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Constraining colors to a predefined library

From: Illustrator CS6 One-on-One: Advanced

Video: Constraining colors to a predefined library

All right, we're managing to get some pretty radical color schemes going here. Let's say you want to rein things in and you want to limit your choices to an existing color library. For example, I'll switch back over to the Swatches panel, and I'll click on the Library icon in the bottom left corner of that panel, choose Nature, and then choose Stone and Brick. And we'll see a collection of color groups, all of which provide us with more muted options. Now I could go ahead and select one of those color groups if I wanted to; but instead I am just going to close this free-floating panel and I'm going to switch back over to the Color Guide panel. And notice the word None right here, that indicates that we have no constraints whatsoever.

Constraining colors to a predefined library

All right, we're managing to get some pretty radical color schemes going here. Let's say you want to rein things in and you want to limit your choices to an existing color library. For example, I'll switch back over to the Swatches panel, and I'll click on the Library icon in the bottom left corner of that panel, choose Nature, and then choose Stone and Brick. And we'll see a collection of color groups, all of which provide us with more muted options. Now I could go ahead and select one of those color groups if I wanted to; but instead I am just going to close this free-floating panel and I'm going to switch back over to the Color Guide panel. And notice the word None right here, that indicates that we have no constraints whatsoever.

If you want to apply a constraint, then you click on this little Limit icon, and that will once again offer a list of the libraries that ship along with Illustrator; choose Nature and then choose that same option, Stone and Brick; and notice that we're limited to a much smaller range of colors. Now if you want to modify that range then you click on the Edit Colors button in order to bring up the Edit Colors dialog box; and notice that Stone and Brick is still active, and now you can drag your Colors around inside of the Lab wheel--albeit with these Constraints.

Now don't think just because you drag a color over a particular range of color here that that's the exact color you are going to get. Bear in mind that we're just seeing hue and saturation; we are not seeing brightness. If you want to modify the brightness you click in the brightness icon below the color wheel like so. And then you can adjust the brightness values size as you see me doing here. And you can select whatever colors you won't work with. And then if you want to once again modify saturation, you'd switch back to the saturation icon.

Now if ever you want to remove the limit, then all you need to do is click on this little icon below Stone and Brick, and choose None. And then you will no longer have any constraints. But I do want the constraints, so I'll switch back to Nature and then Stone and Brick once again. And I'll click the OK button. I want you to notice nothing is italicized here inside the Color Groups list. But if I click OK, Illustrator will still ask me, hey do you want to save your changes to the swatch group; either a new group called Color Group, or if you've been working along with me, it may ask you if you want to update 9-color pentagram.

What I recommend you do is click the Cancel button, because obviously you don't want to lose your work but you probably don't want to create a new color group called Color Group. And I'll just name this guy Stone & brick. And by the way were limited to all of the colors inside the various groups inside that Stone and Brick library. But I'll go ahead and name my new group Stone & brick like so, click on a little Group icon in order to make it, and then I'll click OK. Now there is a couple of different ways you can apply these colors. One is to return to the Swatches panel, scroll down the list or just give yourself more room by dragging the horizontal bar, and apply your colors directly from these swatches.

So I might click on this background rectangle over here in the left hand artboard, and I'll change it to the shade of reddish-brown let's say. And then I'll click on one of the yellowish shapes in order to select all of them and select this swatch right there. And then I'll click on this purplish leaf to select all the purple shapes, and I'll change them to this lower saturation brown in order to create this more muted background effect that isn't competing quite as much for my attention, so I still have a focus on the T-shirt design. The other way to work--I'll go ahead and switch over to the second artboard--is to return to the Color Guide panel. And that way you can take advantage of Shades and Tints and so forth.

I might switch back to Show Vivid/ Muted and see what I have available to me. And I'll select that background rectangle and I'll change it to this shade of brown right here so you can see already I'm getting very different results. I'll select this yellow shape, not seeing anything I want in this list so let's try out Warm/Cool and see if there's anything different there. Not really. Let's try out Tints/Shades then and go with this lightest shade of brown right there. And then I'll select this pink leaf in order to make it active and I'll change it to this sort of lightish reddish color in order to achieve this effect--although that's not giving me enough contrast, so I'll try this color right there.

