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Establishing the best color settings

From: Illustrator CS3 One-on-One: The Essentials

Video: Establishing the best color settings

All right now one of the most important first steps that you can take inside of Illustrator and that is to establish proper color settings throughout not only Illustrator but across all of the Adobe applications in your Creative Suite. And here's how you do it. The first thing I want you to do here in Illustrator is to go to the Edit menu and choose the Color Settings command. You can also press Control+Shift+K or Command+Shift+K on a Mac. And the whole reason we need this Color Settings command is to ensure accurate color. This is the control central the big headquarters for color management inside of Illustrator and the other Adobe applications, because you want your colors to print the way that they look on screen. You also want your colors to match from one Adobe application to another.

Establishing the best color settings

All right now one of the most important first steps that you can take inside of Illustrator and that is to establish proper color settings throughout not only Illustrator but across all of the Adobe applications in your Creative Suite. And here's how you do it. The first thing I want you to do here in Illustrator is to go to the Edit menu and choose the Color Settings command. You can also press Control+Shift+K or Command+Shift+K on a Mac. And the whole reason we need this Color Settings command is to ensure accurate color. This is the control central the big headquarters for color management inside of Illustrator and the other Adobe applications, because you want your colors to print the way that they look on screen. You also want your colors to match from one Adobe application to another.

So if you take a blue circle from Illustrator and paste it into InDesign you don't want it turning purple on you, which is the way it used to work in the old days before Color Management. So let's get everybody in line. Now notice I could change my color settings here inside of Illustrator, but I have to be careful because it says that right now my color settings are synchronized across all of the Creative Suite applications, and you can they're synchronized because of this beautiful little matching icon here. When things get unsynchronized that icon gets all discombobulated as well.

Case in point, if I were to switch to different set of color settings here like let's say instead of General Purpose, which is really for Web graphics and illustrations that you want to print exclusively to inkjet devices, I want Prepress 2. I want to go ahead and to send my illustrations of for commercial reproduction. As soon as I do that changes a few settings down there, but it also makes the synchronization very unhappy, notice how incredibly unsynchronized things are now. And that's a bad sign, a really bad sign. It means that I could get my blue circle in Illustrator and past it into InDesign and it would look purple. That exact horrible scenario that I was just telling you about. So what's the better solution? It's a several part solution. First os all, cancel out of here.

What I want you to do, we're going to build our own customized color settings file, and then we're going to apply that color settings file across all of the Adobe applications. Now the best place to build the file happens to be Photoshop. So I want you to go ahead and run Photoshop, if you have it available to you, and I've already got my copy of Photoshop running, so I'll just go and switch over to it. And you can tell we're in Photoshop, because things aren't orange any longer, they're blue. And now I'm going to go up to the Edit menu and I'm going to choose the Color Settings command.

And I'm going to establish the perfect color settings. Notice we're starting with North America General Purpose 2, and the only reason it says 2, it's not like 1 is there anymore, the server upgrades to the old ones that they used to give you. Notice things are synchronized. They soon will not be synchronized. I'm going to have you change RGB from sRGB, which mimics the behavior of sort of a worst case scenario PC monitor, which isn't what we want because we're working with better monitors for one thing and we're also working in these wonderful applications, this suite of applications that can do much, much better than that.

So lets up the ante here, let's raise the bar by switching over to Adobe RGB (1998), which is the standard for printing by the way. You can leave CMYK set to US Web Coated (SWOP) because unless you know exactly what Prepress house you're going to, you can't make that determination, so you might as well leave that just set the way it was. All these other options are actually quite good. We want to preserve embedded profiles. We don't want to be bugged to every time we open a file, so everything else is in really good shape.

