Illustrator CS4 One-on-One: Advanced
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Loading the CS4 color settings in Illustrator


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Illustrator CS4 One-on-One: Advanced

with Deke McClelland

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Video: Loading the CS4 color settings in Illustrator

All right, now that you've gone ahead and installed this Best Workflow CS4.csf file to the proper location, as documented in the previous exercise, I want you to switch over to Illustrator and we are now going to switch Illustrator to that Color Settings file. Now you can do this in one or two ways, you can either establish a color settings directly inside of Illustrator or if you own any skew of the full Creative Suite, multiple application Creative Suite, then you can establish Color Settings from the Bridge if you like. All right, so I'll show you how to do both.
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  1. 28m 41s
    1. Welcome
      1m 7s
    2. Installing the dekeKeys keyboard shortcuts
      8m 59s
    3. Resetting the Function keys on a Mac
      4m 47s
    4. Installing the CS4 color settings
      4m 20s
    5. Loading the CS4 color settings in Illustrator
      6m 3s
    6. Loading the CS4 color settings in Bridge CS4
      3m 25s
  2. 1h 53m
    1. From the simple emerges the complex
      42s
    2. Introducing Pathfinder operations
      4m 17s
    3. Editing a compound shape
      4m 39s
    4. Adding to a compound shape
      3m 11s
    5. Inserting a subpath into a compound shape
      3m 56s
    6. Expanding a compound shape
      4m 53s
    7. Assembling primitives
      4m 42s
    8. Preparing a template in Photoshop
      7m 0s
    9. Uniting paths permanently
      5m 40s
    10. Minus Front vs. Minus Back
      1m 55s
    11. Working with compound paths
      6m 49s
    12. When in doubt, divide
      3m 54s
    13. Divide and Unite
      3m 2s
    14. Open path pitfalls
      5m 35s
    15. Strokes bad, fills good
      4m 38s
    16. Advanced Divide and Unite
      8m 59s
    17. Using the Crop operation
      8m 30s
    18. Expert Divide and Unite
      8m 45s
    19. "Ghosting" shapes with Fill Opacity
      6m 45s
    20. Anticipating and troubleshooting
      8m 16s
    21. Exclude and Intersect
      7m 24s
  3. 44m 59s
    1. Familiar one moment, different the next
      1m 3s
    2. Snapping to anchor points
      5m 41s
    3. Aligning a group to the artboard
      3m 34s
    4. Distributing objects on the artboard
      4m 16s
    5. Setting the key object
      4m 54s
    6. Distributing objects by space
      3m 6s
    7. Distributing objects by selections
      3m 19s
    8. Aligning point text
      6m 7s
    9. Aligning live text vs. using outlines
      4m 58s
    10. Aligning key letters
      3m 35s
    11. Aligning to key objects
      4m 26s
  4. 1h 4m
    1. CS4’s gradient renaissance
      1m 7s
    2. Applying a gradient
      6m 0s
    3. Dragging and dropping color swatches
      2m 55s
    4. Using the Gradient palette
      6m 27s
    5. Designing a shaded gradient
      5m 9s
    6. Saving a gradient swatch and adding a texture
      4m 2s
    7. Introducing the new Gradient tool
      4m 39s
    8. Editing color stops inside a shape
      3m 26s
    9. Setting multiple gradients to the same angle
      5m 0s
    10. Adding and adjusting radial gradients
      7m 20s
    11. Making a transparent gradient
      7m 6s
    12. Adding drop shadows (a kind of gradient)
      6m 28s
    13. Blends vs. blend modes
      4m 38s
  5. 1h 17m
    1. Creating freeform color flows
      1m 0s
    2. The power of CS4's transparent gradients
      10m 25s
    3. Creating a gradient mesh
      4m 30s
    4. Expanding a gradient to a gradient mesh
      7m 40s
    5. Adding and deleting rows and columns
      6m 13s
    6. Selecting and coloring points
      6m 5s
    7. Assigning colors with the Eyedropper tool
      7m 42s
    8. Cool mesh editing techniques
      3m 56s
    9. Warping and puckering a mesh
      7m 24s
    10. Applying precise finishing touches
      5m 48s
    11. Gradient strokes
      9m 45s
    12. Gradient text
      6m 50s
  6. 55m 35s
    1. The first of the dynamic functions
      1m 4s
    2. Making a blend automatically
      5m 48s
    3. Fixing problem blends