And every time you do this by the way you are going to get different results, which is why I'm always sort of struggling to figure out exactly which colors I am going to apply. And you know I want these shapes right there to be a little darker, so I'll go with this color right there. That looks pretty good to me. But in any event, if I press Shift+Tab in order to hide those right side panels so that we can see both of the artboards at the same time, you can see that even though we're working inside of the confines of the exact same color library--Stone and Brick--we are achieving very different effects, depending on whether we apply the colors directly from the Swatches panel over here on the left, or from the Color Guide panel over here on the right.

That's how you constrain a harmony rule, as well as your ability to select and apply colors to an existing color library, here inside Illustrator.

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This video is part of

Image for Illustrator CS6 One-on-One: Advanced
Illustrator CS6 One-on-One: Advanced

118 video lessons · 14361 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 43m 9s
    1. Welcome to One-on-One
      2m 9s
    2. Introducing my custom keyboard shortcuts
      6m 52s
    3. Installing my dekeKeys shortcuts on Windows
      4m 46s
    4. Installing my dekeKeys shortcuts on the Mac
      4m 18s
    5. Remapping your Macintosh OS shortcuts
      3m 10s
    6. Adjusting a few key Preferences settings
      8m 13s
    7. Understanding the color-managed workflow
      6m 51s
    8. Establishing the optimal Color Settings
      6m 50s
  2. 1h 11m
    1. Illustrator's oldest dynamic functions
      1m 28s
    2. Creating a multicolor blend
      7m 12s
    3. Establishing a clipping mask
      5m 40s
    4. Reinstating the colors of a clipping path
      8m 1s
    5. Editing individual blended paths
      4m 44s
    6. Adjusting the number of steps in a blend
      7m 15s
    7. Fixing problems with the Blend tool
      4m 2s
    8. Blending different levels of opacity
      4m 45s
    9. Editing the spine of a blend
      5m 3s
    10. Adding a custom spine to any blend
      5m 5s
    11. Advanced blending and masking techniques
      6m 18s
    12. Blending between entire groups
      3m 2s
    13. Adjusting the speed of a blend
      3m 21s
    14. Rotating objects in 3D space
      5m 36s
  3. 1h 0m
    1. Illustrator's logo-making features
      1m 8s
    2. Customizing a single character of type
      5m 25s
    3. Combining a letterform with a path outline
      7m 48s
    4. Creating logo type along an open path
      5m 3s
    5. Creating logo type around a closed circle
      3m 57s
    6. Vertical alignment, orientation, and spacing
      4m 55s
    7. Warping logo type around a circle
      6m 56s
    8. Creating a classic neon type effect
      5m 39s
    9. Adding random neon brightness fluctuations
      5m 19s
    10. Creating neon "block outs" between letters
      7m 44s
    11. Adding neon blur and bokeh in Photoshop
      6m 16s
  4. 46m 19s
    1. Generating colors using harmony rules
      1m 31s
    2. Introducing the Color Guide panel
      5m 16s
    3. The 23 color harmony rules, diagrammed
      8m 16s
    4. Mixing and matching color harmonies
      5m 59s
    5. Color groups and custom harmony rules
      6m 18s
    6. Working in the Edit Colors dialog box
      7m 4s
    7. Expanding on an existing harmony rule
      6m 51s
    8. Constraining colors to a predefined library
      5m 4s
  5. 32m 44s
    1. Changing lots of colors all at once
      1m 2s
    2. Introducing the Recolor Artwork command
      4m 58s
    3. Recoloring with the help of swatch groups
      4m 35s
    4. Changing the color-assignment order
      6m 44s
    5. Reducing the number of colors in your art
      5m 7s
    6. Applying tints and shades of a single swatch
      5m 37s
    7. Recoloring artwork that contains gradients
      4m 41s
  6. 1h 15m
    1. Painting with path outlines
      1m 24s
    2. Introducing the Brushes panel
      4m 25s
    3. Applying and editing a calligraphic brush
