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Distilling your artwork to one spot-color ink


Illustrator CS5 One-on-One: Advanced

with Deke McClelland

Video: Distilling your artwork to one spot-color ink

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.
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  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
    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
    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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Watch the Online Video Course Illustrator CS5 One-on-One: Advanced
14h 53m Intermediate Nov 30, 2010

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.

Topics include:
  • Tracing a pixel-based image
  • Sketching and drawing for Illustrator
  • Creating and editing gradients
  • Creating multi-colored blends
  • Creating seamlessly repeating tile patterns
  • Creating interlocking artwork with Live Paint
  • Designing advanced type effects
  • Recoloring artwork with color harmonies
  • Making the most of symbols
  • Integrating Illustrator with Photoshop
  • Using transparency, blend modes, and opacity masks
Deke McClelland

Distilling your artwork to one spot-color ink

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 .

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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Preferences/Adobe Illustrator CS5 Settings/en_US

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
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