دانلود آموزش ایلوستریتور Illustrator CC Color Swatches Working with global swatches

 

 

 

خوب، پس از جمع آوری تعداد کافی از نمونه ها، چالش می تواند آنها را مدیریت کند؛ به همین دلیل، Illustrator به شما امکان می دهد که اسم های خود را به صورت نام و نام خانوادگی جستجو کنید و از کادر محاوره ای Color Picker استفاده کنید. برای رسیدن به آنجا، به ویژگی فعال فعال در پایین جعبه ابزار بروید و روی آن دوبار کلیک کنید و کادر محاوره ای Color Pickup را انتخاب کنید. سپس روی دکمه Color Swatches کلیک کنید و یک لیست از نمونه هایی که داخل این سند ذخیره شده اند را مشاهده خواهید کرد و مهم است که توجه داشته باشید که نمونه ها در واقع با سند ذخیره می شوند. در حال حاضر، علاوه بر این لیست طولانی نمونه هایی که در اینجا در سمت چپ کادر محاوره ای قرار دارند، ما نیز این ستون از تکه های کوچکی که رنگ ها را نیز نشان می دهند، داریم و بنابراین شما می توانید کشویی را به بالا و پایین این ستون بکشید جهت تغییر در swatch های مختلف در لیست دست چپ. چیز دیگری که می توانید انجام دهید این است که در فیلد جستجو اینجا کلیک کنید و بنابراین، به عنوان مثال، بگذارید بگویم من می خواهم نگاهی به تمام نمونه هایی که هیچ سیاه و سفید در آنها نیست. اگر نامه K را وارد کنم، من خواهم دید

In this movie, I'll introduce you to a simple

00:00:02  but powerful feature known as the global swatch.

00:00:06  A great thing about global swatches

00:00:08  is that they're linked to the objects

00:00:09  that are colored with them.

00:00:11  So if you make a change to a global swatch,

00:00:13  then all objects linked to that global swatch

00:00:16  will update in kind.

00:00:18  Notice, over here in the Swatches Panel,

00:00:20  these squares that have little white wedges

00:00:22  in their bottom-right corners,

00:00:24  those are global swatches.

00:00:26  In fact, this one right here, Bright silver,

00:00:28  is associated with the fill

00:00:30  of these objects in the background.

00:00:32  If I were to double click on Bright silver

00:00:35  in order to open the Swatch Options dialogue box,

00:00:38  and let's say I take the cyan value up to 60%,

00:00:42  as soon as I turn on the Preview check box,

00:00:44  I can see that I've updated

00:00:45  all of those objects in the background.

00:00:48  Now, that's not a change I want to make

00:00:50  so I'm going to go ahead and click the Cancel button,

00:00:52  but it is a remarkable function.

00:00:55  Compare that to what happens

00:00:56  if I double click on Seafoam here,

00:00:58  the swatch that I created in the previous movie.

00:01:01  If I go ahead and raise the magenta value up to 100%

00:01:04  and turn on the Preview check box,

00:01:06  nothing happens inside the illustration.

00:01:09  That's because this is not a global swatch.

00:01:12  Notice, the Global check box is turned off.

00:01:15  All right, so I'm just going to go ahead

00:01:16  and cancel out of here.

00:01:17  Let's say that you not only want to turn the swatch

00:01:19  into a global swatch,

00:01:21  and all that takes is turning on the Global check box,

00:01:24  but you want to make sure that your objects

00:01:25  are associated with it as well,

00:01:27  because currently, they're not.

00:01:30  Notice here that I've kind of messed things up

00:01:33  because my stroke was active.

00:01:34  So I now have a white fill and a Seafoam stroke,

00:01:37  that's the opposite of what I want,

00:01:39  so I'll go ahead and click on this little Swap icon

00:01:42  at the bottom of the toolbox

00:01:43  to swap the fill and stroke attributes like so.

00:01:46  Notice it has a keyboard shortcut of shift + x.

00:01:49  So here's the idea,

00:01:50  if you press the "x" key by itself,

00:01:52  then you're going to switch focus between the fill

00:01:55  and the stroke, like so.

00:01:57  That's why pressing shift + x

00:01:59  goes ahead and swaps the attributes.

00:02:02  Anyway, I'm going to press shift + x again

00:02:04  and I'm going to click on the fill to make it active.

00:02:06  That goes ahead and automatically switches me back

00:02:08  to the Color Panel, which is not what I want,

00:02:10  so I'll go ahead and click on the Swatches tab.

00:02:13  All right, now, we need to select all the objects

00:02:15  that are filled with this color.

00:02:17  You do that by going over here

00:02:19  to this Select Similar Objects icon

00:02:21  on the right side of the Control Panel

00:02:23  and then you click the down-pointing arrowhead

00:02:25  and choose Fill Color.

00:02:27  Now, we'll go ahead and select

00:02:28  the inside hexagon around March

00:02:30  as well as the outside hexagon around September.

00:02:34  Now, if you go ahead and double click on the Seafoam swatch,

00:02:37  in order to bring up the Swatch Options dialogue box,

00:02:40  all you have to do is select the Global check box

00:02:42  and then click OK.

