Photoshop’s LAB mode is based upon the CIELAB color model developed in 1976 by the French International Commission on Illumination. While there is a learning curve to understanding this color mode, it would prove to answer all my requirements for the digital color system I was seeking. Unsatisfied with all the other color modes available in Photoshop, I finally focused my attention on the most mysterious one: LAB. While I found the HSB color mode to be an improvement over either the CMYK or RGB modes for defining colors, I still longed for Munsell’s Chroma and Value over this mode’s Saturation and Brightness. Saturation spans the horizontal axis and Brightness spans the vertical axis. The 150° Hue angle is shown filling the “picked color” chart. A decidedly unsaturated dark color can have a high Saturation value, and a mid-gray value color can have a high Brightness value (see the upper and lower right corners of the “picked color” chart in Figure 1).įigure 1: Example of the HSB color mode in the Adobe Color Picker. The experience started off great.īut it was in this color mode’s Saturation and Brightness components that I became frustrated. I knew how one color related to another by how far apart their Hue angles were. Like the Munsell color system, I could choose a Hue angle for colors. I eventually migrated towards the HSB color mode. I could look at a Pantone process color guide, find the swatch matching closest to Yellow Ochre, for example, and then assign either the CMYK or RGB values in the Adobe Color Picker (similar to the process I’ve done many times before for graphic design projects).īut I often found the process of painting with these Pantone chosen colors frustrating because: A) I rarely found swatches that were a clear match to my artist pigments B) judging the resulting mixed colors and how they might print was often tedious and, ultimately, C) it was mostly guess work defining the characteristics of colors and how they relate to one another with this method. LAB (Lightness axis, a* color axis, and b* color axis)īecause of my familiarity with the CMYK and RGB color modes, I initially gravitated toward exploring them for defining colors in digital painting.Then there are the two that you are probably less familiar with: RGB (red, green, and blue) which are specific light wavelengths used for displaying millions of colors on digital screens.CMYK (cyan, magenta, yellow, and black) which are the inks used for reproducing a large range of colors in print.The two that you are probably already familiar with are: Inherently, Photoshop has four color models to pick from for specifying colors. The journey to create a digital color wheel begins with four color modes Note: The Munsell color system defines colors by three distinct characteristics: Hue, Value, and Chroma. In short, I wanted something like the Munsell color system for Photoshop. Easy to determine whether colors are achievable for reproduction in print (a.k.a., “within gamut”), or unattainably outside gamut - and hence should be banned from my digital palette. Easy to define the location of colors and visualize how they relate to one another in the digital universe and.
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