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Illustrator CS4 Beyond the Basics
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Using Recolor options


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Illustrator CS4 Beyond the Basics

with Mordy Golding

Video: Using Recolor options

When using the Recolor Artwork feature inside of Illustrator to modify the colors in your document there are whole bunch of these little different buttons that exist in that dialog box and sometimes a little button can make a whole big of a difference with what your output is going to be. So with that in mind, I want to show you some of the hidden features that you might find in a Recolor Artwork dialog box. Now, I have this document here called floral_design_3 and if you look at my Swatches panel, you will see that I have a group here that I have created has one Pantone color inside of it, its Pantone Purple C and my goal here is going to be to actually convert this entire document with all of its colors to print as a one color job on that purple spot color.
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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

Using Recolor options

When using the Recolor Artwork feature inside of Illustrator to modify the colors in your document there are whole bunch of these little different buttons that exist in that dialog box and sometimes a little button can make a whole big of a difference with what your output is going to be. So with that in mind, I want to show you some of the hidden features that you might find in a Recolor Artwork dialog box. Now, I have this document here called floral_design_3 and if you look at my Swatches panel, you will see that I have a group here that I have created has one Pantone color inside of it, its Pantone Purple C and my goal here is going to be to actually convert this entire document with all of its colors to print as a one color job on that purple spot color.

So, I'll close the Swatches panel, I'll hit Command+A or Ctrl+A on Windows to actually select all my artwork and I'll click on the Recolor Artwork button to open up the Recolor Artwork dialog box. Now, there is a button here that right now is called Color Reduction Options, now I obviously want to take all of these seven colors and reduce them to only use the one Pantone color. So before we actually perform the reduction, I'm going to go over here and click on this button to open up this Recolor Options dialog box. Now, there are some Presets here Color library, 1 color job, 2 color job, if I were you I would just ignore those particular settings because we want to define exactly what a 1 color or 2 color job means by some of the settings that we are going to discuss right now. For example, if I want a one-color job, I can just go over here and choose, just type in 1 value for that particular color. This value right here by the way, it's the same as this value that exists over here. But when we think about the colors here and the number that we actually choose, we also have to pay attention to this area here called Preserve.

Now, the default setting in Illustrator is actually to Preserve both Black and also White. So if I move this even further over here to the left, you can see exactly what's happening here. Both Black and White will remain existing in my document and they won't change at all. There are no arrows here. Since that's a default setting by choosing one color over here, I'm really still ending up with a two-color job because black still exists in my document. In fact if you were printing to workflows that also print white as a color, for example, maybe packaging or screen printing. I would really be ending up here with the three-color job; I have these colors plus white and black.

Now, most likely I want my white to be protected. If there are areas that are knocking out, I want those areas to remain knocked out. So when I'm thinking about reducing the number of my colors in a document to just be one color, I'll probably want to come here and uncheck the Preserve Black option. So as such you can now see that all my colors are now being reduced to a single color. Now, in this process when Illustrator is defining what that new color will be, I have the ability to limit that color to a particular library. Now in this case, I'm reducing all my colors to one color which I'm going specify so I don't need this option, but there may be times when I have, let's say, 300 colors in my document then I'll reduce them to 20 colors that all are within a certain particular library. This particular feature could come in handy. But I'll go ahead and I'll leave this set to None right now. And again if I was working with more than just one color, this setting might also come into play, the Sort option. By default Illustrator uses something called Hue - forward.

As we know when Illustrator assigns new colors to a document it doesn't really look at the colors themselves and tries to match with the best fit. It simply takes all the colors that exist inside of your group or the colors that you are using as replacement and puts that in order of their Hue, either forward or backward or you could also sort them by Lightness, either dark to light or light to dark. But again in this case here we only have one color that we are dealing with one Pantone color, so we don't have to worry about sorting colors. It's just one color. But by far one of the most important settings in this particular area right here is something called the Colorize Method and as we see here, we have different options, we have Exact, Preserve Tints, Scale Tints, Tints and Shades and Hue Shift. The default setting for Illustrator is Scale Tints. We are actually going to see what this setting does when I get here inside of the dialog box because I'll show that I can access this from a different area.

So really I usually come to this particularly dialog box for only one reason and that's to choose which colors I want to preserve. Again in this case here I want to make sure that I'm only preserving white but not black or grays, I'll click OK. And now you can see that all of my colors have now been remapped to a single color. Because I haven't specified a new color yet Illustrator just choose one of the colors that already existed in my document. But I can easily change that just by coming over here and clicking on this group. Again, this is one of the benefits of creating groups of color. Instead of me having to double click on this icon and then basically dive deeper and deeper into other dialog boxes, one click of a button will automatically remap all my colors to that color that exists in that group.

Again, I can see the exact Pantone number by clicking on this particular triangle to reveal the colors that appear inside that group. In fact because these settings here are sticky, meaning that, this value over here where the black colors are now not preserved, I don't even need to go that far at all. I'm going to click Cancel and start over again. I'm not going to simply choose with all my artwork selected to recolor my artwork and with one click of a button here, it automatically remaps all of my colors to that one color. So I don't need to go here, I don't need to specify the number of colors, one click because my group is already set, my group has one color. I'm basically telling Illustrator take my group right over here which only has one color and remap all colors including black to that one color.

However, you will notice that in the process, Illustrator took all the objects that existed in my file which were colored different color before and converted them to be different shades of that Pantone color. Notice that these are different lighter tints of that same Pantone Purple and even the gradient itself goes from a dark version of that purple to a lighter version of it. Again, if I would have remapped all those colors manually to a single Pantone color they would all be solid purple. So, what really makes the Recolor Artwork feature work is something called the colorization method. Now, we saw that here in this particular dialog box right over here the Colorize Method. I'm going to click on the Cancel button; I want to show you another place to access that. If I come to the far right side of the color row, a little icon appears, if I click on that a little pop-up shows that I now have five different Colorize Methods to choose from. Something called Exact, Preserve Tints, Scale Tints, Tints and Shades and Hue Shift.

Now, just to the left over here I actually see a preview of what that's going to mean. For example, if I choose the Exact option, right now Illustrator is going to convert all of these colors exactly to solid purple. So if now go ahead and accept that you can see what the difference is now inside of my document, doesn't look that great. But there may be times when you want to turn a whole bunch of different colors into one new solid color. In such cases, the Exact color method might be the right choice. But I'm going to go back up here to the Colorize Method and choose the Scale Tints option, which happens to be the default setting inside of Illustrator.

That's what makes this feature sing each time that you use it. Now, as far as some of the other options here, Preserve Tints will basically take objects that currently have a tint value inside of them and preserve those tint values. The final two options here Tints and Shades and Hue Shift are not available when I want to preserve to spot colors, but if I uncheck that option, I could choose to go through a Hue Shift or basically adjust the tints and shades at the same time in my document making certain things darker and certain things lighter. I can also choose to apply these to all color rows or just to the color row that I'm working in. Let me turn this setting back on again and I'll accept that value.

So when you are working inside of Illustrator and you want to work with Recolor Artwork, by default the Scale Tints option is selected and that allows you to automatically see various different versions of tints of your artwork when you recolor them. However, depending on the needs for each particular project you may want to adjust those colorization methods as needed.

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