![]() ![]() Although we have a broad spectrum of colors, nearly all of those colors are exceedingly dark. for starters, take a look at that palette. So why does our algorithm still fall short when trying to match the digital image to those paints? But there's also reds, and oranges, and yellows, and greens, and blues, and purples, and browns. There's black and white (and numerous shades of grey). If you look carefully at that selection, you'll see that we have all of the "normal" colors one would expect to find in a palette of paints. The reason is that: Paints, especially "professional grade" paints for artists, are fairly dark in nature.įor example: Even though I have 200+ paints in my inventory, here is the color key for all of those paints (you can view this in full resolution here: ): There's a reason why it's inherently difficult to perform color matching when your source image contains a subject like a human face - but your reference palette consists of "stock" paints. Given that I started with an original palette of 200+ paints, why is it that the transformed image has many colors that still don't seem to properly "map" to the source image? As previously mentioned, there's a lot of red/pink in her face where maybe it shouldn't be. But if you step back and blur your eyes a bit, the coloring on her face doesn't look entirely unnatural.īut I'm not entirely satisfied with this image. And overall, you could argue that the image is a bit "noisy". Granted, there are a lot of pinks/reds on her face - a fact that seems a bit odd, considering that she's a woman of color. ![]() And the colors on the transformed image are. We don't have any annoying color bands (because we've employed dithering). Finally, I showed how to use dithering to ensure that those "closest" matches were not all bunched together in specific bands of colors.įor reference, this was the original image that we'd pixelated, using a basic RGB algorithm: I then showed how to find the closest match between a given color and a reference palette of colors. In the previous articles, I showed how to pixelate an image so we're not dealing with millions of colors. Although this can be useful in theory (e.g., to determine what two paints will look like if we mix them together in the real world), this also has practical applications for the live app that I've built at. We can take two colors and "mix" them together to see what the resulting paint will look like. There's no word on whether this will make it into Photoshop CC or its new cloud photo editor, but Adobe will present a paper on it for Siggraph 2017, so we may hear more then.In the last article, I illustrated how we can mix paints virtually. ![]() However, Adobe Research's concept is perhaps the most like a physical color palette. Knowing that, an artist could get those blobs ready ahead of time and focus on a specific palette.Īdobe isn't the first to dream of a better color picker - Corel's Paint Shop Pro includes an advanced color mixer, for instance. That can affect your choice of colors: "The fruit could be saturated with dramatic violet shadows and stark highlights, or more realistic, with brown shadows and subtle hues of pink," the paper notes. For instance, attacking a subject like a bowl of fruit, you may have a style, like dramatic or realistic, in mind. Unlike on a real artists easel, however, "Playful Palette can be rearranged at any time because color mixing is non-destructive," says Adobe.Īs such, the system lets artists hone in more easily on color choices. Then, colors can be picked from the resulting blobs, just as artists would do with a physical paint palette. "While simple, this representation allows an artist to easily construct and edit complex color gamuts," Adobe's team says in the video below. The blobs can then be mixed by dragging them together, and also edited, moved, resized or deleted. To use it, you start with a standard color picker and create blobs of different colors, based on complementary, shades, analogous or other color theory (using Adobe's Kuler color picker, for instance). It lets you create "blobs" of paint you can blend for gradients and gamuts, while allowing non-destructive edits, infinite history and other digital benefits. Adobe Research has come up with a solution called the "Playful Palette" that gives artists the best of both worlds. That's a far cry from Photoshop-type color pickers, which let you grab specific colors but not combine them. Artists work with real paint by mixing groups of colors on a palette, making for natural blending and color combinations. ![]()
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