CHOOSE YOUR 3D SCENEKeep your lights. Change what they illuminate.
LIGHT / ADDING
AT THE PROBE
#ffffff
Red + Green + Blue
All three combined#ffffff
Drag a source handle to move it. Choose Color probe to sample any point. Keyboard: 1 / 2 / 3 selects a source; arrows move it; Shift makes larger steps.
Precise position
YOUR COLORS, IN CONTEXT
Every word is an invitation.
Good design lets everyone join in.
Preview uses only your selected text and background colors.
RELATIVE LUMINANCE CONTRAST
21.00:1
34.57
Large text: at least 18 pt regular or 14 pt bold. Results use the unrounded ratio.
LEFT SURROUND
RIGHT SURROUND
Different surroundings. Identical center colors.
Left #888888Right #888888Actual RGB difference: 0
01 / ORIGINAL
A small mission dashboard
02 / SIMULATED
The same information
Original
→
Simulated
Try switching off labels and shapes. Can color alone tell the whole story?
A model, not a vision test. These are approximate simulations: 100% severity models dichromacy and lower values model anomalous trichromacy. Individual perception varies; use them to spot possible problems, then test with people.
NOTICE WHAT CHANGED
TRY THIS
PREDICT BEFORE YOU TRY
Make a prediction, then test it in the lab.
FROM PIXELS TO PAINT
Color does more than decorate.
It helps us find things, understand information and build an atmosphere. The same color can tell a different story in a different setting.
AFTER THE RAINA new perspective.Same layout. A different palette.
First make it clear. Then give it character.
Direct attention: a bright accent can help someone find the next button, a character in a game, or the subject of a photograph.
Communicate: consistent colors help group information. Add words or symbols too, so color is never the only clue.
Shape a scene: film and photo editors first correct unwanted differences between images, then choose a creative look. Warmth, contrast and saturation work together; color meanings depend on context and culture.
Start with a neutral image and check exposure.
Adjust contrast and color gently.
Compare against the original. Watch for clipped detail.
Value means how light or dark a color looks. Try squinting at a painting: the large light and dark shapes help organize it.
The light has to come from somewhere.
Paint is seen by reflected light. Pigments absorb some wavelengths; the paint layer and surface scatter and reflect others. The lamp, paper, paint thickness and pigment all affect the result.
Mixing: two equal spoonfuls may not contribute equally. A strong pigment can dominate a mixture. Transparent glazes let the layers beneath influence the color; opaque paint covers more of them.
Painting vocabulary: a tint adds white, a shade adds black, and a tone adds gray. Artists also mix complementary colors to quiet a mixture. Real results depend on the pigments.
Make a small swatch with the actual paints.
Check light and dark values before adding detail.
Let the swatch dry; compare it under the intended light.
The picture here is a digital value exercise. Our CMY filters show a simplified subtraction idea; neither predicts an exact paint mixture or printed result.
RGB numbers describe sRGB display colors. Light sliders are linear-light percentages; 50% intensity is about 188 in an 8-bit sRGB channel, not 128. Filter mode uses ideal CMY absorption, not real paint or printing predictions. Contrast checks solid color pairs, not an entire design.
Color-vision simulation uses the Machado, Oliveira & Fernandes model in linear RGB. 100% severity models dichromacy; lower values model anomalous trichromacy, interpolating linearly between the published 10% steps. Values outside the display gamut are clipped and marked. Grayscale preserves relative luminance; it is not a simulation of every form of monochromatic vision.