Illustrator CS3 One-on-One: Beyond the Basics
Illustration by John Hersey

Using the Hue Shift option


Illustrator CS3 One-on-One: Beyond the Basics

with Deke McClelland

Video: Using the Hue Shift option

In this final exercise of the chapter, I'm going to show you what's going on with that Hue Shift option, how you can actually manage the process, because it can't be a little bit chaotic. We're working inside of a catch-up document called Now for Hue That's found inside the 14_Brush_Factors folder. Both Brush Type and Circus Arts, both of these brushes are expressed as grayscale artwork as you can see here inside the Brushes palette so there is Circus Arts, there is Brush Type, they're both grays, similar shades of gray as well.
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  1. 1h 36m
    1. Welcome to Illustrator CS3 One-on-One: Beyond the Basics
      2m 7s
    2. The Pathfinder palette
      3m 22s
    3. Editing a compound shape
      3m 43s
    4. Adding a subpath to a compound shape
      4m 16s
    5. Expanding a compound shape
      5m 3s
    6. Assembling your primitives
      5m 18s
    7. Uniting paths permanently
      4m 42s
    8. Subtract vs. Minus Back
      1m 49s
    9. Working with compound paths
      5m 33s
    10. When in doubt, divide
      5m 3s
    11. Divide and Unite
      3m 29s
    12. Open path pitfalls
      7m 38s
    13. Strokes bad. Fills good
      4m 8s
    14. Advanced Divide and Unite
      8m 49s
    15. Using the Crop op
      6m 38s
    16. Expert Divide and Unite
      8m 56s
    17. ''Ghosting'' shapes with Fill Opacity
      6m 14s
    18. Exclude, Intersect, and the rest
      9m 33s
  2. 1h 8m
    1. To bend and otherwise distort
      1m 31s
    2. And now, a public service announcement
      9m 29s
    3. Using the Warp tool
      3m 58s
    4. Changing the Liquify brush settings
      5m 10s
    5. Liquify tool overview
      4m 27s
    6. Creating a crystallized starburst
      6m 57s
    7. Liquifying text
      5m 0s
    8. Applying an envelope-style distortion
      5m 22s
    9. Editing an envelope
      5m 11s
    10. Editing envelope-distorted text
      7m 30s
    11. Copying a distortion to another object
      7m 11s
    12. Liquifying a Live Trace object
      7m 9s
  3. 1h 20m
    1. Next-generation text handling
    2. Placing a text document
      5m 6s
    3. Creating a new text block
      5m 57s
    4. Working with point text
      4m 17s
    5. Selecting the perfect typeface
      4m 12s
    6. Scaling and positioning type
      6m 6s
    7. Leading, tracking, and lots of shortcuts
      5m 13s
    8. Eyedropping and optical kerning
      5m 54s
    9. Flowing text from one block to another
      2m 50s
    10. Rendering text in graphite
      5m 30s
    11. Advanced formatting and bullets
      5m 0s
    12. Setting Area Type options
      3m 2s
    13. Justification and the Every-line Composer
      3m 48s
    14. OpenType and ligatures
      6m 37s
    15. Fractions, numerals, and ordinals
      5m 30s
    16. Swashes and small caps
      5m 25s
    17. The fantastic Glyphs palette
      5m 15s
  4. 1h 18m
    1. Continuously flowing colors
      1m 14s
    2. Applying a gradient
      4m 12s
    3. Dragging and dropping color swatches
      1m 50s
    4. Using the Gradient palette
      3m 21s
    5. Adding and editing color stops
      6m 9s
    6. The amazing Gradient tool
      2m 51s
    7. Working with a radial gradient
      3m 55s
    8. Replacing color stops with the Eyedropper
      3m 18s
    9. Gradient strokes (a workaround)
      5m 47s
    10. Gradient text (another workaround)
      5m 2s
    11. Creating a Gradient Mesh
      4m 20s
    12. Expanding a gradient to a Gradient Mesh
      8m 44s
    13. Editing a Gradient Mesh
      6m 4s
