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Using the options in the Assign panel

From: Illustrator CS5 One-on-One: Advanced

Video: Using the options in the Assign panel

In this exercise we're going to take a look at how to use that Assign panel inside the Recolor Artwork dialog box. I've saved my changes from the previous exercise as Eight colors to choose from.ai. We're going to switch back to Yet another variation.ai and we're going to recolor the background objects once again. So I am going to do that by dropping down to layers panel here and clicking in the upper right-hand corner of that backdrop layer. This time just to make it easier to do a before-and-after comparison of these colors I am going to press Ctrl+H or Command+H on a Mac.

Using the options in the Assign panel

In this exercise we're going to take a look at how to use that Assign panel inside the Recolor Artwork dialog box. I've saved my changes from the previous exercise as Eight colors to choose from.ai. We're going to switch back to Yet another variation.ai and we're going to recolor the background objects once again. So I am going to do that by dropping down to layers panel here and clicking in the upper right-hand corner of that backdrop layer. This time just to make it easier to do a before-and-after comparison of these colors I am going to press Ctrl+H or Command+H on a Mac.

Even though Recolor Artwork automatically hides those selection edges later, when I'm doing an undo back and forth to show you the difference, it's going to help to have hidden the edges in advance. All right, now I'll go up to the Recolor Artwork icon here on the Control panel click on it to bring up the Recolor Artwork dialog box and you can experiment with selecting one of these color groups if you want to. You could click on Vibrant alternative for example and that's just going to automatically recolor or all of the items in the selection and just do whatever the heck it wants to do.

Now notice this little bit of leaf right here on the right-hand side of the left-hand artboard, it's getting color differently than everything else and that's because Illustrator is trying to compensate or more specifically Recolor Artwork dialog box is trying to compensate for that Screen Blend mode that I'd assigned to those objects and so it reads colors based on their appearance. So if you've got some Blend modes assigned then that may throw Recolor Artwork a little bit and it may try to recolor different bits and pieces of a otherwise homogenously colored group of objects differently than each other.

We'll see the implications of that as we work through this exercise. But you could Sixtuplet, try any of these guys said sort of fires your imagination, there's Vibrant floral which actually looks pretty good. Anyway I am going to switch to one of the Harmony Rules. So Illustrator is automatically determined that this shade of red is the base color. If you wanted to switch that you'd go over to the Edit panel and switch back to the color wheel and then you would right -click at one of these smaller circles and say I want that set as the base color. But if you do that, that's going to remap the colors automatically inside of your artwork, even if you haven't done anything.

Let me show you what I mean here. I'll go ahead and click on this little Revert icon that gets the colors from the selected art in order to reestablish the colors I already had set up and notice that that moves all my color circles around because it's remapping the colors back to way they were. I'll for example right-click on this sort of purple color right there and choose Set as Base Color. This big purple object is going to totally remap to a different color because it's moving inside of this color list. So even though my colors are exactly the same as they were before Illustrator has reordered them.

So at least two colors have switched places with each other. You can actually move that color back to where it was if you can remember where it belonged inside of this list. So I could sort of fool around with this and move it by dragging the color swatch here inside of this little group. That would've required me to pay attention in advance to what I was doing and I really don't care that much, it doesn't really matter for purposes of this exercise exactly which colors in which place. But I just want you to see that is an option. Anyway I'm going to switch back to Assign.

Now I'm going to select a Harmony Rule based on that purple and I'm just looking through my list here trying to decide what looks best, maybe High Contrast too sense it has a lot of colors to choose from. Then notice what were formerly eight colors are mapping down to six colors. So some of the colors are getting grouped together and at least one of the colors here isn't getting mapped to anything. This little minus sign with out any color to the right of it means that this color is not getting remapped and if I want to see which color that is I can grab little magnifying glass and click on it and I'll find out that it's this group of dark objects here.

If I don't like that then I would click off that magnifying glass and notice every time you click on the magnifying glass that turns off the Recolor Art check box, so that you're not previewing that recoloring in the illustration. As soon as you turn off the magnifying glass it turns back on thereby indicating that you are previewing your changes. But if you decide this guy needs to be remapped to some other color. Then you would just go ahead and drag it to that color that is going to get remapped to you. Don't drag it on to the purple for example that you are going to remap it to, you drag it onto the color that's getting remapped and then it becomes part of that remapping solution right there.

