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Creating a few color variations

From: Illustrator CS5 One-on-One: Advanced

Video: Creating a few color variations

I have saved my progress as Troglodyte pattern.ai. In this exercise, I'll show you how to create a couple of color variations on that tile. I am going to turn off the test shape layer, go back to humanoid here, and I am going to click on this little black wedge to select all the objects, and I'll press Ctrl+C, Cmd+C on a Mac in order to copy them. Then I am going to turn off humanoid. I am going to switch to the interior layer, turn it on here in the Layers panel, click on the flyout menu, and make sure Paste Remembers Layers is turned off. So if it has a check mark go ahead and choose the command to turn it off. And then press Ctrl+F or Cmd+F on a Mac in order paste those guys onto the interior layer.

Creating a few color variations

I have saved my progress as Troglodyte pattern.ai. In this exercise, I'll show you how to create a couple of color variations on that tile. I am going to turn off the test shape layer, go back to humanoid here, and I am going to click on this little black wedge to select all the objects, and I'll press Ctrl+C, Cmd+C on a Mac in order to copy them. Then I am going to turn off humanoid. I am going to switch to the interior layer, turn it on here in the Layers panel, click on the flyout menu, and make sure Paste Remembers Layers is turned off. So if it has a check mark go ahead and choose the command to turn it off. And then press Ctrl+F or Cmd+F on a Mac in order paste those guys onto the interior layer.

All right. Then I am going to click off of the shapes in order to deselect them, and I am going to change the name of this layer to variations like so and then I will click OK. Now to start change in the colors around. I am going to grab my White Arrow tool, because all these shapes are enclosed inside groups, and I Alt+click or Option+click on one of the purple path outlines for example. I'll go up to this Select Similar Objects icon, click on it in order to select all the purple shapes, and then I am going to switch these guys out for garish orange ,let's say, what the heck.

Then I am going to Alt+click or Option+ click on one of the muted red shapes, go up to this Select Similar Objects icon, click on it and switch these guys out for garish green, and then I'll go ahead and grab any one of the yellow shapes right there, Select Similar Objects once again, and then finally, I'll switch these guys out with garish purple and we get this effect here. And then all I do is I just go ahead and select all these objects again by clicking the black wedge in the upper- right corner of the layer, and then I go up to the Edit menu, choose Define Pattern, and I'll call these guys Clubsters which is my original name for them, because they are so hip with their vibrant colors, and I'll click OK and now we have a little Clubsters swatch.

Then finally, I want to switch these guys out for gradients. So I am going to press Ctrl+Shift+A, Cmd+Shift+A on a Mac to deselect all the shapes, and actually that's not quite what I want to do. I want to select them all. I am going to press Ctrl+A, Cmd+A on the Mac, the only shape I don't want to select is the rectangle. So I'll Shift+Alt+click on it, Shift+ Option+click on the Mac, if you can find that rectangle, that's what you wanted to do, to deselect it independently of the other shapes. I've emphasized this many times before but if you're going to take advantage of that technique, you have to make sure that you're selecting objects by their path outline.

So if that didn't work for you, you press Ctrl+K, Cmd+K on the Mac to bring up the Preferences dialog box. You switch to Selection and Anchor Display and you turn on Object Selection by Path Only so you can select through filled objects inside of your document. Anyway, I will click Cancel because it was already selected. I have got all these guys active now. So I can see what I am doing. I am going to press Ctrl+H, Cmd+ H on the Mac to hide those selection edges, and I am going ahead and fill these shapes with the radial gradient that I have creates in advance. It's here in the Swatches panel and it's called Copper Radial.

Go ahead and click on that and you will get this wacky effect here. That's not what I meant to do at all. Gosh I think that just looks wild. Well you could work with that if you want to. What I've done, the problem is that I'm filling every single path outline and many of these paths were not meant to be filled on a first place. So I am going to press Ctrl+Z, Cmd+ Z on the Mac to undo that modification and you know what I am going to have do here is I am going to have to click off the shapes in order to deselect them. Then I'll press Ctrl+H or Cmd+H to see the selection edges.

Go ahead and Alt+click or Option+click on any of the filled objects. It's important you get a filled object, and then go ahead and click on Select Similar objects in order to select all those filled objects and they should just be, by the way, you want just Fill Color. So that's what should be selected. Then we will fill those guys with Copper Radial. Then we need to get the green guys and the orange guys independently. So I will Alt+click on one of the green guys there, one of the green fill guys, click on Select Similar objects, then click on Copper Radial, and then finally Alt+click or Option+click on one of the orange shapes, go up to Select Similar Objects, and then finally, click Copper Radial in order to apply that.