00:02:44  Now notice, if I click off these objects to deselect them,

00:02:47  I can still update them

00:02:49  by just double clicking on this Seafoam swatch,

00:02:53  and I'm going to go ahead and crank

00:02:55  the cyan value up to 60%

00:02:58  and turn on the Preview check box.

00:02:59  Keep an eye on March in particular

00:03:02  and you'll see it update right away, like so.

00:03:05  All right, I'll go ahead and click OK.

00:03:07  Now, I need to do the same thing with my Harlequin swatch

00:03:10  so I'll click on it to make it active.

00:03:12  Then if you click on this down-pointing arrowhead,

00:03:14  you'll see that Fill Color is still the active attribute,

00:03:17  so all you have to do now is click on that icon

00:03:20  in order to select the inside hexagon around April

00:03:23  and the outer hexagon around October.

00:03:26  Now, I'll just go ahead and double click on this swatch

00:03:28  in order to bring up the Swatch Options dialogue box

00:03:31  and I'll turn on the Global check box.

00:03:33  On this case, I don't want to make any changes

00:03:35  so I'll just go ahead and click OK.

00:03:36  You can see that I now have white wedges

00:03:39  in the bottom-right corners of each of my new swatches.

00:03:43  Now, let's see what it looks like

00:03:44  when you're creating a swatch in the first place.

00:03:46  I'm going to go ahead and click on the interior hexagon

00:03:49  around August

00:03:50  and then I'll go up to the Select Similar Objects icon

00:03:53  and once again click on it.

00:03:54  That'll make sure that I have

00:03:56  everything that's filled with this color active

00:03:59  which includes the outer hexagon around February.

00:04:01  Now, I'll go ahead and create a new swatch

00:04:04  by clicking on the little page icon

00:04:05  at the bottom of the Swatches Panel.

00:04:07  I'll call this guy Magenta because it is 100% magenta

00:04:11  and then I'll turn on the Global check box

00:04:13  and I'll click OK,

00:04:15  and nothing happened.

00:04:16  For whatever reason, we appear to have a bug right now

00:04:19  because I can work around this

00:04:20  just by clicking on that New Swatch icon once again,

00:04:23  turning on Global without changing its name

00:04:25  and clicking OK,

00:04:26  at which point, I've successfully

00:04:28  created a new global swatch.

00:04:30  All right, so I'm going to go ahead and click off my objects

00:04:32  to deselect them

00:04:34  and I'm going to drag this swatch to this position here,

00:04:37  between that Harlequin swatch

00:04:39  and the one that's called Orange.

00:04:41  Now, let's say I want to modify this swatch,

00:04:43  for one thing, I'd like to name it,

00:04:44  so I'll go ahead and double click on it

00:04:46  and I'll call it Magenta.

00:04:48  Now, I'm going to reduce the amount of magenta in this color

00:04:52  and then I'll go ahead and increase the amount of cyan

00:04:56  until I get a little bit more of a purple color.

00:04:58  If I turn on the Preview check box,

00:05:00  I can see that modification occurring on the fly,

00:05:03  at which point, I'll click OK.

00:05:05  Now, I'm going to hover over the color

00:05:07  just to make sure that it took this time,

00:05:09  and sure enough, it has a new name and everything.

00:05:11  Actually, you know what? It's not the right name.

00:05:14  So I'll go ahead and double click on it again

00:05:15  because it really isn't any longer magenta,

00:05:18  it's more of a lavender, don't you think?

00:05:21  Now, I might give just a little bit of yellow,

00:05:24  we'll see how that works,

00:05:25  and I'll turn on the Preview check box.

00:05:27  That looks pretty darn good to me,

00:05:29  at which point, I'll click OK

00:05:31  in order to accept my newest change.

00:05:34  That's how you create and modify global swatches

00:05:37  which affect any and all objects that are linked to them

00:05:40  here inside Illustrator.

 

دانلود آموزش ایلوستریتور Illustrator CC Color Swatches Creating and applying swatches

 

 

 

