![]() Instead, I’m looking at an RGB color space that has no visual relationship to what I need to see in order to fine tune the colors short of manually figuring it out and manually entering the CMYK percentages.įor example, in that instance where, based on how the layout looks, the red is just a bit too dark next to the ochre and I need a tint of that same color, I need to guess at dialing it back to a tint that’s, say, an 80% tint. ![]() I can’t do anything of these things visually in InDesign’s color picker because it doesn’t show things like shades, tints or values of colors. Or let’s say, I’ve set black type over a blue background, the visual balance of contrasts between the black and the blue isn’t right, so I need to shift that blue just a little to the left, while mixing in a bit of this and that, and reducing the saturation until it, again, feels just right. It’s too dark but the hue is perfect, so I want it a little lighter without changing the hue. The first red I pick doesn’t look quite right. This is impossible using InDesign’s color picker since there’s there’s not a good way to see the color choices and all the tints, shades and values associated with that color.įor example, let’s say I’ve decided on a certain red that I think will look good when paired with an ochre. Color choices, for me, are almost always based on feel and intuition, which involves visually shifting colors, tints, shades, saturation, etc., around until the composition of colors feels right to me. It’s a rare situation where I’m working with a predefined set of colors or trying to match colors. ![]() ![]() This is interesting and shows how differently people work. ![]()
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