      3m 56s
    4. Making a blend with the Blend tool
      3m 6s
    5. Cloning and coloring a blended path
      4m 37s
    6. Creating a mask
      3m 53s
    7. Blending between translucent shapes
      5m 30s
    8. Blending along a curve
      4m 34s
    9. Adjusting the speed of a blend
      2m 58s
    10. Filling and stroking a mask
      4m 36s
    11. Creating a compound clipping mask
      6m 3s
    12. Nesting one clipping mask inside another
      6m 7s
    13. Ghosting nested masks and blends
      3m 23s
  7. 1h 13m
    1. Patterns that repeat forever and ever
      51s
    2. Introducing tile patterns
      6m 36s
    3. Beginning a core design
      5m 6s
    4. Building an interlocking element
      6m 25s
    5. Achieving precise radial symmetry
      4m 46s
    6. Rotating duplicates around a common center
      3m 10s
    7. Determining how a pattern repeats
      9m 54s
    8. Coloring the core objects
      5m 0s
    9. Identifying the rectangular tile
      7m 14s
    10. Saving tile patterns
      7m 19s
    11. Applying tile patterns to a shape
      3m 25s
    12. Protecting patterns from transformations
      7m 36s
    13. Moving patterns without paths
      5m 51s
  8. 1h 19m
    1. Illustrator gets natural
      1m 15s
    2. Introducing the vector painting tools
      3m 16s
    3. Calligraphic brush options
      4m 3s
    4. Pressure sensitivity
      5m 17s
    5. Editing a calligraphic brush
      5m 53s
    6. Repainting and smoothing paths
      5m 30s
    7. Making the paintbrush behave
      6m 16s
    8. Erasing stroked paths
      3m 17s
    9. Painting with the new Blob brush
      6m 24s
    10. Refining filled paths with the Eraser
      4m 14s
    11. Painting independent paths
      3m 53s
    12. The Selection Limits Merge options
      3m 20s
    13. Applying and scaling an art brush
      6m 23s
    14. Snipping a brushed path
      4m 55s
    15. Colorizing an art brush
      4m 9s
    16. Heaping a stroke on an art brush effect
      4m 32s
    17. Creating a custom art brush
      6m 51s
  9. 1h 44m
    1. The computer art world’s dynamic duo
      1m 7s
    2. Copying and pasting pixels from Photoshop
      7m 21s
    3. Linking is efficient, embedding is not
      2m 47s
    4. Editing an image in Illustrator
      7m 30s
    5. Filtering an image in Photoshop
      6m 34s
    6. Adding a filter mask in Photoshop
      6m 25s
    7. Masking a woman from the background
      3m 49s
    8. Creating a sepia effect
      6m 37s
    9. Adding a second gradient map layer
      2m 13s
    10. Achieving a graphic effect with Levels
      8m 10s
    11. Preparing an image for use in Illustrator
      5m 46s
    12. The importance of image resolution
      9m 40s
    13. Placing and linking images
      4m 43s
    14. Managing linked images
      6m 18s
    15. Integrating an image into a design
      5m 12s
    16. A better way to wrap text
      7m 28s
    17. Previewing the trim size
      4m 25s
    18. Layer comps and editable text
      8m 42s
  10. 2h 11m
    1. Transparency is safe and fun
      1m 27s
    2. Introducing the translucent composition
      4m 39s
    3. Assigning opacity to an Appearance attribute
      3m 41s
    4. Creating a knockout group
      5m 7s
    5. Defining an opacity mask
      7m 15s
    6. Using the Clip checkbox
      2m 41s
    7. Opacity mask tips and tricks
      3m 20s
    8. The Multiply blend mode
      6m 8s
    9. Adding to an existing opacity mask
      7m 53s
    10. Blending between parallel groups
      7m 27s
    11. Creating a gradient opacity mask
      4m 54s
    12. Employing an opposing gradient mask
      7m 57s
    13. Combining Multiply and Screen
      3m 49s
    14. Blend mode roundup
      5m 24s
    15. Mixing blend modes inside a single path
      3m 48s
    16. Blend mode and transparent gradient
      3m 49s
    17. Masking an entire layer
      7m 0s
    18. Combining Screen with 100K Black
      7m 43s
    19. Knocking out a drop shadow
      5m 18s
    20. But will it print?
      3m 8s
    21. Working with the Flattener preview
      8m 44s
    22. Rasterizing an illustration in Photoshop
      9m 16s
    23. Super-rich blacks and raster effects
      3m 35s
    24. Exporting TIFF artwork from Illustrator
      7m 48s
  11. 58s
    1. Until next time
      58s