Now the big problem at this point is I want each one of these groups of objects, in order to be filled with a single continuous gradient, and I am going to do that, by the way, in a fairly labor- intensive way because there is kind of no other way to work here. I have got to get rid of all of these dudes here except for one, because otherwise I am going to have to operate on every single one of these guys independently. So I am going to select the entire contents of this layer by clicking in the black wedge in the upper-right corner of the layer there in the Layers panel, and then I'm going to Shift+click with the Black Arrow tool, Shift+click on the outline of one of the guys in order to deselect him, and then Shift+click on him again, that's not what I meant to do, Shift+ click on him to turn him off.

Let me see if I can zoom in a little better here, and then Shift+click on the outline of the rectangle, because I want to keep the rectangle. And then everybody else has to go away. It's heartbreaking but, it's the way it is. Now with this guy, the only Troglodyte left standing, I'm going to Alt+click or Option+click on the big path outline with the White Arrow tool and then I'll go up to this icon, and Select the Similar Objects; that way I am just selecting the filled objects and nothing more. We don't want the purely stroked objects. I'm going to press the G key to get to my Gradient tool and I think I'm going to be in for a surprise. Yeah.

There's a ton of these gradient annotators going on this time around. Anyway, I am just going to drag from a neutral location like so out to the parameter and that way we're filling the guy with a single continuous gradient so that we have smooth color transitions going on inside of this object, phew! All right. Now I'm going to switch back to my White Arrow tool and then I am going to click off the shapes to deselect them, Alt+ click or Option+click on the main path right there and I'm going to change its stroke to 2 points thick like so in order to give him a thicker stroke, just around the big border. All right.

Now let's go ahead and see if we can replicate them. I'll press Ctrl+Y or Cmd+Y on the Mac so that we can see him and the rectangle and I probably want to be zoomed in. Now this is nerve-racking because we have got to make sure we align him properly once again. I'll click on the entire path with the Black Arrow tool this time in order to select the entire group. I'll press the R key to get my Rotate tool. I going to zoom back in, actually. Alt+click or Option+click on the bridge of the nose. A 120, click Copy, looks like I got him, press Ctrl+D, Cmd+D on the Mac in order to duplicate him, and now let's go ahead and take this group of objects here, and just go through the mind numbing process of replicating them once again.

So when you decide you want to make changes to the colors, sometimes it can be a little more painful then you might have been prepared for it. All right. I'll press Ctrl+D. I should be able to press Ctrl+D now in order to duplicate these guys all the way over here; that's a Cmd+D on the Mac obviously. Then I am going to take this guy by the tail, and I am going to drag him into alignment with this location right there, and I'll press the Alt key or the Option key on the Mac in order to duplicate him, and then I'll grab that tail point again and I'll duplicate these guys to this location, and I am pressing the Alt key or the Option key as I release.

Then finally, I'll grab this guy by the foot, and that isn't finally. I still need one more, but anyway, go ahead and drag him down to this location, it snaps into alignment, press the Alt key, the Option key on the Mac in order to duplicate and then grab this guy by the tail, press the Alt or the Option key, release in order to duplicate. Now I have too many objects once again. I've got this guy that I don't need. I've got this guy that I don't need. This guy I do need. This guy I do need. This guy I do not need. These guys I do need. Him I do not need.

The rest of them are partially inside. Oops! You're not, go away. All right. Everybody else inside. Grab them, press Ctrl+Y or Cmd+Y on the Mac so I can see all these guys. So I will press Ctrl+H, actually, or Cmd+H. They look good. All right. Then I'll go up to the Edit menu, choose Define Pattern, and I am going to call these guys Bronze men and click OK, and we have yet another tile pattern. Let's check it out. I am going to turn on test shape. I am going to turn off variations. I am going on click on this central rectangle, like so.

I can't see its selection edges because they're turned off right now I presume it's selected. And then I'll go ahead and click on Clubsters. Perfect! I knew that one was going to work though because we didn't have to make any major modifications. Let's try out Bronze men this time, and everything works out hunky-dory. And that's how you go about creating color variations on your tile patterns here inside Illustrator.

