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Limiting the color guide

From: Illustrator CS4 Beyond the Basics

Video: Limiting the color guide

The Color Guide is a great tool to use to derive color inspiration inside of Illustrator. But I'll tell you that I had somewhat of a problem with working with the Color Guide. And that's because the color that it suggests, in other words, when I click on any color here in the Swatches panel, the colors that are being suggested to me right here are basically colors that exist in the entire color spectrum or in the case, you have Illustrator, anything within that HSB color wheel. Let's say I'm working in a print document. For example, right here, I'm working in the CMYK document. This may be suggesting colors that are RGB in nature that can never be reproduced in CMYK or maybe I'm working on some kind of cloth pattern here that I can only work with a certain range of colors.

Limiting the color guide

The Color Guide is a great tool to use to derive color inspiration inside of Illustrator. But I'll tell you that I had somewhat of a problem with working with the Color Guide. And that's because the color that it suggests, in other words, when I click on any color here in the Swatches panel, the colors that are being suggested to me right here are basically colors that exist in the entire color spectrum or in the case, you have Illustrator, anything within that HSB color wheel. Let's say I'm working in a print document. For example, right here, I'm working in the CMYK document. This may be suggesting colors that are RGB in nature that can never be reproduced in CMYK or maybe I'm working on some kind of cloth pattern here that I can only work with a certain range of colors.

So while in theory it's nice that the Color Guide suggests colors to me, it may be suggesting colors that I may never be able to use. It's almost like walking through a restaurant that has every single type of food appearing on the menu but each time you want to choose one of those items, you are told by the waiter that they don't carry that type of food. So what would really be helpful about the Color Guide is if it suggested colors to me that I knew that I could always use. Well, guess what, you can do just that with the Color Guide panel. In fact, it all lies here in this single, little, tiny icon that appears in the lower left-hand corner of the panel.

This icon allows us to limit the Color Guide to only work within a certain range of specified colors. So like I said before, when I go ahead and I click on a swatch here, the colors that I'm seeing generated here come from the entire HSB color wheel. But if I went out and click on this icon, I can see that I can actually load a specific set of swatches into my Color Guide. I do so in this form of these libraries. For example, let's say, I'm working inside of web design. I know that I only want to work with web-safe colors. By choosing the Web-safe Color panel, now my Color Guide is programmed to only work within that particular palette of colors. You can see over here that right now the word, Web, is displayed. So right now my Color Guide is limited to only working within the web-safe color palette. Now when I choose any of these colors, the colors that are being suggested are all web-safe colors.

Let me give you another example. Say, you working on some kind of project that's working with spot colors. You know that you have to use Pantone colors. Well, you may want to get suggestions of colors to use, but obviously, those colors can only come from the Pantone color library. Again, come down to this icon over here, click on Color Books, choose Pantone maybe Solid Coated here and every single color now that gets suggested by this particular Color Guide will always be Pantone colors. In fact, here is a little secret. Sometimes you may be working with colors and you may find out from a client that you need to process or print that job with just a spot color. I may have actually specified this particular color, which is now made up of 4% magenta and 50% yellow, but how do I find what the nearest Pantone color is for that one color? Well remember, when I click on a swatch here, the Color Guide uses that color as its base color.

So therefore, the first color that appears right here is this actual color, but since I have limited my Color Guide to only work with Pantone colors, this color in the center which is this color right here is the closest Pantone color match to that color. By simply clicking and dragging the swatch now to my Swatches panel, I can now find that the nearest color to that is Pantone 127. Now the Color Guide has a tremendous amount of value to me as a designer. Not only can I have it suggest colors to me that work and that I can be inspired with those colors, I can also feed into the Color Guide the exact range of colors that I want to work with.

