Illustrator CS3 One-on-One: The Essentials
Illustration by John Hersey

Accessing color libraries and sliders


Illustrator CS3 One-on-One: The Essentials

with Deke McClelland

Video: Accessing color libraries and sliders

In this exercise I'm going to show you how to access other colors inside of Illustrator. What do I mean by other colors? I mean anything beyond the default swatches, the swatches that are saved as part of the illustration. So here I am inside the Ton-po document that's available to you inside the 05_Fill_strokes folder and you know now, how you can go ahead and the sign a fill for example, by clicking on this first icon here inside the Control palette and then selecting from one of these colors in what is essentially the Swatches palette. And these color swatches are actually saved as part of the illustration.
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  1. 59m 51s
    1. Welcome to Illustrator CS3 One-on-One: The Essentials
      2m 0s
    2. The unwelcome Welcome screen
      6m 34s
    3. Browsing Illustrator artwork
      4m 53s
    4. Bridge workspaces and favorites
      6m 8s
    5. The anatomy of an illustration
      7m 2s
    6. Examining a layered illustration
      5m 38s
    7. Customizing an illustration
      5m 21s
    8. Creating a new document
      6m 12s
    9. Changing the document setup
      6m 50s
    10. Saving a document
      6m 14s
    11. Closing multiple files
      2m 59s
  2. 1h 3m
    1. Preferences, color settings, and workspaces
    2. Keyboard Increment and Object Selection
      5m 52s
    3. Scratch Disks and Appearance of Black
      6m 43s
    4. Establishing the best color settings
      5m 35s
    5. Synchronizing color settings in Bridge
      4m 3s
    6. The new CS3 interface
      3m 55s
    7. Organizing the palettes
      9m 4s
    8. Saving your workspace
      2m 33s
    9. Zooming and scrolling
      3m 39s
    10. Using the Zoom tool
      5m 27s
    11. The Navigator palette
      3m 37s
    12. Nudging the screen image
      2m 50s
    13. Scroll wheel tricks
      3m 11s
    14. Cycling between screen modes
      5m 55s
  3. 1h 4m
    1. Why learn Illustrator from a Photoshop guy?
      1m 32s
    2. Introducing layers
      4m 37s
    3. Creating ruler guides
      6m 34s
    4. Creating a custom guide
      3m 28s
    5. Organizing your guides
      5m 50s
    6. Making a tracing template
      3m 34s
    7. Drawing a line segment
      4m 9s
    8. Drawing a continuous arc
      4m 17s
    9. Drawing a looping spiral
      5m 16s
    10. Cutting lines with the Scissors tool
      6m 44s
    11. Aligning and joining points
      7m 57s
    12. Drawing concentric circles
      3m 45s
    13. Cleaning up overlapping segments
      6m 21s
  4. 1h 9m
    1. The anatomy of a shape
      1m 0s
    2. Meet the Tonalpohualli
      4m 8s
    3. Meet the geometric shape tools
      3m 47s
    4. Drawing circles
      6m 36s
    5. Snapping and aligning shapes
      6m 59s
    6. Polygons and stars
      7m 0s
    7. Rectangles and rounded rectangles
      6m 15s
    8. The amazing constraint axes
      6m 30s
    9. Grouping a flipping
      7m 37s
    10. Combining simple shapes into complex ones
      6m 35s
    11. Drawing with Scissors and Join
      6m 3s
    12. Cutting and connecting in Illustrator CS3
      3m 49s
    13. Tilde key goofiness
      2m 55s
  5. 1h 22m
    1. Three simple ingredients, one complex result
    2. Introducing Fill and Stroke
      3m 42s
    3. Accessing color libraries and sliders
      7m 8s
    4. Using the CMYK sliders for print output
      5m 5s
    5. Using the RGB sliders for screen output
      4m 38s
    6. Color palette tips and tricks
      4m 46s
    7. Creating and saving color swatches
      4m 13s
    8. Trapping gaps with rich blacks
      7m 57s
    9. Filling and stacking shapes
      5m 17s
    10. Dragging and dropping swatches
      6m 16s
    11. Paste in Back, Paste in Front
      5m 43s
    12. Filling shapes inside groups
      5m 15s
    13. Pasting between layers
      3m 34s
    14. Joins, caps, and dashes
      5m 50s
    15. Fixing strokes and isolating your edits
      7m 34s
    16. Creating a pattern fill
      4m 38s
  6. 1h 22m
    1. The power of transformations
      1m 25s
    2. From primitives to polished art
      4m 4s
    3. Clone and Duplicate
      6m 14s
    4. Moving by the numbers
      4m 15s
    5. Using the Reshape tool
      6m 29s
    6. Modifying, aligning, and uniting paths
      7m 0s
    7. Using the Offset Path command
      4m 24s
    8. Styling and eyedropping
      4m 11s
    9. The wonders of the translucent group
      5m 37s
    10. Making a black-and-white template
      3m 48s
    11. Scaling and cloning shapes
      4m 26s
    12. Enlarging and stacking shapes
      5m 6s
    13. Positioning the origin point
      6m 49s
    14. Using the Rotate and Reflect tools
      5m 16s
    15. Series rotation (aka power duplication)
      4m 3s
    16. Rotating by the numbers
      5m 15s
    17. Rotating repeating pattern fills
      4m 32s
  7. 1h 4m
    1. Points are boys, control handles are girls
      2m 16s
    2. Tracing a scanned image or photograph
      4m 34s
    3. Placing an image as a template
      5m 31s
    4. Drawing a straight-sided path
      5m 36s
    5. Moving, adding, and deleting points
      5m 51s
    6. Drawing spline curves with Round Corners
      7m 55s
    7. Smooth points and Bézier curves
      8m 12s
    8. Defining a cusp between two curves
      4m 37s
    9. Adjusting handles and converting points
      7m 3s
    10. Cutting, separating, and closing paths
      7m 30s
    11. Eyedropping template colors
      5m 11s
  8. 1h 28m
    1. Paths never rest
      1m 41s
    2. Meet Uzz, Cloying Corporate Mascot
      2m 22s
    3. Exploring the Appearance palette
      5m 37s
    4. Snip and Spin
      7m 27s
    5. Adding a center point
      3m 57s
    6. Keeping shape intersections
      3m 7s
    7. Lifting fills and selecting through shapes
      4m 14s
    8. Saving and recalling selections
      5m 18s
    9. Rotating is a circular operation
      7m 35s
    10. Lassoing and scaling points
      6m 7s
    11. Using the Transform Each command
      5m 9s
    12. Using the Magic Wand tool
      6m 46s
    13. Converting paths and text to rich black
      2m 27s
    14. The overwrought lace pattern
      3m 20s
    15. Eyedropping Live Effects
      5m 38s
    16. Merging strokes with a compound path
      6m 32s
    17. Selecting and scaling independent segments
      6m 30s
    18. Pucker & Bloat
      4m 49s
  9. 1m 59s
    1. See ya for now
      1m 59s

