To be honest, I’m not really sure why you would ever want the eyedropper to select only your secondary color, but I guess in some weird situation where you would need that, it’s probably nice to have the feature available to you. See the attached image to see which way you should have it set up. If this brings up a color window, it is probably already selected, and either your problem is gone or something else is causing it. All you need to do is click the box and it will switch. For your eyedropper to choose the color for the PRIMARY color, the top-left box must have the black square around it. Their will be a faint black box around the one that is selected. One is the primary, and one is the secondary. In the color palette which we just enabled, you will see your two active color swatches. And to adjust saturation, you would have to adjust the pointer at a tilted angle, with the angle not being constant.įor the hue circle, one more advantage would be, it's more natural to use if the art piece uses a lot of purple shades, since there's no seam at the purple hue.Īnd yes, these are all just personal preferences, but still matters, as it does affect productivity a bit.The color palette in Photoshop CS5 showing the proper configuration for the eyedropper to pick the color of the primary swatch. The brightness below mid-point is from bottom to top, but then in order to achieve more brightness, you would have to move the pointer from right to left. CC: reason I stopped using HSB/HSV is that, it's actually weird to adjust saturation and luminance with it, when doing arts that are using additive blending (aka thinking how the scene would be illuminated rather than as if the scene is being painted on an actual piece of paper). (Otherwise the diamond shape picker in Autodesk Sketchbook would be even more suitable. So does adjusting the luminance when the saturation doesn't stay the same. The rotation of the triangle is certainly something hard to get used to, but the weird thing about triangle is, in order to desaturate the color for the same amount, you'll have to drag the pointer for different distance if the color doesn't stay the same luminance. (The one in CSP you showed is the HSV/HSB picker, which would only make sense if you only do subtractive blending and pretty much no additive blending). It comes down to personal preference at the end of the I would prefer the one I show, because it makes most sense to me. The square I think most people are familiar with though is not the one used in Boxes, but the one below from Clip Studio Paint and Photoshop, where the bottom left corner is black, top left corner is white and the top right corner is full saturation. As the OP has pointed out though, picking opposite hues is easier with a colour wheel. Up increases lightness, down reduces lightness, right increases saturation, left decreases saturation. Bottom left corner is black, top left corner is white. (The current triangle would need to be flipped for this, as black would currently be at the top in the below position).Īs it is I use Boxes in Affinity Photo rather than the colour wheel as it stays static and therefore it's easier for me to think about. Therefore the triangle would be OK if it had an option to remain static in one place so that the bottom left corner was always black, the top left corner was always white and the right corner was always full saturation. Having it constantly spin round offers me no benefits, it just annoys me. I would prefer the centre to remain in the same position regardless of hue so I know instantly what's what without thinking. I can't speak for the OP, but the main reason I'm not keen on the colour wheel is that the middle (triangle) spins around. Can you explain a bit about what it allows? I don't understand the benefit you see with a square picker vs a triangle.
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