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Lifting harmony rules from color groups


Illustrator CS5 One-on-One: Advanced

with Deke McClelland

Video: Lifting harmony rules from color groups

In this exercise we are going to take a group of colors that are associated with a harmony rule here inside the Color Guide panel and we are going to save them off as a color group inside the Swatches panel. Then we will turn around and take a custom color group from the Swatches panel and assign it as a harmony rule inside the Color Guide panel. So this is kind of reciprocal arrangement between harmony rules and color groups inside Illustrator. I've saved my changes as Colorful What we are going to do here is start things off.
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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
    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
    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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Watch the Online Video Course 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
Deke McClelland

Lifting harmony rules from color groups

In this exercise we are going to take a group of colors that are associated with a harmony rule here inside the Color Guide panel and we are going to save them off as a color group inside the Swatches panel. Then we will turn around and take a custom color group from the Swatches panel and assign it as a harmony rule inside the Color Guide panel. So this is kind of reciprocal arrangement between harmony rules and color groups inside Illustrator. I've saved my changes as Colorful What we are going to do here is start things off.

I've got my Color Guide panel set to the Tetrad 2 rule right there. So you want to go ahead and choose a different rule just to make sure that you have got all of the color selected. It's based of, of my blue t-shirt color so that's great. Now I am going to drop down here to this little folder icon and I am going to click on it in order to save the group out inside the Swatches panel. Then I will move over to the Swatches panel and there's my new color group. That's awesome. Now if you double-click on the color group you might think that would bring up a dialog box that would ask you to name the group, well, because this originally started off as a harmony rule you are going to bring up the big edit color dialog box.

I am not quite ready to show you that one yet. So here's how we are going to name this new group. Click on the group in order to select it. Then go out to flyout menu and choose Color Group Options and that will bring up a little dialog box. It's not hard to deal with, just a Name option and nothing more. We will go ahead and call this guy Tetrad colors and then click OK in order to accept that new color group. Here's another way to create a color group from the colors inside of the illustration. I am going to go ahead and zoom out and marquee all of these objects back here in the background or I could have just clicked on this black wedge in the upper right-hand corner of the backdrop layer here inside the layers panel.

Anyway, that goes and selects everybody. There should be eight different colors there. However, notice if I drop down to this little New Color Group icon and click on it and I say that I want to lift the colors from the Selected Artwork that's exactly right, I could Convert the Process colors to Global if I wanted to. If I want global colors that are going to update the objects that are assigned to those color swatches on the fly. I am not really interested in doing that at this point. So I am just going to go ahead and name this group, and I am going to call it Vibrant floral, because that's what it reminds me of where these bright oranges and reds and yellows as well, these deep greens.

Then I will go ahead and click OK, and sure enough one, two, three, four, five, six, seven, eight, I do get colors this time around, that's awesome. However, one of the colors says C=0 M=0 and Y=0 K= 100% and 1. Meaning that it's a duplicate of a color that we already have, and that's because this guy right there is just filled with standard black. So let's fairy that a little bit. I will go ahead and switch over to the Color panel and I will introduce a little bit of Cyan, let's say maybe even more Magenta just a little bit more Yellow and I'll take the Black value down to something like 85%.

Just so that we have a slightly different color going on. You can see it's kind of darkish brown now. I will go ahead and click on that object to make it active, switch over to the Swatches panel. Let's go ahead and add that's swatch by clicking on the New Swatch icon. Its name is just fine this way. It does need to be global. This is all Okay. Click OK. Then I will drag this guy into the color group, like so. So I am customizing the color group a little bit. Then I am going to click off of my objects so I don't end up re-coloring them and I'm really going to grab this final color swatch which is a duplicate anyway and I am going to throw it the trash.

Now, this gets terribly interesting in my opinion, go ahead and zoom in here and of course you have got all these color groups and they will be saved along with your illustrations. That's great. You know what, let's open's yet another color group from the Swatch Libraries menu. I am going to go ahead and click on that little icon down here in a lower left-hand corner of the Swatches panel and I'm going to choose let's say where is Nature? Right there. Then I'm going to choose Flowers, because that gives us a wide variety of color choices. I am going to grab this guy, Birds of Paradise and all you need to do is just go ahead and drag it into the Swatches panel.

That's one way to move a color group in there. Another way is to just click on a color group. If you just click on a folder that it adds it to the current swatches panel as well. Then all of these groups will be saved along with the current illustration. I am going to closeout of that panel. Now let's see what we have got here. If I click on Vibrant floral which is the one that I created from the existing colors inside the illustration and I switch back to Color Guide, notice that becomes my harmony rule. I have got a total of eight colors now that are associated with this new harmony rule. Now it's based on the wrong color, which is fine.

All I need to do is click on the t-shirt again and then click on that blue and now we have a totally new group of colors that's associated with this base color. That means that I could grab my background rectangle for example and I could fill it with brown if I want to. Then I can grab one of these other shapes. Right now I am working with Vivid through Muted. If that's not what I want, why don't we try warm, cool this time around and see if we end up coming up with something be a little more interesting here? Although, all these colors are pretty similar to each other, but I'll try.

Well, blue is not what I am going to want. None of these are really going to work. This is a bad color scheme for me frankly. Let's go ahead and switch to something else. Like for example, we haven't seen Pentagram yet. I am going to go ahead and click on that one to make it active and I will grab this shade of orange right there. I think that looks nice. Then I will click in the leaves and I will make that what the heck? Let's make it green or even purple actually might work out pretty nicely. Maybe a dimmer purple if I go ahead and switch here to Vivid/Muted once again. I try out a slightly more muted purple.

That might work out. Obviously, I am just free forming here. If I go to Tints/Shades and try out a darker shade of the purple that might work out nicely too and I could try out a difference Blend mode. We will be seeing Blend modes in a lot more detail when we take a look at transparency in the future chapter. But I could try out something like the Screen mode in order to brighten up those purples like that against their background to create a little bit of interaction. Let's try something else. Let's try one of the other color groups and see if they might provide us with a more fortuitous harmony rule here.

I'll switch over to Swatches and I'll grab Birds of Paradise. So I will go ahead and click on it. Then switch back to the Color Guide panel. There it is. So now we have got the Bird of Paradise mixed. I will click on the t-shirt to make it active. I will click on that color swatch in order to build up the colors from that t-shirt and then I can click on this background rectangle. Let's go ahead and fill it with a deep purple, actually that looks very nice I think. Then I might try something like that light green right there, except you know what? Why don't we try something like Vivid/Muted? Then we can go with a very vibrant green like that one.

I will grab that sort of greenish leaf right there and let's switch it out with the most vivid version of that orange and we come up with these two color schemes. For better or for worse this is the effect I have ended up achieving and that is exactly the kind of thing you can do by once again saving your harmony rules from the Color Guide panel as color groups inside the Swatches panel and then turning around creating your custom color groups inside swatches and then applying those as harmony rules inside Color Guide.

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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