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Introducing the Color Guide panel

From: Illustrator CS6 One-on-One: Advanced

Video: Introducing the Color Guide panel

In this movie, I will introduce you to the Color Guide panel, which automatically generates a library of swatches that are related to a base color. So for example, in this case I have two side-by- side versions of this t-shirt art. And let's say the t-shirt is colored exactly the way I wanted to be, with a slight blue for the fabric and then this darker blue for the trim. But the background art, even though it's structurally sound--in other words, I like the path outlines themselves--and by the way, this background comes to us from Fotolia Image Library, about which you can learn more at fotolia.com/deke.

Introducing the Color Guide panel

In this movie, I will introduce you to the Color Guide panel, which automatically generates a library of swatches that are related to a base color. So for example, in this case I have two side-by- side versions of this t-shirt art. And let's say the t-shirt is colored exactly the way I wanted to be, with a slight blue for the fabric and then this darker blue for the trim. But the background art, even though it's structurally sound--in other words, I like the path outlines themselves--and by the way, this background comes to us from Fotolia Image Library, about which you can learn more at fotolia.com/deke.

But the colors that I have assigned here, these shades of gray aren't what I'm going for at all. So I need to recolor this artwork. Now on one hand, I have made things easier for myself by grouping related objects, so for example, if I click on one of the light gray leaves, that selects all of the light gray shapes; and then I could dial in a different color for example, I might increase the Magenta and Yellow values and take the Black value down for a vivid shade of deep scarlet. And then I'll click on this background rectangle that's located right along the bleed here; and let's say I want to replace its color with a swatch.

So I'll click on first Swatch icon up here in the Control panel and I'll select what, this light shade of orange, let's say. And I end up with this very garish effect. And part of the problem is that the swatches that are included along with the new document-- whether a print document like this one or a web document--they tend to be very bright colors, as you can see. We have a few shades of brown, but we don't have any pastels, we don't have any real complementary colors here; instead we just have bright cheerful swatches that are not necessarily the kind of thing that you are going to be applying on a regular basis.

And so what I'd have to do if I don't like this color, I'd have to manually manipulate the color here inside the Color panel until I come up with something I like better, which can take 10, 15 minutes just to color a simple artwork like this; or you can let Illustrator do the work for you by using the Color panel. So I am going to start things off here by clicking on this light blue t-shirt, and the easiest way to select the shirt is to click along the bottom of it between the two leaves. And then I'll go up to the Window menu and I'll choose the Color Guide command, or you can press that keyboard shortcut, Shift+F3. Aand notice now that we have a series of related colors--actually we don't.

This first color right there, that's the color upon which this harmony is based. And that happens to be the last color that I applied to the background art. If you want to update this list of colors, you need to click on that very first color swatch, which will be the color of the selected object and then that goes ahead and updates the list. Now you might think, Gosh! It seems like an unnecessary step, shouldn't Illustrator do that automatically? Well, actually no, because watch this. Now I want to use this base color in order to update my background art, so I'll click on this dark gray shape in order to select all the dark gray objects.

And Illustrator wisely does not update my list; after all I want to be able to work from that list of colors. Now you can see here that we have a list of four related colors by default and we also have a variety of tints and shades located here inside the panel. So that central column of colors, that represents that row of colors that we see above; and then we have tints, which are reduced shades of the color. In other words, we are mixing the color along with the white of the paper. And then these darker shades, notice that they become not only darker, but also less saturated because Illustrator is peeling out the CMY values and adding in K, that is to say, Black.

Now you don't have to stick with this specific harmony by the way. You can select a different one by clicking on this down-pointing arrowhead and then you have got this huge list of harmonies inside this menu. Now, this is the point at which a lot of people just check out and think, eh! What does this even mean, I mean analogues versus right complement, left complement, what in the world is going on? And especially, some of these guys are even less intelligible like Triad and Tetrad and so forth. Well, I am going to show you what's going on with every single one of the main harmony groups in the very next movie, so that you'll have no doubt about how it works.

But for now, I am just going to select something that's pretty straightforward, Complementary 2. These are color complements to my blue, and with this new list of swatches, I can apply them--assuming that my fill is active, which it is--by just clicking on them. And so I'll click on this brown here in order to apply that to what were formerly the dark gray objects, and then I'll click on one of these scarlet objects here to select it, and I'll replace it with this light shade of Warm Brown. And then I'll select the background rectangle right there at the bleed, and I will replace it with the medium brown right there in the center, and then finally I'll select one of the black objects and I'll replace it with the darker shade of blue, second down in the left-hand column.

If I click off the shapes to deselect them, I come up with this effect here. Now, I may or may not like what I've gotten, but it took me less than a minute to color my artwork; whereas it would take me several minutes without Color Guide. So there is your basic introduction to the Color Guide panel inside Illustrator. In the next movie, I'll show you how each one of the major categories of these harmony rules works.

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This video is part of

Image for Illustrator CS6 One-on-One: Advanced
Illustrator CS6 One-on-One: Advanced

118 video lessons · 14571 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  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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