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Watch the Online Video Course Illustrator CS3 One-on-One: The Essentials
9h 36m Beginner May 18, 2007

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Adobe Illustrator has long been the most popular and viable vector-drawing program on the market but, for many, the learning curve is steep. In Illustrator CS3 One-on-One: The Essentials , author and leading industry expert Deke McClelland teaches the key features of Illustrator in a way that anyone can understand. He also goes beyond that, showing users how to get into the Illustrator "mindset" to make mastering Illustrator simple and easy. The training covers how to use the core drawing and shape tools, the transformation and reshaping features, text and gradients, and color management and printing features. Even if learning Illustrator has been a struggle in the past, this time it is going to make sense. Exercise files accompany the training.

Deke McClelland

Accessing color libraries and sliders

In this exercise I'm going to show you how to access other colors inside of Illustrator. What do I mean by other colors? I mean anything beyond the default swatches, the swatches that are saved as part of the illustration. So here I am inside the Ton-po document that's available to you inside the 05_Fill_strokes folder and you know now, how you can go ahead and the sign a fill for example, by clicking on this first icon here inside the Control palette and then selecting from one of these colors in what is essentially the Swatches palette. And these color swatches are actually saved as part of the illustration.

Now let's say I want to go ahead and fill this shape that's currently selected onscreen here, this circle, I want to fill it with a rich violet color. Well inside of this illustration these are the swatches that I have to choose from. I've got Plum, I've got Lavender and I've got Baby Pink. Ugh, so I guess my best option is Plum. But that's a little disappointing, because I'd like something richer than that. If nothing else I'd like a wider variety and after all, here we are inside of the digital world. There's tons and tons and tons of colors that are available to us and all I've got is these swatches right here. Now, these are the swatches that are saved as part of this illustration.

If you were to create a new illustration inside Illustrator CS3 you would see different swatches, but still they're a very limited range of swatches. How do you get to other colors? Well, one way is to click this icon down here at the bottom of the Swatches palette and then choose from one of these other swatch libraries that are made available to you with the program. For example I can choose Foods and then choose, I'd sure love to choose Ice Cream of course, but those are bunch of light pastels. I'll go ahead and choose Fruit which are some richer colors here.