The only thing we need to do now is save our modifications to a custom color settings file. So go ahead and click on the Save button to bring up the Save Settings dialog box and make it a tad bit smaller here. And I'm going to go ahead and call this document Best Workflow CS3 and then click on the Save button. Now here's the special thing Photoshop does that none of the other applications do. It allows you to enter a description for your color settings file, which is a really great function because that way if you pass this color settings file off to somebody else, they'll see a description and they'll know what your reasoning was. So I've gone ahead and copied some text that I created in advance. So I'm just going to paste it into this dialog box here and you can see what it says and you can enter your comments accordingly. If you want, you can match my comments that is to say. It's: These are the settings that Deke recommends in his Photoshop, Illustrator, and InDesign CS3 One-on-One series for lynda.com, Deke Press and O'Reilly Media. I don't know if he's right or not, but the guy sounds smart enough (well at times) so what the heck. All right so that's it. That's the transcription right there. Click OK in order to accept that new file. You have now generated a file that's available to all of the Creative Suite applications. So why is it like still unsynchronized? What gives? Well, we've got to go to the Bridge to synchronize our color settings. So what I recommend you do right now is click OK, so that at least Photoshop is set up properly. Then join me in the next exercise when we apply our Best Workflow CS3 settings to the entire Creative Suite.

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Illustrator CS3 One-on-One: The Essentials

114 video lessons · 36976 viewers

Deke McClelland
Author

 
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  1. 59m 53s
    1. Welcome to Illustrator CS3 One-on-One: The Essentials
      2m 0s
    2. The unwelcome Welcome screen
      6m 35s
    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 51s
    10. Saving a document
      6m 14s
    11. Closing multiple files
      2m 59s
  2. 1h 3m
    1. Preferences, color settings, and workspaces
      55s
    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 56s
  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 10s
    8. Drawing a continuous arc
      4m 17s
    9. Drawing a looping spiral
      5m 17s
    10. Cutting lines with the Scissors tool
      6m 45s
    11. Aligning and joining points
      7m 58s
    12. Drawing concentric circles
      3m 45s
    13. Cleaning up overlapping segments
      6m 21s
  4. 1h 9m
    1. The anatomy of a shape
      1m 1s
    2. Meet the Tonalpohualli
      4m 8s
    3. Meet the geometric shape tools
      3m 47s
    4. Drawing circles
      6m 36s
    5. Snapping and aligning shapes
      7m 0s
    6. Polygons and stars
      7m 0s
    7. Rectangles and rounded rectangles
      6m 16s
    8. The amazing constraint axes
      6m 30s
    9. Grouping a flipping
      7m 37s
    10. Combining simple shapes into complex ones
      6m 36s
    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
      33s
    2. Introducing Fill and Stroke
      3m 42s
    3. Accessing color libraries and sliders
      7m 8s
    4. Using the CMYK sliders for print output
      5m 6s
    5. Using the RGB sliders for screen output
      4m 39s
    6. Color palette tips and tricks
      4m 46s
    7. Creating and saving color swatches
      4m 14s
    8. Trapping gaps with rich blacks
      7m 58s
    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 16s
    13. Pasting between layers
      3m 34s
    14. Joins, caps, and dashes
      5m 50s
    15. Fixing strokes and isolating your edits
      7m 35s
    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 15s
    4. Moving by the numbers
      4m 16s
    5. Using the Reshape tool
      6m 30s
    6. Modifying, aligning, and uniting paths
      7m 0s
    7. Using the Offset Path command
      4m 25s
    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 50s
    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 32s
    4. Drawing a straight-sided path
      5m 36s
    5. Moving, adding, and deleting points
      5m 51s
    6. Drawing spline curves with Round Corners
      7m 56s
    7. Smooth points and Bézier curves
      8m 12s
    8. Defining a cusp between two curves
      4m 37s
    9. Adjusting handles and converting points
      7m 4s
    10. Cutting, separating, and closing paths
      7m 31s
    11. Eyedropping template colors
      5m 11s
  8. 1h 28m
    1. Paths never rest
      1m 42s
    2. Meet Uzz, Cloying Corporate Mascot
      2m 22s
    3. Exploring the Appearance palette
      5m 37s
    4. Snip and Spin
      7m 28s
    5. Adding a center point
      3m 57s
    6. Keeping shape intersections
      3m 8s
    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 8s
    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 21s
    15. Eyedropping Live Effects
      5m 39s
    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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