Show transcript

This video is part of

Image for Illustrator CS5 One-on-One: Advanced
Illustrator CS5 One-on-One: Advanced

153 video lessons · 28099 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 38m 35s
    1. Welcome
      1m 48s
    2. Linking AI and EPS files to Illustrator
      6m 48s
    3. Installing the dekeKeys keyboard shortcuts
      7m 43s
    4. Remapping Mac OS shortcuts
      6m 56s
    5. Installing the Best Workflow color settings
      4m 54s
    6. The color settings explained
      7m 4s
    7. Preserve Numbers vs. embedded profiles
      3m 22s
  2. 1h 40m
    1. Converting pixels to vectors
      1m 2s
    2. Tracing an imported image
      6m 17s
    3. Other ways to trace
      3m 17s
    4. Raster and vector previews
      7m 2s
    5. Threshold, Min Area, and Max Colors
      5m 27s
    6. Tracing options: The raster functions
      8m 2s
    7. Using the Ignore White option
      5m 3s
    8. Tracing options: The vector functions
      6m 40s
    9. Expanding traced artwork
      5m 6s
    10. Sketching and drawing for Illustrator
      6m 24s
    11. Editing scanned line art
      9m 23s
    12. Adding contrast and color
      10m 32s
    13. Live Trace and resolution
      9m 8s
    14. Expanding and separating paths
      8m 43s
    15. Scaling and editing traced art
      8m 4s
  3. 1h 8m
    1. Gradients are good
      1m 15s
    2. Assigning a gradient fill
      6m 9s
    3. Using the gradient annotator
      7m 31s
    4. Editing multiple gradients
      4m 37s
    5. Establishing symmetrical gradients
      5m 28s
    6. Creating a radial gradient
      5m 46s
    7. Adjusting the midpoint skew
      3m 23s
    8. Mixing gradients with blend modes
      6m 11s
    9. Making a transparent gradient
      6m 42s
    10. Drop shadows and dynamic effects
      5m 58s
    11. Assigning a gradient to editable text
      5m 42s
    12. Editing text that includes dynamic effects
      2m 56s
    13. Assigning a gradient to a stroke
      6m 46s
  4. 1h 37m
    1. The earliest dynamic functions
      1m 10s
    2. The gradient-intensive illustration
      5m 26s
    3. Creating a multi-color blend
      7m 39s
    4. Establishing a clipping mask
      3m 34s
    5. Reinstating the mask colors
      9m 7s
    6. Editing blended paths
      6m 50s
    7. Adjusting the number of blended steps
      6m 49s
    8. Using the Blend tool
      4m 33s
    9. Blending between levels of opacity
      7m 32s
    10. Editing the path of the blend
      6m 22s
    11. Adding a custom path of the blend
      5m 4s
    12. Placing one mask inside another
      8m 33s
    13. Blending groups and adjusting the speed
      6m 1s
    14. Rotating objects in 3D space
      10m 21s
    15. Creating custom perspective guides
      8m 31s
  5. 1h 37m
    1. What was old is new again
      39s
    2. Introducing tile patterns
      6m 11s
    3. Determining the points of intersection
      6m 51s
    4. Extending paths from the intersections
      5m 40s
    5. Crafting symmetrical subpaths
      5m 38s
    6. The final flawed subpaths
      5m 52s
    7. Reconciling misaligned paths
      5m 34s
    8. Completing the core path outline
      6m 14s
    9. Making a symmetrical modification
      6m 47s
    10. Adjusting the interior elements
      8m 26s
    11. Coloring paths and testing the interlock
      9m 29s
    12. Establishing a rectangular tile
      6m 22s
    13. Defining a tile pattern
      3m 43s
    14. Creating a few color variations
      8m 50s
    15. Protecting patterns from transformations
      6m 9s
    16. Transforming patterns without paths
      5m 30s
  6. 1h 12m
    1. Filling and stroking virtual areas
      44s
    2. Introducing Live Paint
      7m 57s
    3. Stroking with the Live Paint Bucket tool
      5m 30s
    4. Using the Live Paint Selection tool
      7m 18s
    5. Adding a path to a Live Paint group
      4m 33s
    6. Building a classic Celtic knot
      8m 28s
    7. Constructing the base objects
      5m 31s
    8. Weaving one object into another
      6m 13s
    9. Creating a path that overlaps itself
      7m 15s
    10. Painting a path that overlaps itself
      5m 34s
    11. Creating knots inside knots
      5m 2s