      7m 34s
    4. Applying and scaling an art brush
      6m 12s
    5. Applying and editing a scatter brush
      5m 31s
    6. Formatting and scaling brushed text
      5m 45s
    7. Designing a custom art brush
      7m 35s
    8. Creating (or replacing) an art brush
      6m 42s
    9. Refining a brush to fit ends and corners
      4m 11s
    10. Expanding, filling, and stroking a brush
      7m 4s
    11. Type on a path vs. text as an art brush
      7m 3s
    12. Distorting text with the Width tool
      8m 49s
    13. Infusing your artwork with a tile pattern
      3m 13s
  7. 58m 24s
    1. The many forms of transparency
      1m 38s
    2. Creating translucency with the Opacity value
      4m 21s
    3. Darken, Multiply, and Color Burn
      6m 15s
    4. Lighten, Screen, and Color Dodge
      5m 8s
    5. Overlay, Soft Light, Hard Light, Difference, and Exclusion
      4m 59s
    6. Hue, Saturation, Color, and Luminosity
      5m 12s
    7. Combining the effects of multiple blend modes
      6m 42s
    8. Isolating blending and Knockout Group
      7m 37s
    9. Combining blend modes with dynamic effects
      7m 25s
    10. Exporting transparency from Illustrator
      9m 7s
  8. 1h 39m
    1. The Layers panel for dynamic attributes
      1m 4s
    2. Applying attributes in the Appearance panel
      6m 15s
    3. Creating depth using translucent strokes
      5m 37s
    4. Adding, layering, and offsetting strokes
      6m 12s
    5. Duplicating entire groups of attributes
      7m 55s
    6. Turning stacked strokes into editable paths
      5m 43s
    7. Simplifying a multi-stroke effect
      6m 31s
    8. Applying the Convert to Shape effect
      7m 47s
    9. Adding aligned patterns and shadows
      8m 16s
    10. Drawing with arrowheads and angled strokes
      8m 49s
    11. Employing overlapping gradient strokes
      8m 25s
    12. Drawing circular stroke elements
      10m 13s
    13. Outlining an entire multi-stroke effect
      8m 39s
    14. Creating seamless wood grain in Photoshop
      8m 11s
  9. 1h 12m
    1. The best features in Illustrator
      1m 38s
    2. Repeating a series of transformations
      6m 18s
    3. Adjusting and updating a dynamic effect
      6m 37s
    4. Applying a stroke to an entire layer
      6m 24s
    5. Improving the performance of drop shadows
      5m 40s
    6. Applying a single effect multiple times
      6m 10s
    7. Creating an intricate Spirograph pattern
      7m 10s
    8. Adding scalloped edges with Pucker & Bloat
      4m 40s
    9. Applying a dynamic Pathfinder to a layer
      3m 56s
    10. Creating beveled ornaments
      6m 50s
    11. Creating a sculptural type effect
      5m 59s
    12. Subtracting editable text from a path
      7m 6s
    13. Editing text inside a dynamic effect
      4m 25s
  10. 27m 40s
    1. Never remember anything again, ever
      1m 41s
    2. The pixel-based Effect Gallery
      3m 53s
    3. Copying effects from one layer to another
      4m 44s
    4. Introducing the Graphic Styles panel
      4m 11s
    5. Correcting previews in the Effect Gallery
      4m 36s
    6. Adjusting the resolution of your effects
      4m 0s
    7. Combining and saving graphic styles
      4m 35s
  11. 1h 13m
    1. Two powerful graphics programs combine forces
      1m 5s
    2. Creating a perfectly centered star shape
      6m 52s
    3. Precisely scaling concentric circles
      7m 47s
    4. Adding reflective highlights with the Flare tool
      6m 23s
    5. Two ways to rasterize vector art for Photoshop
      7m 37s
    6. Importing vector art as a Smart Object
      6m 47s
    7. Creating a lens flare effect in Photoshop
      7m 56s
    8. Photographic texture and brushed highlights
      6m 26s
    9. Modifying a vector Smart Object in Illustrator
      6m 33s
    10. Converting Illustrator paths to shape layers
      6m 27s
    11. Assign layer effects to native shape layers
      5m 55s
    12. Completing a work of photorealistic art
      3m 46s
  12. 1m 5s
    1. Until next time
      1m 5s

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