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Watch the Online Video Course Illustrator CS4 One-on-One: Advanced
12h 54m Intermediate Jul 09, 2009

Viewers: in countries Watching now:

Knowing the fundamentals of drawing and reshaping paths is only part of the story. In Illustrator CS4 One-on-One: Advanced, the second of the popular One-on-One series, computer graphics expert Deke McClelland covers some of Illustrator's most powerful and least understood features. He shows how to merge simple shapes to create complex ones with the Pathfinder palette, as well as align paths to create schematic illustrations. Deke explains how to paint fluid, multicolor fills with blends, and the new and improved gradient tool. He explores seamlessly repeating tile patterns, blobs and brushes, and imported images. He also dives into one of the deepest features in all of Illustrator, transparency. Exercise files accompany the tutorial.

Recommended prerequisite: Illustrator CS4 One-on-One: Fundamentals.

Download Deke's customized keyboard layouts and color settings for Illustrator from the Exercise Files tab.

Topics include:
  • Working with compound shapes in the Pathfinder palette
  • Ghosting shapes with Fill Opacity
  • Understanding gradients and the gradient tools
  • Cloning and coloring a blended path
  • Saving tile patterns and applying them to a shape
  • Importing and linking images from other applications
Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

Loading the CS4 color settings in Illustrator

All right, now that you've gone ahead and installed this Best Workflow CS4.csf file to the proper location, as documented in the previous exercise, I want you to switch over to Illustrator and we are now going to switch Illustrator to that Color Settings file. Now you can do this in one or two ways, you can either establish a color settings directly inside of Illustrator or if you own any skew of the full Creative Suite, multiple application Creative Suite, then you can establish Color Settings from the Bridge if you like. All right, so I'll show you how to do both.

So let's say you are working just in Illustrator; you don't have any of the other Creative Suite applications. Then you go up to the Edit menu and you choose the Color Settings command or you can press Ctrl+Shift+K. That's going to be Command+Shift+K on the Mac. And that will bring up this Color Settings dialog box right here. Now you'll see that your color settings are synchronized most likely, which might give you hope that everything is good, because what that means is the color settings are synchronized across all of the Creative Suite for applications, which is theoretically a great thing except for the default settings or North American General Purpose 2, which means that your RGB working space is sRGB blah, blah, blah.

Now the problem with sRGB is it's a consumer space. It's a worse case scenario RGB monitor color space is the idea, and it's great for consumers. It's really awesome. It means that your monitor is getting along with your scanner, which is getting along with your digital camera, all of which you bought for a hundred bucks or something along those lines. But you are not a consumer. See, that's the problem. You are a high end, discriminating, creative professional and you need something better than rotten old sRGB.

