads!Īs for color picker, I quite like current color panel, actually- it’s simple and does it’s job (making non modal main Photoshop color picker might be good for some uses, but please- don’t make it as replacement for current color panel). Or, how about scrapping it as a panel and merging its sliders with swatches? I often find myself selecting swatches, then playing with them in color picker–it would be really handy to have my sliders right there… That would be neat–it would visualize the whole mixing colors thing a lot better. What about something that lets us see a venn-diagram of the colors in our selected mode… Select a circle, drag an intensity slider, create a new color or colors in the middle. More powerful? Well, if y’all don’t go with integrating the color picker, I think the palette needs to be re-purposed. And make it only select shiny brass colors. What would make it cooler? Trip it out with steampunk accents. Double-clicking a swatch would bring it out of the sidebar, just like the other palettes. What would make it more useful? Well, for picking colors, there’s the aptly named the color picker, so the palette should either vanish into the abyss (since it picks color less effectively/flexibly than another tool) OR the color palette could actually become the color picker. I can count on one hand the number of times I’ve used the actual palette because, as you’ve intimated, it’s less than blissfully useful. It’s probably revealing that when I think “color palette,” or more generally “choose a color,” I think of the color picker. I needed a different solution.For a minute there, I was thinking “Color ramp? What’s he.Ooooh.” I had already flattened the image and wanted to avoid going back to the beginning and choosing new colors. Suddenly, the nice contrast toward the top of the pattern vanished–I had been using colors that CMYK could not reproduce. and changed the Destination Space to my Working CMYK profile, U.S. When I sent this file to the manufacturer, they requested that I convert it to CMYK. The checkerboard pattern is nice and bright. So, following my usual methods, this is a card image I created in RGB. It’s the same philosophy that calls for keeping the master copy at a high resolution–it’s always possible to downgrade in terms of image size and color, but it doesn’t work the other way around. Regardless of my final intention for an image, I almost always create my master copy in RGB. And that’s when you might need to help it along. Sometimes, this conversion reveals only minor visual differences–but other times, your image comes out looking totally wrong. These two methods of producing colors are wildly different, but image editing applications like Photoshop usually do a decent job of simulating limited CMYK color profiles on RGB screens. Mixing different colors of ink or paint is an example of subtractive color mixing–the more you add, the closer you get to black, or at least some kind of dark brown. Modern computer screens are able to produce a lot of vibrant colors this way– about 16 million of them.īut printing a card game onto paper requires ink, and many color printers use CMYK (cyan, magenta, yellow, and black) cartridges. Using light to produce color is an example of additive color mixing–the more colors you add, the closer you get to white. Computer monitors display color using tiny RGB (red, green, and blue) lights. A few quick notes, in case this is the first time you’ve heard any of these terms.
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