در این فیلم، من به شما نشان می دهم که چگونه یک رنگ را به عنوان یک نمونه در داخل Illustrator ذخیره کنید، و نمونه ها اساسا یک مربع از رنگ های ذخیره شده می باشند که می توانید به هر زمانی که از پنل Swatches می خواهید دسترسی پیدا کنید و پنل Swatches در بسیاری از مکان ها یافت می شود همانطور که مشاهده خواهیم کرد در Illustrator. در حال حاضر چیز زیادی در مورد نمونه ها این است که آنها به شما کمک می کنند یک تم رنگی را درون یک سند ایجاد کنید. آنها همچنین به شما کمک می کنند تا با آن تم رنگی پوشانده شده و در نهایت آنها را به طور خودکار رنگ ها را به هر دو سکته و تزریق بسپارید، و بنابراین نتیجه عملی این است که اگر فکر می کنید یک رنگ را در یک سند بیش از یکبار استفاده کنید ، به جلو بروید و آن را به عنوان نمونه ذخیره کنید. اکنون اولین قدم این است که یک رنگ را در داخل پنل رنگ تعریف کنیم و بنابراین شما می توانید این مقادیر HSB را به هر چیزی که دوست دارید را تنظیم کنید یا فقط می توانید پیش بروید و بر روی یک شی که در داخل خود از رنگ تصویر. برای مثال، من قصد دارم روی این شش گوشه در ماه مارس کلیک کرده و ارزش HSB آن را ببینیم. این چیزی است که این یک سند CMYK است، همانطور که می توانید در برگه عنوان در اینجا مشاهده کنید، بنابراین ارزش های اولیه به معنای بیشتر خواهد بود. اگر بر روی آیکون منو پرواز در گوشه بالا سمت راست پانل رنگ کلیک کرده و CMYK را انتخاب کرده و سپس همانطور که می بینید، مقدار cyan از 30، مقدار زرد 30 است و دو مقدار دیگر صفر قرار دارد درست است، حالا برویم جلو برویم و این رنگ را نجات دهیم

 

 

00:01:22  as a swatch by going to the window menu

00:01:25  and then dropping way down here to the bottom

00:01:27  of that menu, and my screen is so short

00:01:30  that I have to scroll down, but one way or other

00:01:33  you should find the Swatches command

00:01:35  which will bring up the Swatches Panel.

00:01:38  Now, by default the swatches are pretty darn dinky,

00:01:41  which is why I like to go ahead and click on

00:01:42  this fly out menu icon and choose "Medium

00:01:45  "Thumbnail View" in order to make them

00:01:48  a little large like so, and then I'll just go ahead

00:01:50  and drag the bottom edge of the panel to expose

00:01:53  all the swatches associated with this document.

00:01:56  All right, now all you have to do is click on

00:01:58  the little page icon, which, just as it makes a new layer

00:02:00  or a new art board, creates a new swatch

00:02:03  inside the Swatches Panel, and it'll be automatically

00:02:07  named after its CMYK values, as you're seeing here

00:02:10  but you can override that name if you like

00:02:12  just by entering in your own name,

00:02:14  and I'm going to call this guy "Seafoam"

00:02:15  and click "OK" and sure enough,

00:02:18  I have a new swatch here inside the Swatches Panel,

00:02:21  and now I can use that swatch to fill a different shape.

00:02:24  So, for example, I'm going to zoom in

00:02:26  on the month of September, and I'm going to click

00:02:29  this rear item right here, and you see that

00:02:32  there's actually one hexagon inset within another,

00:02:35  so go ahead and click on the outline

00:02:37  of the outermost hexagon for September

00:02:40  and then make sure the fill's active up here

00:02:42  at the top of the Swatches Panel,

00:02:44  and if it isn't, if the stroke is active instead,

00:02:47  then you can just click on the fill, or you've got that

00:02:50  keyboard shortcut that's popping up there,

00:02:52  which is the "x" key.

00:02:53  So you press the "x" key to switch back and forth

00:02:55  between the fill and stroke either inside the

00:02:59  Swatches Panel or inside the Color Panel works as well.

00:03:03  All right I'll go back to the Swatches Panel here

00:03:05  and with the fill active, you can just go ahead

00:03:08  and click on "Seafoam" and you will

00:03:10  adjust that rear shape's fill.

00:03:12  Another way to work, I'll go ahead and undo that

00:03:15  by pressing "ctrl + z" or "cmd + z" on the Mac,

00:03:17  is to go over here to this first swatch

00:03:19  on the far left side of the Control Panel

00:03:21  and click on it to bring up a miniature version

00:03:24  of the Swatches Panel, and if you'd like

00:03:26  these thumbnails to be bigger as well,

00:03:28  then click on this fly out menu and choose

00:03:30  "Medium Thumbnail View" and you'll be able

00:03:32  to see your thumbnails a lot better,

00:03:34  and now you can just go ahead and click "Seafoam,"

00:03:36  and so the idea here is it doesn't matter

00:03:38  whether the fill or stroke is active.

00:03:40  If I undo that change and click on a stroke

00:03:43  here in the Swatches Panel, I can still go ahead

00:03:46  and click on the first swatch, which represents

00:03:48  the fill no matter what, and select "Seafoam"

00:03:51  and that will affect the fill and not the stroke.

00:03:55  All right, another way to work is to drag and drop.

00:03:58  So let's say I click on the hexagon for April right there,

00:04:01  why then I can save that color as a swatch

00:04:04  either by switching to my two-column toolbox

00:04:07  by clicking on that little double arrowhead icon

00:04:10  and I can grab the fill right there and I can drag it

00:04:13  and drop it into the Swatches Panel just like so,

00:04:17  or I'll undo that change, by the way, so anything you do

00:04:21  in the Swatches Panel is undoable.

00:04:23  You can also drag from the Control Panel

00:04:25  and drag it into the Swatches Panel,

00:04:28  or here's another way to work:

00:04:30  you can drag and drop from the Color Panel.