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This video is part of

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Illustrator CS4 Beyond the Basics

137 video lessons · 29162 viewers

Mordy Golding
Author

 
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  1. 2m 4s
    1. Welcome
      1m 41s
    2. Using the exercise files
      23s
  2. 33m 20s
    1. Introducing Live Paint
      38s
    2. Drawing in Illustrator
      4m 21s
    3. Creating a Live Paint group
      2m 54s
    4. Using the Live Paint Bucket tool
      3m 17s
    5. Using Live Paint with open paths
      2m 29s
    6. Detecting gaps in Live Paint groups
      4m 17s
    7. Adding paths to a Live Paint group
      3m 41s
    8. Using the Live Paint Selection tool
      5m 44s
    9. Releasing and expanding Live Paint groups
      2m 55s
    10. Understanding how Live Paint groups work
      3m 4s
  3. 49m 36s
    1. Introducing the trace options
      39s
    2. Setting expectations: Live Trace
      2m 26s
    3. Using the Live Trace feature
      1m 51s
    4. Understanding how Live Trace works
      5m 41s
    5. Making raster-based adjustments
      5m 52s
    6. Tracing with fills, strokes, or both
      2m 55s
    7. Making vector-based adjustments
      6m 12s
    8. Adjusting colors in Live Trace
      4m 39s
    9. Using Photoshop with Live Trace
      5m 22s
    10. Releasing and expanding Live Trace artwork
      2m 58s
    11. Saving and exporting Live Trace presets
      2m 36s
    12. Tracing in Batch mode with Adobe Bridge
      1m 35s
    13. Turning an image into mosaic tiles
      2m 28s
    14. Tracing an image manually
      4m 22s
  4. 1h 24m
    1. Introducing 3D
      33s
    2. Setting expectations: 3D in Illustrator
      2m 53s
    3. How fills and strokes affect 3D artwork
      4m 43s
    4. Applying the 3D Extrude & Bevel effect
      6m 25s
    5. Applying a bevel
      5m 40s
    6. Showing the hidden faces of a 3D object
      4m 49s
    7. Applying the 3D Revolve effect
      5m 22s
    8. Visualizing the revolve axis
      3m 5s
    9. Applying the 3D Rotate effect
      1m 35s
    10. Adjusting surface settings
      9m 33s
    11. Understanding the importance of 3D and groups
      3m 24s
    12. Preparing art for mapping
      10m 19s
    13. Mapping artwork to a 3D surface
      14m 21s
    14. Hiding geometry with 3D artwork mapping
      4m 0s
    15. Extending the use of 3D in Illustrator
      8m 7s
  5. 44m 37s
    1. Introducing transformations and effects
      32s
    2. Using the Transform panel
      12m 37s
    3. Repeating transformations
      5m 23s
    4. Using the Transform Each function
      3m 48s
    5. Using the Convert to Shape effects
      5m 49s
    6. Using the Distort & Transform effects
      5m 12s
    7. Using the Path effects
      6m 58s
    8. Using the Pathfinder effects
      4m 18s
  6. 28m 23s
    1. Introducing graphic styles
      33s
    2. Applying graphic styles
      10m 8s
    3. Defining graphic styles
      8m 46s
    4. Previewing graphic styles
      2m 10s
    5. Modifying graphic styles
      3m 30s
    6. Understanding graphic styles for text
      3m 16s
  7. 22m 49s
    1. Introducing advanced masking techniques
      32s
    2. Understanding clipping masks
      7m 15s
    3. Using layer clipping masks
      6m 30s
    4. Creating opacity masks
      8m 32s
  8. 1h 6m
    1. Introducing color
      40s
    2. Considering three types of color swatches
      7m 7s
    3. Managing color groups
      2m 58s
    4. Understanding the HSB color wheel
      3m 57s
    5. Understanding color harmonies
      2m 57s
    6. Using the color guide
      3m 54s
    7. Limiting the color guide
      3m 17s
    8. Modifying color with the Recolor Artwork feature
      6m 25s
    9. Using the Edit tab to adjust color
      5m 44s