And you can see that I've got purples available to me. Well first of all, I've got a bunch of hand-picked colors that are organized into various groups, including apple and banana and blueberry and so on. I've got these colors right here that are organized into a group called Mangosteen, the fruit that was supposedly highly coveted by Queen Victoria, as it turns out, for whatever reasons, don't know exactly what. I think just because it was such a rare fruit, and she had heard about it in the industry trade mags, but anyway. I could just go ahead and click on one of these colors in order to assign it to the active shape here, and if the first click doesn't assign the color then give it another click. You'll see that color assigned to whatever shape you have selected. So there's a few purples. I also have these guys down here the Plum shades and I could assign one of them as well, and actually I like this first plum shade, the one that's called C=50, M=100, and so on, and so on. I like that one and it's even so good, I think so highly of it, that I would like to add that color to my Swatches library, to the swatches that are saved along with this illustration. And I would do that by going to this little palette menu, clicking on it and choosing Add to Swatches. And now notice if I go over here to my Swatches palette, that I've got a new swatch at the end of the palette that's called C=50, M= 100 and so on, and so on, and that is the color that was lifted from this fruit palette. All right, now let's say I'm done with the fruit palette, I want to go ahead and close it. I could click the close box of course, but that means the next time I open a different color library, fruit will come up as one of the tabs inside of that library. To close fruit for good, meaning that I'd have to actually choose that fruit command to bring it back up on screen, you click on this close box, and that's what I'm going to do.

Now let's say that instead of choosing from one of Adobe's color libraries, which are all very well and good and actually pretty interesting at times, let's say we want to choose one of the industry standard libraries, one of the spot color libraries, for example. Such as Pantone, or your Toyos, or your Focoltones, or one of them, even a Trumatch. Why then we go up here to the Swatches palette once again, go ahead and drop it down. Click on this icon and choose Color Books, and then choose the color library, the industry standard library that you want to work with. In my case I'm going to use Pantone solid coated. Pantone is a very popular color standard here in the states.

You can request Pantone spot colors from any commercial printer. So I'm going to go ahead and bring up the solid coated Library and here it is. And this is a big library. It has tons and tons of colors, going on hundreds of color swatches inside of this palette here. Now, let's say this is the kind of library that I think I'm going to be using on a regular basis as I personally do. I'm so fond of this library, or at least I rely on it so heavily that I want it to be part of my palette structure here, part of my docked palettes. Why then I would need to do a couple of things. The first thing I would do is go to the Palette menu right here and I would choose Persistent. That's very important so that it is persistently available, so it comes up every time you launch Illustrator; you don't have to ask it to come up every single time.

So just Persistent is what you want there. Then drag above the tab. Go ahead and drag from this point here and drop it someplace inside one of your docks. I'm going to drop it at the bottom of this first column, this icon column right there, and you can see that it becomes one of my icons. All I have to do is click on it to bring up that palette now, and I can even make the palette taller by dragging from the top of the palette so that I can see more of these hundreds of swatches at a time. Now I'll put it away. Another good habit to get into is to go ahead and save this palette as part of your workspace, So that you can choose a different workspace to get rid of it and then choose this workspace again to bring it back up on screen, and you do that by of course, going back to the Window menu, choosing Workspace. We saw this in an earlier chapter, and then choosing Save Workspace. I'm going to go ahead and save this variation as dekeSpace v2 and then I'll click OK and so dekeSpace v2 includes the Pantone swatches palette. Awesome. That is another way. What however, if you just want to be able the dial in your own colors? You don't want to have to select from anybody's predefined color swatches. Then you want to go to the Color palette over here, which is available by default in the upper right region of your screen or you can go to the Window menu and choose the Color command, or press the F6 key, or here's something else you can do. This is new to Illustrator CS3.

Notice if I hover over one of these icons here inside of the Control palette that it tells me Hold Shift key to bring up alternate color UI. It's like what does that mean? Well that's Illustrator's overly hoity-toity way of telling you that if you Shift-click here, you're going to bring up the Color palette, including the color sliders, including all these sliders, and then you can dial in your own custom color. How you do such a thing? Well I'm going to tell you how the use those CMYK sliders in the very next exercise.

Find answers to the most frequently asked questions about Illustrator CS3 One-on-One: The Essentials .

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Q: When trying to synchronize color settings between all Creative Suite programs in Bridge, the Creative Suite Color Settings command either does not appear in the Edit menu or does not work. What is causing this?
A: If the Color Setting command is not available or does not function, it's because Bridge thinks that a single application (such as Photoshop or Illustrator), is installed and not one of the many versions of the Creative Suite.
If only Photoshop or Illustrator is installed, skip the exercise and move on.
If the entire Creative Suite is installed, then, unfortunately, there is no easy fix. Either contact Adobe or completely reinstall the Creative Suite.
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