So both of these colors; are getting mapped if I click on this down pointing arrow head to different tints of this color. By the way this color right here was defined by the color Harmony Rule that we just selected. You may notice that a couple of these options are turned off right now they are dimmed and that's because Preserve Spot Colors is turned on. If you turn that check box off then you have the option of selecting from Tints and Shades and Hue Shift as well. I don't see these options as being all that useful on a regular basis by the way. I usually shift back and forth between Scale Tints and Exact and I will show you how Exact works in the next exercise.

But right now I am going to turn that check box back on because I don't really care about it and I'm going to experiment with some other options here. If you want to change a color, if you decide for example that this shade of yellow isn't what you wanted to be then you double-click on it and that brings up the Color Picker dialog box and then you dial in a different color. So again I want you to notice you can do that, I am going to cancel out because that kind of defeats the purpose in my opinion. If you're sitting there dialing in a new color to map to for each and everyone of your old colors and you might as well be doing this in Illustrator proper we're looking for automation where the Recolor Artwork dialog box is concerned.

Well now let's say you decide that one of these colors should not be mapped to a new color or that is to say it shouldn't be mapped to anything. For example, let's go ahead and find this dark background stuff on the right hand Artboard, I will go ahead and grab my magnifying glass, and I think it's this. So I will click on that color and sure enough that's the stuff back there and right now it's getting mapped to a shade of brown and not a very dark brown. So we are not going to get very dark result. So let's say I don't want to map it to anything. I will go ahead and click on the magnifying glass to turn it off. What you can do is you can drag this color right there to this empty area, to this little repository and that'll do the trick.

But let's say don't have one, let's say you are working along inside one of your own projects and you just have a blank area down here, a blank row. You don't want to drag a color and drop it into a blank row because that causes Illustrator to throw a fit. This is basically what happens. Not a very nice one. I've seen the program crash when you do that in fact. So what I suggest you do is you need a new blank row. Then you come down here to this little icon and you click on it and you'll get a new row, a new empty row and then you can drag into it. Now we already had an empty row but just wanted to show you how that works.

I am going to grab this guy, drag it into my new empty row and then it's not getting mapped to a different color. Now let's say you do want to map it to a different color, why then you go ahead and click in that area to the right and it asks you hey do you want to add a new color to the current harmony and you say, yes I do. It goes ahead and puts it on the one we are not using. But the reason asks you, is because you're violating the Harmony Rule once you start doing that. Anyway, I'll go ahead and move this guy now into this area so it's getting mapped to that shade of red. I don't want that red, so I will double- click and even though I said this kind of violates the purpose this time I want to go ahead and dial in my own color and it's going to be something very dark, like so.

Notice this is a reason if no other work to bring up this dialog box, notice I select a different color and it does not preview in the background. So you have the click OK before you're going to see the preview. Another little interface foible in my opinion. But as soon as you do it, it works out nicely and if you don't want the map to occur see this little arrow there you can turn it off by clicking on it and then the color even though, there is a color to map two isn't getting mapped. If you now want to map it if you want to turn the mapping back on you click on that arrow to turn it back on.

That's basically it; once you're done you go ahead and click OK in order to accept that modification. Then Illustrator is going to ask you, hey do you want to save your changes to the artwork colors group. Well I don't even know what group it's talking about at this point. But let's say yes in order to see what it does. So I will click on the Yes button and I imagine that we'll have a new color group and in deed we do that's called Artwork colors. So not only have we gone ahead and remapped all the colors in the background but we've also created a new color group to go along with it and that is how you use the Assign Options inside the Recolor Artwork dialog box here in Illustrator.