    10. Using the Assign tab to replace colors
      8m 37s
    11. Making global color adjustments
      2m 17s
    12. Using Recolor options
      7m 3s
    13. Converting artwork to grayscale
      3m 23s
    14. Simulating artwork on different devices
      3m 18s
    15. Accessing Kuler directly from Illustrator
      2m 7s
    16. Ensuring high contrast for color-blind people
      2m 42s
  9. 53m 19s
    1. Introducing transparency
      40s
    2. Understanding transparency flattening
      2m 31s
    3. Exercising the two rules of transparency flattening
      10m 53s
    4. Understanding complex regions in transparency flattening
      4m 50s
    5. Exploring the transparency flattener settings
      8m 37s
    6. Using transparency flattening and object stacking order
      6m 39s
    7. Using the Flattener Preview panel
      6m 31s
    8. Creating and sharing Transparency Flattener presets
      2m 25s
    9. Working within an EPS workflow
      5m 3s
    10. Understanding the Illustrator and InDesign workflow
      5m 10s
  10. 50m 1s
    1. Introducing prepress and output
      23s
    2. Understanding resolutions
      8m 27s
    3. Discovering RGB and CMYK "gotchas"
      5m 42s
    4. Using Overprints and Overprint Preview
      7m 43s
    5. Understanding "book color" and proofing spot colors
      8m 1s
    6. Collecting vital information with Document Info
      2m 28s
    7. Previewing color separations onscreen
      1m 12s
    8. Making 3D artwork look good
      2m 16s
    9. Seeing white lines and knowing what to do about them
      2m 41s
    10. Creating "bulletproof" press-ready PDF files
      3m 45s
    11. Protecting content with secure PDFs
      2m 48s
    12. Using PDF presets
      2m 47s
    13. Moving forward: The Adobe PDF Print Engine
      1m 48s
  11. 35m 43s
    1. Introducing distortions
      27s
    2. Using the Warp effect
      4m 20s
    3. The Warp effect vs. envelope distortion
      3m 48s
    4. Applying the Make with Warp envelope distortion
      2m 45s
    5. Applying the Make with Mesh envelope distortion
      2m 41s
    6. Applying the Make with Top Object envelope distortion
      3m 45s
    7. Editing envelopes
      5m 0s
    8. Adjusting envelope settings
      4m 2s
    9. Releasing and expanding envelope distortions
      1m 44s
    10. Applying envelope distortions to text
      1m 27s
    11. Using the liquify distortion tools
      3m 5s
    12. Customizing the liquify tools
      2m 39s
  12. 28m 56s
    1. Introducing blends
      32s
    2. Blending two objects
      6m 18s
    3. Adjusting blend options
      5m 47s
    4. Blending anchor points
      5m 36s
    5. Blending three or more objects
      2m 9s
    6. Replacing the spine of a blend
      4m 32s
    7. Reversing the direction of a blend
      2m 15s
    8. Releasing and expanding a blend
      1m 47s
  13. 46m 54s
    1. Introducing charts and graphs
      35s
    2. Setting expectations: Graphs in Illustrator
      3m 19s
    3. Creating a chart
      8m 2s
    4. Importing data
      3m 34s
    5. Formatting data
      5m 1s
    6. Customizing a chart
      10m 21s
    7. Combining chart types
      2m 40s
    8. Creating graph designs
      6m 0s
    9. Styling and updating graphs
      5m 33s
    10. Ungrouping graphs
      1m 49s
  14. 26m 36s
    1. Introducing Gradient Mesh
      23s
    2. Understanding the Gradient Mesh feature
      9m 34s
    3. Using Gradient Mesh to add contoured shading
      6m 14s
    4. Using Gradient Mesh to create photorealistic effects
      10m 25s
  15. 8m 18s
    1. Introducing flare effects
      25s
    2. Drawing a lens flare
      3m 28s
    3. Modifying a lens flare
      1m 27s
    4. Using a mask with lens flares
      2m 58s
  16. 29s
    1. Goodbye
      29s

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