00:04:32  Now if we working in the Essentials Workspace

00:04:34  as by default, then our Color Panel

00:04:37  and our Swatches Panel would be in different groups

00:04:40  and so that way, if I were to go ahead

00:04:42  and expand the Color Panel by clicking on this

00:04:44  little double arrowhead icon a couple of times,

00:04:46  I can just drag and drop like so,

00:04:49  but I'll just go ahead and undo that

00:04:50  because I want to show you if you're working

00:04:52  with this one-on-one work space, as I recommended

00:04:55  a couple of chapters ago, then you can't see the color

00:04:57  in Swatches Panels at the same time

00:04:59  because they're in the same group, but watch this.

00:05:02  You can go ahead and click on that swatch

00:05:04  and then drag it over to the tab, to the Swatches Tab,

00:05:08  wait for the Swatches Tab to come up in front,

00:05:11  and then just drop your swatch into place.

00:05:13  Now you may wonder after all this,

00:05:15  well, gosh, it seems so much easier just to click on the

00:05:18  little page icon as opposed to dragging and dropping.

00:05:21  The advantage of dragging and dropping, however,

00:05:23  is that you can drop your swatch in a specific location.

00:05:27  So, for example, I want all these colors to be

00:05:29  in the same order as they appear in the months

00:05:32  and so I want to drop that new color right there

00:05:35  at that location, as opposed to this guy right here,

00:05:38  Seafoam, which came in at the end,

00:05:40  and you can drag your swatches around if you want to,

00:05:42  but that is, of course, the second step.

00:05:45  Now I am going to have to rename the swatch

00:05:46  I just created in a separate step

00:05:49  by double clicking on it, and then I'll just

00:05:51  go ahead and call this guy "Harlequin," let's say,

00:05:53  and I'll click "OK" in order to

00:05:56  accept that new swatch name.

00:05:58  Now note that I have messed things up.

00:06:00  The stroke was active and then now I've changed

00:06:02  the stroke to the same shade of green

00:06:04  and that happened as soon as I double clicked on it,

00:06:07  by the way, and the best way to remedy that

00:06:09  is to just click on white, which is one of the

00:06:11  default swatches in Illustrator, and that will go ahead

00:06:14  and return the stroke to its original color,

00:06:16  after which point I'll go ahead

00:06:17  and click off the shape to deselect it,

00:06:20  and that's how you save your colors to swatches

00:06:22  as well as how you apply a swatch to a fill

00:06:24  or a stroke of a selected object here inside Illustrator.

 

دانلود آموزش ایلوستریتور Illustrator CC Color Swatches Selecting a color from the spectrum ramp

 

 

 

در این فیلم، نگاهی خواهیم دیددر رمپ طیف،

که این مرد اینجاست این در پایین پنل رنگ قرار دارد.

 و آنچه شما اجازه می دهید انجام دهید

 به سرعت رنگ را برداشته است.

 بنابراین، به عنوان مثال، اگر شما می خواهید یک سایه آبی،

 شما فقط می توانید مکان نما خود را پایین بیاورید

 به Ramp Spectrum

 و سپس روی سایه ای از آبی کلیک کنید، مثل این است.

 و این فقط پیش می رود و این ارزش ها را بلند می کند

 و پس از آن شما می توانید هر گونه تغییر را ایجاد کنید

که دوست داری حالا شما نمی توانید انتخاب کنید

وقتی که رمپ این کوچک است.

 و بنابراین اگر فکر می کنید خیلی از آن استفاده می کنید،

شما ممکن است بخواهید روی پایین بکشید

 از پنل رنگ به طوری که

 به منظور افزایش اندازه این رمپ.

و به این ترتیب، به عنوان کلیک و کشیدن در داخل رمپ،

 شما خواهید دید تغییرات بسیار دقیق

 در مورد من، مقادیر رنگ و اشباع.

 در حال حاضر، توجه داشته باشید اگر مکان نما خود را بر روی این منطقه قرار دهید،

 آن را می خواند HSB طیف،

00:00:51  assuming that you're seeing the HSB sliders.

00:00:53  If you click on the fly-out menu icon

00:00:55  and switch to RGB,

00:00:57  you're not gonna see any difference whatsoever

00:00:59  in the colors,

00:01:00  but when you hover your cursor

00:01:01  you'll see the Tool Tip RGB Spectrum.

00:01:04  And so if you wanna switch to the CMYK Spectrum

00:01:06  just go ahead and choose CMYK instead.

00:01:09  At which point you will see a big difference,

00:01:11  because the CMYK spectrum

00:01:13  is so much more muted.

00:01:15  Now, the thing is, if you wanted to map out

00:01:17  all of the colors that are available to you

00:01:20  here inside Illustrator,

00:01:21  then you would have to create

00:01:22  some kind of 3D map.

00:01:25  Because consider, for example,

00:01:27  if we're working with HSB,

00:01:28  I can go ahead and show all the colors around a wheel,

00:01:31  and just to jog your memory,

00:01:33  I'm going to go ahead and switch back

00:01:35  to artboard 2 inside of this document right here.

