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In this exercise we are going to discuss the world of RGB, that is Red, Green and Blue, the primary colors of light, and these are the primary colors that you want to work with if you are creating an illustration for the Web or you are making something that is going to become part of a screen presentation, or kiosk, or you are going to film. Or you may want to think about employing RGB if your final output destination is an inkjet printer, just because inkjet printers are designed to work with RGB images. So I'm still working in this Tone-Po Shapes.ai file that I've made an absolute mess of, and we haven't done anything meaningful with it. So if yours looks quite messy too, that's just fine. And I'm going to Shift-click on this first color swatch up here in the Control palette. We see the CMYK sliders. I'm going to switch over to RGB just by choosing it from the flyout menu, and then we see the RGB equivalence of this chocolate brown color. And I want to show you something. Everything is basically turned upside down. So for example, I'll go back to CMYK, and let's go ahead and set all these values to zero. So I'll tab between each one of the values, 0000, and notice that we get white, because as you add ink, you darken up the color, as you take away ink, you lighten the color, you make it lighter that is.
Whereas it's exactly the opposite with RGB. If I choose RGB, the values for white are full on Red, Green and Blue, because when you shine red light and green light and blue light at that same surface you get white light. So we go from 0-255 this time around, because we are talking in luminous levels, we go from 0, no light, to 255 full on light. That's just the way it works in the world of luminous levels, and if we are to back off all of these colors, take them all down to 0 like so. Notice that we would get a black so dark that it is darker then strokes right next to it. It's darker than the black strokes that are surrounding the nose and the lips and so on.
All right, so I'm going to dial in a really bright color, let's say full on green, notice how bright that green is right there in the slider bar, and then mid way up on blue. Let's say something like 125, so 255 green, 120 blue, it should look like this color right there in that location midway on the blue slider bar, and instead, it looks murky, it looks like this. what gives. Well, while we are mixing RGB colors, which is fine, you can work with any color sliders you want inside of Illustrator, but we are still working inside of a CMYK document.
So I'm going to go to the file menu. And I'm going to choose Document Color Mode. And notice that we are looking at CMYK. So what Illustrator is doing? Is its clipping this color? So that it fits inside of the CMYK spectrum. If that's how what you want, if you want to create a Web graphic for example, that's the most common kind of RGB graphic, then choose RGB color. Now you might expect that color to all of a sudden brighten, instead nothing changed on screen. This is before, if I press Ctrl+Z or Command Z on the Mac, this is after. If I press Ctrl+Shift+C or command+Shift+C on a Mac, none of the colors changed on screen.
That's very important. We will see how different that is from switching back to CMYK, in just a moment. Then if I Shift- click on this icon once again in order to bring up the Color palette, I'll see completely different color values. Because what Illustrator is saying is " oh, I get it. You really want to work inside the RGB spectrum. You of course didn't want any of your colors to arbitrarily switch inside of your illustration, so here are the real RGB values that are associated with this thing that went from RGB to CMYK and back RGB." It ended up becoming quite a different color. All right, so I'm going to change red to 0, oh, AMPA green is 255 again, dial in 120 for blue, and there is our color. Now that is an un printable color in the world of CMYK, and a case it leaves you to believe wow, RGB can produce much brighter colors than CMYK can, very much true. So there are some colors that you can achieve with CMYK that you can't achieve with RGB, but there are far more colors that you can achieve with RGB, and you can't with CMYK. So RGB is the larger more dynamic spectrum, and to achieve anything like this bright green here, you would need something along the lines of a neon spot color.
Anyway let us see how RGB mix together. If you go full on Cyan and Blue, notice that you get this very bright Cyan color, this is an RGB Cyan, and then you could back off green for more blue colors if you wanted to, and then sort of sky blue colors, and then if you backed off a blue, you would get your sort of sea green colors right here. Let's now take a look at mixing blue with red, blue and red together full on is going to give you an RGB Magenta as you see right there. If you back off of Blue, you are going to get more of these Red colors if you back off of Red you are going to get first sort of purplish color, and then more of a violet color, and then so on. If you want a deep rich violet like what we are seeing in the background here, then you would back off of both slider. So anytime you want to darken something up. You don't have anything resembling a black slider in RGB.
All you do to darken up colors is back off of your numerical value, so take him down. And then finally you can get your Yellows and your Oranges by using Red and Green mixed together. So Red and Green at full volume give you Yellow, and then if you want things like Chartreuse, you should back off of Red. More likely you want something in the Orange neighborhood, so you would back off of Green, which will take you eventually down to a kind of Scarlet color. All right, so what I'm going to do, I'm going to dial in a really bright Magenta, like this one right here, and let's go ahead and fill this guys with Red, Green and Blue by themselves, and let's see how quickly I can do this.
255-0-0 for the first one tab in order to apply that value, and then for this we will do Green which of course is 0- 255-0, press Return key or Enter key here on the PC, and then for Blue we will go at 0-0-255, nice, and then we could change this to white, but I'm even going to worry about it, but why would actually I'll worry about it, because I brought it up white is of course 255, 255, we have already seen that, but that is the maximum color that you can crate inside the world of RGB. Now here is what I want you to watch, let's Shift+Tab away the palettes, move this illustration over to the right a little bit, so that we can see it.
As we go to the file menu, choose Document Color Mode, remember when we went from CMYK to RGB we didn't see any of the colors change on screen, now we might have seen some slight changes depending on the colors that we had inside the illustration, but they are going to be awfully darn slide. Whereas when we go from RGB to CMYK if we later decide after creating this bright vivid illustration here we decide, this is going in the print, and I want to get a sense of how it's going to print, then you will choose CMYK color, and bang! Just like that you are going to mute a lot of the very bright colors inside of your illustration.
So this was before, look at all of them, this was before. Even Red loses some color, Blue loses a ton, and Green just goes dormant. And then of course your Purples, you are losing those as well, and this is after, that was much more diminished colors. But that's the way it is. CMYK is a lesser color space. In the next exercise we are going to escape all this theory, and I'm going to show you some very practical color palette tips and tricks.
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