Start learning with our library of video tutorials taught by experts. Get started
Viewers: in countries Watching now:
In Illustrator CS5 One-on-One: Advanced, author and industry expert Deke McClelland teaches how to take advantage of the wide array of dynamic features in Illustrator CS5. This course demonstrates how to apply these features to paths, groups, and editable text to create professional-quality artwork. The course covers Live Trace, Live Paint, and Live Color, as well as symbols, gradients, exporting, and integration with Photoshop. Exercise files accompany the course.
All right, now let's say for whatever reason you need to take an illustration and you need to distill it down into one or two Pantone, Inc.'s. So as few spot colors is possible to keep the printing expense down. Well, that's what this exercise is about. It's another function of the Recolor Artwork dialog box. I've saved my progress as Two-tone t-shirts. ai and currently my backdrop layer is locked. So I need to unlock it and then I'm going to press Ctrl+A or Command+A on a Mac to select everything inside this illustration, because it doesn't do us any good to distill the background elements two Pantone and then leave the t-shirts in CMYK, because then we have a five ink job or a six ink job that kind of.
If you are going to distill the illustration, you need to distill every single element of it. So you are going to lose a lot of color. There's no way around that. But hopefully you're going to keep your tints and shades. I am going to press Ctrl+H, Command+H on the Mac to hide those selection edges. Then I'll go up once again to the Recolor Artwork icon, click on it to bring up the Recolor Artwork dialog box and then I am going to switch my preset from Custom to let's say 1 color job. We will just go for it here. Then you're presented with this alert that's asking you what color library you want to work from.
So Illustrator is assuming that you're boiling this illustration down to a spot color, but it wants to know where that spot color is coming from. So you click on this little icon and then in my case I am going to go ahead and choose Pantone solid coated. You can choose any of the other color libraries you like. However, bear in mind that anything that says process on it is working from CMYK. That's not a spot color. So I'll go ahead and choose Pantone solid coated as I say and I'll click OK. Then the Illustrator does some calculations and determines the color that it thinks you should be using.
So it's essentially finding the average color. Now you might look at this and say, why I lost my blacks? Well, that's because you're going to 1 color job. So the Blacks have to go over to that color as well. If you don't wanted it to work that way then you click on this little dialog box icon and you'd please Preserve my blacks. Then you'd click OK in order to see what that looks like and you get your blacks back and Illustrator will miraculously transform the colors to some other Pantone Inc. Again, it's trying to be intelligent and anticipate your needs and so forth. Here is the problem with this.
Even though you may look at this illustration and go, yeah, that looks pretty darn good. I like the blacks in here. That's going to require another ink, and what ink is it going to be? Is it going to be a processed black that's overprinting on top of the Pantone color or is it going to be a Pantone black? So that's just a question you're going to have to figure out with your commercial printer and that turns into a 2 ink job though. So you're going to pay for that extra ink. So what you might prefer to do is click on that dialog box icon again, if you're thinking of going with the 2 color job you might as well exploit 2 colors as best you can.
So you'd bring up this dialog box again, you turn off black, so you're not preserving it. You click OK everything is going to get mapped back to the blue this time around and then you go up to Presets and say no let's go with the 2 color job. Then Illustrator presents you with his alert message again that doesn't remember what you did last time. So you have to choose once again the color library. So click on that icon, I am going to choose Pantone solid coated, click OK. Then it's going come up with a pretty much that same color we saw before that sort of purplish color there along with some black that's part of the Pantone Library.
If you want to see what it is you double-click on the right-hand swatch. Then inside the color picker dialog box you will see a list of all the spot colors that are at work here and you'll see that Illustrator has gone ahead and chosen for you Pantone Black 6C, which is probably fine. There's a bunch of different blacks here and the difference between the blacks is whether they're cool black for warm blacks. So you could get out your Pantone swatch book and decide which black you want to work with. Anyway, I am going to cancel out. This is fine for me. I'm not happy with this sort of purplish color however.