00:01:38  So we can show all the colors

00:01:39  wrapping around the circle,

00:01:41  and we can show the reduced saturation values

00:01:43  toward the center.

00:01:44  But if I wanted to show the different

00:01:46  brightness variations,

00:01:48  then I would have to turn this circle

00:01:49  essentially into a cylinder,

00:01:51  where black was at the bottom

00:01:53  and white was at the top.

00:01:55  And so when we're looking at this

00:01:56  2D representation right here,

00:01:58  there's just no way that Illustrator

00:02:00  can show us all the colors.

00:02:02  So here's what it does.

00:02:03  Regardless of whether you're looking at

00:02:05  the RGB, the HSB or CMYK spectrum,

00:02:09  you're seeing the hue values mapped horizontally

00:02:12  across this ramp,

00:02:14  starting with red over here on the left

00:02:16  and then we have orange, yellow, green,

00:02:18  cyan, blue, and so on.

00:02:21  Meanwhile, at the bottom of the spectrum,

00:02:23  the saturation value is 100%,

00:02:25  and the brightness value is zero.

00:02:27  Then we go up to the middle of the chart,

00:02:30  at which point the saturation is still 100%,

00:02:33  and now the brightness value has risen to 100% as well.

00:02:36  So in other words, the colors are remaining

00:02:38  highly saturated down here at the bottom of the chart,

00:02:41  but they're becoming increasingly brighter

00:02:43  toward the middle.

00:02:45  Then, once we cross the middle,

00:02:46  the brightness stays 100% all the way to the top

00:02:50  and the saturation value eventually

00:02:51  drops down to 0%.

00:02:53  So let's say we want to lift a shade of brown.

00:02:56  I would go ahead and click down here

00:02:58  in the dark oranges.

00:02:59  So orange and brown share a common hue value.

00:03:02  And so notice, if I click down here at this location,

00:03:05  and you can click and hold

00:03:07  in order to see the values update on the fly,

00:03:09  I just wanna make sure you're aware of that.

00:03:11  But at some point I'm going to reach

00:03:13  a hue value of 30°, let's say.

00:03:15  The saturation value will be 100%,

00:03:18  and the brightness value

00:03:19  I could get it if I tried hard enough

00:03:21  to come in at around 50%.

00:03:23  But let's say I don't want a highly-saturated brown.

00:03:25  Instead, I wanna reduce that saturation value

00:03:29  in order to achieve more of a kind of muddy brown.

00:03:32  This color right here

00:03:33  that has a reduced saturation value

00:03:35  and a reduced brightness value

00:03:37  is not found anywhere inside of this spectrum.

00:03:41  And so what's missing are all the colors

00:03:44  that have both saturation and brightness values

00:03:47  of 90% or less,

00:03:49  which accounts for theoretically 98%

00:03:52  of the colors you can define in Illustrator.

00:03:56  So, for example, let's say we want a pastel blue.

00:03:58  Well, if I click up here in this bright area,

00:04:01  you can see that the saturation value has

00:04:03  dropped down a little bit,

00:04:04  but the brightness value is 100%

00:04:06  and it's gonna remain 100%

00:04:08  as soon as we cross that threshold right there,

00:04:10  it's gonna remain at 100% all the way up

00:04:13  as you're seeing right there.

00:04:15  So if I want a shade of blue

00:04:16  that's a little bit dark

00:04:18  and it's a little bit desaturated as well,

00:04:21  then I'm going to have to adjust those values manually

00:04:25  using the saturation and brightness slider bars.

00:04:28  So in other words, this Spectrum Ramp

00:04:30  is a really great way to lift a base color,

00:04:33  but I don't want you to think that you're gonna have access

00:04:35  to every color you can create inside Illustrator

00:04:37  because, in fact, what we see here

00:04:39  are only about 2% of the colors.

00:04:41  If you want to get to the other 98%,

00:04:44  then you're gonna have to

00:04:45  manually modify the slider bars

00:04:47  whether you're working with the HSB,

00:04:48  RGB, or CMYK color model.

00:04:52  And those are both the strengths

00:04:53  and the weaknesses of the Spectrum Ramp

00:04:56  located here at the bottom of the Color Panel.

 

دانلود آموزش ایلوستریتور Illustrator CC Color Swatches Hue Saturation, and Brightness

 

 

 

