Illustrator CS6 One-on-One: Advanced
Illustration by Richard Downs

Expanding on an existing harmony rule


From:

Illustrator CS6 One-on-One: Advanced

with Deke McClelland

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Video: Expanding on an existing harmony rule

In this move I will show you how to design a custom color scheme based on an existing harmony rule, and we will once again achieve this effect inside the Edit Colors dialog box. So I'll start things off by employing one of the existing harmony rules, and that harmony rule is the last one in the list here inside the Color Guide panel, which is Pentagram. And now just to make sure everything is set up the way it should be, I'll select my t-shirt art to make it active, and I'll click on that blue base color in order to make it the base color for the Color Guide panel.
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  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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Watch the Online Video Course Illustrator CS6 One-on-One: Advanced
11h 2m Advanced Dec 13, 2012

Viewers: in countries Watching now:

This course is the third in a four-part series devoted to mastering the premiere graphics creation application, Adobe Illustrator, version CS6. Industry pro Deke McClelland takes a project-based learning approach to the key features in Illustrator, including Recolor Artwork, transparency, masks, blend modes, strokes and fills, and dynamic effects. The course also covers techniques for creating custom gradients, designing logos, generating photorealistic neon text, and wrapping type around objects. Plus, Deke shows how to call up the most essential features by organizing your workspace and employing time-saving keyboard shortcuts, how to manage the color settings, and how to adjust a few settings to make the program work even better.

Topics include:
  • Installing dekeKeys, Deke's free custom keyboard shortcuts
  • Understanding the color-managed workflow
  • Creating a multicolor blend
  • Establishing a clipping mask
  • Blending different levels of opacity
  • Combining a letterform with a path outline
  • Warping logo type around a circle
  • Adding neon blur and bokeh in Photoshop
  • Mixing and matching color harmonies
  • Recoloring artwork
  • Working with the Calligraphic, Scatter, and Art Brushes
  • Creating translucency
  • Editing attributes in the Appearance panel
  • Adjusting and updating dynamic effects
Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

Expanding on an existing harmony rule

In this move I will show you how to design a custom color scheme based on an existing harmony rule, and we will once again achieve this effect inside the Edit Colors dialog box. So I'll start things off by employing one of the existing harmony rules, and that harmony rule is the last one in the list here inside the Color Guide panel, which is Pentagram. And now just to make sure everything is set up the way it should be, I'll select my t-shirt art to make it active, and I'll click on that blue base color in order to make it the base color for the Color Guide panel.

Now I'll select this background rectangle and I'll go ahead and change it to the shade of red, for example, just so that we are coming up with something different. Then I'll select these yellow leaves and I will change them to this vivid shade of violet and I'll click on the red shapes, which are barely visible anymore, and I'll change them to the most saturated version of the yellow. And I'll end up achieving this effect here. Again, this is just for the sake of comparison. Now let's see if we can build a better version of Pentagram that offers us a wider range of colors.

You can do that by clicking on the Edit Colors icon at the bottom of the Color Guide panel. And notice what we have with Pentagram is this guy with the base color as his head and then he has got these arms and legs. And if you move any of the sheep colors, you are going to move both the arms and legs up and down, either toward each other or away from each other, as if we have a sort of Vitruvian Man inside of the Lab Color wheel. Incidentally, if you want to check out the shapes of any of the harmony rules, including ones that I didn't diagram a few movies back, then you can just go ahead to select them.

For example, I showed you what Tetrad 2 looks like. It looks like this right there, that's what I showed you in the diagram; but I didn't show you Tetrad 3. So you can go ahead and check that out as well and notice that Tetrad 3 is set up so that when you drag one of the sheep colors, the opposing sheep color moves along with it. Anyway, I am going to switch back to Pentagram, and I am going to drag his head to the top just because it's an easier way for me to work anyway. And I will go ahead and drag the head down a little bit as well in order to decrease the saturation of all the colors.

I want to add a total of four color stops, one to each of the arms and legs, and I'll do that using the Add Color tools. So I will select the tool and then I'll click right about there in order to add a color along that same line so we have exactly the same hue and a lower saturation value. Notice that the Add Color tool does not stay active, which is kind of pain in the neck. So you have to reselect it over and over again. I will go ahead and click on it to select it and then click at this location right there, click on the tool to select it again, click here in order to add a color, and then finally select the tool and click on this left- hand line in order to add a shade of green.

Now let's say I want to make these new colors darker. I will switch over to the Brightness icon underneath the color wheel, and that makes it look like I lost all of my new colors. That's not actually true. It's just that we can't see the difference between the colors because we are not seeing saturation anymore, and the hue values were locked in sync with each other. Just go ahead and drag your new colors toward the center. That will not only darken them up, but you will also be able to see the original colors at the ends of the arms and legs.

So I will go ahead and drag this guy in as well. Then if you want to switch back to saturation, which I do, then click on the Saturation icon down there underneath the color wheel and I am going to drag these guys all the way out so that we have the most saturated versions of these colors possible. And I might increase the brightness of the colors overall just so I can see what I'm doing. Now I'll go ahead and save out my new color group as 9-color pentagram, let's say. Then I need to create the group by clicking on a little folder icon and 9-color pentagram will appear at the bottom of the group.

Now if you make any changes at this point-- for example if you drag up or down on the arms, I'll will go ahead and drag these guys up a little bit, and I'll also return my head back to its original color so I can get a sense of what I'm achieving here. You know what, I am going to switch back to the CMYK values so that I can confirm the actual values that are associated with the t- shirt, which are 85 for cyan, 50% for magenta, and 0 for both the yellow and black; and I end up with these colors here, which gives me the opportunity to brighten things if I like.

I could switch to the Brightness icons underneath the color wheel, and then I could just go ahead and drag these guys out so that I get very bright versions of all these colors, and I can change the locations a little bit as well if I so desire. I might move them to about here, let's say, just playing around. Now notice that 9-color pentagram appears in italics, which tells you that you have unsaved changes. If you click the OK button at this point, Illustrator is going to ask you if you want to save the changes to this group, but what's misleading about this is if you click the No button, you can end up losing other work that you've performed inside of this dialog box.

That's why I recommend you just avoid this warning in general by clicking on the Cancel button and either saving this guy as a new group by entering a new name and clicking on a folder icon, or just updating the existing group, which is what I'm going to do by clicking on a little hard drive icon. And now 9- color pentagram is no longer italicized. You know what, I am just going to move this guy--I am going to try to move it up here-- that is the head, up to a totally different location and saving my changes once again, just for the sake of demonstration. Now I'll click the OK button in order to exit the dialog box, and I'll scoot over to the second artboard here and you can see that we've got this stack of nine rows of colors.

I'll click on the t-shirt to once again select it, click on the blue base color to make it the base color for my new color scheme, and then I'll click in the background. And notice I've got tons of different options to choose from. So I might go with this dark, but very vivid shade of red here. And then I'll click on this kind of greenish leaf right here, and then I'll change it to this medium shade of pink; and then I will click on this reddish leaf below, and on the right side of the t-shirt and I will change it to this medium vibrant shade of yellow. Finally, I'll go ahead and select the dark shapes and change them to a very dark shade of that sort of purplish color in the third row, and I end up with this color scheme here.

All right, so I'll go ahead and scoot the artwork over and press Shift+Tab to hide those right side panels so that we can take in both artboards at a time. And you can see even though both of these color schemes are based on the pentagram harmony rule, we end up achieving very different results, thanks to our ability to customize the harmony rule inside the Edit Colors dialog box.

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