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Using the RGB sliders for screen output

From: Illustrator CS3 One-on-One: The Essentials

Video: Using the RGB sliders for screen output

Now as I was saying, if you're going to be printing an illustration especially if you plan on outputting the document commercially, taking it to a commercial print house, then you want to be working with CMYK colors. However, if you're going to screen, if you're creating an image for the Web, or you're creating it for a screen presentation, or even if you're creating it for film output, then you want to go ahead and create the image as an RGB document and dial in your colors using RGB. I'm going to go ahead and click on this circle that I've been modifying here inside of the Ton-po shapes.ai file that's in the 05_Fill_strokes folder.

Using the RGB sliders for screen output

Now as I was saying, if you're going to be printing an illustration especially if you plan on outputting the document commercially, taking it to a commercial print house, then you want to be working with CMYK colors. However, if you're going to screen, if you're creating an image for the Web, or you're creating it for a screen presentation, or even if you're creating it for film output, then you want to go ahead and create the image as an RGB document and dial in your colors using RGB. I'm going to go ahead and click on this circle that I've been modifying here inside of the Ton-po shapes.ai file that's in the 05_Fill_strokes folder.

And now I'm going to Shift-click once again on this first icon here inside of the Control palette, and I'm going to switch over to RGB colors like so. So another way to dial in colors besides your CMYK primaries is to use RGB. RGB stands for red, green and blue and these are the color primaries of light. So any device that projects color like your monitor for example, or a TV set, or anything along those lines, uses RGB in order to convey colors, and in this world it's basically everything is the opposite. So red is the opposite of cyan, green is the opposite of magenta and blue is the opposite of yellow.

And if you crank up red you're obviously going to get more red. If you add green to the mix, you're going to get yellow. So lot of red plus a lot of green equals yellow and this time we're seeing our values, not as percentages, but as what are called luminance levels. And luminous levels go from 0 for black to 255 for the equivalent of 100% for full on color. So, and I should show you this is what red looks like by itself. So this is full on red, and then this right here is full on green, and then this right here is full on blue. Now you might notice something at this point. I'm going to switch to full on green for a moment so that we can see it. Notice how bright green is here inside of the spectrum bar, inside of this green slider bar, and then notice how dull this green is inside of the shape. What in the world gives? Why did we just dial in this brilliant green here and it looks this dull on screen? Well that's because we're working inside of a CMYK document. The other thing you need to do, if you're going to be creating this document for screen output, for the web, for presentation, and so on, then you want to go to the File menu and you want to go to Document Color Mode and you want to go to RGB Color. Now, you might expect that circle to brighten up immediately. It doesn't and the reason is, I'll go ahead and Shift-click on this icon again. The reason is. Illustrator went ahead and dialed in new values. It said, Oh I get what you're doing, your working inside RGB color now. Well I'll keep your green the way it was, cause I know that you want that, you want that muted green that you had on screen and I'll give you the real value. So these are the real RGB values for it. So note, if I take the R and B values out of the equation and I crank up the G, that's how vivid the color is now. Now it might lead you to believe that you can get more vivid, more highly saturated colors in the RGB space than you can in the CMYK, and you would be right.

They are ultimately different spectrums and there are some colors you can get inside CMYK that you can't get in RGB, but generally speaking RGB is the bigger, more vivid space. And you might say, Well gosh, it's a crying shame that I can't output colors this bright and vivid. Well, yes it is a crying shame, but that's life. That's the way it works. In CMYK you're not going to get this brilliant of a green. You'd have to go to some other color, you probably have to pull up a spot color like a color inside the Pantone color library to get something this vivid. Now we can get a sense of what's really going on with these sliders. So as I say you've got red and red looks like this now, so it's a more vivid red than what we were seeing before. You mix it with green and you've got yellow. If you take a little bit of green out of the equation, you've got orange, and so on and so on. You can fool around with these sliders in order to see all the different color permutations that you can achieve. When you're done however, I suggest you go back to the File menu, choose Document Color Mode and once again choose CMYK Colors. This specific illustration is going to print. At least that's where my document is going so I'm going to go ahead and choose CMYK Color in order to convert those colors for print output, and notice this time that does dim down my color and the reason is cause CMYK couldn't achieve such a vivid color anyway.

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Image for Illustrator CS3 One-on-One: The Essentials
Illustrator CS3 One-on-One: The Essentials