خوب، یکی از چیزهای کار سخت تر است شما در Illustrator انجام می دهید، رنگ ها را مخلوط می کنید. و شما یک دست کامل از راه های کار است. شما می توانید رنگ خود را با استفاده از CMYK مخلوط کنید. شما می توانید یک رنگ با استفاده از لغزنده RGB ایجاد کنید یا شما می توانید با مدل رنگ مورد علاقه من HSB کار کنید. و این برای رنگ، اشباع و روشنایی است. و به عنوان مثال، رنگ نارنجی را در نظر بگیرید. بگذارید بگوییم شما می خواهید درخشانترین پرتقال ممکن را ترکیب کنید. خوب، اگر شما به لغزنده های CMYK خود نگاه می کنید، سپس شما می خواهید مقدار K را به صفر برسانید. شما می خواهید ارزش Y را تا 100٪ تمام کنید. شما می خواهید مقدار C را به صفر برسانید. و سپس شما می خواهید ارزش قرمز را به 50٪ تنظیم کنید. و دلیل 50، این است که اگر شما هر جفت ترشیده را اضافه کنید، شما می خواهید رنگ را قرمز تر کنید. و اگر قرمز را بردارید، شما می خواهید رنگ را بیشتر زرد کنید. و مفید است که لغزنده پیش نمایش رنگی که به دنبال آن هستید اما این هنوز لزوما نیست دوستانه ترین راه برای کار کردن. از کجا، اگر من به جلو بروید و روی آیکون منوی Flyout کلیک کنید، و RGB را انتخاب کنید، سپس آنچه را که میخواهم انجام دهم مقدار قرمز را تا 255 میل می کند مقدار آبی را به حداقل مطلق صفر برسانید و سپس می خواهم تفاوت را تقسیم کنم جایی که ارزش سبز است، با مصرف آن به 128. و دوباره، اگر من آن را کمتر سبز، سپس رنگ قرمز تر می شود و اگر من آن را بیشتر سبز، آن زرد می شود آن را به HSB مقایسه کنید و اسلایدهای HSB را دریافت می کنید، با کلیک کردن بر روی آن Flyout Menu بار دیگر، و انتخاب HSB. و سپس آنچه ما می خواهیم انجام دهیم مقدار اشباع و روشنایی را تا 100٪ خم می کند، و مقدار رنگ را به 30 درجه تنظیم کنید. حالا شما ممکن است در آن نگاه کنید و بگوئید خوب دقت کردی، من نمی فهمم چرا این راحت تره. این اعداد فقط بی معنی هستند همانهایی که قبلا دیدیم.

 

 

00:01:45 اما چیز بزرگ در مورد HSB،

00:01:46 این است که پیش بینی می شود

00:01:49 آنچه شما می خواهید دریافت کنید

00:01:51 هنگامی که شما یاد می گیرید که چگونه کار می کند.

00:01:53 و بنابراین رنگ، رنگ اصلی است.

00:01:55 در درجه ها اندازه گیری شده است

00:01:57 همانطور که رنگ در اطراف یک دایره پیچیده شد.

00:02:00 بنابراین، به عبارت دیگر، شما می توانید این مقدار رنگ را تغییر دهید

00:02:02 به هر چیزی از صفر درجه، که قرمز است

00:02:04 تمام راه تا 360 درجه، که هم قرمز است.

00:02:08 و این به خاطر طیف رنگ قابل مشاهده است

00:02:10 در اطراف خود پیچیده می شود.

00:02:12  So as you can see in the circular chart,

00:02:14  a hue value of zero degrees is red,

00:02:16  30 degrees is orange, 60 degrees is yellow,

00:02:19  90 degrees I'm calling lime.

00:02:21  It's in this yellow to green territory.

00:02:23  120 degrees is RGB green,

00:02:26  just full on green and nothing else.

00:02:28  150 degrees, I'm calling it turquoise.

00:02:31  180 degrees is cyan, 210 degrees I'm calling cobalt.

00:02:35  It's a shade of blue obviously.

00:02:37  240 degrees is RGB blue,

00:02:39  so pure blue with no red and no green.

00:02:42  270 degrees is violet, 300 degrees is magenta,

00:02:45  and 330 degrees is somewhere between

00:02:48  magenta and red, and I'm calling it crimson.

00:02:52  In any event, you can see how the colors

00:02:54  wrap around the chart.

00:02:56  We've got the red, green, blue primaries.

00:02:58  It's zero, 120, and 240.

00:03:00  And then we have cyan, magenta, yellow,

00:03:02  at 180, 300, and then 60.

00:03:06  Next, we have saturation,

00:03:07  which controls the intensity of a color,

00:03:10  from its most vivid at 100%,

00:03:12  as we can see around the perimeter of the circle,

00:03:15  to gray or white, at zero percent,

00:03:18  which we're seeing at the center of the circle.

00:03:21  So these are the desaturated colors towards the center.

00:03:23  And then brightness goes from bright color,

00:03:26  that is, whatever color you've mixed

00:03:28  using the hue and saturation values,

00:03:30  or white at 100%, to black at zero percent.

00:03:35  So at zero percent brightness,

00:03:36  it doesn't matter what the hue and saturation values are,

00:03:40  you're going to get black.

00:03:41  Where as if you have the saturation value

00:03:43  cranked up to 100%, and you take the brightness value

00:03:46  up to 100%, you're going to get the most vivid version

00:03:49  of the hue value possible.

00:03:51  So if we were to take the hue value to 30 degrees,

00:03:54  then we'd get a nice vivid orange.

00:03:56  If we were to take it up to 60 degrees,

00:03:59  then we would get a nice vivid yellow.

00:04:01  If you want white, then you just go ahead

00:04:03  and crank the saturation value down to zero percent.

00:04:06  And it doesn't matter what the hue value is,

00:04:08  as long as the saturation is zero and the brightness is 100,

00:04:11  you get white.