    14. Coloring points and patches with the Eyedropper
      5m 42s
    15. A cool mesh editing technique
      5m 9s
    16. Lassoing points and warping the mesh
      7m 25s
    17. Blending paths with a Gradient Mesh
      2m 59s
  5. 53m 55s
    1. The first of the dynamic functions
      1m 42s
    2. Introducing blends
      2m 37s
    3. Making a blend
      4m 35s
    4. Fixing problem blends
      5m 26s
    5. Cloning and coloring a blended path
      3m 49s
    6. Creating a mask
      3m 41s
    7. Blending between translucent shapes
      5m 0s
    8. Blending along a curve
      5m 21s
    9. Adjusting the speed of a blend
      1m 36s
    10. Filling and stroking a mask
      4m 22s
    11. Creating a compound clipping mask
      6m 51s
    12. Nesting one clipping mask inside another
      5m 56s
    13. Ghosting nested masks and blends
      2m 59s
  6. 1h 36m
    1. Graphics along a path
      1m 57s
    2. The Paintbrush tool and the Brushes palette
      3m 58s
    3. Pressure sensitivity
      4m 40s
    4. Editing a calligraphic brush
      5m 55s
    5. Repainting and smoothing paths
      4m 8s
    6. Making the paintbrush behave
      2m 49s
    7. Illustrator's two eraser tools
      5m 23s
    8. Editing your vector painting
      4m 39s
    9. Sizing an art brush to fit a path
      6m 34s
    10. Snipping a brushed path with the scissors
      5m 20s
    11. Colorizing an art brush
      4m 38s
    12. Applying a live art brush effect
      5m 22s
    13. Creating a custom art brush
      6m 57s
    14. Creating type on a path
      6m 24s
    15. Adjusting type on a path
      5m 56s
    16. Type on a path vs. text as an art brush
      6m 22s
    17. Creating a text art brush
      6m 27s
    18. Applying text art brushes
      3m 32s
    19. Using the Hue Shift option
      5m 8s
  7. 1h 16m
    1. Transparency is your extremely powerful friend
      1m 47s
    2. Assembling a photo illustration
      6m 57s
    3. Assigning opacity to an Appearance attribute
      5m 19s
    4. Creating a knockout group
      4m 8s
    5. Applying an opacity mask
      7m 19s
    6. Opacity mask tips and tricks
      3m 24s
    7. Blending between groups
      7m 5s
    8. Editing an existing opacity mask
      3m 34s
    9. Creating a gradient opacity mask
      2m 55s
    10. The Multiply blend mode
      5m 4s
    11. The Screen blend mode
      2m 4s
    12. The Color and Luminosity modes
      5m 56s
    13. Screen and super-rich black
      4m 41s
    14. Masking an entire layer
      3m 18s
    15. Becoming a transparency detective
      3m 11s
    16. Working with the Flattener Preview
      10m 0s
  8. 1h 35m
    1. Commands inspire pandemonium
      1m 33s
    2. Introducing Live Effects
      5m 28s
    3. Assigning predefined graphic styles
      5m 9s
    4. Riffing on a graphic style
      3m 18s
    5. Effects vs. filters
      4m 18s
    6. Stripping and adding attributes
      4m 44s
    7. Applying the Scribble effect
      4m 42s
    8. Duplicating and editing an effect
      3m 57s
    9. Moving an effect in the Appearance palette
      4m 18s
    10. Saving your own custom graphic style
      5m 9s
    11. Using the live Transform effect
      5m 10s
    12. Applying a second instance of Transform
      4m 15s
    13. Adding and adjusting Transform effects
      4m 45s
    14. Registering one stroke around another
      2m 36s
    15. Working with closely knit lines
      4m 34s
    16. Varying the transformation origin
      6m 58s
    17. Applying a Feather effect
      3m 30s
    18. Adding a soft microfill
      3m 5s
    19. Copying and pasting a graphic style
      5m 16s
    20. Making the frame: ZigZag and Pucker
      6m 41s
    21. ZigZag, Tweak, and Bloat
      5m 43s
  9. 1m 43s
    1. Goodbye for now
      1m 43s

