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Illustrator CS4 Beyond the Basics
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Understanding color harmonies


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Illustrator CS4 Beyond the Basics

with Mordy Golding

Video: Understanding color harmonies

We know that we can arrange our swatches inside of Illustrator into groups and these color groups can be edited either in the Swatches panel itself or also working with the color wheel. For example, I can basically create a new print document. I'm going to click OK here. Notice that my swatches already have some color groups defined inside of it. Let's go to this one over here. This one is refereed to as the Brights color. I'm going to simply double-click on a folder here to actually bring up the Edit Colors dialog box, where I see each of the colors that are now defined in that group mapped on to a color wheel.
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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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Illustrator CS4 Beyond the Basics
9h 42m Intermediate Apr 03, 2009

Viewers: in countries Watching now:

Covering a wide range of topics, from advanced masking to chart creation, Illustrator CS4 Beyond the Basics reveals a whole new level of power, creativity, and efficiency with Illustrator. Instructor Mordy Golding explores how to work with Live Paint groups, get the most out of the Live Trace feature, and take advantage of Illustrator’s wide range of effects. He also discusses advanced transformation techniques, powerful 3D functionality, and important color concepts. Exercise files accompany the course.

Topics include:
  • Tracing artwork both automatically and manually
  • Mapping artwork to complex 3D surfaces
  • Using pressure-sensitive distortion tools
  • Recoloring artwork across a document
  • Using Excel data to create charts and graphs
  • Understanding how transparency really works
  • Creating high-quality, press-ready PDFs
  • Building efficient files with graphic styles
Subject:
Design
Software:
Illustrator
Author:
Mordy Golding

Understanding color harmonies

We know that we can arrange our swatches inside of Illustrator into groups and these color groups can be edited either in the Swatches panel itself or also working with the color wheel. For example, I can basically create a new print document. I'm going to click OK here. Notice that my swatches already have some color groups defined inside of it. Let's go to this one over here. This one is refereed to as the Brights color. I'm going to simply double-click on a folder here to actually bring up the Edit Colors dialog box, where I see each of the colors that are now defined in that group mapped on to a color wheel.

Now, I also know that I have the ability to basically move these particular colors around the color wheel itself and then click on this button here to actually create a new color group. So I can use the Edit Colors dialog box to also generate new color groups if I want to as well. Now the color themselves that appear in this particular group are all linked together meaning that the relationship between those colors are kind of locked. If I move one color, the other colors move as well. At a very basic level, the relationship between colors is what we refer to an Illustrator as a harmony. If we understand that the color wheel itself, in this case, uses HSB or Hue, Saturation, and Brightness, I can also think of this relationship as some kind of as some kind of scientific method or scientific way of defining the relationship between colors.

In fact, Illustrator itself has 23 different harmonies that are programmed into the application. Again, these harmonies are simply a way to define the relationship between colors. You can access each of these harmonies by going over here to the top of the Edit Colors dialog box and clicking on this area called Harmony Rules. Let's start with the most basic one here called Complementary. A color's complement is one that appears in the exact opposite side of the color wheel. For example, I see one color right here and then I see its complement, which is on the other side of the wheel. They are tied together by this relationship.

Meaning that whenever I move one of these colors, that one obviously moves the other side of the wheel as well. So let's take a look at some of the other harmonies that Illustrator comes with. I'm going to go back to the pop-up list here and let's choose Complementary 2. This one uses the series of six different colors; three that appear on one side of the wheel and three that appear on the other. Going back to the pop-up here, let's take a look at something here called Analogous colors. These are colors that all have the exact same saturation level. However, they are different in different values of the hue. In fact, something somewhat similar would be Monochromatic colors. Those are colors that all have the exact same hue but vary in saturation.

Going further down this list, you will actually see some of here called Triad. Triads are ones that have the colors basically split at three different parts of the color wheel. Now again, these harmonies themselves are simply scientific ways to determine a relationship between colors. There is no such thing as a good harmony or a bad harmony; it's just a way if you would identify how colors might work. This can be extremely helpful if you try to develop a palette of colors that work well for a specific task. As we'll soon see, working with color harmonies in other areas of Illustrator really allow you as a designer to focus on your designs and get inspired by color.

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