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This video is part of

Image for Illustrator CS5 One-on-One: Advanced
Illustrator CS5 One-on-One: Advanced

153 video lessons · 28019 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 38m 35s
    1. Welcome
      1m 48s
    2. Linking AI and EPS files to Illustrator
      6m 48s
    3. Installing the dekeKeys keyboard shortcuts
      7m 43s
    4. Remapping Mac OS shortcuts
      6m 56s
    5. Installing the Best Workflow color settings
      4m 54s
    6. The color settings explained
      7m 4s
    7. Preserve Numbers vs. embedded profiles
      3m 22s
  2. 1h 40m
    1. Converting pixels to vectors
      1m 2s
    2. Tracing an imported image
      6m 17s
    3. Other ways to trace
      3m 17s
    4. Raster and vector previews
      7m 2s
    5. Threshold, Min Area, and Max Colors
      5m 27s
    6. Tracing options: The raster functions
      8m 2s
    7. Using the Ignore White option
      5m 3s
    8. Tracing options: The vector functions
      6m 40s
    9. Expanding traced artwork
      5m 6s
    10. Sketching and drawing for Illustrator
      6m 24s
    11. Editing scanned line art
      9m 23s
    12. Adding contrast and color
      10m 32s
    13. Live Trace and resolution
      9m 8s
    14. Expanding and separating paths
      8m 43s
    15. Scaling and editing traced art
      8m 4s
  3. 1h 8m
    1. Gradients are good
      1m 15s
    2. Assigning a gradient fill
      6m 9s
    3. Using the gradient annotator
      7m 31s
    4. Editing multiple gradients
      4m 37s
    5. Establishing symmetrical gradients
      5m 28s
    6. Creating a radial gradient
      5m 46s
    7. Adjusting the midpoint skew
      3m 23s
    8. Mixing gradients with blend modes
      6m 11s
    9. Making a transparent gradient
      6m 42s
    10. Drop shadows and dynamic effects
      5m 58s
    11. Assigning a gradient to editable text
      5m 42s
    12. Editing text that includes dynamic effects
      2m 56s
    13. Assigning a gradient to a stroke
      6m 46s
  4. 1h 37m
    1. The earliest dynamic functions
      1m 10s
    2. The gradient-intensive illustration
      5m 26s
    3. Creating a multi-color blend
      7m 39s
    4. Establishing a clipping mask
      3m 34s
    5. Reinstating the mask colors
      9m 7s
    6. Editing blended paths
      6m 50s
    7. Adjusting the number of blended steps
      6m 49s
    8. Using the Blend tool
      4m 33s
    9. Blending between levels of opacity
      7m 32s
    10. Editing the path of the blend
      6m 22s
    11. Adding a custom path of the blend
      5m 4s
    12. Placing one mask inside another
      8m 33s
    13. Blending groups and adjusting the speed
      6m 1s
    14. Rotating objects in 3D space
      10m 21s
    15. Creating custom perspective guides
      8m 31s
  5. 1h 37m
    1. What was old is new again
      39s
    2. Introducing tile patterns
      6m 11s
    3. Determining the points of intersection
      6m 51s
    4. Extending paths from the intersections
      5m 40s
    5. Crafting symmetrical subpaths
      5m 38s
    6. The final flawed subpaths
      5m 52s
    7. Reconciling misaligned paths
      5m 34s
    8. Completing the core path outline
      6m 14s
    9. Making a symmetrical modification
      6m 47s
    10. Adjusting the interior elements
      8m 26s
    11. Coloring paths and testing the interlock
      9m 29s
    12. Establishing a rectangular tile
      6m 22s
    13. Defining a tile pattern
      3m 43s
    14. Creating a few color variations
      8m 50s
    15. Protecting patterns from transformations
      6m 9s
    16. Transforming patterns without paths
      5m 30s
  6. 1h 12m
    1. Filling and stroking virtual areas
      44s
    2. Introducing Live Paint
      7m 57s
    3. Stroking with the Live Paint Bucket tool
      5m 30s
    4. Using the Live Paint Selection tool
      7m 18s
    5. Adding a path to a Live Paint group
      4m 33s
    6. Building a classic Celtic knot
      8m 28s
    7. Constructing the base objects
      5m 31s
    8. Weaving one object into another
      6m 13s
    9. Creating a path that overlaps itself
      7m 15s
    10. Painting a path that overlaps itself
      5m 34s
    11. Creating knots inside knots
