When you take a breath, you fill your lungs with oxygen. The length that you can hold your breath is how long you can go off the oxygen in your lungs. It will be slowly turned to CO2 by your cellular metabolism processes. Normally, you clean out the waste by breathing out and get new oxygen to use by breathing in.

During that entire time, your heart is still pumping blood around and the oxygen is still being used. Your brain uses a massive amount of oxygen. When you choke someone out, you're stopping the oxygen in their blood from getting to the brain.

Pantone has been around since the 50’s. It was invented by a printer and is a set of reproducible ink combinations. We would spec Pantone as accents in a two- or three-color job. Usually 2-color. It was much more budget friendly than constantly spec’ing 4-c (CMYK) and paying for separations. It went on from there.

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Because being choked is not just about restricting airflow, it is about restricting bloodflow.

Choking someone blocks the arteries that feed blood to their brain, and this is the mechanism that causes them to pass out.

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> How does a graphic designer work with colors in Photoshop, knowing that many colors can't be accurately represented in RGB on their computer monitor?

First off, Photoshop itself has some tools. You can configure your color spaces while working. Photoshop will then highlight unprintable colors when they're out of gamut. It can also highlight colors that will exist in print but can't be displayed on your monitor.

Other than that, print shops use boxes and books full of printed color reference cards.

If you aren't color matching a reference system like Pantone but are instead trying to see exactly how the final print will look, shops will print out a bunch of their own reference cards and chips on the papers, cardstock, vinyl, polyester, or whatever it is they'll be printing on.

And it isn't enough to just have one and keep it forever. Papers fade and discolor, inks fade and discolor, so the colors can drift away in unacceptable ways after two or three years. Bigger print studios will budget a few thousand dollars each year to continuously update their reference colors.

Every blend ends up being slightly different. Printing a specific CYMK on one brand of cardstock will have different appearance than that same CYMK on a different brand of cardstock. Printing on glossy paper will look different from matte paper. Printing on paper versus printing on vinyl will look different. Each one will be similar, and some will be nearly identical, but visually each will still be different.

That's part of the appeal of Pantone, the print shop is supposed to account for it and fine tune for whatever inks, dyes, and media they're using so it produces a match. If someone is expecting P15-5519, but it happens that the specific paper happens to make the print a slightly greener turquoise, the shop is supposed to adjust the color mix so it matches the reference color instead of matching a specific CYMK blend. If this combination happens to need a little more black or a little less yellow, they'll adjust the CYMK to whatever it needs to be in order to visually produce the Pantone color P15-5519.

Getting the colors to match exactly is one of the reasons for proofs before a big print run, you want to verify with the customer that they're satisfied before running the full batch. It isn't just for issues like spelling and placement (although those are part of it), it's also to ensure the color is precisely what they expect on the various media used.

Funner fact: NTSC is 59.94 fields / 29.97 frames per second, not 24.

It sounds like you are asking, what is pushing time forward? That's what time is doing, it's moving forward and we go with it. It can be slowed down or sped up and we would still be moving with it but in a different frame of time. So far we know that mass and velocity can manipulate the passage of time, so it wouldn't be a leap to say that mass and velocity could be the driving forces of time.

The point of Pantone is to tag a color and say "This is Pantone Baby's Butt Pink" and when that image gets printed, the printer knows that it's supposed to be Pantone Baby's Butt Pink and they also have a real life physical reference to that exact color and can tell if the printer printed it correctly or not. Also when you decided on that color, you also had that physical reference in your hand and decided that you liked it, and you can expect it to be exactly that once printed.

If you just choose a color that looks good on your monitor, you'll get RGB values but you have no idea if it only looks good to you because your monitor is badly calibrated, and you don't know if it will look good when printed. Actually no matter how good your monitor is, colors will look different on a monitor than on paper. So by using an RGB color you're already starting off with an error.

Sure, a Pantone color can be approximated via RGB but no one really cares about its RGB values, because there's a much more accurate way to refer to that color: the physical swatch that you bought (at a very high price). Now all you have to do is make sure that everyone knows that you're using that exact color by name, rather than by RGB values.