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Watch the Online Video Course Illustrator CS3 One-on-One: Beyond the Basics
10h 47m Intermediate Jun 01, 2007

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After learning the essentials of how to draw and reshape paths in Adobe Illustrator CS3, the fun really begins. In Illustrator CS3 One-on-One: Beyond the Basics, computer graphics expert Deke McClelland explores some of Illustrator's most powerful and least known features. He covers merging simple shapes to create complex ones with the Pathfinder palette and distorting shapes to create eye-catching effects using envelopes and the Liquify tool. Deke also teaches users how to paint fluid, multicolor fills with gradient mesh, blends, and masks, as well as how to create versatile type effects using the Type tool and the vector-based brushes. The training ends with two of the deepest and most useful features in all of Illustrator--transparency and live effects. Exercise files accompany the tutorial.

Deke McClelland

Using the Hue Shift option

In this final exercise of the chapter, I'm going to show you what's going on with that Hue Shift option, how you can actually manage the process, because it can't be a little bit chaotic. We're working inside of a catch-up document called Now for Hue That's found inside the 14_Brush_Factors folder. Both Brush Type and Circus Arts, both of these brushes are expressed as grayscale artwork as you can see here inside the Brushes palette so there is Circus Arts, there is Brush Type, they're both grays, similar shades of gray as well.

And yet, when they are applied to exactly the same color paths, so both of these paths are stroked with a common color, which is 100% magenta and 75% yellow. Both of them are set to Hue Shift but somehow they end up becoming completely different colors as a result and Hue Shift is supposedly finding the average hue inside the document and applying that to the brush stroke, but it must be doing something a little more complicated than that because we end up with these very different results. Well, Hue Shift and its defense is really designed to accommodate colored brushes.

So when you want to take a colored brush and go ahead and shift its hues to a different color scheme according to the stroke color. So let's go ahead and see how that works. I'm going to take these top two lines here that are both stroked with brush type and I'm going to release their brushes by going to this icon down here at the bottom of the Brushes palette and clicking on it, the one that says Remove Brush Stroke and that just returns the strokes to their original appearance and the reason I'm doing this is I just want a lot of clearance for the brush that I'm about to apply. In fact, I'm going to grab this stoke right there and get rid of it.

All right, so we just have this line here to work with. Now, note here inside the Brushes palette that we have a brush called Art. It's an Art Brush that's called Art Brush. It's the word art of course. Go ahead and click on it to apply that text to the line. Its way too shallow so let's go ahead and make the type taller by changing the line Weight here inside the Stroke palette to 3 points, looks great! All right, now by default, I have already set this Art Brush to Hue Shift and if you were to click on Options of Selected Object, you would see that it is indeed set to Hue Shift, which goes ahead and shifts the hues of the letters.

As you can see, the hue is an ingredient in color by the way, Hue + Saturation = Color, Saturation being the intensity of the color. For all intents and purposes what we're concerned, it really is the color of the characters. So what's happening here is it's going ahead and shifting the purple of the A to blue and the orange of the R to red and this sort of teal of the T to more of an olive green. Now if you wanted to work with a different colorization option, you can try something else. Now Tints and Shades is going to color, the text uniformly and so is tints.

So you're going to lose all those differently colored letters going on and if you don't want to recolor the letters, you would just say none. But we are working with Hue and Shift. So how do we control exactly how the colors are shifting around, how the colors map as they say. Well, cancel out of here. You can change the Hue Shift key color by double-clicking on the Art Brush itself. Then notice that the key color down here at the bottom of the dialog box is set to orange. Now what does that mean? That means that orange, the orange character, which is R, is going to shift to match the color of the stroke.

So orange maps to red, because the stroke is set in red, and the other characters rotate to some other hue accordingly. So let's say that from orange to red is about a 300 rotation on the big color wheel, imagine a color wheel divided into 3600, why then if we're rotating purple 300, we get blue, and if we're rotating this shade of green 300, we get this shade of green. That's basically what's going on. How do you select a different key color? Well, you grab this little eyedropper here. Don't click outside of the dialog box.

You click inside of the dialog box. So you would click on purple, for example, and that will now map purple to red and all the colors will shift accordingly. Well, why aren't we seeing that happen on screen, after all the Preview checkbox is turned on? Because this is not a previewable option. Direction and the Colorization down here are not previewable. You have to go ahead and click OK in order to update the strokes and then you have to click Apply to see how the update occurs and now you can see the purple has become red and the other colors have shifted accordingly.

If you don't like that, if you want to shift T instead, double-click on your brush once again, grab your eyedropper and click on the T. You don't click on the color swatch by the way. That doesn't do you any good. You click on the T in order to switch it to green, then you click OK and then you click Apply and then you see your transformation happen on screen. That's what going on with Hue Shift. For better or for worse, you might find the hues for it, you may never, but now at least you know. All right! That's it for vector painting here inside of Illustrator. In the next chapter, we're going to check out the wide world of transparency.

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