00:04:13  And then finally, if you want a stone cold gray,

00:04:16  you would go ahead and take that saturation value

00:04:18  down to zero percent, and then,

00:04:20  you would adjust the brightness value to taste.

00:04:23  And so notice, if I have a saturation of zero percent,

00:04:26  and a brightness of approximately 50% in this case,

00:04:29  then I'm going to get an absolutely medium gray.

00:04:33  Now I will say that HSB provides the most satisfying

00:04:36  color experience, when you're working with an RGB document,

00:04:40  but you can also get great results in CMYK.

00:04:43  And so it's really up to you how you decide

00:04:45  to mix your colors,

00:04:46  but I just wanted you to know about my favorite color model,

00:04:49  which is available in the Color panel Flyout Menu,

00:04:52  which is this guy right there, HSB.

 

دانلود آموزش ایلوستریتور Illustrator CC Color Swatches The color modes- RGB vs. CMYK

 

در این فیلم، ما دو حالت رنگ سند را مورد بحث قرار خواهیم داد که در Illustrator در دسترس شما هستند و آنها RGB و CMYK هستند. و تنها یک حالت می تواند در داخل هر سند مشخص شده باشد. و بنابراین شما ممکن است یادآوری، اگر شما به منو فایل و فرمان جدید را انتخاب کنید، که می توانید آن را ببینید حالت رنگی که در بخش پیشرفته در اینجا ذکر شده است، و هنگامی که انتخاب می کنید به طور خودکار تغییر می کند نمایه بنابراین اگر شما یک نمایه چاپ، حالت رنگ خود را انتخاب کنید در حال تغییر به CMYK است، اما اگر شما به هر کدام از آنها تغییر دهید از پروفایل های دیگر، وب از طریق RGB اولیه هر چهار نفر از آنها می خواهند حالت رنگ را به RGB تغییر دهند که به طور کلی راه شما می خواهید به کار، که بسیاری از مردمی را شگفت زده می کند، اما حقیقت به این موضوع است این است که RGB رنگ حالت انعطاف پذیرتر است در حالی که CMYK به طور خاص برای چاپ طراحی شده است. و، بنابراین، بیایید نگاهی به نحوه کار آنها ببریم. هر دو RGB و CMYK برای رنگهای اولیه ایستاده اند بنابراین در مورد RGB، ما قرمز، سبز و آبی هستیم و اینها نور، به هر حال، خیلی سبک است که توسط یک دستگاه طراحی شده یا توسط یک دستگاه گرفته شده است. بنابراین اسکنرها و دوربین ها دستگاه های RGB هستند همانطور که صفحه کامپیوتر شما، اسبابک ها و دستگاه های شما است و هر چیز دیگری که روشن می شود در حال حاضر، چون شما با یک صفحه سیاه شروع میکنید، هنگامی که نور را اضافه می کنید، قصد دارید روشن کنید چیزها را به شما می دهد و به شما حس می کند که چه چیزی این را به نظر می رسد من به پنجره Window بروید و رنگ را به ترتیب انتخاب کنید برای آوردن پانل رنگ، در مورد من، وجود دارد علامت چک در مقابل رنگ، بنابراین من نمی خواهم فرمان را انتخاب کنید زیرا آن را پنهان می کند

 

 and then, once you've brought up your color panel, go ahead and click on this double arrow icon  a couple of times to expose your primary sliders.  In my case, red, green and blue.  If you don't see the RGB sliders, then you want to  click on this fly out menu icon in the upper right  corner of the panel and choose RGB.  Now, notice that you can change these values  from 0, that's the lowest, that basically turns the color off, all the way up to 255,  which is the highest setting, and so what that does  is it gives you 256 variations.

00:02:13  1 through 255 and then you also have the option of 0.

00:02:18  And so when you crank up the red and green values,

00:02:20  and you take the blue value all the way down

00:02:23  to its minimum, you end up with yellow.

00:02:26  If you crank the green and blue values up to 255,

00:02:30  and you take the red value all the way down to 0,

00:02:33  then you end up with cyan, and if you take

00:02:37  the blue and red values all the way up to 255,

00:02:39  and you take that green value down to 0,

00:02:42  then you end up with magenta, and I want you to

00:02:45  notice here inside the color panel

00:02:47  how these sliders update on the fly so you can actually

00:02:50  preview the color you're going to get.

00:02:52  If I move this triangle mid-way down the red slider,

00:02:55  I can see I'm going to get purple, and I can also

00:02:58  by the way, as I modify the red value, I can see

00:03:02  the green and blue sliders update on the fly.

00:03:06  And so Illustrator's always trying to give you a sense

00:03:08  for the color that you're going to get

00:03:10  because, obviously, there's all kinds of colors

00:03:12  besides red, green, blue, yellow, cyan, and magenta.

00:03:16  For example, if I crank all these values up

00:03:19  to their maximum, we end up with the brightest

00:03:21  color there is, which is white, and if we were to

00:03:24  take all these values down to their minimum of 0,

00:03:27  then we'd end up with no light, which gives us black.

