Color Management: A Comprehensive Guide for Graphic by John Drew, Sarah Meyer

By John Drew, Sarah Meyer

New in Paperback!
Color Management exhibits the best way to enforce colour as a realistic type of challenge fixing. it's a consolidated source, arming designers with an figuring out of the way to speak with and deal with colour in all its facets and purposes; subtractive and additive; pigment, CMYK and RGB; 2-D and 3-D; nonetheless and movement. Sensitivity of pigments to mild and air and the steadiness of inks also are distinct, as is the human issue, via problems with colour legibility and the actual and mental results of colour. In its intensity and breadth, it's a exact physique of knowledge.

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By John Drew, Sarah Meyer

New in Paperback!
Color Management exhibits the best way to enforce colour as a realistic type of challenge fixing. it's a consolidated source, arming designers with an figuring out of the way to speak with and deal with colour in all its facets and purposes; subtractive and additive; pigment, CMYK and RGB; 2-D and 3-D; nonetheless and movement. Sensitivity of pigments to mild and air and the steadiness of inks also are distinct, as is the human issue, via problems with colour legibility and the actual and mental results of colour. In its intensity and breadth, it's a exact physique of knowledge.

Show description

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Additional info for Color Management: A Comprehensive Guide for Graphic Designers

Sample text

In fact, he can no t dec ide wh at to do until he has drawn it. N ine time s out of ten inde­ cisiveness is the result otiack of evidence. Fur ther m ore, a decision imp lies a choice ; recogn izing th at th ere is m or e than on e possi ble d esign so luti on , it ma kes no sense w hatsoever to try to de term ine if one iso la ted solution is good . In stead , t he ques tion s hou ld b e w heth er thi s is the best of the know n alternat ives. To answe r this question , we must a lso be ab le to see the oth er designs.

This proc ess of rep et ition and checking against t he subjec t develops ski ll. Drawings th at are so light they ca n be ign ored or erased den y the design er the feed­ back essen tia l to his im pro vem ent. 4. To gai n mor e co nt r ol ov er line m a king, try so me sim ple exercises sim ilar to our "id le m om ent " doodl es . Th e sp irals, like tho se above , are d rawn fr om the ou ts id e toward the cen te r, both clockw ise and co unte rclockw ise . Try to m ake them as fas t as p ossib le without let tin g the lines touc h each ot her ; tr y to get th e lines close to each othe r.

If th e textur e in d ication does not prov ide the level of darkness of th e subject , add the necessary addi­ tional hatching over th e entire surface. 3 . No w app ly m ore ha tch in g w here any s had ow s fall. To show gradat ions of sha dow, add a su cces­ sio n of hatches at different angl es. The refinement of ton es in a d raw ing is ach ieved by loo king carefully at th e su bjec t a nd by ge tt in g m or e control over t he consistency of the lines. Severa l alt ern ative techniqu es for ske tc hing in tones are illustr ated throughout th is bo ok .

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