    12. Adding gradients and depth
      8m 22s
  7. 1h 4m
    1. Dynamic effects and OpenType
      1m 12s
    2. Applying a dynamic effect to type
      5m 43s
    3. Creating a basic bevel effect
      4m 12s
    4. Building up a multi-stroke effect
      4m 49s
    5. Best practices for 3D type
      6m 34s
    6. Applying a "path wiggler" to type
      6m 14s
    7. Drop shadows and Raster Effects settings
      4m 52s
    8. Duplicating attributes and effects
      7m 8s
    9. Editing type with dynamic effects
      7m 27s
    10. Ligatures, swashes, ordinals, and fractions
      5m 45s
    11. Small caps and the Glyphs panel
      4m 25s
    12. Warping text and increasing resolution
      6m 9s
  8. 1h 44m
    1. A world of colors at your beck and call
      1m 32s
    2. Customizing a letterform to make a logo
      8m 37s
    3. Creating a custom drop shadow effect
      6m 26s
    4. Introducing the Color Guide panel
      9m 3s
    5. Harmonies and Color Guide settings
      5m 39s
    6. Lifting harmony rules from color groups
      7m 21s
    7. Harmony layouts and the Lab color wheel
      8m 15s
    8. Working inside the Edit Color dialog box
      6m 36s
    9. Limiting a color group to spot colors
      5m 47s
    10. Recoloring selected artwork
      5m 50s
    11. Recoloring with custom color groups
      6m 1s
    12. Swapping colors with the Color Bars feature
      5m 18s
    13. Using the options in the Assign panel
      8m 41s
    14. Moving color groups between documents
      7m 17s
    15. Distilling your artwork to one spot-color ink
      7m 45s
    16. Recoloring artwork that contains gradients
      4m 17s
  9. 1h 21m
    1. How symbols work
      1m 2s
    2. The power of symbols
      5m 1s
    3. Creating new symbols
      6m 0s
    4. Enabling the new 9-slice scaling
      4m 24s
    5. Adjusting your 9-slice scaling guides
      6m 54s
    6. Previewing and acquiring symbols
      4m 12s
    7. Finding a symbol and creating an instance
      4m 13s
    8. Duplicating and replacing instances
      4m 19s
    9. Breaking a symbol link and envelope fidelity
      5m 26s
    10. Distorting and expanding a symbol
      4m 54s
    11. Updating an existing symbol definition
      3m 40s
    12. Recoloring a symbol definition
      4m 13s
    13. Applying a basic "local" color adjustment
      5m 20s
    14. Applying a more elaborate local color adjustment
      5m 4s
    15. Laying down a random symbol set
      5m 35s
    16. The eight symbolism tools
      6m 55s
    17. Editing selected instances
      4m 11s
  10. 1h 32m
    1. Illustrator needs Photoshop
      1m 1s
    2. Two ways to place a pixel-based image
      6m 6s
    3. Working with linked images
      6m 6s
    4. Linking versus embedding
      9m 38s
    5. Stroking and blending an image
      6m 16s
    6. Adding a clipping mask and page curl
      6m 51s
    7. Creating a blended border effect
      7m 10s
    8. Rasterizing your artwork in Photoshop
      8m 0s
    9. Saving a flat raster file from Photoshop
      4m 58s
    10. Restoring cropped border elements
      5m 39s
    11. Copying and pasting into Photoshop
      6m 27s
    12. Working with Photoshop Smart Objects
      5m 26s
    13. Adding a pixel-based layer effect
      4m 12s
    14. Editing a Vector Smart Object in Illustrator
      7m 20s
    15. Creating and placing a transparent image
      7m 1s
  11. 1h 15m
    1. The many forms of transparency
      1m 29s
    2. Real-world blending modes
      7m 57s
    3. Exporting transparency from Illustrator
      6m 24s
    4. Opacity and blending modes
      6m 18s
    5. The Darken and Lighten modes
      7m 17s
    6. The Contrast, Inversion, and HSL modes
      6m 12s
    7. Blending modes in action
      5m 11s
    8. Creating a knockout group
      6m 14s
    9. Confirming the viability of your artwork
      6m 8s
    10. Introducing the opacity mask
      4m 6s
    11. Making an opacity mask
      5m 25s
    12. Drawing inside an opacity mask
      3m 34s
    13. Creating a gradient opacity mask
      5m 29s
    14. Adding an opacity mask to a single object
      3m 22s
  12. 1m 13s
    1. Until next time
      1m 13s

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