Maybe "Baby's Butt Pink" is a totally different color value on one printer than it is on another. All that matters is that they know what that specific color is supposed to look like, and can calibrate their printer until they get it right. If it was just a random RGB value, no one would know what it should look like, because there is no universal agreement on what RGB(253, 229, 250) should look like in real life. One printer might print it a bit pinker than the other, which one is better?

Once you convert Pantone to RGB, your image may look exactly the same on the monitor, but you've now lost continuity with that physical swatch, and the printer won't know how it's supposed to look, and no one will know what that RGB value is supposed to look like in the end once it gets printed.

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I can’t speak for others, but I’ve found color calibrating my monitors to be a chore and not entirely accurate. So I just work in a CMYK color space in photoshop, Illustrator, and/or InDesign, get things roughly how I want, print a sample, adjust, print, etc, until the color is to my liking.

Different printers will also represent colors differently, so I either need to print on the same type I’ll eventually have the job printed off of, or understand how they treat the colors differently so I know roughly how it will change. That’s also a reason I keep multiple printers around.

Lastly, if I’m designing for screen only, I’ll just use an RGB color space and check it on multiple devices/monitors to ensure it looks good everywhere. That often means compromising on the exact color, but the goal is to make something pleasing for as many use cases as possible.

No benefit except you don't have to pay for pantone...?

Linus Tech Tips YouTube channel has a couple of great videos on the topic of Pantone colour chips and their digital equivalents (including the latest controversy with Abobe suite)

ELI5 pls

I don't have an answer, but isn't gravity often thought of as a force that spans the time dimension in some way (https://en.wikipedia.org/wiki/Gravitational_time_dilation)

Things experiencing higher levels of gravity will move through time faster than when in lower gravity.

It’s why they’re so damn expensive too

Yep. Compromise is the only option sometimes.

I was using the Color Bridge book. But I had to give the PMS solid for Pantone CMYK. But said PMS spot color had no equal in CMYK and I had to embrace to suck of cherry red to make the deliverable.

Edit: grammar

Also keep in mind that there are fluorescent and metallic inks that can’t be represented by either RGB or CMYK. You kinda just have to imagine and hope for the best with some spot colors.

You know of Red, Green, Blue.
But really there is also Hue, Saturation, Chroma.
That makes a crazy huge number of more colours from what is seemingly an infinite rainbow.

This is when a color bridge book from Pantone would have done you a lot of good. You can compare what will end up in CMYK to what you want, and adjust accordingly.

Quick thought experiment.

If the all the rulers in the world were gone, how would we know how long 1cm is?

Now honestly in our day to day lives, we could probably estimate it and each person might have a slightly different measurement off by a mm or two, but not a big deal.

But if you need to be really exact, like for engineering, you all need to agree on what exactly is that length down to the nano-meter or whatever.

Same with color. RGB is like everyone estimating colors and it may be a little (or a lot) off from one monitor to the next. But Pantone makes and licences out THE rulers for color, makes sure they all match, etc.

Sure, someone else could make their own "rulers for color" standard (with blackjack and hookers), but then you need a huge mass of people to all agree to change over to the new standard for it to be useful.

For most people in their day to day, hex codes and rgb (or equivalent cmyks) are just fine. But pantone is extra granular to make sure you are all using the SAME reference.

Edit: Also, I find this really interesting. There's an object that was for a long time used as THE ideal 1kg. [The International Prototype of the Kilogram] (https://en.m.wikipedia.org/wiki/International_Prototype_of_the_Kilogram).

Try EILI5.

“Pantone is a company that tries to make sure that purple markers are the same color as purple crayons. They do other stuff too like t shirts, dresses, or even toys. That way everything matches and looks pretty”. There you go.

Yes because St Nicholas and St Basil we’re both archbishops. And hence wore red. Just like catholic cardinals do. In orthodox religions red symbolises man and his mortality and blue is the spiritual side of man/god.

But the holly and it’s berries are the reason for red and green.