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- View Offline
- Getting to know the color models
- Defining and using process and spot colors
- Creating swatches and groups
- Managing a color library
- Getting inspiration from Adobe Kuler
- Setting limits on the Color Guide
- Protecting black, white, and grey
- Making global color adjustments
- Reducing colors
- Converting to grayscale
- Proofing colors
- Previewing color separations
Skill Level Intermediate
As we start to work more and more with color inside of Illustrator, we will find that that just defining color is not enough. It's very rare that you have a single document that only uses one color inside of it, more often we have several colors and these colors need to work with each other. For example, we are all familiar with this concept of colors that clash, colors that just don't look that great when they're put up side-by-side. So one thing that we can do is we can start to categorize colors or put colors into a single group and those colors share some kind of attributes, may be they are all bright colors or maybe they all fit within a certain palette or so on and so forth.
What we are doing at that point is we're taking different colors and we are stating that these colors somehow belong to each other. In Illustrator, whenever we have this kind of setting where we actually take several colors and we say that these colors belong inside of some kind of a group, we refer to that as a color harmony. Another word that we use some times is something called the color rule. Now for the most part, color harmonies are defined relationships between colors. In other words, there is no such thing as a good harmony or bad harmony.
If I decide to put two colors in my document, blue and green, I am telling Illustrator that now I've created this harmony. That harmony contains the blue color and the green color. But as we are going to find out inside of Illustrator, there are already some basic scientific ways of defining harmonies for colors. For example, complementary colors when mapped onto a color wheel appear completely opposite each other on the color wheel itself. As we are going to find out. we can use this all to our advantage inside of Illustrator. In fact, let me show you. I am going to go here to my SWATCHES panel.
This happens to be working right now on the RGB document and I am going to go over to this color group right over here. It's called the Web Color Group. I am just going to double-click on the folder icon right here and that's going to bring up this Edit Colors dialog box. And we've already seen this color wheel, which right now is set to the HSB color wheel. What I have basically right now is all the colors that appear inside of that group mapped onto this wheel. This right now is a color harmony; there is nothing good or bad about a particular harmony. I just somehow indicated to Illustrator that these colors belong together.
If I am a pretty good designer, I might get a harmony that looks great; if I am a pretty bad designer, I may create colors inside of a harmony that clash with each other. Again, a harmony doesn't mean that the colors look good; a harmony just means that I have some kind of defined relationship between those colors. But I really don't want to focus on this Web Color Group right here, which is actually the default RGB document, when I created this new document. Instead, I want to move over here to the top of this dialog box where I have a little bit of an arrow here. Notice over here there is a setting here called Harmony Rules, and if I click on this, Illustrator shows me a variety actually 23 different types of Harmony Rules.
Let's look at the most basic one right here called Complementary. Complementary is the ability to basically have two colors that are exactly opposite to each other on the color wheel. Now what does this mean exactly that I've defined as harmony? I basically now have these two colors, and as I move one of these colors on the color wheel, Illustrator automatically finds out what the complement of that color is. You see, no matter where I move this, I'm always going to get the complementary color chosen for me automatically. This is a predefined relationship of colors called Complementary, as I choose one color; Illustrator will automatically for me choose its complement.
Let's choose a different harmony here. I am going to go down to, for example, here, Analogous colors. These are colors that have the exact same saturation values, the same basic brightness values, but they have just a little bit of a different hue value. Again, as I move these colors around, I am just really moving one color or what we refer to as my base color, Illustrator is automatically going to identify the other colors that are analogous to that color. Now I could change the base color by clicking on a different one and moving it, but again, notice that they all kind of move together, where Illustrator is always going to give me these analogous values of these five colors.
Now if you'd like, you could spend some time just going to this list and seeing exactly what all of these different harmonies represent. For example, if I choose Tetrad, I actually see that I have one value here, and I get other values some of the exact opposite corners of the color wheel. And as I said earlier, there is no such thing as a good harmony or a bad harmony, it's just some predefined way of describing a relationship between these different colors. Now, I am able to work with these harmonies here inside of Illustrator, because I had this concept of a color wheel.
Right now, we are dealing with generic colors. However, we are going to find out that you can create your own custom harmonies, or you can even have Illustrator make suggestions to you based on the colors that are going to choose. What we get at the end of the day here is an incredibly powerful feature set, about how Illustrator can understand and work with us when it comes to color. And now that we have a better understanding of how Illustrator internally can think about these colors, for example, working with different color models, working with a color wheel in general, and now working with harmonies, we will find that not only is it going to be easier to work with color, it will also be a little bit of fun.