00:03:31  Alright, now let's take a look at CMYK, which is

00:03:35  named for the primaries cyan, magenta, yellow

00:03:38  and the key color which is black.

00:03:41  And as opposed to light, these are inks,

00:03:44  and so unlike a screen, where you start

00:03:46  with blackness and then you brighten things up,

00:03:48  where print is concerned, you start with

00:03:50  a bright white page and then you darken things

00:03:53  by adding ink to it, which is why when you start

00:03:56  mixing the primaries, you end up with darker colors.

00:03:59  And so what I'll do is I'll go ahead and click on this

00:04:01  fly out menu icon again and switch to CMYK

00:04:04  so we can see those CMYK sliders and I'm

00:04:08  going to go ahead and crank cyan and magenta

00:04:10  up to their maximums of 100% and I'm going

00:04:13  to take the yellow and black values down to their minimums

00:04:17  of 0% and so as you can see here,

00:04:20  when you maximize the cyan and magenta values,

00:04:23  and you take out yellow and black, you end up with blue.

00:04:26  If you crank up the magenta and yellow values,

00:04:29  and then you take the cyan and black values down to 0,

00:04:33  you end up with red, so who knew that red

00:04:36  is actually made in part with yellow?

00:04:39  And then, if you crank the yellow and cyan values

00:04:42  up to their maximum, not surprisingly,

00:04:45  you end up with green, but notice that it's not

00:04:48  nearly as bright as the RGB green

00:04:51  so we're ending up with more muted colors over here.

00:04:54  I'm not showing what happens when you add black,

00:04:56  and that's because black is a darkening agent,

00:04:59  as you can see, so in our case, we're ending up

00:05:02  with the darker version of green.

00:05:04  So the big question is,

00:05:05  "When should you choose which color mode?"

00:05:08  Well, you want to use the RGB mode

00:05:10  any time you think your document might be viewed

00:05:13  on screen so if you're going to the web or

00:05:15  you're creating a .PDF file or an e-book, you want RGB.

00:05:19  If you're creating something for

00:05:20  a device or an app, then you want RGB.

00:05:23  Video is RGB.

00:05:25  Presentations such as PowerPoint or KeyNote graphics,

00:05:28  those should be RGB documents.

00:05:30  If you're creating something for a kiosk or

00:05:32  any other screen, you want RGB, and then here's the ringer.

00:05:37  If you're doing personal printing, that is,

00:05:39  you're printing to a device at your home

00:05:42  or office, and it's an inkjet device,

00:05:45  then you should definitely go with RGB

00:05:48  and I know that sounds crazy, but here's the thing:

00:05:50  inkjet printers have more than CMY and K.

00:05:54  They tend to have as many as eight inks,

00:05:57  and as a result, they can print way more colors

00:06:00  than you can get with conventional CMYK,

00:06:02  and they're actually expecting RGB documents,

00:06:06  and they'll do a much better job of printing RGB documents

00:06:10  and matching the colors than they will with CMYK.

00:06:13  The function of CMYK, by contrast, is very limited.

00:06:18  You want to use CMYK when you're

00:06:21  creating a document for pre-press.

00:06:22  That is, to say, you're going to ultimately

00:06:24  be taking the document to a professional print house

00:06:27  for commercial reproduction so if you're creating a

00:06:30  conventional book or a magazine, then CMYK is the way to go.

00:06:35  That's really it, by the way.

00:06:37  The only other time you'd use CMYK is because

00:06:40  you're doing personal printing to a toner-based CMYK

00:06:44  laser printer so in other words, your laser printer only has

00:06:47  cyan, magenta, yellow and black toner, and in that case,

00:06:51  then CMYK is going to give you a better sense

00:06:53  for how your document will look, but even then,

00:06:56  you may want to use RGB instead because the printer

00:06:59  driver is going to make the conversion to CMYK for you,

00:07:03  but your colors are going to diminish.

00:07:05  So take a look at this rainbow

00:07:07  over here on the right hand side.

00:07:09  Currently, we're working inside of a RGB document

00:07:12  and you can see up here in the title tab.

00:07:14  There it is right there, RGB.

00:07:15  But notice if I go up to the file menu,

00:07:17  choose document color, and convert this document to CMYK,

00:07:21  which you can do anytime you like,

00:07:23  watch what happens to this rainbow right there.

00:07:26  It diminishes like crazy. We just lose all kinds of colors.

00:07:30  Also notice what happened, I'll go ahead

00:07:33  and press CTRL + Z or CMD +Z on a Mac to undo that change,

00:07:36  Notice what happens to the RGB green and magenta.

00:07:39  They end up looking like this, and so CMYK

00:07:43  is fairly notorious for dropping out bright greens,

00:07:47  bright blues and bright purples.

00:07:50  You really lose them like crazy so, in other words,

00:07:52  unless you absolutely have to work in CMYK,

00:07:56  then you should be working with RGB.

00:07:59  And that's how the the two color modes work,

00:08:01  RGB and CMYK, here inside Illustrator.