114 video lessons · 37032 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 59m 53s
    1. Welcome to Illustrator CS3 One-on-One: The Essentials
      2m 0s
    2. The unwelcome Welcome screen
      6m 35s
    3. Browsing Illustrator artwork
      4m 53s
    4. Bridge workspaces and favorites
      6m 8s
    5. The anatomy of an illustration
      7m 2s
    6. Examining a layered illustration
      5m 38s
    7. Customizing an illustration
      5m 21s
    8. Creating a new document
      6m 12s
    9. Changing the document setup
      6m 51s
    10. Saving a document
      6m 14s
    11. Closing multiple files
      2m 59s
  2. 1h 3m
    1. Preferences, color settings, and workspaces
      55s
    2. Keyboard Increment and Object Selection
      5m 52s
    3. Scratch Disks and Appearance of Black
      6m 43s
    4. Establishing the best color settings
      5m 35s
    5. Synchronizing color settings in Bridge
      4m 3s
    6. The new CS3 interface
      3m 55s
    7. Organizing the palettes
      9m 4s
    8. Saving your workspace
      2m 33s
    9. Zooming and scrolling
      3m 39s
    10. Using the Zoom tool
      5m 27s
    11. The Navigator palette
      3m 37s
    12. Nudging the screen image
      2m 50s
    13. Scroll wheel tricks
      3m 11s
    14. Cycling between screen modes
      5m 56s
  3. 1h 4m
    1. Why learn Illustrator from a Photoshop guy?
      1m 32s
    2. Introducing layers
      4m 37s
    3. Creating ruler guides
      6m 34s
    4. Creating a custom guide
      3m 28s
    5. Organizing your guides
      5m 50s
    6. Making a tracing template
      3m 34s
    7. Drawing a line segment
      4m 10s
    8. Drawing a continuous arc
      4m 17s
    9. Drawing a looping spiral
      5m 17s
    10. Cutting lines with the Scissors tool
      6m 45s
    11. Aligning and joining points
      7m 58s
    12. Drawing concentric circles
      3m 45s
    13. Cleaning up overlapping segments
      6m 21s
  4. 1h 9m
    1. The anatomy of a shape
      1m 1s
    2. Meet the Tonalpohualli
      4m 8s
    3. Meet the geometric shape tools
      3m 47s
    4. Drawing circles
      6m 36s
    5. Snapping and aligning shapes
      7m 0s
    6. Polygons and stars
      7m 0s
    7. Rectangles and rounded rectangles
      6m 16s
    8. The amazing constraint axes
      6m 30s
    9. Grouping a flipping
      7m 37s
    10. Combining simple shapes into complex ones
      6m 36s
    11. Drawing with Scissors and Join
      6m 3s
    12. Cutting and connecting in Illustrator CS3
      3m 49s
    13. Tilde key goofiness
      2m 55s
  5. 1h 22m
    1. Three simple ingredients, one complex result
      33s
    2. Introducing Fill and Stroke
      3m 42s
    3. Accessing color libraries and sliders
      7m 8s
    4. Using the CMYK sliders for print output
      5m 6s
    5. Using the RGB sliders for screen output
      4m 39s
    6. Color palette tips and tricks
      4m 46s
    7. Creating and saving color swatches
      4m 14s
    8. Trapping gaps with rich blacks
      7m 58s
    9. Filling and stacking shapes
      5m 17s
    10. Dragging and dropping swatches
      6m 16s
    11. Paste in Back, Paste in Front
      5m 43s
    12. Filling shapes inside groups
      5m 16s
    13. Pasting between layers
      3m 34s
    14. Joins, caps, and dashes
      5m 50s
    15. Fixing strokes and isolating your edits
      7m 35s
    16. Creating a pattern fill
      4m 38s
  6. 1h 22m
    1. The power of transformations
      1m 25s
    2. From primitives to polished art
      4m 4s
    3. Clone and Duplicate
      6m 15s
    4. Moving by the numbers
      4m 16s
    5. Using the Reshape tool
      6m 30s
    6. Modifying, aligning, and uniting paths
      7m 0s
    7. Using the Offset Path command
      4m 25s
    8. Styling and eyedropping
      4m 11s
    9. The wonders of the translucent group
      5m 37s
    10. Making a black-and-white template
      3m 48s
    11. Scaling and cloning shapes
      4m 26s
    12. Enlarging and stacking shapes
      5m 6s
    13. Positioning the origin point
      6m 50s
    14. Using the Rotate and Reflect tools
      5m 16s
    15. Series rotation (aka power duplication)
      4m 3s
    16. Rotating by the numbers
      5m 15s
    17. Rotating repeating pattern fills
      4m 32s
  7. 1h 4m
    1. Points are boys, control handles are girls
      2m 16s
    2. Tracing a scanned image or photograph
      4m 34s
    3. Placing an image as a template
      5m 32s
    4. Drawing a straight-sided path
      5m 36s
    5. Moving, adding, and deleting points
      5m 51s
    6. Drawing spline curves with Round Corners
      7m 56s
    7. Smooth points and Bézier curves
      8m 12s
    8. Defining a cusp between two curves
      4m 37s
    9. Adjusting handles and converting points
      7m 4s
    10. Cutting, separating, and closing paths
      7m 31s
    11. Eyedropping template colors
      5m 11s
  8. 1h 28m
    1. Paths never rest
      1m 42s
    2. Meet Uzz, Cloying Corporate Mascot
      2m 22s
    3. Exploring the Appearance palette
      5m 37s
    4. Snip and Spin
      7m 28s
    5. Adding a center point
      3m 57s
    6. Keeping shape intersections
      3m 8s
    7. Lifting fills and selecting through shapes
      4m 14s
    8. Saving and recalling selections
      5m 18s
    9. Rotating is a circular operation
      7m 35s
    10. Lassoing and scaling points
      6m 8s
    11. Using the Transform Each command
      5m 9s
    12. Using the Magic Wand tool
      6m 46s
    13. Converting paths and text to rich black
      2m 27s
    14. The overwrought lace pattern
      3m 21s
    15. Eyedropping Live Effects
      5m 39s
    16. Merging strokes with a compound path
      6m 32s
    17. Selecting and scaling independent segments
      6m 30s
    18. Pucker & Bloat
      4m 49s
  9. 1m 59s
    1. See ya for now
      1m 59s

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