And the only reason you can stick with sRGB is if you are exclusively creating artwork for the web and nothing else. It's a great web space but if you are using the Save for Web and Devices command that I recommend in the fundamentals portion of the series, then you are going to sRGB anyway. So you're better off if you are doing any printing whatsoever, if just once a year you print to your Inkjet printer, that's all the printing you do, you are still better off switching out this sRGB space and switching out some other settings as well. So I'll tell you what we are going to do.

We are going to turn on the Advanced Mode checkbox which is going to force a redisplay of the dialog box that's much taller as we can see right here. And then you are going to go up to the Settings pop-up menu right there. You are going to click on it and you are going to choose Best Workflow CS4. Now by the way North American General Purpose 2, that's in North America. If you are in some other country, you may see some other default setting. But if it shows sRGB as your RGB space, you want to get away from it. So we are going to go with Best Workflow CS4, you should see it if you installed the Best Workflow CS4 settings in the previous exercise. If you don't see it, you may need to restart the Illustrator but that should not be necessary.

Anyway, we'll go ahead and choose Best Workflow CS4 and you can see that that's gone ahead and switch the RGB space over to Adobe RGB (1998), which is a great general purpose, high end professional space to be working in, across Illustrator, Photoshop, and other applications that use RGB. Also by the way, you should see that all the checkboxes are turned off right here and if you've selected Advanced Mode, you'll see that we've got Use Black Point Compensation turned on and Intent set to Perceptual. Now this is a little bit controversial right there, having the Intent set to Perceptual. The idea is you're working with either continuous tone images or lots of gradients, gradient meshes, that kind of thing and what you care about is not exactly the specific colors inside of those RGB images, for example, when you convert them over to CMYK for prepress.

But you are more concerned with the transitions between colors. You want your gradients to look nice and even without a lot of banding for example. Or you want your continuous tone images to look nice and even, your photographs, that kind of thing. That's where perceptual comes in handy. Now if you care more about the exact specific colors and you're less concerned about banding and stair stepping and that kind of thing inside gradients, those sorts of artifacts. Then you would switch from Perceptual over to Relative Colorimetric, so you could do that as well. You don't want Absolute Colorimetric and you definitely do not want Saturation unless you are creating a bunch of pie charts.

Relative Colorimetric is your better way of working and if you want to find out more, by the way, you can select one of these options and then you are going to see a description down here at the bottom of the dialog box. When you hover over that option as you are seeing me do right now. All right, anyway, I'm going to switch back to Perceptual because that's what I'm recommending, especially if you are doing any Photoshop work whatsoever. You might also by the way, you want to change CMYK from Preserve Numbers (Ignore Linked Profiles) to Preserve Embedded Profiles. That's the way I'm working and then you won't see that little weird icon right next to CMYK there.

You will, however, see this Unsynchronized. Your color settings are now unsynchronized across the various Creative Suite applications. You are not concerned about that if you're only working with Illustrator, but if you do have other Creative Suite applications and you have the full Creative Suite installed, very important. Then you can synchronize the Color Settings inside the Bridge and we are going to do that in just a moment. First though, I want to note CMYK is set to U.S. Web Coated (SWOP) v2, according to my best workflow settings. You may want to change it to something else depending on if you are working in a different country and you don't want to work with U.S. Web Coated (SWOP) or you may have some custom settings that were provided to you by your commercial printer, in which case you would go ahead and load those instead. But I'm going to go ahead and stick with U.S. Web Coated (SWOP) v2.

All right, anyway, so we have now have Illustrator setup the way we need it to be. Click OK in order to accept those settings. If you have the entire Creative Suite, then what you do is just switch over to the Bridge and I'm going to show you how that works in the next exercise.

Find answers to the most frequently asked questions about Illustrator CS4 One-on-One: Advanced .


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Q: In the lesson on pressure sensitivity, exactly what kind of Wacom tablet is the instructor using?
A: The instructor is using a Wacom Intuos 3 tablet
 
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