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Illustrator CS5 One-on-One: Advanced
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Harmony layouts and the Lab color wheel


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Illustrator CS5 One-on-One: Advanced

with Deke McClelland

Video: Harmony layouts and the Lab color wheel

In this exercise I am going to introduce you to be Edit Colors dialog box which allows you to edit many colors at a time either those that are associated with a Harmony rule or those found inside of a color group. It's actually an extremely powerful feature, but before you can understand what's going on with it, we need to establish a little bit of color theory. So we are going start things off with a slightly technical exercise and then we will move into the fun stuff. I have saved my progress as Alternate color schemes.ai and what I would like you do is move over to the COLOR GUIDE panel and notice that there is this little rainbow icon right there and it says Edit Colors when you hover over it.
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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
      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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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
Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

Harmony layouts and the Lab color wheel

In this exercise I am going to introduce you to be Edit Colors dialog box which allows you to edit many colors at a time either those that are associated with a Harmony rule or those found inside of a color group. It's actually an extremely powerful feature, but before you can understand what's going on with it, we need to establish a little bit of color theory. So we are going start things off with a slightly technical exercise and then we will move into the fun stuff. I have saved my progress as Alternate color schemes.ai and what I would like you do is move over to the COLOR GUIDE panel and notice that there is this little rainbow icon right there and it says Edit Colors when you hover over it.

Another way to get to this feature is to go to the Swatches panel and click on the Color Group like so and then when a Color Group is active you'll see this icon right here, which says Edit Color Group, so it gives you a slightly different tooltip, but it actually brings up the exact same features. So either way, go ahead and click on that icon and you bring up the Edit Colors dialog box. Now notice that there are two panels Edit and Assign, Assign is currently dimmed because we don't anything everything selected inside of our artwork. Assign is only available when we are re- coloring artwork and we'll see how that works in the future exercise, but for now, I want you to just work your way here through the various harmony rules.

So for starters just so that we have the proper base color, the color that's associate with a T-shirt that we've been working along with, just to keep things familiar. I am going to click on Tetrad colors right there and notice that you can twirl tetrad colors open and you can see each one of the colors that's associated with this group. Now I want you to go up to the Harmony Rules pop-up menu right there. So go ahead and click on that down pointing arrowhead and let's take a look at what these various Harmony Rules look like. So complementary is very simple, right. We've got a color on one side of the color wheel and then its opposite color on the other side.

So that's how all the complementary stuff works. If you switch to Complementary 2 to you just get more Complementary colors that are split apart from each other. Split Complementary goes ahead and finds two different complementary colors in two different directions of each other and then if you want to focus on one direction or the other, you choose Left Complement or Right Compliment, you can check those out on your own. We've got Analogous, I will switch to the simplest of the Analogous options right there and notice that each one of these groups edits differently than each other.

So as long as you have the link icon on which is the default behavior when you're working inside Edit Colors, then notice that you can move that key color, the base the base color right there is the big thick one, the big ball and then the follower colors the, Sheep colors if you will the followers, they move independently, like so. You can either spread them out or move them closer to each other, but they all move in unison as you can see here. Then you can go ahead and save out this new thing that you've crated as a new color group, as you look and I'll show you how to do that shortly.

But let's check out some of the other ones that are available to us. Monochromatic, they are all moving in the same direction that's pretty obvious. The Triad options, I will just try one of the Triads. Notice that you're creating a triangle here inside of the color wheel and this time all the colors are going to move together along with each other, although you can move one of the two colors in this case it's going along the same axis, you could move it up and down that axis in order to change the saturation. So where the color wheel has concerned, we are seeing the hues around the perimeter of the circle and if we move in or out, we are changing the Saturation values.

So as we go toward the center, we are making the colors more gray, as we move out, we're making the colors more vibrant. Then finally, what we are looking at is the slice in the cylinder. So if we were to move back and forth inside the cylinder, we would change the brightness and you can change the brightness of the entire color wheel using this Brightness option right there. And again we'll come back to some of these options and see them in more detail, but for now I just want you to get a sense of what's going on, with these various harmony rules. Here is Tetrad, going off in four different directions like so and then we have the Compound options and Compound, as you can see here, it's a combination of Complementary, so we're going off one direction and then the other direction as well as analogous which is why we're moving away from the base color a little bit and away from the Complementary color.

And then these guys, you can move together as long as the chain icon is down and then finally, we've got these High Contrast options as they were saying, they are not really related to each other, there are variations on some of the stuff we've already seen. So the initial High Contrast is a Complementary effect, like so. It's just a higher contrast version of a Complimentary effect. High Contrast 2, right there, is a Triad effect. High Contrast 3 is ending up giving us Analogous colors and then High Contrast 4 creates a kind of Split Complementary color set.

And then finally Pentagram is this guy. It's a sort of person that's moving here. So there is his head which I get dragged to the top and then I can make his hands and feet wiggle up and down sort of like he is doing jumping jacks, or he is a little sort of you know Vitruvian man if you will inside the dialog box. All right, so that's the basic layout of various harmony rules there. The other thing I want to know and this is a little bit of that technical information I was warning about, is this Hue wheel is a non-standard Hue wheel.

It's actually what's known as a LAB wheel and LAB is an acronym the L stands for luminance and A and B are arbitrary designations for color axis. So A runs right through the center of the circle here from red to green approximately and B runs up and down from yellow down to blue and A is often called tint by the way and B is often called temperature. I want you to note the Hue value right here which is measured from 0 degrees and if I go ahead and change that value from 0 degrees and present the tab key, then I move over to this color right there and that is red by the way.

0 degrees always means red and then you move all the way around the color wheel back to 360 degrees, so the colors inside the Visible Spectrum ultimately form a circle. Now what's interesting about this is this should be 90 degrees then. If you know anything about geometry, 0 degrees is on right, 90 degrees is up, 180 degrees is over here on the left and then down below here would be 270 degrees, but that's not the way it works on this circle. This is a special circle. If I go ahead and move this guy that's up here at the top, you can see that the Hue value is 47.5 degrees.

Well that is not 47.5 degrees on the circle, that's twice that essentially, that's 90 degrees. Then if we go over to this Green value here, you can see instead of saying 180 degrees, it says 130 degrees and then what happens is we pack an awful lot of degrees in the bottom half of the circle. So it's opened up at the top of the circle and closed down, compressed that is to say at the bottom of the circle. Now why in the world is that? Well, LAB is designed to stimulate colors in the way that we see them.

So our visual acuity is ultimately trained on flesh tones. So we are very sensitive to reds and oranges and yellows, which where we seeing a standard hue wheel, would be compressed into the upper right-hand quadrant of the circle. We are not nearly so tuned in to greens and blues which absolutely consume the standard hue circle and then we are also a little less sensitive to purples and violets and so on. Anyway, that's why this LAB wheel is arranged the way it is and it doesn't matter by the way what you select from this menu, you can work in RGB, you can work in CMYK, you can work in LAB, that's not going to change the behavior of this color wheel, it's always going to look the way it does, which is why I suggest when you're working in side this dialog box, the easiest way to change colors is in HSB that is H for hue, S for saturation and B for brightness and that's your introduction to what's going on inside the Edit Color dialog box.

In the next exercise I'll walk you through the Bells and Whistles.

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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