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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.
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.
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