So I am going to double-click on it and I'm going to dial in a color that I know I want. At least I think this is it 1615 was that one I came up with? Yeah, that looks good. So I just typed 1615 on my keyboard by the way and that went ahead and scrolled down the 1615. Don't make the mistake of thinking it's selected and click OK because it's not selected. Notice we are not seeing that color in the after color area up here toward the top of the dialog box. You need to click on it. After scrolling to it, you click on it even though it looks like it's selected, it's not until you click.
Then it's selected, then click OK, and then a moment later you'll preview your changes. Now what if I want some of these other dark elements to be part of the black mix? Well, I just go ahead and drag them down. So I'd grab this guy probably I think, let's go ahead and click on the colors and see who is what. So I will grab my magnifying glass and I'll click on this color right there and that's one of the colors I want to drag down and how about you? Are you the other color? No. What is the other color? It's hard to tell. What about this guy? Are you the other the color? No. Are you? You can't be.
You can possibly be. Maybe it's already part of the mix. It's not. I don't know where it is. Well, let's just see what happens when we drag this guy down. This is part of the mystery of learning the program, isn't it? I will go ahead and turn off the magnifying glass for a moment so I can watch my changes update and I will go ahead and drag this guy down to here and that remaps this color, but it doesn't remap this one. Oh dear! Well, you know what, I bet it's this one right here. What you want to bet? I am going to go ahead and grab it and drag it down and sure enough that works absolutely fine.
How I'd figure that out? Well, I went ahead and paused things for a moment and figured it out so you didn't have to wait for me to on hunt around here. But that's the idea. We got the effect we want. Now I'll go and ahead click OK in order except this 2 color job. Or I could go ahead and boil things down to one color. Now if I just click OK, we'll get the effects that we were seeing right here. Let's say we really want to go for it. We want to boil it all the way down. Let's do it. I'm going to switch my preset to 1 color job. I'm going to say, yes, Illustrator I want to work with the Pantone solid coated library.
I am now telling you that for the third time. Click OK and of course it's going to give me the wrong color. Double-click and type in 1615. Click on the color after already having selected it to make it's selected click OK. Gosh! This is fun. Then it will go ahead and recolor all the illustration, click OK. Here's the reason I'm doing this. There is one more modification we need make. It's deceiving to mix Blend modes along with Pantone colors, because you really can't render out a Blend mode in a single Pantone color. You can't print the Pantone Inc. on top of Pantone Inc.
and expect them to blend together in order to darken up that color which is what we're asking Illustrator to do and that's what it's previewing as well. It just won't print that way. So to get the results that we think we're getting I'll press Ctrl+H, Command+H on a Mac to bring back my selection edges. I will click off of the paths. I will click on this guy in order to select it, this mass of dark stuff, and I'll Shift+Click on this mass of dark stuff, they're both set to the Multiply mode is the thing. So I will press Ctrl+H, Command+H on the Mac to hide the selection edges again so that we can see the difference. I will click on Opacity.
I'll switch from Multiply to Normal, because Normal is all you get with one ink. Then I'll hide that panel and this is the result we're actually going to get out of this illustration. I'm also by the way going to click on this guy to select it and I have to press Ctrl+H or Command+H make sure it's there. It is. Ctrl+H again, Command+H again in order to turn that off and I'll go up to the Color panel and I will make sure that the tint is cranked up as high as possible. That you can do, so you get the darkest version of that color that there is and we might want to do the same thing with this bunch of darkness which is down here at 90%, crank it up to 100% as well.
So there we have it. A 1 color job rendered automatically for you with the tints and shades intact. Thanks to the color remapping magic of the Recolor Artwork dialog box.
Find answers to the most frequently asked questions about Illustrator CS5 One-on-One: Advanced.
Here are the FAQs that matched your search "":
Sorry, there are no matches for your search ""—to search again, type in another word or phrase and click search.
Access exercise files from a button right under the course name.
Search within course videos and transcripts, and jump right to the results.
Remove icons showing you already watched videos if you want to start over.
Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.
Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.