      5m 2s
    12. Adding gradients and depth
      8m 22s
  7. 1h 4m
    1. Dynamic effects and OpenType
      1m 12s
    2. Applying a dynamic effect to type
      5m 43s
    3. Creating a basic bevel effect
      4m 12s
    4. Building up a multi-stroke effect
      4m 49s
    5. Best practices for 3D type
      6m 34s
    6. Applying a "path wiggler" to type
      6m 14s
    7. Drop shadows and Raster Effects settings
      4m 52s
    8. Duplicating attributes and effects
      7m 8s
    9. Editing type with dynamic effects
      7m 27s
    10. Ligatures, swashes, ordinals, and fractions
      5m 45s
    11. Small caps and the Glyphs panel
      4m 25s
    12. Warping text and increasing resolution
      6m 9s
  8. 1h 44m
    1. A world of colors at your beck and call
      1m 32s
    2. Customizing a letterform to make a logo
      8m 37s
    3. Creating a custom drop shadow effect
      6m 26s
    4. Introducing the Color Guide panel
      9m 3s
    5. Harmonies and Color Guide settings
      5m 39s
    6. Lifting harmony rules from color groups
      7m 21s
    7. Harmony layouts and the Lab color wheel
      8m 15s
    8. Working inside the Edit Color dialog box
      6m 36s
    9. Limiting a color group to spot colors
      5m 47s
    10. Recoloring selected artwork
      5m 50s
    11. Recoloring with custom color groups
      6m 1s
    12. Swapping colors with the Color Bars feature
      5m 18s
    13. Using the options in the Assign panel
      8m 41s
    14. Moving color groups between documents
      7m 17s
    15. Distilling your artwork to one spot-color ink
      7m 45s
    16. Recoloring artwork that contains gradients
      4m 17s
  9. 1h 21m
    1. How symbols work
      1m 2s
    2. The power of symbols
      5m 1s
    3. Creating new symbols
      6m 0s
    4. Enabling the new 9-slice scaling
      4m 24s
    5. Adjusting your 9-slice scaling guides
      6m 54s
    6. Previewing and acquiring symbols
      4m 12s
    7. Finding a symbol and creating an instance
      4m 13s
    8. Duplicating and replacing instances
      4m 19s
    9. Breaking a symbol link and envelope fidelity
      5m 26s
    10. Distorting and expanding a symbol
      4m 54s
    11. Updating an existing symbol definition
      3m 40s
    12. Recoloring a symbol definition
      4m 13s
    13. Applying a basic "local" color adjustment
      5m 20s
    14. Applying a more elaborate local color adjustment
      5m 4s
    15. Laying down a random symbol set
      5m 35s
    16. The eight symbolism tools
      6m 55s
    17. Editing selected instances
      4m 11s
  10. 1h 32m
    1. Illustrator needs Photoshop
      1m 1s
    2. Two ways to place a pixel-based image
      6m 6s
    3. Working with linked images
      6m 6s
    4. Linking versus embedding
      9m 38s
    5. Stroking and blending an image
      6m 16s
    6. Adding a clipping mask and page curl
      6m 51s
    7. Creating a blended border effect
      7m 10s
    8. Rasterizing your artwork in Photoshop
      8m 0s
    9. Saving a flat raster file from Photoshop
      4m 58s
    10. Restoring cropped border elements
      5m 39s
    11. Copying and pasting into Photoshop
      6m 27s
    12. Working with Photoshop Smart Objects
      5m 26s
    13. Adding a pixel-based layer effect
      4m 12s
    14. Editing a Vector Smart Object in Illustrator
      7m 20s
    15. Creating and placing a transparent image
      7m 1s
  11. 1h 15m
    1. The many forms of transparency
      1m 29s
    2. Real-world blending modes
      7m 57s
    3. Exporting transparency from Illustrator
      6m 24s
    4. Opacity and blending modes
      6m 18s
    5. The Darken and Lighten modes
      7m 17s
    6. The Contrast, Inversion, and HSL modes
      6m 12s
    7. Blending modes in action
      5m 11s
    8. Creating a knockout group
      6m 14s
    9. Confirming the viability of your artwork
      6m 8s
    10. Introducing the opacity mask
      4m 6s
    11. Making an opacity mask
      5m 25s
    12. Drawing inside an opacity mask
      3m 34s
    13. Creating a gradient opacity mask
      5m 29s
    14. Adding an opacity mask to a single object
      3m 22s
  12. 1m 13s
    1. Until next time
      1m 13s

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